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September 18, 2000 - Image 11

Resource type:
Text
Publication:
The Michigan Daily, 2000-09-18

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ARTS

The Michigan Daily - Monday, September 18, 2000 -11A

.Organist Kibbie makes
Sgrand tribute to Bach

By Jim Schiff
Daily Arts Writer

As part of the 250th anniversary cel-
ebration of Johan Sebastian Bach's
death, James Kibbie performed the
eleventh set of his "The Complete
Organ Works." Kibbie's technical mas-
tery and stylistic interpretation of the
pieces made for an enjoyable perfor-
mance.
This particular set, "Clavierubung,
Volume III," is among Bach's first pub-
lished organ music. Published in 1739,
it commemorated the bicentennial of
Martin Luther's sermon at Liepzig's
Thomaskirche and the city's accep-
tance of his Augsburg Confessions.
The program is considered unique
because Bach composed it as a single
cycle out of all of his works.
Throughout the collection, the num-
ber 3 plays a significant role in that it
symbolizes the Holy Trinity. Conse-
quently, many selections are either
divided into three noticable move-
ments, or the melody changes hands
from upper to lower voices on the
*organ.
The opening piece, "Praeludium,"
began with the powerful, long sus-
tained chords that the organ is usually
associated with. Here, the listener was
introduced to the sheer massive sound
output that the instrument is capable

of. On the surface of these long chords
entered the eighth note melody, show-
casing the upper range of the organ.
This opening piece was the most ver-
satile of the ten presented: At times
regal and light, like the procession of a
queen, and at others seemed to emu-
late the dark sound of the tuba.
The next three pieces further intro-
duced the listener to the organ's array
of sounds. "Kyrie Gott Vater in'
Ewigkeit," stated the chorale tune in
an upper voice, resembling a recorder.
The second prelude, "Christe aller
Welt Trost" progressed to a lower
voice. A bassoon-like sound emerged
amidst a trio of voices, each with a
distinct rhythm. "Kyrie Gott heilinger
Geist," the darkest in this set of pre-
ludes, utilized five voices at once.
Bach's extensive stylistic range is
further exemplified in the next two
pieces. "Allein Gott in der Hoh sey
Ehr," translated as "Alone to God on
high be glory," is a selection from the
weekly church service. Of all the
selections, it seemed to be the lightest
and most playful. The next chorale
was "Diess sind die heilgen zehen
Geboth," or "These are the holy ten
commandments." Here, the number
ten plays an important tole, as the
opening pitch is repeated ten times in
the first measure.
The most impressive of the pieces

was the last one, "Fuga." Opening with
a full, engrossing sound, "Fuga"
included six detectable voices in gor-
geous harmony. With its basis in
Luther's Catechism, this piece demon-
strates both Bach's affection for the
instrument and the intense level to
which he took it.
The talented Kibbie made each
remarkable piece look and sound
effortless. His ability to deliver up to
six distinct sounds on one instrument
is truly something to behold. In the
faster parts, his fingers were nimble,
never pausing between movements.
Kibbie played the longer chords with
enormous force, but constantly in con-
trol of his instrument. The concert was
not only a mental exercise but a physi-
cal one: Kibbie had to concentrate on
the keyboard, but the pedals and the
side knobs adjusting the pipes. And his
ability to do so is quite impressive.
The organ itself is a work of art. Pro-
truding from a massive white base,
eight distinct sets of silver pipes sit atop
the keyboard. Each set is of a different
size and conveys the magnitude of the
instrument. Beautifully crafted golden
spirals and shapes extend from the sides
and top of the pipes.
This portion of "The Complete
Organ Works of Johann Sebastian
Bach" exemplifies his genius and
versitatility as a composer and musi-
cian. His ability to convey multiple
sounds out of one instrument is truly
uncanny. And Kibbie, a talented
musician in his own right, unleashed
the power of the organ in a perfor-
mance Bach certainly would have
been proud of.

Grade: BI

Capcom's 'Gigawing' flies straight

Traditional 2-d shooters are on the
shady side of that hill that people and
things are supposed to go over. That
doesn't mean Capcom can't squeeze

Gigawing
For Dreamcast
capcom
Reviewed by
Daily Arts Writer
Ted Watts
same time, the new

some entertain-
ment out of the
genre.
With various
storylines and
various craft,
"Gigawing" has a
lot more to offer
than the old
standbys like the
classic shooter
"1944." At the
kid in town owes a

In "Gigawing" you pilot one of four
aircraft, scrolling from bottom to top,
destroying lots of enemies. The enemies
are other vehicles; tanks, planes, trains
and so on. "Whose vehicles?" is not
really addressed. It's only about destroy-
ing them.
The sundry planes come with sundry
pilots and backstories. Each has his or
her own reason for questing after the
Medallion, the goal of the game. Each
has a stone which can destroy the medal-
lion. And each has different shooting
attributes; from homing missiles to a
concentrated blast, each choice offers
different pros and cons for a player's
style of play.
Unfortunately, the gameplay is psy-

chotic, as it often is in shooters. An
impossible number of enemies are on
screen at most times, launching an
impossible to deal with barrage of fire.
Infinite continues alleviates this some-
what, but also leads to an inverse prob-
lem. With no limit on the amount of
virtual quarters you can plunk into your
Dreamcast, there is no way to not reach
the end. This can turn off some gamers,
who will be able to immediately play
through the disc and will find no more of
a goal.
The good and the bad of "Gigawing"
balance out on the whole. Not a great
game, it does fill the shooter niche on the
Dreamcast. Maybe the forthcoming
"Gunbird 2" will deal with these issues.

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