Fulton in the flesh...
Author John Fulton reads from
his latest book, "Retribution"
tonight at Borders. 7 p.m. Free.
OCTOBER 10, 2001
Berlin Philharmonic to
bring Beethoven to
Jane Monheit to hit
Hill for an evening
of stimulating jazz
Daily Fine/Performing Arts Editor
"All the big orchestras come here -- it's
Friday at 8 p.m.
important for students to
have international connec-
tions," said Professor Soren
Hermansson from the
School of Music.
This Friday, the Universi-
ty will be treated to a two-
hour session with one of its
biggest and most important
the Berlin Philharmonic'
Orchestra. As the opening
concert of the University
Musical Society's 123rd
Choral Union Series, the
Berlin Philharmonic will
During the pre-World War I1 era, the German
National Socialist cultural policy prevented
many international soloists from performing
with the philharmonic. After the war, this poli-
cy changed and artists such as violinist Yehudi
Menuhin came to Berlin. And while the war
ravaged much of Berlin itself, the orchestra was
able to quickly regroup and begin performing
two months after its end. In 1963, the philhar-
monic moved to the Philharmonic on Kemper-
platz, a concert hall known for its acoustic
As chief conductor and artistic director,
Claudio Abbado has made a name for himself
on the international scene. A native of Milan,
Italy, he has previously served as the music
director of the City of Vienna, the London
Symphony Orchestra and La Scala opera house.
At the end of this season, Abbado will resign as
music director and Simon Rattle will take over
Professor Hermansson, a Stockholm native
and University faculty member on French horn,
has had the opportunity to perform with the
Berlin Philharmonic on numerous occasions.
As a student, he was awestruck by their effi-
cient rehearsals and distinct methods of learn-
ing new repertoire. "You put on a glove that
was tailored for you," he said. "The experience
of playing was so easy because they have such a
Hermansson found that when he heard the
Berlin Philharmonic perform two years ago,
they still captured their unique sound that was
present when he performed with them under
conductor Herbert von Karajan. He also com-
ments that whoever takes over Abbado's posi-
perform Beethoven's popular "Symphony No. 5
in C minor, Op.67" and "Symphony No. 6 in F
Major, Op.68." With baton in hand, conductor
Claudio Abbado will bring orchestra's phenom-
enal sound to a packed Hill Auditorium.
The Berlin Philharmonic's history is tumul-
tuous, yet filled with incredible honors and
some of the classical world's most famous
names. In 1882, 50 musicians departed from
their ensemble, which was under the leadership
of an autocratic conductor, and laid the founda-
tion for the philharmonic.
When taken under the wing of the ambitious
conductor Hans Van Billow five years later, the
orchestra began to develop their distinct tech-
nique and sound. Soon, composers such as
Brahms, Tchaikovsky, Mahler and Richard
Strauss began to perform with the orchestra as
Courtesy of UMS
Claudio Abbado, conductor extrodinaire.
tion will meet the orchestra's high expectations.
"The tradition carries on with whoever will
conduct," he said. "Even after all these years
the tradition is still there."
The Berlin Philharmonic tradition, perhaps to
difficult to describe in words, will be the focus
of Friday's concerts. As the orchestra tackles
two of Beethoven's most famous works, Her-
mansson is confident that the audience will
enjoy the performance. "To hear this repertoire
with this orchestra and this conductor - they
can expect a lot and they will get it," he said.
By Denis Naranjo
Daily Arts Writer
Attention vocal jazz lovers, now
comes the hottest talent in jazz.
Though it may depend on who you
ask, Jane Mon-
heit would pre-
Sfer to settle the
Jane phone in hand,
Monheit sans any recur-
Hill Auditorium rent media fren-
Tomorrow at 8p.m. zy. Still, having
a No. I jazz
being the talk
of the jazz
row night to Hill Auditorium, Mon-
heit will brandish her girlish good
looks, refined stage composure and
varied songbook in an Ann Arbor
debut performance. The sizzle
remains from just her second CD
"Come Dream with Me," which
crested atop the Billboard jazz charts
faster than you can undo the shrink-
wrapped jewel case. No matter the
festival booking, headlining gig, or
nightclub hue, Monheit is fueling.
unending fanfare wherever she tours.
And redefined discussion about what
the graces of jazz singing actually
Maybe that's why the measure of
adulthood has become so much of an
accomplishment for the 23-year-old
singer from Long Island, NY.
"Never Never Land." her first
release, sold more than 60,000
copies. But credit an all-star squad
of record company people, manage-
ment and publicity pros for helping
get the word out. Above all, there's
She's tight with a number of musi-
cal people, not the least of which is
her jazz drumming fiance (Rick,
Montalbano), from college days at
the Manhattan School of Music.
Endorsements have come quickly
from a host of musician heavy-
weights in jazz, from New York
(Kenny Barron, Christian McBride,
Michael Brecker) to L.A. (David
"Fathead" Newman). And she credits
her music-playing parents for prim-
ing her vocal chops, which date to
childhood days singing as early as
age three, and attaining near-perfect
A regal instrument, her voice is a
silken, controlled wonder that is both
a genetic gift and the product of
superb training. When she wraps it
around one of many classic Ameri-
can tunes she adores to sing, you get
the warm impression Monheit is for
Earning quick notoriety. and
acclaim at such a tender age has
catered to some welcome applause.
Her career spring boarded after a
second-place finish at the 1998
Thelonious Monk vocal jazz compe-
tition in Washington, D.C., losing
out to Detroit-native Teri Thornton,
who died from cancer last year. Her
label signing by jazz producer Carl
Griffin launched the juggernaut of
her ascendant appeal to come.
Monheit comes across as a young,
dressy, white jazz singer who instills
class and dignity throughout her
shows. At this year's Ford Detroit
International Jazz Festival, Monheit
and her quartet hit full stride with
captivating reads of "A Nightingale
Sang in Barkley Square" and
"Spring Can Really Hang You Up
the Most." A lyrical nod to Ella
Fitzgerald ("My Foolish Heart") or a
reworked Antonio Carlos Jobim
classic ("Waters of March") always
provides uplifting sentimentality.
For now, take a pass on the vocal
jazz hoopla over current divas Diana
Krall and Cassandra Wilson. Mon-
heit, with undeniable devotion, has a
song to sing you need to hear.
With new director, 'U' Symphony Band
to Showcase Husa, Jacobs, Gershwin
By Melissa Gollob
Daily Arts Writer
The School of Music has a new director at the helm. With the retire-
ment of Professor Reynolds last semester, the University sought a quali-
fied candidate to lead the School of Music. The search ended with the
hiring of Michael Haithcock, formerly the Director of Bands at Baylor
University. He now holds the job that only two men have held in the last
80 years: The Director of Bands. He is also a Professor of Music in con-
the end." He uses transitions and cadences to mask the melodies until all
the parts are collected and.the themes emerge in their original shape.
The band will conclude the concert with "Music for Prague," by Karel
Husa. Not only will the band be showcasing this piece, the composer
himself will attend and give a pre-concert lecture on the meanings of the
piece in the Kessler Room of the Union at 7 p.m. prior to the concert.
Born in Prague, Husa wrote this piece to describe his feelings and fears
for his family when the Soviets invaded Czechoslovakia. The piece
stands as a tribute to the Prague lie loved. The Symphony Band finishes
their performance with this piece in order to honor Husa and celebrate
his 80th birthday
Tomorrow at 8 p.m.
ducting here at the School of Music. Tomorrow
night, Professor Haithcock will make his conduct-
ing debut with the Symphony Band at Hill Audito-
Professor Haithcock served as the assistant
Director of Bands at Baylor from 1978 through
1982 when he was promoted to the Director of
Bands. His achievements include the Baylor Uni-
versity Outstanding Creative Artistic Award in
recognition of his artistic leadership and accom-
plishment. He has also published articles on con-
ducting and wind literature.
Since moving to Ann Arbor, Haithcock has found
the city to be a "veiy artistic place that supports the
arts." He compares Baylor's music program to the
University's curriculum by saying that it is "slightly
different from Michigan's School of Music because
of high level doctoral students teaching undergradu-
Curtis plays to help
distract from crisis
By Gina Pensiero
Daily Arts Writer
Catie Curtis, a female folk singer
who emerged in the mid-90s from the
of the vast number
The Symphony Band is the highest band for undergraduates within the
School of Music. Professor Haithcock has selected five individual pieces
that allow the ensemble to show their range of abilities. Although Haith-
cock confesses he "loves them all for different reasons, just like chil-
dren," he took great care in his decision to celebrate the University's
} heritage during this Homecoming week.
The program will begin with "La Procesion del Rocio" composed by
Joaquin Turina. The piece conjures an image of the procession of Rocio
in Seville at the beginning of May. This symphonic poem uses parts of
flamenco and insinuations of a recorder player and drummer to invoke
images of Rociero people.
The next portion of the program includes the "William Byrd Suite" by
Gordon Jacob. Four distinct movements contain about half of Byrd's
original intent. Jacob did not score this suite as arrangements of Byrd's
music. He took them as a basis for his own interpretation of England's
Golden Age of musical creation.
"Fantasy Variations on Gershwin's Second Prelude" composed by Don-
ald Grantham, follows the original work by Gershwin. Grantham
explains that in "Fantasy Variations," "both of the big tunes in the piece
are fully exploited, but they do not appear in recognizable form until near
Tonight at 8 p.m.
Boston area, is
slated to play the
plays folk blend-
ed with pop and
rock, is highly
a c l a i m e d.
The New York
that avoid senti-
from her last four albums; the most
recent My Shirt Looks Good On You
(2001), the more poppy sounding
Crash Course In Roses (1999), the
deeper folk based Catie Curtis (1997)
and Truth From Lies (1995).
Curtis, who has decided to "keep on
with" the tour "providing a little com-
fort, love, humor and distraction at the
moment," despite national crisis, has
commented that she was "blown away
by the spirit of togetherness" she's
been witnessing at her shows.
"We are hearing how moved and
also deeply disturbed and concerned
people are about the whole situation,"
Curtis posted on her website.
Curtis and her diverse band, which
includes two drummers and a man-
dolin player, among others, are known
to be quite high-energy and to deliver
a truly eclectic sound, which promises
to surpass the typical folk-rock-god-
but convey feelings with a casual
She will most likely cover material
Courtesy or 'ne Universiy o Micnigan
Haithcock was born ready to conduct.
The end of college is when it begins.
., or,., -
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live Music at AG, then on Sunday Enjoy the Fall Colors
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A Film by UM Alum Loren Marsh
0Otbret / Eqipmen
Oct 19.-21,2001 U Film Festival
fL.I. - t . AL n iU m lv iu c,