The Michigan Daily - michigandaily.com Wednesday, March 17, 2010 -- 5A CONCERT PREViEW Jazz legend Marsalis takes classical ambitions to Hill By DAVID RIVA Daily Arts Writer In 1874, Modest Mussorgsky composed a 10-movement suite titled "Pictures at an Exhibition." The piece as a whole functioned as a trib- ute to one of Mussorgsky's closest friends, an artist Center who unexpectedly died at a Orchestra young age, and each move- ment served to represent a with Wynton specific drawing or water- Marsalis color made by the artist. The circumstances sur- Tonight at 8 p.m. rounding the conception of Hill Auditorium "Pictures" were less than $10 ideal, but the composition has become a celebrated staple of the classical music world and is a fre- quent feature piece for orchestras and piano concerts alike. More than a century later, composer-musi- cian Ted Nash has created "Portrait in Seven Shades" - a seven-movement suite that will be performed tonight at Hill for "Jazz at Lin- coln Center Orchestra with Wynton Marsalis" - which is strikingly similar to "Pictures" in its structure and overall concept, but differs in style, purpose and inspiration. Nash focused his seven movements on paintings by modern artists like van Gogh and Picasso. Instead of concentrating on the work of one individual, Nash is taking a broader approach in observing and celebrating some of the art world's most recognizable paintings. This common motif between the two composi- tions reveals the undeniable parallels between visual art and music - a connection Nash was conscious of throughout his writing of "Por- trait." "Painters and musicians, we go through the same tribulations, (getting) our art out there and accepted," he explained. "And (we're) able to express ourselves and appreciate it for that." Nash also points out the common language of "textures and colors and shapes and differ- ent words" that are used to describe the work of artist and musicians. "The big difference is a painting is finished, it's on the wall, it's done, it doesn't change, it doesn't move," Nash said. "It's all about the process of having painted it. And music, every night - especially with jazz music because there's so much improvisation - every per- formance of it is different so it's a constantly evolving process." Though Nash has been given a greater role in writing music for the band, Marsalis is still the evening's main attraction. For Nash, play- ing alongside one of the best-known names in jazz is nothing less than a dream come true. "When I first became aware of Wynton ... I always really fantasized about playing with him at some point, being able to play with him in a band or something, and I didn't think it would ever really happen," he said. Nash also pointed out some similarities between himself and Marsalis: both of their fathers were jazz musicians and they're rela- tively close in age. "After we started working together, at the very beginning I was a little timid, a little scared of him because I respected him so much and I wanted him to like my playing," he said of his early experiences with Marsalis. "As I've grown to know him both musically and as a personal friend, he's someone that I not only feel very comfortable with, I feel we share a lot, we have a lot in common," he added, saying also that he enjoys being able to express these feelings musically. Nash admires Marsalis especially for the way he selflessly conducts himself around his fellow band members. "(Marsalis) is a wonderful person to work Channelling Modest Mussorgsky for because he doesn't approach things from the point of view of a large ego like a lot of leaders will," he said. "You'd think that some- body who's that famous and has gotten that much recognition and notoriety might have a lot of ego and (say), 'Well, this band's about me and it's really just showcasing my play- ing and you all are supposed to support that.' No, he's about us as a community playing and he loves to hear us play as much as he loves to play, so when we play concerts he's always making sure that everybody has a chance to improvise." Tonight, the Jazz at Lincoln Center Orches- tra will continue its quest to place "Portrait In Seven Shades" in the same high-regard in the jazz world that "Pictures at an Exhibition" has in the classical community. Ted Nash's innovative vision, Wynton Marsalis's contin- ued virtuosity and the band's ability to let the piece evolve will all combine to certainly take it in that direction. COURTESY OF NEWMARKET "I apologize for throwing my shit at you. You made it look so fun." A dairk 'Creation' story Charles Darwin biopic has trouble evolving beyond emotional stagnancy By CARLY STEINBERGER For the Daily "Creation" focuses on a lesser- known portion of the life of Charles Darwin, veering away from a simply * biographical account. Instead of touching Cretio on his countless zoo- logical endeavors and At the his development of Michigan evolutionary theory, Newmarket the film, based on the novel "Annie's Box" by Randall Keynes (Darwin's great- great grandson), takes a more emo- tional approach. Director Jon Amiel chooses to highlight Darwin's struggle to accept his own conclusions. Throughout the film, Darwin (Paul Bettany, "The Da Vinci Code") labors over writing his famous work, "On the Origin of Species," recognizing that his theories challenge the existence of God. While he believes his findings to be correct, he fears them and questions whether they should be shared with the public. This bubbling anxiety drives him to near insanity and physical ill- ness. His pious wife Emma (Jennifer Connelly, "A Beautiful Mind"), further contributes to his doubts. All the while, the ghost of his deceased daughter deepens his mental instability. The bulk of the film depicts Dar- win's descent into madness. The tone is initially cerebral, though that quickly diminishes in favor of a dis- tinctly morbid air. Advancing the dis- mal mood is the depressing score, dark lighting and Darwin's constant inter- action with the imaginary. He dreams up everything from the spirit of his daughter to re-animated stuffed birds. At times the film seems to teeter a bit too much into the horror-inspired, as eerie montages showcasing both fic- tional and actual events flash before Darwin's eyes, fueling his torment. "Creation" sets itself apart from typical, reverent biopics by attempting to portray a true genius as someone with human qualities and flaws. We see Darwin as a family man who seeks involvement in his children's lives (though not at the climax of his mad- ness) and is concerned for his wife's feelings. Yet, the combination of the writing and Bettany's performance takes the emotions to an almost unre- alistic level - it's as if Darwin has no strength at all. He seems too plagued by his insanity to ever have conceived possibly the most revolutionary theory in all of history. The lack of mental progression within the film is also disconcerting. While Darwin grows to better handle his anxiety, his state of mind remains relatively stagnant. The man is still torn between promoting his research - which in his heart of hearts he believes to be correct - and avoid- ing the consequences of challenging established religion. He even consults his wife, and while she gives him her opinion, it's still a bit unclear as to whether Darwin iscompletely sold on his own findings. While "Creation" shows the softer side of Darwin, it's very easy for the viewer to forget while watching the film the great impact of his accom- plishments. It's almost as if the film could be about any insanity-stricken man and there never was an evolution revolution. GARDASIL. [Human Papillomavirus Quadrivalent (Types 6,11,16, and 18) Vaccine,,Recombinant] ITERESTED IN GUDASILI GARDASIL IS WIDELY AVAILABLE AND MANY PRIVATE INSURANCE PLANS* COVER IT. TALK TO YOUR CAMPUS HEALTH CENTER OR OTHER HEALTH CARE PROFESSIONAL. You are encouraged to report negative side effects of prescription drugs to the FDA. Visit www.fda.gov/medwatch or cal 1l-800-FDA-1088. A.