6A- Friday, October 26, 2012

The Michigan Daily - michigandaily.com

6A - Friday, October 26, 2012 The Michigan Daily - michigandailycom

Albanian Jazz comes
to A2 in form of quartet
By JOEY STEINBERGER
Daily Arts Writer _______________________________

Mariinsky to bring
'Le Sacre' to Hill

As a cultural phenomenon,
jazz flourished in the United
States and quicklyspread around
the world. As
it traveled,
the tradi- Elina Duni
tion changed, Quartet
incorporating
local influences Friday at
into its sound. 8 p.m.
The Elina Duni Kerrytown
quartet, a Jazz Concert House'
group from F$
Switzerland, From $5
creates musicx
that is a product of this fusion,"
by combining Jazz with Alba-
nian folk songs.
Elina Duni, the band's name- Eina Duni grew up in Albania, but didn't
sake, started playing piano and
singing when she was five. At "I didn't want to do the jazz
17, she learned the blues and bebop thing; folk music helped
picked up jazz naturally from me find a kind of freedom," Duni
there, eventually studying jazz said,
in Switzerland at the University Duni and Vallon morphed
of Bern. from duo to trio and then quar-
At Bern, she met Collin Val- tet. Adam Hopkins now plays
Ion, who plays piano in the bass and Norbert Pfammatter
quartet. Vallon was the one who plays drums. Duni is the only
originally proposed combining Albanian member of the quartet;
jazz with Albanian folk music. the other three members hail
"He said 'Why don't we play from Switzerland. The band has
Albanian folk songs and trans- played together for seven years
form them, play them in a jazz and is currently on tour promot-
way,' Elina Duni said. "To ing their third CD, MatanE Malit.
improvise with them and play The CD incorporates jazz rendi-
them in a free way." tions of traditional songs, some
Though Duni lived in Alba- original compositions and songs
nia until she was 10, she wasn't from the communist era.
familiar with the country's tra- "One is a song that was forbid-
ditional folk music until she met den during the communist era
Vallon. Folk music was politi- because it was a bit jazzy. Anoth-
cized by the Albanian commu- er is from the Second World
nist state and widely disliked for War; it's a song my grandfather
that reason. used to always sing to me," Duni
But after listening to some old said. "I think the CD is a journey
cassettes, Duni quickly devel- through Albania and Albanian
sped a connection to the music, history."
which in turn developed her For her original compositions
own sound as a azz performer. onthe CDDuawrote songs.
"I fell in love with the poetry, that incorporated traditional
melody and depth of the music themes in the folk music, but
I was fascinated by it," Duni also transgressed them to make
said. the sound new. She's creating a
She began to improvise with new genre because "there is no
rhythm, harmonies and other point in trying to imitate some-
sounds. thing that's already been done."

hear Albanian folk music until college.
As part of the quartet's first
tour of America, they will per-
form a concert at the Kerrytown
Concert House. They are also
set to perform a radio concert at
the Acoustic Cafe, a radio station
syndicated across the country.
Elina Duni
Quartet blends
folk sound with
improvisation.
Though Duni sings for the
quartet, she doesn't single her-
self out as a "lead singer."
"This isa music that is made by .
four people and it's important to
me that this quartet isn't a singer
with a trio," Duni said. "I consider
my voice as another instrument,
even if I write lyrics."
This ethos is vital, as every
member cfthe group improvises a
during the band's live shows and
on its CDs.
"Each member brings their
own interpretation and musi-
cal values to the performance,"
Duni said, "Without them this
music wouldn't exist."

Gergiev, Matsuev "This is the orchestra that
Tchaikovsky wrote all his sym-
to celebrate Hill's phonies for and the ballet com-
pany to which he wrote all his
anniversary ballets for as well," Kondziolka
said. "There is not an orchestra
By JONATHAN ODDEN more important to the Russian
DailyArts Writer classical tradition."
As famous as the orchestra
On a crisp spring night in 1913, has become, the work of conduc-
a packed and expectant audience tor Valery Gergiev stands out as
watched Hill Auditorium's inau- influencial and prolific, explained
gural perfor- Kondziolka.
mance by the Madinsky "Valery Gergiev is more than
Chicago Sym- r a conductor. He is a real cultural
phony. Little ChStIE leader. Obviously, he's trained as
did they know, of St. a musician, conductor; he leads
only two weeks the orchestra deftly, but he also
later and half- Petersburg leads the cultural conversation in
way around the Saturday St. Petersburg."
world, a ballet at 8p.m. To get a sense of how famous
as infamous and respected Gergiev is in
as it is famous the classical world, Kondiolka
would premier From $15 explained that Gergiev is addi-
and change the tionally the principle conductor
landscape of the 20th century. of the London Philharmonic and
That piece was Igor Stravin- was asked to be the associate
sky's Le Sacre Du Printemps music director ef the Metropoli-
(The Rite of Spring) and now, tan Opera in New York.
as The University Musical Soci- "Here is a man as internation-
ety remembers 100 years of Hill ally recognizable for his presence
Auditorium, Stravinsky's master- in classical music and the Russian
piece will be celebrated in con- tradition as the orchestra hecon-
cert on Oct. 27. ducts," Kondziolka said. "And he
"When it became clear we is the chief advocate for its con-
wanted to showcase the Stravin- tinuation and valuation into the
sky piece as part of the anniver- future."
sary calendar, there was really In addition to the Mariinky
only one orchestra to turn to - Orchestra, Russian pianist Denis
The Mariinsky Orchestra," said Matsuev will make a return
Michael Kondziolka, UMS pro- to Hill Auditorium to perform
gramming director. alongside the Orchestra dur-
The orchestra, known dur- ing Dmitri Shostakovich's Piano
ing the Soviet era as the Kirov Concerto No.1 in C minor, Op. 35.
Orchestra, is the in-house "Denis Matsuev, who is in
orchestra for the Mariinsky The- every waya protege of Gergiev, is
atre in St. Petersburg, Russia. The a gargantuan Russia piano virtu-
theater, which is iconic in Russia oso," Kondziolka said. "He has a
as well as internationally, is also technical facility on the keyboard
an opera house and hosts a ballet that is in the tradition of the great
.s.-nompany. Originally the Imperial Russian pianists, like Rachmani-
Theater of the Tsars, the theater nov, Prokofiev or Horowitz. He
and orchestra have a colorful and can play anything and make it
expansive history. look easy - it's staggering."

When Matsuev premiered for
the first time in 1913, it was an
instantaneous and total standing
ovation by every person its Hill,
even though it was in the middle
of the concert, explained Kondzi-
olka.
In the concert companion for
the show, the Shostakovich is
about clashing musical styles. It
describes how the opening, after
flourish and fanfare, is melodic
and lyrical. This is followed by
a quick-tempoed second theme,
which crashes into a second
movement that sways like a "mel-
ancholic waltz," From here the
piece moves to an unaccompa-
nied piano prelude before quickly
descending into a furious Allegro
con brio.
Before the complex journey of
the concerto, the concert opens
with Ein Heldenleben (A Hero's
Life), an 1898 piece by Richard
Strauss. Strauss, who bridged
the end of the 19th century into
the first 40 years of the 20th
century, was famous for com-
posing Opera's and tone poems,
explained Kondziolka.
"What the tone poem Ein
Heldenleben is, is essentially the
name given to a large piece of
orchestral music that is telling a
story though or conveying a con-
cept through music. It was an
exceedingly 'modern' form for
composing at the turn of the cen-
tury," Kondziolka explained.
"This piece by Strauss meant
to evoke through music this
idea of the heroic figure, one
on a journey," Kondziolka said.
"And the unbelievable thing
about Strauss is that he wrote
like no other composer for a
large orchestra. All of his tone
poems for orchestra show off
the orchestra in a way that no
one else does; he shows fwhat
a- big, romantic size orchestra
can do - and it is an impressive
openingto the concert."

01

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