6A - Monday, December 9, 2013

The Michigan Daily - michigandaily.com

UPO to infuse Hill
with mystery

New production to
showcase lyricism
of instruments
By GILLIAN JAKAB
DailyArts Writer
The bassoon is perhaps the
most exotic of the traditional
orchestra's instruments, with
its double-
reed delicacy University
and deep Philharmonia
breadth. An
unfinished Orchestra
symphony Monday at
is surely the
most myste- 8p.m.
rious of com- Hill
positions.
Mystery and
intrigue,
added to a classic, century-
old, comic opera performed
with instruments only, yield an
exciting program at the Univer-
sity Philharmonia Orchestra's
semester-closing concert Mon-
day night at Hill Auditorium.
"(Monday's program has) lots
of hummable melodies; lots of
rapturously gorgeous orches-
tration and color, and so it's in
some ways the best way to end
the semester because it features
everybody on the stage creat-
ing so many really beautiful
moments of great music," said
Christopher James Lees, the
conductor of the UPO.
The UPO is made up of 85
students this semester ranging
from freshman to second-year
masters students. They will be
playing three different com-
positions Monday night: Franz

Schubert's Symphony No. 8
"Unfinished," Gioachino Ros-
sini's Concerto for Bassoon &
Orchestra "Concerto da Espe-
rimento" and Richard Strauss's
"Der Rosenkavalier Suite."
An unfinished symphony?
Stories, explanations and
attempts to finish Schubert's
8th have abounded in the wake
of the glory of incompletion.
"There's always that question
of, if he had finished it, what
would it sound like?" Lees said.
"And the music that he did leave
is so kind of profound that it
bears being played even without
the rest of it."
It's common to go to an
orchestral performance and
hear a featured violin or piano,
but bassoon? Not so much.
Associate Professor of Bassoon,
Jeffrey Lyman, will be featured
on the mellifluous woodwind,
often likened to a baritone sing-
ing voice. The UPO gets to work
with different featured profes-
sors for each concert who shake
up the dynamic and bring some-
thing new to the orchestra.
"Jeffrey Lyman is (a) fantas-
tic musician, a consummate art-
ist, incredibly funny and a heck
of a nice guy," Lees said.
The last piece is a suite from
Richard Strauss's opera "Der
Rosenkavalier" - or the "Rose
Knight." It's a comedic story
named after a character who
delivers a silver rose from a
man to his fiance, but upon
delivering the rose, falls in love
with the man's fiance himself.
The tying thread of Monday's
concert is lyricism.
"(Strauss's piece) came from
an opera. Rossini was an opera

composer. Schubert was a song
composer," Lees said. "And yet
we're doing pieces that involve
no voices whatsoever."
They've been doing a lot
of singing in their rehearsals
in an effort to translate the
melodic quality of the vocals
through their instruments.
The music is sure to be beau-
tiful, but will compositions
from hundreds of years ago res-
onate with the audience today?
When works of art last for so
long, it's usually because they
capture some universal human
sentiment that is timeless in its
relevance. As for its freshness,
leave that to the UPO.
"One of the things I like
to say about the creation of
music," Lees said, "is that we
should strive to make new
music sound old and old music
sound new. So if it's fresh it
sounds tried, and true and vet-
ted. And if it's old that it sounds
alive and like you're creating
it for the first time during the
performance. And that's the
quality of performance we go
after."
Just like the student body of
the University, the musicians
of the UPO come from diverse
backgrounds and experiences.
When they play together on the
stage of a Hill Auditorium - a
venue with a hundred years
of history that has seen some
of the greatest artists in the
world - the whole is more than
a sum of its parts. Under the
direction of Lees, the UPO is at
once presenting the history of
western music, and its future,
while making it their own in the
moment.

Don't spoonfeed me.
Demanding more fro-m
children's television

0

www.michigandaily.com/the+f ilter

By MADDIE THOMAS
Daily Arts Writer
I watch way more Disney
Channel than the average col-
lege student should. I credit this
habit to my 11-year-old sister,
who always manages to have
the candy-coated network play-
ing somewhere in our house.
Thanks to my sister, I know that
Disney has a show about a dog
that has a blog (appropriately
titled, "Dog with a Blog"), and
I know that just about every
one of its female lead actress-
es must be able to sing. I also
know that most of the shows on
Disney Channel are seriously
lame. And I'm not just saying
that as someone outside of the
target demographic - I'll con-
cede that I thoroughly enjoy
"Phineas and Ferb" and "Good
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Luck Charlie." But the Disney any better. "Lizzie McGuire"
Channel's programming mostly was maybe a little more whole-
frustrates me because it feels some than something like
r half-assed, especially compared "Shake it Up!" and "That's So
to its counterparts over in the Raven" at least had a lead who
realm of film. did something other than sing,
I have seen countless "fam- but without the magical layer
ily" movies with my sister over of nostalgia that encompasses
the years, from Pixar classics those shows in my eyes, they're
like "Monsters, Inc." to tradi- really nothing special. Ever
tional classics like "Mary Pop- since "High School Musical"
pins." We have plans to see and "Hannah Montana" popu-
r Disney's most recent release, larized the use of singing in
"Frozen," as soon as I get home pre-teen shows, Disney Chan-
from school. Unlike the TV nel has focused on nothing but
shows my sister loves, I have a the performing arts. "Shake It
real appreciation for the movies Up!" is about two teenage danc-
we watch together. The writ- ers. "Austin & Ally" is about
ing, though often formulaic, is two up-and-coming musicians.
charming and heartfelt. The "Jessie" is about a girl strug-
creative power behind these gling to be an actress in New
family films is immense - as York City. The theme is consis-
evidenced by Academy Award tent throughout all of Disney
nominations for films like "Toy Channel's live-action shows.
Story 3" and "Up." The result is a bunch of loud
TV shows that are essentially
the same: boring and reductive.
W hy can't So, why does any of this
really matter? It's easy to
Disney Channel write-off children's television
as irrelevant, but anyone who
be more like spent even a small part of their
childhood in front of a televi-
P ixar? sion screen knows that what
you watch in your formative
years tends to manifest itself
permanently in your memo-
Translating the exact magic ry. I still find myself quoting
of classic childrens' films to obscure episodes of "Sponge-
the television screen would be Bob SquarePants" on a regular
nearly impossible, but there is a basis.
distinct gap in quality between As television becomes a
the two formats that doesn't more reputable entertainment
seem to exist in any other medium, quality of program-
genre. Comedy shows like "The ming is only increasing. Why
Office" or "30 Rock" are just as not invest some more energy in
quotable as films like "Mean childrens' programming, con-
Girls" and "Anchorman." Dra- sidering the tweens who watch
mas like "Breaking Bad" and Disney Channel are still young
"The Sopranos" have received enough to parrot what they're
as much acclaim as films like seeing in the media? Nickel-
"Pulp Fiction" or "The Godfa- odeon's "Noggin" made worth-
ther." And yet the programming while television for babies and
aimed at the highly lucra- young children with educa-
tive tween demographic (the tional shows like "Little Ein-
same demographic responsible steins." The least Disney could
for Miley Cyrus's and Justin do is attempt to do something
Bieber's stardom) falls short. new. It's time for childrens'
It's not that the Disney Chan- TV to rise up to meet the film
nel of my childhood was really industry's creative standard.
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