Wednesday, May 17, 1995 - The Michigan Daily - 13
SO's May Festival performance solid
Brian Wise with big gestures - certainly the right Other potentially problematic sections
aily Arts Writer thing for Mahler's symphonic colossus. were executed effortlessly. The offstage
The Ann Arbor May Festival began Colossal in every dimension, in fact, at brass fanfares in the finale were both
a successful two-concert stand by nearly two hours in length, and scored for played with accuracy and intensity. The
se Boston Festival Orchestra in the singing of the UMS Choral Union was a
ear 1893. It was during this period study in blend and contrast. Florence
sat Gustav Mahler was composing his REV[EW Quivar gave "Urlicht" the necessary di-
ymphony No. 2, subtitled the "Resur- rectness and lyricism, and Edith Weins'
etion." Detroit sustained voice projected well over the
Mahler was certainly a prophetic Symphony choir in the finale.
t, and it was little wonder that the Mahler believed that the symphony
n Arbor May Festival made its final OrChestra should be a world unto itself, portraying
urtain call Sunday afternoon at Hill nature and human experience in its en-
uditorium with a performance of that tirety. At times, however, his world was
ork. The Detroit Symphony Orches- May 14, interrupted by the world of the Hill Audi-
ra, under the direction of Jerzy toriumaudience, with its incessantcough-
emkow, gave a satisfying interpreta- solo soprano (Edith Weins), mezzo so- ing and other mild, but nonetheless rude in-
on, in conjunction with theUniversity prano (Florence Quivar), chorus, and a terruptions. Fortunately, this was not
4usical Society Choral Union and di- distended orchestra of some 26 wood- enough to ruin a generally solid and im-
sctor Thomas Sheets. winds, 23 brass, full string and percussion pressive performance.
However one may wish to read sym- sections, organ and two harps.
olism into this choice of programming, Of course, such huge resources were a
magnificent piece was an apt close for matter of necessity for expressing
oth the 1994-95 season and the 102nd Mahler's grand apocalyptic vision. The
nd final May Festival. Following decades Day of Judgment is not exactly light-
fresidencies by orchestras from Philadel- weight subject matter, and in Mahler's
hia, Cleveland and Boston, to name a terms, the symphony inevitably becomes
rw, UMS only had to look next door to an all-encompassing universe. The gro-
md a world-class orchestra to give the tesque and the nostalgic, the beautiful and
vent a grand conclusion. the blatant all occupy the same subjective
Guest conductor Jerzy Semkow led plane.
Semkow gave measured weight and
Put on your dancing shoes, the Wolfgang Press is coming to town! From 1983's
"The Burden of Mules" to their latest efforts like 1992's "Queer" and this year's
terrific "Funky Little Demons," the Wolfgang Press remains on the cutting edge of
darkly humorous music with a great beat. The new single "Going South" only
hints at the group's prowess; the songs on "Funky Little Demons" range from the
quasi-funk of "Blood Satisfaction" to the dreamy trance of "Chains" to the T. Rex
inspired "She's So Soft" to the aggressively electronic "Executioner." The band
plays at St. Andrew's Hall this Saturday, May 20. Also appearing on the bill is
Suddenly, Tammyl whose sound is both dreamy and down to earth. It's an 18+
show, and doors open at 9 p.m. Call (313) 961-MELT for more information, and
get ready to exorcise your own funky little demons.
Fruit"
Super-hyped British dance.
Dokken - "Dysfunctional"
Bracket- "4 Wheel Vibe"
Old-school punk-pop.
Da Homlez - "Abandoned in Da
treets"
eir latest, out on Noir/Ichiban.
Chris Mars-"Tenterhooks"
The ex-Replacement that isn't Paul
Westerberg.
Julian Schael -"Every Silver Lin-
ing Has a Cloud"
Singer/songwriter stuff.
SeasontoRisk-"InaPerfect World
Punky, heavy stuff.
dynamic contrast to Mahler's neurotic
world. Fierce climaxes in the funeral
march were approached with conviction
and outbursts of anguish and horror were
none too mannered or understated.
At times the orchestra sounded a bit
under-rehearsed: a few cracked wind en-
trances, some poor oboe intonation in the
first movement, and a hurried cello theme
in the third movement were questionable. Jerzy Semkow conducted the DSO.
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