SUNDAY, NOVEMBER 21, 1954
THE MICHIGAN DAILY
PAGE THREE
SUNDAY, NOVEMBER 21, 1954 THE MICHIGAN DAILY PAGE THREE
By D
" WASN'T
sponsibi
Doppmann,
calling his
ance at the
cinnati's Sy
} Doppmann
W. Naumbu.
Award and
Award last
r--rson to w
.as weli as bI
sity student
aels Memor
The Naum
sors a debut
rown Hall
Hall recital
Doppman
Benning D
of Music,
Moore of
telegram af
ing comm
York Press.
"High praise
ed over ar
As part o
gram, Dopp
Barber's "S
knowing tha
audience, "B
afterwards,"
was surprise
to hear me
hearing it
Horowitz an
"Barber hi
' ter," Doppi
how much h
tation of h
some sugges
Doppmann
with the Gr
Orchestra N
RECO
Student Pianist Tours Concert Circuit
AVID KAPLAN " ~
After enrolling in the Cincin-
AWARE of my re- nati Conservatory of Music, he
lities," pianist William t.began taking lessons with Rob-
'56SM commented, re- ert Goldsand. Within a year,
first concert appear- Doppmann was playing solo re-
age of ten with Cin- citals. He appeared in Toledo
mphony Orchestra. and Cincinnati during his high
n won both the Walter school days, giving ten concerts
irg Music Foundation during those years.
the Michaels Memorial hie Doppmann was in his
year. He is the first senior year in high school, Gold-
emn both in one year sand left the Conservatory to teach
eing the rs thU Mie at the Manhattan Music School in
New York.
lal.
bur Doppmann went to New York
burg Association sponY ' for six weekends, staying at Gold-
. Doppmann' Town sand's home, taking lessons and
took place Oct. 5. playing recitals at the Music
School.
's instructoi, ProfHe attended the National Music
exter, of the School Camp at Interlochen for four
sent Dean Earl V. '
he s shsummers, three of which were
ethe c cho spent in the high school division.
er the concert, quotw He performed in student recitals,
uThe comments were chamber music concerts and for
e of pianism; enthus- the concerto programs.
tistry and maturityIn 1952, Doppmann entered the
Iam imusic school enrolling as a piano
f his Town Hall pro- major under Prof. Dexter.
'mann played Samuel -Da asLynn wails While on campus, Doppmann
onata opus 26," not WILLIAM DOPPMANN PLAYS HIS 'WARES' FOR PROF. has accompanied the Michigan
at Barber was in the KENNING DEXTER gingers under Prof. Maynard Klein,
larber came backstage performed in composer's forums
Doppmann said, "I uled appearances with the Cincin- began grammar school. At that and student recitals.
d that he would come nati Symphony in January, the time he was aiven the nickname of In his freshman year, Dopp-
play his Sonata after South Bend and Hillsdale Orch- "Skip" by his parents. mann was part of a WUOM tiio
played by people like estras in March and the Plymouth Doppman started playing the which broadcast a 15 minute pro-
d Firkusny." Orchestia in April, piano when he was five years old. aram once a week for two semes-
as simce sent me a let- Another concert of the future His family was musically inclined ters.
mann noted, "saying is an appearance with the Chi- since his father played piano and With no specialized repertory,
e enjoyed my interpre- cago Symphony Orchestra at his mother violin. Doppmann feels that it is a good
is work and making the Ravinia Festival next sum- "I had expressed a desire to take idea to study a variety of styles
tions." mer. lessons," Doppmann noted," and
's nxt cncet wa Doand pieces from the entire piano
n's next concert was Doppmann was born in Spring- wound up playing two-note pieces literature. "I admire many pian-
osse Pointe Symphony field, Mass., and his family moved with words on the piano my grand- ists," Doppmann commented,
ov. 7. He has sched- to Cincinnati before Doppmann parents had given us." "and especially respect Rach-
maninoff, Kappell and Hess."
RD REVIEWS: When asked what he plans for
the future, Doppmann said, "all
AJoI can do is wait and see what
Dozart osectuBirtng American Music,
Doppmann said, I feel that the
American performer owes a ter-
cording.. The Corells Concerto rific obligation to creative thought
Grosso in D is a fine example. of his time."
The many contrasting sections Outside of the world of music,
Th.an onrsin ecin Doppmann is interested in lan-
of the Concerto are very effectively
set forth. The solo violin passages guage and las taken both Ger-
are done with refinement and taste man and Italian, "If I could
by Messrs. Mazzato and Malanotte. squeeze it in," he noted, "I'd like
Anyone interested in woodwind to begin French next semester,
instiuments would probably enjoy "Recitals are exciting," Dopp-
instumens wold robaly ejoyman said, "but this is just a start.
the Vivaldi Oboe Concerto also in- mn aement and awards a an
e luded on the record. Engagements and awards make an
added responsibility to keep up to
The soloist, Renato Zanfini, standards of other winners and
plays with evenness and control especially to raise one's own stand-
the equal of any I've heard. The ards."
little known but delightful Sym- "It's an obligation to work
phony in D by Clementi is per- harder," Doppmann added.
formed by the Virtuonsi with their
Santa says:
ij yO
50
2 piecesL i
only hisx
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FROM AFRICA-Musical instruments on display at the Uni-
versity Museum. Largest is a Kisar, a type of lyre used to accom-
pany ballads, from the Soudan. Beside the horns is a Gnbri,
a harp-like instrument from East Africa,
By GEORGE PAPICH
and DAVE TICE
MOZART: Serenade, Eine Kleine
Nachtmusik, K. 525; A Musi-
cal Joke, K. 522. Vienna Kon-
zerthaus Quartet. (Westmin-
ster WL 3315)
T IS A pleasure to have the fam-
ous little Mozart Serenade per-
formed by a small chamber group
Instead of a full orchestral string
section. Thus we are privileged to
hear the delicate counterpoint, to
realize the full rhythmic vitality,
and, above all, to feel the inti-
macy of that composer who, of all
composers, depends on a sensitive
and sympathetic communication.
Only when we have the clarity of
such a small-scale performance as
this, can we say that we know
Mozart.
The "Musical Joke" represents
Mozart in a tongue-in-cheek mood,
writing music with a basic sar-
casm as its keynote. The humor
of this work comes not so much
from the obvious moments of
raucous abandon, but from a very
subtle triteness; the same trite-
ness which enables us to distin-
guish Mozart's less capable con-
temporaries.
As such, this work gives us a
marvelous insight mato the com-
poser's methods, for we see just
what he was avoiding, and how he
was constantly concerned with a
fuller realization of an artistic
ideal of personal sincerity and
tasteful refinement.
Virtuosi di Roma, Renato Fas-
ano, conductor. (RCA Victor
LlIMV-2)
HIlE VIRTUOSI 1I ROMA are,
I'm sure, still remembered by
those who heard them in Ann Ar-
bor last year. The fine understand-
ing they have for music of the 18th
century is evident even in their re-
111cUy ue l~~lW~t1 ,11
usual fine interpretation and exe-
cution.
Walter Piston: Symphony No. 3.
Howard Hanson conducting
the Eastman-Rochester Sym-
pioony Orchestra. (Mercury
MG 40010)
MERCURY here continues its
policy of presenting orches-
tral works by important American
composers. The Piston symphony
is a well conceived, well orches-
trated work which should be of
strong appeal to many listeners.
The opening slow movement,
with its sinuous, restless line,
strikes a deeper expressive note
than any other Piston composition
I have heard, and is probably the
outstanding thing in the sym-
phony.
The fast second movement is
piquant and very rhythmic, with a
delightfully melodic middle sec-
tion. The third movement is slow
and lyrical, and the finale is full
of pounding energy. The perform-
ance by Dr. Hanson and his or-
chestra is clean and authentic
sounding.
Bela Bartok: Piano Concertos
Nos. 2 and 3. Edith Farnadi
with Orchestra of the Vienna
State Opera conducted by Her-
man Scherchen. (Westmin-
ster WL 5249)
THIS DISC is one of the most at-
tractive recorded "packages"
of contemporary music to appear.
Even if one listens at one sitting
to these two piano concertos by a
single composer, there is no sty-
See REVIEW, Page 8
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