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November 16, 1995 - Image 17

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The Michigan Daily, 1995-11-16

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The Michigan Daily - Thursday,November 16, 1995 - 17

Musicians shine in Beethoven, Messiaen
Michigan Chamber Players put on a compelling, artful performance

By Michael Rodman
Daiiv Arts Writer
Wien one is part of a community
which has long and frequently been
ho41o visiting ensembles of interna-
tional stature, it's easy to forget the
riches in one's backyard. However,,
the Tuesday night recital by the Michi-
gan Chamber Players in Rackham Au-
ditorium proved a powerful; memo-
rable reminder that for top-notch per-
formances of the chamber literature,
one need look no farther than the
School of Music.
Comprised entirely of School of
Music faculty, the Chamber Players
appeared in two different configura-
tions to present Beethoven's "Quintet
for Piano and Winds, Op. 16," and
Messiaen's seminal "Quator pour la
fin du temps "(Quartet for the End of
Beethoven's Op. 16, scored for oboe
(Harry Sargous), clarinet (Fred
Ormand), horn (Bryan Kennedy), bas-
soop (Richard Beene) and piano
(Atonii Nel) presents the same prob-
le-as all music for mixed wood-
wi$. The widely divergent, idio-
sy, tic timbres of each instrument
map:hpmogenaiety within the en-
seWl difficult indeed. Impressively,
th ayers went mere blending one
better While maintaining a beauti-
ful'4' balanced communication
throughout, each was also sensitive to
the numerous occasions on which
Beethoven allowed individual colors



Chamber Players
Rackham Auditorium
Tuesday, November 14
to shine through.
Of particular note was Mr. Beene's
marvellously rounded, voice-like
tone, highlighted especially in the lyri-
cal Andante. While the bassoon has
long suffered a sardonic reputation,
Mr. Beene produced a most convinc-
ing case for the best possibilities of
the instrument: Not only comic, but in
capable hands, richly lyrical. Not to
be forgotten is the contribution of Mr.
Nel, whose sparkling clarity at the
keyboard highlighted the Mozartian
influence upon: the 25-year-old
Beethoven. The unifying element of
the piano was greatly enhanced by
Mr. Nel's unerring, subtle responsive-
ness to the winds and warm melodic
sense in solo passages.
Messiaen's Quator remains, more
than fifty years since its composition,
the composer's most enduring work.
Written during his internment in a
German prison camp during World
War II, the work aptly embodies the
spiritual element central to Messiaen's
outlook as a composer. Messiaen's
singular atmospheres were stunningly
realized in performance by Stephen
Shipps (violin), Deborah Chodacki

(clarinet), Anthony Elliot (cello), and
Mr. Nel (piano). The wide-ranging
timbral resources divined by Messiaen
from this seemingly limited palette
were evident at once in the opening
bars, as each of the players intoned a
different muted but highly coloristic
figure; in Messiaen's hands, the ef-
fect is not one of disparity but of an
F or topnotch
Performances 'of
literature, look no
farther than the
School of music.
ever-changing and complex coloration.
This mixing, as well as the under-
stated character that permeates much of
the Quator, received most careful at-
tention from the players, who proved
equally capable in the robust unisons of
the internal movements. Especial
standouts of the performance include
Ms. Chodacki's exquisite shadings in
the "Abyss of the Birds," as well as Mr.
Elliot's searing, intensely rendered
"Praise to the Eternity ofJesus." Again,
Mr. Nel's role was outstanding; his
masterful playing more than fully real-
ized the carefully controlled yet ec-
static underpinning required by the

Rocket from the Crypt at the Magic Stick: Fangs for the memories
Punk stalwarts Rocket from the Crypt are making the rounds once again, this time landing at the Magic Stick
(the pool hall above the Majestic Theater). Their fast-and-furious mix of slashing guitars, shouted vocals and lots
and lots of brass make their live shows a real winner; those who went to their legendary show at the Michigan e
Union Ballroom In '94 can attest to that. Almost as good as their concerts are their records; 1993's "Paint as a
Fragrance" created a die-hard cult following for the group, last year's "Circa: Nowl" included alternative-rock hits
like "Ditchdigger" and brought the group widespread acclaim; this year's "Scream, Dracula, Scream!" only
improves on the Rockets' great high-octane punk formula, as the single "Born in '69" attests. So, it's clear that
you simply must not miss seeing the loud, wacky fun of Rocket from the Crypt's live show. Join lead singer
Speedo's army by going to the Magic Stick tonight (those with tattoos that say "Speedo's Army" get special
treatment). Doors open at 9 p.m. Tickets can be purchased at all Ticketmaster outlets; for more information, call
(313) 833-9700. Go see Rocket from the Crypt; they're "Alternative Nation" veejay Kennedy's favorite band, after

Ron and Stimpy
Radio Daze
Soniy Wonder
Ever been to the ice capades? "Mickey
Gets a Tattoo On Ice," things like that?
Well, this is a dead ringer for the
soundtrack to one of those. A linear
story not very interesting as a story and
ful' of terrible songs. When you listen
to it, it will make you think of failed
Dlymipians in big felt costumes.
The scene is set with Ren and Stimpy
istening to the radio. Through various
songs and dialogue, we learn that there
s a contest at a radio station with a
,roadcast area of about 1000 feet. In
'Caller #5", we learn that the DJ cannot
cave his post until he gets someone to
:ake over for him, all to some cheap pop
lues. And he gets our dimwitted little
:at friend to become his replacement,
Duch to the glee of both.
Ren gets into the act, with a tyrannical

view of being "King of the Airwaves" as
a talk radio host. But, like I said, the
station can only broadcast as far as the
parking lot. The terrible isolation felt by
the two anthropomorphic singing sensa-
tions (sensations like disappointment and
disgust) ultimately leads them to take
their radio station on the road. Nothing
like the joys of having a radio station in a
They ultimately get to Hollywood, and
joyously accept their lives in a
psychotically sappy, up-with-people"our
lives suck and we love them because
we're together"buddy song called"Stuck
With You." Wait until it comes to Joe
Louis Arena. Man, that'll be a show.
- Ted Watts
The Boo Radleys
Wake Up!
Now that MTV is "giving a nod to the

expect Britpop toblowup big-andwith it,
people like Liam Gallagher and Justine
Frischmann to become household names.
It'll the British Invasion all over again.
Just don't start the revolution without the
Boo Radleys.
One of the few survivors of numerous
British music scenes, the Boos mix the
Beatles, psychedelia and dance elements
into a heady, kaliedoscopic swirl. Songs
like "Wake Up Boo!" "It's Lulu" and
"Charles Bukowski is Dead" showcase
the band's brassy pop side; tunes such as
"Martin, Doom! It's Seven O' Clock"
and "Find the Answer Within" feature
their trippier elements. While not boldly
experimental, like last year's landmark
"Giant Steps," the Boo Radleys' latest is
definitely one of the best of the year. It's
only a matter of time before America
wakes up to it.
- Heather Phares
See RECORDS, Page 18

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