12 - The Michigan Daily - Wednesday, October 11, 1995
Continued from page 9
Hundred Year Hall
Arista Records ~
Where to start? How about 142 min-
utes of musical ecstasy that only the
Grateful Dead know how to contrive.
Or maybe we'll talk about the crystal-
clear sound you can't find on any boot-
leg tape. Or how about the 20-minute
"Lovelight"sung by theman who origi-
nally turned this nation on to their mu-
sic, Pigpen. This double disc set man-
ages to bring across the finest moments
the Dead have ever shown in over 25
years of being on the road.
Much like their previously released
live albums"Without aNet,""One from
the Vault" and "Two from the Vault,"
the true and only musical spirit of the
Dead is allowed to shine in "Hundred
Year Hall." The concert was recorded
in Frankfurt, Germany on April 26,
1972. For all you hard-core 'heads,
these CDs will be some of your favorite
shows. For those of you who kind of
like the Dead and enjoy a handful of
tunes, you'll be more than happy with
the favorite songs they always throw
want to skip the 36-minute cryptical
envelopment; it gets pretty ugly ... but
in a good way). A few tracks, such as
"Bertha," "China Rider,""Jack Straw"
Time You See Me," "Big RxR Blues,"
"GDTRFB" and "Playing In the Band"
allow the listener the pleasure of being
at home while feeling as if they were at
the show because of the wide selection
of songs and the superb sound quality.
Even "Truckin,"' one of the band's
most radio-friendly tunes, is allowed a
solid 18 minutes of breathing room.
What an excellent piece of memora-
bilia to have to celebrate the life and
music ofJerryGarcia. Although Jerry's
gone, it is made quite evident that "the
music never stopped."
Truth Walks in Sleepy Shadows
Barbara Manning's second Matador
album with her band the S.F. Seals is a
triumphant follow-up totheir full-length
debut for that label,"Nowhere.""Truth
Walks in Sleepy Shadows" is beautiful,
rough, funny and heartbreaking all at
once. The mix ofacoustic psychedelia
and garage rock is similar to Love's;
on "Ipecac" Manning cleverly com-
pares a bad relationship to poisoning:
"I can't stomach you!" she wails. It's
both poetic and catchy. The album is
full of such intruiging, off-kilter
jangle-pop, with tracks like "Ladies
of the Sea," "Locked Out," and "How
Did You Know?" best exemplifying
the laid-back but complex moods of
"Truth Walks in Sleepy Shadows."
Manning and crew get bonus points
for the cover of the ultra-cool Pretty
Things song "S.F. Sorrow." "Sleepy
Shadows" is one of the most relaxed
and entertaining albums of the year
- and that's the truth.
- Heather Phares
Orchestra from Down Under gves top performancc
By Matthew Steinhauser
Daily Arts Writer
Picture a group of musicians from
Australia, all of whom look under 30
years old. They enter the stage wearing
black pants and loose untucked black
shirts. Who could they be?
This group of young string musicians
actually forms Australia's only national
orchestra that boasts an excellent interna-
tional reputation. Last Friday evening,
the Australian Chamber Orchestra under
the directionofviolinist Richard Tognetti
made their University Musical Society
debut with guest French hornist and fel-
low Australian Barry Tuckwell at the
October 6, 1995
The orchestra exuded an almost elec-
trifying, youthful freshness as they took
the stage. An almost uninhibited energy
permeated their stage presence as they
jumped into their program with George
Freideric Handel's"Grand ConcertoinD
The group achieved a full, rich sound,
attacking the big,livelythemes ofthe first
and fourth Allegro movements. The Aus-
tralians crisply accentuated quick pro-
gressions of notes as they navigated eas-
ily through the Presto movement.
Throughout the concerto, Handel di-
rects duos or trios of violins to play the
solo parts. Frontman Tognetti played the
solo parts with spirited enthusiasm, but at
times when one or two soloists joined
him, the tone suffered. The rest of the
orchestra nicely balanced the solos play-
ing the tight, controlled second parts.
The Australiansmaintainedtheir free-
spirited, fun approach for C.P.E. Bach's
"String Sinfonia No. 4 in A Major."
The group nicely melded the complex
array of contrasting themes into one
unified, grand explosion of beautiful
sound. They accented small violin so-
los with full-forced, grand melodic pro-
gressions. When the orchestra encoun-
tered some of the more challenging,
softer rhythms in the first Allegro ma
non troppo movement, they tended to
sound slightly confused and muddled.
By the third Allegro assai movement
however, the group had tamed Bach's
complexities and boldly set the stage
for the horn soloist, Barry Tuckwell.
Tuckwell joined the Australian
Chamber Orchestra for Franz Joseph
Haydn's "Horn Concerto No.1 in D Ma-
jor." With the fabulous accompaniment
ofthe chamber group, Tuckwell revealed
his strong, mellow tone and near perfect
technique. He played tough rhythms in
high and low registers with equally im-
pressive propensity, and every note he
drew out of his horn echoed clearly.
Tuckwell tore at the hearts of the audi-
pnr- wit+ h1- --a -+- nt a +n hi
Allegro movements he commanded at-
tention with sharp, lively playing.
After the intermission, the orchestra
performed two works by 20th-century
composers, intensely attacking all the
awkward rhythms and bizarre disso-
the group emphasized extreme confusion
with contrasting high and low notes and
with weird combinations of fast, busy
notes and plucked notes.
Interestingly, while generating an ef-
fect of extreme disorder, the Australians
organized themselves on -the stage in a
strict, military-like fashion. While stand-
ing in one even row facing the audience,
they played a pizzicato passage by taking
turns in succession from one end of the
row to the other. Visually, they gave the
imnrescinn ofmmamiltrvdil comc ,while
dominos falling across the stage.
For an encore, the Australians play
a dance piece that interspersed sto
ing feet to emphasize the upbeat meld
It brightly capped off a charming p
formance by a young, emerging gre
Director/violinist Richard Togn<
spearheads an honest, energetic style
performance. The group evenly blet
the higher pitches of the violins:
down to the deep notes ofthe celloss
bass, creating a resonant, balant
Barry Tuckwell's marvelous Fre
horn playing left the crowd in awe
asking for more - but the inten
brilliant rendition of the contempor
pieces that comprised the second h
of the concert more than appeased 1
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