Tallahassee Democrat from Tallahassee, Florida on February 3, 1974 · Page 56
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Tallahassee Democrat from Tallahassee, Florida · Page 56

Tallahassee, Florida
Issue Date:
Sunday, February 3, 1974
Page 56
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W'W 'i0i1IIW'M"'"i' eN 4? IWf fae? l'-Vl.3':iMr'BiMr.i.t,i-rm,'-lW 12E-Sun.. Feb. 3. 1974 Arts-Entertainment Hurst, Holschuh Show Opening culpfor's Direct Carving Creates Unique Art Form By ALICE DUPONT Democrat Staff Writer Calling himself a "direct carver" Ralph Hurst, a local sculptor whose work is currently on exhibit at a LeMoyne Art Galleries, has no preconceived idea of what form his art will take until it is almost completed. "The form evolves from the ideas that come to me while I work.. .then I take it from there," says Hurst who has been a professional artist since 1947. The works of Hurst and metal sculptor Fredreck Holschuh are in the LeMoyne Art Foundation exhibit "Three Dimensions From Two Points of View" opening today at 2 p.m. Hurst is a professor of art education and con structive design at Florida State University. Although some sculptors prefer to make a clay model or drawing of what they expect the finished product to look like but Hurst feels this method inhibits the artist by keeping him aware of the possibility of error and limits his creativity. Before starting to carve, Hurst looks at the stone from all sides, "I want to see if the stone has a natural resemblence to some-thing I might want to carve," he says. If he sees a form, he works from that angle, if not, he chips the stone until it begins to take form. UNLIKE MANY sculptors, Hurst tries to utilize as much of the stone as possible. By using most of the stone, his art forms possess a fullness that is uniquely his own. For him, stone carving is a combination of skill and discovery of creative forms, which he calls abstract realism. The simplification of the form makes it appear abstract since the figures are usually not full size and the detail of human faces is not shape. The form is realistic in that particulars of characteristics make the form distinguishable. The animal forms he makes usually have more detail than the human forms but Hurst attributes that to his individual preference. Although he has carved wood, marble and other hard substances, Hurst chooses to work mostly with alabaster, one of the softer mineral rocks. "Alabaster is softer than marble," he says, "but is also difficult to carve because the substance is fragile and scars easily." His stones come from Italy through a New York Company, but he has gone to Italy to select his own alabaster rocks from the same quarry used by Michael Angelo centuries ago. This summer he hopes to return to the quarry to select other . rocks. HURST DOES not calculate the amount of time he spends on one form, instead, "I like to work on art forms without keeping Music Man The Leon High School Choral department presents Meredith Wilson's "Music Man" Feb. 14-16 in t h e school auditorium, starting at 8 : 1 5 p.m. Here the "Music Man" chorus is shown dancing in the streets, Adams Street, that is. They'll be doing the same in one of the scenes of the musical, in anticipation and excitement over the coming of the Wells Fargo Wagon to River City, Iowa, in July of 1912. Arriving is supersalesman, con - man Harold Hill (Jeff De-Vore) who is coming to fleece another small town. His plan for River City is starting a boys' band with instruments and uniforms. Knowing absolutely nothing a b o u t music, he invents a "think system" to teach music by "thinking" about it. However, Marian Paroo (Sandy Watt), the local piano teacher and librarian soon becomes suspicious of the dashing young visitor and starts checking his credentials. From here the plot thickens, but verily . . . Ray Kick-liter, Leon choral director, directs with the help of Richard Crook, FSU theatre graduate and stage director. (Photo for The Democrat by Stephen Camp) Joni's 'Court and Spark' Falls Flat JONI MITCHELL "COURT AND SPARK" Asylum 7E-1001 Joni Mitchell may still be the finest songwriter in the land but I think you'd have a tough time convincing anyone of that based solely on the songs con-t a i n e d in her new album "Court and Spark." Joni has turned her back on the successful pattern she established with her first album in 1968. But more importantly, she has limited her subject matter to one area almost exclusively the frustrations of her encounters with men. Certainly nothing can detract from the beautiful songs Joni has given us in her five albums before "Court and Spark." Her "Both Sides Now," made into a hit by her friend Judy Collins, helped bring her songs to the attention of the nation. Her musical story of "Woodstock" was almost as popular. And spiced throughout her first few albums were repeated examples of her exquisite use of imagery and unconventional lyric structure and rhyme scheme. The many songs she . has written bear testament to her unique ability to convey emotions through music. But as much as I hate to say it. her new album just falls flat She has carried to an extreme her dependence on her own love life for subject material and the result, I think, s that her songs blend into one another with a lack of distinction that borders on monotonous. On the entire album, only one song comes right out and grabs you, holding you captive to the lyric and the musical package it's presented in, and that's her latest single release J IN BUD NEWMAN ...record "Raised on Robbery." It is the only song even vaguely reminiscent of Joni's old style. On it she tells of a lady of the evening trying, unsuccessfully it seems, to pick up a fellow in a bar: "I'm a pretty good cook I'm sitting on my groceries; Come up to my kitchen I'll show you my best recipe; I try and I try but I can't save a cent I'm up after midnight, cooking Trying to make my rent; I'm rough but I'm pleasing I was raised on robbery." The only other number which raises an eyebrow is "Free Man in Paris," which tells of some record company executive wishing he wasn't tied down to the grind of making musical stars and wishing he could just go cafe hopping along the Champs d'Elyses in Paris instead. Other than those two, and an awkward number called "Twisted," which Joni didn't write, the remainder of the lot deals with her "search for love that don't seem to cease," as she says in "The Same Situation." Joni first began showing this new direction in her music on her last album, "For the Roses" and I commented then that I didn't care for what she was doing. And though I consider myself the world's biggest Joni Mitchell fan, I simply can't recommend this album when I compare it with the quality of music she's turned out in the past. I can only hope that on her next album, she'll expand her. musical horizons once again. Weaving Exhibit A display of weaving by Sandy McDougall, an art student and a junior at Godby High School, is featured in the 'mini' - gallery at the Tallahassee Junior Museum. The wall hangings incorporate the use of natural materials like goat hair, wool, feathers, weeds and jute. McDougall says, "I like to express nature in my work ... to contrast softness to t h e harsh and hardness." The exhibit will be up at the museum through February 11th. (Photo for The Democrat by Patti Preston.) Py v'Ba $&m time," he says. He spends four to five hours nightly in his studio and sometimes all day on weekends. Emphasizing that stone carving requires a lot of work, he said, "an artist must enjoy his work and be prepared to work hard, he must love his materials as much as his work." When carving, he tries to keep his mind as free as possible yet incorporating his lifetime experiences. "The artist must be able to select from his experiences the things that are valuable and meaningful, project these experiences through a medium into an art form," he says. The form and material create an interdependence that Hurst feels is essential to any art form. But for sculptors, Hurst feels that arousing the viewers sense of touch is important, "the idea and the material become one with the finished product," he says. "The artist," says Hurst, "should be able to look at objects and see forms and textures as well as shapes instead of looking at an object from the layman's point of view. He should be able to analyze what he sees and must be a w a r e of the world he lives in emotionally, intellectually, and physically." AN ARTIST interprets what he sees and symbolizes it through some form of artistic medium, therefore communicating with others. This part of communication should not be confused with craftsmanship, he warns, since both require the same kind of response from the audience but there is a definite distinction. "The older one gets, the more skill he acquires, but the artist must guard against letting skill take over," he said. "The artist who is truly an artist realizes that craftsmanship does not make art." Since touch is a vital aspect of the sculptured art form, the artist's finished product should stimulate the viewer enough for him to want to touch the figure, making the viewer aware of the contours of the stone as well as the visual significance of the stone. As for art education, Hurst encourages parents to supply the child who has shown interest in the arts with materials. "Parents should help the child be more perceptive and retain both creativity and sensitivity," says Hurst, who trains art teachers. The child's ability to relate to the world must also be fortified if he is to develop to his full potential. For Hurst the art forms make his life. He and his wife Nora have made their home a "visual experience. We try to make our home as visually pleasing as possible . . . with some-thing interesting and pleasant to look at no matter where you sit" Ballet Audition Slated Auditions for the Tallahassee Civic Ballet spring concert will be held 2 p.m. Saturday at Helen Salter's Dance Studio in the lower level of Northwood Mall. The Civic Ballet auditions are open to all area dancers over 10 years old. Performers will be selected for the concert, scheduled April 29, 30, on the basis of dance proficiency. There will be an audition fee of $1. mm. Democrat Photo by Earl Warren Works By Ralph Hurst and Fred Holschuh on Display ... show opens today at LeMoyne Art Foundation Three Debussy Concertos Are on Candide Release By DAVID COOK Democrat Associate Editor It is hard to believe now that Claude Debussy at one time disowned his Fantasy for Piano and Orchestra. Although this youthful work is not characteristic of the Debussy we know today, it is still a zestful, lyrical piece with much charm. At least that's an opinion formed as a result of hearing the new Candide recording of the Fantasy with Marylene Dosse as soloist with the Radio Luxembourg Orchestra conducted by Louis de Froment (CE-31069). Also on this delightful disc are the Clarinet Rhapsody and the Saxophone Rhapsody. Serge Dangain handles the tender, romantic clarinet role with distinction. Jean-Marie Londeix is the saxophone soloist. As in the Piano Fantasy, Froment directs the Luxembourg Orchestra which plays smoothly, with just the right degree of warmth. DAVID COOK ...record Music of quite different character and impact is contained on another Candide recording of music by the modern Polish composer Krsysztof Pender-ecki(CE-31071). Most of the pieces are mercifully short: Emanationen for 2 String Orchestras, Stab at Mater, Sonata for Cello and Orchestra, Miserere, a 1960 String Quartet, and Miniatures for Violin and Piano. Penderecki relies mostly on Iceland Is Subject Of Audubon Lecture The Temple Baptist Church on North Meridian is the location for "Sea Ice and Fire" Thursday, Feb. 14 at 8 p.m. This fourth Audubon color movie lecture by Dr. Olin Pettingill, Jr. offers special treat in scenery, wildlife, and the life of Icelanders. Some 165,000 cultured people of Scandinavian descent live there. They use the great rivers and thermal springs for power and heat, farm the valleys and coastal plains and fish in the outlying waters. Dr. Pettingill is widely known as one of the nation's leading ornithologists. A stimulating teacher at Carleton College, Cornell, and University of Michigan's Biological Station he has inspired countless students in their interest in birds and conservation. He has written "A Guide to Bird Findin" and a "Laboratory and Field Manual of Ornithology" which is used in more than 100 colleges and universities. Sea, glacial ice and volcanic fire meet and sometimes clash A Fulmar Nests ... in Iceland in violent displays of ash and steam. Probably no country in the world surpasses Iceland in variety of natural wonders Craters, lava flows and thermal springs are commonplace. High walled fjords cut far into the island almost reaching the vast deserts that comprise its interior. With all this rugged topography and climate, plants, animals and many birds abound. Helen Hayes to Attend World Premiere Here Helen Hayes will arrive in Tallahassee Wednesday for the world premiere of "Stag at Bay," a play written by her late husband, Charles MacArthur, and Nunnally Johnson about the declining years of John Barrymore. Miss Hayes will be accompanied by her son, James MacArthur of television's popular "Hawaii - Five - O" series. The play, produced by Florida State University's Charles MacArthur Center for the Development of American Theatre, will run Thursday through Saturday and Feb. 13-16 at 8:15 p.m. on the Florida State Fine Arts Building mainstaee. unconventional use of conventional instruments and voices. He often achieves unusual and striking effects, as in Emanationen and the Stabat Mater. But after awhile, the shouting, hooting, hissing, unusual bowing and accents seem overworked. The pieces perhaps appear more superficial than they really are because of the aleatoric gimmicks. Alois Springer and the Orchestra of Radio Luxembourg give a good accounting of Emanationen and the Cello Sonata. Clytus Gottwald and the Schola Cantorum Stuttgart are effective in the vocal works. Perhaps the best performance is by the K o h o n Quartet. A third Candide release introduces three recent works by Henri Lazarof, a Bulgarian who currently teaches at the University of California at Los Angeles (CE-31072). "Textures" for Piano and 5 Instrumental Ensembles was commissioned by the London Sinfonietta for John Ogdon who performs at the piano in this recording. The composer conducts the Utah Symphony. "Cadence III" for Violin and 1 Percussion Players, also composed in 1970, is a rather free virtuoso concerto with Stanley Plummer as violinist. The third piece is a "Partita" for Brass Quintet and Tape, featuring the Los Angeles Brass Quintet. Live sounds are juxtaposed to or superinposed on pre-recorded sounds in an attempt to be different. The effect is mostly noise. Rudolf Firkusny turns up on the low prices Turnabout label with excellent performances of Schumann's . Piano . Concerto and Mendelssohn's First Piano Concerto with Louis de Froment conducting the Orchestra of Radio Luxembourg (TV-S 34468). Firkusny is a fine artist, capable of handling the brilliant effects of the Mendelssohn Concerto and caressing warmth in the Schumann. His approach is personal and appealing. There are a number of recordings of these works, but few as good as this and at the Turnabout price. Finally, Mozart's Mass No. 5 (Missa Trinitatis) is coupled with Haydn's Mass in G Major (Rorate coeli desuper) on another Turnabout release (TV-S 34501). Soloists in the Mozart Mass are Soprano Elisabeth Thorn-ann, Alto Gennaine de Brandt, Tenor Werner Krenn and Bass Karl Neugebauer. Ferdinand Grossmann conducts the Vienna Volksoper Orchestra and Akademie Kammerchor. Willi Gohl conduts Zurich singers in the Haydn Mass. Both works appear well done, with some very fine moments for the listener. i

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