The Star Press from Muncie, Indiana • Page 18

SECTION PAGE 8 THE AAUNCIE STAR, SUNDAY, JULY 18, 1974 Igor Kipnis One of Those Rare Musicians Wlio Takes Time to Delve Into Remote Renaissance, Baroque Music Assays and Attitudes i' inrmn mm riiriniiM-i i iiiiiii wiirriiirtiftYiriffft By DAVE STEARNS Lively Arts Writer INDIANAPOLIS Igor Kipnis is one of those rare musicians who takes the time and the care to journey into some of the more remote libraries of Baroque and Renaissance music and returns to tell us in 20th century language about all the rare and wonderful things he found there. The language is a near-universal one music. The instrument is the harpsichord. Kipnis is so inclined toward exposing the merits of Baroque and Renaissance music with historical accuracy to a wide audience that he is willing to drive his own harpsichord all over the country in a red Ghevy van (with license plate letters KIPNIS) in spite of such nazards as snow storms in Kansas and brake failures in the Smo-key Mountains. THERE ARE ALSO the hot, muggy Indianapolis summers to contend with.

But that hasn't stopped him from making appearances in the Festival Music Society concerts at the Indianapolis Museum of Art for the past three years. He is currently in the midst of a month-long residency at the Indianap- Harpsichordist in Indy ing the public that music of the Baroque and Renaissance eras is a lot more than just "sewing machine music." Igor Kipnis, one of the most successful and highly regarded harpsichordists In the United States, is in the midst of a month-long residency at the Indianapolis Museum of Art, In which the musician is show Take Your Pick: Light Comedy, Rock Musical on Muncie Area Theater Agenda highly regarded musicians of this generation, but he is certainly among the most successful harpsichordists in the world. Since his debut in 1959, Kipnis has recorded over 26 albums for prestigious labels like Columbia and Angel, three Grammy Award nominations and the Stereo Review Record of the Year award In 1971, 1972 and 1975. AS A COMBINATION 20th century man and early music scholar, Kipnis is noted for bridging the apparent paradox of presenting early music with historical correctness and in the spirit in which it was written, but in a way that will be enjoyed by 20th century audiences as music by human beings for human beings. "During the Baroque music revival about 15 or 20 years ago," Kipnis said, "it was more of a fad.

People wanted something cleaner, as opposed to the syrupy Tchaikovsky. They wanted less subjective music. "But really, Baroque music is supercharged emotionally, but not extravagantly so," he continued," the emotion is always held in check. There's an awful lot of tension that should be brought forth, and this can be done with rhythmic means as well as articulating. I'm concerned with clarity of parts.

There should be contrast that's a lot of what Baroque music is all about." As far as being historically correct, he likens authenticity to telling the truth about a piece of art. He cites an example, the film, "Barry Lyndon," saying that If the costumes and settings weren't all historically correct, probably a majority of the audience would not notice. But still, the filmmaker would be essentially lying for purporting to give a historically correct movie but having it not quite be that way. "You want to get as close to the style of the era as you can," Kipnis said, "because that's how the composer heard it. "You can relate it to painting," he continued.

"If you re-painted a canvas from the 16th, 17th or 18th century, it would be a totally different work of art. That's not to say that it wouldn't be Interesting or effective, but it just wouldn't De the same thing." But there are limitations to authenticity, Kipnis admits, saying that if he wanted to be completely historical about the whole thing, he would drive his harpsichord around in a horse and buggy, rather than a red Chevy van. Another factor, Kipnis says, in "communicating music as a living thing," is keeping up with the latest findings and theories In the performance of early music. "It's an Investigative procedure, like a doctor checking his medical Journals for new developments. You lave to stay on top of things," he said.

olis Museum of Art during which time he will perform Franz Josef Haydn's, Harpsichord Concerto In with the Cologne Chamber Orchestra at 8 p.m. Friday, and later some duo-harpsichord works on Wednesday, July 28, both at the Showalter Pavilion. In view of the little-known repertoire of which Kipnis is a major exponent, and that the harpsichord is certainly not the most popular of musical instruments, his career has something of a missionary air, the mission being the harpsichord and its music. "It's a matter of exposure," Kipnis said, while relaxing between rehearsals. "You don't really have to know about music to like it.

If you could hear a classical piece as many times as you hear pop songs on the radio, you'd have just as much adherence to classical as you would popular. "IT'S LIKE buying brands of soap. The lesser known brand will have a limited sale, because there's more effort in finding It and buying it. "But that doesn't mean you can't wash with it," he pointed out. Kipnis' mission Is a singular one, for if any musical Instrument and repertoire lacks exposing, it is that of the harpsichord.

The instrument is often considered to be a mere antique, a museum piece. Persons who play the harpsichord are too often stigmatized as eccentric human beings, such as the character "Lurch" on the old television show, "The Munsters." Even Kipnis' father, the former Metropolitan Opera bass Alexander Kipnis, once told his son, "The piano, yes. But the harpsichord? How can you make a career on an ancient relic?" THE MUSIC the harpsichord makes is usually dubbed as either emotionally arid "sewing machine music" (to quote Kipnis himself), or spooky background music for films like Alfred Hitchcock's "Family Plot" or the Bette Davis murder mystery, "Dead Ringer." But this doesn't really bother Kipnis, because exposure is exposure in whatever form. The man Behind the harpsichord tends to discredit the former stereotypes. He has served in the U.S.

Army, worked as a book salesman and as a record librarian In a Top 40 radio station. He even smokes cigarettes Salem Lights. Perhaps because of this, his mission has not been an impossible one. Not only is Kipnis one of the most problems that are magnified to deliver comic moments, and conclude with the young husband out on a ledge In the apartment building, quite drunk and looking for a place to get sick, while his wife crawls out after him. The production is directed by comedy specialist Alan English, a Ball State faculty member since 1969, whose past summer theater credits include "6 Rms Riv Vu," "The Importance of Being Earnest" and "A Flea in Her Ear." The young couple will be' played by Sally Rue.

and Ron Hartley, with the aforementioned heroic couple played by Margaret Dueitt and Paul Gindhart. Tickets for the 8 p.m. Thursday through Stur-day show can be purchased at the Ball State Theater box office or may be reserved by calling 285-4131, 12-4 p.m. on weekdays. than a solemn ritual.

I found it very enlightening when I first saw it, and I hope that other people will when they see our production." However, she did have a few reservations about some passages in the script, and not only has she taken some minor liberties with it, but changed the setting. Previously, "Godspell" has been presented as a group of teenagers in clown makeup singing and acting out the parables under the leadership of Jesus, who is portrayed more as a comrade than a superior. MRS. SHALLENBERG, however, has the musical set in a children's playground. "I thought that it would be best," she said, "because children are more pure of heart and less inhibited in showing their emotions." The title is taken from an obsolete word meaning "good news," said Mrs.

Shallenberg, "and that's what we're trying to do, bring good news in a way. I hope that when people come to the show, dubious or not, they'll appreciate the script's effectiveness in telling a story and delivering a message." The musical score also features the popular song, "Day by Day." Performances will be given at 8 p.m. Thursday through Sunday and July 29 through Aug. 1 at the Nettle Creek tent theater, Main and Plum streets, in Hagerstown. For ticket reservations, call 489-5214.

By DAVE STEARNS Lively Arts Writer Two popular Broadway plays being staged in the Muncie area this weekend one a Tight comedy, the other a rock musical illustrate very difficult formulas for success on the American stage. Neil Simon's "Barefoot in the Park" is one of the most popular scripts by one of the most popular playwrites of our generation. The script will be reduced Thursday Through Sunday at the Ball tate Theater. In Stephen Schwartz's "Godpsell." which will 3e given Thursday through Sunday by the Nettle Creek Players in Hagerstown, the plot takes a back seat to more abstract things, such as presenting the gospel according to St. Mathew in a free-form, musical fashion.

"Barefoot In the Park" presents an alternative, newly married couple in a rather haphazardly designed New York apartment, which presents a certain contrast between ideal people in an un-ideal environment. FOR MANY VIEWERS, the couple represent, perhaps, the way one wishes to be when young and just breaking into the business world. For many people, the first few years of marriage are the most fondly remembered, and thus the pair make a pleasant focal point to the action. Author Simon gives us some pure comedy characters in the form of a rather offbeat Bohemian Victor Velasco, who climbs through the couple's window out on a ledge and into his own apartment because the landlord has locked him out because of tardy rent payments. His counterpart is an anti-heroine in the form of the bride's mother, referred to only as "mother" or Mrs.

Banks no first names are need here. WHAT ENSUES is a snowball of domestic NETTLE CREEK director Sherri Shallenberg believes that the appeal of the religious rock musical, "Godspell," is Its more casual, joyful and musical celebration of the Bible's teachings, which seemed to supply a certain religious need for the American public. "People have been questioning where they're at in terms of religion," she said, "and this musical shows worship as a joyful celebration, rather Plus, the Tubes Karen, Richard Carpenter Have Some News? flt fir I i 4 4 I 1 1 I iif if hi 11117 rAV News from individuals, clubs and organizations of general interest to the readership of The Muncie Star is welcome at the Talk of Town desk, manned by Star staff reporter Rita Winters. Persons should submit items in writing to Talk of the Town no later than one week before the requested publication date. All items should Include a name and phone where the information can be verified.

Mafl to Rita Winters. Talk of the Town, The Muncie Star, Box. 2408, Muncie, Ind 47302. called "There's a Kind of Hush (All. Over the World)" which also happened to be a 1968 hit for Herman Hermits.

The new album is a big contender In the lightweight division. ThaC means it's an album you'll eventually enjoy. Hence, there are two ways of looking at it. The Carpenters put out the kind of muck you will continually purchase because there is nothing else like It or as Richard told a "Record World" Interviewer In debunking a Carpenters' myth "I don't drink milk at all, never mind it being my whole diet, and I don't squeak either." AND THEN, there are the Tubes. This Arlzonan octet are lewd and licentious and unctious and scurrilous and incorrigible and would probably make good parents.

4'Young and Rich" Is their second album. It is utter nonsense and utter novelty, Then again, it is technically innovative and socially Inspiring. The Tubes and this album are Frank Zappa and the Mothers, Alice Cooper, Martin Mull, Phil Spector, Sigmund Freud and "Banned in Boston" all wrapped up into one loose package of rock and roll spontaneity. On the Tubes, you'll have to make up your own minds. By STEVEN FREEDMAN For The Muncie Star Karen and Richard Carpenter are cute and cuddly and above all, wholesome.

Their music is pretty and mellow, and if you could taste It, it would taste like nectar. But confidentially, ask me about these statements in public and I'll deny the whole spiel. Since 1969, the Carpenters have had that angelic, honeysuckle image which has enabled them to sell in excess of 30 million records. That's a pretty good track record for those two who have a following as visually apparent as the Invisible Man. But despite it all, I think it works something like this: A friend turns on his stereo receiver and as he fidgets with the dials, he mistakenly comes across a Carpenters' standard such as "Closer to You" or "We've Only Just Begun." BOTH OF YOU moan in anguish but all the while, no one dares turn to another kilowatt signal.

Then, just as the song ends and you know you must be "with it," you say: "Ugh. Turn on another station. I wanna hear Aeros-mith!" Well, we all know that Aeros-mith is great raunch but there's nothing like a good Carpenters' "fix." The Carpenters latest foray into the album market Is "a kind of hush" (sic), Already they have a hit single 'Barefoot in the Part the lead roles are, left to right, Paul Harold Gindhart, as Victor Velasco; Sally Rue, as Corie, the young bride; and Ron Hartley as the young husband. (Ball State Photo) Neil Simon's "Barefoot in the opens Thursday, July 22, at the Ball State Summer Theater and plays Friday and Saturday, July 23-24. Curtain time is 8 p.m.

In 1 WPS GREAT -V Trf NEW ORLEANS Ml PRESERVATION HALL JAZZ BAND mm Tuesday, July 20 1 8:00 D.m. at the Tickets Now on Sale RIZZA KING A General Admission on BETHEL! 1 MCtil 3.oo V. CAFETERIA MUNCIIMAU. Sunday Beer means you can enjoy all of our delicious Pizza King products with an icy-cold beer 7-days a weak I Stop in today. 5 s'- 'y- MUNCIE MALL SJJ(JJ 1011 BETHEL AVENUE PIZZA KINO II MUNCIE LOCATIONS.

PI US CL ABA'S KINO'S COPNFB For mall orders Mnd check or money order' payable lo Ball (tale Univtnity. Enclose a eif-addread. lamped envelope. Box Office hours: 6 to Monday through Friday. Telephone 285-1 539.

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