The Boston Globe from Boston, Massachusetts on March 27, 1984 · 26
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The Boston Globe from Boston, Massachusetts · 26

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Tuesday, March 27, 1984
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p'yyyp1 y ys e s ai 26 THE BOSTON GLOBE TUESDAY, MARCH 27. 1984 REVIIIVS I MUSIC 1 i ii : .J I ! V;' iff r i v 1 lea r f tr i 1 "wfi'WaW4se -an J"' 'J. ..XL. Jazzfest standouts: Trombonist Phil Wilson opening the festival at Quincy Market; and drummer Tito Puente. ' ' ' '" - ' " . ' . " GLOBE FILE PHOTOS 14,533 attend 13th Globe jazz festival By Ernie Santosuosso Globe Staff " . The 13th Boston Globe Jazz Festival opened under an ominous raincloud . with a free concert by Phil Wilson & His International Dues Band, but concluded under more hospitable skies Sunday night. The 10-day musical marathon, : produced by George Wein and this newspaper, drew 14,533 persons to 10 concerts and the annual big band ball. : Highlight of the festival's first night was the surprise appearance on the bandstand of Artie Shaw whose frankness with the press was as refreshing as a zephyr. He patiently accommodated the tv cameras and print media inside the Imperial Ballrom of the Boston Park Plaza. While moving out of the ballroom for an interview with this reporter in an unoccupied function room, Shaw confided he "can't stand big crowds" but the reception he received from the 1500 dancers, at least temporarily, diverted his attention from matters agoraphobic. Dick Johnson's triumphant home-coming as Shaw's personally selected leader was marred by the theft from his dressing-room of the latter's alto saxophone and second clarinet. Vocalist Jill , Gebert's purse was taken from her quarters. Pawnshop operators have been alerted to the description of the instruments by Johnson, according to his manager Bill Curtis. " The Red, Hot & Swingin' evening provided the setting for a celebration in the Friends of Berklee lounge of George and Joyce Wein's 25th wedding anniversary. Lee and Susan Berk served as hosts at the post-concert soiree as all tYie musicians who had performed earlier toasted the world-famed jazz festival impresario, who also holds an honorary doctorate from Berklee, and his spouse. During the Jazz Legends big Singer-pianist Tania Maria GLOBE FILE PHOTO band segment, leader Illinois Jacquet announced a dedication to the couple and later paid tribute to Wein's brother, Larry, who had stimulated his brother's interest in jazz. The band honored Larry Wein's memory with a New Orleans blues. , ' , Probably the most relaxed dressing-room was the Berklee quarters where the Tito Puente band kidded each other as band manager and valve trombonist Jimmy Frisaura unperturbably erased and overlined yellowed band arrangements with last-minute penciled notations. "Instead of playing dee-dee-dee--dee-dee here," he would tell a trumpet player, "just play dee-dee-dee" The co- STON Ballet March 22-April 1 At the Colonial Theatre 106 Boylston Street CALL NOW! 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MAT. 2PM JOHN HANCOCK HALL 421-2000 180 Berkeley St., Boston DANCE THEATRE CHARGE YOUR TICKETS: 497 1113 TKSS FBI. 8PM SYMPHONY HALL 26S-1492 REMAINING SEATS NOW i findres MASTER GUITARIST, CHARGE YOUR r TICKETS 497-1118 I TONIGHT ft TOM'W 8 P.M. ONLY 5 MORE WEEKS! "CALL TELECHARGE' 1617) 236-0300 la tMnHM'7 tm HI SIMHIf S4LE8 CAU 1617 1 236-SXM Tkkttmt SHUBERT THEATRE 265 Tremonl St 42S-4520 BOX OFFICE OPEN MON SAT 10am. 6pm Bostoa Unleniry Celebrity Serietft WBZ-TV ireuat THE ALVIN AILEY AMERICAN DANCE 1 THEATER :.vi H lll:KK ADR1fT.ADR1C E- CHARGIT 542-3800 or I I-8C0-223-0120 Group Discounts 421H444 WANG CENTER 268 Trsmont St, Boston ' hesive performance which the band later gave onstage sefemed to belie the hastily touched-up scores and demonstrated Frisaura's ability to concentrate In a room abuzz with chatter and traffic. Several persons who attended the Sarah VaughanJoe Williams concert at Symphony Hall recalled that Williams appeared at the first Globe Jazz Festival Jan. 15, 1966. when the infant festival was a two-night event. Eighteen years ago in War Memorial (now Hynes) Auditorium, Williams concluded the inaugural fete with a ballad, Duke Ellington's "Come Sunday." Appearing on the program that night were the Herbie Mann Octet, Duke Ellington Orchestra and the Benny Goodman quartet. Moments before the Tribute to Chick Corea took to the EJerklee Performance Center stage, the pianist-composer himself placed a phone call to backstage. In his conversation from his home in Los Angeles, Corea expressed regrets at his inability to attend and thanked all who participated in the program, produced by WBUR-FM's Tony Cennamo. Festival attendances were distributed as follows: Big Band Ball, Boston Park Plaza, 1506; Puente-Cruz, Berklee Performance Center (BPC), 1220; Rol- " llns-Maria, Symphony Hall (SH). 1404; Red. Hot & Swingin'. BPC, 836; Tribute to Chick Corea, BPC. 554; Williams-Vaughan, SH, 1963; Tyner-McLean, .BPC. 668; Getz-Petrucciani. BPC, 1177; Knight & Pips-Rawls, Opera House, 2406 (early show). 1935 (late show); Art Ensemble of Chicago. BPC. 862. Incidentally, the turnout for "the Art Ensemble concert was the largest ever for a new-music or avant-garde group at . the Globe Jazz Festival. Capacities for the various facilities are 2600 in Sym- . phony Hall and the Opera House and 1220 in Berklee Performance Center. Among the performances cited as festival high points by guest critic Bob Blumenthal of the Boston Phoenix were those by Tito Puente and Celia Cruz, Joe Williams and Sarah Vaughan, Mc-. Coy Tyner, Sonny Rollins and Tania Maria, pianist Michel Petrucciani and Art Ensemble of Chicago. Brendel disarms and disappoints ALFRED BRENDEL - A piano recital in the BU Celebrity Series at Symphony Hall, Sunday. By Paul Driver Contributing Reporter Sunday afternoon at Symphony Hall Alfred Brendel offered highly polished renderings of works by Mozart and Beethoven which also distilled much of their emotional essence; and a reading of Schubert's last piano sonata which, though gratifying the audience with conventionally suave and top-notch virtuosity, was altogether disappointing. Mozart's C minor Sonata K. 457 was played Without its associated Fantasia K. 475, which is perfectly proper though .perhaps it was a shame. Brendel found in the sonata the turbulent drama that is obviously there but he was able to convey it through a light, dry touch and crystalline tone; there was even a dash of nonchalance about his reading; he personally was never swept away. His Adagio was both a brilliant display and a touching communication. The finale, plainly unfolded, was moving. Bren-del's typically incisive delineation and cut-offs were in evidence throughout - such stylishness could easily seem dapper, but Brendel made it the transmission of insight. His performance of Beethoven's "Eroica" Variations and Fugue Op. 35 had insight and intellectual wit and, in a later variation where the piano is made to sound out of tune, straightforward humor. There was unflagging momentum and a strong persuasion that each variation is attracted to a rhythmic center. Passages of repose and lyricism, though lovingly dwelt upon, were never slack; they were understood by Brendel as part of the rhythmic scheme. The unity of the work was thus expressed so forcibly that the listener could have imagined himself transported at times to the world of the much later and greater "Diabelli Variations." After intermission Brendel sounded like another pianist. Gone was any communication of personal commitment - he played through Schubert's B flat sonata (D. 960) as if merely wanting to oblige. His tempi were always too" fast, the indicated "Molto moderato" speed of the first movement reaching at one point something like Allegro molto, the "Andante sostenu-to" of the second resembling an "Allegretto," and the "ma non troppo" qualification to the finale's "Allegro" marking ignored. He omitted the exposition repeat in the first movement,; which is simply not to take Schubert seriously -not only is this music of deliberate spaciousness, but the bass trill which has a vital role in the development is thereby heard only once before. Hurrying on his way he seemed oblivious to the specifically Schubertian requirements of limpidity and breadth. He played with reference, as it were, to Beethoven only, not, as in a braver, truer interpretation, to the great stillnesses of Bruckner's music also. And his playing was occasionally sloppy - for instance, the simple G octave bell-sound that measures the structure of the finale was smudged on its first appearance. Brendel tended to take the most predictable options on phrasing and expression, which resulted in a slickness terribly damaging to Schu1 bert. An apparently "boring" stretch of repeated figuration in Schubert can paradoxically strike one as more not less dull if it is executed with inappropriate nimbleness rather than leisurely unraveled in a scintillating gauze of sound. Much of what Brendel did with the sonata was beautiful and successful - his slow movement was rich and rapt, his Allegro vivace exquisite - but the beauty was pre-eminently of the wrong sort and the success therefore mis-' leading. Fielding ballad opera a delight THE FRIENDS OF DR. BURNEY - Charlotte Kaufman, music director; Craig Wich, stage director; in Fielding's ballad opera "The Mock Doctor" at the Museum of Fine Arts Sunday. By Derrick Henry Special to The Globe Long before the Broadway musical there was ballad opera. Such English "operas," like their Broadway equivalents, were essentially spoken plays (usually comic) interspersed with brief musical numbers. The music might be newly composed, but as often as not was derived from popular airs, well-known ballad tunes and even operatic arias. Part of the fun was discovering a familiar song in entirely different context. Ballad opera was enormously successful .right from the start. The first. Gay's and Pe-pusch's "Beggar's Opera" of 1728, was so entertaining, so accessible, so down to earth, that it almost single-handedly forced the immigrant Handel to give up composing Italian opera and turn instead to English oratorio. t Ballad opera quickly caught on in America, too, beginning with a performance of "Flora", in Charleston In 1735. Most of the hits were not native creations, but transplanted British works. One such was Henry Fielding's - "The Mock Doctor, or. The Dumb Lady Cur'd" (1732), closely adapted from Moliere's "Le Medecin malgre lui" of 1666. Fielding wrote at least five ballad operas before the Licensing Act of 1737 shut down his playhouse, thus terminating his theatrical career and forcing him to focus his scathing satire into novels. "The Mock Doctor" revolves around mistaken identities, humorous- BOSTON DIITTIDfi CHI PU dinner Theatre, western comedy, multi-course dinner OUUMiii OULbn unlimited beer wine. Thurs. t15.00-Fri. $15.00. McMahon a, 3B6 Market street, Brighton, 762-5060. Reservations Sugg. FRENCH 1MTRC PUflCC 1105 Mass- Av9- cm. Country French. Fine Cuisine at WUInC unUOC moderate prices. Ownerchef Leduc. 661-0852. JACOB WiRTH 31 Stuart St., Tel. 338-8586. Open 7 Days - Breakfast Luncn - pinner Jruncn and Buffet on sun., Mon., Tues. UlDVIRn B00K STRE CAFE, 190 Newbury St. at Exeter. Unique nAnlnnU rest.book store. Eur. 4 Am. specialties till 11 p.m. 536-0095. 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Award winning dam chowder. Moderately priced function rooms. 603-436-0521. FRENCH NEW HAMPSHIRE CTRIUPCRV PfllIRT 20 At"'"on St., Portsmouth, NH., Dinner Tues. OinnrlbLnl uUUIll thru Sunday. By Reservation (603) 431-7722. FOR INFORMATION ABOUT HAVING YOUR RESTAURANT LISTED, CALL 929-2140 GLOBE ADS PAY BEST TRY ONE AND SEE ly attacking the rampant quackery of the medi: cal profession. Like many ballad operas, "Doctor" is a short farce intended to accompany a "serious", play: The original edition contained but nine airs. As was the frequent customj Charlotte Kaufman has expanded it to a full-length entertainment by adding entr'acte amusements and interpolating numerous additional airs. The MFA production bespoke enormous care in every respect. The three able musicians (Charlotte Kaufman, harpsichord; Jane Stark-! man. baroque violin; Shannon Snapp, baroque '. cello) were dressed in gorgeous 18th-century! costumes. The entr'actes were decked out with ' such authentic beguilements as period dances; (featuring Margaret Daniels), a lively audience- ; participation ballad ("Boston Harbor" with I Tony Barrand), David Ripley Intoning the earli- est datable American ballad, "Springfield; Mountain," which movingly recounts Timothy ; Myrick's death by snakebite Aug. 7, 1761. ; Throughout the opera proper, the acting and I singing were sheer delight. Everyone seemed! perfectly cast: Rockland Osgood and Herman ; Hildebrand as, respectively, the dour and wimpy servants to Sanford Sylvan's pompous Sir Jasper (Osgood doubled as the prim neigh-U bor Squire Robert; Hildebrand tripled as a mad doctor and decorous maid); Mark Kagan as the j goody-goody Leander and Sue Ellen Kuzma as' his plucky lady-love; and Nancy Armstrong as the bitchy, grasping wife of David Ripley, a' smug woodsman posing as doctor. Even the odd melange of pseudo-British accents added flavor. No wonder ballad operas were so beloved. Oboist Holliger : at Musica Viva AN EVENING WITH HEINZ HOLLIGER - The Boston Musica Viva, Richard Pittman, con-, ducting, in music by Huggler, Kopelent, HoU liger, and Wuorinen, with Heinz Holliger (oboe) and Toni Anderson (mezzo), Sunday at Jordan Hall. . By Richard Buell Special to The Globe For this concert the Boston Musica Viva se- cured the services of the great oboist Heinz Hoi-1 liger. who was expectably wonderful in the two pieces by Kopelent and Wuorinen he played in," but a little less remarkable in the one he himself: wrote but didn't play in. J In common, despite their manifestly different' compositional voices, was a kinetic, mercurial, kaleidoscopic quality: an interior decorator would call their textures "busy." Were we alone' in finding that the music of Kopelent, Holliger,' and Wuorinen played in succession made for a rather stiff dose? The soloist's virtuosity and the ensemble's sophisticated ease with difficult scores were never in question, but they weren't 4 shown to ideal advantage - the immemorial problem of new-music programming. John Huggler's "Serenata 1977 per 5 stro-menti," opening the concert, enjoyed its place-l ment; and its so different manner and texture were easily admitted into the memory. The piece's instrumentation (flute, clarinet, violin, viola, cello) is the vehicle of a long-lined, bur-' geoning continuity. And this expressive con-1 tinuity can be followed quite clearly; the com-; poser's description of "families of themes" and 1 "biological proliferation" is" true to the purpose- ful, ingratiating sound that this music makes. The language is ongoingly chromatic, transpar- ent, shapely, and the piece a rather good one. Heinz Holliger's fantastical technique, his. buoyant imagination -they were entertainingly : shown in a rather extended fun-and-games piece by the Czech Marek Kopelent called "A ' Few Minutes With An Oboist" (1972) - a musi-' cal analogue to a Saul Steinberg cartoon, per-" haps; much procedural tomfoolery. No less as-, tonishing was Charles Wuorinen's Chamber ' Concerto for Oboe and Ten Players (1965), the performance of a lifetime, probably, but quite a ' forbidding, notey bore. Holliger's own settings of Nelly Sachs texts, "Gluehende Raetsel" ("Glow- r ing Puzzles") were too clever and tireless, we ' thought, for their austere subject-matter. Toni i Anderson was the excellently stylish singer- ' speaker in this strange illumination. lafivAlefltill hi t min. jhiiiTi tn ! aftii " tnif Jkitm 0t . m fn n i iittmimi' fnTr HJWfaflMfri

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