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(02/09/01 3:49am)
The IU Symphony Orchestra put on a nearly flawless musical display Wednesday at the Musical Arts Center. Conducted by David Dzubay, the orchestra performed music by Sven-David Sandstrom, Stravinsky and Bartok. This was by far the most innovative and experimental evening of music that has been organized by the School of Music this year.\nThe music began with the U.S. premiere of Sandstrom's "First-pieces." The piece was short but succeeded in showing off all the instruments that comprised the orchestra. The strings and the wind section of the orchestra were especially impressive in this piece. The composition was short and sweet.\nStravinsky's "Concerto for Violin in D Major" was next. This is one of the most experimental pieces of classical Western music ever written, with diverse characterization and no consistent harmony. It was chaotic and a difficult piece to play. Graduate student Katja Laemmermann on the violin was impressive, keeping up with the twists and turns of this highly unorthodox piece of work. The Russian ballet's influence on Stravinsky was obvious. Many who have watched a performance of "The Nutcracker" would have noticed similarities between the two pieces.\nThe concert concluded with a performance of Bartok's "Concerto for Orchestra." This piece effectively showed off the prowess of the Symphony Orchestra. In many ways, this was the most conventional music played during the one-hour concert. It brought out the best in the orchestra and every instrument was given ample performance time to display its capabilities. As a piece of music it was a melodious and harmonious whole.\nThe evening's concert consisted of the most varied music that has been performed at the MAC so far this year. It was experimental, innovative and harmonious. It was a delightful musical experience.
(02/08/01 4:07am)
Carol Yuan's name might not sound familiar, but the senior is on her way to becoming one of the most well-known student musicians on campus. Her recent performance at the Asian Cultural Center was only one of several facets of the multi-talented Yuan, who is actively involved in Asian cultural activities, plays the recorder, dances and aspires to attend medical school. \nYuan was born to Taiwanese parents in Louisiana but has lived in Taiwan most of her life. \n"My mother introduced me to the recorder since I was 5, and I've been playing ever since," said Yuan, who plans to go to medical school. \nKim Yuan, Carol's mother, also plays the recorder. She said it didn't take long for her family to notice they had a musical talent in her daughter. \n"From about the age of 10 she started winning music contests in Taiwan," Kim Yuan said. "She was one of the best musicians for the recorder in Taiwan for her age." \nBut Yuan isn't merely artistic, Kim Yuan said. She is a prodigious science student, as well. Her father, Peter Yuan, a geology professor in Taiwan, introduced her to the scientific world by taking her to science museums, Kim Yuan said. This is how she developed an aptitude for the sciences, particularly the biological and medical sciences. \nThe Asian Cultural Center concert in which she performed was a fundraiser for Indian earthquake victims.\n"I am happy to be part of the relief effort for the Indian earthquake victims," Yuan said before the concert. "I get my inspiration from nature. I chose birds as a theme for the concert because very often the recorder sounds very much like a bird." \nThe concert gave the audience a taste of an instrument that is not so common in this country. \nIt was only one of several appearances made by Yuan in cultural events across campus. Her list includes a performance at the Madrigal dinner last year. \nLuise Yuan, Yuan's twin sister and best friend, said Yuan has always been a perfectionist. \n"She has always been successful at everything she has done," Luise Yuan said. "She has always wanted to be in the spotlight, and she really knows how to concentrate on whatever she does."\nWhile Yuan is enjoying success in science and music, her mother said she is apprehensive of her decision to go into medicine. \n"Being a doctor is very tiring and challenging, especially for a woman," Kim Yuan said. But she said Yuan's determination to help people and make an impact has over-shadowed her worries. She said she has confidence in her daughter.\n"I love dealing with people," Yuan said. "Medicine affects their lives directly and music does so indirectly."\nBut Yuan said it would be impossible for her to give up science or music. \n"I could never imagine my life without science or music," she said. "I chose medicine as my profession because I can also pursue my interest in the recorder as a doctor. I could not have pursued my interest in science if I became a professional musician." \nYuan was the recipient of the Fernandus and Elizabeth J. Payne undergraduate award for outstanding performance in the biological sciences in 2000. She has been admitted to the IU School of Medicine.
(02/07/01 4:38am)
Going into a symphony orchestra performance, one wouldn't normally expect music that can be described as "weird," "grotesque" or "unusual."\nBut when the IU Symphony Orchestra takes the stage at 8 p.m. today at the Musical Arts Center, the music will be just that, at least according to the people who will be playing it.\nViolinist Katja Laemmermann, a graduate student, will play the second piece of the evening, Stravinsky's 1931 "Concerto for Violin in D Major" with the rest of the orchestra.\n"It's unusual because the music has many different characters to it. It is very grotesque," Laemmermann said. \nBut not all of the music is unusual, owing to the Russian ballet's influence on Stravinsky. \n"The third movement is very melodious, but you need to pay attention to it," Laemmermann said. "There is definitely a strong connection between this piece of music and Russian ballet."\nEven so, she said the piece is a challenging one to play because of its unusual nature. \n"It's very difficult to play because the music is so weird. You have to get used to the sound before playing it," Laemmermann said. \nThe evening's music will begin with the U.S. premier of Sven-David Sandstrom's "First-Pieces." Sandstrom, a native of Sweden, is a composition professor in the School of Music. He wrote the piece in 1994, and it is 8 minutes long.\n"This piece of music is actually a compilation of a number of pieces featuring various sections of the orchestra. The piece has a lot of interesting orchestral sounds and plays with unusual tones," conductor David Dzubay said.\nHe said various sections of the orchestra will play in ways they are not accustomed to playing. \n"For example, the strings are asked to play in a variety of unusual techniques including harmonics," Dzubay said.\nAfter a brief intermission, the concert will conclude with a performance of Bartok's "Concerto for Orchestra." The concerto, written in 1943, consists of five movements (as opposed to the usual four) and has been performed countless times all over the world.\n"It is part of the standard orchestral repertoire. It allows all the parts of the orchestra to display their prowess," Dzubay said.\nWhile this concerto is a standard piece, it also represents a breakthrough in music composition.\n"Usually the idea of a concerto is to exploit the idiosyncratic virtues of a particular instrument. But the idea of a concerto for a whole orchestra is a novel one. Bartok was exploring different instrumental techniques here," senior Ross Ewing said.\nThe evening will consist of melodies that have been heard constantly over the decades, while presenting the audience with music that has not even been performed on this continent. Laemmermann said some of the music will be harmonious and rhythmical, while some will be grotesque.\n"It will be a lot of fun," Laemmermann said.\nThe symphony orchestra will perform at 8 p.m. today at the Musical Arts Center. Admission is free.
(02/06/01 8:31pm)
The School of Music paid tribute to the late Walter Cassel, a singer and music professor for 20 years, Sunday in Auer Hall. Musicians from IU and Cassel's former students from across the country joined in remembering the legend. \nCassel was born in Iowa in 1910. Although he was best known as a musical actor, he was also a photographer and an award-winning athlete. \n"He also used to play the trumpet quite well," said former music dean Charles Webb, who played piano at the tribute. \nCassel came to New York in 1935 and made his debut at the Metropolitan Opera in 1943. He sang in 275 performances for the Metropolitan Opera and 126 performances for the New York City Opera, giving him a reputation for having remarkable vocal range and vocal stamina.\nCassel left New York for Europe and returned in 1955 because of his perfectionist ideals, Webb said. \n"He did this to train his voice and become a better singer," Webb said. \nIn 1974, he was offered a faculty position at the music school. He accepted it. Soon, he was a world-renowned vocalist and performed in cities such as Paris, Vienna and Barcelona. He was best known for his role as Horace Tabor in "The Ballad of Baby Doe," which he made famous at the New York City Opera. \nMusic professor James King said Cassel's sincerity, not just his talent, made him a memorable person.\n"He was one of the nicest colleagues I had the pleasure of meeting in the world of opera," King said. "He was a wonderful human being and a highly dedicated teacher." \nAfter taking his faculty position at IU, Cassel focused more on teaching and less on performance.\n"Walter became a very good friend to me during the long time that he was here," Webb said. "He was one of our most distinguished voice teachers and had students who went on to become world famous. He was also very active in operetta and Broadway musicals. He was famous for his brilliant, strong baritone roles," Webb said. \nHe retired from the faculty in 1993, but continued to give private lessons in Bloomington until his death in July 2000. \nSunday's tribute was largely comprised of his former students, Adam Klein said. \n"It is absolutely wonderful to be a part of this," said Klein, who performs all across the country, as his former teacher did. "He was a great musician and a great man. This means a lot to me"
(02/02/01 5:11am)
Wednesday's concert at Auer Hall was a combination of memorable experiences. The music and the wonderful performance by the Chamber Orchestra was admirable. \nThe most memorable performance of the evening was delivered by 19-year-old double bass sensation DaXun Zhang, who is an artistic diploma student. He moved, captivated and impressed the audience with his mastery of the instrument. His performance was the highlight of the evening.\nThe musical festivities got off to a promising start with the performance of the "Pulcinella Suite" by Russian composer Igor Stravinsky. The piece consisted of bits and pieces of music from the ballet "Pulcinella," written by Stravinsky. \n"The music here uses thematic content from the Baroque period," said Paul Biss, a music professor.\nBiss conducted the Chamber Orchestra Wednesday. As this piece consisted of excerpts from a ballet, there seemed to be no obvious cohesion in the music. It might have been more comprehensible to music students and professors, but for the musically uneducated, this piece of music seemed to lack any sort of thematic or stylistic consistency. The music did contain prominent parts for the oboe, strings and trumpet, which were played almost flawlessly by the musicians.\nThis was followed by the piece everyone was waiting for: "Concerto No. 2 in B Minor for Double Bass and Orchestra." Composer Giovanni Bottesini, a bassist, is known for his operatic style of music. He wrote several melodious pieces that showed off the double bass, and this was one of them. When it came to showing off the instrument, Zhang did not hold back.\nThe emotions and expressions on his face became more intense with every passing note. His flawless rendition of Bottesini's music and his mastery of the double bass was a treat. At the end of his performance, the audience gave Zhang a standing ovation.\nThere was perhaps no one more proud of Zhang that evening than his mentor, Lawrence Hurst, a professor of double bass. When asked to comment on Zhang's performance, he had only one word to say: "sensational!" \nZhang himself was modest. \n"I was a little nervous at first, but I felt confident going in. I thought I played normally," Zhang said.\nAfter a brief intermission, the evening's festivities concluded with a beautiful rendition of Franz Schubert's "Symphony No. 3 in D Major." The Concert Orchestra delivered a perfect performance of this engaging piece to conclude the evening's music.\nIt was an enthralling evening of music. The music was romantic, passionate and playful. It was highlighted by an exceptional talent in Zhang, who promises to make headlines in the years to come.
(01/31/01 3:45am)
The IU Chamber Orchestra will make its first public appearance at 8 p.m. today at Auer Hall. The recital is free and open to the public. The orchestra will be conducted by violin professor Paul Biss.\nA chamber orchestra is different from a normal-sized orchestra. Biss said the difference lies in both the size of the orchestra and the tone of the music.\n"A chamber orchestra is a smaller one. Here, the music becomes more intimate," Biss said.\nThe program will consist of three pieces, beginning with Stravinsky's "Pulcinella Suite," continuing with Bottesini's "Concerto No. 2 in B Minor" and concluding with Schubert's "Symphony No. 2 in D Major." \nBiss said there was a definite purpose in bringing these three pieces together in tonight's concert.\n"I wanted there to be a sense of balance and completeness. There is a cohesion that results from these three pieces," Biss said.\nThe first piece by Stravinsky is actually music extracted from the the famed Russian composer's "Pulcinella" ballet. \n"This shortened version fits very well as a concert piece. It uses some thematic material from the Baroque period," Biss said. "The piece is quite challenging and contains prominent parts for the oboe, trumpet and strings."\nThis will be followed by Bottesini's "Concerto No. 2 in B Minor for Double Bass and Orchestra." The piece will feature 19-year-old bass player, DaXun Zhang. \n"It's light and brilliantly written for the double bass. It's a virtuoso display for the double bass," Biss said.\nBottesini, a 19th century Italian composer who was most well known for his talents on the bass, wrote the piece to show off the double bass.\n"(Bottesini's) style of composing was very operatic. His music is known as the Bel Canto style of music, which literally means the art of beautiful singing," Lawrence Hurst said. Hurst is a professor of the double bass and is Zhang's mentor. "This concerto can be described as vocal imitation. It is very melodious and song-like. It is also technically a very challenging piece," he continued.\nBut the technical difficulty of the piece does not seem to bother Zhang in the least.\n"I've spent a lot of time on this piece and I've played it twice with an orchestra before," Zhang said.\nAt the age of 19, Zhang has proven to be a rare talent and has impressed quite a few people, including himself, Hurst said.\n"I first met him in China 10 years ago. In the 35 years I've been teaching, he is one of the half dozen students who are exceptionally gifted," Hurst said. \nAfter a brief intermission, the evening of chamber music will conclude with Schubert's "Symphony No. 2 in D Major." This is an early work by Schubert, written when he was a teenager.\n"It's a useful, engaging and optimistic work," Biss said. \nBiss said "Symphony No. 2" is the best known early work by Schubert. He also said the evening promises to be one of engaging music and impressive performances.\n"All the music tonight has a lot of energy," Biss said.
(01/26/01 6:46pm)
"The Pledge" is Sean Penn's third directorial effort and his best film to date. It is not your conventional detective film and keeps its audience occupied throughout the entire two-hour duration. Having someone like Jack Nicholson in the lead role helps as well. It is a fine combination of quality writing, solid acting and proficient directing. \n The script is perhaps the film's greatest asset. It is the most original piece of writing that has come out of Hollywood so far. It is a moderately-paced story that captivates the audience throughout the film. Penn makes sure the film does not follow a fixed Hollywood formula. Instead he uses the script to manifest his innovative filmmaking. He uses an almost film-noir style of cinematography to accentuate the suspense and intrigue that the script is already full of. \nThe story consists of Detective Jerry Black (Nicholson) being called back into service after having just called it quits. His mission is to find the culprit responsible for the rape and murder of a young girl. He promises her parents that he will find the killer at all costs; this search becomes his lifelong obsession. \nThe film features an incredible ensemble cast with prominent actors in much smaller roles than they are used to. It is dominated by some fine acting, especially Nicholson's masterful rendition of Detective Black. It benefits from intriguing, original writing that is sure to captivate most arthouse audiences.\nThrough this film, Sean Penn, himself an accomplished actor, shows he has a knack of getting the best out of his actors. He has also proven that he has a genuine talent for setting up beautiful shots.\nBut mainstream audiences might find the film a bit slow. While the film is being advertised as a mainstream thriller, it really is about a man's dedication to fulfill his pledge. Hans Zimmer's original score adds an eerie element to the film that works to its advantage. \nIt all comes down to what the audience is looking for. If thrills and chills are what the audience wants, this is definitely the wrong film. But if people want an original film that will keep them occupied for two hours, this is an excellent choice.
(01/26/01 6:46pm)
For most of "Thirteen Days," we see no one but men in suits trying to solve a seemingly unsolvable problem. Directed by Roger Donaldson, "Thirteen Days" finds intriguing drama in passionate debate, tricky politics and impossible decisions. Most of the narrative is spent in the war rooms and strategy sessions that find John F. Kennedy and his key advisers trying to determine the appropriate course of action after spy planes identify Soviet nuclear missile sites under construction in Cuba. \n"Thirteen Days" is about the astonishing real-life war game played by capable but flawed people for the fate of civilization. For a film devoted largely to debate and description of scenarios, "Thirteen Days" is incredibly tense. Politicians go toe-to-toe with soldiers over the appropriate philosophical footing for dealing with the Red ideology.\nWe watch brinksmanship played like two kids shoving each other on a school yard. It's the kind of smart film-making of ideas that can keep you on the edge of your seat waiting for a phone to ring, or not to ring.\nBut mostly it's a profile of the courage-under-fire of John F. Kennedy. Plenty of films have chose either to canonize JFK as our great slain king or demonize him as a womanizing rich kid, but never as a compelling dramatic character. As played with a piercing intellect by the dynamic Bruce Greenwood, Kennedy is portrayed as an often short-tempered man with burdens to bear; the acknowledgement of his chronic back pain is one of many effective subtleties in David Self's script. He is also the essence of a great leader, bringing the finest minds together, considering the greatest possible good and finally trusting his own reason and judgment. \nThere are plenty of dramatically fascinating humans in "Thirteen Days" without ever leaving the closed conference rooms of the White House and the Pentagon. Policy can make surprisingly intense cinema, without a breakfast table or report card in sight.
(01/26/01 3:49am)
Wednesday's concert at the Musical Arts Center was nothing short of brilliant. It was the first concert performed by the Concert Orchestra this year, and under the guidance of conductor David Effron, the group captivated its audience throughout the two-hour performance. \nBut the standout performance of the evening was graduate student Winston Choi's mastery of the piano. His rendition of Prokofiev's Concerto No. 2 was majestic and masterful.\nThe evening's musical festivities got off to a promising start with Claude Baker's Symphony No. 1, "The Whitman Cycle." The symphony was divided into two parts, each consisting of nonvocal commentary on two of Walt Whitman's poems. \nThe symphony incorporated grand orchestral music with sudden bursts of chaos by the trumpet, piano and percussion that accentuated a well-written piece of music. \n"The orchestra conveyed everything I wanted them to convey and more," Baker said. \nWhile it was a successful endeavor by composer, conductor and orchestra, it was obvious from audience reaction that reading Whitman's poems might have enabled them to better appreciate the music.\nThis was followed by the highlight of the evening, Prokofiev's Concerto No. 2 in G Minor. Choi on the piano and the Concert Orchestra under Effron made this into an absolute treat for the audience. The orchestra gave an exemplary performance of the dynamic concerto. \nThe music consisted of several elements of classical Western music. It was very romantic and very fast. It had a typical Russian character, and, perhaps most importantly, it was harmonious, melodic and rhythmic. It was a challenging piece of music and required endurance and stamina. \nChoi delivered a scintillating performance, playing rapidly with perfect mastery of every note. What was even more impressive was that he played the entire 35-minute concerto from memory. He received thunderous applause at the end of his marathon performance. \nBut Choi was modest about \nhis performance.\n"I was happy about the way I played, especially because it was the first time I played this piece with an orchestra. But I would do several things differently if I were to do this again. There is a lot of room for improvement," Choi said.\nThe final piece of the evening followed a brief intermission. This piece paid homage to the 19th century German composer Felix Mendelssohn. The Concert Orchestra flawlessly performed Mendelssohn's Symphony No. 5 in D Major, also known as the Reformation Symphony. \nWhile Prokofiev's symphony exemplified the technical aspects of music, when it came to pure harmony with a romantic feel, Mendelssohn was the perfect choice. If Prokofiev's concerto was dominated by Choi's piano, Mendelssohn's symphony was dominated by the harmonious strings of the orchestra. \nThis soothing, seemingly flawless rendition of Mendelssohn's romantic masterpiece was a fitting conclusion to a grand evening of music.
(01/26/01 3:42am)
Music professor Ik-Hwan Bae is well-known throughout the Bloomington music community and nationwide. But most people are unaware that his wife, Sung-Mi Im, is also an accomplished musician who has performed throughout the world. \nThe husband-and-wife team will perform in a faculty recital at 8 p.m. Saturday in Auer Hall. Im and Bae will perform music by Beethoven and Schoenfield. Cello professor Tsuyoshi Tsutsumi will join them in a piano trio by Mendelssohn.\nIm was born in Taegu, South Korea, in 1965. She comes from a musical tradition: Her father is an opera singer, her two sisters play the cello and the violin, and her mother is a well-known pianist in South Korea. \n"From when she was less than a year old, she expressed a keen interest and enthusiasm whenever I used to play the piano," her mother, Chung-Ja Chung, said.\nHearing music in the house all her life and Im's parents' influence were enough to decide her profession.\n"I never considered anything else for a career choice. From a very early age I knew I was going to be some sort of a musician," Im said.\nIm's mother said her talents were obvious from an early age. She started playing the piano when she was 3 and as a young girl she performed regularly with her sisters. Im studied piano at Seoul National University and came to the United States in 1988. She got her Master's in Piano Performance at Boston University, where she met Bae. She won the Kahn award for prolific talent on the piano at the university. Her career as a performance artist began when Im and Bae moved to New York City. \nBut Im is not a typical performer. She does not value competition and winning prizes as much as some musicians at a professional level do. \n"I don't like competition," she said. "Winning a contest doesn't mean anything. It doesn't mean that you are going to develop into a truly great musician."\nIt's been nearly 13 years since she began performing, and although she might not believe in competitions, she said she loves to perform. She will be performing in Dallas and Seoul, South Korea, this spring and will revisit her country for another performance this summer. She will also be performing in Alaska and Texas in the summer.\nShe is now a mother and wife and said that while music is her passion, she has other interests that take up a considerable amount of her time. \n"I have four dogs. I spend a lot of time taking care of them. They are like my children," Im said. "I also have a keen interest in tropical fish and gardening. Also, being a mother and a professional musician at the same time can be very challenging."\nBut Chung said she wishes her daughter would put more emphasis on the performance.\n"In my eyes, she should be playing in more competitions and winning more," said Chung. \nIm said competitions take away from the true art of music, but said she withstands her mother's admonitions with good humor.\n"What can I say, my mother is a perfectionist," she said. "I don't regret the fact that I don't compete much ... That is not what music is about"
(01/25/01 5:00am)
For most of "Thirteen Days," we see no one but men in suits trying to solve a seemingly unsolvable problem. Directed by Roger Donaldson, "Thirteen Days" finds intriguing drama in passionate debate, tricky politics and impossible decisions. Most of the narrative is spent in the war rooms and strategy sessions that find John F. Kennedy and his key advisers trying to determine the appropriate course of action after spy planes identify Soviet nuclear missile sites under construction in Cuba. \n"Thirteen Days" is about the astonishing real-life war game played by capable but flawed people for the fate of civilization. For a film devoted largely to debate and description of scenarios, "Thirteen Days" is incredibly tense. Politicians go toe-to-toe with soldiers over the appropriate philosophical footing for dealing with the Red ideology.\nWe watch brinksmanship played like two kids shoving each other on a school yard. It's the kind of smart film-making of ideas that can keep you on the edge of your seat waiting for a phone to ring, or not to ring.\nBut mostly it's a profile of the courage-under-fire of John F. Kennedy. Plenty of films have chose either to canonize JFK as our great slain king or demonize him as a womanizing rich kid, but never as a compelling dramatic character. As played with a piercing intellect by the dynamic Bruce Greenwood, Kennedy is portrayed as an often short-tempered man with burdens to bear; the acknowledgement of his chronic back pain is one of many effective subtleties in David Self's script. He is also the essence of a great leader, bringing the finest minds together, considering the greatest possible good and finally trusting his own reason and judgment. \nThere are plenty of dramatically fascinating humans in "Thirteen Days" without ever leaving the closed conference rooms of the White House and the Pentagon. Policy can make surprisingly intense cinema, without a breakfast table or report card in sight.
(01/25/01 5:00am)
"The Pledge" is Sean Penn's third directorial effort and his best film to date. It is not your conventional detective film and keeps its audience occupied throughout the entire two-hour duration. Having someone like Jack Nicholson in the lead role helps as well. It is a fine combination of quality writing, solid acting and proficient directing. \n The script is perhaps the film's greatest asset. It is the most original piece of writing that has come out of Hollywood so far. It is a moderately-paced story that captivates the audience throughout the film. Penn makes sure the film does not follow a fixed Hollywood formula. Instead he uses the script to manifest his innovative filmmaking. He uses an almost film-noir style of cinematography to accentuate the suspense and intrigue that the script is already full of. \nThe story consists of Detective Jerry Black (Nicholson) being called back into service after having just called it quits. His mission is to find the culprit responsible for the rape and murder of a young girl. He promises her parents that he will find the killer at all costs; this search becomes his lifelong obsession. \nThe film features an incredible ensemble cast with prominent actors in much smaller roles than they are used to. It is dominated by some fine acting, especially Nicholson's masterful rendition of Detective Black. It benefits from intriguing, original writing that is sure to captivate most arthouse audiences.\nThrough this film, Sean Penn, himself an accomplished actor, shows he has a knack of getting the best out of his actors. He has also proven that he has a genuine talent for setting up beautiful shots.\nBut mainstream audiences might find the film a bit slow. While the film is being advertised as a mainstream thriller, it really is about a man's dedication to fulfill his pledge. Hans Zimmer's original score adds an eerie element to the film that works to its advantage. \nIt all comes down to what the audience is looking for. If thrills and chills are what the audience wants, this is definitely the wrong film. But if people want an original film that will keep them occupied for two hours, this is an excellent choice.
(01/24/01 4:28am)
The IU Concert Orchestra, under the helm of conductor David Effron, will perform its first concert this year at 8 p.m. today at the the Musical Arts Center. The concert is free and open to the public.\nThe concert will consist of three pieces: Symphony No. 1 by Claude Baker, Piano Concerto No. 2 in G Minor by Prokofiev and Symphony No. 5 by Mendellsohn.\n"The most important aspect of this concert is the Indiana premiere of Prof. Baker's Symphony No. 1," Effron said. \nClaude Baker, a composition professor, has written numerous orchestral works but considers Symphony No. 1 to be his first symphony. \n"The symphony is a nonvocal commentary on four poems by Walt Whitman. Not only do I try to capture the general moods of the poems, but I also try to parallel the structure of the poems in my music," Baker said\nHe emphasized the fact that as he was reading the poems, he came up with certain musical thoughts that reflected them. \n"Baker's piece has incredible levels of emotion. It has incredible dramatic qualities and exemplifies the widespread possibilities of orchestral color," Effron said.\nThe second piece of music of the evening will be Prokofiev's Concerto No. 2 in G Minor. It will include graduate student Winston Choi, who will play along with the orchestra on the piano. The piece consists of four movements.\n"The first movement is the biggest cadenza (only the pianist performs) ever written in piano literature. It really tests your endurance and stamina," Choi said.\nChoi, who is a masters student in piano performance, established himself as one of IU's best pianists when he won the Penderecki prize in Poland last September for the best piano soloist. While he has won numerous national contests, the Penderecki Prize was his first international accomplishment. \nThe second movement of the concert is the fastest movement in the concerto while the third, in the words of Choi, "is like a march with a tremendous amount of rhythmic energy." \n"In the fourth movement I move my arms quicker than I've ever moved them before. I play ridiculously fast here," he said.\nEffron agreed that the music is difficult but said it shows off the performers' abilities.\n"Prokofiev's music has barbaric qualities and yet exhibits incredible technical prowess," said Effron.\nThe last piece of the evening will be Mendellsohn's Symphony No. 5 also known as the Reformation Symphony. The piece was written in 1829, which was actually his second symphony to be written, but was performed in 1868 as the fifth symphony. \n"Mendellsohn is a genius on the scale of Mozart," said Ross Ewing, an undergraduate in piano performance. "His music is very restrained and has a refined sense of beauty."\n"The piece was written for the three hundredth anniversary of the Auchsburg Doctrine," Effron said. The Auchsburg Doctrine was a statement of religious belief written during the sixteenth century.\n"All the pieces are extremely challenging. I admire Winston and the orchestra. ... I have a lot admiration for anyone who can play this music," Effron said with a smile.
(01/22/01 4:21am)
The School of Fine Arts is snacking on something new this semester. \nThe SoFA Gallery has initiated a new program called "ArtBites," which looks to introduce the Bloomington community to IU art students at Friday luncheons. \nSoFA Gallery Director Betsy Stirratt said she wanted to bring residents and students together to talk about their art.\n"It was obvious that we needed to educate the public a little more about the shows that we were doing and the work that our students come out with," Stirratt said. \nArtBites is a semester-long program that will showcase work by graduate and undergraduate students in the school. Students from different fields, including painting, ceramics and printmaking, will display their work and talk about it every other Friday at noon. These sessions are free. Lunch will be available at these sessions for $5. \nThe first "ArtBites" session took place Friday. Work displayed during the session included painting, ceramics, metalsmithing and printmaking. Three graduate students spoke about their work. \nMark McCay, a graduate printmaking student, said the open forum of the series makes the gathering special.\n"This is an incredible opportunity for people to hear first-hand about the experiences of different artists," McCay said, who lectured on his work Friday. \nEach display session will be about two weeks long, and each session will highlight a different group of artists. The sessions will be during each exhibition period in which the artists talk about their work. \nThe semester-long program is not restricted to art students. It highlights artists from across the United States. Contemporary fiber art by male artists and paintings of African-American writers by Gilbert Fletcher involve nationally renowned artists. \nGrafton Trout, a retired professor, said he regularly visits the SoFA Gallery and is looking forward to a different type of exhibit. "It's quite an excellent idea," Trout said. "It's great for the audience because they can get a true feel for what goes into a work of art. It's also good for the artist to be articulate about his or her work." \nFor more information, call 855-8490.
(01/19/01 3:53am)
As it does every semester, the East Asian Studies Center is sponsoring the East Asian film series. To promote culture throughout campus, the center has put together a series of seven films from various East Asian countries. \nBut a few changes have been made from past semesters. \n"The screening room was changed from (Fine Arts Room) 102 to (Ballantine Hall Room) 013 because the equipment in Fine Arts was not up to our standards," said graduate student Jeeyoung Shin, an event organizer. "We also changed the show times to 8 p.m. on Saturday so as not to compete, overlap, with the City Lights film series," said graduate student Paola Voci, also one of the organizers.\nVoci said the series has always had a dual purpose.\n"An important purpose is to let people see some movies that they would not otherwise find in the theaters or that they would be unlikely to choose to rent as DVDs or videotapes," Voci said.\nShe said the film series provides a much-needed service to Asian residents of Bloomington.\n"What makes me especially happy is when I see in the audience people, sometimes entire families, that are not directly involved in IU academic life," Voci said.\nThe organizers said they try to pick the latest films that come out of China, Japan, Korea and Taiwan. But the selection of films from which they can choose is sometimes decreased by a lack of subtitled films.\n"(The series) is a very productive endeavor because the films broaden our horizons and provide the audience with a unique perspective with which to look at the world," said Justin Foster, senior editor of Ryder magazine.\nThis semester's series begins Saturday with the screening of "Kikujiro" (1999), directed by Takeshi Kitano, one of Japan's leading filmmakers. The film tells the story of a young boy who leaves Tokyo to search for his mother. \nThe next film, the Korean film "Christmas in August" (1998), will run Feb. 3. This is a tale of a dying man's relationship with a beautiful woman. The Chinese film "In the Heat of the Sun" (19954) will be shown Feb.17. A box office success in China, this film depicts Chinese life during the Cultural Revolution. \nThe series will spotlight the Japanese film "Postman Blues" (1997) Feb.24. A portrait of the life of a postman, the film depicts the different twists and turns of life. \nThis will be followed by the Korean film "Beat" (1997), which depicts Korea's new "lost generation" of teenagers. The Taiwanese import "Mahjong" (1996) is next on the agenda and will be screened April 7. Made by Taiwanese filmmaker Edward Yang, the film is a dark comedy and uses the game of mahjong to depict the relationship between traditional Chinese culture and Western materialism in contemporary Taiwan.\nThe last film of the series is "Chinese Odyssey" (1995). The Hong Kong feature actually consists of two films,"Pandora's Box" and "A Cinderella." These films are postmodern renditions of a mythological Chinese tale in which the Monkey King is banished to lead a miserable human existence for his transgressions.\nThe film series consists of a diverse assortment of comedy, fantasy, drama and melodrama.
(01/16/01 4:26am)
Martin Luther King Jr., a leader in the civil rights movement, sparked celebration at the School of Music Friday. \nIn honor of Martin Luther King Jr. Day, the celebration displayed a history of music through spirituals and protest songs of the civil rights movement. The emotionally charged performance was presented by the IU School of Music in conjunction with the African American Arts Institute.\nThe program consisted of a diverse collection of songs that exemplified the broad range of music encompassed by the African-American tradition. James Mumford, director of the African-American Choral Ensemble, said he was proud to be part of an honorable cause.\n"There is no better way to pay tribute to Dr. King," Mumford said. "Music is a universal language and transcends all boundaries." \nThe music was written by different African-American composers of the 20th century. The list included such prominent names as Distinguished Professor David Baker, Leslie Adams and Mumford. \nThe highlight of the first half was the performance of an excerpt from Baker's "Six Poemes Noir," written for flute and piano. With graduate student Anastasia Antonacos on piano and senior Carl Butler on flute, they enhanced a piece of music that was already good composition. The two musicians performed harmoniously in flawless synchrony and received the loudest applause of the evening. \nButler said he was thrilled to express the importance of the holiday through his music.\n"It is an honor to be a part of this tribute," he said. "I will be delighted if I touch the heart of at least one person with my efforts tonight." \nThe second half of the program began with another masterful rendition of one of Baker's compositions. The "Sonata for Clarinet and Piano" was performed by professors Leonard Hokanson and James Campbell. This was the longest piece of the evening and consisted of a number of intricately woven sequences between piano and clarinet played in varying tempos. \n"It's a piece written for classical players and has a very strong jazz influence," Campbell said. "The whole aesthetic comes from the African-American root."\nThe second half also consisted of contemporary gospel selections performed by the African American Choral Ensemble. The evening's musical festivities ended with the performance of "Lean On Me" by the group. \nBloomington resident Kelly Smith said she enjoyed the evening's performances.\n"I think the concert was impressive in terms of the quality of performance and the selections played by the musicians," Smith said. "They were magnificent. It's a privilege to have experienced this wonderful talent."\nDiversity was prevalent in the cultural heritage of the audience, performers and the music. The music consisted of classical, jazz, choral singing and religious music. \n"(The diversity of the music) tells me that there needs to be more collaboration between groups to highlight art," Mumford said. "It was an excellent tribute to Dr. King, who wanted to see things happen this way. It was beautiful to see varying races and ethnic groups come together to celebrate the joy of music"
(12/04/00 4:31am)
Between the agile dancers and the subtle -- yet elaborate -- sets, watching the 2000 version of the IU Ballet Theater's "The Nutcracker" proved an excellent way to jump headfirst into the holiday season. All the dancers gave top notch performances; it's hard to believe most are students. From the opening curtain to the final applause, the performance was enthralling.\n"The Nutcracker" has been synonymous with Christmas since it was written 108 years ago, but the technical expertise with which the IU troupe executed it made the this year's production unique.\n"This ballet is an international classic because it launches everyone into the holiday spirit," conductor Ray Cramer said before the performance. The production of this classic by the IU Ballet Theater undoubtedly did that and a lot more."\nWeaving a spell over the sold out Musical Arts Center, the 50 dancers -- along with children from the Bloomington community -- transformed the stage into a fascinating winter wonderland where mice and toy soldiers jousted and Chinese and Arabian dancers jaunted.\nWhile ballet is a universal art, it has many different dialects or versions. This year's performance was an absolute thrill because of its technical difficulty. The IU Ballet Theater showed off its expertise with a Russian flavor in several fascinating dance sequences. \nChoreographer Jacques Cesbron did an excellent job of combining Russian and West European styles.\nThe dancers including Senior Laurie Basloe (Clara) and Freshman Scott Harris (the Nutcracker) performed with a broad yet heroic style of assertive choreography, while exemplifying the underlying tenets of romanticism and passion.\nThe most striking elements of the production were undoubtedly the scenes in which the various dancers portrayed different cultures. They performed a Spanish dance, a Chinese dance (with superb leaping and tumbling, which made the art of ballet almost gymnastic in nature), an Arabian dance and an ethnic Russian dance. The dances riveted the audience, which reacted with thunderous rounds of applause.\nThe dancing was skillful, the choreography disciplined and the storytelling vibrant. The effect of the performance on the audience was almost magical. \nThroughout the nearly two hour performance they sat in rapt attention, watching the graceful movements and taking in Tchaikovsky's music. It was a truly exceptional production this year and everyone who attended got a taste for the professionalism which the IU School of Music is known.
(12/01/00 4:15am)
It's that time of the year again. \nHoliday festivities fill the hours and the Christmas spirit pervades the air. \nThere is perhaps no single musical event that enchants people more with the magic of Christmas than "The Nutcracker." The legendary ballet was written by Russian master composer Peter Ilych Tchaikovsky, first performed in 1892. The IU Ballet Theater will bring this creation to life.\nA performance of this magnitude isn't easy. \n"This was definitely a challenge," said Ray Cramer, chair of the Department of Bands and conductor of "The Nutcracker." "First of all, putting such a huge score together is no laughing matter. Secondly, it is a challenge to make sure that the tempos are correct for the dancers." \nIt is imperative for the conductor and the choreographer to work together. Jacques Cesbron, professor of dance at the School of Music, serves as the ballet's choreographer, together with his wife, Virginia Cesbron. \n"I organize the rehearsals and the staging of performances," said Virginia, chairperson of the ballet department. "I am also the artistic coordinator." \nJacques Cesbron, a native of France and former dancer at the Paris Opera said he is nothing but grateful for working at the School of Music. \n"Here I have an orchestra, beautiful sets, a costume shop and a wonderful set designer at my disposal," he said. "Where else can I expect to have all this?"\nCesbron has choreographed several ballets and operas during the past fifteen years. Still, he insists that ballet and opera are two totally different art forms. \n"In a ballet, I have a lot of freedom," he said. "I can use many dance styles in my choreography, whereas in opera I don't have nearly as much freedom."\nHe is the first to admit that he has used this creative freedom to its fullest this year. \n"I have made the ballet a lot more difficult for the dancers this year," he said. "They may make a mistake while on stage but the important thing is that they will grow as dancers from this experience." \nAll of the dancers are enthusiastic about this year's performance. The fact that the ballet has been made more difficult this year has served to motivate them to work harder. \n"Even though the choreography is more difficult, I like the challenge," said senior Melissa Nolan, who plays the Sugar Plum Fairy during the matinee performance. "The ballet theater has gotten a lot better since my freshman year because of challenges like this." \nPerformance times are at 8 p.m. Friday, 3 and 8 p.m. Saturday and 3 p.m. Sunday. All performances take place at the MAC. Tickets are $26, $22 and $20 for regular seating and $18 for students. They can be purchased at the box office at the MAC, at all ticketmaster locations, by phone a t 333-9955, or online at www.music.indiana.edu.
(10/27/00 4:22am)
The department of communication and culture, along with City Lights, is sponsoring a Japanese film festival this weekend. The two day film marathon will begin at 1 p.m. Saturday and will continue until 11 p.m. Sunday. \nAll free films shown are open to the public and will be shown in Ballantine Hall 013. Each film will be preceded by a brief introduction, given by graduate student Lori Hitchcock -- who organized the festival. The audience will also get a moderate dose of Japanese pop music before each screening. \n"The purpose of these films is to educate people on the diversity and dynamic nature of contemporary Japanese cinema," Hitchcock said. "It's not just Kurosawa anymore," she said, referring to the legendary Japanese filmmaker Akira Kurosawa.\nHitchcock said Japanese cinema is far from being stagnant after Kurosawa's death. \n"There are a lot of good things going on in Japanese cinema," said Sumie Jones, professor of film studies and adjunct professor of communication and culture. "There is a profusion of multicultural and experimental films nowadays."\nThe festival begins at 1 p.m. Saturday with the screening of "Like Grains of Sand" directed by Hashiguchi Ryosuke. The film explores an unusual love triangle between three high school students. \n"The film deals with homosexuality, which is not a common theme in Japan," Hitchcock said. "In\nfact, Ryosuke is one of the very few openly gay directors in Japan." \nThis film will be followed by "Kids Return" at 3:30 p.m. The film is directed by Takeshi Kitano, one of the best known Japanese filmmakers today. The film was made after he was involved in a near fatal motorcycle accident. \n"He does not try to show off like Kurosawa," Jones said. "The beauty lies in the subtlety and simplicity of his storytelling." \nThe film tells the story of two high school dropouts who are trapped in an endless cycle of command. \n"It is a tender, funny and melancholic affair which will come as a delight to ardent admirers," said David Wood of the BBC in a press release. \n"Bounce ko Gals" by Harada Masato is scheduled for 7 p.m. Saturday. Concerning the phenomenon of "paid dates" in Japan, it garnered much critical acclaim. \nThe last few films Saturday are "made-for-TV" movies by Iwai Shunji, "Ghost Soup" and "Fried Dragon Fish." \n"He is a very self conscious director who loves making films," Hitchcock said. "These couple of films are exercises in style." \nSunday, the film extravaganza continues at 1 p.m. with a transnational feature from Japan and Hong Kong. The film, called "Sleepless Town," is a prime example of Asian film noir, said Hitchcock. \n"The film is part of a conscious effort by Asian filmmakers to make Asian films, as opposed to Japanese films or Chinese films," Hitchcock said.\nThe next films are "Dangan Runner" and "Postman Blues." The double header begins at 3:30 p.m. The films were made by Tanaka Hiroki, who is one of the most critically acclaimed Japanese directors today. The films are both funny and contemplative, said Hitchcock. \n""Postman Blues' also consists of hilarious parodies of 'The Professional' and 'Chungking Express,'" Hitchcock said. "You need to stay till the very end or you'll be disappointed!"\nThe last film scheduled is "Samurai Fiction," directed by Nakano Hiroyuki. Hiroyuki directs music videos, and "Samurai Fiction" is his first feature film. It is about the life of the samurai, and was shot in black and white with occasional bursts of color. \n"It promises to be an exhilarating, hilarious and unique roller-coaster ride. You have Pink Floyd kind of moments in a film about samurai," Hitchcock said.\nReflecting the diversity of contemporary Japanese and Asian culture, the films provide an alternative from the slew of big budget Hollywood flicks, she said.
(10/27/00 4:17am)
Professor of Music Don Freund will give a recital at 7 p.m. Saturday in Auer Hall. The free recital will consist of the music of Johann Sebastian Bach, and is open to the public. A lecture on Bach's music will be given by Freund at 2 p.m. Sunday in Sweeney Hall. \nFreund received his bachelor's degree in piano and went on to get a master's degree in music composition. He taught piano before coming to IU as a composition professor. \nSaturday, he will be performing a unique work by Bach called "The Well-Tempered Clavier, Book 1." The piece is something most pianists will be familiar with due to aspiring pianists' exposure to much of Bach's music early on in the course of their study. \n"For pianists, Bach is like the Bible," said Leonard Hokanson, professor of music. "He represents the end of the Baroque period. By listening to Bach, you learn to think linearly and distinguish between different voices.\n"Bach's music helps in contrapuntal training, which involves a voice and a counter-voice," Hokanson said. "Apart from training the ear you also develop independence of voice and fingers. \n"Bach is unique because you can play and study his music for years and years but still continue to find new, intriguing material," said Jim Holt, a graduate student in the Music School.\nWhile the works of Bach might be used extensively by beginners, the legendary musician has developed a reputation for being audacious. The work Freund will be performing is a perfect example of this. In this work, Bach wrote a piece in every possible key. The work involves 24 preludes and fugues. \n"A prelude is an introductory free-style piece and a fugue is a piece built around a succession of voice entries on a single musical theme," Freund said. \nThe work exemplifies Bach's tendency to take a formalized style and add his own twists and turns to it. \n"He does things differently with his own creative zest," Freund said. "For example, a fugue is supposed to involve three or four voices which should be played individually, but in this piece Bach includes only two voices which become unified. This is very audacious!"\nThis also makes Bach unique, Freund said. On the one hand, he said, his music trains a musician to think linearly and to distinguish between independent voices at the same time. \n"He is even considered to be a conservative musician by those who like conservative music," Freund said. But at the same time, Freund said, he has a reputation for composing music which was different from the norm.\nIt is one of the topics Freund will address in his lecture Sunday. Freund said he hopes that those who attend will get a taste of the conservative and the audacious in Johann Sebastian Bach.
