daily iowan (iowa city, iowa), 1980-09-26theremin.music.uiowa.edu/archived newspaper...

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· · Music Studio presents 4 new works · ., JuclHh Or..., Ar\sfEntertalnment Editor I Musk; I CRr recording. This work features an im- provisation between live and electronic recorded on tape and used a the generative basis for a synthesizer piece. The U1 School of Music's Electronic Music Studio presents a concert of student and faculty pieces for stereo and quadraphonic tape tonight, featuring premieres of four works realized at the sludio within the past year. ComP9sitions by graduate students in theory/composition include Scott Warner's "Serena I," Jon Welstead's "Quantum- piece" and an untitled work by William Heinrichs. Also on the program is William Park's "The Continuing Damage of Ignat's Brane," a work composed at the University of Northern Iowa before Park transferred here. Peter Tod Lewis. director of the studio since 1969, will premiere his "Gestes I1( : douceurs" on the concert. The "Gestes" series is related by the klnd of electronic production used as the raw material for the pieces, the first of which is available 011 a The program also includes a perfor- mance of the fifth of Mario Davidovslty's "Synchronisms" [or live instruments and tape. This is a recenl work by Davidovsky. a major avant-garde figure ba ed at the Columbia-Princeton Electronic Studios in New York. It will be performed by per- cussionists Steven SchiCk, Jonathan Williams, Robin Messer, Michael Geary and Richard Paterson. The concert is at 8 p.m. in Clapp Hall. Zeppelin drummer, I

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    I Arts and entertainment/The Daily Iowan Friday, September 26. 1980 -Iowa City. Iowa Immigration

    Fine concert marred by mishaps Lawyer St.nley 4. Kroeger 478 Aq .. 11 Cour1 BId9 16Ih , IWwwd 51. Omlhl Hebfaskl 68102

    " JuclHh Oreen AIIS/Enterlainment Editor i

    The best-laid plans, etc. , especially if 9111! is a string player. Enter the Stradivari Quartet with a pleasant trogram for its usual large. friendly Clapp Hall audience Wednesday night f- only to be foiled by the unpredic-\lble temperament of strings. ' The program was lightweight,

    and compact. beginning with a cheerful work by Luigi Boccherini 11743-1805). a prolific composer (some 100 string quartets among 500 works) ind one of the greatest cellists of his

    Though decidedly a minor tran-

    · ·

    I Footnotes I sitional figure of music hIstory, Bocchetini is nonetheless interesting, even noteworthy, for his formal in-novations and genuine melodic gift.

    The most substantial movement of his quartet in A. for instance. is the finale : It opens, untypically, with a gigue, and its short slow movement ac-tually serves as an introduction to the minuet. But despite an unsettled begin-ning, the overall performance was pleasing.

    THE D MAJOR quartet, K. 575, is exceptionally mild-mannered Mozart. studiously avoiding complexity. The unhurried charm of piece and inter-pretation complemented each other.

    The culmination of the concert should have been the Ravel quartet in F, surely the loveliest thing he ever penned and one of the great essays in the literature. In the second move-ment, however. a cello peg slipped, and the group had to stop and retune. After that. other strings, moved by whatever devilment. started to go. The intona-tion as a result became a shambles, though the players tried manfully to

    hold the work together. The audience Member 01 recalled them three times to show its Imm.grlhon and NII_ ''Y

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