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Show ArtsEntertainment Sunday, September 23, lf))0 The Daily Herald, Provo, riali B9 eaicine studies musicians iniunes Maureen McGovern comes f Singer and actress Maureen began putting her energies into musical theater in 1981. She first played the role of Maria in "The Sound of Music" for the Pittsburgh Civic Light Opera and later took Linda Ronstadt's place as Mabel in the Broadway production of "The Pirates of Penzance." Steven Holden, a critic for the New York Times wrote "amau-kree- n McGovern is a rarity in (she) has shown pop music herself to be a vocal wonder woman, at ease in any idiom from classical to jazz." McGovern, with a voice said to be capable of climbing the highest mountain, comes to the Wasatch Front to perform with the Utah Symphony Friday and Satu-rada- y at 8 p.m. in Symphony Hall. Under the baton of Assistant conductor Kory Katseanes, the orchestra opens this first Entertainment Series performance with works by Gershwin, Bernstein, and Copland. Following intermission, Mcgovern takes to the stage with her pops, jazz and Gershwin repertoire. McGovern, who is most immediately recognized for her pop music, has made an equally mark as "the quintessential interpreter of Gershwin" according to New York critic Bob Harrington. In May, 1989, McGovalern recorded the bum, "Naughty Baby." Hearing Marueen in the studio, Frances "Frankie" Gershwin Gadowsky (the Gershwins' sister) said with elation and approval, "I only regret that George and Ira are not alive to hear what you do with their songs." McGovern has made major strides since singing folk songs as a teenager in Youngstown, Ohio. Dissatisfied as a secretary after high school, McGovern felt drawn to a singing career and went on the road for seven years. During that time she hit the charts with her recording of "The Morning After" from "The Poseidon and "We May Never Love Like This Again," from "The Towering Inferno." Her next big hit was in 1979 when she recorded "Can You Read My Mind" for the movie "Super- McGovern's - .y -- - ' j performances The myth "no pain, no gain" may be as widespread in the rehearsal hall as it is on the playing field, with just as many disastrous results, according to a Brigham Young University music professor. "All kinds of injuries and physical problems result from overplaying an instrument and abusing the body," says Rosalie Pratt. She recently returned from chairing an international conference in Tallinn, Estonia, on music in education, therapy and medicine. "In just about every school or department of music, you have students and teachers who are suffering from such ailments as frozen shoulders and wrists, lower back problems, vocal nodes and throat problems, and finger injuries," she explains. "Most people are familiar with the callouses on the chins of many string players, which can sometimes be irritated to the point of staph infections and even permanent injury," she says. Some performance maladies have even gained their own colorful names such as "guitar leg" or "cello V ' it range from solo piano accompaniments to full scale symphonies. She has appeared with the St. well-respect- Paul Chamber Orchestra, the Pacific Symphony, the Boston Pops, The Washington National Symphony and the New York Pops. McGovern will perform some of her popular favorites including the "Morning After Overture" and "Cana You Read My Mind." In addition, Gershwin favorite "Rhapsody in Blue" and a Gershwin tribute will highlight the evening. To open the performance, the orchestra will perform pieces by three 20th century composers. Gershwin's "Overture to Girl Crazy," Bernstein's "Prelude, Fugue and Riffs," and Copland's "Saturday Night Walts," and "Don't Touch That Dial" will set the mood for the concert. Tickets to these performances 5 (student tickrange from ets can be purchased for $5) and are available at the Utah Symphony Box Office, 123 W. South Temple. Box Office hours are 10 a.m. to 5:30 p.m. Monday through Saturday and one hour prior to performances. For more information or to place telephone orders, call the Box Office at an effort to broaden her spectrum of expertise, McGovern In Ill III IHimi'lnlllrt "I II .TlTrMf Maureen McGovern will perform a pops concert at Symphony Hall Friday and Saturday. (GG83). service E The Box Office telephone is available Monday through Saturday, p.m. 10 a.m. to 8 urns t David Hatch will perfom in SLC m worldwide. During 1990 he will release two new discs including his favorite romantics and a recording of his top LDS contemporary arrangements with the Mormon Youth Symphony directed by Robert C. Bowden. Assembly Hall concert series free to public been broadcast on radio and television networks in Utah, Pennsylvania, Missouri, Denmark and Switzer- Friday at 7:30 p.m. in the Assembly Hall on Temple Square in Salt Lake City, pianst David Glen Hatch will present a concert free to the public. Dr. Hatch, distinguished artist and teacher, is recognized on local, regional, national and international levels. His performing career has taken him throughout the world from New York's Carnegie Hall and Washington, D.C.'s Kennedy Center to various locations in Europe, Scandinavia and Canada. Hatch has been a guest artist on several occasions with orchestras such as Utah Valley Symphony, the Mormon Youth Symphony and other prominent community and university orchestras. A sampling of solo concerts include appearances at the Basilica de Massenzio in Rome, the Church of the Madeleine in Paris, Tivoli Music Hall in Copenhagen, the RLDS Auditorium in Independence, Missouri; Alabama's Sanford University, and the UniCity. He versity of Missouri-Kansa- s has also performed in the Steinway Hall Recital Series and the Temple Square Concert Series in Salt Lake City, Utah, the Penn State Arts Series, and the Brigham Young University Summer Piano Festival. Many of his performances have land. Hatch initiated his piano study at age 3, and has since been tutored by Joanne Baker, Paul Pollei, Gladys Gladstone, Robert Smith and Barbara Elison. He has also performed in mastei classes given by Leon Fleisher, Ylda Novik, Karl Schnabel, Adele Marcus, Charles Rosen, Gilbert Kalish, Ruth Laredo, and Eugene List. A clinician and pedagogue himself, with a doctor of musical arts in piano performance, Dr. Hatch has presented masterclasses at various universities throughout the United States, in addition to several states' local chapters of MTNA (Music Teachers National Association). He is also in demand as an adjudicator for various local and state piano competitions. Additionally, he is a prominent teacher whose students, themselves, are successful public performers and have received numer awaros ous in While research continues into ways of reversing damage caused by over- - practicing, the real solution is early intervention, maintains Pratt. Early in their training, students must learn proper performance techniques as well as respect for their bodies. "Many doctors know about sports medicine, but very few of them understand musical medicine. But there's a great deal of interest now world- chest." $10-$2- man." investigating performance injuries, says Pratt. "According to Fry, musicians can have injuries rated from grade one, beginning pain and discomfort, to grade five, hopeless irreversible damage," she explains. Throughout his career, David has received several awards and recognitions including Outstanding Piano Award at Brigham Young University, the Outstanding Doctoral Student t?tvv. Award, the Outstanding Graduate Pianist Award and the Superior Teaching Award all from the Conservatory of Music, University of Missouri-Kansas City; twice in the Gina Bachauer International Piano Competition; national finalist in the William C. Byrd Piano Competition; finalist in the Midland-Odess- a Piano Competitoin; and first place recipient in various local, state and regional competisemi-finali- st tions. various wide in Rosalie Pratt "Hunter Fry suggests that performers stop every 25 minutes for at least a break so the muscles have a chance to regenerate," she says. "Performers also must be sensitive to pain signals from the body. "For example, even a superficial study of the human hand reveals a very delicate enterprise," Pratt explains. "To continue to abuse such a creation is stupid. But we don't stop to think of the consequences, so we often continue rehearsing beyond the threshold of pain, without allowing the muscles to relax." Fry also has helped develop aids that reduce the effects of rehearsing and performing. These include a post held against the abdomen that helps hold up wind instruments, thereby easing the strain on arms and shoulders, and a neck and shoulder cushion for string players. five-minu- te However, some leading performers in recent years have "gone public" with their performance-relate- d problems. These include pianists Gary Graffman, Leon Fleisher and Byron Jones, notes Pratt. Her own career as an acclaimed concert harpist was cut short by arthritis, a condition she believes could have been aggravated by her practice and performance schedule. The medical profession has been slow to recognize the existence and scope of such injuries, but the idea is rapidly catching on, says Pratt. "Many doctors know about sports medicine, but very few of them understand musical medicine," she says. "But there's a great deal of in perinterest now world-wid- e formancerelated injuries," she notes, pointing to clinics in Illinois, Denver, New York City, Cleveland and San Francisco that now cater specifically to injured musicians and performers. One of the specialists at the "Instrument manufacturers are also now considering altering instrument design to reduce physical stress," Pratt adds. "This sort of research must continue." But an understanding of the trauma potential in performance must extend from performers to teachers and directors as well, she says. "You can't train young performers to have good practice and performance hygiene and then send them to conductors who Pratt chairs the Committee for Music in Special Education, Music Therapy and Music Medicine for the International Society of Music Education. In the fall of 1991, she will become the first editor of the International Journal of Arts Medicine. ." Australian conference, plastic surgeon Hunter Fry, has made an international carer of David Hatch performance-relate- d injuries." names." Estonia Through the merits of his teachand recording careers, David was selected one of the Outstanding Young Men of America in 1983 and was later nominated by six United States as one of the Ten Outstanding Young Men of America for 1984. ing, performing competitions. A recording artist of seven albums of classics, Christmas, and religious music, David has generated a large following of listeners The culprit in these cases, Pratt insists, is long, uninterrupted pracoften two hours or tice sessions mandated by overzealous longer and uninformed teachers, conductors and sometimes even the performers themselves. While most musicians have suffered the effects of at some point in their careers, they often hesitate to discuss it. "They fear a conductor may not hire them again, or that they will lose face with their peers," Pratt says. "Ever since I expressed an interest in this area, I've had an almost daily barrage of questions from musicians who are having problems," she adds. "Many are obviously reluctant to talk about it and ask me not to repeat their WEBER STATE OFFICE OF CULTURAL AFFAIRS presents Hatch resides in Orem with his Paula and their four children. SPECIALS STAR-STUDDE- D wife, VAL A. BROWNING CENTER FOR THE PERFORMING ARTS AUSTAD AUDITORIUM -- 8 P.M. "Center of Cultural Excellence" UTAH VALLEY SYMPHONY Presents "B'lllianl virtuosity and CONCERT SERIES OF EVENTS THE "One of the world's greatest ensembles PROVO L.D.S. TABERNACLE CONCERTS 7:30 P.M. CONCERT SCHEDULE - ( Ift "Ij " ' - - ) " T-- . - ' J , SALE r DEE Guild Students Senior Citizen IWON., OCT. 8, 1990 RESERVED SEATS: $14-5- MOSCOW MCY Showcase o' BOLSHOI tuv dassics staged .vm''1 SAT. , orL OCT. 'les'', 27,1990 RESERVED SEATS: A 5 S24-S- ,r:a ij' OFFICE 0 ..',iv i pi'S'-e- aiuac 23 JANUARY 1991 24 JANUARY 1991 OUTSTANDING YOUNG ARTISTS IN CONCERT " dVoundmg amuS'ng. ar" iccom TICKET .t .r'n. d"C .mraom all vV" M0N.. NOV. 19. 1990 RESERVED SEATS: S13 - S5 WEEKDAYS A.M. 9 Jhe TO 5 P.M. Name Address I 625-85C- "C rungs Singers 0 .c"e M1.. i'OASSind s'iowma"shic ..":c'D'Omsing WED. JAN. 23. 1991 RESERVED SEATS: S14-S- 7 s30.00 20.00 City 10.00 8.00 Family 8.00 900 INDIVIDUAL CONCERTS: General Admission liolshoi Ballet Master CENTER SEASON TICKETS: Student Senior Citizen Directed by SHAAffL YAGVDm EVENTS CALL SYMPHONY TICKETS Family Individual reserved Single l I! ORDER FORM I of ON A Panorama of American Music from Bernstein to Gershwin to Blue Grass r Wally Stars the COVIET r at t tnno NOW 17 APRIL 1991 POPS CONCERT Christmas Selections featuring BRASS WORKS OF BVU Peter and the Wolf Serge Prokofiev v ; TICKETS Vacations of a Rococo Theme Soloist Roger Dnnnaii-CellTchamovsky 1812 Overture win Real Cannons m Concert by Karl & Diane Furr 5 DECEMBER 1990 6 DECEMBER 1990 CHRISTMAS CONCERT S$fJ' 8U SEAT TCHAIKOVSKY PROGRAM Sibelius Concerto lor Violin and Ochestrs Donna Fairbanks Soloist Capnccio -- RESERVED 13 MARCH 1991 ALL 10 OCTOBER 1990 GALA OPENING CONCERT " ensemble playing 1990-9- 1 s4.00 3.00 3.00 C 1 . BUY Kindly make checks payable to Single Student UTAH VALLEY SYMPHONY C0 Beverly Dunford Business Manager Total Amount Enclosed 461 East 2875 North, Provo. $ L .Phone 377-699- 'od'wo-- i EARLY pe'Dtt ..: FOR Utah 84604 HI I.GARIAX BEST SEATING I SELECTIONS! YITIOYU I'OLR EYSKMBLi: 5 I kL THURS., FEB. 28. 1991 RESERVED SEATS: $14 $6 -- V .a. . I |