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Show The Salt Lake Tribune, Sunday, October f r; 10, 1982 Jazzman Joe Museolino prospers in his adopted Salt Lake home By Tom McCarthey Tribune Staff Writer cus for the arts are the norm, saxophonist and bandleader Joe Museolino has more work than he can handle "Work just keeps coming in every day, said the man from New Jersey who has made quite a name for himself in Utah the past few years playing jazz of the highest caliber. In fact Museolino thinks he might be saturating the local market. Im a little concerned about overexposure. Therefore, Im trying to broaden our base by getting out of town more. Widening Territory He said he has taken his band anywhere from three g to such to nine musicians at a time places Sun Valley, Wyo., Lander, as Nev., Jackpot, lately Idaho, Elko, Nev., Moab and St. George In these recessionary times where budget dark-haire- d far-flun- At U eber State College Vienna Symphony plays Monday For the second time in as many weeks, Weber State College will bring a visiting international orchestra to Ogden when it presents the Vienna Symphony Monday night. The concert will begin at 8 p.m. in the Val A. Browning Center for the Performing Arts on the WSC campus. The Vienna Symphony is less well known than the Vienna Philharmonic, but it has a distinguished history of its own. The orchestra traces its roots to the turn of the century when the Wiener Konzertverein (Vienna Concert Society) was founded and Ferdinand Loewe, a pupil of Anton Bruckner, led the orchestra. (Loewe and the orchestra premiered the unfinished Bruckner Ninth Symphony in 1903.) In 1913 the orchestra moved into the rebuilt Vienna Concert Hall. Following World War I, the Wiener Konzertverein merged with the "Wiener Tonkuens-tle- r Orchestra, and in 1921 was renamed the Vienna Symphony. Following Loewes death in 1927, Leopold Reichwein and later Oswald Kabasta assumed direction of the orchestra. During this period a number of distinguished conductors, including Furtwaengler, Clemens Kraus, Walter, Knappertsbusch, Richard Slrauss and Szell appeared with the orchestra. Post-Wa- r Developments Following World War II, the Vienna Symphony Association was founded. In the post-wa- r years, Herbert von Karajan has been a major influence on the building of the orchestra, though he has never served as its music director. Wolfgang Sawallisch served as music director from 1960 to 1970, and Joseph Krips followed him as musical adviser. Carlo Maria Guilini directed the orchestra for two years beginning in 1973. Other conductors associated with the orchestra in the post-wyears have included Klemperer, Boehm, Jochum, Ansermet, Sargent, Andre Cluytens and Fortunately, with the different size bands we have a different repertoire. We can play for a young crowd, an older crowd or a mixed one and make everybody happy. Joe We want all of them to have a good time, explained, adding that the musical entertainment can make or break a lot of occasions. According to Museolino, the band chooses its material carefully, performing the timeless standards such as Boogie Woogie Bugle Boy, Chattanooga and In The Mood, while constantly Choo Choo adding newer songs. He said the band always gets the biggest response from audiences when it plays the big band music of the 1940s. Credits Quality Asked w'hy he thinks his band gets a lot of gigs, Ours is a Museolino straightforwardly replied: quality act with the best musicians in town. Rebecca whose father played accordion in a New Mummers band, believes it is a fallacy that Jersey "quality cant exist here. In fact, Museolino thinks Salt Lake City will take off as a real Western culture center during the next decade. Its an exciting time to be here. Im psyched about it, he said The Joe Museolino Big Band will perform the music of Glen Miller in the Kimball Art Centers main gallery, Park City, on Friday, beginning at 8 p m The evening's activities will include a demonstration by Arthur Murray dancers and a swing dance congest For more information contact the Kimball Art Center. Museolino, Music calendar ar Abbado. Christoph Eschenbach, the famous pianist who since the 1970s has been building a parallel career as a conductor, will be on the podium for the orchestras performance in Ogden. He has been associated with the Vienna Symphony for a number of years, and in Europe he also has conducted the major symphony orchestras of London as well as the Bamberg Symphony, Bavarian Radio Orchestra and the Amsterdam Philharmonic. He made his conducting debut in the Anton Bruckner Third Symphony in Hamburg in 1972. This season he will make his debut with the Berlin Philharmonic. U.S. Orchestras In the United States he has conducted the Boston and Chicago Symphonies, the Cleveland Orchestra, and the New York and Los Angeles Philharmonics, among others. The Vienna Symphony's Ogden concert is part of a three-wee- k U.S. tour which also has included performances at Carnegie Hall, New York, and the Kennedy Center, Washington, D C. For program details, see the Music Calendar on this page Terry (vocalist) is a dynamic performer People just love her Museolino came to Utah from New Jersey at IS to enroll in the Westminster College jazz program When he graduated in 1975, Museolino said "there wasni much happening around Salt Lake City in terms of 1 saw an musical happenings opportunity to get in on the ground floor, he said And get m on the ground floor he has Muscohno believes he has dispelled the myth that musicians can t make a living playing in Utah It can be done," he noted, adding- I think I proved that In addition to playing, Museolino is now fully involved m the writing, recording and booking aspect of the music business. Booking Agency His Musk Music Productions is a booking agency in which people wishing live music can phone up Joe and request a band If he is booked up, then Joe will gt a similar band" to play. People take my word for it, he noted. He is also working on doing some television and radio spots. That way there will be more work for me and for local musicians," he explained Salt Lake Chamber Ensemble, Sunday, 5 p.m., Church of the Good Shepherd, Ogden; Tuesday, 8 p.m., Utah Museum of Fine Arts, University of Utah. Richard Stout, violin; Ricklen Nobis, harpsichord; Ench Graf, flute; Mitchell Morrison, bassoon. Program: Quantz Trio Sonata in D for Flute, Violin and Continuo; Loeillet Trio Sonata in b for Flute, Violin and Harpsichord, Henry Wolking Suite for Baroque Ensemble (World premiere); Purcell Trio Sonata in F ("The Golden) for Flute, Violin and Continuo; Jan Dismas Zelenka Trio Sonata III in B flat. Vienna Symphony, Monday, 8 , Browning Center, Weber State College, Ogden. Christoph Eschenbach, conductor; Haydn Trio, soloists Program: J. Strauss p m Overture from "Die Fledermaus; Beethoven Triple Concerto in C, Op 56; Brahms Symphony No. 1 in c. Op. 68; J. Strauss Waltzes from Tales of the Vienna Woods. Dynatones, blues and soul music, Tuesday, 8pm, Kingsbury Hall. The band also will perform at Park Citys Cowboy Bar Wednesday through Saturday, 8 pm. nightly. Marilyn Mason, organist, Tuesday, 8pm., Provo LDS Tabernacle. Program- Jean Francois Dandneu "Magnificat; Franck Deuxieme Choral in b; J S. Bach Fantasia and Fugue in g; Reger Em Feste Op. 27, Burg 1st Unser Gott, William Bolcom "Three Gospel Leo Sowerby Preludes (1981); Pageant (1931). Olivia Newton-John- , pop, Wed nesday, 8pm, Dee Events Center Weber State College, Ogden Jack Daniels Silver Cornet Band. Wednesday, 8pm. Chase Fine Arts Center Concert Hall, Utah State University, Logan. Utah Symphony, Friday and Saturday. 8 p.m. both mghts, Symphony Hall. Robert Henderson, guest conductor. Program- Boyce Symphony No. 5; Dvorak Czech Suite; Stravinsky Suite from "Petrouchka Mormon Youth Symphony and Chorus, Saturday, 8pm, Salt Lake Tabernacle. Robert C Bowden, conductor; Roy M Darlpy organ Glinka Overture soloist Programto Russian and Ludmilla. Schubert Mass in C, Saint-Saen- s Symphony No 3("Organ" Friedheim Awards hint return to tradition Bv Daniel Webster Knight-Ridde- r - nows Writer How com-jmseWASHINGTON get their music played is one affirmation of the power of improvisation. There is no orderly way, no channel through which a composer can enter his score and expect a performance at the other end. There are, instead, commissions, competitions, friendships, casual arrangements between composer and performer, hopeful offerings of scores to conductors and producers, university support of faculty. The uncertainties of performance tend to enforce regional limits on composers, who have to live somewhere and depend on the nearby performers to realize their scores. How can audiences curious about the music of America today sample the product or even get a hint about trends and directions? Widening Experience One step toward widening the experience of new music has been taken in the Kennedy Center Friedheim Awards Supported by a pm ate gift honoring the memory of pianist Ignaz Friedheim, and encouraged by the setting of the Kennedy Center, the awards provide, for a day, a showcase for and implied national approval of the music played. The program is five years old Its process is thisPerformers, critics and scholars an nominate new works to the The committee win (ommittee the nominations, picks 10 semifinalists, narrows that list to five, and has the final five performed at the Kennedy Center. Three winners are picked to share 17,500 in prize money. In five years, the program and the process cannot be seen to have provided a true barometer to musical tastes and trends, but it must give some hints. Those hints may also reflect the interests of the judges who make the final choices, a board headed throughout its history by Irving Lowens, critic and music historian. Winners over the years have been established comfamous names, really posers who represent middle ways through the aesthetic of modernism No Big Names In the awards made here Oct. 2, the choice skirted those big names to focus on Gundaris one, 50, a Latvian who teaches at the State University of New York in New Paltz. Pones single-moveme- work for orchestra Avantil was head and shoulders above that of the nearest rival. David Del Tredici, whose Happy Voices won second Cash awards make such comparisons possible when compositions do not compete. Each composer strives for communication through technique, which evolves through experience and testing. If one piece seems better than another, it is because it expresses some emotional state vividly and in a way that can be shared by a variety of listeners DvTiatones back Pones music went beyond the other works in its materials. The metrical complexity was such that two conductors had to guide the contending parts of the orchestra His keen sense of timbre and its atmospheric implications of s sonorities made his use of an expressive element in his music. Beyond the Norm His work evolved, he explained, from having written Avanti! into other scores in an effort to urge performers on to a level of playing beyond the norm. By making that the motto for the whole piece, he had managed to create an ecstatic work full of bold instrumental groupings. His music is not a part of the radical left or right in music Embedded in the orchestral textures is a resolute use of tonal structural devices, a use of broken chords and ostinato that fit his music into the grand tradition. Near the end, the voice of the cuckoo sounds and a chorale emerges in the woodwinds as if the composer were musing over the paradox that however much he can urge the musicians forward (avanti ), the goal is finally related to the past The means are probably less important than the end. Pone, in this work, expressed such unrestrained pleasure at the orchestral means at hand that his own excitement could be felt in the hall. The percussion effects, the delicate string songs in the middle, the dense textures that refined themselves into vigorous unisons all pointed to music as celebration, and that is what Avanti! came to be. Alice, Again his first v ithout voices for a decade at least, is part of his continuing writing about Alice in Wonderland. His is an elaborate "Happy Voices fugue from which emerges his big tune from Final Alice, a singable ana that may be seen, when the histories are written, as pivotal in a return to melody as an element in Del Tredicfs music, music. At any rate, his music is typically virtuosic, harmonically plain and orchestraliy elaborate, even to including a wind machine. The music was technically beyond the Peabody Orchestra, which valiantly but not very sensitively played all five choices. Thomas Ludwig, 30, a Washingtonian, won the third prize with The Age of Victory symphony, a piece full of big gestures but less convincing solidity. Dominick Argentos a conscious Fire Variations, homage in orchestral textures to Brahms Variations on a Theme of Haydn, was an also-raIt was a night for melody, for affirming tonality as a means of writing, and for celebrating orchestral muscle. If the Friedheim Awards suggest any direction, it is a return from the front. The thrust m composing is toward regaining connections with the traditional means of writing, not in breaking n. links "Norman "Rockwell The Dynatones will bring its rowdy brand of blues and soul sounds to Salt Lake City and Park City for six shows beginning Tuesdav The band led by Big Walter Shuffelsworth will be at Kingsbury Hall on the campus of the University of Utah on Tuesday, head up to Park Citys Cowboy Bar for concerts Wednesday through Saturday, and then back to the Fox and Bottle in Salt Lake City Oct 17 People NEED classified GIRL SCOUTS want'&ds REUNION SH800 Young Adult Girl Scouts ages 18-3- 5 at Utah Girl Scout Council 2386 East 2760 South, SLC 4 p.m. Saturday, October 16, 1982 Norman Rockwell Exhibit October 12-1- 7 All registered Girl Scout adults, Former Utah Girl Scouts, Girl Scouts from other councils, welcome. Utah Girl Scout Council -- s taCOOMGCl) MALL Ensemble launches season Salt Lake Chamber Ensemble, from left, Richard Stout, Ricklen Nobis, Erich Graf, Mitchell Morrison, will open season Sunday at 5 p.m., Church of the Good Shepherd, Ogden; Tuesday at 8 p.m., Utah Museum of Fine Arts J |
