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HomeMy WebLinkAboutItem #73 - Discussion Item1 • rS� ? •; rim 1 t 77 Jose Serebrier, Artistic Director OCTOBER 14-30,1984 UNIVERSITY OF MIAMI SCHOOL OF MUSIC s 0 Festival of Americas mawsucceed QII • where New World failed Miarni 111=11d. Sundry. hoe 3, 1"4. The New World Festival only con- firmed what many thought obvious — that Miami is not a cozy festival site. !y JAMES ROOS (knlQ Mw,c CrIdc MDiami Is back on the festival �1 wo years after the failure of tAe New World Festival of the Artt, the University of Nam! last week an. pounced the complete lineup of Its International Festival of the Ameri- cu. scheduled to run two weeks, Oct 14.30 The festival focuses primarily on music, though Its creators — Dean William Hipp of UM's School of Music and Uruguayan conductor and artistic director Jose Serebner — hope It will eveatualll encom- pass all the arts Nevertheless, a glimpse of what may become an annual event makes It evident that music — especially contemporary music — is the festi- val's claim to attention Elliot Can- er, Gunther Schuller. Carlos Surl- aach and Otto Luening are just a few of the major composers who will be involved The American Symphony Orchestra from New York will be on fund to pity music of Charles Ives And half a dozen chamber groups, ranging from Mexico's Lat- in American String Quartet to America's Boehme Wind Quintette, will perform US. and world pre- mieres This may seem a trifle esoteric: In fact, the fetu�al'z showcasing of the contemporary appears. on the face of It, penlously close to the New World Festival's approach, which chalked up some notable at. Ustic successes but failed to attract many ticket buyers So why should this festival suc- ceed where the other didn't? Be- cause the Fesuval of the Americas' success will depend largely on its academic character The success of most festivals, in truth. Is deter- mined by their basic character. Puerto Rico's Festival Coals, for lairtance, flourished while Casals, the great cellist, was its fountain• head, catalyst and instrument of revelation But it faded and hasn't amounted to much since his death. Why? The roison d'elre of the festival was the opportunity for world- fa-mous musicians to collaborate in chamber music with Casals Today, the festvval (in progress through June 16) is just a senes of concerts played by the Puerto Rico Sympho- my with noted conductors and solo - LAW ibis money rap, of coupe. umpo- rahly buy a festival presUse (note the New World Festival) But mon- ey can vanish Mexico's huge Festi- val Cervantlno was bnefly this hemisphere's Salzburg But it col- lapsed with the thud of the peso and the goverawnt of Jane Lopez Par- tlllo. Lopez Pon1110 lavishly funded the festival to serve "a ehowwe for Mexico's new oil wealth. But It was too luxurious an enterprise In coo. eept — involving international dance, music and theater companies of evrry description •- to meaning- fully operate on a smaller scale The New World Festival, for all Its emphasis on the contemporary and world premieres, was can. eeived as a commercial event aimed sot only at enriching Miami cultur- ally and projecting a new Image for the city, but at attracting tourist dollars — which it didn't. However, a university -associated festival, such as the Americas ►esti• val, has an obligation to present programs that are intellectually challenging, and no tUgma need be Attached to an essentially noncom- mercial enterprise for Its failure to draw big crowds. An even stronger reason for opti• mism, however, Is that the Festival of the Americas is not being overly ambitious. Where the New World Festival began by embracing all the arts with a budget of $5 million, this new festival's first -year budget it just $325.000. Moreover, last week, according to Hipp, all but $125,000 of that budget was already covered, much of It in In -kind services donated by the university. The rest is expected to be readily raised through corpo- rate and private contributions. In addition, to financially break even, the concert halls used only average 40 percent of capacity throughout the festival, and most of the contemporary concerts, unlike the New World Fesuval's, will be free. Alan, ticket prices to other events will be reasonable Where an open• Ing night ticket to the New World Festival cost as much at $100, the highest -priced ticket to the Festival of the Americas will be 515 (for the opening symphony concerts), and most tickets will cost just 610. This doesn't mean the Americas festival isn't potentially a draw for tourist dollars. Given the budget and big -sole community backing, It could display International talent In all the arts, as Minotti's Charleston gpoleto festival already does. True, the New World Festival on- ly confirmed what many thought obvious — that Miaml, a $prowling city, Is not a cozy festival site. Charleston, with Its cobbled side- walks and Intimate theaters, is a eharmlog festival city, as apparent- ly is San Antonio, Texas. The San Antonio Festival, which annually Imports the Berlin State Opera and Ballet, has made Its name In just two seasons by mixing Euro• npeeaapn with local Went and by flaunting a festival theme involving theater, opera and ballet — last year Salome, this year Carmen. The Festival of the Americas, however, believes it can make Its name through flexibility in pro - ``ramming, aided by the fact that Miami Is a gateway to both Europe and the Americas. This makes imaginative mixing of artists and music from both hemispheres feast. ble. In fact, though the focus of this first festival is new American and Latin music, masterworks by Haydn, Moon, Beethoven and Tchalkovsky — Europeans all — are featured prominently (no doubt, pansy as sugar-coating) on most festival programs opposite contem- porary works. Nor has jau or popular music been entirely Ignored. Paqulto D'RI- vera has been booked with the UM Jars Band, and as a salute to North and South Americas, the Montreal- hosed Quartango group (composed partly of Latin- Canadians) will play tango music wlth dancers. Next year, In fact, Serebrier says emphasis won't necessarily be on contemporary music at all. And al- ready this season a gesture Is being made toward Including the visual arts In future festivals by importing a work by Mexican muralist Raino Tamayo. Meanwhile, Serebrier and Hipp are reaching out to the local com- munity by Involving music organi- rations (the Miami Chamber Sym- phony, Miami Civic Music Series and Miami's Friends of Chamber Music) In several festival programs, setting a precedent for the future. Now the wider community re- sponds to their efforts, of course, is crucial to the festival's future. But by beginning with a manageable budget and still offering quality musical experiences, this first Americas festival Is helping to en- sure there may be another. eventually will encompass The arts. ...and on the festival trail 91 And here comes another festival, in this city of festivals. This one means business, and It's definitely on the sober side. It's called the International Festival of the Americas and Is under the aegis of the University of Miami. It's heavily oriented toward music, and it will all Sardrier happen between Oct. 14 and 30 at Dade County Auditorium, Gusman Hall on the university campus and the First Unitarian Church. The people who will guide the festival met Jose Serebrier this week at a U-M faculty club luncheon emceed by William Hipp, dean of the school of music. Serebrier, a conductor of world renown, has been named artistic director of the festival. He's originally from Uruguay. Festival leaders aim for around 2,000 subscribers to the first annual event. If you're familiar with such composers as Elliott Carter, Roque Cordaro, Otto Leuning, Carlos Surinach and others, you'll probably rush to sign up. If not, well, the festival may be too esoteric for your tastes. Serebrier wants Miami to know that this new festival is no mirror to the late New World Festival of the Arts, which cost $5 million. This one will cost around $325.000. and most of that will be "in kind" services. There'll be world premieres of works, too, but they won't be commissioned as they were for the New World. They'll all be volut)teered. Herald sc Lively Arts Me day, Ap�'1. 111114 UM plans Festival of Americas The Istarnational Festival of the five" tttttsical world premieres are Americas. a new three-week arts Pad. and that contemporary -- composers Among those writing festival with strong emphasis on music will be "healthily repro- repro -James J mew works for the fewval are $5-yeer•old Otto music. will be bold in Miami Oct. seated." both warborse and sel• ISNov. 2. Spop• dom•beard works by Hoyda, Mo• �OS .�. Luedmg, see electronic music pfo not by the Uni• son. bw tavtn and Tdsalkovsky versify of Miami, will be programmed throughout the _Pedro seer. slid the Uruguayan comp,ser Ipudte Gunther Schuller, flee tettivai, thra weeks, and each year the which promises festival will Iona os the music of bIl>Z� EroestO Halftter, Roque Cordaro and Carlos Surinach are a raw of to be an annual three of four great composers. the other Partidpaties composers. event, is an Out- He also noted the Fastival of the To Indicate the featival'e interest ' growth of the Anionic" will not be a "star s school's Latin festival" Partly due to Its initially and in future seawas will lsvite Participation of other South Florida In eventually broadening Its scope to Include the visual arts, a 44•toot Amman Music Mall budget. Festival, begun Unlike the New World Festival of universities and music orpaim• Lions. work by the Mexican muralist Rutiso Tamayo win be displayed at in 191112 by UMI the Alta, which in IN2 presented music protector world premieres of eootemporary Though full alkalis of tots rali's the Lowe An Muneum. 6sesbrier Lucas Drew, and music, theater, ballet and open on a programs are aUU being worked jag Alm, s and pWAu perlor• the brainchild of 55•miWoo budget, the Festival of nut- the National SYMPbony Or- mantes We planed, includiag the UM music divan. William Hipp. and the Amtric"' first -year budget is the Uruguayan eooductor•compaw just 8273.000. largely Im "fa kind" miestta of vend+ has been booked. NW.tbe festival is aegoUllf. appearance of a montral-baeed saamblt, specinUsg in the kind of at. Jose Serebrier. who is artistic services from the Udv"Wty of Vt with a noted US. orchestra, tango MUSIC eumenUY Popular in director. Miami. which will provide feculty According to Senbrier, though alb student ensembles. Plus the ate Tbt Compoesrs String Quartet, a nationally actWmed group. OMY South Americas dghtspots. at festival val will foon the fact of its Guna Gunman Coon Hall, for "Mimi will per(orts the complete ittring guar• The gg Chamber Symphony, that Is the gateway to the performances. Dade County Audito- Carribean. Mexko and LaUo Ameri• Mum will be the site of tbt festival's American lets of Composer Elliot Gnat. whore woodwind quintet M of Chamber Music, Civic Music Association and Fist Unitari• is Intended as a Opening "ODVtrall" include will also be Performed by the an Chumb of South Mlamj am lour to panldpetion In futureSessions,ClOwas atYOns, Serebrier Wit 60thm Quintet. aria OrgamtuUOta that WIII Plrtjti• by Gn"as"well "US. artists. the festival plans to make List OI He hopes It eventually will take on Gusai n Cultural Center dowp• "widely Interestingly. this is mot the first time Carter's difficult quarwu have Pate by Coordinating some series Pulorm&nm with the festival. a international character," town. Mums Beach Theater of the Isis lvingwort European plus other an. PerfoiOCAti mung Arts other use beep performed complete in Milani. The JWlbard Admictiop to most of the ooptem• notary m;Pcgae7Sf:n'1MSthJc,1w'eUjlj bia tsts worldwide la lean, even In this locations. Atrady tbla year, It wiU tintyear,aneffort is being made to Present p►olecsional chamber en• prgeptsp them several yawnagofortheTbt Friends of Chamber Music. ewillbe tree. tooa the festival brondea tAe lestival's scope. sembles and orchestras not connect• Though Screbrier said -lour or ad with the University of Miami, tarter, however, winattendthefeatvval,and aba# with a doges other sOe g15, ticketmwooher festival eveou be Doted win ilo. fjin�ron �imc� JUCY 12, 19f 00% ra Why University of Miami means music Dr.'ti'llliam III" oa weak edecatbs aced the latersatiosal Festival of the AMerloas. Dr. William Hipp is dean of the School of Music at the University of Mlamt. Coral Gables, Fla . one of the leading music schools in the United Stotts. Dean Hipp was in Washington recently to receive the CiDEM award of the Organization of American Statesforfoundinji the International Ftstivitt of the Americas in South Flor- ida. He was interviewed by Washington Times Adusic Editor F Warren O'Reilly Q: Why art yea having as lartenso. basal Festival of the America# In F'lor- W instead of in Washington, the headquarters of the Organization of American States, or Is New writ City, home of the American Symphony Orchestra, which will perform the "using eoseens of your festival? A: Well. certainly Washington would bean appropriate location. However, Miami Is really an incredible interna. florist city. the gateway to the Carib- bean and South America Miami and Washington, incidentally, have a few things in common neither has any heavy industry, both see thousands of people come for & part of the year to a city they don't consider home, both have thousands of residents whose pri- mary language isn't English. The influx or Hispanics to the Miami area has created a very exciting cultural mix there, and inaugurating this festi. cal to simply the university's way of recognizing that mix and building on ii Q- The Utdversity of Mlatal Is spw Nrissg this festival, and ant the city of Miami or Dade County? A: The festival was not instigated by Dade County or arty of its many cities. However, the governmental entities there are in support of the festival. While the festival doesn't begin until Oct. 14, we've been gradually building a very strong base of support among local governments Q: Two years ago there was an ambl- tioue New World Festival of the Arts Is Miami that won artistic praise, but was a terrible rlaaacia. flop. it's quite aenralteoas of yea, isn't It, to start a festival M the heels of that a rper- ram? A. In some we" that may be true, but 1 wasn't in Mains at that time. Now, the festival we are starting is ant patterned after the previous fes. tival; it ia far more modest can that our budget is less than 10 percent of the mw before, and it occurs at a different time of year. Oct 14.29. instead of in the summertime Q. And yet, lure the other sm. yea are presenting a broad spectrum of Musical activity, Including a great Many works of contemporary musk. Don't yen have something like a dozen living composers from North. South and Central Amerks coming to take part? A. Ttatti eor rect, and we are very plessed about this. 1 should point out that the festival doesn't have the term "music" in Its title, though music is the principal element in fact, the very opening of the festival will be an exhibit of a gigantic mural by the Mexican painter Rufino Tamayo It was commissioned by Smith College some years ago, and is a very strong, impres. sive work Of the 23 events in the fes- tival, 11 are free, with most of the adventurous programming of contem. porary music occurring at the free concerts Q: We certainly haven't omitted Beethoven or overlooked lighter music entirely? A: We have tried to have the festival In stony ways reflect the diversity of the Miami community, and we'll be dealing with particular components of our community each year This first festival ranges from jazz saxophonist Paquito DiRivers and the University of Miami's prize-winning Concert Jazz Band, at one end of the scale, to clas. sical chamber music at the other. We have a charming group named Quartongo from Montreal, an ensem• ble nude up of Hispanics who play in the Montreal Symphony, who got together a few years ago to play the classic tangos We also have the young Latin American String Quartet from Mexico City. the Composers String Quartet from New York, our own resi- dent Chamber Players of Gusman Hall; the Boehme Quintet. and our own Percussion Ensemble Also. we have the University of Miami Singers and Civic Chorale, and the Master Players from Switzerland,Besides the American Symphony Orchestra, we hie our University of Miami Sym- phony and the Miami Chamber Orchestra. We don't plan to limit our music to American composers only, but will Include something of our Western European musical heritage, which is at the core of our culture. Q: Most people don'tthink of Miami, a much younger city than Washington, as a cultural center, tbough It's only since the Kennedy Center was built that music has become such so Important pan of cultural life here. What role is the University of Miami paying In South Florlda? A: For the past two years preceding this, there had been a festival of Latin American music founded by Professor t+icas Drew, who teaches double bass We discussed the need to broaden the scope of the festival. and I brought in Jose Serebner. the noted conductor and composer, who grasped at once what we were trying to do Mr Sereb- ner became quite excited about the concept and agreed to become artistic director of the festival And Iona before 1 came to the university, the School of Music had sponsored the nation s first major Gershwin Fes- tival and the Charles Ives Centennial Festival. 1974.75. the most elaborate tribute ever accorded an American composer. And we cooperate with the Chopin Foundation of the United States to its annual Spring Festival and the American National Chopin Competi. tion held every five years in Miami. Q: How did the University of Miami's School of Music reach the position of being able to operate a major resmal? I doubt that many peo- ple In Washington have ever heard of It. A: Actually. with nearly 800 majors it is one of the larger schools of music in the nation, and probably the largest at a pn%atc uniwrsily Our school pioh"hl% Iws one of the mu.i diverse act, or curricula that you i:jn find in any university. Among the mom innovative programs that have di vel- oped there are a very strong jazz pro- gram. music merchanditing, and music engineering. The University of Miami was one of the forerunners in devioping a music therapy program. it has a 30-degrce program, through to the doctorate, including some nation- ally recognized work in composition and performance areas. Also. I should mention that we are designing degree programs in ethnomusicology. focus- ing on the music of Caribbean and the Latin American countries That is a major priority. Q: If It's a private and not a state school, that means the goo music majors are paying high tuition fees at Miami when they could go to a good state school far more cheaply? A: Yes, that's correct. A school has to have a lot of attractions to attract stu. dents willing to pay basic tuition of S6.900 a year. and we are fortunate in being able to be very selective about admissions The faculty is the true test of any school, and we have one of the best. Q: If they are paying that much to go to school there. they must expect to get good jobs afterwards- W hat happens to your graduates? A: Our graduates are in major orchestras. opera companies. universi. ties and all sorts of music organiza- tions all over the world, which is remarkable for such a young institu- 7% Minimal Barak / flatw*y. Qetaber Is. im Festival offers `New Sounds' by JAMES RODS Mod/ shale OPM Among the to M Inaiguiag "New Sounds From MluW"— the fonrtb concert of the International Festival of the Americas —were Antonin Herdndez-iltaso's Pre - hide and Dance for Csibon Percus- sion and Don Wilson's intro-W Cycle Number 2. Nersindes•Ussao, who is City of Miami Coordinator for Cultural Affairs as well as an accomplished composer, has bad many works performed in Miami during the plane decaf or so. But 9W one, beard Thursday might In the UM's Guarneri Ha seems one of his best. It Jumpoap mysteriously bushed introductory measures with a riotously busy. occasionally explosive, melee for percussion, evocative of all the flavor and color of primitive Cuban music — which usually has a boogo lurking somewhere is the background. Fred Wickstrom and his 11M Percussion Ensemble brought off the composer's strong stylization with enormous elan. star nit served and vociferous applause from the near•250 new -music music RGW@w buffs who turned out for the concert —a uuu but eothuslutic audience. Wllsoe's score. which capped the evening, beta considerabk interest. tolk in the composer's faint electronic echoing said later• mixing of Steven Smith's rippling etaarimba and vibraphone sounds. Comparatively, the scores that awe between were less compel- Usg. John Van der Slice's Rega►dirtg Artaud was a slightly long-winded cob for flute, well handled by Tom Kennedy in Its almost son- swp turnings, which included some breathy coloration& and even speech -tones. A second hearing might belp clarify this tour nit torte. J.B. 'a Waves, subtitled Intemelated Spaces for Piano, seemed more provocative In its concept (permitting the pianist to vary the rhythm and melody of the piece) than It did in Its repetitious whirl of notes. non The University of Mrami is scarcely 60 years old. after all, and thi n ov the school has developed is some. thing of a miracle in itself The stu- dents in the School of Music come from almost every state and at least two dozen foreign countries Most of our programs have 100 percent placement of our graduates in the jot market, because they respond to a rei need in the profession; especially in music•reloted fields that require a dual preparation. Q: So if somebody wants to get a Jio In the field of music, you think they should consider the University of Sfla it as well as some of the more famous conservatories. With the root at the top limited, do many of your graduates aim for stellar solo careen or do most of them have different ambitions? A: i think our students are such a i aried group that they have a broadei range of objectives than at many music schools We offer professional music degrees which include courses in the liberal arts, a liberal arts cur- riculum; we don't pretend to be a school for everyone. It varies mostly ci ith the area of music a student is working on. For instance, a singer's voice doesn't mature physically until well after a baccalaureate degree is obtained; the undergraduate years or really for the purpose of developing hasic techniques. and further studies are necessary. A conductor is not trained in four years of college, nor la a Lnmpn+er they are lifelong pur. suits Ut course. an instrumentalist's training may have started as early as age 4. S or 6, and one can be a skilled performer even before compit ing the work for a degree. That's not possible in voice. Q: How do you rate MUSIC edseatie in the United States today compared that In Europe or ILtln America A: The philosophies are different; fortuna.ely, music is regarded as soft ciently important by our citizens and is included in the curriculum in most public and private schools. Proportio &rely. we have more people involved i music in the formal sense in our country than in the other countries y mentioned, although, of course. in Europe the musical culture is far mot established in a certain way than it is in our country For instance, the gov- ernment in European countries subsi dizes the arts to a far greater extent than does our government Q: How about In Latin America? iCk you we much cross between this coati try and Latin America at the present time? A. I frankly we less I think a part of the problem, a major part of the problem, is economic. It's very sad because there are many rich tried tions can Latin American countries. Wi have faculty at the University of Miami who are from those countries, and we also have faculty who have spent time in Latin Amenea on Ful- brights. or doing research. We an thr potential there to be enormous. Alfred Reed's Two Bagatelles for four trombones was the kind of weU-craited exercise the oars - poser is noted for, though in Its harking back, say, to the days of Gabrielil, it doesn't peer too in- quisitively into the future, eoadd• ering Reed wrote it in 1993. Nor did there seem to be much of significance In DebNs Kaun's Bocce Variations If, which data from 1975. sad features two pitmen Kass took the acme Bach cbomk used by Alban Berg Is his Violin Concerto and chopped It into aegmeats. Following the first pbrase of Es ist gene (from the cantata O Ewlgketil, du Dowwrwortl, the music baits to penult the piano woes to resonate —a procedure followed rigidly throughout the work. Although this might be a kind of pop an creation, it seems Berg used Bach more imaginative- Y. Tb Wesel Re"M / ►riaay, October H. Im Oft First-time performances thrill chamber's audience By JAMES ROOS 1M•aM M,ulr Crtc,c There were plenty of reasons for the happy ludiencr that picked the University of Mlami's Gunman Hall for the tenth concert of the International Festival of the Amer. leas. Two world premieres were elated, atoll{ with several first US. performances, and the mar. mots variety and verve of the evening augurs well for those planning to attend Saturday slght'f free program — which tecludes scores by some of the same composers. Wednesday night, however, the presence of Otto I ueoiog, con. ducting his Potowctomi for cham. ber orchestra. was a high point. The composer, who Is bd- ears yours{ and a pioneer of the electronlc music movement. turf• ed to traditional instruments two yeah ago to express his feelings shout the Wisconsin territory of kill forefathers. The piece, scored for cello. trombone, bassoon. clan• set, oboe, flute, violin, percussion and piano (four harids), is marvel• ously evocative. Its tartly etched texture Is nicked with the faint sound of rattle, and chimes, and runs a gamut of Indian folklore to eight eoociae movements, from Keepers of the Second Fine to a charmin Love Song for flute and a Dance 01 Eagles. Crows and Woodpeckers. Luening conducted with ran econ- any of style and the players responded with a lucid, vibrant performance. Not only the musi- cians, but the audience responded In Francis Schwartz's Gestos, which had Its U.S. premiere. An American composer bag resident in San Juan. Puerto Rico. Schwartz Is a man of ebullient good humor yet sertouaeu of ryrpore, concerned with breaking the barriers between audiences and performer His seven -move —score. ranging in titles from KaAa fn Rio P.M. to Trill. vs. Troviata. begins gweUy In frag- Music Review C%~ P4rw$ a Gw~ Hail s LhnY, Wm, G~ Wn ilif hft,M nd. care GIWa Pale etented sonoritles and builds to a crescendo for the full orchestra. which suddenly breaks into a collective sigh. After shaping more sighs, Schwartz swerves on his heels to urge the shocked audience Into Imitating the orchestra, cresting an uproariously funny yet musical effect When Schwartz conducts his A Festive Smite Saturday night, you can only guess what may happen — that is, how the audience will be asked to p&Mld- pale. Meanwhl le. Wednesday's concert also Included two excel• lent scores for percussion. Jost Serebrier's twice -recorded Symphony for Percussion emerged as a colorfully effective tour de force. mounting In Intensity from cymbal wisps and tremolos. to a Provocative into for drummer and a crackling Congo finale Compar- atively. Pedro Ipuche-Rlve's world premiere Concero for Timpani. with Fred Wickstrom as viruosic soloist, revealed the composer as a kind of Uruguayan Hindemith In the artringent flavor of his distin- guished scoring, notably In his use of brasses. For its part, the world premiere of William F. Lee's Masque of the Red Death. bued on Poe,, had compelling moments. But the work's almost ivesian texture — pitting a narrator IWIIOam Hind - Mani against Prokoflev Romeo and Jaliebtype dance music for singing strings — becomes over- poweringly repetitious. Also. the Involvement of masked costumed singers suggests the music cannot tell the storv. and Lee's orchestra. tion sometimes drowns out the narrator. October 23,19M The Miami Hera c Chamber hors symphony yp y has buoyant o ener p By JAMES ROOS Herald Music Critic The Miami Chamber Symphony's first concert of the season held some attractive repertory, courtesy of the international Festival of the Americas, but it was some- thing less than an unqualified success. The trouble went back to the fundamental question of whether the orchestra, after three years of existence, has enough reli- able players. in Ives' The Unanswered Question, the woodwind group, directed by Burton Dines, sounded mushy; the main orches- tra, led by Serebrier, was not too well fo- cused, either. To be fair about it, though, there was still buoyant music heard Sun- day afternoon in South Miami's First United Methodist Church. Take Sere - brier's Eroica. Josd Serebrier joined the Miami Chamber Symphony for its first concert of the season, which was also part of the International Festival of the Americas. Music Review — f Beethoven's Third Symphony is one those choices that looks hackneyed in a vance and perhaps out of place on a chamber orchestra's program. But It Is quite easy to forget Just how great a sct It is until you hear It and discover again why it refuses to languish on the shelf t f forgotten music. Primarily because he was abetted by the church's reverberant acoustics. Seri brier managed not to dwarf the score. which is brusque and powerful and rea l_ demands a full-size orchestra. However Serebrier Is a conductor almost impossl I to misunderstand. He knows what he wants, and he asks for It explicitly. Wh t- he wanted for the Beethoven was taut, compelling force, plus clarity without it of urgency. The orchestra, for the most part, gave him that, and the result was ten dynamic. True, the slow movement, w1uCh Is { funeral march, can be even more grave and deeply beautiful (though it needn't .1 a dozen deaths, as some conductors do I Nevertheless, there was a lot of nobility and fire in Serebrier's Beethoven. There were other things, of course, worth hearing. Notably Gideon Waldroli Songs of the Southwest, which boasted Ryan Edwards as consummate soloist. Waldrop, who is dean of New York'i Juilliard School of Music, is a Texan, an: his paean to the ranch country takes off from a poem by the Norwegian -America Andrew Oerke. It is a darkly lyrical showcase for baritone, set against a translucent, shimmering orcbes- tra. Edwards, who has a resonant, smooth and flexible voice, sang it with deep commitment, and he handled Mozart's Non piu andral with intelligence and a flair for characterization. Dines, for his part, opened the concert with Carlos Surinach'{ Ritmo Jondo, which remains a flamenco -streaked score of Indi- vidual brilliance. Asked by an intermission "forum" audience what he thought of the perfor- mance, Surinach politely Implied it was near enough perfection to discourage quibbling. But it need- ed more rhythmic thrust and pprecision, and more assertive handclappers. Thurailmi, October IF. 1991 /The Miami Ilerald Surinach shines in chamber concert By JAMES RODS 1Nrald Mua,c Critic The International Festival of the America first chamber eoncen booked more provocative on paper than It was In performance. The best Wag about It was Carlos Surinach's conducting of his Sinfo- nia Chico or Uttle Symphony, with about 40 well-rehesrsed members of the University of Miami Symphony. Composed in 1956 for a festival In LA Jolla, Calif. Surinach told the audience at UM's Gunman Hall Wednesday night that the sympho- py is essentially a salute to authentic lath Century Spanish music. Undeniably, the &core Is deeply Spanish in character. The first two movements. Alle• gro and Adagio, are highly remi- siscent, however, of Falls. The frenetic finale sounds more like vintage Surinach in Its waspish wit and the pungent flavor of its orchestration, which makes effec- tive use of bnttle percussion. Surinach conducted with aplomb, which is scarcely surpris- ing because earlier in his career he was a noted skilled conductor, In truth, the surprising thing is that neither UM not other area music schools have made more use of the talents of this major composer living In our midst. Nnt too much can be said for the rest of the eoncen Panamanian Roque Cordero's SoliloQuy No. 2 for alto saxophone proved to be is mildly Interesting solo exploiting the Instrument's extremes of range In the wide Interval leaps typical of atonal music, and de- spite some fuzzy tone. Gary Kel- ler's deftly phrased performance kept Cordero's abstraction from sounding like noodling Sunday, October 14, 19M Thp ♦iilmi Hrrn Globe-trotting Serebrier finds Miami' `irresistible I hzs IIwovs been interested Poser that Serebrier first galossd in long Ifren relationships with fame• s, sera, orchestra- in different And It it U a eompoaer, perhspe tnuntnes rather then st rih those more than U a conductor, that he i •,,t would tie me up." the condor. has planned the Festival of the ,nsisled Sn hI, spends his came Americas, which Is in artistic mlr- v here orchestras want him )can rot of Serebrier`s whole musical long enough to hold his Interest development. Almost every com- six weeks a }ear in Belgium, eight Poser on the program, from Ives v "ks each in Australia and Uru- and Elliot Carter to Tchaikovalty gus% four m Germany. live with and Francis Schwartz, to either Manchester's BBC orchestra figuratively or literally a Serebrier For all his globe-trotting In pur• friend. And even the American s ,lit of music. though, lust what Symphedy figures idgnlflcantly In kind of conductor is Serebrier" W history Some critics feel he locks spiri. A youthful product of Montevl• tual depth, but he hot been widely Mo's Municipal School of Music, rased for clarity in revealing Serebrier wait so gifted he won a complex scores. such U Ives' stailotal prise for composition at Fourth Ssmphoriy. which he tuc- the ate of IS The composer -critic, cesOulls recorded a decade ago Virgil Tbomaon. then on a lecture tnd w ill perform twice during the tour of Latin America, was shown lestisa with the American Sym- Serebrier's work and was to im• phony Orchestra However, he pressed be recommended young 11nds it amusing that an affinity Jost for study at Philadelphia's for certain kinds of music is attrib- Curtis institute of Music The re- uted to him, depending on what he sell was decisive. 'ronduccs in different countries. "My whole family moved with "The truth Is that I am most in. terested in whsteser music I bap- me to Philadelphia, and my aim was really to graduate as soon U " t �- - pen to be conducting." he sold postibit and become a conductor t "But in America. I have the repu- B ,when Serebner's First Sym• uuoa of a modernist and Iva ape phony won a coveted U.S prize, ' cialist because of my recording of unbeknownst to him It was c w oa is c iM w,.m, w•. f the Fourth Symphony. These per- brought to the attention of Leo- Serebrier in reheanal:'1 am most interested in whatever music I happen to be conducting.' formances with the American pold Stokowski, then conductor of Symphony, though, are actually the Houston Symphony That was aid of such now -famous friends as His most intensive conducting era " And. in fact. during the If the Urst t have ever conducted of In 1957. and the famed maestro pianist Susan Starr and violinist apprenticeship was actually done val only one work of Serebrier the Piece In the U.S." was planning to present the world Arnold Steinhardt to help him as an assistant to Antal Doran his Symphony for Percussion, t 'in Australia• they consider me premiere of Ives' Fourth Sympho- copy out the score overnight The with the Minnesota (then Minne• scheduled Yet the conductor's IW Mahler specsst because 1 did a ny. premiere, though successful, spoils) Symphony Orchestra But thuslasm for helping contempo Mahler festival for three years. As things were, though, his or- wasn't covered by the news mega- for all his desire to wave a baton, eery composers get a hearing it and In Scandinavia, especially Flo- ehestra couldn't handle the diffi. dnet because the Russians' launch Serebrter has never stopped wnt• plUn and, much like Stokow•sk load, they think my strength is cult score, and 19•year-old Jose of Sputnik apparently Inundated Ing music — tartly dissonant, in- he tries to help as he can French music because I've done a fall of Chaussom, Ravel and probe. Serebrier got a message a Curtis "Please call Leopold Stokowski in ' their es. WB However, this was the sun of terestin music of an astnn entl B R Y lyrical bent Today. with more }' "Man of the coin sera beer y po D resented a this festival. In is( bly because my name sounds Houston. Urgent Serebrier Serebrfer's professional relation. than Il)0 compositions to his creel• will be represented m a festive French. In South America and thought It was a poke — the kind ship with Stokowskl, who Later P it, including many large-scale Bcontemporary eontem r American music Row.. I'm thought o► u. Slavic his student friends often played on made him an assistant conductor works, he intends to continue ere• am Uso directing for the RAI I 1 spectaist because I've played a lot each other. But when a telegram of the American Symphony Or- ating dio 1Wlanal In Turin, Italy. vex of Tchaikovsky there' followed he took courage in hand ehestra and enlisted his aid as an "1 would ideally like to spend year. They were looking for sot Tchaikovsky. In fact. It probably and telephoned Stokowski, who explained he intended to play Ser- auxllllary time -beater In Stokow• less time conducting and more thing different, so I suggested I the composer Serebrier Pale.lets- ski's landmark recording of Ives' composing, though I also a} s will Serebrier wild, savoring the Ide. err to, If only becasiae, as a child. ebner's First Symphony Fourth Symphony, following Its want to do both things But it Sim• connecting his Miami expenemt fat beard Serewde for Strings on Not only that. Stokowski world premiere in 1965 "1 proba• ply isn't practical." the conductor with yet another country. the radio and was inspired to be- planned to play It in place of the bly learned more from Stokowski explained eufaaitaii Srwwoavoacassrur come a conductor. He made his canceled Ives Fourth, and needed than from any other conductor, "I lust don't promote my compo- wit Srot sewn AM Snww.I prodigious Montevideo debut at the parts immedialely Since there but only by osmosis," Serebrier sitions because 1 really feel better raewav w�iT�wuld, Clef. ce,nn r A.0f V asiar" Sisal ors. irile the age of 11. Yet It was U a Coal- weren't any. Serebrier enlisted the said playing music of other compos• 1 ti i p • • VQri Y/August 1984 International festival to hidhlight music, art The Universm has recently announced plans (car the Internatminal Festival of the Americas. a two week celebration of music and the art% tit far held from Oct 14 ill The Festival will feature symphnm• and chamber orchestras from the I United States. Europe and Latin America, and several national. interna tional. and south Florida chamhrr MUSK groups The music of the classics and romantics, jazz and other forms of popular entertainment will also be featured. as will dancers and art exhibits Plans include several world premieres of works to IW irth and 4ruth American composers man} of whom will attend and paroupalc "The inaugural Fr%trvjl w ill empha sire the music. mu%xtan, and it) some extent the art of the V rmern Hc'mi Sphere. within the framrwork of the great European heriugr and tradiffun.- said rise Serebrier. artistic dirrc lot cif the Festoal He acklyd. ' If will further focus on this beautiful part of the world as the crussnsads between fv<rrth and South and as a center of culture " Serebrier is regarded as one of the roust important conductors of his gen- (M hand at a roc urea J)rrss /unthewn ri•i r/ifitm tit annount r Nor /rile cal u e•rr (left to right) It itham / I et, l// prin,iut'slid r.ii•t utive rat r presufivif Jnu' St -re brill+ dirrc for o/ the Jrslo tt/, and R tlltafit //tp/, dt'art rof the ti h(led e,l Ilimli eration One of the most actise con doctors in the world todav he has Con- ducted all major orthestru in Furope. South America. Australia and Asia, and appears regularly w rah the American and it..inadtan Svmphom Ort he%tras He is among the most widely recorded artists in the classical music field, working regularly with the top Amer- ican and European recording companies Serebrier is the recipient of most honors and awards in music including a pair of Guggenheim grants (he was the youngest recipient ever), the Ford Foundation Conductors Award, the Dillon Award of Columbia University, and first prizes in numerous interna• tonal conducting and composition competitions. He has also received grants from the Rockefeller founda• tion, the Harvard Musical Association and the National Endowment for the Arts Since his early years, Serebrier has been in charge of festivals from Mexico to Michigan His Mahler Festivals and three -composer festivals in Sydney have received international acclaim Several of his Australian Festival Con- certs last yea were recorded live for release by RCA Australia and were also taped for cable television and home video markets in the United States Among the artists scheduled to participate in the UM's upcoming International Festival of the Americas are the American Symphony Orchestra of hevu Yorl. and the INasterplayers ( hamber Oft hestra from Switzerland Also scheduled to perform are the Montreal -based tango Quartet "Quar- tango" and dancers, the Boehm Qu tettte, the Composers String Quartet Paquito D'Rivera; and the Chamber Players of Gusman Hall. Several composers whose w ail is w be featured Includt-JENlott Carter Roque Cordero, from Panama; Maht Enrique:, from Mexico; Flidolfo Halffter, from Mexico; Pedrolptat4k from Uruguay; and William F. Lee Ill Also featured will be works by Antonio Hernandez•Llzaso; Otto Luening; Francis Schwartz, of Puert Rico, Carlos Surinach; Francis Thor Gideon Waldrop; and Serebrier. Subscription prices range from $100 75 for nine concerts and gal receptions, to $22.50 for one perfo ante by the Americus Symphorry Orchestra and any two additional events. Those interested in obtaining a h schedule of events, brochure, ant subscription information, may call i Iriiernational Festival of the Americ office at 284 - Z1161, or may write to thl UM School of Musk. PO. Qptt 2$81t Coral Gables, FL 33124. futoo;saocnota,tag DIARIOLASAMERICAS-PAR.II AbArfin Serebrier la American Symphony' en MiIF ami y a el Festival International de Las Americas UniversdarlO B A mien ofteter Un"o a Reer/ad of E"domento Mdnrrrfr it a Crnars on tlrr Asirdd en of idea a ltopohlo Stokowtkl on is Craft SkaPon/e /s Charles M, twit Also to to Mimi Fmft s At Nissan Ogress pit Oftit Ape/ Grin Mtelev. SeNhisr Respende isyepwtes in 01AR10 LAS AMERICAS en was Erm,*l's Exdln SI ►les Is welade Inaugural del primer 'Festival International de lot Amtricas', qoe assplels is Volversldad de Miami. ettari revestlda de on ettroordtnarlo valor grlltllco con It presencls de Is American Symphony' bale Is balots del famo- me director areguaye Jost Serebrier, el pr6elme Nees, quince de oclebre, a lam oeho de Is Bache, es el 'Dade County Auditorium'; so es aeons clerto Joe Is sceri6n tendri tsmblta macho de simbelis• we y recordation evando In miglca de Is Charts Siofosla de Charles Ives, que set& ekcalads &Ili, beer Is estancla. Y in ratio es que, preeb,meete, leers- lge- re►rier y Is 'American Symphony', gsleaes sale - Little a Stekowskl en Is dUusl6n de gists monu- mental slits, estrenads cincuents &flat despots de sea escrila, y conceblds pare one *rque$la de grades preperclomes, dividids en Tres porciomes, Jut Serebrler, n was Isle reeleste de archive. rods one de ellas re$peadlead* a Ignal mineaw de dlrettores. "Le obre es tan dUiell, que cast que no psede Le• terse". comest6 el in stairs Serebrier &I ser @sire• wivlmdo par DIARIO LAS AMERICAS: y agreg6: "Coando Stokowskl foe a eslrener rate sinlosia, estswo ensaykndols detente Ire& metes, to coal efrece perfectameate sea Idea de Ins dificsllade$ Joe elle liter". Serebrier agreg6 qae tl no lea podido comerderle &bar& tento Utmpe de essays, "porque hublera at. do lecosteable pars el festival": pero d1jo que be estado trabolando con Is orgoegta a ration de dleclttts hotel diaries. "so die los primeres visit• set, otro, $as segundos: el sigulente, let madermt, y largo los vlentes y *trot Instruments%, halt& completer Lodes las seccgoses sepsradameste". Jett Serebrier grab# origimalmeole Is Coarts Stelonis de Charles Ives pars Is compalia dis• Jerre 'Columbia', de Is C.B.S., come Segundo de Slokowskl—eslando em of letter podium el ma. estro David Katz—: y mks lmrde, en Is eliquets R.C.A., diriglesde tl solo Is obre, come Is bark shot* to Miami. En el mismo programs drl lunrs quin(e, be- rebrler rooducirk Is'Amerlran S)mphon>' en Is Fanlarrlm Americans, de Sharon Miranda: y en la Castle Slnloms de Tchalko%sky. Use welods adiclonal de role conJunlo sinloniro con Jost Serebrier en el podium lendra Lugar el wanes dlecittis. tamblen dentro del calendarlo del Festival, pero at mismo tirmpo Tonic primer programs de Is temporads de Is Atoclarion'Civir Music', de Miami. En ego ocatloa, el pianists Ivan pavlo sort el solists Invllado. Davit eJecutark 'Rhapsody In Blue', de Gersh*ln; y Serebrier dirigirs is orquesta en To Americana en Pant', del mismo compositor; ) *its ver en 1* Simons Numero Custro, de Charles Ives. Ambos conclertog comentaran a Las echo de Is *oche, to el Dade County Auditorium, y conts• fin I&mbi#n eon Is partlelpleft del MJanto TO - Cal de Is Vnlversldad de Mlaml. El primer movlmlento de Is Coarts Sinlonle de Charles Ives, basado en temas de hlmnos favori• tes del ester, esti tactile Para dos drapes dls• Unto%: Is orquesto principal, incloyendo el piano y feces; y on eon)unto de timers, Integrado par lestrumlatos de everdas y orps. El preledle comleata can go$ e*atrettsle$ tacos' do faertemente at unisons ten el Plano, es go re' glslro grove, contra el material que street de ion• do el dlslanle grope, de timers y lot (rases IBe to• tenon Jos votes, que was sleado elaborada$ beets el final. El segando UemPo es de Bus ■atwr&letm sly temple)&, coo camblostes ritmot y stelereados sabre one docens de lemes, que was entretellts- dose halls que aparece an dalce solo de violin, abroptamente Inlerrumpido por to$ metales. Y ■s froseo del piano, mis tarde, conduce & varies Os- boraelones ortiueslales alleroades con solo$ de violin. on Is ■Isms alabders que earacterito el ■owlmleste bast& line coscloye. El Letter tkape. Joe es BOB tram6eriPtl68 Or' goeslal del coakato del primer Connote de ever• do del motor. Be LOICI& cos one breve esPosiC160 Le• mAtic&, bellamente eisbor&ds es las cuerdes, has - to que Jot trombones y lot Corona Introduces an Be• oo el prime- TopEs to de errollo, el movlc mleotoat con 1 rte to on& toga, que terming slmp6Ucamemte too wee (rase de Handel em Jos trombones. El Wilton Uempo comlents ketameste COO as. peel,, ta(aslt em los laslnmentos pereativos, a We que lot contrabo)os to tebrelapose el primer native de Is obre, sobre el coal se clatters el wall• alesto esters. Pero en este apogee de sonoridedet, se pone de maeLflesto Is preoencla de Jos ices gropes per. fectameste deflaldos, Canada In orgaegta princl• pal eotra y an corn de Clete vbUoes y arps It res• posde, aleotrat time let laslrumeetos de ports• slam conUmiam to trabs)o par otra parte. Sin em• bargo, esta alm6slera de paronlgmo, en sonorid,- des y emotloaet, conkuss a sonvltarse segia se It sense lag vaces,pars trllaalneyeado to to- leesidad, baste Littler a m fleal de gran gdetad y recoglmleale. La Comets Slafemle de Cberles Ives esLA escrila Pero costre navies. dot doble naoUset,desoboes. des elartuete$, tres $ssofones, dos legatee, dal trompos, sal& lrompet,s, cwstro trombones, gotta, piano a costre =ones, solo de piano, celesta. Argo• so, Clete Umponot. Umber aUltar y tamber gas - yet. goats. Users y grave; composes, trisagelo, everdes, votes y on com)sato distaste de else* vlollnes, viols y arps, adiclosefes &I everpe princi. pal de is orquesta. Hablaode es general sebre at Festival latens- cgonel de Is& Amtricas, el maestro Serebrier dlj* Rue lee gas Idea conceblds comJoetaaemle con el Decone at Is Feculted de M611ce de Is Valveral- ded de Miami. Wllllem Hipp. "nos el prop6allo de airier In stesellin dr todos to nisei Iberommeri- canoe, shore que #$to es Is soles cludad morte• americans de mggnllad que se Uene ass orquesta staf6nice propla". "Estoy may felts per el Festival, y creo Joe vs a set de gran envergodars en el luturo", exelam6 Serebrier, qulen, es director &riigtico del events. V agreg6: "El Depsrtamento de Estado Cali may contents tambltn, porgae el Festival represents one magnifies oportaslded part tot eomposilore$ es• tadounidenses y estran)eros". M6gico y competitor de largo lrayeetorls, Jos# Serebrier he dtrigido profusamenle en Francis y Australia, donde %us programst Nan leoldo rega- laridad y sclerto en Jos ulUmos alma. Recleskmeate cottda)o'Borls Godwnov', de No- deste Moastorgsky, es Sidney; y deotro de pace participari del estreso de was slice es el New York City Opera. Y Como compositor, Serebrier Irabab em see aseve pleas arquestal, que seri estresads, aegis dile. el Pritims SAO as Nmews York. En Miami, Serebrier he side preseetsdo coo mucho ttito dursete las dot tpocas de onestra or. wquests l al de Motart, de I'Florida so vv Philharmonic'encift en el . 1979. fee on werdadero acostecimiento. Coando le pregamtamot at sceptari& vomit a for. mar one oveva orquesta en Miami, Serebrier res. pondib: "Me hublera encamlado bate algunos allos, pero par shore al carter& esti desarrollbe- dose en otras Areas y teago ys mucho% comproml- &os intern aclonales". Sim embargo, tl tubray6 que It entente el clime de eats region, y weaor squi a resslrse coo famWares y amigos. Estre gas ilUmos discos de Jost Serebrier estAn at que cooUeoe I&'Sinfonim Nimero Uno' de Jess Sibelius, con Is Orquesta Sinf6olcs de'Melbour• me', en Is etiquets R.C.A.; Y ono grabaci6o 'Digital•Tlocb' de In Oberturs 1912. de Tebalkovskl y el Bolero, de Ravel, con Is &isms segseota. Y at freale de Is Adelaide Simphosy; Se- rebrier grab6 Is Suite de Carmen, de duet. v av oice de stres maestros lranceset. 1erebrier e$U casode com Is soprame Carole rarity, on Is Joe vleme eoseebande Lrlenfes, Lee• to ea el esceaarle operAUce come on to sale de eseckrtes. El Festival International de let Aatrlcas e*mti- award basta el dia trelnts del eorrleele met, coo actuacloaea de grapes de ciaaras, procedesles de Iberoamtrica. Incloyeado'Quartmogo', de Ar- iteatima; el 26 de ottabre, so el'Gwamos' oalvetsl• Largo; y el Ceartelu LaUmosmericano, de Mt:lco, s• el mismo auditorium, e■ ectsbre 2e. Soletes, Usmando at 2e4•2141. El leases, director arwgmayo Jost Serebrier (it, junto at failecido gram meenLro Lapold* Bls• qulerd&) sp&rece to eats tote de IM estudiando ►owski. Is partitore de Is Cast&& Sloloda de Charles Ives - r Jose Serebrier Makes Music in Miami This month, a new International Festival of the Americas celebrates the region's diverse cultures Laura koplewitz When Miami found hell sit 1911: Iterelt of both in resident ulohe%Ira and its hupet lot the tun- tinuation of (tic New World Fewnal of the Arts, a cultural crnu %at at hand The Flui Ida Philharmunw had disbanded petmanentl) that year due to turtle between managemeot and pla)ers. the festival. budgeted at $5 mlimm. had collapsed in sit low n- cal Ira(►s after the first seastnt Nor. Is, o )ear %later, matters are to be rem- edied With the collaburatwin of she Umteruit of Mums's dean, W'dlwni Hipp. an annual two -week Interni- tiunal F esm al of the America► will be launched this muoth under the musi- cal directorship of conductor Jun! Screbricr. Its cunobrord taus —an emphasts on ctnucntpmat) cum)rts- ersat %ell a unyau and South Amer- ican pupular niubm—pro%odes the expecutwn of a ling and successful life Screbiwi has deugnedslsepio- gram with care A festoal-maker par ra(rllrsite. he his becti urge tiring rtnusr events since his earl) lernt inhis hometuunrit of Urugua) At 11. he Ixgan sousing South Aosciita %rah All utthesua of his Will, per- lorwurg a huudird toncrtu III hwr tears, and at 14. lie treated a festival of Anletwan muss. n, Aluurrawlro L%cr urxe, he has ►uataoted a chefs delight in noatsernundmi; lesntds rah an tniernaswsnal flavor A to local etsWee Munn [hose Sesebroel u, part tstuusc. sit 1hr %taw sr ill •buss rnserewtwtul condutmog career (he is 44t. he has appealed their he- quenils as a gust (undut tut uvri ttic Past I%col) yeah Hu aftiun) *lift !mouth Amrriuu tuhuict and list. eslensl%c cmidutnng expellence thosughom thal ctsntinrul made hnn a Magical (htswe fill a cis) this has, tectonic• a uatutil c nossitmds fur pcu- pk imni Nurch and South America aotl site (.inbttrao The Internuwnuf tebmal of the Anlericat n aimed at drawing in a maximum number of people 1 rum ill the iubcuhurrs of the Muuo area. he this in view, ek%nt of the twen t)-five events are uttered free to the public Front October Ih to So. at team eight (unductun, three urchcs- isas, iwem) cumpusen (Including Lilian Carter, Otto Leumng. and Guothet Schuller), and srtrn pupu- Us,yu, and smaller t4usital eusem• bles will u1e part (i.Imidetmg the modest budget of $351.0,00U, such diverut) is extraordinary Serebrier rejected the suggesiwn of several Miami music adrroontraturs that a lestna) would hold the gicatrst ap- peal of anists such a► Pavarutu and Domingo were brought into tuwti Instead. la has erseouuged strung mvul%enrnl b) hocal musty gtuuln rxaly hall the evetiis niclude {oral ensemble partwq,atw,u Old • mew Serelxwr'► dual identify u is cuu- ductur and it composer is per- haps limkit mlluenwl in his lesuu6 tau►Wog tit It" %radio W%rl it huls- di rd will let. (I um situ pact n fit $) m- phumes, and he katned at All Call* Age thr /mpul tatitr ill twits, I with an audsnur (Sri,►u%ales pirmrrrd his S)mphu i) NW 1 %nth the Houston Ss l,,phun) when fir was 17, ud1 a uu- drot at the Cu, to I nsnwle I Sias s Ser- ebt ier. A IIIIIA (urkrrttire run, tut • ceuful wirers the) Area cunibinarwn of the uld and the new 1 also Wort that n is impurunt for audiences to hear nwrr than one *urk of a cum. pond, it, develop it sense of his art lc Nu stun a iluu lust, of the'giral'utn- pine,s IMuurl, ltha,►uvaks. Bre- tiscnro. and Haydnl arc ititluded in The prugums this year, u, that mote shall one work of each will be played " The tame apprwch holds true for the cuniennpurar) Amen• tan. Stwih Aoinkan, acid Eusupeom tutigicssecs in the frsu%al Serebitcr lids nuniged tuxlwdule arine colso• MUSICAL AMERICA EDITION OCTOBER 1994 International Festival of the Americas World Prenderea Catka Sunnach. String Quintet Pedro Ipuche Rrva: Concerto for Timpani and Orchestra William F. Lee. Untitled work based on text of Edgar Allen Poe; )ace Ferrer, narrator Framu Thorne Ori,rrtragri[e Ne. i for Wind Quintet U.S. Preataleres Manuel Enrique:. Stnng Quartet No. 4 Rodolfd Halrfter. OcAs Taaaw for string quartet Frarwis Sehwaru: A From Soak Nestor Villa -Lobos: A choral work poser par(scrpatsun throughout the twenty-five concerts Though there were no festival-spunwred commis• stuns this year, there will be four world premieres, four U.S pre• mteres, and many local frrst•tinse hearings of new works. Ttae neasie dictates Serebrwr'b choice of ensembles %as dictated b% the music to be perlutmed, indicating again the great ugoditarice ill ccinipuwr-pres- en.e it the Irsusal "')fie mustcum were selected betause 1 wanted cet- our nluslt that the) pla),"he says "1 am bringing the Computers String Quarlel because that group often glass Elhol, Carter's music I at,, bringing the Boehm (;timteur it) pin a %urk it uommns"med ill Fun• cis 7lr,srse And I warmed to du the Ites FWorth. its clot American Sym• phun% thehntia %ill come fur the t*euurth aom%erui) of the first petluimanceuf this *urk "'the Isrs %III Ise ,undusled b% Serebriet film• sell. rho tiwik part a% an auistant tunduom in the INN New York pre- nueir undel Sn,klotAl (Selehnrl al,r, ward. Innrilyd a will) the la,n- dun Isbilbarnimim fur KCA—a drat thin ha. won nunienwt pion world• *idr and %ill be rrmasirred lot (+nnpar l Doc loess )ear in lhe(:han. dies label I On Ortnbrr 14, the da) before the Munn performance, Set• ebrrr leads the ASO in the Ives at Carnegie Hall —marking his first U S live peritirmance of a score that he has often conducted in Euriope l he Iesti%al hat been endorsed III the Organotatinn of American Sutra and b% Meal groups. indicating both stational and regional interest ail the eveni Serrbnrr has signed alike. wear contract its direciur. whale main. ,coxing his full-time guest appear• antes uo four continents and his minding anivities with mayor Lures• peals orche tray He is mireduhng future lesmals with a special theme, including a locus sin Britten in Wi At e%en turn in hit lesioal• mapping. Serebrier hat shown coin• tern lur cultural and communist cohesion Local and national arts themes will be merged. audience% will have tkne, contact with romptst• ers and perlurmers. and Miami. a cut frequently torn bs ruul strife, will be offered the opportu ran to cel. ebrate its own many subcultures And the Internticrnal Festival of the Americas marks the close of a I%u. year hutus in the reglnn's muot al Ide—a cause for celebration PIA fasuris Auplrwn: u u Corr lu,ur writer sin ailoor whuse mlufri burr ep/aruorJiuuuiiw(rrtaf Aru luiil•buerJ puWtruuum Thursdiet, nricher IR 1991 / Thr Miami If -raid Gershwin leis due at International Festivagets By JAMES ROOS iiieru1J clinic f nor Jose Serebrier displayed spec• tacular affinity for Gerbn%►in it the American Symphony OrcEnt.• tra's second concert of the Inter. national Feslital of the Ampricat With I%an Datia as %em.r.te clout in the Rhupcod% rat bit, performed Tuesday night fit Uair County auditorium. Serebrier turned w hit is iin often hackneyed score into a retelation Ile project- ed its beautiful detail without fussiness and captured the jaz?% spirit of the music w (th a flair that is rare even among So-called Gershwin conductors The truth is, there aren't many musicians with a genuine feel for the Gershwin style, which is probably why the composer him- self used to keep Bill Daley in low as conductor. The Gershwin idiom is crisp. angular, wry and witty, with a dash of dreamy languor now and then. Most conductors either go overboard in shaping the music and make it seem square or they are vulgarly brusque. Sere - brier avoided extremes and struck A Ithcitous balance Both in the Rllopsod% and An American in Pans, which rounded out the concen, there was a sense of exuberance and excitement that seemed totally spontaneous. and Yet you heard all the v:• id instrumental timbres that the scores display. In the Rhapsud% Davis had the sensuous touch and the moonstruck feeling for the slow sections, plus buoyant`y and power, but for most of the performance he 'A'AS plagued by balky fingers Ives' Fourth Symphony, which opened the program, received even better treatment by the Ameri Symphony Orchestra than It din Monday's festival opener. ..:-� 5 u�.. �a ALL.:.. a�. }•lX�•'' _ ti + TM %MAN" HERALD Lifestyles TTMasd", °etoba* 11,1! UM rovost real knows tale score: He wrote it p � ey BEA MOSS Lee certainly knows About must- away from what you know It Doelum 1 — Meet the Composers Wednesday at Broby Hill on ohony and the UM Percuss resemble Oct 24 at Gunmen w rdn.te si•n w +u. When the Inaugural Intern• al resources. Before he WAS vas tSchoot sounds like" the festival thaevet btE nsts are lSundayree lit the m� pNal�Ai dbihe IUniverslters of Guot y performet L There are morue e free events tlonal Festival of the Americas deato n of the UMM for Ig years. Lowe Art Museum on the UM Miami Symphony, also Wednesday other programs that range is rAlses its curtain Sunday fora two -week run, there will be "I think t may be the only campus with Nature and the The Work of Art and the At Gusmsn, this featuring Let's Trio. New Sounds From Miami, single prices to subscription ra For more Information or aomething for everyone. University provost who's a former music school dean," he says. Artist: Observer. Oct. 16 at Gusman and the request a brochure of all eve The University of Miami•gpon• He may also be the only Other free events Include Syria• Chamber Players, the UM Sym• call 2W216). stored event will feature art. etasslesi, contemporary and tau University provost who has a system and tape deck In his '�� ' • ,. ; music, chamber music groups. A symphony orchestra and compos• stereo oltice just a flick of the switch ,� en' forums, But the festival won't be the Oral thing that's new There also wilf be a world premiere perfor• Away from his desk. Music. plainly, Is Dot new to Lee — tar from It. Masque, his 24•minute long —'-. l i" A — .. �' 4 Composition based on Edgar Allen _sir trance. And there's still another first to Poe's poem. Is lust the latest achievement In an Illustrious mu. go Along with that. The premiere musical eompo- sic caner. sition. The Mosque of the Red Bore in Galveston. Tea., bt was Death, was written by UM Pro- volt and Executive Vice President playing the trumpet st 12 and playing with the Houston Sym• William F. Lee. phony when he was 15. Five years later he was bowing a double bass But he's not boasting about his part in the festival that also In the Dallas Symphony. SUIT later Includes another of his compo. be was on the road with Gene with sitions, Three Crypefcs for Violin, Krupa's band and played Cello Ord Piono. he's plugging the such jazz greats as Arlie Shaw, whole event. Charlie Parker, Red Rodney and Lee, SS, who was named provost Gem Mulligan. in 19112. says It's timely to have He has had more than 100 books this kind of festival. published and Is awaiting public&- "Wit're at the crossroads of uon of another. People in Jazz. North and South America and It's A proftwonal pianist -arranger - Composer, he has also conducted the opening of the musical sea• Son." he says. and recorded his many compost - "We also have the largest pri• Uons. vale music School In the United His Masque will be performed States so we have the musical Oct. 24 with the 90•piece Univer. resources to do this," he explains. sity of Miami Symphony orchestra. The festival, he says, was the narrator Jose Ferrer, and 23 brainchild of artlsUc director Jose singers In costumes and masks. Serebrler, world renown compos• Yet he is reluctant to conduct er and conductor and William big owr. work. Hipp, dean of the UM Music "It's always exciting to bear School. your 0*a work but t don't "it represents the traditional Conduct It. I like to hear the and contemporary." Lee says of IsterpretatioA of others." Lee ex - the festival's music portion. plains "It's hard to get too tar ..1..,.ccAvtLt=.r Mt•nN tIM•le Dr. William Lee, composer and conductor, has one of his works in front of hit in his UM Dffir'r. Pig 6•C-DIARIO LAS AMERICAS allvislaDoritraltct1164 Planifica la Univeisidad de Miami su segundo Festiva In ternational de L as Americas con Tiffshurgh Symphon) &V* W of agm" Jos San&W, el ftVft aiwd is flw of*/&# sill 1�d5 QDiI! 1I/ Llfltlktitl/fD de /fMI�C/ dislici tljYbalJe PwLuu nupltMASsma "Es 1s" as soloul mureret time Is Orqectm de P)aubmrsk, stawarts retake pankolorm*ale rom►ucNe tee is nareM quit as we nstaillet estimate &W@amee, as*t Coe undergone ae Use le NudkeclS &r M tsrl al ntrcN &r as Nrm 'Gates', Pus trey Seluemt* was seas&& detwo sit qur A remittal latrnaeWal At las AaMcam. de Is Valvtrsided At Miami. rulaW so eoleado• fie sir activldedeg. I& Esemels at Moslem de nee eeetre date it esU Ied& ye to Is ertasueclis del argue" nitrate At an title. to mgi- "Peru aborn N Pndom" &role Joe Wwass eoetraudm a Sadie Idrmgisest*, sere rouses to eavenmclests tee to OrJvesu Ste• families de PIU&bvrgb r Coo Steve SUAUS, core Follette WRlvers, pre %me ranges a ►altar to el stamina festivl. toarnrides At one Part udsvis was exltese At Is Jot be aide tole". declare a DIARIO LAS AMERICAS of dwisr William HIP►. Decision "Is EMONAt ■aslts de onestn ■AalaotegoeisavNte&tle@&I. Y agrega: "par tepteou Jet been Inside suedrss dMkgltades on "In Pfi• goer ale. pen as se ►wed@ Sludge pit vt misos* Joe at FestHal be &I• An as satin s►uttice y Joe to respeess del pablics lag eassldera W goesk bar@$". Desumada a astabieeer to Miami N erns* ■uslcai de averts. Mrs. at cattle At led It&Unks do'Spektte' r'M onbers', el Festival hunscles&l de leg AstAns fax Inotltolde per is tlalversidad de Mlssel can so corselet novel. I fascio" per primers an surewt* dkelstlg Also —e&Irc of Coupon y at trouts de Sombre ilUa► Sloeekwds Ads cenekrtet coo Is 'American Sym►komy', sit Noev Yurb. dir4lde per at maestro Jost Smarter; I as waste amen" valaees saslcales, a cargo At mejates de @dean I a iusus de Bras tawad. Emtrr lee Iawrfreus de silica cuaka Jet fwmo hrslad" sets. Mt'Tae Miami Chamber Sysphsay', quit dirist Rorue Dints; el Coariete LauNaarfiCA" At C@erds&, de Mttico; 'The Master Puyero'. leleSr&de par solutes esrwpen; y IN Army" srmyte- pWs'Compevers String Qvsriet' y'Tae ttebme Quisittle', De In mumm severe. particlparem aagalfkat ma)•vW mission' In lormados per mleabiw de In totaling / @losuat avpsrlena de toe&In wdalso train dornW te, toss Is Orlonts Stal"is es Urtlrcreldad de MIamL I"'C►&saer Players' del Gunn Mall, I be Contere& At to Ualunldod; ademis de Is Carol Civits At Muml, 4WSW& per Lee Kl$sN; I de soMatat come Jose Marc&• dal, Iraq Davis / at bantam alas Edwards. V to el cups do Is music& Pulsator, We Uterveschn" del a&SSle• State ►aJvlto D'Rlver&,acampaagds per Is beads do lots de Is Ud• versidad seo retail& cessapir ado per el FroUtal aesomentrw C&• tassel, y del orop'Quan@mse% mlegrade Per ■sslc" de la 51816411• tgwusuUleem 6"dolegmmajoret!"grammeMn ides�tWsevt&1. Jost ben►rkr, quite s&rsis de limber sparecide come director @tq"sul I compositor. to one de its creadem del Festival In. teroultul At is America& r s& dlrecter ArtASUro, tale umbka I DIARio LAS AMERICAS quit estabs say conplacldo coo el resel. so alit primer de itavkag; / a&rte Isstissues prmemeres At be Ise rl "Mess apmdido see&@ eats vnj as experiescu a" service sees gor of e&claoelerebtito riers&tk�admad ;Igia� diloiSamos sector ck do eallee•eemu", is Itrleestlo del iota to is all aWSske del Stall XX slelaalee y Pibllre paructpootes, Joe ante dUen tin UPSI &r I do due&@k Is elecatlam. El nantre orutears se deter@ lev lmente to Is sesl►UTAmd de "Me ramirt rerNus quit at defies Crowe soy alretado Jet at station FeeUv&I present* Nras At teal» musical Nrtemat- toot •noted ■e lecorpera a In obra: we sentl come we Basle+ closed. amallesutloses operdtites —mama sire ►arm nlMe— y 'be books boy at debut musical cos uled". cement& at na►oell latleaga de &Anag1a, "Jae et vt tlagn Jae se let*rcse". Adelson. Serebiier Puss especial taloals es Is orgeaisaclee de @w mcierse do eosin clad" de tomNsiteres cNoses, mduclde per 01. our pedrn cMtar uabke tire Is cenperaeida del director do Min Attend" Henaades•Luase, esmportkado at polom. "Cobs cat . "a gran via musical as Is Primers ►eru del dale, two varied c oopeslteres gee an deaunrom kocknde beeps em golden; I a mi at ►areee Jue sawn Jae to Miami bay am Pablo• old@ tuam cat release. hater oo cenCIerte Jae agape *bras de Jo. Him Or&@s y Avrelle de IS Vega, enter &frog, son& de gram Insenmr car Pun eau rommaMod", oriole Serebrier ass adelamte. ten Nun do too canrkrbikas oil sabrentleat*s del Festival IMermatleaal sit Its Antrlcss, Jur Serobrier Pirelli Incremeaur as at sparing &le,1st In de inviter a compealleree co tempnerse. Nrteaserlcases y utleoamericones, seem get pnPaateras mn Nras y me In expUnn■ &1 public*. get an radius a escockarl", as slmpsles celebrating a In large At Us also sensual do duration del *waste. El aleas Asinine Meraln&rs•Luose, aster de abdoelas It con• sedes*aes At climate, y Ae Is opera 'Sasebo PataA', ncsmeee IN troueeNeacu de eau slums Canada dlce: "Come cem eolur ere* late at festival ko side am gram &rude pare speller quit as waeoes freeoemlemesie Is *psrmaldAd At esr Peter estate.& eons &1 Publics. uses a steel level come ancient) e Istera lee. "Adesis. ark Festival be a►lerlm lag pesDililades a lodoe Ies cospesluns, do duuaclenes de prseedearlsa at At amps; r get• ales a too, at he lacado Is motion At udt at mends". egrets. Y mnrknd*se a la Ispnoscia At In aim posing otrecl"o Mr ear nmpeallerrs In to as, Mendndet•l.uose Stature: "Nonce Is AgUtation de as aster N►rc so them Suede j stillear Is nulled de dots &I aide do sales to escacka, pen to cteru to qua. an Units gate• cal, trade a qte el poblice at tsstilenre cal In avdts". Per so Pore, Francis Sebwarts, coepsstur Nfiasaane*N, ro• dlcado to Puerto Rlro deade beer seat vtlste &los. dUo got tl Perot. be el tells del Primer Festival International de 1.& Avil as Is ■edlds qag t&t* represents sea "Stan vnedtd de Nreelmlemte coltwnl" a Is pblatlts de Miami. I. a Is ►es, stalker "so gram espints Or c"peraelea I man ellckarle administrative gee N as soy comma to at mundo AT lot Intivole&". "Me State macho Is Idea de qag me tilt rUlltanda at enjor Ulnw do *got I Joe Invited a dlounguldos rompotltorts r uttr►retes de strop utters, sergme de rate forms el Festival represents on posts de e&ratatro AT ortis:&d de ludo el Hemisleru", morose. stawmrts Ali*. Oor Me. qu rs /arse skespre Is meek& in eelrests Is resisleacls del pa►Iles. y tkga Jot "Santa arousal Lust es ova !prat lovlerea algveoo de @sot pro►kmes"; per Sato Joe avagee as tecdoierk musical sea Nuevo, slempre to ease at recorw de etnterle al Public@ Its altemllve dilenalt so Simple Integral de Is saps. be ortgn pamemede. Now Carden. two aus &r We eempsh a quite el FesUval intersectional An Ida Antricu it efreele to A tmaldad At exposer too Nras: "S*ulagele Nisers Den". seem 1 lea, y'PegvNos Mevlks'.Ise an all an primers @adlelami. Avter At nil de M Noes sera wheals y earlas comblssel de leatruaeWg. Roque Carders as prNeser At eemseslcus UolvenMtsd &r1 EaUde de IUlmelt, despots de babene de rml "eons director del Insulate National "lassies de N sou/ sent. y At baker sirs tketl*r de Is Orgagsle Slef aka maclem a" Pau. "Me pare" stale to was del hauvai n exrekmie, IF @Wfo g gadxlns SAs lew►tra a as aisrm worst At r@mpsdtern but anericaNa. Sun peder latereem►ler onesuat taperkseles' dAla. Due unwo gut materfmraeask b serueyads AN verbs In In letermactonaks ten let tubes" Agrelle At to Veal I Jolla ban, nle ilt&me, so massagers, de estedles an Tosgkweed. Mo►tsw" fibre IN weleds on one apareeia at tmse'Qs&rU Roque Corder expreM use out babia Inside Pm ti *special a Iicacisa, "purger moo de sets princess cem►ealcienes It&, j state, as tango, made "devil N at habit "code de Ve*w ■islcs serls". Y serdM dkkads: "Me complete moths str "ueelaled DIARIO LAS AMERICAS, psrgag deade et& Walk a PAN&s terra►s Is eaorme labor "date periaStleo ITS at cause del or stairs I Is collars". otraa tempslleres gag Surtlelpares dtj Festival At Ism Aa! lagro& Otto Leasing. Elliet Carter, William F. Lee, Francis Tb Carlos Sarleack. Gideon Waldrop I Gather Spastic. Morlday, October 29,1984 The Miami Herald `String Quintet' played witn vigor 11�� Carlos Surinsch, where Sin }onto Made ade a coftilenble Impact when he conducted It early In the intermationat Festival of the Amer- icas. has Scored a yet another festival success with the world premiere of his String Quintet A riveting performance of Suri• sash's new work was the high. sight of Saturday's program by the Camber Players of Gutman Hall on the University of Miami cam. pus. Shred for standard quartet MA double bats, the hallmark of the Quintet Is It energy; it begins at a level of excitement most often reserved for big finishes, with a driving, perpetual -motion Allegro. Surinach'S building blocks an simple —a few short but incisive fragments —and be plies them onto one another closely and Insistently to keep the rhythmic pot boiling. Even his Larghetto has A solid rhythmic underpinning, but here be adds melodies, long and sinewy to keep the level of Intensity NO. The fUW Allegro music Review frtnetico, as Its Uut suggests, brings another dashing outburst. That W this came across so forcefully Is to the credit of the Chamber Players. They built the fast movements with vigor, Mile- elvenem Sad pungent tone, and to the Imghetb showed the Coacen- tration that tow-$ every line throe`h to Its climax Violinist Tbomm Moore opened the evenloboldlyy with Rudolto Halffter's A riccto for Solo Vio- lin. Halffter haass clearly taken his Bead from Paganinl, and adapted all the Italian muter's favorite tricks of vfrtwolty to a new harmonic language, one of lean and vigorous dfasounce. Moors launches Into it tearlessly, and made the most of Its drama and bravura. At the other and of the spec- trum. Law drew gaveto Lueniq`` a deft readaSonow for DSO" �t . to tilled The Miani Herald Tuesday. October 30.1lgt Chamber group By STEVEN BROWN $PKd to. Tar iw.aW upetung its program for the lstematiooal Festival of the Amer- ieas with Mozart's Quartet in A tnapr. K. 464. the Composers Quartet (Matthew Ralma" and AnaW Alemian, violas; Jean Dane, viola; and Mark Shuman, alb) bad one thing the younger grasp could have used: an attrac- tive, open sononty. It emphasized Mozart's grace, especially impor- ta::t in this light -heaved work. but the extroverted fun of the final Allegro ran groppo was sup. ppleased in eke process. A got of the Metidelssoha Quartet's settee of drama would have tame in handy, Modem music seemed to bring the four players out of their shots, as Gunther Schuller's Quartet No. 1 elicited a gusto and range of color Dever suggested by the Mozart. Their playing had a mo• sphere. first and foremost. They make the a" of the spare first movement, setting a wbw petetd oeaing against a rousing tornht pof pl::ichto Isterjectiom. The AUegro !wilt Wee as impas- sioned conversation with fng- menu tossed from player to player, each flinging his comments with Individuality and MCF-sharp timing. There was the same boldmas as the Adagio brought Intricate ca- deaw for violin and viola; then the group let the leasion Slowly dmssmpate as feathery trills gently closed the work. Elliot Carter's Quartet No. I demanded, and received, to avail greater degree of vitality and commitment. The group made it a aiogle sweep, gradually progreu- f in groin atµ he swag xitylna ttasia final tiD► y. is releatiesslY eocivapuntaL sub player resolutely goer his own WAY, and Sunday evening the easembk'$ tnembsn acted their roles with sharpness and eoofl- dence. in the Adagio they are grouped into opposing pairs: the tt and vigorous phrases of the viola and cello — wrought by Dace and Shuman with tar more security than their shriukin -vio• za let Mozart— an met by a plaintive duet by the violins. Only some alight Insecurities of intona• tlon by Ralmondl and Ajemutn hampered slightly the ettective lieu of their contribution bete. The group made a vinuoso can for the closing Variations, follow. fag its growing excitement and away "the instruments grSdu6 ly came together on agreement, then letting the work subside Into a whlspy violin nob. out Its cherry tuna with a rich, oaken soeority--enhanced lushly by the Gutman Hall acoustics bounded lightly through Ira all -pizzicato third movement, and danced nimbly through the final Mg• Gunther Schuller's Five Moods for Tuba Quintet kept things in the sonic basement. Though led by the composer, establishing moods is Just what the University of Miami Tuba Quartet failed to do. Schulier's score keeps the instru. ments low in their ranges, but he does Seem to ask for melodious. sets at times, and for flexibility; but often the ensemble could produce only a general, Inarticu. late rumble. Probably Francis Thorne had in mind to create something light and appealing In his Pop Partita, with Its reminiscences of big bands, of the mambo and the boogie-woogie. But as each movement goes along, It only became more and more amgested. with all the Instru- ments playing furiously, and noth- ing neogDlzable Coming out. "Congested" la the dart word to apply to Roque Card ero's Petite Mobile, for chamber ensemble and solo bassoon. Actually all the Instruments are soloists, working with Cordero's transformations of a few basic motives. Even on first hearing It Is possible to follow his workings —at least some of then —but as the 10 movements progress, they sound always the same, never with any Individuality of character or atmosphere. Francis Schwartz' A Festive Smile ended the evening on a lighter note, following the vicissi- tudes of a string quintet as it tries to master playing a scale. The breakdowns are many, and always elicit vivid and vocal reactions from the players *- gasps, shrieks of horror, shrieks of delight, even suggestions of words that can't be printed here. Schwaru, acting as conductor, turned to the audience to Joao in, and everyone bad a much needed laugh. Hi h ho es g p for thf festival future The latermaO" Fewty of the Amerime, which rang down the '4 cwuln on Its tiro season last week, was never touted as a Boas tourist attraction. From the start. k was billed as a two -week edebration of music aimed at Music South Florida's cultural stxo 1 — which It did to a notable extent. Trite, the event didn't lure In droves. Ahem- dance toed a clarinet concerto by � Shaw. Abo, such pis and aging sou often he more eWour- WAS o aging thane the New World rock anistS as Corea and Frank of the Arts two yyearsago Lppe are being considered for the tutival. Yet that Yet the apootor — the University Miami's School of Music Gsrabwln't Po and Sets �Y didn't expect a bugs turnout, eoosidering the. nature of the —� as a likely opera In smart form, even before the programmm�sg: enotemporary ciao. Im-and-classics theme was set — may be performed. though Ideally The an of Otto Luening, EUfot a snore adventurous opera could be Carter or Roque cankro Is to programmed. An obvious choice any people esoteric; and even Charles Iva' fourth Symphony. might be Ernest Kreaek's 1927 Johnny tpisht atif, Seldom beard twice played by the American Symphony Orchestra, is not exact- Nowadays. The tihytar-old composer is ly a chestnut. Nevertheless, an alive and well to Palm Springs, estimated 6,600 listeners attsaw Calif.. and could conceivably can. the festival's 16 taocaret, 11 of aunt his LDdmark score, white which were free, was the tint jazz flavored opera. The idea of a university present. Gives the money, perhaps from ice worthwhile music that doesn't area eapondotts. other PAW pay Its way at the box office is artiste who have bridged the valid tad laudable — tar mom jsxs­clas gap tight be booked. laudable than mounting. say. a tatival of superstars performing ti>>in �W am Yebudl gym an two who Instantly sunflre repertory. Uaiversidea, after all. are expected to $park coma to mlid, along with David Amrao nod. of course. Guntbet Intellectual rotearch, rod show- "sing works IN contemporary Schuller, who appearrd at this year's fostivai. AU _this sW. bow. anmposerS is a form of that. It can be As educational and aver. Ssrebrier makes char that be iatends to keep the INS teauval eottttalniDg to Mar Carter atriftg divarsiflad. The musk of Schubert gwrts4 la superior performance will also be faautnd in cb mbw as to taoounter the wry comedy in _ the works of a Francis Schwartz. The key Invariably is choosing the &M orebtrstral performaoen. A singer, to be aosottnood, right music and having it played w1U Sebubsnls Die Winter hfim to recital, and &MODS the WOL Desplto a few glaringly poor symtbodp Serebrin ww on. ormaaag asd tepid snores, the duct, count Schubert's seldom• ntival's overall levai was ts- beard Sixth. He is also oickeriag loarkably high• with the idea of programming a Still, than was a great deal of tive ``real Dead of Dvorak plus musk musk worth beariog, thug b Cuban-Amerkm and/or Cater• world premieres alas composers. and U.S. The visual ans. which rwWvad Floridas EosrpeSoutth nowar"It was Oct. C y thew npraatiD this uasoo in the peso- tint of dorm of a Ruflso Tamayo ggrtaamm featuriweabt, Polows. ng toned, raftIpuck3va's mural at UM'S Lowe Art Museum, sew wW be more meaninjtul►y (Dctud. CaNarto (or Timpani rod Ombes. ad is 19K whan tbg Lowe tn. and atti$tic dlnctor Joel Syrnomy for Pcus- exhibit$ palntlags by coSWnhlea Arnoldw ergnmpe lei relatedt tFsus In addition. W Influence of jai Why Deals said Fault! As it 00 no Century music has been kapPsas. low maf: uka aslo choSea as am of the 19" fesuval't anaivw"ry of the death of Flux themes. The Involvement of the Liszt, and Sorebrier plans to UM jets school. goo. is a btticad Commemorate the ac asion with a feitivai devoted step, as it is an of the sias",& nuic partlyy to music of W&A4W and L.I So ouch for Though Senbrier cautious that futurep�� Ter the Festival the u-sod-classics theme can't ja Sam, of W be exhaustively explored, be wiu Ameritaa, though t0, jung, exhsta. rod mama is better, ail conduct the Pittaburgb Symphony In juz-IDsW$d scorn of Ravel PAWAUY INK&W of IL Sad Stravinsky, and has pro. Man LAS- AMERICA$,,,, mi. Fu.,s"aKKMK9» sy�,r � �a►s�rl�ilfir: I.a apaekYs e, ests elNad k la'Aserkea lys >• Nseve tlsek, Ws b bs4ta dN egeesays Js$t ferebr�r�ia "lodes del pees y ■erles de to fee its(* $wawa, n el'0 Comely AeUleriss'. isle Isompro►as, ei as at dedaeeds plasYu Ives Dells, eaa$tllgs, pv crew de serfs. d glarle" Wei* pan i* ksp$rad, de essekra IMM a. bade respbedeeleese b txtDestn y at$Naskob d$ tea sm eeeeteta, y d West@ de ea fommsbh dteaetwr. La aka ptiaeyal d$ •able pmntad-M fee Is 0*efseis flosses hate aid ssruaseresaa Cbarks ha, ewpevvta pan was welted$ de Ina issaM, dlvMlds to ire$ Pere$. oa ddoo �elaw j e tell de Iitasivesse l Wsere de i*$dlreeWee is pawn, i pwawrm. awrsaripr lnt tl sele V eM, pas b asks iRe dada$ des blerPretatiaee$ de i* Cterta ft Ives, w st■.16 <r 'Aseekas ayspa$ey' blow Pala de eatspebed dbtww eseeksd$ lea dlkeMades de ors peetllsn tas tespleads — ps sI skse aerebr*er tallied de "tad IeUeable"—. Is ■bse as Is easpletNed del mevisksta. d$de a "betake aid WsluaegtthMiak"�as pe Ms MlnsyesMs M �resMss M s aw& tkspre mi as UMPO 011" 1 Of dal pests Jade a esedgaar lamb*@ be eeeetada raetleratlM de be mksbris dN eses de Is UsfveesMN de ■issl, Wes k dlret- ti*s de Lee tjehas. we ealaesee�i* Mry vseel de i* $tef$eie, 'estival of 1 ) showcase New York has Its Mostly Mozart Fes- tival. San to Fe Its opera under the aws. Tat iglewood Is a showcase for the 8e mton Symphony Orches• tea. Charleston Is American home o/ the Italian Spoleto Fe stival. And starting this weekend. Mlan it — gateway to the Ca ribbe- an. Central and South America will boat the International FesU- vW of the Amerit as. plalnTy. R Is it new venture that still has to prove limit. But two after the lavish eau World Feed val of the Arts failed to make It as an annual event. Miami is a festival town again. This time +with a University of 1 Alami- sponsored two -week celebration of a latem- porary and ell tine$* music (at ra . msbte prices), rd main& through Oct. 30. As Its Dame suggests. tl se Festival of the J ►meri- ces is pointedly Inter. American. The first event. Sun- day, is the South Flori- da unveiling of a 44- foot Mexican rawal by Americas music a dozen of them. In fact. will be on hand either to perform or hear their works played. Elliot Carter. Gunther Schuller. Otto Loenlag and Francis Thorne are4wt a few of the distinguished American composers who will appear In public discussion panels with such hemispbtric colleagues as Mexico's Rodolfo Luening Thorne v • S s:. { tartar Schuller Rufloo Tamayo at the UM's Lowe Art M use im. The foUval's jars star will be Cubat t saxophonist Paquito D'Rivera. Them to dU even be an evening of South American u ingos, played by a Montreal group cc ampr(aed of Latin American aDd Cam adiam mudelams — all Canadian citizens. To be sure, lots of Tebaikovsky. Mozart and Beethoven art! listed for festival -goers With less adventw ous tastes. But as a `brace at Its progr am makes clear, the Festival of the An tericas is primarily a showcase for toot emporary composers' active throuabout the Americas. More them pf the Symphony No. 4, by the Miami Philharmon- k under the baton of Frederick Fennell. This time, We Ives Fourth will be played twice — Mondsy ivith Tcbaikovsky's Fouts Symphony and an Jtmertcon Fanfare by Shalom Mirands — Tuesday with Gersbwin's An Anserfcsn In Paris and Rhap- sody In Blue. Ives, however, Isn't the only composer whose music will receivt a welcome rs-bearlog. The third of Elliot Carter's three prickly string quartets. in- troduced here by the Julliiard Quartet several ears ago, will be "eacored" by the Composers Quartet. in &prograns featuring all three Caner works. And Carlos Surinacb's Ritnto Jortdo, once played by the Miand Chamber SymphoDy. will •gala be performed by that group. As to world premieres, Ipuehe's Concerto for tympani and orchestra will low an a bill with for- cer UM $tusk dean William F. La's new Masque of the Red Death, which takes off from a story by ' Edgar Allen Poe. Frandal ltorme's Divertimento Ao. 3 for woodwind quintet is also due for Its first r� rformance anywhere. and Mantel Enriques's Foumb String Quartet will receive its American premlere. local composers of new music will also be fea- tured, magic& from pieces by Antonio Hernandez - Liam (city of Miami coordinator for cultural af- fairs) to works by the University of Miami's Den- als Kam, Charles Campbell and John Van der Slice Amd one of the nicest things about the Festival of the Americo is that many of these performances .— Includiag the world premieres — will be free. Even ticketed events generally top at am more than $10 — the most expensive festival Ucket be- ing 615 for a choice seat to bear the American Symphony Orchestra (Tuesday, witb IvsD:Davis as Half fter and Manuel Enriquez, Panama's Roque Cordero or Urugguuaay's Pedro 1puche. And to fewer than three world premieres and a half dozen first Smth Florida performances are slated. Beddes University of Miami ensembles. which figure heavily In the performance schedule. Interesting visitors include the Latin American String Owrtet (from Mexico). flee Masterplo yem (froth Switzerland)` plus New York's Compose. String te: ahw the noeam I tette(ofwituts�the American phony Orcbest.. led by festival attistic director Jose Serebrier. The opening festival cancan by that orchestra, Monday night Ia Dade County Auditorium, eomesdirectly on the beels of Its Sunday night performance In Manhattan's Carnegie Hall — a performance honoring the 20th anniversary Of the American Symphony Orchestra's world premiere, with Leopold Stokowski. of Charles Iva' Sympbony No. 4. It is a salute with double significance for Miamians. For 10 years ago this month. Miami bunched an eight -mouth Iva Centennial Festival with the first Florida perfonnam soloist In the Gershwin Rhapsody). This is -in eta. contrast to the New World Festival of theoArts. which cost g5 million to mount and charged as much as $100 for an opening -might open ticket. But them, the Festival of the Americas was launched on an entirely different premise. It is no a commercially oriented festival aimed alluring tourists to Miami, but a university-backed•event that grew out of UM professor Lucas Drew's yeah ly Latin American Music Festival.•Whem that t mall -scale festival came up for budgetary review last year, the UM's new dean of music. William Wpp, thought why not expand It? At the behest of former dean Lee, Jose Sere• brier, the Uruguayan conductor, was brought in a Mastic director and the festival was planned on short notice last summer. With the university con tributing the coat of Its halls, plus the use of facui ty and student ensembles, and providing s small staff of pbmners, the budget was4tept1oa comps. atively modest 11323,000. So far, says Hipp, all'butjabout 00.000 of that budget has been raised. with the help of contribu- tions from such major aria corporations as Ryder Systems and Eastern Airlines(which is'f*yia in eomposen and perforusers gratis). p� smaller `rants from the city of Mlamiatd tke state of Fla I". Miami concert series, Including the Friends of Chamber Music and Civic Music. are alto particl- p sting. "We wanted to contribute something of i substance — something a university should to this area," says Hipp. "And. coming out of a universtt situation, we felt we'd be able to keep the lestiv "f small and oasts down." TbougA ticket aalso have been slow, Hipp is now "guudediy optimistic" the festival will aticcsad — aaDugh so that a n otlew is in the warns for meat weans. WO '[lost ROM / 1 2%1� Ir Usti 76N /K M'^itsto� iniY it tNt t ! t 7bas •d•Y' di as fYbdY°^ tts M+ et forKrtdle ! fsew Y at rt t.fat tnY let ten twit/• to 1:::' t"`q tative t+ +n"pow t1� t� 1"a d� wKy' fesp lira•. eta we.t. ally aset os",t• t at [ 3aN t4•s. ! 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[nteratloY fatNW N tea Mass, I lnUNN taf ia•YR'�~saaarnlyRaon`on 1tw rester lest wa.t.nd. brf"!n9 ftg r[ were arts and YOta. the welt. aN it, .1 er wage N the asat w11a ., is t wnauttor e,rt- D1eY and fwtiral *ales{r a nep*tte1.anc�ro.lr�•al t.wtej[ty tAt epoattmo' lose rasa a ask of ktuwtinI - Preet- a taq•Ie wet Putt �.ta•raWra, aiN'ratakttiateaarq nwith ithIrinCtaltretld°I* easetafYtbt eeAaeey aa•al twa o tJaasaiafnn, e-t qatlas in -1-fIa7 etlt - iorItf•tleq,JaW. hp.u. end glow, ahe, seg!e—.!---Is-'as,Ylt.tarr*gNY-le tthat are nt-i *tier-ce oaaearN -illy It* roes getadad work A tp�nYurii,a Qwmtl-`w rita tmtatr a. .,*nest twat to rh* of tee orWatr*. *last hokN! moWri.r a°°d•rtlM eN win afr N�*ind oaI to pat playas., tray 4* assak r/N -U,, Yd intwN rlth W*ttr •, ta- analew .ad da'dit ra at.l.tit aloe awtaty. yy M. bat so.... dta *ddreId. rt*teal lee/"— aarlowt, b'aapht a 81 nww,alkv tole! and Kldeon r as ro•1 P as-ttkq wocatt. of Yaw tt the sovtAwai, fl-eo. hf..to tb R- was &..,ai, a''* N • ratl, a e hale*. Ya tea !*otnd bait N the ptpyra�are'r a&tyloH of ergat,. at IItt�lbeat, It rN iathw- tastetrat.rab[iw art air of oR1,1-, apt rltM wadi rhlcb *b.N tb. -a10 , " beltl�asfuYrd' aN w- Yotfh - atittA4n A a r1t6 of M ae lt 6.u!" aaypleaof pYe met o ter t•w l f'dawhiia st9 *N tof*t►a. art of gt°rW as de rasa t�jy °* � l•tlrra,atr a"' f seravrr' ea -7 — SUIT'adWsoa arlr w t\.r y&g1y M C.J.B. & D'RAvera play fv� Americas Z�Jft Paquito D'Rivera performed with the UM Concert Jazz Band Friday as part of the International Fes- tival of the Americas ft MART ARM S"NS "W imr Safi WPIW A plctura palate a thousand words, and sometimes stories punt pictures. However, It Is very dtfflcult to convey the sound of music one-Of. ;kl— lspeelally senutlonsl, nd music — without doing it a disservice. Last Friday. the University of Miami Concert Jars Band per- formed two shows at Gunman Hill with special guest star Paqulto b'Rlvera u part of the Interns- ti(Mat Festival of the Americo. Together they crested a sensation - at, exciting music that charged the audience with an overflow of high energy. Although "the music Speaks for Itself" In the words of Whit Slden- er, CJS director, one an describe the style of music from Friday's concert without sounding trite, At It featured the rhythm section with the ensemble in the back- ground. Ordinarily, the band's horn sec- tions are featured. However, the melodic function of these sections subsided during this particular concert In order to achieve the style of music that coincides with Paqulto's authentic Latin flavor. in order to more appropriately help the reader understand Fri. Paqulto s definition ofne might present q jazz as "the music of America which reflects the international aspect of the country." He reminds us that "No one is American except Indiansr' The concert opened with a tune ailed "The Chicken," recorded by James Brown, "the godfather of bul." according to China Voiles the tacit of the concert and boat of WTMI's )as program. it fea• tured Sal G►orgtenl on alto Sato. phone, Mike Abbott on guitar, and Mike Sturgis on drums. Intmtdl- ately the unique, Innovative sound of the band was clearly vivid. Then. Paqulto, a premiere Seen. plionlit of the world pined the red for the remainder of the con- cert, along with Pete Manger, a flugelhorn artlet who spent ! t years with the Count Basle Or• c ittn before coming to UM to complete an undergraduate de• The Latin never of music be. came most apparent at this point, enhanced with a tenor Saxophone sob by Chip McNeil and energetic keyboard playing by Jim Trompet• er In the traditional American tune "Body and Soul."along with out. standing performance* by Walter White on trumpet and Sturgto on drums in "Marie)." which Paqulto Fres ented with an overwhelming• y heartfeltdedicatlon to Miu Hemingway Most Impressive was "Woppan. go," which featured a saxophone quartet with Mike Scaglione on soprano sac, Sat Glorglanl on alto cox, McNeil on tenor sax, and Ed Malna on baritone us. The tune's Inventiveness lies in Its opening when these saxophonists accom- Cnyy themselves while one melody t sWbuted over four Individuals until they are )deed by Paqulto and the rest of the band. Overwhelmed with the band's ability to achieve a certain effect at a rehearsal before the perform. ance. the special guest star ex. claimed: "That was fit,, after they flnlshed this number. Also, dust!` tht performance c "WAP06 both At practice an In the concert, Paqulto exacted response of laughter from both It colleagues and the audience wht be demonstrated bee 0111ty to er, ate humor by Improvising and pry ducing what is unexpected mus catty. The moat ttaching moetent the concert arrived when the e to pert Saxophonist whi h performed his son who to Still In Cuba. Of tl beadle performance, he pr calmed Never have 1 heard p�ayed ore good u these kids pp1. ft' The arrangement definite succeeded In creating a mels choty mood with a comblo ition tells In the background and mut on the trumpet; accompanying I qulto's mellifluent saxophone sot Before the evening came to close, this versatile musician tre ed In his saxophone for his prin pie instrument — the clarinet and treated the audience to"San^ for Carmen," and along with t fabulous accompaniment of P Manger ended the concert on jazzy, upbeat note leaving the . dlence enthused and uplifted. Again, Friday's concert we., part of the International Festl which Intends to "further focus this beautiful part of the world the crossroads between north a south, and At a center of cultur according to Jose Serebrier, at Uc director. And, It only seems propriate that It featured the j of Miami's M In light of Its re tation and success with Its del lure from the realm of the beat path (no pun lotendedy N 4b Mlud BamH / Wodseoday, October i 1.19M a Quartet sents a difteitent re p Mozart By STEVEN BROWN blew a Tors ise ow What a difference a day can make. For Its second and last program for the International Festival of the Americas, the CAROM Shang Quartet seemed Aso bon teieaaavw t urep easaut /rON ted ago" vitally different from tmt of a *sere 24 boars before. That sae was elegant aced pal. Iahed to a fault, and finally father The Miami Herald / Tfausday, November 1, f984 A provocative Mozart from Boehm Quintette By JAMES ROOS ended Maur cnpr The International Festiva) of the Americas rounded out Its first season with a provocative concert of music for winds by the Boehm Quintette of New York. Moran's seldom -beard Fantasit. K. Go$. written nine mootbs before the composer's death to 1781, opened the program to an excellent Ar- rangerneat that may be an Im. Ipth rMintat os e original Militia Ior mechanical organ. Certainly, the group (Sheryl Mean. flute; Pbyllls Lanial, oboe: Don Stewart, clarinet; David Wakefield, horn; and Robert Wag. ner, basown) made a convincing use for the music, which In its shadowed lyricism recalls the `rave beauty of the Adagio and Fugue in C minor, K. 546, con• awed by Mozart barely three years earlier, and which was played during the festival by the Latin American String Quartet Like that noble score, the Fanta- sie. too, seems inspired by the stateliness of Bach and Handel, to whose music Mount was intro- duced by the Baron von Swieten in the early 1780s. The Boehm five gave It a clan, spacloUS, some. times poignant, performance Tues- day night at Guzman Concert Hall. And it found a touch of gravity, too, to Samuel Barber's Summer Music, a art score for winds written almost 200 years later. Though iypnwl of the composer In its lyric appeal. the work Is barmonically more astringent than �OlIC RsYiews usual for Barber, but refreshing in Its fragmented way. It was a perfect prelude to the world premiere of Francis Thorne's Di. vertimen* No. J, a quintet In six burllY dense MOV41111eats, flecked With tongue -la -cloak flavor. its dues are a clue. T1e Score sandwiches a Fun and Gaines movemeat, plus a Summer Nacturna Sad Piccolo Fanfare with an Intro and Allegro and a iMadcap Finale llwwind of trills. Thehe writing whirlwind throughout has a biting st"Uty, but is almost conventional by comparison (it only by compari- son) with Gunther Schuller's and/or Elliot Caner's Woodwind Quintets, which followed. The Scb%Vm seen, daung from 1958. bouts a fascinating opening Lento in wbka the Bost cod born or clarinet are effectively con- trasted with the other Instruments In dissonant crescendo$ of tone. There is A good deaf of clattering for oboe, flute and bassoon in the Agitated finale, which is reminis- lint of Schuller's orchestral stud. io on paintings by Paul Klee. Caner's two -movement quintet. despite some echoes of the Les Six style, is more aggressive than sprightly but remains • higAiy effective vinuoso showcam nearly four decades offer it was written. rusk Review Moods and tertures bloodless. Monday eight at Gus - mom Concert Hail. with the (guar. tat In G major. K. 387. the group W epka and more huuman t hiu awe had the polish to bring out the dMnt aide: but now there wax a richer. more lustrous Sonority for the Andante cantabile, which first "*hoist Matthew Raimondl ttd with warmth and ettpmaslvenen. and s guider tee for the rollick• letoo of the last movement. Turning to Elliot Carter's String Qtartet No. t, the ensemble Jawed once again many of the virtues of Its first Appearance. Even more than the First Quartet, the Second gives each Instrument a Personality of Its own. main - Indeed distinctly against the oth- am. Though on ape* the work new to have a Surprisingly traditional four-movemmt form. what comes ao:roea to the ear b Much more fluid. change rapidly in Carter's Second Quartet as the four characters react --or refuse to react —to one another. Moods And texWw change rep idly as the four character react — Air refuse to react —to One another. The solo viola In the Andante awipnrssivo. Shaped by Jean Dane of elm Wail warmthwlgk lands an Ur the furious ca0eau of the; to viola. which Ralmomdl rendered with firt and security. Is met only by Stony dlence. Second violin Amblif Do" Wintookttheirlan AM alpuUtts with color utd feclsiveaM so that the whole conversAUna wax vivid and anany-sided. The String Queng No. 3 fettles the scheme of exchange and --•--.-•..... ww9I.cwSortswoundupthe, Interastiooa! Festival with 2 poignant performance. conflict, but the Una are dra- differently: Now there are t distinct duos, one for violin a cello set against one for violin a viola. The first bas a repertoire four distinct musical moods. second ken six, and it Is Various matcbiop of these t give the wort its enormous vs sq_of texture and atmosphere. Unfortunately the player W. flat up to the work's ehallen For the find time, all four w, afnicted by ear•wreoching bra downs In Intonation: and et more crucially, technical diffic ties kept some of the moods It, being convincin``ly establish Duo rs teggrriss(mo was a Ut too clumry to really sound U& Duo fi 's Scomrmle —"flowing didn't always now very nuenti Even the Andante espressivo the first pair lacked line a waviction. The more "*lent o bonds always made their effe but without there as a balance. i peOOMAIoa never Seemed TOM A balanced whole. Sltvtn Brown frequentsrwn about calmed music o► 1 Herold. IK TM MissalHatald / Monday. October ft 1981 A D"Rivera animated, theatrical on sax Of tOM MOON 0- Y T#e rinaY faqulto WRivers, the Cuban oho saxophonist who has risen to frrmNntace In the Jazz community Mete his I deftctlon, may have coaceatrated too much on crating S pvtai atmosphere and too little icove ring jazz groundwork, but his international Festival finale. had the crowd to a rollicking, rsvlvai•styk treaty. An ANmated soterulner. D'RI- vm's shrill alto sound and pen- ehont for saxophone theatrics (long passages spent In the ex• tre" high register. waving mo- atone with his fight arm to Indicate the shape of the phrase) weakened an otherwise solid and well-exe- eated program that also featured guar trumpet artist Pete Minter and the Unlverlity of Miami Queen Jazz Banda During two back-to-back Inter- ftUaul FaUvai concerts Friday #"Nall at UM. D'Rlvers frequent- ly rattled through dlspinted bebop ,/Noes without regard for the pte- valung barmonic foundation What D'Rlvers called his "black bean version" of the standard Body and Sou! turned out to be a cluttered and forgettable succes- afon of scaleilke runs. On his Smabo for Comten (dedicated to singer Carmen McCrse), D'Rive. to's formidable (sad seemingly W�roppaable) clarinet technique everahadowed the batera Live UM ehythas section. ti contrast, trumpet artist has Mftw (twke Introduced by D Iti- �IIfiC �iA11A1Ns vei as "Pete M%lus") rallied his support expertly. Minter sprayed the opening selection with a strain of deliberately placed Ines, each one reinforced by pianist Jim Trompeter's alert accompaniment. If D'Rivera was the frantic and verbose "star" of the evening. Minger was his reserved. sore effective sidekick. The saxophonist also received genitive backing from the 21- piece Concert Jazz Band. Working through arrangements based on a variety of Latin-American rhythms (samba, channga. Afro- Cuban), this group executed In. vol"d emsemble sections with rsxor•sharp cleanliness, and man• aged the equally difficult task of guying underneath the soloists when Vying background seg• tnenla. i rompeter's electric -grand totted on Blowin' held the crowd In suspense. as did the lotted• highly contrapuntal saxophone quartet introduction to Guapono. Song to My Son, D'Rlve'S's sumbing ballad was another highlight. Hen the saxophonist chase to play economically, allow. lag Carlos Lasete's beautifully scored arrangement —complete with muted trumpet and wood• wind textures —to shine through. The evening closed with the Dizzy Gillespie laWmarh Soft Pevmuts, Is which WRivers worked the hsnd.ciow"I Crowd into a rol- Bekloa. revivai.styk treaty. Ns WSun-SsM1nW. Saturday, Oct. 27. taal Mexicans play Haydn superbly by DAMES ROOS ne'ess Muck C/1nc Genenttals bowed benignly to each other at the University of Mlaml's Gutman Hall when the Latin American String Quartet played loth and 20th Century music for the international Festi- val of the Americas. the Mexican foursome, making its South Flori- do debut, turned out to be a first-rate ensemble, though it was a traction off Its stride In Mozart's Adagio and Fugue in C minor. K. S18. which opem(ed Its Saturday daht program. the group (Jorge Rill and Aron eltron, vtollalsts: Javier Montlel, violist, and Alvaro Bitran, cellist) had the right Ideas about pro)ect- Ing the !core': breadth and intend- ty, but not siwayt Idai control In bowing or In doveulting their tote. Yet then was little to cavil with In their performances of the concert's Latin novelties or the Haydn Quartet In G ma;nr (Op. 77, No. I l which ended the evening In high style. Not quite ended It perhaps, If Mcount the dazzling encore of anlni's 24th Caprice. the Imp's fine mudelsnahlp here was evident In Montlel's amngement, Including a clever fugato section, which reminded you how Psganinl (as In the I Ith Caprice for solo violin) can some- times,resemble Bach. As for Rodolfo Halffter's Ocho Tlentm, Op. IS. It was interesting to hear the mildly dissonant. wasetimes piquant, music of this kedin1 Metkan composer. His Eight Sketches are lively aUrtlstures of occasionally, con - trusting gtoods, marked by Halft- let's use of npetitive $piccolo, or spring bowing. The seventh sketch In somber shod" had a plaintive kind of poignancy about It, a pleasant. and neatly played, pre. lude to Villa -Lobos' teldom-heard l,rM Quartet. Though VIIIaLobos' toter wor be" more Btgttlto" flavor th this arty quartet. It is hill "Soiling and accessible mus and was to played. Still. nothing could quite ce PM with the quartet's pert, mtance of Haydn's Quartet In na)a, which holds a few surpri, of Its own. Including A fa reprloe"— that Is, false ret:api ktion — In the Allegro fi movement. This Is deeply enrit ing music of Haydn's nuturi Composed for his patron, Prlr Lobkowltz. In 17". The endh ingenuity of Haydn 1s on f display, especially In the refre, Ing Presto finale. which the Me cans tossed off superbly. Eclectic joyride highlights long evening sy "a gsith Us* eta" Own Waft's do"V lines a" "aotbing succeeds like excess" coold tot have keen mote appli- cable to liedetnday's installment d the lotemtlomal Iruouval of the Americas. It tamed not to be a early three- hour marathon of ttkh century works, including two world pro mteres and am US. premiere. It Marled out ttpartety. with a lfal work by t3oque Coedno for solo double bow ago coded cap non strongly. with Univml provaet M411urrt F. LIo's brand - now Aferw of sae Rao Death for NReler. Cher" sad etereleee i �att:aagtra. to betwe" came everything from simple art scaP by Rodouo Iralttter to festival director dose el'e ;e�►nL Sy Sebwa far y b rTaacie Sekwartor "OMmkstbuvkal" Castor for achssera (and a�). TM sack lichwarts creation, ham un L Ma hest Aewieas z :Music review CNAelega PLAYERS OP •uaYAM HALL lgnvanWrY OF IMAM trarttM uwvotwry op 1nAen @mom 90f4briet. 1068 Kelso and Prod talaketteaa, ewAwtera weMeeen/ wWVWF me of NMWA. st Cori"" basis coat - Possessed by sr d wrath and tWslwl M the "Wiese. wick a timp•e *ago • Tom"". par bftrmsmm so 214.3101. Performance. Was Clowly the IM4 "I o►yart." the mingling of various art forms into a giggle eatity. Schwartz ku gone use step fwU w with Gestos (Spealsh for "get. Into I MW brought httmr aoisse 7%11 pro`�Me MGM which cow wgg wch ass veme , a Jraha In Rio Pisrh; lalSasaw M &" JkM and f,,lttn a ly.tdAta, the or• cbestra member. are called spent to emit. scenettmes sect►oe by section. Sometimes tattl, a wide variety of sounds. There IS a metanebohe "assabbbb," a Senseous "asaabbbb," as ecstatic "aaaabbbb," e4aktion, biaeimg, teagtse•clacbiag and whistuall. Toe audience is ant AOowed to oft idly dsrigg all of this. but is fr*. s�n s facto lled � to who des cow for Tbee is MUSIC. too, mot d It fascinating and witty. not to mew tine artfully orebestratod, with vir• tually every Itutnmestal terse solar espk mtad At am paint, the composer immu empbaue Oda that o�ome • ekw as to is the striaga and W the 0 � �� not AM far its — there is a p�Ssg ror bmtb ad odfkd Lim 1paa evae anakee a ch111A igtpreSeloa Tk battle d tdppeta tram Wag. ner's Tristan sad Verdi's La flevJate it eiow . then eel teuatmSet d Disk Lswk boom With the wildly pluckft thatan cieut tm aabe. coos a� d blaxiag bras smah" tanwaaa� iappyg,lIS Mjt hlwsrts , - , ,tI a the Im oak with •dwKm dablle etthud• attlg, sapedaUy *aft W bomap to Jam Cap. Is" callied — What am? -- tkainegic imrfbmaat. ing to the sound at ali ws. Ik aw coeraged a committed performance from the University all Wand and bad an t+'��aadhace top along th his scheme. It sea a ta". •:hllanting ex. pwiemce, and t hope L can bs for. given for Yarboetng a desire to fled Some South aFiorids =rpabl t rably with as tetg Home lag a". wee f prim and proper sub. The two world prasWene of tie evenigPedro I�pscbse-tuvaConierto Otto Luening con- ducted the perfor- mance of his tribute to an American In- dian community in Wisconsin, Potaun- tomi Legends. far'[loped and orebon ra Donn& tWaaKemStr Ott o "aj with Modern wvmty. far Me gentle mbdle an ingrart. ice{, decidedl) If b orSttsrI helm ohm tie Mm am Slide presented IN clear" fashion. or approaches.tbs tube aoMposur s tmtmmt of the fiat• �"Wkmad dsd melod1C �ie archrtrijan is Frod Wkbb- - perfawteli III put with admirable skill, in orchestra, cooducted by Ton RalUam, was technically opotty, lot ,L:.a usinl a of W Red Death the Sort of extravaganza !silo me& for a university musk 6 oaetelsont — overyaw gets to c something. At N. Otto L.nsaing remains a of America'" mad ran con poSara, especially for tilt piottee mg in the ttiSOs of combined s- and electronic tape music. R snot a tedxnt works are less radici a evidenced by big 1912 tribute as Amerima Indian community WUKV eia, Pbtawatoml Legesc which be conducted on tb acesom �uIIt is a moody lyrkal acoeu, wi! gunk Rate "moods th � W Sogt nsoveatemk and maim the Lab �ttdtesSo�tbe et pomiestir Have Lad it does cant bold tolothi mtbety and lacks a distinctive at) 111111 c point or view, but it maken tc Pleasabe yes d Chi Rau gavThe e it Iar troth Wished reading.gave it F.aruw u the program. Luca Dees dteud asp asfve accom of Cordeo's SA/Woo Na 5 fo double bass, a tat:y, ye Intraapettive, work that contain obtained b600uuttft m that, tart�L b W Festival of the Americas Ily 1% flsedth us* are. it .an, breNholy v r IbAl c to hope 1►rl Sates days Idealhveat at W 1Mernsttdad rouval of the American would be as letrlgsdag r OaHa thhave then, eras craome e amerepresented oneamp" pm AN ail, is sormume At". The disappointment Started •arty "a, tb conceal, which featated LY h tar =amber L'Lvers d do for solo vloun, yea spumy % Tomas Mature, lea /Maack a tree -movement String Qelatart was given Its world premiere Uawks do lower Setiaati mt ale the festival has been highlight, tag, this new piece Is der+. seism, ewe aatriag it Is a grader, & mast smids•oly diasonaat Isst1M Tcumhe is blmests are treatpeidb�a�'oe~.00mw.imeot totl Road monk material and as thematic material is itself. last how vl;ar- Run� who this wh twoas to be restarted Lafterr+` Yoore broke a Wit during one W L,s1f ferce a ttiatrodootw rSletW doa biat of the melodic charm sultmad'a earlier manic seams bave in sbumdance. Tiers Is a live tam for enllo at tie a the movemsel and,owtim k tM The finale hhas�the� t �f motion so ales encounterreaidis music at '11is oaiotat remallo WieiIke avulsg f W the sad Another baring, ever, might wall field mor III Tot part�idpaha[ Gomm Ins PM sW16�llstl�m iis[000aeee Megan lrlchar and and 1a Drow tban delivered Oil I.aeaisg's lose sonata t �j�j� Am wort Wt is Witt ,a with coaldorable Rehr Smity miedoestned With the "ad Possibilities. U R pssrdedicated to Hamm aed%Sorge an �oagguu pert N sad tie mosocbramatw_ Tee a o few effective paaaates. aspects ass is wbid lie playmauon11 omit �mi�t�ieto Miami Toba Quatlet P� a ficiemtly under the eompaet atoll. WV ammpkmaA a Gino Now .ible�'e. ��r mmrdealif eaPld . its moment: a the two ' (tie camps ear's wads) obtitbd "Broods, and sled Street ftevitlted." Various Joy band dance IN W bishop, mambo, bless, boogiawt gw and rem t>Mp taus — a Mom enamm a.A•WA OF visa" KAU iawTUNA 01110sm itetb o.wr Onaeiw, ear oererat Mnete flrAwfa asA •... w Comm falsest Fart -- ale YSwanson d Arraeaeed were Kaawew Teenatsl eanNae wIM IM �OaMas► Far MsrnWn W M�ties and gatrti The effect B N In" e enervating than Captivating. Thorne tacks the cleversesa a, any; Uourd Bentsia, who h and s fro- ytaken asce am ttataid thorn into d . edly c@$temporary. arr"Ung � OwdWes raw mo u� sce w ware p Y o hoped for haasaea�� an porcomilm domonde Woods me a Aithouiam d gh 4 is thin � W notaWeth mum cooratte (even ka atvaat garde to" S s snn ap ntk laWy>. and Alibinfib Csrdeso'g earlmue•• Is f to dmtrsble, W UA off aadiistimcilw mn"i Voice inhaded�o~L ftal Alamiiss 1a Despite sfatie orickso.w�ari � aterlei In• t+ for eeehmlra audknei rtiel- air y (expWisocie lbal {bare Raa boR- arery reason to believe his ION • sorb. 4 Y"dra! SmIM, W"M he y. �tshd �bkmcored for strimp Isatssia[ «sd psr[oemad RW vas cWist Z did not reveal gait• the must - Ratios eaetdty to saki /or, ibe sort at "event" Gatos • fmwad and to be.r Them were bib _ Y. gb maws occasiiooea�y'tsraed to feel• the audMnce to otter a weird grin imtrw (the festival em ik% pow "' d a the mask with moms bun loot and aamplog sed Uems, and ep and doom is their mats — but the M experimental � e1 i1• a n Gostoo. Evw the few audience kioas contributions were only tentatively fly explored.A Yoottral bmlie aumdt mar. ace as something P.D.Q. Bad might tog Come o silk. in Gana Schwartz tebaa, meanded remarissmy. triampbeoUf of taniqua. No,'JI&srs4orwW. Saturday, Oct. 21, IN4 Cornpkted Ip 111 s (when It woes have Catttee .riot In any mermen balk., the wort «a ttpt beam b b � tt the s ebony Ot�lNS� gavee PP Stekowsti mlere with 1�,,asooppoold the ptdism (aaslated, lecidettap .' by two other conductors. Weld" r `�~ &To Nthis dare the Symphony r MAIN an extraordinary example musical Imaginotfon, daring and 1 r Devotion. It sounds more eontemp rary in places than pieces writs yesterday by the moat radical ovast-prolate. It is fiendishly dif cult to ppay and to Interpret — ev, Sere brler, wbo claims to be coopna! of conducting the piece aler called on his concertmaster to ' Am Serebrier Music (�ViQw reM part of the orchestra Sob too eoptex tar c laeaga became m baton. And it In, exceptiosaliy ch lot ak hso" t pomprw►end, aasntleAst s•nrtfotry 011MaTRA Then was another Fout't Sy yen owebrw. nne•eea.r. as.ean mar "es Deft CAWWF Arewarlow Poll M Phony an the the one Tcbbaikovsk , it received IMa leterutlaeat nnuval of one a"" tow exhilarating performant Serebrier favored galloping to T Toefeaaieat aka tea' Faferr Merin M "Wohi snottA.w one e- pea. especially in the finale. result was a vselcerrne axe eawFann►e, Own""" to Ytaeel WHVAP Oat. as For taurmos" W on the score's weaker idea as sinking focus on the shear am of the conception, the cleverness There momentaintricate ithInemWm'mntswhen brto would have been more Wh .moments when rhythmic ah symphony could have been handled m VUA lfaahion�j,�butik thmonm btu capably ge the int�tioe was halt to list. The orcbatra's dynamic, , performed fr,v�r a�Ea p1 squally 4n vfl. The audience demanded an By Tim Smith .we and got a rousing aceous Rim and Stripes Forever, take 1011e wreeT be Sort of •igoroSo pace fit Who OW wby be "'t wrfte mode that people liked. Clarks avorerf. The prograAt opsnad with Siva Iva replied simply. "I can't do It — 1 bear something she." be Min a American Fa»for rid, jaay trtM for brass That onambing else is brWiantl emission. aptured in his Symphony No. 4. Which was vividly partot•nedby the American Symphony Orebestra un- der Jae Serebmer's baton Monday aitbt at Dade Gotmty Auditorium. 'IUe occastat was the IDan gnra. Ups of the Interns Festival of Vp Americas, a two -week Intival conceived and directed by easdveWleampoW Serebrwr and sponsored by the University of Ml- alm. The fesUVAI, wbnca focuses on music of this bernbpbere written *rein{ fhb century, couldn't have opened with a mac fascinating, r velatory piece than the Ives Fourth. Saturday, October f7,1 aN / Tb o Miami Herald Masterplayers showcase Mozart by TM Foecid a TM Aid al% Barely has there been a watTDer MYtual admirstioo aotfety, or a snore richly justified one, than that between Mozart and his older colleague Frans Joseph Haydn. hach paid tribute to the other both In, words and In music, and each allowed the other's gealus to influence his own. As a ahowcase far each ma's Music, showing what made each unique. R would be hard to improve on ThursdaY's program by The Masterplayers. which opened the new season of the Friends of Chamber Music. Cossistin{ of a dozen stnng players and a hasdlul of wood- winds. the Swiss group doesn't achieve its effect by decibels so much as with countless shadings of color and dynamics, effortless elegance sad polished execution just a little sbon of perfection. There was much trace in the group's reading of Haydn's Sym- phony No. 46 in B msppr, ial- ly the deft Porn odogio and the eminently danceable Menuet. At KUM the same time, though. conductor Richard SchuDaeber did sot less trick of Hayes the exper. master. He empbulzed the undercurrent of tessioo, notably as be led his bushed wrings through the my$W flow Trio section of the ifenuel. Sdsamcbt•'s /wkless nun of Kayda [ brought Jeater, too, Lbe o these saute Menuel broke Is wAtdesy to interrupt the finale. With Mozart's Symphony No. 21 to A major, K. 201, as with Haydn, there was more the mere reline. meat. The Andante highlighted Mozart the sensualist, a the violins rovishingly Balled through those long, placid melodies that could have come from the greatest of the Viennese prodigy's opera. The brief Sinfonis Concertante in A major for Violin, Viols and Celia, K. 320e, is not so personal, but It does show Mozart at his most happily tuneful. Only some occasionally tentative playing front the 01011411 (Iidmusd Step Wan, Anders Uedgrem and Rei- mued Korupp, MPectivelylr us- able to eomlortably assert themaeives in the expenses of Dells County Auditorium, kept this from working the name magic as the two sympbomles. Gmft in the midst of so this, Samuel BarWo oblow Addeo for Strings seemed at first an after. thought —Ponape to Justify the Festivof ptthetionat Schumacher didn't treat It a one. His way with the moors was spellbinding. from the tender, almost whispered opening to the climax of luminous intensity. As a gem of sensitivity from a eoodue• for and responsiveness from an ensemble, playing like this would be welcome In any surrounding. IIIw1l esnavirow ettlggDIARIOLASAMERICA: (luartango: Evolucik. anovadora de la gnus: '-a del Rio de la Plata PatCARLOS'tTI UA Lot que eomtesemet use an. testrel y tlepiatente tostombre dt Palpllor eon el rites del us - to r qa@, pot atlas latitudes• la• geslamos =&stoner 1s sail aka ppee.ibit Is header& is* sale del b211deno6a pare it voloedo halts In Oki, eecontr&mos five hates we parolelos que fermse el hito Iisit mortello del eoettseate. has - to Cooedi, I1ee6 Is coutivaute =*site que, degae to Segundo =had del title parade, met lost el austral Rio de to Plats traasformado em &Mketo voltado ON popular pupil pestagramede. El Festival Istersoeteval de lam Amtrtcas que, diode el tt battle el la de oetob", taro er so "#tale is Valve de Mlaml afree16 come parte del stoma an recital tanevere que 4e16 seutodas pastas any $*gal• fleauvas ea to que here ■ is 11eeptsel6o que W Men tango pedde toner eat" los politicos de eualquler Idlomo. Seaumieato, eaqulsito buen gusto y caudad 91tperlauva, Outdo deelrge. Iowa dlcho preseetsel6a. Le del nar• Leto Quarteago. Les m*lUpke fatetat on is Persomolldad de tote essijusto k teneedes on mereeldo a laemes• Uoueble reeonoclmlesto eaire Its oil ealufeadas a lmpergar tee agrupaebnes tulterso del &Mato. Treen at states Is pear ualfalsa eresel6a de an esule de cameo Impealeado ass masers dkuata de "BusNste y e:prr sdm. to one originatee elm- ee►elemes eau tie s, de owmeam tWaclim removedera, we estin to&MImeate a►andomades US re• mtmlcenelas del Viejo tempo es• mareadas em el etacto equilibria de We valerea evoluckalstas que le Parstues to eristallaaelbe do new do tat Suit tol rNas, Polo fmda$, dea,as y amUmUeaS at tourists, hoe@ as cup Im- tomfusdtble. • de otadtmlca atructars musical y limit& sea• sibludad erUlers, que is conduct a ma triescesedeate eootrtbvelis "Illialles del Itmere eaeerr&r do use "also" lag earn Y. a Is was. gas dVIc0 de dettalr, eoe "also" do Is esevels de De Caro, de Trolle a de PagUese. Est "*1- p"del tooge de sles►ro. seem an Unto que On el orprest" ka• goals del joss at uamaria "s• antes" y qes an tome Nalwakse verbal ostm mooetries. radrle detWrse ad: "Quartaingo esti am of widens de to cos&". RslWalas admirable, ard& one de persioaeuslss ■odaU• dad. Is losses seseeraseatal ties# carecteres la"olvocas LAm el ssUk del grope. Dentro do m tragaalteala ar=6neo, de ds- Jost So-rtrbripr !I dhaelar artlaUee del FosU►ol loganaclomal de lot Am#rit" INS* No gram solaria al emem Ur is parUpocibm to of =loss that mortals, QuarUmse. Lewd tam tue hater tower as Miami at grape gme voostrd wI coals• donado aloe y a" originates coacepelieseo est#tleat pee /merem del tograde del etdgeate ptbUco de mattrn Suede. pareas =utiestidsa, amuses tea dlvitl6a rltailes Suer esso- lar coo striytote use del "robot• to" y de kg souks =sue@$ de lo- torpretsel6a time eosJkren k• rarquls r belie:* 6 onto a let monVestueboes ar..ttleas. Lao sales Istramestattt eseventros skmpre preforeate r enact* obi• eael6a to see plasters permit• uesdo el Nelielesto de todo is. eegrante. Quartsage brina elm te=etto persoesllded y elk otcorre too respeto obsolete a lea ostores qve laterpretaa, Uimesse Jost Late Pedals, Jolli■ Plate. Pedro Laurent. Joss de DNs Fa• tl►erta. Amsel V Vlolde a Astor Plassole, qae son vertldes eta Quardango di"O Barrels a wloBs, w alai* Lama ss booda is. Richard Bmi ow peso y Ravi Gooselin Sus t»atrabals. Ir lagrawas do Quartos%, mass do Iss Suit eleparadao asp vdsm taegmeres do Ise que paoans per NU=L Roperv=es quo an wwdta oar ma& reauad toasts. Meutmemelds total de sue too• petuves earotteret, a pesrr de Its prefosdat duereseles es• tuleticies r gempermentsul" sue tea separ mi. Qoartasto not to teWa at ewsro del resets demo olmader de sit stele#: del lasso. Pere el emorleto Heat tetra sto• plot streel6s: Es as eoortere do twit lategro too. al, porgve Ik*e seempadade de ono &"little Parels de blue qo#. dent" de Is eopeelandled, guar• do be stem" edoeves qwe of taortete ►roplameate tucks. Us mistake, eSUusueo deed@ etude eouvoeade$ Joss Carlo% Copes y Redelfe Valeauao so comets nperposlelba de valeres eStou The Ptihted eacttpts, reproduced to this press book appear by permission of the (allowing: Diano Las Americas High Fidelity/Musical Ammer The Miami Heald The Miami News Miami Today The Sun Seritmal University of Miami Hurricane wrttas The Washington Times WTMI+M Radio cut surdeade of equilfbris or. "sales tea to fettles gee Ns stamps%*. Lot eamadfesses Maruse Riopelle y Robert Bobts satellite toes etiulllbrles cos to persos*lldtd, tombloe dlousta. Pero sto halt de Is =is, auttntico #genets loagvtelice. Qaorlaego, estate@$, lose vokito, marhlslmo mtrito Pero defer hire sestodo$ $as "ales to lot "egloses de to grew histo- PIS del lease, is esteles, Is use of eoeent6 a eserlbtr twers de leg hmhet del *is de Is Plots per log amos diet. Cos eolidad y feerst Interpretative mea !less• rev lei oleo, tot sides y el rector• R de, ens n fnareaelbm berdeae ads #sire el vie8s de Adevt Boruttela r of plane de Rtebart poet, oil conductor de lei estrueturst maticalet. to slue* pa que sports #1 bale do Rent Gentle IF #i tnmelerable trato mleato pe 116=ule Lorree It otor{t ass boodone6a. roe nor aeeriado to partlet poel6a del Quartango to el ret tivsl lateroselosal de lee Amtrl eat, eentrlbsel6a valorable get tads per to director, Jost Se rebrier, to que peso le rota dis unto on en evento de jerarqulr Superlative. DIARIO LAOmEmns MIAMI, FLA., SAIADO i OE MOVIEMIRE DE I!N Edcioii 1Moawl a btenaeiar/ Lomfe w6do pars m mi iff un %ran lflrsmar El primer Festival International de late A=trless, de Is Val• veraidad de Miami. termla6 el marten ilUmo eon el voltage ele• vado espirtga que mastuve detente sea quince dies de duraeka. so leelds veleda del'Qoisela Boehm', de ■ader e;, celebrade as of'Gtuman HeU' de age Castro detente, que toe bogarde coal led&$ tot aeUvidades. lategrado par Sbery Reeder, en It (lauga; Phyllis Losfal, ea of oboe; Don Stuart, on of elarimete; David Wakefield, en In trompa; It Robert Waster, ea of (&sole; of quintet* escegl6 us, programs que The deade N parameste clitleo bests, to sets yam • guardble, poaleedo an coda one de ties Iaterpretaceses vtr• tooglaso y sensDWded par Ismail. La prlmera plea& ejecuteds. Foogasia et Fa meteor, de Mo- zart. (se de gram euqulsleg, desde Is pre"agacl6a latchl del primer team y as absecotae fag&, basta to elaboraelss final, skuleado at nisme esgrvoa, tralsda aealpre coo elarldied y empress evionsetim. 'Misiea de Versus', "a tit, de Samuel Barber, fur Is segos. do *bra de U uncles. Igoolmeme ejeevlado on grow lea►Wiled tettmuent$L espeelalmente as Is voeladis que set"& Tmlcisi• ■eae of oboe, seeundado par Is tromps y at (agate. Respemdiesde a moo de N objeUvoa rimelpieles del FesUval, come es usual es sae Upe de events, el 'Qmlaee Beehvo' coat!- met of program& can Is premiere del'DlwerUmesto No. !' del compositor estademnldesse Francis Theme —que estabe $W presents dlvidldo to clues, ■ewimlestos, de gran varieded. La obra conleaa can us plontesalleato hero egpresedo per seordes a assets de lotroductl6m, que se desorrolla y reple coo elerio dramallsmo. M&S Ingestive y gracious, Of gems alnempade del *agenda Uempe ofrece not oportmaldad de especial lecimlento Interpre- &MUve; y el nocturne, doude bay out especle de diilogo evtre to& testruseata, esU dolado de was ■eledia molanebllea, que fuse tregade eon Novi sclertee. Gracbsomemte emlamado, of tarto movialeste tronscorre coo ifopitieas elaboraciemes; y on of (te&L was tetroduccibs an Unto sombria, to Is que Sebresele Is (iesta. sine de base a caprlehosso loerveselotes de lee strut latnmestot. Em of qutetelo de Gunther Schaller, que faith Is Segundo all. tad de Is velods, se pose@ de o&stilests emoclewes tontradletr rigs. represemgadas per tares gross Ne imentes, que wigs ve• ces se ewtremettlam, y time lea ■lembras do Boehm' delimearom tom gram domiselo. Peru en el segtsdt Uealpe, us mekdis Ise op&rece as of that amgkru on eggWbre de Yeas, mosque sin opargane de Is maturalega Wgillea de Is o►ro. De mareado cordeter woueardloU, Is plus gametes rem von UesPo'AglgaLO' to of qve at steps de testtevoeaUstes votive a trabajar las df(icilel disomascles cots sgtraordtearis bobUldad. El Programs cemclmy6 tom was obra de Elliott Carter, dlvldl• do em tree Uempos, qoe avagme pertesece of mismo rertorlo de seislem modern, $086 wo Pace sit conventional a log Sol&• loses, que premieres It ties ejeceel6a del 'Qulakla Boehm' con use repeUdo ovacl6t. Y el -grope de Iatnmeal ates, viftalmewkal eoclesudog, la reSlds de Is sedlescla lecande come 'encore' wen boolga plot& de preloadas ralces voelbdicies, conee►Ida en JPJg per Nro veterame compositor esUdomtJdeue: Noting G Amtediumeage, of sibado per is ruche. el grape'Qeigriasg&', formede per lustre forvoYables ■islets de Is Orquesto Stef6• like de M$ttrt$L atfeefb on eucelente programs de mullet smtiet*us de Is Argentina, com of concerso de In Pare)& de buttes formado Par et camadenses Robert Battles y Martfae Riopelle, gelemes aladlerom colorido y belle[* of especUeolo. El primer Festival International de lag Antricas—emyes logral y proyeectooes tratemos ampllameue an tiro trabojo que ter& publicado—, so sofamemte fee to IasUgUro #KILO — graclat a sit director artistico, maestro Jost Serebr er y &1 De• esso de Is Escuela de Musics de Is Ualversldod de Miami, doc• for WUJIam Hipps also que eossUtwye tomblin ten$ perms• seae prowess to *do& vemidetros pars sate cludad. Miami News Friday, October 12, 1984 Festival organizer singing Miami's praises vat, "it will Involve the communi- public and composer also will get whose works are bung played an- missimv, Serebrier calls this op - BILL von MAURER ty to such an extent that it will be- together when the composers swer audience questions at inter- !wrtunliy to meet the composers 61001110411 come known as the Miami Festival — of the Arts." "a unique experlence" not often encountered. and Asia. He's also regarded as among the most wide - harried You say you've never heard of More than a dozen composers will be assembled in ly recorded artists in classical music. working regu- Jose Serebrier was a Serebrier? And that also goes for Miami during the festival. Serebrier emphasizes the larly with American and European recording compa- man this week. After all, be had a such composers as Elliott Carter, importance of his corps of composers and calls Cart- nits. lot to do. He had cast often back from Otto Luening, Francis Thorne ants many others who'll be here? er. for example. "one of the most important Amen- � composersup acee ni r Why, then, is he giving so much time to Miami? have always been close to Miami and have visits Dusseldorf] Germany. where he had conducted the orchestra fora Serebrier recognizes the prob Iem ttwice doesn't day."rrize ize p everythere calls Luening. 85. "a pioneer of American music." as much as time allowed because my mother. Frida, lived there for 10 years. IShe died last April. 1 production of Mussorgsky's opera. " and ,as a solution:'lf we just presented everyday lhing�, there There'll also be composers here from Latin Ameri- There'll many friends there and 1 have a job as adlunLt Boris About 1.500 tiles south of New would be no international interest in this Irstival. It would be lust ca. Including Manuel Enriquez. 45. from Mexico, and Rodolfo Halffter. 83, also from Mexico and described advisoryl professor at the University of Miami. 1 have retained excellent relationships with the musi- York. one of three home bases he frequents. a mound of work was one more thin in Miami. and you "We by Serebrier as the "patriarch of music" in that coun- try. "It is going to be an amazing festival;' he adds. was a duetor with and awaltiog him. His other residences could forget It." he explains. he orchestra (FloridalPhi harmonic ,* are In Sydney. Australia, and in London. simply hid to do something out of he ordinary." "Music Is the main element of the festival's first year," Serebrier explains. "but things will not remain other names He says he has "never worked so hard in my file In a way. Serebrier is a symbol That takes care of the problem that way." The emphasis during this startup festivel on a project. For the first time in six years I have can- oe the new. arising Internauunal Festival of the Arts. which is on M drawing an international coterie g of mu%icians and composers here. year will be classical. romantic and contemporary music. two jazz concerts and Latin American popular celed my Australian season, and this summer t crossed out all my European engagements to work on the verge of being born Sunday In Serebrtrt. using his considerable music slot very high quality." Serebrier includes in the festival." Miami with Serebrier as its artistic influence. has succeeded in doing the latter a Montreal -based tango quartet called Serebrier insists the International Festival of the director, just that. "Quartango." which will dance and play tangos not Americas has nothing to do with the late New World He's a figure of enormous status Turtling the somewhat esoteric to be danced bar the public. "It will be a concert of Festival of the Arts. a i5-million fiasco that died after in the western world of music. and festival into a community attrac- .tango listening.' Serebrier says. its first outing. The International Festival is a much status is Something that the new tion is something else. Serebrier "As time stoves along." he continues. "the festival less ambitious projects with a budget of around =325.- festival hopes to achieve. particu- recognize-s the problem. "That is will involve all Interests in Miami, including children, 000. "We laxly in ow hemisphere. He's also why I have insisted that almost senior citizens and minorities. There will be special "Nothing will discourage us." he adds. have �J a Saari of tremendous contacts in half the events be offered free; he events for children such as concerts for children• already made plans for the festival through 1986." the world of music, and the festi. replan%. The Irve concerts will be at Gus- opera for children and even theater for children. And they will be In both Spanish and English. We are al- The free events will be at Gusman Concert Hall. paid concerts at Dade County Auditorium. The festi- vat Is eager to attract as many Stella musicians to Miami as pool man t onrert Hall on the Universi- ty of Miami campus. it's there that ready negotiating with a children's theater group in Buenos Aires that might come here next year. In fact, val will open Sunday at the Lowe Art Museum. Uni- versity of Miami campus. where a 44-loot mural by sible. Serebrier Is the perfect bridge between muddans and the Serebricr plans to get composers we are In touch with many different groups that will be narrowed down fir• Mexican artist Rulino Tamayo will be displayed. The opening concert will be Monday at 8 p.m. its University of Miami. the principal spans" of the International Festi. and public to rub shoulders. There'll be four symposiums dur- Serebrier himself was born in Europe of Russian Dade County Auditorium. with Serebrier conducting Val of the Arts, ing the festival in which such cele- and polish parents. He's a composer and has more the American Symphony Orchestra of New York Serebrier is dedicated to involy- brated composers as Carter. Luen- than 100 compositions to his credit. tic's credited with the University of Miami Singers. A weekly Schedule of events for the festival. ing the community with the festi- vat to a maximum degree. "As it ing and Thorne will answer questions from the stage in an in. with nudging Australian symphonies into the top ranks of world orchestras. He has conducted all the which ends Oct- 30. can be found In the Upbeat ealen- growss" he Says of the new feed- formal setup. At Gusman concerts. dpr orchestras there and in Europe, South America dar on Page &C. UO2M 11 2SO UM PON M14-54011001 W WO �UNIVEWMOF i3 •p .w scbooi of musk, PO. 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