8 Wednesday, november 2, 1977 page daily nebraskan arts & (ffi(n)fiif

3 -- i , f - Lincoln's guest conductor i j ',:;; r : i likes his suitcase career .

By Charlie Krig to a concert is an from : - "Going escape - I 1 ... - b v-- l His life is his hobby. Leonard Slatkin the real world," Slatkin said. "For the L44,X4 ;:;";.', - k conducts for a he -- . . living but says he's crowd it's an from - M . 1 lucky. younger escape lTT- 414.4,4 , m :.'ft iI ::',;;;:. . 1 "It's difficult to say conducting is a academics, for the older crowd it's an es- ' ai1 ' 1 he said. "It's-- life's L U . - - : - job," really my hobby cape from business. But still, we're here for , that I happen to get paid for doing." entertainment. It's just that our entertain- Slatkin said he likes it, though. He even ment is very high taste." likes the traveling a guest conductor must "Sometimes an audience's receptibility do and he doesn't worry about putting to- will affect a performance. The orchestra gether a concert with a minimum of re- knows if the audience is there to listen or hearsal, he said. just for a social event." "Musical styles are no different than Slatkin said younger audiences are be- usual on the guest conductor circuit. coming attuned to classical works, too. He There's never any problem with the style cited the use of classical music in films and of the pieces, just with putting it as the basis for contemporary hits as ways together," he said. "We. put together they become aware of "the great classical players who are doing their own music." works." He lives in New Orleans but "home Classical music remains a suitcase in a he said. motel," "A certain degree of music is always with an orchestra take two Trips usually lasting," he said as a reason for the survival weeks: first there are four rehearsals and of classical music. "But we don't know the then it's time to To make perform. prac- impact of popular music. ItH be a hundred tice even more the difficult, orchestra years before we realize the effects of must two different usually prepare persons like Elvis Presley or the Beatles." in order to be able to two programs play He said he finds himself his concerts in each Slatkin said. comparing city, those other con- This is Slatkin 's fourth to Lincoln conducting style to of trip ductors. and he has another set for March next year. This time he's conducting two concerts by . "I can drive my car and hear a piece the Minnesota Orchestra (one Tuesday and that I don't think is being done right. It another tonight at 8 p.m. in Kimball hall) might be too slow or fast or too loud. Then but his March appearance will be with the I hear the announcer say it's my own St. Louis Orchestra. music," Slatkin said. Finest orchestras But the ultimate goal is to please the Slatkin said those two orchestras are audience, he said. "I want them to leave "two of the finest in America" so when he saying they had a good time and they want performs with them, "musically I have no us to come back again. They should go out Photo courtesy of Minnesota Orchestra he said. fears," entertained and smiling." Home is a suitcase in a hotel to traveling conductor Leonard Slatkin. All-si- ar lineup on fight, infections V.S.O.P. album ByJeffTaebel As many jazz enthusiasts will remember, this lineup striking duet by Hubbard and Wayne Shorter. The song Several months ago, an acquaintance of mine asked me is the same as the mid-60- s Miles Davis Quintet, with subsequently moves into an incredible rhythm jam if I had received any albums lately that I just couldn't Hubbard replacing Davis. The music is similar stylistically between Carter, Williams and Hancock, who uses his piano LP stop playing. I told him that I could not think of any right to that on their with Davis. "Delores," which closes as a percussion instrument. offhand. It's hard enough to find one good enough to side three of the V.S.OP. album, originally appeared on Side four is great throughout, opening with a slow, listen to a couple of times, let alone to play indefinitely. Miles Smiles, which was released in 1966. emotional Ron Carter composition, "Little Waltz.' This It would be be- If my acquaintance had asked me that question today, I easy to attempt to draw comparison songs contains some fine lyrics supported by some out- would have been able to give him an answer: The V.S.O.P. tween the playing of the Quintet today and the way they standing base work by Carter. on the Davis but in Quintet. played album, light of the changes The side closes with an upbeat Hubbard tune called that these musicians have since gone through they left the "Byrdlike. The band really gets on this with Davis that would moving cut, fold, be unfair. Of course Freddie everyone getting a chance to stretch out and show what Hubbard cannot match Davis commanding artistry on the they can do. nor does he to. Instead Davis trumpet, try of imitating Even though no new ground is broken in this live set, he settles his sound, into own groove, complementing the and none of the individual performers break loose music rest the really review of players quite well. on their solos, the music is tight and infectious. It's Album highlights amazing to note that these five masters can play with so The real highlights of the V.S.O.P. album come on the much feeling and still-remai- n in total control of - The second and fourth sides. Side two features a Quintet (V.S.OJ. standing for very special old Tony their music at all times. It's an album that's hard to stop palea classification for fine cognac), as the sticker on the Williams composition entitled "Lawra," which contains a playing. album cover boasts, is the all-st- ar jazz lineup of the 70s. This band features Herbie Hancock on piano, Wayne Shorter on saxophone, Ron Carter on bass, Freddie Swedish-bor- n Hubbard on trumpet and Tony Williams on drums. artist to discuss films The fact that the Quintet has five big name musicians will more than likely attract a lot of people to their-albu- m. However, many of them will be surprised with its at Sheldon's filmmaker's showcase musical content. The films of Gunvor Nelson None dominate appear through Thursday equipment dictates to the filmmaker. in Sheldon Memorial Art Gallery Film-maker- s' Showcase. "I do None of the five totally dominate the group, as they respect my former work, even if it is raw and un- Wednesday's program of six short films are: Schmeer-gunt- z have in recent years with their individual bands. Instead polished, she said. "It's a trap to get too fancy." (1965;) Fog Pumas (1967;) My Name is Oona they play cohesively, with each man respecting the others, "Filmmaldng,' Nelson said, "is, for me at least, a trust (1969-70;- ) Kirsa Nicholina (1970;) Take Off in talents. As a result, the listener is treated to four sides of (1973;) yourself that you can get what you want. . .striking a and Moons Pool (1974). Showings will be at 1, 3 and Teal core within of what " fine acoustic music, which the liner notes describe as 7:30 yourself, your world is the mainstream the 60s. pjn. being representative of of 125-minu- jazz Trollstenen, a te feature, will be shown Thursday at 3 and 7:30 p.m. Nelson will discuss her films at both 7:30 showings Two Nelson, born in Sweden, said she films senior recitals Printing your own flyers? j began making with borrowed equipment on the west coast. She began ' Save time! teaching at tne San Francisco Art Institute-irr197- 0. scheduled for t While some of Nelson's earlier films involved years of oday work, she said she now to work at a slower Use prefers pace. today by students Daily Nebraskan She said she likes to start with an idea, then develop and hflftMS about two rolls film explore it at of shot per week. She Wchard Svoboda will play the bassoon at 3:30 said each week's t p.rn. Want ads looking at shooting lets her change her in the Choral Room of Westbrook Music Bids. lis - J approach. "It's an adventure, she said. J-F- SIS?0? !?.be rStnataM - Fa. "Trie pour Nelson said she doesn't try to visualize a complete film ? r!?500?; Poulenc and before on She said that in the film she is by,FnciswiU starting it 'uStStuiS!t Yi ?tler be accompanied by making now, the actors have become so familiar with their roles that they can improvise on them. "From the beginning we had a form for it," she said. .1 to "But now we might notstay with the form. . had the ?i:30.J?jn to "Sheldon Art Gallery form already thought beforehand-b- ut the option to W Pi3y MDiaIoSucs for Clarinet nd nano Rovert throw away the form is there. by Starer, hv Nelson said she could remember when California ex- "Soni, fo, perimental film-make- rs were forced to make or borrow pList. ' arjr lniam' w"l be his film equipment. She said that now that many schools have C good equipment available it sometimes seem like the S