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Page 94 text:
C «henne Yochlmura receive Instruction at ah practice for her dance In Pa de DU . "
by Lori Lau
The Milwaukee Ballet Company came to town In February, and for a short time the audience could lose itself in a fantasy world as the dancers, clad In the spangly costumes of theater, leaped and balanced and spun to the orchestra music.
There were three fantasies, the first of which was "Le Combat." a ballet which takes place In the days of the Crusades. In the opening scene. Clor-Inda, a pagan girl, meets Tancred. a Christian warrior. Time passes, and in their final meeting, they engage In mortal combat. Tancred wounds his assailant fatally, then discovers too late that she is the girl he loves. The mood was military; the dancers were warriorlike.
The second ballet, "The Class," observed a ballet class during practice, and the dancers' struggle for perfection. The teacher demanded, cajoled and encouraged them as she flitted here and there to work with groups and individuals.
The final ballet, the classical "Pas de Dix,” from the last act of the full-length ballet. "Raymonda." was a lavish, dazzling presentation of classical precision dancing to lush orchestra musk — the stuff of whkh young ballerinas' dreams are woven.
In fact, the entire production was the stuff of which all dreams are woven.
Page 93 text:
The Concord Siring Quartet Clockwise from left: first violin 1st Mark Sokol, cellist Norman Fischer; second violinist An drew Jennings, violist John Ko chanowskl
Concord String Quartet
by Karen Bochme
Despite problems that caused the members of the concord String Quartet to Interrupt the music between movements for retuning, on Jan. 30 the quartet did what it has become famous for: playing Beethoven string quartets with the precision and intensity befitting Bee thoven's music.
The Concord String Quartet, formed in 1971, demonstrates how well four men who have played In an ensemble for nine years can perform. Led by first violinist Mark Sokol, who used his eyes and body to direct while playing, the quartet's playing was polished and tight. Other members of the quartet are Andrew Jennings, second violin; John
Kochanowski, viola; and Norman Fischer. cello.
The ensemble played three quartets: two of Beethoven's earlier works. Opus 18. Quartets Nos. 2 and 3. published In 181, and another that is among the last pieces Beethoven composed. Quartet No. 13.
The quartet played the last quartet as Beethoven had written it. with a long fugue section at the end. instead of the shorter finale that is usually played. Beethoven wrote the other finale when the fugue proved unpopular.
The group's Interpretation learned toward the romantic, even in the first two quartets, which are soundly based in
the classical tradition of Mozart and Ha dyn. The stretching of crescendoes and decrescendoes to their limits seemed more at home in the last quartet, in which Beethoven had already begun the move to Romanticism.
Beethoven's music is challenging for both the performer and the listener; it is very subtle In one phrase and very straightforward in the next But it Is always provocative, even more than 150 years after Beethoven's death. The Concord String Quartet's polished performance seemed a kind of tribute to the music of this musical genius.
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