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(Cocker has sound production
Review by Meg Greene
Hidden away and safely secluded in a
California recording studio, Joe Cocker
has finally come through after two years
with an album that is, technically sound
and musically excellent.
True, the music on "I Can Stand a
Little Rain" is somewhat subdued,
bordering on easy ballads and blues
essence.
The band itself is a well-balanced
group, with a fairly infuentia! set of
keyboards, a CockerRussell throwback.
His back-up vocalists are tight and
clean; giving the right touch to Cocker's
vocals, in which there also seems to be
more control.
Cocker tans may be disappointed by
the lack of razzie dazzle, gut-spilling
sound which has been Cocker's trade
mark and has made him a phenomonon
in rock music. But the grave! sound has
just been paved over. The essence cf
Cocker's soul is 'still prevalent and
comes through song after song. From
the ballad, "You Are So Beautiful" to
the cryptic "I Get Mad," Cocker has
.recovered his niche in the rock world.
Perhaps the change that's affected
Cocker can be seen in the title cut of the
album:
And when I'm on' my last go round ;
I can stand anolher test
Because I've made it before
And I can make it some more. ,
Kanal: war horrors
This week the Union Foreign Film Series
presents "Kanal," a 1956. film by one of the
pioneer directors in the new Polish cinema,
Andrzej Wajda. '
It was Wajda and a handfull cf others who set up
independent, self-supporting production units in
the mid-50s and brought worldwide recognition to
the then still young Polish film scene .
"Kanal" is his second feature and it teils of a
group of Polish Jews fighting for their lives in the
sewers of the Warsaw ghetto during Nazi
occupation. The movie shows the dark horrors of
war, escape and survival and conveys the gradual
disillusionment of the story's young uprisers.
Showings are at 7 and 9:15 p.m. Tuesday,
Wednesday and Thursday in the Sheldon Art
Gallery. Admission is by series ticket.
st
ring quartet s cnamDer concer
t first
rate
Bv David Ware
First-rate chamber music is rare enough so
ensemble-play enthusiasts had generous
reason to be grateful for the Saturday night
performance by the Vieuxtemps String
Quartet inlhe Raymond Hall TV room.
Sponsored jointly by the Lincoln Friends of
Chamber Music, The Nebraska Arts Council,
Centennial Educational Program and the
Cather-Pound-Neihardt Residence Complex,
the recital was an entrancing reminder of the
vitality and majesty of quartet work, a genre
.often neglected.
The qua tet performed three works. First
was Medelsshon's Third Quartet in D Major,
a flowing, melodic work that reflected ' the
serene, affluent life of the composer.
Mendelssohn's works have, at times, been
deemed somewhat superficial, but the
quartet emphasized the exceptional lyricism
and energy present in, the work without
acrmcinq ivtendeissonn s characteristic
prettiness. .
The second work played was the first
movement of an unfinished quartet by
Schubert, composed in 1820 but not
performed until 1868. Especially notable in
this piece was the remarkable tone of the
cello, prominent in several tricky passages
toward the end of the work.
After a brief interval, the quartet returned
to play their third and final selection,
Beethoven's Quartet No. 18 in A Minor, Op.
132. Defying the convention of having a light,
mobile first movement, Beethoven's work
starts out slowly, then swiftly switches to a
storming allegro stride.
The second movement is taken at a
moderate pace, forming a tension-easing
connection to the hymn-like third movement,
a deliberate, eloquent work of thanksgiving
written by.-Beethov.eifc upon recovery from. a
lonq illness. The fourth movement was a sort
of march, connected by an impressive. violin
bridge to the fifth. ' '
The musicianship of the quartet was of rare
high quality. Singled out for special praise
should be the violinist, Masako Yanagita,
who displayed a breathtaking attack and
exceptional accuracy throughout the redtai,
save a momentary choppiness st the
beginning of the Mendelssohn. The only
other noticeable difficulties came during the
second movement of Beethoven's piece, -where
the second violin displayed a bit of
sloppy intonation.
It is seldom that one is privileged to hear
musicians the caliber of the Vieuxtemps
Quartet, and the sponsors of the event are
owed a debt of gratitude for having presented
an evening of music that was both technically
superb and supremely enjoyable.
1
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page 6
monday, September 30, 1974
