10-C Monday, March 13, 1989 The Philadelphia Inquirer Philomel performs works by Vivaldi, Telemann, 2 others 1. Reviewi Music A family album of a big clan "PORTRAITS," from 1-C leave their families knowing they would never see them again. The courage these immigrants had! To learn a new language, to learn a new culture I don't know that I could go abroad and do what they did." Some of the immigrants had a particularly tough time, as demonstrated by the story Myrna and Ira Brind, chairmen of the museum gala, tell about one of the photos they contributed for possible inclusion in the museum's book. It is the formal portrait of the family of Isaac Dvor-kin, Ira Brind's maternal grandfather. In 1927 one year after the photograph was taken, four years after the reunited family had settled into its new life in Philadelphia Isaac was killed.
The owner of a kosher butcher shop at 92S N. Marshall between Poplar and Girard, he was struck by a motorcycle when he got off a trolley on his way to the slaughterhouse to pick up some beef. Ira Brind said his grandmother, who continued to run the butcher shop, was left to rear their five children single-handedly. For Brind, his old family photographs took on new significance after a trip last year to the Soviet Union. "Boy, am I glad my grandparents did what they did," he said, referring to both his maternal and paternal grandparents' decision to emigrate.
"Sharing it with others, sharing their background is some- Si it' The PMdWplM Inqunr ERIC MENCMEH on hearse is his father as a boy. with nostalgia. Gross, 42, said her parents and grandparents' generation may have been most concerned about assimilation, about fitting in in the New World. But, she said, "My generation is the generation that can say, 'Hey, it's OK to celebrate our roots and celebrate who we For more information Photographs must be submitted by Wednesday to the National Museum of American Jewish History, 55 N. Fifth St.
Phone: 923-3811. ich muss dich lassen," for example, is a beautiful song in several musically identical stanzas so why couldn't it have been performed thusly? Sometimes, though, the Renaissance Wind Band presses the button marked "none of the above" and Renaissance Wind Band in concert at the Mandell the family business' early days; gender. "Right after this massive wave of immigration," Gross said, "a whole history, our roots, were destroyed lin the Holocaust. American Jewry has had to renew itself in this country, which America has allowed us to do, but now we're beginning to look back and try and understand that experience which brought us to this country. "We're now a generation away from the Holocaust it has been more than 40 years and people can begin to look to Europe, to their past, a little more objectively, but also disfigure any harmonized music.
Finally, the band has a tendency to "improve" pieces by stringing together alternate versions into a more diverse whole than the composer(s) conceived and by leaving out one or more parts to create such alternates where none exist. Isaac's "Innsbruck Exotic and beautiful pets. Can be taught to talk. Easy to care for. Tens rTftTl'v? co*ckatiels ln By Andrew Stiller Itf Tlic Inquirer Philadelphia's Renaissance Wind Band is capable of first-rate music-making.
But the realization of early music in performance presents a number of hurdles that these musicians trip over far too frequently. Such was certainly the case at yesterday's concert in Drexel University's Mandell Theater, despite numerous unquestionably beautiful renditions, Basic problems kept cropping up. First, speed: The band seems to feel that any rapid piece should be played as fast as technically possible. At best, this results in performances that are cheap and soulless; at worst, there are blurred rhythms and un- winmofa Trn MS Jj Parakeets lopmFrTl day in the lurching, rather mannered, crescendos that violinists Mary Hoyt and Cynthia Roberts adopted in a number of the slow movements; their studious phrasings overearnestness may be the better word also resulted in a certain severity of tone color. The violinists' work is more than promising, however, and in the Vivaldi, they displayed intonational precision and fluency to the rapid interchanges.
It is one of four such duos by the renowned red-haired priest, and thoroughly engrossing. Although to my taste, the musical effects would have been stronger had the bowings been less constricted, Hoyt and Roberts' efforts were laudable and were strongly applauded. All of the musicians performed at energetic levels, pressed onward by harpsichordist Bruce Bekker's prominent bass line. Still, this did not override the concert's weak point, which was a compositional sameness. Possibly the program, which included Telemann's Quadro In B-flat major for strings, had one too many small works.
The Sarri (he was a Neapolitan) and Baston (an Englishman) are modest, not terribly inventive, scores. The Sarri has several dramatic touches, the Baston which is scored for sopranino recorder a Handelian sweetness. In both, as in the concluding Telemann suite, Berardi was the focal point, and her easy command of the music's shifting needs bouncing virtuosity to a well-mannered lyricism did not disappoint. By the suite's final movements, she was beginning to tire, but her recovery was always swift As encore, the group reprised the "Spiritoso" of Sarri's sonata, giving it more point and brio this time around. Philomel's cellist is Allen Whear; its violist is Ruth Dumas.
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si2 I so99 3 Pnn $187 Directors honor Levinson By Lesley Valdes Inquirer Music Critic Philomel's Saturday night concert at the Ethical Society hinged on baroque familiars Georg Philipp Telemann and Antonio Vivaldi, with additional works by the less well-known Domenico Sarri and John Baston. The period-instruments ensemble reduced itself to a violin duo for Vivaldi's Sonata in major, its largest permutation was in the Telemann Suite in A minor and Baston's Concerto No. 2, both of which required four strings, harpsichord and recorder. These larger works were the most attractive of the pleasant evening, in about equal measure because of the variety and grace the recorder parts brought to each score and because of the grace and aplomb with which Elissa Berardi played them. Berardi's natural, expressive phrasing is one of the most engaging attributes of this group, which has labored hard over about a dozen years to keep the city abreast of what the academics call baroque performance practice.
Songful, unmannered phrasing comes a lot easier to wind players, of course, than to string players, who in the early years of the period instruments' movement were strikingly self-conscious about the demands of the baroque style. This stylistic self-consciousness is still present, although in increasingly minor degrees, in Philomel's core strings. It made itself felt Satur- it's then it shows what fine things it can do if it only treats its material with more respect. A pair of Spanish songs splendidly togged out in shawms and sackbuts and a half-dozen or so other perfections showed what we could have from this group, if only VALUES, OUR TRADITION 5 99 Joseph Levine with photo from thing that makes me feel good." Sallie Gross sees the "family album" project as timely for a couple of reasons. For one, the museum, established in the Bicentennial year 1976, observes its 13th anniversary this year.
"We thought we'd like to do something special in honor of our bar mitzvah," Gross said, "to do something that reflects exactly what the museum is in business to do." Also, she said, the enthusiastic response to the project indicates that the time is right for the kind of reflection Portraits is likely to en Review Music certain ensemble, as yesterday in Ludwig Senfl's "Ich weiss nit, was er ihr verhiess." Heinrich Isaac's A la battagUa and several other pieces. Renaissance composers left the choice of instruments to the players, but that doesn't mean that anything goes. You can't set a soft instrument like the gamba alongside the loud sackbut expect to achieve any kind of reasonable balance. By the same token, you don't mix percussion and recorders. Nor is there any justification for the addition of drones, which badly ture Arts and Sciences nominated Martin Scorsese, director of The Last Temptation of Christ.
In the guild's TV-directing competition, Steve Miner was voted best director of a comedy series for the pilot of ABC's The Wonder Years. In other TV-directing awards, Marshall Herskovitz won for nighttime dramatic series for the "Therapy" episode of ABC's thirtysomething; La-mont Johnson won in the dramatic-special category for Lincoln on NBC; Jesus Salvador Trevino won in the dramatic-daytime-show cagetory for the CBS Schoolbreak Special "Gangs," and Walter C. Miller won for musical or variety program for CBS's Irving Berlin's 100th Birthday Celebration. Other awards went to Hairy Coyle in sports for directing NBC's presentation of the 1988 World Series; James Gartner in commercials for a series of ads, including one for Major League Baseball, and Merrill Brock-way in documentaries for the PBS Great Performances program "On the Move." Svars mini-cancil aid may be all you'll nwd to wear. HEARING AID SYSTEMS CQ99 s4 1 cM FOR $1oT $17" I gravel paper, ImWmmW mM Kit contains: Great seed.biskit, WWrmWrm SH Kt goldfish food mELt t0tch.
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