Tuesday, May 29, 2012

Utah Symphony violinist to retire after 69 years

SALT LAKE CITY (AP) — The longest-tenured member of the Utah Symphony is calling it quits.
Violinist Frances Darger is retiring this year after joining the symphony as a 17-year-old college freshman in 1942.
KSL reports (http://bit.ly/MOJz4t ) a British writer last fall compiled a roster of the longest-serving orchestra musicians, and the 86-year-old Darger was at the top of the list.
Darger raves about Maurice Abravanel, saying his selection as music director in 1947 transformed the orchestra into a world-renowned ensemble. He won recording contracts and brought in prestigious guest artists.
She says she stayed with the orchestra so long for the simple reason that she loves "all that pretty music." She says "it's just been a wonderful, wonderful ride."
Darger officially retires after this summer's Deer Valley Music Festival.

Folk artist Doc Watson's responsive after surgery: agent

WINSTON-SALEM, North Carolina (Reuters) - Grammy-winning folk musician Doc Watson remained in critical condition on Friday but had regained some strength after undergoing colon surgery at a North Carolina hospital, according to his management team.
A statement on Folklore Productions International's website said the 89-year-old performer was "resting and responsive" following his surgery on Thursday.
"The family appreciates everyone's prayers and good wishes," the statement said.
Watson, a singer of bluegrass, country, blues and gospel music, is famous for his flatpicking style on the guitar and his interpretations of folk songs from bygone eras.
A Folklore employee said Watson had fallen earlier in the week at his home in Deep Gap, North Carolina, and was unable to get up without assistance.
He was taken to a local hospital, where his condition was discovered to be more serious than the fall, according to the Folklore office.
On Thursday, he was transferred to Wake Forest Baptist Medical Center in Winston-Salem for surgery, the Folklore employee said.
Watson has won seven Grammy Awards, in addition to the Grammy for lifetime achievement he received in 2004. Most recently, he won in 2006 in the category of best country instrumental performance for his playing on "Whiskey Before Breakfast."
For much of his career, he toured and recorded with his son, Merle Watson. Doc Watson's most popular recordings include the songs "Tom Dooley," "Shady Grove" and "Rising Sun Blues."
(Reporting by Colleen Jenkins)

After NYC beer museum tour, hop on over to its bar

This undated photo provided by the New-York Historical Society shows a Currier & Ives color lithograph “Fresh Cool Lager Beer,” dated 1877-1894, which will be a part of the uncoming exhibit "Beer Here," featuring a small beer hall and the chance to try a selection of New York City and state artisanal beers. (AP Photo/ New-York Historical Society)NEW YORK (AP) — Beer was hip in New York long before hipsters were into craft brews, according to a new exhibit at the New-York Historical Society that traces the history of beer all the way back to drunken Colonial times.
And it's not your typical staid museum display: There's even a bar at the end of it.
"Beer Here," which opens Friday in New York City and runs through Sept. 2, aims to show that beer is steeped in the state's alcoholic history. From a manifest with beer orders for George Washington's troops to the diary of a 14-year-old hop picker, the exhibit capitalizes on the growing popularity of microbreweries and beer gardens. And it makes the case that, once upon a time, New York — once called New Amsterdam — was at the forefront of the American beer scene.
"Beer was very important to New Yorkers from the earliest point of colonization," said museum curator Debra Schmidt Bach. "The Dutch have a strong beer tradition, so it was a very common drink in their culture, and that's true for the English, as well."
New York City was notorious for its taverns in the mid-1700s, when there were more watering holes here than in any other colony after Dutch colonists brought beer over by the boatload from Europe. Back then, beer was often healthier to drink than water.
"Clean water was a huge issue," Schmidt Bach said. "And most of the sources that had been developed in the early 18th century were pretty polluted by the 1770s. So absolutely, beer was much cleaner."
Scratched, cloudy-looking ale and porter bottles excavated from lower Manhattan are on display as evidence of beer's popularity there during the 18th and 19th centuries. And an accounting ledger from tavern owner William D. Faulkner — no relation to the famous writer — shows he supplied beer to thirsty Revolutionary War soldiers, Continental and British soldiers alike.
Old-fashioned tools used to harvest ice in upstate New York are on display, detailing the process that enabled brewers to keep beer cool during the warmer months. Hops became a commercial crop in 1808, thanks to the state's hop-friendly climate, and Bavarian lagers arrived soon afterward, brought by German immigrants seeking political asylum.
The museum also has old packages of hops from that era, which were used for medicinal purposes to treat everything from sleeplessness to "all disordered conditions of the Nervous System."
But blue mildew outbreaks and spider mite infestations decimated the hops a century later — and the advent of Prohibition was the death knell for New York's dominance as a viable hops-growing area. The region has lagged behind the rest of the country's beer entrepreneurs ever since.
But the explosion of microbreweries in recent years has some people hoping beer is making a comeback.
"Twenty years ago, on the West Coast, the market there was much bigger at that time than it is here now," Taylor said. "There's nowhere to go but up. It's going to get tremendously popular."
Some advertisements from the 1950s and 1960s inspired Ben Hudson, the marketing director at Brooklyn Brewery, who got an early look at the exhibit. The ads included six-packs of Rheingold beer cans from 1952, featuring pretty girls with red lips who competed in the beer maker's "Miss Rheingold" beauty contest. (The yellow satin dress worn by "Miss Rheingold" of 1956 was also on display.) "It's so cool to see what our forebearers though was a good idea," Hudson said. "Entire print ads devoted to how beer brings out a sense of liberty as an American? I just get a great kick out of that."
The exhibit's final stop is an actual tasting room, where visitors can sample the latest lagers and ales from local breweries.
"This is a great exhibit to show that it's not a fad," said Kelly Taylor, the brew master for the Manhattan-based Heartland Brewery, which provided some of the beer. "People think of the cheap beer you get in the grocery store. It's like no, there's actually a history; it's a way of life. It's like this incredible old world beverage that people take for granted."

New Duerer exhibit focuses on artist's early years


TO GO WITH STORY SLUGGED ' GERMANY DUERER EXHIBIT' - FILE - In this May 22, 2012 file picture a sculpture of young Albrecht Duerer stands at the exhibition entrance in the Germanisches Museum in Nuremberg, Germany. The sculpture is based on the self-portrait the young Duerer drew of himself. The sculptor portrayed the 'child prodigy' around 1880, when Duerer became the primary hero of German art. The statue was believed to have been destroyed in WWII. It was re-discovered in the gardens of the American Academy in Berlin. Germany's biggest exhibit of works by the German artist Albrecht Duerer will open to the public from May 24 until Sept. 2, 2012. (AP Photo/Matthias Schrader) NUREMBERG, Germany (AP) — A new exhibit in Albrecht Duerer's hometown opened Thursday, bringing together works by the German Renaissance artist from a dozen countries with a focus on his formative early years.
The Duerer exhibition at the Germanisches Nationalmuseum is the largest in Germany in 40 years, encompassing the artist's creative period until 1505, including self-portraits and portraits of family and friends, as well as his ambitious nature studies and drawings.
"It made a lot of sense for us to focus on Duerer's development until the year 1505," said curator Daniel Hess. "During this period of time the important developments of his artistic work took place."
The exhibit includes the museum's own Duerer collection as well as 120 of the artist's most important works provided by 51 lenders around the world.
The oldest work — "Self-Portrait" from the Albertina museum in Vienna — dates back to 1484 when Duerer was only 13-years-old. The latest, from 1504, is the "Adoration of the Magi" from the Uffizi in Florence.
His wide body of work also includes religious works, altarpieces, copper engravings and woodcuts.
Duerer was born in 1471 in Nuremberg, which was an economic and cultural center at the time. He died there in 1528.
During his life he made several trips abroad, including two to Italy that had a strong influence on his life. Landscape watercolors made on his first journey there in 1494 are considered some of his most beautiful paintings, and his second trip there in 1505 brought him into contact with Venetian master Giovanni Bellini, whose influence is seen in Duerer's pictures of men and women from this period.
"The mixture of wide loose strokes and fine calligraphic finish make Duerer's paintings so lively," Hess said. "He is never boring and brash. His work is very virtuosic, free and very accurate."
The exhibit runs through Sept. 2.

UK virtual orchestra puts you in conductor's stand


LONDON (AP) — A London museum is putting the conductor's baton in visitors' hands, allowing guests to direct a virtual orchestra using three-dimensional motion sensors.
The "Universe of Sound" installation is an effort by the British capital's Science Museum to dissect how classical music is made, using specially shot footage, immersive sound, and 360 degree projections to give an unusually close-up view of the well-regarded Philharmonia Orchestra.
"At the end of the whole installation you become part of the entirety," said David Whelton, the museum's managing director. "You become part of the Philharmonia."
At the center of the Science Museum's exhibition is footage of Gustav Holst's "The Planets," a majestic orchestral suite at times martial, moody or ethereal. Some 37 cameras shot the Philharmonia's 132 musicians running through the score on the specially-blacked out stage at Watford Colosseum, just outside London, early this year.
They were shot over the course of a single day, playing together, playing in groups, or playing alone. That's something which allows those browsing the footage — projected on large screens against the Science Museum's darkened, sonorous interior — to zoom in on a single section or even a single musician, picking single strands of sound from the general swell of the music.
Greg Felton, who does digital work for the orchestra, pointed an Associated Press reporter to the woodwind section's subtle, atmospheric notes.
"There are people who know The Planets incredibly well who would never have heard this," he said.
The exhibit also gives visitors a chance to see parts of the orchestra in an up-close way which wouldn't otherwise have been possible, focusing on a harpist's hands or a violinist's fingers. One camera was even attached to a trombone's slide, whipping back and forth as the brass section got into gear.
"None of the musicians can get away with anything," remarked the Philharmonia's principle percussionist, Kevin Hathway, who was on hand to demonstrate an interactive drum set.
Would-be maestros may like the virtual conductor program the best.
Several installations at the museum use Microsoft's Kinect technology to capture the hand movements of visitors who stand in specially-made pods. Raise your left hand and the orchestra — which appears on a set of television screens — plays louder. Speed the movement of your right hand and the tempo of the music increases. Get the movements wrong and the musicians get out of tune. Get it really wrong and a computerized audience starts coughing politely.
The conduct-yourself exhibits are likely to be popular, but Felton seemed to like the close-ups the best — particularly the ones that showed musicians resting between movements, their hands slack but their faces alert.
He stopped at a video of organist Richard Pearce, normally hidden behind his massive instrument, far from the back-and-forth of the conductor's baton.
"You never get to see that guy play!" Felton said.
Universe of Sound opens Wednesday. Admission is free.

Police arrest artist setting up 'I Love NY' work


NEW YORK (AP) — An artist who was setting up an illuminated "I Love New York"-themed public art display in Brooklyn was arrested after the wired contraption was mistaken for an explosive device.
Takeshi Miyakawa, a visual artist and furniture designer, was arrested Saturday after placing the installation in two separate areas of the same New York City neighborhood. His lawyer and employer both called the arrest a misunderstanding.
The first apparatus was found Friday morning after a caller reported a suspicious package to police. It consisted of a plastic bag that contained a battery and was suspended from a metal rod attached to a tree. The bag, which had the classic "I Love New York" logo printed on it, was connected by a wire to a plastic box that contained more wires.
The area was evacuated for two hours until a bomb squad determined that the device was not dangerous.
The artist's friend, Louis Lim, said Monday that the art installation was nothing more than a translucent plastic bag with a battery-powered flashlight inside it.
"At night, when it's hung, it looks like the bag is glowing," Lim said. "The reason he did this was to lift people's spirits. He was simply trying to say that he loves the city and spread that attitude around."
At about 2 a.m. Saturday, a police officer discovered Miyakawa on a ladder not far from where the first contraption was found. Police said he was tying a similar "I Love New York" bag to a public lamp post.
Miyakawa was charged with two counts of first-degree reckless endangerment, two counts of placing a false bomb or hazardous substance in the first degree, two counts of placing a false bomb or hazardous substance in the second degree, two counts of second-degree reckless endangerment and two counts of second-degree criminal nuisance.
A judge ordered him held pending a psychiatric evaluation. His lawyer, Deborah J. Blum, said Monday that she is filing for emergency relief to have Miyakawa released. A court date was set for June 21 to review the results of the evaluation.
"He's still being held," Blum said Monday. "I believe that it was a gross misunderstanding and other than that I don't have any other comment."
Miyakawa, who was born in Tokyo and is about 50 years old, has worked for a New York-based architect Rafael Vinoly for the last 20 years and also has an independent design practice.
Vinoly's firm released a statement Monday praising Miyakawa for his "extraordinary brand of professionalism" and said he has been a mentor to generations of young architects.
"Takeshi is a fabulous human being and a person of extraordinary talent," Vinoly said. "We hope this misunderstanding is cleared up as quickly as possible."
New York Civil Liberties Union Executive Director Donna Lieberman said in a statement that the charges sounded "like a wild overreaction."
"It's hard to understand why a light-up bag in a tree would be treated as an attempted terrorist act unless there's more to the story than has been reported in the press thus far," she said.
In 2007, an artist touched off a terror scare in Boston by placing electronic devices around the city as part of a marketing stunt for Cartoon Network. The city closed bridges, roads and public transit before authorities realized the signs were not bombs.
On an average day, the NYPD receives nearly 100 reports of a suspicious package. Last year, there were more than 4,000 such reports. The number generally rises following any word of terror threats in New York and around the world.