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Women's movement
Alanis Morissette and Tori Amos are two of the most compelling women in contemporary music. Morissette burst into superstardom four years ago with the album "Jagged Little Pill." It sold an astounding 28 million copies worldwide, and put plenty of pressure on the young singer for her follow-up CD. Last year she released "Supposed Former Infatuation Junkie," and though it sold a few million, it came nowhere near her earlier success. Her musical image has been changing from angry young woman to someone searching for spiritual and personal fulfillment and healing.

Amos has been among this decade's most provocative musical recording artists and performers. With such albums as "Little Earthquakes" (1992) and "Under the Pink" (1994), Amos, a classically trained pianist, built her reputation as intelligent, articulate and outrageous. Her music doesn't shy away from confronting the most personal issues, including rape, her relationship with her father and miscarriage. She dealt with that loss on her last album, "From the Choirgirl Hotel." Next month, Amos will release a double CD called "To Venus and Back," featuring new tracks and live performances. She and Morissette will perform tonight at 7:30 at Six Flags Darien Lake Performing Arts Center.

-- Anthony Violanti

Key of life
The opening of this season's Organ Recital Series in Slee Hall, University at Buffalo North Campus, holds an appeal quite out of the ordinary. The featured soloist for the 8 p.m. concert next Friday will be organist Roland E. Martin. Also a composer, conductor and pianist as well as organist, Martin is not content this time to restrict the evening to works for organ alone.

As a result he is bringing along the select 17-voice Freudig Singers, of which he is the recently appointed music director. He has assembled a small chamber orchestra for a program that will mix the sounds of voices, organ and/or instruments. In the spirit of the series' name, however, he will open with works displaying the hall's magnificent Fisk organ by itself.

They include Hendrik Andriessen's "Thema met Variates," a concert rag titled "Sweet Sixteenths" by William Albright and Buxtehude's Chaconne in E minor. The rest of the program, for chorus and instruments, includes Morley's "Springtime Mantleth Every Bough," Dowland's "Come Again," Josquin Desprez's famous "Mille Regretz" and an arrangement of the same by Luys de Narvaez described on the score as "la cancion del Emperador," presumably because it was a favorite of Charles V.

"O Dulcis Amor Jesu," by the little-known Caterina Assandra (early 17th century), is a rarity, and the program will also include an English folk song plus works by Praetorius and director Martin himself, "A Gaelic Blessing," "Consider" and "Lift your Voice, Rejoicing."

-- Herman Trotter

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