‘Re-percussion ’86’

Press, 18 December 1986, Page 8

‘Re-percussion ’86’

“Re-percussion ’86,” directed by Tom Williams, Great Hall, Arts Centre, Wednesday, December 17, 8 p.m. Reviewed by Nan Anderson.

This was a most intriguing and entertaining concert. It was a tonic for palates jaded by the commercial sound of Christmas — the omniprescent musack that goes on ad infinitum and ad nauseum.

Here were live sounds of amazing variety presented in a well organised but relaxed way. The aural and visual effects of the vast battery of instruments were enhanced by the creation of a virtual concert hall-in-the-round; the instruments being placed on the floor in the centre of the hall with tiered seating at each end. A smoothly flowing programme of 23 items ex-

ploited an astonishing range of tone colour: xylophones, bass, piano, drums of every kind — not to mention hands, feet, voices and even a duck call — all being handled with finesse.

I was particularly impressed with the frequent use of pianissimo effects and the infrequent use of ear-tingling fortissimos. It is impossible to name all the performers. In addition to the anchor role played by the Canterbury Percussion Ensemble, there was plenty of evidence of the sound training being given to primary and secondary school pupils.

They must have been impressed as I was by “Xylophonia,” played by Duncan Catanach, who is soon to leave for overseas study. Noteworthy also were Nigel- McGregor’s arrangements and his

original “Water Music for Percussion Sextets.”

As was rightly pointed out by the compere, Ken Oxford, what we heard last evening spoke volumes for the quality of the work and influence of the genial' tutor-in-chief, Tom Williams. On the evidence of the standards reached in this concert, the repercussions of “Repercussion ’B6” can only be of the most positive kind. At the very least, one hopes for “Re-percussions ’87.” All three will play with the Christchurch Symphony Orchestra, conducted by William Southgate, in the final on March 21.