‘Re-percussion ’87’

Press, 17 October 1987, Page 8

‘Re-percussion ’87’

Re-Percussion ’B7, at the Great Hall, Arts Centre, October 16, 8 p.m. Reviewed by Paul Goodson. The fourth annual percussion demonstration concert at the Great Hall had the pleasantly informal air of an evening among friends. Repertoire was "popular” in every sense, stage arrangements were slightly dishevelled, little slips forgiven and even smiled upon, and a commentator provided chatty Interludes between numbers.

The programme, too, tended to inculcate a variety show aura, using the performers’ considerable talents in a manner more pleasing than profound. Few items were musically audacious, arid by relying principally on rhythmic precision and ingenuity of arrangement for their effects afforded little scope for ■subtlety of expression or interpretation. Sustained percussion concert fare, however, is liable to exhibit an unyielding, rather frenetic quality difficult to avoid given the nature of the instruments and the limited repertoire at the players’ disposal. In this instance, the brevity of compositions performed, judicious blending of (individual and corporate items and the, svariety of instrumentation involved presented" undue aural fatigue.

.«' Perhaps "variety” is the keyword Shere. The softer tones of the marimba i'were - offset by some vigorous drum solos;’ full-blooded offerings by the Canterbury Percussion Ensemble found a foil in some neat quartet scoring, as in '.thecross-rhythms and syncopations in

Thomas Brown’s “Percussion Trajectories.”

It is satisfying to be able to commend Anthony Ritchie’s “Sonatina,” written for the Cashmere High School Percussion Ensemble which contributed greatly to the evening’s entertainment.

This new work is both rhythmically and melodlcally adroit, and engaging yet challenging to its young performers.

The efforts of those numerous arrangers whose names peppered the programme are not to be disparaged, but music conceived for a specific idiom has an audience appeal greatly beyond that of merely acknowledging a familiar tune in unfamiliar garb.

In this respect, Charles White’s “Three Little Pieces from the Far East” proved both witty and ingenious.

It is a pleasure, tod, to pay tribute to the expertise and flair of individual performers, notably Sarahjane Bashford, Craig Thorne and Brett Painter. Without the commitment of Tom Williams, both as organiser and performer, this concert could not have taken place. There, is evidence of fine training being given in this city, not only in executant skills, but in terms of versatility and aural perception. Some volume levels within ensemble work were misjudged, but a more acute feeling for homogeneity, balance and sonority will undoubtedly develop with increasing experience. Long may this good work continue.