Garcia and C.S.O.

Press, 26 September 1988, Page 6

Garcia and C.S.O.

Christchurch' Symphony Orchestra, conducted by Russ Garcia, in “Russ Garcia’s USA,” at the Town Hall Auditorium, September 24, 8 p.m. Reviewed by Philip Norman. "Russ Garcia’s USA” proved to be two concerts in the guise of one. Until the interval, middlebrow tastes were catered for in the presentation of three works from the American light classics repertoire. After interval, it was pops time, with medleys of nursery tunes and, shudder, television themes providing the bulk of the material, The diverse ingredients made for an uneasy repertoire blend. One could almost hear the mental gear shift required of the audience for the second half. For those whose ears have synchromesh into first, the transition brought its rewards. Russ Garcia’s “Medley for Kids from two to 92” was an excellent work of its kind. Even some decades after it was penned, it still stands as a prime product of the American slick-arrange-ments industry. Garcia’s television medley on the other hand showed little musical invention. Most of the title tunes chosen, and there were many of them, appeared in guises remarkably close to the originals. The medley appeared more as an ex-

ample of compilation than of arrangement. « The light classics chosen were Bernstein’s “Candide Overture,” Copland’s “Rodeo” (three dance episodes) and Morton Gould’s “Spirituals for. Orchestra.” !' As conductor, Garcia coaxed a competent and at times spirited interpretation of all three from the Christchurch Symphony Orchestra. All are difficult works, and each presents its own particular rhythmic and timbral challenge. Apart from an occasional blurring of syncopations, most noticeably in the “Buckaroo Holiday” and “Hoe Down” movements of "Rodeo,” the orchestra offered commendably cohesive accounts. The musicians’ most proficient and expressive sounds, though, were reserved for select movements of “Spirituals.” In particular, the muted string work of “Sermon” carried a remarkable intensity, and the slashing brass chords were delivered with a chilling power. In all, though this concert would not number amongst the most satisfying I have attended, it certainly offered a pleasing demonstration of the CS.O.’s current musical flexibility and versatility.