MUSIC

I got the distinct impression that

the musicians were not razor sharp

by Gary Baker

Seattle Symphony Orchestra conducted by Gerard Schwarz (at the Opera House)

What a glorious way to end the symphony season. Gerard Schwarz led a lilting, sprightly version of Schubert's "tragic" Symphony, the Symphony No. 4 is perhaps his lightest, sunniest orchestral composition. It is also his shortest symphony.

Kudos are due all around. Generally, I applaud Schwarz' interpretation of the music, although there were details where I disagreed with

his views.

It is a symphony conspicuously void of the pessimism found in many of his later compositions. Somehow, Mahler doesn't seem to be wrestling with fate like he does in much of his music. Indeed, the music often possesses a childlike innocence and gaiety.

It also is constructed of some of the most "trite" melodic materials of any Mahler symphony. Again, what seems at first glance to be trite is actually Mahler's evocation of a childlike innocence and naivete. It is about as trite as the simple tunes found in The Magic Flute!

Kudos are due all around. Generally, I applaud Schwarz' interpretation of the music, although there were details where I disagreed with his views. Perhaps my strongest reservation involves the stunningly beautiful slow third movement. I

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felt that Schwarz began the music much to fast, robbing the long arching opening melody of some of its poignancy and power. On the other hand, I felt that certain sections of the final movement were not taken fast enough, here robbing the music of some of its wild abandon.

Overall, I felt that this didn't quite equal the peaks of emotional intensity I felt last season with Mahler's Sixth Symphony. But then again, this current work doesn't pretent to plumb the depths of the later one, so maybe I'm making a false comparison.

Karen Hall, who intoned the words of heavenly joy was acceptable, if not great. I did like the way she accented some of the high notes by giving them a noticeable kick. It was my feeling, however, that she and the orchestra were not always totally synchronized.

From my seat in the sixth row, I had the feeling more than once that the total orchestral ensemble was off. I was following a score of the music, and a number of times I got the distinct impression that the musicians were not always razor sharp in the tightness of their ensemble. This may partly be a result of my very close proximity to the stage, a location I have by choice. However, I don't recall being bothered by this in other recent concerts. Still, I felt several times that the harp or some other instrument was coming in ahead of the rest of the orchestra or the chords were not lined up perfectly vertical.

Other than that, the musicians played magnificently. I guess that is only natural, considering how polished they have sounded all season.

By the way, now is the time for all of you to open your wallets to help retire the symphony's accumulated debts. This is especially critical at this time, since getting the fiscal aspects of the symphony in order is paramount, what with the Kreielsheimer Foundation apparently serious about seeing that a new concert hall get built.. Won't that be a glorious day for the musical life of this city. O

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THEATER

As exciting as white milk toast with the intensity of a Hallmark card

Floyd VanBuskirk.

by T.T. Roth

Say, Can You See? conceived and written by Ruben Sierra music by Joseph Seserko video by John Schwab directed by Paul O'Conell (at The Group Theatre Company)

Say Can You See is about as sassy and exciting as white milk toast, has the intensity of a Hallmark Card, and the power of conviction of Reader Digest's pick of the month.

The Group Theatre should finally start thinking why tonight's performance of 190 people, only six were Black while the remaining racial groups were only apparent as trace minerals in the overall white middle-class audience.

Photo by Fred Andrews

The 30-some televisions make an interesting stage, and the video shown on them is a powerful

string of actual evidence of racism.

Good intentions pave the way to hell and they certainly make a poor pretext

for a musical.

Ruben Sierra clearly thought that he could come up with a snappy, straight version of Alice B. Theatre's Louisiana Purchase to keep his liberal audience amused. What's more frightening is that he seems to succeed.

Most numbers were adaptations of other people's ideas, such as "Gangs" which is a poor pastiche of Michael Jackson's "Beat It," with some very rudimentary quotes from West Side Story thrown in where the choreography is concerned.

The best number is "Racist Blues," a homage to Belushi's Blues Brother parading as a frustrated racist. Interestingly enough, this character is the only one giving of any emotional reality. The audience adored him, maybe because there finally was some comic relief, but I suspect darker reasons.

Joseph Seserko's music, so reminiscent of the '60s, caters to Hippie turned Yuppie taste. It is so clean and sterile that I kept thinking of Betty Crocker recipes.

To be fair, there are some good mo292200 See GROUP on page 26.

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Section 2, May 27, 1988

A Penny Dreadful by Charles Ludlam

June 1-25

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PHOTO: Fred Andrews; Michael Santo & David Pichette

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