Newsday (Suffolk Edition) from Melville, New York • 139

9 C2iT RECORD ON THE CLASSICAL MUSIC UilvRZm's PAV At The World Trade preentd in association with ThirtssnWNET and The Port Authority of NY NJ SATURDAY MAY 3 AUSTIN TOSIN PLAZA 11:30 am to 4 pm Join us for the fifth annual celebration of children around the tvorld with FREE performances (Rain date May 4) By Justin Davidson STAFF WRITER CENTERSTAGE Sob McGrath from Seesme Street) Elmo Lamb Chop Arthur and more Fun from Lincoln Center's To Real For Kids' Music from The Wizard of at The Theater at Madison Square Garden Sananas in Pajamas' CELEBRITY CENTER Potefokj Kids can meet and greet their favorite stars ON THE PLAZA WCSS-FM 1011 Sing-Along Fujisankei presents Explore! with Liberty Science Center Toymax presents the Laser Challenge' Experience Storytelling with Borders Books and Music PO IT ALLI Top of the World invites children (ages 1-12) to visit free Meet the world famous Looney Tunes costume characters Bugs Bunny and Daffy Duck courtesy of the Warner Bros Studio Store on the Mall 8 All performances subject to change or cancellation without notice I WORLD TRADE CENTER Remember David the one that begins with a low slow falling motive in the cellos picked up by winds and punctuated by a quiet snare drum harp and triangle Soon the Control to Major theme insinuates itself into the orchestral texture by way of muted brass It all sounds pregnant ominous and vaguely Wagnerian Welcome to the world of Rock: The British in which classic tunes have been further classicized through the efforts of Andrew Pryce Jackman (a symphonic name if ever there was one) and a bevy of bowdlerizers Arranging to for the London Symphony Orchestra may sound suspiciously like Muzak but it Rather than slather the original tunes with a thick coat of all-purpose blandness these arrangers avail themselves of a palette rich in orchestrational cliches The Rolling opens with a glittering fanfare worthy of the chariot-race scene in Eric is given an Iberian cast and twisted into a fandango A version of The (aided and abetted for mysterious reasons by Pete Townshend himself on vocals) begins incongruously with the sort of plangent string chords that Puccini used to open the final misery-filled act of one of his lyric tragedies Is that what people mean when they call a rock opera? The most stylistically consistent track on this orgy of appropriation is The Really Got which fits nicely into the rigid frame of The tune trundles numbly around and around the snare drum taps out its incessant processional rhythm more and more instruments pile onto the wagon each time it goes by and the music gets thicker and thicker and louder and louder Just when it seems as though the piece must boil over or burst in comes the Royal Choral Society no less for that final touch of tumescent spirituality that only a massed chorus can provide Ostensibly is a coy transgression of the boundaries that divide the high-minded from the commercial but actually it is in a fine old tradition of both musical slumming and upward mobility In the Renaissance masses often were based on popular melodies and battle tunes leading one 16th- The British (Claude Rock: Invasion Hopper ProductionsTelarc) Eating Alone Is No Is Mom Dad Lonely? Taking Their Medications? Safe And Secure? Active? If these questions are most important to you there is an answer SeniorCare offering truly affordable luxury at half the price of nursing homes Century commentator to complain that such compositions are heard in church they impel everyone to laughter to the extent that it almost seems as if the temple of God had become a place for the recitation of lascivious and ridiculous Beethoven like many 19th-Century composers put his name to folk-song settings to bring a touch of peasant authenticity to the middle-class parlor Traveling in the other direction the was a favorite ragtime ploy in the early part of this century A syncopated version of the from was a particularly popular number None of the tracks on this album really attempt to a pop song use the melody as the basis for an original composition which might be a worthwhile thing to try Instead familiar tunes are dumped into equally hackneyed contexts and then dutifully spun out to a respectable length Their charm wears thin after a minute or two Obviously to complain that vulgarizes some fine pop songs by dressing them up in the musical equivalent of a baby-blue tuxedo would be to mistake a camp frolic for a serious effort at crossover But even if this whole confection is an expensive joke then the people who get it are also its butt those who listen to what Wendy Wasserstein in her new play American calls radio is a novelty item yes but it is also a rueful reflection on the fact that rebellious songs written 20 years ago might just as well be staid symphonies composed 200 years ago for all their relevance to the cutting edge people been saying for years that the symphony orchestra is a museum institution? 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