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* %u00bb a.n i1 i U i N L~ T T \\ /1 4 1 1 ADave Brubeck plays his part. (Phoenix/Collins Conductor Russel Gloyd rehearses the Haydn Mozart Chamber Orchestra and St. James Cathedral Choir. (Phoenix/CollinsPhoto) Photo)/azz G reat F eatu red A t St. fam es:Concert Is An EclecticBY DAVID L.L. LASKINWhen Dave Brubeck%u2019s music directorRussel Gloyd tells his musicians to %u201ctakefive,%u201d the punishment may be as great asthe relief. This time is not Brubeck%u2019s classicjazz tune of that name, though, that%u2019s beingrehearsed, but a program of his sacredmusic for orchestra, chorus, solo singersand jazz trio. The music does not filterthrough the dim and smoky ambience of anight club, but resounds amid the brightspaciousness and fresh paint of the newlyrenovated St. James Cathedral.In the span of 36 hours and four rehearsals, Gloyd will take the Haydn/MozartChamber Orchestra, St. James CathedralChoir (its ranks doubled for the occasionwith professional free-lance singers), DaveBrubeck Trio and soloists and whip them into shape for an impressive performanceNovember 22 to mark the re-opening of thecathedral, located just off Tillary St. indowntown Brooklyn.Gloyd knows time is precious, and thathe%u2019s working with first-class professionalswho will make every instant count in bringing it all together. From the first rehearsal,the morning of November 21, he isrelentless, stopping what seems like every10 seconds, getting each passage to soundjust right.The rehearsal is orchestra-only, and afirst reading of the score for most players.The process of learning, performing andperfecting the music is simultaneous fromthe start and carries through right into performance, when the conductor%u2019s batonbecomes the messenger of last resort. Inrehearsal, musicians study and work outthe score, take constant notes and jumpback and forth through the piece, only toimagine what it will sound like as a wholeuntil they experience it along with the aula m e .FINAL REHEARSAL INTENSIFIESThe difference between a day-and-a-halfof stop-and-go and an evening of music istalent, hard work and professionalism. ByDave Brubeck (above) with son Chrisbehind him, keeps an eye on rehearsal.Brubeck (right) takes a moment to enjoyhis sacred music in the newly-renovatedSt. James Cathedral. (Phoenix/CollinsPhotos)As this fin a l rehersal draw s toa close, th e levity is im p o rtan t to b re a k up th e fre n zie dpace. \B rubeck, surprised at a ch o ra lpassage. \forgot I w ro te i t . \the afternoon of the opening performance,with orchestra, chorus, trio and soloiststogether for the first tune, the pace ofrehearsal has only intensified. A passagebegins, sounds sharp, and Gloyd flags itdown.UChOrut' n o m o in o f <50 A nn fh odownbeat, like this,%u201d he whistles and tracesthe rhythm he wants with a waving arm.%u201cViolins, you have to pick up five after Breal smooth, like you%u2019re picking up thethread and gently pulling along into a newcloth. And percussion, you%u2019ve got to keep itmezzo-piano or we%u2019ll have wasted all thatmoney on this wonderful chorus,%u201d he kids,making a sensitive point %u2014 percussionistsdon%u2019t like being told to keep it down all thetime.A second try; flagged down. A third;%u201cyes, yes, yes, that%u2019s it, that%u2019s it, that%u2019s it,%u201dGloyd noted with passing excitement.%u201cOkay, just the last three measures, well,the last four measures,%u201d he offers, squeezing every refinement he can in these finalmoments. He shoots instructions rightthrough the music %u2014 here the sopranos,there the brass, percussion or baritones, hisrapid fire rap mixing Italian terminology,mathematics, street talk and lofty,metaphorical description.Amid this maelstrom circles DaveBrubeck, checking out how the cathedral%u2019sproblematic acoustics will treat his music.He exudes a relaxed contentment, isamiable and seems always on the lookout tokid around, even in the midst of a problem,a persona not unlike much of his music.%u201cDo you think we%u2019ll be all right with theseacoustics?%u201d he leans over and asks me.Me? Since all the renovations were justcompleted and there had been not opportunity to hear how the space sounded, I toldhim, the best to hope for would be a fullhouse. He chuckled and agreed that 500bodies would help dampen the over-livelysounds that the rehearsals offered androom for others that were getting abit swallowed up in the cathedral%u2019s high,ceiling.BRUBECK JOINS INToward the end of one passage, Gloydturns and calls in a loud whisper, %u201cDave,%u201dpointing to the score. Brubeck lopes ontothe stage in time to take the thread and,with his son Chris on electric bass and RanJ -. am 1 aa IUa ff>1A 1 r%u00bb O T vtjr wviiv>o oil vu tvvtu miv v> >v %u2014 mw. m.sounding working of the sacred theme.Musicians and singers groove to the trio%u2019sjamming, most staring intently, joyfully %u2014Continued on Page 16November 27, 1986, THE PHOENIX, Page 15