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4 The Daily Tar Heel Friday. February 27, 1987
Atypical Austrian group performs
1 he Hill was alive with the sound
ot music Wednesday night as the
Austrian chamber ensemble Salz
burg Musici performed for a large
crowd in Memorial Hall. The con
cert, part of the Carolina Unions
Performing Arts Series, was a
Miccess. but not an overwhelming
1 he Musici is a group of graduates
ot the Moarteum. a conservatory
in Salburg. 1 he ensemble which
appeared in Memorial consisted of
eight iolinists, three violists, two
cellists, a bassist, and a harpsichor
dist. I he Musici was joined by up-and-coming
iolinist Nadja Salerno
Sonnenberg for a Bach concerto.
The Musici has a vers conven
tional style and repertoire. However,
the ensemble does not quite fit the
stereotypical image of a chamber
group as a collection of middle-aged-to-elderly
men in tuxedoes. None of
the musicians appeared to be any
where near Social Security age. and
nearlx half of them were female.
Some of the women, wearing teal or
orange blouses, even broke the
tradition of dressing in black and
white. Also somewhat atypical in a
chamber group is the presence of a
conductor. The Musici's conductor
is Oswald Sallaberger. a young
The Musici opened the concert
w ith Concerto in A major for Strings
and Continuo by the Italian com
poser Antonio Vivaldi. This partic
ular concerto, not written with
soloists in mind, does not have the
brilliant sparkle of some of Vivaldi's
other works. In fact, its style was
not too different from that of the
next piece on the program. Handel's
Concerto G rosso in D minor.
1 he musicians, choosing fairly
conventional interpretations of both
Baroque concertos, demonstrated
their ability to properly present
works by such venerable composers.
In the Handel concerto, there were
a lew disconcerting moments when
the violinists opted for the tinny
sound of the unfingered E string.
This harshness was balanced,
though, bv the graceful morendo (an
ending that dies away) in the slow
The moment the audience had
been waiting for came after the
Handel piece. Soloist Salerno
Sonnenberg strode onto the stage
looking quite mod; the lanky, young
violinist wore high heels and a black
pantsuit topped with a vibrant blue
jacket. She played Bach's Concerto
No. I in A minor, a wonderful piece
w hich is not particularly difficult and
certainly not virtuoso. This concerto
is studied by nearly all violinists, and
is known by Suuki violinists the
world over as the cornerstone work
of the method's seventh book.
Salerno-Sonnenberg had her
work cut out for her; she had to raise
her performance of the well-known
piece above the student level. This
she did. but her interpretation of the
concerto was not inspired. Her
approach was a bit nonchalant, and
her tone was neither large nor
especially warm. In the beautiful
slow movement, her melody was like
white silk thread: fine and delicate,
but very thin and not colorful. This
is not to- say she did not play
accurately, but a professional should
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play a piece like this with more flair.
Her stage manner was appropriate
for her performance. During rests,
she dangled her violin by her leg and
held it by the scroll, a very irreverent
way to hold one's instrument. She
even left the stage holding the violin
this way. While the orchestra played
non-solo sections, she shifted her
weight from foot to foot almost as
if she were impatient. She simply did
not communicate with the audience.
After intermission, the Musici
returned with a fine performance of
a Moart divertimento. The group
replaced the scheduled finale, Ben
jamin Britten's "Simple Symphony,"
with a suite by an unfamiliar Slavic
composer. Trie suite, full of open
chords and some delightful melodies,
was the most interesting work on the
program and allowed the group to
change styles significantly. The
principal cellist distinguished himself
in lyric solos near the work's end.
Sallaberger was called back to
conduct an encore, w hich turned out
to be the highlight of the evening.
The musicians put down their bows
to pluck the charming "Pizzicato
Polka" by Johann Strauss. Despite
the technical difficulty of controlling
rapid pizzicato and producing mus
ical contrasts without the aid of
bows, the players finally broke out
of their serious mood to have a little
The Salzburg Musici is proper.
The musicians do not go the route
of original instrument purists and try
to recapture the authentic sounds of
earlier music, nor do they go the
route of experimental radicals and
tr to reinterpret classical repertoire.
Their performance showed that they
have many admirable qualities, such
as uniformly accurate intonation,
dynamic control, and ensemble in
intricate running passages.
Overall, they did a very good job.
1 he group will not set the musical
world afire, but it is a fine ensemble
of well-integrated string players.
NYC's Rufus Reid Quartet
to be featured in Jazz Festival
By DAVID HESTER
The Rufus Reid Quartet, one
of New York's premiere jazz
combos, is coming to Chapel Hill
this weekend for a series of clinics
and performances as the featured
guest artists of the tenth annual
I'NC Jaz Festival.
"This group is at the forefront
of contemporarx mainstream
jazz." according to UNC Jazz
Band director James Ketch. "The
group members are top-notch,
internationally recognized play
ers, and they are creative and
The Jazz Festival will also
include the work of a variety of
high school and college jazz,
bands. Ketch said, and the Reid
Quartet will critique the work of
each ot the student groups.
Groups from six North Carolina
colleges w ill perform for members
of the quartet on Friday, and the
Saturdav performances will fea
ture the work of eight high school
bands from around the state.
The evenings will be devoted
to performances' by the Quartet.
I hey will perform alone Friday
night and w ill be joined onstage
bv the UNC Jazz Band Saturday
The Quartet "plays a lot of
different kinds of things" said
Quartet leader Rufus Reid, and
the group "docs some things
people might not expect."
"This group is cohesive enough
to achieve spontaneity." he said,
"and that's the essence of this
The Quartet has been perform
ing together for three or four
years. Fach member of the group
has performed and recorded
extensively in the past, and each
has been associated with some of
the leading artists in modern jazz.
Reid said that the group usually
performs original material.
Reid has performed extensively
with Dexter Gordon, Stan Getz,
and the Thad Jones-Mel Lewis
Band, and he is also Director of
Jazz Studies at William Patterson
In addition to his work with
the Reid Quartet, drummer Vic
tor Lewis has performed with
such notable artists as Dexter
Gordon. Woody Shaw and
McCoy Tyncr. "Lewis is quite a
composer and a wonderful musi
cian." Reid said.
Saxophone and flute player
John Stubblefield plays with "a
strong conviction that is seen in
very few of the younger players."
Reid said. Stubblefield has per
formed with artists like Nat
AdderK and Gil Evans, and he
has performed and recorded with
Pianist Jim McNeely has per
formed w ith artists like Stan Getz
and Nick Brignola, and is also
known as a composer and
arranger. McNeely has recently
composed material for an album
by the Mel Lewis Orchestra, and
one of his compositions on this
album was nominated this year
lor a Grammy Award for Best
Reid said that his group is "glad
to play this weekend both as a
quartet and with a big band." and
he said that these different for
mats w ill show two different sides
of the group. "We come to play,"
Reid said, "and we come to do
a good job."
The Rufus Reid Quartet will
perform tonight at 8 p.m. in Hill
Hall Auditorium and with the
I'SC Jazz Band Saturday at 8
p.m. in Memorial Hall. Call 962
1449 for ticket information.
Husker Du to rock Memorial tonight
By JAMES BURRUS
After postponing the first five
shows of their tour due to the sudden
death of their manager. Husker Du
is back in concert halls.
Their appearance tonight in
Memorial Hall will be only the third
show of this tour. Tuesday they
played in Charlottesville. Va.. Wed
nesday in Norfolk. Va.
Husker Du (the name comes from
a popular Scandinavian board game
and means "do you remember?")
consists of Bob Mould on guitar,
(ireg Norton on bass and Grant Hart
on drums. Mould and Hart write the
The band began their music career
in 1979 in Minneapolis St. Paul as
an underground band playing fast
hardcore songs. The threesome
quickly received college radio air
play and became a favorite of the
Mter seven years on the small
independent labels SST, New
Alliance and their own Reflex
Records, Husker Du signed with
Warner Bros. They didn't comprom
ise themselves, though, by signing
with a big label: they demanded that
they be able to produce themselves.
Husker Du has put out two
albums for Warner Bros.. "Candy
Apple Grey" in 1986 and just recently
the doublc-LP "Warehouse: Songs
"Candy Apple Grey'" shocked a lot
of loyal tans as Husker Du altered
their style to become more access
ible. Their new album has followed
along those same lines.
WXYC disc jockey Keith Weston
called their music more melodic and
catchy. Commenting on the new LP.
Weston said. "I think it has some
broadening of musical horizons,
while at the same time remaining true
to their uptempo, loud power-pop."
When Husker Du came to Warner
Bros., one of their main goals was
obviousk to reach a broader
audience. But don't get the idea they
compromised their hardcore sound
lor the big-name label. The band's
drift was more a matter of maturity
According to Weston. Husker
Du's live performances are known
for being extremely loud with non
stop music for two hours.
As of Wednesday afternoon there
were still plenty of tickets available
for the concert.
Husker Du will perform tonight
at 8 p.m. in Memorial Hall. Call 962
1449 for ticket information.
h presemts pnifjpa -crfS
With a sound that has often been described as being
"ultracore," a harsh hypersonic pop, you can certainly
expect something old, something new, a little bit borrowed,
and a whole lot of blue.
The concert begins at 8:00 PM at Memorial Hall on Friday,
Feb 27. You can get tickets now S7.50 fa students and
$9.M for the general public all are general admission.
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