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February 15, 1994 - Image 8

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Text
Publication:
The Michigan Daily, 1994-02-15

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8- The Michigan Daily - Monday, February 15, 1994

Flutist Galway charms audiences
'Pied piper' James Galway entertained Sunday at Hill Auditorium

By KEREN SCHWEITZER
"Good afternoon ladies and gentle-
men, I was just checking to see if you
were alive," flutistJames Galway said.

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James Galway with
Christopher O'Riley
Hill Auditorium
February 13, 1994
Sunday's performance with pianist
Christopher O'Riley marked his
eighth concert appearance in Hill
Auditorium.
As anticipated, the world-re-
nowned soloist performed to a full
house of adoring fans. Dressed in a
tuxedo complemented with a green
bow tie, Galway charmed his audi-
ence with his distinctive Irish humor
and unpretentious musicianship.
Galway's strength in aliveperfor-
mance is his ability to get in touch

with his audience. There was a micro-
phone set on the stage so that he could
communicate with the audience in
between pieces. The audience re-
sponded warmly tohisjokes-"How
do composers get the idea to write a
piece like this? Maybe they get their
students to write them." Surprisingly,
Galway urged the audience to remain
quiet during the concert. Most per-
formers would not risk offending their
audience with such a request, but
Galway's superstardom affords him
such liberties.
What Galway lacked in prepara-
tion, he made up for with lightening
speed technique and a rich low regis-
ter. In the Sonata in G minor by Johann
Sebastian Bach, his phrasing was so
natural and fluid that he seemed not to
breathe at all. The Sonata in A by
Gabriel Faure transcribed for flute
was a success, although in order not
to overpower the flute, the piano was
permanently subordinated to the flute.
The two instruments should have

sounded more like equal partners.
Widor's Suite for Flute and Piano
was a potential showcase for Galway
and O'Riley. Unfortunately, there
What Galway lacked in
preparation, he made
up for with lightening
speed technique and a
rich low register. In the
Sonata In G minor by
Johann Sebastian
Bach, his phrasing was
so natural and fluid
that he seemed not to
breathe at all.
were a few problems. In movements I
and III, Galway played with the tem-
pos so much that O'Riley was often
scurrying to keep up or to pull back.

In addition, movement IV was too
hurried. Although the tempo is marked
vivace, Galway rushed through it so
quickly that it was hard to understand
the progression of the movement. His
virtuosic runs at the end sounded Mie
a warm-up rather than a performance.
The high points of the concert
were the arrangements of selected
Debussy works. Galway dedicated
Sunday's performance of these French
pieces to an old friend, University
Professor of Composition William
Bolcom. Galway's sweet and glori-
ous tone, particularly his low register,
was most enjoyable in these short bi
memorable works.
Before playing the second and fi-
nal encore, Galway said, "This con-
cert has gone on long enough. We're
going to play the Irish national an-
them and that's it." With those last
words, Galway and O'Riley per-
formed the familiar "Danny Boy" and
then the Irish pied piper and his pia-
nist were gone. A_

James Galway delighted audiences Sunday with charm and musicianship.

RECORDS
Continued from page 5
cluding "I Swear," and none can com-
pare the power of this one. The more
up-tempo tunes lack the spirit and
originality of last year's "Beer and
Bones." That's not to say that they're

bad: "Full-Time Love" and "Friday at
Five" will certainly suffice as radio
fodder and C&W bar background
music and the pleasant "If You've
Got Love" is definitely worth a listen.
It's just that one expects more from
Montgomery. With his deep, trust-
worthy voice and strong persona he
could be a real star.

Since he doesn't write his own
music - that's not a requirement in
Nashville -one can hope that he gets
better at choosing songs. Until then,
he'll remain a worthy country singer
- a man with a few classic songs and
promise.
- Kristen Knudsen
Carter The
Unstoppable Sex
Machine
Post-Historic Monsters
I. R. S.
A sequencer, a drum machine,

some hard driving guitar riffs and
some of the most clever lyrical
sensibilites around make up most of
Carter USM's fourth full-length re-
lease.
These have been Carter's tools of
the trade since their brilliant 1991
debut album, "101 Damnations," and
on "Monsters" they show that they
have lost none of their musical or
lyrical punch.
The album opens with the instru-
mental "2 Million Years B. C." which
segues into the anthemic, stadium-
oriented "The Music That Nobody
Likes," which is a general overview

U U

You are welcome to
Ash Wednesday
Meditative worship for
Campus and Community
A service of Scripture, prayer, silence,
meditative singing of music from the Taize Community,
imposition of ashes and Holy Communion

ofthe state of the world as seen through
the eyes of Carter's lyricist Jim Bob,
delivered with his usual biting cyni-
cism.
Most of the tracks on the album
are one or two-riff electronically aug-
mented three-minute pieces that fall
somewhere between hard-core punk
and straightforward rock, but what
really makes this album work is the
constant barrage of politically fueled
lyrical twists.
For example, take the last track,
"Under The Thumb And Over The
Moon" ( "Let's declare open season!/
On all the racists and the bigots and
their chums / And not just as a reason
/ For a Christmas Number One") and
the Robin Hitchcock-influenced"Sui-
cide Isn't Painless," ("Suicide isn't
Painless / It hurts like hell / But re-
served for the famous /A little suicide
sells").
In addition, songs such as "Cheer
Up, It Might Never Happen," "Evil"
and the first single, "Lean On Me I
Won't Fall Over" are as exciting
musically as they are lyrically due to
guitarist Fruitbat's powerful riffs and
sequencer programming, and are in-
stantly accessible and enjoyable.
Considering the way the English
music press has hyped Carter over the
years, it certainly wouldn't be sur-
prising if the band were just another

overrated flash-in-the-pan. However,
the steady musical progression that
they deliver on "Post Historic Mon-
sters" shows that their brand of acces-
sible rock riffing with political punch
can be solid as well as highly enjoy-
able.
- Andy Dolan
Love Jones"
Here's to the Losers
Zoo Records
Mix equal parts of nostalgia, pop
culture, bongos, ballads and a love of
fine spirits. Shake, don't stir, and the
result is "Here's to the Losers," the
debut album by the schmoozy, boozy
quintet Love Jones. With their smooth,
slick harmonies and matching outfit
their sound and image is high-cop
cept.
Fashion aside, their mix of classic
pop, soul and lounge-lizard kitsch is
for the most part charming and turns
out quite a few winners, such as the
title track, "Central Avenue," "Cus-
tom Van" and "Li'l Black Book"; all
of these are cheesy retro-fun. Though
the somewhat rigid limitations of their
sound make this album a little onc
dimensional, "Here's to the Losers'
is the perfect soundtrack to many a
happy hour. Cheers.
- Heather Phares

February 16

7:30 p.m.

SALON GLAMOUR PHOTO SHOOT
Tuesday February 15 Noon till 9 p.m,
. Hair stylingF
" AVEDA make up application{
" Stylish Wardrobe
" FREE 8x10 color photo
for only $35.00Y
One hour necessary
(:;HAR IS Mafter
CHAW NMCA ROMONA 995-0804
315 EAST LIBERTY STREET " DOWNTOWN
Mon.-Fri. 9-7 Sat. 9-5 Private Parking Smoke-Free Environment

First Presbyterian Church
1432 Washtenaw Ave. 662-4466
Sponsored by the campus ministries and congregations of
Campus Chapel, First Presbyterian,
Lord of Light Lutheran and University Reformed churches

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