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Show i Zukermans present sedate duo recital By Paul Wetzel Tribune Staff Writer Pinchas and Eugenia Zukerman, he the violinist, she the flutist! stopped by Symphony Hall Friday night for a duo recital benefiting Robert Redford's Sundance Institute. It was a pleasant, sedate affair, especially when compared to the summer mob scene, bazaar and street carnival otherwise known as the Utah Arts Festival going on simultaneously outside the hall. (In fact, this was the only concert even remotely associated with the festival given under conditions conducive to the meaningful enjoyment of a serious performance.) Mayor Ted Wilson looked spiffy in his tux and made a congenial host and emcee. Mr. Redford looked like Mr. Redford and offered a few words about how he hoped this would be the first of many arts projects the Sundance Institute will undertake outside the medium of film, Its present area of emphasis. Only the audience was g the finale, enlivened by some crisp articulation, showed much life. The performance of the two earlier movements were techni- . r ' quick-steppin- cally polished but interpretively bland. Mr. Zukerman offered the Brahms Sonata in A Major, Op. 100, in a reading which struck me as emotionally hollow in spite of the artists lovely line and pure tone. The music simply didnt breathe warmth one aswith the sociates with Brahms. Mr. Zukerman and Mr. Neikrug also played the same composers Sonatensatz from the FAE Sonata in a manner which emphasized a gradually building intensity on a straight line through the piece. Very effective. Miss Zukerman gave a sublimely lyrical account of the Hindemith Sonata for Flute and Plano (1936). Not even the taut, brisk writing in the final movement supplanted the - movements and banged doors during the performances, The Zukermans anil pianist Marc Nelkrug played music of C.P.E. Bach, Brahms, Hindemith, Georges Hue and Franz Doppler. The program didnt make many demands of the audience, and ttofc artists often performed with an air of ease, even detachment, which suggested that it didnt place much of a strain on them either. The musicians seemed particularly reserved and uncommitted in the Bach, the Trio in B flat Major. Only . cl i tuvi i songful feeling of this performance. The slow second movement was particularly impressive because of the artists control of the many sustained notes and the dynamic contrasts she brought to several repeated phrases. She also ventured out of the otherwise German program into the colorful French territory of Hues Fantasie," creating a Debussy-lik- e ambience with a dash of brilliance The printed program concluded with all three artists collaborating in the Doppler Andante and Rondo, Op. 25, a piece not far afield of salon music. The former movement was all charm and sentiment, and the players brought a Slavic flair to the Rondo. 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