In a welcome change from its usual classical selection, the Slosberg Recital Hall echoed with Celtic music Friday night. The recital, the project of Aaron Hauptman '06, featured his expertise on the fiddle and bodhr*n (a traditional Irish drum), with Tom Pixton '76 on piano and accordion and Ian Goldstein '99 on guitar, mandolin and octave mandolin. There was little pretense; the performers wore jeans instead of the usual formal wear required of concert performers.Hauptman chose a pleasant program for the evening, with quicker and slower tunes showcasing each instrument. Throughout the performance, Hauptman kept pace, never missing a note on the fiddle while keeping his accompanists in time with him. Pixton appeared to be particularly passionate, intently staring at his colleagues while swaying furiously back and forth in time to the hypnotic beat.

The second set, "The Cape Breton Set in D major and B minor" included reels, dances and other pieces, and was largely improvised. The particularly strong "Accordion Set" opened the act and emphasized Pixton's manic pace. The only disappointment was Hauptman's bodhr*n-playing, which was simplistic and never changed tones-a more experienced player would have fared better. Hautman quickly redeemed himself in his next piece, however, with the fiddle.

For the grand finale, Abbie MacQuarrie, a local Boston Cape Breton-style performer, stepdanced. While her shoes could have better accentuated the rhythm, MacQuarrie never made a false move. While it was unfortunately difficult to see her feet, her skill was evident.

The performance was hampered by the hall's recital-style layout. Music that should have inspired festive dancing was only met by polite listening with the expected applause following each piece. And while the audience generally enjoyed the show, it felt stifling. Wisely, the organizers asked guests to stand up and dance at the very end of the show, teaching them to "step, then shuffle with the other foot, then step, then shuffle." Pretty soon, the entire room was dancing in front of their chairs, in the aisles and even directly in front of the stage. For the usually formal Slosberg, it was certainly a unique sight.