Rite of Summer Music Festival (8/26/23)

PUBLIQuartet – Curtis Stewart, violin; Jannina Norpoth, violin; Nick Revel, viola; Hamilton Berry, cello

No printed program, so I did my best with note taking.

Four-song medley (I didn’t know any of them) that included Wild Women Don’t Get the Blues
Prelude for Piano – Julia Perry – 1946
At the Purchaser’s Option – Rhiannon Giddens – 2016
Sixfivetwo – Henry Threadgill – 2018
Space Hero – Nick Revel (World premiere)
Tokyo 6.1 – Hamilton Berry (World premiere)
American Quartet (final movement) – Antonin Dvorak

The stated goal of this string quartet was to expand the horizons of the string quartet repertoire. They succeeded. I liked some of it—emphasis on some.

The first medley had tapping of/on the instruments followed by bowing from cello, viola, and two violins, in that order. Also pizzicato playing (plucked strings). It sounded like down-on-the-farm folk music that also included spoken text and singing of lyrics.

Prelude for Piano had previously been expanded for orchestra, if memory serves. Here, it was reimagined for string quartet. It had a slow opening, sonorous and calm. Per an announcement from the stage as an introduction, it also included an improvised section. I couldn’t tell where or when.

At the Purchaser’s Option included whispered and sung text in a piece that had a feeling of folk music plus the blues. Not surprising, since the impetus behind the piece involved a woman who could be sold as a slave. The purchaser could choose the woman, or her daughter, or both. Sadful folk music/blues, indeed.

Sixfivetwo flipped the two violinists. Not a biggie. The first violinist played second violin part; the second, the first. I just thought I’d note it. It often happens in string quartets. Who knew? Now you do. This piece was written for the Kronos Quartet. The quartet I heard attended a symposium with the Kronos Quartet. This quartet was thrilled. It’s always great to experience living legends. The piece had a pizzicato opening and also featured improvisation (where?/when?), with few real tunes (to my ear), seeming like a lot of rambling. At least there were varied tempos and volumes.

Space Hero was very experimental, including an electronic track that the quartet had to sync with. There was a boisterous section in the middle that I really liked, though I felt as though I was on a rambling journey. But from where to where?

Tokyo 6.1 referenced an earthquake that the cellist experienced there. The piece was also modern/experimental. And that’s all I’m saying.

OK, I liked the repurposed Dvorak. It had tunes I recognized. It was a jazzed-up version of that last movement of his American Quartet. Dvorak had a strong connection to the USofA, in New York City and in Iowa (look it up). I liked this as the ending for the concert and the Rite of Summer’s two-concert series. I’m planning on attending next summer’s Rite of Summer Festival.

ConcertMeister