Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Surfing with Cellos: Quattrocelli in Their New York Debut, 4/17/08

Harsher critics would have called this a pops concert: among the selections in the group’s impressively diverse set at Trinity Church were several movie themes. Just about anything with the slightest bit of melody sounds good if played on the electric guitar, and the same could be said for the cello. But it was  German cello quartet Quattrocelli’s playful, often astonishingly imaginative arrangements that ultimately won over the crowd and earned them a standing ovation. Everybody knows the Godfather theme, but how many have heard it all the way through? Quattrocelli’s cover of that old chestnut brought out every bit of tragedy in Nino Rota’s score. Likewise, they did a full-length version of Lalo Schifrin’s Mission Impossible, its middle section revealing itself full of bracing atmospherics worthy of Messiaen. And their cover of Misirlou – yet another composition best known to most audiences as a surf song – started out remarkably authentic, one of the players doing percussion on his cello with his fingers, evoking the dumbek (a hand drum that appears in most Middle Eastern music) which was almost undoubtedly on the original Greek version. But after the bridge, one of the cellists took it straight into Agent Orange territory, wailing furiously on the song’s famous riff while the others played subtly off the melody.

Otherwise, the group proved themselves at home with a wide range of styles. These ranged from baroque (Bach’s famous Air on a G String) to classical (two short, striking Shostakovich pieces, the Balkan dance Ball at the Palace and the hauntingly gorgeous Chitarri, which as one of the group explained became a tv spy show theme), to modernist (a jazz piece by German composer Helmuth Brandt, a Hans Eisler nocturne and a Gershwin medley wherein one of the cellists mimed a trombone while the rest of the group authentically mimicked the horn’s voicings, with hilarious results). Their encore, My Way, was uncharacteristically timid, crying out for a Sid Vicious standin to take over and put some kind of original stamp on it. But it made a point: Quattrocelli sound like no other chamber quartet in the world, and they’re fearless about it. Their next US tour promises to include works by American composers, which should be interesting, to say the least.

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April 17, 2008 Posted by | classical music, concert, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment