February 13, 2011 § Leave a comment
By Rebecca Liao
As their name would suggest, there is something very old school about the Old First Concerts. Set in the Old First Church in San Francisco, they boast an intimate, august, old-world setting with no bad seats and acoustics fond of hinting at the place’s celestial connections. A favorite venue for classical chamber music and recitals, the church has also hosted jazz, avant-garde, blues, folk, and multicultural performances. The San Francisco Guitar Quartet (David Dueñas, Jon Mendle, Patrick O’ Connell, and Mark Simmons)’s concert on November 20 will feature music that fits squarely within these types, but its musical contribution as a whole cannot be so easily encapsulated.
In the course of discovering how to create different layers of color and timbre, chamber groups comprised of a single class of instruments become a natural vehicle for exploring the timbral qualities of those instruments. The practice is centuries-old, but in the context of a chamber performance given in a post-tonal serialism age, it becomes particularly significant as a case study for how timbre can be isolated as a musical element and assigned functions just like pitch. Though there is likely no deliberate attempt to create a modern sound, one results nevertheless because the instruments produce musical entities that are at the forefront of modern consciousness. But the SFGQ promises to do more than coax new sounds out of conventional instruments. New member Mr. Mendle’s instrument is an 11-string archguitar that is a combination of 19th century guitar, modern guitar, and Renaissance and Baroque lutes. The archguitar was built right here in San Francisco by Alan Perlman.
Certainly Atanas Ourkouzounov, who composed Objets Futiles, one of the pieces on the program, has an affinity for playing with timbre to create more contemporary and abstract music. However, like his fellow Eastern European Béla Bartók, Ourkouzounov infuses his music with folk characteristics, a romance that many of the serialists and Second Viennese School devotees were quick to turn their back upon. Fortunately, it is impossible to compose away the inherent warmth and storytelling ability of the guitar, and even more so to resist the humanity of a culture that gave the world lo real maravilloso. For this, we have two traditional Latin songs to look forward to: La Partida-Vals Venezolano and La Venenosa-Huayno Peruano, both arranged by Mr. Dueñas; and Cuarteto 5/Chorinho by Chilean composer Javier Farías. The quartet will also play At the Sound of Light by John Anthony Lennon, who is particularly noted for his classical guitar compositions and is a Mill Valley native.
Ultimately, attributing contemporary or traditional leanings to a guitar quartet seems artificial because both are often on display simultaneously. The guitar is such a willfully expressive instrument that in defying classification, it becomes precisely its ideal. Perhaps the dichotomy ought to die on a cue from the venue, and accept that some things are simply eternal.
A version of this article appeared on sfcv.org.