April 21, 2017

  • Changing Up the Quartet Dress Code

     Dress Code
    Altius Quartet
    Navona Records 6078
    Total Time:  57:32
    Recording:   ****/****
    Performance: ****/****

    The Altius Quartet formed at Southern Methodist University in 2011 and currently is the quartet-in-residence at the University of Colorado-Boulder.  The provide a variety of educational programs in public schools and throughout more unusual venues, for a string quartet, from jazz clubs to cafes.  Looking at the cover of their new Navona release, one suspects they are about 75% subdued artsy-performance, and 25% rock-and-roll.  The cover is a rather amusing way to grab the attention of a casual browser and when one turns over to see what is on the release there is a further surprise.

    It is not clear if the Altius Quartet performs concerts in the way the album is sequenced, but some might find it a bit disconcerting.  The group likes to incorporate a variety of musical styles from all genres of music.  Pieces by Dave Brubeck (“Take Five”) blended with some Michael Jackson (“Beat It”), Led Zeppelin (“Stairway to Heaven/Kashmir”), Ben King (“Stand by Me”), and a-ha (“Take on Me”) are included here in arrangements by violinist Zachary Reaves.  They are spread though around two larger classical works forming a sort of intriguing string quartet playlist you might set up on your iPod.  The Brubeck is really stunning and the Michael Jackson tune is well incorporated.  Excellent attacks and precision make this more than just a run through of pop music.  This is the case for each of these popular musical explorations.  They perfectly capture the sound of the quartet and allow each to be shown off in their own ways.  The Zeppelin is a touching reflective moment with an almost Bartokian intensity in its latter half that clears the stage for the second movement of the Haydn.

    The two primary pieces on the program are from opposite ends of the musical spectrum.  The first is the Haydn String Quartet in C, Op. 74, no. 1.  The first movement serves as the initial track on the CD.  This is energetic Haydn playing with a greater intensity than one might expect but it works so well that the piece seems to take on a new life of its own.  The other movements are then dispersed through the album.  That is perhaps a tad unfortunate, but easily solved by reprogramming to just hear the quartet on its own.  The performance of the quartet itself is excellent, easily standing beside others, especially as the performance here does not feel like another run through of a standard repertoire work.  The attention to detail and clear rhythmic attacks really help the piece shine in its final movement with zips along.

    Also featured is William Bolcolm’s Three Rags (slightly out of order, starting with the second movement and then moving on the first and eventually the third).  “Graceful Ghost” serves as a nice balance to the Brubeck/Jackson that precedes it.  Thus it allows a connection between the jazz-like rhythms and the more ragtime styles.  The outer movements bookend the Haydn minuet, connecting dance forms across centuries.  The ensemble captures some of the wit of the final movement, “Incineratorag” very well.

    In Dress Code, Altius really manages to find a way to connect across audience experiences.  The program works very well as whole.  Some might be surprised at how engaging the sequencing is because the popular music choices are arranged in such a way that they can be used to transition into other masterworks.  The recording here is equally fine at capturing the excellent balance.  This is more than just a standard crossover album as you will likely find this album one that can be returned to frequently.   Stick around for the final track encore, “Mustang Sally”!