Duchess and Duke
San Francisco, CA
March 9, 2010
The Cave Singers: Religious Experience
This is now the fifth appearance for the Cave Singers on MV&R. Pretty soon, I am going to quit banging on about the awesomeness of this band and just keep them as my own secret musical source of redemption. Unfortunately, Tuesday night was perhaps their weakest performance of the shows I’ve attended, getting off to a stuttering start with sound and light problems and some bizarre heckling from the crowd. (“Tell us about your mother.” WTF?) In addition, there was a loud-talker standing just behind me- not very conducive to the quiet introspective music of TCS. I guess these are the growing pains of success as more people discover the band and this was the largest audience I’d seen yet for one of their shows. Things did kick into gear once they hit At the Cut. Then, they were destined to satisfy once again. One of the best shows I ever attended was Tom Waits in Seattle, WA when he opened with “Jesus Going to be Here Soon” thumping a handheld drum with a puff of dust as he stomped across the stage and proclaimed religious salvation is at hand. To listen to the Cave Singers is to be equally transported.
Opening for the Cave Singers, were the Duchess and the Duke, a folk singer duo that seemed out of time from the 1960s. And the Moondoggies, who have an awesome name, but who I missed because of an appointment with Tsuname Sushi a couple blocks away. To quote the Cave Singers, “Next time, next life down the road.”
Chamber Music Series
Davies Symphony Hall
Mozart, Quartet in D minor
If you are a teenager on a sunny Sunday afternoon, a rarity in
The playbill notes describe the first movement of the Quartet as conveying ‘general pathos’ and an ‘atmosphere of fatalism’ while the dense counterpoint, until the recapitulation, adds a ‘nervous edge’ until the ‘bitter end.’ A seemingly perfect piece for the angst ridden alienation of the lives of teenagers, but not at Davies Symphony Hall. Of course, I am no teenager and I have to confess that I did not quite appreciate the plummeting octave intervals or the later dense polyphonic minor-key forcefulness of the second movement as fully as I was hoping.
Although the talent of the string-players was world-class, the piece washed over me with out any deeper connection that I hope for from classical music other than to note some pretty melodies and a nice flourish of rhythmic plucking in the final movement that shook me from my classical music stupor.
Brahms Quintet in B minor for Clarinet and Strings, Opus 115
After the interval, the next group trotted out for a more rewarding performance of one of the most famous clarinet pieces. The full timbral effect of the clarinet plus strings was far more engaging and the lone wind instrument weaving amidst the strings was both beautiful and entrancing.
In the second movement, the interplay of the clarinet and first violin shared thematic duties adding a Gypsy-flavored flair which can be found in Brahms at times. I have often stated that I am not a fan of Brahms, but I think tastes change as you grow older. Although I still do not favor his vocal arrangements, I have a growing appreciation of his symphonic and chamber music efforts- though they still strike me as heavy-handed from time to time. But this was not the case with his Quintet in B minor.
The finale is a theme with five variations. The second is full of rhythmic displacement that I think is easy to appreciate for a modern audience accustomed to experimental rhythmic adventures frequently found in jazz and popular music. The fourth variation was written in a contrasting major key and leads beautifully to the final variation, a waltz before a coda which returns thematic material from the opening movement. Even the teenagers were able to pay attention. A serious piece, but a delightful performance, and well worth spending the afternoon indoors on a sunny day.