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The Four String Quartets of Iannis Xenakis: The Jack Quartet, Le Poisson Rouge, New York City, 29.10.2008 (BH)

Xenakis: Tetora (1990)
Xenakis: ST/4 – 1080262 (1956-62)
Xenakis: Ergma (1994)
Xenakis: Tetras (1983)

The Jack Quartet
John Pickford Richards, viola
Ari Streisfeld, violin
Christopher Otto, violin
Kevin McFarland, cello


Music doesn't get much more concept-laden than the works of Iannis Xenakis, whose elaborate mathematical theories can distract some listeners from sheer sonic bliss.  In a savvy bit of presentation at Le Poisson Rouge, the Jack Quartet did the composer's four string quartets, starting with his third, Tetora (1990).  Like its textural cousin, Ergma (1994), which began the second half, it might remind some listeners of Messiaen, in its use of huge block chords, more static than some might recall from this composer.  Brusque strokes batter over and over, in a way that makes one wonder if Xenakis were taking cues from minimalists.

ST/4 – 1080262, however, is an entirely different animal: a frantic, ear-tickling array of splinters and shards, flying off wildly in all directions.  Written from 1956-62, it is a stochastic icon, introduced by the quartet as "computer-generated chaos."  Its aesthetic mate, Tetras, feels like holding a bouquet of laser beams (and watching your hands melt), and the musicians cannily saved its explosive qualities for the very end.  This was my first live encounter with this score, which with each hearing seems like a candidate for one of the greatest string quartets of the late 20th century.  Throughout the program, these Eastman-trained musicians held nothing in check, plunging into each score with a raw, nervy abandon usually found in rock stars.  And the evening was relatively short, slightly over an hour, including a brief intermission.  It is a phenomenon worth noting.

The venue is worth a mention: formerly the Village Gate, the basement-level space feels more like a rock club, with tables and chairs in the middle, a long bar on one wall, and food and drink freely available.  (The menu features such diverse offerings as Tater Tots and truffled macaroni and cheese.)  The appeal of the informality can't be ignored; some 250 listeners eagerly greeted the players with whoops and yells when they took the stage.  Not every type of music might work in this format, and there is something to be said for giving the music one's full attention without the subtle distractions of glasses clinking and soft conversation.  On the other hand, for those weary of traditional concert hall trappings and routine, the idea may be a gift.

 
Bruce Hodges


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