Electric Chamber II: The Hurd Ensemble & Squid Inc.

The first installment of the “Electric Chamber” series in January was a great success, so we’re doing it again!

Here are the official deets:

LIVE ‘N’ LOCAL and CLASSICAL REVOLUTION
present
ELECTRIC CHAMBER II
with THE HURD ENSEMBLE and SQUID INC.

Friday, September 28th @ Viracocha, SF.

$12-20 suggested donation.

What explains the enduring appeal of chamber music?

No doubt the beauty, subtlety, and complexity of the music are a part of it—not to mention the passion and virtuosity of its players. But these qualities can be brought to bear on music of any kind, and more and more, classically trained musicians are venturing beyond the traditional confines of the chamber into new and exciting territories. The San Francisco Bay Area, in particular, is a fertile breeding ground for such genre-bending, cross-pollinating creativity.

The ELECTRIC CHAMBER series showcases some of this incredible creative talent.

In this, our second installment of the Electric Chamber series, we present two exciting, innovative ensembles.

THE HURD ENSEMBLE
Performing original music by San Francisco-based composer George Hurd, The Hurd Ensemble unifies the worlds of electronic and classical music. All the music is written for string quartet (violin, viola, cello, upright bass), piano and electronics, meticulously bound together with digitally-arranged sounds collected from Hurd’s travels. Absolutely no stock electronic sounds are used – every sound produced is of his own creation, recorded, edited and manipulated himself. The electronics are layered to create textures that perfectly complement the acoustic instruments, giving rise to a sound that is extremely organic despite its partially digital origins. Hurd’s music is both wildly, intricately rhythmic and aglow with shimmering harmonies and melodies. Accessible and daring, its percussive yet lyrical qualities make it at home in both concert halls and nightclubs.

George Hurd: composition & electronics
Solenn Seguillon: violin
Jacob Hansen-Joseph: viola
Anton Estaniel: cello & steel drums
Ari Gorman: bass
Elyse Weakley: piano

Listen to The Hurd Ensemble’s mini-EP Strange Lands on Bandcamp

SQUID INC.
Made up of some of the Bay Area’s fiercest string players, Squid Inc. will open your ears as the world of popular music dances with classical tradition. Fun, fiery, and fully engaging, Squid Inc. plays original tunes and unusual arrangements with a style and flare all of its own. Where Bossa Nova meets Coldplay and Sorcerer’s Apprentice melds with Muse, you don’t want to miss Squid Inc., the future of the string quartet.

Hrabba Atladottir: violin
Jory Fankuchen: violin
Darcy Rindt: viola & arrangements
Beth Vandervennet: cello

ELECTRIC CHAMBER is brought to you by Live ‘n’ Local SF, whose goal is to promote and support innovative music played live by local musicians, regardless of genre, and Classical Revolution, a social movement of global reach and local origin, now in its sixth year of bringing chamber music to the masses.

This concert is also part of Classical Revolution’s first ever music festival, taking place in 23 different venues across the Bay Area throughout the month of September.

More info at: www.classicalrevolution.org/festival

“Mad Genius” with Wiener Kids, The John Brothers Piano Company, and Revolution Duo

Mad Genius” – legitimate category or over-used trope? You decide.

Live ‘n’ Local SF proudly presents Wiener Kids, The John Brothers Piano Company, and the Revolution Duo in an evening of insanely good musical derangements.

WIENER KIDS
Brain child of drummer/composer Jordan Glenn, Wiener Kids began as a duo with guitarist Steini Gunnarsson. After Steini moved back to Iceland Jordan picked the project up again a year later, this time with the help of reed masters Aram Shelton and Cory Wright. The music is inspired by small dogs, old bikes, Muppets, cheap Halloween decorations, babies with glasses and other wiener kids. It’s fast and slow, loud and soft. It draws as much from Jan Svankmajer and Hans Bellmer as Peewee Herman and Jim Hensen. It’s music made by ex/current weaklings for everyone!

More Wiener Kids on Fenderhardt

THE JOHN BROTHERS PIANO COMPANY
An art collective formed by John Steven Morgan, John Thatcher Boomer, and Max Moriyama, the John Brothers’ primary aesthetic mission is to bring different art forms directly to the public outside of established venues in settings like mass transit boarding areas. The John Brothers regularly take a small spinet piano to San Francisco, Berkeley and Rockridge BART stations and play continuously for up to seven hours. All music, though containing several different styles ranging from jazz to blues to stride and classical, is composed by John Morgan and Thatcher Boomer. Max Moriyama provides sole artistic direction—putting a “face” to the John Brothers Piano Company by combining century old illustration with modern techniques to create a nostalgic sensibility.

Listen to John Brothers on Bandcamp

REVOLUTION DUO
Comprised of two wildly talented string players—violist Charith Premawardhana and violinist Matthew Szemela—the Revolution Duo are making their debut performance tonight at Viracocha. Charith Premawardhana is founder and director of Classical Revolution, the global phenomenon of local origin that has been bringing chamber music to the masses for over five years. He has performed and recorded with a long list of artists, such as Beats Antique, The Mars Volta, Meklit Hadero, and the Jazz Mafia. Matt Szemela recently moved from NYC to SF and already has become one of the most in-demand musicians on the local music scene, playing with groups as musically diverse as the Berkeley Symphony, Family Folk Explosion, Musical Art Quintet, Todd Sickafoose, as well as in his own innovative chamber hip-hop duo, Vytal Theory.

LIVE ‘N’ LOCAL SF is dedicated to supporting the thriving local music scene by promoting great music, regardless of genre. L ‘n’ L is especially interested in music that is inventive, distinctive, virtuosic, and exciting. Find us on Facebook and Twitter.

RSVP ON FACEBOOK

Saturday March 3rd

Viracocha

998 Valencia Street, SF

Doors at 8pm / Show at 8:30pm
$8-20 sliding scale


The Live ‘n’ Local Completely Non-Arbitrary, Totally Objective, and Fully Informed 2011 Music Awards

Um, yeah. Personal interests, subjective biases, and half-baked ideas play absolutely no role in what is about to follow. These are the highlights of my year in music. Awards style.

(Drum roll, please.)

MOST ADDICTIVE INDIE POP ALBUM OF 2011 DESPITE THE FACT IT WAS ACTUALLY RELEASED IN 2010 AWARD

With her smoky “whisky and honey” voice, jangly guitars, upbeat rhythms alternating with slow, moody melodies, and catchy songs that you simply must sing along to while dancing in your kitchen/living room/bedroom, Ash Reiter’s Paper Diamonds (self-released, 2010) easily wins this one. As I didn’t discover and become addicted to it till this year, it seemed appropriate to include it in the 2011 awards. Favorite songs include the high-energy title track (I double dare you not to sing along with the chorus: “Give me love, oh give me looooooooove…”), the soft, atmospheric “Albatross,” and the moody, plaintive “La Bahia.” I guarantee your husband/wife/roommate/neighbor/dog will love it too, which is a good thing when you play it ten times a day.

MOST DELICIOUSLY SHIVER-INDUCING INTERPRETATION OF A CLASSIC AWARD

This one goes to bassist/composer Seth Ford-Young for his spellbinding version of Erik Satie’s already gorgeous “Gnossienne No. 1” from his eponymously titled debut album (Porto Franco Records, 2011). Ford-Young’s achingly beautiful Gnossienne features the always amazing Rob Reich on accordion and Evan Price on violin, and between them they will break your heart into a million pieces. Don’t be surprised if you shed a tear or two listening to this, or if you’re suddenly inspired to grab a dark stranger for a slow, intimate dance.

If you’re a big Satie fan like me, you might also be interested in another incredible interpretation of this particular Gnossienne by Spanish guitarist/singer Javier Ruibal, which Dore Stein of Tangents Radio first turned me on to. Ruibal’s “La Flor de Estambul” is Satie’s music set to lyrics in Spanish. Yum!

MOST INTERESTING AND INDESCRIBABLE PERFORMANCE ON AN ELECTRIC GUITAR AWARD

The absolute highlight of the Outsound New Music Summit this year was Italian avant rock guitarist IOIOI’s improvised response to local composer Kanoko Nishi’s graphic score, a mysterious series of drawings of which the audience only ever saw the effects. IOIOI (Cristiana Fraticelli) used a loop station and a bunch of effects pedals to build sounds and textures on the guitar, which mostly lay flat on the ground before her. Sitting atop the strings she had placed a prayer bowl that she tapped and in which she rattled various objects, creating vibrations along the guitar strings. She also used chopsticks on the guitar in the most remarkable ways that I can’t even begin to describe. At times she played the guitar like it was a violin, at times like it was a percussive instrument, and all of these sounds were layered upon one another for a mesmerizing effect.

But if I could sum up what made it all so utterly captivating, it was the purity of IOIOI’s childlike curiosity in exploring all the sonic possibilities of her instrument. I was very lucky to spend some time with her after this performance and record a great interview with her and Nishi about their creative process. Hopefully some day I will write more about that.

BEST REBUTTAL BY A FAMOUS CELLIST TO A FAMOUS HECKLING VIOLIST AWARD

Amongst the many contenders for this award, in the end I had to give it to cellist Joan Jeanrenaud for her response to the eighty-five year old violist Bernie Zaslav’s horrendous heckling at a small avant-chamber concert dedicated to the viola.

The incident—which involved the heckled musician throwing his viola to the ground mid-performance (which, of course, broke it) and storming off stage, once he had untangled himself from the curtains—became know locally as The Viola Riot AKA Viola Gate. When one particularly irate member of the audience repeatedly accused Zaslav of being nothing more than “an asshole,” Zaslav indignantly countered, “I am a violist,” to which the quick-thinking Ms. Jeanrenaud rejoined from her seat in the audience, “Violists can be assholes too!” Priceless. To get the full story in more detail than you probably care for, see my The Riot of Spring, 2011.

MOST ELECTRIFYING PERFORMANCE AT THE REVOLUTION CAFE AWARD

And yes, the Rev does warrant its own category. Every night of the week you can catch live music there and it’s always free. Of course, it’s a well known fact that the musicians get paid shit, so keep that in mind when the tip jar is being passed around. Despite this, it is still a place to hear great music on a fairly consistent basis. Over the years, I have been introduced to some fantastic acts there, thanks to drummer Aaron Kierbel and bassist Joe Lewis, who have been booking the music there. In August this year, guitarist Vic Wong, who regularly plays there with his gypsy jazz group, Panique, introduced one of France’s leading gypsy jazz guitarists, Sebastien Giniaux and his quartet.

Suffice it to say, this man was insanely good. Sometimes he played so fast, I couldn’t actually see where his hand was. At one point I thought I saw smoke rising from his guitar strings (seriously!). Giniaux played a mixture of original and classic gypsy jazz tunes, with charming references to pop culture nonchalantly thrown in, like when he started one song with a gypsy jazz version of Nirvana’s “Smells Like Teen Spirit” then seamlessly shifted into a Django Reinhardt tune as though it was always meant to be played this way. If Giniaux’s electrifying playing weren’t enough, there were also a group of swing dancers performing some outrageous moves in the tiny, cramped space that is the Rev. The crowd went absolutely wild. This one will definitely go down as one of the best nights ever at the Rev.

MOST MEMORABLE LINE OUT OF A MUSICIAN’S MOUTH DURING AN INTERVIEW AWARD

By this I mean an interview that I personally conducted, of which there were many this year, more than I was able to write about in the end. Most of my interviews are done one-on-one, but occasionally I interview people together, which can be a lot of fun too. This was the case back in May after the Cardiacs tribute show at Café du Nord when I interviewed four members of ReCardiacs Fly (normally members of Reconnaissance Fly). Guitarist Marc Laspina arrives late to the conversation; unlike the others, still sporting the Cardiacs’ signature white cake makeup with smeared red lipstick. Expounding the genius that is Cardiacs, he blithely lets slip the line “Musically it’s like opening God’s cookbook.” I just really liked that line.

ReCardiacs Fly

To learn all about that evening and why so many people become obsessive Cardiacs fans, once they finally discover this British band’s crazy prog/punk music, read my Too Many Irons (and Other Recipes). Also, check out some posts on the topic of Cardiacs and their local tribute band, ReCardiacs Fly on the Memory Select blog.

MOST MAGICAL, UNBELIEVABLYFUCKINGGOOD TRIBUTE SHOW EVER AWARD

Apart from the just mentioned Cardiacs tribute show and, of course, the show that ultimately wins this award, I can’t say I’ve been to too many tribute shows this year, not to mention in my whole life. However, I can assure you that the truth of the following falls into the category philosopher Immanuel Kant called “synthetic a priori,” which basically means I don’t need to have gone to any tribute shows to know that this one was the best EVER.

Of course, I’m talking about the Amy Winehouse Tribute show with San Francisco’s soul/funk/blues powerhouse Con Brio at Viracocha in August, the show that left me rather gobsmacked, as you can see from the post I wrote about it the next day. I’m not sure I’m any more articulate on the topic four months later. What blew me away was the incredible talent of all the artists involved—Con Brio and their dazzlingly good lead singer, Xandra Corpora, and all the amazing guest vocalists, Rose Logue, Amber Gougis, Wolf Larsen, Atiim Chenzira, P. Wolf & Avi (now Goodnight, Texas), Ali Niedbalski, Latriece Love, and Quinn DeVeaux—and how they managed to pull together such a magical show in so short a space of time. Each one made the Amy Winehouse songs they sung their own while also honoring the memory of this bright, shining star that burned out way too soon.

While we’re on the topic of Con Brio, I have to mention their impressive debut, From the Hip (self-released, 2010), which would have won an award except that it was released last year and I already pulled a fast one above with another 2010 album. Con Brio are about to release their second album, The Bay is Burning (a live recording), on February 11th at The Independent. It should be a fantastic show with the lively Latin-fusion band LoCura opening.

THREE BEST ALBUM RELEASES OF THE YEAR BECAUSE IT WAS TOO HARD TO CHOOSE JUST ONE AWARD

Narrowing it down to three was already difficult enough, but I managed to pick three very different albums for this award, though interestingly, all feature strings.

First on the list is The Nice Guy Trio‘s stunning second album, Sideways and Alleys/Walking Music (Porto Franco Records, 2011), so-named for the two suites—composed by accordionist Rob Reich and trumpeter Darren Johnston, respectively—for the trio plus string quartet. I was lucky to attend the premiere of these two works at the Yerba Buena Gardens last year, though the beginning of Johnston’s Walking Music was rudely drowned out for several minutes by the clanging bells of St. Patrick’s across the street, a fact that made me cringe with embarrassment because the church had been built by my great-great-uncle, a Catholic Monsignor, after the original St. Patrick’s had been reduced to a pile of rubble in the 1906 earthquake. Amazing how family can still embarrass over 75 years after they’re gone!

Thankfully, these awful bells do not make it onto this album that represents a real development for both composers, neither of whom had written music for a string quartet before. Reich is known for his epic, cinematic scores, and Sidewalks and Alleys is no different in that respect, whereas Johnston’s Waking Music has much more of a jazz swing to it, though there are also strong elements of classical and folk in his compositions, with hints here and there of the East. The album is full of haunting melodies brought to life beautifully by the strings. But there is also a real depth to the music beyond the prettiness. The robust sense of journey in both suites is heightened by the composers’ adventurousness, by their willingness to turn dark corners and wander down half-illuminated pathways, traversing many moods and emotional landscapes.

The second album to win this award is the delightful debut offering by Musical Art QuintetNuevo Chamber (Classical Revolution, 2011). While I am as guilty as the next person of using such terms as “genre-defying” to describe music that draws on multiple styles for inspiration, it is safe to say that this album lies firmly in the chamber category, which is not to say that it does not bend or stretch that category in any way. On the contrary, the quintet’s composer, bassist Sascha Jacobsen (who is also a member of tango ensemble Trio Garufa) deftly incorporates many styles of music, most prominently Argentine tango. The album’s title—which, I suppose I should confess, I inadvertently furnished during an innocent conversation with Jacobsen about the quintet’s style—is an allusion to Nuevo Tango, the style of music pioneered by Astor Piazzolla that draws on traditional tango while also incorporating elements of jazz and classical. The newer electro-tango wave, which includes such bands as Gotan Project and Bajofondo, could be considered an extension of this musical development. Indeed, Jacobsen also throws a few electro-tangos in the mix on Nuevo Chamber.

As much as I love the album, it is no substitute for a live performance by the quintet. When they opened for Quijerema at Yoshi’s in October, they completely stole the show and had the audience eating out of their hands within seconds of their first piece, the lively “Milonga de San Francisco,” which also opens Nuevo Chamber. They’ve also brought down the house a number of times at the Revolution Café’s Monday night chamber jam. Jacobsen’s high-energy, rhythmic compositions have a lightness and airiness to them that makes their sweetness all the more digestible. In live performances, he gives each of his musicians plenty of space to improvise and show off their stuff. Lately, the insanely talented violin player Matthew Szemela, who until very recently was based in NY, has also been jamming with the quintet, driving the crowds wild. This man could seriously out-fiddle the devil himself! Live ‘n’ Local and Classical Revolution will be teaming up on January 13th to present the first in a series we’re calling “Electric Chamber,” which features both MAQ and Szemela’s duo, Vytal Theory.

The last winner of this award is Foxtails Brigade for their utterly charming “sort-of-Christmas album,” Time Is Passed (self-released, 2011). Foxtails Brigade is Laura Weinbach on vocals, guitar, and compositions and Anton Patzner on violin and arrangements, with cellist Lewis Patzner, percussionist/multi-instrumentalist Josh Pollack, and bassist Joe Lewis helping out. Both Weinbach and Patzner are classically trained musicians from musical families, so it is no surprise to find sophisticated, intricate instrumentation on this chamber pop album that is simply gorgeous. Foxtails’ music also has elements of jazz and blues, particularly in Weinbach’s vocal stylings. That she was made as a child to memorize and perform jazz standards from the likes of Blossom Dearie (an unusual form of punishment for bad behavior!) comes through in her lush, almost angelic singing, especially in songs like “Lost in an Endless Dream” or “I’m Not Really In the Christmas Mood This Year.”

But make no mistake, the pretty-as-a-picture Weinbach—who looks a little like a Victorian urchin who has stepped out of Edward Gorey illustration—is no angel. Her lyrics are full of doom and gloom, like in the whimsical “Unfairness Awareness,” where she sings about all the other ungrateful children getting ridiculous Christmas presents they don’t deserve: “Diamonds for Daniel / though he’s a boy / three puppies for Amanda / she thinks they’re toys / And when everybody else receives their fun-filled treat / there’s only dust for me.” No wonder she’s not in the mood for Christmas! All this slightly misanthropic sentiment around the holidays is, of course, what ultimately adds to the bittersweet charm of Time Is Passed.

GREATEST CONTRIBUTION TO THE LOCAL MUSIC SCENE AWARD

Speaking of bittersweet, it is with some sadness that I announce that the winner of this award is Peter Varshavsky and Porto Franco Records for their tireless work supporting and promoting local music in the Bay Area. Peter and his father, Sergei, started the label almost three years ago and within that short space of time have managed to release an incredible selection of music from local artists. We’ve already mentioned Seth Ford-Young’s eponymous debut and The Nice Guy Trio’s Sideways and Alleys/Walking Music. Also released this year was Marcus Shelby Orchestra’s Soul of the Movement: Meditations on Dr. Martin Luther King, Jr. (more coming on that soon!), Gojogo’s 28,000 Days, the Mitch Marcus Quintet’s Countdown 2 Meltdown, to name just a few. In their three years, Porto Franco have released music from a wide variety of artists across many genres, such as Ethiopian-born singer/songerwriter Meklit Hadero, Balkan brass powerhouse Brass Menazeri, blues singer/guitarist Seth Augustus, gypsy jazz ensemble Gaucho, and indie pop duo Ramon and Jessica.

But, as it turns out, not having a particular niche is not a viable business model and so going into 2012, Porto Franco will be phasing out the record label aspect of their activity, focusing instead of the less-costly Porto Franco Files, a successful video series that Peter started this year. Although Peter will be returning to graduate school to complete his studies in mathematics, I’m sure Porto Franco will continue to do great work, actively supporting the local creative music scene and promoting San Francisco as a music destination to rival the likes of New Orleans or Nashville.

HANDS DOWN THE BEST PERFORMANCE OF THE YEAR AWARD

I didn’t even have to think about this one. Without a doubt, this goes to Steven Schick and the Paul Dresher Ensemble for Schick Machine, which played at Z Space in April this year. Schick Machine is a collaboration between Paul Dresher, local composer and inventor of some of the wildest instruments you’ve ever seen, Daniel Schmidt, another inventor of crazy musical instruments, Matt Heckert, builder of kinetic sculptures, and renowned writer/director Rinde Eckert. The one-man show is performed by Steven Schick, a master percussionist with an astounding ability to extract every texture of sound from objects, be they simple household objects, wildly inventive creations that are both visually stunning and rich with sound possibilities, or sparser inventions born of an idiosyncratic mind.

Schick Machine‘s lone character, Lazlo Klangfarben, moves around from station to station in his subterranean (as I imagine it) sound laboratory that looks like the whirring, spinning, grinding internal workings of a giant piano organ. At times he conducts a kind of locomotive symphony between the different parts of the huge machine, at other times he plays a single instrument tenderly and slow, and the playing becomes a kind of meditative dance. Eckert’s philosophical ponderings through the character of Klangfarben punctuate Schick’s virtuosic playing, and add the kind of intellectual depth these wild inventions demand. His words capture beautifully the emotional resonance Schick extracts from each instrument, and the narrative frame provides a solid context for Schick’s sonic explorations.

I do hope the Paul Dresher Ensemble considers a re-run of this incredible show in 2012.

Well that’s it, folks, for this year. Congratulations and many thanks to all our winners, and here’s to another great year in music!

Live ‘n’ Local SF & Classical Revolution Present: Electric Chamber

Friday January 13 @ 8pm

Viracocha, 998 Valencia Street

What explains the enduring appeal of chamber music?

No doubt the beauty, subtlety, and complexity of the music—not to mention the passion and virtuosity of its players—are all part of it. But these qualities can be brought to bear on music of any kind, and more and more, classically trained musicians are venturing beyond the traditional confines of the chamber into new and exciting territories. The San Francisco Bay Area, in particular, is a fertile breeding ground for such genre-bending, cross-pollinating creativity.

The ELECTRIC CHAMBER series showcases some of this incredible creative talent.

Our first installment features the electrifying MUSICAL ART QUINTET, a high-energy string ensemble playing music inspired by the dances of Latin America, including a few electro-tangos, and VYTAL THEORY, an innovative duo comprised of DJ/producer/rapper Elan Vytal and violin virtuoso Matt Szemela, AKA String Theory.

Musical Art Quintet

Formed in 2008, Musical Art Quintet is made up of some of the Bay Area’s most talented string players. With a core repertoire of original compositions and arrangements by bassist Sascha Jacobsen, the quintet’s music is rooted in rhythm and dance, drawing inspiration from styles as diverse as Argentine Tango, Klezmer, Afro-Cuban, Cha-Cha-Cha, Malagasy, and Electronica. The quintet cemented its status as a top notch string ensemble, recording with Nuevo Flamenco guitarist Stevan Pasero (Twelve Shades of Night, 2010) and Argentine Tango group Trio Garufa (El Rumor de Tus Tangos, 2010). The group—Classical Revolution’s 2011 Ensemble-in-Residence—just released its charming and delightful debut album, Nuevo Chamber, on the Classical Revolution label.

Vytal Theory

Vytal Theory is an inspired answer to traditional conceptions of musical collaboration. Comprised of a DJ, who mixes music as well as video, and an electro-acoustic violinist performing on a custom six-string violin, the duo brings a diverse array of musical backgrounds and influences to the stage. What results is a new sound that both celebrates tradition and challenges present boundaries, moving forever forward.

ELECTRIC CHAMBER is brought to you by Live ‘n’ Local SF, whose goal is to promote and support innovative music played live by local musicians, regardless of genre, and Classical Revolution, a social movement of global reach and local origin, now in its sixth year of bringing chamber music to the masses.

 

Electric Chamber

“Reinventing the wheel” may not be as useless an undertaking as it first sounds. The wheel has been around an awfully long time, so perhaps a new take on it is exactly what it needs to stay fresh and exciting. Let’s jazz it up a bit! Find new uses, new interpretations that make it relevant to contemporary life in the post-industrial era.

Okay, maybe the wheel is a bad example. It is still, after all, one of the most widely used inventions ever. Its future is not, let us say, under imminent threat. Most likely, the wheel will continue to enjoy its ubiquitous popularity without the need for any special “reinterpretation.”

Can we say the same for chamber music?

From the private chambers of the aristocracy to the concert halls of the bourgeoisie, for a long time this particular style of music has been associated with the rich and cultured, with those occupying the “higher” strata of society. We don’t often think of the young and hip, of subversiveness, of revolution when we think of chamber music.

But perhaps that is exactly the kind of reinvention chamber music needs.

San Francisco’s own Classical Revolution certainly thinks so. More of a socio-cultural phenomenon than a musical group with static membership, Classical Revolution has been transforming how chamber music is being enjoyed all over the globe.

It all started at my favorite Mission haunt, the Revolution Cafe, where violist Charith Premawardha and some friends from the SF Conservatory of Music decided to revolutionize how and where chamber music was being heard. Their aim was to bring classical music out of the stuffy concert halls and into bars and cafes where younger (and less well off) people would be exposed to it. Their slogan? “Chamber music for the people!”

A few years later, Classical Revolution has grown from a weekly event in a tiny bar to a movement of epic proportions with chapters all over the country and in several large cities throughout the world, such as Amsterdam and Berlin. In addition to the goal of crushing the bourgeois state by bringing chamber music to the people, Classical Revolution also fosters music that is experimental and innovative, classical music that pushes traditional boundaries.

In that spirit, this past Monday at the Rev, Classical Revolution introduced composer Sebastian Plano and his cello quartet playing the entirity of Plano’s debut CD, The Arrhythmical Part of Hearts. Live. Or so I thought.

One thing that had intrigued me about the description of the music I read beforehand was that it combined live strings with electronic music.

Classical Revolution’s own Ensemble in Residence, Musical Art Quintet, which plays original compositions by bassist Sascha Jacobsen as well as some sweet interpretations of Astor Piazzolla, have a couple of “electo-tangos” in their repertoire. An electronically produced pre-recorded track is played in the background and the quintet play over it, creating a fresh and exciting sound that makes Gotan Project seem thoroughly dated. The live strings always take center stage and the electronic tracks, on the few occasions they are used, are never heavy-handed.

Unfortunately, this was not the case for Sebastian Plano’s quartet.

For a start, the prerecorded tracks were too much the main focus, often carrying the melody, which does not work well in a live performance. The four cellos seemed like an afterthought in the arrangements, the background accompaniment to the electronic music, which often went on and on for what seemed like ages before the four cellists even picked up their bows.

Secondly, the tracks themselves were often cheesy ambient or progressive trance with cloying vocals over Yanni-like piano and thumping beats. Fans of Enya might like it.

Thirdly, both the pre-recorded music and the cello accompaniment quickly started to sound repetitive. It seemed like there was some formula used for the construction of the music, so by the third or fourth iteration I had lost interest.

Having said that, the musicians, when they played, played well and there were some very pretty moments. If I had only heard one or two tracks, I might have really liked it. But sitting through the entire album was a bit painful, especially when Mr. Plano felt the need to stand up and speak before each and every track. I understand that a young composer wants to promote his music, but there are times when it’s just good to shut up and play.

For a live musical performance, the audience’s attention should be focused on the live music. Otherwise, why bother? A few times I thought it could have worked better if it had have been a dance performance with the cellos accompanying in the background. Plano did mention that one track was indeed written for a dance collaboration, but in the absence of actual dancers, we were left to imagine the central focus.

Lessons to be learned from this? Over-reliance on pre-recorded tracks for a “live” performance is bad idea. I am always impressed by multi-instrumentalist composers who can create a rich sound all by themselves in a studio, but when playing out for an audience, they need to get other musicians to play those parts, or figure out how adapt the music in some way.

Plano and his cello quartet certainly have potential, but they have a long way to go before they are at the standard of an ensemble like Musical Art Quintet, whose seamless integration of electric and chamber consistently delights and charms.

Another revolution of the wheel? Sure, why not.