First it was brusque, then eerie and sly. Julia Holter and the Spektral Quartet shared the Ecstatic Music Festival concert on Wednesday night at Merkin Concert Hall in a program that lingered in the cloudy zone where contemporary composition meets the pop song. In its sources and allusions, the concert took for granted the broad-spectrum musical erudition of current composers: hip-hop, medieval motets, Broadway, Impressionism, dubstep.
Playing on its own, Spektral — a string quartet from Chicago — brought one piece, Liza White’s “Zin zin zin zin,” that got its title and its rhythmic thrust from a rap by Mos Def, and another, by Chris Fisher-Lochhead, that radically rearranged a moody electronic lament by James Blake, “I Never Learnt to Share,” along with Stravinsky’s “Concertino” from 1920. There was also Dave Reminick’s “Oh My God, I’ll Never Get Home,” which had the quartet singing a poem by Russell Edson about a man falling to pieces as he walks, with heaving music to match.
Each piece was introduced, with an explanation, by a quartet member; the violinist Clara Lyon smiled as she praised the “weird things happening” in “Concertino.” The pieces had a shared palette: dissonant and clenched, with fleeting moments of delicacy giving way to more tension. The quartet played attentively, poised or just harsh enough, savoring the suspense; none of the new pieces overstayed. They were confident miniatures, rich in implications.
The quartet backed Ms. Holter for new arrangements of two of her own songs, “Memory Drew Her Portrait” and the more dramatic “Marienbad,” with Ms. Holter also playing piano. She writes extended art songs sung with pop innocence (and a microphone). The songs were whispery, consonant reveries on memory and anticipation, suffused with dream logic, sometimes using the concision of pop melody, sometimes dipping into the repetitions of Minimalism, but also free to wander toward elusive epiphanies.
Ms. Holter and the quartet also performed Alex Temple’s song cycle “Behind the Wallpaper,” which, Ms. Temple has said, includes Ms. Holter’s music among its inspirations. The lyrics of the brief songs in “Behind the Wallpaper” sketch surreal transformations and spooky situations: a character who has been swallowing seawater and live fish, another wandering a house where the walls keep shifting. The songs were atmospheric with ambiguous tonality, drawing chuckles along with hushed curiosity. They quivered, hovered, paused and slipped in and out of ghostly waltzes before the last one, “Spires,” resolved into the sweet major chords of an old movie score’s happy ending, followed by the sound of rising waves — a flood, perhaps, drowning all the strangeness.
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