Review of Ridibund Chamber Music Society

 Atlanta Symphony Orchestra bassist, composer, and quirky personality Michael Kurth once again steps into the spotlight with his unique brand of creativity. Along with some musician friends from his neighborhood, he formed a group during the pandemic that evolved into the Ridibund Chamber Music Society. This quintet merges classical and pop music, borrowing elements from both styles to create something fresh.

Kurth, known for his humorous and insightful compositions, has been featured in ASO concerts and on a notable CD release. His work is characterized by a sharp eye for life’s amusing details and a masterful sense of orchestration, both of which are hallmarks of his style.

With the Ridibund group, Kurth explores the fusion of pop and classical music. Though this isn’t a new concept—think of the Kronos Quartet’s arrangement of Jimi Hendrix’s “Purple Haze” or the ’70s disco sensation “Hooked on Classics”—it remains an intriguing challenge. Recent efforts, like Steve Hackman’s mashups of Drake with Tchaikovsky or Beethoven with Coldplay, have shown promise but haven’t yet gained lasting traction.

Ridibund’s setlist primarily features Kurth’s own arrangements, with a few of his original compositions (like “Mean Old Pony”) mixed in. Notable among the classical works reimagined were The Swan by Saint-Saëns, Meditation from Thaïs by Massenet, and Khachaturian’s Sabre Dance. The latter, originally a ballet piece that became a pop hit in the late 1940s, was cleverly reinvented as a klezmer-infused dance.

Several arrangements stood out. Kurth’s reworking of Dolly Parton’s “Jolene”  highlighted the connection between traditional U.S. country music and Irish folk music. His arrangement of Gloria Gaynor’s “I Will Survive” in the style of Pachelbel’s Canon was equally impressive, and the audience was captivated by his treatment of the Allman Brothers’ “Jessica.” Kurth’s interpretation of R.E.M.’s “Losing My Religion” explored a range of styles, from madrigal to baroque, highlighting his deep understanding of different musical periods.

However, not all arrangements hit the mark. Though a compelling pop song, Bonnie Tyler’s “Total Eclipse of the Heart” took a little too long to reach its recognizable hook. That might not be as noticeable in the original, but it felt more apparent here. Likewise, the mashup of Nirvana and Satie emphasized Nirvana’s angst but seemed to miss Satie’s signature irony.

The Ridibund Chamber Music Society’s members include violinist Kirsten Browning, cellist Mary Horst, harpist Molly O’Roark, drummer Ronnie MacDuff, and, of course, Kurth on double bass. The evening was filled with creative ideas skillfully executed by talented musicians, with plenty of humor sprinkled throughout. The standing-room-only audience at Eddie’s Attic responded enthusiastically, making it a successful debut for the Ridibund Chamber Music Society. ■

Published here:  https://www.earrelevant.net/2024/09/ridibund-chamber-music-society-raises-the-roof-in-eddies-attic-debut/