in performance: fabio mittino and bert lams

Bert Lams (left) and Fabio Mittino,

It seemed fitting that Fabio Mittino and Bert Lams had driven 18 hours – from Hartford, Conn., to be exact – in order to play the Kentucky Coffee Tree Café in Frankfort on Wednesday evening. That’s because the program they designed for two acoustic guitars had done a bit of traveling of its own.

For roughly 75 minutes, the duo explored the music of G.I. Gurdjieff and Thomas de Hartmann. The former was a philosopher and mystic of Greek and Armenian ancestry who gathered tunes during late 19th and early 20th century travels throughout the Far East. He then dictated them for transcription, often through oral recitation, to the latter, a Russian composer and one of Gurdjieff’s most trusted protégés.

So, in a nutshell, the evening was a bit of a travelogue. What Mittino and Lams translated that into was a series of brief instrumental pieces averaging about two minutes in length that possessed the exactness and elegance of classical music, the emotive accessibility of folk and liturgical works and a modest but pronounced exotic air that came from a variety of Eastern accents.

During the concert-opening “Movement 13,” a lead from Mittino danced about with the delicacy of a ballet, yet at its core sat a melody of simple, bittersweet beauty. Similarly, “Mamasha” revolved around a sense of classical grace Mittino rightly compared to Chopin.

While the entire program was focused on Gurdjieff/de Hartmann music, save for a lone Mittino original titled “Shining Road” that had the guitarist juggling dual melodies simultaneously, there was still considerable variety. For “Tibetan Masked Dance,” Lams let loose with a vigorous, repeated riff that could have passed for surf music while the entire piece possessed the spry animation (and propulsion) of a mazurka. “Round Dance in G” later slowed the pace of Mittino’s more rugged rhythmic phrasing while Lams’ lead summoned a buoyant dance melody that quickly said its peace before receding so that the composition could stop on a dime.

The most fascinating aspect to this seemingly forgotten music, though, were the roots it revealed to the works of a slightly more familiar culture. There was no mistaking the Eastern inspiration within “Armenian Song.” But as the tune’s relaxed but stately melody unfolded, one could detect how such an exotic sound was connected to classical and especially folk works from more Western regions of Europe. Who knows? Maybe Bach possessed a smidge of Armenian blood we didn’t know about.

Regardless, catching a ride with Mittino and Lams through the far off lands once travelled by Gurdjieff without leaving the ultra-intimate setting of the Coffee Tree Café made for an exquisite vacation from the dead-of-winter doldrums.



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