No, boys. There's two "O"s in Goose.

Now, I am as forgiving of typos as the next guy -- I guess it's just my liberal leanings. Plus, spelling words correctly (or even spelling them out at all) is apparently quite last century. With all the problems newspapers are currently facing, who has time to get bothered over a their/there incident.

However...

Fear No Music opens season provocatively

...

Nancy Ives, great-granddaughter of a cousin of the composer,...

...also his father's brother's nephew's cousin's former roommate...

...then performed Elliot Carter's...

Um, Mr. McQuillen -- I believe that Mr. Carter spells his first name with two "t"s. It's okay...a common mistake I'm sure. Really, that extra "t" is silent anyways. Let's not let that ruin a perfectly good review.

Just don't let it happen again. Okay?

...short homage to Charles for solo cello, "Figment No. 2: Remembering Mr. Ives." The famously abstruse Carter generally makes Ives sound as experimental as Stephen Foster by comparison, and the "Figment" was no exception, with bits of "Hallowe'en" and Ives' "Concord Sonata" deconstructed, their fragments heading in uncertain directions. But as the title suggests, Carter's piece was imaginative, as sparkling in its cerebral way as the Ives.

"The famously abstruse Carter generally makes Ives sound as experimental as Stephen Foster by comparison."

Ugh. See, my problem is that the only thing this person judges as "experimental" is a piece's relative atonality, and that's just stupid. Carter does indeed write atonal, very complex music, BUT, that doesn't make his music experimental.

And while Ives wrote plenty of music that was quite tonal, borrowing from popular music and commonplace classical forms of the 19th century, his music was rarely not experimental. It has everything to do with knowing what the words atonal, experimental and avant-garde actually mean with regards to the classical music tradition.

Moving on...

Things turned toward the wild side in the final works. Voglar and Griffin ripped through Stephen Hartke's "Oh Them Rats is Mean in My Kitchen,"...

Now, time for Detrital editorial advocacy, because this is just an awesome piece. Absolutely kick-ass.

You can listen to it here. I insist.

...a crackling, note-bending tribute to early blues inspired by Blind Lemon Jefferson's "Maltese Cat Blues," and the quartet closed with Michael Dougherty's "Paul Robeson Told Me," in which the quartet accompanies...

Wait, a minute. Back that up for second. Michael Who-erty? Mr. McQuillen, I mean, come on.

Misspelling two composer's names is really pretty unacceptable. Seriously.