It happened again last Saturday evening at the Chamber Music Detroit opening performance.

You know that feeling when you’re experiencing something truly special and you don’t know how you got so lucky to be there, in that moment, in that place?

My husband, our friends and I expected something great. The dozen or so Chamber Music Detroit performances we’ve attended these past couple years have been nothing short of fantastic. Whether Zuill Bailey, the Julliard Quartet, the Dover String Quartet, Yefim Bronfman--or truly, any artist we’ve watched perform at Seligman Center for Performing Arts—we’ve been dazzled. Enchanted.

There’s just so much going on. So much to enjoy. The conversation between artists alone is worth the price of admission.

Unlike orchestral music where a conductor leads a hundred or so musicians through the music, chamber music is all about the musicians. They are in charge.

All eyes on First Violin, she’s at the wheel. Slight nod to the cellist, she’ll take it from here. Violins, violist back off, giving her wide berth. Now they’re all plucking madly, save the cellist. PleepPleep. Pleep. Pleep. Pleep.Pleep.Pleep. It sounds like a child tapping high notes randomly on a piano. It sounds like rain. The cellist gently strums her instrument. The violist commands a deep, rich, meaty sound. Earth? The cellist picks up the pace, headbanging for emphasis. The First Violin makes her instrument cry out for attention. They’re all racing now, increasing tempo and pitch before coming to an abrupt silence.

I’ve been holding my breath these last couple minutes. I exhale. I’m tempted to close my eyes. To let my heartbeat slow. To allow my mind to still. To steep in the stillness. But then they’re back at it. Another movement calls my attention and I’m swept up again, the music pushing and pulling, poking and prodding, stirring and settling.

That’s chamber music, at least for me. It’s an experience that breaks through my otherwise busy structured life into corners that are rarely visited. It’s moving. It’s meaningful. It lingers.

To be clear, as any musician reading this will instantly know, I am not a musician. Apart from an obligatory go at the recorder in elementary school, I’ve never attempted to make music. Nor do I know much about classical and modern orchestral and ensemble composition. My Apple Music account will tell you that I favor Post Malone, Khalid, Eminem and Ed Sheeran Essentials.

Despite my limited musical background, or perhaps because of it, I thoroughly enjoy chamber music. Based on the enthusiastic applause and standing ovations that followed Attacca Quartet’s every piece, I’m not alone. Based on the cacophony of conversations buzzing throughout the hallway after the performance, I’m not alone. Based on the texts I received from our invited guests, I’m not alone.

Chamber Music Detroit’s season debut featured Attacca Quartet and composer/musician Caroline Shaw. From the moment Attacca Quartet took the stage, you knew something exciting was about to happen. Those new to chamber music and unfamiliar with Attacca Quartet may have expected conservatively clad musicians donning concert blacks and neck ties. Instead, members of the GRAMMY awarding winning ensemble entered personality-first in floor-length sky blue, sunflower, jumpsuit, romper and Doc Martens.

They played original music by Caroline Shaw, featuring Blueprint (2016), Plan & Elevation (2015), Three Essays (2016-2018) and The Evergreen (2020). Shaw joined Attacca Quartet after admission, performing Cant voi l’aube (2061), And So (2019) and Other Song (2021).

The program notes tell of Shaw’s inspiration for each composition. Plan & Elevation, for example, was written after her experiences on the rolling grounds of Dumbarton Oaks. It speaks to stone paths, French gardens, aging fig vines and more. She wrote The Evergreen is an offering to a specific tree in an evergreen forest in Galiano Island, off the west coast of Canada.

The notes help guide audiences through the music. For example, I probably wouldn’t have thought of rain or dew listening to this piece had I not read the notes in advance. It’s no matter. It’s not about being right, but rather being in the moment. For me, being in the moment means being able to follow the story. Hence, the notes.

I’m not going to attempt to review the performance. I simply lack the credentials. But, like all fellow concertgoers, I am qualified to review the performance.

Attacca Quartet and Caroline Shaw left nothing on the stage. They were generous, passionate and wildly entertaining. They made me feel so many emotions over the course of 90 minutes that I felt both exhausted and exhilarated.

Anyone craving an experience worth sharing look no further. Consider the many performances featured during this historic 80th season and just go. There are no bad choices, only great experiences that will make you feel grateful for having discovered chamber music.

More pages to visit:

• Learn more about Chamber Music Detroit.

• What is Chamber Music?