Performing on July 16 were three members of Artful Noise String Quartet: Lynne White McMahon, violin, Sally Wytuzinski, viola and Gary Hodges, cello. The program featured a quartet for flute with Richard DuBois, flute, and a piano concerto with Nathan Amsden, piano. Artful Noise turns out to be a misnomer. Artful, it is, but Noise, it is not! Violist Sally Wytuzinski introduced the program and announced that they are teachers who are pleased to have time in the summer to put such a program together for their own enjoyment and satisfaction.

Richard DuBois, the accomplished soloist in the opening work, Quartet for Flute and Strings in D Major, K.285 by W.A. Mozart (1756-1791), is a graduate of the U. S. Navy School of Music, following studies at Gorham State Teacher’s College and UNH. His pleasing intonation was evenly supported by members of the ensemble, whose full names were unfortunately missing from the program. There was always a delicate balance. The music seemed flawless and quietly soothing on a day that was hot for New Hampshire. Floor-standing fans kept the performance space comfortable.

With Nathan Amsden at the keyboard, Piano Concerto in E flat, Op. 47, by Robert Schumann (1810-1856), offered a light piano opening. A cello theme soared to elevate the mood of the piece in the hands of cellist Gary Hodges. The Baldwin piano blended nicely with the violin, viola and cello, but never seemed to assume the role of title instrument. As I listened to the music, I thought that this is what I wished that they would play when the doctor’s office puts the telephone on hold for ten minutes. It was academic perfection, entirely pleasant and soothing. It was perfect for a noonday treat on a hot summer day in Portsmouth’s Market Square.

As an ensemble, Artful Noise has a great name going for it, and substantial performing artists to deliver a pleasant concert break from sight-seeing, shopping and lunch in the city. Their web page www.artfulnoise.com announces that they play for weddings and similar occasions. They are extremely accomplished but do not claim to concertize regularly. There is a difference from the national touring artists, inasmuch as those ensembles are able to practice together daily the year around to work on dynamics and dialogue, taking the music to a higher and more dramatic communicative level. Should this group want to do less teaching and go the daily ensemble practice route, I think there would be a recognizably different product in short order. They definitely deserve a supportive following.

To me, this is an extremely promising group, but they may all be “born teachers” and remain pedagogues at heart! That is a worthy life goal. Summer performances as recreation serve an important purpose and at this professional level are mutually satisfying for audience and performing artists.

Driving into Portsmouth on a subsequent week, you will easily locate the City Parking structure. Take the elevator to Level 1, walk in the safety path to the back entrance and, before you, across the Square rises the tower over the impressive North Church. We arrived early enough to locate the last table at one of the outdoor eateries for brunch. Then we continued easily across the wide and well-marked cross-walks to North Church just before the concert. At noon there were plenty of seats. By the end of the hour long program, the entire sanctuary seating area was scattered with walk-ins, perhaps close to 100. It will be better to go early for seats in the coming weeks and plan lunch after the concert, as this opportunity catches on.

The "Music at Market Square" series was kicked off by the Piscataqua River Brass last week on July 9. "Music In Market Square" does not require an admission fee, but donations are suggested.