Banged string instruments and stomped feet aren't exactly the typical classical fare from the Lydian String Quartet. Nor on most nights would they play also an arresting piece steeped in Chinese musical traditions, juxtaposed with a positive master work from the Viennese school.But Saturday night's performance in the Slosberg Recital Hall featured all those things, in the first installment of its five-year series "Around the World in a String Quartet." The quartet's stated intention was simple: Its members hoped to broaden the horizons of its audience, and in this one evening did so in spades.

For Paquito d'Rivera's (a contemporary Cuban composer) "Village Street Quartet," the quartet treated its string instruments as percussion, reminding listeners of the ethnic diversity and culture of New York City's Greenwich Village. Prof. Daniel Stepner (MUS), one of the group's violinists, said in a brief lecture before the performance that the piece seemed to bubble with a raw emotion in the vein of street musicians performing in Washington Square Park.

It was obvious from the moment the Lydians took the stage, the evening's performance would prove to be unique. The work's first few measures came softly from one stringed instrument, and eventually employed the full ensemble. As the piece grew more and more dramatic, the musicians' foot tapping increased. Prof. Joshua Gordon (MUS) used his cello more like a bongo drum than a stringed instrument, bobbing his head in time with the fast-paced tune.

Prof. Yu-Hui Chang's (MUS) "Shadow Chase," which came next in the program, carried a double meaning, especially given its placement before Ludwig van Beethoven's "Quartet in C Sharp Major." Chang explained before the concert the title describes how she chases the shadow of the great masters, yet always feels it looming over her. She assembled the notes of her piece together as beautifully as she formed her words when describing the artistic process.

Both Beethoven and Chang's pieces were played impeccably. Chang's piece at first seemed underpowered, but when compared to Beethoven's provided a good contrast. Upon reflection, hers was a bit more mellow, but called to mind sounds of Beethoven's. In that sense, "Shadow Chase" supplemented the ideas of Beethoven's "Quartet," but never tried to compete with them. And, appropriately, Chang said her piece was largely inspired by merely first four notes of the Beethoven Quartet.

It was a treat to see the Lydians play both the familiar and the novel, according contemporary music the same respect as the classics of old. According to the program notes, Chang has recently been called a master of her generation. Through looking at pieces from centuries ago, decades ago and mere years ago, music lovers realized Saturday night that even contemporary greats must keep one ear cocked to the music of their forebears.