Kronos Quartet explores its ever-expanding universe

Surprises no longer come as a surprise with the Kronos Quartet, whose members often follow their hearts and ever-curious minds into regions off to the side of strictly defined classical tradition. That was true of 2002’s “Nuevo,” their musical trip (underscore “trip”) to Mexico, and remains so on their new CD, a visit to the exotic, sophisticated world of Indian film music. Called “You’ve Stolen My Heart: Songs From R.D. Burman’s Bollywood,” it also features vocal legend Asha Bhosle, Burman’s widow and primary interpreter.

At Royce Hall on Saturday, Kronos’ Bollywood adventure was brought thrillingly alive by the quartet and Bhosle, their “first lead singer” -- to quote first violinist David Harrington -- who were abetted by pipa player Wu Man and tabla player Debopriyo Sarkar. The madly inventive, culture-crossing music of Burman (1939-94) speaks directly to the Kronos’ eclectic aesthetic, which stitches together traditions from East to West and back, from pop-culture kitsch to experimental verve, and always with a core musical elegance.

Balancing Saturday’s program was the Los Angeles premiere of Terry Riley’s “The Cusp of Magic,” previously reviewed in these pages. Commissioned by the Kronos for the composer’s 70th birthday (to be celebrated further at Royce Hall next weekend), the piece is alternately rhythmically vigorous, contemplative and playful, and replete with noise-making toys.

Although it made for a sensible program mate, considering Riley’s strong links to Indian music and his music’s cinematic qualities, the Riley didn’t get its due spotlight, outshined as it was by the uniqueness and dynamism of Bhosle’s appearance.

Once she arrived, she owned the show, singing a small but cherry-picked selection of the massive body of Burman songs with her lightly ornamented, signature blend of wisdom, sensuality and impeccable craft. At 72, she still beguiles, especially in this rare opportunity to hear the music played live, dressed up in vibrant, Kronos-ized arrangements (by Harrington and Stephen Prutsman).

She was also refreshingly unscripted. Initially sheepish about speaking -- “My English is very Hindi,” she joked -- she went on to charm the crowd and the band with her comments, teasing Harrington for picking difficult songs and having the audacity to reduce these songs, originally recorded with up to 100 musicians, to such a small ensemble.

Harrington seemed a tad flustered but also thrilled by the event. “I’m awestruck,” he said. Awed or not, there was no time for idle reflection amid the surprising complexity and wild shifts of style and substance in this music, in songs such as “Ekta Deshlai Kathi Jwalao” (Light a Match) and “Rishte Bante Hain” (Relationships Grow Slowly).

In the concert’s instrumental section, the Kronos summoned the necessary exuberance for “Mehbooba Mehbooba” (Beloved, O Beloved), and its brand-new cellist, Jeffrey Ziegler, supplied brooding, vocal-like melodic beauty on “Nodir Pare Utthchhe Dhnoa” (Smoke Rises Across the River). Bhosle introduced “Koi Aaya Aana Bhi De” (If People Come) as her “favorite song” but one she never intended to perform live because of its intricate, modular structure. The program ended with one of the most beloved Bollywood songs, “Piya Tu Ab To Aaja” (Lover, Come to Me Now), with its plaintive male cooing (via tape), “Monica, oh my darling.”

Bhosle mentioned that she hoped the U.S. public would warm up to this music, because Americans are “broad-minded and good-hearted.”

She could equally have been speaking of the Kronos, which has added another notable achievement to its extra-classical body of work.