icon-email icon-facebook icon-linkedin icon-print icon-rss icon-search icon-stumbleupon icon-twitter icon-arrow-right icon-email icon-facebook icon-linkedin icon-print icon-rss icon-search icon-stumbleupon icon-twitter icon-arrow-right icon-user Skip to content


Indianapolis Baroque Orchestra opens new season with concerto grosso survey

The solo concerto has become such a fixture on concert programs that today's symphony orchestra schedules  can hardly
The Indianapolis Baroque Orchestra gathers for a group portrait.
be imagined without a succession of guest stars featured in such works.

Early displays of acclaimed virtuosity tended to come from violinist-composers, so it's no surprise several of them were responsible for the emergence of the concerto as an essential part of the repertoire. It all began with the idea of a small group of soloists contrasted with an accompanying orchestra in the form, developed in Rome in the late 17th and early 18th centuries, known as the concerto grosso. A well-managed survey of this kind of work opened the Indianapolis Baroque Orchestra season Sunday afternoon at the Indiana History Center.

Barthold Kuijken, the ensemble's artistic director, conducted four works, starting with the foundational concerto-grosso contribution of Archangelo Corelli. The program progressed through two highly contrasting examples of the form by Francesco Geminiani and Piero Antonio Locatelli before ending on the lofty plain of the High Baroque with George Frideric Handel (the familiar Anglicization of the German-born Georg Friedrich Haendel's name).

"Ticket to Ride" was the Beatles-inspired title of the concert, reflecting 18th-century sojourns and settlement in
Barthold Kuijken, conductor and artistic director
places far removed from composers' origins. Musical influences tended to go along with them, sometimes sparking a vogue for new styles. The Oxford Companion to Music puts it quite strongly: "In England Corelli became a cult figure and was followed by Geminiani and Handel."

Before settling in England, and ironically patronized by fellow Saxon  monarchs there, Handel had already established a reputation in Italy, where the sobriquet "il Sassone" was applied to him. That influence led to his later basing much of his fame on Italian opera, which he composed with passionate commitment for a number of years after he emigrated for good to England.

Concerto Grosso in G major, op. 6, no. 1, emerged near the end of its composer's production of operatic hits and the start of his successful turn toward the oratorio. The whole set of twelve displays Handel's mastery of the form, and the IBO's performance of the G major thus put a fitting cap on the survey. Each of the five movements bears Handel hallmarks: stately themes in dotted rhythms, the rounded, jog-trot pace familiar from the arias, soloist independence in slow-movement lyrical material, smooth fugal writing, and (for the finale) a triple-meter romp with upward-sweeping lines. Handel had mastered the public manner that career demands in his adopted country embedded in him.

Corelli, who established the genre in a fashion that justifies its comparison to a cult, was attractively displayed in his op. 6, no. 1 (D major). The concertino group, headed by Alison Nyquist, often presented phrases that were then imitated by the ensemble, and Kuijken accomplished the contrast without making the seams conspicuous. Nyquist was given extensive focus in the gigue-like finale, in which she dazzled.

"La Follia" was a tune, or closer to the framework of a tune, that became so much "a thing" in the 18th century that it might be compared to the endless variations on Gershwin's "I Got Rhythm" in the 20th century. Geminiani's Concerto Grosso in D minor makes exhaustive use of it, and the performance featured crisply rendered accents indicating its dance origin as well as spectacular variations for solo violin and cello.

Contrast of another type came into play after intermission with Locatelli's "Il Pianto d'Arianna," a sprawling approximation of the the mythological heroine Ariadne's despair at her abandonment on the island of Naxos by her lover Theseus.  A modern summary of her complaint might run something like: I put you through graduate school in heroism with that Minotaur, and now you do this to me!

The work features lots of variety in sketching Ariadne's angry and despairing moods. Phrases separated by suspenseful pauses (don't we all go through dead zones in the course of processing deep disappointment?) were unanimously handled. The descriptive vivacity of this performance was unfailing. Clearly, the heroine had been left holding her ticket to ride as her intended transportation sailed away. The Indianapolis public has another opportunity to wave a mournful goodbye with Ariadne at the University of Indianapolis tonight, when the program is repeated.

Movie Review: 'Pain And Glory'

The new movie Pain And Glory, about a film director whose career is in decline, was made by Pedro Almodovar, whose career definitely isn't.

Collectif9 brings its revisionist aesthetic to the Palladium

As if meeting as a committee of the whole, Collectif9 gathers for a portrait.
Adaptation is an old game in the art of music, long obscured by the dominant privilege that printed scores enjoy in both scholarly reputation and performance practice. Bach adapted Vivaldi, Stokowski adapted Bach, Handel adapted himself. On and on it goes.

Collectif9 is playing the game anew for the 21st century by reconfiguring classical music for a nine-piece string ensemble (four violins, two violas, two cellos, and double bass). As displayed in a concert Friday night at the Center for the Performing Arts, something closer to the music of gypsy ensembles is perhaps the most natural fit for what the Montreal-based group is all about.

 Music for that kind of orchestra took up a couple of generous portions of the Palladium program. The folk-derived music, bristling with lively dance rhythms, blended with the classical tradition in the concert finale, an interpretation of Bartok's Romanian Dances, and also in an excerpt from Gyorgy Ligeti's "Romanian Concerto." A living composer with an intense interest in vernacular styles was represented twice: Osvaldo Golijov's "Tancas Serradas a Muru" ("Walls Are Encircling the Land"), from "Ayre," uses a trenchant Sardinian protest song as a basis for a performance that included vocalism from members of the group in addition to well-coordinated playing. "You have exhausted the people's patience," the text warns the island's barons.

The group's capability in more soft-spoken music was never in doubt, as the balance and feeling for pastel colors the nine musicians imparted to Debussy's "Nuages" made evident.   The restraint, this time undergirded with apt tension, was also evident in an arrangement of "The Sacrifice" from Stravinsky's "Rite of Spring." This was succeeded, somewhat incongruously (though demonstrative of Collectif9's ability to turn on a dime) by "Little Black Book," an edgy caprice by electronic composer JLin of Gary.

Collectif9's love of nuance in near-miniature form bookended the program. The opening work was "Spheres" by Gabriel Prokofiev; the encore was "Sepia Fragments" by the Canadian composer Derek Charke. All along the way, however, the shared explanations and introductions from the stage were inconsistently clear and informative. Since the program departed substantially from the listed works, this was a disappointing feature in a performance distinguished by Collectif9's obvious inclination to establish rapport with the audience.

Bach's "St. John Passion" and Purcell's "Fairy Queen" were announced as if we were about to hear the whole of both works, instead of tidy excerpts.  Nonetheless,  I admired the ensemble's handling of the opening chorus of the former piece, with its anguished shadings of dissonance.

The most suitable to Collectif9's heart-on-sleeve expressiveness and its pinpoint accuracy were two excerpts from Gustav Mahler — an abbreviated third movement of Symphony No. 1 in D major, depicting the composer's response to satirical woodcuts by Callot showing forest creatures in a mock-solemn march and titled "The Hunter's Funeral Procession."  The contrasting theme (identified as "Slavic-Jewish" by one of Mahler's biographers)  was presented speedily to underline the frisky triumphalism of the animals' celebration; that alteration worked to heighten the music's sardonic spirit.

 The other  Mahler borrowing was the "Farewell" interlude from "Das Lied von der Erde," as nicely balanced and glowing as "Nuages" was in a much different style. All told, it's the cohesiveness of execution and effect that offers a projection of Collectif9's personality. If they could manage talk from the stage more intelligibly and efficiently, these engaging Canadians would have everything going for them to put across their adaptation-focused aesthetic while fully honoring its sources.

Latest Stories

Choosing Senior Living
Choosing Senior Living
Love Old Journalists

Our Mission

To amplify the voices of older adults for the good of society

Learn More

News & Opinion from Senior Correspondents Across the Globe