ClevelandClassical
112310AkBarRev
Review
Akron Baroque: "I've got your Bach" at First Congregational Church (November 18)
by J.D. Goddard
The Akron Baroque Orchestra gave the second concert of its season last Thursday in Akron under the direction of Guy Victor Bordo at their home base, First Congregation Church. A very supportive and enthusiastic audience was treated to a concert of exceptional artistry and the wonderful “flash and flair opulence” of the Baroque Era. There was an excellent display of “togetherness” between conductor, musicians and audience. The audience was graciously welcomed by harpsichordist Valerie Thorson and each work was very informatively, appropriately and briefly introduced by conductor Bordo. The audience was at once put at ease with the warm reception shown by the conductor and musicians toward all in attendance. Their opening “warm-up” piece was the Concerto Grosso Op 1 No. 3 by Pietro Locatelli (1695-1764) an Italian composer. Locatelli’s works are mainly for the violin, an instrument on which he was considered a virtuoso. His musical style was heavily influenced by Corelli and Vivaldi. His most significant publication was the Arte del violino, printed in 1733 and was one of the most influential musical publications of the early 18th century. It is a collection of twelve concertos for solo violin, strings and basso continuo, with a “capriccio” for unaccompanied violin inserted into the first and last movements of each concerto as a sort of cadenza.
The opening Largo — short, sweet and to the point — shone forth in a rich and full sound, setting the stage for even better things to come. It quickly melded into the second movement, which opened with a very impressive duet between violinist Alan Bodman and cellist Christina Rosser. They were then joined by Violinist Linda Nagy Johnson in a very spritely trio, after which the full strings entered and strongly supported the conclusion of the movement. The third movement, Largo-Allegro, awakened your attention as the strings appropriately “ripped” strong beats in a rather stop and go fashion (slow then fast and vice versa). The final Vivace was in a quick three and jumped back and forth between pianissimo and forte with a precise lilting flow. This work consisted of segments within segments that flowed all together to display the multi faceted talents of the musicians and the dynamic style of Locatelli.
The second work on the concert was the “Overture Burlesque” (Suite) in B flat major, TWV 55:B8. by Philipp Telemann. Telemann’s music was one of the driving forces behind the late Baroque and the early Classical styles. It is interesting to note that Telemann pursued the exclusive publication rights for his own works, and set one of the most important early precedents for regarding music as the intellectual property of a composer. His style encompassed the French, Italian and Polish styles.
“Burlesque” consists of 7 very short movements built on the style of the theatrical Commedia dell’arte. (1.Overture (Lentement), 2.Scaramouches (Vite), 3.Harlequinade (Plaisant), 4.Colombine (Con Grazia), 5. Pierrot (Vite), Menuet I and II (Vivement) and Mezzetin en Turc (Tres vite). The overture was quick, with fingers and bows flying throughout the quickly paced passages. The lower strings stood out with fleet, adept fingers playing with precision. The Scaramouches movement bounced along with a triplet motif and very nicely portrayed the character of the “boastful coward.” The Harlequinade movement was very fast, clean and clear and took advantage of multiple contrasting dynamics. The Colombine movement was especially touching with its beautiful, easy and lilting pianissimos and fortes, its gentle dynamic changes and its lovely sentimental emotion. The Pierrot movement, in a fast four, possessed some of the best subtle pianissimos of the evening and quite cleverly displayed yet again the “flash and flair opulence” of the Baroque Era. The Menuet I and Menuet II movement were gentle and stately. Each Menuet was graced by a lovely, sweeping elegance. The Mezzetin en Turc movement featured a decidedly overpowering predominant beat depicting the hustle and bustle of a Turkish market. It was a very appropriate “fire and brimstone” interpretation, obviously well prepared, with fine dynamic contrasts.
The third work on the concert was the Sinfonia No. 5 in Bminor Wq. 182 by C.P.E. Bach, who was considered a very strong transitional figure into the Classical Era. For this work Cory Smith took over the concertmaster chair and in its usual way Akron Baroque spread around the talent in various seating arrangements. The first movement, Allegretto, was very soloistic in style and contained some very difficult and speedy passages which were played with precision throughout. Again the lower strings were brilliant and solid. Dynamics were built from pianissimo to forte by the simple addition of more players joining in with full bow movements on a solid foundation of cello and bass. This movement very obviously leaned toward the Classical with its sectional structure. The Larghetto movement was very dynamic yet subtle and cohesively demonstrated the connectivity between the members of the orchestra. The final Presto was powerful with “ripping” full bowings, precisely showcasing once again the solidity of these fine musicians.
The final work on the program was the Bach Violin Concerto in E Major BMV 1042. This is one of those Bach works that is “everybody’s favorite.” The opening movement, Allegro, was presented with unusual clarity, dignity and precision. Violin soloist Alan Bodman set the tone with his strong and powerful interpretation very stylistically intertwined with all of the strings in the very playful give and take style so prevalent during the Baroque Era. The Adagio was, of course, the highlight of the concert with its magnificent and tranquil beauty built so subtly on a ground bass. The orchestra’s accompanying of Mr. Bodman was very gracious and velvet like in texture. Conductor Bordo closely followed the interpretation, style and body movement of violinist Bodman with very precise and appropriate conducting gestures, knowing when to lead and when to follow. The final movement Allegro assai was, to say the least, joyous. The stylistic flair of Christina Rosser, cello, Valerie Thorson, harpsichord and Alan Bodman, violin was a real treat to not only hear but also to watch. Congratulations to Alan Bodman for his obvious understanding of the Baroque style and his fine playing and interpretation. Bravo Bodman!
Akron Baroque painted an excellent picture for all to enjoy. I would be remiss if I did not make mention of the artistic playing of cellist Rosser, violinist Bodman, and harpsichordist Thorson. Each raised the bar for Akron Baroque and gave it a much higher professional status as being one of the best Baroque orchestras in Northeast Ohio. This was as fine a Baroque orchestra concert as I have ever heard. It is obvious that a great deal of concerted effort was put into the preparation and final performance. The group is coming together as one, not only by watching the conductor but more importantly by watching each other. Bravo to all for giving Akron the “flash and flair opulence” of the Baroque.
ClevelandClassical
