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Virtuoso Fire: Alex Klein & Apollo's Fire @ St. Paul's Episcopal 3/7 Jeannette Sorrell is an absolute master when it comes to delving through centuries of music to come up with engaging themes for programs featuring her Apollo's Fire Baroque Orchestra and renowned guest artists who specialize in that era, as well. Last week's program was no exception. Antonio Vivaldi was an extremely prolific composer in Venice during a time when there were four other notable composers, as well. Three of these were featured along with Vivaldi on this program titled Italian Concertos by Vivaldi & Rivals, all of whom lived (more or less, with some over-lapping) from 1671 to 1768.

The marvelous guest artist for this program was Oberlin professor Alex Klein, a virtuoso on oboe, whether baroque or contemporary. During an engaging pre-concert talk, he suggested that the oboe was born in ancient Egypt before traveling to the rest of the known world, mainly by triumphant armies. His instrument was made in Strasbourg, France around 1710. It’s quite different in appearance from today’s oboe, with no levers and padded fingerhole covers. It appears to be somewhat smaller, and fingers are the only covers for the open holes.

The orchestra was slightly smaller than usual, also, consisting only of strings; no winds, brass or percussion. But still, a very joyful sound was produced.

The program began with the Concerto à 5 in F major, op. 1, no. 4, by Benedetto Marcello. Although not the sort of concerto where soloists are highlighted in the program, there were a few exposed instruments: most notably the celli in the opening Largo and the plucked double bass along with the harpsichord in the first Allegro. All told, this was highly agreeable music, and I mean no disrespect when I suggest it would have made an excellent accompaniment to a banquet perhaps. Nothing to disturb the digestion, while providing pleasing listening.

The first of several pieces by Vivaldi was the Allegro from Concerto in F major for Three Violins, RV 551, which featured Cynthia Roberts, Julie Andrijeski and Johanna Novom in a wee bit of a duel. This was followed by his Concerto in C major for Violin & Two Cellos, RV 561 with violinists Ms. Andrijeski, Ms. Roberts and Ms. Novom, and René Schiffer & Caroline Bean, cellos. Each of the violinists had her own portion as soloist: the first Allegro was by Ms. Andrijeski and was somewhat typical Vivaldi in a very danceable rhythm. Ms. Novom excelled in a lovely and lyrical Largo, whileMs. Roberts sparkled in the second Allegro. Throughout, the two cellists were very busy indeed, performing their many notes with grace and beauty.

Vivaldi’s Oboe Concerto in d minor, RV 454, was the first of the two works featuring the oboe on the program, perhaps to more specifically present the show-offy qualities of the diva. (Apollo’s word, not mine, but it’s most apt.) Mr. Klein did not disappoint in this extremely virtuosic piece. The baroque oboe has a softer, somewhat sweeter sound than the contemporary oboe, which has a more carrying quality to its voice. The beginning Allegro gives no hint of what will come in the closing Allegro which nearly creates sparks from the rapid notes! Virtuosic doesn’t begin to describe the requirements for the soloist in this section, made all the more so by the lovely, long melodic lines of the Largo which precedes it.

Ms. Sorrell combined the 6th Overture of Francesco Veracini with Concerto alla Rustica RV 151 of Vivaldi, to produce a hybrid Concerto Grosso for two violins and harpsichord. Ms. Novom was joined by Adriane Post, while Ms. Sorrell continued on the harpsichord, as she had been all evening. The two violins were sometimes together, sometimes separate, sometimes echoing each other. A few of us in the audience were a tad confused by the ‘musical stands’ (changeabouts) midway through the piece. It was merely the switch from the Veracini to the Vivaldi movements, that’s all.

The Oboe Concerto in d minor, op. 9, no. 2 by Tomaso Albinoni is vastly different from that of Vivaldi, in that he treats the soloist as just one of the musicians who occasionally plays an extended solo. For the most part, his music is more lyrical, allowing the oboe many opportunities to sing, and Mr. Klein did this beautifully. The middle movement Adagio was gorgeous with an interesting melody at the heart of it. In the final Allegro he seemed at times to be playing tag with the violins, as they chased each other up and down the scale.

Ms. Sorrell announced the final work – Vivaldi’s Concerto for Four Violins, op. 3, no. 10 – as one of the group’s favorite pieces to perform. It's easy to see why this is so: the three movements speak to dialogue, rivalry and friendship. The four violinists responded accordingly, with loving help from the violas and second violins who echoed each other at times, while the cellos and double bass provided a sturdy foundation.

It is to be hoped that Mr. Klein makes another appearance with Apollo’s Fire. Soon, please.

The next subscription concert by Apollo’s Fire is Earth, Wind and Fire to be presented in various locations between April 17 and 24th. Family concerts will be April 4th and 5th. For tickets or more information, call 320-0012, or visit http://www.ApollosFire.org.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com

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