Ms. Sorrell welcomed the full house of happy listeners, and invited us to help celebrate the beginning of the 17th season for her musical troupes. With Peter Bennett at the portable organ, the combined forces presented the Coronation Anthem No. 2 by Handel, The King Shall Rejoice. Indeed he would have, had he been there to hear this spirited presentation.
A Suite from Terpsichore followed, turning attention to the dance. Or at least the music for it. This charming four-movement suite was more delicate in nature, with subtle changes in the rhythms, but never losing its danceability. The second movement featured a flute duet, (Michael Lynn and Kathie Stewart) displaying the piquancy of their playful runs up and down the musical scale. Ballo, the third movement, presented a scherzo-like duet of flute and violin (Cynthia Roberts). The chaconne which brought the piece to a close began with cello (René Schiffer), moving on to flutes and violin, then adding oboes (Washington McClain and Debra Nagy) and bassoon (Anna Marsh). For this work, Mr. Bennett moved to the harpsichord.
I'm not usually a great fan of Bach. Heresy, I know, but then I wasn't previously exposed to the manner in which his music is performed by Ms. Sorrell and her musicians. This presentation of the Brandenburg Concerto No. 3 could easily have converted a stone. One might almost say it was the frivolous side of Bach, definitely not in his sacred style. As a showcase for the principal string players, plus one or two others on most instruments, the melodies danced back and forth between them and the harpsichord, this time helmed by the conductor. The three movements sang and cavorted from one instrument to the next, beginning with the concertmaster (Ms. Roberts) and concluding with the contrabass of Sue Yelanjian, along with occasional embellishments and suitable flourishes. It was a dashing and spirited performance that deserved the enthusiastic response it received.
After intermission, the chorus and soloists joined the enhanced orchestra for Ode for the Birthday of Queen Anne, or Eternal Source of Light Divine. Mr. Bennett was once again at the organ, and three trumpet players also joined the mix. These forces presented a totally different sound. Meg Bragle's mezzo-soprano is warm and resonant, with no distinction at all between her head and chest voices, just a seamless transition from one to the other. Her crisp and clear enunciation allowed the listener to understand every syllable. Kiera Duffy displayed a clear and agile soprano, easily able to be understood even in the highest portion of her solos. Their duet was a thing of beauty, as the two voices blended together perfectly. Barry Bauguess performed brightly on the baroque trumpet, adding another celebratory layer to the birthday salute.
Handel is primarily known for his oratorios, of which Israel in Egypt is one of the most popular. In her notes, Ms. Sorrell promises the complete work next season, so this short segment The Lord Shall Reign was a delightful preview. Tenor Scott Mello provided a solo plus a recitative, and was joined by the singers and timpani. Ms. Duffy added a short declarative statement which provided an extra touch of drama.
As it began, the concert closed with the full-length version of Zadok the Priest, the Coronation Anthem No. 1. The work was so well-received by the court and the monarch for whom it was composed, that it became an immediate and permanent part of the majesty of the coronation procedure and has been sung at every coronation of a British Monarch for the last 269 years! Now that's matching a composition to its function! Long live the King, or the Queen, whichever.
November brings the joyous Pluckfest II, a celebration of the plucked instruments, that is not to be missed! For more information or to purchase tickets, call 320-0012 or visit http://www.apollosfire.org.
From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com
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