Following up on its premiere performance a year ago in Fairchild Chapel, the Oberlin Baroque Orchestra performed last Thursday night in Finney Chapel.  Jeanette Sorrell, who serves as music director for Apollo’s Fire, Cleveland’s acclaimed baroque orchestra, conducted the ensemble, leading them through a program of Telemann, Vivaldi, Bach and Rameau. It was a performance of energy and sparkle, subtlety and nuance, intelligence and taste. The orchestra played like a good chamber ensemble – always listening and watching each other and often moving together in sync with the music.  As a result, the sense of ensemble was impeccable, the balance was good and the intonation was impressive (especially considering how difficult it is to keep period instruments in tune). Beyond this, there was a sense of merriment among the orchestra. 

Clearly, they were enjoying the music they made together, and it showed through the smiles on their faces. Jeanette Sorrell’s one-of-a-kind approach to conducting had a unique effect on the orchestra.  Directing the first half of the concert from the harpsichord and the second half on the podium (using a pencil, rather than a baton!), her fluid, swooping gestures reflected the charm and grace of the music. On the many occasions that she smiled towards the orchestra, one had the feeling that their own loving mother was on the podium, rather than an intimidating, Toscanani-like father figure. The performance opened with two movements from Telemann’s Concerto in A minor for Recorder, with Polly Gibson on the recorder, and Rachel Henderson on the viola da gamba. Both soloists performed this lovely work with ease and comfort, though it was Henderson’s spirited and joyful playing that really brought it to life.

The ensemble’s energy dramatically intensified in the performance of Vivaldi’s Concerto in B minor for Four Violins. A beautiful, full-bodied sound permeated the orchestra. Everyone involved played with an enormous variation in dynamics and articulations, making for a highly dramatic performance. The four soloists, J Frievogel, junior Rebecca Wilcox, first-year Mikyung Kim, and senior Sam Quintal, played with high excitement and impressive projection.

Bach’s Double Violin Concerto in D Minor finished the first half of the concert. The highlight of this work was the finale, filled with the same fire and verve that infused the Vivaldi concerto. The orchestra may have gotten slightly carried away, as there were occasions when they lacked clarity and precision.  Senior soloists Evan Few and Edwin Huizinga played with a superb sense of dialogue, throwing musical ideas at each other as if they were having a conversation.

The second half opened with Bach’s Orchestral Suite No. 2 in B Minor. Traditionally performed with a solo flute, Sorrell, inspired by the research of Bach scholar Jonathon Rifkin, chose to integrate two soloists into this performance.  Traverso flutist senior Alice Teyssier and violinist Evan Few both contributed their exceptional talent to this lovely suite. Unfortunately, there were occasions when the orchestra overpowered them. In general, however, the work demonstrated an array of unique characteristics in each movement, from the noble grandeur of the Overture to the rhythmic drive of the Badinerie (which, sadly, contains the charming melody made world-famous by Verizon, Cingular, and other cellular phone companies).

The performance concluded with a suite from Rameau’s opera, Les Indes Galantes (meaning “the very cool and exotic man”).  Sorrell gave a brief lecture beforehand, introducing the opera and describing its subject matter as “politically incorrect” in a modern perspective (due to its offensive portrayal of Africans and Native Americans).  Yet the music was full of character and excitement; highlights included the dramatic first and last movements in which Professor of Musicology Steven Plank majestically played the baroque trumpet solos and also the “Air of the African Slaves,” in which Sorrell demonstrated yet another talent: that of a virtuoso “tambourinist.” Yet, the movement entitled “Earthquake” was clearly the high point of the suite. Thunderous bass drum rolls and piercing string tremolos marvelously depicted a volcanic eruption and whirlwind of destruction.

It was a wonderful experience to see and hear Oberlin Conservatory students play together with such dedication and imagination. One can only hope that the Oberlin Baroque Orchestra will have their third incarnation next year.