Baroque Band Hits its Stride

On an uncommonly warm, but commonly torrential, March day in Chicago, I was in attendance at the first concert of the new year for Chicago’s period-instrument orchestra, Baroque Band. The concert was entitled Suite Candy and featured, get this, suites. It was a decidedly French and German affair, with pieces by Lully and Rameau in the former camp and Telemann and Bach in the latter. The savvy PR minds at Baroque Band even imported hand-made chocolates from a chocolatier from Iowa. Beyond the great music as a draw was a true first for the orchestra – the inclusion of winds, two oboes and bassoon. What a pleasure it was to hear their reedy sounds mixed with the strings of the band. Overall, this confection was a real treat.

The concert began with the Baroque Band, fifteen string members strong, augmented by period oboes and bassoon, performing a suite from Lully’s Le Bourgeois gentilhomme. The sheer aural sensation of the added winds in the intimate space of the Grainger Ballroom made the suite truly enjoyable. I prefer my French baroque a little lighter in its string tone and much more florid, but there was a feeling of excitement on the part of the orchestra to have the winds on board, and to be performing again for its subscription series.

The winds having exited, the Baroque Band invited its own Craig Trompeter, one of the two continuo cellists, to be soloist in Telemann’s Suite for viola da gamba and strings, TWV 55: D6. The viola da gamba is an interesting-looking instrument. It is cradled between the legs of the performer, has many strings and has a much less resonant sound than the cello. Its sound is rather archaic, but was a wonderful contrast to the rest of the strings. I especially enjoyed the movements that brought that contrast to the fore, as in the Bourree, which had duo writing for the viola da gamba and its successor, the cello. Their timbral differences were evident and enjoyable. Mr. Trompeter’s playing was filled with assurance and poise. Hearing this tremendously pleasurable performance allowed me to realize how talented Georg Philipp Telemann was. Such committed performances of music that has so much surprise and novelty should lead to a deeper appreciation of the composer. If Vivaldi can be celebrated for a mere four violin concerti based on the weather, then certainly Telemann can be lauded for his music, numbering in the thousands of compositions. 

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After the intermission, Rameau’s music for Les Indes Galantes, in English ‘The Galant Indians’, was performed. In it, Rameau attempted to present the dances and songs of four savage lands: Persia, Africa, Latin America and North America. I don’t know how successful he was, it being difficult to imagine African slaves singing “a charming French Air” as written in the notes. Once again, I found the playing to be less than transparent, and the characteristically French ornaments, like endless trills at the end of melodies, left me wondering about the Baroque Band’s versatility.

Johann Sebastian Bach’s Suite No.1 was chosen to conclude the evening. In both the Telemann and Bach, the orchestra was truly in its own comfort zone. The oboists, their faces bright red, were madly speeding through the infinite string of notes in the opening overture, as Mr. Clarke chose a break-neck speed for the movement. I was disappointed with that choice because it makes the music seem rather rushed. I know playing many of Bach’s pieces quickly is a sign of an orchestra’s virtuoso acumen, but it degrades the music when played so fast. The rest of the suite was given some room to breathe and came off much better.

For my ears, the Telemann was the true winner in this concert, eliciting an inspired performance from all involved. The audience also found reward from the inclusion of the period-instrument wind instruments. They will no doubt make subsequent appearances as the next set of concerts for this small ensemble is nothing less than Handel’s Messiah. Having had the pleasure to see the Baroque Band mature since its inception, I look forward to what this new jewel in Chicago’s musical cap will come up with.