St.
Paul’s Episcopal Church
February
1
Bringing a Renaissance instrument into the 21st century. |
In
a decade of music writing, this critic never had occasion to use the
terms “Baroque” and “rock ’n’ roll” in the same sentence.
But over the past week, in a stroke of Jungian synchronicity, there
have been two: A performance by Finnish opera singer Topi Lehtipuu
with the Collegium 1704 Baroque orchestra in Prague, and a guest
appearance by lute player Ronn McFarlane with Apollo’s Fire in
Cleveland.
Lehtipuu,
41, is an opera star and captivating tenor who held the audience
breathless singing Monteverdi and Vivaldi arias – no small
accomplishment in Prague, a city that sees world-class singers on a
regular basis. Trained at the Sibelius Academy in Helsinki, he has
developed a repertoire that stretches from Bach to Stravinsky and a
career that includes a five-year (1993-98) stint as the singer and
violinist for Höyry-kone,
a Finnish prog-rock group. With influences ranging from Gregorian
chants to King Crimson, the band produced a distinctive sound fronted
by Lehtipuu’s clear, crystalline vocals.
McFarlane,
59, was born in West Virginia. He started his music career playing
blues and rock on electric guitar before turning to classical studies
and, in 1978, devoting himself full-time to the practice and study of
the lute. He joined the Baltimore Consort in 1979, and spent 11 years
(1984-1995) teaching at the Peabody Institute. With more than two
dozen recordings, including Indigo Road, a 2009 Grammy nominee
for Best Classical Crossover Album, McFarlane has arguably done more
than anyone in the country to bring his Renaissance instrument back
into the musical mainstream.
McFarlane
still uses a lot of contemporary guitar-playing technique, from the
way he fingers the strings to the drop of his hand from the
fretboard. His style and approach are also strikingly modern,
especially his work with other players in the ensemble, which is like
watching the lead guitarist in a smart rock or jazz band. McFarlane
clearly relishes the technical challenges of his 16-string instrument
– the more notes, and the more complicated they are, the happier he
seems. But it’s the sound that caught and held his attention, he
says in an essay on his website – the wide palette of tonal colors,
and the possibilities the lute offers for fusing popular and
classical music.
Friday
night’s “Intimate Vivaldi” program opened with a razor-sharp
concerto (RV 114) by a five-piece Apollo’s Fire ensemble, with
McFarlane sitting in on continuo. The next piece, a trio (RV 85),
featured some tight and impressive work by McFarlane and diminutive
violinist Johanna Novom. A sonata by Giovanni Zamboni (No. 9 in C
minor) gave McFarlane a chance to play solo, and in his hands the
music took on a warm, almost Spanish flavor. The concluding piece of
the first half was perhaps the most interesting of the evening –
Sonata concertata X, libro II by Dario Castello, a daring
17th-century composer whose work still sounds radical today, with its
alternating leads, complementary chords and varying tempos. The
quintet did a fine job with it, playing with characteristic energy
and verve.
Highlights
of the second half included a bracing violin duet by Novom and
Olivier Brault in a capricio by Biagio Marini; a brief and finely
executed slice of Vivaldi’s “Winter” concerto from The Four
Seasons by Brault; and a lively finale, Vivaldi’s Concerto
in D major (RV 93), which featured precision string work by
Novom, Brault and violist Kristen Linfante.
The
performance was the first in a new series of “Fireside Concerts”
that Apollo’s Fire is staging in a more intimate, casual
atmosphere. In practice, this means that between songs the musicians
chat up the audience, which is then invited to join them at a
reception afterward. It’s a heartwarming innovation, particularly
on a cold winter’s night. But some of the players have more to say
than others. McFarlane can talk forever about his lute, but when
cellist René Schiffer’s
turn came, he stood up, confessed “I have nothing to say,” and
sat down. This did nothing to dampen the enthusiasm of the
chattering crowd that filled the reception hall.
Of
more interest to this critic was the resonance between the setting
and music: the sprawling faux-Gothic architecture of St. Paul’s,
and the New World style of Baroque. Particularly after hearing it in
Prague, the differences between the American and European approaches
were striking. The Old World sound is elegant and refined, spirited
but stately, much closer to its origins in churches and royal courts.
The New World sound is bright and polished, distinctly more uptempo
and bursting with the optimism that characterizes American music.
But
both styles, it seems, can accommodate reformed rock ’n’ rollers.
For
more on Ronn McFarlane: www.ronnmcfarlane.com
For
more on Apollo’s Fire: www.apollosfire.org
For
more on Topi Lehtipuu: http://topilehtipuu.com
To
hear Höyry-kone:
https://www.youtube.com/watch?v=bHFS42GOZSk
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