NUVO
By Nikki Cormaci
ENSEMBLE VOLTAIRE: PRINCE OF REASON
Trinity Episcopal Church, September 22, 2007

Frederick the Great, the 18th century gay Prussian monarch, musician and Francophile, whose legacy as a militarist inspired Adolf Hitler, endured his lover’s execution and his father’s constant abuse. In his lifetime he assembled a meticulous society of intellectuals and artists, including a menagerie of fellow musicians whose collective body of work provided the fodder for Friday’s performance by Ensemble Voltaire. By emphasizing the human drama as central to understanding the music, Ensemble Voltaire provokes unparalleled empathy and imagination in its audience. Armed with the humanity behind the music, the listener appreciates not only the technical impeccability and sensitive ensemble in the performance but also the provocative cultural circumstances of the music—a landscape of human sorrow and grandeur audible inside the score.

NUVO
By Tom Aldridge
ENSEMBLE VOLTAIRE: BOHEMIAN BAROQUE
Trinity Episcopal Church Jan. 12,2007

The second of three 2006-’07 concert appearances by the Ensemble Voltaire yielded “Bohemian Rhapsody” as its program title. This was an adventuresome concert from the Bohemian Baroque backwaters, some selections surprisingly interesting.

Oboist John Abberger, violinist Christopher Verrette, violinist and violist Allison Edberg, viola da gambist Elizabeth Macdonald and harpsichordist Thomas Gerber were the principals; last Friday they were joined by bassoonist Anna Marsh.

Following a short opener by Biagio Marini (1587-1663) — a household name only in the Marini household — came a much more auspicious work: the Sonata No. 7 for violin and continuo by Heinrich von Biber (1644-1704), with Verrette playing the principal lines and Macdonald and Gerber supplying the continuo parts. Using a minimum of vibrato, Verrette easily managed all the florid lines, the decorative turns, the trills and the other bits of display, though the work became a bit longish before ending.

Abberger then made his entrance, joining the continuo players in the Sonata for oboe and basso continuo by the one and only Johann David Heinchen (1683-1729). Born just two years before Bach, Heinchen’s music reflects a late Baroque style. Abberger and his partners forthrightly shared the work’s contrapuntal riches.

Then we had the Sinfonia in D Minor for two violins, da gamba and harpsichord by none other than Frantisek Ignác Antonin Tuma (1704-1774), a composer living into the Classical period; however, this piece is all-Baroque, and moreover richly harmonized. And nicely played, as well.

In the ensuing work, Macdonald took up her viola for the Quartet in G Minor for oboe, violin, viola and continuo by the redoubtable Johann Gottlieb Janitsch (1709-1763). This also was an all-Baroque piece, all forces providing good balance in the four movements.

The program’s final work was given a woodwind flavor with Abberger’s oboe and the addition of Anna Marsh for the Sonata in B-flat by the celebrated Jan Dismas Zelenka (1679-1745). (Reviewer confession: Except for Biber, I had heard of none of these composers.) Another surprisingly inventive Baroque work well-played, though the oboe often covered the bassoon.

NUVO, June 14, 2006
By Nikki Cormaci
ENSEMBLE VOLTAIRE, Butler University, June 9

Ensemble Voltaire transformed their baroque recital into a human survey on the court of Louis XIV by dialoguing 11 French Baroque compositions with letters written between 1672 and 1712 by Madame, la Duchesse d'Orléans. Maia Guest performed the role of Madame and wove the stories of Madame's life in the infamous French court with enviable clarity and restraint. The stories ranged from a letter of grief following the death of her young chid to retelling a colorful prank played on a flatulent Sun King. The range of humor and sorrow in the content of the letters was reflected in the Ensemble's selections, and all four musicians honored beautifully the life inside each piece. Although the program featured seven works by the composer Francois Couperin, the dynamic and provocative Sonata in D minor by French baroque female child prodigy Elisabeth-Claude Jacquet de la Guerre best matched the dynamics of the evening, illuminating the compelling feminism of Madame's pen.

READ THIS ARTICLE FOR A SENSE OF AN UNUSUAL AND UNUSUALLY SUCCESSFUL CONCERT SERIES - ENSEMBLE VOLTAIRE'S PERFORMANCE IS MENTIONED NEAR THE END OF THE ARTICLE.

Rare melodies on the prairie

By Trine Tsouderos
Tribune staff reporter

January 12, 2005

A barn is not the first place that comes to mind when one thinks of baroque music.

Then again, neither is Grayslake.

But a 120-year-old barn in the middle of the far north suburban Prairie Crossing subdivision has become a destination for lovers of early music and is home to a concert series that draws about 100 people per show, who pay $15 each to hear the harpsichord, the lute or the viola da gamba.

"I had never played in a barn before," said baroque double bassist Jerry Fuller, director of the Chicago-based ensemble Ars Antigua after the group played a set Sunday afternoon to a nearly full house. "I had no idea of the acoustics of a barn. But it works."

The Byron Colby Barn Early Music Series, which grew out of an attempt to lure customers to the subdivision's farmers market with music, has evolved into something of a mini-Ravinia, with spectators toting picnic baskets brimming with noshes, wine and beer.

"It's such a luscious thing to do on a Sunday afternoon," said Carole Whitcomb after the performance of Ars Antigua with Ensemble Voltaire. "It's an amazing treat."

Spectators trudged through the snow under a watery gray sky to the old white barn glowing with candlelight and promising warmth. Inside, 10 rows of 10 chairs, mostly slightly rickety wooden ones, slowly filled with people, who burdened the chairs with their coats before sitting down and uncorking bottles of wine.

At the front of the barn stood a harpsichord, which was brought in the night before to acclimate to the barn, and candelabra with white candles, all lit. When the music began, the hubbub of greeting and chatting disappeared, replaced by music written in Italy and France 300 years ago.

"This is an artistic salon on the prairie," Fuller said. "This kind of music isn't done just anywhere."

Primarily, according to aficionados, this kind of music is performed in churches and performance halls in Chicago, Evanston and Oak Park.

"This is rather unusual," said Robert Osterlund, founder of the encyclopedic Early MusiChicago Web site.

Prairie Crossing began holding concerts in its barn years ago, bringing in blues musicians, rock bands, folk singers and early-music consorts.

To the great surprise of Prairie Crossing events manager Stan Rosenberg, early music outdrew blues, folk and rock.

"We had 110 people for an early-music concert, We said, whoa, we have got something here," Rosenberg said. "And what we had was a demand for this kind of music."

And so three years ago, the early-music series at the Byron Colby Barn was born.

"Never did I dream it would be so successful," said George Ranney, one of the developers of Prairie Crossing.

Written during the medieval, renaissance and baroque periods, from roughly 1400 to the mid-1700s, early music was completely forgotten for hundreds of years. But in the 20th Century, the early-music movement was born, and musicians began dusting off the many obscure pieces and playing them again, often on replicas of the original instruments.

"What is appealing to me is that it is so fresh. It is so foreign-sounding," said Osterlund, who especially loves improvisation-rich renaissance and medieval music. "You have 500 years of music to rediscover, so many instruments to rediscover and relearn how to play. There is still music out there in great quantity that has yet to be played."

In the barn, Ars Antigua with Ensemble Voltaire treated the audience to a "battle of good tastes" between Italian and French baroque composers, punctuating the sonatas and suites with readings of occasionally snarky reviews by critics of the time, which elicited chuckles from the audience.

After the concert, a dozen people mobbed the musicians, wondering about the slightly unfamiliar period instruments and the music.

"It's surprising. I had no idea there was so much pent-up demand," said subdivision resident Karin Wisiol, who shared a bottle of Shiraz with her husband during the concert.

Part of the charm, of course, is the setting itself.

"It's the intimacy of the whole place," said Prairie Crossing resident Mary Pattison.

The barn, which was built in 1885 by a dairy farmer, originally stood miles away and was taken apart, timber by timber, to be rebuilt in 1996 near one of the subdivision entrances. The developers originally intended the barn to be used as a meeting spot and a "signature building" but soon discovered that it was particularly sharp acoustically.

"It's warm and resonant and very clear," Fuller said.

Two more early-music concerts are scheduled in the barn. On Feb. 20, the Metropolis Quartet will play the music of Mozart, Bach and others. And on March 13, Weissduo, which features lutenist Joel Spears, who lives in Prairie Crossing, will play chamber music for flute and lute.

Asked whether someday he will sell out the barn, which seats about 125, Rosenberg said, "My feeling is there is always room in a barn.

"If I were to overfill the capacity for an early-music concert, I would be the envy of music producers all over the country."

Copyright (c) 2005, Chicago Tribune

France vs. Italy at the Barn

By Sandi Morris, Prairie Crossing News writer

January, 2005

No, not soccer. Baroque Music.

On Sunday afternoon, January 8, Ars Antigua and Ensemble Voltaire delighted the audience attending the third in the Early Music Concert Series at the Byron Colby Barn. Either of these groups alone would have been excellent entertainment. Together, they provided a very special richness and texture of sound.

The theme of the performance, called "Vive la difference!", was the rivalry between the French and Italian composers of the Baroque Era. There was, we were told, lively debate among composers, performers and listeners about the merits of the musical works coming out of the two countries. The musicians of Ars Antigua and Ensemble Voltaire added immeasurably to the afternoon's experience by interspersing their music with readings from commentators of the period. Some typical excerpts: "The Italians, whose musical extravagance is in such poor taste, write music that is base and sensuous; this music appeals directly to the ear."

"The French . are neither profound nor venturesome. They are very limited and slavish, and always imitating themselves. They always warm up the leftover ideas of their predecessors."

And on an occasion when two of the well-known composers of the time, Locatelli and Leclair, played together: "Leclair plays like an angel and Locatelli like a devil."

The passionate and hyperbolic comments often made us laugh, but were no doubt meant very seriously in their time.

Performing for us on Sunday were Barbara Kallaur on the traverso, Christopher Verrette on the baroque violin, Elizabeth MacDonald on the viola da gamba, Thomas Gerber on the harpsichord and Jerry Fuller on the baroque double base. The music was excellent. But what is truly unique about the Barn is its intimacy. The connection established between audience and performers creates an experience you don't get in a formal concert hall. I spoke with Barbara Kallaur after the performance, and she said that it makes a huge difference to the musicians as well. "Being able to get immediate audience reaction," she said, "is so gratifying." There is also the opportunity to be more than a listener. You can get up close to the instruments themselves, which are either genuine instruments from the period or authentic replicas. And you can talk to the players. Each musician is more than happy to talk about his or her instrument and how it fit into the music of the time. Being at the Barn is like having a backstage pass.

Many in the audience bring beverages, often wine, and enjoy sipping from their glasses throughout the concert. Ms. Kallaur said that was another thing they enjoyed because it reflects the actual environment in which baroque musicians would have performed. Concerts were entertainments for the wealthy and the baroque audience would certainly have been eating and drinking. Even the occasional pop of a wine cork or clink of a glass only added to the authenticity, Ms. Kallaur said. She also pointed out that the size of the Barn was about the same as the rooms in which baroque nobles would have held their entertainments.

We are often so busy on weekends and it's easy to get frazzled. I've found all of the Early Music concerts to be a wonderful way to relax on Sunday afternoon and be transported, however briefly, to another time and place. Ars Antigua and Ensemble Voltaire offered an especially absorbing, educational and fun musical experience.

If you have not attended a concert at the Barn, you are missing something. Early Music may not be your cup of tea, but events at the Barn also feature other types of music. Watch pchomail and Prairie Crossing News for announcements. You may also receive special flyers distributed around the community. Or, for more information contact Stan Rosenberg at 847-543-1202. Concerts are open to the public, not just PC residents.

The next Early Music Concert is Sunday, February 20 at 4:00 p.m. and features the Metropolis Quartet playing music by Mozart, JC Bach and others. Tickets $15 at the door. Kids under 16 are free. BYOB

Ensemble Voltaire “Telemann Quartets & Trios,” on the Catalpa Classics label
Reviewed by staff writer Whitney Smith of the Indianapolis Star

Plenty of Indianapolis chamber music fans have known Ensemble Ouabache for years. But in hopes of attracting more listeners elsewhere, the 15-year-old early music band has taken the name of a revolutionary 18 th-century French philosopher who was alive and annoying aristocrats when the group’s repertoire was new.

Ensemble Voltaire’s debut disc features music of the 1730s by Georg Philipp Telemann. The prolific composer, conductor, music publisher and church musician often overshadowed by Handel and J.S. Bach these days when it comes to German baroque music.

Telemann’s light allegros and luxurious slow movements are charming and accessible as played by flutist Barbara Kallaur of Indiana University; violinist Christopher Verrette of Tafelmusik, Toronto; harpsichordist Thomas Gerber of the University of Indianapolis; and viola da gambist Elizabeth Macdonald of Washington University at St. Louis.

Two concertos and a sonata for flute, violin, gamba and continuo typify much of the repertoire the group has been playing for years. Anchored by the gentle purity of the wood flute, it’s a sound that can be a pleasant background experience, or revisited to appreciate harmonic texture and melodic interplay.

A trio and a quartet with baroque oboist John Abberger offer more extroverted instrumental colors, as well as gentle or pointed exchanges between oboe and violin. A G minor trio offers an “Allegro” full of easy, urgent parallel harmonies, and a melancholy “Andante.”

Early music treat on late summer Sunday
By Peter Jacobi, Herald-Times Reviewer September 16, 2003

The always welcome Sundays at Auer Hall tradition resumed over the weekend after the summer lull. Focus was on the velvety sounds of a Baroque flute, this one controlled by Barbara Kallaur, who teaches others how to play the instrument in IU's Early Music Institute.

On stage with her throughout the program was harpsichordist Thomas Gerber, Kallaur's partner in the founding of the admired Ensemble Ouabache and a teacher at the University of Indianapolis. They opened the afternoon concert with the Sonata No. 1 for Flute and Harpsichord by Georg Benda, a Bohemian-born composer and violinist who worked at the court of Frederick the Great in Prussia. Immediately, the soothing warmth of Kallaur's flute became evident. Early on, touches of breathlessness marked her playing, the result, apparently, of hay fever. Some bottled water helped alleviate the situation; her work definitely strengthened as the program moved forward.

Moved forward with much more interesting music, the E Major Sonata of Bach. The piece is filled with tricks and traps, all of which Kallaur managed with aplomb. She was well matched by the always dependable foundation of Gerber's keyboard contribution. With them, and remaining there for the rest of the recital, was IU's resident virtuoso of the viola da gamba, Wendy Gillespie, a knowing presence always when it comes to the spirit and substance of early music.

The three then entertained a good-sized audience with music of another 18th-century composer, French flutist and instrument maker Jacques Hotteterre. His Troisieme Suite from Premier Livre de Pieces proved a joyous diversion, sometimes delightfully bouncy, at other moments just plain pretty. Kallaur's fluting featured agility of fingering and a free, floating sound.

The charms of a Chaconne en trio by Jacques Morel brought the hour to a lilting close. Helping the performers along was viol player Liam Byrne, who seemed to fit right in.

"This celebration was in expert hands here. . .designed with the average concertgoer in mind. The concert welcomed the audience into Purcell's world." The Indianapolis Star (Four Star Review)

"An informative lecture demonstration and a stunning concert."
Coe College

"A great evening of early music. It was a pleasure to be able to include such a fine group from this region in the line-up of heavy hitters." Fermilab Arts Series

"Students. . .were fascinated, receptive, and attentive. It was a great experience for our rural, middle-America student audience."
Westview Jr.-Sr. High School

Favorite soprano disc ever!
Reviewer: andrew j frishman from Magdalena, New Mexico     
January 13, 2000
One listen to this recording left me wondering why on earth Bonporti is virtually unknown. It is Baroque religious music (these motets were published in 1702), but rather unlike any other such music I have heard. Bonporti's writing has neither the austerity of the Germans, the pomp of the French, nor the usual bravura showiness of his fellow Italians. Rather than having the feel of a penitent, reverant worshiper, Ellen Hargis gives the impression of a charming young woman in love for the first time, full of longing, tenderness, joy, enthusiasm, and willingness to feel emotion. She is excellently supported by the Ensemble Ouabache (two violins, 'cello, theorbo, and organ) who shine like stars while she soars in front of them. Truly a desert island disc; the first aria, "Vos cheles", once caused a house guest of mine to come from the next room literally with tears in her eyes. www.amazon.com

"The best elements of authentic instrument performance: sureness of ensemble, impeccable intonation, and a flair for the dramatic."
Early Music Iowa

"A memorable concert, a model of clarity and precision. . .played with suavity and lyricism. . .beguiling." The Indianapolis Star

"Presenters are really missing the boat if they don't take advantage of the type of opportunity offered us last evening. The music was superb, the interpretation was stylish and refreshing, and the playing was exhilarating." DePauw University

"The New York Label (Dorian) now achieved a stroke of genius: the motets are a remarkable discovery, and the performance by Ellen Hargis and Ensemble Ouabache leaves nothing to be desired. The musicians achieve a remarkably friendly, lovely sound that corresponds perfectly to the cordial character of the compositions. . . .Ellen Hargis treats text and music with unequalled sensitivity." Matthias Hengelbrock, Musik Heute, October, 1998

June 1, 1999
Music Review by Peter Jacobi
Herald-Times Reviewer

BLEMF Weekend Offered Glorious Burst of Music

A bulging cluster of Bloomington Early Music Festival events paraded before my ears during the extended Memorial Day weekend. Here are impressions left.

The Distaff Side

Why don't women compose? A sometimes asked question. They do. They did. The answer.

Six of those who did during the 16th and 17th centuries were represented in an early evening program at Ford Hall Saturday. The event was shared by Ensemble Ouabache of Indianapolis, Musicians in Ordinary, and guests.

Musicianship was of a high order throughout, but the heroine of the occasion was soprano Hallie Fishel, still suffering from Friday's ailment but very much on stage, guided by courage and loyalty to pre-arranged assignment.

She did excise a couple of songs, but the bulk of what she planned to do, she sang, and sang amazingly well. The concert's main happening, "Le Sommeil d'Ulisse" by Elizabeth Jacquet de la Guerre (1666-1729), amounts to a musical monodrama in which five instrumentalists provided support but which depended heavily on Fishel to whom when every recitative and air and aria.

Even for someone healthy this would have been a taxing assignment. Again, as on Friday, the soprano gave virtually no hint, while singing, of her discomfort. Professionalism took charge. The voice dutifully followed orders. She is obviously an artist of heart.

As for the piece, its quality and style match that of music written by the men of that period. The music is highly expressive for this retelling of the Ulysses legend. It is also lovely to listen to.

Members of the Ensemble Ouabache; make that Wabash when you pronounce it (Barbara Kallaur, traverso; Christopher Verette, violin; Thomas Gerber, harpsichord); meshed with theorbo artist John Edwards of Musicians in Ordinary and guest cellist Joanna Blendulf to take care of the instrumentals.

Kallaur's well-controlled and attractive fifing was the highlight of both the Allegro from the Trio in D Major by Anna Amalia, Princess of Prussia, and the Sonata in G Major by the almost unknown Anna Bon di Venezia, two pieces with grace in sweet and creamy dollops.

Verrette shown during the more pungent score left by Isabella Leonarda, her Sonata in D Major, Opus 16, No. 12.

Fishel added with effectiveness a melodic "Te lucis ante terminum" by Francesca Caccini and a sorrow-laden "Lagrime Mie" by Barbara Strozzi. Those women wrote some good music.