Rachel Barton Pine, a master of the viola d'amore and

consummate Baroque violinist could be said to have hidden her light under a

bushel last Friday when she appeared as a member of the Trio Settecento. On Sunday she

unleashed her full playing talents with the Indianapolis Baroque Orchestra in

bravura performances of works by Vivaldi (1678-1741) preceding an extraordinary

display in a final work by Pietro Antonio Locatelli (1695-1764). This also marked

the final concert of this season's Indy Early Music Festival.

Until Sunday, the previous programs had been delving into

the temporal backwaters of what we call today "classical music." The music played

and the songs sung mostly appeared before key signatures solidified into

"major" and "minor." There

was no such thing as modulation as there was no center or "tonic" key from

which to modulate (i.e. to change abruptly to another tonic key signature which

then lasts for a while).

Music with these key signatures lasted about 200 years

between the early 1700s to the early 1900s, after which modulation again became

meaningless. This

two-century era, often called the "common practice period" resides at the

center of what is classical music to most people. Prior to 1700, most music was

considered "modal"--using restricted tuning (e.g. meantone temperament) to

prevent the exploration into all 12 tones of the chromatic scale.

With the adoption of equal or unrestricted temperament in

the Romantic era, modern music could go anywhere it wished at any time in the

12-tone scale. Frequent modulation,

coupled with thick, non-consonant chords, became the standard in the last

hundred years. What

it gained in "artistic freedom" it may have lost in the common-practice vehicle

of creating tension/resolution within the discipline of key signatures.

But I digress: Pine

was viola d'amore soloist in three Vivaldi concertos scattered throughout the

program. Each

had three movements, all in fast - slow - fast format, calling for much

intricate solo work, especially in continuous arpeggiation up and down. All the players

were knit together like fine embroidery, as they were in Pine's absence in

Vivaldi's Concerto for Strings in C.

But the two most interesting works were the eight-part "Imitation

caràcteres de la danse" by Johann Georg Pisendel (1687-1755) which showed the eight-player Baroque Orchestra all

standing and playing without conductor and Pietro Antonio Locatelli's "L'Arte

del Violino" Op. 2 No. 12 entitled "The Harmonic Labyrinth." The latter work was where Pine truly

exposed her talent in full. Sweeping arpeggios, playing harmonics and solid tones together at

a breakneck pace all led to a solo cadenza, where she again outdid herself. The audience

thundered for more, and got a solo Locatelli Caprice, later joined by cellist

Susan Rozendaal and theorbo player David Walker.

What a way to end a season! July 12; Indiana History Center