Oberlin

With six sonatas from the baroque era on the program, all titled Sonata, one might have expected the music to blur together in a mush of pleasant but indistinct movements. The REBEL chamber ensemble, however, brought a vivacity and creativity to each work during their concert in Oberlin on Sunday, November 23rd that enchanted the ear and kept the music distinct.

First violinist Jörg-Michael Schwarz gave the confident impression that he could have led the group in his sleep. From the first notes of the Ouverture II by Jean-Marie Leclair, REBEL, named for the French Baroque composer Jean-Féry Rebel, maintained impeccable synchronicity throughout their sudden shifts of tempo thanks to Schwarz's firm but subtle physical gestures. His ornamentation of the slower movements of the Sonate Corellisante V by Georg Phillip Telemann was particularly delightful, displaying a mastery that only comes with experience.

Cellist John Moran seized his chance to shine in the Sonate à Violincello Solo by Domenico Gabrielli. His warmth of sound resounded through Kulas recital hall, each phrase distinctly shaped yet connected with a pleasantly flowing style. During the concert, Moran acted as spokesman for the ensemble, creating a casual rapport with the audience. He explained that the fourth work on the program, Biagio Marini's Sonata sopra la Monica, tells the story of a young maiden unwillingly forced into an Italian convent. One could almost hear the authoritative cello chasing after her, always (intentionally!) a beat behind the violins.

Arcangelo Corelli's Sonata op. 4, no. 8 featured a virtuosic continuo line, skillfully realized by harpsichordist Dongsok Shin. While the two violins floated ethereally above the busy bass-line, Shin and Moran effortlessly performed the quick continuo line in perfect unison. Neither overbearing nor trivialized, Shin's continuo playing complimented each work with a nimble elegance.

Each piece flowed easily into the next. REBEL tuned quickly between works and kept the concert moving at a brisk pace. Saving the best for last, Schwarz launched into the 'La Follia' Variations by Antonio Vivaldi with tremendous gusto. This work acted as a microcosm for the entire concert: each variation retained stylistic similarities with the previous work, yet each variation clearly stood by itself. The piece features different performers in each variation, and second violinist Karen Marie Marmer's solo stood out as particularly excellent. From Marmer's keen lines to Moran's tapping the side of his cello in a percussive accompaniment, Vivaldi's music closed the concert with an exciting final flourish.