Indianapolis Symphony Orchestra performs at the MAC
By Peter Jacobi
November 23, 2008
The two violinists that take the stage at the Musical Arts Center this afternoon form a mutual admiration society, and they both wax eloquently about the piece they will perform together with the Indianapolis Symphony Orchestra, the Bach Concerto in D Minor for Two Violins.
Zach De Pue and Alexander Kerr will do the honors. The former has the title of concertmaster of the ISO. The latter’s title is principal guest concertmaster. The nine-years-younger De Pue, a graduate of the Curtis Institute, former violinist in the Philadelphia Orchestra, and now in his second season as the Indianapolis ensemble’s in-the-ranks leader, says when he was a student at Curtis, “Alex was already a legend. We heard all about him. We admired him and wondered if the great things that happened to Alex professionally would happen for us. I have all the respect for him, as musician and wonderful human being.”
Kerr, with stints as concertmaster of the Charleston, Cincinnati and Aspen Festival Orchestras, prior to taking that position in the distinguished Royal Concertgebouw Orchestra of Amsterdam, calls De Pue “an excellent musician, who has proven his leadership abilities since coming to Indianapolis. He and I get along famously.”
And that’s the critical factor in a setup considered highly unusual in the symphonic world: for an orchestra to have not only a “concertmaster” but also a “principal guest” for that chair.
How did it come about?
Kerr explains. “Two years ago, when the ISO was looking for a concertmaster, the search committee asked me if I had an interest. I was reticent, having just given up my position in Amsterdam and accepted a professorship in the Jacobs School. Why change, I thought. But we left the conversation open.
“The ISO then hired Zach. He was anxious, though, to have some leeway,” Kerr continues. “He wanted a chance to pursue other goals, such as solo and chamber opportunities. And so, the idea developed for me to come in six to eight weeks a year, spelling Zach in his duties. I get my cake and eat it, too. I get to work with those great students at IU and live with my family in Bloomington. And I gain the camaraderie of an orchestra, this without full-time responsibilities.”
For De Pue, the year with the ISO has “held new challenges, but I feel confident that I can have an impact. It’s been a wonderful experience. With Alex around, I can ask him for advice. The whole situation is terrific. This is the only American orchestra with such an arrangement. Alex makes such a strong impression on the orchestra when he’s in the chair. He’s so experienced and giving. And, of course, the orchestra itself is fantastic. Maestro Venzago has a vision for it. He’s got style. He’s a great leader with creative ideas, and we get along so very well.”
Kerr, too, praises the orchestra and music director Mario Venzago. “He’s an excellent musician, intelligent. He challenges an orchestra, which the players in Indianapolis like. The orchestra is wonderful, very flexible, capable of sounding different with every conductor it makes contact with. There’s turnover in the orchestra right now, with young players coming in. They’re also open to new ideas. I think the orchestra and Maestro Venzago are on the right path.”
The maestro, the ISO, and the two compatible concertmasters are due in the MAC this afternoon for a program consisting of Hector Berlioz’ colorful Roman Carnival Overture, the moving First Symphony of Anton Bruckner, and — in between — that Bach showpiece for two violinists.
“The concerto,” says De Pue, “is one of the first serious classical pieces a student is likely to remember if his goal is to be a professional. It’s not so technically demanding, but it’s a brilliant piece with one of the most beautiful movements, the second, which becomes part of a violinist’s soul and gives the two soloists a conversation.”
To Kerr, the concerto “gives ultimate satisfaction.” He, also, uses the word “beautiful,” attaching it to the whole “lively, virtuosic piece, the incredible first movement and, certainly, the second, and beyond. I’ve played both solo parts,” he says, “and the orchestral string part, too. The D Minor key gives the music a deeper intensity. I think the concerto transcends all music written at the time. It’s all about communication. Zach and I played it together with the orchestra last spring. I look forward to doing so again.
“It’s fun to play on home turf,” Kerr continues, “a bit nerve wracking, with your own students and colleagues in the audience, but especially rewarding.”
“I remember Saturday evenings in the Philadelphia Orchestra,” recalls De Pue. “That’s when the Curtis students used to come to the concerts. So, those of us in the orchestra who were Curtis grads took special care and pride in how we played. Since the ISO has a huge base of alums from IU, they take special pride, too, when they come to Bloomington. This will be my first time with the orchestra down there. I suspect we’ll put out extra energy.”
One can expect those IU grads to lead the way. But Mario Venzago, the ISO’s ebullient leader since 2002, will likely seek an energetic performance as well. He’s made such an effort on the orchestra’s previous visits, just as he does when in charge of concerts in the ISO’s own hall on Monument Circle in Indianapolis. He’s turned into a wise choice; the orchestra has prospered under his guidance.
The Indiana University Jacobs School of Music would like
to thank the Herald Times for permission to republish this review.
