Landmarks Center presents a Christmas cornucopia from Indianapolis Chamber Orchestra

There was lots of variety packed into the Christmas concert that Indianapolis Chamber Orchestra offered Sunday evening at Indiana Landmarks Center. 

Taking a break from its normal home at Butler University's Schrott Center and partnering with a specially recruited chorus, the ICO surveyed music of the season by five 18th-  and 19th-century masters: Marc-Antoine Charpentier, Arcangelo Corelli, J.S. Bach, G.F. Handel, and Hector Berlioz.

The spectrum probably compelled more trimming than desirable of the best-known selection, the Advent and Christmas portion of Handel's "Messiah." Several favorites were missing as a result, and I am used to hearing "His yoke is easy" as the chorus ending the oratorio's first part, not "Hallelujah."

But for selling the show to the public, I realize that the Hallelujah Chorus was inevitable as a concert finale. I once sang in a choir that attracted a large crowd for a performance of the whole work, and watched a significant trickle of departing attendees right after we sang the Hallelujah Chorus. A word-

Matthew Kraemer also celebrated his birthday Sunday.

association test with "Handel's 'Messiah'" on the list would be sure to trigger an instant "Hallelujah Chorus" response from most people.

The highlights of the excerpts that ICO music director Matthew Kraemer conducted made an immediate impact with the tenor soloist's "Comfort ye" and "Ev'ry valley." Norman Shankle displayed exemplary diction and a vigorous good-news expressiveness in both the recitative and the aria. A requisite tenderness was introduced in the solos by mezzo-soprano Mitzi Westra, rising to splendor in the aria "O thou that tellest good tidings to Zion." 

Bass soloist David Ruggers gave urgency to the light-dark contrasts of the text in his recitative and aria. In the latter, the push-pull dynamics marred his phrasing somewhat. Those numbers are Handel's shrewd prelude to the chorus "For unto us a child is born," which unfortunately was omitted as the performance went directly into the "Pifa" (Pastoral Symphony). That cut had the advantage, at least, of suggesting the surprise of the shepherds at what the angel is about to announce to them.

The soprano soloist, Sarah Brailey, had the right assertive quality for handling the narrative that sets up the chorus "Glory to God," which brings the trumpet into play for the first time, handled immaculately by John Rommel. She was challenged by the rapid passages in "Rejoice greatly, O daughter of Zion," which had some feeling of catching up despite her evident mastery of the role. 

"And who shall stand when he appeareth?" one of the skipped arias asks, referring to the title character. The answer on Sunday came right after "Rejoice greatly" and it was "the audience, as usual." The tradition is regrettable for "Hallelujah," yet it is unlikely ever to disappear. It was a useful preparation for the also inevitable standing ovation that put a seal of approval on the entire performance.

It all started with Bach's "Christmas cantata," a work that delays Christmas explicitness until the alto aria, "Ach Herr, was ist ein Menschenkind." It was sung by Westra, with her customary indication that whatever she sings means the world to her at that moment. All "Messiah" soloists were involved here, and all did exemplary work, handling the melismatic complexity adeptly. The chorus, well-trained by Eric Schmidt of DePauw University, was fairly vague in matters of German diction in the initial chorus, but sounded shipshape in the short concluding chorale.

The chorus of about 20 also gave a good account of the best-known part of Berlioz's "L'enfance du Christ," the shepherd's farewell chorus to the Holy Family as it flees to safety in Egypt. I feel less competent to judge its command of French, but it sounded serviceable. And the music, along with the pensive overture to Part Two, is a sure way to stimulate approval from people who think they hate Berlioz. Both were nicely performed.

Five soloists from the choir helped put across the Kyrie and Gloria of Charpentier's "Messe de minuit Noel," with its brisk buoyancy at first, unusual in the plea for mercy that opens the Mass, but typical of French music. Flutes were well poised to supplement the appeal of a two-soprano duet later.

The one piece without vocal participation was the best-known piece today of a pioneer of Italian ensemble music. Corelli's Concerto Grosso, op. 6, no. 8, enjoyed a performance with its peppy movements and lyrical movements well-shaped and able to convey the joy of the season. The whole concert was more than adequate to that annual mission and sense of purpose.