We offer suggestions for arts lovers to discover (and re-discover) established and emerging artists, musicians and performers in and around Delaware. Although we particularly like to celebrate smaller arts organizations and individuals, we cover nearly anything that strikes us or that we feel you should know about. Periodically, we welcome guest bloggers and artists to join us.
Governor Russell W. Peterson began the tradition of honoring Delaware artists in 1970. Since then, Delaware has paid tribute to 40 distinguished individuals and organizations that have had a profound and lasting impact on the state’s artistic and cultural life.
As part of its 30th anniversary celebration, the Delaware Division of the Arts is pleased to be facilitating the 2019 Governor’s Awards for the Arts, on behalf of Governor John C. Carney. Nominations are now being accepted for this prestigious honor in these five award categories:
Arts Administration – Individual who has shown sustained, impactful, and visionary executive leadership of an arts organization.
Arts Education – Individual or organization that has made significant contributions through leadership and creativity to advance arts education in Delaware’s schools and communities, or in community organizations.
Arts Patron – Individual, foundation or entity that, over time, has sustained and enhanced the arts in their community or the state of Delaware through contributions of their time, effort, or financial resources.
Community Engagement – Individual or organization that works to create or strengthen interactive arts participation among diverse community members while increasing the public awareness about the role of the arts in community life.
Government – An elected or appointed official whose work has resulted in significant support for the arts through local or state government action.
Festival artists hail from China, the Philippines, New Zealand and from around the U.S., including New York City, Oklahoma, Ohio, Kentucky, Atlanta, Florida, Pennsylvania and right here in Delaware.
“Bringing superb artists together to prepare and share marvelous masterworks with a community of eager listeners is a thrilling creative enterprise in every respect,” comments Kate Ransom, Festival Artistic Director.
The festival’s exceptional lineup features a range of repertoire including works by great classical composers Beethoven, Schumann and Brahms, as well as works by lesser-known composers, such as Smetana, Khachaturian and Faure. Each concert has a unique theme and ensemble configuration of up to six string, wind, piano and vocal performers.
Festival sponsors are Dr. William Stegeman, Ph.D., Jacobs Music Company, Harry’s Savoy Grill, Tonic Bar and Grille, Montrachet Fine Foods, Delaware Today, WDEL and GateHouse Media Delaware.
All performances will be held at The Music School of Delaware's Wilmington Branch, 4101 N. Washington Street in Wilmington. Season subscriptions are $135 for all eight performances; a four-pack of tickets is $70 and single tickets are $20. Purchase by visiting www.brownpapertickets.com or calling 302.762.1132 (the Music School).
Serafin Summer Music Artist Roster
Amos Fayette, violin
Hal Grossman, violin
Benjamin Shute, violin
Lisa Vaupel, violin
Amadi Azikiwe, viola
Luke Fleming, viola
Mary Harris, viola
Charae Krueger, cello
Lawrence Stomberg, cello
Guang Wang, cello
Miles Brown, bass
Jennifer Nicole Campbell, piano
Amy Dorfman, piano
Read Gainsford, piano
Augustine Mercante, countertenor
Eileen Grycky, flute
Christopher Nichols, clarinet
Serafin Summer Music Schedule
Thursday, June 20, 7:00pm - BOHEMIAN GEMS
Dvořák “Sonatina” in G Major, Op. 100 for violin and piano
Smetana “Two Pieces From My Native Land” for violin and piano
Dvořák “Terzetto” in C Major, Op. 74 for two violins and viola
Smetana String Quartet No. 1 in E Minor “From MY Life”
Friday, June 21, 7:00pm - IT’S CLASSIC!
Michael Haydn Duo No. 2 in D Major for violin and viola
Beethoven Piano Trio Op. 1, No.1
Schubert song set
Schubert “Trout” Quintet for violin, viola, cello, bass, piano
Saturday, June 22, 5:00pm - FRIENDS and MENTORS
Brahms Scherzo ("Sonatensatz") in C Minor for violin and piano WoO2
Schumann “Fairy Tales” for clarinet, viola and piano
Niels Gade Sonata in D Major for violin and piano
Dohnanyi Piano Quintet No.1 in C Minor
Sunday, June 23, 4:00pm - OUT OF BAVARIA
Mozart D Major Quartet for flute, violin, viola, cello
Reger Sonata in G Minor for solo viola
Schumann “Fantasy Pieces” Op. 73 for cello and piano
Brahms Piano Quartet in G Minor, Op. 25
Thursday, June 27, 7:00pm - FRENCH FORAY
Leclair Duo in E Minor for two violins
French Song Set
Faure Piano Quartet No. 1 in C Minor, Op. 15
Friday, June 28, 7:00pm - THE THREE B’s
Bach G Minor Sonata for solo violin
Beethoven String Quartet in C Minor, Op. 18, No.4
Brahms Piano Trio in C Major, Op. 87
Saturday, June 29, 5:00pm - RUSSIAN ROMP
Khachaturian Trio for clarinet, violin, piano
Arensky Trio in D Minor, Op. 32 for violin, cello, piano
Borodin Piano Quintet in C Minor
Sunday, June 30, 4:00pm - FINALE FIREWORKS
Brahms Sextet in Bb Major, Op. 18 for two violins, two violas, two cellos
Tchaikovsky “Souvenir de Florence” for two violins, two violas, two cellos
You may not
know his name, but chances are you’ve heard his music, especially if you’re a
film buff. Miklos Rozsa (1907-1995) was a Hungarian-American composer best
known for his film scores. Rozsa’s Hollywood career earned him considerable
success and recognition, including 17 Oscar nominations and three wins for “Spellbound”
(1945), “A Double Life” (1947) and “Ben-Hur” (1959).
remained faithful to his classical music roots with his compositions earning
the plaudits of the likes of Jascha Heifetz, Gregor Piatigorsky and Janos
Starker, who commissioned the work played this night.
The orchestra eased
into the evening with a performance of Respighi’s highly descriptive symphonic
poem the “Fountains of Rome.” Composed in 1916, the work remains a fine example
of the brilliance with which Respighi uses the resources of the orchestra.
(That’s not surprising since he was a student of Rimsky-Korsakov, who wrote the
book on orchestration, both literally and figuratively).
invested its performance which much skill and care. The first movement, The Valle Guilia Fountain at Dawn,
conveyed a distinctly bucolic tone, while the buoyancy of The Triton Fountain
in the Morning conjured up images of water spouts. The solemnity of The Trevi
Fountain at Mid-Day soon gave way to euphoria reminiscent of a classic Hollywood film score. The
Villa Medici Fountain at Sunset provided a pastoral conclusion with notable
contributions from the woodwinds. The expressive playing led to a distant
tolling of a bell — in this instance one of the Kerrigan Bells of Remembrance —
heralding the ebb of the music.
Cellist Nicholas Canellakis. Photo courtesy of artist.
Concerto, Op. 32 offered another palette, not to mention tangy harmonies and
the rhythmic flair of the composer’s native Hungarian language. The first
movement full of strong ideas and a cadenza of riveting virtuosity. By
contrast, the central movement is lyrical and tinged with anguish. The final
movement bristles with energy and — once again — rhythmic élan.
This is a stout, boldly communicative work that deserves and demands to be heard much more
often. Kudos to DSO Music Director David Amado for programming it and to virtuoso
cellist Nicholas Canellakis for learning it for this concert. (The work is so
well-hidden that not even the majority of cellists know it exists.)
Canellakis is a
highly articulate soloist who not only performs the music; he inhabits it. His
impeccable technique enables him to remain confident and in control while
executing the fiendishly difficult passages Rozsa throws at him (and there are
many). That composure allows him to convert pyrotechnics into phrases that are
rich in beauty and meaning.
responded by breaking decorum with applause between movements. After three
curtain calls, Canellakis obliged with a performance of the Sarabande from J.S.
Bach’s Cello Suite, No. 1 in G major.
intermission, DSO Board Chairman Charles Babcock honored philanthropists Gerret
and Tatiana Copeland for their support of the orchestra. Mrs. Copeland told the
audience that she and her husband had their first date at The Grand. She also
told the heartfelt story of how Rachmaninoff — “Uncle Sergei” to her — supported
her family during a financial crisis.
rendering of the composer’s final symphony was equally heartfelt. Amado caught
all the passion of the first movement while simultaneously retaining its lyrical
qualities, defined the poetic elements of the second movement and concluded the
symphony with all the energy and enthusiasm a finale deserves.