Showing posts with label Chris Hanning. Show all posts
Showing posts with label Chris Hanning. Show all posts

Wednesday, November 1, 2017

Mélomanie Premiere Celebrates a Milestone for Local Couple

By Christine Facciolo
Mélomanie celebrated its 25th anniversary at its season-opening concert at The Delaware Contemporary on Sunday, October 29, 2017.

And what better way to mark a Silver Anniversary than with a World Premiere of a composition commissioned to commemorate the Golden Anniversary of a couple known for their devotion to Mélomanie. But more about that later...

Flutist and Mélomanie co-artistic director Kimberly Reighley opened the program with the shimmering notes and flowing contours of Ingrid Arauco’s Silver (Variation diabellique). This was a fitting choice for this particular occasion, as the Delaware-based Arauco composed the piece to mark the 25th anniversary of another ensemble, Philadelphia’s Network for New Music.

Reighley was then joined by Mélomanie harpsichordist and co-artistic director Tracy
Richardson for a talk about the ensemble’s beginnings and accomplishments with Jennifer Margaret Barker, professor of music theory and composition at the University of Delaware.

Reighley and Richardson then came together in a lovely performance of the Sonata in G Minor attributed to J.S. Bach but now believed to be by his son C.P.E. This is a charming work that features a true interplay between flute and harpsichord. The lilting Adagio gives much melodic interest to the harpsichord while the flute plays long notes. The last movement features an extended harpsichord solo which gave listeners the opportunity to hear Richardson’s consummate technique and clear, crisp sound.

Equally charming was Abel’s Quartet in G Minor. This work 
 scored for flute, violin, viola da gamba and cello  is one of a collection of 10 quartets for this instrumentation. Published in 1794, it is the only quartet to have survived with this specific scoring.

This two-movement work typifies the sort of music one might have heard in the intimate setting of the home of a patron. The performance was very smooth. The players exhibited a fine sensitivity to each other, creating a nice set of interactions that brought out the nuances of this delicately wrought music.

The second half of the program was taken up with the World Premiere of Up to the Light by Mark Hagerty. This was Hagerty’s fourth commission for Mélomanie and one of his most interesting and inventive. The 25-minute work was commissioned by Mona Bayard for her husband Tim Bayard in celebration of their 50th wedding anniversary. Tim is a founding board member of Mélomanie, and both he and Mona are active supporters of and volunteers in the arts and education.

Up to the Light is a work scored for flute, violin, viola da gamba, cello, harpsichord and vibraphone. Hagerty included the vibraphone in a nod to Tim Bayard’s deep appreciation of jazz. Here it was played by guest percussionist, Chris Hanning.

Up to the Light is a musical description of a journey from a troubling experience to one of a positive feeling, all the while retaining the pain of the earlier trauma. In this work, sonorities (i.e., specific harmonies and their arrangements and tone colors), rather than traditional melodies, convey the emotion experienced during the journey.

The work presents three major statements of these sonorities, at the opening, the midpoint and the end. Sandwiched between these statements are passacaglias — sometimes strict, sometimes informal 
 based on a melody introduced by the flute.

Especially effective was the incorporation of a single orchestral bell, which added a somber or joyous tone, depending on the musical context.

Hagerty indulged Tim Bayard’s love of jazz by skillfully folding the timbre of the vibraphone into the texture and by the subtle introduction of jazz-influenced harmonies into the tonal fabric of the work.

See www.melomanie.org

Tuesday, March 11, 2014

An Afternoon of Colorful Music with Mélomanie

By Guest Blogger, Chuck Holdeman
Chuck is a regional composer of lyrical, contemporary classical music, including opera, orchestral music, songs, chamber music, music for film, and music for educational purposes. www.chuckholdeman.com.

 
On Sunday afternoon, March 9 at the Delaware Center for Contemporary Arts, Mélomanie, Delaware's half-and-half chamber group (half baroque, half new music) played its third performance of its third program of the season. Themed "Ultraviolet," the program celebrated beloved longtime Wilmington Friends School music teacher Violet Richmond with the premiere of Ultraviolet, written in her honor by local composer Mark Hagerty. His piece Context also received its premiere, along with music by 18th Century composers G.P. Telemann and Anna Bon and 20th Century American composer, Alec Wilder. The virtuoso guest percussionist was Chris Hanning — a star in the international drumming firmament, and who, like Mélomanie flutist Kim Reighley, is on the faculty of West Chester University. Reighley also had a big day, performing in all five works on the program. 

Anna Bon di Venezia traveled with her parents as a prodigy, attended the music school where Vivaldi taught, and became a professional in the court in Bayreuth, Germany. While containing few surprises, her D major flute sonata is an extremely well-crafted example of the gallant style, which sounded beautiful on Reighley's wooden baroque flute, balanced so well with its harpsichord and baroque 'cello accompaniment. Telemann's A minor Paris Quartet, which opened the second half, was full of charming surprises, especially in its Coulant (flowing) middle movement — basically a set of variations interspersed with a beautiful ritornello. The unaccompanied flute and violin duet was striking, as was a solo variation, performed by Christof Richter on baroque violin. Viola de gamba player Donna Fournier also got a feature, and the tasteful continuo was provided by harpsichordist Tracy Richardson and Douglas McNames, baroque 'cello.


It was a rare treat to hear two new works by Mark Hagerty, a composer who has contributed so much to Mélomanie's repertoire, including his gorgeous Trois Rivieres, featured on the group's Florescence CD. I confess I'm a fan of Hagerty's work and have poured over his fascinating recordings. So it was a special pleasure to hear two works in which he seems to have broken new ground, also distinguished by the fact that Context and Ultraviolet have a virtually opposite point of view. Both use modern instruments, the former for alto flute and harpsichord, and the latter for the entire Mélomanie quintet with the addition of percussion. 

While Context is slow, meditative, with a limited though arresting arpeggiated harmonic palette, enhanced by the lovely timbres of the two instrumentalists, Ultraviolet has many highly contrasted episodes, and a completely unbuttoned point of view, including a rock-out drum solo, thrillingly improvised by Chris Hanning. But that is only one end of the spectrum, because the work begins and ends with the most delicate sounds of the ocean drum — John Cage would have enjoyed that these sounds balanced well with the building's ventilation system. In between there were numerous well-graded explorations, including a quiet shimmer of strings, delicately accented by metal interjections from a flute, a harpsichord string, or a bowed crotale. How surprising it was when a poetic harpsichord cadenza suddenly morphs into an uptempo ensemble romp, or when Reighley picked up her alto flute for a sensuous duet with the middle eastern doumbek drum. And since the theme was color — or anyway the imagined nuances of light frequencies normally invisible — Hagerty managed to excel with a succession of colorful instrumental combinations, often quasi static, but then bursting into rhythmic complexity. Bravo Mark! 

The program concluded with Alec Wilder's Flute and Bongos 1 and 2, composed in 1958, and still fresh and vital. Wilder wrote jazz standards as well as lots of classical chamber music, and we could hear his sophistication in both worlds. Reighley was virtuosic and Hanning's elaborate bongo drum accompaniment was apt and arresting. The drum part was so together with the flute, and so complicated, that I assumed it was all written out and then executed to perfection. Just now I read the program notes and found that Hanning was improvising — wow!

Mélomanie's next program at DCCA is Sunday, May 11, at 3:00pm. 


See www.melomanie.org