Showing posts with label Ingrid Arauco. Show all posts
Showing posts with label Ingrid Arauco. 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, September 15, 2015

Mélomanie Opens with Two World Premieres & One Breathtaking "Stage"

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.


Mélomanie opened its 2015-2016 season at The Delaware Center for the Contemporary Arts on Sunday, September 13, with a celebration of the artistry of flutist Kimberly Reighley. The concert was held in the DCCA's Carol Bieber and Marc Ham Gallery, where the musicians performed directly underneath artist Amie Potsic's beautifully flowing piece, Endangered Seasons.

Reighley  co-artistic director (along with Tracy Richardson) of the ensemble known for its provocative pairings of baroque and contemporary music  was this year’s recipient of the coveted Masters Award for Solo Recital from the Delaware Division of the Arts. The award required her to perform a solo concert.

I once asked a flutist friend if the instrument was tough to play. She responded by saying it was easy to learn but hard to master. Anyone who hears Reighley’s incredibly beautiful playing will soon realize that she is a complete master of the flute.

The program featured various flutes — the piccolo, baroque, modern and alto —demonstrating the range of expression the instrument possesses and the skill Reighley brings to each.

The program was a mostly contemporary one, including the World Premieres of two works composed especially for the occasion: Two Moods by Chuck Holdeman and The Four Gifts of God by the Brazilian composer Sergio Roberto de Oliveira.

Holdeman is one of an increasing number of composers writing for solo piccolo. As its name suggests, Two Moods explores the acoustic possibilities of the instrument. The first employs the “whistle” tones demonstrating how an almost inaudible instrument can still make music. The second returns the instrument to its familiar sprightly self.

Reighley handled this often unpredictable little instrument with precision and grace. Especially impressive were her high notes, which can be difficult for the average flutist to sustain given the need for greater wind speed.

The Four Gifts of God paired Reighley on baroque flute with Richardson on harpsichord. Composer de Oliveira got the idea to identify four elements: common to all religions. He came up with the gifts of Breath, Light, Creation and Action. Reighley mined the instrument’s capacity for otherworldly tones in the primal character of the first section, quickly switching gears for the brighter musical ideas of Light and Action. Of special interest was the Creation movement, where the composer paid tribute to seven of his favorite composers, including Richardson’s husband, composer Mark Hagerty.

Speaking of Hagerty, his contribution to the program was a work titled Sea Level. Written especially for Reighley, the piece offers a soundscape of the burgeoning plant and animal life in and around the canals of the Dutch countryside during an unusually warm April. This work showcased Reighley’s mastery of the alto flute whose mysterious, picturesque tones ably conveyed the score’s changing colors and textures.

Reighley took up the standard concert flute accompanied by Richardson on harpsichord for Jennifer Margaret Barker’s Dumgoyne and Ingrid Arauco’s Florescence. Both demand the soloist to delineate the sharply contrasting musical ideas. Dumgoyne describes Barker’s childhood memories of the sights and sounds of her native Scotland’s most famous hill. Reighley’s playing effectively conveyed the experience of a climb culminating with the calm and peace of a lyrical Scottish song.

Arauco’s work is more abstract than Dumgoyne but nevertheless requires the flutist to engage some pretty aggressive rhythmic patterns as in the second movement which the composer describes as flowing in “an energetic stream of steady sixteenths punctuated by occasionally by assertive, rhythmically jagged figures.”

It wouldn’t be a 
Mélomanie concert without a Baroque offering, and Reighley and Richardson paired to offer Joseph Bodin de Boismortier’s Sonata II in G Minor.

The concert concluded with an encore performance by Richardson and Reighley of Hagerty’s Contexts, a short piece that looks at what can happen to a simple repeating motif when the harmony and other musical elements change around it.

The full ensemble returns to the DCCA for their next performance on October 18, where they will premiere a piece by guitarist and composer, Kevin J. Cope.

See www.melomanie.org.

Wednesday, November 12, 2014

Album Review: Excursions A Musical Trip with Mélomanie

By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.

 
Never underestimate the power of music to transport an audience to other states of mind and place. Mélomanie explores this potential with the release of its latest CD, Excursions.

As its name suggests, Excursions takes the listener on a journey through a variety of musical terrains and recollections via an eclectic range of compositions written for and performed by Mélomanie. 


For example, Jennifer Margaret Barker’s Dumgoyne (2012) evokes the sights and sounds a native Scot would experience during a climb of the hill for which the composition is named. In Angico (2009), Sergio Roberto de Oliveira celebrates the fulfillment of his mother’s lifelong dream: The construction of a family vacation home in the Brazilian mountains and the successful effort to save a cherished tree on the property. Mélomanie has built its reputation on its striking and evocative pairings of early and contemporary music. 

And while this collection features contemporary works by living composers, that mission continues. Both the title track by Roberto Pace (2009) and Ingrid Arauco’s Pavane-Variations (2009) combine 16th Century forms with modern tonalities, rhythms and melodic structures. Kile Smith also applies modern compositional language to Renaissance and Baroque dance forms as the sarabande, allemande, branle, musette and canario in his eight-movement suite, The Nobility of Women (2012). 

Mélomanie (L-R): Tracy Richardson, Christof Richter,
Doug McNames, Kimberly Reighley & Donna Fournier
Photo by David Norbut Photography
There are other “provocative pairings” as well. Two selections — Angico and The Nobility of Women — are scored for Baroque instruments, while the other three works feature the modern and Baroque playing side by side. These hybrid groupings feature guest artists Eve Friedman on the modern flute and Priscilla Herreid on oboe.

If you’ve heard Mélomanie perform, then you know the caliber of artistry and skill they bring to their music. If not, this recording provides a superb entrée and will no doubt whet your musical appetite for more!


Excursions is available for purchase at meyer-media.com or your favorite online music resource. 

See www.melomanie.org

Monday, October 13, 2014

Mélomanie Releases CD, Performs in Rio in November

Photo by David Norbut
Mélomanie, the five-piece chamber ensemble known for provocative pairings of early and contemporary works, celebrated the release of Excursions, their newest new CD — and takes an excursion of their own in November with a performance in Rio de Janeiro. They have been invited to perform at international the four-day festival, Compositores de Hoje (Composers of Today), November 20 through 23, 2014.

Excursions features pieces written for and premiered by the ensemble: Excursions: Fantasie Mélomanie (2009) by Roberto Pace; Pavane-Variations (2009) by Ingrid Arauco; Dumgoyne (2012) by Jennifer Margaret Barker; The Nobility of Women (2011) by Philadelphia-area composer Kile Smith and Angico (2009) by Brazilian composer, Sergio Roberto de Oliveira.

"We chose the title Excursions because the pieces take the listener on different journeys," says Mélomanie Co-Artistic Director Tracy Richardson. Barker's Dumgoyne describes her childhood memories of Scotland. Pace's Excursions explores multiple moods and musical terrain. Arauco's Pavane-Variations and Smith's The Nobility of Women give us a fresh visit to old dance forms, and de Oliveira's Angico tells the story of his family's home in the Brazilian countryside. 

"This trip is an exciting landmark for our ensemble!" Richardson says. "We're thrilled for the opportunity to share our music and serve as Delaware's 'musical ambassadors.'"

Mélomanie is: Donna Fournier, viola da gamba, Douglas McNames, cellos, Kimberly Reighley, flutes, Christof Richter, violins and Tracy Richardson, harpsichords.

The CD, Excursions, and other Mélomanie recordings are available for download at meyer-media.com or your favorite online music outlet.

Mélomanie's participation in Compositores de Hoje is supported by of Mid Atlantic Arts Foundation through USArtists International, in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation; the Delaware State International Trade Commission; Delaware Division of the Arts; Paul M. Angell Family Foundation; The Music School of Delaware; and A Casa Produções.

Tuesday, October 2, 2012

Mėlomanie plays at Immanuel Highlands


The Immanuel Episcopal Church, Highlands has begun a Music at Immanuel program featuring a great fall calendar of performances starting with an evening of Mėlomanie. The program featured a world premiere by guitarist/composer Chris Braddock called Grease in the Groove which was a delightful mix of country music and jazzy sounds for mandolin, twelve-string guitar, harpsichord and cello. Doug McNames, cello, took Braddock’s brash bass line and ran with it, creating a fun and almost washtub effect while Tracy Richardson played a series of delicate scales and arpeggios on the harpsichord. Braddock played his mandolin part which he had made the lead voice dominating the trio. Then he switched to the twelve-string guitar against which he created a very high cello part which took over the dominant voice for the end of the piece — evocative of Scheherazade rather than the country style in which the piece began.

Two baroque pieces introduced each half of the program. The Paris Quartet No. 4 in B Minor, TWV 43: h2 featured Chris Braddock playing an additional continuo to Richardson’s harpsichord and the Concerto No. 3 in D Major by Joseph Bodin de Boismortier which featured Eve Friedman (baroque flute) and Priscilla Smith (baroque oboe). Both pieces were lively and light; not at all out of place with the contemporary pieces on the program.

Mėlomanie also presented excerpts of four pieces they had commissioned in the past decade and invited each composer to speak about his or her piece. Not only was it a treat to have the composers be present for the concert, but it was interesting to compare the acoustics in Immanuel to those of Grace Church.

Violinist Christof Richter
Chuck Holdeman said his Quarter note = 48 was written in 5/4 time to make sure there was no recognizable downbeat, but the impeccable coordination between flutist Kim Reighley and cellist Doug McNames made it seem more strictly laid out than he led us to believe. Ingrid Arauco’s Pavane opened with the harpsichord’s sparkling high register and melted into a fugal resolution picked up by the modern flute, gamba, cello and violin. Mark Hagerty’s Trois Rivières excerpt was very jazzy with a 5/8 meter creating a dance feel which he felt was influenced by his time spent in Brazil.

Flutist Kimberly Reighley

The two excerpts from Kile Smith’s The Nobility of Women were brilliantly played by his daughter Priscilla, for whom he wrote the piece. Her baroque oboe sound is so incredibly smooth that the listener might forget it is a double reed instrument – the baroque oboe being more temperamental even than its prima donna modern cousin. The Sarabande is slow and sad and the oboe voice pierces plumbs the darkness with its soulful sound and the Canarios, which featured all of the Mėlomanie players, was written in a traditional baroque style, yet it still evokes a very swinging and modern dance, especially when the oboe is playing long dotted rhythms over the other voices.

Mėlomanie will continue their residence at Grace Church on Washington Street in January.

See www.melomanie.org.
See www.immanuel-highlands.org.

Sunday, October 30, 2011

Perky Opening for Mėlomanie

Many changes were made for Mėlomanie this year: a new violinist, performances at new venues, new repertory and a new advertising idea!

The October 29 season opening at Grace United Methodist Church was a lively production of new and old music – with the startling newness of Georg Philipp Telemann’s Paris Quartet No. 5 in A Major, TWV 43:A3 – which the artists split to play half before and half after the intermission. Two composers sitting beside me in the audience were marveling at how much more daring and even classical George Philipp Telemann (1681-1770) can be in his gallant style than his contemporary Johann Sebastian Bach (1685-1750) and I think they were quite right. The Telemann was zippy, rhythmically unusual and a great vehicle to show off the new member of the group, violinist Christof Richter, whom many in the audience have appreciated from his former appearances with Mėlomanie.

The Giuseppe Tartini Sonata in G Minor (The Devil’s Trill) was a more sedate piece which provided a bridge to Ingrid Arauco’s Silver (Variation diabellique) for solo flute which Arauco had composed for the 25th anniversary of Network for New Music. With the cold outside, snowflakes falling, the silvery tones of Kimberly Reighley’s modern flute made just the right atmosphere for a cold winter’s night. The shimmery sounds of Arauco’s flowing melodies filled the sanctuary with warm light.

Mark Rimple’s Sonata Circumdederunt me had an entirely different accent – of modernist tendencies and humor interspersed with a flash of technical virtuosity from Donna Fournier on the viola da gamba. The harpsichord accompaniment helped ground the harmonic base of the exploratory composition.

The second half of the concert started with the second half of the Telemann, which seemed almost as new as the 21st Century compositions we had just heard. Richter and Reighley led the merry chase of Telemann’s romp which was certainly a highlight. The concert ended with another 21st Century work, a tango in three movements by Christopher Calliendo.

The audience was given these musical treats plus a perk – a gift of a special blend of Pike Creek Coffee blended for Mėlomanie, named "Downtown Wilmo Blend" and branded with great photos of the group.

See www.melomanie.org.

Monday, October 5, 2009

Arty at the Blue Ball Barn with Melomanie

Arty went to the Blue Ball Barn for the October 3 Mélomanie Special Concert and Party, a fundraiser for their new recording of music by five regional composers: Ingrid Arauco, Chris Braddock, Mark Rimple, Mark Hagerty, and Chuck Holdeman. The Holdeman and Hagerty pieces have already been recorded at UD’s Gore Hall by Meyer Media. Composer Ingrid Arauco is eagerly anticipating the recording of her Florescence.


Tommie Almond, President of the Mélomanie Board, was the adroit mistress of ceremonies. Arty enjoyed hot hors d’oeuvres by Greenery Catering staff before sitting down to hear the full Mélomanie ensemble play a short overture and gigue by Georg Muffat, (1653-1704) followed by some Michel Corette (1707-1795) duos for viola da gamba and cello played by Donna Fournier and Doug McNames- an excellent illustration of the difference between the modern cello and its older cousin, the viola da gamba.


This first musical interlude concluded with a movement of Chris Braddock’s Close Tolerances, whose name he took from the concept of gears meshing in close tolerance just as musicians achieve a close tolerance of voices in ensemble.


Party guest Sally Milbury-Steen is also working on close tolerances of power sources in her efforts to wake Wilmington up to the need to transition away from carbon as advised by Rob Hopkins Transition Town movement.


The second musical interlude featured Fran Berge playing baroque violin in Marco Uccelini’s (1603-1680) toccata for violin and basso continuo, one of the first pieces to feature solo violin.


Chuck Holdeman described the third movement of his Sonate en Trio as “like a Hostess Twinkie with a surprise inside.”


The finale, Chaconne in E minor from Quartet 6 of Georg Philipp Telemann’s Paris Quartets, put the party in a joyful mood. Michael Foster, music librarian and radio host, suggested to composers Mark Hagerty and Chuck Holdeman to compose more pieces using the now obsolete technical innovations for violin by Marco Uccelini.


Composer Mark Rimple pulled the event’s winning raffle ticket: The prize of a party at Blue Ball Barn went to WSFS executive Drew Aaron. Aaron and his wife were at the party representing WSFS, a corporate sponsor of the Mélomanie CD project. He and his wife, Judy, will host their going-away party for his parents who are moving to Florida.


Arty had so much fun, he angled for an invite to the Aaron’s Blue Ball event, but didn’t get a nibble.


http://www.transitionus.org

www.destateparks.com

http://www.greenerycaters.com

www.melomanie.org

Monday, July 20, 2009

ARTY at the Party!

Our very own arts party-hopper, ARTY, was out on the town this week. This time, Arty hit the annual Mélomanie picnic on July 18 at the home of co-Artistic Director and harpsichordist Tracy Richardson. The ensemble hosts the event each year to celebrate its past season, thank colleagues and collaborators, and look to the coming year. Arty was thrilled to see that the intimate get-together was a veritable “who’s who” of regional performers! Arty chatted up violinist Sylvia Ahramjian and Mélomanie co-Artistic Director and flutist Kim Reighley, who were both delighted to be holding repertory classes this year at West Chester University.

Composer Chuck Holdeman was excited about the premiere of his Quintetto, set for the International Double Reed Society convention in England on July 23.

Guitarist and composer Chris Braddock---there with his beautiful wife, soprano Jeanmarie Braddock, and daughter Ellie---talked enthusiastically about his Brandywine Guitar Quartet’s upcoming concert on August 9 in Chesapeake City.

Also in attendance was composer Ingrid Arauco, who was quite pleased with the recent premiere of her Divertimento at the Delaware Chamber Music Festival. Percussionist Gerardo Razumney was lively, as he explained to guests the difference between Argentinian tango and the American ballroom tango.

A great gathering of artists on a beautiful summer day! Look for information on Mélomanie's 2009-2010 season coming soon! Thanks for the invite, Mélomanie!

Got a party you'd like ARTY to attend? Send us an email at info@artsinmedia.com.

Saturday, June 27, 2009

Ladies First at the DCMF

The Delaware Chamber Music Festival devoted their June 26 concert to Sylvia Glickman, pianist, composer and advocate for women’ music who died in 2006.

Charles Abramovic played Glickman’s Dances and Entertainments
with insight and gave singular character to each vignette.

Glickman would no doubt have applauded the commission the DCMF gave Ingrid Arauco, an associate professor at Haverford College.

Divertimento is “light, not long for a summer evening. You can look at the pieces as five little experiments, five little essays,” said Arauco. Frank Ferraro played his trumpet delicately, giving Barbara Govatos, violin and Yumi Kendall, cello ample room for dynamic variation and expression.

See http://www.dcmf.org/.