Showing posts with label Melomanie. Show all posts
Showing posts with label Melomanie. Show all posts

Sunday, November 15, 2020

Arts in Media Clients Create Virtual Music This Fall

By Morgan Silvers
Morgan is a high school senior who enjoys playing sports like field hockey and soccer, and loves spending time with friends. She notes she's happy to have a chance to help write about events and media! In the future, she hopes to pursue a career in either Fashion Merchandising or STEM.

BRANDYWINE BAROQUE
Delaware's ensemble where "early music lives" has shifted performances into the virtual realm. Currently in the middle of their 2020-2021 Virtual Concert Series, their "Concerts at the Flint Collection" can be viewed virtually. 

Their series includes performances by ensemble and guest artists and features works from their recently released CDs. All performances premiere Sundays at 3:00pm (EST) on Brandywine Baroque's new Vimeo channel.

The ensemble schedule premieres new performances approximately every two weeks. Each performance is about 30 minutes in length and is free to view.

The next concert will premiere Sunday, November 22 at 3:00pm and will feature Brandywine Baroque Artistic Director Karen Flint, performing Pieces in G minor by Jean Henry D’Anglebert on the 17th-Century French Ruckers harpsichord.

To join and view this (and each new) performance, visit https://vimeo.com/475203801. All of Brandywine Baroque’s virtual concerts are available to watch anytime on Vimeo throughout the 2020-2021 season about a day after they have premiered. Be sure to watch!

MARKET STREET MUSIC
Downtown Wilmington's most diverse musical series, Market Street Music, has moved to an online platform as well. Three performances will be offered this fall, each in a two-part concert on their new YouTube channel.

Part One of the first performance has already premiered this weekend (Saturday, November 14) and featured cellist Ovidiu Marinescu — a seasoned player of the beloved Bach solo cello suites. In this concert, patrons can enjoy some of those suites along with new music from Ovidiu himself. Part Two premieres Tuesday, November 17 at 7:45pm.

Later this month, Market Street Music presents Marlissa Hudson, soprano and Marvin Mills, piano. These brilliant Baltimore-area musicians perform a program of remarkably beautiful and timely music by Black composers. Part One of their concert premieres Saturday, November 21 at 7:45pm, and Part Two premieres Tuesday, November 24 at 7:45pm.

Finally in December, viewers can celebrate the beloved-by-all Market Street Music tradition — the return of the Cartoon Christmas Trio! This fun-loving trio performs Jazz music from A Charlie Brown Christmas and so much more. Part One of the Cartoon Christmas Trio premieres Saturday, December 12 at 7:45pm; Part Two premieres Tuesday, December 15 at 7:45pm.

Patrons who join at the premiere times can chat live with Market Street Music and fellow patrons during the performance! CLICK TO WATCH!

MÉLOMANIE
For their 2020-2021 season, the ‘provocative pairings’ ensemble presents a series of five 30-minute streamed concerts, called Mélomanie's Virtual Series, putting fans in the 'virtual front row'! Their performances will include the ensemble's signature baroque and contemporary repertoire as well as interviews with guest composers.

The first concert premieres Saturday, November 21, at 3:00pm via their new Vimeo channel. The first program will include Mélomanie performing Telemann’s Paris Quartet in A Major and Aegean Airs by Robert Maggio; a cello solo by Ismar Gomes of Abraham's Sons - In Memoriam: Trayvon Martin, composed by James Lee III; and brief interviews with composers Robert Maggio and Mark Hagerty with guest percussionist Chris Hanning. Patrons need only click on the Vimeo link on November 21 to view the premiere performance!

Their follow-up concert is scheduled for Saturday, December 12, at 3:00pm.

All concerts will include post-performance "virtual receptions" via Zoom with the artists, and fans can also participate in live chat with each other during performances. After each performance, fans can also enjoy access to full-length, in-depth interviews with guest composers by clicking here.

Wednesday, October 10, 2018

Mélomanie Opens Season with New Venue, New Music

By Christine Facciolo

Mélomanie welcomed a new season on Sunday, October 7, with a new venue, a new cellist and a couple of eclectic works new to Delaware audiences.

The award-winning ensemble, known for its provocative pairings of early and contemporary works, has established a relationship with the Delaware Historical Society, which will host its Wilmington performances at Old Town Hall adjacent to the organization’s museum on North Market Street in downtown Wilmington.

Mélomanie also welcomed the addition of Ismar Gomes, award-winning cellist who has performed throughout the U.S. and Europe as soloist, recitalist and chamber musician.

The ensemble performs Christopher Cook's piece, Hubble's Eye. Photo by Tim Bayard.
The season-opening concert also served to introduce first-time audience members to the ensemble’s repertoire as well as the individual talents of its musicians as each performed a solo work showcasing his or her capabilities.

The entire ensemble opened the program with a technically accomplished and courtly rendering of Couperin’s La Sultane, one of the composer’s most colorful instrumental works.

Two members of the ensemble chose to perform works by contemporary composers writing in the “old style.” Violinist Christof Richter captured the fragile delicacy of Alfred Schnittke’s Pantomime, a piece that despite its charming melody features bare, exposed rhythms, striking pizzicati and searing dissonance.

Gomes offered some very impressive playing in works by Benjamin Britten and Luciano Berio. Berio’s Les mots sont alles for solo cello uses as its foundation Britten’s Tema Sacher, a musical rendering of Swiss conductor Paul Sacher’s last name. Gomes’ handling of this complex miniature masterpiece was riveting.

Gomes joined with gambist Donna Fournier for a performance of Jean Daniel Braun’s Sonata Sesta in D major for two bass instruments. It’s not often that two such instruments get paired in a composition, so this was a rare treat indeed. Their beautiful burnished tones produced goosebumps, especially in the slower movements.

Fournier gave a splendid performance of Telemann’s intimate but technically difficult Fantasia in G minor, one of 12 works discovered in 2015.

Harpsichordist and Mélomanie co-artistic director Tracy Richardson gave a spot-on reading of Jacques Duphly’s finely wrought and thoroughly enjoyable Courante (from Book 1) for solo harpsichord.

Flutist Kimberly Reighley (also co-artistic director) offered one of the most interesting pieces of the afternoon. Le Vent a Travers Les Ruines by Yuko Uebayashi. Reighley’s pristine tone and perfect intonation underscored the placid, non-judgmental character of the work, the later stages of which explore the instrument’s lower register as it moves to bring this intriguing work to an understated conclusion.

The ensemble (sans cello) regrouped for the Delaware Premiere of Christopher Cook’s ethereal Hubble’s Eye, a multimedia musical interpretation of the jaw-dropping images taken by the Hubble space telescope.

While one might be tempted to draw comparisons with Holst’s The Planets, Cook has undoubtedly imbued this seven-movement work with his own voice. Saturn is mysterious yet delicate. Mars is definitely a strong character with decisive rhythms and emphatic chords but hardly bellicose. The work exhibits some programmatic elements as well: the harpsichord “climbs and descends” the Mystic Mountain of the Carina Nebula, while the Supernova Bubble is buoyant and whimsical.

The trio of Reighley, Richter and Richardson concluded the event with another Delaware Premiere, Café au Triolet by Cynthia Folio. Folio, a Temple University music professor, wrote the work for Ensemble Triolet, which premiered it in 2016 at the National Flute Association Convention.

The first movement (Caramel Macchiato) takes the instruments out of their comfort zones to explore the full range of their capabilities. Special attention is given to the harpsichord, which Folio says she got to know up close and personal in the harpsichord room at Temple’s Boyer School of Music. The second movement (Café do Brazil) is a lively fugue spiced with Brazilian rhythms and harmonies.

Tuesday, October 2, 2018

Delaware Ensemble ‘Launches' to Space for Opening Season Performance


This post content comes from a release from Melomanie...

Mélomanie — the Delaware music ensemble known for ‘provocative pairings’ of baroque and contemporary works — celebrates its 26th season with a Launch Party & Concert on Sunday, October 7, at 3:00pm in their new performance home, Old Town Hall of the Delaware Historical Society in downtown Wilmington.

The event, which leads off at 2:00pm with a wine & cheese reception and tours of the Delaware Historical Society, will feature the Delaware Premiere of two pieces — Hubble's Eye by Christopher Cook and Café au Triolet by Cynthia Folio. Hubble’s Eye will be performed with accompanying video projection of photos taken by the Hubble Deep Space Telescope.

Additional music on the program includes baroque works Sonata Sesta in D Major by Jean-Daniel Braun and La Sultane for baroque ensemble by François Couperin.

Tickets for the performance are $25; $15 students age 16 & older; youth through age 15 are admitted free. Tickets can be purchased at melomanie.org or at the door via cash or credit. The Delaware Historical Society is located at 505 N. Market Street in downtown Wilmington.

This season, Mélomanie will present new music by composers Suzanne Sorkin, Richard Belcastro, Roberto Pace, Christopher Cook and Larry Nelson. From the baroque era, they will perform works of Couperin, Telemann, Abel and Rameau throughout the season. Also new this year is a special collaboration with Delaware jazz composer Jonathan Whitney and his quintet

Mélomanie was founded in 1993 by co-artistic directors and ensemble members, Kimberly Reighley and Tracy Richardson. Mélomanie has delighted audiences throughout the East Coast and internationally with their brand of musical 'provocative pairings'. Mélomanie is: Donna Fournier, viola da gamba; Ismar Gomes, cellos; Kimberly Reighley, flutes; Tracy Richardson, harpsichords; and Christof Richter, violins. Mélomanie's artists also appear as soloists and with orchestras and ensembles in the region, including the Delaware Symphony Orchestra, Reading Symphony, Philadelphia Orchestra, OperaDelaware, Tempesta di Mare, La Bernardinia Baroque Ensemble, and Le Triomphe de l’Amour. In 2014, Mélomanie was invited to Rio de Janeiro to perform in Compositores de Hoje (Composers of Today), an international festival of contemporary music. Mélomanie has recorded works of Telemann on Lyrichord Discs and can be heard on Winterthur's benefit CD, Playing in the Garden: Musical Inspirations from the Winterthur Garden (2008). Their contemporary music CDs, Florescence (2011) and Excursions (2014) from Meyer Media, each feature five pieces written for and premiered by Mélomanie. The ensemble is currently recording their next CD project.

Monday, April 16, 2018

'Provocative Pairings' with a Pair of Poets

By Christine Facciolo
Artistic endeavors which cross boundaries can be highly exciting affairs. This is especially true when composers and poets collaborate, because their art forms naturally flow well together and magic happens.

Mélomanie and The Twin Poets created that sort of magic at the ensemble’s final concert of its 25th season Sunday, April 8, 2018 at The Delaware Contemporary. The audience contained lots of new faces as well as regulars, who said this was the best Mélomanie concert they’d ever attended.

Mélomanie and the Twin Poets collaborate on United Sounds of America.
Photo by Tim Bayard.
The Twin Poets are Al Mills and Nnamdi Chukwuocha. Governor Jack Markell bestowed the shared title of Poets Laureate on them in December 2015, praising them for their artistic excellence and extensive experience in outreach to underserved communities as well as their love of poetry and the spoken word would benefit all Delawareans.

The brothers told the audience how they developed a love for writing: when they were growing up, their mother made them work out their disputes by writing to each other.

As adults, their poetry is deeply rooted in their social work. The sons of William “Hicks” Anderson, an activist in the local Civil Rights Movement, an advocate for children and namesake of the community center in West Center City, the twins have carried on their father’s legacy of speaking for the most vulnerable. Selections on this program spoke of street life and the challenges of poverty, absentee parents as well as those who would sooner buy drugs than provide for their children.

Particularly powerful was Mills’ account of a veteran suffering from PTSD while grappling with the guilt of his wartime deeds, actions his commanders termed “patriotic” at the time.

The tone as reflected in the music by Mark Hagerty and Jonathan Whitney addressed the cultural, political and social dissonances in American society. Telemann’s Chaconne in E minor added a wistful afterthought.

There were messages of hope as well. Some poems spoke of the power of education, personal responsibility, self-determination and working toward a dream.

The twins also presented poems that offered lighthearted takes on parenting, kids hating homework and an adolescent’s ill-fated attempts at romance.

The program also featured selections from Aegean Airs composed for Melomanie in 2013 by Robert Maggio, chair of the Department of Music Theory, History and Composition at West Chester University. Like 
Mélomanie’s 'provocative pairings of early and modern music,' Maggio’s work draws on compositions from Ancient Greece as well as the pop-folk music the composer heard while on vacation one summer in Greece.

The program concluded with the world premiere of the twins’ just beautiful United Sounds of America with music by Mark Hagerty adapted from Robert Glasper’s Gone which itself is after Miles Davis.

See www.melomanie.org and arts.delaware.gov/poet-laureate/

Monday, April 2, 2018

Creating 'Provocative Pairings' with a Pair of Poets

This post is from an excerpt of Out & About magazine's April 2018 issue...

Musical quintet Mélomanie prides itself on creating what they coin “provocative pairings” in their music and partnerships. This month is no different (yet very different), as they celebrate a first-time collaboration with phenomenal spoken-word duo Nnamdi Chukwuocha and Albert Mills, known as the Twin Poets and Delaware’s current Poets Laureate.

Mélomanie. Photo by Tim Bayard.
In a program entitled United Sounds of America, two performances — Saturday, April 7, at 4:00pm and Sunday, April 8, at 2:00pm — will be presented at The Delaware Contemporary, completing this mash-up of artistic genres. Guest artist Jonathan Whitney will join them on percussion.

The Twin Poets are thrilled at the prospect of this new artistic endeavor. “We’re honored to share the stage with Mélomanie,” Chukwuocha and Mills say. “Through music and spoken-word, we’ll depict the challenges, hopes and aspirations of our great nation. Throughout America’s proud history, the most significant moments have always been when we stood united, demonstrating our true strength. In response to the chaotic divisiveness spreading throughout our country and world, this performance will ‘build a wall’ of love and empowerment, highlighting the transformative power of the arts.”

“I deeply admire the work of the Twin Poets,” says Mélomanie Artistic Director Tracy Richardson. “Their words and performances articulate the human situations of our time and the human condition of any time, contemporary or ancient.”

The Twin Poets. Photo by Joe del Tufo.
Mélomanie asked the Twin Poets for the opportunity to combine their respective art forms and offer a new experience to audiences. “We’re continuing in the earliest traditions of the union of poetry and music,” says Richardson.

Richardson says audiences can expect new poetry and favorite past works from the Twin Poets as well as new and favorite music from Mélomanie. For the performance, the Twin Poets have created a poem reflective of the event title, United Sounds of America.

The ensemble and duo will perform together and separately during the program, with composer Mark Hagerty creating and arranging music to accompany the Twin Poets. Mélomanie will perform contemporary regional composer Robert Maggio’s Aegean Airs and German Baroque master Georg Philipp Telemanns’ Chaconne

Tickets are $25, $15 for Delaware Contemporary members and students 16 and older. Those up to age 15 are admitted free. Advance purchase is recommended at melomanie.org.

Saturday, March 17, 2018

Two Harpsichords, Two Guest Artists, One Premiere & "Catch 1"

By Christine Facciolo

Mélomanie’s concerts just keep getting better and better. Not that this innovative ensemble — that looks both to the past and to the future — ever delivers anything short of sheer excellence. But Sunday’s concert at The Delaware Contemporary knocked it out of the park with a World Premiere, the graphic notation of Polish composer Roman Haubenstock-Ramati, two guest artists as well as some delightful selections from the Baroque era.

The ensemble opened the concert with an extremely well-polished and impeccably precise rendering of the Chaconne from Marin Marais’ Suite 1 in C major (from Pieces en trio 1692).


Mélomanie performs with guest artists Matthew Bengtson & Chris Braddock.
Photo by Tim Bayard.
Harpsichordist Tracy Richardson then joined composer Christopher Braddock on the octave mandolin for a performance of Pluck, a piece that Braddock wrote in 2009 — a time when Braddock said he had far less personal responsibilities.

Braddock explained that he chose the instrument because it produces some of the low-end heft of the guitar along with the fiddle-like bounce of the mandolin, making it the perfect vehicle for Pluck with its idiomatic folk-style writing.

It was most interesting and entertaining to hear Richardson and the harpsichord take to the folk medium like second nature.

The highlight of the first half of the program, though, was Haubenstock-Ramati’s Catch 1 (1968) for two harpsichords adapted in Caught (2018) by Mark Hagerty. It’s doubtful that many in the audience ever heard anything by this composer since discs documenting his work are quite rare.

Haubenstock-Ramati’s aim was to move musicians far beyond what he perceived to their comfort zone of conventional notation. Yet the question of how to interpret his pictorial images remains. Hagerty’s realization features notated passages and snippet that can be freely selected and varied by the interpreters — in this case, Richardson and guest artist Matthew Bengtson — in response to the graphic notation.

It’s doubtful that anyone in the audience had ever heard music like this before. The experience would have been complete had there not been a technological glitch that prevented concertgoers from seeing the actual notation. Nevertheless, this was truly “music for the moment,” as Hagerty urged audience member to listen without regard to what came before or what was to follow.

Following intermission, Bengtson offered two selections from Pieces de Clavecin by Armand-Louis Couperin, cousin of the more famous Francois. Armand-Louis’ work is generally not considered as sophisticated as Louis’ but it is attractive and full of personality. Bengtson interpreted “L’Afflige” and “L’Intrepide” with sensitivity and intelligence. He was particularly successful in keeping Couperin’s rhythms flexible without distorting them and without sacrificing spontaneity.

Bengtson then rejoined Richardson for a vivid, imaginative performance of the Duetto I in C major for two harpsichords by Christoph Schaffrath, an important harpsichordist and composer in the court of Frederick the Great. Both were impressive in their execution of these demanding keyboard parts.

The concert concluded with the World Premiere of Braddock’s Hooks & Crooks, which the composer explained was written during a series of family vacations at various locales. Scored for flute, violin, viola da gamba and guitar, the work showed Braddock to be a flexible, eclectic composer with a sense of humor. The ensemble played with customary vitality and color as the music faded like a summer memory.

See www.melomanie.org

Thursday, January 18, 2018

Mélomanie Starts the New Year with World Premiere

By Christine Facciolo
Mélomanie returned to The Delaware Contemporary on Sunday, January 14, 2018 with a concert that included a World Premiere, selections from the French baroque and a contemporary tribute to an early French composer.

Mélomanie performs with guest soprano, Clara Rottsolk. 
The first half of the program featured early music, opening with a performance of the Suite 1 in C Major from Pieces en trio 1692 by Marin Marais. Marais’s Pieces en trio have taken second place behind his solo viol works, but these trios are exquisitely crafted miniatures requiring the same care and stylistic sensitivity as his solo virtuosic repertory. 
Mélomanie’s performance showed mastery of the idiom, as it relished Marais’s rich harmonic language while making the most of its musical rhetoric.

Guest soloist Clara Rottsolk then joined the ensemble for a performance of the cantata Leandre et Hero by Louis-Nicolas Clerambault (1676-1749), the master of the genre in France. The instrumentalists introduced the work with sensitivity and style, after which Rottsolk entered with a quiet Recit. Rottsolk’s diction was impeccable. Her soprano soared with clarity and control, although at times her high notes were somewhat jarring. But her capacity for dramatic expression was superb, and she held the audience in rapt attention until the story concluded with the joyful reunion of the young lovers.

Contemporary works filled the second half of the program beginning with — appropriately enough — Tombeau de Marin Marais, a tribute to the Baroque French composer by 20th Century French composer Max Pinchard (1928-2009). Gambist Donna Fournier took the lead with a compelling yet delicate performance. Flutist Kimberly Reighley and violinist Christof Richter provided contrasting color with modern instruments.

The concert concluded with the World Premiere of the cantata Lenten is Comen/Worldes Blis by Thomas Whitman. Whitman, chair of the department of music and dance at Swarthmore College, and his colleague Craig Williamson, gave a lively and informative introduction to the piece with a discussion on the language and spirit of the two poems that form the basis of the composition. (Williamson also participated in a post-concert Q&A session, gave a primer on his years of linguistic research with some interesting examples for members of the audience who stayed on.)

Rottsolk was accompanied by members of Mélomanie on baroque instruments as well as guest Naomi Gray on baroque cello. Rottsolk captured the contrasting moods of the text — the exuberance of spring, the melancholy of a loveless life — with the nuances of her voice. Whitman’s music was melodic and mysterious, joyful and foreboding punctuated with some interesting harmonies for the instrumentalists. The second poem was sung unadorned in its original setting. The audience was left with thoughts of the coming spring on this frigid January day “in bleak midwinter.”

Wednesday, December 13, 2017

Mélomanie Welcomes the Holiday Season with Music

By Christine Facciolo
Mélomanie welcomed winter with a program of some very tuneful music on Sunday, December 3, at The Delaware Historical Society in downtown Wilmington.

Sonatas, a traditional air, Christmas music, and of course, contemporary offerings were exquisitely performed by flutist Kimberly Reighley, gambist Donna Fournier and harpsichordist Tracy Richardson.

Reighley and Richardson opened the program with a performance of the Sonata 4 in A major from Il Pasto Fido by Nicolais Chedeville, a Vivaldi contemporary who published the work under the more famous composer’s name. Reighley brought plenty of pastoral charm to the music with clearly shaped and articulated phrases and effective embellishments. Richardson offered strong support.

The Sonata in D major by Boismortier found all three musicians playing sensitively. The phrasing was attractive with long, arching lines contrasted with taut, short ones.

The harpsichord emerged from its role as “utility” instrument with Richardson giving energetic readings of Dupuis’ Rondo and Courante.

Fournier offered a gentle and sensitive interpretation of the typically melancholy Greensleeves.

Mélomanie’s contemporary side was represented by works of David Schelat and Mark Hagerty. Reighley and Richardson reprised Schelat’s Just a Regular Child, which was written for the ensemble in 2016. Schelat captured the whimsy of his childhood in Ohio in three movements: Rough and Tumble, Dreaming and Full of the Old Nick. Jangling harmonies of the third movement conveyed the mischievous nature of a young boy, while the soaring melody of the middle movement recalled endless days of daydreaming. Perhaps Schelat was looking to the day when he would become the virtuoso organist and composer that he is.

Fournier’s gamba and Richardson’s harpsichord contrasted nicely in Arias, a movement from Hagerty’s Civilisation. That work was a recasting of the composer’s Clavier Book I, a work for harpsichord which explored what might have been had the music of the late Renaissance and Baroque not given way to what he terms the “less ambitious” Rococo and early classical styles.

The three musicians concluded the concert with a performance of LaLande’s Noels en Trio, celebrating the Nativity and the upcoming holiday season.

Wednesday, October 4, 2017

Audiences Enjoy 'Up Close & Personal' Look at Mélomanie's First Performance

Harpsichordist Tracy Richardson and Violinist Christof Richter
of Mélomanie. Photo by Tim Bayard.
By Christine Facciolo
Mélomanie members Christof Richter (violin) and Tracy Richardson (harpsichord) combined their talents to showcase the versatility of the violin in a program that featured works by the well-know, the not-so-well-known and the downright quirky. The concert, called 'Up Close & Personal: The Violin,' took place on Saturday, September 30, at Old Town Hall in downtown Wilmington.

Despite the role it plays in the modern orchestra and the repertoire that’s grown up around it, the violin was considered a “low-brow” instrument, played largely from memory throughout the late 16th and early 17th Centuries. But once written music appeared, the violin became a major driver in the development of instrumental music as a whole.

Saturday’s performance opened with a performance of Johann Paul von Westhoff’s Partita 6 in D Major for solo violin. Unlike his contemporary Heinrich Biber, little attention has been paid to von Westhoff. But lesser-known hardly means insignificant. In fact, it is very likely that von Westhoff met J.S. Bach during their time in Weimar, and that these Partitas were a direct inspiration for Bach to compose his sonatas and partitas for solo violin.

Richter performed with a natural and effortless charm, concluding with an exhilarating reading of the Gigue.

Heinrich Biber — von Westhoff’s more famous contemporary — was represented with a performance of Sonata 4 in D Minor (The Presentation) from his Rosary Sonatas. This ever-intriguing work is the finest example of Biber’s exploration of scordatura, alternate tunings of the violin strings that produce otherworldly sonic textures and performance challenges. The Presentation is a chaconne and variations tuned to D minor. Tuning the top string down a step and the bottom string up one produced an alto-like quality, where one would expect soprano brilliance. Richter’s execution of these blazing virtuosic variations was breathtaking, making the listener long for a full performance of this work.

The Italian Baroque was represented by Biagio Marini’s Romanesca Variations and Giuseppe Tartini’s Sonata in G Minor (The Devil’s Trill). “Romanesca” is actually a song form popular in the period 1550-1650, characterized by a sequence of four chords which form the groundwork for improvisation (think: Greensleeves). The work consists of four variations and two dances, the gagliarda and corrente. Richter and Richardson took a spirited approach with regard to tempo and meter long before the dance variations impose triple meter toward the end.

Richter imbued Tartini’s Sonata with the appropriate pyrotechnics: delicate turns and swift runs, dark moods, commanding multiple stops and double-note trills. And while the work can be performed solo, the inclusion of the continuo added depth and harmonic texture.

Richter and Richardson made a fine duo in Mozart’s Sonata in G Major (KV 301). Richter’s intonation is always exact and his articulation in the fastest passages clear and precise. These sterling qualities were matched by Richardson’s accompaniment on harpsichord, which she notes was still in use alongside the up-and-coming fortepiano during this time.

No Mélomanie concert would be complete without some contemporary offerings. In an afternoon of surprises, there were some pretty interesting choices. Schnittke’s Suite in Old Style is a wry nod to the Baroque — actually a pre-Classical-style pastiche of movements drawn from the composer’s film scores. Unlike a true Baroque suite, though, there is little for the soloist to show-off. Richter brought a fragile delicacy to the final movement, Pantomime, the only movement performed in this program.

Richter and Richardson offered yet another interesting piece from a most marginalized 20th Century composer, Josef Matthias Hauer. Hauer’s claim to fame (or infamy) is that he developed his own 12-tone system, publishing his findings in 1919 slightly ahead of rival Schoenberg. But whereas Schoenberg manipulated tone rows, Hauer based his atonality on systematically organized chords.

Toward the end of his life, Hauer wrote a collection of short (the longest runs five minutes) pieces called Zwolftonspiel, literally 12-tone games. Richter and Richardson collaborated on the one dated 26 August, 1948. This music is a welcome respite from the angular tones of Schoenberg’s serialism, and Richter and Richardson captured its joy and playfulness in this very capable rendering.


Sunday, September 3, 2017

Arts in Media Clients Ready for a Busy Fall ArtSeason!

The following information comes from an Arts in Media press release announcing its clients' fall performance seasons. Check out the organizations' respective web and social media sites for complete details and ticketing information. 

The Arts at Trinity, a free series in the heart of Wilmington hosted by Trinity Episcopal Church, is now in its seventh season of "pop-up" events in literature, drama, poetry and visual arts. This year opens on Saturday, Oct. 7 with the Serafin String Quartet performing works by Haydn, Mendelssohn and American composer William Grant Still. On Sunday, Nov. 5, Trinity Church Choir and an orchestra conducted by Terrence Gaus-Wollen perform sacred music by Bach as part of Trinity’s regular Sunday service. On Saturday, Dec. 2, rising jazz pianist Gil Scott Chapman performs classical and jazz works and his own compositions. All performances are free to attend. For more details, visit facebook.com/TheArtsatTrinity.

Christina leads off its 71st year with its second annual Homecoming Block Party on Saturday, Sept. 30, from 1:00-6:00pm. The free, family-friendly event includes tours, children’s activities and closes with JAMMIN’ @ CHRISTINA, a musicians’ jam session. This fall, Christina unveils a new program called Literary Café, which welcomes New York Times best-selling author and Delaware native Jeff Hobbs on Friday, Oct. 20 and Saturday, Oct. 21. Hobbs will discuss his work, The Short and Tragic Life of Robert Peace. CCAC’s focus on intimate live performances returns on Saturday, Nov. 18 with a concert by gospel/soul/hip hop drummer George “Spanky” McCurdy. CCAC then embraces holiday majesty on Sunday, Dec. 10 with the stunning contemporary dance/music/narration production of “Carols in Color” performed by Eleone Dance Theatre. Christina wraps up 2017 with a Student Holiday Showcase on Saturday, Dec. 16.  Full details and tickets for events are available at ccacde.org.

Delaware’s Off-Broadway drops the axe on its 24th season with Lizzie, a blistering rock opera based on the 19th Century legend of notorious accused murderess Lizzie Borden, running Sept. 8-16 (Thursday, Sept. 7, 8:00pm preview and Sunday, Sept. 10, 2:00pm matinee). Four women front a six-piece rock band to tell a tale of murder and mayhem. Lizzie marks the CTC debut of Darby Elizabeth McLaughlin in the title role, alongside Jill Knapp of Hot Breakfast!, Kyleen Shaw and Grace Tarves. The band features Meghan Doyle, Joe Lopes, Dustin Samples, Noelle Picara, Sheila Hershey and Rich Degnars.  CTC‘s Fearless Improv continues Third Thursday shows at Chelsea Tavern through 2017 with performances on Sept. 21, Oct. 19, Nov. 16 and Dec 21. Shows are also held at Penn’s Place in Old New Castle on Sept. 9 and Nov. 11. Fearless Improv 101 and Improv 301 — 8-week public workshop series teaching basic scenework and advanced performance techniques —begin Saturday, Sept. 23 at the Delaware Historical Society.  In December, CTC returns to The Black Box to present a stripped-down version of the Sondheim classic, Sunday in the Park with George, running Dec. 1-16. They plan to collaborate with local visual artists to produce a “live” piece of art during each production — delivering a fresh, immersive multi-genre experience every night.  Tickets for all CTC and Fearless productions are available at city-theater.org.

Wilmington’s most affordable and diverse music series presents three full-length Festival Concerts this fall, featuring organist David Schelat on Saturday, Oct. 14; Pyxis Piano Quartet on Saturday, Oct. 28; and Mastersingers of Wilmington on Saturday, Nov. 4. Its much-beloved weekly music fest, Thursday Noontime Concerts, begins Thursday, Oct. 5 with a lineup including regional favorites like Copeland String Quartet, pianist Daniel Carunchio and countertenor Gus Mercante as well as a return appearance by Lyra Russian Choir – the vocal ensemble of St. Petersburg. The Noontime schedule culminates in the holiday tradition of the Cartoon Christmas Trio on Thursday, Dec. 7 and a holiday concert by Center City Chorale on Thursday, Dec. 14. Festival concert tickets and more details can be found at marketstreetmusicde.org.

Delaware’s ensemble known for ‘provocative pairings’ announces its 25th Anniversary Season! On Saturday, September 30, the season begins in a new partnership with the Delaware Historical Society for Up Close & Personal: The Violin – an informal afternoon of music and conversation featuring ensemble violinist, Christof Richter. This landmark season is highlighted by four new works from composers Chris Braddock, Jennifer Nicole Campbell, Mark Hagerty and Thomas Whitman, as well as a poetry and music collaboration entitled United Sounds of America with Delaware's Poets Laureate, The Twin Poets, Nnamdi Chukwuocha and Albert Mills. The ensemble also continues its longstanding partnership with its Wilmington Series home, The Delaware Contemporary, with a performance on Sunday, Oct. 29.  That concert will feature the World Premiere of Up to the Light by Mark Hagerty with guest percussionist Chris Hanning and additional music of Bach and Abel. Full details and tickets for all performances can be found at melomanie.org.

The Music School boasts a busy fall of student and professional performances, beginning with its Opening Night – All Bach! A Thank-You Concert on Wednesday, Oct. 4, at 7:00pm at its Wilmington Branch. This concert will feature noted works by Bach including Brandenburg Concertos #3 and #5; B Minor Orchestral Suite & Violin Concerto in E Major, performed by chamber orchestra conducted by Simeone Tartaglione. The Music School’s additional professional concerts will include music of the Revolutionary War; the 10th anniversary of its Music of Many Lands program; and an annual Martin Luther King, Jr. celebration.  The Wilmington Community Orchestra, under the baton of Tiffany Lu, will perform works from Barber to Beethoven. And, the school continues to host its Classical Café sessions, which encourage lively discussion on a variety of music-related topics, quarterly Open Mic Nights, a monthly Bluegrass Jam, jazz and several rock-based student and faculty ensemble performances. For complete details and tickets, visit musicschoolofdelaware.org.

Monday, April 10, 2017

NYC Composer's Work Highlight of Diverse Repertoire from Mélomanie

By Christine Facciolo

Mélomanie, the critically acclaimed ensemble known for its provocative pairings of early and contemporary works, capped off its 2016-17 season with a program tilted a bit more toward the contemporary than usual.

Joining regulars Kimberly Reighley, flute; Christof Richter, violin; Donna Fournier, viola da gamba; and Tracy Richardson, harpsichord were guest artists Naomi Gray, cello and Joshua Kovach, clarinet.

Mélomanie performs at The Delaware Contemporary near the Wilmington Waterfront.
Photo by Tim Bayard.
Mélomanie also welcomed flutist/composer Bonnie McAlvin whose work Sandstone Peak received its World Premiere at this concert. McAlvin explained how her fascination with mountains — in this case the highest peak of the Santa Monica Mountains — inspired the composition. The work is in four movements: Illusion, Conversation, Throne of Sand and Everywhere at Once, throwing a nod to Richard Bach’s Jonathan Livingston Seagull.

McAlvin is a clever composer who skillfully adapts the serial technique to tell a story of illusion, erosion and feeling exposed. Throughout the composition, the row becomes dismantled and recombined reappearing in each movement in various guises and instrumental textures. The effect is one of fantasy and vulnerability.

Gray and Kovach combined their talents to perform Private Games by Israeli composer Shulamit Ran and Night Music by Parisian Nicolas Bacri. The former is a brief, jagged work full of disjointed gestures that somehow manages to convey a lyrical underpinning. The duo — both as an entity and as individuals — tossed off the fiendishly difficult passages with grace and ease.  They convincingly brought out the chill in Night Music, a non-lyrical piece that glumly muses suggestions of inimical fate.

Richardson, Reighley and Kovach collaborated in a charming performance of the Sonatine en Trio, Op. 85 by Florent Schmitt, the most important French composer you probably never heard of, according to self-styled Schmitt expert Phillip Nones, who offered his thoughts on the composer and the work.

Schmitt (1870-1958) had no affinity for atonality or neo-classicism. Instead, he composed lushly lyrical music bursting with a profusion of ideas. Nones noted that this particular work has also been scored for flute, clarinet and piano as well as violin, cello and piano. But the musicians noted, in a post-concert discussion, that the harpsichord gave the work a lighter, brighter tone.

The flute and clarinet combined to produce another interesting aural feature. At times they seemed to blend so thoroughly that resulting sound was neither that of flute nor that of clarinet but a seemingly altogether different instrument with a sound all its own.

Vittorio Rieti’s Variations for Flute, Clarinet, Violin and Cello on When From My Love by John Bartlet was written in 1964 and dedicated to the memory of composer Paul Hindemith. This was a charming performance of this delightful little work consisting of nine variations and a code. It was an apropos selection for a Mélomanie program, as it combined the baroque with the contemporary.

The musicians of Mélomanie gave a nod to the Baroque with a performance of Marin Marais’ Suite 6 n C minor (from Pieces en Trio 1692) which preceded the two halves of the program.


The ensemble’s final performance for the 2016-17 season will be a special Mother’s Day Brunch and Concert on Sunday, May 14. Tickets are available at www.melomanie.org

Thursday, February 9, 2017

Mélomanie Premieres Local Composer's Work, Features Violin Duos in February Performance

By Christine Facciolo

Mélomanie opened the second half of its 2016-17 season with an eclectic program that showcased the talents of two virtuoso violinists and featured the World Premiere of a commissioned work by organist/conductor David Schelat.
Violinists Daniela Pierson and Christof Richter. Photo by Tim Bayard.
The ensemble welcomed Daniela Pierson, principal violist with Philadelphia’s Tempesta di Mare and conductor of that city’s Musicopia String Orchestra. In addition, she has performed on violin or viola with many early music groups including New Society, New York Collegium and Washington Cathedral Baroque Orchestra.

Pierson teamed with Melomanie resident violinist Christof Richter to perform selections from Bela Bartok’s 44 Duos for 2 Violins, which were interspersed throughout the program. Although the composer never intended these pedagogical exercises to be played in concert, these fine artists performed with a style and accuracy that helped to reveal composer’s limitless imagination and his ability to write in the historic styles of Eastern and Central European ethnic groups.

Pierson said the duo chose to perform the selections on Baroque violins rather than modern instruments because, as she explained in an interview during the concert, that’s probably the way the composer heard the original folk melodies.

Pierson and Richter also delivered an outstanding and refined interpretation of Les Folies d’Espagne by the Italian Jean-Pierre Guignon, who brought that country’s musical style to Paris via the famed Concert Spirituel.

Pierson and Richter were joined by Tracy Richardson on harpsichord and gambist Donna Fournier in a performance of Archangelo Corelli’s Sonata de Chiese in A Major, the last of the set of twelve published as Op. 3 in 1689. Though modest, the music of this Italian composer-violinist was key to the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin and in the coalescing of modern tonality and functional harmony.

Pierson and Richter engaged in a lovely duet in thirds during the second movement. Fournier provided heroic support, confidently executing demanding semiquavers. The piece concluded with three short Allegros, the last of which an attractive fugue in gigue form.

By far, the lengthiest work on the program belonged to Couperin’s well-known La Piemontoise, the fourth Ordre from Les Nations, his masterful dictum on the merger of the French and Italian styles. The concert opened with the Italianate sonata of the ordre and closed with its elaborate French dance suite. Mélomanie executed the ornamentation crisply and with ease, and did a beautiful job with Couperin’s harmonic color.

Just a Regular Child for flute and harpsichord by organist/conductor David Schelat added a charming levity to the program. Schelat introduced the work by explaining how he took inspiration from growing up as a regular kid in a regular home in a regular town in Ohio. The work consisted of three movements. “Rough and Tumble” and “Full of the Old Nick” conjure up the delightful — and sometimes misguided — energy of a very active and curious child while the loping melody of “Dreaming” catches him in his quieter moments.

Schelat wrote to flutist Kimberly Reighley’s amazing virtuosity, and she did not disappoint. Reighley executed the first and last movements with a pearly lightness and purity of tone while rendering a gauzy quality to the middle movement. Richardson supplied the contemporary harmonies which gave the work a mischievous quality.


See www.melomanie.org. 

Saturday, October 15, 2016

Mélomanie Opens Wilmington Series at The Delaware Contemporary

By Christine Facciolo

Mélomanie opened its 2016-17 Wilmington concert series at The Delaware Contemporary on Sunday, October 9 with a program that was both demanding and fascinatingly varied.

The program started off with a delightful rendering of Telemann’s Paris Quartet 3 in G Major. A description of the performance can be found in the titles of the movements themselves: Gracieusement, Vite, Gai. Gracious and spirited are exactly the qualities this music requires 
— and what the ensemble delivered.

Flutist Kimberly Reighley played a magical Baroque flute, rich in tone with spot-on intonation. She blended perfectly with Christof Richter’s violin, making their intertwining lines an endless source of listening pleasure. Gambist Donna Fournier supplied a judicious bass line: prominent where needed yet merging seamlessly with Tracy Richardson’s sublimely supportive harpsichord.

In a rare treat, Richardson soloed in a World Premiere of Michael Stambaugh’s Suite for Harpsichord. Stambaugh is a rising young (b.1990) Philadelphia-based composer whose unfettered imagination shows that an 18th Century instrument has just as much to say in the 21st Century.

The work — written during the summer — unfolds in four short movements (a fifth is being reworked): The Machine Comes to Life, A Mischievous Prelude, A Light Dance and Invention. Opening with a blizzard of notes and fluctuant harmonies and rhythms, the piece is a whimsical mélange of jazz, rock, heavy metal and funk which, oddly enough, did not seem so far removed from the 17th Century. One audience member thought it quasi-programmatic, as it followed the path of a machine from its “birth” to its taking on human characteristics and capabilities 
 a notion that surprised and intrigued the composer.

The playing was often difficult and taxing, but Richardson was superb and her efforts were appreciatively received by the audience.

The history of Western music is littered with tales of lost masterpieces and what-might-have-beens. Philipp Heinrich Erlebach (1657-1714) became one of those unfortunates when in 1736 when all but 70 of his 1000 compositions were destroyed in a fire at the court library at Rudolstadt.

The Sonata 5 in E Minor is just one of six sonatas to survive. As was common for the time, it was scored for violin, viola da gamba and basso continuo. But Erlebach’s sonatas differ from those of his contemporaries in that he gives the viola da gamba a genuinely independent part. In addition, Erlebach aims for a mixture of German, Italian and French styles: the dance movements being mainly Italian while German polyphony dominates the opening and closing movements.

Violinist Richter and gambist Fournier exhibited a deep appreciation for the strong character of this sonata, and their performance offered a pleasing and effective balance in their dialogues.

The concert closed with the Promenades for Flute, Violin and Harpsichord by Czech composer Bohuslav Martinu. Written between 1937 and 1944, the piece reflects the composer’s reaction to the horrors of World War II. The work opens calmly enough with a Bach-like allegro and air but then morphs into a sinister scherzo and a bitter, edgy finale. Reighley is impressive, playing with the precision and pristine quality she’s noted for, yet somehow managing to deliver a strident tone the music demanded.

See www.melomanie.org.

Saturday, September 24, 2016

Mélomanie Opens 23rd Season with "Personal" Performance

By Christine Facciolo
Mélomanie devoted the opening concert of the 2016-17 season — its 23rd — to the appreciation of the viola da gamba and its music.

The concert featured Mélomanie Executive Director and Co-Artistic Director Tracy Richardson on harpsichord and the ensemble’s virtuoso gambist Donna Fournier in performance at the Wilmington Friends School in Alapocas. The concert was titled “Up Close and Personal,” and that’s exactly what it was, with the audience seated on stage with the performers.

First things first: As Fournier pointed out, a viola da gamba is not a fretted cello, even though it may resemble one. A cello has four strings while a viol usually has six, like a guitar, or seven. But unlike a guitar, the viol’s frets are not permanently set, but rather made of gut and tied on, like a lute, and thus movable.

The viol is also tuned differently from the cello. Viols are tuned in fourths with a third between the third and fourth strings, just like a lute. Cellos are tuned in fifths. Viols are bowed like cellos but the bow is held underhand rather than overhand.  Another difference: The viol is much quieter than the cello. In fact, they were too quiet to be effective in large orchestras or big concert halls and fell out of favor after the 18th Century.

The program featured a sampling of works by the major gambist/composers, including Marin Marais, Carl Friedrich Abel, Tobias Hume, Gottfried Finger, Georg Philipp Telemann and Johannes Schenck. Contemporaries continuing the tradition included Mark Hagerty and Mark Rimple — the latter a former gamba student of Fournier and now a professor of Music Theory and Composition at West Chester University.

The program also featured a nice balance between solo works — including a recently discovered work by Telemann — and those with basso continuo.

And who better to deliver these works than Fournier, undoubtedly the most accomplished gambist in the region and quite possibly beyond.  Fournier’s tone is sumptuous; her intonation perfect.  The wistful notes and rich depth of the bow across the gamba were complemented by the distinctly sharper sounds of Richardson’s harpsichord.  And just when you thought Fournier couldn’t play any faster, louder or softer — she did!

Particularly arresting was Fournier’s and Richardson’s execution of the expressive lines of Marin Marais’ Suite in A Major.  The deliberate Prelude paved the way for the stately Allemande and the determined Chaconne.  Their rendering of Johannes Schenck’s Sonata No. 1 in D Minor was also expertly done, with the composer’s highly disparate stylistic palette played up to maximum effect. An equally vigorous delivery was given to Mark Hagerty’s Civilisation (2001), which imagined how Baroque might have been played in the 21st Century had not it taken a “wrong turn” in the 18th Century.

Fourier showed off her improvisatory skills in Abel’s Prelude in D Minor, and her technical virtuosity in Finger’s Divisions on a Ground and Mark Rimple’s contemporary Dementanz from Sonata Circumdederunt Me.  Her performance of A Question and an Answer by English eccentric Captain Tobias Hume was clever and witty.  Fournier also treated the audience to a performance of a recently discovered Fantasia by Telemann, applying herself to the wealth of musical ideas contained in the piece.

Saturday, May 21, 2016

Mélomanie Closes 2015-16 Season with "Big Band" Concert & Another Premiere

By Christine Facciolo
There’s something about a season finale that whets the appetite for more.

In a season full of not-to-be-forgotten performances, Mélomanie closed its 2015-16 season on Sunday, May 8, with not one — but two — World Premieres, some neo-Baroque jazz, the usual suspects and an obscure delight.

Mélomanie harpsichordist and Co-Founder/Co-Artistic Director Tracy Richardson dubbed the event a “big band concert” for the many special guests participating. Joining the ensemble’s core group were Rainer Beckmann on recorder, flutist Eve Friedman and cellist Naomi Gray. The additions made for a lively program of interesting material and musical combinations.

Ensemble with guest artists (L-R): Donna Fournier, Naomi Gray, Tracy Richardson, 
Christof Richter, Eve Friedman, Kimberly Reighley, Rainer Beckmann.
Photo by Tim Bayard.
The concert opened with a superb interpretation of Johann Christian Schieferdecker’s Musicalisches Concert 1 in A minor. Great fun was had in the galloping rhythms which drove the Overture. The fast dance movements were executed with appropriate gusto while the slower ones were affecting. The suite also contained a fine example of a Chaconne, a Schieferdecker favorite.

The program also contained an appropriate pairing of works by Jean Baptiste Lully, arguably the quintessential French composer and inventor of French opera, and his contemporary Michel-Richard Delalande, who succeeded him at the court of Louis XIV. The former was represented with a spirited performance of the Passacaille from his operatic masterpiece Armide; the latter by the impressive chaconne from the obviously Lullian Les fontains de Versailles.

Mélomanie was also impressive in its rendering of the Piece de Clavecin en Concert 5 in D minor by Jean-Philippe Rameau, one of the most important French composers and theorists of the Baroque. Their playing was agile, warm-blooded and expressive and they listened carefully to what the harpsichord was doing, which is of vital importance.

If ever there was a composition suited for Mélomanie, it would be Matthias Maute’s It’s Summertime: A Trilogy (1998). Maute not only pays tribute to George Gershwin, he demonstrates the recorder’s abilities to play all styles of music. The work is made up of three movements. The first — “Don’t you cry” — is a ballad that quotes Bach’s Sarabande (from Partita in A minor for solo flute). The second — “The livin’ is easy” — is a jazz-oriented ballad that features a type of hidden two-part writing found in Telemann’s fantasies for flute. The third — “It’s Summertime” — is basically an arrangement of Gershwin’s tune of the same name.

The ability to play different types of music demands a mastery of different techniques, and Rainer Beckmann sure has the goods. His intonation was impeccable and his technique, thrilling and infectious. He had the audience fully engaged. He was supported in his playing by Naomi Gray on the modern cello. That combination of the Baroque and the contemporary was absolutely stunning.

The program also included the World Premiere of Liduino Pitombeira’s The Sound of the Sea and a first performance of his Impressoes Quixeres. The latter featured Kimberly Reighley and Eve Friedman dueting on modern flutes. This piece imparts the composer’s view of the city in northern Brazil employing free atonality as well as 12-tone serialism. But in the hands of Reighley and Friedman, you stop thinking about tone rows and respond to the playfulness and ferocity of the music.

The entire ensemble presented the premiere of Pitombeira’s The Sound of the Sea. This three-movement work is inspired by Henry Wadsworth Longfellow’s poem of the same name. The titles of the three movements — “First Wave,” “Solitudes of Being” and “Sea-tides” — take their names from moments in the poem. Longfellow’s poem gives the composer much to draw on as it is a poem about sound, about the rhythm of the sea and that rhythm is reflected in the musicality of the lines and the score. Just as the poem, the music was meant to mirror the sound of the sea in all its fury and tranquility, and Mélomanie did the composer’s intentions proud.


Friday, March 18, 2016

A Musical Trip to Iceland (and More) with Mélomanie

By Christine Facciolo
Just when you thought Icelandic music had nothing to offer beyond singer Bjork and post-rock band Sigur Ros, Mélomanie ups and offers a superb entree to the vibrant and varied musical traditions of this island nation.

Sunday’s concert at The Delaware Contemporary (formerly The Delaware Center for the Contemporary Arts) featured internationally known Icelandic violinist Eva Ingolf on electric violin as well as two World Premieres by composer Mark Hagerty: Raven Thoughts (Hrafna Hugsanir) and Icelandic Songs, Sacred & Secular (Islensk log, helg og veraldlega).

The concert kicked off with two rare gems by Scandinavian Baroque composers Johan Helmich Roman and Johan Aggrell. Roman was the first native Swedish composer of international influence, earning him the titles “the father of Swedish music” or “the Swedish Handel.” He traveled extensively throughout Europe, exposing himself to a variety of musical styles, chiefly from Handel and other contemporary Italian composers. The combination of flutist Kimberly Reighley, cellist Douglas McNames and violinist Christof Richter brought out the Neapolitan influence of Roman’s Trio in G minor with its restless harmonies and continually shifting melodic gestures.

Mélomanie performs with guest artist Eva Ingolf (far right). Photo by Tim Bayard.
Although less celebrated than Roman, Aggrell produced formally sophisticated music in a pleasing galant style. Reighley and Richter engaged in a spirited and expressive dialogue of his Sonata I in G major.

Ingolf offered a performance of her own composition, Lava Flow, a sonic description of the 2011 eruption of Grimsvotn, Iceland’s most active volcano. Searing high notes and a violently cascading melodic line call to mind the magnitude of the event which was the largest in Iceland in 50 years.

That performance warmed her up for the World Premiere of Mark Hagerty’s Raven Thoughts (Hrafna Hugsanir), a four-movement work for solo violin. The raven (or hrafn) is an important bird in Icelandic folklore. It is said that the Norse god Odin had two ravens that counseled him.

It is the intelligence and communication skills of these big black birds that inspired Hagerty to compose Raven Thoughts, which posits ideas — rather than any specific representation — about ravens. Ingolf’s playing is sublime and her articulation and tone impeccable as she moved through the urgency of “Danger,” the intense tragedy of “Loss,” the loopiness of “Flight” and the accomplishment of “Survival.”

Members of 
Mélomanie joined Ingolf in a performance of the program’s second World Premiere, Icelandic songs, sacred & secular (Islensk log heig og veraldlega) again by Mark Hagerty. It was Ingolf, whom the group met when they visited Rio in 2014, who introduced Hagerty to these traditional Icelandic songs that range in character from the robust to the elegant and hauntingly beautiful.

Hagerty preserves the character of these folk songs with quintal harmonies while imbuing them with a contemporary texture. The coupling of Ingolf’s electric violin with Donna Fournier’s viola da gamba in the sixth song Raven’s Song (Krummavisur) was stunning. The work was a perfect expression of 
Mélomanie's mission: the paring of contemporary and early — in this case medieval — music.

The only departure from the program’s Nordic theme was Partita 622, composed for 
Mélomanie (and included on its CD Excursions) by Mark Rimple. Written in 2008 following the death of his stepmother, the piece centers around the fascination she had with the number 622, which was reflected in the Gregorian and Hebrew calendars the day she died. Rimple structured the work around these three digits: the ritornellos appear six times, always a perfect fourth (2 + 2) higher before the composition ends, while the intervening passages are generated by multiples of and powers of 6 and 2.

Although written at the time of a death, the piece is not a lament but rather the contemplation of a mystery, in this case, the complexities of life. The title “partita” represents the “starting out” on a journey. Melodic themes are frenetically tossed among the instruments in a dissonant soup, until at the apex of tension, the themes are gathered in a slow sarabande-like postlude as the mystery remains.

See www.melomanie.org.