Two world premieres

Mélomanie played two new works on January 30! To think that a small local group can commission works in these hard times is nothing short of great – and they used a little inventive cooperation to do so. Elaine Funaro, harpsichordist who also heads up a non-profit organization in Durham, North Carolina, which promotes new music for harpsichord (http://www.harpsichord-now.org), joined forces with Mélomanie to commission a new work by Sergio Roberto de Oliveira.

Oliveira’ s work, Angico, was a vivid descriptive piece of the acacia tree which survived a threatened felling. The story gives a vehicle for Oliveira to evoke Brazil with bird songs, angry workers, and traditional rhythms. He skillfully orchestrated his motives on cello, harpsichord, violin and flute. My favorite movement was The construction into which he snuck a few habañera rhythms.

Mark Hagerty’s piece, After Duchamp, was a provocation in keeping with the provocative pairings Mélomanie strives to achieve. He tackled the spirit of Marcel Duchamp’s statement: “I have forced myself to contradict myself in order to avoid conforming to my own taste.” Hagerty decided to go against his natural tendency to write long and serious pieces. For Duchamp, he wrote a frivolous and jocular set of vignettes for harpsichord. His program notes set up the facetious objectives: ‘bird/anger: Two totally unrelated ideas that do not interact musically’ and ‘Werk ohne Opus’ where he takes on the established music world’s pretensions. But how do you praise a composer who is working against his own taste? Do you tell him he achieved the bad taste he was seeking?

And paired with the exciting new pieces were six fugues from Bach’s Art of the Fugue played with subtle dynamics and intonations. The group also played four movements from Louis de Caix d’Hervelois’s Suite No. 1 in G Major for flute and continuo in which they allowed themselves a joyous mood of the dances. Their next performance will be March 13, 2010 at Grace United Methodist Church.

See www.melomanie.org.
http://www.harpsichord-now.org.
http://www.sergiodeoliveira.com.

Brazilian Composer Makes Visit to Delaware Very Personal

Brazilian composer Sergio Roberto de Oliveira travels to Delaware to join the classical/contemporary music ensemble Mélomanie this Saturday evening for the premiere of his work, Angico. Written in fall of 2009, this work is a collaborative commission with Aliénor (of Durham, North Carolina), whose ensemble will perform the piece later in the season. This piece is an intensely personal one, inspired by de Oliveira’s family vacation home in the Brazilian mountains, built as a fulfillment of his mother’s lifelong dream.

The composition pays tribute to the magical house he calls Angico, in honor of the Brazilian acacia tree, the Angico, which graces the property. Just after the house was built, the electrical company threatened to fell the tree. Ultimately, however, the tree sacrificed only one of its branches. It lives on as a witness to the family retreat, Angico, which the composer calls “a place full of peace and joy.”

In four movements, the music engages the audience in a fascinating story: the creation of the universe, the building of his family home, the triumph of the Angico tree over man’s threat, and, finally a celebration of the magical place called Angico.

de Oliveira and second guest composer Mark Hagerty (who will also premiere a piece entitled After Duchamp) will be on hand for Mélomanie's program this Saturday, January 30, at 8:00 pm at Grace Church in Wilmington. A post-concert meet-and-greet will be held at The Maraschino Room, on the 2nd floor of the Washington Street Ale House, just a few short blocks away. Tickets are $20; $15 for student and seniors. Youth under age 15 are free. To reserve, call 302.764.6338.

See http://www.melomanie.org/.

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

Composer's Work Featured on Recording by Mélomanie

By Guest Blogger, Chuck Holdeman, composer of “Sonate en Trio”, which will appear on the new Mélomanie CD
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.

What an outstanding pleasure it is for a composer to hear his work played by the terrific players of Mélomanie! The group is recording the work and I’m delighted that they will also feature a portion of the music at their October 2 soiree and fundraiser.

My approach to writing for the flute, ‘cello, and harpsichord includes taking advantage of the resonance and color of the harpsichord to create a rhythmic and harmonic canvas on which to paint lyrical and intertwining lines for the flute and ‘cello. At other times, the harpsichord has a solo or interacts as an equal in fugato passages.

Sonate en Trio is one of several of my works which pay tribute to Ravel and Debussy, whose seductive and colorful harmonic sense is often related to the impressionist painters who were their contemporaries.

See http://www.melomanie.org/
See http://www.chuckholdeman.com/.

Mélomanie at Blue Ball Barn

Mélomanie, a music ensemble which supports and collaborates withlocal composers, is launching their fall season with a fundraiser concert and party in Blue Ball Barn. The program is one of their signature ‘provocative pairings of early and contemporary works’ – combining four early composers and two contemporary works by local composers.

The contemporary works are two of the works by regional artists which will appear on the ensemble's new CD produced by Meyer Media. Mélomanie has secured grants for the recording project from WSFS Bank, DDOA, educational institutions, individuals and other sources.

Harpsichordist Tracy Richardson says, “Our ensemble has had the good fortune to collaborate with these superb composers over several years, and we want to document our work together in order to bring it to a wider audience.” Contemporary works by Christopher Braddock and Chuck Holdeman and baroque works by Georg Muffat, Michel Corrette, Marco Uccellini, and George Philipp Telemann will be the provocative pairings for the party.

Come to the party at Blue Ball Barn on Friday, October 2 from 6:30 to 9 p.m. and enjoy hors d’oeuvres and a preview of works appearing on the CD.

$75 Adults advance tickets
$65 Young Friends of the Arts (35 and under)
$85 Tickets at the door

For more information, visit www.melomanie.org or email info@melomanie.org or call 302-764.6338 to reserve tickets.

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.

A concert for peace

At 8 p.m. June 5, the Melomanie ensemble will present a joint benefit concert with the justice advocacy group Pacem in Terris.

Known for intriguing programs combining early period music and new commissions, Melomanie’s round-the-world itinerary features local composers Chris Braddock and Mark Hagerty. Works by Telemann, J.S. Bach, Diego Ortiz and Astor Piazzolla are also in the mix.

The concert is at Grace United Methodist Church, 900 Washington St., Wilmington. For tickets, call (302) 764-6338 or see www.melomanie.org.

The evening coincides with the 20th SOWETO Festival art exhibit in the Grace Church gallery. A reception with poetry runs from 5 to 7:30 p.m. This is also a city Art Loop night.

Composers Mark Hagerty and Chris Braddock talk about the works to be heard below:

Mark Hagerty inspired by India

Alla rāga is the third of five movements that make up my third harpsichord suite. Many pieces of music historically have been given similar titles or indications — Marcia alla turca (Turkish March), Alla danza tedesca (like a German dance) —which inform the listener of the inspiration or intent of the piece and give the performer an indication of how it should be played. In this case, the type of music referenced is the classical music of India, typically executed on sitar with tablas (characteristic Indian drums).

The incongruous Indian-inspired music in a harpsichord suite is a take-off on the Baroque tradition of including different national styles (and sometimes exotic elements) in pieces. Often, past composers’ understanding of the music of other cultures was incomplete, and the result of their borrowing was more an expression of the composer’s native style than a close approximation of the admired (or parodied) model. But that very misunderstanding is often productive, and the result offers something new.

My fascination with and affection for Indian music goes back decades. On the occasions when I have traveled to India, I have made it a point to spend at least one night at a sitar performance. I wanted to take my Western ears’ impressions to develop a wholly new kind of piece for the harpsichord.

Two essential characteristics of the sitar are its (by Western standards) complex tuning and its bending of pitch for melodic, ornamental and expressive purposes. Because the harpsichord, tuned and played normally, cannot produce either of these effects, I developed some new “ornaments” (additional rapid notes that embellish the melody) that seem to give the effect of bending pitch in the piece.

Another essential characteristic of the sitar is the droning pitches, which do not change. This harpsichord can accomplish this effect, and by giving the drone pitches rhythmic motion as the piece progresses, I was able to provide some of the rhythmic drive supplied by the tablas. Both sitar and harpsichord are plucked (one by hand, one mechanically), and both have an insistent tone.

So while they are widely separated by geography, design and tradition, they do have some common traits, which is what suggested this music.

Chris Braddock's duet

A couple of years ago, Tracy Richardson and I collaborated on a piece I’d written for dobro and harpsichord. It got a positive reaction when we performed it together at a Mélomanie concert. But I couldn’t figure out if that reaction was due to the real musical worth of the piece or rather the novelty of combining an American bluegrass instrument with a European classical one. The last thing any composer wants is to use a cheap gimmick to get applause.

Last year Tracy suggested doing another piece for that combination. It’s always great to work with Tracy, so I said, “Sure!” I’d been playing mandolin and enjoying it so much that I decided to write a duet for those two instruments. For one thing, the mandolin is a much easier instrument to play convincingly than the dobro.

And the combination makes sense. They’re both plucked, metal-string instruments. The project assumed greater legitimacy last fall, when my family and I visited Mount Vernon, the northern Virginia estate of George and Martha Washington. During the house tour, one walks past the music room. There were a harpsichord and a mandolin.

Like many composers, and especially guitarists, I have lots of little “riffs” in my head. These figures sound particularly good on the mandolin. So I assembled these segments into a coherent piece of music. The harpsichord part came after that.

Composers sometimes say they’re disappointed the first time they hear a piece rehearsed. Perhaps it’s hard to measure up to the version in their heads. That was not the case with my piece “Pluck.” Right away it seemed natural, spontaneous and full of energy.

See www.braddockmusic.com.