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.

See www.melomanie.org. 

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.

See www.melomanie.org. 

Delaware Historical Society Celebrates Harriet Tubman

As part of its Untapped History Series, on Friday, March 24, the Delaware Historical Society presented Harriet Tubman and the Underground Railroad, a one-woman show featuring well-known re-enactor Kathryn Harris, who is the President of the Abraham Lincoln Association and former Library Services Director at the Abraham Lincoln Presidential Library in Springfield, Illinois. (Side note: Prior to the Abraham Lincoln Presidential Library opening in 2004, the Illinois State Historical Library was located underneath the Old State Capitol.)

Delaware Arts Info sat down for a chat with Ms. Harris to discover more about her performance this weekend. Check out our interview below...

*Did you write this piece and what moved you to create it? Or, what is the work's origin and how did you come to find it?

Kathryn Harris as Harriet Tubman

Yes, I wrote the piece. I wrote it around the late 1990's for presentation to an Illinois 5th Grade class as part of their study of the Antebellum and Civil War era. I had "...made another historical woman come alive" for our local Historical Society Cemetery Walk, and the President of the Society, who was also involved with the 5th Grade program, asked if I would make Harriet come alive, as the students wanted to know more about her. Since I was in the Library, I was extraordinarily positioned to have access to resources, including Harriet's 1869 biography by Sarah H. Bradford.

*What drew you to performance of this work? What is your favorite part of the performance?
I was drawn to create this piece in response to the request from my friend and colleague. (She asked me to develop and deliver the presentation as a part of the 5th Grade program.) My favorite part is the Q&A, where I answer in first person narrative, as Harriet. I never know what I'll be asked, so each performance is different.

*Do you have any special inspiration or influence that you tap into in preparation for this piece?
I have admired Harriet Tubman since I was in elementary school, when I read her biography. She was a truly remarkable woman. When given the opportunity, I was eager to develop this presentation. Originally after my monologue, I did not answer questions in first-person, but with the help and encouragement of a theater friend, I grew more comfortable answering questions in that scenario. Of course, all of this was because of my continual reading and research on Harriet.

*Can you talk about Harriet Tubman's connections here in Delaware?
The most significant story that I know about Harriet Tubman's Delaware connections is her relationship with Thomas Garrett and their subsequent relationship with William Still of Philadelphia. Garrett was a staunch and radical abolitionist who was thoroughly committed to the abolition of slavery. He risked his life and livelihood in the fight for abolition, and opened his home as a safehouse for hundreds of fugitives that traveled with Harriet.

*What do you feel is the greatest message or experience that you'd like audiences to take with them after seeing your performance?
After my performance, I hope the audience will not only learn something new about Harriet Tubman, but also that they will respect her commitment to a supremely righteous cause. She valiantly showed that she "...put her feet were her belief was." With a strong faith and trust in God, she tirelessly worked for the greatest possession: LIBERTY and FREEDOM. She was determined to have them or death — that was the only alternative in her view. What a woman! If only everyone today could have the courage of conviction to act for a cause in which they so fiercely believe — how much different would our world be? Sitting on the sidelines does not bring change or make our society better!

See www.dehistory.org. 

Celebrating Black History Month with Programs & Exhibit at DHS

Information for this post was provided by a press release from The Delaware Historical Society...

The Delaware Historical Society (DHS) celebrates Black History Month with special public programs and an exhibit.

LECTURE: Littleton P. Mitchell Fighting for Equality in the Civil Rights Era
Thursday, February 4, 6:00pm
Delaware History Museum
Dr. Leland Ware, the Louis L. Redding Chair and Professor of Law and Public Policy at the University of Delaware, will highlight Delaware civil rights leader Littleton P. Mitchell’s contributions to advancing the cause of equality. Mitchell, president of the Delaware NAACP for 30 years, is known locally and nationally for his personal courage during the Civil Rights Movement. He was also was a member of the famed Tuskegee Airmen during World War II, for which he was awarded the Congressional Medal.

PERFORMANCE: The Folk Music of Africans Americans with Devonna B. Rowe
Tuesday, February 9, 12:30pm | Delaware History Museum
Award-winning performing artist and educator, Devonna B. Rowe, will take the audience on an interactive musical journey through the history of the African American people, exploring traditional African songs and influences on modern American culture. A Delaware Historical Society program with funding support from The Black Heritage Educational/Theater Group.

FAMILY PROGRAM: The Underground Railroad in Delaware
Sunday, February 28, 1:00pm | Old Town Hall & the Quaker Hill Historic District
Join DHS and Quaker Hill Historic Preservation Foundation for a family event highlighting the Underground Railroad in Delaware. Walk in the footsteps of freedom seekers who passed through Wilmington on their journey to freedom and participate in activities exploring the difficult decisions made by people at that time. The first half of the program takes place in the Quaker Hill Historic District followed by a visit to Old Town Hall at the Delaware Historical Society. There will be family activities at both locations.

EXHIBIT: Dream Quilts The Dream Quilts are on display through the end of February at the Central YMCA in Wilmington, the Walnut Street YMCA in Wilmington and the Dover Public Library. The project was first launched 2012 to inspire a new generation with Dr. Martin Luther King, Jr.’s powerful message from his 'I Have a Dream' speech. After learning about Dr. King’s legacy, school children decorated quilt squares that were later stitched into quilts by A Stitch in Time, an African American quilting group in Dover. In 2014, two of the quilts were exhibited in Vice President Biden’s home at the Naval Observatory during Black History Month.

All programs are free and open to the public, but reservations are requested at deinfo@dehistory.org or 302.655.7161.  The Delaware Historical Society owns and operates the Delaware History Museum; a nationally recognized Research Library; Old Town Hall; Willingtown Square, four 18th Century houses surrounding a picturesque urban courtyard located in Wilmington; as well as the Read House & Gardens located in historic New Castle, recognized as an “American Treasure” by the National Trust for Historic Preservation and the National Park Service; and the Center for African American Heritage, which will be included as part of the expansion of the Delaware History Museum, expected to reopen in spring of 2016.

See www.dehistory.org.