Joseph Hodge Named Music Director of Wilmington Community Orchestra

Joseph Hodge is the new Music Director of
the Wilmington Community Orchestra.

The Music School of Delaware's Wilmington Community Orchestra – an accomplished amateur ensemble for ages 18+ that performs standard symphonic and concerto repertoire –has announced that Joseph Hodge will be taking over the role of Music Director for the 2021-2022 season.

"We're very excited to have him on board," said Music School Dean Cheri Astolfi. "We reviewed almost 12 resumes and CVs, and we were delighted when he was interested in auditioning for the position."

Winds and brass players – with WCO members Mindy Bowman observing for the woodwinds and Steve Getty observing for the brass – also felt that he was an excellent choice and selection for the winds and for the ensemble.

JOSEPH HODGE BIO
Praised for his “musicianship and energy on stage” (Manchester Journal Inquirer), Joseph Hodge has previously served as the Music Director of the Manchester Symphony Orchestra & Chorale, Connecticut Valley Symphony Orchestra, and Hartford Opera Theater. Guest conducting engagements have brought him across the country to work with opera companies and orchestras alike, including the Jackson Symphony, Charlottesville Symphony, Wintergreen Chamber Orchestra, Greater Bridgeport Youth Orchestra, Hartford All-City Youth Orchestra, Charlottesville Opera, Abilene Opera Association, Houghton Lyric Theater, and Oberlin Winter Opera. 

A champion of new music, Mr. Hodge has conducted many World Premieres, including Rachel Peters’ Wild Beasts of the Bungalow with Oberlin Winter Opera in 2020. Mr. Hodge holds degrees from the University of Virginia and the Hartt School of Music at the University of Hartford, and is currently finishing his Doctorate in Orchestral Conducting at Michigan State University. He has previously studied conducting with Kevin Noe, Edward Cumming, Christopher Zimmerman, and Kate Tamarkin.

Summer Chamber Music Returns to Delaware Scene

By Christine Facciolo

For more than 30 years, chamber music had enjoyed a strong and secure place in the summer arts schedule in Delaware. Aficionados of the art form could count on exciting and intelligent performances each June courtesy of the Delaware Chamber Music Festival.

That came to an ended with the demise of the festival two years ago.

The good news: Thoughtful and well-played chamber music has once again found a place on the local arts scene as Serafin Summer Music debuted at The Music School of Delaware in Wilmington on Thursday, June 20.

“Bohemian Gems” was the umbrella title for the music of Dvorak and Smetana. What’s refreshing about this festival is the diversity of its repertoire with the varied lineup of instrumental combinations, including vocal music.

Case in point: Dvorak’s Terzetto in C major for two violins and viola, Op. 74. Each of the three movements explored a myriad of musical ideas and sentiments, with an emphasis on the cheerful. The playing was excellent, especially in the unison sections, which were polished to a high gloss. The performers were Kate Ransom and Hal Grossman, violins and Luke Fleming, viola.

Grossman and pianist Amy Dorfman were well-matched for a performance of the composer’s Sonatina in G major for Violin and Piano, Op. 100. Its use of Native- and African-American themes place it squarely in the company of the more familiar “American Quartet.” 

Grossman and Dorfman listened attentively to each other as they spun out the charming musical themes. Grossman imparted a poignant — yet tasteful — expressivity to the Larghetto second movement, sometimes extracted as the “Indian Lament,” while Dorfman echoed with measured atmospherics. In perfect synchrony, the performers flexed their interpretative muscle while delivering the stylish nostalgia the composer sought to impart.

The second half of the program featured compositions by the father of Czech nationalist music, Bedrich Smetana. Ransom and Dorfman collaborated on two gentle pieces for violin and piano, From My Homeland. Written in 1880, the title suggests that these lyrical works form a sort of chamber counterpart to the composer’s great cycle of symphonic poems, Ma Vlast, but in fact reflect the peace that the composer, wracked by physical and mental illness, found in the countryside of central Bohemia.

Ransom and Dorfman offered a charming, unassuming and well-played interpretation of this work by a major composer that has not been played to death.

The inaugural concert closed with the composer’s E minor String Quarter, No. 1 (“From My Life”). A happy piece this is not. True, the early movements do offer themes that reflect the composer’s early life, his youth, the joy he found in dancing and his first love, but the tragedy of his inevitable deafness increasingly added somber tones to the score, petering out on just a single chilling note.

Ransom, Grossman and Fleming were joined by cellist Charae Krueger and this ad hoc quartet performed with all the qualities of a veteran ensemble. Both in technique and artistic temperament, these musicians, drew inspiration from one another, coalescing into an instrumental choir, with the individual voices clearly heard, yet singing as one.

Serafin Summer Music continues through the weekend with performances on Friday, June 28, Saturday, June 29 & Sunday, June 30's "Finale Fireworks" of Brahms' Sextet in Bb Major, Op. 18 for two violins, two violas & two cellos and Tchaikovsky's Souvenir de Florence for two violins, two violas, two cellos. Tickets are available at brownpapertickets.com.

Serafin Summer Music Brings World-Class Artists to Delaware

Content of this post originates from a press release from Serafin Summer Music...

Serafin Ensemble, University of Delaware Department of Music and The Music School of Delaware, present Serafin Summer Music. The 10-day festival runs from Thursday, June 20 through Sunday, June 30.

Festival artists hail from China, the Philippines, New Zealand and from around the U.S., including New York City, Oklahoma, Ohio, Kentucky, Atlanta, Florida, Pennsylvania and right here in Delaware. 

“Bringing superb artists together to prepare and share marvelous masterworks with a community of eager listeners is a thrilling creative enterprise in every respect,” comments Kate Ransom, Festival Artistic Director.

The festival’s exceptional lineup features a range of repertoire including works by great classical composers Beethoven, Schumann and Brahms, as well as works by lesser-known composers, such as Smetana, Khachaturian and Faure. Each concert has a unique theme and ensemble configuration of up to six string, wind, piano and vocal performers.

Festival sponsors are Dr. William Stegeman, Ph.D., Jacobs Music Company, Harry’s Savoy Grill, Tonic Bar and Grille, Montrachet Fine Foods, Delaware Today, WDEL and GateHouse Media Delaware.

All performances will be held at The Music School of Delaware's Wilmington Branch, 4101 N. Washington Street in Wilmington. Season subscriptions are $135 for all eight performances; a four-pack of tickets is $70 and single tickets are $20. Purchase by visiting www.brownpapertickets.com or calling 302.762.1132 (the Music School).

Serafin Summer Music Artist Roster

• Amos Fayette, violin
• Hal Grossman, violin
• Kate Ransom,violin
• Benjamin Shute, violin
• Lisa Vaupel, violin
• Amadi Azikiwe, viola
• Luke Fleming, viola
• Mary Harris, viola
• Charae Krueger, cello
• Lawrence Stomberg, cello
• Guang Wang, cello
• Miles Brown, bass
• Jennifer Nicole Campbell, piano
• Amy Dorfman, piano
• Read Gainsford, piano
• Augustine Mercante, countertenor 
• Eileen Grycky, flute
• Christopher Nichols, clarinet

Serafin Summer Music Schedule

Thursday, June 20, 7:00pm - BOHEMIAN GEMS

• Dvořák “Sonatina” in G Major, Op. 100 for violin and piano
• Smetana “Two Pieces From My Native Land” for violin and piano
• Dvořák “Terzetto” in C Major, Op. 74 for two violins and viola
• Smetana String Quartet No. 1 in E Minor “From MY Life”

Friday, June 21, 7:00pm - IT’S CLASSIC!

• Michael Haydn Duo No. 2 in D Major for violin and viola
• Beethoven Piano Trio Op. 1, No.1
• Schubert song set
• Schubert “Trout” Quintet for violin, viola, cello, bass, piano

Saturday, June 22, 5:00pm - FRIENDS and MENTORS

• Brahms Scherzo ("Sonatensatz") in C Minor for violin and piano WoO2
• Schumann “Fairy Tales” for clarinet, viola and piano
• Niels Gade Sonata in D Major for violin and piano
• Dohnanyi Piano Quintet No.1 in C Minor

Sunday, June 23, 4:00pm - OUT OF BAVARIA

• Mozart D Major Quartet for flute, violin, viola, cello
• Reger Sonata in G Minor for solo viola
• Schumann “Fantasy Pieces” Op. 73 for cello and piano
• Brahms Piano Quartet in G Minor, Op. 25

Thursday, June 27, 7:00pm - FRENCH FORAY

• Leclair Duo in E Minor for two violins
• French Song Set
• Faure Piano Quartet No. 1 in C Minor, Op. 15

Friday, June 28, 7:00pm - THE THREE B’s

• Bach G Minor Sonata for solo violin
• Beethoven String Quartet in C Minor, Op. 18, No.4
• Brahms Piano Trio in C Major, Op. 87

Saturday, June 29, 5:00pm - RUSSIAN ROMP

• Khachaturian Trio for clarinet, violin, piano
• Arensky Trio in D Minor, Op. 32 for violin, cello, piano
• Borodin Piano Quintet in C Minor

Sunday, June 30, 4:00pm - FINALE FIREWORKS

• Brahms Sextet in Bb Major, Op. 18 for two violins, two violas, two cellos
• Tchaikovsky “Souvenir de Florence” for two violins, two violas, two cellos

See www.serafinensemble.org/summer. 

Sensational Singing Steals the Stage at the Music School

By Christine Facciolo
What do you get when members of the voice faculty of The Music School of Delaware come together for an evening of song? A night of “Sensational Singing.”

Sopranos Joanne Ward and Marybeth Miller, alto/jazz vocalist Maria Rusu, countertenor Augustine Mercante and bass Colin Armstrong offered a program that spanned every conceivable genre and period: Baroque, Classical, Romantic, jazz, folk and Broadway.

Ward, who chairs the voice faculty, applied her strong, crystalline soprano to a set of contemporary songs that traced the journey of a couple from their courting days (Seymour Barab’s setting of James Stevens’ poem "The Daisies” from his song cycle The Rivals) to commitment (Norman Dello Joio’s setting of Elizabeth Barrett Browning’s How Do I Love Thee) to their parting through death (Gwyneth Walker’s setting of Alfred Lord Tennyson’s Crossing the Bar).

Ward lightened the mood with Sheldon Harnick’s contemporary madrigal The Ballad of the Shape of Things. Richard Gangwisch’s piano winked while Ward’s vocal — wisely — played it straight. Marvelous!

Ward and Miller then combined their very different sopranos in a rendering of Lucy Simon’s Clusters of Crocus/Come to My Garden from "The Secret Garden.”

Miller returned a bit later applying her ethereal soprano to John Corigliano’s Three Irish Folksong Settings: I. The Sally Gardens, II. The Foggy Dew and III. She Moved Through the Fair. Corigliano’s “otherworldly” approach evoked a journey through an alien landscape. The songs pitted Miller’s voice against the rhapsodic line of Melinda Bowman’s flute, placing these well-known folk tunes in a new environment.

Miller showed off her versatility joining with alto Maria Rusu in an energetic rendering of Wrong Note Rag from Leonard Bernstein’s Wonderful Town.

Countertenor Augustine Mercante offered two bittersweet selections with Schubert’s In Abendrot and Alec Wilder’s Blackberry Winter, countertenor David Daniels’ signature song. Although it is a song of joy, In Abendrot is a leave-taking song, moving us to tears as it reminds us of the fleeting beauty of a sunset — and of our own mortality.

Mercante does not just sing (albeit exquisitely) a lyric so much as he lives and loves it. That depth became evident in his emotional and mature exploration of Wilder’s Blackberry Winter with its pained realization of “I’ll never get over losing you/But I’ve learned that life goes on.”

Mercante opened his set with A Chloris by Reynaldo Hahn, who as ex-lover of Marcel Proust, has much to share about separations, sentiments and remembrance.

Bass Colin Armstrong treated the students of singing in the audience with a concert rendition of Amarilli, mia bella, the most well-known of Giullio Caccini’s solo madrigals and a staple of just about every vocal teacher. It was a nice change to hear it so beautifully delivered in performance.

Armstrong also offered a rendition of the nostalgic I’ll Be Seeing You. He decided to include the rarely heard chorus, which opens with the line “Cathedral bells were tolling/And our hears sang on/Was it the spell of Paris/Or the April dawn?” An eerie reminder of what had just happened in the City of Lights two days earlier.

Armstrong’s set also included J.S. Bach’s So du willst from Aus der tiefen rufe ich, Herr, zu dir, BWV 131 which he performed with Maria Rusu.

Then it was Rusu’s time to shine and shine she did in a set of jazz classics, including On Green Dolphin Street and Tony Bennett’s signature The Good Life by Sasha Distel. Her scatting skills were amply displayed in Sandu, by trumpet great and Wilmington native Clifford Brown.

The evening concluded with an a capella performance of the soaring Make Our Garden Grow, from Leonard Bernstein’s Candide.

For more magic of music, see www.musicschoolofdelaware.org. 

Music School Piano Faculty Shine in Performance

By Christine Facciolo

Four members of The Music School of Delaware’s esteemed piano faculty displayed their performing and compositional talents in a program entitled “Piano Majesty” Wednesday, November 14, 2018 at the school's Wilmington Branch.

No piano concert would be complete without at least one work by Frederic Chopin, and this program featured two, both brilliantly rendered by David Brown. Brown is a pianist of unwavering mastery and musicianship with a towering but sublime strength and nuance that is both personal and telling. He was especially glittering in Chopin’s melodic Fantasy Impromptu, Op. 66 and the happy, cantabile character of the Barcarolle, Op.60, one of the composer’s finest works.

Pianist and composer Jennifer Nicole Campbell performs
in the Music Masters program, Piano Majesty.

The program also featured a generous helping of original compositions. Jennifer Nicole Campbell applied her usual charm and impeccable technique to a rendering of Brown’s ethereal In the High Meadow. She also offered two of her own compositions, Prayer for the Right Hand, a left-hand piece she wrote to compensate for an injury she suffered to her right hand, and the lively Variations on Loch Lomond, which featured musical motifs from the pop and classical repertoire. The audience had great fun identifying the themes. She rounded out her set with a performance of Leschetizky’s Ballade Venitienne, Op. 39, No. 1 (Barcarolle).

Brown offered a more solemn set of variations on the Baroque aria Bist du bei mir. Brown wrote the variations in 1993 and revised the work this year. In some pre-performance remarks, he noted that he was responding to the loss of loved ones by several of his friends over the past year.

Liliya Maslov and Oleg Maslov delivered an edge-of-your seat rendering of Lutoslawski’s piano-slam Paganini Variations. The audience was transported to a cliff-edge zany and dissonance-allowed zone with superb playing from the duo in an intrepid choice of repertoire.

The duo of Brown and Campbell opened the program with a performance of two selections by Schubert: the Allegro moderato and Andante (D. 968) and the March in D major, D. 733.

  

See www.musicschoolofdelaware.org. 

A Musical "Thank You" from Music School's All-Star Orchestra

By Christine Facciolo
Select members of The Music School of Delaware faculty with a little help from Rossini, Bach and Mozart, opened the school’s 2018-19 season on Wednesday, October 3, with a concert thanking donors and fans for their support.

The Music School's string chamber orchestra featured faculty and guest artists.

This short but very sweet program opened with Rossini’s String Sonata No. 3 in C major. Rossini wrote the six string sonatas at the age of 12, in the space of three days in 1804 at the home of a wealthy grain merchant. Years later, the composer confessed he didn’t think they would have amounted to anything but wrapping for salami when in fact they had already proven to be perennially popular.

Granted these sunny compositions are the “light music” of their time, but there’s no mistaking the talent that produced them. Like its siblings, this is a delightful work played here by a group that clearly enjoyed it. Brief solo passages were ably executed by violinists Amos Fayette, Lingchin Liao, cellist Jennifer Stomberg and guest bassist Arthur Marks.

J.S. Bach’s Concerto for Oboe and Violin in C minor delivered a more serious tone. Though the original manuscript to this concerto was lost, a reconstruction was possible because in 1736 Bach had arranged it as the Concerto for Two Harpsichords and Orchestra (BWV 1060), a work whose score had survived and served as a model for the original.

Soloists Christof Richter (violin) and Meredith Hite Estevez (oboe) captured the rhythmic vibrancy and catchy themes of the first movement and by contrast, the dreamy serenity of the Adagio second movement. The sense of energetic playfulness returned for the finale, as the soloists engage in essential contrapuntal commentary and other colorful writing.

Mozart’s perennially popular Eine Kleine Nachtmusic provided a pleasant post-intermission palette-cleanser to the Bach. The superbly disciplined ensemble served up as fine a performance as one could wish for with a mixture of legato, springing exuberance and elegant phrasing that produced a most delightful result.

The concert ended the way it opened, with a Rossini string sonata — this time, No. 2 in A major. It, too, exhibited the lightness and humor that would be evident in much of the composer’s mature work as well as his distinct gift for melody. There was something a bit more earnest and serious about No. 2 but still eminently enjoyable and beautifully played.

See www.musicschoolofdelaware.org. 

The Music School of Delaware Honors Supporters with a Musical 'Thank You'

This post content comes from a release from The Music School of Delaware...

The Music School of Delaware welcomes a new concert season with its first Music Masters performance, Opening Night - The Magic of Music! A Thank You Concert, on Wednesday, October 3, at 7:00pm at its Wilmington Branch at 4101 Washington Street in Wilmington.

The musical event is a thank-you performance for its families, faculty and donors, with an 'all-star orchestra' of its distinguished faculty as well as guest artists from regional ensembles and orchestras. They will perform noted works by Rossini (String Sonatas #2 in A Major and #3 in C Major), J.S. Bach (Concerto for Oboe and Violin in C Minor) and Mozart (Eine Kleine Nacht Musik). Soloists on the program are violinist Christof Richter and oboist & Meredith Hite-Estevez, who are both on the faculty of the Music School.

The complete orchestra also includes Violins: Amos Fayette, Kate Ransom, Stefan Xhori, Julianne Ruiz, Lionel Thomas and Lingchin Liao; Violas: Maria Rusu, Nina Cottman, and guest Marka Stepper; Cellos: Jennifer Stomberg, Eric Coyne and Lawrence Stomberg; Bass: Arthur Marks; Harpsichord: Tracy Richardson.

Tickets for the event are only $10 or $5 for students and seniors and may be purchased at brownpapertickets.com.

The Music School boasts of busy fall of performances, both student and professional. Additional Wilmington Branch professional concerts will feature the music of the 1930s; the 50th anniversary of Woodstock; and an annual Martin Luther King, Jr. celebration. Additionally, faculty recitals at both Wilmington and Milford Branches will be presented throughout the season. The Wilmington Community Orchestra, under the baton of Tiffany Lu, will perform works from Mozart to Mahler. Alumni return to share their musical stories in concert. 

And, the school continues to host its Classical Cafe sessions (complimentary coffee and donuts included) where attendees engage in lively discussion with faculty on music-related topics. The Music School also hosts and presents events from classical to rock, including Open Mic Nights, a monthly Bluegrass Jam, and jazz and rock ensemble performances.

ABOUT THE MUSIC SCHOOL OF DELAWARE

It is the mission of The Music School of Delaware to provide excellence in music education, training and experiences for people of all ages and levels of ability. Founded in 1924, The Music School of Delaware is a nonprofit organization that reaches thousands of new people from Delaware, Pennsylvania, New Jersey and Maryland through its instructional programs and over 100 public performances each year. The Music School is the only nationally accredited program of its kind in Delaware and is the only statewide accredited community music school in the nation. The Music School offers standard-setting instructional programs for all ages and has a faculty of nearly 100 expert artists and educators with branch locations in Wilmington and Milford and over 20 satellite and outreach sites statewide. 

For more information, please call the Wilmington Branch at 302.762.1132, the Milford Branch at 302.422.2043 or visit the website at musicschoolofdelaware.org.

Seven Nights of Free Family Fun at Parks Across Wilmington

This post content originates from a press release from the City of Wilmington...

The sixth annual Summer in the Parks program, in partnership with The Grand Opera House, is in full swing with evening concerts planned starting July 11.

Wilmington Mayor Mike Purzycki and The Grand Executive Director Mark Fields today invited citizens to enjoy the 2018 season of Summer in the Parks, a series of interactive, cultural experiences provided free in neighborhood parks around the city. The program, now in its sixth year, is a collaboration between the City and The Grand with additional support from The Wilmington Parking Authority. Programs run through August 1.

Each week, Summer in the Parks features free interactive arts activities such as storytelling, African music, folk art and illustrating, as well as dance and movement, sock puppets and Shakespeare in parks and public spaces. Participating spaces include Tilton, Haynes, Holloway, Woodlawn, Prices Run, Barbara Hicks, Judy Johnson, Stapler, Union Park Gardens, the Helen Chambers Playground and the Rodney Street Tot-Lot.

Christina Cultural Arts Center's "Village in Concert"
happens on July 17 in Haynes Park. 

Beginning Wednesday, July 11 and continuing through Wednesday, August 1, free music concerts will be presented in City parks from 6:00pm to 7:30pm. Free water ice will also be provided. A complete schedule of concerts is included below.

“Wilmington is pleased to present yet another summer of free fun, entertainment and interactive opportunities in partnership with our friends at The Grand,” said Mayor Purzycki. “The City and The Grand continue to produce unique, first-rate artistic and cultural programs for children and their families. More than 18,000 City residents have benefited from hundreds of events since this summer program began in 2013.”

Pamelyn Manocchio, The Grand’s Director of Community Engagement, is the producing coordinator for Summer in the Parks series. “I am thrilled to be working with so many talented artists again this year. We’re particularly excited to try out new programming, such as ‘Salsa in the Street,’ where all ages will be encouraged to learn Latin dancing and ‘Empowered Voices,’ which will feature inspirational spoken word artists and open the mic to audience participation. It’s all about getting the community involved, and we’re happy to create a unique way for youth and families to participate in the arts.”

“We are pleased to be continuing this innovative arts program in partnership with the City for the sixth consecutive summer,” said Fields. “Making interactive arts experiences available to neighborhood children is a wonderful way to introduce culture and personal expression, while fulfilling our community service mission. It’s even better that Summer in the Parks offers The Grand an opportunity to also promote the impressive work of colleague Wilmington artists and arts organizations. We are grateful for the vision of the City leadership in supporting this program.”

The Music School of Delaware's MM & Friends perform
on Kids' Night Out July 22 in Union Park Gardens.

While The Grand serves as producer for the innovative program, it draws on a wide variety of artistic talent from Wilmington and the region. This year’s daytime artists include ASCAB Capoeira Delaware, Dance4Life, Delaware Art Museum, Delaware Shakespeare, First State Ballet Theatre, Flyogi, Griots Wa Umoja, LaFate Gallery, Maya Belardo Music, Pieces of a Dream, TAHIRA Productions, The Delaware Contemporary and Wilmington Drama League.

A full schedule of activities can be found on The Grand’s website and calendar updates are posted to the Summer in the Parks Facebook page.  All programs and schedules are contingent upon weather and subject to change.

Evening Music Events for Families

• Wednesday, 7/11: Helen Chambers Playground (600 N. Madison Street)
  Summer Jam, featuring live performances by Richard Raw, Mz Yola, Kae Hock, Aziza Nailah, and Beyond Those Bars Students plus music by DJ MikeNite. Live painting with Terrance Vann
• Tuesday, 7/17: Haynes Park (N. Franklin and W. 30th & 32nd Streets)
  Village in Concert with Christina Cultural Arts Center Village together with Creative Vision Factory and special guest Olivia Rubini
• Wednesday, 7/18: Rodney Street Tot-Lot (4th & Rodney Streets)
  Salsa in the Street, with DJ Bis; salsa instruction from Sara Jastrebski and Sarah Savery as well as art-making project with JaQuanne LeRoy
• Sunday, 7/22: Union Park Gardens (S. Bancroft Parkway & S. Sycamore Street)
  Kids Night Out, featuring The Music School of Delaware’s M&M and Friends, plus “Become a Hero” capes with Vanity Constance and Mike Mixson
• Wednesday, 7/25: Stapler Park (W. 16th & N. Union Streets)
  Rhythms at Play, featuring the Elbert-Palmer Drum Line with Peter Antony & Friends and “I See Seashells” art project with Stephanie Przybylek
• Monday, 7/30: Tilton Park (N. Franklin and W. 7th & 8th Streets)
  Empowered Voices, with Kim “Metaphor” Graham hosting poetry/spoken word with Kaamilah Diabate, plus beaded rings with Gilda Jennings.
• Wednesday, 8/1: Holloway/Compton Park (7th & Lombard Streets)
  Grand Finale with Fuzaholics and painting with Terrance Vann

Good Musical Vibes from Music School Faculty & Friends

Chris Dahlke, viola. Photo courtesy of The Music School of Delaware.

By Christine Facciolo
It’s a pretty safe bet that TheMusic School of Delaware didn’t anticipate 75-degree temps at concert time when it titled Wednesday night’s program “Good Vibes and Winter Winds.” But weather notwithstanding, this was a most interesting — and entertaining — program to come out for, no matter what Mother Nature was up to.

Indeed, it’s a rare event that gives an audience the opportunity to hear works by Stravinsky, Lennon & McCartney and Haydn performed by the School’s talented faculty plus one “rising star” student.

Trumpets heralded the opening of the program as Malcolm McDuffee and Jay Snyder performed Stravinsky’s Fanfare for a New Theatre, composed in 1964 to celebrate the opening of the New York State Theatre as part of the Lincoln Center for the Performing Arts.

Flutist Paula Nelson and Augustine "Gus" Mercante — this time using his voice to narrate — offered Alan Ridout’s The Emperor and the Bird of Paradise, a delightful tale of imprisonment, freedom and happiness.

McDuffee returned with pianist Donna Beech to perform Barat’s Andante & Scherzo with sensitivity and note-perfect accuracy. Beech, flutist Melinda Bowman and cellist Matthew Genders offered a colorful and incisive reading of Martinu’s charming Flute-Cello-Piano Trio. From the care-free Allegretto with its bird-like trills for the flute and attractive melodies, to the calm and restful Adagio and jaunty finale, the musicians gave a fresh and breezy interpretation of this joyful work.

McDuffee and Snyder once again inaugurated the opening of the second half of the program with a performance of Plog’s Fanfare for Two Trumpets.

Paula Nelson (flute), Jacob Colby (violin) and Rowena Gutana (cello) joined together to show why Haydn’s London Trios have endured despite falling out of vogue in the 19th Century. Their performance of the delightful Trio No. 1 in C major was full of zest and vitality, as they explored the composer’s wit and originality as well as his serious side, evidenced by the terse rigor of the development section of the sonata-form first movement.

Chris Dahlke then took the spotlight with accompanist Richard Gangwisch in a performance of the second movement of Walton’s Viola Concerto. Dahlke’s Vivo was energetic and incisive, bristling with jazzy syncopations reminiscent of Prokofiev, whom Walton admired. Dahlke also exhibited a mature and self-assured stage presence that belied his youth. This young man — a mere 16 years of age — has garnered a slew of awards for his playing and no doubt can look forward to a stunning future on the concert stage.

Vibraphonist Wesley Morton reached into the Lennon/McCartney songbook for his contributions. Morton gave sublime and understated renderings of the pop classic Michelle — dedicated to his wife to thank her for her patience in living with a musician — and Blackbird, which Lennon and McCartney composed to show the Beatles’ support for the American civil rights movement.

The Pegasus Trio, consisting of Melinda Bowman (flute), Christopher Braddock (guitar) and Jeanmarie Braddock (violin) capped off the evening with performances of two whimsical works by guitarist/composer Braddock. First, they captured the long history of tradition and variety that characterizes Scottish folk music in Braddock’s four movement composition The Hill Trow Prologues. This work tells the story of the Scottish Hill Trow, land-dwelling troll-like fairy creatures with a fondness for music and a reputation for kidnapping musicians or luring them to their Howes.

The Trio then generated a bit of audience participation with their final offering, Make a Hawk a Dove – a TV Heroine Retrospective, a medley of TV themes celebrating several small screen heroines of the '60s and '70s. Particularly touching was the hat toss the women gave in tribute to the late Mary Tyler Moore.

See www.musicschoolofdelaware.org.

Music School Opens Season with All-Bach "Thank You" Concert

By Christine Facciolo

If it were possible to gather together composers — both living and dead — and ask them who they thought was the greatest composer of all time, chances are one name would surface more than others: J.S. Bach. And with good reason. Bach is one of the few — maybe the only — composer to succeed in combining masterful craftsmanship with such profound expressivity.

TheMusic School of Delaware used the artistry of J.S. Bach to say thank you to its patrons for their generosity on Wednesday, October 4, as it opened another season of its Music Masters Concert Series with an all-Bach program.

Maestro Simeone Tartaglione led a 15-member chamber orchestra comprised of music school faculty and guest artists.

Tartaglione bookended the program with two works from Bach’s most imaginative and celebrated oeuvre: the Brandenburg Concertos. The concert opened with a formidable rendering of the short but robust third Brandenburg. Bach composed two substantial movements for this work, leaving the players to improvise a transitional movement, for which he provided only two chords.

Tartaglione and his players executed the Allegro movements at an authentically robust tempo. Bach’s contrapuntal mastery was vividly brought out by this ensemble that interacted with each other like the cooperative soloists Bach intended them to be.

Concerto No. 5, however, makes demands on the harpsichord soloist that far exceeds anything else in the repertoire. As Tartaglione pointed out, this work is, for all intents and purposes, the first keyboard concerto.

Bach gives the harpsichord (here in the capable hands of Tracy Richardson) a most unusual role: it starts out playing a basso continuo, proceeds to play solo melodies in dialogue with the flute (Dr. Lynne Cooksey) and violin (Christof Richter) and then gets carried away with virtuosic scales that leave the others in the dust. Richardson delivered with great panache and rhythmic sensibility, showing what top-tier musicianship can bring to a familiar work.

Christof Richter soloed in a polished performance of the Violin Concerto in E Major. The opening is Bach at his sunniest, and Richter and the group exuded pure joy as they eased into the mellow mood this music demands. The expressive Adagio was exquisite as it contrasted a dark intensity with moments of golden light. The finale was cheerful and full of energy.

Dr. Lynne Cooksey was equally impressive in the Suite No. 2 in B Minor. Cooksey played with style and agility, executing the piece’s fast passages with note-perfect ease, playing a lovely duet with the cello in the sixth-movement Polonaise, producing lovely sighing effects in the Menuett and pulling out all the stops in the appropriately fast final-movement Badinerie, earning her a round of enthusiastic applause from the very appreciative audience.    

  

 See www.musicschoolofdelaware.org.  

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

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 Cultural Arts Center

Christina leads off its 71^st 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.

CityTheater Company

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.

Market Street Music

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.

Mélomanie

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 of Delaware

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.

The Music School of Delaware Opens Season with a "Musical Bounty" for Fans

By Christine Facciolo

The Music School of Delaware opened its 2016-17 season Wednesday, September 28, 2016 by gifting its supporters with gorgeous renderings of two of the best loved works for string orchestra: Grieg’s Holberg Suite and Tchaikovsky’s Serenade for Strings in C Major.

Maestro Simeone Tartaglione conducted a string orchestra composed of music school faculty and three invited guests violists Sheila Browne and Marka Stepper and bassist Arthur Marks.

The program opened with Grieg’s Holberg Suite for String Orchestra. Composed to honor the memory of 18th Century Norwegian writer Ludvig Holberg, Grieg cast the work in the musical language of the 18th Century. Tartaglione applied a light touch, playing up the individual character of each of the work’s dance-like movements.

Following the brisk opening Praeludium was a stately Sarabande featuring a lovely dialogue between cellists Lawrence Stomberg and Eric Coyne. The Gavotte recalled the formality of the court while the Musette contrasted with a folksong quality. The deeper strings imparted a profound solemnity to the Air, one of Grieg’s most beautiful creations.  The concluding Rigaudon paid tribute to Norwegian folk violinists as it featured some virtuosic bowing by concertmaster Stefan Xhori.

Tartaglione conducted with authority and passion as he led the orchestra through Tchaikovsky’s Serenade for Strings in C Major, an intensely personal work that the composer intended as homage to Mozart whom he viewed as the “Christ of music.” The Serenade is in a vastly different league than the Holberg: Rich in harmonic and melodic invention, it is also more abstract in character and hence more enduring.

The Serenade is Tchaikovsky at his brilliant best and Tartaglione and the musicians did it proud with flair, charm and beauty of tone. The orchestra was nimble and agile in its execution of the second movement — the Valse — with its numerous and sudden harmonic shifts. The third movement — the Elegie with its fugal elements — was ensemble playing at its best. The Finale was played with great virtuosity, bringing the concert to a close with rousing applause.

See www.musicschoolofdelaware.org. 

May Day Welcomed in Song with Four-Ensemble Concert at The Music School of Delaware

By Christine Facciolo

The Music School of Delaware’s Spring Choral Concert showcased the talents of four ensembles in an eclectic program at the school’s Wilmington Branch on Sunday, May 1, 2016 featuring music from church, folk and pop/rock traditions.

The Delaware Women's Chorus, led by Music Director Joanne Ward

The concert opened with five selections by Bella Voce, a 10-member choir consisting of students from Grades 2 though 8, under the direction of faculty member Marybeth Miller. If these young singers represent the future of music, we’re in good hands. The group showed its versatility with capable renderings of two Dominican folk songs, three nonsense ditties (Two Tongue Twisters and Antonio) as well as the Harry Belafonte-penned folk song Turn the World Around. Their set concluded with the traditional spiritual Twelve Gates into the City, which spotlighted their individual voices.

Next up was the recently formed Adult Jazz Choir which performs under the direction of Martin Lassman. Their segment opened with a sublime rendering of John Lennon’s In My Life — arguably the best pop song ever written. Sopranos Jackie Slavin and Kayla Holden and Bass Sam Parks offered capable solos. The group showed off its mastery of complex harmonies in a haunting delivery of The Meaning of the Blues, the much-recorded 1957 classic by Bobby Troup and Leah Worth. Soprano Slavin was joined in solo outings by Tenor Dennis Connor and Bass Robert Weiner. Individual members then showed off their improvisatory skills — including some respectable scat singing — in their segment closer Joe’s Place.

We then heard a uniquely organized program by The Delaware Women’s Chorus under the direction of Joanne Ward, chair of the school’s voice department. The group presented three sets of paired songs, each with a different take on a single concept. The first pairing — In Love/Not in Love — featured Arise, My Love and No Thank You, John. Motherhood got a turn with the nostalgic Music In My Mother’s House and Heartstrings, a musical rendering of a poignant conversation a mother has with her teen-aged daughter. Choir member Carolyn Becker provided the cello accompaniment.

The final pairing dealt with empowerment. In Lineage, a musical setting of Margaret Walker’s poem, the narrator compares herself unfavorably to the women of previous generations, while From Dusk to Dawn sings of the strength of Liberian protesting the civil war which engulfed their country until 2003. Soprano Ann Warren soloed.

We were then treated to a performance by Philadelphia-based a cappella group Vocal Motive, who appeared at the invitation of Ward. This 14-member mixed-voice ensemble under the direction of Doug Stuart was founded in 2012 by longtime friends seeking a return to the a cappella singing of their college years. The group is quickly gaining a following in the Philadelphia area with good reason: They love to sing and it shows.

The set the tone immediately with a rousing rendition of Creedence Clearwater Revival’s foot-stomping Down on the Corner and kept the rhythm moving with Jason Mraz’s immensely successful I’m Yours. They showed their softer side with Billy Joel’s hymn-like And So It Goes, became contemplative with Paul Simon’s Still Crazy After All These Years, and evoked feelings of a distant time period with Barton Hollow/Bottom of the River.

They attempted to close things out with Queen’s gospel-tinged Somebody to Love. I say 'tried' because the audience came to its feet begging an encore which they supplied with a rendition of James Taylor’s poignant The Lonesome Road.

The Delaware Women's Chorus and the Adult Jazz Choir will hold auditions in the coming months for new members, by appointment, at the Music School's Wilmington Branch, located at 4101 Washington Street in Wilmington. Call 302.762.1132 to schedule. 

See www.musicschoolofdelaware.org.

Women Composers Take Over the Evening at The Music School of Delaware

By Christine Facciolo
For centuries, women composers were little more than a footnote in music history. Considered a novelty, their work rarely left the confines of the drawing room or recital parlor, if they got performed at all. Even the celebrated pianist Clara Wieck Schumann felt compelled to fill her programs with the works of her husband or their friend Johannes Brahms rather than her own.

So it was only fitting that a program honoring women composers open with one of Wieck Schumann’s own compositions, the Scherzo No. 2 in C minor (1845). The little sonic gem received an expansive and probing interpretation from Holly Roadfeldt Wednesday, February 17 at The Music School of Delaware in Wilmington.

The concert, which benefitted the Anthony G. Simmons Scholarship Fund and other scholarships, served to encourage young female musicians by emphasizing the works of living women composers. Roadfeldt remembered her disappointment at hearing one of her students say she felt she could not pursue composition because she was a woman.

Roadfeldt’s muscularity and poetic power were on fine display in three of the four pieces from Joan Tower’s No Longer Very Clear collection. Her fingers never stopped from the moment she placed them on the keyboard for Or Like a…an Engine (1994). Think Ondine from Ravel’s Gaspard de la Nuit. The second piece, Vast Antique Cubes (2000), gave Roadfeldt the opportunity to play in legato before tackling Throbbing Still (2000), Tower’s recollection of the rhythms she experienced growing up in South America. Think Inca Empire meets Stravinsky.

The Serafin String Quartet offered two works by Julia Adolphe. Just twenty-eight years old, Adolphe, a doctoral student in music composition at the University of Southern California, has already achieved considerable success. In 2014 she became one of three young composers chosen to have their work performed by the New York Philharmonic. She is now working on a commission from the Phil, a viola concerto for its principal violist.

Serafin and Adolphe share a passion for exploring new musical worlds. Veil of Leaves (2014) shows Adolphe’s potential for becoming a premier composer for this most intimate of forms. The work begins with the strings in unison but continuously diverges and converges in a swirl of pitch and texture. This is a piece that demands not only supreme musicianship but deep concentration which was etched on the players’ faces.

Between the Accidental (2010) engaged the quartet in a contrapuntal tour de force, juxtaposing jarring dissonances with modal melodies in a netherworld of tonality.

Roadfeldt took the stage again to perform two works by Philadelphia-based composer Kala Pierson. Spark (2014) and Flare (2016), the latter of which received its World Premiere at the concert with the composer in attendance. As their names suggest, these works are rhythmically fluid and vividly expressive — perfectly suited to Roadfeldt’s flair for intensity and meditative focus.

Pianist Jennifer Campbell appeared as both performer and composer, offering Perceptions of Shadows, a work she wrote in 2013. This is an intensely introspective piece, showing that as shadows change with time, so do our perceptions of life’s struggles. This work proves that Campbell is not only an acclaimed pianist but a composer of great insight and sensitivity.

Campbell joined forces with violist Esme Allen-Creighton for a first-rate performance of Rebecca Clarke’s Sonata for Viola and Piano. This work written in 1919 is packed with big-hearted melodies and delicate colors. It’s hard to fathom how and why it missed winning first place in competition and why it doesn’t get more outings than it does.

Allen-Creighton brought together all the right elements — robust sound, free-flowing legato lines, unbridled lyricism as well as a technically assured presentation — to make us want to hear more from an instrument that continues to play, well, second fiddle to the violin. Campbell supplied the virtuosic pianistic accompaniment which was as demanding as any concerto.

See www.musicschoolofdelaware.org.

A Palooza of Piano Performance at the Music School

By Christine Facciolo

The Music School of Delaware showcased its pianistic talents on November 18 with a concert titled— aptly enough — “PianoPalooza.”

The evening also served to honor faculty members with 20 or more years of service to the School. Artists on this program celebrating that milestone included David Brown (48 years), Donna DeLaurentis (30+ years) and Hiroko Yamazaki (23 years).

Also taking the stage Wednesday night were Jennifer Nicole Campbell, Dr. Oleg Maslov, Liliya Maslov and rising star Douglas Nie, a 10th grader at Wilmington Friends School who studies piano with David Brown.

DeLaurentis and Yamazaki opened the program with a performance of Robert Schumann’s Pictures from the East (Bilder aus Osten) composed in 1848. This is an engaging set of variations on a theme in six consecutive vignettes that share a strong internal infrastructure. This is not a piece one hears often, but DeLaurentis and Yamazaki made a strong case for it with a reading that was full-bodied in sound yet dramatically sublime.

David Brown offered works by Beethoven, Brahms and Brown, apologizing to Mr. Bach for the apparent slight. Brown gave a clean and well-articulated reading of Beethoven’s Seven Variations on God Save the Queen, the British national anthem. Most impressive was his ability to make the melody “come alive” while bringing out the secondary notes in the left hand.

Brahms described the intermezzi of Op. 117 as “three cradle songs for my sorrows,” and Brown is brilliant as he brings out the inventiveness and sublime lyricism of the third Intermezzo in C-sharp minor with an ease that belies its technical difficulty.

Brown kicked things up several notches with a performance of his Rondo Fantasia, a piece of rapidly changing moods and wild arpeggios.

Dr. Oleg Maslov’s prodigious gifts allowed him to excel in the pyrotechnics of Liszt’s two concert etudes: La Leggierezza and Waldesrauschen. The former — Liszt’s most Chopin-esque work — was played with a feverish ardor while one could hear the rustling of the trees in the piano work of the latter.

Douglas Nie took the stage following intermission, capably demonstrating why he has earned the reputation of the School’s “rising star.” The fifteen-year-old offered works by Griffes (Lake at Evening) and Rachmaninoff (Polichinelle). Lake at Evening is not an easy piece to play without getting excessively Romantic. But Nie’s judicious reading conjured up all the exotic imagery suggested by the title, filling the concert hall with mystery. By contrast, his performance of Rachmaninoff was appealing and passionately Romantic, marked by a technical fluency beyond his years.

Jennifer Campbell’s superior technique and interpretation was most evident in her performance of Chopin’s Ballade in G minor — one of the most difficult of the repertoire. Her attack was strong from the first bold chords and built to a series of climactic arpeggios that brought the haunting central melody to life.

Dr. Oleg and Liliya Maslov explored the rich diversity of sound possible with two pianos. Both pianists executed the virtuosic figurations of Ravel’s La Valse with ease. As the waltz continued, becoming jarring and almost barbarous in intensity, Dr. Maslov took the lead, steering the frenzied dance through sudden, impulsive spasms. The duo succeeded in adding a thunderous splendor to the sensuous theme. Equally impressive was Liliya Maslov’s ability to turn her own pages while in the throes of this thrilling performance.

See www.musicschoolofdelaware.org.

The Music School Kicks Off Alumni Concerts with Noted Philadelphia Musician

Violinist Barbara Govatos and pianist Marcantonio Barone

By Christine Facciolo

The Music School of Delaware spotlighted one of its most talented and accomplished alumni when violinist Barbara Govatos and duo partner pianist Marcantonio Barone took the stage to perform a concert of Beethoven, Schubert and Brahms.

It’s a rare treat to hear Govatos solo in such an intimate — and familiar — setting. Normally she’s either concertizing as first violinist with The Philadelphia Orchestra (where she holds the Wilson H. and Barbara B. Taylor Chair) or collaborating with other talented instrumentalists as music director of the Delaware Chamber Music Festival.

Govatos is known for her well-curated programs, and this concert did not disappoint.

The first half opened with Beethoven’s chirpy Sonata No.2 in A Major and closed with Schubert’s Fantasy in C Major, a virtuosic work of complex and contrasting moods. The optimism of this half contrasted well with the fury of Brahms’ Violin Sonata No. 3 in d-minor in the second half.

What is remarkable about Govatos and Barone is their shared sense of musical vision, something that was amply demonstrated throughout the concert. The duo reveled in the good-natured bantering that characterized the opening movement of the Beethoven work. The antiphonal phrases of the second movement were shaped with a delicacy that invested the music with a sense of peace. The concluding rondo banished this atmosphere, replacing it with one of playfulness. The arpeggios in violin and piano were effortlessly tossed off while Barone offered sparkling accompaniment throughout.

The dominant work of the first half of the concert was Schubert’s Fantasy in C Major. Though less familiar than the composer’s later masterpieces, this single-movement work is just as extraordinary for its telescoping of musical form as the more celebrated Wanderer Fantasy for piano. The music is crammed with notes. More importantly, Schubert uses the music quite carefully to decorate crucial elements in the relationship between violin and piano. The heart of the work is its central set of variations on the tune of a song Schubert wrote in 1821, “Sei mir gegrusst” (“I greet you”). But it is the slow introduction which is recapitulated in the second and fourth movements (and fully in the third) which casts a shadow over the work.

Govatos’ delivery was extraordinary, full of imagination and profound intelligence. It was worth the admission just to hear the way she colored the opening line, reducing her tone to the slenderest thread, minimizing her vibrato and breathing life into the work.

Brahms’s third violin sonata in d-minor concluded the concert, and Govatos and Barone gave it a fiery, gutsy treatment. There was a constant pining in Govatos’ playing during the first movement, as she showed a range of colors — practically screaming at times — but never choking the sound. One indeed got the sense that a weighty statement had just been made and much energy expended.

A blissful Adagio followed; full of emotional joy but not without bursts of passion. The duo sparkled in the sprightly tempo of the Scherzo but the finale was all fire — noble at first but growing more and more manic as it unraveled.

This was an utterly compelling partnership of equals.

See www.musicschoolofdelaware.org.