Showing posts with label Vivaldi. Show all posts
Showing posts with label Vivaldi. Show all posts

Tuesday, October 25, 2016

DSO Chamber Series Highlights Two Great Works

DSO Concertmaster, violinist David Southorn
By Christine Facciolo
The Delaware Symphony Orchestra opened its 2016-17 Chamber Series Tuesday, October 18, at the Hotel du Pont’s Gold Ballroom with stellar performances of two of the most important works of the chamber music repertoire: Schoenberg’s Verklarte Nacht and Vivaldi’s iconic The Four Seasons.

Schoenberg and Vivaldi might seem like an odd pairing, but both works explore an insightful journey via the pictorial marriage between poetry and music.

Inspired by a poem by Richard Dehmel, Verklarte Nacht describes a conversation between a man and a woman as they walk through a dark forest under a brilliantly expressive night sky. The woman is pregnant with a child of a different man. The man she is walking with loves her and tells her he is prepared to accept her unborn child as his own.

The work unfolds in five sections which correspond to the structure of Dehmel’s poem. The various emotions of the two characters 
 love, pain, guilt, forgiveness — find their equivalents in Schoenberg’s passionate music, making the work one of the first examples of program music written for a chamber ensemble.

Originally scored for string sextet, DSO Music Director David Amado opted for the expanded version for string orchestra. The group of 22 strings produced a meaty performance that emphasized the dramatic structure of Verklarte Nacht but never at the expense of the score’s lyrical beauty. The textures were appropriately bass heavy, yet every line came through with exceptional clarity, allowing the counterpoint to drive the music and lead the ear through the dense harmonic web. The cadences, 
where suddenly a radiant major chord wells up from the dour depth, produced a profound sense of exaltation.

The second half of the program featured Vivaldi’s The Four Seasons 
 one of the most recognizable works of the classical music repertoire. Like Verklarte Nacht, The Four Seasons conveys a journey through spring, summer, autumn and winter. Each season is introduced by a poem, possibly composed by Vivaldi, that offers a description of what experiences the music is about to conjure up: The heat of summer; the peasant celebrations and imbibing of autumn; the violent storms of spring; and the cold and ice of winter.

DSO Concertmaster David Southorn was nothing less than brilliant as soloist in these four “evergreen” concertos. He delivered it all 
 a powerful sound; immaculate precision and compelling agility in the furious figurations of the fast sections; impeccable phrasing and a polished lyricism in the more tranquil sections. This was a zestful performance that continued unabated until the final note was struck.

Southorn was ably supported by the 22 string players. This was a beautifully balanced performance with a nice contrast between soloist and orchestra. The programmatic drama of the score was neither shortchange nor overdone, leaving the impression that each participant had contributed something important.

Thursday, December 17, 2015

Brandywine Baroque "Glitt'rs" in Latest Performance of Vivaldi & More

By Christine Facciolo

The program may have been titled “Winter’s Glitt’ring Sun” but it didn’t feel anything like winter on Sunday when Brandywine Baroque presented its second concert of the 2015-16 season.

The well-attended concert featured works by Italians Vivaldi, Tessarini, Leo and Facoli and a secular cantata by Englishman Thomas Arne.

The program was heavy on Vivaldi 
— no surprise there. Vivaldi’s fecundity never ceases to amaze. His reputation rests largely on a legacy of nearly 500 instrumental concerti. Yet this incredibly prolific composer was almost unheard of until the 1950s.

The concert opened with a performance of the Concerto for Strings in d minor, RV 128. This work was contained in one of 14 volumes discovered in 1926 sparking interest in the composer’s works.

All three movements are in the same key — unusual but not unprecedented for Vivaldi. It also adheres to the three movement fast-slow-fast order that he standardized. Double bassist Heather Miller Lardin reveled in the particularly active bass line of the Largo, while the entire ensemble engaged in a fugal finale bristling with energy and excitement.

Flutist Eileen Grycky soloed in two of Vivaldi’s flute concerti: the D major and the recently discovered d minor “il Gran Mogol” which received its Delaware premiere. Grycky’s delightful and highly musical formation of the flute solo lines on her mellow, woody instrument were a delight to the ears as was the full-blooded energetic orchestral accompaniment.

The strings had their say in a warm and sprightly reading of Vivaldi’s Concerto in G Major for Two Violins and Two Cellos, RV 575 — with Martin Davids and Kathleen Leidig, violins and John Mark Rozendaal and Donna Fournier, cellos.

Davids joined fellow violinists Leidig and Edmond Chan in a confident, well-balanced and precise rendering of Vivaldi’s Concerto for Three Violins in F Major, RV 551, creating ear-catching textures spiced by Vivaldian virtuosic runs and arpeggios.

The program also featured the works of other lesser-known Italian composers. Davids introduced the Concerto for Violin in A minor by his favorite composer, Carlo Tessarini, by saying he was luckier than Vivaldi because he didn’t wash out of the priesthood and wind up with an orphanage.

Jokes aside, this tricky and challenging music demands a performer with virtuoso credentials and Davids certainly has them, especially in the Allegros of this work.

Harpsichordist Joyce Chen’s elegant technique brought out the dimple counterpoint and right-hand embellishments in Marco Facoli’s Padoana prima dita Marucina & Salterello.

Leonardo Leo’s concerti give little opportunity for virtuosic display; instead, the cello weaves its way in and out of the texture in a relaxed way. This performance by John Mark Rozendaal of the Concerto No. 3 in F minor is appropriately low-key, with the tricky problem of giving the instrument its proper prominence solved with admirable clarity.

Soprano Laura Heimes performed the only non-Italian work on the program: Thomas Arne’s Cantata V: “The Morning” from Six Cantatas. It is always a pleasure to hear Heimes’ bright warm voice in concert. But this work displayed her virtuosity, as these areas demand astonishing breath control, mastery of coloratura and apt decoration. The interaction between voice and instruments proved engaging and inventive.

Monday, May 4, 2015

Another "Provocative Pairing" Season Performance by Mélomanie

Composer Larry Nelson (left) talks about his piece, Moonbow.
By Guest Blogger, Christine Facciolo
Christine holds bachelor’s and master’s degrees in Music and continues to apply her voice to all genres of music. An arts lover since childhood, she currently works as a freelance writer.


Mélomanie capped its season with one of its most eclectic programs to date. Sunday’s concert treated its audience to a Delaware premiere, a fiery Latin tango and several interesting representatives of the Baroque era.

Moonbow, the second premiere of the season, is a commission from Larry Nelson, a colleague of Mélomanie flautist Kimberly Reighley at West Chester University. In case you’re wondering, a moonbow is a rainbow produced by light reflected off the surface of the moon (rather than from direct sunlight) refracting off moisture in the air. The subject matter fits nicely with Nelson’s fascination with timbre, a motivating factor in his work.

The piece consists of 13 sections, each flowing into the next and exhibiting a wide variety of musical styles. There’s a blues chorus, a pensive “cello float” and a very un-Bach-like contrapuntal section requiring each instrument’s participation.

It was pleasing to hear Richardson’s harpsichord step out from its usual supporting role. One section — Angelic over vamp I and II 
— had the instrument chopping chords that were tonally distinct from the rest of the ensemble. Richardson also concluded the piece, playing in gospel style.

The piece is a demanding one, and each member of the ensemble contributed a strong performance.

Argentina for flute, violin and cello by Christopher Caliendo offered a stark contrast to the introspective quality of Moonbow. Once again, Caliendo proves he knows how to write for the flute. Reighley’s fiery playing carried the piece as it got support from a punchy accompaniment of Latin rhythms provided by violinist Christof Richter and cellist Douglas McNames.

The Baroque was well-represented with works by Boismortier, Telemann and Vivaldi. The participation of guest artist violinist Daniela Pierson allowed the ensemble to program works it would not normally have been able to perform.

Guest violinist Daniela Pierson (right) performs with Mélomanie.  
The concert opened with the Sonata IV in D Major (Op.34/4) by Joseph Bodin de Boismortier. Also known as the “French Telemann,” Boismortier took advantage of the demand for technically accessible and melodious music by the growing population of amateur musicians in the 18th Century. Partly for this reason, his works have not received the respect they deserve. The musicians gave a sparking performance of this short but aesthetically pleasing work that demonstrated the composer’s command of the rules of harmony and counterpoint as well as his gift for melody.

Violinists Richter and Pierson teamed up for Telemann’s Gulliver Suite, another piece written for amateur musicians. Swift’s satire gave Telemann the idea for a programmatic dance suite, each of whose movements recalls Swift’s characters with musical gestures. Richter and Pierson provided a nice interplay in the fifth and final dance — a loure 
which contrasted the civilized Houyhnhnms (Richter) with the untamed Yahoos (Pierson).

The concert closed with a performance of Vivaldi’s Sonata XII in D Minor (Folia), which is actually a set of 20 variations on “La folia,” a musical theme dating back to the 15th Century. Like other composers, Vivaldi sought to emulate Corelli’s version as evidenced by his choice of virtuosic flourishes. Vivaldi takes advantage of the extra violin — provided by Pierson — to engage in imitative play.