UD Orchestra in Puglisi Hall

Although I was slightly disappointed not to find Edgard Varese’s Ameriques on the program on October 20, hearing the Stravinsky arrangement of the Star Spangled Banner and his Scherzo a la Russe provided an equally eclectic salute to the United States and the fascination of European composers for the freedom and wildness they saw in this country in the first half of the Twentieth Century. The big band flavor with which Stravinsky had spiked his film music was a great vehicle for the large brass section of the college orchestra and Yael Hernandez did a fine job with the piano part.

Robert Brandt’s rendition of the first set of Aaron Copland’s Old American Songs showed his extremely strong baritone voice. He almost knocked me out of my chair with his ‘Hi-ro, the boatman’ but he lacked the playfulness of the fine solo passages by Tara Rozanski on the flute and the great trumpet and trombone entries in Simple Gifts. The viola section was superb in their entrances in I bought me a cat.

But in Dvorak’s late Nineteenth Century tribute to the country which had just begun to tolerate the wild sounds of Brahms and Beethoven, the UD Orchestra hit their stride. Their intensity and musicality showed the skilled leadership of Dr. Brian Stone. The second movement’s soulful melody was played beautifully by Bryan Walker (English horn) and the brief duet by first cellist Rachel MacLeod and concertmaster Eliza Krivo seemed magical to me. But as I worked my way through the mass of exiting musicians to congratulate them, I interrupted the conversation between English horn teacher Lloyd Shorter and soloist Bryan Walker. They patiently waited for me to utter my compliments and as I walked away, I heard Mr. Shorter say, …"and one more thing…"

Well, they are students after all.

See http://www.music.udel.edu

Drawing Marathon Draws Artists

DCAD held its sixth Drawing Marathon on October 16. Over 70 artists participated in this day of figure drawing. The event, which was open to the public, began at 9 am and ended at 9 pm. Faculty, students, alumna and both the amateur and professional were all in attendance.

Cloth backdrops-some colorful and one all white- were artfully arranged, with still-life objects placed around to create the illusion of spaces in a house. When I arrived, the poses were already well underway. Artists were painting, drawing-even sculpting! It was inspiring to see so many levels of ability, styles and mediums all in one place. There was a quiet hush over the room, as the artists enjoyed the day, sharpening their skills and working their visual “muscles”. The poses ranged from 20 minutes to six hours in length.

One artist was creating a fabulous bust from clay. Another used the “20 minute pose” to create a drawing of the same figure in various poses. I enjoyed seeing the variety of ways the artists could use a figure and still life in their pieces, and wished I hadn’t brought a note pad, but a sketchpad instead.

See http://www.dcad.edu

Vivacious Vivaldi

It was a perfect afternoon for Brandywine Baroque’s Venetian Carnival. A warm breeze was blowing the leaves from the trees outside the Barn at Flintwoods. The program was sold out, and the concert manager had to add more chairs to accommodate the extra guests. All told, over 100 people were fit into the intimate performance space to enjoy the concert. An all-Vivaldi concert is surely what people want to hear, these days. Often light and airy, this music is the antidote to our everyday worries.

First up was the lovely Sinfonia Alla Rustica, RV151. In three movements, the piece quickly transported us to Venice, with its ornate, textured lyricism. It was a thrill to hear Grant Herreid on the guitar, with his beautiful tone penetrating the full-bodied music. For other pieces in the concert, Herreid performed on his theorbo, a large, lute-like instrument with 14 to 19 courses or strings. The unfretted bass-strings or “bourdons” make it the perfect figured bass instrument for a small Baroque ensemble.

Cynthia Freivogel and Martin Davids performed together in the Concerto for two violins in A minor/RV 523 and the Concerto for two violins in D major, RV 511. Accompanied by the small chamber “orchestra”, these two violinists played flawlessly and perfectly in tandem. At times, their tones and phrasing were so similar and well-blended, it was hard to tell who was playing. They were paired with Douglas McNames and Donna Fournier (cellos), for the Concerto for two violins and two cellos in G major, RV 575. McNames and Fournier performed the Concerto for two cellos in G minor, RV 531. A winning piece, the two cellists played it with both warmth and gusto.

It’s always a treat to hear soprano Laura Heimes. Her silvery voice floated through the motet Nulla in mundo pax sincera. The standard repeats were the perfect opportunity for her to showcase her agile trills and ornaments.

Vivaldi exploited the rich, romantic timbre of the cello in his Concerto for Cello in B minor, RV 424. McNames handled the long, legato lines of the Largo with sensitivity and attention to phrasing. There were moments when it seemed Vivaldi had vaulted right out of the Baroque period and into the early romantic period: the structure of the phrases are lyrical and often brooding, and the thematic development is sophisticated.

http://www.brandywinebaroque.org