The Wilmington Community Orchestra performed the Russian Easter Overture, Opus 36 by Nickolai Rimsky-Korsakov and in doing so showed off some of the talented players. Larry Hamermesh, concertmaster, played his solos with panache and the clarinet work of Anthony Pantelopulos and Michelle Webb was a delight. Melinda Bowman’s soaring and delicate flute lines created a spider web of texture for the orchestra. Barry Morris, Pete Witherell and Jim Yurasek took on the demanding trombone parts with ease and it sounded great. I was also delighted to hear the double basses shine in their rhythmic underpinning to the very striking overture.
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| Charles Abramovic, piano |
But when Charles Abramovic began to play the Piano Concerto No. 1 in E-flat major by Franz Liszt, I could not listen to anything but the amazing piano sounds. Mr. Abramovic is an excellent pianist, but I had heard him play mainly modern piano music before this concert, so I was overwhelmed by his ability to make the piano notes ring and reverberate with the sort of perfect declamatory sound that is so characteristic of romantic music. The concerto is an unbelievable tour de force technically, but Mr. Abramovic seemed unconcerned by notes and dedicated to following the conductor and the orchestra. His dynamic control was superb and he had passages where he had to put a theme forward and have all twenty other fingers play rather quietly in the background. In the finale of the concerto, he played a resounding fortissimo which went deep into the keyboard to produce a ringing and resonant echo for the orchestra. It was quite a feat and he richly deserved the booming applause.
Dr. Schwartz spoke of the excitement of a premier on March 23, when the WCO will host the unveiling of a violin concerto composed specifically for the Wilmington Community Orchestra by English composer David Osbon, who came to hear them last year when they were rehearsing for another concert. The composer will conduct while the conductor plays the concerto.
See www.musicschoolofdelaware.org.
By Guest Blogger, Chuck Holdeman
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. www.chuckholdeman.com
Tuesday evening's Delaware Symphony concert — the second in its elegant chamber music series in the Hotel DuPont's Gold Ballroom — was perhaps the quirkiest ever presented there. It featured bassoonist Jon Gaarder impersonating Elvis, in full regalia, performing composer Michael Daugherty's Dead Elvis, written in 1993 and incorporating the well-known chant for wrath of judgment day, the Dies Irae. As a former DSO bassoonist myself who performed this work in 2008, I took great pleasure in witnessing the whole wacky spectacle from the outside.
Daugherty chose the same instrumentation as Stravinsky's Soldier's Tale, a septet mixture of woodwinds, brass, strings, and percussion, the work which comprised the second half of Tuesday's concert. And speaking as primarily a composer now, I can continue to wonder — how did Stravinsky do it? There is a certain thinness in the texture with so few colors from each family of instruments, but this results in a wonderful clarity, a bracing zap to the ear of each instrument's declamation.
Perhaps the most poignant and plaintive movement was the duet for Gaarder's bassoon and Jonathan Troy's clarinet — so few notes and so much expression. The chorales near the end were gorgeous, but how 'bout the romping rhythms of the marches, the ragtime, and other dances? DSO concertmaster David Southorn was brilliant in the athletically demanding violin part; in time his Tango may become even more sly. All this is in the service of a Russian folk tale, a version by Swiss author C. F. Ramuz, originally in French. Conductor David Amado explained how the standard English translation can sound stilted and even boring, and so Amado undertook his own edited revision, very successful to this listener.
I particularly enjoyed the use of lots of rhyming, and also references to our time and place- the soldier marches "between Lums Pond and Bear," and at another point is treated to chicken wings. Three readers told the story: OperaDelaware's Brendan Cooke as the soldier, joined by two Delaware Theater Company executives, Bud Martin as a wittily sarcastic Devil, and Charles Conway as the Narrator. The large audience was uninhibited in both laughter and applause.
For Dead Elvis, Gaarder chose a sparkly white jumpsuit, white shoes, a thick (not really greasy) wig, and giant shades. He sauntered on stage with characteristic Elvis gestures and wiggles, and also smoothed his locks during the music's sudden pregnant pauses. The music is a study in zany extremes, the bassoon screaming to its ultimate high E or plummeting to its grotesque low B-flat. The tiny E-flat clarinet screeches, the trombone wails its glissandi, the drummer, the DSO's veteran master Bill Kerrigan, flails his collection of bells and other high-pitched gadgets.
I highly recommend this most entertaining and musically rewarding show which will be repeated Friday night, January 31 at 7:30 PM at the Queen Theater, World Cafe Live. The next two DSO concerts at the Hotel DuPont are on February 25 and April 1.
See www.delawaresymphony.org.
By Guest Blogger, Chuck Holdeman
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. www.chuckholdeman.com
The fourth annual spirituals concert at Wilmington's Episcopal Church of Saints Andrew and Matthew was heard by a large and appreciative audience on Sunday evening, January 26. Led by the church's music director David Christopher, the varied program featured choral music, two vocal soloists, The Chamber Choir of the Wilmington Children's Chorus, as well as Christopher performing organ solos. His relaxed presentation of each piece kept the whole audience in his hand, providing fascinating background about the music's African-American roots, including the Go Down Moses organ fantasia by the late Nigerian-American composer Fela Sowande, who left no device untried, from Bach to Max Reger, from tragic to triumphant.
Included was a nod to the choral tradition of Fisk University — Rockin' Jerusalem by John Wesley Work III. The program also included masters of the genre Harry T. Burleigh (the sung version of Go Down Moses) and William Grant Still (Here's One). While most of the selections were part of the older spiritual tradition, one selection was, in Christopher's word, "gospelized," Mark Hayes' dancing version of This Little Light of Mine. The evening's two soloists were the church choir's irrepressible Tina Betz and the young professional mezzo and UD graduate, Melody Wilson. Wilson possesses a rich colorful voice, especially in the middle register. This spring, Wilson will participate in the recording of Terence Blanchard's jazz opera Champion. Wilson will sing in the chorus, also serving as understudy to Denise Graves.
The Wilmington Children's Chorus, under the direction of Kimberly Doucette, sang André Thomas' Keep Your Lamps, accompanied by the solo djembe drum of associate director Phillip Doucette. The young group of about 40 sang with wonderful precision and tone — even the young bass singers sounded convincing and full. The djembe part seemed to be intended to give life and variety to the many verses in slow tempo, but nevertheless came off as an add-on, somewhat out of the style of the song.
The church choir was augmented by members of Christopher's Delaware Valley Chorale. It was a pleasure to see seasoned artists like Dana Robertson there to add luster to the music. Audience participation was also part of the mix, and Clayton White's arrangement of Ain-a that Good News from Horace Boyer's African-American Hymnal (LEVAS II) was a stand out. Christopher told me afterward that he was impressed and delighted by the big sound of the audience's voices!
