Changes in venue for Mélomanie

Mélomanie is opening their twentieth season with great fanfare at the Delaware Center for Contemporary Arts.  This local ensemble has been commissioning new works and pairing them with baroque music for two decades and they are just about to launch a pairing with a hip arts center.  After playing for many years in historic Wilmington churches with great resonance and reverberation, the group is going to play in a venue which is more like a public center – a place to meet and greet.  This will present a less formal side of the ensemble and will draw attention to the fact that this group has been a prime mover in commissioning music in this area – an itinerant Delaware center for contemporary music.

The concert on Friday was at the Gore Recital Hall at the Roselle Center for the Arts – an intermediate-sized hall with a modicum of reverberation and, unfortunately, a very powerful and resonant air conditioning system.  Some of the audience who had been used to hearing the group play in stone churches felt that something was missing, yet the clear sounds of the articulation and ornaments in Tracy Richardson’s harpsichord playing was enhanced by the reduction of echo.  Her pristine performance of the Chaconne from Henry Purcell’s opera Dioclesian and the rapid ornaments in the French Suite in B Minor, BWV 814 provided a smooth beginning to introduce the world premiere Michael Stambaugh’s The machine comes to life for solo harpsichord, which Stambaugh introduced with comments on how the harpsichord differs from the piano in both mechanism and sound quality.  He did indeed do his homework for his harpsichord piece,  showing many features, including the harshness of the buff stop on Richardson’s Kingston harpsichord.

Kim Reighley, modern flute and Doug McNames, cello played Michael Colquhoun’s Three for two as one: a suite for flute and cello.  The use of percussive sounds, multiphonics, whistle tones and the weaving of parallel movement made this work particularly striking. 

And if there were any doubts about the acoustical possibilities in Gore Hall, they were dispelled after the intermission with the incredibly wide range of dynamics Christof Richter could produce on baroque violin.  At the beginning of a phrase, the sound was so soft that Mr. Richter’s bow moved before the audience could hear the sound swell in the Sonata in B Minor, BWV 1014 for violin and harpsichord by Johann Sebastian Bach.  And the colors of the sound Donna Fournier produced in the Carl Friedrich Abel Prelude and Allegro from the Suite in D Minor for viola da gamba were so rich and varied that a more resounding hall may have hidden some of those subtleties. 

Jennifer Margaret Barker introduced her world premiere of Le Passage du Temps as a re-composition of the third Bach French Suite which we heard in the first half of the program.  Her inventiveness in weaving the themes of Allemande, Courante, Sarabande and Gigue into an intricately orchestrated re-voicing of the beautiful solo keyboard work was a treat and an exemplary work by one of our local composition professors.  

Let us see what the sound at the Delaware Center for the Contemporary Arts does to recast this concert on Sunday afternoon.   

See www.melomanie.org.

The DSO is back…and kicking!

The Delaware Symphony Orchestra boldly began their new 2013-2014 season with a new piece and three exciting works from the standard orchestral repertoire. But nothing is standard about the analysis and pre-concert lectures by Maestro David Amado. His wit, vocabulary and inquisitive mind make his talks on music well worth a hurried supper. He did not disappoint with his thesis that Igor Stravinsky took the theme from Debussy’s Prelude to the afternoon of a faun for his Firebird Suite. The audience and I were perplexed by this comparison of a raucous ritualistic dance being the same as an impressionistic daydream, but on closer examination one can see it. Would that the Maestro had once again let the orchestra open their season with the version of the Star Spangled Banner for which the composer was arrested, but the audience happily sang along for the standard version from the Arthur Luck collection. 

The DSO’s  Music Committee was courageous in choosing a new piece to begin the concert and they made a safe choice: Robert Ward’s Festive Ode is a marvelous mix of extremely well-orchestrated American music which allowed each section of the orchestra to be highlighted and it was a fun homecoming experience. 

Misha Dichter took command of a beautiful Steinway grand which had so much horsepower that he managed to overshadow the orchestra for a while, but pulled back with his sensitive yet untrammeled version of the famous Variation 18.  The percussion section was magically energetic with the dies irae theme, hats off to the glockenspiel! 

Mr. Dichter played a clean, but quietly expressive Claire de Lune as an encore and Maestro Amado and the orchestra surprised him after that by playing Happy Birthday to honor the day.  (Mr. Dichter seemed pleased and surprised by the gesture.)

Mr. Amado had the orchestra illustrate the themes of the Prelude to the afternoon of a faun by Claude Debussy. The soft colors of the orchestra told us that none of the players had lost any luster in the rough and uncertain past year.  The dynamics were so soft, especially with Katy Ambrose’s delicate horn entrance on a whisper. What a woodwind section the DSO has as well!

After the impressionistic pastels came the thunderous Firebird Suite.  The strings outdid themselves with a super soft beginning and eerie harmonics.  The clarinets took the magic jazzy, klezmer lines and played them as if they were easy as pie.  The Infernal dance had that unleashed wildness led by  Donna Battista on piano and some great percussion on xylophone.  Jon Gaarder played a smooth and controlled lullaby solo before the thunderous finale. 

Welcome back to the Grand, Delaware Symphony Orchestra!

See www.delawaresymphony.org.

The 6th Annual Film Brothers Festival of Shorts

Good news for those who missed this year's Film Brothers Festival of Shorts at Theatre N (which was held in tandem with Fringe Wilmington for the past few years) -- the popular film festival has one more run at the Delaware Art Museum on October 5. In the past, The Festival of Shorts has screened films that have gone on to do big things, most notably Delaware native Luke Matheny's God of Love, which won the Academy Award for Live Action Short Film in 2011.

This year, there are eight films from all over the world, including Cracker Jack Rises by Delaware's Indie Frame Films, an entry in last year's Fringe Wilmington Film Festival (aka the "Super Noodles" festival -- the challenge being to include certain noodle-related footage in the film somehow). I would have liked to have seen a Delaware film with fewer limits, but Cracker Jack Rises is a funny and entertaining film.

The standout films for me were 30% Women in Politics in Sierra Leone, a UK film by Anna Cady and Em Cooper that blends oil painted animation with live-action footage and interviews of three women running for Parliament in post-conflict Sierra Leone. The title derives from a bill that would require the government to have a 30% quota of women representation. Even if you prefer lighter fare in film festivals, this film will engage you from beginning to end.

Another favorite does qualify as "lighter fare": a romantic, comic film called Cataplexy by Los Angeles filmmaker John Salcido. It's the story of a guy who orders a call girl, only to find that the woman they've sent is an old high school friend. Embarrassed, he explains that he has an unusual disorder, and they spend the evening catching up instead of following through on the "date." You'll probably see the punchline coming, but it's a very well done little film.

The full list of films are after the jump: