Sunday, February 25, 2018

DSO's Third Chamber Concert Celebrates Black History Month

By Christine Facciolo

The Delaware Symphony Orchestra used the occasion of its third chamber series concert of the season to commemorate both Black History Month and the 50th anniversary of the passing of Dr. Martin Luther King, Jr.

The February 20 program, titled “Triumph over Adversity," featured an eclectic mix of solo piano pieces, chamber music, German Lieder and African-American spirituals performed by symphony members David Southorn (concertmaster), Philo Lee (principal cello), Lura Johnson (principal piano) and guest artist bass-baritone Kevin Deas.

Johnson opened the concert with a performance of Mendelssohn’s Rondo Capriccioso in E major. This is a work that contains the meaty technical challenges that showcase Johnson’s virtuosity, something DSO audiences rarely get to hear. She delivered the Andante section with suitable solemnity then launched into the Presto without hesitation.

Johnson was then joined by Southorn and Lee in a performance of the composer’s Piano Trio No. 2 in C minor. One could not help but be impressed by the unflagging passion and athleticism of the musicians. They gave it their considerable all. From the darkly etched and fiery opening movement, to the emotional slower passages and the skittering scherzo, they generated a palpable energy that culminated in a rousing and brilliant finale.

After intermission, bass-baritone Kevin Deas processed into the Gold Ballroom singing Wayfairing Stranger, an entrĂ©e to the segment of the program devoted to the spiritual. If Paul Robeson is considered to be the gold standard of this vocal fach, then Deas is not far behind. Deas’ voice was nothing short of breathtaking, as he applied it to some of the repertoire’s best-loved spirituals, including Wade in the Water and City Called Heaven.

Deas proved to be a most gracious artist as well, taking to the microphone to inform the audience about the function of the Negro spiritual as well as the unlikely collaboration between Czech composer Antonin Dvorak and the African-American classical composer Henry Burleigh, who made the arrangements of the spirituals heard this concert.

Deas also offered some personal insights into his selections, as in how his mother hated to hear him sing Sometimes I Feel Like a Motherless Child, until he explained that the song wasn’t a personal commentary on their relationship but rather an expression of despair and hopelessness.

Deas then offered several selections of Schubert Lieder that were in keeping with the concerts overall theme of life’s long journey, including Der Wegweiser (from “Die Winterreise”), Wohin (from “Die Schone Mullerin”), Im Abendrot and Dem Unendlichen. Johnson prefaced this section with an expressive yet unsentimental rendering of the composer’s lyrical Impromptu in G-flat major.

Deas also performed I Heard the Cry of Wild Geese, an expression of longing for home and loved ones, from Four Songs on Chinese Poetry by Pavel Haas, the Czech composer who perished in the Holocaust.

Johnson also performed Liszt’s transcription of Widmung (“Dedication”), a song that Robert Schumann had originally in 1856 for Clara Wieck, whom he married that year. Although her technical mastery would allow her to grandstand the more virtuosic passages, Johnson downplayed this aspect of the piece in favor of the fervor of Schumann’s music. She prefaced her performance with a reading of the German text and its accompanying English translation.

Deas concluded the concert with Deep River, a selection he called probably the best-known and best-loved spiritual.

See www.delawaresymphony.org.

Saturday, February 24, 2018

Call for Applications: Boysie Lowery Living Jazz Residency

Content of this post comes courtesy of a press release from the City of Wilmington...

Wilmington Mayor Mike Purzycki is pleased to share the following news release from the Light Up The Queen Foundation, which is looking for young composers and performers to become part of a local jazz residency program named after jazz great Boysie Lowery. Wilmington’s Acting Cultural Affairs Director, Tina Betz, is heading up the search for talented young people who would like to participate in this year’s residency program based in Wilmington.

The Light Up The Queen Foundation today announced the official open call for applications from composers/performers, ages 17 to 25, who would like to be participants in the 2018 Boysie Lowery Living Jazz Residency Program. This year’s program will be held in Wilmington, Delaware, June 10-24, 2018. The Residency is fully subsidized, including meals and housing. Johnathan Whitney serves as the Program Director.

Applications will be accepted until 5:00pm on March 31, 2018. Applicants may submit their information or learn more about the program by visiting www.boysieloweryjazzresidency.com.

Between 12 and 15 young people will be selected for a two-week residency in performing, composing, arranging and improvisation. The Boysie Lowery Living Jazz Residency is designed to give participants an intense learning experience that will help them begin to find their sound, mature as a player, mature as a musician, and make lasting connections with like-minded peers. Participants will be introduced to a variety of harmonic, melodic, sonic, and textural possibilities, and then be asked to apply them to new compositions.

The residency program will include numerous semi-public performance opportunities, culminating with a final concert to be performed on June 24 at the historic Queen Theater in downtown Wilmington. The 2018 residency is being presented in collaboration with the City of Wilmington’s 30th Anniversary DuPont Clifford Brown Jazz Festival.

About Robert “Boysie” LoweryThe Boysie Lowery Living Jazz Residency is named after and inspired by the late Robert “Boysie” Lowery. After moving to Wilmington, Delaware in the 1940’s, Lowery began his extraordinary career as a jazz educator. For over 50 years, he taught hundreds of aspiring musicians. His most noted pupil was the late Clifford Brown, considered by many to be the finest trumpeter of the time. Clifford began his study with Lowery at the age of 12 while a student in Wilmington’s public schools. Lowery’s list of pupils also includes some of the finest jazz musicians to come out of the Delaware Valley, including Lem Winchester, Ernie Watts, Abdu-Rashid Yahya, Marcus Belgrave, and Gerald Chavis. In addition, Lowery had been sought out by musicians as far away as Russia (Valery Ponomarev) and Africa (Hugh Masekela). Prior to his death in 1996, the Mid Atlantic Arts Foundation awarded Lowery with its 1995 Living Legacy Award.

About the Light Up The Queen FoundationThe Light Up The Queen Foundation, a Delaware 501c3 non-profit corporation, is dedicated to the revival of the Queen Theater in Wilmington, Delaware, and to assuring that The Queen becomes a catalyst for building community through music, the arts and community engagement programs.

Friday, February 23, 2018

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.