Category Archives: Baroque music

Thank you, Mélomanie, for Nobility of Women encore

Had a blast at Mélomanie’s season opener last night: Telemann, Boismoitier, a Chris Braddock world premiere, and selections from recent commissions, including The Nobility of Women, which they had premiered in January.

I always enjoy hearing the music of Ingrid Arauco, Mark Hagerty, and Chuck Holdeman. I love hearing Priscilla play… anything, or anything of mine, or that Boismoitier, which was a delight. The audience loved everything.

Nobility was represented by the Sarabande (Priscilla’s solo, with cello and harpsichord) and the closing Canario (which also closed the concert), with the whole band. Immanuel Church Highlands in Wilmington is a jewel of a venue for concerts: live, but not too, and beautiful. Mélomanie sounded terrific.

Truth be told, you do take a chance with so many live composers on one concert. Many came up after, in the sanctuary or at the Columbus Inn reception, to tell me how much they were transported by Nobility. Especially did I appreciate the comments of one woman, who was moved by my ingenious picturing of the river. She could really feel the movement of the water, and all I could do was thank her. She was so dear and inspiring with her compliments that I didn’t have the heart to tell her that I wasn’t Mark Hagerty.

(He deserved those compliments for Trois Rivières, so I happily passed them along to him!)

The Nobility of Women, Mélomanie season opener

Mélomanie’s 2012-13 season begins tomorrow night at Immanuel Church, Highlands in Wilmington with a potpourri of excerpted recent commissions. The Nobility of Women will be on the program, along with music by Ingrid Arauco, Mark Hagerty, Chuck Holdeman, and the premiere of The Grease in the Groove by Chris Braddock. Boismortier and Telemann are on tap, and Priscilla’s playing, too!

I cannot be objective about the Braddock piece, because it has a 12-string guitar, and I automatically love anything with a 12-string guitar.

Mélomanie always puts on a great show, and it’ll be great seeing them all again.

Bridges

Vespers uses Renaissance instruments; The Waking Sun and The Nobility of Women, Baroque. Some people have asked how do I do it, and why. We composers rarely ask ourselves “why” questions, but fair enough.…

In the Broad Street Review…

Response to St. John Passion in Broad Street Review

Thomas Lloyd agrees and disagrees a bit with me in the Letters section of the Broad Street Review. We corresponded quite a bit on this, after my article (itself a response) on Bach, the St. John Passion, and the charge of anti-Semitism. Our emails drifted into the area of historical criticism of the authorship of John’s Gospel, but Dan Rottenberg’s editing spared BSR readers from our wisdom on that topic, for now.

Lloyd directs the Bucks County Choral Society, and choral and vocal studies at Haverford College. Bach is in good hands with Tom’s championing of his music, as I also have been!

 

Bach, St. John Passion, anti-Semitism

In the Broad Street Review, I reply to an article…

I’m glad that Steve Cohen has a hard time believing Bach to be anti-Semitic. It’s hard to believe because Bach isn’t. Nor is his St. John Passion, nor is John’s Gospel (which Bach sets verbatim), nor are the churches that read it every year.… “Only those who cry out for the Jews may also sing Gregorian chants,” Dietrich Bonhoeffer observed in 1935.…

more here…

 

The Nobility of Women, Delaware press

From the Flute Pro Shop: “a total triumph… entrancing… fresh harmonic language, and counterpoint (this is counterpoint that is not always  imitative-very interesting!) and instrumentation which reminds me of operatic ensembles in which each character retains their personality….Kile Smith’s musical voice is unique and compelling.”

From Delaware Arts Info: “The work is a series of dances which have both a baroque inspiration and a modern treatment– especially the fanfare of the Overture. Smith’s mastery of detail (his years as librarian of the Fleisher collection made their mark) was evident in his his careful consideration of each instrument as a soloist.”

Both had illuminating, complimentary, and well-deserved comments about the players, including this: “Priscilla Smith brought a very fresh and unadorned mastery of baroque oboe to the fore as she played the beautiful, quiet and almost vibrato-free melodies of Telemann and Couperin. Her youth and talent promise a great deal for her future. She already has an impressive resume of performances as a baroque player.”

Huzzahs to Priscilla and Mélomanie!