Mélomanie - the internationally acclaimed Wilmington music ensemble noted for provocative pairings of early and contemporary works - makes an exciting move this fall, bringing its concert series to the Delaware Center for the Contemporary Arts. The DCCA is a proud partner of Mélomanie and their 2013/2014 concert schedule.

Mélomanie Spring 2014 Schedule

Final Concert of the Season:
Sunday, May 11
2 pm

Mélomanie rounds out the 2013-14 season with a final performance at the Delaware Center for Contemporary Arts and a World Premiere of Buddleja Davidii by composer Richard Belcastro. With guest artists Richard Belcastro, sitarist and composer & Mark Hagerty, composer. 
World Premiere • Buddleja Davidii (2014) for the ensemble and sitar • Richard Belcastro 
Sequenza VIII for solo violin • Luciano Berio
Sonata sesta in A Minor for viola da gamba and basso continuo • Gottfried Finger
Alla râga (from Clavier Book 3) for solo harpsichord • Mark Hagerty
Trio Sonata in D Major, Wq. 83, H. 505 for flute, violin, and basso continuo • C.P.E. Bach

Tickets: $20 adults • $15 students & seniors • Youth through age 15 free

Purchase tickets at: www.melomanie.org

DCCA Members receive a discount with the code “DCCA.”

Questions for the ensemble:


What drew you to the collaboration with Richard, especially with sitar?

The title Buddleja Davidii refers to the beautiful summer plant - the butterfly bush.  Ricky Belcastro is a gardener - as am I - and he wrote his piece for Mélomanie with the beauty in mind of the plant, of butterflies, and of Mélomanie's instruments.  The harpsichord and sitar are particularly sympathetic, both being soft, plucked instruments that draw the listener to them - like the butterfly to the Buddleja Davidii.

How would you describe this piece for your audience?

The piece begins rhapsodically: Starting, pausing, and recommencing many times.  After awhile, we get into a rhythmic groove that accelerates over the course of the piece, driving the motion.  Meanwhile the instruments combine in various duets and other combinations.  The sound is reminiscent of classical Indian music.  


Sitar with period instruments in an exotic combination. What led you to connect them musically?

When we (the ensemble members and I) first met to discuss a new work for Mélomanie, we quickly began to imagine the very natural ways that sitar's sound could compliment the qualities of the ensemble's unique instrumentation.  The shimmering overtones, haunting buzz, and sultry glissandi produced by the sitar allow it to move within the ensemble in fascinating ways.  The initial thought is that the sitar will stand out significantly when placed with more traditional western instruments. While the sitar certainly has a uniqueness that commands attention, careful orchestration allows the instrument to blend into the accompaniment or serve in supporting roles as naturally as it shines in solo passages.  My desire was to create a work that does not simply treat the sitar as a featured soloist, but rather as an intricate member of the ensemble - an ensemble unlike any we're accustomed to experiencing.