Program - Jeffrey/Gabriel Kahane & '80s Dance Party

MASTERWORKS • 2015-2016 GERSHWIN CONCERTO FEATURING JEFFREY KAHANE COLORADO SYMPHONY JEFFREY KAHANE, conductor and piano GABRIEL KAHANE, vocals and guitar Friday’s concert is gratefully dedicated to Stephen Brett and Linda Shoemaker Saturday’s concert is gratefully dedicated to Tom and Noël Congdon

Friday, April 15, 2016 at 7:30 pm Saturday, April 16, 2016 at 7:30 pm Sunday, April 17, 2016 at 1:00 pm Boettcher Concert Hall BERNSTEIN Fancy Free Dance of the Three Sailors Scene at the Bar Enter Two Girls - Pas de Deux Competition Three Variations: Galop, Waltz, Danzon Finale GABRIEL KAHANE Crane Palimpsest for Vocalist and Orchestra Prologue I. How many dawns, chill from his rippling rest a.

Vinegar Hill: How many dawns have I woken II. I think of cinemas, panoramic sleights b.

BMT: Heard you calling my name III. Out of some subway scuttle, cell or loft c.

The Navy Yard: Side by side on Flushing by the rail IV. O harp and altar, of the fury fused d.

Hicks Street: Washington Roebling, like his father before him V. Again the traffic lights that skim thy swift unfractioned idiom — INTERMISSION — GERSHWIN Concerto in F for Piano and Orchestra Allegro Andante con moto Allegro agitato

SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG PROGRAM 1

MASTERWORKS BIOGRAPHIES JEFFREY KAHANE, conductor and piano Equally at home at the keyboard or on the podium, Jeffrey Kahane has established an international reputation as a truly versatile artist, recognized by audiences around the world for his mastery of a diverse repertoire ranging from Bach, Mozart and Beethoven to Gershwin, Golijov and John Adams. Since making his Carnegie Hall debut in 1983, Mr. Kahane has given recitals in many of the nation’s major music centers including New York, Chicago, Boston, San Francisco, Los Angeles and Atlanta. He appears as soloist with major orchestras such as the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra and the San Francisco Symphony and is also a popular figure at all of the major US summer festivals. Kahane is equally well-known for his collaborations with artists and chamber ensembles such as Yo-Yo Ma, Dawn Upshaw, Thomas Quasthoff and the Emerson and Takacs Quartets. Currently in his 19th season as Music Director of the Los Angeles Chamber Orchestra, Mr. Kahane concluded his tenure as Music Director of the Colorado Symphony in June 2010 and for ten seasons was Music Director of the Santa Rosa Symphony, where he is now Conductor Laureate. An avid linguist who reads widely in a number of ancient and modern languages, Mr. Kahane received a Master’s Degree in Classics from the University of Colorado at Boulder in 2011. Beginning in the fall of 2015, he will be a Visiting Professor of Keyboard Studies at the University of Southern California Thornton School of Music. Jeffrey Kahane resides in Santa Rosa with his wife, Martha, a clinical psychologist in private practice. They have two children — Gabriel, a composer, pianist and singer/songwriter and Annie, a dancer and poet.

GABRIEL KAHANE, vocals and guitar Over the last decade, Gabriel Kahane has quietly established himself as one of the leading exponents of American song, grafting a deep interest in character and narrative to a keen sense of harmony and rhythm. On the heels of his major label debut, The Ambassador, hailed by Rolling Stone as «one of the year›s very best albums», Kahane recently released his fifth LP, The Fiction Issue, an album of chamber works performed by string quartet Brooklyn Rider, alongside Shara Nova (Worden) of My Brightest Diamond, and Kahane himself. This season, Gabriel makes his European debut with concerts at the Paris Philharmonie, Finland’s National Theater in Helsinki (with violinist Pekka Kuusisto and the Ostrobothnian Chamber Orchestra), London’s King Place, as well as dates in Glasgow, Bremen, Lyon, and Nantes. He also appears in recital throughout North America with pianist-composer Timo Andres, culminating in a second headline evening at Carnegie Hall. A tireless collaborator, Kahane has worked with artists ranging from Sufjan Stevens and Chris Thile to John Adams and Jeremy Denk. He has been commissioned by, among others, the Brooklyn Academy of Music, Carnegie Hall, the Los Angeles Philharmonic, and Orpheus Chamber Orchestra. An avid theater artist, Gabriel starred at BAM in the criticallylauded staged version of The Ambassador, directed by Tony-winner John Tiffany. He is also the composer-lyricist of the musical February House, which was premiered in 2012 at the Public Theater, for whom Gabriel is currently writing a new evening-length work. A fellow of both the MacDowell Colony and Yaddo, Gabriel lives in Brooklyn, NY.

PROGRAM 2 SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG

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MASTERWORKS PROGRAM NOTES LEONARD BERNSTEIN (1918-1990): Fancy Free Leonard Bernstein was born on August 25, 1918 in Lawrence, Massachusetts, and died on October 14, 1990 in New York City. Fancy Free was composed in 1944 and premiered on April 18, 1944 in New York, conducted by the composer. The score calls for woodwinds in pairs plus piccolo, four horns, three trumpets, three trombones, tuba, timpani, percussion, piano and strings. Duration is about 30 minutes.. Fancy Free was last performed on July 3, 1976, with Bruce Hangen conducting.

Leonard Bernstein was 25 years old when he came to national prominence. On his birthday, August 25, 1943, he was named Assistant Conductor of the New York Philharmonic; on November 14th he substituted at short notice for the ailing Bruno Walter in a nationally broadcast concert that made him an overnight sensation. At that same time, he received a commission from New York’s Ballet Theatre to compose the score for his first ballet, Fancy Free, a production that would also mark the debut of Jerome Robbins as a choreographer. Oliver Smith created the decor and Kermit Love designed the costumes. Fancy Free, conducted by the composer, premiered at the Metropolitan Opera House in New York on April 18, 1944. It was a smash. The ballet played 99 times in New York that year, and Bernstein, Adolf Green and Betty Comden made its premise (though not its music) into the musical On the Town, which opened on Broadway on December 28, 1944. Bernstein derived an orchestral suite from the complete score of the ballet and conducted its first performance with the Pittsburgh Symphony Orchestra on January 14, 1945.

Fancy Free is set in a deserted street in lower Manhattan in 1944. It is night. Three sailors on shore leave burst onto the scene, joking and joshing, ready for fun. They enter a bar and order three beers, but soon return to the street, where a pretty brunette passing by captures their attention. They tease her, she seems interested, and two of the boys strut away on her arms, leaving the third sailor on his own. Just as he heads back into the bar, another girl, an alluring redhead, appears and accepts his invitation to join him for a drink. They dance a Pas de Deux of mounting intensity that signals their mutual attraction. Their reverie is broken by the return of the other sailors with the brunette. The boys learn, without much surprise, that the two girls are old friends. They all stroll into the bar together, where they settle on a dance competition, judged by the girls, to decide which two of the three sailors will have companions for the evening. The first sailor does a boisterous Galop, the second a lyrical Waltz, and the third a sinuous Latin Danzon. The contest settles nothing, however, and the sailors resort to a brawl to decide the matter. The girls stalk out of the bar, and disappear into the night by the time the boys have finished their fight. The trio is suddenly struck by the humor of their situation — they have beaten each other up in vain — and they share a friendly drink before strolling back into the deserted street. A tempting blonde saunters by. The boys hesitate for only a moment before following her off into the city lights.

o PROGRAM 4 SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG

MASTERWORKS PROGRAM NOTES GABRIEL KAHANE (B. 1981): Crane Palimpsest for Vocalist and Orchestra Gabriel Kahane was born in 1981 in Venice Beach, California. Crane Palimpsest was composed in 2012, and premiered on March 22, 2012 at Zankel Hall in Carnegie Hall in New York City by the American Composers Orchestra, conducted by George Manahan with the composer as soloist. The score calls for flute, oboe, clarinet, bassoon, (all four doubling on tuned beer bottle), two horns, two trumpets, trombone, tuba, percussion, strings, and the vocalist also playing piano and acoustic guitar. Duration is about 20 minutes. This is the first performance by the orchestra.

“Gabriel Kahane,” according to the biography on his web site (gabrielkahane.com), “is a songwriter, singer, pianist, composer, devoted amateur cook, guitarist and occasional banjo player … [who] writes string quartets and musicals and pop songs, with his heart fully in all of those endeavors.” Kahane, the son of acclaimed pianist and conductor Jeffrey Kahane, was born in 1981 in the artsy Los Angeles suburb of Venice Beach, moved between the coasts several times during his youth, and spent a year studying jazz at the New England Conservatory of Music in Boston before completing his undergraduate degree at Brown. He moved to New York City after graduating in 2003 and worked as music director with the newly founded theater company Les Freres Corbusier, which won an Obie Award that year for its Off-Off-Broadway premiere of the satirical musical A Very Merry Unauthorized Children’s Scientology Pageant. Kahane established his reputation as a composer and performer with appearances and the recording of his 2006 song cycle Craigslistlieder, which took its texts from want ads posted online on Craigslist. (Zachary Woolfe of The New York Times called it “kind of classical-yet-poppy, ironic-yet-musical” — the song titled Neurotic and Lonely, for example, is based on a post from a “slightly hunched, occasionally employed anthropologist, chainsmoking jew, currently living with parents, off from school to deal with emotional problems [medicated], seeks gorgeous artsy genius woman interested in philosophical discourse, making out, television, woody allen movies.”) Kahane has since received wide notice for the chamber and vocal works he has performed from small clubs to such prestigious venues as Carnegie Hall, Lincoln Center, Library of Congress, Walt Disney Concert Hall in Los Angeles, and the Vail, Caramoor and Aspen summer festivals.

Kahane has collaborated with singer-songwriters Sufjan Stevens and Rufus Wainwright, appeared in concert with Chris Thile, Brad Mehldau, Alisa Weilerstein, John Adams and the Kronos Quartet, received commissions from the Los Angeles Philharmonic, American Composers Orchestra, Orpheus Chamber Orchestra and other noted ensembles and performers, and been a Fellow at the MacDowell Colony and at Yaddo. Kahane released his second CD in 2011 (the song cycle Where Are the Arms), premiered his full-length musical February House at New York’s Public Theater in May 2012 and recorded its score on the StorySound label, and recently completed Gabriel’s Guide to the 48 States, a song cycle based on the American Guide Series published by the Works Progress Administration, the New Deal program to put Americans back to work during the Great Depression. His 2014 CD release, The Ambassador, for which he used ten buildings in Los Angeles to inspire songs about life in that city from World War II to the present, was staged by director John Tiffany and set designer Christine Jones, both Tony Award winners.

(The fashionable Ambassador Hotel was a favorite celebrity haunt, location for two dozen highprofile feature films, host to early Academy Award ceremonies, home to the legendary Cocoanut Grove nightclub, and site of the assassination of Robert F. Kennedy; it was demolished in 2005.)

Kahane composed Crane Palimpsest in 2012 on a joint commission from the American Composers Orchestra and the Los Angeles Chamber Orchestra; it was premiered on March 22, SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG PROGRAM 5

MASTERWORKS PROGRAM NOTES 2012 at Zankel Hall in New York’s Carnegie Hall by the ACO conducted by George Manahan, with the composer as soloist. Kahane wrote of it, “Crane Palimpsest is a meditation on the Brooklyn Bridge that juxtaposes settings of stanzas from Hart Crane’s poem To Brooklyn Bridge with songs set to my own lyrics in response to Crane’s text. [A ‘palimpsest,’ according to the New Oxford American Dictionary, is ‘a manuscript or piece of writing material on which the original writing has been effaced to make room for later writing but of which traces remain; something reused or altered but still bearing visible traces of its earlier form.’] I’ve literalized the idea of ‘the bridge’ in the sense that two distinct musical vocabularies are in play and cross paths — the first being the more formal language heard in the introduction and the first several stanzas of the Crane poem, the second being the vernacular or pop-based harmonic language in the songs with my own words. As the piece reaches a kind of peripeteia [i.e., a turning point] around the line ‘O harp and altar,’ it’s as if the two languages meet on the bridge and are exchanged: The final song with my own lyrics begins in a dense and dissonant setting before giving way to the final stanzas of the Crane poem, which are set in an unapologetically open harmonic atmosphere.”

I. How many dawns, chill from his rippling rest, The seagull’s wings shall dip and pivot him, Shedding white rings of tumult, building high Over the chained bay waters Liberty.

Then with inviolate curve forsake our eyes.

As apparitional as sails that cross some pages of figures to be filed away; til elevators drop us from our day ...

And I cross the river the salt and foam, the sun begins to shiver as I make my way home and I think of Hart Crane, the bridge on his mind.

O Grey Towers, cloud and thunder There for hours, bowed in wonder Sky, the scale of, perfect tension High, the veil of, your ascension How many dawns have lost myself crossed myself, under your weight?

Concrete, the strait ...

a. Vinegar Hill How many dawns have I woken clutching my head, filled with this dread?

The girls were all lined up and smoking, wired to feign, a tired refrain ...

I fell in love with the view when the city went dark; I slept in the park.

Oh the bridge may sag, but it will not fall were the engineer’s words in that great marble hall to those men, and they heard the call.

And I walk outside and the street’s a mess cause the city got drunk in a little black dress I walk to the bridge and think of Hart Crane.

Seagulls and summer suits, tourists with novocain hearts, staring at the food carts; Boys on their bicycles have fashionable haircuts well-shined Frank Gehry-designed

II. I think of cinemas, panoramic sleights, with multitudes bent toward some flashing scene.

Never disclosed but hastened to again, Foretold with other eyes on the same screen.

PROGRAM 6 SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG

MASTERWORKS PROGRAM NOTES And Thee, across the harbor, silver-paced As though the sun took step of thee, yet left Some motion ever unspent in the stride, — Implicitly thy freedom staying thee! b. BMT

You were tender and sweet, I lifted you off of your feet, kissed you slow, in the glow of the bridge and the blue, and the metal machine that carried me out of that dream, plastic chair, I don’t care, I was thinking of you.

Heard you calling my name the teeth of the city they came into view, smear of blue, how you wait to be seen.

III.

Now so much grease on the glass from all of the people who pass through the car, grip the bar, oh your angles are clean.

Out of some subway scuttle, cell or loft A bedlamite speeds to thy parapets, Tilting there momently, shrill shirt ballooning A jest falls from the speechless caravan!

When I sleep on the train the rats will get on with their game, chew the rail, through the rail and get out of the way.

Down Wall from girder into street noon leaks a rip-tooth of the sky’s acetylene; All afternoon the cloudflown derricks turn ...

Thy cables breathe the North Atlantic still. c. The Navy Yard

Spires and steel will fall, all the secrets of the city will reveal themselves, the wires and wheel will call, all the fishermen are ... they are frightened by the cloudy wonder.

Side by side on Flushing by the rail, where unattended mansions fail, Walked in light, with little left to say I’ll say it anyway.

Called you up just to talk, you said “shall we go for a walk?” time was set, and we met, it went mostly as planned.

Touch your hand mechanically retract and in that gesture there’s a fact, I demand to hear it spoken loud for I am not too proud.

But on the promenade slate how you caught your shoe on the grate, such a fall, I recall, you kept holding my hand.

Oh my love, is it done, is it done is it done, is it done, oh darling, oh my love, you were one, you were one, you were one, you were one, who could suspend ...

I said this is the place, with two fingers I touched your face, turned your head, face was red, feeling pride for the view,

Wind is high the river shrill and grey, we walk the bridge before you walk away, All real life is vivid when it breaks, a decade or a day,

SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG PROGRAM 7

MASTERWORKS PROGRAM NOTES Oh my love, how these wires, how these wires, how these wires, they can suspend a great love, oh my love never tires, never tires, never tires.

And Hart Crane was drinking by the same drafty window, when the ghost of the engineer, right through the floorboards he crept.

IV. O harp and altar, of the fury fused Come to the bridge my love How could mere toil align the choiring strings? let me show you the view Terrific threshold of the prophet’s pledge let’s lean over the railing and sing: Prayer of pariah and the lover’s cry O Harp and Altar!

The bridge will take your breath away, in the shadow there’s a plan, I pray that I find peace today, and for a sympathetic man, There in the window, Hart Crane worships the wires, and he chokes out a tiny whisper to the visiting ghost.

The bridge is the Godhead, unconflicted cathedral where wires and the anchorage are a kind of heavenly host.

d. Hicks Street V. Washington Roebling, like his father before him dreamt of caissons and catenaries when his mind was unstrung.

Emily Roebling, while her husband was ailing, fought off all of his adversaries, she was quiet, unsung.

The bridge will take your breath away — all the rumors say it’s so, we pray that there’s no death today among the men who work below.

There in the window, Roebling watched the proceedings, he was too sick for ceremony, how he openly wept.

Again the traffic lights that skim thy swift Unfractioned idiom, immaculate sigh of stars.

Beading thy path — condense eternity: And we have seen night lifted in thine arms ...

Under Thy shadow by the piers I waited.

Only in darkness is thy shadow clear.

The city’s fiery parcels all undone, Already snow submerges an iron year.

O sleepless as the river under thee, Vaulting the sea, the prairies’ dreaming sod, Unto us lowliest sweep, descend and of the curveship lend a myth to God.

o PROGRAM 8 SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG

MASTERWORKS PROGRAM NOTES GEORGE GERSHWIN (1898-1937): Concerto in F for Piano and Orchestra George Gershwin was born on September 26, 1898 in Brooklyn, New York, and died on July 11, 1937 in Hollywood, California. The Concerto in F was composed in 1925, and premiered on December 3, 1925 in New York, conducted by Walter Damrosch with Gershwin as soloist. The score calls for piccolo, two flutes, two oboes, English horn, two B-flat clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings. The work was last performed on May 8-10, 2009, with Jeffrey Kahane as the soloist and Larry Rachleff conducting the orchestra.

Walter Damrosch, conductor of the New York Symphony and one of this country’s most prominent musical figures for the half-century before World War II, was in the Aeolian Hall audience when George Gershwin’s Rhapsody in Blue exploded above the musical world on February 12, 1924. He recognized Gershwin’s genius (and, no doubt, the opportunity for wide publicity), and approached him a short time later with a proposal for another large-scale work.

A concerto for piano was agreed upon, and Gershwin was awarded a commission from the New York Symphony to compose the piece, and also to be the soloist at its premiere and a half dozen subsequent concerts. The story that Gershwin then rushed out and bought a reference book explaining what a concerto is probably is apocryphal. He did, however, study the scores of some of the concertos of earlier masters to discover how they had handled the problems of structure and instrumental balance. He made the first extensive sketches for the work while in London during May 1925. By July, back home, he was able to play for his friends large fragments of the evolving work, tentatively entitled “New York Concerto.” The first movement was completed by the end of that month, the second and third by September, and the orchestration carried out in October and November, by which time the title had become simply Concerto in F. Gershwin provided a short analysis of the Concerto for the New York Tribune: “The first movement employs a Charleston rhythm. It is quick and pulsating, representing the young, enthusiastic spirit of American life. It begins with a rhythmic motif given out by the kettledrums, supported by other percussion instruments and with a Charleston motif introduced by bassoon, horns, clarinets and violas. The principal theme is announced by the bassoon. Later, a second theme is introduced by the piano. The second movement has a poetic, nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated. The final movement is an orgy of rhythms, starting violently and keeping the same pace throughout.”

Though Gershwin based his Concerto loosely on classical formal models, its structure is episodic in nature. His words above do not mention several other melodies that appear in the first and second movements, nor the return of some of those themes in the finale as a means of unifying the work’s overall structure. ©2015 Dr. Richard E. Rodda

2015/16 Season Colorado Symphony Pops Series presented by Arrow Electronics

POPS • 2015-2016 80’S DANCE PARTY: CLASSIC RETRO HITS COLORADO SYMPHONY ANDRES LOPERA, conductor MISTER TIM vocals HANNAH JUDSON, vocals Thursday , April 21, 2016 at 7:30 pm Boettcher Concert Hall

Theme from Dallas

Theme from Remington Steele

Raiders March from Raiders of the Lost Ark

Ghostbusters

Theme from Miami Vice

Take On Me

Careless Whisper

TV Heroes Medley

Hawaii Five-0, Quincey, Hill Street Blues, Hart to Hart

Beverly Hills Cop

The Heat is On, Axel F, Shakedown

— INTERMISSION —

Overture to The Marriage of Figaro (Trading Places)

Chariots of Fire

Flashdance

Land Down Under

Wake Me Up Before You Go Go

Michael Jackson Medley

PROGRAM 10 SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG

POPS BIOGRAPHIES ANDRES LOPERA, conductor Colombian conductor Andres Lopera is one of the leading Latin-American artists in the United States with nearly a decade of engagements in both North and South America. A passionate conductor who believes in the transformational power of music, Lopera is now the Assistant Conductor of the Colorado Symphony having formerly led the Oregon Symphony, Toledo Symphony, New World Symphony, National Repertory Orchestra, and Portland Columbia Symphony Orchestra. He has also appeared with professional and youth orchestras throughout Central and South America, including Honduras, where he led the Youth Orchestra of the Americas in a musical camp for both young and professional musicians. In 2012, Lopera was appointed Music Director of the Metropolitan Youth Symphony, for which he oversaw 12 different orchestral ensembles with more than 450 students. Also an accomplished trombonist, Lopera’s musical development started with the Red de Bandas de Antioquia and Red de Escuelas de Musica de Medellin, both El Sistema like programs developed in Colombia. Lopera earned a Master of Music degree in Orchestral Conducting from New England Conservatory of Music and in Trombone Performance from the University of Texas at Austin. Prior to these programs, he was awarded degrees in Conducting and Trombone from the Universidad EAFIT in Medellin, Colombia. His principal teachers were Hugh Wolff and David Loebel, with additional studies with Ludovic Morlot, Michael Tilson Thomas and Marin Alsop.

MISTER TIM, vocals Mister Tim is a prolific vocal artist, composer, arranger, music director, and producer. He was a headline performer in the Las Vegas production of New York Drama Desk award-winning vocal production show Toxic Audio and has won multiple Contemporary A Cappella Recording Awards for his group and solo work. Mister Tim’s solo vocal live-looping shows are a progressive exploration of traditional music forms and modern technology. His acclaimed 2014 solo album The Funky Introvert features original compositions in styles ranging from choral to techno. His novelty piece The Pirate Song, published by Alliance Music Publishing, has become a staple for Men’s Choirs and has been performed around the world. Mister Tim has created and directed more than a dozen awardwinning vocal groups including viral video stars Moosebutter and 2010 Harmony Sweepstakes International Champions Plumbers of Rome. He is a frequent guest at choral and a cappella festivals as a performer and clinician. He currently sings with the Colorado-based Irish rock band Delilah's Revenge, jazz harmony/swing vocal group Vintage, and the all-80s a cappella group Rubix. Mister Tim graduated from the University of Utah with a Bachelor of Arts Degree, Vocal Performance emphasis, and studied for a Master's Degree in Choral Conducting at the University of Colorado-Boulder.

HANNAH JUDSON, vocals Hannah Judson is a graduate of Hinkley High School in Aurora, Colorado and graduated with honors from the University of Colorado-Boulder with a degree in Music Education. She teaches choir at Shadow Ridge Middle School in Thornton, Colorado. A gifted musician with a versatile voice, Ms. Judson has sung with choirs and in theater productions. While at CU-Boulder she performed with the collegiate a cappella group Mile 21. She currently sings with the all-80s a cappella group Rubix.

SOUNDINGS 2015-2016 | COLORADOSYMPHONY.ORG PROGRAM 11

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