Dallas Chamber Symphony the Comedic Three
Event / Program Detail

November 19th, 2013 at Dallas City Performance Hall

2520 Flora Street, Dallas, Texas 75201 (map it)

Main Event at 8:00 PM

J. S. Bach: Brandenburg Concerto No. 3


Britten: Serenade for Tenor, Horn & Strings

Katie Wolber, horn

Pastoral: The Evening Quatrains by Charles Cotton (1630–1687)
Nocturne: Blow, bugle, blow by Alfred, Lord Tennyson (1809–1892)
Elegy: The Sick Rose by William Blake (1757–1827)
Dirge:the anonymous Lyke-Wake Dirge (fifteenth century).
Hymn: Hymn to Diana by Ben Jonson (1572–1637)
Sonnet: To Sleep by John Keats (1795–1821)


Film: Ask Father Starring Harold Lloyd

Score composed by Alain Mayrand

Commissioned and premiered by the Dallas Chamber Symphony


Film: By The Sea Starring Charlie Chaplin

Score composed by Penka Kouneva

Commissioned and premiered by the Dallas Chamber Symphony


Film: The Scarecrow Starring Buster Keaton

Score composed by Brian Satterwhite

Commissioned and premiered by the Dallas Chamber Symphony

After Party Around 9:30 PM

Ticket holders can meet the performers over complimentary appetizers at Jorge’s Tex-Mex Cafe, just across the street, immediately following the event. Open seating will be available, inside the restaurant and outside on the patio.


Convenient parking for $5 is available across the street at One Arts Plaza.

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Dallas City Performance Hall is located downtown in the Arts District.

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9:00am – 5:00pm, Monday – Friday
Voicemails accepted.



Reserved Seating: $19-49

Regular through VIP, Select Your Seat

At the Door

Tickets can be purchased at the box office in the lobby, which opens 90 minutes before the event start time. Cash and major credit cards are accepted.

What People Are Saying

  • "McKay and the musicians wove through the complex textures and often counter-intuitive wanderings of this score with admirable devotion and precision."

    Wayne Lee Gay D Magazine
  • "...the Dallas Chamber Symphony and the Bruce Wood Dance Company...make an ideal cultural ambassador for the city to major urban centers in the United States and beyond."

    Wayne Lee Gay D Magazine
  • "McKay and the musicians wove through the complex textures and often counter-intuitive wanderings of this score with admirable devotion and precision."

    Wayne Lee Gay D Magazine
  • "Best Way to Watch A Silent Film 2014: ...they showed us that there’s nothing quite like watching a movie to the sound of a live orchestra."

    The Editor D Magazine
  • "The mostly young ensemble of two dozen strings responded with performances as eager and expressive as they were accomplished."

    Scott Cantrell The Dallas Morning News
  • "For this symphony the educational outreach is far-reaching."

    Teresa Frosini CBS 11 News
  • "…the orchestra here demonstrated a continually improving precision and comfort in a room that can be unforgiving. The Warlock Suite provided ample opportunity for McKay to show off a wonderful ability to evoke the special atmosphere, at once modern and archaic, that the composer created here."

    Wayne Lee Gay D Magazine
  • "Renaissance harmonies abounded, tinged with just the right spice of 20th Century dissonance and bi-tonality. It was brought out at just the right level by McKay."

    Wayne Lee Gay D Magazine
  • "The pointed intentionality of last night's programming, which initially looked like a musical mishmash, was to breathe new life into the old. And the structure of it was brilliant: 'Here's something you'll know. Here's something you should know. And here's something fun, so you leave feeling elated.'"

    Jamie Laughlin The Dallas Observer
  • "The Dallas Chamber Symphony is nothing if not ambitious."

    Katie Womack Dallas Observer
  • "This combination of old and new elements helped transport the audience to a different time and place without over-doing musical clichés."

    Katie Womack The Dallas Observer
  • "The audience was drawn into the film from the start, bursting into laughter and interacting with the story audibly."

    Katie Womack The Dallas Observer
  • "On Tuesday night, the Dallas Chamber Symphony proved they know exactly how to create a well-executed, interactive and entertaining live music/film screening experience."

    Katie Womack The Dallas Observer
  • "They have some incredible talent in their midst."

    Katie Womack The Dallas Observer
  • "There were a lot of excited whispers and shoulder grabs as people stood up to leave. I rarely see crowds so invigorated after classical productions."

    Jamie Laughlin The Dallas Observer
  • "If we want to keep classical music relevant, we need to fuse it naturally with our other passions. It should be an accompaniment to our lives, not just a fancy auditory meal gobbled up occasionally while wearing fine clothes. The Dallas Chamber Symphony is making that happen."

    Jamie Laughlin The Dallas Observer
  • "Shows like this reinforce that I'm on board; I'll see anything this group and its artistic director Richard McKay tries…"

    Jamie Laughlin The Dallas Observer
  • "Dallas Chamber Symphony has, along with the presentation of a fresh and widely varied repertoire of standard and non-standard works, carved a notable niche on the local scene…"

    Wayne Lee Gay D Magazine
  • "The orchestra and conductor McKay deserve hearty accolades for this ongoing silent cinema project, with hope that it will continue to enrich the local scene in upcoming seasons."

    Wayne Lee Gay D Magazine
  • "McKay had a great sense for the tempo and character of the piece, which was clearly chosen to show off Takagi's technical and artistic skill."

    Katie Womack The Dallas Observer
  • "As they had been all night, phrases were beautifully shaped. Throughout the performance there was palpable emotion in the playing and ultimately that intangible -- artistic sensibility -- is what made this concert a success."

    Katie Womack The Dallas Observer
  • "The conductor’s long-term vision is precisely the kind of eclectic and occasionally challenging classical group Dallas really needs."

    Peter Simek D Magazine
  • "Everything from the first note was locked in rhythmic precision, and difficult passages were clear, focused, and musical..."

    John Norine TheaterJones
  • "The ensemble is extremely adroit in their presentation as well as programming."

    John Norine TheaterJones


Katie Wolber, horn

Katie Wolber, Dallas Chamber SymphonyKatie is an active private lesson teacher and performer in the Dallas area. She is Third Horn of Dallas Opera, Principal Horn of the Dallas Chamber Symphony, and plays substitute and extra horn with the Dallas Symphony Orchestra, the Fort Worth Symphony, and the Dallas Wind Symphony on a regular basis.

In the summer of 2013, Katie was the Third Horn for the Music in the Mountains Festival, in Durango, Colorado. In March of 2013, she went on the European Tour with the Dallas Symphony, performing Mahler’s Sixth Symphony.

Katie obtained her Master of Music degree from Northwestern University, where she attended on a full scholarship and graduated with a 4.0 GPA. While there, she studied with Gail Williams, the former Associate Principal of the Chicago Symphony. Katie also had the option of attending Yale and Juilliard on full scholarships for graduate school.

Dallas is where Katie spent her college years, studying at Southern Methodist University with Gregory Hustis, the Principal Horn of the Dallas Symphony Orchestra. During her senior year there, Katie auditioned and won a coveted spot in the Carnegie Hall Professional Workshop for Winds and Brass. She traveled to New York City and stayed there for a week performing, taking masterclasses with well-known musicians, and having a blast – with all expenses paid. She graduated Magna Cum Laude in 2009 from SMU with a Bachelor of Music in Horn Performance.

During her summers, Katie went to a handful of different music festivals. She attended Chautauqua Music Festival in 2006, Texas Music Festival in 2007, the National Repertory Orchestra in Breckenridge, Colorado in 2008, and then went to the Pacific Music Festival in Japan in 2010. In 2012, she attended the Sarasota Music Festival and the Youth Orchestra of the Americas summer festival, which entailed a six-week tour of the country of Chile. All of these festivals were either free or low-cost, due to the caliber of her playing.

Alain Mayrand, composer

Alain Mayrand, Dallas Chamber SymphonyAlain is composer laureate with the Vancouver Metropolitan Orchestra after holding the composer-in-residence position for the past 3 years.

Ken Hsieh, the VMO’s music director, says of the composer, “Alain is one of the most truly gifted composers of this generation who composes music that incorporates lots of contemporary elements and yet manages to attract both the musicians and audiences, which is very rare today.”

Alain’s music combines elements of funk, jazz and rock along with his love of contemporary music to create a forceful and vivid style. This comes from years playing guitar in rock and jazz bands before he plunged body and soul into contemporary music, earning his Master’s degree in composition and bachelor’s in piano. He has also studied flute, cello, classical guitar and percussion.

Alain’s music has been performed and recorded by The Ramat-Gan Orchestra (Israel), The Russian State Symphony Orchestra, The Evergreen Orchestra (Taiwan), the SMG Festival Orchestra (Ireland), The Troy University Concert Band (Alabama) and many others.
Also working in film, following a childhood passion, Alain’s orchestral score for the “The Legend of Silk Boy” starring Jackie Chan was one of the best reviewed score of that year, surpassing most Hollywood blockbusters. Recently he was orchestrator and conductor for the major motion picture “Elysium” starring Matt Damon and Jodie Foster coming out in August 2013.

Alain resides in Burnaby BC with his wife and two young boys.
To learn more about Maestro Ken Hsieh, please visit: AlainMayrand.com

Penka Kouneva, composer

Penka Kouneva, Dallas Chamber SymphonyFilm & game composer of “exquisite talent” (Prince of Persia: Forgotten Sands game co-composed with Steve Jablonsky), Penka has worked for 15 years in Los Angeles on titles grossing $15 billion world-wide. Her own music is a blend of her Eastern-European upbringing, classical training, modern film & game music, and influences ranging from rock, electronica, Medieval chant to non-Western music. She has made Hollywood history (first woman Lead Orchestrator on films with budget over $100M – Ender’s Game and Elysium). And just like the great Shirley Walker, Penka is a mentor who has nurtured the careers of many.

Notable collaborations: with the celebrity composers Hans Zimmer (orchestrator: Pirates 3, Angels and Demons), Steve Jablonsky (Transformers franchise, Gears of War 2, 3), with Neal Acree for Blizzard Entertainment (orchestrator: World of Warcraft, StarCraft II, Diablo III franchises), and for SCEA (Lead orchestrator on Bloodborne). A Sundance Institute Composer Fellow, Penka has scored dozens of independent features (Midnight Movie, Primrose Lane), television shows (Forensic Files, Modern Marvels) and video games (H-Hour: World’s Elite, Rollers of the Realm, Hades, IronKill, additional music on Transformers: Revenge of the Fallen game). Penka has composed two concept albums in cinematic orchestral-electronica style, A Warrior’s Odyssey (2012, available from Howlin’ Wolf) and The Woman Astronaut (released on Varése Sarabande in 2015). Like a great musical storyteller, her music carries the listener forth on an emotional wave, with soaring themes, innovative orchestral and digital textures, and primal percussion.

Penka was born and raised in Sofia, Bulgaria, received classical training in piano and theory, and began composing incidental music for kids’ theater at the age of 12. In 1990 she ventured out of Bulgaria with a Duke University composition fellowship and $130 in her pocket. In 1997, she made history at Duke by receiving the first-ever Doctorate in Composition from this distinguished institution. At Duke, she studied with the celebrated orchestral composers Stephen Jaffe, Scott Lindroth and with the Dutch postmodern minimalist Louis Andriessen. During the 90’s Penka enjoyed success as a concert composer. In 1999, she began her career in Los Angeles as the orchestrator for Emmy-winning composer Patrick Williams. Later that year, Cliff Eidelman gave Kouneva her first scoring break, the AFI thesis short Shadows directed by Mitch Levine.

Penka has since been honored with the Aaron Copland Award, SUNDANCE Composer Fellowship; Hollywood Music In Media Awards, Square Enix Music Online nomination, Independent Music Award; two Ovation Awards, The Visionary Award from Women’s International Film & TV Showcase, GRAND PRIX at the Tokyo Young Composers Competition, Meet the Composer Award, and numerous Artist Fellowships.

Penka is on the Advisory Boards for Game Developers Conference (GDC), Sundance Institute, and Mentor for NARAS (Grammy®). As an industry leader and groundbreaking artist, she is a frequent speaker at GDC, Game Sound Con, CalArts, Berklee, Musicians Institute, Duke, Columbia College, Society of Composers and Lyricists and numerous schools, game conferences and events. As a role model and passionate advocate for artists’ growth, advancement of women composers and gender parity, Penka is featured on MPR, film and video game press.

In 2000 while eking out a meager living as a freelancer, Penka brought her family over to Los Angeles, put her two sisters through school (including a Pepperdine MBA program for her younger sister) and gave them a chance at the American Dream. Currently she lives with her husband music editor and daughter in Los Angeles and enjoys hiking, swimming and time with her family and friends.

Brian Satterwhite, composer

Brian SatterwhiteBrian Satterwhite is a professional film composer based in Austin, Texas. He earned a Bachelor of Music with dual majors in Film Scoring and Composition from the Berklee College of Music in Boston, Massachusetts. Brian’s music has been featured in over one hundred and thirty short and feature films including The Lone Ranger (2013), Sushi: The Global Catch (2012), Switch (2012), Man On A Mission (2012), Artois The Goat (2009), Quarter to Noon (2008), The Children’s War (2008), Cowboy Smoke (2008), Mr. Hell (2006), and the award-winning IMAX™ film Ride Around The World (2006). Brian’s many accolades include twelve gold medals and four silver medals from the Park City Film Music Festival.

Brian has composed a handful of scores for silent films performed by the Dallas Chamber Symphony including The Cabinet of Dr. Calgari (1920), the Buster Keaton short film The Scarecrow (1920), and the Harold Lloyd feature A Sailor-Made Man (1921) which was a finalist for a Jerry Goldsmith Award in 2013.

In addition to composing, Brian is on faculty at the University of Texas at Austin where he teaches a course on film music for the Radio-Television-Film Department. He’s also the producer and host of the film music radio program “Film Score Focus” on 89.5 KMFA in Austin, and is a highly regarded film music journalist who writes for several popular web sites and pens soundtrack album linter notes for several major labels.

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