
February 17th, 2015 at Dallas City Performance Hall
2520 Flora Street, Dallas, Texas 75201 (map it)
Main Event at 8:00 PM
Crawford Seeger: Music for Small Orchestra
Slow, pensive
In roguish humor. Not fast
Copland: Appalachian Spring Suite (Original)
Very Slowly
Allegro
Moderato (The Bride & Her Intended)
Fast (The Revivalist & His Flock)
Subito Allegro (Solo Dance of the Bride)
As at first (Slowly)
Doppio movimento (Variations on a Shaker Hymn; Simple Gifts)
Moderato – Coda
Film: Bumping Into Broadway
Film Score Composed by Rolfe Kent
Commissioned by the Dallas Chamber Symphony
After some witty observations on the glamour of the Broadway scene the film tells the story of “The Girl” and “The Boy”, she a chorus line girl and he a writer. They both struggle to make it big and have trouble paying their rent in a boarding house run by a stern landlady with a simian tough-guy bailiff character. The Girl is fired and The Boy tries to get to the Musical Director to pitch his play. After rejection and numerous antics The Boy wins big in gaming and ends up with The Girl.
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.
Tickets By Phone
214.449.1294
9:00am – 5:00pm, Monday – Friday
Voicemails accepted.
Online
Pricing
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.
Special Offers
What People Are Saying
ABOUT THE ARTISTS
“Kent’s great gift… is his timbral control. He mixes sound colors beautifully, even allowing in moments of spoken voice that are so fleeting and subdued that they become another musical instrument.” — Andrew Granade, SoundtrackNet
Unexpected texture, sounds and a signature musical personality are the hallmarks of British film composer Rolfe Kent, who has scored more than 50 films, including Academy Award nominated UP IN THE AIR (for which he won a Golden Satellite award), SIDEWAYS (for which he was nominated for a Golden Globe and Critics Choice Award in 2007), YOUNG ADULT, CHARLIE ST. CLOUD, ABOUT SCHMIDT, ELECTION, MEAN GIRLS, LEGALLY BLONDE and LEGALLY BLONDE II, WEDDING CRASHERS, THE MATADOR, REIGN OVER ME, THE HUNTING PARTY, THE GHOSTS OF GIRLFRIENDS PAST, and THANK YOU FOR SMOKING. Kent also composed the Emmy-nominated main title theme for the Showtime hit, DEXTER. In 2012, he received the Richard Kirk award for career achievement.
Born in England into a non-musical family, Kent intuitively felt at age 12 that he wanted to be a film composer, although his early musical training was brief and not so formal. Citing Jarre’s Lawrence of Arabia and Morricone’s The Good, The Bad and the Ugly, as inspirations, Kent took the advice of an early music teacher to avoid rigid course work that would dampen his enthusiasm. He followed an entirely different path and, taking counterpoint to what is often cited as culture mired in cynicism, profited from his early course work in theology to relate it to music. After enrolling in psychology studies at University of Leeds in Yorkshire, Kent’s musical career was casually begun at a dance club when the director of a play offered him a chance to “do” the music. His jump-start was his composition for a stage musical Gross at the Edinburgh Fringe Festival, a springboard for authors, composers and performers.
In the confines of his musically busy studio, one can immediately see why his musical personality is as distinct and his own. Constantly on the go, adventurous and curious, Kent has developed a style that is not only distinct, but indicative of his aversion to the-anticipated-score in tone, texture and rhythm. The walls are lined with many familiar and many more unfamiliar instruments, gingerly handled and gleefully demonstrated for their sonic qualities. Among his collection are the Indonesian percussion instrument the angklung, the shawm (first used in military maneuvers as a psychological weapon), the melodica, used for the light, soothing effect in Kent’s jazz-infused score for his Golden Globe-nominated Sideways, and an instrument he discovered and cannot name that sounds like the world’s beaches at their most romantic high tide… combined.
At first blush, Kent takes his initial cue from the film’s director and infuses it with his own voice, striving to make the difference between looking at a film and being absorbed by it. In Jason Reitman’s LABOR DAY Kent took intimate instrumentation, including guitars, charango and sounds of crickets, and processed them to create intense moody ambiences, at once both organic and other-worldly, delicately navigating a line between tension and emotion.
In addition to Reitman, Kent has the distinction of attracting and sustaining relationships with directors as popular and diverse as Alexander Payne, Mark Waters, Richard Shepard, and Burr Steers. Kent’s most recent films include LABOR DAY (Jason Reitman), DOM HEMINGWAY (Richard Shepard), BAD WORDS (film directorial debut of Jason Bateman) THE SCAPEGOAT (Nicolas Bary), and the French/Chinese animation LE PRINCE ET LES 108 DEMONS.