February 21, 2017, 8PM at Dallas City Performance Hall
2520 Flora Street, Dallas, Texas 75201 (map it)
A double bill of music and film, the ensemble first transports you to a foggy nighttime harbor (via Ingram Marshall’s sounds for the electro-acoustically inclined) then invites you to contemplate the ocean’s mysteries and perils through Pulitzer Prize-winning composer Kevin Puts’ sensitive sea settings.
After intermission you can unwind watching Charlie Chaplin’s The Kid. The highest grossing film of 1921, and widely considered one of the greatest films of the silent era, this heartwarming dramatic comedy will send you home smiling.
Richard McKay, conductor
Craig Safan, composer
Main Event at 8:00 PM
Ingram Marshall: Fog Tropes
Featuring brass and tape
Kevin Puts: Seven Seascapes
- “Exultation is the goingof an inland soul to sea…” —Emily Dickinson
- “A lone gray bird…alone in the shadows and grandeurs and tumults of night and the sea” —Carl Sandburg
- “A fragrant breeze wandered up from the quiet sea” —Douglas Adams
- “Out of the darkness…jets of sparks in fountains of blue come leaping” —D. H. Lawrence
- “So fine was the morning except for a streak of wind here and there that the sea and sky looked all one fabric” —Virginia Woolf
- “I, while the gods laugh, the world’s vortex am; maelström of passions in that hidden sea” —Mervyn Peake
- “…let us find a place ‘neath ocean’s breast and bid her lie where waves are kind.” —Benjamin Franklin Field
UnSilent Film: The Kid, Starring Charlie Chaplin
World Premiere of a film score by Craig Safan
Tickets By Phone
9:00am – 5:00pm, Monday – Friday
Voicemails also accepted.
Reserved Seating: $19-44
Select Your Own
At the Door
Tickets may 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. Save time by ordering in advance, online or by phone.
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."
"...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."
"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 mostly young ensemble of two dozen strings responded with performances as eager and expressive as they were accomplished."
"For this symphony the educational outreach is far-reaching."
"…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."
"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."
"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.'"
"The Dallas Chamber Symphony is nothing if not ambitious."
"This combination of old and new elements helped transport the audience to a different time and place without over-doing musical clichés."
"The audience was drawn into the film from the start, bursting into laughter and interacting with the story audibly."
"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."
"They have some incredible talent in their midst."
"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."
"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."
"Shows like this reinforce that I'm on board; I'll see anything this group and its artistic director Richard McKay tries…"
"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…"
"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."
"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."
"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."
"The conductor’s long-term vision is precisely the kind of eclectic and occasionally challenging classical group Dallas really needs."
"Everything from the first note was locked in rhythmic precision, and difficult passages were clear, focused, and musical..."
"The ensemble is extremely adroit in their presentation as well as programming."
ABOUT THE ARTISTS
Craig Safan has composed the music for over thirty feature films including “MR. WRONG”, “STAND AND DELIVER”, “MAJOR PAYNE”, “NIGHTMARE ON ELM STREET IV”, “REMO WILLIAMS”, and “THE LAST STARFIGHTER”. In television, Craig is best known for his work as the composer for the series “CHEERS” for which he was awarded eight ASCAP “Top TV” awards, as well as for his music for “LIFE GOES ON” (Emmy nomination). He has also composed the music for many other series including “AMAZING STORIES”, “THE NEW TWILIGHT ZONE”, “HITCHCOCK PRESENTS” as well as the Emmy winning “SON OF THE MORNING STAR”. He has also composed extensively for theater and circus.
Craig’s music has been released on over fifty CD’s, most recently “ROUGH MAGIC”, his interpretation of Paleolithic cave art. FANFARE MAGAZINE commented “The disc’s rough but seductive magic resides in evocation, in the way Safan combines archetypal sounds to create conceptions where melody and rhythm inhabit spaces beyond cognition.” His latest album, “SIRENS” will be released in 2017.
Craig recently conducted his music at the 10th annual International Film Music Festival in Cordoba, Spain where he was honored with the Poledouris Film Music Legend Award.
Craig is a graduate of Brandeis University and was the recipient of both the Senior Prize in Drama and the Senior Prize in Music. He was also the recipient of the Thomas J. Watson Fellowship which allowed him to independently explore his music in London after graduation. Craig has lectured at The American Film Institute, USC Film School, ASCAP Film Music Workshop, Berklee College of Music, and UC Santa Barbara.
Craig is a member of the Academy of Motion Picture Arts and Sciences, where he sits on the Music Executive Committee of the Academy. For many years he was part of the President’s Art Council at Brandeis University. Craig also serves on the Selection Committee for the Thomas J. Watson Foundation Fellowship in New York City.
Craig and his wife, Linda Safan, are actively involved in Disability Rights issues and were awarded a Certificate of Commendation by Los Angeles mayor Anthony Vallaraigosa and County Supervisor Mark Ridley Thomas for their work in founding the Circle Of Friends, a nonprofit organization that pairs disabled and non-disabled students throughout California and many other states
Winner of numerous prestigious awards, including the 2012 Pulitzer Prize for his debut opera Silent Night, Kevin Puts’s works have been commissioned, performed, and recorded by leading ensembles, and soloists throughout the world, including Yo-Yo Ma, Jeffrey Kahane, Dame Evelyn Glennie, the New York Philharmonic, the Tonhalle Orchester (Zurich), the St. Paul Chamber Orchestra, the Miro Quartet, and the symphony orchestras of Baltimore, Cincinnati, Detroit, Atlanta, Colorado, Houston, Fort Worth, St. Louis, and Minnesota. His newest orchestral work, The City, was co-commissioned by the Baltimore Symphony Orchestra in honor of its 100th anniversary and by Carnegie Hall in honor of its 125th anniversary.
Silent Night, commissioned and premiered by Minnesota Opera, has been produced at Fort Worth Opera, Cincinnati Opera, the Wexford Opera Festival, Calgary Opera, Montreal Opera, and the Lyric Opera of Kansas City, with upcoming productions at Atlanta Opera, Opera San Jose, and Michigan Opera Theatre. In 2013, his choral works To Touch The Sky and If I Were A Swan were performed and recorded by Conspirare. His second opera, also commissioned by Minnesota Opera, The Manchurian Candidate, based on the novel, had its world premiere in 2015. A new vocal work for Soprano Renee Flemming and orchestra, based on the personal letters of Georgia O’Keeffe, will have its world premiere in New York in Fall 2016 and his first chamber opera, an adaptation of Peter Ackroyd’s gothic novel The Trial of Elizabeth Cree commissioned by Opera Philadelphia will have its world premiere in 2017.
A former Composer-in-Residence of Young Concerts Artists, he is currently a member of the composition department at the Peabody Institute and the Director of the Minnesota Orchestra Composer’s Institute.
Ingram Marshall, composer, lived and worked in the San Francisco Bay Area from 1973 to 1985 and in Washington State, where he taught at Evergreen State College, until 1989. He studied at Lake Forest College, Columbia University and California Institute of the Arts, where he received an M.F.A., and has been a student of Indonesian gamelan music, the influence of which may be heard in the slowed-down sense of time and use of melodic repetition found in many of his pieces. In the mid-seventies he developed a series of “live electronic” pieces such as Fragility Cycles, Gradual Requiem, and Alcatraz in which he blended tape collages, extended vocal techniques, Indonesian flutes, and keyboards. He performed widely in the United States with these works. In recent years he has concentrated on music combining tape and electronic processing with ensemble and soloists.
His music has been performed by ensembles and orchestras such as the Theatre of Voices, Kronos Quartet, Bang on a Can All-Stars, Los Angeles Philharmonic, San Francisco Symphony, St. Louis Symphony, and American Composers Orchestra. He has received awards from the National Endowment for the Arts, Rockefeller Foundation, Fromm Foundation, Guggenheim Foundation, and the American Academy of Arts and Letters. Recent recordings are on Noneseuch (Kingdom Come) and New Albion (Savage Altars). Among recent chamber works are Muddy Waters, which was commissioned and performed by the Bang on a Can All-Stars, and In Deserto (smoke Creek), commissioned by Chamber Music America for the ensemble Clogs. January 2004 saw the premiere of Bright Kingdoms, commissioned by Meet the Composer, and performed by the Oakland-East Bay Symphony under Michael Morgan. The American Composers Orchestra in New York premiered his new concerto for two guitars and orchestra, Dark Florescence, at Carnegie Hall in February 2005. Orphic Memories, commissioned by the Cheswatyr Foundation, was composed for the Orpheus Chamber Orchestra and premiered in Carnegie Hall in April 2007.
Marshall currently resides in Hamden, CT.