
Appalachian Spring
March 23, 2019, 8PM
Moody Performance Hall
2520 Flora Street, Dallas, Texas 75201 (map it)
Main Event at 8:00 PM
An entertaining evening awaits you with Copland’s original Pulitzer Prize-winning Appalachian Spring Suite, commissioned by choreographer and dancer Martha Graham in 1944. The work’s Shaker influence and wide open harmonies have made it a beloved and worthy staple of the American chamber repertoire. By popular demand, the DCS presents a reprise of Harold Lloyd’s delightful romantic comedy, Bumping Into Broadway, screened to the orchestra’s live performance of an original score it commissioned from Rolfe Kent, whose film credits include Sideways and Up In the Air. DCS also presents a world-premiere written by Kimberly Osberg. An emerging local composer and alum of Indiana University, she recently premiered an original opera picked up by New Voices Opera.
Richard McKay, conductor
Concert Duration, ca. 90 minutes
Program
Kimberly Osberg: Rocky Summer
World Premiere, Commissioned by the Dallas Chamber Symphony
Copland: Appalachian Spring Suite
(original version)
Very slowly
Fast/Allegro
Moderate/Moderato
Quite fast
Still faster/Subito Allegro
Very slowly (as at first)
Calm and flowing/Doppio Movimento
Moderate. Coda/Moderato – Coda
INTERMISSION
Rolfe Kent: Bumping Into Broadway
Movie In Concert starring Harold Lloyd
Commissioned by the Dallas Chamber Symphony in 2014. Film screened with live orchestra.
Runtime: 25 minutes, appropriate for all audiences.
Tickets By Phone
214.449.1294
9:00am – 5:00pm, Monday – Friday
Voicemails also accepted.
Online
Pricing
Reserved Seating: $25-54
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.
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ABOUT THE ARTISTS
Kimberly Osberg is an emerging composer from Eau Claire, Wisconsin currently based in Dallas, Texas. Studying with Dr. Brooke Joyce at Luther College in Decorah, Iowa, she premiered an original opera (a first for the college), which was later picked up by the New Voices Opera company during the first year of her Masters degree at Indiana University. Under the direction of her teachers at IU (Dr. David Dzubay, Dr. Claude Baker, Dr. Aaaron Travers, Dr. Don Freund and Dr. Jeffrey Hass), Kimberly became heavily involved in interdisciplinary collaborations – working with the IU Department of Theatre, Drama, and Contemporary Dance for multiple main-stage productions, collaborating with stage combatants, dancers, filmmakers, coders, and even facilitating large-scale collaborations between composition students and students from other artistic disciplines. In addition to her studies, Kimberly has also attended a number of acclaimed music festivals as a guest- or fellowship-composer, including the Brevard Music Center, the Rocky Ridge Music Festival, the Atlantic Music Festival, the New York Summer Music Festival, and the Aspen Summer Music Festival. Most recently, she served as a composer-in-residence for the New Mexico Contemporary Ensemble’s 2nd Annual James Tenney Memorial Symposium. This season Kimberly has already premiered several works, including new works for the NMCE, a solo work for flute, music inspired by internationally-acclaimed artist Ian Davenport (The Dallas Contemporary) which was recently paired with choreography from Bruce Wood Dance, and – coming up in April – a new operetta for two voices and wind ensemble (Pittsburg State University). Visit www.kimberlyosberg.com for more information.
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), Labor Day, Bad Words (Jason Bateman’s directorial debut), Dom Hemingway, About Schmidt, Election, Mean Girls, Legally Blonde and Legally Blonde II, Wedding Crashers, The Matador, Reign Over Me, The Hunting Party, 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 Unviersity 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.
Kent has the distinction of attracting and sustaining relationships with directors as popular and diverse as Alexander Payne, Mark Waters, Jason Reitman, Burr Steers, and Richard Shepard.