Following strong success in September with Mahler’s 2nd Symphony, the Lexington Philharmonic is at it again. The next adventure is slated for 7:30pm, October 23rd at the Singletary Center for the Arts: American Soundscapes, an evening of (you guessed it!) American composers. LexPhil will open with the more familiar: Aaron Copland’s Our Town, taken from Thornton Wilder’s play of the same title, and George Gershwin’s Catfish Row Symphonic Suite from Porgy and Bess. But then, the program looks to present and future with a performance of Travels in Time for Three, a newer work by American composer and musician Chris Brubeck.
Maestro Scott Terrell spoke to us recently about the upcoming concert, the musicians involved, and his bold vision for our symphony.
ST: Yes. Plus they’ll have a drummer with them that night.
CS: How did this develop?
ST: Four years ago we introduced them here which is a huge undertaking, as they have become their own genre. The audience was blown away by their virtuosity when they were here before.
CS: And this was an opportunity to have them back.
ST: Yes. They are an ensemble that has opened a lot of people’s eyes and brought audiences a different sound. They relax the concert experience as well. When we had them here a few years ago, they did a series of pieces written for them and by them. Since then composers have taken on writing pieces for them, such as Chris Brubeck and Jennifer Higdon.
CS: Brubeck is the composer of Travels in Time for Three, correct? Nice play on the group name.
ST: He was a good choice for someone to write a piece with such an unusual group. Chris composes concert music and is a great trombone player and jazz player. He has pedigree with his father.
CS: Dave Brubeck.
ST: Right. Chris had a one-of-a-kind musical education growing up and he has come into his own as a composer. Chris is deeply trained in Jazz, but this concerto is so broad in its variety of styles. This is his first big piece on our programming. When we had Time for Three here last time, they said Chris had written this piece for them, it was really dynamic and they would like to present this here.
CS: Tell me more about the piece itself.
ST: At times the piece is very baroque, while at other times you might hear a Jimi Hendrix-style sound. Travels debuted in 2010, and calls for the three guys, plus a drummer.
ST: Gershwin was able to absorb the environment and create an opera that is definitely American, but is distinctly Gershwin in character. The honkytonk piano, the hurricane music with the ship bells, etc. All three composers had to adapt to their environment to create something new and fresh. There is also the sense of pushing boundaries away from the already-established.
CS: So, each of the pieces adapts to its times and perhaps pushes then-established boundaries, is that correct?
ST: Definitely. We forget that Copland was a big part of films and TV. Our Town was nominated for an Academy Award. It’s lesser- known Copland, but definitely his sound and color. It’s a lovely piece that doesn’t get performed very much; he adapted to his environment in the same way Gershwin did with Porgy and Bess. One would think Gershwin would not take on this subject-matter, being a composer from New York with so much ability and the experiences of the North. But, once again, we have that stepping-out-of-the-norm mentality, which is a trait that makes all three great.
CS: The pieces complement thematically as well as being new and older Americana.
ST: In all three of the pieces, you get a real sense of honesty. The intention of all three is very clear. They go together very well.
CS: And strongly American.
ST: American music is still Gershwin and Copland and in a newer, still-forming way, Chris. There’s a definite character in the sound world they create. They’re different, but American in their approach. Of course, Copland’s life and his output were tremendous: ballet, film scores, theatre, the versatility is unbelievable. He was also a product of his environment with his pieces for movies, which is where many composers found work and patronage. All three draw the best out of the orchestra. Genres gradually blur in these pieces. Today, Gershwin and Copland sound usual, because everyone has heard them and they have been labeled “The American Sound,” but they were daring in their day, just as Chris’s music is daring and expanding presently.
Below: Technical Sergeant Matthew C. Erickson performs Brubeck’s Concerto for Bass Trombone and Orchestra with the NEC Symphonic Winds conducted by William Drury. Recorded live in NEC’s Jordan Hall on March 6, 2014.
Brubeck is coming to Lexington later this season on New Year’s Eve to perform with his quartet. He’s written a lot of wonderful pieces, including one composed with his father concerning the photographer Ansel Adams.
CS: Travels in Time for Three. A new and different piece, I trust?
ST: The piece is 35-minutes, so it’s decent-sized. It traverses all of these musical styles that are emblematic of the American musical scene. Time for Three started out as students doing their own thing and have spiraled into composers seeking them out and writing for them..
CS: What is so appealing to you about this group?
ST: They’re a very versatile group that is capable of taking the audience through the many genres and the music Chris has created. It’s extremely virtuosic and interesting. You’d be surprised if you saw the three of them in a nightclub without a drum set. They’re all highly-trained musicians, world-class players in their own right. and they defy expectations and they’re committed to the music they perform. This community heard them a few years ago, but I wanted to bring them back for a more substantial collaboration. I like what they stand for. They can jam with anybody. They are comfortable representations of what’s happening in music now.
Here’s a clip of Time for Three at the Heartland Music Festival:
(Note: After 15 years with the trio, Zach DePue, has decided to depart Time for Three in order to to dedicate 100 percent of himself to his role concertmaster of the Indianapolis Symphony Orchestra. Zach’s successor is acclaimed solo violinist Nikki Chooi. According to the Time for Three website, “Nikki is appearing on selected dates with Time for Three during the 2015-16 season, fulfilling his schedule of international concert dates while starting to play as a full time member of the band. In coordination with his duties at the Indianapolis Symphony, Zach will intersperse appearances with TF3 throughout and until the end of the same season, helping Ranaan and Nick make the seamless transition. Nikki will take over fully beginning with the 2016-2017 season.” LexPhil confirms that Zach will be performing with the group in Lexington.)
CS: Can you tell us about other concerts that Time for Three will be performing while in Lexington?
ST: Right. It’s not just the average “drop-in and do the show” visit. They have the ability to connect with people in a very formal way, but also in a very grass-roots way. They are doing four pop-up concerts. One is the National Anthem at Keeneland on October 22. Another will be in the lobby atrium at UK Healthcare’s Chandler Hospital, and then another at Ethereal Brewing. They’re also performing our educational Discovery concert, currently sold-out with over 1400 students at Singletary. These students will experience how interactive and exciting Time for Three is to watch in action. And on Friday, October 23, the day of our concert, UK School of Music will host a Music Entrepreneurship Assembly with Time for Three. So, the Friday night concert is the culmination of many activities and partnerships that take place throughout the week.
CS: LexPhil partnered with UK HealthCare and the Saykaly Garbulinska Foundation for this concert.
ST: Yes, we’ve combined forces on a number of projects. It is really amazing, the connection between music and healing, and UK Healthcare recognizes the power of music and has worked with us for several years to bring live music into the healthcare environment. One of Time for Three’s appearances will be at Eastern State Hospital. The Saykaly Garbulinska Foundation is a supporter for this partnership as well as our bi-annual Composer-in-Residence program which will take place in April. We’re fortunate to have partners who have a deep appreciation for the arts in this community.
CS: It seems to be growing, getting stronger.
ST: We’re fortunate.
CS: Absolutely. Thanks again for your time and efforts, Scott.
ST: My pleasure.
American Soundscapes is October 23, 2015 at 7:30pm at the Singletary Center for the Arts. For the schedule of events and ticket info, please visit www.lexphil.org, phone (859) 233-4226 or email firstname.lastname@example.org.