George Antheil was a pioneering American composer, known for his adventurous spirit and innovative compositions that bridged the early–20th-century avant-garde with classical traditions. Born in Trenton, New Jersey, Antheil’s musical journey led him from the United States to Europe, where he quickly became a part of the artistic circles that included figures like Ezra Pound, James Joyce, and Igor Stravinsky. His early works, characterized by their audacious harmonies and rhythms, mirrored the tumultuous energy of the era and earned him the nickname “The Bad Boy of Music”—a title he later adopted for his autobiography.
Antheil’s music often incorporated elements of jazz, mechanical sounds, and unconventional instruments, exemplified by his most famous work, Ballet Mécanique, which included airplane propellers and electric buzzers among its instruments. This piece, like much of his early output, challenged traditional concert audiences and established Antheil as a formidable, if controversial, musical force.
By the mid-1930s, Antheil’s style began to shift towards a more accessible, neoclassical approach, reflecting both a personal evolution and the changing cultural landscape. His later works—including film scores, operas, and symphonic music—showcased a mature integration of melody, harmony, and rhythm, though they never lost the innovative edge of his earlier compositions.
Antheil’s contributions extend beyond music to the realms of writing and invention. Alongside actress Hedy Lamarr, he co-invented a frequency-hopping spread spectrum technology, a precursor to modern WiFi and Bluetooth communication.
Remembered for his bold experimentation and eclectic output, Antheil remains a significant figure in the annals of American music, embodying the restless creativity and cross-disciplinary collaborations that defined the 20th century.
George Antheil’s Jazz Symphony, in its revised form from 1955, is a captivating blend of the spirited rhythms of jazz with the structural depth of symphonic music. Originally conceived in the jazz-infused era of the 1920s, this piece underwent thoughtful revision by Antheil, reflecting his growth as a composer and his nuanced understanding of both genres.
The revision brings to the forefront a more polished orchestration and subtle melodic enhancements, maintaining the energetic essence of the original while making the piece more accessible to a wider audience. From the opening bars, the symphony dives into a world where jazz and classical music coalesce, marked by compelling syncopations and a lively thematic development.
The 1955 revision of the Jazz Symphony stands as a vibrant celebration of jazz, acknowledging its importance as a cornerstone of American musical heritage, while also pushing the boundaries of what symphonic music can encompass. It invites listeners to explore a unique musical landscape, where the past and present merge in a harmonious blend of creativity and tradition.
Duke Ellington was not just a musician, but a monumental figure in American music. His career spanned more than 50 years, evolving from a bandleader in the Roaring Twenties to a global ambassador of jazz. Ellington’s genius lay not only in his piano performance, but in his extraordinary skills as a composer, arranger, and bandleader, elevating jazz to a level of artistic recognition previously reserved for classical music.
Ellington’s journey into the heart of American music began at the Cotton Club in Harlem, where his orchestra became the house band, broadcasting their innovative sounds across the nation. With compositions like “Mood Indigo,” “It Don’t Mean a Thing (If It Ain’t Got That Swing),” and “Sophisticated Lady,” Ellington captured the complexity of human emotions, weaving them into the fabric of American culture.
His collaborations were legendary, working with artists such as Billy Strayhorn, with whom he shared a fruitful and enduring partnership. Together, they penned “Take the ‘A’ Train,” an anthem of their era. Ellington’s commitment to musical exploration led him to embrace a wide range of styles, from blues and gospel to classical and world music, always with a distinctive flair.
Ellington’s legacy is not just in the more than 1,000 compositions he left behind, but in his profound impact on the identity of American music. He was awarded the Presidential Medal of Freedom in 1969, recognizing his role as a cultural ambassador. Ellington passed away in 1974, but his music continues to inspire—a testament to his genius and the universal language of jazz.
“Sophisticated Lady”—a jewel in the crown of Duke Ellington’s vast repertoire—offers a rich, emotive exploration of elegance and loss. Composed in 1932, this masterpiece reflects Ellington’s unparalleled ability to weave complex emotions into the fabric of his music, creating a piece that resonates with listeners on a deeply personal level. The song, with its intricate harmonies and melancholic melody, paints a portrait of a bygone era, evoking images of glamour tinged with a sense of nostalgia and longing.
“Sophisticated Lady” is celebrated for its sophisticated structure and emotive power, showcasing Ellington’s skill in crafting music that speaks to the elegance and complexities of the human experience. The piece’s lyrical theme, carried by lush orchestral arrangements, invites audiences into a reflective, nuanced exploration of sophistication and sorrow.
In this performance, “Sophisticated Lady” emerges not just as a song but as a narrative, a musical story that captures the essence of grace underlined by the inevitability of change. It stands as a testament to Ellington’s genius in creating music that transcends the moment, offering a timeless reflection on beauty and melancholy. Through “Sophisticated Lady,” we are reminded of the power of music to evoke the most intricate of emotions, serving as a bridge between the past and the present, the personal and the universal.
Kurt Weill—a composer whose work seamlessly wove together the threads of classical, theater, and popular music—remains one of the 20th century’s most innovative and influential musical figures. Born in Dessau, Germany, Weill’s early exposure to music through his cantor father laid the foundation for a lifelong pursuit of musical exploration. His studies with composers such as Ferruccio Busoni and Engelbert Humperdinck in Berlin honed his skills, but it was his collaborations with playwright Bertolt Brecht that would define his legacy.
Weill’s music, characterized by its sociopolitical themes and blend of genres, reached new heights with works like The Threepenny Opera and Rise and Fall of the City of Mahagonny. These pieces—particularly songs like “Mack the Knife” and “Pirate Jenny”—showcased his ability to create music that was both artistically profound and broadly appealing. His marriage to actress and singer Lotte Lenya further influenced his creative output, with Lenya becoming a premier interpreter of his works.
Fleeing Nazi Germany in 1933, Weill’s journey took him to Paris and ultimately to the United States, where he embraced American musical styles. His Broadway works, including Knickerbocker Holiday and Street Scene, integrated elements of jazz, blues, and American folk, contributing significantly to the development of the American musical theater.
Weill’s legacy is not just in the versatility and breadth of his compositions, but in his vision of music as a tool for social change and commentary. His death in 1950 marked the end of a career that had a profound impact on the musical and cultural landscapes of both Europe and America. Weill’s music continues to be celebrated worldwide for its emotional depth, melodic beauty, and social relevance.
In the pantheon of 20th-century musical theater, Kurt Weill’s “Pirate Jenny” stands as a singularly compelling piece, renowned for its powerful narrative and emotional depth. This song, from The Threepenny Opera—a groundbreaking work created in collaboration with playwright Bertolt Brecht and Elisabeth Hauptmann—unveils the dark, revengeful fantasies of a downtrodden maid dreaming of empowerment and retribution. Weill’s music—with its haunting melodies and sharp, dramatic edges—perfectly complements Brecht’s biting lyrics, creating a piece that is both a social critique and a deeply personal expression of anger and longing.
“Pirate Jenny” is set in a seedy hotel in Soho, London, where the protagonist works. Jenny imagines a pirate ship arriving one day, with its crew coming to exact vengeance on her behalf against the townsfolk and their injustices. The song’s structure, with its repetitive verses building toward a powerful climax, mirrors Jenny’s growing conviction and the unfolding of her fantasy of liberation and revenge. Weill’s composition—characterized by its blend of classical, jazz, and cabaret elements—reflects the complexity of Jenny’s emotions and the intensity of her narrative.
This performance invites audiences to delve into Weill’s masterful setting of “Pirate Jenny,” a song that captures the essence of The Threepenny Opera’s critique of societal inequalities and the human desire for justice and recognition. It is a testament to Weill’s genius in crafting music that is as intellectually engaging as it is emotionally resonant, offering a window into the struggles and dreams of its characters. Through “Pirate Jenny,” listeners are offered a glimpse into the transformative power of music and the enduring relevance of Weill’s artistry.
This piece was arranged with a mix of musical accents from the northeast and south of Brazil. I wanted to include some ties between Germany and Blumenau, my hometown in Santa Catarina, Brazil. Blumenau has a heavy German influence, so keep an ear out for some highlights in similarities between the two!
—Felipe Hostins
Described as “an unabashedly expressive composer” (The New Yorker), John Glover has created music for concert, opera, dance, and theater. He has received commissions from Houston Grand Opera, On Site Opera, New York Youth Symphony, Washington National Opera, Milwaukee Opera Theatre, American Conservatory Theater, Mirror Visions Ensemble, Amber Sloan Dance, Crossman Dans(c)e, String Noise, and the Five Boroughs Music Festival. His work has been presented in venues ranging from Rockwood Music Hall to Carnegie Hall, The Invisible Dog Art Center to the Rothko Chapel.
Glover has received numerous awards, residencies, and grants for his music from New Music USA, Meet the Composer, Foundation for Contemporary Arts, Baryshnikov Arts Center, Cambodian Living Arts, Cherry Valley Artworks, and Lower Manhattan Cultural Council. In addition to his work as a composer, he serves as the director of artistic planning for the Kaufman Music Center. Upcoming projects include a new work for pianist Adam Tendler and a new musical theater / opera collaboration with Kelley Rourke, Kristin Marting, and Mila Henry titled Eat the Document after the novel by Dana Spiotta.
Kelley Rourke is a librettist, translator, and dramaturg. Her work includes Lucy and Stay (with John Glover), The Beekeeper (with Wang Lu), The Emissary (with Kenji Oh), Wilde Tales and And Still We Dream (with Laura Karpman), The Jungle Book (with Kamala Sankaram), and Odyssey and Robin Hood (with Ben Moore). Her English adaptations of canonic operas have been hailed as “crackingly witty” (The Independent, London) and “remarkably well wedded to the music” (The New York Times). Her work has been commissioned and performed by the Metropolitan Opera; English National Opera; Royal Opera House, Covent Garden; Welsh National Opera; Washington National Opera; Glimmerglass Festival; Chicago Opera Theater; Opera Theatre of Saint Louis; Lyric Opera of Kansas City; Boston Lyric Opera; Seattle Opera; Atlanta Opera; Minnesota Opera; Carnegie Hall; MetLiveArts; Detroit Opera; Opera Parallèle; Houston Grand Opera; Eugene Opera; Theater Latté Da; and Nautilus Music-Theater. Rourke is resident dramaturg for the Glimmerglass Festival and artistic advisor for Washington National Opera’s American Opera Initiative.
For us, creating new collaborative spaces is as exciting as the art that comes out of those spaces. Creating Right Now challenged us to be “in conversation” with many streams of thought, beginning with the Weimar Republic—that abundant flowering of art and ideas that shone for a brief moment before being obliterated by a dark new reality. We found ourselves drawn to the work of revolutionary composer Kurt Weill, particularly the song “Pirate Jenny,” the story of a marginalized woman who quietly bides her time until the “now” when the tables are turned. We are in conversation with Chrystal and Felipe’s Forrópera, a project that exists to foster dialogue through music, as well as with Felipe and Chrystal’s offstage passions, which include an ongoing exchange with the landscape they call their home. We are also in conversation with you, the audience—certain elements of this piece only truly come to life with your presence and energy. The confluence of these streams of thought led us to a meditation on time that considers overlapping cycles of social history, the natural world, and individual lives. Right Now is a meditation on time that puts discrete moments in the lives of individuals in conversation with larger time cycles.
—John Glover and Kelley Rourke
In the rich tapestry of Duke Ellington’s musical legacy, “Solitude” emerges as a poignant reflection on inner life, masterfully capturing the nuances of solitude with its evocative melodies. Composed in 1934, this piece has secured its place in the Ellington canon as a deeply introspective work, inviting listeners into a contemplative space shaped by its lyrical beauty and harmonic depth.
“Solitude” transcends the boundaries of jazz, reaching into the soul’s quiet corners with its gentle, flowing lines and sophisticated orchestral textures. The composition’s enduring appeal lies in its ability to communicate the universal experience of solitude, rendered with Ellington’s characteristic elegance and emotional resonance.
Through “Solitude,” audiences are afforded a glimpse into the introspective side of Ellington’s genius. The piece stands as a delicate interplay of melody and mood, a musical meditation that speaks to the shared experiences of isolation and introspection. In this performance, “Solitude” is not merely a song, but a journey into the heart of human emotion, rendered with the timeless grace that defines Ellington’s legacy.
Tonia Ko creates music that is whimsical, questioning, and lyrical. Recipient of a 2018 Guggenheim Fellowship, Ko has been commissioned by leading musicians, including the Grossman Ensemble, Tangram, Riot Ensemble, and Spektral Quartet. Her work has been featured at the Tanglewood (US), Plurisons (Brazil), Huddersfield (UK), and Thailand International Composition music festivals. Born in Hong Kong and raised in Honolulu, Ko earned a doctorate from Cornell University and served as composer-in-residence for Young Concert Artists. Following aural, visual, and tactile instincts in a holistic way, Ko is known for transforming air packaging into an expressive musical instrument. As a free improviser, she has performed at Café OTO, Hundred Years Gallery, and the Ear Taxi Festival. In 2021, she was awarded a Koussevitzky Commission for Breath, Contained III, a concerto for amplified bubble wrap soloist with chamber orchestra. She is currently lecturer in composition at Royal Holloway, University of London.
Her Land, Expanded is composer Tonia Ko’s second collaboration with filmmaker Alexandra Cuesta. In their respective mediums, the artists share interests in the experimentation of form and the poetic fragmentation of materials. Despite being inspired by ideals and techniques of the European avant-garde, this piece presents an outsider’s perspective in multiple ways. For both artists, the concept behind Her Land, Expanded feels autobiographical. Cuesta’s Ecuadorian background and Ko’s roots in Hong Kong and Hawaii give them unique vantage points on the loss of nature and the complex effects of colonization.
Both music and visuals contain the rhetoric of a litany, a repetitive prayer for lost landscapes. This piece is a lament on the expansion of human settlement over nature and indigenous ways of life. Cuesta’s film evokes a feeling of displacement where nowhere is truly home: A woman’s face is isolated and overwhelmed equally by thick rainforest undergrowth and unforgiving cityscapes. Ko’s score is similarly a “lost” soundscape, inspired by a field recording of tolling church bells in an eerie minor key. These plaintive sounds were subjected to a digital process of spectral freezing before being transcribed intricately for orchestra.
Jerod Impichchaachaaha' Tate is a devoted father, classical composer, citizen of the Chickasaw Nation in Oklahoma, and dedicated to the development of American Indian classical composition. The Washington Post selected him as one of “22 for ’22” composers and performers to watch, raving about his rare ability to “effectively infuse classical music with American Indian nationalism.” His commissioned works have been performed by the National Symphony Orchestra, San Francisco Symphony, Dallas Symphony Orchestra, Detroit Symphony Orchestra, Minnesota Orchestra, Buffalo Philharmonic Orchestra, Oklahoma City Philharmonic, Colorado Ballet, and many more.
Tate was appointed a 2022 Chickasaw Hall of Fame inductee, 2021 Cultural Ambassador for the US Department of State, and is a Creativity Ambassador for the State of Oklahoma. He won an Emmy for his work on the Oklahoma Educational Television Authority documentary The Science of Composing, and his music was featured on the HBO series Westworld. Tate served as guest composer, conductor, and pianist for San Francisco Symphony’s CURRENTS, and was a guest composer for The Metropolitan Museum of Art’s program ETHEL and Friends.
Tate’s middle name, Impichchaachaaha', means “their high corncrib” and is his inherited traditional Chickasaw house name.
Lowak Shoppala' (Fire and Light) is a work that expresses Chickasaw identity through modern classical music and theater. The entire work is in eight scenes and features orchestra, narration, children’s chorus, traditional Chickasaw and modern dancers, traditional Chickasaw and classical vocalists, and Chickasaw storytellers. Each scene depicts a part of Chickasaw culture and history; “Clans” is the fourth of eight scenes.
In traditional Chickasaw culture, a family clan system was maintained through matrilineal descent. Each clan has an animal name. “Clans” focuses on seven of these family lines—Minko, Bird, Alligator, Squirrel, Skunk, Panther, and Raccoon—and incorporates numerous traditional Chickasaw melodies and rhythms.
—Jerod Impichchaachaaha' Tate