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Phil Degreg, Piano, Kim Pensyl, Trumpet, Thursday

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Phil Degreg, Piano, Kim Pensyl, Trumpet, Thursday College-Conservatory of Music College-Conservatory of Music presents presents Phil DeGreg, Phil DeGreg, piano piano Kim Pensyl, Kim Pensyl, trumpet trumpet 2008-09 Th ursday, October 2, 2008 2008-09 Th ursday, October 2, 2008 Robert J. Werner Recital Hall Robert J. Werner Recital Hall 8:00 p.m. 8:00 p.m. PROGRAM PROGRAM Songbook Series: the Music of Jerome Kern Songbook Series: the Music of Jerome Kern from Cover Girl (1933) Jerome Kern from Cover Girl (1933) Jerome Kern Long Ago (And Far Away) (1885-1945) Long Ago (And Far Away) (1885-1945) from Very Warm For May (1939) from Very Warm For May (1939) All Th e Th ings You Are All Th e Th ings You Are from Showboat (1927) from Showboat (1927) Can’t Help Loving Th at Man of Mine Can’t Help Loving Th at Man of Mine from Roberta (1933) from Roberta (1933) Smoke Gets in Your Eyes Smoke Gets in Your Eyes from You Were Never Lovelier (1942) from You Were Never Lovelier (1942) I’m Old Fashioned I’m Old Fashioned from Swing Time (1936) from Swing Time (1936) Th e Way You Look Tonight Th e Way You Look Tonight (continued on back) (continued on back) Faculty Artist Series Faculty Artist Series from Music in the Air (1932) Jerome Kern from Music in the Air (1932) Jerome Kern Yesterdays Yesterdays from Showboat (1927) from Showboat (1927) Ol’ Man River Ol’ Man River from Showboat Revival (1946) from Showboat Revival (1946) Nobody Else But Me Nobody Else But Me from High, Wide, and Handsome (1937) from High, Wide, and Handsome (1937) Th e Folks Who Live on the Hill Th e Folks Who Live on the Hill from Swing Time (1936) from Swing Time (1936) A Fine Romance A Fine Romance from Music in the Air (1932) from Music in the Air (1932) Th e Song is You Th e Song is You Jerome Kern (January 27, 1885-November 11, 1945) was an American composer Jerome Kern (January 27, 1885-November 11, 1945) was an American composer of popular music, who wrote around 700 songs. His career spanned dozens of popular music, who wrote around 700 songs. His career spanned dozens of Broadway musicals and Hollywood fi lms from 1902 until his death. Kern of Broadway musicals and Hollywood fi lms from 1902 until his death. Kern fashioned an approach to popular song that was distinctly American in character. fashioned an approach to popular song that was distinctly American in character. Prior to his work, the American musical theater had taken its major impetus form Prior to his work, the American musical theater had taken its major impetus form the operetta traditions of central Europe, in the style of composers such as Victor the operetta traditions of central Europe, in the style of composers such as Victor Herbert and Rudolf Friml. Kern was a profound infl uence on George Gershwin, Herbert and Rudolf Friml. Kern was a profound infl uence on George Gershwin, Richard Rodgers, Harold Arlen, and a host of other young show composers of the Richard Rodgers, Harold Arlen, and a host of other young show composers of the time. He was, in the words of one of his earliest appreciators, Richard Rodgers, time. He was, in the words of one of his earliest appreciators, Richard Rodgers, “the fi rst man to break with European traditions in theatre.” Arthur Schwartz “the fi rst man to break with European traditions in theatre.” Arthur Schwartz called him “the daddy of the modern musical comedy.” Kern collaborated with the called him “the daddy of the modern musical comedy.” Kern collaborated with the bests lyricists of his day, most notably Otto Harbach and Oscar Hammerstein II. bests lyricists of his day, most notably Otto Harbach and Oscar Hammerstein II. Th e imagination and discipline of Kern’s songs, and the high standards of craft Th e imagination and discipline of Kern’s songs, and the high standards of craft they represent, have seeded and resonated through all American popular music they represent, have seeded and resonated through all American popular music since his era. Although Kern wrote almost exclusively for musical theatre and since his era. Although Kern wrote almost exclusively for musical theatre and musical fi lm, the harmonic richness of his compositions lends them well to the musical fi lm, the harmonic richness of his compositions lends them well to the jazz idiom and many Kern melodies have been adopted by jazz musicians to jazz idiom and many Kern melodies have been adopted by jazz musicians to become standard tunes. Jazz musicians always have been among the most admiring become standard tunes. Jazz musicians always have been among the most admiring champions of Kern’s light seductive melodies, striking use of harmony, and sure champions of Kern’s light seductive melodies, striking use of harmony, and sure sense of structure. Th ese songs provide a wealth of resources for improvisation. We sense of structure. Th ese songs provide a wealth of resources for improvisation. We hope you enjoy our interpretations of these marvelous compositions. hope you enjoy our interpretations of these marvelous compositions. .
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