Gabriel Kahane COMPOSER / PERFORMER
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gabriel kahane COMPOSER / PERFORMER Photo by: Jen Snow biography Born in Los Angeles in 1981, composer and performer Gabriel Rufus Wainwright on Elvis Costello’s Spectacle, sung lieder Kahane is a peerless musical polymath, invested equally in the with pianists Jonathan Biss and Jeremy Denk, and has, as a worlds of concert, theater and popular music. pianist, joined bass-baritone Thomas Quasthoff in recital throughout Europe. The spring of 2010 finds Kahane on a tour Launched by his 2006 song cycle Craigslistlieder—heard of his own music with multi-instrumentalist Rob Moose and frequently in august concert halls and dirty bars alike--Kahane’s the ensemble yMusic, beginning and ending in New York City rapid ascent as a composer of concert works comes into focus in on Lincoln Center’s acclaimed American Songbook series and the 2010-2011 season, which witnesses the premieres of three later in a live broadcast from Merkin Hall for WNYC’s New commissioned works: The Red Book, a string quartet for the Sounds Live. Kronos Quartet inspired by Anne Carson’s Autobiography of Red; a hybrid cello sonata/song cycle for cellist Alisa Weilerstein Much in demand as a theater composer, Kahane was and himself; and a large chamber work for the Los Angeles commissioned to write music and lyrics for February House, Philharmonic, to be conducted by John Adams and performed currently in development at The Public Theater, where he was on the orchestra’s Green Umbrella series. Other concert works named the inaugural Musical Theater Fellow in 2008. Four- include the chamber song cycle For the Union Dead on poems time Tony Award winner Audra McDonald has performed and by Robert Lowell; the Piano Sonata for Natasha Paremski; and plans to record a song from that show for her upcoming album Django: Tiny Variations on a Big Dog, written for his father, for Nonesuch Records. Kahane has also received commissions pianist Jeffrey Kahane, and heard in its New York premiere at from the Signature Theater in Arlington, Virginia and the Lincoln Center’s Alice Tully Hall to great critical success. Williamstown Theater Festival, which produced his show Caravan Man in 2007. As a performer, Kahane moves with ease between musical realms. His self-titled debut album, featuring performances by A 2010 MacDowell Colony fellow and 2009 composer-in- Sam Amidon, Sufjan Stevens and Chris Thile, was released in residence at the Orcas Island Chamber Music Festival, Kahane 2008 and will be followed up by a second LP in the fall of 2010. makes his home in Brooklyn, New York, in close company Among his various credits as a performer, he has appeared with with a century-old piano and many books. quotes HIS MUSIC ABSORBS EVERYTHING FROM nineTEEN- GABRIEL KAHANE IS AN NPR PROGRAMMER’S wet “ twenties neoclassicism to blue-grass and modern indie pop.with “ dream...From a sonic standpoint, Kahane’s restlessness and potent melodies bridging the disparate styles...in a setting of ingenuity match the precociousness of his words, the album [Robert Lowell’s] “The Drinker” Kahane hit a vein of desolate often abandoning pop’s expected patterns of build and release beauty, dwelling obsesively on the phrase “foundering down.’ with a less-predictable approach that comes closer to musical His greatest asset is his sonorous, mesmerizing baritone; he theatre.” brings to mind Sinatra in his wee-small-hours mood.” - Pitchfork - The New Yorker WHERE FEW LISTENERS THESE DAYS CAN ACTUALLY “ hear the song of themselves in Schubert lieder, Kahane is telling THERE IS NOBODY ELSE IN THE POP-MUSIC sphere us the simple and tragic stories of a life we can comprehend “ making music even remotely as sophisticated as what you’ll using just as much poetry.” hear on Gabriel Kahane. This is music for the ears, the intellect and the soul, and an auspicious debut LP from one of the most - NewMusicBox prodigious talents we’ve got.” - Prefix Magazine EXCEPT FOR A STRONGLY ETCHED RACHMANINOFF “group, which closed the recital, [Jeffrey] Kahane devoted the second half of his program to an appealing sampling of new works. The most THE INSTRUMENTAL PARTS, AT TIMES, MIGHT BE striking, if only for the virtuosity and varied stylistic sensibility it “ purely classical compositions all by themselves, thoughtful, demanded, was “Django: Tiny Variations on a Big Dog” (2009), and above all wrought -- carefully balanced, with contrasting a work by his son, Gabriel Kahane. (Django is Jeffrey Kahane’s melodies coexisting with each other, along with complex dog.) Brief as it is, the piece takes an imaginative, finger- rhythms, and little strains of music that register like sharp, sure twisting route from 12-tone to ragtime, and Mr. Kahane played thoughts, or like images in a carefully crafted short story.” it dazzlingly.” - The Wall Street Journal - The New York Times American Songbook series, you encountered work in two of those modes, and evidence of all three. Frequently you also got a sense of how inseparable those Tied to a Time and Place, but Not a various strands can be in his work. In songs like “Villanelles” Single Style (from his self-titled 2008 debut album) he showed an enviable knack for capturing a moment and its emotional resonance: By Steve Smith March 4, 2010 We bought each other hardback books Inscribed them with ice cream that dripped while we ate K illing time bet ween songs during a concert at the A llen Room But petrified by your writerly looks on Wednesday night, Gabriel Kahane brightly announced I simply wrote XO love Gabe that he had just signed a lease on an apartment in Ditmas Park, Brooklyn. What might have been a throwaway moment That song featured a simple stripped-down setting: just Mr. somehow felt significant for close watchers of Mr. Kahane, a Kahane’s banjo and Rob Moose’s tenor guitar. Elsewhere, as singer, multi-instrumentalist and composer. Many of his best on his album, Mr. Kahane wrapped his strong catchy melodies songs deal with a time and a place vividly sketched with what and stylish piano playing in arrangements for strings, winds seems like an almost bewildering ease, then used as an anchor and brass that revealed a composer’s ear for color, balance for reflections that can be achingly direct and personal. and counterpoint. Mr. Kahane’s singing, comfortable and nuanced in past encounters, was a revelation here; at times he Getting a geographical fix on Mr. Kahane has never been hard; combined a pop balladeer’s directness with a jazz singer’s fluid Park Slope, where he has lived for the last six years, might well phrasing, reaching new heights of expressiveness. settle in among Los Angeles, the Boston Commons and the Taconic Parkway on one of his future set lists. Pinning him It was curious, then, that he mostly ceded that asset during down stylistically is not as easy: Mr. Kahane writes pop songs, selections from “For the Union Dead,” a song cycle based composes concert works and creates music for the theater. In on poems by Robert Lowell. Written for the versatile sextet his Allen Room concert, part of Lincoln Center’s yMusic, all of whose members were present in Mr. Kahane’s CONT’D } New York Times New York { band at the Allen Room, the songs strike a beguiling balance Not that Mr. Kahane should shun mannerisms altogether: among chamber-music refinement, a folksy rusticity provided “Neurotic and Lonely,” from another cycle, “Craigslistlieder,” by Mr. Kahane’s banjo, and the striking friezes and whorls of was an exuberant display of playful quirk. But it was when Lowell’s poetry. Mr. Kahane sang most naturally and intimately, abetted by an outstanding band of resourceful players, that his copious The work is an audacious undertaking, and Mr. Kahane’s talents were most persuasive. writing rises to the occasion. But here he sang with a brassy, almost classical affectation that acted like fingers arched in the air to form quotation marks. When he shifted to his natural voice during one section of a song that shares its name with the cycle, the words took on an emotional resonance missing elsewhere. Benjamin Britten, Carson McCullers and Gypsy Rose Lee. The classical and theater work is going great, but the harder nut to crack has been gaining wider recognition for his artful, Honestly Sincere erudite and unabashedly sentimental pop songs. Which is why he has been waging a war on his own sincerity as he records By Zachary Woolfe his second album, due out early next year. While his classical, March 2, 2010 theater and pop projects feed each other, their different audiences have very different expectations, about earnestness Gabriel Kahane is trying to be less sincere. Which is hard for and other things. He was especially stung that Gabriel Kahane him. Irony isn’t his posture of choice. He refers to his songs as didn’t get the kind of traction he had hoped for, and he thinks his children. He tweets things like “in love with Los Angeles” he knows why. and “there are a lot of attractive people in Williamsburg, as well as delicious dumplings.” He says that he’s like a “I really feel very emotionally connected to the first record,” walking shadow in Park Slope, where he’s lived for six years, Mr. Kahane said recently in an interview with The Observer at and he means it. His 2008 self-titled debut album contains a cafe near his apartment, “but the degree to which it’s sincere conspicuously emotional lyrics--”I want to watch them tear is alienating to a lot of people. I guess just because it feels out down that building with you / And watch them watch you of step with the highly ironized hipster culture.” tear me down too”--and he means them, too.