CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE Chris O’Donovan Today’s performance is sponsored by COMMUNITY ADVISORY COUNCIL The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective. Nancy VanLandingham, chair Bonnie Marshall Lam Hood, vice chair Pieter Ouwehand Melinda Stearns Judy Albrecht Lillian Upcraft William Asbury Pat Williams Lynn Sidehamer Brown Nina Woskob Philip Burlingame Deb Latta student representatives Eileen Leibowitz Brittany Banik Ellie Lewis Stephanie Corcino Christine Lichtig Jesse Scott Mary Ellen Litzinger CENTER FOR THE PERFORMING ARTS AT PENN STATE presents The King’s Singers Great American Songbook David Hurley, countertenor Timothy Wayne-Wright, countertenor Julian Gregory, tenor Christopher Bruerton, baritone Christopher Gabbitas, baritone Jonathan Howard, bass 7:30 p.m. Tuesday, February 17, 2015 Eisenhower Auditorium The performance includes one intermission. sponsor Foxdale Village, A Quaker-Directed Continuing Care Retirement Community media sponsor WPSU Visit www.kingssingers.com for the latest news, blog entries, video blogs, podcasts, Tweets, and YouTube updates. The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency. PROGRAM Celebrating Harold Arlen and George Gershwin “Get Happy”…………......................Harold Arlen and Ted Koehler arr. Paul Hart “Love is Here to Stay”………...........................................................George Gershwin arr. Richard Rodney Bennett “I’ve Got the World on a String”………….........................................….Harold Arlen arr. Alexander L’Estrange “It’s a New World”……………..............................….Harold Arlen and Ira Gershwin arr. Richard Rodney Bennett “Oh! I Can’t Sit Down”……......................................……..George and Ira Gershwin arr. Bob Chilcott Traditional American Spirituals “Little David, Play on Your Harp”………….......................Trad. arr. Keith Roberts “Swing Low, Sweet Chariot”……………………...................….Trad. arr. Peter Knight “Down to the River to Pray”……………….........................Trad. arr. Philip Lawson “Steal Away”…....................................................................……Trad. arr. Bob Chilcott “Stand Still, Jordan”………………....................…Trad. arr. Andrew Price-Jackman The Magic of Cole Porter (all Cole Porter arr. Alexander L’Estrange) “Begin the Beguine” “I’ve Got You Under My Skin” “It’s De-Lovely” “Night and Day” “Let’s Misbehave” INTERMISSION Great American Songbook (all arr. Alexander L’Estrange) “I Won’t Dance”………..............................Jerome Kern and Oscar Hammerstein “Bewitched, Bothered, and Bewildered”…........................……Richard Rodgers . and Lorenz Hart “The Best is Yet to Come”…………….................Cy Coleman and Carolyn Leigh “Cry Me a River”……………..................................................................Arthur Hamilton “Beyond the Sea”…………...........................…Charles Trenet and Jack Lawrence “When I Fall in Love”……...................………..Victor Young and Edward Heyman “Cheek to Cheek”……….........................................................................…..Irving Berlin “My Funny Valentine”…………..................……Richard Rodgers and Lorenz Hart “The Lady is a Tramp”…….................…………Richard Rodgers and Lorenz Hart Chris O’Donovan THE KING’S SINGERS David Hurley, countertenor Timothy Wayne-Wright, countertenor Julian Gregory, tenor Christopher Bruerton, baritone Christopher Gabbitas, baritone Jonathan Howard, bass Acclaimed for its life-affirming virtuosity and irresistible charm, The King’s Singers sextet is in global demand. The ensemble’s work— synonymous with the best in vocal ensemble performances—appeals to a vast international audience. The singers perform more than 120 concerts each year, touring regularly in Europe, Asia, Australasia, and North America. The group is admired for musical excellence and recognized as consummate entertainers—a class act with a delightful British wit. The sextet’s generous spirit and magical ability to move audiences has remained constant since the group’s founding in 1968. The ensemble has premiered more than 200 works, including landmark composi- tions by Luciano Berio, György Ligeti, James MacMillan, Krzysztof Penderecki, Toru Takemitsu, John Tavener, and Eric Whitacre. The double Grammy Award-winning artists were honored in 2009 for the Signum Classics release Simple Gifts and again in 2012 for a contribution to Eric Whita- cre’s Light & Gold album on Decca. In 2013, the sextet was chosen as one of only two vocal ensembles to enter the Gramophone Hall of Fame, recognized for a unique discography of more than 150 albums. Highlights of the group’s 2014–2015 season include: two performances in the Amsterdam Concertgebouw; a Christmas concert in Washington National Cathe- dral; a visit to the Grand Philharmonic Hall of St. Petersburg; an invitation to per- form at the American Choral Directors Association annual conference in Salt Lake City; and a residential summer school in the United Kingdom. For the latest details about The King’s Singers, visit kingssingers.com. Follow The King’s Singers on Facebook, Twitter, and YouTube. GREAT AMERICAN SONGBOOK Despite being a quintessentially English ter, Stephen Sondheim, and Cy Cole- group, The King’s Singers ensemble man were introduced on Broadway and has always enjoyed performing Ameri- continue to be loved around the world. can music—from the harmonies of With the rapid growth of the motion the Yale Songbook to the wonderful picture industry, composers fled to repertoire of spirituals and folk songs. Hollywood, where their musicals were In the 1990s, the ensemble recorded an made into movies. The classic tunes album of jazz standards—devoted to from that era have stood the test of the songs of Harold Arlen and George time, with countless performances and Gershwin—with the English-born, New recordings during the next half-century. York-based pianist George Shearing. The sextet has been inspired by a vari- “Get Happy” ety of American music from the mid- twentieth century, grouped together Hallelujah! Hallelujah! as the Great American Songbook. Come, you sinners, gather round. Tonight’s concert is homage to the Hallelujah! Hallelujah! craftsmanship of the melodies, harmo- All you sinners, I have found, nies, and lyrics of a wonderful body A land where the weary forever are free, of work. Come, you sinners, and just follow me. In the 1920s, radio emerged as the Forget your troubles and just get happy common form of in-home entertain- You better chase all your cares away ment, and the growth of the record- Sing Hallelujah, come on get happy ing industry allowed big bands of the Get ready for the judgment day day to swing into people’s homes. The influence of jazz began to be felt The sun is shining, c’mon get happy on stage—combining elements of The Lord is waiting to take your hand Vaudeville and Yiddish theatre with Shout Hallelujah, come on get happy jazz rhythms, chords, and orchestra- We’re going to the Promised Land tions heard on the radio—as plays were transformed into “the Broadway We’re heading ’cross the river musical.” That was a catalyst for some Wash our sins ’way in the tide of the greatest popular songs ever It’s all so peaceful written. On the other side Classic melodies by Arlen, Gershwin, Forget your troubles and just get happy Richard Rogers, Jerome Kern, Cole Por- You better chase your cares away. Shout Hallelujah, come on get happy The tears have rolled off my cheek. Get ready for the judgment day And fears fade away every time you speak. “Love is Here To Stay” A new world, though we’re in a It’s very clear tiny room. Our love is here to stay; What a vision of joy, and blossom, Not for a year and bloom. But ever and a day. A new found promise … The radio and the telephone One that will last. And the movies that we know So I’m holding on. May just be passing fancies, And I’m holding fast. And in time may go. You brought a new world to me. But, oh my dear, And that it’ll always … Our love is here to stay. Always be. Together we’re Going a long, long way. “Oh! I Can’t Sit Down” In time the Rockies may crumble, Oh I can’t sit down Gibraltar may tumble, Gotta keep a goin’ like the flowin’ There’re only made of clay, of a song But our love is here to stay. Oh I can’t sit down Guess I’ll take my honey and her sunny “I’ve Got the World on a String” smile along I’ve got the world on a string Today I am gay and I’m free Sitting on a rainbow Oh just a-bubblin’, nothin’ troublin’ me Got the string around my finger Oh I can’t sit down What a world, what a life—I’m in love I can’t sit down I got a song that I sing Happy feelin’ in my bones a-stealin’, I can make the rain go No concealin’ that it’s picnic day! Any time I move my finger Yeah I’m feelin’ happy, I’m feelin’ happy, Lucky me, can’t you see—I’m in love so happy, that it’s picnic day! Sure is dandy, got my liquor handy, Life is a beautiful thing Me an’ Mandy As long as I hold the string We are on the way because it’s I’d be a silly so-and-so picnic day! If I should ever let it go Oh I can’t sit down “It’s a New World” Gotta keep a-jumpin’ like the thumpin’ of a drum How wonderful that I’m beholding. Oh I can’t sit down A never, never land unfolding. Full of locomotion like an ocean full Where we polish up the stars … of rum! And mountains we move … In a place where all the pleasures Today I am gay an’ I’m free we will prove. Oh just a-bubblin’ nothin’ troubblin’ me Oh I can’t sit down It’s a new world I see.