Kile Smith

Classical Host

Kile Smith hosts the contemporary American music program Now Is the Time on Sundays at 10 pm on HD-2 and the classical stream, and co-hosts Discoveries from the Fleisher Collection on the first Saturday of every month at 5 pm with Jack Moore. Discoveries takes a fresh look at music in the Fleisher Collection of Orchestral Music at the Free Library of Philadelphia, where Kile was curator for 18 years. He also fills in as an on-air classical host.
 
When he's not producing podcasts of CD reviews for WRTI, writing for the Broad Street Review, teaching music history at Cairn University, music notation at Temple University, or private composition, Kile is busy composing orchestral, choral, chamber, and liturgical works. His music is praised by critics and audiences for its emotional power, direct appeal, and strong voice. Gramophone magazine calls his Vespers "spectacular," possessing "sparkling beauty." The Philadelphia Inquirer describes his music as "breathtaking."
 
He's composed for The Crossing, Piffaro, Orchestra 2001, and the Newburyport Chamber Music Festival. He's also written for David Kim, concertmaster of the Philadelphia Orchestra, Jennifer Montone, Philadelphia's principal horn, and Anne Martindale Williams, principal cello of the Pittsburgh Symphony. His website is kilesmith.com.

The weeds in his ever-widening gardens hint that he needs to get outside more.

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Now Is the Time
3:23 pm
Fri August 29, 2014

Labor Day Weekend on Now Is the Time

from Matthew McCabe: Everything Must Be Beautiful

Maybe this weekend you're traveling with Now Is the Time, Saturday, August 30th at 9 pm. We start with City Columns for orchestra by Shawn Crouch, and then go way, way out with Michael Daugherty's percussion concerto UFO. Evelyn Glennie solos, sometimes on unidentified pieces of metal, in the work that's all about Roswell and Area 51 and improvising in front of a large wind ensemble.

It's also the time of year for going back to school, and Matthew McCabe remembers his first music teacher in Everything Must Be Beautiful. The homage uses her voice, together with electronically processed sounds, in glorious, retro, two-channel tape. Whether you're here or far, far away (we stream online!), and whether you study, teach, work, or rest, have a great weekend!

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Now Is the Time
10:46 am
Fri August 22, 2014

String Circle

from Daniel Bernard Roumain: Ghetto Strings

All kinds of strings are circling on Now Is the Time, Saturday, August 23rd at 9 pm at wrti.org and WRTI-HD2. The Minneapolis Guitar Quartet starts off with Daniel Bernard Roumain's homage to places he's lived and loved. Ghetto Strings visits Harlem, Liberty City in South Florida, the Motor City, and the land of his parents, Haiti. Ethel is the string quartet playing String Circle 1 by Kenji Bunch, who, since he's also an accomplished violist, knows his way around strings.

But we go to Phillip Rhodes for a solo viola dance suite, and inspired by Bach. It's the Partita, from 1977. Full circle is how we'll finish the show, with guitars, but this time two of them, the wonderful Anderson-Fader Duo. From their CD Le Cirque is Fantasy on 12 Strings by Martin Rokeach.

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Now Is the Time
5:59 am
Fri August 8, 2014

Secondary Impressions

from John Novacek: Three Rags for Two Pianos

They come in twos on Now Is the Time, Saturday, August 9th at 9 pm at wrti.org and WRTI-HD2. Joan Tower responded to Copland's Fanfare for the Common Man with numerous Fanfares for the Uncommon Woman; we'll hear No. 2. Eric McIntyre doubles down on impressionism with Secondary Impressions for saxophone and piano, and Kronos performs the Quartet No. 2 of Philip Glass.

William Hawley's Two Motets on Roman poets, sung by Volti, separates the last two instrumental works, the Four Fanfares for Two Trumpets by Andrew Rindfleisch and John Novacek's Three Rags for Two Pianos.

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Discoveries from the Fleisher Collection
5:59 am
Wed July 30, 2014

Philadelphia Premieres: Josef Suk, Vitezslav Novak

Symphony Club String Orchestra, 1921-22
in the digital collection of the Fleisher Collection, the Free Library of Philadelphia

On Discoveries from the Fleisher Collection, Saturday August 2nd, 5-6 pm... The gentleman from Philadelphia was heir to a textile business but his passion was music. An amateur violinist and violist, he founded a club for young people to play music at a time—1909—when there was no instrumental music instruction in the Philadelphia schools. He obtained a building, hired a conductor, and brought the students in to play orchestral literature, as much as he could buy. He called it the Symphony Club.

Edwin A. Fleisher (1877-1959) quickly realized, however, that he would need to go to the source of orchestral music. Music publishers did not have the international reach, through agents and distributors, that they would later have. So Fleisher traveled to Europe, purchased music, signed agreements, and shipped scores and parts back to the United States.

He was building what would become the largest library of orchestral performance material in the world. It was the library of the Symphony Club, and is now called the Edwin A. Fleisher Collection of Orchestral Music. It is housed in the Free Library of Philadelphia.

The Symphony Club held readings/rehearsals every week, for younger and older students, for strings only and for full orchestra. They learned chamber music and theory, and even had a choir. Occasionally they’d give public concerts. Boys and girls, blacks and whites, rich and poor all took part, with Edwin Fleisher footing the bill, paying for salaries, music, and later, the hand-copying of instrumental parts where none existed.

The library grew to include American and Latin American music, but in the beginning the music was European through and through, the spine of orchestral literature, music popular at that time and music that had been popular in previous decades.

Because of Fleisher’s access to European publishers, the Symphony Club often premiered works in Philadelphia that would later become staples of orchestral programs. That’s the case for the two Czech composers on Discoveries today. Josef Suk’s Serenade for string orchestra and Vitezslav Novák’s Slovak Suite, which show up on programs all over the world, had their very first Philadelphia hearings on Symphony Club concerts.

Suk and Novák, born within a year of each other, were colleagues and friends, and in the vanguard of the new generation of composers reaching beyond folk influences to a more international sound. They could not escape—nor did they really wish to—the teaching and influence of Dvořak. Suk, in fact, had married the master’s daughter. But the future of Czech music continued bright and world-renowned in large part to their own legacies.

So it was, that when Edwin A. Fleisher toured Europe in the early years of the 20th century, prodding publishers for the latest in orchestral music, he returned with works by Josef Suk and Vitezslav Novák (as well as by Dvořak). Philadelphia first heard these works because of the Symphony Club, because of its library, and because of the gentleman from Philadelphia who founded them both.

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Now Is the Time
10:55 am
Fri July 25, 2014

Voices from the Heartland

from George Crumb: Voices from the Heartland

New music hears old tunes on Now Is the Time, Saturday, July 26th at 9 pm at wrti.org and WRTI-HD2. George Crumb has a way—like no one else—of investing the simplest gesture with mystery and grandeur. He fills his seventh American Song Book, Voices from the Heartland, with these touches of wonder assembled in these hymns, spirituals, folk songs, and American Indian chants. Soprano Ann Crumb and baritone Patrick Mason are accompanied by Orchestra 2001, conducted by James Freeman.

Beginning the show, there's just time enough to hear a movement from David Amram's Violin Concerto. His Celtic Rondo breathes the air of long ago from another place, or maybe he hears the spirits of ancestors from any place. Charles Castleman is the soloist.

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Now Is the Time
5:59 am
Fri July 18, 2014

This Floating World

Elena Ruehr's CD, including The Law of Floating Objects

from Robert Ackerman: Scena

Islands and dances and flutes seem to float on Now Is the Time, Saturday, July 19th at 9 pm at wrti.org and WRTI-HD2. Haiku of Basho inspired Edie Hill's This Floating World for solo flute; Elena Ruehr's The Law of Floating Objects is for one flutist multiplied many times. An excerpt from A Floating Island is Matthew Greenbaum's chamber opera on an episode from Gulliver's Travels by Jonathan Swift, where some are so lost in thought they don't see what's right in front of them.

The Habanera makes us think of Cuba and islands (okay, it's a stretch), and we find one in 5 Pages from John's Book of Alleged Dances by John Adams. Robert Ackerman improvises Havana Special, clarinet and bass, and there's just enough time for an Ackerman encore, Scena.

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Discoveries from the Fleisher Collection
5:50 am
Wed July 2, 2014

Our Town Holidays with Ives and Copland

Ives House, Danbury, Conn. (Photo: Daniel Case)

In America, small-town New England holds our attention. Whoever we are, it’s our town. The paper’s delivered, there’s gossip at the kitchen table, children are born, children go to school, a choir sings, there’s marriage, there’s death. It’s just life—or perhaps life, liberty, and the pursuit of happiness is the perfect description of this American scene, for American it is, and Our Town, the Thornton Wilder play, captures it perfectly.

Our Town hit Broadway in 1938 and was an immediate success. Wilder won a second Pulitzer for it (his 1927 novel The Bridge of San Luis Rey was his first), and Universal Pictures made it into a film two years later. They signed the red-hot classical composer Aaron Copland to write the score. His biggest triumphs were yet to come—Appalachian Spring, Rodeo, A Lincoln Portrait—but Billy the Kid and El Salón México had already put him on the map. We often don’t think of Copland as a film composer, but with The Red Pony to go along with Our Town and others, he’s one of the best.

Copland fills the poignancy and the matter-of-factness of Wilder’s play. Life-affirming yet without triumphing, the music sings lightly but is warmed by coals that glow from deep emotions. Aaron Copland, born and raised in Brooklyn and trained in Paris, could nevertheless deliver a western prairie, eastern mountains, or a New England town. He has defined “American composer” in the popular imagination better than anyone else.

Though Charles Ives celebrated his native New England over and over in his music, much of it never found the light of day, let alone the ears of a concert-going public, until decades after its creation. The very title of today’s work is a conundrum. Is it Holidays, Holiday Symphony, Holidays Symphony, Four New England Holidays, or A Symphony: New England Holidays? His disinterest in a composer’s career often left the details to others.

From the squared phrases of marching bands to flying shrieks of disharmony, from church hymns to layered and crashing sonic sculptures, the music of Ives is like a boy at a parade. He knew the sound of two bands playing on intersecting streets just as vividly as he had felt the giddiness of holding an ice cream cone on a summer afternoon or the elation of fireworks at night. All we have to be is that boy, and we’ll get Ives in a flash.

The holidays in this work are in chronological order: Washington’s Birthday, Decoration (now Memorial) Day, The Fourth of July, and Thanksgiving. The last one he composed first, starting in 1887, as organ music for a Thanksgiving service. He revised and completed it by 1904. Washington’s Birthday he began in 1909, finishing it in 1913, the same year he finished The Fourth of July. Decoration Day is from 1912 (unpublished until 1989).

To picture New England at the very time Ives was composing the Holidays Symphony, picture Our Town. It takes place in fictional Grover’s Corners, New Hampshire between 1901 and 1913. Maybe Wilder’s play and Copland’s music are the grown-up, considered look at the small American town, with no illusions but with all love. Ives’s Symphony is the boy’s look, wide-eyed. With that love and with those eyes, wherever we’re from, this is our town.

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Now Is the Time
12:52 pm
Fri June 20, 2014

A Summer's Day

Claude Monet: Rouen Cathedral, Facade (Sunset)

from Brian Dykstra: Sweet Daydreams

Celebrate the solstice on Now Is the Time, Saturday, June 21st at 9 pm at wrti.org and WRTI-HD2. Into Light is Marilyn Shrude's orchestral paean to youth and possibility, and Lewis Spratlan outlines an entire day of activity—both fun and contemplative—ending with a starry night, in A Summer's Day. Looking at the evening sky reflected in Italy's Lake Como, Laura Elise Schwendinger asks C’è la Luna Questa Sera? ("is there a moon tonight?").

As Monet painted the same scene in different light (including his Rouen Cathedral series from 1892-1893), Jennifer Higdon used materials from her blue cathedral in different ways in Light Refracted for clarinet, string trio, and piano. One of Brian Dykstra's piano rags is the deliciously floating Sweet Daydreams, and in light moving, David Lang provides an encore for Hilary Hahn.

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Now Is the Time
4:38 pm
Sat June 14, 2014

Miniatures on Now Is the Time

Miniatures are big on Now Is the Time, Saturday, June 14th at 9 pm at wrti.org and WRTI-HD2. The Pastiche of John Biggs is a riot of tunes you already know, skillfully arranged, while Miniatures are original offerings from Louis Anthony deLise's brand-new CD for flute and piano. A concertino is a small concerto, but Harold Schiffman's, for oboe, is the biggest work on the program and a lyrical treat.

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Now Is the Time
10:12 am
Fri June 6, 2014

Songs With and Without Words

Inscape's CD Sprung Rhythm, including Joseph Hallman's Three Poems of Jessica Hornik

from Robert Moran: Notturno in Weiss

Singing can be vocal or instrumental on Now Is the Time, Saturday, June 7th at 9 pm at wrti.org and WRTI-HD2. A tribute to a family, carved in cemetery marble, is the choral Notturno in Weiss (Nocturne in White) by Robert Moran. Joseph Hallman's Three Poems of Jessica Hornik uses voice with an expanded chamber ensemble, while Anthony Iannaccone selects a solo piano for his Song without Words.

An Uruguayan legend or Leyenda comes from Sergio Cervetti for voice and orchestra, and from her ten-year-old daughter's poem about a Cape Cod berry-picking excursion, Elena Ruehr creates the all-instrumental Blackberries.

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