McAninch Arts Centerat College of DuPage

presents

An Evening with

Bruce Hornsby

Media support provided by

Friday, Oct. 28, 2016Belushi Performance Hall, 7:30 p.m.

photo by Kat Fisher

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PROFILE PROFILEA decade after Bruce Hornsby established his global name as the creator of pop hits that defined “the sound of grace on the radio,” as a Rolling Stone reviewer once wrote, the Virginia-born pianist, composer and singer-songwriter found

himself compelled by two ostensibly separate areas of music. “One passion of mine was old-time American roots forms—hymns, blues, country, bluegrass, old folk, shaped-note religious songs, on and on,” Hornsby says.

That tracked with an artist who from the beginning of his career played accordion and fronted a band featuring fiddles, banjos and dulcimers. The other area—modern classical music—did not. Yet the cranky dissonance and expressive chromatics of 20th-century 12-tone inventors like the Austrian composers Arnold Schoenberg and Anton Webern, as well as the work of an American modernist like Elliott Carter or a Hungarian like György Ligeti or a French mystic like Olivier Messiaen, ultimately fed Hornsby’s sense of raw challenge.

He was turning 40. He was wondering whether he’d stay gracefully put as an artist—or not. “It’s generally about a pattern in the left hand,” Hornsby says of what he champions as “two-handed independence.” The phrase describes an elevated sonic state in piano performance where one hand doesn’t just accompany a melody played by the other but rather, as in boogie-woogie, simultaneously achieves a parallel compositional and musical life and vitality of its own.

“It’s this situation where you’re playing that pattern but you’ve developed your brain-splitting expertise to the point where you can play very free rhythmically. I’d always admired Keith Jarrett’s hand independence on the early

records he made. He had the independence of a drummer. ‘Oh my God,’ I’d think, ‘how can I do that?’ Before, I’d never wanted to deal with that area of piano; it was always a door I would open then close right back up again—because I knew it was a deep area that involved untold amounts of practice.” But, just into his fourth decade, Hornsby went for it. Staying put proved no option.

Bruce Hornsby Solo Concerts, an emotional musical merger of American history and European daring, is a two-disc demonstration of all this and more in which the various elements of Hornsby’s songwriting and instrumental styles align in highly personal ways. The album’s 21 tracks are culled from Hornsby solo concerts performed in the U.S. during 2013 and 2012; together, they fuse a wide variety of what Hornsby considers different “information” from musical languages often thought to be opposed: U.S. roots music, folk-pop, film composing, and modern classical. Much of the work on the album involves what Hornsby calls an “unholy alliance” of comforting Americana and daunting composition. The result, however, sounds effortlessly like one tremendously ambitious, and equally capable, piece. “I think I’ve found a middle ground,” Hornsby says. “I think it’s very easy be straight down the middle, to write and play the very straight, simple music. I think it’s also easy to be completely out there, very obtuse and obscure, saying oh, they don’t understand. For me, the difficult thing is to find a middle ground where you’re reaching and broadening your language but still connecting with someone perhaps used to hearing—for an entire lifetime—only those seven white notes and those simple chords.”

Here is Hornsby on the album’s opening tracks, which provides an idea of how Solo Concerts proceeds as a whole: “For years people asked me to describe my style. I came up with this facile, quick way of doing it, just

to have an answer for them, and it was Bill Evans Meets the Hymnal,” he says, citing the renowned U.S. jazz pianist famous for his impressionistic range. “‘Song E (Hymn in E-flat)’, which opens the record, really is a perfect example of that: It’s from a Spike Lee score I wrote a couple of years ago. And then the second track, which isn’t an instrumental but a song, is ‘Preacher in the Ring.’ It’s a boogie tune, an old pattern I was shown by a longtime cohort of mine. So I wrote a song based on that pattern, which illustrates two-handed independence very well.

“But there’s this other language on top— the Webern second variation from his three-movement Variations for piano. And in the end I work in an excerpt from the late Elliott Carter piece I play, “Caténaires.” I think it goes with the content of the lyrics: When you’re singing about a snake-handling congregation, that’s a very strange area, a strange part of American religious life, really out on the fringes. An electric guitar player, I guess, would make it a little more angry and over-driven and distorted. For me, this modern piano music is my way of doing it.”

Hornsby recognizes that modern classical’s often atonal language—which rocked the classical music world in the middle of the twentieth century as decisively as punk shook up pop music in the late 1970s—is not always easy for listeners. “My wife,” he laughs, “can’t stand ‘Caténaires’.” So Solo Concerts weaves in songs like “Invisible,” a searingly melodic folk-pop plaint, and “Continents Drift,” a performance that taps Hornsby’s vintage Moog Piano Bar to give silvery cinematic balladry fine modernist edges, as well as a breath-stopping minor-key version of “Mandolin Rain.” “My standard line,” Hornsby says of his solo concerts, “is: I’m not the vehicle for your nostalgic night out. But I will be kind.”

Still, the album teems with Hornsby’s sensuously engaged yet clear-headed playing of passages from Schoenberg’s Piano Concerto, Messiaen’s La grive musicienne, Ligeti’s Étude No. 5 and more. Sometimes the “information” these pieces offer turns up in different new ways in Hornsby’s own songwriting, as in “Paperboy,” “Where No One’s Mad,” “Life in the Psychotropics” and “Might as Well Be Me,” whose lyric is by Robert Hunter, Jerry Garcia’s noted lyricist-collaborator in the Grateful Dead, with whom Hornsby toured for two years.

The pop world, Hornsby knows, obsesses over virtuosity less than style or chart positions or sales figures. But his sane view is: Why shouldn’t it be part of the mix? “There’s often a bias in the rock or pop world against virtuosity. I understand that mindset: expression over virtuosity. But my feeling is, why not both? This is not clinical, what I do. This is really emotional. It’s what I call the pursuit of the unattainable.”

photo by Michael Martin

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AUG. 22 - OCT. 1, 2016Long View/Long Game:30th Anniversary ExhibitCurated by Brandon AlvendiaOpening Reception: Aug. 26, 6-7:30p

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*deceased

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FRIENDS OF THE MAC

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MAC Administrative StaffDirector of the McAninch Arts Center ............................................................................. Diana MartinezMarketing and Donor Relations Coordinator ......................................................................Roland RaffelBusiness Manager .........................................................................................................Ellen McGowanCleve Carney Art Gallery Curator ......................................................................................... Justin WitteEducation and Community Engagement Coordinator ........................................................ Janey SartherDirector of Development for Cultural Arts ......................................................................... Janie OldfieldGroup and Rental Sales Coordinator ............................................................................ Melissa MercadoAdministrative Assistant ...................................................................................................Mandy RakowClerical Assistants ......................................................................................Molly Junokas, Erin Posavec

MAC Box Office and Front of House StaffBox Office Manager ..............................................................................................................Julie ElgesAssistant Box Office Manager .....................................................................................Mary Ellen ReedyBox Office Assistants ................................................ Jimmy Gosling, Rachel Krusec, Gretchen WoodleyPatron Service Manager ...................................................................................................... Tom MurrayFront of House Manager ...................................................................................................... Rob NardiniFront of House Assistant ....................................................................................................Jen Krouwer

MAC Resident Professional EnsembleBuffalo Theatre Ensemble, Artistic Director .......................................................Connie Canaday HowardBuffalo Theatre Ensemble, Associate Artistic Director ...................................................... Amelia BarrettFounding Artistic Director Emeritus .................................................................................... Craig Berger New Philharmonic, Conductor and Music Director .............................................................Kirk MusprattNew Philharmonic Manager .............................................................................................. Paula Cebula

MAC Design and Technical StaffTechnical Production Coordinator ............................................................................................Jon GanttTechnical Director ....................................................................................................... Michael W. MoonCostume and Make-up Design Coordinator ............................................................... Kimberly G. MorrisProduction Manager............................................................................................................ Joe HopperAssistant Production Managers ..........................................Ben Johnson, Elias Morales, Sabrina ZeidlerSound and Equipment Manager ..............................................................................................Bob Murr Stage Hands ......................................................................................... Bobby Bryan, Amanda Hantson

HOUSE NOTES• Mailing List: If this is your first visit to the McAninch

Arts Center, please stop by our Box Office to add your name to our mailing list or register your email at www.AtTheMAC.org.

• Cameras and recording devices are not allowed in the theater and are prohibited by our contracts with the artists.

• Smoking is not permitted in the theater or on campus.• For your comfort and security, all backpacks and

large bags must be checked.• Electronic pagers and patrons’ seat locations should

be given to the House Manager, who will notify you in the event of a call. Patrons wearing wristwatch alarms or carrying cellular phones are respectfully requested to turn them off while in the theater.

• Emergency phone number at College of DuPage Police Department for after-hour calls is (630) 942-2000.

• Latecomers seated at discretion of the House Manager.

• Groups of 10 or more may contact Melissa Mercado at (630) 942-3026 or meisch-mercadom@cod.edu to arrange for group discounts.

• If you notice a spill in the theater, please notify an usher.• McAninch Arts Center volunteers are people

who assist the house staff in areas of ticket taking, ushering and general management during performances. To get involved, call (630) 942-4000.

• For Americans With Disabilities Act accommodations, call (630) 942-2141 (voice) or (630) 858-9692 (TDD).

• Infrared Assistive Listening Devices: For audience members who desire audio amplification of performances, headsets with individual volume controls are now available. You may check out the headsets at the Ticket Office with a credit card or driver’s license. Underwritten by a generous gift from The Knowles Foundation.