Event / Program Detail

October 18th, 2016, 8PM at Dallas City Performance Hall

2520 Flora Street, Dallas, Texas 75201 (map it)

Presented with thanks for the generous support provided by the Jean Baptiste (Tad) Adoue III Fund of The Dallas Foundation.

Main Event at 8:00 PM

Season 5 opens in style with an UnSilent screening of F.W. Murnau’s Academy Award-winning classic film, Sunrise (1927) at VideoFest 29. You’ll enjoy watching this bewitching story of love and redemption from the late silent movie era, accompanied by The Dallas Chamber Symphony performing a new musical score composed by Joe Kraemer, whose film credits include Jack Reacher and the blockbuster hit Mission Impossible: Rogue Nation.

Tickets give you access to the premiere at Dallas City Performance Hall where you can meet the composer and join us for the after party. If you’re looking for a more casual evening with friends and family, plan your own picnic under the stars at Klyde Warren Park and enjoy our free simulcast.

Presented with thanks for the generous support provided by the Jean Baptiste (Tad) Adoue III Fund of The Dallas Foundation.

Richard McKay, conductor
Joe Kraemer, composer

Parking

Convenient parking for $5 is available across the street at One Arts Plaza.

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Directions

Find City Performance Hall downtown in the Arts District.

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Tickets By Phone

 214.449.1294

9:00am – 5:00pm, Monday – Friday
Voicemails also accepted.

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Pricing

Reserved Seating: $19-44

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At the Door

Tickets may be purchased at the box office in the lobby, which opens 90 minutes before the event start time. Cash and major credit cards are accepted. Save time by ordering in advance, online or by phone.

What People Are Saying

  • "McKay and the musicians wove through the complex textures and often counter-intuitive wanderings of this score with admirable devotion and precision."

    Wayne Lee Gay D Magazine
  • "...the Dallas Chamber Symphony and the Bruce Wood Dance Company...make an ideal cultural ambassador for the city to major urban centers in the United States and beyond."

    Wayne Lee Gay D Magazine
  • "McKay and the musicians wove through the complex textures and often counter-intuitive wanderings of this score with admirable devotion and precision."

    Wayne Lee Gay D Magazine
  • "Best Way to Watch A Silent Film 2014: ...they showed us that there’s nothing quite like watching a movie to the sound of a live orchestra."

    The Editor D Magazine
  • "The mostly young ensemble of two dozen strings responded with performances as eager and expressive as they were accomplished."

    Scott Cantrell The Dallas Morning News
  • "For this symphony the educational outreach is far-reaching."

    Teresa Frosini CBS 11 News
  • "…the orchestra here demonstrated a continually improving precision and comfort in a room that can be unforgiving. The Warlock Suite provided ample opportunity for McKay to show off a wonderful ability to evoke the special atmosphere, at once modern and archaic, that the composer created here."

    Wayne Lee Gay D Magazine
  • "Renaissance harmonies abounded, tinged with just the right spice of 20th Century dissonance and bi-tonality. It was brought out at just the right level by McKay."

    Wayne Lee Gay D Magazine
  • "The pointed intentionality of last night's programming, which initially looked like a musical mishmash, was to breathe new life into the old. And the structure of it was brilliant: 'Here's something you'll know. Here's something you should know. And here's something fun, so you leave feeling elated.'"

    Jamie Laughlin The Dallas Observer
  • "The Dallas Chamber Symphony is nothing if not ambitious."

    Katie Womack Dallas Observer
  • "This combination of old and new elements helped transport the audience to a different time and place without over-doing musical clichés."

    Katie Womack The Dallas Observer
  • "The audience was drawn into the film from the start, bursting into laughter and interacting with the story audibly."

    Katie Womack The Dallas Observer
  • "On Tuesday night, the Dallas Chamber Symphony proved they know exactly how to create a well-executed, interactive and entertaining live music/film screening experience."

    Katie Womack The Dallas Observer
  • "They have some incredible talent in their midst."

    Katie Womack The Dallas Observer
  • "There were a lot of excited whispers and shoulder grabs as people stood up to leave. I rarely see crowds so invigorated after classical productions."

    Jamie Laughlin The Dallas Observer
  • "If we want to keep classical music relevant, we need to fuse it naturally with our other passions. It should be an accompaniment to our lives, not just a fancy auditory meal gobbled up occasionally while wearing fine clothes. The Dallas Chamber Symphony is making that happen."

    Jamie Laughlin The Dallas Observer
  • "Shows like this reinforce that I'm on board; I'll see anything this group and its artistic director Richard McKay tries…"

    Jamie Laughlin The Dallas Observer
  • "Dallas Chamber Symphony has, along with the presentation of a fresh and widely varied repertoire of standard and non-standard works, carved a notable niche on the local scene…"

    Wayne Lee Gay D Magazine
  • "The orchestra and conductor McKay deserve hearty accolades for this ongoing silent cinema project, with hope that it will continue to enrich the local scene in upcoming seasons."

    Wayne Lee Gay D Magazine
  • "McKay had a great sense for the tempo and character of the piece, which was clearly chosen to show off Takagi's technical and artistic skill."

    Katie Womack The Dallas Observer
  • "As they had been all night, phrases were beautifully shaped. Throughout the performance there was palpable emotion in the playing and ultimately that intangible -- artistic sensibility -- is what made this concert a success."

    Katie Womack The Dallas Observer
  • "The conductor’s long-term vision is precisely the kind of eclectic and occasionally challenging classical group Dallas really needs."

    Peter Simek D Magazine
  • "Everything from the first note was locked in rhythmic precision, and difficult passages were clear, focused, and musical..."

    John Norine TheaterJones
  • "The ensemble is extremely adroit in their presentation as well as programming."

    John Norine TheaterJones

ABOUT THE ARTISTS

Joe Kraemer, film composer

Joe Kraemer Dallas Chamber Symphony 2016Joe Kraemer has been scoring films since the age of 15, when he composed the soundtrack for high school classmate Scott Storm’s THE CHIMING HOUR, a feature-length indie shot on Super 8 in 1986. It was during this time that he first met a young writer named Christopher McQuarrie, a meeting that would lead to three career-defining projects for Kraemer, THE WAY OF THE GUN, JACK REACHER, and 2015’s box office smash MISSION: IMPOSSIBLE ROGUE NATION.

Kraemer would leave high school behind to attend the renowned Berklee School of Music in Boston to study Film Composing. Kraemer’s first real ‘industry’ gig was scoring the NBC/Warner Brothers pilot THE UNDERWORLD, written and produced by Christopher McQuarrie, shortly following McQuarrie’s Oscar win for THE USUAL SUSPECTS. Though the series was not picked up, the pilot was ultimately repurposed as a TV movie, where it has gained a small, cult following.

Kraemer and McQuarrie teamed up for their first career-defining moment THE WAY OF THE GUN, McQuarrie’s debut as a feature film director. A modest showing at the box-office relegated the film to cult-status, but the film remains a favorite for ‘temp-scoring’ by music editors. Ron Howard relied on the score heavily as temp music for his Best Picture film A BEAUTIFUL MIND, so much so that he included Kraemer’s music in the deleted scenes on the DVD and Blu-Ray.

In the years following THE WAY OF THE GUN, Kraemer carved out an eclectic career scoring all manner of films, from documentaries to television movies to action and horror films. He has written music for over 100 films, TV movies, episodic television, and film shorts, some 40 films just for The Hallmark Channel/Larry Levinson Productions alone! Strong melodic writing and superb dramatic sensibilities have kept him at the forefront of their rotation, and highlights include his scores for John Putch’s THE POSEIDON ADVENTURE and A TIME TO REMEMBER, the MYSTERY WOMAN series of ten films, and westerns such as HARD GROUND, LONE RIDER and THE TRAIL TO HOPE ROSE. He has also written the music for THE HITCHER II and JOYRIDE 2 for director Louis Morneau, and six films with writer-producer Mark Altman, including HOUSE OF THE DEAD 2, THE THIRST and ALL SOULS DAY.

Kraemer’s close artistic partnership with Altman led to scoring duties for Altman’s TV series FEMME FATALES, a sexy homage to film noir and other genres for HBO/Cinemax. Kraemer also wrote the score for the prestigious documentary AN UNREASONABLE MAN, an Oscar-shortlisted feature about Ralph Nader for directors Steven Skrovan and Henriette Mantell.

But it is his relationship with director Christopher McQuarrie and actor/producer Tom Cruise that Kraemer is most known for. McQuarrie’s second directorial effort, starring and produced by Cruise, 2012’s JACK REACHER would allow Kraemer to again use the palette of a full symphonic orchestra. Kraemer had a break out year last year, with the release of DAWN PATROL (starring Scott Eastwood) and MISSION: IMPOSSIBLE ROGUE NATION. His recent work includes the documentary LIBERATING A CONTINENT: JOHN PAUL II AND THE FALL OF COMMUNISM released earlier this year.

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