Somehow, I totally missed the announcement last month that June would mark the final installment of Kile Smith’s long-running podcast, “Fleisher Discoveries.” But even if I’d known, I don’t know that it would have packed any less of a wallop. I’m not even entirely sure what I feel. Loss, maybe. A touch of separation anxiety, perhaps. Mostly melancholy for the passing of an age.
For its musical content, “Fleisher Discoveries” draws from the vast collection of scores stored in the Edward A. Fleisher Collection at the Free Library of Philadelphia – the largest lending library of orchestral performance sets in the world. The show is a continuation of “Discoveries from the Fleisher Collection,” which Kile first produced for Philadelphia’s classical and jazz station, WRTI, 22 years ago. More often than not, the program highlights off-the-beaten-path composers and/or repertoire, sometimes heard in rare recordings, a selection of these also stored at Fleisher.
I confess, for as much as I love the show, I have not been as conscientious as I should have been in listening to it regularly. While I save every email notification as a reminder (and for Kile’s excellent writing) – and even now, I have several tabs open on my laptop with sound files still waiting to be listened to – time has a way of passing, and before I know it, a month or two will have slipped away, before suddenly I realize I never got around to listening to that Marianne Martines show.
But, more for me to enjoy in the future. It’s just disturbing to know there won’t be any new installments being produced. For now, the programs are archived and accessible on Soundcloud and Spotify.
Kile is uniquely qualified to have instituted such a project, through his experience actually working at the Fleisher Collection for 30 years, beginning in 1981. In 1993, he became curator of the collection, a position he occupied for 18 years.
Being the modest guy he is, Kile probably would never have considered ending the series with one of his own compositions. In the 22 years of the show’s existence, he’s devoted only one earlier program to his music. Fortunately, he was convinced by current Fleisher curator, Gary Galván, that there would be no more fitting conclusion. So what we get is a terrific little symphony Kile composed for Donald Spieth and the Lehigh Valley Chamber Orchestra in 2002, when he was 38-years-old – his only symphony, in fact.
Kile has written in so many forms and for so many different vocal and instrumental combinations. In fact, the reason he gives for ending the podcast is that it is essentially a casualty of his success. Of course, Kile would never put it that way. But the fact is that he has so many commissions for substantial new works right now, that something had to give. Here’s hoping there’s another symphony in his future.
At any rate, I hope you will enjoy the ultimate installment of “Fleisher Discoveries.” The program has a rich archive, and I will be catching up on past episodes, myself. If you are at all familiar with the show, you will find an old friend in Kile’s symphony, as he has used the opening of the last movement as his signature music for the past 22 years.
If you are NOT familiar with the show and would like to be introduced to a lot of interesting and worthwhile music, with Kile’s spoken introductions – full of rich, creative, and often playful observations – do give it a shot on Soundcloud or Spotify.
Here, I’ve linked it for your convenience:
And while we’re at it, you’ll find lots more good stuff on his website, kilesmith.com.
Onward and upward, Kile! Excelsior! Citius, altius, fortius, and all that jazz. Thank you so much for your dedication and hard work, and best wishes on your future endeavors.
