Teacher`s Guide - Oregon Symphony
Transcription
Teacher`s Guide - Oregon Symphony
Oregon Symphony: Some Assembly Required Young People’s Concert 2013–2014 Teacher’s Guide Grades 3-8 Paul Ghun Kim, conductor February 25 & 27, 2014 Arlene Schnitzer Concert Hall, Portland Higdon Machine Grieg Holberg Suite, 1st mvt Mendelssohn Scherzo from A Midsummer Night’s Dream Ravel Le Tombeau de Couperin, 1st mvt Brackett Simple Gifts – sing along Copland Variations on a Shaker Melody Mozart Abduction from the Seraglio Overture Wagner Lohengrin: Prelude, Act III Rimsky-Korsakov Capriccio Espagnol, mvmts 4 & 5 Bringing Music Alive! welcome Program i n t ro d u c t i o n HOW TO USE THIS GUIDE This guide is designed to accompany the 2013/14 Young People’s Concert, “Oregon Symphony: Some Assembly Required” We offer background information on the pieces you will hear at the concert along with a listening guide for each piece and biographical information about the composers. Also included are introductions to the four families of instruments (strings, woodwinds, brass and percussion) and online resources. It is our hope that utilizing this guide will deepen the concert experience for your students. We encourage you to fit this material into your teaching style and specific student needs. Providing this guide online allows teachers to project information to the entire class and access listed websites in the resource section. All materials are developed to help meet and exceed the Oregon Department of Education’s Arts Content Standards curriculum objectives and support your work in the classroom. Concert Theme: “Oregon Symphony: Some Assembly Required” Constructing a professional orchestra requires many key components. We start with highly skilled musicians, who use top of the line instruments, all 75+ of whom practice their craft daily. We then add a conductor to lead this group of players, who prepares the great music for the orchestra’s much anticipated performance. HigdonMachine Grieg Holberg Suite, 1st mvt Mendelssohn Scherzo from A Midsummer Night’s Dream Ravel Le Tombeau de Couperin, 1st mvt Brackett Simple Gifts – sing along Copland Variations on a Shaker Melody Mozart Abduction from the Seraglio Overture Wagner Lohengrin: Prelude, Act III Rimsky-Korsakov Capriccio espagnol, mvmts 4 & 5 O v e r a l l G o a l s o f t h e Te a c h e r ’ s G u i d e u s a g e a n d c o n c e r t a t t e n d a n c e : • Introduce students to live orchestral music • Provide students with an opportunity to participate as audience members in the live music experience • Introduce students to the four sections of the orchestra; their numbers, distinct sound qualities (timbres) and the placement of the instruments • Introduce students to composers’ usage of particular instruments to express particular musical ideas • Introduce students to the classical music genre, its composers, its place in the historic context and its evolution to date The Oregon Symphony believes that music is an essential part of the total school curriculum. We hope that you will take full advantage of this guide and CD so that your students in turn can be knowledgeable and eager participants. Please email us at educate@orsymphony.org if you have questions or wish to share your experiences in preparing your students for our Young People’s Concert. Monica Hayes, M.S. Ed. Education & Community Engagement, Program Director 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 2 welcome INT R O DU C TI O N guide contents companion CD* Pages 2 & 3 Introduction, Concert Goals, CD tracks, Index Tracks 1-8 will be performed at the concert (#3 and #8 will be performed as excerpts) Page 4 National and State Content Standards Page 5 Concert Program and Concert Hall Arrival information Page 6 Sound Awareness and Resources Page 7Sing Along Music for audience participation: Simple Gifts and listening link Page 8Meet Conductor Paul Ghun Kim and Narrator Pam Mahon Page 9 Getting to know the Orchestra and its instruments Page 10 Timeline of Classical Music Page 11 Lesson Plan: Build Your Own Orchestra 1: 2: 3: 4: 5: 6: 7: 8: 9: Higdon: Machine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:08 Grieg: Holberg Suite, 1st mvt. . . . . . . . . . . . . . . . . . . . . . . . . . 3:04 Mendelssohn: Overture, Midsummer Night’s Dream. . . . . . . 11:56 Ravel: Le Tombeau de Couperin . . . . . . . . . . . . . . . . . . . . . . . 2:50 Copland: Variations on a Shaker Theme . . . . . . . . . . . . . . . . . 4:24 Mozart: Abduction from the Seraglio, Overture . . . . . . . . . . . . 5:40 Wagner: Lohengrin: Prelude, Act III. . . . . . . . . . . . . . . . . . . . . 3:10 Rimsky-Korsakov: Capriccio Espagnol . . . . . . . . . . . . . . . . 14:46 Rimsky-Korsakov: Capriccio Espagnol instrument narration . 7:18 Page 12Building an Orchestra-sections, numbers, placement for Lesson Plan Page 13 Brief History of the Oregon Symphony Page 14 Brief History of the Arlene Schnitzer Concert Hall Pages 15-18 Concert Program Notes and Biographies of Composers Appendix Pages 19-22 Instrument Families in the Orchestra Page 23 Oregon Symphony Roster Pages 24-28 Blackline Images of Instruments and Orchestra Final page Our Generous Education Program Supporters 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 3 curriculum connections n a t i o n a l & s t a t e co n t e n t s t a n d ar d s The Oregon Symphony has an ongoing commitment to support the National Standards for Music Education as outlined below: 1.Performing on instruments, alone and with others, a varied repertoire of music. 2.Reading and notating music. 3.Listening to, analyzing and describing music. 4.Evaluating music and music performances. 5. Understanding relationships between music, the other arts and disciplines outside the arts. 6.Understanding music in relation to history and culture. In addition, this Youth Concert supports the following Common Core State Standards as outlined below: The Arts: Create, Present, Perform - Apply ideas, techniques and processes in the arts. • Apply artistic elements and technical skills to create, present and/or perform works of art for a variety of audiences and purposes. • Communicate verbally and in writing, using knowledge of the arts to describe and/or evaluate one’s own artwork. The Arts: Aesthetics and Art Criticism - Respond to and analyze works of art, based on essential elements, organizational principles and aesthetic criteria. • Use knowledge of technical, organizational and aesthetic elements to describe and analyze one’s own art and the art of others. • Respond to works of art, giving reasons for preferences. The Arts: Historical and Cultural Perspectives - Understand the relationship of works of art to their social, historical and cultural contexts, and the influence of the arts on individuals, communities and cultures. • Understand that the arts have an historical connection. • Explain how a work of art reflects the artist’s personal experience in a society or culture. English Language Arts: Reading English Language Arts: Writing English Language Arts: Speaking and Listening Social Sciences: History – Relate significant events and eras in United States and world history to past and present issues and developments. Download the most current version of Oregon’s Common Core Standards from the Department of Education’s Web site at www.ode.state.or.us 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 4 concert content & expectations CONCERT PROGRAM co n c e r t e x p e c t a t i o n s Students and teachers arrive at the Arlene Schnitzer Concert Hall eager to experience the full Oregon Symphony playing just for them! The conductor, narrator and orchestra give young listeners a memorable concert experience by demonstrating musical ideas used by composers from early to modern classical eras. Young People’s concerts last about 50 minutes and are designed especially for grades 3-8. The day of your Young People’s Concert experience is sure to be a fun and exciting one. Knowing what to expect will help you and your students prepare for the concert and will make the experience the best it can be. Listed below are a few logistical details along with some basic expectations that we have of concert attendees. ticket & arrival information OSO: Some Assembly Required Paul Ghun Kim, conductor concert program HigdonMachine Grieg Holberg Suite ,1st mvt Mendelssohn Scherzo from A Midsummer Night’s Dream Ravel Le Tombeau de Couperin, 1st mvt Brackett Simple Gifts – sing along Copland Variations on a Shaker Melody Mozart Abduction from the Seraglio Overture Wagner Lohengrin: Prelude, Act III Rimsky-Korsakov Capriccio espagnol, mvmts 4 & 5 Two weeks prior to the concert date you will receive a seat confirmation for your group. Bring this with you on the day of the concert. For those coming to the Portland concerts, please note on your confirmation your entrance location (either the Broadway Street or Park Street entrance) and the section in which you are seated. When you arrive at the hall please proceed directly to the entrance noted on your confirmation. An usher will greet you and lead you to your section. Groups will be seated front to back on a first-come-first-seated basis. Your group will be seated together. Please arrive 30 minutes before the concert start time. Concerts must begin on time. No student backpacks, food, drink or gum will be allowed in the concert hall. If you plan to bring lunches, please store on your bus or in the lobby. Use of cell phones and cameras is prohibited. concert expectations Please take a few moments before the concert to discuss with your students and chaperones your expectations for their concert behavior. Young People’s Concerts are designed to be informative and entertaining. We encourage kids to move to the music and show that they are having a good time by applauding and participating at appropriate times. Please remind your students to respect fellow audience members by refraining from conversation throughout the concert, just as they would be asked in an assembly at their school. The best way to show the performers that they are enjoying the concert is by listening quietly during the performance and clapping enthusiastically after each piece. 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 5 sound awareness activity & resources R e so u rc e s so u n d a w ar e n e ss We are constantly surrounded by sound, but rarely do we truly listen to what we hear. Listening to a 50 minute concert may be a new and unusual experience for many of your students. Essential to the development of deep listening skills is the acquisition of sound awareness. Following are some suggested strategies for developing active listening skills in listeners of all ages. These exercises will be helpful prior to any of the following lessons as you introduce the music and concepts found in this Teacher’s Guide. interactive music resources - web sites for kids & teachers Oregon Symphony - An interactive map of the orchestra plus learn all about the musicians. www.orsymphony.org/edu/instruments Oregon Symphony Players Association - Find out from the Oregon Symphony musicians what it’s like to play in the orchestra. www.concertgoersguide.org Dallas Symphony for Kids - A national award-winning site to get students and teachers more involved in classical music. www.dsokids.com New York Philharmonic for Kids: “Kidzone” - Interactive games, music, goal classroom activities, information about classical music and fun facts about TracksFeaturing music composition. www.nyphilkids.org Students will develop active listening skills. 1 Full Orchestra Sphinx Kids - Includes games, videos and music, with a special focus on instructional objectives minority composers and musicians. www.sphinxkids.org 2 Strings Students will: FirstGovforKids: Federal Citizen Information Center - Do you ever 3 Woodwinds • Identify and describe environmental sounds; and wonder where your favorite band would be without music? Learn how 4 Oboe Solo • Identify and describe various sounds played on “note”-able music is in our society by clicking on the links. 6 Percussion a variety of musical instruments. www.kids.gov/k_music.htm 7 Brass 8 Full Orchestra instructional activities North Daviess Elementary School Music Links http://www.mcatee.biz/music/ Activity One: Environmental Sounds Carnegie Hall Weill Institute Resource Center • Turn off the classroom lights and have students close their eyes. www.carnegiehall.org/orc/curriculum-materials-list-view • Have students spend one full minute listening to environmental sounds. • Elicit responses from students as to what sounds they heard. Create a History of the Orchestra http://en.wikipedia.org/wiki/Orchestra word bank using all student responses. Building an Orchestra http://www.uky.edu/~deen/Philharmonic/toc.html • After an initial list has been created, go back to each sound on the http://www.youtube.com/watch?v=u0PgeKZBYhg list and ask students to describe their sound further. Add these Lesson ideas from Teacher’s Institute SFSO http://www.keepingscore. descriptions to each sound listed. org/education/mentor_showcase • Refer back to this word bank throughout the year, adding sounds and descriptions to increase sound awareness. Activity Two: Instrument Families • Using the companion CD, find the track that corresponds to the instrument family that your class is studying. • Follow the same procedure as listed in Activity One asking students to identify and describe the sounds made by the featured instrument(s). Teacher’s Guide Audio Reference: Music for Simple Gifts sing-along http://www. makingmusicfun.net/htm/f_printit_free_printable_ sheet_music/simple-gifts-lead-sheet.htm 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 6 œ F œ gift œ C7 œ œ be sim - ple, œ œ œ œ œ œ œ to 'Twill œ be Gm œ. F œ œ 'tis the œ And C7 Am œ gift F œ 'Tis the œ œ be free. œ œ œ œ œ to œ œ œ œ F œ love œ b œ œ œ C7 and de-light. Bb F œ œ ˙ when we find our - selves in the œ œ in the val - ley of œ B ˙ F œ Gm œ œ œ F Am j œ œ C7 œ come round right. œ shan't be a-sham'd. To Gm œ œ œ tur - ning, tur - ing we œ œ bow and to bend we œ œ our de - light, Till by œ œ œ œ œ œ where we ought to be. œ http://www.makingmusicfun.net/htm/f_printit_free_printable_sheet_ music/simple-gifts-lead-sheet.htm You can listen to this arrangement at this link: Incorporated into the Young Peoples Concert this February will be an audience sing along of “Simple Gifts”. Please help your students by preparing them to join in as we all sing this traditional American song. 'Tis the œ & b 44 œ œ Gm &b œ œ œ right, gift to come down Am just C7 œ . œj œ œ œ œ place F ˙ &b œ &b turn will be Am j œ. œ œ When true sim - pli-ci-ty is gained. To F &b ˙ turn, 7 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d OSO: Some Assembly Required M EET O U R C O NDU C T O R M e e t o u r n arra t or Paul Ghun Kim Pam Mahon Oregon Symphony Resident Conductor Oregon Symphony Kids’ Concerts Narrator Paul Ghun Kim was selected as the Oregon Symphony’s third Resident Conductor from a field of over 130 international candidates. He joined our Symphony in August, 2013, taking over duties that will have him on the podium conducting a wide variety of Youth, Kids, and Special concerts in addition to his many other responsibilities. Pamela Mahon has performed in the Oregon Symphony Kid’s Concerts as a musical detective, an explorer and most recently a clown. Helping young audiences discover the wonders of music and appreciate the extraordinary talent we have here in Portland is her dream job. Mr. Kim began his conducting career at the age of 18 as a faculty member at the Hartwick College Summer Music Festival. Since then he has held the post of Music Director for the Campanile Orchestra in Houston and the Indiana Youth Musicians (which he founded). In addition, he was the Assistant Conductor at the Aldeburgh Festival, and Associate Instructor at the Jacobs School of Music. He has also assisted Lorin Maazel and Franz Welser-Most in various concerts. Mahon has also performed with the Portland Opera in Street Scene, La Belle Helen, The Cunning Little Vixen, The Magic Flute and Jenufa. Other Portland credits include: Gypsy, Ragtime, Man of La Mancha, The Secret Garden, The Full Monty, Guys & Dolls, Of Thee I Sing, Anything Goes and Tony & Tina’s Wedding. One of her all time favorite stage moments: kicking up her heels with the Dancing Santas during the Oregon Symphony Yuletide Spectacular. The dynamic young conductor has already conducted the New World Symphony and the Silesian Philharmonic, and made his European conducting debut with the Kielce Philharmonic in Poland and his Canadian debut conducting the National Arts Centre Orchestra in Ottawa. He won the Fritz Kreisler Award from the Curtis Institute of Music and is a prizewinner at the 8th Grzegorz Fitelberg International Competition for Conductors. He received his Master’s Degree from Rice University and is a Doctoral Candidate at the Indiana University. 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 8 OSO: Some Assembly Required G ETTIN G T O K N O W T H E O R C H E S T R A It’s the big day and you take your seat in the concert hall ready to hear some classical music. You look up and see almost 77 people in the orchestra. Here’s a breakdown of the instruments they’re playing: • Violin: The instrument is made of wood; the bow is made of horsehair; the four strings are made of metal; the sound is sweet, singing, and divine. They’re divided into two sections, First and Second Violins, each with different music to play. • Viola: Slightly larger than a violin, playing slightly lower notes, with a breathier or throatier sound than a violin. • Cello: Played sitting down, with the instrument between the legs. Makes a beautiful, rich, singing sound. • Bass (or Double Bass): Enormous, bigger around than the average human being. Plays the lowest notes of all the strings, providing the foundation for the orchestra’s sound. Played sitting on a tall stool or standing up. notes. Essential for parades, as well as symphonies. • Tuba: Lowest of the brass instruments. Can produce a wall of low, blasting sound. • Percussion: The player is expected to be a master of a vast range of different instruments: timpani (the great big kettledrums), bass drum, snare drum (for marches), cymbals (for crashing together), xylophone (played with mallets), and other oddities. • Piano: a musical stringed instrument resembling a harp set in a vertical or horizontal frame, played by depressing keys that cause hammers to strike the strings and produce audible vibrations. • Harp: a musical instrument consisting of a triangular frame formed by a soundbox, a pillar, and a curved neck, and having strings stretched between the soundbox and the neck that are plucked with the fingers. • Flute: Blown across, just like a bottle; produces a sweet, silvery sound. • Oboe and English horn: Played by blowing into a reed, a whittleddown flat piece of sugar cane. Produces one of the most beautiful sounds on earth: clear, vibrant, sweet, plaintive, and full. • Clarinet: A dark, tubular woodwind instrument that creates a full, round sound, very pure, without the edge of the oboe’s sound. • Bassoon: Looks like a plumbing pipe; sounds like a dream. High notes sound throaty, even otherworldly. Middle notes sound luscious, full, mellow; low notes can be very powerful. • French Horn (or just Horn): The most noble-sounding brass instrument; has a full, round, dark tone, great for majestic hunting calls. • Trumpet: The most powerful orchestral instrument and the highestpitched brass instrument. Executes impressive runs and leaps in a single bound. • Trombone: A powerful low brass instrument with a slide to change 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 9 OSO: Some Assembly Required T i m e l i n e of C l ass i ca l M u s i c It may surprise you to know that people are writing “new” classical music all the time. The following timeline shows you some of the most famous pieces of orchestral music along with basic guides to their stylistic periods (Baroque, Classical, Romantic, or Modern). The concert you will attend in February opens with a raucous composition by living composer, Jennifer Higdon. It is titled “Machine” and really takes the audience on a quick 2 minute ride played on all of the instruments of the orchestra! Listen now on companion CD track #1 Jennifer Higdon’s Machine. 1773 Mozart’s Abduction from the Seraglio 1843 Mendelssohn’s Incidental Music for A Midsummer Night’s Dream 1850 Wagner’s Lohengrin 1884 Grieg’s Holberg Suite 1887 Rimsky-Korsakov’s Capriccio Espagnol 1919 Ravel’s Le Tombeau de Couperin 1944 Copland’s Variations on a Shaker Theme 2003 Higdon’s Machine 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 10 OSO: Some Assembly Required L e sso n P l a n : b u i l d yo u r o w n orch e s t ra Building the Oregon Symphony Orchestra Model Using blocks of varying shapes, colors and sizes or found objects This classroom project is inspired by veteran teacher, school administrator and arts consultant Annie Painter’s “Block Metaphor” ™. You can learn more about her use of visual arts in curriculum integration at www.anniepainter.com or anniepainter@msn.com Introduction Materials needed • Butcher paper to write orchestra words for all to see, water based markers. A large piece of butcher paper for each team’s table • Oregon Symphony seating chart and instrument listing by section and numberscan be found on website and/or Teacher’s Guide on page 12 • A large variety of blocks, wood scraps, found objects which can be combined to make a model representing the orchestra. Use the section numbers on page 12 to guide the multiples needed to represent the instruments Participants are shown a picture of the Oregon Symphony in their concert placements on stage (see pages 12 & 13). The class is asked to generate a list of words that describe the orchestra. Words are written on butcher paper, chalk board for all to reference in the following activity. The final product will be a unified table sculpture, constructed by teams of students representing important information about the instruments and relationships to each other in the orchestra. Procedure Using all of the research materials you have provided for the students and/or what they have found in their own team research (depending on literacy skills level) briefly explain the goal of making a model that symbolizes the Oregon Symphony orchestra using: Group size/Age range A classroom should be divided into table groups of 5-7 students in order to accommodate key organizational concepts, problems and visions in this activity. Participants can be from K-12 as it is utilized in imagining new information, crystallizing understanding and leading to higher order thinking skills. • BDDC Teamwork skills - Brainstorm the ideas, Decide, Divide the jobs, Change anytime by agreement • Elements of design symbolically – color, shape, form, balance, repetition, line, form and space which has special meaning in the work Learning Outcomes • Completed block design to practice critical questioning to gain meaning, verbal presentation and reflection Visual evidence that students understand the make- up of the Oregon Symphony by numbers, instrument sections and arrangement as an orchestral grouping. Higher level visual symbolic thinking and developmental levels will dictate their manipulation of the objects used in making this orchestra model. The students’ ability to describe uses of shape, color and arrangement to stand for their ideas will vary widely with developmental levels and higher order thinking skills. Follow up questions for each team With block metaphor: If you know it you can show it; if you show it, you probably know it. Moving in a cycle from reading text to verbal discussion to visualization -metaphoric thinking in blocks, to construction (non verbal) and back to verbal presentation is a way to process, refine, present and show yourself you really understand something. Questioners ask: “does your object used for ‘x’ instrument have meaning?” The block designers reply Yes/No and ask “what makes you think so?” Questioner must state what is observed as a possible reason for the attributes used in representing the instrument. This encourages questioner and creator alike to use visual literacy…creating and explaining meaning from their model symbolically. Take pictures of each team with their orchestra model and email to the Oregon Symphony mhayes@orsymphony.org to be posted on the website 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 11 OSO: Some Assembly Required G ETTIN G T O K N O W T H E O R C H E S T R A Building an Orchestra (use with Orchestra Map to make 3D model on page 11) About the Orchestra Conductor1 The symphony orchestra is the largest and most exciting of all musical groups, with as many as 100 players. It is divided into four musical families called strings, woodwinds, brass and percussion. Every instrument in the orchestra belongs to one of these families. In a symphony orchestra the musical families are related to one another just like cousins, aunts and uncles. The orchestra is a big family of instruments playing together. Total Musicians 76 STRINGS Violins 24 Violas 8 Cellos 7 Double Basses 5 WOODWINDS Flutes 3 Piccolo 1 Oboes 3 English Horn 1 Clarinets 3 Bassoons3 BRASS French Horns 5 Trumpets3 Trombones3 Tuba 1 PERCUSSION Timpani 1 To learn more about your Oregon Symphony check us out oneline at OrSymphony. org/orchestra/roster Percussion3 Keyboard 1 Harp 1 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 12 history b r i e f h i s t ory of t h e O R E G O N S Y M P H O N Y Oregon Symphony: A Brief History The Oregon Symphony is Portland’s largest performing arts organization today, but it has long and deep roots that go all the way back to 1896 and the founding of the Portland Symphony – the first orchestra west of the Mississippi River. W.H. Kinross conducted the inaugural concert at Portland’s Marquam Grand Theatre on Oct. 30 of that year. By 1899 the symphony performed an annual concert series, and in 1902 it embarked on its first state tour. 2011, when the Oregon Symphony made its debut at last in music’s most prestigious concert venue, New York’s Carnegie Hall, as part of the first Spring for Music Festival. They’ve just released a new CD, This England, on the Pentatone Classics label, and are broadcasting concerts recorded live on All Classical FM. The decades that followed saw many milestones, but two of the biggest came in 1967 – when the orchestra’s name was officially changed to Oregon Symphony to reflect the increasing number of concerts played outside Portland and a commitment to serve the larger statewide and regional community – and in 1984 when, under the leadership of Music Director James DePreist, the orchestra moved from the Portland Civic Auditorium (now Keller Auditorium) to its current home, the Arlene Schnitzer Concert Hall. The move, and DePreist’s leadership, were turning points in the Oregon Symphony’s history that resulted in a new level of concert activity, even greater service in the areas of education and community programs, and recordings. In 2003, when DePreist retired after 23 seasons with the orchestra, Carlos Kalmar took over as its 10th music director. He continues to lead the orchestra’s 76 musicians to new heights and took the podium on May 12, 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 13 history b r i e f h i s t ory of t h e ar l e n e sch n i t z e r co n c e r t ha l l The Arlene Schnitzer Concert Hall is an historic theater building and performing arts center in Portland, Oregon. Part of the Portland Center for the Performing Arts, it is home to the Oregon Symphony, Portland Youth Philharmonic, Metropolitan Youth Symphony, White Bird Dance Company, and Portland Arts & Lectures. The Oregon Symphony is the main tenant in this city-owned building, renting the hall for all rehearsals and performances. Originally (and sometimes still referred to as) the Paramount Theatre, it is also locally nicknamed “The Schnitz”. It is the last surviving theater building on Portland’s Broadway, which was once lined with large theater houses. The architectural firm Rapp and Rapp, famous for its theater buildings, designed the Italian Renaissance-style building. The building was variously described by the newspapers as being of the French Renaissance or Northern Italianate style. The Paramount was considered, at its opening, to be the largest and most lavish theater for a city the size of Portland. Originally opened as the Portland Publix Theatre, a vaudeville venue in March 1928, the name changed to the Paramount Theater in 1930, as the owners had a contract to run Paramount films locally. The building continued to show films until 1972, after which it hosted rock concerts. Visitors were greeted by a 65-foot (20 m) high “Portland” sign above the Broadway Marquee, which contained approximately 6,000 theatrical lights. The current sign is an exact replica of this original sign. The sign read “Paramount” from 1930-1984. The theater was designed with many foyers and lobbies. The main entrance to the auditorium boasted huge Frenchpaned windows facing east and south, covered with velvet drapes. The walls were covered with mirrors and marble, and the floors were covered with expensive carpets. The furnishings had been purchased from a French museum and private collections. The concessions stand was made of marble and stretched nearly half the length of the main lobby. It was described as the “longest candy counter in the West.” The lobby was lit with huge crystal chandeliers. Nearly $35,000 had been spent on them. The largest had a span of nearly 8 feet, weighing over 1700 pounds and containing 181 lights. Currently, the largest chandelier has 137 candle bulbs, and the smaller ones each have 124 bulbs. In 1972, the Portland City Council voted to give the building Landmark Status, over the objections of John Haviland, the owner. The landmark status applied only to the exterior of the building. Many people felt that the interior of the building was more valuable architecturally. The building (as the Paramount Theatre) was placed on the National Register of Historic Places in 1976. In the 1970s Haviland wanted to either sell or renovate the building as it was coming into disrepair and the concert goers were ruining the interior. The original theater organ and statuary were sold off in an auction on March 26, 1975. During the auction, there was a general outcry from the audience to keep a particular marble statue, called “Surprise” (a nude girl with her hands thrown across her face) in the theater. A hat was passed among the 1200 member audience to take up a collection, and $5,233.97 was raised to purchase the statue and keep it in the theater lobby. The statue had a finger missing from a bullet from a box-office robbery in the 1920s, it is now restored. “Surprise” still greets all visitors to the hall in the main foyer. A major renovation began in September 1983 to the designs of Boora Architects, restoring the building to much of its original opulence. The interior of the auditorium, however, was painted one neutral color, rather than restoring the murals that had decorated it. Portland residents Arlene and Harold Schnitzer contributed generously to the completion of the initial phase of the Portland Center for the Performing Arts. The one-year, $10 million renovation involved repairing, recasting or replacing much of the theatre’s ornate interior as well as making it comfortable and safe for today’s audiences and performers. It is a gem in our city and we are happy to welcome you into the Oregon Symphony’s home! 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 14 OSO: Some Assembly Required program n o t e s a n d b i os COMPOSER: Jennifer Higdon COMPOSER: Edvard Grieg BORN: Brooklyn, NY, 1962 BORN: Norway, 1843 EDUCATION: Bowling Green University, Curtis Institute of Music, University of Pennsylvania DIED: Norway, 1907 INSTRUMENT: Flute EDUCATION: Entered Leipzig Conservatory (Germany) at age 15 COUNTRY OF RESIDENCE: USA INSTRUMENT: Piano and Organ MUSICAL ERA: Contemporary COUNTRY OF RESIDENCE: Norway NOTABLE COMPOSITIONS: Violin Concerto, Into the Blue Cathedral, as well as other operatic and symphonic works MUSICAL ERA: Romantic PERSONAL: Self-taught flutist beginning at age 15 HISTORICAL CONTEXT: Dr. Higdon is the only living composer on this program, and her Percussion Concerto was a highlight of the Oregon Symphony’s 2011-12 season FUN FACTS: Now a professor of composition at the Curtis Institute of Music in Philadelphia, Higdon began her study of music later than most. Her primary musical influences growing up were Bob Marley and the Beatles. She won the Pulitzer Prize in Music for her Violin Concerto in 2010. NOTABLE COMPOSITIONS: Piano Concerto, Peer Gynt Suite, Holberg Suite PERSONAL: Grieg was devoted to his country’s struggle for independence from Sweden, and came to represent the “Voice of Norway.” HISTORICAL CONTEXT: By incorporating traditional folk themes in his compositions, Grieg did much to forward Norwegian nationalism through his music. FUN FACTS: Grieg was one of the first composers to record his own music on 78 rpm vinyl records. He also created player piano rolls, an earlier form of recording technology. SELECTION TO BE PERFORMED: Machine (2003). At his death, over 30,000 people filled the streets of Troldhaugen, Norway, to honor him. The composer writes ‘I wrote Machine as an encore tribute to composers like Mozart and Tchaikovsky, who seemed to be able to write so many notes and so much music that it seems like they were machines!’ This work was commissioned in 2003 by The National Symphony Orchestra of Washington, D.C. SELECTION TO BE PERFORMED: Holberg Suite, Movement I (1884). WHY WAS THIS PIECE INCLUDED? To introduce you to our orchestra! All four sections play simultaneously, moving forward relentlessly for just under three minutes (although it packs in enough musical energy to keep us going the rest of the day). Grieg wrote this piece in homage to Ludvig Holberg, a classical Nordic playwright, for the celebration of Holberg’s 200th Anniversary in Bergen, Norway. WHY WAS THIS PIECE INCLUDED? This piece features the string instruments of the orchestra. The violins, violas, celli and basses work together to create a rhythmically exciting piece, with lots of contrasting elements layered over a strong foundation. LINKS FOR FURTHER STUDY: www.jenniferhigdon.com ; WHAT TO LISTEN FOR: Can you hear each individual string section in this piece? Grieg plays to the unique sound of each, which generates a surprisingly varied musical texture. Can you hear the contrast between the high strings (violins) and the low strings (violas, celli & basses) in the opening, or how Grieg uses a repeating rhythmic pattern to create a sense of forward motion? http://stringvisions.ovationpress.com/2012/03/daily-bow-the-hospitality-of-jennifer-higdon/ ; LINKS FOR FURTHER STUDY: Blue Cathedral - http://www.youtube.com/watch?v=v_uFd83ExMg http://www.mnc.net/norway/EHG.htm WHAT TO LISTEN FOR: Can you hear the strings? The woodwinds? The brass? The percussion? All systems are ‘go’ in this huge, whirring, musical machine. What do you imagine this machine makes? http://www.youtube.com/artist/edvard-grieg Holberg Suite - http://www.youtube.com/watch?v=1J_U1TeYpYQ 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 15 OSO: Some Assembly Required program n o t e s a n d b i os COMPOSER: Felix Mendelssohn COMPOSER: Maurice Ravel BORN: Germany, 1809 BORN: France, 1875 DIED: Germany, 1847 DIED: France, 1937 EDUCATION: Private tutors and lectures at the University of Berlin EDUCATION: Entered the Paris Conservatory at 14 and remained there for 16 years! INSTRUMENT: Piano and Organ INSTRUMENT: Piano COUNTRY OF RESIDENCE: Germany COUNTRY OF RESIDENCE: France MUSICAL ERA: Romantic MUSICAL ERA: Post-Romanticism, Impressionism NOTABLE COMPOSITIONS: Incidental music for a number of dramatic works, including A Midsummer Night’s Dream, the Hebrides Overture, Violin Concerto, as well as other symphonic, chamber and vocal compositions NOTABLE COMPOSITIONS: Bolero, La Valse, Le Tombeau de Couperin and many piano and chamber works PERSONAL: Mendelssohn was born into a wealthy family and was greatly influenced by his parents and his sister. PERSONAL: Ravel was a very private person who never married. He was a colleague of Claude Debussy, and befriended George Gershwin on his American Tour. The acquisition of Oregon: “Fifty-four-forty-or-fight” (1844) HISTORICAL CONTEXT: Ravel composed in Paris through WWI (1914-1919) and the Golden Age of Paris (1920 – 1930). He was particularly impressed by the new Russian Works conducted by Rimsky-Korsakov, whose influence can be heard in Ravel’s orchestration. FUN FACTS: Mendelssohn began composing as a teenager, and his sister, Fanny, was also an accomplished composer. FUN FACTS: Ravel was quoted as having said, “The only love affair I ever had was with music!” SELECTION TO BE PERFORMED: Scherzo from A Midsummer Night’s Dream (1843). Mendelssohn wrote incidental music for six plays, including William Shakespeare’s famous comedy. He brought the play’s characters to life by giving them their own musical themes. Those who first heard A Midsummer Night’s Dream marveled at its perfection. SELECTION TO BE PERFORMED: Le Tombeau de Couperin (1919). HISTORICAL CONTEXT: WHY WAS THIS PIECE INCLUDED? This piece showcases an important layer of our symphonic structure, the woodwinds! Notice how expertly Mendelssohn pairs the instruments with the dramatic scene about to unfold: would the brass section have been as well-suited to the task of dancing fairies and sprites as are the woodwinds? WHAT TO LISTEN FOR: Can you hear the various characters of Shakespeare’s play in Mendelssohn’s music? Be on the lookout for mischievous fairies, a silly donkey, as well as meddling gods and goddesses. Ravel began writing Le Tombeau de Couperin (Couperin’s Tomb) during the early years of WWI, while he worked helping wounded soldiers coming back from the front. His original intent was to write a French suite for piano, although he changed his mind and decided to write in homage to Francois Couperin, a very well-regarded French Baroque composer, instead. He completed the piano version of this vision in 1917, and arranged it for orchestra in 1919. WHY WAS THIS PIECE INCLUDED? This piece features highly ornamented solo musical lines, most notably in the oboe (which you will hear right at the opening). This solo melodic figure repeats throughout the piece, forming the foundation of its musical structure. http://www.felixmendelssohn.com/ WHAT TO LISTEN FOR: Notice how the highly decorative and ornamental oboe melody repeats throughout the piece. Each time it is supported and re-shaped by other members of the winds, as well as the strings, brass and percussion. What impressions do you think Ravel’s musical tapestry evokes? http://www.youtube.com/artist/felix-mendelssohn LINKS FOR FURTHER STUDY: Overture - http://www.youtube.com/watch?v=SUDvZaMl4RU http://www.maurice-ravel.net/ LINKS FOR FURTHER STUDY: Listen to a performance of the Scherzo in A Midsummer Night’s Dream which will be performed in the concert. It is not included on the companion CD http://www.youtube.com/watch?v=3dLhSZLIpvA http://www.youtube.com/artist/maurice-ravel Le Tombeau de Couperin - http://www.youtube.com/watch?v=fDDzxRpdtmE 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 16 OSO: Some Assembly Required program n o t e s a n d b i os COMPOSER: Aaron Copland COMPOSER: Wolfgang Amadeus Mozart BORN: Brooklyn, NY, 1900 BORN: Austria, 1756 DIED: North Tarrytown ,NY, 1990 DIED: Austria, 1791 EDUCATION: Private study and the Academy at Fountainebleau, France EDUCATION: Taught by his father, Leopold Mozart INSTRUMENT: Piano INSTRUMENT: Violin, Harpsichord and Organ COUNTRY OF RESIDENCE: USA COUNTRY OF RESIDENCE: Austria MUSICAL ERA: Contemporary/Modern MUSICAL ERA: Classical NOTABLE COMPOSITIONS: Appalachian Spring, El Salon Mexico, Rodeo NOTABLE COMPOSITIONS: 41 Symphonies, chamber music, several operas including The Magic Flute, The Marriage of Figaro, Don Giovanni, The Abduction from the Seraglio PERSONAL: Worked to create a distinct “American” sound for classical music, using folk music and jazz as themes in his compositions HISTORICAL CONTEXT: Copland composed during the time America was involved in several major wars—WWI, WWII, the Korean and Vietnam Wars—as well the tragic assassinations of the Rev. Martin Luther King (1968) and President John F. Kennedy (1963). FUN FACTS: Copland was a close friend of noted composer and conductor Leonard Bernstein, who wrote West Side Story and was the Musical Director of the New York Philharmonic for many years. SELECTION TO BE PERFORMED: Variations on a Shaker Melody, from the ballet Appalachian Spring, which was composed in 1943-44 for the Martha Graham Dance Company. Copland adapted this version for the Music & Art High School in New York City. The theme is the well-known Shaker melody Simple Gifts, which Copland then sets in a series of orchestral variations. WHY WAS THIS PIECE INCLUDED? Variation is a common compositional tool in musical structure which has been employed by composers for centuries. These particular variations really showcase this structure because the popular folk melody is so recognizable and yet each variation is so distinct, yet clearly related to the theme. WHAT TO LISTEN FOR: This piece opens with the strings and French horn playing Simple Gifts at a slow tempo (and slightly out of sync), after which it appears in a variety of instruments, at various speeds, at different volumes and incorporated in different musical textures as the piece unfolds. See if you can follow this theme as it wends its way through the variation structure to the endpoint, where it is restated one last time by the entire orchestra, together as one. PERSONAL: Mozart was a musical prodigy and was paraded throughout Europe to perform with his older sister by their father, himself a composer and violinist. HISTORICAL CONTEXT: Mozart was composing at the time America signed Declaration of Independence (1776). FUN FACTS: Mozart began playing the harpsichord at age 3. He had a photographic memory, and could recreate a piece of music after hearing it once. Although Mozart was well paid for his compositions and performances, he squandered most of his wealth and died penniless at 36 years of age. SELECTION TO BE PERFORMED: Overture to The Abduction from the Seraglio (1783). Overtures are the musical introductions for operas, setting the musical stage and creating a sense of anticipation in the audience. Mozart composed Seraglio at the time Turkish music and culture was in high fashion in Vienna. It is a comic opera set in Turkey and Mozart used several musical devices to indicate that setting. WHY WAS THIS PIECE INCLUDED? This piece is historically important because it is one of the first classical compositions to include percussion, other than timpani. Mozart used Turkish cymbals, the bass drum, and triangle, amongst other instruments, to evoke the Janissary bands of the Turkish army, painting the scene for the opera to follow. WHAT TO LISTEN FOR: Mozart uses exotic percussion instruments to punctuate and enhance several of the themes and melodies in this overture. Can you hear how he uses these instruments for melodic emphasis in repeated themes? LINKS FOR FURTHER STUDY: LINKS FOR FURTHER STUDY: http://www.biography.com/people/wolfgang-mozart-9417115 Timeline - http://www.coplandhouse.org/aaron-copland/timeline/ http://www.mozartproject.org/ Interview with PBS - http://www.youtube.com/watch?v=a8Fiv8QFhcA http://www.youtube.com/artist/wolfgang-amadeus-mozart Appalachian Spring - http://www.youtube.com/watch?v=CJYVH_kZkOk 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 17 OSO: Some Assembly Required program n o t e s a n d b i os COMPOSER: Richard Wagner COMPOSER: Nicolai Rimsky-Korsakov BORN: Germany, 1813 BORN: Russia, 1844 DIED: Italy, 1883 DIED: Russia, 1908 EDUCATION: Leipzig University EDUCATION: Private piano study: no conservatory training. INSTRUMENT: Piano INSTRUMENT: Piano COUNTRY OF RESIDENCE: Germany COUNTRY OF RESIDENCE: Russia MUSICAL ERA: Romantic MUSICAL ERA: Romantic NOTABLE COMPOSITIONS: Many operas, most notably The Ring of the Nibelung, a cycle of four operas lasting over 18 hours in total. NOTABLE COMPOSITIONS: Capriccio Espagnol, Russian Easter Festival Overture, and the symphonic suite Scheherazade PERSONAL: Wagner remains one of the most controversial composers of all time. The man and the music are worshipped by some and reviled by others. Adolf Hitler embraced Wagner’s philosophy and writings; hence, Wagner’s music became synonymous with Nazism. PERSONAL: Rimsky-Korsakov was a master of orchestration and taught at the St. Petersburg Conservatory. He was also an officer in the Russian Navy and had a deep love of the sea. HISTORICAL CONTEXT: US Civil War (1861) and President Lincoln’s assassination in 1865. HISTORICAL CONTEXT: FUN FACTS: In his early life Wagner did not show an aptitude for music. His piano teacher said Wagner would “torture the piano in a most abominable fashion.” Like his contemporary, Edvard Grieg, Rimsky-Korsakov incorporated traditional folk songs themes into his compositions to create a sense of nationalism in his music. In the case of Rimsky-Korsakov, those folk melodies and the nationalism they engendered were Russian. Wagner’s The Ring of the Nibelung is the basis for JRR Tolkien’s adventure series, The Lord of the Rings. FUN FACTS: SELECTION TO BE PERFORMED: Lohengrin: Prelude to Act III (1850). Lohengrin is one of Wagner’s earlier operas, which draws on medieval stories and the glory of German lands and people. Rimsky-Korsakov was known to practice and play his compositions extremely slowly so that he could hear all of the complexities in the harmonies. SELECTION TO BE PERFORMED: Capriccio Espagnol, IV&V (1887). WHY WAS THIS PIECE INCLUDED? This prelude showcases the versatility and narrative power of the brass section, an important structural component in modern composition. In order to give this composition a truly Spanish feel, Rimsky-Korsakov wrote this piece using folk songs, dance themes, sounds and rhythms from Spain. WHAT TO LISTEN FOR: Can you hear the evolving dramatic energy in this composition? The combination of the brass themes against the strings creates a sense of almost palpable tension; however, this tension is not consistent, but follows a narrative arc. Can you hear this arc as it tells a story? WHY WAS THIS PIECE INCLUDED? An orchestral tour-de-force, Rimsky-Korsakov incorporated a wide variety of musical structures, techniques and ideas into Capriccio Espagnol. Working together, each instrumental section has both prominent melodic and supporting roles, passages of high ornamentation, solos, and plenty of sparkle and color. LINKS FOR FURTHER STUDY: WHAT TO LISTEN FOR: How can you tell that this music is supposed to evoke the culture of Spain? Listen for the repeating Spanish dance rhythms, Spanish melodies and harmonies. Notice Rimsky-Korsakov’s innovative use of percussion, and, in the fifth movement, how he makes the string section sound like a Spanish guitar. http://www.wagneropera.net/ http://www.youtube.com/artist/richard-wagner LINKS FOR FURTHER STUDY: http://www.last.fm/music/Nikolai+Rimsky-Korsakov Capriccio Espagnol - http://www.youtube.com/watch?v=Lh6mDL-VwYw 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 18 appendix s t r i n g fam i ly how it works When you look at a stringed instrument, the first thing you’ll probably notice is that it’s made of wood, so why is it called a stringed instrument? The bodies of the stringed instruments, which are hollow inside to allow sound to vibrate within them, are made of different kinds of wood; but the part of the instrument that makes the sound is the strings, which are made of nylon, steel or sometimes gut. The strings are played most often by drawing a bow across them. The handle of the bow is made of wood and the strings of the bow are actually horsehair from horses’ tails! Sometimes the musicians will use their fingers to pluck the strings, and occasionally they will turn the bow upside down and play the strings with the wooden handle. the instruments The strings are the largest family of instruments in the orchestra, and they come in four sizes: the violin, which is the smallest, viola, cello, and the biggest, the double bass, sometimes called the contrabass. (Bass is pronounced “base,” as in “baseball.”) The smaller instruments, the violin and viola, make higherpitched sounds, while the larger cello and double bass produce low rich sounds. They are all similarly shaped, with curvy wooden bodies and wooden necks. The strings stretch over the body and neck and attach to small decorative heads, where they are tuned with small tuning pegs. You play the violin and viola by resting it between your chin and left shoulder. Your left hand holds the neck of the instrument and presses down on the strings to change the pitch, while your right hand moves the bow or plucks the strings. Since the cello is too large to put under your chin, you play it sitting down with the body of the cello between your knees and the neck on your left shoulder. The body of the cello rests on the ground and is supported by a metal peg. The double bass is so big that you have to stand up or sit on a very tall stool to play it. Like the cello, the body of the double bass stands on the ground, supported by a metal peg and the neck rests on your left shoulder. You play the cello and the double bass in a similar manner to the violin and viola, using your left hand to press down on the strings and your right hand to move the bow or pluck the strings. After learning about the String Family, listen to track 1 of the companion CD for musical excerpts that highlight the String Family. violin viola Cello b ass 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 19 appendix w oo d w i n d fam i ly how it works The instruments in the woodwind family used to be made of wood, which gives them their name. Today, they are made of wood, metal, plastic or some combination. They are all basically narrow cylinders or pipes with holes, an opening at the bottom and a mouthpiece at the top. You play them by blowing air through the mouthpiece (that’s the “wind” in “woodwind”) and opening or closing the holes with your fingers to change the pitch. Metal caps called keys cover the holes of most woodwind instruments. The mouthpieces for some woodwinds, including the clarinet, oboe and bassoon, use a thin piece of wood called a reed, which vibrates when you blow across it. The clarinet uses a single reed made of one piece of wood, while the oboe and bassoon use a double reed made of two pieces joined together. To play the clarinet and the oboe, you hold the instrument upright, blow through the reed in your mouth and use both hands to press down on the keys to open and close the holes and change the pitch. The flute is played by holding it horizontally with both hands and blowing across a hole in the mouthpiece, much like blowing across the top of a bottle. Your fingers open and close the keys to change the pitch. You play the bassoon by holding it upright and blowing through the double reed just like an oboe. The air travels down the tube and then makes a u-turn and goes up and out the top. Just like the oboe, clarinet and the flute, you use both hands to press on the keys to open and close the holes and change the pitch. the instruments Just like the stringed instruments, the smaller woodwinds play higher pitches while the longer and larger instruments play the lower pitches. The woodwind family of instruments includes, from the highest sounding instruments to the lowest, the piccolo, flute, oboe, English horn, clarinet, E-flat clarinet, bass clarinet, bassoon and contrabassoon. F l u t e o b o e c l ar i n e t b assoo n After learning about the Woodwind Family, listen to tracks 3 & 4 of the companion CD for musical excerpts that highlight the Woodwind Family. 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 20 appendix b rass fam i ly how it works If you think the brass family got its name because the instruments are made of brass, you’re right! This family of instruments can play louder than any other in the orchestra and can also be heard from far away. Although their early ancestors are known to have been made of wood, tusks, animal horns or shells, today’s modern instruments are made entirely of brass. Brass instruments are essentially very long pipes that widen at their ends into a bell-like shape. The pipes have been curved and twisted into different shapes to make them easier to hold and play. Like the woodwind family, brass players use their breath to produce sound, but instead of blowing into a reed, they vibrate their own lips by buzzing them against a metal cup-shaped mouthpiece. The mouthpiece helps to amplify the buzzing of the lips, which creates the sound. Most brass instruments have valves attached to their long pipes; the valves look like buttons. When you press down on the valves, they open and close different parts of the pipe. You change the pitch and sound by pressing different valves and buzzing your lips harder or softer. the instruments The brass family members that are most commonly used in the orchestra are the trumpet, French horn, trombone and the tuba. To play all four of the different brass instruments, the first step is to buzz your lips into the mouthpiece. Each brass instrument has a different shaped mouthpiece, helping to create the different sounds. The trumpet is the smallest member of its family and plays the highest pitches. You play the trumpet by holding it horizontally, buzzing your lips into the mouthpiece and pressing down the three valves in various combinations to change pitch. To play the French horn, you hold it with the bell curving downward and buzz into the mouthpiece. Your left hand plays the three valves and you can change the type of sound you make by the way you place your right hand in the bell. You play the trombone by holding it horizontally, buzzing into the mouthpiece and using your right hand to change pitch by pushing or pulling the slide to one of seven different positions. You play the tuba sitting down with the instrument on your lap and the bell facing up. You blow and buzz into a very large mouthpiece and use your hand to press down on the valves which changes the sound. It takes a lot of breath to make sound with the tuba! After learning about the Brass Family, listen to track 7 of the companion CD for musical excerpts that highlight the Brass Family. t r u mp e t F r e n ch hor n t rom b o n e Tuba 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 21 appendix p e rc u ss i o n fam i ly how it works The percussion family is the largest in the orchestra. Percussion instruments include any instrument that makes a sound when it is struck, shaken or scraped. Some percussion instruments are tuned and can sound different notes, like the xylophone, timpani or piano, and some are untuned with no definite pitch, like the bass drum, cymbals or castanets. Percussion instruments keep the rhythm, make special sounds and add excitement and color. Unlike most of the other players in the orchestra, a percussionist will usually play many different instruments in one piece of music. Percussionists also use different kinds of mallets to change the sound when striking or scraping an instrument. Brushes, mallets and sticks come in various shapes and sizes. the instruments The instruments of the percussion family have international ancestors from the Middle East, Asia, Africa, the Americas and Europe representing musical styles from many different cultures. The most common percussion instruments in the orchestra include the timpani, xylophone, cymbals, triangle, snare drum, bass drum, tambourine, gongs, chimes, celesta and piano. Timpani Bass Drum Cymbals Marimba Snare Drum Piano Gongs Triangle After learning about the Percussion Family, listen to track 6 of the companion CD for musical excerpts that highlight the Percussion Family. Xylophone Celesta Chimes 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 22 appendix appendix or e go n sympho n y ros t e r Music Director Carlos Kalmar Violin Sarah Kwak, Concertmaster Peter Frajola, Assoc. Concertmaster Erin Furbee, Asst. Concertmaster Chien Tan, Principal Second Violin Inés Voglar Belgique, Asst. Principal Second Violin Fumino Ando Keiko Araki Clarisse Atcherson Ron Blessinger Lily Burton* Ruby Chen Emily Cole Julie Coleman Dolores D’Aigle Eileen Deiss Jonathan Dubay Gregory Ewer Daniel Ge Feng Lynne Finch Shin-young Kwon Eileen Lande Ryan Lee Vali Phillips Deborah Singer Viola Joël Belgique, Principal Charles Noble, Asst. Principal Jennifer Arnold Silu Fei Leah Ilem Brian Quincey Viorel Russo Martha Warrington Piccolo Zachariah Galatis Cello Nancy Ives, Principal Marilyn de Oliveira, Asst. Principal Kenneth Finch Trevor Fitzpatrick Gayle Budd O’Grady Timothy Scott David Socolofsky Clarinet Yoshinori Nakao, Principal Todd Kuhns, Asst. Principal Marc Dubac Bass Edward Botsford, Principal* Donald Hermanns Brian Johnson Jeffrey Johnson Jason Schooler Flute Jessica Sindell, Principal Alicia DiDonato Paulsen, Principal Zachariah Galatis Oboe Martin Hebert, Principal Karen Wagner, Asst. Principal Kyle Mustain english horn Kyle Mustain E Flat/Bass Clarinet Todd Kuhns Bassoon Carin Miller Packwood, Principal Evan Kuhlmann, Asst. Principal Adam Trussell Contrabassoon Evan Kuhlmann Horn John Cox, Principal Joseph Berger, Assoc. Principal Graham Kingsbury, Asst. Principal Mary Grant Alicia Waite Trumpet Jeffrey Work, Principal David Bamonte, Asst. Principal Trombone Aaron LaVere, Principal Robert Taylor, Asst. Principal Charles Reneau Bass Trombone Charles Reneau Tuba JáTtik Clark, Principal Timpani Jonathan Greeney, Principal Percussion Niel DePonte, Principal Sergio Carreno Michael Roberts Harp Jennifer Craig, Principal *Acting INTERACTIVE MAP OF THE ORCHESTRA Take advantage of this online resource that provides detailed descriptions and pictures of the instruments that make up the Oregon Symphony. http://www.orsymphony.org/edu/instruments/index.html 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 23 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 24 To learn more about your Oregon Symphony Orchestra check us out online at www.OrSymphony.org/orchestra/roster.aspx 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 25 To learn more about your Oregon Symphony Orchestra check us out online at www.OrSymphony.org/orchestra/roster.aspx 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 26 To learn more about your Oregon Symphony Orchestra check us out online at www.OrSymphony.org/orchestra/roster.aspx 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 27 To learn more about your Oregon Symphony Orchestra check us out online at www.OrSymphony.org/orchestra/roster.aspx 2 0 1 3 / 1 4 Yo u n g P e o p l e ’s C o n c e r t : O S O : S o m e A s s e m b l y R e q u i r e d 28 To learn more about your Oregon Symphony Orchestra check us out online at www.OrSymphony.org/orchestra/roster.aspx Oregon Symphony Education & Community Engagement Programs are supported by: Credits: Monica Hayes, M.S. Ed. Education & Community Engagement Program Director Autzen Foundation Near Family Foundation Fund of the OCF Bank of America Foundation Nichols Foundation Anne A. Berni Foundation OnPoint Community Credit Union BNSF Railway Foundation Oregon Arts Commission Pam Mahon Brookby Foundation Oregon Community Foundation Narrator Mike and Tracey Clark Foundation Oregon International Air Show Karen and Bill Early Pacific Power Foundation Bill Healy Foundation PGE Foundation Ferris Greeney Family Foundation Franklin & Dorothy Piacentini Charitable Trust Hedinger Family Foundation RBC Foundation The Howard Wallis Irwin & Dorise Carlyon Regional Arts & Culture Council Irwin Foundation Curriculum Development Collaboration Schnitzer Investment Corp. JFR Foundation Safeway Foundation Helen & Arthur Johnson Foundation SafeCo Foundation Kinder Morgan Foundation Herbert A. Templeton Foundation Karl Kramer Foundation Union Pacific Foundation Lamb Foundation US Bank/US Bancorp Foundation Macy’s Foundation Patty Vemer Education Fund Ruth Manary Fund at The Samuel S. Johnson Paul & Susan Ward Foundation Lucy Minett Shanno, Ph. D. John McNeur, M.S. Ed. Wintz Family Foundation Mason Charitable Trust Work for Art Lynda & Dylan Mueller Fund of the OCF Xerox Foundation Multnomah County Cultural Coalition Juan Young Trust OrSymphony.org