Remarkable Farkle McBride

Transcription

K INDER KON Z ERT:
and Other Symphonic Stories
2015/16
T E ACHER ’ S GU IDE
KinderKonzerts are underwritten by the
William T. Kemper Foundation – Commerce Bank, Trustee
Sponsored by
K I N D ER KO N Z ERT:
Cover image reprinted with the permission of Simon & Schuster Books for Young Readers, an imprint
of Simon & Schuster Children’s Publishing Division from “THE REMARKABLE FARKLE MCBRIDE” by
John Lithgow, illustrated by C.F. Payne. Illustrations copyright (c) 2000 C.F. Payne.
2 KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories
About THIS GUIDE
CONTENTS
4
Concert Program
4Vocabulary
5
About the Program
Richard Wagner
Anatol Liadov
Victor Herbert
Ferde Grofé
Johannes Brahms
Bill Elliott
12Resources
Instrument Families
Companion CD Track List
Orchestra Map
15
Teaching Activities
Instrument Families
Artwork Challenge
Moving to the Music
Concert Etiquette
Maze
21
Preparing for the Concert
22
About Alex Espy
23
About Aram Demirjian
Dear Teachers,
We are so happy that you will be joining the Kansas City Symphony for
another fun series of KinderKonzerts in Helzberg Hall! The KinderKonzerts are
generously underwritten by the William T. Kemper Foundation — Commerce
Bank, Trustee and part of the John and Marny Sherman Education Series. Thank
you for making music and the Symphony a part of your students’ education.
Our concert this year, The Remarkable Farkle McBride and other Symphonic Stories,
highlights the many ways in which we tell stories, with each piece on the program
exploring a different approach to storytelling. Some stories, like Liadov’s BabaYaga, can be told through music alone, while others, like Victor Herbert’s “March
of the Toys”, require a little extra assistance. We are delighted to welcome actor
and narrator Alex Espy to the stage to help bring these tales to life. Pictures
can also be great storytellers, and we invite you to submit artwork created to
accompany Grofé’s Grand Canyon Suite and Brahms’ First Serenade. The program’s
finale, The Remarkable Farkle McBride, combines text, music and images to tell
John Lithgow’s story of a boy’s journey to find his perfect musical muse.
Storytelling and music go hand-in-hand, and both have the power to excite the
imaginations of young minds. We eagerly await sharing this fun and educational
program with you and your classes. See you soon in Helzberg Hall!
Musically yours,
Stephanie Brimhall
Education Manager, Kansas City Symphony
Aram Demirjian
Associate Conductor, Kansas City Symphony
24
About Kansas City Symphony
25
Orchestra Roster
26
Kauffman Center
for the Performing Arts
27Sponsors
Kansas City Symphony 3
VOCABULARY
K I N D E R K O N Z E R T:
LEITMOTIF: a recurring short melodic phrase or theme used to represent a character or thing
MINIATURIST: a composer who primarily writes short, small-scale pieces
OPERA: an extended dramatic composition in which all
parts are sung to instrumental accompaniment
PROGRAM:
OPERETTA: a short opera, usually comical or light-hearted
WAGNER
Prelude to Act III of Lohengrin
ORCHESTRATED: composed or arranged music for performance by an orchestra
LIADOV
Baba-Yaga
HERBERT
“March of the Toys” from
Babes in Toyland
GROFÉ
Grand Canyon Suite
III. On the Trail
BRAHMS
Serenade No. 1 in D Major
V. Scherzo
BILL ELLIOT
The Remarkable Farkle McBride
4 SCHERZO: a movement or passage or light or playful character, often
as the second or third movement of a sonata or symphony
SERENADE: an extended composition in several movements
similar to the modern suite or divertimento
SUITE: an ordered series of instrumental movements; they may be
extracts from an opera, ballet or incidental music to a play,
or they may be entirely original movements
TEMPO: the speed at which a piece or
passage of music is meant to be played
TRIPLET: a group of three
notes to be performed in the
time value of two notes
KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories
About THE PROGRAM
K I NDER KON Z ERT:
TRACK
13
RICHARD WAGNER
BORN: May 22, 1813 in Leipzig, Germany
DIED: February 13, 1883 in Venice, Italy
ABOUT THE COMPOSER
•
He began music lessons at 13 after writing a play and insisting it be set to music.
•
He is best known as a composer of opera.
•
One of his greatest gifts to music was the leitmotif.
FAMOUS WORKS
• “The Ride of the Valkyries” from Die Walküre
•
Prelude and “Liebestod” from Tristan und Isolde
•
Prelude to Act III from Lohengrin
Prelude to Act III from Lohengrin
Lohengrin is one of Wagner’s earlier operas. In the story, the maiden Elsa is
falsely accused of killing her brother, the rightful heir to the throne. The knight
Lohengrin arrives in a swan-drawn boat and agrees to defend Elsa’s honor. The
Prelude to Act III is a musical depiction of the wedding ceremony between
Elsa and Lohengrin. It is some of the flashiest music Wagner ever wrote and
instantly captures the celebratory spirit of the characters’ wedding. Richard Wagner
LISTENING GUIDE
Track #13:
WAGNER
Prelude to Act III of Lohengrin
Beginning-1:22 –
Lohengrin’s Theme
This heroic theme begins
with an ascending triplet
pattern that leads into a bold
and heroic brass fanfare.
1:23-2:21 –
Elsa’s Theme
Introduced by the
woodwinds, Elsa’s theme
is delicate and beautiful.
About THE PROGRAM
TRACK
14
ANATOL LIADOV
BORN: May 11, 1855 in St. Petersburg, Russia
DIED: August 28, 1914 in Borovichi, Russia
ABOUT THE COMPOSER
•
Although a promising student composer, Liadov was expelled from the
St. Petersburg Conservatory for failing to attend classes. He was readmitted
in time to take his graduation exams and passed with such distinction that
he immediately joined the school’s faculty as a teacher of music theory.
•
He was a procrastinator and had difficulty following through on projects.
•
Liadov was a talented miniaturist, and was drawn toward pieces with
descriptive programs.
•
Sergei Diaghilev asked Liadov to compose the score to his new ballet,
The Firebird. It is unclear why Liadov declined, but the commission was then
offered to Igor Stravinsky, whose name and career were made by his Firebird.
FAMOUS WORKS
•
The Enchanted Lake
•
Kikomora
•
Baba-Yaga
Baba-Yaga
In Slavic folklore, Baba-Yaga is a witchlike character
who lives deep in the forest. Her hut stands on
chicken legs and she flies around in a mortar wielding a
pestle. Although she is a frightening figure – she is known
to consume her victims – she is occasionally known to help
those who need it. Liadov’s miniature musical rendition of
this character is vivid and full of action and adventure.
LISTENING GUIDE
Track #14:
LIADOV Baba-Yaga
Liadov uses several musical techniques to bring out the many
mysterious qualities of Baba-Yaga. The listener is first introduced to
the character through a theme heard in the bassoon and bass clarinet
(0:08). She can be heard flying (0:42), laughing (1:17), dancing (1:25)
and casting evil spells (2:02) in the brief three-minute miniature.
Anatol Liadov
About THE PROGRAM
TRACK
15
VICTOR HERBERT
BORN: February 1, 1859 in Dublin, Ireland
DIED: May 24, 1924 in New York City, NY
ABOUT THE COMPOSER
Victor Herbert was an accomplished cellist who inspired acclaimed
composer Antonin Dvořák to write his own Cello Concerto.
•
He was born in Ireland and moved to New York where he and
his wife both performed with the Metropolitan Opera.
•
As a composer, he is best known for writing operettas.
•
“March of the Toys” from Babes in Toyland
Babes in Toyland was written after a very successful premiere of The Wizard
of Oz on Broadway. In an attempt to capitalize on the excitement of The
Wizard of Oz, Victor Herbert and his librettist Glen MacDonough designed a
story using Toyland as a setting. The operetta combines characters from fairy
tales, children’s books and nursery rhymes into a Christmas-themed musical
celebration. The most popular scene is “March of Toys,” during which the evil
Toymaker displays his toys for children who have strayed into Toyland.
Actor Alex Espy will join the Symphony on stage to help
bring “March of the Toys” to life through movement.
Victor Herbert
LISTENING GUIDE
Track #15:
HERBERT “March of the Toys”
The piece is written in 12/8
(4 beats per bar, divided into
triplets). It has a distinctive
march-like feel and is
performed at comfortable
marching tempo.
About THE PROGRAM
About THE PROGRAM
TRACK
16
FERDE GROFÉ
BORN: March 27, 1892 in New York City, NY
DIED: April 3, 1972 in Santa Monica, CA
Ferde Grofé
LISTENING GUIDE
Track #16:
GROFÉ “On the Trail”
1:28 – Grofé writes for coconut
shells to play the part of
the burro’s hoof beats as he
descends the trail. The tempo
increases periodically as the
burro loses his footing. Each
rapid descent ends with a
“hee-haw,” created by the
woodwinds (2:12-2:28).
2:41 – Cowboy’s song
3:48 – A nearby waterfall
draws the cowboy toward
a beautiful oasis.
5:49 – A music box is heard
in a nearby cabin. The
cowboy stops for rest.
6:43-End – The cowboy and his
burro take off into the sunset!
8 ABOUT THE COMPOSER
•
He was an American-born composer.
•
He worked as a truck driver, newsboy, elevator operator
and bookbinder before becoming a composer.
•
He was inspired by jazz and the American landscape.
•
Grofé orchestrated Gershwin’s Rhapsody in Blue
FAMOUS WORKS
•
Grofé composed suites for a variety of American landscapes and
cultures including Death Valley, the Grand Canyon, Hawaii, Mississippi,
Niagara Falls, San Francisco and Yellowstone National Park.
“On the Trail” from Grand Canyon Suite
Grofé began writing his Grand Canyon Suite in 1929 after witnessing a breathtaking
sunset on a Grand Canyon camping trip with friends. It took him several years
to finish orchestrating the rest of the suite, which is in five movements:
I. Sunrise
II. Painted Desert
III. On the Trail
IV. Sunset
V. Cloudburst
The following note was published along with the score:
On the Trail: “A traveler and his burro are descending the trail. The sharp hoof
beats of the animal form an unusual rhythmic background for the cowboy’s
song. The sound of a waterfall tells them of a nearby oasis. A lone cabin is
sighted, and as they near it a music box is heard. The traveler stops at the
cabin for refreshment. Now fully rested, the traveler journeys forth at a livelier
pace. The movement ends as man and burro disappear in the distance.”
TRACK
17
JOHANNES BRAHMS
BORN: May 7, 1833 in Hamburg, Germany
DIED: April 3, 1897 in Vienna, Austria
COMPOSER FACTS:
Noted as one of the greatest composers of all time.
He admired Beethoven’s symphonies so much that he
took over 20 years to write one of his own.
•
Brahms believed in conventional form and structure and
was against the rebelliousness of Wagner.
•
•
FAMOUS WORKS
•
Symphony No. 1 in C Minor
•
Symphony No. 4 in E Minor
•
Violin Concerto
•
Hungarian Dances
Serenade No. 1
Written when Brahms was 25, Serenade No. 1 is his first
published orchestral work. It was originally written for nine
wind and string players, but Brahms was encouraged to
rework the piece for a larger ensemble. Taking his cue
from the serenades of Haydn, Mozart and Beethoven,
Brahms scored the larger version for pairs of woodwinds,
horns and trumpets along with strings and timpani.
Johannes Brahms
LISTENING GUIDE
Track #17:
BRAHMS Scherzo from
Serenade No. 1
Much of this movement
features call-and-response
sections between the
French horns and the
strings. Examples include
beginning-0:23, 0:360:44 and 0:50-0:58.
The piece was originally conceived as a fourmovement work and Brahms even considered
designating it as his first symphony. However,
once he added the two Scherzo movements,
Brahms determined that it was definitely not
“symphonic” and kept the title “Serenade.”
The fifth movement, marked “Scherzo,” opens with
the sounds of hunting calls performed by horn and
solo cello. The movement is regal and is reminiscent
of Brahms’ idols, Haydn and Beethoven.
About THE PROGRAM
BILL ELLIOTT
BORN: 1951
ABOUT THE COMPOSER, BILL ELLIOTT
Leader of Bill Elliott Swing Orchestra
Performances with the Boston Pops, Chicago Symphony,
Pittsburgh Symphony, and Baltimore Symphony
•
Recordings include Diane Schuur’s “Midnight,” Alan Jackson’s “Let It Be Christmas,”
John Lithgow’s “Farkle and Friends,” and Lorraine Feather’s “Such Sweet Thunder”
•
Composed music for The Remarkable Farkle McBride for symphony orchestra
•
ABOUT THE AUTHOR, JOHN LITHGOW
•
An award-winning actor, Lithgow has starred on stage, on film and on television
•
He has recorded two CDs for children, “Farkle and
Friends” and “Singin’ in the Bathtub”
•
•
Bill Elliott
The Remarkable Farkle McBride
The Remarkable Farkle McBride, written by actor John Lithgow and orchestrated by
composer Bill Elliott, introduces the instruments of the orchestra through clever
storytelling and engaging music. Young Farkle McBride is a musical genius. He plays
the violin, the flute, the trombone and the drums with incredible skill, but he is never
satisfied. Something is always missing! Farkle explores each instrument of the orchestra
and eventually figures out exactly how he can happily be part of a symphony - he
can conduct ALL of the instruments of the orchestra. The narrator will take listeners
on a tour of the orchestra through many musical styles and familiar themes.
Actor Alex Espy will narrate The Remarkable Farkle McBride with the Symphony.
CLASSROOM Activity
The following chorus appears five times during the performance of The Remarkable Farkle
McBride. Students will be invited to sing along each time it appears in the performances.
The lyrics change slightly for the fifth return of the chorus:
INSTRUMENT Families
>> Strings: Tracks # 1, 3, 6, 17
The instruments of the orchestra can be categorized into families. Instruments
in a specific family have similar traits but may sound, look, or be used
differently than other members of the same family. The four instrument
families in an orchestra are strings, woodwinds, brass and percussion.
Experience the sounds of each family. Note instrument
tracks for Strings, Woodwinds, Brass and Percussion.
Violin
Viola
Harp
Companion CD TRACK LIST
Cello
1 GLINKA | Overture to Russlan and Ludmilla
2 GIMÉNEZ | Interlude from La boda de Luis Alonso
3 VIVALDI | III. Tempo impetuoso d’estate: Presto
from The Four Seasons
Bass
4 RIMSKY-KORSAKOV | “Flight of the Bumblebee”
5 WAGNER | “Ride of the Valkyries” from Die Walküre
6 TCHAIKOVSKY | V. Valse from The Sleeping Beauty Suite
7 GRIEG | “In the Hall of the Mountain King” from Peer Gynt
8 SHOSTAKOVICH | II. Allegretto from Symphony No. 5
9 SHOSTAKOVICH | Writing Challenge Theme A
10SHOSTAKOVICH | Writing Challenge Theme B
11SHOSTAKOVICH | Writing Challenge Theme C
12SHOSTAKOVICH | Writing Challenge Theme D
13WAGNER | Prelude to Act III of Lohengrin
14LIADOV | Baba-Yaga
15HERBERT | March of the Toys
16GROFÉ | III. On the Trail from Grand Canyon Suite
17BRAHMS | V. Scherzo from Serenade No. 1
The STRING family is made up of the
violin, viola, cello, bass and harp.
Instruments in this family produce sound
by vibrating strings. Musicians use two
different techniques to cause the string
to vibrate. One way to produce vibrations
is to rub the strings with a bow. The bow
is a long stick with horsehair stretched
across it. When the bow is drawn across
the strings, it causes the strings to vibrate
which produces a sound. Another way
strings vibrate is by plucking them with
your finger. This technique is called
pizzicato. Whether bowing or plucking,
the pitch on a string instrument is
changed by adjusting the length of the
string. This is accomplished by putting
fingers down on the string to shorten the
length of the portion that is vibrating.
String instruments have a very mellow,
rich sound. There are many string players
in an orchestra because each instrument
alone does not produce a very loud sound
compared to other instrument families.
>> Woodwinds: Tracks # 2, 8, 16
Bassoon
>> Brass: Tracks # 5, 13, 17
Trumpet
>> Percussion: Tracks # 2, 16
Triangle
Snare Drum
Horn
Oboe
Timpani
Clarinet
Trombone
Flute
Tuba
Piano
The WOODWIND family includes the
flute, clarinet, oboe and bassoon. These
instruments produce sound by players
blowing a vibrating column of air
inside some form of tube. As the name
suggests, all woodwind instruments
have been made out of wood at one
time in their existence. The flute has
since evolved into being made of metal.
All woodwind instruments create the
vibrating column of air in different
ways. Flutists blow across the top of an
open hole. Clarinetists blow between
a reed – usually a small, flat piece of
bamboo – and a fixed surface. Oboists
and bassoonists blow between two
reeds that vibrate against each other.
Woodwinds usually change the pitch
of their instruments by changing the
length of the tube they are blowing
through by opening or closing holes
using keys on their instruments. A
modern orchestral woodwind section
generally consists of three of each
of the instruments in the family.
The BRASS family includes the trumpet,
French horn, trombone and tuba which
are all made of brass. The brass family
is one of the oldest families of the
orchestra. Sound is produced when the
musician “buzzes” his or her lips into
a cup-shaped mouthpiece to produce
vibrating air. The vibrating air then
travels through a long metal tube that
modifies and amplifies the vibrations. In
order to change pitch, brass players use
two techniques. The first is to change
the speed that they buzz their lips -- a
fast buzz produces a higher pitch and a
slower buzz produces a lower pitch. They
are also able to change the length of
tubing -- trumpet, French horn and tuba
players have keys that may be pressed
to lengthen or shorten the tubing and
trombone players increase or decrease
the length of tubing by using a slide. The
brass section is generally found toward
the back of the orchestra because of
their ability to produce louder sounds.
A modern orchestral brass section
traditionally consists of four horns, two
trumpets, three trombones and one tuba.
The PERCUSSION family is the most
varied family in the orchestra. Percussion
instruments include the cymbals,
drums, maracas, xylophone, marimba,
and many more. Sound on percussion
instruments is created by physically
striking, rubbing or shaking either a
solid material, like a metal triangle, or
a membrane, like the top of a snare
drum. In the past, membranes have
been made of animal skins but most of
today’s drums use a synthetic material.
There are many different kinds of
percussion instruments used in an
orchestra that produce many different
types of sounds. They are usually used
to provide rhythm for the music.
Bass
Percussion
Violin I
Cello
Clarinet
Horn
Conductor
Flute
Timpani
Viola
Violin II
Oboe
Bassoon
Trumpet
Piano
Trombone
Harp
Tuba
ORCHESTRA Map
TEACHING Activity
INSTRUMENT Families
TEACHING OBJECTIVE:
Students will learn to identify and understand the families of
orchestral instruments and their roles in the orchestra.
MATERIALS:
•
•
•
CD Player and Teacher’s Guide Companion CD
Instrument Families Information Sheet (p. 12)
Orchestra Map (p. 14)
PREPARATORY ACTIVITIES:
1. Discuss with the class the meaning of “family.” Discuss different types
of families; their immediate and extended family, the “family” of the
school or class, a “family” of cars by a car manufacturer, etc.
2. Discuss how families are defined and how certain characteristics
are shared and others are not shared within a “family.”
3. Discuss the four families of instruments found within an orchestra.
TEACHING SEQUENCE:
1. Hand out copies of the Orchestra Map and, using the Instrument
Families information sheet, talk about the characteristics of each
family (Where do they sit? Who do they sit with or near?)
2. Discuss what characteristics each instrument and family has that makes them
“related.” (How do they look? How are they played? What sounds do they make?)
3. Divide the class into four groups, each representing an instrument family.
4. Ask the students to arrange themselves in the same
placement as they would be in an orchestra.
5. Play a recording of an orchestral piece. [We suggest using repertoire
from the upcoming KinderKonzert which can be found on the Teacher’s
Guide Companion CD]. Instruct the students to listen specifically to
their instrument family. Have them note when they hear their family,
what kind of sounds they made, how often they played, etc.
6. Ask the students to sing a simple song like Twinkle, Twinkle Little Star.
7. Instruct the class to sing the song again and have each group sing
the way they think their instrument family would sound.
8. Before attending the KinderKonzert, remind the students of their instrument
families and instruct them to watch and listen closely to their family.
EXTENDED ACTIVITIES:
After completing the above activity, you may assign students the role of specific
instruments within the four families and repeat the above sequence, asking
students to represent specific instruments rather than more general families.
CULMINATING ACTIVITY:
After the concert, discuss the way their instrument family looked and sounded
at the concert. Discuss how it met or did not meet their expectations.
TEACHING Activity
ARTWORK Challenge
TEACHING OBJECTIVE:
Students will become familiar with the concert repertoire through art.
MATERIALS:
•
•
•
•
•
CD Player and Teacher’s Guide Companion CD
Repertoire Exploration (pages 6-12)
Paper
Crayons / Colored Pencils
Artwork Challenge Submission Form
1.
Discuss different ways we tell stories (written,
verbal, movement, dance, music, etc…)
2. Discuss the different elements of a story (characters, setting, plot…)
3. Discuss how pictures can help enhance a written story, or tell stories on their own.
TEACHING SEQUENCE:
1.
Listen to Grofé’s “On the Trail” AND/OR Brahms’ Scherzo
from Serenade No. 1 (Tracks 16 & 17).
2. While listening, ask students to close their eyes and visualize what is happening.
You may find that students have similar visualizations in the Grofé and very
different visualizations in the Brahms. After listening, discuss the following topics:
a. What setting does the music create?
b. What characters are present?
c. What action is taking place?
3. Ask students to create a drawing or painting representing the music they hear.
4. Submit entries to the Kansas City Symphony for the Artwork Challenge.
ARTWORK CHALLENGE:
The Kansas City Symphony will
feature selected artwork during
each KinderKonzert performance.
Teachers are invited to submit
artwork from their classroom:
1. Entries may be mailed,
faxed or emailed to:
Kansas City Symphony
Education Department
Attn: Stephanie Brimhall
1703 Wyandotte, Suite 200
Kansas City, MO 64108
Fax: (816) 329-1839
Email: [email protected]
2. Entries must be received by 5:00pm
on Friday, January 22 or Friday, April
22 to be eligible for selection.
3. An Artwork Challenge Submission
Form (see Page 17) must accompany
each school’s submission. A separate
form should be submitted for each
piece of music represented.
4. Entries become the property
of the Kansas City Symphony
and will not be returned.
**ALL ENTRIES MUST BE RECEIVED
BY FRIDAY, JANUARY 22 OR FRIDAY,
APRIL 22 TO BE CONSIDERED.
NOT ALL ARTWORK WILL BE INCLUDED
IN THE CONCERT SLIDESHOW**
ARTWORK Challenge Submission Form
PLEASE RETURN ONE SUBMISSION FORM WITH YOUR ARTWORK CHALLENGE ENTRIES.
Concert Attending:*
Tuesday, February 9 at 10:00am
Tuesday, February 9 at 11:30am
Wednesday, February 10 at 10:00am
Wednesday, February 10 at 11:30am
Thursday, February 11 at 10:00am
Thursday, February 11 at 11:30am
Thursday, May 12 at 10:00am
Thursday, May 12 at 11:30am
Wednesday, May 11 at 11:30am
Repertoire Represented**:
“On the Trail” from Grand Canyon Suite by Grofé
V. Scherzo from Serenade No. 1 by Brahms
SCHOOL INFORMATION:
School Name:
School Address: Contact Name:
Contact Email: Phone: *Please submit separate forms if you are attending multiple concerts.
**Please submit separate forms if students are creating artwork for both pieces of music. For example, include one
submission form for all students creating artwork for Grofé and another for those representing the music of Brahms.
ARTWORK CHALLENGE ENTRY INFORMATION:
# Entries submitted:
Total challenge participation:
SUBMISSION GUIDELINES:
Entries may be mailed, faxed or emailed to:
Kansas City Symphony Education Department
Artwork Challenge
Fax: (816) 329-1839
Email: [email protected]
1. Entries must be received by 5 p.m.
Friday, January 22, 2016 or Friday, April 22,
2016 to be eligible for selection.
2. An artwork challenge submission form must
accompany each school’s submission.
TEACHING Activity
MOVING to the Music
TEACHING OBJECTIVE:
Students will discover how to tell a story by using their bodies and learn
more about music to be performed during the KinderKonzert.
MATERIALS:
•
•
CD Player
Teacher’s Guide Companion CD
1.
Ask students to discuss different ways they can tell a story
(written, verbal, movement, dance, music, etc…)
2. Discuss the different elements of a story (characters, setting, plot…)
3. Discuss how movements can help tell a story (as in
pantomime, ballet, opera, theater, etc...)
TEACHING SEQUENCE:
1. Play Victor Herbert’s “March of the Toys” for the students (Track 15)
2. On a second listen-through, ask students to march in
pace, or around the classroom, to the music.
3. As you play the music, ask students to imagine what types
of toys are being portrayed. How do they move? What are
they doing? How do they interact with each other?
4. As a class or in groups, make up a story being told by the music.
5. With the music playing in the background, ask students
to act out the story through movements.
During the KinderKonzert performance, the host will lead the audience through
a similar exercise and then perform movements along with the music.
TEACHING Activity
Concert ETIQUETTE
TEACHING OBJECTIVE:
Students will examine, discuss and practice appropriate
concert behavior in different settings.
1. Ask the students to list places or situations where they might
be part of an audience. Solicit examples such as a rock concert,
tennis match, football game, golf tournament, movie theater, etc.
Create a list of answers where everyone can see them.
2. Discuss the way audience behavior in various settings would be different. Discuss
how different venues or activities have different expectations for audience behavior.
Talk to the students about the upcoming
Kansas City Symphony concert. Discuss
what they should expect to happen
and how they can appropriately show
their appreciation for the Symphony.
Students should know that it is
appropriate to clap for an orchestra
after each piece. The conductor will
indicate when each piece is over by
putting his hands down by his side.
TEACHING SEQUENCE:
EVALUATION:
1. Assign a group of two or more students to act out behavior that
would occur at various venues at the front of the classroom. For
example, have two students pretend to be playing tennis.
2. Instruct the rest of the class to pretend that they are the audience for the
event being portrayed. Instruct the “audience” to show their appreciation
for the performers/athletes pretending in front of the class.
3. Critique the “audience” behavior and discuss why certain behavior was
appropriate or inappropriate for the situation. Talk about audience reactions such
as applause, yelling or whistling and when it is appropriate or inappropriate.
4. Ask the performers to tell the class how the “audience”
behavior affected their efforts.
5. Repeat this activity with all examples of activities (i.e. rock
concert, chess match, ballet, football game, etc).
Were students able to understand how
and why audience behavior might be
different in different settings and venues?
Did they understand the importance
of their role as an audience member?
Help Lohengrin find the maiden Elsa.
10 by 10 orthogonal maze
START HERE
FINISH HERE
Copyright © 2015 JGB Service, http://www.mazegenerator.net/
PREPARING for the CONCERT!
BEFORE THE CONCERT:
• Please make sure we are aware of any special seating needs you may have by contacting
Owen Craig at [email protected] at least 2 weeks prior to the performance.
• Please double check that the concert date, number of attendees and amount
due listed on your confirmation email matches your order.
• You will not receive tickets for this event.
• Please review proper concert with your students prior to the performance.
Information can be found below and on page 19 of this guide.
ARRIVING BY BUS
• Busses will offload on the south drop-off drive of the KCPA . This drive runs
east to west on concert dates and is accessed from Wyandotte St.
• Please mark all busses with your school’s name and memorize bus numbers.
• Make sure you have contact information for each bus driver.
• Please ask bus drivers to follow all directions provided by KCPD, KCPA and KCS staff.
• Bus drivers must remain with the bus until it is parked at its final location.
• Bus drivers must be back on the bus 15 minutes before the end of the performance.
• Please make sure a teacher or other adult is the first person off the
bus so they may help with the offloading process.
• Volunteers are there for your safety; please make sure you listen to all instructions.
ARRIVING BY CAR
• Parking is available in the Arts District Garage for $3 on concert days.
• Free street parking is also available on surrounding streets including
17th, Wyandotte, Baltimore and Broadway.
• All groups arriving by car should meet in the KCPA’s Brandmeyer Great Hall (Level 4).
DURING THE CONCERT
• Your group will be seated by KCS and KCPA volunteers. Please plan to
be in your seats 5 minutes before the concert begins.
• When you arrive in the hall, you will see musicians warming up on stage.
When it is time for the concert to begin, the lights will dim and KCS Education
Manager Stephanie Brimhall will give some brief announcements.
• Following announcements, the orchestra will tune.
• The conductor will enter and ask the orchestra to stand. Applause for
the conductor and orchestra is welcome at this time.
• Throughout the concert, applause is also welcomed after each piece. You will know when it
is time to applaud when the conductor lowers his arms and turns to face the audience.
• Students may also be asked to participate at various times throughout the
concert. Please listen closely to instructions given from the stage.
• Out of courtesy to your neighbors, please do not talk during the performance.
• Flash photography, audio recording and video recording are not permitted during the concert.
• Please make sure all electronic devices are switched off during the performance.
AFTER THE CONCERT
• Please remain in your seats until your group is dismissed.
• Listen closely to dismissal instructions and be aware that your bus may be parked
in a different location than the one where you were dropped off.
• Students will be escorted to their parked bus.
About ALEX ESPY
ALEX ESPY IS EXCITED TO BE BACK WITH THE KANSAS CITY SYMPHONY!
Previous Kansas City Symphony engagements include Peter and the Wolf
(2013, 2015) and The Orchestra Games (2013). Alex has been seen on the
Coterie stage in such shows as Tales of a Fourth Grade Nothing, Frindle, and
Sideways Stories from Wayside School. He has also created original shows
for the Nelson-Atkins Museum of Art, including an environmental production
of Alice in Wonderland in their renowned sculpture park. Other Kansas City
companies Alex has worked with over the years include Paul Mesner Puppets, The
Unicorn Theatre, The Living Room Theatre and Theatre for Young America. Alex
is currently Resident Artist at St. Mark Child and Family Development Center.
About ARAM DEMIRJIAN
ARAM DEMIRJIAN IS FLOURISHING AS ASSOCIATE CONDUCTOR OF THE
Kansas City Symphony. Now in his fourth season, Demirjian has distinguished
himself as a devoted and integral member of the Kansas City arts community,
building relationships with audiences of all ages and backgrounds, conducting
an astounding volume of diverse programs and supporting the work of
Music Director Michael Stern and the Kansas City Symphony musicians.
Lauded for his “confident and expressive style” and “boundless energy” (Kansas
City Star), Demirjian’s critically acclaimed Classical Series debut was recognized by
KCMetropolis as a Top 10 Kansas City Arts Moment for the 2014-15 season. Demirjian
exhibits extraordinary versatility on the podium, conducting every style of program
the Symphony presents. During the past three seasons, he has helped lead the
expansion of the Symphony’s concert offerings as the conductor of two dynamic
series: Classics Uncorked, which offers a casual and innovative take on the concert
experience, complete with narration, lighting, musical demonstrations and a free glass
of wine; and Screenland at the Symphony, which features classic works of cinema with
a live soundtrack provided by the orchestra. In the 2015-16 season, Demirjian will
conduct Family, Pops and Christmas Festival concerts again, as well as make a second
appearance conducting the Symphony’s annual performances of Handel’s Messiah.
Demirjian is one of the principal architects of the Symphony’s Education
Series. He scripts and conducts original Young People’s Concerts and
KinderKonzerts, as well as Carnegie Hall Link-Up® programs. Together, these
concerts bring more than 30,000 grade school students annually to Helzberg
Hall at the Kauffman Center for the Performing Arts. He also leads a yearly
Support School Music concert and is active in the Symphony’s residency at
University Academy. Demirjian believes passionately that music and the arts are
essential parts of education for all young people, and that music, in particular,
supports and nurtures the skills for growth and success in all disciplines.
Demirjian’s increasingly busy guest
conducting schedule has included
past performances with the Minnesota
Orchestra, Omaha Symphony, Louisiana
Philharmonic, Memphis Symphony,
New England Conservatory Symphony
and Tanglewood Music Center. He
looks forward to forthcoming guest
conducting dates with the Knoxville
Symphony and Fresno Philharmonic,
as well as re-engagements with the
Louisiana Philharmonic. He has been
engaged as cover conductor by the
Boston Symphony, St. Louis Symphony,
Charlotte Symphony and Aspen Music
Festival, and he also was a conducting
apprentice of Harry Christophers
with the Handel & Haydn Society.
Demirjian is an alumnus of the American
Academy of Conducting at Aspen,
where he received the distinguished
Robert J. Harth Conducting Prize.
He holds a Bachelor of Arts, cum
laude, in music and government from
Harvard University, and a Master
of Music in orchestral conducting
from New England Conservatory. Kansas City Symphony 23
About KANSAS CITY SYMPHONY
OUR HISTORY
Founded by R. Crosby Kemper, Jr., in 1982, the Kansas City Symphony has established
itself as a major force in the cultural life of the community. Praised for performances
of uncompromising standard, the orchestra is the largest in the region and enjoys a
national reputation under the artistic leadership of Music Director Michael Stern.
The Kansas City Symphony also experienced impressive artistic growth
through its history and under the batons of Russell Patterson (19821986), William McLaughlin (1986-1997) and Anne Manson (1998-2003).
Aram Demirjian, associate conductor, conducts the Family, Pops and
Classics Uncorked concerts. Charles Bruffy is the chorus director.
The Kansas City Symphony serves a metropolitan population of 1.8 million people. The
orchestra’s 80 full-time musicians are area residents and vital contributors to the artistic
life of Kansas City. During its 42-week season, the Symphony performs a wide variety
of subscription, educational, touring and outreach concerts. In addition, the Kansas City
Symphony performs with the Lyric Opera of Kansas City and the Kansas City Ballet.
AWARD-WINNING LEADERSHIP
The Kansas City Symphony is governed by a Board of Directors under the
leadership of Board Chair William M. Lyons and is administered by a full-time
professional staff led by Executive Director Frank Byrne. In addition, the Kansas
City Symphony benefits from the dedicated efforts of its volunteer associations.
The Symphony’s five auxiliaries, with total membership of more than
700, raise more than $1 million annually, making them some of the
most successful orchestra volunteer forces in the nation.
FINANCIAL STRENGTH
The Kansas City Symphony has demonstrated a strong commitment to fiscal
responsibility. From a budget of $1.5 million in its first season, the Symphony’s
annual operating budget has grown to more than $15 million. Major gifts from
the Board, local foundations and individuals have created an endowment
that is in excess of $70 million. The Symphony’s annual fund campaign
and other fundraising events are integral to our continued success.
EDUCATION and COMMUNITY FOCUS
The vision of the Symphony’s education department is to enable people of
all ages in the greater Kansas City area to learn, create and become inspired
through orchestral music. More than 54,000 people participate in Kansas
City Symphony education programs annually. Most popular are specially
programmed school concerts — KinderKonzerts, Young People’s Concerts and
Link Up — performed for more than 30,000 students and teachers annually.
Several thousand more are involved with the Symphony through activities including
the Open Rehearsal Series, Bush and Jamie Helzberg Instrument Petting Zoo program
and Charles and Virginia Clark Inside Music Series. Dozens of area student musicians
participate in the Woman’s City Club Charitable Foundation Young Artist Competition,
where the winner is awarded a cash prize and the opportunity to perform with the
Kansas City Symphony. The Symphony’s Bill and Peggy Lyons Support School Music
program takes the orchestra into area
schools to perform a concert and
all ticket sales directly benefit the
school district’s music department.
Since the program’s inception, more
than $146,000 has been generated
for school music education programs.
Recently, the Symphony has piloted
new music education programs
and partnerships, including Petite
Performances starting in January of 2016.
RECORDINGS and BROADCASTS
The Symphony’s concerts with
internationally celebrated mezzosoprano Joyce DiDonato were featured
on the national PBS Summer Arts Series
in July 2012. The DVD, “Homecoming:
Kansas City Symphony Presents Joyce
DiDonato” may be purchased on the
Symphony website or by calling the
Symphony box office at (816) 4710400. The Grammy® -nominated audio
recording of the complete performance
may be downloaded from iTunes. The
Symphony has released five recordings
on the Reference Recordings label
— “Shakespeare’s Tempest,” the
Grammy-winning “Britten’s Orchestra,”
an Elgar/Vaughan Williams project,
“Miraculous Metamorphoses,” and
most recently, an all-Saint-Saëns CD
featuring the magnificent “Organ”
Symphony. Two additional projects have
been recorded and slated for future
release, including Holst’s The Planets
(recorded January 2015) and the music
of contemporary American composer
Adam Schoenberg (recorded June 2014).
In addition, the Symphony has taped
three nationally broadcast PBS
television specials and performed
on National Public Radio, including
on the prestigious SymphonyCast
series. Highlights of Classical Series
performances are broadcast Thursdays
at 9 p.m. on KCUR-FM 89.3, Kansas
City’s National Public Radio affiliate. ORCHESTRA Roster
MICHAEL STERN, Music Director
ARAM DEMIRJIAN, Associate Conductor / David T. Beals III Chair
FIRST VIOLINS
Noah Geller, Concertmaster
Miller Nichols Chair
Justine Lamb-Budge^,
Associate Concertmaster
Sunho Kim, Assistant Concertmaster
Gregory Sandomirsky
Associate Concertmaster Emeritus
Anne-Marie Brown
Anthony DeMarco
Susan Goldenberg*
Jessica Wakefield Hao‡
Tomoko Iguchi
Lisa JacksonΔ
Dorris Dai Janssen
Filip Lazovski^Δ
Chiafei Lin
Vladimir Rykov
Alex Shum*
SECOND VIOLINS
Tamamo Someya Gibbs, Principal
Stirling Trent^, Associate Principal
Kristin Velicer, Assistant Principal
Nancy Beckmann
Kathy Haid Berry
Stephanie Cathcart
Minhye Helena Choi
Mary Garcia Grant
Kevin Hao
Kazato Inouye
Rena Ishii
Francesca Manheim
VIOLAS
Christine Grossman, Principal
Youming Chen, Associate Principal
Jessica Nance, Assistant Principal
Kent Brauninger
Sean Brumble
Marvin Gruenbaum
Duke Lee
Jenifer Richison
Matthew Rombaum
CELLOS
Mark Gibbs, Principal
Robert A. Kipp Chair
Susie Yang, Associate Principal
Richard Hill Chair
Alexander East, Assistant Principal
Maria Crosby
John Eadie
Lawrence Figg
Rung Lee*
Meredith McCook^
Allen Probus
DOUBLE BASSES
Jeffrey Kail, Principal
Evan Halloin, Acting Associate Principal
Owen Levine^Δ
Brandon Mason^
Richard Ryan
Keith WymerΔ
FLUTES
Michael Gordon, Principal
Shannon Finney, Associate Principal
Diane Schick
PICCOLO
Diane Schick
OBOES
Kristina Fulton, Principal
Shirley Bush Helzberg Chair
Adam De Sorgo^Δ,
Acting Associate Principal
Barbara Bishop‡, Associate Principal
Kenneth Lawrence
ENGLISH HORN
Kenneth Lawrence
CLARINETS
Raymond Santos, Principal
Gabriel Campos Zamora,
Associate Principal
John KlinghammerΔ
E-FLAT CLARINET
Gabriel Campos Zamora
BASS CLARINET
John KlinghammerD
BASSOONS
Ann Bilderback, Principal
Barton P. and Mary D. Cohen Chair
Thomas DeWitt, Associate Principal
Marita Abner
CONTRABASSOON
Thomas DeWitt
HORNS
Alberto Suarez, Principal
Landon and Sarah Rowland Chair
David Sullivan, Associate Principal
Elizabeth Gray
David Gamble
Stephen Multer,
Associate Principal Emeritus
TRUMPETS
Julian Kaplan^, Principal
James B. and Annabel Nutter Chair
Philip Clark, Associate Principal
Brian Rood
PERCUSSION
Christopher McLaurin, Principal
Joseph Petrasek, Associate Principal
HARP
Deborah Wells Clark, Principal
LIBRARIANS
Elena Lence Talley, Principal
Fabrice Curtis
Justin White, Personnel Manager
Matt Henderson,
Assistant Personnel Manager
David Tebow, Stage Manager
Mark Watson,
Assistant Stage Manager
* Non-Rotating Musician
^ New Member
‡ On Leave of Absence
Δ One-Year Member
TROMBONES
Roger Oyster, Principal
Porter Wyatt Henderson,
Associate Principal
Adam Rainey
BASS TROMBONE
Adam Rainey
TUBA
Steven Seward, Principal
TIMPANI
Timothy Jepson, Principal
KAUFFMAN CENTER for the PERFORMING ARTS
LOCATION
ARRIVING BY CAR
1601 Broadway
The 1,000-car Arts District Garage is directly attached to the Kauffman
Center just south of the building with multiple access points to surrounding
streets. The cost for parking in the Arts District Garage is $3.
ARRIVING BY BUS
Numerous parking spaces are also available throughout the Crossroads District,
including free parking along Central, Wyandotte, Baltimore,17th, 18th and 19th streets.
OPEN DOORS TRANSPORTATION FUND
The Kauffman Center for the Performing Arts will again provide bus allowances
for Kansas City Symphony educational performances through its Open Doors
Transportation Fund. Any school in the five-county metropolitan Kansas City Area
transporting at least twenty students to a Kansas City Symphony’s Young People’s
Concert, KinderKonzert, Link Up or Open Dress Rehearsal may apply. Funds will be
awarded as long as they are available. Public, private, and non-traditional schools
are invited to apply. Visit www.kauffmancenter.org for more information.
ACCESSIBILITY
Washington
Accessible seating for patrons using wheelchairs
and walkers is available in most
13th
areas of Helzberg Hall, including the Parterre, Mezzanine and Lower Grand Terrace.
Please consult with Education Ticketing Coordinator Owen Craig at (816) 218-2609
to determine your best and most accessiblethseating options.
Central
N
Pennsylvania
Groups arriving by bus will be directed
to the south drop-off drive. Buses should
enter the Kauffman Center drop-off drive
from the Wyandotte entrance on the
south side of the building. The drop-off
drive will be one-way running east-west.
Please stay on your bus until a Kauffman
Center volunteer comes to greet your
group. After students have entered the
building, drivers will be directed to the
north side of the Kauffman Center where
they will park on 16th and Central Streets.
14
D
P
Walnut
Kauffman Center
for the Performing Arts
E 17th
P
W 17th
19th Terrace
Wyandotte
Broadway
W 19th
Central
18th
W 19th
Baltimore
W 17th
E 19th
E 20th
D Drop-off drive, one-way heading west
26 P Entrance to underground parking garage
K
Grand Blvd.
16th
Main
Broadway
Washington
Jefferson
Summit
Truman
Kansas City Symphony EDUCATION PROGRAM SPONSORS
UNDERWRITERS
DONORS (UNDER $25,000)
Charles and Virginia Clark
Bush and Jamie Helzberg
Bill and Peggy Lyons
John and Marny Sherman
William T. Kemper Foundation –
Commerce Bank, Trustee
Woman’s City Club Charitable Foundation
Anonymous
Bayer CropScience
Harvey S. Bodker
The Breidenthal-Snyder Foundation
The Cross Foundation
Curry Family Foundation
The Dlabal Foundation
Samuel W. Edmunds Charitable Fund
Donald Flora and Janet Stallmeyer
Jackson County COMBAT Program
R.A . Long Foundation
Edward G. and Kathryn E.
Mader Foundation
Master Craftsmen Foundation
Bill McGlaughlin Education Fund
Pentair Foundation / Fairbanks Nijhuis
Victor E. and Caroline E.
Schutte Foundation
Elaine Feld Stern Charitable Trust
Louis and Frances Swinken Supporting
Foundation of the Jewish Community
Foundation of Greater Kansas City
Truman Heartland Community Foundation
Henry E. Wurst Family Foundation
EDUCATION SERIES SPONSORS
($25,000 AND ABOVE)
Muriel I. Kauffman Fund
Francis Family Foundation
Claire Giannini Fund
KCP&L
Frank and Margaret G. McGee Fund
Sprint Foundation
Oppenstein Brothers Foundation
ADDITIONAL SUPPORT PROVIDED BY
EDUCATION DEPARTMENT
Stephanie Brimhall
Education Manager
(816) 218-2639
[email protected]
Owen Craig
Education Ticketing Coordinator
(816) 218-2609
[email protected]
MAILING ADDRESS
Kansas City Symphony
kcsymphony.org

Remarkable Farkle McBride

Transcription

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