YPC 4 - ¡Viva España! - San Antonio Symphony

2012-2013 Young People’s Concert Series
History & Geography
Presents
YPC 4 - ¡Viva España!
Teacher’s Guide
May 7, 8 & 9, 2013, 9:45 am & 11:10 am
LAURIE AUDITORIUM
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Table of Contents
TEACHER’S GUIDELINES
CONCERT PROGRAM & TEKS OBJECTIVES
COMPOSER BIOGRAPHIES & PROGRAM NOTES
Isaac Albéniz
Georges Bizet
Enrique Granados
Ernesto Lecuona
Nicolai Rimsky-Korsakov
CONDUCTOR BIOGRAPHY
Akiko Fujimoto, Assistant Conductor
PROGRAM CONCEPTS
¡Viva España! – A Celebration of Spain
CO-CURRICULAR CONNECTION ACTIVITY
Spain Geography Exercise
PREPARATORY CLASSROOM ACTIVITIES
Concert Etiquette
Orchestra Map Worksheet
ADDITIONAL RESOURCES
Instrument Families
Four Families of the Orchestra
Vocabulary
DIRECTIONS TO LAURIE AUDITORIUM
CONCERT SPONSORS
3
4
5-6
7-8
9-10
11-13
14-16
17
18-21
22-25
26-27
28
29-30
31
32-34
35
36
YPC Teacher’s Guidelines
Before the Concert: ‐Please prepare students using these Teacher Guide materials ‐You will receive your tickets through email approximately 1‐2 weeks before the concert ‐Students should be briefed on concert etiquette in advance (see concert etiquette activity) ‐Please contact Jeremy Brimhall at (210) 554‐1006 at least ONE WEEK before the concert if you have any special needs students or teachers Day of the Concert (please read carefully!): ‐Before leaving school, please allow time for students to visit the restroom ‐Clearly mark buses or cars for quick identification and memorize bus numbers ‐Learn your bus driver’s name and be sure you can recognize him/her ‐Plan to arrive at Laurie Auditorium at least 30 minutes before the concert time ‐For any last‐minute problems or questions please call: Jeremy Brimhall on his cell phone at (210) 441‐2858 Upon Arrival at Laurie Auditorium ‐Buses will unload students and teachers at in front of Laurie Auditorium BEFORE the buses enter parking Lot B. For a map detailing how buses should proceed, please visit our website at http://www.sasymphony.org/wp‐content/uploads/2011/07/trinity_map.pdf. ‐Concert attendees not arriving by bus MUST park in the Alamo Stadium Parking Lot – (See Map) ‐Concert attendees with special needs, or needing wheelchair access should park under Laurie Auditorium in the Green Lot ‐Check‐in with a volunteer outside the building. The volunteer will guide you to your entrance ‐All students should be in their seats at least five minutes before the start of the program! ‐No food or drink, including chewing gum is permitted in the concert hall During the Concert ‐The use of cameras and recorders is prohibited; please turn off your cell phones ‐Students and teachers should remain in their seats for the entire concert ‐Restrooms are located on all levels and should be used for urgent need only ‐If a student must visit the restroom, please have an adult accompany them ‐Students not maintaining acceptable behavior may be asked to leave and may jeopardize their school’s future attendance at San Antonio Symphony events After the Concert ‐Please remain in your seats until your school is dismissed ‐You MAY NOT be exiting the same doors you entered ‐Upon dismissal, listen carefully and follow instructions for departing the building Back At School ‐Please fill out the YPC online evaluation (to be sent by email following each concert) ‐Student letters/artwork expressing reactions to the concert are greatly appreciated Send Any Young People’s Concert related student work or Teacher evaluations to: Education San Antonio Symphony Orchestra Fax: 210‐554‐1008 PO Box 658 Email: [email protected] San Antonio, TX 78293‐0658 2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Concert Program and TEKS Objectives
from Capriccio espagnol, Op. 34
III. Alborada: Vivo strepitoso
“Sevilla” from Suite española No. 1, Op. 47
Nicolai Rimsky Korsakov
(1844-1908)
Isaac Albéniz, arr. Guenther
(1860-1909)
from Carmen, Suite No. 1
V.
Les Toréadors
from Carmen, Suite No. 2
II.
Georges Bizet
(1838-1875)
Georges Bizet
Habanera
(1838-1875)
“Malagueña” from Andalucía
Ernesto Lecuona, arr. Grofé
(1895-1963)
Rondalla aragonesa, Spanish Dance No. 6
Enrique Granados, arr. Byrns
(1867-1916)
from Capriccio espagnol, Op. 34
IV. Scena e canto gitano: Allegretto
V.
Nicolai Rimsky Korsakov
(1844-1908)
Fandango asturiano
YPC 4 Concert TEKS Objectives (All numbers refer to the Knowledge and
Skills section of the TEKS):
4th Grade: Fine Arts – Music (b) 1(A), 2(A,B), 3(C), 5(A), 6(A-C)
5th Grade: Fine Arts – Music (b) 1(A), 2(A-C), 5(A,C), 6(A-C)
5th Grade: Social Studies – Culture –
(b) 21(B), 22(A-C)
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Isaac Albéniz
Born: May 29, 1860 – Camprodon, Spain
Died: May 18, 1909 – Cambo-les-Bains, Basque province of Labourd, France
Famous Works: Iberia, Suite Española, Chants d’Espagne,Tango in D
In May of 1860, a Spanish customs officer
named Ángel and his wife Dolores had a son.
Little did they know then that he would
become a child prodigy and a famous composer
- his name was Isaac Albéniz. Young Isaac
began performing on the piano at the age of
four. At seven, he passed the entrance exam
to the prestigious Paris Conservatory of Music,
although he was refused entry on account of
being too young.
Fortunately for Isaac, Ángel recognized his
talents and was a supporting father. As a
customs agent, Ángel had to travel a lot as
part of his job, and he began taking Isaac along
when he was nine. Everywhere they went,
Ángel would arrange concerts for Isaac to
perform. By the time he was 15, Isaac had
performed all over the world, including
concerts in Argentina, Cuba, the United States, and throughout Europe.
At 16, Isaac began studying at the Leipzig Conservatory in Leipzig, Germany, but later
moved to Brussels, Belgium to study at that country’s “Royal Conservatory.” In 1883, Isaac
began lessons with a composer named Felip Pedrell from Barcelona, Spain. Pedrell would
inspire him to come back to his roots and begin composing truly Spanish music. By 1886, he
had written over 50 piano pieces.
Many of the compositions that Isaac Albéniz wrote during this period were representative
of different cities or regions of Spain. One such piece was called Sevilla, named after the
Spanish city of Seville in the southern region of Andalusia. Albéniz borrowed inspiration
for this piece from a type of folk music and dance from Seville known as Sevillanas.
Sevillanas are characterized by light, happy music written in a flamenco style and in 3/4 or
6/8 time. Albéniz’s Sevilla is in 3/4 with a skipping, dance-like melody.[YPC 4 CD, track 2]
In 1887, Sevilla was grouped with seven of his other
piano pieces into the Suite Española, Op. 47. The
movements of the suite all represent different regions
of the Spanish empire at that time. They include
Granada, Cataluña, Sevilla, Cádiz, Asturias, Aragón,
Castilla, and Cuba (Cuba was still part of Spain until
1902).
As with many of his compositions, Sevilla was later
arranged for guitar.
In fact, many of the guitar
arrangements of his pieces are among the most important
works for classical guitar. Some of his pieces were also
arranged for orchestra. The version of Sevilla that the
San Antonio Symphony orchestra will perform at the Young People’s Concerts was arranged
by Felix Guenther in 1941.
Albéniz passed away from kidney failure in 1909, but he is remembered today as one of
the greatest composers of Spanish music. In 1997, the Isaac Albéniz foundation was
created in Spain to help promote Spanish music.
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Georges Bizet
Born: October 25, 1838 – Paris, France
Died: June 3, 1875 – Bougival, France
Famous Works: Carmen, L’Arlésienne, Symphony in C Major
Georges Bizet was actually born Alexandre-César-Léopold
Bizet but was baptized under the name that we are familiar
with today. The son of a singing teacher, Bizet began
studying music at the Paris Conservatory at the age of nine.
There he studied piano, organ and composition for nine
years, winning prizes in numerous piano and composition
competitions. His composition teacher, Fromental Halévy,
later became his father-in-law as Bizet married his
daughter Genéviève. Another important influence at the
Paris Conservatory was the elder composer Charles Gounod
(1818-1893).
Bizet wrote his first symphony in C Major while still a
student at the conservatory, probably for a school
Georges Bizet around 1860
assignment. The composition was well received and was
hailed a “junior masterwork.” This was a remarkable achievement for Bizet, especially
considering he was only 17 at the time.
Two years later, Bizet won the prestigious Prix de Rome competition for his cantata Clovis
et Clotilde. As part of the award, he received a financial grant to spend the next two
years studying in Rome, which he later extended to three years. Bizet’s time abroad
helped him develop a number of important connections with other budding composers.
However, he completed relatively few works during this time period that are remembered
today.
Back in Paris, Bizet finished his first complete opera, Les pêcheurs de perles (The pearl
fishers), in 1863 which received mixed reviews. He followed that with La jolie fille de
Perth (The fair maid of Perth), an opera based on a novel by Sir Walter Scott. By the end
of the 1860’s, Bizet was a rising star on the Paris opera scene.
In 1870, Bizet’s life as a composer was put on hold when Napoleon III declared war on
Prussia. Along with many composers and artists, he joined the National Guard and began
training for war. Fortunately Bizet saw little fighting as Napoleon was quickly captured
and Paris surrounded. After some uncomfortable months of Prussian occupation, a peace
treaty was finally signed in January of 1871. An uprising followed, however, causing
Georges and Genéviève to escape to the country until violence subsided in the summer of
that year.
Bizet’s masterpiece would come in 1874 with the signing of his tragic comic opera, Carmen,
the story of which is based on the novel of the same name by Prosper Mérimée. The opera
is set in Spain, and Bizet did a fantastic job of capturing the sounds of Spanish folk music.
The story is about a passionate gypsy woman named Carmen who pursues and eventually
wins the affection of a Spanish soldier. This affair is short-lived, however, as Carmen
turns her attention to the bullfighter, Escamillo. Mutiny, jealousy, and murder lead the
story to a tragic end. During that time in Paris, concertgoers were used to “family
friendly” plotlines and were taken aback by Carmen’s provocative nature. The opera was
initially criticized for being immoral and superficial.
Les Toréadors from Suite No. 1 depicts the bullfighter in the ring and the cheering crowd
surrounding him. [YPC 4 CD, track 3] Perhaps the most famous and easily recognized
number, the “Habanera” from Suite No. 2 is taken from Carmen’s seductive aria about love,
often referred to as “L’amour est un oiseau rebelle” (“Love is a rebellious bird.”) The
melody is based on a
descending
chromatic
scale and is accompanied by
the habanera rhythm in
the cellos. [YPC 4 CD,
track 4]
An habanera (the “h” is silent) is a type of dance that originated in Spanish-occupied Cuba.
The term “habanera” literally means “from Havana,” Cuba’s capital city, although the dance
has always been known as contradanza within Cuba. The
contradanza, or habanera, was developed in the mid-19th
century and quickly became popular in Europe. As in Bizet’s
“Habanera” from Carmen, the contradanza usually involved
song as well as dance. The dance grew out of African, Spanish
and French cultures, is often characterized by a repeated
dotted rhythm:
Tragically, Bizet did not live to
see the success of his opera
Carmen. He died three months after it premiered at the
Opéra-Comique Theater, at the young age of 36. He was
buried in the Père Lachaise cemetery in Paris.
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Enrique Granados
Born: July, 27 1867 – Lleida, Catalonia (Spain)
Died: March 24, 1916 – English Channel, between England and France
Famous Works: Goyescas, María del Carmen, 12 Danzas Españolas
Enrique Costanzo Granados y Campiña was born in
1867 in the city of Lleida in the Calalonian province
of northwestern Spain. His father was a capitan in
the Spanish Military. Young Enrique took to the
piano at an early age. By the time he was 8, he was
studying with the well-known teacher Joan Baptista
Pujol in the city of Barcelona. At 16, he started
composition lessons with Felip Pedrell, who also
began teaching Isaac Albéniz the same year.
Like many serious young composers of his day,
Granados moved to Paris in 1887 in order to further
his studies. Although he was not a student of the
Paris Conservatory, he took lessons on the side with
Conservatory professor Charles-Wilfrid de Bériot. Paris was the place to be for the classical
music crowd at that time. There he was able to meet and learn from a number of important
composers, including Gabriel Fauré, Maurice Ravel, Claude Debussy, Paul Dukas, Vincent d’Indy,
Camille Saint-Saëns, and his countryman Isaac Albéniz.
After two years abroad, Granados returned to Barcelona in 1889 and began building a
reputation as a composer and virtuoso pianist. Over the next several years, he gave successful
premieres of numerous chamber music works and piano pieces. The successful premiere of his
zarzuela-opera María del Carmen in the city of Madrid in 1898 marked a high point in his
career.
Granados composed a set of 12 Spanish Dances (12 danzas españolas) for piano in 1890. The
pieces were arranged in four volumes, each containing three dances. Each piece portrays a
different type of traditional Spanish dance or music from a different region of Spain. The 12
dances are widely loved by pianists and guitarists alike, for whom numerous arrangements have
been made.
Dance no. 6 from volume II is titled Rondalla aragonesa. The word “rondalla” comes from the
Spanish word ronda, meaning “serenade,” and refers to traditional groups of Spanish musicians
that would perform in the streets on various stringed instruments (oftentimes in the form of a
serenade for a young lady). The word “aragonesa” refers to the Spanish province of Aragón in
northern Spain. So the Rondalla aragonesa depicts the scene of a group of Aragonese
musicians performing outdoors. The piece is composed in the style of the jota, a vigorous,
folkloric dance in 3/4 which originated in Aragón.
Granados’ Rondalla aragonesa is written in ternary, or ABA form. The beginning is marked
“Allegretto poco a poco accelerando.” Allegretto mean in a lively, playful manner while poco a
poco accelerando indicates that the music should speed up little by little. In the A-section,
the music starts off cautiously, gradually building up steam into a frenetic dance. [YPC 4 CD,
T6, 0:00-1:01]. At the height of the dance, the music briefly switches to 2/4 [1:01- 1:10]
before settling into a retrospective codetta. [1:11-1:27]. A very peaceful, almost sleepy Bsection follows, as if the street scene has been deserted for an afternoon siesta and only a
few lonely musicians remain. [1:27-4:06] The B-section is marked “Molto andante,” or at a
very leisurely walking pace. Eventually dancing returns with the repeat of the A-section, which
builds to a dramatic finish. [4:07-5:23]
Many of the 12 Spanish Dances have been arranged for other instruments and ensembles.
They are particularly important in the classical guitar repertoire. The arrangement for full
orchestra that the San Antonio Symphony will be performing was made by Harold Byrns.
Granados also had a strong interest in painting and was particularly inspired by the work of his
countryman, the famous painter Francisco Goya (1746-1828). In 1911, he wrote a suite of six
piano pieces titled Goyescas that were inspired by Goya’s paintings. He later developed the
pieces into an opera with the same title which was premiered in New York City in 1916.
Following the premiere, Granados was invited to perform
for President Woodrow Wilson.
Granados had an unusually tragic and untimely death.
Following the premiere of Goyescas, he missed his
return trip to Spain from New York and instead took a
ship to England. He later boarded a ferry to cross the
English channel to France. Unfortunately, World War I
was already raging across Europe and the ferry was sunk
by a German submarine. Granados got safely into a
lifeboat, but jumped out in an effort to save his wife
who was struggling in the water. Tragically, they both
drowned.
The music of Enrique Granados is strongly identified
with Spain and Spanish Nationalism. His work has had a
strong influence on numerous other Spanish composers, including Manuel de Falla, Pablo Casals,
and Joaquín Rodrigo.
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Ernesto Lecuona
Born: August 6, 1895 – Guanabacoa, Cuba
Died: November 29, 1963 – Santa Cruz de Tenerife, Canary Islands (Spain)
Famous Works: Andalucía, Canto Siboney, La Comparsa
Although he is often recognized today as just
Lecuona or at most, Ernesto Lecuona, this famous
composer was born with an impressively long name:
Ernesto Sixto de la Asunción Lecuona y Casado.
Ernesto had a large family with four brothers and
two sisters, all of whom were musicians. His older
sister Ernestina gave him piano lessons when he was
just a toddler. By the time he was five years old he
was already beginning to perform for adults.
Ernesto’s father was the director of a newspaper.
When he was seven, his father mysteriously
disappeared, never to return. After his father’s
disappearance, young Ernesto was forced to find
work in order to help support his family. At that
time, movie theatres were just beginning to be built
in Cuba’s capital city of Havana.
But films in the early 1900s had no sound, so the
theatres would hire musicians to come and play the piano while the movie was showing. And
so young Ernesto began making money by playing the piano in these silent movie houses.
There never seems to have been any doubt that Ernesto Lecuona would be a musician.
Two years later, he entered the Carlos Peyrellade Conservatory of Music. By the time he
was 11, one of his first pieces, a two-step military march, had been published. Between
1908 and 1909 he worked at the Teatro Martì, where he was introduced to opera. Here he
would put on his first musical comedy, Fantasía Tropical. A year later he began to study
music theory with the Spanish composer Joaquin Nin and Hubert de Blanck, a Dutch
immigrant, at the National Conservatory in Havana. At 17, he composed his first ballet, La
Comparsa (“The Carnival Parade”).
Apart from his budding talent as a composer, Lecuona became a very fine pianist. When he
graduated in 1913, the National Conservatory awarded him a gold medal in performance.
His teacher’s daughter, Olga de Blanck, stated, “My father said that Ernesto Lecuona was
exceptional because he possessed absolutely natural relaxation and flexibility at the piano;
he had no idea what it meant to be rigid.”
Over the next few years, Lecuona began to develop a worldwide reputation. He traveled
to New York and to Spain, where he successfully performed and recorded a number of his
works. In 1928, he was invited to perform a recital in Paris, France, where he met the
famous French composer Maurice Ravel. One of the pieces Ravel heard him perform there
was his Malagueña from the suite Andalucía that he had premiered in New York a year
earlier. Ravel reportedly said of it: “I feel that the Malagueña is more beautiful and
melodic than my Bolero.” This was quite a statement considering the success that Bolero
experienced that same year at its premiere.
A Malagueña was originally a type of folkloric song and dance from the city of Málaga in
southern Spain. The Malagueña is a flamenco style that became popular in Spain in the
late 19th century. It developed out of the fandango, an older type of music and dance
that usually involved castanets and hand-clapping. While the fandangos were written and
danced in a strict 3/4 time, the newer Malagueña form usually had no regular rhythmic
pattern and was performed as a sort of “cante libre,” or “free song.”
Lecuona used this free form model in the composition of his Malagueña. Also keeping with
tradition, the Malagueña appears to have an overall melancholy mood and makes frequent
use of the Phrygian mode, a mode similar to a minor scale but with a lowered second scale
degree. [YPC CD 4, track 5]
A Phrygian modal scale starting on E
Lecuona’s Malagueña was an immediate hit. Its success helped spark a increased worldwide
interest in Cuban music. Originally for solo piano, the piece has since been arranged for
flamenco guitar, orchestra, jazz band, marching band, rock band, drum and bugle corp, and
popular song with lyrics in a number of languages. Some notable artists that have made
popular arrangements of Malagueña include Connie Francis, Carlos Montoya, Bill Haley & His
Comets, the Trashmen, Albatross, Tourniquet and Buckethead. The arrangement that the
San Antonio Symphony will perform on the Young People’s Concert ¡Viva España! was made
by American composer Ferde Grofé.
In the 1930s and 1940s, Lecuona became a “triple threat” musician as he added conducting
to his résumé, in addition to his composing and piano performances. After the success of a
tour as conductor of the Havana Casino Orchestra, Lecuona went on to form and conduct
two other famous big band orchestras, including the Orquesta Cubana and the Lecuona
Cuban Boys. His success as a composer who incorporated jazz and classical elements into
his compositions led him to be nicknamed “the Cuban Gershwin” after George Gershwin
(1898-1937), the foremost American composer at that time.
Following the Cuban Revolution and the rise of communism on the island nation, Lecuona
left Cuba in 1960 and moved to Tampa, Florida. He died of complications due to asthma
while on vacation in the Canary Islands.
Lecuona brought Latin-American rhythms and sounds to the classical concert hall, the
dance hall, and the movies. His music helped set the stage for the rise of popular genres
such as salsa and Latin jazz.
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Nicolai Rimsky-Korsakov
Born: March 18, 1844 – Tikhvin, Russia
Died: June 21, 1908 – Lyubensk, Russia
Famous Works: Scheherazade, Capriccio espagnol, and Russian Easter Overture
Nikolai Rimsky-Koraskov was born in Russia in 1844. He studied
the piano as a child, and even though he showed great promise, he
chose to pursue a life in the Navy. He entered St. Petersburg’s
College of Naval Cadets in 1856. Upon graduating from the Naval
Academy, Rimsky-Korsakov spent two years at sea. He still had a
deeply rooted interest in music, however, and spent all of his free
time composing.
Rimsky-Korsakov composed his first symphony while at sea. Upon
his return to Russia, his friend and fellow musician Balakirev
Rimsky Korsakov in his
conducted its premiere. In 1871, he accepted a position teaching
Navy uniform
orchestration and composition at the St. Petersburg
Conservatory. During his tenure at the conservatory, Rimsky-Korsakov taught noted
composers including Alexander Glazunov, Sergei Prokofiev and Igor Stravinsky, to name a
few.
Though best known for his symphonic works, Rimsky-Korsakov was also a prolific composer
of opera. In 1878, he began work on his first opera, May Night which was followed by
Snow Maiden in 1880. In addition to composing his own operas, Rimsky-Korsakov was
dedicated to helping his fellow comrades as well. When Alexander Borodin passed away in
1887, Rimsky-Korsakov helped complete Borodin’s opera, Prince Igor.
In 1882, Rimsky-Korsakov met the important music patron Mitrofan Belyayev, who would
become very supportive in furthering this career. Belyayev held weekly chamber music
concerts at his home in St. Petersburg, often featuring new music by young Russian
composers. Four years later, Rimsky-Korsakov convinced Belyayev to fund a full orchestra
concert series, which became known as the “Russian Symphony Concerts.” RimskyKorsakov became one of the main conductors at these concerts, which also featured music
of Glazunov, Mussorgsky, Glinka, Balakirev, Tchaikovsky and Rachmaninoff.
Over a number of years, the Russian Symphony Concerts sponsored by Belyayev would
premier some of the best known symphonic pieces of Russian music. The success of the
series would quickly inspired Rimsky-Korsakov to write some of his own greatest works,
including Scheherazade (1888), Russian Easter Overture (1887), and Capriccio espagnol
(1887).
Capriccio espagnol is often considered to be Rimsky-Korsakov’s most popular piece for
orchestra. He had originally intended this piece be for solo violin and orchestra, however
later decided that a full orchestra would be better suited for the fiery Spanish melodies.
The Capriccio is written loosely in the form of suite with five movements grouped in two
larger divisions. The first division is made up of an Alborada, a set of Variazioni, or
variations, and then a repetition of the Alborada but with a different instrumentation and
key. An Alborada, or Aubade as it otherwise known, is a type of song or dance music that
originated in the region of Asturia in northwest Spain. Alboradas are a sort of morning
love
song
and
are
meant
to
celebrate
daybreak.
Rimsky-Korsakov’s Alborada is certainly festive, written in a quick 2/4 and marked “Vivo e
strepitoso” (“Lively and boisterous”). Above and below are some of the main themes that
you will hear in
the repetition
of
the
Alborada
at
the
YPC
4
concert. [YPC
4 CD, track 1]
The Variazioni ,
written in a walking 3/8, are introduced by a peaceful melody in the horns, which then gets
tossed around to different instruments.
The second division of Capriccio espagnol is made up of the Scena e canto gitano (“Scene
and gypsy song”) and the Fandango asturiano. Gypsies, or the Romani people, have had a
strong influence on Spanish culture and music, particularly Flamenco music. The beginning
of the Scena is boldly announced by a ringing fanfare of trumpets and horns played over
the roll of the snare drum. [YPC CD 4, T7, 0:00-0:22] The scene follows with a series of
cadenzas performed by the violin [0:26-1:02], flute [1:21-1:39], clarinet [1:39-1:52], and
the harp [2:01-2:23]. Finally the lilting “Gypsy song” takes over [2:36]. The song melody is
written in 6/8 time and is characterized by a repeated, syncopated rhythm.
At one point, Rimsky-Korsakov asked the violins and cello to strum their strings “quasi
Guitara” (“like a guitar.” [3:37-3:52] The guitar of course was invented in Spain and would
have been central to Gypsy and Flamenco music. The canto gitano builds into a frenzied
dance that connects without a break into the Fandango asturiano. A fandango is an
energetic dance in 3/4 time from northern Spain. The fandango melody features a musical
device called a mordent (literally, “bite”) and is accompanied by castanets, another
instrument often identified with Spanish music. [YPC CD 4, T8, 0:00-0:18] The strings
are again briefly asked to play quasi Guitara [0:33-0:40] and also saltando, a difficult
string technique by which players let the bow bounce on the string to produce a rapid
succession of notes. [1:13-1:21] The canto gitano appears again, built into the fandango
rhythm [1:38-2:09], followed by the coda, where the melody from the Alborada reappears
with a new urgency. [2:20-2:55] A final presto gives the work a grand finish.
Following Capriccio Espagnol, Rimsky-Korsakov began work on another symphonic
masterpiece titled Scheherazade, a symphonic suite inspired by the tales of the book One
Thousand and One Arabian Nights. The story is told by the voice of Scheherazade, which
is captured by a beautiful solo violin melody and can be heard throughout the work. The
ominous theme of the sultan also appears
frequently, sometimes in a demanding tone,
sometimes festive, and sometimes even entreatingly.
Rimsky-Korsakov’s use of instrumentation and
orchestration takes the listener through the
twisting plots and daring adventures of the tales.
Scheherazade was the feature of the San Antonio
Symphony’s 2011-12 YPC 2 program, A Symphonic
Story.
Rimsky-Korsakov was greatly inspired by folk music
and left behind a considerable amount of Russian
Nationalist works. His contributions to Russian
classical music and Western music in general are
Rimsky Korsakov in 1898
significant. He was a tremendous composer and a
well-respected colleague and mentor. He died in Lyubensk, Russia in 1908 and was interred
at the Alexander Nevsky Monastery next to Borodin, Glinka, Mussorgsky and Stasov.
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Akiko Fujimoto, conductor
Hailed as “a very talented conductor who
knows her score and her musicians” (Virginia
Gazette), Akiko Fujimoto is the Assistant
Conductor of the San Antonio Symphony,
where she conducts classical, educational and
pops concerts as well as the Nutcracker. In the
2012-2013 season, she will also lead the
Symphony’s new Baroque series.
Previously, she served as the Conducting
Associate for the Virginia Symphony Orchestra
and Music Director of the William & Mary
Symphony Orchestra from 2007 through 2011.
As a member of the Virginia Symphony
conducting staff, Fujimoto made her debut on
the Classics series conducting Mendelssohn’s
Symphony No. 3, “Scottish,” and a world
premiere of Behzad Ranjbaran’s Double
Concerto for Violin, Viola and Orchestra. Other
orchestras Fujimoto has conducted include the
Fort Wayne Philharmonic, National Arts Centre Orchestra in Canada, and the BBC
Scottish Symphony Orchestra.
Prior to arriving in Virginia, Fujimoto was the Music Director of the Harvard-Radcliffe
Mozart Society Orchestra where she led the MSO to many milestones, including
performing with pianist and Mozart scholar Robert Levin. She took a leave from that
position during the 2003-2004 season to serve as the Interim Music Director of the
Stanford Symphony Orchestra at Stanford University.
A native of Japan, Fujimoto attended high school in California and graduated from
Stanford University with a Bachelor of Arts in music and psychology. She holds Master
of Music degrees in conducting from the Eastman School of Music and Boston
University.
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Since the dawn of written secular music centuries ago, folk melodies, folk rhythms and dance forms have served as a tremendous inspiration to composers of so called “classical music.” As we uncovered in our 2011‐12 YPC series, Franz Joseph Haydn introduces the last movement of his Symphony No. 104 with a Croatian folk song melody, while Beethoven may have used a popular soldier’s song as the basis for the scherzo of his “Heroic” Symphony. In the fourth movement to his famous “Italian” Symphony, Felix Mendelssohn incorporates two Italian folk dance rhythms, the saltarello and the tarantella. Composer such as Johannes Brahms and Antonín Dvořák wrote whole sets of folk dances inspired by the music of Hungary and Bohemia, and the list goes on and on. However, with the rise of nationalism in the late 18th century, mostly composers tended to incorporate the folk music from their own native countries into their compositions. So why Spain? Well for starters, Spain is a country with a very rich culture, partially resulting from a “melting pot” of all the diverse groups of people that settled there at one point or another ‐ something didn’t happen on the same scale in other European countries. Nationalistic Spanish music is heavily influenced by traditions handed down from the Visagoths, the Moors, the Romani people (often called gypsies), and the various other peoples that have inhabited the Iberian Peninsula over the ages. Related to this, Spain also has a unique and interesting history that is frequently romanticized but in fact was often filled with struggle and discord. Modern archaeology tells us that human beings first arrived in Spain about 32,000 years ago. In the millennia that followed, a whole host of civilizations settled or conquered parts of the region, including the Celts, the Tartessians, the Iberians, the Phoenicians, Greeks, Romans, Carthaginians, Suebi, Vandals, and Visigoths, to name a few. The Roman Empire controlled most of Spain for over 500 years and left behind many elements of Roman culture which endure today. Among these are numerous cities settled by the Romans, infrastructure such as roads, walls and bridges, law institutions and the rule of law, Christian religion, and the Latin language from which Spanish developed. A Celebration of Spain
Following the decline of the Roman Empire in the 5th century AD, various Germanic tribes began to invade Spain, most notably the Visigoths, who remained in control of Spain until the 8th century. Having been converted to Christianity, the Visigoths maintained many of the same laws and institutions as the Romans. One important thing they developed in Spain was a form of chant known as Visigothic Chant. Chant is a basic form of music involving the rhythmic speaking or singing of words, and Visigothic Chant developed out of ritual practices of the Catholic Church. The period of relative peace that Spain enjoyed under the Visigoths would end in 711 AD, however, with the invasion of the Moors and Berbers. These Arabic peoples conquered the Iberian Peninsula by storm, capturing all but the narrow region of Arturias in northern Spain in just 7 years. The Moors established the kingdom of Al‐Andalus in Spain, which continued to exist in parts of Spain for over 700 years. Among the many interesting facets of their culture that the Moors introduced to Spain was the oud, a 4‐string instrument which later developed into the guitar. In the following centuries, the guitar would become central to Spanish culture and music. Eventually, the Christian kingdoms of southern France and northern Spain began to band A Moorish Oud
together and push the Moors out. The popular legend of El Cid comes from the time of this campaign. In 1492, the last remnant of Al‐Andalus in the southern region of Granada surrendered to the Spanish monarchs. One remarkable fortification that the Moors left in the city of Granada is the vast palace of the Alhambra, much of which remains to this day. In Seville, Christians of the Reconquista destroyed an ancient mosque built by the Moors and built the Cathedral of Seville in its place. They saved the tower from the old mosque, though, incorporating it into the enormous cathedral. The tower is known as “La Giralda.” The Romani people, often called Gypsies in English, began arriving in Spain in the 15th century, and today Spain continues to have one of the largest Romani populations in the world. In Spain’s southern region of Andalucía (Andalusia), these nomadic people would develop perhaps the most iconic tradition of Spanish La Giralda and the Cathedral
of Seville
music and dance: the Flamenco. Although there are many forms of flamenco dancing and music, many involve informal performances that are largely improvised. Flamenco music often incorporates one or more guitars, with castanets and hand‐clapping as common additions. This music is often characterized by unresolved dissonances, the use of pedal or drone tones, slides between notes called glissandi, frequent switching between major and minor modes, and the use of the Phrygian mode. Since the popularization of the flamenco, other forms of Spanish folk music and dance such as the farruca, fandangos, and the malagueña have grown out of the tradition of the flamenco. (For more about the malagueña, see page ) In the following centuries, Spain continued to see frequent war and civil turmoil, even into modern times. In the time of the Spanish Empire, the country became a world power with an unmatched navy, allowing it to settle and conquer vast regions of the world, particularly in the Western Hemisphere. Although Spanish power slowly waned in the later half of the 16th century and early part of the 17th century, this period was also known as the Spanish Golden Age for the achievements of many great architects and artists, including composers such as Luis de Milán, Alonso Lobo and Tomás Luis de Victoria. An important figure during the Baroque era in Spain was the composer Domenico Scarlatti, son of the famous Italian composer Alessandro Scarlatti. Domenico Scarlatti spent most of his life in Madrid, where he composed the majority of his staggering 555 keyboard sonatas. Scarlatti is said to have had an interest in flamenco music. It is probably no coincidence that many of the dissonances and figurations in his music are suggestive of the guitar, or that he made frequent use of the Phrygian mode, as was common in flamenco folk music. Under the Spanish nationalistic movement, composers were not only influenced by Spanish folk music such as the Domenico Scarlatti
flamenco but actively pursued it as a source for their compositions. Important composers from this period include Enrique Granados, Ernesto Lecuona, Isaac Albéniz, (see biography pages for these three composers), Manuel de Falla, and A Flamenco Dancer
Gerónimo Giménez, among others. Another important development was the rise of the Zarzuela, a fusion of opera, dance and popular song with heavy influence from the flamenco. Finding Spanish music an intriguing inspiration, numerous composers from other countries composed some of their most famous works during this time period with titles such as Capriccio espagnol (Nicolai Rimsky‐Korsakov, 1887), Symphonie espagnole (Édouard Lalo, 1874) Le Cid (Jules Massenet, 1885), Ibéria (Claude Debussy, 1908), Rapsodie espagnole (Maurice Ravel, 1908), Alborada del Gracioso (Ravel, 1918), and Boléro (Ravel, 1928). Today Spanish folk music and classical music inspired by it are as popular as ever on the world stage. During the 2012‐13 season, the San Antonio Symphony will be performing will be performing several of the works listed above in addition to Manuel de Falla’s Nights in the Gardens of Spain and Intermezzo and Dances from La vida breve. 2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Spanish Geography Exercise
Interdiscplinary Theme:
Geography of Spain, Social Studies
Culminating Activity:
Hand out copies of the following worksheet page and color copies of the Spain map
page. Students should study the map carefully and use it to answer the multiple
choice questions that follow. Students will also need a ruler, if available. For an
online color version of the map to project in the classroom, visit the Teacher’s
Lounge page on the Symphony website at http://www.sasymphony.org/2012/06/teachers-lounge/
Answer Key:
1:c, 2:a&c, 3:b, 4:c, 5:c, 6:d, 7:a, 8:b, 9:c, 10:a, 11:d
Evaluation:
Were students able to properly utilize the geographic tools presented, such as the
legend, symbols, scale and compass rose, in order to help answer the questions?
Did students learn something about featured composers and about Spain in the
process of answering the questions?
Activity TEKS Objectives (All numbers refer to the Knowledge and
Skills section of the TEKS):
4th Grade: Social Studies –
(b) 6(A,B)
5th Grade: Social Studies –
(b) 6(A,B)
OCEAN)
( CANARY ISLANDS )
(ATLANTIC
BAY OF BISCAY
( MORROCO )
(FRANCE)
(MEDITERRANEAN
SEA)
LEGEND
National Capital
Regional Capital
Provincial Capital
Region Name
OVER 1,000,000 INHABITANTS
250,000 to 1,000,000 INHABITANTS
50,000 to 250,000 INHABITANTS
OTHER IMPORTANT CITIES
CITIES
■
●
◙
○
Name ___________
Spanish Geography Worksheet
Instructions: Your teacher will hand out a map of Spain showing Spain’s different regions and provinces. Study the map carefully and then answer the questions below. You will need to use the map legend to answer some of the questions. 1. According to the map, what city is the capital of Spain? a. Zaragoza b. Mérida c. Madrid d. Barcelona 2. Which countries do NOT border Spain? Circle all correct answers. a. Germany b. France c. Morocco d. Portugal 3. Spanish composers Enrique Granados and Isaac Albéniz were both born in the region of Cataluña (also called “Catalonia” in English). What major body of water borders the region of Catalonia? a. Bay of Biscay b. Mediterranean Sea c. Atlantic Ocean d. English Channel 4. Enrique Granados was from the city of Lleida in Catalonia, but he traveled regularly to Barcelona for music lessons. About how far is Barcelona from Lleida? (Hint: use a ruler and the scale in the legend) a. about 225 km b. about 25 km c. about 125 km d. about 525 km 5. What general direction would Granados have had to travel in order to go from Lleida to Barcelona? a. North b. South c. East d. West 6. Granados wrote a piece called Rondalla aragonesa, which was inspired by the music and dance from the region of Aragón. Which country or region below does NOT border Aragón? a. France b. Castilla – La Mancha c. Navarra d. Cantabria 7. Isaac Albéniz wrote a piece called Sevilla after the famous city of Sevilla (also called “Seville” in English). What region of Spain is Seville located in? a. Andalucía b. Castilla y León c. Galicia d. Extremadura 8. Composer Ernesto Lecuona wrote a famous piece called Malagueña based on traditional music and dance from the city of Málaga. According to the map, what is the population of the city of Málaga? a. over 1,000,000 inhabitants b. between 250,000 and 1,000,000 inhabitants c. between 50,000 and 250,000 inhabitants d. under 50,000 inhabitants 9. Ernesto Lecuona died while on vacation in the Canary Islands. He died in the city of Santa Cruz de Tenerife. On which island is this city located? a. Lanzarote b. Gran Canaria c. Tenerife d. Ibiza 10. Russian composer Nicolai Rimsky‐Korsakov was inspired by the music of Spain to write his famous work Capriccio espagnol, including the movement “Fandango asturiano,” which is based on the fandango dance from the region of Asturias. What major body of water borders Asturias? a. Bay of Biscay b. Mediterranean Sea c. Atlantic Ocean d. South China Sea 11. Which city is the regional capital of Galicia? a. Lugo b. Pontevedra c. A Coruña d. Santiago de Compostela 2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Concert Etiquette
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, sitting at home watching television with the family. 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. Discuss how an audience can positively or negatively affect the performer/athlete. 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. Talk to the students about the upcoming San Antonio Symphony concert. Discuss with them what they should expect to happen and how they can appropriately show their appreciation for the symphony. 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? Fine Arts – Music Grade 4 – (b) 6 (C) Grade 5 – (b) 6 (C) Fine Arts – Theater Grade 4 – (b) 2 (A), 5 (A) Grade 5 – (b) 1 (F), 5 (A) 2012-2013 Young People’s Concert Series
Orchestra Map Worksheet
Can you match each instrument with where they sit in the orchestra?
Draw lines to connect each instrument to their place in the orchestra. Use
RED for woodwinds, GREEN for strings, BLUE for percussion, ORANGE for
brass, and PURPLE for the conductor
Conductor
Percussion
Woodwinds
Strings
Brass
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Instrument families
The BRASS family is one of the oldest families of the orchestra and includes the trumpet, French horn,
tuba, trombone, which are all made of brass! Sound is
produced when a brass player 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. One is to change the speed that they buzz their lips. The other is to
change the length of the tubing that they are blowing air through. They are able to change the length of
tubing either by pressing a key to open a valve, as with a trumpet, or using a slide to physically increase
or decrease the length of tubing, as with a trombone. Brass instruments have a very sweet and round
sound. Then can also play very loudly and are often used in the most exciting parts of a piece.
The Woodwind family includes the flute, clarinet, oboe and bassoon. This family produces sound by
blowing a vibrating column of air inside some form of tube. In the past, woodwind
instruments were all made out of wood, but now some
instruments, such as the flute, are made out of metal.
Woodwinds create the vibrating column of air in
different ways. Flutes blow across the top of an open
hole. Clarinets blow between a reed – usually a small,
flat piece of bamboo – against a fixed surface. That is
why clarinets are sometimes called “single-reed”
instruments. Bassoons and oboes blow between two
reeds that vibrate against each other. That is why bassoons and oboes are
sometimes called “double-reed” instruments. Woodwinds usually change the pitch
of their instruments by changing the length of the tube they are blowing the
vibrating air through. They most often change the length by opening and closing holes using keys on their
instruments. Woodwind instruments have very a beautiful, singing sound. They are often used to play
solo parts during symphonies when their unique tonal qualities can be heard even if the entire orchestra is
playing.
The String family is made up of the violin, viola, cello and bass. Instruments in
this family produce sound by (you guessed it!) vibrating
strings! The strings are vibrated in two ways. One way to
produce vibrations is to use a bow made out horsehair stretched
on a wood stick, to rub the strings and produce vibrations. The
other way is to pluck the string, usually with the hand. This is
called “Pizzicato.”
String instruments change pitch by
adjusting the length of the string. This is usually accomplished
by putting fingers down at some point on the string to shorten the length of the vibrating string. String
instruments have a very mellow, rich round. There are many string players in an orchestra because each
instrument alone does not have a very loud sound compared to other instrument families. Often strings
will play a beautiful melody, but sometimes the strings play the harmony parts.
The Percussion family is probably the most varied family in the orchestra.
Percussion instruments create sound by physically hitting, rubbing or shaking
either a solid material, like a metal triangle, or a membrane, like the top of a snare
drum. The membranes used to be made out of animal skins, but today most drums
use a synthetic material. Only a few percussion instruments produce a specific
pitch.
Pitched
percussion
instruments that use a solid
material, like a xylophone, change
pitches by hitting different sized
materials.
Pitched percussion
instruments that use a membrane,
like a timpani, change pitch by changing the tension of the
membrane. There are many different kinds of percussion
instruments used in an orchestra, including the snare drum,
maracas, and even sometimes even metal parts from a car!
Percussion instruments produce many different types of sounds, but they are usually used in an orchestra
to provide rhythm for the music. Often at the most exciting part of a piece there are many percussion
instruments playing.
Four Families of an Orchestra
Brass Family
Woodwind Family
Clarinet
French Horn
Bassoon
Trumpet
Flute
Oboe
Trombone
Tuba
Percussion Family
String Family
Viola
Timpani
Violin
Bass Drum
Triangle
Harp
Cello
Bass
Snare Drum
Xylophone
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Vocabulary
ABA Form—a musical form with three main parts in which the first and last part are identical or almost the same. ABA Form is also known as Ternary Form. Most marches, scherzos, and menuets are written in this form. Alborada—a tradition type of folk song from the region of Asturias, usually performed in the morning as a celebration of daybreak and often bearing the quality of a love song. Aria—an opera number which features a solo voice accompanied by the orchestra or instruments. Asturia—a region of northern Spain bordering the regions of Galicia to the west, Castilla y León to the south, Cantabria to the east, and the Bay of Biscay to the north. Big Band Orchestras—a group of musicians that perform Big Band jazz or swing music, which often features ensemble playing punctuated by solo improvisation. Cadenza—a section of a piece of music in which one instrument performs a brilliant technical flourish. Cadenzas are sometimes improvised and written cadenzas are often composed to sound as though they were improvised. Canary Islands—a group of islands located off the western coast of northern Africa. The Canary Islands form an autonomous region of the kingdom of Spain. Cantata—a medium length musical composition of narrative or descriptive nature involving vocal solos and normally a chorus and orchestra. Capriccio—a free‐form piece of music often lively and virtuosic in character. Castanets—a percussion instrument made of two wooden clappers connected by a thread that is popular to Spanish music and used to make clicking or rattling sounds. Chamber Music—instrumental music written for a small ensemble on only a few instruments. Chant—a practice of speaking or singing in a rhythmic pattern. Coda—in music, an ending or final concluding section of a movement. Codas in music often contain material that is different from the rest of the movement or composition. Codetta—similar to a Coda, but shorter and used by a composer to wrap up a smaller section of a movement or piece of music. Comic Opera—a type of opera composed in a light or comic nature and often having a happy ending. Fandango—a traditional energetic folk dance from northern Spain accompanied by music in ¾ time. Flamenco—tradicional folk dance and folk music originating from the Romani people in the region of Andalusia in southern Spain. Folk Music – music with strong ties to ethnic or cultural traditions. Glissando—in music, a glide connecting one note to another. The plural of glissando is “glissandi.” On a string instrument, glissandi can be created by sliding fingers along the string or bending the string. Habanera—a traditional folk dance originating in Cuba that grew out of a mixture of African, Spanish and French cultures. Improvisation—the practice of creating and performing music on the spot, without any previous planning or preparation. Instrumentation – in music, a term referring to the different types and numbers of instruments used in a particular work. Jota—a vigorous, folkloric dance in ¾ which originated in the Spanish region of Aragón. Madrid—the capital city of Spain. Malagueña—a flamenco style of song and dance related to the fandango but originated in the city of Málaga in southern Spain. Millenium—a period of one thousand years. The plural of millennium is “millennia.” Mordent—a musical ornament indicating a rapid alternation of two notes. Nationalistic—having the purpose to promote a nation’s culture or interests. Number—in a large musical work, the smallest independent division of the work. In an opera, acts are made up of scenes which in turn may have several numbers. Orchestration – in music, a term referring to the way that a composer uses different instruments or combinations of instruments and other musical devices to create a desired mood or effect. Oud—a string instrument believed to be a precursor to the guitar which was brought to Spain in the 8th century by the Arabic Moors and Berbers. Phrygian Mode—a musical mode similar to a minor scale but with a lowered second scale degree. Premiere—the first performance of a work for stage or piece of music. Presto—a tempo indication in music meaning “very fast.” Prix de Rome—a contest and scholarship for talented French artists and musicians to study in Rome instituted by King Lousi XIV of France in 1663. Prussia—A powerful kingdom of northern Europe during the 18th and 19th centuries. Reconquista—A military campaign lasting several hundred years (722 – 1492 AD) in which the Christian kingdoms of northern Spain successfully fought to push the invading Islamic Moors out of the country. Repertoire—a complete list or collection of all musical works available for performance. Romani People—a nomadic people originating in eastern Europe and often referred to as gypsies. Many Romani people settled in the region of Andalusia in southern Spain. Saltando—a string‐instrument technique in which players let the bow bounce on the string to produce a rapid succession of notes. Scherzo—a word that literally means “joke” in Italian. In music, it is used to describe a lively movement that is amusing or playful in nature. Traditionally, the third movement of a symphony is almost always a scherzo or a menuet. Serenade—a love song or musical work performed in someone’s honor. Sevillanas—a type of folkloric music and dance originating in the city of Seville in southern Spain. Solo—referring to a situation in music in which a single instrument or voice is the focus of the composition or section of the work. suite—a long musical work arranged as a set of shorter piece to be performed in succession. Syncopation—a musical practice in which beats that won’t normally be stressed are stressed or accented. Virtuoso—in music, referring to a demonstration of outstanding technical abilities or someone who is capable of such a demonstration. Zarzuela—a performance genre originating in Spain and characterized by a fusion of elements of opera, dance and popular song. 2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Directions to Laurie Auditorium
Buses:
From US 281 N – Exit at Hildebrand and turn left. At the top of the hill, turn left towards the
stadium. At the bottom of the hill turn right. Make an immediate right turn into the Laurie
Auditorium drive. Buses will need to enter the parking lot and turn around to unload students
on the correct side of the street. There will be TWO loading zones, one at the left side of Laurie
and one at the right side. Trinity security officers will direct your buses to the correct drop-off
point. Once students have been unloaded, buses will exit Laurie Auditorium drive and turn
around at the circle at the bottom of the hill. They will then return to the parking lot across
from Laurie to park.
From US 281 S – Exit Hildebrand and turn right. At the top of the hill, turn left towards the
stadium. At the bottom of the hill turn right. Make an immediate right turn into the Laurie
Auditorium drive. Buses will need to enter the parking lot and turn around to unload students
on the correct side of the street. There will be TWO loading zones, one at the left side of
Laurie and one at the right side. Trinity security officers will direct your buses to the correct
drop-off point. Once students have been unloaded, buses will exit Laurie Auditorium drive and
turn around at the circle at the bottom of the hill. They will then return to the parking lot across
from Laurie to park.
Cars and Vans –
Follow directions for Buses –
After Laurie Auditorium turn right onto Stadium and park in the Alamo Stadium Lot. For those
with special needs or wheelchair access, park in the Orange Lot underneath Laurie Auditorium.
Please note: If your school is planning on staying on campus at Trinity for a picnic lunch, you
MUST INFORM THE POLICEMAN THAT WILL BE DIRECTING TRAFFIC UPON ARRIVAL. Your
bus will park in the Alamo Stadium overflow lot in order to ease congestion in the “B” lot after
the concert. A picnic lunch can take place anywhere outdoors on the campus grounds.
However, there is no indoor area that can be used as a backup plan in case of rain. Please call
Jeremy Brimhall, Director of Education (210) 554-1006 with questions.
2012-2013 Young People’s Concert Series
YPC 4 - ¡Viva España!
Concert Sponsors
Bexar County Department of Community Resources
George W. Brackenridge Foundation
Alfred S. Gage Foundation
Louis J. and Millie M. Kocurek Charitable Foundation
Sacks Charitable Trust
Texas Women for the Arts
Martha Ellen-Tye Foundation
Marjorie T. Walthall Perpetual Trust
Saint Susie Charitable Foundation
Valero Energy Corporation