Youth Concert Curriculum Guide



Youth Concert Curriculum Guide
Madison Symphony Orchestra | John DeMain, Music Director
2016 Spring Young People’s Concert
Tuesday, April 19, 2016 | 10:00 A.M. | Overture Hall
Photo credit: Amandalynn Jones
Youth Concert Curriculum Guide
The 43rd Annual Spring Young People’s Concert
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Madison Symphony Orchestra
John DeMain, Music Director
Dear Teachers,
This year’s Spring Young People’s Concert focuses on character in music. In this
Curriculum Guide you will find key information on the featured musical selections and
their composers, as well as supporting educational materials. It is our hope that you
will find this guide to be a valuable tool in preparing your students for our 2016 Spring
Young People’s Concert, and an important future resource.
Kathryn Schwarzmann
Director of Education and Community Engagement
Madison Symphony Orchestra
Your input matters!
After the concert, please go to our website and complete a brief survey about your
Spring Young People’s Concert experience:
Magic Flute: Overture, K. 620
Wolfgang Amadeus Mozart (1756-1791)
Violin Concerto in D minor, Op. 47
I. Allegro moderato
Jean Sibelius (1865-1957)
Tabby Rhee, violin—2016 Bolz Young Artist Competition Winner
Schwanda the Bagpiper: “Polka and Fugue”
Jaromír Weinberger (1896-1967)
Fantasy on Japanese Woodprints, Op. 211
Alan Hovhaness (1911-2000)
Robert Rockman, marimba—2016 Bolz Young Artist Competition Winner
Symphony No. 4 in F minor, Op. 36
IV. Finale: Allegro con fuoco
Pyotr Illych Tchaikovsky (1840-1893)
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About the Madison Symphony Orchestra
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Photo by Greg Anderson
The Madison Symphony Orchestra is a
professional orchestra comprised of
approximately 90 members. The MSO
“season” includes a series of eight
subscription concerts and three youth
concerts including:
Fall Youth Concerts for upper elementary
and middle school students
Spring Young People’s Concert for middle
and high school students
Symphony Soup Concert for Kindergarten
through 3rd grade students
Each of the MSO’s regular subscription
concert series has four, 2.5-hour rehearsals,
but the youth concerts are prepared in only
one rehearsal!
Members of the orchestra are paid for each rehearsal and concert in which they participate. Most of our
musicians have other jobs, such as music faculty members at the University of Wisconsin, private or public school
music teachers, university students, and even jobs unrelated to music.
Music Director John DeMain
Since arriving in Madison in February 1994, Mr. DeMain has enriched
the cultural life of the city. He has been named "Madison Musician of
the Year" by the Wisconsin State Journal and The Capital Times, and
has been named "Madison's Maestro" by former City of Madison Mayor
Dave Cieslewicz and former State of Wisconsin Governor Jim Doyle.
John DeMain also holds the position of Artistic Advisor of Madison
A native of Youngstown, Ohio, John DeMain began his career as a
pianist and conductor. After winning the Youngstown Symphony's
piano competition at the age of 18, he went on to earn a bachelor’s and
master's degree in music at the Juilliard School of Music. Mr. DeMain
served as Music Director and Principal Conductor for the Houston
Grand Opera for 18 years. During his distinguished tenure with that
organization, he led a history-making production of George
Gershwin's Porgy and Bess, which he subsequently recorded for RCA
and won a Grammy Award.
John and his wife Barbara live in Madison.
Photo by Greg Anderson
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The Bolz Young Artist Competition
About the Competition
The two students that you will hear perform at the Spring Young People’s Concert have gone through three intensive
rounds of auditions. The preliminary round annually involves over 30 musicians performing on all instruments. The top
eight competitors from the first round move on to the second round of auditions. From that round, the top four soloists
are selected to move on to the third and final round of the audition process and perform their concerto with John
DeMain and the Madison Symphony Orchestra before a live audience. The 2016 winners are Robert Rockman and Tabby
Rhee. Visit to learn more!
The event, Wisconsin Young Artists Compete: The Final Forte, is broadcast live on Wisconsin Public Radio and Wisconsin
Public Television, and also rebroadcast on Wisconsin Public Television. Judges for the final round consist of professors
and professional musicians from Wisconsin and Illinois. In addition to winning the opportunity to perform as soloists with
the Madison Symphony Orchestra, the two winners will receive either The Steenbock Youth Music Award or the Marian
Bolz Prize for Distinguished Musical Achievement, and both will receive a cash prize.
We thank the Eugenie Mayer Bolz Family Foundation and all of our sponsors for providing funding for the three rounds
of competition and helping to provide this incredible opportunity for the outstanding young artists in the state of
Meet the 2016 Soloists!
Photo by Jim Gill
Robert Rockman, 16, is a homeschooled junior from Sun Prairie. His love of percussion instruments
began before he could walk and since fifth grade, he has studied percussion at the Terhune Music
Studio in Sun Prairie. He is also part of the percussion sections in the Wind Ensemble at Sun Prairie
High School and the Winds of Wisconsin. In addition, Robert studies voice and classical guitar and
teaches percussion and guitar lessons. He has participated in the state level WSMA solo and
ensemble festivals every year since sixth grade and was named one of the Milwaukee Symphony
Orchestra’s 2015 Stars of Tomorrow. Robert is very involved in theater with First Wing Family
Theatre and Sun Prairie Civic Theatre and dances in jazz, tap, ballet, modern, and lyrical styles at
Studio 3-D in Deerfield. Robert lives in Sun Prairie with his parents, his younger sister, and his triplet
brother and sister. In his spare time, he enjoys racquetball, playing cards and games with his family and friends, and
throwing a Frisbee for his dog, Breagh.
Photo by Jim Gill
Tabby Rhee, 17, is a senior at Brookfield East High School and is a Merit Scholarship Recipient of the
Music Institute of Chicago. Recently, Tabby was the winner of the 2016 Milwaukee Youth Symphony
Orchestra (MYSO) Concerto competition and will be soloing with the orchestra at Marcus Center for
the Performing Arts. She has won numerous awards, including: Finalist of the 2015 Milwaukee
Symphony Orchestra Young Artist Competition; Menomonee Falls Symphony Young Artist
Competition; First place winner of the 2015 Music Teachers National Association State Senior
Division; Grand Prize winner of the Satori Music Competition; Quarter-Finalist in the Fischoff National
Chamber Music Competition; Musichorale Scholarship; Merit Scholarship for the Montecito
International Music Festival, Sejong Music award; Waukesha Shining Stars Anita Ransome-Kuchler
Scholarship, as well as performing side by side with the Wisconsin Philharmonic Orchestra; and awards in the Society of
American Musicians and Milwaukee Youth Symphony Orchestra Concerto competitions. Tabby is also dedicated to the viola
and studies privately with Roland Vamos. Additionally, she is a concertmaster of the Milwaukee Youth Symphony Orchestra
and studies the violin with Hye-Sun Lee at the Music Institute of Chicago.
Frequently Asked Questions
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Why attend a live performance?
Attending a live performance allows you to experience the music by hearing and seeing the performers and
conductor, as well as feeling the energy with which they perform. A live performance is also an opportunity to
observe how each voice or instrument plays an integral part in bringing the music to life. Simply listening to a
recording can’t compare to observing the highly coordinated efforts of 90 musicians as they play their
instruments in perfect synchrony, all striving to create art that will move and inspire the audience.
Why does the orchestra tune to the oboe?
The orchestra tunes to the oboe’s A at the beginning of the concert and in between pieces to ensure the orchestra is in
tune together. The oboist has this job because the tone of the oboe is very easy for all the musicians to hear, and can
easily sustain a pitch.
What are some basics of concert etiquette?
Use the restroom before the performance begins
Enter the hall quietly.
Turn off all personal electronic devices.
Stay seated once the performance has begun.
Listen attentively and clap when the piece is
Clap when the piece is finished.
This doesn’t mean you have to sit like a statue! Just be conscientious of the hall and other people around you.
Not sure when to clap? A good rule of thumb is to watch for the conductor to lower his arms.
What is a Concertmaster?
The concertmaster sits in the first chair of the 1st violin section, directly to the left of the conductor. The
concertmaster has the unique role of being second in command, by leading both the string sections and entire
orchestra. In this leadership position, the concertmaster works closely with the conductor and the other principal
musicians of the orchestra. When the concertmaster comes on the stage at the beginning of the concert, the
audience applauds (here’s a time where you know you can clap!). The MSO’s concertmaster is Naha Greenholtz.
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l Magic Flute Overture, K. 620
Wolfgang Amadeus Mozart (1756-1791)
Mozart’s Overture to the Magic Flute lasts approximately seven minutes and was written in 1791. Before
highlighting the story of the Magic Flute or discussing Mozart’s background, have students actively (or passively, to
start) listen to this Overture. The two Adagio sections—one at the very beginning of the Overture and one to split
the Allegro portion into two sections—can be good points of orientation in following the piece for the first time.
These Adagio sections contrast with the playful Allegro by briefly stating their serious chords three times:
Within the longer Allegro sections it may be helpful to listen for the single theme (pictured below), layered and
varied to create complexity throughout each section. Discussion of this single theme may include the ways in
which it is altered throughout the piece. The statement of this them in the violins is below:
After listening students should be able to discuss the mood or character of this Overture and point to musical tools
used to create this character. Contrast (or compare) this music with Mozart’s situation when he wrote The Magic
“I can’t describe what I have been feeling—a kind of emptiness, which
hurts me dreadfully– a kind of longing, which is never satisfied, which never
ceases, and which persists, nay rather increases daily.”
Mozart wrote the above to his wife, Constanze, during the time he was working
on The Magic Flute, during the last year of his life. The end of Mozart’s life was
filled with loneliness, debt and illness. Yet he produced a powerful, genius fairy
tale work that has maintained its popularity for over two hundred years. For
more biographical information about Mozart, visit the following sources:
When students have an understanding of Mozart, beyond his circumstances in his last year, a good discussion
extension involves finding the defining characteristics of Mozart’s composition style in the Magic Flute Overture:
How do we hear Mozart’s character in his work, and how would the music for the Magic Flute be different if
another composer (like Hovhaness) had composed music for this opera?
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l Magic Flute Overture, K. 620
Take students’ understanding beyond the introduction to understand a bit about the
entire opera. The story of the Magic Flute that follows the Overture is full of fairy talelike characters and an unexpected plot that has produced a great deal of speculation.
The basic story involves a prince who is sent on a quest to rescue a princess from an
evil ruler, but the full opera synopsis turns out a bit more complicated:
When students have become familiar with the story of the opera, highlight a few of
the characters in more detail and listen to their roles (YouTube links are provided for
each below). Discuss how each character is reflected musically (or not) in the Overture
and how Mozart uses his music to display
character traits. For more detailed character
sketches visit this source:
Emanuel Schikaneder (above) had
the initial idea for the Magic Flute
and requested Mozart write music
for it.
The Queen of the Night (Soprano): Queen of the moon and the starts, she
requests that Tamino rescue her daughter at the beginning of the opera, but
ultimately is exposed as evil and
attempts to destroy Sarastro.
Queen of the Night by Erté
Tamino (Tenor): He is rescued from a dragon by three ladies of the Queen of
the Night and is send on a quest to rescue Pamina from Sarastro. Through
this he discovers that Sarastro is good and proves himself through trials,
ultimately being reunited with Pamina.
Pamina (Soprano): She is the daughter of the Queen of the Night and has
been taken from her mother by Sarastro.
Papageno (Baritone): He first lies about saving Tamino from the dragon and
then accompanies Tamino in his rescue of Pamina.
Sarastro (Bass): From the realm of the sun, he puts Tamino and Pamina
through a set of tests and ultimately is revealed to be good.
The Magic Flute—Papagena I by Anne Smith
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l “Polka and Fugue”
from Schwanda the Bagpiper
Jaromír Weinberger (1896-1967)
Lasting approximately eight minutes, the “Polka and Fugue” from Schwanda the Bagpiper has been taken from the
original context of the opera to be performed as a concert piece by itself. (The work is also known by its transcription
for band.) The opera Schwanda the Bagpiper was premiered in 1927 and was immediately popular. Without any
background context, students should listen and determine the character of this music. What kind of opera or story
does this represent? (The opera is based on children’s tales and is generally light or comical.) Students may also try to
place the opera in a time period and be surprised at how late it was written. One would not initially guess Schwanda
the Bagpiper was written during the lifetime of Arnold Schoenberg, but as Weinberg states,
“I am a composer of the past. I know it, and I am not angry about myself. This time, the time in which we are
living, has nothing to say to me, and I do not ever expect it to say anything.”
For listening orientation, the “Polka and Fugue” can be split into its two sections. Extended discussion can also center
around the relationship between the two sections.
Facts about Jaromír Weinberger (1896-1967)
Weinberger spent his childhood on his grandparents’ farm where he became
familiar with Czech folk music.
He began playing the piano at age five and had composed a few pieces for
piano by age ten.
Weinberger enjoyed writers Walt Whitman and Mark Twain.
He spent some time at Ithaca College (New York), where he taught
Weinberger spent the last years of his life in Florida (1949-1967).
Weinberger’s most famous work was his opera, Schwanda the Bagpiper, but he also wrote three other
operas, a ballet, and other works for orchestra.
For additional information about Weinberger and Schwanda the Bagpiper, visit the following sources:
l Symphony No. 4 in F minor, Op. 36
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IV. Finale: Allegro con fuoco
Pyotr Ilyich Tchaikovsky (1840-1893)
Compare the character of Tchaikovsky’s Fourth Symphony to the Magic Flute Overture or the “Polka and Fugue.”
Tchaikovsky’s Symphony No. 4 does not have the listed opera characters, as with the two preceding pieces in this
guide, but it does have the more abstract character, Fate. During the period of time Tchaikovsky was working on his
fourth symphony he wrote about his struggle with this idea of fate:
“...fateful force, which impedes the impulse towards the happiness of reaching one’s goal, which jealously
ensures that prosperity and peace are never complete and cloudless…and continually poisons the soul.”
In the first movement the fanfare theme of fate reoccurs throughout and ultimately claims victory (trumpet part):
However, by the time Tchaikovsky presents the fourth movement, fate is treated much differently. The fourth
movement is aggressive and celebratory, and the fate fanfare occurs in full force near the end of the movement.
However, in the end it does not triumph and the symphony ends with celebration.
“Undoubtedly I should have gone mad but for music. Music is indeed
the most beautiful of to humanity wandering in the darkness.
Alone it calms, enlightens, and stills our souls. It is not the straw to
which the drowning man clings; but a true friend, refuge, and
comforter, for whose sake life is worth living.”
~Pyotr Ilyich Tchaikovsky
Additional resources and Information about Tchaikovsky:
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Thank you to our generous sponsors!
Major funding provided by:
Additional funding provided by:
Barbara J. Merz
Dane Arts support comes with additional funds from The Evjue Foundation, Inc., charitable arm of The Capital Times.
Wisconsin Arts Board support comes with additional funds from the State of Wisconsin and the National Endowment for the Arts.
Sources Used:
Allsen, Michael. “Madison Symphony Orchestra Program Notes.” Accessed March 7, 2016.
Classics for Kids. “Piotr Ilyich Tchaikovsky.” Accessed March 4, 2016.
Classics for Kids. “Wolfgang Amadeus Mozart.” Accessed March 9, 2016.
Encylopedia Britannica. “Jaromir Weinberger.” Accessed March 4 2016.
Erté. “Queen of the Night.” Art Experts. Accessed March 3, 2016.
Favorite Classical Composers. “Peter Tchaikovsky Biography.” Accessed March 4, 2016.
Felsenfeld, Daniel. Tchaikovsky: A Listener’s Guide. Pompton Plains, NJ: Amadeus Press, 2006.
Goodreads. “Pyotr Ilyich Tchaikovsky Quotes.” Accessed March 4, 2016.
Goodson, Patricia and David Vaughan. “Encore: Svanda the Bagpiper: a forgotten Czech classic now available on CD.” Radio Praha.
Accessed March 9, 2016.
Greenwood, Richard A. “Polka and Fugue from Schwanda, the Bagpiper - Individual Digital Teacher Resource Guide.”
Chicago: GIA Publications, Inc., 2012.
Harmonia mundi. “The characters of Die Zauberflöte: thumbnail sketches .” Accessed March 3, 2016.
Harris, Robert. What to Listen for in Mozart. New York: Simon & Schuster, Inc., 1991.
Horáková, Pavla. “This week in Mailbox.” Radio Praha. Accessed March 9, 2016.
In Mozart’s Footsteps. “Tchaikovsky’s ‘Variations of Rococo Theme.” Accessed March 4, 2016.
International Music Score Library Project. “Die Zauberflöte, K.620 (Mozart, Wolfgang Amadeus).” Accessed March 9, 2016.
International Music Score Library Project. “Die Zauberflöte, K.620 (Mozart, Wolfgang Amadeus).” Accessed March 9, 2016.,_K.620_%28Mozart,_Wolfgang_Amadeus%29.
International Music Score Library Project. “Symphony No.4, Op.36 (Tchaikovsky, Pyotr).” Accessed March 9, 2016.
Kids Music Corner. “Pyotr Ilyich Tchaikovsky (1840–1893).” Accessed March 4, 2016.
Los Angeles Philharmonic. “Overture, The Magic Flute.” Accessed March 4, 2016.
Morrison, Michael. “Jaromir Weinberger Schwanda the Bagpiper, opera.” AllMusic. Accessed March 4, 2016.
Smith, Ann. “The Magic Flute—Papagena I.” Falls Gallery. Accessed March 3, 2016.
Solomon, Maynard. Mozart: A Life. New York: HarperCollins Publishers, Inc., 1995.
Stanley, Sadie. “Wolfgang Amadeus Mozart.” Encylopedia Britannica. Accessed March 9, 2016.
The Metropolitan Opera. “The Met: HD Live in Schools 2015-16 Educator Guide: Mozart The Magic Flute. Accessed March 7, 2016.
The Mozart Project. “Compositions.” Accessed March 3, 2016.
Wolfgang Amadeus. “Biography of Wolfgang Amadeus Mozart.” Accessed March 4, 2016.
Wong, Tim. “Did you know that there's a sequel to The Magic Flute? Here it is…” The Telegraph. Accessed March 8, 2016.
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Wisconsin Model Academic
Standards for Music Education
Included in this Guide and
Students will…
Understand the technical vocabulary of music
Identify and explain compositional devices and techniques that are used to provide unity
and variety and tension and release in a musical work
Analyze and describe the uses of the elements of music in a given work that make it unique,
interesting and expressive
Demonstrate the ability to perceive and remember music events by listening to and describing in detail significant events in a given example
Compare how musical materials are used in a given example relative to how they are used in
other works of the same genre or style
Identify and explain compositional devices and techniques used to provide unity and variety
and tension and release in a musical work and give examples of other works that make similar uses of these devices and techniques
Evaluate a given musical work in terms of its aesthetic qualities and explain the musical
means it uses to evoke feelings and emotions
Compare and classify exemplary musical works by genre, style, historical period, composer
and title
Identify and explain the stylistic features of a given musical work that define its aesthetic
tradition and its historical or cultural context
Photo credit: Amandalynn Jones
MSO Personnel
Naha Greenholtz
Suzanne Beia
Beth Larson
Associate Concertmaster
Olga Pomolova
Associate Concertmaster
Neil Gopal
Assistant Concertmaster
Tim Kamps
Clare Bresnahan
Laura Burns
Jon Vriesacker
Mary Theodore
Paran Amirinazari
Sophia Arriaga
Janis Akane Sakai
Clayton Tillotson
Peter Miliczky
+Huy Luu
+Alice Bartsch
+Eleanor Bartsch
+Deanndra Deblack
+Valerie Sanders
Leanne Kelso League
Elspeth Salter-Clouse
Olga Draguieva
Erica Cross
Rolf Wulfsberg
Wes Luke
Kathryn Taylor
Wendy Buehl
Geri Hamilton
Robin Ryan
Matthew Dahm
Elliot Stalter
+Xavier Deblack
+Rachel Hauser
Christopher Dozoryst
Katrin Talbot
Diedre Buckley
Renata Hornik
Elisabeth Deussen
Sharon Tenhundfeld
Janse Vincent
Jennifer Paulson
Marika Fischer Hoyt
Davis Perez
Cynthia Edwards
Rachel Mooers
+ On leave 2015-2016
Karl Lavine
Madeleine Kabat
Karen Cornelius
Lindsey Crabb
Jordan Allen
Margaret Townsend
Lisa Bressler
Laurie Riss
Derek Handley
Adam Ayers
Fredrick Schrank
Robert Rickman
Carl Davick
Zachary Betz
August Jirovec
Brian Melk
Michael Hennessy
Stephanie Jutt
Elizabeth Marshall
Linda Pereksta
Linda Pereksta
Marc Fink
Jennifer Morgan
Andrea Gross Hixon
Jennifer Morgan
Joseph Morris
Nancy Mackenzie
Gregory Smith
Cynthia Cameron-Fix
Amanda Szczys
Carol Rosing
Carol Rosing
Linda Kimball
Ricardo Almeida
Michael Szczys
William Muir
Anne Aley
John Aley
Frank Hanson
David Cooper
Joyce Messer
Benjamin Skroch
Michael Allsen
Joshua Biere
John Jutsum
Anthony DiSanza
Richard Morgan
Nicholas Bonaccio
Karen Beth Atz
Samuel Hutchison
Daniel Lyons
Orchestra Committee
Tim Kamps
Amanda Szczys
Linda Kimball
Robin Ryan
Linda Bressler
Richard H. Mackie, Jr.
Executive Director
Ann Bowen
General Manager
Evelyn Dale
Office Manager
Casey Oelkers
Director of
Carmel Morgan-Weisberg
Manager of Institutional
Jeffrey Breisach
Manager of Individual
Kathryn B. Schwarzmann
Director of Education &
Teri Venker
Director of Marketing
Ellen Larson
Marketing and
Chris Salzwedel
Patron Services
Samuel C. Hutchison
Overture Concert Organ
Kathryn Taylor
Music Librarian
Alexis Carreon
Personnel Manager