Chattanooga Symphony & Opera

Symphonic Voyagers The Orchestra in Orbit

and Beyond!

Young People’s Concert Teacher’s Guide

February 6-7, 2014 (Tivoli Theatre)

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“Often a single experience will open the young to music for a whole lifetime.” ---Zoltán Kodály It is our hope that the CSO Young People’s Concert will be an engaging and imaginative experience for each young person who attends. The beauty and grandeur of the Tivoli Theatre creates an inspiring atmosphere even as one enters the front lobby. Further inside the sounds of the musical instruments warming up and the excited chatter of hundreds of students, anticipating the live performance of the CSO Orchestra, leads one to expect an experience in music that won’t be soon forgotten. Please be advised that it is contractually forbidden to record (audio or video) any event involving CSO musicians. This booklet has been designed for use by music teachers in preparing students for this event. Please let us know if you have suggestions for future materials. Steve Tonkinson Education & Outreach Manager Chattanooga Symphony & Opera 701 Broad Street, Suite 101 Chattanooga, TN 37402 stonkinson@chattanoogasymphony.org www.chattanoogasymphony.org

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Table of Contents Concert Program p. 4 CSO Music Director, Kayoko Dan p. 5 CSO Orchestra p. 6 Introduction p. 8 Star Trek p. 8 Gustav Holst: “Mars” (The Planets) p. 8 Ludwig van Beethoven: Symphony No. 5 (1st mvt.) p. 10 J. S. Bach: Brandenburg Concerto No. 2 (1st mvt.) p. 11 Igor Stravinsky: “Infernal Dance” (The Firebird) p. 13 W. A. Mozart: “Queen of the Night” (Magic Flute) p. 14 CSOYO Concerto Competition Winner p. 17 John Williams: ET p. 18 Narrator, Carey Shinbaum p. 18 Lesson Ideas for Teachers p. 19 Introduction to the Orchestra p. 24 Why an Orchestra Concert? p. 26 Concert Etiquette for Young People p. 27

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Young People’s Concert Program February 6-7, 2014 (Tivoli Theatre)

CSO Orchestra (Kayoko Dan, Conductor) Carey Shinbaum, Narrator

Star Trek

“Mars” from The Planets [Gustav Holst]

Symphony No. 5 (1st mvt.) [Beethoven]

Brandenburg Concerto No. 2 (1st mvt.) [J. S. Bach]

“Infernal Dance” from The Firebird [Stravinsky]

“Queen of the Night” from Magic Flute [Mozart] Carey Shinbaum, Nose Flute

Concerto No. 2 for Violin (3rd mvt.) [Wieniawski] Bethany Thornton, CSOYO Concerto Competition Winner

ET [John Williams]

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Dear Students and Fellow Educators, I would like to welcome you to CSO’s 2014 Young People’s Concert! As a strong advocate of music education, I take pride in creating high quality programs for our young audience members. The CSO strives to provide educational, entertaining and inspiring programs for the students. We are looking forward to seeing you all at the Tivoli! Sincerely, Kayoko A versatile conductor, Kayoko Dan is active in the field of orchestra, ballet, and opera. Ms. Dan begins her 3rd season as Music Director of the Chattanooga Symphony and Opera. Previously, she served as Assistant Conductor of the Phoenix Symphony and Music Director of Central Kentucky Youth Orchestras. She has been awarded the Karajan Fellowship for Young Conductors, as well as the David Effron Conducting Fellowship at the Chautauqua Institute. Ms. Dan has participated in numerous workshops including the Kurt Masur Conducting Seminar, International Bartok Festival, Fondazione I Pomeriggi Musicali Conducting Workshop and National Conducting Institute.

As a strong advocate of music education, Ms. Dan is in demand as a clinician at high schools, youth orchestras, and regional orchestras throughout the country. She has taught at several elementary schools including Thomas J. Pappas school for homeless children in Arizona as an Arts Bridge Scholar. While serving as a Graduate Teaching Assistant, her dedication and passion for music education was recognized by being awarded the Graduate Teaching Excellence Award from the Arizona State University. Additionally, she is a frequent guest speaker at university conducting classes to encourage young conductors who are pursuing a career in music.

Ms. Dan began her musical training in Japan at age three. After relocating to the United States, she continued her musical studies with flute and received her Bachelor in Music Education at the University of Texas, and her Doctor of Musical Arts in Conducting and

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Master in Music Education from Arizona State University. Her principle teachers are Timothy Russell and Timothy Muffitt. She has also studied with Kurt Masur, Leonard Slatkin, Zoltan Pesko, Jorma Panula and William Reber.

She and her husband Andrew enjoy training for triathlons and marathons, cooking, traveling and spending time with their border collie mix Maggie Moo.

CCSSOO OOrrcchheessttrraa

The CSO Orchestra (2008)

The CSO Orchestra has been in existence for 80 years. Many musicians have performed with the Chattanooga Symphony Orchestra over the years and some have played in the orchestra for 50 years or more. The Cadek family was especially influential during the formative years of the organization, including Ottakar Cadek (violinist), and Harold Cadek (cellist).

The musicians of the orchestra are not all full-time professional musicians. Many are teachers and some have seen their students become members of the orchestra. Although several of the musicians commute from other cities (like Ottakar Cadek,

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who once commuted from Birmingham), most of the members of the orchestra reside in the Chattanooga area. In order to become a member of the orchestra, musicians must be the winner of a rigorous audition in front of their peers. Preparation for this level of competition can take years of study and most of the musicians have a college degree (or conservatory diploma) in music. The musicians of a professional orchestra tend to perform together for many years, perfecting not only the technique of their own instrument, but also the fine art of performing with others. The ability to perform in near perfect synchronization with 50-60 other musicians in some of the most difficult music ever written takes the better part of a lifetime to master. Chattanooga has much to be proud of in its premier musical organization. The combined musical knowledge and experience of its members is very impressive indeed.

The Chattanooga Symphony Orchestra (1933)

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SSyymmpphhoonniicc VVooyyaaggeerrss:: TThhee OOrrcchheessttrraa iinn OOrrbbiitt aanndd BBeeyyoonndd!!

The inspiration for this program came from NASA’s renowned golden disc project – part of their Voyager 1 & 2 space probes – which has recently exited our solar system. It is a 12-inch gold-plated copper disk designed to be played like a phonograph record (remember those?). Whoever discovers it will be able to hear a variety of sounds from Earth, including the sounds of nature, as well as the speech and music of humans from many different cultures. What will the extraterrestrials think of the music of our planet? Some of what they will hear is featured on this concert. For more information, including a complete list of the contents of the golden disk, go to: http://voyager.jpl.nasa.gov/spacecraft/goldenrec.html

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TThheemmee ffrroomm SSttaarr TTrreekk Alexander Courage (1919-2008), a veteran composer/orchestrator/arranger for television and movies, wrote his most famous theme music for the Star Trek television series (1966-69) created by Gene Roddenberry. The tune opens with the famous monologue, “Space, the final frontier . . .”, and music somewhat reminiscent of Gustav Mahler and modeled after an old pop song entitled “Beyond the Blue Horizon”. Courage graduated from the Eastman School of Music, served as a U.S. Air Force band conductor, then moved to Hollywood where he contributed orchestrations for many of the top MGM musicals. He frequently collaborated with Jerry Goldsmith (“The Waltons”) and John Williams (“Superman” and the Boston Pops Orchestra).

GGuussttaavv HHoollsstt ((11887744--11993344)):: ““MMaarrss”” ffrroomm TThhee PPllaanneettss

As a child, Gustav Holst suffered from asthma and poor eyesight, but he loved to play the piano and was attracted to music at a young age. He was only eight years old when his mother died. His father remarried a few years later and the young boy was sent to Cheltenham Grammar School (southeastern England).

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Because of neuritis in his right hand, Gustav was unable to excel on the piano, so he began playing the trombone instead. In 1895 he won a scholarship in music to the Royal College of Music in London. A few years later he became the first trombone player with a local opera company. This gave him professional experience with an orchestra that helped with his orchestral compositions later on. In 1901 he married Isobel Harrison.

When Gustav’s father died he gave up the trombone and began spending more time composing music. In 1905 he became Director of Music at St. Paul’s Girls School in Hammersmith (part of London). Two years later he also became Music Director at Morley College (also in London). There were many influences on the music of Holst. He was not only fascinated with the popular classical composers of the day, such as Wagner and Grieg, but also the folksongs of his native England. He was also interested in Hindu philosophy and Sanskrit literature from the country of India. Many of his compositions reveal the influences of the exotic Orient as well as English music of an earlier era (especially the music of Thomas Weelkes, William Byrd, and Henry Purcell).

Holst became very popular in America and traveled to Ann Arbor, Michigan, to conduct a music festival in 1923. When he returned to England, he enjoyed great popularity there as well, particularly when his masterful orchestral composition, The Planets, was performed. In 1932 Holst was invited to return to America and taught music at Harvard University. He also conducted musical performances and lectured at the Library of Congress in Washington, DC.

In 1934 he had to enter the hospital for an operation. He had suffered a head injury several years earlier when he fell off a platform while conducting and had never quite recovered. The operation was successful but his heart was too weak for the strain of it and he died a few days later. His ashes were buried in the Cathedral of Chichester.

His daughter, Imogen Holst, became an accomplished musician and teacher and for many years helped to promote her father’s music throughout the world. Her father wrote music of many different kinds, including choral music, opera, and ballet. Some of his more well-known works (in addition to The Planets) include: Suites No. 1-2 and Hammersmith for Military Band, St. Paul’s Suite for String Orchestra, The Hymn of Jesus and Christmas Day for Choir and Orchestra, and the hymn tune Cranham (“In the Bleak Midwinter”).

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The Planets is a suite for large orchestra by Gustav Holst, describing in successive movements the astrological or mystical nature of seven planets: Mars, Venus, Mercury, Jupiter, Saturn, Uranus, and Neptune (with women’s chorus). Holst called it a “series of mood pictures”. It has since become his most popular composition and

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was a significant influence on the Hollywood composer John Williams as he wrote music for the movie Star Wars.

The opening movement, Mars, is one of the most striking and original of symphonic compositions. It opens with a quiet but insistent 5/4 rhythm that seems to represent the ominous and frightening specter of war, erupting finally into a menacing and brutal musical depiction of the ravages of war. Frequent trumpet fanfares and a prominent euphonium solo are also featured in this movement. Much about this music is reflected in the battle music by John Williams from the movie Star Wars.

The Gustav Holst Website is an excellent source of information and may be accessed at www.gustavholst.info

Gustav Holst

LLuuddwwiigg vvaann BBeeeetthhoovveenn ((11777700--11882277)):: SSyymmpphhoonnyy NNoo.. 55 Beethoven, one of the greatest of all composers, brought the classic forms of sonata, concerto, string quartet, and symphony to their fullest maturity. Like Mozart, he was very precocious and had already composed his first published pieces, three piano sonatas, by the age of 11. Unlike Mozart, however, Beethoven did not compose with ease and often went through many revisions before his compositions were finished. From the age of twelve until he was 22 his primary occupation was that of assistant organist for Elector Max Franz in the German city of Bonn. When he was 17 he made a short visit to Vienna where he played the piano for Mozart. Mozart said of the young teenager, “This young man will leave his mark on the world.” The year 1792 marked a turning point in Beethoven’s life when Franz Joseph Haydn passed through the city of Bonn and was very complimentary of one of Beethoven’s compositions. The Elector, impressed by the great master’s comments, decided to sponsor Beethoven’s professional career in Vienna, Austria, the great city of music. For the next few years Beethoven delighted the aristocracy with his private performances (including much improvisation) on the piano. His first public performance was in 1795 when he performed one of his piano concertos. Around the year 1800, Beethoven became aware of a physical condition that caused him great anguish throughout the rest of his life – the gradual loss of his ability to

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hear. His genius as an artist, and his noble generosity, won the hearts of music lovers, and caused them to overlook his occasional outbursts of temper. Many of his greatest works, such as the Missa Solemnis and Symphony No. 9 (“Ode to Joy”), were written when Beethoven was completely deaf.

Ludwig van Beethoven (as a young man) Symphony No. 5 in c: Allegro con brio (1808) contains what are probably the most famous four notes in classical music – three Gs and one E-flat. Beethoven often used a short motive as the basis for developing an entire movement (or an entire symphony in this case!). You can hear the little motive nervously jumping from one section of the orchestra to another, sometimes pausing dramatically, sometimes racing impetuously ahead. During World War II Beethoven’s theme became a symbol for victory, since Morse code for the letter V is three dots and a dash. This would seem to emphasize primarily the rhythmic character of the theme, but that is also what Beethoven did in his music, reminding us of the principle theme at times even when the pitches were quite different.

JJoohhaannnn SSeebbaassttiiaann BBaacchh ((11668855--11775500)):: BBrraannddeennbbuurrgg CCoonncceerrttoo NNoo.. 22 J. S. Bach is the most famous of a family of musicians/composers lasting from 1550-1845. This Bach, whom we usually refer to as simply “Bach”, was the culmination of not only several generations of musical ancestors, but also the Protestant Reformation itself expressed through music. Martin Luther was vitally interested in the music of the church and Bach devoted the better part of his life working out a complete cycle of music for the Lutheran church. Many today still feel that he was the greatest of all composers of sacred music for the church. Bach’s music also represented the culmination of the grand, complex style of music known as the Baroque (1600-1750). At the time of his death even his own sons (e.g., C. P. E. Bach and J. C. Bach) were writing in the popular styles of the day and were not particularly interested in the old style anymore. Although the sons of Bach represented a direct link with later composers such as Haydn, Mozart, and Beethoven,

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foreshadowing the Viennese Classical style, it was the discovery of the music of J. S. Bach that astounded Haydn, Mozart, and Beethoven later in their lives and inspired them to write in a more complex, contrapuntal style. Bach spent all of his life in Germany, unlike his contemporary Georg Frideric Handel (1685-1759) who traveled all over Europe. Bach lost both of his parents in childhood and was raised by his older brother, Johann Christoph Bach (1642-1703). Bach soon proved himself as an accomplished organist, obtaining posts in various cities, such as Mühlhausen where he married his cousin, Maria Barbara Bach, and where he wrote his first published work (cantata Gott ist mein König). He later moved to Weimar, and then Cöthen, where he wrote his great set of Brandenburg Concerti. He finally settled in Leipzig where he became cantor. As director of church music for the city, he wrote many timeless pieces of sacred music, including not only cantatas for every Sunday of the church year, but major works such as the St. John Passion, the Mass in B minor, and the Christmas Oratorio. Bach lost his eyesight toward the end of his life, passing away in 1750. He was survived by his second wife and helpmate, Anna Magdalena Bach and ten of his children. In all he had 20 children, 13 of whom were by Anna Magdalena. Four of his sons, Wilhelm Friedemann Bach, Carl Philipp Bach, Johann Christoph Friedrich Bach, and Johann Christian Bach became famous musicians/composers in their own right. Brandenburg Concerto No. 2 in F Major (1721) is one of Bach’s greatest instrumental music compositions. Although it is called a concerto, it is of an older type (concerto grosso) which features more than one solo instrument. The solo instruments in this case are trumpet, flute (originally a recorder), oboe, and violin. The small group of soloists is skillfully contrasted with the larger accompanying group of strings. Bach was inspired by the Italian concerto style of his day, adding to it his own depth and complexity.

Johann Sebastian Bach

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IIggoorr SSttrraavviinnsskkyy ((11888822--11997711)):: ““IInnffeerrnnaall DDaannccee”” ffrroomm TThhee

FFiirreebbiirrdd Igor Stravinsky was one of the most important and influential composers of the 20th century. His compositional style ranged from the late romantic Russian nationalistic style of his youth to the most modern techniques of serial (12-tone) music toward the end of his life. Some of the most dramatic events in 20th century music history (esp. the premiere of The Rite of Spring) centered around the music of Stravinsky. The music of his three famous ballets (The Firebird, Petrushka, The Rite of Spring), written early in his career, are still the most famous and most often performed of his compositions.

Igor Stravinsky Stravinsky was born near St. Petersburg in Russia where he grew up in an artistic atmosphere. His father, Fyodor Stravinsky (1843-1902), was a singer in the Russian Imperial Opera and provided for his young son’s musical training. At the age of nine, Igor was beginning to play the piano and enjoyed improvising endlessly. When his father took him to the theatre for the first time (it was also his first time to hear an orchestra), he recalled many years later that it was “perhaps the greatest thrill of my life.”1 In 1905 he began taking lessons in composition and orchestration from Nikolay Rimsky-Korsakov (1844-1908). Some of his early compositions were written and performed under the guidance of this great Russian master. The turning point in Stravinsky’s life came shortly after the death of Rimsky-Korsakov, when the famous impresario Sergey Diaghilev (1872-1929) invited him to write some new music for his ballet company, the Ballets russes. The result was The Firebird, written for large orchestra and first performed in Paris in 1910. The commission was actually first offered to Anatoly Lyadov (1855-1914), but Liadov was too slow for Diaghilev and so the job was offered to Stravinsky who worked feverishly night and day to see it through to its performance on time. It made Stravinsky famous and, at the age of 28, he was known throughout Europe as a worthy successor to the French composers Claude Debussy and Maurice Ravel (also commissioned to write music for the Ballets russes). Suites for orchestra based on the music from The Firebird were arranged by Stravinsky in 1911, 1919, and 1945.

1 Conversations (with Robert Craft, 1959).

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The wild dance of the evil King Kastchei (Infernal Dance) begins with sharply punctuated orchestral chords and continuous syncopated rhythms. The menacing gestures of Kastchei are represented brilliantly in Stravinsky’s complex and colorful orchestration.

The Firebird ballet was based on Russian folk tales about the evil sorcerer Kashchei and the Firebird. Mikhail Fokine (1880-1942) created the story line for the ballet and the choreography. In his story, Prince Ivan (danced by Fokine himself in the original production) enters the magical kingdom of Kashchei. While wandering in the garden, Ivan sees and catches the Firebird, with its brightly glowing red, orange and yellow feathers. The magical bird then begs for its life, agreeing to help Ivan in exchange for its freedom. Ivan then sees 13 princesses and falls in love with one of them. When he follows her Kashchei sends his magical creatures after Ivan, but the Firebird intervenes, causing them to dance [Infernal Dance] and then to fall asleep. The Firebird tells Ivan the secret to Kashchei’s immortality and Ivan consequently defeats Kashchei. The magical creatures all disappear and the “real” beings (including the princesses) awake. The Firebird is seen once more briefly before it too disappears. The story ends with a victory celebration.

WWoollffggaanngg AAmmaaddeeuuss MMoozzaarrtt ((11775566--11779911)):: ““QQuueeeenn ooff tthhee NNiigghhtt”” AArriiaa ffrroomm TThhee MMaaggiicc FFlluuttee Wolfgang Amadeus Mozart was one of the most brilliant musicians who ever lived. His extraordinary natural ability as well as his complete command of all elements of music, thanks in large part to his father’s thorough instruction, is unique in the history of music. He was successful in every musical form and genre that existed at the time, excelling especially at concertos and operas. Although he did maintain a notebook of sketch material, his mental conception of music was often so perfectly formed before beginning to write that many thought he wrote music “spontaneously”, sometimes penned in the most casual settings while talking and joking with friends. At the age of four his father, Leopold Mozart (1719-1787), began to teach his son to play the harpsichord. Wolfgang’s interest was so great and his progress so rapid that in 1762 Leopold introduced both Wolfgang and his sister, Anna (1751-1829), to the public on a concert trip to Munich and Vienna. In 1763, when Wolfgang was seven years old, a trip was made to Paris. The two children gave private and public concerts along the way. In Frankfurt, Wolfgang played concertos on the harpsichord and violin, accompanied symphonies on the harpsichord, and ended with long improvisations. In Paris, they performed for the royal family and gave two public concerts. Wolfgang’s first published compositions began to appear at this time – sonatas for harpsichord and violin.

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Wolfgang at age 7

The family continued on to England in 1764 where they remained for over a year. The King of England (George III) greatly admired Wolfgang’s playing and enjoyed testing his sight-reading ability with works by Johann Christian Bach and George Frideric Handel. Wolfgang’s first symphonies were written at this time (at the age of eight!). The Mozart family finally returned home to Salzburg after being on the road for nearly 3 ½ years. They had become during this time the most celebrated musical phenomenon in all Europe and had attracted the admiration of the nobility of several countries. Despite all of his successes early in life, however, Mozart never attained the kind of musical appointment that he desired. For a time he was employed in Salzburg as Concertmaster and Court Organist, but it was in Vienna that he had pinned his hopes. At the age of 25, Wolfgang left Salzburg and its constraints and was to call Vienna his home for the remainder of his life.

Wolfgang at age 25 (1780) Everything seemed very hopeful when he arrived in the great musical city. The Emperor commissioned Wolfgang to write an opera, Die Entführung aus dem Serail (The Abduction from the Harem), and despite local political intrigue, the work was successfully produced on July 16, 1782. A month later he married Constanze Weber. For a few years Wolfgang enjoyed tremendous success in Vienna as a pianist, composer, teacher, and impresario. But then the public began to lose interest and musical opportunities started to decline. Wolfgang still had no regular appointment and his family expenses were beginning to grow. Meanwhile, he continued writing some of the most glorious music ever created (most of the works that made Mozart’s name immortal were composed during the last ten

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years of his life). The main musical influences on Wolfgang during this period came from Joseph Haydn (1732-1809) and Johann Sebastian Bach (1685-1750), whose works he had recently discovered. Haydn was so moved by a performance of Wolfgang’s string quartets (dedicated to him) that he declared to Leopold Mozart, “Before God and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.” Haydn once also expressed his indignation that Mozart still had no major position at a royal court. In 1786 his masterful opera Le Nozze di Figaro (The Marriage of Figaro) was presented in Vienna. Jealousy and (musical) sabotage apparently spoiled his chances for success, although there were many encores in the first performances. Mozart, more than ever now, was perceived as a serious threat to the Italian opera establishment at court (esp. Antonio Salieri).

Wolfgang at age 35 (1790) Wolfgang was beginning to suffer from illness and fatigue but he still found time and energy to write two new operas: Die Zauberflöte (The Magic Flute), commissioned by Emanuel Schikaneder (1751-1812); and La Clemenza di Tito (The Clemency of Titus), commissioned for the coronation of Leopold II (in Prague) as King of Bohemia. Wolfgang’s final composition, the Requiem Mass, commissioned by Count Walsegg in remembrance of his wife, was incomplete when he died. It was finished by some of his students (esp. Franz Xaver Süssmayer). The Magic Flute: “Queen of the Night” aria (1791) is one of the most famous solos from Mozart’s great fantasy opera about a young man and a young woman who must undergo three great trials of wisdom in their quest for happiness and love. In the story, the Queen of the Night is the evil mother of Pamina, the young heroine. Her anger and power are expressed in one of the most virtuosic of all soprano opera arias. The song in our performance, however, will be performed on the nose flute.

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CCSSOO YYoouutthh OOrrcchheessttrraass CCoonncceerrttoo CCoommppeettiittiioonn WWiinnnneerr 22001133--1144 Bethany Thornton is a high school senior currently studying violin with Weiyi-Cai Yu at Lee University. She is currently the concertmaster of the CSOYO Symphony. In the past, Bethany was assistant concertmaster and soloist of the Collegedale Academy Orchestra, and while in Lincoln, NE, she served as a guest artist and soloist with the Union College Orchestra and as concertmaster of the Junior Youth Orchestra and the Youth Ensemble for Strings. In her free time, Bethany enjoys drawing, reading, and writing poetry and short essays. She also serves as a Youth Advisory Board member and quarterly contributor to the Young Disciple Magazine and submits poetry to contests, such as the Sheldon Museum of Art Poetry Contest where she was awarded “First Finalist”. In reward for her academic success, Bethany was recently chosen as a National Hispanic Scholar.

Bethany Thornton Wieniawski: Violin Concerto No. 2 (3rd movement). Henri Wieniawski (1835-1880), like Mozart before him, was a great prodigy on the violin. He entered the Paris Conservatory at the age of 8, and graduated three years later (!). He traveled extensively all over Europe with his brother, Josef (pianist), and by the age of 18 had composed his first violin concerto. He eventually settled in St. Petersburg, Russia (1860) where he was solo violinist to the Czar and Professor of Violin in the Conservatory of St. Petersburg. It was here that he wrote his great 2nd Violin Concerto (1862). The third movement is marked “Allegro moderato, a la zingara2”.

2 “a la zingara” means in the gypsy style.

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JJoohhnn WWiilllliiaammss ((bb.. 11993322)):: EETT ((11998822))

The American composer John Williams has established himself as one of Hollywood’s most outstanding composers with film scores such as Superman, ET, Encounters of the Third Kind, Star Wars, Raiders of the Lost Ark, Jurassic Park, Harry Potter, Schindler’s List, and Saving Private Ryan. He was trained as a classical musician, as were many of the great film composers of the past, such as Erich Korngold (The Adventures of Robin Hood, Sea Hawk) and Max Steiner (Gone with the Wind, Casablanca), and has distinguished himself as a conductor (esp. with the Boston Pops Orchestra) as well as a composer of concert music (e.g., symphonies and concertos).

For more information see the John Williams website at: www.johnwilliams.org

NNaarrrraattoorr,, CCaarreeyy SShhiinnbbaauumm Carey Shinbaum first soloed with the Chattanooga Symphony and Opera Association as a teenager, and has subsequently maintained his connection to the organization, currently occupying the position of English horn. In addition, he has served as principal oboist with the Huntsville Symphony Orchestra since 2001. In Huntsville, he has written programs and presented several characters for the Young People’s Concerts. “Mr. Carey” is also Artist-in-Residence at St. Nicholas School (Chattanooga), where he teaches music and technology. He enjoys cooking, eating, world travel and spending time with his wife, Laura Howard, and their cat, Louis KC.

Carey Shinbaum

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Lesson Ideas for Teachers, by Carey Shinbaum

Lesson #1:

Who is Out There and Are They Listening?

A discussion about music as a cultural artifact.

Objectives:

To gain a better understanding of music’s cultural & personal significance.

To verbalize personal opinions & knowledge of art and expression.

Make sure you and your students have been introduced to the story of NASA’s Voyager

space probes and the golden records on board. The following websites offer insight into

this fascinating project:

http://voyager.jpl.nasa.gov/spacecraft/goldenrec.html

http://voyager.jpl.nasa.gov/spacecraft/languages/languages.html

http://voyager.jpl.nasa.gov/spacecraft/music.html

http://en.wikipedia.org/wiki/Contents_of_the_Voyager_Golden_Record

and on this cool interactive site you can actually “play the record” (just click the disk to

control playback):

http://goldenrecord.org/#discus-aureus

The Voyager golden records contain many examples of earth based sounds and music:

from peaceful messages in a multitude of languages to folk music from around the world

to Western art music (baroque, classical, modern, jazz) and rock n’ roll. Each selection

was a kind of snapshot of a different culture and style of expression. In this way, the

people who planned this golden record project were sending a message that no one style

of expression could represent the entire human race.

What music would you choose to share with another species? Why?

What does your favorite music say about you? What message could it send, if any?

There is no sound in space; it is utterly silent. So what if aliens couldn’t hear music? Try using words to describe the sound of music (live or recorded). Can you use words to describe musical activities like listening or dancing or singing or playing an instrument?

Just as the purpose of the Voyager records was to be a broad representation of human expression, music can have many purposes besides simply listening enjoyment. Can you name some ways humans use music? (examples: lullabies, dance music, protest

songs, calming “elevator” music, music therapy, sports/war chants, worship,

storytelling, etc.)

Some of the voyager tracks were field recordings made of musicians in remote locations,

playing for a small group of tribal members. Other selections are world famous, having

been rerecorded, heard, and purchased by millions of people.

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What types of music or instruments make you think of different geographic locations or other cultures? (reggae, Viennese waltz, ukulele, African drum & dance, mariachi, Arabian, bluegrass)

Is it important for music to be heard by a wide audience?

Is the popularity of music a good judge of its quality? If not, what is? (think YouTube likes, not just song purchases/downloads)

Lesson #2:

Speak It, Step It, Move It!

Internalizing and physically depicting a compound rhythmic ostinato pattern from Holst’s

Mars.

Objectives:

To gain a better understanding of meter and beat divisions, both macro- and micro-

To coordinate body motions rhythmically and spatially

To build group unity through the use of antiphony and cooperation

Activity #1: circle chant

To reinforce note value recognition, large flash cards or white board drawings of quarter

note, an eighth note pair, and eighth note triplet grouping are suggested as a visual

reference during this activity. The tempo of this activity should begin moderato and

gradually increase over the duration of the lesson.

1. While seated in a circle, lead students in a repeated chant counting 5/4 meter (1-5). Have students keep the beat by lightly patting their knees. After a few cycles, stop and ask them to give you exactly 5 measures worth of these counts to see if they can all stop at the same time. Repeat until they can. Tie into math skills by asking how many beats does that make (5 x 5= 25 or count by 5’s).

2. Next explain to students how we can group these five beats into larger macrobeats, by patting only on 1 & 4 while still speaking all 5 beats. Demonstrate and then have them try it for 5 measures. Ask how this divides the 5 beats up (3 + 2 = 5). If time allows, have them similarly show 2 + 3 by patting on 1 & 3, but for all further steps, revert to the 3 + 2 grouping.

3. Now divide students into two groups, making one group responsible for the 3 grouping and one for the 2. See if they can pass the pulse back and forth (antiphonally) for 5 measures. They should only pat and chant on their portion of the measures. Then switch their parts.

4. Continue counting, now adding “and” between each beat to account for the eighth note subdivision (1&2&3&4&5&). Students may all pat and speak all beats or, at your discretion, the two groups can pass these eighth notes as before, in two uneven macrobeats, for 5 measures.

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5. Now try counting “and-a” between each beat to account for the eighth note triplet subdivision (1&a2&a3&a4&a5&a), either all together or antiphonally. Now repeat the antiphonal passing.

6. This time tell students to watch as you point to quarter, eighth, and triplet figures. Tell them to all pat the pulse while speaking the appropriate note value. Try changing the note in between measures of five, or for an added challenge, change on the macro beat (ex. 1 2 3 4& 5&).

7. Now show the students notation for Holst’s rhythmic ostinato from “Mars”.

Have them answer which of the five beats do you find each type of note: quarters,

eighths and triplets. Ask if anyone thinks they can speak the rhythm (1&a 2 3 4&

5) while patting the beat.

8. Lead students in repeating count of the “Mars” pattern: “1&a 2 3 4 & 5”. Make sure they continue patting the pulse. or the macrobeat as they chant.

9. Divide the pattern between the two groups, giving one group beats 1-3 of the pattern and the other beats 4-5, to see if they can pass it for 5 measures.

10. Finally, try this activity while listening to an orchestral recording of Mars (preferably a

relatively slow recording).

Activity #2: eurythmic movement

Ideally combined with previous activity (adjusting the following plan accordingly), and

should similarly use the note value visual aids previously described. This may be better

suited for older elementary or middle school students, but could work with younger

students as well. The tempo of this activity should begin moderato and gradually increase

over the duration of the lesson.

1. Have students spread out throughout the room, standing still and focusing on you until

all instructions are complete. Tell them that you will begin by counting for them FIVE measures of 5/4 meter, while you will also be stepping to the beat and weaving between them, but they are to REMAIN FROZEN as you do this. You can help them keep track of beats as they observe by changing direction each measure, counting on your own fingers as you count as well, or change the downbeat to the measure #). After your 5 measures they are to likewise count aloud 5 measures while stepping to the beat, maneuvering throughout the room, BUT THEY MUST THEN FREEZE after 5 full measures. Make sure they understand they are to AVOID PHYSICAL CONTACT. Consider tying into math skills by asking how many total beats will they be frozen and how many steps will they take (5 x 5= 25 each…or count by fives)

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2. Next explain to students how we can group these five beats into larger units called “macrobeats”. To show this, repeat step 1, only this time you will clap on beats 1 & 4 during their frozen 5 measures, and they will similarly clap while stepping and chanting on all beats. Ask how this divides the 5 beats up (3 + 2 = 5). Ask how many steps & claps in all will they be executing (2 x 5 = 10 claps + 25 steps = 35 total)

3. Now divide students into two groups (they should remain mixed spatially, however), making one group responsible for chanting & moving on the first 3 beats and the other for the last 2 beats of each measure…you could call the first group the “Big Mac”s and the second “Short Mac”s (for “mac”robeat). They must freeze when the other group is chanting and moving. Repeat as necessary until groups are well coordinated, then switch their parts, if “fairness” is desired.

4. Have them remain frozen once again as you continue the instructions. You will next add “and” between each beat to account for the eighth note subdivision (1&2&3&4&5&). Show students the paired eighth note visual aid. This time you will STEP on the macrobeats (1 & 4) while counting all beats. Students subsequently speak all beats and step all macrobeats for 5 measures. Try allowing the groups to alternate every measure or for 5 measures at a time so that half are frozen while the other half are moving. Now have the two groups pass these eighth notes as before, in two uneven macrobeats, for 5 measures.

5. Show students the triplet visual aid. Repeat step 4, only this time counting “and-a” between each beat to account for the eighth note triplet subdivision (1&a2&a3&a4&a5&a), making sure students continue to step the macrobeats.

6. Mix it up. This time tell students to watch as you point to quarter, eighth, and triplet figures (flash cards or whiteboard drawings of note groupings). They will now step and change their count depending on which notes you point to. Try changing the note value each measure. Then try changing on the macro beat (ex. 1 2 3 4& 5& or 1&a2&a3&a 4 5). This step can also be done in split groups, divided by either macrobeats, or alternating single measures or 5 measure chunks.

7. Now seat the students and show them notation for Holst’s rhythmic ostinato from Mars.

Have them answer on which of the five beats do you find each type of note: quarters,

eighths and triplets. Play the opening of Holst’s Mars from The Planets.

8. Ask if anyone thinks they can speak the rhythm (1&a 2 3 4& 5) and clap the macrobeat solo. Then lead students in chant count of this Mars pattern: “1 and a 2 3 4 and 5” while all clapping macrobeats 1 & 4.

9. Divide the pattern between the two groups, giving one group beats 1-3 of the pattern and the other beats 4-5, to see if they can pass it for 5 measures.

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10. Stand students again and have students execute the Mars rhythm in the following ways, always speaking the rhythm and:

all stepping on each beat

all stepping on each macrobeat

groups alternating each measure

groups alternating after 5 measures

groups alternating “big” and “short” macrobeats

11. Finally, try this activity while listening to an orchestral recording of Mars (preferably a

relatively slow recording).

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IInnttrroodduuccttiioonn ttoo tthhee SSyymmpphhoonnyy OOrrcchheessttrraa

What is a symphony orchestra? A symphony orchestra is a large ensemble of classically trained musicians who play together on a regular basis. There could be anywhere from 20 to 120 musicians in an orchestra (The CSO Orchestra usually has about 50-60 players). Within the orchestra there are “families” of instruments: strings, woodwinds, brass, percussion. Each family of instruments has certain characteristics that make them alike. The string instruments all have vibrating strings stretched over a hollow wooden frame. The woodwind instruments all have hollow vibrating tubes (mostly wooden) with tone holes to cover and keys to press down. The brass instruments also have hollow vibrating metal tubes, but are always played with a cup-shaped mouthpiece and have either valves to press down or a slide to move back and forth. The percussion instruments make their sounds, for the most part, with a vibrating skin or a metal bar struck with sticks and mallets.

What is the string family? The string family of the symphony orchestra is made up of violins, violas, violoncellos (or cellos for short), and double basses. They all look very much alike except that they are different sizes. They all make sounds in the same way – with vibrating strings stretched over a hollow wooden frame. The strings can be plucked with the fingers or they can be rubbed with a bow. A bow is made of horsehair attached to a wooden stick. The strings are the largest part of the orchestra and often take the leading part in the music. They also add beauty and smoothness to the sound of the orchestra.

Can you tell how the size of the instrument affects its sound? [Answer: the bigger the instrument, the lower it sounds]

Which instrument (from the string family) has more members in the orchestra than any other instrument? [Answer: the violin]

What is the woodwind family? The woodwind family of the orchestra is made up primarily of flutes, oboes, clarinets, and bassoons. Other woodwind instruments occasionally used include piccolo, English horn, saxophone, and contrabassoon. At one time all woodwind instruments were made of wood, but some are now made of metal, such as flute and saxophone. They all make their sounds, however, by means of a vibrating tube. In flutes, the sound is made by blowing across a hole on one end of the tube. In the oboe and bassoon the sound is made by blowing on two pieces of cane strapped together (double reed). In the clarinet and saxophone the sound is made by blowing on one piece of cane strapped to a mouthpiece (single reed). The woodwind instruments are often used to add color, mood, and humor to the sound of the orchestra.

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What is the brass family? The brass family of the orchestra is made up of French horns (or, more properly, just “horns”), trumpets, trombones, and tuba. They all have a vibrating metal tube and they all have a cup-shaped mouthpiece. The horns, trumpets, and tubas can change the length of their tubing with valves that are played with the fingers. The trombone can change the length of its tubing with a slide that goes back and forth. The brass instruments often are used to add excitement and power to the orchestra.

How does the length of tubing affect the sound? [Answer: the longer the tube, the lower the fundamental pitch]

What is the percussion family? The percussion family of the orchestra is made up primarily of drums (including timpani), bells, and cymbals. Other percussion instruments occasionally used include triangle, chimes, castanets, and maracas. The variety of instruments found in this family is almost endless, but they all have one thing in common: they all have a vibrating surface that is either struck (e.g., drum), shaken (e.g., maracas), or scraped (e.g., güiro). Some percussion instruments can be used to play a melody, such as xylophone or bells, but most cannot. The percussion instruments are often used to highlight or strengthen the rhythm of the music.

How does an orchestra work together to make beautiful music? One way is to listen to (and watch) each other. An orchestra must rehearse the music several times before a concert can be presented. Another way is to follow the leadership of a conductor. The conductor shows the orchestra when to start and stop, and also guides the speed and the loudness of the music. In many ways the conductor also helps to interpret the musical expression and style.

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WWhhyy aann OOrrcchheessttrraa CCoonncceerrtt??

Why has the symphony orchestra become the focus of artistic activity in so many cities across America and around the world, and why do so many people still attend orchestra concerts every year? Virtually every city in the U.S. with a population of 100,000 or more has a professional orchestra that functions as a leading arts organization for that geographical area. The music played by symphony orchestras can be heard not only in live performance (definitely the best way to hear an orchestra), but also on radio, television, movies, recordings, and even elevators (it’s sometimes hard to avoid it).

In many ways the symphony orchestra represents a summation of the musical art in western civilization. It has been in existence since the early 17th century and has included at one time or another virtually every musical instrument known to man. The standard combination of instruments includes the string instruments (e.g., violin), woodwind instruments (e.g., clarinet), brass instruments (e.g., trumpet), and percussion instruments (e.g., snare drum). [For more specific information, see “Introduction to the Symphony Orchestra”, p. 23] Although the music of great “classical” composers such as Mozart (Austria, 18th century) and Tchaikovsky (Russia, 19th century) are the usual fare of an orchestra concert, composers from nearly every country of the world still write for the large, complex ensemble of musical instruments.

In our day symphony orchestras perform a great variety of musical styles in concerts, from jazz to bluegrass. Orchestras can be heard on the soundtrack of almost every movie released from Hollywood since 1930. Some of the more prolific and accomplished film composers of our day, like John Williams (Star Wars, Indiana Jones, Superman), are classically trained composers who attended a conservatory or university school of music. Others, like Paul McCartney (The Beatles), began as a performer of popular music, but later became fascinated with the possibilities of orchestral composition and have written pieces to be performed in formal concerts (e.g., Liverpool Oratorio, Standing Stone).

In the 17th and 18th centuries the orchestra provided an elaborate and sophisticated entertainment for royalty and other wealthy patrons, but by the 19th century it was rapidly becoming available to the middle class in Europe, the U.S, and other countries around the world. In our time the experience of listening to symphony orchestras is for everyone who loves music. The variety of music performed and the availability of performances in public areas without admission charge (e.g., Independence Day park concerts) make this possible. The symphony orchestra has lasted for over 400 years (some of the individual musical instruments are even older) and represents our musical cultures very well. As a musical institution it will always need to adapt somewhat to cultural changes, but the music of Bach, Beethoven, Brahms, Gershwin, and Ellington (just to name a few!) will live on forever.

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Symphony Concert Etiquette

Please arrive early or wait to enter the performance area between musical selections.

Please remain seated during the performance.

Food and drink are not allowed in the performance area.

Please be as quiet as possible during the music. Talking (or even whispering) can be annoying to those around you. The concert will be more enjoyable for everyone when the audience is quiet and respectful.

Please turn off pagers, cell phones, and any other noisemakers.

Photography is not a good thing during concerts. The clicking sounds and the flashbulb are very annoying distractions to those around you. In some cases they may even pose a hazard to the performers on stage.

Recording any part of the concert is prohibited (AFM/CSO Master Agreement Contract).

Please be careful with perfume or cologne. Some in the audience may be allergic to it. Performers onstage have learned not to wear it at all (for the same reason).

It is polite to applaud the conductor and concertmaster, or soloist(s), when they make their entrance, and at the end of musical selections. It is the most appropriate way to show your approval and appreciation for the musical experience and for the performers.

Thank someone for bringing you to the concert. It can still be one of the most thrilling and moving experiences anyone can have.

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The Chattanooga Symphony & Opera is a funded agency of ArtsBuild