yc teachers guide cover_revised_06.qxp

1/3/2007

2:22 PM

Page 1

Melody Medley Oregon Symphony 2006–2007

young people’s concert Teacher’s Guide

Grades 3-5 Gregory Vajda, conductor Marshall Cuffe, piano

welcome

INTRODUCTION HOW TO USE THIS GUIDE This guide is designed to accompany the 2006-2007 Young People’s Concert, Melody Medley. The guide offers background information on the pieces you will hear at the concert along with a listening outline for each piece and biographical information about the composers. Also included are introductions to the four families of instruments (strings, woodwinds, brass and percussion) and pre- and post- concert lessons and activities. It is our hope that utilizing this guide will deepen the concert experience for you and your students. We have designed the lessons to be adaptable to the time and materials available in your classroom setting and encourage you to fit each lesson to your teaching style and specific student needs. All lessons and activities are developed to help meet and exceed the Oregon Department of Education’s Arts Content Standards curriculum objectives and deepen your work in the classroom.

inception, A Young Person’s Guide to the Orchestra introduces the instruments of the orchestra and the instrument families to which they belong. And now, 325 years later, Gregory Vajda, the Oregon Symphony’s Resident Conductor has written yet another variation of Purcell’s beloved theme. In 2002, Maestro Vajda took Purcell’s Rondeau from Abdelazer and gave the classical Baroque composition a fresh, new sound. In Purcell-Variation, Vajda presents the modern audience with a variation on a theme that will be at once recognizable and at the same time unique in Vajda’s own interpretation of Purcell’s melody. We hope that as you and your students learn about the instruments of the orchestra, the composers and the music detailed in this concert and companion Teachers’ Guide, you will be charmed by the unique qualities of each composition and grounded in this chronicle of music history.

“Variety is the spice of life.” This saying is an old adage which can be applied to many aspects of life. In the world of music, variety is the foundation of many well-loved compositions. Composers throughout history have offered new variations on classic themes with great success. Themes which are deemed ‘classic’ become so because they speak deeply to a wide audience of listeners. The tendency to explore these themes by later composers and arrangers is a natural development. This concert, Melody Medley, finds its foundation in one of the themes from a piece of incidental stage music composed by Henry Purcell in 1695. Purcell’s compositions were varied and well-loved by the growing numbers of public concert goers in London during this time, and his Rondeau from Abdelazer was no different. Benjamin Britten, also a prolific and well respected British composer, took Purcell’s theme and wrote A Young Person’s Guide to the Orchestra in 1946. A variation that has offered countless listeners much entertainment and has been widely used as an effective educational tool since its

We believe that music is an essential and equal part of the total school curriculum. We hope that you will take full advantage of this guide and CD so that your students can in turn be knowledgeable and eager participants in the culture of their city, state and the world. Please email us at [email protected] if you have questions or wish to share your experience in preparing your students for this Youth Concert. Emilia Smith Director of Education & Community Engagement

welcome

1

curriculum connections NATIONAL AND STATE CONTENT STANDARDS Visual and Performing Arts: Create, Present, Perform The Oregon Symphony has an ongoing commitment to support the National Standards for Music Education as outlined below: 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations and accompaniments. 4. Composing and arranging music within specific guidelines. 5. Reading and notating music. 6. Listening to, analyzing and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts and disciplines outside the arts. 9. Understanding music in relation to history and culture.

• Apply artistic elements and technical skills to create, present and/or perform works of art for a variety of audiences and purposes. • Communicate verbally and in writing, using knowledge of the arts to describe and/or evaluate one’s own artwork. English Language Arts: Reading • Listen to, read, and understand a wide variety of informational and narrative text across the subject areas at school and on own, applying comprehension strategies as needed. • Increase word knowledge through systematic vocabulary development; determine the meaning of new words by applying knowledge of word origins, word relationships, and context clues; verify the meaning of new words; and use those new words accurately across the subject areas. • Examine content and structure of grade-level informational text across the subject areas. English Language Arts: Writing

A comprehensive guide and resources pertaining to the National Standards can be found at http://www.menc.org/publication/books/standards.htm p gp .

In addition, this Youth Concert supports the following Common Curricular Goals of the Oregon Content Standards as outlined below: Visual and Performing Arts: Aesthetics and Art Criticism • Use knowledge of technical, organizational and aesthetic elements to describe and analyze one’s own art and the art of others. • Respond to works of art, giving reasons for preferences. Visual and Performing Arts: Historical and Cultural Perspectives

• Pre-write, draft, revise, edit, and publish across the subject areas. • Communicate supported ideas across the subject areas, including relevant examples, facts, anecdotes, and details appropriate to audience and purpose that engage reader interest. • Write narrative, expository, and persuasive texts, using a variety of written forms- including journals, essay, short stories, poems, research reports, research papers, business and technical writing- to express ideas appropriate to audience and purpose across the subject areas. English Language Arts: Speaking and Listening • Listen critically and respond appropriately across the subject areas.

• Understand that the arts have an historical connection. • Explain how a work of art reflects the artist’s personal experience in a society or culture.

2

curriculum connections

Download the most current version of the Oregon Content Standards from the Department of Education’s Web site at www.ode.state.or.us.

guide contents - sound awareness

GUIDE CONTENTS national/state standards (page 2) National and state standards that are supported through this concert and Teacher’s Guide activities are listed here as a reference. lessons/extensions (pages 4-7) These lessons are designed to actively engage your students in the exploration of music while making meaningful connections to English Language Arts and other content areas. about the composer/behind the music (pages 8-15) This section provides a brief biography of the life and times of each composer, insight into each composition and a listening guide supporting the companion CD. A vocabulary list is found on page 12. appendix (pages 16-22) Learn about the instrument families, view a map of the orchestra and meet our soloist, 16 year-old pianist, Marshall Cuffe and members of the Oregon Symphony. companion CD tracks 1

Abdelazer

2--16 16 Britten: A Young Person’s Guide to the Orchestra 17. Gershwin: “I Got Rhythm” 17 18 Gershwin: Variations on “I Got Rhythm” 19 Bernstein: Overture to Candide 20 Tchaikovsky: Serenade for strings, Finale (excerpt) 21 Tchaikovsky: Symphony No. 4, Scherzo (excerpt) 22 Gabrielli: Canzon Septimi toni, No. 2 (excerpt)

SOUND AWARENESS Listening is the core of all musical experience. We live in a world engulfed in sound, but rarely do we truly listen to what we hear. Listening to a 50-minute concert may be a new and unusual experience for many of your students. Essential to the development of deep listening skills is the acquisition of sound-awareness. Following are some suggested strategies for developing active listening skills in our younger listeners. instructional objectives Students will: • Develop active listening skills by responding to environmental sounds and musical performances through writing and group discussion. activity Turn off the classroom lights and have students close their eyes. Ask the class to spend one minute listening to all of the sounds in the classroom. After one minute has passed, begin to create a word-bank of student responses to what they heard. Examples might include: “the clock ticking,” “Billy breathing,” “someone walking down the hallway.” After an initial list has been created ask students to describe the actual sounds, for example: “a high clicking sound,” “thin and airy,” “low stomps on the ground that got softer and softer.” Begin to tease out the descriptors from the actions and add the new words to the word-bank. Follow the same procedure using Bernstein’s Overture to Candide (track 19) or another musical example. Extended listening activities can be found in the lesson plans that follow.

23 Mozart: 12 Variations on “Ah vous dirai-je maman” (Theme) 24 Mozart: 12 Variations on “Ah vous dirai-je maman” (Variation 2) 25 Mozart: 12 Variations on “Ah vous dirai-je maman” (Variation 5)

guide contents - sound awareness

3

lessons

MUSICAL BINGO

-

THE INSTRUMENTS OF THE ORCHESTRA

The four families of instruments (strings, woodwinds, brass and percussion) are the core components of the symphony orchestra. Each family has distinct physical and aural qualities that make them unique. The following activity invites students to explore the instruments that make up each family and begin to visually and aurally distinguish between them. While this activity is designed with a young audience in mind, we encourage you to adapt the instructional plan to make it more appropriate for older students. subjects Music, English-language Arts goal Students will demonstrate knowledge of the individual instruments within the four instrument families that make up the orchestra. instructional objectives Students will: • Visually identify the individual instruments within the four families of instruments; and • Aurally identify the individual instruments within the four families of instruments.

to index cards (cut in half) to make a set of cards. Check students’ recognition by calling out an instrument family or individual instrument and having students respond by showing their neighbor the proper card. 3. Repeat the exercise but by playing excerpts from the companion CD, asking for an instrument family or a specific instrument. 4. Follow-up by playing a game of “Musical Bingo.” Using the blank “bingo” template, have students fill in blank squares using the instrument names (see vocabulary listed at the bottom of this page). Following, call out a family of instruments or specific instruments and have students cover-up the written instrument names with the corresponding instrument photo, until they score a bingo. The same game can be played by using musical excerpts of instrument families or specific instruments. assessment Students should be able to identify instruments and the families to which they belong with visual and aural clues. extensions • Have students visit the Oregon Symphony Web site, OrSymphony.org, and explore the Orchestra section of the site where detailed information about the musicians of the Oregon Symphony can be found.

preparation/materials • Musical bingo copy master (page 5), scissors, 3’x5’ cards, and musical excerpts from companion CD. instructional plan 1. As a class, review the four families of instruments using the corresponding CD tracks and the information on pages 16-19. Explore how the instruments within each family have similarities and differences. Why are they a part of the same family? 2. Distribute copies of the instrument family sheet with individual instrument pictures. Have students cut each instrument out and glue

4

musical bingo

• Invite students to link the musicians they learn about from the Web site with their instrument picture cards. Have students create a card matching game (such as Concentration) using instrument cards and Oregon Symphony musicians. instrument vocabulary

•Timpani •Cello •Triangle •Trumpet •Oboe •Tambourine• Violin •Cymbals •Snare drum •Harp •Chimes •Piano •String bass •Guitar •Xylophone •Trombone •Piccolo •Viola •French horn •Bass drum •Flute •Tuba •Clarinet •Bassoon

lessons

musical bingo

5

lessons

THEME AND VARIATIONS

Before attending the Oregon Symphony Youth Concert, a clear understanding of what a melody is, how it is constructed and basic knowledge of the musical elements that can be altered to create a variation on a melody will provide a more engaging concert experience. This lesson involves two parts, the first is an active participation activity focused on understanding the basic elements of music followed by an active listening exercise that will prepare students to listen for themes and variations at the concert. goal Students will show an understanding of how a melody can be varied utilizing basic elements and principles of music. instructional objectives Students will: • Define melody as: pitch and rhythm combined to create a tune; • Demonstrate understanding of melody and its definition by identifying, listening, singing, and/or playing familiar melodies and creating variations on a familiar melody; and • Use tempo, rhythm, pitch, timbre and dynamics to vary a melody. preparation/materials

2. As a class or in small groups, improvise a series of 2 pulse rhythmic patterns (2 taps of the feet) using the variations learned above. Invite students to perform their rhythmic patterns for their peers. You may also experiment with tempo and dynamics at this time. 3. As a class, review/learn the melody line of “Twinkle, Twinkle Little Star” or another familiar melody, using the pitched instruments, or vocally using “La” instead of the lyrics. Next, ask students to clap/play only the rhythm of “Twinkle.” 4. Alone or in groups, have students make one or more changes to the melodic or rhythmic material of “Twinkle” (e.g. play/sing faster, slower, louder, softer, change the ‘style’ by turning it into a rap, or country style song). Invite students to perform for their peers, explaining what they chose to change, how they changed it, and why. 5. As a class, put together your own performance, beginning with the original melody followed by each student or group variation. Part 2 - Listening Exercise 1. Review the musical elements of melody, rhythm, dynamics and tempo. 2. Play track 23 (theme from Mozart’s 12 Variations on “Twinkle, twinkle”) from the companion CD asking students to raise their hand when they recognize the melody.

• Provide non-melodic percussion instruments (e.g. woodblocks, bongo) and melody instruments, as available (e.g. keyboard, recorder, Orff instruments); and

3. Play track 24 asking students to listen again and write down, draw or share with their neighbor how the melody has been varied (variation 2 tempo quickens, left hand plays a low counter-melody).

• Review musical principles of pitch, rhythm, melody, dynamics and tempo (definitions on page 12).

4. Repeat with track 25 (variation 5 - rhythmic material is short, melody is quite ‘choppy’ and is at times, shared by both hands).

instruction plan Part 1 1. With your students, establish a steady pulse by tapping your feet. Next, you’ll add a series of rhythmic patterns on top of the steady pulse

6

by clapping or using percussion instruments: 1 clap per pulse, 2 claps per pulse, 3 then 4 (for a steady pulse, using a simple metronome is best).

theme and variations

5. Compare and contrast Mozart’s variations on “Twinkle, twinkle” with the variations the class made. 5. Repeat exercise using tracks 17 and 18 (Gershwin’s original “I Got Rhythm” and then his Variations on “I Got Rhythm”) or tracks 2-16 (Britten’s A Young Person’s Guide to the Orchestra).

lessons ACROSS THE CURRICULUM: THEME AND VARIATIONS “Theme and variations” is a concept most commonly understood in music. However, with a closer look, we see that this concept can be applied across the curriculum and in turn, help us not only understand the musical aspects of theme and variation more clearly, but also use the idea of theme and variations as a tool for deeper learning in other content areas.

2. Depending on student understanding of basic elements and principles of music, discuss what musical elements can be varied to create a variation (tempo, pitch, rhythm, instrumentation, etc.). Explore student opinions regarding how much of the original theme must stay intact in order for the variation to truly be a variation and not a new melody.

subjects

3. As a class or in small groups, brainstorm other areas where theme and variations could be found and defined. Examples include: variations found in nature (flowers, leaves, etc.) or changes over history in technological inventions (automobile, telephone, etc.).

Music, English-language Arts, Visual arts

Activity #1

goal

instructional objectives

As a class, choose one common theme for creating a collage (e.g. seasons, food, sports, etc.). Provide materials and time for students to create their collages. Compare the final products and discuss how the common theme was represented by a variety of responses. How is this similar/different from Britten’s “theme & variations?”

Students will:

Activity #2

Students will recognize the use of theme and variations throughout the creative process.

• Define theme as a musical idea that forms the basis for a piece of music; • Define variation as a technique of changing a musical idea (theme) where some elements of the original theme remain constant while others change; and • Identify examples of “theme and variations” across the curricula. preparation/materials • Musical excerpts demonstrating theme and variations (companion CD), collage materials, list of common fairy tales. instructional plan Background Discussion 1. Work with students to understand the concept of theme and variation in a musical context (see “Spotlight” page 11). Use Britten’s A Young Person’s Guide to the Orchestra tracks 2-16. Discuss how each excerpt retains some of the original integrity of the Purcell theme, but changes slightly to create a variation.

In small groups or as individuals, have students create “fractured fairy tales,” where students choose a familiar story, like Goldilocks, and change one of the following: setting, characters, time or outcome in such a way that the original story can still be recognized. For example: the bears could come to Goldilocks’ home and do what she did in their home in the original story. Following, engage students in a discussion of how their stories can be related to the idea of theme and variations. assessment Students should be able to explain how the theme and variation of their collage or story is similar to the idea of theme and variation in music. extensions Have students visually (through collage or another medium) represent the original Purcell theme as they listen to it. Then, play the Britten variation on the Purcell theme, asking them to visually represent that one, too. Have students discuss how they represented the changes in music and why.

theme and variations

7

about the composers

HENRY PURCELL

(1659-1695)

As the son of a musician at Court, a chorister at the Chapel Royal, and the holder of continuing royal appointments until his death, Henry Purcell (born in 1659) worked in Westminster for three different Kings over twenty-five years. Generally considered to be one of England’s greatest composers, Henry devised a peculiarly English style of Baroque music. Because his father died when he was five years old, Henry was raised by his uncle, Thomas Purcell, who arranged for him to be a chorister in the Chapel Royal. Henry began composing at age nine and his earliest known work was written in 1670 for the birthday of King Charles II. He attended Westminster School and was appointed the organist of the school at age 17. Legend has it that when, in 1679, Purcell succeeded his teacher Dr. John Blow as organist of Westminster Abbey, the elder musician stepped aside in recognition of the greater genius. Upon Purcell’s death in 1695, Blow returned to the post. In addition to his royal duties, Purcell also devoted much of his talent to writing operas (he is considered to have written the first genuine English opera: Dido and Aeneas), musical dramas, and incidental stage music, including the music for Abdelazer in 1695. He also wrote chamber music in the form of harpsichord suites and trio sonatas, and became involved with the growing London public concert scene. Purcell died in 1695, a year after composing funeral music for Queen Mary. Henry Purcell is among the Baroque composers who has had a direct influence on modern rock and roll; according to rocker Pete Townshend of “The Who,” Purcell is one of his musical influences. Purcell also had a strong impact on the composers of the English musical renaissance of the early twentieth century, most notably Benjamin Britten.

8

about the composers

RONDEAU FROM ABDELAZER

(1695)

During the last five years of his life, Purcell composed incidental music for over 40 Restoration plays. While some of these productions merited only an odd song or two, many benefited from rich and varied collections of airs and dances. Indeed, Purcell composed some of his finest instrumental music for the theater. Some of the plays and their authors for which Purcell provided music are not known. Much information survives, however, about the author of Abdelazer (or The Moor’s Revenge). Written by Mrs. Aphra Behn (16401689), the play was first staged in 1676 and published the following year. Purcell provided incidental music for a 1695 revival shortly before his death. Aphra Brehn was the first professional woman writer for the English stage and was one of the most prolific dramatists of the Restoration. Abdelazer was her only tragedy and is considered one of the ‘bloodiest’ of all Restoration plays. For Abdelazer, Purcell provided an overture and eight instrumental pieces, as well as a song, “Lucinda is bewitching fair.” The overture features a slow introduction followed by a fast Allegro. After the Allegro is a Rondeau (see “Spotlight” page 9). This Rondeau is one of Purcell’s most famous tunes because Benjamin Britten used it as the theme for his Young Person’s Guide to the Orchestra. Restoration Theater is the name given to English theater written and performed in the Restoration period from 1660 to 1700. After public stage performances had been banned for 18 years by the Puritan movement, the re-opening of the theaters in 1660 signaled a rebirth of English drama. The socially diverse audiences during this time included aristocrats, their servants and a substantial middle-class populace. This time in English theater marks the first professional actresses and playwrights and also the rise of the first celebrity actors.

behind the music

LISTENING GUIDE TRACK 1

LISTENING COMMENTS

0:00-

High strings play the strident main theme (A) accompanied by the low strings and harpsichord.

0:20-

Variation 1 (B). Volume lowers, harmonic structure of the melody is slightly altered, but the tempo and ‘feel’ of the melody remain constant.

0:360:53-

Return of A in its original form.

1:11-End

Return of A in its full, original form. Slows slightly as the piece comes to a majestic finish.

Variation 2 (C). The texture thins and melodic line softens as it lilts along. Low strings play a smooth contrapuntal accompaniment.

THE HARPSICHORD After listening to Purcell’s Rondeau from Abdelazer, you may have noticed how different the baroque-style orchestra sounds in comparison to today’s modern orchestra. The baroque orchestra was much smaller, with no more than 30 musicians. Made up of mostly strings, woodwind and percussion instruments and very few brass. Another indication of baroque-style music is the inclusion of the basso-continuo, a continuous bass line most often played by the harpsichord and another instrument such as a theorbo.

SPOTLIGHT: RONDO FORM Every piece of music has an overall plan or structure. This is called the form of the music. It is easy to recognize the form or structure of something like a cat or a leaf because we can see it all at once. Other things, like the inside of a big building, or the structure of a government, may have to be explored from within or studied before their structure can be understood. You can’t hear a piece of music all at once so, in order to determine a piece of music’s form, you have to listen to it as it unfolds. One type of musical form is called “Rondo form.” The formal use of Rondo form (also spelled Rondeau) started off in the Baroque period and was called “ritornello form,” coming from the Latin word ritornare meaning “to return.” In Rondo form, a principal theme alternates with one or more contrasting themes. Often, the overall form is represented with letters where A=the principal, recurring theme, and alternate letters represent the contrasting themes – ABACADA etc. The number of contrasting themes can vary from piece to piece, and the recurring element is sometimes embellished or shortened in order to provide for musical interest. Purcell’s Rondeau from Abdelazer is clearly in Rondo form (hence its name), with a form that can be represented as ABACA.

The harpsichord is a keyboard instrument that came into popularity during the Baroque era. On a piano, sound is created when the musician depresses a key which causes a hammer to strike a steel string. When a musician depresses the keys on a harpsichord, the sound is generated by the plucking of the internal strings (instead of striking them).

behind the music

9

about the composers

BENJAMIN BRITTEN

(1913-1976)

Benjamin Britten first started writing music because he was fascinated by the pattern of notes in music scores. When he was five, he asked his mother, a pianist, to play a piece of music he had written and, according to Britten, when she saw the music, her look of “horror upset [him] considerably.” Soon the young Britten had the habit of writing music every day before breakfast. He later became one of the most beloved British composers in history. In addition to music, Benjamin Britten enjoyed math and sports, and was captain of his cricket team. At the age of 17 he enrolled in the Royal College of Music in London where he studied with a composer he greatly admired, Frank Bridge. His first music job was composing soundtracks for documentary films produced by a group named the “General Post Office.” Creating music for films allowed Britten to experiment with less traditional ways of writing music. In one film, “Coal Face,” Britten recorded the sound of a cymbal crashing and played it in reverse to sound like a train crashing! This is just one example of Britten’s creative methods of writing music, which also showed up in his desire to increase musical literacy and make classical music more accessible to wider audiences. Britten is known for his gorgeous, haunting melodies and had a knack for creating texture in music that was simple yet intriguing. He enjoyed writing operas, chamber music and songs. One piece he is most famous for is the Young Person’s Guide to the Orchestra, which takes its listeners on a journey through the structure of the orchestra, demonstrating each instrument and its capabilities. Believe it or not, his first opera was about Paul Bunyan and was performed in American high schools in the 1940s. The famous poet W.H. Auden, a good friend of Britten’s, teamed up with him by writing the text for this work and many more to come. Britten died in 1976 in Aldeberg, England, leaving behind some of the most treasured music to come out of his country.

10

about the composers

Y O U N G P E R S O N ’S G U I D E T O T H E O R C H E S T R A

(1 9 4 6 )

Britten wrote A Young Person’s Guide to the Orchestra in 1946 as part of the score for a British Ministry of Education film entitled “Instruments of the Orchestra.” The piece begins with the full orchestra playing a sweeping, stately theme based on the Rondeau from Abdelzaer by Purcell (details on page 8). Britten then briefly introduces each section of the orchestra: woodwinds, brass, strings, and percussion and each play their own variation on that theme. After this introduction to the different families of the orchestra by repetitions of the theme, there is a more in-depth look at the different instrument families with variations on the theme played by individual instruments. This sequence begins by featuring the piccolo and flutes, with the underlying harmonic structure maintained by the harp and strings. Each member of the woodwind family is then introduced in turn, highlighting the unique sound of each instrument. This format is then copied by each instrument in the string family, followed by the brass and then percussion. To conclude the work, Britten wrote his own brisk and lively fugue subject (see fugue below), which is in itself a variation on Purcell’s theme. In this fugue, the piccolo starts, and all the instruments or groups of instruments enter in the order in which they were heard in the preceding variations. With all the instruments playing together, the composition comes to a grand climax when the brass sound the original Purcell theme.

A fugue is a type of compositional form in music. It begins with a theme, stated by a solo voice. A second voice then joins in, playing the same theme while the first voice continues with a contrasting line. This continues with the remaining voices, entering one by one, each beginning by stating the original theme. The remainder of the fugue continues with further development of the musical material by all of the voices with many statements of the original theme.

behind the music

L IOS R L T E NCI N OGN G EU LIQ D EU I S D O L O R E E T , TRACKS LISTENING COMMENTS 2-16 Theme: Full orchestra begins with the theme from Purcell’s TRACK 2 Rondeau from Abdelazer, followed by slight variations by each of the instrument families (woodwinds-brass-stringspercussion).

TRACK 3

Variation A: Flutes play gently with the shrill piccolo accompanied by the harp and strings.

TRACK 4

Variation B: Oboes play a sweeping melody accompanied by the strings.

TRACK 5

Variation C: Clarinets accompanied by a tuba bass line and pizzicato strings.

TRACK 6

Variation D: Bassoons accompanied by staccato bow strokes by the low strings.

TRACK 7

Variation E: Violins play a melody that shows off their wide range and versatility.

TRACK 8

Variation F: The warmth of the Violas is punctuated by accents played by the low brass and woodwinds.

TRACK 9

Variation G: A smooth transition introduces the Cellos who play a mournful variation offset by the low woodwinds.

TRACK 10

Variation H: The Basses play a playful, accelerating melody accompanied by accents by the flutes, oboes and tambourine.

TRACK 11

Variation I: The Harp has its moment in the sun exhibiting the instrument’s wide range and dramatic flair, heightened by a blast from the brass.

TRACK 12

Variation J: The French horns sound their call, swayed by the strings, and then show off their power.

TRACK 13

Variation K: The Trumpets exhibit their dexterity with a swift, climbing line.

TRACK 14

Variation L: Trombones begin with a regal melody, echoed by the tuba. They then play together, accompanied by the woodwinds. orem accumVariation elessequam dolore dolor si essi ero diam, M: Percussion family introduced by aquissequis melody on ad the TRACK 15 ting et niatum vulla feugiam, vent nim zzriliquis eugait wis diat. Duisi timpani. Other percussion instruments featured include bass tincil delit accumsa sequat, sit wisse magnibh et vel et utat vel ut drum,diat, cymbals, tambourine, triangle, snare drum, xylophone, wis at, vel ute modo doloreet ilit vent iustrud te feuip essent vel dunt at castanets, and gong (tam-tam). Ends with a quiet xylophone volum iure feummy niatem etue del ullut eugiam, susci bla conse tionse passage. te magnim iusto consequatem irit atie feuismo ortio elit augue feuipit Fugue: Starts with therilla piccolo, followed bymincipit, all the quat, atTRACK laor alit16accum quipism dolobor feu faccum ilisinad woodwinds, strings, brass and percussion in turn. Next, the conummodio et ate feugait, venibh ex el inis am zzriusting erostinit brass are re-introduced with Purcell’s original melody incing enit acipism digna faci et nibh et, quamcommy nullaoreet while lor inthe remainder continue the fugue theme until the piece comes hendip et amconum alit, vercidunt essed dolessi tie deliquis alit prat, to a majestic finish. sequam aut iustrud dolessequat. Ut eumsandrero odiatue minis nis nonum dolorem iureros doloborem etum diamet nit lor sim vendrem voluptatem verciliquis autatue tet, quiscil eum irilit vero conse delestie consed do dolore vel il dolor ad euisi eraessenit la aliquat lam, ver susciduisis nulla feu faci blaorpero elit incipsu ciduisim veliquis esequam SPOTLIGHT THEME VARIATIONS quat, sis alit dolent laoreet wis elendreet, quatie consed ecte minibh erciduip ea facilit la alis ex eriliquam ipisis dolortis aut lutat. Dui exeriure Theme and variation is a musical form, somewhat similar to Rondo form

L

:

&

followed by a number of variations on that theme. modipsustrud min vendipi sissim zzril ulla main ad dui eu feugiam volore modolent prat ad te feugue modolor sustie modiamc rpercip eummy A musical is simply musical idea, or melody, of a musical nibh er ingtheme et at augue ea the facilmain esectem incil utpate minci ercidunt wis composition. Through harmonic, melodic, rhythmic, color or instrumental digna faccum dolore dolore del essectet dip et iliqui tie feugue duisit, changes, variations on a theme are created. However, there must be some quisit volummy nullamet dolorperit atuero dolore essit augiamet lorem elements of the original theme that remain intact in order for it to be a true zzril dunt iure exercin ex ex eros num dignim zzrit adipit lore modolorer variation. si. orpercilla ad dunt lummolo orper am euisit nibh ex ea commolobore While many composers havenibh written pieces the sustism theme and variations dolesequip etum venim ex ex essisinexer lesse form, skilled musicians, if they know a theme well enough, can faccumsandre eliquat. Duipit vel irilla consecte et, cons endreimprovise feuguer variations. Improvisation elaborate popular theme is one iliquat ut augait wissim inofex erostingvariations exer incilon ditavel dolorpe aesequam of the core elements of the jazz genre. dolore minissequat, cons nos aut aliquis dolortion

L

behind the music

11

about the composers

GEORGE GERSHWIN

(1898-1937)

Born Jacob Gershovitz in 1898 to Russian Jewish immigrant parents, George Gershwin is one of American’s most beloved composers. He wrote popular songs, Broadway musicals and compositions for the classical concert hall. The second of four children, George wrote most of his vocal and theatrical works in collaboration with his older brother, Ira. When he was twelve, George’s parents acquired a piano for his brother Ira’s music lessons, but it was George who really took to the piano. Charles Hambitzer, one of his first piano teachers and lifelong mentor, taught George conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestral concert, after which, George would attempt to reproduce the music he had heard on the piano. Gershwin’s first published song was “When You Want ‘Em You Can’t Get ‘Em, When You’ve Got ‘Em, You Don’t Want ‘Em.” He was 17 and it earned him a total of $5.00. George’s first job as a performer was as a piano pounder for a publishing company in Tin Pan Alley in New York City. In 1924, George and Ira collaborated on their first musical comedy, Lady Be Good. This was followed by a string of successes including Funny Face, Strike Up the Band, Girl Crazy (which introduced “I Got Rhythm”) and Of Thee I Sing, which became the first musical comedy to win a Pulitzer Prize. Rhapsody in Blue and An American in Paris are examples of Gershwin’s classical compositions and exemplify the influence the French composers of the early twentieth century had on his compositional style. One of Gershwin’s most famous compositions is his “folk-opera,” Porgy and Bess. Although not popular while he was alive, this opera has become one of the most beloved and successful operas written and is widely thought of as the most important American opera of the 20th century. The music combines elements of popular music of the day, which was strongly influenced by black music, with techniques found in Western opera, such as recitative and leit motifs. At the young age of 38, George died from a brain tumor. He was inducted into the Long Island Music Hall of Fame in 2006. There is also a theater named after him called the George Gershwin Theatre where hit Broadway musicals and plays are regularly presented. Gershwin’s music is infused in popular American culture.

12

about the composers

VARIATIONS ON

“I

GOT RHYTHM”

(1934)

Variations on “I Got Rhythm” is a set of variations for orchestra and solo piano. It was the last classical concert piece that George Gershwin wrote and was the first and only of his compositions that he dedicated to his brother Ira. In early 1934, Gershwin planned a month long tour of the USA where he would play a concert in a different city every night. The marketing tag for the tour was the 10th anniversary of Rhapsody in Blue, and George decided he needed a new work to form a companion piece to the Rhapsody. He finished the composition just in time for the first performances of the tour. Gershwin used the melody of his hit song “I Got Rhythm” (one of his personal favorites) from the musical Girl Crazy as the theme for the piece.

VOCABULARY Pulse – the ‘heartbeat’ of a piece of music Pitch - the highness or lowness of a particular sound Rhythm – the groupings of beats or pulses into patterns, suggesting forward movement Melody – a succession of notes or pitches that create a ‘tune’ Dynamics - the degree of loudness or softness in music Tempo – the speed of a piece of music

behind the music

LISTENING GUIDE TRACK 18

LISTENING COMMENTS

0:00-

• Clarinet plays first 4 notes of “I Got Rhythm” theme followed by two ‘mini-variations’ on the opening notes. • Piano echoes the clarinet.

0:190:481:21-

• Orchestra enters in sections, playing pieces of the theme.

1:33-

• Piano plays first variation which invovles disjointed rhythm and pitches. Brass and percussion echo original theme as accompaniment.

2:00-

• Piano releases into the second half of original theme with a ‘call and response’ from the woodwinds and orchestra bells.

• Solo piano enters stating the full melody in its original form. • Strings and brass play a sweeping line followed by a quirky moment in the woodwinds.

2:40-

• Low strings introduce the melancholy mood of the upcoming variation. Piano plays a lazy, almost sloppy melody accompanied by glissando strings and a low rumble in the brass.

3:29-

• The melancholy mood continues, but the piano is stronger and more strident and pieces of the original melody become more clearly recognizable.

4:00-

• Percussion takes over creating an almost Eastern feel using the xylophone and gong. Brass play the theme which sounds just a bit ‘off.’

5:21-

• Brass return to material that sounds much more like the original theme, accented by the bass drum.

5:38-

• Strings play a slow, swinging version of the theme’s opening material. Following, the woodwinds play a melody that dances along with the strings’ swinging accompaniment.

6:33-

• Solo piano enters with a variation that includes a low, almost ‘boogie-woogie’ bass line and a treble line with small ornamentations, while maintaining the slow, swinging mood introduced previously by the strings and woodwinds.

7:10-

• Piano trills, low strings play staccato, repetitive bass line accompanied by glissando blasts from the brass. • Piano plays pieces of the theme that are accented by the snare drum, woodblocks, and cymbals.

7:55-End

• Brass lead into the return of the original theme. Each section of the orchestra takes a turn accenting the piano melody (brass-woodwinds-strings & percussion). Together, the piano and orchestra join together for a grand finish.

SPOTLIGHT: JAZZ

&

CLASSICAL MUSIC

Early in the 20th century, classical composers were attracted to the newness of jazz. Jazz offered inspiration and provided new areas to explore. As early as the 1890’s, Johannes Brahms was experimenting with ragtime, an early precursor to jazz. European classical composers were exposed to this adventurous American musical form through recordings of early jazz artists like Jelly Roll Morton and King Oliver of New Orleans. In addition, the growing African American expatriate community brought jazz to Europe’s cultural centers. American composers were also quick to embrace the native jazz form. Perhaps the most well known example of the power jazz could have in the classical music world is found in George Gershwin’s Rhapsody in Blue written in 1924. Gershwin was already a huge success in popular music, and was beginning to establish himself in the classical realm at this time. A pioneer in crossing musical boundaries, Gershwin embraced jazz for its uniquely American characteristics, its complex rhythm, and its passion.

behind the music

13

about the composers

GREGORY VAJDA Now in his second season with the Oregon Symphony, Resident Conductor Gregory Vajda is considered one of the most brilliant conductors emerging on the international scene. Prior to coming to Portland, Vajda completed a three-year term as the Assistant Conductor of the Milwaukee Symphony Orchestra. As Resident Conductor, Gregory’s responsibilities include conducting select Oregon Symphony Classical and Pops concerts, in addition to serving as the primary conductor for the Young People’s Concerts and Kids Concerts. He also serves as the orchestra’s chief “cover” conductor, which requires him to be available and prepared to conduct any concert or rehearsal on a moment’s notice. His primary responsibility is to partner with Music Director Carlos Kalmar in maintaining the day-to-day artistic integrity of the orchestra. Gregory grew up in a musical family. His mother was an opera singer and his father was a bassoonist (just like his wife!). He began his musical studies at age six, playing the violin for five years before switching to the clarinet. Gregory says that his Dad picked out the clarinet for him because “it is the most versatile woodwind instrument.” And indeed, aside from classical music, he has played some jazz and even rock music on the clarinet. Vajda started composing at age 15 and began conducting at 20. He studied clarinet and composition at the Béla Bartók secondary school. He then studied conducting at the Franz Liszt Academy of Music under Professor Ervin Lukács. He was also a conducting pupil of the wellknown twentieth-century composer and conductor, Péter Eötvös Prior to his appointment with the Milwaukee Symphony Orchestra, Vajda served as founder and artistic advisor of the Valley of the Arts Summer Festival in Hungary, permanent guest conductor of the Hungarian State Opera, principal conductor of the Ernö Dohnányi Symphony Orchestra in Budapest, and was a member of the Austro-Hungarian Haydn Orchestra. Recently, he conducted his own composition for the silent film The Crowd at the Auditorium of the Louvre in Paris. He has also recorded his own orchestral piece entitled Duevoe with the Hungarian Radio Symphony Orchestra. He was honored with the Zoltán Kodály State Scholarship for composers for the year 2000, and the Annie Fischer State Scholarship for music performers in 1999. Gregory lives in Portland.

14

about the composers

PURCELL-VARIATION

(2002)

In writing his variation on Purcell’s Rondeau theme from Abdelazer, Gregory was attempting to show his “opinion” of Purcell’s theme. His goal was to provide an example of how a living, 21st Century composer, can transform a piece of music from the Baroque era into something new and fresh. Vajda’s variation focuses on sound color (see timbre below) and offers a glimpse into his ideas regarding writing for an orchestra. Vajda used a very simple but rewarding way of transforming the famous Purcell melody. He basically replaced the shortest notes with the longest ones - meaning the faster the original note is, the slower it is in his version and vice versa. In this way he was able to keep the melody recognizable but still give it a very new sound.

In music, timbre refers to the quality of a musical note or sound produced by a musical instrument or the human voice. Timbre is often referred to as the tone quality or tone color of a sound. For example, timbre is what, with a little practice, people use to distinguish the trumpet from the trombone in a brass quintet, even if both instruments are playing the same notes at the same volume and time.

listening guide

LISTENING GUIDE TRACK 19

20

THEME Full orchestra

Strings

Composer/ Composition Leonard Bernstein’s Overture to Candide

Excerpt, Piotr Tchaikovsky’s Serenade for Strings, Finale

LESSON

LISTENING COMMENTS

Sound awareness (page 3)

Brass and percussion kick-off the overture with a brilliant beginning to this high-energy piece.

Strings (page 16)

Starts with melody in middle-low strings (violas, celli, and string basses). High strings (violins) join in and take over the melody.

Many changes in texture, tempo, instrumentation and dynamics make this piece exciting and fun. As it comes to an end, the tempo gets faster and faster, leading to a dramatic finish.

Contrasts in melodic material: smoother or legato sections followed by shorter or staccato sections. Speed of music (tempo) slows down for a majestic ending.

21

Woodwinds

Excerpt, Piotr Tchaikovsky’s Symphony No. 4, Scherzo

Woodwinds (page 17)

Begins with oboe accompanied by the lowest sounding woodwind instrument, the bassoon. The melody is then passed between the flutes and clarinets. Finishes with characteristic flourishes that are commonly heard in the woodwinds, this time flute and piccolo.

22

Brass

Excerpt, Giovanni Gabrielli’s Canzon Septimi toni No. 2

Brass (page 18)

Starts with full brass, trumpets, French horns, trombone, and tuba. Contrasts in melodic: material, some short or staccato sections followed by smooth or legato sections. Melody is passed or echoed among brass instruments.

15

Percussion

Variation M: Percussion, Benjamin Britten’s A Young Person’s Guide to the Orchestra

Percussion (page 19)

Entire excerpt is based on the timpani (kettle drums) melody heard in the beginning. Features many different percussion instruments including timpani, bass drum, cymbals, tambourine, triangle, snare drum, xylophone, castanets, and gong (tam-tam). Instead of getting louder as we approach the end, it gets softer (diminuendo) and ends with a quiet xylophone passage.

behind the music

15

appendix

STRING

FAMILY

how it works hen you look at a stringed instrument, the first thing you’ll probably notice is that it’s made of wood, so why is it called a stringed instrument? The bodies of the stringed instruments, which are hollow inside to allow sound to vibrate within them, are made of different kinds of wood; but the part of the instrument that makes the sound is the strings, which are made of nylon, steel or sometimes gut. The strings are played most often by drawing a bow across them. The handle of the bow is made of wood and the strings of the bow are actually horsehair from horses’ tails! Sometimes the musicians will use their fingers to pluck the strings (which is called playing pizzicato), and occasionally they will turn the bow upside down and play the strings with the wooden handle.

the instruments The strings are the largest family of instruments in the orchestra and they come in four sizes: the violin, which is the smallest, viola, cello and the biggest, the double bass, sometimes called the contrabass. (Bass is pronounced “base,” as in “baseball.”) The smaller instruments, the violin and viola, make higherpitched sounds, while the larger cello and double bass produce low rich sounds. They are all similarly shaped, with curvy wooden bodies and wooden necks. The strings stretch over the body and neck and attach to small decorative heads, where they are tuned with small tuning pegs. You play the violin and viola by resting it between your chin and left shoulder. Your left hand holds the neck of the instrument and presses down on the strings to change the pitch, while your right hand moves the bow or plucks the strings. Since the cello is too large to put under your chin, you play it sitting down with the body of the cello between your knees and the neck on your left shoulder. The body of the cello rests on the ground and is supported by a metal peg. The double bass is so big that you have to stand up or sit on a very tall stool to play it. Like the cello, the body of the double bass stands on the ground, supported by a metal peg and the neck rests on your left shoulder. You play the cello and the double bass in a similar manner to the violin and viola, using your left hand to press down on the strings and your right hand to move the bow or pluck the strings.

After learning about the String Family, listen to track 20 of the companion CD for a musical excerpt that highlights the String Family.

16

string family

appendix

WOODWIND

FAMILY

how it works The instruments in the Woodwind family used to be made of wood, which gives them their name. Today, they are made of wood, metal, plastic or some combination. They are all basically narrow cylinders or pipes with holes, an opening at the bottom and a mouthpiece at the top. You play them by blowing air through the mouthpiece (that’s the “wind” in “woodwind”) and opening or closing the holes with your fingers to change the pitch. Metal caps called keys cover the holes of most woodwind instruments. The mouthpieces for some woodwinds, including the clarinet, oboe and bassoon, use a thin piece of wood called a reed, which vibrates when you blow across it. The clarinet uses a single reed made of one piece of wood, while the oboe and bassoon use a double reed made of two pieces joined together. To play the clarinet and the oboe, you hold the instrument upright, blow through the reed in your mouth and use both hands to press down on the keys to open and close the holes and change the pitch. The flute is played by holding it horizontally with both hands and blowing across a hole in the mouthpiece, much like blowing across the top of a bottle. Your fingers open and close the keys to change the pitch. You play the bassoon by holding it upright and blowing through the double reed just like an oboe. The air travels down the tube and then makes a u-turn and goes up and out the top. Just like the oboe, clarinet and the flute, you use both hands to press on the keys to open and close the holes and change the pitch.

the instruments Just like the stringed instruments, the smaller woodwinds play higher pitches while the longer and larger instruments play the lower pitches. The woodwind family of instruments includes, from the highest sounding instruments to the lowest, the piccolo, flute, oboe, English horn, clarinet, E-flat clarinet, bass clarinet, bassoon and contrabassoon.

After learning about the Woodwind Family, listen to track 21 of the companion CD for a musical excerpt that highlights the Woodwind Family.

woodwind family

17

appendix

BRASS

FAMILY

how it works If you think the brass family got its name because the instruments are made of brass, you’re right! This family of instruments can play louder than any other in the orchestra and can also be heard from far away. Although their early ancestors are known to have been made of wood, tusks, animal horns or shells, today’s modern instruments are made entirely of brass. Brass instruments are essentially very long pipes that widen at their ends into a bell-like shape. The pipes have been curved and twisted into different shapes to make them easier to hold and play. Like the woodwind family, brass players use their breath to produce sound, but instead of blowing into a reed, they vibrate their own lips by buzzing them against a metal cup-shaped mouthpiece. The mouthpiece helps to amplify the buzzing of the lips, which creates the sound. Most brass instruments have valves attached to their long pipes; the valves look like buttons. When you press down on the valves, they open and close different parts of the pipe. You change the pitch and sound by pressing different valves and buzzing your lips harder or softer.

the instruments The brass family members that are most commonly used in the orchestra are the trumpet, French horn, trombone and the tuba. To play all four of the different brass instruments, the first step is to buzz your lips into the mouthpiece. Each brass instrument has a different shaped mouthpiece, helping to create the different sounds. The trumpet is the smallest member of its family and plays the highest pitches. You play the trumpet by holding it horizontally, buzzing your lips into the mouthpiece and pressing down the three valves in various combinations to change pitch. To play the French horn, you hold it with the bell curving downward and buzz into the mouthpiece. Your left hand plays the three valves and you can change the type of sound you make by the way you place your right hand in the bell. You play the trombone by holding it horizontally, buzzing into the mouthpiece and using your right hand to change pitch by pushing or pulling the slide to one of seven different positions. You play the tuba sitting down with the instrument on your lap and the bell facing up. You blow and buzz into a very large mouthpiece and use your hand to press down on the valves which changes the sound. It takes a lot of breath to make sound with the tuba! After learning about the Brass Family, listen to track 22 of the companion CD for a musical excerpt that highlights the Brass Family.

18

brass family

appendix

PERCUSSION

FAMILY

how it works The percussion family is the largest in the orchestra. Percussion instruments include any instrument that makes a sound when it is struck, shaken or scraped. Some percussion instruments are tuned and can sound different notes, like the xylophone, timpani or piano, and some are untuned with no definite pitch, like the bass drum, cymbals or castanets. Percussion instruments keep the rhythm, make special sounds and add excitement and color. Unlike most of the other players in the orchestra, a percussionist will usually play many different instruments in one piece of music. Percussionists also use different kinds of mallets to change the sound when striking or scraping an instrument. Brushes, mallets and sticks come in various shapes and sizes.

the instruments The instruments of the percussion family have international ancestors from the Middle East, Asia, Africa, the Americas and Europe representing musical styles from many different cultures. The most common percussion instruments in the orchestra include the timpani, xylophone, cymbals, triangle, snare drum, bass drum, tambourine, gongs, chimes, celesta and piano.

After learning about the Percussion Family, listen to track 15 of the companion CD for a musical excerpt that highlights the Percussion Family.

percussion family

19

appendix

THE ORCHESTRA

20

the orchestra

appendix

OUR SOLOIST

RESOURCES 16 year-old Marshall Cuffe is a Junior at Sprague High School in Salem, who thoroughly enjoys studying piano and organ with Pamela Miller. Marshall also plays viola in the elite Sprague High School Camerata Orchestra, and is a member of their string quartet. He sings in concert choir, and accompanies them on piano as needed.

He was just 11 years old when Jason Lee Methodist Church hired him as a substitute organist, and since then he has played for over 30 church services in eight different churches, including weddings and funerals. He is currently on staff at First Presbyterian Church in Salem, accompanying their Seraphim Choir. In 2005 he was chosen as “Outstanding Young Musician” by Portland’s All Classical 89.9 radio station, which aired one of his organ concert several times throughout 2005-2006. Following this honor, KBPS sponsored Marshall in an hour long organ concert in May 2006 at Trinity Episcopal Cathedral in Portland. Marshall has received 5 OMTA Bach Festival medals in both piano and organ. His original composition, “Variations on Amazing Grace” was selected among others in an Oregon Music Teachers Associationsponsored composers competition to be published.

O r c h e s t r a We b s i t e s O f f e r i n g I n t e r a c t i v e R e s o u r c e s Oregon Symphony - Interactive map of the orchestra, plus learn all about the musicians in the orchestra including what books they’re reading and what they like to cook! www.orsymphony.org/edu/instrumnets/index.html BSO Kids - Official Education Partner of the Baltimore Symphony Orchestra. www.bsokids.com/kids/. Dallas Symphony for Kids - A national award-winning site to get youngsters (and their teachers) more involved in classical music. Games, music, classroom activities, and information about going to the symphony. www.dsokids.com. New York Philharmonic for Kids: “Kidzone” - Interactive games, music, classroom activities, and information about classical music and fun facts about music composition. www.nyphillkids.org. San Francisco Symphony Kids’ Site - Teaches the instruments of the orchestra, the basics of reading music, and has an online radio to listen to some of classical music’s greatest hits. www.sfskids.org/. Music Web sites Designed for Kids American Symphony Orchestra League www.playmusic.org. Sphinx Kids - The Sphinx organization is dedicated to building diversity in classical music. Their new web site for kids includes games, videos and music, with a special focus on minority composers and musicians. www.sphinxkids.org. Classical Composers Database www.classical-composer.org.

Aside from composing and playing music, Marshall keeps a 3.8 grade point average, is active in the Trinity Covenant Church youth group, and enjoys watching movies with friends, reading, and art.

FirstGovforKids: Federal Citizen Information Center - Do you ever wonder where your favorite band would be without music? Learn how “note”-able music is in our society by clicking on the links. www.kids.gov/k_music.htm. The Symphony: An Interactive Guide http://library.thinkquest.org/22673/index/ html. Carnegie Hall http://www.carnegiehall.org/article/explore_and_learn/art_online_ resources_listening_adventures.html.

our conductor and resources

21

appendix

OREGON SYMPHONY ROSTER Violin I Amy Schwartz Moretti, Concertmaster Peter Frajola, Associate Concertmaster Erin Furbee, Assistant Concertmaster Fumino Ando Clarisse Atcherson Ron Blessinger Eileen Deiss Julie Coleman Mary Ann Coggins Kaza Jonathan Dubay Kathryn Gray Paloma Griffin** Marlene Majovski Deborah Singer Violin II Chien Tan**, Principal Elena Hirsu*, Principal Dolores D’Aigle, Assistant Principal Virginia McCarthy Lynne Finch Keiko Araki Gregory Ewer Daniel Ge Feng Lisa Hansen** Shin-young Kwon Eileen Lande Sarah Roth Inés Voglar

Viola Joël Belgique, Principal Charles Noble, Assistant Principal Jennifer Arnold Viorel Bejenaru Masayo Higuchi Leah Ilem* Stephen Price Brian Quincey Martha Warrington Connie Whelan Cello Nancy Ives, Principal David Socolofsky, Assistant Principal Adam Esbensen Kenneth Finch Trevor Fitzpatrick Bridget Kelly Gayle Budd O’Grady Úna Fionnuala O’Riordan Timothy Scott Bass Frank Diliberto, Principal Kenneth Baldwin, Assistant Principal Samuel Hager* Donald Hermanns Jeffrey Johnson William Ofstad Jason Schooler Tommy Thompson

INTERACTIVE MAP OF THE ORCHESTRA Take advantage of this online resource that provides detailed descriptions and pictures of the instruments that make up the Oregon Symphony. http://www.orsymphony.org/edu/instruments/index.html

22

Oregon Symphony roster

Flute David Buck, Principal Martha Herby Carla Wilson Piccolo Carla Wilson Oboe Martin Herbert, Principal Karen Wagner Harris Orem English Horn Harris Orem Clarinet Yoshinori Nakao, Principal Cheri Ann Egbers Todd Kuhns

Trumpet Jeffrey Work, Principal David Bamonte*, Assistant Principal Warren Bartold* Trombone Aaron LaVere, Principal Robert Taylor Alan Pierce BassTrombone Alan Pierce Tuba JáTtik Clark, Principal Keyboard Katherine George, Principal

E Flat/Bass Clarinet Todd Kuhns

Harp Jennifer Craig, Principal

Bassoon Mark Eubanks, Principal Robert Naglee** Ann Kosanovic-Brown* Leon Chodos*

Timpani Paul Salvatore, Principal

Contrabassoon Leon Chodos* Horn John Cox, Principal Joseph Berger, Associate Principal Nathaniel Willson*, Assistant Principal Mary Grant Linda Campos*

Percussion Niel DePonte, Principal Steve Lawrence Christine Perry *Acting **Leave of absence

yc teachers guide cover_revised_06.qxp

1/3/2007

2:22 PM

Page 2

Oregon Symphony Education & Community Engagement Programs are supported by:

Credits:

Anonymous

HealthNet of Oregon

RBC Dain Rauscher Foundation

Emilia Smith

Hanna Andersson Children’s Foundation

William Randolph Hearst Foundation

Regional Arts & Culture Council

Autzen Foundation

H.W. & D.C.H. Irwin Foundation

Tektronix Foundation

Bank of America Foundation

JFR Foundation

Herbert A. Templeton Foundation

Boeing Foundation

National Endowment for the Arts

Union Pacific Foundation

Clark Family Foundation

Oregon Arts Commission

US Bancorp Foundation

Mike and Tracey Clark Foundation

PacifiCorp Foundation for Learning

Patty Vemer Education Fund

Comcast

Papé Family Foundation

Washington Mutual Foundation

Max & Victoria Dreyfus Foundation

PGE Foundation

Juan Young Trust

Karen and Bill Early

Franklin & Dorothy Piacentini Charitable Trust

Director of Education & Community Engagement

Monica Hayes Education & Community Engagement Coordinator

Bob Phillips Suellen Lacey Curriculum Development

NON-PROFIT ORG U.S. POSTAGE

PAID PORTLAND, OR

921 SW Washington, Suite 200 Portland, Oregon 97205-2800

OrSymphony.org

PERMIT NO. 934