Madison Symphony Orchestra Proudly Presents:

SYMPHONY SOUP

Concert Curriculum Guide

John DeMain, Conductor

Tuesday | May 10, 2016

Overture Center for the Arts

10:15 AM | 12:15 PM

CONCERT CURRICULUM GUIDE CONCERT CURRICULUM GUIDE

llustration: Steven Moore Photo: Steven Moore

with funds from the State of Wisconsin and the National Endowment for the Arts

Dear Music Educator

The Madison Symphony Orchestra welcomes you to the 2016 Symphony Soup Concerts! Symphony Soup is a special way for students in Kindergarten through third grade to learn about classical music through the experience of a live symphony concert. The idea of “soup” conveys the way ingredients, spices, and flavors combine in a delicious bowl of soup, just as musical instruments come together to create beautiful music that can lift and refresh the soul. It is possible to eat a single noodle from a bowl of soup, and so too can parts of music be separated out of the orchestra. However, to fully appreciate music (or a bowl of soup) all the parts must be heard together. The concert contains pieces that are between two and five minutes long, including music from a variety of styles, genres, and centuries. This guide includes basic background information about the songs, composers and orchestra, with the goal of enriching the concert experience in an age-appropriate way. Bon appétit!

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Additional support provided by:

Special Thanks to Our Sponsors!

Symphony Soup Madison Symphony Orchestra

John DeMain, Conductor

Tuesday |May 10, 2016

10:15 AM | 12:15 PM Capitol Theater

Table of Contents: Program:

Program................................3

Meet the Symphony.............4

Meet the Symphony (cont.) 5

Mozart………………..................6

Vivaldi………………………………...7

Haydn………………………………...8

Grieg……………………….............9

Bizet…………………………………..10

Tchaikovsky..........................11

Gershwin……………………..…...12

Rossini……………………………….13

Resources…..…..…….…………..14

Important Information……..15

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Wolfgang Amadeus

Mozart

Antonio Vivaldi

Joseph Haydn

Edvard Grieg

Georges Bizet

Pyotr Ilyich Tchaikovsky

George Gershwin

Gioachino Rossini

Overture to The Marriage of Figaro Spring from The Four Seasons, I. Allegro Symphony No. 94 in G Major, “Surprise,” II. Andante Peer Gynt Suite, No. 1, Op. 46 “In the Hall of the Mountain King” “Les Toreadors” from Carmen Suite No. 1 “Waltz of the Flowers” from Nutcracker “I Got Rhythm” Allegro from the William Tell Overture

© Warner Bros.

Meet the Madison Symphony Orchestra What is a “symphony?” The word symphony has two different meanings. One meaning is related to a group of musicians—or an ensemble—that uses string, woodwind, brass and percussion instruments. In this case, you would say, “I am going to see the symphony.” The other meaning of symphony is a piece of music written for the orchestra. A symphony usually has four different sections, which are called movements. Here you could say, “The piece of music I am listening to is a symphony.”

A symphony orchestra is made up of musicians playing many different instruments. String Section (up to 50 musicians): Brass Section (12 musicians): Violin Horn Viola Trumpet Cello Trombone Bass Tuba Harp Percussion Section (5 musicians): Woodwind Section (12 musicians): Timpani Flute Triangle Piccolo Snare Drum Oboe Cymbals English Horn Glockenspiel Clarinet Bass Drum Bass Clarinet Xylophone Bassoon Piano Contrabassoon

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Meet the Madison Symphony Orchestra

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So how do all of these musicians manage to play a piece of music together? They are led by the conductor. His/her job is to choose the music that the orchestra will play and then to stand at the front of the orchestra, leading the musicians through the music. You will see the conductor using a baton to keep

the beat and cuing instruments to begin playing. The conductor also uses hand signals to tell the orchestra how to play the music—loudly, softly, smoothly, intensely and so on.

Photo by Greg Anderson

Since arriving in Madison in February 1994, Mr. DeMain has enriched the cultural life of the city. He has been named "Madison Musician of the Year" by the Wisconsin State Journal and The Capital Times, and has been named "Madison's Maestro" by former City of Madison Mayor Dave Cieslewicz and former State of Wisconsin Governor Jim Doyle. John DeMain also holds the position of Artistic Director of the Madison Opera. A native of Youngstown, Ohio, John DeMain began his career as a pianist and conductor. After winning the Youngstown Symphony's piano competition at the age of 18, he went on to earn a bachelor’s and master's degree in music at the Juilliard School of Music. Mr. DeMain served as Music Director and Principal Conductor for the Houston Grand Opera for 18 years. During his distinguished tenure with that organization, he led a history-making production of George Gershwin's Porgy and Bess, which he subsequently recorded for RCA and won a Grammy Award. John and his wife Barbara live in Madison.

© Disney

Photo by Greg Anderson

VIOLIN I Naha Greenholtz Concertmaster Suzanne Beia Co-Concertmaster Beth Larson Associate

Concertmaster Olga Pomolova Associate

Concertmaster Neil Gopal Assistant

Concertmaster Tim Kamps Clare Bresnahan Laura Burns Jon Vriesacker Mary Theodore Paran Amirinazari Sophia Arriaga Janis Akane Sakai Clayton Tillotson Peter Miliczky +Huy Luu +Alice Bartsch +Eleanor Bartsch +Deanndra Deblack +Valerie Sanders VIOLIN II Leanne Kelso League Principal Elspeth Salter-Clouse Olga Draguieva Erica Cross Rolf Wulfsberg Wes Luke Kathryn Taylor Wendy Buehl Geri Hamilton Robin Ryan Matthew Dahm Elliot Stalter +Xavier Deblack +Rachel Hauser VIOLA Christopher Dozoryst Principal Katrin Talbot Diedre Buckley Renata Hornik Elisabeth Deussen Sharon Tenhundfeld Janse Vincent Jennifer Paulson Marika Fischer Hoyt Davis Perez Cynthia Edwards Rachel Mooers

CELLO Karl Lavine Principal Madeleine Kabat Karen Cornelius Lindsey Crabb Jordan Allen Margaret Townsend Lisa Bressler Laurie Riss Derek Handley Adam Ayers BASS Fredrick Schrank Principal Robert Rickman Carl Davick Zachary Betz August Jirovec Brian Melk Michael Hennessy FLUTE Stephanie Jutt Principal Elizabeth Marshall Linda Pereksta PICCOLO Linda Pereksta OBOE Marc Fink Principal Jennifer Morgan Andrea Gross Hixon ENGLISH HORN Jennifer Morgan CLARINET Joseph Morris Principal Nancy Mackenzie BASS CLARINET Gregory Smith BASSOON Cynthia Cameron-Fix Principal Amanda Szczys Carol Rosing CONTRABASSOON Carol Rosing + On leave 2015-2016

HORN Linda Kimball Principal Ricardo Almeida Michael Szczys William Muir Anne Aley TRUMPET John Aley Principal Frank Hanson David Cooper TROMBONE Joyce Messer Principal Benjamin Skroch BASS TROMBONE Michael Allsen TUBA Joshua Biere Principal TIMPANI John Jutsum Principal PERCUSSION Anthony DiSanza Principal Richard Morgan Nicholas Bonaccio HARP Karen Beth Atz Principal ORGAN Samuel Hutchison Principal PIANO Daniel Lyons Principal

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Overture to The Marriage of Figaro Mozart (1756-1791)

Wolfgang Amadeus Mozart was one of the most significant composers of classical music to have ever lived, writing over 400 compositions in his lifetime. Considered a child prodigy, he began writing music as early as four years old (with help from his father). By the age of seven he was traveling all over Europe, performing for influential royalty in Paris, London, Munich, and The Hague. During his travels, Mozart met many famous composers, including a son of Johann Sebastian Bach, Johann Christen, who was highly impressed with the young Mozart’s musicianship. Mozart quickly developed an interest in the opera format and wrote his first opera at the age of fourteen. After becoming a successful and famous composer in his home city of Salzburg, he moved to Vienna for a more lucrative job. While working in Vienna, Mozart wrote an opera about a clever and mischievous barber named Figaro who uses his antics to marry the maid that is working for his own employer.

An Overture is a short piece of music which is played before the opera begins, and often includes short melodies from the opera. Occasionally an overture can be a completely independent piece. In Mozart’s time, the overture was supposed to be very loud and rambunctious in order to get the audience to stop talking and pay attention to the stage. Mozart’s overture to the Marriage of Figaro is one of his most famous pieces and is among his more difficult pieces to play.

Figaro is a character who appears in many different plays, stories, and operas. He was first created by the author Pierre Beaumarchais for a three-part play, which was later used by Mozart as the inspiration for his opera. In the opera, Figaro shows himself to be very clever, and especially good at playing tricks on people. Figaro works for a Count who has a servant named Suzanna. Figaro plans on marrying Suzanna, but the Count keeps getting in the way, so Figaro, Suzanna, and the Countess devise a plan to embarrass the Count. The overture does a good job of showing how Figaro is sly, tricky, and humorous. In the beginning of the piece, it sort of sounds like Figaro is laughing at the Count, and later on you might hear Figaro, Suzanna, the Count, and the Countess all running around and chasing each other.

Antonio Vivaldi began playing the violin as child and often played duets with his father. He began his adult career as a priest, but he soon left the church and began teaching music at an orphanage for girls. His students quickly became well-known all over Europe. Vivaldi wrote much of his music for his students. He was even commissioned by the French king, Louis XV, to compose special music. However, Vivaldi’s music soon became unpopular, making him very poor. To make money, he sold many of his manuscripts for little money, causing his music to be rarely heard until the 1900s. In 1740, Vivaldi moved to Vienna to work for Charles VI. Soon after Vivaldi arrived in Vienna, Charles died, leaving Vivaldi with no work. A year later, Vivaldi fell ill and died. Vivaldi was a busy compos-er, writing over 500 concertos, 46 operas, and 73 sonatas.

The Story of Springtime

Vivaldi wrote a poem to go along with this concerto. The music tells us the story of what it feels like on the very first day of spring.

Spring from The Four Seasons, Op. 8, I. Allegro Vivaldi (1678-1741)

“Spring has come and is rejoicing. The birds greet it with happy songs. The streams softly murmur to the wafting of gentle breezes. But the sky suddenly grows black; lighting

and thunder speak out. Then they fade away to silence, and the birds sing once again in the

peaceful spring day.”

Signs that spring has come!

Flowers bloom

Birds sing

Snow melts

Thunderstorms roar

Grass grows

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Photo from http://www.activevetcare.ie

By Lisa Lesser

Piano Fortissimo

Fortissimo [fohr-TEE-see-moh] means the music is played very loudly. The double “f” symbol signals the musicians to play fortissimo.

Piano means the music is played softly. This little “p” is the symbol that tells the musicians to play piano.

Dynamics means the level of volume or intensity of the music. It can be loud, soft, or in between.

Why is this symphony called “Surprise Symphony?”

The music is played softly for a long time, then suddenly it is played very LOUD! The sudden change in dynamics makes this symphony surprising!

Born in Austria in 1732, Franz Joseph Haydn was the son of a wheelwright who was also an amateur harpist. At the age of 5, Haydn went to school to study violin, voice, and music. When he was 8, he was brought to St. Stephen’s Cathedral in Vienna to sing; staying there until 1749. It was not until 1759 that he finally got his first job as an orchestra director in the house of a nobleman. After this orchestra disbanded, Prince Paul Anton Esterhazy offered Haydn a job at his estate. This job included composing, conducting, directing operas, and performing chamber music. It was during this time that Haydn wrote his first great symphonies, and his fame spread throughout Europe. Haydn was great friends with Wolfgang Amadeus Mozart and later taught Ludwig van Beethoven. He died in 1809 after finishing 104 symphonies, a number rarely matched!

Symphony No. 94 in GM, “Surprise,” II. Andante Haydn (1732-1809)

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Edvard Grieg knew how to tell a story through music. Think about how he wrote his music. Close your eyes and listen to “In the Hall of the Mountain King.” What do you think is happening to Peer in this music? How is the beginning of the movement different than the end? Think about the instruments Grieg chose to create his scene. If you were the composer would you do this differently?

How did he DO that ???

Grieg was very proud of his Norwegian heritage. Many of his compositions are based on Norwegian folk songs. He is often considered a nationalist composer because of this.

Edvard Grieg was born in Bergen, Norway on June 15, 1843. He was raised in a musical home and received his first piano lessons from his mother when he was only six years old. He continued his musical studies throughout his young adult years and enrolled in a music conservatory where he studied piano composition. Grieg was a hard worker, composing symphonies, concertos, vocal music and string quartets as a young man. In his later life, Grieg was very highly regarded in Norway and he enjoyed a great deal of fame. During this time, he al-so recorded many performances that are still listened to all over the world.

In the Hall of the Mountain King is part of the Peer Gynt Suite No. 1 which was written by Grieg. The music of Peer Gynt is meant to illustrate the many adventures of the young troublemaker, Peer.

“In the Hall of the Mountain King” Grieg (1843-1907)

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“Les Toreadors” - Carmen Suite No. 1 Bizet (1838-1875)

Born into a musical family in France in 1838, Georges Bizet received good musical training from a very early age and was accepted to the Paris Conservatory at age nine. There, he became a skilled pianist and composer. When he was 17, he composed “Symphony in C,” though it was not first heard until 1935. He turned down a position as a teacher at the Conservatory so that he could focus on composing. However, he was only moderately successful during his life. Later in life, he was forced to serve in the Franco-Prussian war and suffered from health problems. In 1875, he completed the opera Carmen, which turned out to be controversial and did not last long on the French stage. Less than three months later, on June 2, 1875, Bizet died of a heart attack. Five years later, Carmen returned to Paris after having great success elsewhere in Europe and remains one of the most well-known operas to this day.

Toreador tells a musical story with two main themes. The A section is about an exciting bull fight, and the B section is about the proud toreador. The A section repeats itself at the end of the piece to create ABA form. Why would this form be called Sandwich Form? Listen to the two themes and find ways to tell the difference between them. Use actions, visuals and other cues to supplement. Consider teaching students more about the toreador or Bizet’s Carmen.

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“Waltz of the Flowers” - NutcrackerTchaikovsky (1840-1893)

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Pyotr Ilyich Tchaikovsky was born in 1840, in a western province of Russia. He studied law in St. Petersburg and also took music classes at the St. Petersburg Conservatory. In 1866, he became the teacher of harmony at the Moscow Conservatory. It was here that Tchaikovsky wrote his first operas, concertos, and symphonies. In 1876, he met Madame Nadezhda von Meck, who financially supported him for the next 14 years. During this time, Tchaikovsky wrote some of his most famous works, including “Swan Lake” and “Sleeping Beauty.” Between 1887 and 1891, he went on several very successful concert tours and was well-received in Europe and the United States. In 1891-92, he wrote “The Nutcracker” ballet and suite. In 1893, Tchaikovsky wrote Symphony #6 in B Minor (also known as “Pathetique”), but it was not well-received. Only 9 days later, he died of cholera.

Swan Lake The Nutcracker

Two of Tchaikovsky’s most famous works are ballets. One is “Swan Lake,” and the other is “The Nutcracker.” Both of these ballets are still produced by companies all over the world, and the music is easily recognized. The stories and music are even used in television and movies worldwide.

“The Waltz of the Flowers” was originally written for the ballet Nutcracker. Consider giving students a background of the story:

http://classicalmusic.about.com/od/balletsynopses/a/thenutcracker.htm

Key concepts in the “The Waltz of the Flowers” include ascending melody/contour and timbre. Consider approaching different combinations of music and dance, also. It may be helpful to have students watch a bit of the Nutcracker:

https://www.youtube.com/watch?v=SZD_ZzubDxs

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George Gershwin...

...was born on September 26, 1898, in Brooklyn.

...had three siblings.

...made music with his older brother, Ira.

….created music that has been used in many films.

...learned to play the piano as a boy.

...earned $5.00 for his first published work.

….wrote music for Broadway.

...worked to create popular and serious music.

...worked in Hollywood.

“I Got Rhythm” was written in 1930 for a musical called Girl Crazy. The

piece is one of the most popular American melodies, and many

musicians have been influenced by it since Gershwin wrote it. Key related

concepts include musical style or variation, and especially

syncopation. Consider the melody with lyrics and without lyrics (as it will be performed by the Madison

Symphony Orchestra.)

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William Tell Overture Rossini (1792-1868)

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Gioachino Rossini, the most popular opera composer of his day, was born in a small town on the coast of Italy. Like many composers, Rossini learned the love of music from his parents. Gioachino’s father played the horn and trumpet, while his mother was an opera singer. Rossini began his musical training early and by the age of 6 was already playing triangle in his father’s musical group. He also learned to play the piano and to sing. Rossini wrote his first opera when he was only 18 years old, and wrote over 40 operas in his lifetime! Two of his most famous operas are The Barber of Seville and William Tell . Rossini shocked everyone by retiring from writing operas at the age of 37. He didn’t compose music again for many years. When he was much older, Rossini wrote some music for the church and wrote a lot of small pieces to entertain his friends but these were not very serious pieces of music.

The opera, William Tell, was written by Gioachino Rossini. The Overture is the first piece of music heard. The opera itself was

based on a legend about the Swiss hero William Tell. According to the legend,

William Tell was an expert with a bow and arrow who shot an apple off of his son’s

head.

The most famous part of the Overture to William Tell is meant to describe Running

Horses!

In Rossini’s day, the opening of a new opera was as exciting as the opening of a new movie is

for us.

Resources

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COMPOSER:

Wolfgang A. Mozart

Antonio Vivaldi

Franz Joseph Haydn

Edvard Grieg

Georges Bizet

Pyotr Ilyich Tchaikovsky

George Gershwin

Giaochino Rossini

COMPOSITION:

Overture to The Marriage of Figaro

Spring from The Four Seasons

Symphony No. 94 in G Major, “Surprise”

Mountain King from Peer Gynt

“Les Toreadors” from Carmen Suite No. 1

“Waltz of the Flowers” from Nutcracker

“I Got Rhythm”

William Tell Overture

COUNTRY:

Austria

Italy

Austria

Norway

France

Russia

United States

Italy

MUSIC PERIOD:

Classical

Baroque

Classical

Romantic

Romantic

Romantic

20th Century

Romantic

Music Periods

Medieval Period from about 800 to 1400 Dominated by church music

Renaissance Period about 1400 to 1600

Still dominated by the church but with more complicated melodies and harmonies. Different styles begin to emerge

Baroque Period about 1600 to 1760 Instrumental music becomes dominant, and most major music forms become defined. Composers include Bach, Handel

& Vivaldi.

Classical Period about 1730 to 1820 After flowering during the baroque, music now settles into several well-defined forms, following strict rules. Composers

include Mozart, Haydn & Beethoven.

Romantic period about 1790 to 1910 Music begins to break out of the classical strictness, and becomes more expressive and emotional. Rules get broken and

new ideas develop. Composers include Grieg, Bizet, Mussorgsky & Tchaikovsky.

Twentieth Century While some composers remained in the romantic style, most composers moved on. The only rule was that there are no

rules. New music, new styles, new ideas. Composers include Joplin, Ravel & Stravinsky.

Concert Etiquette

Good audience members help to make the concert a success! Musicians take their places on stage before the concert begins to warm up on their instruments. The concert master (first violinist) enters or stands up from his or her chair right before the concert is about to start and then the audience must be very quiet while the orchestra tunes. The conductor walks on stage and everyone claps! He will lead the orchestra with his baton and then when he puts his baton down at the end of the piece you may clap again! The conductor bows and sometimes has the musicians stand up to thank the audience for their attention and applause.

Lesson Idea for Concert Etiquette

It is sometimes useful to have students make a list of places where they have been members of an “audience.” For instance, a sports event, a concert, an assembly or a circus. Have students discuss the different behaviors of the “audience” in each of these settings. Share experiences when their enjoyment was diminished by an inappropriate behavior of another member of the audience. Point out that most symphony musicians feel they perform better when they feel their audience is supportive!

Special thanks to Michelle Kaebisch, Julian Pozniak and Hannah Feick for past contributions to this guide. Other sources include the Madison Symphony Orchestra’s Up Close & Musical curriculum and the following resources: Public Broadcasting Service. “George Gershwin Remembered: About the Composer.” Accessed March 15, 2016. http://www.pbs.org/wnet/americanmasters/george-gershwin-about-the-composer/65/

Rentner, Simon. “Evolution Of A Song: 'I Got Rhythm.” National Public Radio. Updated August 1, 2012. http://www.npr.org/sections/ablogsupreme/2011/02/19/133590208/evolution-of-a-song-i-got-rhythm

This teacher resource guide addresses the following Wisconsin State Model Academic Standards for Music:

D.4.4 Explore, in large group settings, compositional devices using sound effects

F.4.1 Identify phrases and sections of music that are the same, similar, and/or different

F.4.6 Respond through purposeful physical movement to selected prominent music characteristics or to specific music events while listening to music

F.4.8 Identify simple musical devices such as form, contrast and texture

I.4.1 Demonstrate audience behavior appropriate for the context and style of music performed

Join us for the 2016-2017 Youth Concerts!

Fall Youth Concerts Tuesday, November 15, 2016

Spring Young People’s Concert Thursday, March 30, 2017

Symphony Soup! Tuesday, May 16, 2017

Link Up Thursday, May 18, 2017

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The Madison Symphony Orchestra’s Symphony Soup!