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18 Letter to Educators

On behalf of the Harrisburg Symphony Orchestra and the HSO Education Department, welcome to our first Young Person’s Concert of the 2017/18 season!

We are excited that you will be joining us as Maestro Malina and the HSO guide you through some incredible symphonic music. Access to the arts and an understanding of the rich cultural history of classical music are essential to a 21st century education.

This curriculum guide will help your students better understand various aspects of classical music and the experience of a symphony concert. Inside, you will find biographical information, orchestral stage plots, listening guides, and activities which will engage students in fun and meaningful ways. While this information does not suggest your exact experience at the upcoming YPC, it will provide a foundation from which Maestro Malina and the HSO can take you deeper into the repertoire.

As always, we aim to enhance your understanding of classical music and your ability to communicate that information to your students. Please let us know how we’re doing! If you have any questions about the YPC or the HSO’s education programs, please call, email or check our website (it’s brand new!) for more details.

As an audience member and an educator, you are the most important part of our musical and educational community. Thank you for sharing the HSO with your students! We look forward to welcoming you to the Forum on Friday, November 3!

Sincerely,

Mark Hunsberger

Director of Education

(717) 612-4965

Mark@harrisburgsymphony.org

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Table of Contents

3 Program

4 Composer Information

5 A Guide to the Guide

6 Orchestra Seating Chart

7 Resources

8 Beethoven: Triple Concerto

Listening Guide

Inter-Activity

10 Bizet: Symphony in C

Listening Guide

Inter-Activity

12 The Harrisburg Symphony

13 Meet the Maestro

14 Concert Etiquette

15 A Letter to the Orchestra

16 Supporters

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HARRISBURG SYMPHONY ORCHESTRA Friday, November 3 at 10:00 am & 11:30 am

STUART MALINA, Conducting MENDELSSOHN PIANO TRIO

Peter Sirotin, Violin Fiona Thompson, Cello Ya-Ting Chang, Piano

Musical selections and excerpts will be chosen from the following program. Note, Prokofiev’s Sinfonietta will

not be performed at this concert.

Concerto for Violin, Cello, Piano, and Ludwig van Beethoven Orchestra in C major, Opus 56, “Triple Concerto” (1770-1827) Allegro Largo — Rondo alla Polacca

Symphony No. 1 in C major Georges Bizet (1838-1875)

Allegro vivo Adagio Scherzo: Allegro vivace Finale: Allegro vivace

Program

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Ludwig van Beethoven was born in Bonn, Germany in 1770. At just 29

years of age he began losing his hearing. By the time he composed the

Triple Concerto (which you will hear portions of at the YPC), he had lost

almost 50% of his hearing! How did Beethoven continue writing music even

though he could not hear? He used the vibrations from the piano to hear

and feel his compositions.

In the 1800’s, one way to flatter a royal person was to dedicate a piece of

music to them. In the case of the Triple Concerto, Beethoven composed

the piece specifically for his piano student, Rudolph the Archduke of Austria

(an Archduke is one step below a King). However, Rudolph was not the

greatest pianist.

While a concerto features one soloist with an orchestra, Beethoven chose to feature a group of

soloists—piano, violin, and cello. By doing so, Beethoven highlighted Rudolph’s skills without writing

anything too difficult for him. The violin and cello parts, though, have lots of exciting, fast lines that

weave around the piano part. Not only was Beethoven a master composer, he was a master at making

his students sound good.

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Georges Bizet was born in Paris, France in 1838. He died very young, at

the age of 36. When he died in 1875, Bizet had no idea his music would

be played around the world. Today, however, Bizet is recognized as one

of the most talented French, Romantic composers. He was very

successful as a young composer and student, but struggled to find work

later in life. He planned to compose many pieces, but had to dedicate

his time to musical tasks that made him money.

He wrote Symphony No. 1 when he was only seventeen years old

(in 1855), but the piece was never performed while he was alive. Many

historians believe the symphony was written as a homework

assignment, so Bizet never considered it a masterpiece. After he died,

the written music was donated to the Paris Conservatoire (where he studied music) and stored in the

library. It was found 58 years later and performed for the first time in 1935—60 years after his death.

Composer Information

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A Guide to the Guide

This concert guide will provide you with tools to help lead you through the repertoire which will be performed at the YPC on November 3rd. You will find listening guides, composer information, inter-activities, and general information about the orchestra. The orchestra stage plot on the following page will help you find the names of the instruments in the orchestra, which families they belong to, and where they are on stage. Each instrument name is color-coded to match its family. To help you get started, you will find below each instrument family name, its appropriate color, and the specific instruments in that family. Please note that the information contained within this guide is not a specific format for the YPC. Rather, its purpose is to provide a foundation for the musical works which may be performed . The exciting ways in which Maestro Malina and the HSO present this music will be a once in a lifetime experience—and you’ll be a part of it!!

Trombone Trumpet

Tuba French Horn

Brass Family

Flute Piccolo

Clarinet

Bass Clarinet

Oboe

English Horn

Bassoon

Contrabassoon

Woodwind Family

Strings Family

Harp

Double Bass

Cello

Viola

Violin

Percussion Family

Piano

Timpani

Bass Drum

Snare Drum

Cymbals

Glockenspiel Triangle

Tambourine

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Resources

The resources below will support your study of the repertoire for the Young Person’s Concert on

November 3rd. Check them out!

Meet The Guest Artists

The Mendelssohn Piano Trio is celebrating its 20 year anniversary...and their doing it with the HSO! Two

of the members are also members of the Harrisburg Symphony. Peter Sirotin (violin) serves as the HSO

Concertmaster and Fiona Thompson (cello) serves as the Principal cellist. Check out their WEBSITE to

learn more.

Reference Recordings

The following links will direct you to reference recordings of the repertoire. The timing marks in

parenthesis throughout the listening guides correlate to these recordings. Simply click a link below and

navigate the video according to the guide.

Triple Concerto, Beethoven Symphony No. 1 in C major, Bizet

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Listening Guide: Beethoven

Beethoven’s Triple Concerto was the first of its kind. Other composers (Beethoven included) had written concertos which featured one or two soloists, but no one had written a piece to feature three soloists. So, Beethoven was breaking new ground. With that in mind, it’s interesting to look at how Beethoven uses the instruments in this piece. In addition to the three soloists—violin, cello, piano—he treats the entire orchestra like a fourth instrument. You will hear Beethoven use the instruments in the following ways: Each instrument alone Call and response One instrument plays melody, others accompany One, two, or three instruments together All instruments together

Allegro (0:00)

In this concerto, the three soloists are usually led by the cellist. We can hear two good examples of this at the beginning of the Allegro. The movement starts quietly with the main melody played by the cellos and basses and then the full orchestra joins in. When the orchestra drops out, the cellist plays the melody once (2:32), then accompanies (plays quietly underneath) the violinist (2:49). Both the cellist and violinist accompany the main melody in the piano (3:13). The piano then takes a short solo (with lots of notes) which leads to the second melody (3:47), presented in the same way—orchestra first, then cello, violin, and piano. Beethoven uses these two main melodies in different ways throughout the movement. He repeats them, passes them around the different families/soloists, and breaks them into smaller chunks (which get repeated).

Largo — (17:53)

Largo is a slow, beautiful feature for the three soloists. After a short intro from the orchestra, the cellist

introduces the main melody (18:13). After this melody, the pianist enters with accompaniment (19:57) and then the violinist and cellist play the melody together (20:22). It’s interesting to note Beethoven’s use of the piano in this movement—it serves only as accompaniment, never playing the melody. Beethoven’s use of the orchestra is also interesting. Aside from the introduction and a few measures near the end, the orchestra doesn’t play much. You will notice that this movement moves directly into the next without a break. The dash after Largo means that the piece is played attacca, or without stopping. The cellist makes the transition to the final movement by playing the same note faster and faster (23:17).

Rondo alla Polacca (23:28)

Beethoven structured this movement as a rondo, which means the main theme returns many times during the piece (it goes around and around). Listen to this theme a few times to make sure you can recognize it. The cellist introduces the main melody—or A Theme—at the start of the piece (no introduction here). The violinist then takes the melody (23:42), followed by all three soloists together (24:29), and finally the full orchestra (24:36). Beethoven experiments with some different melodies throughout the movement, but the A Theme always comes back. The word Polacca in the title refers to a Polish dance called a Polonaise. The dance is counted in groups of three beats and uses a specific rhythm (see below). The orchestra plays the Polonaise rhythm just a few times throughout the movement, but Beethoven composed the music to fit the style of a Polonaise. Try counting along (quietly) in groups of three or saying the Polonaise rhythm as the orchestra plays.

ti ti ka ti ti ti ti

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Inter-Activity: Beethoven

It’s not often you get to see three soloists in front of an

orchestra.! Click HERE to see a performance of the Triple

Concerto by master musicians Itzhak Perlman (violin), Yo-

Yo Ma (cello), and Daniel Barenboim (piano). Notice

that Barenboim both plays AND conducts the orchestra!

Also, check out how Yo-Yo Ma communicates (maintains

eye contact) with Perlman during the first theme (3:46)!

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If you have students who do not play an instrument—or

haven’t started yet—the following videos are a great (and

quick) intro to the violin and cello. The videos will also

help students understand the string family—all have the

same general structure, but differ in size and range.

Thanks to our friends at the Minnesota Symphony and the

Philharmonia Orchestra (UK) for the videos!

Violin Cello

Become a Composer...With a Catch

Sometimes placing rules on the creative process can help

artists think outside the box. Although Beethoven was

limited by his student’s piano ability (remember,

Beethoven composed this piece for Rudolph, Archduke of

Austria), he still created a masterful composition. Set

your students up to be composers, but give them some

specific guidelines (encourage them to think outside of

the box). Some ideas are below (be as creative as you

like)…

1) A melody must start, or stop, or start AND stop on a

specific pitch

2) The melody must ascend, descend, make a mountain,

or a “V”

3) Limit the notes that can be used

4) Specific dynamics must be used

5) Use ALL the sounds of an instrument

Ex: Orff— use mallets, mallet handle, side of

instrument, fingers, etc.

Ex: Snare drum—snares on/off, edge vs. center,

rim/side of drum, sticks vs. fingers

RECORDER/ORFF CONNECTION!

Below are the first four bars of the second theme from the first movement. Check out the provided recording at the

2:30 mark to hear it (see resources)—first with the full orchestra, then the cellist. Your students can PLAY Beethoven!

If that “low C” is too tricky for recorder students, try the melody out in the key of F major (no Bb necessary). Just don’t

play along with the recording!

*Note: Students will not be able to play instruments at the concert on November 3rd.

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Listening Guide: Bizet

Before we take a look at Bizet’s 1st Symphony, let’s

understand the overall structure of a symphony. A

symphony follows a specific pattern of contrasting

movements that help keep the listener (you!)

interested. The first movement is fast and lively; the

second movement is slow and beautiful; the third

movement is usually based on a dance and is counted in

3 (1,2,3 1,2,3); the fourth movement is very fast and

brings the symphony to an exciting close. To recap, the

symphony pattern is…

Fast, Slow, Dance, Fast

Let’s check out how Bizet follows this pattern in Symphony

No. 1!

Allegro vivo (Fast, 0:00)

The structure of the first movement is clear and very easy

to hear. It begins with the main melody, introduced by

the full orchestra and then finished by the strings. Bizet

repeats this idea and passes it around the orchestra

before the second melody enters—this time in the oboe

(2:00). This melody sounds slower, but the actual tempo

(speed of the music) does not change. This whole section

(both melodies) repeats.

In the middle of the piece (the development), Bizet

experiments with the two melodies. The beginning of this

section is easy to identify because it begins with a French

horn solo (6:23). The orchestra trades both melodies back

-and-forth in a call and response manner. The first section

then returns (8:07) to end the movement. See if you can

identify both melodies as the orchestra plays!

Adagio (Slow, 10:52)

After a short introduction from the orchestra, the oboe

presents the main melody of this movement (11:43). It

sounds a bit eerie, but very much like a folk song. The

violas provide a steady pizzicato (string plucked with

finger) motor underneath the melody in groups of three.

The violins respond with a melody of their own (13:49)

which is much more romantic (and not so eerie). Notice

that the motor continues underneath this melody, as

well. As this melody ends, the basses and cellos begin a

new idea (15:49) which grows through the orchestra until

the oboe returns with the original melody (17:50) to end

the movement.

Scherzo: Allegro vivace (Dance, 20:26)

The Scherzo is a very light, fun dance that has two big

sections: A and B. The A section has two very different

melodies—a fast, bouncy melody played by the full

orchestra (20:43) and a slower melody played by the

violins (21:18). Like the first movement, the violin

melody sounds slower, but the tempo does not change.

The entire A section is played twice.

The B section (trio, as it’s called in music) begins with loud

chords in the violas and cellos (23:02). The woodwinds

carry a flowing, dance-like melody in this section. To

complete the Scherzo, the A section is played one final

time (24:36).

Finale: Allegro vivace (Fast, 25:55)

The Finale begins with a very fast, exciting melody in the

violins (25:59), which is answered by the woodwinds

(26:27). The violins then introduce the second melody

(27:09) and are eventually joined by the woodwinds

(27:23). Like the first and third movements, the second

melody sounds slower, but the tempo stays the same.

Also like the first movement, Bizet experiments with both

melodies in the middle of the piece (28:27). The

orchestra passes around bits and pieces of these two

melodies and eventually leads back to the original

melodies (30:03), presented as they were at the

beginning of the movement.

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Animated Score

Check out this animated score for the final movement of

Symphony No. 1! This will help students visualize what

they hear in the music. (Note: this specific recording was

done with electronic instruments, not a live orchestra).

Finale: Allegro vivace

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Contrast

Contrast in music is what makes it interesting. Think

about the structure of a symphony or the two melodies

(fast and slow) in the first movement of Symphony No. 1.

After introducing the idea of musical contrast to students,

let them try creating their own contrasting themes. A

sample lesson is below (to be done as a class, in groups, or

individually)…

1) Review rhythmic notation with students (ta, ti ti,

ta-ah, ta rest, whatever they are familiar with!)

2) Create a rhythmic phrase such as the one to the right,

above.

3) Create a rhythmically contrasting theme such as the

one below.

4) Solfege extension: assign pitches to the rhythmic

phrase so as to create melodic contrast (i.e.

ascending vs. descending; static vs. changing pitches;

steps vs. leaps).

5) Melodic variation: to emphasize the contrast a mel-

ody can provide, use the same rhythmic phrase, but

assign different solfege syllables. Example below.

6) If possible, apply the above lesson on recorder or orff

instruments.

Inter-Activity: Bizet

RECORDER/ORFF CONNECTION!

Your students can LAY Bizet! Have them learn the first phrase of the oboe solo (second melody) in the opening

movement (best for advance recorder players). You can hear the melody at the 2:30 mark in the provided recording

(see resources). Note: Students will not be able to play instruments at the concert on November 3rd.

ta ti ti ta ta ta

ta ta ta - ah ti ti

Static: Do Do Do Do Do

Moving: Do Me So Me Do

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The Harrisburg Symphony

The HSO started to play music 88 years ago right here in Harrisburg. The orchestra was formed during the

Great Depression, so resources to keep the orchestra running were scarce. Concerts were first held at the

William Penn High School in Harrisburg, but at the end of 1931, the HSO moved its performances to the

Forum – where you will be sitting on November 3! A season with the HSO back then included four concerts

(now we have 22). If you wanted to subscribe to a concert, or buy a season’s worth of tickets, it only cost $2

per person!

Since then, the orchestra has grown significantly. We’ve had five conductors guide the orchestra, including

Maestro Malina (whom you will see on Friday morning). The orchestra has also added two youth symphonies

which provide school age children (just like you) the opportunity to play concerts. The orchestra not only

plays classical pieces by composers like Beethoven and Mozart but also modern pieces such as Broadway hits

and Disney songs. Around the 4th of July, the HSO travels to locations away from the Forum to perform free,

outdoor summer concerts. Perhaps you have seen them before!

The HSO provides the highest level of classical music — with world-class musicians — right here in

Harrisburg—just for you! We hope you enjoy the show!

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Meet The Maestro

Meet the Maestro — Stuart Malina The Maestro, the Conductor, the Music Director: three different titles for one of the most important people in the orchestra! The Maestro is the person who conducts the orchestra, or maybe more accurately said, the person who guides the musicians through the music and shapes it into what you hear as an audience member. What may look like a simple wave of the baton is actually a foundation to start the music, keep it steady, and emphasize each bit of emotion that helps make a concert an enjoyable experience. For the Harrisburg Symphony Orchestra, the person who holds this position is none other than...Maestro Stuart Malina. Maestro Malina is the sixth conductor to direct the HSO since it was founded nearly 100 years ago! He not only conducts the orchestra, he also chooses the music and the types of concerts which showcase the HSO. He also has a wide variety of expertise in conducting large scale masterworks, opera, chamber works, and popular works for orchestra. As a conductor, the Maestro has directed the HSO for eighteen seasons! Additionally, he has performed and conducted in places such as Hong Kong and Carnegie Hall (on two occasions). As a pianist, the Maestro has performed many times throughout the United States. In 2003, he received a TONY award for his orchestrations of the Broadway show, Movin’ Out, based on the music of Billy Joel. How did the Maestro start his music career? He got involved with music as much as possible while in public school. In his spare time, he took piano lessons and helped with music in his school whenever he could, including being a music director for school and community plays. If you see Maestro Malina on Friday morning, make sure to say hello!

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Concert Etiquette

Concert Etiquette – Why is it so important?

Have you ever been in a movie theater, ready to see a movie, only to be interrupted by someone talking loudly around you, kicking your seat, or making a bunch of noise? It’s not very fun or very fair to you or the people around you to have that happen. That’s why we practice good concert etiquette here at the Forum!

Concert etiquette is a fancy term for manners. It means being respectful to the musicians on stage and to your family and friends around you watching the concert. It’s also a guideline to help you prepare for the show so that you can enjoy everything the HSO has to offer!

Before the Concert:

Make sure you’re on time for the concert. You don’t want to miss a second of this! Do you have any food or drinks with you? Make sure to throw it away before entering the Forum! Of course,

make sure to not eat or drink during the concert either. A clean floor makes for a better experience! Even if you don’t have to go, make sure you use the bathroom before you leave school for the concert.

You definitely don’t want to be distracted! Have a cell phone? Make sure it’s on Silent Mode or, even better, turned off! Texting is also not allowed. A

phone light can be seen from very far away!

During the Concert:

Silence is golden! If you want to tell your friend something, you can always wait until after the concert. Remember that moving around, jewelry, candy wrappers, etc. can also cause enough noise for the people around you to be distracted!

Show your appreciation for the musicians and let them know they did a great job by applauding. Make sure to clap when the concertmaster and the Maestro walk onstage too!

Make sure you’re giving all of your attention to the musicians and the Maestro on stage. This includes no talking, of course!

Watch out! Sometimes, a song might have multiple movements. That means that the song is in parts and will have pauses in between. If this happens, do your best not to clap until the piece has ended!

Unsure about when you should applaud? Wait until the conductor turns around to face the audience and takes a bow. The song is definitely finished when this happens!

Extra Tips!

Remember to say “excuse me” if you have to pass someone while going to or from your seat. Not only will they appreciate your politeness, but they’re also much more likely to give you room to move.

As always, remember to keep your hands and feet to yourself. If there is an emergency and you need to leave, try to leave in between pieces (or whenever there is

applause). This is the same when entering the auditorium to get back to your seat. Smile, sit back, relax, and enjoy the show!

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Did you enjoy the November 3rd Young Person’s Concert? What did you like best? Draw a picture about your day at the Forum and send it to us. If you’re more of a writer than a drawer, tell us what you liked best about the concert experience.

Email your letters to Mark@harrisburgsymphony.org or send your letters and drawings to Mark Hunsberger, Director of Education, Harrisburg Symphony, 800 Corporate Circle, Suite 101, Harrisburg, PA 17110

A Letter for the Orchestra

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Thank You to our Sponsors

HSO Young Persons’ Concerts are made possible through the generous support of:

Commonwealth Charter Academy

The Children’s Home Foundation

The Charles A. & Elizabeth Guy Holmes Foundation

The Donald B. and Dorothy L. Stabler Foundation

And all contributors through the Commonwealth of Pennsylvania’s Educational Improvement Tax Credit (EITC) program, including:

BB&T Bank

Bobby Rahal Auto Group

Enginuity LLC.

First National Bank

Orrstown Bank

Penn National Insurance Company