Chattanooga Symphony & Opera

Symphonic Voyagers The Orchestra in Orbit

and Beyond!

Young People’s Concert Teacher’s Guide

February 6-7, 2014 (Tivoli Theatre)

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

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Table of Contents Concert Program p. 4 CSO Music Director, Kayoko Dan p. 5 CSO Orchestra p. 6 Gustav Holst: “Mars” (The Planets) p. 8 J. S. Bach: Brandenburg Concerto p. Ludwig van Beethoven: Symphony No. 5 (1st mvt.) p. Igor Stravinsky: “Infernal Dance” (The Firebird) p. W. A. Mozart: “Queen of the Night” (Magic Flute) p. CSOYO Concerto Competition Winner p. Star Trek? Avatar? p. Narrator, Carey Shinbaum p. Introduction to the Orchestra p. Why an Orchestra Concert? p. Concert Etiquette for Young People p.

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

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

“Mars” from The Planets [Gustav Holst]

Brandenburg Concerto [J. S. Bach]

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

“Infernal Dance” from The Firebird [Stravinsky]

Queen of the Night from Magic Flute [Mozart]

Concerto [] , CSOYO Concerto Competition Winner

Star Trek? Avatar?

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

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

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

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

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

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The CSO Orchestra (2008)

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

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

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

The Chattanooga Symphony Orchestra (1933)

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JJoohhaannnn SSeebbaassttiiaann BBaacchh ((11668855--11775500)) J. S. Bach is the most famous of a family of musicians/composers lasting from 1550-1845. This Bach, whom we usually refer to as simply “Bach”, was the culmination of not only several generations of musical ancestors, but also the Protestant Reformation itself expressed through music. Martin Luther was vitally interested in the music of the church and Bach devoted the better part of his life working out a complete cycle of music for the Lutheran church. Many today still feel that he was the greatest of all composers of sacred music for the church. Bach’s music also represented the culmination of the grand, complex style of music known as the Baroque (1600-1750). At the time of his death even his own sons (e.g., C. P. E. Bach and J. C. Bach) were writing in the popular styles of the day and were not particularly interested in the old style anymore. Although the sons of Bach represented a direct link with later composers such as Haydn, Mozart, and Beethoven, foreshadowing the Viennese Classical style, it was the discovery of the music of J. S. Bach that astounded Haydn, Mozart, and Beethoven later in their lives and inspired them to write in a more complex, contrapuntal style. Bach spent all of his life in Germany, unlike his contemporary Georg Frideric Handel (1685-1759) who traveled all over Europe. Bach lost both of his parents in childhood and was raised by his older brother, Johann Christoph Bach (1642-1703). Bach soon proved himself as an accomplished organist, obtaining posts in various cities, such as Mühlhausen where he married his cousin, Maria Barbara Bach, and where he wrote his first published work (cantata Gott ist mein König). He later moved to Weimar, and then Cöthen, where he wrote his great set of Brandenburg Concerti. He finally settled in Leipzig where he became cantor. As director of church music for the city, he wrote many timeless pieces of sacred music, including not only cantatas for every Sunday of the church year, but major works such as the St. John Passion, the Mass in B minor, and the Christmas Oratorio. Bach lost his eyesight toward the end of his life, passing away in 1750. He was survived by his second wife and helpmate, Anna Magdalena Bach and ten of his children. In all he had 20 children, 13 of whom were by Anna Magdalena. Four of his sons, Wilhelm Friedemann Bach, Carl Philipp Bach, Johann Christoph Friedrich Bach, and Johann Christian Bach became famous musicians/composers in their own right.

Johann Sebastian Bach

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

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

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

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

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

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

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The Planets is a suite for large orchestra by Gustav Holst, describing in successive movements the astrological or mystical nature of seven planets: Mars, Venus, Mercury, Jupiter, Saturn, Uranus, and Neptune (with women’s chorus). Holst called it a “series of mood pictures”. It has since become his most popular composition and was a significant influence on the Hollywood composer John Williams as he wrote music for the movie Star Wars.

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

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

Gustav Holst

LLuuddwwiigg vvaann BBeeeetthhoovveenn ((11777700--11882277)) Beethoven, one of the greatest of all composers, brought the classic forms of sonata, concerto, string quartet, and symphony to their fullest maturity. Like Mozart, he was very precocious and had already composed his first published pieces, three piano sonatas, by the age of 11. Unlike Mozart, however, Beethoven did not compose with ease and often went through many revisions before his compositions were finished. From the age of twelve until he was 22 his primary occupation was that of assistant organist for Elector Max Franz in the German city of Bonn. When he was 17 he made a short visit to Vienna where he played the piano for Mozart. Mozart said of the young teenager, “This young man will leave his mark on the world.” The year 1792 marked a turning point in Beethoven’s life when Franz Joseph Haydn passed through the city of Bonn and was very complimentary of one of Beethoven’s compositions. The Elector, impressed by the great master’s comments, decided to

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sponsor Beethoven’s professional career in Vienna, Austria, the great city of music. For the next few years Beethoven delighted the aristocracy with his private performances (including much improvisation) on the piano. His first public performance was in 1795 when he performed one of his piano concertos. Around the year 1800, Beethoven became aware of a physical condition that caused him great anguish throughout the rest of his life – the gradual loss of his ability to hear. His genius as an artist, and his noble generosity, won the hearts of music lovers, and caused them to overlook his occasional outbursts of temper. Many of his greatest works, such as the Missa Solemnis and Symphony No. 9 (“Ode to Joy”), were written when Beethoven was completely deaf.

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

IIggoorr SSttrraavviinnsskkyy ((11888822--11997711)) Igor Stravinsky was one of the most important and influential composers of the 20th century. His compositional style ranged from the late romantic Russian nationalistic style of his youth to the most modern techniques of serial (12-tone) music toward the end of his life. Some of the most dramatic events in 20th century music history (esp. the premiere of The Rite of Spring) centered around the music of Stravinsky. The music of his three famous ballets (The Firebird, Petrushka, The Rite of Spring), written

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early in his career, are still the most famous and most often performed of his compositions.

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

The Firebird ballet was based on Russian folk tales about the evil sorcerer Kashchei and the Firebird. Mikhail Fokine (1880-1942) created the story line for the ballet and the choreography. In his story, Prince Ivan (danced by Fokine himself in the original production) enters the magical kingdom of Kashchei. While wandering in the

1 Conversations (with Robert Craft, 1959).

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garden, Ivan sees and catches the Firebird, with its brightly glowing red, orange and yellow feathers. The magical bird then begs for its life, agreeing to help Ivan in exchange for its freedom. Ivan then sees 13 princesses and falls in love with one of them. When he follows her Kashchei sends his magical creatures after Ivan, but the Firebird intervenes, causing them to dance [Infernal Dance] and then to fall asleep. The Firebird tells Ivan the secret to Kashchei’s immortality and Ivan consequently defeats Kashchei. The magical creatures all disappear and the “real” beings (including the princesses) awake. The Firebird is seen once more briefly before it too disappears. The story ends with a victory celebration.

WWoollffggaanngg AAmmaaddeeuuss MMoozzaarrtt ((11775566--11779911)) At the age of four his father, Leopold Mozart (1719-1787), began to teach his son to play the harpsichord. Wolfgang’s interest was so great and his progress so rapid that in 1762 Leopold introduced both Wolfgang and his sister, Anna (1751-1829), to the public on a concert trip to Munich and Vienna. While in Vienna the children were invited by the Emperor to visit the palace (where Wolfgang sat on the lap of the Empress Maria Theresa). Wolfgang was given a small violin, on which he learned to play without instruction. He also taught himself to play the organ once the use of the pedals had been explained.

Wolfgang at age 7

In 1763, when Wolfgang was seven years old, a trip was made to Paris. The two children gave private and public concerts along the way. In Frankfurt, Wolfgang played concertos on the harpsichord and violin, accompanied symphonies on the harpsichord, and ended with long improvisations. In Paris, they performed for the royal family and gave two public concerts. Wolfgang’s first published compositions began to appear at this time – sonatas for harpsichord and violin. The family continued on to England in 1764 where they remained for over a year. The King of England (George III) greatly admired Wolfgang’s playing and enjoyed testing his sight-reading ability with works by Johann Christian Bach and George Frideric Handel. Wolfgang’s first symphonies were written at this time (at the age of eight!). An important formative influence on the young boy came from Johann Christian Bach (1735-82) who was living in London. J. C. Bach, the youngest son of

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the great Johann Sebastian Bach (1685-1750), excelled in writing music for keyboard, orchestra, and opera. “His singing allegro themes, tasteful use of appoggiaturas and triplets, suspenseful harmonic ambiguities, and consistent thematic contrasts must have attracted Mozart, because these traits became permanent features of his writing.”2 The Mozart family finally returned home to Salzburg after being on the road for nearly 3 ½ years. They had become during this time the most celebrated musical phenomenon in all Europe and had attracted the admiration of the nobility of several countries. The chief attraction, of course, was young Wolfgang who astounded everyone with his amazing feats of performance and composition. Indeed, the two talents seemed to merge with his frequent and long improvisations on any melody or musical idea presented to him. Despite all of his successes early in life, however, Mozart never attained the kind of musical appointment that he desired. For a time he was employed in Salzburg as Concertmaster and Court Organist, but it was in Vienna that he had pinned his hopes. At the age of 25, Wolfgang left Salzburg and its constraints and was to call Vienna his home for the remainder of his life.

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

2 Donald Jay Grout, A History of Western Music (4th edition shorter), p. 365.

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

Wolfgang at age 35 (1790) Wolfgang was beginning to suffer from illness and fatigue but he still found time and energy to write two new operas: Die Zauberflöte (The Magic Flute), commissioned by Emanuel Schikaneder (1751-1812); and La Clemenza di Tito (The Clemency of Titus), commissioned for the coronation of Leopold II (in Prague) as King of Bohemia. He also wrote a variety of other compositions in his last year, including the beautiful Concerto for Clarinet, K. 622. Wolfgang’s final composition, the Requiem Mass, commissioned by Count Walsegg in remembrance of his wife, was incomplete when he died. It was finished by some of his students (esp. Franz Xaver Süssmayer). There are several myths in connection with Wolfgang’s death, but all have been disproved. The most notorious was the tale of Salieri’s deadly jealousy. Wolfgang did suggest to Constanze that he thought someone had poisoned him, giving rise to several rumors, but this was most likely a manifestation of depression, imagining that the commission of the Requiem was somehow connected with his own death. What Wolfgang probably sensed in his body was the first symptoms of the illness that was to take his life by the end of the year. Most researchers agree that the cause of death was most likely acute rheumatic fever, which Wolfgang had suffered a few times before, beginning in childhood. Wolfgang Amadeus Mozart was one of the most brilliant musicians who ever lived. His extraordinary natural ability as well as his complete command of all elements of music, thanks in large part to his father’s thorough instruction, is unique in the

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history of music. He was successful in every musical form and genre that existed at the time, excelling especially at concertos and operas. Although he did maintain a notebook of sketch material, his mental conception of music was often so perfectly formed before beginning to write that many thought he wrote music “spontaneously”, sometimes penned in the most casual settings while talking and joking with friends. Some of his most famous compositions, in addition to those mentioned above, include Ave verum corpus, Eine kleine Nachtmusik, and the Rondo alla turca (from the sonata for piano in A, K. 331). Wolfgang’s 600+ compositions were catalogued by L. von Köchel in 1862. Since then the compositions of Mozart have been designated by Köchel or “K” numbers (instead of opus numbers), more or less in chronological order.

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

Carey Shinbaum