Christoph Eschenbach and Violinist Leticia Moreno

David and Alice Rubenstein are the Presenting Underwriters of the NSO.

Performance Guide

Open Rehearsal and Question-and-Answer Session with Christoph Eschenbach and violinist Leticia Moreno

Cuesheet

National Symphony Orchestra

About the Rehearsal Welcome to the open rehearsal and question-and-answer program of the National Symphony Orchestra’s (NSO) program featuring Spanish violinist Leticia Moreno. The NSO will explore four classical works by French composers inspired by Leticia Moreno’s native Spain.

during the Middle Ages. Little has changed since the instrument’s basic form was developed in Italy between 1550 and 1600. Composers and listeners immediately fell in love with the violin’s ability to produce a range of notes that sound similar to the human voice.

Although compact in size—it is the smallest of all the stringed instruments— the violin makes the highest sound and has a range of about four octaves.

To play the violin, the performer places one end under the chin and the other end in one hand, which is also used to press the strings against the fingerboard.

By using those fingers to change the length of the vibrating string, the player alters the highness or lowness of the notes. The other hand “plays” the violin by drawing a bow across the strings, or by using the fingers to pluck the strings.

Photos by Nancy Horowitz

Meet Leticia Moreno Born in Madrid, Spain, Leticia Moreno’s music education began at the early age of three when she picked up her first violin. From there, she continued to refine her skills and artistry at prominent music schools in Spain, Germany, and Great Britain. Today she is recognized as an exciting and versatile violinist.

The Small, But Mighty Violin The violin evolved over many centuries from the early stringed instruments in India (where bows were introduced), to Arabia, and finally throughout Europe

During the rehearsal, watch Leticia Moreno perform and listen to how a small instrument can make such powerful sounds.

The violin is 23 inches long and made of wood. The vibration of the violin’s four strings is what causes the instrument to produce sound.

The bow is made of horsehair.

The Concert Program

lively pizzicato (pitz-uh-KAH-toh), or plucking of strings with fingers, instead of a bow

España

by Emmanuel Chabrier (1841–1894)

In 1882, Chabrier (pronounced SHAHbree-ay) and his wife traveled to Spain, where the composer became enchanted by the energy and styles of the local folk dancing music, including jotas (HOE-tahs), malagueñas (mah-lah-GAIN-yahs), and flamenco (flah-MAIN-COE). Chabrier jotted down several ideas in his composition book throughout the vacation, and created this spirited, rhythmic work upon his return home to Paris.

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contrasting themes and rhythms that repeat throughout the music, one inspired by the faster, more turbulent jota; the other inspired by the slower, more lyrical malagueña instrumental, rhythmic build up that leads into the music’s lively, joyous conclusion

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of the tempo, or speed of the music, in the fourth movement that leads into a dramatically different, vibrant finale

“Ibéria” from Images

by Claude Debussy (1862–1918)

Images is comprised of three works of music, each of which paints a musical picture of a different destination. The middle piece—“Ibéria”—evokes scenes from Spain, even though Debussy (DEB-you-see) had only spent a single afternoon in the Spanish town of San Sebastian. Despite having little firsthand knowledge or experience, the music still succeeds in evoking moods and tones that “feel” authentically Spanish-sounding.

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Symphonie espagnole by Édouard Lalo (1823–1892)

Although its literal translation is “Spanish Symphony,” this work primarily features the solo violin, similar to a violin concerto. This bright work is made up of five movements or sections that feature several Spanish dances.

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intermingling of different rhythmic patterns in the first section, inspired by the varied, vigorous rhythms of Spanish dance music soaring sounds of the violin in the second movement, played over the

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lively opening sequence that establishes a Spanish ambience, featuring castanets and tambourine, festive brass fanfares, and dance-like melodies and rhythms violin solo that gradually intensifies during the second movement which helps paint a romantic, dreamy picture of Spain at night

Boléro

by Maurice Ravel (1875–1937)

Originally composed for ballet, Ravel’s (rah-VEL’s) one-movement piece is generally performed today as a purely orchestral work. The piece opens with the rhythm of the snare drum (a beat that will

continue unchanging throughout the entire piece). On top of this rhythm, the music proceeds with 18 orchestrations or arrangements of the work’s two-part theme or melody.

With each version, the theme is passed to and among different instruments of the orchestra, beginning with the solo flute and eventually concluding with the full orchestra.

David M. Rubenstein Chairman

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Darrell M. Ayers Vice President, Education

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changes in dynamics, or whether the music is loud or quiet; the piece begins pianissimo (pee-ah-NEE-seemoh) or very quiet; it increases in a continuous, steady crescendo (kreh-SHEN-doh) or rise, until the finale when the music is as loud as possible, or fortissimo possibile (for-TEE-see-moh poh-SEE-bee-lay)

Attending the Open Rehearsal Attending an open rehearsal differs from attending an actual concert, though your role as a quiet listener is the same. That’s because the orchestra is here to work—to practice and perfect their playing for the public performance. The conductor might stop the orchestra and repeat passages or pieces, or the orchestra might not rehearse the entire program. Afterward, Leticia Moreno joins Christoph Eschenbach on stage for a Question-andAnswer session. Have your questions ready for them.

Deborah F. Rutter President

Christoph Eschenbach Music Director National Symphony Orchestra NSO Open Rehearsals are made possible in part by the generous support of The Clark Charitable Foundation; Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; U.S. Department of Education; and The Volgenau Foundation.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

Meet Christoph Eschenbach He’s the music director leading the NSO, and you can call him “maestro.” That’s because he’s mastered conducting orchestras and playing the piano all over the world. He believes music is one of the strongest forces known to man, and he’s also committed to fostering young musicians. Washingtonian magazine calls him “one of the most exciting classical conductors of the day.”

About the NSO The NSO numbers 96 musicians and is performing its 84th season. It has performed at the Kennedy Center every year since the venue opened in 1971, and in 1986 became formally affiliated with the Kennedy Center.

www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

Learn more about education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.

© 2015 The John F. Kennedy Center for the Performing Arts