2015/16 Kansas City Symphony Education Guide 2

K INDER KON Z ERT:

and Other Symphonic Stories 2015/16 T E ACHER ’ S GU IDE

KinderKonzerts are underwritten by the William T. Kemper Foundation – Commerce Bank, Trustee

Sponsored by

K I N D ER KO N Z ERT:

and Other Symphonic Stories

Cover image reprinted with the permission of Simon & Schuster Books for Young Readers, an imprint of Simon & Schuster Children’s Publishing Division from “THE REMARKABLE FARKLE MCBRIDE” by John Lithgow, illustrated by C.F. Payne. Illustrations copyright (c) 2000 C.F. Payne.

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KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

About THIS GUIDE

CONTENTS 4

Concert Program

4 Vocabulary 5

About the Program Richard Wagner Anatol Liadov Victor Herbert Ferde Grofé Johannes Brahms Bill Elliott

12 Resources

Instrument Families

Companion CD Track List

Orchestra Map 15

Teaching Activities Instrument Families Artwork Challenge Moving to the Music Concert Etiquette Maze

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Preparing for the Concert

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About Alex Espy

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About Aram Demirjian

Dear Teachers, We are so happy that you will be joining the Kansas City Symphony for another fun series of KinderKonzerts in Helzberg Hall! The KinderKonzerts are generously underwritten by the William T. Kemper Foundation — Commerce Bank, Trustee and part of the John and Marny Sherman Education Series. Thank you for making music and the Symphony a part of your students’ education.

Our concert this year, The Remarkable Farkle McBride and other Symphonic Stories, highlights the many ways in which we tell stories, with each piece on the program exploring a different approach to storytelling. Some stories, like Liadov’s BabaYaga, can be told through music alone, while others, like Victor Herbert’s “March of the Toys”, require a little extra assistance. We are delighted to welcome actor and narrator Alex Espy to the stage to help bring these tales to life. Pictures can also be great storytellers, and we invite you to submit artwork created to accompany Grofé’s Grand Canyon Suite and Brahms’ First Serenade. The program’s finale, The Remarkable Farkle McBride, combines text, music and images to tell John Lithgow’s story of a boy’s journey to find his perfect musical muse.

Storytelling and music go hand-in-hand, and both have the power to excite the imaginations of young minds. We eagerly await sharing this fun and educational program with you and your classes. See you soon in Helzberg Hall!

Musically yours,

Stephanie Brimhall Education Manager, Kansas City Symphony

Aram Demirjian Associate Conductor, Kansas City Symphony

24 About Kansas City Symphony 25

Orchestra Roster

26

Kauffman Center for the Performing Arts

27 Sponsors

Kansas City Symphony

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VOCABULARY K I N D E R K O N Z E R T:

LEITMOTIF: a recurring short melodic phrase or theme used to represent a character or thing

and Other Symphonic Stories

MINIATURIST: a composer who primarily writes short, small-scale pieces OPERA: an extended dramatic composition in which all parts are sung to instrumental accompaniment

PROGRAM:

OPERETTA: a short opera, usually comical or light-hearted

WAGNER Prelude to Act III of Lohengrin

ORCHESTRATED: composed or arranged music for performance by an orchestra

LIADOV Baba-Yaga HERBERT “March of the Toys” from Babes in Toyland GROFÉ Grand Canyon Suite III. On the Trail BRAHMS Serenade No. 1 in D Major V. Scherzo BILL ELLIOT The Remarkable Farkle McBride

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SCHERZO: a movement or passage or light or playful character, often as the second or third movement of a sonata or symphony SERENADE: an extended composition in several movements similar to the modern suite or divertimento SUITE: an ordered series of instrumental movements; they may be extracts from an opera, ballet or incidental music to a play, or they may be entirely original movements TEMPO: the speed at which a piece or passage of music is meant to be played TRIPLET: a group of three notes to be performed in the time value of two notes

KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

About THE PROGRAM

K I NDER KON Z ERT:

and Other Symphonic Stories TRACK

13 RICHARD WAGNER BORN: May 22, 1813 in Leipzig, Germany DIED: February 13, 1883 in Venice, Italy ABOUT THE COMPOSER • He began music lessons at 13 after writing a play and insisting it be set to music.

• He is best known as a composer of opera.

• One of his greatest gifts to music was the leitmotif.

FAMOUS WORKS • “The Ride of the Valkyries” from Die Walküre • Prelude and “Liebestod” from Tristan und Isolde • Prelude to Act III from Lohengrin

Prelude to Act III from Lohengrin Lohengrin is one of Wagner’s earlier operas. In the story, the maiden Elsa is falsely accused of killing her brother, the rightful heir to the throne. The knight Lohengrin arrives in a swan-drawn boat and agrees to defend Elsa’s honor. The Prelude to Act III is a musical depiction of the wedding ceremony between Elsa and Lohengrin. It is some of the flashiest music Wagner ever wrote and instantly captures the celebratory spirit of the characters’ wedding.

Richard Wagner LISTENING GUIDE Track #13: WAGNER Prelude to Act III of Lohengrin Beginning-1:22 – Lohengrin’s Theme This heroic theme begins with an ascending triplet pattern that leads into a bold and heroic brass fanfare.

1:23-2:21 – Elsa’s Theme Introduced by the woodwinds, Elsa’s theme is delicate and beautiful.

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About THE PROGRAM TRACK

14 ANATOL LIADOV BORN: May 11, 1855 in St. Petersburg, Russia DIED: August 28, 1914 in Borovichi, Russia ABOUT THE COMPOSER • Although a promising student composer, Liadov was expelled from the St. Petersburg Conservatory for failing to attend classes. He was readmitted in time to take his graduation exams and passed with such distinction that he immediately joined the school’s faculty as a teacher of music theory.

• He was a procrastinator and had difficulty following through on projects.

• Liadov was a talented miniaturist, and was drawn toward pieces with descriptive programs.

• Sergei Diaghilev asked Liadov to compose the score to his new ballet, The Firebird. It is unclear why Liadov declined, but the commission was then offered to Igor Stravinsky, whose name and career were made by his Firebird.

FAMOUS WORKS • The Enchanted Lake • Kikomora • Baba-Yaga

Baba-Yaga In Slavic folklore, Baba-Yaga is a witchlike character who lives deep in the forest. Her hut stands on chicken legs and she flies around in a mortar wielding a pestle. Although she is a frightening figure – she is known to consume her victims – she is occasionally known to help those who need it. Liadov’s miniature musical rendition of this character is vivid and full of action and adventure.

LISTENING GUIDE Track #14: LIADOV Baba-Yaga Liadov uses several musical techniques to bring out the many mysterious qualities of Baba-Yaga. The listener is first introduced to the character through a theme heard in the bassoon and bass clarinet (0:08). She can be heard flying (0:42), laughing (1:17), dancing (1:25) and casting evil spells (2:02) in the brief three-minute miniature.

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KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

Anatol Liadov

About THE PROGRAM

TRACK

15 VICTOR HERBERT BORN: February 1, 1859 in Dublin, Ireland DIED: May 24, 1924 in New York City, NY ABOUT THE COMPOSER Victor Herbert was an accomplished cellist who inspired acclaimed composer Antonin Dvořák to write his own Cello Concerto.

• He was born in Ireland and moved to New York where he and his wife both performed with the Metropolitan Opera.

• As a composer, he is best known for writing operettas.

•

“March of the Toys” from Babes in Toyland Babes in Toyland was written after a very successful premiere of The Wizard of Oz on Broadway. In an attempt to capitalize on the excitement of The Wizard of Oz, Victor Herbert and his librettist Glen MacDonough designed a story using Toyland as a setting. The operetta combines characters from fairy tales, children’s books and nursery rhymes into a Christmas-themed musical celebration. The most popular scene is “March of Toys,” during which the evil Toymaker displays his toys for children who have strayed into Toyland.

Actor Alex Espy will join the Symphony on stage to help bring “March of the Toys” to life through movement.

Victor Herbert LISTENING GUIDE Track #15: HERBERT “March of the Toys” The piece is written in 12/8 (4 beats per bar, divided into triplets). It has a distinctive march-like feel and is performed at comfortable marching tempo.

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About THE PROGRAM

About THE PROGRAM

TRACK

16 FERDE GROFÉ BORN: March 27, 1892 in New York City, NY DIED: April 3, 1972 in Santa Monica, CA

Ferde Grofé LISTENING GUIDE Track #16: GROFÉ “On the Trail” 1:28 – Grofé writes for coconut shells to play the part of the burro’s hoof beats as he descends the trail. The tempo increases periodically as the burro loses his footing. Each rapid descent ends with a “hee-haw,” created by the woodwinds (2:12-2:28).

2:41 – Cowboy’s song 3:48 – A nearby waterfall draws the cowboy toward a beautiful oasis.

5:49 – A music box is heard in a nearby cabin. The cowboy stops for rest.

6:43-End – The cowboy and his burro take off into the sunset!

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ABOUT THE COMPOSER • He was an American-born composer.

• He worked as a truck driver, newsboy, elevator operator and bookbinder before becoming a composer.

• He was inspired by jazz and the American landscape.

• Grofé orchestrated Gershwin’s Rhapsody in Blue FAMOUS WORKS • Grofé composed suites for a variety of American landscapes and cultures including Death Valley, the Grand Canyon, Hawaii, Mississippi, Niagara Falls, San Francisco and Yellowstone National Park.

“On the Trail” from Grand Canyon Suite Grofé began writing his Grand Canyon Suite in 1929 after witnessing a breathtaking sunset on a Grand Canyon camping trip with friends. It took him several years to finish orchestrating the rest of the suite, which is in five movements: I. Sunrise II. Painted Desert III. On the Trail IV. Sunset V. Cloudburst The following note was published along with the score: On the Trail: “A traveler and his burro are descending the trail. The sharp hoof beats of the animal form an unusual rhythmic background for the cowboy’s song. The sound of a waterfall tells them of a nearby oasis. A lone cabin is sighted, and as they near it a music box is heard. The traveler stops at the cabin for refreshment. Now fully rested, the traveler journeys forth at a livelier pace. The movement ends as man and burro disappear in the distance.”

KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

TRACK

17 JOHANNES BRAHMS BORN: May 7, 1833 in Hamburg, Germany DIED: April 3, 1897 in Vienna, Austria COMPOSER FACTS: Noted as one of the greatest composers of all time.

He admired Beethoven’s symphonies so much that he took over 20 years to write one of his own.

• Brahms believed in conventional form and structure and was against the rebelliousness of Wagner.

• •

FAMOUS WORKS • Symphony No. 1 in C Minor • Symphony No. 4 in E Minor • Violin Concerto • Hungarian Dances

Serenade No. 1 Written when Brahms was 25, Serenade No. 1 is his first published orchestral work. It was originally written for nine wind and string players, but Brahms was encouraged to rework the piece for a larger ensemble. Taking his cue from the serenades of Haydn, Mozart and Beethoven, Brahms scored the larger version for pairs of woodwinds, horns and trumpets along with strings and timpani.

Johannes Brahms LISTENING GUIDE Track #17: BRAHMS Scherzo from Serenade No. 1 Much of this movement features call-and-response sections between the French horns and the strings. Examples include beginning-0:23, 0:360:44 and 0:50-0:58.

The piece was originally conceived as a fourmovement work and Brahms even considered designating it as his first symphony. However, once he added the two Scherzo movements, Brahms determined that it was definitely not “symphonic” and kept the title “Serenade.”

The fifth movement, marked “Scherzo,” opens with the sounds of hunting calls performed by horn and solo cello. The movement is regal and is reminiscent of Brahms’ idols, Haydn and Beethoven.

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About THE PROGRAM BILL ELLIOTT BORN: 1951 ABOUT THE COMPOSER, BILL ELLIOTT Leader of Bill Elliott Swing Orchestra Performances with the Boston Pops, Chicago Symphony, Pittsburgh Symphony, and Baltimore Symphony • Recordings include Diane Schuur’s “Midnight,” Alan Jackson’s “Let It Be Christmas,” John Lithgow’s “Farkle and Friends,” and Lorraine Feather’s “Such Sweet Thunder” • Composed music for The Remarkable Farkle McBride for symphony orchestra • ABOUT THE AUTHOR, JOHN LITHGOW • An award-winning actor, Lithgow has starred on stage, on film and on television • He has recorded two CDs for children, “Farkle and Friends” and “Singin’ in the Bathtub” • •

Bill Elliott The Remarkable Farkle McBride The Remarkable Farkle McBride, written by actor John Lithgow and orchestrated by composer Bill Elliott, introduces the instruments of the orchestra through clever storytelling and engaging music. Young Farkle McBride is a musical genius. He plays the violin, the flute, the trombone and the drums with incredible skill, but he is never satisfied. Something is always missing! Farkle explores each instrument of the orchestra and eventually figures out exactly how he can happily be part of a symphony - he can conduct ALL of the instruments of the orchestra. The narrator will take listeners on a tour of the orchestra through many musical styles and familiar themes.

Actor Alex Espy will narrate The Remarkable Farkle McBride with the Symphony.

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KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

CLASSROOM Activity The following chorus appears five times during the performance of The Remarkable Farkle McBride. Students will be invited to sing along each time it appears in the performances.

The lyrics change slightly for the fifth return of the chorus:

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INSTRUMENT Families

>> Strings: Tracks # 1, 3, 6, 17

The instruments of the orchestra can be categorized into families. Instruments in a specific family have similar traits but may sound, look, or be used differently than other members of the same family. The four instrument families in an orchestra are strings, woodwinds, brass and percussion.

Experience the sounds of each family. Note instrument tracks for Strings, Woodwinds, Brass and Percussion.

Violin

Viola

Harp

Companion CD TRACK LIST Cello

1 GLINKA | Overture to Russlan and Ludmilla 2 GIMÉNEZ | Interlude from La boda de Luis Alonso 3 VIVALDI | III. Tempo impetuoso d’estate: Presto from The Four Seasons

Bass

4 RIMSKY-KORSAKOV | “Flight of the Bumblebee” 5 WAGNER | “Ride of the Valkyries” from Die Walküre 6 TCHAIKOVSKY | V. Valse from The Sleeping Beauty Suite 7 GRIEG | “In the Hall of the Mountain King” from Peer Gynt 8 SHOSTAKOVICH | II. Allegretto from Symphony No. 5 9 SHOSTAKOVICH | Writing Challenge Theme A 10 SHOSTAKOVICH | Writing Challenge Theme B 11 SHOSTAKOVICH | Writing Challenge Theme C 12 SHOSTAKOVICH | Writing Challenge Theme D 13 WAGNER | Prelude to Act III of Lohengrin 14 LIADOV | Baba-Yaga 15 HERBERT | March of the Toys 16 GROFÉ | III. On the Trail from Grand Canyon Suite 17 BRAHMS | V. Scherzo from Serenade No. 1 12

KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

The STRING family is made up of the violin, viola, cello, bass and harp.

Instruments in this family produce sound by vibrating strings. Musicians use two different techniques to cause the string to vibrate. One way to produce vibrations is to rub the strings with a bow. The bow is a long stick with horsehair stretched across it. When the bow is drawn across the strings, it causes the strings to vibrate which produces a sound. Another way strings vibrate is by plucking them with your finger. This technique is called pizzicato. Whether bowing or plucking, the pitch on a string instrument is changed by adjusting the length of the string. This is accomplished by putting fingers down on the string to shorten the length of the portion that is vibrating.

String instruments have a very mellow, rich sound. There are many string players in an orchestra because each instrument alone does not produce a very loud sound compared to other instrument families.

>> Woodwinds: Tracks # 2, 8, 16

Bassoon

>> Brass: Tracks # 5, 13, 17

Trumpet

>> Percussion: Tracks # 2, 16

Triangle Snare Drum

Horn

Oboe

Timpani

Clarinet Trombone Flute

Tuba

Piano

The WOODWIND family includes the flute, clarinet, oboe and bassoon. These instruments produce sound by players blowing a vibrating column of air inside some form of tube. As the name suggests, all woodwind instruments have been made out of wood at one time in their existence. The flute has since evolved into being made of metal.

All woodwind instruments create the vibrating column of air in different ways. Flutists blow across the top of an open hole. Clarinetists blow between a reed – usually a small, flat piece of bamboo – and a fixed surface. Oboists and bassoonists blow between two reeds that vibrate against each other.

Woodwinds usually change the pitch of their instruments by changing the length of the tube they are blowing through by opening or closing holes using keys on their instruments. A modern orchestral woodwind section generally consists of three of each of the instruments in the family.

The BRASS family includes the trumpet, French horn, trombone and tuba which are all made of brass. The brass family is one of the oldest families of the orchestra. Sound is produced when the musician “buzzes” his or her lips into a cup-shaped mouthpiece to produce vibrating air. The vibrating air then travels through a long metal tube that modifies and amplifies the vibrations. In order to change pitch, brass players use two techniques. The first is to change the speed that they buzz their lips -- a fast buzz produces a higher pitch and a slower buzz produces a lower pitch. They are also able to change the length of tubing -- trumpet, French horn and tuba players have keys that may be pressed to lengthen or shorten the tubing and trombone players increase or decrease the length of tubing by using a slide. The brass section is generally found toward the back of the orchestra because of their ability to produce louder sounds.

A modern orchestral brass section traditionally consists of four horns, two trumpets, three trombones and one tuba.

The PERCUSSION family is the most varied family in the orchestra. Percussion instruments include the cymbals, drums, maracas, xylophone, marimba, and many more. Sound on percussion instruments is created by physically striking, rubbing or shaking either a solid material, like a metal triangle, or a membrane, like the top of a snare drum. In the past, membranes have been made of animal skins but most of today’s drums use a synthetic material.

There are many different kinds of percussion instruments used in an orchestra that produce many different types of sounds. They are usually used to provide rhythm for the music.

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Bass

Percussion

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KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

Violin I

Cello

Clarinet

Horn

Conductor

Flute

Timpani

Viola

Violin II

Oboe

Bassoon

Trumpet

Piano

Trombone

Harp

Tuba

ORCHESTRA Map

TEACHING Activity INSTRUMENT Families TEACHING OBJECTIVE: Students will learn to identify and understand the families of orchestral instruments and their roles in the orchestra.

MATERIALS: • • •

CD Player and Teacher’s Guide Companion CD Instrument Families Information Sheet (p. 12) Orchestra Map (p. 14)

PREPARATORY ACTIVITIES: 1. Discuss with the class the meaning of “family.” Discuss different types of families; their immediate and extended family, the “family” of the school or class, a “family” of cars by a car manufacturer, etc.

2. Discuss how families are defined and how certain characteristics are shared and others are not shared within a “family.”

3. Discuss the four families of instruments found within an orchestra.

TEACHING SEQUENCE: 1. Hand out copies of the Orchestra Map and, using the Instrument Families information sheet, talk about the characteristics of each family (Where do they sit? Who do they sit with or near?)

2. Discuss what characteristics each instrument and family has that makes them “related.” (How do they look? How are they played? What sounds do they make?)

3. Divide the class into four groups, each representing an instrument family.

4. Ask the students to arrange themselves in the same placement as they would be in an orchestra.

5. Play a recording of an orchestral piece. [We suggest using repertoire from the upcoming KinderKonzert which can be found on the Teacher’s Guide Companion CD]. Instruct the students to listen specifically to their instrument family. Have them note when they hear their family, what kind of sounds they made, how often they played, etc.

6. Ask the students to sing a simple song like Twinkle, Twinkle Little Star.

7. Instruct the class to sing the song again and have each group sing the way they think their instrument family would sound.

8. Before attending the KinderKonzert, remind the students of their instrument families and instruct them to watch and listen closely to their family.

EXTENDED ACTIVITIES: After completing the above activity, you may assign students the role of specific instruments within the four families and repeat the above sequence, asking students to represent specific instruments rather than more general families.

CULMINATING ACTIVITY: After the concert, discuss the way their instrument family looked and sounded at the concert. Discuss how it met or did not meet their expectations.

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TEACHING Activity ARTWORK Challenge TEACHING OBJECTIVE: Students will become familiar with the concert repertoire through art.

MATERIALS: • • • • •

CD Player and Teacher’s Guide Companion CD Repertoire Exploration (pages 6-12) Paper Crayons / Colored Pencils Artwork Challenge Submission Form

PREPARATORY ACTIVITIES: 1.

Discuss different ways we tell stories (written, verbal, movement, dance, music, etc…)

2. Discuss the different elements of a story (characters, setting, plot…)

3. Discuss how pictures can help enhance a written story, or tell stories on their own.

TEACHING SEQUENCE: 1.

Listen to Grofé’s “On the Trail” AND/OR Brahms’ Scherzo from Serenade No. 1 (Tracks 16 & 17).

2. While listening, ask students to close their eyes and visualize what is happening.

You may find that students have similar visualizations in the Grofé and very different visualizations in the Brahms. After listening, discuss the following topics:

a. What setting does the music create?

b. What characters are present?

c. What action is taking place?

3. Ask students to create a drawing or painting representing the music they hear.

4. Submit entries to the Kansas City Symphony for the Artwork Challenge.

ARTWORK CHALLENGE: The Kansas City Symphony will feature selected artwork during each KinderKonzert performance.

Teachers are invited to submit artwork from their classroom: 1. Entries may be mailed, faxed or emailed to: Kansas City Symphony Education Department Attn: Stephanie Brimhall 1703 Wyandotte, Suite 200 Kansas City, MO 64108 Fax: (816) 329-1839 Email: sbrimhall@kcsymphony.org 2. Entries must be received by 5:00pm on Friday, January 22 or Friday, April 22 to be eligible for selection.

3. An Artwork Challenge Submission Form (see Page 17) must accompany each school’s submission. A separate form should be submitted for each piece of music represented.

4. Entries become the property of the Kansas City Symphony and will not be returned. **ALL ENTRIES MUST BE RECEIVED

BY FRIDAY, JANUARY 22 OR FRIDAY, APRIL 22 TO BE CONSIDERED. NOT ALL ARTWORK WILL BE INCLUDED IN THE CONCERT SLIDESHOW**

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KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

ARTWORK Challenge Submission Form PLEASE RETURN ONE SUBMISSION FORM WITH YOUR ARTWORK CHALLENGE ENTRIES. Concert Attending:*

Tuesday, February 9 at 10:00am

Tuesday, February 9 at 11:30am

Wednesday, February 10 at 10:00am

Wednesday, February 10 at 11:30am

Thursday, February 11 at 10:00am

Thursday, February 11 at 11:30am

Thursday, May 12 at 10:00am

Thursday, May 12 at 11:30am

Wednesday, May 11 at 11:30am

Repertoire Represented**:

“On the Trail” from Grand Canyon Suite by Grofé

V. Scherzo from Serenade No. 1 by Brahms

SCHOOL INFORMATION: School Name: School Address:

Contact Name: Contact Email:

Phone:

*Please submit separate forms if you are attending multiple concerts. **Please submit separate forms if students are creating artwork for both pieces of music. For example, include one submission form for all students creating artwork for Grofé and another for those representing the music of Brahms.

ARTWORK CHALLENGE ENTRY INFORMATION: # Entries submitted:

Total challenge participation:

SUBMISSION GUIDELINES: Entries may be mailed, faxed or emailed to: Kansas City Symphony Education Department Artwork Challenge 1703 Wyandotte, Suite 200 Kansas City, MO 64108 Fax: (816) 329-1839 Email: sbrimhall@kcsymphony.org

1. Entries must be received by 5 p.m.

Friday, January 22, 2016 or Friday, April 22, 2016 to be eligible for selection.

2. An artwork challenge submission form must accompany each school’s submission.

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TEACHING Activity MOVING to the Music TEACHING OBJECTIVE: Students will discover how to tell a story by using their bodies and learn more about music to be performed during the KinderKonzert.

MATERIALS: • •

CD Player Teacher’s Guide Companion CD

PREPARATORY ACTIVITIES: 1.

Ask students to discuss different ways they can tell a story (written, verbal, movement, dance, music, etc…)

2. Discuss the different elements of a story (characters, setting, plot…)

3. Discuss how movements can help tell a story (as in pantomime, ballet, opera, theater, etc...)

TEACHING SEQUENCE: 1. Play Victor Herbert’s “March of the Toys” for the students (Track 15) 2. On a second listen-through, ask students to march in pace, or around the classroom, to the music.

3. As you play the music, ask students to imagine what types of toys are being portrayed. How do they move? What are they doing? How do they interact with each other?

4. As a class or in groups, make up a story being told by the music.

5. With the music playing in the background, ask students to act out the story through movements.

CULMINATING ACTIVITY: During the KinderKonzert performance, the host will lead the audience through a similar exercise and then perform movements along with the music.

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KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

TEACHING Activity Concert ETIQUETTE TEACHING OBJECTIVE:

CULMINATING ACTIVITY:

Students will examine, discuss and practice appropriate concert behavior in different settings.

1. Ask the students to list places or situations where they might be part of an audience. Solicit examples such as a rock concert, tennis match, football game, golf tournament, movie theater, etc.

Create a list of answers where everyone can see them.

2. Discuss the way audience behavior in various settings would be different. Discuss how different venues or activities have different expectations for audience behavior.

Talk to the students about the upcoming Kansas City Symphony concert. Discuss what they should expect to happen and how they can appropriately show their appreciation for the Symphony.

Students should know that it is appropriate to clap for an orchestra after each piece. The conductor will indicate when each piece is over by putting his hands down by his side.

TEACHING SEQUENCE:

EVALUATION:

1. Assign a group of two or more students to act out behavior that would occur at various venues at the front of the classroom. For example, have two students pretend to be playing tennis.

2. Instruct the rest of the class to pretend that they are the audience for the event being portrayed. Instruct the “audience” to show their appreciation for the performers/athletes pretending in front of the class.

3. Critique the “audience” behavior and discuss why certain behavior was appropriate or inappropriate for the situation. Talk about audience reactions such as applause, yelling or whistling and when it is appropriate or inappropriate.

4. Ask the performers to tell the class how the “audience” behavior affected their efforts.

5. Repeat this activity with all examples of activities (i.e. rock concert, chess match, ballet, football game, etc).

Were students able to understand how and why audience behavior might be different in different settings and venues?

Did they understand the importance of their role as an audience member?

PREPARATORY ACTIVITIES:

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Help Lohengrin find the maiden Elsa.

10 by 10 orthogonal maze

START HERE

FINISH HERE Copyright © 2015 JGB Service, http://www.mazegenerator.net/

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KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

PREPARING for the CONCERT! BEFORE THE CONCERT: • Please make sure we are aware of any special seating needs you may have by contacting Owen Craig at ocraig@kcsymphony.org at least 2 weeks prior to the performance.

• Please double check that the concert date, number of attendees and amount due listed on your confirmation email matches your order.

• You will not receive tickets for this event.

• Please review proper concert with your students prior to the performance.

Information can be found below and on page 19 of this guide.

ARRIVING BY BUS • Busses will offload on the south drop-off drive of the KCPA . This drive runs east to west on concert dates and is accessed from Wyandotte St. • Please mark all busses with your school’s name and memorize bus numbers.

• Make sure you have contact information for each bus driver.

• Please ask bus drivers to follow all directions provided by KCPD, KCPA and KCS staff.

• Bus drivers must remain with the bus until it is parked at its final location.

• Bus drivers must be back on the bus 15 minutes before the end of the performance.

• Please make sure a teacher or other adult is the first person off the bus so they may help with the offloading process.

• Volunteers are there for your safety; please make sure you listen to all instructions.

ARRIVING BY CAR • Parking is available in the Arts District Garage for $3 on concert days.

• Free street parking is also available on surrounding streets including 17th, Wyandotte, Baltimore and Broadway.

• All groups arriving by car should meet in the KCPA’s Brandmeyer Great Hall (Level 4).

DURING THE CONCERT • Your group will be seated by KCS and KCPA volunteers. Please plan to be in your seats 5 minutes before the concert begins.

• When you arrive in the hall, you will see musicians warming up on stage.

When it is time for the concert to begin, the lights will dim and KCS Education Manager Stephanie Brimhall will give some brief announcements.

• Following announcements, the orchestra will tune.

• The conductor will enter and ask the orchestra to stand. Applause for the conductor and orchestra is welcome at this time.

• Throughout the concert, applause is also welcomed after each piece. You will know when it is time to applaud when the conductor lowers his arms and turns to face the audience.

• Students may also be asked to participate at various times throughout the concert. Please listen closely to instructions given from the stage.

• Out of courtesy to your neighbors, please do not talk during the performance.

• Flash photography, audio recording and video recording are not permitted during the concert.

• Please make sure all electronic devices are switched off during the performance.

AFTER THE CONCERT • Please remain in your seats until your group is dismissed.

• Listen closely to dismissal instructions and be aware that your bus may be parked in a different location than the one where you were dropped off.

• Students will be escorted to their parked bus.

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About ALEX ESPY

ALEX ESPY IS EXCITED TO BE BACK WITH THE KANSAS CITY SYMPHONY! Previous Kansas City Symphony engagements include Peter and the Wolf (2013, 2015) and The Orchestra Games (2013). Alex has been seen on the Coterie stage in such shows as Tales of a Fourth Grade Nothing, Frindle, and Sideways Stories from Wayside School. He has also created original shows for the Nelson-Atkins Museum of Art, including an environmental production of Alice in Wonderland in their renowned sculpture park. Other Kansas City companies Alex has worked with over the years include Paul Mesner Puppets, The Unicorn Theatre, The Living Room Theatre and Theatre for Young America. Alex is currently Resident Artist at St. Mark Child and Family Development Center.

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KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

About ARAM DEMIRJIAN

ARAM DEMIRJIAN IS FLOURISHING AS ASSOCIATE CONDUCTOR OF THE Kansas City Symphony. Now in his fourth season, Demirjian has distinguished himself as a devoted and integral member of the Kansas City arts community, building relationships with audiences of all ages and backgrounds, conducting an astounding volume of diverse programs and supporting the work of Music Director Michael Stern and the Kansas City Symphony musicians.

Lauded for his “confident and expressive style” and “boundless energy” (Kansas City Star), Demirjian’s critically acclaimed Classical Series debut was recognized by KCMetropolis as a Top 10 Kansas City Arts Moment for the 2014-15 season. Demirjian exhibits extraordinary versatility on the podium, conducting every style of program the Symphony presents. During the past three seasons, he has helped lead the expansion of the Symphony’s concert offerings as the conductor of two dynamic series: Classics Uncorked, which offers a casual and innovative take on the concert experience, complete with narration, lighting, musical demonstrations and a free glass of wine; and Screenland at the Symphony, which features classic works of cinema with a live soundtrack provided by the orchestra. In the 2015-16 season, Demirjian will conduct Family, Pops and Christmas Festival concerts again, as well as make a second appearance conducting the Symphony’s annual performances of Handel’s Messiah.

Demirjian is one of the principal architects of the Symphony’s Education Series. He scripts and conducts original Young People’s Concerts and KinderKonzerts, as well as Carnegie Hall Link-Up® programs. Together, these concerts bring more than 30,000 grade school students annually to Helzberg Hall at the Kauffman Center for the Performing Arts. He also leads a yearly Support School Music concert and is active in the Symphony’s residency at University Academy. Demirjian believes passionately that music and the arts are essential parts of education for all young people, and that music, in particular, supports and nurtures the skills for growth and success in all disciplines.

Demirjian’s increasingly busy guest conducting schedule has included past performances with the Minnesota Orchestra, Omaha Symphony, Louisiana Philharmonic, Memphis Symphony, New England Conservatory Symphony and Tanglewood Music Center. He looks forward to forthcoming guest conducting dates with the Knoxville Symphony and Fresno Philharmonic, as well as re-engagements with the Louisiana Philharmonic. He has been engaged as cover conductor by the Boston Symphony, St. Louis Symphony, Charlotte Symphony and Aspen Music Festival, and he also was a conducting apprentice of Harry Christophers with the Handel & Haydn Society.

Demirjian is an alumnus of the American Academy of Conducting at Aspen, where he received the distinguished Robert J. Harth Conducting Prize.

He holds a Bachelor of Arts, cum laude, in music and government from Harvard University, and a Master of Music in orchestral conducting from New England Conservatory.

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About KANSAS CITY SYMPHONY OUR HISTORY Founded by R. Crosby Kemper, Jr., in 1982, the Kansas City Symphony has established itself as a major force in the cultural life of the community. Praised for performances of uncompromising standard, the orchestra is the largest in the region and enjoys a national reputation under the artistic leadership of Music Director Michael Stern.

The Kansas City Symphony also experienced impressive artistic growth through its history and under the batons of Russell Patterson (19821986), William McLaughlin (1986-1997) and Anne Manson (1998-2003).

Aram Demirjian, associate conductor, conducts the Family, Pops and Classics Uncorked concerts. Charles Bruffy is the chorus director.

The Kansas City Symphony serves a metropolitan population of 1.8 million people. The orchestra’s 80 full-time musicians are area residents and vital contributors to the artistic life of Kansas City. During its 42-week season, the Symphony performs a wide variety of subscription, educational, touring and outreach concerts. In addition, the Kansas City Symphony performs with the Lyric Opera of Kansas City and the Kansas City Ballet.

AWARD-WINNING LEADERSHIP The Kansas City Symphony is governed by a Board of Directors under the leadership of Board Chair William M. Lyons and is administered by a full-time professional staff led by Executive Director Frank Byrne. In addition, the Kansas City Symphony benefits from the dedicated efforts of its volunteer associations.

The Symphony’s five auxiliaries, with total membership of more than 700, raise more than $1 million annually, making them some of the most successful orchestra volunteer forces in the nation.

FINANCIAL STRENGTH The Kansas City Symphony has demonstrated a strong commitment to fiscal responsibility. From a budget of $1.5 million in its first season, the Symphony’s annual operating budget has grown to more than $15 million. Major gifts from the Board, local foundations and individuals have created an endowment that is in excess of $70 million. The Symphony’s annual fund campaign and other fundraising events are integral to our continued success.

EDUCATION and COMMUNITY FOCUS The vision of the Symphony’s education department is to enable people of all ages in the greater Kansas City area to learn, create and become inspired through orchestral music. More than 54,000 people participate in Kansas City Symphony education programs annually. Most popular are specially programmed school concerts — KinderKonzerts, Young People’s Concerts and Link Up — performed for more than 30,000 students and teachers annually.

Several thousand more are involved with the Symphony through activities including the Open Rehearsal Series, Bush and Jamie Helzberg Instrument Petting Zoo program and Charles and Virginia Clark Inside Music Series. Dozens of area student musicians participate in the Woman’s City Club Charitable Foundation Young Artist Competition, where the winner is awarded a cash prize and the opportunity to perform with the Kansas City Symphony. The Symphony’s Bill and Peggy Lyons Support School Music

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KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

program takes the orchestra into area schools to perform a concert and all ticket sales directly benefit the school district’s music department.

Since the program’s inception, more than $146,000 has been generated for school music education programs.

Recently, the Symphony has piloted new music education programs and partnerships, including Petite Performances starting in January of 2016.

RECORDINGS and BROADCASTS The Symphony’s concerts with internationally celebrated mezzosoprano Joyce DiDonato were featured on the national PBS Summer Arts Series in July 2012. The DVD, “Homecoming: Kansas City Symphony Presents Joyce DiDonato” may be purchased on the Symphony website or by calling the Symphony box office at (816) 4710400. The Grammy® -nominated audio recording of the complete performance may be downloaded from iTunes. The Symphony has released five recordings on the Reference Recordings label — “Shakespeare’s Tempest,” the Grammy-winning “Britten’s Orchestra,” an Elgar/Vaughan Williams project, “Miraculous Metamorphoses,” and most recently, an all-Saint-Saëns CD featuring the magnificent “Organ” Symphony. Two additional projects have been recorded and slated for future release, including Holst’s The Planets (recorded January 2015) and the music of contemporary American composer Adam Schoenberg (recorded June 2014).

In addition, the Symphony has taped three nationally broadcast PBS television specials and performed on National Public Radio, including on the prestigious SymphonyCast series. Highlights of Classical Series performances are broadcast Thursdays at 9 p.m. on KCUR-FM 89.3, Kansas City’s National Public Radio affiliate.

ORCHESTRA Roster MICHAEL STERN, Music Director ARAM DEMIRJIAN, Associate Conductor / David T. Beals III Chair

FIRST VIOLINS Noah Geller, Concertmaster Miller Nichols Chair Justine Lamb-Budge^, Associate Concertmaster Sunho Kim, Assistant Concertmaster Gregory Sandomirsky Associate Concertmaster Emeritus Anne-Marie Brown Anthony DeMarco Susan Goldenberg* Jessica Wakefield Hao‡ Tomoko Iguchi Lisa JacksonΔ Dorris Dai Janssen Filip Lazovski^Δ Chiafei Lin Vladimir Rykov Alex Shum* SECOND VIOLINS Tamamo Someya Gibbs, Principal Stirling Trent^, Associate Principal Kristin Velicer, Assistant Principal Nancy Beckmann Kathy Haid Berry Stephanie Cathcart Minhye Helena Choi Mary Garcia Grant Kevin Hao Kazato Inouye Rena Ishii Francesca Manheim VIOLAS Christine Grossman, Principal Youming Chen, Associate Principal Jessica Nance, Assistant Principal Kent Brauninger Sean Brumble Marvin Gruenbaum Duke Lee Jenifer Richison Matthew Rombaum

CELLOS Mark Gibbs, Principal Robert A. Kipp Chair Susie Yang, Associate Principal Richard Hill Chair Alexander East, Assistant Principal Maria Crosby John Eadie Lawrence Figg Rung Lee* Meredith McCook^ Allen Probus DOUBLE BASSES Jeffrey Kail, Principal Evan Halloin, Acting Associate Principal Owen Levine^Δ Brandon Mason^ Richard Ryan Keith WymerΔ FLUTES Michael Gordon, Principal Shannon Finney, Associate Principal Diane Schick PICCOLO Diane Schick OBOES Kristina Fulton, Principal Shirley Bush Helzberg Chair Adam De Sorgo^Δ, Acting Associate Principal Barbara Bishop‡, Associate Principal Kenneth Lawrence ENGLISH HORN Kenneth Lawrence CLARINETS Raymond Santos, Principal Gabriel Campos Zamora, Associate Principal John KlinghammerΔ

E-FLAT CLARINET Gabriel Campos Zamora BASS CLARINET John KlinghammerD BASSOONS Ann Bilderback, Principal Barton P. and Mary D. Cohen Chair Thomas DeWitt, Associate Principal Marita Abner CONTRABASSOON Thomas DeWitt HORNS Alberto Suarez, Principal Landon and Sarah Rowland Chair David Sullivan, Associate Principal Elizabeth Gray David Gamble Stephen Multer, Associate Principal Emeritus TRUMPETS Julian Kaplan^, Principal James B. and Annabel Nutter Chair Philip Clark, Associate Principal Brian Rood

PERCUSSION Christopher McLaurin, Principal Joseph Petrasek, Associate Principal HARP Deborah Wells Clark, Principal LIBRARIANS Elena Lence Talley, Principal Fabrice Curtis

Justin White, Personnel Manager Matt Henderson, Assistant Personnel Manager David Tebow, Stage Manager Mark Watson, Assistant Stage Manager

* Non-Rotating Musician ^ New Member ‡ On Leave of Absence Δ One-Year Member

TROMBONES Roger Oyster, Principal Porter Wyatt Henderson, Associate Principal Adam Rainey BASS TROMBONE Adam Rainey TUBA Steven Seward, Principal TIMPANI Timothy Jepson, Principal

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KAUFFMAN CENTER for the PERFORMING ARTS LOCATION

ARRIVING BY CAR

1601 Broadway Kansas City, MO 64108

The 1,000-car Arts District Garage is directly attached to the Kauffman Center just south of the building with multiple access points to surrounding streets. The cost for parking in the Arts District Garage is $3.

ARRIVING BY BUS Numerous parking spaces are also available throughout the Crossroads District, including free parking along Central, Wyandotte, Baltimore,17th, 18th and 19th streets.

OPEN DOORS TRANSPORTATION FUND The Kauffman Center for the Performing Arts will again provide bus allowances for Kansas City Symphony educational performances through its Open Doors Transportation Fund. Any school in the five-county metropolitan Kansas City Area transporting at least twenty students to a Kansas City Symphony’s Young People’s Concert, KinderKonzert, Link Up or Open Dress Rehearsal may apply. Funds will be awarded as long as they are available. Public, private, and non-traditional schools are invited to apply. Visit www.kauffmancenter.org for more information.

ACCESSIBILITY

Washington

Accessible seating for patrons using wheelchairs and walkers is available in most 13th areas of Helzberg Hall, including the Parterre, Mezzanine and Lower Grand Terrace.

Please consult with Education Ticketing Coordinator Owen Craig at (816) 218-2609 to determine your best and most accessiblethseating options.

Central

N

Pennsylvania

Groups arriving by bus will be directed to the south drop-off drive. Buses should enter the Kauffman Center drop-off drive from the Wyandotte entrance on the south side of the building. The drop-off drive will be one-way running east-west.

Please stay on your bus until a Kauffman Center volunteer comes to greet your group. After students have entered the building, drivers will be directed to the north side of the Kauffman Center where they will park on 16th and Central Streets.

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D P

Walnut

Kauffman Center for the Performing Arts

E 17th P

W 17th

19th Terrace

Wyandotte

Broadway

W 19th

Central

18th W 19th

Baltimore

W 17th

E 19th

E 20th D Drop-off drive, one-way heading west

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P Entrance to underground parking garage

KinderKonzert: The Remarkable Farkle McBride and Other Symphonic Stories

K

Grand Blvd.

16th Main

Broadway

Washington

Jefferson

Summit

Truman

Kansas City Symphony EDUCATION PROGRAM SPONSORS

UNDERWRITERS

DONORS (UNDER $25,000)

Charles and Virginia Clark Bush and Jamie Helzberg Bill and Peggy Lyons John and Marny Sherman William T. Kemper Foundation – Commerce Bank, Trustee Woman’s City Club Charitable Foundation

Anonymous Bayer CropScience Harvey S. Bodker The Breidenthal-Snyder Foundation The Cross Foundation Curry Family Foundation The Dlabal Foundation Samuel W. Edmunds Charitable Fund Donald Flora and Janet Stallmeyer Jackson County COMBAT Program R.A . Long Foundation Edward G. and Kathryn E. Mader Foundation Master Craftsmen Foundation Bill McGlaughlin Education Fund Pentair Foundation / Fairbanks Nijhuis Victor E. and Caroline E. Schutte Foundation Elaine Feld Stern Charitable Trust Louis and Frances Swinken Supporting Foundation of the Jewish Community Foundation of Greater Kansas City Truman Heartland Community Foundation Henry E. Wurst Family Foundation

EDUCATION SERIES SPONSORS ($25,000 AND ABOVE) Muriel I. Kauffman Fund Francis Family Foundation Claire Giannini Fund KCP&L Frank and Margaret G. McGee Fund Sprint Foundation Oppenstein Brothers Foundation

ADDITIONAL SUPPORT PROVIDED BY

EDUCATION DEPARTMENT Stephanie Brimhall Education Manager (816) 218-2639 sbrimhall@kcsymphony.org Owen Craig Education Ticketing Coordinator (816) 218-2609 ocraig@kcsymphony.org

MAILING ADDRESS Kansas City Symphony 1703 Wyandotte, Suite 200 Kansas City, MO 64108

kcsymphony.org