2015/16 Kansas City Symphony Education Guide

YOU NG PEOPL E’ S CONCERT:

Play Me a Story 2015/16 T E ACHER ’ S GU IDE

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Young People’s Concert: Play Me a Story

About THIS GUIDE

CONTENTS 4

Preparing for the Concert

5 Vocabulary 5

Concert Program

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About the Program Mikhail Glinka Gerónimo Giménez Antonio Vivaldi Nikolai Rimsky-Korsakov Richard Wagner Pyotr Ilyich Tchaikovsky Edvard Grieg Dmitri Shostakovich John Williams

14 Resources

Instrument Families

Companion CD Track List

Orchestra Map 17

Teaching Activities Instrument Families Writing Challenge Character Worksheet Plot Worksheet Story Element Web Worksheet Complete Story Worksheet Writing Submission Form Moving to the Music Concert Etiquette Instrument Word Search

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About Aram Demirjian

28 About Kansas City Symphony 29

Orchestra Roster

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Kauffman Center for the Performing Arts

31 Sponsors

Dear Teachers, We look forward to seeing you in October for another wonderful week of Young People’s Concerts! This year’s program, Play Me a Story, will explore the exciting connections between music and storytelling. As the concert approaches, we encourage you to take advantage of all the materials inside this guide.

Play Me a Story combines some of the most exhilarating symphonic music ever written with the excitement of great storytelling. For centuries, composers have drawn inspiration from stories, and our program will explore how certain composers use the orchestra to create three key components of any story: setting,character and plot.

Every story needs a “where” and “when,” and our program includes examples of each. The first is Giménez’s “Interlude” from La boda de Luis Alonso, which provides the setting for an energetic Spanish wedding party and demonstrates music’s remarkable ability to convey a sense of both a specific place and culture.

Then, a movement from “Summer”—one of four concertos in Vivaldi’s The Four Seasons — shows us how music illustrates setting as a certain time of year.

Next, we take flight with two examples of character – Rimsky-Korsakov’s “Flight of the Bumblebee” uses musical effects to depict the physical qualities of a bee, and Wagner’s “Ride of the Valkyries” uses a great theme to represent heroic female warriors. We then move on to explore plot, which can be the portrayal of a type of action, like the dancing in Tchaikovsky’s “Waltz” from Sleeping Beauty, or the telling of a complete story, like the mischievous tale of Peer Gynt in Grieg’s “In the Hall of the Mountain King.”

Finally, students will get to combine their knowledge of setting, character and plot to form stories of their own as part of our annual Writing Challenge! This year, we have selected an evocative movement from Shostakovich’s Fifth Symphony as the musical inspiration for your students’ stories, and we cannot wait to read what they create.

Information on this challenge, including lesson plans and in-class materials, can be found on page 18 of this guide. The program will conclude with a piece everyone in your class will surely know – John Williams’ classic “Hedwig’s Theme” from Harry Potter!

The US Senate recently passed the Every Child Achieves Act which names music as a “core academic subject.” This serves to confirm what you and your school already know: that music is fundamental to every child’s education and intellectual growth, empowering them with skills like creativity, listening and practicing while reinforcing the material of other core subjects. Thank you for making music a part of your students’ classroom education! We look forward to seeing you at Helzberg Hall.

Stephanie Brimhall Education Manager, Kansas City Symphony

Aram Demirjian Associate Conductor, Kansas City Symphony Kansas City Symphony

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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 25 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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Young People’s Concert: Play Me a Story

VOCABULARY

CELESTA: a keyboard percussion instrument consisting of a set of steel plates of graduated length that are struck with key-operated hammers CHOREOGRAPHER: a person who creates dance compositions and plans and arranges dance movements and patterns, especially for ballets CHROMATIC: a musical progression in half-tones

PROGRAM:

CONCERTO: a composition for one or more principal instruments, with orchestral accompaniment

GLINKA Overture to Russlan and Ludmilla

DYNAMICS: variation and gradation in the volume of musical sound

GIMÉNEZ Interlude from La boda de Luis Alonso

FORTISSIMO: very loudly INCIDENTAL MUSIC: music intended primarily to point up or accompany parts of the action of a play or to serve as transitional material between scenes LIBRETTO: the text or words of an opera or similar extended musical composition ORCHESTRATION: scoring or arranging of music for orchestra OVERTURE: an orchestral composition forming the prelude or introduction to an opera, ballet, etc…

PIANISSIMO: very softly PIZZICATO: musical technique performed by plucking the strings with the finger instead of using a bow, as on a violin, viola, cello or bass REGISTER: the range produced by an instrument or voice STACCATO: shortened or detached when played or sung TEMPO: the speed at which music is meant to played, usually indicated by a musical direction (ie: adagio, allegro, etc…)

TRILLS: a fast alternation of two adjacent notes WHOLE-TONE SCALE: a scale progressing entirely by whole tones (ie: C, D, E, F#, G#, A#, C)

VIVALDI “Summer” from The Four Seasons, III. Tempo impetuoso d’estate: Presto RIMSKY-KORSAKOV “Flight of the Bumblebee” from The Tale of Tsar Saltan WAGNER “Ride of the Valkyries” from Die Walküre TCHAIKOVSKY Waltz from The Sleeping Beauty GRIEG “In the Hall of the Mountain King” from Peer Gynt SHOSTAKOVICH Symphony No. 5, II. Allegretto JOHN WILLIAMS Hedwig’s Theme from Harry Potter and the Sorcerer’s Stone

ZARZUELA: a Spanish opera having spoken dialogue and often a satirical topic

Kansas City Symphony

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About THE PROGRAM

YOU NG PEOPL E’ S CONCERT:

Play Me a Story TRACK

Overture

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MIKHAIL GLINKA BORN: June 1, 1804 in Novospasskoye, Smolensk, Russia DIED: February 15, 1857 in Berlin, Germany FAMOUS WORKS: A Life for the Tsar and Russlan and Ludmilla

Mikhail Glinka

LISTENING GUIDE Track #1: Russlan’s Theme: 0:14-0:44 Lively and heroic, Russlan’s theme represents a strong and determined character.

Ludmilla’s Theme: 1:03-1:34 Ludmilla’s theme, heard in the viola and cello, is beautiful and melodic.

Villain’s Theme: 4:34-4:49 The evil sorcerer Chernomor is represented by a descending whole-tone scale throughout the opera and is heard here in the basses, celli and trombones.

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Young People’s Concert: Play Me a Story

Mikhail Glinka was a privileged child and grew up on his family’s estate surrounded by opportunities to hear and play music. As a child, he studied violin, piano and voice, but was encouraged to pursue a job in government. He worked for four years as assistant secretary of the Department of Public Highways beginning in 1824. He left the position to pursue a musical education in Italy and Germay.

Glinka felt a strong connection to his Russian heritage and has been credited with founding the nationalist school of Russian composers. His first truly Russian work, an opera titled A Life for the Tsar, premiered in 1836 and was an instant success. He followed this up with the opera Russlan and Ludmilla. While it did not receive the same warm welcome as his first opera, the overture to Russlan and Ludmilla has since become Glinka’s most recognizable work.

Russlan and Ludmilla Glinka’s Russlan and Ludmilla was inspired by a romantic narrative poem by Alexander Pushkin. The poem, published in 1820, follows its hero, Russlan, as he strives to rescue his kidnapped bride, Ludmilla. Glinka’s opera has all the makings of a good fairy tale: a beautiful princess, a handsome prince, an evil wizard and a happy ending.

The overture to Russlan and Ludmilla opens with a rousing wedding celebration between the title characters. Glinka incorporates themes heard throughout the opera, but primarily pulls material from the final scenes. The overture introduces Russlan, Ludmilla and the evil sorcerer Chernomor, and is filled with exotic melodies depicting the magical landscape where the story takes place.

TRACK

Setting

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GERÓNIMO GIMÉNEZ BORN: October 10, 1854 in Seville, Spain DIED: February 19, 1923 in Madrid, Spain FAMOUS WORKS: La tempranica and La boda de Luis Alonso STORY ELEMENT: SETTING

LISTENING GUIDE Track #2: The castanets can be heard at the very beginning of the movement and remain present throughout. The movement begins in triple meter (1-2-3, 1-2-3, etc…). At 3:31, the music switches to duple meter (1-2, 1-2, etc…). The tambourine can be heard periodically from 3:44 through the end.

Gerónimo Giménez displayed musical talents at an early age. By the time he was 12, he was already a member of the 1st violin section at the Teatro Principal in Spain. At the age of 17, he was conducting performances in Seville and enrolled at the Paris Conservatoire. He excelled in school, winning first prize for Harmony and Counterpoint, and claiming victory over fellow classmate Claude Debussy.

Gerónimo Giménez

Giménez specialized in zarzuela, a form of light opera or musical theatre featuring catchy music, popular dances, a wide variety of dramatic themes, and spoken dialogue in Spanish rather than the traditional French or Italian. He was so adept at the genre that he went on to conduct at a number of different theatres including the Teatro de la Zarzuela. El baile de Luis Alonso and its prequel, La boda de Luis Alonso, are Gimenez’s best-known zarzuelas.

Interlude from La Boda de Luis Alonso La boda de Luis Alonso (The Wedding of Luis Alonso) is a farce about a wedding interrupted by the running of the bulls in Cádiz. Giménez creates a musical setting of a Spanish wedding celebration by incorporating elements deeply influenced by Spanish folk music and dance. The use of castanets, tambourine, alternation of duple and triple meters, and dance rhythms each contribute to the Spanish flair.

Kansas City Symphony

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About THE PROGRAM TRACK

Setting

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ANTONIO VIVALDI BORN: March 4, 1678 in Venice, Italy DIED: July 28, 1741 in Vienna, Austria FAMOUS WORKS: The Four Seasons STORY ELEMENT: SETTING Antonio Vivaldi was born into a large family with four brothers and four sisters.

His father was a professional violinist and served as his first and only notable teacher. In the early 1700s, Vivaldi was ordained a priest, earning the nickname “The Red Priest” because of his bright red hair. Health issues and a deep love for music led him to abandon the priesthood to pursue his musical interests.

At the age of 25, Vivaldi was named Master of Violin at the Devout Hospital of Mercy in Venice, an institution for orphaned and abandoned children. While the boys learned trades and were required to leave at the age of 15, the girls received a musical education. The most talented of these girls stayed on to become members of the orchestra and choir. Vivaldi was eventually promoted to music director and composed many works for the ensembles at the institution.

“Summer” from The Four Seasons Vivaldi composed hundreds of concertos in his career, but he is most famous for the set entitled The Four Seasons. Each concerto in this set is a threemovement work for violin based on a sonnet describing a specific season.

“Spring” and “Autumn” are written in major keys while “Summer” and “Winter” are written in minor. “Summer” is based on the following sonnet: Under the merciless sun Languishes man and flock; the pine tree burns, The cuckoo begins to sing and at once Join in the turtle doves and the goldfinch.

A gentle breeze blows, but Boreas Joins battle suddenly with his neighbor, And the shepherd weeps because overhead Hangs the dreaded storm, and his destiny.

His tired limbs are robbed of their rest By his fear of the lightning and the heavy thunder And by the furious swarm of flies and hornets.

Alas, his fears are well founded There is thunder and lightning in the sky And the hail cuts down the lofty ears of corn.

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Young People’s Concert: Play Me a Story

Antonio Vivaldi LISTENING GUIDE Track #3: The third movement depicts the thunderstorm that beats down on the farmers’ crops.

Thunder: 0:00-0:10 Cellos and basses rumble like thunder.

Rain: 0:11-0:24 Rapidly descending scales in the violins represent the falling rain.

Winds: 0:25-0:34 Swiftly ascending scales in the violins represent the gusty winds.

ABOUT THE SOLOIST Justine Lamb-Budge, associate concertmaster Violinist Justine Lamb-Budge is bringing “youthful vibrancy” to orchestral performances on stages across North America and Europe. “The great skill, passion and nuance of her playing and her strong commitment to the critically important role of concertmaster is an inspiration to all of us,” says Piotr Gajewski, Music Director of the National Philharmonic in Washington D.C., where Lamb-Budge was concertmaster from 2011 to 2013.

Lamb-Budge was a finalist for the Philadelphia Orchestra and San Francisco Ballet concertmaster auditions last year. This year, she performed as guest concertmaster of the National Symphony Orchestra and the Buffalo Philharmonic, as a candidate for the associate concertmaster and concertmaster positions, respectively. She previously held the positions of concertmaster of the Canton Symphony Orchestra (2013-2015), concertmaster of the Mansfield Symphony (2013-2014), associate concertmaster of the Akron Symphony Orchestra (20132014), principal second violin of Symphony in C (2012-2013), and was principal second violin and associate concertmaster of the Curtis Symphony Orchestra, respectively, during her last two years there. She also frequently performs with the Philadelphia and Cleveland orchestras.

Nikolai Rimsky-Korsakov TRACK

Character

NIKOLAI RIMSKY-KORSAKOV BORN: March 18, 1844 in Tikhvin, Russia DIED: June 21, 1908 in Luybensk, Russia FAMOUS WORKS: Scheherazade, Capriccio espagnol STORY ELEMENT: CHARACTER Nikolai Rimsky-Korsakov was a 19th century Russian composer. Despite showing early talents on the piano, he initially chose a naval career and enrolled in the College of Naval Cadets in 1856. Following his graduation, he spent two years at sea and used his spare time to compose music. Not long after his return to St. Petersburg, Rimsky-Korsakov began teaching composition and orchestration at the St. Petersburg Conservatory.

“Flight of the Bumblebee” “Flight of the Bumblebee” is the most recognizable music from Rimsky-Korsakov’s opera The Tale of Tsar Saltan. It is heard at the end of Act III, Scene 1 when the Tsar’s son is turned into a bee so he may visit his father in secret. The short but memorable “Flight of the Bumblebee” paints a musical picture of a bee zipping about in the sky.

Lamb-Budge studied with Philadelphia Orchestra principal second violinist Kimberly Fisher prior to attending the Curtis Institute of Music where she studied with Joseph Silverstein and Ida Kavafian. She graduated in May from the Cleveland Institute of Music, where she received her Artist Diploma in Concertmaster Studies under the tutelage of William Preucil.

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LISTENING GUIDE Track #4: Rimsky-Korsakov depicts the movements of a bumblebee through a series of frenzied chromatic notes. The fast tempo and erratic changes in the direction of notes reflect the quick, unpredictable motion of a bumblebee in flight. Listen to the “buzzing” effect created by the strings 0:17-0:29.

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About THE PROGRAM TRACK

Character

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RICHARD WAGNER BORN: May 22, 1813 in Leipzig, Germany DIED: February 13, 1883 in Venice, Italy FAMOUS WORKS: The Ring of the Nibelungen, Lohengrin, Tristan and Isolde STORY ELEMENT: Character Richard Wagner was a German composer from the Romantic period. While he showed little interest in music in his younger years, he began studying it intensively at the age of 18. Best known as a composer of opera, he wrote both the music and libretto for 13 operas in his career. Like “Lord of the Rings” author J.R.R. Tolkien, Wagner had a pronounced interest in mythical storytelling. Although he began composing his famous Ring Cycle, as a single opera in 1850, the work expanded dramatically and ultimately included a set of four operas completed in 1874: Das Rheingold (The Rhinegold), Die Walküre (The Valkyrie), Siegfried and Götterdämmerung (Twilight of the Gods). While the operas may be performed separately, Wagner intended them to be presented in a series, with audiences watching the entire 15-hour epic over four consecutive nights.

“Ride of the Valkries” “Ride of the Valkyries” comes from Die Walküre, the second of four operas in Wagner’s Ring Cycle. Die Walküre was first performed in 1870, and Wagner began receiving requests regarding the separate performance of the “Ride of the Valkyries” shortly after the premiere. The tale of the Valkyries is based on German folklore. The Valkyries are warrior maidens who rescue slain heroes and transport them to the home of the gods. Wagner’s music depicts the galloping of the Valkyries’ winged horses, rushing winds and fierce battle cries.

Richard Wagner LISTENING GUIDE Track #5: The “Ride of the Valkyries” opens with a flurry of notes in the strings, representing the wind in the sky. The winged horses can be heard galloping at 0:08 and the Valkyries begin their recognizable battle cries at 0:22. Wagner uses brass instruments to represent the strength of these powerful female characters.

TRACK

Plot

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EDVARD GRIEG BORN: June 15, 1843 in Bergen, Norway DIED: September 4, 1907 in Bergen, Norway FAMOUS WORKS: Peer Gynt, Piano Concerto in A minor STORY ELEMENT: PLOT Edvard Grieg took his first piano lesson at age 6 and wrote his first composition at age 9. He went on to study both piano and composition at the Leipzig Conservatory. Throughout Grieg’s lifetime, his native country of Norway struggled to become an independent nation. The Norwegian people revered Grieg as a hero, identifying with the nationalistic themes in his symphonies, concertos, sonatas and many short pieces for piano.

Edvard Grieg

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Young People’s Concert: Play Me a Story

TRACK

Plot

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PYOTR ILYICH TCHAIKOVSKY BORN: May 7, 1840 in Votkinsk, Viatka, Russia DIED: November 6, 1893 in St. Petersburg, Russia FAMOUS WORKS: The Nutcracker, 1812 Overture STORY ELEMENT: PLOT Celebrated Russian composer Pyotr Ilyich Tchaikovsky began playing piano at age 6. His family encouraged him to pursue a career outside of music, and Tchaikovsky attended law school and worked for the Russian government for nearly four years before returning to musical studies at the St. Petersburg Conservatory. . He went on to create some of the most recognizable musical themes of all time and is best known for his scores to the ballets Swan Lake, Sleeping Beauty and The Nutcracker.

Waltz from The Sleeping Beauty

Pyotr Ilyich Tchaikovsky LISTENING GUIDE Track #6: The Waltz opens with a grand introduction as the townspeople gather to celebrate Princess Aurora. The famous “Once Upon a Dream” melody begins at 0:35.

Tchaikovsky did not hesitate when asked to compose the music for the ballet The Sleeping Beauty. He was enchanted by the story and worked closely with choreographer Marius Petipa to create music that captured the beauty and grandeur of the classic story. The ballet is organized in four parts: Prologue (The Christening) Act I (The Spell) Act II (The Vision) Act III (The Wedding) The instantly recognizable Waltz appears at the beginning of Act I, as the kingdom’s townsfolk perform an elaborate dance with flower garlands prior to Princess Aurora’s arrival at her 16th birthday party. The 1959 Disney animated film Sleeping Beauty included a new song entitled “Once Upon a Dream” based upon one of the main themes from Tchaikovsky’s Waltz. This song ultimately became the signature music from the movie and was reprised in the 2014 Disney film “Maleficent” by singer Lana Del Rey.

“In the Hall of the Mountain King” from Peer Gynt Grieg is best known for his music from the play Peer Gynt, which includes “In the Hall of the Mountain King” and “Morning Mood,” both of which have been heard in television shows, movies and commercials. Norwegian playwright Henrik Ibsen approached Grieg to write the incidental music to his play, Peer Gynt, in 1876. “In the Hall of the Mountain King” follows the precocious character, Peer, as he ventures through the troll-infested hall of the Mountain King. The scene’s intensifying action is depicted by Grieg’s suspenseful music.

LISTENING GUIDE Track #7: “In the Hall of the Mountain King” begins with the image of Peer tip-toeing through the castle, an effect created by Grieg’s use of pizzicato strings.

As Peer continues through the castle, trolls give chase which intensifies through increased tempo and dynamics.

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LISTENING GUIDE

About THE PROGRAM

Writing Challenge

TRACK

TRACK

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TRACK

TRACK

TRACK

10 11 12

DMITRI SHOSTAKOVICH BORN: September 25, 1906 in St. Petersburg, Russia DIED: August 9, 1975 in Moscow, Russia FAMOUS WORKS: Festive Overture, Cello Concerto, Symphonies 5 and 10 WRITING CHALLENGE!

Dmitri Shostakovich was a Russian composer, pianist and teacher. His first music lessons were with his mother, who was a professional pianist. Shostakovich began studying at the Petrograd Conservatory in 1919, composing his first symphony as a graduation piece in 1925. A year later, the piece had been performed in Europe and the United States, and Shostakovich had become a household name.

For a period of time, Shostakovich was hailed as the hero of new Russian music. However, after the negative reception of his opera Lady Macbeth Dmitri Shostakovich of the Mtsensk District, Shostakovich became the target of criticism from Soviet leader Joseph Stalin. Under threat of arrest, Shostakovich set out to compose a crowd-pleasing piece that would receive Stalin’s stamp of approval. The result was his Symphony No. 5.

Symphony No. 5 Shostakovich’s Fifth Symphony was subtitled “A Soviet Artist’s Practical Creative Reply to Just Criticism” and was a resounding success. In stark contrast to the dramatic first and tragic third movements , the lively second movement of Shostakovich’s Fifth Symphony is both playful and brief The final movement opens with dramatic conflict however eventually resolves into a triumphant conclusion.

Shostakovich includes four main themes in the second movement of his Fifth symphony.

Track #8: Theme A is a lively melody introduced by the E-flat clarinet and continued by the bassoons. Shostakovich incorporates the use of trills and staccato notes in this theme.

Track #9: Theme B is played by the piccolo, flute, oboe, E-flat clarinet and clarinet sections.

In this second theme, Shostakovich uses the highest registers of these high-pitched woodwind instruments.

Track #10: Theme C is strong and heroic, performed in a fortissimo dynamic by the French horn section. The theme is also heard in the trumpet section later in the movement.

Track #11: Theme D is more delicate than the others and is performed first by solo violin and then by solo flute. In addition to the pianissimo dynamic, Shostakovich writes several glissandi, which are pitches connected together by a glide.

When the theme appears in the solo flute part, the harpist plays these glissandi.

Track #12: Complete movement

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Young People’s Concert: Play Me a Story

Complete Story JOHN WILLIAMS BORN: February 8, 1932 in Long Island, New York FAMOUS WORKS: “Star Wars,” “Jurassic Park,” “Harry Potter” STORY ELEMENT: COMPLETE STORY John Williams is a present-day American composer best known for his original film music and music for the Olympic Games. His father was a percussionist for CBS Radio and the Raymond Scott Quintet, inspiring Williams to become the leader of his own jazz band at the age of 15. He studied composition at UCLA and, after serving in the Air Force, returned to New York to study piano at the Juilliard School of Music before moving back to Los Angeles to begin his career in the cinema and television.

John Williams

Williams has composed the music for nearly 80 films, including “Jaws,” “ET,” “Star Wars,” “Indiana Jones,” “Home Alone” and “Harry Potter.” He is the winner of five Academy Awards, 17 Grammy® awards and three Golden Globes. Williams has composed some of the most famous themes ever written for cinema and has worked with the biggest orchestras and soloists in the world.

“Hedwig’s Theme” from “Harry Potter and the Sorcerer’s Stone” The music from “Harry Potter” is as identifiable as Harry’s trademark spectacles and scar. J.K. Rowling’s story is brought to life by Williams’ colorful and evocative music. The opening melody, performed by the celesta, immediately conjures thoughts of the incredible adventures of Harry, Hermione and Ron at Hogwarts. The fact that one simple melody can create setting, characters and plot in a matter of seconds speaks to the incredible power of music.

MUSICAL MASTERPIECES by JOHN WILLIAMS “Harry Potter and the Sorcerer’s Stone”

“Jurassic Park”

“Home Alone”

“Indiana Jones and the Last Crusade”

“Indiana Jones and the Temple of Doom”

“Return of the Jedi”

“E.T. the Extra-Terrestrial”

“Raiders of the Lost Ark”

“The Empire Strikes Back”

“Superman”

“Star Wars”

“Jaws”

1975 1977 1978 1980 1981 1982 1983 1984 1988 1990 1993 2001

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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 14

Young People’s Concert: Play Me a Story

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

16

Young People’s Concert: Play Me a Story

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. 14) Orchestra Map (p. 16)

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 Young People’s Concert 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 Young People’s Concert, remind the students of their instrument families and instruct them to watch and listen closely to their family.

EXTENDED ACTIVITIES: 1. 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 WRITING Challenge TEACHING OBJECTIVE:

CULMINATING ACTIVITY:

•

The Kansas City Symphony will select one story to feature at each performance of Play Me a Story. Teachers are invited to submit stories from their classroom for consideration.

1. Entries may be mailed, faxed or emailed to: Kansas City Symphony Education Department Writing Challenge

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 Monday, October 5 to be eligible for selection.

3. A Writing Challenge Submission Form (p.23) must accompany each school’s submission.

4. Teachers are encouraged to prescreen entries prior to sending them to the Kansas City Symphony.

We will read ALL entries that are received. If you plan to pre-screen entries, please be sure to include the number of total participants on the submission form.

Students will write a story inspired by a piece of music.

MATERIALS: • • • • • • •

CD Player(s) Teacher’s Guide companion CD (provided by the Kansas City Symphony) Character Worksheet (p. 19) Plot Worksheet (p. 20) Story Element Web (p. 21) Writing Challenge Story Page (p. 22) Writing Challenge Submission form (p. 23)

PREPARATORY ACTIVITIES: 1.

2.

3.

4.

Discuss the different elements of a story: setting, character, plot Discuss how music can express different story elements Play the entire second movement of Shostakovich’s Symphony No. 5.

Ask students to close their eyes while they listen to Tracks 9-12 of the Companion CD. These are the main themes found within the second movement of Shostakovich’s Symphony No. 5.

TEACHING SEQUENCE: 1.

CHARACTER a. Listening to Tracks 9-12, ask the students to consider different characters.

Is there a main character? Are there supporting characters? What traits do these characters have? (appearance, mood, personality, etc.) b. Complete a Character Worksheet for each character in the story (p. 19).

2. SETTING a. Play Track 8 (complete movement). Imagine where and when the story takes place. (consider the geographic location, time of day, season, year, etc.) b. While listening to the music, ask students to draw a picture of the setting.

3. PLOT a. Play Tracks 9-12 and ask students to consider events that happen in the story. b. Using the Plot Worksheet (p. 20), ask students to write down four events that happen during the story. Events can, but do not have to, coincide with the four themes.

4. COMPLETE STORY a. Students should complete the Story Element Web (p.21) b. Ask students to write a one-page story inspired by the second movement from Shostakovich’s Symphony No. 5. Stories should include all of the elements discussed in class. Only students attending the concerts are eligible to enter. Stories should either be typed or written on the included Story Page (p. 22). If more space is needed, please continue on the back of the page.

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Young People’s Concert: Play Me a Story

**ALL ENTRIES MUST BE RECEIVED

BY MONDAY, OCTOBER 5, TO BE CONSIDERED FOR THE CONCERTS**

CHARACTER Worksheet Name

What does the character look like?

What does the character do?

What is the character’s name?

Do you like the character? Why?

What is something important about the character?

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PLOT Worksheet Name Event 1

Event 2

Event 3

Event 4

20

Young People’s Concert: Play Me a Story

STORY ELEMENT Web Name

Who are the important characters in the story?

Who is your favorite character and why?

What is the plot of the story?

What is the setting of the story?

Title

Does the story have a theme?

What is the problem in the story?

Does the problem have a solution?

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WRITING Challenge Complete STORY SHOSTAKOVICH SYMPHONY NO. 5, MVT. 2

NAME: SCHOOL: STORY TITLE:

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Young People’s Concert: Play Me a Story

GRADE: TEACHER:

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

Tuesday, October 13 at 10:00am

Tuesday, October 13 at 11:30am

Wednesday, October 14 at 10:00am

Wednesday, October 14 at 11:30am

Thursday, October 15 at 10:00am

Thursday, October 15 at 11:30am

Friday, October 16 at 10:00am

Friday, October 16 at 11:30am *If attending multiple concerts, please return one submission form per concert.

SCHOOL INFORMATION: School Name: School Address:

Contact Name: Contact Email:

Phone:

WRITTING CHALLENGE ENTRY INFORMATION: # Entries submitted:

Total entries written:

SUBMISSION GUIDELINES: Entries may be mailed, faxed or emailed to: Kansas City Symphony Education Department Writing 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. Monday, October 5, 2015 to be eligible for selection.

2. A writing challenge submission form must accompany each school’s submission.

3. Teachers are encouraged to pre-screen entries prior to sending them to the Kansas City Symphony.

We will read ALL entries that are received.

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TEACHING Activity MOVING to the Music TEACHING OBJECTIVE: Students will discover how to tell a story by using their bodies.

MATERIALS: • •

CD Player(s) Teacher’s Guide Companion CD (provided by the Kansas City Symphony)

PREPARATORY ACTIVITIES: 1. Ask students to discuss different ways they can tell a story (written, verbal, movement, dance, music, etc.)

2. Discuss different ways movement can tell a story.

TEACHING SEQUENCE: 1. Play the following pieces for the class: “Flight of the Bumblebee” (Track 4), “Ride of the Valkyries” (Track 5),“Waltz” from The Sleeping Beauty (Track 6) and “In the Hall of the Mountain King” (Track 7).

2. As you play each piece, ask the students to imagine characters, setting and action in the music.

3. Beginning with “Flight of the Bumblebee,” ask the students what kinds of movements would enhance the character, setting, and action they hear.

4. As a class, create movements that go along with “Flight of the Bumblebee,” telling a story along with the music.

5. Repeat this activity with the remaining pieces.

ALTERNATE ACTIVITY: 1. After playing each of the musical examples, allow students to choose their favorite and divide the class into three groups.

2. Instruct the groups to create their own interpretive movements to the music while listening to the pieces (this will require additional playback options).

3. Ask each group to perform their movements for the class.

Culminating Activity: Discuss how different types of movements can convey the same message.

For example, how small gestures using only fingers or large gestures like running around the classroom can be equally effective. Discuss how the differences in each piece require different kinds of movement.

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Young People’s Concert: Play Me a Story

TEACHING Activity Concert ETIQUETTE TEACHING OBJECTIVE: Students will examine, discuss and practice appropriate concert behavior in different settings.

PREPARATORY ACTIVITIES: 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.

TEACHING SEQUENCE: 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).

CULMINATING ACTIVITY: 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.

EVALUATION: 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?

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Instruments of the Orchestra Name

INSTRUMENTS of the orchestra

V

Name:

Date:

Find and circle each of the words from the list below. Words may appear forwards or backwards, horizontally, vertically or diagonally in the grid.

Find and circle each of the words from the list below. Words may appear forwards or backwards, horizontally, vertically or diagonally in the grid.

A M R O U X

A E D

L

X O M

P

F

P

A G

U C N M M O

I

K

S O R O L

T

U X M L

J

Y E

V

T

P

I

R B

B O A

T O A

E O

G H P

K N X

F

I

V N O A

R O M B O N E C D

F

T M O T

K

E

I

O P D

T

N

T

L

U

I

R

I

A N G L

E

R R R

T

U

I

V

T

B

H O R N A U V

I

O

L

I

N

C H M D

F

E A C

F

L

U T

S O O N S

S

A B X

I

B R H E S

triangle

E O R Q V

L

T

A

A

E O P N A

N

L

B

A S

G C

T

R U M P

L E

T T

E

A W E N G

Bass

Clarinet

Harp

Timpani

Tuba

Bassoon

Drum

Horn

Triangle

Viola

Cello

Flute

Oboe

Trombone

Violin

Piano

Trumpet

clarinet

drum

piano bassoon bass trombone timpani 26  Young People’s Concert: Play Me a Story cello viola flute harp horn tuba

trumpet

oboe

violin

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

28

Young People’s Concert: Play Me a Story

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

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 Jackson Δ Dorris Dai Janssen Chiafei Lin Vladimir Rykov Alex Shum* Stirling Trent^ SECOND VIOLINS Tamamo Someya Gibbs, Principal Kristin Velicer, Acting Associate Principal Nancy Beckmann Kathy Haid Berry Stephanie Cathcart Minhye Helena Choi Mary Garcia Grant Kevin Hao Sara Hurst‡ 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 Vacant, Associate Principal Evan Halloin Owen Levine ^ Δ Brandon Mason^ Richard Ryan FLUTES Michael Gordon, Principal Shannon Finney, Associate Principal Diane Schick PICCOLO Diane Schick

E-FLAT CLARINET Gabriel Campos Zamora BASS CLARINET John Klinghammer Δ 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

OBOES Kristina Fulton, Principal TROMBONES Shirley Bush Helzberg Chair Roger Oyster, Principal Adam De Sorgo ^ Δ, Associate Principal Porter Wyatt Henderson, Kenneth Lawrence Associate Principal Adam Rainey ENGLISH HORN Kenneth Lawrence BASS TROMBONE Adam Rainey CLARINETS Raymond Santos, Principal TUBA Gabriel Campos Zamora, Steven Seward, Principal Associate Principal John Klinghammer Δ TIMPANI Timothy Jepson, Principal

Kansas City Symphony

29

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.

14

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

30

Young People’s Concert: Play Me a Story

P Entrance to underground parking garage

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 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