2016/17 Kansas City Symphony Education Guide

YOUNG PEOPLE’S CONCERT

2016/17

Teachers Guide

2016/17

Young People’s Concert

Teachers Guide

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Young People’s Concert: Uncle Sam’s Symphony

CONTENTS

About This Guide

About this Guide. . . . . . . . . . . . . . . . 3 From the Podium. . . . . . . . . . . . . . . 4 Concert Program. . . . . . . . . . . . . . . 4 Vocabulary. . . . . . . . . . . . . . . . . . . . . 5 About the Program . . . . . . . . . . . . . 6 John Stafford Smith Morton Gould Johannes Brahms Edvard Grieg Leroy Anderson Georges Bizet Paul Dukas Steve Reich John Williams John Philip Sousa Sing-Along, America! Lyrics. . . . 13 Resources. . . . . . . . . . . . . . . . . . . . 16 Branches of Government Branches of the Orchestra Companion Audio Files Instrument Families Orchestra Map Teaching Activities . . . . . . . . . . . . 21 Instrument Families Three Branches Our Right to Vote Concert Etiquette Concert Reviewer Writing Challenge Supplemental Materials. . . . . . . . 27 Writing Challenge Organizer Writing Challenge Worksheet Writing Challenge Submission Form Preparing for the Concert

Greetings Teachers!

I look forward to seeing you in Helzberg Hall for the Kansas City Symphony’s presentation of Uncle Sam’s Symphony. As the concert approaches, I encourage you to take advantage of the materials in this guide.

This curriculum guide is intended to be a resource both before and after you attend Uncle Sam’s Symphony. Inside, you will find program information and in-class activities designed to maximize your experience at the symphony. Uncle Sam’s Symphony will explore ways in which the structure of a symphony orchestra is similar to the United States government. Performance highlights include music by Morton Gould, Johannes Brahms, John Philip Sousa and John Williams’ music from Star Wars: The Force Awakens.

The Kansas City Symphony strives to incorporate cross-curricular elements into educational performances and pre-concert activities. Uncle Sam’s Symphony includes concepts outlined in the Common Core State Standards for Writing as well as Social Studies standards found within the Missouri and Kansas curricula. Part of this cross-curricular experience is created through our fifth annual Writing Challenge. Because this year’s performances take place within weeks of the 2016 presidential election, we will challenge students to write a persuasive speech on a topic of their choice. Information on this challenge, including lesson plans and in-class materials, can be found on page 26 of this guide.

Finally, I am excited to introduce you to our new David T. Beals III Assistant Conductor, Jason Seber. Jason will conduct all of the Symphony’s education programs, including these Young People’s Concerts in October. We both look forward to seeing you in Helzberg Hall soon!

Sincerely,

Stephanie Brimhall | Education Manager (816) 218-2639 | sbrimhall@kcsymphony.org

About Jason Seber. . . . . . . . . . . . 31 About the Kansas City Symphony . . . . . . . . . . . . . . . . . . . . 32 Orchestra Roster. . . . . . . . . . . . . . 33 Kauffman Center for the Performing Arts. . . . . . . . . . . . . . . 34 Sponsors . . . . . . . . . . . . . . . . . . . . . 35

Kansas City Symphony

3

About THE PROGRAM

2016/17

FROM the PODIUM to the PUPIL Hello students!

I am so happy to welcome you to our Young People’s Concerts and share some awesome musical experiences together. The Young People’s, KinderKonzert and Link Up performances are some of the concerts I’m most excited to present as I begin my first year as the David T. Beals III Assistant Conductor with the Kansas City Symphony. Whether this is your first time seeing and hearing the Symphony or you have joined us in Helzberg Hall before, I know you will love your time with us.

This fall marks an exciting time in our country, one that happens every four years: the presidential election.

With this in mind, our Young People’s Concert Uncle Sam’s Symphony examines the three branches of the U.S. government, using the symphony orchestra as a model. The executive branch is led by our president and vice president, or in our KCS world, the conductor (yours truly!) and the concertmaster. Our incredible musicians make the music just like Congress (the legislative branch) makes the laws. And finally, to make an orchestra concert complete, we need YOU, the audience. You are the ones who interpret the music and decide what it means, just like our judicial branch of government interprets the laws and the Constitution. We will have the chance to take this journey together with some really terrific orchestral pieces including music from Grieg’s Holberg Suite, Bizet’s Carmen, and Sousa’s The Stars and Stripes Forever. You’ll also have the opportunity to exercise one of our country’s most important rights, the right to vote!

I can’t wait to share these fantastic pieces and Social Studies themes with you! I am thrilled to join the Kansas City community and I look forward to many fun adventures with the Symphony. Thank you for making the Kansas City Symphony a special part of your education!

Your new friend,

Jason Seber, David T. Beals III Assistant Conductor, Kansas City Symphony

Young People’s Concert

Program

JOHN STAFFORD SMITH “The Star-Spangled Banner” MORTON GOULD American Salute JOHANNES BRAHMS Hungarian Dance No. 5 in G Minor EDVARD GRIEG Holberg Suite, op. 40 I. Prelude LEROY ANDERSON Plink, Plank, Plunk!

GEORGES BIZET Suite No. 1 from Carmen II. Intermezzo PAUL DUKAS Fanfare from La Péri STEVE REICH Clapping Music JOHN WILLIAMS *Star Wars: The Force Awakens Suite for Orchestra I. March of the Resistance II. Rey’s Theme III. Scherzo for X-Wings VARIOUS, ARR. STEPHENSON Sing-Along, America!

JOHN PHILIP SOUSA The Stars and Stripes Forever *The KCS will perform ONE movement during each Young People’s Concert based on an audience vote.

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Young People’s Concert: Uncle Sam’s Symphony

VOCABULARY BAROQUE: the musical period following the Renaissance, extending roughly from 1600-1750 CONCERTMASTER: the leader of the first violins in a symphony orchestra CONDUCTOR: a person who directs an orchestra or chorus, communicating to the performers by motions of a baton or the hands his or her interpretation of the music CSÁRDÁS: [CHAHR-dahsh] a Hungarian national dance in two movements, one slow and the other fast DUPLE METER: musical division of two beats to the bar GLEE: an unaccompanied part song for three or more voices, popular especially in the 18th century LEITMOTIF: a recurring melodic phrase or theme used to represent a character, thing or emotion LIBRETTO: the text or words of an opera or similar extended musical composition MINIMAL MUSIC: a reductive style or school of modern music utilizing only simple sonorities, rhythms and patterns; often characterized by repetition and a pulsing, hypnotic effect MUSICOLOGIST: one who studies music, as in historical research, musical theory, or the physical nature of sound ORCHESTRATION: the study or practice of writing music for an orchestra OSTINATO: a constantly recurring melodic fragment PIZZICATO: played by plucking the strings with the finger instead of using the bow, as on a violin PRIX DE ROME: an annual prize awarded by the French government in a composition of painters, artists, sculptors, musicians and architects; the winner received support for a period of study in Rome SCHERZO: a passage of light or playful character, especially as the second or third movement of a sonata or symphony; often written with three beats per measure SYNCOPATION: a shifting of the normal accent, usually by stressing the normally unaccented beats VARIATIONS: transformation of a melody or theme with changes or elaborations in harmony, rhythm and melody

Kansas City Symphony

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About the program

YOUNG PEOPLE’S CONCERT

JOHN STAFFORD SMITH

BORN: March 30, 1750 in Gloucester, England DIED: September 21, 1836 in London, England FAMOUS WORKS: “To Anacreon in Heaven” (“The Star-Spangled Banner”)

John Stafford Smith was a British composer, organist and musicologist. His father was a church organist and Smith followed a similar career path, working as a chorister, organist and Master of the Children with the Chapel Royal. He was a popular composer of glees and was best known for songs like “Flora Now Calleth Forth Each Flower.” He won prizes for his songs and published several collections.

“THE STAR-SPANGLED BANNER”

It is widely known that lawyer and poet Francis Scott Key wrote the words for “The Star-Spangled Banner.” It is less known that the music for our national anthem was written well before the text. John Stafford Smith composed the tune in 1770 for the London Anacreontic Society and titled it “To Anacreon in Heaven.” The melody made it to America by the year 1800 and played host to a variety of lyrics before Key published “The Star-Spangled Banner” in 1814. The song gained popularity during the Civil War but did not officially become the country’s national anthem until 1931. It is customary to stand, remove your hat, place your hand over your heart and acknowledge the flag while singing along with a performance of “The Star-Spangled Banner.”

LYRICS

O say can you see by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming, Whose broad stripes and bright stars through the perilous fight, O’er the ramparts we watched, were so gallantly streaming?

And the rockets’ red glare, the bombs bursting in air, Gave proof through the night that our flag was still there; O say does that star-spangled banner yet wave, O’er the land of the free and the home of the brave?

John Stafford Smith

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Young People’s Concert: Uncle Sam’s Symphony

*Please join us in singing “The Star-Spangled Banner” during the concert.

MORTON GOULD

BORN: December 10, 1913 in Richmond Hill, New York DIED: February 21, 1996 in Orlando, Florida FAMOUS WORKS: American Salute

Morton Gould was an American composer who was inspired by the sounds of American jazz, spirituals, gospel and folk music. While not as well-known as his more famous contemporaries Aaron Copland and Leonard Bernstein, Gould’s unmistakable American sound solidified his place as an important 20th-century American composer.

By the age of 5, Gould was already considered a piano prodigy. He wrote and published his first composition when he was only 6 years old. After enrolling in the Institute of Musical Arts in New York City, Gould helped his family by working as a pianist. He was eventually hired as the staff pianist for the opening of New York’s Radio City Music Hall and continued studying composition and conducting in his free time. While Gould Morton Gould was adept at writing for a variety of musical styles, he is best known for his orchestral AUDIO works, including scores for film, television, radio, Broadway musicals and ballets. He was honored with the 1995 Pulitzer Prize, a Kennedy Center Honor and a Grammy® Lifetime Achievement Award.

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AMERICAN SALUTE

American Salute was written for a national radio broadcast during World War II. It is a set of variations based on the popular Civil War song “When Johnny Comes Marching Home.” Gould composed the piece in less than 24 hours. American Salute premiered on a radio show in 1943 with Gould conducting. It has since become a program favorite for both bands and orchestras.

JOHANNES BRAHMS

BORN: May 7, 1833 in Hamburg, Germany DIED: April 3, 1897 in Vienna, Austria FAMOUS WORKS: Hungarian Dances, Symphonies 1-4, German Requiem BRANCH OF GOVERNMENT: EXECUTIVE (Conductor)

Johannes Brahms, the son of a double bass player, began studying piano and composition at the age of 7. By the time he was 13, he was arranging music for his father’s orchestra. Brahms was relatively unknown until the influential composer Robert Schumann wrote a glowing article about him in an important German musical journal called Neue Zeitschrift für Music (New Magazine for Music). Almost overnight, every composition Brahms wrote was studied and discussed.

Brahms’ Hungarian Dances feature the composer’s lighter side. The dances began as improvised melodies Brahms created on the piano. At the urging of friends, Brahms wrote them down and by 1880, he had a collection of 21 Hungarian Dances for piano. The dances were so well received that Brahms and others eventually arranged them for orchestra. This proved to be highly lucrative and provided Brahms with an income that helped finance his more serious work.

HUNGARIAN DANCE NO. 5

Johannes Brahms

Brahms’ Hungarian Dance No. 5 is likely the best known of his 21 Hungarian Dances. It was arranged for orchestra by the conductor Albert Parlow and is based on a melody attributed to the German-Hungarian composer Kéler Béla. The dance is a csárdás (chär-dash), a traditional Hungarian dance in duple meter.

AUDIO

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Kansas City Symphony

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About THE PROGRAM 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 BRANCH OF GOVERNMENT: EXECUTIVE (Concertmaster)

Norwegian composer 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. Grieg was revered as a hero by the Norwegian people who identified with the nationalistic themes in his symphonies, concertos, sonatas and many short pieces for piano.

HOLBERG SUITE

In 1884, Grieg composed a five-movement work celebrating the 200th anniversary of the birth of Danish-Norwegian playwright Ludvig Holberg. Grieg stayed true to his Edvard Grieg compositional style while honoring the Baroque period in which Holberg lived. Each of the five movements is written in a Baroque form: Prelude, Sarabande, Gavotte, Air AUDIO and Rigaudon. The suite was originally composed for solo piano; however, it was so well received that Grieg transcribed the music for string orchestra. The Prelude is written in toccata style, which typically features fast-moving, light and dexterous passages on keyboard or stringed instruments.

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LEROY ANDERSON

BORN: June 29, 1908 in Cambridge, Massachusetts DIED: May 18, 1975 in Woodbury, Connecticut FAMOUS WORKS: Sleigh Ride, The Typewriter, Bugler’s Holiday, The Syncopated Clock BRANCH OF GOVERNMENT: LEGISLATIVE (Strings)

Leroy (pronounced ‘luh-ROY’), Anderson was a 20th-century American composer. He was born to Swedish parents in Cambridge, Massachusetts in 1908. Anderson grew up speaking English and Swedish but eventually became fluent in Danish, Norwegian, Icelandic, German, French, Italian and Portuguese. He attended Harvard University where he worked toward a PhD in German and Scandinavian languages and took lessons in music theory, composition and double bass.

Anderson joined the Army in 1942 and was stationed in Iceland as a translator and interpreter.

He began working at the Pentagon in 1945, the same year he composed one of his better known pieces, The Syncopated Clock. A few years later, Anderson wrote his first hit, Blue Tango, which became the first instrumental recording ever to sell one million copies. His contributions to the recording industry even earned him a star on the Hollywood Walk of Fame.

PLINK, PLANK, PLUNK!

Anderson wrote Plink, Plank, Plunk! in 1951. The piece was first performed for a recording on the Decca label and received its live concert premiere by the Kansas City Philharmonic in November, 1951. It is scored for string orchestra and displays pizzicato technique throughout. From 1952-1961, Plink, Plank, Plunk! was used as the theme for the CBS panel show I’ve Got A Secret.

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Young People’s Concert: Uncle Sam’s Symphony

Leroy Anderson AUDIO

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GEORGES BIZET

BORN: October 25, 1838 in Paris, France DIED: June 3, 1875 in Bougival, France FAMOUS WORKS: Carmen, L’arlèsienne BRANCH OF GOVERNMENT: LEGISLATIVE (Woodwinds) Georges Bizet was born to two professional musicians: his mother a pianist and his father a composer and voice teacher. He showed great musical aptitude at an early age and entered the Paris Conservatory just before his tenth birthday. By 14, Bizet was considered a master of the piano and was encouraged to compose.

Bizet began to merit awards for his compositions and won the prestigious Prix de Rome award which included a two-year study at the French Academy in Rome. He began to compose operatic works while in Rome but struggled to find a unique voice. Traditional French operas were too frivolous for his taste and he wanted to add realism to the opera stage.

INTERMEZZO from SUITE NO. 1 from CARMEN

Georges Bizet

Bizet’s opera Carmen eventually became the model for opéra-comique, not necessarily comic but featuring spoken and sung portions. The libretto tells the story of a young Spanish soldier who is seduced by the gypsy Carmen. It was deemed too scandalous to perform by its early critics, however, Carmen gained popularity over time and Bizet has been praised for his brilliant and expressive orchestration.

AUDIO

5

The Intermezzo from Carmen features woodwinds and harp. Its placement in the opera serves as a beautiful backdrop for the short moment of calm when the relationship between the soldier and Carmen is peaceful and secure. After a beautiful introduction by the harp, a tender melody is performed by the flute, followed by the clarinet, oboe, English horn and bassoon.

PAUL DUKAS

BORN: October 1, 1865 in Paris, France DIED: May 17, 1935 in Paris, France FAMOUS WORKS: The Sorcerer’s Apprentice BRANCH OF GOVERNMENT: LEGISLATIVE (Brass)

French composer Paul Dukas discovered his compositional talents at the age of 14 and enrolled in the Paris Conservatory at 16. There, he studied piano, harmony and composition and became friends with fellow classmate Claude Debussy. Dukas won several prizes including the second prize in the Prix de Rome in 1888. Disappointed that he did not win the top prize and aware of the impending military draft, Dukas left the school in 1889. He completed his military service and returned to civilian life as a composer and music critic in 1892.

Dukas composed his most famous work, The Sorcerer’s Apprentice, in 1897. Its rich score and technically challenging rhythms set it apart from his other works. Walt Disney popularized The Sorcerer’s Apprentice in 1940 when Mickey Mouse played the naughty apprentice in “Fantasia.”

FANFARE from LA PÉRI

Paul Dukas

Dukas composed the music for the ballet La Péri in 1910. Although he lived another 25 years after its premiere, Dukas essentially gave up composition after La Péri — it was his last work for orchestra. The ballet opens with a brilliant brass fanfare that has become almost as familiar as Copland’s Fanfare for the Common Man. It is scored for four horns, three trumpets, three trombones and tuba.

AUDIO

6 Kansas City Symphony

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About THE PROGRAM STEVE REICH

BORN: October 3, 1936 FAMOUS WORKS: Drumming, Different Trains BRANCH OF GOVERNMENT: LEGISLATIVE (Percussion)

Steve Reich is an American composer. Born in New York and raised there and in California, Reich graduated with honors in philosophy from Cornell University in 1957. For the next two years, he studied composition with Hall Overton, and from 1958 to 1961 he studied at the Juilliard School of Music with William Bergsma and Vincent Persichetti. Reich received his master’s degree in music from Mills College in 1963, where he worked with Luciano Berio and Darius Milhaud.

Reich is considered by many to be one of America’s greatest living composers and has, along with Philip Glass, helped pioneer Western minimal music. His innovative approach to composition includes using tape loops and slow, rhythmic phasing.

Steve Reich

He received a Grammy® Award in 1990 for Different Trains and the Pulitzer Prize in 2009 for his Double Sextet.

CLAPPING MUSIC

Clapping Music is a minimalist piece written by Steve Reich in 1972. It introduces rhythm and syncopation along with a shifting phase pattern while utilizing as few as two musicians. The piece is divided into two rhythmic patterns; the first remains consistent throughout and the second shifts every 12 bars until the parts are eventually heard in unison.

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Young People’s Concert: Uncle Sam’s Symphony

JOHN WILLIAMS

BORN: February 8, 1932 in Flushing, Queens, New York City, New York FAMOUS WORKS: Film scores to “Star Wars,” Jurassic Park,” “Harry Potter,” and “Indiana Jones” BRANCH OF GOVERNMENT: JUDICIAL (Audience)

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 piano at the Juilliard School of Music in addition to serving in the United States Air Force. He eventually moved to Los Angeles to begin his career in cinema and television.

Williams has composed the music for nearly 80 films, including “Jaws,” “E.T.,” “Star Wars,” “Indiana Jones,” “Home Alone” and “Harry Potter.” He is the winner of five Academy® Awards, 22 Grammy® awards and four 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.

STAR WARS: THE FORCE AWAKENS SUITE FOR ORCHESTRA

Williams signed on in 1977 to score a new “space western” written and directed by George Lucas. “Star Wars” has since become a cinematic and musical phenomenon. Williams has composed the music to all seven of the “Star Wars” films, creating recognizable melodies through the resurrection of the leitmotif made popular by composer Richard Wagner.

John Williams

MARCH of the RESISTANCE

In the film “Star Wars: The Force Awakens,” the Resistance (the good guys) protects the new Galactic Republic from the First Order (the bad guys). John Williams assigns the Resistance its own theme, which starts low and ascends.

Williams used this ascending technique when writing themes for many of his heroic characters including Luke Skywalker, Princess Leia and the newest Star Wars heroine, Rey. In addition to this ascending theme, March of the Resistance is written with two beats per measure and has a steady tempo suitable for marching.

REY’S THEME

Rey is a new character introduced in Star Wars: The Force Awakens. We learn more about her throughout the film and also through Williams’ music. Rey’s Theme begins with a light ostinato passage which is followed by a bell motif, reminiscent of the famous “Dies Irae.” These two elements help set up Rey’s mysterious persona. When her full theme is finally introduced, it includes a similar rising motif indicative of her “good guy” status.

SCHERZO for X-WINGS

An X-Wing is a Starfighter piloted by members of the Resistance (the good guys) who fight to protect the new Galactic Republic. This Scherzo by John Williams is much like a set of variations based on Luke Skywalker’s iconic theme. True to the scherzo form, the piece is written with three beats per measure and has an exciting and energetic tempo.

Kansas City Symphony

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About THE PROGRAM

JOHN PHILIP SOUSA

BORN: November 6, 1854 in Washington, D.C. DIED: March 6, 1932 in Reading, Pennsylvania FAMOUS WORKS: The Stars and Stripes Forever, Semper Fidelis, The Washington Post March

John Philip Sousa was an American composer, bandmaster and author. Known as the “March King,” Sousa wrote 135 marches especially for wind band, including the official national march of the United States, The Stars and Stripes Forever.

Sousa showed an early interest in music and studied a myriad of instruments starting at the age of 6. His father, a trombonist in the United States Marine Band, enlisted young Sousa in the band as an apprentice after he threatened to run away to join a circus band at the age of 13. He remained in the Marines for six years and wrote his first composition while enlisted.

In 1880, Sousa began his 12-year tenure as leader of the Marine Band. His time with the band inspired him to write his own marches including The Washington Post, The Thunderer and Semper Fidelis — the “official” march of the Marine Corps. After many marches and the Marine Band’s first phonograph recordings, Sousa stepped down from his position with the Marine Band and began a civilian concert band, “Sousa’s New Marine Band.” The Sousa Band toured the world and became one of the most respected bands of its time.

The STARS and STRIPES FOREVER

The Stars and Stripes Forever was composed by Sousa on Christmas Day 1896 while aboard an ocean liner from Europe to America. He had received news that the manager of his Sousa Band had passed away and composed the piece in honor of his colleague. The Stars and Stripes Forever has become a staple on patriotic concerts across the country.

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Young People’s Concert: Uncle Sam’s Symphony

John Philip Sousa AUDIO

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2016/17

Young People’s Concert

Sing-Along, America!

1

Yankee Doodle Yankee Doodle

120

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Kansas City Symphony

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My ‘Tisofof Thee MyCountry, Country, 'Tis Thee

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96

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96

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Young People’s Concert: Uncle Sam’s Symphony

mer

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3 132

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BRANCHES of Government

EXECUTIVE

LEGISLATIVE

Ensures that laws are followed

JUDICIAL

Makes the laws for the nation

Decides arguments about the meaning of laws

CONGRESS

SUPREME COURT

PRESIDENT

VICE PRESIDENT SENATE

HOUSE OF REPRESENTATIVES FEDERAL COURTS

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Young People’s Concert: Uncle Sam’s Symphony

BRANCHES of Orchestra

EXECUTIVE

Ensures the music is uniformly performed

CONDUCTOR

LEGISLATIVE

JUDICIAL

Makes the music

Determines the meaning of the music

ORCHESTRA

AUDIENCE

CONCERTMASTER BRASS

STRINGS WINDS

PERCUSSION

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INSTRUMENT Families

STRINGS: AUDIO FILES # 3, 4, 10

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.

YOUNG PEOPLE’S CONCERT

COMPANION AUDIO FILES 1

Violin

Viola

Harp

GOULD | American Salute

2 BRAHMS | Hungarian Dance No. 5

Cello

3 GRIEG| Holberg Suite, op. 40 (I. Prelude) 4 ANDERSON | Plink, Plank, Plunk!

5 BIZET | Suite No. 1 from Carmen (II. Intermezzo)

Bass

6 DUKAS | Fanfare from La Péri 7 SOUSA | The Stars and Stripes Forever

KINDERKONZERT

8 MOZART | Overture to The Marriage of Figaro 9 BIZET | Suite No. 1 from Carmen (V. Les Toréadors) 10 BACH/HOLST | Fugue à la Gigue 11 WILLIAMS | “Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone 12 STRAVINSKY | “Russian Dance” from Petrushka (1947 version) 13 ROSSINI | Overture to William Tell 14 SAINT-SAËNS | Symphony No, 3, “Organ Symphony” (Finale)

ACCESS THE COMPANION AUDIO FILES To access audio files, please refer to the printed materials that were mailed to you. Or, contact Stephanie Brimhall at sbrimhall@kcsymphony.org or (816) 218-2639.

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Young People’s Concert: Uncle Sam’s Symphony

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: AUDIO FILES # 5, 12

Bassoon

BRASS: AUDIO FILES # 6, 13

Trumpet

PERCUSSION: AUDIO FILES # 7, 9

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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Young People’s Concert: Uncle Sam’s Symphony

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. 18) Orchestra Map (p. 20)

PREPARATORY ACTIVITIES:

EXTENDED 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.

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.

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. Instructions for accessing the concert repertoire audio files may be found on p. 18. 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.

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 THREE BRANCHES TEACHING OBJECTIVE: Students will gain a better understanding of the branches of government by exploring the structures of a variety of organizations including a symphony orchestra.

MATERIALS: • • • •

Branches of Government Handout (p. 16) Branches of the Orchestra Handout (p. 17) Instrument Families Page (p. 18)

EXECUTIVE Ensures that laws are followed

PREPARATORY ACTIVITIES:

1. Discuss the three branches of the U.S. Government (Executive, Legislative, Judicial) and the roles of individuals within those branches. Refer to the Branches of Government handout.

2. Discuss various institutions and organizations that have similar structures in place (e.g. school districts, sports teams)

TEACHING SEQUENCE: 1. Explain that the upcoming Kansas City Symphony concert will demonstrate the three branches of government by using the orchestra as an example.

2. Using the Branches of the Orchestra Handout (p. 17), discuss the breakdown of an orchestra into three branches: • EXECUTIVE = Conductor (President) and Concertmaster (Vice President) • LEGISLATIVE = Four Instrument Families (Strings, Woodwinds, Brass, Percussion) • JUDICIAL = The Audience 3. Ask the class to brainstorm other organizations, communities and groups that could be broken down into three branches. (Suggested answers: School, City, State, Sports Teams). For example, the Kansas City Royals could be broken down as follows: • EXECUTIVE = The Owner (President) and the Manager (Vice President) • LEGISLATIVE = The Players • JUDICIAL = The Fans 4. Using a Branches of Government Handout for each suggested group, discuss which members go in each branch and why? What are their roles? Why is it important to have an established chain of command?

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Young People’s Concert: Uncle Sam’s Symphony

LEGISLATIVE Makes the laws for the nation

JUDICIAL

Decides arguments about the meaning of laws

TEACHING Activity OUR Right to Vote TEACHING OBJECTIVE: Students will learn about specific pieces to be performed on the symphony concert and become more engaged in the concert experience by voting on music to be performed.

MATERIALS: • •

Computer or device with access to the internet Repertoire information (p. 11), Audio file access (p. 18)

PREPARATORY ACTIVITIES: 1. Discuss the importance of voting in U.S. elections.

2. Explain that your students will visit the Kansas City Symphony and that they will get to vote on repertoire to be performed during the concert.

3. Discuss different ways in which people vote (ballots, applause, show of hands, etc…)

TEACHING SEQUENCE: 1. Prepare to play the three listed movements from John Williams’ Star Wars: The Force Awakens Suite for Orchestra

I. March of the Resistance, II. Rey’s Theme, III. Scherzo for X-Wings 2. Prior to playing each movement, review the movement description with your students.

3. Play each movement, taking time to discuss what the students like, dislike, instruments they hear, etc…

• March of the Resistance – https://www.youtube.com/watch?v=ueqKtype7Kk • Rey’s Theme – https://www.youtube.com/watch?v=65As1V0vQDM • Scherzo for X-Wings – https://www.youtube.com/watch?v=xJzuanMUuS4 4. After listening to all three pieces, ask the students to vote on their favorite.

CULMINATING ACTIVITY: Submit your class vote to the Kansas City Symphony by emailing sbrimhall@kcsymphony.org no later than Friday, October 7 at 5pm. We will count individual votes and announce the winning piece at each concert.

Please use the following format when emailing:

SUBMISSION GUIDELINES: School Name:

Concert Attending (date and time):

March of the Resistance = Rey’s Theme = Scherzo for X-Wings = Voting results must be received via email to sbrimhall@kcsymphony.org no later than Friday, October 7 at 5pm.

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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. Discuss how an audience can positively or negatively affect the performer, athlete and other audience members.

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 (e.g. 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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Young People’s Concert: Uncle Sam’s Symphony

TEACHING Activity CONCERT Reviewer Imagine you are the music critic for the Kansas City Star and you have been assigned the job of writing a review about the Young People’s Concert you attended. Write a review that includes what you thought was interesting, exciting or worth sharing with others. Be as specific as you can, especially about the music. Use your words to describe what the music sounded like and how it made you feel.

NAME:

AGE:

GRADE:

SCHOOL:

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WRITING Challenge MY New Law TEACHING OBJECTIVE: Students will create a new law and write a speech persuading others to vote for their law.

MATERIALS: • • •

Pen or Pencil Writing Challenge Worksheet and Organizer Writing Challenge Submission Form

PREPARATORY ACTIVITIES: 1. Review elements of persuasive writing and persuasive speech.

2. Discuss basics of laws citing examples. Why are laws important? How are laws created? What is the process of implementing new laws?

TEACHING SEQUENCE:

SUBMISSION GUIDELINES

1. As individuals or in small groups, have students brainstorm different ideas for a new law.

2. Have each student choose a law that is important to them and brainstorm the following questions: a. Who would this law help? Would it hurt anyone? b. What would happen if this became a law? c. What would change if this became a law?

3. Have each student complete the Writing Challenge Organizer (p. 27).

4. Ask students to write a speech persuading others to vote for their law using the Writing Challenge Worksheet (p. 28).

Each speech should include the following elements: a. Introduction clearly stating the position b. Supportive reasoning reinforcing the position c. Conclusion summarizing the position

1. Speeches may be mailed, faxed or emailed to: Kansas City Symphony Education Department Writing Challenge 1703 Wyandotte, Suite 200 Kansas City, MO 64108 2. Fax: (816) 329-1839 3. Email: sbrimhall@kcsymphony.org • Entries must be received by 5 p.m. on Friday, September 30 to be eligible for selection.

• A Writing Challenge Submission Form (p. 29) must accompany each school’s submission.

• Teachers are encouraged to pre-screen entries prior to sending them to the Kansas City Symphony. We will read ALL entries that are received.

EXTENDED ACTIVITY: 1. Have students deliver their speeches to the class.

2. Following each speech, have the class vote on whether or not the law should pass.

3. Discuss reasons why the law did or did not pass.

CULMINATING ACTIVITY: Teachers are encouraged to enter students’ speeches in the Kansas City Symphony Writing Challenge. The KCS will feature one speech at each performance of Uncle Sam’s Symphony.

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Young People’s Concert: Uncle Sam’s Symphony

WRITING Challenge Organizer MY New Law My new law:

Why should this be a new law?

Who would this law help? Would it hurt anyone?

What would change if this became a law?

Concluding thoughts:

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WRITING Challenge Worksheet MY New Law NAME: SCHOOL: MY NEW LAW:

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Young People’s Concert: Uncle Sam’s Symphony

GRADE: TEACHER:

WRITING Challenge Submission Form PLEASE RETURN ONE SUBMISSION FORM WITH YOUR WRITING CHALLENGE ENTRIES.

Concert Attending*:

Tuesday, October 11 at 10:00am

Tuesday, October 11 at 11:30am

Wednesday, October 12 at 10:00am

Wednesday, October 12 at 11:30am

Thursday, October 13 at 10:00am

Thursday, October 13 at 11:30am

Friday, October 14 at 10:00am

*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. Friday, September 30, 2016 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. If you plan to pre-screen entries, please be sure to include the number of total participants on this submission form.

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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 Crystal Mann at cmann@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 conduct with your students prior to the performance.

Information can be found below and on page 24 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 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: Uncle Sam’s Symphony

About JASON SEBER, David T. Beals III Assistant Conductor

JASON SEBER IS CELEBRATING HIS FIRST SEASON AS THE DAVID T. BEALS III Assistant Conductor of the Kansas City Symphony. Selected through a rigorous audition process in the fall of 2015, he will lead the Symphony in the Classics Uncorked, Pops, Family, Screenland at the Symphony and Education series, as well as Christmas Festival, Symphony in the Flint Hills, and a multitude of other programs in the greater Kansas City community.

Prior to his appointment with the Kansas City Symphony, Seber served as Education and Outreach Conductor of the Louisville Orchestra and Music Director of the Louisville Youth Orchestra. In his three seasons with the Louisville Orchestra, he created and led many school, family and holiday programs. He also conducted on the Pops and Music Without Borders series and served as cover conductor for Teddy Abrams on the Classics Series. In his dual roles with the orchestra and youth orchestra, Seber developed an existing Side-by-Side program into a 2-week residency, with Louisville Orchestra members mentoring their young counterparts in multiple rehearsals and sectionals.

During his eleven-year tenure with the Louisville Youth Orchestra, membership grew from 200 to more than 350 members in nine orchestras and ensembles. Under his baton, the LYO Symphony Orchestra performed with Conrad Tao, Caroline Goulding, Christopher O’Riley, Project Trio, Christopher Theofanidis and My Morning Jacket. He also led the Symphony Orchestra in an appearance on National Public Radio’s “From the Top” in the spring of 2016.

Seber previously served as assistant conductor of the Cleveland Pops Orchestra and the National Repertory Orchestra.

He also has guest conducted the Houston, Indianapolis, National, Colorado, Windsor, Mansfield (Ohio), and Charleston (S.C.) Symphonies, as well as the Cleveland Pops and the Denver Young Artists Orchestra.

He earned his Master of Music in Orchestral Conducting from the Cleveland Institute of Music and his Bachelor of Music and Bachelor of Music Education degrees from Baldwin Wallace University. His primary conducting teachers include Carl Topilow, Dwight Oltman, and Michael Jinbo. He has worked in masterclasses and workshops with Michael Tilson Thomas, David Robertson, Larry Rachleff, Gustav Meier, and Louis Lane.

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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 (1982-1986), William McLaughlin (19861997) 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 program takes the orchestra into area schools to

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Young People’s Concert: Uncle Sam’s Symphony

perform a concert and all ticket sales directly benefit the school district’s music department.

Since the program’s inception, more than $152,000 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 mezzo-soprano 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) 471-0400. 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 JASON SEBER, David T. Beals III Assistant 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* Tomoko Iguchi Dorris Dai Janssen Chiafei Lin Philip Marten^ Vladimir Rykov Alex Shum* Betty Zhou^

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 Jessica Nance, Acting Associate Principal Youming Chen‡, Associate Principal Duke Lee, Acting Assistant Principal Kent Brauninger Sean Brumble Marvin Gruenbaum Philip KrampΔ Jenifer Richison Matthew Rombaum Justin White, Personnel Manager Matt Henderson, Assistant Personnel Manager David Tebow, Stage Manager Mark Watson, Assistant Stage Manager * Non-Rotating Musician ^ New Member Δ One-Year Member ‡ On Leave of Absence

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, Associate Principal Brandon Mason^ Caleb Quillen^ 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 SorgoΔ, Associate Principal Kenneth Lawrence

ENGLISH HORN

Kenneth Lawrence

CLARINETS

Raymond Santos, Principal John KlinghammerΔ , Acting Associate Principal Gabriel Campos Zamora‡, Associate Principal Junghwan LeeΔ^

E-FLAT CLARINET

John KlinghammerΔ Gabriel Campos Zamora‡

BASS CLARINET

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

TROMBONES

Roger Oyster, Principal Porter Wyatt Henderson, Associate Principal Adam Rainey

BASS TROMBONE

Adam Rainey

TUBA

Steven Seward, Principal

TIMPANI

Timothy Jepson, Principal

PERCUSSION

Christopher McLaurin, Principal Joseph Petrasek, Associate Principal

HARP

Deborah Wells Clark, Principal

LIBRARIANS

Elena Lence Talley, Principal Fabrice Curtis

Junghwan LeeΔ

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KAUFFMAN CENTER for the Performing Arts LOCATION

ARRIVING BY CAR

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.

1601 BROADWAY KANSAS CITY, MO 64108

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

Accessible seating for patrons using wheelchairs and walkers is available in most areas of Helzberg Hall, including the Parterre, Mezzanine and Lower Grand Terrace. Please th consult with Education Ticketing13Coordinator Owen Craig at (816) 218-2609 to determine your best and most accessible seating options.

Central

Washington

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.

14th

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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Young People’s Concert: Uncle Sam’s Symphony

P Entrance to underground parking garage

K

Grand Blvd.

16th Main

Broadway

Washington

Jefferson

Summit

Truman

Kansas City Symphony YOUTH EDUCATION PROGRAM SPONSORS

EDUCATION SERIES UNDERWRITERS Charles and Virginia Clark Janet M. Stallmeyer and Donald L. Flora 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

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 Oppenstein Brothers Foundation

DONORS (UNDER $25,000) Anonymous Bayer CropScience Harvey S. Bodker The Breidenthal-Snyder Foundation The Cross Foundation Curry Family Foundation The Dlabal Foundation Janet M. Stallmeyer and Donald L. Flora 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 Louis and Frances Swinken Supporting Foundation of the Jewish Community Foundation of Greater Kansas City Henry E. Wurst Family Foundation

ADDITIONAL SUPPORT PROVIDED BY

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EDUCATION Department STEPHANIE BRIMHALL EDUCATION MANAGER (816) 218-2639 SBRIMHALL@KCSYMPHONY.ORG CRYSTAL MANN EDUCATION TICKETING COORDINATOR (816) 218-2609 CMANN@KCSYMPHONY.ORG

MAILING Address KANSAS CITY SYMPHONY 1703 WYANDOTTE, SUITE 200 KANSAS CITY, MO 64108

KCSYMPHONY.ORG