MUSIC BUILDS DISCOVERY Thursday, October 24
EDUCATION GUIDE 2019-2020 SEASON
Mission. The mission of the Lexington Philharmonic is to foster excellence and innovation in the performance and presentation of great music; to enrich the lives of our diverse citizenry; to educate current and future audiences; and to bring distinction to our community through the orchestra’s presence and standing. We Are Visionaries. Music illuminates the many ways in which humankind’s past is linked to its future. It provides creative energy to address a wide-range of social challenges. LexPhil is committed to serving its core values: artistic excellence, innovation, collaboration and accessibility in the context of contemporary society. We want to see Lexington maximize its potential as a leading regional creative center. “Music can play a powerful role to invigorate the cultural landscape. I want LexPhil to be known for its contribution to making Lexington a forward-looking and innovative community.” The Late Ronald Saykaly, M.D.
We Are Engaged. LexPhil is building a culture of artistic curiosity by educating the broadest possible audience about the beauty and breadth of the orchestral genre. LexPhil collaborates with over 50 local arts and non-arts organizations, schools, colleges and universities each year, to present a wide-variety of artistic and educational programs. LexPhil’s music education programs reach over 10,000 students of all ages and backgrounds throughout central and eastern Kentucky. “The most valued aspect of our partnership with the Lexington Philharmonic is how the musicians and Music Builds Discovery concert underscore the same concepts that we discuss and practice in the classroom. It is so helpful for the students to hear these ideas from someone other than me. I sincerely hope to have LexPhil’s influence in our school for many years to come.” - Andrea Marcum, Music Teacher, Arlington Elementary
EDUCATION PARTNERS THE LEXINGTON PHILHARMONIC GUILD
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TABLE OF CONTENTS Concert Program Information 4
Concert Program
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Meet the Conductor & Soloist
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Program Notes
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Meet the Musicians
Teacher Resources 9
Harp Concerto Lesson
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Harp Activities 1 & 2
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Information About Singletary
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Singletary House Map
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Arrival and Dismissal Procedures
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Parking Map and Singletary Lobby Map
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Glossary of Terms
LPO Offerings 16
Sound Explorers Concert Series
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Teaching Artists
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Instrument Petting Zoo
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Touring Ensembles
Resources for Administrators 20
Careers in Music
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STEM to STEAM
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Student Evaluation
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MUSIC BUILDS DISCOVERY Thursday, October 24, 2019 Singletary Center for the Arts · 10:30 AM Akiko Fujimoto, Music Director & Conductor Finalist
LIBBY LARSEN
Deep Summer Music
GINASTERA
Harp Concerto, Op. 25 Allegra Lilly, Harp
BEETHOVEN
Excerpts from Symphony No. 7 in A Major
AKIKO FUJIMOTO, CONDUCTOR
ALLEGRA LILLY, HARP
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Meet The ARTISTS __________________________________________________________________________________________________ Akiko Fujimoto is a finalist for the Music Director & Conductor of the Lexington Philharmonic. Akiko is the Associate Conductor of the Minnesota Orchestra, where she has conducted education, community and Sommerfest concerts and will make her subscription debut in March 2020. She is also the newly appointed Music Director of the Mid-Texas Symphony, beginning September 2019. As a guest conductor, Fujimoto has performed with the National Symphony Orchestra at the Kennedy Center, North Carolina Symphony, Houston Symphony, San Antonio Symphony, Corpus Christi Symphony and the Fort Wayne Philharmonic. She has also conducted the BBC Scottish Symphony Orchestra at St. Magnus Festival and Canada’s National Arts Centre Orchestra as a participant in the Young Conductors Programme. During the 2019-20 season, Fujimoto makes her debuts with the Lexington Philharmonic, Florida Orchestra and Portland Symphony Orchestra. Prior to arriving in Minnesota, Fujimoto served as the Associate Conductor of the San Antonio Symphony for five seasons, where highlights included conducting a gala featuring Gil Shaham in Brahms’ Violin Concerto and fully staged ballet productions of Prokofiev’s Romeo and Juliet, Tchaikovsky’s Swan Lake and The Nutcracker. Previously, she also served as the conducting associate for the Virginia Symphony. A strong advocate for young musicians, Fujimoto held positions both at Harvard University where she directed the Mozart Society Orchestra and at Stanford University where she served as the interim music director of the Stanford Symphony Orchestra. While in Virginia, she also served as Director of Orchestras at the College of William & Mary and music director of the Williamsburg Youth Orchestras. Born in Japan, Fujimoto moved to the United States at age 14. She attended Stanford University where she studied music and psychology and holds master’s degrees in conducting from the Eastman School of Music and Boston University. Additionally, Fujimoto was cover conductor for Esa-Pekka Salonen, Zubin Mehta and Susanna Mälkki at the Los Angeles Philharmonic. Allegra Lilly joined the St. Louis Symphony as Principal Harp in 2013. She has appeared as Guest Principal Harp with the Chicago, Houston, Toronto and Charlotte symphonies, Boston Pops, and St. Paul Chamber Orchestra, and has also performed with the New York Philharmonic, Pittsburgh Symphony, and All-Star Orchestra. A frequent substitute with the Boston Symphony, she acted as Guest Principal Harp for the BSO’s 2015 Tanglewood season and European tour, and she has earned the unique distinction of appearing as Principal Harp on back-to-back albums that won the GRAMMY Award for Best Orchestral Performance: the SLSO’s City Noir in 2015 and the BSO’s Shostakovich: Under Stalin’s Shadow in 2016. Since making her solo debut at the age of twelve with the Detroit Symphony, Lilly has appeared as soloist with the St. Louis Symphony, Juilliard Orchestra, National Repertory Orchestra, and numerous ensembles in New York and in her home state of Michigan. She has also taken prizes at the Concours International de Harpe in Nice, the American Harp Society’s Anne Adams Awards, and the American String Teachers Association National Solo Competition. In addition to holding the harp faculty position at Brevard Music Center, Lilly has given masterclasses at Northwestern University, Tanglewood Music Center, Boston University, and the University of Ottawa. Born in Detroit, Lilly began her own study of the harp with Ruth Myers at age seven. She went on to join the studio of New York Philharmonic Principal Harpist Nancy Allen at The Juilliard School, where she earned Bachelor and Master of Music degrees.
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PROGRAM NOTES Notes by Daniel Chetel DEEP SUMMER MUSIC LIBBY LARSEN American composer Libby Larsen was born in 1950 in Wilmington, Delaware but moved to Minnesota, where she earned three degrees from the University of Minnesota, co-founded the Minnesota Composers Forum (now the American Composers Forum), and served as composer-in-residence of the Minnesota Orchestra. Deep Summer Music centers our musical imaginations on the panorama of colorful richness that pervades the horizon at harvest time in the western plains. Larsen writes in her note about this work: “In the deep summer, winds create wave after wave of harvest ripeness which, when beheld by the human eye, creates a kind of emotional peace and awe.” While not necessarily referenced musically, it is difficult not to hear an allusion to Katharine Bates’s line “amber waves of grain,” set to music in the song we now know as America, the Beautiful. Larsen’s music is pulsating and atmospheric, drawing on minimalist American traditions combined with an evocative pictorial sweep. The texture of the music is characterized by the percussion and strings that construct this foundation. Listen for the poignant solo trumpet, that seems to be an avatar for us as the listener, considering the vastness of this abundant vista. HARP CONCERTO, OP. 25 GINASTERA Alberto Ginastera—born in 1916 in Buenos Aires, Argentina—was also a composer of geographically and culturally specific music that often highlighted his own Argentinian musical heritage. This is heard most famously in his 1941 score to the ballet Estancia which depicted the lives of cowboys from his home country and featured specific Argentinian dance forms, including the energetic malambo. Ginastera continually engaged with the question of how to use the Latin American tradition within the context of an increasingly modern musical language that he was developing through his travels and studies in the United States and Europe. The Harp Concerto, Op. 25 was premiered in 1965, well into Ginastera’s self-proclaimed third musical period which he referred to as “neo-expressionism." This trajectory represents a move away from writing music specifically inspired by his Argentinian upbringing and toward a more wide-ranging musical vocabulary.
In this virtuosic concerto we can hear a modern and experimental musical language at play (including extensive use of wispy string harmonics, crunchy dissonances of harmony, and even some nontraditional sounds made by the harpist), but the overall character is deeply rooted in the rhythmic and percussive traditions that we associate with Ginastera’s earlier music. The concerto was commissioned by Edna Phillips, the harpist of the Philadelphia Orchestra and premiered under the baton of Eugene Ormandy with Spanish superstar harpist Nicanor Zabaleta performing the solo. SYMPHONY NO. 7 IN A MAJOR BEETHOVEN Ludwig van Beethoven’s musical career is also generally divided into three periods. Beethoven conducted the premiere of Symphony No. 7 in A Major in Vienna in December 1813 on an evening of music presented to raise funds for injured soldiers. The Symphony No. 7 includes musical homages to military tropes and imagery within the structure of a classical symphonic form. Unlike Larsen’s atmospheric invocation of the American plains, Beethoven’s patriotic message is somewhat less subtle, highlighted by the heroic French horns and gleaming strings. The opening Poco sostenuto, unlike simpler introductions that we might expect from classical examples (or even earlier Beethoven symphonies), travels through a wide array of emotional states rather than simply functioning as a formal setting of the stage. The second movement Allegretto is one of Beethoven’s most well known symphonic movements. Beethoven propels his quickmoving Scherzo into motion with notable interplay between triple and duple meters that create an off-kilter hemiola effect. The middle Trio section returns to the pastoral ambience of the opening movement with spacious harmonies in the woodwinds and brass that conjure images of the forests surrounding courtly Viennese estates. The sparkling passagework of the Allegro con brio sets off into a joyful finale with a return to the lilting dotted rhythms of the very opening. The composer’s exuberance leads to some of Beethoven’s most extreme musical direction—multiple fortississimo markings—in the coda which propel the orchestra to spring its way towards the end of this dynamic symphony. 6
Lexington Philharmonic MUSICIANS VIOLINS Daniel Mason, Concertmaster C.A. COLEMAN CHAIR Brice Farrar, Associate Concertmaster Margaret Karp, Assistant Concertmaster Elizabeth Steva, Assistant Concertmaster Julie Lastinger, Principal Second Violin Raymond Weaver, Assistant Principal Second Violin Julie Baker Stacey Beane Pin-Hsuan Chen Julie Foster David Goist Ingang Han ++ Chang Ji Yein Jin ++ Kristen Kline Gi Yeon Koh Linda Lee Meg Saunders Gretchen Tucker VIOLAS Henry Haffner, Principal Monica Workings-Stock* Yu Gan Austin Han Tzu-Hui Hung Elizabeth Jones Leah Swisher
CELLOS Benjamin Karp, Principal Clyde Beavers* Patrick Binford Kathryn Drydyk Phillip Goist Rebecca Kiekenapp Lisa M. Svejkovsky BASSES Dan Harris, Principal Victor Dome* Susan Lucas Eli Raines Maurice Todd FLUTES Michael O'Brien, Principal Merrilee Elliott Arpi Anderson OBOES David Powell, Acting Principal CLARINET Erin Fung, Acting Principal
photo by: Oculus Studios
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BASSOONS Peter Simpson, Principal Matthew Schuler Julie Gray CONTRABASSOON Julie Gray HORNS David G. Elliott, Principal Mick Sehmann Joanne Filkins David Shelton TRUMPETS Stephen C. Campbell, Principal Joe Van Fleet Scott Batchelder TROMBONES Andrew S. Duncan, Principal José A. Mangual BASS TROMBONE Joel Lovan TUBA Skip Gray, Principal TIMPANI Brady Harrison, Principal PERCUSSION James Campbell, Principal Brian Mason HARP Elaine Humphreys Cook, Principal * Assistant Principal ++ On Leave for 2019-2020 Season
Music Director Emeritus & Conductor Laureate George Zack Emeritus Members Michael Acord Joseph Baber Joseph Beach + Larry Beach Lynn Beck Joanna Binford Leo Blair Suanne Blair James Blalock Robyn Bourgois Nancy Clauter + Joseph Colbert + Paul Engelbrecht Ned Farrar Roberta Guthrie David Henderson Richard Illman Shirley Jacobs Atossa Kramer Bob Lancaster + Loy Lee + Eloise Lewis Katherine Longyear + Suzanne MacIntosh Catherine McGlasson Ronald Monsen + Bruce Morrison + Marsha Pendley Joseph Pival + Robert Pritchard Linda Rector + Leon Richard + Dana Ruthers Christina Simpson David Sogin Jo Ann Sparrow Martha Jane Stone + Nancy Stoner Earl Thomas + Suzanne Veiga Lisa Weaver Donna Wiehe Elizabeth Yanarella + Deceased 8
Harp Concerto Lesson Teachers, please feel free to use the information in this lesson to help prepare your students for the performance at the Discovery Concert on 10/24/19!
What is a Harp? A harp is a stringed instrument that has many individual strings attached to a soundboard. The strings are plucked by the harpist’s fingers. Orchestral harps have pedals at the base for the harpist to change the notes of the strings. We talk about orchestral instruments in different ways: by the families they play in, and by how the instrument actually makes sound. o
Instrument Families • • • •
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Strings Includes violins, violas, cellos, basses, and harp Woodwinds Includes flute, clarinet, oboe, bassoon, and saxophone Brass Includes trumpet, trombone, French horn, and tuba Percussion Includes timpani, xylophone, crash cymbals, and drums
Instrument Sound Production Classifications •
• • •
Chordophones Creates sound with vibrating strings Violins, violas, cellos, basses, harp Guitar, lute, ukulele Idiophones Creates sound by instrument vibrating (with no air, string, or membrane) Xylophone, crash cymbals, bells Membranophones Creates sound by membrane vibrating Drums, timpani, some tambourines Aerophones Creates sound by vibrating a column of air All orchestral woodwind and brass Harmonica, pipe organ, recorder
What is a Concerto? A concerto has three components for its definition: • • •
A musical composition Features a soloist Accompanied by an orchestra or band
A concerto frequently has an extended solo, called a cadenza. These are usually improvisatory (sounding spontaneous, though usually not actually improvised) and virtuosic (displaying exceptional skill) in nature.
What is special about the Ginastera Harp Concerto? • • • •
Alberto Ginastera (heen-ah-stare-ah) (1916-1983) was a composer from Argentina This concerto is one of only 8 or so well-known concertos for harp Edna Phillips, longtime harpist for the Philadelphia Orchestra, commissioned this work in the 1950’s. We will hear part of this concerto at the Discovery Concert on October 24th! 9
Activity 1: Draw or color the sounds you imagine coming from the harp as your teacher plays a recording of harp music.
Activity 2: As a group, create one 3-foot “harp string� to bring to the Discovery Concert and display along with other schools on our cardboard harp frame. Use any materials (ribbon, yarn, twine, beads, flowers) to represent your school in our celebratory collaborative art piece! 10
Singletary Center
Do’s and Don’ts of The Singletary Center for the Arts
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ARRIVAL & DISMISSAL PROCEDURES _____________________________________________________________________________________________________________
ARRIVAL · TEACHERS - Please arrive between 9:45 - 10:15 AM in order to be seated in time for the show to start at 10:30 AM.
DROP OFF · BUSES - Drop off students in either the Rose Street Circle (405 Rose Street, Lexington, KY, 40508) in front of the Singletary Center, or the Wildcat Statue Circle (220 Ave of Champions, Lexington, KY 40508) off of Avenue of Champions. (See map for details). · TEACHERS - Walk students into the lobby of the Singletary Center. Hold the students right inside the doors and send one teacher to the check-in table as directed by Ushers. (see Lobby Map on p. 13)
CHECK-IN · TEACHERS - One teacher should come to the check-in table (located in the middle of the Singletary Center lobby) to check-in their school, receive a teacher packet with seating map, and pay for any open invoices. Once your school is checked-in, you will be assigned an Usher to help guide you and your students into the hall and to your seats.
BUS PICK-UP · BUSES - The show starts at 10:30 AM and will finish about 11:30 AM. Please have your buses ready to pick up at the Singletary Center around 11:30 AM. Buses can pick up students from either the Rose Street Circle or Wildcat Statue Circle. · TEACHERS - Remain seated with your students in the Concert Hall until dismissed by announcements made from stage. · Special dismissal requests have been taken into account in dismissal procedures
ACCESSIBILITY · BUSES/ TEACHERS - Both the Rose Street and Wildcat Circle have ramps to accommodate any accessibility needs. · If you have additional accessibility requests or questions please contact our Education Coordinator: Mari Kellogg - education@lexphil.org | 859.233.4226
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PARKING MAP
LOBBY MAP
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GLOSSARY OF TERMS Acoustics
I. The science of sound. II. The properties of a concert hall or other buildings as they affect the sounds produced in it.
Adagio
Slow, relaxed tempo
Allegretto
Somewhat fast tempo (slower than allegro, faster than adagio)
Allegro
Fast, brisk tempo
Cadenza
A virtuosic solo passage inserted into a movement of a concerto
Capriccioso
A free, playful, impulsive style
Chord
A combination of tones sounded together
Commission
To request and pay for the production of something, like a piece of art or music
Composer
A person who writes music
Con Brio
"with life!"
Concertmaster
The first violinist in an orchestra
Concerto
A composition for orchestra accompanying a solo instrument
Conductor
The leader of an ensemble
Dynamics
Variations of volume, from loud to soft, and soft to loud
Ensemble
Two or more musicians playing together
Forte
Strong, or loud
Fortissimo
The strongest, or loudest
Harmony
A combination of sounds that is musically significant
Improvise
To make up and perform music on the spur of the moment, without playing music that is written down or from memory
Jazz
An American musical form developed from the African-American genres of blues and ragtime
Liberamente
“Freely� 14
Melody
A succession of pitches over time with direction and rhythm
Movement
Like chapters in a book, a movement is a distinct unit or division within a big piece of music like a symphony
Orchestra
A large body of instrumentalists including strings, woodwinds, brass, and percussion, and led by a conductor
Pitch
The highness or lowness of a musical sound
Premiere
The first performance of a musical or theatrical work
Rhythm
The organization of sound over time
Scale
A sequence of notes going up or coming down in order
Scherzo
A vigorous, light, or playful composition, typically comprising a movement in a symphony or a sonata
Symphony
A composition for orchestra, often containing four movements that fit together
Tempo
A term that indicates the pace or speed of the music
Timbre
The quality, personality, or color of a sound unique to an instrument or voice
Tuning
The process by which all members of an ensemble ensure that pitches on all of the instruments match each other
Virtuosic
Displaying or characterized by exceptional skill
Vivace
Lively, quick tempo
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EDUCATION & COMMUNITY PROGRAMS _________________________________________________________________________________________
SOUND EXPLORERS CONCERT SERIES PRESENTED BY:
with support from
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Lexington Philharmonic TEACHING ARTISTS LexPhil musicians visit the classroom to help reinforce ideas that are being communicated in the class. Visits can be tailored to certain instruments or instrument families, time periods, composers, genres, or anything else the students are working on in class. Musicians can be the main presenter or work with the teacher. Students get the opportunity to ask a professional musician about their life and career as a musician. Price: Call (859) 233– 4226 or email, education@lexphil.org, for quote.
Joseph Van Fleet, TRUMPET Joseph Van Fleet has been on the faculty of Eastern Kentucky University since 2006 and was appointed international instructor of trumpet at the Academia de Trompetes in SĂŁo Paulo, Brazil in 2017. Prior to teaching at EKU, he had been the instructor of trumpet at Campbellsville University and associate instructor of trumpet at Indiana University. He holds degrees from Murray State University (BME) and Indiana University (MM and DM). He currently holds the second trumpet position with both the Lexington Philharmonic Orchestra and the Richmond (Indiana) Philharmonic Orchestras. He also performs often with the Kansas City Symphony.
Elaine Humphreys Cook, HARP Elaine Humphreys Cook is principal harpist with the Lexington Philharmonic Orchestra and auxiliary harpist with the Louisville Orchestra. She has played with the Cincinnati Symphony, Indianapolis Symphony, Evansville Philharmonic, Columbus Symphony, Berkeley Orchestra, and the Aspen Festival Orchestra. As acting principal harp with the Louisville Orchestra for three years, she performed at Carnegie Hall and Kennedy Center. Ms. Cook teaches at the University of Kentucky in Lexington, Centre College in Danville and with the Lexington Talent Education Association. She holds a Bachelor of Music Degree from the Cincinnati College Conservatory of Music and a Master of Music Degree from the San Francisco Conservatory of Music. She has presented recitals in Kentucky, Ohio, Indiana, Colorado, and California.
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Dr. Brandon Arvay, PERCUSSION Dr. Brandon Arvay has appeared at PASIC, Midwest Clinic, International Saxophone Symposium, National Centre for the Performing Arts (Beijing, China), ABA, CBDNA, State MEA Conventions, and respected percussion podcasts. He holds degrees from the University of South Carolina (B.M.E.), Colorado State University (M.M.), and the University of Kentucky (D.M.A.). Currently Section Percussionist with the Lexington Philharmonic, he also serves as Percussion Instructor at Central Kentucky Youth Orchestras, staff Percussion Arranger for 16Parks Music, member of the Arvay/Younglove Duo, PR Manager for Global Premiere, and Founder/CEO of ArvayMedia. For more information on Brandon’s activities, please visit www.brandonarvay.com, Instagram (@b.arvay), Twitter (@brandonarvay).
Clyde Beavers, CELLO Clyde Beavers is Assistant Principal cellist of the Lexington Philharmonic. Beavers is a graduate of the Juilliard School where he was a student under the tutelage of the world-renowned cellist Harvey Shapiro. He received his Doctor of Musical Arts degree from the University of Kentucky. Clyde Beavers is Adjunct Professor of violoncello at Asbury University and Transylvania University. As part of the Lexington Philharmonic Orchestra's educational outreach program, he has served as a teaching artist, giving performances and presentations to school-aged children in Central Kentucky. Beavers has recorded for the Naxos label and performs on a cello that was recently crafted by Timothy J. Jansma.
Rebecca Kiekenapp, CELLO Rebecca holds degrees in cello performance from the University of Minnesota and the University of Kentucky and has performed and taught extensively in the central Kentucky area for over 20 years. A member of the Lexington Philharmonic since 1995, she is also principal cellist of the Lexington Chamber Orchestra and a violinist with the London Community Orchestra. As the cellist in Endless Road Strings, a quartet which was formed to perform with guitarist Tommy Emmanuel, she has performed and recorded with guitarists from across the country. Ms. Kiekenapp maintains private studios in Lexington and London, KY.
In School PROGRAMS INSTRUMENT PETTING ZOOS LexPhil’s traveling Instrument Petting Zoo includes instruments from all the instrument families. Students can touch, hold, discover, and play all of the instruments. The goal of the program is to engage student’s interest in music on a personal level and help them identify instruments they are interested in learning more about. The program can also be used to help music directors in recruiting for their programs and testing which instruments the students will play in beginning band or orchestra. Price: $75 for the first hour, $25 for each additional hour
TOURING ENSEMBLES LexPhil musician ensembles can come to perform for your school. The theme of these ensemble performances can be tailored to the curriculum in your classroom or can be scheduled as an assembly for the entire school. Price: Call (859) 233– 4226 or email, education@lexphil.org, for quote.
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STEM TO STEAM __________________________________________________________________________
The Lexington Philharmonic unveiled its Music Builds STEAM platform during its 2014-2015 season. This platform is based on the STEM to STEAM movement, which is devoted to broadening the basic curriculum standards for Science, Technology, Engineering and Math by adding the Arts. This educational initiative includes the Arts as a tool to strengthen the critical thinking skills needed for students to excel in all areas. LexPhil continues its Music Builds education platform during the 2019/2020 season, introducing new and exciting opportunities for all students! Music Builds provides the framework on which LexPhil’s education programs develop and serve multiple arts education and cross curricular needs. BENEFITS: The cognitive processes and physical movements that are required for musical activity are especially beneficial to young children.
Music training is closely correlated with development of phonological awareness (the ability to hear and produce separate sounds) – one of the most important predictors of early reading skills.
Children who were motivated to practice a specific art form, develop improved attention and general intelligence. Training of attention and focus leads to improvement in other cognitive domains.
Links have been found between high levels of music training and the ability to manipulate information in both working memory and long-term memory.
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DISCOVERY CONCERT STUDENT RESPONSE FORM FIRST NAME: __________________________________
GRADE: __________
SCHOOL: _______________________________________
AGE: _____________
Think about the concert and create your own review! Write a few sentences for each question.
1.
Describe your concert experience (what happened first, second, last)
________________________________________________________________________________________ ________________________________________________________________________________________ ________________________________________________________________________________________
2.
What instruments did you see on stage during the concert?
________________________________________________________________________________________ ________________________________________________________________________________________ ________________________________________________________________________________________
3.
What did you find most interesting about the concert?
________________________________________________________________________________________ ________________________________________________________________________________________ ________________________________________________________________________________________
4.
How did others sitting around you react to the concert?
________________________________________________________________________________________ ________________________________________________________________________________________ ________________________________________________________________________________________
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OPEN REHEARSALS
photo by: Richie Wireman
This is an opportunity for your students to hear and see a professional orchestra at work! Come hear the Lexington Philharmonic rehearse and prepare for their concerts. Tickets to these events are free, but registration is required. School groups must be accompanied by a teacher. To reserve a space for students, please contact education@lexphil.org. 2019/2020 REHEARSAL DATES: Thursday, October 24, 2019 - 7:30 pm Thursday, November 21, 2019 -7:30 pm Thursday, February 20, 2020 - 7:30 pm Thursday, April 16, 2020 - 7:30 pm Friday, May 15, 2020 - 7:30 pm
STUDENT TICKETS The Lexington Philharmonic is proud to offer an $11 Student Ticket rate for all students to most LexPhil concerts! A valid Student ID is required to qualify for the student rate. LexPhil also offers a Youth Ticket rate of $11, for anyone 18 years old or younger. Purchase Student Tickets online beginning the Friday before the concert, by calling the Box Office, or the night of the concert at the Singletary Center for the Arts. Questions? Email us at tickets@lexphil.org! We're happy to help accommodate your students!