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19 Letter to Educators

On behalf of the Harrisburg Symphony Orchestra and the HSO Education Department, welcome to our first Young Person’s Concert of the 2018/19 season!

We are excited that you will be joining us as Maestro Malina and the HSO guide you through some incredible symphonic music. Access to the arts and an understanding of the rich cultural history of classical music are essential to a 21st century education.

This curriculum guide will help you prepare your students to better understand various aspects of classical music and the experience of a symphony concert. Inside, you will find biographical information, orchestral stage plots, listening guides, and activities which will engage students in fun and meaningful ways. While this information does not suggest your exact experience at the upcoming YPC, it will provide a foundation from which Maestro Malina and the HSO can take you deeper into the repertoire.

As always, we aim to enhance your understanding of classical music and your ability to communicate that information to your students. Please let us know how we’re doing! If you have any questions about the YPC or the HSO’s education programs, please call, email or check our website for more details.

As an audience member and an educator, you are the most important part of our musical and educational community. Thank you for sharing the HSO with your students! We look forward to welcoming you to the Forum on Friday, November 16!

Sincerely,

Mark Hunsberger

Director of Education

(717) 612-4965

Mark@harrisburgsymphony.org

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Table of Contents

3 Program

4 Composer Information

5 A Guide to the Guide

6 Orchestra Seating Chart

7 Beethoven: Symphony No. 5 in C minor

Listening Guide

8 Movement I, Inter-Activity

9 Movement III, Inter-Activity

10 Movement IV, Inter-Activity

11 The Harrisburg Symphony

12 Meet the Maestro

13 Concert Etiquette

14 A Letter to the Orchestra

15 Supporters

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HARRISBURG SYMPHONY ORCHESTRA Friday, November 16 at 10:00 am & 11:30 am

STUART MALINA, Conducting

Musical selections and excerpts will be chosen from the following program.

Symphony No. 5 in C minor, Op. 67 Ludwig van Beethoven (1770-1827)

Allegro con brio Allegro — Allegro

Program

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Ludwig van Beethoven was born in Bonn, Germany in 1770. At just 29 years of age he began losing his hearing. By the time he composed the fifth symphony (which you will hear portions of at the YPC), he had lost more than 50% of his hearing! How did Beethoven continue writing music even though he could not hear? He used the vibrations from the piano to hear and feel his compositions.

Beethoven spent four years COMPOSING (writing music) his fifth symphony, from 1804-1808. Those few years were a very busy time for Beethoven. During that period he COMPOSED at least fourteen pieces, including the fifth symphony AND his fourth and sixth symphonies! Some historians claim that Beethoven was so busy COMPOSING music during this period that he would hum tunes

when he walked through his town and not even notice when people spoke to him.

Beethoven’s fifth symphony is one of the most recognizable pieces in orchestral music. In fact, it was this symphony that helped him achieve international fame in the early 1800s. The theme of “victory through the struggle” can be heard throughout the piece. It is commonly said that the symphony’s opening theme (da-da-da-duh) represents fate knocking at the door. Whether or not that was Beethoven’s intent, the “struggle” and “victory” portions of the theme can be heard as the first movement progresses to the final movement. Movement one presents Beethoven’s initial statements in a minor (or sad) tonality—the “struggle.” The second and third movements carry the music forward to arrive at a major (happy) tonality in the fourth movement—the “victory.” To this point, Beethoven wrote the following note to one of his students… “Many assert that every minor [tonality] piece must end in the minor...On the contrary, I find that ... the major [tonality] has a glorious effect. Joy follows sorrow, sunshine — rain. It affects me as if I were looking up to the silvery glistening of the evening star.”

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Reference Recording

The following link will direct you to a reference recording of Beethoven’s fifth symphony. The timing marks in parentheses throughout the listening guide correlate to this recording. Simply click the link below and navigate the video according to the guide. This recording features the Vienna Philharmonic under the direction of Christian Thielemann.

Beethoven Symphony No. 5 in C Minor, Op. 67

Composer Information

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A Guide to the Guide

This concert guide will provide you with tools to help lead you through the repertoire which will be performed at the YPC on November 16th. You will find listening guides, composer information, inter-activities, and general information about the orchestra. The orchestra stage plot on the following page will help you find the names of the instruments in the orchestra, which families they belong to, and where they are located on stage. Each instrument name is color-coded to match its family. To help you get started, you will find below each instrument family name, its appropriate color, and the specific instruments in that family. Pay special attention to the BIG GREEN WORDS throughout the guide. They will appear again in the pre-concert questions at the performance on November 16th. Please note that the information contained within this guide is not a specific format for the YPC. Rather, its purpose is to provide a foundation for the musical works which may be performed . The exciting ways in which Maestro Malina and the HSO present this music will be a once in a lifetime experience—and you’ll be a part of it!!

Trombone Trumpet

Tuba French Horn

Brass Family

Flute Piccolo

Clarinet

Bass Clarinet

Oboe

English Horn

Bassoon

Contrabassoon

Woodwind Family

Strings Family

Harp

Double Bass

Cello

Viola

Violin

Percussion Family

Piano

Timpani

Bass Drum

Snare Drum

Cymbals

Glockenspiel Triangle

Tambourine

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Listening Guide: Beethoven

Before we take a look at Beethoven’s 5th Symphony, remind your students of the overall structure of a symphony. A symphony follows a specific pattern of CONTRASTING movements that help keep the listener (you!) interested. CONTRAST means things that are different. Some examples of CONTRAST in music could be fast and slow TEMPOS, or loud and quiet DYNAMICS. The first movement is fast and lively; the second movement is slow and beautiful; the third movement is usually based on a dance and is counted in 3 (1,2,3 1,2,3); the fourth movement is very fast and brings the symphony to an exciting close. To recap, the symphony pattern is…

Fast, Slow, Dance, Fast

The HSO won’t be playing the Slow movement at the YPC, so you will only hear the Fast, Dance, and Fast movements.

Let’s check out Movement No. 1.!

Allegro con brio (fast, 0:26)

This movement begins with the most recognizable opening theme in classical music. Beethoven builds the entire first movement on this theme...and the four-note rhythm comes back many times throughout the symphony. If your students know “tis” and “tas,” this theme is very easy to follow. Check it out!

This movement is in sonata form...and it’s easy to follow along (see the Inter-activity page for more details). The outline below will help you guide your students through this movement.

Theme 1: 0:26

Theme 2: 1:12 (violins)

Themes 1 and 2 repeat: 1:51

Development 3:18

Return Theme 1: 4:40

Return Theme 2: 5:35

Coda: 6:18

Allegro (dance, 19:09)

The third movement follows a Scherzo (“scare–t-zoh”) form. Scherzo form can also be thought of as A-B-A form, in which the A sections present the same thematic material (with some variation).

The A sections follow a call-and-answer pattern. The cellos and basses play a theme (quietly) which is answered by a four-note-rhythm theme (much louder). The rhythm of this theme is taken from the opening theme of the piece. This time, however, it’s written differently.

The B section (20:55) begins with a short theme in the cellos and basses (again). In this section, the theme gets passed to all the different parts of the orchestra. The A section returns (22:38), but this time the themes are played quietly. This movement is played ATTACA, which means there is no pause before the next movement. The transition to the 4th movement begins when the timpani enters with the four-note-rhythm (23:57). The music gets louder until it finally arrives at the beginning of the 4th movement.

Allegro (24:46)

Like the 1st movement, the 4th movement also follows sonata form. The outline below will help you follow along. As you listen, notice that Beethoven sets up a few “false endings,” which sound like the piece could end, but actually move to a new section. You’ll know the real ending because the orchestra repeats the same victorious chord 8 times. This was Beethoven’s way of emphasizing “victory through the struggle!”

Theme 1: 24:46

Theme 2: 25:47 (triplet motive)

Themes 1 and 2 repeat: 26:43

Development 26:35 (begins w/triplet motive)

False Ending #1/Scherzo Theme Returns: 30:09

Return Theme 1: 30:51

Return Theme 2: 31:49

False Ending #2: 33:14

ti ti ti ta

ta ta ta ta-ah

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Inter-Activity: Beethoven, Mvt. I

CONTRAST Discussion

Since the first movement relies heavily on the opening theme, discuss with your students how Beethoven uses CONTRAST to keep the listener interested. Check out the examples below:

DYNAMICS –the volume of the music: The first few measures are a great example of dynamics. The first two

statements of the theme are very loud, followed by a number of soft statements.

ORCHESTRATION—which instruments play which parts: Discuss how Beethoven uses different instruments or

instrument families to play the first theme.

Contrasting Themes: Discuss how Themes 1 and 2 differ from each other. You could discuss the different use of rhythms as well as the length of each theme. See the

examples below.

Going Up, Going Down

The first and second themes in this movement provide great examples for teaching students about ASCENDING (upward movement) and DESCENDING (downward movement) patterns in a melody. Check out the themes below, this time with the actual notes and some sample syllables to help your students sing along.

Rhythm Connect

Your students could also follow along with the themes by attaching words to the rhythms according to their length. As pictured above, an example for Theme 1 might be:

Short—Short—Short—Looooooong

ti ti ti ta

Theme 1

ta ta ta ta ta ta ta ta

Theme 2

Sonata Form

Check out the diagram of Sonata Form to the right. Visualizing the form can help your students get a better grasp of how the different sections fit together. (Note: the coda is optional in Sonata form, so it’s not included here).

Compose Your Own Sonata Form

As a class, create two different rhythmic themes and play them according to the diagram to the right. In the “development,” the composer experiments with both themes. Have your students play both themes at the same time and see what happens!

Theme 1 Theme 2

Exposition

Sonata Form

Theme 1 Theme 2

Recapitulation Development

Uh - up uh – up, do - wn do - wn

Theme 2

D—d—d– down D - d - d - down

Theme 1

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Tempo Change

Both the third and first movements use a four-note-

rhythmic theme. With your students, compare and

CONTRAST how the TEMPO (the speed of the music)

changes between each movement and how the different

TEMPOS impact the rhythm of the themes. Both themes

are below for reference.

You could also discuss the relationship between the

different rhythmic values in each theme. The theme from

movement one creates the short-long relationship using

8th notes (ti) and 1/4 notes (ta). The theme from

movement three creates the short-long relationship using

1/4 notes (ta) and 1/2 notes (ta-ah).

More Melodic Patterns

The four-note-rhythmic theme in this movement provides

a great example of CONTRAST in melodic patterns. As

shown in the example below, the first three statements of

the theme stay on the same note. When a melody does

not change notes, it is referred to as STATIC. The fourth

statement of the theme follows a DESCENDING pattern.

Use the indicated syllables/words to follow along.

Further extension: After your students understand the

melodic patterns used in this theme, compare those

patterns to the four-note-rhythmic theme from the first

movement. Comparing both themes will provide your

students with examples of ASCENDING, DESCENDING,

and STATIC melodic patterns.

Round-and-Round

The B section of this movement is a fugue. In a fugue,

the composer presents a short melody in one instrument

(or family) and then passes it to other instruments (or

families). To create a similar effect to a fugue—and help

your students better understand how it works—have

them sing a simple song as a round. “Row, row, row you

boat” is a great example. See below.

1) Make sure all students are familiar with the song. Sing

it a few times together as a class.

2) Explain how a round works. One group begins the

song. Halfway through, a second group will begin the

song again. Each group will keep singing until given the

signal to stop.

3) Sing it as a round! Group 1 starts on line 1 (row).

Group 2 starts (with line 1) when Group 1 begins line 3.

Here’s the text:

1) Row, row, row your boat

2) Gently down the stream;

3) Merrily, merrily, merrily, merrily,

4) Life is but a dream.

Advanced applications: Use four different groups. Each

group begins with line 1 when the group in front of them

begins line 2. Students could also use solfege syllables

instead of the words.

Inter-Activity: Beethoven, Mvt. III

ti ti ti ta

Mvmt. 1 Mvmt. 3

ta ta ta ta-ah

s— s —s — same s — s —s — same

s— s —s — same d — d —d — down

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Duple vs. Triple

If you’ve talked with your students about duple (two) and

triple (three) subdivisions in rhythm (or would like to

introduce the concept), the first two themes of this

movement provide great examples. In Theme 1, the

rhythms are felt in groups of two; in Theme 2, the rhythms

can be felt in groups of three. This movement moves at a

quick TEMPO, so introducing the concept at a slower

TEMPO might be helpful. Check out the examples below

(note, only portions of the themes are shown).

Understanding how these two themes differ rhythmically

will also help your students follow along with the diagram

of Sonata Form (see Movement I activity page).

Steps and Leaps

The second theme is a great example of STEPS and LEAPS

within a melody. In music, a STEP refers to a change

between two notes in which the notes are directly next

to each other. A LEAP refers to a change between two

notes in which the notes are not directly next to each

other. In the example below, the LEAPS are outlined

with a green box. All other note movements are

examples of either STEPS or STATIC (stay on the same

note) movement. Play this theme for your students at

the piano or have them play it on orff instruments. Take

it one note at a time—the change between notes is the

focus here, not playing with the correct rhythm.

Inter-Activity: Beethoven, Mvt. IV

1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2

Theme 1

1 2 3 1 1 2 3 1 1 2 3 1 2 3

Theme 2

Check Out Those Dynamics...AND Orchestration!

The second theme is also a great example of DYNAMICS and how changes in volume can impact a piece of music.

Beethoven also changes the ORCHESTRATION to enhance the DYNAMIC changes and provide new textures. As you

follow along, listen for when the full orchestra plays the theme and when just the string family plays the theme. See

the example below (note, only a portion of the theme is shown). Video time stamp is 25:47.

LOUD QUIET

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The Harrisburg Symphony

The HSO started to play music in 1931 right here in Harrisburg. The orchestra was formed during the Great

Depression, so resources to keep the orchestra running were scarce. Concerts were first held at the William

Penn High School in Harrisburg, but at the end of 1931, the HSO moved its performances to the Forum –

where you will be sitting on November 16! A season with the HSO back then included four concerts (now we

have 22). If you wanted to subscribe to a concert, or buy a season’s worth of tickets, it only cost $2 per

person!

Since then, the orchestra has grown significantly. We’ve had six conductors guide the orchestra, including

Maestro Malina (whom you will see on Friday morning). The orchestra has also added two youth symphonies

which provide school age children (just like you) the opportunity to play concerts. The orchestra not only

plays classical pieces by composers like Beethoven and Mozart but also modern pieces such as Broadway hits

and Disney songs. Around the 4th of July, the HSO travels to locations away from the Forum to perform free,

outdoor summer concerts. Perhaps you have seen them before!

The HSO provides the highest level of classical music — with world-class musicians — right here in

Harrisburg—just for you! We hope you enjoy the show!

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Meet The Maestro

Meet the Maestro — Stuart Malina The Maestro, the Conductor, the Music Director: three different titles for one of the most important people in the orchestra! The Maestro is the person who conducts the orchestra, or maybe more accurately said, the person who guides the musicians through the music and shapes it into what you hear as an audience member. What may look like a simple wave of the baton is actually a foundation to start the music, keep it steady, and emphasize each bit of emotion that helps make a concert an enjoyable experience. For the Harrisburg Symphony Orchestra, the person who holds this position is none other than...Maestro Stuart Malina. Maestro Malina is the sixth conductor to direct the HSO since it was founded nearly 90 years ago! He not only conducts the orchestra, he also chooses the music and the types of concerts which showcase the HSO. He also has a wide variety of expertise in conducting large scale masterworks, opera, chamber works, and popular works for orchestra. As a conductor, the Maestro has directed the HSO for nineteen seasons! Additionally, he has performed and conducted in places such as Hong Kong and Carnegie Hall (on two occasions). As a pianist, the Maestro has performed many times throughout the United States. In 2003, he received a TONY award for his orchestrations of the Broadway show, Movin’ Out, based on the music of Billy Joel. How did the Maestro start his music career? He got involved with music as much as possible while in public school. In his spare time, he took piano lessons and helped with music in his school whenever he could, including being a music director for school and community plays. If you see Maestro Malina on Friday morning, make sure to say hello!

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Concert Etiquette

Concert Etiquette – Why is it so important?

Have you ever been in a movie theater, ready to see a movie, only to be interrupted by someone talking loudly around you, kicking your seat, or making a bunch of noise? It’s not very fun or very fair to you or the people around you to have that happen. That’s why we practice good concert etiquette here at the Forum!

Concert etiquette is a fancy term for manners. It means being respectful to the musicians on stage and to your family and friends around you watching the concert. It’s also a guideline to help you prepare for the show so that you can enjoy everything the HSO has to offer!

Before the Concert:

Make sure you’re on time for the concert. You don’t want to miss a second of this! Do you have any food or drinks with you? Make sure to throw it away before entering the Forum! Of course,

make sure to not eat or drink during the concert either. A clean floor makes for a better experience! Even if you don’t have to go, make sure you use the bathroom before you leave school for the concert.

You definitely don’t want to be distracted! Have a cell phone? Make sure it’s on Silent Mode or, even better, turned off! Texting is also not allowed. A

phone light is an unwanted distraction that can be seen from very far away!

During the Concert:

Silence is golden! If you want to tell your friend something, you can always wait until after the concert. Remember that moving around, jewelry, candy wrappers, etc. can also cause enough noise for the people around you to be distracted!

Show your appreciation for the musicians and let them know they did a great job by applauding. Make sure to clap when the concertmaster and the Maestro walk onstage too!

Make sure you’re giving all of your attention to the musicians and the Maestro on stage. This includes no talking, of course!

Watch out! Sometimes, a song might have multiple movements. That means that the song is in parts and will have pauses in between. If this happens, do your best not to clap until the piece has ended!

Unsure about when you should applaud? Wait until the conductor turns around to face the audience and takes a bow. The song is definitely finished when this happens!

Extra Tips!

Remember to say “excuse me” if you have to pass someone while going to or from your seat. Not only will they appreciate your politeness, but they’re also much more likely to give you room to move.

As always, remember to keep your hands and feet to yourself. If there is an emergency and you need to leave, try to leave in between pieces (or whenever there is

applause). This is the same when entering the auditorium to get back to your seat. Smile, sit back, relax, and enjoy the show!

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Did you enjoy the November 16th Young Person’s Concert? What did you like best? Draw a picture about your day at the Forum and send it to us. If you’re more of a writer than a drawer, tell us what you liked best about the concert experience.

Email your letters to Mark@harrisburgsymphony.org or send your letters and drawings to Mark Hunsberger, Director of Education, Harrisburg Symphony, 800 Corporate Circle, Suite 101, Harrisburg, PA 17110

A Letter for the Orchestra

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Thank You to our Sponsors

HSO Young Persons’ Concerts are made possible through the generous support of:

Brenner Family Foundation

Commonwealth Charter Academy

The Children’s Home Foundation

The Charles A. & Elizabeth Guy Holmes Foundation

The John Crain Kunkel Foundation

The Donald B. and Dorothy L. Stabler Foundation

The Foundation for Enhancing Communities

And all contributors through the Commonwealth of Pennsylvania’s Educational Improvement Tax Credit (EITC) program, including:

BB&T Bank

Bobby Rahal Auto Group

Enginuity LLC.

First National Bank

Orrstown Bank

Penn National Insurance Company