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Neil A. Kjos Music Company • Publisher
Kjos String OrchestraGrade 2
Full Conductor ScoreSO328F
$6.00
The London Symphony
Franz Joseph HaydnJeremy Woolstenhulme, Arranger
The London SymphonyThemes from Symphony No. 104, 1st Movement
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The ArrangerJeremy Woolstenhulme received his B.M.E. from Brigham Young University in 2000 and an M.A. in Cello Performance from the University of Nevada (Las Vegas) in 2005. Currently, Mr. Woolstenhulme serves as the orchestra director at Hyde Park Middle School in the Clark County School District. He has traveled with his orchestra to London, Washington, D.C., Boston, and New York. Mr. Woolstenhulme’s orchestra was selected to play at the 2008 Midwest Clinic in Chicago. In 2010, Hyde Park won second place at the ASTA National Orchestra Festival in Santa Clara, California; they were also invited to perform at the 2011 festival in Kansas City. In addition, Mr. Woolstenhulme is a contract musician with the Las Vegas Philharmonic, cellist for the Seasons String Quartet, and a freelance musician performing at many venues located on the famed Las Vegas “Strip.” He lives with his beautiful wife Taryn and their four children, Cadence Belle, Coda Blake, Canon Thomas, and Caprice Aria.
The ArrangementTry the following rehearsal suggestions for the best results:
• On the beginning unison whole notes, try using a down-bow followed by an up-bow for maximum sustain; this will also leave the bow at the frog, ready for the next measure.
• The first four measures are unison. To check for intonation and ensemble cohesion, practice the passage tutti, solo, tutti again, and then as a duet with any instrument combination.
• In the piano sections (e.g., m. 5 and m. 13), if students can play vibrato, it will really help warm the tone; if not, make sure the bows are still moving and the sound is as warm, dark, and resonant as possible.
• 1st violins in m. 6 (and other measures like it): It sounds really good to lean on the first note of the passage and then fade out.
• At the Allegro (m. 13), it is sometimes very difficult for young orchestras to remain soft while the tempo speeds up. Because it’s faster they tend to want to play louder. Work on a piano sound that still has a core by placing the bow close to the fingerboard, increasing bow speed, and applying less pressure.
• At m. 28, cellos can lengthen beat one on the C-string for a more classical accompaniment style.
• In m. 31, it is really important that the violins are using the 3-4 fingering pattern on the G-string, and that the tuning is accurate. Teach cellos to play this same D/C # passage on the A-string and it will be help the violins to hear what this should sound like on their G-strings. Then you can have each violinist play a duet with the cello section repeating these unison pitches.
• The sforzando in m. 36 should be executed mostly with bow speed at the beginning of the note, not by pressing too hard into the string. This will produce a more classical, refined sound without the aggressive and scratchy quality that sometimes comes with this dynamic.
• At m. 52, I like the 2nd violins and violas to put a slight space in between their quarter notes while having the 1st violins in m. 53 play very legato with their slurred passage. In the 1st violins, bow speed is key to sounding elegant. Start with a fast, light bow and slow down toward the end of the slur.
• The final chords starting at m. 70 should be played with equal bow speed and length. Students often don’t pay attention to the ends of notes, so this is where your group can really shine! Have them look around and listen closely to make sure they begin and end each note exactly together. Teach them the “one inch rule”—they should be within one inch of everyone else’s bow at all times. By constantly preaching this rule, students will learn the importance of coordinating bows so they match throughout the song.
Instrumentation List (Set C)8 – 1st Violin8 – 2nd Violin 5 – 3rd Violin (Viola T.C.) 5 – Viola5 – Cello5 – String Bass1 – Full Conductor Score
Additional scores and parts are available.
To hear a recording of this piece or any other Kjos publication, please visit www.kjos.com.
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Learning Bank: Franz Joseph Haydn (1732–1809)Haydn was born in Austria to a middle-class family. His musical talents were
recognized as a child, and at the age of six, he left home to be trained as a musician. As a young man, Haydn worked as a director, teacher, and singer, but his big break came in 1761 when he was hired by a wealthy and powerful Hungarian family, the Esterházys, as a music director and composer. Living on their vast estate for a period of thirty years, Haydn was responsible for writing music for daily use and social ceremony. He was well-loved by the orchestra, and his musicians affectionately called him “Papa Haydn.”
Haydn’s successful career with the Esterházys did not stop him from additional performances and publications throughout Europe. In the 1790s, he embarked on a highly successful concert tour of England. It was during this trip that he wrote many of his most famous compositions, including The London Symphony (No. 104). Penned in 1795 while living in London, this work is Haydn’s final symphony
and, to many music historians, his greatest symphonic achievement. His time in England also brought him great wealth, allowing him to live out the rest of his life in Vienna, the musical capital of Austria.
Much of Haydn’s music is known for its light-hearted, upbeat spirit. He had a great sense of humor, and some of his most famous pieces feature musical jokes. For example, the “Surprise Symphony” uses a sudden dynamic contrast to shock the audience; the “Farewell Symphony” ends with every member of the orchestra walking off stage one by one; and “The Joke” string quartet features a series of false endings, each designed to make the audience think the piece is over! Haydn wrote an amazing amount of music during his life, including 106 symphonies, over 60 string quartets, and over 40 piano trios, as well as many operas, oratorios, and concertos. His mastery made him a legend in his day; in fact, he was a friend to Mozart and a teacher to Beethoven. Haydn’s influence on the history of music was so profound that today he is known as the “Father of the Symphony” and “Father of the String Quartet.”
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The London SymphonyThemes from Symphony No. 104, 1st Movement
Full Conductor Score Franz Joseph HaydnApprox. time – 3:30 Arranged by Jeremy Woolstenhulme
© 2014 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California 92117. International copyright secured. All rights reserved. Printed in U.S.A.
WARNING! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of the copyright law. Anyone who reproduces copyrighted matter is subject to
substantial penalties and assessments for each infringement.
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SO328
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SO328
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SO328
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SO328F - The London Symphony
SAMPLE
