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A Guide to the Chicago School Concerts FEBRUARY 8 & 9, 2017 WITH COURAGE This concert, featuring the Chicago Symphony Orchestra, will demonstrate how composers have used innovation and courage to change traditional ideas of orchestral . As you read this issue of The Beat, consider how each piece of music illustrates a musical invention and how each of these composers needed courage to believe in his musical ideas, even when those ideas were scorned by others. Additionally, think about the courage it takes for to play and for audiences to hear and embrace these new musical sounds. and #1 #2 S K C

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R COURAGE: mental or moral T strength to venture, persevere and withstand danger, fear or difficulty. To strike out on your own and do something new.

THE CONCERT PROGRAM Chicago Symphony Orchestra Edwin Outwater conductor Gregory Phifer Ludwig van Beethoven’s music is often defined by its courageous and revolutionary quality. By radically changing the traditional Program includes selections from: conventions of harmony and structure, he advanced the sound of the symphony as beethoven established by Franz Joseph Haydn, the Symphony No. 5 “Father of the Symphony.” Beethoven was stravinsky a freethinking and courageous person. To The Rite of Spring understand his courage as a and the courage it takes for musicians to perform webern his music, consider how Beethoven liked to Symphony, Op. 21 increase the volume of the music through an sibelius energetic crescendo that suddenly becomes Symphony No. 5 soft subito( ). This technique was hardly ever used by composers before Beethoven. ives By composing music in this way, Beethoven Symphony No. 2 asks musicians to perform courageously. In koppel his Symphony No. 5, Beethoven courageously Marimba Concerto composed music that demonstrates drama, instability and intensity. By adding instruments cage that had not been used in before Suite for Toy Piano (, and ), cage, orch. harrison Beethoven propelled orchestral music Suite for Toy Piano forward. Beethoven opened the door for future composers to activate their own courage and norman be innovative with their musical choices. Drip Blip Sparkle Spin Glint Glide Glow 2 Float Flop Chop Pop Shatter Splash 3 K #4 AC R T

Anton Webern was a courageous and controversial composer. His love for writing atonal music (music that is not based on the standard scales musicians used up to the end of the 19th century) enabled him to advance a new type of musical language—devised by —called twelve tone (the use of all 12 pitches of the chromatic scale, or Innovation is expressed in much of ’s all the keys on the piano—for example, from music, such as his iconic ballet, The Rite of Spring. On May A to G sharp). Many people disliked this new 29, 1913, The Rite of Spring premiered at the Théâtre des system for writing music, but it influenced Champs-Élysées in Paris, France. When the curtain rose, the many 20th-century composers. In his piece audience immediately heard music without a recognizable entitled Symphony, Op. 21, Webern uses a melody and loud, pulsating, dissonant chords with clashing, technique called Klangfarbenmelodie. German irregular accents. Audience members also saw dancers for “sound-color melody,” this musical wearing shocking costumes and performing unusual technique involves splitting a musical line choreography telling of a violent pagan ritual. As the music or melody between several instruments. continued, the erratic rhythms, irregular meters and unusual Imagine having several different instruments sounds disturbed them—for example, a part played each playing a small section of Twinkle, in a much higher range than usual for this instrument. The Twinkle, Little Star. Each instrument plays only #3 audience began to hiss and yell so loudly that the musicians CK three or four notes. It sounds a little jumbled A R could barely hear themselves! Stravinsky was in the theater because each instrument has a different T with this audience and he needed courage to sit there and sound () when its notes are played, but listen to the criticism that was being expressed all around together they are all part of the same line. As him. Although its debut was not what Stravinsky had hoped you listen to Webern’s Symphony, Op. 21, try for, today we know that The Rite of Spring is one of the to follow the musical line created by all of the 4 masterpieces of the 20th century. different instruments. 5 Danish composer Anders Koppel was born on July 17, 1947. Finnish composer Jean Sibelius wrote his His father was one of Denmark’s most important composers Symphony No. 5 for a concert to be given and pianists, and he shared his love for music with his in Helsinki as part of the gala celebrations children. In 1967, Koppel formed the rock Savage Rose. honoring his 50th birthday. While the audience In 1974, he founded a band called Bazaar, performing Middle responded favorably to this piece of music, Eastern- and European-based folk music. After leaving Sibelius was not satisfied and he drastically these bands, Koppel dedicated himself to composing for revised his original work. As he wrote, he instruments not typically featured with an orchestra, such as wished to “give my new symphony a different, the marimba. He has written four concertos for marimba and more human form; more earthy, more vibrant.” has played an important role in developing solo repertoire The biggest change he made to his composition for this unusual solo instrument. Koppel composes music was to take the original four movements and that features challenging solo parts, demanding a high level compress them into three. He stopped working of skill from the performer. As you listen to the Marimba on his revisions when the Russian Revolution Concerto featured on this concert, consider the courage it forced him and his family to flee their takes for the soloist to perform with such virtuosity. hometown. Finally, in 1919, he finished his Fifth Symphony, which he described as “practically K #5 K #7 AC AC R composed anew.” The second movement is a R T quiet theme and variations. The music evolves T gradually, growing organically and mirroring nature. It took courage for Sibelius to persevere and complete his symphony despite difficult circumstances.

Charles Ives was born in Danbury, John Cage, one of the most famous Connecticut, in 1874, nine years after the end composers of the 20th century, of the American Civil War. Ives was the son of courageously redefined what music a band director who loved to experiment with is. His composition entitled Imaginary sound. Later in Ives’ life, his father’s musical Landscape No. 4 is for twelve radio experiments would have a big influence on sets, each one tuned to a different his music compositions. Ives did not aspire station. Every performance of this to be a professional , but instead piece is unique. In his piece 4'33", a he became a successful businessman who pianist sits silently at a piano for four spent all of his free time doing what he loved, minutes and 33 seconds. This unique composing music. Ives was a courageous composition is an entirely silent inventor who challenged standard rules to performance—or is it? Cage often come up with new sounds and musical ideas. asks audiences to listen courageously Symphony No. 2 uses portions of hymns, to the sounds around them and fiddle tunes, patriotic and folk tunes to consider them part of the to paint a musical picture of the American composition. His Suite for Toy Piano K #6 K #8 AC landscape. The final movement features a AC R R uses only nine consecutive white T patriotic tune, Columbia, Gem of the Ocean, T notes and uses extreme dynamics which Ives played in his father’s concert band. from very loud to very soft. You can In the final chord of this piece, Ives called for imagine how hard this would be to a splatty, dissonant or disagreeing sound, like play on a toy piano! one might hear from an amateur band. 6 7 THE CONDUCTOR Edwin Outwater Edwin Outwater is of Ontario’s Kitchener- Waterloo Symphony (KWS) and director of summer concerts at the San Francisco Symphony, and he regularly guest conducts the Chicago Symphony Orchestra and the New World Symphony. Edwin has also conducted the New York Philharmonic, Los Angeles Philharmonic and Seattle In 2005, composed Andrew Norman Symphony, among many others. Drip Blip Sparkle Spin Glint Glide Glow Float Flop Chop Pop Shatter Splash. When Edwin was asked about this program he said, In this quote from the composer, he “I chose the music featured on this concert because these describes his process for writing this composers had the courage to try something different, music: “It was a bit like making a tossed new and adventurous, no matter what anyone thought! salad. I chopped up sounds from the It’s difficult to try out new things in front of an audience; orchestra—one sound for each of you have to be ready for people not to like it, not to the 13 verbs in the title—and then I understand it. But these composers thought they had tossed them all together and called it a something very important to share with the world, and piece.” Norman often asks audiences to nothing could stop them!” identify the orchestral sound that goes Born in Santa Monica, California, with each word in the title. Give it a try! Edwin loves to read and earned his undergraduate degree from Harvard University in English literature.

THE SOLOIST Gregory Phifer Now 15, Gregory Phifer has been interested Each of these composers had the in percussion since he was 7 years old. He was courage to express and share his inspired by his elementary school teachers and his parents to follow a musical path by taking innovative musical ideas, contributing private drum set lessons with a neighborhood private instructor. When he turned 8 and his to new and exciting ways for us to musical interests began to grow, Gregory began taking private lessons with Patricia Dash, listen to orchestral music. Through percussionist with the Chicago Symphony Orchestra, and Douglas Waddell of the Lyric their masterpieces, we’ve been moved, Opera of Chicago. Alongside being a member astonished and even bewildered. We of the CSO’s Percussion Scholarship Program, Gregory has also played with various groups hope that you will come back to the around the city, including the All-City Jazz and Concert bands and the Chicago Jazz Links Youth Chicago Symphony Orchestra and Ensemble. Gregory is the winner of the Crain- Maling Foundation 2016 Chicago Symphony listen courageously to the music made Orchestra Youth Auditions and is currently a sophomore at Lincoln Park High School, where he by this incredible group of musicians. remains an active member of its Wind Symphony 8 and . 9 LISTENING TOOL As you listen to each of the selections, consider how each musical element evokes the ideas being portrayed in each piece of music. In some cases, more than one word may be chosen for each element.

Musical Element Description Instrumentation strings , , , bass Which instruments of the woodwinds , , , bassoon, etc. orchestra are featured? brass , trombone, horn, , etc. percussion , , , etc. other e.g., or electronic instruments, “found” percussion, etc.

Tempo presto very fast How fast or slow does allegro fast the music go? andante moderate, walking tempo largo slow

Dynamics pianissimo very quiet How loud or soft is piano quiet the music played? mezzo-forte medium-loud forte loud fortissimo very loud

Articulation/Expression legato smooth and connected How are the notes played? staccato short and percussive THE ORCHESTRA THE AUDIENCE rubato give and take with tempo and rhythm accelerando getting gradually faster and faster Founded in 1891, the Chicago Symphony As an audience member, you play ritardando getting gradually slower and slower Orchestra is considered one of the greatest an important role at the concert. in the world. In collaboration Demonstrate your courage by: Form/Structure repetitive the exact same musical idea occurs again with the best conductors and guest artists • listening very carefully and with great How did the composer and again from around the world, the CSO performs attention to the innovative music on organize the music? predictable sections of the piece recur in an expected way thematic the same general musical idea is restated, well over 100 concerts each year at its this program downtown home, Symphony Center, and though not exactly the same way each time at the Ravinia Festival on Chicago’s North • clapping and showing appreciation contrasting sections sound very different from Shore, where it is in residence each summer. for the performers when the music one another ends Through the Negaunee Music Institute, Innovation the CSO engages nearly 200,000 Chicago- • considering and expressing how How is this piece of area residents annually. Music lovers the music makes you feel music innovative? outside Chicago enjoy the sounds of the Remember, attending a live concert Chicago Symphony Orchestra not only is different from watching movies or through its Chicago Symphony Orchestra television, because the performers are Radio Broadcast Series and best-selling in the same room with you. To do their recordings on its highly acclaimed record best, they need you to watch and listen label CSO Resound, but also through very closely. frequent sold-out tour performances in the 10United States and around the globe. 11 THE

Each year, the Chicago Symphony Orchestra invests $25,000–$49,999 in innovative learning and Anonymous (2) training programs that engage Abbott Fund Barker Welfare Foundation more than 200,000 children Crain-Maling Foundation and adults. These programs The Claire Rosen & Samuel Edes would not be possible without Foundation the generous support of the John and Fran Edwardson Dan J. Epstein, Judy Guitelman following donors. and the Dan J. Epstein Family Foundation The Crain-Maling Foundation Ellen and Paul Gignilliat is proud to sponsor the CSO Peter G. Horton Charitable Remainder Young Artists Competition, a Annuity Trust Robert Kohl and Clark Pellett competition that shines the Leslie Fund spotlight on many of the young Mr. & Mrs. Burt Lewis musicians who will delight Bowman C. Lingle Trust the world through their future Ann and Robert H. Lurie Foundation Mazza Foundation musical performances. The Nancy Lauter McDougal & Alfred L. Foundation’s mission is to help McDougal Charitable Fund make ours a better world. Michael G. Woll Fund at the Pauls Foundation MAJOR CONTRIBUTORS Prince Charitable Trusts Michael and Linda Simon The Negaunee Music Institute Mrs. Peg Sindelar is endowed by a generous Mr. Irving Stenn, Jr. gift from The Negaunee United Airlines Foundation. ENDOWED FUNDS Cyrus H. Adams Memorial Youth $100,000 and above Concert Fund Allstate Insurance Company Marjorie Blum-Kovler Youth To make a gift in Elizabeth F. Cheney Foundation Concert Fund Judson and Joyce Green support of the work of CNA The Julian Family Foundation Kelli Gardner Youth Education the Negaunee Music Robert R. McCormick Foundation Endowment Fund Institute at the CSO, The James and Madeleine McMullan William Randolph Hearst Foundation Family Foundation call 312-294-3100 Fund for Community Engagement The Negaunee Foundation Richard A. Heise or visit cso.org/give. Polk Bros. Foundation Peter Paul Herbert Endowment Fund The Malott Family Very Special $50,000–$99,999 Promenades Fund Anonymous The Eloise W. Martin Endowed Fund Alphawood Foundation in support of the Negaunee Music Baxter International Inc. Institute at the Chicago Symphony Ann and Richard Carr Orchestra Robert and Joanne Crown Income Nancy Ranney and Family and Friends Charitable Fund Toyota Endowed Fund Lloyd A. Fry Foundation John Hart and Carol Prins Family and School Concerts are made Richard P. and Susan Kiphart Family possible with the generous support of Judy and Scott McCue John Hart and Carol Prins. National Endowment for the Arts Barbara and Barre Seid Foundation Education Program Partner:

The Beat is a publication of the Negaunee Music Institute. 12 Content created by Katy Clusen. Graphic design by Shawn Sheehy.