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WHO MAKES MUSIC? THE ORCHESTRA RESOURCE MATERIALS FOR TEACHERS 2006 School Day Concert - Monday, February, 27, 2006

Lorin Maazel Music Director SCHOOLDAY CONCERT Win2006 1/4/06 3:23 PM Page B

EDUCATION AT THE NEW YORK PHILHARMONIC

he New York Philharmonic’s education programs open doors to symphonic music for people of all ages and T backgrounds, serving over 48,000 young people, families, teachers, and music professionals each year. The School Day Concerts are central to our partnerships with schools in New York City and beyond. The New York Philharmonic is working with the New York City Department of Education to restore music education in the City’s schools. The pioneering School Partnership Program joins Philharmonic teaching artists with classroom teachers and music teachers in full-year residencies. Thousands of students are taking the three-year curriculum, gaining skills in playing, singing, listening, even composition. The Philharmonic also takes part in extensive teacher training workshops. For 80 years the Young People’s Concerts have introduced children and families to the wonders of orchestral sound. On four Saturday afternoons, the promenades of Avery Fisher Hall become a carnival of hands-on activities, leading into a lively concert. The fun and learning continue at home through the Philharmonic’s award- winning website Kidzone, full of games and information designed for young browsers. To learn more about these and the Philharmonic’s many other education programs, visit the website, nyphil.org, or go to the Kidzone website at nyphilkids.org to start exploring the world of orchestral music right now.

The School Day Concerts are made possible with support from the Mary P. Oenslager Student Concert Endowment Fund.

This guide has been made possible through an endowment gift from Lillian Butler Davey.

MetLife Foundation is the Lead Corporate Underwriter for the New York Philharmonic’s Education Programs.

CREDITS Writers: Rachel Shapiro, New York Philharmonic Teaching Artist Christine Bluestein, Teacher at PS 199 Editors: Theodore Wiprud, New York Philharmonic Director of Education Tanya Dusevic Witek, New York Philharmonic Senior Teaching Artist Design: Ted Dawson Studio SCHOOLDAY CONCERT Win2006 1/4/06 3:23 PM Page 1

WELCOME TO THE SCHOOL DAY CONCERT!

his guide is designed to help you prepare your students for the School Day Concert at the New York Philharmonic. T It features four short units, each focusing on a different piece on the program, and a compact disc with the music you will hear. Your students will enjoy the concert and learn a great deal more in the process if you prepare them for as many of the pieces as possible. To help you implement the units in this guide, we also offer a teacher workshop where our Teaching Artists will guide you through the lessons.

School Day Concert Teacher Workshops FOR TEACHERS IN THE SCHOOL PARTNERSHIP PROGRAM Wednesday, January 11, 4:00 to 6:00 PM Avery Fisher Hall, Helen Hull Room – 4th Floor 132 West 65th Street, Manhattan FOR ALL OTHER TEACHERS Thursday, January 12, 4:00 to 6:00 PM Avery Fisher Hall, Board Room – 6th Floor 132 West 65th Street, Manhattan

School Day Concert

Thursday, February 27 10:30 AM for School Partnership Program 12:00 Noon for all other schools

EDWIN OUTWATER, conductor THEODORE WIPRUD, host

BENJAMIN BRITTEN “Storm” from Four Sea Interludes from Peter Grimes HENRY PURCELL Rondeau from Suite from Abdelazar BENJAMIN BRITTEN Variations and Fugue on a Theme of Purcell “The Young Person’s Guide to the Orchestra” SCHOOLDAY CONCERT Win2006 1/4/06 3:23 PM Page 2

HOW DOES AN ORCHESTRA MAKE MUSIC?

t is easy to learn the families of the orchestra, and the different instruments in each family. (The orchestra seating chart toward I the back of this book will help.) It is fun to learn to identify each instrument by its appearance and its sound. (Go to Kidzone at www.nyphilkids.org for lots of information on the instruments.) But how do all those different sound colors add up to the sound of the full orchestra? How does a composer use that palette? How did the orchestra reach its present configuration, and why? How can one explain all the working parts and the infinite variety of sound that can come from an orchestra? In this year’s School Day Concert, your class will explore these questions and more. Through performance of some thrilling music, students will hear how the parts of the orchestra work together, and some of the orchestra’s history. The guide you are holding provides ways for you to begin exploring these questions ahead of time in your classroom.

PREPARING FOR THE CONCERTS

very teacher is an essential partner in the School Day Concert. Your students rely on you to bring them well E prepared to the concert. The single most important way you can prepare your students is to play the enclosed recording as often as possible. Students will develop their own close relationships with the music, which will make the concert a tremendously meaningful experience for your class. You can take your students much further by carrying out the lessons in this booklet. The School Day Concert Teacher Workshop will help you implement them. They build on each other as they explore topics closely related to your writing curriculum. Each lesson is written for 3rd-5th grade classrooms, where they they can be completed in about 45 minutes. Some activities are labeled In Depth. As an experienced teacher, you are expected to adapt the lessons to your students, to different grade levels, and to your classroom style. Enjoy the lessons, indulge in listening, and have fun at your School Day Concert!

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LESSON 1

What is the sound of an orchestra?

focal work: “Storm” from Four Sea Interludes from Peter Grimes by Benjamin Britten

“Storm” is one of four musical interludes interspersed throughout Benjamin Britten’s opera Peter Grimes. “Storm” comes at the end of Act 1, when the main character, Peter, is facing terrible troubles. Gazing into the sea and the approaching storm, he sings:

What harbor shelters peace, Away from tidal waves, away from storms? What harbor can embrace Terrors and tragedies?

Britten grew up in the coastal town of Lowenstoft, England. “For most of my life,” Britten wrote, “I have lived closely in touch with the sea…. My life as a child was colored by the fierce storms that sometimes drove ships on our coast and ate away whole stretches of neighboring cliffs.” Britten used his impressions of the sea as his inspiration in this interlude from Peter Grimes.

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Activity 1

A composer’s view of timbre eferring to his composition teacher, Frank Bridge, Britten wrote, “He R taught me to think and feel through the instruments I was writing for.” With your class, discuss: What does it mean to “think and feel” through an instrument? How it is different to think and feel through a flute, as opposed to a tambourine? How would a violin and a trumpet be different? Why would you need to think about instruments in order to be a good composer? Activity 2

The elements of a thunderstorm magine a painting of the sea during a storm. What colors do you see? IWhat images are highlighted? Now compare these ideas to the storm scene pictured below. Have your students create original paintings or drawings for comparison.

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Activity 3

rainstorm the elements of a thunderstorm at sea with your class. B What would be seen, heard, and felt? Organize these ideas into the order of an actual storm. Which family of the orchestra would your students choose to represent each part of the storm? Why?

Activity 4

Hearing Benjamin Britten’s “Storm” torm scene has two main musical ideas. The first idea is heard in the S thunderous, angry percussion and the low brass. The second idea, more lyrical and calm, is played primarily by the strings and woodwinds, and comes about midway through the piece. Play “Storm” for your class. As they listen, ask your students to consider how Britten paints a musical picture of the storm. After listening, consider these questions: Did you hear two contrasting themes? Which family of instruments is featured in each theme? What might each theme represent? For instance, the first theme might represent the storm clouds, while the second might represent the sun; or the first might represent turmoil and the second, tranquility. Listen a second time. This time use the CD timings below to point out the two themes. Students should take notes in their journal, comparing and contrasting the two themes in terms of mood, tempo (speed), dynamics (loud and soft), and instrumental families.

0:01 - Theme 1 - percussion, low brass 0:14 - Theme 1 - strings 0:29 - Theme 1 - violins and trumpets 0:46 - Theme 1 - low strings, low brass 1:16 - Theme 1 - strings 2:26 - Theme 2 - violins, harp 2:41 - Theme 2 - strings, harp 3:21 - Theme 2 - strings, harp 3:43 - Theme 1 - starts slower in woodwinds and extends to the end

Listen a third time, highlighting the section between 1:37 and 2:25. What happens during this segment?

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in depth:

Playing the Themes from “Storm” Below are the two main themes heard in “Storm.” Practice these melodies on a recorder or any other available instrument.

How do the themes sound different? How does it feel to play each theme? In theme two, experiment with playing a low C to a low D (instead of the high D.) How does it feel different going to the high D? Why do you think Britten used the high D instead of the low D?

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LESSON 21 The Evolution of the Orchestra

focal work: Rondeau from Abdelazar by Henry Purcell

enry Purcell, the greatest HEnglish composer of the Baroque period in music, was born in 1659 and died 1695. He lived about two hundred years before another great English composer, Benjamin Britten. The Rondeau from Purcell’s incidental music to the play Abdelazar – originally composed for string orchestra and harpsichord – is the melody Britten borrowed for “The Young Person’s Guide to the Orchestra.” The Baroque orchestra was much smaller than the orchestra of today. It consisted mainly of strings; woodwind, brass, and percussion instruments were used infrequently. But at that time the harpsichord was very important, always doubling the bass part and filling in harmonies. The harpsichord has a very distinctive timbre of strings being plucked, which we still associate with the music of the Baroque. In today’s orchestra, each instrument generally has a distinct line; however, during the Baroque period, one instrument often played the same part as another, so fewer lines of music were heard simultaneously. The emphasis was on form and organization of musical ideas, more harpsichord than on instrumental color.

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Activity 1

How do inventions evolve? ave a discussion with your students about the kinds of toys they like Hto play with today. What do they know about toys and games from the past? Connect this discussion to your curriculum (e.g. Native American or Colonial times). If available, show a picture (e.g. a child playing with a hoop and stick). Why are these toys and games different from those of today? What are the similarities and differences? In a similar way, the orchestras of Purcell’s time (almost 400 years ago) were smaller and simpler. Consider the following questions:

Why would an orchestra’s size and make-up develop over the years? In what ways do the students think the orchestra may have changed? Can they predict how Purcell’s orchestra might sound different from the New York Philharmonic?

Activity 2

Researching Purcell’s and Britten’s sound worlds ivide your class into small research groups. Assign one of the Dfollowing words or names to each group and have them research that word. Share the information found by each group. As a class, use it to compare and contrast the orchestras of Purcell’s time and of Britten’s time. Try charting your findings in a Venn diagram or other kind of chart.

baroque music harpsichord modern music continuo Henry Purcell orchestration Benjamin Britten

Activity 3

How will it sound? t the concert, the students will hear the Rondeau from Abdelazar by A Purcell, and then Britten’s re-orchestration of the same theme in “The Young Person’s Guide to the Orchestra.” What may be some of the differences between them? Make a class list of predictions. Save the list and discuss class responses following the concert.

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in depth: Further research Send your students on a quest for information, pictures and music by assigning them specific research questions. Encourage them to use the library, internet and classroom resources. Some internet sites are suggested below. Research the life of Henry Purcell. What kinds of music did he compose? www.baroquemusic.org/bqxpurcell.html Research the life of Benjamin Britten. What were some of his musical inspirations? www.nyphilkids.org/gallery/main.phtml? Research the harpsichord. How does it make a sound? What does it sound like? www.classicsforkids.com/terms/terms.asp?id=144 Research the string family. When were the instruments developed? Who were some famous string instrument makers and when did they live? www.nyphilkids.org/lockerroom/main.phtml?

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LESSON 3 Structure of the Theme

focal work: Variations and Fugue on a Theme of Purcell “The Young Person’s Guide to the Orchestra” by Benjamin Britten

“ he Young Person’s Guide to the T Orchestra” was composed by Benjamin Britten in 1946 to accompany an educational film for kids about the orchestra. First he introduces each family of the orchestra, and then each individual instrument. The piece culminates in a section of music called a fugue. Using a rich, eight-measure melody from Purcell’s Rondeau from Abdelazar, Britten creates eighteen variations and a Fugue.

Activity 1

What is a guide? ave a conversation with your students about guides. What do guides Hdo? Where would you need or use them? Who writes them? In small groups, assign your students an area of the room that needs a guide – the library, the supplies, the sink area, etc. Have them share back to the class. Next ask them how they might present this information to visitors. What would be a good way to organize the information? Before listening to the first track of “The Young Person’s Guide to the Orchestra,” reveal the title of the piece to your class. Tell them that the piece was composed in 1946 as an educational tool for kids about the orchestra. Why would a composer write a guide to an orchestra? What do they imagine will be included in this piece? Would a guide written in 1946 still be useful today? Generate a list of predictions for what be might included in the guides for each family of the orchestra. Extension: Create a guide to your Percussion Box. What are the possible categories your students can come up with for these instruments? What would you name each group?

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Activity 2

Rhythmic structure of the theme lay the opening of “The Young Person’s Guide to the Orchestra” (track P 2 on the provided CD). As you play it a second time, have your students tap along with each note for the entire track. Try listening once again, and instead of tapping, have your students make a mark for each note in their journals. Ask them to show the difference between the long and short notes. Activity 3

Melodic shape of the theme lay the same track again, and while students listen, have them trace P the shape of the theme in the air. Can they repeat that motion without the music? As a class, create a movement based on the contour, which shows both the shape and rhythm of the theme. Listen again while performing their choreography.

in depth: Tracking the structure of a theme The theme is created using these three main rhythmic patterns. Have your students clap each one separately, repeating until they are comfortable.

Ask your students to listen for these three main patterns in the theme. As they listen, have them show 1, 2, or 3 fingers, to indicate which rhythm they are hearing. Do they notice any repeated patterns? Where? (You will note that the second phrase of the piece relates most closely to the second rhythm.)

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LESSON 4 Exploring Variation

focal work: “The Young Person’s Guide to the Orchestra“ by Benjamin Britten

heme and variation is a very old musical form. A melody is presented T in different ways to show different musical moods and characters. This form is ideal for highlighting the contrasting sounds of each family and instrument in the orchestra. Activity 1

Variations in stories hink of a fairy tale with which your students are familiar. Listed below T are a few examples of authors who have re-told the story of Cinderella. Talking Eggs by Robert D. San Sounci The Rough Face Girl by Raph Martin Mufarro’s Beautiful Daughter - An African Tale by John Steptoe. Using these books, or any others you might have, lead a discussion focused on the differences in setting, characters, and language between the original version and the re-told version. In addition to noticing all the differences, ask your students to identify what has remained the same in all of these stories, i.e., the theme. Activity 2

Variations in language sk a student what his or her favorite instrument is and write their A reply on the board in a complete sentence – for instance, “Jesse’s favorite instrument is the oboe.” Have your class read it aloud all together to hear how it sounds. Experiment with creating variations of this line. Have students think of ways to slightly change this sentence, while maintaining the basic idea. For instance, change the order of the words, repeat a certain word, speak louder and softer, or faster or slower. See how many original types of variations your students can invent! Make sure that the whole class recites the versions together.

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Activity 3

Variations in movement eview the choreography that was created for the theme in the R previous unit. Can the students remember it without the music playing? Experiment with creating a variation of the movement with no accompanying music. Have your students teach their variation to a partner to compare the different possibilities. Document the ways in which the original movement is varied. Activity 4

Variations in music isten to the beginning of “The Young Person’s Guide to the Orchestra” L (track 2 on the provided CD). As they will already be familiar with the theme from the previous activities, have them focus on the similarities and differences they hear as different families of the orchestra take up the theme. Can they hear the main theme throughout? What changes do they hear? Listen again, this time having them perform their original choreography during the theme. Have them improvise movements variations that reflect changes in the music. For further comparison, play tracks 3, 4, and 5. Can your students recognize any bits of the original theme in these instruments? Hint: Listen for three long notes that go up by leap.

in depth:

From theme to fugue Activity 1 Have your students practice playing these two themes on the recorder. After they are comfortable, ask them to compare and contrast the two themes. How does the fugue theme relate to the main theme excerpt? (The leap from A to low D from the main theme is used as the basis for the fugue.)

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Activity 2

Hearing a fugue fugue is a form of music that begins by using a single musical A idea stated by a single voice. This same music is then repeated by a second voice which begins only after the first voice has finished, creating staggered entrances. This pattern is continued voice by voice until all have entered and are playing together. Play track 6 (the fugue) for your students. Each instrument of the orchestra enters individually playing the same musical material. As the entrances compound, it is more and more challenging to hear each entrance. On a second listening, have students raise their hands each time they hear a new voice enter. Can they identify which instrument is joining? Use the timing guide below to help your students identify the instruments as they enter. Draw their attention to the section that begins at 01:47. At this point, the original theme is juxtaposed with the fugue theme. Fugue Entrances Listening Guide

00:01 - piccolo 00:05 - flutes 00:13 - oboes 00:18 - clarinets 00:28 - bassoons 00:38 - violins 00:46 - viola 00:51 - celli 00:56 - basses 01:07 - harp 01:19 - horns 01:24 - trumpets 01:32 - trombones 01:37 - percussion 01:47 to end - main theme and fugue theme together

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MEET THE ARTISTS Edwin Outwater, conductor

dwin Outwater is Resident Conductor of the San E Francisco Symphony. There he leads subscription concerts and Summer in the City concerts, as well as Family Concerts, Adventures in Music (heard by more than 25,000 students from San Francisco schools each year), and Concerts for Kids, for students from throughout Northern California. In 2004 his programs were given the Leonard Bernstein Award for Education, and his Chinese New Year Program was given the MetLife Award for Excellence in Community Engagement. From 2001-2005 Mr. Outwater was Music Director of the San Francisco Symphony Youth Orchestra. During his tenure, he led the orchestra in all of their concerts as well as on tour to Europe in the summer of 2004. Before joining the San Francisco Symphony, Mr. Outwater served as Resident Conductor and Associate Guest Conductor of the Florida Philharmonic. He has appeared as guest conductor with the Los Angeles Philharmonic at the Hollywood Bowl, Houston Symphony, Brooklyn Philharmonic, Adelaide Symphony, and the National Youth Orchestra of New Zealand – among many others. A native of Santa Monica, California, Edwin Outwater attended Harvard University, graduating cum laude in 1993 with a degree in English literature. Theodore Wiprud, Host

heodore Wiprud has been Director of Education T at the New York Philharmonic since October 2004. Mr. Wiprud is a composer, educator, and arts administrator. He was most recently at the Brooklyn Philharmonic and the American Composers Orchestra, as well as the Orchestra of St. Luke’s, working to develop their different education programs. Mr. Wiprud has worked as a teaching artist and resident composer in a number of New York City schools. From 1990 to 1997, Mr. Wiprud directed national grantmaking programs at Meet The Composer, Inc., supporting the creative work of hundreds of composers. His own music for orchestra, chamber ensembles, and voice is published by Allemar Music. Mr. Wiprud earned his Bachelor’s degree in Biochemistry at Harvard, and his Master’s degree in Theory and Composition at Boston University. He studied at Cambridge University as a Visiting Scholar. His principal composition teachers have been David Del Tredici and Robin Holloway.

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The New York Philharmonic

he New York Philharmonic is by far the oldest symphony orchestra in Tthe United States, and one of the oldest in the world. It was founded in 1842 by a group of local musicians, and currently plays around 180 concerts every year. In December 2004, the Philharmonic gave its 14,000th concert — a record that no other orchestra in the world has ever reached. The Orchestra currently has 106 members. It performs mostly at Avery Fisher Hall, at Lincoln Center, but also tours around the world. The Orchestra’s first concerts specifically for a younger audience were organized by Theodore Thomas for the 1885–86 season, with a series of 24 “Young People’s Matinees.” The programs were developed further by conductor Josef Stransky, who led the first Young People’s Concert in January of 1914. The Young People’s Concerts were brought to national attention in 1924 by “Uncle Ernest” Schelling, and were made famous by Leonard Bernstein in the 1960s with live television broadcasts.

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MEET THE COMPOSERS Benjamin britten

enjamin Britten (1913 – 1976) was for many people Bthe greatest English composer since the death of Henry Purcell. He began composing early and by the age of 12 was studying with a major composer, Frank Bridge. Britten was a pacifist, and when World War II began in England, he left for the United States. Living in New York, he composed a good deal of music, but by 1942 he felt he needed to help during the terrible war years in England. (On the voyage back, he composed the popular A Ceremony of Carols.) While giving concerts as part of the war effort, Britten began composing the opera Peter Grimes, based on a poem by George Crabbe. It premiered to celebrate the reopening of Sadler’s Wells Theatre after the war, in 1945, and created a sensation – the first in Britten’s long succession of masterful and inventive operas. Britten also composed a number of works for children to perform, and others to be played for children – such as “The Young Person’s Guide to the Orchestra” (which is perhaps the only such piece to have become a part of the regular adult repertory). The summer music festival he founded in the small coastal town where he lived, the Aldeburgh Festival, continues today. In the year of his death, Britten became a Life Peer, the first musician ever to be so honored by the English crown. henry purcell

enry Purcell (1659 – 1695) was a court composer Hand organist to a whole succession of English monarchs – Charles II, James II, William III, and Queen Mary – during the 17th century. He began composing young: his first published composition dates from his eighth year. By the time he became organist at Westminster Abbey, Purcell was widely recognized as one of the greatest English composers, a reputation that endures today. He wrote a great deal of choral music for royal services, and a number of “welcome songs,” in several movements, for royal coronations, birthdays, and funerals. He also composed incidental music to accompany plays, which were still enormously popular in London a generation after Shakespeare. When he died at only 36 years of age, Purcell was buried at Westminster Abbey, the greatest honor the English nation could bestow.

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BIBLIOGRAPHY

Books about the orchestra for children: Daniel, Alan and Rubin, Mark The Orchestra. Canada: Douglas and McIntyre Ltd. 1992 Ganeri, Anita The Young Person’s Guide to the Orchestra. Great Britain: Pavillion Books, 1996 Hayes, Ann Meet the Orchestra. Orlando, FL: Harcourt Brace and Company, 1991 Kushin, Karla The Philharmonic Gets Dressed. New York: HarperCollins Children’s Books 1982 Levine, Robert The Story of the Orchestra. New York: Black Dog and Leventhal Publishers Inc. 2001 Moss, Lloyd Zin! Zin! Zin! A violin. New York: Simon and Schuster, 1995 Books about the orchestra for adults: Del Mar, Norman Anatomy of the Orchestra. University of California Press, 1984 Grout, Donald Jay A History of Western Music (Third Edition). New York: W.W. Norton and Co., 1980 Shanet, Howard Philharmonic: A History of New York’s Orchestra. New York: Doubleday and Co., Inc., 1975

ORCHESTRA SEATING CHART

PERCUSSION TRUMPETS TROMBONES TUBA

TIMPANI HORNS

HARP CLARINETS BASSOONS DOUBLE FLUTES OBOES BASSES

2ND VIOLINS CELLOS

1ST VIOLINS VIOLAS

CONDUCTOR

For more information about the instruments, check out www.nyphilkids.org/lockerroom

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HOW TO HAVE A GREAT DAY AT THE PHILHARMONIC

before you come...

• Leave food, drink, candy, and gum behind – avoid the rush at the trash cans! • Leave your backpack at school too – why be crowded in your seat? • Go to the bathroom at school – so you won’t have to miss a moment of the concert! when you arrive...

• Ushers will show your group where to sit. Your teachers and chaperones will sit with you. • Settle right in and get comfortable! Take off your coat put it right under your seat. • If you get separated from your group, ask an usher to help you. on stage...

• The orchestra will gather on stage before your eyes. • The concertmaster enters last - the violinist who sits at the conductor’s left hand side. Quiet down right away, because this is when the players tune their instruments. It’s a magical sound signaling the start of an orchestra concert. • Then the conductor will walk on. You can clap, then get quiet and listen for the music to begin. • Each piece has loud parts and quiet parts. How do you know when it ends? Your best bet is to watch the conductor. When he turns around toward the audience, then that piece is over and you can show your appreciation by clapping. listening closely...

• Watch the conductor and see whether you can figure out which instruments will play by where he is pointng or looking. • See if you can name which instruments are playing by how they sound. • Listen for the melodies and try to remember one you’ll be able to hum later. Then try to remember a second one. Go for a third? • If the music were the soundtrack of a movie, what would the setting be like? Would there be a story? • Pick out a favorite moment in the music to tell your family about later. But keep your thoughts to yourself at the concert – let your friends listen in their own ways.

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SCHOOL DAY CONCERT COMPILATION CD TRACK LISTING

1. “Storm” from Four Sea Interludes from Peter Grimes (4’16”) Benjamin Britten New York Philharmonic Leonard Bernstein, conductor Originally released 1962/77 Original Producer: John McClure Reissue Producer: Andrew Kazdin Reissue Engineer: Tim Tiedemann © 1992 Sony Classical New York Philharmonic and Leonard Bernstein appear courtesy of Sony BMG Masterworks Available on SMK 47541

2-6 Variations and Fugue on a Theme of Purcell “The Young Person’s Guide to the Orchestra” (17’23”) Benjamin Britten New York Philharmonic Leonard Bernstein, conductor 2. Theme (3’00) 3. Variations A-D (3’12) 4. Variations E-H (3’29) 5. Variations I-M (5’03) 6. Fugue (2’39)

Originally released 1962/77 Original Producer: Howard H. Scott Reissue Producer: Andrew Kazdin Reissue Engineer: Tim Tiedemann © 1992 Sony Classical New York Philharmonic and Leonard Bernstein appear courtesy of Sony BMG Masterworks Available on SMK 47541

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Lorin Maazel Music Director

LEARN ABOUT THE ORCHESTRA! newyorkphilharmonic.org nyphilkids.org