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TuneNew York Philharmonic Young People’sUp Concert® ! Saturday, January 12, 2008 elcome to this season’s third Young People’s Concert! Music is color — a kaleidoscope of sound surrounds us every day in the life of our city. W Timbre—the particular way an instrument sounds, bright or dark, smooth or rough—instantly identifies a character. Harmony—the way notes sound together, warm or cool, sweet or sour—creates a mood. In their infinite colors, harmony and timbre are essential for telling stories in music. Whether by itself or for ballet, opera, or plays, music has rare power to conjure up images and stories. Prepare to be amazed! THE PROGRAM : PROKOFIEV Selections from Romeo and Juliet Delta David Gier, conductor VERY YOUNG COMPOSERS Suite of New Works Tom Dulack, scriptwriter and director Spencer Aste, Zach Bandler, Steven Eng, R. STRAUSS Till Eulenspiegel’s Merry Pranks Keira Keely, actors Very Young Composers ROMEO AND JULIET n William Shakespeare’s play Romeo and Juliet,two families, the Montagues and the Capulets, have been quarreling for so long no one can I even remember how it started or why it still continues. Romeo is a Montague and Juliet is a Capulet. They meet at a dance in Juliet’s house that Romeo attends in disguise. They fall instantly in love and want to run away together. Juliet is only 14 and Romeo a couple of years older. Because their parents hate each other, Romeo and Juliet are forced to tell lies to conceal their romance. But, they get tangled up in their lies, and their story ends in tragedy. Do they die? Well, there are different ways to tell the story. In his ballet, Sergei Prokofiev originally wanted them to live happily ever after. What kinds of musical colors do you hear in your mind’s ear when you think about… G A SWORDFIGHT G AN ENDLESS QUARREL G A MASQUERADE G YOUNG LOVERS G A GLOOMY NIGHT G A RISING SUN about the composers and their music… Selections from Romeo and Juliet (1935–36) Sergei Prokofiev (1891–1953) Montagues and Capulets, Death of Tybalt, Romeo at the Grave of Juliet Russian composer of symphonies, film music, operas, ith Shakespeare’s timeless tragedy, Aand ballets, Sergei Prokofiev wrote vibrant music often WProkofiev set out to explore lyricism considered ahead of its time. He composed from the and color in his music. The Kirov Ballet, age of 5, and at 13 was the youngest student ever admitted to which had commissioned the score, feared that the St. Petersburg Conservatory. He ignored disappointing Prokofiev’s complex and modern music would reviews from his teachers and critics, who at times referred to anger government officials, and unfortunately his music as “noise,” and continued to write different-sounding declined to produce it. After five years of political music with strange harmonies and strong rhythms. When the and artistic pressure, Prokofiev significantly revised effects of revolution made it difficult for Prokofiev to stay in the Soviet Union, he spent his ballet. He reinforced the orchestration to many years in Paris and the Bavarian Alps, and toured the United States as a pianist please the choreographer, inserted solo dances to five times. He spent the last two decades of his life in the Soviet Union and wrote please the theater, and switched from a happy to some of his greatest works there. He died on March 5, 1953—the same day that the a tragic ending to please the dancers. At the ballet’s Soviet dictator Joseph Stalin died. premiere, Prokofiev commented that he hardly recognized his own music! Very Young Composers Suite of New Works (2007) Rajon Herbert (MS 447, Brooklyn) Nathan Mannes The Fairy Mount (PS 199, Manhattan) am now in the sixth grade and I started composing this piece about Traveling the NY Streets Ia year ago while I was a student at PS 39. I really like my piece The Fairy Mount because it has a one-of-a-kind sound—I haven’t heard his piece is made from a single, many songs like this one. The one thing that inspired me to write this simple musical phrase that gets and call it The Fairy Mount is my desire to read. Reading is exciting. It T more sophisticated as the piece takes you to another place, and so does music. I also like drawing and continues. The phrase, repeated on the F collecting stuff. Sometimes I draw a picture in my head of what the note by the basses and celli, is then played by most instruments. music could be like. My favorite instruments are the double bass and the clarinet and I have The F ostinato sounded like walking to me, with all the different played them both before. I am very happy for this opportunity to learn something like this instrument entrances representing an interesting NYC walk. because it is fun. Most of all, this will take me very, very far in life. Edward Pichardo (PS 165, Manhattan) Abraham Pagan (MS 167, Manhattan) The Wild Glissando Storm 'm a fifth grader in Ms. Stevenson's class and my favorite time at school Iis being with my friends at gym class. I like all sports. I am really into am 11 years old and in the 6th grade music, especially the Very Young Composers program because I can Iat Robert F. Wagner Middle School. I create something new that’s never been done before! I like being imaginary wrote this piece while I was a student and wild. In my piece, The Wild Glissando,I want people to listen for at PS 59. I like to play and listen to surprises. Some of them are funny, and some are scary. I like people to music. I enjoy playing the alto saxophone laugh at themselves, too. My favorite instruments are the harp, cymbals, and timpani. and keyboard. I had a great experience participating in the New York Philharmonic Very Young Composers program. I named my (Center School, Manhattan) piece Storm because in life things are not always that easy. You Claire Wegh have to work hard for what you want. Instrumental Conversation hen I began writing I used the recorder and then the piano to improvise. I had no idea what I was doing! The main Created by Associate Principal Bassist and noted composer Jon W Deak, Very Young Composers enables students with limited rhythm of the second theme came from Seussical Junior’s Horton Hears A Who. I was upset because I was not in the number, so musical backgrounds to compose music for performance by I chose to put it into my piece. I like the idea of adapting the rhythm members of the Philharmonic. Very Young Composers culminates to my own melody. Some of the techniques I used were canons, in astonishing works revealing the power of children’s effects such as slides, and, as the piece progresses, more instruments imaginations, played by ensembles of Philharmonic musicians, or are added to the conversation. The title came after I heard my final piece because the the full orchestra on Young People’s Concerts. Teaching Artists: instruments sounded like they were having a conversation. I hope you enjoy listening to this Richard Carrick, Paola Prestini, and David Wallace. piece as much as I enjoyed writing it! Richard Strauss (1864–1949) Till Eulenspiegel’s Merry Pranks (1894–95) onsidered the last great Romantic composer, ill Eulenspiegel is an example of a “tone poem”—an orchestral piece in one CRichard Strauss was also an acclaimed conductor. Tmovement based on something like a poem, story, or painting. In this work, His father was principal French horn at a local opera Strauss describes the adventures of the prankster Till, a German folk hero house and the young Strauss often attended his rehearsals. from the 14th century.Two instruments represent Till—listen for a spry French horn Strauss wrote his first music when he was 6 years old and theme and a laughing clarinet. You can hear Till’s pranks: he gallops a horse by the time he was 18, he had written some 140 pieces. He through a marketplace, pokes fun at priests, flirts with girls, and mocks professors. fell in love with “programmatic” music—music that tells a Finally,Till is captured by the authorities and brought before a judge. He is story or paints a picture in sound. Strauss created a complex musical language using innovative combinations of instruments, expressive sentenced to hang (listen for the hangman’s drumroll) and tries to wheedle his leaps in melody,and bold dissonances to portray characters, their actions, and their way out (listen for the clarinet). He’s out of luck, but Strauss’s sympathetic ending moods in music. suggests that Till’s spirit lives on—the work ends with one final musical joke. Music and Color Music and Story Once uponatime... Till Eulenspiegel played his Till played Eulenspiegel O a brassblast;blue=themelancholytonesofcello). (for example, yellow=middlec), butalsotimbres(yellow= he painted.Notonlydidcolorrepresentspecificpitches heardtonesandchordsas Kandinsky titled “compositions.” andhecreatedaseriesofpaintings ultimate teacher,” wrote,deeply inspiredbymusic.Kandinsky “musicisthe works werechallengingandhighlyexpressive.Hewas from hisnativeRussia, G G G find: Can you ...and mock What kindof story canyouimagine basedonthemixof colors, shapes, lines, andimages? Which sideofthepaintingsuggestswarmth andrichness? Which sideofthepaintingdoyouthinkevokes roughandjaggedtimbreharmony? At firstglance, thispaintinglooks likeachaoticsymphonyofcolor. takeacloserlook. Butlet’s TWO SERENE FIGURES OBSERVING FROM AHILLSIDE SERENE FIGURESOBSERVINGFROM TWO A BLUEMOUNTAIN A CASTLEATOP BO merry pranks. A TS WITHOARS ed professors. century, ne ofthemostfamousartists inthe20th Like Prok for creatingthefirst truly modern paintings. Wassily Kandinsky Wassily in Germany andParis, andhisart ofie G v , THREE SOLDIERSWITHRED HA he spentmanyyears away He galloped throughthe He galloped T ill wasfinallyhauled before ajudg was celebrated marketplace..

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