2019 Wheeling Symphony

Young People’s Concerts:

The Animated Orchestra

April 1, 2, 3, & 4

The Wheeling Symphony Presents

The Animated Orchestra

2019 Young People’s Concerts

Maurice Staton, Conductor

2. A Letter from the Maestro

3. Meet the Wheeling Symphony Orchestra

4. The Conductor

5. The Concert Experience

6. Concert Etiquette

7. Introducing the Program

8. Glossary Terms

9 – 14. Families of the Orchestra

15. Orchestra Map

16 - 17. Teaching Activity – Instrument Families

18 – 21. Meet the Composers

22 – 24. Teaching Activities

25. Write a Letter to the Symphony

26. Teacher Evaluation

27 - 35. Instrument Photos for Teaching Activity on Page 25

(Instrument Families)

A Letter from the Maestro

Hello All,

I’d like to welcome you to the 2019 Young

People’s Concert Guide. Our program this year

is entitled: The Animated Orchestra.

The program will focus on the imagination and

orchestral depicted animation. The orchestra,

through music of Smetana, Strauss, Elgar and a

new piece by Gregory Smith which will help

show how the imagination can be sparked

through sights and sound.

The students will get a chance to participate in

constructing an imaginary story from beginning to end as well as get some musical

insights into why we became musicians in the first place. I believe it will be a wonderful

time and experience for them.

In this guide you’ll find more information about the composers and the music to be

played. We look forward to sharing this great music with you.

See You Soon,

Maurice Staton

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Meet the Wheeling Symphony Orchestra

The Wheeling Symphony was founded in 1929 by Mrs. Eleanor D. Caldwell. The orchestra

began as a group of local string musicians who rehearsed together in Mrs. Caldwell’s

home and were eventually "… prompted by a love of music and because we believe a

larger musical organization could undertake more comprehensive programs for the

entertainment of more people." The organization continues to operate on the premise of

its founders and carry out its mission to entertain, educate and enhance the life of

residents of its community.

The Wheeling Symphony’s 89th Season celebrates community with an eclectic season

featuring classical intrigue, romance, excitement, and passion. Building on its rich musical

heritage, the Wheeling Symphony welcomes five music director finalists, their visions, and

musical experiences to the Wheeling area. It will be a season unlike any other, and the

Symphony wants its community to drive the orchestra and its new maestro into the

Symphony’s 90th Anniversary season.

This season, the Wheeling Symphony will perform four Masterworks concerts and four

Pops concerts. Free summer concerts draw thousands of tri-state area residents for music

and fireworks. A July Fourth celebration is held at Wheeling’s Heritage Port Amphitheater,

and a Labor Day weekend performance is given at the Anne Kuchinka Amphitheatre, in

Oglebay Park. The orchestra also performs in various cities throughout West Virginia

including Weirton, Clarksburg, and Canaan Valley.

In addition to performing its subscription concerts, the symphony places great emphasis

on education outreach. Annually, a Young People’s Concert Tour is presented to

thousands of West Virginia and eastern Ohio students and teachers. An Arts in Education

program, established in the fall of 2002, brings music to at-risk students in Wheeling so

that they can experience the joy and discipline that music can inspire. The tuition-free

Wheeling Symphony Youth Orchestra and Junior Symphony give young musicians the

opportunities to further their musical development. WSO on the Go takes chamber

ensembles to interesting locations in and around Wheeling.

For more information about the Wheeling Symphony or to learn more about upcoming

events and concerts, please visit www.wheelingsymphony.com.

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http://www.wheelingsymphony.com/

The Conductor

What is a conductor?

The person who guides the musicians as the orchestra is playing so everyone will play

together perfectly.

What does the conductor do?

The conductor uses hands, eyes, and entire body to express the music. He or she shows

the beat and speed of the music (tempo) with his or her right hand while holding the

baton. Conductors use their left hands to express the interpretation (feeling and volume)

and cue the entrances of specific musicians.

Why does the conductor walk on stage after everybody else?

After the musicians are tuned and ready to play, the entrance of the conductor signals the

beginning of the performance.

What is a baton?

A baton is the small white stick held in the conductor’s right hand used to keep time. They

come in different sizes and can be made from wood, carbon, or plastic. Even left-handed

conductors hold the baton in their right hands!

What is the difference between the music a conductor reads and the music the musicians

read?

The conductor uses a special piece of music called a score. The score contains all of the

musical parts of all the instruments in the orchestra. The conductor may be reading as

many as five to fifty lines of music at the same time! The music that the individual

musicians read includes only their specific parts.

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The Concert Experience

Pre-Concert Preparation

Before the concert begins, many people are busy getting ready. The musicians have to

learn their parts alone at home, and then they get together as a group to practice. The

conductor tells them how to play each part: how fast, how loud, and when to begin and

end. Mainly, the conductor makes sure that all the separate parts come together and

make a beautiful piece of music, like the director of a play makes sure all the actors know

their lines, where to stand and what to do.

There are other people busy getting ready for the concert, too. Stagehands work behind

the scenes to put the right number of chairs and music stands in the right places. They

operate the lights and technical equipment for all the staging needs. You might see them

with headsets on during the concert and wearing dark clothes so they don’t distract your

attention.

The Orchestra Takes the Stage

You will notice that members of the orchestra come out on stage in no particular order

and start playing their instruments to warm up before the concert begins. You might hear

funny sounds like a brass player blowing into his mouthpiece or an oboe player make a

sound as he tries a new reed. You may also notice some beautiful melodies coming from

a violinist or the sounds of the timpani as percussionists prepare for the concert.

The Lights Dim – It’s Time to Begin

When the lights come back on and the audience is quiet, the Concertmaster comes out.

Our Concertmaster is Charles Stegeman. You can clap to welcome him. He is an excellent

violinist with several jobs. First, she tunes the orchestra so everyone is in tune and sounds

good together. He is also responsible for helping the conductor keep the orchestra

together. Finally, it is the Concertmaster’s job to play all of the violin solos.

Now the conductor comes out. His name is Maurice Staton. You can applaud to welcome

him, too. Be very quiet during the concert so you can hear everything the orchestra is

playing.

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Concert Etiquette

As at any public gathering, there are rules, manners and traditions that make the event

more enjoyable for everyone. This is true in the classroom, at a restaurant, movie theater,

church or park, and at a symphony concert. We ask that you please review the following

with your students before attending the concert.

Some Teaching Suggestions:

Ask students about some of the rules, manners and traditions they have experienced when

attending different events. Discuss what manners made the experience more and less

enjoyable.

List some rules and manners that the students think would be suitable for the concert hall

and discuss the reasons for their choices.

Review some other rules and manners for the concert hall that the students did not

mention. They may include:

Enter the concert hall quietly and in an orderly fashion – no shouting or running.

Follow the usher and teacher in order to find your seats.

Listen to the music without talking.

Clap only when the conductor enters and at the end of each piece of music. We

know when a piece ends because the conductor will turn around and face the

audience.

In the concert hall, we show our approval by clapping only. At a concert, we

never shout, whistle, or stamp our feet.

When the narrator asks a question, please answer! If he ask you to make

sounds, join in!

We sit in the chairs with our feet on the floor.

While the orchestra plays, we remain very quiet so that everyone in the

audience can hear and enjoy the music. Any noise may distract the musicians.

At the end of the concert, we leave quietly as a group. Be sure not to leave any

personal belongings on the seats or on the floor.

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During the concert, we suggest stationing chaperones/teachers among the class. This

seating will make you readily available to handle any problems. Your good conduct will be

a shining example for the children to follow.

Introducing the Program

The Animated Orchestra

The Animated Orchestra’s storyline consists of a cartoon score being performed

at a symphony concert. The film of the cartoon was sent to the wrong address

and so is not available. To salvage the concert, the narrator describes the

scenes and the orchestra plays the music as the audience imagines the missing

cartoon.

The hero of the cartoon is a playful and curious ferret named Ari. The setting

is an instrument repair shop owned and operated by a sleepy older gentleman

who lives above the shop. Ari, who inadvertently sneaks into the shop late one

night, discovers that the shop is a ferret paradise. The story moves beyond the

shop as the audience, orchestra and conductor are called upon to act out the

cartoon's climactic scene.

The Music

Eduard Strauss Bahn frei Polka (Clear Track)

Bedřich Smetana Dance of the Comedians from The Bartered Bride

Edward Elgar The Wild Bears from The Wand of Youth Suite

Gregory Smith The Animated Orchestra

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Glossary Terms

Polka: A fast, active dance that was popular in the 19th century, or a piece of music that

can be used for this dance.

Triple Meter: A metrical pattern having three beats to a measure.

Crescendo/Fortissimo/Pianissimo: These are musical terms that tell a musician how loud

or soft to play. Crescendo tells a musician to get louder; Fortissimo tells the musician to

play very loud; Pianissimo tells a musician to play very softly.

Allegro: This is a term that refers to the tempo or speed the music is to be played. Allegro

means fast!

Narrator: The narrator is the person who tells the story.

Conductor: The Conductor is the leader of the orchestra

Orchestra: A group of musicians who perform together playing a variety of instruments.

Concert Hall: The place where most symphony orchestras perform.

Tempo: Speed of the music.

Movement: A separate section of a larger musical work.

Dynamics: The loudness or softness of music.

Texture: How many instruments are playing determines texture. Texture can be thick if

many instruments are playing and thin if only a few. It can be compared to fabric (wool or

silk).

Rhythm: Beats are put together to form rhythm. The length and accents of sounds form

the rhythm.

Melody: A group of sounds put together to form a pleasing phrase.

Harmony: Several sounds played together

Families of the Orchestra

When we talk about musical instruments, we often talk about them as being part of a

family. That's because, just like in human families, the instruments are related to one

another. They are often made of the same types of materials, look similar to one another,

and produce sound in comparable ways. Each instrument of the orchestra family has like

characteristics, but they also have different qualities that make them individuals.

The orchestra, made up of 4 families of instruments, acts as a team. This team must play

together by listening very carefully to each other and following signals from their team

leader, the conductor. In addition, the “teammates” must play only when they are

supposed to and sit in the correct seat.

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The String Family is made up of the violin, cello, bass and harp. Instruments in this family

produce sound by vibrating strings. The strings are vibrated in two ways: using a bow

(made out of horsehair stretched on a wood stick) to rub the strings or plucking the strings,

usually with the hand. The pitch is changed on string instruments by adjusting the length of

the string. This is typically accomplished by putting fingers down at some point to shorten

the length of the vibrating string. String instruments have a very mellow, rich sound. There

are many string players in an orchestra because each instrument alone doesn’t have a very

loud sound compared to other instrument families.

The violin is the highest member of the string family. Like its other string family members, it

has four strings. The violin quite often has the melody and its tone is sweet and quite

expressive. There are two violin sections in an orchestra - First and Second. First violins

usually play the melody, while second violins alternate between melody and harmony. A

typical-sized violin is nearly 24 inches long with a slightly longer bow. The violin is played by

resting it between the chin and left shoulder. The left hand holds the neck of the violin and

presses down on the strings to change the pitch, while the right hand moves the bow or

plucks the strings.

The viola is the middle-voiced member of the string family. It is slightly larger, just over two

feet long, and its four strings are thicker than the violin’s, producing a richer, warmer sound.

They almost always play the harmony. The viola is played the same way as the violin, by

resting it between the chin and shoulder. The left hand holds the neck of the viola and

presses down on the strings to change the pitch, while the right hand moves the bow or

plucks the strings.

The cello differs from the violin and viola in that it is held between the knees in front of the

player. Standing approximately 4 feet high, the body of the cello rests on the ground and is

supported by a metal peg. The cello is played in a similar manner to the violin and viola,

using your left hand to press down on the strings, and your right hand to move the bow or

pluck the strings. Its bow is shorter than the violin’s and its strings are thicker than both the

violin and viola. It can make a wide variety of tones, from warm low pitches to bright higher

notes, playing both harmony and melody.

The bass is the largest member of the string family. Sometimes a bass, also called the

double bass, may have a fifth string. The instrument is so large that most musicians stand to

play it. The bass rests on a wooden or metal peg and is approximately six feet tall. Its tone

is deep and very rich. The double bass almost always plays the harmony. Sound is

produced just like on a cello, using the left hand to change pitch and the right to move the

bow or pluck the strings.

The harp is one of the oldest instruments (dating back to the Greeks). It's tall – almost six

feet high –and has 47 strings of varying lengths which are tuned to the notes of the white

keys of the piano. The harp is played sitting down with the musician’s legs on either side and

the neck of the harp leaning against the right shoulder. Each string sounds a different note 10

(they come in different colors to help tell one from another) and are played by plucking the

strings with the fingertips and thumb. Attached to the bottom of the harp are seven foot

pedals, which change the pitch of each string and allow them to sound the pitches of the

black keys on the piano.

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The Woodwind Family includes the flute, clarinet, oboe and bassoon. This family produces

sound by blowing a vibrating column of air inside some form of tube. In the past,

woodwind instruments were all made of wood, but now some instruments, such as the

flute, are made out of metal. Woodwinds create the vibrating column of air in different

ways. Flutes blow across the top of an open hole. Clarinets blow between a reed – usually

a small piece of bamboo – against a mouthpiece. That is why clarinets are called “single-

reed” instruments. Bassoons and oboes blow between two reeds that vibrate against each

other. That is why bassoons and oboes are called “double-reed” instruments. Woodwind

instruments have a very beautiful singing sound. They are often used to play solo parts

during symphonies when their unique tonal qualities can be heard even if the entire

orchestra is playing.

The piccolo is a half-size flute, and a member of the woodwind family of musical

instruments. The modern piccolo has most of the same fingerings as its larger sibling, the

standard transverse flute, but the sound it produces is an octave higher than written. This

gave rise to the name ottavino, which the instrument is called in the scores of Italian

composers. It is also called flauto piccolo or flautino.

A standard flute is a little over 2 feet long and is often featured playing the melody. It is

held to the right side of the face and the musician blows a column of air across a small

opening near the top of the instrument (much like blowing air over the top of a soda

bottle). The musician’s fingers open and close the keys, which changes the pitch. For

many years the flute was actually made of wood, but now most flutes are metallic: silver,

gold or platinum.

The oboe belongs to the “double reed” part of the woodwind family in that its reed is

actually made of two small pieces of cane held together by twine wound around one end.

The oboe is made of wood, perforated with many holes, and has a gently tapering conical

tube approximately 25 inches long. The oboes produce a wide range of pitches, from

haunting sounds to warm, velvety smooth notes, which make for a very memorable sound.

The clarinet looks somewhat like the oboe, except for the mouthpiece, which uses a single

reed. Clarinets come in a number of different sizes, and the standard B-flat clarinet is just

over 2 feet long. Some musical works require the clarinetist to play several types of clarinet

in the same piece, such as the bass clarinet. They have a dark rich sound in their lower

notes, while the upper part of the clarinet's range is bright and resonant. Its tone quality

makes it well suited for rapid, fiery passages. The clarinet is played like an oboe, by

holding it upright, blowing through the reed, and using one’s hands to change the pitches

by opening and closing the keys with your fingers. 11

The bassoon is the bass instrument of the woodwind family. The bassoon is played by

holding it upright and blowing through the double reed. The air travels down the tube and

then makes a u-turn and goes up and out the top. Just like the oboe, you use both hands

to press on the keys to open and close the holes and change the pitch. It is a long pipe,

doubled in half, made of wood, with many keys. The bend in the pipe makes it possible for

musicians to play it comfortably. If it were straight, the bassoon would be around 9 feet

long!

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The Brass Family is one of the oldest families of the orchestra and includes the trumpet,

French horn, tuba and trombone, which are all made of brass! Sound is produced when a

brass player buzzes his or her lips into a cup-shaped mouthpiece to produce vibrating air.

The vibrating air then travels through a long metal tube that modifies and amplifies the

vibrations. Brass instruments have a very sweet and round sound. They can also play very

loudly and are often used in the most exciting parts of a piece.

The French horn is one of the oldest instruments, dating back to the 17th century French

hunting horn, and produces a wide variety of sound ranging from very loud to very soft,

and from harsh and blaring to mellow and smooth. The French horn's 18 feet of tubing is

rolled up into a circular shape, with a large bell at its end. To play the French horn, a

musician holds it with the bell curving downward and away from the audience and buzzes

into the mouthpiece. His left hand plays the three valves and he can change the type of

sound that is made by the way he places his right hand in the bell.

The trumpet is a heroic and festive sounding instrument. Throughout history it has been

used to sound alarms, gather people together, as a call to war, and to add luster to parade

music. Like the violin, the trumpet is the smallest member of its family and plays the

highest pitches with its bright and vibrant sound. Today's modern trumpet is a slender

brass pipe with three attached valves, which is curved and bent into long loops. If you

stretched out the trumpet to its full length, it would be 6 ½ feet long! Play the trumpet by

holding it horizontally, buzzing your lips into the mouthpiece, and pressing down the three

valves in various combinations to change pitch.

The trombone is an instrument of power, solemnity and antiquity. Except for some

variations in the mouthpiece, the trombone has not changed in the last five hundred years!

The trombone is the only instrument in the brass family that uses a slide instead of valves

to change pitch. A standard trombone is made of long thin brass pipes. Two U-shaped

pipes are linked at opposite ends to form an "S." One pipe slides into the other so the total

length of the pipe can be extended or shortened. You play the trombone by holding it

horizontally, buzzing into the mouthpiece, and using your right hand to change pitch by

pushing or pulling the slide to one of seven different positions. If you stretch the trombone

out straight, it is about 9 feet long.

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The tuba is the largest and lowest brass instrument and anchors the harmony not only of

the brass family but the whole orchestra with its deep rich sound. Like the other brasses,

the tuba is a long metal tube, curved into an oblong shape, with a huge bell at the end.

Tubas range in size from 9 to 18 feet; the longer they are, the lower they sound. Standard

tubas have about 16 feet of tubing. There is generally only one tuba in an orchestra. The

tuba is played by sitting down with the instrument in the lap and the bell facing up. Air is

blown and buzzed into a very large mouthpiece while the hand presses down on the

valves to change the sound. It takes a lot of breath to make sound with the tuba!

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The Percussion Family is probably the most varied family in the orchestra. Sound on

percussion instruments is created by hitting, rubbing or shaking either a solid material, like

a metal triangle, or a membrane, like the top of a snare drum. The membranes used to be

made out of animal skins, but today most drums use a synthetic material. Only a few

percussion instruments produce a specific pitch. Pitched percussion instruments that use a

solid material, like a xylophone, change pitches when hit. Pitched percussion instruments

that use a membrane, like a timpani, change pitch when the tension of the membrane is

changed. There are many different kinds of percussion instruments used in an orchestra

including the snare drum and maracas. Percussion instruments produce many different

types of sounds, but they are usually used in an orchestra to provide rhythm for the music.

Often at the most exciting part of a piece there are many percussion instruments being

played.

The timpani, also called the kettledrums because of their shape, are the backbone of the

percussion section. They are big copper pots with drumheads made of calfskin or plastic

stretched over their tops. Timpani are tuned instruments, which mean they can play

different notes. The timpanist changes the pitch by stretching or loosening the drumheads,

which are attached to a foot pedal. Timpani are a central part of the percussion family

because they support rhythm, melody and harmony. Most orchestras have four timpani of

different sizes and tuned to different pitches, and are usually played by one musician, who

hits the drumheads with felt-tipped mallets or wooden sticks. The timpani player must have

a very good ear because he/she usually needs to change the pitches of the drums during

performances.

The cymbals are the biggest noisemakers of the orchestra! They are two large metal discs,

usually made of spun bronze. The cymbals are made in a convex shape so that only the

edges touch when struck. Cymbals, which are untuned, come in a range of sizes, from

quite small to very large. The larger the cymbal, the lower the sound they make. Cymbals

can be used for drama and excitement, to accent the rhythm or create delicate sound

effects. You can play the cymbals either by hitting one cymbal against the other, or you

can use sticks, mallets or brushes to hit one or both cymbals. Cymbals may be struck

together, lightly touched together, or tapped singly with a variety of sticks and mallets.

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The bass drum is the largest drum in the percussion family and is capable of thunderous

noise or soft, delicate sounds. The bass drum is an untuned instrument. The bass drum is

played by hitting either drumhead with sticks that have large soft heads, often covered

with sheepskin or felt. It can produce a lot of different sounds from roaring thunder to the

soft, delicate whispers, which are said to be felt rather than heard. The bass drum is

usually 30 inches in diameter and the musician plays it with a soft mallet held in the right

hand.

The snare drum marks rhythm and adds spice to the music. This smallish drum - 15 inches

in diameter, about 6 inches deep – is made of wood or brass with drumheads made of

calfskin or plastic stretched over both ends of a hollow cylinder. It has a set of wire-wrapped

strings stretched across the bottom head (the snare), which give the snare drum its unique

"rattling" sound when the drum is hit. A small switch on the side of the drum allows the

player to turn the snare on or off depending on the requirements of the piece. The snare

drum is an untuned drum, so it doesn't make distinct pitches. The snare drum is played with

a pair of wooden sticks.

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Teaching Activity – Instrument Families

Teaching Objective:

Students will learn to identify and understand the instrument families and their place in the

orchestra.

Resources/Materials:

Orchestra Map from the Teacher’s Guide (page 15)

Instrument Families from the Teacher’s Guide (pages 10-14)

2019 YPC YouTube Links

Preparatory Activities:

Discuss with the class the meaning of “family.” Discuss different types of families; their

immediate and extended family, the “family” of the school or class, a “family” of cars by a

car manufacturer, etc. Discuss how families are defined and how certain characteristics are

shared and others are not shared within a family.

Teaching Sequence:

1. Pass out copies of the Four Families of the Orchestra page and the Instrument

Families page.

2. Review these pages and discuss the various characteristics of each instrument family.

3. Divide the class into four groups, each representing one of the instrument families.

Hand out copies of the Orchestra Map and have the groups arrange themselves in

the same placement as they would be in the orchestra.

4. Play a recording of an orchestral piece from the 2019 YPC audio clips. Instruct the

students to listen specifically to their instrument family. Have them note when they

heard their family, what kind of sounds they made, what type of timbre they

produce, how often they played, etc.

5. Have the class sing a simple song, i.e. Twinkle, Twinkle, Little Star or Jingle Bells.

Instruct the class to sing the song again and try to have each group sing the way

they think their instrument family would sound.

6. Have the class sing the song again and act as conductor, showing different groups

when to sing and how loud or soft to sing.

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7. Before attending the Young People’s Concert, remind the students of their

instrument families and instruct them to watch and listen especially closely to their

family.

Culminating Activity:

Discuss with the class the way their instrument family looked and sounded at the concert.

What was their favorite family?

Which family do you think Ari liked the most?

Meet the Composers

Eduard Strauss, Composer

March 15, 1835 – December 28, 1916

“Clear Track Polka (Bahn frei)”

Eduard Strauss was an Austrian composer who,

together with brothers Johann Strauss II and

Josef Strauss, formed the Strauss musical

dynasty. The family dominated the Viennese

light music world for decades, creating many

waltzes and polkas for Austrian emperors and

their courtiers. He was affectionately known in

his family as “Edi.”

The youngest son of Johann Strauss I, Eduard

Strauss followed his father and two older

brothers into music. He was one of the best-

trained of the family members, but in many ways

the least successful. He studied theory, violin,

piano, and harp. His debut in 1855 came as a

harpist in one of his brother Johann’s waltzes.

Stage fright brought a premature end to his

career as an orchestral harpist, yet he was not

too timid to play with and conduct his family’s dance orchestras.

Indeed, he developed a reputation as a martinet on the podium.

Strauss’ style was individual and did not attempt to emulate the works of his other

brothers or his contemporaries. But he was generally recognized as a dance music

conductor rather than as a composer and his popularity was always overshadowed by

that of his elder brothers. Realizing this, he stamped his own mark with the quick polka,

known in German as the “polka-schnell” (Clear Track Polka).

Personal setbacks in the 1890s, such as the death of brother Johann Strauss II in 1899 and

his realization that his immediate family had squandered his personal fortune, led Eduard

to decide on retirement. In 1901, he disbanded the Strauss Orchestra and returned to

Vienna where he died in 1916.

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Bedřich Smetana, Composer

March 2, 1824 – May 12, 1884

“The Bartered Bride: Dance of the Comedians”

Bedřich Smetana, a Czech composer, was one

of the great composers of his country’s history

and one of the leaders of the movement toward

musical nationalism. His father was a violin

teacher who gave Bedřich his first lessons in

keyboard, harmony, and composition when the

boy requested them. His father tried to get

Bedřich to apply himself in academics, but he

was too focused on music to be a good student.

Despite initial resistance from his father, he went

to Prague to continue his musical studies. In

1844 Bedřich began working as a music master

to the noble family of Count Leopold Thun but

quit after just three and a half years to

undertake a concert tour. Unfortunately, the

tour turned out to be a financial failure.

In 1848, with the encouragement and financial

backing from Franz Liszt, Bedřich Smetana

opened his own music school. From 1856 to 1860 he was a conductor at Goteborg,

Sweden. In 1861 he returned to Prague and took an active role in founding a national

opera house.

His first patriotic opera, “The Brandenburgers in Bohemia,” was produced in 1866. In the

same season, his most famous work, “The Bartered Bride,” was staged. It presented a

genial picture of village life in Bohemia and reflected the spirit of Czech folk music and

dance. The opera was immensely successful, and Smetana was appointed chief

conductor of the National Theater. He retained that post until 1874, when a severe

whistling in the ears led to Smetana becoming deaf.

Although he established a strong local reputation as a pianist, his piano compositions

(mostly lighter works) did not earn him any special distinction as a composer.

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Sir Edward William Elgar, Composer

June 2, 1857 – February 23, 1934

“The Wild Bears from The Wand of Youth Suite 4”

Sir Edward William Elgar (1857–1934) was an English

composer, among whose best-known compositions are

orchestral works including the Enigma Variations, the Pomp

and Circumstance Marches, concertos for violin and cello,

and two symphonies.

Elgar's father owned a music shop and was a church

organist who taught his son piano, organ, and violin; apart

from this instruction, Elgar was basically self-taught as a

musician.

At the age of 16, the composer became a freelance musician

and for the remainder of his life never took a permanent job.

He conducted locally, performed, taught, and composed, scraping by until his marriage to

Caroline Alice Roberts, a published novelist of some wealth, in 1889.

In 1899, Elgar composed one of his best-known works, the "Enigma" Variations, Op. 36,

which catapulted him to fame. The work is a cryptic tribute to Alice and to the many

friends who stood behind the composer in the shaky early days of his career.

Elgar's most fruitful period was the first decade of the twentieth century, during which he

wrote some of his noblest, most expressive music, including the first four of his Pomp and

Circumstance Marches; the first of these, subtitled "Land of Hope and Glory", became an

unofficial second national anthem for the British Empire.

Elgar suffered a blow when Jaeger (the "Nimrod" of the "Enigma" Variations) died in 1909.

The composer's productivity dropped, and the horrors of World War I deepened his

melancholic outlook.

In 1919 Elgar wrote the masterly Cello Concerto in E minor, Op. 85, whose deep feeling of

sadness and impending loss surely relates to the final illness of his faithful Alice, who died

in 1920.

In the early 1930s, Elgar set to work on a third symphony, left unfinished at his death in

1934. 20

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Gregory Smith, Composer

Born 1957

“The Animated Orchestra”

The music of composer Gregory Smith covers a wide

range of the musical world entertaining thousands every

day and night at Disney theme parks while reaching

millions on television networks throughout the world.

His long association with the Walt Disney Company has

yielded original themes, songs, and arrangements for

their animated features, movies and all of their

worldwide theme parks. Some of his best known

nighttime spectaculars include Wishes and Holiday

Wishes for Walt Disney World, Remember Dreams Come

True for Disneyland's 50th anniversary, Star Light Magic

for Tokyo Disneyland, and Disney In the Stars for Hong

Kong Disneyland. More recently Smith arranged the

music for the castle show at newly opened, Shanghai

Disneyland and also just completed a stage show for Tokyo DisneySeas. His landmark

nighttime parade, Dreamlights , is in its 16th year at Tokyo Disneyland.

Smith’s broadcast credits range from major network themes including inauguration

and election themes for CBS, the ubiquitous CBS logo, to underscores for the various

Star Trek dramas, Warner Bros. cartoons, as well as sports themes for ESPN, TNT,

ABC, Headline News, the NY Mets, the New Jersey Devils and the Tampa Bay

Lightning. On the grandest of scale, Smith composed the music for the Salt Lake

Paralympic opening ceremonies broadcast worldwide by ABC. He has written

hundreds of commercial soundtracks for numerous companies that include Mattel,

Disney, American Express, Kodak, Hasbro, and Proctor & Gamble.

The family/educational symphonic works of Gregory Smith have enjoyed nearly 1,000

performances by more than 200 orchestras, often with Smith narrating. Orchestras

such as the Atlanta, Baltimore, Bonn, Boston, Cincinnati, Minnesota and Toronto

symphonies, as well as the Rochester and Hong Kong philharmonics, have embraced

Greg’s unique approach to family/educational concerts. The international reach of

these works continues to expand with numerous performances in the United

Kingdom, China, South Korea, Germany, Greece, Australia, New Zealand and

elsewhere. Most of his eight works in this genre were premiered (all were performed)

at the Cabrillo Festival of Contemporary Music and conducted by his longtime

champion, Marin Alsop.

As a conductor, Smith has recorded with orchestras in London, San Francisco, Prague,

Salt Lake City, and Seattle as well as numerous studio orchestras in New York, Los

Angeles, and Nashville.

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Following are classroom activities to prepare your students for

The Animated Orchestra. Please use them as they are, change them in any manner,

or extend them to help you discover additional methods for teaching your students.

Instrument Families

1. Create teams and give points for correct answers.

2. Construct 4 rings on the floor using string or hula-hoops. Label the rings as

follows: strings, woodwinds, brass, and percussion.

3. Cut out a picture of each instrument (pages 27-35) and place them in a hat or

bag.

4. Have each student reach into the hat and draw an instrument card.

5. The student should be able to identify each instrument and place them in the

appropriate ring’s instrument family.

Become a Conductor

Some music is so exciting, it’s hard to sit still when you hear it. Listen to Eduard Strauss’

Bahn frei Polka (Clear Track).

Use your fingers to tap to the beat

Clap your hands to the beat

The conductor tells the musicians:

1. How fast or slow to play the music (tempo)

2. When to start playing, so everyone can start and stop at the same

time

3. How loud or soft to play (dynamics)

How does the conductor tell the orchestra WHAT to do?

By moving his baton or cueing

Have the class practice conducting, teaching them a simple 2 pattern (down,

up with your hand). Encourage the students to really get into it.

Have the students conduct Bahn frei Polka. You will find the audio sample

on the website.

Have a student conduct the class singing along. Make them all start at the

same time, get louder and softer, and stop together. A pencil makes a great

baton!

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Become a Composer

All of the pieces being performed were written by a composer. Composers are a lot like

authors, but instead of writing books, they write music. Much like an author decides

whether a story will be happy, sad, action-packed, or somber, composers influence what

their piece of music will make the audience feel. They do this by choosing which

instruments will make which sounds and how loud, soft, fast, or slow the piece will be.

Have your students become composers with the following activity:

1. With rhythm instruments, ask groups of students to write their own rhythm.

2. Have the students play each rhythm.

3. Select a conductor who will decide who will play in what order.

4. Write the composition on the board.

5. Select other students to play the role of conductor.

You may do this with singing, recorders, piano, or any other instruments you have

available. Let the students compose their own music!

_____________________________________________________________________________________________

Become an Active Listener

Sometimes we just listen to music for enjoyment. Sometimes we listen to the music for

detail. Listen to all of the works on the program:

To identify each different instrument we hear

o At a concert, not only do we identify the instrument by hearing it, but by

seeing it as well

To describe the texture

To learn the rhythm

To decide if the key is major or minor

To hear the melodies

To listen to harmonies

To hear dynamics

To compare tempi

To discover the form

To listen for changes in the key, texture, rhythm, tempo, dynamics, and form.

Of all the listening we do, listening for changes is one of the most intriguing and when we

hear changes, we may become better at discovering form.

Become an Artist

Music is a story written by the composer with notes instead of words. If you listen very

closely, you will be able to tell if the story is happy or sad, exciting or scary. It is important

not to talk while listening to the music so you are able to hear the entire story…you don’t

want to miss the magic moments that the composer and musicians are trying to create!

Since music is a magic moment in sound, you do not want to have other sounds

competing to be heard.

1. Listen to one of the pieces on the program. The students should close their eyes

while they listen so they can envision the “story.”

2. Have each student draw a picture of what he or she envisioned.

3. Play the piece several times over while they draw.

Let the students’ imaginations run wild! Pictures can express emotions, colors, sounds, and

action. Be creative!!!

Creative Writing Assignment

Several days before the concert is to take place, ask your students to write a letter to

themselves. Following the concert, ask them to re-read their letters and write another

about how their experience may have been different from their expectations to

demonstrate their growth to themselves and also to help fix the concert experience in their

memories.

To begin, you may wish to explain the activity in this manner:

We’re about to share a concert experience. I know all of us have expectations and

questions about what the concert will be like. I’d like us to take a few minutes now to write

a letter to ourselves about what you think the concert will be like. (Think about what will

happen at the concert, how the music will make you feel, what it will be like sitting in the

auditorium with so many other people, etc.) Your letter will be sealed.

When we return from the concert, we’ll re-read this letter and write another one to

ourselves about how our experience confirmed or was different from our expectations. In

the second letter, we will be able to recognize the performance’s impact on the students’

lives.

This activity has two effects: it allows students to carefully think through the event ahead

of time, and it impresses the experience and its lessons on the students’ minds.

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Write a Letter to the Symphony!

The Wheeling Symphony would love to hear what your students thought of the program.

Have them write a letter to any performer – the conductor, the narrator, a musician –

telling about their concert experience, what they liked most, if they liked a particular

instrument or piece. Please mail the letters to:

Wheeling Symphony

1025 Main Street, Suite 811

Wheeling, WV 26003

or email them to frontdesk@wheelingsymphony.com.

Thank you to our generous sponsors of the 2019 Wheeling Symphony

Young People’s Concerts!

Helen J. Prince Foundation

Schenk Charitable Trust

W.E. Stone Foundation

Hess Family Fund

Levenson Family Foundation

Sands Charitable Trust

Wheeling Hospital

Anonymous

THANK YOU FOR YOUR SUPPORT!

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2019 YPC Teacher Evaluation

Thank you for attending a WSO Young People’s Concert.

We hope that you and your students were entertained, educated, and enlightened!

Please take a few minutes to complete the following evaluation form.

Return this evaluation by fax: 304.232.6192 or by email: frontdesk@wheelingsymphony.com

Date: _______________ Time: _____________ Location: _________________________________

Your Name: ________________________________ Title: _________________________________

Email: _____________________________________________________________________________

School / County: _________________________________________________________________

I attended the concert with __________number of students in the _____________ grade.

Have you attended a WSO Young People’s Concet before? Yes / No

If yes, how many? ______________

Did your students listen to YPC CD before the concert? Yes / No / N/A

Did you feel the programming was age-appropriate? Yes / No

Please explain______________________________________________________________________

Please evaluate the MP3 tracks/CD and Teacher’s Guide. Please include suggestions for

improvement.

_______________________________________________________________________________________________________

_______________________________________________________________________________________________________

_______________________________________________________________________________

List suggestions for improving the concert itself, including future repertoire.

_____________________________________________________________________________________________________

_____________________________________________________________________________________

What did your students enjoy most about the concert? (Add any anecdotal story that shows how

the concert had an impact on your students).

_____________________________________________________________________________________________________

_____________________________________________________________________________________

Would you bring students to a future WSO Young People’s Concert? Please explain.

_____________________________________________________________________________________________________

_____________________________________________________________________________________

Additional comments:

_____________________________________________________________________________________________________

_____________________________________________________________________________________

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