Presentation on theme: "KIMMEL CENTER Meet the Orchestra. PROGRAM John Stafford Smith/arr. Ormandy “The Star-Spangled Banner” Manuel de Falla “Dance of the Miller’s Wife (Fandango),”"— Presentation transcript:
PROGRAM John Stafford Smith/arr. Ormandy “The Star-Spangled Banner” Manuel de Falla “Dance of the Miller’s Wife (Fandango),” from The Three-Cornered Hat Mikhail Glinka Kamarinskaya, Fantasy for Orchestra on Two Russian Folksongs Li Huan Zhi Spring Festival Overture Aaron Copland Variations on a Shaker Melody, from Appalachian Spring John Rosamond Johnson/arr. Hale “Lift Every Voice and Sing”
The Kimmel Center for the Performing Arts hosts the Orchestra’s home subscription concerts, as well as its concerts devoted to youth and family audiences Kimmel Center Tour
Rossen Milanov Associate Conductor He currently holds the positions of associate conductor of The Philadelphia Orchestra and artistic director of The Philadelphia Orchestra at The Mann Center for the Performing Arts. In addition, he serves as music director of New Jersey’s Symphony in C (formerly the Haddonfield Symphony), one of America’s premier professional training orchestras; and music director of the New Symphony Orchestra in his native city of Sofia, Bulgaria. In June 2009, Mr. Milanov was also named music director of the Princeton Symphony.
The melody of the song that would become the American national anthem was first published in England ca. 1778. Officially called “The Anacreontic Song” but more commonly known by the first line of its lyrics,
“To Anacreon in Heaven” was the constitutional song of the Anacreontic Society, an 18th- century gentlemen’s club of amateur musicians in London Key wrote the words on September 14, 1814 on board a British warship in Baltimore Harbor where he was being detained.
The tradition of performing “The Star-Spangled Banner” before baseball games began during World War II;
The Philadelphia Orchestra became the first major orchestra to play at a World Series game when they performed the national anthem.
“Lift Every Voice and Sing” African-American composer and singer John Rosamond Johnson (sitting; 1873–1954), and his older brother James Weldon Johnson (1871–1938), were born in Jacksonville, Florida
James Weldon Johnson first wrote the words to “Lift Every Voice and Sing” as a poem and then John Rosamond Johnson set the words to music in 1899
Singing this song quickly became a way for African Americans to demonstrate their pride and hope for the future.
Fort McHenry http://www.nps.gov/fomc/index.htm Where is Fort McHenry? What war was being fought when Francis Scott Key wrote the lyrics to “The Star-Spangled Banner? ” http://en.wikipedia.org/wiki/Battle_of_Baltimorehttp://en.wikipedia.org/wiki/Battle_of_Baltimore
Russia: There’s No Place Like Дом (Home) Mikhail Glinka Kamarinskaya, Fantasy for Orchestra on Two Russian Folksongs
Mikhail Glinka (1804-57) Born in Novospassko ye in the Smolensk district of Russia.
Listening Guide Introduction 0:00 Based on motive from the “Wedding Song” Start the music from the link: Listen: What do you hear...read along Mikhail Glinka Kamarinskaya, Fantasy for Orchestra on Two Russian Folksongs
0:35 First statement of theme by unison strings
0:53 Second statement with melody and accompaniment in the woodwinds
7:00 Sudden slow statement of the opening phrase, growing softer
The three-measure instrumental dance tune of the Kamarinskaya is repeated without significant change nearly 75 times in the course of the two Dance Song sections.
China: A Community Celebration Li Huan Zhi Spring Festival Overture
Chinese music is as old as Chinese civilization itself, dating back to about 1766 B.C.
Since then, musical performances have been an integral part of Chinese traditions, belief systems, and community celebrations, including the Spring Festival (or Chinese New Year).
CHINA China is the fourth largest country behind Russia, Canada, and the United States. However, it’s the most populated country with over 1.3 billion people—that’s more than four times as many who live in the United States!
Overture is in ternary (three- part) form and depicts the energetic scenes of the yangge dance, with the beating of drums and sounding of gongs.
The first section consists of two North Shaanxi pieces for suona (Chinese reed instrument).suona
The moderate central section takes a melody from North Shaanxi lingchang yangge diao (seedling dance tune with leading singing)
Listening Guide 0:00 A section: yangge dance, first theme 0:30 Second theme 0:53 First theme returns 2:07 B section: lingchang yangge diao tune presented in the oboe 3:30 Trumpet announces transition 3:44 A section returns
0:43 First variation appears as the music changes to a higher key and is played by the oboe and bassoon. Listen also for the triangle!
1:10 In the second variation, the strings enter with the tune playing in a smooth, lyric style and at a tempo that is half as fast while the piano and glockenspiel (bells) keep a steady pulse underneath. Notice that the music grows louder as more instruments are added at different times.
1:53 The brass section then announces the third variation as the trumpet plays the melody in a staccato (separated) style while the strings zoom up and down in an excited accompaniment.
2:17 solo clarinet and other woodwinds return in a brief interlude to soften and slow things down as this musical bridge connects these sections.
2:34 orchestra (tutti) present the fourth variation majestically playing fortissimo and even slower, with the heavy beat of the timpani supporting the sound!
3:07 Softly, the solo clarinet plays a portion of the theme in a brief coda.