Meet Christoph Eschenbach He’s the music director leading the NSO, and you may call him “maestro.” That’s because he’s mastered conducting orchestras and playing the piano all over the world. He believes music is one of the strongest forces known to man, and he’s also committed to fostering young musicians. Washingtonian magazine calls him “one of the most exciting classical conductors of the day.”
About the NSO The NSO numbers 96 musicians and is performing its 85th season. It has performed at the Kennedy Center every year since the venue opened in 1971, and in 1986 became formally affiliated with the Kennedy Center.
Listen Up! Check out Ray Chen’s YouTube Channel for more performances and fun facts! www.youtube.com/channel/ UC-oPgEuX6iwJucvVGEmQL7Q Photo by Christoph Eschenbach by Scott Suchman
Deborah F. Rutter President Mario R. Rossero Senior Vice President, Education
Christoph Eschenbach Music Director National Symphony Orchestra NSO Open Rehearsals are made possible in part by the generous support of The Clark Charitable Foundation; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; U.S. Department of Education; and The Volgenau Foundation.
National Symphony Orchestra Open Rehearsal and Question-and-Answer Session Christoph Eschenbach, conductor Ray Chen, violin Adriana Horne, harp
Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program. Kennedy Center education and related artistic programming is made possible through the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2016 The John F. Kennedy Center for the Performing Arts
David and Alice Rubenstein are the Presenting Underwriters of the NSO.
Performance Guide
Attending an open rehearsal differs from attending an actual concert, though your role as a quiet listener is the same. That’s because the orchestra is here to work—to practice and perfect their playing for the public performance. The conductor might stop the orchestra and repeat passages or pieces, or the orchestra might not rehearse the entire program. Afterward, the soloists join Christoph Eschenbach on stage for a Question-andAnswer session. Have your questions ready for them.
David M. Rubenstein Chairman
Cuesheet
Attending the Open Rehearsal
Adriana Horne
About the Open Rehearsal
The Concert Program Symphony No. 1 in D major, Op. 25, “Classical” by Sergei Prokofiev (1891–1953) Since its premiere in 1918, Prokofiev’s first symphony has remained one of his most popular pieces, thanks to its light-hearted melodies and playful tone. Inspired by the symphonic works of eighteenth-century composers Franz Joseph Haydn and Wolfgang Amadeus Mozart, the symphony includes many classical elements (hence the title) and follows the conventional four-movement structure. However, Prokofiev also added modern flourishes throughout, creating a fresh take on the classical symphony.
Scottish Fantasy for Violin and Orchestra, Op. 46 by Max Bruch (1838–1920) Bruch’s tribute to Scottish tradition is broken into four distinct movements, each built upon a different Scottish folk melody. Composed especially for a solo violinist and virtuoso, or expert player, the piece is full of exciting but technically challenging sections. The music often calls for tricky combinations and exciting play on double-stopped strings (two strings played with one stroke of the bow)—and sometimes even triple- or quadruple-stopped strings. The harp also plays a prominent role throughout the piece as a secondary soloist.
n
frequent and abrupt changing of keys, a very un-Classical technique that occurs almost immediately and continues throughout the piece. examples of more classical techniques, such as contrasting shifts in tempo or speed.
Symphony No. 5 in B-flat major, Op. 100 by Sergei Prokofiev Considered one of the supreme orchestral works of the 20th century, Prokofiev’s dramatic fifth symphony celebrates the human spirit. Composed in the summer of 1944 during World War II, Prokofiev explained, “I wanted to sing the praises of the free and happy man—his strength, his generosity and the purity of his soul.” Written in four movements, the music takes listeners on an emotional rollercoaster but clearly concludes with a sense of strength and victory. Listen for the… n
n
Listen for the… n
n
Listen for the… n
finale’s energetic, humorous twists and turns that create a sense of merriment.
n
complex conversations between the harp and solo violin; the instruments mirror, overlap, and echo one another, creating unique harmonies and textures. vigorous start of the second movement, when the orchestra imitates the sound of bagpipes and accompanies the solo violin in a spirited dance tune. resemblance between the sound of the violin and the human voice, particularly in the haunting third movement when it “sings” the folk melody.
n
different emotions expressed in each of the symphony’s four distinct movements. contrasting shifts in tempo and dynamics (whether the music is loud or quiet); the music moves quickly between pianissimo (pee-ah-NEEsee-moh) or very quiet, and crescendo (kreh-SHEN-doh) or a gradual increase in volume and intensity. finale’s different variations to the core motif or musical theme; slight changes in rhythm, pitch, key, and instrumentation allow the motif to take on different qualities from foreboding to triumphant.
Photo by Scott Suchman
n
Meet the Musicians The open rehearsal spotlights internationally-acclaimed violinist Ray Chen and NSO Principal Harpist Adriana Horne. Both musicians play instruments that hail from the string family. The violin has four strings and creates sound when a bow or finger is used to make these strings vibrate. The harp is one of the largest instruments in the orchestra. It has 47 strings and seven pedals. Sound is produced when these strings are plucked by hand. The pedals at the bottom of the instrument are used to adjust the length of the strings, allowing them to sound the same pitches as the black keys on the piano. Ray Chen
Photo by Julian Hargreaves
Welcome to the National Symphony Orchestra (NSO) open rehearsal and question-and-answer session with NSO Music Director Christoph Eschenbach, featuring violinist Ray Chen and NSO harpist Adriana Horne. During this rehearsal, Maestro Eschenbach will conduct a program that includes two symphonies by Russian composer Sergei Prokofiev (pronounced SIR-gay Pro-KOFF-ee-ef) and German composer Max Bruch (Brook).
Adriana Horne
About the Open Rehearsal
The Concert Program Symphony No. 1 in D major, Op. 25, “Classical” by Sergei Prokofiev (1891–1953) Since its premiere in 1918, Prokofiev’s first symphony has remained one of his most popular pieces, thanks to its light-hearted melodies and playful tone. Inspired by the symphonic works of eighteenth-century composers Franz Joseph Haydn and Wolfgang Amadeus Mozart, the symphony includes many classical elements (hence the title) and follows the conventional four-movement structure. However, Prokofiev also added modern flourishes throughout, creating a fresh take on the classical symphony.
Scottish Fantasy for Violin and Orchestra, Op. 46 by Max Bruch (1838–1920) Bruch’s tribute to Scottish tradition is broken into four distinct movements, each built upon a different Scottish folk melody. Composed especially for a solo violinist and virtuoso, or expert player, the piece is full of exciting but technically challenging sections. The music often calls for tricky combinations and exciting play on double-stopped strings (two strings played with one stroke of the bow)—and sometimes even triple- or quadruple-stopped strings. The harp also plays a prominent role throughout the piece as a secondary soloist.
n
frequent and abrupt changing of keys, a very un-Classical technique that occurs almost immediately and continues throughout the piece. examples of more classical techniques, such as contrasting shifts in tempo or speed.
Symphony No. 5 in B-flat major, Op. 100 by Sergei Prokofiev Considered one of the supreme orchestral works of the 20th century, Prokofiev’s dramatic fifth symphony celebrates the human spirit. Composed in the summer of 1944 during World War II, Prokofiev explained, “I wanted to sing the praises of the free and happy man—his strength, his generosity and the purity of his soul.” Written in four movements, the music takes listeners on an emotional rollercoaster but clearly concludes with a sense of strength and victory. Listen for the… n
n
Listen for the… n
n
Listen for the… n
finale’s energetic, humorous twists and turns that create a sense of merriment.
n
complex conversations between the harp and solo violin; the instruments mirror, overlap, and echo one another, creating unique harmonies and textures. vigorous start of the second movement, when the orchestra imitates the sound of bagpipes and accompanies the solo violin in a spirited dance tune. resemblance between the sound of the violin and the human voice, particularly in the haunting third movement when it “sings” the folk melody.
n
different emotions expressed in each of the symphony’s four distinct movements. contrasting shifts in tempo and dynamics (whether the music is loud or quiet); the music moves quickly between pianissimo (pee-ah-NEEsee-moh) or very quiet, and crescendo (kreh-SHEN-doh) or a gradual increase in volume and intensity. finale’s different variations to the core motif or musical theme; slight changes in rhythm, pitch, key, and instrumentation allow the motif to take on different qualities from foreboding to triumphant.
Photo by Scott Suchman
n
Meet the Musicians The open rehearsal spotlights internationally-acclaimed violinist Ray Chen and NSO Principal Harpist Adriana Horne. Both musicians play instruments that hail from the string family. The violin has four strings and creates sound when a bow or finger is used to make these strings vibrate. The harp is one of the largest instruments in the orchestra. It has 47 strings and seven pedals. Sound is produced when these strings are plucked by hand. The pedals at the bottom of the instrument are used to adjust the length of the strings, allowing them to sound the same pitches as the black keys on the piano. Ray Chen
Photo by Julian Hargreaves
Welcome to the National Symphony Orchestra (NSO) open rehearsal and question-and-answer session with NSO Music Director Christoph Eschenbach, featuring violinist Ray Chen and NSO harpist Adriana Horne. During this rehearsal, Maestro Eschenbach will conduct a program that includes two symphonies by Russian composer Sergei Prokofiev (pronounced SIR-gay Pro-KOFF-ee-ef) and German composer Max Bruch (Brook).
Meet Christoph Eschenbach He’s the music director leading the NSO, and you may call him “maestro.” That’s because he’s mastered conducting orchestras and playing the piano all over the world. He believes music is one of the strongest forces known to man, and he’s also committed to fostering young musicians. Washingtonian magazine calls him “one of the most exciting classical conductors of the day.”
About the NSO The NSO numbers 96 musicians and is performing its 85th season. It has performed at the Kennedy Center every year since the venue opened in 1971, and in 1986 became formally affiliated with the Kennedy Center.
Listen Up! Check out Ray Chen’s YouTube Channel for more performances and fun facts! www.youtube.com/channel/ UC-oPgEuX6iwJucvVGEmQL7Q Photo by Christoph Eschenbach by Scott Suchman
Deborah F. Rutter President Mario R. Rossero Senior Vice President, Education
Christoph Eschenbach Music Director National Symphony Orchestra NSO Open Rehearsals are made possible in part by the generous support of The Clark Charitable Foundation; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; U.S. Department of Education; and The Volgenau Foundation.
National Symphony Orchestra Open Rehearsal and Question-and-Answer Session Christoph Eschenbach, conductor Ray Chen, violin Adriana Horne, harp
Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program. Kennedy Center education and related artistic programming is made possible through the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2016 The John F. Kennedy Center for the Performing Arts
David and Alice Rubenstein are the Presenting Underwriters of the NSO.
Performance Guide
Attending an open rehearsal differs from attending an actual concert, though your role as a quiet listener is the same. That’s because the orchestra is here to work—to practice and perfect their playing for the public performance. The conductor might stop the orchestra and repeat passages or pieces, or the orchestra might not rehearse the entire program. Afterward, the soloists join Christoph Eschenbach on stage for a Question-andAnswer session. Have your questions ready for them.
David M. Rubenstein Chairman
Cuesheet
Attending the Open Rehearsal