TuneUp!
New York Philharmonic Young People’s Concert®
Saturday, December 16, 2006
elcome to the Young People’s Concerts! Last time, we explored the extravagant and
emotional Baroque age of music. Let’s move forward, now, to the 18th century –
to CLASSICAL music. “But isn’t all the music that the New York Philharmonic plays called
Classical?” you might ask. Yes – and no. See, there’s a specific period of time in history when
composers were inspired to create perfection: perfect melodies with perfect form and perfect
balance. This was a time of elegance, refined manners, good judgment, and proper etiquette, inspired by a
newfound appreciation for ‘classical’ antiquity – the cultures of ancient Greece and Rome. The perfection that
these composers achieved became the standard for all the music that followed. Read on to find out more!
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The Ages of Music
Classical
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funfact
Michael Adelson, conductor
WOLFGANG AMADEUS MOZART Overture to The Marriage of Figaro
Thomas Baird, dancer
JOSEPH HAYDN Symphony No. 94, “The Surprise,” Andante
Tomiko Magario, dancer
WOLFGANG AMADEUS MOZART Symphony No. 39, Menuetto: Trio
JOSEPH HAYDN Symphony No. 6, “Le Matin,” Adagio – Allegro
LUDWIG VAN BEETHOVEN Symphony No. 7, Poco Sostenuto – Vivace
WHAT WERE THEY BUILDING IN THE 18TH CENTURY?
he architecture of 18th century Europe was inspired by
a rediscovery of the symmetry and simplicity of ancient
Greek and Roman temples. It was also a rebellion
against the grandeur of the Baroque. During the Baroque
period, buildings were filled with big ornaments and
decorations like wall paintings, gold leaf, and sculptures;
sometimes shapes were lopsided or bent. Classical
architecture reacted against all this fuss! There was a new
taste for balance, stability, neatness, and lighter decoration.
Curved shapes were replaced with straight and equal-sided
ones. How many different symmetrical (equal) shapes can
you find on this building? What elements of the building
balance each other?
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about the composers and their music…
Joseph Haydn (1732–1809)
Symphony No. 94, “The Surprise”
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nown as the “Father of the Symphony,”
Haydn spent most of his life in Austria.
Much of his career was spent composing
for the court of the Eszterházy family – one of the
wealthiest and most powerful families in the
Austrian Empire. Many of Haydn’s works are upbeat
and entertaining (as he aimed to please the
nobility) and he was the master of the “musical
joke.” When he died in Vienna, he had written over 100 symphonies, 83
string quartets, and more than a dozen operas.
he Surprise” symphony is perhaps Haydn’s most famous musical joke. It
was written while the composer was visiting London, England. Some
believe that Haydn was annoyed with the English concert-goers who
came to the concert hall directly after dinner parties and then quickly fell
asleep in their seats. To “jolt” the audiences out of their slumber, Haydn
devised a musical trick. In the second movement of his symphony (Andante),
the composer created a “theme and variations” – a musical form consisting of
a clear and precise statement, followed by a number of embellishments, or
“variations,” on that statement (in this movement you will hear four variations).
In this surprise symphony, Haydn’s “theme” is comprised of very tranquil
music, except for an alarming chord (the “jolt”) that disrupts the quiet.
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Symphony No. 6, “Le Matin”
his symphony acquired the title “Le Matin,” or “The Morning,” because the introduction depicts the sunrise. It
was composed just after Haydn began working for Prince Nikolaus Eszterházy at the Eszterházy family court.
There, the prince employed many excellent musicians. Haydn took advantage of their talents by writing many
challenging solo passages for them: this put Haydn in good favor with the musicians. The more solos they played,
the more they got paid! In this early Classical symphony, Haydn was influenced by Baroque composers like Vivaldi
and Handel who preceded him, but he was also quite innovative. “Le Matin” is an early example of a symphony
that uses “sonata form” – a Classical form that determines how a piece is organized, musically. To learn more about
“sonata form,” see the diagram on the next page.
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Wolfgang Amadeus Mozart (1756–1791)
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ne of the most famous composers of all time,
Mozart wrote over 600 works during his short
life. He studied composition, violin, piano, and
organ with his father from the age of 3 and spent much
of his youth touring Europe and performing for nobles
and ambassadors. Mozart was often employed by the
church or royal courts, but in 1781 he took the bold
move to leave the court and compose for himself and
his public.This led to moments of great success – for
example, when he would appear as composer, conductor, and soloist in
performances of his piano concertos – and also times of financial hardship.
Mozart died in Vienna at the age of 35 while he was composing one of his
most famous works, his Requiem.
Overture to The Marriage of Figaro
any consider The Marriage of
Figaro the finest opera ever
written. It can be described as a
“tragicomedy” (both funny and heartbreaking). Often opera overtures introduced
musical themes that the audience would
hear later in the work. For this reason,
composers often chose to write it first.
However, Mozart was a bit of a musical rebel and did things his own way.
Not only did he compose his overture after the rest of the opera was
completed (and just days before the first performance), but none of the
musical themes in the overture are heard anywhere else in the opera!
Mozart’s overture anticipates the wonderful energy and humor of the opera,
and that’s why it is an audience favorite still today.
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Symphony No. 39
ymphony No. 39 is one of Mozart’s last symphonies and is a fine example of his ability to compose expertly and quickly. The symphony was
written in just three weeks during which time Mozart was composing other works, giving piano lessons, moving to a new apartment, aiding his sick
wife, and mourning the loss of his young daughter. The movement that you will hear, “Minuet and Trio,” is well known and a perfect example of the
Classical period in music: the boisterous Minuet and charming simplicity of the Trio create a perfect balance and delight the listener. Listen for the lovely
lilting melody played masterfully by the clarinets.
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Ludwig van Beethoven (1770–1827)
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eethoven’s music has influenced every
composer since his time. He integrated
classical forms with intense personal
expression. His works strained the limits of
classical style and paved the way for Romanticism
in music. Beethoven was also a famous conductor
and pianist. He thought great music could improve
the world, but it became increasingly difficult for
him to compose as he gradually lost his hearing,
beginning at the age of 28. When Beethoven died in Vienna in 1827,
more than 10,000 people attended his funeral.
Symphony No. 7
ike Haydn’s Symphony No. 6, Beethoven’s 7th Symphony begins
with a slow and majestic introduction – one of the longest in any
symphony. This is followed by a pulsating dance that’s full of life.
The energy of the symphony, conveyed by an endless rhythmic drive,
made quite an impact on future composers and audiences alike. Yet, all
of this power and verve is actually ordered, to a degree, since this
movement is in “sonata form.” Compared to Haydn’s Symphony No. 6,
Beethoven’s use of “sonata form” is greatly expanded. The “development”
of Beethoven’s symphony is much longer and more complex. After the
very first performance of Beethoven’s Symphony No. 7 in Vienna, the
audience was so thrilled that they demanded the orchestra play it over
again!
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SONATA FORM
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onata form was a musical structure developed during the Classical period to help achieve the Classical
ideals of balance and contrast. Sonata form is made up of three main parts:
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DEVELOPMENT
meet the artists
EXPOSITION
The New York Philharmonic
CODA
INTRO
1) an EXPOSITION – presenting a series of musical themes;
2) the DEVELOPMENT – where the themes and musical ideas were developed and expanded; and
3) a RECAPITULATION – a return to material of the exposition.
Sometimes composers also included an INTRODUCTION at the beginning and a CODA at the end.
RECAPITULATION
Michael Adelson
ichael Adelson is currently a cover
conductor for the New York
Philharmonic and conductor of the
Auros Group for New Music. He made his first
appearance with a major American orchestra in 1992,
conducting the Los Angeles Philharmonic. Mr. Adelson’s conducting
engagements range from opera – conducting Scandinavian
productions of Turandot, La Bohème, and Der Schauspieldirektor – to
working alongside composers such as Pierre Boulez, Bernard Rands,
Magnus Lindberg, and Donald Martino. Mr. Adelson has written and
conducted young people’s concerts with the Helsinki Philharmonic, the
Los Angeles Philharmonic, and the New Jersey Symphony Orchestra.
He taught chamber music at Helsinki University and conducts the
Preparatory Philharmonic at the Mannes College of Music. At
Connecticut College he conducted the orchestra and faculty ensemble,
was a Fellow of the Center for Arts and Technology, and designed and
taught courses in conducting, music history, and music pedagogy.
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he New York Philharmonic is by far the
oldest symphony orchestra in the United
States, and one of the oldest in the world.
It was founded in 1842 by a group of local
musicians, and currently plays about 180
concerts every year. On December 18, 2004, the
Philharmonic gave its 14,000th concert — a
record that no other symphony 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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Thomas Baird
homas Baird is a period dance specialist
who performs and teaches throughout the
United States, Canada, Mexico, Germany,
and Japan. He is the co-director of Apollo’s
Banquet, a New York City–based performance
ensemble of period dancers and musicians. Mr. Baird is a regular
guest lecturer at The Juilliard School and the Manhattan School of
Music and is on the faculties of the Opera Division at
SUNY–Purchase and the Mannes College of Music. He was the
period-movement coach for the Broadway production of O’Neill’s A
Touch of the Poet, and Lincoln Center Theater’s presentation of
Sheridan’s The Rivals. In 2005 he made his choreographic debut at
The Metropolitan Opera, providing period dances for the U.S.
premiere of Franco Alfano’s Cyrano de Bergerac.
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What’s coming
up this season?
Classical music is certainly elegant!
How does music change in the next
Age of Music?
What makes music of the 19th century
Romantic?
On FEBRUARY 3, hear how such composers as Brahms, Berlioz,
Strauss, and Sibelius created music of emotion, adventure, and imagination.
The 20th century was music s most
explosive period of development ever.
funfact
D
uring Baroque times, each piece of
music demonstrated an affection –
a specific mood or feeling. In the
Classical period, composers often used
musical techniques to create two different
moods in one piece of music. This contrast
created balance. Which contrasting musical
ideas do you think would balance each other?
MAJOR KEY
VS.
MELODY
VS.
LONG RHYTHMS
VS.
FORTISSIMO
VS.
TRAGEDY
VS.
Modern
composers from Stravinsky, Debussy, and Bartok to
John Adams have created thrilling new worlds of sound. Come
on MARCH 24 and find out where music is heading today!
SHORT RHYTHMS
PIANISSIMO
COMEDY
MINOR KEY
ACCOMPANIMENT
The Young People’s Concerts® and Kidzone Live! are made possible with generous support from the
Rose M. Badgeley Residuary Charitable Trust, and The Theodore H. Barth Foundation.
Tune Up! is made possible by an endowment in the name of Lillian Butler Davey.