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2016 YPC Study Guide
Compiled by Anna M. Leppert-Largent. February 2016.
2016 Young People’s Concert:
Around the World with the SBSO
Saginaw Bay Symphony Orchestra
I am so glad that you made the commitment to bring your students to the
10th Annual Young People’s Concert on Friday, March 18, at the Temple
Theatre. You, your students and Saginaw Bay Symphony Orchestra are
going to have a wonderful time exploring the dances from different
countries with Auditioning Conductor Andrés Franco as our tour guide.
This is a special opportunity for your students to experience the Saginaw
Bay Symphony Orchestra LIVE! in concert. There is nothing quite like
hearing music live in a glorious venue such as the Temple Theatre. This
concert will be an experience that your students will remember for a
Please find information and hyperlinks that can provide you with
information that can help your students gain some knowledge about the
music prior to and after coming to the Temple Theatre.
I have provided you with both WORD and a pdf documents. And . . . feel
free to use what you want without worry of copyright infringement from me
or the SBSO.
The SBSO is able to bring this concert to you and your students at no cost
due to the generosity of our underwriters: Impact Saginaw and The
Morley Foundation. Many thanks for their continued support of bringing
music to the youth of the Great Lakes Bay Region.
Enjoy the concert!
Anna Leppert-Largent
SBSO Director of Education
Audience Behavior Expectations
The Saginaw Bay Symphony Orchestra and the Temple Theatre staff want all students
to have an enjoyable experience during their visit. This will help them associate
attending a concert as a positive, exciting event.
Here are some suggestions for proper conduct when attending a concert:
 Speak quietly before the performance.
 Be silent during the performance—no whispering to neighbors.
 Sit-up straight and listen closely – the presenter is on stage especially for you!
 Clap and participate only at appropriate times.
 If an adult tells you to do something, listen!
We would also like the students to take an active role in listening to and observing the
event. The performers are here to connect with the students; the only way to make this
happen is for students to actively observe the performance.
Friday, March 18, 2016 at 12:00 noon
Temple Theatre, Saginaw, Michigan
Andrés Franco, auditioning conductor
“Around the World with the SBSO”
2016 Young People’s Concert
Rodeo: Hoe Down
Dances of Galánta
The Gypsy Baron: Overture
Concert Românesc
Carmen Suite No. 1
L’Arlesienne: Farandole
Aquarela do Brasil
6. Allegro vivace (beginning in m. 443 to end)
2. Allegro vivace
4. Molto vivace
2. Aragonaise
6. Les Toréadors
 
Saginaw Bay Symphony Orchestra
Photo courtesy of Jenn Englehardt
The SBSO was created as a project of the Saginaw Department of Parks and
Recreation in 1935 and has performed an annual concert series ever since. It was
incorporated as a separate non-profit corporation in 1953.
The Orchestra is a fully professional ensemble which draws its members from
throughout Michigan. In addition to its classical concerts, the Orchestra has produced a
wide variety of chamber, pops, educational and historical concerts, as well as opera,
ballet and modern dance.
Now in its 80th season, the SBSO has established a proud legacy of superb
musicianship, innovative programs and comprehensive educational experiences for the
residents of Great Lakes Bay Region. Traditionally, the music selections for each
season combine and contrast challenging signature orchestral works with the best
twentieth-century and more contemporary pieces. World premiers by regional
composers have been featured most seasons.
The mission of the Saginaw Bay Symphony Orchestra is to advance the appreciation of
orchestral music to our diverse audiences through high quality performances and
innovative educational programs.
Auditioning Conductor
Recently named Music Director of the Signature Symphony at TCC and Assistant
Conductor of the Pittsburgh Symphony Orchestra, Andrés Franco has established himself
as a conductor to watch.
Mr. Franco’s 2014-15 highlights included subscription debuts with the Columbus and Fort
Worth symphony orchestras, as well as return engagements with the Houston and Saint
Louis symphonies. In 2015-16, he will make debuts with the Chicago Sinfonietta, Grant
Park Orchestra, OK Mozart Festival, and Saginaw Bay Symphony Orchestra, and will return
to conduct the Corpus Christi and Fort Worth symphony orchestras.
A frequent guest conductor in the U.S., Europe, and South America, Andrés Franco has
appeared with the Elgin, El Paso, Eugene, Lake Forest, Mississippi, Springfield, and
Stockton symphony orchestras, the Orquesta Sinfónica de Castilla y León/Spain, the
National Symphony Orchestra/Peru, as well as with the National Symphony, Bogotá
Philharmonic, Medellin Philharmonic, and EAFIT Symphony Orchestra in Colombia.
Festival appearances include the Cabrillo Festival of Contemporary Music, the Oregon
Bach Festival, and the Wintergreen Music Festival in Virginia.
Mr. Franco formerly served as Music Director of the Philharmonia of Kansas City (20042010), as Associate and Resident Conductor of the Fort Worth Symphony Orchestra (20092014), and as Leonard Slatkin’s Assistant Conductor during the 14th Van Cliburn
International Piano Competition (2013).
A native of Colombia, Andrés Franco is dedicated to preserving and performing the music of
the Americas. As Principal Conductor of Caminos del Inka, he has led many performances
of Latin American music by composers of our time, such as Jimmy López, Gabriela Frank,
and the popular Argentine composer, Astor Piazzolla.
Born into a musical family, Andrés Franco began piano studies with his father, Jorge
Franco. An accomplished pianist, he studied with Van Cliburn Gold Medalist Jose Feghali
and attended piano workshops with Rudolph Buchbinder in Switzerland and Lev Naumov in
France. He studied conducting with Marin Alsop, Miguel Harth-Bedoya, Kurt Masur, Gustav
Meier, Helmut Rilling, Gerard Schwarz and Leonard Slatkin.
Mr. Franco holds a bachelor’s degree in Piano Performance from the Pontificia Universidad
Javeriana in Bogotá, Colombia, as well as master of music degrees in Piano Performance
and Conducting from Texas Christian University.
Andrés Franco is married to Victoria Luperi, Principal Clarinetist in the Fort Worth
Symphony Orchestra.
Composers and Their Music
AARON COPLAND (1900-1990)
Time Period:
20th Century
Based on William H. Stepp’s fiddling tune Bonaparte’s Retreat
Information and Listening Guide with video performance
ZOLTÁN KODÁLY (1882-1967)
Time Period:
Late Romantic into 20th Century
Program notes
JOHANN STRAUSS JR. (1825-1899)
Time Period:
Program notes
Information about the operetta
GYÖRGY LIGETI (1923-2006)
Time Period:
20th Century
Program Notes:
About Composing the Piece:
GEORGES BIZET (1838-1875)
Time Period:
CARMEN (program notes)
CARMEN—Aragonaise video:
CARMEN—Les Toreadors video:
FARANDOLE (listening guide)
ARY BARROSO (1903-1964)
Time Period:
20th Century
Video (There are lots of arrangements—different instrumentation; some with vocals.
Not certain which version Mr. Franco will use, but here is a short one!)
The Temple Theatre
The year was 1926 and Saginaw, Michigan was without a concert hall after the beautiful
Conservatory of Music burned. The City was growing, and the Elf Khurafeh Shrine was
planning to build a Temple and move from the Masonic Lodge building across the street
to the proposed site. At this same time Colonel W. S. Butterfield, head of the Butterfield
Theatre chain, was looking to build a flagship theatre for his chain in Saginaw. When
the Colonel met the Shrine who planned to build an auditorium as part of their temple,
the die was cast. Collaboration was formed with the Shrine and Butterfield who agreed
to furnish and lease the theatre for 30 years.
Architects Osgood and Osgood of Grand Rapids, Michigan, were hired to design the
new structure and to include the latest in technology. Notable among the features of the
building are fireproof construction, geo-thermal cooling of the auditorium, spectacular
acoustics and state of the art stage rigging and dimming systems for the lights.
Henry C. Webber Construction Company of Bay City, Michigan, was the successful
bidder and contracted to construct the facility. There were only six months from the
breaking of ground until the Butterfield Company began to install the theatre equipment.
This is a remarkable accomplishment in that day. The structure and furnishings were
completed, and a grand opening was held on July 28, 1927.
The programming of the theatre was a combination of live vaudeville acts and a
photoplay, commonly called a silent movie. A ten-piece orchestra under the direction of
Joe Abbenante played live accompaniments to these attractions. The theatre was also
equipped with one of the 12 Butterfield Special Barton Pipe Organs--#195 built
specifically for this theatre. The organ remains and is preserved in original playing
condition. The instrument continues to be played prior to many events held in the
As time passed the theatre experienced a decline in the interest of vaudeville, patrons
tastes were changing to the sounds of big band, wide screen motion pictures and live
national appearances. The Temple was quick to supply the community with the
entertainment it was yearning for. However, the theatre encountered competition as
newer more modern facilities opened.
Several individuals tried to revive the facility but despite their efforts, the Temple was
weakening at her 75th birthday experiencing a failing boiler system (from 1927) which
had burst pipes and many leaks. The roof was deteriorating with water leaking through
the ceiling and damaging plasterwork in the theatre, destroying walls and the domed
ceiling, and crumbling plaster appeared along the stairways. Seats on the main level
were chipped and torn, all of the carpet was worn, and the electrical system (from 1927)
was overloaded and not large enough to handle the amount of electricity required to
operate the theatre. Without heat in the building, one more winter would have drained
the Temple of its lifeblood.
The theatre, now known as the “Showplace of Northeastern Michigan,” was now facing
demolition. In 2002, the family of Dr. Samuel Shaheen purchased the Temple Theatre
and the adjoining three-story building which contains a grand ballroom, Premier Room,
Leopard Lounge and a commercial kitchen. After an investment of more than seven
million dollars the “Showplace of Northeastern Michigan” has been returned to her
original glory.
The Temple celebrated her 80th anniversary, showcasing the original colors and
textures applied in 1927. Gold leafing and hand-painted details throughout the entire
building add grandeur and intrigue while restoring the Theatre’s much deserved
elegance. Since the renovation the Temple has hosted many national artists/shows
including: B.B. King, Jewel, Garrison Keillor, Anita Baker, Menopause the Musical, Dora
the Explorer, Jose Feliciano and George Carlin. It is the home of the Saginaw Bay
Symphony Orchestra, the Saginaw Choral Society, the Saginaw Valley Concert
Association, and the Temple Theatre Organ Club.
The Words: Orchestra and Symphony
Of what do you think when you hear the word orchestra?
If you are like most people, your answer would be “A group of people playing
different instruments with the string instruments as an important element.”
Now, how about the word symphony?
A group of people playing different instruments, with strings as an important
element?? Maybe . . .
1. The words orchestra and symphony are NOT synonyms, i.e., they do not mean
the same thing nor are they interchangeable!
2. definitions
a. Orchestra: a group of performers on various musical instruments,
[including families (groups) of strings, woodwinds, brass and percussion],
for playing music, such as symphonies, operas, popular music, and
[movie background music.]
b. Symphony: a three- or four-movement (section) musical piece played by
an orchestra.
3. TRIVIA—it is very likely that during the next 25-50 years, these words WILL
become synonyms do to usage!!!)
What is an Orchestra?
An orchestra is an instrumental ensemble, usually fairly large with string, brass,
woodwind sections, and possibly a percussion section as well. The term orchestra
derives from the name for the area in front of an ancient Greek stage reserved for the
Greek chorus. The orchestra grew by accretion throughout the eighteenth and
nineteenth centuries, but changed very little in composition during the course of the
twentieth century.
A smaller orchestra (of about fifty players or fewer) is called a chamber
A full-size orchestra (between 70 to 100 players) may sometimes be called a
"symphony orchestra" or "philharmonic orchestra." These prefixes do not
necessarily indicate any strict difference in either the instrumental constitution or role of
the orchestra, but can be useful to distinguish different ensembles based in the same
city (for instance, the London Symphony Orchestra and the London Philharmonic
Instruments of the Orchestra
>> Britten’s The Young Person’s Guide to the Orchestra
Listening Guide for The Young Person’s Guide . . .
Online Videos of Musical Instruments
>> From The Enjoyment of Music, Edition 10
Lots of FUN stuff here. There are audios, photos labeled with parts of the violin, closeups of the pegboard, bridges, and fingering charts. Even talks about the electric
versions! Good external links too.
Similar to VIOLIN site. Good audio clips.
Similar to previous 2 sites. Goes into various sizes of instrument (the smaller ones
made for youngsters! To full-size) and compares them. Lots of audio links and external
resource links.
Similar to other sites. Emphasis on bow types and construction. Good photo of gut
Physics: A Simple Introduction to the Vibrations in Strings
Physics: How Do Woodwinds Work?
Lots (almost too many) of details
French Horn
Brass Instrument Acoustics: An Introduction
This is a site that links you to almost any other percussion instrument!
Ideas for Classroom Activities
PRIOR to Concert
Before the concert, discuss with your students what they are about to see. Walk them
through the experience of entering the theatre, being seated by ushers, watching the
program, and having a reaction of what they are about to see and hear. Since music is
an auditory experience and a concert is the witnessing of music being performed, your
class will enjoy some of these activities
1. Learn the names and spelling of the instruments and what produces the sound in
Strings: the sound is made by bowing, plucking, or slapping the strings to make
the sounds of the violin, viola, cello and the double bass
Woodwinds: the sound is produced by a reed vibrating at the end of an
instrument like the clarinet, oboe and bassoon. The sound of the flute is made by
the wind cutting over both sides of the mouthpiece.
Brass: the player’s lips vibrating at the end of a horn like the French horn,
trumpet, trombone and tuba.
Percussion: the sound is produced by striking or shaking the instrument such as
timpani, drums, cymbals, marimba, xylophone and triangles. (PA & S)
2. Ask if anyone in the class has heard orchestra music before and what kinds of
feelings did they have as they listened? (LS)
3. Ask if anyone has heard the Saginaw Bay Symphony Orchestra perform? What
was it like? (PA)
4. In small groups, have the students talk about what they might hear, what kind of
instruments may be used or what expectations they have formed based on the
current information. (PA)
5. Ask each child which instrument s/he likes the best? Is it the way it sounds? The
way it looks? Or . . .??
a. Have him/her write a paragraph about it. (LS)
b. Have him/her prepare a short speech to share with the class. (LS)
c. Have /him/her draw, sculpt, or . . . a detailed view of the instrument. (PA)
6. Play a recording of individual instruments. Have the class decide which
instrument is playing and what was producing the sound: vibrating strings, lips,
mallets, vibrating reeds, etc. (PA & S)
7. Have your students write three or four paragraphs about a concert they have
attended before. This could be as simple as a school choral or band concert or
as big as a concert held at a stadium. Have them describe the venue, the
performers and their feelings about the performance. (LA)
8. Ask the students if they have attended an event at the Temple Theatre. Have
them share their experience with the class. What did it look like? How are the
seats arranged? What was on the stage? Were there curtains?
Concert Activities
Upon arrival at the theatre and before the program actually begins, there is generally a
down time. This is a great time to re-enforce theatre etiquette as well as what they are
about to learn and experience. We suggest the following activities to keep your students
focused on the performance and enjoying the Temple Theatre experience.
1. Ask if anyone in the class recalls what they should be doing once the
performance starts? (LS)
2. Ask if anyone can find the American flag? The organ console? Etc.?
3. As members of the Orchestra are seated, ask what instrument(s) they see and
guess whether the sound will be high or low. As the musicians begin to warm-up,
confirm if the sound is mostly high or low.
4. Ask if anyone knows to which family of instruments those on upstage platform
belong? (Percussion) Can anyone name some of them?
Post-Concert Activities
Once, you have returned to the classroom after the performance, you are able to
explore additional activities. Here are several opportunities to continue learning about
the Saginaw Bay Symphony Orchestra, American music and the instruments of the
1. A Classroom Orchestra: Write the name of each instrument in the orchestra on a
piece paper and place them in a bowl. Be sure to have sufficient instruments for
you classroom count. (Remember that there are more string instruments in an
orchestra, so having two or three violins to one flute would work.) Have each
student draw from the bowl. Have the student “make” his/her instrument: draw,
sculpt, etc., as well as prepare a short report about how that instrument produces
sound. Have students make presentations to the class. (PA, S, LA)
2. Have your students write a piece of music. Depending on their skill level, they
could either write the music or improvise as they play. Have them perform it for
their classmates. (PA)
3. What is the one concept or idea that your students took with them from the
performance? If they are musicians, how will it effect their performing? (PA)
4. Ask students to write a short poem inspired by one of the pieces of music they
heard. (LA)
5. Have the student select a type of musician s/he would like to be. Why is that
appealing to each one? Have them role play this musician. (LA)
6. Ask students to write a short story, describing what their typical day might be like
as if they were a professional musician. (LA)
7. Ask students to compare and contrast two different pieces music from the
concert. (LA)
8. Music often tells stories. Ask students to pick a piece of instrumental music and
write a story to go along with the music. (LA)
9. Have your students pretend they are entertainment reviewers (critics) and have
them write a critique of the performance. Make sure they are discussing what
they liked and didn’t like and telling why they feel that way. Feel free to forward
these on to the Temple Theatre. (LA)
10. Ask students to draw, paint, or sculpt their favorite piece of music from the
performance. (MC/PA)
11. Many artists have been influenced by musicians or have used music or
musicians as a theme in their art. Have your students do some research and
bring in pieces of art that depict music or were influenced by music. Have them
discuss the story behind them. (H/PA/SS)
12. Select an instrument from the orchestra. What was its origin? How did it evolve to
modern day instrument? (H)
13. What were some of occasions or reasons the music we are hearing was written?
How or where did people hear music in the past? (H/SS/MC)
14. How did music serve different purposes than it does today? What was
considered popular music in different eras? Why do you think people listened to
that style of music then and our style of music now? (PA/H)
15. Have your students do a cultural timeline for what was happening during the time
period of one of the featured composers. Have them research the types of art,
fashion, dance and theatre that were popular during that time. How were all of
the arts influenced by each other? (H/SS/MC)
16. Study the different types of music that have been popular in different eras in the
U.S. Why did it become popular and what was going on in the United States at
that time period that may have influenced the music styles? (PA/H)
17. Some of the music performed today was written long ago. How was the world
different in that time period? What were some of the common geographic,
political and philosophical principles behind their thoughts back then? Discuss
ideas that were different then and how our modern thoughts have evolved into
our current thoughts and beliefs. (H/SS/MC/PA)
18. During the concert, individual musicians will play solos. Each solo is featured
while the rest of the orchestra accompanies the performance. Discuss the
difference between the SOLO part and the ACCOMPANYING part. (PA)
19. Borrow an instrument and have the class examine it carefully to see how the
sound is produced and controlled by the musician. (S & PA)
20. Have a student who plays an instrument bring it to class and demonstrate how it
is played. (PA)
21. Contrast the experience of listening to music from a recording to hearing it at a
live concert. How does seeing the performer change the experience?
22. Write a brief description of your trip to the Temple Theatre and your feelings
about live music performance. What was the most fun about your experience?
Did you learn anything new? (LA/H/LS)
Learning Links Key
Language Arts
Life Skills
Performing Arts
Physical Education
Social Studies
Music Vocabulary
baton: a wand used by a conductor
bow: a rod having horsehair drawn tightly between its two raised ends, used in playing
instruments of the string family.
composer: a person who writes (composes) music
composition: a piece of music
concertmaster: the leader of the first violins in a symphony orchestra, who is usually
also the assistant to the conductor.
conductor: a person who, by means of gestures, leads performances of musical
ensembles, especially orchestra, bands, or choruses
double reed: of or pertaining to wind instruments producing sounds through two reeds
fastened and beating together, as the oboe and bassoon.
downbeat: first beat of the measure, the strongest in any meter.
dynamics: element of musical expression relating to the degree of loudness or
softness, or volume, of a sound.
form: the structure or shape of a musical work, based on repetition, contrast, and
variation; the organizing principle in music.
forte: the Italian term for "loud," indicated in the musical score by the marking "f."
genre: General term describing the standard category and overall character of a work.
harmony: the simultaneous combination of notes and the ensuing relationships of
intervals and chords. Not all music of the world relies on harmony for interest, but it is
central to most Western music.
mallet: a light drumstick with a rounded head that is used to strike such percussion
instruments as chimes, kettledrums, marimbas, glockenspiels, etc.
melody: succession of single tones or pitches perceived by the mind as a unit.
meter: the rhythmic element as measured by division into parts of equal time value.
performance: a musical, dramatic, or other entertainment presented before an
piano: the Italian term for "soft," indicated in the musical score by the marking "p."
rehearsal: a session of exercise, drill, or practice, usually private, in preparation for a
public performance, ceremony, etc.
rhythm: the controlled movement of music in time.
scale: a series of tones or pitches in ascending or descending order. Scale tones are
often assigned numbers (1–8) or syllables (do-re-mi-fa-sol-la-ti-do).
slide: the U-shaped tubular section of the trombone that can be pushed in or out to alter
the length of the air column and change the pitch.
steady beat: regular pulsation.
tempo: rate of speed or pace of music. Tempo markings are traditionally given in
texture: the interweaving of melodic (horizontal) and harmonic (vertical) elements in the
musical fabric.
theme: melodic idea used as a basic building block in the construction of a composition.
tonality: principle of organization around a tonic, or home, pitch, based on a major or
minor scale.
valve: a device in a brass wind instrument for varying the length of the air column to
alter the pitch of a tone.
venue: the scene or locale of a performance.
Saginaw Bay Youth Orchestra 2015-2016*
Temple Theatre, 201 N. Washington Ave., Saginaw 48607
Great Lakes Bay Region’s only youth orchestra for advanced string, woodwind, brass, &
percussion players. Audition required.
The SBYO meets on Sundays from 2 to 5 at the Temple Theatre.
Session 3
March 13 to March 20; April 3 to May 15
Concerts are held on the last day of session.
Generous need-based scholarships are available through application with support from Optimist Club of
Saginaw and Saginaw Tuesday Musicale. Tuition Assistance Form can be found at
*Call for information about scheduling an audition time.
March 19—8 PM
From Central Europe
Andrés Franco, auditioning conductor
Music by Strauss, Ligeti, Kodaly and Brahms
April 21
100 Men Who Cook
Apple Mountain
May 7—8 PM
A Knight of Romance
Laura Jackson, auditioning conductor
Music by Brahms, Tian, and Strauss
May 15—3 PM
Saginaw Bay YOUTH Orchestra
Roderick Bieber and James Hargett, conductors
SBSO Board of Directors
 Michael Brush, President  Samuel Tilmon, Vice President/Treasurer 
 Carlos Ramet, Secretary  Floyd P. Kloc, President Past President 
Andrea Alexander, Karen Andon, Donald Carlyon, Paul C. Chaffee, Michael Elliott,
John Markey, Arlene Maul, Linda P. McGee, Lou Ognisanti,
Larry Robinson, Katie Sunderman, Anthony Taylor
SBSO Administration
Dan McGee, Chief Executive Officer
Kristina Kukla, Marketing Coordinator
Anna Leppert-Largent, Production Manager/Director of Education
Gregg Emerson Powell, Orchestra Personnel Agent
David P. Rupp, Volunteer Financial Manager
Don Belcher, Librarian
Roderick J. Bieber & James Hargett, Youth Orchestra Conductors
201 N. Washington Ave., Saginaw, Michigan 48607
989-755-6471  989-755-1420 FAX