Attending the Open RehearsalAttending 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-and-Answer session. Have your questions ready for them.

Meet Christoph esChenbaChHe’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 nsoThe 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

national syMphony orChestra

Open Rehearsal and Question-and-Answer Session

Christoph Eschenbach, conductorRay Chen, violin

Adriana Horne, harp

David M. Rubenstein Chairman

Deborah F. Rutter President

Mario R. Rossero Senior Vice President, Education

Christoph EschenbachMusic DirectorNational 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.

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.

Photo by ChristoPh EsChEnbaCh by sCott suChman

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About the Open RehearsalSymphony 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 different emotions expressed in each of the symphony’s four distinct movements.

n contrasting shifts in tempo and dynamics (whether the music is loud or quiet); the music moves quickly between pianissimo (pee-ah-NEE-see-moh) or very quiet, and crescendo (kreh-SHEN-doh) or a gradual increase in volume and intensity.

n 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.

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).

the ConCert prograMSymphony 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.

Listen for the…

n frequent and abrupt changing of keys, a very un-Classical technique that occurs almost immediately and continues throughout the piece.

n examples of more classical techniques, such as contrasting shifts in tempo or speed.

n finale’s energetic, humorous twists and turns that create a sense of merriment.

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.

Listen for the…

n complex conversations between the harp and solo violin; the instruments mirror, overlap, and echo one another, creating unique harmonies and textures.

n vigorous start of the second movement, when the orchestra imitates the sound of bagpipes and accompanies the solo violin in a spirited dance tune.

n resemblance between the sound of the violin and the human voice, particularly in the haunting third movement when it “sings” the folk melody.

Meet the MusiCiansThe 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.

Phot

o by

Julia

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Phot

o by

sCo

tt s

uChm

an

Adriana Horne

Ray Chen

About the Open RehearsalSymphony 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 different emotions expressed in each of the symphony’s four distinct movements.

n contrasting shifts in tempo and dynamics (whether the music is loud or quiet); the music moves quickly between pianissimo (pee-ah-NEE-see-moh) or very quiet, and crescendo (kreh-SHEN-doh) or a gradual increase in volume and intensity.

n 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.

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).

the ConCert prograMSymphony 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.

Listen for the…

n frequent and abrupt changing of keys, a very un-Classical technique that occurs almost immediately and continues throughout the piece.

n examples of more classical techniques, such as contrasting shifts in tempo or speed.

n finale’s energetic, humorous twists and turns that create a sense of merriment.

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.

Listen for the…

n complex conversations between the harp and solo violin; the instruments mirror, overlap, and echo one another, creating unique harmonies and textures.

n vigorous start of the second movement, when the orchestra imitates the sound of bagpipes and accompanies the solo violin in a spirited dance tune.

n resemblance between the sound of the violin and the human voice, particularly in the haunting third movement when it “sings” the folk melody.

Meet the MusiCiansThe 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.

Phot

o by

Julia

n ha

rgrE

avEs

Phot

o by

sCo

tt s

uChm

an

Adriana Horne

Ray Chen

Attending the Open RehearsalAttending 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-and-Answer session. Have your questions ready for them.

Meet Christoph esChenbaChHe’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 nsoThe 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

national syMphony orChestra

Open Rehearsal and Question-and-Answer Session

Christoph Eschenbach, conductorRay Chen, violin

Adriana Horne, harp

David M. Rubenstein Chairman

Deborah F. Rutter President

Mario R. Rossero Senior Vice President, Education

Christoph EschenbachMusic DirectorNational 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.

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.

Photo by ChristoPh EsChEnbaCh by sCott suChman

Cuesheet P

er

fo

rm

an

Ce G

uid

e