#nsoat2700f

With Lionel Bringuier (conductor) and Gil Shaham (violin)

Student Guide: NSO Open Rehearsal

Parents, Teachers, and Caregivers: We’ve Got You Covered

If you’re an adult accompanying young people to this performance and you’re new to the symphony, no problem. Maybe you’ve heard of Mozart and Stravinsky, but not this Roussel fellow… and how exactly do you pronounce Petrushka? (It’s [puh-TROOSH-kuh], by the way.) Maybe you just need a refresher on the difference between an orchestra (a group of musicians who play together on instruments like strings, woodwinds, brass, and percussion) and a symphony (a large orchestra). Here’s a crash course with the basics to help you guide and discuss today’s performance:

The National Symphony Orchestra was founded in 1931 and is an artistic affiliate of the John F. Kennedy Center for the Performing Arts. The NSO plays 150 concerts a year and works in the community to help foster music education. In this open rehearsal, you’ll see conductor Lionel Bringuier and violinist Gil Shaham perform alongside the orchestra in three works: selections from a ballet by Roussel, a violin concerto by Mozart, and a ballet by Stravinsky.

Here are a couple of relevant links to get you started:

A Parents’ Field Guide to the Symphony

The Importance of Classical Music in a Modern World

Alright, you’re ready to hear the National Symphony Orchestra.

Standards Connections

Music – Connecting (Cn.11)

-

Top Photo by Stefano Pasqualetti

Writer: Tori Friedrich

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

-

David M. Rubenstein Chairman

Deborah F. Rutter President

Mario R. Rossero Senior Vice President Education

Gianandrea Noseda Music Director National Symphony Orchestra

David M. Rubenstein is the Presenting Underwriter of the NSO.

NSO Open Rehearsals are made possible in part by the generous support of A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; and U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

School show: February 28

Teacher and Parent Guide: NSO Open Rehearsal

So, What’s Going On?

Instrumentalists sit tall, poised to play. The conductor lifts the baton and melodies float through the concert hall. Suddenly, the conductor cuts the instruments off. But why?

While attending an open rehearsal is like a concert in some ways, it’s very different in others. You’ll likely hear selections from all of the pieces the symphony plans to play at the concert, but unlike a concert, they won’t necessarily be played in order or from beginning to end. That’s because the purpose of a rehearsal is for the musicians to perfect their parts for an upcoming performance and practice as a cohesive group. You might notice that during the rehearsal, the conductor pauses to give instructions, speak to an instrument section or soloist, or even repeat part of the music. The conductor may give portions of a piece more attention than others, even leaving some portions out completely. That’s because, though there’s an audience, an open rehearsal isn’t really a performance, but a practice. It’s also an exciting way to learn about the behind-the-scenes effort that goes into a symphony performance.

During this rehearsal, conductor Lionel Bringuier (pronounced Bran-ghee-AY) will rehearse music from a program that features music by Albert Roussel (ROO-sel), Wolfgang Amadeus Mozart (MO-tzart), and Igor Stravinsky (struh-VIN-skee).

Here’s a preview…

The Spider’s Feast (symphonic fragments) was composed by Albert Roussel (1869–1937), a young French sailor who didn’t begin studying music until he was 25, when he became influenced by the work of impressionist composer Claude Debussy (deb-YOO-see).

Now if you hear “impressionism” and think of art, you’re not alone. Impressionist music was actually named for its similarities to the genre of painting known as impressionism which featured scenes from everyday life and nature. These painters captured life as if someone caught a quick glimpse of it. This “snapshot in time” was created with quick blurry strokes (instead of broad ones), lots of vibrant colors, and natural lighting. Simply put, the painter’s focus was on his or her quick “impression” of the subject as well as the object itself. And just like their artist friends, impressionistic composers set out to convey emotion and mood in a bold way.

Take a look at Claude Monet’s painting titled Impression, Sunrise. Learn more about the painting movement that inspired musical impressionism.

Now…back to music!

In 1912, Roussel wrote the music for the ballet Le Festin de l'Araignée (The Spider's Feast). Although he created the composition for the concert hall in “symphonic fragments,” he intended it to be performed as a complete work. As a ballet, it tells the story of a garden spider’s exploits and untimely death. It goes something like this:

A spider waits in a garden for its prey, while ants march across the garden, followed by two beetles. A butterfly dances the waltz, which is interrupted when it is caught in the spider’s web. Just as the spider begins its triumphant dance, an apple falls from a tree, returning the spider to its web. Two maggots bury themselves in the apple, while two praying mantises fight one another until they become tangled in the web. A mayfly hatches and dances, before collapsing, dead. The spider prepares to feast on its prey, but the beetles free one of the mantises, which kills the spider. The remaining insects give the mayfly a solemn funeral as night falls.

Listen to The Spider’s Feast and watch the accompanying imagery:

Violin Concerto No. 5 was composed by Wolfgang Amadeus Mozart (1756–1791), believed to be a musical prodigy and one of the greatest composers of all time. Mozart’s musical ability was the stuff of legends—he possessed “perfect pitch” and, even as a child, could virtually pick up any instrument and play it without lessons or instruction. In fact, he taught himself to play violin on a miniature instrument built by his father. Mozart composed everything from operas to symphonies, and concertos to chamber music. Though he didn’t live long—he died at just 35—Mozart left a lifetime of music as his legacy.

Mozart composed Violin Concerto No. 5 in 1775 at age 19. It is the fourth violin concerto he wrote in his “year of the violin.” It premiered in Salzburg, Austria, during the Christmas season and is known by the nickname The Turkish for the “exotic” accents Mozart uses in the finale. Oddly, these exotic sounds aren’t exactly Turkish. Most of the melodies are drawn from Hungarian folk songs, and one was written by Mozart many years earlier for the Hungarian ballet, Lucio Silla.

Listen to Violin Concerto No. 5 with soloist Gil Shaham (yep, the same guy from this performance) and the Schwetzinger Orchesterakademie:

Learn more about Violin Concerto No. 5 in A major.

Petrushka was composed by Igor Stravinsky (1882–1971), a Russian composer and musician whose works, including The Firebird and The Rite of Spring, are considered among the most influential of the 20th century. Stravinsky’s father was a famous opera singer, so young Igor spent many days at the St. Petersburg opera house. Still, he pursued a career in law, only giving up his legal studies after he saw success with his ballet, The Firebird. Nevertheless, Stravinsky’s music was considered controversial in his time. In fact, on the opening night of The Rite of Spring, the audience was so shocked by the music and the ballet’s choreography that there was a riot in the theater. (Really!)

Learn more about Stravinsky:

Petrushka (puh-TROOSH-kuh) was written in 1911 as a creative distraction when he was supposed to be composing The Rite of Spring. Playing around at his piano, he experimented with unusual chords, many of which were harsh and strange sounding. As hard as it is to imagine, the experiment evolved into music for Petrushka. For this ballet, Stravinsky collaborated with Alexandre Benois (ben-WAH) on the libretto (opera text) and Sergei Diaghilev (sur-GEY dee-AH-guh-lev), the Russian founder of the famous dance company Ballets Russes. The ballet was about Petrushka, a classic character from famous folktales all over the world. Known as Punch in England, Pulcinella in Italy, and Petrushka in Russia, the puppet is a trickster with a high, squeaky voice.

Stravinsky’s Petrushka draws on Russian folklore to tell the story of a puppet who comes to life and falls in love with a ballerina. Beginning in St. Petersburg’s Shrovetide Fair, Petrushka opens with three characters—a Ballerina, a Moor, and Petrushka—on a stage.

Caption: Along with co-writing the libretto with Stravinsky, Alexandre Benois worked on the set designs and costumes for Petrushka. This is his depiction of the Shrovetide Fair. (image source)

The Moor and Petrushka both love the Ballerina, but she rejects Petrushka, who becomes jealous and fights with the Moor. Petrushka is banished to his cell, which is dark and dank.

Caption: Petrushka’s Room as drawn by Benois. (image source)

The Ballerina enters, but Petrushka’s frantic movements scare her away, and he cries desperately. The scene changes to the Moor’s colorful room, where the Ballerina and the Moor are together. Petrushka, who has broken free from his cell, enters and attacks the Moor unsuccessfully.

The final scene takes the audience back to the Shrovetide Fair in the evening. The Moor chases and kills Petrushka, whose ghost later appears on the rooftop, mocking the audience and show master.

Another interesting note...

Petrushka was choreographed by Michel Fokine (fuh KEEN), the resident choreographer for Ballets Russes. Fokine created the ballet for Vaslav Nijinsky (ni-ZHIN-skee), considered one of the greatest and most original male dancers of the 20th century.

Caption: Vaslav Nijinsky as Petrushka.

Who’s Who

National Symphony Orchestra (NSO) is made up of 96 musicians who perform around 150 concerts each year. Currently in its 87th season, the NSO performs across the country, but the Kennedy Center functions as its home base. The NSO has performed at the Kennedy Center every year since the KC opened in 1971. The orchestra is committed to music education and audience engagement.

Credit: Simon Pauly

Lionel Bringuier is among the most respected and engaging conductors of his generation. After studying cello and conducting at the Paris Conservatoire (beginning at age 13), he has appeared with ensembles across the globe, including the Chicago Symphony Orchestra, London Symphony Orchestra, and Munich Philharmonic. He saw his professional premiere at age 14 and was the youngest Assistant Conductor of the Los Angeles Philharmonic. Bringuier continues to prove that classical music is for all—young people included.

Credit: Luke Ratray

Gil Shaham is a renowned musician, known for immaculate technique combined with warm emotion. He is a Grammy® Award-winner and was named Musical America’s “Instrumentalist of the Year.” Though he was born in Illinois, Shaham grew up and began his musical studies in Jerusalem, debuting as a soloist with the Jerusalem Symphony at age 10. After studying at Julliard and Columbia University, he has performed with many of the world’s premier orchestras.

Check This Out…

The Spider’s Feast (symphonic fragments) is one of Roussel’s earlier works and is heavily influenced by the impressionist style. You’ll hear music that stretches the rules of tonality (notes that “sound good” together) and has less defined sections.

Listen for…

Roussel’s unique orchestration: two flute parts (with a piccolo that doubles one flute an octave higher), two oboe parts (and one English horn that doubles an oboe part), two clarinets, bassoons, horns, trumpets, timpani, percussion, harp, celeste, and strings.

uneven rhythms that make the piece interesting.

vivid representations of the story. See if you can pick out the ants’ march, the butterfly’s graceful flying, and the mayfly’s lively dance and solemn funeral. Roussel paints a picture with the music, even without the story being staged in ballet form.

Hear Roussel “paint a musical picture” of a butterfly dancing in “Danse du Papillon” (or “Dance of the Butterfly”):

Hear the final “scene” of the piece, titled “Night falls on the solitary garden,” in which Roussel’s unusual harmony is on display:

Mozart’s Violin Concerto No. 5 has three movements (parts of the musical composition). One interesting thing about this concerto is the orchestration—the instruments Mozart chose for the work. The piece was originally scored for two oboes, two French horns, and strings (violin I, violin II, viola, cello, and bass). Here are some features to listen for in each movement:

I. Allegro aperto – Adagio – Allegro aperto

Listen for…

the opening tempo. Allegro means “brisk,” while aperto translates to “open.” Listen for the fast pace of the orchestra and its fullness.

the violin’s solo entrance. Notice the tempo change between the opening and this slow, dreamy section (marked as Adagio, or slow).

the exciting return to the Allegro aperto. In the cadenza—a solo inserted into the end of the section—the violin plays unaccompanied by the orchestra.

Hear the energetic Allegro aperto that opens the piece:

II. Adagio (E major)

Listen for…

long, beautiful melodies. This movement is regarded among Mozart’s most lovely passages.

the orchestra fade into the background as the melody features the solo violin.

Watch the first part of the Adagio:

III. Rondeau – Tempo di minuetto

Listen for…

a dance-like beginning to the movement in triple time (counted ONE-two-three, think a waltz or minuet).

an interruption. In this movement, Mozart employs a French rondo finale, which is traditionally “interrupted” by a section that is extremely contrasting. In this case, that interruption is a frenzied Allegro dance theme in duple meter (2 beats per measure… think ONE-two ONE-two, and so on). This is the “Turkish” style that gives the piece its nickname. Watch for the cellos and basses as they strike their strings with the wood of their bows to create the percussive sounds characteristic of Eastern European music.

Listen to the rondo movement. See if you can hear the difference between the opening minuet and the “Turkish” section that the piece is named for (hint: what do you hear at 3:41 in the video?):

To hear the entire concerto, check out American violinist Hilary Hahn’s take on the soloist’s part:

Stravinsky's Petruska was composed in four scenes or tableaux.

See excerpts from Petrushka played by the National Youth Orchestra of Great Britain. Watch the conductor’s facial expression and body language. How does it help the instrumentalists (and you) interpret the music?

First Tableau: The Shrovetide Fair

Listen for…

the use of Russian folk song melodies and dances.

the sound of a fuller orchestra, representing the public nature of the fair.

Listen to an example of a Russian dance included in this tableau:

Hear the entire First Tableau:

Second Tableau: Petrushka’s Room

Listen for…

a smaller “feel” to the instrumental ensemble, representing the private nature of the puppet’s room and Petrushka’s feelings. The bassoon conveys his sobs, while the trumpet’s screams accompanied by full orchestra represent Petrushka’s rage.

Watch the Second Tableau in the ballet Petrushka’s Room:

The “Petrushka chord,” a polytonal (using more than one musical key) chord that Stravinsky identified as Petrushka’s “insult to the public.” The first time it appears, the chord is played by pairs of clarinets; it is later reprised by the shrillness of trumpets as Petrushka’s emotions intensify.

Third Tableau: The Moor’s Room

Listen for…

the waltz representing the Moor and Ballerina’s dance together. Note how this Austrian dance music differs in rhythms and sound from Stravinsky’s style. This waltz is heavily borrowed from Austrian composer Joseph Lanner.

the chaotic quarrel after Petrushka escapes his cell and enters, introduced by muted trombones.

Listen to the Third Tableau:

Fourth Tableau: The Shrovetide Fair (Toward Evening)

Listen for…

the frenzy of the crowd, represented in Stravinsky’s busy instrumentation.

the moment Petrushka is killed by the Moor, noted musically with a dropped tambourine, then the dying sounds of the puppet (flute and piccolo).

the trumpets’ return as Petrushka’s voice when the puppet’s ghost reenters the stage.

Let’s hear it:

Think About This…

What do you feel is the biggest difference between attending an open rehearsal and a performance? What can you learn about the music from witnessing it in practice? Violin soloist Gil Shaham has said, “I think music has a way of capturing time.” Think of that statement in terms of what you’ve learned about the music of Albert Roussel. How did his music capture the time that he lived in France? How is the statement true in your own life? What music that you listen to or perform is symbolic of a particular time in your life?

Stravinsky changed people’s beliefs about what classical music should be or sound like—for both musicians and audiences. While his work was considered shocking during his lifetime, it is recognized today for expanding what classical music could be. Have you ever discovered music that challenged your perceptions? What was it, and how did it help you grow?

Take Action: Age Is Just a Number

Caption: Young Wolfgang Amadeus Mozart (image source)

The musicians and composers represented in this open rehearsal all have one thing in common: They each defied the probabilities for what is expected of a musician at their age. Lionel Bringuier is among the youngest modern conductors to find worldwide success; Gil Shaham was performing professionally at age 10. Stravinsky composed Petrushka before he was 30, and Mozart completed a lifetime of work before he died prematurely at 35. Roussel defied the expected in a different way. He didn’t enter the field of music until well after the age when others had already found success.

Where do you fit in? Perhaps you haven’t studied music or another type of art yet, or maybe you’re well on your way to becoming a professional artist. Either way, the examples of the composers in this rehearsal have something similar to offer: Age is just a number and it’s never too early or too late to find your passion and develop your talent. What is your passion? Perhaps you long to become a famous artist. Maybe you simply want to learn the guitar to jam with your friends. Brainstorm a plan for chasing your passion, then write it down. Share your brainstorm with a trusted friend or adult.

-

Top Photo by Stefano Pasqualetti

Writer: Tori Friedrich

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

-

David M. Rubenstein Chairman

Deborah F. Rutter President

Mario R. Rossero Senior Vice President Education

Gianandrea Noseda Music Director National Symphony Orchestra

David M. Rubenstein is the Presenting Underwriter of the NSO.

NSO Open Rehearsals are made possible in part by the generous support of A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; and U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

National Symphony Orchestra Open Rehearsal

with Steven Reineke, conductor

Student Guide: NSO Pops: Star Wars: A New Hope

Parents and Teachers: We’ve Got You Covered

Hey adults! Whether you’re a Star Wars aficionado or new to the whole world of pops music (that is, popular music or show tunes), we’re here to help. This performance is all about understanding how the music of films impacts how the viewer sees and, more importantly, experiences the movie.

There are few films that can boast a film score as popular and enduring as the movie itself, but the films in the Star Wars series are certainly among the few. Composer John Williams is a staple in American film scores, writing the music for over 100 films. He’s been nominated for over 40 Academy Awards® for his work, and is largely considered one of the most successful film composers of all time. His success has helped audiences, critics, and even directors understand how significant the score is to the entire cinematic experience, even if their work is heard and not seen.

Here are a couple of relevant links that can help you get started:

A Parents’ Field Guide to the Symphony

John Williams: Everything you need to know…

The Importance of Scoring in Films

Alright, you’re ready to hear the NSO Pops’s Open Rehearsal: Star Wars: A New Hope.

Standards Connections

Music, Theatre-Connecting (Cn11) Literacy in History/Social Sciences (RH.9) Social Studies - U.S. History, Civil Rights

-

Photo by Scott Suchman

Writer: Marcia Friedman

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

-

David M. Rubenstein is the Presenting Underwriter of the NSO.

NSO Open Rehearsals are made possible in part by the generous support of A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; and U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

Imagine a movie stripped of its music.

Maybe you’ve never considered the role music plays in film, but think for a moment. What would Indiana Jones desperately running from a boulder be without symphonic drama and rhythmic percussion to build suspense? Would Superman, without a noble brass fanfare, seem quite so heroic? Simply put: The music of movies taps into our emotions using melody, volume, and tempo, helping the viewer experience a deeper level of anticipation, joy, fear, or sadness.

Chances are, just the mention of movies like Jaws, Harry Potter, and Star Wars not only brings a particular scene to mind but will (no doubt) have you humming. The soundtracks of films like these are not only famous; they evoke an emotional response that tells you how to feel about the movie, or at least about a special cinematic moment. Film composers like John Williams, who wrote the music for these three films, help define the viewer’s understanding through sound. Let’s face it, who can forget: bah-dump…bah-dump…bah-dump…BAH-DUMP, BAH-DUMP, BAH-DUMP...BAH-DUMP…? For sure, that shark was closing in for lunch.

From the suspenseful, warning low brass of Jaws, to the mysterious fairytale sounds of the celeste in the Hedwig’s Theme from Harry Potter, to the march-like rhythms of Darth Vader’s theme, the musical soundtracks from movies shape our motion pictures experiences along with the action on the screen.

Caption: John Williams Scoring Raiders of the Lost Ark Photo from TashTish Licensed for reuse under Creative Commons

So, What’s Going On?

A film score is music that exists to specifically accompany a movie. It both supports and extends the film’s dialogue, action, and sound effects to bring to life the director’s vision for the movie, and ultimately complete the story. Though a movie-goer might not be able to tell, scoring a movie is a complicated and intricate process.

Its Own Distinct Art Form

Film scoring has evolved as its own unique art form. First, the movie’s director must decide how music should best serve the film. This includes considering style and tone, deciding which portions will include music, and where the musical cues begin and end. Often the composer is provided a rough cut of the film along with cue notes. Sometimes the director has chosen temp tracks—existing music or audio that is used in film production during the editing phase—to provide the composer with guidelines for the film score. These temp tracks give the composer a blueprint of sorts for the tempo, mood, or musical landscape the director hopes to create in each scene.

When the director has finished providing guidelines, the composer is sent off to write and orchestrate. Then, the music is recorded before editing begins. Usually, the music is edited to match the film, although sometimes the opposite may be true. Theatrical moments in the film will be synced to the musical events in the score, a mathematical process of calculations that provides a dramatic effect for the viewer.

Check out this scene from the Indiana Jones flick Raiders of the Lost Ark. Notice how the sound effects and music work together with the action to enhance the drama of the scene.

The Changing Musical Landscape

Some of the challenges of film scoring, combined with the rise of technology, have changed the face of film music. Film scores were traditionally one of the more difficult parts of film production. It was expensive to pay not only the composer but all the instrumentalists. Scores were technical—attempting to match the tempo of live music to film scenes required methodical precision, and sometimes plain old good luck. Editing music was difficult and rerecording it was expensive. Film scores had to be the last thing completed, leaving almost no room for error in the creative process.

Enter: Hans Zimmer.

Zimmer changed movie music forever by pioneering the use of computers to make music. Computerized composition was revolutionary for film scores, allowing the film director to hear the music as it was written, tweak tempos to precisely match film action, and edit the film and music concurrently, for much less money. Zimmer embraced digital composition, working with it over time and improving it as technology simultaneously improved. Because short, sharp sounds were among the first for computer generated music to perfect (think percussion and staccato brass or strings), the “Zimmer Sound” is that of percussive, rhythmic, heavy brass. It’s more of a landscape of sound—texture rather than melodies and harmonies. Truth be told, most film scores are written with composition software today. And while some go on to be rerecorded with a live orchestra, many don’t.

The capabilities of today’s technology are once again revolutionizing how music is created. The future of music is, according to Amper Music, a collaboration between humans and artificial intelligence (AI). Amper is an all-in-one performer, composer, and producer for songs, apps, films, and videos. With Amper’s software, an artist simply selects a mood, style, and length of the music desired for a composition. The software responds with a preliminary composition, and the artist can use built-in functions to modify variables like tempo, instrumentation, and even melody. The result is a unique, fine-tuned soundtrack customized to the exact needs of the user.

Watch what the AI company Amper Music, Inc. says about the future of music:

Though technology has cemented a place in film scoring, the use and impact of music remains unchanged. Music in the movies conveys what a movie is trying to say without words and conjures an emotional response even the most inspired dialogue cannot.

Who’s Who

John Williams is one of the most accomplished and prolific film composers of all time. Beginning as a concert and jazz pianist, Williams literally played his way into Hollywood studios, at first as a way to pay the bills. Williams found work as a piano accompanist for television series in the 1950s and 60s, which eventually led to work arranging and orchestrating TV scores, then composing for television. Finally, Williams found work composing for major motion pictures, beginning with suspense and disaster movies, ultimately becoming a fixture on the landscape of American film and creating some of the most well-loved soundtracks of all time.

Williams first teamed up with Steven Spielberg in The Sugarland Express, and then the duo became a power team with the blockbuster Jaws. Williams went on to score all but three of Spielberg’s films. In fact, it was Spielberg who recommended Williams to his friend George Lucas, director of Star Wars. Lucas originally intended to use existing classical music, but Williams took Lucas’s saga about an epic space battle and provided the new music that propelled the series into the fabric of American pop culture.

The music of Star Wars weaves together the emotional high and low of the film series, helping viewers feel the movie.

Photo from Chris Devers Licensed for reuse under Creative Commons

NSO Pops conductor Steven Reineke calls Williams “a living legend” and “the finest film composer living today.” Williams bridges what critics often call the Golden Age of Hollywood, a time when film composers set movies to classical symphonic music, with the modern. While many contemporary films feature pop or synthesized electronic scores, Williams has been nominated for 41 Oscars®, nearly all with orchestral scores. From Jurassic Park to Harry Potter, to, of course, Star Wars, Williams’s impact on American film is deep and wide and Williams’s music has become virtually as famous as the films themselves.

Listen to a mashup of just some of the music of John Williams:

In addition to his more classical European orchestral sound, the music of John Williams features trademarks that even novice listeners can detect. His music includes heavy use of leitmotif, (pronounced LIGHT-moh-teef), a musical term for a recurring musical phrase (melody, chord progression, or rhythm) that is memorable to the listener, often called a motif for short. Think back to Jaws. The bah-dump…bah-dump is a two note motif that helps the viewer anticipate the danger of the approaching shark more intensely.

Like nearly all of his scores, Williams employed leitmotif heavily in Star Wars. He linked each of the main characters of the film with a motif and used instrumentation—the way the instruments are arranged to play the music—to clue the audience into subtler features of the film. For example, low brass instruments often introduce the Death Star while an energetic trumpet serves as a symbol of the heroic in the most well-known theme of the movie.

Listen to the most famous themes (or motifs) used in Star Wars: A New Hope:

(Watch beginning through 4:00)

National Symphony Orchestra is made up of 96 musicians who perform around 150 classical and popular concerts each year. The NSO is performing in its 86th season. In a way, the Kennedy Center is its home—the NSO has performed at the Kennedy Center every year since the Center opened in 1971. The orchestra is committed to music education and audience engagement. While NSO concerts typically present more traditional, classical music for orchestra, Pops concerts usually feature popular music, from classic pop standards to Broadway classics and to modern-day hits.

Photo from Scott Suchman

Steven Reineke is the conductor of The New York Pops at Carnegie Hall and Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts. Reineke has collaborated with leading artists from Kendrick Lamar to Ben Folds, and created more than 100 Pops orchestral arrangements, performed all over the world.

Check This Out…

We mentioned earlier that composer John Williams wrote a leitmotif for each of the main characters. Once a motif is associated with a character or idea, it helps the composer convey subtle shades of meaning about a scene—when it plays, its arrangement, and its timing give you clues about what a composer wants you to know or feel about the scene. Listen for these clues at important moments for each of the main characters in the film. What instruments do you hear associated with each character? How do the motifs train you as an audience member to attach feelings or ideas to each of the characters?

Soundtracks aren’t the only way that films use sound. Sound designers use sound effects to bring stories to life. What sounds does A New Hope sound designer Ben Burtt incorporate, and what are their effect? For more on Burtt, …visit The Music of Sound: Ben Burtt: The Sounds of Star Wars

Williams drew inspiration from classical composers for many of his motifs. Listen for the eerie music that occurs when C-3PO and R2-D2 are stranded on the desert planet Tatooine. What does the music foreshadow?

Now listen to the portion of Igor Stravinsky’s “The Rite of Spring” beginning at 15:55.

Sound familiar? Though the context may be different, just as the music in A New Hope signals danger, so it does in Stravinsky’s masterpiece.

Think About This…

Did you know Williams isn’t the only composer to use motifs to introduce and symbolize characters? The term leitmotif was first applied to the operas of Richard Wagner to describe a recurring melody associated with a character, place, emotion, or idea. And much more recently, composer Lin Manuel Miranda used a musical motif for each of the major characters in his hit musical Hamilton: An American Musical. If you were a character in an opera, show, or film, what would your leitmotif sound like?

Film music often pulls from music of various genres and even older films. For example, in Star Wars, John Williams pulled from classical composers like Stravinsky and Holst, but also from old Western movie soundtracks. Why might one composer draw inspiration from another’s music? What impact do you think this has on the listener’s experience?

Ok, so you get the point: Film scoring is really important to a movie’s meaning. To totally understand this, try experiencing the effect of music on a scene’s tone and mood in this clip:

Take Action: Give Temp Track a Try

Directors often use temp track guidelines for the desired tempo, mood, or overall direction of the music for a scene. Try your hand at creating a temp track—it’s not nearly as difficult as you think! First, choose a scene from your favorite movie. YouTube is great for finding exactly what you’re looking for. Next, mute the scene and think about what music you would use to convey the mood of the scene. Consider the actions, events, and emotions that occur in the scene. Now comes the fun part. Maybe you already have a song in mind, but if not, visit sites like freemusicarchive.org to see if you can find music that “fits” the scene. If you’re a musician, you might even try composing something yourself. You can stop there or use audio/video software to put it all together.

If you feel like sharing (and you used music that can be legally shared), post your video to Facebook, Instagram, Twitter, Tumblr, Snapchat, or any other platform. Tag five friends and ask them to share how music in movies impacts them as a viewer. Use #temptrack as your hashtag.

Caption: NSO Violins by Carol Pratt

Explore More

Go even deeper with the NSO Open Rehearsal Extras.

-

Writer: Marcia Friedman

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

-

David M. Rubenstein is the Presenting Underwriter of the NSO.

NSO Open Rehearsals are made possible in part by the generous support of A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; and U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

Welcome to the KC Concert Hall

The largest performance space in the Kennedy Center seats 2,465 people. Originally opened in 1971, this state-of-the-art facility, features a high-tech acoustical canopy, a variety of seating sections (onstage boxes, chorister seats, and parterre seats), and seven famous Hadeland crystal chandeliers, a gift from Norway. Last but not least, behind the stage is you will see the organ, a generous gift by Kennedy Center Chairman David M. Rubenstein, given on the occasion of the 40th anniversary of the Kennedy Center and the 80th anniversary of the NSO.

Get a 360 degree view of the KC Concert Hall.

The Rubenstein Family Organ in the Concert Hall

Created by Casavant Freres of St-Hyacinthe, Quebec, the Rubenstein Family Organ has enough scale and heft to meet the orchestral demands for which the instrument is most needed—for those frequencies so slow they are just felt, and the sparkling brilliance the organ can offer above the frequencies the NSO can produce.