Music by
Lorenzo Palomo
philharmonic kids
Thursday, May 8, 2014 at 9:30 and 11 am
table of contents
Welcome to Philharmonic Kids . . . . . . . . . . . . . . 4
Notes on Theatre Etiquette
What you’ll see and hear . . . . . . . . . . . . . . . . . . . 5
The Sneetches by Dr. Seuss
About the artists. . . . . . . . . . . . . . . . . . . . . . . . . . 6
About orchestras . . . . . . . . . . . . . . . . . . . . . . . . 10
The Sneetches. . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Learning Activities. . . . . . . . . . . . . . . . . . . . . . . . 16
Connections to Colorado State Standards. . . . . . 17
philharmonic kids sponsors
T. Rowe Price
The John G. Duncan
LexisNexis Cares
The Hester and
Foundation Charitable Trust
Board
Edwin Giddings
Kirkpatrick Family
The P. Bruce and
Foundation
Fund
Virginia C. Benson
BBVA Compass
Target
Foundation
thanks to participating
employee volunteers
Deluxe Corporation
Foundation
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Welcome to Philharmonic Kids!
On May 8, 2014, the Colorado Springs
Philharmonic performs the classic story of
Dr. Seuss’ The Sneetches at the Pikes Peak
Center for the Philharmonic Kids 2014
spring concert.
This new symphonic production breathes
musical life into a cautious tale about
discrimination, and teaches valuable lessons
about friendship and community.
With original music by Lorenzo Palomo, one
of Spain’s most successful contemporary
composers, the production includes a full
orchestra, narrator, and images projected
above the stage.
Philharmonic Kids is based on the belief
that an engaging music experience can
encourage a student to appreciate, learn,
and participate in the arts. The materials
provided in this study guide are meant
to engage students and enrich their
Philharmonic field trip.
In preparation for the concert, I encourage
you to review and share the materials in this
study guide with your students.
At the performance, students can actively
participat by:
•Listening carefully to the melodies,
harmonies, and rhythms
•Observing how the musicians work
together as an ensemble under the
leadership of the conductor
•Thinking about the way music can
tell a story by expressing different ideas,
emotions, and characters
•Marveling at and reflecting on the
musicians’ skills and sights and sounds at
the Pikes Peak Center
I look forward to seeing you and your
students at our Philharmonic Kids concert!
Sincerely,
Nicole M. Anthony Education and Community Programs Manager
notes on theatre etiquette
Be prepared and
arrive early. Allow
for travel time, and
plan to be in your
seats at least 15
minutes before the
performance begins.
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Be aware and remain
quiet. The theater
is a “live” space—
you can hear the
performers easily,
and they can hear
you, too!
Show appreciation
by applauding.
Applause is the best
way to show your
enthusiasm and
appreciation.
Concentrate to
help the musicians.
They must focus
and concentrate to
perform. If you are
focused on them,
they feel supported
and can do their
best.
What you’ll see and hear
The Sneetches, By Dr. Seuss
Music by Lorenzo Palomo, Text by Theodor Geisel (Dr. Seuss)
Lorenzo Palomo composer
Josep Caballé-Domenech conductor
Max Ferguson narrator
Thursday, May 8, 2014 at 9:30 and 11:00 am
Pikes Peak Center for the Performing Arts
The Colorado Springs Philharmonic
performs a symphonic and contemporary
work inspired by Dr. Seuss’ The Sneetches, a
classic children’s tale about tolerance.
Lorenzo Palomo, a successful Spanish
composer, was commissioned to write a
symphonic poem inspired by Dr. Seuss’
story. First performed in 2013, The
Sneetches concert features the full orchestra
accompanied by a narrator recounting Dr.
Seuss’ original tale, and illustrations of
the Star-Belly and Plain-Belly Sneetches
projected above the stage.
The concert highlights themes of class,
prejudice, and discrimination by looking at
the story of a community of yellow creatures
called Sneetches. Some Sneetches happen to
have green stars on their bellies, and some
do not. The Star-Belly Sneetches must learn
to accept the Plain-Belly Sneetches after a
stranger with a bizarre machine visits their
beach, and turns their world upside down.
“The Dr. Seuss story
‘The Sneetches,’
describes the
senselessness of acts
of discrimination and
prejudice in a way that is
at once instructive and
entertaining. I have read
this story countless times
to children and adults,
and have repeatedly
observed how captivating
and powerful both the
musical verses and its
message are.”
—Dr. Sidney H. Sobel, Rochester, N.Y
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About the artists
Lorenzo Palomo composer
A native of Pozoblanco, Spain, Lorenzo Palomo
is one of the most successful contemporary
composers of today. He began his musical
education at the Córdoba Conservatory of
Music, and continued at the Barcelona Superior
Conservatory of Music, where he studied
composition and piano. He studied conducting
in New York City, and currently lives in Berlin.
Lorenzo’s music has been performed in the
most prestigious concert halls worldwide,
including Carnegie Hall (New York), Covent
Garden (London), Suntory Hall (Tokyo), and
Tschaikowsky Auditorium (Moscow).
Theodor Seuss Geisel
Lorenzo Palomo
Theodor Seuss Geisel
writer
An American writer, poet, and cartoonist,
Theodor Seuss Geisel (1904 -1991) is most
famous for his impact on children’s literature
under the pen name of Dr. Seuss. His
imaginative characters, vivid illustrations, and
catchy rhymes are instantly recognizable to
anyone who grew up reading his stories. Some
of his most famous stories include The Cat in
the Hat, Green Eggs and Ham, The Lorax, and
How The Grinch Stole Christmas.
Theodor studied at Dartmouth College,
and continued to study literature at Oxford
University. He published 46 children’s books,
and wrote the first, And to Think That I Saw It
on Mulberry Street, in 1937.
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Josep Caballé-Domenech
conductor
Now in his third season as music director of the
Colorado Spring, Josep Caballé-Domenech was born
in Barcelona, Spain into a family of musicians. He
studied piano, percussion, singing, and violin and took
conducting lessons at the Aspen Music Festival, Sergiu
Comissiona, and also at Vienna’s University of Music
and Scenic Arts.
Josep was recently appointed general music director
of the Staatskapelle Halle in Germany where he will be
in charge of the Philharmonic Orchestra and the Opera
House. He has conducted orchestras from all over the
world, including the Royal Philharmonic in London,
Czech Philharmonic, Giuseppe Verdi Symphony
Orchestra in Milan, New Japan Philharmonic, and
OFUNAM México.
Josep Caballé-Domenech
Max Ferguson narrator
Max Ferguson is a Colorado Springs native who has
returned home after ten years on the east coast. He
has performed extensively around the Pikes Peak
region in the past few years including: Mr. Pinkerton,
Pinkalicious; Freddy, Noises Off; Man 1 Jacques
Brell is Alive and Well and Living in Paris; and Robert
Martin, the Drowsy Chaperone among many others at
the Colorado Springs Fine Arts Center. He is currently
playing Macdonald Dick III in UCCS Theatreworks’
production of The Servant of Two Masters. He is also
a member and Board Member of Springs Ensemble
Theater where he performed Richard in the Lion in
Winter and directed and produced the Pillowman.
He has been seen previously with the Philharmonic
performing as one of the Three Rocky Mountain
Tenors for the 2012 New Year’s Eve concert.
Max Ferguson
Colorado Springs Philharmonic orchestra
Classical music has been alive and well in Colorado Springs since 1927, when 27 local musicians
banded together to form the Philharmonic’s distant predecessor, the Colorado Springs Symphony
Ensemble. Since then, the musicians of our community have distinguished themselves in numerous
ways, giving performances of the highest quality to grateful audiences. Under the musical
directorship of Josep Caballé-Domenech, the 76 musicians who make up the Philharmonic perform
a variety of concerts that range from classical to pops music at the Pikes Peak Center.
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About orchestras
An orchestra is a group of musicians that
takes direction from a conductor to play music
together. If an orchestra has more than 50
musicians, it is known as a symphony orchestra.
If an orchestra has less than 50 musicians it is
called a chamber orchestra.
The Conductor
the music director as well, which means they
choose music and musicians and interpret the
way music selections should be performed by
the orchestra.
The conductor oversees both rehearsals and
actual performances to ensure that the music
is performed accurately and that the orchestra
is properly executing the tempo, dynamics and
style of a piece.
An orchestra conductor generally assumes
charge of the orchestra. Often the conductor
has a dual role in the orchestra and serves as
Josep Caballé-Domenech
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Orchestra Sections
Orchestras are divided into four sections, or families, which are based on the kind of instruments
used in them. The string section covers all of the stringed instruments like the violins; the
woodwind section covers instruments that are blown through and use reeds, like the clarinet; the
brass section contains metal wind instruments like trumpets; and the percussion section includes
all of the drums and rhythm instruments.
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string section
The string section is the largest in the
orchestra. It is mainly made up of violins,
arranged into first, second and third violins
which all play different arrangements. The viola
is a larger instrument, slightly deeper in pitch.
Cellos are much larger and sit on the ground
between the player’s legs, playing a much lower
melody. The largest instrument in the section
is the double bass, which provides the bass part
to the strings.
woodwind section
Flutes are the oldest instruments in the
woodwind section and often provide the
melody. The orchestra also features piccolos,
which are smaller, higher pitched flutes.
Clarinets come in a variety of sizes and tunings,
and are capable of a wide range of tones.
Oboes are like clarinets but use two reeds
rather than one, and can play at higher pitches.
Bassoons are the largest and lowest-pitched
instruments in the woodwind section, although
the larger and deeper contra-bassoon is also
sometimes used.
brass section
This section is so-named because all of the
instruments are made from brass. They are
the loudest instruments in the orchestra and
support the rhythm or melody. Trumpets are
the smallest and highest-pitched, while French
horns are circular and slightly lower pitched.
Trombones are long instruments with sliders for
adjusting the notes, playing at a similar pitch
to the cellos. Tubas are the largest and heaviest
brass instruments, providing the bass tone.
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percussion section
The percussion section uses a great range of
instruments. Most of the musicians in the
section move from instrument to instrument
and can play several during any one piece.
These instruments include cymbals, gongs,
xylophones, tubular bells and a variety of
drums. Timpani drums are the most common
percussion instruments in the orchestra and
require a specialist player.
other instruments
There are a number of other instruments that
can join the orchestra, each being attached to a
different section. Saxophones are occasionally
included as part of the woodwind section.
Pianos and church organs can also be featured,
generally being seen as part of the percussion
section. If a harp is used, it joins the string
section.
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The
Sneetches
by dr. seuss
Now, the Star-Belly Sneetches
Had bellies with stars.
The Plain-Belly Sneetches
Had none upon thars.
Those stars weren’t so big.
They were really so small
You might think such a thing
wouldn’t matter at all.
But, because they had stars, all
the Star-Belly Sneetches
Would brag, “We’re the
best kind of Sneetch on the
Beaches.”
With their snoots in the air, they
would sniff and they’d snort
“We’ll have nothing to do with
the Plain-Belly sort!”
And whenever they met some,
when they were out walking,
They’d hike right on past them
without even talking.
When the Star-Belly children
went out to play ball,
Could a Plain Belly get in the
game... ? Not at all.
You only could play if your
bellies had stars.
And the Plain Belly children had
none upon thars.
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When the Star-Belly Sneetches
had frankfurter roasts
And my prices are low. And I
work at great speed.
Or picnics or parties or
marshmallow toasts,
And my work is one hundred
percent guaranteed!”
They never invited the PlainBelly Sneetches.
They left them out cold, in the
dark of the beaches.
They kept them away. Never
let them come near.
And that’s how they treated
them year after year.
Then ONE day, it seems... while
the Plain-Belly Sneetches
Were moping and doping alone
on the beaches,
Just sitting there wishing their
bellies had stars...
A stranger zipped up in the
strangest of cars!
Then, quickly Sylvester
McMonkey McBean
Put together a very peculiar
machine.
And he said, “You want stars
like a Star-Belly Sneetch... ?
My friends, you can have them
for three dollars each!”
“Just pay me your money and
hop right aboard!”
So they clambered inside. Then
the big machine roared
And it klonked. And it bonked.
And it jerked. And it berked.
And it bopped them about. But
the thing really worked!
“My friends,” he announced in
a voice clear and keen,
When the Plain-Belly Sneetches
popped out, they had stars!
“My name is Sylvester
McMonkey McBean.
They actually did. They had
stars upon thars!
And I’ve heard of your troubles.
I’ve heard you’re unhappy.
But I can fix that. I’m the Fix-itUp Chappie.
I’ve come here to help you. I
have what you need.
Then they yelled at the ones
who had stars at the start,
“We’re exactly like you! You
can’t tell us apart.
We’re all just the same, now,
you snooty old smarties!
And now we can go to your
frankfurter parties.”
“Good grief!” groaned the ones
who had stars at the first.
“We’re still the best Sneetches
and they are the worst.
But, now, how in the world will
we know,” they all frowned,
“If which kind is what, or the
other way round?”
Then up came McBean with a
very sly wink
And he said, “Things are not
quite as bad as you think.
So you don’t know who’s who.
That is perfectly true.
Removed all the stars from their
tummies quite nicely.
Then, with snoots in the air,
they paraded about
And they opened their beaks
and they let out a shout,
“We know who is who! Now
there isn’t a doubt.
The best kind of Sneetches are
Sneetches without!”
Then, of course, those with stars
got frightfully mad.
To be wearing a star now was
frightfully bad.
Then, of course, old Sylvester
McMonkey McBean
They kept paying money. They
kept running through
Until neither the Plain nor the
Star-Bellies knew
Whether this one was that
one... or that one was this one
Or which one was what one... of
what one was who.
Then, when every last cent
Of their money was spent,
The Fix-it-Up Chappie packed
up
And he went.
And he laughed as he drove
In his car up the beach,
Invited them into his Star-Off
Machine.
“They never will learn.
I’ll make you, again, the best
Sneetches on the beaches
Then, of course from THEN on,
as you probably guess,
But McBean was quite wrong.
I’m quite happy to say
And all it will cost you is ten
dollars eaches.”
Things really got into a horrible
mess.
That the Sneetches got really
quite smart on that day,
“Belly stars are no longer in
style,” said McBean.
All the rest of that day, on those
wild screaming beaches,
“What you need is a trip
through my Star-Off Machine.
The Fix-it-Up Chappie kept
fixing up Sneetches.
This wondrous contraption will
take off your stars
Off again! On again!
But come with me, friends. Do
you know what I’ll do?
So you won’t look like
Sneetches who have them on
thars.”
And that handy machine
In again! Out again!
Through the machines they
raced round and about again,
No. You can’t teach a Sneetch!”
The day they decided that
Sneetches are Sneetches
And no kind of Sneetch is the
best on the beaches.
That day, all the Sneetches
forgot about stars
And whether they had one, or
not, upon thars.
Changing their stars every
minute or two.
Working very precisely
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Learning activities
music appreciation / literacy
Many composers have been inspired by various
works of art; paintings, literature, and even
nature.
Have students select a work of art that inspires
them. First, ask them to write and describe the
work, noting colors, shapes, sizes, and how it
makes them feel. Next, ask them to reflect on
how they would use music to communicate
their descriptions. Are there regular patterns?
What types of sounds would communicate
bright colors versus dark colors?
music / visual art / writing
While listening to music, ask students to draw
what they hear. How does the music make
them feel? Next, ask them to write a story that
takes a scene from their drawing.
listen and describe
Select a short piece of music, and ask students
to listen for the following:
What instruments do they hear?
Describe the tempo: is it fast or slow?
Describe the volume: when is it loud or quiet?
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Colorado State Standards
music
Expression of Music. Creation of music. Theory
of music. Aesthetic valuation of music.
drama and theatre art
Create, perform, and critically respond.
reading, writing, communicating
Students read and understand a variety of
materials.
Students write and speak for a variety of
purposes and audiences.
Students write and speak using conventional
grammar, usage, sentence structure,
punctuation, capitalization, and spelling.
Students apply thinking skills to their reading,
writing, speaking, listening, and viewing.
Students read to locate, select, and make use of
relevant information from a variety of media,
reference, and technological resources.
Students read and recognize literature as a
record of human experience.
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phone: 719-575-9632 fax: 719-575-9656
PO Box 1266
Colorado Springs, co 80901-1266
info@csphilharmonic.org