The Palm Beach Symphony Orchestra scheduled Benjamin Britten’s A Young Person’s Guide to the Orchestra to begin an afternoon of music celebrating the culmination of a year’s teaching program.
The Kravis Center was filled with children of all ages on Sunday, Oct. 5. I first heard this work in England in 1946. Senior High School classes from my birth city, Manchester, England, were bused into a 5,000-seat boxing arena to hear Sir John Barbirolli conduct the Hallé Orchestra; their concert hall was destroyed in a World War II bombing raid. My love of classical music began in 1946 at age 15 with Britten’s brilliant suite. After that, I persuaded my father to buy me a group of Sunday afternoon concerts in the same boxing arena, by the same Hallé Orchestra, which in two years’ time will celebrate 170 years of continuous music-making. They now play in the Bridgewater Hall, dedicated only to orchestral music, which they share with the BBC Philharmonic.
Four good young actors introduced the four orchestral sections in Britten’s Young Person’s Guide: Strings, woodwinds, brass and percussion. Lily Diaz, Leo Caplan, Raina Moore and Mack Fernandez were great, the orchestra was great and Britten’s music was great. But this was only the beginning; more surprises were to come.
Another 11 short, popular pieces were skillfully introduced by Kim Cozort Kay, a most delightful hostess for the rest of the afternoon who won the young audience with her charm and wit. Kay explained some of the many musical terms used, like “syncopation,” “crescendo” and how chords, major and minor, could change the mood of the music from happy to sad. She also pointed to the fact that many classical tunes are used in television commercials and as background to movies.
Little quizzes popped up on a huge screen testing comprehension; kids in unison yelled the right answers. This music was fun. A few children danced in the aisles, encouraged by their parents. Kay deserves a Carbonell Award for her wonderful performance. The “pop” music demonstrating the musical terms included Rossini’s William Tell Overture; Grieg’s Peer Gynt Suite; part of Beethoven’s Fifth Symphony and John Williams’s familiar Star Wars themes.
My wife and I were very lucky to meet Mr. Williams when he conducted the Boston Pops Orchestra in 1999 for the commemoration of Abraham Lincoln’s birthday, leading Aaron Copland’s Lincoln Portrait. In a moment of enthusiasm my wife said, “Mr. Williams, you must be this century’s Beethoven.” To which he replied, “From your lips to God’s ears,” and we all had a friendly laugh. Williams is still writing film scores at 93.
I used the words “pop music” earlier, a term claimed to be invented by English conductor Sir Thomas Beecham, who likened some “light” music to popsicles because they are sweet and easy on the ear. Before the concert, a music-themed dress contest saw many families parade around Kravis Center’s grand new lobby. Vivaldi’s Four Seasons won first prize.
Again, it must be said, Palm Beach Symphony’s conductor, Gerard Schwarz, and his management team are setting new standards for attracting new audiences to come hear classical music. The afternoon’s concert of short extracts was a wonderful way to introduce this music to a public that is not familiar with it.
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The Palm Beach Symphony opens its season at the Kravis Center on Sunday, Nov. 9, at 3 p.m. for a program of Gershwin (An American in Paris and Rhapsody in Blue, with pianist Shelly Berg); Alan Hovhaness (Prelude and Quadruple Fugue); and Respighi (Pines of Rome). Call 561-281-0145 for tickets; alternatively, call the Kravis box office at 561-832-7469 or visit kravis.org.