2011-2012 Ticket Questions

Q: How can I subscribe?

A: Once you choose the subscription package that suits your needs, you can submit your order electronically by filling out the form online; subscribing by phone by calling the RSO Box at 815.965.0049; filling out an order form in your season brochure and mailing it to the office.

Q: When will I receive my tickets?

A: Subscription tickets will be mailed inearly September. If you have any questions about your order, feel free to e-mail tickets@rockfordsymphony.com or call the office prior to that date.

Q: When do single tickets go on sale?

A: Single tickets for the 2011-2012 season will go on sale on August 9, 2011.

Q: What's the difference between Pops and Classics Concerts?

A: Classics Concerts feature works from the classical repertoire, including the compositions of Brahms, Stravinsky, Rachmaninov, Mendelssohn, and American composer George Gershwin. Pops Concerts, on the other hand, feature a wide-range of music and performers that are extremely familiar to audiences. Recent and upcoming RSO Pops Concerts have featured guest artists such as The Rat Pack, the music of Henry Mancini and Steve Lippia

Q: Can I pick out my seat in the Coronado Theatre?

A: When you click on the Coronado Theatre seating map icon on the home page, you can get a glimpse of the view from each seating section in the theatre. Using this information and the accompanying seating area diagram, you can choose the area where you would like to sit, and the box office will give you the best available seats in that area. If you have a more specific request (i.e.- an aisle seat, the front row, the left side of the auditorium, handicapped accessible seating, etc.) please attach a note to your order form or relate your preference to the person taking your order. The boxoffice will make every effort to accommodate your request. You may also select your seat by ordering online.

Q: What is the Rockford Symphony's season?

A: The RSO performs 17 concerts per year. The season consists of Classics Concerts, Pops Concerts, Summer Concerts, and Youth Concerts.

Q: I'm too busy to commit to a whole season of performances. Do you have to be a subscriber to come to RSO concerts?

A: No! Single tickets are available to all the Rockford Symphony’s regular season performances. You can order single tickets over the phone or on the internet, or you can buy tickets at the door. (Single tickets go on sale August 9, 2011!) Plus, season subscribers can exchange tickets for alternate concerts if a conflict arises.

Q: I would love to invite my employees to a "night at the symphony." Are group discounts available?

A: Yes! For any group of ten or more, you can purchase tickets at a discount off the regular price. Please call the RSO office for specific rates at 815.965.0049.

Sponsor and Contributor Questions

Q: Why should I give the Rockford Symphony Orchestra a contribution? Their ticket sales should be enough to cover their costs.

A: Ticket sales account for only 47% of the Symphony's yearly budget. Therefore the RSO depends on individual, corporate and foundation gifts to bridge the gap between concert revenue and operating expenses.

Q: What is the annual budget for the Rockford Symphony Orchestra?

A: For the 2011-2012 season, the RSO's budget is roughly $1.4 million. Artistic expenses (paying for musicians' fees, guest artists, concert production costs, equipment and music rental) account for 58% of the budget, approximately $870,000.

Q: Does the RSO have an endowment fund?

A: Yes. The Rockford Symphony has an endowment fund. The interest income on this fund helps offset organizational expenses throughout the year. Planning is underway to embark on a significant endowment campaign over the next three years. If you are interested in making a donation to the endowment fund, please contact Executive Director Julie McDonough at 815.965.0049.

Q: How much does each concert cost to produce?

A: Concert costs vary somewhat according to guest artist fees, how many rehearsals are scheduled, and what size orchestra is required for a certain program. Generally, Rockford Symphony Orchestra concerts cost between

$20,000 and $95,000 to produce.

Q: I'm just a small business. How can I afford to be an RSO sponsor?

A: For only $1,000 your business can become an RSO Business Partner. In addition, the RSO will work with individual businesses to tailor any sponsorship opportunity to the specific needs of your company.

Education and Outreach Activities

Q: I'm concerned about the lack of arts programs in area schools. What does the RSO do for young people?

A: The Rockford Symphony serves up to 10,000 young people per year through programs such as the Rockford Symphony Youth Orchestra (RSYO), a performance ensemble for young people, Symphony Goes to School (RSO musicians demonstrate their instruments for 3rd & 4th grade classes), The RSO Woodwind and Brass Quintets, and Youth Concerts (hour-long concerts specially designed for 5th & 6th grade audiences).

Q: What is the RSO doing to reach out to the community?

A: The RSO participates in many community outreach activities to make sure that the arts are accessible to everyone. For example, the Rockford Symphony participates in Project Full House, through the Rockford Area Arts Council, providing RSO concert tickets to under-served populations for only $1. Music Director / Conductor Steven Larsen is also very active in the community, giving

public lectures on music-related topics.

Q: How can I get involved with the RSO?

A: The Rockford Symphony Orchestra uses volunteers for all sorts of projects! You can become an office volunteer, preparing mailings, answering phones and helping out with other administrative duties; a volunteer usher, helping out with RSO performances; or a member of The Allegro League, planning fun and educational events for the RSO. For more information, call the RSO office at

815.965.0049.

GENERAL QUESTIONS

Q: What is the difference between a symphonic orchestra and a philharmonic orchestra?

A: None! "Orchestra" is the Greek word describing the circular space occupied by the chorus in ancient Greek theater, and its name was transferred to the similar shape made by groups of musicians, especially string players. Today the word is commonly used to describe a larger group of instrumentalists that includes a number of strings. A string quartet isn't an orchestra. A brass band isn't an orchestra. A concert band isn't an orchestra. But a dance band that included a few violins might be an orchestra, if that's what they wanted to call themselves. So it all depends on whether there are "strings attached."

Now for a further Greek lesson. "philharmonic" means "loving harmony," and "symphonic" comes from "sounding together": both are words that could well describe what orchestras do.

Although "philharmonic" and "symphony" are completely interchangeable in their meanings, other adjectives pop up now and again that actually change the function of the orchestra. A chamber orchestra is instantly defined as much smaller, anywhere from about 16 to 45 players. Other modifiers are self-explanatory: opera orchestra, ballet orchestra, radio orchestra, studio orchestra.

Q: What is a concertmaster? What are his/her responsibilities?

A: The concertmaster is the lead violinist. As the violinist with the highest "rank", he/she sits in the first chair, next to the conductor's podium. The concertmaster leads the orchestra in its tuning prior to the concert, and customarily plays all of the violin solos within pieces. In addition, the concertmaster marks the orchestra's scores with the appropriate bowings - so all the violinists are moving and playing in unison.

Q: Why does the conductor shake hands with the concertmaster at the beginning and end of each concert?

A: When the conductor shakes hands with the concertmaster, it is a gesture of greetings or thanks to the entire orchestra. It is a custom of respect and a

symbol of cooperation.

Q: Why does the orchestra always tune to the oboe?

A: Circumstances of history, mostly, but also acoustics. The first orchestras (in the late 1600s) were mainly string instruments. A pair of oboes was sometimes used to strengthen the first and second violin parts. Soon composers were writing separate parts for the oboe, exploiting its singing tone as a contrast to the violins. The bright, rather penetrating sound of the oboe was easy to hear, and its pitch was more stable than gut strings, so it was natural to rely on it for tuning (One can also imagine it settling, or preventing arguments. Twenty string players squabbling over a tuning note, then asking the oboist to intervene). Other instruments drifted in and out of the orchestra – flutes, bassoon, French horns, clarinets – before it’s instrumentation became relatively standardized as we know it today. But oboes were almost always present, so they became the standard instrument for tuning.

There are exceptions. Sometimes a composer chooses to replace the oboes altogether with the mellower clarinets. In that case, the clarinet becomes the de facto tuning instrument. Then there are keyboard instruments like piano, harpsichord or organ. The entire orchestra must tune to them, but the oboe still plays a role. When a keyboard instrument joins the orchestra as either a featured instrument or just a section member, the oboist listens to the ‘A’ played by the keyboard, matches it, and plays it so the rest of the orchestra can hear. And what if there is no keyboard, no oboe, no clarinet – just strings? Then the concertmaster pre-tunes his or her A string to A=440 Hz and plays the note for everyone else to hear.

Orchestras always tune to ‘A’, because every string instrument has an ‘A’ string. The standard pitch is A=440 Hertz (440 vibrations per second). Some orchestras favor a slightly higher pitch, like A=442 or higher, which some believe results in a brighter sound. If you ever played in concert band, you’ll remember that you always tuned to B flat. This is because most of the band instruments are actually pitched in B flat, and so this is their natural tuning note.

Here’s a little secret you’ll never know as an audience member. Oboes can play sharp or flat, just like any other instrument. But every oboist uses a little electronic meter to ensure that their ‘A’ is exactly right. In fact, some orchestras – even major orchestras – have gone ‘modern’ and use an electronic device to sound the tuning note. Even then, tradition is respected: it’s the oboist who turns the device on for tuning, and off when the task is completed!

Q: Are all orchestras arranged on stage the same way?

A: For the most part. The string sections (violins, violas, cellos) are found immediately in front of the conductor and are arranged in a semi-circle. The string basses stand behind the cello section. The winds (oboes, flutes, piccolo, clarinets, and bassoons) are seated in two horizontal lines directly behind the strings. The brass (French horns, trumpets, trombones, and tuba) are seated in the back of the orchestra along with the timpani, percussion, piano, and harp.

Q: How does one become a conductor?

A: Practice, practice, practice. There are many universities and conservatories that offer courses in conducting, but the best way to become a good conductor is to work with a group of musicians on an ongoing basis. Generally it takes years of study and practical experience to become a good leader for an orchestra.

Q: Is a conductor necessary for an orchestra?

A: Yes and no. Symphonies have not always employed conductors. At one time, a member of the orchestra would simply tap out a rhythm at the beginning of the piece to keep all of the musicians together. In some cases, the composer would actually conduct the orchestra to give the musicians guidance in interpreting the score. Although today, having a conductor is the norm, there are still some ensembles that perform without a "leader."

Q: When is it appropriate to clap?

A: Opinions differ regarding applause between movements. Some feel this interupts the flow of music from one movement to the next. A general rule applies that when the conductor's arms are lowered to his/her sides, the audience may applaud.

Q: Where did the conductor's baton originate?

A: At one time the conductor literally kept the beat of the orchestra by pounding a large pole on the stage floor. While it interfered with the music, this method was effective at keeping the group together. A more subtle approach was to indicate the tempo of the piece by waving a violin bow. Over the years, the bow was transformed into the shorter, thinner version we are familiar with today.

Q: I know very little about classical music. Will I be able to enjoy RSO concerts?

A: There is no pre-requisite to enjoying the performances of the Rockford Symphony Orchestra. If audience members want information about the pieces or artists featured, they can read the notes in the program book or online prior to the concert, read articles in the RSO's newsletter or attend a pre-concert lecture. (Rest assured, there won't be a test at the end of the performance - studying is not required!)

Q: When I come downtown for a Symphony performance, where do I park?

A: Parking at the Coronado is available in the parking deck directly across the street from the theatre for a nominal fee. There are also several surface lots nearby, including the Memorial Hall lot on the corner of Mulberry and Main, the Waterworks lot on the corner of Wyman and Park, and the lot behind the Rockford Public Library. (These lots are shaded on the map below.)

Q: I'm from out of town. How do I get to the Coronado Theatre?

A: Driving directions and maps to the Coronado are available at www.coronadopac.org.