FINAL NOV DEC 25 OVERTURE | Page 46

ORCHESTRA MAP

TRIANGLE
TIMPANI
CYMBALS
TRUMPETS
SNARE DRUM
FRENCH HORNS
TROMBONES
BASSOONS
CLARINETS
BASS DRUM
TUBA
OBOES
CONTRABASSOON
BASS CLARINET
PICCOLO
FLUTES
SECOND VIOLINS
VIOLAS
ENGLISH HORN
PIANO
HARP
FIRST VIOLINS
CELLOS
BASSES
CONDUCTOR
One of the things that makes the piano such a marvel to me is how it responds so dramatically to different touches. It may look from the audience like I ' m just pushing buttons, but actually the way I move my elbow, the amount of pressure I use on the key, where on the key I make contact, what part of my finger I use, whether my wrist is locked or free, all these things and more … the piano responds to them with its sound. The mechanism of a piano is really complex— each single key stroke initiates a response from 100 moving pieces!
Lura Johnson Resident Keyboardist, Sidney M. and Miriam Friedberg Chair
44 | OVERTURE | BSOmusic. org