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Education Concert Curriculum Guide OrchestrArt - A Colour Symphony Stimulate, Illuminate and Educate with the Calgary Philharmonic Orchestra’s 2005 - 2006 Education Series Photo: Vanessa J. Goymour

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Education Concert Curriculum Guide

OrchestrArt - A Colour Symphony

Stimulate, Illuminate and Educate

with the

Calgary Philharmonic Orchestra’s

2005 - 2006 Education Series

Phot

o: V

anes

sa J

. Goy

mou

r

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Curriculum Guide Contents

Part I - General Information Letter to Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Teachers’ Comments from last season . . . . . . . . . . . . . . . . . . . 4What the Kids Say. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52005-2006 Programmes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Note to Teachers - Concert Tips . . . . . . . . . . . . . . . . . . . . . . . . 7The History of the CPO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Resident Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Conducting 101 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Instruments of the Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . 12 Map of Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Members of the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Jack Singer Concert Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Part II - The ConcertConcert Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Carnival Overture in A major, Dvorak . . . . . . . . . . . . . . . . . . . 21 Red Poppy: Russian Sailor’s Dance, Glière . . . . . . . . . . . . . . 24Blue Tango, Anderson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Irish Tune from County Derry, Grainger . . . . . . . . . . . . . . . . . 32The Firebird: Introduction, Stravinsky . . . . . . . . . . . . . . . . . . . 36Claire de Lune, Debussy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Kaleidoscope, Mercure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45The Nutcracker: Waltz of the Flowers, Tchaikovsky . . . . . . . . 53

Glossary of Musical Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Sponsors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

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Dear Music Specialist/Teacher(s),Music is an integral part of every child’s education. It can have a dramatic positive impact on learning abilities and the school environment. Many of the structures and patterns found in music provide the keys to learning in other subjects. Analytical and critical skills are exercised through listening, reacting, and discussing music. Students also develop their creative imaginations through singing, playing, composing and moving. This developed creativity helps them to discover and learn and is transferable to any experience. Creative arts projects can be initiated through literature, reading, writing, math, history, science, geography and any other subject. Working with music and the arts also increases awareness of others, individual responsibility within a group context, and, perhaps most importantly, a sense of belonging and fun.

This Curriculum Guide has been designed to be used with the CD and to assist you in preparing your students for their CPO concert experience. It is intended to be a means for the students to become familiar with and appreciate the repertoire that the orchestra will be performing. We hope the listening and lesson plans will lead you and your students into further study of this extraordinary symphonic music. We hope you enjoy listening and have fun with the lesson plans!

The Calgary Philharmonic Society would like to thank Suzanne Derbecker, Tom Mirhady and Robert Penner, for contributing their time and energy in writing and planning the Curriculum Guide.

Sincerely,

Pierre SimardResident Conductor

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Teachers’ Comments from last season:

- “…by breaking the pieces into layers…the students could appreciate it at a deeper level. I could see students ‘feeling’ the music throughout - it was explained in terms that they could understand and visualize! Amazing job!” - Hawkwood Elementary

- “It was a very worthwhile experience for the students, even students who have diffi culty sitting still were mesmerized. Thank you!” - Queen Elizabeth Elementary

- “The concert was awesome! Presentation was fast-paced (agile conductor!), content was highly varied and threw in visual component which helped to entertain the attention spans of young people; content was also helpful for enabling children to understand and interpret music.” - Mountainview Home School

- “This concert inspired my students to listen to classical music and they all are excited about band in junior high. Thank you!” - Cecil Swanson School

- “Keep it up! This has been a 6-year-old tradition for Hawkwood students, one they look forward to and enjoy - parent council pays for this!!” - Hawkwood Elementary

- “Exceeded our expectations! Great selections and presented clearly with various instruments so students could understand the composition.” - Varsity Acres

- “We appreciated the whole thing - smooth, engaged interest, lots of opportunity for interaction and response. We all appreciated your guest soloist - one student observed, ‘I love watching her live the music’” - Captain John Palliser

- “A valuable musical experience. Training the musicians and audience of the future!” - Cecil Swanson

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What the Kids Say…

“Orchestra, you play very good because you never made a mistake and I like the song old to joy” - Cecil Swanson Elementary, gr. 3

“…my favorite instrument is the gong. My favorite piece was ‘Jurassic Park’ because I like dinosaurs. I was so surprised that you (Rosemary Thomson) would be the conductor. I thought it was a man but women can be conductors too!” - Cecil Swanson Elementary, gr. 5

“Well, I think this was a very good fi eld trip, cause I learned that you can picture different things from different songs. I loved this fi eld trip!!” - Captain John Palliser School, gr. 5

“My favorite instrument is the drum because it makes me have different feelings. Music makes me feel good!” - Renfrew Educational Services, gr. 3

“Dear Orchestra: thank you for the music. It was very good. You played them perfect. You were great!” - Renfrew Educational Services, gr. 3

“I liked the songs you play and I liked the instruments that you played. My favorite instrument was the one that was skinny and yellow and you blow into it” - Renfrew Educational Services, gr. 3

The cello is so cool. The concert was good, so good and the music sounded so musicell!” - Rosemont Elementary, gr. 3

“The CPO really changed my life” - Rosemont Elementary, gr. 3

“I had never gone to the Jack Singer Hall. Now you have inspired me to come back again. Thanks one and a million” - Cecil Swanson, gr. 5

“We really enjoyed your presentation because all the instrument players were together all the time and nobody got mixed up!” - Cecil Swanson, gr. 5

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2005 - 2006 ProgrammesOrchestrArt - A Colour SymphonyPierre Simard, ConductorTuesday, October 25, 2005 at 10:00amWednesday, October 26, 2005 at 10:00amThursday, October 27, 2005 10:00am

Follow the Clagary Philharmonic Orchestra through a musical adventure inspired by a world of colours, from images to paintings and much more.

Magical Forces of NaturePierre Simard, ConductorTuesday, February 14, 2006 at 10:00amWednesday, February 15, 2006 at 10:00amThursday, February 23, 2006 at 10:00am

From the slightest breeze to the hottest fi re, discover how earth, water, fi re and air are given a musical voice.

Extreme MusicPierre Simard, ConductorTuesday, March 7, 2006 at 10:00amWednesday, March 8, 2006 at 10:00amThursday, March 9, 2006 at 10:00am

Come and discover incredible soundscapes, as we take a closer look at the length, height and width of an orchestra’s sonic palette. Learn about the real meaning of high and low, soft and loud, slow and fast, and prepare your ears for an extreme experience!

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Note to Teachers - Concert TipsGuidelines for Attending Education Concerts:

Before the Performance:

• Imagine this: 1700 children, limited space to congregate - 15 minutes! This is the situation that our wonderful crew of ushers at Education Concerts frequently face. Please help us out and arrive 30 minutes prior to concert time (latecomers will be seated when there is a suitable break in the performance).

• Buses may stop on the 8th Avenue Mall for drop-off. Please pull up as close to 1st Street as possible so that other buses can pull in behind. Buses must leave Olympic Plaza after they have dropped off the students and return following the performance.

• A sign in the window of the bus may facilitate locating and loading of the buses following the performance.

• Encourage children to remove their outer clothing and place it on their seats. They will be more comfortable.

• Washroom facilities are located on all fl oors. Please encourage students to use washrooms BEFORE and AFTER rather than during the concert so as not to disturb other listeners or the musicians.

• All food, drink and chewing gum must be disposed of before entering the hall.• Tape recorders, cell phones, still cameras and video cameras are prohibited in the

concert hall.

During the Performance:

• Before the concert begins, the musicians may be “warming up” by playing scales and excerpts from their music. By warming up, musicians get their lips, fi ngers and muscles ready to play music.

• Prior to the conductor arriving on stage, the Concertmaster will make his entrance. The audience applauds. He will walk to his place at the front of the violins and signal the oboist for the “A” note, at which time all the musicians will tune their instruments. The audience should become quiet so the musicians can hear their instruments. Following the tuning, when all is quiet, watch for the arrival of the conductor. The audience will applaud and the concert will begin.

• While a piece of music is being played, please remain quiet in your seats. If you need to leave your seat, please wait for applause. Please don’t throw anything from the balconies.

• Applause is appreciated and is appropriate. You will know it is time to clap when the conductor has dropped both of his arms to the sides.

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The History of the CPOThe Calgary Philharmonic Orchestra (CPO) is proud to announce the appointment of a new Music Director, Roberto Minczuk, who currently holds the position of Music Director of the Orquestra Sinfonica Brasileira in Rio de Janeiro. Maestro Minczuk will be offi cially introduced to Calgary on September 9, 2005. His offi cial duties will commence with the CPO’s 2006/2007 Season. In 2006/2007, Minczuk will conduct six concerts, four Classics and two Light Classics.

The CPO has been live in Calgary since 1955. Live with the world’s leading artists. Live in a wonderful range of genres. Live for an average of fi ve concerts a month. Live in Calgary as one of North America’s fi nest and most versatile orchestras. The CPO has been an integral part of our vibrant community for many years and is excited to be celebrating its 50th Anniversary in the 2005/2006 Season. Twice interrupted by the two world wars, the Calgary Philharmonic Orchestra was formed in 1955 by merging two existing groups; the Alberta Philharmonic and the Calgary Symphony. Performing in Calgary’s Grand Theatre to a small but enthusiastic audience at fi rst, the CPO gained wider attention in 1957 with the completion of its fi rst home, the Jubilee Auditorium. As the audience grew and public acclaim heightened, the CPO moved to its permanent home in the Epcor Centre for the Performing Arts’ Jack Singer Concert Hall in 1985.

In 1984, the Calgary Philharmonic Orchestra attracted a celebrated Music Director, Mario Bernardi, who guided the Orchestra through a period of tremendous artistic growth. In 1992, the CPO undertook its fi rst North American Tour, where it garnered glowing reviews from music critics after performing in some of the world’s best-known concert halls, including Carnegie Hall. In 1995, Mario Bernardi became Conductor Laureate, and renowned conductor Hans Graf was appointed Music Director of the CPO. Maestro Graf remained in this role until the end of the 2002/2003 Season. He was instrumental in creating excitement around the CPO’s award winning European tour in the fall of 2000. The CPO was the fi rst Western Canadian orchestra to tour Europe, performing in Germany, Switzerland, Austria and France.

The CPO provides several different concert Series: Classics, Light Classics, Baroque Plus, POPS, Saturday Morning at the Symphony (SMATS) and Young People’s Discovery

Calgary Philharmonic Orchestra at the Jack Singer Concert Hall.

Photo Credit: Garry Kan

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Series, covering a broad range of musical styles and repertoire and appealing to a wide and diverse audience. The CPO introduced a new web-based program called cpossibilities in September 2004, designed for 15 to 29 year olds, to enhance its commitment to keep the Orchestra accessible and affordable and to grow and expand the Orchestra’s younger demographics. The CPO also performs a number of special concerts each year including Mozart on the Mountain, Beethoven in the Badlands and POPS in the Park which have become marquis events that complement the regular series offerings. In addition, the CPO undertakes education and community outreach activities, and serves as the resident Orchestra for Calgary Opera, Alberta Ballet, the Calgary International Organ Festival and the Esther Honens Calgary International Piano Competition. The CPO has gained international recognition through its extensive recordings, national CBC broadcasts and touring.

The CPO is pleased to announce that it will be welcoming Pierre Simard as its new Resident Conductor at the beginning of the 2005/2006 Season. The CPO is also proud to retain its own 115-member Calgary Philharmonic Chorus, of which Rosemary Thomson is the Chorus Master.

This allows the Orchestra to perform works on a grand scale before more than 90,000 people each year. The CPO’s continued artistic growth and increasing public support have Calgary’s Orchestra poised for great success.

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Resident Conductor

A versatile musician, Pierre Simard pursues a career as conductor, oboist, and composer-arranger, which has led him in France, Belgium, Ukraine, Mauritius and Reunion islands, USA, and throughout Canada. As guest conductor, he performed with Les Violons du Roy, the Orchestre Métropolitain du Grand-Montréal, the Opéra de Montréal Choir, the Bradyworks Ensemble and the McGill Contemporary Music Ensemble. He also led ensembles with musicians from the Montreal Symphony and the Quebec Symphony. Pierre Simard conducts at the Lanaudière International Festival, the Domaine Forget and the Montreal High Lights Festival. Artistic director of the French Ontario Youth Orchestra, he led a tour with the Rendez-vous de la Francophonie across Canada.

Recipient of many honors, Pierre Simard was awarded two OPUS Prizes from the Quebec Music Council, for Best Young Audience Performance, as music director of SMCQ-Jeunesse. Grantee of the Montreal Mayor’s Foundation and the Canada Arts Council, Pierre Simard founded the À tout chant Society, an ensemble performing works he arranged for voice and chamber orchestra. As a composer, he is also grantee of the Quebec Arts Council and of Ville de Laval.

A passionate defender of contemporary music, Pierre Simard devotes himself to reinventing the traditional concert formulas, combining fantasy and humor to music. His diversifi ed repertoire includes numerous large-scale works, such as Bruckner’s E Minor Mass, Haydn’s Creation, Von Suppe’s Requiem, Bach’s St. John Passion and Orff’s Carmina Burana. Lately, he prepared choirs for Mahler’s Symphony no. 8 with the Montreal Symphony under Eliahu Inbal.

Holder of a Master’s Degree in Conducting from the Peabody Institute (Johns Hopkins University) in Baltimore and fi ve Conservatory Prizes from the Montreal Conservatory of music, Pierre Simard studied with Raffi Armenian, Frederik Prausnitz and JoAnn Falletta.

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Conducting 101

One of a Conductor’s jobs is to keep the musicians together by showing the beat. Below are some of the various patterns that conductors use to indicate the number of beats in a bar. Once they have determined the number of beats in the bar, ask your students to conduct along with the music as they listen to it. When beginning a piece the Conductor will show an upbeat to bring the musicians in. This is usually the last beat before the down beat which will change depending on the beat pattern.

The arm motion for conducting in 2:

The arm motion for conducting in 3:

The arm motion for conducting in 4:

Another job of the conductor is to present an interpretation for the performance of a piece so that the orchestra is unifi ed. Specifi c motions of the arm within the beat pattern can communicate a lot of information to the musicians as to how s/he wants the music to be performed. Try conducting with your students to show smooth or separate music, loud or soft music. Experiment with other gestures and see what kind of reaction you get.

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Instruments of the Orchestra

The String FamilyThe String section consists of four main instruments - the violins, violas, cellos, and double basses. In an orchestra, there are more strings than any other instrument. This is because they are softer than the winds, brass and percussion so we need more of them. There are so many violins that they are divided into 2 sections. Each string section plays the same part, while each wind & brass player plays a separate part. The CPO has 43 string players out of 65 musicians. Each section is led by a principal, and the principal of the 1st violins is called the concertmaster who leads the whole orchestra.

The string instruments all share the same design. Four (or sometimes 5 for the double bass) strings made of gut, steel, or nylon, are stretched across a hollow wooden body. At one end they are affi xed to the tuning pegs, then stretched across the bridge to the other end where they are attached to the tailpiece. More than 200 strands of horsehair are stretched taut across a wooden stick to form the bow. String instruments can be played in many ways. Usually the bow is drawn across the strings in a process called bowing (arco). Sometimes, the instruments can be struck by the bows, making a more percussive sound (col legno). They can also be plucked or strummed like guitars (pizzicato).

The Violin is the smallest member of the string family and can therefore produce the highest sound. When playing the violin, the instrument is rested on one shoulder and held in place with the chin and the left hand. The bow is held in the right hand and is drawn across the strings. The pitch can be changed in two ways: by the way the bow is drawn across different strings, and by the way the left hand fi ngers are pressed against the strings. Since there are more violinists than any other orchestra players, the group can look like waves of an ocean swaying with the music.

The Viola is an important member of the orchestra, but is not often heard solo. Because it is bigger than the violin, with longer strings, it makes a darker sound that is lower in pitch. The instrument is a little heavier, but played the same as the violin. Playing the “middle” part in the orchestra’s harmony, the violas can be hard to pick out when the whole orchestra is playing, but you would really notice their absence.

The Cello plays even lower than the viola - a whole octave lower in fact. To support its longer strings, it is more than twice as big as the viola - too big, heavy, and long to hold under their chin. Cellists sit down, resting the instrument upright against their bodies and using an endpin to support the cello. The cello section of the orchestra makes a rich, warm sound. In the 1800s not all cellos had endpins, so the cellist had to squeeze the instrument between their knees.

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The Double Bass is the orchestra’s foundation. These big, deep instruments add weight to the orchestra’s sound. They are the largest of all the stringed instruments, and play the lowest notes. Sometimes the lowest longest string of the double bass is extended so it can play even lower. The horse hair on the bass bow is often black, because it is coarser and more effective on the bigger strings. At six feet or even more, the double bass is often taller than the musician who plays it. Some double bassists perch on a high stool and others stand up. Otherwise the bass is played much like a cello.

The Woodwind FamilyWoodwind instruments use vibrating air to produce many different musical sounds. Despite their name, they are not all made of wood. They may also be made from metal, bone and ivory. They look like long sticks, and players blow air into them to create sounds. A system of springs and levers allows the holes to be opened and closed. The different shape and materials of each instrument helps to create its own unique sound. Sound is produced by the vibration of the air column within the instrument. This is achieved in 3 different ways:

(1) Edge-tone: used only for the fl ute and piccolo, a stream of air is directed by the player edgewise across a hole, and this stream is divided by the tapered further edge, causing the air column within the instrument to vibrate. This produces anywhere from a breathy tone to a clear, bell-like tone.

(2) Single reed: Found in the clarinet only, the single reed is made of cane shaved extremely thin at one end. This reed fi ts over a rectangular hole at the mouthpiece, and drives the vibration of the air column when triggered by the player’s breath.

(3) Double reed: the rest of the woodwind instruments have a double reed, which is really nothing but 2 thin strips of cane bound tightly together. These reeds vibrate against each other when the player blows, causing the air column to vibrate as well.

The modern orchestra usually makes use of the “double wind” confi guration, usually with 2 fl utes, 2 oboes, 2 clarinets, and 2 bassoons to which are added a piccolo, cor anglais, double bassoon and sometimes a bass clarinet.

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You can hear the smooth, velvety sound of the Clarinet in orchestras, military bands and jazz groups. Clarinets are made of wood or moulded plastic, and are reed instruments, meaning that they make noise when air vibrates a small reed on the mouthpiece. Different pitches are played by pressing on the clarinet’s many keys. There are different size and ranges of clarinets. The standard “B-fl at” clarinet is a little more than two feet long and the bottom fl ares out into a bell shape. The “E-fl at” clarinet is smaller and plays a higher range of notes, and a bass clarinet, plays an octave lower.

The bassoon is a double-reed woodwind instrument, meaning that air makes two reeds vibrate against each other. This makes a very distinct sound. It has almost 8 feet of wooden tubing, bent into a narrow U-shape. The reed is secured in a curved metal tube. Bassoons are the largest woodwind instruments in the orchestra - except for the Contrabassoon, which is even bigger and plays a whole octave lower than the bassoon. Because the bassoon is so long it is held to one side, next to the knee. Playing bottom notes of woodwind chords is one of the most important jobs of the bassoon. Bassoons have a rich and mellow sound. A contrabassoon is so low in pitch that it seems to “buzz.” It can sound very comical. It takes a lot of breath to play a contrabassoon. One poet compared the bassoon’s deep, dark tone to the sound of a sea-god speaking.

The oboe is also a double reed instrument that resembles a clarinet. Because it makes such a distinct sound however, one would never mistake it for a clarinet. Though it makes the same kind of distinct sound that a bassoon does, it is higher pitched. The oboe is the instrument the orchestra tunes to before any performance.

The Saxophone is classifi ed as a woodwind because it is played using a reed, however the instrument itself is made of brass. It’s a therefore kind of a cross between a woodwind and a brass instrument. The saxophone has a single reed and a mouthpiece like a clarinet, but it has a metal body with a fl ared bell. There are four major types of saxophones, each playing a different range of notes: soprano, alto, tenor, and baritone. Saxophones make a strong, mellow sound. The sax can be a little heavy and so a neck strap may be attached to the instrument. The tone holes are spread out much further than fi ngers could ever reach. So a complex system of rods links the keys to these distant tone holes, allowing lower notes to be played. Today, the saxophone is used mainly in jazz, rock, blues, and pop. Orchestras occasionally use a saxophone to play solo parts.

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Flutes are usually made of metal, but sometimes you will see fl utes made of wood. Making sound with an

open bottle is much like playing the fl ute: when air blows across the hole in the mouthpiece, it creates a vibrating through the instrument, which in turn creates a sound. The difference is, with a fl ute you can change the notes by pressing some of the many keys. Being some of the highest instruments in the orchestra, fl utes are easily heard and designed to play fast, detailed music.

The Piccolo is a “short” fl ute, designed to play a whole octave higher than the fl ute itself. Piccolos are played in exactly the

same way. In stories and legends, fl utes often have magical properties, perhaps because of its beautiful sound.

The Brass FamilyThe Brass instruments are usually made of brass, as you would expect from their name. Today, pure brass instruments are rare and can also be made of other metals, wood, tusk, horn, or shell. In the modern orchestra, we can usually fi nd 4 horns, 3 trumpets, 2 trombones, 1 bass trombone, and a tuba. Brass instruments are really just long metal tubes (up to 20 feet!) that fl are at the end. Because they are so long, the tubes are bent and folded into compact shapes so that they can be easily held. Brass players produce sound by blowing in to the mouthpiece of the instrument. To set the air in motion, they ‘buzz” their lips together. Their lips create a vibration that in turn creates sound. The pitch can be affected not only by the length of tubing, but also by the tension of the players lips - the tighter the players lips, the higher the note. The timbre of brass instruments is unique, ranging from the brilliant fanfare of the trumpets to the sonorous bellows of the tuba. For this reason, they are often used in military bands that play outside.

The Trumpet has a loud, clear sound once used to frighten enemies in battle, celebrate big ceremonies, and send signals and messages. In fact, trumpets are at least 3,500 years

old - early versions of the trumpet have been found in ancient Egyptian tombs, including that of King Tut. There are two ways a musician can create different pitches with the trumpet. The fi rst is by pressing down on the keys that control the trumpets three valves. The second is by changing the shape of the lips against the mouthpiece.

The Horn has a velvety, round, tone colour that projects across other instruments without overpowering them. Sometimes called the French horn, it has a long tube that is wound in a tight circle fl aring out into a very wide bell. The valves and their extra tubing are in the centre of the circle. Playing the horn involves balancing it on the leg and holding it up with two hands. The left hand works the valves that help to change the horns pitch and the right hand is held inside the bell.

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The Trombones sound fi lls the middle of the orchestral brass section. They fi ll out the harmonies between the trumpets and the horn on top, and the low tuba below. Though most brass instruments use valves to produce

different pitches, the trombone uses a slide. As the slide is moved, the notes change. The trombone is very easy to fi nd in the orchestra because of its shape. The Tuba is the largest member of the brass family and plays the lowest notes. It’s also the youngest brass instrument. Because the tuba is so large, it rests on the lap of the musician who presses the valves to produce different notes. Like double basses and bassoons, the tuba is crucial in an orchestra because it provides the lowest notes for the brass section, and consequently the foundation of the orchestra.

The Percussion FamilyThe Percussion family is huge! It includes any instrument that produces sounds when struck, scraped or shaken. Almost every kind of band around the world has at least one percussion instrument in it. Just think of all the different percussion instruments from around the world: there are African Drums, Chinese Cymbals, Steel Drums from the Caribbean, and a whole world of pots and pans just waiting to be hit. Because of this variety, a percussionist in an orchestra may play as many as a dozen different kinds of percussion instruments. Percussion instruments can be pitched or non-pitched. Pitched instruments are usually struck with a variety of mallets, and they range from the monstrous set of kettledrums to the keyboard-like glockenspiel. Their defi nite pitch makes it possible for these instruments to even play melodies. The other percussion instruments, however, are restricted only to rhythms. But as more modern pieces show, this does not hinder them at all! In fact, the wide range of available sounds can be manipulated in many ways to produce new and interesting blends of tone colours.

The triangle is a simple steel rod bent into the shape of a triangle. While being among the smallest of orchestra instruments, it has a very clear and shimmering sound that cuts through even the loudest music. It is either held in one hand, suspended on a cord, or

hung on a stand. The triangle’s pitch is not very distinct, and its tone varies according to how hard you strike and how large the triangle is. Each side of the triangle can be from four to ten inches wide with bigger triangles making louder sounds than little ones.

Cymbals are thin curved bronze disks with a concave shape that are clashed together or struck with sticks to produce a sound. The player usually holds each cymbal through a strap attached to the outside of the curved disc, at the centre. When two cymbals are struck together, their edges vibrate freely producing a huge ring that makes big, loud chords in the orchestra even more exciting. Cymbals come in many sizes and sounds:

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from tiny fi nger cymbals to large and deafening orchestra cymbals, from soft and delicate, to loud and harsh.

The Bass Drum is the biggest of the drums used in the orchestra. It’s a round cylinder with a skin-like paper stretched over both openings. Like the triangle, it is not tuned to a specifi c pitch, but its tone is very low and deep. It can sound loud and thundering, and sometimes quiet and almost invisible.

The ringing notes of the Xylophone make it a colourful addition to the percussion section of an orchestra. A xylophone is a set of wooden bars, mounted on a frame. The wooden bars are arranged like a piano keyboard with the shorter bars play the higher notes and the longer bars playing the lower notes. The biggest xylophones have almost 50 wooden bars! Most xylophones have tubes or gourds below each bar to increase the volume of the sound. Though most percussion instruments are known for their beat, the xylophone can create a beautiful melody too.

Timpani are sometimes called kettledrums because they are shaped like big copper kettles. In fact they are made of copper. They have a piece of calfskin, or thin plastic stretched over their opening. This is called a drumhead. Timpani are very important in the orchestra because they “underline “ important chords. Only one note at a time can be played on each timpani and that note can be changed by pressing the foot on a pedal at the base of the drum. An orchestra usually has three or four timpani, and they can all make a very loud noise.

The Snare Drum is the most basic of all the percussion instruments, and probably the one with the most familiar sound. These are the drums most frequently seen in military movies. They are short, wide cylinders, covered by a skin and a string of beads that can make a rattling nose when they are touching the drum.

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FIRST VIOLINSCenek Vrba - ConcertmasterJohn Lowry - Associate ConcertmasterDonovan Seidle - Assistant ConcertmasterJanice AmselKathryn CorvinoAlana GralenOlga KotovaTheresa KraucunasSusan LightBonnie LouieAlla MagidRobert Penner

SECOND VIOLINSJeffrey Plotnick *Stephanie Soltice-Johnson ** (on leave)Rachel Kristenson (Acting Assistant Principal)Judith BesselJoy CrawfordCraig HutchenreutherSteven LubiarzRichard Van de GeerXiao-Ming WuDavid Zweifel

VIOLASJohn Thompson *Robert Ashworth **Arthur BachmannCarl BoychukMichael BurseyKatherine GrigoriuHeather Heron-Mykyte (on leave)Julie Westgate

CELLOSPhil Hansen *Susan Foulkes ** Yuri GindinKirill KalmykovJoan KentThomas MegeeTom MirhadyKaren Youngquist

BASSESCharles Garrett * Sheila Garrett **Jeffrey BuchnerRobert Yung-il KimGraeme MuddPatricia Bereti-Reid (on leave)

FLUTESGwen Klassen ** (Acting Principal)Lauren Eselson ** (Acting Assistant Principal)

PICCOLOLauren Eselson

OBOESJean Landa *David Sussman **

ENGLISH HORNDavid Sussman **

CLARINETSSteve Amsel *Jocelyn Colquhoun **

BASSOONSStephen Franse *Michael Hope **

HORNSRobert McCosh *Austin Hitchcock ***William Hopson**Laurie Matiation**Heather Wootton** (on leave)

TRUMPETSHoward Engstrom *Gareth Jones **

TROMBONESJames Scott *Michael Thomson **

BASS TROMBONEDavid Reid * (on leave)Robert Fraser (Acting Principal)

TUBAMichael Eastep *

TIMPANITom Miller *

PERCUSSIONTim Rawlings *

HARPTisha Murvihill *

Members of the Calgary Philharmonic 2005-2006

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Jack Singer Concert HallThe elegant Jack Singer Concert Hall is the permanent home of the Calgary Philharmonic Orchestra. Considered to be one of Canada’s few pure music halls, the Jack Singer opened in 1985 as the jewel in the new Calgary Centre for Performing Arts. With a seating capacity of 2,059, the concert hall is a synthesis of some of the world’s fi nest halls, designed by Artec Consultants. Its ambience and acoustics are designed to offer a total live concert experience. It is modelled in an intimate rectangular form which is said to produce the best quality sound, and the concert stage is geared to host a wide variety of entertainment.

In addition, the Carthy Organ is the crowning jewel of the Jack Singer Concert Hall. The organ was designed, engineered and built by Casavant Frères of St. Hyacinthe, Quebec, one of Canada’s prominent organ builders for over 120 years. Further, it was donated to the citizens of Calgary, and the world, by the Carthy Foundation, and is named in its honour. The 75-stop, 111-rank organ has 6,040 pipes, ranging in size from less than half an inch to 32 feet, and varying in weight from just more than three ounces to well over 200 pounds.

Measuring 79 feet and 38 feet deep, the concert hall has a 57 tonne laminated canopy suspended high above the stage to combine with two side tower clusters of 20 speakers each, providing a total of 88 speakers powered by 5000 watts. In addition, heavy velour banners along the side walls of the hall and curtains may be used during choral or spoken performances to soften the concert hall’s natural reverberance. A full, computer-controlled color change lighting system and follow-spots enhance performances.

The Jack Singer Concert Hall is named for Mr. Jack Singer, whose sons Alan and Stephen made a signifi cant contribution to the hall in honour of Mr. Singer’s commitment to the arts in Calgary.

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OrchestrArt - A Colour SymphonyConcert Programme

Tuesday, October 25, 2005 at 10:00 am Wednesday, October 26, 2005 at 10:00 am

Thursday, October 27, 2005 10:00 am

The Calgary Philharmonic OrchestraPierre Simard, Conductor

Programme

Carnival Overture in A Major, Opus 92 A. Dvorak

Red Poppy: Russian Sailor’s Dance, Opus 70 R. Glière Blue Tango L. Anderson

Irish Tune from County Derry P. Grainger

The Firebird: Introduction I. Stravinsky

Claire de Lune (orchestral version) C. Debussy

Kaleidoscope P. Mercure

The Nutcracker: Waltz of the Flowers P. I. Tchaikovsky

All programmes are subject to change

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Carnival Overture in A Major (Opus 92)A. Dvorak(Czeckoslovakia 1841-1904)Written in 1891

General Information

Antonin Dvorak grew up in a musical family in a small village called Nelahozevec. He learned to play the organ, viola, violin and piano by age twelve. Dvorak absorbed the rhythmic and imaginative folk music that pervaded his rural area at the time, something he would use later as a composer. At the age of 16, he began to study music formally in Prague. He became involved in a new trend called Nationalism. Nationalistic music uses the rhythms and folk songs of a particular country. He used the melodies and characteristic rhythms from Czeckoslovakian to demonstrate the beauty of his country’s music. (Later he would use American folk music to highlight his “New World Symphony” when he lived in the United States.)

In 1891, Dvorak wrote a set of three overtures, Amid Nature, Carnival and Othello. (They were originally given the titles of Nature, Life and Love, depicting childhood, youth and manhood.) All three have thematic material in common but are developed in very different ways to refl ect the nature of the subject.

Carnival Overture, the second of the trilogy, is permeated with the spirit of dance and exuberance. It can be divided up into three main sections, A B A. The fi rst section, Allegro, instantly bursts into a lively country fair in full swing with Slavonic Dance music being heard in the rhythms and melodies. The second section, Andantino con moto, breaths a sigh of quiet refl ection and gives an air of mystery featuring a solo violin, fl ute and oboe. The third section, Allegro, is similar to the fi rst part, excited and energetic. Dvorak fi nishes the piece with a rollicking and boisterous ending.

Dvorak preferred to express feeling rather than a particular emotion. As you listen to this piece, refl ect on what feelings he was trying to express through the music.

Activities To Do In Class

1. a) The fi rst section of the Overture, Allegro, is fast and exciting. Listen to the fi rst three minutes and discuss how Dvorak uses the orchestral instruments to create this carnival atmosphere.

b) Listen to the Allegro again and conduct is in 4/4 metre (see diagram below). Discuss how a conductor must move his arms to convey such an exuberant and energetic sound to the musicians.

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Conducting in 4:

c) If you were to move or dance to this music, what would the movements and/or dance steps be like? In a large space, perhaps in the gym, allow the students to listen to the music and to move in ways the music makes them feel. Discuss the actions and movements they chose.

2. a) The main theme in the fi rst and third sections of the Carnival Overture is introduced in the major mode and is very fast and exuberant. The rhythm to this theme is written below. Have your students learn the rhythm (by tapping) at a moderate tempo.

b) Listen to the fi rst section of the music and identify each theme (by raising a hand) and count the number of times (4) the theme is played. Which theme sounds like it is in the minor mode? (the fourth one) The students will not be able to tap the rhythm while listening to the music since it is performed too quickly. (They may like to attempt it though!)

3. The second section, Andantino con moto, is generally quieter and more relaxed but it does gain momentum near the end as it moves towards the fi nal Allegro. It is about four minutes long. Repeat the activities listed in #1, but instead, discuss how Dvorak used the instruments to refl ect a slower, more relaxed feel, identifying the fl ute, oboe and violin solos. As you conduct, the 4/4 metre pattern will vary in speed as the music changes tempo. Discuss how the conductor’s body language can convey the mood of the music.

4. Below is a chart that the students can fi ll out as you listen to and discuss the music.

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Sections of the Overture

Defi nition and Theme

Tempo and Dynamics

How are instruments

used to create this musical

effect?

Descriptive Terms

A

Allegro

Allegro means:

Theme is heard

times

B

Andantinocon moto

Andantino con moto means:

A

Allegro

Theme is heard

times

Ending

Carnival Overture - A. Dvorak

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Red Poppy: Russian Sailor’s DanceR. Glière(Russia 1875-1956)Written in 1927

General Information

Reinhold Glière was born in Kiev and was the son of a woodwind instrument maker. At age 16 he entered the Kiev school and later the Moscow Music Conservatory to study violin and composition. He wrote symphonies, ballets, a cello concerto and chamber works.

The Red Poppy is a ballet that tells the tragic story of a Russian sailor and his Chinese love. She meets her death at the hands of a British imperialist port commandant. The red poppy, in her last dying scene, is seen as a symbol of freedom, something the people of Russia felt they lost since the 1917 Russian Revolution. The Red Poppy has six sections, also called movements. They are:

1) Heroic Coolie Dance2) Scene and Dance3) Chinese Dance4) Phoenix5) Valse6) Russian Sailor’s Dance

The orchestra will be performing the sixth movement at the Education Concert. Glière used an old traditional song called, Yablochko (Little Apple) in the Russian Sailor’s Dance. He repeats the song twelve times but in twelve different ways. Glière varies the speed, instrumentation, rhythms and other musical effects to make each repetition sound different and interesting.

Activities To Do In Class

1. a) Teach the students the theme (the song, Yablochka) by reading the notes or the solfa letters, or by listening to it on the piano or another instrument you feel comfortable playing. (This is a good melody to reinforce the syncopated rhythm and the minor scale.)

2. a) Explain the concept of a theme and variations. (A theme is a musical idea or a short melody. Variations are created when the theme is altered or modifi ed on each repetition by using various musical techniques.) Use Twinkle Twinkle Little

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Star as an example of a theme. Make changes to it (like repeating each note) so that it sounds different but the students can still recognize the song.

b) Discuss how you could change Glière’s theme (speed, repeated rhythms, dynamics, major mode, etc.) so it will still be recognized but will sound somewhat different.

3. Listen to the introduction and then the theme. Discuss the overall sound and mood. What instruments play the theme? Begin listening to the variations and discuss how Glière created different moods and emotions by using the same theme. Have the students count the number of times the theme is repeated in the piece. How does the piece end?

4. Use the chart below to record what the students hear in each the Russian Sailor’s Dance.

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Theme Instruments that play the

theme

Background Instruments

TempoDynamics

Descriptive Terms

Introduction

Theme

1st Variation

2nd Variation

3rd Variation

4th Variation

5th Variation

6th Variation

7th Variation

8th Variation

9th Variation

10th Variation

11th Variation

Ending

The Russian Sailor’s Dance from The Red Poppy by R. Gliere

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Theme Instruments that play the

theme

Background Instruments

TempoDynamics

Descriptive Terms

Introduction Strings Quick AnticipationExcitement

Theme Double BassTimpani

Moderately loudmf

1st Variation Cello Double Bass Walking

2nd Variation Woodwinds Tambourine Moderate speed

3rd Variation Flute Light

4th Variation High WoodwindsHigh Strings

5th Variation Loud f

StatelyMajestic

6th Variation Oboe Softp

7th Variation Frantic

8th Variation ViolinsViolas

“Square” sound

9th Variation Tempo is getting faster

10th Variation ViolinsTrumpets

Tempo is still getting faster

11th Variation Running

Ending Whole Orchestra

StrongEnergetic to the end

The Russian Sailor’s Dance from The Red Poppy by R. Gliere(partially completed chart)

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Blue TangoLeroy Anderson(USA 1908-1975)Written in 1951

General Information

Leroy Anderson was born in Cambridge, Massachusetts. He began taking piano lessons at an early age and later also became profi cient on the organ and the double bass. Anderson wrote his fi rst composition at age 12, the Minuet for String Quartet. He studied trombone, double bass, voice, conducting and composition at Harvard, graduating with a Bachelor and then a Master of Music by 1930.

By 1935, Anderson emerged as an outstanding composer, arranger and conductor. He wrote over 40 compositions of classical and light classical popular pieces. His music was heavily infl uenced by G. Gershwin and by folk music idioms from around the world. Anderson’s popular pieces are witty and charming orchestral works that are memorable and singable. He used creative instrumental effects and occasional items that are not traditionally used as musical instruments like the typewriter in The Typewriter (1950), sandpaper in The Sandpaper Ballet (1954) and sleigh bells in the well-known The Sleigh Ride (1948).

The Blue Tango was one of Anderson’s most commercially successful works. He combined South American rhythms, Afro-American spirituals and a mix of blues and jazz, an unusual, colourful and vital sound. In 1952, one year after the Blue Tango was written, Mitchell Parish wrote lyrics for the song. (Mr. Parish wrote lyrics for many of Anderson’s pieces.) The Blue Tango became the biggest seller of instrumental music on the Hit Parade, selling more than one million copies.

A Tango is a dance that grew out of the slums of Buenos Aires in the 1880’s. It contained elements of Afro-Argentine steps and rhythms (like syncopations) mixed with European music and choreography. (For example, it is a couple’s dance with the foot patterns and steps being marked with glides and sudden pauses, always moving to the beat of the music.) As time passed, the tango evolved and moved into the ballroom by 1910 and was written as art music by 1920

Activities To Do In Class

1. a) Listen to the Blue Tango and have your students show the beat (by tapping with their fi ngers or with their feet).

b) The tango is written in 2/4 metre and can be conducted in two. Listen to the recording again and have the students conduct in two, keeping with the beat of the music. See the diagram below that demonstrates how to conduct in two.

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2. Anderson used two main themes in the Blue Tango. They fl ow easily and are quite easy to learn and identify. The themes are distinct from each other but do have some similarities.

a) Teach each theme to the students (by rote, by reading the notes using solfa, by playing them on the piano or another instrument you are comfortable playing).

b) Discuss the differences and similarities between the two themes. (For example, both themes have the same form, A B A C, and both use syncopated rhythms, but they have different melodies.) How will you be able to tell the difference between the themes when listening to the music?

c) Listen to the Blue Tango, identify (by raising a hand) and count the themes when they are heard. Which theme is played fi rst? Which theme did you hear next? Which instrument or instrument family played the themes each time? The students may want to map out the music as they are listening to it.

Blue Tango Theme 1

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Blue Tango Theme II

3. There is another layer of music (which has a strong rhythmic pulse) that is heard “under” or in the background of the main themes. It is very different but compliments the main themes nicely. How does it differ from the two themes? Discuss why Anderson decided to add this extra musical layer. How does it contribute to the overall sound of the music? What instruments does Anderson use for this second musical layer? Try to tap the rhythm of this second layer of music as you listen to the Blue Tango one more time.

4. Mitchell Parish wrote lyrics to the Blue Tango in 1952 one year after the orchestral version was released. It was recorded using a vocal soloist, but listeners preferred the orchestral version of the Blue Tango instead. Below are the lyrics to this piece with accompanying guitar chords.

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Irish Tune from County DerryP. Graingerb. 1882 Australia - d. 1961 USAWritten in 1927

General Information

Percy A. Grainger was best known as a composer and a pianist. He was born in Brighton, Victoria, Australia and was fi rst taught to play the piano by his mother. He performed in his fi rst concert tour at the age of twelve. Grainger’s piano and composition studies took him to Frankfurt Germany (from 1895 to 1901) and then to London England (from 1901-1914). He moved to the U.S.A. in 1914.

Grainger had other musical interests as well, one being the love of and preservation of folk music. By using a phonograph, he collected and transcribed songs from folk-singers. He composed many famous arrangements from these musical works, one being Irish Tune from County Derry, a melody sometimes called, Londonderry Air or Danny Boy.

After World War I, Grainger led a busy life of concert tours, lectures, composing, founding the Percy Grainger Museum at the University of Melbourne, Australia, and introducing new and innovative ways of writing and performing music.

The melody from Irish Tune from County Derry (also referred to as Londonderry Air) is a traditional tune from Ireland. Irish Tune from County Derry is one of over 100 songs that have been written to this same melody. Danny Boy also uses the same tune (but has different lyrics). This famous melody was fi rst published in 1855 in Ancient Music of Ireland by George Petric.

P. Grainger used this Irish melody as a basis for his arrangement of Irish Tune from County Derry. He not only wrote it for orchestra (which will be heard at the Education Concert) but also for keyboard, large wind ensemble, vocal and band. His piece is a beautiful slow arrangement of the melody. Grainger created a mesh of drifting chords which lay the foundation for the more prominent fl owing melody.

Activities To Do In Class

1. a) Play the tune to Irish Tune from County Derry on the piano or on an instrument you are comfortable with. (The melody is provided below.) Ask your students if they are already familiar with the tune and if they know of any lyrics that accompany it.

b) Teach the song to your students.

c) The lyrics for Danny Boy and Londonderry Air are also provided. Choose one version and teach it your students. You may need to discuss the meaning of the

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text as they use older English words. The goal is to have your students become very familiar with the melody.

2. a) Listen to the recording and have your students identify (by raising their hand) when the melody begins. Have them follow (by pointing) the melody on the score as the music is played.

b) Make of list of descriptive terms that refl ect how the music sounds (eg. dreamy, sleepy, relaxing, etc.). Which instruments or instrument family does Grainger use to create these effects?

c) Discuss why it would be diffi cult to sing the lyrics while Grainger’s arrangement is played.

3. a) Discuss the difference between folk music and newly composed music. Most music that students listen to has been recently written, published and recorded. Folk music, originally was not written down. It was kept in the minds of the people who heard it from others. The continual singing and passing on of the folk melodies allowed them to live on in people’s minds and lives. In the twentieth century, collectors of folk songs have recorded and transcribed these old and beautiful melodies. Grainger was one of those people who helped to preserve and record folk songs.

b) Explain to your students some of the characteristics that make a song a folk song.

• usually no known composer• usually is a story based on facts• very old• passed on from generation to generation, verbally• sometimes contains nonsense words• often several different versions exist

c) Discuss the folk song characteristics of Irish Tune from County Derry. If your students have learned other folksongs, discuss the characteristics that apply to them.

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Danny Boy

Oh Danny boy, the pipes, the pipes are calling.From glen to glen, and down the mountain side.The summer’s gone, and all the fl owers are dying.‘Tis you, ‘tis you must go and I must bide.But come you back when summer’s in the meadow,Or when the valley’s hushed and white with snow.‘Tis I’ll be there in sunshine or in shadow.Oh Danny boy, oh Danny boy, I love you so.

And if you come, when all the fl owers are dying,And I am dead, as dead I well may be.You’ll come and fi nd the place where I am lyingAnd kneel and say an “Ave” there for me.And I shall hear, tho’ soft you tread above me,And all my dreams will warm and sweeter be.If you’ll not fail to tell me that you love meI simply sleep in peace until you come to me.

Lyrics by Frederic Edward Weatherly, 1910Music, traditional

Londonderry Air

Would God I were the tender apple blossomThat fl oats and falls from off the twisted bough,To lie and faint within your silken bosomWithin your silken bosom as that does now.

Or would I were a little burnish’d appleFor you to pluck me, gliding by so coldWhile sun and shade your robe of lawn will dappleYour robe of lawn, and your hair’s spun gold.

Yea, would to God I were among the rosesThat lean to kiss you as you fl oat betweenWhile on the lowest branch a bud unclosesA bud uncloses, to touch you, queen.

Nay, since you will not love, would I were growingA happy daisy, in the garden pathThat so your silver foot might press me goingMight press me going even unto death.

Lyrics and music, traditional

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Irish Tune from County Derry

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The Firebird: IntroductionI. Stravinsky(Russia, 1882-1971)Ballet written in 1910

General Information

Igor Stravinsky was born in Oranienbaum, Russia into a musical family. He began piano and composition lessons as a young boy. He initially studied law in university but changed his focus to music by age 20. As a young adult, Stravinsky began to seriously compose and to teach music. He moved to Switzerland in 1917 to avoid the Russian Revolution and then to France in 1920. Over the next 9 years, Stravinsky toured extensively throughout Europe, North and South America. In 1939, at the beginning of World War II, he moved to the United States where he would stay for the rest of his life. He became one of the most infl uential composers of his time.

Stravinsky established his own style of composition, possessing an exciting new vein of Russian music yet incorporating a modern European fl avour as well. Stravinsky lived a long life and as a result his music changed styles over the years. The Firebird was just the beginning of his rich collection of musical scores, recordings and performances.

Stravinsky wrote three ballets, The Firebird being the fi rst. Diaghilev, a producer of Russian ballet, commissioned it. He wanted Stravinsky to write music for a ballet that included a hero, a princess, a fi rebird and many adventures. The ballet that Stravinsky created was considered “Post-Impressionistic”. Unlike Claire de Lune, by C. Debussy, Stravinsky used traditional and approachable orchestral means. The rhythms were allied with body movements and expressive gestures of ballet dancers. The harmonies kept a strong sense of key, bright sonorities and clear textures.

A brief version of The Firebird story is summarized below. The Russian people enjoyed stories of a popular hero named Ivan, an adventurous prince who is always fi nding himself in dangerous situations. The Firebird story, made into a ballet, is one of those adventures.

Prince Ivan is hunting in the forest when he comes upon a bird of exquisite colour, the Firebird. He snatches her from a silver tree where she is eating golden fruit. She convinces Ivan to release her, and later shows her appreciation by giving him one of her feathers. She explains that the feather is magic. All he must do, if he ever needs help, is to wave the feather in the air.

Soon Ivan sees 13 beautiful princesses dancing as if they are in a trance. A princess tells Ivan that he must not follow them or he, too, will fall under the spell of the wicked King Kastchei. Ignoring her warning, he follows them to the castle where he sees people

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who have been turned into zombie-like creatures. Just as he begins to fall under the spell he remembers the feather. When he waves it in the air the Firebird appears and leads everyone in the castle in an exhausting dance.

Soon everyone falls asleep except a princess who has been put into an enchanted trance by the Firebird. She leads Ivan to a tree where they fi nd an egg containing the soul of Kastchei. Ivan quickly smashes the egg and darkness falls. At fi rst light, the creatures in the castle emerge from their sleep. When they see that the spell is broken, they celebrate by parading out of the castle.

The Ballets Russes in Paris was fi rst to perform The Firebird (L’Oiseau de Feu). The ballet is made up of 22 different musical scenes. The orchestra will only be performing the Introduction section of The Firebird at the education concert. It is about three minutes long and begins in a calm yet unsettled way by the lower strings. When the woodwinds enter they seem to be giving warning signals with a more insistent sound. Two different and mysterious 6 beat melodies are repeated throughout the Introduction.

Activities To Do In Class

1. a) Read the brief summary of The Firebird story to your students. Explain that Stravinsky wrote music to accompany the story, told through a form of dance called a ballet.

b) Listen to the Introduction and have the students imagine what the initial setting or stage scene would look like before the action starts. Why would this be an interesting way to beginning a story?

c) Make a list of words that best describe the sounds and the scene as the story begins. (For example: spooky, dark, suspense, etc.)

d) Discuss how the use of instruments creates such a dramatic and foreboding effect. (For example, lower strings can create an eerie and scary sound.)

2. There are 2 six beat melodies that are repeated throughout the introduction. They are written below.

a) Play the melodies for the students on the piano or an instrument you are comfortable with so they will be able to learn and to distinguish between them while listening to the music. (The melodies would be quite diffi cult to sing in tune.)

b) Listen to the music and have the students raise their right hand when they hear the fi rst melody and their left hand when they hear the second melody. Count the number of times each theme is heard.

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3. A chart has been prepared (on the following page) to help the students map out the music. Listen to the Introduction again and write down each melody, 1 or 2, and when other musical passages occur. Also identify which instruments are used in each part, the dynamics (volume), and words that could describe the overall sound. (An incomplete and partially completed chart has been included.)

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Introduction to The Firebird by Igor StravinskyListening Chart

Form(Melodics 1 and 2 or other musical ideas)

Instruments Dynamics DescriptiveTerms

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Form(Melodics 1 and 2 or other musical ideas)

Instruments Dynamics DescriptiveTerms

1 lower strings “p” (soft) scary

1

2

1

1 lower strings and woodwinds

2

1

1

“mp” (moderately soft)

Other musical ideas clarinet, trumpet footsteps

1

Other musical ideas

clarinet, strings becomes louder then soft again

intense moment before a “wash” of

string sounds1 fl ute (low register)

1 fl ute (high register)

1 oboe sustained last note

1 oboe “mf” (moderately loud)

Other musical ideas haunting, suspense

Introduction to The Firebird by Igor StravinskyListening Chart

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4. Use the Introduction of The Firebird as an art lesson. Discuss colours, shapes, and textures that might be used to create a work of art. What kinds of materials would you use to best refl ect the music?

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Claire de Lune (orchestral version)Claude Debussy(France 1862-1918)Written in 1890 (for piano)

General Information

Claude Debussy was born in Paris where his parents owned a china shop. He took piano lessons as a child and at age 11 he entered the Paris Conservatory to study music. As a young adult he traveled extensively throughout Europe and Asia and became familiar with the many different kinds of music that used unusual scales, tone colours and creative styles.

Debussy applied many of these early musical experiences to his musical compositions, always maintaining a strong sense of form yet creating music that was new and original. At the time, people saw him as a musical rebel, but he was actually carving out a new form of music, Impressionistic music. Impressionism was an artistic movement in the late 19th and early 20th century that was liked to painters like Monet, the literary community like E. A. Poe and to music. It focused on ideas that seem to hint rather than to state, that are rather vague and entangled rather than clear and concise. Debussy believed that his art (music) should be one of colours and rhythms, having a sense of spontaneity.

Debussy wrote both orchestral and piano music. He put sounds together in new ways, like mixing orchestral effects, or using the piano pedal (pressed half way down) to create blurry, soft sounds. Debussy is considered to be the father of Impressionistic music, challenging the foundation of traditional harmony, form, and orchestration.

Clair de Lune (Moonlight), one of Debussy’s earlier and most famous works, was written fi rst as a piano piece and later arranged for orchestra. It belongs to a larger piano work called Suite Bergamasque. The suite is made up of four individual movements: Prelude, Menuet, Clair de Lune, and Passepied.

Clair de Lune is written in ternary form, (A B Av) which means it can be divided into three sections with the fi rst and third sections being very similar. There are two main themes in the piece that are written below. Claire de Lune is mostly played pianissimo (very quietly) in D-fl at major. At times the music is very intense and then it quickly changes to being very distant. It is one of the most beautiful pieces from the Impressionist epoch.

For more information on the internet about Debussy and other artists of the Impressionist era use the following address:

http://www.tcd.ie/Music/JF%20History/debussy.html

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Activities To Do In Class

1. a) Have the students listen to the piano version of Claire de Lune, either through a recording or a live performance. (A copy of the fi rst page of the piece is included in the following pages.) Discuss how the music sounds, suggesting descriptive terms for the music. (eg. Does it sound like moonlight, perhaps refl ecting on water at night time? Does it sound dreamy?)

b) Explain briefl y about the era of Impressionism. Show examples of art work (eg. Monet) and read some literary works (eg. E. A. Poe). Discuss how Debussy’s music refl ected this idea.

c) Listen to the orchestral version of Claire de Lune. Discuss how it was arranged to maintain the same overall atmosphere and musical effect. Which instruments were used to help achieve this?

d) Andante tres expressif (moderately slow and very expressive) are the terms Debussy chose describe how he wanted this piece to be performed. Before telling the students Debussy’s choice of terms, discuss what words they would choose.

2. a) The fi rst theme of Claire de Lune is stated at the beginning of the fi rst section of the piece (A).

Teach the students the theme by reading the notes or the solfa letters, or by listening to it on the piano or another instrument you feel comfortable playing. (This is a good melody to reinforce tied rhythms and the compound metre.) Discuss its differences from the theme of the Red Poppy (by R. Gliere) or the theme rhythm of the Carnival Overture (by A. Dvorak).

b) The second theme of Claire de Lune is stated at the beginning of the second section of the piece (B), measure 43.

Repeat the teaching process as done in 2.a) above.

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2. c) Listen to Claire de Lune again and have the students identify and count the themes when they are played (by raising the right hand for theme 1 and the left hand for theme 2). What instruments play the theme each time it is performed?

3. Use Claire de Lune as the basis of an art lesson. Discuss colours, shapes, and textures that might be used to create a work of art. Refer to some examples by Monet, Renoir, Manetand, and Degas.

4. Use Claire de Lune as the basis of a poetry writing lesson. Give examples of Impressionist writing, discuss the form, use of words, fl ow, subject matter, symbolism, etc. Refer to examples of Ed. A. Poe, Verlaine, and Mallarme.

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KaleidoscopePierre Mercure(Canada, 1927-1966)Written in 1948

General Information

Pierre Mercure was born in Montreal, Quebec. As a young boy, he studied piano, but later became profi cient on the bassoon, playing in the Symphony orchestra of Montreal for four years. He studied composition with Claude Champagne in Montreal from 1944-1949 and then with Nadia Boulanger in France in 1949. He was a composer, T.V. producer, bassoonist and administrator. His work revolved around integrating creative art forms, literary works, theatre, music, dance, painting, sculpture and later electronic music (1960’s). Mercure was continually searching for new forms, trying to exceed the borders of conventional music in order to discover a new universe of sonorities.

Kaleidoscope is one of Mercure’s fi rst orchestral works and is still one of the most performed pieces of Canadian music. It is sometimes referred to as a “symphonic imagination” as it is fi lled with insistent rhythms, and colourful orchestral sonorities using various instrument combinations. The piece changes constantly as it progresses, like a kaleidoscope changes as it is turned. Instrumentation, dynamics, rhythmic passages, and more help to create the unpredictable and continuous colour changes in this piece.

Activities To Do In Class

1. Discuss what a kaleidoscope is. (It is a nonmusical instrument that is in a cylindrical shape. It contains bits of coloured glass that are contained between two fl at plates and also has two 2 plane mirrors inside. As the end of the device is turned, the bits of glass change position creating an endless variety of colourful patterns.) Some of your students may have a kaleidoscope at home. Ask them to bring it to school to show and to demonstrate for class. Discuss how the patterns are always different and how it is impossible to predict the next colour combinations and patterns.

2. a) Explain to the students that Mercure’s Kaleidoscope was written to refl ect constant changing and unpredictable musical patterns like a kaleidoscope.

b) Listen to the fi rst few minutes of the recording and have the students imagine what kind of glass patterns and colours best fi t the musical excerpt. Discuss what was in the music that caused them to think of the specifi c colours and patterns.

3 a) Choose a different excerpt of Kaleidoscope and do the activities in #2 again.

b) Create an art project from this listening lesson. Have the students draw and colour

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the kaleidoscope pattern that they imagined while listening to one of the musical excerpts. Discuss ways to make the picture symmetrical, what kind of colouring materials to use, etc.

4. When composers write music for the orchestra, they need an organized way of recording the rhythm, melody, dynamics, tempo and instrumentation. Also, the conductor must be able to easily read and follow the music while leading the orchestra. The complete piece of written music is called the score. It is organized by instrument families usually starting with the highest to the lowest pitched instruments. The order of a traditional full score for an orchestra is given here:

a) Discuss the order of the instrument families on the score: woodwind, brass, percussion and then the strings.

b) Discuss why the conductor would need to have this form of music? Would each individual player need a score? (No, they only have the parts that they play. It’s easier to read and there won’t be as many pages to turn.)

c) Mercure used a rather small orchestra. The instruments included in Kaleidoscope are listed in proper score order below. You can see the family groupings clearly. What instruments did he not use?

2 fl utes2 oboes2 clarinets (in B fl at)2 bassoons

2 horns (in F)2 trumpets (in B fl at)2 Trombones

GlockenspielXylophonePiatti (cymbals)TympaniHarp

Strings

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d) The fi rst few pages of the Kaleidoscope score are included in this guide. Show your students the beginning of the score, looking for the order of the instruments, which instruments play fi rst, which ones have rests, fi nding dynamic levels (like “pp”) and expressive terms (like “energico”) and other interesting observations.

e) Listen to the beginning of Kaleidoscope attempt to follow the score music. It is a very diffi cult task since the tempo of the piece is very fast and energetic. The students will gain a greater appreciation for what the conductor must read when conducting and orchestra.

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The Nutcracker: Waltz of the Flowers (op. 71)P. I. Tchaikovsky(Russia, 1840-1893)Written in 1892

General Information

Piotr Illych Tchaikovsky was born in Kamsko-Votkinsk, Russia. He studied piano at a very young age and started composing at the age of 14. After going to law school for 3 years, he changed his focus and studied music composition at the St. Petersburg Conservatory.

As a composer in the Romantic era, Tchaikovsky wrote beautiful, emotional melodies, music that expressed joy and pain, beauty and tragedy and the ecstasy and anguish of the human condition. His music was not only admired in Russia but also around the world. L. Bernstein, an American composer, said that Tchaikovsky was “one of the most inspired melodists on earth.” He was also talented at orchestration, creating unique colour and making unusual use of instruments and large orchestras. Tchaikovsky wrote ten operas, seven symphonies, three ballets, and many pieces for vocal and instrumental ensembles.

The Nutcracker ballet was the third of his three ballets. It is the best-known ballet ever written. The Nutcracker is made up of a series of fi fteen pieces that tell a fairy tale story. Tchaikovsky drew his material from the story in a collection, The Brothers of the Serapion by E.T.A. Hoffman, a German romantic. In the story, a young girl receives a nutcracker, in the form of a small soldier, as a Christmas gift. She dreams that the nutcracker is turned into a handsome prince who takes her to the Kingdom of Sweets. There she attends a festive banquet and meets various magical creatures.

The Nutcracker Suite is an orchestral piece that is made up of the music from The Nutcracker ballet. The main difference is that dances are not performed while the music is played.

The Waltz of the Flowers is the thirteenth of the fi fteen sections in this musical work. It is performed after a series of dances that include Chocolate (Spanish Dance), Coffee (Arabian Dance), Tea (Chinese Dance), Trepak (Russian Dance), and Dance of the Toy Flutes and the Clown. The Waltz of the Flowers uses brilliant orchestral colours to compliment the fl owing melodies and background harmonies. The students may recognize the music as it has been used in venues outside of The Nutcracker Suite and ballet.

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Activities To Do In Class

1. The Introduction to The Waltz of the Flowers is approximately one minute long. The harp is beautifully featured in this initial section with a solo called a cadenza. It displays the virtuosity of the player and the capabilities of the instrument.

a) Listen to the Introduction of The Waltz of the Flowers and discuss the sounds of the harp. What adjectives could be used to describe the cadenza?

b) Show (with pictures) and discuss some of the special features of the harp. For example, it has a large soundboard and has a range of six octaves and a fi fth. It has 47 strings and over 100 moving parts. Some of the strings are coloured to help the harpist know which ones to pull. The harp used in the orchestra is call a double-action harp and was introduces to orchestras in 1810 by Sebastien Erard.

2. A Waltz is a dance form that originated from the 1800’s and has generally retained its popularity to the present day. It is written in triple time and is conducted in 3.

a) Discuss how a conductor’s arm movements (rigid, smooth, jerky, large, etc.) can communicate precise information to the orchestra as to how the music is to sound. The arm movements for conducting in 3 are illustrated (right). Have your students practice this conducting pattern.

b) Conduct The Waltz of the Flowers in 3 while listening to the music. Start after the Introduction, adjusting arm gestures with the dynamics, tempo, and rhythm of the piece.

3. The Waltz of the Flowers is in ternary form. This means there are 3 main sections, the fi rst and the third being very similar. Each section has its own internal form as well. The chart on the next page illustrates the form (with the Introduction ) of The Waltz of the Flowers.

a) Explain to your students how this piece is organized (in three parts) and show them how it can be organized on a chart. The chart can be fi lled out together or individually. It asks for information about instruments and descriptive terms.

b) Listen to the Introduction again and fi ll in the columns on the chart.

c) Listen to each subsequent section, discuss what is heard and add to the chart. Addition columns may be added (like dynamics, tempo, etc.) if the students contribute extra ideas.

Conducting in 3

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The Waltz of the Flowers from The Nutcrackerby P. Tchaikovsky

Section Instruments playing the melody

Instruments playing the harmony

Descriptive Terms

Introduction

(1 minute)

A(about 2 minutes)

B(about 1.5 minutes)

A(About 2 minutes)

Ending(about 10 seconds)

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The Waltz of the Flowers from The Nutcrackerby P. Tchaikovsky

Section Instruments playing the melody

Instruments playing the harmony

Descriptive Terms

Introduction

(1 minute)

OboeHarp

StringsWoodwinds

Harp Cadenza

A(about 2 minutes)

French HornsClarinetStrings

StringsWoodwindsFlute

Full Sound

B(about 1.5 minutes)

OboeFluteStrings

StringsFlute

Strong sound

A(About 2 minutes)

French HornsStringsTrumpet

WoodwindsBrassTriangle

EnergeticFlowing sound

Ending(about 10 seconds)

Whole Orchestra Powerful

Additional words and ideas can be added to this chart.

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4. a) The students have probably already heard The Waltz of the Flowers before but in a different venue. Discuss when and where they have heard this piece (commercial, computer game, cell phone, etc.).

b) The original movie, Fantasia (1940) used the music from The Nutcracker Suite in one of its animated features. Watch the segment of The Waltz of the Flowers and discuss how the artists used the music to enhance and compliment the animation.

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Glossary of Musical Terms

Allegro a rather quick tempoAndantino con moto quite slow with motionAndante tres expressif moderately slow and very expressiveBallet a dance that originated in the 15th century France and has evolved into the 21st century; artistic dancing that usually includes costumes, scenery, and orchestral music often telling a storyCadenza displays the virtuosity of the player and the capabilities of the instrument. Composer one who writes musicConductor one who leads the orchestra, indicating tempo, dynamics, starts and stopsDynamics how loud or soft a piece of music is played; its volumeEnergico vigorousExcerpt a short passage of music that taken from a longer musical workForm the structural outline of a musical piece, often illustrated with letter (A, B, C, …) that represents distinct sections, themes, or phrases in the musicHarmony musical tones and/or chord structures that accompany and enhance the melody of a musical work; cannot be effective unless performed with an overlying melodic musical lineImpressionism an artistic movement in the late 19th and early 20th century that was likened to painters, the literary community, sculpture and music. It focused on ideas that seemed to hint rather than to state, that are rather vague and entangled rather than clear and conciseLyrics the words that are written to fi t with a melody of a musical pieceMelody a signifi cant musical line that can stand on its own or can be enhanced by accompanying harmonic tonesMezzo Forte “mf”, moderately loudMezzo Piano “mp”, moderately softMotif/Motive a short characteristic musical building block that is shorter than a theme and fl exible enough to be used in development sectionsMovement distinct sections of music, several of which make up a complete musical work (like in a symphony, sonata, or concerto)Nationalistic Music uses the rhythms and folk songs of a particular countryOpus used to indicate the chronological position of a composer’s published works within his entire musical outputOverture instrumental music composed for the introduction of an opera, oratorio or similar works; it is usually made up of excerpts taken from the musical selections in

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the production which followsPiano “p”, softPianissimo “pp”, very softRomantic Era the time between 1820 and 1920; it can be divided into three sections; early romantic (1820-1850), musically represented by Mendelssohn, Schumann, Chopin; middle Romantic (1850-1890), musically represented by Liszt, Wagner and Tchaikovsky; and late Romantic (1890-1920), musically represented by Mahler, R. Strauss, and SibeliusScore the music that the conductor reads; it contains the musical notation of every orchestral instrument partSuite the modern suite is made up of a number of musical movements, each with a different character; is smaller in dimension than a symphonyTango a modern dance that originated in Buenos Aires, Argentina in the late 1800’s; by 1910 it was accepted into the ballroom and by 1920 it’s musical style became a part of art musicTempo how fast or slow a piece of music is played: its speedTernary Form music made up of three distinct and self-contained sections, the fi rst and third sections being very similar and the second section being noticeably different (A B A)Theme a musical idea; a short melody that is often repeated and sometimes varied throughout a piece of musicTheme and Variations the theme is a musical idea or a short melody. (Variations are created when the theme is altered or modifi ed on each repetition by using various musical techniques)Waltz a dance in moderate triple metre (grouped in 3’s) which emerged in the early 1800’s

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