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HEROES & LEGENDS The Orlando Philharmonic’s 2013 Young People’s Concert

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“Heroes & Legends” Orlando Philharmonic Orchestra

Young People’s Concert Anthony Hose & Christopher Confessore, conductors

Gabe Preisser & Austin Hallock, guest artists Leia Barrett, narrator

September– November, 2013

Concert Program ................................................................................... Page 3 Concert Etiquette .............................................................................. Page 4-5 Introduction to “Heroes and Legends” ......................................... Page 6 Composer Information and Classroom Activities ................. Page 7-24

Gioachino Rossini (1792-1868) .................................................... Page 7 Richard Wagner (1813-1883) ....................................................... Page 10 Georges Bizet (1838-1875) .......................................................... Page 12 Nikolai Andreyevich Rimsky-Korsakov (1844-1908).............. Page 15 Richard Strauss (1864-1949) ........................................................ Page 17 Sergei Sergeyevich Prokofiev (1891-1953) ................................ Page 19 Dimitri Shoshtakovich(1906-1975) ............................................ Page 21 Woody Guthrie (1912-1967) ....................................................... Page 22 Michael Giacchino (1967—) ....................................................... Page 23

Resource Guide created by Mary Crisman and Leia Barrett

The Orlando Philharmonic Orchestra 812 East Rollins Street

Orlando, FL 32803

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Young People’s Concerts 2013

Heroes & Legends

Bob Carr Performing Arts Centre, 401 W. Livingston St., Orlando Anthony Hose & Christopher Confessore, conductors

Gabe Preisser & Austin Hallock, guest artists Leia Barrett, narrator

September– November, 2013

The Star-Spangled Banner............................................................................................ Francis Scott Key with student singers

Prelude to Act III from Lohengrin ................................................................................... Richard Wagner (1813-1883) Scheherazade, Movement 3 .......................................................................... Nikolai Rimsky- Korsakov (1844-1908)

With dancers from the Orlando Ballet Selections from The Incredibles (2004) ........................................................................ Michael Giacchino (1967—) Toreador from Carmen ......................................................................................................... Georges Bizet (1838-1875) With guest vocalist Ein Heldenleben .................................................................................................................Richard Strauss (1864-1949) Symphony No. 5, Mvt. 4 ....................................................................................... Dimitri Shostakovich (1906-1975) Lieutenant Kijé Suite: ....................................................................................................... Sergei Prokofiev (1891-1953)

With dancers from the Orlando Ballet This Land is Your Land.................................................................................................... Woody Guthrie (1912-1967)

Audience sing-a-long William Tell Overture .................................................................................................. Gioachino Rossini (1792-1868)

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CONCERT REMINDERS and WHAT TO EXPECT

When you arrive follow the usher’s instructions to locate your seats for the performance. You may choose two students (one boy and one girl) to sing the Star-Spangled Banner on stage. As soon as you arrive you or another teacher must escort these children backstage (the back-stage door is on the left as you look at the stage). It is a good idea to make sure the students know where their class is sitting prior to going backstage. This is a great opportunity to reward students who do NOT sing with good vocal tone but are well-behaved; between the audience and the orchestra, no one will actually hear the students on stage! Administration from the Orlando Phiharmonic will give the accompanying adult a certificate before the concert begins to ensure the certificate arrives at your school safely. When the lights dim the concert is beginning; everyone should sit quietly. The concertmaster will come onstage with a violin. The oboe will play an “A” for the orchestra to tune. An announcer will introduce the conductor. The Star-Spangled Banner students will file onto stage; the audience will stand up and sing along. Watch the conductor to know when to start singing and when to stop. After the song the featured singers will exit stage right and will need to be walked immediately back to their seats. The audience will also sing-a-long during This Land is Your Land. Teachers should rehearse the song prior to their concert date. Memorizing the lyrics would be a good idea, but they will also be projected onto the screen above the stage. Watch the vocalist to know when to start singing and when to stop singing!

CONCERT ETIQUETTE or HOW TO BE THE BEST AUDIENCE YOU CAN BE!

Sit back in your seat quietly and listen carefully as the orchestra plays. Listen to the narrator or the conductor as they give information to the audience. Do not clap (or make other noises) in the middle of a song, even if it is upbeat and fun to clap to, unless directed to do so by the conductor or narrator. To show the orchestra your appreciation, please clap with enthusiasm! Please do NOT yell, scream, stomp or whistle; save that for appreciating your favorite sports team! Save your applause until the piece of music is COMPLETELY OVER! There are quiet parts of the music and pauses that might sound like the end; the music may try to trick you! To be sure the song is over wait for the conductor to put his hands down by his side. To make DOUBLE sure you don’t clap too early you may also wait for the conductor to turn and face the audience.

REMEMBER THE CLASSROOM TEACHERS

Taking the time to make sure the classroom teachers are informed about concert etiquette will pay off during the concert. Don’t assume that just because they’re adults they know how to behave at an orchestral concert! The more involved the classroom teachers are the better! Provide classroom teachers with ways to integrate the information into their classroom curriculum. Consider playing short excerpts of the pieces during morning announcements or making CDs available to the teachers to play in their classrooms during quiet study times.

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SAYING “THANK YOU!”

The Young People’s Concerts are an amazing experience that our students are gifted with each year. One step towards keeping this field trip fully funded and free for all our students is taking the time to show our appreciation to the performers and the supporters.

THE PERFOMERS: The Orlando Philharmonic (and the Orlando Ballet) love to get thank you cards from students! Write a short note to express your thanks or to share what your favor-ite song was and why; draw a picture of your favorite part of the ballet or opera selections. Send all thank you notes to the address on the cover page. ARTS ADVOCATES: The Young People’s Concert series is only possible with the support of many different groups of people. Show how much you value this experience for your students by sending thank you notes to some of the following groups: school/district administration, school board members, and the United Arts of Central Florida.

USING THIS RESOURCE PACKET All materials in this packet can be copied for students, made into transparencies, projected on a screen, made into packets to be used as manipulatives, etc. For questions regarding this teacher resource guide contact: Mary Crisman mary.crisman@ocps.net

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INTRODUCTION

Heroes come in many forms. Many times, when we imagine a hero, we see someone larger than life. We might imagine a superhero with super strength, x-ray eyes, or extraordinary speed. Important historical figures might be our heroes, providing words of wisdom and creating policies that affect our daily lives. Sometimes a hero is a public figure like a police officer or fireman; we might not see them every day, but knowing they’re around makes us feel just a little safer. Finally, we might have a personal hero, someone who can be counted upon to help us when we need them. Heroes, no matter what kind, make our lives better. So when does a hero become a legend? Many times, a legend recounts the memorable story of a hero—a point in time when the hero transitions from ordinary to extraordinary. These stories become, more often than not, the tales that shape our culture and the cultures of people throughout the world. The Orlando Philharmonic Orchestra’s 2013 Young People’s Concert Heroes and Legends explores the ways that music depicts heroes and their legends. A composer might use music to foreshadow an amazing story, much like the William Tell Overture. Other times, music makes us imagine a character like Scheherazade, the heroine in Rimsky-Korsakov’s timeless work. Sometimes, the music becomes a testament to its maker and their heroism like the Shostakovich’s Fifth Symphony. There are a myriad of ways to depict heroes and legends in music, and the result is music that is uplifting, mesmerizing, and awe inspiring.

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The Star Spangled Banner With Student Singers

The concert will open with the singing of our national anthem. Communicate a deeper understanding of the lyrics by reading The Star-Spangled Banner, by Francis Scott Key, illustrated by Peter Spier. Prepare your students for the large vocal range needed for this song by encouraging them to sing in their head voice.

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Some Facts about Gioachino Rossini (1792-1868)

Born in Pesaro, Italy. Considered a Romantic composer and wrote sacred music, chamber music, and operas. He was nicknamed “The Italian Mozart” because he often used song-like melodies in his scores. His first opera was produced when he was 18 years old, and by the time he was 38 he’d composed 39 operas. “William Tell” was his final opera. Rossini was popular with both commoners and royalty, being paid handsomely by both King George IV of Great Britain and Charles X of France. When Rossini retired in 1829 – at the age of 37 – he was quite wealthy and was considered the most celebrated opera composer of his time. Rossini died of pneumonia at the age of 76.

FUN FACT: After his retirement Rossini indulged in his love of food, and was well known as a gourmet and excellent amateur chef. Today, there are still dishes named after him – either because they were created for or by him. One of the most famous is Tournedos Rossini, a French steak dish.

William Tell Overture: The Story The legend of William Tell originates from Switzerland and is set in the early 1300s. William Tell was the epitome of heroism; he had extraordinary strength, excellent climbing skills, and he was known far and wide as a fantastic shot with a crossbow. When we meet William Tell the Austrian Emperor was planning to invade his homeland. The emperor sent one of his top soldiers– a man named Albrecht Gessler– to oversee the Swiss capital city. Gessler was determined to put the Swiss people in their place— he even put his hat on a pole in the middle of town and demanded the people bow to it! Like all heroes, William Tell would not stand for this treatment. When he arrived in town and saw this event he refused to bow and was immediately arrested. Knowing Tell by reputation, Gessler presented him with a compromise. If Tell could hit an apple off the top of his own son’s head, he and his son would be set free. William Tell was successful, but Gessler was not true to his word. Instead, Tell was put on a ship headed for a dungeon! Legend says that a tremendous storm hit while the ship was at sea. The sailors, having heard of him, asked William Tell to steer the boat to safety. He eventually escaped and went to his homeland, where he led a Swiss army to battle with the Austrian invaders. His army defeated the Austrians and Gessler in the ensuing battle.

William

Tell O

verture G

ioacch

ino

Ro

ssini

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William Tell Overture: The Music The Overture to William Tell makes use of foreshadowing, giving the listener a glimpse of several important points in the story and often depicting elements from the story. The Overture is broken into four distinct parts: the dawn, before the Austrian army invasion; the storm while Tell is on a ship; Ranz des Vaches, signaling the calm before the storm of battle; and the finale, often called The Marche of the Swiss Soldiers. The finale, which will be played by the Philharmonic in its entirety, opens with a fanfare from the trumpets and horns. The music became iconic when chosen as the theme song for the 1930s radio program “The Lone Ranger.”

Musical Interlude: Overtures and Orchestras The Overture has been a part of orchestras for several centuries. Overtures have also been a part of operas, presenting musical themes that the listener will hear several times during the performance. Around Rossini’s time, the overture became a stand alone music form and the Concert Overture was born. Although the William Tell Overture was originally presented before an opera, it has become a stand alone work in spite of the fact the opera was not well received and is rarely performed. A reason overtures are often played at the beginning of a concert refers to a previous time when they were part of a larger work.

Listening and Learning Activities

Activity #1: Listening Map Pass out dynamic cards (VISUAL): piano and forte only, or add mezzo-forte or mezzo piano for an

added challenge. The students must hold up the card of the dynamic they hear. Speak/pat through the “horse” section at a slow tempo. Listen to the piece while sitting still

Introduction– Students stretch and pretend to dust themselves off Horse– Students pat their legs (“galloping”) Cymbals– Clap the rhythm Bow and Arrow– Students slowly pull back their invisible bows and let their arrows fly. They can decide whether they hit the apple (happy expression) or they missed (frustrated or tragic expression). I like to give out mini awards to students who are exceptionally dramatic. (VISUAL: Mini Awards) Conducting in two Stormy Sea- “Paddle” your boat in place BIG FINISH!- The teacher points to one of the sections of the listening map and the class performs the movement from that section. For more of a challenge, switch between sections quickly.

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Activity #1A: Listening Map Variation (with movement): Traveling around the room with a partner Have partners create a body percussion pattern for the cymbal section (or the teacher can create one for the entire class to perform). Also ask the students (or just assign parts, if preferred) to decide which of them is William Tell (the archer) and which is his son.

Introduction – Dust yourself off and sling a leg over your horse

Horse – Gallop next to your partner; during the repeat, one arm can go in the air and spin a

lasso (if your class needs more structure then have the parters gallop around each other using a

do-si-do or gypsy).

Cymbals – Body percussion with partner

Bow and Arrow – One partner aims and fires, the other partner celebrates living through the

ordeal (Note: In this instance I would advise against giving students the option of perishing

dramatically when “hit” by the arrow.)

Conducting in 2 Stormy Sea – “Paddle” around the room; bonus awards for anyone who looks terrified of the

storm!

BIG FINISH! – The teacher points to sections of the listening map. If the cymbal section is

chosen try to give a little warning and pick a nice starting point for the partner body percussion.

Activity #2: Find the Form Depending on how comfortable your students are with identifying form, this activity can be done as a class or in small groups.

Hand out form card packets (VISUAL) or place a packet of the cards on the edge of a white-board or bulletin board. You can have the exact number of cards for the activity or include extras for an added challenge. You can choose to post the listening map or not. There are two possible answers for the correct form:

(introduction) A B (interlude) A C D C B (interlude) A (coda) (introduction) A B C A D E D B C A (coda)

If you prefer one of the above mentioned forms restrict the cards that are posted/distributed.

The team(s) that get the form correct (or are the closest) win!

Activity #3: Rossini’s Chant Teach Rossini’s Chant (VISUAL). Check to see if your students: 1) Understand the song 2) Can elaborate on the story of William Tell 3) Are able to elaborate on the biography of Rossini Vocabulary: fanfare, dynamics, forte, piano, form, introduction, interlude, coda, trumpet, brass, cymbals, conduct

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Some facts about Richard Wagner (1813-1883)

Wagner was born in Leipzig, Germany He was heavily influenced by Ludwig van Beethoven He composed his first opera at the age of 20 Designed the Beyreuth Festspielhaus, an opera house

specifically created to accommodate the huge orchestras and elaborate sets used in his operas

Had money troubles throughout his life Wagner died of a heart attack at the age of 69

Lohengrin: The Story

Elsa, a princess, has been accused of a horrible crime. Her only hope is that a knight in shining armor will defend her honor through combat. When all hope seems lost, the mysterious hero Lohengrin enters, challenges her accuser to a duel, and defeats him. Lohengrin asks for Elsa’s hand in marriage and by the end of Act II they are preparing to enter the church. The Prelude to Act III includes a heroic fanfare for the couple as they begin the ceremony, and by the beginning of Act III they are married. The Prelude to Act III is programmatic, meaning that the music represents a story as it happens. In addition to an incredibly virtuosic opening, this prelude includes the Wedding March, a march that is still used for weddings today!

Lohengrin: The Music Lohengrin, one of Wagner’s most well-known operas, was first premiered in 1850 and was conducted by Franz Liszt. Wagner, having been exiled from Germany for taking part in a revolution, did not see this premiere; he did not, in fact, see a full performance until 1861. The opera was so successful it would be performed in several different countries. One of the opera’s biggest fans, King Ludwig II of Bavaria, would become Wagner’s biggest supporter. Musical Interlude: Richard Wagner & Bayreuth One of the greatest accomplishments of Wagner was the realization of the Bayreuth Festspielhaus, an opera house dedi-cated solely to the works of Richard Wagner. The hall is known for its amazing acoustics, double proscenium (making the stage appear farther from the audience than it actually is), and a recessed orchestra pit. All of these features allow the audience to be more engaged in the performance, almost as if they are a part of the action. The Bayreuth Festival is still an annual event that recreates the greatest operas of Wagner. Most Wagner fans wait for years before securing a ticket!

Prelu

de to

Act III fro

m L

ohgengrin Rich

ard W

agner

Sculpture installation by Otto Hoerl commemorating Richard Wagner at the 2013 Wagner Festival

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Listening and Learning Activities Activity #1: Listening Map

The rhythm seen on the left is a frequently repeated, ascending pattern in this piece (“play it again” can be used as a text substitute, or “tri-pl-et ta”). Ask the students to raise their hand whenever they hear this pattern. How many times did you hear it total?

This selection from the piece is in ABA format. Play the excerpt for your students and ask them if they can identify the basic form of the piece. Guide them towards the correct answer.

Ask the students to brainstorm (either individually or in small groups) words that describe the mood of the piece. Does the mood change during the B section? Why do you think the mood sounds the same/different? (No wrong answers here; encourage the use of music terminology such as tempo and dynamic terms.)

Activity #2: Movement Divide the class into two groups before playing the piece. Give each group a different manipulative (group 1 could all get beanbags or streamers; group 2 could all get scarves or fairy rings). Remind them that everyone will be drawing the contour of the brass melody starting in part B, and then will be moving in fast triplets when part B repeats. For the string triplets they will need to look at the Parts of the Body cards (VISUAL) to know what body part to move to the fast triplet rhythm. Part A: Students walk around the room to a slow steady beat, nodding snobbishly at other students as they walk past each other. Part B: Both groups stay in place and move their manipulatives. When the section repeats the groups switch from manipulatives to looking at the Parts of the Body cards.

Activity #3: Making it a game: Any student who is not following directions gets a point for their team. Section A: Anyone not walking slowly. Section B: Any students who aren’t doing the correct movement at the correct time. (Drawing the melodic contour first and then moving body parts during the repeat.) Extra points are given to teams who are talking or messing about; points are taken away for team members who are being especially expressive, participatory. The team with the least points wins. Vocabulary: programmatic, fanfare, triplet, brass, strings

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Some Facts about Georges Bizet (1838-1875)

Bizet was born in Paris, France. He was a brilliant student at the Paris Conservatoire, even-tually winning the prestigious Prix de Rome. The money earned from the Prix de Rome supported Bizet for 5 years so that he could continue his studies. He spent two years in Rome, Italy, before returning to Paris. He was an exceptional pianist, but rarely performed in public Spent some time in the French National Guard during the Franco-Prussian war He was known primarily for his operas. His most famous opera is Carmen, but the initial reception for Carmen was lukewarm. The opera did not receive critical acclaim until his untimely death, only three months after it first premiered in Paris. He died at age 36 of a heart attack

Carmen: The Story The opera follows the story of a soldier named Don José, who falls in love with a Gypsy girl named Carmen. His obsession with Carmen eventually results in him abandoning his childhood sweetheart and deserting from the military. When Carmen falls in love with another man, a glamorous toreador named Escamillo, José is con-sumed by jealousy and kills her. (Please use this synopsis wisely. It is included for your own information; not all of it is necessary for the students to enjoy the performance.)

Carmen: The Music Carmen was, and is, Bizet’s most famous work. Carmen was written in the style opéra comique (having musical sections separated by sections of dialogue). Although the opera initially received mixed reviews from critics and lukewarm interest from the public, it was given rave reviews shortly after his death. It is still popular and is frequently performed today. In the opera Carmen, Escamillo (the bull fighter) is the ultimate sports hero. When we meet Escamillo, he is surrounded by his adoring fans. He addresses the soldiers, stating that his motivations for bullfighting are like a soldier’s motivations for fighting: glory, celebration, and the love of beautiful women.

Discussion Question: In the section being performed by the Orlando Philharmonic Orchestra, Escamillo describes the scene he faces whenever he enters the ring. Have your students discuss the arena events they’ve attended (concerts, sporting events, or anything else where thousands of people attended). Have them talk about how it feels to be an audience member, cheering their favorite team or singer on. Is it similar to what the toreador describes, even though Carmen was created over 100 years ago?

Th

e To

reado

r So

ng fro

m C

armen G

eorg

es Bizet

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Listening and Learning Activities Activity #1: Listening Map

Practice this repeating rhythm with the class: Before starting the song ask the class to be ready to play the pattern four times through before stopping and looking up. Once the piece is playing, follow the four of rhythm with four measures of steady beat (beat 1, snap your fingers, beats 2-4 lightly tap your shoulders). Point back to the pattern on the listening map when it’s about to start again. This long pattern will continue throughout the Introduction and parts A and B. During the repeated C section the class will “play” their laps with alternating hands and staccato (short and light) notes first. During the repeat of C the class will play marcato (strongly accented). For an extra challenge have your students roll with the timpani near the very end, cut off with the timpani, and then close out with the steady beat to the end.

Activity #2: Drum transfer

Take the piece to drums/unpitched percussion Put the instruments in a large circle, with drums alternating with smaller unpitched percussion (or big drums alternating with small drums). Try to use unpitched percussion that can be played with two mallets (temple blocks, wood blocks) to help facilitate the roll at the end of the piece. The students will play the rhythmic pattern on their instrument, softly, four times. During the four measures of steady beat the circle will rotate one instrument. The challenge is to not get so loud at the end that the students can’t hear the music and end up rushing the beat.

Vocabulary: opéra comique, staccato, marcato, roll, grand pause

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Escamillo

Votre toast, je peux vous le rendre,

señors, señors, car avec les soldats

oui, les toreros peuvent s’entendre;

pour plaisirs, pour plaisirs, ils ont les combats!

Le cirque est plein, c’est jour de fête!

Le cirque est plein du haut en bas;

les spectateurs perdant la tête,

les spectateurs s’interpellent à grands fracas!

Apostrophes, cris et tapage

poussés jusques à la fureur!

Car c’est la fête du courage!

C’est la fête des gens de coeur!

Allons! en garde!

allons! allons! ah!

Toréador, en garde!

Toréador! Toréador!

Et songe bien, oui, songe en combattant

qu’un oeil noir te regarde

et que l’amour t’attend,

Toréador, l’amour, l’amour t’attend!

Toréador! Toréador! L’amour t’attend!

Escamillo

To your toast, I quite have the standing,

Señores, to reply with great delight.

Yes, we toreros have understanding

Of you soldiers, for our pleasures are in the fight!

The ring is full, they’re celebrating!

The ring is full from top to ground;

The crowd goes mad, edgy from waiting,

Breaking into noisy arguments all around!

People shout, people yell and holler

With a din that tears the place apart!

They’re celebrating men of valor!

Celebrating the brave of heart!

Let’s go! On guard!

Let’s go! Let’s go! Ah!

Toreador, on guard!

Toreador! Toreador!

And, as you fight, just think that from above

Dark eyes send down their regard

With promises of love,

Toreador, with promises of love!

Toreador! Toreador! Of love, of love!

Translation © 2004 by Jacob Lubliner

Retrieved from:

http://www.ce.berkeley.edu/~coby/songtr/

carmen/toreador.htm

The Toreador Song from Carmen by Georges Bizet

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Some Facts about Nikolay Rimsky-Korsakov (1844-1908)

Rimsky-Korsakov was born in Tikhvin, Russia. (The name “Tikhvin” means “road to the market”, and is located on commercial river way.) Began composing at age 10, but developed a love for the sea and decided to go to school to pursue a Navy career. While at school his love for music and composition blossomed, but he still joined the Navy when he was 18 years old. For a large part of his life Rimsky-Korsakov balanced his composing with a career in the Russian military He was largely self-taught during the first years of composition. It wasn’t until he was teaching music at the St. Petersburg Conservatory that he began to seriously study music theory and an academic approach to composing. He developed a nationalistic style and frequently used folk and fairy tales as subjects for his compositions. He had seven children In 1890 Rimsky-Korsakov was diagnosed with angina, which became severe by 1907. He died in 1908 at the age of 66.

Scheherazade: The Story One of the most well-known and beloved tales of the Mediterranean, the story of Scheherazade and her thousand and one tales is truly legendary. The king, once a wise and just ruler, has been spurned by his wife and out of anger makes a terrible declaration. Believing that women are inherently evil, he has decreed that he will marry a different woman every day, banishing her after one night as queen. The beautiful Scheherazade, daughter of the vizier, hatches a plan: she tells the king a different story every night, getting to an exciting portion just as the king is about to retire. In this way, she stays in the palace for a thousand and one nights, earning her freedom and the love of the king. (Note: Because The Arabian Nights was passed down through rote, this is an acceptable version to tell students that is less violent while still being true to the story’s intent.)

Scheherazade: The Music Written in 1888, Rimsky-Korsakov created four movements, or separate and distinct parts of a composition. Each movement has several themes that represent main characters and parts of the story. Using melodies to represent characters is a compositional device known as leitmotif, an invention of Richard Wagner. The movement students will hear, the Prince and the Princess, is not meant to tell a particular story from the Arabian Nights; instead, it makes us imagine a moment in time when a Prince and a Princess are dancing together, in their own world. This work will feature dancers from the Orlando Ballet.

Sch

eherazad

e by N

ikolai R

imsk

y-Ko

rsakov

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Listening and Learning Activities Activity #1: Just Listen

Pass out paper/pencils or white boards. Ask the students to complete two tasks while listening to the (not yet named) piece for the first time. 1) Write down the names of any instruments that you hear in the piece and 2) write down some words that describe the mood of the piece, or what you think is happening in the piece. After the song is completed ask the students for their mood words and for what instruments they heard. Write their answers on the board.

Activity #2: Listening Map

Follow along with the listening map, putting checks next to the instruments listed on the board as they are heard/seen on the listening map.

Activity #3: Expressive Movement

Pass out streamers or scarves. Warm up the class by leading them in some movements with their streamers: fast, slow, high, low, turning, wiggling.

Moving to the music:

o Option 1: Ask the class to move with the music, following the contours of the melody and expressing changes in tempo and dynamics. (Any super stars in the class? Maybe they deserve a Mini Award!)

o Option 2: Divide the class into winds and strings. Each half only moves when their part of the orchestra is playing. If all instruments are playing then they should follow the con-tour of their instrument group. (e.g. During the “windy” part of the map, the winds would be swirling around and the strings would be dipping up and down…in theory.) o Option 3: Throw in some random challenges!

On-line Resources: https://www.youtube.com/watch?v=JKlftN0u2ms - Sketch animation of a figure skater https://www.youtube.com/watch?v=myhCjkEyrTY – Performed on classical guitar http://www.classicalkusc.org/kids/sche/base.htm - An interactive story of Scheherazade Vocabulary: movements, leitmotif, cadenza, strings, winds

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Some facts about Richard Strauss (1864-1949)

Strauss was born in Munich, Germany and was the son of a horn player. Wrote his first composition at age six and continued composing throughout his life He is well known for his operas, lieder, and orchestral

tone poems. Strauss was also a popular conductor. His music was influenced by Wagner. During World War II he used his clout as an extremely popular German (and

international) composer to protect his son’s wife - who was Jewish - and his grandchildren.

He died peacefully in his sleep at the age of 85

I may not be a first-rate composer, but I am a first-class second-rate composer. – Richard Strauss Ein Heldenleben: The Story

Richard Strauss was known for writing tone poems, musical works that tell a story. In Ein Heldenleben, literally translated “A Hero’s Life,” Strauss tells the story of a hero fighting his enemies. Over the course of “A Hero’s Life,” we see a tale as old as time itself. We hear the hero described; meet his enemies, companions, and friends; see the hero in battle; witness the acts of peace he performs when the battle is won; and fi-nally, near the end of his life, a retirement from the limelight and the world. Choose any legend, whether it is a superhero or a political figure, and it will probably have elements of this story. Perhaps this is the reason that Strauss chose to use an anonymous hero rather than dedicating the story to a folk hero or famous soldier. You will be hearing a portion of the Hero at Battle, but the music takes place after the battle has been won.

Musical Interlude: Program Music and the Tone Poem During the Romantic Era, program music was extremely popular. Works such as Scheherazade by Rimsky-Korsakov and Symphonie Fantastique by Berlioz attempted to tell stories through music. Many times these musical works would coincide with stories provided by the composer. The epitome of this genre were the tone poems of Richard Strauss. These tone poems attempted to create realism in instrumental music, exploring topics using instrumental music that would have seemed impossible before. Strauss set literature, legends, philosophy, and even an autobiography to music, expanding the symphony orchestra repertoire in size and virtuosity. Examples include Don Quixote, Also sprach Zarathustra, Macbeth, Don Juan, and Ein Heldenleben. NOTE: The Orlando Philharmonic will be performing Ein Heldenleben in its entirety on its Opening Night (Saturday, September 28th at 8:30 p.m.)

Ein H

eldenleben by R

ichard

Strau

ss

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Listening & Learning Activities Activity #1: Just Listen Before explaining the story, have your students listen to this excerpt and describe what they imagine. Does it sound like a battle? Does it sound triumphant? What do your students hear in the music? What story did it tell them? Does the story have a happy ending?

Activity #2: Conducting the Tempo Divide the class in half. Give half of the class batons/pencils/one chopstick, and have them be the conductors. As expressive conductors they should speed up and slow down with the music, and their gestures should get bigger or smaller, depending on the dynamic level.

The other half of the class is responsible for identifying when the tempo changes. They are given two Tempo Cards (VISUAL): accelerando (speeding up) and rallentando (gradual slowing down).

On-line Resources: http://www.youtube.com/watch?v=EuLudMgsR5o – “A Hero’s Life” in concert, decent camera work, some nice instrument close-ups, and you’ll love the clarinetist at 2:13!

19

Some Facts about Sergei Prokofiev (1891-1953)

Prokofiev was born in Sontsovka, Russia He composed his first piece at the age of five He was also an excellent chess player, winning a match when he was 13 years old against a future chess world master Studied at the St. Petersburg Conservatory (even taking an orchestration class taught by Rimsky-Korsakov during his tenure), but was bored by many of his classes Considered one of the major composers of the 20th century He was an excellent pianist Popular in elementary music classrooms for his composition Peter and the Wolf He died at the age of 61 due (most accounts agree) to a cerebral hemorrhage.

Lieutenant Kijé: The Story In the novel Lieutenant Kijé, a clerk accidentally adds Lieutenant Kijé (who does not exist) to a list of officers who are being moved up in rank. Over the course of the story Lieutenant Kijé is blamed for disturbing the emperor’s sleep by yelling in his courtyard, punished and sent to Siberia, forgiven and brought back to Russia, married to a woman (Kijé wasn’t at the ceremony, of course), and promoted to the rank of general. At the end of this ridiculous tale the emperor decides he needs someone dependable – such as General Kijé – at his side. When the emperor sends for Kijé to attend him at his court he is told that Kijé has died. Distraught at the loss of such a great officer, the emperor orders a state funeral for Kijé, saying “Thus passes the glory of the world.”

Lieutenant Kijé: The Music In 1934 the novel Lieutenant Kijé was turned into a movie, with Prokofiev being asked to provide the score. Prokofiev took his film score and turned it into a suite (an instrumental composition consisting of a series of varying movements or pieces). The orchestral suite outlines five parts of the story:

Kijé’s Birth (when a clerk mistakenly puts him in the registry) Romance (when Kijé falls in love) Kijé’s Wedding (when administrators stage a fake wedding for the benefit of the king)

Troika (a journey in the snow using a Troika or horse drawn sleigh) Kijé’s Burial (Administrators are tired of faking his existence and tell the king he has died) Students will hear the movement Troika in its entirety performed with dancers from the Orlando Ballet.

Lieutenant K

ijé Suite b

y Serg

ei Pro

kofiev

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Listening & Learning Activities Activity #1: Listening Map:

Sing through the motif several times to familiarize the students with the slightly challenging melody. As you repeat it have the students match your body percussion to stay engaged. Review how to conduct in 4. Follow along with the listening map.

Activity #2: Dance Transfer: This dance is done in alley formation, partners facing each other.

Label one line as A and one as B. Introduction: Line A walks in slowly, bows, and steps back. B does the same after A. Low brass: Each student turns in a slow circle and then looks dramatically at their partner on the last low note. Jingle bell Interlude: Students turn to face each other. Motif: Students sing the refrain, stepping forward to clap hands against their partner’s hands on the words “5 parts.”

Pizzicato section:

o Criss cross feet (4 beats)

o Swoop in (partner clap) and out (self clap) twice (8 beats)

o Criss cross feet (4 beats)

o Turn in a circle (4 beats)

o Pose and hold for a second

Brass: You PASS your partner with a do-si-do (on the 16 count times everyone just holds the

second count of 8)

Sneaky Saxophone: slow gypsy, slow reverse gypsy (looking suspicious!)

Coda: Row A bows again, then row B

Vocabulary: suite, pizzicato, meno mosso, allegro, do-si-do, gypsy, alley formation

21

Some Facts about Dimitri Shostakovich (1906-1975)

Shostakovich was born in St. Petersburg, Russia He was a child prodigy as a pianist and a composer. His Symphony No. 1 was written when he was only 19 years

old and was performed internationally. He composed music for over 100 films During World War II he tried to enlist in the military, but was not accepted due to his poor eyesight. Shostakovich chose to serve his country by volunteering as a firefighter. He died of lung cancer at the age of 68.

Symphony No. 5: The Story Symphony No. 5 by Dimitri Shostakovich is considered to be one of the most controversial works in his repertoire. At the time political pressure was forcing many artists to compose conservatively, avoiding compositions that could be construed as antagonistic to those currently in power. Shostakovich managed, rather brilliantly, to craft a symphony that would be seen two different ways. Authorities could find no fault with it, and the public interpreted it as a blatant expression of the hardships that they had been suffering under Joseph Stalin. At its premier the ovation went on for over 30 minutes!

Symphony No. 5: The Music Just before Symphony No. 5, Shostakovich had undergone a significant change in his compositional style, including more complexity and avant garde writing. Because of his visibility in the public, however, he was under tremendous political pressure. There was so much pressure that his Symphony No. 4 was tabled before it even premiered to the public. Symphony No. 5 is, on the surface, a peace offering to the political figures watching his every move. The full title is “A Soviet Artist’s Response to Just Criticism,” implying that he’d learned his lesson. The public understood the work for what it was, however; a cry of despair for those lost during Joseph Stalin’s regime. The portion of Symphony No. 5 played by the orchestra (the very end of the work) has been criticized because it is unlike the entire symphony; its heroic sound is out of place. Many people believe that this was the intention of Shostakovich. He created something that was almost (but not quite) heroic, as if that section was propaganda.

Listening and Learning Activities Activity #1: Listening Map

Follow along with the map and think about the mood of the piece. Does it sound like a political statement, or does it sounds more like a song for the everyday man? Why?

Activity #2: Instrument Family Cards

Each student gets one set of instrument family cards (VISUAL). As the piece plays again hold up the family that corresponds to whatever instrument is highlighted on the listening map.

Vocabulary: avant garde, orchestra families

Sym

ph

on

y No. 5

Dim

itri Sh

ostako

vich

22

Some Facts about Woody Guthrie (1912-1967)

Guthrie was a singer-songwriter who was born in Okemah, Oklahoma.

He was well know for folk music, traditional and political songs, and ballads.

He had eight children. During the 1930s (a.k.a. The Dust Bowl era) he traveled

to California looking for work. Guthrie learned folk and blues songs from the migrant workers traveling with him and he was eventually nicknamed the “Dust Bowl Troubadour.”

Guthrie got a job in Los Angeles singing folk and traditional songs, as well as some of his original compositions. He also used his radio job as a platform for (often controversial) social commentary.

His most famous song was “This Land is Your Land”. During World War II he joined the U.S. Merchant Marine; he was later drafted

into the U.S. Army. He died from complications due to Huntington’s disease (a progressive

neurological disorder) in New York City at the age of 55.

This Land is Your Land: The Story When Woody Guthrie first heard Irving Berlin’s classic “God Bless America,” he did not share a feeling of inspiration like many Americans. He was patriotic in spirit, but he felt that the song, while inspiring, was not the America he knew. In 1944 he composed “This Land is Your Land,” originally called “God Blessed America.” He wanted to write a song that encompassed all of America including the scenery and the people. Growing up in Oklahoma, Guthrie’s “This Land is Your Land” describes the American landscape, but it also served as a warning. As someone growing up during the Dust Bowl, Guthrie wanted American citizens to appreciate that the land was made for them so that every inch of the United States was considered precious.

This Land is Your Land: The Music This Land is Your Land is your student’s chance to sing along with a real

orchestra! In order to accommodate the normal student vocal range, students will

sing the first part of this orchestral arrangement in the key of G. Although the

version available for your students is not the orchestral version it is the key in

which they will be singing at the concert.

Th

is Lan

d is Y

our L

and

Wo

od

y Guth

rie

23

Some Facts about Michael Giacchino (1967—)

Born in Riverside Township, New Jersey. His last name is pronounced “Juh-keen-oh”. Created his own stop motion animation films when he

was a child He studied at the School of Visual Arts in New York

(major in film production and a minor in history), Julliard (music) and UCLA (music).

Has composed orchestral scores for many video games including The Lost World: Jurassic Park, Small Soldiers, Call of Duty, and the Medal of Honor games.

Composed music for the TV shows Lost, Fringe, Alcatraz, and Alias. Composed the scores for many feature films: The Incredibles, Mission: Impossible III, Star Trek, Super 8, Ratatouille, Cars, and Up (for which he won many awards, including two Grammys and an Oscar). Worked at Universal and Disney Is an advisory board member of Education Through Music Los Angeles, an organization that promotes integrating music into disadvantaged schools. Website: http://www.michaelgiacchinomusic.com/

Can be contacted via Twitter: @m_giacchino (“Nerd composer who sometimes

composes for Nerds.”)

The Incredibles: The Story Who wouldn’t want to be a superhero? In The Incredibles, we see that sometimes being a superhero isn’t as easy as we imagine. In the movie, superheroes have been forced underground after a series of lawsuits have been filed against them. This means that these once legendary individuals have to take mundane jobs and hide who they really are. When a menace known as Syndrome threatens to do away with all superheroes, the Parr family (known as The Incredibles) bands together, using their superpowers as a team and saves the day.

The Incredibles: The Music The Orlando Philharmonic Orchestra will be presenting selections from “The Incredi-bles.” These themes are jazzy and upbeat, allowing students to experience the orches-tra playing in a different musical medium. The recording is different than the version that will be heard on the concert because it is a concert version. Discussion question: How is the music of The Incredibles different than other heroic themes heard in this concert? How is it the same?

Th

e Incred

ibles M

ichael G

iacchin

o

Photo from: www.michaelgiacchinomusic.com

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Learning & Listening Activities: Activity #1: Listen First

Before playing the selection, ask the students to raise their hand when they think the mood of the piece has changed. Ask them to listen for instruments that aren’t usually in the standard orchestra (drum set, saxophone). What type of music does this sound like? (Jazz!!)

Activity #2: Conduct Review how to conduct in 4 and 5. Conduct the beginning in 4, switch to 5 when it gets jazzy. (There are a few spots of 3; freeze during those brief measures.)

Activity #3: Top Secret Movement Use the Top Secret Movement Cards (VISUAL) to give instruction to the students on how to move about the room. You can also combine these cards with the tempo cards to add another level of difficulty.

Dynamic cards

forte

piano

mezzo-

forte

mezzo-

piano

forte

piano

mezzo-

forte

mezzo-

piano

William Tell Overture (Rossini)

Introduction!

Gotta aim, gotta aim, gotta aim aim aim….Just a bit higher up than the brain, brain, brain… If I miss, boo and hiss, it’s a shame shame shame….If I win - - - then we’ll be free again!

(4 x)

Time to conduct!!

Time to conduct!!

Big finish!!

Form cards

A

B

C

D

E

F

Introduction

Interlude

Coda

ABA

AB

ABC

Verse

Chorus

Bridge

Rossini’s Chant

I:

Romantic Rossini was from Italy

He wrote lots of op’ras with sweet melodies

He made lots of money; he ate lots of food;

He was a fantastic’ly popular dude!

II:

William Tell loved Switzerland

Didn’t like Austria

III:

Aim… Shoot the apple!

Prelude to Act III from Lohengrin (Wagner)

Part A: Stately

Part B: Brass vs. Strings

Body Cards

Head Shoulders Fingers Knees Feet

Carmen, Act II: Votre toast (Bizet)

Introduction

A

A toast to the toreador!

The crowd is going

crazy!

B

They’re celebrating men

of valor and bravery!

C

Toreador, as you fight…

piano -

dark eyes send

promises of love!

forte -

Coda

GRAND

PAUSE!

Scheherazade, Mvmt 3 (Rimsky-Korsakov)

cadenza

Woodwinds…

pizzicato

Tempo Cards

accelerando

rallentando

largo

presto

allegro

moderato

ritardando

adagio

Lieutenant Kije Suite, Mvmt 4: Troika (Prokofiev)

Introduction (conduct in 4)

Meno mosso (less motion)

Allegro

Part A: main motif

(pizzicato section)

Part B: Brass fanfare

(16 beats)

Part A: Main Motif + pizzicato section (In 1933…)

Part C: Sneaky Saxophone…

Part B: Brass Fanfare (8 beats)

Part A: Main Motif + pizzicato section (In 1933…)

Part B: Brass Fanfare (16 beats)

Part C: Sneaky Saxophone…

Part B: Brass Fanfare (8 beats)

Part A: Main Motif + pizzicato section (In 1933…)

Coda!

Symphony No. 4, Mvmt 4 (Shostakovich)

Ritardando

Instrument Family Cards

This Land Is Your Land

This land is your land, this land is my land

From California to the New York Island

From the Redwood Forest to the Gulf Stream waters

This land was made for you and me.

As I was walking that ribbon of highway

I saw above me that endless skyway

I saw below me that golden valley

This land was made for you and me.

Top Secret Movement Cards

Sneak

Hide

Escape!

Ninja

poses!

Danger! Tiptoe away!

Crawl

Silent evil

laughter!!

Dance

party!

Mini Awards

Rhythm master!

_________________ Awarded for doing awesome

work on rhythm!

Mallet master!

_________________

Awarded for excellence on

the mallet instruments!

HEAR HEAR!

_________________

Awarded for excellence in active

listening and observation!

Drama queen!

_________________

Awarded for excellence in

classroom overacting!

Exceptional Improviser!

_________________ Awarded for being a brave and

brilliant improviser!

Sensational

Singer!

_________________ Awarded for excellent effort

and sensational singing!

King of the dance

floor! _________________ Awarded for stellar moves on

the dance floor!

Dancing queen!

_________________ Awarded for stellar moves on

the dance floor

Curriculum connections: NGSSS The YPC provides learning experiences for 3rd, 4th and 5th grade students; go to www.floridastandards.org to access documents on the Next Generation Sunshine State Standards and discover how you can fit the YPC lessons – and your regular classroom curriculum – into our Florida standards. The NGSSS for The Arts begins with a broad overview of what students should know and be able to do, organized in these five Big Ideas common to grades K-12:

• Critical Thinking and Reflection: Critical and creative thinking, self-expression, and communication with others are central to the arts. • Skills, Techniques, and Processes: Through dance, music, theatre and visual art, students learn that beginners, amateurs, and professionals benefit from working to improve and maintain skills over time. • Organizational Structure: Works in dance, music, theatre and visual art are organized by elements and principles that guide creators, interpreters and responders. • Historical and Global Connections: Experiences in the arts foster understanding, acceptance, and enrichment among individuals, groups and cultures from around the world and across time. • Innovation, Technology, and the Future: Curiosity, creativity, and the challenges of artistic problems drive innovation an adaptation of new and emerging technologies.

Under each Big Idea are three K-12 Enduring Understandings that target, in general terms, what students should learn from the foundations in primary grades through advanced experiences in high school. From these Understandings teachers develop Essential Questions for planning classroom lessons. Under each Big Idea and Enduring Understanding are the grade level benchmarks that explicitly describe what students should know and be able to do. The benchmarks are specific and measureable, and are identified with this numbering system: MU.K.C.1.1 = Subject.Grade.Big Idea. Enduring Understanding.Benchmark

These are some of the NGSSS Benchmarks that will be covered during YPC Lessons and the concert: MU.3.C.1.1: Describe listening skills and how they support appreciation of musical works MU.3.C.1.2: Respond to a musical work in a variety of ways and compare individual interpretations. MU.3.C.1.3: Identify families of orchestral and band instruments. MU.3.C.3.1: Identify musical characteristics and elements within a piece of music when discussing the value of the work. MU.3.F.2.1: Identify musicians in the school, community, and media. MU.3.H.1.2: Identify significant information about specified composers and one or more of their musical works. MU.3.O.1.1: Identify, using correct music vocabulary, the elements in a musical work. MU.3.O.3.1: Describe how tempo and dynamics can change the mood or emotion of a piece of music MU.4.C.1.1: Develop effective listening strategies and describe how they can support appreciation of musical works. MU.4.C.1.2: Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.C.1.3: Classify orchestra and band instruments as strings, woodwinds, brass, percussion, or keyboard. MU.4.C.3.1: Describe characteristics that make various musical works appealing. MU.4.F.2.1: Describe roles and careers of selected musicians.

MU.4.H.1.2: Describe the influence of selected composers on the musical works and practices or traditions of their time. MU.4.O.3.1: Identify how expressive elements and lyrics affect the mood or emotion of a song. MU.5.C.1.1: Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.1.2: Hypothesize and discuss, using correct music vocabulary, the composer’s intent for a specific musical work. MU.5.C.1.3: Identify aurally selected instruments of the band and orchestra. MU.5.C.3.1: Develop criteria to evaluate an exemplary musical work from a specific period or genre. MU.5.F.2.1: Describe jobs associated with various types of concert venues and performing arts centers. MU.5.F.2.1: Explain why live performances are important to the career of the artist and the success of performance venues. MU.5.H.1.2: Compare and describe the compositional characteristics used by two or more composers whose works are studied in class. MU.5.H.2.1: Examine the contributions of musicians and composers for a specific historical period. MU.5.O.3.1: Examine and explain how expressive elements, when used in a selected musical work, affect personal response. In addition, certain Common Core State Standards (CCSS) in Language Arts can be used during discussions including: LACC.3.RI.1.1: Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis for this answer. LACC.3.RI.1.2: Determine the main idea of a text, recount the key details, and explain how they support the main idea. LACC.3.RL.1.2: Recount stories, including fables, folktales, and myths from diverse cultures, determine the central message, lesson or moral, and explain how it is conveyed through key details in the text. LACC.4.RI.1.2: Determine the main idea of a text and explain how it is supported by key details; summarize the text. LACC.4.RI.1.3: Explain events, procedures, ideas, or concepts in a historical, scientific, or technical text, including what happened and why based on specific information in the text. LACC.5.RL.1.2: Determine a theme of a story, drama, or poem from details in the text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the text.

Music and Other Learning Music teachers will want to share these curriculum connections with students, classroom teachers, administrators and parents. • Social Studies: Historical context of our national anthem • Science: Knowledge of the properties of sound and how it is created • Literature: Understanding how the written word can inspire other creative arts (Scheherazade, Lieutenant Kije)

• Reading Skills: Suggested book titles provide an opportunity for teachers to read aloud to students, providing a model of fluency. Classroom discussion of the musical selections and the composition process will strengthen vocabulary and comprehension skills. • Compare and Contrast: Use thinking maps or graphic organizers to describe what is heard in a musical selection or what happens in a story.

Resources and References Recommended Books The Star-Spangled Banner by Peter Spier The Story of the Orchestra by Robert Levine The Remarkable Farkle McBride by John Lithgow The Story of the Incredible Orchestra by Bruce Koscielniak Bravo! Bravo! A Night at the Opera by Anne Siberell

Recommended Videos Amazing Music – a four video series of youth concerts by the Dallas Symphony Orchestra Disney’s Fantasia and Fantasia 2000

Internet – Online Resources The Orlando Philharmonic Orchestra home page: www.orlandophil.org Websites with activities for students and teachers: San Francisco Symphony Orchestra – www.sfskids.org Dallas Symphony Orchestra – www.dsokids.com New York Philharmonic Kidzone – www.nyphilkids.org

Assessment of Student Learning Informal assessment: The active listening experiences provide many opportunities for assessment of students’ skills in singing, playing, listening and analyzing through teacher observation and peer/self assessment. Pre- and Post-Test: These questions may be used before and after the concert as a pre- and post-test of student learning. Provide students with individual papers or engage in a group discussion.

1) Explain what a fanfare is. 2) Name a composer who wrote a song based on a story and describe that story. 3) How can music be used to protest something that the composer believes is wrong?

Paragraph Frame: This activity may help students organize and personalize their thoughts about the concert experience. Share this activity with the classroom teachers. Orlando Philharmonic Concert – Heroes & Legends Before I went to the concert I thought After we arrived, I found out that When I first heard the music, it made me feel The most interesting part of the concert was I can use music to express myself by I wish that in the future