Carnival of the Animals featuring The Columbus Symphony Orchestra & The Columbus Ballet

School Matinee Performance Tuesday, March 17, 2020 | 9:30 AM & 11:30AM Public Performance Tuesday, March 17, 2020 | 7:30PM

Bill Heard Theatre | RiverCenter for the Performing Arts For reservations or additional information: CSOGA.ORG/CARNIVAL About the Composers and Music:

Maurice Ravel's Mother Goose Suite: Once upon a time in France, there lived a boy named Maurice Ravel. Ravel’s parents noticed that he was interested in music and gave him piano lessons, but like many children he required extra encouragement to practice. Maurice To encourage him, his father gave him extra allowance for Ravel every hour that he practiced. When Maurice Ravel was 14 he visited a fair in Paris, France where he heard exotic and wonderful music from far away places. He never forgot what he saw and heard at that fair, and as he grew up, Ravel began to write music that painted pictures, taking his listeners to faraway places and times long ago. Growing up, Ravel had many good friends, and would often read them stories. This led to him writing a piece of music called “The Mother Goose Suite” as they were based on the stories that he read together with the other children. The piece was composed in 1908 as a group of five piano duet pieces. Later in 1911, Ravel re- wrote the piano pieces for orchestra and used them as the basis for a longer ballet. Each piece is based on a well known story from the Mother Goose Tales published in 1697.

Camille Saint-Saëns' Carnival of the Animals Camille Saint-Saëns was a very talented musician from an early age. At two he could play little tunes on the piano by ear, at the age of three he wrote his first piece of music, and by seven he was performing for audiences in the community. At the age of 51, Saint-Saëns wrote The Camille Carnival of the Animals in a small Austrian village. Like a trip Saint-Saëns to the zoo, he wanted to create a piece of music that was considered fun for the audience as well as the musicians. Each of the pieces' 14 movements introduces us to a different animal or group of animals, with a small number of instruments mimicking their voices or the way they move. Starting with the lion's roar and slowing to reflect the largeness of an elephant, Saint-Saëns pokes fun at the music of his time. The movement titled Pianists even makes fun of young students learning their scale exercises. Mother Goose Suite Listening Activities

Objective: Students will be introduced to Ravel's Mother Goose Suite through the following narrations and listening activities so that they are able to identify musical characteristics that represent each of the characters as well as pitch changes in the melody.

Materials: Activity sheets within this packet Recording of Mother Goose Suite (csoga.org/guides)

Procedure:

1. Have the students listen the recordings of Ravel's Mother Goose Suite while the instructor reads the narration on the following page prior to each movement. Utilize provided questions to have students discuss aspects of each movement. You can start the lesson by reading the description about the composer and the music.

2. Next, use the Mother Goose Listening Activity #1 to study the Pavane of Sleeping Beauty. Listen to the movement again, and have the students follow the instructions on the page. The instructor can assist the students with identifying each section by holding up numbers/fingers. Section 1 occurs with the low flute at the very beginning of the piece. A higher flute enters at Section 2 with a different melody (18 second mark). The clarinet enters with Section 3 (33 second mark) followed by the low flute again at Section 4 (53 second mark). The violins come in with the melody at Section 5 (1 minute and 11 seconds mark). The pitches of the first 6 notes of each melody should align with one of the three graphics. ANSWER: #1-A, #2-C, #3-B, #4-A, #5-C

3. Finally, use Listening Activity #2 to study the character differences between Beauty and the Beast. Have the students follow the instruction on the page while listening to the fourth movement again. ANSWER: Beauty; Beast; Beauty; Beast; Beast; Beauty

Mother Goose Suite Narration I. Pavane of the Sleeping Beauty Once upon a time, a beautiful princess named Sleeping Beauty was born to a king and queen in a far away land. Right after her birth a wicked fairy put a curse on the princess that would cause her to fall asleep forever. Unfortunately, no one knew when this would happen or how! Many years later while using a spinning wheel, she pricked her finger and fell down asleep. The king remembered the curse and commanded that his daughter be placed in the finest room of the palace on a bed covered in gold and silver. Listen to the slow sad music of the flute and clarinet in the form of an old dance that pictures the princess asleep. (Play Mvt. I) Did you also hear the good fairies tiptoeing around the bed? You can hear it in the plucked strings, which is called pizzicato. (Play Mvt. I again)

II. Little Tom Thumb Once upon a time, there was a poor woodcutter and his wife who had seven children. The youngest, Little Tom Thumb, was the smallest but the brightest and most creative. The family did not have a lot of money and the boys had to go out into the dark woods to find food for themselves. On their first journey into the woods, Little Tom was determined to not get lost, so he took a pocket full of white stones which he dropped along the way and was able to guide his brothers home again. On their second journey, Tom was unable to find any stones to mark the path back home. The only thing he had with him was a loaf of bread. As they journey through the woods, the sounds grow more frightening. OH NO! What has happened to the bread crumbs? The birds have eaten them all and he is lost. Can you hear the birds in the first violin and flutes in the middle of the movement? (Play Mvt. II)

III. Little Ugly Girl, Empress of the Pagodas Once upon a time twin daughters were born to a happy king and queen. As it came to pass, a jealous fairy put a curse on one of the twins and she was made so ugly that none could look at her. However, the princess was a sweet child, and offered to go live alone in a remote castle by the sea. One day, while roaming about the castle, she came across an ugly green Serpent. Terrified of him, the Little Ugly Girl ran away into the sea where she was rescued and taken to the land full of little ugly dolls called the Pagodas. There she was appointed Empress of the Pagodas and was treated with great respect and honor. (Play Mvt. III)

IV. Beauty and the Beast Once upon a time, there was a young girl who was lovely in spirit as well as appearance and was known as “Beauty.” One day while traveling through the woods, Beauty and her father were captured at an enchanted castle where a Beast reigned. Beast promised that he would spare their lives if Beauty would willingly marry the Beast. Beauty fearfully agreed and her father was released. After some time, Beauty began to fall in love with the Beast. During a long conversation, the two eventually kiss and the Beast suddenly become a handsome prince. Listen to this movement and try to identify which instruments are representing each character. (Play Mvt. IV) Which instrument represented Beauty? (answer: clarinet) Could you hear the voice of the Beast? What instrument represents the Beast? (answer: bassoon)

V. The Fairy Garden We've heard the beginning of each story, but how will they end? Let's visit the fairy garden to find out. At the beginning, we hear Sleeping Beauty awaken from a kiss from a prince and they immediately get married. Using his brain, Tom Thumb makes it back to his family’s house and they have plenty to eat. The Little Ugly Girl drinks a magic potion that causes her to become beautiful. And finally, Beauty is preparing to marry her Beast. Now we may rest happily ever after, knowing that all will come out right—in the end. (Play Mvt. V) Mother Goose Suite Listening Activity #1

The Pavane of the Sleeping Beauty This movement is the first and shortest piece of the Suite. Ravel sets the scene with an ancient slow processional dance in which its melodies are played mostly by woodwinds above a quiet string and harp accompaniment. Listen for the melody in the flutes, clarinet, and violins to match the melody that the instrument plays with the correct graphic shape below.

A. B.

C.

Write the letter of the graphic shape in the box provided below.

Section: Instrument: A., B., or C. #1 Flute (low) #2 Flute (high) #3 Clarinet #4 Flute (low) #5 Violins Mother Goose Suite Listening Activity #2

Beauty and the Beast This movement provides an opportunity for the composer to describe two very different characters within 4 main section. The first is music that describes Beauty, which is then followed by a short silence. Next, is contrasting music that describes the Beast. Section 3 describes Beauty declaring her love during which both previous themes are combined. Finally in Section 4, the Beast transforms into a handsome prince.

Listen to the music to identify the following actions or characteristics. Circle whether they describe Beauty or the Beast.

The clarinet has the melody:

The bassoon has the melody:

The music is gentle and flowing:

The music is dark and scary:

The melody is at a low pitch:

The melody is at a high pitch: Carnival of the Animals Listening Activity

Objective: Students will be introduced to Saint-Saëns' Carnival of the Animals. Each student will be able to identify characteristics of various animals and relate them to the musical ideas of the piece.

Materials: Activity sheet within this packet Recording of Carnival of the Animals (csoga.org/guides)

Procedure: 1. Read the description of Camille Saint-Saëns at the beginning of the packet. Explain how each movement of the piece represents a specific animal or group of animals. Use optional poems by Ogden Nash below and on following page to assist with character descriptions.

2. As a class or individually, have the students complete columns 1-3 as best as they can. Utilize pictures of each animal to assist with this task.

3. Have the students listen the recordings of Saint-Saëns' Carnival of the Animals. Introduce each animal at the beginning of each movement.

4. While listening, have students (as a group or individually) complete columns 4 and 5. Utilize questions to help guide students to the correct answers.

Ogden Nash: Poems for Carnival of the Animals

I. Introduction II. Hens and Roosters Camille Saint-Saëns The rooster is a roistering hoodlum, Was wracked with pains, His battle cry is "cock-a-doodleum". When people addressed him, Hands in pockets, cap over eye, As Saint Sanes. He whistles at pullets, passing by. He held the human race to blame, Because it could not pronounce his name. III. Wild Horses So, he turned with metronome and fife, Have ever you harked to the jackass wild, To glorify other kinds of life. Which scientists call the onager? Be quiet please - for here begins It sounds like the laugh of an idiot child, His salute to feathers, fur, and fins. Or a hepcat on a harmoniger. But do not sneer at the jackass wild, Royal March of the Lion There is a method in his heehaw. The lion is the king of beasts, For with maidenly blush and accent mild And husband of the lioness. The jenny-ass answers shee-haw. Gazelles and things on which he feasts Address him as your highoness. There are those that admire that roar of his, In the African jungles and velds, But, I think that wherever the lion is, I'd rather be somewhere else. Continued on next page... Ogden Nash: Poems for Carnival of the Animals X. Aviary (cont.) Puccini was Latin, and Wagner Teutonic, IV. Tortoises And birds are incurably philharmonic, Come crown my brow with leaves of myrtle, Suburban yards and rural vistas I know the tortoise is a turtle, Are filled with avian Andrew Sisters. Come carve my name in stone immortal, The skylark sings a roundelay, I know the turtoise is a tortle. The crow sings "The Road to Mandalay," I know to my profound despair, The nightingale sings a lullaby, I bet on one to beat a hare. And the sea gull sings a gullaby. I also know I'm now a pauper, That's what shepherds listened to in Arcadia Because of its tortley, turtley, torper. Before somebody invented the radia.

V. The Elephant XI. Pianists Elephants are useful friends, Some claim that pianists are human, Equipped with handles at both ends. And quote the case of Mr Truman. They have a wrinkled moth-proof hide. Saint Saëns, upon the other hand, Their teeth are upside down, outside. Considered them a scurvy band. If you think the elephant preposterous, A blight they are, he said, and simian, You've probably never seen a rhinosterous. Instead of normal men and womian.

VI. Kangaroos XII. Fossils The kangaroo can jump incredible, At midnight in the museum hall, He has to jump because he is edible. The fossils gathered for a ball. I could not eat a kangaroo, There were no drums or saxophones, But many fine Australians do. But just the clatter of their bones, Those with cookbooks as well as boomerangs, A rolling, rattling carefree circus, Prefer him in tasty kangaroomeringues. Of mammoth polkas and mazurkas. Pterodactyls and brontosauruses VII. Aquarium Sang ghostly prehistoric choruses. Some fish are minnows, Amid the mastodonic wassail Some are whales. I caught the eye of one small fossil, People like dimples, "Cheer up sad world," he said and winked, Fish like scales, "It's kind of fun to be extinct." Some fish are slim, And some are round, XIII. The Swan They don't get cold, The swan can swim while sitting down, They don't get drowned. For pure conceit he takes the crown, But every fishwife He looks in the mirror over and over, Fears for her fish. And claims to have never heard of Pavlova. What we call mermaids They call merfish. XIV. Finale Now we've reached the grand finale, VIII. Persons With Long Ears Animale carnivale. In the world of mules Noises new to sea and land, There are no rules. Issue from the skillful band. All the strings contort their features, IX. The Cuckoo in the Middle of the Wood Imitating crawly creatures. Cuckoos lead bohemian lives, All the brasses look like mumps They fail as husbands and as wives, From blowing umpah, umpah, umps. Therefore, they cynically dispariage In outdoing Barnum and Bailey, and Ringling, Everybody else's marriage. Saint-Saëns has done a miraculous thingling. Carnival of the Animals Listening Activity Each movement of Saint-Saëns' Carnival of the Animals represent a different animal or animal group. Use the table below to describe different characteristics of each animal.

What Actions Do Size? Speed? Personality: You Hear? Instrument(s) (big, (fast, (calm, wild, Animal: (hopping, running, Represented? small) slow) kind, mean) resting, swimming)

Lions

Hens & Roosters

Horses

Tortoise

Elephant

Kangaroos

Fish

Donkeys

Cuckoo

Birds/Aviary

Humans/Pianists

Fossils/Dinosaurs

Swan Coming to the Theatre The RiverCenter for the Performing Arts is the home of the Columbus Symphony Orchestra and Columbus Ballet. It is the largest performing arts building in our city and can hold up to 2000 people for each performance. As audience members, you play a vital role in the success of the performances. For many students, this may be their first time viewing a live production in the theatre. We encourage teachers to discuss some of the differences between coming to the theatre and watching a television show, attending a sporting event, or viewing a movie at the cinema. Here are a few points to start the discussion: Entering the Building: You will walk into the auditorium in a single file line lead by an usher. An usher is volunteer guide that will help you find your seat in the theatre.

Enter the auditorium quietly and take your seat. Once seated, please do not move to another seat as it may be reserved for another person.

Unlike a movie theater, there is no food, drink, or gum permitted in the auditorium. Photography and videotaping of performances is not permitted.

Theatres are built to magnify sound. Even the slightest whisper can be heard throughout the auditorium. Remember that not only can those around you hear you; the performers can too. Please do not hum/sing during the performance.

During the Performance: The lights will dim and the room will get dark. This means that we are ready to start the performance. Move your attention to the stage.

The first violin will stand and the orchestra will play a note to tune. The first violin is called the "concertmaster".

When the tuning is complete, the concertmaster will sit and the conductor will come out. Feel free to clap when he appears.

The conductor will turn to the orchestra, raise his arms, and the music will begin. The ballet dancers will join the stage at this time.

When to Clap: Appropriate responses such as laughing and applauding are always welcome during the performance. Watch the artists on stage for cues that will help guide your reactions.

Some pieces of music contain several movements and there will be a brief pause between them. You will know when the piece is over when the conductor lowers his arms and turns around to look at the audience. Feel free to clap when he does this.

At the end or even during the performance, the ballet dancers may bow, which is an invitation to applaud. Name: ______Concert Prep Quiz

Complete the Multiple Choice Questions Below prior to the performance day:

1. You should enter the auditorium or concert hall:

a. Running around

b. Quietly to take your seat

c. Screaming and hopping on one foot

2. What does it mean when the lights go out?

a. It's nap time

b. You should talk louder c. The performance is about to start and you should pay attention to the stage

3. When the Conductor enters, you should:

a. Clap b. Whistle c. Talk to your neighbor

4. You should clap when

a. The music gets louder b. During the flute solo c. The conductor has stopped, put his hands down, and has turned to face the audience

5. What do we call the first violin player?

a. The Concertmaster b. That lady or That man c. The Princess

6. Should I talk or make noise during the performance?

a. Yes b. No The Ledger Line Enquirer Student Review Write a review about the peformance that you watched

When we went to see the performance, I enjoyed: ______

______

______

______

______

My favorites part was: ______My favorite character/animal was: ______My favorite instrument was: ______Today I learned: ______

______

Send letter to: Student Name: ______Columbus Symphony School: ______PO Box 1499 Columbus, GA 31902 Grade: ______Or Email: [email protected]

Draw your favorite animal, character, or instrument on the Or Fax: back of this page. 706-323-7051 Concert Guidelines for Teachers Registration • Please complete the registration form at csoga.org/carnival

Prior to Concert • Please prepare your students using the CSO School Resource Guide. • Students should be briefed on concert etiquette in advance. • Please contact the CSO at 706.256.3648 at least 3 business days in advance if your group includes any students or teachers with special needs, including wheelchairs or hearing impaired students. • Changes to a reservation must be made at least five business days before the performance.

Day of the Concert • Before leaving school, please allow time for students to visit the restroom. • Plan to arrive at the RiverCenter for the Performing Arts at least 30 minutes before the concert time. • All students should be in their seat at least ten minutes before concert time. • All late comers will be seated in the back of the theatre. • No food or drink, including chewing gum, is permitted in the concert hall.

Upon Arrival at the RiverCenter • Arrivals: Buses unload in front of the RiverCenter for the Performing Arts (900 Broadway) • Do NOT unload your bus until you are greeted by RiverCenter security personnel. • After unloading your bus, you will be greeted by a volunteer in the main lobby who will guide your group to your seating area. Seating sections are assigned by group size. • After all students have entered the building, buses should proceed to their designated parking area. All bus drivers will be given directions where to park. Please follow directions from security personnel.

During the Concert • The use of cameras and video recorders is prohibited. • Students and teachers should remain in their seats for the entire concert. • Restrooms are located on all levels and should be used for urgent needs only. If students must visit the restroom, please have an adult accompany them. • Students not maintaining acceptable standards of behavior may be asked to relocate to the lobby during the performance.

After the Concert • Dismissal instructions will be given from the stage • Please remain in your seats until your school is dismissed. • Upon dismissal, listen carefully and follow instructions for departing the building.

Bus Transportation • Your ticket price includes bus transportation. Please have your school system invoice the Columbus Symphony Orchestra directly. • It is each school’s responsibility to coordinate individual bus needs directly with your school system’s transportation department.

Cars and Vans • Schools and Homeschool groups coming by cars and vans should park in the free RiverCenter Parking Garage, which is across the street from the front of the RiverCenter. Performance Standards National Core Arts Standards Creating: Conceiving and developing new artistic ideas and work. #1. Generate and conceptualize artistic ideas and work. #2. Organize and develop artistic ideas and work. #3. Refine and complete artistic work. Performing/Presenting/Producing: Realizing artistic ideas and work through interpretation and presentation. #4. Analyze, interpret, and select artistic work for presentation. #5. Develop and refine artistic work for presentation. #6. Convey meaning through the presentation of artistic work. Responding: Understanding and evaluating how the arts convey meaning. #7. Perceive and analyze artistic work. #8. Interpret intent and meaning in artistic work. #9. Apply criteria to evaluate artistic work. Connecting: Relating artistic ideas and work with personal meaning and external context. #10. Synthesize and relate knowledge and personal experiences to make art. #11. Relate artistic ideas and works with societal, cultural and historical context to deepen understanding.

The grade specific standards can be found at www.nationalartsstandards.org

Georgia Performance Standards: Fine Arts - Music Education Responding - Reflection, analysis, and evaluation RE.1 Respond to music and music performances of themselves and others. RE.2 Evaluate music and music performances. RE.3 Move to varied repertoire of music, alone, and with others Connecting - Exchanging and relating ideas, experiences, and meanings CN.1 Understand relationships between music, other arts, other disciplines, varied contexts, and daily life. CN.2 Connect music to history and culture.

Georgia Performance Standards: Fine Arts - Dance Education Performing – Fundamental concepts, principles, and skills PR.1 Identify and demonstrate movement elements, technique, and terminology in dance. PR.2 Understand and model dance etiquette as classroom participant, performer, and observer. PR.4 Understand and apply music concepts to dance. Creating – Expression of ideas, experiences, feelings, and images CR.2 Demonstrates and understanding dance as a way to communicate meaning Response – Reflection, analysis, and evaluation RE.1 Demonstrates critical and creative thinking in all aspects of dance Connections – Exchanging and relating ideas, experiences, and meanings CN.2 Understand and demonstrate dance throughout history and in various cultures. CN.3 Demonstrate an understanding of dance as it relates to other areas of knowledge.

For further information, please visit: csoga.org/carnival or contact Thomas Trinh at 706.256.3648 [email protected]