Non-Directed Music Listening Program

Series III Non-Directed Music Listening Program Script Series III

Week 1

Composer: Ludwig von Beethoven (1770 – 1827) Composition: Minuet in G, No. 2 Performance: Philadelphia Orchestra, Eugene Ormandy Recording: CBS Masterworks Dinner Classics: The Viennese Album CBS MFK 45545

Day 1: This week’s listening selection is “Minuet in G, No. 2” by Ludwig von Beethoven.

A minuet is a graceful dance. A man greets his partner with a bow then, hand-in- hand, leads her through a series of smooth and delicate movements. It is the small steps and gestures that give the dance its name – minuet which comes from a word that means small or minute. This is quite a contrast to the popular dances of today – such as Texas Line Dancing.

Day 2: This week we are listening to Ludwig von Beethoven’s “Minuet in G, No. 2”.

Between the 1600’s and the 1800’s, the minuet was the most popular dance in which ladies and gentlemen of the court gracefully moved through a series of small but intricate steps. You were not allowed membership in the king or queen’s court unless you had memorized the steps and patterns to the many different minuets. Today as you listen, think about all the dance moves you know. Would they fit with the music? Can you imagine how the men and women looked as they glided effortlessly across the polished floors?

Day 3: This week’s listening excerpt is “Minuet in G, No. 2” written by the famous German composer, Ludwig von Beethoven.

Yesterday , you listened to see whether or not the dance steps you know would fit with the “Minuet in G, No. 2”. Most of you probably discovered that the moves you’re familiar with aren’t suitably matched to the music of this minuet. The minuet starts out smoothly with the string section of the orchestra. Listen today for the sound of the double bass. The four-stringed double bass is the grand-daddy of the violin family and its deep voice generally acts as a foundation for the rest of the orchestra. Non-Directed Music Listening Program Script Series III

Day 4: This week we are listening to German composer Ludwig von Beethoven’s “Minuet in G, No. 2”.

The double bass line starts on the first strong beat you hear but the violins start just before that. Your music teacher has probably talked about something called an anacrusis. An anacrusis, or upbeat, starts a piece on a less emphasized beat. “Ana” means before, “crusis” means on or at the same time. Listen to see if you get the feeling that the violins begin on a less stressed or less important beat than the double bass which starts on the first strong beat.

Day 5: Today we are listening to “Minuet in G, No. 2” by Ludwig von Beethoven.

Yesterday were you able to hear the anacrusis played solely by the violins at the very beginning of the minuet? It requires good listening skills to perceive that type of musical detail.

Many of you probably know a bit about the German composer, Beethoven. He was the composer who lost his hearing. Because he was unable to hear the sounds of the outside world, he was forced to rely on his inner hearing and memory for the last twenty years of his life. Imagine being deaf yet able to compose such beautiful music. Truly he was a talented person. Non-Directed Music Listening Program Script Series III Week 2

Composer: Alexander Borodin (1833 – 1887) Composition: “Polovtsian Dances” Performance: London Symphony Orchestra, Sir Georg Solti Recording: Weekend in Russia London 417 689 2

Day 1: This week’s listening selection is the “Polovtsian Dances” written by Alexander Borodin.

Borodin was captivated by the native music of Russia. His special interest was the southeastern sounds which had a distinctly oriental quality.

Listen today to the two contrasting parts of this excerpt. The first is rather haunting and the melody is performed by the human voice whereas part two is entirely orchestral and much quicker.

Day 2: Alexander Borodin wrote this week’s listening selection, the “Polovtsian Dances”.

The “Polovtsian Dances” are from the second part of Borodin’s opera “Prince Igor”. There are two sections to this excerpt. In the first, the melody is sung and in the second it is played by the orchestra. In the first portion, the voices sing in unison, that means that they all sing the same notes at the same time. What adds interest is that initially they are accompanied by an oboe which plays in unison with the voices. Listen today to see if, at the beginning, you can hear that the voices and the oboe are all ‘singing’ the same notes at the same time – in unison.

Day 3: This week we are listening to Russian composer Alexander Borodin’s “Polovtsian Dances”.

In this excerpt we hear two distinct styles of music yet they are joined together and form part of the larger operatic work, “Prince Igor”. Part one is sung and part two is entirely orchestral. The two portions are joined by one measure or four beats of very quiet repeated notes played by the string section. Listen today to see if you like the way Borodin connected the two dances or do you think, musically, there could be a better way? Non-Directed Music Listening Program Script Series III

Day 4: The “Polovtsian Dances” by Alexander Borodin is this week’s listening selection.

In the second dance, the music is strictly orchestral. It is considerably faster and the style is radically altered from the first dance. Although it sounds happier, it still has a somberness about it. This melancholy quality arises as a result of Borodin’s use of the Asiatic or more oriental sounds. Listen today to see if you can imagine the Mongolian warriors dancing wildly and spinning around a campfire late into the night.

Day 5: This week’s listening selection is an excerpt from Alexander Borodin’s Opera “Prince Igor”, titled “Polovtsian Dances”.

Today when you listen, see if you can identify any of the instruments you play in your music class. Very faintly in both sections you can occasionally hear a xylophone. If you play in the school band, you will recognize quite a few familiar instruments, especially in the second part. There is also a long section in dance two where the tambourine plays an important role. Non-Directed Music Listening Program Script Series III Week 3

Composer: Ottorino Respighi (1792 – 1868) Composition: “Tarantella” from “La Boutique Fantasque” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658

Day 1: This week’s listening excerpt is the “Tarantella” from the ballet “The Fantastic Toyshop” by Ottorino Respighi.

A tarantella is an Italian folk dance. This particular tarantella is extremely quick. The mood is one of excitement and this feeling never relaxes throughout the entire piece. This tension is maintained using a variety of musical techniques which I want you to listen for today. Those techniques are:

1. Sudden, unexpected bursts of sound from very soft to very loud. 2. Quick shifts from major to minor modes, that is happy to more sad or reflective sounding music. 3. The use of the tambourine to accent certain beats.

Day 2: This week’s listening excerpt is the “Tarantella” from the ballet “La Boutique Fantasque” or in English “The Fantastic Toyshop”. The music was written by Rossini and arranged as a ballet by Ottorino Respighi.

The dance, the “Tarantella”, is said to have originated from the tarantula spider. Supposedly, if you were bitten, the faster you danced the more likely you were to survive the spider’s deadly bite. It is considered unlucky to dance the tarantella alone so Respighi choreographed the piece for two people. In this ballet, the two dancers happen to be mechanical dolls displayed in a fantastically full and exciting toyshop. The dancers are accompanied by a tambourine. Non-Directed Music Listening Program Script Series III

Day 3: Rossini is the original composer of this week’s listening selection “Tarantella”. Ottorino Respighi arranged and choreographed the ballet “The Fantastic Toyshop” using Rossini’s music.

The ballet takes place inside a toyshop. One day two families happen to go shopping in the store, simultaneously looking at the mechanical dolls featured there. Upon seeing the two Italian peasant dolls dancing the “Tarantella”, the children from both families begin imitating the dancers and, of course, both sets of parents want to buy the dolls. An argument ensues but it is settled once it is decided that each family will take one doll and thus, break up the pair. They pay the shopkeeper saying that they will return for the dolls the next day.

Day 4: This week’s listening excerpt is the “Tarantella” from Respighi’s ballet “La Boutique Fantasque” or “The Fantastic Toyshop”.

Yesterday you heard that the pair of dolls that dance the “Tarantella” were purchased but the set had to be split between two separate families. After the shopkeeper puts the dolls away, the shop is closed for the evening. All the dolls and toys proceed to come to life and the Italian peasant dolls who dance the “Tarantella” decide to hide as they don’t want to be sold separately to different families. The next day, when the families come to get the dolls, they open the lids of the boxes and find nothing! They get very angry with the shopkeeper but suddenly the dolls and toys all come to life and drive the customers out. When the two families peer back into the shop window, the “Tarantella” dancers are dancing the can-can circling around the happy shopkeeper.

Day 5: Ottorino Respighi’s “Tarantella” is this week’s featured listening selection.

The “Tarantella” music is fast and exciting. Listen today to see if you can hear exactly how the excitement is maintained. Listen to contrasts in loud and soft volume, the shrill and high pitched sounds of the piccolo or “little flute”, the tambourine accenting the rhythm accompanying the dancers and the melody which is repeated over and over, almost hypnotizing the listener the way it spins around and around. Non-Directed Music Listening Program Script Series III Week 4

Composer: Dmitri Shostakovich (1906 – 1975) Composition: “Polka” from the “Age of Gold” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658

Day 1: Dmitri Shostakovich wrote this week’s listening excerpt – “Polka” from the ballet, “Age of Gold”.

The ballet is about a Soviet soccer team which, upon arriving at the World Tournament, is met by a group of racist people who don’t want the Soviets to participate. Each dance represents a different sports event such as boxing, tennis, soccer, etc. and each sports event is represented by a particular style of dance. Shostakovich uses fox-trots, tangos, can-cans, tap dances and, of course, the polka. In the end the Soviets win their soccer match, their team captain is arrested by ultimately freed by the people.

Day 2: This week’s listening excerpt is the “Polka” from Dmitri Shostakovich’s ballet “The Golden Age”.

A polka is a dance that originated in Bohemia around 1830. It became very popular creating a kind of “polkamania” until around the end of the century. Shostakovich wrote the “Polka” sometime between 1927 and 1930. Some of you have probably seen or even danced the polka yourself. When you listen today, try to determine if you think this was a typical polka of the 1800’s or do you think that Shostakovich threw a few surprises into the ballet music?

Day 3: Dmitri Shostakovich wrote this week’s featured listening selection “Polka” from his ballet “Age of Gold”.

Yesterday you listened to see if you thought this was typical polka music. Did you feel it would be easy to polka to this music? It’s almost easier to imagine a team mascot amusing the crowd rather than a soccer team intensely trying to win a world tournament. This rather humorous effect is created by using a variety of instruments. After the introduction is played by the clarinet, bassoon and trombone, the xylophone takes over with the main thematic material. Listen today Non-Directed Music Listening Program Script Series III to see if you can follow that xylophone melody or one of its variations throughout the “Polka”.

Day 4: The “Polka” from the ballet “Age of Gold” composed by Dmitri Shostakovich is this week’s listening selection.

Yesterday you tried to follow the theme or some variation of it throughout the “Polka”. It is easy to recognize the first and last time it’s heard because the xylophone plays the theme both times. In between though, bits of the melody or fragments can be heard on the clarinet, English horn, oboe, flutes, trombone and strings. The melody is accompanied by an oom-pah-pah rhythm played uncharacteristically by the strings and fleetingly by the bassoon. The bassoon is a reed instrument that plays very deep, rather nasal sounds. (Remember the sound of grandfather in Tchaikovsky’s “Peter and the Wolf”?)

Day 5: Dmitri Shostakovich composed this week’s listening excerpt “Polka” from the ballet “Age of Gold”.

In this polka the featured orchestral instruments are not the typical violins nor are they playing a beautiful, tuneful or lyrical melody line. Rather, the brittle melody dances all over the place being very staccato and not particularly easy to follow or remember. It has all kinds of “jagged edges” that are not expected by the listener. Imagine being the choreographer for this ballet. What kinds of moves and costumes would you design for the “Polka”? Non-Directed Music Listening Program Script Series III Week 5

Composer: John Williams ( - ) Composition: “Imperial March” from “The Empire Strikes Back” Performance: Cincinnati Pops Orchestra, Erich Kunzel Recording: Digital Super Sampler Telarc CD-00007

Day 1: This week’s featured listening selection is the “Imperial March” from “The Empire Strikes Back” by John Williams.

“In a galaxy far away ..” Darth Vader continues his relentless search for Luke Skywalker. The Death Star has been destroyed but the rebel forces continue to be pursued by the vicious Imperial Army. Skywalker is the leader of a band of freedom fighters trying to stay hidden from the dreaded Imperial Starfleet. Darth Vader knows that it is Luke’s destiny to become a great Jedi warrior capable of defeating the evil empire and the Imperial Troops which Vader controls.

Day 2: John Williams’ “Imperial March” from “The Empire Strikes Back” is this week’s selected music.

Trained by the Jedi Master, Yoda, Luke Skywalker spends much time finding and learning to control “the power’. Cutting his training short, Skywalker is tricked into coming to the rescue of Princess Leia, Han Solo, Chewbacca and R2D2. Once in Vader’s evil clutches, Skywalker finds his power to escape in the strength of Yoda’s immortal words “TRY NOT… DO OR DO NOT!” Although Luke does not manage to defeat Darth Vader, he does elude being captured.

Day 3: John Williams wrote this week’s listening excerpt “Imperial March” for the soundtrack for the movie “The Empire Strikes Back”.

In the Webster Dictionary, imperialism is defined as “the policy of seeking to extend power, dominion or territories of a nation”. This is the intent of the Emperor and his general, Darth Vader: to conquer and control the entire galaxy. Every time the Imperial Troops advance against the rebel forces you hear a portion of Williams’ “Imperial March”. The music is menacing, starting with the low strings, percussion and clashing cymbals you know instantly that the Imperial Starfleet is threatening to destroy anyone or anything standing in their path. Williams gradually adds the brass instruments as the army advances. Non-Directed Music Listening Program Script Series III Non-Directed Music Listening Program Script Series III

Day 4: This week’s featured listening selection is the theme from “The Empire Strikes Back”, the “Imperial March” by John Williams.

Williams is a master in matching appropriate music with film scripts. In the “Imperial March”, the music is full of crescendos and sudden diminuendos. The dynamic contrasts are created first by layering the strings, percussion or drums, trumpets and trombones and then by having them play louder and more insistently until we hear a crashing, cannon-like blow on the bass drum. Instantly a descrescendo is created by changing the instruments and styles of playing. The music becomes soft, almost star-like, as the flutes imitate the twinkling stars with fluttering staccato notes. You can easily envision the immense Imperial Army pursuing their prey, sometimes as a huge, conquering force and sometimes deviously setting their trap.

Day 5: The “Imperial March” by John Williams from “The Empire Strikes Back” is this week’s listening excerpt.

Marching forever onward, suffering delays but never total defeat, the “Imperial March” successfully exemplifies and accompanies the constant forward motion of Darth Vader and his Starfleet. The main theme is played by the brass instruments, principally the trumpets and trombones. The ancestors of the brass family were animal horns and conch shells. In both instances the horn was used as a cal to alert, to warn of impending danger or attack. During the movie, every time the “Imperial March” or even a fragment of it is played, we make this sound association; the horns signaling action from the advancing Imperial Army. Non-Directed Music Listening Program Script Series III Week 6

Composer: Antonio Vivaldi (1678 – 1741) Composition: Concerto for two Trumpets in C Major Performance: Academy of St. Martin-in-the-Fields, Sir Neville Mariner Trumpets: Philip Jones and John Wilbraham Recording: Baroque Weekend London 417 688-2

Day 1: This week’s listening selection is Antonio Vivaldi’s “Concerto for Two Trumpets in C Major”

The word “concerto” means “to fight side-by-side” or “to compete as brothers-in- arms”. The concerto is aptly named because the solo instrument or small group, in this case, the two trumpets and small stringed ensemble, compete for equal playing time with their partner – the Baroque orchestra. It is intended to be a relatively equal relationship between two different families of musical instruments.

Day 2: This week we are listening to Antonio Vivaldi’s “Concerto for Two Trumpets in C Major”.

Vivaldi lived during the time which historians call the Baroque era. Vivaldi composed many concerto grosso, a popular Baroque musical style, in which the solo group alternated playing with the larger orchestra. This style, one of taking turns, is quite evident in the “Concerto for Two Trumpets”. Listen today to see if the two trumpets and the small orchestra, which includes a harpsichord, all get equal opportunity to show off their technical ability.

Day 3: This week’s listening selection is the “Concerto for Two Trumpets in C Major” composed by Antonio Vivaldi.

In the concerto grosso, the small group of instrumentalists is called the “concertino”. In this case the “concertino” consists of two trumpets and several stringed instruments. The large group or Baroque orchestra is called the “ripieno”. There is one instrument that you can hear faintly throughout the entire piece. It looks and is played like a piano but sounds differently. It is called a harpsichord. Small picks made of bird quills or hard leather pluck the strings when the keys are pressed. The resulting twang is similar to a guitar. Listen today to see if you can hear the harpsichord continuing throughout the concerto. Non-Directed Music Listening Program Script Series III

Day 4: The “Concerto for Two Trumpets in C Major’ was composed by Antonio Vivaldi in the early 1700’s.

In this piece, the “concertino” or small group which includes the trumpets starts out playing with the larger group or “ripieno”. Usually the concertino and ripieno alternate parts but, for the first section of this concerto, they play together. If you listen carefully you will hear fragments of this melody returning throughout the concerto played on instruments from both groups, the concertino and the ripieno.

Day 5: This week’s listening excerpt is the “Concerto for Two Trumpets in C Major” by the famous Baroque composer, Antonio Vivaldi.

The word “Baroque” refers to the time period between 1600 and 1750. The word comes from the Portuguese “barrocco” which means “a pearl of irregular shape”. Many artists and musicians of the time were accused of too many irregularities in their work. It was felt by many critics that simplicity was better and more beautiful than the fancy, ornamented and elaborate art and music being produced during the Baroque era. Maybe that’s why the resulting comparison with the unusual but unique shape of the baroque pearl. Vivaldi was instrumental in changing the shape of the concerto grosso from a vocal work with instrumental accompaniment into the form that we hear in the “Concerto for Two Trumpets in C Major”. Non-Directed Music Listening Program Script Series III Week 7

Composer: Jean Sibelius (1865 – 1957) Composition: Symphony No. 2, Movements III – IV (excerpt) Performance: Cleveland Orchestra, Levi Recording: Telarc Sampler Volume 3 Telarc CD 80003

Day 1: This week’s listening selection is taken from the third and fourth movements of the “Symphony No. 2” by Jean Sibelius.

Sibelius was born in Finland in 1865. His style of music was representative of his homeland but, differing from many other composers we’ve talked about, he did not use the folk songs of his country. Rather, he tried to paint a musical picture of the beautiful Finnish countryside. Today, as you listen, try to imagine what that countryside looks like.

Day 2: This week’s listening excerpt is from “Symphony No. 2, Movements III and IV” by Jean Sibelius.

This excerpt begins part way through the third movement of the entire symphony. The first melody you hear is played on the oboe. Part of this simple theme is then repeated by the clarinets, flutes and strings, then the oboe returns. Listen today to see if you can recognize the different sounds of the oboe, clarinets, flutes and strings – particularly the cello.

Day 3: The Finnish composer, Jean Sibelius, wrote this week’s listening selection “Symphony No. 2”. We are listening to an excerpt from the Third and Fourth Movements.

The excerpt begins with a very simple but lovely theme played by the oboe and partially repeated by the clarinets, flutes and cello. The oboe then returns but the melody is slightly altered: instead, the repeated notes begin to ascend or go up the musical scale. This creates a change in the mood from one of peace and tranquility to one which is more restless and exciting. Non-Directed Music Listening Program Script Series III

Day 4: This week we are listening to an excerpt from the Third and Fourth Movements of “Symphony No. 2” by Jean Sibelius.

The solo voice of the oboe is heard at the outset of this excerpt playing a beautiful, haunting melody. After hearing the theme, the music changes into something considerably more dramatic. The full orchestra quickly crescendos, as more instruments are added. The violins are most obvious as their part dominates as it rises and falls above the deeper brass, cello, double bass and drum parts.

Day 5: Jean Sibelius composed this week’s listening selection “Symphony No. 2” in 1901.

This excerpt is full of many changes in mood, comparable to the feelings one would get in ever-changing scenery of the Finnish countryside. It starts simply but quickly becomes more tempestuous and exciting. Sibelius makes this change by creating something like the sound of a fanfare, dominated by the brass instruments. The music seems to slow down and become stronger and more triumphant. At the very end of the excerpt you hear a rather ominous melody being played on the double bass, making you wonder about what will happen next. Non-Directed Music Listening Program Script Series III Week 8

Composer: Manuel de Falla (1876 – 1946) Composition: “Miller’s Dance” Performance: John Williams, guitar Recording: A Taste of Spain CBS WMFK 46358

Day 1: This week’s listening selection is the “Miller’s Dance” by Manuel de Falla (Fah- yah).

Manuel de Falla was born in Spain. His music is generally based on Spanish dance rhythms. Dance is an important part of the life in Spain. It is most often performed with traditional instruments such as guitars, castanets and tambourines. The “Miller’s Dance” is performed solely by a very accomplished guitar player. The people of Spain claim that de Falla’s music represents the REAL Spain.

Day 2: Manuel de Falla composed this week’s listening selection, the “Miller’s Dance”.

The “Miller’s Dance” is a guitar solo: solo meaning to do something by yourself. The guitar, as an instrument, is thought to be about 5,000 years old. Guitars originated with the Pharaohs in Egypt but were brought to Spain by the Romans around 100 B.C. By 500 A.D., the guitar had become Spain’s national instrument. De Falla’s compositions are considered to truly represent the sounds of native Spanish music. It seems appropriate that much of his work was composed for the national instrument – the guitar.

Day 3: This week’s listening excerpt entitled “Miller’s Dance” was written by Manuel de Falla at the beginning of this century.

Dance has always been an important part of Spanish life and Spanish culture. Each of the forty-three provinces in Spain has their own characteristic dances and traditional costumes. The “Miller’s Dance” is a guitar solo, however, if a Spanish dancer were to join in, to perform the “Habanera” or Spanish tango, they would bring their castanets. Try to imagine one or two flamboyantly costumed dancers, castanets clicking, gracefully moving to the rhythms of this exotic music? Non-Directed Music Listening Program Script Series III Day 4: Manuel de Falla composed this week’s featured listening selection “The Miller’s Dance”.

The word castanet comes from the word chestnut, a round thin-shelled nut. Each castanet is made up of two small hollow, shell-like pieces of wood. In each hand, the dancer loops the castanet over their fingers and clicks them together to emphasize the rhythm and beat of the music. Arms move gracefully, encircling the body and head of the dancer, all the while keeping the castanets clicking. There are three basic sound for the feet: striking of the heel, striking of the toe and striking of the full sole. In this excerpt you hear only the guitar so your imagination has to create the vision and sound of the accompanying dancers.

Day 5: The “Miller’s Dance” composed by the famous Spaniard, Manuel de Falla, is this week’s featured excerpt.

At points in the “Miller’s Dance”, it is hard to believe that just one solo performer is able to simultaneously make all the different sounds on a single guitar. The index and third fingers play most of the melody notes while the thumb and fourth and fifth or baby finger play the chordal accompaniment or background sounds. The music moves to a climatic ending using a crescendo, getting louder, and an accelerando, getting faster. Non-Directed Music Listening Program Script Series III Week 9

Composer: Frederic Chopin (1810 – 1849) Composition: Polonaise in A flat, Opus 53 “Heroic” Performance: Ernst Frager, piano Recording: Telarc Sampler Volume 2 Telarc CD 80002

Day 1: This week’s listening excerpt is the “Polonaise in A flat, Opus 53” by Frederic Chopin.

Chopin is often referred to as the “poet of the piano”. Although he never gave poetic names to his pieces, they invariably paint a picture in your mind. In all of Chopin’s twelve polonaises, he was focusing on the glory and splendor of Poland in its earlier days. He remembered her powerful armies, her wealthy cities and her happy people. He also re-lived in his music the grandeur of the stately processions for the king. Chopin called this piece simply by key, A flat and by number, Opus 53. Further generations have nicknamed it the “heroic” polonaise. See if you think this name is fitting. Is the music heroic: full of conquest, bravery and glory?

Day 2: The “Polonaise in A flat, Opus 53” was composed by Frederic Chopin.

Yesterday you discovered that Chopin’s music can create a picture or story in your mind. This polonaise has been nicknamed the “heroic” polonaise because Chopin was thinking about the king’s court and all the achievements of the Polish people. Chopin left Poland when he was twenty years old. After that, Poland was taken over by Russia and Chopin never returned. For all of us, good memories often get better the longer we think about them. For Chopin, his love and devotion to Poland only got stronger through his years of absence. As a result, his compositions contain memories of Poland brought to life through native folk songs and music that reflects the greatness of the country Chopin remembered so vividly. Non-Directed Music Listening Program Script Series III

Day 3: Chopin was thirty-two years old when he composed this week’s listening selection “Polonaise” in A flat, Opus 53”.

The polonaise is a Polish dance. It is ideal for slow marching and was originally used as processional music in the ancient Polish courts. The excerpt you hear is not the entire polonaise. We begin in the second portion of the work which starts with six repeated chords. On the seventh repetition, the left hand begins rapidly playing a repeated passage of octaves. By tomorrow, see if you can find out what it means if a pianist plays in octaves.

Day 4: This week’s listening selection was composed by Frederic Chopin in 1842 and is entitled, “Polonaise in A Flat, Opus 53”.

For a pianist to play in octaves, they must stretch their fingers on the piano from doh to doh, eight notes apart. It is not too difficult for a very short while but the “Polonaise in A Flat” requires the performer to play very quick octaves with the left hand for a full two minutes of this four minute piece. Imagine spreading the fingers on your left hand as wide as possible, freezing in that position and bouncing them up and down as fast as you can for about two minutes. The pain soon becomes unbearable and pretty soon the bounce becomes less and less coordinated and less even.

Day 5: Frederic Chopin wrote this week’s listening selection “Polonaise in A flat, Opus 53” when he was thirty-two years old.

Chopin loved his homeland, Poland. All his music reflects a piece of history or the physical beauty of that country. Tragically Chopin left Poland in 1830 when he was twenty. He never returned and died at the age of thirty-nine of tuberculosis. He was a perfectionist and spent days and weeks polishing his music, sometimes he discarded his compositions, feeling that they weren’t good enough. All his music is full of beautiful, sweet melodies, contrasting with exciting, thunderous or very quick passages. Once again, the “Heroic” Polonaise. Non-Directed Music Listening Program Script Series III Week 10

Composer: Peter Ilyich Tchaikovsky (1840 – 1893) Composition: “1912” Overture Performance: Cincinnati Symphony Orchestra, Kunzel Recording: Telarc CD Sampler Volume 3 Telarc CD 80003

Day 1: This week’s listening selection is the “1812 Overture” composed by Peter Ilyich Tchaikovsky.

This overture was written in the year 1880, 68 years after the events which it commemorates. Early in the 1800’s, the famous French leader, Napoleon Bonaparte invaded Russia. The Russians were victorious over Napoleon in the year 1812, thus the “1812 Overture”. The piece includes fragments of both the French and Russian National anthems, as well as the booming of cannons and the peeling of church bells.

Day 2: The listening excerpt this week is Peter Ilyich Tchaikovsky’s “1812 Overture”.

Yesterday you learned that the “1812 Overture” was composed to celebrate the Russian victory over Napoleon and his French army. Did it sound like a victory march to you? Tchaikovsky planned for the piece to be performed on the banks of the Moskva River. Being as it was outdoors, he employed the use of real cannons, a large brass band and church bells from neighbouring cathedrals. Tchaikovsky was quoted as saying “The Overture will be full of sound and fury”. Listen today to see if Tchaikovsky succeeded in achieving his goal.

Day 3: The Russian composer, Peter Ilyich Tchaikovsky, composed this week’s listening selection, the “1812 Overture”.

It is difficult for orchestras to duplicate the sound of the original 1882 performance of the “1812 Overture”. It is indeed a piece full of “sound and fury”. For inside performances the church bells are copied by the chimes and the orchestra and brass band are scaled down considerably. The sound of the cannon is usually reproduced by a tape of a real cannon shot. You can imagine the difficulties that would arise if one were to use a real cannon inside a concert hall such as the Orpheum. Non-Directed Music Listening Program Script Series III

Day 4: This week you are listening to Peter Ilyich Tchaikovsky’s “1812 Overture”.

Today as you listen, see if you can identify some of the ways in which Tchaikovsky creates excitement in the music. Part of the effect is achieved by the sheer volume of sound but he also used many contrasts in both dynamics (louds and softs) and in the combination of instruments. The strings create the effect of someone or something fleeing a stronger force – represented by the brass instruments. Tchaikovsky successfully makes one feel the drama between the victorious Russians and the defeated and fleeing French forces led by Napoleon.

Day 5: The “1812 Overture” by Peter Ilyich Tchaikovsky is this week’s listening excerpt.

In order to truly represent the Russian people in this overture, Tchaikovsky used a lot of folk music from his homeland. You can understand why this piece was so popular right from the first performance. It must have made the Russian people feel strong, proud and united in victory over their enemies. Music has a way of drawing people together for a cause and Tchaikovsky took full advantage of this knowledge, creating something powerful, beautiful and full of splendor. Non-Directed Music Listening Program Script Series III Week 11

Composer: Ottorino Respighi (1792 – 1868) Composition: “Triton Fountain at Morn” from the “Fountains of Rome” Performance: Atlanta Symphony Orchestra, Lane Recording: Telarc Sampler Volume 3 Telarc CD 80003

Day 1: Our featured listening selection for this week is entitled “Triton (Try-tuhn) Fountain at Morn” from “The Fountains of Rome” by the Italian composer, Ottorino Respighi (ress-PEE-ghee)

Respighi loved the famous fountains in the city of Rome, Italy. Then, as now, these fountains were well-known for their splendid statues and impressive cascades of water. Respighi spent many hours at the fountains, hoping to discover at what hour each fountain was the most beautiful. In his composition, “The Fountains of Rome”, he tried to capture the spirit of four of these fountains at different times of the day. At the beginning of this selection, “The Triton Fountain at Morn”, listen for a blast of horns which herald in the new day.

Day 2: This week’s listening selection is “The Triton Fountain at Morn” from “The Fountains of Rome” composed by Ottorino Respighi.

Respighi’s music is a tone poem – music which expresses the feelings evoked by an event, idea, or thing with the image portrayed through the music. To introduce the “Triton Fountain” Respighi wrote “a sudden loud and insistent blast of horns above the trills of the whole orchestra”. This call awakens the statues of the water nymphs and also the statues of Triton, god of the sea, which surrounds the fountain. “Triton” in Greek and Roman mythology is a god of the sea, the lower part of his body is like that of a fish. The god Triton is really like a “merman”, instead of a “mermaid”. Respighi imagined these water creatures chasing each other through surging jets of water. As you listen to the music, can you see in your mind’s eye, the Triton Fountain in the early morning? Non-Directed Music Listening Program Script Series III Day 3: This week, we are listening to “The Triton Fountain of Morn” from “Fountains of Rome” by Ottorino Respighi.

Respighi was a twentieth century composer who was influenced by a movement called Impressionism. Impressionist composers tried to express a mood, atmosphere, or emotion through their music. Respighi especially loved the atmosphere or mood of the Triton Fountain in Rome in the morning. Through his music, Respighi painted a picture of the beautiful fountain, creating the impression of swirling water. The high sounds of the water are produced by the triangle, bells, and high strings.

Can you hear this – the tumble and crash of the swirling water of the fountain?

Day 4: Today, we will again listen to “The Triton Fountain of Morn” from the “Fountains of Rome” by Ottorino Respighi, an Italian Impressionist composer.

The music beings with a powerful French horn which heralds in the new day. If you listen carefully to the French horn, you may notice that it continuously repeats the same note, middle C, throughout the piece, even as the music swirls and builds to a crescendo above. As we listen to the music, we can almost feel the spray on our faces!

Day 5: This week, we have been listening to “The Triton Fountain of Morn” from “Fountains of Rome” by Ottorino Respighi.

Respighi was an Italian composer who died in 1936. Much of his music described his feeling evoked by an event, a place, or thing. In “Triton Fountain of Morn”, Respighi uses the techniques of rapid scale passages, crescendo and decrescendo (getting louder and softer), and the high sounds of the bells and triangles, and strings, to produce the effect of swirling water.

Listen to the “Triton Fountain at Morn” and try to imagine the morning sun and the splashing water. Non-Directed Music Listening Program Script Series III Week 12

Composer: Sergio Prokofiev(1891 – 1953) Composition: Alexander Nevsky: “A Song About Alexander Nevsky” Performance: Los Angeles Philharmonic Orchestra, Andre Previn Recording: The Super Sampler Telarc CD 00007

Day 1: This week’s listening selection is entitled “A Song About Alexander Nevsky” written by the Russian composer, Sergei Prokofiev.

This song is taken from the score of a famous Russian movie called “Alexander Nevsky” produced in 1938. In this piece, a male chorus sings of Russia’s celebrated hero and statesman, Prince Alexander Nevsky. Alexander Nevsky led the Russian army to victory over German invaders 700 years ago. Let us listen to this stirring song dedicated to Russia’s hero.

Day 2: Today we will listen to “A Song About Alexander Nevsky” written by the twentieth century Russian composer, Sergei Prokofiev.

Alexander Nevsky was a thirteenth century Russian prince who led the Russian forces to victory over the Germans. In “A Song About Alexander Nevsky”, the Russia soldiers express their admiration for their hero. The song is sung in a legato style, which means smooth and connected. The legato singing lends an air of dignity and power to the defenders of the Russian empire.

Day 3: This week we are listening to “A Song About Alexander Nevsky” by Sergei Prokofiev, a twentieth century Russian composer.

This piece is from the score of the film “Alexander Nevsky”. Alexander Nevsky was a thirteenth century Russian prince, statesman, and hero. Much of Prokofiev’s music may be termed nationalistic – music which emphasizes national traits and characteristics. In this piece, Prokofiev drew on the folk melodies of his native Russia. The Russian people loved the film “Alexander Nevsky” and it was an immediate success. Non-Directed Music Listening Program Script Series III Day 4: This week’s featured composition is “A Song About Alexander Nevsky” by Sergei Prokofiev.

If you listen carefully, you will discover that Prokofiev wrote this music in three sections. The first and last sections are the same. This composition begins with a slow, soft dignified hymn of praise which soon swells to a crescendo. The second contrasting section is a powerful, dramatic, stirring statement. Snare drums and cymbals suggest Alexander Nevsky’s march to victory. The piece ends with a repeat of the lyrical, flowing hymn-like theme.

Day 5: This week, we have been listening to “A Song About Alexander Nevsky” by the twentieth century Russian composer Sergei Prokofiev.

“A Song for Alexander Nevsky” was written for a film score. Alexander Nevsky was a thirteenth century Russian prince who triumphed in a battle over the Germans. The film was produced in 1938 as Hitler and the German army were threatening Russia and the rest of Europe.

Let us listen again to the male chorus singing in Russian of the national hero, Alexander Nevsky. Non-Directed Music Listening Program Script Series III Week 13

Composer: Peter Ilyich Tchaikovsky (1840 – 1893) Composition: “Waltz of the Flowers” from the “Nutcracker Suite” Performance: Cleveland Orchestra, Lorin Maazel Recording: Telarc Sampler Volume 1 Telarc CD 80001

Day 1: This week’s featured listening selection is “Waltz of the Flowers” from “The Nutcracker” by the famous Russian composer Peter Ilyich Tchaikovsky.

“The Nutcracker” is a ballet which tells the story of Clara and the magically transformed nutcracker which becomes a Prince. In the story, Clara and the Prince enter the Kingdom of Sweets and are entertained at the castle of the Sugar Plum Fairy. The entertainment concludes with an elegant dance called “The Waltz of the Flowers”.

Day 2: The music selected for the listening program this week is “Waltz of the Flowers” from “The Nutcracker” by the famous Russian composer Peter Ilyich Tchaikovsky.

In this ballet called “The Nutcracker”, Clara and her Prince are invited by the Sugar Plum Fairy to view a number of dances. One of these dances is a waltz. A waltz is a moderately paced dance in triple or three-quarter time. Imagine the ballerinas dancing to this lovely composition called “Waltz of the Flowers”.

Day 3: This week, we are listening to “Waltz of the Flowers” from “The Nutcracker” by Peter Ilyich Tchaikovsky.

The dance begins with a long introduction as the flowers take their places on stage. The harp music depicts the gentle breezes which set the flowers dancing. Like most waltzes, the “Waltz of the Flowers” is made up of many different melodies or tunes. As you listen to each melody, imagine that a different group of flowers is dancing to the music. Non-Directed Music Listening Program Script Series III

Day 4: Today, we listen again to the beautiful composition “Waltz of the Flowers” from “The Nutcracker” by Peter Ilyich Tchaikovsky, a Russian composer.

The Sugar Plum Fairy has invited Clara and her Prince to the Kingdom of Sweets where various groups of dancers entertain them. The last dance is the “Waltz of the Flowers”. some of the flowers dance to different melodies or tunes played by the horns, the clarinet, violas and celli, and oboes and flutes. Try to imagine the dance that each flower creates to the different melodies.

Day 5: This week, we have been listening to the “Waltz of the Flowers” from “The Nutcracker” by Peter Ilyich Tchaikovsky.

Tchaikovsky’s ballet “The Nutcracker” is numbered among his most famous and popular works. In this composition, Tchaikovsky uses beautiful, singable melodies played by different instruments – French horn, then the clarinet, violins, oboes and flutes, and finally the violas and celli. In your mind’s eye, can you see the flowers as they find their places on the dance floor, dance in turn, and then take their final bows. Non-Directed Music Listening Program Script Series III Week 14

Composer: Series III Favourites Composition: As selected by the school Performance: As selected by the school Recording: As selected by the school

Day 1: As chosen by the school – selections either previously heard or selections from other sources

Day 2: As chosen by the school – selections either previously heard or selections from other sources

Day 3: As chosen by the school – selections either previously heard or selections from other sources

Day 4: As chosen by the school – selections either previously heard or selections from other sources

. Non-Directed Music Listening Program Script Series III Week 15

Composer: Georg Bizet (1838 – 1875) Composition: “Danse Boheme” from Carmen Suite No. 2 Performance: St. Louis Symphony Orchestra, Slatkin Recording: Telarc Sampler Volume 2 Telarc CD 80002

Day 1: This week, we will listen to “Danse Boheme” from “Carmen Suite, No. 2” by Georg Bizet, a French composer.

The “Carmen Suite” consists of orchestral music based on themes taken from “Carmen”, one of Bizet’s most famous operas. In today’s selection, we listen to one of the selections from the Suite, “Danse Boheme”. The word “boheme” means gypsy or vagabond. In the opera, Carmen is a beautiful gypsy girl. In one scene, Carmen and the gypsies engage in a frenzied dance at an inn in the Spanish city of Seville. Notice how the music becomes increasingly faster and louder as the gypsy’s dance becomes more and more reckless and unrestrained.

Day 2: This week, we are listening to “Danse Boheme” from “Carmen Suite, No. 2” by the French composer, Georg Bizet.

The opera “Carmen” is set in Seville, Spain. Carmen is a beautiful gypsy girl who falls tragically in love, first with a soldier and then with a bullfighter. In “Danse Boheme”, we first hear a soft mischievous-sounding theme called the “Smuggler’s Dance”, a theme played twice by the flutes. Later, a second theme from a gypsy song is introduced. In the opera, Carmen sings this theme in which she boasts of her wild and carefree life as a gypsy. This theme is repeated four times, first by the clarinets, then the strings, the trumpets, and finally the entire orchestra. Can you hear these two district themes?

Day 3: This week’s featured listening selection is “Danse Boheme” from “Carmen Suite, No. 2” by the French composer Georg Bizet.

The music is derived from the opera “Carmen”. In this scene from the opera, Carmen, the beautiful, wild gypsy girl, is in an inn outside the Spanish city of Seville. Gypsy girls are dancing to a delightful tune called “The Smuggler’s Dance”. Finally, we hear the orchestrated version of Carmen’s theme on the joys of gypsy life. This gypsy theme is repeated four times. Listen as the music of the second theme becomes faster, louder, and wilder at each repetition. Non-Directed Music Listening Program Script Series III

Day 4: Today, we will listen to “Danse Boheme” from “Carmen Suite, No. 2” by Georg Bizet.

“Dance Boheme” has two themes. The first is called the “Smuggler’s Dance”, a rather lively but soft dance and the second theme is taken from a scene from the opera “Carmen”. In this scene, Carmen sings of the delights and joys of a gypsy life. The lyrics of her lively song, written in a minor key, goes something like this:

“When the sound of a guitar float on the air, the gypsies spring forth in a merry dance. Tambourines beat in time with the music and every voice repeats a merry song.

Day 5: This week, we have been listening to “Danse Boheme” from “Carmen Suite, No. 2” by Georg Bizet.

Georg Bizet was a French composer who was drawn to Spanish music and dance. “Danse Boheme” was taken from the opera “Carmen”, a tragic tale of a gypsy girl and the two men who fell in love with her. The opera was not a success after its first performance. Unfortunately, the composer Bizet died three months later at the age of 37. The opera is now one of the most famous and most loved operas of all time.

Let us listen for the final time to the exuberant music of “Danse Boheme”. Non-Directed Music Listening Program Script Series III Week 16

Composer: Johannes Brahms (1833 – 1897) Composition: Hungarian Dance No. 1 in G Minor

Performance: Wiener Philharmoniker, Claudio Abbado Recording: Claudio Abbado Conducts Deutsche Grammophon 429 364-2

Day 1: The selection featured this week in the listening program is titled “Hungarian Dance No. 1 in G Minor” by Johannes Brahms, a German composer.

Brahms loved the minor melodies and irregular rhythms of gypsy music and Hungarian tunes. He collected this music and derived much of his work from popular folk tunes of his time. As we listen to this selection, note the wide variety of moods which range from sadness to carefree abandon.

Day 2: Today, we will listen to “Hungarian Dance No. 1 in G Minor” by Johannes Brahms.

Brahms was a German composer who was known for writing more serious music. However, in 1853, when Brahms was only 20, he met a hot-tempered Hungarian violinist. Together, they embarked upon a concert tour throughout Europe. Brahms learned many Hungarian and gypsy tunes from his friend which he later integrated into his “Hungarian Dances”.

Let us listen to this exuberant music.

Day 3: The German composer Johannes Brahms composed this week’s listening selection, “Hungarian Dance No. 1 in G Minor”.

“Hungarian Dance No. 1 in G Minor” is developed from three melodies. The first is rather sad and agitated. The second is a lively melody in which rhythmic accents are placed on weak beats. The third theme is characterized by sudden changes in tempi and dynamics. Brahms ends with a repeat of the first melody.

Each of these three melodies convey a different mood. Can you hear the three different sections of this music? Non-Directed Music Listening Program Script Series III

Day 4: The music selected for the listening program this week is entitled “Hungarian Dance No. 1 in G Minor” by Johannes Brahms.

The well-known German composer, Johannes Brahms, wrote 21 “Hungarian Dances” over a 17 year span. Originally written for piano, he later orchestrated the dances. The dances are characterized by syncopated rhythms, expressive melodies, and sudden contrasts in dynamics and tempo. In this selection, Brahms used three different melodies to create three different moods. As you listen today, try to recognize these three distinct melodies.

Day 5: This week, we have been listening to “Hungarian Dance No. 1 in G Minor” by the German composer, Johannes Brahms.

Although much of Brahms’ music is serious and earnest, he enjoyed the vitality and freshness of folk music. He collected these folk tunes and set them in orchestral form so that future generations could also enjoy them.

Brahms’ “Hungarian Dance No. 1 in G Minor” is an exciting piece of music, rich with many contrasts in tempi, dynamics, and mood. Non-Directed Music Listening Program Script Series III Week 17

Composer: Wolfgang Amadeus Mozart (1756 - 1791) Composition: “Symphony No. 40 in G Minor” - “Molto Allegro” Performance: Berlin Philharmonic Orchestra, Karl Bohm Recording: Deutsche Grammophon, Privilege 427 210-4

Day 1: This week’s featured selection is the “Allegro Molto” from Symphony No. 40 in G Minor written by Wolfgang Amadeus Mozart.

In a six week period in 1788, during the most unhappy period of his life, Mozart wrote the last three of his 41 symphonies. The entire “Allegro Molto” section of the Symphony in G Minor is based on three note themes. You will hear them all used in the restless melody which opens this movement and becomes the basis of the entire Symphony.

Day 2: The listening example this week is the “Allegro Molto”, the first movement from Symphony No. 40 in G Minor written by Wolfgang Amadeus Mozart.

The restlessness of the opening melody of the movement is created in part by the great rhythmic activity of the melody itself and by the rapid tempo of the whole “Allegro Molto” section. “Allegro Molto” means very quickly and is the term used to describe the speed at which the piece is performed. It also becomes the name of the movement.

Day 3: Wolfgang Amadeus Mozart wrote the Symphony No. 40 in G Minor in 1788. We will listen to the first movement – “Allegro Molto”.

When this Symphony was written, Mozart was in a very unhappy state. His mood is reflected in the music of the “Allegro Molto” through the restlessness of the themes and melodies created from the short, three note motifs. He also uses the technique of constantly changing the melody in subtle ways thus making it feel unsettled and emphasizing the mood of restlessness. Non-Directed Music Listening Program Script Series III Day 4: Austrian composer, Wolfgang Amadeus Mozart, wrote the Symphony No. 40 in G Minor approximately 200 years ago.

Our listening example this week is the first movement from that Symphony – the “Allegro Molto”. Much of the music that was written when the Symphony in G Minor was composed was meant to be performed in the courts of wealthy people for entertainment. This Symphony is somewhat unusual because it was written by Mozart for performance at a public concert.

Day 5: Today we will listen to the “Allegro Molto” from Mozart’s Symphony No. 40 in G Minor for the last time.

As you listen to the Symphony notice once again how the composer uses the technique of orchestral composition to create a strong feeling of restlessness in the music. As you listen to the music, remember that this piece was written near the end of Mozart’s life when he was very poor, unhealthy and unhappy. Do you think the music communicates some feeling of the composer’s unhappiness? Non-Directed Music Listening Program Script Series III Week 18

Composer: Percy Grainger (1882 – 1961) Composition: Irish Tune from County Derry (excerpt) Performance: St. Louis Symphony Orchestra, Slatkin Recording: Telarc CD Sampler Volume 2 Telarc CD 80002

Day 1: This week we will be listening to “Irish Tune from County Derry”, arranged by Percy Grainger.

The “Irish Tune from County Derry” is an arrangement of an old folk song from County Derry, a county or district in Ireland which has retained much of its strong Irish character in spite of an influx of English and Scottish settlers. The tune is also known as “Londonderry Air” or “Danny Boy”. No one knows who wrote the song or penned the original title. Even the original words have been lost. However, the Irish have loved this beautiful, wistful melody for many generations. The Australian composer, Percy Grainger, arranged this folk song for strings.

Day 2: Today, we will listen again to “Irish Tune from County Derry”, arranged by Percy Grainger.

As we listen to this piece, we find that the music evokes in us feelings of dignity, restfulness, and longing. Percy Grainger used the string family (violins, violas, cellos, and double basses) to complement the peaceful, tranquil mood of the melody. The melody moves step-wise instead of by large leaps. The rhythm flows gently and there are no strong beats. We can almost see the quiet Irish countryside when we listen to this beautiful music from County Derry.

Day 3: This week’s featured listening selection is “Irish Tune from County Derry”, arranged by Percy Grainger.

As you listen, notice that this Irish folk melody has four long phrases. The first two are very similar. Phrases three and four are related but different. Each phrase has a distinct shape, created by the up and down pattern of the notes. The melody usually becomes louder as it goes up, and softer and more peaceful as it moves downward. See if you can create a picture in your mind of the contour or shape of this beautiful melody. Non-Directed Music Listening Program Script Series III

Day 4: This week, we are listening to “Irish Tune from County Derry”, arranged by Percy Grainger.

This Irish melody is arranged for strings and played in a smooth legato style. The tempo is slow, the rhythm flowing, and the melody stepwise. These factors set a mood of wistfulness, dignity, restfulness, and tranquility.

Day 5: This week, we have been listening to “Irish Tune from County Derry”, arranged by Percy Grainger.

Percy Grainger was an Australian composer who spent many years in Great Britain and arranged many English and Irish folk songs. He loved nature and was fond of long walks through the countryside. The Irish landscape with its green, gently rolling hills is reflected in his arrangement of an “Irish Tune from County Derry”. Non-Directed Music Listening Program Script Series III Week 19

Composer: Malcolm Arnold (1921 – ) Composition: Quintet for Brass, Allegro Vivace Performance: Foothills Brass Recording: Polished Brass Black Bear Records BBR 6001T

Day 1: This week we will listen to “Quintet for Brass, Allegro Vivace” by Malcolm Arnold, a contemporary English composer.

This lively piece is arranged for a brass quintet. A quintet is an ensemble of five players. A brass quintet consists of two trumpets, a French horn, a trombone, and a tuba. In this Brass Quintet, two trumpets introduce the piece with a brilliant fanfare. Notice how the melody is then passed to each instrument in turn.

Day 2: The featured listening selection for this week is “Quintet for Brass, Allegro Vivace” by Malcolm Arnold.

Malcolm Arnold, born in 1921, is a twentieth century composer. He began his career in England as a trumpet player and enjoyed writing compositions for brass. In the “Quintet for Brass”, listen for buoyant, witty solos from each of the brass instruments. The instruments never stay in one mood for long. The main feeling, however, remains that of exuberance and joy.

Day 3: One of England’s most famous contemporary composers, Malcolm Arnold, wrote this week’s listening selection entitled “Quintet for Brass, Allegro Vivace”.

Malcolm Arnold’s music is difficult to describe. If you listen carefully, you will hear elements of jazz, blue notes, and bent” notes in some sections, especially when the trombone takes the melody. At other times, however, you will hear a royal brass fanfare or a somber brass band. Listen for the distinct changes in mood. Non-Directed Music Listening Program Script Series III

Day 4: This week, we are listening to “Quintet for Brass, Allegro Vivace” by the English composer, Malcolm Arnold.

Malcolm Arnold, the composer, does not use much elaborate harmony or form to create contrast in his music. Instead, he changes the instruments instead of the melody or tune, to keep his music fresh. The main theme, performed by two trumpets at the beginning, returns continuously throughout the piece, often played by the French horn or the trombone.

The music is written in a simple ABA format. The melody of first and last sections are the same. Can you hear the different sections of the music?

Day 5: This week, we have been listening to “Quintet for Brass, Allegro Vivace” by Malcolm Arnold.

In this quintet for Brass, we hear the main theme performed by two trumpets, a trombone, French horn, and a tuba. Malcolm Arnold is a contemporary composer and trumpet player who enjoys writing for brass instruments. Arnold achieves contrast in his compositions, not by differing the harmony or creating complex form, but by constantly changing the instrument colours. Non-Directed Music Listening Program Script Series III Week 20

Composer: Aram Khatchaturian (1903 – 1978) Composition: “Dance of the Young Kurds” from “Gayane” Performance: Andre Kostelanetz and His Orchestra Recording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658

Day 1: This week’s featured listening selection is “Dance of the Young Kurds” from the ballet “Gayane” by Aram Khatchaturian, an Armenian composer.

Khatchaturian was born in Georgia in the former Soviet Union. He grew up with the vibrant music that marked the festivals and rituals of the people of Armenia, Azerbaijan and Georgia. The Kurds are people who live south of this part of the world. The music you will her today is called “The Dance of the Kurds”. It comes from a colourful ballet that Khatchaturian composed called “Gayane” which was first performed by the Leningrad Kirov Ballet in 1942.

Listen now to this rousing music.

Day 2: This week, we are listening to Aram Khatchaturian’s “Dance of the Young Kurds” from the ballet “Gayane”.

In the ballet, “Gayane”, Khatchaturian uses styles of music and dance derived from Russia, Armenia, the Ukraine, and from the Kurdish people. The main theme is played within a very narrow range on oboes and clarinets. Listen to how the driving rhythm propels the dancers to dance faster and faster.

Day 3: This week’s featured selection is “Dance of the Young Kurds” from the ballet “Gayane” by Aram Khatchaturian.

After a short introduction, the lively main theme is played by the oboes and clarinets in G minor. Khatchaturian then includes a contrasting central section and returns again to the main theme. This time the theme is played faster and louder. Colourful orchestration and accented offbeats add to the increased intensity of the dance. Non-Directed Music Listening Program Script Series III

Day 4: This week’s featured selection is “Dance of the Young Kurds” from the ballet “Gayane” by Aram Khatchaturian.

In this selection, Khatchaturian employs a number of techniques to create excitement in his music. Khatchaturian repeats the main theme at least eight times, producing an hypnotic effect and an almost unbearable tension. The music is played increasingly faster and louder. The timpani, or kettle drum, is used more forcefully at the end of the piece.

Day 5: This week, we have been listening to “Dance of the Young Kurds” from the ballet “Gayane” by Aram Khatchaturian, an Armenian composer.

Aram Khatchaturian is regarded as one of the most famous Soviet composers of the twentieth century. His works celebrate the folk tunes and dances from this part of the world. In the “Dance of the Young Kurds”, the music begins insistently with many repetitions of the main theme, and then continues to gather speed and force. Non-Directed Music Listening Program Script Series III Week 21

Composer: Ludwig von Beethoven (1770 - 1827) Composition: Symphony No. 5, Allegro con brio (excerpt) Performance: Boston Symphony Orchestra, Ozawa Recording: Telarc CD Sampler Volume 2 Telarc CD 80002

Day 1: This week’s listening selection is entitled “Symphony No. 5, allegro con brio” by the German composer, Ludwig von Beethoven.

The first movement of Beethoven’s Fifth Symphony begins with one of the most famous musical themes ever composed. The short motif (or brief theme) contains only four notes and is really more rhythm than melody. The theme is introduced by the strings and clarinets. It is played fortissimo (very loud) and in a low register. This gruff, almost angry, theme dominates the whole movement and is repeated many times throughout the piece.

Day 2: This week, we are listening to “Symphony No. 5, Allegro con brio” by Ludwig von Beethoven, the famous German composer.

Beethoven’s Symphony begins with a four-note statement of great intensity and power. The theme is repeated over and over again, and we feel we are plunged into a mighty storm. This first theme is gruff and imposing. Suddenly, a soft lyrical melody is heard but is soon overpowered by the dominant first theme. Listen carefully… can you hear the conflict between the two contrasting themes?

Day 3: This week, we are listening to “Symphony No. 5, Allegro con brio” by Ludwig von Beethoven, the famous German composer.

Beethoven was a German composer and pianist. Although he was one of the greatest composers of all time, his success did not come without great struggle. At age 30, he became completely deaf. The movement of the symphony you will hear today, “Symphony No. 5”, was written when Beethoven was profoundly deaf.

Beethoven was also a perfectionist who worked out every detail with great care. His notebooks are filled with re-writes of this Symphony which took him four years to complete. Today, we will listen to the first movement of the “Symphony No. 5”. Non-Directed Music Listening Program Script Series III

Day 4: Today, we will listen to “Symphony No. 5, Allegro con brio” by Ludwig von Beethoven, the famous German composer.

Perhaps no composition in music history has made so much out of so little. The little four-note theme we hear at the beginning of the piece serves as a building block for the entire first movement. Some say that this little four-note theme sounds like fate knocking on one’s door and that Beethoven wanted to say, “I will grapple with Fate, my destiny; it shall not overcome me.” Although the first movement ends forcefully on a minor chord, the Finale of the Symphony concludes in a major key, perhaps symbolizing victory over one’s Fate or difficulties.

Day 5: This week, we are listening to “Symphony No. 5, Allegro con brio” by Ludwig von Beethoven, the famous German composer.

Beethoven was a German composer whose music formed a bridge between the “Classical” and “Romantic” periods of music history. Beethoven was a rebel who composed music which evoked strong feelings. Beethoven was one of the first composers to add descriptive titles to his works.

Beethoven was a master in the use of musical motifs or short musical phrases. As we listen to the first movement of Beethoven’s “Symphony No. 5”, note how often the short musical phrase or motif which began the piece occurs throughout the music. Non-Directed Music Listening Program Script Series III Week 22

Composer: Charles Zimmerman (1861 – 1916) / Alfred Miles Composition: “Anchors Away” Performance: Cleveland Symphonic Winds, Frederick Fennell Recording: Telarc Super Sampler Telarc CD 00007

Day 1: This week’s listening selection is called “Anchors Away”. It was written by Alfred Miles and Charles Zimmerman.

“Anchors Away” is a military march which was composed for the 1907 graduating class of the U.S. Naval Academy. It was first played at that year’s Army-Navy football game and it became the official march of the U.S. Navy. There are two main sections to the piece. The first section is performed by the woodwinds. The second section, played mainly by the brass, it known as “Anchors Away”. The mood of the piece is upbeat and the music is usually quite loud and boisterous.

Day 2: Today, we will listen to a piece called “Anchors Away” by Alfred Miles and Charles Zimmerman.

The military band consists of woodwinds, brass, and percussion instruments. Its instrumentation does not include stringed instruments. Notice as you listen to this music that the woodwinds generally take the melody in the first part of the composition. The brass instruments, however, are often given interesting counter- melodies. In the second section “Anchors Away”, the brass instruments play the melody accompanied by the woodwinds.

Day 3: This week, we are listening to “Anchors Away” by Charles Zimmerman and Alfred Miles.

“Anchors Away” is a famous naval march. Marches, written in 2/4, 4/4 or 6/8 time, are composed to encourage the orderly, steady marching of large groups. Marches may be slow, as in funeral marches, or quick as in military parade marches. “Anchors Away” is a quick march with strongly defined rhythm and regular phrases. Non-Directed Music Listening Program Script Series III Day 4: We are listening this week to a naval march called “Anchors Away” by Charles Zimmerman and Alfred Miles.

“Anchors Away” is one of the most popular marches used by the American Navy and is the official march of that branch of the American Armed Forces. “Anchors Away” is the naval order to pull the anchors from the sea and set sail. There are even words written to the second section of the march. The stirring music of this march is intended to send the sailors enthusiastically on their way.

Day 5: This week’s featured listening selection is entitled “Anchors Away” by Alfred Miles and Charles Zimmerman.

“Anchors Away” is a quick, lively march used by the American Navy. The military band consists of woodwinds, brass, and percussion instruments. Notice how the woodwinds have the melody in the first section. The brass and percussion take over in the powerful second section, “Anchors Away”.

Let us listen again to this stirring march. Non-Directed Music Listening Program Script Series III Week 23

Composer: Hector Berlioz (1803 – 1869) Composition: “Les Nuits d’ete”, “Villanelle” Performance: Atlanta Symphony Orchestra, Robert Shaw Elly Ameling, soprano Recording: Telarc Sampler Volume 3 Telarc CD 80003

Day 1: Our featured selection for this week is “Les Nuits d’ete, Villanelle” (Lay-nwee-day- tay) bay Hector Berlioz.

Do you know what a soprano is? This week we will hear a song sung by a soprano, which means a high pitched singing voice. Usually, soprano voices soar and float above the rest. The music today is for a solo voice with orchestral accompaniment. The selection is sung in French. Listen to this soprano voice carry you up high into “summer nights” or “Les Nuits d’ete” by Hector Berlioz (Bear-lee-ose).

Day 2: French composer, Hector Berlioz, wrote this week’s featured music listening program selection, “Villanelle” from “Les Nuits d’ete”.

Do you have a high voice, a low voice, or one that is somewhere in between? Do you remember what a high singing voice is called? (pause) A soprano. Today, we will hear a soprano sing in French about “summer nights” or “les nuits d’ete”. As you listen, try to determine if this sounds like a happy, warm summer night to you?

Day 3: This week’s music is a soprano solo, “Villanelle” from “Les Nuits d’ete”, written by Hector Berlioz.

Hector Berlioz also wrote something which we heard in last year’s listening series. Do you remember what it was? The “March to the Scaffold” from “Symphony Fantastique”. Today’s music is a very different mood. How would you describe the mood of this song which is called “Villanelle” from “Les Nuits d’ete”? Non-Directed Music Listening Program Script Series III Day 4: We are listening to a song in French this week. “Les Nuits d’ete, Villanelle” was written by the French composer, Hector Berlioz.

“Villanelle” from “Les Nuits d’ete” was originally a poem by one of France’s famous poets, Theophile Gautier (Tay-oh-feel Go-tyay). Composer, Hector Berlioz, put the words of the poem to music to create a more powerful mood or feeling. Music can be a very effective way to create a picture or sensation in the mind. Berlioz wanted to create the mood of a quiet, romantic summer evening so he used a solo soprano voice, with accompaniment. Do yout hank he succeeded in this song – “Villanelle” from “Les Nuits d’ete”?

Day 5: Our featured listening selection for this week has been the solo, “Villanelle” from “Les Nuits d’ete” by French composer Hector Berlioz.

Do you remember from which country this week’s listening selection originates or in which language it is sung? (Pause) If you said “France” or “French”, you are correct. Now, do you remember the name of the composer? (Pause) It is Hector Berlioz. What type of music is it? (Pause) It’s a soprano solo with orchestral accompaniment. I hope you once again enjoy hearing this song written for a summer evening. Let’s now listen to “Villanelle” from “Les Nuits d’ete”. Non-Directed Music Listening Program Script Series III Week 24

Composer: Series III Favourites Composition: As selected by the school Performance: As selected Recording: As selected

Day 1:As chosen by the school – selections either previously heard or selections from other sources

Day 2:As chosen by the school – selections either previously heard or selections from other sources

Day 3:As chosen by the school – selections either previously heard or selections from other sources

Day 4:As chosen by the school – selections either previously heard or selections from other sources

Day 5:As chosen by the school – selections either previously heard or selections from other sources

. Non-Directed Music Listening Program Script Series III Week 25

Composer: George Gershwin (1898 – 1937) Composition: “Rialto Ripples Rag”, arr. Erich Kunzel Performance: Cincinnati Pops Orchestra, Erich Kunzel Recording: Telarc Super Sampler Telarc CD 00007

Day 1: Our featured selection for this week is “Rialto Ripples Rag” by the American composer George Gershwin.

“Rialto Ripples Rag” is a sample of a style of music called “ragtime”. It is typical of popular music from about 80 years ago. This particular piece was written by George Gershwin, an early master of American popular and jazz music.

Day 2: American composer, George Gershwin, wrote this week’s featured music listening program selection, “Rialto Ripples Rag”.

Do you remember what style of popular music from the early twentieth century we will listen to today? (Pause) It’s called “ragtime”. Ragtime was created by black American musicians at the beginning of this century and is characterized by a type of slow, almost elegant march, “jazzed up” with lots of syncopation. Syncopation is the use of offbeat rhythms that catch you off guard in a tricky way. Can you hear the syncopation in today’s selection “Rialto Ripples Rag” by George Gershwin?

Day 3: This week’s selected music is “Rialto Ripples Rag”, written by George Gershwin.

This week’s music is fun to listen to and is intended to make you smile and feel good. Do you remember what type of music we will be hearing? It is called “Ragtime”. Gershwin made this arrangement even more interesting by writing to include extra instruments – instruments you may have played in your music class. As you listen, try to hear the instruments in this arrangement: xylophone, temple blocks, drums and cymbals, and at the end, a wonderful slide whistle. Non-Directed Music Listening Program Script Series III

Day 4: The “Rialto Ripples Rag” is featured as this week’s listening program selection. It was written by American composer, George Gershwin.

This week’s selection was popular music in America in the early 1900’s. For a long period after that, “Ragtime” was almost forgotten. With the release of “The Sting”, a well-known movie in the 1970’s, a great deal of interest in ragtime music was generated. Music from “The Sting” featured a song called “The Entertainer” by Scott Joplin which became very popular. You can hear “The Entertainer” coming from many ice cream vans in the summer. Let’s listen to “Rialto Ripples Rag” by George Gershwin.

Day 5: Our featured listening selection for this week has been the “Rialto Ripples Rag” written by the contemporary American composer, George Gershwin.

Today, as you hear “Rialto Ripples Rag” for the final time, listen for the rhythmic syncopation which is so typical of this style of music. Syncopation is one of the musical techniques used by composers to alter the stability of the rhythm so that the piece has a more contemporary or ‘jazzy’ feel. “Ragtime” is a form of jazz music created by black American musicians early in the twentieth century.

It may help you to hear the syncopation if you listen for notes which are more strongly accented by the instruments. Non-Directed Music Listening Program Script Series III Week 26

Composer: American Folk Song Composition: “Shenandoah” Performance: Cincinnati Pops Orchestra and Chorus, Erich Kunzel Recording: Telarc Super Sampler Telarc CD 00007

Day 1: This week’s listening selection is the famous American folk song, “Shenandoah”.

Do you ever sing while you work, sing to help the time pass, or sing to make yourself feel better? That’s how this week’s music came to be. It is a work song that was sung by sailors. It is titled “Shenandoah” (Sheh-nan-doe-ah) and you will hear it sung by a men’s choir.

The Shenandoah Valley is in the state of Virginia in the eastern United States. This song was sung by men who were far away from their homes. The song has a sad quality, perhaps intended to portray the longing the men felt for their homes?

Day 2: This week’s music selection is an American folk song entitled “Shenandoah”.

It was a song sung by sailors on rivers such as the Missouri River in the American midwest. Soldiers in the American cavalry also sang this music. Listen for the words: “Away, we’re bound away, ‘cross the wide Missouri.” and imagine the deck hands on a paddle wheeler hauling freight joining in song as they worked.

Day 3: This week’s listening program selection, “Shenandoah”, is a famous American work song that has been sung for several centuries.

Since it was sung by men who worked on freight boats which were often propelled by rowing sailors, it is called a sea chantey (shan-tee). Sea chanteys were sung in low rhythms to give sailors a beat to which they could pull when rowing a boat or when hoisting up sails on a sailing ship. To help lighten the load and make the time pass more quickly, they would often sing while they worked. Can you hear the rhythm of the oars in this sea chantey, “Shenandoah”? Non-Directed Music Listening Program Script Series III Day 4: “Shenandoah”, this week’s listening program selection, is one of America’s most well-known folk songs.

The Shenandoah River and Valley are between the Blue Ridge Mountains and the Allegheny mountains, in the state of Virginia. “Shenandoah” was the name of a native Indian tribe that lived in the area. Try to picture in your mind, a beautiful green valley, and then imagine how the men felt when they sang this song. Is the mood light or sad? Listen to the sea chantey, “Shenandoah”.

Day 5: This week we have been listening to a beautiful American sea chantey called “Shenandoah”.

The mood of this piece is a little sad and seems to suggest that the men who sang the chantey worked very hard and missed their families. The singing allowed the sailors to express their feelings and also helped them work together. Let’s now listen to “Shenandoah” for the final time. Non-Directed Music Listening Program Script Series III Week 27

Composer: Gustav Holst Composition: “Jupiter” from “The Planets” Performance: Royal Philharmonic Orchestra, Andre Previn Recording: Telarc Sampler Volume 3 Telarc 80003

Day 1: This week we will be listening to music written to describe the largest planet in our solar system. Do you know which one it is? It is “Jupiter”. This excerpt from the music describes Jupiter as the composer pictured the planet in his mind

This music may sound very much like a movie score to you but the composer is not John Williams (who wrote the music for “Superman”, “Home Alone”, “E.T.”, and other movies). This music was written by another Englishman who has a German sounding name – Gustav Holst. Although the music sounds very modern, it was written almost 80 years ago. Listen and let’s “go to the movies” – the movies on Jupiter!

Day 2: Today we will again visit the planet “Jupiter” through the music of the English composer, Gustav Holst.

As well as being the name of one of the planets in our solar system, Jupiter was also the name of a Roman god. Another name for the god Jupiter was “Jove”. Have you ever heard someone say “by Jove!” or “by Jupiter!”? From the word “Jupiter” or “Jove” we also derive the word “jovial” to describe someone who is hearty, joyful and playful in humour.

Gustav Holst named this piece “Jupiter, The Bringer of Jollity”. Can you hear how jolly the Roman god Jupiter is in this music?

Day 3: This week we travel to “Jupiter” for our listening music, viewing the planet through the eyes of the English composer, Gustav Holst.

Gustav Holst wanted to use a very big orchestra for scoring his suite, “The Planets”. You may have played some of the unusual instruments he uses in his orchestration in your music class – the tambourine, glockenspiel, triangle, cymbals, gong, bells and timpani. He also liked to score the music using many brass instruments – especially French horns. Listen for the brass (especially the French Horns) performing the main theme. Non-Directed Music Listening Program Script Series III

Day 4: Gustav Holst is the featured composer this week. We will again listen to “Jupiter” from his Suite “The Planets”. Holst’s music for the planet “Jupiter” is very much like the music composed for some modern movie soundtracks.

This excerpt from “Jupiter” starts very quietly and lightly, soon building to a climax identified by a giant crash of the cymbals. At that point, the “big guns” of the brass family enter and the music continues to build even more excitement. The French horns perform the first theme, using echo-like statements almost as though the instruments are calling and responding to each other. Finally, listen for a dark, rolling, mysterious interlude that builds to a finish featuring the trumpets. This sounds like a real ‘Superman’ ending. Are you ready to listen? Close your eyes to watch as we go to “Jupiter”.

Day 5: Our featured music this week is “Jupiter” from “The Planets” by the English composer, Gustav Holst.

Holst also wrote about the other planets and he gave each of the pieces descriptive titles. Some of the titles are: “Mars, The Bringer of War”, and “Venus, The Bringer of Peace”. Do you remember that Jupiter was described as the “Bringer of Jollity”?

As you listen, imagine visiting this huge planet which is surrounded by haze and mist. For the last time this week, let’s listen to “Jupiter” by Gustav Holst. Non-Directed Music Listening Program Script Series III Week 28

Composer: Leo Delibes (1836 – 1891) Composition: “Mazurka” from the ballet “Coppelia” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658

Day 1: The featured listening program selection for this week is “Mazurka” from the ballet “Coppelia” by Leo Delibes.

This week we are going to the ballet. This ballet is about a beautiful, life-sized doll named “Coppelia” (co-pee-lya). The doll was made by a talented toy maker named Dr. Coppelius who would sit the puppet-doll Coppelia on a chair on his balcony overlooking the village square. The people in the village were very curious about the pretty girl sitting on the balcony and would call out to her. She, however, was not able to respond and just sat there quietly, appearing to read a book. To get her attention, the villagers decide to dance in the square. They perform a very lively dance called a “mazurka”.

Picture these colourful folk dancers on the ballet stage as we hear “Mazurka” from the ballet “Coppelia”.

Day 2: Today’s music is from the ballet “Coppelia” by French composer Leo Delibes. Delibes wrote the music to other ballets but “Coppelia” is his best-known work.

From “Coppelia” we will hear a type of Polish folk dance called a “mazurka”. A Mazurka has three beats to the measure and has lots of uneven feeling rhythms. Can you picture the folk dancers as they perform the “Mazurka”? Let’s listen.

Day 3: This week’s featured listening selection is “Mazurka” from the ballet “Coppelia” by French composer, Leo Delibes.

As the doll, Coppelia, watches, the villagers celebrate a festival in the village square by dancing a spirited folk dance called the “mazurka”. The music achieves some of its excitement through the use of the unusual rhythms of Polish folk music.

Let’s listen to the “Mazurka” danced by the villagers as they celebrate. Non-Directed Music Listening Program Script Series III

Day 4: Our music this week is form the beautiful ballet “Coppelia” written by Leo Delibes.

In this ballet there is a fantastic toy shop where the toymaker, Dr. Coppelius, thinks he can make the doll, Coppelia, come to life. To everyone’s surprise, Coppelia does get up and dance – Spanish flamencos and Scottish highland flings! But it’s all a trick to fool the villagers. The dances are really performed by a young woman from the village who has dressed up in Coppelia’s clothes.

Let’s listen to the “Mazurka” from “Coppelia” by Leo Delibes.

Day 5: This week’s music is the “Mazurka” from the ballet “Coppelia” by Leo Delibes.

A mazurka is a Polish folk dance. Let’s listen. Non-Directed Music Listening Program Script Series III Week 29

Composer: Edvard Grieg (1843 - 1907) Composition: Norwegian Dance, No. 2 Performance: New York Philharmonic, Leonard Bernstein Recording: Grieg’s Greatest Hits CBS WMLK 39435

Day 1: This week, we are listening to “Norwegian Dance, No. 2” by Edvard Grieg.

We will be visiting Norway this week and will listen to music by that country’s most famous composer, Edvard Grieg. Last year, as part of the Listening Program, we heard two pieces by Grieg from the “Peer Gynt Suite” – “Morning” and “In the Hall of the Mountain King”.

During his lifetime, Edvard Grieg traveled throughout Norway, collecting the music for folk songs and folk dances of his homeland. This particular folk dance, “Norwegian Dance, No. 2”, has a very “singable” and memorable melody.

Day 2: This week’s featured listening selection is “Norwegian Dance, No. 2” by Edvard Greig, a Norwegian composer.

Edvard Greig was Norway’s foremost composer. During his lifetime he became “the voice” of Norwegian myth, magic, and culture. The “Norwegian Dance, No. 2” has such a singable melody that it has also been popularized as a song called “My Johann”.

Let’s listen to “Norwegian Dance, No. 2” by Edvard Grieg.

Day 3: Today, we will again listen to “Norwegian Dance, No. 2” by Edvard Grieg, the famous Norwegian nationalist composer.

This week we are listening to nationalistic music of Norway, a country that was the home of the Vikings, and is the land of fjords and rugged mountains. Although the people had to be rugged, strong individuals to survive, this piece is intended to show the gentle side of their character. The first instrument to play the melody, a slow and stately dance, is the oboe. After the oboe has the melody, the orchestra picks up the theme and brightens its mood with violins and woodwinds. Suddenly, like a clap of thunder, a very loud and fast interlude interrupts the peaceful mood. Just as quickly, the music again returns to the slow, dignified theme. Can you hear the “thunder” in the middle of this dance? Non-Directed Music Listening Program Script Series III

Day 4: The music selected for the Listening Program this week is by Edvard Grieg. It is entitled “Norwegian Dance, No. 2”.

Nationalistic feeling played an important part in the politics and culture of nineteenth-century Europe. As a result, the period saw the rise of a group of composers whose art expressed the spirit of their homeland and Norway found her voice in the music of Edvard Grieg. In the “Norwegian Dances”, Grieg chose to base his compositions on the folk dances and songs of his homeland.

Can you detect the melodies and rhythms that are typical of Norway’s folk music and folk dances?

Day 5: “Norwegian Dance, No.2” is the music featured in the Listening Program this week. It was composed by Norway’s most well-known composer, Edvard Grieg.

Grieg wrote many enchanting melodies using the melodies and rhythms of Norwegian folk dances. He used the resources he collected to create moods of magic and myth which were sometimes strong, sometimes impish and playful, and sometimes sad. What mood does this particular music evoke for you?

For the final time, let’s listen to “Norwegian Dance, No. 2” by Edvard Grieg. Non-Directed Music Listening Program Script Series III Week 30

Composer: Joseph Haydn (1732 – 1809) Composition: Symphony in D, No. 101, “Clock” Movement #4 Finale Performance: Weiner Symphoniker, Wolfgang Sawallisch Recording: Haydn Symphonies Nos. 94, 100 and 101 Philips 422 973-2

Day 1: This week’s listening selection is the fourth movement of the Symphony in D, No. 101 by Joseph Haydn.

Haydn wrote over 10 symphonies. A “symphony” is a large scale work for orchestra in several parts called movements. Each movement is different in character and mood but together they establish a sense of order and continuity like a story. This symphony is nicknamed “The Clock” because the “andante” movement has a tick-tock rhythm similar to that of a clock. Today we will listen to the “vivace”, or quick and lively movement from Haydn’s “Clock” Symphony.

Day 2: This week’s listening selection is the fourth movement of the Symphony in D, No. 101 by Joseph Haydn.

Joseph Haydn wrote over 100 symphonies during his lifetime. Each symphony became more unique as he developed his skills as a composer. Haydn’s music sounds happy and joyful, and shows a great deal of variety. By the time he wrote his later symphonies, the London audiences adored his music. Today it would be rude to applaud between movements of a symphony but in Haydn’s day, the audiences liked his music so much that they would applaud between movements in spite of the expected behaviour. We will now listen to the “vivace” movement of Joseph Haydn’s Symphony in D, No. 101.

Day 3: Today we will listen to the fourth movement of the Symphony in D, No. 101 by Joseph Haydn.

The fourth movement begins with a lively melody played by the first violins. It continues this way for a short while and then plunges into a stormy refrain which is chopped up and tossed about. The first three notes of the refrain are quite easy to recognize. As you listen, try to hear the three notes of the “refrain” being tossed around. Non-Directed Music Listening Program Script Series III

Day 4: This week’s listening selection is the fourth movement of the Symphony in D, No. 101 by Joseph Haydn.

Joseph Haydn was born in Austria and is known as the “father of orchestration” because he wrote so many symphonies. Do you remember that a “symphony” is a large scale work for orchestra written in several parts or movements? Although each movement is different in character and mood, together they create a large piece which displays continuity and order. This fourth movement is also called the “finale” because it is the last movement of the symphony. Today, listen for the grand ending that Haydn wrote for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, the timpani and the traditional string choir. In classical symphonies, composers often “doubled up” on their instruments to create a grand sound.

We will now listen to the fourth or “Finale” movement of the Symphony in D, No. 101 by Joseph Haydn.

Day 5: This week’s listening selection is the “Finale” movement of the Symphony in D, No. 101 by Joseph Haydn.

Haydn worked hard as a musician and was very successful. His symphonies are much shorter than most of the symphonies written by Beethoven and other later composers but contain all of the same elements of the typical symphonic format. His music is characterized by a steady rhythmic pulse.

Today we listen for the last time to Joseph Haydn’s fourth movement of the Symphony in D, No. 101. Non-Directed Music Listening Program Script Series III Week 31

Composer: Peter Ilyich Tchaikovsky (1840 - 1893) Composition: Symphony No. 5, Movement IV Performance: Royal Philharmonic Orchestra, Andre Previn Recording: Telarc Sampler Volume 3 Telarc CD 80003

Day 1: This week’s listening selection is the fourth movement of Peter Ilyich Tchaikovsky’s Symphony No. 5.

Last week, we listened to Joseph Haydn’s Symphony No. 101. Do you remember that a “symphony” is a large scale work for orchestra written in several parts or movements? Each movement is different in character and mood but together they establish a sense of order and continuity – like a story. Unlike Haydn who wrote over 100 symphonies, Tchaikovsky wrote only six. His music, however, captured the mood of his time. Like Haydn’s, Tchaikovsky’s music was very imaginative and was filled with a variety that won the admiration of audiences. Tchaikovsky also wrote music for ballets, such as “Swan Lake”, “The Sleeping Beauty” and “The Nutcracker”.

We will now listen to the fourth movement of Symphony No. 5 by Peter Ilyich Tchaikovsky.

Day 2: This week’s listening selection is the fourth movement of Symphony No. 5 by Peter Ilyich Tchaikovsky.

Symphony No. 5 was first performed in 1888 in St. Petersburg, Russia. The audience was enthusiastic about this new symphony but the critiques did not think that it was one of Tchaikovsky’s better works. It wasn’t until later than the critiques began to credit his music. The music of the fifth symphony is warm and rich. There is a familiar theme that repeats itself in all four movements of the symphony. This helps to bring the symphony together and to establish a strong sense of continuity.

We will now listen to the fourth movement of Tchaikovsky’s Symphony No. 5. Non-Directed Music Listening Program Script Series III Day 3: This week’s listening selection is the fourth movement of Symphony No. 5 by Peter Ilyich Tchaikovsky.

Tchaikovsky was an able man but he lacked confidence in himself and his abilities. He often feared that his imagination had dried up and that he had no more music in him. Even when audiences cheered for his compositions, Tchaikovsky felt that they applauded out of courtesy and politeness. It is unfortunate that Tchaikovsky did not realize and appreciate his own talent. His symphonies are tuneful and brilliant.

We will now listen to the fourth movement of Tchaikovsky’s Symphony No. 5.

Day 4: This week’s listening selection is the fourth movement of Symphony No. 5 by Peter Ilyich Tchaikovsky.

The fourth movement describes a Russian festival. The main theme is strong and dark and depicts a dance figure. The movement begins “andante”, which means to perform in a slow, walking-pace manner, and the dark, gloomy theme is quickly transformed into a song of triumph. Part way through, the melody changes from E Minor to E Major creating a feeling of warmth and brightness. The melody is played by the strings and the woodwind choir. Listen today for the change from the dark and gloomy minor sounding key to the brightness and warmth of the major key.

We will now listen to the fourth movement of Symphony No. 5 by Peter Ilyich Tchaikovsky.

Day 5: This week’s listening selection is the fourth movement of Symphony No. 5 by Peter Ilyich Tchaikovsky.

The fourth movement is the final movement of the Symphony. As the movement progresses, the music becomes more and more explosive and extraordinary. Listen for the roll of the timpani and for the trumpet fanfares that help build the level of excitement in this movement.

We will now listen to the fourth movement of Symphony No. 5 by Peter Ilyich Tchaikovsky. Non-Directed Music Listening Program Script Series III Week 32

Composer: Igor Stravinsky (1882 - 1971) Composition: “Le Sacre du Printemps” (The Rite of Spring) Performance: The Cleveland Orchestra, Lorin Maazel Recording: Telarc Sampler Volume 2 Telarc CD 80002

Day 1: This week’s listening selection is “Le Sacre du Printemps” by Igor Stravinsky.

“Le Sacre du Printemps” means “The Rite of Spring”. “The Rite of Spring” is a ballet that was first performed in 1913 in Paris, France. This musical work is very complex and sounds strange and forbidding to some people. It was so far ahead of its time that it took nearly a quarter of a century for people to appreciate its primitive, barbaric sound. Today, however, people listen to the music differently. This wonderfully imaginative music excites nearly everyone who hears it. We will now listen to “Le Sacre du Printemps” by Igor Stravinsky.

Day 2: This week’s listening selection is “Le Sacre du Printemps” by Igor Stravinsky.

Although Stravinsky disliked studying law, his father encouraged him to do so and to become a lawyer. Eventually, however, Stravinsky’s desire to compose music was so strong that he left his law studies to pursue a career in music. Stravinsky went on to write music such as “The Firebird” and “Petrushka” and he became one of the most widely recognized of the twentieth century composers. We will now listen to “Le Sacre du Printemps” by Igor Stravinsky.

Day 3: Russian composer Igor Stravinsky wrote this week’s listening selection, “Le Sacre du Printemps”.

Do you remember what “Le Sacre du Printemps” means? If you are thinking “The Rite of Spring”, you are right. Written for a very large orchestra, “The Rite of Spring” is a demanding piece of music to learn because of its rhythmic and harmonic complexity. Stravinsky himself conducted the work’s first performance in 1913 and it required many rehearsals to prepare for opening night. When opening night finally arrived, the performance nearly caused a riot because of Stravinsky’s revolutionary style of music. We will now listen to “Le Sacre du Printemps” by Igor Stravinsky. Non-Directed Music Listening Program Script Series III

Day 4: This week’s listening selection is “Le Sacre du Printemps” by Igor Stravinsky.

Stravinsky was born in Leningrad. As an adult, he and his family moved to Switzerland, then to France, and after the Second World War, to California where he became an American citizen. Stravinsky’s music was influenced by what he had seen and heard in the countries in which he had lived. He became one of the most celebrated and popular figures in twentieth century music. He died in New York in 1971.

We will now listen to “Le Sacre du Printemps” by Igor Stravinsky.

Day 5: “Le Sacre du Printemps” by Igor Stravinsky is this week’s featured listening selection.

The music for “The Rite of Spring” is extremely difficult and challenging and is, in fact, so complex that it sounds strange and forbidding to many people. Although the music is written so that it will sound dark and exciting, there is still much left up to the imagination of the listener. Close your eyes and get involved in the music. Make up your own imaginative story as you appreciate the brilliance of Stravinsky’s music.

We will now listen to “Le Sacre du Printemps” by Igor Stravinsky for the final time. Non-Directed Music Listening Program Script Series III Week 33

Composer: Arcangelo Corelli (1653 – 1713) Composition: Concerto No. 10 in C Major, “Allegro” Performance: Philharmonia Baroque Orchestra, Nicolas McGegan Recording: Corelli: Concerto Grossi Harmonia Mundi HMU 907015

Day 1: This week’s listening selection is the “Allegro” movement from the Concerto No. 10 in C Major written by Arcangelo Corelli.

At the time this piece was written, 300 years ago, Corelli was about 40 years old. He was already very famous in Rome as a violin virtuoso and composer. Corelli was one of the leaders of the Italian violin school and concentrated on composing for the family of stringed instruments.

We will now listen to the “Allegro” from the Concerto No. 10 in C Major by Arangelo Corelli.

Day 2: This week’s listening selection is the “Allegro” from Concerto No. 10 in C Major written by the Italian composer Arcangelo Corelli.

Corelli lived during the Baroque Period of history. In the Baroque era, the “Concerto” form was very popular. It was characterized by a solo group, called “concertino” which played “against” a larger instrumental group called the “concerto grosso”. See if you can hear the two groups competing for your attention as we listen to the “Allegro” from Corelli’s Concerto No. 10 in C Major.

Day 3: Today, we will listen to the “Allegro” movement of Arcangelo Corelli’s Concerto No 10 in C Major.

The movement is titled “Allegro” because it is performed in a “fast tempo and in a cheerful and joyful manner”. Yesterday we tried to listen to the difference between the “concertino”, or solo group, and the “concerto grosso”, the larger group. See if you can hear the contrast of colour and dynamics between these two groups. Composers during this time enjoyed using the element of “contrast” to create excitement in their music. We will now listen to Corelli’s Concerto No. 10 in C Major – the “Allegro” movement. Non-Directed Music Listening Program Script Series III

Day 3: This week’s listening selection is titled “Allegro” form the Concerto No. 10 in C Major. It was composed by the Italian composer Arcangelo Corelli.

Corelli wrote a great deal of music for the violin. In today’s selection, listen to the virtuoso performance of the violin soloist. The word “virtuoso” means someone who is able to play very fast, difficult solos with great facility, accuracy and flair. Corelli wrote more difficult music for the solo group than for the larger group. This form worked well for composers like Corelli and Vivaldi because there were not as many expert performers during their time.

We will now listen to the “Allegro” movement of Corelli’s Concerto No. 10 in C Major.

Day 5: This week’s music listening selection is the “Allegro” movement of Corelli’s Concerto No. 10 in C Major.

Today while listening to the “Allegro” selection, see if you can hear the “harpsichord”. The harpsichord was the most common stringed keyboard instrument during the 16th, 17th, and 18th centuries. It is similar in shape to a grand piano. Corelli uses the harpsichord for harmonic support in his music. Remember to also listen for the “virtuoso” violinist playing the fast, difficult solo parts.

We will now listen to the “Allegro” movement of Corelli’s Concerto No. 10 in C Major. Non-Directed Music Listening Program Script Series III Week 34

Composer: Joaquin Turina (1882 - 1949) Composition: “Orgia” from “Danzas Fantasticas” Performance: Dallas Symphony Orchestra, Eduardo Mata Recording: “Iberia” Music of Rimsky-Korsakov, Debussy and Turina Telarc CD 80055

Day 1: This week’s listening selection is “Orgia” from “Danzas Fantasticas” by the Spanish composer Joaquin Turina.

Turina was born in Seville, a city in the southwest of Spain, but he spent most of his life in Madrid. A successful composer, pianist, conductor and music historian, Turina’s music is nationalistic inspired by the music of Spain. Listen carefully to see if you can tell why his music sounds like it represents Spain.

Day 2: Today we are listening to “Orgia” from “Danzas Fantasticas” by the Spanish composer Joaquin Turina.

This movement of “Danzas Fantasticas” is in rondo form which means that the same music returns again and again with contrasting music in between each statement of the theme. The energetic music at the beginning of this movement returns several times. Can you count how many times the music of the opening section is repeated?

Day 3: This week’s listening selection is “Orgia” from “Danzas Fantasticas” by the Spanish composer Joaquin Turina.

Earlier this week we learned that Turina was nationalistic composer from Spain. We have been listening to an example of his successful orchestral music but Turina was also famous for the music he wrote for guitar. His guitar music was also inspired by Spanish dance rhythms like the “Orgia” from “Danzas Fantasticas”. Non-Directed Music Listening Program Script Series III

Day 4: “Orgia” from “Danzas Fantasticas” is this week’s listening selection. “Orgia” was written by the Spanish composer Joaquin Turina.

Joaquin Turina was a Spanish nationalist composer who expressed his love for Spain through his music. Although he loved his country very much, Turina traveled to Paris to further his musical studies. It was in Paris that he befriended two other Spanish composers – Manual de Falla and Isaac Albeniz. Both de Falla and Albeniz encouraged Turina to pursue his nationalistic style of writing.

Day 5: This is the final time we will hear “Orgia” from “Danzas Fantasticas” by the Spanish composer Joaquin Turina.

Turina was very fond of Spanish dances like the flamenco. This movement from “Danzas Fantasticas” (which means fantastic dances) depicts a scene from an orgia, a secret ceremony which would have involved much singing and dancing. This particular selection seems to portray times of enthusiastic dancing and excitement and the periods of rest between the dances. Non-Directed Music Listening Program Script Series III Week 35

Composer: Aram Khatchaturian (1903 - 1978) Composition: “Galop” from “Masquerade” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658

Day 1: This week’s selection is the “Galop” from Aram Khatchaturian’s “Masquerade Suite”.

“Masquerade” is a play that was written by the great Russian poet, Lermontov. Khatchaturian selected some of the incidental music that he composed for the play and arranged it as a suite of five pieces titled the “Masquerade Suite”. All of the music in the Suite is strong, vivid and exciting. The “Galop” is especially energetic and unpredictable.

We will now listen to “Galop” from Aram Khatchaturian’s “Masquerade Suite”.

Day 2: This week’s selection is the “Galop” from Aram Khatchaturian’s “Masquerade Suite”.

Aram Khatchaturian was a famous Armenian composer who was born in Georgia – an area in the country we used to know as Russia. He grew up with the vibrant music of Armenia and his works celebrate the folk tunes of this part of the world. Khatchaturian was one of the most famous composers of the 20th century. He died in 1978.

We will now listen to “Galop” from Aram Khatchaturian’s “Masquerade Suite”.

Day 3: Aram Khatchaturian wrote this week’s featured listening selection, the “Galop” from “Masquerade Suite”.

The music of the “Galop” is bright, full of colour and the tempo is also very quick which helps to build excitement in the piece. Khatchaturian uses a wide variety of instruments in this piece. While you are listening to the music today, see how may different instruments you can identify. We will now listen to “Galop” from Aram Khatchaturian’s “Masquerade Suite”. Non-Directed Music Listening Program Script Series III Day 4: This week’s selection is titled “Galop”. It is from Aram Khatchaturian’s “Masquerade Suite”.

The main theme is played by the woodwind family and is repeated throughout the piece. Khatchaturian repeats the theme over and over, causing an almost hypnotic effect which also adds to the excitement of the piece. Can you count how many times the main theme is repeated during the performance of the “Galop”?

We will now listen to “Galop” from Aram Khatchaturian’s “Masquerade Suite”.

Day 5: Armenian composer, Aram Khatchaturian, wrote this week’s featured listening selection – the “Galop” from “Masquerade Suite”.

The music of the “Galop” is bright, full of colour and it is fun to listen to it being performed. Khatchaturian uses many techniques to create excitement in the piece. First, he repeats the main theme over and over to cause an almost hypnotic effect. The music also continues to grow louder and increase in tempo. Khatchaturian also uses accents on the off-beats to create a sense of unevenness, unpredictability and excitement.

We will now listen to “Galop” from Aram Khatchaturian’s “Masquerade Suite”. Non-Directed Music Listening Program Script Series III Week 36

Composer: Dmitri Shostakovich (1906 - 1975) Composition: “Music Box Waltz” Performance: Andre Kostelanetz and His Orchestra Recording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658

Day 1: This week’s featured music was written by Dmitri Shostakovich. It is called the “Music Box Waltz”.

Have you ever heard a music box? How would you describe the sound it makes? Is it a heavy, deep sound, or light and high? (Pause) Our music this week is called “Music Box Waltz” by Dmitri Shostakovich (Shaw-stow-ko-vitch). Does it sound like a music box to you?

Day 2: Our music this week is the “Music Box Waltz”. It is composed by Dmitri Shostakovich.

This piece is a waltz and is written in three-quarter time as are all other waltzes. You might even be able to close your eyes and picture two miniature figures dancing a waltz on the top of a music box.

The composer uses a quick beat and several high pitched instruments to make the music sound like tiny mechanical figures dancing. Two of these special instruments are in your own music classroom. They are the xylophone and the glockenspiel. Can you hear them in the “Music Box Waltz” by Dmitri Shostakovich?

Day 3: Our music this week is by Dmitri Shostakovich and is entitled “Music Box Waltz”.

Shostakovich creates a miniature mechanical world for his “Music Box Waltz”. To make a “ping” sound, like a music box, the composer calls for the violinists to pluck the violin strings instead of bowing them. The action of plucking the strings is called “pizzicato” (pit-zee-ka-toe). Listen for the pizzicato as the “music box” starts. Non-Directed Music Listening Program Script Series III

Day 4: Dmitri Shostakovich lived in the Soviet Union, under the Communist regime. It was not always easy for him to create music that was politically acceptable and he was sometimes criticized by the government. The “Music Box Waltz” that we are listening to this week makes no political statement. It is simply a dance.

Let’s listen.

Day 5: This week we have been listening to “Music Box Waltz” by Dmitri Shostakovich.

The “Music Box Waltz” is a piece of music that starts out with a light, airy quality of sound. Some of the lightness is achieved by having the string players pluck the strings of their instruments rather than having them use the bow to create sound. Do you remember the correct musical term for “string plucking”? It’s “pizzicato”. We will hear pizzicato several times throughout the “Music Box Waltz”. There are also contrasts in the music created, in part, by using different instruments.

Listen for the trumpet and snare drum as we listen to “Music Box Waltz” for the final time.

Program Ends here.