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At a Glance continued ◗ Ivan III (the Great) and Ivan IV (the Terrible) expanded Russian terri- tory and the authority of the czars. ◗ Peter the Great sought to modernize and westernize Russia in order to enable it to compete with European nations for trade, territory, and prestige. ◗ The desire to find a warm-water port was one factor that encouraged Russian expansion. ◗ Catherine the Great, while once interested in reforming certain abuses of Russian government, became as autocratic as her predecessors after a peasant revolt and the French Revolution. ◗ The lives of peasants worsened under Peter and Catherine.

Teaching Idea What Teachers Need to Know You may want to teach section B, A. History and Culture “Geography,” before “History and Culture.” Byzantine Influence in Russia The rise of Russia is closely related to the history of the Byzantine Empire, which students in Core Knowledge schools should have encountered in Grades 3 and 4. For a thousand years after the fall of the Roman Empire in the west, the Eastern or Byzantine Empire continued to build on ancient Greek and Roman tra- ditions and culture. For example, Byzantine architects used the Roman dome to build magnificent churches, such as Hagia Sophia in the Byzantine capital of Constantinople (now called Istanbul). Byzantine artists also created beautiful mosaics and icons. Students in Core Knowledge schools should have studied Hagia Sophia and Byzantine mosaics as part of the art curriculum for Grade 3. However, they may not be acquainted with icons, which are special pictures of Jesus, Mary, and the saints. Icons are meant to help Christians during worship and meditation. Constantinople was a great religious center, home of the Eastern Orthodox Church, which had split with the Roman Catholic Church in 1054. Constantinople was also the center of a vast trading network that connected Europe with the Middle East and Asia. Trade brought the Byzantine Empire great riches as well as new cultural influences. The influence of the Byzantine Empire in Russia dates at least to the 860s, when the Byzantine Emperor sent two monks to convert the Slavic people of Eastern Europe to Orthodox Christianity. At the time, the Slavs were pagans who worshipped many gods. The two monks sent to convert them were two brothers named Cyril and Methodius. Cyril and Methodius invented a new alphabet, called the Cyrillic alphabet after Cyril. The Cyrillic alphabet was loosely based on the Greek alphabet. Cyril and Methodius then taught the Slavs to read and write using the Cyrillic alphabet so that they could read the Bible.

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A little more than a century later, Christianity began to spread around Slavic and Russian territories, but many people remained pagans. Once such person was Prince Vladimir, the ruler of the city-state of Kiev, which would become the first Russian state. According to legend, the prince sent emissaries to investigate the major monotheistic religions of his day: Eastern Orthodox Christianity, Roman Catholic Christianity, Judaism, and Islam. When his emissaries visited Constantinople and saw Hagia Sophia, they were astonished and overwhelmed by the beauty of the church, its dome, and its mosaics. Surely, they thought, this is the house of the true God. Vladimir selected Orthodox Christianity as his own religion, and decided it would also be the religion of his people. It is also possi- ble that he may have been influenced to convert to Christianity by the economic and political advantages of an alliance with Byzantium, as well as in order to get approval to marry the Byzantine emperor’s sister. He ordered the old pagan idols thrown into the Dnieper River and conducted mass baptisms in the same river. Adoption of Eastern Orthodox Christianity had a number of benefits for the Russians. It strengthened the commercial ties between Russia and the Byzantine Empire and also provided the basis for the development of a national identity among the various Russian city-states by giving them something in common. Over time, princes of the various city-states adopted the written language of the empire, as well as its architecture, music, and art. Like the Byzantine emperor, the Russian czars (also spelled tsars) would claim jurisdiction over the church in Russia, thus strengthening their own power. Similar to the monarchs of western Europe, the Russian czars also came to believe in the theory of the divine right of kings—that they ruled as the representative of God on Earth, and as such, their authority was absolute. Moscow as the Third Rome Over time Kiev became less important and Moscow, to the north, became more important. Moscow became the headquarters of the Russian church. When the Byzantine Empire fell to the Turks in 1453, the rulers of Moscow announced that Moscow was “The Third Rome.” Rome had been the capital city of Christianity and so the “spiritual center of the world,” but then the popes and the Roman Catholic church had fallen into heresy and false belief. After 1054, when the Orthodox Church split with the Roman Catholic Church, Constantinople had become the new “spiritual center of the world,” the “Second Rome.” When Constantinople fell to the Turks in 1453, the Russians thought Moscow was poised to take its place and become the latest spiritual center of the world, the “Third Rome.” The Czars Ivan III Beginning in 1236, Mongols, nomadic warriors from Central Asia, had invad- ed and conquered large parts of Russia. Students in Core Knowledge schools should have learned about the Mongols in the Grade 4 section on China. The same people who swept south to conquer China swept north to conquer large parts of Russia. In return for acknowledging the Mongols as their rulers and pay- ing tribute to them, the princes of the various states were allowed to keep their lands and titles. The Mongols remained in power until 1480 when Ivan III declared Russia free of Mongol rule. 210 Grade 5 Handbook CK_5_TH_HG_P104_230.QXD 2/14/06 2:23 PM Page 211

Ivan III, also known as Ivan the Great, had come to power as the Grand Prince of Moscow in 1462. During his reign of 43 years, he extended Moscow’s Teaching Idea control over a large area, annexing land from other city-states and from the Poles, Using Instructional Master 25, Czars Lithuanians, and Mongols. of Russia (1613–1917), have students The government was centralized and Ivan asserted his influence over the keep a chart of the czars, their dates, church. He surrounded himself with the splendor and ceremony befitting an and their accomplishments. emperor and adopted as the symbol of the czar the Byzantine symbol of the dou- ble eagle. Ivan’s reign laid the foundation for the later Russian state. Ivan IV Ivan IV, also known as Ivan the Terrible, reigned from 1533 to 1584. He greatly expanded Russia’s borders, extending Russian rule throughout the Name Date Czars of Russia (1613–1917) Volga River Basin to the Caspian Sea and pushing across the Ural Mountains Study the family tree Mikhail Feodorovich and useEvdokia it Lukianovnato answer the (1596–1645) Streshneva 1613–45 questions on Master

Alexei Mikhailovich 25b.Natalia Kirillovna Naryshkina Maria Miloslavskaya into Siberia. His attempt to win a foothold on the Baltic Sea was less success- (1629–76) 1645–76

Sofia Alexeena Feodor Alexeevich Ivan V Praskovia Saltykova (1657–1704) (1661–82) (1666–96) ful. The Swedes and Poles defeated the Russian forces. 1682–89 1676–82 1682–96 PeterEvdokia the Fedorovna Great LopuhinaEkaterina Skawronska

(1672–1725) Charlotta Sofia 1682–1725

Czarevich Alexei Crown Princess Unknown Anna Ivanovna Petrovich (1693–1740) Ivan earned his nickname because of his cruelty. He was initially called 1730–40 Elizaveta Petrovna Anna Petrovna Karl Friedrich (1709–61) 1741–61 Anna Prince Anton Leopoldovna Ulrich Peter II Catherine the Great Peter III “Ivan the Terrible” because he terrified his enemies, but later he also began (1715–30) (1729–96) (1728–62) 1727–30 1762–96 1761–62

Paul I Maria Fyodorovna Ivan VI (1754–1801) (1740–64) to terrify his own people. Indeed, he became one of history’s most famous 1796–1801 1740–41 Alexandra Nicholas I Alexander I Fyodorovna (1796–1855) (1777–1825) 1825–55 1801–25 Alexander II Maria Aleksandrovna examples of the paranoid tyrant. Convinced that enemies and intrigue sur- (1818–1881) 1855–1881 Alexander III Maria Fyodorovna (1845–94) 1881–94 rounded him, Ivan IV was suspicious of everyone. He established the Nicholas II (1868–1918) 1894–1917

Oprichniki, a group of special guards, to search out traitors among his sub- Purpose: To gain

a greater Knowledge Foundation Copyright ©Core understanding of Master 25a the hereditary Grade 5: History & Geography jects. They acted like secret police and wore black uniforms. These police- monarchy in czarist Russia men could throw people in jail or torture them on the slightest suspicion of disloyalty. Ivan the Terrible also had a terrible temper. One day in a fit of anger, Use Instructional Master 25a–25b. he hit his eldest son so hard that he killed him. Ivan also established the Zemski Sobor, or land assembly, to act as an adviso- ry body to the czar. It was the first national assembly of Russians ever convened. However, Ivan IV was even more autocratic than Ivan III had been. In an effort to rid himself of any threat from the boyars, who were hereditary aristocrats, he had Teaching Idea many of them accused of treason. He then seized their lands and divided the lands If you have taught Section V of World among a new class of landholders that he created. In return for land, these men History and Geography, ask students owed the czar military service when he asked for assistance. The service was to what other important event occurred be performed by peasants supplied by the new nobility. In effect, Ivan created a in 1689. Students should respond that feudal system in Russia. the English Parliament passed the English Bill of Rights in 1689. Peter the Great Compare the political structure of Peter the Great ruled Russia from 1689 to 1725. Like his predecessors, Peter Russia at the time with that of was an autocratic ruler. Unlike them, he was fascinated by western Europe, its England; help students see that, while culture, its sciences, and its growing industries. England was beginning to place lim- Only 17 when he became czar, Peter had an immense curiosity about people, its on the power of the king, Russia ideas, and things. His appetite for information matched his size. He was 6 feet 9 was still an autocratic state in which inches tall and weighed close to 300 pounds. As a young man, he spent time in the czar had virtually unlimited the German Quarter of Moscow, where not only Germans but also Scottish, powers. English, and Dutch artisans lived. Although previous czars had been generally suspicious of foreigners, some had been allowed to settle in special zones of the city, but their contact with Russians was limited to people the czars trusted.

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Wanting to see for himself, Peter took two trips to western Europe during 1697 and 1698, and during 1716 and 1717. Among the places he visited were shipyards, universities, art galleries, and the British Parliament. He was an eager student and learned about shipbuilding, medicine, military science, manufactur- ing, and the educational systems of the countries he visited. He returned to Russia with a group of European experts that he had hired to help him transform Russia. 44

Modernizing and Westernizing Russia When Peter returned from his first European tour, he set about changing how Russians looked and what they did for a living. Peter decreed that Russian men Peter the Great visiting Europe were henceforth to be beardless, because that was the fashion in western Europe. Men found wearing beards were at risk of having them shaved off on the spot. A man could get around the decree by paying a tax for a beard license. Peter also decreed that the long coats of Russian men were to be shortened and that every- Teaching Idea one above the rank of peasant was to adopt western clothing. Peter the Great’s trip to western Europe Peter established a navy and modernized the army. No longer would the czar included many fascinating adventures. have to depend on peasant soldiers supplied by the nobility. He established a Students may enjoy learning more standing army by introducing conscription (forced service) and equipped it with about Peter’s experiences, including new weaponry from the west. He also established military-technical schools and his travels in England and Holland, his required that the sons of the nobility be sent to train as officers. Peter used gov- work as a carpenter, his studies in den- ernment subsidies to encourage the development of manufacturing, shipbuilding, tistry, his purchases while abroad, and mining industries, and international trading companies. his attempts to travel incognito. In part to make the government more efficient, and in part to further lessen the influence of the nobility, Peter introduced reforms into the government. He established a committee system to run government operations. Each committee had eleven members who were to oversee a particular area, such as agriculture Teaching Idea and foreign affairs, similar to our government departments. To strengthen his Have pairs of students create posters position, the czar personally appointed many officials, including the members of advertising either of Peter’s decrees: the new advisory body of nobles, called the Senate, and the governors of that men must be beardless or that provinces. Russians—except for peasants—must Peter built on the idea of the service nobility, initiated by earlier czars. wear western European-style clothes. According to this concept, service to the state was a requirement for admission to Posters should contain the gist of the the nobility. Peter established the Table of Ranks, which listed 14 civil and mili- decree and some slogan to promote tary ranks, covering all positions in the government and military. As one compliance. The message could rely on advanced up the ranks and reached a certain level, one automatically became a what will happen if a person fails to noble. As more men entered the nobility, the old landed aristocracy—the obey or could tout some benefit such as boyars—became a smaller percentage of the nobility. Through this maneuver, a beardless man will be cooler in sum- Peter continued to lessen the influence of the boyars. mer. Illustrations could be optional. Search for a Warm-Water Port You may want to provide students with books that show what western One of Peter’s great ambitions, as it had been for previous czars, was to secure Europeans were wearing in the early a warm-water port for trade. Most Russian ports were located in the far north and 1700s. froze up for part of the year. By increasing the amount of Russia’s international trade, Peter believed he would also increase its wealth and power. His first efforts were aimed at wresting territory on the Mediterranean from the Ottoman Turks, as Ivan IV had tried to do, but Peter was unsuccessful in finding allies and aban- doned the idea.

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Peter then set his sights on land along the Baltic Sea. He declared war on Sweden in 1700 and ultimately won his warm-water port. He built St. Petersburg on the Gulf of Finland, an arm of the Baltic, and moved the capital there from Moscow. His new city was as grand as any capital in western Europe. It is called Peter’s “Window on the West,” not only because it was a port that allowed Peter to trade with the west year-round, but also because the city was built in the European style, with canals and stately palaces like the ones Peter had seen on his trips to western Europe. Peter encouraged western Europeans to come to Petersburg and required many Russians nobles to build houses in his new capital. Ever since Peter the Great, Russians have often found themselves divided between two groups. One group, the so-called “westernizers,” has argued, in the tradition of Peter the Great, that Russia needs to be more like the countries of western Europe. On the other side are the “Slavophiles,” who think Russia is bet- ter than western Europe and should stick to its traditional Slavic ways. For the most part, the westernizers have gravitated to St. Petersburg, with its European style, while Slavophiles have preferred Moscow, built in the old Russian style. Catherine the Great Catherine the Great was actually not Russian, but German. She was chosen to marry Peter, Duke of Holstein, a grandson of Peter the Great. As Czar Peter III, the Duke initiated a series of policies that angered powerful nobles. He entered into an alliance with Prussia, a long-time rival, expanded religious freedom, and closed down the secret police. Catherine and the czar were not well suited for each other and theirs was an unhappy marriage. Catherine—who had become thoroughly Russian after almost twenty years in Russia—joined in a plot against Peter. The con- spirators removed him from the throne and made Catherine sole ruler. Catherine greatly expanded Russian territory, adding more of the Baltic region and Ukraine. She also warred against the Ottoman Turks and seized por- tions of their empire. When European powers partitioned Poland in 1772, 1793, and 1795, she gained the largest part for Russia. It was during her reign that Russian exploration and colonization of Alaska began. Like Peter the Great, Catherine was interested in the west. When she began her reign, she intended to make a number of reforms to ease the life of serfs (peas- ants), promote education, and limit land acquisitions by nobles. However, the Catherine the Great peasant revolt led by Pugachev [POO-ga-chov] between 1773 and 1775 and the French Revolution soon caused Catherine to become as autocratic as earlier czars. The peasant uprising was a bloody and brutal revolt that resulted in the death of Teaching Idea thousands of wealthy Russian landowners, priests of the Russian Orthodox Compare the lives of peasants in Church, and merchants. Not wishing to antagonize the nobility, Catherine Russia, slaves in the colonies, and increased the privileges of the nobility and decreased the freedom of peasants. serfs in the Middle Ages. What made Reforms of Peter and Catherine and the Peasants serfdom in Russia different? The reforms of Peter and Catherine had little effect on the peasants—except to bind them to the land as serfs. By the time of Peter, many peasants already had no personal freedom of movement. A peasant family could not decide to move from one landed estate to another because the second landowner offered better working terms.

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During Peter’s reign, peasants became chattel, the property of the landhold- ers on whose estate they worked. They could, therefore, be bought and sold. After the peasant uprising during Catherine’s reign, she allowed the nobles to continue the process of turning peasants into serfs. The word serf is from the Latin word for slave; however, the status of the serf was somewhere in between that of a slave and a free person. Serfs were the property of nobles, yet they had certain rights. They were required to give certain payments to and perform specific services for their owner. On the other hand, a serf was usually given a house, a plot of land on which to grow crops, and some animals. Serfs were required to give some of Teaching Idea what they grew to their noblemen masters. In addition, serfs were required to Create an overhead of Instructional work the noble’s land. Master 26, Russia, and use it to orient Serfdom—the agricultural system based on the ownership of serfs—had students to the physical features and existed in Russia for centuries. In western Europe, the actual bonding of the peas- cities discussed in this section. Have ant to the soil had largely ended by the 1400s and 1500s. By contrast, in Russia, students use the distance scale to com- serfdom was gaining strength. In the 1700s, during the reign of Peter and pute distances (for example, the length Catherine, while the Industrial Revolution was getting underway in Great Britain, and width of Siberia, or the distance the restrictive powers of serfdom reached their height. Serfdom was not abolished from Moscow to St. Petersburg). in Russia until 1861—four years before the United States abolished slavery.

B. Geography Name Date Background Russia Study the map. Use it to answer the questions below. Russia stretches across two continents, Europe and Asia. Much of the early U.S.A. ARCTIC OCEAN history of Russia occurred in the European section as people there traded with NORWAY N EDE SW A D E AN S NL IC FI the Vikings, Byzantines, and later western Europeans. T AL B EST. LAT.LAT. a i RUSSIARUSSIA LITH.LITH. St.St. PetersburgPetersburg S r BELARUSBELARUS N e I i b A S EUROPEEUROPE T MoscowMoscow N UKRAINEUKRAINE U OdessaOdessa RUSSIA O r e r M v e i Riv B R a L lg L A D o C on V A K R YekaterinburgYekaterinburg Cities ASIA Trans-Siberian S U E Railroad A Novosibirsk

GA.GA. A E KhabarovskKhabarovsk ARM.ARM. S IrkutskIrkutsk

AZER.AZER. N KAZAKHSTAN A I P S T U A UR Z C K B M E E K MONGOLIA Moscow I N S Vladivostok IS T T A A N KYRGYZSTANKYRGYZSTAN N CHINA NORTHNORTH KOREAKOREA IRAN N SOUTH AFGHANISTAN JAPAN W E 0 300 600 miles KOREA Moscow is located in west central Russia—European Russia—on the Moscow 0 300 600 kilometers S

1. What is the distance between Moscow and St. Petersburg? River and is the capital of modern Russia. Ivan IV made it the capital of Russia in the about 400 miles 1400s, and it also became the seat of the Russian Orthodox Church. Peter the Great 2. What is the distance between Moscow and Vladivostok? about 4,000 miles transferred the capital from Moscow to the new city of St. Petersburg in 1712. The

e Knowledge Foundation capital was returned to Moscow in 1918 during the Russian Revolution.

Purpose: To read and interpret a map of Russia Copyright ©Cor Master 26 Grade 5: History & Geography Today, Moscow is the largest city in Russia (with a metropolitan area popula- tion of over 13 million), an important inland port, and the seat of Russia’s gov- Use Instructional Master 26. ernment. The Kremlin, meaning walled center of a city, is the heart of Moscow. Here the czars built their palaces, Communist leaders reviewed thousands of sol- diers marching through Red Square, and today, the national government uses a Teaching Idea former palace for the legislature. The Kremlin is also the site of St. Basil’s Cathedral, once the center of the Russian Orthodox Church and now a national Moscow and St. Petersburg are very museum. St. Basil’s is built in the traditional Russian style, with several onion different cities. To give students a feel- domes reaching up to the sky. From the Kremlin, wide boulevards extend through ing for the differences, share pictures the city in all directions. A person from Moscow is called a Muscovite. of key buildings and streets in each city (e.g., the Kremlin and St. Basil’s in St. Petersburg Moscow, and the Hermitage and other St. Petersburg is Russia’s second-largest city (population 5 million) and is palaces in St. Petersburg). located in northwestern European Russia on the Gulf of Finland. Peter the Great built it in the western European style, with canals and glittering palaces, after

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four-note motif. Listen as Beethoven uses that simple idea in all sorts of different ways: stringing several versions of it in a row or stacking it up on top of itself, Teaching Idea extending or abbreviating it, bringing it into the foreground or pushing it into the The coda to the final movement of background, using one statement of it to punctuate another, etc. Every section of Beethoven’s Symphony no. 5 promi- the movement seems to develop as a natural outgrowth of that little four-note nently features the piccolo; this is phrase. one of the earliest pieces to make As in most symphonies of Beethoven’s time, the second movement is slow. use of the piccolo. What does it bring Many slow movements of that era are songlike in melody and construction, and to the texture? How does Beethoven this one is no exception. Two gentle, singable tunes alternate through the move- use the instruments of the orchestra ment: the first has a lilting quality and finishes with the winds making a beauti- to enhance the effect of his sympho- ful “sigh”; the second has a more steady and noble tone. These themes are varied ny? While listening to the piece, dis- each time they appear with more and more elaborate decoration by the strings. cuss its orchestration as a class. Pay attention to the contrast between The third movement is called Scherzo, which means “joke.” (In some ver- phrases played by solo instruments, sions it might be called “Allegro.”) It was traditional for third movements of sym- phrases played by whole sections of phonies to be rather fast and light, and they almost always took the form of either the orchestra, and phrases played by a minuet (a light dance in a meter of 3–) or scherzo (an energetic, rhythmically 4 the entire orchestra. 3– driven piece, also often in 4). This particular scherzo, however, is uncharacteris- tically dark and heavy. In many ways, its main theme is more of a march than a scherzo. However, the middle section, with its scurrying strings, captures some- thing of the traditional spirit of a scherzo. Notice that the marchlike music is Teaching Idea based on a rhythm that is essentially the same as the four-note phrase from the first movement. This rhythm appears in all four movements and helps tie the Beethoven’s Symphony no. 5 is more piece together as a whole. The prominent way it is used in this third movement than half an hour long and is one of makes sure that the audience can hear the relationship. the most structurally elaborate works that students will have studied to this Instead of the traditional break between movements, Beethoven writes the point. Allow sufficient time for the third movement so that it leads directly into the fourth movement without any class to become familiar with the pause. This is another way in which he indicates that he is thinking of the sym- piece. This will require many repeat- phony as one large unified piece, and not as four disconnected movements. The ed listenings and perhaps even more fourth movement is triumphant in spirit. By connecting the movements in this active involvement with the themes of way, Beethoven creates the effect that the triumph of the final movement is a res- the different movements. You may olution to the dark, ominous quality of the preceding movements. To make this wish to have the class break into 4 effect even stronger, Beethoven puts a little reminder of the third movement into groups, and assign each to study 1 of the fourth, just before the ending. This emphasizes the way that the triumphant the 4 movements and present their finale “answers” the earlier movement. findings to the class. Make copies of The symphony is often discussed as being representative of man’s struggle the score available to these groups with (and ultimate triumph over) Fate. This is accomplished through repetition and encourage them to identify the of the insistent motif from the first movement. Interpretations of this sort were major themes and structures of each extremely popular in the 19th century. movement. Modest Mussorgsky: Pictures at an Exhibition Until the second half of the 19th century, Russia had no real classical music tradition of its own, and Russian composers generally wrote in styles modeled after the great German composers. In the 1860s, five major Russian composers formed a group (nicknamed the “Mighty Handful,” after the five fingers of the hand) that was dedicated to creating a truly Russian style of classical music that would not be as derivative of the music of western Europe. The most original and noteworthy of these five was Modest Mussorgsky (1839–1881). While other

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members of the “Mighty Handful” attempted to create the Russian sound by using Teaching Idea melodies from Russian folk songs, Mussorgsky did not borrow any actual Pictures of Mussorgsky show that he was melodies, but adapted his compositional style to have audible similarities of har- a large man, weighing nearly 300 pounds. mony and rhythm to the style of Russian folk music. His compositions do indeed The theme in Pictures at an Exhibition, sound somehow “Russian,” even though they are completely original. stated over and over again, suggests a Mussorgsky did not receive much training as a composer, and as a result, his very large man walking along. Without music is not always particularly polished. On the other hand, many people feel specifically mentioning this to students, that the raw and sometimes surprising sounds that he composed only enhance have them walk to the music. Then ask the appeal of his works and contribute to the sense that they are somehow as how a person who walks to such a “pon- native to Russia as its folk music. derous” movement might look (or what Mussorgsky’s greatest achievement is his opera Boris Godunov (1874) but far his or her size might be). better known are two other works—Night on Bald Mountain (1867) (which many people know from the memorable sequence in the film Fantasia), and Pictures at an Exhibition. In 1874, an exhibition of paintings and drawings by the Russian Teaching Idea artist Victor Hartmann was held in Moscow. Hartmann was a close friend of Mussorgsky’s and had been attempting to do for the visual arts what Mussorgsky Once students understand the premise and the “Mighty Handful” wanted to do for music—create a Russian style that did of the piece and have had the titles of not depend on foreign influences. Mussorgsky attended the exhibition and was the individual movements explained inspired to depict several of the artworks in musical form. The work he composed to them, have them draw what they not only represents these works but also the person who is viewing them. This imagine the pictures to look like. Some helps tie the unrelated images into a more cohesive whole structured around the editions of the score include pictures idea of the exhibition. similar to those that inspired the music. Mussorgsky originally wrote Pictures at an Exhibition for piano, but in 1924, (The original pictures have been lost.) the French composer Maurice Ravel arranged the music for orchestra. It is in the Some of these are also available orchestrated form that the work is most often heard. online. You can show them to students, but only after they have created their As you play the piece for your students, stop and discuss the items below. own versions. Ask students how the • Promenade composer depicts these images with The piece opens with a stately theme, which is meant to represent the com- musical sounds. poser (or any viewer at the exhibition) as he or she strolls from one picture to the next. This theme will return occasionally throughout the piece, and is the one idea that ties the whole set together. 1. “Gnomus” (The Gnome) The image is of a threatening and grotesque dwarf. • Promenade The viewer quietly walks onward to a reprise of the Promenade theme. 2. “Il Vecchio Castello” (The Old Castle) This picture depicts a night scene of an Italian castle, with a singer standing in the foreground. The music, in imitation of Italian folk music, is mysterious and shifting, appropriate to a night setting. Eventually the song drifts away into the distance. Listen for Ravel’s rare orchestral use of the saxophone. • Promenade Another brief reprise of the Promenade, this one is more forceful than before. 3. “Tuileries” (Famous Garden in Paris) The scene portrays children at play in the park having an argument. The sounds of the children are depicted quite literally: the opening figure mim- ics the universal taunting melody of “nyah-nyah!” which is interspersed with quick, light, bubbling figures that sound very much like children’s gig- gling laughter. Wind instruments (flutes, clarinets, piccolos) are used to depict the children.

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4. “Bydlo” Name Date This movement portrays an image of a huge, heavy Polish ox-wagon, mak- A Classical Crossword Match the words and their clues to complete the puzzle.

ing its lumbering way down the road. Listen to the way Mussorgsky uses a LUTE EXHIBITION DOWLAND RENAISSANCE RUSSIA steady, rocking figure in the bass to give a sense of the wagon’s weight. NOTE SCHERZO DREAM BEETHOVEN CODA 1 D 23 • Promenade B E E T H O V E N X W This version of the Promenade begins quite tentatively—perhaps something 4 H L S 5 has troubled the viewer. However, the next picture will probably lighten his R E N A I S S A N C E B N H spirits; we hear a brief preview of it before the final notes of this movement. 6 I D R E A M 7 5. “Ballet of the Chicks in Their Shells” L T R 8 R U S S I A Z 9 The original drawing that inspired this movement was of whimsical T O C O D A 10 “unhatched egg” costumes for a ballet. The music imagines a comical dance E N O T E Across Down 2. German composer Ludwig van ___ 1. English Renaissance composer John of chickens and eggs, using chirping sounds that imitate the actual sounds 5. period of great advances in the arts ___ 6. Mendelssohn’s A Midsummer 3. Mussorgsky’s Pictures at an ___ Night’s ___ 4. nickname of Symphony no. 5’s third of chicks. Clarinets are used to depict the chickens’ chirping sounds. 8. Mussorgsky’s native land movement (meaning “joke”) 9. final part of a musical composition 7. most popular solo instrument during 10. in Symphony no. 5’s first movement: 6 Across 6. “Samuel Goldenberg and Schmuyle” four- ___ motif

And Incidentally . . . Explain in your own words what “incidental music” is. Think of Sometimes called “The Rich Jew and the Poor Jew,” this movement is a a film or play you’ve seen that used incidental music, and then describe its effect. Purpose: To review concepts and vocabulary relating to classical music Copyright ©Core Knowledge Foundation Copyright ©Core response to two contrasting portraits—one of a rich businessman, and the Master 62 Grade 5: Music other of a shivering beggar in the street. The imposing and severe theme of the rich man, and the chattering desperation of the beggar, are heard first Use Instructional Master 62. separately and then combined. 7. “Limoges: The Marketplace” In this scene, women argue in a bustling French marketplace. The frantic and constant movement of the music captures the sense of the endless activity of the marketplace. The piece seems to capture the cries of the dif- ferent sellers and combines them in a progressively more chaotic and sur- prising way, each interrupting the previous. 8. “Catacombae: Sepulchrum Romanum” In this drawing, the artist himself is seen in the Roman catacombs in Paris, an underground system of tunnels and burial chambers with skulls stacked on the ground nearby. Ominous chords capture the gloom and power of the scene. • “Cum Mortuis in Lingua Mortua” (Speaking to the Dead in a Dead Language) Mussorgsky explained this movement as representing his reaction to the drawing of the catacombs. In the drawing, the artist can be seen examining ancient skulls. Mussorgsky envisioned this as a sort of conversation between the living and the dead, and he is prompted to his own thoughts on death. The Promenade theme returns, but altered, as though seen through the murk of the catacombs. The whole piece is colored by shifting chords reflecting thoughts of mortality. 9. “The Hut on Fowls’ Legs” This movement is also known as “Baba Yaga.” Baba Yaga was a witch from Russian folklore who lived in a hut that could walk on the legs of a bird. Her hut not only had a bird’s legs but also could fly, aided by the blood of victims who were crushed when the house landed. Students should be able to identify what is going on in this piece, based on a description of the hut and what it represents. The pounding, rhythmic opening notes suggest a giant bird, bouncing on its legs. A quieter chase theme follows, in which the hut obviously gains speed and leaps into the air. The quiet, steady theme on the violins represents the house circling, looking for a victim. There is an almost cartoonlike quality to the rhythm. It is followed by a lower and lower tone, as the house circles, until a single chord shows that the hut has thudded to the ground, presumably on top of a victim. Soon enough, the pounding rhythm returns, and the hut begins to bound into the air, building to a frenzy that leads immediately into . . .

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II. Listening and Understanding

10. “The Great Gate of Kiev” This movement, the final piece in the set, is a response to an architectural drawing of an enormous gate, imagined in a traditional Russian style. The great, noble theme that Mussorgsky uses to depict the gate also expresses a patriotic sentiment. This same sentiment can be felt in the quiet hymnlike passages that interrupt the main theme. Toward the end of the piece, the set as a whole is wrapped up by the introduction of the Promenade. A grand final statement of the “Gate” theme, suggesting a grand and royal proces- sion through the gate, follows. B. Musical Connections Cross-curricular Teaching Idea The Renaissance The sounds of Renaissance music may Note that Renaissance music is closely connected with the Renaissance top- seem new and different to students. ics in the History section (pp. 164–168), as well as with certain topics in the The most important thing for them is to Visual Arts and Language Arts sections. We suggest that you teach about become accustomed to the musical Renaissance music in tandem with your study of other aspects of the Renaissance. world of that era. Play recordings of Your students’ understanding of the works discussed below will be much Renaissance music while studying increased if they are able to connect the composers and music described in this Renaissance art and history. This will section to the humanists, patrons, and city-states described in the History section. help set the scene; this will also help As in the other arts, the Renaissance was a time of great advances in the students to build associations and a sophistication and variety of music. Before the Renaissance and during the sense of the cultural context for those Middle Ages, music was written under considerable limitations—some resulting less familiar musical sounds. Ask stu- from the limited theoretical understanding of music, and some resulting from the dents if they see connections among specific religious and ceremonial purpose of most musical composition. As the the music, the paintings, and the archi- Renaissance began in the mid-15th century, a rising interest in the rich artistic tecture of the Renaissance. cultures of ancient Greece and Rome inspired composers to try to write more expressive works. Attention began to be devoted to music theory, and as a result, a much broader, more sophisticated musical language became available to Renaissance composers. This change, of course, took place very gradually over a Teaching Idea long period of time. If recordings of Dowland’s songs are One of the greatest Renaissance composers was Josquin Desprez [zyos-CAN available, listen to the words and dis- duh-PRAY] (c.1445–1521). His works are some of the finest of the entire cuss with the class the ways in which Renaissance, despite the fact that he lived at the very beginning of this period. His the music attempts to capture their music is entirely for voice, which was the norm for his time; before the late 15th emotions. Since the words are really century, instrumental music was almost never notated or published. Desprez’s Elizabethan poems, some of which can major works are masses (large works based on the church liturgy for use in serv- be hard to understand, you may want to ices) and motets (shorter vocal works, usually in four parts, based on Latin texts). discuss the lyrics before playing a His reputation rests in great part on the expressive qualities of his writing for song. If you can’t find a recording in voice; he was a master of capturing the emotion of a text in his music and mak- your community, check for recordings ing sure the text could be understood. His music communicated with its audience online. in a way no music had before. If you wish to play Desprez’s music for students, try the CD Josquin Desprez: Motets & Chansons. John Dowland (1562–1626) was an English Renaissance composer, famed for his lute songs. A lute is a stringed instrument played somewhat like a guitar, but with a different and distinctive timbre. The lute was the most popular solo instru- ment of the Renaissance. For this reason, many composers, such as Dowland, wrote songs for a solo singer to be accompanied on the lute. Dowland’s songs are noted for their subtle and expressive attention to the texts. Such songs also mark the first time that the melody of a work and its accompaniment were written out

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