K to Gr. 4 Study Guide

Conductors for the Toronto Symphony Orchestra School Concerts are generously supported by Mrs. Gert Wharton. The Toronto Symphony Orchestra’s School Concerts are generously supported by The William Birchall Foundation and an anonymous donor. Click on top right of pages to return to the table of contents! Table of Contents

Concert Overview Concert Preparation Program Notes 3 4 - 7 8 - 18

Lesson Plans Artist Biographies Musical Glossary 19 - 33 34 - 36 37 - 38

Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 40 - 51 52 53 - 54

The Toronto Symphony Orchestra gratefully acknowledges Christina Huang for preparing the lesson plans included in this guide

- 2 - Concert Overview

Symphonic Fairy Tales April 21 & 23, 2020 Suitable for grades K–4

Dina Gilbert, conductor Jeffrey Beecher, double bass and host Principal Double Bass Jeffrey Beecher is your guide for a journey of magic and imagination, as timeless fairy tales are brought to life through beloved orchestral works. This fantastical concert will help students discover and rediscover classic children’s tales through the power of musical storytelling.

Program to include excerpts from*:

• Prokofiev: "Shawl's Dance" from • Peter Yarrow: "Puff, the Magic Cinderella Act 1, No. 2 Dragon" • Grieg: "In the Hall of the Mountain • Dukas: The Sorcerer's Apprentice King" from Peer Gynt • Humperdinck: Prelude to Hansel • Ravel: "Les entretiens de la Belle et and Gretel de la Bête" from Ma mère l'Oye • Stravinsky: "Finale" from The • Jon Deak: Jack and the Beanstalk Firebird *Program subject to change - 3 - Concert Preparation

Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. Whether it’s your first symphony concert or you’re a seasoned audience member, there’s always something new to learn and experience!

Before Listen and Read

Listen to the pieces of music • Have you heard any of these pieces before? • Which one is your favourite and why? • Do you hear anything new or interesting? • Try out one of our listening journals and record your observations.

Read the biographies and program notes • Were there any composers you had never heard of before? • Did you learn anything new or interesting about one of the pieces, composers, instruments or TSO musicians?

During Look and Listen Look around the orchestra and the hall • Have you been to Roy Thomson Hall before? • Are there any instruments you haven’t seen before? • Do you notice anything interesting about the orchestra?

Listen to the orchestra and conductor • Is it different listening to the live orchestra versus a recording? • Think about how the different pieces make you feel. • Is there a particular instrument or part of the piece that you like listening to the most? • What instruments are used to create different sound effects? - 4 - Concert Preparation

After Discuss and Reflect

Discuss and reflect with your classmates • Was there anything that surprised you during the concert? • What was your favourite/least favourite piece and why? • Was your experience different from your classmates? • Fill out our Student Feedback form and let us know what you think!

Review Rules and Reminders

Review these rules and reminders with your classmates • No outside food or drink allowed inside Roy Thomson Hall. • No flash photography or recordings. • Please visit the bathroom before the concert. Audience members walking in and out during the concert can be distracting. • We encourage you to applaud and show appreciation. The orchestra relies on your energy to perform. • If you’re unsure when the piece of music is over, look to the conductor and performers on stage. The conductor will turn and face the audience once the piece of music is over.

Have fun and enjoy your experience!

- 5 - Concert Preparation

Listening Journals

Name: ______Date: ______

Name of the piece ______

Composer ______

1) What kind of sounds do you hear? Does it sound like a big group of musicians or a small group?

2) What different dynamics do you hear? Is the music loud, soft, or in the middle? Does it slowly get louder or softer? (ex. pp, p, mp, mf, f, ff, crescendo, diminuendo, etc.)

3) How would you describe the tempo? Is it fast or slow or both?

4) How does listening to this piece of music make you feel? Does the music remind you of any- thing?

5) What two words would you use to describe this piece of music?

6) Did you like this piece of music? Would you recommend it to a friend? Why or why not?

- 6 - Concert Preparation

Symphonic Fairy Tales Podcast Listening Journal

Name: ______Date: ______

1) What is timbre?

2) What is a musical motif?

3) What musical elements are used to created tension in music?

4) What are some of the elements you need to tell a good story?

- 7 - Program Notes

What Are The Stories About?

Fairy tales are always changing. They exist all over the world. They are as different as the people who tell them. Today, you might read fairy tales in books, but in the past, you would have listened to a storyteller. Stories were passed down from person to person, from generation to generation. They lived in someone's memory instead of on paper.

There are many variations of the same stories. Storytellers like to change the details to keep things interesting for the listeners. Some make the stories easier to understand by adding people, places, or things from the local community. Other storytellers like to have scary details to frighten children. Some want to teach you a lesson, whereas other storytellers are just hoping you have fun!

Here's a short description of what each story is about:

Cinderella - A young woman is unfairly treated by her step-sisters and step-mother. Her appearance is magically transformed for a short time, during which she attends a ball and meets the prince. She runs away before the magic spell ends, but her slipper falls off. The prince asks different women to try the slipper until he finds Cinderella and marries her.

Peer Gynt - A lazy and selfish man goes on adventures around the world. In one episode, he refuses to marry the troll king's daughter and must escape from the angered trolls.

- 8 - Program Notes

Beauty and the Beast - A woman breaks a curse, turning a prince back into his human form by helping him change his negative qualities.

Jack and the Beanstalk - A boy helps his poor family by stealing magical objects and animals from an evil giant.

- 9 - Program Notes

Hansel and Gretel - A boy and a girl outsmart an evil witch without the help of adults.

The Firebird - A prince rescues a group of princesses from an evil king with the help of a magical bird.

- 10 - Program Notes

Prokofiev Biography

As a young boy, Sergei Prokofiev had a reputation for stirring up trouble and getting himself into all kinds of mischief! At the age of five, he began to demonstrate great musical talent. Hoping this musical talent would keep him out of trouble, Sergei's parents sent him to St. Petersburg to study music full-time when he was only thirteen years old. Sergei kept his reputation as a troublemaker throughout his entire life. He always pushed the limits when composing music and never cared what people thought. This fearless attitude is what inspired Sergei to write imaginative music that would speak to audiences for generations to come. He composed one of the most famous stories- told-through-music, Peter and the Wolf.

"Shawl's Dance" from Cinderella Listen The "Shawl's Dance" is like a musical argument. It takes place when Cinderella's two step-sisters are creating a new shawl for the Spring Ball. The opening sounds of the tremolo strings give you a sense of urgency, with staccato notes indicating time running out. With the shawl complete, the two selfish step- sisters begin fighting over who will wear it. You can hear each one arguing in the quick-succession of triplets on the strings as they grab the shawl from the other. The fighting escalates until both pull on the shawl at the same time, tearing it apart.

Did you know? Prokofiev was a talented chess player. He was friends with two world chess champions, and even won against them on occasion!

- 11 - Program Notes

Grieg Biography

Edvard Grieg started learning music at six-years- old. His mother taught him to play the piano. As Edvard got better, others began to notice his talent and recommended putting him through a music school. Although Edvard's father was of Scottish origin, his mother was Norwegian. When Edvard began composing his own music, he was influenced by traditional folktunes from Norway. Edvard was passionate about his Norwegian heritage and would eventually start a school of music that celebrated Norway. Edvard met the famous playwright Henrik Ibsen and was asked to write the music for one of his plays, Peer Gynt. The most well-known music to come from this is "In the Hall of the Mountain King". Its easily recognizable theme can regularly be heard in films and television to this day.

"In the Hall of the Mountain King" from Peer Gynt Watch & Listen At this part of the story, the hero is making his escape from a group of angry trolls chasing him. The piece is great example of changes in tempo and dynamics. It begins at a slow tempo, with a simple theme gently being played by the lowest pitched instruments in the orchestra, the double basses, the cellos, and the bassoons. Each time a new instrument joins in, the theme is played at a faster tempo with louder dynamics. The tension builds and builds until finally all the instruments crash together in a loud and energetic finale.

Did you know? Grieg kept a frog sculpture in his pocket, which he would rub for "good luck"!

- 12 - Program Notes

Ravel Biography

Maurice Ravel was born in France in a music- loving family. He grew up with his mother often singing Basque-Spanish folk songs to him. Outside the home, his father took him to hear a variety of music concerts. Maurice loved these experiences. At seven, he took his first piano lessons. When his parents recognized his talent, they encouraged him to study music. Maurice got into one of France's top musical schools. He was an intelligent student, but he did not follow the school's expectations and ended up getting expelled! Thankfully, he had teachers who recognized his potential and encouraged him to continue. Maurice loved composing music more than anything. His most well-known work is Boléro. He was also good at adapting other people's music. He most famously arranged Mussorgsky's Pictures At An Exhibition for orchestra. Mother Goose Suite: Beauty and the Beast Watch & Listen

Ravel wrote the Mother Goose Suite for the two children of his friends. Each piece in the suite took a fairy tale as its inspiration. It was first publicly performed by two girls aged 6 and 7. The suite was so successful that Ravel adapted the music for the full orchestra. In this piece, you first hear Beauty's voice, represented by the clarinet. The Beast is voiced by the contrabassoon. Listen for the simple harp glissando that marks the transformation of the Beast into a prince at the end.

Did you know? When Ravel composed Boléro, he considered it to be trivial and not as good as his other music. Over time however, Boléro would become his most famous work!

- 13 - Program Notes

Jon Deak Biography

Jon Deak is a composer who is still working today. He was born into an artistic family in the United States. His father was a sculptor and his mother was a painter. Jon worked as a visual artist too while growing up, but he eventually chose to make music his career. Jon played the double bass at the New York Philharmonic for over thirty years. While there, he worked with the famous Leonard Bernstein, who was great at teaching music to young people. Jon created a program of his own for children, called the Very Young Composers. In this program, kids as young as 8 get to create music for a professional orchestra! First, students work with a musician who helps them to turn their ideas into music, even if they've never played an instrument before. The finished music is then played by the full orchestra during a Young People's Concert.

Jack & the Beanstalk

Jon Deak's Jack & the Beanstalk is a Double Bass concerto. Jack is portrayed by the solo double bass and his concerned mother by the entire bass section. The piece is written for a medium- size orchestra. In order to be heard, Jack plays in a high register - up in the cello and viola register - most of the time. Jon Deak cites musical influences from John Cage, Spike Jones and Walt Disney - not to mention the music of India, blues and funk.

Did you know? Jon Deak is a mountain climber. He has led many expeditions into the Canadian Rockies, Alaska, and the Himalayas!

- 14 - Program Notes

Dukas Biography

Paul Dukas grew up in Paris, France. Paul's mother was a gifted pianist and she influenced her son's love of music. Sadly, his mother died giving birth to his sister when he was only five years-old. Although he was terribly saddened by this, Paul kept learning about music. In school, Paul seemed like an average student. It wasn't until he was 14 that people realized how talented he really was! At 16, he entered an important music school to learn from some of the best music teachers at the time. He became close friends with another famous composer, Claude Debussy. Paul was gifted, but he often felt like his work was not good enough. He actually destroyed much of the music he wrote, despite his friends telling him not to. He only allowed a small number of his works to be published. His most famous work is The Sorcerer's Apprentice. The Sorcerer's Apprentice Watch & Listen Dukas’ score is known to generations of filmgoers as the music that accompanies the antics of Mickey Mouse in the 1940 Walt Disney concert film, Fantasia. The project started as a short cartoon using Dukas’ music. The film turned out so brilliantly that Disney proposed adding other segments to make up a full- length concert feature. He and the conductor collaborated on choosing them – and Fantasia was born.

Did you know? The light-hearted Sorcerer's Apprentice was meant as a joke to make fun of other music for its excessive descriptiveness. Ironically, its popularity has eclipsed all of Dukas' serious music.

- 15 - Program Notes

Humperdinck Biography

Engelbert Humperdinck loved music. He started playing piano at seven, and wrote his first piece for the stage at thirteen. He was talented and passionate. When he told his parents that he wanted to be a composer, they did not approve. They kept telling him he should become an architect instead. Thankfully, Engelbert did not stop studying music and eventually worked with famous composers like Richard Wagner. In his family, Engelbert was probably the "fun uncle", and not only because of that stylish mustache. When his two nieces wanted to perform a puppet show based on Hansel and Gretel, he composed four pieces of music for them. His family was so impressed that they told him to expand the music into something larger, and he did exactly that. What started as a just-for- fun show with his two nieces got turned into a full-scale opera! Prelude to Hansel and Gretel Watch & Listen The opera Hansel and Gretel is Engelbert's most famous work. The Overture presents many of the opera’s finest themes, beginning with the children’s prayer. It opens with the French horns and bassoons playing the warm and majestic melody. The theme is then passed to the string section and gently swells. Different instruments of the orchestra take their turns playing the melody, such as the trombones, the oboes, and finally the flutes.

Did you know? There are two Engelbert Humperdinck's. In the 1960's, an English pop singer reinvented himself by changing his name from Arnold George Dorsey to Engelbert Humperdinck.

- 16 - Program Notes

Stravinsky Biography

Igor Stravinsky didn't really know what he wanted to be when he grew up. His parents wanted him to study law. It took Igor a long time before he realized that he was good at music, but he didn't think of it as his dream. When he went to University, he chose to study law, just like his parents had wanted. But Igor's life would take a surprising turn! In law school, he became friends with the son of a famous composer, Nikolay Rimsky-Korsakov. Igor got to meet Rimsky-Korsakov and showed him his work. The famous composer immediately recognized Igor's raw talent. Rimsky-Korsakov took on Igor as a student, and advised him to stay out of conventional music schools. Thanks to a world-class teacher, and a lack of formal training, Igor became an original and influential composer.

"Finale" from The Firebird

Watch & Listen At the beginning, listen for the beautiful horn solo supported by tremolo in the strings. The French horn melody is simple, using the first five notes of a major scale. At the end of the solo, the melody is passed to the strings and then builds through the orchestra, creating a hymn-like chorale. Stravinsky reintroduces the main melody in the brass, but this time at a much faster tempo. The orchestra joins in, pushing forward at the new tempo. The tempo changes again and the hymn-like chorale returns to finish The Firebird Suite.

Did you know? Igor's father was a famous singer, so he got to spend a lot of time at the opera house meeting famous musicians. He got to see Tchaikovsky conduct!

- 17 - Program Notes

How Can Music Tell a Story?

Dukas' The Sorcerer's Apprentice

The Story The Music Dukas’ composition was inspired by a ballad Dukas’ music showcases an extraordinary by the great German author Johann Wolfgang command of the large late-Romantic orchestra, von Goethe. Published in 1797, it draws upon a and a strong gift for evoking a fanciful much earlier tale, The Lie-Fancier, by the Greek atmosphere. These are talents he shared with author Lucian (120-200 A.D.). A young man, in Russian composers of the period such as the course of learning the art of magic from Nikolay Rimsky-Korsakov. The score portrays an aging sorcerer, tries to use certain spells the events of the program in graphic detail, during his master’s absence. Assigned to bear making it quite easy to follow the story. water to a well, he commands a broom to perform the job instead. But after the well is Dukas conjures a supernatural atmosphere filled, he cannot remember the spell to make at once, with a quiet “magic” theme played his wooden servant stop. Seizing an axe, he by muted violins, fluttering flutes and dryly chops the broom in two. But then both pieces plucked harp. Out of the eerie silence that continue the task, raising the tide still further. follows the casting of the apprentice’s spell, Only the sorcerer’s timely return averts a total sinister grunts suggest the outline of a melody. disaster. It gathers steam to become the quirky theme of the spellbound broom. Dukas introduces it in memorably witty fashion through a trio of bassoons (thus re-enforcing this instrument’s For a student-friendly reputation as “the clown of the orchestra,” a explanation of how music can label despised by all who play it). tell a story, please play our podcast for your classroom. After the broom has been split in two, its theme regroups, this time bolstered by the even deeper, more grotesque growl of the double bassoon. After the grownup sorcerer returns and restores order, Dukas toys with listeners for a few seconds, threatening to resurrect the broom’s theme one more time. But the quiet, opening “magic” theme returns to put this Listen possibility, and the broom, to rest once and for all. In the abrupt final bars, the sorcerer sends his suitably chastened apprentice on his way.

Programme Note by Don Anderson

- 18 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Symphonic Fairy Tales: Lesson Plans

A “fairy tale” is a type of folktale, passed down orally from generation to generation in all countries and cultures. Fairy tales usually have:

• “good” and “evil” characters

• some element of magic

• happy endings

They may also include royalty, animals that talk or act like humans and the numbers three or seven. Your students can brainstorm other things we commonly find in fairy tales, such as forests, castles and evil stepmothers!

Some of the following pieces are fairy tales your students may know, or they may know a version of the fairy tale, as many cultures have similar stories. Others may be unfamiliar, so information about each fairy tale is included as well as ways to introduce each piece. You may choose to introduce all the pieces first, or introduce them as you go along.

Curriculum Expecations Kindergarden Grades 1-4 Music OE 31 C 1.3 (ostinato) OE 22 C 2.2 (elements of music) Drama OE 21 B 1.1 Dance OE 7 A 1.2 Language OE 9 Oral Communication: 1.1, 1.2, 1.7 OE 10 Reading: 1.4, 1.6, 1.8, 2.1 Writing: 1.2, 2.1

All books suggested in the guide are available through the Toronto Public Library. Other wonderful versions of the books and stories exist but may not be available through TPL.

Suggestions for introducing each piece: Remember, you can change the speed of the YouTube videos to slow them down if your students need to process what’s happening.

- 19 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Yarrow: "Puff the Magic Dragon" (sing-along)

• Puff the Magic Dragon by Peter Yarrow and Lenny Lipton with illustrations by Eric Puybaret Picture book with song https://youtu.be/klCEwLH6vIU

• Based on a poem by Leonard Lipton, the lyrics were written by Peter Yarrow. Peter belonged to an American folk group called Peter, Paul and Mary in the 1960s. They were famous for this song as well as “Where Have All the Flowers Gone?” and “Leaving on a Jet Plane”.

• Peter, Paul and Mary live in 1965: https://www.youtube.com/watch?v=z15pxWUXvLY

Vocabulary -What are the lyrics? (The words, sung or spoken, that tell a story to go with the music.) -Can a piece of music tell a story without lyrics? Of course! Most of the pieces we will hear in this concert tell a story without lyrics. How do they tell the story if there are no lyrics? (using elements of music!) -Discuss the form of the lyrics: verse-chorus (each verse has different lyrics; the chorus stays the same) beginning and ending with the chorus.

Extensions: Drama/Dance - Can your class make actions to go along with the chorus? Visual Arts - Students can draw their vision of Puff as the music plays. Then add descriptive words or sentences about Puff. Equity - Why do you think Peter Yarrow later changed the lyrics from “Dragons live forever, but not so little boys” to “Dragons live forever, but not so girls and boys”? The Canadian anthem “O Canada” had a similar change. Do you believe it is important to make these changes? Why or why not?

Dragons in mythology - What is a dragon? How do they look, smell, feel, act, sound? What can they do? Are they real? There are different species of dragons: an English dragon, a fairy dragon and a Chinese dragon all look very different and have different characteristics. Research and compare.

Write the story of Puff from Jackie Paper’s point of view.

How do cover versions compare to the original? Broken Social Scene cover: (Canadian indie rock band founded in 1999) https://www.youtube.com/watch?v=5IEFMMF7T5o&list=PLm_KXZbByeBRS9l4iQ_ PxLt4lBKHe4TdH&index=3

Metal version: (visuals may not be appropriate) https://www.youtube.com/watch?v=lFsqUCAcelE

- 20 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Prokofiev: "Shawl's Dance" fromCinderella Act 1, No. 2

• Audio of the Brussels Philharmonic: https://youtu.be/tRW_PWcvuc8 • Video of the Netherlands Radio Philharmonic Orchestra (from 2:40)

• This piece is from a ballet based on the French fairy tale by Charles Perrault. It takes place near the beginning of the story. Cinderella’s step-sisters are working on a new shawl and argue over who will wear it. They end up tearing the shawl in two pieces and the step-mother orders Cinderella to clean up the mess.

• Although the scene for this music was about a shawl, different choreographers have used this piece to convey different actions. (see Birmingham Royal Ballet at 4:28) • The purpose is still the same: to show the relationship between the step-sisters and Cinderella. The step-sisters were often played by men with exaggerated makeup and costumes to make them “ugly” (Colorado Ballet rehearsal https://www.youtube.com/watch?v=d_HlM8Bb_hk ).

Vocabulary The scenes with the step-sisters highlight the pantomime aspect of the ballet: the story is told with dance and mime combined with facial expressions.

Extensions: Language and Drama: Have your students write and perform some dialogue between Cinderella and her step-sisters (or brothers!). What else could they be fighting over? A soccer ball? A video game controller? The last cookie?

• There are an incredible number of versions of Cinderella all around the world. This is a selection of stories you may choose to share with your class (or, invite your students to tell versions they know from different countries!): Cinderella: 4 beloved tales by Cari Meister (Egypt, China, Micmac Nation from Canadian Maritimes) The Korean Cinderella; The Persian Cinderella both by Shirley Climo Cinderella: An Islamic Tale by Fawzia Gilani-Williams Naya, an Inuit Cinderella by Brittany Marceau-Chenkie Cendrillon: A Caribbean Cinderella; Little Gold Star: a Spanish American Cinderella tale; Sootface: an Ojibwa Cinderella Story all by Robert D. San Souci The Gift of the Crocodile: a Cinderella Story (Indonesian) by Judy Sierra Fair, Brown and Trembling: an Irish Cinderella by Jude Daly The Golden Sandal: a Middle Eastern Cinderella by Rebecca Hickox Adelita: a Mexican Cinderella story by Tomie DePaola The Way Meat Loves Salt: a Cinderella tale from the Jewish Tradition by Nina Jaffe The Turkey Girl: a Zuni Cinderella story by Penny Pollack The Enchanted Anklet: a Cinderella story from India by Lila Mehta

- 21 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Humperdinck: Prelude to Hansel and Gretel

• This fairy-tale opera was based on the Brothers Grimm’s story of Hansel and Gretel. What is an opera? (a musical story where lines are sung instead of spoken) • The German composer Engelbert Humperdinck worked with his sister Adelheid who wrote the libretto. • What is a libretto? (the words of the opera) • Adelheid made this a less sinister version. The children are not abandoned in the forest by an evil stepmother but rather told to go pick strawberries by their overburdened mother. There are also additional characters in the fairy-tale opera, such as the Sandman who helps them fall asleep in the forest, angels who watch over them as they sleep and the Dew Fairy who awakens them. • An overture is played at the beginning and the prelude is often part of an overture, like in Hansel and Gretel. • A prelude is a short piece of music featuring motifs in the larger work. Wiener Philharmoniker (the first 3 minutes approximately). • Listen to the piece “Evening Prayer” which is in Act 2, Scene 2 • Can you recognize the similarity to the prelude? That’s because the prelude contains: • the prayer theme (three times) • the witch’s magic spell • meeting the witch • the Dew Fairy’s song • celebration of the gingerbread children • The role of Hansel was often a “trouser role” - a male character sung and acted by a female singer. Remember, Hansel is supposed to be a child, so having an adult male singing the part might be odd!

Extensions: Media Literacy (2.1) - Musical theme or motif Theme music is usually a short clip that, as soon as you hear it, you know who or what to expect. What does the music tell about a character’s personality or emotions? (Think Darth Vader!) How can it tell you what is about to happen? (Think Jaws!) Challenge your students to think of other examples, such as a movie (Avengers, Star Wars), TV show (The Simpsons, SpongeBob Squarepants), video games (Candy Crush, MineCraft) or character (Darth Vader, Super Mario). Or, have them play the theme music and their classmates have to guess! Map skills - Hansel and Gretel sure would have benefited from having a map! Learning to read a map is a great activity that combines language, math and social studies (labels, key, landmarks, cardinal directions, coordinates, distance). STEAM - build your own gingerbread house (edible or not)! Use your school’s makerspace or go outside and use sand, dirt and found items in nature.

- 22 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Grieg: "In the Hall of the Mountain King" from Peer Gynt

• The story of Peer Gynt (audio version): Classics for Kids: https://beta.prx.org/ stories/84722?play=true • This piece is part of Act II of the play by Norwegian dramatist Henrik Ibsen. Peer Gynt has entered the Troll King’s castle and is trying to escape: https://www.youtube.com/ watch?v=pPLXNmKvLBQ Berliner Philharmoniker • Listening map: https://www.youtube.com/watch?v=A-p9v5hed0w

Here’s another version with a choir: Sydney Orchestra https://www.youtube.com/watch?v=BLZl-hhbXDI The choir sings “Slagt ham!” (Danish for “Kill him!”) then they debate how to cook him, but the Troll King has the last say.

This is a very famous piece of music and has been covered by many different artists in varying genres: • ELO https://www.youtube.com/watch?v=ytHimKBPy1U (Electric Light Orchestra was an English rock band from the 1970s) • Heavy metal https://www.youtube.com/watch?v=2gS9oAX1bnE • Jazz version with Duke Ellington https://www.youtube.com/watch?v=_021-dJ-NJ4

Have your students explain which version they like better - with or without the choir, or one of the covers. They must support their opinion with reasons!

Information en français: https://edutheque.philharmoniedeparis.fr/0763433-peer-gynt-de-edvard-grieg.aspx

Extensions: Visual Arts (D 1.1) Draw what you hear! Give your students paper and crayons, pencil crayons, markers, pastels, paint - whatever. The idea is to make lines, shapes or drawings that “look” like what they hear. Example: https://kinderart.com/art-lessons/painting/musical-art/

Conducting This piece is in 4/4 time. Teach your students the basic pattern to conduct in 4/4 time. https://www.youtube.com/watch?v=DdvHUJ88tao They will get a kick out of trying to conduct really, really fast!

- 23 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Dukas: L'apprenti sorcier (The Sorcerer's Apprentice)

• The story of the Sorcerer’s Apprentice is based on a German poem by Johann Wolfgang von Goethe.

• To hear a version of “The Sorcerer’s Apprentice” by Classical Kids Storytime: https://www. yourclassical.org/story/2018/09/28/classical-kids-storytime-the-sorcerers-apprentice

• This is the original poem: https://www.poemofquotes.com/johannwolfganggoethe/the- sorcerers-apprentice.php

• This piece is referred to as a “scherzo”: a short composition (usually part of a symphony) or a fast, humourous composition.

• Russian Philharmonic https://www.youtube.com/watch?v=U4yH4B9deok

Listening guide: Paris Philharmonia https://pad.philharmoniedeparis.fr/CMDA/CMDA100003900/ default.htm

• What is an apprentice? Why did people have apprentices? Do people have apprentices today? Why is being an apprentice important? • Many people are familiar with this music because it was used in Disney’s Fantasia (1940) and again in Fantasia 2000, with Mickey Mouse as the Sorcerer’s Apprentice. The Sorcerer’s name in Fantasia was Yen Sid (what name is it spelled backwards?). • https://www.youtube.com/watch?v=Rrm8usaH0sM • En français

Stories to compare: Strega Nona by Tomie DePaola (Italy) Anansi and the Magic Stick by Eric A. Kimmel (West Africa) What similarities and differences are there? Make a Venn diagram.

Extension: Drama - What if the Sorcerer’s Apprentice had chosen to animate a chair instead of a broom? Or an animal? Act out how the story might have been different with another object.

Media Literacy - Create a “Help Wanted” ad for a sorcerer’s apprentice. What qualities are you looking for? What qualifications should s/he have?

- 24 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Ravel: "Les entretiens de la Belle et la Bête" from Ma mère l'Oye

• The story of this fairy tale, like Cinderella, is familiar yet not quite the same as the animated version your students may be familiar with: https://www.yourclassical.org/story/2019/06/01/classical-kids-storytime-beauty-and-the-beast

• The repeated “Will you marry me?” in the story is also part of the dialogue in the music: Orchestra of the University of Music FRANZ LISZT Weimar (student musicians)

9:25-10:33 Belle 10:33-10:58 Beast 10:58-11:18 Both together 11:18 Crescendo - “Voulez-vous être ma femme?” (Will you be my wife?) 11:31 Decrescendo then dialogue (Can you hear both themes played together? What does that signify? conversation) 12:05 crescendo Can you tell with the Beast transforms into the Prince? 12:19 Transformation (Cymbals, silence) 12:23 Glissando of harp 12:24 violin solo (Beast)

• Originally written for 2 people (four hands) on the same piano - how do they use only one instrument to convey the same piece as a whole orchestra? https://m.youtube.com/watch?v=q3VFSI2sXJE

Extension: Equity - Most students will recognize this popular song from the animated Beauty and the Beast: https://www.youtube.com/watch?v=u2dRMBQsq_M The difference is that the French orchestra playing the piece is special: Tetras-Lyre includes musicians with intellectual disabilities and unusual instruments for orchestra (recorder, acoustic guitar, electric bass guitar, djembe). They are playing with Miner’s Brass Band of Idrija (a Slovenian group - among the oldest brass orchestras in Europe! Over 350 years old.) Also, did your students notice that there is a female conductor? Isabelle Herlin

Similar stories to compare: Cupid and Psyche (Ancient Greek) East of the Sun, West of the Moon by Jackie Morris (Norway) The Dragon Prince by Laurence Yep (China)

- 25 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Stravinsky: "Final" from The Firebird

• The Firebird is a Russian folk tale that was turned into a ballet. (Zhar’-ptitsa is the Romanized version of the Russian name.) • An audio version of “The Firebird” by Classics for Kids: https://beta.prx.org/stories/187051 • Print versions of the story: 1. The Orchard Book of Stories from the Ballet by Geraldine McCaughrean (Also contains Cinderella) 2. The Firebird by Jane Yolen (tells the story and shows the corresponding scene from the ballet) 3. The Firebird by Gennady Spirin 4. The Firebird by Demi • This piece is meant to be played by a large orchestra because it begins quietly but gets louder. All the instruments have joined in by the end. • A video of the TSO performing the Firebird with Peter Oundjian conducting: At 18:19, the French horn solo begins the piece. Prince Ivan is searching for the egg that contains Koschei’s soul. At 18:51, you can hear the harp. At 19:26, a crescendo begins. Prince Ivan smashes the egg, destroys Koschei and breaks the spell so all the captives are freed, including Tsarevna. Prince Ivan thanks the Firebird and she flies off. At 20:02, the brass section begins to play a fanfare. What is a fanfare? (A short, lively part usually played by the brass section that announces a person or event. Often, it is celebratory like in this piece where it indicates the marriage of Prince Ivan and Tsarevna.) Even the triangle at 20:18 is played repeatedly to signify celebration. • This piece is the finale of the ballet “The Firebird”. The TSO concert also used it as the final piece of the conert. Why do you think they might have chosen this piece to be last? (Stravinsky had all the instruments playing at the end so the audience would leave with the sound of the whole orchestra in their ears. Maybe the TSO hopes for the same for us?)

Compare the characteristics of ballet (precise, synchronized movements with straight legs, special pointe shoes, etc.) and another form of dance (hip hop, line dancing, mambo, Irish dancing, ballroom dancing). This is a very famous piece of music that has been included in: • Disney’s Fantasia 2000 ending (5:40) https://www.youtube.com/watch?v=3eG_O1wEJ40 • The 2014 Sochi Olympics (Russia) opening ceremony • Yes (an English progressive rock band that was interested in the structures of classical music; known for the song “Owner of a Lonely Heart”) played this at the beginning of each concert in their 1971-72 tour

Extension: Read your students The Firebird by Misty Copeland, an excellent way to showcase this amazing ballet dancer who is the American Ballet Theatre’s first principal dancer of colour. She danced the role of the Firebird! A short bio of Misty Copeland.

- 26 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Lesson One: Tempo and Dynamics

Tempo

• Listen to the pieces (or clips of the pieces depending on your students). • Ask them to identify if the tempo of each piece is fast or slow by keeping the beat with their feet. Does the tempo change during the piece? (No.) • Identify the tempo of each piece.

Puff the Magic Dragon (slow)

Cinderella (fast)

Prelude to Hansel and Gretel (slow)

• Now listen to these pieces and have the children keep the beat with their feet. What happens in these songs? (the tempo gets faster)

Hall of the Mountain King

Sorcerer’s Apprentice

Movement and Dance: Have your students use their bodies to show understanding of the tempo of the music. If you have room in your classroom or outside, they can use their whole bodies, or, if space is limited, simply use their hands and arms or a puppet or doll.

- 27 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Lesson One: Tempo and Dynamics

Dynamics

• Listen to the following pieces:

Puff the Magic Dragon (soft)

• Ask the students to identify if the dynamics of this song are soft or loud. Do the dynamics change during the song? (No) • Now listen to these pieces (or clips) and have the students use a hand to show the level of the dynamics. Demonstrate by putting your hand up in the air when it is loud and hand down low when the music is soft. • What happens in these pieces? (the dynamics change)

In the Hall of the Mountain King: • Why does it start out soft? What do you imagine Peer Gynt is doing during this part? Maybe tip toe-ing through the castle? Trying to escape from the Troll King? • Why does the music get louder? What is Peer Gynt doing? Is he running now? Are the trolls chasing him? Or maybe the argument over what to do with him is getting more heated! • Listening map: https://www.youtube.com/watch?v=A-p9v5hed0w

Les entretiens de la Belle et la Bête • Can you hear the crescendo? Beast is asking Belle to be his wife. • Can you hear the decrescendo? Belle’s theme and Beast’s theme are played at the same time - this is their conversation. • Can you hear a second crescendo? Belle is rushing back to the dying Beast and discovering she loves him and leads to his transformation back into a human prince.

The Firebird • Can you hear the crescendo as Prince Ivan finds the egg and smashes it? Why do you think the composer chose to include a crescendo here? (high point of action or climax)

Drama: These are fun scenes to act out, either together as a class or in small groups. For example, how does Puff move when he’s with Jackie Paper? Does it change when he is sad? What would a troll move like? Would all the trolls move the same way, or could they be different sizes and shapes so their movements would be different? What size would Koschei’s egg be? How would you pick it up if it were big? Small? Heavy? Light? What about big but light? Small but heavy?

- 28 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Lesson Two: Pitch and Timbre

Pitch

• Listen to the following piece (or clip): Les entretiens de la Belle et la Bête • Ask your students to identify the instrument playing the melody at the beginning of the piece (clarinet). Which character does this melody represent? (Belle - listen for it to repeat later) How do you know? (high and soft) • What instrument plays the second melody? (contrabassoon or double bassoon) Which character does this melody represent? (Beast - this melody will repeat also) How do you know? (low pitch and louder) • How is Beast’s theme played differently after his transformation? (violin/cello - higher pitch) Why do you think the composer chose a higher pitch for the prince?

Extension Science (Grade 4 Sound unit) Think about a contrabassoon: its pitch is lower than a bassoon, so would you expect the contrabassoon to be bigger or smaller than the bassoon? (bigger) Why? https://www.dkfindout. com/us/science/sound/making-music/

Timbre How can you tell which instrument is playing? Voices and instruments can be identified because of their timbre (tam-bur) or tone colour. Challenge your students to identify as many instruments as they can by having them listen to the pieces but not view the video of the orchestra. (Same links as “Introducing the Pieces”.) “Shawl’s Dance” by the Netherlands Radio Philharmonic Orchestra (from 2:40) Prelude to Hansel and Gretel by the Wiener Philharmoniker (approximately first three minutes) “In the Hall of the Mountain King” by the Berliner Philharmoniker L’Apprenti sorcier by the Russian Philharmonic “Les entretiens de la Belle et de la Bête” by Orchestra of the University of Music FRANZ LISZT Weimar (9:25) “Final” from Firebird by the Toronto Symphony Orchestra Notable moments: Violins in “In the Hall of the Mountain King”, the glockenspiel part in “L’apprenti sorcier”

Dramatise the instruments: What would a piccolo look like if it moved around? What about a double bass? A drum? What if the instruments were animals? Which animal would a harp be? An oboe?

- 29 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Lesson Three: Mood

• The mood of the music is what you feel when you hear it. How do elements of music like tempo, dynamics and pitch make you feel certain emotions?

• Listen to the following piece (or clip): Cinderella • Do you think the mood of the music shows harmony/calm or does it show conflict/arguing? (conflict) The short, fast sounds and changes in pitch mimic the step-sisters jeering and mocking Cinderella.

• Compare the “Shawl’s Dance” to “Midnight” from later in the ballet https://youtu.be/N92-mcfLEzI • How is the clock ticking represented? (repeated notes on the xylophone) Is the mood calm or anxious? (also not calm!) Why? (something important is happening - what could it be? Hint: it’s Midnight!)

• More than one mood can be represented in a piece. • Listen to the following pieces and ask students what words describe the mood in different parts of each song. Consider playing the pieces without reminding them of the title as the mood each student feels does not need to correspond to the story. Some suggestions for words to describe mood have been provided, and more are available here: https:// moretime2teach.com/teaching-mood-with-music/

The Firebird (hopeful, excited, nervous, celebratory)

L’Apprenti sorcier (dark and mysterious at the beginning, then excited, cheerful, nervous, confused, panic, overwhelmed, violent, triumphant, ashamed)

Prelude to Hansel and Gretel (content, mellow, relaxed, lively, excited, playful, peaceful, passionate, melancholy)

Looking for ways to connect mood in music to mood in writing? https://www.youtube.com/watch?v=SQq7XZ_Im34

- 30 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Lesson Three: Mood

Which piece of music would be appropriate for a scene: (suggestions may vary) • Where someone has accomplished something? • (fanfare at the end of The Firebird) • Where something crazy or scary happens? • (In the Hall of the Mountain King, L’Apprenti sorcier, Beast part in Les entretiens de la Belle et de la Bête) • In which a person is sad because their best friend is moving • (Puff the Magic Dragon) • Two people are dancing • (Belle’s part in Les entretiens de la Belle et la Bête) • Someone is waking up in the morning • (Beginning of Prelude to Hansel and Gretel)

- 31 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Lesson Four: Post-concert

So many things to discuss after seeing a live performance!

Activity 1:

What is an ostinato? (A rhythmic pattern or melody that repeats) (primary) https://www.youtube.com/watch?v=jK2IOfGTRIs (junior) https://makemomentsmatter.org/content/film-friday-around-the-world-teaching-ostinato/

Can you think of a piece that had a part that repeated? (many examples) Listen to the piece: In the Hall of the Mountain King The same melody is repeated over and over. Notice the strings are being plucked (pizzicato). How do the notes sound? (Short, clipped: staccato) Why do you think the composer wanted these short, clipped sounds? (evokes tip-toe-ing) Even when the strings section is using their bows across the strings, the articulation is still staccato.

Your students can compose ostinatos to play individually or in groups. You can layer them all to create an original song by your class. Example lesson plan (free download): https://www.teacherspayteachers.com/Product/ Composing-Ostinatos-in-Elementary-Music-668017 Example of rubric:

Criteria Level 1 Level 2 Level 3 Level 4 Composition -incomplete - simple rhythms - uses a mix of - uses an -requires used rhythmic values interesting or assistance for - little variation in - each note goes original mix of each step sounds with a sound rhythmic values (instrument, body and sounds percussion) - uses creative process to improve

Performance -multiple - some elements - plays entire - can play elements missing missing composition composition at - keeps steady the same time beat as others play a - proper note different rhythm duration

- 32 - The TSO gratefully acknowledges Christina Huang Lesson Plans for preparing these lesson plans

Lesson Four: Post-concert

Activity 2:

Compare the TSO’s seating plan with a general seating plan for an orchestra: https://i.pinimg.com/originals/36/fe/ed/36feed67094e1d133e166868d4c712b3.png

Is the TSO set up like a Baroque, Classical, Romantic or Modern Period Orchestra? https://www.mydso.com/dso-kids/visit-the-symphony/orchestra-seating-chart

Activity 3:

Create your own fairy tales two ways! 1. Fractured fairy tales are humourous twists on familiar stories. Your students can read some examples and plan their own versions!

Example lesson plan: http://www.readwritethink.org/classroom-resources/lesson-plans/once- upon-link-powerpoint-1043.html?tab=4#session3

2. Read your students the Russian fairy tale “Baba Yaga”. Do any parts of the story remind you of stories from this concert? (Cinderella, Hansel and Gretel, Firebird)

Combine elements of familiar stories to create a new version, like three bears who can’t find their way home and meet a wolf!

Activity 4: Personal Responses

Students can choose a topic to write a personal response.

Examples: • Which piece was your favourite? Why? • Which story was your favourite? Why? • What was your favourite thing about seeing the orchestra perform live? • If you wrote a letter to a musician at the TSO, what would you want to tell or ask him or her? • Explain which instrument in the orchestra would you like to play. • Think about the monthly Character Traits at your school (if applicable). Do any of the stories demonstrate one of the Character Traits? How? • Fairy tales may have been a way of teaching children lessons in how to behave. Pick a fairy tale and tell what lesson(s) it teaches.

- 33 - Artist Biographies

Toronto Symphony Orchestra

performances in Israel and residency at the Prague Spring International Music Festival in 2017. Toronto’s Roy Thomson Hall has been the TSO’s home since 1982. The TSO also serves the larger community with TSOUNDCHECK, the original under-35 ticket program; the Toronto Symphony Youth Orchestra (which is tuition free); and music-education programs that reach tens of thousands of students each year.

The TSO was founded in 1922 by a group Incoming Music Director Gustavo Gimeno of Toronto musicians and Viennese-born conductor Luigi von Kunits. The New Symphony Orchestra, as it was then called, gave its first Every year, over 37,000 young students performance in April 1923 at Massey Hall. experience the TSO in performance. In The name Toronto Symphony Orchestra was consultation with Music Coordinators from the adopted four years later. Boards of Education, TSO staff design School Concerts to help teachers deliver the Ontario Throughout its history, the Toronto Symphony Music Curriculum. The concerts are entertaining Orchestra has welcomed some of the greatest yet firmly based on educational concepts. Four international artists including James Ehnes, different programs address the learning needs Barbara Hannigan, Maxim Vengerov, Emanuel of Primary (Kindergarten to Grade 4), Junior/ Ax, Yo-Yo Ma, Itzhak Perlman, Jessye Norman, Intermediate (Grades 4 to 8), Intermediate/ Karen Kain, Yefim Bronfman, Angela Hewitt, Senior (Grades 7 to 12), and French- Renée Fleming, Pinchas Zukerman, Lang Lang language students (Kindergarten to Grade 5). (in his first week-long residency program in North America), and actor Christopher Established in 1922, the Toronto Symphony Plummer. Renowned composers Henri Orchestra (TSO) is one of Canada’s most Dutilleux, R. Murray Schafer, Aaron Copland, important cultural institutions. The TSO has Phillip Glass, John Adams, Tan Dun, and George distinguished itself as an active supporter Benjamin, among many others, have been in of new Canadian and international works. attendance for the Orchestra’s presentations Since 2008, the Orchestra has released eight of their music. recordings under its self-produced label tsoLive, and three recordings with Chandos Records. Over the past decade, the TSO has toured throughout Canada and internationally. Tour highlights include the Orchestra’s performance at Reykjavik’s Harpa Hall in 2014, and, more recently, the TSO’s first-ever

- 34 - Artist Biographies

Dina Gilbert Conductor

My name is Dina and I started playing piano and singing in choirs at age 5. Music was an easy choice since I was following the footsteps of my older sisters. Later on, I decided to learn the clarinet. At age 15, I had my first experience conducting marching bands in the Air Cadets! I still cannot believe how lucky I am to be an orchestra conductor since the first time I heard that it could be a real profession it felt as improbable...as to become an astronaut! So what does the conductor do exactly? I study a lot of music scores, I get excited about music all day long, I drink a lot of coffee and I get to work with fabulous musicians from all around Canada and the world!

- 35 - Artist Biographies

Jeffrey Beecher Double Bass and Host

Jeff started making music on a drum set made of pots and pans found beneath his kitchen sink. He switched to the double bass so he could hang out with his tall friends during music class. Jeff and his bass have traveled all over the world, playing low notes for prime ministers, presidents, sultans, princesses and empresses. His bass is really old - it was made 329 years ago in Italy. He loves basketball, cooking delicious food, and watching movies. He’s still a pretty good kitchen drummer.

- 36 - Musical Term Glossary

A cappella: music sung without instrumental Double-stop: a technique on string instruments accompaniment. In Italian, a cappella means in which two notes are played simulaneously. “in the style of the chapel.” Triple stops and quadruple stops can also be Accented Beats: these are the beats in a rhythm played, in which three and four (respectively) pattern that are stronger because they are notes are played simultaneously. emphasized or stressed. Accented notes are Dynamics: the intensity, or loudness and indicated using a “>” symbol which goes above softness, of music. or below the note to indicate that that note Embouchure: the way the mouth is held to play should be stressed or accented. a woodwind or brass instrument. Amplify: to make a sound stronger or louder. Fingerboard: the strips of wood on a stringed The hollow body of an instrument amplifies its instrument’s neck over which the strings are sound. stretched and fingered to change the pitch. Arco: to play a stringed instrument using a bow. Harmony: the sound created when two or more Bar: another name for a measure notes are played at the same time. Bar line: a vertical line on a musical staff that Improvise: to make up music as you go, divides the beats into small groups or bars. without using scores or musical notation that is Baton: a small stick used by the conductor to written down. Many jazz musicians incorporate beat time. A stick helps to make the motion improvisation into their performance. more easily visible to the members of the Legato: notes played smoothly and in a orchestra. connected manner, without any noticeable Beat: a beat is a regular pulsation. It is a basic break or articulation between them. unit of length in musical time. Leitmotif: a phrase or melodic cell that signifies Clef: a sign at the beginning of the staff to fix a character, place, plot element, mood, idea, the position of one note. The most common relationship or other specific part of an opera are the treble and bass clefs. of symphonic work. Chord: a series of notes, usually three or more, Measure: the notes and rests between two bar that are sung or played together to create lines. harmony. Metre: a regular pulse made up of strong and Col legno: Italian for “hit with the wood”, this weak beats. is a bowing technique where players strike the Melody: a sequence of musical notes that make string with the stick of the bow, rather than by up a tune. drawing the hair of the bow across the strings. Movement: a section of music which contains Concertmaster: the leader of the first violin certain musical ideas, much like a chapter in a section who tunes the orchestra and works book. closely with the conductor. Notes: representation of musical tones using Conductor: leader of the orchestra who makes written symbols. decisions about how the music will be played Octave: the distance between one tone of a with respect to tempo and dynamics, and keeps scale and the next higher or lower tone of the the musicians together during a performance. same pitch; for example, middle C and C above Crescendo: gradually increasing in loudness. middle C are an octave apart. Decrescendo: gradually decreasing in loudness Pitch: the highness or lowness of a sound. Dotted note or rest: a note or rest to which Pizzicato: to play a stringed instrument by a dot is added. The dot adds one-half of the plucking the strings with the fingers. note's value.

- 37 - Musical Term Glossary

Pluck: to pull up or down on a string with your Syncopation: displacement of beats of accents finger, thumb or a pick. so that emphasis is placed on weak beats rather Podium: the raised platform in front of the than on strong beats. orchestra on which the conductor stands. Tempo: the speed at which a piece of music is Reed: a thin piece of cane or other material, played. attached to an instrument at one end and Timbre: the character or quality of a musical free to vibrate at the other. Found on oboes, sound or voice as distinct from its pitch and clarinets, saxophones and bassoons. dynamics. Resonator: the part of an instrument, usually Time Signature: appears at the beginning of the the body, that amplifies the sound caused by staff. The lower figure shows the kind of notes vibrating strings or air column. taken as the unit of measure, while the upper Rests: a pause or interval of silence between figure shows the number of these notes that two tones. can fit in a measure. Rhythm: patterns of sound and silence in a Tone: the tone is the quality of musical sound, piece of music. such as rich, mellow, harsh, brilliant, etc. Scale: music arranged in ascending or Tremolo: a rapidly repeated note. descending pitches. The C major scale consists Unison: two or more instruments sounding the of the notes c,d,e,f,g,a,b,c. same note. Score: music in written form with all the parts Valves: the mechanisms on some brass set down in relation to each other. instruments that make it possible for the Sound Wave: when something vibrates, musician to change pitches and play all the or moves quickly back and forth, it causes notes of the scale. molecules in the air to move, creating sounds that move in waves in your ear. Spiccato: a bowing technique that uses a semi- off-the-string style to produce a light “bouncing” sound. Watching the musicians it looks like the bow is bouncing up off the string the second it makes contact. Spiccato is usually performed at the balance portion of the bow. The balance portion of the bow refers to the area of the bow where weight is distributed evenly on both sides, allowing for maximum control. Staff: five parallel horizontal lines, on which notes are written in the spaces, on the lines, or above and below the staff using ledger lines. Strum: to play long strokes across all the strings of a string instrument, one after another very quickly using your thumb, fingers or a pick. Symphony Orchestra: a large group of musicians, led by a conductor, who perform together on string, woodwind, brass and percussion instruments.

- 38 - O Canada Recordings

O Canada Recordings

Free recordings available for your school

We have English and French versions of O Canada, played by the TSO and sung by TDSB and TCDSB students. These are available for download and can be played before your morning announcements.

O Canada, English (MP3)

O Canada, French (MP3)

Peter Oundjian, conductor/chef d'orchestre Cardinal Carter Academy for the Arts, Women's Chorus Davisville Junior Public School Choir Toronto Symphony Orchestra

TSO Canada Mosaic: A Canada 150 Signature Project Mosaïque canadienne du TSO: un projet Signature de Canada 150

- 39 - Instruments of the Orchestra

The String Family

Jonathan Crow Theresa Rudolph Winona Zelenka Jeffrey Beecher Heidi Van Concertmaster Assistant Associate Principal Hoesen Gorton Principal Viola Principal Cello Double Bass Principal Harp

The string family is the largest family of instruments in the orchestra. The violin, viola, cello, and bass are made of carefully carved wood and have a set of four strings stretched across them. The strings themselves are made of nylon, steel and sometimes gut. The bow is made of wood and the strings of the bow are either synthetic or horsehair from actual horse tails! The harp is very different from the other string instruments and has a set of 47 strings. It is one of the oldest string instruments and is often considered part of the string family.

Sound is produced by plucking the strings or drawing the bow across them causing the strings to vibrate. The bodies of string instruments are hollow inside to allow sound to vibrate within them. Players apply a substance called rosin to their bows to help the strings vibrate. Rosin is primarily made up of pine sap and helps the hairs on the bow grip the strings. The harp doesn't use a bow but sound is also produced by plucking or strumming the strings.

Players can tune the violin, viola, cello and bass strings using either tuning pegs or fine tuners. To change pitch, players use their left hand to press down their fingers on the fingerboard while their right hand moves the bow or plucks the strings. Players tune the harp using a tuning key to adjust the tuning pegs. The harp is played with both hands and feet! There are seven foot pedals that are used to add accidentals or sharps. The violin, viola, cello, double bass and the harp make up the large string family.

- 40 - Instruments of the Orchestra

The String Family

Violin

The violin is the smallest member of the string family and has the highest voice. There are more violins in the orchestra than any other instrument (up to 30!). The four strings of the violin from the lowest to highest are G, D, A, and E. In an orchestra, the violins are divided into two groups: first violin and second violin. The first violins usually play the melody and the second violins support them by playing intricate harmonies and rhythms. They work together as a team to create complex inner voices and harmonies. The concertmaster is the leader of the first violins.

Viola

The viola looks like a slightly bigger violin. It has thicker strings and produces a lower and warmer sound. The four strings of the viola from the lowest to the highest are C, G, D, and A. The viola is a perfect fifth lower than the violin. Although the violin and viola share three strings (G, D, A), the tone and sound are very different. Music for viola is usually written in the alto clef (also known as the viola clef or C clef). In the alto clef, Middle C is on the third line of the staff. In an orchestra there are usually between ten and fourteen violas.

Cello

The cello looks like a very large violin or viola. It is around 4 feet long and has thicker strings than either the violin or viola. The four strings of the cello from the lowest to the highest are C, D, G and A—same as the viola! However the cello is tuned an octave below the viola. The cello is held between the knees instead of being held under the chin like the violin and viola. The cello rests on the ground and is supported by a metal peg called the end pin. The cello has the closest range to the human voice—which is why people find it so calming to listen to. In an orchestra, there are usually between eight and twelve cellos.

- 41 - Instruments of the Orchestra

The String Family

Double Bass

The double bass is the largest and lowest voice of the string family. It is over 6 feet long and has the longest strings. The four strings of the double bass from lowest to the highest are E, A, D and G. To increase their range, bassists will occassionally add a fifth string or install a mechanical extension to help lower their bottom string to C. The double bass is the only string instru- ment tuned in fourths (though some players will tune in fifths). The double bass is so big that a player must stand or sit on a high stool in order to play it. Like the cello, the double bass also has a metal spike (or end pin) at the bottom, which allows it to rest on the floor. In an orchestra, there are usually between six and eight double basses.

Harp

The harp is one of the oldest instruments. The concert harp stands about two metres tall and covers a range of over 6 ½ octaves. It has 47 strings and seven foot pedals, and is played by strumming or plucking the strings with both hands, and by pressing the pedals with your feet. The pedals are used to add accidentals (sharps and flats) so that the harp can play in different keys. The harp is usually considered part of the String Family because the strings create the sound. However, it is very different from all other stringed instruments and isn’t played with a bow, so it can sometimes be classified in a separate category all on its own.

- 42 - Instruments of the Orchestra

The Woodwind Family

Julie Ranti Sarah Jeffrey Joaquin Valdepeñas Michael Sweeney Associate Principal Oboe Principal Clarinet Principal Bassoon Principal Flute

Many of the earliest woodwind instruments were originally made of wood. Today’s modern woodwind instruments are made of a variety of different materials such as wood, metal, and plastic. All woodwinds are played with mouthpieces and share a similar shape (a nar- row cylinder or tube with holes). Sound is produced by blowing air through the instrument. The mouthpieces for some woodwinds, including the clarinet, oboe and bassoon, use a thin piece of wood called a reed, which vibrates when you blow across it. The clarinet uses a single reed made of one piece of wood, while the oboe and bassoon use a double reed made of two pieces of wood joined together.

The pitch of woodwind instruments is changed by opening or closing the holes with your fingers. Metal caps called keys cover the holes of most woodwind instruments. Similarly to string instruments, the smaller sized woodwinds play higher pitches and the longer and larger instruments play lower pitches. The flute, oboe, clarinet and bassoon make up the woodwind family.

- 43 - Instruments of the Orchestra

The Woodwind Family

Flute

The flute was originally made from wood, stone, clay or bamboo. Today’s modern flutes are made of silver, gold or platinum. The flute is held sideways and to the right of the musician’s mouth. Sound is produced by blowing across a hole in the mouthpiece of the flute which causes the air inside to vibrate. The smaller version of the flute, called the piccolo, is half the size of the flute and is one of the highest sounding instruments in the orchestra. In an orchestra, there are usually between two and four flutes.

Oboe

The oboe is the first instrument you hear at an orchestra concert. It plays a single note (an “A”), and all other instruments tune their instruments to the oboe’s pitch. Sound is produced by blowing air through a double reed at the top of the instrument. This double reed is made up of two very thin pieces of wood that are tied together and vibrate when air passes through them. In an orches- tra, there are usually two to four oboes. It often plays important melodies because of its distinctive sound.

- 44 - Instruments of the Orchestra

The Woodwind Family

Clarinet

The clarinet is very similar to the oboe in shape and size. Its mouth- piece however, uses a single reed instead of a double reed. The clarinet is made of wood or molded plastic and has a smooth, mellow tone. They can come in a variety of sizes from the small, e-flat clarinet to the large, bass clarinet. In an orchestra, there are usually between two and four clarinets.

Bassoon

Like the oboe, the bassoon is another woodwind instrument that uses a double reed. The modern bassoon can be made from wood or plastic. The bassoon is the second largest woodwind instru- ment followed by the contrabassoon, which has the lowest voice in the orchestra. If you took apart the bassoon and laid the dif- ferent pieces from end to end, it would measure 2 ½ metres long and the contrabassoon would be 5 metres long! In an orchestra, there are usually between two and four bassoons and they have a similar range to the cello. Most woodwind instruments don’t require much use of the thumb; however, the bassoon is unique in that it has 13 keys which can be played by the thumb.

- 45 - Instruments of the Orchestra

The Brass Family

Audrey Good Steven Woomert Vanessa Fralick Mark Tetreault French Horn Associate Associate Principal Principal Tuba Principal Trumpet Trombone

Early ancestors of the brass family were made of materials such as animal horns, tusks, wood or even shells. Today’s modern brass instruments are made of brass, gold and silver. Brass instruments are made up of a very long pipe which has been curved and coiled into different shapes. This makes them easier to hold and play. Did you know that if you stretched out a French Horn it would measure more than 6 metres in length?

To make a sound, players buzz their lips together into the mouthpiece. The trumpet, french horn, and tuba have valves attached to their long pipes. To change the pitch, players can press down different combinations of valves, or change the pressure and shape of their lips. Brass players sometimes use a combination of these techniques to change the pitch. Instead of valves, the trombone uses a slide to change pitch by pushing the slide in or out. The trumpet, french horn, trombone, and tuba are most the commonly used brass instruments in an orchestra.

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The Brass Family

French Horn

The very first horns were made from the horns of animals and were used to send signals to people beyond calling distance. The hunting horn is the French Horn’s ancestor and was designed so that the tubing wrapped around in a circle, making it easier to carry over the hunter’s shoulder. Valves were added to the instrument in the 1800s, increasing the range of the instrument. In an orchestra, there can be anywhere between two and eight French Horns at a time. The player uses their left hand to press the valves, and inserts their right hand into the bell of the instrument to change the quality of the sound.

Trumpet

Famous for sounding alarms, calls to war, or hunting, the trumpet as a musical instrument has had a long and rich history. Its ancestors were made of conch-shell, animal horn, wood or metal. The trumpet is the smallest and highest pitched member of the brass family. Today’s mod- ern trumpet has three attached valves which creates a wider range of notes than its ancestors. There are typically between two and to four trumpets in an orchestra.

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Trombone

Invented in the 15th century, the trombone was first called a sackbut. It is the only instrument in the brass family to use a slide instead of valves to change pitch. Two U-shaped pipes are linked at opposite ends to form an “S”. One pipe slides into the other so you can extend or shorten the total length of the pipe. Players use their right hand to change pitch by pushing the slide in or out. In 1808, Beethoven helped popularize the trombone in orchestral music after writing a trombone part in the finale of his Fifth Symphony. The trombone family is made up of three trom- bones: alto, tenor and bass. In an orchestra, there are typically two tenor trombones and one bass trombone.

Tuba

The tuba is the biggest and lowest pitched instrument of the brass family. Invented in 1835, the tuba is the youngest member of the brass family! It has a very rich, deep sound and if you stretched the tuba out into one long piece, it would measure about 5 ½ metres. Typically, there is only one tuba in an orchestra and it usually plays harmony, rarely the melody. The tuba is related to the euphonium (a small- er, high-pitched tuba) and the sousaphone (an instrument invented by John Philip Sousa, and used a lot in marching bands).

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The Percussion Family

Charles Settle David Kent Principal Percussion Principal Timpani

The percussion family traditionally includes any instrument that produces sound when struck, shaken or scraped. Percussion instruments can be classified into different categories: pitched or unpitched. Pitched instruments, such as the xylophone, timpani, or piano, play specific pitches just like the other instrument families. Unpitched instruments, such as the bass drum, tambourine, or cymbals, produce no definite pitch.

Percussionists will often play many different instruments in one piece of music. In the orchestra, the percussion section is one of the most versatile sections and provides a huge range of timbres, rhythms, unique sound effects and textures. The snare drum, bass drum, glockenspiel, xylophone, triangle, tambourine, cymbals, timpani, and piano are the most commonly used percussion instruments in an orchestra.

- 49 - Instruments of the Orchestra

The Percussion Family

Timpani

The timpani, sometimes called kettledrums, are made of a large copper bowl with a drumhead stretched across the top. These large, pitched drums are used frequently in orchestral music. The pitch of each timpani depends on the size of the bowl, as well as the tension of the drum head; the tighter the skin, the higher the note. The range of timpani is approximately two octaves. To change notes, players use a foot pedal located at the base of the timpani. Timpani were the first drums to be used in the orchestra, with most orchestras using three or four in their setup.

Snare Drum

The snare drum has a crisp, and bright sound. It has two heads stretched over a hollow metal or wood frame. The top head is struck with two wooden drum sticks. The bottom head has strings of wire or gut stretched across it called snares. The snare produces a rattling sound as it vibrates across the head. The snares are loosened for softer notes and tightened for a crisper or sharper tone.

Bass Drum

The bass drum is the largest drum in the orchestra and has a low, deep sound. It is constructed like the snare drum but without snares. The bass drum is played on its side so that both sides can be played. The bass drum is played with a bass drum beater which is a large wooden stick with sheep’s wool or felt covering one end. Both the snare and bass drums were originally used in the military before they became members of the orchestra’s percussion section.

Tambourine

A tambourine is a small frame drum with a calfskin or plastic head stretched across one side. Inside the frame, there are several small metal discs attached that jingle when moved. Sound is produced by shaking, rubbing, or striking the head.

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The Percussion Family Triangle

A triangle is a piece of metal bent into a triangle shape. It is commonly made out of steel and is suspended on a nylon loop. It is played by striking it with a metal beater. The triangle produces a shimmering, tinkling sound similar to a bell.

Cymbals

Cymbals are two slightly curved brass plates, which are held with leather straps. When hit together they produce a resounding ring. Cymbals come in a variety of sizes and can produce a wide range of sound effects. A single cymbal can also be suspended from a stand and struck with drumstick or padded mallet. Piano

The piano is a pitched keyboard instrument with 88 black and white keys. It has the largest range of any instrument in the orchestra. When a player presses the keys it causes a small hammer to strike the corresponding strings inside the instrument. The piano is classified as a percussion instrument because sound is produced by hammers striking the strings.

Xylophone

The xylophone is a pitched mallet instrument consisting of tuned wooden bars mounted on a metal frame. The wooden bars are usually made of rosewood but can also be made of synthetic materials. The bars are arranged in two rows similar to the keys of a piano. The xylophone produces a bright, sharp, short tone. Sound is produced by striking the bars with hard mallets. The xylophone sounds one octave higher than written. The origin of the xylophone is unclear, but similar instruments were known in Africa and Asia, dating back to the 14th century.

Glockenspiel

The glockenspiel is a pitched mallet instrument and is often called "bells". It is made of tuned steel bars that are arranged in two rows like the keys on a piano. The glockenspiel has a very bright and piercing tone. The range is generally two and half octaves and it sounds two octaves higher than written. Sound is produced by striking the steel plates with hard mallets. - 51 - Members of the Orchestra 2019/20

Sir Andrew Davis Clare Semes FLUTES Gabriel Radford Interim Artistic Director Peter Seminovs Kelly Zimba Nicholas Hartman Gustavo Gimeno Jennifer Thompson PRINCIPAL Incoming Artistic Director Angelique Toews Toronto Symphony Volunteer TRUMPETS Peter Oundjian James Wallenberg Committee Principal Flute Chair Andrew McCandless, Conductor Emeritus Virginia Wells Julie Ranti, PRINCIPAL Steven Reineke ASSOCIATE PRINCIPAL Toronto Symphony Volunteer Principal Pops Conductor VIOLAS Leonie Wall Committee Principal Trumpet Simon Rivard Victor Fournelle-Blain Camille Watts Chair RBC Resident Conductor PRINCIPAL Steven Woomert, & TSYO Conductor Rémi Pelletier PICCOLO ASSOCIATE PRINCIPAL Gary Kulesha ASSISTANT PRINCIPAL Camille Watts James Gardiner Composer Advisor Theresa Rudolph James Spragg Emilie LeBel ASSISTANT PRINCIPAL OBOES RBC Affiliate Composer Daniel Blackman Sarah Jeffrey, TROMBONES Ivan Ivanovitch PRINCIPAL Gordon Wolfe, VIOLINS Gary Labovitz Principal Oboe funded by Pam and PRINCIPAL Jonathan Crow, Diane Leung Chris Hodgson Vanessa Fralick, CONCERTMASTER Charmain Louis Keith Atkinson, ASSOCIATE PRINCIPAL ASSOCIATE PRINCIPAL Tom Beck Concertmaster Chair Mary Carol Nugent Ze Yu (Victor) Li, Christopher Redfield Cary Ebli BASS TROMBONE ASSOCIATE Ashley Vandiver Hugo Lee Jeffrey Hall CONCERTMASTER Mark Skazinetsky, CELLOS ENGLISH HORN TUBA ASSOCIATE Joseph Johnson, Cary Ebli Mark Tetreault, CONCERTMASTER PRINCIPAL PRINCIPAL Marc-André Savoie, Principal Cello Chair funded by Dr. CLARINETS ASSISTANT Armand Hammer Joaquin Valdepeñas, TIMPANI CONCERTMASTER Emmanuelle Beaulieu PRINCIPAL David Kent, Sheryl L. & David W. Kerr Principal Etsuko Kimura, Bergeron PRINCIPAL Clarinet Chair ASSISTANT ASSOCIATE PRINCIPAL Joseph Kelly, Winona Zelenka, Eric Abramovitz, ASSISTANT CONCERTMASTER ASSOCIATE PRINCIPAL Paul Meyer, ASSISTANT PRINCIPAL Alastair Eng Miles Jaques PERCUSSION PRINCIPAL SECOND Joseph Orlowski VIOLIN Igor Gefter Charles Settle, Wendy Rose, Marie Gélinas PRINCIPAL Roberta Janzen BASS CLARINET Joseph Kelly ASSOCIATE PRINCIPAL Miles Jaques SECOND VIOLIN Britton Riley+ John Rudolph Eri Kosaka BASSOONS ASSISTANT PRINCIPAL DOUBLE BASSES HARP Jeffrey Beecher, Michael Sweeney, Heidi Van Hoesen Gorton, SECOND VIOLIN PRINCIPAL Atis Bankas PRINCIPAL PRINCIPAL Darren Hicks, Principal Harp funded by Richard Yolanda Bruno Principal Double Bass Chair annually funded by the ASSOCIATE PRINCIPAL Rooney and Laura Dinner Amalia Joanou-Canzoneri Saunderson Family Samuel Banks Sydney Chun Michael Chiarello Fraser Jackson LIBRARIANS Carol Fujino ASSOCIATE PRINCIPAL Gary Corrin, Amanda Goodburn Theodore Chan CONTRABASSOON PRINCIPAL Terry Holowach Timothy Dawson Fraser Jackson Principal Librarian funded by Bob Bridget Hunt Chas Elliott and Ann Corcoran Mi-Hyon Kim David Longenecker HORNS Kim Gilmore+ Shane Kim Paul Rogers Neil Deland, Douglas Kwon PRINCIPAL PERSONNEL Leslie Dawn Knowles Dr. Michael Braudo Principal Horn David Kent, Douglas (Ku Won) Kwon Chair PERSONNEL MANAGER Sergei Nikonov Christopher Gongos, Young Dae Park ASSOCIATE PRINCIPAL *On sabbatical Semyong Pertsovsky +On leave - 52 Audrey- Good Student Evaluation Form

Date you attended: ______Name of school (optional): ______

1. What was your favourite part of the concert and why?

2. What was your least favourite part of the concert and why?

3. Describe how you felt during one of the pieces on the program. Why do you think you felt that way?

4. Was there anything that surprised you during the concert?

5. If you were given the task of putting together a concert for the TSO, what two pieces would you recommend and why?

Other comments ...

PLEASE RETURN TO: MAIL: Toronto Symphony Orchestra, 500-145 Wellington St W, Toronto ON M5J 1H8 (Mail or Email) EMAIL: [email protected]

- 53 - Teacher Evaluation Form

Date you attended: ______Name of school (optional): ______

1. How did you hear about this concert? (Please circle) Brochure Email Website Advertisement Colleague Other

2. Please circle the appropriate rating:

Audience Response Excellent Very Good Good Fair Poor Educational Value Excellent Very Good Good Fair Poor Conductor’s Rapport with the Students Excellent Very Good Good Fair Poor Teachers’ Study Guide Excellent Very Good Good Fair Poor

3. Was this the first time you brought a group to the TSO School Concerts ? Yes No If not, how long have you been bringing students to the TSO School Concerts ?

4. What did your students like most?

5. Which section of the Teachers' Study Guide did you find most useful?

6. Did you use the podcast? Yes No If so, what was most useful?

7. Is there anything you’d like to share with the generous donors who support the TSO School Concerts?

8. Any additional comments? We greatly value teacher feedback and would love to hear from you!

PLEASE RETURN TO: MAIL: Toronto Symphony Orchestra, 500-145 Wellington St W, Toronto ON M5J 1H8 (Mail or Email) EMAIL: [email protected] - 54 - The Musician's Kit

- 55 - Toronto Symphony TS Orchestra

Have a question?

Call: 416.598.5386 (Mon–Fri, 9:00am–5:00pm) Email: [email protected] For more information: TSO.CA/Education

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