Picture This: Musical Imagery

NASHVILLE SYMPHONY YOUNG PEOPLE’S CONCERTS

PICTURE THIS: MUSICAL IMAGERY

GRADES 5-8 TABLETABLE OFOF CONTENTSCONTENTS

3 Letter from the Conductor

4 Concert Program

5 Standard Equivalencies

6 Music Resources

7-9 Lesson Plan #1

10-11 Lesson Plan #2

12-13 Lesson Plan #3

14-26 Teacher Resources

27 Pre-Concert Survey

28 Post-Concert Survey

29 Contact Information

30 Sponsor Recognition LETTER FROM THE CONDUCTOR

Dear teachers and parents,

Welcome to the Nashville Symphony’s Young People’s Concert: Picture Tis! Music has the power to evoke powerful imagery. It has the power to stir our imaginations, express beautiful landscapes, and create thrilling stories. Tis concert will explore images created by some of the world’s greatest composers including Rossini, Grieg, Stravinsky, Prokofev, and Ravel.

Te Education and Community Engagement department has put together these lesson plans to help you prepare your students for the concert. We have carefully designed activities and lessons that will coincide with the concepts we will be exploring during the performance. I encourage you to use this guide before or afer the concert to enhance your students’ musical experience. Trough a partnership with NAXOS, we are also able to ofer free online streaming of music that will be featured in the concert. We hope you enjoy! We look forward to seeing you at the Schermerhorn Symphony Center to hear Nashville’s biggest band!

Sincerely, Vinay Parameswaran

3 CONCERTCONCERT PROGRAMPROGRAM

YOUNG PEOPLE’S CONCERTS PICTURE THIS: MUSICAL IMAGERY GRADES 5-8

October 20th at 10:15am and 11:45am

Concert Program

Edvard Grieg | “Morning Mood” from Peer Gynt Suite Gioachino Rossini | “Overture” from Barber of Seville Sergei Prokofev | “Tröika” from Lt. Kijé Maurice Ravel | Two Movements from La Mère L’Oye Suite: 3: “Laideronnette Impèratrice Des Pagodes” 5: “Le Jardin Féerique” Igor Stravinsky | “Infernal Dance,” “Berceuse” & “Finale” from The Firebird

4 STANDARDSTANDARD EQUIVALENCIESEQUIVALENCIES

Lesson #1

Music Standards 6.3.2 Describe aural examples of music using appropriate vocabulary.

8.2.1 Explore the correlation between music and another academic discipline.

Common Core W.5-8.10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

Lesson #2

Music Standards 6.4.3 Analyze styles and genres of music using teacher-given parameters.

Common Core W.5-8.3 Write narratives to develop real or imagined experiences or events using effective technique, relativist descriptive details, and well-structured event sequences.

Lesson #3

Music Standards 4.1.3 Create, individually, a short original composition using a variety of traditional and nontraditional sound sources.

8.2.1 Explore the correlation between music and another academic discipline.

Common Core RL.5-8.7 Compare and contrast the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version of the text, including contrasting what they “see” and “hear” when reading the text to what they perceive when they listen or watch.

5 MUSICMUSIC RESOURCESRESOURCES

The Nashville Symphony is pleased to partner with NAXOS. NAXOS has provided exclusive access to their online NAXOS Music Library for teachers using the Young People’s Concert Curriculum Guides. Instructions on how to play the music included in all of the lesson plans will be emailed to you when you register for the concert.

Listening Excerpts on http://www.naxosmusiclibrary.com under playlists. Lesson 1 • Activity 1 Lesson 2 • Activity 1

• “Morning Mood” from Peer Gynt Suite by Edvard Grieg • “Tröika” from Lt. Kijé by Prokofiev Lesson 1 • Activity 2 Lesson 3 • Activity 1

• Overture from Barber of Seville by Gioachino Rossini • The Firebird Suite by Stravinsky

6 LESSONLESSON #1:#1: IMAGINEIMAGINE THISTHIS

Music Resources Listening Excerpts on http://www.naxosmusiclibrary.com under playlists.

Overview of Lesson #1

Activity 1: Where in the World is Peer Gynt? (25 minutes) Music Resources ActivityListening 2:Excerpts At the on Opera http://www.naxosmusiclibrary.com (25-30 minutes) under playlists.

Standards

Music Standards: • 6.3.2 Describe aural examples of music using appropriate vocabulary. • 8.2.1 Explore the correlation between music and another academic discipline.

Common Core: • W.5-8.10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

7 ACTIVITYACTIVITY 1:1: WHEREWHERE ININ THETHE WORLDWORLD ISIS PEERPEER GYNT?GYNT?

Objective • Students will gain an understanding of the life of composer Edvard Grieg • Students will become familiar with Morning Mood

Time needed 25 minutes

Materials Map of Europe/Norway (page 14) Map of Africa/Sahara (page 15) Images of Mountains (page 17-18) Biography of Edvard Grieg (page 16) Listening excerpt of Morning Mood (on Naxos playlist) About the Music - Peer Gynt (page 16)

1. Introduce Edvard Grieg and provide a brief biography. Ask the students if anyone knows where Norway is; have a volunteer point to the country on the map provided. Explain that this is both the home of Grieg and the fairytale character Peer Gynt.

2. Play the recording of Grieg’s Morning Mood.

3. Have students each choose a painting to match the piece from the options provided in the resource section (make copies so a few students choose the same painting). Have students organize into groups according to their paintings.

4. As teams, have student groups write three or more musical terms or adjectives that describe the music, and write short explanations about how those aspects of the piece relate to the painting they chose.

5. Show a map of the Sahara desert. Explain that this piece was written to depict Peer Gynt waking up in the Sahara desert after many adventures have taken him far from home (refer to About the Music - Peer Gynt). Ask students if, based on the music, they think Peer Gynt is imagining his home of Norway (mountainous, green, and cool) or looking at the desert that surrounds him (brown and hot).

Assessment • Have each group present their list of musical terms and adjectives and explain their connections to the paintings. Groups should share, defend, and compare and contrast their terms and adjectives with one another. • Ask students to ponder and write a response: How does music remind the listener of certain images or emotions? Give an example of a time when music made you picture something or feel a certain way.

8 ACTIVITYACTIVITY 2:2: ATAT THETHE OPERAOPERA

Objectives • Students will gain an understanding of what opera is through background on The Barber of Seville and vocabulary relating to opera.

Time needed 25-30 minutes

Materials Listening excerpt of the Overture from Rossini’s The Barber of Seville (on Naxos playlist) At the Opera worksheet (page 19-20) “Heads Up” cards (page 21-23)

1. Introduce this lesson by explaining that there are other ways to “picture” music in addition to paintings and still images. Have the students think of art forms that use BOTH auditory and visual elements (film, theater, dance... Opera!). Pass out the “At the Opera” worksheet and provide all the missing information from the worksheet for the students to fill in.

2. Play the excerpt of the Overture from Rossini’s The Barber of Seville.

3. Lead a brief class discussion about the definition of overture (as defined at the end of the worksheet). Have students write a paragraph on the following prompt: What is the purpose of the Overture in an opera? Do the students think the Overture in Barber of Seville effectively served its purpose?

Assessment • Pair students and give each a set of “Heads Up” cards. To play, the first partner should pick one card and place it on their forehead. The second partner should describe the word by providing a definition or examples for their partner without saying the word (this student may refer to the worksheet), and their partner should guess which word is written on their card. After the card is guessed, it is partner two’s turn to choose a card; this continues until all cards have been chosen. If a card cannot be guessed, simply “pass” and look over the “passed” cards at the end of the game.

9 LESSON #2: WHAT’S YOUR STORY?

Music Resources Listening Excerpts on http://www.naxosmusiclibrary.com under playlists.

Overview of Lesson #2

What’s Your Story? (25 minutes)

Standards

Music Standards: • 6.4.3 Analyze styles and genres of music using teacher-given parameters.

Common Core: • W.5-8.3 Write narratives to develop real or imagined experiences or events using effective technique, relativist descriptive details, and well-structured event sequences.

10 WHAT’SWHAT’S YOURYOUR STORY?STORY?

Objectives • Students will gain an understanding of the life of Prokofiev and the story of Lieutenant Kijé’s Suite, and specifically “Tröika.” • Students will gain creative writing skills by writing their own story to Prokofiev’s “Tröika.”

Time needed 25 minutes

Materials Prokofiev biography (page 24) Writing paper Listening excerpt of “Tröika” by Prokofiev (on Naxos playlist) About the Music - Story of Lieutenant Kijé and “Tröika” (page 24)

1. Pass out the biography of Prokofiev. Be sure not to show the “About the Music” section yet.

2. Have volunteers take turns reading the biography aloud to the class, or have students work as partners to read and comprehend the biography.

3. Play the “Tröika” excerpt for students. Ask for volunteers to describe the music; how does it make them feel? Does it remind them of a certain place or time? Does it remind them of certain people or animals? Why?

4. Instruct students to write a short story based on what they hear in the “Tröika” excerpt. (Optional: Play the “Tröika” excerpt a second time while students are creating their stories.) Have students include a list of three or more musical techniques/elements Prokofiev used in the piece and a short explanation on how those elements inspired certain parts of their story (these elements can be broad such as references to the mood or character, depending on the musical knowledge of the class).

5. After the students have completed their writing assignment, share the story of Tröika with the class.

Assessment • Ask the students: Did Prokofiev do a good job describing the story? • Have the students volunteer to share similarities and differences between their stories and the story of Tröika. • Ask students to share one fact that they found interesting about the life of Prokofiev.

11 LESSONLESSON PLANPLAN #3:#3: COMPOSECOMPOSE THISTHIS

Music Resources Listening Excerpts on http://www.naxosmusiclibrary.com under playlists.

Overview of Lesson #3

Compose This (30-45 minutes)

Standards Music Standards: • 4.1.3 Create, individually, a short original composition using a variety of traditional and nontraditional sound sources. • 8.2.1 Explore the correlation between music and another academic discipline

Common Core: • RL.5-8.7 Compare and contrast the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version of the text, including contrasting what they “see” and “hear” when reading the text to what they perceive when they listen or watch.

12 COMPOSECOMPOSE THISTHIS

Objectives • Students will be able to creatively interpret a piece of music and text by drawing or composing their own depiction of the Firebird. • Students will be able to defend their interpretation of Stravinsky’s Firebird using evidence from the story synopsis and the Finale. Time needed 30-45 minutes Materials Blank paper or blank staff paper Colored pencils About the Music - Firebird ballet synopsis (page 25) Listening excerpt of the Finale from Stravinsky’s Firebird Suite (on Naxos playlist)

1. Begin by reading or summarizing the synopsis of the Firebird ballet.

2. Have students compose their own melody and musical elements for the story. Remind the students that this is only the first draft--it doesn’t have to be perfect! OPTIONAL: If students are not able to create a composition, instruct students to draw a picture of the firebird based on what they learned from the synopsis. Have each student or a few volunteers present their music or picture.

3. Play the Finale from Firebird Suite; ask students to consider what pictures the music paints in their imaginations. Discuss why, given the same story, everyone (students and Stravinsky alike) created different works of art.

Assessment • Have student write paragraphs to their music or drawings, supporting their interpretation of the Firebird synopsis. Ask students if they think the volunteer’s paragraph effectively supported their work. Did the student reference the character or mood of the music? Did they reference points from the synopsis?

13 TEACHERTEACHER RESOURCESRESOURCES

Map of Europe

EUROPE 20 0 20 40 Greenland (DENMARK) Barents Jan Mayen Sea (NORWAY) Nordkapp Greenland Hammerfest Denmark Sea Tromsø Murmansk Strait Norwegian Sea

Kiruna White Sea Arkhangel'sk Reykjavík S e Ar ctic Circle ve ICELAND D r v na in ya Luleå a NORWAY Oulu

Lake Umeå FINLAND Onega 60 Faroe Islands Trondheim 60 (DENMARK) Gulf Tórshavn SWEDEN Lake of Tampere Ladoga Bothnia 40 SHETLAND Turku Helsinki Saint Petersburg ISLANDS Gävle Bergen 20 Gulf of Finland RUSSIA ORKNEY ALAND Rockall Oslo ISLANDS Tallinn (U.K.) ISLANDS Stockholm Volga ESTONIA HEBRIDES Stavanger Moscow N o r t h Aberdeen Gotland LATVIA Skagerrak Göteborg Riga¯ A t l a n t i c Kattegat Glasgow Baltic Sea Vitsyebsk North LITHUANIA Smolensk O c e a n Edinburgh Öland DENMARK Belfast UNITED Sea Malmö Vilnius Mahilyow Copenhagen Minsk D Isle Kaliningrad n RUSSIA i e of p e Man Bornholm r Irish Dublin (U.K.) Leeds Gdan´sk BELARUS Sea Hrodna Homyel' Manchester IRELAND Liverpool Hamburg Chernihiv KINGDOM Brest Bremen Warsaw Birmingham Amsterdam Berlin Poznan´ Kyiv Cardiff Oder POLAND D NETH. Lódz´ Zhytomyr niep London Rotterdam Elbe er Celtic Essen Leipzig Wroclaw Brussels Cologne UKRAINE Sea Vistula L'viv English Channel Lille BEL. Vinnytsya Bonn GERMANY Prague Kraków Guernsey (U.K.) Frankfurt Jersey (U.K.) C CZECH REPUBLIC A Chernivtsi Luxembourg R P Mykolayiv Paris LUX. Brno SLOVAKIA A ( Seine T Stuttgart H Chis¸inau Strasbourg I Bratislava A Rhine Danube Ias¸i Munich N Odesa

Vienna Budapest MOLDOVA Nantes Loire M LIECH. Cluj- T Zürich AUSTRIA HUNGARY Napoca S Vaduz S . Bern Bay of SWITZ. P ROMANIA FRANCE Geneva L D Ljubljana Constant¸a Biscay SLOVENIA I Bucharest Zagreb MASSIF Milan N Lyon Venice Black A Coruña CENTRAL A Turin A BOSNIA AND Bordeaux Po R Belgrade Varna HERZEGOVINA Danube Sea Genoa CROATIA I A SAN C SERBIA Toulouse P MARINO Sarajevo BULGARIA Bilbao MONACO A Florence E Pristina Ligurian L MONT. Sofia PYRENEES Andorra N P la Vella Marseille KOS. Istanbul Porto Sea Adriatic S ITALY Podgorica Skopje N Sea Zaragoza ANDORRA Corsica MACE. 40 RomeI Tirana Bursa 40 VATICAN N Thessaloníki PORTUGAL Madrid Barcelona CITY E ALB. TURKEY Ta g u s Balearic Naples S Lisbon . Sea Ty r rheni an Aegean Izmir SPAIN Valencia Sardinia GREECE Sea Sea BALEARIC Càgliari Athens Sevilla ISLANDS Ionian Palermo Sea Gibraltar Málaga Mediterranean Sea Rhodes (U.K.) Sicily Strait of Gibraltar Ceuta Alborán (SPAIN) Sea Melilla Oran Algiers Tunis Scale 1:19,300,000 Crete (SPAIN) Lambert Conformal Conic Projection, Valletta standard parallels 40ºN and 68ºN Rabat MALTA Casablanca TUNISIA 0 300 Kilometers ALGERIA 0 300 Miles MOROCCO 0 20 14 803546AI (G00772) 8-12 Source: The World Factbook TEACHERTEACHER RESOURCESRESOURCES

Map of Africa

AFRICA 40 20 0 20 Minsk 40 60 IRE. U.K. Amsterdam BELARUS London Berlin Warsaw RUSSIA NETH. KAZAKHSTAN GERMANY Brussels POLAND Kyiv BEL. Nor t h LUX. Prague Aral CZ. REP. UKRAINE Volga Sea Paris SLOV. A t l a n t i c Vienna AUS. MOL. SWITZ. Budapest Sea of Tashkent HUNG. Azov FRANCE SLO. ROM. O c e a n CRO. Belgrade 40 Bucharest UZBEKISTAN BOS.& Danube HER. SER. Black Sea Caspian ITALY Sofia GEO. Sea KOS. TURKMENISTAN PORTUGAL AND. Corsica MONT. BULG. AZER. AZORES Madrid Rome MACE. ARM. Ashgabat ALB. Ankara (PORTUGAL) Lisbon SPAIN Sardinia GREECE TURKEY Tehran Algiers Sicily Athens Tigris Strait of Gibraltar Oran AFG. MADEIRA ISLANDS Constantine Tunis MALTA (PORTUGAL) SYRIA Rabat Fès CYPRUS LEB. E IRAQ up Casablanca hr IRAN TUNISIA Mediterranean Sea Beirut Damascus ates MOROCCO Baghdad Jerusalem Marrakech ISRAEL Amman CANARY ISLANDS Tripoli Benghazi Alexandria (SPAIN) Cairo JORDAN KUWAIT - Al Jizah Persian A L G E R I A Gulf Laayoune BAHR. Abu L I B Y A Dhabi Western EGYPT Riyadh QATAR Muscat Sahara - U.A.E Tropic of Cancer Aswan Admin. SAUDI OMAN Nouadhibou boundary 20 ARABIA 20 SAHARA Port Red MAURITANIA Sudan Sea CAPE VERDE Nouakchott N I G E R Nile Timbuktu Praia ERITREA YEMEN Dakar Agadez Omdurman Arabian SENEGAL MALI CHAD Khartoum Asmara Sanaa Banjul Niger BURKINA Niamey Sea THE GAMBIA Bamako Zinder Lac'Assal Gulf of FASO S U D A N Blue (lowest point in Bissau Africa, -155 m) Djibouti Aden Socotra Kano N'Djamena (YEMEN) Ouagadougou DJIBOUTI GUINEA-BISSAU GUINEA Nile Y BENIN e Conakry il E NIGERIA N L Niger e Addis Hargeysa Freetown it L GHANA Abuja h CÔTE Moundou W A Volta Ababa TOGO V SIERRA LEONE D'IVOIRE Prov. Ogbomoso Benue SOUTH ETHIOPIA admin. Ibadan CENTRAL AFRICAN Monrovia Lomé line Yamoussoukro SUDAN T SOMALIA Accra Lagos REPUBLIC F Porto- LIBERIA CAMEROON Juba I Abidjan Novo Bangui R Douala

Malabo C O N G O EQUATORIAL GUINEA Yaoundé T Congo UGANDA A Gulf of Guinea Mogadishu E Equator SAO TOME REP. OF Kisangani Kampala KENYA 0 Libreville R 0 AND PRINCIPE THE CONGO G São Tomé GABON B A S I N Nairobi RWANDA Kigali Annobón Kilimanjaro I n d i a n (EQUA. GUI.) DEM. REP. Bukavu Lake (highest point in Victoria Africa, 5895 m) Brazzaville OF THE CONGO Bujumbura O c e a n Victoria Pointe-Noire Mombasa Kinshasa BURUNDI ANGOLA Lake Dodoma Tanganyika Zanzibar A (Cabinda) Mbuji-Mayi M I M R Ascension TANZANIA Dar es A N SEYCHELLES T Salaam E I Luanda T R EN D C Lake H - Nyasa COMOROS Glorioso Islands Lubumbashi (FRANCE) A Moroni MALAWI T ANGOLA Kitwe Lilongwe Cidade Mayotte L de Nacala (admin. by France, A Namibe Lubango ZAMBIA claimed by Comoros) Blantyre Juan de Nova Tromelin Island N Lusaka Island (FRANCE) Saint Helena (FRANCE) Mahajanga T Zambezi

N A M I B Toamasina I Harare MOZAMBIQUE C Port S o u t h ZIMBABWE Mozambique Antananarivo Louis 20 Beira 20 Channel St. Denis E BOTSWANA Bassas MAURITIUS Windhoek K A L A H A R I da India A t l a n t i c G Walvis Bay Europa MADAGASCAR Reunion D E S E R T (FRANCE) D Island (FRANCE) Tropic of Capricorn I NAMIBIA Gaborone (FRANCE) D E S E R T R R Pretoria O c e a n I Maputo S D Johannesburg Saint Helena, Ascension, I Mbabane V G SWAZILAND and Tristan da Cunha L SOUTH A Or E (U.K.) an Maseru g W e AFRICA Durban LESOTHO I n d i a n O c e a n Cape Town Port Elizabeth Scale 1:51,400,000 Azimuthal Equal-Area Projection TRISTAN DA CUNHA 0 800 Kilometers E Gough Island I S 0 800 Miles R 40 E 40 A P Boundary representation is C not necessarily authoritative.

20 0 20 40 60 15 803510AI (G00392) 6-12 Source: The World Factbook TEACHERTEACHER RESOURCESRESOURCES

Composer Bio and About the Music

ABOUT THE COMPOSER Edvard Grieg is the most important Norwegian composer of the later 19th century, a period of growing national consciousness. As a child, he was encouraged by the violinist Ole Bull, a friend of his parents, and studied at the Leipzig Conservatory on his suggestion. After a period at home in Norway he moved to Copenhagen, where he met the young composer Rikard Nordraak, an enthusiastic champion of Norwegian music and a decisive influence on him. Grieg’s own performances of Norwegian music, often with his wife, the singer Nina Hagerup, established him as a leading figure in the music of his own country, bringing subsequent collaboration in the theatre with Bjørnson and with Ibsen. He continued to divide his time between composition and activity in the concert hall until his death in 1907.

Read the full Edvard Grieg biography on the Naxos Music Library:

http://www.naxosmusiclibrary.com/composer/btm.asp?composerid=26082

ABOUT THE MUSIC - PEER GYNT “Morning (or Morning Mood) comes from the fourth act, and there has been much debate about whether this music fits with the relatively grotesque scenes in the Sahara. It uses the pentatonic scale, perhaps suggesting Arabian connections. Or is this Norwegian pentatonicism with its roots in the second act and the mountains of Dovre? Thematically there is a close kinship here with the music of Peer Gynt and the Woman in Green. Morning Mood is a nature-idyll in E major, with (Grieg said) ‘the sun breaking through the clouds at the first forte’. This produces an unusual musical form: the climax comes early on, and the day then settles down to rest. Towards the end we hear imitations of birdsong. The incessant flowing figures suggest associations with waves on the seashore, or with wind. Or they could be sounds in Peer Gynt’s head. Grieg asked that the piece ‘be treated as pure music’, and as such it has a unique place in the drama.”

Read the rest of this article about Grieg’s Peer Gynt at: http://www.naxosmusiclibrary.com/work.asp?wid=101611&cid=884977562262

–Provided by Naxos Music Library

16 TEACHERTEACHER RESOURCESRESOURCES

Paintings

FRANCE

Claude Monet Étretat

(1864)

NORWAY

Johan Christian Clauss Dahl Norwegische Landschaft (Norwegian Landscape)

(1823)

17 TEACHERTEACHER RESOURCESRESOURCES

Paintings

HAWAII

Edward Bailey Painting of Wailuku and Lao Valley

(No later than 1903)

SAHARA DESERT

Eugene Fromentin Tentes de la Smalah de Si Hamed Bel Hadj, Sahara (Tents of the Smala of Si Hamed Bel Hadj, Sahara)

(1850)

18 AT THE OPERA

Name: Date:

What is opera? Opera is simply a 1.______work set to 2.______. The opera we are looking at today, The Barber of Seville, is an example of opera buffa, which is Italian for 3.______opera. The music for the opera was written by Gioachino 4.______, and the story of the play itself was written by a Frenchman named Beaumarchais. The story is set in Seville, 5.______in the 6.______century, and tells the story of Count Almaviva who has fallen in love with a beautiful young woman named 7.______who is the ward of the wealthy Doctor Bartolo. Bartolo has also decided he wants to marry her, but Almaviva’s servant Figaro (who is also Dr. Bartolo’s 8.______) decides to help Almaviva win over Rosina. You can imagine the complicated and funny situations that occur as the story unfolds!

The music is an example of 9. ______opera, which is Italian for “beautiful singing” and refers to the operatic music composed in Italy during the first half of the 19th century. The music also emphasizes 10. ______, where the singer (usually a soprano) elaborates and ornaments a melody with flourishes. An example of this can be seen in the famous aria 11.______sung by Rosina.

The Barber of Seville begins as most opera do, with an overture. The purpose of the overture is to prepare the listener for the opera and call the audience to attention, before the curtain rises. Listen to the overture from The Barber of Seville and see if it creates any mental images in your mind as you listen.

19 AT THE OPERA | ANSWER SHEET

Name: Date:

What is opera? Opera is simply a 1. DRAMATIC work set to 2. MUSIC. The opera we are looking at today, The Barber of Seville, is an example of opera buffa, which is Italian for 3. COMIC opera. The music for the opera was written by Gioachino 4. ROSSINI, and the story of the play itself was written by a Frenchman named Beaumarchais. The story is set in Seville,

5. SPAIN in the 6. 18TH century, and tells the story of Count Almaviva who has fallen in love with a beautiful young woman named 7. ROSINA who is the ward of the wealthy Doctor Bartolo. Bartolo has also decided he wants to marry her, but Almaviva’s servant Figaro (who is also Dr. Bartolo’s 8. BARBER ) decides to help Almaviva win over Rosina. You can imagine the complicated and funny situations that occur as the story unfolds!

The music is an example of 9. BEL CANTO opera, which is Italian for “beautiful singing” and refers to the operatic music composed in Italy during the first half of the 19th century. The music also emphasizes 10. COLORATURA, where the singer (usually a soprano) elaborates and ornaments a melody with flourishes. An example of this can be seen in the famous aria 11. UNA VOCE POCO FA sung by Rosina.

20 TEACHERTEACHER RESOURCESRESOURCES

Heads Up Cards

OPERAOPERA THETHE BARBERBARBER OFOF SEVILLESEVILLE

OPERAOPERA GIOACHINOGIOACHINO BUFFABUFFA ROSSINIROSSINI

21 TEACHERTEACHER RESOURCESRESOURCES

Heads Up Cards

SEVILLE,SEVILLE, BEAUMARCHAISBEAUMARCHAIS SPAINSPAIN

COUNTCOUNT DOCTORDOCTOR ALMAVIVAALMAVIVA BARTOLOBARTOLO

22 TEACHERTEACHER RESOURCESRESOURCES

Heads Up Cards

ROSINAROSINA FIGAROFIGARO

BELBEL CANTOCANTO COLORATURACOLORATURA

23 TEACHERTEACHER RESOURCESRESOURCES

Composer Bio and About the Music

ABOUT THE COMPOSER - PROKOFIEV Sergey Prokofiev, precocious as a child, entered the St Petersburg Conservatory in 1904, by which time he had already written a great deal of music. At the Conservatory he shocked the more conservative director, Glazunov, but learned much from an older fellow student, the composer Myaskovsky. After the Revolution he was given permission to travel abroad and remained intermittently out of Russia, in America and then in Paris, until his final return to Russia in 1936. At home, though in touch again with the root of his inspiration, he found himself out of favour with the authorities and in 1948 the subject of particular and direct censure. His death in 1953, on the same day as Stalin, deprived him of the enjoyment of the subsequent relaxation in musical censorship that then took place. In style Prokofiev is ironic, writing in a musical language that is often acerbic.

Read the full biography here: http://www.naxosmusiclibrary.com/composer/btm.asp?composerid=20990 ABOUT THE MUSIC - LIEUTENANT KIJÉ THE STORY OF LIEUTENANT KIJÉ AND TRÖIKA:

“The well-known music for Lieutenant Kijé was written in 1933 for a film, the first of the highly successful film- scores that Prokofiev was to write during the next ten years. Directed by Alexander Feinzimmer and based on a story by Yuri Tynyanov, the film is a satire on official stupidity and subservience, set in the time of Tsar Paul, son of Catherine the Great. A clerical error adds a non-existent officer to a list presented to the Tsar, who then singles out this man, Lieutenant Kijé, for special notice. The officials are too afraid to reveal the true state of affairs, and the fictitious lieutenant goes on from honour to honour, interrupted only by temporary disgrace and exile to Siberia, subsequent pardon and promotion to the rank of general. He is finally buried in an empty coffin. Prokofiev arranged the Suite, Op. 60, from Lieutenant Kijé in 1934. For this he had to make considerable adjustments to the original music, but the suite retains its allusive melodic appeal, notably in the final funeral of Kijé, and, particularly in its orchestration, the irony that was at the heart of the story and the film.”

Read the rest of the article here: http://www.naxosmusiclibrary.com/work.asp?wid=10680&cid=828767876122

The Tsar’s officials even go so far as to concoct a marriage for the fictitious Lieutenant Kijé. Tröika follows the wedding ceremony:

After the wedding, Lieutenant Kijé rides off with this bride in a three-horse sleigh, or “Tröika.” This movement of the suite is meant to depict the horses’ gait through the snow. Amidst the sounds of the sleighbells and the cracking whip, the driver of the sleigh sings a drinking song to the newlyweds.

–Provided by Naxos Music Library 24 TEACHERTEACHER RESOURCESRESOURCES

About the Music

ABOUT THE MUSIC - FIREBIRD “For the first performance of Firebird, June 25th, 1910, the Ballets Russes programme of the Théâtre National de l’Opéra, Paris, published the following synopsis:

The Firebird, one of the most popular Russian folktales, begins when Ivan Tsarevich, the crown prince, sees a marvelous bird of flaming gold. He pursues but fails to catch it, and only succeeds in snatching one of its glittering feathers. The chase has taken him into the domain of Kastchei the Immortal, demi-god of evil, who attempts to capture him and, as he has already done with many valiant knights and princes, turns him to stone. Kastchei’s daughters and thirteen princesses intercede for Ivan Tsarevich and try to save him. Finally the Firebird appears, breaks Kastchei’s spell, and rescues everyone. Ivan Tsarevich and the knights, delivered from their fate, seize the golden apples from Kastchei’s garden.”

From the Ballets Russes programme of the Théâtre National de l’Opéra, as referenced on the Naxos Music Library website. Read more about the ballet and its plot here:

http://www.naxosmusiclibrary.com/work.asp?wid=86691&cid=884977100099

25 TEACHERTEACHER RESOURCESRESOURCES

Other Media

Work information on Ravel’s La Mère L’Oye (Mother Goose) from Naxos: http://www.naxosmusiclibrary.com/work.asp?wid=136864&cid=886444407052

26 PRE-CONCERTPRE-CONCERT SURVEYSURVEY

Name: Date:

School:

1. Have you been to a concert before? 5. List the names of the composers whose a. Yes music you learned about and will hear at b. No the concert:

2. How often do you listen to classical music? ______a. Almost never ______b. Once in a while c. At least once a week ______d. Every day ______3. Do you play an instrument? If so, which one? ______a. Yes ______b. No ______

4. What do you think the Young People’s Concert will be like? a. Boring b. Okay c. Exciting Why? ______

27 POST-CONCERTPOST-CONCERT SURVEYSURVEY

Name: Date:

School:

1. Did you enjoy the concert? 5. Are there any instruments you want to a. Yes learn to play? b. No ______c. Kind of ______2. Do you want to come back for another concert? ______a. Yes 6. Which piece was your favorite? Why? b. No ______3. Do you think you will listen to classical music more often? ______a. Yes ______b. No ______4. Which instrument(s) did you like the most? ______

28 NASHVILLENASHVILLE SYMPHONYSYMPHONY EDUCATIONEDUCATION DEPARTMENTDEPARTMENT

Walter Bitner Director of Education and Community Engagement Kelley Bell Education and Community Engagement Program Manager Kristen Freeman Education and Community Engagement Assistant

2015 Summer Interns Brianna Hugan Camilla Hester Haley Zhu-Butler Margie Way-Kiani

Website: Nashvillesymphony.org/education Email: [email protected] Phone: 615.687.6398

The Young People’s Concert Curriculum Guides were researched and created by the 2015 summer interns.

29 NASHVILLE SYMPHONY EDUCATION PROGRAMS ARE FUNDED IN PART BY:

Sponsor Recognition

Anne* & Dick Ragsdale Bonnaroo Works Fund Bridgestone Americas Trust Fund Caterpillar Financial Services Cracker Barrel Foundation Dollar General Corporation KHS America M. Stratton Foster Charitable Foundation Marylee Chaski Charitable Corporation Nashville Symphony Orchestra League NAXOS Neal & Harwell Nissan North America, Inc. Publix Super Market Charities Ryman Hospitality Properties Foundation (formerly Gaylord Entertainment Foundation) Samuel M. Fleming Foundation The Ann & Monroe Carell Family Trust The Community Foundation of Middle TN The HCA Foundation The Hendrix Foundation The Memorial Foundation The Metropolitan Government of Nashville and Davidson County The Mike Curb Family Foundation William Morris Endeavor Entertainment, LLC * denotes donors who are deceased