Non-Directed Music Listening Program

Series II Non-Directed Music Listening Program Script Series II Week 1

Composer: Reinhold Glière (1875 – 1926) Composition: Russian Sailors’ Dance Performance: Saint Louis Symphony Orchestra Recording: Telarc Sampler, Volume 1 Telarc CD 80001

Day 1: Our music this week is by Reinhold Glière (RINE-hold Glee YAIR), a Russian composer from the Ukraine. This music is the Russian Sailors’ Dance.

The Russian Sailors’ Dance is from the ballet “The Red Poppy”. The story takes place on a Chinese waterfront where Russian sailors, Chinese coolies (or workers), and a beautiful young Chinese woman all take turns dancing. It ends with the Russian sailors dancing to a rousing finish.

Day 2: This week’s music is the Russian Sailors’ Dance from the ballet, “The Red Poppy” composed by Reinhold Glière.

This music was written in 1927. The story is set in a Chinese seaport where a group of Chinese dock workers have been half-starved and brutally over-worked. A Russian captain comes to their rescue, and a young Chinese woman offers him a bouquet of flowers. The bouquet includes red poppies which are the symbol of liberty in China. Other workers gather to watch and then to join in the dancing.

Listen to the melody as it is repeated in different styles. Can you picture the style of dancing for each repetition of the theme?

Day 3: This week we are listening to the Russian Sailors’ Dance from “The Red Poppy” ballet by Reinhold Glière.

We will be hearing an introduction which crescendos to a climax followed by the theme which is presented in very low bass tones. The theme is then repeated many times but played in different musical styles. The different styles may be fast or slow, very low (as in the beginning) or very high in pitch, very soft or very loud dynamics, or played by different instruments to create contrasting tone colors. The theme itself is a very old Russian folk song. How many times do you hear it repeated? How are the repetitions different? Non-Directed Music Listening Program Script Series II

Day 4:

This week we are listening to the Russian Sailors’ Dance by Reinhold Glière.

Glière was a teacher of composition for many years. He first taught in Kiev and later, during the first half of this century, at the Moscow Conservatory. One of his most famous students was 11-year-old Sergei Prokofiev who grew up to compose, among other things, “Peter and the Wolf”. Glière was interested in Russian folk music. His orchestrations are rich in color. Can you picture the Russian sailors dancing on the Chinese waterfront as you hear this music?

Day 5: This week’s music is the Russian Sailors’ Dance, by Reinhold Glière.

When it was premiered at the Bolshoi (BOWL-shoy) Theatre in Moscow in 1927, the dance of the Russian sailors “brought down the house”. Can you understand why the audience would have cheered so wildly for this rousing, exciting dance music? Non-Directed Music Listening Program Script Series II Week 2

Composer: Benjamin Britten (1913 - Composition: Young Person’s Guide to the Orchestra, “Fugue” Performance: Saint Louis Symphony Orchestra, Slatkin Recording: Telarc Sampler, Volume 2 Telarc CD 80002

Day 1: This week’s music is form the Young Person’s Guide to the Orchestra, by British composer Benjamin Britten.

Benjamin Britten wrote this music in 1946 to introduce children to the instrument families of the orchestra. We will hear the final segment with all families of the orchestra coming together. Can you identify when different instruments play and what those instruments are?

Day2: Benjamin Britten is one of Great Britain’s most celebrated composers. He wrote this week’s selection, “Fugue”, from the Young Person’s Guide to the Orchestra to teach children about the different instruments in an orchestra.

There are four families of instruments. Do you know what they are? (Pause) Strings, woodwinds, brass and percussion. Today’s fugue starts out with flutes and other members of the woodwind family. Then, violins enter, followed by other members of the string family (listen for the harp entrance here). Horns come in next with other brass instruments following. Finally, for added splash, the percussion enters. The theme is then played by trombones and a grand climax ends the piece.

Day 3: Today’s music is by one of Great Britain’s most celebrated composers. Do you remember his name? It is Benjamin Britten. The music is the Young Person’s Guide to the Orchestra.

Do you know which instruments are in which families? The four families are: strings, woodwinds, brass, and percussion. In which family are drums and cymbals? (Pause) Yes, percussion. In which family are clarinets, flutes, and bassoons? Woodwinds is correct. How about trumpets, trombones, and French horns? Yes, they are all brass instruments. Can you name a stringed instrument? If you said violin, viola, cello, double bass, or harp, you are correct. Non-Directed Music Listening Program Script Series II

Day 4: This week’s music is by Benjamin Britten. Do you remember in which country he lived? Great Britain. We have been listening to the “fugue” from the Young Person’s Guide to the Orchestra.

A fugue is like a chase with the opening theme repeated by each new voice, or instrument. The fugal theme in this piece moves very rapidly and each new entry of the fugue theme is by a new instrument. Try putting your hand up each time you hear a new entry of the fugue theme today.

Day 5: This week’s music is from the Young Person’s Guide to the Orchestra, by British composer Benjamin Britten.

This week’s music is composed to show the scope and power of a symphony orchestra. It’s also meant to teach young people about families of instruments. Silently (in your head) try naming each instrument as it plays. Do you like the way the piece ends? Non-Directed Music Listening Program Script Series II Week 3

Composer: Gabriel Fauré (1845 - 1924) Composition: Pavane Op. 50 for Orchestra and Choir Performance: Philharmonic Orchestra/Ambrosian Singers, Andrew Davis Recording: CBS Masterworks, “The French Album” CBS MFK45543

Day 1: This week’s featured Listening Program selection is the Pavane by Gabriel Fauré.

Do you like music that makes you feel calm, rested, relaxed: If so, you’ll enjoy this week’s Listening Program selection. It is entitled Pavane (pah-VAHN) and was written by French composer, Gabriel Fauré (Gab-ree-el Fo-RAY). Fauré lived at the turn of this century and is well-loved in his native country. See if you also enjoy his music as we listen to the Pavane.

Day 2: This week’s featured music is Pavane by Gabriel Fauré.

Do you remember which instruments are featured? The flute starts the theme accompanied by plucked or “pizzicato” (pits-I-KAH-toe) strings. Then a choir of men’s and women’s voices enters singing, in French, a serene melody that continues the opening theme. Following this the mood changes. It is as if the chorus stops to ask questions, answers them, and then returns to the stately opening theme. We do not hear the entire Pavane here – only the first segment.

Day 3: Do you remember the name of this week’s music selection? It is Pavane by the French composer, Gabriel Fauré.

A “pavane” is a type of dance. As you may imagine, it is a very old dance, going back to the 16th century. The dance is a slow, stately procession, with two single and one double step backward. Try to imagine how the dance would look as you hear the music. Non-Directed Music Listening Program Script Series II Day 4: This week’s music is Pavane by Gabriel Fauré.

Fauré wrote music that was based on clarity, balance, and serenity. He liked these qualities in ancient Greek culture and tried to emulate them in a modern context. How does this week’s music make you feel? Can you describe your feelings to your classroom teacher after the music is played?

Day 5: French composer Gabriel Fauré wrote this week’s featured listening selection, the Pavane Opus 50 for Orchestra and Chorus.

Rather than writing grand opera and symphonies, Fauré preferred to write songs for voice and compositions for small groups of instruments. He was Director of the Paris Conservatory of Music for 15 years but was forced to retire because of deafness. This music is on a grander scale than many of Fauré’s other compositions. Do you like the pure, serene melody and stately balance of this music? Let’s listen to Fauré’s Pavane for the final time this week. Non-Directed Music Listening Program Script Series II Week 4

Composer: Wolfgang Amadeus Mozart (1756 – 1791) Composition: Eine Kleine Nachtmusik, “First Movement” Performance: Prague Chamber Orchestra, Mackerras Recording: Telarc Sampler, Volume 3 Telarc CD 80003

Day 1: We are fortunate this week because we will be enjoying a familiar composition – Eine Kleine Nachtmusik (I-na KLY-na NOCHT-moo-zeek) by Wolfgang Amadeus Mozart.

If you haven’t heard this piece before, I can almost promise you’ll be whistling it out loud or in your head by the end of this week. As you listen think how the music makes you feel. Is it light and happy – or slow and sombre??

Day 2: Eine Kleine Nachtmusik was written by the Austrian composer, Wolfgang Amadeus Mozart. The title, which is in German, means “a little night music”.

This music is meant to be played by a small group of stringed instruments outside in a garden on a summer evening. In Mozart’s day, this type of music was written and played to celebrate a festive occasion, such as a birthday, a ball, or the arrival of an important guest. Would you like someone to play this music for you on your birthday? Does it make you feel like celebrating a happy occasion?

Day 3: This week’s composition is by Wolfgang Amadeus Mozart. It is called Eine Kleine Nachtmusik, or “a little night music”.

In December of 1991, we recognized the 200th anniversary of Mozart’s death. Although he lived a short life of 35 years he left us many treasures of beautiful music. This week’s music is one of the most familiar. Do you enjoy it? Non-Directed Music Listening Program Script Series II Day 4: We are hearing the first movement of the “Serenade in G minor” as the Nachtmusik was also called. There are three other movements in this serenade – the one we are listening to is the first. The other movements are in different moods – one calmly beautiful; the others lively and brisk. This movement has several melodies – all alert and happy. Can you hear the different melodies as they are stated and repeated?

Day 5: This week’s featured composer is Wolfgang Amadeus Mozart. The music is Eine Kleine Nachtmusik.

We will hear the Serenade, the first movement. In this selection, Mozart was able to write several very “catchy” melodies which are heard in succession. Some of them are then repeated. Do you hear which melodies are repeated? Listen and enjoy this happy, carefree music for a summer evening. This music was written to be enjoyed. Non-Directed Music Listening Program Script Series II Week 5

Composer: Isaac Albéniz (1860- 1909) Composition: Cadiz Performance: John Williams (guitar) Recording: CBS Masterworks “A Taste of Spain”, CBS WMFK 46358

Day 1: This week’s music is by the Spanish composer, Isaac Albéniz (al-BEN-is). The composition is titled Cadiz (Kah-DEEZ), and it is played on the guitar.

Cadiz is a city in Spain and it is located on the Atlantic coast. Try to imagine what the town of Cadiz is like as you hear the guitar play.

Day 2: This week’s featured composer is Isaac Albéniz. The composition is titled Cadiz, which is the name of a Spanish seaport.

The music is written for a solo guitar – a very traditional Spanish instrument. Many of the world’s most famous guitarists and composers for the guitar have come from Spain. Can you imagine being in the city of Cadiz on a warm evening? Listen to the sound of the guitar strumming this melody as the sea breeze gently blows.

Day 3: The featured composition this week is Cadiz by Isaac Albéniz.

Albéniz had a very interesting life history. Born in 1860, he was a child prodigy on the piano, and gave his first public concert at the age of 4. At the age of 10, he ran away from home and tried to support himself by giving piano concerts. He returned home again, but then at 12 became a stowaway on a ship bound for South America. (This was in 1872 – over a hundred years ago!). He reached San Francisco, and then traveled back to England and Europe. He carried Spain with him wherever he went, however, as you will hear in this music. Non-Directed Music Listening Program Script Series II Day 4: This week, we are listening to Cadiz, by Spanish composer, Isaac Albéniz.

Albéniz was a man who traveled a great deal and actually spent very little time in Spain after he grew up. He is, however, considered to be the modern composer who brought Spanish music, as a distinct style, to the rest of the world. Does this guitar music sound especially Spanish to you? Why?

Day 5: Today we will hear, for the final time, Cadiz, by Isaac Albéniz.

Albéniz brought the distinct style of Spanish music to the rest of the modern world. He combined traditional Spanish melodies with the latest trends in French music, and helped to revive Spanish music at the turn of the century. Do you enjoy hearing this type of music? How does it make you feel when you hear it? It’s one way to visit Spain without even having to pack a suitcase! Non-Directed Music Listening Program Script Series II Week 6

Composer: Peter Ilyich Tchaikovsky (1840 - 1893) Composition: Symphony No. 6, “3rd Movement” Performance: Cleveland Symphony Orchestra, Lorin Maazel Recording: CBS Masterworks Digital Sampler, CBS WMXK 42-70

Day 1: This week we will hear music by Peter Ilyich Tchaikovsky – the Third Movement from the Symphony No. 6.

Tchaikovsky was a Russian composer who lived from 1840 to 1893 – over a hundred years ago. The music we will hear today is a stirring march featuring lots of brass and percussion. Listen to this march. Is it slow and stately or fast and energizing?

Day 2: Today we will hear the Third Movement from Peter Ilyich Tchaikovsky’s Symphony No. 6.

This movement is named “Allegro molto vivace” (All-LEG-gro MOL-toe Vee-VAH- chay). That is Italian for “very fast and lively”. Tchaikovsky chose a commanding, quick melody and he added even more excitement in his orchestration by highlighting the brass and percussion sections. Can you hear when the brass section’s trombones and trumpets enter? Listen for the cymbals and kettle drums as well.

Day 3: This week’s music is the third movement of the Symphony No. 6 by Peter Ilyich Tchaikovsky.

This movement is titled, “Allegro molto vivace”, meaning “very fast and lively”. Tchaikovsky composed a large amount of music for ballet, such as the “Nutcracker Suite”, “Swan Lake”, and “Sleeping Beauty”. This movement from the 6th Symphony could almost be used for dance as well. What kind of scene can you picture in your imagination as you listen to this triumphant march? Non-Directed Music Listening Program Script Series II Day 4: The Third Movement form Symphony No. 6 by Peter Ilyich Tchaikovsky is featured in the Listening Program today.

This symphony is also called “Symphony Pathétique” (paw-theh-teek) because, despite the glory and energy of this movement, the last movement is much slower and more thoughtful. Perhaps that is because Tchaikovsky himself was quite an introverted, shy person who was quite unhappy in his life. This symphony was a great effort for him. He wrote about it, saying “I have put my whole soul into this work.” This movement, however, represents human triumph and the courage to meet any difficulty in life. Does it make you feel courageous?

Day 5: This week’s composition has been the Third Movement of the Symphony No. 6 by Peter Ilyich Tchaikovsky.

Do you remember what instruments Tchaikovsky uses to heighten the excitement of this movement? He employs lots of brass and percussion. Do you enjoy hearing this stirring, commanding music? Non-Directed Music Listening Program Script Series II Week 7

Composer: Jeremiah Clarke Composition: Trumpet Voluntary Performance: Paillard Chamber Orchestra, Jean François Paillard Recording: “Pachelbel Canon/Albinoni Adagio”, RCA Victor 65486-2-RC

Day 1: This week’s music for the Listening Program is by the English composer, Jeremiah Clarke. The composition is Trumpet Voluntary.

Trumpet Voluntary was written about 200 years ago. You will hear the trumpet and orchestra play an opening theme that is quite grand and majestic. It is repeated several times. You will then hear a second contrasting theme with a bouncing rhythm. The first theme then returns, and the composition ends with a feeling of royal simplicity. Does it make you think of a king or queen’s grand entrance?

Day 2: The Trumpet Voluntary, by Jeremiah Clarke, was written two centuries ago for the English Anglican church service.

A “voluntary” is meant to be a free improvisation. That is, the soloist is free to create or embellish the melody as he or she wishes. In the church, the “voluntary” was played by the church organist before or after the church service and the organist could “voluntarily” create or improvise a melody. Try to imagine this music being played 200 years ago as people are coming to or leaving church.

Day 3: This week’s music, Trumpet Voluntary, was written by the English composer, Jeremiah Clarke.

The Trumpet Voluntary has a mystery behind it as it is usually ascribed to another, more well-known composer, who also lived in England at the same time. His name was Henry Purcell (PER-sel). Henry Purcell wrote many songs and an opera, and he has been called England’s greatest composer. On the other hand, very little is known about Jeremiah Clarke – except that he wrote this Trumpet Voluntary. Do you enjoy hearing it? Non-Directed Music Listening Program Script Series II Day 4: Trumpet Voluntary, by Jeremiah Clarke, is this week’s featured composition.

This piece is often played on the pipe organ. The pipe organ has a “stop”, or pipe, that imitates the trumpet sound. This composition is sometimes played at weddings, as the bride enters, or after the wedding service is over. Do you think the music sounds like it is celebrating a joyful occasion, such as a wedding? Would you like this composition played at your wedding?

Day 5: This week we are listening to Trumpet Voluntary, by Jeremiah Clarke, an English composer who lived during the eighteenth century.

During this period of English history, British kings and queens commissioned works of music by composers. Does this “Voluntary” sound as though it could be played for a king or queen? Non-Directed Music Listening Program Script Series II Week 8

Composer: Hector Berlioz (1803 – 1869) Composition: Symphonie Fantastique, “March to the Scaffold” Performance: Berliner Philharmoniker, Daniel Barenbain Recording: CBS Masterworks Digital Sampler, CBS WMXK 42070

Day 1: This week’s featured composition is Symphonie Fantastique (Sam-phone-ee fan- tas-teek), by Hector Berlioz (Heck-tore Bear-lee-ose).

It was written one hundred years and sixty years ago in France. This excerpt from the symphony is called “March to the Scaffold”. A scaffold is a platform which, in this case, is built for an execution, or hanging. For this music, Berlioz describes a man dreaming that he is being taken to his own execution. Listen, and see if you can imagine the scene.

Day 2: Today we will listen to an excerpt from the Symphonie Fantastique, by the French composer, Hector Berlioz.

Berlioz studied very little music as a child. He was supposed to study medicine in university. However, he soon found that he hated medical school, and instead, he changed to the Conservatory of Music in Paris. Then began a long and passionate career in music. Berlioz was one of the first composers to use the instruments of the orchestra to create colors and tell an exciting story. Listen, as he tells the story of “The March to the Scaffold”.

Day 3: Today we will hear a part of the Symphonie Fantastique, by Hector Berlioz.

This music was written in 1830 when Berlioz was 27 years old. Listen to the first theme as it reaches high on the second note, and then jumps suspensefully down the scale, as if going down a dark stairway. Finally, the brass and percussion bring in a rousing, frenzied march, the second theme. Try listening for each of the two themes in this excerpt, and enjoy the way Berlioz has colored the themes with certain instruments for special effects. Non-Directed Music Listening Program Script Series II

Day 4: This week we are listening to an excerpt entitled “March to the Scaffold” from the Symphonie Fantastique, by Hector Berlioz.

Berlioz was one of the first composers to use the symphony orchestra to tell a dramatic story. The “March to the Scaffold” describes an artist’s dream. He dreams that he is being taken to a platform for his own execution. How does Berlioz use the instruments of the orchestra to create a mood of dream-like fear, gloom, and frenzy?

Day 5: This week we have been listening to one part of the Symphonie Fantastique by Hector Berlioz.

Berlioz has been described as the greatest French composer, conductor, and critic of his century. His century was the 1800’s. Today, we might hear his music as almost cartoon-like in its vivid color. In Berlioz’s time it was very new and shocking to have an orchestra be so descriptive in telling a story. Listen to the story of “The March to the Scaffold” by Hector Berlioz. Non-Directed Music Listening Program Script Series II Week 9

Composer: Wolfgang Amadeus Mozart (1756 – 1791) Composition: Die Zauberflote, “Overture” Performance: The Swingle Singers Recording: “A cappella Amadeus”, Virgin Classics 7567-91208-4

Day 1: This week we are listening to the Overture to Die Zauberflote (dee ZOW-bear- flute), or “The Magic Flute”, by Wolfgang Amadeus Mozart.

“Overture” means “Opening”. It opens the story and sets the mood. It gives the audience an idea of what the story, or opera, will be about. The Magic Flute is an opera, with a very exciting story. Today we will hear the overture sung, instead of played by an orchestra, as it is usually heard. The singers are singing the parts which instruments are supposed to play. It starts out slowly, then picks up in excitement, with lots of fast notes. Do you think this music would be easy to sing?

Day 2: This week we are listening to the Overture to The Magic Flute, by Wolfgang Amadeus Mozart.

In this opera, Prince Tamino and Princess Pamina must journey through darkness and fire to reach the brotherhood of light and reason. Prince Tamino plays the magic flute to help him through the dangerous passages. This overture gives you a taste of the adventures ahead in the opera. Listen and see if you think Prince Tamino and Princess Pamina make the journey safely and successfully.

Day 3: This week we are listening to the Overture to The Magic Flute (Die Zauberflote) by Wolfgang Amadeus Mozart.

We are hearing an unusual version, because it is sung instead of played. The singers that are performing are the “Swingle Singers”, a group that sings many orchestral compositions. Singing the parts gives the orchestration a different, almost jazzy, feeling. It sounds relaxed and easy, but this orchestration is not easy to sing. Every note must be sung cleanly, accurately, and with utmost vocal precision. Would you enjoy singing this music? Non-Directed Music Listening Program Script Series II Day 4: We are listening to the Overture from The Magic Flute by Wolfgang Amadeus Mozart.

The first part of the Overture is slow-moving, giving the listener a chance to absorb the dramatic, suspenseful atmosphere. There is then a marked change to sixteenth notes and a very quick, exciting passage begins. This change previews some of the excitement and adventure that will occur in the opera. Does the overture make you want to hear the rest of the story and music of The Magic Flute?

Day 5: This week we have been listening to the overture to The Magic Flute by Wolfgang Amadeus Mozart.

Mozart died December 5, 1791. In 1991 we commemorated the 200th anniversary of his death. The opera, The Magic Flute, is a wonderful story. The characters include a dragon, some wild beasts, the Queen of the Night, a beautiful princess, a handsome prince, and a silly bird catcher named Papageno (papa-GAY-no). Can you imagine some of the adventures these characters might have as you listen to the overture? Non-Directed Music Listening Program Script Series II Week 10

Composer: Camille Saint-Saens (1835 – 1921) Composition: Carnival of the Animals, “The Swan” Performance: Emanual Gruber (cello), Herut Israeli (piano) Recording: A Classical Sampler, Pickwick International PWK 1140

Day 1: This week’s featured composition is “The Swan” from the suite, Le Carnaval des Animaux by Camille Saint-Saens.

Saint-Saens wrote this ‘grand zoological fantasy’ in 1866 when he was 35 years old. “The Swan” features a solo cello line accompanied by a very fluid piano part. Today as you listen, see if you can visualize a beautiful swan gracefully moving across a calm lake.

Day 2: The French composer, Camille Saint-Saens, wrote this week’s listening selection “The Swan” from the suite Carnival of the Animals.

Yesterday when you listened, could you imagine a beautiful swan floating gracefully across the water? Since there are only two featured instruments in this excerpt, the cello and the piano, did you feel that the cello part accurately represents the serene swan and the piano accompaniment best portrays the rippling water? What has Saint-Saens done to the piano accompaniment to make it sound like the constant rise and fall of the waves?

Day 3: “The Swan” from Camille Saint-Saens’ suite, Le Carnaval des Animaux, is this week’s listening excerpt.

The title of the suite literally means “a zoological fantasy”. A suite is a collection of instruments of the orchestra, although “The Swan” is a duet between cello and piano. Saint-Saens was an amateur scientist so this may explain his interest in zoology (animals) and the music definitely has a dream-like quality about it. It would be interesting to know how Saint-Saens depicts the other creatures in this “zoological fantasy”. Non-Directed Music Listening Program Script Series II Day 4: “The Swan” from The Carnival of the Animals was written by the Frenchman, Camille Saint-Saens, in 1886.

This beautiful duet was composed for only two specific orchestral instruments. Do you feel that adding other instruments to this piece would complement or detract from the image created by the cello and piano? The music is very lyrical or fluid. Was that what Saint-Saens intended when he chose the cello and piano? Do they successfully paint a picture in your mind? Listen to see if you can hear the form of the piece. The theme or A part makes you feel very still and restful. In the middle, or B section, you almost hear the wind pick up and the clouds cover the sun until the A part, or theme, returns and you can once again imagine the swan gliding over the peaceful water.

Day 5: Today we will again listen to Camille Saint-Saens’ “The Swan” from The Carnival of the Animals.

Saint-Saens, like Mozart, was a child prodigy. He was considered a gifted musician from the time he was a child. He wrote the suite, Le Carnaval des Animaux, when he was 35. Saint-Saens never felt that this particular set of instrumental pieces was very good, so he refused to publish or play the music during his lifetime. This duet, “The Swan”, is now very famous and loved by people across the world. Saint-Saens died in 1921 at the age of eighty-six. Non-Directed Music Listening Program Script Series II Week 11

Composer: John Williams Composition: Theme from “Superman” Performance: Cincinatti Pops Orchestra, Kunzel Recording: Telarc Sampler Volume 1, Telarc 80001

Day 1: This week’s listening excerpt is the “Theme from Superman” by John Williams.

John Williams wrote the theme for the movie, “Superman”, at the end of the 1970’s. Today as you listen, see how Williams chose to set the drama of the story to music. In the introduction, the music starts seemingly far in the distance with a horn fanfare interspersed with drum rolls on the timpani. The use of crescendos and decrescendos, or gradual louds and softs, also increases the mounting excitement. You know something very thrilling is about to happen and of course, faster than a speeding bullet, Superman appears.

Day 2: This week’s featured listening selection is the “Theme from Superman” composed by John Williams.

The theme from the movie “Superman” starts with a stately horn and timpani fanfare. A fanfare announces the arrival of something or someone of importance. Williams uses crescendos and sudden diminuendos very effectively. If you listen carefully, you will also notice that the music starts out rather slowly with a single melody line played by the trumpets. After the first big crescendo, the trombones join the trumpets on that same melody, adding depth and power to the music. As they crescendo the second time, more horns join in and the music gradually increases in speed. This surging tempo is called an accelerando. Non-Directed Music Listening Program Script Series II Day 3: The “Theme from Superman” by John Williams is this week’s listening excerpt.

There are a variety of ways to create excitement and expectation in music. In the introduction to this theme, Williams uses three of these techniques. First he starts out very simply and gradually adds more instruments to build power in the sound. Secondly, he uses louds and softs or crescendos and decrescendos. The music rises to a thundering drum roll played on the timpani and then drops immediately to a single melody line. This suddenness of sound adds to the anticipation of the listeners. Thirdly, Williams uses a very obvious accelerando or increase in tempo. This rocketing speed change signals to you that something is about to happen. See if you can hear other ways in which Williams creates music which symbolizes characteristics of Superman.

Day 4: American composer, John Williams, composed the “Theme from Superman” in the late 1970’s.

Williams was able to capture our imaginations with the music from “Superman”. In the introduction, we know that something very important is about to happen. Superman appears and the theme which represents him throughout the movie is played on the trumpets. A theme is a melody that is played at or near the beginning of a piece which restates itself in a variety of ways throughout the musical work. It is interesting that Williams used mainly the horn family to symbolize Superman. Do you think the horns depict Superman’s strength? . . . They not only make you feel that Superman is “more powerful than a locomotive” but that he is a decision-maker and very courageous.

Day 5: This week’s featured composition is the “Theme from Superman” composed by John Williams.

In the theme from the movie “Superman”, Williams has created a musical idea or theme that immediately makes the listener imagine someone who is strong, both physically and mentally. By working only in a major key rather than the minor or unhappy, ominous sounding key, Williams also lets you know there is no “dark” side to Superman. Superman therefore represents goodness and humanity to all. Listen once again to the “Theme from Superman” and see if Williams effectively lets you know that Superman is indeed “faster than a speeding bullet” and “more powerful than a locomotive….” Non-Directed Music Listening Program Script Series II Week 12

Composer: Johann Pachelbel (1653 – 1706) Composition: Canon in D (excerpt) Performance: Saint Louis Symphony Orchestra, Slatkin Recording: Telarc Sampler Volume 1

Day 1: This week’s listening excerpt is taken from “Canon in D” by Johann Pachelbel.

As you listen today, notice how Pachelbel establishes a wonderful sense of peace. If you pay close attention, you’ll hear how he uses the same descending pattern of notes repeatedly, varying it every time, to build intensity and interest in the music. This is a canon. A canon is a musical composition where a melody is imitated frequently in one or more voices or instruments. Can you hear the repeated theme?

Day 2: The “Canon in D” was composed in the late 1600’s by Johann Pachelbel.

When you heard the music yesterday, did it make you feel calm and peaceful? We discussed that a canon is a piece of music where one melody is played repeatedly, only it’s changed slightly and moves from voice to voice or instrument to instrument. The melody of the “Canon in D” is made up of a series of descending notes – or notes which go down. Listen carefully at the very beginning of the excerpt to hear the basic melody. See if you can follow that theme between the voices of the various stringed instruments throughout the selection.

Day 3: Johann Pachelbel wrote this week’s listening selection “Canon in D” in the late seventeenth century.

Pachelbel, like Bach, liked to use a basic melodic theme in his music and move that melody between parts of the orchestra or choir. Do you remember that this form of composition is called a canon? Were you able to hear the simple descending pattern of notes and follow it throughout the excerpt? Today, listen to how many variations or changes Pachelbel makes in the music while still keeping the same basic melody. Non-Directed Music Listening Program Script Series II Day 4: The “Canon in D” is this week’s featured composition. It was composed by Johann Pachelbel in the 1600’s.

Have you noticed how simple the descending melody is? Did you also hear the many variations and changes that Pachelbel made on this theme? The amazing thing is that the entire piece is much longer than the excerpt that you have been listening to and even in the complete piece, although the melody never changes, each variation is quite different. The “Canon in D” is Pachelbel’s most famous work. It is often played for weddings and other processions. It moves slowly but very steadily. This flowing feeling is called in Italian “cantabile”, meaning to move in a flowing, melodious singing manner. Pachelbel was a master of the “cantabile” style.

Day 5: Johann Pachelbel composed this week’s listening excerpt, “Canon in D”. Little is known about Pachelbel’s life. He lived around the same time as J.S. Bach. This period of time is referred to as the Baroque period. The “Canon in D” is a piece of music based on a simple melody – a descending pattern of notes. Listen today for that theme. Can you understand why Pachelbel was considered a master of the “cantabile” style? Do you recall that the Italian term “cantabile” means to perform in a flowing, melodious and singing manner? Does Pachelbel’s music make you feel calm and serene? Non-Directed Music Listening Program Script Series II Week 13

Composer: Wolfgang Amadeus Mozart Composition: “Ave Verum Corpus” Performance: Atlanta Symphony Orchestra and Chorus, Robert Shaw Recording: Choral Masterpieces, Telarc 80119

Day 1: This week’s listening selection “Ave Verum Corpus”, was composed by Wolfgang Amadeus Mozart.

Today, as you listen to this choral work, concentrate on the voices and the accompaniment. Mozart has chosen to use only stringed instruments together with the chorus, so rather than distract from the beauty of the melody, the strings almost sound like human voices themselves. The string section of an orchestra includes four instruments: the violin, the viola, the cello, and the double bass. Listen to see if there are times in “Ave Verum Corpus” when you find it difficult to distinguish between the stringed instruments and human voices.

Day 2: “Ave Verum Corpus”, this week’s listening excerpt, was written by Wolfgang Amadeus Mozart in the late 1700’s.

Mozart is considered to be one of the finest composers who ever lived. After hearing the excerpt yesterday, were you impressed with how the violin matched the soprano or highest human voice, the viola – the alto voice, the cello the tenor voice, and the double bass – the lowest man’s voice, the bass? Although Mozart composed the string accompaniment very skillfully, don’t forget that if the performers don’t practice and concentrate on blending their sounds, the music won’t sound very good. Think of all the things your choir director asks you to do when singing in a group. Do you think this chorus has worked hard on blending all their voices? Non-Directed Music Listening Program Script Series II Day 3: Wolfgang Amadeus Mozart is this week’s featured composer and the composition we are focusing on is the choral work “Ave Verum Corpus”.

We have been listening to how well Mozart composed the string accompaniment to match the human voices. We’ve also concentrated on how perfectly the choir members blend their sound. Have you noticed how long the phrases are? It sounds like the singers hardly ever breathe. A phrase in music is like a sentence that you would speak. When you talk, you express one idea in one sentence. You seldom break it into parts. Music is like that too. The only difference is that in music, the words in your sentence or phrase may stop on a particular note and hold it a little longer. Listen today for how long the phrases are in “Ave Verum Corpus”.

Day 4: Today’s listening excerpt is “Ave Verum Corpus” composed by Wolfgang Amadeus Mozart.

Were you amazed yesterday at how long the phrases are in “Ave Verum Corpus”? Did you try holding your breath for the entire length of a phrase or two? When you choir director wants the piece you’re singing to sound like there are no breaks in the sound, they will ask you to stagger your breathing. This doesn’t mea they want you to stagger around on the risers but rather than you sneak a breath at a time when no-one else is breathing. The voices carrying on around you will cover your break. Listen today to how each phrase is different. It never stays at one level but rather the sound swells and diminishes constantly. Do the words crescendo and decrescendo come to mind?

Day 5: Today we will listen for the final time to “Ave Verum Corpus” composed by the very famous Wolfgang Amadeus Mozart.

This week we’ve thought a lot about how to make a beautiful, smooth and blended sound with a choir. The accompaniment must be very subtle and the voices in the choir must try to do everything in unison – unless, of course, they need to stagger their breathing. Finally, the thing that really makes you like a piece is the feelings you get when you hear it. Most of this emotion comes from how the performer sings each phrase. If there are many contrasts in volume, or crescendos and decrescendos, some changes in tempo and a constant sensation of underlying energy, you will be affected and moved by the music. Even though you probably don’t understand the Latin text in “Ave Verum Corpus”, you can understand the deep-felt emotion of this excerpt. Non-Directed Music Listening Program Script Series II Week 14

Composer: Arcangelo Corelli Composition: Concerto No. VIII in G Minor (“Christmas Concerto”) IV – Vivace; V – Allegro Performance: Philharmonic Baroque Orchestra, Nicholas McGegan Recording: Corelli – Concerto Grosso, Harmonia Mundi HMU 907015

Day 1: This week’s listening excerpt is from the “Concerto No .VIII in G Minor” written by Arcangelo Corelli. We will hear the IV and V movements.

At this time, three hundred years ago, Corelli was about forty years old and was very famous in Rome as a violin virtuoso and composer. See if you can hear any similarities between Corelli’s “Concerto Grosso” and Pachelbel’s “Canon in D” which you heard two weeks ago. Both Pachelbel and Corelli were born in the same year, 1653, and concentrated on composing for the stringed instrument family.

Day 2: Arcangelo Corelli composed this week’s listening excerpt. We will listen to the “Vivace” and “Allegro” movements from the “Concerto No. VIII in G Minor”.

Knowing that Corelli was a virtuoso violin player himself, it is easy to understand why Corelli demanded so much of musicians playing the solo instruments in his concertos. Do you recall that a virtuoso is someone who is able to play very fast, difficult solos with great facility and flair? The concertos of Corelli’s day were slightly different than the ones we’re used to hearing. Instead of having one soloist play with a large group, Corelli’s Concerto consisted of a solo group called a concertino playing ‘against’ the larger instrumental mass called the concerto grosso. See if you can hear the two groups vying for your attention in this excerpt. Non-Directed Music Listening Program Script Series II Day 3: Today we will again listen to Arcangelo Corelli’s IV and V movements from the “Christmas Concerto”.

Yesterday we tried to hear the difference between the concertino or solo group and the larger orchestra of instrumentalists called the concerto grosso. The typical concertino group consisted of four violins, two violas, a cello, and the harpsichord as a sort of backup. These players al had to be virtuosos as the music was complicated and had to be played with speed and agility. Every movement of any concerto always has an Italian name. In this excerpt, we listen to two short selections which Corelli has labeled in Italian “Vivace" and “Allegro”. See if you can figure out what these two terms mean.

Day 4: The listening excerpt this week is taken from Arcangelo Corelli’s “Concerto No. VIII in G Minor” and we will hear the IV and V movements.

After listening yesterday, were you able to determine why the IV and V movements are labeled, in Italian, as “Vivace” and “Allegro”? Do you now know that “Vivace” means to perform in a “quick and lively manner” and “Allegro” means to perform in a “fast tempo, cheerful and joyful”? Today when you listen, gently tap your fingers against your leg. See if you can tell which movement is played faster, the Vivace or the Allegro.

Day 5: The “Vivace” and “Allegro” movements from Corelli’s “Christmas Concerto” are this week’s listening selection.

Yesterday you listened to see if you could tell which movement was faster. If you thought that the “Allegro” moved at a quicker tempo, you were correct. Did you notice that not only did you have to tap your fingers faster during the “Allegro” but you had to change where you accented or tapped a little harder? That’s because the “Vivace” is written with three beats in every measure whereas the “Allegro” has four beats per bar. See if you can feel that difference today. Non-Directed Music Listening Program Script Series II Week 15

Composer: Listening Program Favourites Composition: Various – School’s Own Choice Performance: Recording: Non-Directed Music Listening Program Script Series II Week 16

Composer: Mikhail Glinka Composition: Russian and Ludmilla Overture Performance: London Symphony Orchestra, Sir Georg Solti Recording: “Weekend in Russia”, London 417-689-2

Day 1: This week’s listening selection is the overture from Mikhail Glinka’s opera, Russian and Ludmila.

An overture is a purely instrumental composition played just before an opera which sets the mood for the plot of that story. In it, composers usually include specific melodies or themes which are heard later in the music of the complete opera. As you listen to today’s overture, do you get some sort of an idea about what the mood of this opera is going to be? Is it smooth and lyrical or is it very exciting, making you expect a great deal of action?

Day 2: The overture form Mikhail Glinka’s opera Russian and Ludmilla is today’s featured listening.

Yesterday you made a decision regarding the probable mood of this opera. As you recall, the music is very exciting. Part of this is because the music is marked “allegro” and must be played quickly. The other obvious reason is that the music is full of loud crashes, drum rolls, and the reverberating sounds of a lot of instruments playing in a very agitated manner. This opera is based on a fairy tale written by Russia’s greatest poet, Alexander Pushkin. Now that you know Russian and Ludmilla is based on a Russian tale, can you create your own story about Russian peasants and the Tsar, Russia’s emperor? Non-Directed Music Listening Program Script Series II Day 3: The overture to Mikhail Glinka’s opera Russian and Ludmilla was first performed in 1842 in St. Petersburg, Russia.

This was a time of unrest in Russia. More and more people were becoming unhappy with the country’s political situation. Most of the population were very poor peasants and had come from families that had been poor for generations. They saw how rich their ruler, the Tsar, was and they began to resent the fact that they did all the work while the Tsar profited from their labour. Although the story is based on a Russian fairy tale, you can understand how the lifestyle of the peasants influenced the folk music of the day which in turn created such fervor in Glinka’s music. Glinka used his country’s folk songs and rhythms extensively in his compositions.

Day 4: Mikhail Glinka, sometimes called the “Father of Russian Music” is the composer of the overture to the opera Russian and Ludmilla.

Excitement in this overture comes from Glinka’s use of Russian folk music, the allegro tempo, the combinations of orchestral instruments, and also, very importantly, from his use of dynamics. Dynamics are the louds and softs that make you feel at one moment like shouting and at the next, like whispering. Listen today to see if Glinka’s use of louds and softs, dynamics, are crucial to set the mood of the music.

Day 5: The overture to the opera Russian and Ludmilla by Mikhail Glinka is this week’s listening excerpt.

This week, we’ve thought about all the ways Glinka was able to create tension in this overture. Yesterday, we talked about dynamics. As you will remember, dynamics are the louds and softs that are so prevalent in this excerpt. Do you remember your music teacher talking about crescendos and diminuendos? These are dynamic markings that take you between the variations of loud and soft sounds. A crescendo asks you to get louder and a decrescendo requests that you get softer. Glinka was a composer whose originality and compositional style put all these techniques into practice when he created the wonderfully exciting overture to the opera Russian and Ludmilla. Non-Directed Music Listening Program Script Series II Week 17

Composer: George Gershwin Composition: Rhapsody in Blue (excerpt) Performance: Cincinnati Symphony Orchestra, Kunzel Recording: Telarc Sampler Volume 2, Telarc 80002

Day 1: This week we will listen to Rhapsody in Blue composed by the American composer, George Gershwin.

George Gershwin was considered one of the most gifted musicians that America has ever produced. He was trained in classical music and brought this knowledge into his jazz compositions. Early in the 1900’s, jazz was just beginning to ‘storm’ America and Europe. It originated with the Negro spiritual and was a merger of “Ragtime” and “Blues”. Its popularity spread rapidly via recordings for the phonograph and the newly invented radio. It seemed to help people forget the unhappiness and unrest in the world. Listen and see if you like the sound of jazz music.

Day 2: Today’s listening excerpt is Rhapsody in Blue composed and originally performed by George Gershwin in 1924.

At the time he wrote Rhapsody in Blue, Gershwin was in his mid-twenties. He was a very intense young man and was only really comfortable sitting at a piano. Gershwin felt strongly about the conflicts between blacks and whites and since jazz music originated from the history of the African-American slaves, his compositions reflected the struggles of these people. In Rhapsody in Blue, listen today to the way the piano and orchestra compete for your attention. Does this piece make you feel happy or sad? Non-Directed Music Listening Program Script Series II Day 3: This week’s featured composer is American-born George Gershwin. He wrote the composition Rhapsody in Blue in 10 days.

Yesterday you listened to this piece to discover the mood of the music. Does the wailing clarinet entrance at the very beginning make you feel sad and reflective? If it does, it may be because the music originated in the “Blues” and “Ragtime” styles which developed form the music of the African-American slaves. An integral part of this type of music is improvisation. Improvisation is when you are performing on stage and the music that you are playing is not written down – you are making it up as you go. Although Rhapsody in Blue was written down, do you hear a certain ‘freedom’ in the music that makes you feel it is being composed ‘on the spot’?

Day 4: Today we will again listen to an excerpt from George Gershwin’s Rhapsody in Blue composed for piano and orchestra. The entire piece is about fifteen minutes long.

One of the integral parts of jazz music is improvisation. In a jazz performance, the musician must be able to create music that has not previously been written down. Although Rhapsody in Blue was composed and written in musical notation, it has a certain spontaneity reminiscent of improvisation. You are probably wondering how a group of performers is able to make up music on stage and have the piece still sound like it all goes together. One of the most important methods used to provide structure for improvisation is the use of a constant pattern of chords over which players create new melodies. See if you can hear this happening in Rhapsody in Blue.

Day 5: This week’s listening selection is Rhapsody in Blue by George Gershwin. It was composed in ten days and was originally performed on February 12, 1924.

Listening to this music may have helped you decide whether or not you like jazz. Gershwin was originally trained in classical music and this formal training influenced his compositional style. In classical literature, a Rhapsody is a relatively short composition in a free form which expresses a particular mood. This means that the composer doesn’t have to follow a lot of musical rules when he is creating the piece. Gershwin took the classical form of the Rhapsody and modified it to include the sounds of the “Blues”. This helps us understand the title, Rhapsody in Blue. Non-Directed Music Listening Program Script Series II Week 18

Composer: Antonio Vivaldi Composition: Violin Concerto in A Minor Performance: Paillard Chamber Orchestra, Jean François Paillard Recording: “Pachelbel Canon”, RCA Victor 65468-2-RC

Day 1: This week’s selection is the Allegro movement from the “Violin Concerto in A Minor” by Antonio Vivaldi.

Vivaldi, an Italian composer of the Baroque era who lived from 1680 – 1783, wrote more than 200 concerti. A concerto is a musical composition in which one or more instruments are set against the remaining instruments or orchestra. The term “concerto” is said to have two roots. One meaning is “to fight” and the other is “to join together or unite”. This concerto begins with the theme performed by the orchestra and then played by the violin. Listen for the musical conversation between the solo violin and orchestra. do you think they are fighting or in agreement?

Day 2: The Italian composer, Antonio Vivaldi, wrote this week’s selection, the Allegro movement from the “Violin Concerto in A Minor”.

The concerto form provides a soloist with an opportunity to exhibit his/her instrumental expertise through the performance of brilliant musical passages. Vivaldi was a virtuoso violinist himself and understood fully the potential of the instrument. In his day, in his native city of Venice, Italy, Vivaldi was even considered a bit “mad” by some who considered compositions for solo violin far too bold and daring. In this piece, listen to the elaborate scale passages and arpeggios of the violin. Non-Directed Music Listening Program Script Series II Day 3: This week’s feature composer is Antonio Vivaldi. We will be listening to the Allegro movement from the “Violin Concerto in A Minor”.

In this piece, the orchestra announces the lively theme which is repeated by the violin. The orchestra repeats the melody again, but this time the violin debates the theme and adds more musical ideas. Toward the end of the piece, the exchange between the orchestra and violin becomes more frequent until, at last, it appears as if both sides have reached a happy consensus.

Day 4: This week’s highlighted composition is the Allegro movement from the “Violin Concerto in A Minor’ by Antonio Vivaldi.

A concerto is really a “battle of the bands”. In earlier times, equal groups of voices competed with each other within a composition. This developed into a form in which a group of soloists played against, or in contrast to, the remaining instruments. The concerto is a structured form of this musical contest. Listen to how alternating between the solo and violin and the orchestra creates musical tension because of the contrast in musical textures and dynamics.

Day 5:This week, we have been listening to the Allegro movement from the “Violin Concerto in A Minor” by Antonio Vivaldi.

Vivaldi was born in 1680 in Venice, Italy and was educated for the priesthood. Because of his long flaming red hair, he was nicknamed “the red-haired priest”. His job was to write music for church services and also to teach music to young children in the orphanage in his native city, Venice. The concerts of these teenaged children were famous through Italy and attracted large audiences. Let us now listen for the final time this week to the Allegro movement of Vivaldi’s well- known “Violin Concerto in A Minor”. Non-Directed Music Listening Program Script Series II Week 19

Composer: Aaron Copland Composition: Fanfare for the Common Man Performance: Recording: “Essential Classics”, Deutsche Grammophon

Day 1: This week we will listen to the Fanfare for the Common Man by Aaron Copland.

Traditionally, a fanfare is a rather slow and short but dignified tune or motif used as a signal for ceremonial events. Usually, a fanfare announces the arrival or royalty or very important people. In this fanfare, however, the American composer, Aaron Copland, celebrates the dignity of the common working man and woman.

Day 2: This week’s featured composition is the Fanfare for the Common Man by Aaron Copland.

A fanfare often announces the appearance of important people during elaborate ceremonies. Notice how, after every phrase, the flamboyant brass instruments are answered by bold timpani and other percussion instruments. Copland wrote the Fanfare for the Common Man to honour the dignity of the individual man and woman.

Day 3: The name of this week’s featured composition is Fanfare for the Common Man by Aaron Copland.

A fanfare is generally written for trumpets and horns. When brass instruments were first used in orchestras they could only play the notes of the major triad (doh, mi, soh). As a result, many fanfares are based on these tones. This gives the music a very expansive quality. Let us listen now to the rich, open harmonies of this bold brass choir. Non-Directed Music Listening Program Script Series II Day 4: This week, we are listening to the Fanfare for the Common Man by Aaron Copland.

Copland, an American composer, used only brass and percussion instruments in this composition. The brass instruments deliver the theme in short phrases. Percussion instruments answer the brasses as if they were engaged in a conversation. Notice how neither instrumental group is allowed to interrupt the other. Copland wrote the Fanfare for the Common Man to salute the courage and the spirit of the ordinary man and woman.

Day 5: This week we have been listening to the Fanfare for the Common Man by Aaron Copland.

Copland was a modern American composer who was born in 1900 and died in 1990. This fanfare was written in 1942, shortly after America entered World War II. Copland, whose parents were Russian Jews, was concerned with the persecution of the Jewish people in Europe at that time. In this dark period, Copland must have abhorred the repressive tyranny of dictators, and rigid class structures, and believed strongly in the ability of the individual man and woman to effect change in the world. Copland, who is known for compositions which are imbued with both simplicity and magnificence, used only brass and percussion instruments to reflect the triumph and dignity of the human spirit. Non-Directed Music Listening Program Script Series II Week 20

Composer: Edvard Grieg Composition: “Peer Gynt Suite, No. 1”, In the Hall of the Mountain King Performance: Cleveland Orchestra, George Szell Recording: “Grieg’s Greatest Hits”, CBS Masterworks WMLK 39435

Day 1: This week’s selection is entitled In the Hall of the Mountain King from the “Peer Gynt Suite, No. 1” by Edvard Grieg.

The work is based on a collaboration of talents of two famous men from Norway – Henrik Ibsen, a playwright, and Edvard Grieg, a composer. The story by Ibsen is derived from the misadventures of a mischievous well-known character from Norwegian folk tales, Peer Gynt. In the story, Peer Gynt is a lazy, dreamy boy who liked to bully, brag, and boast. One day, uninvited, he attends a wedding and on an impulse, runs off with the bride. He then leaves her and flees to the mountains where he falls, hits his head, and lapses into unconsciousness. He awakens in the foreboding Hall of the Mountain King surrounded by repulsive trolls. Can you hear the trolls as they stalk the luckless Peer Gynt?

Day 2: This week, we will listen to In the Hall of the Mountain King from the “Peer Gynt Suite, No. 1” by the Norwegian composer, Edvard Grieg.

In our story, the rascal Peer Gynt is captured by the mean trolls. The King of the Trolls, the Mountain King, wants Peer Gynt to marry his ugly daughter. First, however, he demands that Peer Gynt be changed into a troll. Peer Gynt tries to escape from the hideous trolls. In today’s selection, can you hear the trolls’ musical footsteps as they surround and torment Peer Gynt?

Day 3: Today, we will listen to In the Hall of the Mountain King from the “Peer Gynt Suite, No. 1” by Edvard Grieg.

In this Norwegian folk tale, Peer Gynt finds himself in the Hall of the Mountain King. Ugly little trolls stalk the hapless Peer Gynt and eventually chase him out of the kingdom. The music begins mysteriously with the staccato footsteps of the trolls. As the trolls come closer, Peer Gynt’s sense of terror is heightened as the theme is played over and over again, faster and faster. Non-Directed Music Listening Program Script Series II Day 4: This week, we are listening to In the Hall of the Mountain King from the “Peer Gynt Suite, No. 1” by Edvard Grieg.

Grieg was a Norwegian composer who was born in 1843 and died in 1907. The “Peer Gynt Suite” is a collection of musical pieces which detail the misadventures of the legendary Norwegian rascal, Peer Gynt. After one of his pranks, Peer Gynt finds himself in the Hall of the Mountain King surrounded by mean trolls. In the music, you will hear the mysterious, winding, staccato, hypnotic march of the trolls. The music begins pianissimo (very softly) and builds to a crashing fortissimo (very loud).

Day 5: This week we have been listening to In the Hall of the Mountain King from the Peer Gynt Suite, No. 1” by Edvard Grieg.

In the story, the hero, Peer Gynt is surrounded and chased by mean trolls. Grieg creates this moment of utter terror through the use of many types of musical contrasts. The music begins pianissimo (very softly) and ends fortissimo (very loudly). The theme is introduced slowly and becomes faster and faster. The music also starts with very low sounds and ends with high shrieking pitches. How many musical contrasts can you discover? Non-Directed Music Listening Program Script Series II Week 21

Composer: Ludwig von Beethoven (1770 – 1827) Composition: Piano Concerto No. 4 in G Major, Rondo Vivace Performance: Concertgebouw Orchestra, Murray Perahia (piano) Bernard Haitink(director) Recording: CBS Masterworks, CBS WMK 42070

Day 1: This week’s listening selection is the Rondo Vivace from the “Piano Concerto No. 4 in G Major” by Ludwig von Beethoven.

In a concerto, one instrument and possibly several instruments are set against the orchestra. In this case, the piano is the solo instrument. In a concerto, the orchestra usually introduces the theme and then the solo instrument answers. However, in this concerto, the solo instrument (the piano) is allowed to play first. Beethoven was the first composer to allow the solo instrument to introduce a theme in a concerto. Listen to the musical conversation between the piano and the orchestra.

Day 2: We are listening to the Rondo Vivace from the “Piano Concerto No. 4 in G Major” by Ludwig von Beethoven.

A concerto is a musical conversation between the orchestra and a solo instrument, in the case, the piano. As you listen to this concerto, notice how the piano begins this movement pianissimo (very softly), then breaks into a lively melody. In this concerto, the orchestra is quick to answer the opening theme. Typically, Beethoven employs strong contrasts of loud/soft, fast/slow, gentle/forceful to create a sense of emotion and drama.

Day 3: This week’s selection is the Rondo Vivace from the “Piano Concerto No. 4 in G Major”. Our featured composer is Ludwig von Beethoven.

Beethoven was born I 1770 and lived to be 56 years old. In his lifetime, he wrote five concerti. Beethoven was an excellent pianist himself and performed the premiere of this concerto. The performer of any concerto must be a virtuoso. A virtuoso is a musician with a high degree of technical skill. Let us listen again to this famous piano concerto written by Beethoven. Non-Directed Music Listening Program Script Series II Day 4: This week, we are listening to one portion of the “Piano Concerto No. 4 in G Major” by Ludwig von Beethoven.

This is the final movement of the three movement piano concerto. The movement is entitled Rondo Vivace. “Vivace” means lively. “Rondo” refers to the form of the piece. Composers often used the rondo for the finale or ending of a concerto or symphony. In a rondo, a theme is played in alternation with other themes. In other words, theme A is followed by theme B, A, C, A, etc. Can you hear the repetition of the first theme in this concerto?

Day 5: This week we have been listening to Rondo Vivace from the “Piano Concerto No. 4 in G Major” by Ludwig von Beethoven.

Beethoven was born more than three centuries ago in 1770. At the beginning of his career, he composed formal organized music within the classical musical tradition. In time, Beethoven’s music became more dramatic and evoked forceful, powerful emotions from his audiences. He was one of the pioneers of the romanticism in music, a style which stressed freedom and passion over reason. In this selection, notice how Beethoven uses contrasts of slow/fast, loud/soft, crescendo/diminuendo to create tension and movement in the piece. Let us listen for the last time to the lively finale of Beethoven’s “Piano Concerto No. 4 in G Major”. Non-Directed Music Listening Program Script Series II Week 22

Composer: Claude Bolling Composition: Concerto for Classical Guitar and Jazz Piano Trio Performance: Alexandre Lagoya (guitar), Claude Bolling trio Recording: CBS Masterworks Digital Sample, CBS WMXK 46357

Day 1: This week we will listen to Africans from the “Concerto for Classical Guitar and Jazz Piano Trio” by Claude Bolling.

This piece of music is an unusual juxtaposition of old and new elements of media, style and form. The composer has employed an old musical form, the concerto, a composition usually written for a symphony orchestra and a solo instrument, most often a violin or piano. However, in this selection, we hear a jazz piano trio instead of an orchestra and a classical guitar instead of a piano or violin. In addition, the composer has used language of jazz (syncopated rhythms, blues scale, and jazz harmonies)instead of the idiom of classical music (regular rhythm, traditional diatonic melodies and harmonies). Let us listen now to this delightful blend of the old and the new.

Day 2: Today, we will listen to Africans from the “Concerto for Classical Guitar and Jazz Piano Trio” by Claude Bolling.

This piece represents a fusion of the old and the new. The old is the concerto form, a form used for centuries which sets a solo instrument, usually a violin or piano, in contrast to an orchestra. The new is the employment of a jazz trio – piano, double bass, and drum set instead of an orchestra. The new is also represented in the jazz style – syncopated rhythms and the use of the blues scale with flatted 3rd, 5th, and 7th notes. Non-Directed Music Listening Program Script Series II Day 3: This week, we are listening to Africans from the “Concerto for Classical Guitar and Jazz Piano Trio” by Claude Bolling.

The classical guitar, the solo instrument in the concerto, begins the composition with a sort phrase and is promptly answered by the jazz trio consisting of piano, double bass, and drums. Jazz and blues often incorporate a musical technique referred to as “call and response”. In this style, a soloist performer sings or plays a phrase which is answered by a chorus or group of instruments. This movement of the concerto begins in this manner. As you listen to Africans from the “Concerto for Classical Guitar and Jazz Piano Trio” by Claude Bolling, can you hear how the classical guitar sees to “call” the other instruments?

Day 4: Africans from the “Concerto for Classical Guitar and Jazz Piano Trio” by Claude Bolling is our listening selection for this week.

This movement is written in a rondo form. In a rondo, the opening theme is played at least three times throughout the piece. Contrasting themes are interspersed between statements of this principal theme and the form of the music becomes ABACA. Although the guitar is the solo instrument in this concerto, the piano plays a very prominent part in a contrasting theme and almost seems to take over the musical conversation between the guitar and jazz trio. Can you hear the return of the opening theme?

Day 5: This week, we have been listening to Africans from the “Concerto for Classical Guitar and Jazz Piano Trio” by Claude Bolling.

This piece is a fascinating blend of old and new elements in music. The old is the concerto form and the use of the classical guitar. The new is the jazz trio – the piano, double bass, and drums. The new is also represented in the use of the jazz style. Today, in modern music, there are many examples of this fusion of form, media, and style. Let us listen for the final time to this most interesting contemporary composition. Non-Directed Music Listening Program Script Series II Week 23

Composer: Peter Sorozabal Composition: “La Tabernera Del Puerto” – No Puede Ser Performance: Opera Orchestra of Rome, Zubin Mehta Placido Domingo, Tenor Recording: Carreras, Domingo, Pavarotti in Concert, Zubin Mehta, London 430 433-2

Day 1: This week, we will be listening to No Puede Ser from the opera “La Tabernera Del Puerto” by Peter Sorozabal.

This piecework is from a form of Spanish opera. One of the world’s greatest opera singers, the Spanish tenor, Placido Domingo, performs this dramatic love song. The tenor voice is the highest adult male singing voice which corresponds to the soprano voice, the highest adult female singing voice. There are two types of tenors – lyric tenors and dramatic tenors. Lyric tenors sing with a high, light voice. Dramatic tenors have strong, powerful voices and usually sing in a lower register than a lyric tenor. Listen as Placido Domingo, the famous dramatic tenor, uses his robust voice to express the various emotions of this love song.

Day 2: Today, we will listen again to No Puede Ser from the opera “La Tabernera Del Puerto” by Peter Sorozabal.

This aria is sung by the renowned Spanish tenor Placido Domingo. In choral music, voices are divided into four parts: soprano, alto, tenor, and bass. However, in opera, voices are classified into six different types. The female voices from highest to lowest are soprano, mezzo-soprano, and contralto. The male voices from highest to lowest are tenor, baritone, and bass. The highest male voice, the tenor, is also defined by the character and quality of the voice. The lyric tenor has a light, high voice. The dramatic tenor has a rich and powerful tone. Let us listen again to Placido Domingo, the famous dramatic tenor, sing this expressive aria. Non-Directed Music Listening Program Script Series II Day 3: Our featured listening selection for this week is No Puede Ser from the opera “La Tabernera Del Puerto” by Peter Sorozabal.

No Puede Ser is an aria sung by the great Spanish tenor, Placido Domingo. An aria is a composition for solo voice which is usually accompanied by an orchestra. In opera, the aria is used to express the strong emotions of the operatic character, emotions such as longing, passion, grief, vengeance, and triumph. In this aria, Placido Domingo sings about a beautiful woman. The music demands that the singer utilize a wide vocal range and the full scope of the dynamic spectrum. The tenor must be, at times, able to sing softly and gently, and at other times, be able to sing with great power.

Day 4: This week we are listening to No Puede Ser from the opera “La Tabernera Del Puerto” by Peter Sorozabal. It is being sung by the famous Spanish tenor, Placido Domingo.

The opera from which this aria is taken is a type of Spanish three-act opera called zarazuela. In this style, the music is interspersed through the spoken dialogue. This type of opera, based on Spanish folklore, is very dramatic. In this aria about a beautiful woman, Placido Domingo sings with a wide range of emotion, which may be described as sadness, longing, tenderness, hope and joy.

Day 5: This week we have been listening to No Puede Ser from the opera “La Tabernera Del Puerto” by Peter Sorozabal. Placido Domingo, the famous dramatic tenor, performs this aria against the backdrop of the orchestra.

The theatrical aria gives the dramatic tenor the opportunity to portray extremes of emotional expression using a wide variety of vocal techniques. Notice how the music begins slowly and quietly and then builds to a great intensity. The middle section is very quiet, but at the very end, the tenor is allowed to use the full capacity of his powerful voice. Let us listen again to one of the world’s most famous tenors, Placido Domingo. Non-Directed Music Listening Program Script Series II Week 24

Composer: Claude Debussey (1862 - 1918) Composition: Arabesque No. 1 Performance: Philharmonic Orchestra, William Smith Recording: CBS Masterworks, “The French Album”, CBS MFK 45543

Day 1: Our featured listening selection for this week is entitled Arabesque No. 1 by Claude Debussey.

Debussey was a famous French composer who revolutionized the way musicians thought of harmony and musical form. Debussey was strongly influenced by a movement in the French art world called “Impressionism”. Impressionistic painters used soft, muted tones and spots of colour to convey a dreamy mood, atmosphere, or emotion. The paintings seemed to shimmer with light and colour. Debussey tried to translate this idea into his musical compositions. As you listen to Debussey’s Arabesque, what kind of mood or picture does the music seem to communicate to you?

Day 2: Today, we will listen to Arabesque No. 1 by Claude Debussey.

Debussey was a French composer who was born in 1862 and died in 1918. During his lifetime, in the late 1800’s a form of art called “Impressionism” flourished in France. In their paintings, Impressionist painters tried to create a mood rather than imitate an exact image of reality. Debussey, who felt more connected to painters and poets than musicians, was greatly influenced by the movement in the art world. In his music, he tried to set a dreamlike, misty mood. Many of his pieces have beautiful names such as Afternoon of a Faun and Clair de Lune. This piece is called Arabesque. The term “Arabesque” is borrowed from the fields of art and architecture. It denotes the Arabic style of light, lacy, florid ornamentations used to decorate buildings. Do you think the music seems to call forth these images? Non-Directed Music Listening Program Script Series II Day 3: This week, we are listening to Arabesque No. 1 by the French composer Claude Debussey.

Debussey was strongly influenced by the French Impressionist painters. Debussey wrote music with descriptive titles such as Clair de Lune, An Afternoon of a Faun, and The Sea. Both the music and the titles evoke a visual image. Debussey called the piece we will listen to today Arabesque, which means “in the Arab style”. The Arab style of ornamentation which often decorated buildings, made us of flowing lines, geometric shapes, and frequently depicted fruits and flowers. Debussey’s Arabesque flows in a dream-like manner. Debussey achieved this effect by avoiding loud chords, extreme dynamics , clear melodies, and strong rhythms. What do you see in your mind’s eye as you listen to Debussey’s Arabesque?

Day 4: This week’s featured composition is Arabesque No. 1 by Claude Debussey

Debussey’s music evoked a calm and gentle mood and shimmering visual images. One way Debussey achieves this effect is through his careful choice of instrumentation. Arabesque begins with the smooth delicate sound of a solo clarinet played over a soft background of violins and harp. In turn, the gentle tones of French horns, oboes, and flutes answer the clarinet’s melodic theme. No loud percussion instruments are allowed to intrude upon this peaceful scene. Let us listen again to Debussey’s Arabesque and enter into its mood of serenity.

Day 5: This week, we have been listening to Arabesque No. 1 by Claude Debussey.

Debussey is known for the development of Impressionism in music. In many of his compositions, Debussey tried to create a tone painting, or an image his listeners could see as well as hear. In this piece of music, the delicate flowing melodies of the clarinet, oboe, and flute over the lush harmonies of the string family and harp create a restful mood. Debussey’s music is never loud or dramatic, and there are seldom strong beats or accents. If you were to paint a picture of the images you see while you listen to Debussey’s Arabesque, what picture would you paint? Non-Directed Music Listening Program Script Series II Week 25

Composer: Listening Program Favorites Composition: Various –School’s Own Choice Performance: Recording: Non-Directed Music Listening Program Script Series II Week 26

Composer: Joseph Haydn Composition: Symphony in G Major (“Surprise Symphony”) – “Finale” Performance: Wiener Symphoniker, Wolfgang Sawallisch Recording: Haydn Symphonies No. 94, 100 and 101, Phillips 422 973-2

Day 1: This week’s featured selection is the “Finale” from the Symphony in G Major by the Austrian composer, Joseph Haydn.

Joseph Haydn was born in Austria in 1732 and died in 1809 at the age of seventy- seven. Haydn has been called the “Father of the Symphony” because he developed the symphonic form from a short, simple work to a larger, more complex composition. Later, Mozart, who along with Haydn were the most highly regarded composers of the classical period of music history, perfected the form of the symphony. Usually, symphonies are written in three movements of contrasting tempo and mood. The first is fast; the second slow; and the “finale”, or last movement, is again performed at a fast tempo. Today, we will listen to the last movement, the “Finale” from the “Surprise Symphony”. The music is bright, energetic, and triumphant.

Day 2: This week we are listening to the “Finale” from the Symphony in G Major by the Austrian composer, Joseph Haydn.

Haydn has been nicknamed “Papa Haydn” and the “Father of the Symphony”. Haydn was a prolific composer who wrote more than 100 symphonies and was responsible for establishing the symphonic form as we know it today. The instrumentation of today’s orchestra is based on the instrumentation of Haydn’s symphony orchestra. The orchestra in this piece consists of the string family, the woodwind family without clarinets, and two horns, two trumpets, and timpani. How many kinds of instruments can you identify in this last movement of Haydn’s “Surprise Symphony”? Non-Directed Music Listening Program Script Series II Day 3: This week we are listening to the “Finale” from the Symphony in G Major by the Austrian composer Joseph Haydn.

The son of a common wheelwright, Haydn was the court composer for an Austrian prince for 30 years. Later, he composed and conducted for royalty in England. Haydn had a delightful sense of humour and liked to play jokes on his royal audiences. The symphony we will listen to today is nicknamed the “Surprise Symphony”. Legend has it that Haydn wanted to wake up all the kings and queens who fell asleep during his music. He tricked them by lulling his audience to sleep through a simple theme played pianissimo (very softly). Then Haydn inserted a very loud (fortissimo) chord, reinforced by the loud thunder of the timpani. This must have given his audiences quite a start! In today’s selection, the finale of the symphony, listen for surprises.

Day 4: This week’s featured composition is the “Finale” from the Symphony in G Major by Joseph Haydn, the “Father of the Symphony”.

Generally, the symphony has three movements – fast, slow, fast. Sometimes, as in the case of this symphony, Haydn included a “minuet” to create a fourth movement. The last movement of the “Surprise Symphony”, the “finale”, is written in a “rondo” form. In a rondo form, the opening theme returns throughout the piece. How many times do you hear the happy, energetic first theme return in this movement?

Day 5: This week, we have been listening to the “Finale” from the Symphony in G Major by Joseph Haydn, the classical composer known as the “Father of the Symphony”.

This symphony is called the “Surprise Symphony”. It is said that it was written to wake up the arrogant nobility who often fell asleep during Haydn’s performances. Let us listen again to this lively, and often surprising, music. Non-Directed Music Listening Program Script Series II Week 27

Composer: Johann Strauss Composition: Banditen Galop Performance: Cincinnati Pops Orchestra, Kunzel Recording: Telarc Sampler Volume 3, Telarc CD 80003

Day 1: This week’s featured selection is the Banditen Galop by Johann Strauss.

Johann Strauss, born in 1804, was an Austrian composer who also served as the conductor for the gala ballroom dances of the Vienna court. Strauss composed many waltzes, polkas, and marches. He also wrote dances called galops. A galop is a very fast dance in 2/4 time. The name of this galop is the Banditen Galop which means “bandit’s dance” in German. As the bandits or robbers try to get away, you can hear several unexpected shots. Can you hear these loud, cracking sounds in the first and last part of the piece?

Day 2: This week, we are listening to the Banditen Galop by Johann Strauss. A galop is a very fast dance in 2/4 time. Strauss gave this galop the name “Banditen”, which means “bandits” or “robbers” in German. This dance is written in three parts. In the “A” section or first section of the piece, we hear the loud cracking of guns. In the “B” section, we hear a quiet melody. The piece ends with a repetition of the “A” section. Wait for a surprising loud “CRACK!” at the end.

Day 3: This week’s listening selection is entitled Banditen Galop by our featured composer of the week, Johann Strauss.

Johann Strauss was a very famous composer of waltzes, galops, and marches. Strauss had a son, also named Johann, who, against the wishes of his father, studied music. The young Johann became even more famous than his father and was called the “Waltz King”. He wrote the renowned waltz, “On the Beautiful Blue Danube”. Both Johann I and his son, Johann II, were known for their precise, flamboyant compositional style. As you listen today to the Banditen Galop written by the father of the “Waltz King”, can you imagine kings and queens, princes and princesses, and the gentlemen and lades of high society dancing in the Vienna Court? Non-Directed Music Listening Program Script Series II

Day 4: Our listening selection for this week is called Banditen Galop by the Austrian composer Johann Strauss.

A galop is a fast dance. Strauss and his son were famous for writing dance music, especially waltzes. Many composers such as Haydn and Mozart had also written dances, however, the Strauss family brought about the popularity of dance music in Vienna and also in the rest of Europe. The waltz brought the Strauss family fame and fortune. Johann II, the “Waltz King”, was as popular as the Emperor of Austria. By the end of his life, Johann II was a millionaire. Let us listen again to Banditen Galop by Johann II’s father.

Day 5: This week, we have been listening to Banditen Galop by Johann Strauss I.

This piece is a galop, meaning a very fast dance in 2/4 time. Most probably, this piece is about “Banditen” or bandits. This piece is written in the musical form – ABA. Can you hear the loud popping of guns? Can you imagine hundreds of dancers whirling around the Vienna Court ballroom dancing to this flamboyant Strauss galop? Non-Directed Music Listening Program Script Series II Week 28

Composer: Sergei Rachmaninoff (1873 - 1943) Composition: Rhapsody on a Theme of Paganini – Variation 18 Performance: London Symphony Orchestra, Yuri Ahronovitch Recording: Essential Classics, Deutsche Grammophon 431 541-2

Day 1: This week’s feature composer is Sergei Rachmaninoff. This week’s feature composition is Variation 18 from the Rhapsody on a Theme of Paganini.

Paganini was a composer who lived 100 years before Rachmaninoff. Paganini is known as one of the finest violinists of all time and he published a piece titled Caprice #24 for the violin. When Rachmaninoff composed his “rhapsody”, he based it on the theme of Paganini’s Caprice #24. The Rhapsody on a Theme of Paganini is one of Rachmaninoff’s most often heard compositions.

Day 2: This week’s feature composition is the Variation 18 from the Rhapsody on a Theme of Paganini. This week’s feature composer is Sergei Rachmaninoff.

Rachmaninoff was born in Russia in 1873 and is best known as a composer of piano music. This week’s composition is a “concerto” for piano and orchestra. A “concerto” is a composition for a solo instrument and orchestra. At the beginning of Variation 18, you can hear the solo piano clearly before the orchestra enters. Let us now listen to Rhapsody on a Theme of Paganini.

Day 3: This week’s feature composer is Sergei Rachmaninoff. This week’s feature composition is Variation 18 from Rhapsody on a Theme of Paganini.

Rachmaninoff based his rhapsody on the theme of Paganini’s Caprice #24. Rachmaninoff borrowed Paganini’s theme and inverted it in the 18th Variation of his rhapsody. Rachmaninoff was a very clever composer. As a matter of fact, if you turn the music backwards, you will almost hear Paganini’s Caprice #24. Non-Directed Music Listening Program Script Series II Day 4: This week’s feature composer is Sergei Rachmaninoff and the feature composition is Variation 18 from Rhapsody on a Theme of Paganini.

The word “rhapsody” is used in music to describe a certain fantasy or epic flavour to them. When you listen to today’s music, listen for the broad, beautiful melodies and the big chords that help to create a very grand and theatrical effect that made Rachmaninoff very famous. The Rhapsody on a Theme of Paganini is a brilliant showpiece and is one of Rachmaninoff’s most often heard compositions.

Day 5: This week’s feature composer is Sergei Rachmaninoff. This week’s feature composition is Variation 18 from Rhapsody on a Theme of Paganini.

Like many other composers, Rachmaninoff based one of his compositions on Paganini’s famous theme. There are a total of 24 variations in Rachmaninoff’s rhapsody, but the 18th Variation has become a favourite because of its supremely beautiful melody. Today we will listen to the 18th Variation from Rhapsody on a Theme of Paganini. Non-Directed Music Listening Program Script Series II Week 29

Composer: Edward Elgar Composition: Pomp and Circumstance Performance: BBC Symphony Orchestra, Leonard Bernstein Recording: Essential Classics, Deutsche Grammophon 431 541-2

Day 1: This week’s feature composer is Edward Elgar. This week’s feature composition is the famous ceremonial march, Pomp and Circumstance.

This piece was written for the coronation of King Edward VII in 1901. A coronation is a majestic ceremony in which a new king is crowned. Although this piece is played all over the world but is most popular in England. In Burnaby, you might hear this piece performed at a high school or university graduation ceremony. We will now listen to Pomp and Circumstance by Edward Elgar.

Day 2: This week’s feature composer is Edward Elgar and the featured composition is an excerpt from Pomp and Circumstance.

Today you hear two distinct sections of this work. The first section is a lively, active and restless theme and in the second section we will hear the stately, legato melodic theme that has become so popular. Throughout the second section, one can feel the grandeur and intensity growing.

Day 3: This week’s feature composition is Pomp and Circumstance written by the English composer, Edward Elgar, in 1901.

Edward Elgar became one of the best known and most honoured composers in England during the late 1800’s. As a young man, Elgar helped his father as church organist and spent a year as an apprentice in law office. While he was working at the law office he decided to do what he always wanted to do – to make music his career. Non-Directed Music Listening Program Script Series II Day 4: This week’s feature composer is Edward Elgar. This week’s feature composition is Pomp and Circumstance.

Today, as you listen to the first section of this piece, listen for the strong, driving accents and then for the sudden contrasts of the legato, melodic second section. Both composers and visual artists use “contrast” as an effective means of communicating the meaning of their work. Listen today for the two distinct themes.

Day 5: This week’s feature composer is Edward Elgar, the English composer who wrote the ceremonial march, Pomp and Circumstance.

The word “pomposo” is an Italian term that means “a direction to perform in a stately, dignified manner”. When you listen to this composition, you probably feel the sense of dignity and importance that Elgar wanted to portray. Did you remember that this piece was written for the coronation of King Edward VII as King of England? Edward Elgar certainly created a very majestic and grandiose composition for this important event. Non-Directed Music Listening Program Script Series II Week 30

Composer: Georges Bizet Composition: L’Arlesienne Suite – “Farandole” Performance: New Philharmonic Orchestra, Charles Munch Recording: Bizet: Carmen/L’Arlesienne Suites, London 421 632-2

Day 1: This week’s composer is Georges Bizet and the featured composition is the fifth movement “Farandole” from the L’Arlesienne (lar-lay-ZYEN) Suite.

This music was written for a play titled L’Arlesienne which means “the woman of Arles”. The play was written by Alphonse Daudet and tells about the life of the peasants in and around Arles, which is in Provence (pro-VAHNS). Provence is not far from the Mediterranean Sea and is most famous for its beautiful landscape. When you listen to today’s music, try to imagine a beautiful countryside with a cloudless blue sky and feel the wonderful warmth radiating from the dazzling sun.

Day 2: This week’s composer is George Bizet. This week’s composition is the fifth movement, “Farandole”, from the L’Arlesienne Suite.

Although the play for which this music was written failed with audiences, the concert suite from Bizet’s music became extremely popular. The play has been long since forgotten, but Bizet’s music for L’Arlesienne continues to live on. Let us now listen to “Farandole”.

Day 3: This week’s feature composer is Georges Bizet. This week’s feature composition is the fifth movement, titled “Farandole”, from the L’Arlesienne Suite.

A farandole is a popular street dance in Provence in which couples hold hands in a procession, winding in and out as they follow the leader. It is a happy, carefree dance and Bizet is able to capture these feelings in his music. See if you can feel the strong sense of “beat” in the dance. Bizet makes this easy for us by sometimes having the beat stated on a drum. Non-Directed Music Listening Program Script Series II Day 4: This week’s feature composition is the fifth movement, “Farandole”, from the L’Arlesienne Suite which was written by Georges Bizet.

Georges’ father was a famous singing teacher and Georges used to love to listen outside the door of his father’s music studio. Both his father and mother realized Georges’ love of and talent for music. When he was eight years old, they wanted him to study t the Paris Conservatory of Music; however, the Paris Conservatory had a rule that no student could enter before the age of ten. Georges’ father convinced the authorities of his son’s talent and dedication and Georges was finally admitted to the Paris Conservatory of Music.

Day 5: This week’s feature composer is Georges Bizet. This week’s feature composition is the ‘Farandole” from L’Arlesienne.

The music was written for a play but, as it turned out, the play failed. Bizet’s music, however, became extremely popular. Today’s selection, the “Farandole”, was a popular street dance in Provence. It was a very energetic and exciting dance. When you listen to the music today, listen as the excitement builds to the final chord. Bizet achieves this rising level of excitement by increasing the tempo – the speed of the music. Non-Directed Music Listening Program Script Series II Week 31

Composer: George Frederic Handel Composition: Water Music – “Alla Hornpipe” Performance: The English Concert, Trevor Pinnock Recording: Essential Classics, Deutsche Grammophon 431 541-2

Day 1: This week’s feature composer is George Frederic Handel. The feature composition is “Alla Hornpipe” from the Water Music.

Handel composed this music 270 years ago for the King of England, King George I. The composition was first performed at a party that King George gave on barges on the River Thames; that is why it is titled Water Music. King George loved the Water Music so much that he had the music played three times in going and returning.

Day 2: This week’s feature composer is George Frederic Handel and the feature composition is the “Alla Hornpipe” from the Water Music.

This music was composed especially for the King of England, King George I. When you listen to the music, it is easy to imagine a royal King and his dignified subjects. That is because the music sounds “royal” and “majestic”. Let us now listen to the Water Music by George Frederic Handel.

Day 3: This week’s feature composer is George Frederic Handel. The feature composition is “Alla Hornpipe” from the Water Music.

A hornpipe was a popular dance in England during the 16th to 19th centuries. It was performed as a solo dance by sailors. Maybe that is why Handel wanted to compose a Hornpipe for his Water Music. Non-Directed Music Listening Program Script Series II Day 4: This week’s feature composer is George Frederic Handel. The feature composition is “Alla Hornpipe” from the Water Music.

Handel was a smart composer and he had a good feeling for what people liked to hear. He knew that people liked to hear good musical ideas more than once. If you listen carefully, you will hear the grand opening of the composition repeated about two thirds throughout the piece.

Day 5: This week’s feature composer is George Frederic Handel. Do you remember the title of this week’s composition? If you are thinking “Alla Hornpipe” from the Water Music, you are right.

It was titled Water Music because it was first performed on barges on the River Thames for a party that was given by King George I, the King of England. Non-Directed Music Listening Program Script Series II Week 32

Composer: John David Composition: You Are the New Day Performance: The King’s Singers Recording: The King’s Singers 20th Anniversary Celebration, EMI 7-69375

Day 1: This week’s feature composer is John David. The feature composition is titled, You Are the New Day.

The piece is sung by a group of all male vocalists, known as the King’s Singers”. You Are the New Day is an “a capella” piece. This means that it is choral music sung without any instrumental accompaniment.

Day 2: This week’s feature composition is titled, You Are the New Day. Do you remember the name of the group which sings this piece? If you are thinking the King’s Singers, you are right.

The King’s Singers is a brilliant vocal ensemble which is comprised entirely of male singers. There are usually six types of human voices and they are the three female voices (soprano, mezzo-soprano, and contralto) and the three male voices (tenor, baritone, bass). Although the King’s Singers are an all male group, amazingly enough, they represent all six types of human voice.

Day 3: This week’s feature composer is John David. This week’s feature composition is titled You Are the New Day.

It is an “a capella” composition, which means choral music without any instrumental accompaniment, such as piano or guitar. It is a piece for voices only. The King’s Singers are a brilliant group of singers and when they all sing together, they create “harmony”. Harmony is when many different musical tones occur at the same time. When you listen to today’s selection, see if you can hear the different voices and musical sounds. Non-Directed Music Listening Program Script Series II Day 4: This week’s feature composer is John David. This week’s feature composition is titled, You Are the New Day.

You Are the New Day is a vocal composition without instrumental accompaniment. Do you remember the term we use for this? If you are thinking “a capella”, then you are right. “A capella” is an Italian term that means “in or for the chapel”. This is because “a capella” music originally referred to church music, but today it is used for all kinds of choral music.

Day 5: This week’s feature composer is John David and the feature composition is titled, You Are the New Day.

The piece is sung by a group of all male vocalists known as the King’s Singers. When you listen to today’s selection, listen for the beautiful harmony the singers create together – their voices complement each other! Also see if you can hear the voice that sings the melody line. We will now listen to You Are the New Day by John David. Non-Directed Music Listening Program Script Series II Week 33

Composer: Edvard Grieg (1843 – 1907) Composition: Peer Gynt Suite No. 1 – “Morning” Performance: Philharmonic Orchestra, Andrew Davis Recording: “CBS Masterworks “Breakfast in Bed”, CBS WMFK 46356

Day 1: This week’s feature composer is Edvard Grieg. This week’s feature composition is titled “Morning” from the Peer Gynt Suite No 1.

The Peer Gynt drama is based on a Norwegian story. It is about a small boy, Peer Gynt, who lives on a mountain which overlooks Norway. In today’s selection, it is morning and most beautiful scenes emerge as the gentle, rising sun slowly appears in the clear, blue sky. This selection is titled “Morning”, and is the opening selection for the Peer Gynt Suite No. 1.

Day 2: This week’s feature composer is Edvard Grieg. The week’s feature composition is titled “Morning” from the Peer Gynt Suite No. 1.

The story of Peer Gynt begins with a young boy watching the beautiful, rising sun grow bigger and bigger over the hills of Norway. Listen as Grieg structure the music to grow in intensity and volume as the sun unfolds in golden bloom. Grieg, however, in spite of the increasing intensity, always maintains a beautiful, tender melody that flows ever so gently throughout the piece.

Day 3: This week’s feature composer is Edvard Grieg. This week’s feature composition is titled “Morning” from the Peer Gynt Suite No. 1.

As you know, this Norwegian story is about a small boy who lives on a mountain overlooking Norway. When Peer Gynt’s grandmother dies, he decides to see the world. During his travels he variously meets an Arabian sheik, a Mountain King, several wicked trolls, and finally a beautiful girl who saves him from the trolls. This drama was written by the dramatist Henrik Ibsen, who approached Grieg to write music to accompany the play. Non-Directed Music Listening Program Script Series II Day 4: This week’s feature composition is titled “Morning” from the Peer Gynt Suite No. 1. The composer of this composition is Edvard Grieg.

Grieg became world famous for the music that he wrote for the drama, Peer Gynt. This type of music is called “incidental” music because it is music that is written as background for a play, or to be performed between or during scenes. Today “incidental” music, or background music, is heard in both the theatre and the movies. Music in today’s movie is essential and can easily set a particular mood or feeling for the audience. Listen carefully today and see what kind of mood “Morning”, from the Peer Gynt Suite No. 1, encourages you to fee.

Day 5: This week’s feature composition is titled “Morning” from the Peer Gynt Suite No. 1. This week’s feature composer is Edward Grieg who was born in Norway in 1843.

Grieg is considered a nationalist composer because he wrote a lot of music that expressed the spirit of his homeland. Edvard Grieg, who died in 1907, is considered the greatest of the Norwegian composers. We will now listen to “Morning” from the Peer Gynt Suite No. 1. Non-Directed Music Listening Program Script Series II Week 34

Composer: Aaron Copland (1900 - 1990) Composition: Rodeo, “Hoe-Down” Performance: Atlanta Symphony Orchestra, Lane Recording: Telarc Sample Volume 1, Telarc 80001

Day 1: This week’s feature composer is Aaron Copland. This week’s feature composition is titled “Hoe-Down” from the ballet Rodeo.

Aaron Copland was an American composer who was very successful writing ballets based on American themes. Rodeo is the story of an awkward cowgirl who transforms herself into a graceful, charming young lady and finally meets her young man. Aaron Copland wrote the music for Rodeo in 1942. He used popular regional songs throughout the work and captured the spaciousness and grandeur of life in the American west.

Day 2: This week’s feature composer is Aaron Copland. This week’s feature composition is titled “Hoe-Down” from the ballet Rodeo.

This ballet captured the spaciousness and grandeur of American life. It was also in this ballet that the choreographer, Agnes Demille, first introduced modern dance steps. When listening to today’s selection, can you imagine how one might dance to this type of music?

Day 3: This week’s feature composition is titled “Hoe-Down” from the ballet Rodeo. This week’s feature composer is Aaron Copland.

“Hoe-Down” is a vigorous piece that makes one think of a busy Saturday night far away from the big city. Both the melodies and rhythms rush along and the listener is taken into the world of the American pioneer. You might imagine village fiddlers making music, people square dancing and children merry-making. It is a festive and boisterous piece of music. We will now listen to “Hoe-Down” from the ballet Rodeo.

Day 4: Non-Directed Music Listening Program Script Series II This week’s feature composer is Aaron Copland. This week’s composition is “Hoe-Down”, from the ballet Rodeo.

Aaron Copland was born in Brooklyn in 1900 and studied music in New York and France. When he returned to the United States, Copland made a decision not to ignore the wishes of the American public and the sounds of the new contemporary music. Copland continued to write music and incorporated his new awareness. When he died in 1990, he was considered one of America’s most outstanding composers, having contributed much to American music.

Day 5: This week’s feature composer is Aaron Copland. We will be listening to his composition “Hoe-Down” from the ballet Rodeo.

The music from this ballet is energetic and lively. Copland is known for his ability to capture the feeling of the American spirit and for instilling it in his music. As you will remember, the story of Rodeo is about an awkward cowgirl who transforms herself into a graceful, charming young lady and meets her young man. Copland uses popular regional songs to evoke the grand scene of America’s pioneer west. Non-Directed Music Listening Program Script Series II Week 35

Composer: Johann Sebastian Bach (1685 – 1750) Composition: Toccata and Fugue in D Performance: First Congregational Church, Paul Murray (organ) Recording: Telarc Sampler Volume 1, Telarc 80001

Day 1: This week’s featured composition is the Toccata and Fugue in D by Johann Sebastian Bach.

Johann Sebastian Bach is probably the most well-known composer who ever lived. He wrote hundreds of pieces of music in his lifetime. When Bach was alive, musicians made their living employed either by a wealthy family – as an entertainer for the family and their friends – or by the church as an organist or choir master. Bach made a living in both ways and in each case he wrote or arranged all the music for all the social functions and church services each week. He also wrote all the music for the music lessons of his own twenty children. He must have been a very busy man! The Toccata and Fugue in D was composed by Bach when he was approximately 24 years old. At that time he was in the service of the church. As you listen, try to imagine a huge cathedral with a massive organ and the sounds of Toccata and Fugue in D reverberating in your ears. Non-Directed Music Listening Program Script Series II Day 2: The Toccata and Fugue in D was composed by Johann Sebastian Bach in 1709, when he was only 24 years old.

Bach always loved music. Orphaned at ten, he lived with his brother who taught him to play many keyboard instruments. In his first official job, Bach served as an organist and chief violinist to the Duke of Weimar. In his late teens, Bach once walked two hundred miles just to hear a famous organist play a concert, providing evidence that, despite his own greatness, he was always desirous of learning more. During the late 1600’s, organs were operated by two people. One person had to pump a constant supply of air into the organ’s bellows and the other had to play the keys and pedals. If you have ever seen a set of bagpipes, you’ll understand the principle of how sound is produced on a pipe organ. Air is blown into a sack (or bellow) which is then squeezed by the piper and the air is forced into the pipes which create sound. It must have been hard work cranking the handle of the organ to ensure a steady air supply reaching the pipes. It must have been almost as physically difficult to play all of the notes on two or three keyboards (or manuals) plus operate the pedals for those deep, thundering bass notes.

Day 3: Today’s featured listening excerpt was written by Johann Sebastian Bach. Bach wrote the Toccata and Fugue in D in 1709.

In Bach’s day, the pipe organ had to be operated by two people: one to pump the air into the pipes and the other to operate the instruments itself. The Baroque Organ had two or three keyboards (called manuals) and a long set of pedals designed for the organist to play with his feet. Now that you’ve heard the Toccata and Fugue in D, did you notice when the pedals were being played? In this particular piece it’s quite easy to hear the rumbling sound of the pedal notes in the very beginning. It is especially evident when the organist holds that very long note, above which you hear the six notes of a chord falling one-by-one and being held momentarily. One almost expects a horror movie to follow – not a fugue. Listen today to see if you can tell when the pedals are being played. Non-Directed Music Listening Program Script Series II Day 4: Johann Sebastian Bach wrote Toccata and Fugue in D early in his musical career.

The words “toccata and fugue” are very common terms in Baroque music. A toccata is a “touch” or “display” piece in which the performer gets to show off his ability to play very rapidly and dramatically. The word fugue means to flee or literally “flight”. This is the part where the notes sound like they’re running away from each other and often in opposite directions. Bach follows a pattern or form in the Toccata and Fugue in D. It is composed in five parts as follows: toccata, fugue, toccata, fugue, and toccata. See if you can hear the five times that Bach switches between the toccata and fugue styles. Remember it starts out with the toccata or “display” portion of the piece.

Day 5: This week’s listening excerpt is Johann Sebastian Bach’s organ piece, Toccata and Fugue in D.

The Toccata and Fugue in D is composed in five sections alternating between toccata and fugue styles. Were you able to hear the difference between them? Were you also able to pick out the sounds of the pedal notes? Today’s organs are quite different to the one for which Bach would have composed the Toccata and Fugue in D. Most contemporary organs are powered by electricity, thus eliminating the need for bellows and pipes. Electronic organs still have manuals and pedals but are easier to play and easier to install. Many churches still retain the pipe organ and in some cathedrals, these organs have as many as seven or eight keyboards, one on top of the other, for the organist to manipulate. Listen and enjoy the immensity of sound from the pipe organ playing J.S. Bach’s Toccata and Fugue in D. Non-Directed Music Listening Program Script Series II Week 36

Composer: Richard Wagner (1813 - 1882) Composition: Lohengrin, “Prelude to Act III” Performance: New York Philharmonic Orchestra, Giussepi Sinopoli Recording: Essential Classics, Deutsche Grammophon 431 541-2

Day 1:This week’s listening selection is the “Prelude to Act III” from the opera Lohengrin, written by Richard Wagner.

Earlier this year we listened to the Russian and Ludmilla Overture by Mikhail Glinka. At that time we discovered that in preludes or overtures to operas, composers generally introduce thematic melodies that will be heard throughout the rest of the opera. The “Prelude to Act III” form Lohengrin is unusual in that it contains no material from any other part of the opera. It is music written strictly to tell of the wedding festivities of Lohengrin and his new bride, Elsa. Can you see the knights and ladies of the court preparing for the feast? Tomorrow we’ll begin to unravel the tale of Lohengrin.

Day 2: Today we will be listening to the “Prelude to Act III” from Richard Wagner’s opera, Lohengrin.

In the movie Indiana Jones and the Last Crusade, you will recall that Indy is looking for the Holy Grail the cup of Christ. It just so happens that Lohengrin is one of the sons of Parsifal, the man King Arthur named as Guardian of the Grail. As Parsifal’s youngest son, Lohengrin is assigned to guard the Grail. As the story goes, Lohengrin is sent to defend a woman’s innocence after she has been falsely accused of murdering her brother, Gottfried. Lohengrin arrives on the scene in a boat pulled by a magnificent white swan. He tells Elsa, the accused murderer, that he will defend her if she promises to marry him but promises never to ask his name or where he came from. She agrees and Lohengrin is successful in defending her. The “Prelude to Act III” is the music which announces and celebrates their forthcoming marriage. Non-Directed Music Listening Program Script Series II Day 3: The “Prelude to Act III” from the opera Lohengrin composed by Richard Wagner is this week’s featured musical excerpt.

You will recall that Elsa promised Lohengrin she would never ask his name or his origin. Well, the evil sorceress Orfrud, who originally cast the spell on Gottfried which turned him into a swan and resulted in Elsa being accused of his murder, tells Elsa she should break her promise. Of course, Elsa is tempted to know his name and where he comes from so she questions Lohengrin. Lohengrin, in sorrow, agrees to reveal his secret but the rule is, he must then return to Montsalvat, the holy mountain of the Grail. You can understand now why the joyous melodies of the prelude are not repeated again in the opera Lohengrin.

Day 4: In the late 1860’s, Richard Wagner wrote an opera based on the ancient story of Lohengrin. Today we will again listen to the “Prelude to Act III”.

Lohengrin is forced to leave Elsa but as he is returning to the boat in which he arrived, he falls to his knees and prays. Immediately the beautiful white swan that pulled his vessel is turned back into Elsa’s brother, Gottfried. It is a tragic story and contrasts strongly with the music we’ve been hearing, heralding Lohengrin and Elsa’s marriage. Today, return in your mind to this joyous scene. Can you hear in the opening theme where the cellos, bassoons and horns announce the stately arrival of the knights? This noble music is followed by a quiet, graceful melody preceding the entrance of Elsa and her ladies-in-waiting. Listen to see if you can hear when the two parties arrive.

Day 5: The “Prelude to Act III” by Richard Wagner is this week’s featured listening selection.

Even though the melodies from the prelude are not repeated at any other time during the opera, they set a definite mood. The marriage festival is by far the most glorious moment in this tragic love story. The music is more than joyous, it is exciting and dramatic and compels the audience to listen further. In this sense, the prelude prepares you for what is to come in the third and final act of Lohengrin. Try to envision Lohengrin and Elsa at this blissful moment but remember that you have an advantage because you know this happiness will soon be shattered as the drama continues. Non-Directed Music Listening Program Script Series II Week 37

Composer: Anton Dvorak (1841 – 1904) Composition: Symphony No. 9 “New World” - Largo Performance: Vienna Philharmonic Orchestra, Lorin Maazel Recording: Essential Classics, Deutsche Grammophon 431 541-2

Day 1: This week’s feature composer is Anton Dvorak and this week’s feature composition is the Largo movement from Symphony No. 9.

Anton Dvorak was born in Czechoslovakia in 1841. He spent some time in the United States where he composed Symphony No. 9 which he titled, “From the New World”. Dvorak used thematic materials in the style of American folk tunes as he tried to express, through his music, the feelings he had for the United States. Dvorak was impressed by the “vastness and energy” of such a young country and at the same time he expressed his longing for his own homeland.

Day 2: This week’s feature composer is Anton Dvorak and this week’s feature composition is the Largo movement from Symphony No. 9.

Do you remember the title that Dvorak used for this symphony? He titled it “From the New World” because it reflected his impressions of his new home, the United States. As it turned out, Dvorak became very famous while living in the United States, but he missed his homeland so much that, after three years, he returned. We will now listen to the Largo movement from the “New World Symphony”.

Day 3: This week’s feature composer is Anton Dvorak. This week’s feature composition is the Largo movement from the New World Symphony No. 9.

Largo is a musical term which means the piece is to be performed at a very slow tempo. As the movement begins, Dvorak introduces a beautiful melody which sounds like a folk song. Listen for this singable melody being played by the English horn. Non-Directed Music Listening Program Script Series II

Day 4: This week’s feature composition is the Largo movement from Symphony No. 9, “From the New World”. The composer of this symphony is Anton Dvorak.

Do you remember the instrument Dvorak used to sound the opening melody? Dvorak had the English horn play the beautiful, singable melody, not only at the beginning of the Largo movement, but at the end as well.

Day 5: This week’s feature composer is Anton Dvorak and the feature composition is the Largo movement from his Symphony No. 9, “From the New World”.

Dvorak wrote this symphony using materials in the style of American folk songs. Dvorak traveled throughout the United States and was impressed by the music of the American Indians and the Black people. The Largo movement of the New World Symphony particularly reflects his love for the Black melodies.