EXPLORING ST. PETERSBURG a WORKSHOP for TEACHERS St

Total Page:16

File Type:pdf, Size:1020Kb

EXPLORING ST. PETERSBURG a WORKSHOP for TEACHERS St EXPLORING ST. PETERSBURG A WORKSHOP FOR TEACHERS St. Petersburg: the historical context of its musical heritage Saturday, October 11, 2003 Lesson Plans by Carol Mohrlock Ann Arbor Public Schools Slauson Middle School [email protected] Music CD Sylvia Meloche and Yevgenia Kleyman For information on other teaching materials and workshops, Contact Sylvia M. Meloche Outreach Coordinator Center for Russian & East European Studies The University of Michigan 1080 S. University, Suite 4668 Ann Arbor MI 48104 tel: 734.647.4185 [email protected] http://www.umich.edu/~iinet/crees/ Table of Contents Introductory Lesson – What Do You Know? Map Work of Russia Peter the Great Peter the Great, Lesson from DiscoverySchool.com Evaluating Discrimination and Human Dignity Russia’s Climate and Folk Music Appreciation of Folk Music Reading about Musical Folk Instruments Getting to Know St. Petersburg Multiple Expressions of “Moscow Nights” Rhythm and Melodic Phrase in “Little Birch Tree” from www.teachervision.com Nineteenth-century Classical Music and St. Petersburg Vocabulary Activity Population and St. Petersburg A Look at Two Twentieth-century Russian Composers Additional Information Russian Music Discography Russian Cyrillic Alphabet with English Phonetic Sound Equivalents Russian Words Two Russian Recipes Introductory Lesson Title: What do you Know? Overview: This lesson is for students to think of: • what they already know of Russia • to share information about Russia in a small group setting • to have clarification on some of their questions • to learn some new facts about Russia Lesson Focus: • The 5 themes of Geography as they relate to Russia • Strand II of Geographic Perspective, “Students will use knowledge of spatial patterns on earth to understand processes that shape human environments to make decisions about society.” Materials: • overhead map of Russia • teacher created facts of Russia • paper What to Do: 1. Teacher asks students to write down any facts they know about Russia. 2. Round Table (Kagan Cooperative Learning Structure) • Students sit in groups of 4. • One piece of paper is needed per each group of 4. • Each student at the group writes down one fact about Russia and passes the paper. • Continue this process till teacher calls time (3-4 minutes). 3. When time is up, one student at each group of 4 reads the statements to the group. Students clarify statements and discuss. 4. Teacher calls on a few students and clarifies or emphasizes a fact. 5. Teacher shares information (facts) with students. Students are to take notes. See teacher fact sheet for information on the 5 themes of geography. Lesson created by Carol Mohrlock 1 Teacher Facts Facts based on the 5 Themes of Geography Location • located on continent of Europe and Asia • largest country in area in the world (17,075,400 sq. km) • European Russia is separated from Asian part of Russia by Ural Mountains • deepest lake in the world is Lake Baikal (5,315 feet deep) • St. Petersburg is a city on the Baltic Sea Place • most Russians live west of the Ural Mountains • Slavs are the largest ethnic group in the region • most people speak a Slavic language (such as Russian) • most Slavs are of the religion known as Eastern Orthodox Christianity • 3 climate regions are in Russia o subarctic = very cold and bitter winters, temperatures are above freezing during summer. o humid continental = short hot summers and long cold winters o steppe = dry grassland area which gets more rain than deserts (10-20 inches a year) Movement • Volga River (2,193 miles) is an important river for water and transportation in European Russia • natural gas, oil and coal are minerals which are exported • music by many composers has been and is listened to many people all over the world o Tchaikovsky o Stravinsky o Rimsky-Korsakov • dance o St. Petersburg’s Kirov Ballet; Moscow’s Bolshoi Theater (ballet) • Russian literature is read all over the world o Pushkin (19th century) o Tolstoy, (19th century) o Dostoyevsky (19th century) o Gorky (20th century) o Solzhenitsyn (20th century) • painting o Hermitage Museum goes on display o Malevich and Kandinsky are famous modern art painters Lesson created by Carol Mohrlock 2 Region western part of Russia located on the North European Plain region • eastern part of Russia located on Siberian Plain • use to be part of communist government, now moving toward free enterprise system and a capitalist country Human Environment Interaction • most of the population lives close to cities • majority of Russians live west of the Ural Mountains • most Russian live in European Russia because the temperature is not sub-arctic Lesson created by Carol Mohrlock 3 Title: Map Work Related to Russia Overview: This lesson is for students to: • locate physical and political features on a map Lesson Focus: • Location and region themes of geography as they relate to Russia Materials: • map of Russia for each student • overhead map of Russia • teacher created list of physical and political features of Russia • discussion questions What to Do: 1. Students are to label their maps using class atlases, classroom maps, possible text and classroom books. 2. Teacher uses overhead map of Russia to point out specific areas. 3. After labeling maps, students should reflect on the questions. Whole class or small group discussion may take place (see discussion questions). Lesson created by Carol Mohrlock 8 Physical and Political Features of Russia * Label the following features on the map. Cities • St. Petersburg • Murmansk • Moscow • Volgograd • Chelyabinsk • Perm • Kazan • Nizhniy Novgorod • Samara • Astrakhan • Omsk • Novosibirsk • Yakutsk • Irkutsk • Khabarovsk • Vladivostok Countries • Finland • Estonia • Lativia • Lithuania • Poland • Belarus • Ukraine • Georgia • Kazakhstan • Mongolia • China • North Korea Lesson created by Carol Mohrlock 9 Bodies of Water • Barents Sea • Kara Sea • Baltic Sea • Black Sea • Laptev Sea • Caspian Sea • Lake Baikal • Volga River • Ob River • Irtysh River • Lena River Land Forms • North European Plain • West Siberian Plain • Central Siberian Plateau • Caucasus Mountains • Ural Mountains • Sayan Mountains • Yablonovy Mountains • Arctic Circle Lesson created by Carol Mohrlock 10 Title: Peter the Great Overview: Students will: • read about Peter the Great • gather knowledge about Peter’s life and work in relation to Russia Lesson Focus: • Social Studies Content Standard 2 Historical Perspective. “All students will understand narratives about major eras of American and world history by identifying the people involved, describing the setting, and sequencing the events. (Comprehending the Past).” • Benchmark 3 middle school • Benchmark 4 high school Materials: • article on Peter the Great (see attached sample article) • paraphrase chips • questions What to Do: 1. Students read article on Peter the Great 2. After reading the piece and taking notes on Peter the Great students practice the literacy strategy of paraphrasing. Paraphrase Passport, (Kagan Cooperative Learning Structure) will be used. 3. Steps for Paraphrase Passport are described as follows. o Students are sitting in groups of 4. o Each student gets 4 paraphrase chips. o One student at a time contributes an idea based on the reading. o Another group member is to correctly restate (paraphrase) that idea before giving his/her own statement related to the article. o The idea is to not give up a chip. Students share and review the information they read. Also students all have an opportunity to talk within the group. Students also get feedback regarding their communication skills. 4. Upon completion of Paraphrase Passport a class discussion of Peter the Great could occur. See sample questions, which are attached. 5. Students could write an essay on Peter the Great upon completion of the activity. Lesson Created by Carol Mohrlock 11 Sample Questions 1. How did Peter’s leadership affect the course of history? 2. How has the work of Peter the Great had an impact on the modern world? 3. How did Peter the Great’s work affect Russia at the time? Lesson Created by Carol Mohrlock 12 Teacher Notes on Peter the Great *Born in 1672 in Moscow. * Peter’s reign was from 1689 – 1725. * Religion meant little to him—hostility to the church. * Peter had an interest in expanding Russia’s export trade via maritime. * The main feature of his reign was the Great Northern War with Sweden (1700-1721). * He wanted to make Russia a European power. *Peter worked to change Russian society. *Through most of Peter’s reign, Russia was at war. *1700 Peter introduced the Julian calendar. Russia used this calendar till 1917. *Peter made Russia into a European power. *He broke Swedish power in the Baltic region. *His second wife was Catherine, who succeeded him. *He loved to learn and even practiced dentistry. *Established Russian presence on the Black Sea. *1695 went to war with Turkey and lost. *First reigning Russian sovereign to travel abroad. Traveled from March 1697 to August 1698 on the “Great Embassy.” *Trimmed beards and imposed a tax on beards. *First public theater was in 1756. The theater was not a high priority for him. Teacher Notes Compiled by Carol Mohrlock 13 The following lesson plan comes from the website school.discovery.com TITLE OF LESSON PLAN: Peter the Great LENGTH OF LESSON: Two class periods GRADE LEVEL: 9-12 SUBJECT AREA: World History CREDIT: Wendy S. Buchberg, instructional technology support specialist, Corning-Painted Post School District, Corning, New York. OBJECTIVES: Students will understand the following: 1. Peter the Great modernized Russia, which had been left behind in the arts and sciences. 2. Peter the Great was inspired by what he saw in western Europe on his travels. MATERIALS: For this lesson, you will need: History textbooks and time lines, biographies of Peter the Great, and other reference materials about the late 17th and early 18th centuries Markers and other art supplies 22 PROCEDURE: 1. Invite students to demonstrate their knowledge of Peter the Great by adopting his persona—writing in the first person as if they were Peter the Great.
Recommended publications
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • Tchaikovsky Competition 1982 a Diary by Peter Donohoe1
    TCHAIKOVSKY COMPETITION 1982 A DIARY BY PETER DONOHOE1 1 The footnotes in this diary are restrospective notes from 2012 – 30 years later... 08 June 1982 Recital at Charlotte Mason College in Ambleside in the British Lake District Program: Tchaikovsky Sonata 2 in G Major (1st Movement) Tchaikovsky November (from The Seasons) Tippett Sonata 2 Prokofiev Sonata 6 ---- Scriabin Etude Op65/3 Chopin Etude Op10/8 Rachmaninov Etude Tableau Op39/5 E flat Minor Bach Prelude and Fugue Book 2 No. 3 Flierkovsky – Prelude and Fugue in G minor Stravinsky Three Movements from Petrushka A very nice, but knowing guy came up to me after the concert, and said “That was a very unusual program. It is almost as if you are preparing to enter the Tchaikovsky Competition.” I asked him to keep it under his hat – it is never good for people to know in advance of your competition efforts, in case it doesn’t work out. Set off home at 11.00 p.m. The car –a Vauxhall Viva borrowed from my parents-in-law – broke down after about 10 miles of a 120 mile journey to my in-laws on the Wirral. Still in the Lake District countryside. The weather was appallingly wet. I had to get to the Wirral, and then the next morning to Manchester for an early flight to London to connect with the Aeroflot flight to Moscow. 09 June 1982 Thank God for the AA Relay service. They got me to the Wirral in the cab of one of their trucks, with the car on the back.
    [Show full text]
  • Songs of the Mighty Five: a Guide for Teachers and Performers
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me.
    [Show full text]
  • Mariinsky Orchestra
    CAL PERFORMANCES PRESENTS PROGRAM A NOTES Friday, October 14, 2011, 8pm Pyotr Il’yich Tchaikovsky (1840–1893) fatalistic mockery of the enthusiasm with which Zellerbach Hall Symphony No. 1 in G minor, Op. 13, it was begun, this G minor Symphony was to “Winter Dreams” cause Tchaikovsky more emotional turmoil and physical suffering than any other piece he Composed in 1866; revised in 1874. Premiere of ever wrote. Mariinsky Orchestra complete Symphony on February 15, 1868, in On April 5, 1866, only days after he had be- Valery Gergiev, Music Director & Conductor Moscow, conducted by Nikolai Rubinstein; the sec- gun sketching the new work, Tchaikovsky dis- ond and third movements had been heard earlier. covered a harsh review in a St. Petersburg news- paper by César Cui of his graduation cantata, PROGRAM A In 1859, Anton Rubinstein established the which he had audaciously based on the same Russian Musical Society in St. Petersburg; a year Ode to Joy text by Schiller that Beethoven had later his brother Nikolai opened the Society’s set in his Ninth Symphony. “When I read this Pyotr Il’yich Tchaikovsky (1840–1893) Symphony No. 1 in G minor, Op. 13, branch in Moscow, and classes were begun al- terrible judgment,” he later told his friend Alina “Winter Dreams” (1866; rev. 1874) most immediately in both cities. St. Petersburg Bryullova, “I hardly know what happened to was first to receive an imperial charter to open me.... I spent the entire day wandering aimlessly Reveries of a Winter Journey: Allegro tranquillo a conservatory and offer a formal
    [Show full text]
  • The Inextricable Link Between Literature and Music in 19Th
    COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57
    [Show full text]
  • Tchaikovsky.Pdf
    Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day.
    [Show full text]
  • Nikolai Tcherepnin UNDER the CANOPY of MY LIFE Artistic, Creative, Musical Pedagogy, Public and Private
    Nikolai Tcherepnin UNDER THE CANOPY OF MY LIFE Artistic, creative, musical pedagogy, public and private Translated by John Ranck But1 you are getting old, pick Flowers, growing on the graves And with them renew your heart. Nekrasov2 And ethereally brightening-within-me Beloved shadows arose in the Argentine mist Balmont3 The Tcherepnins are from the vicinity of Izborsk, an ancient Russian town in the Pskov province. If I remember correctly, my aged aunts lived on an estate there which had been passed down to them by their fathers and grandfathers. Our lineage is not of the old aristocracy, and judging by excerpts from the book of Records of the Nobility of the Pskov province, the first mention of the family appears only in the early 19th century. I was born on May 3, 1873 in St. Petersburg. My father, a doctor, was lively and very gifted. His large practice drew from all social strata and included literary luminaries with whom he collaborated as medical consultant for the gazette, “The Voice” that was published by Kraevsky.4 Some of the leading writers and poets of the day were among its editors. It was my father’s sorrowful duty to serve as Dostoevsky’s doctor during the writer’s last illness. Social activities also played a large role in my father’s life. He was an active participant in various medical societies and frequently served as chairman. He also counted among his patients several leading musical and theatrical figures. My father was introduced to the “Mussorgsky cult” at the hospitable “Tuesdays” that were hosted by his colleague, Dr.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. Order Number 8726582 Chiang Wen-Yeh: The style of his selected piano works and a study of music modernization in Japan and China Kuo, Tzong-Kai, D.M.A. The Ohio State University, 1987 Copyright ©1987 by Kuo, Tzong-Kai. All rights reserved. UMI 300 N. ZeebRd. Ann Arbor, MI 48106 CHIANG WEN-YEH: THE STYLE OF HIS SELECTED PIANO WORKS AND A STUDY OF MUSIC MODERNIZATION IN JAPAN AND CHINA DMA.
    [Show full text]
  • ONYX4090 Cd-A-Bklt V8 . 31/01/2012 16:49 Page 1 Page 16:49 31/01/2012 V8
    ONYX4090_cd-a-bklt v8_. 31/01/2012 16:49 Page 1 p1 1 ONYX4090_cd-a-bklt v8_. 31/01/2012 16:49 Page 2 Variations on a Russian folk song for string quartet (1898, by various composers) Variationen über ein russisches Volkslied Variations sur un thème populaire russe 1 Theme. Adagio 0.56 2 Var. 1. Allegretto (Nikolai Artsybuschev) 0.40 3 Var. 2. Allegretto (Alexander Scriabin) 0.52 4 Var. 3. Andantino (Alexander Glazunov) 1.25 5 Var. 4. Allegro (Nikolai Rimsky-Korsakov) 0.50 6 Var. 5. Canon. Adagio (Anatoly Lyadov) 1.19 7 Var. 6. Allegretto (Jazeps Vitols) 1.00 8 Var. 7. Allegro (Felix Blumenfeld) 0.58 9 Var. 8. Andante cantabile (Victor Ewald) 2.02 10 Var. 9. Fugato: Allegro (Alexander Winkler) 0.47 11 Var. 10. Finale. Allegro (Nikolai Sokolov) 1.18 PYOTR ILYICH TCHAIKOVSKY (1840–1893) Album for the Young Album für die Jugend · Album pour la jeunesse 12 Russian Song 1.00 Russisches Lied · Mélodie russe p2 IGOR STRAVINSKY (1882–1971) 13 Concertino 6.59 ALFRED SCHNITTKE (1934–1998) 14 Canon in memoriam Igor Stravinsky 6.36 PYOTR ILYICH TCHAIKOVSKY Album for the Young Album für die Jugend · Album pour la jeunesse 15 Old French Song 1.52 Altfranzösisches Lied · Mélodie antique française ONYX4090_cd-a-bklt v8_. 31/01/2012 16:49 Page 3 16 Mama 1.32 17 The Hobby Horse 0.33 Der kleine Reiter · Le petit cavalier 18 March of the Wooden Soldiers 0.57 Marsch der Holzsoldaten · Marche des soldats de bois 19 The Sick Doll 1.51 Die kranke Puppe · La poupée malade 20 The Doll’s Funeral 1.47 Begräbnis der Puppe · Enterrement de la poupée 21 The Witch 0.31 Die Hexe · La sorcière 22 Sweet Dreams 1.58 Süße Träumerei · Douce rêverie 23 Kamarinskaya (folk song) 1.17 Volkslied · Chanson populaire p3 PYOTR ILYICH TCHAIKOVSKY String Quartet no.1 in D op.11 Streichquartett Nr.
    [Show full text]
  • ROTARY CLUB of GILBERT, ARIZONA May 6, 2021 7 AM on Zoom
    ROTARY CLUB of GILBERT, ARIZONA May 6, 2021 7 AM on Zoom 1 WELCOME TO GILBERT ROTARY Attendance: George Pettit, Donna Backhaus, David Hutchinson, Bill Nuzbach, Mike Flores, Chuck Holland, Cori Barimo, Jim Schermetzler, Mark Grady, Emmah Njoki and Toyin Atolagbe Visiting Rotarians: Mariel Olson – Camelback Crossroads Rotary and Guest Speaker Vitaliy Bezrodnov, Rotary Children’s Fund/Golden Gates Program President Elect Mike called the meeting to order. ROTARY MOMENT https://youtu.be/4xblR68HEXU Mike introduced Mariel Olson from Camelback Crossroads Rotary Club to speak about their project with OCJ – Cases for a Cause. This project assists kids aging out of the foster system. OCJ brings transition dignity for these young adults. Over the past 3 years Camelback Crossroads has donated more than 1000 cases. Every week, 80 children are removed from their homes. There are 18,000 kids in the foster system and 16,000 calls are received per year at the Child Abuse Hotline. Camelback Crossroads Rotary started Cases for a Cause, a collection service where we pick up lightly used/ unused bags or suitcases and deliver them to the OCJ Kids warehouse. This project allows some of the 16,000 foster kids in Arizona the dignity of carrying their possessions in something besides a trash bag. OCJ Kids (Opportunity Community and Justice for Kids), founded in 1992, forming an alliance with the business and faith communities to provide services, resources and caring adults to address the needs of the most vulnerable in our society. Founders Gary and Tammie Webb’s passion was to reach out to the growing population of unsupervised youth aged 12-18 who were gathering after school with nothing productive to occupy their time and who were being tempted by negative influences, including gangs, drugs, and violent behavior.
    [Show full text]
  • London's Symphony Orchestra
    London Symphony Orchestra Living Music Sunday 7 May 2017 7pm Barbican Hall SHOSTAKOVICH SYMPHONY NO 15 Mussorgsky arr Rimsky-Korsakov Prelude to ‘Khovanshchina’ Tchaikovsky Violin Concerto INTERVAL London’s Symphony Orchestra Shostakovich Symphony No 15 Sir Mark Elder conductor Anne-Sophie Mutter violin Concert finishes approx 9.10pm Generously supported by Celia & Edward Atkin CBE 2 Welcome 7 May 2017 Welcome Living Music Kathryn McDowell In Brief A warm welcome to this evening’s LSO concert at BMW LSO OPEN AIR CLASSICS 2017 the Barbican, where we are joined by Sir Mark Elder for an all-Russian programme of works by Mussorgsky, The London Symphony Orchestra, in partnership with Tchaikovsky and Shostakovich. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar The concert opens with the prelude to Mussorgsky’s Square on Sunday 21 May, the sixth concert in the opera Khovanshchina, in an arrangement by fellow Orchestra’s annual BMW LSO Open Air Classics Russian composer, Rimsky-Korsakov. Then we are series, free and open to all. delighted to see Anne-Sophie Mutter return as the soloist in Tchaikovsky’s Violin Concerto, before lso.co.uk/openair Sir Mark Elder concludes the programme with Shostakovich’s final symphony, No 15. LSO WIND ENSEMBLE ON LSO LIVE I hope you enjoy the performance. I would like to take this opportunity to welcome Celia and The new recording of Mozart’s Serenade No 10 Edward Atkin, and to thank them for their generous for Wind Instruments (‘Gran Partita’) by the LSO support of this evening’s concert.
    [Show full text]
  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.
    [Show full text]