Music Tells a Story

Once upon I time, I went to Activity Guide listen to the greatest stories told by KWS School Concerts the world’s most expressive Grades 1 - 3 language... November 12 & 13, 2019

Kitchener-Waterloo Symphony

“Where words leave off, Lucas Waldin, Guest Conductor music begins.”

Heinrich Heine Dear Teachers

We are so pleased that you will be bringing students from your school to hear this live performance by the Kitchener-Waterloo Symphony!

This concert, Music Tells a Story, will introduce grade 1—3 students to some important concepts from the Ontario Ministry of Education curriculum through music. Not only will the students see and hear our wonderful 52-piece orchestra in the acoustically superb Centre in the Square, they will also be challenged to make connections to their classroom studies and learn new ideas.

To enhance the concert experience the KWS sends its musicians into your school to meet your students, give some instrument demonstrations, talk about the concert and answer questions from the students. Please encourage your students to be inquisitive! We love answering questions about what we do and the music we perform.

The materials in this booklet are designed by our KWS our Education Department staff. Please contact us with any feedback. See you all in November!

Thank you, and enjoy the concert!

Yujin Cha, M.M., B.M. Barbara Kaplanek, M.M., B.M. Education & Community Programs Manager Education & Community Programs Manager [email protected] Youth Orchestra & Schools [email protected]

Concert Program Order & CD Track Listing

Music Tells a Story

Tuesday, November 12, 2019 at 10:30-11:15AM & 12:45-1:30PM - Centre In The Square Wednesday, November 13, 2019 at 10:30-11:15AM & 12:45-1:30PM - Centre In The Square

Piotr Ilyich Tchaikovsky Suite No.1, op.71A, from Nutcracker (Danse russe trepak) 1:00 (1840 - 1893) (II. c) Danse russe trepak

Edvard Grieg Suite No. 1, from Peer Gynt, op.46 4:30 (1843 - 1907) (IV. 4) Anitra’s Dance (Anitras dans) (II. 5) In the Hall of the Mountain King

Nikolai Rimsky-Korsakov Scheherazade, op.35 5:00 (1844 - 1908) IV. The Festival of Bagdad; The Sea; The Ship Goes to Pieces on a Rock (Allegro molto) ~ excerpt

Antonin Dvorák Carnival Overture, op. 92 ~ excerpt 2:00 (1841 - 1904)

Paul Dukas L’apprenti Sorcier (The Sorcerer’s Apprentice) ~ excerpt 5:00 (1865 - 1935)

Franz Lehár Gold und Silber Walzer (Gold and Silver Waltz), op.79 4:00 (1870 - 1948)

Russell Wallace Dreams 5:00 (b. 1965)

Manuel de Falla Three Dances (suite No.2) from El sombrero de tres picos (Three- 6:00 (1876 - 1946) Cornered Hat) Final Dance

TOTAL DURATION: 0:33:00

Using the Guide

Purpose

The purpose of this guide is to familiarize your class with the music that they will hear presented by the KWS to enable a deeper exploration of the music; and to help teachers use the recordings, information, and activities provided as a medium for exploring the elements of music and specific expectations from the music curriculum as geared towards primary grades.

How to Use This Guide

For each piece presented in our program we have prepared an information sheet, and lists of fun, detailed activities that have been created to specifically link the music with expectations from the curriculum.

Listed with each activity are the specific curriculum expectations that the activity is geared to address.

OPMC = Ontario Primary Music Curriculum Lucas Waldin, Guest Conductor

LUCAS WALDIN began playing the recorder at the age of five, and a few years later at the age of eight he started playing the flute. He loved playing in bands and orche3stras throughout his years growing up in Toronto, an eventually attended the Interlochen Arts Camp in Michigan during high school, which was where he decided he wanted to be a professional musician.

Lucas is now a conductor visiting many different orchestras around Canada and the Unit- ed States. His favourite thing about being a conductor is all the new cities he gets to visit and all the talented musicians he gets to work with for each concert.

As a staff conductor for the Edmonton Symphony, Lucas programmed and presented over 100 family and educational concerts and was able to collaborate with a wide variety of artists such as Japanese Kodo drummers, African choirs, traditional Chinese dancers and Ukrainian Shumka dancers, and many talented Indigenous artists including Cree pow- wow drummers, Métis jiggers and fiddlers, and Inuit throat singers.

How to Listen to a Concert

There are lots of things to enjoy at a concert, and lots of things to pay attention to. Here are a few ideas of what to listen for. Choose whatever you like, switch as often as you want, and feel free to add to the list!

Some things to enjoy in classical music:

 Close your eyes and imagine a story to go along with the music  Loudness and softness  Changes and transformations  Recognition of something heard earlier  Different speeds  Instrument sounds  Melodies  Rhythms  Patterns  Ebb and flow of energy  Musical conversation  Moods and feelings  Memories that get triggered

What to Watch

A concert is an event for the ears, but there is plenty for the eyes, too. Watch the players and feel their energy and intensity; watch what they do to make their instruments sound in different ways. Watch as the music moves between players, or between groups of players. Watch the way the conductor controls events, or how he or she gives control to the musicians.

How to Listen to a Concert—Fill in the Blanks

Wow! What a big place this is! Everyone comes here to sit and listen to music, how should I act at a concert? How should I listen to music?

Use this list of words to fill in the blanks below:

take pictures Softly Instrument applauding in-between

play games on your ipod remove Close your eyes noise

Do’s…

While sitting and waiting for the concert to begin you may talk ______to your neighbor.

After each full piece of music is completed, I show that I liked it by ______.

If you need to get up to leave during a concert, leave ______pieces. It is best if you stay for the entire concert.

As a sign of respect for the people around you and performers, please ______all hats.

While listening to the music try different things to enjoy the music more!

______and imagine the scene that the music creates.

Choose an ______to watch, and listen for how its sound changes the music.

Let your mind go where the music takes you, you may be surprised at how much it can change you if you let it! Don’ts...

During the performance I will not make any ______; this includes keeping concert programs quiet, and cell phones turned off— it can be distracting to the performers.

Bright lights are distracting to the performers and audience. Do not ______, or ______. KWS School Concerts Music Tells a Story Lucas Waldin, Guest Conductor

”Trepak” from Nutcracker Suite No. 1

In Western countries, The Kitchener-Waterloo Tchaikovsky made a Symphony The Nutcracker has selection of eight of become perhaps the the numbers from his most popular of all T r a c k # 1 “Nutcracker” ballet to ballets, performed primari- Trepak be used in the shorter, ly during the Christmas 20-minute orchestra season. The “Trepak”, often suite, which is per- Its music, especially the called “Russian formed all over the Dance”, is one of the music of the suite derived most popular dances world today. from the ballet, has be- from Tchaikovsky’s You will probably rec- come familiar to millions ballet, The Nutcracker. ognize the music from all over the world. And This ethnic dance is the suite when you because of the ballet's based on a traditional hear it! fame, Hoffmann's original Ukranian folk dance. It is a fast dance with 2 story on which it is based beats in each bar. has also become well Dance Russe Trepak known.

P.I. Tchaikovsky Terms Peter Ilyich Tchaikovsky was born in 1840 in Russia. Peter began piano lessons at the age of five, and within three years he could read music as well as his teacher. Ballet:

Ballet is a formalized Peter received his education at the School of Jurisprudence. The only music instruction kind of performance he received were piano lessons from a piano manufacturer who occasionally made visits dance, which originated to the school. He also attended the opera and theater with his classmates. in the Italian Renais- sance courts of the Peter's mother died in 1854, which brought him much sorrow. He responded by turning 15th century, and to music. It was at this time that he made his first serious efforts as a composer, writing which was further de- a waltz in her memory. veloped in France, Eng- land, and Russia as a concert dance. In 1855, Peter's father asked a well-known German piano teacher to encourage his son's interest in music. However, when Peter's father asked about his son's musical potential, his teacher wrote that nothing indicated he would be a fine composer or performer. His References father asked Peter to complete his course of study and then pursue a post in the Ministry of Justice. He did as he was asked, though his interest in music never left him. YouTube: In 1861, Tchaikovsky heard about classes being offered by the Russian Musical Society. Search “Trepak” He promptly began his studies. In the following year, Tchaikovsky followed his teacher to see live perfor- to the St. Petersburg Conservatory where he accepted a post. It was at the conservatory mances of this that he met and studied with Anton Rubinstein, director and founder of the work. Conservatory. Rubinstein was impressed with Tchaikovsky's talent.

In 1869 Tchaikovsky composed his first recognized masterpiece, Romeo and Juliet. Tchaikovsky was deeply inspired by Shakespeare's writing, and in later years composed other works for The Tempest and Hamlet.

On November 6, 1893 Tchaikovsky died in St. Petersburg from cholera. His compositions are some of the greatest works of the Romantic Era, including the 1812 Overture, March Slav, and The Nutcracker, which has become a Christmas season favorite. CLASSROOM ACTIVITIES

Piotr Ilyich Tchaikovsky – “Trepak” (Russian Dance) from The Nutcracker Suite

1. Dramatic Marching This activity teaches: Tempo, Metre, Dynamics. Applying the elements of music through movement (OPMC C1.2). This is a marching activity to be done around the perimeter of a large classroom or gym. - Have class line up and practice marching around with a loud metronome or by calling “LEFT, RIGHT, LEFT, RIGHT…” (Fun Fact: All marching bands begin marching with beat 1 in their left foot!) - Listen to ‘Trepak’ all the way through with the class practicing keeping the beat (tapping their feet, patting their thighs etc.) Notice how the tempo speeds up at the end! - March along to ‘Trepak’ around the room, accenting beat 1 of the 4 beat metre (along with the tambourine in the beginning) by stomping loudly during the loud parts. - Once the class has mastered this, add in movement to represent the dynamics of the piece. As they march around they should crouch low during the quiet parts and gradually get taller as the music gets louder. If they are already standing and the music gets louder still, they should march with their knees as high as they can!

2. Feel like an Animal This activity teaches: Expressing personal responses to musical performance in a variety of ways (OPMC C2.1), Describe ways in which the elements of music are used for different purposes (OPMC C2.2) Trepak is a very dramatic piece of music which ranges from sweet and light to big and dark character in a very short time. This active activity is to be done in a space big enough to accommodate your class in a circle - After the class has listened to the piece a few times to become familiar, have them think about how the music makes them feel. What kind of animal do you feel like in the beginning? Does your feeling change to a different animal near the end? - Have the class make a circle, have 4 or 5 students volunteer (or not volunteer) to be in the middle of the circle. Those in the middle of the circle will walk around as their chosen animal(s) while the music is playing, acting as influenced by how the music makes them feel. - Once the piece is finished, have 4 or 5 others try! Repeat! - After this is finished, sit down with the class to think about how the music was able to make them feel that way. What made it feel light? Scary? Was it the instruments? Dynamics? Tempo? Strong/weak; loud/soft; smooth/jagged; thick/thin; high/low; fast/slow? Etc.

3. Ballet Exposure This activity teaches: Identify through listening a variety of musical pieces from different communities, times, and places (Ballet) (OPMC C3.2) What is ballet? Where does it come from? - Have your class imagine how this music might be danced to in the ballet. What moves might the dancers be making to interpret this music? - Have the class watch the dancers interpretation, what mood was expressed?

https://www.youtube.com/watch?v=qiiuN9eAy9Y

ADDITIONAL CLASSROOM ACTIVITIES

Piotr Ilyich Tchaikovsky – “Trepak” (Russian Dance) from The Nutcracker Suite

4. Draw your Imagination This activity teaches: Express personal responses to musical performances in a variety of ways (OPMC C2.1) - Distribute (or have children use their own) crayons, coloured pencils, or finger-paints. - Using pictures, colours, images, and symbols—illustrate your imagined scene as you listen to the music. Think about how the music makes you feel, express how you feel in the picture you draw! - Share your work with the class and talk about what in the music made you feel this way.

5. Compare and Contrast the Nutcracker Suite This activity teaches: Describe ways in which the elements of music are used for different purposes in the music they listen to. (OPMC C2.2) - Listen to other famous dances from the Nutcracker Suite: Dance of the Sugar Plum Fairy; Waltz of the Flowers; Arabian Dance; Spanish Dance. - How do these pieces sound similar or different from “Trepak”? Use terminology from the elements of music to describe the similarities and differences. KWS School Concerts Music Tells a Story KWS, Lucas Waldin

“Anitra’s Dance” from Peer Gynt, Suite No.1,

The Kitchener-Waterloo In Peer Gynt, Grieg Symphony turned to folklore: the drama, written by Ibsen, is based in large part on folk tales from Norway. T r a c k # 2 The title character was modeled on an actual Anitra’s Dance person whose exploits some thirty years before The Incidental music Ibsen's birth were to Peer Gynt, Op. 23, was written in 1875 known throughout the by Edvard Grieg for country. Norwegian playwright Henrik Ibsen's play of Anitra’s Dance is a the same name. graceful dance to introduce the alluring character of Anitra whom The Violin Peer Gynt is infatuated Scene from “Peer Gynt” with.

Terms

Mazurka: Featured Instruments: The Strings

TA erlively m s :Polish dance in triple time. Violin: The highest voice of the string family. The violin was developed in Europe in the 16th century and is played with a horsehair bow.

Viola: Tuned a 5th lower than the Violin, the Viola has a slightly larger but similar body shape.

Cello: The tenor of the string family, the cello is played by being held upright on the floor between the legs of the seated player.

Bass: The lowest sounding string instrument. The Upright Bass, or Double Bass is the largest and lowest-pitched bowed string instrument in the orchestra. References:

CLASSROOM ACTIVITIES

Edvard Grieg– “Anitra’s Dance” from Peer Gynt

1. Bouncy or Smooth? Pizzicato or Legato? Attention to Articulation This activity teaches: Pizzicato, Legato, and Articulation. Describe ways in which the elements of msuci are used for different purposes in the music they listen to. (OPMC C2.2)

- Listen to ‘Anitra’s Dance’ as a class to begin to familiarize them with this quiet yet energetic piece. - To introduce the concept of pizzicato or legato, have the class say a sentence really smoothly and really staccato (i.e. “When we learn music I sometimes talk funny!” etc.). - The melody of Anitra’s dance is often played by the Violin, when the violin plays with the bow it sounds smooth, when the strings are plucked with the fingers it sounds bouncy. Listen to the piece a second time, this time, when you hear the Violin playing smoothly with the bow wave your arm in the air to mimic the sound, when you hear the Violin playing bouncy shrug your shoulders up and down! - Have the class learn the words Pizzicato (plucked strings—bouncy), and Legato (smoothly, bowed strings)

2. Make a Dance! This activity teaches: Express personal responses to musical performances in a variety of ways. (OPMC C2.1)

Anitra’s Dance is in 3/4 time and is written as a Mazurka, a lively polish dance. The Waltz is another dance that uses 3/4 time. - Start by having the class listen to the piece while tapping or patching on beat one of every bar to help feel the emphasis of the metre. Pay attention to how light the music is, any movements should be very soft and light! - Have the class come up with words that describe the music, once they have described it, find an open space and have the class dance around the space embodying the words they have come up with to the music!

3. Stylize Your Song - Musical Ornamentation This activity teaches: Apply the elements of music when singing (OPMC C1.2), Describe ways in which the elements of music are used for different purposes… (OPMC C2.2)

- Listen to Anitra’s Dance as a class, listening for the small trills and musical ornaments that stylize the melody. What does this do to the music? Does it sound like music from a different culture? Does it make you want to move to the music? Emphasize a beat? - Have the class break into small groups or pairs to stylize a familiar piece of music (i.e. Mary had a little lamb etc.) by adding small vocal ornaments or trills on parts of the song that they think are most important or on ‘strong beats.’ Use the ornaments to make the song sound like something someone would dance to! - Perform your version for the class! KWS School Concerts Music Tells a Story KWS, Lucas Waldin

“In the Hall Of the Mountain King” from Peer Gynt, Suite No.1 op.46

The Kitchener-Waterloo Symphony One of Edvard Grieg’s most recognizable and well know pieces. Edvard wrote “In the Hall Of the Mountain King” for the sixth scene of Act II in Henrik Ibsen’s play “Peer Gynt”.

T r a c k # 3 The simple theme begins slowly The Mountain King himself and quietly in the low thunders onto the musical In the Hall of the instruments of the orchestra. It stage and runs into Peer, who Mountain King is played first by the cellos and quickly runs the other way; bassoons, representing these actions are depicted with In the play Peer Peer Gynt's slow, careful long strings of diatonic steps, Gynt, the sequence footsteps. After interrupted by brief illustrated by the this, the main theme is then very moments of stillness as the music of In the Hall slightly changed Mountain King looks for the and played on different of the Mountain King hiding Peer. Peer's cover is at instruments: these are the occurs when Peer last blown, and the music King's trolls. The two groups of reaches its loudest and fastest sneaks into the instruments then Mountain King's castle. point as he runs out of the move in and out of different cave. A series of crashing The piece then octaves until eventually cymbals and rapturous timpani describes Peer's "colliding" with each other at the rolls then burst forward and attempts to escape same pitch; silence all the other from the King and and the trolls, having spotted instruments, with the mountain his trolls. Peer, give chase. tumbling to the ground and The tempo gradually speeds up presumably killing the trolls to a prestissimo. who had been chasing after the finale, and the music itself fleeing Peer. The piece T er m s : becomes increasingly concludes Terms louder and more melodic. with Peer's successful escape.

Theme: In music, a theme is the material, usually a recognizable melody, which the entire piece is based on!

Prestissimo: Very fast!

References: The two phrase theme written in the key of b minor

References

YouTube: Search “In The Hall You might recognize this very famous piece of music of the Mountain King” to see live from cartoons or from movies. Why do you think this performances or piece is used so often? cartoon versions of this piece!

CLASSROOM ACTIVITIES

Edvard Grieg– “In the Hall of the Mountain King” from Peer Gynt

1. Dramatic Storytelling and Listening This activity teaches: Express personal responses to musical performances in a variety of ways (OPMC C2.1), Describe ways in which the elements of music are used for different purposes in music they listen to (OPMC C2.2). - Before listening to the piece, read the story of Peer Gynt in the Hall of the Mountain King as dramatically as possibly (starting with him quietly sneaking etc.) to your class. - Ask the class to close their eyes and imagine the story as they listen. Listen to the piece! (Ideally with speakers that can play loudly) - After listening ask your class if they could hear the story, what was their favourite part? How was listening to the music different from listening to the words of the story? - Prep the class that they are going to listen to it again. This time “listen for the moment when the Mountain King sees Peer, how do you know? How does the music change?” - After listening again, write down the elements of music that communicated the dramatic change

2. Act out the Theme This activity teaches: Theme, Dynamics, Tempo. Sing unison songs in tune for music from a wide range of cultures, styles, and historical periods (OPMC C1.1); apply the elements of music while singing, and moving. (OPMC C1.2) This is a large activity that can take up a whole class. - What is a musical theme? Listen to ‘In the Hall of the Mountain King’, what part happens over and over again in this piece? - Sing the theme as a class on the syllable ‘Ba’ (Theme below)

- How many times is the theme played before the big crashes at the end? Count! (18), How many times is the theme played before things get really scary? Count! (13) - Divide the class into 3 groups, the ‘counters’, the ‘Peer Gynts’, and ‘The Trolls’. Have the ‘Peer Gynts’ and ‘The Trolls’ make lines facing one another (arms length apart), with ‘The Counters’ at either end to make a rectangle. - The Game works like this: Your class is going to act out the story by standing facing one another and singing the theme in their characters. - It is ‘The Counters’ job to count how many times the theme has been played and point at the group who should be singing (Pointing at the ‘Peer Gynts’ for the first 12 times and switching to ‘The Trolls’ for 13 until the big crashes. - Those in the ‘Peer Gynt’ group should sing the theme on the syllable ‘Ba’ in as sneaky voices as possible, making faces at ‘The Trolls’ as they gradually get louder, taunting them. When it switches to the trolls at 13 times, those in the ‘Peer Gynt’ group should act scared and skittish, reacting to the expressions of ‘The Trolls’. The ‘Peer Gynt’ group should raise their arms and cheer at the end of the piece for escaping successfully. - Those in the ‘Trolls’ group should react to the taunting expressions of the ‘Peer Gynt’ group by making troll faces, and sing the theme on the syllable ‘Ga’ in as menacing voices as possible once it’s their turn at 13. ‘The Trolls’ should sing loudly to match the intensity of the music! - The groups can then rotate to give everyone a chance to be a ‘Peer Gynt’, ‘Troll’, and ‘Counter’. - For an added effect, the teacher can make an appearance as ‘The Mountain King’ for the big crashes at the end! KWS School Concerts Music Tells a Story KWS, Lucas Waldin

“IV. Festival at Baghdad; The Sea; The Ship Goes to Pieces on a Rock” from Scheherazade, op.35

The Kitchener-Waterloo Scheherazade consists anxious to hear the end Symphony of a symphonic suite of of the story! The music four related movements portrays a festival,

Track #4 that form a unified rushing sea, and a theme. It was written to shipwreck (fanfare IV. Festival at produce a sensation of motif). The movement Baghdad; The Sea; fantasy narratives from ends with a peaceful The Ship Goes to the Orient. The fourth resolution as the Sultan Pieces on a Rock movement comprises a finally relents and

This orchestral suite accumulation of the allows Scheherazade to was inspired by stories that live after telling so many Middle Eastern and Scheherezade amazing stories. Indian tales, called (represented by a Violin “One Thousand and One Nights”. theme) has been telling the Sultan who is Scheherazade is the growing increasingly name of the young woman who is telling the story. Storytelling & Scheherazade’s Story Terms Storytelling is an ancient art that had its beginnings long ago, T er m s : Suite from many cultures, and in many old languages. The earliest surviving

A collection of musi- record of storytelling is found in Egypt where there are paintings of the cal pieces to be sons of the Pharaoh Cheops (who built the famous pyramids) played one after the entertaining their father with stories. Before printed books were other in a sequence. available, traditions, history, education, and even religious rituals were told by means of storytelling. In the Middle Ages, storytellers known as Theme and Variation: Bards were also poets and musicians who traveled between villages and The “theme” or brought information and entertainment to people. In some cultures main melody is re- storytelling for children was more important than for adults, as stories peated throughout, often taught children how to behave in wise and good ways. There have but in a slightly different way (rhythm, been many famous collectors of ancient stories, some of the best known References:harmony, instru- were the Brothers Grimm who recorded many old tales in their well ments could be dif- loved collection of fairy tales. The tales of the Arabian Nights were likely

first told as stories performed by a traveling storyteller in front of an References audience. Scheherazade was a very popular tale about a strong and intelligent girl and King Sharayar who had ordered the girls of his Use YouTube to lis- kingdom put to death, one each night. Scheherazade, a great story teller, ten to some other begged the King to listen to a story first. He agreed, and she began, but examples of pieces stopped her story at the most important point and offered to return the that use a Theme and Variation form. next night to finish her tale. The King wanted to hear the end of the Try Mozart’s “Ah exciting story so asked her to return, postponing her death, as she had vous dirai-je, been the next girl sentenced to die. Scheherazade continued to tell Maman!”. You are stories for the next one thousand and one nights, sparing her own life sure to recognize it! and the lives of all the young girls of the kingdom. Thus, the Arabian Nights are also known as l00l Nights. CLASSROOM ACTIVITIES

Nikolai Rimsky-Korsakov– “The Festival at Baghdad; The Sea; The Ship Goes to Pieces on a Rock” from Scheherazade

1. Colour Your Story This activity teaches: Express personal responses to musical performances in a variety of ways. (OPMC C2.1)

- Listen to The Festival at Baghdad; The Sea; The Ship Goes to Pieces on a Rock. Using crayons, coloured pencils and/or markers draw a picture of the “mood” that this music creates for you. What were the main colours in your work? Why? Come up with a story! - Share your picture and its story with other members of the class

2. Soundscape the Sea This activity teaches: Found sounds. Create simple compositions for a specific purpose (OPMC C1.3). Apply the elements of music when singing, playing an instrument, and moving. (OPMC C1.2)

- As Scheherazade tells the story of the Sea, you can hear the waves crashing back and forth with the instruments. Listen through and raise your hand when you think you hear the sea! How do the instruments make the sounds of the sea? (dynamics growing louder and softer, crashing cymbals for the waves…) - Have the class come up with a list of sounds that they might hear at Sea (ex. wind, birds, creaking mast, thunder, rain etc.) How can we make these sounds? (Voices, tapping desks, whistling etc.) - Assign sounds to the class and create your own sea! Use the dynamic techniques of Scheherazade for a more realistic effect!

3. Follow the Characters This activity teaches: Express personal responses to musical performance in a variety of ways (OPMC C2.1)

- This movement opens with a strong musical statement representing ‘The Sultan’, followed by a more lyrical Violin solo representing ‘Scheherazade’, who proceeds to tell the sultan the story of the festival, sea, and shipwreck. - Prep the class with an outline of the story, and have them listen to follow the characters! - After listening, find out what the details of their stories were!

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

Carnival Overture, op. 92

Dvořák wrote this Carnival Overture The Kitchener-Waterloo overture as the second remains part of the Symphony in a trilogy of concert standard orchestral overtures, originally repertoire.

titled Nature, Life and Dvořák wrote his own story Track #5 Love. Later he changed the names to In to accompany the music. This is what he wrote: Carnival Nature’s Realm, Overture Carnival and Othello and gave each its own “A wanderer reaches the city at nightfall, where a Right from the opus number. Dvořák carnival of pleasure very beginning, used the same theme this piece explodes reigns supreme. On with sound, featur- in all three overtures every side is heard the ing the clanging of and intended them to clangor of instruments, the triangle and be performed mingled with shouts of the rattling of the together, which is how joy and the unrestrained tambourine. he conducted them at hilarity of people giving the premiere. Today, vent to their feelings in however, only the the songs and dance

Terms Antonin Dvorák Overture:T er m s : An orchestral piece Antonin Dvorák was a country boy, one of seven children of a meant to be played at the beginning of butcher/innkeeper in a small village in Bohemia. Bohemia was full of something (like an music and young Antonin took violin lessons and fiddled with his father opera, or a play) in the village band. But there was no question about his future; he was Opus Number: to go into the inn keeping business. Since many German travelers came A number that com- to Bohemia, his father sent him to live with an uncle in a nearby town posers would assign to their pieces or and learn German. works to represent in what order they There he met a friend of his uncle's who was a musician. The friend were composed taught Dvorák viola (which became his favorite instrument), piano, and

References: organ, and when he was sixteen Dvorák went to study music in Prague. He played violin and viola in Prague's National Opera Orchestra until, at thirty-one, he won a prize for composition. He soon became famous as a composer, and was able to make a living composing and teaching composition at the Prague Conservatory.

In 1892, Dvorák came to America to be the head of the National Conservatory of Music. While he was in the United States, he wrote the famous "New World Symphony" and other pieces which suggest American folk tunes. He even slipped a little of "Yankee Doodle" into one of his pieces! CLASSROOM ACTIVITIES

Antonin Dvorak— “Carnival Overture, op. 92”

1. Write Your Own Story This activity teaches: Express personal responses to musical performances in a variety of ways. (OPMC C2.1) We already know exactly what Dvorak had in mind when he wrote this piece. His story is quite interesting to read as you listen to the music. - Now, write your own story or draw a picture that depicts what you think about as you listen to the piece. *It doesn’t necessarily have to be about a carnival - Without speaking, act out your story while you listen to the music. Can your teacher and classmates guess what your story is about?

2. Percussion Awareness This activity teaches: The instruments of the percussion family. Describe ways in which the elements of music are used for different purposes in the music they listen to. OPMC C3.2) This piece features many different members of the percussion family. - Can you name them? (Timpani, Bass Drum, Snare Drum, Tambourine, Triangle, Cymbals) - As an extra challenge, try listening to the piece again to listen for each specific percussion instrument. - How do these instruments contribute to the feel of the music? What do you think it would be like without them?

KWS School Concerts Music Tells a Story KWS, Lucas Waldin L’apprenti sorcier (The Sorcerer’s Apprentice)

The Kitchener-Waterloo Symphony

Track #6

L’apprenti sorcier (The sorcerer’s Ap- prentice)

Terms Paul Dukas (1865-1935), French Composer Prelude: TAn er introductory m s : piece of music, or a piece preceding a fugue. L’apprenti sorcier

For many of us, this famous musical adventure tells the tale of Mickey Mouse's dangerous experiments with his master's magic hat. Paul Dukas' piece, although forever associated with the original Fantasia film, was actually written long before Disney References even existed, and was inspired by a poem written by the References:Check out celebrated German author Goethe in 1797. YouTube— Fantasia: The The piece begins with a slow introduction, kind of a musical Sorcerer’s Ap- prentice rendition of the beginning of a fairy tale. As the orchestra begins to play, you can almost hear the words "Once, long long ago, in a land far away." After the slow introduction, the music has a much stronger, faster rhythm, building until the scurrying woodwinds and blasting brass bring us to the climax of the tale. CLASSROOM ACTIVITIES

More about the composer: Paul Dukas Biography (BBC)

Dukas is known to most people today by L’apprenti sorcier (‘The Sorcerer’s Apprentice’), as popularized by Walt Disney in his cartoon film Fantasia. Sadly, this seems to have done little to arouse curiosity about the rest of his music. But in a world in which there’s no shortage of composers with a strong personal style, or an image which impresses itself on the memory, the achievement of Dukas is a little elusive.

For a start, his list of works isn’t long, although not all of them have been published - an early overture inspired by King Lear was rediscovered and first performed as recently as 1995. The works that do survive, or which have been brought to light, reflect the musical evolution of the composer’s time, though Dukas was more inclined to classical forms than his contemporary Debussy.

His Symphony in C (1895–6) is a bracing, affirmative work, though with a deeply searching middle movement, which has all the right ingredients to make it popular. The Piano Sonata (1899–1900) is a passionate, four-movement masterpiece demanding steely fingers and an ardent temperament. It was followed by another large-scale piano work, Variations, interlude et final sur un thème de Rameau (?1899–1902).

Dukas planned several operas but only one, Ariane et Barbebleue, reached the stage, in 1907. Based on a play by Maeterlinck, it was, perhaps, a bit too close for comfort to Debussy’s Pelléas et Mélisande, also based on Maeterlinck and produced five years earlier. Nevertheless, Dukas’s work is more forceful than Debussy’s and some people consider it his greatest achievement.

The last major work Dukas published was a sumptuous ‘poème dansé’, La péri, which he prefaced with a perversely acerbic Fanfare. Produced in Paris in 1912, it anticipated certain features in Debussy’s Jeux, also described as a ‘poème dansé’, which had its premiere the following year.

Dukas was a perfectionist, and is said to have destroyed as much as he allowed to survive. He didn’t have to earn his living by composing, since he worked as a music critic (some of his earliest reviews were of Wagner productions in London), as an editor (of the music of Rameau, Couperin, Scarlatti and Beethoven) and as a teacher, his most famous pupil being Olivier Messiaen, who revered him.

Profile © Adrian Jack (Source: https://www.bbc.co.uk/music/artists/8048b7be-cda8-4e5a-bc4b-57267fc05be1)

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

Gold und Silber Walzer (Gold and Silver Waltz), op.79

Franz Lehár is most This piece is written The Kitchener-Waterloo famous for his Symphony for flute, piccolo, operettas. Perhaps oboes, clarinets, you’ve heard of “The bassoons, horns, Track #7 Merry Widow”? trumpets and trombones. The waltz was a very That was composed by popular form of him! He also wrote What are some dance at one point. It sonatas, symphonic is always written in instruments that are triple time (3 beats in poems, marches, and missing in this piece? every bar) and is al- waltzes. The most most always smooth popular of his waltzes Why do you think and flowing-just like the dancers who was “Gold and Silver composers chose to dance it! Waltz”. He composed use only certain this for a Princess! Her instruments for their name was Princess pieces? Pauline von Metternich and the event it was written for was called the Gold and Silver Ball.

T er m s : Terms What is a Waltz?

Operetta: A short opera, usually Waltz music is written in 3/4 time, counted as "1,2,3 - 1,2,3." with a funny plot that has both sung and The first beat of each measure is accented, corresponding to the spoken dialogue extended, highly-stretched step that is taken on the first count. With its distinctive rhythm pattern, the Waltz is easy to recognize and simple to learn.

References: The Waltz is a smooth dance that travels around the line of dance. Characterized by its "rise and fall" action, the Waltz includes a step, slide, and step in 3/4 time. Dancers should move References: their shoulders smoothly, parallel with the floor instead of up and Check out down. Dancers must strive to lengthen each step. On the first beat YouTube to find some examples of of the music, a step is taken forward on the heel, then onto the waltzes. How do ball of the foot with a gradual rise to the toes, continuing on to they sound the same? How are the second and third beats of the music. At the end of the third they different? beat, the heel is lowered to the floor to the starting position. CLASSROOM ACTIVITIES

Franz Lehar– Gold und Silber Walzer (Gold and Silver Waltz), op. 79

ACTIVITY: 1. Feel the Waltz This activity Teaches: The Waltz, Beat. Apply the elements of music when moving (OPMC C1.2).

- A waltz is a dance in 3/4 time. A waltz can often move quite quickly making the music feel like it is really in 1 beat to a measure. The waltz pattern is especially obvious in the second half of this piece. - Put beat 1 on your thighs and beats 2-3 on your shoulders. If it seems too fast, just put beat 1 on your thighs - Once you’ve mastered this you can try it with your feet! — R L R — L R L — … move around to the music! Feel the rise and fall of the waltz.

2. Become the Maestro! This activity Teaches: Conducting. Apply the elements of music when moving (OPMC C1.2)

- Practice tapping the beat as a class beginning at 1:28 of the music to get a feel for the metre - Try to conduct the 3/4 pattern while listening, make sure that the size of your movements reflects the music! (big for loud, small for soft etc.)

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

Dreams

The Kitchener-Waterloo Dreams is based on a ‘Dream Song’ from the Lil'wat Nation. Symphony Dream songs come to people during sleep or other times when dreaming, and these are given to the community to

share sometimes. Most of the time the songs are meant to Terms heal or bring people together during tough times. Russell has Opera: A dramatic commented, “ I like to hear that soprano rise above work, in one or more acts, set to music for everything. My mom (and a lot of elderly Salish women) singers and instru- mentalists would sing like that sometimes, and it is quite beautiful and that beauty is part of those dreams.” Virtuoso: A person who is highly skilled (Approximate length:4:30) in music

Russell Wallace, Composer

Reference Russell Wallace (b. 1965) is a board

Look up Lil’wat First member for Warriors Against Nation and its music Violence Society. Russell is a and culture. T er m s : composer, producer and is a traditional Lil’wat singer. Wallace’s music has been part of a number of soundtracks (film, video, tv) and theatre//dance productions. He was the composer in residence for the Chinook Winds Aboriginal Dance program from 1996-2003 at the Banff Centre for the Arts.

References: He has produced CD’s that have been nominated for awards at the Junos, Canadian Aboriginal Music Awards, and at the Native American Music Awards in the USA. Currently Wallace works and teaches at the Native Education College.

Wallace was commissioned by the Nunavut Government to compose music for the Formation of the Nunavut Territories inaugural Gala in April1999, by the University of Toronto for Aboriginal Music Days in 2000, and by the Westcoast Sacred Arts Society in Vancouver to compose a new choral work with Hussein Janmohamed for the Dalai Lama’s visit in Vancouver in 2004. (Source: Cypress Choral Music) Barbara Croall, Performer

Acclaimed Odawa composer and musician Barbara Croall (Manidoo Mnissing, Giniw dodem) has received world premiere performances of her music across Europe, the UK, the United States, Asia, and Latin America. Barbara balances her time focused on creating and performing music, with work in outdoor environmental educational rooted in traditional Anishinaabe teachings, and work on artistic projects with Indigenous at-risk youth. Apart from playing, performing, and composing on the pipigwan (Anishinaabe cedar flute) and for voice in the traditional Anishinaabe way, Croall is classically trained, with degrees and diplomas from Centre Acanthes (France), the Musikhochschule in Munich (Germany), The Royal Conservatory of Music (Toronto), and the University of Toronto where she received the Glenn Gould Award in Composition (1989). The first instruments Barbara learned to play at the age of five were the traditional Anishinaabe cedar flute (pipigwan) and the drum (dewe’igan), also when she also began composing her own music in the oral tradition. This followed with studies in classical piano and music theory with Melissa Vandendool and Grace Vandendool, and then Irina Kugucheva (Royal Conservatory of Music, Toronto), eventually receiving her ARCT Diploma in Piano Performance.

The child of a residential school survivor, Croall has been involved in the Truth and Reconciliation Commission activities. She is a direct descendant of hereditary chiefs who signed the major treaties in Ontario and who fought in major battles of the Indian Wars and War of 1812. Taking part in women's gatherings and ceremonies with Elders in her family and community, her music often reflects immersive experiences within nature, as well as earth/ water/air ecology. Anishinaabeg women’s knowledge of plant medicines have been passed down through Elders in her family for many generations.

Apart from her music for traditional Anishinaabeg instruments and voice in the Anishinaabe way, her music for instrumental and vocal soloists, chamber ensembles, orchestra, film, theatre, dance and interdisciplinary performance has been premiered internationally (Lithuania, Finland, Switzerland, Germany, France, Italy, Greece, UK, US, Korea, Mexico, and Bulgaria) and across Canada, she also performs as a soloist (vocalist/traditional Anishinaabeg flutes/other instruments) in her own works with orchestras across Canada and the US, and has frequently been an invited guest composer and performer at the National Museum of the American Indian in Washington D.C.. Recording credits of her music and performances include: CBC Radio One, CBC Radio Two, Bayerische Rundfunk-Bayern 3, Deutsche Radio Swiss (DRS-II), Radio France, Italian National Television, APTN (Aboriginal Peoples Television Network, Canada), Kennedy Center Live Broadcasts (Washington DC). Awards include: the Glenn Gould Award in Composition (1989), numerous scholarships at the Royal Conservatory of Music/Glenn Gould School (1992-96) and awards from the National Aboriginal Achievement Foundation (1993-98), three nominations for the K.M. Hunter Award (2003, 2007, 2012), a Visual and Expressive Arts Program Award (National Museum of the American Indian, 2009), and a Dora Mavor Awards nomination (2012). Currently Barbara is Artist-in- Residence and Cultural Consultant with the Kitchener-Waterloo Symphony Orchestra. www.barbaracroall.ca http://native-drums.ca/en/showcase/barbara-croall/ CLASSROOM ACTIVITIES

Check these out before coming to hear Dreams by Russell Wallace! (1/2)

Traditional Salish drums and rattles used in Documentary film series, 1491: The Untold Story of teaching and performance by Russell Wallace the Americas Before Columbus, scored by Russell Wallace for which he received the Leo Award for https://sfuwce.org/russell-wallace-on-sharing ‘Best Composition’! http://1491tvseries.com/directors-blog/1491-director-to- -knowledge-through-song/ screen-ep-108-at-uvic/

COAST SALISH SINGING & DRUMMING Northwest Coast Indians Musical Instruments 2015 WORKSHOPS - The Metropolitan Museum of Art

http://www.sfu.ca/sfuwoodwards/events/ https://www.metmuseum.org/toah/hd/nort/ events1/2014-205-spring/ hd_nort.htm CoastSalishDrumminAndSinging2015.html

Musical Instruments A Coast Salish Elder singing a traditional song - American Museum of Natural History in the Salish style

(Different kinds of Northwest Coast musical https://www.youtube.com/watch? instruments) v=0m_5qVh__M0

https://www.amnh.org/exhibitions/ permanent/northwest-coast/tlingit/tlingit- collection/musical-instruments

Information about Interior Salish Peoples (Lil'wat Nation, the composer Russell Wallace's nation, being one). Salish in general are either Coastal or Interior. In British Columbia there are many nations and groups of nations in close proximity to one another. This is quite different from most areas of Canada.

https://www.thecanadianencyclopedia.ca/en/article/interior-salish-first-nations CLASSROOM ACTIVITIES

Check these out before coming to hear Dreams by Russell Wallace! (2/2)

Song and Dance of the Lil'wat Nation Russell's own singing group, Tzo'kam (comprised of family and community members) singing in the Interior Salish (Lil'wat) style with https://www.youtube.com/watch?v=kx96lNWqILs harmonies. Russell Wallace is the lead male singer in low voice in the middle!

A recording of Russell Wallace singing in The Salish style, similar to other Indigenous peoples in BC, is sung more slowly and in lower this family singing group, Tzo'kam. This is another 'Dream Song'. Note a very distinct voices. This is quite different than the familiar 'pan-Indian' style of singing at powwows where style of a cappella singing with harmonies and unison singing in low voice ranges for those types of songs are actually quite high and the most part! falsetto for male voices with a strained quality in the throat with some nasal tone. Dream Song—Tzo’kam Tzo'kam "Journey Song" on Granville Island https://www.youtube.com/watch?v=K8vjtw73xJ8 https://www.youtube.com/watch? v=uTa8Z5wHq9A

A video of an informal community gathering of male singers on hand drums from the Lil'wat Nation singing a Bear Song with Historical photos about Interior Salish in their young girls dancing the traditional Bear home territory region of rivers

Dance. Listen for the lower voice style of First Nations - People of the Interior singing in Salish style vocables (non-word https://royalbcmuseum.bc.ca/exhibits/bc-archives- syllables)! time-machine/galler07/frames/int_peop.htm Lil’wat Nation Hand Drum Dong: The Bear Song

https://www.youtube.com/watch?v=3CC8NMdjcp8

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

“Final Dance” from El sombrero de tres picos (Three-Cornered Hat), Suite No.2

El sombrero de tres Have you ever heard The Kitchener-Waterloo Symphony picos, is a ballet by of Pablo Picasso? Manuel de Falla He created the sets commissioned by and costumes for Sergei Diaghilev and the ballet. premiered complete in Track #8 1919. It wasn’t always a ballet, however. One of the lead “Final Dance” When de Falla wrote it, dancers took flamenco lessons in The music is a joyful he intended it to be pageant of brilliant performed as a order to be able to colors, fast-changing pantomime. Then, a dance in the ballet. rhythms, and driving famous excitement. But even with its exotic flavor, choreographer, named The Three-Cornered the piece maintains Sergei Diaghilev, Hat was a huge masterful balance and asked de Falla if he success! pacing. The Three- would re-write it as a Cornered Hat helped ballet with full Spain reclaim its rightful place in Euro- orchestra! pean classical music. The Music of Spain T er m s : Terms The music of Spain has a long history and has played an important part in the development of western music, and Pantomime: performers express a particularly strong influence upon Latin American music. meaning through gestures Outside of Spain, the country is often associated with

Choreographer: traditional styles such as flamenco and classical guitar, but a person who creates and arranges dances Spanish music is in fact very diverse, reflecting the large and ballets cultural differences between regions. The flamenco style, for Flamenco: example, originated in Andalusia in the south of the country, a style of Spanish music,References: usually played whereas the music traditions in the north-western regions by guitar and accom- panied with singing such as Galicia are centered around bagpipes as a result of and dancing the Celtic history of the region. Spain played an notable role in the history of western classical music, particularly in the References early phase from the 15th to the 17th centuries, from Watch some flamenco dancing on composers like Tomás Luis de Victoria, the zarzuela of YouTube in order to feel the flavour of Spanish opera, the ballet of Manuel de Falla, to the classical Spanish music! guitar music of Pepe Romero. Nowadays, like elsewhere, commercial popular music dominates. CLASSROOM ACTIVITIES

Manuel de Falla – Three Dances (Suite No.2) from El sombrero de tres picos (Three Cor- nered Hat) - Final Dance

1. Active Listening This Activity Teaches: The Elements of Music; The Instrument families; Identify, through listening, a variety of musical forms or pieces from different communities, times, and places (OPMC C3.2) - Manuel de Falla was a Spanish composer. LISTEN to the Final Dance from the ballet, “Three Cornered Hat.” What is a ballet? (dancers perform on stage to music often telling a story ) - This music is full of musical colours! On chart paper, write words that de-scribe the music: LOUD OPENING EXTREME DYNAMICS (LOUDS & SOFTS)

FEW INSTRUMENTS FULL ORCHESTRA

SLOW TEMPO FAST TEMPO

ACCENTED NOTES JUMPY RHYTHM - Which families of instruments of the orchestra can you hear? (woodwinds, strings, percussion, brass)

2. Spanish Guitar This activity teaches: Describe ways in which the elements of music are used for different purposes in the music they listen to (OPMC C2.2). - Can you imagine a guitar playing this piece? Check out YouTube – Simon Dinnigan! - How did the colours change from orchestra to guitar?

3. Draw what you Hear This activity teaches: Express personal responses to musical performances in a variety of ways (OPMC C2.1) - What do you imagine is happening in this piece? Listen again and colour or draw a picture that represents the music.

4. Move to the Music This activity teaches: Express personal responses to musical performances in a variety of ways (OPMC C2.1) - This piece is written for dancing, what kinds of movements will you do to match the music that you hear?

Education and Community Programs

Cornerstone Education Programs

BRIDGE TO MUSIC YOUTH ORCHESTRA SCHOOL CONCERTS Pathways Each season, students in This program, based on Students ages 5 through Staff: grades 1 – 3 and 4 – 6 a model from Toronto’s 23 are invited to join the come to the Centre in the Regent Park Kitchener-Waterloo Square to see a full Yujin Cha, neighbourhood, Symphony Youth Education & Community orchestra educational provides subsidized Orchestra Program Programs Manager concert, free of charge. professional music comprised of four The content of each lessons to low-income ensembles: Preludium Barbara Kaplanek, concert has been families in the Kitchener Strings, Youth Strings, Education & Community developed to tie into the -Waterloo area. This Youth Sinfonia and Youth Programs Manager Ontario Ministry of Youth Orchestra & program provides Orchestra. The nationally Education Curriculum. A Schools qualifying families with acclaimed program set of 6 unique concerts access to professional provides motivating are now offered on a 3- YOP Conductors: teachers, performance orchestra experience for year cycle so that opportunities, and future generations of Matthew Jones, students have an instruments for 5$ per music enthusiast and Youth Orchestra opportunity to see a lesson. musicians. The YOP unique concert each year. activities help to develop David Wadley, The KWS provides The KWS Bridge to Music multiple skills - Youth Strings supplementary materials Sunnydale Satellite cooperation, for teachers as well as in- program provides music communication, Allene Chomyn, classroom visits by lessons to those in the leadership, instrumental Youth Sinfonia musicians before and Sunnydale community of technique, public they attend the concert. North Waterloo. performance as well as Ella Weber, love for arts and much Preludium Strings more!

Education isn’t just about feeding the brain. Art and music feed the heart and soul.

-Julie Garwood

Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.

- Plato

Youth Orchestra Program performing at the Centre in the Square KWS Education Programs—What We Do

Kinderconcert Series These programs for children ages 3 months to 4 years are developed and presented by KWS musicians. Music For Young Children offers pre-concert activities. Each concert in the 3 concert series is performed at the Conrad Centre for the Performing Arts (Kitchener), Waterloo Region Museum, (Kitchener) and Woolwich Memorial Centre (Elmira).

School Concerts Each season, elementary school students in grades 1 – 3 and 4 – 6 come to the Centre in the Square to see a full orchestra educational concert. The content of each concert has been developed to tie into the Ontario Ministry of Education Curriculum. A set of 6 unique concerts are now offered on a 3-year cycle for grades 1 to 3 and grades 4 to 6 so that students have an opportunity to see a unique concert each year. The KWS provides supplementary materials for teachers as well as in-classroom visits by musicians each concert.

Youth Orchestra Program (YOP)

Students ages 5 through 23 are invited to join the Kitchener-Waterloo Symphony Youth Orchestra Program comprised of four ensembles: Preludium Strings, Youth Strings, Youth Sinfonia and Youth Orchestra. The nationally acclaimed program provides motivating orchestra experience for future generations of music enthusiast and musicians. The YOP activities help to develop multiple skills -cooperation, communication, leadership, instrumental technique, public performance as well as love for arts and much more!

Family Series The Family Series is an engaging concert experience designed for ages 4 – 12. The KWS has designed this set of 3 concerts to entertain and illuminate. Each concert includes a wide range of activities and explorations in the KW Art Gallery and Centre in the Square lobbies prior to the start of each concert. Music for Young Children and Long & McQuade partner with us for these pre-concert activities.

Preludes The KWS provides informative presentations that tie into the music of KWS Signature concerts and classical music appreciation in general.

COMMUNITY PROGRAMS

Bridge to Music Bridge to Music is a subsidized private music lessons program, where the KWS connects qualifying families to symphony performers to allow them to experience music on a level that they would not otherwise be able to access. This program is open to students ages 6 – 13 and provides subsidized music lessons and instrument loans for standard orchestral instruments. Lessons take place in established private studios, at the Conrad Centre or any other location arranged between students and teachers. Resources beyond music lessons, including performance opportunities, concert tickets, access to KWS youth ensembles, and masterclass opportunities are all provided by the KWS through the generous sponsorship of SunLife.

Health and Wellness Throughout the year, you will find ensembles from the KWS performing free concerts and giving mini music lessons. We visit retirement communities, nursing care facilities, schools, libraries, city halls, soup kitchens, health care facilities, and summer festivals.

When they're not rehearsing or performing, most KWS musicians mentor young musicians through private teaching studios, conservatories, music schools and universities. Our musicians love bringing their music to all members of our community.

For more information regarding any of our programs or concerts, please visit our website: kwsymphony.ca