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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 play- ers 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 keep- ing 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.
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