PHILHARMONIC KIDS

November 1–2, 2017  9:30 am and 11:00 am Pikes Peak Center for the Performing Arts

TABLE OF CONTENTS 4 Welcome 5 What you’ll See and Hear 6 Meet the Performers 7 Meet the Composers 8 Instruments of the Orchestra 10 Classroom Activities 14 Historical Intersections 15 Colorado Education Standards

PHILHARMONIC KIDS SPONSORS Deluxe Corporation Foundation Giddings Foundation Kinder Morgan Foundation P. Bruce and Virgina C. Benson Foundation USAA Foundation Griffis/Blessing US Bank Foundation Pikes Peak Kiwanis Club Moniker Foundation Rotary Club of Colorado Springs The Myron Stratton Home 3 Welcome to Philharmonic Kids!

On November 1–2, voyage through history Preparing for the Field Trip with the Colorado Springs Philharmonic to this helpful guide to learn more hear all kinds of great music from the past, Browse about the music and musicians you will hear present, and future as we travel Bach to the at the concert. to some recordings Future. Listen of each piece before your visit to the In our time machine, we’ll journey back to concert hall - having some familiarity with the Baroque period of J.S. Bach and discover the music will make the live experience what, exactly, is a fugue. Jumping forward much more exciting! in time, we will hear many styles of music by some of history’s greatest composers. With When You Arrive at the Pikes Peak Center sounds, themes, and ideas introduced by Pikes Peak Center staff will be outside different instruments of the orchestra, Buses: to direct you where to drop off and park. students will hear how Bach’s music influenced later composers’ works, and how Parents/Homeschools: Parking is available the sounds of the orchestra evolve through the on nearby streets, or in the attached parking Classical, Romantic, and 20th Century eras. garage (entrance on Sahwatch). Do not park in the parking lot north of the Pikes Leading up to the concert, we encourage Peak Center as it is a tow-away zone. you to begin your discovery with the classroom activities provided in this guide. When you arrive, teachers should check in The concert experience promises to be at the Philharmonic booth in the front lobby immersive and fun, and will be especially to receive seat assignments. Ushers will exciting to those who have already dipped direct you to your seats. their toes in the proverbial “waters.” Enjoy listening and musing upon these great After You Are Seated masterworks, and we look forward to Please wait until your party is fully seated experiencing the journey with you in the to rearrange student seat assignments, or concert hall! to address bathroom needs. If you need to leave the theatre during the concert, please Sincerely, wait for a break between pieces to exit and Bernie Brink re-enter. Outreach & Education Coordinator

Notes on Audience Etiquette Be prepared and Be aware and Show appreciation Concentrate to arrive early. Allow remain quiet. The by applauding. help the musicians. for travel time, and theater is a “live” Applause is the best Focus on the mu- plan to be in your space – you can way to show your sicians to support seats at least 15 hear the performers enthusiasm and and help them minutes before the easily, and they can appreciation. perform their best. performance begins. hear you, too! 4 What You’ll See and Hear

Bach to the Future Thomas Wilson conductor Wednesday, November 1, 2017 at 9:30 and 11:00 am Thursday, November 2, 2017 at 9:30 and 11:00 am Pikes Peak Center for the Performing Arts

Today, Bach is considered one of the greatest composers who ever lived. But did you know that, WHAT TO LISTEN FOR in his own lifetime, Bach was not famous? So what, then, is so special about Bach? Repetition What melodies/patterns do For the past 300 years, Bach’s music has influenced you hear over and over? countless composers and musicians, from Mozart to the Modern Quartet; from Liszt to Lady Gaga. Immitation Of course, a wide variety of musical styles have been Is one instrument or group developed in the generations since Bach’s lifetime, of instruments copying each with different goals and values. Nonetheless, another? Bach’s musical ideas can be heard in each. In Bach to the Future, you will hear many different Fugue styles of music, understand their place in history, Is there one instrument and what makes each one unique. Throughout this immitating another, auditory odyssey, you’ll discover what makes Bach’s interrupting the first and music so fundamental to all that has come since, and starting the melody on a master the art of hearing those threads throughout higher or lower pitch? history. Join us as we travel Bach to the Future! Style What elements do you hear that make a piece sound WHAT YOU’LL HEAR different from another? Bach Toccata and Fugue in D minor, BWV 565 Bach Brandenburg Concerto No. 3 - III. Allegro Assai Orchestration Which instrument plays Mozart Symphony No. 41 “Jupiter” - IV. Finale which part of the music? Mendellsohn Overture to Elijah Brahms Variations on a Theme by Haydn - Finale Barber Capricorn Concerto - III. Allegro con brio Williams “March of the Resistance” from Star Wars: The Force Awakens 5 Meet the Performers

Colorado Springs Philharmonic orchestra The Colorado Springs Philharmonic began 90 years ago as the Colorado Springs Symphony Ensemble, in 1927. Today, the orchestra includes approximately 75 musicians, and they perform over 40 concerts each year, including 8 Philharmonic Kids concerts exclusively for kids. The Philharmonic performs a variety of concerts ranging from classical to pops music at the Pikes Peak Center. You can even hear their performances on the radio! Though our musicians live in Colorado, they come from all over the world, including Venezuela, Spain, China, Bulgaria, and Russia.

Thomas Wilson conductor Maestro Wilson is the Associate Conductor of the Colorado Springs Philharmonic, and also serves as Music Director of the Chamber Orchestra of Colorado Springs. He is also a teacher, both at Colorado College and the Colorado Springs Conservatory. Thomas began studying at age 4, and has also studied trumpet, percussion, string bass, voice, composition, and conducting – wow, that’s a lot of musical skills! When he isn’t conducting, Thomas plays in the trumpet section of the Colorado Springs Philharmonic. Thomas also likes reading, chess, and playing with his two dogs. 6 Meet the Composers

JOHANN SEBASTIAN Bach was born in Eisenach, Germany, and came bach from a family full of musicians. Having learned 1685–1750 violin from his father, Bach later learned to play the organ and harpsichord. In his own lifetime, Baroque Period Bach was most famous as an organ player. (bah-ROKE)

Mozart began performing and composing at the wolfgang amadeus age of 5, and went on performing tours to royal MOZART courts throughout Europe. He quickly rose to fame, and composed over 600 pieces before his 1756–1791 death at the young age of 35. Classical Period

FELIX Mendelssohn was a musical child prodigy, making mendelssohn his debut at the age of 9 in Berlin. By the age of 20, he had already composed some of his most famous 1809–1847 works. Felix had a sister, Fanny Mendelssohn, Romantic Period who was also an accomplished composer.

A teenage Brahms performed regularly to help johannes support his family. Brahms was close friends with two BRAHMS other famous composers, Robert and Clara Schumann. He achieved fame and wealth later in life, but lived 1833–1897 frugally, donating his money to friends and students. Romantic Period

SAMUEL Barber came from a middle-class family. His aunt barber was a leading singer at the Metropolitan , and his uncle a noted composer himself. Barber 1910–1981 fell in love with music early on, and attempted 20th Century to compose his first opera at the age of 10.

john Williams studied music at the famous Juilliard School, and first worked as a jazz pianist before WILLIAMS writing music for T.V. and film. In addition to his many famous film scores, Williams has also b. 1932 written several themes for the Olympic Games. 20th Century 7 Instruments of the Orchestra The orchestra features a wide variety of instruments, but they all belong to just four families of instruments: strings, woodwinds, brass, and percussion. Each instrument belongs to their family because of what the instrument is made of, and how it produces its sound. Can you place all of the instruments in their correct family?

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STRING FAMILY WOODWIND FAMILY 1 ______1 ______2 ______2 ______3 ______3 ______4 ______4 ______

8 Most orchestras today will arrange their instruments and musicians on stage in the same way, with a few slight variations. Below is a diagram showing how the musicians are seated at the Colorado Springs Philharmonic. Try to memorize where each instrument family is seated so that you can look for your favorite instruments at the concert!

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BRASS FAMILY PERCUSSION FAMILY 1 ______1 ______2 ______2 ______3 ______3 ______4 ______4 ______

9 Activities Music Grid Composition

Goals: • Understand patterns and music that immitates itself • Aurally identify repeating patterns and immitation • Define a Fugue Grade Level: • Students Grade K-2

PREPARATION You Will Need: • 4x4 Music Grid (download at csphilharmonic.org/bach-to-the-future) • Pencils/Crayons/Markers for Drawing • Several Orff or Percussion Instruments

1 Divide students into groups of two or three. Give each student their own percussion instrument, and each group one Music Grid. Ensure that each group has different percussion instruments among its students. 2 With the entire class, practice keeping a steady beat on your instruments together. 3 Practice passing the beat around the room from group to group (changing groups every 4-8 beats). Challenge the students to pass the beat after 3 beats, then 2 beats,

PROCEDURE then 1 beat! 4 Try “conducting” the class, pointing to various groups to play and pick up the beat, changing groups at random intervals. To be successful, students must listen and maintain the beat together internally when they’re not playing. 5 Return to the Music Grid and show the class that each box represents 1 beat. Have students work together to compose a percussion “theme” with their Music Grid. Each square in the grid should contain a picture of one of their percussion instruments. Alternatively, they can fill each box with rhythm notation that you have studied. (8-10 min.) 6 When completed, students should practice their Music Grid percussion “themes.” Each group should be able to play their composition in isolation. If you used percussion drawings, combine 2 or 3 groups to play the same “theme” in a round - each group starting 4 or 8 beats after the group before. If you used notation, have each group practice playing in a round by themselves. It’s okay for different students/groups to interpret the same music with different instruments - this is much like a fugue! When an orchestra plays a fugue, the “theme” – known as the “subject” – is played by one instrument, then is repeated by a different instrument, typically beginning on a different starting note.

10 Activities Graph Composition

Goals: • Understand patterns and music that immitates itself • Aurally identify repeating patterns and immitation • Define a Fugue Grade Level: • Students Grade 3-5

PREPARATION You Will Need: • Projector/Smart TV to view YouTube (https://youtu.be/ddbxFi3-UO4) • 1/4” Graph Paper (1 sheet per student) • No. 2 and Colored Pencils for Drawing

1 Watch YouTube user Smalin’s video featuring Bach’s “Little” Fugue in G minor (link above). Open a discussion with students to answer the following questions: • What repeating patterns did you hear/see? • Can you sing the main “theme?” (Try singing together as a class) *In the context of a fugue, the repeated theme is called the “subject.” • Did the “subject” sound the same every time you heard it? If not, what

PROCEDURE changed, or how was it different each time it appeared? 2 Challenge students to create their own fugue subject on their graph paper, which will look similar to the video. First, have students draw heavy, bold lines with a No. 2 pencil to create 8x8 boxes on their graph paper. Imagine the 8 vertical squares as different notes in the diatonic scale; the 8 horizontal squares represent 4 beats, each divided into 2 halves, so in each beat students may draw one long note (color 2 identical squares) or two different short notes. Students should use a single colored pencil to draw their own fugue subject, which will look similar to what they saw in Smalin’s video. Each student’s fugue subject should extend horizontally through at least four 8x8 boxes. 3 When students have completed their fugue subjects, have them switch their papers with a partner. Next, have the students try to faithfully copy, or immitate, their partner’s fugue subject in a second row of 8x8 boxes. Their immitation should begin two boxes to the right of the original, and students may choose to begin their immitative pattern on a different “note” (i.e. vertical square) than the original. Do the original subject and the immitation create any new and interesting patterns together? 4 If desired, students may repeat step 3 with a third partner. What patterns emerge now?

11 Activities Bio Cube Biography

Goals: • Place composers and pieces in their historical context • Understand historical figures as people Grade Level: • Students Grade 1-5 You Will Need:

PREPARATION • Bio Cube Planning Sheets (http://www.readwritethink.org/files/ resources/interactives/cube_creator/media/planning_bio.pdf) • Library and/or Internet Access • Online Bio Cube Generator (http://www.readwritethink.org/files/ resources/interactives/cube_creator/)

*This activity may be completed over several class sessions. Decide whether students will work alone or in groups before you begin. 1 As a class, generate a list of questions you might ask a historical figure. What might you ask of someone who lived 100 years ago, traveled throughout Europe, or began writing music at a young age? 2 Have students select a famous composer for the basis of their Bio Cube. They may choose a composer featured in Bach to the Future, or another famous composer. PROCEDURE 3 Give each student/group a Bio Cube Planning Sheet. On the bottom or reverse of the sheet, have them write 3-5 of your class-generated questions. These will help guide their research as they complete their Bio Cube Planning Sheets. 4 Students conduct research as you see fit. Visit your school library, local library, or computer lab for an internet search. Students should have three things written in each category on their Planning Sheets, and should strive to answer all of the questions they selected previously. 5 With Planning Sheets completed, students can visit the Bio Cube Generator (link above) to begin building their Bio Cubes. Students can enter their favorite and most interesting facts into the web module. When finished, students may print, cut out, and assemble their Bio Cubes. 6 Students can present their composers’ Bio Cubes to the class, or display them around your classroom! MORE FAMOUS COMPOSERS George Frederic Handel Scott Joplin Nadia Boulanger Clara Schumann Peter Ilyich Tchaikovsky Dmitri Shostakovich Franz Josef Haydn Fanny Mendelssohn Enrique Granados William Grant Still Heitor Villa-Lobos Maurice Ravel 12 Activities Style Storyboards

Goals: • Gain an aesthetic understanding and appreciation of different musical periods • Aurally distinguish compositions from different musical periods Grade Level: • Students Grade 3-5 You Will Need:

PREPARATION • Blank Sheet of Paper • Pencils/Crayons/Markers for Drawing • Recordings of various orchestral works (visit csphilharmonic.org/bach- to-the-future)

1 Discuss/research the different musical style periods: Baroque, Classical, Romantic, 20th Century (use the list below to guide or jumpstart your discussions). 2 Give each student a sheet of paper. Fold in half lengthwise, then fold in thirds widthwise, so the sheet is divided into 6 equal boxes. 3 In the upper left box, titled “The Story of Music,” have students create a musical drawing. In the following four boxes, the students should devote each one to

PROCEDURE a particular style period - Baroque, Classical, Romantic, and 20th Century - and create a drawing that conveys something (or many things!) about the values inherent in each period. 4 For the final box, ask students to imagine that they are a famous composer. What sort of music would they write? What ideas would their music express? Students draw what is important about their musical style in the final box.

ELEMENTS OF STYLE PERIODS BAROQUE CLASSICAL ROMANTIC 20th Century Elaborate Construction Desire to Emulate Intense Emotional Highly Detailed, the Purity of Ancient Expression Effort to Reinvent or Ornamented Greece and Rome Heroic Individualism Reinterpret the Old Religious Themes Mostly Homophonic Nostalgia for the Ways (Melody with Chordal Expression of Higher Past and Childhood Stylistic Variety Accompaniment) Power, The Cosmos, Innocence God Emphasis on Form Reverence for Nature Striving for Perfection 13 Historical Intersections

Milestones in Music Milestones in the World La Salle lands in Matagorda Bay, is born. 1685 TX, establishing Fort St. Louis and France’s claim to Texas.

Bach completes his six Brandenburg South Carolina is named as a Concertos, submits them to the 1721 royal colony of the British monarchy. Margrave of Brandenburg.

Mozart gives his first public Transit of Venus observed for only recital at the age of 5, performing 1761 the second time in history (it was first his first compositions. observed over 100 years prior, in 1639!) Mozart completes his 41st and final The U.S. Constitution is ratified symphony, later named “Jupiter.” 1788 and becomes law.

Mendelssohn gives performance of Bach’s St. Matthew Passion, 1829 William Burt invents the typewriter. the first in 100 years.

Variations Brahms composes his Susan B. Anthony fined $100 on a Theme by Haydn , first 1873 for voting for President. written for two .

Barber purchases a house, dubbed “Capricorn,” which becomes the Duke Ellington performs at inspiration for his Capricorn Concerto. 1943 Carnegie Hall for the first time.

John Williams completes his first 1958 The U.S. establishes the movie score. He went on to write National Aeronautics and music for Jaws, Star Wars, E.T., Space Administration (NASA). Harry Potter, and more. ______20______is born. ______

14 WRITE IN YOUR NAME, BIRTH YEAR, AND AN INTERESTING EVENT FROM THAT YEAR! Colorado Education Standards

Music Grid Composition (activity on page 10) • Expressively perform in groups or independently MU09–GR.K–S.1–GLE.1 / MU09–GR.1–S.1–GLE.1 / MU09–GR.2–S.1–GLE.1 • Identify rhythmic and melodic patterns MU09–GR.K–S.2–GLE.2 / MU09–GR.K–S.3–GLE.4 / MU09–GR.1–S.1–GLE.2 / MU09–GR.1–S.2–GLE.2 MU09–GR.1–S.3–GLE.4 / MU09–GR.2–S.1–GLE.2 / MU09–GR.2–S.2–GLE.2 • Comprehension of elements of musical form MU09–GR.K–S.3–GLE.2 / MU09–GR.2–S.3–GLE.4 • Demonstrate respect for the contributions of self and others in a musical setting MU09–GR.1–S.4–GLE.1

Graph Composition (activity on page 11) • Notate simple musical selections MU09–GR.3–S.2–GLE.2 / MU09–GR.4–S.2–GLE.2 • Analyze instrumental examples and identify patterns MU09–GR.4–S.3–GLE.3 / MU09–GR.4–S.3–GLE.4 • Parts of a whole can be modeled and represented in different ways MA10–GR.3–S.1–GLE.2 • Geometric figures are described by their attributes MA10–GR.3–S.4–GLE.2

Bio Cube Biography (activity on page 12) • Comprehension of musical elements and values within cultural context MU09–GR.1–S.4–GLE.2 / MU09–GR.3–S.4–GLE.2 / MU09–GR.5–S.4–GLE.1 / MU09–GR.5–S.4–GLE.2 • Comprehension strategies and analyzing informational texts RWC10–GR.1–S.4–GLE.1 / RWC10–GR.2–S.4–GLE.2 / RWC10–GR.3–S.2–GLE.2 / SS09–GR.3–S.1–GLE.1 RWC10–GR.4–S.2–GLE.2 / RWC10–GR.4–S.4–GLE.1 / SS09–GR.5–S.1–GLE.1 / RWC10–GR.5–S.2–GLE.2 • Developing vocabulary, communication, and recursive writing process RWC10–GR.1–S.1–GLE.1 / RWC10–GR.1–S.3–GLE.1 / RWC10–GR.2–S.3–GLE.2 / RWC10–GR.3–S.1–GLE.1 RWC10–GR.3–S.3–GLE.2 / RWC10–GR.3–S.4–GLE.1 / RWC10–GR.4–S.1–GLE.1 / RWC10–GR.4–S.3–GLE.2 RWC10–GR.5–S.1–GLE.1 / RWC10–GR.5–S.3–GLE.2 • Researching a topic and sharing findings RWC10–GR.1–S.2–GLE.2 / RWC10–GR.1–S.2–GLE.2 / RWC10–GR.2–S.2–GLE.2 / RWC10–GR.2–S.4–GLE.1 SS09–GR.4–S.1–GLE.1 / RWC10–GR.5–S.4–GLE.1

Style Storyboards (activity on page 13) • Identify and explain personal preferences for specific music MU09–GR.3–S.4–GLE.1 / MU09–GR.4–S.4–GLE.1 / MU09–GR.5–S.4–GLE.1 • Comprehend and articulate musical elements and artistic values considering cultural context MU09–GR.3–S.4–GLE.2 / MU09–GR.3–S.4–GLE.3 / MU09–GR.4–S.4–GLE.2 / VA09–GR.4–S.1–GLE.1 MU09–GR.5–S.3–GLE.3 / MU09–GR.5–S.4–GLE.2 • Historical and cultural ideas are evident in works of art VA09–GR.3–S.4–GLE.1 / VA09–GR.3–S.4–GLE.2 / VA09–GR.4–S.4–GLE.2 / VA09–GR.5–S.4–GLE.1 • Use artistic media and expression to communicate ideas VA09–GR.3–S.3–GLE.1 / VA09–GR.4–S.3–GLE.1 / VA09–GR.5–S.1–GLE.2 / VA09–GR.5–S.3–GLE.1 VA09–GR.5–S.3–GLE.3

To reference standards addressed by reference number, or for more information on Colorado State Education Standards, visit www.cde.state.co.us/standardsandinstruction. 15 DON’T MISS THE NEXT PHILHARMONIC KIDS CONCERT!

Coming February, 2018 Link Up: The Orchestra Swings Tuesday, February 6, 2018 at 9:30 and 11:00 am Wednesday, February 7, 2018 at 9:30 and 11:00 am This interactive, multi-media concert and curriculum explores elements of swing and jazz music. Participate in this year-long preparatory curriculum absolutely free. To register, visit our website at csphilharmonic.org/community/educators. Early bird registrants receive tickets for just $4.50!

Questions about Philharmonic Kids? Contact Bernie Brink at [email protected]