The Ugly Duckling

Total Page:16

File Type:pdf, Size:1020Kb

The Ugly Duckling The Ugly Duckling Introduce your students to the story of The Ugly Duckling. We suggest some of these beautifully illustrated books, which can be found at your local library or bookseller or online at Amazon.com: this story by Hans Christian Andersen emphasizes that others should value people for their inner beauty, since you cannot tell what people are truly like based on appearances alone. The music from Once Upon a Symphony is found on this Spotify playlist. Here’s how the music helps to tell the story: o Morning Mood from Peer Gynt Suite No. 1 by Edvard Grieg . This piece sets the summer scene of Mother Duck waiting patiently on her nest for her ducklings to hatch. o The Four Seasons by Antonio Vivaldi . Autumn - This music expresses the daily life on a farm and the joy of the harvest. Winter – This piece illustrates the cold winter weather and the cold, lonely Duckling. Spring – The warm sun returns and the Ugly Duckling realizes that he is actually a beautiful swan. o The Blue Danube by Johann Strauss II . With this piece, the ducklings discover the thrill of swimming in the pond. o The Swan by Camille Saint-Saëns . During this iconic music, The Ugly Duckling watches his parents soar overhead as he rejoices in the discovery that he is a swan. o Holberg Suite, Op.40, Rigaudon by Edvard Grieg . This music celebrates the beauty that lives in each of us. As your students listen to Morning Mood, have them pretend that it is early in the morning and they are just waking up. Students can stretch and move like they are rising with the sun. Students can explore the ¾ meter in The Blue Danube by Johann Strauss II by moving like a swan in a pond. This poem can also be recited as students listen to The Blue Danube: Stand up very tall Let’s reach for the sky Let’s bend to the left Let’s bend to the right Let’s all touch our toes Now all touch our nose Let’s move like a swan in a pond Now let’s stop and strike a pose .
Recommended publications
  • Romantic Listening Key
    Name ______________________________ Romantic Listening Key Number: 7.1 CD 5/47 pg. 297 Title: Symphonie Fantastique, 4th mvmt Composer: Berlioz Genre: Program Symphony Characteristics Texture: ____________________________________________________ Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: timp start, high bsn solo Number: 7.2 CD 6/11 pg 339 Title: The Moldau Composer: Smetana Genre: symphonic poem Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: flute start Sections: two springs, the river, forest hunt, peasant wedding, moonlight dance of river nymphs, the river, the rapids, the river at its widest point, Vysehrad the ancient castle Name ______________________________ Number: 7.3 CD 5/51 pg 229 Title: Symphonie Fantastique, 5th mvmt (Dream of a Witch's Sabbath) Composer: Berlioz Genre: program symphony Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: funeral chimes, clarinet idee fix, trills & grace notes Number: 7.4 website Title: 1812 Overture Composer: Tchaikovsky Genre: concert overture Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: soft beginning, hunter motive, “Go Napoleon”, the battle Name ______________________________ Number: 7.5 website Title: The Sorcerer's Apprentice
    [Show full text]
  • Peer Gynt: Suite No. 1 Instrumentation: Piccolo, 2 Flutes, 2 Oboes, 2
    Peer Gynt: Suite No. 1 Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, strings. Duration: 15 minutes in four movements. THE COMPOSER – EDVARD GRIEG (1843-1907) – Grieg spent much of the 1870s collaborating with famous countrymen authors. With Bjørnstjerne Bjørnson, the composer had hoped to mount a grand operatic history of King Olav Tryggvason but the two artists soon ran afoul of one another. A possible contributing factor was Grieg’s moonlighting project with Henrik Ibsen but, in truth, Bjørnson and the composer had been nursing hurt feelings for a while by the time the latter began to stray. THE MUSIC – As it turned out, Grieg’s back-up plan was more challenging than rewarding at first. He was to compose incidental music that expanded and stitched together the sections of Ibsen’s epic poem. This he did with delight, but soon found the restrictions of the theatrical setting more a burden than a help creatively. “In no case,” he claimed, “had I opportunity to write as I wanted” but the 1876 premiere was a huge success regardless. Grieg seized the chance to re-work some of the music and add new segments during the 1885 revival and did the same in 1902. The two suites he published in 1888 and 1893 likely represent his most ardent hopes for his part of the project and stand today as some of his most potently memorable work. Ibsen’s play depicted the globetrotting rise and fall of a highly symbolic Norwegian anti-hero and, in spite of all the aforementioned struggles, the author could not have chosen a better partner than Grieg to enhance the words with sound.
    [Show full text]
  • Jüri Reinvere Peer Gynt Opera from the Play by Henrik Ibsen Jüri Reinvere
    JÜRI REINVERE PEER GYNT OPERA FROM THE PLAY BY HENRIK IBSEN JÜRI REINVERE With the international acclaim of his first opera Puhdistus (Purge), premiered at Finnish National Opera in 2012, Esto- nian-born composer Jüri Reinvere gained his reputation as one of the most faithful, yet versatile composers of our time. Not only a composer but also the librettist of his own operas, his works and life have been shaped by three essential fac- tors: his childhood in an occupied country within the Soviet Union, his developing years in Finland and in Stockholm, and by his private teacher Käbi Laretei, pianist and novelist, and, most importantly, through the presence of her former husband, Ingmar Bergman; an environment which brought Reinvere close to the Nordic theatre tradition and has influ- enced him as a composer, a thinker and as a writer in the most personal way. Among others, he composed Opposite Shore, a radio opera, Northwest Bow, Written in the Sand, Four Quartets I, Requiem and Norilsk the Daffodils, most of these based on his own poetry, written originally in English, using different musical genres in unpredictable ways in an assessment of humanity and its polarities. Reinvere has been described as a “true cosmopolitan with Estonian roots” by Sofi Oksanen, on whose bestseller his opera Purge was based. In addition to his music, he has last year written contributions as political essayist for the Frankfurter Allgemeine Zeitung, as well earlier for radio, TV and various publications in Germany, Finland, Sweden and Estonia - all of them in multiple languages. Sibelius Academy, Finland (2005) Warsaw Chopin Academy of Music, Poland Tallinn Music High School, Estonia awarded locally and internationally: e.g.
    [Show full text]
  • Norwegian Nationalism Or Pan-European Production? : Peer Gynt at Bergen’S Den Nationale Scene
    This is a repository copy of Norwegian nationalism or pan-European production? : Peer Gynt at Bergen’s Den Nationale Scene. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/75037/ Version: Accepted Version Article: Olive, Sarah Elizabeth (2013) Norwegian nationalism or pan-European production? : Peer Gynt at Bergen’s Den Nationale Scene. TDR : The Drama Review. pp. 176-179. ISSN 1531-4715 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Peer Gynt by Henrik Ibsen. Dir. Kjersti Horn. Den Nationale Scene, Bergen. 30 June 2012. Abstract: For Den Nationale Scene’s Peer Gynt, directed by Kjersti Horn, audiences were promised a ‘controversial, vital and nightmarish version of the original play’, an experience of it ‘from a completely new angle’, as well as a show which speaks to universal human concerns. This review evaluates the extent to which these two objectives were achieved, with particular reference to ongoing European politics and the aesthetic traditions of contemporary European theatre.
    [Show full text]
  • Edvard Grieg Arranged by Jeff Bailey
    String Orchestra TM TEPS TO UCCESSFUL ITERATURE Grade 2½ S S L SO361F • $7.00 Edvard Grieg Arranged by Jeff Bailey Gavotte (from Holberg Suite, Op. 40) Correlated with String Basics, Book 2, page 14 SAMPLE Neil A. Kjos Music Company • Publisher 2 Steps to Successful Literature presents exceptional performance literature - concert and festival pieces - for begin- ning to intermediate string orchestras. Each piece is correlated with a specific location in String Basics – Steps to Success for String Orchestra Comprehensive Method by Terry Shade, Jeremy Woolstenhulme, and Wendy Barden. Literature reinforces musical skills, concepts, and terms introduced in the method. Sometime, a few new concepts are included. They are officially e score. The Arranger Jeff Bailey is a graduate of Old Dominion University with a bachelor’s degree in music composition and University of Virginia with a master of arts in music. He has been teaching middle school string orchestra since 1999, first in Chesterfield Public Schools in Richmond, VA, and currently in Virginia Beach Public Schools. Jeff’s teaching philosophy includes the integration and education of classical music in his middle school orchestra classrooms and often arranges music to support his curriculum. His arrangements and original works have been performed with much acclaim throughout his home state. In addition, he has composed soundtrack music for instructional videos. Jeff has been a performing rock and jazz musician for over three decades, both on guitar and bass. He lives in Virginia Beach, Virginia with his wife and three children. Basics About the Composition Gavotte (from Holberg Suite Op. 40) can be described as charming, warm, lilting, graceful, and enchanting.
    [Show full text]
  • Sung Texts CD 4
    GRIEG: Complete Orchestral Works CD 4 GRIEGCOMPLETE ORCHESTRAL WORKS Sung Texts CD 4 9 DET FØRSTE MØDE 9 THE FIRST MEETING Bjørnstjerne Bjørnson (1832–1910) Bjørnstjerne Bjørnson (1832–1910) Det første mødes sødme, The thrill of love’s first blooming det er som sang i skogen, is like a song in springtime, det er som sang på vågen or golden rays of sunshine i solens sidste rødme, when eventide is looming. det er som horn i uren Like distant horns resounding, de tonende sekunder in tones of muffled thunder, hvori vi med naturen all nature us surrounding, forenes i et under. our souls unite in wonder. English translation: W.H. Halverson DEN BERGTEKNE THE MOUNTAIN THRALL fra M.B. Landstad: Norske Folkeviser from M.B. Landstad: Norske Folkeviser Eg fòr vilt i veduskogin Thro’ the dark wood I did stray, kringum ein elvesteine, The Elfstones above me frowing; jutuldottri narrad meg, Elfinmaids beguiled my way; eg fann inkji vegin heim. never more shall I reach home. Eg fòr vilt i veduskogin Sad ’mid rock and tree I stray’d, kringum ein elve-runne, the elfstones hung darkly o’er me. jutuldottri narrad meg, Thou’st beguiled me, elfin maid; eg hev inkji vegen funnid. homewardpath ne’er shines before me. Eg hev vorid med jutulen I have dwelt with the elfin folk og jutulen etter meg rann, and danced with the queen of their race, gentunn sa’, eg lokkad dei, in her eyes no rapture lies, um eg dei aldri fann. no smile is on her face. Eg hev vorid med jutulen I have dwelt with the elfin folk og jutulen etter meg låg, and danced in their maddening round; gentunn sa’, eg lokkad dei, in the elfin maiden’s arms um eg dei aldri såg.
    [Show full text]
  • Program No / Eng Sommer / Summer 2014 Komponisthjemmene / the Composers’ Homes
    PROGRAM NO / ENG SOMMER / SUMMER 2014 KOMPONISTHJEMMENE / THE COMPOSERS’ HOMES LYSØEN OLE BULL MUSEUM TROLDHAUGEN EDVARD GRIEG MUSEUM SILJUSTØL HARALD SÆVERUD MUSEUM Innhold Velkommen 3 Velkommen / Velcome Troldhaugen, Lysøen og Siljustøl er Norges mest betydningsfulle musikkhistoriske kulturminner. De er også noen av Vestlandets 4 Lysøen Ole Bull Museum mest naturskjønne og inspirerende eiendommer. Ole Bull, Edvard 6 Troldhaugen Edvard Grieg Museum Grieg og Harald Sæverud skapte hjem der kunsten, naturen og fantasien kunne møtes. I dag representerer Lysøen, Troldhaugen 8 Siljustøl Harald Sæverud Museum og Siljustøl et unikt musikalsk landskap med til sammen nesten 10 Program Lysøen sommer /summer 2014 1000 mål norsk natur, fascinerende arkitektur og minner om musikerne som erobret verden. 14 Fødselsdagskonsert og hagefest / Birtday concert and garden party at Troldhaugen 16 Konserter på Troldhaugen 2014 / Concerts at Troldhaugen 2014 Velkommen! 18 Konsertbuss til lunsjkonsertene / Concert bus to the lunchtime concerts Sigurd Sandmo 20 Program Troldhaugen: Ukens pianist / Pianist of the week Direktør 33 Grieg in a nutshell – Talks on Grieg Welcome Troldhaugen, Lysøen and Siljustøl are the most significant cultu- ral heritage sites in the history of Norwegian music. They are also perhaps Western Norway’s most scenic and inspirational esta- tes. Ole Bull, Edvard Grieg and Harald Sæverud created homes where art, nature and fantasy came together. Today, Troldhaugen, Lysøen and Siljustøl represent a unique musical landscape with a grand total
    [Show full text]
  • Peer Gynt in China and Its Adaptations
    KWOK-KAN TAM Chineseness in Recreating Ibsen: Peer Gynt in China and Its Adaptations Ibsen was introduced to China about one hundred years ago, first as a champion of individualism, when the Chinese were in need of a new identity after the collapse of Confucianism. Ibsen’s individualism gave the Chinese a source for a new identity, in which a person could define him/herself as an individual, free to choose and have the right to defy social impositions. Against such a background, Ibsen’s plays such as An Enemy of the People, A Doll’s House and Ghosts became popular in China in the early twentieth century because of their radical social messages for the Chinese revolution that changed China from dynastic rule to modern democracy. For such a change, drastic refor- mation had to occur in politics as well as in culture, especially in people’s concept of the self and nation. In the early years of reception in the 1910s-1940s, Peer Gynt was not considered representative of Ibsen’s social ideas and hence did not attract the attention of the Chinese in days of cultural turmoil. Later in the early years of socialist China, Peer Gynt was condemned for promoting the idea of “thyself- ishness,” which only trolls, not human beings, would adopt as a philosophy of life (Xiao 1949: 5, Tam 1986: 210–211, Tam 2001: 129). As Peer says, The Gyntish self – it is that host of wants, desires that stir one most, – the Gyntish self, – it is a sea of whims and needs and urgency, whatever stirs my breast precisely, and thereby makes me live – concisely.
    [Show full text]
  • Picture This: Musical Imagery
    NASHVILLE SYMPHONY YOUNG PEOPLE’S CONCERTS PICTURE THIS: MUSICAL IMAGERY GRADES 5-8 TABLETABLE OFOF CONTENTSCONTENTS 3 Letter from the Conductor 4 Concert Program 5 Standard Equivalencies 6 Music Resources 7-9 Lesson Plan #1 10-11 Lesson Plan #2 12-13 Lesson Plan #3 14-26 Teacher Resources 27 Pre-Concert Survey 28 Post-Concert Survey 29 Contact Information 30 Sponsor Recognition LETTER FROM THE CONDUCTOR Dear teachers and parents, Welcome to the Nashville Symphony’s Young People’s Concert: Picture Tis! Music has the power to evoke powerful imagery. It has the power to stir our imaginations, express beautiful landscapes, and create thrilling stories. Tis concert will explore images created by some of the world’s greatest composers including Rossini, Grieg, Stravinsky, Prokofev, and Ravel. Te Education and Community Engagement department has put together these lesson plans to help you prepare your students for the concert. We have carefully designed activities and lessons that will coincide with the concepts we will be exploring during the performance. I encourage you to use this guide before or afer the concert to enhance your students’ musical experience. Trough a partnership with NAXOS, we are also able to ofer free online streaming of music that will be featured in the concert. We hope you enjoy! We look forward to seeing you at the Schermerhorn Symphony Center to hear Nashville’s biggest band! Sincerely, Vinay Parameswaran 3 CONCERTCONCERT PROGRAMPROGRAM YOUNG PEOPLE’S CONCERTS PICTURE THIS: MUSICAL IMAGERY GRADES 5-8 October 20th at 10:15am and 11:45am Concert Program Edvard Grieg | “Morning Mood” from Peer Gynt Suite Gioachino Rossini | “Overture” from Barber of Seville Sergei Prokofev | “Tröika” from Lt.
    [Show full text]
  • Program Summer 2015 the Composers’ Homes
    NO / ENG PROGRAM SUMMER 2015 THE COMPOSERS’ HOMES A PART OF EDVARD GRIEG MUSEUM TROLDHAUGEN HARALD SÆVERUD MUSEUM SILJUSTØL OLE BULL MUSEUM LYSØEN Index 4 Velkommen / Welcome 6 Edvard Grieg Museum Troldhaugen 8 Ole Bull Museum Lysøen 10 Harald Sæverud Museum Siljustøl 14 Program Lysøen 16 Fødselsdagskonsert og hagefest / Birthday concert and garden party at Troldhaugen 18 Konserter / Concerts Troldhaugen 20 Konsertbuss til lunsjkonsertene / Concert bus to the lunchtime concerts 22 Program Troldhaugen 37 My favorite Grieg Troldhaugen, Lysøen og Siljustøl er en del av KODE – Kunstmuseene i Bergen Lysøen Troldhaugen, Lysøen and Siljustøl is part of KODE – Art Museums of Bergen Sigurd Sandmo Siljustøl Museum Velkommen Welcome Bergen er en by full av musikkhistorie, og kunstnerhjemmene til Edvard Grieg, Ole Bull og Bergen is a city steeped in music history, and the homes of the composers Edvard Grieg, Harald Sæverud er en viktig del av byens kunst- og kulturliv. De er også historiske monumenter Ole Bull and Harald Sæverud are a vital part of the city’s artistic and cultural scenes. They are med fascinerende arkitektur og natur. Hagene og skogsområdene har historiske dimensjoner also historical monuments with their fascinating architecture and nature. The gardens and og byr på rike opplevelser for alle som tar seg tid. surrounding woods have historical dimensions that offer a wealth of nature experiences for those who take the time to explore them. I mai gjenåpnet vi Troldsalen, konsertsalen på Troldhaugen, etter en storstilt oppgradering. Beliggenheten, lyset og nærheten til Griegs eget landskap får mange til å mene at Troldsalen er In May we reopened Troldsalen, the concert hall at Troldhaugen, after comprehensive reno- verdens vakreste kammermusikksal.
    [Show full text]
  • 8/11/2020 FOA CONCERT MPA MUSIC LIST - by Composer 1 2020-2021 (Approved 07/23/2020)
    8/11/2020 FOA CONCERT MPA MUSIC LIST - By Composer 1 2020-2021 (Approved 07/23/2020) Class Music Code Title Composer Publisher Notes ** Note: This list is to be used for FOA 2020-2021 District & State Festivals. Unless otherwise specified in Performance notes all pieces are "Play All" BF 7066 Symphony in Eb (mvt. 1) Abel OX BS 6346 Ancient Song And Dance (Hebrew Dance, Op. 35, No. 1) Achron / McAllister KM BS 6041 Concertino for String Orchestra Adler SC / OOP BS 6292 Five Early American Tunes Adler BSM AS 8060 Pastoral for Strings Ahrendt LUD CS 4351 Cordoba Albeniz / Lipton FJH BF 7087 Sevilla Albeniz / McAlister LUD CS 4348 Concerto a Cinque, Op. 7, No. 1 Albinoni / Farrar-Royce ALFR BS 6007 Albinoni's Adagio Albinoni / Keiser CF CS 2062 Colonel Bogey March Alford / Christensen KM DF 3038 Swedish Rhapsody No. 1 Alfven / Isaac WYNN CS 2306 Swedish Rhapsody Alfven / Fishburn WJ BS 6347 Birds on a Wire Allen GMM BS 6303 Fire in the Forge Allen, T. GMM BS 6366 The Legend Of Big Ole (Amundson) Amundson KJOS BS 6322 Allegro Anderssen / McCashin FJH CS 2506 Childgrove Anonymous / Atwell LUD BS 6191 Symphonia de Navitate-String Symphony Anonymous / Blahnik API ES 1183 Sword Dance Arbeau / Phillips HE DF 3060 Danse des Ghazies, From the Ballet Suite, Op. 50a: Mvt 9 Arensky / Lopez BEL AS 8101 Suite for String Orchestra No. 5 Ariosti ANY BS 6220 Vespasian Overture Ariosti / Clark LM ES 1023 Campfire Suite Arnold HHP Mvts. 1&3 AF 9125a English Dances Set 1, Op. 27 Arnold CN Mvts.
    [Show full text]
  • Commentary Henrik Ibsen's Peer Gynt
    A Commentary OD Henrik Ibsen's Peer Gynt A Commentary, critical-and explanatory on the Norwegian text of Henrik Ibsen's Peer Gynt its language, literary associations and folklore by H. LOGEMAN, Ph. D., Hon. L. L. D. (Glasg.), PROFESSOR IN THE BELGIAN STATE UNIVERSITY OF GHENT. Nu kommer Raden till Gyntiana, mit unge LandI THE HAGUE, MARTIN US NljHOFF,9LANGE VOORHOUT~ . 1917 CHRISTIANIA, H. ASCHEHOUG & CO. (W. NYGAARD) ISBN 978-94-011-8155-6 ISBN 978-94-011-8784-8 (eBook) DOI 10.1007/978-94-011-8784-8 CONTENTS. Prefatory and Introductory ....................... p. VII To be observed .................................. XVI A Commentary on Henrik Ibsen's Peer Gynt ....... I Textual Criticism on Henrik Ibsen's Peer Gynt Preface ........................................ 367 Textual Criticism ............................... 373 Addenda and Corrigenda ...... 465 Abbreviations and Bibliography ... ................ 469 Index............................................ 477 PREFATORY AND INTRODUCTORY \Vhen a man like Georg Brandes, than whom few have better qualifications to understand Ibsen, writes that Peer Gynt is "difficult to understand i nit s I ate r par t s", the for­ eign student of the play is likely to read this with a sigh of re­ lief. At the same time many a reader will have been inclined so far as he himself is concerned, to make the sentiment his, om itt in g the f 0 urI a s two r d s. For, if there is any play of the Master's that requires for its understanding a special knowledge of the milieu and the circumstances that gave rise to it, it is this child of the poet's most exuberant fancy, written at one of the rare periods of his life and practi­ cally the first when everything smiled upon him, when, owing to the success of "Brand", some dissonants notwithstanding (n.
    [Show full text]