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Intermediate/Senior Study Guide

Intermediate/Senior Study Guide

17 Intermediate/Senior 18 Study Guide

The Toronto Symphony ’s School Concerts are generously supported by Mrs. Gert Wharton and an anonymous donor. Table of Contents

Concert Overview Concert Preparation Program Notes

3 4 - 6 7 - 15

Lesson Plans Artist Biographies Musical Terms Glossary 16 - 23 24 - 25 26 - 27

Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 28 - 39 40 - 43 44 - 45

The Toronto Symphony Orchestra gratefully acknowledge Doug Friesen for preparing the lesson plans included in this guide Concert Overview

The Firebird

Intermediate/Senior: Suitable for students in grades 7–12

Rob Kapilow, conductor & host

Join the TSO for an in-depth exploration of Stravinsky’s famous work . Conductor & host Rob Kapilow expertly dissects this masterpiece, exposing hidden meaning and delving deeper into the mind of this great composer. Students will have a chance to ask the Orchestra questions in a live Q&A. Immersive, engaging, and one of a kind, this concert is not to be missed!

Program includes:

Stravinsky Suite from The Firebird (1919 revision)

3 Concert Preparation

Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. Whether it’s your first symphony concert or you’re a seasoned audience member, there’s always something new to learn and experience!

Before Listen and Read

Listen to the pieces of music • Have you heard any of these pieces before? • Which one is your favourite and why? • Do you hear anything new or interesting? • Try out one of our listening journals and record your observations.

Read the biographies and program notes • Were there any composers you had never heard of before? • Did you learn anything new or interesting about one of the pieces, composers, instruments or TSO musicians?

During Look and Listen Look around the orchestra and the hall • Have you been to Roy Thomson Hall before? • Are there any instruments you haven’t seen before? • Do you notice anything interesting about the orchestra?

Listen to the orchestra and conductor • Is it different listening to the live orchestra versus a recording? • Think about how the different pieces make you feel. • Is there a particular instrument or part of the piece that you like listening to the best? • What instruments are used to create different sound effects? 4 Concert Preparation

After Discuss and Reflect

Discuss and reflect with your classmates • Was there anything that surprised you during ? • What was your favourite/least favourite piece and why? • Was your experience different from your classmates? • Fill out our Student Feedback form and let us know what you think!

Review Rules and Reminders

Review these rules and reminders with your classmates • No outside food or drink allowed inside Roy Thomson Hall. • No flash photography or recordings. • Please visit the bathroom before the concert. Audience members walking in and out during the concert can be distracting. • We encourage you to applaud and show appreciation. The orchestra relies on your energy to perform. • If you’re unsure when the piece of music is over, look to the conductor and performers on stage. The conductor will turn and face the audience once the piece of music is over.

Have fun and enjoy your experience!

5 Concert Preparation

Listening Journals

Name: ______Date: ______

Name of the piece ______

Composer ______

1) What kind of instruments do you hear? What type of group or ensemble is playing?

2) What different dynamics do you hear? Do the dynamics stay the same or change? (pp, p, mp, mf, f, ff, crescendo, diminuendo, etc.)

3) How would you describe the mood of the piece? Why?

4) What tempo marking would you give this piece? (ex. Largo, Adagio, Andante, Allegro, Presto)

5) What type of key is this piece in?

Major Minor Both Other

6) How does the music make you feel? Why do you think the composer wrote this piece?

7) What two words would you use to describe this piece of music?

6 Program Notes

Igor Stravinsky Biography

Igor Stravinsky was raised in St. Petersburg by his father, a singer, and his mother, a talented pianist. Encouraged to follow another career path, Stravinsky enrolled in law school at the University of St Petersburg. While in school, Stravinsky befriended his classmate Vladimir—whose father was the celebrated composer Nikolai Rimsky-Korsakov. Stravinsky showed some of his early pieces to Nikolai and soon after became Nikolai’s private composition student until the composer's death in 1908.

Through encouragement from Nikolai Rimsky- Korsakov, Stravinsky pursued a career as a composer. In 1909, Stravinsky was introduced to , the founder of Russes, who invited him to orchestrate some works by Chopin for the ballet . His early commissions of the The Firebird (1910), Petrouchka (1911), and (1913) established his place as a leading composer of the early twentieth century.

Quick Facts Did you know?

Born Stravinsky's original June 17, 1882 score for The Firebird is now over a 100 years old! Died April 6, 1971

Nationality Russian

Full Name Igor Fyodorovich Watch & Listen Stravinsky Conversation with Igor Stravinsky from NBC's The Wisdom Series in 1957 7 Program Notes

History of The Firebird

Sergei Diaghilev’s took Parisian audiences by storm with its début season in 1909. For the next year’s productions, Diaghilev envisioned a new ballet, its plot adapted from Russian folk tales. His chief choreographer, Mikhail Fokine, devised the scenario for the ballet drawing inspiration from the legend of the Firebird and Kastchei the Immortal, magical creatures from Russian folk tales.

Diaghilev wanted completely new music for the ballet and commissioned a brand new score for The Firebird. When agreements fell through with other composers, Diaghilev offered the commission to the young relatively unknown composer, Igor Stravinsky. Stravinsky had previously orchestrated a Chopin nocturne and waltz for Diaghilev’s ballet Les Sylphides. It’s hard to believe, but The Firebird was Igor Stravinsky’s first large-scale work for orchestra. Illustration for the Tale of Ivan Tsarevich, The Firebird and the Grey Wolf, 1899

Diaghilev also commissioned elaborate costumes designed by Léon Bakst and sets designed by Alexan- dre Golovine. The two leading roles, Prince Ivan & the Firebird, were danced by and the main choreographer, Mikhail Fokine. The Firebird premièred on June 25, 1910 at the and was a spectacu- lar success. Stravinsky rose to fame overnight and was launched into the top rank of contemporary composers.

Stravinsky returned to The Firebird throughout his career and created three different concert versions in 1911, 1919 and 1945. The 1919 suite is the best known version, and is what you’ll be hearing at the TSO School Concerts in November and May! The 1919 suite uses less than half of the original ballet score and simplifies some of the orchestration. Tamara Karsavina et Mikhaïl Fokine in The Firebird, 1910s

8 Program Notes

Set Design by Alexander Golovine

Costume by Léon Bakst for The Firebird, 1910

Watch & Listen

The Museum of 's video about Léon Bakst costume design

Sketch of King Kastchei by Alexander Golovine

9 Program Notes

The Form

A suite is a musical work consisting of several shorter pieces which are usually linked thematically and/or tonally. The Firebird is an orchestral suite in five movements using musical material from the original 1910 ballet score. Each movement is a complete work and can be played separately. Movements 1. Introduction and of the Firebird 2. Dance of the Princesses 3. Infernal Dance of King Kastchei 4. Berceuse (Lullaby) 5. Finale A brief history of the suite

In the Baroque period, a suite was an important musical form and consisted mainly of a collection of dances, such as a minuet or a gavotte, written in the same key. During the Classical period, dance suites went out of style and symphonies, concertos and sonatas became the more popular forms. The Romantic period revived the term “suite” but in a slightly different form. Composers who had written works for ballets, , or incidental music for a play, would often make arrangements of their music for orchestra so that it could be played separately. For example, Tchaikovsky wrote Suite using musical material from his score for the ballet The Nutcracker. Composers such as Ravel and Debussy composed suites for solo piano during the Impressionist period.

Here are some examples of suites based on an opera, ballet, film, theme or incidental music from a play:

Opera Film Georges Bizet - Carmen Suite No. 1 & No. 2 John Williams - Stars Wars Suite for Orchestra - Lieutenant Kijé Suite

Ballet Theme or Incidental Music Igor Stravinsky - Suite Gustav Holst - - Appalachian Spring Suite - Peer Gynt Suite No. 1 & No. 2

10 Program Notes

Story of The Firebird The story of The Firebird is an epic journey based off the legends of the Firebird and Kastchei, the Immortal, magical creatures from Russian folk tales. The story and corresponding movements from the 1919 Suite are described below.

Watch & Listen Orchestre philarmonique de Radio France perform Suite from The Firebird, (1919 Revision)

1. Introduction and Dance of the Firebird

Prince Ivan, the hero of the story, is on a hunting trip when he catches a glimpse of the beautiful firebird. He chases after the bird and finds himself in an enchanted garden outside of a castle. The castle is owned by an immortal demon named King Kastchei, who has secretly hidden his soul inside a magic egg so that he can live forever. Prince Ivan captures the firebird, but when the firebird begs for her freedom by offering to help him if he’s ever in need, Prince Ivan releases her. The firebird gives Prince Ivan one of her magical feathers which he can use to summon her if needed. The firebird flies away, leaving Prince Ivan alone in the enchanted garden.

What to listen for?

The movement opens with a low, sinister sounding pattern in the strings. Muted and play a pattern, based off the in unison. The double basses also play with the cellos and violas but their parts are divided - half playing arco (with the bow) and half playing pizzicato (plucking the strings). The is playing a roll underneath the strings which helps add a feeling of suspense.

The woodwinds enter, signalling Prince Ivan’s arrival in the garden. The and are added in afterwards and help illustrate the suspenseful mood. What comes next is a fast tremolo in the strings to indicate new activity. The upper strings and woodwinds then enter, signalling the entrance of the firebird.

11 Program Notes

2. Dance of the Princesses

Prince Ivan goes on to meet a group of 13 princesses who emerge from the castle to play and dance in the enchanted garden. Prince Ivan falls in love with one of the princesses, only to find out that they are all under the spell of King Kastchei. When dawn approaches, the princesses are forced to return to the castle and Prince Ivan vows to find a way to break the spell. Against their warnings, he follows them inside the gates of the castle and is captured by King Kastchei’s guardian monsters.

What to listen for?

Dance of the Princesses features a beautiful melody, representing the 13 princesses held captive by King Kastchei. Gorgeous solo lines weave through the texture, played by the , , , and . First off is a beautiful solo by the oboe, accompanied by the harp. The strings enter next with a folk-inspired tune starting the dance of the princesses. The melody is then repeated in the woodwinds to add new colour to the piece.

3. Infernal Dance of King Kastchei

Swarmed by monsters, Prince Ivan is trapped and King Kastchei prepares to turn him to stone as punishment for entering the castle. Not a moment too soon, Prince Ivan remembers the magical feather and uses it to summon the firebird. She appears and casts a magic spell forcing King Kastchei and his monsters to dance until they are completely exhausted and fall into a deep sleep.

What to listen for?

The movement begins abruptly with a loud sforzando chord played by the whole orchestra. The double basses play a fast insistent rhythm, creating a feeling of uneasiness, and signalling the beginning of the dance. The horns, bassoon, and enter next with a driving syncopated melody. This syncopated melody returns throughout the movement but Stravinsky continually changes how it’s played so you never become tired of the theme. Try to imagine the monsters beginning their wild dance under the firebird’s spell.

12 Program Notes

4. Berceuse (Lullaby)

As the monsters sleep, the firebird reveals to Prince Ivan the secret behind King Kastchei’s immortality and power. She leads him to the hidden magical egg and Prince Ivan destroys it. The spell is broken forcing King Kastchei, his monsters, and the castle to vanish.

What to listen for?

The berceuse is a beautiful lullaby played by a solo bassoon, and accompanied by the harp. The oboe enters taking over the melody and then the bassoon returns. This musically signifies that the monsters have fallen into a deep sleep after their wild dance. The bassoon solo in this movement is one of the most famous bassoon solos in the classical repertoire. Stravinsky has written no dynamics into the solo, and it’s up to the bassoon player and the conductor to shape the dynamics and melody. A tremolo in the strings signals the end of this movement.

5. Final

All the princesses are now freed from Kastchei’s evil spell and everyone rejoices. Prince Ivan marries one of the princesses and everyone lives happily ever after.

What to listen for?

At the beginning of the movement, listen for the beautiful solo supported by tremolo in the strings. This is one of the most famous horn solos ever written. The melody is simple, using the first five notes of the B major scale. At the end of the solo, the melody is passed to the strings and then builds through the orchestra, with the addition of winds and brass, creating a hymn-like chorale. Stravinsky reintroduces the main melody in the brass, but this time at a much faster tempo. The orchestra joins in, pushing forward at the new tempo. The tempo changes again and the hymn-like chorale returns to finish The Firebird Suite.

13 Program Notes

About the Music Throughout The Firebird, Stravinsky uses different motifs and elements to musically differentiate between the human and magical characters.

Diatonic vs. Chromatic The human characters are represented by notes of a diatonic scale and includes influences from Russian folk melodies. Stravinsky incorporates elements of Russian folk songs, drawing inspira- tion from his teacher Rimsky-Korsakov’s collection of folk songs called One Hundred Russian Folk Songs. The magical characters are represented by notes of a chromatic scale. Please find examples of each kind of scale below.

2 4 6

1 2 3 4 5 6 7 8 1 3 5 7 8

DIATONIC SCALE CHROMATIC SCALE Finale Internal Dance of King Kastchei

Syncopated Rhythm In a syncopated rhythm, notes are accented on off-beats instead of on the down beat.

In the Infernal Dance of King Kastchei, Stravinsky uses syncopation throughout the movement to help create a driving rhythm and added tension. These syncopated rhythms and repeated melodies help tell the story of Prince Ivan's capture and the wild dance caused by the Firebird's spell. Straight Rhythm In non-syncopated music, the heaviest beat is on the first beat or down beat of each measure.

In the Finale, Stravinsky resolves the rhythmic tension from the previous movement by using a straight rhythm (pulse on the beat). He also returns to using notes from the diatonic scale to illustrate that good has triumphed over evil. The melody is simple, using the first five notes of the B major scale (B, C#, D#, E, F#).

14 Program Notes

Instruments in The Firebird

Strings The strings (, violas, cellos and basses) provide “body” for the voice of the orchestra. Listen to how they build tension just before the firebird’s entrance, or add to the grandeur of the finale.

Woodwinds Listen for the in the firebird’s theme music. When the firebird first appears onstage, the creates a bird-like sound. The woodwinds carry the main theme of the Firebird’s princess- es’ dance, and you may also be able to pick out the solo bassoon in the lullaby as the demons fall asleep.

Brass The creates the deep notes of the chaotic dance of the monsters and King Kastchei. The French horns, however, also play the beautiful regal theme at the finale.

Percussion The unusual sound of the , along with and triangle, appear to add effects through the ballet.

Did you know?

In addition to The Firebird, Stravinsky composed several ballets (see below) , , Le baiser de la fée (The Fairy Kiss), Histoire du soldat (The Soldier’s Tale), Jeu de cartes, , and , , , , Pulcinella, Canticles, and The Rite of Spring.

15 Lesson Plans

Remixing Stravinsky's Firebird

The timing of the following lessons will need to be shaped according to your school’s timetable and class length. Please adjust any of the following to better fit your class. Italics have been used to indicate sentences to be spoken aloud to the students.

Lesson One - What is a Remix? Materials • Projector • Laptop/desktop • Stereo • Piano

Minds On • Watch the following video with the students https://vimeo.com/14912890 • What else that you listen to might be considered a remix?

Action • Igor Stravinsky, who wrote a ballet called the Firebird, was a student of another Russian composer, Rimsky-Korsokov. In this early composition, Stravinsky decided to pay tribute to his teacher in a number of ways: • By making use of a folk melody Rimsky-Korsokov used, • By making use of a chromatic scale Rimsky-Korsokov often used, and • By using this chromatic scale to represent “other-worldly” characters while keeping diatonic melodies (major/minor) keys to represent humans.

• Project and play (piano or other instrument) the 1st part of the folk melody for the students (Appendix A). Describe what you heard. Listen for it in the following movement. Play the The Princesses’ Khorovod (Rondo, round dance) (5:05 to 10:04 mark) https://www.youtube.com/watch?v=vspK4cdLWs0

• Project and play the chromatic scale for the students (Appendix B). How does this scale sound? Listen for it in the following movement. Play The Infernal Dance of King Kashchei (10:05 to 14:10 mark) https://www.youtube.com/watch?v=vspK4cdLWs0

Consolidation • In groups of 5-7 listen to a few excerpts from Rimsky-Korsokov’s opera and his , Op. 31. Use youtube, apple music, google music, or spotify • How do these sound similar to the two Stravinsky movements? • How might Stravinky’s work be considered a remix? What has he changed? • We are going to remix Stravinsky’s remix!

16 Lesson Plans

Lesson Two - A Folk Melody Materials • Instruments/voices • Piano • Stereo Minds On • Have students play/sing the 1st part of the folk melody (Appendix A). (play it a few times as a warm-up) • Listen to how Stravinsky sets this melody. How does he accompany the melody? Play the The Princesses’ Khorovod (Rondo, round dance) (5:05 to 10:04 mark) https://www.youtube.com/watch?v=vspK4cdLWs0 • He seems to use small fragments/motives of the melody in repetition, echo, canon, layers. These can be described as techniques of serialist composition.

Action • In groups of 5-7, remix this melody. • Try not to harmonize the melody. Use small fragments (perhaps very small) in repetition, echo, canon, and/or layers. • Make sure your remix has a beginning, a middle, and an ending. • How can you update it? What can you add? • Experiment with varying instrumentation, dynamics, rhythm, styles, and tempo • Be sure to generate ideas, try them, reflect, revise, edit, and rehearse (if possible post the creative process outlined in the Ontario Curriculum).

Consolidation • Perform your remix for the rest of the class. • After each performance have a short discussion (whole class, or in small groups then whole class) on how what elements each group used to remix the folk melody.

17 Lesson Plans

Lesson Three - Chromatic Scale

“...Stravinsky makes his mark in the zone of rhythm...at the end of the phrase, the accent shifts and now falls on the beat: the ear has been tricked into thinking that the offbeats are main beats and the main beat is a syncopation.” (Ross, 2007)

Materials • Instruments/voices • Piano • Stereo Minds On • Play/Sing through the chromatic scale (see Appendix B). • Try it with various rhythms and at various tempos. • Try playing it in thirds. • What does this scale sound like? • How is it different than a major scale (both the hearing of it and the theory of it)? • This scale can be called an octatonic, an asymmetrical, or a tone-semitone scale.

• Listen to how Stravinsky builds and uses motives with this scale. Play The Infernal Dance of King Kashchei (10:05 to 14:10 mark) https://www.youtube.com/watch?v=vspK4cdLWs0

• After creating small fragments Stravinsky again makes use of repetition, echo, canon, and layering.

Action • In groups of 5-7, remix this movement. Create your own short piece using the same scale. • Listen to the movement and lift (notate what you hear) any short motives and/or rhythms you are able. You can use a score if one is available. • Make sure your remix has a beginning, a middle, and an ending. • How can you update it? What can you add? • Experiment with varying instrumentation, dynamics, rhythm, time signatures, styles, and tempo. • Be sure to generate ideas, try them, reflect, revise, edit, and rehearse (if possible post the creative process outlined in the Ontario Curriculum). Consolidation • Perform your remix for the rest of the class. • After each performance have a short discussion (whole class, or in small groups then whole class) on how what elements each group used in their remix.

______1Ross, A. (2007). The rest is noise: Listening to the twentieth century. New York: Farrar, Strauss and Giroux. 18 Lesson Plans

Lesson Four - Juxtaposition

Minds On • Juxtaposition is when two contrasting things are placed closed together. • Listen to how Stravinsky juxtaposes two ideas in the Introduction to the Firebird. “...individual segments are not necessarily rounded off at their endings, but interrupted in mid-course by the presentation of the next new or recurring contrasting segment.” (Morgan, 1991)

Play the Introduction—The Firebird and Its Dance (Beginning to 5:02 mark) https://www.youtube.com/watch?v=vspK4cdLWs0

Action • In groups of 5-7, mash together your two remixes to create one piece of music. • Make a juxtaposing dialogue between the two. • Let them interrupt each other. • Consider a frantic dance between a human (folk melody material) and the other worldly Firebird (material derived from the chromatic scale). • Which material should start? Which material should end? • Be sure to generate ideas, try them, reflect, revise, edit, and rehearse (if possible post the creative process outlined in the Ontario Curriculum).

Consolidation • Perform this mash-up for the class. • After each performance have a short discussion (whole class, or in small groups then whole class) on how what elements each group used in their remix.

______2Morgan, R. T. (1991). Twentieth century music: A Norton introduction to music history. New York: W. W. 19 Norton & Company, Inc. Lesson Plans

Assessment If you wish to evaluate this work (assessment “of”), it is suggested that you create success criteria along with the students. 1. Brainstorm 2. Sort and Categorize 3. Make and post a T-chart 4. Add, revise, refine Samples of Success Criteria (with rubrics) are given below for reference (Appendix C).

Curriculum Expectations Grade 8 C1.2 apply the elements of music when singing and/or playing, composing, and arranging music, using them for specific effects and clear purposes C1.3 create musical compositions in a variety of forms for specific purposes and audiences C1.4 use the tools and techniques of musicianship in musical performances C2.1 express analytical, personal responses to musical performances in a variety of ways C2.2 analyse, using musical terminology, ways in which the elements are used in the music that they perform, listen to, and create C3.2 analyse some historical, cultural, and technological influences on style, genre, and innovation in music Grades 9 and 10 A1.2 apply the creative process when composing and/or arranging music A2.3 apply the elements of music and related concepts appropriately when composing and/or arranging simple pieces of music A3.2 apply compositional techniques when composing and/or arranging simple pieces of music B1.1 listen to selections that represent a variety of musical styles and genres, and identify and reflect on their personal responses to them B1.2 identify and describe the use of elements and other components of music in a variety of selections, including their performance repertoire C1.1 demonstrate an understanding of the elements of music, particularly through practical application and aural recognition, and use appropriate terminology related to these elements Grades 11 and 12 A1.2 apply the creative process when composing and/or arranging music A2.3 apply the elements of music and related concepts appropriately when composing and/or arranging simple pieces of music A3.2 apply compositional techniques when composing and/or arranging simple pieces of music B1.2 listen in a purposeful way to selections from a wide variety of musical styles and genres, and analyse and reflect on their responses to and interpretation of them C1.1 extend their understanding of the elements and other components of music, particularly through practical application and aural recognition, and use appropriate terminology related to these elements C2.1 demonstrate an understanding of the development and function and/or theme of various musical forms and conventions

______20 3 From Gregory, K, Cameron, C., & Davis, A. (2011). Knowing What Counts: Setting and Using Criteria Lesson Plans

Extensions • Harmony: Chords/Triads can be built from skipping notes in a major scale. • Try playing/singing 1, 3 and 5 of a major scale. Try 2, 4 and 6. 5, 7, and 9(or 2). These are chords often uses to build the harmony of a piece of music. • Try building triads with the notes of the octatonic scale. • How do they sound? • Students (groups or individuals) could experiment with composing their own pieces for the entire class using notation software (Finale, Notion, Sibelius) and/or sampling/recording software (GarageBand, Audacity, Logic). • Add electronic elements such as loops, synthesizers, and/or electronically manipulated recorders of your work.

Appendix A - A Russian Folk Melody

You may need to shift octaves for some instruments.

21 Lesson Plans

Appendix B - Octatonic Scale

You may need to shift octaves for some instruments.

22 Lesson Plans

AppendixSample Rubrics C - Sample Rubrics

Criteria for Group Performances 4 3 2 1 Application of Previous Musical Experience (accuracy of notes, rhythms, instrument role, tone) Ensemble (balanced, each featured, in tune, common articulations and groove) Creative and “Musical” (well chosen motives matched with an engaging and musical arrangement) Analysis (clear description of process, evidence of reflection and revision)

Criteria for Group Performance 4 3 2 1 Application of the creative process (evidence of generating ideas, reflection, revision, imagining, experimenting) Transfer of previous skills and knowledge (good use of instruments and well played as an ensemble ) Effective choice and use musical elements (well chosen motives matched with expressions in dynamics, texture, tone)

23 Artist Biographies

Toronto Symphony Orchestra

Every year, over 36,000 young students experience the TSO in performance. In consultation with Music Coordinators from the Boards of Education, TSO staff design School Concerts to help teachers deliver the Ontario Music Curriculum. The concerts are entertaining yet firmly based on educational concepts. Four different programs address the learning needs of Primary (Kindergarten to Grade 4), Junior/Intermediate (Grades 4 to 8), Intermediate/Senior (Grades 7 to 12), and French-language students (Kinder- garten to Grade 5). We’ve created free Study Guides and podcasts, available on our web- site, to help students prepare for the concert.

Founded in 1922, the Toronto Symphony Orchestra is one of Canada’s most important cultural institutions, recognized internationally. Peter Oundjian, now in his 14th season as the Peter Oundjian conducting Debussy's La Mer TSO’s Music Director, leads the Orchestra with a commitment to innovative programming and audience engagement through a broad range of performances that showcase the exceptional talents of the Orchestra, along with a roster of distinguished guest artists and conductors. The TSO also serves the larger community with TSOUNDCHECK, the original under-35 ticket program; the Toronto Symphony Youth Orchestra; and music education programs that reach tens of thousands of students each year.

24 Artist Biographies

Rob Kapilow Conductor & Host

For over 20 years, Rob Kapilow has brought the joy and wonder of —and unravelled some of its mysteries—to audiences of all ages and backgrounds. Characterized by his unique ability to create an “aha” moment for his audiences and collaborators, whatever their level of musical sophistication or naïveté, Kapilow’s work brings music into people’s lives: opening new ears to musical experiences and helping people to listen actively rather than just hear. As The Boston Globe said, “It’s a cheering thought that this kind of missionary enterprise did not pass from this earth with . Rob Kapilow is awfully good at what he does. We need him.”

Kapilow’s range of activities is astonishingly broad, including his What Makes It Great?® presentations (now for over 20 seasons in New York and Boston), his family compositions and Family Musik® events, his Citypieces, and residencies with institutions as diverse as the National Gallery of Canada and Stanford University. The reach of his interactive events and activities is wide, both geographically and culturally: from Native American tribal communities in Montana and inner-city high school students in Louisiana to audiences in Kyoto and Kuala Lumpur, and from tots barely out of diapers to musicologists in Ivy League programs, his audiences are diverse and unexpected, but invariably rapt and keen to come back for more.

Kapilow’s popularity and appeal are reflected in notable invitations and achievements: this past season he appeared six times on the PBS NewsHour with segments ranging from “Somewhere Over The Rainbow” to Brahms and Mozart. He appeared on NBC’s Today Show in conversation with Katie Couric; he presented a special What Makes It Great?® event for broadcast on PBS’s Live From Lincoln Center; and he has written two highly popular books published by Wiley/ Lincoln Center: All You Have To Do Is Listen, which won the PSP Prose Award for Best Book in Music and the Performing Arts, and What Makes It Great (2011), the first book of its kind to be specially designed for the iPad with embedded musical examples. (Photo credit: John Johansen)

25 Musical Term Glossary

A cappella: music sung without instrumental accompaniment. In Italian, a cappella means “in the style of the chapel.” Accented Beats: these are the beats in a rhythm pattern that are stronger because they are emphasized or stressed. Accented notes are indicated using a “>” symbol which goes above or below the note to indicate that that note should be stressed or accented. Amplify: to make a sound stronger or louder. The hollow body of an instrument amplifies its sound. Arco: to play a stringed instrument using a bow. Bar: another name for a measure Bar line: a vertical line on a musical staff that divides the beats into small groups or bars. Baton: a small stick used by the conductor to beat time. A stick helps to make the motion more easily visible to the members of the orchestra. Beat: a beat is a regular pulsation. It is a basic unit of length in musical time. Clef: a sign at the beginning of the staff to fix the position of one note. The most common are the treble and bass clefs. Chord: a series of notes, usually three or more, that are sung or played together to create harmony. Col legno: Italian for “hit with the wood”, this is a bowing technique where players strike the string with the stick of the bow, rather than by drawing the hair of the bow across the strings. Concertmaster: the leader of the first section who tunes the orchestra and works closely with the conductor. Conductor: leader of the orchestra who makes decisions about how the music will be played with respect to tempo and dynamics, and keeps the musicians together during a performance. Crescendo: gradually increasing in loudness. Decrescendo: gradually decreasing in loudness Double-stop: a technique on string instruments in which two notes are played simulaneously. Triple stops and quadruple stops can also be played, in which three and four (respectively) notes are played simultaneously. Dynamics: the intensity, or loudness and softness, of music. : the way the mouth is held to play a woodwind or . Fingerboard: the strips of wood on a stringed instrument’s neck over which the strings are stretched and fingered to change the pitch. Harmony: the sound created when two or more notes are played at the same time. Improvise: to make up music as you go, without using scores or musical notation that is written down. Many jazz musicians incorporate improvisation into their performance. Legato: notes played smoothly and in a connected manner, without any noticeable break or articulation between them. Lietmotif: a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of an opera of symphonic work. Measure: the notes and rests between two bar lines. Metre: a regular pulse made up of strong and weak beats.

26 Musical Term Glossary

Melody: a sequence of musical notes that make up a tune. Movement: a section of music which contains certain musical ideas, much like a chapter in a book. Notes: representation of musical tones using written symbols. Octave: the distance between one tone of a scale and the next higher or lower tone of the same pitch; for example, middle C and C above middle C are an octave apart. Pitch: the highness or lowness of a sound. Pizzicato: to play a stringed instrument by plucking the strings with the fingers. Pluck: to pull up or down on a string with your finger, thumb or a pick. Podium: the raised platform in front of the orchestra on which the conductor stands. Reed: a thin piece of cane or other material, attached to an instrument at one end and free to vibrate at the other. Found on , , saxophones and . Resonator: the part of an instrument, usually the body, that amplifies the sound caused by vibrating strings or air column. Rests: a pause or interval of silence between two tones. Rhythm: patterns of sound and silence in a piece of music. Scale: music arranged in ascending or descending pitches. The C major scale consists of the notes c,d,e,f,g,a,b,c. Score: music in written form with all the parts set down in relation to each other. Sound Wave: when something vibrates, or quickly back and forth, it causes molecules in the air to move, creating sounds that move in waves in your ear. Spiccato: a bowing technique that uses a semi-off-the-string style to produce a light “bouncing” sound. Watching the musicians it looks like the bow is bouncing up off the string the second it makes contact. Spiccato is usually performed at the balance portion of the bow. The balance portion of the bow refers to the area of the bow where weight is distributed evenly on both sides, allowing for maximum control. Staff: five parallel horizontal lines, on which notes are written in the spaces, on the lines, or above and below the staff using ledger lines. Strum: to play long strokes across all the strings of a , one after another very quickly using your thumb, fingers or a pick. Symphony Orchestra: a large group of musicians, led by a conductor, who perform together on string, woodwind, brass and percussion instruments. Tempo: the speed at which a piece of music is played. : appears at the beginning of the staff. The lower figure shows the kind of notes taken as the unit of measure, while the upper figure shows the number of these notes that can fit in a measure. Tone: the tone is the quality of musical sound, such as rich, mellow, harsh, brilliant, etc. Tremolo: a rapidly repeated note. Unison: two or more instruments sounding the same note. Valves: the mechanisms on some brass instruments that make it possible for the musician to change pitches and play all the notes of the scale.

27 Instruments of the Orchestra

The String Family

Jonathan Crow Teng Li Joseph Johnson Jeffrey Beecher Heidi Van Concertmaster Principal Principal Cello Principal Hoesen Gorton Principal Harp

The string family is the largest family of instruments in the orchestra. The violin, viola, cello, and bass are made of carefully carved wood and have a set of four strings stretched across them. The strings themselves are made of nylon, steel and sometimes gut. The bow is made of wood and the strings of the bow are either synthetic or horsehair from actual horse tails! The harp is very different from the other string instruments and has a set of 47 strings. It is one of the oldest string instruments and is often considered part of the string family.

Sound is produced by plucking the strings or drawing the bow across them causing the strings to vibrate. The bodies of string instruments are hollow inside to allow sound to vibrate within them. Players apply a substance called rosin to their bows to help the strings vibrate. Rosin is primarily made up of pine sap and helps the hairs on the bow grip the strings. The harp doesn't use a bow but sound is also produced by plucking or strumming the strings.

Players can tune the violin, viola, cello and bass strings using either tuning pegs or fine tuners. To change pitch, players use their left hand to press down their fingers on the fingerboard while their right hand moves the bow or plucks the strings. Players tune the harp using a tuning key to adjust the tuning pegs. The harp is played with both hands and feet! There are seven foot pedals that are used to add accidentals or sharps. The violin, viola, cello, double bass and the harp make up the large string family.

28 Instruments of the Orchestra

The String Family

Violin

The violin is the smallest member of the string family and has the highest voice. There are more violins in the orchestra than any other instrument (up to 30!). The four strings of the violin from the lowest to highest are G, D, A, and E. In an orchestra, the violins are divided into two groups: first violin and second violin. The first violins usually play the melody and the second violins support them by playing intricate harmonies and rhythms. They work together as a team to create complex inner voices and harmonies. The concertmaster is the leader of the first violins.

Viola

The viola looks like a slightly bigger violin. It has thicker strings and produces a lower and warmer sound. The four strings of the viola from the lowest to the highest are C, G, D, and A. The viola is a perfect fifth lower than the violin. Although the violin and viola share three strings (G, D, A), the tone and sound are very different. Music for viola is usually written in the alto clef (also known as the viola clef or C clef). In the alto clef, Middle C is on the third line of the staff. In an orchestra there are usually between ten and fourteen violas.

Cello

The cello looks like a very large violin or viola. It is around 4 feet long and has thicker strings than either the violin or viola. The four strings of the cello from the lowest to the highest are C, D, G and A—same as the viola! However the cello is tuned an octave below the viola. The cello is held between the knees instead of being held under the chin like the violin and viola. The cello rests on the ground and is supported by a metal peg called the end pin. The cello has the closest range to the human voice—which is why people find it so calming to listen to. In an orchestra, there are usually between eight and twelve cellos.

29 Instruments of the Orchestra

The String Family

Double Bass

The double bass is the largest and lowest voice of the string family. It is over 6 feet long and has the longest strings. The four strings of the double bass from lowest to the highest are E, A, D and G. To increase their range, bassists will occassionally add a fifth string or install a mechanical extension to help lower their bottom string to C. The double bass is the only string instru- ment tuned in fourths (though some players will tuned in fifths). The double bass is so big that a player must stand or sit on a high stool in order to play it. Like the cello, the double bass also has a metal spike (or end pin) at the bottom, which allows it to rest on the floor. In an orchestra, there are usually between six and eight double basses.

Harp

The harp is one of the oldest instruments. The concert harp stands about two metres tall and covers a range of over 6 ½ octaves. It has 47 strings and seven foot pedals, and is played by strumming or plucking the strings with both hands, and by pressing the pedals with your feet. The pedals are used to add accidentals (sharps and flats) so that the harp can play in different keys. The harp is usually considered part of the String Family because the strings create the sound. However, it is very different from all other stringed instruments and isn’t played with a bow, so it can sometimes be classified in a separate category all on its own.

30 Instruments of the Orchestra

The Woodwind Family

Julie Ranti Sarah Lewis Joaquin Valdepeñas Michael Sweeney Associate Oboe Principal Clarinet Principal Bassoon Principal Flute

Many of the earliest woodwind instruments were originally made of wood. Today’s modern woodwind instruments are made of a variety of different materials such as wood, metal, and plastic. All woodwinds are played with mouthpieces and share a similar shape (a nar- row cylinder or tube with holes). Sound is produced by blowing air through the instrument. The mouthpieces for some woodwinds, including the clarinet, oboe and bassoon, use a thin piece of wood called a reed, which vibrates when you blow across it. The clarinet uses a single reed made of one piece of wood, while the oboe and bassoon use a double reed made of two pieces of wood joined together.

The pitch of woodwind instruments is changed by opening or closing the holes with your fingers. Metal caps called keys cover the holes of most woodwind instruments. Similarly to string instruments, the smaller sized woodwinds play higher pitches and the longer and larger instruments play lower pitches. The flute, oboe, clarinet and bassoon make up the woodwind family.

31 Instruments of the Orchestra

The Woodwind Family

Flute

The flute was originally made from wood, stone, clay or bamboo. Today’s modern flutes are made of silver, gold or platinum. The flute is held sideways and to the right of the musician’s mouth. Sound is produced by blowing across a hole in the of the flute which causes the air inside to vibrate. The smaller version of the flute, called the piccolo, is half the size of the flute and is one of the highest sounding instruments in the orchestra. In an orchestra, there are usually between two and four flutes.

Oboe

The oboe is the first instrument you hear at an orchestra concert. It plays a single note (an “A”), and all other instruments tune their instruments to the oboe’s pitch. Sound is produced by blowing air through a double reed at the top of the instrument. This double reed is made up of two very thin pieces of wood that are tied together and vibrate when air passes through them. In an orches- tra, there are usually two to four oboes. It often plays important melodies because of its distinctive sound.

32 Instruments of the Orchestra

The Woodwind Family

Clarinet

The clarinet is very similar to the oboe in shape and size. Its mouth- piece however, uses a single reed instead of a double reed. The clarinet is made of wood or molded plastic and has a smooth, mellow tone. They can come in a variety of sizes from the small, e-flat clarinet to the large, . In an orchestra, there are usually between two and four clarinets.

Bassoon

Like the oboe, the bassoon is another that uses a double reed. The modern bassoon can be made from wood or plastic. The bassoon is the second largest woodwind instru- ment followed by the , which has the lowest voice in the orchestra. If you took apart the bassoon and laid the dif- ferent pieces from end to end, it would measure 2 ½ metres long and the contrabassoon would be 5 metres long! In an orchestra, there are usually between two and four bassoons and they have a similar range to the cello. Most woodwind instruments don’t require much use of the thumb; however, the bassoon is unique in that it has 13 keys which can be played by the thumb.

33 Instruments of the Orchestra

The Brass Family

Audrey Good Steven Woomert Gordon Wolfe Mark Tetreault French Horn Associate Principal Principal Tuba Principal

Early ancestors of the brass family were made of materials such as animal horns, tusks, wood or even shells. Today’s modern brass instruments are made of brass, gold and silver. Brass instruments are made up of a very long pipe which has been curved and coiled into different shapes. This makes them easier to hold and play. Did you know that if you stretched out a French Horn it would measure more than 6 metres in length?

To make a sound, players buzz their lips together into the mouthpiece. The trumpet, french horn, and tuba have valves attached to their long pipes. To change the pitch, players can press down different combinations of valves, or change the pressure and shape of their lips. Brass players sometimes use a combination of these techniques to change the pitch. Instead of valves, the trombone uses a slide to change pitch by pushing the slide in or out. The trumpet, french horn, trombone, and tuba are most the commonly used brass instruments in an orchestra.

34 Instruments of the Orchestra

The Brass Family

French Horn

The very first horns were made from the horns of animals and were used to send signals to people beyond calling distance. The hunting horn is the French Horn’s ancestor and was designed so that the tubing wrapped around in a circle, making it easier to carry over the hunter’s shoulder. Valves were added to the instrument in the 1800s, increasing the range of the instrument. In an orchestra, there can be anywhere between two and eight French Horns at a time. The player uses their left hand to press the valves, and inserts their right hand into the bell of the instrument to change the quality of the sound.

Trumpet

Famous for sounding alarms, calls to war, or hunting, the trumpet as a musical instrument has had a long and rich history. Its ancestors were made of conch-shell, animal horn, wood or metal. The trumpet is the smallest and highest pitched member of the brass family. Today’s mod- ern trumpet has three attached valves which creates a wider range of notes than its ancestors. There are typically between two and to four trumpets in an orchestra.

35 Instruments of the Orchestra

Trombone

Invented in the 15th century, the trombone was first called a . It is the only instrument in the brass family to use a slide instead of valves to change pitch. Two U-shaped pipes are linked at opposite ends to form an “S”. One pipe slides into the other so you can extend or shorten the total length of the pipe. Players use their right hand to change pitch by pushing the slide in or out. In 1808, Beethoven helped popularize the trombone in orchestral music after writing a trombone part in the finale of his Fifth Symphony. The trombone family is made up of three trom- bones: alto, tenor and bass. In an orchestra, there are typically two tenor trombones and one bass trombone.

Tuba

The tuba is the biggest and lowest pitched instrument of the brass family. Invented in 1835, the tuba is the youngest member of the brass family! It has a very rich, deep sound and if you stretched the tuba out into one long piece, it would measure about 5 ½ metres. Typically, there is only one tuba in an orchestra and it usually plays harmony, rarely the melody. The tuba is related to the (a small- er, high-pitched tuba) and the (an instrument invented by John Philip Sousa, and used a lot in marching bands).

36 Instruments of the Orchestra

The Percussion Family

John Rudolph David Kent Principal Percussion Principal

The percussion family traditionally includes any instrument that produces sound when struck, shaken or scraped. Percussion instruments can be classified into different categories: pitched or unpitched. Pitched instruments, such as the xylophone, timpani, or piano, play specific pitches just like the other instrument families. Unpitched instruments, such as the bass drum, , or cymbals, produce no definite pitch.

Percussionists will often play many different instruments in one piece of music. In the orchestra, the percussion section is one of the most versatile sections and provides a huge range of timbres, rhythms, unique sound effects and textures. The , bass drum, , xylophone, triangle, tambourine, cymbals, timpani, and piano are the most commonly used percussion instruments in an orchestra.

37 Instruments of the Orchestra

The Percussion Family

Timpani

The timpani, sometimes called kettledrums, are made of a large copper bowl with a drumhead stretched across the top. These large, pitched drums are used frequently in orchestral music. The pitch of each timpani depends on the size of the bowl, as well as the tension of the drum head; the tighter the skin, the higher the note. The range of timpani is approximately two octaves. To change notes, players use a foot pedal located at the base of the timpani. Timpani were the first drums to be used in the orchestra, with most using three or four in their setup.

Snare Drum

The snare drum has a crisp, and bright sound. It has two heads stretched over a hollow metal or wood frame. The top head is struck with two wooden drum sticks. The bottom head has strings of wire or gut stretched across it called snares. The snare produces a rattling sound as it vibrates across the head. The snares are loosened for softer notes and tightened for a crisper or sharper tone.

Bass Drum

The bass drum is the largest drum in the orchestra and has a low, deep sound. It is constructed like the snare drum but without snares. The bass drum is played on its side so that both sides can be played. The bass drum is played with a bass drum beater which is a large wooden stick with sheep’s wool or felt covering one end. Both the snare and bass drums were originally used in the military before they became members of the orchestra’s percussion section.

Tambourine

A tambourine is a small frame drum with a calfskin or plastic head stretched across one side. Inside the frame, there are several small metal discs attached that jingle when moved. Sound is produced by shaking, rubbing, or striking the head.

38 Instruments of the Orchestra

The Percussion Family Triangle

A triangle is a piece of metal bent into a triangle shape. It is commonly made out of steel and is suspended on a nylon loop. It is played by striking it with a metal beater. The triangle produces a shimmering, tinkling sound similar to a bell.

Cymbals

Cymbals are two slightly curved brass plates, which are held with leather straps. When hit together they produce a resounding ring. Cymbals come in a variety of sizes and can produce a wide range of sound effects. A single can also be suspended from a stand and struck with drumstick or padded mallet. Piano

The piano is a pitched keyboard instrument with 88 black and white keys. It has the largest range of any instrument in the orchestra. When a player presses the keys it causes a small hammer to strike the corresponding strings inside the instrument. The piano is classified as a because sound is produced by hammers striking the strings.

Xylophone

The xylophone is a pitched mallet instrument consisting of tuned wooden bars mounted on a metal frame. The wooden bars are usually made of rosewood but can also be made of synthetic materials. The bars are arranged in two rows similar to the keys of a piano. The xylophone produces a bright, sharp, short tone. Sound is produced by striking the bars with hard mallets. The xylophone sounds one octave higher than written. The origin of the xylophone is unclear, but similar instruments were known in Africa and Asia, dating back to the 14th century.

Glockenspiel

The glockenspiel is a pitched mallet instrument and is often called "bells". It is made of tuned steel bars that are arranged in two rows like the keys on a piano. The glockenspiel has a very bright and piercing tone. The range is generally two and half octaves and it sounds two octaves higher than written. Sound is produced by striking the steel plates with hard mallets. 39 Members of the Orchestra

STRINGS Diane Leung CLARINETS PERCUSSION Charmain Louis Joaquin Valdepeñas, VIOLINS Mary Carol Nugent PRINCIPAL TIMPANI Jonathan Crow, Christopher Redfield Joseph Orlowski David Kent, CONCERTMASTER Kent Teeple PRINCIPAL Mark Skazinetsky, BASS CLARINET ASSOCIATE CELLOS Miles Jaques PERCUSSION CONCERTMASTER Joseph Johnson, Charles Settle, Marc-André Savoie, PRINCIPAL BASSOONS PRINCIPAL ASSISTANT Emmanuelle Beaulieu Michael Sweeney, John Rudolph CONCERTMASTER Bergeron PRINCIPAL Etsuko Kimura, ASSOCIATE PRINCIPAL Samuel Banks HARP ASSISTANT Winona Zelenka, Fraser Jackson Heidi Van Hoesen Gorton, CONCERTMASTER ASSISTANT PRINCIPAL PRINCIPAL Paul Meyer, Alastair Eng CONTRABASSOON PRINCIPAL SECOND Igor Gefter Fraser Jackson LIBRARIANS VIOLINS Marie Gélinas Gary Corrin, Wendy Rose, Roberta Janzen BRASS PRINCIPAL ASSOCIATE PRINCIPAL Britton Riley Kim Gilmore SECOND VIOLINS Kirk Worthington HORNS Eri Kosaka Neil Deland, PERSONNEL ASSISTANT PRINCIPAL DOUBLE BASSES PRINCIPAL David Kent, SECOND VIOLINS Jeffrey Beecher, Christopher Gongos, PERSONNEL MANAGER Atis Bankas PRINCIPAL ASSOCIATE PRINCIPAL Sydney Chun Michael Chiarello Audrey Good Carol Lynn Fujino ASSOCIATE PRINCIPAL Gabriel Radford Amanda Goodburn Theodore Chan Nicholas Hartman Terry Holowach Timothy Dawson Bridget Hunt Charles Elliott TRUMPETS Amalia Joanou-Canzoneri David Longenecker Andrew McCandless, Mi Hyon Kim Paul Rogers PRINCIPAL Shane Kim Steven Woomert, Leslie Dawn Knowles WOODWINDS ASSOCIATE PRINCIPAL Douglas Kwon James Gardiner Sergei Nikonov FLUTES James Spragg Hyung-Sun Paik Kelly Zimba Young-Dae Park PRINCIPAL Semyon Pertsovsky Julie Ranti, TROMBONES Clare Semes ASSOCIATE PRINCIPAL Gordon Wolfe, Peter Seminovs Leonie Wall PRINCIPAL Jennifer Thompson Camille Watts Vanessa Fralick Angelique Toews ASSOCIATE PRINCIPAL James Wallenberg PICCOLO Virginia Chen Wells Camille Watts BASS TROMBONE Arkady Yanivker Jeffrey Hall OBOES VIOLAS Sarah Jeffrey, TUBA Teng Li, PRINCIPAL Mark Tetreault, PRINCIPAL Keith Atkinson, PRINCIPAL Theresa Rudolph ASSOCIATE PRINCIPAL ASSISTANT PRINCIPAL Cary Ebli Daniel Blackman Ivan Ivanovitch ENGLISH HORN Gary Labovitz Cary Ebli

40 Members of the Orchestra

41 Members of the Orchestra

42 Members of the Orchestra

43 Student Evaluation Form

Date you attended: ______Name of school (optional): ______

1. What was your favourite part of the concert and why?

2. What was your least favourite part of the concert and why?

3. Describe how you felt during one of the pieces on the program. Why do you think you felt that way?

4. Was there anything that surprised you during the concert?

5. If you were given the task of putting together a concert for the TSO, what two pieces would you recommend and why?

Other comments ...

PLEASE RETURN TO: MAIL: Toronto Symphony Orchestra, 500-145 Wellington St W, Toronto ON M5J 1H8 44 (Mail or Email) EMAIL: [email protected] Teacher Evaluation Form

Date you attended: ______Name of school (optional): ______

1. Please circle the appropriate rating:

Audience Response Excellent Very Good Good Fair Poor Educational Value Excellent Very Good Good Fair Poor Conductor’s Rapport with the Students Excellent Very Good Good Fair Poor Teachers’ Study Guide Excellent Very Good Good Fair Poor

2. Was this the first time you brought a group to the TSO School Concerts ? Yes No If not, how long have you been bringing students to the TSO School Concerts ?

3. What did your students like most?

4. Did you use the Teachers’ Study Guide? Yes No If so, which section did you find most useful?

5. Did you use the podcast? Yes No If so, did you find it useful?

6. Is there anything you’d like to share with the generous donors who support the TSO School Concerts?

Any additional comments? We greatly value teacher feedback and would love to hear from you!

PLEASE RETURN TO: MAIL: Toronto Symphony Orchestra, 500-145 Wellington St W, Toronto ON M5J 1H8 45 (Mail or Email) EMAIL: [email protected]

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