Non-Directed Music Listening Program

Series I Non-Directed Music Listening Program Script Series I

Week 1

Composer: Manuel de Falla (1876 – 1946) Composition: “Ritual Fire Dance” from “El Amor Brujo” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Greatest Hits of The Ballet, Vol. 1” CBS XMT 45658

Day 1: This week’s listening selection is titled “Ritual Fire Dance”. It was composed by Manuel de Falla.

Manuel de Falla was a Spanish musician who used ideas from folk stories and folk music in his compositions. The “Ritual Fire Dance” is from a ballet called “Bewitched By Love” and describes in musical images how the heroine tries to chase away an evil spirit which has been bothering her.

Day 2: This week’s feature selection is “Ritual Fire Dance” composed by the Spanish writer Manuel de Falla.

In this piece of music, de Falla has used the effects of repetition, gradual crescendo, and ostinato rhythms to create this very exciting composition. Crescendo is a musical term which means the music gets gradually louder. Listen to the “Ritual Fire Dance” this time to see how the effect of the ‘crescendo’ helps give a feeling of excitement to the piece.

Day 3: This week’s featured selection, “Ritual Fire Dance”, was written by the Spanish composer Manuel de Falla in 1915.

Yesterday we mentioned how the composer made use of the effect of gradually getting louder to help create excitement. Do you remember the musical term for the effect of gradually increasing the volume? If you were thinking of the word ‘crescendo’ you are correct.

Day 4: “Ritual Fire Dance”, this week’s featured composition, was composed by the Spanish writer Manuel de Falla. Non-Directed Music Listening Program Script Series I

In this piece the composer uses a number of effects to make the music sound exciting. One of the effects is the use of a gradual crescendo to cause more tension in the music. De Falla also uses a great deal of repetition to make the music have more tension. Listen today for repeated rhythms and melodies in the music.

Day 5: This week’s feature selection is “Ritual Fire Dance”. It was written by a Spanish musician. Do you remember his name? If you were thinking of Manuel de Falla, you are right.

Can you name two of the effects which the composer used to make the “Ritual Fire Dance” so exciting. If you were able to identify both “crescendo” and repetition as contributing factors, you have done very well. Let’s now enjoy the “Ritual Fire Dance” for the final time. Non-Directed Music Listening Program Script Series I

Week 2

Composer: Ardashir Farah Composition: “Gypsy Earrings” Performance: Jorge Strunz and Ardashir Farah Recording: “Strunz and Farah – Americas”, Mesa RZ 79041

Day 1: This week’s featured selection is “Gypsy Earrings” by the contemporary composer and performer, Ardashir Farah.

“Gypsy Earrings” is a selection performed by the guitar duo, Strunz and Farah. Although there are other instruments in the performance, the music is strongly oriented to the style of the acoustic guitar and draws heavily on the Latin American and Spanish background of one of the performers – Jorge Strunz.

Day2: This week’s selection, written by the contemporary guitarist, Ardashir Farah, is entitled “Gypsy Earrings”.

Ardashir Farah is an Iranian guitarist whose style and technique are a perfect complement to the talents of his performance partner, the Costa Rican born Jorge Strunz. In this selection you hear the style of the flamenco guitar and the rhythms of Latin America combined with instruments associated with jazz and popular music. This unique combination of the diverse styles of classical guitar, folk rhythms and melodies, and jazz improvisation provides us with an exciting new medium of musical expression.

Day 3: This week’s feature composition is entitled “Gypsy Earrings”. It was written by the Iranian born guitarist, Ardashir Farah. Non-Directed Music Listening Program Script Series I

This selection combines the style of Spanish flamenco guitar with the folk music of Latin America. Flamenco, the dance and music of the Spanish gypsies, is characterized by fanciful and colourful costumes, alluring movements, stamping of the feet, clapping of the hands, and skilful use of the castanets. Although this piece was originally written for two acoustic guitars, the open nature of its form provides a unique opportunity for freedom of musical expression in an improvisational form. The improvised, or invented, solos in the middle of the piece are supported by the small jazz combo (keyboards, bass and percussion) which accompanies the guitars.

Day 4: The Iranian born composer, Ardashir Farah, wrote this week’s featured listening selection entitled, “Gypsy Earrings”.

Do you remember for which group of instruments the piece was written? It was written for a guitar duo supported by jazz combo keyboards, bass, and percussion. The composer used the style of the classical flamenco guitar and intertwined it with the wonderful rhythms of Latin American music to give it a strong Latin American feel. As you listen today, try to concentrate on the rhythms and sounds of the instruments which accompany the melody.

Day 5: This week’s feature composer is the Iranian performer, Ardashir Farah. This week’s listening selection is his composition, “Gypsy Earrings”, performed by the guitar duo of Jorge Strunz and Ardashir Farah.

“Gypsy Earrings” is heavily oriented to the styles and techniques of the acoustic guitar. Yesterday you listened carefully to the instruments and rhythms which support the guitar duo. Today, try to listen to all aspects of the piece and see if you can hear the influence of the Spanish flamenco guitar, the folk-like rhythms of Latin America and passages which are improvised, or invented, as the piece is performed.

Week 3 Non-Directed Music Listening Program Script Series I

Composer: Antonio Vivaldi (1678 – 1741) Composition: “Autumn” from the “Four Seasons,” “Allegro” Concerto in F Major, R. 293 Performance:New York Philharmonic, Leonard Bernstein, &“The Best of the Canadian Brass”, CBS FMT 45744

Special Note Two recordings of this selection have been recorded on the tape. The first (the orchestral version) is to be used to coincide with the dialogue for days 1, 2, and 4. The second (brass quintet version – Canadian Brass) is to be used with the dialogue for days 3 and 5.

Day 1: This week’s listening selection is the “Allegro” from “Autumn” composed by Antonio Vivaldi.

The composer wrote this selection as part of a longer piece of music titled “The Four Seasons”. Before we hear the musical excerpt it will be helpful to know that in this piece he is describing hunters setting out at dawn in chase of a fox. You will hear the hunting horns and the horses giving chase and you will hear the music Vivaldi wrote to describe the terrified fox trying to avoid the hunters.

Day 2: This week’s feature selection is “Autumn” from “The Four Seasons” written by Antonio Vivaldi.

“Autumn” was written for a string orchestra and if you listen carefully you will notice there are only violins, violas, cellos and string basses playing. You may also notice that the violin, the stringed instrument with the highest voice, often plays by itself. It was over two hundred years ago that Vivaldi chose the violin to lead the orchestra in describing one of the activities of “Autumn”. Non-Directed Music Listening Program Script Series I

Day 3: This week’s feature selection, “Autumn” from “The Four Seasons” was written by Antonio Vivaldi in 1725.

For the past two days we have heard “Autumn” performed by a string orchestra as it was originally written. Today we will hear the same piece of music played by a famous Canadian group called the “Canadian Brass”. In order to perform this piece they had to re-arrange the music of Vivaldi so that the parts played by the stringed instruments could be played by brass instruments. You will hear how the arrangement for brass instruments sounds quite different although all of the melodies are the same.

Day 4: Today we again listen to “Autumn” from “The Four Seasons” composed by Antonio Vivaldi.

The version we will hear today is the original composition written for string orchestra. As you listen, take note of the effects created by the strings imitating the hunting horns, the galloping horses, and the fox trying to escape from the hunters. Listen to the violin as it leads the orchestra so that when you listen to the arrangement for brass ensemble tomorrow, you will be able to determine which instrument has the dominant role.

Day 5: This week’s featured selection, “Autumn” from “The Four Seasons”, was written by Antonio Vivaldi in 1725.

Today we will listen to “Autumn” performed as an arrangement written for the internationally acclaimed “Canadian Brass”. This group consists of two trumpets, one French horn, one trombone and one tuba. As you listen, try to decide which instrument has the leading role which was played by the violin in the arrangement for string orchestra we heard yesterday. Non-Directed Music Listening Program Script Series I

Week 4

Composer: Serge Prokofiev (1891 – 1953) Composition: “Peter and the Wolf” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Prokofiev: Peter and the Wolf”, Columbia Odyssey YT 34616

Special Note In order that students may hear the entire story of “Peter and the Wolf”, the work has been divided and recorded in five sections. The recording for each successive day continues from the point where the piece ended on the previous day. Do not rewind the tape each day as the next section of the work is announced and recorded in sequential order.

Day 1: This week’s listening selection is a series of excerpts from “Peter and the Wolf” written by the Russian composer Serge Prokofiev.

In “Peter and the Wolf”, the composer uses different melodies and musical moods to tell the story. Each character is assigned a melodic theme which is played every time the character enters the story. At certain points you will hear several of the themes performed at the same time because a number of characters are involved simultaneously in the action. Let’s listen as the narrator introduces the characters and the story of “Peter and the Wolf”.

Day 2: “Peter and the Wolf”, this week’s featured listening, was written by the Russian composer Serge Prokofiev.

First performed at the Moscow Children’sTheatre on May 6, 1936, this piece is based on a Russian story, the title of which is literally translated as “How little Peter fooled the wolf.” Through this selection, the composer hoped to provide a piece of music that would help children identify the instruments of the orchestra. Try to remember how the story ended yesterday so its continuation will make sense today. Non-Directed Music Listening Program Script Series I

Day 3: This week’s featured composition is a series of excerpts from “Peter and the Wolf” written by Serge Prokofiev.

An excerpt is a portion of music which is taken from a longer musical selection. We only have time to hear a small portion of “Peter and the Wolf” because, although it is one of the most successful classical pieces ever written for young people, the entire piece is approximately 25 minutes long.

Day 4: The Russian composer, Serge Prokofiev, wrote this week’s feature selection “Peter and the Wolf”.

As you listen to the continuation of “Peter and the Wolf”, notice which instruments the composer has used to describe each character in the story. Try to decide if you think Prokofiev made choices which are well suited to the nature of each character. Let’s now listen as the story continues.

Day 5: Today we will hear the conclusion of “Peter and the Wolf” which was written by the Russian composer, Serge Prokofiev.

“Peter and the Wolf” uses easily recognized melodies and instrumental tonal qualities to describe the characters in the story. You may wish to listen to a copy of the record or tape at the public library so you can hear the entire selection in one listening. Listen now as we hear the conclusion of “Peter and the Wolf”. Non-Directed Music Listening Program Script Series I

Week 5

Composer: Georges Bizet (1838 – 1875) Composition: “L’Arlesienne, Suite No. 1 – Prelude” Performance: New Philharmonic Orchestra, Charles Munch Recording: “Carmen / L’Arlesienne”, London 421 632-4

Day 1: This week’s featured listening is the “Prelude” from “L’Arlesienne, Suite No. 1” by the French composer Georges Bizet.

The example you will hear this week was written as incidental music to accompany drama. The Suite which we now hear performed in concerts was ‘created’ by putting together a series of extracts from that incidental music. The entire Suite No. 1 consists of four selections chosen from the twenty-seven original musical items written for the drama.

Day 2: French composer Georges Bizet wrote this week’s listening example in 1872. We will listen to a portion of the “Prelude” from “L’Arlesienne Suite No. 1”.

In this music, Bizet uses a tradition theme – the ‘Marcho del rei’ or “the march of the kings’ – as the basis for a number of ‘variations’. You will hear the theme played a number of times with each repetition being different but recognizable. Bizet varies the theme by changing the tempo, by changing the instrumental arrangement and by altering its style. Listen for these variations during the first portion of the excerpt.

Day 3: “L’Arlesienne, Suite No. 1” was written by the French composer Georges Bizet in 1872. Here is an excerpt from the “Prelude”.

Yesterday you listened specifically for the variations on the traditional theme – ‘the march of the kings’. Today, as you listen, notice the solo instrument in the second half of the example to see if you can determine which instrument is featured in the ‘Andante’ – the term used to describe the slower portion of this piece. Day 4: French composer Georges Bizet wrote this week’s listening example – the “Prelude” from “L’Arlesienne, Suite No. 1”. Non-Directed Music Listening Program Script Series I

Yesterday, you listened with particular interest to the ‘Andante’ portion of the “Prelude” to determine which instrument was featured in the solo. If you think the solo was played by a saxophone . . . you are correct. This is one of the few pieces written for orchestra that features the saxophone in a prominent role because the instrument was once considered to be ‘crude and unrefined’. Now let’s listen to the “Prelude” from “L’Arlesienne, Suite No. 1”.

Day 5: This week’s featured listening example is a portion of the “Prelude” from “L’Arlesienne, Suite No. 1” written by French composer Georges Bizet.

Georges Bizet is known for his ability to write music that uses the instruments of the orchestra to create fresh blends of sounds which mirror the colours of the pictures and images he is trying to describe. Listen today to Bizet’s skillful use of the orchestra – first in the opening passage of the “Prelude” as he uses the technique of ‘variation’ to alter the march of the kings and then in the ‘Andante’ as he uses the orchestra to accompany the solo melody played by the saxophone. Non-Directed Music Listening Program Script Series I

Week 6

Composer: Camille Saint-Saens (1835 – 1921) Composition: “Danse Macabre” Performance: Academy of St. Martin-in-the-Fields, Sir Neville Mariner Recording: “Bolero /Sorcerer’s Apprentice”, Phillips 420 812-4

Day 1: This week’s feature listening selection is “Danse Macabre” written by the French composer Camille Saint-Saens.

“Danse Macabre” is a ‘tone poem’ which Saint-Saens defined as a piece which develops from a single idea and tells a story. Sometimes we call the styles of music which tells stories ‘program music’. As you listen to this piece for the first time, use your imagination to develop a story which might be told by this music. Tomorrow I will tell you the story that Saint-Saens used.

Day 2: Camille Saint-Saens wrote this week’s listening program excerpt, “Danse Macabre”, in 1875.

The program for this piece was summarized by the composer as … “A graveyard at midnight …Death summons the dead from their coffins by drumming with his heels on a piece of tombstone and playing a dance tune on his fiddle. The winter wind moans through the trees as the skeletons come through the dark, running and leaping beneath their shrouds, their bones rattling as they dance… suddenly the early morning rooster crows and, in a wild scramble, the skeletons hurry back to their graves.”

Day 3: “Danse Macabre” was written by Camille Saint-Saens in 1875. Non-Directed Music Listening Program Script Series I

As you listen today, try to identify the ‘fiddle’ played by Death to summon the skeletons and the rattling of skeletal bones which is performed on the xylophone. You may also hear the dance of the skeletons as it becomes more excited just before the rooster crows to signal the arrival of morning.

Day 4: This week’s feature selection is “Danse Macabre” written by Camille Saint-Saens.

At the first performance of “Danse Macabre”, the audience booed and called out negative comments about the piece. Although we find the music quite acceptable and normal now, in the late 1800’s the harmonies that Saint-Saens used in this piece were very unusual and proved to be very upsetting to the audience.

Day 5: The featured listening for this week was written by the French composer, Camille Saint-Saens. It is titled “Danse Macabre”.

As you listen to this selection use your imagination to create the images of the story to bring the music to life. Notice how effectively the composer uses the instruments of the orchestra to develop musical pictures. Non-Directed Music Listening Program Script Series I

Week 7

Composer: Paul Dukas (1865 – 1935) Composition: “The Sorcerer’s Apprentice” Performance: Academy of St. Martin-in-the-Fields, Sir Neville Mariner Recording: “Bolero / Sorcerer’s Apprentice”, Phillips 420 812-4

Day 1: This week’s featured listening was written by the French composer Paul Dukas in 1897. It is titled “The Sorcerer’s Apprentice”.

This selection paints the picture of a broom which has been given the ability to walk and carry water by a very powerful sorcerer so that the broom may help the sorcerer carry water in his castle. The broom finds a way to create more brooms just like itself and soon they are all carrying water and are beginning to flood the castle. You will hear the piece start very quietly with music that symbolizes the single broom, grows as more brooms become involved, reaches a climax when the sorcerer enters the room and discovers the mess, and concludes with the single broom carrying out the task by itself.

Day 2: French composer Paul Dukas wrote this week’s listening example, “The Sorcerer’s Apprentice”, in 1897.

Today, as you listen to “The Sorcerer’s Apprentice”, notice how quietly the piece begins with the bassoon playing the main theme and how it seems to create the picture of the broom coming to life. After the loud climax of the piece, you will notice that music, which is very similar to the opening, is used to bring the selection to a close.

Day 3: “The Sorcerer’s Apprentice”, this week’s featured listening example, was written by the French composer Paul Dukas in 1897. Non-Directed Music Listening Program Script Series I

Some of you may recognize the music of “The Sorcerer’s Apprentice” from the Walt Disney movie entitled “Fantasia”. This piece was considered to be very suitable as a theme for film animation because it creates such a vivid picture. It was the first musical selection that was animated for the movie.

Day 4: Paul Dukas was a French composer who lived from 1865 to 1935. This week’s listening selection is his composition “The Sorcerer’s Apprentice”.

Written in 1897, just before the beginning of the 20th century, this piece is the only one written by Dukas which has achieved international recognition. He wrote other music which is well known in his own country but “The Sorcerer’s Apprentice” is the only selection performed regularly outside of France.

Day 5: This week’s featured listening is the “Sorcerer’s Apprentice” written by the French composer Paul Dukas.

As you listen to “The Sorcerer’s Apprentice” for the final time, notice how the composer uses the instruments of the orchestra to create growing excitement as the story evolves. You will probably observe that he gradually uses more and more instruments with increasing emphasis on the percussion section as the piece nears the climax. After the strongest section of the piece, he creates a feeling very much like the beginning by once again using only a few instruments. Non-Directed Music Listening Program Script Series I

Week 8

Composer: Series I Favourites Composition: Various – School’s Own Choice Performance: Recording: Non-Directed Music Listening Program Script Series I

Week 9

Composer: Wolfgang Amadeus Mozart (1756 – 1791) Composition: “Symphony No. 40 in G Minor” – “Molto Allegro” Performance: Berlin Philharmonic Orchestra, Karl Bohm Recording: “Mozart Symphonies”, Deutsche Grammophon, Privilege 427 210-4

Day 1: This week’s featured selection is the “Allegro Molto” from Symphony No. 40 in G Minor written by Wolfgang Amadeus Mozart.

In a six week period in 1788, during the most unhappy period of his life, Mozart wrote the last three of his 41 symphonies. The entire “allegro Molto” section of the Symphony in G Minor is based on three note themes. You will hear them all used in the restless melody which opens this movement and becomes the basis of the entire Symphony.

Day 2: The listening example this week is the “Allegro Molto”, the first movement from Symphony No. 40 in G Minor written by Wolfgang Amadeus Mozart.

The restlessness of the opening melody of the movement is created in part by the great rhythmic activity of the melody itself and by the rapid tempo of the whole “Allegro Molto” section. “Allegro Molto” means very quickly and is the term used to describe the speed at which the piece is performed. It also becomes the name of the movement.

Day 3: Wolfgang Amadeus Mozart wrote the Symphony No. 40 in G Minor in 1788. We will listen to the first movement – “Allegro Molto”.

When this Symphony was written, Mozart was in a very unhappy state. His mood is reflected in the music of the “Allegro Molto” through the restlessness of the themes and melodies created from the short, three note motifs. He also uses the technique of constantly changing the melody in subtle ways thus making it feel unsettled emphasizing the mood of restlessness.

Day 4: Non-Directed Music Listening Program Script Series I

Austrian composer, Wolfgang Amadeus Mozart, wrote the Symphony No. 40 in G Minor approximately 200 years ago. Our listening example this week is the first movement from that Symphony – the “Allegro Molto”.

Much of the music that was written when the Symphony in G Minor was composed was meant to be performed in the courts of wealthy people for entertainment. This symphony is somewhat unusual because it was written by Mozart for performance at a public concert.

Day 5: Today we will listen to the “Allegro Molto” from Mozart’s Symphony No. 40 in G Minor for the last time.

As you listen to the Symphony notice once again how the composer uses the techniques of orchestral composition to create a strong feeling of restlessness in the music. As you listen to the music, remember that this piece was written near the end of Mozart’s life when he was very poor, unhealthy and unhappy. Do you think the music communicates some feeling of the composer’s unhappiness? Non-Directed Music Listening Program Script Series I

Week 10

Composer: Franz von Suppe (1819 – 1895) – pronounced ‘soop ae’ Composition: “Light Cavalry Overture” Performance: Vienna Philharmonic Orchestra, Sir Georg Solti Recording: “Light Cavalry / Suppe Overtures”, London 421-170-4

Day 1: This week’s featured listening is the overture “Light Cavalry” written by Franz von Suppe in 1866.

The music begins with a fanfare-like passage played by the trumpets and this theme is echoed by the French horns with some minor changes. Both versions of the opening theme set the mood for this piece which has been dubbed the ‘military operetta’ because of the many obvious musical references to the cavalry – horse mounted troops.

Day 2: Composer-conductor, Franz von Suppe, wrote this week’s listening example, the overture “Light Cavalry”, in the mid-nineteenth century.

Yesterday, you heard the fanfare-like opening played by the trumpets and the French horns. Today, as you listen to this famous overture, see if you can hear how the composer uses the melody of the ‘fanfare’ to develop the first section of the piece before it change tempo.

Day 3: Franz von Suppe was born in Dalmatia which is now called Croatia. His overture “Light Cavalry” was written and first performed in 1866.

You have probably noticed that the music of this overture changes tempo a number of times during the course of its performance. As you listen today, note the manner in which the composer uses the changes of tempo and the instruments of the orchestra to create the image of horses moving in a very graceful trot.

Day 4: The overture “Light Cavalry” was written by the famous composer and conductor Franz von Suppe for performance in 1866. Non-Directed Music Listening Program Script Series I

Most overtures were originally written as music that was to be performed before an opera or an operetta actually began to ensure that the audience was seated and paying attention. Usually they used themes from the actual opera being presented as a preview of the work. Suppe’s overtures are unique in that they served only to set the mood for the ensuing stage work, and thus a composition might be used for more than one play. Let’s now listen to the “Light Cavalry” overture.

Day 5: This week’s featured listening selection is the overture to the operetta “Light Cavalry” written by Franz von Suppe.

The ‘military operetta’ “Light Cavalry” successfully combines Hungarian, Italian and German national music. First performed in Vienna before an enthusiastic audience, the overture is one of approximately three hundred stage works written by the composer in addition to a variety of instrumental, orchestral and sacred music. Despite the large number of pieces Suppe wrote, only a few are still performed today and he is most famous for his overtures. Non-Directed Music Listening Program Script Series I

Week 11

Composer: Johannes Brahms (1833 – 1897) Composition: “Hungarian Dance No. 5 in G Minor” Performance: Gewandhaus Orchestra, Kurt Masur Recording: “Bolero / Sorcerer’s Apprentice”, Philips 420 812-4

Day 1: The music selected for the listening program this week is the “Hungarian Dance No. 5 in G Minor” composed by Johannes Brahms.

Brahms was charmed by his country’s folk music and he was especially interested in the music of the Hungarian gypsy because he found the music of the gypsies to be ‘gloriously alive’. The folk melodies that Brahms selected to use when he wrote this piece demonstrate the rhythmic vitality and beauty of the gypsy dance music.

Day 2: The “Hungarian Dance No. 5 in G Minor”, this week’s featured listening piece, was written by the Austrian composer Johannes Brahms.

“Hungarian Dance No. 5” is developed from four short melodies, which you will be able to identify because of their contrasting moods. Today, try to identify the first two fold melodies that Brahms used when writing this piece. The first is sad and sorrowful and second is based on an exciting gypsy dance melody which shifts the main rhythmic accents off the beat or pulse of the song.

Day 3: Written by Johannes Brahms, this week’s featured listening selection is the “Hungarian Dance No. 5 in G Minor”. Non-Directed Music Listening Program Script Series I

Yesterday, we listened carefully to identify the first two folk songs used by composer Johannes Brahms when he wrote “Hungarian Dance No. 5”. Did you hear the first melody which has a strong feeling of sadness and the second melody which has a strong rhythmic pulse? Next comes a happy tune which makes one think of the running, shuffling steps that dancers sometimes take. The final fold melody used sounds like a question and answer. See if you can identify all four as you listen today.

Day 4: Johannes Brahms, an Austrian composer, wrote this week’s listening selection which is titled “Hungarian Dance No. 5 in G Minor”.

As you listened today, were you able to identify all four of the gypsy folk melodies used by Johannes Brahms in his composition “Hungarian Dance No. 5 in G Minor”? Hungarian folk music is known for its sharply contrasted moods. The music is often tender or sorrowful one moment and wild and exciting the next.

Day 5: Austrian composer Johannes Brahms wrote this week’s listening selection, the “Hungarian Dance No. 5 in G Minor”.

Much of the music written by Johannes Brahms is thoughtful and scholarly but he also delighted in the rollicking dance melodies of the country. During his life he collected hundreds of folk songs and wrote them down so they would not be lost or forgotten. “Hungarian Dance No. 5” is a very famous example of Brahms’ ability to use folk music as a source for the creation of his own compositions. Non-Directed Music Listening Program Script Series I

Week 12

Composer: Series I Favourites Composition: Various – School’s Own Choice Performance: Recording: Non-Directed Music Listening Program Script Series I

Week 13

Composer: Johann Sebastian Bach (1685 – 1750) Composition: “Jesu, Joy of Man’s Desiring” Performance: Lucerne Festival Strings, Rudolf Baumgartner Recording: “Adagio Barocco”, Deutsche Grammophon 3335 606

Day 1: The featured listening example for this week was written by Johann Sebastian Bach and is titled, “Jesu, Joy of Man’s Desiring”.

This chorale, one of the best known of Bach’s works, is a hymn which comes from a longer piece called a cantata which was written for performance in church. Originally composed for a men’s choir with organ and orchestral accompaniment, the piece has been re-written in this version for symphony orchestra.

Day 2: The featured composer for this week is Johann Sebastian Bach. The featured selection is “Jesu, Joy of Man’s Desiring”.

Neither ‘story’ nor ‘picture’ music, this chorale or hymn suggests listening for the sheer beauty of its sound. The majesty of this music creates the atmosphere of a great cathedral with a special mood of dignity and serenity. Listen today to sense the impressive, serious appeal of the chorale which was originally written to be performed in Bach’s church in Eisenach, Germany.

Day 3: This week’s listening selection was written by the famous German composer, Johann Sebastian Bach. It is titled, “Jesu, Joy of Man’s Desiring”.

Today, as you listen to “Jesu, Joy of Man’s Desiring”, pay attention to the flowing accompaniment which is such a vital part of this chorale, providing a feeling of unceasing, graceful, rhythmic movement. The chorale’s melody, moving in a solid block of chords, rings out clearly in contrast to the fluid nature of the accompaniment.

Day 4: Written by German composer Johann Sebastian Bach, “Jesu, Joy of Man’s Desiring” is one of his most well known pieces. Non-Directed Music Listening Program Script Series I

Born over 300 years ago, Johann Sebastian Bach played an extremely important part in the development of the music of western culture. His attention to the established ‘rules’ of writing music, which had evolved before his time and his skill as a composer, resulted in the formalization of the principles of tonality (scales, keys, etc.) that we still follow today. Bach’s music remains a model and an on- going source of inspiration for musicians of the twentieth century.

Day 5: Johann Sebastian Bach composed this week’s listening example, “Jesu, Joy of Man’s Desiring” in the early 1700’s.

Although famous as a composer, Bach was even more well known during his lifetime as an exceptional organist. Possessing an inventive mind and an independent spirit, he nonetheless was willing to learn all he could from others, sometimes walking as far as thirty miles to hear other famous organists play concerts in neighbouring cities. Let’s listen to his composition, “Jesu, Joy of Man’s Desiring”.

Week 14 Non-Directed Music Listening Program Script Series I

Composer: Peter Ilyich Tchaikovsky (1840 – 1893) Composition: “The Nutcracker” “Dance of the Sugar Plum Fairies” “Dance of the Militons” Performance: Paris Conservatoire Orchestra, Jean Martinon Recording:“Ballet Favourites”, London 417 840-4

Day 1: This week’s featured listening selection consists of two short pieces from “The Nutcracker” written by Russian composer Peter Ilyich Tchaikovsky.

Tchaikovsky’s music “The Nutcracker” was written as a story ballet or as a dance piece for the stage which tells a story with its scenery, costumes, special music and dancers enacting the play in pantomime. In the Soviet Union, Tchaikovsky’s country ballet music has always been considered so important that only the best composers are asked to write music for ballet. This week we will listen to two pieces from the ballet suite “The Dance of the Sugar Plum Fairies” and “The Dance of the Militons”.

Day 2: Peter Ilyich Tchaikovsky wrote this week’s very famous listening selection “The Nutcracker”.

Tchaikovsky wrote a great deal of ballet music which has become favorite concert music as well. “The Nutcracker” was written in response to a request from the Russian Imperial Theatre asking him to write a ballet for the Christmas season. For his theme, Tchaikovsky chose one of Hoffman’s ‘Christmas Tales’ entitled “The Nutcracker”. The “Dance of the Sugar Plum Fairies” and “The Dance of the Militons” are two of the pieces the composer wrote and combined with other short pieces to create the whole ballet and tell the story of “The Nutcracker”.

Day 3: “The Nutcracker” ballet was written by the famous Russian composer Peter Ilyich Tchaikovsky in the late 1800’s. Non-Directed Music Listening Program Script Series I

Tchaikovsky wrote fifteen different dance pieces for his fairy tale ballet “The Nutcracker”. Later he chose seven of them as a set, or suite, of concert pieces and later added an overture or opening piece to the suite. One of the seven is “The Dance of the Sugar Plum Fairies”. The melody of the beautiful sugar plum fairy is very delicate and fairy-like. Part of that effect is created by using celesta, an instrument which looks like a piano but sounds like softly ringing bells.

Day 4: Peter Ilyich Tchaikovsky, one of the most well known of all Russian composers, wrote this week’s listening selection “The Nutcracker”.

“The Dance of the Militons” is the second piece from “The Nutcracker” we are listening to this week. This piece has a different feel about it which results from the use of different orchestral instruments and a much more determined rhythm pattern. Tchaikovsky intended that the piece would help us imagine the movement of little toy soldiers. Let’s now listen to “The Dance of the Sugar Plum Fairies” and “The Dance of the Militons”.

Day 5: The ballet “Nutcracker” was written by the famous Russian composer Peter Ilyich Tchaikovsky.

“The Nutcracker” was originally written as a ballet but the suite of seven pieces, which Tchaikovsky selected as concert music to be played apart from the performance of the ballet, is equally famous. The theme of the ballet and the beauty of the music is enjoyed by hundreds of thousands of concert goers around the world each year at this time. Non-Directed Music Listening Program Script Series I

Week 15

Composer: George Frederic Handel (1685 – 1759) Composition: “Hallelujah Chorus” from “The Messiah” Performance: London Philharmonic Orchestra, Karl Richter Recording: “The Messiah”, Polydor 2530 643

Day 1: This week’s featured listening selection is the “Hallelujah Chorus” from “The Messiah” written by George Frederic Handel.

“The Messiah” is probably the most famous oratorio ever composed. It was first produced in Dublin, Ireland with Handel himself conducting the orchestra and chorus. The entire work consists of a variety of choral, solo and orchestral selections combined in a manner very similar to the style of an opera. Let’s now listen to the “Hallelujah Chorus”.

Day 2: In 1741, George Frederic Handel composed the listening selection featured this week. The piece is the “Hallelujah Chorus” from “The Messiah”.

After “The Messiah” was performed in Dublin it was produced in London, England where it was met with a storm of protest by the clergy. It was during the first performance of the work in London that the audience, carried away by the power and noble character of the “Hallelujah Chorus”, all stood at the same time as if by some pre-arranged signal. Ever since, audiences around the world rise at the beginning of this selection and remain standing until its conclusion.

Day 3: Composed by George Frederic Handel in 1741, the listening selection for this week is the “Hallelujah Chorus” from the oratorio “The Messiah”. Non-Directed Music Listening Program Script Series I

A virtuoso on the harpsichord, Handel also played the violin and the organ very well. Although he worked as a church organist, Handel was first attracted to the city of Hamburg, Germany by the productions of its famous opera house. He then moved to Italy to be in closer contact with the great Italian composers of the time and then after a brief return to Germany, spent the last forty-two years of his life in London, England.

Day 4: This week’s listening selection is the famous “Hallelujah Chorus” from “The Messiah” composed by George Frederic Handel in 1741.

“The Messiah” is an example of a musical form called an oratorio which may be defined as an extensive setting for solo voices, chorus and orchestra. It is performed without scenery, costumes or action on stage. Although based on text from the Bible, the oratorio was designed to be performed on the stage of the theatre and not in the church. “The Messiah” was written in the incredibly short time span of twenty-four days. Let us now listen to the “Hallelujah Chorus”.

Day 5: Composed in 1741, the “Hallelujah Chorus” from “The Messiah” is one of the most well-known pieces of music written by George Frederic Handel.

In 1750, eight years after its first performance in Dublin, Ireland, “The Messiah” was finally accepted by London audiences. Since that time, it has probably been sung throughout the world more often than any other large choral work. Let’s now listen to this week’s featured listening selection for the final time, the “Hallelujah Chorus” from Handel’s oratorio “The Messiah”. Non-Directed Music Listening Program Script Series I

Week 16

Composer: Jean Sibelius (1865 – 1957) Composition: “Finlandia” Performance: Berlin Philharmonic Orchestra, Herbert von Karajan Recording: “Herbert von Karajan Conducts: Les Preludes, ‘1812’ Overture, Finlandia”,Deutsche Grammophon 427 222-4

Day 1: This week’s featured listening selection is the tone poem “Finlandia” written by Finnish composer Jean Sibelius.

Sibelius wrote music test characterized as “poems” which evoke meaning but do not literally describe. The composer identified deeply with the people of Finland and so understood their nature that it made the quotation of folk songs unnecessary in his writing. although he never used folk music as a source of thematic material, many of his themes could have been popular tunes, and at least one – the choral from “Finlandia” – became one.

Day 2: In 1899, Finnish composer Jean Sibelius wrote the listening selection featured this week. The piece is the tone poem “Finlandia”.

Although it did not use folk songs of Finland, “Finlandia” became immediately popular with the people of the country and its musical nationalism was clearly evident and those political implications were not lost to the authorities. The performance of “Finlandia” was forbidden by the tsarist police when Finland was demanding her independence at the beginning of the twentieth century.

Day 3: Composed by Jean Sibelius in the 1890’s, the listening selection for this week is the tone poem “Finlandia”.

With its rousing trumpet calls and stirring melodies, “Finlandia” provides a good example of Sibelius’ technique of writing music. He was moving away from the use of elaborate themes and turning to the use of simple, beautiful melodies and short motives which were often no more than fragments. These motives are skillfully combined and developed into a meaningful structure which sustains a high degree of musical tension and momentum. Day 4: This week’s listening selection is the tone poem “Finlandia”, composed by Jean Sibelius. Non-Directed Music Listening Program Script Series I

In 1899, Jean Sibelius wrote music to introduce and accompany six tableaux depicting notable events in Finnish history – the last of which was entitled “Finland Awakes”. Following a successful concert performance of these pieces and a request from a wealthy patron for a nationalistic overture, the composer separated the final piece from the others in the set and gave it the now familiar title – “Finlandia”.

Day 5: Composed in 1899, “Finlandia” is one of the most well-known and most often performed pieces of music written by Jean Sibelius.

Sibelius’ tone poem “Finlandia” had important nationalistic importance for his country as Finland sought independence from the Russian Empire late in the nineteenth century. While his melodies are not folk tunes, they have many of the same qualities and reflected the spirit and pride of his countrymen. Let’s listen to “Finlandia” for the final time. Non-Directed Music Listening Program Script Series I

Week 17

Composer: Antonio Vivaldi (1678 – 1741) Composition: “Winter” from “The Four Seasons” – Allegro non molto, Allegro Concerto in F Major, R 293 Performance: New York Philharmonic, Leonard Bernstein, Lorin Maazel (violin) Recording: “Vivaldi’s Greatest Hits”, CBS XMT 45810

Day 1: This week’s featured listening selections are the “Allegro non molto” and the “Allegro” from the “Winter” section of “The Four Seasons” composed by Antonio Vivaldi.

The composer wrote this selection as part of a longer piece of music titled “The Four Seasons”. We listened to the “Autumn” movement of “The Four Seasons” earlier this year. The winter solstice (the first official day of winter) occurs on the day of the year which has the least amount of sunlight. The date of the winter solstice is December 21. In this piece, Vivaldi celebrates the beginning of winter.

Day 2: This week’s selection is “Winter” from “The Four Seasons” written by Antonio Vivaldi.

Vivaldi wrote “The Four Seasons” to describe the various seasons of the year. He described each of them in both words and in music. In the poem he wrote about winter, he said “Trembling, frozen, in the icy snow at the horrid wind’s harsh breath; running while constantly stamping one’s feet; and feeling the chatter from the overwhelming cold.” In music he wrote the composition “Winter”.

Day 3: This week’s featured selection, “Winter” from “The Four Seasons” was written by Antonio Vivaldi in 1725. Non-Directed Music Listening Program Script Series I

Yesterday, we heard part of Vivaldi’s poem about winter. Today, we will hear the rest of what he wrote about this season. “Passing quiet and contented days by the fire while outside the rain soaks people by the hundreds; walking in the ice with slow steps for fear of falling, turning cautiously. Turning suddenly, slipping, falling down, going on the ice again and running fast until the ice breaks open. Hearing, as they burst through the bolted doors, Scirocco, Boreas, and all the winds at war. This is winter, but it brings such joy.”

Day 4: Today, we again listen to the “Allegro non molto” and the “Allegro” from the “Winter” movement of “The Four Seasons” composed by Antonio Vivaldi.

From his words we can tell that Antonio Vivaldi had a variety of feelings about winter. He describes “the wind’s harsh breath”, “the overwhelming cold”, “rain soaks people by the hundreds.” But in the last line he wrote, Vivaldi said “This is winter, but it brings such joy.” As you listen to the music today, can you hear Vivaldi express the harsher aspects of winter as well as the beauty and joy of the season?

Day 5: This week’s feature selection “Winter” from “The Four Seasons” was written by Antonio Vivaldi in 1725.

As he did when he composed the “Autumn” section of “The Four Season”, Vivaldi chose the violin as the instrument which would lead the string orchestra and also serve as a solo instrument in “Winter”. He thought the violin would be an appropriate orchestral voice to help describe the harshness and beauty of winter. Non-Directed Music Listening Program Script Series I

Week 18

Composer: Louis Gottschalk (1829 – 1869) Composition: “Cakewalk” - “The Grand Walkaround” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Greatest Hits of the Ballet, Vol. 1”, CBS XMT 45658

Day 1: The featured selection this week was composed by Louis Gottschalk. It is entitled “Cakewalk”.

At the beginning of the nineteenth century the idea of outstanding visiting performers was beginning to be relatively common in the United States. Most of the visiting virtuosos were European artists. Toward the middle of the century America produced its own virtuoso – Louis Gottschalk. Gottschalk was born in New Orleans and was widely recognized as one of the most outstanding pianists of his generation.

Day 2: The piece being featured in the Listening Program this week is “Cakewalk”, which was written by Louis Gottschalk.

An American pianist, Gottschalk wrote many short pieces which were very tuneful and of varying degrees of difficulty. May of these pieces became common selections in the repertoire of piano students. “Cakewalk” – sometimes called “The Grand Walkaround” – was originally written for solo piano.

Day 3: “Cakewalk” is the title of this week’s listening selection. It was written by Louis Gottschalk.

American Louis Gottschalk was best known during his lifetime as a virtuoso pianist. Of more long lasting importance were the pieces he wrote for piano which are still played by keyboard students. Also of great importance were the short pieces he wrote during the 1840’s – “The Banjo”, “Bamboula”, “Le Bananier” – which, by exploiting themes and sounds of the New Orleans area, pointed the way to an awakening nationalism in the United States. Day 4: The music selected for the Listening Program this week is the “Cakewalk” written by Louis Gottschalk. Non-Directed Music Listening Program Script Series I

A virtuoso American pianist, Louis Gottschalk drew upon the customs and music of his New Orleans birthplace for many of the musical ideas he used in his own compositions. “Cakewalk” is reminiscent of the style of music which was used at social functions where people brought fancy cakes, set them on display and then walked around the display of cakes in time to the music. People took the cake they were standing closest to when the music stopped. Use your imagination to visualize the ‘cakewalk’ as the music plays.

Day 5: Written by Louis Gottschalk, the music featured in the Listening Program this week is entitled “Cakewalk”.

This piece was written by an outstanding American pianist in the mid nineteenth century. It draws upon the musical and non-musical traditions of New Orleans for inspiration and concept. As you listen today, see if you can hear some of the stylistic and rhythmic elements that you might hear in an early jazz piece from the same area. Non-Directed Music Listening Program Script Series I

Week 19

Composer: Igor Stravinsky (1882 – 1871) Composition: “Firebird” - “Danse Infernale” Performance: Boston Pops Orchestra, Arthur Fiedler Recording: “Night on Bald Mountain”, Deutsche Grammophon 413 689-2

Day 1: This week we will be listening to “Danse Infernale” from Igor Stravinsky’s ballet “L’Oiseau de Feu” or “The Firebird”.

Every ballet relates a story and as you will be able to tell from listening to the music, the Russian legend of the Firebird is very exciting. Prince Igor releases the Firebird from captivity and the bird gives him one of his feathers in appreciation. This feather later enables the Prince to free thirteen beautiful girls from the ogre Kastcher’s castle. One of these damsels eventually becomes Prince Igor’s bride.

Day 2: “Danse Infernale”, this week’s listening selection, comes from Igor Stravinsky’s ballet, “The Firebird”.

You can easily imagine evil sorcerers, wizards and gnomes casting spells and creating difficulties for the hero, Prince Igor. The music begins with a ‘bang’ then immediately drops to an ominous, low rumbling of the timpani as it begins to build excitement. Stravinsky effectively uses brass instruments to set the tone for the piece then switches dramatically to the lighter, almost innocent, sounds of the flute, glockenspiel and violin. These two contrasting ideas then battle for supremacy in the piece.

Day 3: Russian composer, Igor Stravinsky, wrote this week’s featured listening selection – “Danse Infernale” – in the year 1910. Non-Directed Music Listening Program Script Series I

Stravinsky uses the instruments of the orchestra in a manner that allows you to almost see the forces of good and evil battling each other. One of the ways he accomplishes this is by using a lot of dissonance. Dissonance occurs when you hear notes that don’t seem to fit “correctly” with the rest of the music. Dissonance makes you feel somewhat uncomfortable and agitated.

Day 4: Today, as you listen to Igor Stravinsky’s “Danse Infernale”, try to imagine the dance movements that would best help tell the story of “The Firebird”.

Stravinsky creates much excitement in the music by using a lot of dissonance. He also sets a relatively fast musical tempo which effectively depicts the dancing flames and the spirits swirling around in the darkness. Do you feel Stravinsky’s use of dynamic contrasts (loud and soft) help create the mood of the piece?

Day 5: Today marks the final time that you will listen to “Danse Infernale” from Stravinsky’s ballet, “The Firebird”.

“The Firebird” was Igor Stravinsky’s first ballet. When it was introduced in Paris on June 25, 1910, it was a huge success. Stravinsky brings the story of “The Firebird” to life by using a variety of musical techniques. He uses dissonance, dynamic contrasts and tempo changes to make the characters come to life. Listen to how Stravinsky constantly changes the combination of instruments to create specific moods for each idea. Non-Directed Music Listening Program Script Series I

Week 20

Composer: Joseph Haydn (1732 – 1809) Composition: Symphony in G, No. 100 (“Military”) - Allegretto Performance: Wiener Symphoniker, Wolfgang Swallisch Recording: Haydn: Symphonies Nos. 94, 100 and 101”, Phillips 422 973-4

Day 1: This week we will listen to the Allegretto from Joseph Haydn’s “Military” Symphony.

This particular symphony is one of the twelve which are appropriately labeled the “London Symphonies” as Haydn wrote them especially for a London audience. Before he moved to London, Haydn had spent thirty-two years in the employ of the Hungarian Prince Esterhazy. Because he composed and conducted his own orchestra he was able to experiment with many innovative ideas. In the Allegretto Haydn uses a trumpet fanfare to capture the attention of his audience. A fanfare is a trumpet introduction to signal a military ceremony or operation. This was unique to the orchestra as previously trumpets never received ‘solo’ parts.

Day 2: This week’s featured listening selection is the Allegretto movement from Joseph Haydn’s “Symphony in G, No. 100” which is sometimes called the “Military” symphony.

In the late 1700’s “Papa Haydn”, as he was fondly called by his fellow musicians, was invited to compose and conduct twelve symphonies for an appreciative London audience. Notice how Haydn begins with a very simple theme in the strings and woodwinds. He then alters this theme by adding the ‘stronger’ sounds of the brass and percussion instruments. He also changes the sound slightly by introducing the sounds of a minor key which give the music a somewhat sad feeling.

Day 3: Non-Directed Music Listening Program Script Series I

Joseph Haydn’s “Military” Symphony is one of the twelve “London Symphonies”. The Allegretto is the second movement from this work which is also known as the symphony in G, No. 100.

Prior to Haydn ‘perfecting’ the art of orchestration or arranging music for orchestral instruments, symphonic music was generally conducted from and accompanied by a piano-like instrument called the harpsichord. The harpsichord was supposed to fill in the ‘holes’ within the music by having the harpsichord player perform all notes of the chord in case some were missing when the music was arranged for orchestra. The Allegretto begins with a simple theme in the strings and woodwinds. This theme then moves between sections of the orchestra. Listen to how Haydn uses a variety of techniques to connect the statements of the theme thus achieving a long, uninterrupted musical line.

Day 4: Today we will again listen to the Allegretto from Austrian composer Joseph Haydn’s Symphony in G, No. 100.

Haydn was sixty years old when he wrote the set of “London Symphonies”. The music represents the culmination of many years of work and practice and shows how Haydn used many techniques to intrigue and involve his listeners. In the Allegretto he begins with a simple thematic exchange between the strings and the woodwinds. Listen to how he keeps the music moving with short solo-like lines played on instruments such as the oboe. He adds even more interest by switching his bright major key to a short minor key played by the ‘darker’ sounding instruments. After this you are never quite sure what will happen next!

Day 5: Today we will listen to the Allegretto from Joseph Haydn’s “Military” Symphony for the final time.

Haydn’s symphonies usually consisted of four contrasting movements or sections. Why do you think Haydn waits until the end of the Allegretto movement to sound the trumpet fanfare? It is probably because he was constantly trying to surprise his audience by using different combinations of instruments, rhythms and sounds. The trumpets had always acted as accompaniment to the rest of the horn section. In the Symphony in G, No. 100 they play a solo line which has a distinctively military sound. Non-Directed Music Listening Program Script Series I

Week 21

Composer: Spencer Williams Composition: “Basin Street Blues” arr. Luther Henderson Performance: The Canadian Brass Recording: “The Best of the Canadian Brass”, CBS FMT 45744

Day 1: This week’s selection is entitled “Basin Street Blues”. It was composed by Spencer Williams.

The ‘blues’ is a type of music which is derived from the work songs of the African slaves of the Southern United States. These songs of a slow or moderate tempo often reflected the slaves’ feelings of sadness, resignation and loneliness. ‘Blues’ may be performed either vocally or instrumentally. In this arrangement of the “Basin Street Blues” performed by the Canadian Brass, listen as the brass instruments – trumpet, French horn, trombone and tuba – imitate each others’ melodies.

Day 2: The “Basin Street Blues” was written by Spencer Williams near the beginning of this century.

The ‘blues’, a form of music derived from the African music imported by the southern slaves, often incorporate a musical technique referred to as “call and response”. In this style a performer sings or plays a phrase which is answered by a chorus or group of instruments. As you listen to the “Basin Street Blues”, can you hear how the instruments seem to call to each other?

Day 3: This week we are listening to the “Basin Street Blues” by Spencer Williams. Non-Directed Music Listening Program Script Series I

In this piece notice how prominently the trombone is featured. In the 1930’s, Jack Tea Garden, an American Indian blues trombonist from Texas, helped create a new enthusiasm for the trombone as a jazz instrument through his performance of pieces such as the “Basin Street Blues”. Listen carefully and you will hear the sliding notes of the trombone as the selection is now performed by the Canadian Brass.

Day 4: The “Basin Street Blues” performed by the Canadian Brass is this week’s featured listening selection.

‘Blues’ music is not performed according to the European tradition of ‘correct’ pitch. In order to express the feelings of the ‘blues’ (the emotions of sadness, resignation and loneliness), sometimes the notes are played slightly ‘out of tune’. These notes are referred to as “bent” notes. Often the third and seventh notes of the scale were “bent” and called “blue” notes. The slide trombone lends itself to these “bent/blue” notes. As you listen again to the “Basin Street Blues”, can you hear these notes?

Day 5: This week we have listened to the “Basin Street Blues” by Spencer Williams.

We have learned how the ‘blues’ was derived from the music of the African- American slaves. From ‘blues’ and ‘ragtime’ the genre of music called jazz was born. Basin Street is a street in New Orleans, Louisiana, a city which is called “the cradle of jazz”. Later, built upon the foundation provided by blues and jazz, rock and roll developed in the 1950’s. The music you like to listen to today on radio and MTV is most likely rooted in the ‘blues’. Let us now listen for the final time this week as the Canadian Brass perform the “Basin Street Blues”. Non-Directed Music Listening Program Script Series I

Week 22

Composer: Aram Khatchaturian (1903 – 1978) Composition: “Sabre Dance” from “Gayne” Performance: Andre Kostelanetz and His Orchestra Recording: “Greatest Hits of the Ballet, No. 1”, CBS XMT 45658

Day 1: T This week we will listen to an excerpt from Aram Khatchaturian’s ballet “Gayne”, entitled “Sabre Dance”.

Khatchaturian’s music was highly influenced by the folk songs of his native Armenia. The rhythm is driving and the music itself is full of colourful sound effects. One of the amazing things about Khatchaturian is that he knew virtually nothing about music before he was twenty years old. All he knew was that he had a burning desire to make music and to create his own unique style.

Day 2: Aram Khatchaturian, this week’s featured composer, wrote the “Sabre Dance” from the ballet “Gayne” in the early 1940’s.

“Sabre Dance” was an immediate success and was heard constantly on the radio and achieved nationwide popularity. When it was first performed in New York City, the audience so enjoyed it that they demanded an encore! The ballet tells the story of the love affair between Kazakov and Gayneh. The musical score contains twelve Armenian folk dances written as into two separate suites. A suite is a collection of short pieces. How do you think the “Sabre Dance” could have fit into this story? Don’t forget that a saber is a sword.

Day 3: “Sabre Dance”, our listening excerpt for this week, is part of the first suite from Aram Khatchaturian’s ballet, “Gayne”. Non-Directed Music Listening Program Script Series I

As the story goes, Gayneh’s first husband is a traitor and Kazakov, Gayneh’s true love, eventually emerges as the hero. Can you imagine a story that might involve a very exciting sword duel? The music compels you to move. Its rhythm is forceful and the conversation exchanged between instruments is almost humorous. Listen to how the trombones slide their response to the xylophones.

Day 4: Upon its initial performance, Aram Khatchaturian’s “Sabre Dance” achieved instantaneous acclaim in both Europe and North America.

Khatchaturian used the xylophone in his orchestration of this Armenian folk dance. Up until the 20th century, this was an extremely unusual instrument to be used in an orchestra. Khatchaturian chooses to employ its dry, hard sound to intensify the excitement of this dance. At the beginning, the xylophone acts as a solo instrument with the strings serving as a very quiet accompaniment. The tempo remains constant but the intensity of sounds and rhythms make you feel the music is racing away.

Day 5: Today we will listen for the final time to Aram Khatchaturian’s “Sabre Dance”.

After the xylophones, trombones and background strings make an exciting and compelling opening statements, the strings respond with a very smooth, legato melody. The accompaniment remains constant throughout even though the mood of the music changes dramatically. The entrance of the flutes is almost playful and we remember that we heard them before in the same descending pattern earlier in the piece. With renewed vigor the opening theme is repeated and the ending is probably not what you would expect. Non-Directed Music Listening Program Script Series I

Week 23

Composer: Felix Mendelssohn Bartholdy (1809 – 1847) Composition: “Symphony No. 4 in A Major (“Italian”) – Allegro Vivace Performance: Berlin Philharmonic, Lorin Maazel Recording: “Mendelssohn: ‘Italian’ Symphony”, Deutsche Grammaphon 423 003-4

Day 1: Felix Mendelssohn Bartholdy wrote this week’s featured selection. From the “Symphony No. 4 in A Major” we will listen to the “Allegro Vivace”.

This symphony was labeled the “Italian” symphony as Mendelssohn was inspired to compose it after a visit to southern Europe. The mood is light and flirtatious and you can feel the sunshine and the happy spirit of the people. Mendelssohn was a perfectionist and was never satisfied with this particular work which he completed in the early 1830’s. After a performance in 1838 he forbade that the symphony be played again. It was not revived until after his untimely death in 1847.

Day 2: The “Allegro Vivace” from Felix Mendelssohn-Bartholdy’s “Symphony No. 4 in A Major” is this week’s listening selection.

The “Allegro Vivace” is a saltarello. (A saltarello is a 16th century Italian dance in fast triple time.) In the 19th century the word saltarello referred to dance music in a very rapid tempo. Can you picture a ballroom full of dancers swinging on their partner’s arm? Can you feel and count the very quick 6/8 tempo? Towards the end of this selection you will hear the music seem to slow down to nearly half the speed. It then begins to twirl and spin as it continues to dance.

Day 3: Felix Mendelssohn-Bartholdy composed the “Allegro Vivace”, the fourth movement from “Symphony No. 4 in A Major”, in the early 1830’s. Non-Directed Music Listening Program Script Series I

Yesterday we tried to count the rapid 6/8 tempo of the saltarello. The saltarello in this, the “Italian” symphony, almost suggests with its persistent rhythmic motion, a tarantella. The difference between these two dances is small. The saltarello holds a constant tempo whereas the tarantella’s tempo increases throughout the dance. The theory was that the more frenzied the movement got, the faster the poison from a tarantula’s bite would leave the body. Although the speed of the “Allegro Vivace” doesn’t change, see if you can hear how Mendelssohn was imitating the style of a tarantella as he gives the feeling of a decrease in tempo near the end of the selection which then appears to speed up as he, using a crescendo, returns to the original melody.

Day 4: In the early 1830’s Felix Mendelssohn-Bartholdy wrote the “Symphony No. 4 in A Major” as he reflected on a wonderful visit he made to Italy.

Thus, the symphony is referred to as the “Italian” symphony. Throughout most of this selection, the music has a very light, dance-like quality. Mendelssohn orchestrated this mood by using the higher stringed instruments (the violins) to introduce the theme. The prevailing feeling of “happiness” is intermittently interrupted by other instruments – especially noticeable are the reed instruments – which seem to want to question this extremely happy attitude.

Day 5: The German composer Felix Mendelssohn-Bartholdy wrote this week’s feature selection “Allegro Vivace” from “Symphony No. 4 in A Major”.

In this piece, Mendelssohn makes very effective use of crescendos and diminuendos. These gradually louder and gradually softer passages help make the surging, ongoing rhythm of this saltarello even more dramatic. The music seems to surround you and spin you in its grip. Non-Directed Music Listening Program Script Series I

Week 24

Composer: Frederic Chopin (1810 – 1849) Composition: Fantasy – Impromptu No. 4 in C Sharp Minor Performance: Adam Harasiewicz Recording: “Chopin: Greatest Works for Piano”, Phillips 422 282-4

Day 1: This week’s listening selection, Fantasy Impromptu No. 4 in C Sharp Minor, was written by Frederic Chopin.

Chopin composed approximately two hundred piano pieces before he died from tuberculosis at the age of thirty-nine. Chopin was a musical genius who began performing and composing when he was less than ten years old. His parents recognized his greatness and when he was only twenty and encouraged him to leave Poland and move to Paris where he would be exposed to and learn from many other famous musicians. As you listen to the Fantasy Impromptu No. 4 in C Sharp Minor, can you understand why Chopin was nicknamed the “Poet of the Piano”?

Day 2: Fantasy Impromptu No. 4 in C Sharp Minor was composed by Frederic Chopin in the latter part of his life.

Yesterday you heard that Chopin is called the “Poet of the Piano”. Do you think this nickname is appropriate? When Chopin composed for the piano, the instrument itself was quite different than it is today. When we want to hold or sustain a note for a long time we push down the damper pedal. Chopin’s piano didn’t sustain the same way and as a result his music tends to be full of many notes which underlie the basic melody. These extra notes add colour to the piece and must be played quietly so they don’t interrupt the melody line. Can you hear which notes are important to the melody and which ones just keep the music flowing?

Day 3: There are three parts to this week’s listening selection, Frederic Chopin’s Fantasy Impromptu No. 4 in C Sharp Minor. Non-Directed Music Listening Program Script Series I

The word fantasy is the French word for imagination. The word impromptu refers to someone improvising or making up the music on-the-spot. In Chopin’s Fantasy Impromptu No. 4 in C Sharp Minor do you get that feeling in the first and third sections? These sections are almost identical and are full of many notes that accompany and support the melody. It is often difficult to know just which notes are important and which are not. In the middle section the melody becomes far more obvious. This same melody can also be heard at the very end of the Fantasy Impromptu played by the left hand in the bass part.

Day 4: Our listening selection for this week is the piano piece “Fantasy Impromptu” written by Frederic Chopin.

It is hard to believe that before his death in 1849, Chopin demanded that the Fantasy Impromptu No. 4 in C Sharp Minor be burned. Chopin, a genius, was a perfectionist and if he had any doubts regarding the flawlessness of a piece, he would rewrite repeatedly or discard the less-than-perfect music manuscript. Obviously his orders were not carried out with the Fantasy Impromptu. It would be interesting to know exactly what he didn’t like about it.

One very common technique used by Chopin in his “perfect” melodies was called tempo rubato. If you were to keep a steady beat with your foot, in certain parts, you would hear the music going faster or slower than the set or established tempo. These speed changes are called accelerandos and ritandandos and are very common in Chopin’s music. Listen to how Chopin used tempo rubato in the Fantasy Impromptu.

Day 5: The “Poet of the Piano”, Frederic Chopin, composed Fantasy Impromptu No. 4 in C Sharp Minor.

Chopin begins the Fantasy with a showy flourish of notes. The middle section is a very simple but beautiful melody – these lovely, singing lines are characteristic of Non-Directed Music Listening Program Script Series I

Chopin’s music. He then returns to the flurry of notes in the right hand – played above a very steady bass accompaniment. At the end we once again hear the simple melody of the mid-section. Within the music, many times we experience the sensation of speeding up (accelerandos) and slowing down (ritardandos). If you recall that these changes in tempo are called tempo rubato, you are correct. All Chopin’s music has a certain sad quality. This may reflect a very short and unhealthy life or that he never returned to his family in Poland after his departure twenty hears earlier. In 1849, Chopin died in Paris – a poor and unhappy man. Non-Directed Music Listening Program Script Series I

Week 25

Composer: Aaron Copland (1900 – 1990) Composition: “Appalachian Spring” – “Variations on a Shaker Tune: Simple Gifts” Performance: London Symphony Orchestra, Aaron Copland Recording: “Greatest Hits of the Ballet, Vol. 1”, CBS XMT 45658

Day 1: This week’s feature composer is Aaron Copland. This week’s feature composition is an excerpt from the ballet, “Appalachian Spring”.

Aaron Copland was an American composer who wrote Appalacian Spring in 1944. The story tells of how a pioneer community helps a newly married couple build their first farmhouse in the Pennsylvania hills. Copland studied in New York and France and is today considered to be one of America’s greatest composers. He recently passed away in 1990.

Day 2: This week’s feature composition is ‘Variations on a Shaker Tune: Simple Gifts” from the ballet, “Appalachian Spring”, written by Aaron Copland.

This ballet was a challenge for Copland to write because he wanted to make sure that the music would be interesting to listen to as well as descriptive enough for the dancers who tell the story about a celebration in a pioneer community. Copland incorporates a folk tune, “Simple Gifts”, into his ballet. Copland had learned this folk tune as a young child.

Day 3: This week’s feature composer is Aaron Copland and the selection is an excerpt from his ballet, “Appalachian Spring”.

Copland made the music interesting by using the folk tune, “Simple Gifts”. The composer decided to have the clarinet play the song first followed in turn by the oboe, the strings, the trumpets, the woodwinds and finally by the entire orchestra. Let us now listen for the different instrumental solos.

Day 4: Non-Directed Music Listening Program Script Series I

This week’s feature piece is entitled “Simple Gifts” form the ballet “Appalachian Spring” which was written by one of the greatest American composers, Aaron Copland.

It tells the story of a pioneer community which helps a newly married couple build their first farmhouse in the Appalachian Mountains. The music of “Appalachian Spring” demonstrates Copland’s ability to use popular regional songs and his skill in developing the feelings of spaciousness and grandeur contained in this nationalistic American theme.

Day 5: This week’s feature composer is Aaron Copland and his ballet, “Appalachian Spring”, which was written in 1944.

Copland uses an old folk tune that he learned as a child in this excerpt from the Ballet. The beautiful folk tune “Simple Gifts” is restated many times with different solo instruments and is then finally played by the entire orchestra. “Appalachian Spring” is one of Copland’s great successes, as well as his other two ballets, “Billy the Kid” and “Rodeo”. Let us now listen to “Variations on a Shaker Tune: Simple Gifts” from the ballet, “Appalachian Spring”. Non-Directed Music Listening Program Script Series I

Week 26

Composer: Georges Bizet (1838 – 1875) Composition: “Carmen Suite #1” – “Les Toreadors”, “Prelude Act IV” Performance: L’Orchestre de la Suisse Romande, Charles Munch Recording: “Bizet: Carmen, L’Arlesienne”, London 421 632-4

Day 1: This week’s feature composer is Georges Bizet. This week’s feature composition is an excerpt from Bizet’s opera, “Carmen”, which was first presented in 1875.

Carmen is one of the most popular operas heard today but when it was first presented in 1875, it failed. The bitter disappointment of the opera’s premiere and the exhaustion from the many months of rehearsals left Bizet very ill. Exactly three months after the premiere of “Carmen”, Georges Bizet died from a heart attack at the age of 37. It was only 5 years later, when the opera was performed again in Paris, that it received wonderful reviews! It is unfortunate that Bizet did not live to experience the success that he had worked so hard to achieve. Let us now listen to “Les Toreadors”, which means the bullfighter, from the opera “Carmen”.

Day 2: This week’s feature composer is Georges Bizet. This week’s feature composition is an excerpt from the opera, “Carmen”. It is the famous toreador or bullfighter song.

“Carmen” is actually a very tragic love story about a Spanish gypsy named Carmen and the faithful soldier, Don Jose, who has given up his career for her. However, when Carmen falls in love with the famous toreador, Escamillo, she leaves Don Jose and wants nothing to do with him. In the final act of the opera, Don Jose kills Carmen and he says “Yes, it is I who killed her – Ah, my adored Carmen!”

Day 3: Non-Directed Music Listening Program Script Series I

This week’s feature composer is George Bizet. He was born in 1838 and died in 1875 at the age of 37. This week’s feature composition is an excerpt from his opera, “Carmen”.

Bizet’s opera is filled with many emotions such as love, hopelessness and sadness. These emotions come to life through Bizet’s music. The use of exotic Spanish music and a storyline of passion among gypsies and soldiers was not accepted by audiences when “Carmen” first premiered in 1875. Today “Carmen” is one of the most popular operas of all time.

Day 4: This week’s feature composer is Georges Bizet. This week’s feature composition is an excerpt from the ever-popular opera, “Carmen”.

This excerpt is the instrumental music from the famous toreador song in which Escamillo tells about his life as a popular bullfighter. It is while Escamillo is in the arena telling his story that Don Jose kills Carmen. There are cheers from the bullfighting arena to recognize that Escamillo has “done it again”, while outside, away from the arena, Don Jose holds the lifeless body of his beloved Carmen.

Day 5: This week’s feature composer is Georges Bizet. This week’s feature composition is an excerpt from “Les Toreadors” from the opera “Carmen”.

The deep emotions which run through the score of this lyric drama are very powerful and moving. Although the opera is a Spanish story it is sung in French. This opera is one of Bizet’s greatest musical works. Let’s listen to the excerpt from “Carmen” for the final time this week. Non-Directed Music Listening Program Script Series I

Week 27

Composer: George Frederic Handel (1685 – 1759) Composition: “Solomon” – “The Arrival of the Queen of Sheba” Performance: The Academy of St. Martin in the Fields, Sir Neville Mariner Recording: “Baroque Weekend: Pachelbel Kanon”, London 417 688-2

Day 1: This week’s feature composer is George Frederic Handel. The selection we will hear this week is the oratorio, “Solomon”.

An oratorio is a large-scale musical composition for solo voices, duets, trios, chorus and orchestra. It is usually based on a biblical story and is led by a narrator. An oratorio was performed in a church or hall but it was not part of a religious service. “Oratorio” is an Italian word for “a place for prayer”.

Day 2: This week’s feature composer is George Frederic Handel and his work. “The Entry of the Queen of Sheba” from the oratorio “Solomon”.

Handel wrote music during the Baroque period and was born in the same year as Johann Sebastian Bach. As a child he dreamed of becoming a musician but his father did not think that music was a suitable profession for his son. After his father died, Handel was able to follow his love for music and wrote his first opera when he was 20 years old.

Day 3: This week’s feature composer is George Frederic Handel. This week’s feature composition is the oratorio, “Solomon”.

An oratorio is a large-scale musical work, usually based on a religious story and performed without costumes, props or scenery. Handel made the chorus – the people – the centre of attention. He also used big, rich melodies and massive chords to create an atmosphere for dramatic expression. Handel led a long and successful life as a musician. In his later years he became blind and died shortly after his 74th birthday. Non-Directed Music Listening Program Script Series I

Day 4: This week’s selection is the oratorio, “Solomon”, which was written by the Baroque composer, George Frederic Handel.

Handel was born in Germany and traveled to many places, such as Italy and Germany. He wrote music for the Elector of Hanover who later became the King of England. Handel became a great musical influence on British music as an oratorio composer.

Day 5: This week’s composer is George Frederic Handel. This week’s feature composition is “The Entry of the Queen of Sheba” from the oratorio, “Solomon”.

Handel wrote many oratorios throughout his career. “Solomon” was written when Handel was in his 60’s. Handel’s oratorios were known for their massive choruses, beautiful, flowing arias, and tuneful recitatives. Handel worked hard over the years and was successful in introducing the sacred drama of the oratorio to the new middle class of his time. Let us now listen to the oratorio, “Solomon”. Non-Directed Music Listening Program Script Series I

Week 28

Composer: Dmitri Kabalevsky (1904 – 1987) Composition: “Comedians’ Galop” from “The Comedians” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Greatest Hits of the Ballet, Vol 1”, CBS XMT 45658

Day 1: This week’s feature composer is the Russian composer Dmitri Kabalevsky who was born in 1904 and died a few years ago in 1987. This week’s selection is “The Comedians”.

The “Comedians” was written for a play called “Inventors and Comedians” which was performed at the Children’s Theatre in Moscow in 1938. The excerpt we will listen to is titled “Comedians’ Galop”. You will hear the ceaseless movement and excitement throughout this lively piece. “The Comedians” was originally written for a children’s audience but continues to be enjoyed by adults as well.

Day 2: This week’s selection is “The Comedians” written by the Russian composer Dmitri Kabalevsky.

Kabalevsky began playing the piano when he was 6 years old and later attended the Moscow Conservatory. When you listen to today’s selection, listen for the melody being played by muted trumpets, flutes, clarinets, oboes and then the added xylophone.

Day 3: This week’s selection is Kabalevsky’s “The Comedians” which was written in 1938.

The excerpt that we have been listening to, “Comedians’ Galop”, is in the form of a 19th century ballroom dance in a quick 2/4 time. When you listen to today’s selection, what kind of pictures can you paint in your mind? Listen to the music, close your eyes and imagine.

Day 4: The lively selection that we have been listening to this week is called “Comedians’ Galop”. This piece was written by Russian composer Dmitri Kabalevsky. Non-Directed Music Listening Program Script Series I

Do you think the composer selected a suitable title for this piece? When you listen to the piece today try to think of another title that might be appropriate. Remember it was first performed in a children’s festival in Moscow in 1938.

Day 5: This week’s selection has been Kabalevsky’s piece, “Comedians’ Galop”, which is from his play “Inventors and Comedians”.

In this piece you hear the ceaseless movement of the “galloping” and can feel the excitement build throughout the piece. Kabalevsky uses many instruments throughout the piece which take turns playing the melody. See if you can hear the playful melody being played by the xylophone. Non-Directed Music Listening Program Script Series I

Week 29

Composer: Maurice Ravel (1875 – 1937) Composition: “Bolero” (excerpt) Performance: Dresden State Orchestra, Sir Neville Mariner Recording: “Bolero, Sorcerer’s Apprentice”, Phillips 420 812-4

Day 1: This week’s composer is Maurice Ravel. The featured composition is an excerpt from “Bolero”.

A bolero is a Spanish dance for one person or a couple. It includes difficult steps, quick movements with sudden stops, and poses with one arm arched over the dancer’s head. Ravel wrote “Bolero” to be performed as a ballet and it was premiered in Paris. You will hear Ravel use repetition to achieve an almost hypnotic effect. We will begin listening near the middle of the piece. Listen as the music builds to a climax.

Day 2: Composed by Maurice Ravel, this week’s featured work is “Bolero”.

Ravel was fascinated by exotic dance rhythms from Spain. The timpani and the snare drum repeat the same basic rhythm throughout the entire piece. Notice, however, that each time the theme is repeated new instruments are added. The theme builds each time to a louder level of volume. This gradual increase in volume is called a “crescendo”. Listen as Ravel builds the crescendo through each repetition of the theme to a frenzied finish of trombones and crashing cymbals.

Day 3: “Bolero” is this week’s featured composition The composer is Maurice Ravel. Non-Directed Music Listening Program Script Series I

A bolero is a stylized Spanish dance which shows the ability and dexterity of the solo dancer. Ravel’s “Bolero” was instantly very popular. In fact, in the music world, it became the equivalent of Number 1 on the Top Forty almost overnight. Because of the length of this work we are unable to hear it in its entirety and, unfortunately, we do not hear its very soft, or “pianissimo”, beginning. We begin listening in a section which is at a moderately loud volume as it continues to build gradually to a climax. Do you remember what we call a gradual increase in volume in music? If you said “crescendo”, you are correct.

Day 4: Maurice Ravel, a French composer, wrote this week’s featured composition, “Bolero”.

“Bolero” is an example of the power of repetition when there is a gradual increase in orchestration and added embellishment. This increase eventually reaches an almost feverish finish with cymbals and sliding trombones.

Day 5: The composition “Bolero” was written by the French composer Maurice Ravel.

In “Bolero” Ravel uses relentless repetition and an unchanging rhythm to support a gradual build-up of orchestration. Do you recall that an increase of volume in music is called a crescendo. This excerpt is only the final third of the entire piece, “Bolero”. In its full length, the theme is actually repeated many more times. Do you enjoy the slow, elegant pulsation of the recurring rhythms? Can you picture the stately ballet as the dance builds in intensity? Non-Directed Music Listening Program Script Series I

Week 30

Composer: Antonio Vivaldi (1678 – 1741) Composition: “Spring” from “The Four Seasons”, Allegro Concerto in F Major, R. 293 Performance: Grand Ecurie et la Chambre du Roy, Jean-Claude Malgoire Recording:“Vivaldi’s Greatest Hits ”, CBS XMT 45810

Day 1: This week’s feature composer is Antonio Vivaldi. We will hear the “Allegro” from “Spring” from “The Four Seasons”.

We can hear from this segment that, for Vivaldi, Spring was a happy, joyous season. Vivaldi wrote, “Spring has come, and the joyful birds greet it with merry song.” Listen to the string orchestra imitate the calling of birds celebrating Spring.

Day 2: Antonio Vivaldi wrote this week’s featured “Allegro” from “Spring” from “The Four Seasons”.

Vivaldi was called “the red-haired priest”. Due to his ill health, he was excused form priestly duties and was allowed to devote all his energies to music. In this Allegro, he features the solo violin, which plays some very bird-like passages. The other strings then join in as a bird chorus. Can you hear them call to each other, back and forth?

Day 3: Antonio Vivaldi, “the red-haired priest”, wrote “The Four Seasons”. Today’s excerpt is from “Spring”.

Vivaldi described Spring in the following way: “Spring has come, and the joyful birds greet it with merry song, and the brooks in Zephyr’s gentle breezes, murmur quietly as they flow along”. “Zephyr” was a name for the West Wind. Vivaldi uses a solo violin, along with other violins, violas, cellos, and double bass instruments. All of these strings imitate the birds, brooks, and welcome breezes of Spring. Can you imagine yourself out in the fine weather as you listen to music about springs, birds, brooks, and breezes.

Day 4: Antonio Vivaldi wrote today’s music, the “Allegro” movement from “Spring”, from “The Four Seasons”. Non-Directed Music Listening Program Script Series I

We hear the happy sounds of birds calling back and forth, echoing each other. Listen for the solo violin as it plays its “bird solo”.

Day 5: Today we will listen to an excerpt from Antonio Vivaldi’s “Spring” from “The Four Seasons”.

The excerpt is called “Allegro”, which means fast and quick. In this case, the “Allegro” is used to show a happy, light outlook. Often when we think of Spring, we think of birds singing early in the morning or at sunset. Vivaldi decided to imitate the singing of birds, using a solo violin and string orchestra. Does the bird- like music make you feel like smiling and relaxing in the warm Spring air? Non-Directed Music Listening Program Script Series I

Week 31

Composer: Nicolai Rimsky-Korsakov (1844 – 1908) Composition: “Procession of the Nobles” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Rimsky-Korsakov: Greatest Hits”, CBS XMT 45811

Day 1: This week’s featured composition is “Procession of the Nobles”, by Nicolai Rimsky-Korsakov.

Rimsky-Korsakov was a Russian composer who lived during the latter half of the 1800’s. Today’s music shows how well Rimsky-Korsakov used orchestral color or “sound painting” to create an image. If you close your eyes, you will be able to visualize and almost touch the richness of the court – the kings, the queens, their attendants, the musicians, even the fine dress and jewels of each of the nobles who has come to visit. Listen and try to picture how each royal visitor would look as they make their grand entrance.

Day 2: The “Procession of the Nobles”, by Russian composer Nicolai Rimsky-Korsakov, is this week’s featured composition.

The composer used trumpets and drums to start the piece. This is called a “fanfare”. A fanfare is a traditional signal of trumpets which mark the onset of a special ceremony, a military attack, or even a fox hunt. It is easy to visualize the grandeur and pomp of the nobles as they parade through the courtyard or palace. Each entrance of a new noble is signaled by a contrasting, calmer style. Try to picture each one in your mind as they enter to show off their wealth in stately elegance.

Day 3: Nicolai Rimsky-Korsakov, a Russian composer, wrote this week’s featured composition, “Procession of the Nobles”. Non-Directed Music Listening Program Script Series I

“Procession of the Nobles” begins with a fanfare which means that the trumpets are signaling the beginning of a special ceremony. This fanfare is repeated several times throughout the piece. Listen for each time the fanfare of trumpets greets the arrival of a new royal guest.

Day 4: Today we will listen to the “Procession of the Nobles” by Nicolai Rimsky-Korsakov.

Do you remember what word we used to describe trumpets announcing a special ceremonial, military, or hunting event? If you are thinking of the word “fanfare”, you are right. Listen each time the fanfare announces a new royal guest then listen for the contrasting sections which “paint a picture” of that guest. You will hear examples of great pomp, flourish, and richness of styles.

Day 5: Nicolai Rimsky-Korsakov wrote the “Procession of the Nobles” which we will hear today.

Rimsky-Korsakov was a Russian composer who loved to write about fairy tales. He was masterful at arranging orchestration for richly brilliant and exotic sounds. As you hear the music, try to picture how the royal visitors are dressed. Are they wearing velvet, brocade, satin, silks, gold, precious jewels? Let us now listen to the “Procession of the Nobles” for the final time. Non-Directed Music Listening Program Script Series I

Week 32

Composer: Felix Mendelssohn Bartholdy (1809 – 1847) Composition: Violin Concerto in E Minor, Op. 64, Allegro non troppo Performance: New Philharmonic Orchestra, Jan Krenz (violin: Arthur Grumiaux) Recording: Tchaikovsky-Mendelssohn Violin Concertos”, Phillips 422 473-4

Day 1: This week’s musical composition is the “Allegro non troppo” from the Violin Concerto in E Minor by Felix Mendelssohn Bartholdy.

A concerto is a form of music which features a solo instrument playing with an orchestra. In this music, the violin is the solo instrument. This concerto shows off the violin’s brilliance and charm. Listen to the musical skills and rapid fingering played by the violinist in today’s selection.

Day 2: Felix Mendelssohn wrote this week’s featured composition, the “Concerto in E Minor” for violin.

Do you remember what a concerto is? It is a form of music which has a solo instrument play with an orchestra. We will hear the “Allegro non troppo” movement. “Allegro non troppo” means “fast and quick, but not too fast.” This movement allows the violinist to be fast and quick and thus show off his/her musical dexterity. A highly skilled musical performer is called a virtuoso. Listen to the violin soloist show off his/her abilities as a virtuoso in this excerpt.

Day 3: Today’s featured composition is by Felix Mendelssohn. It is the “Violin Concerto in E Minor” – “Allegro non troppo”. Non-Directed Music Listening Program Script Series I

Do you remember the musical work for a form of music that has a soloist playing with an orchestra? If you said “concerto” you are correct. From the violin “Concerto in E Minor”, we will hear the “Allegro non troppo” movement. This violin concerto was an immediate success when it was performed in 1845. Today it has become one of the most popular of all violin concertos. It allows the violinist to show off his/her technical capability and finesse in playing difficult, rapid passages. Day 4:Today’s featured composition is the “Violin Concerto in E Minor”, “Allegro non troppo”, by Felix Mendelssohn.

In his time and even to this day, Mendelssohn greatly influenced his fellow musicians. He was one of the first orchestra conductors to use a baton. Do you remember what a virtuoso is? A virtuoso is someone who is able to play very fast, difficult solos with great facility and flair. Listen to the violin virtuoso in this excerpt.

Day 5: Today we will hear the “Allegro non troppo” from the “Violin Concerto in E Minor” by Felix Mendelssohn.

This is one of the most popular violin concertos in the violin repertoire. It allows the soloist to show off his/her musical sharpness and flair. In other words, it shows virtuoso ability. Listen and enjoy the flash and charm of this segment of the “Violin Concerto in E Minor” by Mendelssohn. Non-Directed Music Listening Program Script Series I

Week 33 Composer: Franz Joseph Haydn (1732 1809) Composition: “Concerto for Trumpet and Orchestra in Eb Major” – 3rd Movement Performance: National Philharmonic Orchestra, Raymond Leppard (trumpet: Wynton Marsalis) Recording: “CBS Masterworks Digital Sampler”, MXK 42070

Day 1: This week we will listen to the Concerto for Trumpet and Orchestra in Eb Major, the 3rd Movement “Rondo”, by Franz Joseph Haydn.

Last week we listened to a special form of music featuring a solo instrument (which was the violin) and an orchestra. Do you remember what that form is called? If you said “concerto” you are right. This week we will hear another concerto, but with a different instrument. The instrument this week is the trumpet. Listen to how the trumpet and orchestra “talk” to each other in this movement. Try to decide if they sound quick and bright, or slow and mournful. Is it a light, happy mood or is it dark and heavy?

Day 2: Today we will hear music by Franz Joseph Haydn, his Concerto for Trumpet and Orchestra in Eb Major. We’ll listen to the 3rd Movement called “Rondo”.

It starts out with a “jolly melody” played first by the orchestra and then it is taken up by the trumpet. You will hear this bright theme played again periodically throughout the movement. This is a form of music called a Rondo. Listen to hear how many times the opening theme is played throughout this Rondo. Do you hear it more than five times?

Day 3: The “Concerto for Trumpet and Orchestra in Eb Major, by Franz Joseph Haydn, is this week’s featured composition.

Franz Joseph Haydn was a very successful, popular composer who lived in Austria during the 1700’s. He wrote over 100 symphonies and many other types of music for both instruments and voices. He also wrote the National Anthem for the country of Germany.

Yesterday we talked about a form of music in which the opening theme returns again throughout the music. Do you remember what that form is called? It is Non-Directed Music Listening Program Script Series I called a Rondo. In this Rondo, the opening theme is optimistic and bright. Some of the contrasting sections, however, sound more worried and agitated.

Day 4: The “Rondo” Movement from the Concerto for Trumpet and Orchestra in Eb Major is our listening music this week.

We have heard the solo instrument, the trumpet, in other music in this Listening Program, most prominently in trumpet fanfares. The trumpet is often used to call soldiers to battle or to announce a royal visitor. In this concerto, the trumpet is given a chance to demonstrate more of its range of musical potential. Do you remember what we call a solo performer who shows off his/her musical skill and dexterity? – A virtuoso. This week we are hearing a trumpet virtuoso demonstrate some very difficult playing, listen to how such a challenging piece can sound easy and effortless in this recording.

Day 5: For the final time this week you will hear Haydn’s Concerto for Trumpet and Orchestra in Eb Major. We will listen to the 3rd Movement “Rondo”.

In this selection we will hear a virtuoso trumpet player. To play a musical instrument very well actually takes many disciplined hours and years of practice. However, it sounds quite easy when we hear this recording. Non-Directed Music Listening Program Script Series I

Week 34

Composer: Peter Ilyich Tchaikovsky (1840 – 1893) Composition:“Swan Lake” – “Waltz” (Act 1) Performance:Royal Concertgebouw Orchestra of Amsterdam, Anatole Fistoulari Recording:“Ballet Favourites”, London 417 840-2

Day 1: This week, we will listen to the “Waltz” from the ballet “Swan Lake, Act 1” written by the Russian composer, Peter Ilyich Tchaikovsky in 1876.

“Swan Lake”, like Tchaikovsky’s ballet “The Nutcracker”, eventually became one of the most famous ballets of all time. The ballet begins with the twenty-first birthday party of Prince Siegfried. His mother tells him that she has arranged a ball to introduce him to all the beautiful ladies of the kingdom. She tells him that he must now think of finding a bride. However, he is not at all interested. He sees some beautiful white swans flying across the sky and decides to hunt them. Listen to the Waltz from Act 1 of the ballet “Swan Lake”. Tomorrow we will hear the rest of the story.

Day 2: The “Waltz” from the ballet “Swan Lake, Act 1” is this week’s featured selection.

Yesterday, we heard how Prince Siegfried’s mother arranged a ball to introduce him to beautiful girls so that he could find a wife. However, Siegfried goes hunting and finds a swan-maiden on the moonlit lake. He falls in love with the graceful Swan Queen, Odette. Sadly, she tells him that she is under a sorcerer’s spell. Only from dawn to midnight can she return to human form. She can only be released from the spell if someone swears eternal love to her. When the evil sorcerer foils their plans, Odette dies of grief. The lake submerges the two lovers and their spirits then rise above the lake seeking a happier world. Listen to the lyrical music of the “Waltz” from Act 1 of the ballet “Swan Lake”.

Day 3: The Russian composer, Peter Ilyich Tchaikovsky wrote the ballet “Swan Lake” which is this week’s featured listening selection. Non-Directed Music Listening Program Script Series I

Tchaikovsky was commissioned to compose the ballet for the Russian Imperial Theaters in 1876. This occasion marked the first time a major composer had ever written a ballet for a symphony orchestra. However, the ballet was unsuccessful when it was performed for the first time and a few years later, it again met with failure. Finally, eleven years after it was written, the ballet was performed for an appreciative audience. By this time, however, Tchaikovsky had died. He never knew that “Swan Lake” became one of the most famous ballets ever written. Tchaikovsky is known for his beautiful, lush, singable melodies. As you listen to the “Waltz” from “Swan Lake”, see how many of these lovely melodies you can identify

Day 4: The Russian composer, Peter Ilyich Tchaikovsky, wrote this week’s listening selection, the ballet “Swan Lake”.

Tchaikovsky was a composer who lived during the Romantic period of music. Composers of the Romantic period were not afraid of letting their emotions shine through their music. Listen for contrasts in the music which depicts these shifting emotions –loud, soft, crescendo/decrescendo, smooth/jagged.

Day 5: T Today we will listen to the “Waltz” from “Swan Lake” by the Russian Romantic composer, Peter Ilyich Tchaikovsky, for the final time.

A waltz is a dance in 3/4 time which in this piece is danced by Odette. The role of Odette, the Swan Queen, is difficult and demanding. Only ballerinas with strong personalities and secure technical skills can dance the part. As you listen, imagine the swan-maidens and their Swan Queen, Odette, as they swam across the moonlit lake. Non-Directed Music Listening Program Script Series I

Week 35

Composer: Carl Orff (1895 – 1982) Composition: “Carmina Burana” – “In taberna quando sumus” Performance: Chicago Symphony Chorus and Orchestra, James Levine Recording: “Orff – Carmina Burana”, Deutsche Grammophon 415 136-2

Day 1: This week’s selection is entitled “In taberna quando sumus” from “Carmina Burana” composed by Carl Orff.

In this piece, you will hear a men’s chorus singing about the joys of life. The text or words form this song came from a 700 year old poem from the Middle Ages. The poetry was written in Latin in those days for the serious and somber business of the clergy, government officials, scientists, and historians. However, this Latin text set to Carl Orff’s energetic music reflects the joyous vitality of youth.

Day 2: The German composer, Carl Orff, wrote this week’s musical selection called “In taberna quando sumus” from a larger piece called “Carmina Burana”.

The Latin title “In taberna quando sumus” means “When we are in the Tavern.” As you listen to the piece sung by a men’s chorus you will discover that the musical element of rhythm is the driving force of the composition, not the melody or the harmony. Listen to how the rhythm and sudden changes in dynamics (the loudness and softness of the piece) help to create a powerful effect.

Day 3: In 1936, the German composer, Carl Orff, set a group of medieval Latin poems to music to produce a powerful composition called “Carmina Burana”.

Today we will listen to one of these songs called “In taberna quando sumus”. As we learned yesterday, rhythm is the most important musical element in this piece. As a result, percussion instruments are used extensively. Today, note how Carl Orff utilized percussion instruments, such as glockenspiels, xylophones, wood blocks, triangles, cymbals, gongs, tambourines, timpani, and drums to add colour and excitement. Non-Directed Music Listening Program Script Series I

Day 4: This week’s selection is “In taberna quando sumus” from “Carmina Burana” by the German composer Carl Orff.

Many Burnaby students play Orff instruments in school. In 1925, Carl Orff established a music school. He developed Orff instruments – metallophones, xylophones, and glockenspiels – to help his students learn about music. He also wanted his students to improvise and write their own music. As you listen to Carl Orff’s music, are you able to identify the glockenspiels, xylophones, and other percussion instruments?

Day 5: This week, we have been listening to “In taberna quando sumus” from “Carmina Burana” by the German composer, Carl Orff.

Orff, who passed away In the early 80’s, was also a music teacher who developed the Orff instruments most Burnaby students use in school today. This week’s selection is derived from a medieval Latin poem which expresses the happiness life can bring. Orff used the element of rhythm and an array of percussion instruments to reflect this feeling of joy. Non-Directed Music Listening Program Script Series I

Week 36

Composer: Antonio Vivaldi (1678 - 1741) Composition: “Summer” from “The Four Seasons”, Allegro non molto Performance: English Chamber Orchestra, Pinchas Zuckerman Recording: “Vivaldi’s Greatest Hits”, CBS XMT 45810

Day 1: This week’s listening selection is the “Allegro non molto” from the “Summer” section of Antonio Vivaldi’s “Four Seasons”.

Early this year, we listened to the “Autumn”, “Winter” and “Spring” sections of the “Four Seasons”. Vivaldi, who lived 250 years ago, was fond of telling stories through his music. In this selection you will hear Vivaldi’s musical story of the beginning of a summer storm.

Day 2: Today we will listen to “Allegro non molto” movement of “Summer” composed by Antonio Vivaldi. This piece is from the “Four Seasons”.

Vivaldi wrote a poem about summer to accompany his music. Listen to Vivaldi describe a summer scene. “Man, sheep, and tree droop under the mid-day sun of the pitiless season. The cuckoo unleashes its note, and soon the songs of turtledove and goldfinch are heard. Soft west winds fan the air but a strong north wind takes their place. The shepherd, alarmed by the rough blustering wind, weeps.”

Day 3: The Italian composer, Antonio Vivaldi, wrote the “Allegro non molto” movement of “Summer” from “The Four Seasons’ in 1725.

Yesterday, we heard Vivaldi’s poem about summer. As you listened to the music, could you see, in your mind’s eye, “man, sheep, and tree” drooping in the hot summer sun? Could you hear the birds – the cuckoo, turtledove, and goldfinch - excitedly announcing that a storm is approaching? Can you feel the soft west winds and the harsh north winds? Can you hear the crying of the shepherd boy? Non-Directed Music Listening Program Script Series I

Day 4: We will listen again to the “Allegro non molto” movement of “Summer” from “The Four Seasons” by the Italian composer, Antonio Vivaldi.

In this piece, the violin, the highest string instrument, plays a solo accompanied by the viola, cello, double bass, and harpsichord. Listen as the violin and string orchestra express the heat of the summer day, the chirping of birds, the blustering of winds, and the weeping of the shepherd boy.

Day 5: Today we will listen, for the final time, to the “Allegro non molto” movement of “Summer” from “The Four Seasons” by Antonio Vivaldi.

Vivaldi, who had flaming red hair, was called by some “The Red-Haired Priest”. He was an excellent violinist himself. Listen to how Vivaldi uses the violin accompanied by the string orchestra to reflect the restless mood of summer. Non-Directed Music Listening Program Script Series I

Week 37

Composer: Felix Mendelssohn Bartholdy (1809 – 1847) Composition: “A Midsummer Night’s Dream” - “Wedding March” Performance: Royal Concertgebouw Orchestra of Amsterdam, George Szell Recording: “Mendelssohn: A Midsummer Night’s Dream”, Phillips 426 071-4

Day 1: This week’s selection is the “Wedding March” from “Midsummer Night’s Dream” by Felix Mendelssohn Bartholdy.

In 1826, when Mendelssohn was only 17 years old, he composed the theme of the “Wedding March”. The “Wedding March” celebrates the marriage of Theseus and Hippolyta. They are two characters in the play about magical fairies and elves called “Midsummer Night’s Dream” written by the famous English playwright, William Shakespeare. Listen as the trumpets introduce the bridal couple.

Day 2: The German composer, Felix Mendelssohn Bartholdy, composed “Wedding March” from “Midsummer Night’s Dream”.

Mendelssohn wrote music to depict the scenes of a play called “Midsummer Night’s Dream” by William Shakespeare. In a scene in a magic forest, two characters, Theseus and Hippolyta are to be married. This grand and joyous scene is heralded in by a flourish of trumpets, cymbals and timpani.

Day 3: Felix Mendelssohn Bartholdy wrote this week’s selection called the “Wedding March” from “Midsummer Night’s Dream”.

Mendelssohn was a musical genius. He was perhaps the best violinist, pianist, and conductor of his day. He was also very rich. His father hired orchestras for him to try out his new compositions. At 17, Felix Mendelssohn wrote the “Wedding March” which we will listen to today. Seventeen years later Mendelssohn incorporated this piece into a larger composition called “Midsummer Night’s Dream”. Non-Directed Music Listening Program Script Series I

Day 4: “The “Wedding March” from “Midsummer Night’s Dream” was composed by Felix Mendelssohn Bartholdy in 1826.

Mendelssohn’s graceful and elegant “Wedding March” is characterized by beautiful, singable melodies, regular rhythms, and predictable harmonies, and is probably the most famous wedding march ever written. You may be certain that Mendelssohn’s “Wedding March” from “Midsummer Night’s Dream” will be chosen by many brides and grooms this month!