Steppin’ Out Concerts ~ Teacher’s Guide

PROGRAM (approximately 50 minutes) Tuesday, January 31 & Wednesday, February 1, 2017 10:15 & 11:45 am • Atherton Auditorium, Stockton Thursday, February 2, 2017 9:15 & 10:45 am • Hutchins Street Square, Lodi

Bates/Ward America the Beautiful

Rossini Overture to La gazza ladra (The Thieving Magpie)

Rimsky-Korsakov Scheherazade, Movements II and IV

Connects with COMMON CORE STANDARDS for 4th and 5th graders Music • Language Arts • Mathematics History—Social Science • World Languages

Welcome, educators! Thank you for your passion for music education and your commitment to the Stockton Symphony’s offerings for elementary students. We hope you find this guide helpful in preparing your students to attend.

Contact the Stockton Symphony office with further questions, 209-951-0196, or visit www.steppinout-concerts.net.

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TABLE OF CONTENTS

Concert Preparation Resources Logistics ...... 3 Attending the Concert ...... 4 When Do I Clap?...... 5 The Music and People Peter Jaffe, Music Director and Conductor ...... 6 CD of the Program ...... 7 America the Beautiful ...... 8 Gioachino Rossini: Overture to La gazza ladra (The Thieving Magpie) ...... 9 Nicolay Rimsky-Korsakov: Scheherazade, Movements II and IV ...... 10 Student Activities with Connections to Common Core Standards The Theme: Tales of Note ...... 12 Language Arts ...... 12 1. Reading ideas: 1,001 Arabian Nights ...... 12 2. Storytelling ...... 13 3. Reading ideas: Ancient Persia ...... 13 4. What Kind of Music Should Accompany Your Characters?...... 13 Scheherazade Website by Creative Kids Education Foundation ...... 13 Music, Language, Art, and More (Rossini) ...... 14 Mathematics ...... 14 Fractions in Music ...... 14 Fractions Describe Form in Rimsky-Korsakov’s Scheherazade, Movement IV ...... 15 History—Social Science ...... 15 Make a Timeline ...... 15 World Languages ...... 16 Websites for Kids: Orchestras, Instruments, and Making Music ...... 16 Steppin’ Out Times Word Search Solution ...... 17 Special Thanks ...... 17

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LOGISTICS INFORMATION

 Your concert reservation is confirmed on the label of this packet: date and time, concert venue, and number of seats reserved.  A Concert Guide and a CD of the program’s music is provided for each attending class.  A copy of the Steppin’ Out Times is provided for every student in your reservation—printed courtesy of The Record, Stockton’s newspaper.  Directions for getting to the concert venues are available on the website: http://steppinout-concerts.net.  Questions? Call the Stockton Symphony office at 209-951-0196 or use the contact page at www.stocktonsymphony.org.

TWO WEEKS PRIOR

Two weeks prior to the concert, you will receive a mailing containing:

 Directions to the concert hall and bus parking  Your colored group ticket to present to the usher at the concert hall  Placards with your school name to place in bus windows to identify your school’s buses  Teacher feedback forms

CONCERT DAY

 Plan to arrive at the concert 1/2 hour prior to your concert time.  Your bus will be directed to the parking area and greeted by volunteers.  Concert duration is approximately 50 minutes

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ATTENDING THE CONCERT

Concert etiquette (adapted with permission from the San Francisco Symphony)

 Teachers and chaperones are responsible for the conduct of their students and should plan to sit among the children rather than on the aisle or next to another adult. We recommend at least one adult for every ten students. Please take immediate action in the event of talking or other inappropriate behavior.  The concert will be exciting, but students should know in advance that they will be required to sit quietly in their seats for a fairly long time. Refer to “Being a Good Listener” on page 3 of the Steppin’ Out Times.  It is important to have your students visit the rest rooms before your arrival. There is no intermission—the concert lasts under an hour—and it is logistically quite difficult for children to use the rest rooms during the performance. Once the concert is concluded, you will have limited access to lobby rest rooms, as another group of students may be waiting to enter the hall. At all times, children must be accompanied to rest rooms by an adult.  No food, drink or chewing gum is allowed inside Atherton Auditorium. If you plan to bring lunches, please have your students leave them on the buses until the concert is concluded.  Unauthorized photography, filming, and audio recording of the orchestra is not allowed.

What if a student becomes lost? Occasionally students become separated from their groups and are too shy to approach an usher for assistance. Please point out the main lobby when you first enter the building and instruct students to go directly there if they become lost. Ushers and staff on duty will help

them find their way back to their group.

Rain plans Please advise students to wear rain gear in the event of showers (we recommend slickers with hoods to avoid use of umbrellas, for which there is no appropriate storage in the auditorium).

Pictured: Hutchins Street Square (top) and Atherton Auditorium at San Joaquin Delta College (view from stage)

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WHEN DO I CLAP?

You don't have to guess! There are just a few simple guidelines:

When the concertmaster enters Some of the musicians will already be onstage as you arrive. But the entrance of one special musician is your cue that the concert is about to begin. The concertmaster, who can be a woman or a man, is the first violinist and will come out to tune the orchestra. Welcome this musician to the stage with applause. Hurray, the music is about to start!

When the conductor enters There will be no music until the person who coordinates the musicians is onstage. The conductor is like the coach of your basketball team: he or she works with the professional players in rehearsal to help them play well together. Welcome the team by welcoming their leader.

When the music stops—usually!

But watch out—this is not always a time to clap! Silence in music can give great effect, and you don’t want to be the only one clapping when nobody is playing and the music isn’t yet complete!

The safe cue: when the conductor, Maestro Jaffe, drops his arms to his sides, then you know the music is complete. He will then turn around and bow for the orchestra as thanks to you for your appreciative applause.

When he goes offstage, you can keep clapping and he’ll come back for another bow. The musicians know that your continued clapping means you really liked the concert!

Disney Concert Hall in Los Angeles

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PETER JAFFE, Music Director & Conductor

Peter Jaffe has served as the Stockton Symphony’s dynamic music director since 1995, combining a passion for outreach and education with top-notch musicianship, and fostering sustained artistic growth throughout his tenure. Organizations ranging from the Association of California Symphony Orchestras to the Brubeck Institute and Goodwill Industries have honored Mr. Jaffe with prestigious awards for his innovations in educational programming and for his distinguished cultural contributions throughout the county. His engaging and informative preconcert discussions include his own renditions of symphonic examples at the piano, and he frequently advocates for the Symphony and orchestral music in radio broadcasts, television appearances, and web videos. He is also the host of the local radio Photo by Steve Pereira program Symphony Mix, promoting orchestral events and broadcasting entertaining and educational programs about symphonic repertoire.

With a zeal for introducing new vital repertoire along with established masterworks, Mr. Jaffe has spearheaded the commissions of many world premieres. Avner Dorman’s Uzu and Muzu from Kakaruzu earned the Stockton Symphony national recognition for community engagement activities dealing with crucial social issues. A portion of the Stockton Symphony CD of Chris Brubeck’s Mark Twain’s World was broadcast nationally on NPR’s Performance Today, and Ansel Adams: America, co-composed by Dave and Chris Brubeck, has since been performed nationally and abroad.

Mr. Jaffe also conducts the Auburn and Folsom Lake Symphonies and Stockton Opera, and has appeared as guest conductor with the Louisiana Philharmonic Orchestra, New Mexico Symphony Orchestra, Long Beach Symphony Orchestra, Symphony Silicon Valley, and many other orchestras and music festivals across the country. He teaches every summer at the Conductor’s Institute of South Carolina, he conducted and taught at the Aspen Music Festival for fourteen years, and he spent three seasons conducting at the Oberlin Conservatory and two as a visiting professor at Stanford University.

Many of Mr. Jaffe’s own arrangements have been commissioned by and performed with orchestras in Aspen, Chicago, Long Beach, and Stockton, including his Symphonic Birthday and his transcription of Haydn’s Arianna a Naxos for Jan DeGaetani, which was also performed by the Chamber Music Society of Lincoln Center. A CD of his lullaby arrangements was released on the Chandos label, featuring mezzo-soprano Nadia Pelle with Yuli Turovsky directing I Musici de Montréal.

Mr. Jaffe appeared on NBC’s First Camera in a show devoted to Tanglewood, where he was coached by Seiji Ozawa, Gunther Schuller, Gustav Meier, and Leonard Bernstein—a brief segment was later included in the American Masters special honoring Bernstein. Mr. Jaffe also studied conducting with Andor Toth, Paul Vermel, Charles Bruck, and Herbert Blomstedt. His instrumental background includes extensive performing on the violin, viola, and keyboard, and he often conducts from the harpsichord when performing Baroque or early Classic repertoire.

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CD OF THE PROGRAM

Steppin’ Out 2017: TALES OF NOTE

All music on this recording is supplied through the courtesy of Naxos of America.

1. Ward: America the Beautiful 0:59

2. Rossini: Overture to La gazza ladra (The Thieving Magpie) 10:06

from Rimsky-Korsakov’s Scheherazade, op. 35:

3. Movement II 11:39 (fantastic narrative of Prince Kalendar)

4. Movement IV 12:02 (Baghdad festival—ship dashing against rock with bronze horseman)

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Words: Katharine Lee Bates • Music: Samuel A. Ward

Sing along with the Stockton Symphony!

American professor of English Katharine Lee Bates (1859–1929) first jotted down the words of this poem in 1893 after an excursion to Pike’s Peak in Colorado. She said “All the wonder of America seemed displayed” by the view there. After the poem’s first publication in 1895, she revised it for other publications in 1904 and 1912.

Organist and choirmaster Samuel A. Ward had written the melody for another song in 1882, but it was later adapted to fit her poem. The two were first published together in 1910.

Katharine Lee Bates

Here are the words of the first verse, which you’ll get to sing with the Stockton Symphony at the Steppin’ Out concert. Please help your students memorize the first verse of the song with these lyrics: Samuel A. Ward

O beautiful for spacious skies, For amber waves of grain, For purple mountain majesties Above the fruited plain! America! America! God shed his grace on thee And crown thy good with brotherhood From sea to shining sea!

Facsimile of Katharine Lee Bates’s manuscript

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Gioachino Rossini (1792–1868)

Overture to La gazza ladra (The Thieving Magpie)

Gioachino Rossini was one of the greatest Italian opera composers. He was equally good at writing tragedy and comedy. In 1817 he wrote La gazza ladra to be performed at the famous opera house La Scala in Milan, Italy. The libretto had been written by Giovanni Gherardini based on a French play that had been successful in Paris two years before. The opera’s opening night was one of Rossini’s most successful ever and resulted in many more performances.

Portrait of Rossini by Viennese The story is based on an actual French legal case artist Mayer, 1820 about a servant girl, who is convicted to be hanged for stealing a silver spoon. But she is innocent—the spoon was actually taken by a magpie. A young soldier is in love with the poor girl, and the opening military march of the Overture, full of drumrolls, depicts his return from the wars. The fast section that follows contains themes that sound suspenseful and energetic. Several are taken from the opera itself. Rossini transforms these to sound pompous and witty, partly by using a kind of long crescendo. This device, which he made famous by using in many of his operas, is now called a “Rossini crescendo.”

Pronunciation Guide Gioachino Rossini: jyoh-AH-kee-noh roh-SEE-nee overture: OH-ver-cher La gazza ladra: lah gahd-zah lah-drah crescendo: kreh-SHEN-doh

Words in bold above are defined for the students on page 2 of the Steppin’ Out Times.

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Nikolay Rimsky-Korsakov (1844–1908)

Scheherazade, Movements II and IV

Russian composer Rimsky-Korsakov attended the Naval College in St. Petersburg and spent three years cruising on a naval ship before he concentrated on music. He had wonderful experiences that much later became part of the ocean scenes in his most famous piece—Scheherazade. In 1871 he became a professor at the St. Petersburg Conservatory. He taught many important composers, including Prokofiev and Stravinsky. He became Portrait of Rimsky-Korsakov by Valentin Serov, 1898 especially famous for his imaginative combinations of orchestral sounds.

Rimsky-Korsakov’s inspiration for Scheherazade was the collection of ancient Persian- Indian-Arabian tales called A Thousand and One Arabian Nights. He wrote this symphonic suite in the summer of 1888 at his vacation place on the shore of a lake in eastern Russia.

The music suggests the stories told by the lovely Scheherazade to the powerful, ruthless Sultan, whom she had just married. Her stories were so fascinating that he kept her alive instead of killing her after just one night, as he had done with each of his preceding wives. She is portrayed throughout the suite by a lovely violin solo.

Rimsky-Korsakov’s inspiration for the second movement was the tale about a prince who had to disguise himself as a Illustration by Edmund Kalendar to escape the rebels who had Dulac, 1907 overthrown his father and uncle, who were kings. The music seems to illustrate the Kalendars, a wandering tribe of beggars and dervishes, through the composer’s exotic melodies and colorful solos for bassoon, oboe, flute, and French horn.

Rimsky-Korsakov originally described the Finale as “the Painting of dervishes by Baghdad festival and the ship dashing against the rock with the Amadeo Preciosi, 1857 bronze horseman.” This was the ship of Sinbad, who had

STOCKTON SYMPHONY Steppin’ Out Concerts 2017 · page 11 been depicted in the first movement. The “bronze horseman” refers to St. Petersburg’s famous statue of Peter the Great and to a poem by Aleksandr Pushkin about the statue and the 1824 flood of the Neva River. Rimsky-Korsakov must have liked the time warp, as he imagined Sinbad’s ancient ship crashing against a statue in his own city in a storm.

After a bit of the Sultan’s impatience and the beautiful violin solo that represents Scheherazade telling the story, we seem to hear dancing at the festival. Soon we imagine the waves at sea becoming stormier. Rocking motion and cymbal crashes depict the waves, and the striking of the gong (also called tam-tam) marks the climactic moment when the ship hits the rock.

Pronunciation Guide Rimsky-Korsakov: RIHM-skee KOR-sah-koff Scheherazade: sheh-hair-uh-ZAHD Prokofiev: proh-COFF-yehv Stravinsky: strah-VIHN-skee

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Student Activities

Theme: Tales of Note When you read or hear a good story, do you sometimes make up your own visuals in your mind? The same thing can happen as we listen to great pieces of music, especially those inspired by stories—each of us might cook up our own “movie” in our imagination.

Rimsky-Korsakov not only paints stories in music, but describes the storyteller and listener themselves—the main character, Scheherazade, tells tales to Sultan Schahriar over 1,001 nights in order to save her life! When we hear the opening of the second movement, the solo violin sounds like Scheherazade and soon after the music describes her fantastic tale of Prince Kalendar. In the last movement, doesn’t it sound first like we’re hearing the gruff Sultan before we get to Scheherazade and her fabulous stories of a festival and a rocky adventure at sea?

Amazing sounds spark our imagination every time we visit the Stockton Symphony. Listen for the wonderful textures and combinations of instruments we hear from a full orchestra. You can read here about the composers and their pieces. Your teacher also has a recording of the music for our concerts. Listen to it many times if you can.

We also hope you’ll join us in singing one of our best national songs, “America the Beautiful.” The words are printed above, the music is on the recording, and we’re looking forward to your participation!

You are preparing for a special event that requires you to be at your very best. We want you to be a great audience member, because hearing and seeing music performed by a live orchestra is an unforgettable experience. We’ll see you this winter! —Peter Jaffe, Music Director and Conductor

Multidisciplinary Activities Have fun relating these activities to the Common Core Standards for fourth and fifth graders.

Language Arts

1. Read some of the famous stories from 1,001 Arabian Nights to your students. These stories are not necessarily written for children, but there are many editions that are suitable for reading to young people or for them to read themselves. Children may already be familiar with versions of some of these tales, such as Aladdin and the Wonderful Lamp, Ali Baba and the Forty Thieves, or Sinbad [sometimes Sindbad] the Sailor.

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Which edition to use is up to the individual teacher, and many are available in print and online. They range from very short abridgements such as Arabian Nights: Retold from the Classic Tales (Classic Starts), edited by Martin Woodside, to the Barnes & Noble Classics version edited by Muhsin al-Musawi, based on the old Galland translation, which can be read by adults or children but tones down the sex and violence and handles the racial content tactfully while presenting basically full versions of the stories. You might start with the introductory story about Scheherazade and Sultan Shahriar (there are many spellings of both of their names), as Rimsky-Korsakov did, and read some of the other stories that inspired his music. (See also the suggestions under “Storytelling” at the Creative Kids link below.)

2. Have the children write their own stories based on these characters or have them make up their own new characters as if Scheherazade is telling a completely new story on the 1,002nd night. They can practice both narrative writing—in the third person—and dialogue—how to use quotation marks and first and second person speech.

3. Direct your students toward related reading about ancient Persian and other Middle-Eastern cultures—art, food, furnishings, clothing, housing—so they can use authentic or more colorful descriptions in their stories. At the same time, they’ll be broadening their knowledge of history, geography, and art. (See also the link about Persian art at the Creative Kids link below.)

4. Now have the students plan what kind of music they would compose for the characters in their stories. On a new piece of paper adjacent to their story, have them jot down descriptive words about what their music would sound like right across from characters’ names, scenes, or actions. Have them use precise language and name particular instruments. (They can refer to the Orchestra Seating Map and other descriptions and activities in their copy of the Steppin’ Out Times.)

Here is a is a wonderful website for teachers and students with activities and lesson plans about Rimsky-Korsakov’s Scherherazade: http://creativekidseducationfoundation.org/kids/sche/base.htm

The following topics are available by clicking on the magic jars at the bottom right of the site: “Storytelling,” “Art,” “Geography,” “About the Composer,” and “Teachers.”

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Music, Language, Art, and more

Play the Rossini Overture to The Thieving Magpie and point out the long, sustained crescendo (gradually getting louder). Ask your student to describe in words what is happening. Encourage them to use words such as volume, dynamics, names of various instruments or family they hear, texture, rhythm, and even color.

Have your students draw a visual representation of a crescendo. Things to look for in their drawings: small starting point, layers, addition of more pictured objects, large ending point. See how their imaginations work! Examples from very simple to more complex:

1. 2.

3.

Mathematics

1. Fractions in Music Musical rhythm is based on the same concept as mathematical fractions. Composers organize pieces according to meter, which dictates how many beats per measure and what kind of note is being counted. The most common meter is 4/4 time. The top number, in what is called the time signature, tells how the pie is sliced up (four slices/beats). The bottom number tells what kind of note, based on a system of whole notes, half notes, quarter notes, eighth notes, and so on (here, a quarter note). 3/4 is another meter that is commonly found in dances. Again, each piece of the pie is a quarter note (look at the bottom number), but there are only three slices/beats present (top number). Ask the students to draw what the pie would look like for 4/4, 3/4, and 2/4 time. You can also throw in 6/8 time for a challenge. (The pie is divided into six pieces, but each piece of pie is an eighth note.)

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2. Fractions Describe Form in Rimsky-Korsakov’s Scheherazade, Movement IV Listen with your students to the fourth movement of Scheherazade using the CD we provided in your packet, and note the proportions of the sections relative to the whole, as outlined below. The movement is approximately 12 minutes in duration, and each section can be considered as a fraction of that duration as follows: (Durations of sections are approximate.)

(0:00) (1:13) (7:46) (9:09) (9:54) Introduction Baghdad Festival At Sea Crash Coda 1 minute 6 minutes 2 minutes 1 min. 2 minutes 1/12 6/12 = 1/2 2/12 = 1/6 1/12 2/12 = 1/6

Sultan (orchestra) Dancing and recalls of earlier Stormy Crash, Violin enters & Scheherazade movements, including Movement II, adventure; calm (violin) alternate which we’ve heard Sinbad

(1'12"or a bit more (6'33" or a bit more than half) (1'23" or a little (45" or a (2'3" or a bit than 1/12) less than 1/6) little more more than 1/6) than 1/12

1 + 6 + 2 + 1 + 2 = 12

History—Social Sciences

Make a Timeline This timeline shows the dates of events related to the music on this Steppin’ Out concert, placed in between two other events in history. Add some other important historical events and their dates in the space above and below:

Nicolay Katharine U.S. Declaration Rimsky-Korsakov’s Lee Bates’s Bates wrote the poem First human of Independence birth birth America the Beautiful lands on the moon 1776 1844 1859 1893 1969

1792 1817 1847 1888 1910 Gioachino Rossini’s Rossini wrote Samuel A. Rimsky-Korsakov Bates’s poem birth La gazza ladra Ward’s birth wrote Scheherazade published with Ward’s tune

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World Languages Most musical terms are in Italian. Have the Spanish-speaking students translate the English words to Spanish.

Italian Musical Meaning Literal English English Word Translation in Spanish tempo speed of the piece time tiempo forte loud strong fuerte* crescendo becoming louder growing crecimiento* cantabile in a singing style singable cantar (to sing)* dolce sweet sweetly dulce* misterioso mysteriously mysterious misterioso poco a little (usually applied little poco* to another marking)

*Notice that these words are very similar in Italian and Spanish, but completely different in English.

Websites for Kids: Orchestras, Instruments, and Making Music

New York Philharmonic: Kid Zone (http://www.nyphilkids.org)

Creatingmusic.com “is a children’s online creative music environment for children of all ages. It’s a place for kids to compose music, play with musical performance, music games and music puzzles. Discover fun and easy ways to make music!”

Dallas Symphony for Kids: www.dsokids.com

Carnegie Hall: Young Person's Guide to the Orchestra FOR STUDENTS: http://listeningadventures.carnegiehall.org/ FOR TEACHERS: Carnegie Online Resource Center: http://www.carnegiehall.org/ORC

Carnegie Hall: Animated History of Carnegie Hall: http://listeningadventures.carnegiehall.org/animatedhistory/Carnegie.html

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Steppin’ Out Times Word Search Solution

B P R + O + R B I M S O + + + R Y (Over,Down,Direction) C R + E + V R E A N R I + + I + R BATES(15,8,S) R I O + T A E E S C I O N M + + O BRASS(8,1,SW) E N L N S S S R H O T S S B + + T BRONZE HORSEMAN(1,1,SE) S C L S Z T A E T T P K S + A E A COMPOSER(14,8,NW) C E O C R E S M E U Y M S O D D V CONCERTMASTER(15,13,NW) E K R O O T H R T K R G O A R D R CONDUCTOR(4,6,SE) N A M V R N B O O R N E Z C B E E CONSERVATORY(17,12,N) D L U A I I D R R I E A + + A R S CRESCENDO(1,2,S) O E R + L O S U R S R C S + T V N DERVISH(16,7,S) + N D + + A L T C E E U N + E I O DRUMROLL(3,11,N) + D + + K + S I H T L M A O S S C LIBRETTO(5,10,NE) E A M O V E M E N T O + A R C H + MAESTRO(10,1,SW) M R V + + + H W A R D R + N E + + MAGPIE(12,17,E) E T I U S C I N O H P M Y S + P + MOVEMENT(3,13,E) H + + + S P E R C U S S I O N + O OPERA(17,16,NW) T + S D N I W D O O W M A G P I E ORCHESTRA(12,1,SW) OVERTURE(5,1,SE) PERCUSSION(6,16,E) PRINCE KALENDAR(2,1,S) RIMSKY KORSAKOV(16,1,SW) ROSSINI(15,7,NW) SCHEHERAZADE(5,16,NE) SINBAD(11,1,SE) STRINGS(7,12,NE) SULTAN(13,10,SW) SYMPHONIC SUITE(14,15,W) THEME(1,17,N) VIOLIN(4,8,SE) WARD(8,14,E) WOODWINDS(11,17,W)

Special thanks to our sponsors:

PATRICK HOBIN

SAN JOAQUIN WELLS FARGO CITY OF LODI DELTA COLLEGE FOUNDATION ARTS COMMISSION VARIOUS DONORS IN HONOR OF MARIANNE MCCARROLL-POWELL

AND TO SUSTAINING MEMBER JEANETTE FARLEY