HEROES & LEGENDS
The Orlando Philharmonic’s 2013 Young People’s Concert
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“Heroes & Legends”
Orlando Philharmonic Orchestra
Young People’s Concert
Anthony Hose & Christopher Confessore, conductors
Gabe Preisser & Austin Hallock, guest artists
Leia Barrett, narrator
September– November, 2013
Concert Program ................................................................................... Page 3
Concert Etiquette .............................................................................. Page 4-5
Introduction to “Heroes and Legends” ......................................... Page 6
Composer Information and Classroom Activities ................. Page 7-24
Gioachino Rossini (1792-1868) .................................................... Page 7
Richard Wagner (1813-1883) ....................................................... Page 10
Georges Bizet (1838-1875) .......................................................... Page 12
Nikolai Andreyevich Rimsky-Korsakov (1844-1908).............. Page 15
Richard Strauss (1864-1949) ........................................................ Page 17
Sergei Sergeyevich Prokofiev (1891-1953) ................................ Page 19
Dimitri Shoshtakovich(1906-1975) ............................................ Page 21
Woody Guthrie (1912-1967) ....................................................... Page 22
Michael Giacchino (1967—) ....................................................... Page 23
Resource Guide created by Mary Crisman and Leia Barrett
The Orlando Philharmonic Orchestra
812 East Rollins Street
Orlando, FL 32803
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Young People’s Concerts 2013
Heroes & Legends
Bob Carr Performing Arts Centre, 401 W. Livingston St., Orlando
Anthony Hose & Christopher Confessore, conductors
Gabe Preisser & Austin Hallock, guest artists
Leia Barrett, narrator
September– November, 2013
The Star-Spangled Banner............................................................................................ Francis Scott Key
with student singers
Prelude to Act III from Lohengrin................................................................................... Richard Wagner
(1813-1883)
Scheherazade, Movement 3 .......................................................................... Nikolai Rimsky- Korsakov
(1844-1908)
With dancers from the Orlando Ballet
Selections from The Incredibles (2004) ........................................................................ Michael Giacchino
(1967—)
Toreador from Carmen ......................................................................................................... Georges Bizet
(1838-1875)
With guest vocalist
Ein Heldenleben .................................................................................................................Richard Strauss
(1864-1949)
Symphony No. 5, Mvt. 4 ....................................................................................... Dimitri Shostakovich
(1906-1975)
Lieutenant Kijé Suite:....................................................................................................... Sergei Prokofiev
(1891-1953)
With dancers from the Orlando Ballet
This Land is Your Land.................................................................................................... Woody Guthrie
(1912-1967)
Audience sing-a-long
William Tell Overture .................................................................................................. Gioachino Rossini
(1792-1868)
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CONCERT REMINDERS and WHAT TO EXPECT
When you arrive follow the usher’s instructions to locate your seats for the performance.
You may choose two students (one boy and one girl) to sing the Star-Spangled Banner on stage.
As soon as you arrive you or another teacher must escort these children backstage (the backstage door is on the left as you look at the stage). It is a good idea to make sure the students
know where their class is sitting prior to going backstage. This is a great opportunity to reward
students who do NOT sing with good vocal tone but are well-behaved; between the audience
and the orchestra, no one will actually hear the students on stage! Administration from the
Orlando Phiharmonic will give the accompanying adult a certificate before the concert begins
to ensure the certificate arrives at your school safely.
When the lights dim the concert is beginning; everyone should sit quietly.
The concertmaster will come onstage with a violin. The oboe will play an “A” for the
orchestra to tune. An announcer will introduce the conductor.
The Star-Spangled Banner students will file onto stage; the audience will stand up and sing along.
Watch the conductor to know when to start singing and when to stop. After the song the
featured singers will exit stage right and will need to be walked immediately back to their seats.
The audience will also sing-a-long during This Land is Your Land. Teachers should rehearse the
song prior to their concert date. Memorizing the lyrics would be a good idea, but they will also
be projected onto the screen above the stage. Watch the vocalist to know when to start singing
and when to stop singing!
CONCERT ETIQUETTE or
HOW TO BE THE BEST AUDIENCE YOU CAN BE!
Sit back in your seat quietly and listen carefully as the orchestra plays.
Listen to the narrator or the conductor as they give information to the audience.
Do not clap (or make other noises) in the middle of a song, even if it is upbeat and fun to clap
to, unless directed to do so by the conductor or narrator.
To show the orchestra your appreciation, please clap with enthusiasm! Please do NOT yell,
scream, stomp or whistle; save that for appreciating your favorite sports team!
Save your applause until the piece of music is COMPLETELY OVER! There are quiet parts of
the music and pauses that might sound like the end; the music may try to trick you! To be sure
the song is over wait for the conductor to put his hands down by his side. To make DOUBLE
sure you don’t clap too early you may also wait for the conductor to turn and face the audience.
REMEMBER THE CLASSROOM TEACHERS
Taking the time to make sure the classroom teachers are informed about concert etiquette will
pay off during the concert. Don’t assume that just because they’re adults they know how to
behave at an orchestral concert!
The more involved the classroom teachers are the better! Provide classroom teachers with ways
to integrate the information into their classroom curriculum. Consider playing short excerpts of
the pieces during morning announcements or making CDs available to the teachers to play in
their classrooms during quiet study times.
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SAYING “THANK YOU!”
The Young People’s Concerts are an amazing experience that our students are gifted with each year.
One step towards keeping this field trip fully funded and free for all our students is taking the time
to show our appreciation to the performers and the supporters.
THE PERFOMERS: The Orlando Philharmonic (and the Orlando Ballet) love to get thank
you cards from students! Write a short note to express your thanks or to share what your favorite song was and why; draw a picture of your favorite part of the ballet or opera selections.
Send all thank you notes to the address on the cover page.
ARTS ADVOCATES: The Young People’s Concert series is only possible with the support of
many different groups of people. Show how much you value this experience for your students
by sending thank you notes to some of the following groups: school/district administration,
school board members, and the United Arts of Central Florida.
USING THIS RESOURCE PACKET
All materials in this packet can be copied for students, made into transparencies, projected on a
screen, made into packets to be used as manipulatives, etc.
For questions regarding this teacher resource guide contact:
Mary Crisman
[email protected]
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INTRODUCTION
Heroes come in many forms. Many times, when we imagine a hero, we see someone
larger than life. We might imagine a superhero with super strength, x-ray eyes, or
extraordinary speed. Important historical figures might be our heroes, providing
words of wisdom and creating policies that affect our daily lives. Sometimes a hero
is a public figure like a police officer or fireman; we might not see them every day,
but knowing they’re around makes us feel just a little safer. Finally, we might have a
personal hero, someone who can be counted upon to help us when we need them.
Heroes, no matter what kind, make our lives better.
So when does a hero become a legend? Many times, a legend recounts the
memorable story of a hero—a point in time when the hero transitions from ordinary
to extraordinary. These stories become, more often than not, the tales that shape our
culture and the cultures of people throughout the world. The Orlando Philharmonic
Orchestra’s 2013 Young People’s Concert Heroes and Legends explores the ways
that music depicts heroes and their legends. A composer might use music to
foreshadow an amazing story, much like the William Tell Overture. Other times,
music makes us imagine a character like Scheherazade, the heroine in RimskyKorsakov’s timeless work. Sometimes, the music becomes a testament to its maker
and their heroism like the Shostakovich’s Fifth Symphony. There are a myriad of
ways to depict heroes and legends in music, and the result is music that is uplifting,
mesmerizing, and awe inspiring.
________________________________________________
The Star Spangled Banner
With Student Singers
The concert will open with the singing of our national anthem. Communicate a
deeper understanding of the lyrics by reading The Star-Spangled Banner, by
Francis Scott Key, illustrated by Peter Spier. Prepare your students for the large vocal
range needed for this song by encouraging them to sing in their head voice.
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Some Facts about Gioachino Rossini
(1792-1868)
FUN FACT: After his retirement Rossini indulged in his love of food, and was well
known as a gourmet and excellent amateur chef. Today, there are still dishes named
after him – either because they were created for or by him. One of the most famous is
Tournedos Rossini, a French steak dish.
William Tell Overture: The Story
The legend of William Tell originates from Switzerland and is set in the early 1300s.
William Tell was the epitome of heroism; he had extraordinary strength,
excellent climbing skills, and he was known far and wide as a fantastic shot with a
crossbow. When we meet William Tell the Austrian Emperor was planning to invade
his homeland. The emperor sent one of his top soldiers– a man named Albrecht
Gessler– to oversee the Swiss capital city. Gessler was determined to put the Swiss
people in their place— he even put his hat on a pole in the middle of town and
demanded the people bow to it! Like all heroes, William Tell would not stand for this
treatment. When he arrived in town and saw this event he refused to bow and was
immediately arrested.
Knowing Tell by reputation, Gessler presented him with a compromise. If Tell could
hit an apple off the top of his own son’s head, he and his son would be set free.
William Tell was successful, but Gessler was not true to his word. Instead, Tell was
put on a ship headed for a dungeon! Legend says that a tremendous storm hit while
the ship was at sea. The sailors, having heard of him, asked William Tell to steer the
boat to safety. He eventually escaped and went to his homeland, where he led a Swiss
army to battle with the Austrian invaders. His army defeated the Austrians and
Gessler in the ensuing battle.
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William Tell Overture Gioacchino Rossini
Born in Pesaro, Italy.
Considered a Romantic composer and wrote
sacred music, chamber music, and operas.
He was nicknamed “The Italian Mozart” because
he often used song-like melodies in his scores.
His first opera was produced when he was 18 years
old, and by the time he was 38 he’d composed 39
operas.
“William Tell” was his final opera.
Rossini was popular with both commoners and
royalty, being paid handsomely by both King
George IV of Great Britain and Charles X of France.
When Rossini retired in 1829 – at the age of 37 – he was quite wealthy and was
considered the most celebrated opera composer of his time.
Rossini died of pneumonia at the age of 76.
William Tell Overture: The Music
The Overture to William Tell makes use of foreshadowing, giving the
listener a glimpse of several important points in the story and
often depicting elements from the story. The Overture is broken into
four distinct parts: the dawn, before the Austrian army invasion; the
storm while Tell is on a ship; Ranz des Vaches, signaling the calm
before the storm of battle; and the finale, often called The Marche of the
Swiss Soldiers. The finale, which will be played by the
Philharmonic in its entirety, opens with a fanfare from the trumpets and
horns. The music became iconic when chosen as the theme song for the
1930s radio program “The Lone Ranger.”
Musical Interlude: Overtures and Orchestras
The Overture has been a part of orchestras for several centuries. Overtures have also been a part
of operas, presenting musical themes that the listener will hear several times during the
performance. Around Rossini’s time, the overture became a stand alone music form and the
Concert Overture was born. Although the William Tell Overture was originally presented
before an opera, it has become a stand alone work in spite of the fact the opera was not well
received and is rarely performed. A reason overtures are often played at the beginning of a
concert refers to a previous time when they were part of a larger work.
Listening and Learning Activities
Activity #1: Listening Map
Pass out dynamic cards (VISUAL): piano and forte only, or add mezzo-forte or mezzo piano for an
added challenge. The students must hold up the card of the dynamic they hear.
Speak/pat through the “horse” section at a slow tempo.
Listen to the piece while sitting still
Introduction– Students stretch and pretend to dust themselves off
Horse– Students pat their legs (“galloping”)
Cymbals– Clap the rhythm
Bow and Arrow– Students slowly pull back their invisible bows and let their arrows
fly. They can decide whether they hit the apple (happy expression) or they missed
(frustrated or tragic expression). I like to give out mini awards to students who are
exceptionally dramatic. (VISUAL: Mini Awards)
Conducting in two
Stormy Sea- “Paddle” your boat in place
BIG FINISH!- The teacher points to one of the sections of the listening map and the
class performs the movement from that section. For more of a challenge, switch
between sections quickly.
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Activity #1A: Listening Map Variation (with movement):
Traveling around the room with a partner
Have partners create a body percussion pattern for the cymbal section (or the teacher can create
one for the entire class to perform). Also ask the students (or just assign parts, if preferred) to
decide which of them is William Tell (the archer) and which is his son.
Introduction – Dust yourself off and sling a leg over your horse
Horse – Gallop next to your partner; during the repeat, one arm can go in the air and spin a
lasso (if your class needs more structure then have the parters gallop around each other using a
do-si-do or gypsy).
Cymbals – Body percussion with partner
Bow and Arrow – One partner aims and fires, the other partner celebrates living through the
ordeal (Note: In this instance I would advise against giving students the option of perishing
dramatically when “hit” by the arrow.)
Conducting in 2
Stormy Sea – “Paddle” around the room; bonus awards for anyone who looks terrified of the
storm!
BIG FINISH! – The teacher points to sections of the listening map. If the cymbal section is
chosen try to give a little warning and pick a nice starting point for the partner body percussion.
Activity #2: Find the Form
Depending on how comfortable your students are with identifying form, this activity can be done
as a class or in small groups.
Hand out form card packets (VISUAL) or place a packet of the cards on the edge of a whiteboard or bulletin board. You can have the exact number of cards for the activity or include
extras for an added challenge. You can choose to post the listening map or not.
There are two possible answers for the correct form:
(introduction) A B (interlude) A C D C B (interlude) A (coda)
(introduction) A B C A D E D B C A (coda)
If you prefer one of the above mentioned forms restrict the cards that are
posted/distributed.
The team(s) that get the form correct (or are the closest) win!
Activity #3: Rossini’s Chant
Teach Rossini’s Chant (VISUAL). Check to see if your students:
1) Understand the song
2) Can elaborate on the story of William Tell
3) Are able to elaborate on the biography of Rossini
Vocabulary: fanfare, dynamics, forte, piano, form, introduction, interlude, coda,
trumpet, brass, cymbals, conduct
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Wagner was born in Leipzig, Germany
He was heavily influenced by Ludwig van Beethoven
He composed his first opera at the age of 20
Designed the Beyreuth Festspielhaus, an opera house
specifically created to accommodate the huge orchestras and
elaborate sets used in his operas
Had money troubles throughout his life
Wagner died of a heart attack at the age of 69
Lohengrin: The Story
Elsa, a princess, has been accused of a horrible crime. Her only hope is that a knight
in shining armor will defend her honor through combat. When all hope seems lost,
the mysterious hero Lohengrin enters, challenges her accuser to a duel, and defeats
him. Lohengrin asks for Elsa’s hand in marriage and by the end of Act II they are
preparing to enter the church. The Prelude to Act III includes a heroic fanfare for the
couple as they begin the ceremony, and by the beginning of Act III they are married.
The Prelude to Act III is programmatic, meaning that the music represents a story as
it happens. In addition to an incredibly virtuosic opening, this prelude includes the
Wedding March, a march that is still used for weddings today!
Lohengrin: The Music
Lohengrin, one of Wagner’s most well-known operas, was first premiered in 1850 and
was conducted by Franz Liszt. Wagner, having been exiled from Germany for taking
part in a revolution, did not see this premiere; he did not, in fact, see a full
performance until 1861. The opera was so successful it would be performed in several
different countries. One of the opera’s biggest fans, King Ludwig II of Bavaria, would
become Wagner’s biggest supporter.
Musical Interlude: Richard Wagner & Bayreuth
One of the greatest accomplishments of Wagner was the
realization of the Bayreuth Festspielhaus, an opera house dedicated solely to the works of Richard Wagner. The hall is
known for its amazing acoustics, double proscenium (making
the stage appear farther from the audience than it actually is),
and a
recessed orchestra pit. All of these features allow the audience
to be more engaged in the performance, almost as if they are a
part of the action. The Bayreuth Festival is still an annual
event that recreates the greatest operas of Wagner. Most
Wagner fans wait for years before securing a ticket!
Sculpture installation
by Otto Hoerl
commemorating Richard
Wagner at the 2013
Wagner Festival
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Prelude to Act III from Lohgengrin Richard Wagner
Some facts about Richard Wagner
(1813-1883)
Listening and Learning Activities
Activity #1: Listening Map
The rhythm seen on the left is a frequently repeated, ascending pattern in this
piece (“play it again” can be used as a text substitute, or “tri-pl-et ta”). Ask the
students to raise their hand whenever they hear this pattern. How many times did you
hear it total?
This selection from the piece is in ABA format. Play the excerpt for your students and ask
them if they can identify the basic form of the piece. Guide them towards the correct answer.
Ask the students to brainstorm (either individually or in small groups) words that describe the
mood of the piece. Does the mood change during the B section? Why do you think the mood
sounds the same/different? (No wrong answers here; encourage the use of music terminology
such as tempo and dynamic terms.)
Activity #2: Movement
Divide the class into two groups before playing the piece. Give each group a different manipulative
(group 1 could all get beanbags or streamers; group 2 could all get scarves or fairy rings). Remind
them that everyone will be drawing the contour of the brass melody starting in part B, and then will
be moving in fast triplets when part B repeats. For the string triplets they will need to look at the
Parts of the Body cards (VISUAL) to know what body part to move to the fast triplet rhythm.
Part A: Students walk around the room to a slow steady beat, nodding snobbishly at other
students as they walk past each other.
Part B: Both groups stay in place and move their manipulatives. When the section repeats the
groups switch from manipulatives to looking at the Parts of the Body cards.
Activity #3: Making it a game:
Any student who is not following directions gets a point for their team.
Section A: Anyone not walking slowly.
Section B: Any students who aren’t doing the correct movement at the correct time. (Drawing the
melodic contour first and then moving body parts during the repeat.)
Extra points are given to teams who are talking or messing about; points are taken away for team
members who are being especially expressive, participatory.
The team with the least points wins.
Vocabulary: programmatic, fanfare, triplet, brass, strings
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Some Facts about Georges Bizet
(1838-1875)
Carmen: The Story
The opera follows the story of a soldier named Don José, who falls in love with a
Gypsy girl named Carmen. His obsession with Carmen eventually results in him
abandoning his childhood sweetheart and deserting from the military. When Carmen
falls in love with another man, a glamorous toreador named Escamillo, José is consumed by jealousy and kills her. (Please use this synopsis wisely. It is included for your
own information; not all of it is necessary for the students to enjoy the performance.)
Carmen: The Music
Carmen was, and is, Bizet’s most famous work. Carmen
was written in the style opéra comique (having musical
sections separated by sections of dialogue). Although
the opera initially received mixed reviews from critics and
lukewarm interest from the public, it was given rave
reviews shortly after his death. It is still popular and is
frequently performed today. In the opera Carmen,
Escamillo (the bull fighter) is the ultimate sports
hero. When we meet Escamillo, he is surrounded by his
adoring fans. He addresses the soldiers, stating that his
motivations for bullfighting are like a soldier’s
motivations for fighting: glory, celebration, and the love
of beautiful women.
Discussion Question: In the section being performed by the Orlando Philharmonic
Orchestra, Escamillo describes the scene he faces whenever he enters the ring. Have
your students discuss the arena events they’ve attended (concerts, sporting events, or
anything else where thousands of people attended). Have them talk about how it feels
to be an audience member, cheering their favorite team or singer on. Is it similar to
what the toreador describes, even though Carmen was created over 100 years ago?
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The Toreador Song from Carmen Georges Bizet
Bizet was born in Paris, France.
He was a brilliant student at the Paris Conservatoire, eventually winning the prestigious Prix de Rome. The money
earned from the Prix de Rome supported Bizet for 5 years
so that he could continue his studies. He spent two years
in Rome, Italy, before returning to Paris.
He was an exceptional pianist, but rarely performed in
public
Spent some time in the French National Guard during the
Franco-Prussian war
He was known primarily for his operas. His most famous opera is Carmen, but the
initial reception for Carmen was lukewarm. The opera did not receive critical
acclaim until his untimely death, only three months after it first premiered in Paris.
He died at age 36 of a heart attack
Listening and Learning Activities
Activity #1: Listening Map
Practice this repeating rhythm with the class:
Before starting the song ask the class to be ready to play the pattern four times through before
stopping and looking up.
Once the piece is playing, follow the four of rhythm with four measures of steady beat (beat 1,
snap your fingers, beats 2-4 lightly tap your shoulders). Point back to the pattern on the
listening map when it’s about to start again.
This long pattern will continue throughout the Introduction and parts A and B.
During the repeated C section the class will “play” their laps with alternating hands and
staccato (short and light) notes first. During the repeat of C the class will play marcato
(strongly accented).
For an extra challenge have your students roll with the timpani near the very end, cut off with
the timpani, and then close out with the steady beat to the end.
Activity #2: Drum transfer
Take the piece to drums/unpitched percussion
Put the instruments in a large circle, with drums alternating with smaller unpitched percussion
(or big drums alternating with small drums). Try to use unpitched percussion that can be played
with two mallets (temple blocks, wood blocks) to help facilitate the roll at the end of the piece.
The students will play the rhythmic pattern on their instrument, softly, four times.
During the four measures of steady beat the circle will rotate one instrument.
The challenge is to not get so loud at the end that the students can’t hear the music and end up
rushing the beat.
Vocabulary: opéra comique, staccato, marcato, roll, grand pause
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The Toreador Song from Carmen by Georges Bizet
Escamillo
Escamillo
Votre toast, je peux vous le rendre,
señors, señors, car avec les soldats
oui, les toreros peuvent s’entendre;
pour plaisirs, pour plaisirs, ils ont les combats!
Le cirque est plein, c’est jour de fête!
Le cirque est plein du haut en bas;
les spectateurs perdant la tête,
les spectateurs s’interpellent à grands fracas!
Apostrophes, cris et tapage
poussés jusques à la fureur!
Car c’est la fête du courage!
C’est la fête des gens de coeur!
Allons! en garde!
allons! allons! ah!
Toréador, en garde!
Toréador! Toréador!
Et songe bien, oui, songe en combattant
qu’un oeil noir te regarde
et que l’amour t’attend,
Toréador, l’amour, l’amour t’attend!
Toréador! Toréador! L’amour t’attend!
To your toast, I quite have the standing,
Señores, to reply with great delight.
Yes, we toreros have understanding
Of you soldiers, for our pleasures are in the fight!
The ring is full, they’re celebrating!
The ring is full from top to ground;
The crowd goes mad, edgy from waiting,
Breaking into noisy arguments all around!
People shout, people yell and holler
With a din that tears the place apart!
They’re celebrating men of valor!
Celebrating the brave of heart!
Let’s go! On guard!
Let’s go! Let’s go! Ah!
Toreador, on guard!
Toreador! Toreador!
And, as you fight, just think that from above
Dark eyes send down their regard
With promises of love,
Toreador, with promises of love!
Toreador! Toreador! Of love, of love!
Translation © 2004 by Jacob Lubliner
Retrieved from:
http://www.ce.berkeley.edu/~coby/songtr/
carmen/toreador.htm
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Some Facts about Nikolay Rimsky-Korsakov
(1844-1908)
Scheherazade: The Story
One of the most well-known and beloved tales of the Mediterranean, the story of
Scheherazade and her thousand and one tales is truly legendary. The king, once a wise
and just ruler, has been spurned by his wife and out of anger makes a terrible
declaration. Believing that women are inherently evil, he has decreed that he will
marry a different woman every day, banishing her after one night as queen. The
beautiful Scheherazade, daughter of the vizier, hatches a plan: she tells the king a
different story every night, getting to an exciting portion just as the king is about to
retire. In this way, she stays in the palace for a thousand and one nights, earning her
freedom and the love of the king. (Note: Because The Arabian Nights was passed down
through rote, this is an acceptable version to tell students that is less violent while still being true to the
story’s intent.)
Scheherazade: The Music
Written in 1888, Rimsky-Korsakov created four movements, or separate and distinct
parts of a composition. Each movement has several themes that represent main
characters and parts of the story. Using melodies to represent characters is a
compositional device known as leitmotif, an invention of Richard Wagner. The
movement students will hear, the Prince and the Princess, is not meant to tell a
particular story from the Arabian Nights; instead, it makes us imagine a moment in
time when a Prince and a Princess are dancing together, in their own world. This work
will feature dancers from the Orlando Ballet.
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Scheherazade by Nikolai Rimsky-Korsakov
Rimsky-Korsakov was born in Tikhvin, Russia. (The
name “Tikhvin” means “road to the market”, and is
located on commercial river way.)
Began composing at age 10, but developed a love for
the sea and decided to go to school to pursue a Navy
career. While at school his love for music and
composition blossomed, but he still joined the Navy
when he was 18 years old.
For a large part of his life Rimsky-Korsakov balanced
his composing with a career in the Russian military
He was largely self-taught during the first years of
composition. It wasn’t until he was teaching music at
the St. Petersburg Conservatory that he began to
seriously study music theory and an academic approach to composing.
He developed a nationalistic style and frequently used folk and fairy tales as
subjects for his compositions.
He had seven children
In 1890 Rimsky-Korsakov was diagnosed with angina, which became severe by
1907. He died in 1908 at the age of 66.
Listening and Learning Activities
Activity #1: Just Listen
Pass out paper/pencils or white boards. Ask the students to complete two tasks while listening
to the (not yet named) piece for the first time. 1) Write down the names of any instruments that
you hear in the piece and 2) write down some words that describe the mood of the piece, or
what you think is happening in the piece.
After the song is completed ask the students for their mood words and for what instruments
they heard. Write their answers on the board.
Activity #2: Listening Map
Follow along with the listening map, putting checks next to the instruments listed on the board
as they are heard/seen on the listening map.
Activity #3: Expressive Movement
Pass out streamers or scarves. Warm up the class by leading them in some movements with their
streamers: fast, slow, high, low, turning, wiggling.
Moving to the music:
o Option 1: Ask the class to move with the music, following the contours of the melody
and expressing changes in tempo and dynamics. (Any super stars in the class? Maybe they
deserve a Mini Award!)
o Option 2: Divide the class into winds and strings. Each half only moves when their part
of the orchestra is playing. If all instruments are playing then they should follow the contour of their instrument group. (e.g. During the “windy” part of the map, the winds would
be swirling around and the strings would be dipping up and down…in theory.)
o Option 3: Throw in some random challenges!
On-line Resources:
https://www.youtube.com/watch?v=JKlftN0u2ms - Sketch animation of a figure skater
https://www.youtube.com/watch?v=myhCjkEyrTY – Performed on classical guitar
http://www.classicalkusc.org/kids/sche/base.htm - An interactive story of Scheherazade
Vocabulary: movements, leitmotif, cadenza, strings, winds
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Some facts about Richard Strauss
(1864-1949)
I may not be a first-rate composer, but I am a first-class second-rate composer.
– Richard Strauss
Ein Heldenleben: The Story
Richard Strauss was known for writing tone poems, musical works that tell a story. In
Ein Heldenleben, literally translated “A Hero’s Life,” Strauss tells the story of a hero
fighting his enemies. Over the course of “A Hero’s Life,” we see a tale as old as time
itself. We hear the hero described; meet his enemies, companions, and friends; see the
hero in battle; witness the acts of peace he performs when the battle is won; and finally, near the end of his life, a retirement from the limelight and the world.
Choose any legend, whether it is a superhero or a political figure, and it will probably
have elements of this story. Perhaps this is the reason that Strauss chose to use an
anonymous hero rather than dedicating the story to a folk hero or famous soldier. You
will be hearing a portion of the Hero at Battle, but the music takes place after the
battle has been won.
Musical Interlude: Program Music and the Tone Poem
During the Romantic Era, program music was extremely popular. Works such as
Scheherazade by Rimsky-Korsakov and Symphonie Fantastique by Berlioz attempted to tell
stories through music. Many times these musical works would coincide with stories
provided by the composer. The epitome of this genre were the tone poems of
Richard Strauss. These tone poems attempted to create realism in instrumental
music, exploring topics using instrumental music that would have seemed impossible
before. Strauss set literature, legends, philosophy, and even an autobiography to
music, expanding the symphony orchestra repertoire in size and virtuosity. Examples
include Don Quixote, Also sprach Zarathustra, Macbeth, Don Juan, and Ein Heldenleben.
NOTE: The Orlando Philharmonic will be performing Ein Heldenleben in its entirety on its
Opening Night (Saturday, September 28th at 8:30 p.m.)
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Ein Heldenleben by Richard Strauss
Strauss was born in Munich, Germany and was the
son of a horn player.
Wrote his first composition at age six and continued
composing throughout his life
He is well known for his operas, lieder, and orchestral
tone poems.
Strauss was also a popular conductor.
His music was influenced by Wagner.
During World War II he used his clout as an extremely popular German (and
international) composer to protect his son’s wife - who was Jewish - and his
grandchildren.
He died peacefully in his sleep at the age of 85
Listening & Learning Activities
Activity #1: Just Listen
Before explaining the story, have your students listen to this excerpt and describe what they
imagine. Does it sound like a battle? Does it sound triumphant? What do your students hear in the
music? What story did it tell them? Does the story have a happy ending?
Activity #2: Conducting the Tempo
Divide the class in half. Give half of the class batons/pencils/one chopstick, and have them be
the conductors. As expressive conductors they should speed up and slow down with the music,
and their gestures should get bigger or smaller, depending on the dynamic level.
The other half of the class is responsible for identifying when the tempo changes. They are
given two Tempo Cards (VISUAL): accelerando (speeding up) and rallentando (gradual slowing
down).
On-line Resources:
http://www.youtube.com/watch?v=EuLudMgsR5o – “A Hero’s Life” in concert, decent camera
work, some nice instrument close-ups, and you’ll love the clarinetist at 2:13!
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Some Facts about Sergei Prokofiev
(1891-1953)
Lieutenant Kijé: The Story
In the novel Lieutenant Kijé, a clerk accidentally adds Lieutenant
Kijé (who does not exist) to a list of officers who are being
moved up in rank. Over the course of the story Lieutenant
Kijé is blamed for disturbing the emperor’s sleep by yelling in
his courtyard, punished and sent to Siberia, forgiven and
brought back to Russia, married to a woman (Kijé wasn’t at the
ceremony, of course), and promoted to the rank of general. At
the end of this ridiculous tale the emperor decides he needs
someone dependable – such as General Kijé – at his side.
When the emperor sends for Kijé to attend him at his court he
is told that Kijé has died. Distraught at the loss of such a great
officer, the emperor orders a state funeral for Kijé, saying
“Thus passes the glory of the world.”
Lieutenant Kijé: The Music
In 1934 the novel Lieutenant Kijé was turned into a movie, with Prokofiev being asked
to provide the score. Prokofiev took his film score and turned it into a suite (an
instrumental composition consisting of a series of varying movements or pieces). The
orchestral suite outlines five parts of the story:
Kijé’s Birth (when a clerk mistakenly puts him in the registry)
Romance (when Kijé falls in love)
Kijé’s Wedding (when administrators stage a fake wedding for the benefit of the king)
Troika (a journey in the snow using a Troika or horse drawn sleigh)
Kijé’s Burial (Administrators are tired of faking his existence and tell the king he has
died)
Students will hear the movement Troika in its entirety performed with dancers from
the Orlando Ballet.
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Lieutenant Kijé Suite by Sergei Prokofiev
Prokofiev was born in Sontsovka, Russia
He composed his first piece at the age of five
He was also an excellent chess player, winning a
match when he was 13 years old against a future
chess world master
Studied at the St. Petersburg Conservatory (even
taking an orchestration class taught by RimskyKorsakov during his tenure), but was bored by many
of his classes
Considered one of the major composers of the 20th
century
He was an excellent pianist
Popular in elementary music classrooms for his composition Peter and the Wolf
He died at the age of 61 due (most accounts agree) to a cerebral hemorrhage.
Listening & Learning Activities
Activity #1: Listening Map:
Sing through the motif several times to familiarize the students with the slightly challenging
melody. As you repeat it have the students match your body percussion to stay engaged.
Review how to conduct in 4.
Follow along with the listening map.
Activity #2: Dance Transfer:
This dance is done in alley formation, partners facing each other.
Label one line as A and one as B.
Introduction: Line A walks in slowly, bows, and steps back. B does the same after A.
Low brass: Each student turns in a slow circle and then looks dramatically at their partner on
the last low note.
Jingle bell Interlude: Students turn to face each other.
Motif: Students sing the refrain, stepping forward to clap hands against their partner’s hands
on the words “5 parts.”
Pizzicato section:
o Criss cross feet (4 beats)
o Swoop in (partner clap) and out (self clap) twice (8 beats)
o Criss cross feet (4 beats)
o Turn in a circle (4 beats)
o Pose and hold for a second
Brass: You PASS your partner with a do-si-do (on the 16 count times everyone just holds the
second count of 8)
Sneaky Saxophone: slow gypsy, slow reverse gypsy (looking suspicious!)
Coda: Row A bows again, then row B
Vocabulary: suite, pizzicato, meno mosso, allegro, do-si-do, gypsy, alley formation
20
Some Facts about Dimitri Shostakovich
(1906-1975)
Symphony No. 5: The Story
Symphony No. 5 by Dimitri Shostakovich is considered to be one of the most
controversial works in his repertoire. At the time political pressure was forcing many
artists to compose conservatively, avoiding compositions that could be construed as
antagonistic to those currently in power. Shostakovich managed, rather brilliantly, to
craft a symphony that would be seen two different ways. Authorities could find no
fault with it, and the public interpreted it as a blatant expression of the hardships that
they had been suffering under Joseph Stalin. At its premier the ovation went on for
over 30 minutes!
Symphony No. 5: The Music
Just before Symphony No. 5, Shostakovich had undergone a significant change in his
compositional style, including more complexity and avant garde writing. Because of his
visibility in the public, however, he was under tremendous political pressure. There
was so much pressure that his Symphony No. 4 was tabled before it even premiered to
the public. Symphony No. 5 is, on the surface, a peace offering to the political figures
watching his every move. The full title is “A Soviet Artist’s Response to Just
Criticism,” implying that he’d learned his lesson. The public understood the work for
what it was, however; a cry of despair for those lost during Joseph Stalin’s regime.
The portion of Symphony No. 5 played by the orchestra (the very end of the work)
has been criticized because it is unlike the entire symphony; its heroic sound is out of
place. Many people believe that this was the intention of Shostakovich. He created
something that was almost (but not quite) heroic, as if that section was propaganda.
Listening and Learning Activities
Activity #1: Listening Map
Follow along with the map and think about the mood of the piece. Does it sound like
a political statement, or does it sounds more like a song for the everyday man? Why?
Activity #2: Instrument Family Cards
Each student gets one set of instrument family cards (VISUAL). As the piece plays
again hold up the family that corresponds to whatever instrument is highlighted on the
listening map.
Vocabulary: avant garde, orchestra families
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Symphony No. 5 Dimitri Shostakovich
Shostakovich was born in St. Petersburg, Russia
He was a child prodigy as a pianist and a composer.
His Symphony No. 1 was written when he was only 19 years
old and was performed internationally.
He composed music for over 100 films
During World War II he tried to enlist in the military, but was not accepted due to
his poor eyesight.
Shostakovich chose to serve his country by volunteering as a firefighter.
He died of lung cancer at the age of 68.
Guthrie was a singer-songwriter who was born in
Okemah, Oklahoma.
He was well know for folk music, traditional and
political songs, and ballads.
He had eight children.
During the 1930s (a.k.a. The Dust Bowl era) he traveled
to California looking for work. Guthrie learned folk and blues songs from the migrant
workers traveling with him and he was eventually nicknamed the “Dust Bowl
Troubadour.”
Guthrie got a job in Los Angeles singing folk and traditional songs, as well as some
of his original compositions. He also used his radio job as a platform for (often
controversial) social commentary.
His most famous song was “This Land is Your Land”.
During World War II he joined the U.S. Merchant Marine; he was later drafted
into the U.S. Army.
He died from complications due to Huntington’s disease (a progressive
neurological disorder) in New York City at the age of 55.
This Land is Your Land: The Story
When Woody Guthrie first heard Irving Berlin’s classic “God Bless America,” he did
not share a feeling of inspiration like many Americans. He was patriotic in spirit, but
he felt that the song, while inspiring, was not the America he knew. In 1944 he
composed “This Land is Your Land,” originally called “God Blessed America.” He
wanted to write a song that encompassed all of America including the scenery and the
people. Growing up in Oklahoma, Guthrie’s “This Land is Your Land” describes the
American landscape, but it also served as a warning. As someone growing up during
the Dust Bowl, Guthrie wanted American citizens to appreciate that the land was
made for them so that every inch of the United States was considered precious.
This Land is Your Land: The Music
This Land is Your Land is your student’s chance to sing along with a real
orchestra! In order to accommodate the normal student vocal range, students will
sing the first part of this orchestral arrangement in the key of G. Although the
version available for your students is not the orchestral version it is the key in
which they will be singing at the concert.
22
This Land is Your Land Woody Guthrie
Some Facts about Woody Guthrie
(1912-1967)
Some Facts about Michael Giacchino
(1967—)
The Incredibles: The Story
Photo from:
www.michaelgiacchinomusic.com
Who wouldn’t want to be a superhero? In The
Incredibles, we see that sometimes being a
superhero isn’t as easy as we imagine. In the
movie, superheroes have been forced
underground after a series of lawsuits have been
filed against them. This means that these once
legendary individuals have to take mundane jobs
and hide who they really are. When a menace
known as Syndrome threatens to do away with all
superheroes, the Parr family (known as The
Incredibles) bands together, using their
superpowers as a team and saves the day.
The Incredibles: The Music
The Orlando Philharmonic Orchestra will be presenting selections from “The Incredibles.” These themes are jazzy and upbeat, allowing students to experience the orchestra playing in a different musical medium. The recording is different than the version
that will be heard on the concert because it is a concert version.
Discussion question: How is the music of The Incredibles different than other
heroic themes heard in this concert? How is it the same?
23
The Incredibles Michael Giacchino
Born in Riverside Township, New Jersey.
His last name is pronounced “Juh-keen-oh”.
Created his own stop motion animation films when he
was a child
He studied at the School of Visual Arts in New York
(major in film production and a minor in history), Julliard
(music) and UCLA (music).
Has composed orchestral scores for many video games including The Lost World:
Jurassic Park, Small Soldiers, Call of Duty, and the Medal of Honor games.
Composed music for the TV shows Lost, Fringe, Alcatraz, and Alias.
Composed the scores for many feature films: The Incredibles, Mission: Impossible
III, Star Trek, Super 8, Ratatouille, Cars, and Up (for which he won many awards,
including two Grammys and an Oscar).
Worked at Universal and Disney
Is an advisory board member of Education Through Music Los Angeles, an
organization that promotes integrating music into disadvantaged schools.
Website: http://www.michaelgiacchinomusic.com/
Can be contacted via Twitter: @m_giacchino (“Nerd composer who sometimes
composes for Nerds.”)
Learning & Listening Activities:
Activity #1: Listen First
Before playing the selection, ask the students to raise their hand when they think the mood of
the piece has changed.
Ask them to listen for instruments that aren’t usually in the standard orchestra (drum set,
saxophone).
What type of music does this sound like? (Jazz!!)
Activity #2: Conduct
Review how to conduct in 4 and 5. Conduct the beginning in 4, switch to 5 when it gets jazzy.
(There are a few spots of 3; freeze during those brief measures.)
Activity #3: Top Secret Movement
Use the Top Secret Movement Cards (VISUAL) to give instruction to the students on how to
move about the room. You can also combine these cards with the tempo cards to add another
level of difficulty.
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Dynamic cards
forte
piano
mezzo- mezzoforte
piano
forte
piano
mezzo- mezzoforte
piano
William Tell Overture (Rossini)
Introduction!
Gotta aim, gotta aim, gotta aim aim aim….Just a bit higher up than the brain, brain, brain…
If I miss, boo and hiss, it’s a shame shame shame….If I win - - - then we’ll be free again!
(4 x)
Time to conduct!!
Time to conduct!!
Big finish!!
Form cards
A
D
B
E
C
F
Introduction
Interlude
Coda
ABA AB ABC
Verse
Chorus
Bridge
Rossini’s Chant
I:
Romantic Rossini was from Italy
He wrote lots of op’ras with sweet melodies
He made lots of money; he ate lots of food;
He was a fantastic’ly popular dude!
II:
William Tell loved Switzerland
Didn’t like Austria
III:
Aim… Shoot the apple!
Prelude to Act III from Lohengrin (Wagner)
Part A: Stately
Part B: Brass vs. Strings
Body Cards
Head
Shoulders
Fingers
Knees
Feet
Carmen, Act II: Votre toast (Bizet)
Introduction
A
A toast to the toreador!
B
The crowd is going
crazy!
They’re celebrating men
of valor and bravery!
C
Toreador, as you fight…
piano Coda

dark eyes send
promises of love!
forte GRAND
PAUSE!

Scheherazade, Mvmt 3 (Rimsky-Korsakov)
cadenza
Woodwinds…
pizzicato
Tempo Cards
accelerando rallentando
largo
presto
allegro
moderato
ritardando
adagio
Lieutenant Kije Suite, Mvmt 4: Troika (Prokofiev)
Allegro
Introduction
(conduct in 4)
Part A:
Meno mosso
(less motion)
main motif
(pizzicato section)
Part B:
Brass fanfare
Part A: Main Motif + pizzicato section (In 1933…)
Part C: Sneaky Saxophone…
Part B: Brass Fanfare (8 beats)
Part A: Main Motif + pizzicato section (In 1933…)
Part B: Brass Fanfare (16 beats)
Part C: Sneaky Saxophone…
Part B: Brass Fanfare (8 beats)
Part A: Main Motif + pizzicato section (In 1933…)
Coda!
(16 beats)
Symphony No. 4, Mvmt 4 (Shostakovich)
Ritardando
Instrument Family Cards
This Land Is Your Land
This land is your land, this land is my land
From California to the New York Island
From the Redwood Forest to the Gulf Stream waters
This land was made for you and me.
As I was walking that ribbon of highway
I saw above me that endless skyway
I saw below me that golden valley
This land was made for you and me.
Top Secret Movement Cards
Sneak
Hide
Escape!
Ninja
poses!
Danger!
Tiptoe away!
Crawl
Silent evil
laughter!!
Dance
party!
Mini Awards
Rhythm master!
Mallet master!
_________________
_________________
Awarded for doing awesome
work on rhythm!
Awarded for excellence on
the mallet instruments!
HEAR HEAR!
Drama queen!
_________________
_________________
Awarded for excellence in active
listening and observation!
Awarded for excellence in
classroom overacting!
Exceptional
Improviser!
Sensational
Singer!
_________________
_________________
Awarded for being a brave and
brilliant improviser!
Awarded for excellent effort
and sensational singing!
King of the dance
floor!
_________________
Dancing queen!
_________________
Awarded for stellar moves on
the dance floor!
Awarded for stellar moves on
the dance floor
Curriculum connections: NGSSS
The YPC provides learning experiences for 3rd, 4th and 5th grade students; go to
www.floridastandards.org to access documents on the Next Generation Sunshine State
Standards and discover how you can fit the YPC lessons – and your regular classroom curriculum –
into our Florida standards. The NGSSS for The Arts begins with a broad overview of what students
should know and be able to do, organized in these five Big Ideas common to grades K-12:
• Critical Thinking and Reflection: Critical and creative thinking, self-expression, and
communication with others are central to the arts.
• Skills, Techniques, and Processes: Through dance, music, theatre and visual art, students learn
that beginners, amateurs, and professionals benefit from working to improve and maintain skills
over time.
• Organizational Structure: Works in dance, music, theatre and visual art are organized by
elements and principles that guide creators, interpreters and responders.
• Historical and Global Connections: Experiences in the arts foster understanding, acceptance,
and enrichment among individuals, groups and cultures from around the world and across time.
• Innovation, Technology, and the Future: Curiosity, creativity, and the challenges of artistic
problems drive innovation an adaptation of new and emerging technologies.
Under each Big Idea are three K-12 Enduring Understandings that target, in general terms, what
students should learn from the foundations in primary grades through advanced experiences in high
school. From these Understandings teachers develop Essential Questions for planning classroom
lessons. Under each Big Idea and Enduring Understanding are the grade level benchmarks that
explicitly describe what students should know and be able to do. The benchmarks are specific and
measureable, and are identified with this numbering system:
MU.K.C.1.1 = Subject.Grade.Big Idea. Enduring Understanding.Benchmark
These are some of the NGSSS Benchmarks that will be covered during YPC Lessons and
the concert:
MU.3.C.1.1: Describe listening skills and how they support appreciation of musical works
MU.3.C.1.2: Respond to a musical work in a variety of ways and compare individual
interpretations.
MU.3.C.1.3: Identify families of orchestral and band instruments.
MU.3.C.3.1: Identify musical characteristics and elements within a piece of music when discussing
the value of the work.
MU.3.F.2.1: Identify musicians in the school, community, and media.
MU.3.H.1.2: Identify significant information about specified composers and one or more of their
musical works.
MU.3.O.1.1: Identify, using correct music vocabulary, the elements in a musical work.
MU.3.O.3.1: Describe how tempo and dynamics can change the mood or emotion of a piece of
music
MU.4.C.1.1: Develop effective listening strategies and describe how they can support appreciation
of musical works.
MU.4.C.1.2: Describe, using correct music vocabulary, what is heard in a specific musical work.
MU.4.C.1.3: Classify orchestra and band instruments as strings, woodwinds, brass, percussion, or
keyboard.
MU.4.C.3.1: Describe characteristics that make various musical works appealing.
MU.4.F.2.1: Describe roles and careers of selected musicians.
MU.4.H.1.2: Describe the influence of selected composers on the musical works and practices or
traditions of their time.
MU.4.O.3.1: Identify how expressive elements and lyrics affect the mood or emotion of a song.
MU.5.C.1.1: Discuss and apply listening strategies to support appreciation of musical works.
MU.5.C.1.2: Hypothesize and discuss, using correct music vocabulary, the composer’s intent for a
specific musical work.
MU.5.C.1.3: Identify aurally selected instruments of the band and orchestra.
MU.5.C.3.1: Develop criteria to evaluate an exemplary musical work from a specific period or
genre.
MU.5.F.2.1: Describe jobs associated with various types of concert venues and performing arts
centers.
MU.5.F.2.1: Explain why live performances are important to the career of the artist and the success
of performance venues.
MU.5.H.1.2: Compare and describe the compositional characteristics used by two or more
composers whose works are studied in class.
MU.5.H.2.1: Examine the contributions of musicians and composers for a specific historical
period.
MU.5.O.3.1: Examine and explain how expressive elements, when used in a selected musical work,
affect personal response.
In addition, certain Common Core State Standards (CCSS) in Language Arts can be used during
discussions including:
LACC.3.RI.1.1: Ask and answer questions to demonstrate understanding of a text, referring
explicitly to the text as the basis for this answer.
LACC.3.RI.1.2: Determine the main idea of a text, recount the key details, and explain how they
support the main idea.
LACC.3.RL.1.2: Recount stories, including fables, folktales, and myths from diverse cultures,
determine the central message, lesson or moral, and explain how it is conveyed through key details
in the text.
LACC.4.RI.1.2: Determine the main idea of a text and explain how it is supported by key details;
summarize the text.
LACC.4.RI.1.3: Explain events, procedures, ideas, or concepts in a historical, scientific, or
technical text, including what happened and why based on specific information in the text.
LACC.5.RL.1.2: Determine a theme of a story, drama, or poem from details in the text, including
how characters in a story or drama respond to challenges or how the speaker in a poem reflects
upon a topic; summarize the text.
Music and Other Learning
Music teachers will want to share these curriculum connections with students, classroom teachers,
administrators and parents.
• Social Studies: Historical context of our national anthem
• Science: Knowledge of the properties of sound and how it is created
• Literature: Understanding how the written word can inspire other creative arts (Scheherazade,
Lieutenant Kije)
• Reading Skills: Suggested book titles provide an opportunity for teachers to read aloud to
students, providing a model of fluency. Classroom discussion of the musical selections and the
composition process will strengthen vocabulary and comprehension skills.
• Compare and Contrast: Use thinking maps or graphic organizers to describe what is heard in a
musical selection or what happens in a story.
Resources and References
Recommended Books
The Star-Spangled Banner by Peter Spier
The Story of the Orchestra by Robert Levine
The Remarkable Farkle McBride by John Lithgow
The Story of the Incredible Orchestra by Bruce Koscielniak
Bravo! Bravo! A Night at the Opera by Anne Siberell
Recommended Videos
Amazing Music – a four video series of youth concerts by the Dallas Symphony Orchestra
Disney’s Fantasia and Fantasia 2000
Internet – Online Resources
The Orlando Philharmonic Orchestra home page: www.orlandophil.org
Websites with activities for students and teachers:
San Francisco Symphony Orchestra – www.sfskids.org
Dallas Symphony Orchestra – www.dsokids.com
New York Philharmonic Kidzone – www.nyphilkids.org
Assessment of Student Learning
Informal assessment: The active listening experiences provide many opportunities for assessment
of students’ skills in singing, playing, listening and analyzing through teacher observation and
peer/self assessment.
Pre- and Post-Test: These questions may be used before and after the concert as a pre- and posttest of student learning. Provide students with individual papers or engage in a group discussion.
1) Explain what a fanfare is.
2) Name a composer who wrote a song based on a story and describe that story.
3) How can music be used to protest something that the composer believes is wrong?
Paragraph Frame: This activity may help students organize and personalize their thoughts about
the concert experience. Share this activity with the classroom teachers.
Orlando Philharmonic Concert – Heroes & Legends
Before I went to the concert I thought
After we arrived, I found out that
When I first heard the music, it made me feel
The most interesting part of the concert was
I can use music to express myself by
I wish that in the future