Non-Directed Music Listening Program · 2016-04-01 · Non-Directed Music Listening Program Script...

Non-Directed MusicListening Program

Series III

Non-Directed Music Listening Program Script Series III

Week 1

Day 1:This week’s listening selection is “Minuet in G, No. 2” by Ludwig von Beethoven.

A minuet is a graceful dance. A man greets his partner with a bow then, hand-in-hand, leads her through a series of smooth and delicate movements. It is thesmall steps and gestures that give the dance its name – minuet which comes froma word that means small or minute. This is quite a contrast to the popular dancesof today – such as Texas Line Dancing.

Day 2:This week we are listening to Ludwig von Beethoven’s “Minuet in G, No. 2”.

Between the 1600’s and the 1800’s, the minuet was the most popular dance inwhich ladies and gentlemen of the court gracefully moved through a series ofsmall but intricate steps. You were not allowed membership in the king or queen’scourt unless you had memorized the steps and patterns to the many differentminuets. Today as you listen, think about all the dance moves you know. Wouldthey fit with the music? Can you imagine how the men and women looked as theyglided effortlessly across the polished floors?

Day 3:This week’s listening excerpt is “Minuet in G, No. 2” written by the famous Germancomposer, Ludwig von Beethoven.

Yesterday , you listened to see whether or not the dance steps you know would fitwith the “Minuet in G, No. 2”. Most of you probably discovered that the movesyou’re familiar with aren’t suitably matched to the music of this minuet. The minuetstarts out smoothly with the string section of the orchestra. Listen today for thesound of the double bass. The four-stringed double bass is the grand-daddy ofthe violin family and its deep voice generally acts as a foundation for the rest of theorchestra.

Composer: Ludwig von Beethoven (1770 – 1827)Composition: Minuet in G, No. 2Performance: Philadelphia Orchestra, Eugene OrmandyRecording: CBS Masterworks Dinner Classics: The Viennese Album CBSMFK 45545


Day 4:This week we are listening to German composer Ludwig von Beethoven’s “Minuetin G, No. 2”.

The double bass line starts on the first strong beat you hear but the violins startjust before that. Your music teacher has probably talked about something calledan anacrusis. An anacrusis, or upbeat, starts a piece on a less emphasized beat.“Ana” means before, “crusis” means on or at the same time. Listen to see if youget the feeling that the violins begin on a less stressed or less important beat thanthe double bass which starts on the first strong beat.

Day 5:Today we are listening to “Minuet in G, No. 2” by Ludwig von Beethoven.

Yesterday were you able to hear the anacrusis played solely by the violins at thevery beginning of the minuet? It requires good listening skills to perceive that typeof musical detail.

Many of you probably know a bit about the German composer, Beethoven. Hewas the composer who lost his hearing. Because he was unable to hear thesounds of the outside world, he was forced to rely on his inner hearing andmemory for the last twenty years of his life. Imagine being deaf yet able tocompose such beautiful music. Truly he was a talented person.

Non-Directed Music Listening Program Script Series IIIWeek 2

Day 1:This week’s listening selection is the “Polovtsian Dances” written by AlexanderBorodin.

Borodin was captivated by the native music of Russia. His special interest was thesoutheastern sounds which had a distinctly oriental quality.

Listen today to the two contrasting parts of this excerpt. The first is ratherhaunting and the melody is performed by the human voice whereas part two isentirely orchestral and much quicker.

Day 2:Alexander Borodin wrote this week’s listening selection, the “Polovtsian Dances”.

The “Polovtsian Dances” are from the second part of Borodin’s opera “Prince Igor”.There are two sections to this excerpt. In the first, the melody is sung and in thesecond it is played by the orchestra. In the first portion, the voices sing in unison,that means that they all sing the same notes at the same time. What adds interestis that initially they are accompanied by an oboe which plays in unison with thevoices. Listen today to see if, at the beginning, you can hear that the voices andthe oboe are all ‘singing’ the same notes at the same time – in unison.

Day 3:This week we are listening to Russian composer Alexander Borodin’s “PolovtsianDances”.

In this excerpt we hear two distinct styles of music yet they are joined together andform part of the larger operatic work, “Prince Igor”. Part one is sung and part twois entirely orchestral. The two portions are joined by one measure or four beats ofvery quiet repeated notes played by the string section. Listen today to see if youlike the way Borodin connected the two dances or do you think, musically, therecould be a better way?

Composer: Alexander Borodin (1833 – 1887)Composition: “Polovtsian Dances”Performance: London Symphony Orchestra, Sir Georg SoltiRecording: Weekend in Russia London 417 689 2


Day 4:The “Polovtsian Dances” by Alexander Borodin is this week’s listening selection.

In the second dance, the music is strictly orchestral. It is considerably faster andthe style is radically altered from the first dance. Although it sounds happier, it stillhas a somberness about it. This melancholy quality arises as a result of Borodin’suse of the Asiatic or more oriental sounds. Listen today to see if you can imaginethe Mongolian warriors dancing wildly and spinning around a campfire late into thenight.

Day 5:This week’s listening selection is an excerpt from Alexander Borodin’s Opera“Prince Igor”, titled “Polovtsian Dances”.

Today when you listen, see if you can identify any of the instruments you play inyour music class. Very faintly in both sections you can occasionally hear axylophone. If you play in the school band, you will recognize quite a few familiarinstruments, especially in the second part. There is also a long section in dancetwo where the tambourine plays an important role.


Day 1:This week’s listening excerpt is the “Tarantella” from the ballet “The FantasticToyshop” by Ottorino Respighi.

A tarantella is an Italian folk dance. This particular tarantella is extremely quick.The mood is one of excitement and this feeling never relaxes throughout the entirepiece. This tension is maintained using a variety of musical techniques which Iwant you to listen for today. Those techniques are:

1. Sudden, unexpected bursts of sound from very soft to very loud.2. Quick shifts from major to minor modes, that is happy to more sad orreflective sounding music.3. The use of the tambourine to accent certain beats.

Day 2:This week’s listening excerpt is the “Tarantella” from the ballet “La BoutiqueFantasque” or in English “The Fantastic Toyshop”. The music was written byRossini and arranged as a ballet by Ottorino Respighi.

The dance, the “Tarantella”, is said to have originated from the tarantula spider.Supposedly, if you were bitten, the faster you danced the more likely you were tosurvive the spider’s deadly bite. It is considered unlucky to dance the tarantellaalone so Respighi choreographed the piece for two people. In this ballet, the twodancers happen to be mechanical dolls displayed in a fantastically full and excitingtoyshop. The dancers are accompanied by a tambourine.

Composer: Ottorino Respighi (1792 – 1868)Composition: “Tarantella” from “La Boutique Fantasque”Performance: Philadelphia Orchestra, Eugene OrmandyRecording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658


Day 3:Rossini is the original composer of this week’s listening selection “Tarantella”.Ottorino Respighi arranged and choreographed the ballet “The Fantastic Toyshop”using Rossini’s music.

The ballet takes place inside a toyshop. One day two families happen to goshopping in the store, simultaneously looking at the mechanical dolls featuredthere. Upon seeing the two Italian peasant dolls dancing the “Tarantella”, thechildren from both families begin imitating the dancers and, of course, both sets ofparents want to buy the dolls. An argument ensues but it is settled once it isdecided that each family will take one doll and thus, break up the pair. They paythe shopkeeper saying that they will return for the dolls the next day.

Day 4:This week’s listening excerpt is the “Tarantella” from Respighi’s ballet “La BoutiqueFantasque” or “The Fantastic Toyshop”.

Yesterday you heard that the pair of dolls that dance the “Tarantella” werepurchased but the set had to be split between two separate families. After theshopkeeper puts the dolls away, the shop is closed for the evening. All the dollsand toys proceed to come to life and the Italian peasant dolls who dance the“Tarantella” decide to hide as they don’t want to be sold separately to differentfamilies. The next day, when the families come to get the dolls, they open the lidsof the boxes and find nothing! They get very angry with the shopkeeper butsuddenly the dolls and toys all come to life and drive the customers out. When thetwo families peer back into the shop window, the “Tarantella” dancers are dancingthe can-can circling around the happy shopkeeper.

Day 5:Ottorino Respighi’s “Tarantella” is this week’s featured listening selection.

The “Tarantella” music is fast and exciting. Listen today to see if you can hearexactly how the excitement is maintained. Listen to contrasts in loud and softvolume, the shrill and high pitched sounds of the piccolo or “little flute”, thetambourine accenting the rhythm accompanying the dancers and the melodywhich is repeated over and over, almost hypnotizing the listener the way it spinsaround and around.


Day 1:Dmitri Shostakovich wrote this week’s listening excerpt – “Polka” from the ballet,“Age of Gold”.

The ballet is about a Soviet soccer team which, upon arriving at the WorldTournament, is met by a group of racist people who don’t want the Soviets toparticipate. Each dance represents a different sports event such as boxing,tennis, soccer, etc. and each sports event is represented by a particular style ofdance. Shostakovich uses fox-trots, tangos, can-cans, tap dances and, of course,the polka. In the end the Soviets win their soccer match, their team captain isarrested by ultimately freed by the people.

Day 2:This week’s listening excerpt is the “Polka” from Dmitri Shostakovich’s ballet “TheGolden Age”.

A polka is a dance that originated in Bohemia around 1830. It became verypopular creating a kind of “polkamania” until around the end of the century.Shostakovich wrote the “Polka” sometime between 1927 and 1930. Some of youhave probably seen or even danced the polka yourself. When you listen today, tryto determine if you think this was a typical polka of the 1800’s or do you think thatShostakovich threw a few surprises into the ballet music?

Day 3:Dmitri Shostakovich wrote this week’s featured listening selection “Polka” from hisballet “Age of Gold”.

Yesterday you listened to see if you thought this was typical polka music. Did youfeel it would be easy to polka to this music? It’s almost easier to imagine a teammascot amusing the crowd rather than a soccer team intensely trying to win aworld tournament. This rather humorous effect is created by using a variety ofinstruments. After the introduction is played by the clarinet, bassoon andtrombone, the xylophone takes over with the main thematic material. Listen today

Composer: Dmitri Shostakovich (1906 – 1975)Composition: “Polka” from the “Age of Gold”Performance: Philadelphia Orchestra, Eugene OrmandyRecording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658

Non-Directed Music Listening Program Script Series IIIto see if you can follow that xylophone melody or one of its variations throughoutthe “Polka”.

Day 4:The “Polka” from the ballet “Age of Gold” composed by Dmitri Shostakovich is thisweek’s listening selection.

Yesterday you tried to follow the theme or some variation of it throughout the“Polka”. It is easy to recognize the first and last time it’s heard because thexylophone plays the theme both times. In between though, bits of the melody orfragments can be heard on the clarinet, English horn, oboe, flutes, trombone andstrings. The melody is accompanied by an oom-pah-pah rhythm playeduncharacteristically by the strings and fleetingly by the bassoon. The bassoon is areed instrument that plays very deep, rather nasal sounds. (Remember the soundof grandfather in Tchaikovsky’s “Peter and the Wolf”?)

Day 5:Dmitri Shostakovich composed this week’s listening excerpt “Polka” from the ballet“Age of Gold”.

In this polka the featured orchestral instruments are not the typical violins nor arethey playing a beautiful, tuneful or lyrical melody line. Rather, the brittle melodydances all over the place being very staccato and not particularly easy to follow orremember. It has all kinds of “jagged edges” that are not expected by the listener.Imagine being the choreographer for this ballet. What kinds of moves andcostumes would you design for the “Polka”?


Day 1:This week’s featured listening selection is the “Imperial March” from “The EmpireStrikes Back” by John Williams.

“In a galaxy far away ..” Darth Vader continues his relentless search for LukeSkywalker. The Death Star has been destroyed but the rebel forces continue tobe pursued by the vicious Imperial Army. Skywalker is the leader of a band offreedom fighters trying to stay hidden from the dreaded Imperial Starfleet. DarthVader knows that it is Luke’s destiny to become a great Jedi warrior capable ofdefeating the evil empire and the Imperial Troops which Vader controls.

Day 2:John Williams’ “Imperial March” from “The Empire Strikes Back” is this week’sselected music.

Trained by the Jedi Master, Yoda, Luke Skywalker spends much time finding andlearning to control “the power’. Cutting his training short, Skywalker is tricked intocoming to the rescue of Princess Leia, Han Solo, Chewbacca and R2D2. Once inVader’s evil clutches, Skywalker finds his power to escape in the strength ofYoda’s immortal words “TRY NOT… DO OR DO NOT!” Although Luke does notmanage to defeat Darth Vader, he does elude being captured.

Day 3:John Williams wrote this week’s listening excerpt “Imperial March” for thesoundtrack for the movie “The Empire Strikes Back”.

In the Webster Dictionary, imperialism is defined as “the policy of seeking toextend power, dominion or territories of a nation”. This is the intent of the Emperorand his general, Darth Vader: to conquer and control the entire galaxy. Every timethe Imperial Troops advance against the rebel forces you hear a portion ofWilliams’ “Imperial March”. The music is menacing, starting with the low strings,percussion and clashing cymbals you know instantly that the Imperial Starfleet isthreatening to destroy anyone or anything standing in their path. Williamsgradually adds the brass instruments as the army advances.

Composer: John Williams ( - )Composition: “Imperial March” from “The Empire Strikes Back”Performance: Cincinnati Pops Orchestra, Erich KunzelRecording: Digital Super Sampler Telarc CD-00007


Day 4:This week’s featured listening selection is the theme from “The Empire StrikesBack”, the “Imperial March” by John Williams.

Williams is a master in matching appropriate music with film scripts. In the“Imperial March”, the music is full of crescendos and sudden diminuendos. Thedynamic contrasts are created first by layering the strings, percussion or drums,trumpets and trombones and then by having them play louder and more insistentlyuntil we hear a crashing, cannon-like blow on the bass drum. Instantly adescrescendo is created by changing the instruments and styles of playing. Themusic becomes soft, almost star-like, as the flutes imitate the twinkling stars withfluttering staccato notes. You can easily envision the immense Imperial Armypursuing their prey, sometimes as a huge, conquering force and sometimesdeviously setting their trap.

Day 5:The “Imperial March” by John Williams from “The Empire Strikes Back” is thisweek’s listening excerpt.

Marching forever onward, suffering delays but never total defeat, the “ImperialMarch” successfully exemplifies and accompanies the constant forward motion ofDarth Vader and his Starfleet. The main theme is played by the brassinstruments, principally the trumpets and trombones. The ancestors of the brassfamily were animal horns and conch shells. In both instances the horn was usedas a cal to alert, to warn of impending danger or attack. During the movie, everytime the “Imperial March” or even a fragment of it is played, we make this soundassociation; the horns signaling action from the advancing Imperial Army.


Day 1:This week’s listening selection is Antonio Vivaldi’s “Concerto for Two Trumpets inC Major”

The word “concerto” means “to fight side-by-side” or “to compete as brothers-in-arms”. The concerto is aptly named because the solo instrument or small group,in this case, the two trumpets and small stringed ensemble, compete for equalplaying time with their partner – the Baroque orchestra. It is intended to be arelatively equal relationship between two different families of musical instruments.

Day 2:This week we are listening to Antonio Vivaldi’s “Concerto for Two Trumpets in CMajor”.

Vivaldi lived during the time which historians call the Baroque era. Vivaldicomposed many concerto grosso, a popular Baroque musical style, in which thesolo group alternated playing with the larger orchestra. This style, one of takingturns, is quite evident in the “Concerto for Two Trumpets”. Listen today to see ifthe two trumpets and the small orchestra, which includes a harpsichord, all getequal opportunity to show off their technical ability.

Day 3:This week’s listening selection is the “Concerto for Two Trumpets in C Major”composed by Antonio Vivaldi.

In the concerto grosso, the small group of instrumentalists is called the“concertino”. In this case the “concertino” consists of two trumpets and severalstringed instruments. The large group or Baroque orchestra is called the “ripieno”.There is one instrument that you can hear faintly throughout the entire piece. Itlooks and is played like a piano but sounds differently. It is called a harpsichord.Small picks made of bird quills or hard leather pluck the strings when the keys arepressed. The resulting twang is similar to a guitar. Listen today to see if you canhear the harpsichord continuing throughout the concerto.

Composer: Antonio Vivaldi (1678 – 1741)Composition: Concerto for two Trumpets in C MajorPerformance: Academy of St. Martin-in-the-Fields, Sir Neville Mariner

Trumpets: Philip Jones and John WilbrahamRecording: Baroque Weekend London 417 688-2


Day 4:The “Concerto for Two Trumpets in C Major’ was composed by Antonio Vivaldi inthe early 1700’s.

In this piece, the “concertino” or small group which includes the trumpets starts outplaying with the larger group or “ripieno”. Usually the concertino and ripienoalternate parts but, for the first section of this concerto, they play together. If youlisten carefully you will hear fragments of this melody returning throughout theconcerto played on instruments from both groups, the concertino and the ripieno.

Day 5:This week’s listening excerpt is the “Concerto for Two Trumpets in C Major” by thefamous Baroque composer, Antonio Vivaldi.

The word “Baroque” refers to the time period between 1600 and 1750. The wordcomes from the Portuguese “barrocco” which means “a pearl of irregular shape”.Many artists and musicians of the time were accused of too many irregularities intheir work. It was felt by many critics that simplicity was better and more beautifulthan the fancy, ornamented and elaborate art and music being produced duringthe Baroque era. Maybe that’s why the resulting comparison with the unusual butunique shape of the baroque pearl. Vivaldi was instrumental in changing theshape of the concerto grosso from a vocal work with instrumental accompanimentinto the form that we hear in the “Concerto for Two Trumpets in C Major”.


Day 1:This week’s listening selection is taken from the third and fourth movements of the“Symphony No. 2” by Jean Sibelius.

Sibelius was born in Finland in 1865. His style of music was representative of hishomeland but, differing from many other composers we’ve talked about, he did notuse the folk songs of his country. Rather, he tried to paint a musical picture of thebeautiful Finnish countryside. Today, as you listen, try to imagine what thatcountryside looks like.

Day 2:This week’s listening excerpt is from “Symphony No. 2, Movements III and IV” byJean Sibelius.

This excerpt begins part way through the third movement of the entire symphony.The first melody you hear is played on the oboe. Part of this simple theme is thenrepeated by the clarinets, flutes and strings, then the oboe returns. Listen today tosee if you can recognize the different sounds of the oboe, clarinets, flutes andstrings – particularly the cello.

Day 3:The Finnish composer, Jean Sibelius, wrote this week’s listening selection“Symphony No. 2”. We are listening to an excerpt from the Third and FourthMovements.

The excerpt begins with a very simple but lovely theme played by the oboe andpartially repeated by the clarinets, flutes and cello. The oboe then returns but themelody is slightly altered: instead, the repeated notes begin to ascend or go up themusical scale. This creates a change in the mood from one of peace andtranquility to one which is more restless and exciting.

Composer: Jean Sibelius (1865 – 1957)Composition: Symphony No. 2, Movements III – IV (excerpt)Performance: Cleveland Orchestra, LeviRecording: Telarc Sampler Volume 3 Telarc CD 80003


Day 4:This week we are listening to an excerpt from the Third and Fourth Movements of“Symphony No. 2” by Jean Sibelius.

The solo voice of the oboe is heard at the outset of this excerpt playing a beautiful,haunting melody. After hearing the theme, the music changes into somethingconsiderably more dramatic. The full orchestra quickly crescendos, as moreinstruments are added. The violins are most obvious as their part dominates as itrises and falls above the deeper brass, cello, double bass and drum parts.

Day 5:Jean Sibelius composed this week’s listening selection “Symphony No. 2” in 1901.

This excerpt is full of many changes in mood, comparable to the feelings onewould get in ever-changing scenery of the Finnish countryside. It starts simply butquickly becomes more tempestuous and exciting. Sibelius makes this change bycreating something like the sound of a fanfare, dominated by the brassinstruments. The music seems to slow down and become stronger and moretriumphant. At the very end of the excerpt you hear a rather ominous melodybeing played on the double bass, making you wonder about what will happen next.


Day 1:This week’s listening selection is the “Miller’s Dance” by Manuel de Falla (Fah-yah).

Manuel de Falla was born in Spain. His music is generally based on Spanishdance rhythms. Dance is an important part of the life in Spain. It is most oftenperformed with traditional instruments such as guitars, castanets and tambourines.The “Miller’s Dance” is performed solely by a very accomplished guitar player.The people of Spain claim that de Falla’s music represents the REAL Spain.

Day 2:Manuel de Falla composed this week’s listening selection, the “Miller’s Dance”.

The “Miller’s Dance” is a guitar solo: solo meaning to do something by yourself.The guitar, as an instrument, is thought to be about 5,000 years old. Guitarsoriginated with the Pharaohs in Egypt but were brought to Spain by the Romansaround 100 B.C. By 500 A.D., the guitar had become Spain’s national instrument.De Falla’s compositions are considered to truly represent the sounds of nativeSpanish music. It seems appropriate that much of his work was composed for thenational instrument – the guitar.

Day 3:This week’s listening excerpt entitled “Miller’s Dance” was written by Manuel deFalla at the beginning of this century.

Dance has always been an important part of Spanish life and Spanish culture.Each of the forty-three provinces in Spain has their own characteristic dances andtraditional costumes. The “Miller’s Dance” is a guitar solo, however, if a Spanishdancer were to join in, to perform the “Habanera” or Spanish tango, they wouldbring their castanets. Try to imagine one or two flamboyantly costumed dancers,castanets clicking, gracefully moving to the rhythms of this exotic music?

Composer: Manuel de Falla (1876 – 1946)Composition: “Miller’s Dance”Performance: John Williams, guitarRecording: A Taste of Spain CBS WMFK 46358

Non-Directed Music Listening Program Script Series IIIDay 4:Manuel de Falla composed this week’s featured listening selection “The Miller’sDance”.

The word castanet comes from the word chestnut, a round thin-shelled nut. Eachcastanet is made up of two small hollow, shell-like pieces of wood. In each hand,the dancer loops the castanet over their fingers and clicks them together toemphasize the rhythm and beat of the music. Arms move gracefully, encircling thebody and head of the dancer, all the while keeping the castanets clicking. Thereare three basic sound for the feet: striking of the heel, striking of the toe andstriking of the full sole. In this excerpt you hear only the guitar so your imaginationhas to create the vision and sound of the accompanying dancers.

Day 5:The “Miller’s Dance” composed by the famous Spaniard, Manuel de Falla, is thisweek’s featured excerpt.

At points in the “Miller’s Dance”, it is hard to believe that just one solo performer isable to simultaneously make all the different sounds on a single guitar. The indexand third fingers play most of the melody notes while the thumb and fourth andfifth or baby finger play the chordal accompaniment or background sounds. Themusic moves to a climatic ending using a crescendo, getting louder, and anaccelerando, getting faster.


Day 1:This week’s listening excerpt is the “Polonaise in A flat, Opus 53” by FredericChopin.

Chopin is often referred to as the “poet of the piano”. Although he never gavepoetic names to his pieces, they invariably paint a picture in your mind. In all ofChopin’s twelve polonaises, he was focusing on the glory and splendor of Polandin its earlier days. He remembered her powerful armies, her wealthy cities and herhappy people. He also re-lived in his music the grandeur of the statelyprocessions for the king. Chopin called this piece simply by key, A flat and bynumber, Opus 53. Further generations have nicknamed it the “heroic” polonaise.See if you think this name is fitting. Is the music heroic: full of conquest, braveryand glory?

Day 2:The “Polonaise in A flat, Opus 53” was composed by Frederic Chopin.

Yesterday you discovered that Chopin’s music can create a picture or story in yourmind. This polonaise has been nicknamed the “heroic” polonaise because Chopinwas thinking about the king’s court and all the achievements of the Polish people.Chopin left Poland when he was twenty years old. After that, Poland was takenover by Russia and Chopin never returned. For all of us, good memories often getbetter the longer we think about them. For Chopin, his love and devotion toPoland only got stronger through his years of absence. As a result, hiscompositions contain memories of Poland brought to life through native folk songsand music that reflects the greatness of the country Chopin remembered sovividly.

Composer: Frederic Chopin (1810 – 1849)Composition: Polonaise in A flat, Opus 53 “Heroic”Performance: Ernst Frager, pianoRecording: Telarc Sampler Volume 2 Telarc CD 80002


Day 3:Chopin was thirty-two years old when he composed this week’s listening selection“Polonaise” in A flat, Opus 53”.

The polonaise is a Polish dance. It is ideal for slow marching and was originallyused as processional music in the ancient Polish courts. The excerpt you hear isnot the entire polonaise. We begin in the second portion of the work which startswith six repeated chords. On the seventh repetition, the left hand begins rapidlyplaying a repeated passage of octaves. By tomorrow, see if you can find out whatit means if a pianist plays in octaves.

Day 4:This week’s listening selection was composed by Frederic Chopin in 1842 and isentitled, “Polonaise in A Flat, Opus 53”.

For a pianist to play in octaves, they must stretch their fingers on the piano fromdoh to doh, eight notes apart. It is not too difficult for a very short while but the“Polonaise in A Flat” requires the performer to play very quick octaves with the lefthand for a full two minutes of this four minute piece. Imagine spreading the fingerson your left hand as wide as possible, freezing in that position and bouncing themup and down as fast as you can for about two minutes. The pain soon becomesunbearable and pretty soon the bounce becomes less and less coordinated andless even.

Day 5:Frederic Chopin wrote this week’s listening selection “Polonaise in A flat, Opus 53”when he was thirty-two years old.

Chopin loved his homeland, Poland. All his music reflects a piece of history or thephysical beauty of that country. Tragically Chopin left Poland in 1830 when hewas twenty. He never returned and died at the age of thirty-nine of tuberculosis.He was a perfectionist and spent days and weeks polishing his music, sometimeshe discarded his compositions, feeling that they weren’t good enough. All hismusic is full of beautiful, sweet melodies, contrasting with exciting, thunderous orvery quick passages. Once again, the “Heroic” Polonaise.


Day 1:This week’s listening selection is the “1812 Overture” composed by Peter IlyichTchaikovsky.

This overture was written in the year 1880, 68 years after the events which itcommemorates. Early in the 1800’s, the famous French leader, NapoleonBonaparte invaded Russia. The Russians were victorious over Napoleon in theyear 1812, thus the “1812 Overture”. The piece includes fragments of both theFrench and Russian National anthems, as well as the booming of cannons and thepeeling of church bells.

Day 2:The listening excerpt this week is Peter Ilyich Tchaikovsky’s “1812 Overture”.

Yesterday you learned that the “1812 Overture” was composed to celebrate theRussian victory over Napoleon and his French army. Did it sound like a victorymarch to you? Tchaikovsky planned for the piece to be performed on the banks ofthe Moskva River. Being as it was outdoors, he employed the use of realcannons, a large brass band and church bells from neighbouring cathedrals.Tchaikovsky was quoted as saying “The Overture will be full of sound and fury”.Listen today to see if Tchaikovsky succeeded in achieving his goal.

Day 3:The Russian composer, Peter Ilyich Tchaikovsky, composed this week’s listeningselection, the “1812 Overture”.

It is difficult for orchestras to duplicate the sound of the original 1882 performanceof the “1812 Overture”. It is indeed a piece full of “sound and fury”. For insideperformances the church bells are copied by the chimes and the orchestra andbrass band are scaled down considerably. The sound of the cannon is usuallyreproduced by a tape of a real cannon shot. You can imagine the difficulties thatwould arise if one were to use a real cannon inside a concert hall such as theOrpheum.

Composer: Peter Ilyich Tchaikovsky (1840 – 1893)Composition: “1912” OverturePerformance: Cincinnati Symphony Orchestra, KunzelRecording: Telarc CD Sampler Volume 3 Telarc CD 80003


Day 4:This week you are listening to Peter Ilyich Tchaikovsky’s “1812 Overture”.

Today as you listen, see if you can identify some of the ways in which Tchaikovskycreates excitement in the music. Part of the effect is achieved by the sheervolume of sound but he also used many contrasts in both dynamics (louds andsofts) and in the combination of instruments. The strings create the effect ofsomeone or something fleeing a stronger force – represented by the brassinstruments. Tchaikovsky successfully makes one feel the drama between thevictorious Russians and the defeated and fleeing French forces led by Napoleon.

Day 5:The “1812 Overture” by Peter Ilyich Tchaikovsky is this week’s listening excerpt.

In order to truly represent the Russian people in this overture, Tchaikovsky used alot of folk music from his homeland. You can understand why this piece was sopopular right from the first performance. It must have made the Russian peoplefeel strong, proud and united in victory over their enemies. Music has a way ofdrawing people together for a cause and Tchaikovsky took full advantage of thisknowledge, creating something powerful, beautiful and full of splendor.


Day 1:Our featured listening selection for this week is entitled “Triton (Try-tuhn) Fountainat Morn” from “The Fountains of Rome” by the Italian composer, Ottorino Respighi(ress-PEE-ghee)

Respighi loved the famous fountains in the city of Rome, Italy. Then, as now,these fountains were well-known for their splendid statues and impressivecascades of water. Respighi spent many hours at the fountains, hoping todiscover at what hour each fountain was the most beautiful. In his composition,“The Fountains of Rome”, he tried to capture the spirit of four of these fountains atdifferent times of the day. At the beginning of this selection, “The Triton Fountainat Morn”, listen for a blast of horns which herald in the new day.

Day 2:This week’s listening selection is “The Triton Fountain at Morn” from “TheFountains of Rome” composed by Ottorino Respighi.

Respighi’s music is a tone poem – music which expresses the feelings evoked byan event, idea, or thing with the image portrayed through the music. To introducethe “Triton Fountain” Respighi wrote “a sudden loud and insistent blast of hornsabove the trills of the whole orchestra”. This call awakens the statues of the waternymphs and also the statues of Triton, god of the sea, which surrounds thefountain. “Triton” in Greek and Roman mythology is a god of the sea, the lowerpart of his body is like that of a fish. The god Triton is really like a “merman”,instead of a “mermaid”. Respighi imagined these water creatures chasing eachother through surging jets of water. As you listen to the music, can you see in yourmind’s eye, the Triton Fountain in the early morning?

Composer: Ottorino Respighi (1792 – 1868)Composition: “Triton Fountain at Morn” from the “Fountains of Rome”Performance: Atlanta Symphony Orchestra, LaneRecording: Telarc Sampler Volume 3 Telarc CD 80003

Non-Directed Music Listening Program Script Series IIIDay 3:This week, we are listening to “The Triton Fountain of Morn” from “Fountains ofRome” by Ottorino Respighi.

Respighi was a twentieth century composer who was influenced by a movementcalled Impressionism. Impressionist composers tried to express a mood,atmosphere, or emotion through their music. Respighi especially loved theatmosphere or mood of the Triton Fountain in Rome in the morning. Through hismusic, Respighi painted a picture of the beautiful fountain, creating the impressionof swirling water. The high sounds of the water are produced by the triangle, bells,and high strings.

Can you hear this – the tumble and crash of the swirling water of the fountain?

Day 4:Today, we will again listen to “The Triton Fountain of Morn” from the “Fountains ofRome” by Ottorino Respighi, an Italian Impressionist composer.

The music beings with a powerful French horn which heralds in the new day. Ifyou listen carefully to the French horn, you may notice that it continuously repeatsthe same note, middle C, throughout the piece, even as the music swirls andbuilds to a crescendo above. As we listen to the music, we can almost feel thespray on our faces!

Day 5:This week, we have been listening to “The Triton Fountain of Morn” from“Fountains of Rome” by Ottorino Respighi.

Respighi was an Italian composer who died in 1936. Much of his music describedhis feeling evoked by an event, a place, or thing. In “Triton Fountain of Morn”,Respighi uses the techniques of rapid scale passages, crescendo anddecrescendo (getting louder and softer), and the high sounds of the bells andtriangles, and strings, to produce the effect of swirling water.

Listen to the “Triton Fountain at Morn” and try to imagine the morning sun and thesplashing water.


Day 1:This week’s listening selection is entitled “A Song About Alexander Nevsky” writtenby the Russian composer, Sergei Prokofiev.

This song is taken from the score of a famous Russian movie called “AlexanderNevsky” produced in 1938. In this piece, a male chorus sings of Russia’scelebrated hero and statesman, Prince Alexander Nevsky. Alexander Nevsky ledthe Russian army to victory over German invaders 700 years ago. Let us listen tothis stirring song dedicated to Russia’s hero.

Day 2:Today we will listen to “A Song About Alexander Nevsky” written by the twentiethcentury Russian composer, Sergei Prokofiev.

Alexander Nevsky was a thirteenth century Russian prince who led the Russianforces to victory over the Germans. In “A Song About Alexander Nevsky”, theRussia soldiers express their admiration for their hero. The song is sung in alegato style, which means smooth and connected. The legato singing lends an airof dignity and power to the defenders of the Russian empire.

Day 3:This week we are listening to “A Song About Alexander Nevsky” by SergeiProkofiev, a twentieth century Russian composer.

This piece is from the score of the film “Alexander Nevsky”. Alexander Nevskywas a thirteenth century Russian prince, statesman, and hero. Much ofProkofiev’s music may be termed nationalistic – music which emphasizes nationaltraits and characteristics. In this piece, Prokofiev drew on the folk melodies of hisnative Russia. The Russian people loved the film “Alexander Nevsky” and it wasan immediate success.

Composer: Sergio Prokofiev(1891 – 1953)Composition: Alexander Nevsky: “A Song About Alexander Nevsky”Performance: Los Angeles Philharmonic Orchestra, Andre PrevinRecording: The Super Sampler Telarc CD 00007

Non-Directed Music Listening Program Script Series IIIDay 4:This week’s featured composition is “A Song About Alexander Nevsky” by SergeiProkofiev.

If you listen carefully, you will discover that Prokofiev wrote this music in threesections. The first and last sections are the same. This composition begins with aslow, soft dignified hymn of praise which soon swells to a crescendo. The secondcontrasting section is a powerful, dramatic, stirring statement. Snare drums andcymbals suggest Alexander Nevsky’s march to victory. The piece ends with arepeat of the lyrical, flowing hymn-like theme.

Day 5:This week, we have been listening to “A Song About Alexander Nevsky” by thetwentieth century Russian composer Sergei Prokofiev.

“A Song for Alexander Nevsky” was written for a film score. Alexander Nevskywas a thirteenth century Russian prince who triumphed in a battle over theGermans. The film was produced in 1938 as Hitler and the German army werethreatening Russia and the rest of Europe.

Let us listen again to the male chorus singing in Russian of the national hero,Alexander Nevsky.


Day 1:This week’s featured listening selection is “Waltz of the Flowers” from “TheNutcracker” by the famous Russian composer Peter Ilyich Tchaikovsky.

“The Nutcracker” is a ballet which tells the story of Clara and the magicallytransformed nutcracker which becomes a Prince. In the story, Clara and thePrince enter the Kingdom of Sweets and are entertained at the castle of the SugarPlum Fairy. The entertainment concludes with an elegant dance called “The Waltzof the Flowers”.

Day 2:The music selected for the listening program this week is “Waltz of the Flowers”from “The Nutcracker” by the famous Russian composer Peter Ilyich Tchaikovsky.

In this ballet called “The Nutcracker”, Clara and her Prince are invited by the SugarPlum Fairy to view a number of dances. One of these dances is a waltz. A waltzis a moderately paced dance in triple or three-quarter time. Imagine the ballerinasdancing to this lovely composition called “Waltz of the Flowers”.

Day 3:This week, we are listening to “Waltz of the Flowers” from “The Nutcracker” byPeter Ilyich Tchaikovsky.

The dance begins with a long introduction as the flowers take their places onstage. The harp music depicts the gentle breezes which set the flowers dancing.Like most waltzes, the “Waltz of the Flowers” is made up of many differentmelodies or tunes. As you listen to each melody, imagine that a different group offlowers is dancing to the music.

Composer: Peter Ilyich Tchaikovsky (1840 – 1893)Composition: “Waltz of the Flowers” from the “Nutcracker Suite”Performance: Cleveland Orchestra, Lorin MaazelRecording: Telarc Sampler Volume 1 Telarc CD 80001


Day 4:Today, we listen again to the beautiful composition “Waltz of the Flowers” from“The Nutcracker” by Peter Ilyich Tchaikovsky, a Russian composer.

The Sugar Plum Fairy has invited Clara and her Prince to the Kingdom of Sweetswhere various groups of dancers entertain them. The last dance is the “Waltz ofthe Flowers”. some of the flowers dance to different melodies or tunes played bythe horns, the clarinet, violas and celli, and oboes and flutes. Try to imagine thedance that each flower creates to the different melodies.

Day 5:This week, we have been listening to the “Waltz of the Flowers” from “TheNutcracker” by Peter Ilyich Tchaikovsky.

Tchaikovsky’s ballet “The Nutcracker” is numbered among his most famous andpopular works. In this composition, Tchaikovsky uses beautiful, singable melodiesplayed by different instruments – French horn, then the clarinet, violins, oboes andflutes, and finally the violas and celli. In your mind’s eye, can you see the flowersas they find their places on the dance floor, dance in turn, and then take their finalbows.


Day 1:As chosen by the school – selections either previously heard or selections fromother sources




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Composer: Series III FavouritesComposition: As selected by the schoolPerformance: As selected by the schoolRecording: As selected by the school


Day 1:This week, we will listen to “Danse Boheme” from “Carmen Suite, No. 2” by GeorgBizet, a French composer.

The “Carmen Suite” consists of orchestral music based on themes taken from“Carmen”, one of Bizet’s most famous operas. In today’s selection, we listen toone of the selections from the Suite, “Danse Boheme”. The word “boheme”means gypsy or vagabond. In the opera, Carmen is a beautiful gypsy girl. In onescene, Carmen and the gypsies engage in a frenzied dance at an inn in theSpanish city of Seville. Notice how the music becomes increasingly faster andlouder as the gypsy’s dance becomes more and more reckless and unrestrained.

Day 2:This week, we are listening to “Danse Boheme” from “Carmen Suite, No. 2” by theFrench composer, Georg Bizet.

The opera “Carmen” is set in Seville, Spain. Carmen is a beautiful gypsy girl whofalls tragically in love, first with a soldier and then with a bullfighter. In “DanseBoheme”, we first hear a soft mischievous-sounding theme called the “Smuggler’sDance”, a theme played twice by the flutes. Later, a second theme from a gypsysong is introduced. In the opera, Carmen sings this theme in which she boasts ofher wild and carefree life as a gypsy. This theme is repeated four times, first bythe clarinets, then the strings, the trumpets, and finally the entire orchestra. Canyou hear these two district themes?

Day 3:This week’s featured listening selection is “Danse Boheme” from “Carmen Suite,No. 2” by the French composer Georg Bizet.

The music is derived from the opera “Carmen”. In this scene from the opera,Carmen, the beautiful, wild gypsy girl, is in an inn outside the Spanish city ofSeville. Gypsy girls are dancing to a delightful tune called “The Smuggler’sDance”. Finally, we hear the orchestrated version of Carmen’s theme on the joysof gypsy life. This gypsy theme is repeated four times. Listen as the music of thesecond theme becomes faster, louder, and wilder at each repetition.

Composer: Georg Bizet (1838 – 1875)Composition: “Danse Boheme” from Carmen Suite No. 2Performance: St. Louis Symphony Orchestra, SlatkinRecording: Telarc Sampler Volume 2 Telarc CD 80002


Day 4:Today, we will listen to “Danse Boheme” from “Carmen Suite, No. 2” by GeorgBizet.

“Dance Boheme” has two themes. The first is called the “Smuggler’s Dance”, arather lively but soft dance and the second theme is taken from a scene from theopera “Carmen”. In this scene, Carmen sings of the delights and joys of a gypsylife. The lyrics of her lively song, written in a minor key, goes something like this:

“When the sound of a guitar float on the air, the gypsies spring forth in a merrydance. Tambourines beat in time with the music and every voice repeats a merrysong.

Day 5:This week, we have been listening to “Danse Boheme” from “Carmen Suite, No. 2”by Georg Bizet.

Georg Bizet was a French composer who was drawn to Spanish music and dance.“Danse Boheme” was taken from the opera “Carmen”, a tragic tale of a gypsy girland the two men who fell in love with her. The opera was not a success after itsfirst performance. Unfortunately, the composer Bizet died three months later atthe age of 37. The opera is now one of the most famous and most loved operas ofall time.

Let us listen for the final time to the exuberant music of “Danse Boheme”.


Day 1:The selection featured this week in the listening program is titled “HungarianDance No. 1 in G Minor” by Johannes Brahms, a German composer.

Brahms loved the minor melodies and irregular rhythms of gypsy music andHungarian tunes. He collected this music and derived much of his work frompopular folk tunes of his time. As we listen to this selection, note the wide varietyof moods which range from sadness to carefree abandon.

Day 2:Today, we will listen to “Hungarian Dance No. 1 in G Minor” by Johannes Brahms.

Brahms was a German composer who was known for writing more serious music.However, in 1853, when Brahms was only 20, he met a hot-tempered Hungarianviolinist. Together, they embarked upon a concert tour throughout Europe.Brahms learned many Hungarian and gypsy tunes from his friend which he laterintegrated into his “Hungarian Dances”.

Let us listen to this exuberant music.

Day 3:The German composer Johannes Brahms composed this week’s listeningselection, “Hungarian Dance No. 1 in G Minor”.

“Hungarian Dance No. 1 in G Minor” is developed from three melodies. The first israther sad and agitated. The second is a lively melody in which rhythmic accentsare placed on weak beats. The third theme is characterized by sudden changes intempi and dynamics. Brahms ends with a repeat of the first melody.

Each of these three melodies convey a different mood. Can you hear the threedifferent sections of this music?

Composer: Johannes Brahms (1833 – 1897)Composition: Hungarian Dance No. 1 in G Minor

Performance: Wiener Philharmoniker, Claudio AbbadoRecording: Claudio Abbado Conducts Deutsche Grammophon 429 364-2


Day 4:The music selected for the listening program this week is entitled “HungarianDance No. 1 in G Minor” by Johannes Brahms.

The well-known German composer, Johannes Brahms, wrote 21 “HungarianDances” over a 17 year span. Originally written for piano, he later orchestratedthe dances. The dances are characterized by syncopated rhythms, expressivemelodies, and sudden contrasts in dynamics and tempo. In this selection, Brahmsused three different melodies to create three different moods. As you listen today,try to recognize these three distinct melodies.

Day 5:This week, we have been listening to “Hungarian Dance No. 1 in G Minor” by theGerman composer, Johannes Brahms.

Although much of Brahms’ music is serious and earnest, he enjoyed the vitalityand freshness of folk music. He collected these folk tunes and set them inorchestral form so that future generations could also enjoy them.

Brahms’ “Hungarian Dance No. 1 in G Minor” is an exciting piece of music, richwith many contrasts in tempi, dynamics, and mood.


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

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

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

The restlessness of the opening melody of the movement is created in part by thegreat 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 todescribe the speed at which the piece is performed. It also becomes the name ofthe movement.

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

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

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

Non-Directed Music Listening Program Script Series IIIDay 4:Austrian composer, Wolfgang Amadeus Mozart, wrote the Symphony No. 40 in GMinor 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 GMinor was composed was meant to be performed in the courts of wealthy peoplefor entertainment. This Symphony is somewhat unusual because it was written byMozart for performance at a public concert.

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

As you listen to the Symphony notice once again how the composer uses thetechnique of orchestral composition to create a strong feeling of restlessness inthe music. As you listen to the music, remember that this piece was written nearthe end of Mozart’s life when he was very poor, unhealthy and unhappy. Do youthink the music communicates some feeling of the composer’s unhappiness?


Day 1:This week we will be listening to “Irish Tune from County Derry”, arranged byPercy Grainger.

The “Irish Tune from County Derry” is an arrangement of an old folk song fromCounty Derry, a county or district in Ireland which has retained much of its strongIrish character in spite of an influx of English and Scottish settlers. The tune isalso known as “Londonderry Air” or “Danny Boy”. No one knows who wrote thesong or penned the original title. Even the original words have been lost.However, the Irish have loved this beautiful, wistful melody for many generations.The Australian composer, Percy Grainger, arranged this folk song for strings.

Day 2:Today, we will listen again to “Irish Tune from County Derry”, arranged by PercyGrainger.

As we listen to this piece, we find that the music evokes in us feelings of dignity,restfulness, and longing. Percy Grainger used the string family (violins, violas,cellos, and double basses) to complement the peaceful, tranquil mood of themelody. The melody moves step-wise instead of by large leaps. The rhythm flowsgently and there are no strong beats. We can almost see the quiet Irishcountryside when we listen to this beautiful music from County Derry.

Day 3:This week’s featured listening selection is “Irish Tune from County Derry”,arranged by Percy Grainger.

As you listen, notice that this Irish folk melody has four long phrases. The first twoare very similar. Phrases three and four are related but different. Each phrasehas a distinct shape, created by the up and down pattern of the notes. Themelody usually becomes louder as it goes up, and softer and more peaceful as itmoves downward. See if you can create a picture in your mind of the contour orshape of this beautiful melody.

Composer: Percy Grainger (1882 – 1961)Composition: Irish Tune from County Derry (excerpt)Performance: St. Louis Symphony Orchestra, SlatkinRecording: Telarc CD Sampler Volume 2 Telarc CD 80002


Day 4:This week, we are listening to “Irish Tune from County Derry”, arranged by PercyGrainger.

This Irish melody is arranged for strings and played in a smooth legato style. Thetempo is slow, the rhythm flowing, and the melody stepwise. These factors set amood of wistfulness, dignity, restfulness, and tranquility.

Day 5:This week, we have been listening to “Irish Tune from County Derry”, arranged byPercy Grainger.

Percy Grainger was an Australian composer who spent many years in GreatBritain and arranged many English and Irish folk songs. He loved nature and wasfond of long walks through the countryside. The Irish landscape with its green,gently rolling hills is reflected in his arrangement of an “Irish Tune from CountyDerry”.


Day 1:This week we will listen to “Quintet for Brass, Allegro Vivace” by Malcolm Arnold, acontemporary English composer.

This lively piece is arranged for a brass quintet. A quintet is an ensemble of fiveplayers. A brass quintet consists of two trumpets, a French horn, a trombone, anda tuba. In this Brass Quintet, two trumpets introduce the piece with a brilliantfanfare. Notice how the melody is then passed to each instrument in turn.

Day 2:The featured listening selection for this week is “Quintet for Brass, Allegro Vivace”by Malcolm Arnold.

Malcolm Arnold, born in 1921, is a twentieth century composer. He began hiscareer in England as a trumpet player and enjoyed writing compositions for brass.In the “Quintet for Brass”, listen for buoyant, witty solos from each of the brassinstruments. The instruments never stay in one mood for long. The main feeling,however, remains that of exuberance and joy.

Day 3:One of England’s most famous contemporary composers, Malcolm Arnold, wrotethis week’s listening selection entitled “Quintet for Brass, Allegro Vivace”.

Malcolm Arnold’s music is difficult to describe. If you listen carefully, you will hearelements of jazz, blue notes, and bent” notes in some sections, especially whenthe trombone takes the melody. At other times, however, you will hear a royalbrass fanfare or a somber brass band. Listen for the distinct changes in mood.

Composer: Malcolm Arnold (1921 – )Composition: Quintet for Brass, Allegro VivacePerformance: Foothills BrassRecording: Polished Brass Black Bear Records BBR 6001T


Day 4:This week, we are listening to “Quintet for Brass, Allegro Vivace” by the Englishcomposer, Malcolm Arnold.

Malcolm Arnold, the composer, does not use much elaborate harmony or form tocreate contrast in his music. Instead, he changes the instruments instead of themelody or tune, to keep his music fresh. The main theme, performed by twotrumpets at the beginning, returns continuously throughout the piece, often playedby the French horn or the trombone.

The music is written in a simple ABA format. The melody of first and last sectionsare the same. Can you hear the different sections of the music?

Day 5:This week, we have been listening to “Quintet for Brass, Allegro Vivace” byMalcolm Arnold.

In this quintet for Brass, we hear the main theme performed by two trumpets, atrombone, French horn, and a tuba. Malcolm Arnold is a contemporary composerand trumpet player who enjoys writing for brass instruments. Arnold achievescontrast in his compositions, not by differing the harmony or creating complexform, but by constantly changing the instrument colours.


Day 1:This week’s featured listening selection is “Dance of the Young Kurds” from theballet “Gayane” by Aram Khatchaturian, an Armenian composer.

Khatchaturian was born in Georgia in the former Soviet Union. He grew up withthe vibrant music that marked the festivals and rituals of the people of Armenia,Azerbaijan and Georgia. The Kurds are people who live south of this part of theworld. The music you will her today is called “The Dance of the Kurds”. It comesfrom a colourful ballet that Khatchaturian composed called “Gayane” which wasfirst performed by the Leningrad Kirov Ballet in 1942.

Listen now to this rousing music.

Day 2:This week, we are listening to Aram Khatchaturian’s “Dance of the Young Kurds”from the ballet “Gayane”.

In the ballet, “Gayane”, Khatchaturian uses styles of music and dance derivedfrom Russia, Armenia, the Ukraine, and from the Kurdish people. The main themeis played within a very narrow range on oboes and clarinets. Listen to how thedriving rhythm propels the dancers to dance faster and faster.

Day 3:This week’s featured selection is “Dance of the Young Kurds” from the ballet“Gayane” by Aram Khatchaturian.

After a short introduction, the lively main theme is played by the oboes andclarinets in G minor. Khatchaturian then includes a contrasting central section andreturns again to the main theme. This time the theme is played faster and louder.Colourful orchestration and accented offbeats add to the increased intensity of thedance.

Composer: Aram Khatchaturian (1903 – 1978)Composition: “Dance of the Young Kurds” from “Gayane”Performance: Andre Kostelanetz and His OrchestraRecording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658


Day 4:This week’s featured selection is “Dance of the Young Kurds” from the ballet“Gayane” by Aram Khatchaturian.

In this selection, Khatchaturian employs a number of techniques to createexcitement in his music. Khatchaturian repeats the main theme at least eighttimes, producing an hypnotic effect and an almost unbearable tension. The musicis played increasingly faster and louder. The timpani, or kettle drum, is used moreforcefully at the end of the piece.

Day 5:This week, we have been listening to “Dance of the Young Kurds” from the ballet“Gayane” by Aram Khatchaturian, an Armenian composer.

Aram Khatchaturian is regarded as one of the most famous Soviet composers ofthe twentieth century. His works celebrate the folk tunes and dances from this partof the world. In the “Dance of the Young Kurds”, the music begins insistently withmany repetitions of the main theme, and then continues to gather speed and force.


Day 1:This week’s listening selection is entitled “Symphony No. 5, allegro con brio” bythe German composer, Ludwig von Beethoven.

The first movement of Beethoven’s Fifth Symphony begins with one of the mostfamous musical themes ever composed. The short motif (or brief theme) containsonly four notes and is really more rhythm than melody. The theme is introducedby the strings and clarinets. It is played fortissimo (very loud) and in a low register.This gruff, almost angry, theme dominates the whole movement and is repeatedmany times throughout the piece.

Day 2:This week, we are listening to “Symphony No. 5, Allegro con brio” by Ludwig vonBeethoven, the famous German composer.

Beethoven’s Symphony begins with a four-note statement of great intensity andpower. The theme is repeated over and over again, and we feel we are plungedinto a mighty storm. This first theme is gruff and imposing. Suddenly, a soft lyricalmelody is heard but is soon overpowered by the dominant first theme. Listencarefully… can you hear the conflict between the two contrasting themes?


Beethoven was a German composer and pianist. Although he was one of thegreatest composers of all time, his success did not come without great struggle.At age 30, he became completely deaf. The movement of the symphony you willhear today, “Symphony No. 5”, was written when Beethoven was profoundly deaf.

Beethoven was also a perfectionist who worked out every detail with great care.His notebooks are filled with re-writes of this Symphony which took him four yearsto complete. Today, we will listen to the first movement of the “Symphony No. 5”.

Composer: Ludwig von Beethoven (1770 - 1827)Composition: Symphony No. 5, Allegro con brio (excerpt)Performance: Boston Symphony Orchestra, OzawaRecording: Telarc CD Sampler Volume 2 Telarc CD 80002


Day 4:Today, we will listen to “Symphony No. 5, Allegro con brio” by Ludwig vonBeethoven, the famous German composer.

Perhaps no composition in music history has made so much out of so little. Thelittle four-note theme we hear at the beginning of the piece serves as a buildingblock for the entire first movement. Some say that this little four-note themesounds like fate knocking on one’s door and that Beethoven wanted to say, “I willgrapple with Fate, my destiny; it shall not overcome me.” Although the firstmovement ends forcefully on a minor chord, the Finale of the Symphonyconcludes in a major key, perhaps symbolizing victory over one’s Fate ordifficulties.


Beethoven was a German composer whose music formed a bridge between the“Classical” and “Romantic” periods of music history. Beethoven was a rebel whocomposed music which evoked strong feelings. Beethoven was one of the firstcomposers to add descriptive titles to his works.

Beethoven was a master in the use of musical motifs or short musical phrases. Aswe listen to the first movement of Beethoven’s “Symphony No. 5”, note how oftenthe short musical phrase or motif which began the piece occurs throughout themusic.


Day 1:This week’s listening selection is called “Anchors Away”. It was written by AlfredMiles and Charles Zimmerman.

“Anchors Away” is a military march which was composed for the 1907 graduatingclass of the U.S. Naval Academy. It was first played at that year’s Army-Navyfootball game and it became the official march of the U.S. Navy. There are twomain sections to the piece. The first section is performed by the woodwinds. Thesecond section, played mainly by the brass, it known as “Anchors Away”. Themood of the piece is upbeat and the music is usually quite loud and boisterous.

Day 2:Today, we will listen to a piece called “Anchors Away” by Alfred Miles and CharlesZimmerman.

The military band consists of woodwinds, brass, and percussion instruments. Itsinstrumentation does not include stringed instruments. Notice as you listen to thismusic that the woodwinds generally take the melody in the first part of thecomposition. The brass instruments, however, are often given interesting counter-melodies. In the second section “Anchors Away”, the brass instruments play themelody accompanied by the woodwinds.

Day 3:This week, we are listening to “Anchors Away” by Charles Zimmerman and AlfredMiles.

“Anchors Away” is a famous naval march. Marches, written in 2/4, 4/4 or 6/8 time,are composed to encourage the orderly, steady marching of large groups.Marches may be slow, as in funeral marches, or quick as in military parademarches. “Anchors Away” is a quick march with strongly defined rhythm andregular phrases.

Composer: Charles Zimmerman (1861 – 1916) / Alfred MilesComposition: “Anchors Away”Performance: Cleveland Symphonic Winds, Frederick FennellRecording: Telarc Super Sampler Telarc CD 00007

Non-Directed Music Listening Program Script Series IIIDay 4:We are listening this week to a naval march called “Anchors Away” by CharlesZimmerman and Alfred Miles.

“Anchors Away” is one of the most popular marches used by the American Navyand is the official march of that branch of the American Armed Forces. “AnchorsAway” is the naval order to pull the anchors from the sea and set sail. There areeven words written to the second section of the march. The stirring music of thismarch is intended to send the sailors enthusiastically on their way.

Day 5:This week’s featured listening selection is entitled “Anchors Away” by Alfred Milesand Charles Zimmerman.

“Anchors Away” is a quick, lively march used by the American Navy. The militaryband consists of woodwinds, brass, and percussion instruments. Notice how thewoodwinds have the melody in the first section. The brass and percussion takeover in the powerful second section, “Anchors Away”.

Let us listen again to this stirring march.


Day 1:Our featured selection for this week is “Les Nuits d’ete, Villanelle” (Lay-nwee-day-tay) bay Hector Berlioz.

Do you know what a soprano is? This week we will hear a song sung by asoprano, which means a high pitched singing voice. Usually, soprano voices soarand float above the rest. The music today is for a solo voice with orchestralaccompaniment. The selection is sung in French. Listen to this soprano voicecarry you up high into “summer nights” or “Les Nuits d’ete” by Hector Berlioz(Bear-lee-ose).

Day 2:French composer, Hector Berlioz, wrote this week’s featured music listeningprogram selection, “Villanelle” from “Les Nuits d’ete”.

Do you have a high voice, a low voice, or one that is somewhere in between? Doyou remember what a high singing voice is called? (pause) A soprano. Today, wewill hear a soprano sing in French about “summer nights” or “les nuits d’ete”. Asyou listen, try to determine if this sounds like a happy, warm summer night to you?

Day 3:This week’s music is a soprano solo, “Villanelle” from “Les Nuits d’ete”, written byHector Berlioz.

Hector Berlioz also wrote something which we heard in last year’s listening series.Do you remember what it was? The “March to the Scaffold” from “SymphonyFantastique”. Today’s music is a very different mood. How would you describethe mood of this song which is called “Villanelle” from “Les Nuits d’ete”?

Composer: Hector Berlioz (1803 – 1869)Composition: “Les Nuits d’ete”, “Villanelle”Performance: Atlanta Symphony Orchestra, Robert Shaw

Elly Ameling, sopranoRecording: Telarc Sampler Volume 3 Telarc CD 80003

Non-Directed Music Listening Program Script Series IIIDay 4:We are listening to a song in French this week. “Les Nuits d’ete, Villanelle” waswritten by the French composer, Hector Berlioz.

“Villanelle” from “Les Nuits d’ete” was originally a poem by one of France’s famouspoets, Theophile Gautier (Tay-oh-feel Go-tyay). Composer, Hector Berlioz, putthe words of the poem to music to create a more powerful mood or feeling. Musiccan be a very effective way to create a picture or sensation in the mind. Berliozwanted to create the mood of a quiet, romantic summer evening so he used a solosoprano voice, with accompaniment. Do yout hank he succeeded in this song –“Villanelle” from “Les Nuits d’ete”?

Day 5:Our featured listening selection for this week has been the solo, “Villanelle” from“Les Nuits d’ete” by French composer Hector Berlioz.

Do you remember from which country this week’s listening selection originates orin which language it is sung? (Pause) If you said “France” or “French”, you arecorrect. Now, do you remember the name of the composer? (Pause) It is HectorBerlioz. What type of music is it? (Pause) It’s a soprano solo with orchestralaccompaniment. I hope you once again enjoy hearing this song written for asummer evening. Let’s now listen to “Villanelle” from “Les Nuits d’ete”.


Day 1:As chosen by the school – selections either previously heard or selectionsfrom other sources





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Composer: Series III FavouritesComposition: As selected by the schoolPerformance: As selectedRecording: As selected


Day 1:Our featured selection for this week is “Rialto Ripples Rag” by the Americancomposer George Gershwin.

“Rialto Ripples Rag” is a sample of a style of music called “ragtime”. It is typical ofpopular music from about 80 years ago. This particular piece was written byGeorge Gershwin, an early master of American popular and jazz music.

Day 2:American composer, George Gershwin, wrote this week’s featured music listeningprogram selection, “Rialto Ripples Rag”.

Do you remember what style of popular music from the early twentieth century wewill listen to today? (Pause) It’s called “ragtime”. Ragtime was created by blackAmerican musicians at the beginning of this century and is characterized by a typeof slow, almost elegant march, “jazzed up” with lots of syncopation. Syncopationis the use of offbeat rhythms that catch you off guard in a tricky way. Can youhear the syncopation in today’s selection “Rialto Ripples Rag” by GeorgeGershwin?

Day 3:This week’s selected music is “Rialto Ripples Rag”, written by George Gershwin.

This week’s music is fun to listen to and is intended to make you smile and feelgood. Do you remember what type of music we will be hearing? It is called“Ragtime”. Gershwin made this arrangement even more interesting by writing toinclude extra instruments – instruments you may have played in your music class.As you listen, try to hear the instruments in this arrangement: xylophone, templeblocks, drums and cymbals, and at the end, a wonderful slide whistle.

Composer: George Gershwin (1898 – 1937)Composition: “Rialto Ripples Rag”, arr. Erich KunzelPerformance: Cincinnati Pops Orchestra, Erich KunzelRecording: Telarc Super Sampler Telarc CD 00007


Day 4:The “Rialto Ripples Rag” is featured as this week’s listening program selection. Itwas written by American composer, George Gershwin.

This week’s selection was popular music in America in the early 1900’s. For along period after that, “Ragtime” was almost forgotten. With the release of “TheSting”, a well-known movie in the 1970’s, a great deal of interest in ragtime musicwas generated. Music from “The Sting” featured a song called “The Entertainer”by Scott Joplin which became very popular. You can hear “The Entertainer”coming from many ice cream vans in the summer. Let’s listen to “Rialto RipplesRag” by George Gershwin.

Day 5:Our featured listening selection for this week has been the “Rialto Ripples Rag”written by the contemporary American composer, George Gershwin.

Today, as you hear “Rialto Ripples Rag” for the final time, listen for the rhythmicsyncopation which is so typical of this style of music. Syncopation is one of themusical techniques used by composers to alter the stability of the rhythm so thatthe piece has a more contemporary or ‘jazzy’ feel. “Ragtime” is a form of jazzmusic created by black American musicians early in the twentieth century.

It may help you to hear the syncopation if you listen for notes which are morestrongly accented by the instruments.


Day 1:This week’s listening selection is the famous American folk song, “Shenandoah”.

Do you ever sing while you work, sing to help the time pass, or sing to makeyourself feel better? That’s how this week’s music came to be. It is a work songthat was sung by sailors. It is titled “Shenandoah” (Sheh-nan-doe-ah) and you willhear it sung by a men’s choir.

The Shenandoah Valley is in the state of Virginia in the eastern United States.This song was sung by men who were far away from their homes. The song has asad quality, perhaps intended to portray the longing the men felt for their homes?

Day 2:This week’s music selection is an American folk song entitled “Shenandoah”.

It was a song sung by sailors on rivers such as the Missouri River in the Americanmidwest. Soldiers in the American cavalry also sang this music. Listen for thewords: “Away, we’re bound away, ‘cross the wide Missouri.” and imagine the deckhands on a paddle wheeler hauling freight joining in song as they worked.

Day 3:This week’s listening program selection, “Shenandoah”, is a famous Americanwork song that has been sung for several centuries.

Since it was sung by men who worked on freight boats which were often propelledby rowing sailors, it is called a sea chantey (shan-tee). Sea chanteys were sung inlow rhythms to give sailors a beat to which they could pull when rowing a boat orwhen hoisting up sails on a sailing ship. To help lighten the load and make thetime pass more quickly, they would often sing while they worked. Can you hearthe rhythm of the oars in this sea chantey, “Shenandoah”?

Composer: American Folk SongComposition: “Shenandoah”Performance: Cincinnati Pops Orchestra and Chorus, Erich KunzelRecording: Telarc Super Sampler Telarc CD 00007

Non-Directed Music Listening Program Script Series IIIDay 4:“Shenandoah”, this week’s listening program selection, is one of America’s mostwell-known folk songs.

The Shenandoah River and Valley are between the Blue Ridge Mountains and theAllegheny mountains, in the state of Virginia. “Shenandoah” was the name of anative Indian tribe that lived in the area. Try to picture in your mind, a beautifulgreen valley, and then imagine how the men felt when they sang this song. Is themood light or sad? Listen to the sea chantey, “Shenandoah”.

Day 5:This week we have been listening to a beautiful American sea chantey called“Shenandoah”.

The mood of this piece is a little sad and seems to suggest that the men who sangthe chantey worked very hard and missed their families. The singing allowed thesailors to express their feelings and also helped them work together. Let’s nowlisten to “Shenandoah” for the final time.


Day 1:This week we will be listening to music written to describe the largest planet in oursolar system. Do you know which one it is? It is “Jupiter”. This excerpt from themusic describes Jupiter as the composer pictured the planet in his mind

This music may sound very much like a movie score to you but the composer isnot John Williams (who wrote the music for “Superman”, “Home Alone”, “E.T.”, andother movies). This music was written by another Englishman who has a Germansounding name – Gustav Holst. Although the music sounds very modern, it waswritten almost 80 years ago. Listen and let’s “go to the movies” – the movies onJupiter!

Day 2:Today we will again visit the planet “Jupiter” through the music of the Englishcomposer, Gustav Holst.

As well as being the name of one of the planets in our solar system, Jupiter wasalso the name of a Roman god. Another name for the god Jupiter was “Jove”.Have you ever heard someone say “by Jove!” or “by Jupiter!”? From the word“Jupiter” or “Jove” we also derive the word “jovial” to describe someone who ishearty, joyful and playful in humour.

Gustav Holst named this piece “Jupiter, The Bringer of Jollity”. Can you hear howjolly the Roman god Jupiter is in this music?

Day 3:This week we travel to “Jupiter” for our listening music, viewing the planet throughthe eyes of the English composer, Gustav Holst.

Gustav Holst wanted to use a very big orchestra for scoring his suite, “ThePlanets”. You may have played some of the unusual instruments he uses in hisorchestration in your music class – the tambourine, glockenspiel, triangle,cymbals, gong, bells and timpani. He also liked to score the music using manybrass instruments – especially French horns. Listen for the brass (especially theFrench Horns) performing the main theme.

Composer: Gustav HolstComposition: “Jupiter” from “The Planets”Performance: Royal Philharmonic Orchestra, Andre PrevinRecording: Telarc Sampler Volume 3 Telarc 80003


Day 4:Gustav Holst is the featured composer this week. We will again listen to “Jupiter”from his Suite “The Planets”. Holst’s music for the planet “Jupiter” is very muchlike the music composed for some modern movie soundtracks.

This excerpt from “Jupiter” starts very quietly and lightly, soon building to a climaxidentified by a giant crash of the cymbals. At that point, the “big guns” of the brassfamily enter and the music continues to build even more excitement. The Frenchhorns perform the first theme, using echo-like statements almost as though theinstruments are calling and responding to each other. Finally, listen for a dark,rolling, mysterious interlude that builds to a finish featuring the trumpets. Thissounds like a real ‘Superman’ ending. Are you ready to listen? Close your eyes towatch as we go to “Jupiter”.

Day 5:Our featured music this week is “Jupiter” from “The Planets” by the Englishcomposer, Gustav Holst.

Holst also wrote about the other planets and he gave each of the piecesdescriptive titles. Some of the titles are: “Mars, The Bringer of War”, and “Venus,The Bringer of Peace”. Do you remember that Jupiter was described as the“Bringer of Jollity”?

As you listen, imagine visiting this huge planet which is surrounded by haze andmist. For the last time this week, let’s listen to “Jupiter” by Gustav Holst.


Day 1:The featured listening program selection for this week is “Mazurka” from the ballet“Coppelia” by Leo Delibes.

This week we are going to the ballet. This ballet is about a beautiful, life-sized dollnamed “Coppelia” (co-pee-lya). The doll was made by a talented toy makernamed Dr. Coppelius who would sit the puppet-doll Coppelia on a chair on hisbalcony overlooking the village square. The people in the village were verycurious about the pretty girl sitting on the balcony and would call out to her. She,however, was not able to respond and just sat there quietly, appearing to read abook. To get her attention, the villagers decide to dance in the square. Theyperform a very lively dance called a “mazurka”.

Picture these colourful folk dancers on the ballet stage as we hear “Mazurka” fromthe ballet “Coppelia”.

Day 2:Today’s music is from the ballet “Coppelia” by French composer Leo Delibes.Delibes wrote the music to other ballets but “Coppelia” is his best-known work.

From “Coppelia” we will hear a type of Polish folk dance called a “mazurka”. AMazurka has three beats to the measure and has lots of uneven feeling rhythms.Can you picture the folk dancers as they perform the “Mazurka”? Let’s listen.

Day 3:This week’s featured listening selection is “Mazurka” from the ballet “Coppelia” byFrench composer, Leo Delibes.

As the doll, Coppelia, watches, the villagers celebrate a festival in the villagesquare by dancing a spirited folk dance called the “mazurka”. The music achievessome of its excitement through the use of the unusual rhythms of Polish folkmusic.

Let’s listen to the “Mazurka” danced by the villagers as they celebrate.

Composer: Leo Delibes (1836 – 1891)Composition: “Mazurka” from the ballet “Coppelia”Performance: Philadelphia Orchestra, Eugene OrmandyRecording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658


Day 4:Our music this week is form the beautiful ballet “Coppelia” written by Leo Delibes.

In this ballet there is a fantastic toy shop where the toymaker, Dr. Coppelius,thinks he can make the doll, Coppelia, come to life. To everyone’s surprise,Coppelia does get up and dance – Spanish flamencos and Scottish highlandflings! But it’s all a trick to fool the villagers. The dances are really performed by ayoung woman from the village who has dressed up in Coppelia’s clothes.

Let’s listen to the “Mazurka” from “Coppelia” by Leo Delibes.

Day 5:This week’s music is the “Mazurka” from the ballet “Coppelia” by Leo Delibes.

A mazurka is a Polish folk dance. Let’s listen.


Day 1:This week, we are listening to “Norwegian Dance, No. 2” by Edvard Grieg.

We will be visiting Norway this week and will listen to music by that country’s mostfamous composer, Edvard Grieg. Last year, as part of the Listening Program, weheard two pieces by Grieg from the “Peer Gynt Suite” – “Morning” and “In the Hallof the Mountain King”.

During his lifetime, Edvard Grieg traveled throughout Norway, collecting the musicfor folk songs and folk dances of his homeland. This particular folk dance,“Norwegian Dance, No. 2”, has a very “singable” and memorable melody.

Day 2:This week’s featured listening selection is “Norwegian Dance, No. 2” by EdvardGreig, a Norwegian composer.

Edvard Greig was Norway’s foremost composer. During his lifetime he became“the voice” of Norwegian myth, magic, and culture. The “Norwegian Dance, No. 2”has such a singable melody that it has also been popularized as a song called “MyJohann”.

Let’s listen to “Norwegian Dance, No. 2” by Edvard Grieg.

Day 3:Today, we will again listen to “Norwegian Dance, No. 2” by Edvard Grieg, thefamous Norwegian nationalist composer.

This week we are listening to nationalistic music of Norway, a country that was thehome of the Vikings, and is the land of fjords and rugged mountains. Although thepeople had to be rugged, strong individuals to survive, this piece is intended toshow the gentle side of their character. The first instrument to play the melody, aslow and stately dance, is the oboe. After the oboe has the melody, the orchestrapicks up the theme and brightens its mood with violins and woodwinds. Suddenly,like a clap of thunder, a very loud and fast interlude interrupts the peaceful mood.Just as quickly, the music again returns to the slow, dignified theme. Can youhear the “thunder” in the middle of this dance?

Composer: Edvard Grieg (1843 - 1907)Composition: Norwegian Dance, No. 2Performance: New York Philharmonic, Leonard BernsteinRecording: Grieg’s Greatest Hits CBS WMLK 39435


Day 4:The music selected for the Listening Program this week is by Edvard Grieg. It isentitled “Norwegian Dance, No. 2”.

Nationalistic feeling played an important part in the politics and culture ofnineteenth-century Europe. As a result, the period saw the rise of a group ofcomposers whose art expressed the spirit of their homeland and Norway found hervoice in the music of Edvard Grieg. In the “Norwegian Dances”, Grieg chose tobase his compositions on the folk dances and songs of his homeland.

Can you detect the melodies and rhythms that are typical of Norway’s folk musicand folk dances?

Day 5:“Norwegian Dance, No.2” is the music featured in the Listening Program thisweek. It was composed by Norway’s most well-known composer, Edvard Grieg.

Grieg wrote many enchanting melodies using the melodies and rhythms ofNorwegian folk dances. He used the resources he collected to create moods ofmagic and myth which were sometimes strong, sometimes impish and playful, andsometimes sad. What mood does this particular music evoke for you?

For the final time, let’s listen to “Norwegian Dance, No. 2” by Edvard Grieg.


Day 1:This week’s listening selection is the fourth movement of the Symphony in D, No.101 by Joseph Haydn.

Haydn wrote over 10 symphonies. A “symphony” is a large scale work fororchestra in several parts called movements. Each movement is different incharacter and mood but together they establish a sense of order and continuitylike a story. This symphony is nicknamed “The Clock” because the “andante”movement has a tick-tock rhythm similar to that of a clock. Today we will listen tothe “vivace”, or quick and lively movement from Haydn’s “Clock” Symphony.


Joseph Haydn wrote over 100 symphonies during his lifetime. Each symphonybecame more unique as he developed his skills as a composer. Haydn’s musicsounds happy and joyful, and shows a great deal of variety. By the time he wrotehis later symphonies, the London audiences adored his music. Today it would berude to applaud between movements of a symphony but in Haydn’s day, theaudiences liked his music so much that they would applaud between movementsin spite of the expected behaviour. We will now listen to the “vivace” movement ofJoseph Haydn’s Symphony in D, No. 101.

Day 3:Today we will listen to the fourth movement of the Symphony in D, No. 101 byJoseph Haydn.

The fourth movement begins with a lively melody played by the first violins. Itcontinues this way for a short while and then plunges into a stormy refrain which ischopped up and tossed about. The first three notes of the refrain are quite easy torecognize. As you listen, try to hear the three notes of the “refrain” being tossedaround.

Composer: Joseph Haydn (1732 – 1809)Composition: Symphony in D, No. 101, “Clock” Movement #4 FinalePerformance: Weiner Symphoniker, Wolfgang SawallischRecording: Haydn Symphonies Nos. 94, 100 and 101 Philips 422 973-2



Joseph Haydn was born in Austria and is known as the “father of orchestration”because he wrote so many symphonies. Do you remember that a “symphony” is alarge scale work for orchestra written in several parts or movements? Althougheach movement is different in character and mood, together they create a largepiece which displays continuity and order. This fourth movement is also called the“finale” because it is the last movement of the symphony. Today, listen for thegrand ending that Haydn wrote for two flutes, two oboes, two clarinets, twobassoons, two horns, two trumpets, the timpani and the traditional string choir. Inclassical symphonies, composers often “doubled up” on their instruments to createa grand sound.

We will now listen to the fourth or “Finale” movement of the Symphony in D, No.101 by Joseph Haydn.

Day 5:This week’s listening selection is the “Finale” movement of the Symphony in D,No. 101 by Joseph Haydn.

Haydn worked hard as a musician and was very successful. His symphonies aremuch shorter than most of the symphonies written by Beethoven and other latercomposers but contain all of the same elements of the typical symphonic format.His music is characterized by a steady rhythmic pulse.

Today we listen for the last time to Joseph Haydn’s fourth movement of theSymphony in D, No. 101.


Day 1:This week’s listening selection is the fourth movement of Peter IlyichTchaikovsky’s Symphony No. 5.

Last week, we listened to Joseph Haydn’s Symphony No. 101. Do you rememberthat a “symphony” is a large scale work for orchestra written in several parts ormovements? Each movement is different in character and mood but together theyestablish a sense of order and continuity – like a story. Unlike Haydn who wroteover 100 symphonies, Tchaikovsky wrote only six. His music, however, capturedthe mood of his time. Like Haydn’s, Tchaikovsky’s music was very imaginativeand was filled with a variety that won the admiration of audiences. Tchaikovskyalso wrote music for ballets, such as “Swan Lake”, “The Sleeping Beauty” and“The Nutcracker”.

We will now listen to the fourth movement of Symphony No. 5 by Peter IlyichTchaikovsky.

Day 2:This week’s listening selection is the fourth movement of Symphony No. 5 byPeter Ilyich Tchaikovsky.

Symphony No. 5 was first performed in 1888 in St. Petersburg, Russia. Theaudience was enthusiastic about this new symphony but the critiques did not thinkthat it was one of Tchaikovsky’s better works. It wasn’t until later than the critiquesbegan to credit his music. The music of the fifth symphony is warm and rich.There is a familiar theme that repeats itself in all four movements of the symphony.This helps to bring the symphony together and to establish a strong sense ofcontinuity.

We will now listen to the fourth movement of Tchaikovsky’s Symphony No. 5.

Composer: Peter Ilyich Tchaikovsky (1840 - 1893)Composition: Symphony No. 5, Movement IVPerformance: Royal Philharmonic Orchestra, Andre PrevinRecording: Telarc Sampler Volume 3 Telarc CD 80003

Non-Directed Music Listening Program Script Series IIIDay 3:This week’s listening selection is the fourth movement of Symphony No. 5 byPeter Ilyich Tchaikovsky.

Tchaikovsky was an able man but he lacked confidence in himself and his abilities.He often feared that his imagination had dried up and that he had no more musicin him. Even when audiences cheered for his compositions, Tchaikovsky felt thatthey applauded out of courtesy and politeness. It is unfortunate that Tchaikovskydid not realize and appreciate his own talent. His symphonies are tuneful andbrilliant.

We will now listen to the fourth movement of Tchaikovsky’s Symphony No. 5.


The fourth movement describes a Russian festival. The main theme is strong anddark and depicts a dance figure. The movement begins “andante”, which meansto perform in a slow, walking-pace manner, and the dark, gloomy theme is quicklytransformed into a song of triumph. Part way through, the melody changes from EMinor to E Major creating a feeling of warmth and brightness. The melody isplayed by the strings and the woodwind choir. Listen today for the change fromthe dark and gloomy minor sounding key to the brightness and warmth of themajor key.



The fourth movement is the final movement of the Symphony. As the movementprogresses, the music becomes more and more explosive and extraordinary.Listen for the roll of the timpani and for the trumpet fanfares that help build thelevel of excitement in this movement.



Day 1:This week’s listening selection is “Le Sacre du Printemps” by Igor Stravinsky.

“Le Sacre du Printemps” means “The Rite of Spring”. “The Rite of Spring” is aballet that was first performed in 1913 in Paris, France. This musical work is verycomplex and sounds strange and forbidding to some people. It was so far aheadof its time that it took nearly a quarter of a century for people to appreciate itsprimitive, barbaric sound. Today, however, people listen to the music differently.This wonderfully imaginative music excites nearly everyone who hears it. We willnow listen to “Le Sacre du Printemps” by Igor Stravinsky.


Although Stravinsky disliked studying law, his father encouraged him to do so andto become a lawyer. Eventually, however, Stravinsky’s desire to compose musicwas so strong that he left his law studies to pursue a career in music. Stravinskywent on to write music such as “The Firebird” and “Petrushka” and he became oneof the most widely recognized of the twentieth century composers. We will nowlisten to “Le Sacre du Printemps” by Igor Stravinsky.

Day 3:Russian composer Igor Stravinsky wrote this week’s listening selection, “Le Sacredu Printemps”.

Do you remember what “Le Sacre du Printemps” means? If you are thinking “TheRite of Spring”, you are right. Written for a very large orchestra, “The Rite ofSpring” is a demanding piece of music to learn because of its rhythmic andharmonic complexity. Stravinsky himself conducted the work’s first performance in1913 and it required many rehearsals to prepare for opening night. When openingnight finally arrived, the performance nearly caused a riot because of Stravinsky’srevolutionary style of music. We will now listen to “Le Sacre du Printemps” by IgorStravinsky.

Composer: Igor Stravinsky (1882 - 1971)Composition: “Le Sacre du Printemps” (The Rite of Spring)Performance: The Cleveland Orchestra, Lorin MaazelRecording: Telarc Sampler Volume 2 Telarc CD 80002



Stravinsky was born in Leningrad. As an adult, he and his family moved toSwitzerland, then to France, and after the Second World War, to California wherehe became an American citizen. Stravinsky’s music was influenced by what hehad seen and heard in the countries in which he had lived. He became one of themost celebrated and popular figures in twentieth century music. He died in NewYork in 1971.

We will now listen to “Le Sacre du Printemps” by Igor Stravinsky.

Day 5:“Le Sacre du Printemps” by Igor Stravinsky is this week’s featured listeningselection.

The music for “The Rite of Spring” is extremely difficult and challenging and is, infact, so complex that it sounds strange and forbidding to many people. Althoughthe music is written so that it will sound dark and exciting, there is still much left upto the imagination of the listener. Close your eyes and get involved in the music.Make up your own imaginative story as you appreciate the brilliance ofStravinsky’s music.

We will now listen to “Le Sacre du Printemps” by Igor Stravinsky for the final time.


Day 1:This week’s listening selection is the “Allegro” movement from the Concerto No. 10in C Major written by Arcangelo Corelli.

At the time this piece was written, 300 years ago, Corelli was about 40 years old.He was already very famous in Rome as a violin virtuoso and composer. Corelliwas one of the leaders of the Italian violin school and concentrated on composingfor the family of stringed instruments.

We will now listen to the “Allegro” from the Concerto No. 10 in C Major byArangelo Corelli.

Day 2:This week’s listening selection is the “Allegro” from Concerto No. 10 in C Majorwritten by the Italian composer Arcangelo Corelli.

Corelli lived during the Baroque Period of history. In the Baroque era, the“Concerto” form was very popular. It was characterized by a solo group, called“concertino” which played “against” a larger instrumental group called the“concerto grosso”. See if you can hear the two groups competing for yourattention as we listen to the “Allegro” from Corelli’s Concerto No. 10 in C Major.

Day 3:Today, we will listen to the “Allegro” movement of Arcangelo Corelli’s Concerto No10 in C Major.

The movement is titled “Allegro” because it is performed in a “fast tempo and in acheerful and joyful manner”. Yesterday we tried to listen to the difference betweenthe “concertino”, or solo group, and the “concerto grosso”, the larger group. See ifyou can hear the contrast of colour and dynamics between these two groups.Composers during this time enjoyed using the element of “contrast” to createexcitement in their music. We will now listen to Corelli’s Concerto No. 10 in CMajor – the “Allegro” movement.

Composer: Arcangelo Corelli (1653 – 1713)Composition: Concerto No. 10 in C Major, “Allegro”Performance: Philharmonia Baroque Orchestra, Nicolas McGeganRecording: Corelli: Concerto Grossi Harmonia Mundi HMU 907015


Day 3:This week’s listening selection is titled “Allegro” form the Concerto No. 10 in CMajor. It was composed by the Italian composer Arcangelo Corelli.

Corelli wrote a great deal of music for the violin. In today’s selection, listen to thevirtuoso performance of the violin soloist. The word “virtuoso” means someonewho is able to play very fast, difficult solos with great facility, accuracy and flair.Corelli wrote more difficult music for the solo group than for the larger group. Thisform worked well for composers like Corelli and Vivaldi because there were not asmany expert performers during their time.

We will now listen to the “Allegro” movement of Corelli’s Concerto No. 10 in CMajor.

Day 5:This week’s music listening selection is the “Allegro” movement of Corelli’sConcerto No. 10 in C Major.

Today while listening to the “Allegro” selection, see if you can hear the“harpsichord”. The harpsichord was the most common stringed keyboardinstrument during the 16th, 17th, and 18th centuries. It is similar in shape to agrand piano. Corelli uses the harpsichord for harmonic support in his music.Remember to also listen for the “virtuoso” violinist playing the fast, difficult soloparts.

We will now listen to the “Allegro” movement of Corelli’s Concerto No. 10 in CMajor.


Day 1:This week’s listening selection is “Orgia” from “Danzas Fantasticas” by theSpanish composer Joaquin Turina.

Turina was born in Seville, a city in the southwest of Spain, but he spent most ofhis life in Madrid. A successful composer, pianist, conductor and music historian,Turina’s music is nationalistic inspired by the music of Spain. Listen carefully tosee if you can tell why his music sounds like it represents Spain.

Day 2:Today we are listening to “Orgia” from “Danzas Fantasticas” by the Spanishcomposer Joaquin Turina.

This movement of “Danzas Fantasticas” is in rondo form which means that thesame music returns again and again with contrasting music in between eachstatement of the theme. The energetic music at the beginning of this movementreturns several times. Can you count how many times the music of the openingsection is repeated?

Day 3:This week’s listening selection is “Orgia” from “Danzas Fantasticas” by theSpanish composer Joaquin Turina.

Earlier this week we learned that Turina was nationalistic composer from Spain.We have been listening to an example of his successful orchestral music butTurina was also famous for the music he wrote for guitar. His guitar music wasalso inspired by Spanish dance rhythms like the “Orgia” from “DanzasFantasticas”.

Composer: Joaquin Turina (1882 - 1949)Composition: “Orgia” from “Danzas Fantasticas”Performance: Dallas Symphony Orchestra, Eduardo MataRecording: “Iberia” Music of Rimsky-Korsakov, Debussy and Turina

Telarc CD 80055


Day 4:“Orgia” from “Danzas Fantasticas” is this week’s listening selection. “Orgia” waswritten by the Spanish composer Joaquin Turina.

Joaquin Turina was a Spanish nationalist composer who expressed his love forSpain through his music. Although he loved his country very much, Turinatraveled to Paris to further his musical studies. It was in Paris that he befriendedtwo other Spanish composers – Manual de Falla and Isaac Albeniz. Both de Fallaand Albeniz encouraged Turina to pursue his nationalistic style of writing.

Day 5:This is the final time we will hear “Orgia” from “Danzas Fantasticas” by theSpanish composer Joaquin Turina.

Turina was very fond of Spanish dances like the flamenco. This movement from“Danzas Fantasticas” (which means fantastic dances) depicts a scene from anorgia, a secret ceremony which would have involved much singing and dancing.This particular selection seems to portray times of enthusiastic dancing andexcitement and the periods of rest between the dances.


Day 1:This week’s selection is the “Galop” from Aram Khatchaturian’s “MasqueradeSuite”.

“Masquerade” is a play that was written by the great Russian poet, Lermontov.Khatchaturian selected some of the incidental music that he composed for the playand arranged it as a suite of five pieces titled the “Masquerade Suite”. All of themusic in the Suite is strong, vivid and exciting. The “Galop” is especially energeticand unpredictable.

We will now listen to “Galop” from Aram Khatchaturian’s “Masquerade Suite”.

Day 2:This week’s selection is the “Galop” from Aram Khatchaturian’s “MasqueradeSuite”.

Aram Khatchaturian was a famous Armenian composer who was born in Georgia– an area in the country we used to know as Russia. He grew up with the vibrantmusic of Armenia and his works celebrate the folk tunes of this part of the world.Khatchaturian was one of the most famous composers of the 20th century. Hedied in 1978.


Day 3:Aram Khatchaturian wrote this week’s featured listening selection, the “Galop”from “Masquerade Suite”.

The music of the “Galop” is bright, full of colour and the tempo is also very quickwhich helps to build excitement in the piece. Khatchaturian uses a wide variety ofinstruments in this piece. While you are listening to the music today, see how maydifferent instruments you can identify. We will now listen to “Galop” from AramKhatchaturian’s “Masquerade Suite”.

Composer: Aram Khatchaturian (1903 - 1978)Composition: “Galop” from “Masquerade”Performance: Philadelphia Orchestra, Eugene OrmandyRecording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658

Non-Directed Music Listening Program Script Series IIIDay 4:This week’s selection is titled “Galop”. It is from Aram Khatchaturian’s“Masquerade Suite”.

The main theme is played by the woodwind family and is repeated throughout thepiece. Khatchaturian repeats the theme over and over, causing an almosthypnotic effect which also adds to the excitement of the piece. Can you count howmany times the main theme is repeated during the performance of the “Galop”?


Day 5:Armenian composer, Aram Khatchaturian, wrote this week’s featured listeningselection – the “Galop” from “Masquerade Suite”.

The music of the “Galop” is bright, full of colour and it is fun to listen to it beingperformed. Khatchaturian uses many techniques to create excitement in thepiece. First, he repeats the main theme over and over to cause an almosthypnotic effect. The music also continues to grow louder and increase in tempo.Khatchaturian also uses accents on the off-beats to create a sense ofunevenness, unpredictability and excitement.



Day 1:This week’s featured music was written by Dmitri Shostakovich. It is called the“Music Box Waltz”.

Have you ever heard a music box? How would you describe the sound it makes?Is it a heavy, deep sound, or light and high? (Pause) Our music this week iscalled “Music Box Waltz” by Dmitri Shostakovich (Shaw-stow-ko-vitch). Does itsound like a music box to you?

Day 2:Our music this week is the “Music Box Waltz”. It is composed by DmitriShostakovich.

This piece is a waltz and is written in three-quarter time as are all other waltzes.You might even be able to close your eyes and picture two miniature figuresdancing a waltz on the top of a music box.

The composer uses a quick beat and several high pitched instruments to make themusic sound like tiny mechanical figures dancing. Two of these specialinstruments are in your own music classroom. They are the xylophone and theglockenspiel. Can you hear them in the “Music Box Waltz” by DmitriShostakovich?

Day 3:Our music this week is by Dmitri Shostakovich and is entitled “Music Box Waltz”.

Shostakovich creates a miniature mechanical world for his “Music Box Waltz”. Tomake a “ping” sound, like a music box, the composer calls for the violinists to pluckthe violin strings instead of bowing them. The action of plucking the strings iscalled “pizzicato” (pit-zee-ka-toe). Listen for the pizzicato as the “music box”starts.

Composer: Dmitri Shostakovich (1906 - 1975)Composition: “Music Box Waltz”Performance: Andre Kostelanetz and His OrchestraRecording: Greatest Hits of the Ballet, Volume 1 CBS LMLK 45658


Day 4:Dmitri Shostakovich lived in the Soviet Union, under the Communist regime. Itwas not always easy for him to create music that was politically acceptable and hewas sometimes criticized by the government. The “Music Box Waltz” that we arelistening to this week makes no political statement. It is simply a dance.

Let’s listen.

Day 5:This week we have been listening to “Music Box Waltz” by Dmitri Shostakovich.

The “Music Box Waltz” is a piece of music that starts out with a light, airy quality ofsound. Some of the lightness is achieved by having the string players pluck thestrings of their instruments rather than having them use the bow to create sound.Do you remember the correct musical term for “string plucking”? It’s “pizzicato”.We will hear pizzicato several times throughout the “Music Box Waltz”. There arealso contrasts in the music created, in part, by using different instruments.

Listen for the trumpet and snare drum as we listen to “Music Box Waltz” for thefinal time.

Program Ends here.

Non-Directed Music Listening Program · 2016-04-01 · Non-Directed Music Listening Program Script...

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