Presented by: The OklahOma CiTy PhilharmOniC & The OklahOma … · The OklahOma CiTy PhilharmOniC &...

YOU

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CERT

SPresented by:

The OklahOma CiTy PhilharmOniC &The OklahOma CiTy OrChesTra league

2017 - 2018TeaCher’s guiDe

a sPeCial Thank yOu TO Our generOus yOuTh COnCerT sPOnsOrs:The Anschutz Foundation/Oklahoma Media Company The Boeing CompanyRobert Glenn Rapp Foundation Fund for Youth Concerts Wells FargoGlobe Life & Accident Insurance Co.

YOuTh COnCeRTs - TABLe OF COnTenTsinFOrmaTiOn FOr TeaChers..................................................................................................................2 Before the concert and Throughout the year..................................................................................2 Fine Arts standards.........................................................................................................................3 Pre-COnCerT aCTiViTies..........................................................................................................................5 The Role of the Conductor...............................................................................................................6 The Role of the Concertmaster........................................................................................................7 Families and Instruments of the Orchestra.....................................................................................8 string Family.........................................................................................................................9 Woodwind Family.................................................................................................................10 Brass Family..........................................................................................................................11 Percussion Family and special Instruments..........................................................................12 Diagram OF The OrChesTra.......................................................................................................13 Meet the Composers and Their Music............................................................................................14 Ludwig van Beethoven.........................................................................................................15 Pyotr Ilyich Tchaikovsky........................................................................................................16 Johannes Brahms.................................................................................................................17 Richard Wagner....................................................................................................................18 Leonard Bernstein................................................................................................................19 J.s. Bach................................................................................................................................20 Leroy Anderson....................................................................................................................22 John Williams.......................................................................................................................23 COnCerT eTiQueTTe......................................................................................................................24yOuTh COnCerT inFOrmaTiOn FOr TeaChers - Day OF The COnCerT...............................................25POsT-COnCerT aCTiViTies........................................................................................................................26 Letter Writing..................................................................................................................................26 Teacher evaluation..........................................................................................................................26 Games, Activities, and Answer Key.................................................................................................27

musiCal BiBliOgraPhy...........................................................................................................................33CD TraCk lisTing......................................................................................................................................36COnTaCT inFOrmaTiOn...........................................................................................................................37

YOuTh COnCeRTs - InFORMATIOn FOR TeACheRsBefore the ConCert:

yOuTh COnCerT maTerials

This teacher guide includes information on the following: - The Conductor - The Concertmaster - The families of the orchestra - specifics about each instrument - Composers and their music - Concert etiquette Activities are provided to help prepare your students for the concert. Please feel free to do as many or as few as you are able.

throughout the year: The Metropolitan Library system has provided us with a bibliography. Please distribute this information to your students.

all of this teaching material is available online at:http://www.okcphil.org/school-materials.

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If you have any questions, please contact:Katie Barrick, education Coordinator

424 Colcord Dr., suite BOklahoma City, OK 73102

[email protected]

FIne ARTs sTAnDARDsThe Youth Concerts meet a number of Oklahoma Academic standards for Music. These are listed by grade, below.

grade 3sTAnDARD 1: Language of Music: “Responding”1. explore the elements of music, including: a. Melody, b. Rhythm, e. Tone Color, f. Pitch, g. Tempo, h. Dynamics.2. use a system of syllables, numbers or letters to demonstrate basic notation: a. Rhythmic.3. Recognize basic features of familiar and unfamiliar songs, including: a. Dynamics, b. Tempo.4. Identify instrument ensembles.

sTAnDARD 2: Music history and Culture: “Connecting”4. Recognize and practice appropriate audience behavior appropriate for the context and style of music per-formed.5. Demonstrate respect for music performed by others.

sTAnDARD 4: Music Appreciation: “Creating”4. Recognize basic features of familiar and unfamiliar songs.6. use appropriate terms to explain preferences for musical works and styles.

grade 4sTAnDARD 1: Language of Music: “Responding”1. use correct terminology to discuss the elements of music, including: a. Melody, b. Rhythm, e. Tone Color, f. Pitch, g. Tempo, h. Dynamics.2. use a system of syllables, numbers or letters to demonstrate basic notation: a. Rhythmic.3. experiment with variations in and demonstrate understanding of tempo, tone color, dynamics.4. Identify visually and aurally: b. Families of orchestral instruments.



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FIne ARTs sTAnDARDs

grade 5sTAnDARD 1: Language of Music: “Responding”1. Define and use correct terminology to identify and discuss the elements of music, including: a. Melody, b. Rhythm, e. Tone Color, f. Pitch, g. Tempo, h. Dynamics.2. use a system of syllables, numbers or letters to demonstrate basic notation: a. Rhythmic.3. experiment with variations in and demonstrate understanding of tempo, tone color, dynamics.4. Identify visually and aurally: b. Families of orchestral instruments.



grade 6sTAnDARD 1: Language of Music: “Responding”1. Define and use correct terminology to identify and discuss the elements of music, including: a. Melody, b. Rhythm, e. Tone Color, f. Pitch, g. Tempo, h. Dynamics.2. Identify basic notational symbols including: time signatures and note values.3. experiment with variations in and demonstrate understanding of tempo, tone color, dynamics.4. Identify visually and aurally: b. Families of orchestral instruments.



The Youth Concerts meet a number of Oklahoma Academic standards for Music. These are listed by grade, below.

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PRe-COnCeRT ACTIvITIes - The COnDuCTOR AnD COnCeRTMAsTeR

OBjeCTiVe:students will be able to describe the role of the conductor and concertmaster. students will be able to recognize the location within the orchestra on stage of both the conductor and concertmaster.

TeaChing aCTiViTies:1. Introduce your students to the concept of the orchestra by talking about what an orchestra is. You may use the reference material in this guide to help you describe this concept. show them the orchestra diagram. have your students define the term orchestra by using dictionaries, encyclopedias, the inter-net, or other sources.2. Allow students to discuss these concepts and then introduce them to the conductor and concert-master. explain to the students that these two musicians are leaders within the orchestra. Discuss the concept of leaders at school or within the community.

OPTiOnal aCTiViTies:COnDuCTOr CharaDes - select one student to serve as the conductor. The remaining students will serve as the orchestra. have the ‘orchestra’ clap along while the conductor leads. Can the orchestra fol-low the conductor if he/she conducts quickly, or slowly?

COnCerTmasTer CharaDes - select one student to serve as the concertmaster. The remaining stu-dents will serve as the orchestra. have the concertmaster sing a phrase. Can the orchestra sing it back with the same style and tempo? have the concertmaster change the style. Can the orchestra repeat it back in the new style?

eValuaTiOn:students demonstrate understanding of the orchestra, the role of the conductor, and the role of the con-certmaster through discussion, writing, and correctly answering questions.

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MeeT YOuR COnDuCTORMatthew Thomas Troy is the Education Conductor for the Oklahoma City Philhar-monic and the new Artistic Director & Conductor of the Piedmont Wind Symphony. As Education Conductor with the Oklahoma City Philharmonic, he conducts the Discovery and Youth Concerts, leads outreach efforts, and this year will be conduct-ing a Carnegie Hall “Link Up” concert.

Troy is a passionate advocate for orchestral music and music education. Next year he is excited to be the Conductor for the Oklahoma All-State Orchestra, which will take place in Tulsa. As a viola/violin faculty member at the Music Academy of North Carolina, he received awards for teaching excellence.

Troy earned a bachelor’s degree in music at University of North Carolina at Greens-boro, where he also completed his master’s degree in orchestral conducting as a student of Maestro Robert Gutter. In his free time, he enjoys reading, studying new music, travelling and singing.

The ROLe OF The COnDuCTOR - The conductor is the leader of the orchestra. His or her role is similar to that of a teacher. - The conductor communicates information to the orchestra members to help them do their jobs better. - The conductor uses a series of motions to communicate ideas to the orchestra. - The faster he or she he moves his or her arms, the faster the orchestra will play. Slower arm movements mean the musicians will play slower. This is called the tempo. - The same idea applies to the volume, or dynamics. The larger his or her arm motions, the louder the sound. Smaller motions mean a softer, quieter dynamic. - In order to keep track of all the different instrumental parts, a conductor gets a special version of the music called a score. - The score shows every musician’s part. This allows the conductor to see how each instrument lines up and plays with the other instruments. - Conductors will use information from the score to determine which instruments should play louder or softer at certain parts of the music. - Conductors move his or her arms in patterns, based on how many beats per measure is written in the music. This is called the time signature.

Try having your students conduct the basic patterns below. Can they use big motions? Can they conduct slowly?

24

34

44

2

11

2

3

2 13

4

pattern pattern pattern

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MeeT YOuR COnCeRTMAsTeR

The ROLe OF The COnCeRTMAsTeR - The concertmaster is the Principal Violin. - He or she sits in the first chair of the first violin section. - From the audience, this is just to the left of the conductor. - The concertmaster often acts as a liaison between the symphony members and the conductor. - Often, they are the bridge for communication between the conductor and the rest of the orchestra. - Occasionally in rehearsals, the conductor may ask the concertmaster to demonstrate a passage of music using a specific style or technique. - The rest of the orchestra will then play the music using this same style. - At the beginning of a concert, the concertmaster will walk on stage and signal the oboe player to play a single tun-ing note. - He then tunes his instrument, signaling to the rest of the orchestra that they should do the same. - This also helps the audience know that it’s time to be quiet as the performance is about to begin!

Gregory Lee, a Sydney-born violinist started his music study at Queensland Conservatorium of Music at age 11. He holds a Degree from The Juilliard School and a Doctorate from the University of Michigan.

During his time in Los Angeles, he was a regular member of the Pacific Sym-phony and Long Beach Symphony Orchestras. In addition, he also worked with the Los Angeles Opera Orchestra, Santa Barbara Chamber Orchestra, California Symphony, San Francisco Symphony and Australian Chamber Orchestra.

He has also recorded for many Hollywood motion picture scores at 20th Century Fox, Sony/MGM, Warner Bros, Paramount and Capital Records. His success in competitions includes the Special Jury Commendation Award of Michael Hill International Violin Competition and winner of the Geelong Advertiser Instru-mental competition.

In addition to serving as Concertmaster for the OKC Philharmonic and Associ-ate Professor of Violin at the University of Oklahoma, Dr. Lee performs regularly with the Oklahoma Chamber Players, Brightmusic Chamber Ensemble, and the Holmberg String Quartet.

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PRe-COnCeRT ACTIvITIes - FAMILIes AnD InsTRuMenTs OF The ORChesTRA

OBjeCTiVe:students will be able to name the instruments of the orchestra and place the instruments into their cor-rect orchestral families. students will be able to describe physical similarities and differences between orchestral instruments.

TeaChing aCTiViTies:1. Introduce your students to the concept of the orchestra and instruments by talking about what an orchestra is. You may use the reference material in this guide to help you describe this concept. show them the orchestra diagram. have your students define the terms orchestra and instruments by using dictionaries, encyclopedias, the internet, or other sources.2. Allow students to discuss these concepts and then introduce them to specific instruments in the orchestra. explain to students that these instruments fit into families within the orchestra. Discuss the concept of family within their own lives. Talk about similarities and differences within their own families.3. Describe what the instruments are made of and what makes them similar and different.

OPTiOnal aCTiViTy:insTrumenT CharaDes - Divide your class into two teams. each team will take turns describing an instrument to their team. students may use words and motions to describe their instrument (example: “This instrument is the largest instrument in the string family.”), but the student may not say the name of the instrument itself.

eValuaTiOn:students demonstrate understanding of orchestral instruments, their families, and similarities and differ-ences in physical appearance through discussion, writing, and correctly answering questions.

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FAMILIes AnD InsTRuMenTs OF The ORChesTRA

The sTring Family

violin viola Cello

Double Bass9

All members of this family have strings and are made of wood. The violin, viola, cello, and bass look very simi-lar except for size and the way they are held. They are played using a bow made of horse hair to drag across the strings, or by plucking strings with the fingers.

The Violin is the smallest member of the string family and plays the highest pitches. It is held under the chin and rests on the shoulder. The violin has a bright tone.

The Viola is slightly larger and can play lower pitches. It is also held under the chin, resting on the shoulder. The viola has a darker, warmer tone than the violin.

The Cello, also called the violincello, is much larger that the violin and viola. The musician must be seated and hold the cello between the knees. since it is larger, it can play lower pitches than both the violin and viola.

The Bass, also called the Double Bass, is the largest member of the orchestral string family and makes the lowest sounds. The musician stands up or sits on a tall stool to play.

The Harp has a different shape. It is large and triangular, with 47 strings and 7 pedals. The strings are played with fingers of both hands plucking strings.

There are four families of instruments in the orchestra: strings, woodwinds, brass, and percussion. All instru-ments produce sounds by making vibrations. each family is unique in many ways, such as the materials making up each instrument, how each instrument vibrates to produce sounds, how each instrument changes notes, and how each instrument sounds (high or low or loud or quiet). Details on each family are below, as well as informa-tion on the “special” instrument of the orchestra, the piano!

Instruments labeled *** are also used in band programs!

harp

The WOODWinD Family***

Flute Oboe Clarinet Bassoon

At one time, all instruments in the woodwind family were made of wood. The musician’s wind or air is blown across a reed or mouthpiece. Pitches are changed on different size tubes by pressing keys with the fingers.

The Flute is now made of silver or gold. The sound is made by the musician blowing air across the small hole in the mouthpiece. The flute has a clear, bird-like sound.***

The Piccolo is like the flute, except it is much smaller and made of silver or wood. The piccolo has a high, piercing sound. Both the flute and piccolo are held horizontally on the right side of the musician.***

The Clarinet is different from the flute and piccolo. It is held vertically in front of the player and uses a mouth-piece with a single, thin piece of wood called a “reed.” The player blows air between the reed and the mouth-piece to make the sound.***

The Oboe has a mouthpiece that uses two reeds tied together called a “double reed”. It is held like the clarinet and has a unique sound.***

The Bassoon has a double reed like the oboe. The bassoon is a large tube with keys on one side. It is so large that a musician must attach a strap to one end of the bassoon and sit on the other end to help hold the instrument. It is held to the right side of the body, and is sometimes as tall as the musician!***

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The brass family includes instruments that are made of metal and vary in size. sound is made by the player’s lips buzzing into the mouthpiece.

The Trumpet has three valves that are used to change the pitches. The trumpet is the highest sounding member of the brass family. It has a bright, brilliant tone and is held straight in front of the musician.***

The French horn is made of 15 feet of narrow tubing wound in circles. The French horn is held slightly to the right side of the musician with the bell facing backward. Three valves are used to change the pitch with the left hand while the right hand is inside the bell. The French horn has a rich, mellow sound.***

The Trombone is larger than the trumpet and French horn and thus plays lower pitches. It has a slide to change the length of the instrument, therefore changing the pitch. The trombone is held in front of the person playing and has a bright, smooth sound.***

The Tuba is the largest member of the brass family and plays the lowest pitches. It is held in the musician’s arms and rests in the lap. Five valves change the sounds. The tuba has a deep, mellow sound. ***

The Brass Family***

Trumpet

French HornTrombone

Tuba

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The PerCussiOn Family***

sPeCial insTrumenTsThe piano is called a special Instrument because it belongs to more than one fam-ily in the orchestra. On the piano, the sound is produced by small hammers strik-ing strings. The hammers are controlled mechanically and strike the strings when the player’s fingers press the piano keys. Therefore, the piano fits into both the string family as well as the percussion family.

Bass Drumsnare Drum

TimpaniXylophone

Triangle

Tambourine

Chimes

Piano

Percussion instruments are played by striking or scraping one object against another, or also by shaking the instru-ment. some percussion instruments have pitch while others make unpitched sounds. The percussion instruments provide rhythm, texture, and different tone colors for the orchestra. A few are below.

The snare Drum is made of a drumhead stretched tightly over a metal frame. The top drumhead is struck with wooden drumsticks while the bottom drumhead has metal snares stretched tightly across it, giving the drum its characteristic rattling sound. It is frequently used in marching bands.***

The Bass Drum is a much larger drumhead and frame. It is played with a soft mallet and has a booming sound.***

The Timpani or Kettle Drums were the first drums used in an orchestra. Most orchestras use three or four dif-ferent sizes and each timpani has a large bowl-shaped body made of copper with drumhead stretched across the top. The timpani are struck with felt-tipped, wooden mallets. The instrument has a focused and powerful sound that can be controlled in both pitch and dynamics. It makes a rolling sound like thunder.***

The Chimes have 12 to 18 metal tubes hanging from a metal frame. They are pitched tubes that ring when struck with a wooden mallet and have a ringing sound like church bells.***

The Xylophone is made of wooden bars laid horizontally across a metal frame. each bar has a different pitch that is struck with a hard or soft mallet to produce sounds.***

The Tambourine is a small drum with metal jingles set into the edges. It is held in one hand and makes sound by using the other hand to tap, shake, or hit it.***

The Triangle produces a high, tinkling sound. It is made by striking the triangle with a small, metal mallet.

insert orchestra diagram here.

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PRe-COnCeRT ACTIvITIes - MeeT The COMPOseRs AnD TheIR MusIC

OBjeCTiVe:students will learn about the composers and music featured in the Youth Concert as well as improve their listening skills.

TeaChing aCTiViTies:For each piece: 1. Discuss the composer’s life and listen to each piece that the composer wrote. 3. Discuss the featured families and/or instruments in each piece (a listening map is provided to assist you). 4. have students write down everything they hear in the piece. 5. Lead a general discussion by asking questions such as: - Did the music make you think of a person or thing? - What did you feel when you listened to the music? Were you happy or sad? - Is there one word that describes the music? Why did you pick that word? - Does the music make you want to dance in a certain way?

eValuaTiOn:students demonstrate an understanding of the composers and music to be heard at the Youth Concert, as well as an improvement of their listening skills, through active participation, written exercises, and oral discussion.

sTuDy CD TraCk lisTing: (CD to be used for educational purposes only)

Track 1 Beethoven symphony no. 5, Movement 1 Track 2 Tchaikovsky swan Lake suite, Movement 1Track 3 Brahms hungarian Dance no. 19 Track 4 Wagner Lohengrin- Prelude to Act IITrack 5 Bernstein West Side Story: “Mambo”Track 6 Bach “Fugue in G Minor”Track 7 Anderson “Fiddle Faddle” Track 8 Williams Star Wars: “Main Title”

Ludwig van Beethoven (1770-1827)symphony no. 5, Movement 1 (Track 1)

- Born in Bonn, Germany on December, 1770 and died on March 27, 1827- Beethoven insisted that he was born in 1772 despite being presented multiple times with legal papers that state otherwise- his mother was the primary care-taker of the children, while his father was a court singer- Beethoven looked up to his grandfather most for being Bonn’s most distinguished musician- his father began teaching him the harpsichord and violin at a very young age, and he had his first solo concert at the age of 7

- he withdrew from school at the age of 10 to study music full time- The court where Beethoven worked sent him to vienna to further his music skills in 1787- Beethoven’s career began as an outstanding pianist rather than a composer- his career as a composer began in his 20’s after studying with Joseph haydn, Antonio salieri, and Johann Alberchtsberger- he began composing for only piano, then graduated to chamber music and full symphonies- Beethoven wrote a symphony in dedication to the then emperor of europe, napoleon Bonaparte, then changed the name because of napoleon’s unfavorable dictatorship- Beethoven lost his hearing in his early 30’s, but continued to compose music at a very quick pace- During his “middle” or “heroic” period, while losing his hearing and after becoming deaf, Beethoven com-posed an opera, six symphonies, four solo concerti, five string quartets, six string sonatas, seven piano sona-tas, five sets of piano variations, four overtures, four trios, two sextets and 72 songs.- Beethoven died on March 26, 1827, at the age of 56.

Listening Map for Track 1 (Beethoven’s Symphony No. 5 - Movement I): - In Symphony No. 5 - Movement I, Beethoven introduces his familiar, four-note motive and passes it around to each of the four instrument families (strings, brass, woodwinds, percussion) throughout the movement. - some instruments can make high sounds and some can make low sounds. This is called the range of the instrument. - This piece is a good example of the use of TOne COlOr, the unique sound of each instrument, and how Beethoven uses all of the instruments to create a full, orchestral sound.

- 0:00 – All four families play and introduce the famous, four-note motive! This motive is played in a minor key. - 0:43 – Brass family introduces a new theme, woodwinds and strings answer. notice the difference in their sounds. Which family produces a higher pitch? Which has lower pitch? Can you still hear the original motive being played? - 1:00-1:25 – The orchestra gets louder and presents the motive in a major key. Does it sound happier here than it did at the beginning? - 1:26 – The four-note motive returns in its original, minor key! Listen for each time this motive is repeated by someone in the orchestra.

MeeT The COMPOseRs AnD TheIR MusIC

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Pyotr Ilyich Tchaikovsky (1840 - 1893)swan Lake suite, Movement 1 (Track 2)

- Tchaikovsky was born on May 7, 1840 in vyatka, Russia. - his father worked as a mine inspector and metal works manager. - At just 5 years old he started to take piano lessons. - When Tchaikovsky was 10 years old, he began attending the Imperial school of Juris-prudence, in st. Petersburg, Russia. - At age 21, Tchaikovsky took lessons at the Russian Musical society and a few months later enrolled at the st. Petersburg Conservatory as one of the school’s first composi-tion students.

- In 1862 he wrote the song “Mezza notte”, which is his first published work. - he moved to Moscow in 1866 to become the Professor of harmony at the Moscow Conservatory. - Throughout his lifetime, he composed 169 symphonies, ballets, concertos, cantatas, and songs. - his most famous late works are all ballets, including The Sleeping Beauty and The Nutcracker. - Tchaikovsky married but abandoned his new wife just weeks after their wedding. - he retired from the Moscow Conservatory in 1878 and lived off a monthly allowance from a wealthy widow until his death on november, 6, 1893. - his cause of death is believed to be from cholera, same as his mother.

Listening Map for Track 2 (Swan Lake Suite, Movement 1): This piece features the sTring Family is a wonderful example of melODy.

- 0:03 – The oboe introduces Part A of the melody. - 0:27 – The oboe continues with Part B of the melody. - 0:55 – Part A passes from the oboe to the low brass instruments. - 1:17 – Part B is heard now in the strings. notice how they adapt and expand upon the original melody played by the oboe. - 2:15 – Part A returns, being played in unison by most of the orchestra. - 2:27 – The flute and high woodwinds play segments of Part A. - 2:33 – The low strings (cello and bass) take the fragmented melody from the woodwinds and repeat it, end-ing the piece.

Johannes Brahms (1833-1897) hungarian Dance no. 19 (Track 3)

- Brahms was born on May 7, 1833 in hamburg, Germany and died on April 3, 1897 in vienna, Austria- he had two siblings, and his father was a double bassist in the hamburg Philharmonic society- Brahms began his music career as a pianist in his early teens- his relationship with Robert schumann helped him quickly develop a great reputation in the music world- As Brahms became more popular, his classical-style compositions were competing against the new styles of music from Wagner and other compos-ers

- After several different positions in hamburg, Brahms moved to vienna, Austria to further his career- he began his time in vienna as director of a choral group called singakademie before taking the positions of principal conductor of the society of Friends of Music and director of the vienna Philharmonic Orchestra- Brahms composed books 1 and 2 of hungarian Dances while holding these positions- Books 3 and 4 of hungarian Dances were composed 11 years later, in 1880, when Brahms was traveling around europe premiering conducting and performing his own music- Brahms had great success with his compositions and was able to live a very comfortable lifestyle- he gave most of his money to friends and young musicians trying to get their own career started- Brahms gave his last performance in March of 1897, less than one month before his death on April 3, 1897

Listening Map for Track 3 (“Hungarian Dance No. 19”): This piece features the WOODWinD Family and is an example of TOne COlOr.

- 0:00 – The woodwinds play the opening theme. Listen first for the melody played by the flutes and piccolo - they have the highest register of all the woodwind instruments. - 0:09 – Theme played now by the oboes and clarinets. how does their tone sound different from the flutes/piccolo? - 0:15 – Listen as the strings join in to create a new tone color. The violins can play high notes along with the flutes and piccolo. - 0:27 – here the color changes again as the trumpets and trombones join the melody. Is their sound lower or higher than what we’ve heard the other instruments play? - 0:40 – now we hear a combination of two, different tone colors as the piccolo and the cellos play together. Which instrument is creating the higher sound and which is creating the lower, warm sound? - 0:58 – The whole orchestra plays together here. how is this sound different than when only a few instru-ments are playing together? - 1:17 – Woodwinds play the opening theme once more. Listen for the ending - how does this tone color change? Does it sound like only the woodwinds playing or is the whole orchestra playing together?

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Richard Wagner (1813- 1883)Lohengrin - Prelude to Act III (Track 4)

- Wagner was born on May 22, 1813 in Leipzig, Germany and died on February 13, 1883 in venice, Italy- his interests in theater, drama, and acting began at a very early age- Wagner did not show a lot of musical skill in his early childhood, but his ambition and dedication led him to begin writing dramas and composing music- he finished his first opera at the age of 22- some of Wagner’s inspirations include Christoph Willibald Gluck and Carl Maria von Weber, both important opera composers of their times- Wagner is famous for creating equality of music, drama, text, design, and move-

ment in his operas rather than the music being the most important part- Wagner wrote both the music and the text of his “music dramas”- his operas were very long with the intention to be performed during the course of an afternoon and eve-ning- Lohengrin was Wagner’s sixth opera, and it premiered in 1850- The most recognizable part of Lohengrin is the Bridal Chorus, better known as “here Comes the Bride”- This opera is to be performed act to act without any interruption, such as an intermission- While this opera was being performed, Wagner took an unpopular political stance, which caused him to be banned from Germany for 11 years- When he was allowed back into Germany, Wagner’s most well-known work, The Ring Cycle, gained an ex-cellent reputation, and full length, 18-hour, performances began- Wagner died on February 13, 1883 at the age of 69

Listening Map for Track 4 (“Lohengrin - Prelude to Act III”): This piece feature the Brass Family and is an example of DynamiCs, or the changes in volume of sound of the instruments.

- 0:00 – The piece opens with full orchestra, playing very loudly at a fortissimo dynamic. - 0:26 – The horn section is introduced. - 0:46 – The trombones, tuba, and then trumpets join the horns to create a full sound from the Brass family. - 1:15 – Listen for the decrescendo at 1:18-1:20. hear how the strings carry the music down to a quiet, piano dynamic. - 1:20 – The oboe solo begins at the same, quiet dynamic. - 1:27-2:00 – Listen for the gentle crescendos and decrescendos in this passage. The orchestra creates “waves” in their sound by gradually getting louder, then softer. how many crescendo/decrescendo “waves” can you hear? - 2:07-2:15 – This passage ends with a long crescendo, followed by a small decrescendo. notice how the volume increases as the instruments climb to higher pitches. - 2:16 – The dynamics change suddenly back to the loud, fortissimo dynamic from the beginning. Is the melody also the same as the beginning? - 2:50-end – Listen as the piece concludes with an extended decrescendo and the orchestra’s sound fades away.

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Leonard Bernstein (1918 - 1990)West Side Story: “Mambo” (Track 5)

- Born on August 25, 1918 in Lawrence, Massachusetts. - Originally named Louis because his grandmother loved the name, but he legally changed it to Leonard when he was 16. - his father was a ukrainian immigrant who worked multiple jobs, cleaning fish, sweeping the floors in his uncle’s barber shop, and stocking wigs for a dealer. - started playing piano at age 10 on his Aunt Clara’s piano. - Bernstein’s father refused to pay for piano lessons. he felt hard work and success in business was more important. - Leonard himself began saving money to pay for a few sessions. - At the time of his Bar Mitzvah, Bernstein showed such talent his father

decided to buy him a baby grand piano! - Bernstein studied music theory and counterpoint at harvard, during which he attended a Boston symphony concert with Dmitri Mitropoulos. - After harvard, he spent a year of very intense musical training studying conducting at the Curtis Institute of Music in Philadelphia with Fritz Reiner. - While working odd jobs as a music transcriptionist, he was offered the position of assistant conductor of the new York Philharmonic and amazed everyone present. - he founded the Creative Arts Festival at Brandeis university in 1952. - he reached a younger audience through the television shows “Omnibus” and “Young People’s Concerts”. - Bernstein’s first operetta, Candide, was written in 1956. - his most famous work is West Side Story. It was written in collaboration with Jerome Robbins, Arthur Lau-rents, and stephen sondheim.

Listening Map for Track 5 (West Side Story: “Mambo”): This piece is an example of rhyThm.

- 0:00 – notice the heavy use of percussion. The percussion is important for creating all the unique rhythms heard throughout the piece. - 0:08 - Through this section, listen to the use of percussion in providing a steady, underlying beat. - 0:34 – When all the instruments play together, you should feel that they are not always playing on the beat. This rhythmic technique is called syncopation and is very common in Latin music. - 0:40 - Another example of syncopation in the strings. - 0:59 - Listen to the different rhythms taking place in the trumpet line vs. the background percussion. - 1:03 - Listen now to the percussion and woodwind instruments play the same rhythm. - 1:26 – Listen for the brass melody here. Do the trombones play on the beat? Or do they play with synco-pation? - 1:35 - As the piece nears the end, can you hear specific instruments that play the same rhythm? Can you hear instruments that seem to stand out with their rhythm?

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J. S. Bach (1685 - 1750)“Fugue in G Minor” (Track 6)

- Johann sebatian Bach was born March 31, 1685 in eisenach, Germany. - he grew up in a family of remarkable musicians and his older brother, Johann Christoph, helped young Bach further his music education. - In 1703, Bach got his first job as a musician in the court of Duke Johann ernst in Weimar, Germany. - Later that same year, he was appointed to the position of organist at new Church in Arnstadt, Germany at 18 years old. - Bach was skilled on both harpsichord and organ. During his lifetime, he was known more for his organ playing than his composing. But, he is now regarded as one of the greatest composers of all time.

- his composition style was influenced by many musical styles from across europe and inspired other great composers like Mozart and Beethoven. - Bach had 20 children and 4 of his sons also became successful musicians and composers. - his compositions are known for their use of techniques such as counterpoint (playing multiple melodies simultaneously) and fugue (the repetition of a melody with slight variations throughout the piece). - Our listening piece “Fugue in G Minor” is a great example of Bach’s fugue writing!

Listening Map for Track 6 (“Fugue in G Minor”):This piece is an example of TemPO (the speed of the music) and VariaTiOn (material repeated in an altered form).

- 0:00 – This piece opens with a solo clarinet playing the melody. This melody is one that we will hear repeat-ed many times throughout the piece to create the fugue. notice the tempo - is it fast or slow? - 0:16 – Listen as the melody is passed to a new instrument. Do other instruments join in or is it still being played as a solo? - 0:36 - More instruments are added and the melody begins for a third time. Does the tempo change or stay the same? - 0:51 – A new variation begins here, played by the strings. Listen for the original melody, can you still hear it? - 1:16 – now, it’s the brass family’s turn to have the melody. - 1:33-2:21 – The strings join back in to play along with the brass. Can you count how many times you hear the melody come back throughout this passage? - 2:22 – Listen as the woodwinds take over until the strings bring the melody back at 2:37. - 3:15 – The orchestra prepares for a BIG tempo change here. Do you hear them start to speed up or slow down? - 3:19 – The fugue melody comes back one final time at a much slower tempo as the whole orchestra plays together at a loud dynamic to create a full sound. how does the orchestra’s slow tempo change how the piece sounds at the end compared to the beginning (dramatic, darker, big sound)?

During the concert, have your students watch the conductor. notice how the conductor waves his arms to tell the orchestra how fast or slow to play.

insert page of bach listening map

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Leroy Anderson (1908 - 1975)“Fiddle Faddle” (Track 7)

- Born on June 29, 1908 in Cambridge, Massachusetts. - his parents were both immigrants from sweden. - his father worked at the u.s. Postal Office in addition to playing banjo and mandolin. his mother was a church organist. - Anderson began piano and music studies at the new england Conserva-tory when he was 11 years old. - Graduated from harvard with a BA and MA in music before beginning work on a PhD in German and scandinavian languages. - he was very gifted with languages and mastered Danish, norwegian, Icelandic, German, French, Italian, Portuguese, swedish, and english. - In the 30s, he was active in his community as an organist, conductor, ar-

ranger, double bassist, and tuba player. - he applied for and was awarded a teaching position for language studies at a private school, but turned it down in order to give his music career one final chance. - While writing music for the harvard university Band, he caught the attention of the Director of the Bos-ton Pops Orchestra, Arthur Fiedler. - he wrote many popular “miniature” pieces for the Boston Pops over the years such as “Jazz Pizzicato”, “sleigh Ride”, “serenata”, and “Fiddle Faddle”, to name a few. - While he is most famous for his short works, he also wrote a concerto, Concerto in C for Piano and Or-chestra, and a score for a new musical, Goldilocks. - Leroy Anderson died of cancer in 1975.

Listening Map for Track 7 (“Fiddle Faddle”):This piece is an example of TOne COlOr.

- 0:00 – The piece opens with the strings bowing their instruments. This gives the melody a smooth, connected color. - 0:34 - The dynamics of the piece increase here as he adds more instruments, specifically the brass. how does the tone color of the piece change when the brass adds their accented notes (trombone)? - 1:11 – notice the change in tone color when the strings switch to plucking their instruments. We have a shorter more detached sound in this section. The piano playing along with the pizzicato also adds to the tone color. - 1:37 – The strings return to using their bows and the low brass instruments also return. The piece has a smooth connected sound once again. how does the tone color of the piece change now that the brass instruments have a melody and not just accents? - 2:07 - The higher brass instruments are added (trumpets). notice the brighter sound. - 2:38 - The main melody from the opening returns.

John Williams (1932- )Star Wars: “Main Title” (Track 8)

- Born on February 8, 1932 in Flushing, Queens, new York. - Father was a jazz drummer who played with the Raymond scott Quintet. - Premiered his first original composition (a piano sonata) at age 15. - Moved to Los Angeles at age 16 and attended north hollywood high. - he was drafted into the armed forces in 1952 where he composed music for the Air Force Band. - he studied at uCLA and at Julliard, focusing on piano. - he was the 19th conductor of the Boston Pops Orchestra and held that position for 12 years. - he has composed film scores for movies such as Jaws, the Star Wars saga,

Superman, Indiana Jones, Jurassic Park, E.T. - The Extra Terrestrial, Schindler’s List, and Harry Potter. - In 1977, he composed the film score for the first star Wars movie, Star Wars Episode IV: A New Hope. - said to be inspired by the 1942 film Kings Row, this film score is one of the most famous scores Williams has ever composed. - he has been nominated for over 41 Oscars and has won 5.

Listening Map for Track 8 (Star Wars: “Main Title”):Challenge your students to identify the different elements of music that have been discussed earlier: melody, rhythm, tone color, pitch, tempo, and dynamics. A few key sections are noted below.

Melody – The main melody opens the piece. This is heard in the trumpets. 0:45 – Melody is heard again in the French horns.

Rhythm – 1:39 – notice the strength of the rhythm when all instruments are playing in unison. 1:55 – The drums continue with a strong rhythm as the base, while the trumpets come in with a melody on top.

Tone Color - notice the change in tone color from the main melody in the trumpets to the strings at 0:25. how does the harp glissando add to the color?

Pitch – 1:22 – The piccolo is much higher compared to the brass that come in a few seconds later at 1:35.3:07 – The lyrical melody in the low strings provides a low, deep sound in contrast to the flutes that inter-ject throughout this section.

Tempo – 1:41 – Listen for the rhythm to gradually slow down, or rallentando. The piece almost stops at 1:54, but the tempo returns to a tempo at 1:56.

Dynamics – The piece opens forte. 1:12 - We hear a decrescendo into the piccolo solo. 1:29 - The strings and percussion lead a crescendo into the unison section at 1:40.

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PRe-COnCeRT ACTIvITIes - COnCeRT eTIQueTTeOBjeCTiVe:students will understand what to expect at the concert and learn about appropriate concert behavior.

DisCuss The FOllOWing WiTh yOur sTuDenTs:1. arriVal - After being seated, have your students watch the musicians on stage. - The musicians are warming up, just like an athlete. - It is important that their instruments and bodies are ready to perform.

2. COnCerTmasTer - When it is time for the concert to begin, the concertmaster will enter the stage. - Refer to the section on Page 3 for more information.

3. maesTrO - When all of the players have tuned their instruments, it is time for the maestro, also known as the conductor, to come on stage. - Refer to the section on Page 4 for more information.

4. manners - Just as good manners are important in your homes and your classrooms, they are important at orchestra concerts. - no talking. It distracts others and you can not talk and listen at the same time. - Do not leave your seats during the performance. - If seated in a balcony, never throw or toss any items over the balconies or spit onto those sitting below you. - Those acting inappropriately will be asked to leave the performance.

TeaChing aCTiViTies:1. WriTing - Divide your students into groups of four or five and give each group one of the topics listed above. have the students collectively write a small paragraph of what should happen at the concert, such as what the maestro will do or how they should behave. have each group share their paragraph with the rest of the class.

2. rOle Playing - Divide your students into groups of four or five and give each group one example of either good or bad concert behavior. have your students act out each example and ask the rest of the class to guess the situation and whether or not it is acceptable concert etiquette.

eValuaTiOn:students demonstrate understanding through discussion, writing, and role playing.

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Day of the ConCert:

DireCTiOns - The Youth Concerts take place at the Civic Center Music hall, 201 n Walker, in downtown Oklahoma City. - We will send out detailed driving and parking directions the week before the concert. - Please make sure your bus driver knows that once parked, he or she may nOT leave. This is for the safety of all students attending our concerts.

seaTing - seating for each concert is on a first-come, first-served basis. - TheRe ARe nO TICKeTs FOR ThIs PeRFORMAnCe. - The concert hall will be filled starting with the lower orchestra section and moving backward. Therefore, the sooner you arrive, the closer your seats will be. - There is no saving of seats. The entire group must be present before being seated. - Please have the number of seats that you will need ready to give the Civic Center ushers. - Large groups may be split in order to accommodate seating. - Arrangements can be made for students with special needs. Please contact the education Coordinator at 405-232-7575 to arrange this seating.

COnCerT - The concert lasts approximately 45 minutes.

eaTing - You are welcome to enjoy lunch on the plaza before or after your concert. - Your bus will still need to park and depart with the other buses. Please ensure you have your bus driver’s phone number to coordinate a pick-up location once you have finished lunch. - In the event of inclement weather, you will be required to eat lunch on the bus.

PHoToGRAPHy AND AuDIo/VIDeo ReCoRDING - no photography, audio, or video recording of any kind is allowed during the performance.

YOuTh COnCeRTs - InFORMATIOn FOR TeACheRs

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POsT-COnCeRT ACTIvITIes - ACTIvITY WORKsheeTs AnD LeTTeR WRITInG

OBjeCTiVe:students will complete the following activity worksheets about instruments, families of the orchestra, and composers.

TeaChing aCTiViTies:1. Review the instruments and four families of instruments in the orchestra.2. Make copies of the following worksheets and have students complete them.3. Discuss the concert experience with your students.

eValuaTiOn:students demonstrate understanding of the instruments and families of the orchestra through discus-sion, answering questions, and correctly completing activity worksheets.

ADDITIoNAL FoLLoW-uP ACTIVITy:Letters to the orchestra, conductor, and/or staff are greatly appreciated and help students develop their letter writing skills. Letters may be addressed to our conductor, Matthew Troy, or any musician or staff member. Musician names and staff members can be found online at www.okcphil.org.

Please send letters to:OKC PhilharmonicYouth Concerts424 Colcord Dr., suite BOklahoma City, OK 73102

FoLLoW-uP ACTIVITy FoR TeACHeRS:Following the concert you will receive an e-mail from the education Coordinator with a link to an online evaluation form. Please take the time to complete this evaluation! We would like to hear your com-ments about the concert, positive or negative. It is your feedback that helps us continue to improve the program! ThAnK YOu In ADvAnCe!!!

after the ConCert:youTH CoNCeRT MATeRIALS - Additional information, exercises, and activities provided in these materials will allow you to complete the Youth Concert experience with your students.

TeACHeR eVALuATIoNS - We will send a link via e-mail to the Youth Concert evaluation following the perfor-mance. We appreciate your time and feedback.

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1 4

2

5

6

3

8

9

7

aCrOss:

1. Another name for the conductor.

3. The only instrument in the woodwind family that does not use a reed to produce sound.

6. The largest instrument in the woodwind fam-ily.

7. An instrument in the percussion family that is made of metal tubes which stand vertically and are struck by a hard mallet.

DOWn:

2. This is considered a special instrument, as it is a member of both the percussion and string families.

4. The largest instrument in the brass family.

5. This instrument uses a slide to change pitch instead of valves.

8. This is made of wood and horse hair, and is used by string players to make sound. 9. The smallest instrument in the string family.

WOrD Bank:

Chimes Bow harp Tuba violin FluteMaestro Trombone Bassoon

ORChesTRA CROssWORD PuZZLe

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ORChesTRA PICTuRe ACTIvITY

Which instrument does not belong to the same family as the others? (Circle the incorrect instrument)

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ORChesTRA WORD TIC-TAC-TOe

TuBA vIOLIn TRuMPeT

CLARIneT vIOLA CeLLO

XYLOPhOne DOuBLe BAss

TROMBOne

vIOLA TuBA GONG

vIOLIn ChIMes TRIAnGLe

TIMPAnI CeLLO FRENCHHORN

FRENCHHORN

TRuMPeT OBOe

CeLLO TuBA FLuTe

vIOLIn TIMPAnI TROMBOne

TRuMPeT BOnGOs CeLLO

FLuTe CLARIneT OBOe

SNAREDRuM BAssOOn

DOuBLeBAss

Can you connect three squares of instruments that are in the same family?

30

ORChesTRA WORD PuZZLe1. The clarinet belongs to which family? ___ ___ ___ ___ ___ ___ ___ ___ 9 4

2. Which family is the heart of the orchestra? ___ ___ ___ ___ ___ ___ 21 6 3. Which brass instrument has the highest sound? ___ ___ ___ ___ ___ ___ ___ 13 4. What is the special name for a conductor? ___ ___ ___ ___ ___ ___ ___ 1 19 16 5. Which family makes sounds by being struck or hit? ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ 8 2 7 23

6. If an instrument is very large, it has a very ___ ___ ___ sound. 10

7. Which woodwind instrument is now made of metal instead of wood? ___ ___ ___ ___ ___ 22 17

8. string players hold this in their right hand. It is made of wood and horse hair. ___ ___ ___ 12

9. Which instrument in the string family is held between the player’s knees? ___ ___ ___ ___ ___ 5 11

10. All sound is made through ___ ___ ___ ___ ___ ___ ___ ___ ___ ___. 20 3

11. Which instrument in the brass family has a slide? ___ ___ ___ ___ ___ ___ ___ ___ 18 15

12. If an instrument is very small, it has a very ___ ___ ___ ___ sound. 14 NOW SOLVE THE SPECIAL PUZZLE!!!! ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___!! 1 2 3 4 5 6 7 8 9 10 11

___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___!!! 12 13 8 14 15 16 17 18 19 20 21 22 2 23

WORD BAnKhighcello

vibrationstrumpet

woodwindbow

trombonemaestro

stringlow

percussionflute

insert musical note game.

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AnsWeR KeY

OrChesTra WOrD PuZZle1. woodwind2. string3. trumpet4. maestro5. percussion6. low7. flute8. bow9. cello10. vibrations11. trombone12. high

sPeCIAL PuZZLe:Music is cool!!Orchestra is fun!!!

OrChesTra CrOssWOrD PuZZleACROSS:1. Maestro3. Flute6. Bassoon7. Chimes

DOWn:2. harp4. Tuba5. Trombone8. Bow9. violin

TuBA vIOLIn TRuMPeT

CLARIneT vIOLA CeLLO

XYLO-PHONE

DOuBLe BAss

TROM-BOne

vIOLA TuBA GONG

vIOLIn ChIMes TRIAnGLe

TIMPAnI CeLLO FRENCHHORN

FRENCHHORN

TRuMPeT OBOe

CeLLO TuBA FLuTe

vIOLIn TIMPAnI TROM-BOne

TRuMPeT BOnGOs CeLLO

FLuTe CLARIneT OBOe

SNAREDRuM BAssOOn DOuBLe

BAss

OrChesTra TiC-TaC-TOe

musiCal WOrDs

BAG eGGFACe DADAGe BeD

BeAD FADeCABBAGe

OrChesTra PiCTure aCTiViTy

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Aliki. ah, Music! 2003. (Grades 1-4)surveys the history and components of music, concentrating on Western musical traditions.

Celenza, Anna harwell. Duke ellington’s Nutcracker Suite. 2001. (Grades 2-5)Tells the story of how jazz composer and musician Duke ellington, along with Billy strayhorn, created his jazz composition based on Tchaikovsky’s famous nutcracker suite ballet. Includes author’s note and CD recording of ellington’s nutcracker suite.

Crossingham, John. Learn to Speak Music: A Guide to Creating, Performing, and Promoting your Songs. 2009 (Grades 4-8)sometimes all that separates us from realizing the potential of our own musical creativity is a little extra know-how. From songwriting and artwork to shooting a video and setting up a practice space, every aspect of the world of popular music is explored.

ehrhardt, Karen. this Jazz Man. 2006. (Grades 1-5)Presents an introduction to jazz music and nine well-known jazz musicians, set to the rhythm of the tradition-al song, “This Old Man.” Includes brief facts about each musician.

Golio, Gary. Spirit Seeker: John Coltrane’s Musical Journey. 2012. (Grades 2-6)Tells the story of the legendary jazz musician, from his deeply religious childhood to his career as a boundary-breaking musician who found inspiration in his own unique approach to both spirituality and music.

Green, Dan. music. 2011. (Grades 3-7)Learn about music in this fun pop-life style guide. The personality-based explanations will make it easy to remember the essential concepts behind musical expression. You’ll never look at the orchestra or listen to a piece of music in the same way again!

helsby, Genevieve. those amazing Musical Instruments! your guide to the orchestra through Sounds and Stories. 2007. (Grades 4-8)Takes readers on a musical tour, from the cello to the clarinet to the trumpet to the drums , with notes on the history, construction and sounds of the instruments from each of the major instrument “families.” They can see the parts of the violin working together, read about the flute in Mozart’s “The Marriage of Figaro,” or hear the different sounds of the tuba on the included CD-ROM. This interactive CD-ROM includes individual musical samples giving readers an audible taste of each instrument, as well as full orchestra pieces showing how they play together.

Kalman, esther. tchaikovsky Discovers america. 1994. (Grades 3-6)eleven-year-old Jenny, whose family came from Russia to America to start a new life, meets the famous Rus-sian composer on his 1891 trip to the new World and writes about it in her diary.

Latham, Donna. Music: Investigate the evolution of American Sound. 2013. (Grades 6-8)explore the roots of American music genres with this book as they investigate the social, political, and reli-gious influences that have inspired and continue to inspire musicians. Activities and projects take it a step further with hands-on explorations.

MusICAL BIBLIOGRAPhYFROM The MeTROPOLITAn LIBRARY sYsTeM

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Levine, Robert. The story of the Orchestra. 2001. (Grades 4-8)Describes the orchestra and includes information on composers, instruments, and the conductor. An accom-panying CD provides musical selections for readers to listen to at specific places in the text.

Moss, Lloyd. Zin! Zin! Zin! a Violin. (Kindergarten-Grade 5)Ten instruments take their parts one by one in a musical performance. -Available as a book, CD and DvD

nichol, Barbara. Beethoven Lives upstairs. 1993. (Grades 3-6)The letters that ten-year-old Christoph and his uncle exchange show how Christoph’s feelings for Mr. Beethoven, the eccentric boarder that shares his house, change from anger and embarrassment to compas-sion and admiration. -Available as a book and CD

Prelutsky, Jack. the Carnival of animals. 2010. (Kindergarten-Grade 5)America’s first Children’s Poet Laureate and the illustrator of the harry Potter books team up in a volume of rollicking original verses set to saint-saens’ classical composition that is complemented by a CD recording of the music and Prelutsky’s readings.

Rusch, elizabeth. For the Love of Music: The Remarkable Story of Maria Anna Mozart. 2011. (Grades 2-4)Looks at the life of Maria Anna Mozart, the older sister of Wolfgang Amadeus Mozart and a musical prodigy in her own right, who was forced by their father to put aside her talent and become a piano teacher to sup-port his ambitious plans for her brother.

snicket, Lemony. the Composer is Dead. 2009. (Kindergarten-Grade 5)An inspector seeks to solve a murder mystery at the symphony by questioning each of the musical instru-ments. An accompanying CD features a comically dramatic reading by snicket set against a mishmash of music that integrates motifs from various classical sources.

stanley, Ann Marie. Children’s Book of Music. 2010. (Grades 3-6)An introduction to music history--accompanied by a CD with musical selections from around the world--takes readers on a chronological journey to explore music from different cultures, the development of instruments and the progression of musical styles.

venezia, Mike. “various titles: Getting to Know the World’s Greatest Composers series.” (Grades 2-5)The material is conveyed in an upbeat, if slightly irreverent, manner, allowing children to see the composers as real people. Black-and-white and full-color photographs and period art reproductions appear throughout, in addition to numerous colorful cartoons.

Weill, Catherine. Fryderyk Chopin. 2001. (Kindergarten-Grade 4)Introduces the early life of the Polish composer, offers a brief guide to listening to his works in different musi-cal forms, and suggests related activities.

Weinstein, Muriel harris. Play, louis, Play! The True story of a Boy and his horn. 2010. (Grades 3-6)Presents the early life of the famous African American cornet and trumpet player, describing his humble be-ginnings on the streets of new Orleans to his emergence as a legend among the biggest jazz clubs of the city.

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Wilkinson, Philip. The history of music in fifty instruments. 2014. (Grades 5-9)The 400-year story of music told by the instruments that make an orchestra. The book lists the 50 instru-ments chronologically in the woodwind, brass, percussion and string sections of an orchestra.

The Composers’ specials DvD series. handel’s Last Chance.With his career failing, handel needs a big hit. A young thief with a wonderful voice lands in jail and handel secures his release so that the boy can perform in the first performance of “Messiah”.

The Composers’ specials DvD series. Strauss: the King of three-Quarter time. 2002.haunted by the constant pressure to outdo himself with each new composition, composer Johann strauss, Jr., meets nicholas, a humble stable boy who fears his brutal stepfather. To their surprise, the composer and the boy discover the healing bond of trust and embark on a collaboration that will be music to the world’s ears.

The Composers’ specials DvD series. Liszt’s rhapsody. 2002.Liszt feels something is missing in his life. When he meets Josy, a naturally gifted young Gypsy street musi-cian, he wagers that he can turn Josy into a world-class musician. The bet turns into a mighty struggle of wills

The Composers’ specials DvD series. rossini’s ghost. 2002. Little Reliana finds herself transported through time back to Rossini’s theater where she is invisible to every-one but the composer. she watches in alarm as one of the singers puts a curse on the production and every-thing begins to go wrong.

The Composers’ specials DvD series. Bach’s fight for freedom. 2002. Bach, a 32-year-old chapel organist, feels that his boss, Duke Wilhelm, stifles his creativity, and recognizes a kindred soul in his new 10-year-old assistant, Frederick.

Fantasia; Fantasia 2000. 2010. Rated G.Includes Walt Disney’s daring experiment combining animation and classical music, and the sequel Fantasia 2000. Includes music by Beethoven, Bach, stravinsky, and George Gershwin. Classic scenes as dancing hippos, flying whales, and Mickey Mouse appearing as “The sorcerer’s Apprentice.”

Meet the Musicians DvD series; volumes I-v Mozart, Beethoven, Joplin, Gershwin, Bach. dramatic presentation about the life of each musical genius.

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If you have any questions, please contact:

Katie Barrickeducation Coordinator

OKC Philharmonic and OKC Orchestra League424 Colcord Dr., suite B

Oklahoma City, OK 73102405-232-7575 (phone)

405-232-4353 (fax)[email protected]

For more information on the conductor, musicians, and other programs offered by the OKC Philharmonic and OKC Orchestra League, please visit

http://www.okcphil.org.

sTuDy CD TraCk lisTing: (CD to be used for educational purposes only)

Track 1 Beethoven symphony no. 5, Movement 1 Track 2 Tchaikovsky swan Lake suite, Movement 1Track 3 Brahms hungarian Dance no. 19 Track 4 Wagner Lohengrin- Prelude to Act IITrack 5 Bernstein West Side Story: “Mambo”Track 6 Bach “Fugue in G Minor”Track 7 Anderson “Fiddle Faddle” Track 8 Williams Star Wars: “Main Title

Presented by: The OklahOma CiTy PhilharmOniC & The OklahOma … · The OklahOma CiTy PhilharmOniC &...

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Transcript of Presented by: The OklahOma CiTy PhilharmOniC & The OklahOma … · The OklahOma CiTy PhilharmOniC &...