2015 schools notes reflections on … hamber orchestra 2015 schools’ notes reflections on...

2015 SCHOOLS NOTES REFLECTIONS ON GALLIPOLI

Image: ©Gary Heery Schools Notes: ©Kathleen Beazley

Australian Chamber Orchestra 2015 Schools’ Notes Reflections on Gallipoli

Notes © Kathleen Beazley 2014

ACO Schools Notes 2015 Reflections on Gallipoli

Program Title Reflections on Gallipoli

Repertoire Vaughan Williams – The Lark Ascending Kelly – Elegy for Strings “In Memoriam Rupert Brooke” Not included in this resource pack: Elgar – Sospiri Carl Vine – New work to be premiered

YouTube Recording links for repertoire Vaughan Williams - The Lark Ascending orchestral recording https://www.youtube.com/watch?v=UD39DV1A02s Vaughan Williams - The Lark Ascending as originally performed https://www.youtube.com/watch?v=3b0rN43q6jo Kelly - Elegy for Strings “In Memoriam Rupert Brooke” https://www.youtube.com/watch?v=aK19TZfoHLo

Included in this pack Scores Lesson ideas for before and after the concert Worksheets

This resource is written in reference to the Draft Australian Curriculum: The Arts, for years 7-8 and 9-10.

Lesson ideas are labelled to identify links to the following aspects of the Australian National Curriculum: The Arts

where applicable:

(i) General capabilities

(ii) Cross-curriculum links and priorities

(iii) Viewpoints

Use the Australian Curriculum Reference Pages on the ACO website for a comprehensive outline of the areas

above.

https://www.youtube.com/watch?v=UD39DV1A02s

https://www.youtube.com/watch?v=3b0rN43q6jo

https://www.youtube.com/watch?v=aK19TZfoHLo

http://www.australiancurriculum.edu.au/the-arts/introduction

https://www.aco.com.au/education/resources/schools_notes



Programming Themes and Ideas

Ralph Vaughan Williams and Frederick Septimus Kelly share a number of similar circumstances. Most notably they

both felt compelled to “do their part” for King and country and were deeply affected by their experiences in World

War 1 – the Great War. Both men witnessed great devastation during their time in front line posts in France. This is

reflected well in the two works for this concert program. Kelly’s Elegy for his dear friend Rupert Brooke and Vaughan

Williams’ work harkening back to simpler, calmer times, evoke great emotion through their delicate and careful

manipulation of melody and orchestral colour.

The poignancy of Vaughan Williams’ and Kelly’s works during the commemoration of the 100 year anniversary of

the Gallipoli campaign is an important learning experience for students. Exploring the techniques these composers

used to create such beautiful works from personal experiences should serve as an excellent example to inspire

students to find their own voice in creating music themselves.

See activities in Before /After you see the concert to further explore some of the ideas mentioned above and their

connections to the Draft Australian Curriculum: The Arts.

http://www.australiancurriculum.edu.au/the-arts/introduction



Teachers’ Analysis Guide

This is a Teachers’ Analysis Guide to help you identify the main musical elements featured in Vaughan Williams’ The Lark Ascending.

The terms in bold are important vocabulary terms.

The overall structure of this piece is ternary form (ABA).

SECTION Musical features/ideas

SEC

TIO

N A

LETTER A – F: The opening of this piece is three delicate ascending parallel chords. The airy tone in the strings with no vibrato emphasizes the impressionist feel of the scene set by Vaughan Williams right from the beginning. The violin solo then begins with an opening cadenza for 1’45” seconds that so vividly depicts the bird-call and then the flight of the Lark through the development of the initial two note motif. The pitch gradually rises and the rhythmic density increases giving a clear sense of the bird’s ascension skywards and increased propulsion: Opening of the cadenza

The full range of the violin is explored with the melody soaring high above the stave, as the melodic idea that carries through the A section is introduced in the highest range of the violin:

We can already see the folk music influence on this motif/musical idea with the dotted notes and the quaint pentatonic feel of the melody.

The orchestra enters in the meter which is very much in keeping with the English folk style. The celli and double basses often have an ostinato or a drone accompaniment idea that emulates the way in which the bagpipes are so often used in English folk music: Just before letter A

Remnants of the opening cadenza are seen throughout the A section. There are often rapid arpeggio figures in the solo violin intertwined with the melodic motif, capturing the flight of the Lark ascending through the sky so vividly: Opening of letter B

Further development throughout the orchestra takes place from letter B when the horn in F takes the motif with interjections of the opening cadenza bird-call. Fragments are then woven through the orchestra until a sweeping statement of the melody emerges at letter D, with most strings playing double stops or divided parts, adding to the texture of this section: Violin Solo part at letter D

This section then returns to the delicacy of the opening as the strings play airy parallel chords and the solo violin almost simply resuming the opening cadenza: Last four bars of the A Section





SEC

TIO

N B

6’11” LETTER G – R: This section moves to the pastoral scene of the village, or what’s happening on the ground, although the Lark is still heard throughout this section as well.

There are two definite motifs stated and developed in this section. The meter is changed to . The first is introduced by the flutes and the second is initially stated by the clarinets in A:

Motif 1

Motif 2

Imitation, fragmentation, canonic entries and pitch variation are used to develop these two musical ideas throughout the orchestra in section B. This is particularly evident at letters J-K where the tempo is increased and fragments of these motifs are heard in various instruments and at various pitches. All the while the solo violin virtuosically reminds us of the Lark with its use of bird-call motifs, trills, ornaments, interplay with the flutes and other instruments: Examples of the solo violin part include in letter J

In letter L

Again, there is a sweeping climax to this section just before letter O and then the texture is scaled back to return attention to the main character, the Lark, as we lead-in to the final A section. Letter R consists of held chords in the strings while the solo violin restates the first motif one last time, as if glancing to the village below before resuming the flight of the Lark into the final section. Solo and String accompaniment at letter R





SEC

TIO

N A

1

9’25” LETTER S – END The transition back to the themes of Section A are first heard in the parallel chords at letter S:

There is then a delicate floating phrase with double stops in the solo violin drawing our attention back to the Lark. This idea is heard twice as we move into the final section: Third bar of letter S

At letter U the meter returns and we are once again soaring through the skies with the Lark. The full forces of the orchestra are used as the musical ideas from the first section are triumphantly revisited. There is much interplay between the solo violin and the rest of the orchestra as fragments of the melody are explored in multiple parts. Gradually the texture thins, giving the impression of being high up in the atmosphere, where eventually there is nothing but the Lark. The close of the piece is almost a replica of the opening. The parallel chords in the strings (no vibrato) are followed by an ending cadenza in the solo violin: Letter Y



Before you see the concert…

The activities below relate to Worksheet 1 – The Lark Ascending, with suggestions for before and after the concert experience. The activities below are outlined in the Worksheet 1 – The Lark Ascending and also include the activities in the other worksheets which scaffold suggested activities.

WORKSHEETS: 1 – The Lark Ascending 2 – The Lark Ascending-SCORE 3 – Score Markings

INTR

OD

UC

TIO

N

GC – LIT, CCT, PSC, EU, ICU CCL – 1, 3, 4, 6, 7 CCP – 3 VP – 1, 2, 3, 4, 6, 7, 8, 9, 10, 13

Introduction Activity 1 – Worksheet 1 includes the excerpt of the Meredith poem Vaughan Williams used as his

preface. Ask students to imagine the scene described in this poem as a good way to start the creative process

for later activities. Highlighting the main imagery in the poem text will help with the next activity.

Introduction Activity 2 – Worksheet 1 This activity can be adjusted for Yr7-8 or Yr9-10 students. Worksheet 2 –

The Lark Ascending-SCORE will be needed for this activity. Younger students may complete this activity as a

whole class task and may only do section A. Older or more able students could do this activity in small groups or

individually for the whole piece without completing it as a class first.

Introduction Activity 3 – Worksheet 1 and Worksheet 3 - Score Markings Having students use instruments and

explore sounds as soon as possible builds confidence and encourages active engagement in learning. This

creative activity is a great culmination task and asking students to record some of their improvised ideas will

come in handy for the composition task after the concert.

SCO

RE/

RES

EAR

CH

GC – LIT, NUM, ICT, CCT, EU, ICU CCL – 1, 3, 8 VP – 1, 2, 3, 4, 6, 7, 8, 9, 10, 13

Score/Research Activity 1 – Worksheet 1 The style of Romance for solo instrument and accompaniment is a

very particular style. It is a style that allows for the expressive nature of an instrument to really shine through as

lyrical ideas are explored in the melodies and accompaniment throughout the piece. As students find other

examples of Romances they will discover the importance of expressive techniques in this style of composition.

Score/Research Activity 2 – Worksheet 1 Students will need Worksheet 3 – Score Markings for this activity and

can use the score from the introduction activity. The exploration of specific score instructions and markings will

help to add detail to the annotations already on the score from the previous activity. This will also create links

for students between the poems imagery and Vaughan Williams interpretations of these images in his scoring of

the work.

Score/Research Activity 3 – Worksheet 1 Pastoral themes were used often by Vaughan Williams and his

contemporaries in the early 20th century, especially with his strong interest in English folk music. As students

research what pastoral themes are related to and how musical elements are used to create pastoral themes,

they should be able to find some examples of them in Vaughan Williams’ score. Younger students will need

more specific guidance to identify the subtleties of these themes and so completing this as a whole class activity

may be helpful.

FOLK

MU

SIC

GC – LIT, NUM, ICT, CCT, PSC, EU, ICU CCL – 1, 11 VP – 1, 2, 3, 4, 6, 7, 8, 9

Folk Music Activity 1 – Worksheet 1 Students should be familiar with the two folk motifs Vaughan Williams uses

in the middle section of the work before attending the concert.



Before you see the concert…

The worksheets below give a brief introduction to Kelly’s work Elegy for Strings “In Memoriam Rupert Brooke” and

explore Kelly’s inspiration for his composition – his dear friend Rupert Brooke and the poetry he wrote.

…After the concert

The activities below are outlined in the Worksheet 1- The Lark Ascending and also include other worksheets that

scaffold suggested activities.

WORKSHEETS: 4 – The Soldier 5 – Elegy for Strings - SCORE

GC – LIT, ICT, CCT, EU, ICU CCL – 1, 3, 6, 7 VP – 1, 2, 3, 4, 6, 7, 8, 9, 10, 13

Worksheet 4 – The Soldier introduces Rupert Brooke’s poem The Soldier to students. As with Vaughan Williams’

work, the students begin by exploring the historical context and how the scene is set through the language used in

the poem.

Activity 1 – Worksheet 4 In their own words, students retell Rupert Brooke’s story as a soldier.

Activities 2 & 3 – Worksheet 4 Students identify the emotive and descriptive language used in the poem and relate

this language to, or find these images from the poem in the score. Yr7-8 students may need to do this activity as a

whole class task. Yr9-10 students should be able to complete the task in pairs or individually.

Activity 4 – Worksheet 4 Students create a visual collage of images that they think best reflect the atmosphere and

mood that both Kelly and Brooke depict in their works. This ties together the three creative pursuits of poetry, music

and visual arts.

WORKSHEETS: 1- The Lark Ascending 6 – Folk Music 7 – Shepherd Hey-SCORE

SCO

RE/

RES

EAR

CH

GC – LIT, NUM, ICT, CCT, PSC, EU, ICU CCL – 1, 3, 8 VP – 4, 5, 6, 7, 8, 9, 14

Yr9-10:

Students may revisit Worksheet 1 - Activities 2 & 3 after the concert to refine some of the annotations and

details identified in the score.

This will be helpful to the students when they are later composing their own piece.

FOLK

MU

SIC

GC – LIT, NUM, ICT, CCT, PSC, EU, ICU CCL – 1, 3, 7 VP – 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12

2 – Students will learn a traditional folk tune in Worksheet 6 and Worksheet 7 in small groups. You may wish to

learn the melody as a whole class to model the piece before asking the students to put together the melody and

accompaniment to create their own performance.

WORKSHEETS: 8 – Concert Review

REV

IEW

GC – LIT, ICT, CCT, ICU CCL – 1, 3, 4, 11 VP – 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13

Worksheet 8 – Concert Review will give students the opportunity to reflect on the experience of seeing

Vaughan William’s The Lark Ascending, Kelly’s Elegy for Strings and the new work by Carl Vine.

Worksheet 1 – The Lark Ascending



INTRODUCTION ACTIVITIES

1. Read this extract from Meredith’s

poem (or the whole poem). Discuss

the imagery in the poem. Draw a

picture that you think best represents

what is described in this extract.

2. Using a copy of the score, highlight

where Vaughan Williams has captured

these ideas in his work. Annotate the

score with as much detail as you can.

3. Now that you can see how Vaughan

Williams translated words into music –

try this yourself. Using classroom

instrument/s, or your own

instrument/s explore musical ways to

represent the images in this poem.

Notate or record your musical ideas.

The Lark Ascending

Ralph Vaughan Williams was very interested in the tradition of English folk

tunes. He often used folk-like ideas in his compositions, as he has done in the

middle section of this work. His main inspiration for this work however, came

from a poem of the same name written in the late 19th century by fellow Englishman George Meredith (1828-1909).

The original work was composed for violin and piano in 1914 for violinist Marie Hall. However, it was later developed

into a work for orchestra and solo violin and premiered in 1921 at a Queens’s Hall concert in London1.

Here is the extract of the 122-line poem written by George

Meredith that Vaughan Williams included in the preface to his

work:

The Lark Ascending

He rises and begins to round,

He drops the silver chain of sound,

Of many links without a break,

In chirrup, whistle, slur and shake.

…For singing till his heaven fills,

‘Tis love of earth that he instils,

And ever winging up and up,

Our valley is his golden cup

And he the wine which overflows

to lift us with him as he goes.

…Till lost on his aerial rings

In light, and then the fancy sings.2

The two musical motifs from the B section:

1 http://www.barbwired.com/barbweb/programs/vaughanwilliams_lark.html 2 http://allpoetry.com/The-Lark-Ascending Lark image from: http://www.rspb.org.uk/discoverandenjoynature/discoverandlearn/birdguide/families/larks.aspx © Graham Catley

Click on the excerpts above and below to hear the motif. Please note, you will need an internet connection to hear these excerpts.

http://www.barbwired.com/barbweb/programs/vaughanwilliams_lark.html

http://allpoetry.com/The-Lark-Ascending

http://www.rspb.org.uk/discoverandenjoynature/discoverandlearn/birdguide/families/larks.aspx

http://youtu.be/n_YVK6SIXXA

http://youtu.be/xoFQA-CW2PI

Worksheet 1 – The Lark Ascending



FOLK MUSIC ACTIVITIES

1. Learn each of the motifs Vaughan

Williams uses in this work. How do

they relate to each other? Can they be

played at the same time?

2. Learn the song on the Folk Music

Worksheet. Add an accompaniment

to the song and put together a

performance.

3. When you are familiar with the folk

tune – add some simple dance moves

to demonstrate an understanding of

the structure. You may need to

research some traditional folk dance

moves for this activity – or make up

your own.

Put it all together and perform with

the class.

4. Using what you have learnt so far

and the characteristics listed, compose

your own folk tune.

SCORE/RESEARCH ACTIVITIES

1. Find other examples of Romances

for instruments and compare them

with this one.

2. Complete the Score Markings

Worksheet on score markings and

indicators. These written instructions

given to performers are very

important and help to shape the

performance greatly.

3. Research what is meant by pastoral

themes in this work. Highlight some of

the ways Vaughan Williams has

captured these ideas in the score.

Romance for Violin and Orchestra:

This work was first performed in 1914 and was originally a Romance

for Violin and Piano. Vaughan Williams then became involved in the

Great War (World War 1), as part of the Royal Army Medical Corp in

France. During this time most of his musical pursuits were put on

hold until his return to England in 1919. Upon his return the work

was altered to become the Romance for Violin and Orchestra that is

most often performed.

A Romance is “(1) a song with a simple vocal [melody] line and a

simple accompaniment; especially popular in late 18th-19th-century

France and Italy; (2) a short instrumental piece with the lyrical

character of a vocal romance.”3

The simple beauty that Vaughan Williams achieves in his work is

created by the combination of (1) his reference to simple folk music

ideas, (2) broad pastoral themes presented in both the solo and

accompanying parts and (3) careful score instructions for various

playing techniques throughout the work.

Characteristics of English Folk Music:

This work is in a ternary structure with the cadenza style opening of

the solo violin (aka – the “Lark”) returning in the final section. The B

section introduces the two motifs first heard in the Flute and the

Clarinet in A – later heard in the Oboe part.

Some of the characteristics of English folk music included in these

two motifs include:

Simple meter ( )

Simple rhythmic ideas with repetition - crotchets and quavers,

dotted notes

Simple melodic ideas centred around triads/arpeggios

Traditional tonal centre (G major / E minor)

Anacrusis beginnings to melodic ideas

Short phrases that are balanced in melodic contour -

Flute (motif 1) - b1-3 downward curved contour

- b4-6 upward curved contour

Clarinet (motif 2) - b1-2 upward curved contour

- b3-4 downward curved contour

3 http://www.library.yale.edu/cataloging/music/glossary.htm

http://www.library.yale.edu/cataloging/music/glossary.htm

Australian Chamber Orchestra 2015 Schools' NotesReflections on Gallipoli

Notes (c) Kathleen Beazley 2014

Worksheet 2 - The Lark Ascending - SCORE

Worksheet 3 – Score Markings



SCORE MARKINGS

An essential part of modern composition is to provide performers with enough information so that they can convey

the intentions of the composer. This is why score markings and indicators are so important. Score markings can

provide performers with information regarding the shape, feel, overall effect and technical requirements of a work.

DYNAMICS AND ARTICULATION

Dynamics and articulation are basic score markings used in compositions to guide musicians in their performance.

Dynamics indicate volume, and articulation markings indicate how to attack a note or phrase to help shape the

performance.

CHALLENGE

1. Find and highlight as many dynamic markings as you can on the Lark Ascending score. Annotate the first

example of each with a description of the marking for future reference.

2. Find and highlight as many articulation markings as you can on the Lark Ascending score. Annotate the first

example of each with a description of the marking for future reference.

HINT – Use one colour highlighter for the dynamics and a different colour for the articulations.

PLAYING TECHNIQUES AND OTHER MARKINGS

There are many specific score markings, apart from dynamics and articulations regarding technique and expression

in Vaughan Williams’ The Lark Ascending (YOUTUBE LINK). Most of them are in Italian as is the tradition.

CHALLENGE

1. Follow the score as you listen to the performance of the piece from the YouTube link above. Can you

accurately interpret these markings taken from the Lark Ascending score?

HINT – You may need to look up one or two of these to help you with the interpretation

Score Marking SCORE Explanation senza misura

Opening

sur la touche

Opening

Cantabile

Page 4

con/senza sord. (sordino)

Page 4/5

Tranquillo

Page 8

Poco meno mosso

Page 12

Scherzando

Page 13

Animato

Page 16

Subito

Page 19

Molto sostenuto

Page 20

2. Now that you have identified these markings, highlight and annotate where they are in the score.

HINT – Use a third colour highlighter for the score markings above.

https://www.youtube.com/watch?v=UD39DV1A02s

Worksheet 4 – The Soldier


Notes © Kathleen Beazley 2014. Image courtesy Australian War Memorial

Rupert Brooke – English Poet The Soldier If I should die, think only this of me: That there's some corner of a foreign field That is forever England. There shall be In that rich earth a richer dust concealed; A dust whom England bore, shaped, made aware, Gave, once, her flowers to love, her ways to roam, A body of England's, breathing English air, Washed by the rivers, blest by suns of home. And think, this heart, all evil shed away, A pulse in the Eternal mind, no less Gives somewhere back the thoughts by England given, Her sights and sounds; dreams happy as her day; And laughter, learnt of friends' and gentleness; In hearts at peace, under an English heaven. This poem is considered to be an English nationalist poem, written in 1914. It glorifies the heroism of the English soldiers who fought in World War I. This poem is pointing out that war is not always started for the reasons that your government tells you; there is a larger picture to consider. It is often read at the memorial services of soldiers.

CHALLENGE: Activity 1. The words in this poem evoke strong images of wartime and the emotions that surround a soldier’s journey. In particular a journey that does not end with a return home. Follow the link and find out how Rupert Brooke ended his journey as a soldier. In your own words write about the journey Rupert Brooke had as a soldier. Use as many descriptive and emotive words as you can.

http://www.poets.org/poet.php/prmPID/181

Worksheet 4 – The Soldier


Notes © Kathleen Beazley 2014. Image courtesy Australian War Memorial

Activity 2. Read through the poem and highlight the important images/words that give insight into the soldiers’

plight, e.g. “There shall be in that rich earth a richer dust concealed” – meaning the soldiers buried in the foreign land

are great men that enrich the soil in which they lie.

Activity 3. Listen to F.S. Kelly’s Elegy for Strings (a musical lament) with the poem’s imagery fresh in your mind. On

the score provided, write the following quotes from the poem and highlight the musical ideas that reflect the poem’s

message:

“If I should die, think only this of me”

“Washed by the rivers, blest by suns of home”

“A pulse in the eternal mind”

“In hearts at peace, under an English heaven”

Are there any other quotes from the poem that you think would fit into Kelly’s work? If so, add them to the score as well and highlight the musical ideas that match the language. Activity 4. There have been several significant conflicts in the last century around the world. Kelly’s Elegy for Strings depicts a certain atmosphere and feeling about wartime due to the influence of Brooke’s poetry. In the space below create a collage of found images that you think illustrates what Kelly and Brooke are trying to depict in their respective art forms.

Worksheet 5 - Elegy in Memoriam Rupert Brooke SCORE



Worksheet 6 – Folk Music



Folk Music

Music and other art forms are an essential part of culture. Creative pursuits allow members of a culture to express

attitudes, beliefs and knowledge that is central to a particular group, clan or society. In its most basic definition, Folk

Music is the music of the people. Traditionally it was a way of preserving history, creating a sense of belonging in a

community, teaching younger members about traditions and cultural ways and, of course, a means of

entertainment.

The folk music of England and the British Isles, has characteristics particular to that region, as does most folk music

from various areas of the world. These characteristics including pitch, rhythm, performing media and structure help

to make English folk music unique to the nations of England, Ireland, Scotland and Wales.

CHARACTERISTICS OF ENGLISH FOLK MUSIC

Simple meter (time signature). - Reels; Hornpipes; Polkas - Jigs, Waltzes Simple rhythmic ideas with repetition.

Ostinato patterns – in the melody, accompaniment or on percussion. Use of crotchets, quavers and dotted notes.

Simple melodic ideas centred around triads/arpeggios.

Notes in the melody often move up and down triad chords. This creates internal harmony within the melody.

Traditional tonal centres. Often using C, G or D major; A, E or B minor. Often suited the tuning of the instruments used.

Anacrusis beginnings. Melodies often start with an up-beat.

Short, balanced phrases. Clear structure for dancers and easier to remember music without a written score.

Drone accompaniment ideas. Long sustained notes often a 5th apart – emulates the bagpipes and gives solid harmonic accompaniment.

ENGLISH FOLK SONG – SHEPHERDS HEY1

This song is an excellent example of an English folk tune. The tune can be played in a major or minor key.

On the next page are examples of the tune in G major and A minor.

CHALLENGE -

1. How many characteristics from the table can you see in the melody parts of this tune?

Highlight and label them on the staves. HINT – The structure has not been labelled in the A minor version. Be

sure to add the section labels to it.

2. Learn both of the melodies and see if you can incorporate any other characteristics from the table in your

performance of the melody part.

3. Now put together a performance with melody, accompaniment and some percussion. Use Worksheet 7 to

help you build your performance.

4. Once you are confident with your performance, join with another group and devise a folk dance that clearly

represents the structure of the phrases and overall sections of the song.

5. Rehearse your total performance and then present it ALL to the class.

1 Melodic material sourced from - English Folk Dance and Songs Society: http://www.efdss.org/

http://www.efdss.org/

Worksheet 6 – Folk Music



SHEPHERDS HEY – G MAJOR:

SHEPHERDS HEY – A MINOR:

{

{

{

{

Simplified

Tune

Melody

Chords/

Bass

q = 150A

G C G D G C G D G

Simp.

tune

Mel

Chd/

Bs

5

G C G D G C G D G

Simp.

tune

Mel

Chd/

Bs

B9

G C G D G C G D G

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tune

Mel

Chd/

Bs

13

G C G D G C G D G

4

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4

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Worksheet 7 - Shepherds Hey SCORE



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tune

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1

A D A E A D A E A

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tune

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5

A D A E A D A E A

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tune

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13

A D A E A D A E A

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Shepherds Hey - A minor

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2

Worksheet 7 - Shepherds Hey SCORE



Worksheet 8 – Concert Review



Concert Review

Details of the concert

Date Venue

Artists/Performers

Featured Repertoire

What were your impressions about the venue and set-up of the musicians for this concert?

Name an instrument/performing media that particularly interested you in this performance.

What was it that drew your attention to this instrument during the concert?

What was the role/s or this instrument throughout the concert?

Which piece of music most interested you in this concert program?

In as much musical detail as you can, describe what made this piece so interesting for you?

Which piece of music least interested you in this concert program?

In as much musical detail as you can, describe what made this piece uninteresting for you?

Having heard some of the repertoire on recordings before attending the concert, describe the experience of

hearing the concert.

If you had to write a tweet or Facebook post about your overall impressions of the concert WHAT WOULD IT BE? You can even send your post to the ACO (email [email protected]) for us to include on our Twitter and Facebook pages!

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