s t. lo u i s s ym p h o n y

Kinder KOnzerT

ROSSINI Overture to An Italian Girl in Algiers IBERT Divertissement, Movement VI: Finale

PROKOFIEV Peter and the Wolf

Music DirectorDavid Robertson

ConductorSteven Jarvi

T E A C H E R S G U I D E / Kinder Konzert: Peter and the Wolf

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Peter and the Wolf

August 2013

Dear Educators:

On behalf of all of us at the St. Louis Symphony, it is a great pleasure to welcome you to our 2013-2014 season of education Concerts. We continue to strive to make our concerts engaging experiences for all types of learners. This season, we continue our tradition of collaborating with local and national arts organizations with programs in partnership with the Saint Louis Art Museum, Stages St. Louis, and return visits by guest artists Michael Boudewyns of really inventive Stuff Co. and Peter Seymour of Project Trio. repertoire highlights include Beethovens Symphony no. 5, Prokofievs Peter and the Wolf, and Benjamin Brittens Four Sea Interludes from Peter Grimes. We also continue to engage the audience by having students create the drama that Stages actors will portray in the Peter and the Wolf concert, and having the audience determine the program in the Choose Your Symphonic Adventure concert.

in this document, youll find: Teacher guides: lesson plans designed to prepare your students for their concert experience at Powell Hall. These lesson plans are designed to be cross-curricular and are aligned with state and national standards. They also include information about the composers and works youll hear at the concert.

Procedures of the day: all the information you need for your trip to Powell Hall, including directions, a map of Grand Center, a bus sign, and instructions on how to enter and exit the building.

Survey: after the concert, please complete the evaluation form to let us know how we are doing. We value your comments and make every effort to make your concert experience enjoyable as well as educational.

The STL Symphony also offers the Symphony in Your School residency program for area schools. Applications and information about these programs can be found at www.stlsymphony.org/education.

We appreciate the resources, time and energy you invest to bring students to Powell Hall and look forward to seeing you soon.

Sincerely,

Steven Jarviresident Conductor

T E A C H E R M AT E R I A l S / Letter to Educators

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T E A C H E R M AT E R I A l S / Lesson Plan for Peter and the Wolf

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lESSON PlAN FOR PETER AND THE WOlF

Grade K-3

ObjectiveStudent will create and act out a story inspired by rossinis The Italian Girl in Algiers. At the concert, performers from Stages St. Louis will act out dramas created by area students.

Time needed to complete activity40 minutes

Materials needed recording of rossinis Overture to The Barber of Seville (or http://youtu.be/OloXRhesab0)

Access to clip of Bugs Bunny The rabbit of Seville video (available at http://youtu.be/j97EJQ1z7nY)

recording of Overture to The Italian Girl in Algiers by rossini (or http://youtu.be/Pap0PrkASLQ)

recording of Symphony no. 5 demonstrating how hearing loss sounds www.phonak.com/com/b2c/en/hearing/understanding_hearingloss/how_hearing_loss_sounds.html

Storyboard visual (included)

Procedure1. (8 minutes) explain to students that as they listen to this piece of music, they should let their imaginations run free and see what images, feelings, or stories come to mind. a. Play a short selection from the Overture to The Barber of Seville (the excerpt used in the rabbit of Seville starts around 2:00 in most recordings) b. Ask a few students to share what they thought of during the music c. Show the short clip of Bugs Bunny in The rabbit of Seville d. discuss: i. This is one artists vision ii. Was this what anyone else might have thought of? iii. This short clip only shows the beginning of the story and the conflict. What are some ways the conflict might be resolved and some ways the story might end? (if time allows, teacher could show the full 5 minute version of The rabbit of Seville at http://youtu.be/xbCJdXpQQvA)

2. (7 minutes) inform students that they will be doing the same thing with a different piece of music. Theyll be hearing this piece of music when they attend the St. Louis Symphony concert. (Accept all ideas, there are no right or wrong answers). a. distribute blank sheets of paper b. As students are listening to The italian Girl in Algiers they should draw a picture to illustrate the story theyre imagining. c. Ask a few volunteers to share their drawings and stories. From these inspirations, the class can form the main idea of a story.

3. (7 minutes) Class votes to choose one main idea to expand on. a. Break class into four groups b. in each group, depending on the grade level, assign a writer, an illustrator, and a director and give each group the storyboard to use as a guide. c. Students will work together to decide who the main characters in the story are, how the story begins, what the conflict is, an event that happens during the story, how the problem is solved, and how the story ends.

T E A C H E R M AT E R I A l S / Lesson Plan for Peter and the Wolf

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4. (8 minutes) Play The Italian Girl in Algiers again, pausing if necessary, so that students can decide which part of the music depicts different events in their story. a. After students have completed their stories, they should decide as a group who will be each character in their story and how they will act out the elements of the story. b. Play The Italian Girl in Algiers once more for a dress rehearsal.

5. (10 minutes) each group performs their story along with the music for the rest of the class, observing dif-ferences in each groups development of the main idea.

AssessmentStudents will be observed to determine their level of participation in their group. By acting out their stories, they will demonstrate knowledge of the elements and sequence of events of a story.

Extensiondevelop the storyboard into a book with text and illustrations.

Depth of Knowledge levelsLevel 1: arrange, identify, illustrate, report, recognize, memorize, recall, repeatLevel 2: infer, categorize, identify patterns, organize, construct, predict, interpret, use context cues, make observations, summarize, show, cause/effect, compare, relateLevel 3: construct, compare, differentiate, draw conclusions, revise, critique, formulateLevel 4: design, synthesize, apply concepts, create

Standards Addressed Music national Standards: 1, 2, 3, 4, 6, 7, 8

MO MUSiCProduct Performance 1A, 1d, 2C, 2d, 3A Artistic Perception 1A, 2A, 2B interdisciplinary Connections 1A, 1B COM ArTSreading 1G,1H, 2A, 2B, 2C, 3C, Listening & Speaking 1A,1B, 2A

iLFine ArTSLanguage of Arts 25A Create & Perform 26A, 26B History 27A, 27BCOM ArTSreading 1A, 1B, 1C, 2A, 2B Writing 3C Listen & Speak 4A, 4B

S T U D E N T M AT E R I A l S / Storyboard for Creating A Story Inspired by Music

55

1. Main characters

3. The problem

5. How the problem is solved

2. How the story begins

4. An event that happens

6. How the story ends

STUDENT MATERIAlS: Storyboard for Creating A Story Inspired by Music

T E A C H E R M AT E R I A l S / Composer Notes for Sergei Prokofiev

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PROKOFIEV Peter and the Wolf (1st performance May 2, 1936 in Moscow)Scored for: flute, oboe, clarinet, bassoon, 3 horns, trumpet, trombone, timpani, 2 percussionists (cymbals, triangle, castanets, bass drum, snare drum, tambourine), and strings.

Composer information:SERGEI PROKOFIEV (sehr-gay pruh-cough-yehf)Born: April 27, 1891 in Sontsovka near ekaterinoslav, russiadied: March 5, 1953 in Moscow

Sergei Prokofiev Peter and the Wolf

Prokofiev was one of several important 20th century russian born composers. An only child of a fairly wealthy and educated household, Prokofiev initially studied piano with his mother and began to show signs of talent at a very early age. By age five, Prokofiev had composed his first work for piano, and his first opera at age nine. Prokofiev attended the St. Petersburg Conservatory from 1904 to1914. during this time, he studied conducting, orchestration, composition, and piano. in 1910 Prokofievs father died and the familys financial situation completely changed. His mother was of some help, but after never being without money, Prokofiev had to make his own way. Fortunately Prokofievs talents began to pay off and he started being recognized as a composer in 1911. during his final year at the conservatory, Prokofiev won the highest prize for a student pianist, the rubinstein Prize, with a performance of his own First Piano Concerto. At age 23, Prokofiev graduated from the conservatory and had begun to establish himself not only as a fine pianist, but also as a conductor and composer.

in early 1918, Prokofiev decided to leave russia because of the countrys general unrest, as well as the fact that he did not fit in well with the developing Communist Government. He traveled to the U.S via Japan originally planning to return to russia in a few months. His visits to the U.S. brought about minor success for some of his works, including the opera The Love of Three Oranges in 1921.

Prokofiev settled in Paris, France which was his home until 1936. He was a part of the very active art and music community which included fellow russian igor Stravinsky. Prokofiev married Lina Llubera, a singer, and they had two sons. in 1923, he received an official invitation to give a series of performances in russia, an invitation which he did not immediately accept. Finally in 1927, Prokofiev returned to russia for a concert tour.

Prokofiev moved back permanently to russia in 1936. Soon after the move Prokofiev was approached by the Moscow Childrens Theater with a request for a composition for children. He decided to write a piece that would familiarize children with the instruments in the orchestra, entitled Peter and the Wolf, which was very successful from the start. Peter and the Wolf introduces the instruments of the orchestra in an entertaining and memorable way. each character of the story has one distinctive melody played by an identi-fiable instrument:

bird: fluteduck: oboe cat: clarinetgrandfather: bassoonwolf: hornshunters: timpaniPeter: strings

MUSICAl THEMES IN PETER AND THE WOlFin this particular work, each instrument plays a specific melody, or theme, that represents a character in the story, as is detailed on page 3. Try to envision and associate each individual theme below as the characters are mentioned in the story.

The Birds theme (above) is played by the flute. its light and quick sound makes it the perfect candidate to portray the bird.

The Ducks theme (above) is portrayed in the oboe. its sound could easily be interpreted as a duck quacking around a pond.

The Cats theme (above) is portrayed by the clarinet. The cat, who wants to eat the bird, is portrayed in a sneaky, mischievous manner.

The Grandfathers theme (above) is portrayed by the bassoon. its sound accurately portrays the wise old grandfather.

The Wolfs theme (above) is portrayed by the French horns. The sound of these instruments in a minor key, and a lower octave give it the voice of the storys antagonist.

The Hunters theme (above) is portrayed by the timpani. They portray literally the rumbling of the guns they are firing.

Finally, Peters theme (above) is portrayed by the strings of the orchestra. The violins, violas, cellos, and basses combine to play this cheerful tune, representing the hero of the story.

T E A C H E R M AT E R I A l S / Musical Themes in Peter and the Wolf

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THE STORy OF PETER AND THE WOlF (excerpted from Thinkquest.org)

early one morning young Peter opened the garden gate, and went out into the big green meadow. High up in a tree sat a little bird, one of Peters friends. everything is quiet and still, chirped the little bird. everything is quiet and still. Following behind Peter, and waddling from side to side, came a duck. She was very glad that Peter hadnt shut the garden gate, and decided to take a bath in the deep pond in the meadow.

When he saw the duck, the little bird flew down onto the grass, sat beside the duck, and began to shrug his shoulders. What sort of a bird are you, he said, when you cant even fly! To which the duck retorted, What sort of a bird are you if you cant even swim! And with a big splash, she flopped into the pond. They argued for a long time, while the duck swam around the pond, and the little bird hopped along the bank.

Then Peter had a sudden fright. Creeping stealthily towards them, through the grass, was a cat. The cat was thinking: So the bird is busy with his quarrel, eh? ill soon catch him! And without a sound, she crept up to him on her velvet paws.

Watch out! shouted Peter, and in a flash the little bird flew up into the tree. Then the duck, from the middle of the pond, squawked angrily at the cat.

The cat walked round and round the tree, thinking: Would it be worth climbing that high? By the time i get there, the bird would surely have flown away.

Then out came Peters grandfather. He was very angry with Peter for going out of the garden gate into the meadow. its dangerous out here, he said. What would you do if a wolf came out of the woods? What then, eh? But Peter was not paying much attention. He explained that boys like him were not afraid of wolves. But his grandfather took Peter by the hand, led him home, and firmly locked the gate behind them.

And sure enough, no sooner had they gone than out of the woods came a big grey wolf. The cat shot up into the tree. The duck squawked and flapped hurriedly out of the pond. But, flap as she might, the wolf was faster. He got closer...and closer...he caught up with her...seized her...and swallowed her up.

This was now the situation: the cat was perched of one branch of the tree... and the little bird on another... a little way from the cat. And below them the wolf was pacing around the tree, looking up at them with greedy eyes.

All this while Peter had been standing behind the locked gate and had seen all that had happened without being at all afraid. He ran into the house, seized a thick rope, and climbed up to the top of the garden wall. One of the branches of the tree, around which the wolf was still pacing, reached as far as this wall.

Peter sprang over into the tree. He said to the little bird, Fly down and circle around the wolfs muzzle, but be very careful that he doesnt snap you up! The little bird brushed the wolfs muzzle with his wings, and the wolf sprang angrily at him, this way and that.

Oh how the little bird teased the wolf! And how the wolf longed to catch hold of him! But the little bird was cunning, and try as he might, the wolf simply couldnt catch him.

By now, Peter had made a noose with his rope, and very carefully he lowered it down. He slipped the noose over the wolfs tail, and pulled it tight. The wolf, realizing that he had been caught, leapt about furiously, trying to tear himself free.

T E A C H E R M AT E R I A l S / The Story of Peter and the Wolf

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But Peter had tied the end of the rope to the tree. And each leap of the wolf only drew the noose tighter and tighter around his tail.

Just then, out of the woods came some huntsmen. They were following the trail of the wolf and firing their guns.

But Peter shouted down from the tree, You dont need to shoot. The little bird and i have already caught the wolf. now help us take him to the zoo!

Out in front marched Peter. After him were the huntsmen, leading the wolf. Behind them came Peters grandfather, with the cat. The grandfather was shaking his head unhappily. Well, well. But what if he didnt catch the wolf? What then, eh?

Above them all flew the little bird, chirping merrily, See how clever we are, Peter and i. See what we have caught!

And if you listened very, very carefully, you could hear the duck, still quacking inside the wolf for the wolf had been in such a hurry that he had swallowed her alive.

T E A C H E R M AT E R I A l S / The Story of Peter and the Wolf

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Sergei Prokofiev

My name is Sergei Prokofiev and I was born in

Russia. My mom was my first music teacher. I went

to a special music school called a conservatory

when I was 13 years old. I already had written

some music and could play the piano. At the music

school I learned more about writing music, and

even how to lead an orchestra. After I finished school, I traveled to

lots of places giving concerts. I was even in the U.S.

My home was in Paris, France for a few years, and then I moved back

to Russia. I had a cat and a dog as pets.

After I had moved back to Russia, I wrote a piece of music called Peter

and the Wolf to tell children about the instruments of the orchestra.

Each instrument has a part in the story and here is how it goes.

A boy lived with his grandfather near a pond. One day the boy went

out of his gate to the grassy field near the pond. A bird and a duck

were there too. The duck went for a swim while the bird flew

around. Soon a cat came along and tried to catch the bird, but it flew

up into a big tree. Peters grandfather came out and told Peter to get

back behind the fence and closed the gate. He was afraid that a wolf

S T U D E N T M AT E R I A l S / Young Readers Biography

1111

might come out of the forest. Soon a wolf did come along, the wolf

caught the duck and then he tried to get the bird too. Peter saw what

was going on and had an idea. He got a rope, climbed up the wall

and out onto a tree branch. He asked the bird to fly around the wolfs

head, but not get too close. While the bird kept the wolf busy, Peter

lowered the robe and caught the wolf by the tail. He tied the rope to

the tree so the wolf could not get away. Then some men who had been

looking for the wolf came out of the woods. Peter told them that he

and the bird had caught the wolf, and they all took the wolf to the zoo.

In my music the flute is the bird, the oboe is the duck, the clarinet is

the cat, the bassoon is grandfather, the strings are Peter, the horns are

the wolf, and timpani (drums) the hunters.

I hope you will enjoy my music!

S T U D E N T M AT E R I A l S / Young Readers Biography

lESSON PlAN FOR PETER AND THE WOlF STORyBOARDING PAGE Creating illustrations for a work with narration

Standards Addressed:MO: CA 1, 2, 3, 4, 5; FA 1-3iL: 1A-C; 25A, B

ObjectiveTo familiarize students with the storyline of Peter and the Wolf by creating their own storyboard or cartoon of the events of the story.

Time to complete activity2030 minutes

Materials needed One copy of Peter and the Wolf Storyboarding Page per student.

Coloring supplies, such as crayons or markers

ProcedureAfter introducing the Peter and the Wolf storyline to students by watching the video, reading a picture book, reading the script included in this packet or listening to the piece, use this activity as a way of reinforcing the major plot developments in the story. Students can complete the activity on their own, or guide activity for the classes as you discuss the possibilities for each box.

Concert Day ReinforcementStudents will be more familiar with the story of Peter and the Wolf as it is discussed and performed in the context of the concert. Story will be preceded by instrument introductions of the characters and then presented by a narrator and the orchestra.

T E A C H E R M AT E R I A l S / Lesson Plan for Peter and the Wolf Storyboarding Page

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lESSON PlAN CONNECTING THE CHARACTERS ACTIVITy PAGE

Standards Addressed:MO: CA2, 4, 5; FA2, 3iL: 1A-C; 25A, B

ObjectiveTo familiarize students with both the characters in Peter and the Wolf and the instruments that play the characters themes.

Time to complete activity15 minutes

Materials needed One copy of Connecting the Characters Activity Page per student.

Pencil

ProcedureFollow the introduction of storyline of Peter and the Wolf, discuss each of the characters and the instruments that perform their themes. (Which instruments play which themes? Why did Prokofiev choose those instruments to tell each charaters story?) The activity page reinforces identification of the instruments and characters.

Concert Day ReinforcementStudents will already be familiar with the characters and the instruments that represent them. Story will be preceded by instrument introductions of the characters and then presented by a narrator and the orchestra.

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T E A C H E R M AT E R I A l S / Lesson Plan for Connecting the Characters Activity Page

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Draw a line to connect the instrument to the character from the story

of Peter and the Wolf.

flute

cat

violin

hunter

FrenchHorn

duck

bassoon

Peter

clarinet

bird

wolf

oboe

timpani

grandfather

S T U D E N T M AT E R I A l S / Connecting the Characters Activity Page

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Draw a line to connect the instrument to the character from the story

of Peter and the Wolf.

flute

cat

violin

hunter

FrenchHorn

duck

bassoon

Peter

clarinet

bird

wolf

oboe

timpani

grandfather

T E A C H E R M AT E R I A l S / Answer Key for Connecting the Characters Activity Page

lESSON PlAN FOR PETER AND THE WOlF FlASHCARDS

Standards Addressed:MO: CA2, 5, 6; FA24iL: 1A-C; 25A, B

ObjectiveTo familiarize students with storyline of Peter and the Wolf, the characters, and the instruments that perform the characters themes.

Creating flashcardsPrint out both Front of Peter and the Wolf flashcards and Back of Peter and the Wolf flashcards. Paste the wrong sides together and cut along the dotted line.

Possible uses Flashcards as graphic representations of the characters when discussing the storyline, characters, and/or instruments.

Print out one copy per student for use as finger puppets to act out story.

Concert Day ReinforcementStudents will be more familiar with the story of Peter and the Wolf as it is discussed and performed in the context of the concert. Story will be preceded by instrument introductions of the characters and then presented by a narrator and the orchestra.

T E A C H E R M AT E R I A l S / Lesson Plan for Peter and the Wolf Flashcards

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S T U D E N T M AT E R I A l S / Front of Peter and the Wolf Flashcards

cat

hunter

duck

wolf

Peter

bird

grandfather

Peter and the Wolf finger puppets

S T U D E N T M AT E R I A l S / Back of Peter and the Wolf Flashcards

cat = clarinet

hunter = timpani

duck = oboe

wolf = French horn

Peter = violin

bird = flute

grandfather = bassoon

Peter and the Wolf flashcards

DAVID ROBERTSONMusic Director

A consummate musician, masterful programmer and dynamic presence, david robertson has established himself as one of todays most sought-after American conductors. A passionate and compelling communicator with an extensive orchestral and operatic repertoire, he has forged close relationships with major orchestras around the world through his exhilarating music-making and stimulating ideas. in fall 2012, Mr. robertson launches his eighth season as Music director of the 133-year-old St. Louis Symphony. in January 2014, david robertson will assume the post of Chief Conductor and Artistic director of the Sydney Symphony in Australia.

in September 2012, the St. Louis Symphony and david robertson embarked on a european tour, which included appearances at Londons BBC Proms, at the Berlin and Lucerne Festivals, and culminated at Pariss Salle Pleyel. Violinist Christian Tetzlaff was the featured soloist for this tour, which marked the Symphonys first european engagements since 1998 and first ever with music director david robertson. in March 2013 robertson and his orchestra returned to California for their second tour of the season, which included an intensive three day residency at the University of California-davis and performance at the Mondavi Center for the Performing Arts, with violinist James ehnes as soloist. The orchestra also performed at venues in Costa Mesa, Palm desert and Santa Barbara, with St. Louis Symphony Principal Flute, Mark Sparks, as soloist.

in addition to his current position with the St. Louis Symphony, Mr. robertson is a frequent guest conductor with major orchestras and opera houses around the world. during the 2012-13 season he appeared with prestigious U.S. orchestras such as the new York Philharmonic, Los Angeles Philharmonic, and San Francisco Symphony, as well as internationally with the royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen rundfunks, Vienna radio Symphony Orchestra, israel Philharmonic, and ensemble intercontemporain. in past seasons he has appeared nationally with the Boston and Chicago Symphonies, Philadelphia and Cleveland Orchestras, and internationally with the Berlin Philharmonic, Staatskapelle dresden, royal Scottish national Orchestra, and Sydney and Melbourne Symphonies, among others.

With over 45 operas in his repertoire, Mr. robertson, who returned to The Metropolitan Opera in October 2012 for Mozarts Le Nozze di Figaro, has appeared at many of the worlds most prestigious opera houses including The Metropolitan Opera, La Scala, Opra de Lyon, Bayerische Staatsoper, Thtre du Chtelet, Ham-burg State Opera, Santa Fe Opera, and San Francisco Opera. Born in Santa Monica, California, david robertson was educated at Londons royal Academy of Music, where he studied horn and composition before turning to orchestral conducting. Mr. robertson is the recipient of numerous awards and honors.

T E A C H E R M AT E R I A l S / Music Director Biography

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STEVEN JARVIResident Conductor

Praised for his uncommonly expressive and detailed performances by the Miami Herald and described as an eloquent and decisive conductor by The Wall Street Journal, Steven Jarvi is recognized as one of Americas fastest rising conductors with an equal passion for the concert hall and the opera house. Mr. Jarvi is the newly appointed resident Conductor of the St. Louis Symphony, Music director of Winter Opera Saint Louis and the Music director of the St. Louis Symphony Youth Orchestra. Formerly the Associate Conductor of the Kansas City Symphony, he won the Bruno Walter Memorial Foundation Award in 2009. He came to the KCS after several years as the Conducting Fellow with Michael Tilson Thomas and the new World Symphony in Miami Beach, as an Associate Conductor for the new York City Opera at Lincoln Center, and as the Apprentice Conductor with the Washington national Opera at the Kennedy Center in Washington d.C..

As the resident Conductor of the St. Louis Symphony, Jarvi leads a wide range of events including the Live at Powell Hall concert series, Family and educational concerts and other selected classical events. He also conducts the SLS Youth Orchestra and assists Music director,david robertson. While Associate Conductor of the Kansas City Symphony, Jarvi led over 150 performances. As a guest conductor, Mr. Jarvi has appeared in the U.S., Canada and europe. recent engagements include the St. Louis Symphony, Las Vegas Philharmonic, Windsor Symphony, rochester Philharmonic, Charleston Symphony, elgin Symphony, Kalamazoo Symphony, Southwest Florida Symphony and ensemble Modern in Frankfurt, Germany. As an advocate of new music, he has collaborated with many celebrated composers including Philip Glass, Henri dutilleux, John Adams, John zorn, Augusta read Thomas, Steven Mackey, Adam Schoenberg, Jennifer Higdon and Leon Kirchner; has conducted at Tanglewoods Festival of Contemporary Music, and has led multiple performances at new York City Operas VOX Festival Showcasing American Composers.

in 2005, as the Seiji Ozawa Conducting Fellow at the Tanglewood Music Center, Steven was one of two conductors selected to study under then Boston Symphony and Metropolitan Opera Music director, James Levine, along with Kurt Masur, Stefan Asbury and rafael Frhbeck de Burgos. While at Tanglewood, Jarvi conducted critically praised performances with the Tanglewood Music Center Orchestra, and the Mark Morris dance Group.

Mr. Jarvi was personally selected by Plcido domingo to be the first conductor ever invited to be a member of the domingo-Cafritz Young Artist Program at the Kennedy Centers Washington national Opera. He frequently collaborates with many of the finest singers in the world and is now the Music director of Winter Opera Saint Louis. Steven has held conducting positions with the Washington national Opera, new York City Opera, Baltimore Lyric Opera, Opera Company of Brooklyn and dellArte Opera ensemble.

raised in Grand Haven, Michigan, Steven Jarvi holds a Bachelors degree in Music Theory from the University of Michigan where he studied with Kenneth Kiesler, Martin Katz and Jerry Blackstone, along with a Masters in Orchestral Conducting from the Peabody institute of the Johns Hopkins University, where he studied with the legendary conducting pedagogue, Gustav Meier.

T E A C H E R M AT E R I A l S / Resident Conductor Biography

2020

T E A C H E R M AT E R I A l S / Procedures for the Day of the Concert

PROCEDURES FOR THE DAy OF THE CONCERT

Arrival and DeparturePlease time your arrival so that your students are seated 15 minutes prior to the performance. Typically this requires arrival at Powell Hall 30 minutes prior to concert time. Please note that the box office does not open until 9:00am. Please communicate to your driver that the concert is only 45 minutes long and that they should not leave the lot.

School Bus ArrivalSchool buses must unload on delmar Boulevard, on the north side of Powell Hall. do not unload your bus on Grand Boulevard. (A map to Powell Hall has been included). School buses need to be marked with the school name in the window for easy identification. (Printable signs are included in this information.)

As your bus arrives, please wait for a STL Symphony staff member to greet you with further instructions. do not worry if groups with multiple buses become separated. STL Symphony staff and ushers have complete information for your group to reconnect inside the Hall. nametags for students and chaperones with school information are appreciated.

Students to be seated on the Orchestra level will be directed to enter through the front of Powell Hall on Grand Boulevard. Students with tickets for the balcony (Grand Tier, dress Circle Boxes, dress Circle, Grand Circle, and Terrace Circle) will be directed to enter through the double doors on the north side of Powell Hall. Please direct your students to follow usher instructions.

School Bus DepartureUpon dismissal, please follow the ushers directions and exit on the south (right) side of the building. Ushers will provide teachers and chaperones parking lot maps showing school bus locations in the parking lot behind Powell Hall. School buses need to be marked with the school name in the window for easy identification in order for bus maps to be correct. (Printable signs are included in this information.)

due to safety concerns, buses are unable to move until all students are on board and seated. Therefore, children re-entering the building for the restrooms force all other students to be held on their buses. We appreciate you helping your students anticipate any need to use the restroom before they exit Powell Hall.

if you plan to visit other Grand Center institutions, bus parking arrangements must be made with those organizations. The lot adjacent to Powell Hall must be emptied following each education concert.

All buses will be directed to exit the parking lot as soon as all students are safely loaded. Please help us ensure a smooth departure for all students by promptly loading your buses.

Vans and AutomobilesPlEASE NOTE CHANGESAttendees arriving in vans and automobiles should park in the Third Baptist Church Parking Lot. Cost is $5.00 per car and the lot can be accessed from Samuel Shepherd or Washington Ave; please review the map on page 3. There will be no parking access to the Delmar lot behind Powell Hall.

ToursGroups scheduled to take a tour of Powell Symphony Hall after an 11:00 a.m. concert are asked to remain in their seats following the performance.

For groups taking the tour after an 11:00 a.m. performance, your buses will receive special instructions for parking. When your bus is greeted by STL Symphony staff, please confirm that you are participating in the tour.

Special NeedsPlease alert the STL Symphony staff of any students with special needs in advance of the concert. This includes the need for sign language interpreters, as well as assistance with arrival or departure. if your group includes wheelchairs, your bus will receive special instructions for parking.

ChaperonesPlease be sure your group has adequate supervision for the concert. Chaperones are responsible for the conduct of their students. We recommend at least one chaperone for every 10 students. Students causing disruptions may be asked to leave the auditorium at the discretion of the house manager.

T E A C H E R M AT E R I A l S / Procedures for the Day of the Concert

House Rulesrecording equipment is not permitted in Powell Hall. Cameras are not permitted in the auditorium or seating areas where stage is visible. no food or drink of any kind, including chewing gum and candy, is permitted in the auditorium. Latecomers will be seated at the discretion of the management.

RestroomsLadies restrooms are located on the north side of Powell Hall on the Orchestra, Grand Tier and Balcony levels. Mens restrooms are located on the north side of Orchestra and south side of Balcony level. A wheelchair and family restroom is available on the Orchestra Level. Students using the restroom must be accompanied by an adult. restrooms should be visited before or after concert, as we strongly urge that students remain in their seats during the concert.

lost and FoundValuables left behind at a concert will be turned in to the guard after the hall is cleaned. Please call 286-4166 to recover lost items. if you find an item during or after a concert, please give it to one of the ushers.

MapParking is available in the Third Baptist Church Lot. (note: Parking lot is owned, operated and staffed by Grand Center. Parking fees are set by Grand Center.)

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T E A C H E R M AT E R I A l S / Education Concerts Survey

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DEAR EDUCATORS, PARENTS AND ADMINISTRATORS: during the 2012-13 season, as part of our strategic planning process, we are evaluating all the programs of the Saint Louis Symphonys educational initiatives. Please take a few minutes to give us your feedback on todays concert. We need your input to help us make our programs the best they can be.

Concert Date you attended: ________________ Concert Time: _________________

Please tell us the following about yourself and the students who attended:

1. Are you a: c Classroom Teacher c Homeschooler c Music Teacher c Parent/Field Trip Aide c School Administrator c Other: ________________

2. What are the ages Or grades of the students who are attending with you today? Ages: ____ Or Grades: ____

3. name of your school and district: _________________________________________________________

4. What is the zip code of your school (or students if you are a homeschooler)? ________________________

5. On a scale of 1 to 10 (in which 1=very unsatisfactory and 10=very satisfactory), how would you rate the following aspects of this educational Concert experience? (If you dont know or are unsure about one of the items, please skip it.)

Very unsatisfactory Very satisfactory

Ticket Affordability 1 2 3 4 5 6 7 8 9 10

Ticket Purchasing Process 1 2 3 4 5 6 7 8 9 10

Online Teaching Materials/ 1 2 3 4 5 6 7 8 9 10 Suggested Activities

Map/directions to 1 2 3 4 5 6 7 8 9 10 Powell Hall

Parking information 1 2 3 4 5 6 7 8 9 10 And Procedures

Bus Unloading 1 2 3 4 5 6 7 8 9 10

The Seating Process 1 2 3 4 5 6 7 8 9 10

Helpfulness of Ushers 1 2 3 4 5 6 7 8 9 10

Suitability of Program/ 1 2 3 4 5 6 7 8 9 10 Length For Your Students

Suitability of 1 2 3 4 5 6 7 8 9 10 Musical Selections

The Overall Concert 1 2 3 4 5 6 7 8 9 10 experience

6. did you have the opportunity to download the Teaching Materials for todays concert from the St. Louis Symphony website? c Yes c no c i did not know about these materials.

T E A C H E R M AT E R I A l S / Education Concerts Survey

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if YeS, did you use any of the materials/activities in your classroom? c Yes How helpful were they in preparing your students for todays concert? c Very helpful c Somewhat helpful c not helpful

c no: Were there specific reasons you did nOT use them in the classroom?

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if you did nOT download the Teaching Materials, were you aware that these materials were also available by mail from the St. Louis Symphony educational staff (by request)? c Yes c no

7. To what extent do you agree or disagree with the following statements (circle the correct number)?

1=Strongly Agree 2=Agree 3=disagree 4=Strongly disagree 5=dont Know

My students and i feel welcome at Powell Hall. 1 2 3 4 5

Todays conductor developed a good 1 2 3 4 5 rapport with the student audience.

My students were interested and engaged 1 2 3 4 5 in the performance.

educational concerts develop an appreciation 1 2 3 4 5 for live performances among my students.

Todays concert taught my students something 1 2 3 4 5 about classical music.

St. Louis Symphony educational programs are 1 2 3 4 5 effective in strengthening the music program at my school.

8. if you strongly agreed or agreed that your students learned something at todays concert, please tell us what you think they learned:

__________________________________________________________________________________

__________________________________________________________________________________

9. What could we do to make St. Louis Symphony educational Concerts a better experience for you and your students?

__________________________________________________________________________________

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T E A C H E R M AT E R I A l S / Education Concerts Survey

Finally, the St. louis Symphony is committed to reaching new and more diverse audiences. For statistical purposes only, please share your best estimates of the following.

10. For what percentage of your students was todays concert the first time they had heard a live orchestra performance? c 0-5% c About 5-25% c About 25-50% c About 50-75% c About 75-100%

11. Answering this question is OPTiOnAL: What percentages of your students fall within the following groups (circle the correct number)?

1=0-5% 2=5-25% 3=25-50% 4=50-75% 5=75-100%

African American/Black 1 2 3 4 5

Asian American/Pacific islander 1 2 3 4 5

Caucasian/White 1 2 3 4 5

Hispanic/Latin American 1 2 3 4 5

native American/American indian 1 2 3 4 5

Biracial/Multiracial 1 2 3 4 5

Other:_____________________________________

12. if you have students who are not fluent in english, which languages do they speak? (please check all that apply)

c Spanish c Bosnian c Arabic c Other:_____________________________________

Thank you for visiting us at Powell Hall and for taking the time to complete this evaluation form!

Please mail to: St. louis Symphony Attn: Education Department 718 N Grand Blvd. St. louis, MO 63103

or email to: berakiahb@stlsymphony.org

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