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THE ADVENTURES OF PEER GYNT AND THE FIREBIRD

Teaching and Learning Guide (Levels F–6)

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MSO 2019 TEACHING AND LEARNING GUIDE – 2THE ADVENTURES OF PEER GYNT AND THE FIREBIRD

1. REPERTOIRE 3

2. ARTIST INFORMATION 4

3. A WORD FROM OUR MUSICIANS 6

4. BEFORE THE CONCERT 7

5. SAMPLE LESSON PLANS LESSON PLAN 1: MSO MUSICIANS AND THEIR INSTRUMENTS 8

LESSON PLAN 2: INTRODUCING THE COMPOSERS! 9

LESSON PLAN 3: PEER GYNT AND THE FIREBIRD: A STORY 10

6. LEARN MORE 14

M S O E D U C A T I O N C O N C E R T : T H E A D V E N T U R E S O F P E E R G Y N T A N D T H E F I R E B I R D

CONTENTS

Front page: Ben Northey, conductor

MSO 2019 TEACHING AND LEARNING GUIDE – 3THE ADVENTURES OF PEER GYNT AND THE FIREBIRD

S E C T I O N 1

REPERTOIRE

The repertoire featured in this concert is:

GRIEG Peer Gynt Suite No.1, Op.46 – selection

KATS-CHERNIN Dance of the Paper Umbrellas

STRAVINSKY The Firebird: Suite (1919 version), selection

Find the repertoire on:

• Spotify, by visiting our event page

• YouTube, by visiting these links:

o GRIEG Peer Gynt Suite No.1, selection (Morning Mood, In the Hall of the Mountain King)

o KATS-CHERNIN Dance of the Paper Umbrellas

o STRAVINSKY The Firebird: Suite (1919 version)

MSO 2019 TEACHING AND LEARNING GUIDE – 4THE ADVENTURES OF PEER GYNT AND THE FIREBIRD

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of the MSO since 2013. Engaging more than 4 million people each year, the MSO reaches diverse audiences through live performances, recordings, TV and radio broadcasts and live streaming. Its international audiences include China, where MSO has performed in 2012, 2016 and most recently in May 2018, Europe (2014) and Indonesia, where in 2017 it performed at the UNESCO World Heritage Site, Prambanan Temple.

The MSO performs a variety of concerts ranging from symphonic performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs and digital tools to audiences of all ages through its Education and Outreach initiatives.

MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis gave his inaugural concerts as the MSO’s Chief Conductor in 2013, having made his debut with the Orchestra in 2009. The MSO also works with Associate Conductor Benjamin Northey and Assistant Conductor Tianyi Lu, as well as with such eminent recent guest conductors as Tan Dun, John Adams, Jakub Hrůša and Jukka-Pekka Saraste. It has also collaborated with non-classical musicians including Elton John, Nick Cave, and Flight Facilities.

The MSO reaches a wider audience through regular radio broadcasts, recordings and CD releases, including the February 2018 release of a collaboration with Chinese violin virtuoso Lu Siqing.

S E C T I O N 2

ARTIST INFORMATION

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BENJAMIN NORTHEY CONDUCTOR

Benjamin Northey is Chief Conductor of the Christchurch Symphony Orchestra and Associate Conductor of the Melbourne Symphony Orchestra.

Benjamin appears regularly as guest conductor with all major Australian symphony orchestras, Opera Australia (Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd) and State Opera South Australia (La sonnambula, Les contes d’Hoffmann). His international appearances include concerts with London Philharmonic Orchestra, Tokyo Philharmonic Orchestra and Mozarteum Orchestra Salzburg.

With a progressive and diverse approach to repertoire, he has collaborated with a broad range of artists including Maxim Vengerov and Slava Grigoryan, as well as popular artists Tim Minchin and James Morrison.

An Honorary Fellow at the University of Melbourne Conservatorium of Music, his awards include the prestigious 2010 Melbourne Prize Outstanding Musician’s Award as well as multiple awards for his numerous recordings with ABC Classics.

RICHARD VAUDREY PRESENTER

Cellist and songwriter Richard Vaudrey is quickly becoming a notable force in the new breed of string players - classically trained and proficient across a multitude of genres. Richard completed Doctoral study in classical cello and contemporary improvisation at Stony Brook, New York (NYC) with Colin Carr and Ray Anderson whilst acting as Teaching Assistant to the Emerson String Quartet. Richard has a prolific background in chamber music performing regularly both as a soloist and collaborator across genres including classical, new music, jazz, folk and pop in venues including Carnegie hall, Alice Tully Hall and the Melbourne Recital Centre.

Richard’s solo project VAUDREY, a unique blend of indie-folk-pop for cello voice and electronics, has been showcased in NYC, Sydney and Melbourne to great acclaim. His works extends throughout the music industry and include scoring for the television series Sammy J and Randy in Ricketts Lane and Ministry of Sound, mixing audio for Universal Music Australia, as well as recently performing the solo electric cello part in Hans Zimmer’s Planet Earth 2 Live in Concert.

Richard has held positions such as Adjunct Professor of Cello at Western Connecticut State University, (USA) and is currently Head of Instrumental and Ensemble Music at Peninsula Grammar.

S E C T I O N 2

ARTIST INFORMATION

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S E C T I O N 3

A WORD FROM OUR MUSICIANS

PRUDENCE DAVIS PRINCIPAL FLUTE, MSO

Q: Tell us about what Morning (from Peer Gynt) means to you as a flautist.

A: One of the most iconic opening flute solos in the orchestral repertoire, Grieg’s Morning gently heralds the new dawn. It does this with a simple melody that weaves then develops from the simple flute line into a full-bodied, sweeping orchestral melody which envelops the listener in a deep wash of colourful harmonies.

The rolling rhythm prevalent throughout the piece connects all the ideas that Grieg presents and gives the listener a reassuring sense that at the end of a long night there will always be a new dawn full of anticipation and hope.

The final moments of the piece leave the listener with a sense of satisfaction and fulfillment. The simple melody returns with the promise of the morning.

BENJAMIN NORTHEY ASSOCIATE PRINCIPAL CONDUCTOR, MSO

Q: What do you love most about Elena Kats-Chernin’s Dance of the Paper Umbrellas?

A: Dance of the Paper Umbrellas is a perfect example of the ability music has to paint a picture. The music starts like rain drops and the composer creates a magical world of rhythm and melody. It’s very much like a ballet piece in many ways; delicate and beautiful.

ABBEY EDLIN FRENCH HORN, MSO

Q: Tell us about what why you love Stravinsky’s Firebird suite.

A: I love playing Stravinsky’s Firebird. It has some great moments for horn; in particular, the horn solo in the finale is so beautiful. I love the way it emerges and seems to float out over the orchestra.

My favourite movement play is the Infernal Dance. It’s such an exciting piece of music and Stravinsky really pushes musicians to play to their extremes. The second and fourth horn parts are written quite low in the [horn’s] register, so you have to work really hard to get the syncopated rhythms clear and in time so they cut through [the overall orchestral sound] and don’t sound late.

Also, I know it’s not a horn part, but I love the crazy trombone glissandi from the 1919 version. It’s just so random and chaotic!

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S E C T I O N 4

BEFORE THE CONCERT

W A T C HPeer Gynt excerpts:

• Morning: Jacek Kaspszyk (conductor), Filharmonia Nardowa

• In the Hall of the Mountain King: Jacek Kaspszyk (conductor), Filharmonia Nardowa

Dance of the Paper Umbrellas

• Benjamin Northey (conductor), Tasmanian Symphony Orchestra

The Firebird Suite

• Peter Oundijan (conductor), Toronto Symphony Orchestra

B E F O R E T H E C O N C E R T

The Adventures of Peer Gynt and the Firebird

R E A DBiographical entries:

• Edvard Grieg – A Biography by Classic FM

• Elena Kats-Chernin: Biography by Boosey & Hawkes

• Igor Stravinsky: Biography by Boosey & Hawkes

L I S T E NPodcasts:

• BBC Radio 3 – “Several Peers Gynt” – contrasting interpretations

• Sticky Notes – Stravinsky’s The Firebird

• 3MBS – Elena Kats-Chernin at 60

Recordings available on Spotify:

• Grieg’s Peer Gynt Suite No.1

o Zubin Mehta (conductor), Vienna Philharmonic

o Herbert Von Karajan, Berlin Philharmonic

• Kats-Chernin’s Dance of the Paper Umbrellas

o Benjamin Northey (conductor), Tasmanian Symphony Orchestra

• Stravinsky’s The Firebird: Suite (1919 version)

o Leonard Bernstein (conductor), London Symphony Orchestra

O T H E R • Peer Gynt Suite No.1

– BBC 10 Pieces (sheet music, recordings, PowerPoint presentations etc.)

• The Firebird: Suite (1919 version) – BBC 10 Pieces (sheet music, recordings, PowerPoint presentation)

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LESSON PLAN 1: MSO MUSICIANS AND THEIR INSTRUMENTS

S E C T I O N 5

SAMPLE LESSON PLANS LINKS TO CURRICULUM:VICTORIAN CURRICULUM F–6:• Critical and Creative Thinking

(capability)

• Personal and Social (capability)

• Music (learning area)

o Respond and Interpret

SUGGESTED FOR:Pre-concert engagement

LEARNING INTENTION:To get to know the musicians and instruments of the Melbourne Symphony Orchestra

MATERIALS:❑ Interactive whiteboard (with visuals and sound)

❑ Student workbooks and access to pens, pencils etc., or

❑ Laptop/desktop computers

CONTENT1. Remind students they’ll soon be attending a performance given by

the Melbourne Symphony Orchestra

2. Introduce the learning intention

3. Choose one of our general video resources to watch with students – you may also like to split students into groups according to their instrument families, and have them watch the correlating video:

a. Tianyi’s Guide to the Orchestra

b. Interview with Prudence Davis, Flute

c. Interview with Shane Hooton, Trumpet

d. Interview with Brent Miller, Percussion

e. Interview with Freya Franzen, Violin

f. How do musicians prepare for a concert?*

*It is suggested that option ‘f’ will be a useful resource for older students

4. Ask students to write a personal reflection on the video using prompts such as:

a. List some things that you learned about [NAME OF ARTIST]

b. What in this video did you already know?

c. If you met [ARTIST’S NAME] in person, what questions would you ask them?

Note: Alternatively, you may like to ask students to draw their reflections

5. While students prepare their reflections, you may like to play some music from the concert – use any of the options in Section 4 of this guide, or use our Spotify playlist on the event page

6. Have a class discussion regarding students’ reflections focusing on linking students’ experiences with the experiences of MSO musicians as elicited in the video resources

MSO 2019 TEACHING AND LEARNING GUIDE – 9THE ADVENTURES OF PEER GYNT AND THE FIREBIRD

LESSON PLAN 2: INTRODUCING THE COMPOSERS!Note: This lesson can be adapted to focus on any one or all of the composers featured in this program

SUGGESTED FOR:Pre-concert engagement (could be split across 2–3 lessons if you wish to increase the time students have to work on their posters)

LEARNING INTENTION:Understanding and learning about the role of a composer

MATERIALS:❑ Interactive whiteboard (with visuals and sound)

❑ A3 coloured paper, textas, markers etc. (poster creation tools)

❑ Student workbooks and access to pens, pencils etc., or

❑ Laptop/desktop computers

CONTENT1. Remind students they’ll soon be attending a performance

given by the Melbourne Symphony Orchestra which will include pieces of music called:

• Peer Gynt Suite No.1 by Edvard Grieg

• Dance of the Paper Umbrellas by Elena Kats-Chernin

• The Firebird: Suite (1919 version) by Igor Stravinsky

2. Introduce the learning intention (be sure here to define whether or not you’ll focus on a single composer for this lesson, or all three composers)

3. Have a whole-class discussion

a. What does a composer do?

b. Can we name any classical composers?

c. Developing your research questions: If we learn more about a composer’s biography (explain the term: biography), we can learn more about the music they write – what kinds of things would you like to learn about this composer’s life (/these composers’ lives)? (e.g. “Where do they live? “What instrument do they play?”)

4. Introduce the composers of the works to be featured in the MSO concert (see Section 1 of this guide) and list their full names on the whiteboard – have students read/repeat their names out loud as you go

5. If relevant (and focussing on all three composers in the lesson), offer a handful of fun facts about each composers – you may like to draw upon the resources in Section 4 of this guide

6. Split students into small groups allocate one research question (from step 3c of this lesson plan) to each group (if focussing on all three composers in a single lesson, allocate one composer to each group)

7. Students create a group poster based on their composer/research question

8. Hold a ground show-and-tell session and create a display wall in your classroom

Alternatively:• For older students, you may like to ask them to prepare a

PowerPoint, PowerPoint, Google Slides or Prezi presentation instead of a poster

9. While students prepare their posters, you may like to play the concert repertoire as background music – use any of the options in Section 4 of this guide, or use our Spotify playlist on the event page

VARIATION• A possible variation on this lesson is to plan and deliver

a unit of lessons with each focused on one of either the conductor, soloist, and composer for this program

• Alternatively, one lesson could be delivered in which each small group focusses on either the conductor, soloist or composer for their research

LINKS TO CURRICULUM:VICTORIAN CURRICULUM F–6:• Critical and Creative Thinking

(capability)

• Personal and Social (capability)

• Music (learning area)

o Respond and Interpret

o Music Practices

S E C T I O N 5

SAMPLE LESSON PLANS

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LESSON PLAN 3: PEER GYNT AND THE FIREBIRD: A STORY

SUGGESTED FOR:Pre-concert engagement

LEARNING INTENTION:Understanding the ways in which music can tell a story

MATERIALS:❑ Interactive whiteboard (with visuals and sound)

❑ Student workbooks/poster or scrap paper and access to pens, pencils etc., or

❑ Laptop/desktop computers

CONTENT1. Drawing from Section 4 of this guide, select one audio

recording of either Morning Mood or In the Hall of the Mountain King from Peer Gynt Suite No.1 (you may like to use both) and one movement of Stravinsky’s The Firebird: Suite – suggested contrasting selection:

Morning Mood from Peer Gynt Suite No.1

In the Hall of the Mountain King from Peer Gynt Suite No.1

Infernal Dance of King Kachei Kastchei from The Firebird: Suite

2. Remind students they’ll soon be attending a performance given by the Melbourne Symphony Orchestra which will include pieces of music, two of which are:

• (Selections from) Peer Gynt Suite No.1 by Edvard Grieg

• The Firebird: Suite (1919 version) by Igor Stravinsky

Tell students that they’re going to see a story told live onstage, with music by the Melbourne Symphony Orchestra, and that the story will be inspired by this music; the kinds of things we imagine when listening to this music tell us about what the story might be

3. Give students two bits of scrap paper each (or three if focussing on three audio recordings in the lesson)

4. Play a short excerpt of each recording and have students number the bits of paper – ask them to draw their response to each (each response on a separate bit of paper) – as they draw, ask them to consider:

a. What do you imagine when you hear this music?

b. How does the music make you feel?

c. What colours represent how the music makes you feel?

d. How is this music different to the last one I played?

5. Hold a ground show-and-tell session and have students reflect upon:

a. The differences between excerpts

b. Knowing that the concert will feature a story containing all of this music, can they share with the class a summary of what the story/plot might be? (Try a sentence starter: “I think the story will be...”

6. You may/may not wish to share with students the actual stories/narrative behind the two works (e.g. great thinking everyone! Now let’s find out what the composers decided the story was) – if so, you may like to draw from the resources listed under ‘other’ in Section 4 of this guide

S E C T I O N 5

SAMPLE LESSON PLANS LINKS TO CURRICULUM:VICTORIAN CURRICULUM F–6:• Critical and Creative Thinking

(capability)

• Personal and Social (capability)

• Music (learning area)

o Respond and Interpret

o Music Practices

• English (learning area)

o Literature

– Examining Literature

– Responding to Literature

S E C T I O N 6

LEARN MORE

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