non-directed music listening program - burnaby schools · 2016-04-01 · non-directed music...

Non-Directed MusicListening Program

Series II

Non-Directed Music Listening Program Script Series IIWeek 1

Day 1:Our music this week is by Reinhold Glière (RINE-hold Glee YAIR), a Russiancomposer from the Ukraine. This music is the Russian Sailors’ Dance.

The Russian Sailors’ Dance is from the ballet “The Red Poppy”. The story takesplace on a Chinese waterfront where Russian sailors, Chinese coolies (orworkers), and a beautiful young Chinese woman all take turns dancing. It endswith the Russian sailors dancing to a rousing finish.

Day 2:This week’s music is the Russian Sailors’ Dance from the ballet, “The Red Poppy”composed by Reinhold Glière.

This music was written in 1927. The story is set in a Chinese seaport where agroup of Chinese dock workers have been half-starved and brutally over-worked.A Russian captain comes to their rescue, and a young Chinese woman offers hima bouquet of flowers. The bouquet includes red poppies which are the symbol ofliberty in China. Other workers gather to watch and then to join in the dancing.

Listen to the melody as it is repeated in different styles. Can you picture the styleof dancing for each repetition of the theme?

Day 3:This week we are listening to the Russian Sailors’ Dance from “The Red Poppy”ballet by Reinhold Glière.

We will be hearing an introduction which crescendos to a climax followed by thetheme which is presented in very low bass tones. The theme is then repeatedmany times but played in different musical styles. The different styles may be fastor slow, very low (as in the beginning) or very high in pitch, very soft or very louddynamics, or played by different instruments to create contrasting tone colors.The theme itself is a very old Russian folk song. How many times do you hear itrepeated? How are the repetitions different?

Composer: Reinhold Glière (1875 – 1926)Composition: Russian Sailors’ DancePerformance: Saint Louis Symphony OrchestraRecording: Telarc Sampler, Volume 1 Telarc CD 80001

Non-Directed Music Listening Program Script Series II

Day 4:

This week we are listening to the Russian Sailors’ Dance by Reinhold Glière.

Glière was a teacher of composition for many years. He first taught in Kiev andlater, during the first half of this century, at the Moscow Conservatory. One of hismost famous students was 11-year-old Sergei Prokofiev who grew up to compose,among other things, “Peter and the Wolf”. Glière was interested in Russian folkmusic. His orchestrations are rich in color. Can you picture the Russian sailorsdancing on the Chinese waterfront as you hear this music?

Day 5:This week’s music is the Russian Sailors’ Dance, by Reinhold Glière.

When it was premiered at the Bolshoi (BOWL-shoy) Theatre in Moscow in 1927,the dance of the Russian sailors “brought down the house”. Can you understandwhy the audience would have cheered so wildly for this rousing, exciting dancemusic?


Day 1:This week’s music is form the Young Person’s Guide to the Orchestra, by Britishcomposer Benjamin Britten.

Benjamin Britten wrote this music in 1946 to introduce children to the instrumentfamilies of the orchestra. We will hear the final segment with all families of theorchestra coming together. Can you identify when different instruments play andwhat those instruments are?

Day2:Benjamin Britten is one of Great Britain’s most celebrated composers. He wrotethis week’s selection, “Fugue”, from the Young Person’s Guide to the Orchestra toteach children about the different instruments in an orchestra.

There are four families of instruments. Do you know what they are? (Pause)Strings, woodwinds, brass and percussion. Today’s fugue starts out with flutesand other members of the woodwind family. Then, violins enter, followed by othermembers of the string family (listen for the harp entrance here). Horns come innext with other brass instruments following. Finally, for added splash, thepercussion enters. The theme is then played by trombones and a grand climaxends the piece.

Day 3:Today’s music is by one of Great Britain’s most celebrated composers. Do youremember his name? It is Benjamin Britten. The music is the Young Person’sGuide to the Orchestra.

Do you know which instruments are in which families? The four families are:strings, woodwinds, brass, and percussion. In which family are drums andcymbals? (Pause) Yes, percussion. In which family are clarinets, flutes, andbassoons? Woodwinds is correct. How about trumpets, trombones, and Frenchhorns? Yes, they are all brass instruments. Can you name a stringed instrument?If you said violin, viola, cello, double bass, or harp, you are correct.

Composer: Benjamin Britten (1913 -Composition: Young Person’s Guide to the Orchestra, “Fugue”Performance: Saint Louis Symphony Orchestra, SlatkinRecording: Telarc Sampler, Volume 2 Telarc CD 80002


Day 4:This week’s music is by Benjamin Britten. Do you remember in which country helived? Great Britain. We have been listening to the “fugue” from the YoungPerson’s Guide to the Orchestra.

A fugue is like a chase with the opening theme repeated by each new voice, orinstrument. The fugal theme in this piece moves very rapidly and each new entryof the fugue theme is by a new instrument. Try putting your hand up each timeyou hear a new entry of the fugue theme today.

Day 5:This week’s music is from the Young Person’s Guide to the Orchestra, by Britishcomposer Benjamin Britten.

This week’s music is composed to show the scope and power of a symphonyorchestra. It’s also meant to teach young people about families of instruments.Silently (in your head) try naming each instrument as it plays. Do you like the waythe piece ends?


Day 1:This week’s featured Listening Program selection is the Pavane by Gabriel Fauré.

Do you like music that makes you feel calm, rested, relaxed: If so, you’ll enjoy thisweek’s Listening Program selection. It is entitled Pavane (pah-VAHN) and waswritten by French composer, Gabriel Fauré (Gab-ree-el Fo-RAY). Fauré lived atthe turn of this century and is well-loved in his native country. See if you alsoenjoy his music as we listen to the Pavane.

Day 2:This week’s featured music is Pavane by Gabriel Fauré.

Do you remember which instruments are featured? The flute starts the themeaccompanied by plucked or “pizzicato” (pits-I-KAH-toe) strings. Then a choir ofmen’s and women’s voices enters singing, in French, a serene melody thatcontinues the opening theme. Following this the mood changes. It is as if thechorus stops to ask questions, answers them, and then returns to the statelyopening theme. We do not hear the entire Pavane here – only the first segment.

Day 3:Do you remember the name of this week’s music selection? It is Pavane by theFrench composer, Gabriel Fauré.

A “pavane” is a type of dance. As you may imagine, it is a very old dance, goingback to the 16th century. The dance is a slow, stately procession, with two singleand one double step backward. Try to imagine how the dance would look as youhear the music.

Composer: Gabriel Fauré (1845 - 1924)Composition: Pavane Op. 50 for Orchestra and ChoirPerformance: Philharmonic Orchestra/Ambrosian Singers, Andrew DavisRecording: CBS Masterworks, “The French Album” CBS MFK45543

Non-Directed Music Listening Program Script Series IIDay 4:This week’s music is Pavane by Gabriel Fauré.

Fauré wrote music that was based on clarity, balance, and serenity. He likedthese qualities in ancient Greek culture and tried to emulate them in a moderncontext. How does this week’s music make you feel? Can you describe yourfeelings to your classroom teacher after the music is played?

Day 5:French composer Gabriel Fauré wrote this week’s featured listening selection, thePavane Opus 50 for Orchestra and Chorus.

Rather than writing grand opera and symphonies, Fauré preferred to write songsfor voice and compositions for small groups of instruments. He was Director of theParis Conservatory of Music for 15 years but was forced to retire because ofdeafness. This music is on a grander scale than many of Fauré’s othercompositions. Do you like the pure, serene melody and stately balance of thismusic? Let’s listen to Fauré’s Pavane for the final time this week.


Day 1:We are fortunate this week because we will be enjoying a familiar composition –Eine Kleine Nachtmusik (I-na KLY-na NOCHT-moo-zeek) by Wolfgang AmadeusMozart.

If you haven’t heard this piece before, I can almost promise you’ll be whistling itout loud or in your head by the end of this week. As you listen think how the musicmakes you feel. Is it light and happy – or slow and sombre??

Day 2:Eine Kleine Nachtmusik was written by the Austrian composer, WolfgangAmadeus Mozart. The title, which is in German, means “a little night music”.

This music is meant to be played by a small group of stringed instruments outsidein a garden on a summer evening. In Mozart’s day, this type of music was writtenand played to celebrate a festive occasion, such as a birthday, a ball, or the arrivalof an important guest. Would you like someone to play this music for you on yourbirthday? Does it make you feel like celebrating a happy occasion?

Day 3:This week’s composition is by Wolfgang Amadeus Mozart. It is called Eine KleineNachtmusik, or “a little night music”.

In December of 1991, we recognized the 200th anniversary of Mozart’s death.Although he lived a short life of 35 years he left us many treasures of beautifulmusic. This week’s music is one of the most familiar. Do you enjoy it?

Composer: Wolfgang Amadeus Mozart (1756 – 1791)Composition: Eine Kleine Nachtmusik, “First Movement”Performance: Prague Chamber Orchestra, MackerrasRecording: Telarc Sampler, Volume 3 Telarc CD 80003

Non-Directed Music Listening Program Script Series IIDay 4:We are hearing the first movement of the “Serenade in G minor” as theNachtmusik was also called. There are three other movements in this serenade –the one we are listening to is the first. The other movements are in differentmoods – one calmly beautiful; the others lively and brisk. This movement hasseveral melodies – all alert and happy. Can you hear the different melodies asthey are stated and repeated?

Day 5:This week’s featured composer is Wolfgang Amadeus Mozart. The music is EineKleine Nachtmusik.

We will hear the Serenade, the first movement. In this selection, Mozart was ableto write several very “catchy” melodies which are heard in succession. Some ofthem are then repeated. Do you hear which melodies are repeated? Listen andenjoy this happy, carefree music for a summer evening. This music was written tobe enjoyed.


Day 1:This week’s music is by the Spanish composer, Isaac Albéniz (al-BEN-is). Thecomposition is titled Cadiz (Kah-DEEZ), and it is played on the guitar.

Cadiz is a city in Spain and it is located on the Atlantic coast. Try to imagine whatthe town of Cadiz is like as you hear the guitar play.

Day 2:This week’s featured composer is Isaac Albéniz. The composition is titled Cadiz,which is the name of a Spanish seaport.

The music is written for a solo guitar – a very traditional Spanish instrument. Manyof the world’s most famous guitarists and composers for the guitar have comefrom Spain. Can you imagine being in the city of Cadiz on a warm evening?Listen to the sound of the guitar strumming this melody as the sea breeze gentlyblows.

Day 3:The featured composition this week is Cadiz by Isaac Albéniz.

Albéniz had a very interesting life history. Born in 1860, he was a child prodigy onthe piano, and gave his first public concert at the age of 4. At the age of 10, heran away from home and tried to support himself by giving piano concerts. Hereturned home again, but then at 12 became a stowaway on a ship bound forSouth America. (This was in 1872 – over a hundred years ago!). He reached SanFrancisco, and then traveled back to England and Europe. He carried Spain withhim wherever he went, however, as you will hear in this music.

Composer: Isaac Albéniz (1860- 1909)Composition: CadizPerformance: John Williams (guitar)Recording: CBS Masterworks “A Taste of Spain”, CBS WMFK 46358

Non-Directed Music Listening Program Script Series IIDay 4:This week, we are listening to Cadiz, by Spanish composer, Isaac Albéniz.

Albéniz was a man who traveled a great deal and actually spent very little time inSpain after he grew up. He is, however, considered to be the modern composerwho brought Spanish music, as a distinct style, to the rest of the world. Does thisguitar music sound especially Spanish to you? Why?

Day 5:Today we will hear, for the final time, Cadiz, by Isaac Albéniz.

Albéniz brought the distinct style of Spanish music to the rest of the modern world.He combined traditional Spanish melodies with the latest trends in French music,and helped to revive Spanish music at the turn of the century. Do you enjoyhearing this type of music? How does it make you feel when you hear it? It’s oneway to visit Spain without even having to pack a suitcase!


Day 1:This week we will hear music by Peter Ilyich Tchaikovsky – the Third Movementfrom the Symphony No. 6.

Tchaikovsky was a Russian composer who lived from 1840 to 1893 – over ahundred years ago. The music we will hear today is a stirring march featuring lotsof brass and percussion. Listen to this march. Is it slow and stately or fast andenergizing?

Day 2:Today we will hear the Third Movement from Peter Ilyich Tchaikovsky’s SymphonyNo. 6.

This movement is named “Allegro molto vivace” (All-LEG-gro MOL-toe Vee-VAH-chay). That is Italian for “very fast and lively”. Tchaikovsky chose a commanding,quick melody and he added even more excitement in his orchestration byhighlighting the brass and percussion sections. Can you hear when the brasssection’s trombones and trumpets enter? Listen for the cymbals and kettle drumsas well.

Day 3:This week’s music is the third movement of the Symphony No. 6 by Peter IlyichTchaikovsky.

This movement is titled, “Allegro molto vivace”, meaning “very fast and lively”.Tchaikovsky composed a large amount of music for ballet, such as the “NutcrackerSuite”, “Swan Lake”, and “Sleeping Beauty”. This movement from the 6thSymphony could almost be used for dance as well. What kind of scene can youpicture in your imagination as you listen to this triumphant march?

Composer: Peter Ilyich Tchaikovsky (1840 - 1893)Composition: Symphony No. 6, “3rd Movement”Performance: Cleveland Symphony Orchestra, Lorin MaazelRecording: CBS Masterworks Digital Sampler, CBS WMXK 42-70

Non-Directed Music Listening Program Script Series IIDay 4:The Third Movement form Symphony No. 6 by Peter Ilyich Tchaikovsky is featuredin the Listening Program today.

This symphony is also called “Symphony Pathétique” (paw-theh-teek) because,despite the glory and energy of this movement, the last movement is much slowerand more thoughtful. Perhaps that is because Tchaikovsky himself was quite anintroverted, shy person who was quite unhappy in his life. This symphony was agreat effort for him. He wrote about it, saying “I have put my whole soul into thiswork.” This movement, however, represents human triumph and the courage tomeet any difficulty in life. Does it make you feel courageous?

Day 5:This week’s composition has been the Third Movement of the Symphony No. 6 byPeter Ilyich Tchaikovsky.

Do you remember what instruments Tchaikovsky uses to heighten the excitementof this movement? He employs lots of brass and percussion. Do you enjoyhearing this stirring, commanding music?


Day 1:This week’s music for the Listening Program is by the English composer, JeremiahClarke. The composition is Trumpet Voluntary.

Trumpet Voluntary was written about 200 years ago. You will hear the trumpetand orchestra play an opening theme that is quite grand and majestic. It isrepeated several times. You will then hear a second contrasting theme with abouncing rhythm. The first theme then returns, and the composition ends with afeeling of royal simplicity. Does it make you think of a king or queen’s grandentrance?

Day 2:The Trumpet Voluntary, by Jeremiah Clarke, was written two centuries ago for theEnglish Anglican church service.

A “voluntary” is meant to be a free improvisation. That is, the soloist is free tocreate or embellish the melody as he or she wishes. In the church, the “voluntary”was played by the church organist before or after the church service and theorganist could “voluntarily” create or improvise a melody. Try to imagine thismusic being played 200 years ago as people are coming to or leaving church.

Day 3:This week’s music, Trumpet Voluntary, was written by the English composer,Jeremiah Clarke.

The Trumpet Voluntary has a mystery behind it as it is usually ascribed to another,more well-known composer, who also lived in England at the same time. Hisname was Henry Purcell (PER-sel). Henry Purcell wrote many songs and anopera, and he has been called England’s greatest composer. On the other hand,very little is known about Jeremiah Clarke – except that he wrote this TrumpetVoluntary. Do you enjoy hearing it?

Composer: Jeremiah ClarkeComposition: Trumpet VoluntaryPerformance: Paillard Chamber Orchestra, Jean François PaillardRecording: “Pachelbel Canon/Albinoni Adagio”, RCA Victor 65486-2-RC

Non-Directed Music Listening Program Script Series IIDay 4:Trumpet Voluntary, by Jeremiah Clarke, is this week’s featured composition.

This piece is often played on the pipe organ. The pipe organ has a “stop”, or pipe,that imitates the trumpet sound. This composition is sometimes played atweddings, as the bride enters, or after the wedding service is over. Do you thinkthe music sounds like it is celebrating a joyful occasion, such as a wedding?Would you like this composition played at your wedding?

Day 5:This week we are listening to Trumpet Voluntary, by Jeremiah Clarke, an Englishcomposer who lived during the eighteenth century.

During this period of English history, British kings and queens commissionedworks of music by composers. Does this “Voluntary” sound as though it could beplayed for a king or queen?


Day 1:This week’s featured composition is Symphonie Fantastique (Sam-phone-ee fan-tas-teek), by Hector Berlioz (Heck-tore Bear-lee-ose).

It was written one hundred years and sixty years ago in France. This excerpt fromthe symphony is called “March to the Scaffold”. A scaffold is a platform which, inthis case, is built for an execution, or hanging. For this music, Berlioz describes aman dreaming that he is being taken to his own execution. Listen, and see if youcan imagine the scene.

Day 2:Today we will listen to an excerpt from the Symphonie Fantastique, by the Frenchcomposer, Hector Berlioz.

Berlioz studied very little music as a child. He was supposed to study medicine inuniversity. However, he soon found that he hated medical school, and instead, hechanged to the Conservatory of Music in Paris. Then began a long andpassionate career in music. Berlioz was one of the first composers to use theinstruments of the orchestra to create colors and tell an exciting story. Listen, ashe tells the story of “The March to the Scaffold”.

Day 3:Today we will hear a part of the Symphonie Fantastique, by Hector Berlioz.

This music was written in 1830 when Berlioz was 27 years old. Listen to the firsttheme as it reaches high on the second note, and then jumps suspensefully downthe scale, as if going down a dark stairway. Finally, the brass and percussionbring in a rousing, frenzied march, the second theme. Try listening for each of thetwo themes in this excerpt, and enjoy the way Berlioz has colored the themes withcertain instruments for special effects.

Composer: Hector Berlioz (1803 – 1869)Composition: Symphonie Fantastique, “March to the Scaffold”Performance: Berliner Philharmoniker, Daniel BarenbainRecording: CBS Masterworks Digital Sampler, CBS WMXK 42070


Day 4:This week we are listening to an excerpt entitled “March to the Scaffold” from theSymphonie Fantastique, by Hector Berlioz.

Berlioz was one of the first composers to use the symphony orchestra to tell adramatic story. The “March to the Scaffold” describes an artist’s dream. Hedreams that he is being taken to a platform for his own execution. How doesBerlioz use the instruments of the orchestra to create a mood of dream-like fear,gloom, and frenzy?

Day 5:This week we have been listening to one part of the Symphonie Fantastique byHector Berlioz.

Berlioz has been described as the greatest French composer, conductor, and criticof his century. His century was the 1800’s. Today, we might hear his music asalmost cartoon-like in its vivid color. In Berlioz’s time it was very new andshocking to have an orchestra be so descriptive in telling a story. Listen to thestory of “The March to the Scaffold” by Hector Berlioz.


Day 1:This week we are listening to the Overture to Die Zauberflote (dee ZOW-bear-flute), or “The Magic Flute”, by Wolfgang Amadeus Mozart.

“Overture” means “Opening”. It opens the story and sets the mood. It gives theaudience an idea of what the story, or opera, will be about. The Magic Flute is anopera, with a very exciting story. Today we will hear the overture sung, instead ofplayed by an orchestra, as it is usually heard. The singers are singing the partswhich instruments are supposed to play. It starts out slowly, then picks up inexcitement, with lots of fast notes. Do you think this music would be easy to sing?

Day 2:This week we are listening to the Overture to The Magic Flute, by WolfgangAmadeus Mozart.

In this opera, Prince Tamino and Princess Pamina must journey through darknessand fire to reach the brotherhood of light and reason. Prince Tamino plays themagic flute to help him through the dangerous passages. This overture gives youa taste of the adventures ahead in the opera. Listen and see if you think PrinceTamino and Princess Pamina make the journey safely and successfully.

Day 3:This week we are listening to the Overture to The Magic Flute (Die Zauberflote) byWolfgang Amadeus Mozart.

We are hearing an unusual version, because it is sung instead of played. Thesingers that are performing are the “Swingle Singers”, a group that sings manyorchestral compositions. Singing the parts gives the orchestration a different,almost jazzy, feeling. It sounds relaxed and easy, but this orchestration is noteasy to sing. Every note must be sung cleanly, accurately, and with utmost vocalprecision. Would you enjoy singing this music?

Composer: Wolfgang Amadeus Mozart (1756 – 1791)Composition: Die Zauberflote, “Overture”Performance: The Swingle SingersRecording: “A cappella Amadeus”, Virgin Classics 7567-91208-4

Non-Directed Music Listening Program Script Series II Day 4:We are listening to the Overture from The Magic Flute by Wolfgang AmadeusMozart.

The first part of the Overture is slow-moving, giving the listener a chance to absorbthe dramatic, suspenseful atmosphere. There is then a marked change tosixteenth notes and a very quick, exciting passage begins. This change previewssome of the excitement and adventure that will occur in the opera. Does theoverture make you want to hear the rest of the story and music of The MagicFlute?

Day 5:This week we have been listening to the overture to The Magic Flute by WolfgangAmadeus Mozart.

Mozart died December 5, 1791. In 1991 we commemorated the 200th anniversaryof his death. The opera, The Magic Flute, is a wonderful story. The charactersinclude a dragon, some wild beasts, the Queen of the Night, a beautiful princess, ahandsome prince, and a silly bird catcher named Papageno (papa-GAY-no). Canyou imagine some of the adventures these characters might have as you listen tothe overture?


Day 1:This week’s featured composition is “The Swan” from the suite, Le Carnaval desAnimaux by Camille Saint-Saens.

Saint-Saens wrote this ‘grand zoological fantasy’ in 1866 when he was 35 yearsold. “The Swan” features a solo cello line accompanied by a very fluid piano part.Today as you listen, see if you can visualize a beautiful swan gracefully movingacross a calm lake.

Day 2:The French composer, Camille Saint-Saens, wrote this week’s listening selection“The Swan” from the suite Carnival of the Animals.

Yesterday when you listened, could you imagine a beautiful swan floatinggracefully across the water? Since there are only two featured instruments in thisexcerpt, the cello and the piano, did you feel that the cello part accuratelyrepresents the serene swan and the piano accompaniment best portrays therippling water? What has Saint-Saens done to the piano accompaniment to makeit sound like the constant rise and fall of the waves?

Day 3:“The Swan” from Camille Saint-Saens’ suite, Le Carnaval des Animaux, is thisweek’s listening excerpt.

The title of the suite literally means “a zoological fantasy”. A suite is a collection ofinstruments of the orchestra, although “The Swan” is a duet between cello andpiano. Saint-Saens was an amateur scientist so this may explain his interest inzoology (animals) and the music definitely has a dream-like quality about it. Itwould be interesting to know how Saint-Saens depicts the other creatures in this“zoological fantasy”.

Composer: Camille Saint-Saens (1835 – 1921)Composition: Carnival of the Animals, “The Swan”Performance: Emanual Gruber (cello), Herut Israeli (piano)Recording: A Classical Sampler, Pickwick International PWK 1140

Non-Directed Music Listening Program Script Series II Day 4:“The Swan” from The Carnival of the Animals was written by the Frenchman,Camille Saint-Saens, in 1886.

This beautiful duet was composed for only two specific orchestral instruments. Doyou feel that adding other instruments to this piece would complement or detractfrom the image created by the cello and piano? The music is very lyrical or fluid.Was that what Saint-Saens intended when he chose the cello and piano? Do theysuccessfully paint a picture in your mind? Listen to see if you can hear the form ofthe piece. The theme or A part makes you feel very still and restful. In the middle,or B section, you almost hear the wind pick up and the clouds cover the sun untilthe A part, or theme, returns and you can once again imagine the swan glidingover the peaceful water.

Day 5:Today we will again listen to Camille Saint-Saens’ “The Swan” from The Carnivalof the Animals.

Saint-Saens, like Mozart, was a child prodigy. He was considered a giftedmusician from the time he was a child. He wrote the suite, Le Carnaval desAnimaux, when he was 35. Saint-Saens never felt that this particular set ofinstrumental pieces was very good, so he refused to publish or play the musicduring his lifetime. This duet, “The Swan”, is now very famous and loved bypeople across the world. Saint-Saens died in 1921 at the age of eighty-six.


Day 1:This week’s listening excerpt is the “Theme from Superman” by John Williams.

John Williams wrote the theme for the movie, “Superman”, at the end of the1970’s. Today as you listen, see how Williams chose to set the drama of the storyto music. In the introduction, the music starts seemingly far in the distance with ahorn fanfare interspersed with drum rolls on the timpani. The use of crescendosand decrescendos, or gradual louds and softs, also increases the mountingexcitement. You know something very thrilling is about to happen and of course,faster than a speeding bullet, Superman appears.

Day 2:This week’s featured listening selection is the “Theme from Superman” composedby John Williams.

The theme from the movie “Superman” starts with a stately horn and timpanifanfare. A fanfare announces the arrival of something or someone of importance.Williams uses crescendos and sudden diminuendos very effectively. If you listencarefully, you will also notice that the music starts out rather slowly with a singlemelody line played by the trumpets. After the first big crescendo, the trombonesjoin the trumpets on that same melody, adding depth and power to the music. Asthey crescendo the second time, more horns join in and the music graduallyincreases in speed. This surging tempo is called an accelerando.

Composer: John WilliamsComposition: Theme from “Superman”Performance: Cincinatti Pops Orchestra, KunzelRecording: Telarc Sampler Volume 1, Telarc 80001

Non-Directed Music Listening Program Script Series IIDay 3:The “Theme from Superman” by John Williams is this week’s listening excerpt.

There are a variety of ways to create excitement and expectation in music. In theintroduction to this theme, Williams uses three of these techniques. First he startsout very simply and gradually adds more instruments to build power in the sound.Secondly, he uses louds and softs or crescendos and decrescendos. The musicrises to a thundering drum roll played on the timpani and then drops immediatelyto a single melody line. This suddenness of sound adds to the anticipation of thelisteners. Thirdly, Williams uses a very obvious accelerando or increase in tempo.This rocketing speed change signals to you that something is about to happen.See if you can hear other ways in which Williams creates music which symbolizescharacteristics of Superman.

Day 4:American composer, John Williams, composed the “Theme from Superman” in thelate 1970’s.

Williams was able to capture our imaginations with the music from “Superman”. Inthe introduction, we know that something very important is about to happen.Superman appears and the theme which represents him throughout the movie isplayed on the trumpets. A theme is a melody that is played at or near thebeginning of a piece which restates itself in a variety of ways throughout themusical work. It is interesting that Williams used mainly the horn family tosymbolize Superman. Do you think the horns depict Superman’s strength? . . .They not only make you feel that Superman is “more powerful than a locomotive”but that he is a decision-maker and very courageous.

Day 5:This week’s featured composition is the “Theme from Superman” composed byJohn Williams.

In the theme from the movie “Superman”, Williams has created a musical idea ortheme that immediately makes the listener imagine someone who is strong, bothphysically and mentally. By working only in a major key rather than the minor orunhappy, ominous sounding key, Williams also lets you know there is no “dark”side to Superman. Superman therefore represents goodness and humanity to all.Listen once again to the “Theme from Superman” and see if Williams effectivelylets you know that Superman is indeed “faster than a speeding bullet” and “morepowerful than a locomotive….”


Day 1:This week’s listening excerpt is taken from “Canon in D” by Johann Pachelbel.

As you listen today, notice how Pachelbel establishes a wonderful sense of peace.If you pay close attention, you’ll hear how he uses the same descending pattern ofnotes repeatedly, varying it every time, to build intensity and interest in the music.This is a canon. A canon is a musical composition where a melody is imitatedfrequently in one or more voices or instruments. Can you hear the repeatedtheme?

Day 2:The “Canon in D” was composed in the late 1600’s by Johann Pachelbel.

When you heard the music yesterday, did it make you feel calm and peaceful?We discussed that a canon is a piece of music where one melody is playedrepeatedly, only it’s changed slightly and moves from voice to voice or instrumentto instrument. The melody of the “Canon in D” is made up of a series ofdescending notes – or notes which go down. Listen carefully at the very beginningof the excerpt to hear the basic melody. See if you can follow that theme betweenthe voices of the various stringed instruments throughout the selection.

Day 3:Johann Pachelbel wrote this week’s listening selection “Canon in D” in the lateseventeenth century.

Pachelbel, like Bach, liked to use a basic melodic theme in his music and movethat melody between parts of the orchestra or choir. Do you remember that thisform of composition is called a canon? Were you able to hear the simpledescending pattern of notes and follow it throughout the excerpt? Today, listen tohow many variations or changes Pachelbel makes in the music while still keepingthe same basic melody.

Composer: Johann Pachelbel (1653 – 1706)Composition: Canon in D (excerpt)Performance: Saint Louis Symphony Orchestra, SlatkinRecording: Telarc Sampler Volume 1

Non-Directed Music Listening Program Script Series IIDay 4:The “Canon in D” is this week’s featured composition. It was composed byJohann Pachelbel in the 1600’s.

Have you noticed how simple the descending melody is? Did you also hear themany variations and changes that Pachelbel made on this theme? The amazingthing is that the entire piece is much longer than the excerpt that you have beenlistening to and even in the complete piece, although the melody never changes,each variation is quite different. The “Canon in D” is Pachelbel’s most famouswork. It is often played for weddings and other processions. It moves slowly butvery steadily. This flowing feeling is called in Italian “cantabile”, meaning to movein a flowing, melodious singing manner. Pachelbel was a master of the “cantabile”style.

Day 5:Johann Pachelbel composed this week’s listening excerpt, “Canon in D”.Little is known about Pachelbel’s life. He lived around the same time as J.S. Bach.This period of time is referred to as the Baroque period. The “Canon in D” is apiece of music based on a simple melody – a descending pattern of notes. Listentoday for that theme. Can you understand why Pachelbel was considered amaster of the “cantabile” style? Do you recall that the Italian term “cantabile”means to perform in a flowing, melodious and singing manner? Does Pachelbel’smusic make you feel calm and serene?


Day 1:This week’s listening selection “Ave Verum Corpus”, was composed by WolfgangAmadeus Mozart.

Today, as you listen to this choral work, concentrate on the voices and theaccompaniment. Mozart has chosen to use only stringed instruments togetherwith the chorus, so rather than distract from the beauty of the melody, the stringsalmost sound like human voices themselves. The string section of an orchestraincludes four instruments: the violin, the viola, the cello, and the double bass.Listen to see if there are times in “Ave Verum Corpus” when you find it difficult todistinguish between the stringed instruments and human voices.

Day 2:“Ave Verum Corpus”, this week’s listening excerpt, was written by WolfgangAmadeus Mozart in the late 1700’s.

Mozart is considered to be one of the finest composers who ever lived. Afterhearing the excerpt yesterday, were you impressed with how the violin matchedthe soprano or highest human voice, the viola – the alto voice, the cello the tenorvoice, and the double bass – the lowest man’s voice, the bass? Although Mozartcomposed the string accompaniment very skillfully, don’t forget that if theperformers don’t practice and concentrate on blending their sounds, the musicwon’t sound very good. Think of all the things your choir director asks you to dowhen singing in a group. Do you think this chorus has worked hard on blending alltheir voices?

Composer: Wolfgang Amadeus MozartComposition: “Ave Verum Corpus”Performance: Atlanta Symphony Orchestra and Chorus, Robert ShawRecording: Choral Masterpieces, Telarc 80119

Non-Directed Music Listening Program Script Series IIDay 3:Wolfgang Amadeus Mozart is this week’s featured composer and the compositionwe are focusing on is the choral work “Ave Verum Corpus”.

We have been listening to how well Mozart composed the string accompanimentto match the human voices. We’ve also concentrated on how perfectly the choirmembers blend their sound. Have you noticed how long the phrases are? Itsounds like the singers hardly ever breathe. A phrase in music is like a sentencethat you would speak. When you talk, you express one idea in one sentence. Youseldom break it into parts. Music is like that too. The only difference is that inmusic, the words in your sentence or phrase may stop on a particular note andhold it a little longer. Listen today for how long the phrases are in “Ave VerumCorpus”.

Day 4:Today’s listening excerpt is “Ave Verum Corpus” composed by WolfgangAmadeus Mozart.

Were you amazed yesterday at how long the phrases are in “Ave Verum Corpus”?Did you try holding your breath for the entire length of a phrase or two? When youchoir director wants the piece you’re singing to sound like there are no breaks inthe sound, they will ask you to stagger your breathing. This doesn’t mea theywant you to stagger around on the risers but rather than you sneak a breath at atime when no-one else is breathing. The voices carrying on around you will coveryour break. Listen today to how each phrase is different. It never stays at onelevel but rather the sound swells and diminishes constantly. Do the wordscrescendo and decrescendo come to mind?

Day 5:Today we will listen for the final time to “Ave Verum Corpus” composed by the veryfamous Wolfgang Amadeus Mozart.

This week we’ve thought a lot about how to make a beautiful, smooth and blendedsound with a choir. The accompaniment must be very subtle and the voices in thechoir must try to do everything in unison – unless, of course, they need to staggertheir breathing. Finally, the thing that really makes you like a piece is the feelingsyou get when you hear it. Most of this emotion comes from how the performersings each phrase. If there are many contrasts in volume, or crescendos anddecrescendos, some changes in tempo and a constant sensation of underlyingenergy, you will be affected and moved by the music. Even though you probablydon’t understand the Latin text in “Ave Verum Corpus”, you can understand thedeep-felt emotion of this excerpt.


Day 1:This week’s listening excerpt is from the “Concerto No .VIII in G Minor” written byArcangelo Corelli. We will hear the IV and V movements.

At this time, three hundred years ago, Corelli was about forty years old and wasvery famous in Rome as a violin virtuoso and composer. See if you can hear anysimilarities between Corelli’s “Concerto Grosso” and Pachelbel’s “Canon in D”which you heard two weeks ago. Both Pachelbel and Corelli were born in thesame year, 1653, and concentrated on composing for the stringed instrumentfamily.

Day 2:Arcangelo Corelli composed this week’s listening excerpt. We will listen to the“Vivace” and “Allegro” movements from the “Concerto No. VIII in G Minor”.

Knowing that Corelli was a virtuoso violin player himself, it is easy to understandwhy Corelli demanded so much of musicians playing the solo instruments in hisconcertos. Do you recall that a virtuoso is someone who is able to play very fast,difficult solos with great facility and flair? The concertos of Corelli’s day wereslightly different than the ones we’re used to hearing. Instead of having onesoloist play with a large group, Corelli’s Concerto consisted of a solo group calleda concertino playing ‘against’ the larger instrumental mass called the concertogrosso. See if you can hear the two groups vying for your attention in this excerpt.

Composer: Arcangelo CorelliComposition: Concerto No. VIII in G Minor (“Christmas Concerto”)

IV – Vivace; V – AllegroPerformance: Philharmonic Baroque Orchestra, Nicholas McGeganRecording: Corelli – Concerto Grosso, Harmonia Mundi HMU 907015

Non-Directed Music Listening Program Script Series IIDay 3:Today we will again listen to Arcangelo Corelli’s IV and V movements from the“Christmas Concerto”.

Yesterday we tried to hear the difference between the concertino or solo groupand the larger orchestra of instrumentalists called the concerto grosso. The typicalconcertino group consisted of four violins, two violas, a cello, and the harpsichordas a sort of backup. These players al had to be virtuosos as the music wascomplicated and had to be played with speed and agility. Every movement of anyconcerto always has an Italian name. In this excerpt, we listen to two shortselections which Corelli has labeled in Italian “Vivace" and “Allegro”. See if youcan figure out what these two terms mean.

Day 4:The listening excerpt this week is taken from Arcangelo Corelli’s “Concerto No. VIIIin G Minor” and we will hear the IV and V movements.

After listening yesterday, were you able to determine why the IV and V movementsare labeled, in Italian, as “Vivace” and “Allegro”? Do you now know that “Vivace”means to perform in a “quick and lively manner” and “Allegro” means to perform ina “fast tempo, cheerful and joyful”? Today when you listen, gently tap your fingersagainst your leg. See if you can tell which movement is played faster, the Vivaceor the Allegro.

Day 5:The “Vivace” and “Allegro” movements from Corelli’s “Christmas Concerto” are thisweek’s listening selection.

Yesterday you listened to see if you could tell which movement was faster. If youthought that the “Allegro” moved at a quicker tempo, you were correct. Did younotice that not only did you have to tap your fingers faster during the “Allegro” butyou had to change where you accented or tapped a little harder? That’s becausethe “Vivace” is written with three beats in every measure whereas the “Allegro” hasfour beats per bar. See if you can feel that difference today.


Composer: Listening Program FavouritesComposition: Various – School’s Own ChoicePerformance:Recording:


Day 1:This week’s listening selection is the overture from Mikhail Glinka’s opera, Russianand Ludmila.

An overture is a purely instrumental composition played just before an opera whichsets the mood for the plot of that story. In it, composers usually include specificmelodies or themes which are heard later in the music of the complete opera. Asyou listen to today’s overture, do you get some sort of an idea about what themood of this opera is going to be? Is it smooth and lyrical or is it very exciting,making you expect a great deal of action?

Day 2:The overture form Mikhail Glinka’s opera Russian and Ludmilla is today’s featuredlistening.

Yesterday you made a decision regarding the probable mood of this opera. Asyou recall, the music is very exciting. Part of this is because the music is marked“allegro” and must be played quickly. The other obvious reason is that the musicis full of loud crashes, drum rolls, and the reverberating sounds of a lot ofinstruments playing in a very agitated manner. This opera is based on a fairy talewritten by Russia’s greatest poet, Alexander Pushkin. Now that you know Russianand Ludmilla is based on a Russian tale, can you create your own story aboutRussian peasants and the Tsar, Russia’s emperor?

Composer: Mikhail GlinkaComposition: Russian and Ludmilla OverturePerformance: London Symphony Orchestra, Sir Georg SoltiRecording: “Weekend in Russia”, London 417-689-2

Non-Directed Music Listening Program Script Series IIDay 3:The overture to Mikhail Glinka’s opera Russian and Ludmilla was first performed in1842 in St. Petersburg, Russia.

This was a time of unrest in Russia. More and more people were becomingunhappy with the country’s political situation. Most of the population were verypoor peasants and had come from families that had been poor for generations.They saw how rich their ruler, the Tsar, was and they began to resent the fact thatthey did all the work while the Tsar profited from their labour. Although the story isbased on a Russian fairy tale, you can understand how the lifestyle of thepeasants influenced the folk music of the day which in turn created such fervor inGlinka’s music. Glinka used his country’s folk songs and rhythms extensively inhis compositions.

Day 4:Mikhail Glinka, sometimes called the “Father of Russian Music” is the composer ofthe overture to the opera Russian and Ludmilla.

Excitement in this overture comes from Glinka’s use of Russian folk music, theallegro tempo, the combinations of orchestral instruments, and also, veryimportantly, from his use of dynamics. Dynamics are the louds and softs thatmake you feel at one moment like shouting and at the next, like whispering. Listentoday to see if Glinka’s use of louds and softs, dynamics, are crucial to set themood of the music.

Day 5:The overture to the opera Russian and Ludmilla by Mikhail Glinka is this week’slistening excerpt.

This week, we’ve thought about all the ways Glinka was able to create tension inthis overture. Yesterday, we talked about dynamics. As you will remember,dynamics are the louds and softs that are so prevalent in this excerpt. Do youremember your music teacher talking about crescendos and diminuendos? Theseare dynamic markings that take you between the variations of loud and softsounds. A crescendo asks you to get louder and a decrescendo requests that youget softer. Glinka was a composer whose originality and compositional style putall these techniques into practice when he created the wonderfully excitingoverture to the opera Russian and Ludmilla.


Day 1:This week we will listen to Rhapsody in Blue composed by the Americancomposer, George Gershwin.

George Gershwin was considered one of the most gifted musicians that Americahas ever produced. He was trained in classical music and brought this knowledgeinto his jazz compositions. Early in the 1900’s, jazz was just beginning to ‘storm’America and Europe. It originated with the Negro spiritual and was a merger of“Ragtime” and “Blues”. Its popularity spread rapidly via recordings for thephonograph and the newly invented radio. It seemed to help people forget theunhappiness and unrest in the world. Listen and see if you like the sound of jazzmusic.

Day 2:Today’s listening excerpt is Rhapsody in Blue composed and originally performedby George Gershwin in 1924.

At the time he wrote Rhapsody in Blue, Gershwin was in his mid-twenties. He wasa very intense young man and was only really comfortable sitting at a piano.Gershwin felt strongly about the conflicts between blacks and whites and sincejazz music originated from the history of the African-American slaves, hiscompositions reflected the struggles of these people. In Rhapsody in Blue, listentoday to the way the piano and orchestra compete for your attention. Does thispiece make you feel happy or sad?

Composer: George GershwinComposition: Rhapsody in Blue (excerpt)Performance: Cincinnati Symphony Orchestra, KunzelRecording: Telarc Sampler Volume 2, Telarc 80002

Non-Directed Music Listening Program Script Series IIDay 3:This week’s featured composer is American-born George Gershwin. He wrote thecomposition Rhapsody in Blue in 10 days.

Yesterday you listened to this piece to discover the mood of the music. Does thewailing clarinet entrance at the very beginning make you feel sad and reflective? Ifit does, it may be because the music originated in the “Blues” and “Ragtime” styleswhich developed form the music of the African-American slaves. An integral partof this type of music is improvisation. Improvisation is when you are performing onstage and the music that you are playing is not written down – you are making itup as you go. Although Rhapsody in Blue was written down, do you hear a certain‘freedom’ in the music that makes you feel it is being composed ‘on the spot’?

Day 4:Today we will again listen to an excerpt from George Gershwin’s Rhapsody inBlue composed for piano and orchestra. The entire piece is about fifteen minuteslong.

One of the integral parts of jazz music is improvisation. In a jazz performance, themusician must be able to create music that has not previously been written down.Although Rhapsody in Blue was composed and written in musical notation, it has acertain spontaneity reminiscent of improvisation. You are probably wondering howa group of performers is able to make up music on stage and have the piece stillsound like it all goes together. One of the most important methods used to providestructure for improvisation is the use of a constant pattern of chords over whichplayers create new melodies. See if you can hear this happening in Rhapsody inBlue.

Day 5:This week’s listening selection is Rhapsody in Blue by George Gershwin. It wascomposed in ten days and was originally performed on February 12, 1924.

Listening to this music may have helped you decide whether or not you like jazz.Gershwin was originally trained in classical music and this formal traininginfluenced his compositional style. In classical literature, a Rhapsody is arelatively short composition in a free form which expresses a particular mood.This means that the composer doesn’t have to follow a lot of musical rules whenhe is creating the piece. Gershwin took the classical form of the Rhapsody andmodified it to include the sounds of the “Blues”. This helps us understand the title,Rhapsody in Blue.


Day 1:This week’s selection is the Allegro movement from the “Violin Concerto in AMinor” by Antonio Vivaldi.

Vivaldi, an Italian composer of the Baroque era who lived from 1680 – 1783, wrotemore than 200 concerti. A concerto is a musical composition in which one or moreinstruments are set against the remaining instruments or orchestra. The term“concerto” is said to have two roots. One meaning is “to fight” and the other is “tojoin together or unite”. This concerto begins with the theme performed by theorchestra and then played by the violin. Listen for the musical conversationbetween the solo violin and orchestra. do you think they are fighting or inagreement?

Day 2:The Italian composer, Antonio Vivaldi, wrote this week’s selection, the Allegromovement from the “Violin Concerto in A Minor”.

The concerto form provides a soloist with an opportunity to exhibit his/herinstrumental expertise through the performance of brilliant musical passages.Vivaldi was a virtuoso violinist himself and understood fully the potential of theinstrument. In his day, in his native city of Venice, Italy, Vivaldi was evenconsidered a bit “mad” by some who considered compositions for solo violin fartoo bold and daring. In this piece, listen to the elaborate scale passages andarpeggios of the violin.

Composer: Antonio VivaldiComposition: Violin Concerto in A MinorPerformance: Paillard Chamber Orchestra, Jean François PaillardRecording: “Pachelbel Canon”, RCA Victor 65468-2-RC

Non-Directed Music Listening Program Script Series IIDay 3:This week’s feature composer is Antonio Vivaldi. We will be listening to theAllegro movement from the “Violin Concerto in A Minor”.

In this piece, the orchestra announces the lively theme which is repeated by theviolin. The orchestra repeats the melody again, but this time the violin debates thetheme and adds more musical ideas. Toward the end of the piece, the exchangebetween the orchestra and violin becomes more frequent until, at last, it appearsas if both sides have reached a happy consensus.

Day 4:This week’s highlighted composition is the Allegro movement from the “ViolinConcerto in A Minor’ by Antonio Vivaldi.

A concerto is really a “battle of the bands”. In earlier times, equal groups of voicescompeted with each other within a composition. This developed into a form inwhich a group of soloists played against, or in contrast to, the remaininginstruments. The concerto is a structured form of this musical contest. Listen tohow alternating between the solo and violin and the orchestra creates musicaltension because of the contrast in musical textures and dynamics.

Day 5:This week, we have been listening to the Allegro movement from the “ViolinConcerto in A Minor” by Antonio Vivaldi.

Vivaldi was born in 1680 in Venice, Italy and was educated for the priesthood.Because of his long flaming red hair, he was nicknamed “the red-haired priest”.His job was to write music for church services and also to teach music to youngchildren in the orphanage in his native city, Venice. The concerts of theseteenaged children were famous through Italy and attracted large audiences. Letus now listen for the final time this week to the Allegro movement of Vivaldi’s well-known “Violin Concerto in A Minor”.


Day 1:This week we will listen to the Fanfare for the Common Man by Aaron Copland.

Traditionally, a fanfare is a rather slow and short but dignified tune or motif usedas a signal for ceremonial events. Usually, a fanfare announces the arrival orroyalty or very important people. In this fanfare, however, the Americancomposer, Aaron Copland, celebrates the dignity of the common working man andwoman.

Day 2:This week’s featured composition is the Fanfare for the Common Man by AaronCopland.

A fanfare often announces the appearance of important people during elaborateceremonies. Notice how, after every phrase, the flamboyant brass instruments areanswered by bold timpani and other percussion instruments. Copland wrote theFanfare for the Common Man to honour the dignity of the individual man andwoman.

Day 3:The name of this week’s featured composition is Fanfare for the Common Man byAaron Copland.

A fanfare is generally written for trumpets and horns. When brass instrumentswere first used in orchestras they could only play the notes of the major triad (doh,mi, soh). As a result, many fanfares are based on these tones. This gives themusic a very expansive quality. Let us listen now to the rich, open harmonies ofthis bold brass choir.

Composer: Aaron CoplandComposition: Fanfare for the Common ManPerformance:Recording: “Essential Classics”, Deutsche Grammophon

Non-Directed Music Listening Program Script Series IIDay 4:This week, we are listening to the Fanfare for the Common Man by AaronCopland.

Copland, an American composer, used only brass and percussion instruments inthis composition. The brass instruments deliver the theme in short phrases.Percussion instruments answer the brasses as if they were engaged in aconversation. Notice how neither instrumental group is allowed to interrupt theother. Copland wrote the Fanfare for the Common Man to salute the courage andthe spirit of the ordinary man and woman.

Day 5:This week we have been listening to the Fanfare for the Common Man by AaronCopland.

Copland was a modern American composer who was born in 1900 and died in1990. This fanfare was written in 1942, shortly after America entered World WarII. Copland, whose parents were Russian Jews, was concerned with thepersecution of the Jewish people in Europe at that time. In this dark period,Copland must have abhorred the repressive tyranny of dictators, and rigid classstructures, and believed strongly in the ability of the individual man and woman toeffect change in the world. Copland, who is known for compositions which areimbued with both simplicity and magnificence, used only brass and percussioninstruments to reflect the triumph and dignity of the human spirit.


Day 1:This week’s selection is entitled In the Hall of the Mountain King from the “PeerGynt Suite, No. 1” by Edvard Grieg.

The work is based on a collaboration of talents of two famous men from Norway –Henrik Ibsen, a playwright, and Edvard Grieg, a composer. The story by Ibsen isderived from the misadventures of a mischievous well-known character fromNorwegian folk tales, Peer Gynt. In the story, Peer Gynt is a lazy, dreamy boywho liked to bully, brag, and boast. One day, uninvited, he attends a wedding andon an impulse, runs off with the bride. He then leaves her and flees to themountains where he falls, hits his head, and lapses into unconsciousness. Heawakens in the foreboding Hall of the Mountain King surrounded by repulsivetrolls. Can you hear the trolls as they stalk the luckless Peer Gynt?

Day 2:This week, we will listen to In the Hall of the Mountain King from the “Peer GyntSuite, No. 1” by the Norwegian composer, Edvard Grieg.

In our story, the rascal Peer Gynt is captured by the mean trolls. The King of theTrolls, the Mountain King, wants Peer Gynt to marry his ugly daughter. First,however, he demands that Peer Gynt be changed into a troll. Peer Gynt tries toescape from the hideous trolls. In today’s selection, can you hear the trolls’musical footsteps as they surround and torment Peer Gynt?

Day 3:Today, we will listen to In the Hall of the Mountain King from the “Peer Gynt Suite,No. 1” by Edvard Grieg.

In this Norwegian folk tale, Peer Gynt finds himself in the Hall of the MountainKing. Ugly little trolls stalk the hapless Peer Gynt and eventually chase him out ofthe kingdom. The music begins mysteriously with the staccato footsteps of thetrolls. As the trolls come closer, Peer Gynt’s sense of terror is heightened as thetheme is played over and over again, faster and faster.

Composer: Edvard GriegComposition: “Peer Gynt Suite, No. 1”, In the Hall of the Mountain KingPerformance: Cleveland Orchestra, George SzellRecording: “Grieg’s Greatest Hits”, CBS Masterworks WMLK 39435

Non-Directed Music Listening Program Script Series IIDay 4:This week, we are listening to In the Hall of the Mountain King from the “Peer GyntSuite, No. 1” by Edvard Grieg.

Grieg was a Norwegian composer who was born in 1843 and died in 1907. The“Peer Gynt Suite” is a collection of musical pieces which detail the misadventuresof the legendary Norwegian rascal, Peer Gynt. After one of his pranks, Peer Gyntfinds himself in the Hall of the Mountain King surrounded by mean trolls. In themusic, you will hear the mysterious, winding, staccato, hypnotic march of the trolls.The music begins pianissimo (very softly) and builds to a crashing fortissimo (veryloud).

Day 5:This week we have been listening to In the Hall of the Mountain King from thePeer Gynt Suite, No. 1” by Edvard Grieg.

In the story, the hero, Peer Gynt is surrounded and chased by mean trolls. Griegcreates this moment of utter terror through the use of many types of musicalcontrasts. The music begins pianissimo (very softly) and ends fortissimo (veryloudly). The theme is introduced slowly and becomes faster and faster. Themusic also starts with very low sounds and ends with high shrieking pitches. Howmany musical contrasts can you discover?


Day 1:This week’s listening selection is the Rondo Vivace from the “Piano Concerto No.4 in G Major” by Ludwig von Beethoven.

In a concerto, one instrument and possibly several instruments are set against theorchestra. In this case, the piano is the solo instrument. In a concerto, theorchestra usually introduces the theme and then the solo instrument answers.However, in this concerto, the solo instrument (the piano) is allowed to play first.Beethoven was the first composer to allow the solo instrument to introduce atheme in a concerto. Listen to the musical conversation between the piano andthe orchestra.

Day 2:We are listening to the Rondo Vivace from the “Piano Concerto No. 4 in G Major”by Ludwig von Beethoven.

A concerto is a musical conversation between the orchestra and a solo instrument,in the case, the piano. As you listen to this concerto, notice how the piano beginsthis movement pianissimo (very softly), then breaks into a lively melody. In thisconcerto, the orchestra is quick to answer the opening theme. Typically,Beethoven employs strong contrasts of loud/soft, fast/slow, gentle/forceful tocreate a sense of emotion and drama.

Day 3:This week’s selection is the Rondo Vivace from the “Piano Concerto No. 4 in GMajor”. Our featured composer is Ludwig von Beethoven.

Beethoven was born I 1770 and lived to be 56 years old. In his lifetime, he wrotefive concerti. Beethoven was an excellent pianist himself and performed thepremiere of this concerto. The performer of any concerto must be a virtuoso. Avirtuoso is a musician with a high degree of technical skill. Let us listen again tothis famous piano concerto written by Beethoven.

Composer: Ludwig von Beethoven (1770 – 1827)Composition: Piano Concerto No. 4 in G Major, Rondo VivacePerformance: Concertgebouw Orchestra, Murray Perahia (piano)

Bernard Haitink(director)Recording: CBS Masterworks, CBS WMK 42070

Non-Directed Music Listening Program Script Series IIDay 4:This week, we are listening to one portion of the “Piano Concerto No. 4 in G Major”by Ludwig von Beethoven.

This is the final movement of the three movement piano concerto. The movementis entitled Rondo Vivace. “Vivace” means lively. “Rondo” refers to the form of thepiece. Composers often used the rondo for the finale or ending of a concerto orsymphony. In a rondo, a theme is played in alternation with other themes. Inother words, theme A is followed by theme B, A, C, A, etc. Can you hear therepetition of the first theme in this concerto?

Day 5:This week we have been listening to Rondo Vivace from the “Piano Concerto No.4 in G Major” by Ludwig von Beethoven.

Beethoven was born more than three centuries ago in 1770. At the beginning ofhis career, he composed formal organized music within the classical musicaltradition. In time, Beethoven’s music became more dramatic and evoked forceful,powerful emotions from his audiences. He was one of the pioneers of theromanticism in music, a style which stressed freedom and passion over reason. Inthis selection, notice how Beethoven uses contrasts of slow/fast, loud/soft,crescendo/diminuendo to create tension and movement in the piece. Let us listenfor the last time to the lively finale of Beethoven’s “Piano Concerto No. 4 in GMajor”.


Day 1:This week we will listen to Africans from the “Concerto for Classical Guitar andJazz Piano Trio” by Claude Bolling.

This piece of music is an unusual juxtaposition of old and new elements of media,style and form. The composer has employed an old musical form, the concerto, acomposition usually written for a symphony orchestra and a solo instrument, mostoften a violin or piano. However, in this selection, we hear a jazz piano trio insteadof an orchestra and a classical guitar instead of a piano or violin. In addition, thecomposer has used language of jazz (syncopated rhythms, blues scale, and jazzharmonies)instead of the idiom of classical music (regular rhythm, traditionaldiatonic melodies and harmonies). Let us listen now to this delightful blend of theold and the new.

Day 2:Today, we will listen to Africans from the “Concerto for Classical Guitar and JazzPiano Trio” by Claude Bolling.

This piece represents a fusion of the old and the new. The old is the concertoform, a form used for centuries which sets a solo instrument, usually a violin orpiano, in contrast to an orchestra. The new is the employment of a jazz trio –piano, double bass, and drum set instead of an orchestra. The new is alsorepresented in the jazz style – syncopated rhythms and the use of the blues scalewith flatted 3rd, 5th, and 7th notes.

Composer: Claude BollingComposition: Concerto for Classical Guitar and Jazz Piano TrioPerformance: Alexandre Lagoya (guitar), Claude Bolling trioRecording: CBS Masterworks Digital Sample, CBS WMXK 46357

Non-Directed Music Listening Program Script Series IIDay 3:This week, we are listening to Africans from the “Concerto for Classical Guitar andJazz Piano Trio” by Claude Bolling.

The classical guitar, the solo instrument in the concerto, begins the compositionwith a sort phrase and is promptly answered by the jazz trio consisting of piano,double bass, and drums. Jazz and blues often incorporate a musical techniquereferred to as “call and response”. In this style, a soloist performer sings or playsa phrase which is answered by a chorus or group of instruments. This movementof the concerto begins in this manner. As you listen to Africans from the “Concertofor Classical Guitar and Jazz Piano Trio” by Claude Bolling, can you hear how theclassical guitar sees to “call” the other instruments?

Day 4:Africans from the “Concerto for Classical Guitar and Jazz Piano Trio” by ClaudeBolling is our listening selection for this week.

This movement is written in a rondo form. In a rondo, the opening theme is playedat least three times throughout the piece. Contrasting themes are interspersedbetween statements of this principal theme and the form of the music becomesABACA. Although the guitar is the solo instrument in this concerto, the pianoplays a very prominent part in a contrasting theme and almost seems to take overthe musical conversation between the guitar and jazz trio. Can you hear the returnof the opening theme?

Day 5:This week, we have been listening to Africans from the “Concerto for ClassicalGuitar and Jazz Piano Trio” by Claude Bolling.

This piece is a fascinating blend of old and new elements in music. The old is theconcerto form and the use of the classical guitar. The new is the jazz trio – thepiano, double bass, and drums. The new is also represented in the use of the jazzstyle. Today, in modern music, there are many examples of this fusion of form,media, and style. Let us listen for the final time to this most interestingcontemporary composition.


Day 1:This week, we will be listening to No Puede Ser from the opera “La Tabernera DelPuerto” by Peter Sorozabal.

This piecework is from a form of Spanish opera. One of the world’s greatest operasingers, the Spanish tenor, Placido Domingo, performs this dramatic love song.The tenor voice is the highest adult male singing voice which corresponds to thesoprano voice, the highest adult female singing voice. There are two types oftenors – lyric tenors and dramatic tenors. Lyric tenors sing with a high, light voice.Dramatic tenors have strong, powerful voices and usually sing in a lower registerthan a lyric tenor. Listen as Placido Domingo, the famous dramatic tenor, uses hisrobust voice to express the various emotions of this love song.

Day 2:Today, we will listen again to No Puede Ser from the opera “La Tabernera DelPuerto” by Peter Sorozabal.

This aria is sung by the renowned Spanish tenor Placido Domingo. In choralmusic, voices are divided into four parts: soprano, alto, tenor, and bass. However,in opera, voices are classified into six different types. The female voices fromhighest to lowest are soprano, mezzo-soprano, and contralto. The male voicesfrom highest to lowest are tenor, baritone, and bass. The highest male voice, thetenor, is also defined by the character and quality of the voice. The lyric tenor hasa light, high voice. The dramatic tenor has a rich and powerful tone. Let us listenagain to Placido Domingo, the famous dramatic tenor, sing this expressive aria.

Composer: Peter SorozabalComposition: “La Tabernera Del Puerto” – No Puede SerPerformance: Opera Orchestra of Rome, Zubin Mehta

Placido Domingo, TenorRecording: Carreras, Domingo, Pavarotti in Concert, Zubin Mehta, London 430433-2

Non-Directed Music Listening Program Script Series IIDay 3:Our featured listening selection for this week is No Puede Ser from the opera “LaTabernera Del Puerto” by Peter Sorozabal.

No Puede Ser is an aria sung by the great Spanish tenor, Placido Domingo. Anaria is a composition for solo voice which is usually accompanied by an orchestra.In opera, the aria is used to express the strong emotions of the operatic character,emotions such as longing, passion, grief, vengeance, and triumph. In this aria,Placido Domingo sings about a beautiful woman. The music demands that thesinger utilize a wide vocal range and the full scope of the dynamic spectrum. Thetenor must be, at times, able to sing softly and gently, and at other times, be ableto sing with great power.

Day 4:This week we are listening to No Puede Ser from the opera “La Tabernera DelPuerto” by Peter Sorozabal. It is being sung by the famous Spanish tenor, PlacidoDomingo.

The opera from which this aria is taken is a type of Spanish three-act opera calledzarazuela. In this style, the music is interspersed through the spoken dialogue.This type of opera, based on Spanish folklore, is very dramatic. In this aria abouta beautiful woman, Placido Domingo sings with a wide range of emotion, whichmay be described as sadness, longing, tenderness, hope and joy.

Day 5:This week we have been listening to No Puede Ser from the opera “La TaberneraDel Puerto” by Peter Sorozabal. Placido Domingo, the famous dramatic tenor,performs this aria against the backdrop of the orchestra.

The theatrical aria gives the dramatic tenor the opportunity to portray extremes ofemotional expression using a wide variety of vocal techniques. Notice how themusic begins slowly and quietly and then builds to a great intensity. The middlesection is very quiet, but at the very end, the tenor is allowed to use the fullcapacity of his powerful voice. Let us listen again to one of the world’s mostfamous tenors, Placido Domingo.


Day 1:Our featured listening selection for this week is entitled Arabesque No. 1 byClaude Debussey.

Debussey was a famous French composer who revolutionized the way musiciansthought of harmony and musical form. Debussey was strongly influenced by amovement in the French art world called “Impressionism”. Impressionistic paintersused soft, muted tones and spots of colour to convey a dreamy mood,atmosphere, or emotion. The paintings seemed to shimmer with light and colour.Debussey tried to translate this idea into his musical compositions. As you listento Debussey’s Arabesque, what kind of mood or picture does the music seem tocommunicate to you?

Day 2:Today, we will listen to Arabesque No. 1 by Claude Debussey.

Debussey was a French composer who was born in 1862 and died in 1918.During his lifetime, in the late 1800’s a form of art called “Impressionism”flourished in France. In their paintings, Impressionist painters tried to create amood rather than imitate an exact image of reality. Debussey, who felt moreconnected to painters and poets than musicians, was greatly influenced by themovement in the art world. In his music, he tried to set a dreamlike, misty mood.Many of his pieces have beautiful names such as Afternoon of a Faun and Clair deLune. This piece is called Arabesque. The term “Arabesque” is borrowed fromthe fields of art and architecture. It denotes the Arabic style of light, lacy, floridornamentations used to decorate buildings. Do you think the music seems to callforth these images?

Composer: Claude Debussey (1862 - 1918)Composition: Arabesque No. 1Performance: Philharmonic Orchestra, William SmithRecording: CBS Masterworks, “The French Album”, CBS MFK 45543

Non-Directed Music Listening Program Script Series IIDay 3:This week, we are listening to Arabesque No. 1 by the French composer ClaudeDebussey.

Debussey was strongly influenced by the French Impressionist painters.Debussey wrote music with descriptive titles such as Clair de Lune, An Afternoonof a Faun, and The Sea. Both the music and the titles evoke a visual image.Debussey called the piece we will listen to today Arabesque, which means “in theArab style”. The Arab style of ornamentation which often decorated buildings,made us of flowing lines, geometric shapes, and frequently depicted fruits andflowers. Debussey’s Arabesque flows in a dream-like manner. Debusseyachieved this effect by avoiding loud chords, extreme dynamics , clear melodies,and strong rhythms. What do you see in your mind’s eye as you listen toDebussey’s Arabesque?

Day 4:This week’s featured composition is Arabesque No. 1 by Claude Debussey

Debussey’s music evoked a calm and gentle mood and shimmering visual images.One way Debussey achieves this effect is through his careful choice ofinstrumentation. Arabesque begins with the smooth delicate sound of a soloclarinet played over a soft background of violins and harp. In turn, the gentletones of French horns, oboes, and flutes answer the clarinet’s melodic theme. Noloud percussion instruments are allowed to intrude upon this peaceful scene. Letus listen again to Debussey’s Arabesque and enter into its mood of serenity.

Day 5:This week, we have been listening to Arabesque No. 1 by Claude Debussey.

Debussey is known for the development of Impressionism in music. In many of hiscompositions, Debussey tried to create a tone painting, or an image his listenerscould see as well as hear. In this piece of music, the delicate flowing melodies ofthe clarinet, oboe, and flute over the lush harmonies of the string family and harpcreate a restful mood. Debussey’s music is never loud or dramatic, and there areseldom strong beats or accents. If you were to paint a picture of the images yousee while you listen to Debussey’s Arabesque, what picture would you paint?


Composer: Listening Program FavoritesComposition: Various –School’s Own ChoicePerformance:Recording:


Day 1:This week’s featured selection is the “Finale” from the Symphony in G Major by theAustrian composer, Joseph Haydn.

Joseph Haydn was born in Austria in 1732 and died in 1809 at the age of seventy-seven. Haydn has been called the “Father of the Symphony” because hedeveloped the symphonic form from a short, simple work to a larger, morecomplex composition. Later, Mozart, who along with Haydn were the most highlyregarded composers of the classical period of music history, perfected the form ofthe symphony. Usually, symphonies are written in three movements of contrastingtempo and mood. The first is fast; the second slow; and the “finale”, or lastmovement, is again performed at a fast tempo. Today, we will listen to the lastmovement, the “Finale” from the “Surprise Symphony”. The music is bright,energetic, and triumphant.

Day 2:This week we are listening to the “Finale” from the Symphony in G Major by theAustrian composer, Joseph Haydn.

Haydn has been nicknamed “Papa Haydn” and the “Father of the Symphony”.Haydn was a prolific composer who wrote more than 100 symphonies and wasresponsible for establishing the symphonic form as we know it today. Theinstrumentation of today’s orchestra is based on the instrumentation of Haydn’ssymphony orchestra. The orchestra in this piece consists of the string family, thewoodwind family without clarinets, and two horns, two trumpets, and timpani. Howmany kinds of instruments can you identify in this last movement of Haydn’s“Surprise Symphony”?

Composer: Joseph HaydnComposition: Symphony in G Major (“Surprise Symphony”) – “Finale”Performance: Wiener Symphoniker, Wolfgang SawallischRecording: Haydn Symphonies No. 94, 100 and 101, Phillips 422 973-2

Non-Directed Music Listening Program Script Series IIDay 3:This week we are listening to the “Finale” from the Symphony in G Major by theAustrian composer Joseph Haydn.

The son of a common wheelwright, Haydn was the court composer for an Austrianprince for 30 years. Later, he composed and conducted for royalty in England.Haydn had a delightful sense of humour and liked to play jokes on his royalaudiences. The symphony we will listen to today is nicknamed the “SurpriseSymphony”. Legend has it that Haydn wanted to wake up all the kings andqueens who fell asleep during his music. He tricked them by lulling his audienceto sleep through a simple theme played pianissimo (very softly). Then Haydninserted a very loud (fortissimo) chord, reinforced by the loud thunder of thetimpani. This must have given his audiences quite a start! In today’s selection,the finale of the symphony, listen for surprises.

Day 4:This week’s featured composition is the “Finale” from the Symphony in G Major byJoseph Haydn, the “Father of the Symphony”.

Generally, the symphony has three movements – fast, slow, fast. Sometimes, asin the case of this symphony, Haydn included a “minuet” to create a fourthmovement. The last movement of the “Surprise Symphony”, the “finale”, is writtenin a “rondo” form. In a rondo form, the opening theme returns throughout thepiece. How many times do you hear the happy, energetic first theme return in thismovement?

Day 5:This week, we have been listening to the “Finale” from the Symphony in G Majorby Joseph Haydn, the classical composer known as the “Father of the Symphony”.

This symphony is called the “Surprise Symphony”. It is said that it was written towake up the arrogant nobility who often fell asleep during Haydn’s performances.Let us listen again to this lively, and often surprising, music.


Day 1:This week’s featured selection is the Banditen Galop by Johann Strauss.

Johann Strauss, born in 1804, was an Austrian composer who also served as theconductor for the gala ballroom dances of the Vienna court. Strauss composedmany waltzes, polkas, and marches. He also wrote dances called galops. Agalop is a very fast dance in 2/4 time. The name of this galop is the BanditenGalop which means “bandit’s dance” in German. As the bandits or robbers try toget away, you can hear several unexpected shots. Can you hear these loud,cracking sounds in the first and last part of the piece?

Day 2:This week, we are listening to the Banditen Galop by Johann Strauss. A galop is avery fast dance in 2/4 time. Strauss gave this galop the name “Banditen”, whichmeans “bandits” or “robbers” in German. This dance is written in three parts. Inthe “A” section or first section of the piece, we hear the loud cracking of guns. Inthe “B” section, we hear a quiet melody. The piece ends with a repetition of the“A” section. Wait for a surprising loud “CRACK!” at the end.

Day 3:This week’s listening selection is entitled Banditen Galop by our featuredcomposer of the week, Johann Strauss.

Johann Strauss was a very famous composer of waltzes, galops, and marches.Strauss had a son, also named Johann, who, against the wishes of his father,studied music. The young Johann became even more famous than his father andwas called the “Waltz King”. He wrote the renowned waltz, “On the Beautiful BlueDanube”. Both Johann I and his son, Johann II, were known for their precise,flamboyant compositional style. As you listen today to the Banditen Galop writtenby the father of the “Waltz King”, can you imagine kings and queens, princes andprincesses, and the gentlemen and lades of high society dancing in the ViennaCourt?

Composer: Johann StraussComposition: Banditen GalopPerformance: Cincinnati Pops Orchestra, KunzelRecording: Telarc Sampler Volume 3, Telarc CD 80003


Day 4:Our listening selection for this week is called Banditen Galop by the Austriancomposer Johann Strauss.

A galop is a fast dance. Strauss and his son were famous for writing dance music,especially waltzes. Many composers such as Haydn and Mozart had also writtendances, however, the Strauss family brought about the popularity of dance musicin Vienna and also in the rest of Europe. The waltz brought the Strauss familyfame and fortune. Johann II, the “Waltz King”, was as popular as the Emperor ofAustria. By the end of his life, Johann II was a millionaire. Let us listen again toBanditen Galop by Johann II’s father.

Day 5:This week, we have been listening to Banditen Galop by Johann Strauss I.

This piece is a galop, meaning a very fast dance in 2/4 time. Most probably, thispiece is about “Banditen” or bandits. This piece is written in the musical form –ABA. Can you hear the loud popping of guns? Can you imagine hundreds ofdancers whirling around the Vienna Court ballroom dancing to this flamboyantStrauss galop?


Day 1:This week’s feature composer is Sergei Rachmaninoff. This week’s featurecomposition is Variation 18 from the Rhapsody on a Theme of Paganini.

Paganini was a composer who lived 100 years before Rachmaninoff. Paganini isknown as one of the finest violinists of all time and he published a piece titledCaprice #24 for the violin. When Rachmaninoff composed his “rhapsody”, hebased it on the theme of Paganini’s Caprice #24. The Rhapsody on a Theme ofPaganini is one of Rachmaninoff’s most often heard compositions.

Day 2:This week’s feature composition is the Variation 18 from the Rhapsody on aTheme of Paganini. This week’s feature composer is Sergei Rachmaninoff.

Rachmaninoff was born in Russia in 1873 and is best known as a composer ofpiano music. This week’s composition is a “concerto” for piano and orchestra. A“concerto” is a composition for a solo instrument and orchestra. At the beginningof Variation 18, you can hear the solo piano clearly before the orchestra enters.Let us now listen to Rhapsody on a Theme of Paganini.

Day 3:This week’s feature composer is Sergei Rachmaninoff. This week’s featurecomposition is Variation 18 from Rhapsody on a Theme of Paganini.

Rachmaninoff based his rhapsody on the theme of Paganini’s Caprice #24.Rachmaninoff borrowed Paganini’s theme and inverted it in the 18th Variation ofhis rhapsody. Rachmaninoff was a very clever composer. As a matter of fact, ifyou turn the music backwards, you will almost hear Paganini’s Caprice #24.

Composer: Sergei Rachmaninoff (1873 - 1943)Composition: Rhapsody on a Theme of Paganini – Variation 18Performance: London Symphony Orchestra, Yuri AhronovitchRecording: Essential Classics, Deutsche Grammophon 431 541-2

Non-Directed Music Listening Program Script Series IIDay 4:This week’s feature composer is Sergei Rachmaninoff and the feature compositionis Variation 18 from Rhapsody on a Theme of Paganini.

The word “rhapsody” is used in music to describe a certain fantasy or epic flavourto them. When you listen to today’s music, listen for the broad, beautiful melodiesand the big chords that help to create a very grand and theatrical effect that madeRachmaninoff very famous. The Rhapsody on a Theme of Paganini is a brilliantshowpiece and is one of Rachmaninoff’s most often heard compositions.

Day 5:This week’s feature composer is Sergei Rachmaninoff. This week’s featurecomposition is Variation 18 from Rhapsody on a Theme of Paganini.

Like many other composers, Rachmaninoff based one of his compositions onPaganini’s famous theme. There are a total of 24 variations in Rachmaninoff’srhapsody, but the 18th Variation has become a favourite because of its supremelybeautiful melody. Today we will listen to the 18th Variation from Rhapsody on aTheme of Paganini.


Day 1:This week’s feature composer is Edward Elgar. This week’s feature compositionis the famous ceremonial march, Pomp and Circumstance.

This piece was written for the coronation of King Edward VII in 1901. A coronationis a majestic ceremony in which a new king is crowned. Although this piece isplayed all over the world but is most popular in England. In Burnaby, you mighthear this piece performed at a high school or university graduation ceremony. Wewill now listen to Pomp and Circumstance by Edward Elgar.

Day 2:This week’s feature composer is Edward Elgar and the featured composition is anexcerpt from Pomp and Circumstance.

Today you hear two distinct sections of this work. The first section is a lively,active and restless theme and in the second section we will hear the stately, legatomelodic theme that has become so popular. Throughout the second section, onecan feel the grandeur and intensity growing.

Day 3:This week’s feature composition is Pomp and Circumstance written by the Englishcomposer, Edward Elgar, in 1901.

Edward Elgar became one of the best known and most honoured composers inEngland during the late 1800’s. As a young man, Elgar helped his father aschurch organist and spent a year as an apprentice in law office. While he wasworking at the law office he decided to do what he always wanted to do – to makemusic his career.

Composer: Edward ElgarComposition: Pomp and CircumstancePerformance: BBC Symphony Orchestra, Leonard BernsteinRecording: Essential Classics, Deutsche Grammophon 431 541-2

Non-Directed Music Listening Program Script Series IIDay 4:This week’s feature composer is Edward Elgar. This week’s feature compositionis Pomp and Circumstance.

Today, as you listen to the first section of this piece, listen for the strong, drivingaccents and then for the sudden contrasts of the legato, melodic second section.Both composers and visual artists use “contrast” as an effective means ofcommunicating the meaning of their work. Listen today for the two distinctthemes.

Day 5:This week’s feature composer is Edward Elgar, the English composer who wrotethe ceremonial march, Pomp and Circumstance.

The word “pomposo” is an Italian term that means “a direction to perform in astately, dignified manner”. When you listen to this composition, you probably feelthe sense of dignity and importance that Elgar wanted to portray. Did youremember that this piece was written for the coronation of King Edward VII as Kingof England? Edward Elgar certainly created a very majestic and grandiosecomposition for this important event.


Day 1:This week’s composer is Georges Bizet and the featured composition is the fifthmovement “Farandole” from the L’Arlesienne (lar-lay-ZYEN) Suite.

This music was written for a play titled L’Arlesienne which means “the woman ofArles”. The play was written by Alphonse Daudet and tells about the life of thepeasants in and around Arles, which is in Provence (pro-VAHNS). Provence is notfar from the Mediterranean Sea and is most famous for its beautiful landscape.When you listen to today’s music, try to imagine a beautiful countryside with acloudless blue sky and feel the wonderful warmth radiating from the dazzling sun.

Day 2:This week’s composer is George Bizet. This week’s composition is the fifthmovement, “Farandole”, from the L’Arlesienne Suite.

Although the play for which this music was written failed with audiences, theconcert suite from Bizet’s music became extremely popular. The play has beenlong since forgotten, but Bizet’s music for L’Arlesienne continues to live on. Let usnow listen to “Farandole”.

Day 3: This week’s feature composer is Georges Bizet. This week’s featurecomposition is the fifth movement, titled “Farandole”, from the L’Arlesienne Suite.

A farandole is a popular street dance in Provence in which couples hold hands in aprocession, winding in and out as they follow the leader. It is a happy, carefreedance and Bizet is able to capture these feelings in his music. See if you can feelthe strong sense of “beat” in the dance. Bizet makes this easy for us bysometimes having the beat stated on a drum.

Composer: Georges BizetComposition: L’Arlesienne Suite – “Farandole”Performance: New Philharmonic Orchestra, Charles MunchRecording: Bizet: Carmen/L’Arlesienne Suites, London 421 632-2

Non-Directed Music Listening Program Script Series IIDay 4:This week’s feature composition is the fifth movement, “Farandole”, from theL’Arlesienne Suite which was written by Georges Bizet.

Georges’ father was a famous singing teacher and Georges used to love to listenoutside the door of his father’s music studio. Both his father and mother realizedGeorges’ love of and talent for music. When he was eight years old, they wantedhim to study t the Paris Conservatory of Music; however, the Paris Conservatoryhad a rule that no student could enter before the age of ten. Georges’ fatherconvinced the authorities of his son’s talent and dedication and Georges wasfinally admitted to the Paris Conservatory of Music.

Day 5:This week’s feature composer is Georges Bizet. This week’s feature compositionis the ‘Farandole” from L’Arlesienne.

The music was written for a play but, as it turned out, the play failed. Bizet’smusic, however, became extremely popular. Today’s selection, the “Farandole”,was a popular street dance in Provence. It was a very energetic and excitingdance. When you listen to the music today, listen as the excitement builds to thefinal chord. Bizet achieves this rising level of excitement by increasing the tempo– the speed of the music.


Day 1:This week’s feature composer is George Frederic Handel. The featurecomposition is “Alla Hornpipe” from the Water Music.

Handel composed this music 270 years ago for the King of England, King GeorgeI. The composition was first performed at a party that King George gave onbarges on the River Thames; that is why it is titled Water Music. King Georgeloved the Water Music so much that he had the music played three times in goingand returning.

Day 2:This week’s feature composer is George Frederic Handel and the featurecomposition is the “Alla Hornpipe” from the Water Music.

This music was composed especially for the King of England, King George I.When you listen to the music, it is easy to imagine a royal King and his dignifiedsubjects. That is because the music sounds “royal” and “majestic”. Let us nowlisten to the Water Music by George Frederic Handel.

Day 3:This week’s feature composer is George Frederic Handel. The featurecomposition is “Alla Hornpipe” from the Water Music.

A hornpipe was a popular dance in England during the 16th to 19th centuries. Itwas performed as a solo dance by sailors. Maybe that is why Handel wanted tocompose a Hornpipe for his Water Music.

Composer: George Frederic HandelComposition: Water Music – “Alla Hornpipe”Performance: The English Concert, Trevor PinnockRecording: Essential Classics, Deutsche Grammophon 431 541-2

Non-Directed Music Listening Program Script Series IIDay 4:This week’s feature composer is George Frederic Handel. The featurecomposition is “Alla Hornpipe” from the Water Music.

Handel was a smart composer and he had a good feeling for what people liked tohear. He knew that people liked to hear good musical ideas more than once. Ifyou listen carefully, you will hear the grand opening of the composition repeatedabout two thirds throughout the piece.

Day 5:This week’s feature composer is George Frederic Handel. Do you remember thetitle of this week’s composition? If you are thinking “Alla Hornpipe” from the WaterMusic, you are right.

It was titled Water Music because it was first performed on barges on the RiverThames for a party that was given by King George I, the King of England.


Day 1:This week’s feature composer is John David. The feature composition is titled,You Are the New Day.

The piece is sung by a group of all male vocalists, known as the King’s Singers”.You Are the New Day is an “a capella” piece. This means that it is choral musicsung without any instrumental accompaniment.

Day 2:This week’s feature composition is titled, You Are the New Day. Do youremember the name of the group which sings this piece? If you are thinking theKing’s Singers, you are right.

The King’s Singers is a brilliant vocal ensemble which is comprised entirely ofmale singers. There are usually six types of human voices and they are the threefemale voices (soprano, mezzo-soprano, and contralto) and the three male voices(tenor, baritone, bass). Although the King’s Singers are an all male group,amazingly enough, they represent all six types of human voice.

Day 3:This week’s feature composer is John David. This week’s feature composition istitled You Are the New Day.

It is an “a capella” composition, which means choral music without anyinstrumental accompaniment, such as piano or guitar. It is a piece for voices only.The King’s Singers are a brilliant group of singers and when they all sing together,they create “harmony”. Harmony is when many different musical tones occur atthe same time. When you listen to today’s selection, see if you can hear thedifferent voices and musical sounds.

Composer: John DavidComposition: You Are the New DayPerformance: The King’s SingersRecording: The King’s Singers 20th Anniversary Celebration, EMI 7-69375

Non-Directed Music Listening Program Script Series IIDay 4:This week’s feature composer is John David. This week’s feature composition istitled, You Are the New Day.

You Are the New Day is a vocal composition without instrumental accompaniment.Do you remember the term we use for this? If you are thinking “a capella”, thenyou are right. “A capella” is an Italian term that means “in or for the chapel”. Thisis because “a capella” music originally referred to church music, but today it isused for all kinds of choral music.

Day 5:This week’s feature composer is John David and the feature composition is titled,You Are the New Day.

The piece is sung by a group of all male vocalists known as the King’s Singers.When you listen to today’s selection, listen for the beautiful harmony the singerscreate together – their voices complement each other! Also see if you can hearthe voice that sings the melody line. We will now listen to You Are the New Dayby John David.


Day 1:This week’s feature composer is Edvard Grieg. This week’s feature composition istitled “Morning” from the Peer Gynt Suite No 1.

The Peer Gynt drama is based on a Norwegian story. It is about a small boy, PeerGynt, who lives on a mountain which overlooks Norway. In today’s selection, it ismorning and most beautiful scenes emerge as the gentle, rising sun slowlyappears in the clear, blue sky. This selection is titled “Morning”, and is theopening selection for the Peer Gynt Suite No. 1.

Day 2:This week’s feature composer is Edvard Grieg. The week’s feature composition istitled “Morning” from the Peer Gynt Suite No. 1.

The story of Peer Gynt begins with a young boy watching the beautiful, rising sungrow bigger and bigger over the hills of Norway. Listen as Grieg structure themusic to grow in intensity and volume as the sun unfolds in golden bloom. Grieg,however, in spite of the increasing intensity, always maintains a beautiful, tendermelody that flows ever so gently throughout the piece.

Day 3:This week’s feature composer is Edvard Grieg. This week’s feature composition istitled “Morning” from the Peer Gynt Suite No. 1.

As you know, this Norwegian story is about a small boy who lives on a mountainoverlooking Norway. When Peer Gynt’s grandmother dies, he decides to see theworld. During his travels he variously meets an Arabian sheik, a Mountain King,several wicked trolls, and finally a beautiful girl who saves him from the trolls. Thisdrama was written by the dramatist Henrik Ibsen, who approached Grieg to writemusic to accompany the play.

Composer: Edvard Grieg (1843 – 1907)Composition: Peer Gynt Suite No. 1 – “Morning”Performance: Philharmonic Orchestra, Andrew DavisRecording: “CBS Masterworks “Breakfast in Bed”, CBS WMFK 46356

Non-Directed Music Listening Program Script Series IIDay 4:This week’s feature composition is titled “Morning” from the Peer Gynt Suite No. 1.The composer of this composition is Edvard Grieg.

Grieg became world famous for the music that he wrote for the drama, Peer Gynt.This type of music is called “incidental” music because it is music that is written asbackground for a play, or to be performed between or during scenes. Today“incidental” music, or background music, is heard in both the theatre and themovies. Music in today’s movie is essential and can easily set a particular moodor feeling for the audience. Listen carefully today and see what kind of mood“Morning”, from the Peer Gynt Suite No. 1, encourages you to fee.

Day 5:This week’s feature composition is titled “Morning” from the Peer Gynt Suite No. 1.This week’s feature composer is Edward Grieg who was born in Norway in 1843.

Grieg is considered a nationalist composer because he wrote a lot of music thatexpressed the spirit of his homeland. Edvard Grieg, who died in 1907, isconsidered the greatest of the Norwegian composers. We will now listen to“Morning” from the Peer Gynt Suite No. 1.


Day 1:This week’s feature composer is Aaron Copland. This week’s feature compositionis titled “Hoe-Down” from the ballet Rodeo.

Aaron Copland was an American composer who was very successful writingballets based on American themes. Rodeo is the story of an awkward cowgirl whotransforms herself into a graceful, charming young lady and finally meets heryoung man. Aaron Copland wrote the music for Rodeo in 1942. He used popularregional songs throughout the work and captured the spaciousness and grandeurof life in the American west.

Day 2:This week’s feature composer is Aaron Copland. This week’s feature compositionis titled “Hoe-Down” from the ballet Rodeo.

This ballet captured the spaciousness and grandeur of American life. It was alsoin this ballet that the choreographer, Agnes Demille, first introduced modern dancesteps. When listening to today’s selection, can you imagine how one might danceto this type of music?

Day 3:This week’s feature composition is titled “Hoe-Down” from the ballet Rodeo. Thisweek’s feature composer is Aaron Copland.

“Hoe-Down” is a vigorous piece that makes one think of a busy Saturday night faraway from the big city. Both the melodies and rhythms rush along and the listeneris taken into the world of the American pioneer. You might imagine village fiddlersmaking music, people square dancing and children merry-making. It is a festiveand boisterous piece of music. We will now listen to “Hoe-Down” from the balletRodeo.

Day 4:

Composer: Aaron Copland (1900 - 1990)Composition: Rodeo, “Hoe-Down”Performance: Atlanta Symphony Orchestra, LaneRecording: Telarc Sample Volume 1, Telarc 80001

Non-Directed Music Listening Program Script Series IIThis week’s feature composer is Aaron Copland. This week’s composition is“Hoe-Down”, from the ballet Rodeo.

Aaron Copland was born in Brooklyn in 1900 and studied music in New York andFrance. When he returned to the United States, Copland made a decision not toignore the wishes of the American public and the sounds of the new contemporarymusic. Copland continued to write music and incorporated his new awareness.When he died in 1990, he was considered one of America’s most outstandingcomposers, having contributed much to American music.

Day 5:This week’s feature composer is Aaron Copland. We will be listening to hiscomposition “Hoe-Down” from the ballet Rodeo.

The music from this ballet is energetic and lively. Copland is known for his abilityto capture the feeling of the American spirit and for instilling it in his music. As youwill remember, the story of Rodeo is about an awkward cowgirl who transformsherself into a graceful, charming young lady and meets her young man. Coplanduses popular regional songs to evoke the grand scene of America’s pioneer west.


Day 1:This week’s featured composition is the Toccata and Fugue in D by JohannSebastian Bach.

Johann Sebastian Bach is probably the most well-known composer who everlived. He wrote hundreds of pieces of music in his lifetime. When Bach was alive,musicians made their living employed either by a wealthy family – as anentertainer for the family and their friends – or by the church as an organist orchoir master. Bach made a living in both ways and in each case he wrote orarranged all the music for all the social functions and church services each week.He also wrote all the music for the music lessons of his own twenty children. Hemust have been a very busy man! The Toccata and Fugue in D was composed byBach when he was approximately 24 years old. At that time he was in the serviceof the church. As you listen, try to imagine a huge cathedral with a massive organand the sounds of Toccata and Fugue in D reverberating in your ears.

Composer: Johann Sebastian Bach (1685 – 1750)Composition: Toccata and Fugue in DPerformance: First Congregational Church, Paul Murray (organ)Recording: Telarc Sampler Volume 1, Telarc 80001

Non-Directed Music Listening Program Script Series IIDay 2:The Toccata and Fugue in D was composed by Johann Sebastian Bach in 1709,when he was only 24 years old.

Bach always loved music. Orphaned at ten, he lived with his brother who taughthim to play many keyboard instruments. In his first official job, Bach served as anorganist and chief violinist to the Duke of Weimar. In his late teens, Bach oncewalked two hundred miles just to hear a famous organist play a concert, providingevidence that, despite his own greatness, he was always desirous of learningmore. During the late 1600’s, organs were operated by two people. One personhad to pump a constant supply of air into the organ’s bellows and the other had toplay the keys and pedals. If you have ever seen a set of bagpipes, you’llunderstand the principle of how sound is produced on a pipe organ. Air is blowninto a sack (or bellow) which is then squeezed by the piper and the air is forcedinto the pipes which create sound. It must have been hard work cranking thehandle of the organ to ensure a steady air supply reaching the pipes. It must havebeen almost as physically difficult to play all of the notes on two or threekeyboards (or manuals) plus operate the pedals for those deep, thundering bassnotes.

Day 3:Today’s featured listening excerpt was written by Johann Sebastian Bach. Bachwrote the Toccata and Fugue in D in 1709.

In Bach’s day, the pipe organ had to be operated by two people: one to pump theair into the pipes and the other to operate the instruments itself. The BaroqueOrgan had two or three keyboards (called manuals) and a long set of pedalsdesigned for the organist to play with his feet. Now that you’ve heard the Toccataand Fugue in D, did you notice when the pedals were being played? In thisparticular piece it’s quite easy to hear the rumbling sound of the pedal notes in thevery beginning. It is especially evident when the organist holds that very longnote, above which you hear the six notes of a chord falling one-by-one and beingheld momentarily. One almost expects a horror movie to follow – not a fugue.Listen today to see if you can tell when the pedals are being played.

Non-Directed Music Listening Program Script Series IIDay 4:Johann Sebastian Bach wrote Toccata and Fugue in D early in his musical career.

The words “toccata and fugue” are very common terms in Baroque music. Atoccata is a “touch” or “display” piece in which the performer gets to show off hisability to play very rapidly and dramatically. The word fugue means to flee orliterally “flight”. This is the part where the notes sound like they’re running awayfrom each other and often in opposite directions. Bach follows a pattern or form inthe Toccata and Fugue in D. It is composed in five parts as follows: toccata,fugue, toccata, fugue, and toccata. See if you can hear the five times that Bachswitches between the toccata and fugue styles. Remember it starts out with thetoccata or “display” portion of the piece.

Day 5:This week’s listening excerpt is Johann Sebastian Bach’s organ piece, Toccataand Fugue in D.

The Toccata and Fugue in D is composed in five sections alternating betweentoccata and fugue styles. Were you able to hear the difference between them?Were you also able to pick out the sounds of the pedal notes? Today’s organs arequite different to the one for which Bach would have composed the Toccata andFugue in D. Most contemporary organs are powered by electricity, thuseliminating the need for bellows and pipes. Electronic organs still have manualsand pedals but are easier to play and easier to install. Many churches still retainthe pipe organ and in some cathedrals, these organs have as many as seven oreight keyboards, one on top of the other, for the organist to manipulate. Listen andenjoy the immensity of sound from the pipe organ playing J.S. Bach’s Toccata andFugue in D.


Day 1:This week’s listening selection is the “Prelude to Act III” from the operaLohengrin, written by Richard Wagner.

Earlier this year we listened to the Russian and Ludmilla Overture by MikhailGlinka. At that time we discovered that in preludes or overtures to operas,composers generally introduce thematic melodies that will be heard throughout therest of the opera. The “Prelude to Act III” form Lohengrin is unusual in that itcontains no material from any other part of the opera. It is music written strictly totell of the wedding festivities of Lohengrin and his new bride, Elsa. Can you seethe knights and ladies of the court preparing for the feast? Tomorrow we’ll beginto unravel the tale of Lohengrin.

Day 2:Today we will be listening to the “Prelude to Act III” from Richard Wagner’s opera,Lohengrin.

In the movie Indiana Jones and the Last Crusade, you will recall that Indy islooking for the Holy Grail the cup of Christ. It just so happens that Lohengrin isone of the sons of Parsifal, the man King Arthur named as Guardian of the Grail.As Parsifal’s youngest son, Lohengrin is assigned to guard the Grail. As the storygoes, Lohengrin is sent to defend a woman’s innocence after she has been falselyaccused of murdering her brother, Gottfried. Lohengrin arrives on the scene in aboat pulled by a magnificent white swan. He tells Elsa, the accused murderer, thathe will defend her if she promises to marry him but promises never to ask hisname or where he came from. She agrees and Lohengrin is successful indefending her. The “Prelude to Act III” is the music which announces andcelebrates their forthcoming marriage.

Composer: Richard Wagner (1813 - 1882)Composition: Lohengrin, “Prelude to Act III”Performance: New York Philharmonic Orchestra, Giussepi SinopoliRecording: Essential Classics, Deutsche Grammophon 431 541-2

Non-Directed Music Listening Program Script Series IIDay 3:The “Prelude to Act III” from the opera Lohengrin composed by Richard Wagner isthis week’s featured musical excerpt.

You will recall that Elsa promised Lohengrin she would never ask his name or hisorigin. Well, the evil sorceress Orfrud, who originally cast the spell on Gottfriedwhich turned him into a swan and resulted in Elsa being accused of his murder,tells Elsa she should break her promise. Of course, Elsa is tempted to know hisname and where he comes from so she questions Lohengrin. Lohengrin, insorrow, agrees to reveal his secret but the rule is, he must then return toMontsalvat, the holy mountain of the Grail. You can understand now why thejoyous melodies of the prelude are not repeated again in the opera Lohengrin.

Day 4:In the late 1860’s, Richard Wagner wrote an opera based on the ancient story ofLohengrin. Today we will again listen to the “Prelude to Act III”.

Lohengrin is forced to leave Elsa but as he is returning to the boat in which hearrived, he falls to his knees and prays. Immediately the beautiful white swan thatpulled his vessel is turned back into Elsa’s brother, Gottfried. It is a tragic storyand contrasts strongly with the music we’ve been hearing, heralding Lohengrinand Elsa’s marriage. Today, return in your mind to this joyous scene. Can youhear in the opening theme where the cellos, bassoons and horns announce thestately arrival of the knights? This noble music is followed by a quiet, gracefulmelody preceding the entrance of Elsa and her ladies-in-waiting. Listen to see ifyou can hear when the two parties arrive.

Day 5:The “Prelude to Act III” by Richard Wagner is this week’s featured listeningselection.

Even though the melodies from the prelude are not repeated at any other timeduring the opera, they set a definite mood. The marriage festival is by far the mostglorious moment in this tragic love story. The music is more than joyous, it isexciting and dramatic and compels the audience to listen further. In this sense,the prelude prepares you for what is to come in the third and final act of Lohengrin.Try to envision Lohengrin and Elsa at this blissful moment but remember that youhave an advantage because you know this happiness will soon be shattered asthe drama continues.


Day 1:This week’s feature composer is Anton Dvorak and this week’s featurecomposition is the Largo movement from Symphony No. 9.

Anton Dvorak was born in Czechoslovakia in 1841. He spent some time in theUnited States where he composed Symphony No. 9 which he titled, “From theNew World”. Dvorak used thematic materials in the style of American folk tunesas he tried to express, through his music, the feelings he had for the UnitedStates. Dvorak was impressed by the “vastness and energy” of such a youngcountry and at the same time he expressed his longing for his own homeland.

Day 2:This week’s feature composer is Anton Dvorak and this week’s featurecomposition is the Largo movement from Symphony No. 9.

Do you remember the title that Dvorak used for this symphony? He titled it “Fromthe New World” because it reflected his impressions of his new home, the UnitedStates. As it turned out, Dvorak became very famous while living in the UnitedStates, but he missed his homeland so much that, after three years, he returned.We will now listen to the Largo movement from the “New World Symphony”.

Day 3:This week’s feature composer is Anton Dvorak. This week’s feature compositionis the Largo movement from the New World Symphony No. 9.

Largo is a musical term which means the piece is to be performed at a very slowtempo. As the movement begins, Dvorak introduces a beautiful melody whichsounds like a folk song. Listen for this singable melody being played by theEnglish horn.

Composer: Anton Dvorak (1841 – 1904)Composition: Symphony No. 9 “New World” - LargoPerformance: Vienna Philharmonic Orchestra, Lorin MaazelRecording: Essential Classics, Deutsche Grammophon 431 541-2


Day 4:This week’s feature composition is the Largo movement from Symphony No. 9,“From the New World”. The composer of this symphony is Anton Dvorak.

Do you remember the instrument Dvorak used to sound the opening melody?Dvorak had the English horn play the beautiful, singable melody, not only at thebeginning of the Largo movement, but at the end as well.

Day 5:This week’s feature composer is Anton Dvorak and the feature composition is theLargo movement from his Symphony No. 9, “From the New World”.

Dvorak wrote this symphony using materials in the style of American folk songs.Dvorak traveled throughout the United States and was impressed by the music ofthe American Indians and the Black people. The Largo movement of the NewWorld Symphony particularly reflects his love for the Black melodies.

non-directed music listening program - burnaby schools · 2016-04-01 · non-directed music...

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