primary study guide draft.indd

The Toronto Symphony Orchestra’s Student Concertsare generously supported by Mrs. Gert Wharton and an

anonymous donor.

The Toronto Symphony Orchestra gratefully acknowledges Robin Malach for preparing the lesson plans for the Intermediate/Senior Student Concert Study Guide.

TheTSO PresentsAlligator Pie

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Table of Contents

Table of Contents

1) Concert Overview & Repertoire Page 3

2) Composer Biographies and Program Notes Page 4 - 9 3) Unit Overview & Lesson Plans Page 10 - 25

4) Artist Biographies 6- 28 5) Musical Terms Glossary Page 29- 30 6) Instruments in the Orchestra Page 31 - 39 7) Orchestra Seating Chart Page 40 8) Musicians of the TSO Page 41

9) Concert Preparation Page 42 10) Evaluation Forms (teacher and student) Page 43 - 44

The Toronto Symphony Orchestra wishes to thank its generous sponsors:

SEASON PRESENTING SPONSOR OFFICIAL AIRLINE SEASON PATRON

THE RENETTE AND DAVID BERMAN FAMILY FOUNDATION

Primary Level: Suitable for students in grades K-4

Earl Lee, RBC Resident ConductorCarla Huhtanen, soprano

Dennis Lee, poetKevin Frank, host

The Orchestra is ecstatic to bring to music selections from the beloved children’s poetry collection Alligator Pie by Toronto poet Dennis Lee. Composed by Abigail

Richardson (The Hockey Sweater), the familiar lines of this work will spring off the page and on to the concert stage, igniting delight in poetry and music lovers alike.

ALLIGATOR PIE IS A TSO CO-COMMISSION

Program to include excerpts from*:Abigail Richardson-Schulte Alligator Pie Debussy Clair de Lune from Suite bergamesqueRimsky-Korsakov “Flight of the Bumblebee” from The Tale of the Tsar SaltanMussorgsky (arr. Rimsky-Korsakov) Night on Bald Mountain (re-orchestrated. Adam Johnson)

*Program subject to change

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The TSO has created a free podcast to help you prepare your students for the Alligator Pie. Student Concerts. This podcast includes excerpts from pieces featured on the program, as well as information about the instruments featured in each selection. It is intended for use either in the classroom, or to be

assigned as homework.

To download the TSO Primary Level Student Concert podcast please visit https://www.tso.ca/education/teacher-resources, and follow the links to Primary.

The TSO PresentsAlligator Pie

Composer Biographies and Programme Notes

Biography

The piece of music, Alligator Pie for soprano and orchestra, came about after I wrote The Hockey Sweater for narrator and orchestra based on Roch Carrier’s famous Canadian story about himself as a young hockey player in Quebec getting a Toronto Maple Leafs jersey by mistake. It was a huge success and had almost 40 performances across Canada in three seasons (which is pretty good in the orchestra world!). A year after The Hockey Sweater premiered, the Calgary Philharmonic Orchestra asked me if I would write another work based off children’s literature and I decided on a real classic – Dennis Lee’s Alligator Pie. I also decided that I would use a soprano to sing the poetry, rather than a narrator to read it. This way I would really have the opportunity of creating a song for each poem, each with its own character and distinctive combination of instruments. Once this decision was made, we asked Dennis Lee. Luckily he said yes, but on one condition: he told me that I would need to make the music very friendly for kids - something I already had some experience with. I promised I would. Once we got per-mission, Calgary asked the TSO if they would like to join in. They said yes! Now, Alligator Pie will be performed for thousands of kids at Roy Thomson Hall in Toronto. I look forward to seeing you there!

How Alligator Pie for soprano and orchestra was born

Abigail Richardson-Schulte Life: Born 1976Nationality: CanadianPiece to Study: Alligator Pie

Composer Abigail Richardson-Schulte was born in Oxford, England, and moved to Canada as a child. Ironically, she was diagnosed incurably deaf at 5. Upon moving to Canada, however, her hearing was fully intact within months. Her music has been commissioned and performed by major orchestras, presenters, music festi-vals and broadcasters including the Festival Présences of Paris. Abigail won first at the prestigious UNESCO International Rostrum of Composers which resulted with broadcasts in 35 countries. She won the Karen Kieser Prize (CBC) and the Dora Mavor Moore Award for “Best New Opera”. Abigail was Affiliate Composer with the Toronto Symphony Orchestra from 2006-9 and

currently works as Events Curator on the TSO’s New Creations Festival.

She wrote the very popular music for the classic Canadian story, The Hockey Sweater by Roch Carrier, in the country’s first triple co-commission by the TSO, National Arts Centre Orchestra, and the Calgary Phil-harmonic Orchestra. Already within its first three seasons, this work has been seen by nearly sixty thou-sand audience members and been performed by most orchestras across Canada. Recent projects include a complete children’s orchestra concert commissioned by the CPO and TSO using Dennis Lee’s Alligator Pie. Abigail has been Composer in Residence with the Hamilton Philharmonic Orchestra since 2012 and serves as Artistic Director of the HPO’s What Next Festival.

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Here’s what the composer had to say about her work!


Alligator Pie: Everybody knows this poem for its very distinctive rhythm. I used the natural rhythm of the words. In fact, you could say “Alligator” over and over again throughout this piece and fit right in (Alliga-tor across a 6/8 measure). I sometimes use some “word painting” in these songs. That’s when a composer tries to show what the word means through music. Listen for the word “droop” and you will get the idea. Also, the soprano gets very embarrassed at the end of this opening song when she accidentally uses a word that rhymes with “soup”. Oops! She has to redo the ending to get it right.

On Tuesdays I Polish My Uncle: Read this poem through and see how each of the lines get longer and lon-ger. That’s exactly what I did in the music! The melody keeps getting longer. At the end of this piece, the host of the show jumps in to rap accompanied by the drum kit.

Rattlesnake Skipping Song: Now is your chance to join in and “ss” like a rattlesnake. Make sure you listen for the rattle in the orchestra, played in the percussion section right at the back of the stage. At the very end of the piece, the whole orchestra is “let loose” to improvise (which means to play whatever they want to!).

Skyscraper: I wrote very dreamy music to go with this dreamy poem. We look up into the sky and imagine what it’s like up there. The soprano looks for stars high up in the sky. This music sparkles and glistens with harp and glockenspiel (a glittery bell like percussion instrument that looks like a keyboard in a wood-en box – it sounds 2 octaves higher than the music on the page).

Billy Batter: In this poem, Billy Batter is asked what’s wrong. After he tells us what happened, listen for the dragon and monster in the music. It’s a low melody played by the lowest instruments of the orchestra – cello, bass, bassoon, trombone, and timpani. It sounds pretty scary to me.

Ookpik: Now we don’t actually know what an Ookpik is when we start this poem. For that reason, the music starts out a bit mysterious and even sounds a little bit scary with the string players playing as high as they can. We learn that an Ookpik lives in an igloo, which makes the icy opening of the piece make sense. Then we learn that the Ookpik can dance and the music starts dancing. We return to the icy opening though, as the Ookpik goes back to sleep in the igloo.

Lying on Things: We stay with the theme of winter and make some snow angels after a snowfall. Listen for the snow gently falling from high in the sky with very high string and woodwind (flutes, oboes, clarinets) falling lines. Listen for the word painting on “wings” with fluttering in the music.

The Sitter and the Butter and the Better Batter Fritter: This is a tongue twister through and through. The music is so hard and fast for the soprano that she barely has time to breathe, but she makes it through all the way to the end. When she’s finished, she tells the conductor it is the orchestra’s turn to do something really hard.


You Too Lie Down: After such a busy time, the soprano decides to sing a song about getting some rest. She sings of the animals going to their beds, the sun going down, and the earth breathing. Listen for the word painting as the earth breathes – the brass players are blowing air through their instruments as the “exhale”, while the “inhale” is played by low flutes and clarinets. At the end, the soprano ends up falling asleep her-self. The orchestra plays her a lullaby.

Alligator Pie: Here is the first song repeated again. Hopefully you remember a little of what it sounds like from listening once before. Now is your chance to shout out some words from the poem. The host will show you when to shout! Make sure you come knowing the words to this poem.

Mumbo Jumbo: Here is the shortest poem of all. The soprano sits on the conductor’s podium singing to herself without the orchestra. Since she seems to be bored, the host gives her a teddy bear to play with. His name is Mister Mole.

Flying Out of Holes: She has an imaginary conversation with Mister Mole and gets quite upset when he doesn’t answer. I think you will be able to hear the anger in the music. She changes her mood (which you will hear in the music) and uses her imagination to fly away.

I Found a Silver Dollar: Since it didn’t go so well with Mister Mole, the host gives her a silver dollar to play with. She makes up a song about finding the silver dollar but asks everyone to sing it with her. See if you can learn this poem before you come to the concert. She will teach it to you but it might help if you know it a little beforehand. Listen to her – she will sing you the directions.

Tricking: We all know what it’s like to eat food we don’t like. Listen for the word painting on “sit very straight” and “quietly” compared to “YUCK”. That’s not hard to imagine. The first part is quiet and extremely straight (like a march) while the YUCK breaks out loudly in the orchestra. Composers love to use dynamics (louds and softs). As well, listen for word painting with the word “roar”. I ask the trombone and timpani to slide downwards with a big roar.

Bundle Buggy Boogie: We end the show with a real boogie-woogie. About 150 years ago, many people worked in logging camps in the USA. They usually got around from camp to camp on the railroad. Most of these work trains had a railcar with a piano in it, and all of the camps had a piano of course. People played and danced to this familiar pattern that you’ve probably heard before. The left hand of the piano had the pattern (repeated G –G –Bb -Bnatural - which I gave to the low strings) while the right hand impro-vised over top (woodwinds and violins). This became one of the many styles of jazz. See if you can hear the train whistle in the woodwinds. Dennis Lee himself will be shouting out the place names in this piece. We end the show with a party, that’s for sure. This is music to dance to!

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Here’s what the composer had to say about her work, continued

Claude Debussy Life: 1862-1918Nationality: FrenchPiece to Study: Claire de Lune from Suite bergamesque

Claire de lune is the third movement from Debussy’s Suite bergamesque. Originally composed for piano is it one of Debussy’s most popular pieces and has been arranged for orchestra and many other instruments. Bergamesque refers to an old dance from Bergamo, Italy. It is great example of Debussy’s unique musical style with delicate fl oating harmonies and dream-like melodies. Try to imagine the mysterious and silvery moonlight when you’re listening to this movement. What do you imagine when you listen to this piece? What does it make you feel like?

Biography

About Claire de Lune from Suite bergamesque


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Compare/Contrast Arrangements on Youtube!

1) Original Piano https://www.youtube.com/watch?v=-ip64cG7gK42) Orchestral https://www.youtube.com/watch?v=BubaEmJg4so

Did you know?The style of impressionism can also be found in visual arts. There are several artists such as Monet, Renoir and Degas who are considered central fi gures in the

impressionism art movement.

Claude Debussy was born on August 22, 1862 in St. Germain-En-Laye, France. He started studying music at a very early age and by age 10 he began studying piano and composition at the Paris Con-servatory. During his studies, he decided on a career as a composer rather than a pianist, and went on to win the Grand Prix de Rome in 1884 for his composition L’Enfant prodigue. Debussy’s musical style was often described as “impressionism” (a term Debussy disliked!). In his music, he liked to use dissonant chords, chromaticism, non-traditional harmonies and scales, and a lot of pedal in his piano music. His music helps create unique atmospheres, moods and emotions rather than telling a specifi c story. Debussy composed a great deal of music for piano and for voice as well as the orchestra, ballet and individual instruments.

Impression, Sunrise by Monet

Nikolai Rimsky-Korsakov

Biography


“Flight of the Bumblebee” from Tale of the Tsar SaltanRimsky-Korsakov chose the violin to represent the bumblebee in his composition. He selected the violin because of its high pitch and the ability of the violinist to play a lot of notes very quickly. This helps to give the audience the impression of the tiny, busy insect in fl ight.

Nikolai Andreyevich Rimsky-Korsakov was born in a Tikhivin, small town in Russia just east of St. Petersburg. Rimsky-Korsakov showed promise on the piano from a very young age; however, when he was only twelve years old he enrolled in the Naval Academy in St. Petersburg. While he was completing his studies, Rimsky-Korsakov continued to take piano lessons, and later, composition lessons. It was through his teacher that he met the composer Mily Balakirev, and joined a group of young composers who later became known as “The Five”. “The Five” were a group of Russian composers who stressed their national heritage in their music. Rimsky-Korsakov was known as one of the greatest music theorists alive and taught many famous Russian composers, including Igor Stravinsky and Ser-gei Prokofi ev.

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Life: 1844 - 1908 Nationality: RussianPiece to Study: “Flight of the Bumblebee” from Tale of the Tsar Saltan

Did you know?You can hear “Flight of the Bumblebee” in the computer game The Sims, as well as in the movie Snow Dogs and the TV show

Ned’s Declassifi ed School Survival Guide?


1) Russian National Orchestra - https://www.youtube.com/watch?v=MW8asBxO4oI2) Canadian Brass - https://www.youtube.com/watch?v=xZO5KTJTwhE

Listen For:•The frantic sixteenth-notes that represent the bumblebee are passed from the violins to many other instruments in the orchestra, giving the listener the sense that they are surrounded by a swarm of bees. •Rimsky-Korsakov uses semi-tones in the sixteenth-notes to evoke the wavering sound of bee in fl ight.

Modest Mussorgsky Life: 1839-1881Nationality: RussianPiece to Study: Night on Bald Mountain

Biography

About Night on Bald Mountain

Mussorgsky was born in the Russian village of Karevo to a noble landowner family. He began taking piano lessons with his mother when he was 6 years old.At age 13, he continued the family tradition of military service by enrolling in the Cadet School of the Guards and later went on to join the army. While in the army, he began studying music with Russian composer Mily Balakirev. Mus-sorgsky soon decided to resign from the army and dedicated his life to music. He was also a part of a group of fi ve Russian composers, known as “The Five”, who united to create music that was distinctly Russian. He is most well known for his orchestral work Night on Bald Mountain and Pictures at an Exhibition, a collection of piano pieces depicting a set of 10 paintings.



1) Mussorgsky’s original piece: https://www.youtube.com/watch?v=zR2P-5J-2MA2) Rimsky-Korsakov’s arrangement: https://www.youtube.com/watch?v=UdVI4DyclnA

Did you know?You might have already heard an arrangement of this piece in

Disney’s animated fi lm Fantasia! Check out a spooky clip from the movie here: https://www.youtube.com/watch?v=30oxAdib5L4

One of his most well known orchestral works, Night on Bald Mountain was inspired by a spooky Russian short story. Mussorgsky decided to make witches the main theme of his piece and fi nished writing it in 1867. Although he was very proud of his piece, his musical mentor Balakirev refused to perform it. It was actually never performed during Mussorgsky’s lifetime! It fi rst became popular after his friend, composer Rimsky-Korsakov (see page 8), made a new arrangement and published it 5 years after Mussorgsky’s death in 1886. You’ll be hearing Rimsky-Korsakov’s arrangement of the piece today! Fast triplets in the violins, trills and glissandos in the woodwinds, trumpet fanfares and stormy percussion help create an eerie supernatural at-mosphere. Can you picture all the witches and supernatural creatures while listening to this piece?

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Unit Overview and Lesson PlansLesson 1: Rhythm versus beat

Ontario Curriculum Expectations (Overall, Grades 1-3):1. Creating and Performing: apply the creative process… to create and perform music for a variety of purposes, using the elements and techniques of music2. Reflecting, Responding, and Analysing: apply the critical analysis process… to communicate their feelings, ideas, and understandings in response to a variety of music and musical experiences3. Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of musical genres and styles from the past and present, and their social and/or community contexts.

Focus: • Keeping the beat to a poem/chant • Identify the difference between rhythm and beat

Learning Goal: • Students will be able to keep the beat while rhythmically reading a poem

Prior Knowledge: • Students should be familiar with the poem of choice • Students should have kept the beat to other songs/pieces

Grouping Lesson Strategies Materials

Whole class Minds On Pick a poem from Alligator Pie. Practice read-ing the poem. Once students are able to read in unison, start tapping the beat and encourage students to join in.

Explain that this is the beat of the poem. All music has a beat, just like you have a heart-beat. Post definition

Alligator Pie by Dennis LeePoem of choice written out

Optional: sticks or drums to tap the beat

Beat definition

Whole class/Partner Share

Action Ask students to keep the beat to the poem while silently saying the poem in their heads. Explain that you are going to clap something else and they are to try to figure out what you’re clapping.

While students tap the beat, you clap the rhythm of the poem. Afterwards, have students think-pair-share – what were you clapping? (rhythm – the words)

Discuss and post rhythm definition

Rhythm definition

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Unit Overview and Lesson PlansRhythm versus beat, continued

Whole Class

Groups of 4

Try clapping the rhythm as a class.

Split the class in half, half the class can try keeping the beat, half the rhythm.

Divide students into groups of 4. Have 2 stu-dents keep the beat, 2 clap the rhythm. They should try this while saying the poem, and for a challenge, while silently mouthing it.

Challenge (for older students or those who are able to achieve the above quickly):Each student should try to tap the beat with their feet and clap the rhythm at the same time.

Groups of 4/Whole Class

Consolidation Have students perform the poem with half of the group keeping the beat, half keeping the rhythm.

Discuss the challenges.

Have students fill out or verbally respond to one of the Exit Ticket questions: What is beat? What is Rhythm? on their way out.

Exit Ticket

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Unit Overview and Lesson Plans

Lesson 2: Poetry is Music

Ontario Curriculum Expectations (Overall, Grades 1-3):1. Creating and Performing: apply the creative process… to create and perform music for a variety of purposes, using the elements and techniques of music2. Reflecting, Responding, and Analysing: apply the critical analysis process… to communicate their feelings, ideas, and understandings in response to a variety of music and musical experiences

Elements of Music Focus: • Duration (specifically tempo) – fast or slow • Dynamics – loud or soft (quiet) • Pitch – varying the pitch while reciting the poem

Learning Goals: • Students will create and perform their own musical variation to work towards a perfor-mance of the chosen poem.

Prior Knowledge: • Students should be familiar with the chosen poem (you could use the poem from Lesson 1 or another from ). • It would be helpful if students had some exposure to Dynamics (loud vs soft), Tempo (fast vs slow), and Pitch (high vs lower sounds)


Small Groups

Whole Class

Minds On In small groups, as students to read the selected poem using the Element of Music card they ran-domly select. Give students 5 minutes to rehearse and then per-form for the class. As each group performs, sort their card under the correct Element.

Review that music can have different Dynamics – (volume) loud or soft, Tempo – (speed) fast or slow, and Pitch – high like a mouse or low like an elephant.

Element Cards

Elements of Music Labels

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Unit Overview and Lesson PlansPoetry is Music, continued

Small Groups ActionAssign each group 1 or 2 lines of the poem. Explain that in their group, they must decide on the Dynamics (volume), Tempo (speed), and Pitch (high or low).

You may wish to introduce more choices to older students (crescendo, more tempo choices, etc).

Create Success Criteria together so students know what’s expected of them. Example:- Pick and use Dynamics (2 changes for older students)- Pick and use Tempo - Use 2 different pitches (high and low – plus middle for older students)

Students are to work in groups to make choices and rehearse their 2 lines. Circulate to give feedback and assess.

Chosen poem typed or writ-ten out and cut into lines to

give students

Assessment Checklist

Whole Class Consolidation - Performance!Have students perform their lines one group at a time. Have the audience give feedback, encouraging students to use Elements of Music vocabulary. At the very end, perform the whole poem as a whole, with each group going after another.


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Lesson 3: Poetry is Music II

Ontario Curriculum Expectations (Overall, Grades 1-3):1. Creating and Performing: apply the creative process… to create and perform music for a variety of purposes, using the elements and techniques of music2. Reflecting, Responding, and Analysing: apply the critical analysis process… to communicate their feelings, ideas, and understandings in response to a variety of music and musical experiences

Elements of Music Focus: • Duration (specifically tempo) – fast or slow • Dynamics – loud or soft (quiet) • Pitch – varying the pitch while reciting the poem • Timbre – singing voice versus talking voice

Learning Goals: • Students will add pitch to their arrangements to work towards a performance of the

chosen poem


Whole Class Minds On Explain that another way to make a poem musical is to use your singing voice instead of your talking voice.

Have students repeat: “This is my talking voice” (spoken) and “This is my singing voice” (sing on one note).

Introduce two notes that will be the higher and lower notes for the activity (Pitch). G (higher)and E (lower) (so/mi) would work, however this could vary depending on what instruments or technology you have available.

For older primary students or those more expe-rienced with pitch, you can use 3 notes (so, mi, do) as a high, medium, low pitch. This could be G, E, C.

Show and sing students the example from Alligator Pie using so and mi.

There are different examples included depend-ing on the language your students are ready to use (high/low, so/mi, G/E).

Poem used in previous lesson

Example 2 pitch Alligator Pie

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Poetry is Music II, continued

Small Groups ActionIn their groups from the previous lesson, have students add on to their performance piece. Where students wrote High’ have them use the higher note. ‘Low’ = the lower note.

Add to Success Criteria together so students know what’s expected of them. Example:- Pick and use Dynamics (2 changes for older students)- Pick and use Tempo - Use 2 different pitches (E and G)

Students are to work in groups to make choices and rehearse their 2 lines. Circulate to give feedback and assess. Encourage change from last time.

Chosen poem typed or writ-ten out and cut into lines to give students from previous

lesson

Instruments or technology for students to experiment and

rehearse with. 2 Boomwack-ers, a xylophone (take off

other notes), online keyboard, etc...


Whole Class Consolidation - Performance!Have students perform their lines one group at a time. Have the audience give feedback, encouraging students to use Elements of Music vocabulary.

At the very end, perform the whole poem together, with each group going after another. You may also wish to have each group teach their lines to the rest of the class so you have a whole song that could be used as a performance piece.


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BEAT:

Steady pulse of a song, like a

heartbeat

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RHYTHM:

The way the words go.

A pattern of long and short sounds

and silences.

Exit TicketName: _______________________

What is rhythm? _____________________________________________________________________________________________________________________Exit TicketName: _______________________

What is rhythm? _____________________________________________________________________________________________________________________Exit TicketName: _______________________

What is rhythm? _____________________________________________________________________________________________________________________ 18

Exit TicketName: _______________________

What is beat? _______________________________________________________________________________________________________________________Exit TicketName: _______________________

What is beat? _______________________________________________________________________________________________________________________Exit TicketName: _______________________

What is beat? _______________________________________________________________________________________________________________________ 19

LOUD (forte)

QUIET (piano)

FAST SLOW

HIGH LOW

Lesson 2: Element Cards

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Dynamics

volume

Tempo

speed

Pitch

high or low

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Student Participates in group planning,

decisions

Apply chosen Tempo

accurately*

Apply chosen Dynamic accurately

Apply chosen Pitch accurately

Lesson 2/3: Assessment Checklist

*For each of Tempo, Dynamics, Pitch: look that student performance/rehearsal matches the choice the group has made. For example, if students decide the first 5 words will be loud (forte), a student will demonstrate applying this accurately by reading those words using a louder volume.

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Example: 2 Pitch Alligator PieH = higher pitch, L = lower pitch

Alligator Pie, H H H H L

Alligator Pie,H H H H L

If I don’t get some,L H L H L

I think I’m gonna die.L L L L L H

Give away the green grass,H H H H L L

Give away the sky,H H H H L

But don’t give away my Alligator Pie!L L L L H H H H H H L

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Example: 2 Pitch Alligator PieS = higher pitch (so), M = lower pitch (mi)

Alligator Pie, S S S S M

Alligator Pie,S S S S M

If I don’t get some,M S M S M

I think I’m gonna die.M M M M M S

Give away the green grass,S S S S M M

Give away the sky, S S S S M

But don’t give away my Alligator Pie! M M M M S S S S S S M

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Example: 2 Pitch Alligator Pie with Note Names

Alligator Pie, H H H H LG G G G E

Alligator Pie,H H H H LG G G G E

If I don’t get some,L H L H LE G E G E

I think I’m gonna die.L L L L L HE E E E E G

Give away the green grass,H H H H L LG G G G E E

Give away the sky, H H H H L G G G G E

But don’t give away my Alligator Pie! L L L L H H H H H H L E E E E G G G G G G E

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Biographies

Toronto Symphony Orchestra Formed in 1922, the Toronto Symphony Orchestra (TSO) celebrates over nine decades of great music-making in the 2015/2016 season. Consisting of over 90 musicians, the TSO is one of the largest musical ensembles in Canada, and one of the top orchestras in the world. Led by TSO Music Director Peter Oundjian and other internationally renowned guest conductors, the TSO plays a broad range of music, performing with guest artists from all over the world. Besides performing many different concert series each year in Roy Thomson Hall, the TSO offers a variety of education programmes, which take place in schools as well as in the concert hall. Reaching over 60,000 young people annually, the TSO has one of the largest education programmes for a performing arts organization in all of North America.

In addition to Student Concerts (curriculum-based full orchestra concerts), other major programmes include the Toronto Symphony Youth Orchestra and Young People’s Concerts (a family concert series featuring dancers, actors and story-telling in a symphonic setting).

Earl Lee, RBC Resident Conductor

Korean-born Canadian musician Earl Lee was appointed the Toronto Sym-phony Orchestra’s RBC Resident Conductor in January 2015. He was the recipient of the 2013 Felix Mendelssohn Bartholdy Scholarship to study with Kurt Masur in Leipzig, and was also awarded a 2013 Ansbacher Fellowship for Young Conductors by the American Austrian Foundation. In February 2014, he participated in the 5th International Conducting Masterclass with David Zinman and the Tonhalle Orchestra Zurich. Mr. Lee’s most recent conducting appearances include leading the Manhattan School of Music Chamber Sinfonia at The Kennedy Center, as well as with the Leipziger Symphonieorchester, and the Riverside Orchestra at New York’s Trinity School. He is a passionate promoter of new music and has led premières of numerous works by contemporary composers.

An accomplished cellist, Mr. Lee was a former member of the Toronto Symphony Youth Orchestra. He has since performed at many prestigious festivals including Marlboro, Ravinia’s Steans Institute, Music from Angel Fire, and Caramoor. He has also appeared with the Sejong Soloists and is currently an active member of the East Coast Chamber Orchestra (ECCO). Previously, he toured throughout the US as a member of the Koryo Quartet, as well as with Musicians from Marlboro. A graduate of the Curtis Institute of Music and The Juilliard School with degrees in cello performance, Earl began his conducting studies in 2010 with Ignat Solzhenitsyn. He went on to study with George Manahan at the Manhattan School of Music, from where he recently graduated, as well as with Hugh Wol” at the New England Con-servatory of Music.

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Abigail Richardson-Schulte, composer

Biographies

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Composer Abigail Richardson-Schulte was born in Oxford, England, and moved to Canada as a child. Ironically, she was diag-nosed incurably deaf at 5. Upon moving to Canada, however, her hearing was fully intact within months. Her music has been commis-sioned and performed by major orchestras, presenters, music festivals and broadcast-ers including the Festival Présences of Paris. After receiving her Doctorate of Music from the University of Toronto, Abigail won first at the prestigious UNESCO International Rostrum of Composers which resulted with broadcasts in 35 countries. She won the Kar-en Kieser Prize (CBC) and the Dora Mavor Moore Award for “Best New Opera”. Abigail

was Affiliate Composer with the Toronto Symphony Orchestra from 2006-9 and currently works as Events Curator on the TSO’s New Creations Festival. She wrote the very popular music for the classic Canadian story, The Hockey Sweater by Roch Carrier, in the country’s first triple co-commission by the TSO, National Arts Centre Orchestra, and the Calgary Philharmonic Orchestra. Already within its first three seasons, this work has been seen by nearly sixty thousand audience members and been performed by most orchestras across Canada. In 2014, Abigail wrote a WWI memorial piece, Song of the Poets based on poetry from WWI soldiers, for choir and orchestra as part of the NAC’s UK tour. The work was co-commissioned by NAC, The World Remem-bers, CPO, and TBSO and was performed across the UK and Canada. Recent projects include a com-plete children’s orchestra concert commissioned by the CPO and TSO using Dennis Lee’s Alligator Pie. Along with several chamber music commissions, she is currently writing a trumpet concerto for Michael Fedyshyn, commissioned by the Hamilton Philharmonic Orchestra and Group of 27 for performance in the 2015-16 season. Abigail teaches at the University of Toronto, is Co-Artistic Director of Chamber Music Hamilton, has been Composer in Residence with the Hamilton Philharmonic Orchestra since 2012 and serves as Artistic Director of the HPO’s What Next Festival.

Dennis Lee is Toronto’s first poet laureate, song lyricist for Fraggle Rock, and author of such beloved collections as Alligator Pie, Garbage Delight, The Ice Cream Store, Bubblegum Delicious, and Jelly Belly, as well as an acclaimed poet and editor of works for adults. An Of-ficer of the Order of Canada, he has received many hon-ours, including the Vicky Metcalf Award for his body of work. His poetry is anthologized and loved around the world. Source: http://dennislee.ca/

Dennis Lee, author of Alligator Pie

Biographies

Kevin Frank, host

Kevin has been a professional actor for 30 years. During this time, he has per-formed in over 60 television commercials and has had countless appearances on popular series television. Kevin received 4 Gemini nominations, including Best Host in a Lifestyle & Information Program for Pet Project.

He has enjoyed a creative collaboration with Scotty Watson for the ongoing project The Radio Freaks for several years. In 2014, Kevin worked with the To-ronto Symphony Orchestra narrating a wonderful Lemony Snickett story “The Composer is DEAD!” He is thrilled to asked back for the 2016 season

Kevin began his career with the Second City in Toronto, performing on the main stage at the Old Firehall. He is now Artistic Director of the Second City Training Centre and teaches/directs today’s new Improv hopefuls. He is also a Senior Corporate Facilitator for the Second City Works delivering workshops/keynote addresses to Fortune 500 companies in New York, Chicago, Los Ange-

les, Sao Paulo, Osaka and London.

When Kevin isn’t improvising he can be found behind his drum kit keeping time for Glendale One. Their 2nd CD, Live at Asylum Artists was released this June 2014 and is available on iTunes. You can check them out on Facebook

Carla Huhtanen, sopranoSoprano Carla Huhtanen is in demand internationally for her soaring, translucent voice, winning stage presence, and her diverse repertoire. She debuted in the UK as Lisetta in Garsington Op-era’s La Gazzetta (Rossini) and returned as Serpetta in Mozart’s La Finta Giardiniera. She debuted in Italy at Gran Teatro la Fenice in Gershwin’s Lady, Be Good! In France, she sang the title role of Purcell’s The Fairy Queen for Festival Mars en Baroque (Mar-seille, Tarascon, and Aix-en-Provence) and Angelica in Handel’s Orlando for Theatre Gyptis (Marseille), Festival Musique au Coeur (Antibes) and Festival de Chartres. She has been praised for her ‘vivid, fine-toned, accurately placed coloratura’ (Independent)

and her ‘clarity of tone and smoothness of line matched only by her exquisite acting’ (Opera Now).

In 2015-2016, Ms. Huhtanen will be heard in Columbus, Toronto and at Versailles in Opera Atelier’s Armide, with the Toronto Symphony in Richardson’s Alligator Pie and in Bach’s Mass in B Minor for the Grand Philharmonic Choir. Her 2014-15 season included appearances with the Art of Time Ensemble, Kitchener Waterloo Symphony, Toronto’s Talisker Players and in Persée for Opera Atelier also at Versailles, Columbus and Toronto. Past highlights include Cunegonde in Candide with the BBC Concert Orchestra at the Royal Festival Hall in London, Blonde in Entführung aus dem Serail for Edmonton Opera and Blizzard Voices for Opera Omaha.

A leading interpreter of modern and contemporary music, Carla has performed with Continuum New Music, Queen of Puddings, Tapestry New Opera, Array New Music and Soundstreams. Recording credits include Herbert’s Babes in Toyland with the London Sinfonietta, Vivaldi’s Griselda and Sacred Music Vol. 3 for Naxos Records, the Juno winning Mozart’s Magnificent Voyage and Centredisc’s The Music of James Rolfe.

Musical Terms Glossary

A cappella: music sung without instrumental accompaniment. In Italian, a cappella means “in the style of the chapel.”

Accented Beats: these are the beats in a rhythm pattern that are stronger because they are emphasized or stressed. Accented notes are indicated using a “>” symbol which goes above or below the note to indicate that that note should be stressed or accented.

Amplify: to make a sound stronger or louder. The hollow body of an instrument amplifies its sound.

Arco: to play a stringed instrument using a bow.

Bar: another name for a measure

Bar line: a vertical line on a musical staff that divides the beats into small groups or bars.

Baton: a small stick used by the conductor to beat time. A stick helps to make the motion more easily visible to the members of the orchestra.

Beat: a beat is a regular pulsation. It is a basic unit of length in musical time.

Clef: a sign at the beginning of the staff to fix the position of one note. The most common are the treble and bass clefs.

Chord: a series of notes, usually three or more, that are sung or played together to create harmony.

Col legno: Italian for “hit with the wood”, this is a bowing technique where players strike the string with the stick of the bow, rather than by drawing the hair of the bow across the strings.

Composer: a person who writes music.

Concertmaster: the leader of the first violin section who tunes the orchestra and works closely with the conductor.

Conductor: leader of the orchestra who makes decisions about how the music will be played with respect to tempo and dynamics, and keeps the musicians together during a performance.

Crescendo: gradually increasing in loudness.

Decrescendo: gradually decreasing in loudness

Double-stop: a technique on string instruments in which two notes are played simulaneously. Triple stops and quadruple stops can also be played, in which three and four (respectively) notes are played simultaneously.

Dynamics: the intensity, or loudness and softness, of music.

Embouchure: the way the mouth is held to play a woodwind or brass instrument.

Fingerboard: the strips of wood on a stringed instrument’s neck over which the strings are stretched and fingered to change the pitch.

Harmony: the sound created when two or more notes are played at the same time.

Improvise: to make up music as you go, without using scores or musical notation that is written down. Many jazz musicians incorporate improvisation into their performance.

Legato: notes played smoothly and in a connected manner, without any noticeable break or articulation between them.

Lietmotif: a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of an opera of symphonic work.

Measure: the notes and rests between two bar lines.

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Musical Terms Glossary

Melody: a sequence of musical notes that make up a tune.

Movement: a section of music which contains certain musical ideas, much like a chapter in a book.

Notes: representation of musical tones using written symbols.

Octave: the distance between one tone of a scale and the next higher or lower tone of the same pitch; for example, middle C and C above middle C are an octave apart.

Pitch: the highness or lowness of a sound.

Pizzicato: to play a stringed instrument by plucking the strings with the fingers.

Pluck: to pull up or down on a string with your finger, thumb or a pick.

Podium: the raised platform in front of the orchestra on which the conductor stands.

Reed: a thin piece of cane or other material, attached to an instrument at one end and free to vibrate at the other. Found on oboes, clarinets, saxophones and bassoons.

Resonator: the part of an instrument, usually the body, that amplifies the sound caused by vibrating strings or air column.

Rests: a pause or interval of silence between two tones.

Rhythm: patterns of sound and silence in a piece of music.

Scale: music arranged in ascending or descending pitches. The C major scale consists of the notes c,d,e,f,g,a,b,c.

Score: music in written form with all the parts set down in relation to each other.

Sound Wave: when something vibrates, or moves quickly back and forth, it causes molecules in the air to move, creating sounds that move in waves in your ear.

Spiccato: a bowing technique that uses a semi-off-the-string style to produce a light “bouncing” sound. Watching the musicians it looks like the bow is bouncing up off the string the second it makes contact. Spiccato is usually performed at the balance portion of the bow. The balance portion of the bow refers to the area of the bow where weight is distributed evenly on both sides, allowing for maximum control.

Staff: five parallel horizontal lines, on which notes are written in the spaces, on the lines, or above and below the staff using ledger lines.

Strum: to play long strokes across all the strings of a string instrument, one after another very quickly using your thumb, fingers or a pick.

Symphony Orchestra: a large group of musicians, led by a conductor, who perform together on string, woodwind, brass and percussion instruments.

Tempo: the speed at which a piece of music is played.

Time Signature: appears at the beginning of the staff. The lower figure shows the kind of notes taken as the unit of measure, while the upper figure shows the number of these notes that can fit in a measure.

Tone: the tone is the quality of musical sound, such as rich, mellow, harsh, brilliant, etc.

Tremolo: a rapidly repeated note.

Unison: two or more instruments sounding the same note.

Valves: the mechanisms on some brass instruments that make it possible for the musician to change pitches and play all the notes of the scale.

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Violin ViolaViolin The String Family

1) The violin is the smallest member of the string family and has the highest voice.

2) Like all stringed instruments, the violin has 4 strings and is played with a bow.

3) Usually plays the melody in orchestral pieces.

4) There are more violins in the orchestra than any other instrument.

Viola The String Family

1) The viola looks like a violin but slightly larger and has a lower, darker sound.

2) Violas sometimes play the melody, but also play the inner voices.

3) Stringed instruments — including the viola — are usually played with a bow. A bow is a slightly curved piece of wood, which is strung with either horsehair or synthetic materials. Most professional musicians will have bows made of horsehair.

4) Rosin is rubbed on the horsehair to help it vibrate and produce sound; rosin is the sticky gum or sap from a pine tree.

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Instruments in the Orchestra

Cello The String Family

1) The cello is like a very large violin which must be held between the musician’s knees while it is being played, instead of being held under the chin. A metal end peg protrudes from the bottom of the instrument’s body, sticking into the floor to help keep the instrument steady.

2) Spelled “cello” but pronounced “chello”.

3) The cello often plays the bass line but can also play beautiful solos.

4) The most famous cellist in the world is Yo-Yo Ma.

Double Bass The String Family

1) The double bass is the largest and lowest voice of all stringed instruments.

2) This instrument is so big that a player must stand or sit on a high stool in order to play it.

3) Like the cello, the double bass also has a metal spike (or end pin) at the bottom, which allows it to rest on the floor.

4) This instrument is often heard in jazz groups. When playing jazz, the bassist does not use a bow but plucks the strings with his/her fingers.

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HarpThe String Family

1) The harp is one of the oldest of all instruments, dating back to prehistoric times, however, it has only been used in the symphony orchestra for about 175 years.

2) The concert harp stands about two metres tall and covers a range of over 6 ½ octaves.

3) The harp has 47 strings and seven foot pedals. It is played by strumming or plucking the strings with both hands, and by pressing the pedals with your feet. The pedals are used to add accidentals (sharps and flats) so that the harp can play in different keys.

4) The harp is usually considered part of the String Family because the strings create the sound. However, it is very different from all other stringed instruments and isn’t played with a bow, so it can be classified in a separate category all on its own.

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Flute The Woodwind Family

1) AThe flute is a high-pitched silver woodwind instrument that is held sideways and to the right of the musician’s mouth.

2) The musician blows across a hole in the flute, called the embouchure hole, which is similar to blowing across the top of a pop bottle.

3) The musician presses keys to open and close the holes in the instrument, which change the pitch.

4) The flute’s baby sister is the piccolo. It is 30.5 cm long (half the size of a flute) and the highest-pitched of all instruments.

Oboe The Woodwind Family

1) The oboe is the first instrument you hear at an orchestral concert. It plays a single note (an “A”), and all other instruments tune their instruments to the oboe’s pitch.

2) The musician blows through two pieces of paper-thin cane, called a double reed, which is attached to the body of the instrument. The vibration of the double reed helps to create the sound.

3) Double reed instruments require a lot of extra work since the musicians must carve their own reeds with a sharp knife. Reeds break or wear out, so this is a constant process.

4) The English horn is related to the oboe, but is slightly larger, uses a slightly bigger reed, and has a deeper sound.

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Clarinet The Woodwind Family

1) The clarinet is a single reed instrument; oboes and bassoons have double reeds. The reed is attached to the mouthpiece.

2) Clarinets are made of wood or molded plastic, and have a smooth, mellow tone.

3) Clarinets are frequently used in jazz ensembles and marching bands, as well as orchestras.

4) The saxophone is a close relative of the clarinet because it also uses a single reed, even though it’s made of brass and looks quite different.

Bassoon The Woodwind Family

1) The bassoon is a woodwind instrument that uses a double reed (like the oboe). The musician blows through two pieces of cane, which are attached to the body of the instrument.

2)Reed instruments require a lot of extra work since the musicians must carve their own reeds with a sharp knife. Reeds break or wear out, so this is a constant process.

3) The bassoon is the largest woodwind instrument except for the contrabassoon, which has the lowest voice in the orchestra. If you laid the different sections end to end, the bassoon would be 2 ½ metres long and the contrabassoon would be 5 metres long!

4) Most woodwind instruments don’t require much use of the thumb, however, the bassoon is unique in that it has 13 keys which are only played by the thumb.

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French Horn The Brass Family

1) The very first horns were made from the horns of animals and were used to send signals to people beyond calling distance.

2)The hunting horn is the French horn’s ancestor and was designed so that the tubing wrapped around in a circle, making it easier to carry over the hunter’s shoulder.

3) Valves were added to the instrument in the 1800s, allowing many more notes to be played.

4) The musician uses the left hand to press the valves, and inserts the right hand into the bell of the instrument to modify the sound.

TrumpetThe Brass Family

1) Thetrumpet is the highest pitched member of the brass family.

2)Three valves were added to the instrument in the 1800s, creating a wider range of available notes.

3) As with all brass instruments, the trumpeter produces sound by buzzing his/her lips against the mouthpiece, which is inserted into the instrument. The musician changes the pressure and shape of his/her lips to change the sound and pitch.

4) The trumpet is frequently used in the performance of jazz music.

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TromboneThe Brass Family

1) The trombone was invented in the 1400s and formerly called a “sackbut.”

2) This instrument was first heard in orchestral repertoire when Beethoven wrote a part for it in the finale of his Fifth Symphony, in 1808.

3) Unlike the trumpet, French horn and tuba, which all have valves, the trombone uses a slide to change notes or pitches.

4) When brass players blow into their instruments, their warm breathe condenses, forming drops of water inside the instrument. This creates an unclear sound, so the musician must remove the water, either by taking the instrument apart, or by draining the condensation using a special water key or “spit valve”. The water is not spit, but condensation from the player’s breath.

TubaThe Brass Family

1) The tuba is the biggest and lowest pitched instrument of the brass family.

2) Invented by a bandmaster in 1835, the tuba is the youngest member of the brass family!

3) If you stretched the tuba out into one long piece, it would measure about 5 ½ metres.

4) Related to the euphonium (a smaller, high-pitched tuba) and the sousaphone (an instrument invented by John Philip Sousa, and used a lot in marching bands).

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TimpaniThe Percussion Family

1) The timpani are sometimes called “kettledrums”. These large, pitched drums are used frequently in orchestral music.

2) Looks like a large copper bowl with a skin or sheet of high-quality plastic stretched tightly across the top.

3) The pitch of each timpani depends on the size of the bowl, as well as the tension of the drum head; the tighter the skin, the higher the note.

4) Timpani are tuned with a foot pedal and can cover a range of about two octaves.

Xylophone The Percussion Family

1) The xylophone is a pitched percussion instrument consisting of tuned wooden bars mounted on a frame and struck with hard mallets.

2) The shorter the wooden bar, the higher the pitch; the longer the bar, the lower the pitch.

3) The xylophone produces a bright “wooden” and dry sound, without lasting resonance.

4) Nobody knows where the xylophone originated, but similar instruments were known in West Africa and Indonesia, dating back to the 1300s.

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Cymbals & Triangle The Percussion Family

Cymbals1) Cymbals are two slightly curved brass plates, which are held with leather straps. When hit together they produce a resounding ring.

2) A single cymbal can also be suspended from a stand and tapped with a drumstick or brushed with a wire brush.

Triangle1) A triangle is a piece of metal shaped like a triangle and struck with a metal beater. It produces a shimmering, tinkling sound.

2) The cymbals and triangle are unpitched instruments, which means they cannot produce specific notes or tones.

Bass & Snare DrumThe Percussion Family

Bass Drum1) The bass drum is the largest drum in the orchestra and has a low, deep sound.

2) Both the snare and bass drums were originally used in the military before they became members of the orchestra’s percussion section.

Snare Drum1) The snare drum has a metal or wood frame with a drumhead on each end, and strings of wire or gut stretched across the bottom head.

2) The drum is played with two wooden sticks. The snares are loosened for softer notes and tightened for a crisper or sharper tone.

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TSO Musicians

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STRINGS

VIOLINSJonathan Crow, CONCERTMASTERMark Skazinetsky, ASSOCIATE CONCERTMASTERMarc-André Savoie, ASSISTANT CONCERTMASTEREtsuko Kimura, ASSISTANT CONCERTMASTERPaul Meyer, PRINCIPAL SECOND VIOLINSWendy Rose, ASSOCIATE PRINCIPAL SECOND VIOLINSEri Kosaka ASSISTANT PRINCIPAL SECOND VIOLINSIvan AlexanderAtis BankasSydney ChunCarol Lynn FujinoAmanda GoodburnTerry HolowachBridget HuntAmalia Joanou-CanzoneriMi Hyon KimShane KimLeslie Dawn KnowlesSergei NikonovHyung-Sun PaikYoung-Dae ParkSemyon PertsovskyPeter SeminovsJennifer ThompsonAngelique ToewsJames WallenbergVirginia Chen WellsArkady Yanivker

VIOLASTeng Li, PRINCIPALEric Nowlin, ASSOCIATE PRINCIPAL

Theresa Rudolph ASSISTANT PRINCIPALDaniel BlackmanGary LabovitzDiane LeungCharmain LouisMary Carol NugentChristopher RedfieldKent Teeple

CELLOSJoseph Johnson, PRINCIPALEmmanuelle Beaulieu Bergeron ASSOCIATE PRINCIPALWinona Zelenka, ASSISTANT PRINCIPALIgor GefterMarie GélinasRoberta JanzenBritton RileyKirk Worthington

DOUBLE BASSESJeffrey Beecher, PRINCIPALKristen Bruya, ASSISTANT PRINCIPALTheodore ChanTimothy DawsonCharles ElliottDavid LongeneckerPaul Rogers

WOODWINDS

FLUTESNora Shulman, PRINCIPALJulie Ranti, ASSOCIATE PRINCIPALLeonie WallCamille Watts

PICCOLOCamille Watts

OBOESSarah Jeffrey, PRINCIPALKeith Atkinson, ASSOCIATE PRINCIPALCary EbliSarah Lewis

ENGLISH HORNCary Ebli

CLARINETSJoaquin Valdepeñas, PRINCIPALYaoGuang Zhai, ASSOCIATE PRINCIPALJoseph Orlowski

E FLAT CLARINETYaoGuang Zhai

BASS CLARINETAmy Zoloto

BASSOONSMichael Sweeney, PRINCIPALCatherine Chen, ASSOCIATE PRINCIPALSamuel BanksFraser Jackson

CONTRABASSOONFraser Jackson

BRASS

HORNSNeil Deland, PRINCIPALChristopher Gongos, ASSOCIATE PRINCIPALRichard CohenAudrey GoodGabriel Radford

TRUMPETSAndrew McCandless, PRINCIPAL

Steven Woomert, ASSOCIATE PRINCIPALJames GardinerJames Spragg

TROMBONESGordon Wolfe, PRINCIPALVanessa Fralick ASSOCIATE PRINCIPAL

BASS TROMBONEJeffrey Hall

TUBAMark Tetreault, PRINCIPAL

PERCUSSION

TIMPANIDavid Kent, PRINCIPALGeorgi Videnov ASSISTANT PRINCIPAL

PERCUSSIONJohn Rudolph, PRINCIPALPatricia KruegerGeorgi Videnov

KEYBOARDPatricia Krueger, PRINCIPAL

HARPHeidi Van Hoesen Gorton, PRINCIPAL

LIBRARIANSGary Corrin, PRINCIPALKim Gilmore

PERSONNELDavid Kent, PERSONNELMANAGER

CONCERT PREPARATION

The Concert ExperienceAttending a Student Concert with the Toronto Symphony Orchestra is an exciting experience for students of all grade levels. For some students this is their first experience listening to and seeing an orchestra. In order for students to benefit from the concert, teachers should use this guide to prepare for this special event. When students arrive knowing what to look and listen for, they become a receptive audience and the trip will be an important learning experience.

Entering the Hall• Concerts begin promptly at the scheduled start time. It is recommended that your group arrive at

the auditorium at least 20 minutes before the start of the concert to allow sufficient time for seating, washroom visits, etc. Groups arriving late must wait for a suitable break in the performance before being admitted into the hall.

• Food, drinks and gum are not allowed in the hall.• Please have your group turn off all cell phones when entering the hall.• The use of cameras, video cameras or recording devices is strictly prohibited.• Please remind your students that a restroom break should only be taken during the concert if

it is ABSOLUTELY NECESSARY. People coming and going from the auditorium disrupts the performance for the rest of the audience. Students should be encouraged to visit the restroom prior to the start of the concert.

Seating Arrangements• Ushers will meet your school group at the door and escort you to your seats. • Students are to remain seated with their feet on the floor during the entire performance.• Chaperones should be dispersed throughout the group and should actively supervise students

during the performance. It is suggested that there be one chaperone for every 20 students at the Intermediate/Senior level.

Concert Details• The concert is one hour long.• To signal the beginning of the concert, the lights will dim. The concertmaster will appear onstage

and will signal the oboe player to sound an “A” so the orchestra can tune. The conductor then appears onstage.

• Applause is the only appropriate and recognized form of appreciation. Watch the conductor for an indication of when to applaud.

• At the end of the concert the conductor leaves the stage followed by the musicians. • Students should wait for their teachers to indicate that they are ready to leave the auditorium.

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Student Concert Evaluation Form (Student) Date you attended: __________________________________________

Name of school (optional): __________________________________________

1. What was your favourite part of the concert and why?

2. What was your least favourite part of the concert and why?

3. Describe how you felt during one of the pieces on the programme. Why do you think you felt that way?

4. Was there anything that surprised you during the concert?

5. If you were given the task of putting together a concert for the TSO, what two pieces would you recommend and why?

Other comments ...

PLEASE RETURN TO: STUDENT CONCERTS(mail, or email) TORONTO SYMPHONY ORCHESTRA 212 King Street West, 6th Floor Toronto, M5H 1K5 EMAIL: [email protected]

Student Concerts

Student Concert Evaluation Form (Teacher)

Date you attended: __________________________________________

Name of school (optional): __________________________________________

1. Please circle the appropriate rating:

Audience Response Excellent Very Good Good Fair PoorEducational Value Excellent Very Good Good Fair PoorConductor’s Rapport with the Students Excellent Very Good Good Fair PoorTeachers’ Study Guide Excellent Very Good Good Fair Poor

2. Was this the first time you brought a group to the TSO Student Concerts ? Yes NoIf not, how long have you been bringing students to the TSO Student Concerts ?

3. What did your students like most?

4. Did you use the Teachers’ Study Guide? Yes No If so, which section did you find most useful?

5. Did you use the podcast? Yes No If so, did you find it useful?

6. Is there anything you’d like to share with the generous donors who support the TSO Student Concerts?

Other comments ...

PLEASE RETURN TO: STUDENT CONCERTS(mail, or email) TORONTO SYMPHONY ORCHESTRA 212 King Street West, 6th Floor Toronto, M5H 1K5 EMAIL: [email protected]

Student Concerts

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