KWS School Concerts Grades 1 - 3 November 12 & 13, 2019

Kitchener-Waterloo Symphony

Lucas Waldin, Guest Conductor

Activity Guide

Music Tells a Story

“Where words leave off, music begins.”

Heinrich Heine

Once upon I time, I went to

listen to the greatest stories told by the world’s most expressive language...

We are so pleased that you will be bringing students from your school to hear this live performance by the Kitchener-Waterloo Symphony! This concert, Music Tells a Story, will introduce grade 1—3 students to some important concepts from the Ontario Ministry of Education curriculum through music. Not only will the students see and hear our wonderful 52-piece orchestra in the acoustically superb Centre in the Square, they will also be challenged to make connections to their classroom studies and learn new ideas. To enhance the concert experience the KWS sends its musicians into your school to meet your students, give some instrument demonstrations, talk about the concert and answer questions from the students. Please encourage your students to be inquisitive! We love answering questions about what we do and the music we perform. The materials in this booklet are designed by our KWS our Education Department staff. Please contact us with any feedback. See you all in November! Thank you, and enjoy the concert!

Dear Teachers

Yujin Cha, M.M., B.M. Education & Community Programs Manager ycha@kwsymphony.on.ca

Barbara Kaplanek, M.M., B.M. Education & Community Programs Manager Youth Orchestra & Schools bkaplanek@kwsymphony.on.ca

Music Tells a Story

Tuesday, November 12, 2019 at 10:30-11:15AM & 12:45-1:30PM - Centre In The Square

Wednesday, November 13, 2019 at 10:30-11:15AM & 12:45-1:30PM - Centre In The Square

Piotr Ilyich Tchaikovsky (1840 - 1893)

Suite No.1, op.71A, from Nutcracker (Danse russe trepak) (II. c) Danse russe trepak

1:00

Edvard Grieg (1843 - 1907)

Suite No. 1, from Peer Gynt, op.46 (IV. 4) Anitra’s Dance (Anitras dans) (II. 5) In the Hall of the Mountain King

4:30

Nikolai Rimsky-Korsakov (1844 - 1908)

Scheherazade, op.35 IV. The Festival of Bagdad; The Sea; The Ship Goes to Pieces on a Rock (Allegro molto) ~ excerpt

5:00

Antonin Dvorák (1841 - 1904)

Carnival Overture, op. 92 ~ excerpt 2:00

Franz Lehár (1870 - 1948)

Gold und Silber Walzer (Gold and Silver Waltz), op.79

4:00

Russell Wallace (b. 1965)

Dreams 5:00

Manuel de Falla (1876 - 1946)

Three Dances (suite No.2) from El sombrero de tres picos (Three-Cornered Hat) Final Dance

6:00

Concert Program Order & CD Track Listing

TOTAL DURATION: 0:33:00

Paul Dukas (1865 - 1935)

L’apprenti Sorcier (The Sorcerer’s Apprentice) ~ excerpt 5:00

Purpose The purpose of this guide is to familiarize your class with the music that they will hear presented by the KWS to enable a deeper exploration of the music; and to help teachers use the recordings, information, and activities provided as a medium for exploring the elements of music and specific expectations from the music curriculum as geared towards primary grades. How to Use This Guide For each piece presented in our program we have prepared an information sheet, and lists of fun, detailed activities that have been created to specifically link the music with expectations from the curriculum. Listed with each activity are the specific curriculum expectations that the activity is geared to address. OPMC = Ontario Primary Music Curriculum

Using the Guide

LUCAS WALDIN began playing the recorder at the age of five, and a few years later at the age of eight he started playing the flute. He loved playing in bands and orche3stras throughout his years growing up in Toronto, an eventually attended the Interlochen Arts Camp in Michigan during high school, which was where he decided he wanted to be a professional musician. Lucas is now a conductor visiting many different orchestras around Canada and the Unit-ed States. His favourite thing about being a conductor is all the new cities he gets to visit and all the talented musicians he gets to work with for each concert. As a staff conductor for the Edmonton Symphony, Lucas programmed and presented over 100 family and educational concerts and was able to collaborate with a wide variety of artists such as Japanese Kodo drummers, African choirs, traditional Chinese dancers and Ukrainian Shumka dancers, and many talented Indigenous artists including Cree pow-wow drummers, Métis jiggers and fiddlers, and Inuit throat singers.

Lucas Waldin, Guest Conductor

There are lots of things to enjoy at a concert, and lots of things to pay attention to. Here are a few ideas of what to listen for. Choose whatever you like, switch as often as you want, and feel free to add to the list!

Some things to enjoy in classical music:

Close your eyes and imagine a story to go along with the music

Loudness and softness

Changes and transformations

Recognition of something heard earlier

Different speeds

Instrument sounds

Melodies

Rhythms Patterns

Ebb and flow of energy

Musical conversation

Moods and feelings

Memories that get triggered

What to Watch

A concert is an event for the ears, but there is plenty for the eyes, too. Watch the play-ers and feel their energy and intensity; watch what they do to make their instruments sound in different ways. Watch as the music moves between players, or between groups of players. Watch the way the conductor controls events, or how he or she gives control to the musicians.

How to Listen to a Concert

Wow! What a big place this is! Everyone comes here to sit and listen to music, how should I act at a concert? How should I listen to music?

Use this list of words to fill in the blanks below:

take pictures Softly Instrument applauding in-between

play games on your ipod remove Close your eyes noise

Do’s…

While sitting and waiting for the concert to begin you may talk ____________ to your neighbor.

After each full piece of music is completed, I show that I liked it by _________________.

If you need to get up to leave during a concert, leave ______________________ pieces. It is best if you stay for the entire concert.

As a sign of respect for the people around you and performers, please ______________ all hats.

While listening to the music try different things to enjoy the music more!

_____________________________ and imagine the scene that the music creates.

Choose an ________________________ to watch, and listen for how its sound changes the music.

Let your mind go where the music takes you, you may be surprised at how much it can change you if you let it!

Don’ts...

During the performance I will not make any ____________________; this includes keep-ing concert programs quiet, and cell phones turned off— it can be distracting to the performers.

Bright lights are distracting to the performers and audience. Do not _________________,

or ______________________________.

How to Listen to a Concert—Fill in the Blanks

KWS School Concerts Music Tells a Story

Lucas Waldin, Guest Conductor

Tchaikovsky made a selection of eight of the numbers from his “Nutcracker” ballet to be used in the shorter, 20-minute orchestra suite, which is per-formed all over the world today. You will probably rec-ognize the music from the suite when you hear it!

Peter Ilyich Tchaikovsky was born in 1840 in Russia. Peter began piano lessons at the age of five, and within three years he could read music as well as his teacher.

Peter received his education at the School of Jurisprudence. The only music instruction he received were piano lessons from a piano manufacturer who occasionally made visits to the school. He also attended the opera and theater with his classmates.

Peter's mother died in 1854, which brought him much sorrow. He responded by turning to music. It was at this time that he made his first serious efforts as a composer, writing a waltz in her memory.

In 1855, Peter's father asked a well-known German piano teacher to encourage his son's interest in music. However, when Peter's father asked about his son's musical potential, his teacher wrote that nothing indicated he would be a fine composer or performer. His father asked Peter to complete his course of study and then pursue a post in the Ministry of Justice. He did as he was asked, though his interest in music never left him.

In 1861, Tchaikovsky heard about classes being offered by the Russian Musical Society. He promptly began his studies. In the following year, Tchaikovsky followed his teacher to the St. Petersburg Conservatory where he accepted a post. It was at the conservatory that he met and studied with Anton Rubinstein, director and founder of the Conservatory. Rubinstein was impressed with Tchaikovsky's talent.

In 1869 Tchaikovsky composed his first recognized masterpiece, Romeo and Juliet. Tchaikovsky was deeply inspired by Shakespeare's writing, and in later years composed other works for The Tempest and Hamlet.

On November 6, 1893 Tchaikovsky died in St. Petersburg from cholera. His compositions are some of the greatest works of the Romantic Era, including the 1812 Overture, March Slav, and The Nutcracker, which has become a Christmas season favorite.

Dance Russe Trepak

”Trepak” from Nutcracker Suite No. 1

P.I. Tchaikovsky

Trac k #1

Trepak

The “Trepak”, often called “Russian Dance”, is one of the most popular dances from Tchaikovsky’s ballet, The Nutcracker. This ethnic dance is based on a traditional Ukranian folk dance. It is a fast dance with 2 beats in each bar.

Terms

Ballet:

Ballet is a formalized kind of performance dance, which originated in the Italian Renais-sance courts of the 15th century, and which was further de-veloped in France, Eng-land, and Russia as a concert dance.

References

YouTube:

Search “Trepak”

to see live perfor-mances of this work.

In Western countries, The Nutcracker has become perhaps the most popular of all ballets, performed primari-ly during the Christmas season. Its music, especially the music of the suite derived from the ballet, has be-come familiar to millions all over the world. And because of the ballet's fame, Hoffmann's original story on which it is based has also become well known.

The Kitchener-Waterloo

Symphony

CLASSROOM ACTIVITIES

Piotr Ilyich Tchaikovsky – “Trepak” (Russian Dance) from The Nutcracker Suite 1. Dramatic Marching This activity teaches: Tempo, Metre, Dynamics. Applying the elements of music through movement (OPMC C1.2). This is a marching activity to be done around the perimeter of a large classroom or gym. - Have class line up and practice marching around with a loud metronome or by calling “LEFT, RIGHT, LEFT, RIGHT…” (Fun Fact: All marching bands begin marching with beat 1 in their left foot!) - Listen to ‘Trepak’ all the way through with the class practicing keeping the beat (tapping their feet, patting their thighs etc.) Notice how the tempo speeds up at the end! - March along to ‘Trepak’ around the room, accenting beat 1 of the 4 beat metre (along with the tambourine in the beginning) by stomping loudly during the loud parts. - Once the class has mastered this, add in movement to represent the dynamics of the piece. As they march around they should crouch low during the quiet parts and gradually get taller as the music gets louder. If they are already standing and the music gets louder still, they should march with their knees as high as they can! 2. Feel like an Animal This activity teaches: Expressing personal responses to musical performance in a variety of ways (OPMC C2.1), Describe ways in which the elements of music are used for different purposes (OPMC C2.2) Trepak is a very dramatic piece of music which ranges from sweet and light to big and dark character in a very short time. This active activity is to be done in a space big enough to accommodate your class in a circle - After the class has listened to the piece a few times to become familiar, have them think about how the music makes them feel. What kind of animal do you feel like in the beginning? Does your feeling change to a different animal near the end? - Have the class make a circle, have 4 or 5 students volunteer (or not volunteer) to be in the middle of the circle. Those in the middle of the circle will walk around as their chosen animal(s) while the music is playing, acting as influenced by how the music makes them feel. - Once the piece is finished, have 4 or 5 others try! Repeat! - After this is finished, sit down with the class to think about how the music was able to make them feel that way. What made it feel light? Scary? Was it the instruments? Dynamics? Tempo? Strong/weak; loud/soft; smooth/jagged; thick/thin; high/low; fast/slow? Etc. 3. Ballet Exposure This activity teaches: Identify through listening a variety of musical pieces from different communities, times, and places (Ballet) (OPMC C3.2) What is ballet? Where does it come from? - Have your class imagine how this music might be danced to in the ballet. What moves might the dancers be making to interpret this music? - Have the class watch the dancers interpretation, what mood was expressed?

https://www.youtube.com/watch?v=qiiuN9eAy9Y

ADDITIONAL CLASSROOM ACTIVITIES

Piotr Ilyich Tchaikovsky – “Trepak” (Russian Dance) from The Nutcracker Suite 4. Draw your Imagination This activity teaches: Express personal responses to musical performances in a variety of ways (OPMC C2.1) - Distribute (or have children use their own) crayons, coloured pencils, or finger-paints. - Using pictures, colours, images, and symbols—illustrate your imagined scene as you listen to the music. Think about how the music makes you feel, express how you feel in the picture you draw! - Share your work with the class and talk about what in the music made you feel this way. 5. Compare and Contrast the Nutcracker Suite This activity teaches: Describe ways in which the elements of music are used for different purposes in the music they listen to. (OPMC C2.2) - Listen to other famous dances from the Nutcracker Suite: Dance of the Sugar Plum Fairy; Waltz of the Flowers; Arabian Dance; Spanish Dance. - How do these pieces sound similar or different from “Trepak”? Use terminology from the elements of music to describe the similarities and differences.

In Peer Gynt, Grieg turned to folklore: the drama, written by Ibsen, is based in large part on folk tales from Norway. The title character was modeled on an actual person whose exploits some thirty years before Ibsen's birth were known throughout the country. Anitra’s Dance is a graceful dance to introduce the alluring character of Anitra whom Peer Gynt is infatuated with.

Violin: The highest voice of the string family. The violin was developed in Europe in the 16th century and is played with a horsehair bow. Viola: Tuned a 5th lower than the Violin, the Viola has a slightly larger but similar body shape. Cello: The tenor of the string family, the cello is played by being held upright on the floor between the legs of the seated player. Bass: The lowest sounding string instrument. The Upright Bass, or Double Bass is the largest and lowest-pitched bowed string instrument in the orchestra.

“Anitra’s Dance” from Peer Gynt, Suite No.1,

Featured Instruments: The Strings

T e r m s :

R e f e r e n c e s :

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

Trac k #2

Anitra’s Dance

The Incidental music to Peer Gynt, Op. 23, was written in 1875 by Edvard Grieg for Norwegian playwright Henrik Ibsen's play of the same name.

Terms Mazurka:

A lively Polish dance in triple time.

Scene from “Peer Gynt” The Violin

The Kitchener-Waterloo

Symphony

CLASSROOM ACTIVITIES

Edvard Grieg– “Anitra’s Dance” from Peer Gynt 1. Bouncy or Smooth? Pizzicato or Legato? Attention to Articulation This activity teaches: Pizzicato, Legato, and Articulation. Describe ways in which the elements of msuci are used for different purposes in the music they listen to. (OPMC C2.2)

- Listen to ‘Anitra’s Dance’ as a class to begin to familiarize them with this quiet yet energetic

piece.

- To introduce the concept of pizzicato or legato, have the class say a sentence really smoothly

and really staccato (i.e. “When we learn music I sometimes talk funny!” etc.).

- The melody of Anitra’s dance is often played by the Violin, when the violin plays with the bow

it sounds smooth, when the strings are plucked with the fingers it sounds bouncy. Listen to the

piece a second time, this time, when you hear the Violin playing smoothly with the bow wave your

arm in the air to mimic the sound, when you hear the Violin playing bouncy shrug your shoulders

up and down!

- Have the class learn the words Pizzicato (plucked strings—bouncy), and Legato (smoothly,

bowed strings)

2. Make a Dance! This activity teaches: Express personal responses to musical performances in a variety of ways. (OPMC C2.1)

Anitra’s Dance is in 3/4 time and is written as a Mazurka, a lively polish dance. The Waltz

is another dance that uses 3/4 time.

- Start by having the class listen to the piece while tapping or patching on beat one of

every bar to help feel the emphasis of the metre. Pay attention to how light the music is,

any movements should be very soft and light!

- Have the class come up with words that describe the music, once they have described

it, find an open space and have the class dance around the space embodying the words

they have come up with to the music!

3. Stylize Your Song - Musical Ornamentation This activity teaches: Apply the elements of music when singing (OPMC C1.2), Describe ways in which the elements of music are used for different purposes… (OPMC C2.2)

- Listen to Anitra’s Dance as a class, listening for the small trills and musical ornaments

that stylize the melody. What does this do to the music? Does it sound like music from a

different culture? Does it make you want to move to the music? Emphasize a beat?

- Have the class break into small groups or pairs to stylize a familiar piece of music (i.e.

Mary had a little lamb etc.) by adding small vocal ornaments or trills on parts of the song

that they think are most important or on ‘strong beats.’ Use the ornaments to make the

song sound like something someone would dance to!

- Perform your version for the class!

One of Edvard Grieg’s most recognizable and well know pieces. Edvard wrote “In the Hall Of the Mountain King” for the sixth scene of Act II in Henrik Ibsen’s play “Peer Gynt”.

“In the Hall Of the Mountain King” from Peer Gynt,

Suite No.1 op.46

T e r m s :

R e f e r e n c e s :

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

The simple theme begins slowly and quietly in the low instruments of the orchestra. It is played first by the cellos and bassoons, representing Peer Gynt's slow, careful footsteps. After this, the main theme is then very slightly changed and played on different instruments: these are the King's trolls. The two groups of instruments then move in and out of different octaves until eventually "colliding" with each other at the same pitch; and the trolls, having spotted Peer, give chase. The tempo gradually speeds up to a prestissimo. finale, and the music itself becomes increasingly louder and more melodic.

The Mountain King himself thunders onto the musical stage and runs into Peer, who quickly runs the other way; these actions are depicted with long strings of diatonic steps, interrupted by brief moments of stillness as the Mountain King looks for the hiding Peer. Peer's cover is at last blown, and the music reaches its loudest and fastest point as he runs out of the cave. A series of crashing cymbals and rapturous timpani rolls then burst forward and silence all the other instruments, with the mountain tumbling to the ground and presumably killing the trolls who had been chasing after the fleeing Peer. The piece concludes with Peer's successful escape.

The two phrase theme written in the key of b minor

You might recognize this very famous piece of music from cartoons or from movies. Why do you think this piece is used so often?

Trac k #3

In the Hall of the Mountain King In the play Peer Gynt, the sequence illustrated by the music of In the Hall of the Mountain King occurs when Peer sneaks into the Mountain King's castle. The piece then describes Peer's attempts to escape from the King and his trolls.

Terms Theme: In music, a theme is the material, usually a recognizable melo-dy, which the entire piece is based on! Prestissimo: Very fast!

References YouTube: Search “In The Hall of the Mountain King” to see live performances or cartoon versions of this piece!

The Kitchener-Waterloo

Symphony

CLASSROOM ACTIVITIES

Edvard Grieg– “In the Hall of the Mountain King” from Peer Gynt

1. Dramatic Storytelling and Listening This activity teaches: Express personal responses to musical performances in a variety of ways (OPMC C2.1), Describe ways in which the elements of music are used for different purposes in music they listen to (OPMC C2.2).

- Before listening to the piece, read the story of Peer Gynt in the Hall of the Mountain King as dramatically as possibly (starting with him quietly sneaking etc.) to your class. - Ask the class to close their eyes and imagine the story as they listen. Listen to the piece! (Ideally with speakers that can play loudly) - After listening ask your class if they could hear the story, what was their favourite part? How was listening to the music different from listening to the words of the story? - Prep the class that they are going to listen to it again. This time “listen for the moment when the Mountain King sees Peer, how do you know? How does the music change?” - After listening again, write down the elements of music that communicated the dramatic change

2. Act out the Theme This activity teaches: Theme, Dynamics, Tempo. Sing unison songs in tune for music from a wide range of cultures, styles, and historical periods (OPMC C1.1); apply the elements of music while singing, and moving. (OPMC C1.2)

This is a large activity that can take up a whole class. - What is a musical theme? Listen to ‘In the Hall of the Mountain King’, what part happens over and over again in this piece? - Sing the theme as a class on the syllable ‘Ba’ (Theme below)

- How many times is the theme played before the big crashes at the end? Count! (18), How many times is the theme played before things get really scary? Count! (13) - Divide the class into 3 groups, the ‘counters’, the ‘Peer Gynts’, and ‘The Trolls’. Have the ‘Peer Gynts’ and ‘The Trolls’ make lines facing one another (arms length apart), with ‘The Counters’ at either end to make a rectangle. - The Game works like this: Your class is going to act out the story by standing facing one another and singing the theme in their characters. - It is ‘The Counters’ job to count how many times the theme has been played and point at the group who should be singing (Pointing at the ‘Peer Gynts’ for the first 12 times and switching to ‘The Trolls’ for 13 until the big crashes. - Those in the ‘Peer Gynt’ group should sing the theme on the syllable ‘Ba’ in as sneaky voices as possible, making faces at ‘The Trolls’ as they gradually get louder, taunting them. When it switches to the trolls at 13 times, those in the ‘Peer Gynt’ group should act scared and skittish, reacting to the expressions of ‘The Trolls’. The ‘Peer Gynt’ group should raise their arms and cheer at the end of the piece for escaping successfully. - Those in the ‘Trolls’ group should react to the taunting expressions of the ‘Peer Gynt’ group by making troll faces, and sing the theme on the syllable ‘Ga’ in as menacing voices as possible once it’s their turn at 13. ‘The Trolls’ should sing loudly to match the intensity of the music! - The groups can then rotate to give everyone a chance to be a ‘Peer Gynt’, ‘Troll’, and ‘Counter’. - For an added effect, the teacher can make an appearance as ‘The Mountain King’ for the big crashes at the end!

anxious to hear the end

of the story! The music

portrays a festival,

rushing sea, and a

shipwreck (fanfare

motif). The movement

ends with a peaceful

resolution as the Sultan

finally relents and

allows Scheherazade to

live after telling so many

amazing stories.

Scheherazade consists

of a symphonic suite of

four related movements

that form a unified

theme. It was written to

produce a sensation of

fantasy narratives from

the Orient. The fourth

movement comprises a

accumulation of the

stories that

Scheherezade

(represented by a Violin

theme) has been telling

the Sultan who is

growing increasingly

Storytelling is an ancient art that had its beginnings long ago, from many cultures, and in many old languages. The earliest surviving record of storytelling is found in Egypt where there are paintings of the sons of the Pharaoh Cheops (who built the famous pyramids) entertaining their father with stories. Before printed books were available, traditions, history, education, and even religious rituals were told by means of storytelling. In the Middle Ages, storytellers known as Bards were also poets and musicians who traveled between villages and brought information and entertainment to people. In some cultures storytelling for children was more important than for adults, as stories often taught children how to behave in wise and good ways. There have been many famous collectors of ancient stories, some of the best known were the Brothers Grimm who recorded many old tales in their well loved collection of fairy tales. The tales of the Arabian Nights were likely first told as stories performed by a traveling storyteller in front of an audience. Scheherazade was a very popular tale about a strong and intelligent girl and King Sharayar who had ordered the girls of his kingdom put to death, one each night. Scheherazade, a great story teller, begged the King to listen to a story first. He agreed, and she began, but stopped her story at the most important point and offered to return the next night to finish her tale. The King wanted to hear the end of the exciting story so asked her to return, postponing her death, as she had been the next girl sentenced to die. Scheherazade continued to tell stories for the next one thousand and one nights, sparing her own life and the lives of all the young girls of the kingdom. Thus, the Arabian Nights are also known as l00l Nights.

“IV. Festival at Baghdad; The Sea; The Ship Goes to Pieces

on a Rock” from Scheherazade, op.35

Storytelling & Scheherazade’s Story

T e r m s :

R e f e r e n c e s :

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

Track #4 IV. Festival at Baghdad; The Sea; The Ship Goes to Pieces on a Rock This orchestral suite was inspired by Middle Eastern and Indian tales, called “One Thousand and One Nights”. Scheherazade is the name of the young woman who is telling the story.

Terms Suite

A collection of musi-cal pieces to be played one after the other in a sequence. Theme and Variation: The “theme” or main melody is re-peated throughout, but in a slightly dif-ferent way (rhythm, harmony, instru-ments could be dif-

References Use YouTube to lis-ten to some other examples of pieces that use a Theme and Variation form. Try Mozart’s “Ah vous dirai-je, Maman!”. You are sure to recognize it!

The Kitchener-Waterloo

Symphony

CLASSROOM ACTIVITIES

Nikolai Rimsky-Korsakov– “The Festival at Baghdad; The Sea; The Ship Goes to Pieces on a Rock” from Scheherazade 1. Colour Your Story This activity teaches: Express personal responses to musical performances in a variety of ways. (OPMC C2.1)

- Listen to The Festival at Baghdad; The Sea; The Ship Goes to Pieces on a Rock. Using crayons,

coloured pencils and/or markers draw a picture of the “mood” that this music creates for you.

What were the main colours in your work? Why? Come up with a story!

- Share your picture and its story with other members of the class

2. Soundscape the Sea This activity teaches: Found sounds. Create simple compositions for a specific purpose (OPMC C1.3). Apply the elements of music when singing, playing an instrument, and moving. (OPMC C1.2)

- As Scheherazade tells the story of the Sea, you can hear the waves crashing back and forth with

the instruments. Listen through and raise your hand when you think you hear the sea! How do the

instruments make the sounds of the sea? (dynamics growing louder and softer, crashing cymbals

for the waves…)

- Have the class come up with a list of sounds that they might hear at Sea (ex. wind, birds,

creaking mast, thunder, rain etc.) How can we make these sounds? (Voices, tapping desks,

whistling etc.)

- Assign sounds to the class and create your own sea! Use the dynamic techniques of

Scheherazade for a more realistic effect!

3. Follow the Characters This activity teaches: Express personal responses to musical performance in a variety of ways (OPMC C2.1)

- This movement opens with a strong musical statement representing ‘The Sultan’,

followed by a more lyrical Violin solo representing ‘Scheherazade’, who proceeds to tell

the sultan the story of the festival, sea, and shipwreck.

- Prep the class with an outline of the story, and have them listen to follow the

characters!

- After listening, find out what the details of their stories were!

Carnival Overture remains part of the standard orchestral repertoire. Dvořák wrote his own story to accompany the music. This is what he wrote:

“A wanderer reaches the city at nightfall, where a carnival of pleasure reigns supreme. On every side is heard the clangor of instruments, mingled with shouts of joy and the unrestrained hilarity of people giving vent to their feelings in the songs and dance

Dvořák wrote this overture as the second in a trilogy of concert overtures, originally titled Nature, Life and Love. Later he changed the names to In Nature’s Realm, Carnival and Othello and gave each its own opus number. Dvořák used the same theme in all three overtures and intended them to be performed together, which is how he conducted them at the premiere. Today, however, only the

Antonin Dvorák was a country boy, one of seven children of a

butcher/innkeeper in a small village in Bohemia. Bohemia was full of

music and young Antonin took violin lessons and fiddled with his father

in the village band. But there was no question about his future; he was

to go into the inn keeping business. Since many German travelers came

to Bohemia, his father sent him to live with an uncle in a nearby town

and learn German.

There he met a friend of his uncle's who was a musician. The friend

taught Dvorák viola (which became his favorite instrument), piano, and

organ, and when he was sixteen Dvorák went to study music in Prague.

He played violin and viola in Prague's National Opera Orchestra until, at

thirty-one, he won a prize for composition. He soon became famous as a

composer, and was able to make a living composing and teaching

composition at the Prague Conservatory.

In 1892, Dvorák came to America to be the head of the National

Conservatory of Music. While he was in the United States, he wrote the

famous "New World Symphony" and other pieces which suggest

American folk tunes. He even slipped a little of "Yankee Doodle" into

one of his pieces!

Carnival Overture, op. 92

Antonin Dvorák

T e r m s :

R e f e r e n c e s :

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

Track #5 Carnival Overture Right from the very beginning, this piece explodes with sound, featur-ing the clanging of the triangle and the rattling of the tambourine.

Terms Overture: An orchestral piece meant to be played at the beginning of something (like an opera, or a play)

Opus Number: A number that com-posers would assign to their pieces or works to represent in what order they were composed

The Kitchener-Waterloo

Symphony

CLASSROOM ACTIVITIES

Antonin Dvorak— “Carnival Overture, op. 92” 1. Write Your Own Story This activity teaches: Express personal responses to musical performances in a variety of ways. (OPMC C2.1) We already know exactly what Dvorak had in mind when he wrote this piece. His story is quite interesting to read as you listen to the music. - Now, write your own story or draw a picture that depicts what you think about as you listen to the piece. *It doesn’t necessarily have to be about a carnival - Without speaking, act out your story while you listen to the music. Can your teacher and classmates guess what your story is about? 2. Percussion Awareness This activity teaches: The instruments of the percussion family. Describe ways in which the elements of music are used for different purposes in the music they listen to. OPMC C3.2) This piece features many different members of the percussion family. - Can you name them? (Timpani, Bass Drum, Snare Drum, Tambourine, Triangle, Cymbals) - As an extra challenge, try listening to the piece again to listen for each specific percus-sion instrument. - How do these instruments contribute to the feel of the music? What do you think it would be like without them?

For many of us, this famous musical adventure tells the tale of

Mickey Mouse's dangerous experiments with his master's magic

hat. Paul Dukas' piece, although forever associated with the

original Fantasia film, was actually written long before Disney

even existed, and was inspired by a poem written by the

celebrated German author Goethe in 1797.

The piece begins with a slow introduction, kind of a musical

rendition of the beginning of a fairy tale. As the orchestra begins

to play, you can almost hear the words "Once, long long ago, in a

land far away." After the slow introduction, the music has a much

stronger, faster rhythm, building until the scurrying woodwinds

and blasting brass bring us to the climax of the tale.

L’apprenti sorcier (The Sorcerer’s Apprentice)

Paul Dukas (1865-1935), French Composer

T e r m s :

R e f e r e n c e s :

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

Track #6 L’apprenti sorcier (The sorcerer’s Ap-prentice)

Terms Prelude: An introductory piece of music, or a piece preceding a fugue.

The Kitchener-Waterloo

Symphony

L’apprenti sorcier

References Check out YouTube— Fantasia: The Sorcerer’s Ap-prentice

CLASSROOM ACTIVITIES

More about the composer: Paul Dukas Biography (BBC) Dukas is known to most people today by L’apprenti sorcier (‘The Sorcerer’s Apprentice’), as popularized by Walt Disney in his cartoon film Fantasia. Sadly, this seems to have done little to arouse curiosity about the rest of his music. But in a world in which there’s no shortage of composers with a strong personal style, or an image which impresses itself on the memory, the achievement of Dukas is a little elusive. For a start, his list of works isn’t long, although not all of them have been published - an early overture inspired by King Lear was rediscovered and first performed as recently as 1995. The works that do survive, or which have been brought to light, reflect the musical evolution of the composer’s time, though Dukas was more inclined to classical forms than his contemporary Debussy. His Symphony in C (1895–6) is a bracing, affirmative work, though with a deeply searching middle movement, which has all the right ingredients to make it popular. The Piano Sonata (1899–1900) is a passionate, four-movement masterpiece demanding steely fingers and an ardent temperament. It was followed by another large-scale piano work, Variations, interlude et final sur un thème de Rameau (?1899–1902). Dukas planned several operas but only one, Ariane et Barbebleue, reached the stage, in 1907. Based on a play by Maeterlinck, it was, perhaps, a bit too close for comfort to Debussy’s Pelléas et Mélisande, also based on Maeterlinck and produced five years earlier. Nevertheless, Dukas’s work is more forceful than Debussy’s and some people consider it his greatest achievement. The last major work Dukas published was a sumptuous ‘poème dansé’, La péri, which he prefaced with a perversely acerbic Fanfare. Produced in Paris in 1912, it anticipated certain features in Debussy’s Jeux, also described as a ‘poème dansé’, which had its premiere the following year. Dukas was a perfectionist, and is said to have destroyed as much as he allowed to survive. He didn’t have to earn his living by composing, since he worked as a music critic (some of his earliest reviews were of Wagner productions in London), as an editor (of the music of Rameau, Couperin, Scarlatti and Beethoven) and as a teacher, his most famous pupil being Olivier Messiaen, who revered him. Profile © Adrian Jack (Source: https://www.bbc.co.uk/music/artists/8048b7be-cda8-4e5a-bc4b-57267fc05be1)

Franz Lehár is most

famous for his

operettas. Perhaps

you’ve heard of “The

Merry Widow”?

That was composed by

him! He also wrote

sonatas, symphonic

poems, marches, and

waltzes. The most

popular of his waltzes

was “Gold and Silver

Waltz”. He composed

this for a Princess! Her

name was Princess

Pauline von Metternich

and the event it was

written for was called

the Gold and Silver Ball.

Waltz music is written in 3/4 time, counted as "1,2,3 - 1,2,3."

The first beat of each measure is accented, corresponding to the

extended, highly-stretched step that is taken on the first count.

With its distinctive rhythm pattern, the Waltz is easy to recognize

and simple to learn.

The Waltz is a smooth dance that travels around the line of

dance. Characterized by its "rise and fall" action, the Waltz

includes a step, slide, and step in 3/4 time. Dancers should move

their shoulders smoothly, parallel with the floor instead of up and

down. Dancers must strive to lengthen each step. On the first beat

of the music, a step is taken forward on the heel, then onto the

ball of the foot with a gradual rise to the toes, continuing on to

the second and third beats of the music. At the end of the third

beat, the heel is lowered to the floor to the starting position.

Gold und Silber Walzer (Gold and Silver Waltz), op.79

What is a Waltz?

T e r m s :

R e f e r e n c e s :

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

This piece is written for flute, piccolo, oboes, clarinets, bassoons, horns, trumpets and trombones. What are some instruments that are missing in this piece? Why do you think composers chose to use only certain instruments for their pieces?

Track #7 The waltz was a very popular form of dance at one point. It is always written in triple time (3 beats in every bar) and is al-most always smooth and flowing-just like the dancers who dance it!

Terms Operetta: A short opera, usually with a funny plot that has both sung and spoken dialogue

References: Check out YouTube to find some examples of waltzes. How do they sound the same? How are they different?

The Kitchener-Waterloo

Symphony

CLASSROOM ACTIVITIES

Franz Lehar– Gold und Silber Walzer (Gold and Silver Waltz), op. 79 ACTIVITY: 1. Feel the Waltz This activity Teaches: The Waltz, Beat. Apply the elements of music when moving (OPMC C1.2).

- A waltz is a dance in 3/4 time. A waltz can often move quite quickly making the music feel like it is really in 1 beat to a measure. The waltz pattern is especially obvious in the second half of this piece. - Put beat 1 on your thighs and beats 2-3 on your shoulders. If it seems too fast, just put beat 1 on your thighs - Once you’ve mastered this you can try it with your feet! — R L R — L R L — … move around to the music! Feel the rise and fall of the waltz. 2. Become the Maestro! This activity Teaches: Conducting. Apply the elements of music when moving (OPMC C1.2)

- Practice tapping the beat as a class beginning at 1:28 of the music to get a feel for the metre - Try to conduct the 3/4 pattern while listening, make sure that the size of your movements reflects the music! (big for loud, small for soft etc.)

Russell Wallace (b. 1965) is a board member for Warriors Against Violence Society. Russell is a composer, producer and is a traditional Lil’wat singer. Wallace’s music has been part of a number of soundtracks (film, video, tv) and theatre//dance productions. He was the composer in residence for the Chinook Winds Aboriginal Dance program from 1996-2003 at the Banff Centre for the Arts. He has produced CD’s that have been nominated for awards at the Junos, Canadian Aboriginal Music Awards, and at the Native American Music Awards in the USA. Currently Wallace works and teaches at the Native Education College. Wallace was commissioned by the Nunavut Government to compose music for the Formation of the Nunavut Territories inaugural Gala in April1999, by the University of Toronto for Aboriginal Music Days in 2000, and by the Westcoast Sacred Arts Society in Vancouver to compose a new choral work with Hussein Janmohamed for the Dalai Lama’s visit in Vancouver in 2004. (Source: Cypress Choral Music)

Dreams

Russell Wallace, Composer

T e r m s :

R e f e r e n c e s :

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

Terms Opera: A dramatic work, in one or more acts, set to music for singers and instru-mentalists Virtuoso: A person who is highly skilled in music

The Kitchener-Waterloo

Symphony

Dreams is based on a ‘Dream Song’ from the Lil'wat Nation. Dream songs come to people during sleep or other times when dreaming, and these are given to the community to share sometimes. Most of the time the songs are meant to heal or bring people together during tough times. Russell has commented, “ I like to hear that soprano rise above everything. My mom (and a lot of elderly Salish women) would sing like that sometimes, and it is quite beautiful and that beauty is part of those dreams.” (Approximate length:4:30)

Reference Look up Lil’wat First Nation and its music and culture.

Barbara Croall, Performer

Acclaimed Odawa composer and musician

Barbara Croall (Manidoo Mnissing, Giniw dodem)

has received world premiere performances of her

music across Europe, the UK, the United States,

Asia, and Latin America. Barbara balances her time

focused on creating and performing music, with

work in outdoor environmental educational rooted

in traditional Anishinaabe teachings, and work on

artistic projects with Indigenous at-risk youth.

Apart from playing, performing, and composing on

the pipigwan (Anishinaabe cedar flute) and for

voice in the traditional Anishinaabe way, Croall is

classically trained, with degrees and diplomas from Centre Acanthes (France), the

Musikhochschule in Munich (Germany),

The Royal Conservatory of Music (Toronto), and the University of Toronto where she received

the Glenn Gould Award in Composition (1989). The first instruments Barbara learned to play

at the age of five were the traditional Anishinaabe cedar flute (pipigwan) and the drum

(dewe’igan), also when she also began composing her own music in the oral tradition. This

followed with studies in classical piano and music theory with Melissa Vandendool and Grace

Vandendool, and then Irina Kugucheva (Royal Conservatory of Music, Toronto), eventually

receiving her ARCT Diploma in Piano Performance.

The child of a residential school survivor, Croall has been involved in the Truth and

Reconciliation Commission activities. She is a direct descendant of hereditary chiefs who

signed the major treaties in Ontario and who fought in major battles of the Indian Wars and

War of 1812. Taking part in women's gatherings and ceremonies with Elders in her family and

community, her music often reflects immersive experiences within nature, as well as earth/

water/air ecology. Anishinaabeg women’s knowledge of plant medicines have been passed

down through Elders in her family for many generations.

Apart from her music for traditional Anishinaabeg instruments and voice in the Anishinaabe

way, her music for instrumental and vocal soloists, chamber ensembles, orchestra, film,

theatre, dance and interdisciplinary performance has been premiered internationally

(Lithuania, Finland, Switzerland, Germany, France, Italy, Greece, UK, US, Korea, Mexico, and

Bulgaria) and across Canada, she also performs as a soloist (vocalist/traditional Anishinaabeg

flutes/other instruments) in her own works with orchestras across Canada and the US, and

has frequently been an invited guest composer and performer at the National Museum of the

American Indian in Washington D.C.. Recording credits of her music and performances

include: CBC Radio One, CBC Radio Two, Bayerische Rundfunk-Bayern 3, Deutsche Radio

Swiss (DRS-II), Radio France, Italian National Television, APTN (Aboriginal Peoples Television

Network, Canada), Kennedy Center Live Broadcasts (Washington DC). Awards include: the

Glenn Gould Award in Composition (1989), numerous scholarships at the Royal Conservatory

of Music/Glenn Gould School (1992-96) and awards from the National Aboriginal

Achievement Foundation (1993-98), three nominations for the K.M. Hunter Award (2003,

2007, 2012), a Visual and Expressive Arts Program Award (National Museum of the American

Indian, 2009), and a Dora Mavor Awards nomination (2012). Currently Barbara is Artist-in-

Residence and Cultural Consultant with the Kitchener-Waterloo Symphony Orchestra.

www.barbaracroall.ca http://native-drums.ca/en/showcase/barbara-croall/

CLASSROOM ACTIVITIES

Check these out before coming to hear Dreams by Russell Wallace! (1/2)

Traditional Salish drums and rattles used in teaching and performance by Russell Wallace https://sfuwce.org/russell-wallace-on-sharing-knowledge-through-song/

Documentary film series, 1491: The Untold Story of the Americas Before Columbus, scored by Russell Wallace for which he received the Leo Award for ‘Best Composition’! http://1491tvseries.com/directors-blog/1491-director-to-screen-ep-108-at-uvic/

COAST SALISH SINGING & DRUMMING 2015 WORKSHOPS http://www.sfu.ca/sfuwoodwards/events/events1/2014-205-spring/CoastSalishDrumminAndSinging2015.html

Northwest Coast Indians Musical Instruments - The Metropolitan Museum of Art https://www.metmuseum.org/toah/hd/nort/hd_nort.htm

Musical Instruments - American Museum of Natural History

(Different kinds of Northwest Coast musical instruments)

https://www.amnh.org/exhibitions/permanent/northwest-coast/tlingit/tlingit-collection/musical-instruments

A Coast Salish Elder singing a traditional song in the Salish style

https://www.youtube.com/watch?v=0m_5qVh__M0

Information about Interior Salish Peoples (Lil'wat Nation, the composer Russell Wallace's nation, being one). Salish in general are either Coastal or Interior. In British Columbia there are many nations and groups of nations in close proximity to one another. This is quite different from most areas of Canada.

https://www.thecanadianencyclopedia.ca/en/article/interior-salish-first-nations

CLASSROOM ACTIVITIES

Check these out before coming to hear Dreams by Russell Wallace! (2/2)

Song and Dance of the Lil'wat Nation https://www.youtube.com/watch?v=kx96lNWqILs

Russell's own singing group, Tzo'kam (comprised of family and community members) singing in the Interior Salish (Lil'wat) style with harmonies. Russell Wallace is the lead male singer in low voice in the middle!

The Salish style, similar to other Indigenous peoples in BC, is sung more slowly and in lower voices. This is quite different than the familiar 'pan-Indian' style of singing at powwows where those types of songs are actually quite high and falsetto for male voices with a strained quality in the throat with some nasal tone.

Tzo'kam "Journey Song" on Granville Island

https://www.youtube.com/watch?v=uTa8Z5wHq9A

A recording of Russell Wallace singing in this family singing group, Tzo'kam. This is another 'Dream Song'. Note a very distinct style of a cappella singing with harmonies and unison singing in low voice ranges for the most part!

Dream Song—Tzo’kam

https://www.youtube.com/watch?v=K8vjtw73xJ8

A video of an informal community gathering of male singers on hand drums from the Lil'wat Nation singing a Bear Song with young girls dancing the traditional Bear Dance. Listen for the lower voice style of singing in Salish style vocables (non-word syllables)!

Lil’wat Nation Hand Drum Dong: The Bear Song

https://www.youtube.com/watch?v=3CC8NMdjcp8

Historical photos about Interior Salish in their home territory region of rivers

First Nations - People of the Interior

https://royalbcmuseum.bc.ca/exhibits/bc-archives-time-machine/galler07/frames/int_peop.htm

El sombrero de tres picos, is a ballet by Manuel de Falla commissioned by Sergei Diaghilev and premiered complete in 1919. It wasn’t always a ballet, however. When de Falla wrote it, he intended it to be performed as a pantomime. Then, a famous choreographer, named Sergei Diaghilev, asked de Falla if he would re-write it as a ballet with full orchestra!

The music of Spain has a long history and has played

an important part in the development of western music, and

a particularly strong influence upon Latin American music.

Outside of Spain, the country is often associated with

traditional styles such as flamenco and classical guitar, but

Spanish music is in fact very diverse, reflecting the large

cultural differences between regions. The flamenco style, for

example, originated in Andalusia in the south of the country,

whereas the music traditions in the north-western regions

such as Galicia are centered around bagpipes as a result of

the Celtic history of the region. Spain played an notable role

in the history of western classical music, particularly in the

early phase from the 15th to the 17th centuries, from

composers like Tomás Luis de Victoria, the zarzuela of

Spanish opera, the ballet of Manuel de Falla, to the classical

guitar music of Pepe Romero. Nowadays, like elsewhere,

commercial popular music dominates.

“Final Dance” from El sombrero de tres picos (Three-Cornered Hat), Suite No.2

The Music of Spain

T e r m s :

R e f e r e n c e s :

KWS School Concerts Music Tells a Story KWS, Lucas Waldin

Have you ever heard of Pablo Picasso? He created the sets and costumes for the ballet. One of the lead dancers took flamenco lessons in order to be able to dance in the ballet. The Three-Cornered Hat was a huge success!

Track #8 “Final Dance” The music is a joyful pageant of brilliant colors, fast-changing rhythms, and driving excitement. But even with its exotic flavor, the piece maintains masterful balance and pacing. The Three-Cornered Hat helped Spain reclaim its rightful place in Euro-pean classical music.

Terms Pantomime: performers express meaning through gestures Choreographer: a person who creates and arranges dances and ballets Flamenco: a style of Spanish music, usually played by guitar and accom-panied with singing and dancing

References Watch some flamen-co dancing on YouTube in order to feel the flavour of Spanish music!

The Kitchener-Waterloo

Symphony

CLASSROOM ACTIVITIES

Manuel de Falla – Three Dances (Suite No.2) from El sombrero de tres picos (Three Cor-nered Hat) - Final Dance

1. Active Listening This Activity Teaches: The Elements of Music; The Instrument families; Identify, through listening, a variety of musical forms or pieces from different communities, times, and places (OPMC C3.2) - Manuel de Falla was a Spanish composer. LISTEN to the Final Dance from the ballet, “Three Cornered Hat.” What is a ballet? (dancers perform on stage to music often telling a story ) - This music is full of musical colours! On chart paper, write words that de-scribe the music: LOUD OPENING EXTREME DYNAMICS (LOUDS & SOFTS) FEW INSTRUMENTS FULL ORCHESTRA SLOW TEMPO FAST TEMPO ACCENTED NOTES JUMPY RHYTHM - Which families of instruments of the orchestra can you hear? (woodwinds, strings, percussion, brass) 2. Spanish Guitar This activity teaches: Describe ways in which the elements of music are used for different purposes in the music they listen to (OPMC C2.2). - Can you imagine a guitar playing this piece? Check out YouTube – Simon Dinnigan! - How did the colours change from orchestra to guitar? 3. Draw what you Hear This activity teaches: Express personal responses to musical performances in a variety of ways (OPMC C2.1) - What do you imagine is happening in this piece? Listen again and colour or draw a picture that represents the music. 4. Move to the Music This activity teaches: Express personal responses to musical performances in a variety of ways (OPMC C2.1) - This piece is written for dancing, what kinds of movements will you do to match the music that you hear?

Education and Community Programs

Pathways Each season, students in grades 1 – 3 and 4 – 6 come to the Centre in the Square to see a full orchestra educational concert, free of charge. The content of each concert has been developed to tie into the Ontario Ministry of Education Curriculum. A set of 6 unique concerts are now offered on a 3-year cycle so that students have an opportunity to see a unique concert each year. The KWS provides supplementary materials for teachers as well as in-classroom visits by musicians before and they attend the concert.

This program, based on a model from Toronto’s Regent Park neighbourhood, provides subsidized professional music lessons to low-income families in the Kitchener-Waterloo area. This program provides qualifying families with access to professional teachers, performance opportunities, and instruments for 5$ per lesson. The KWS Bridge to Music Sunnydale Satellite program provides music lessons to those in the Sunnydale community of North Waterloo.

Education isn’t just about feeding the brain. Art and music feed the heart and soul.

-Julie Garwood Music gives a soul to the universe, wings to the mind, flight to the imag-ination and life to every-thing.

- Plato

Cornerstone Education Programs

Students ages 5 through 23 are invited to join the Kitchener-Waterloo Symphony Youth Orchestra Program comprised of four ensembles: Preludium Strings, Youth Strings, Youth Sinfonia and Youth Orchestra. The nationally acclaimed program provides motivating orchestra experience for future generations of music enthusiast and musicians. The YOP activities help to develop multiple skills -cooperation, communication, leadership, instrumental technique, public performance as well as love for arts and much more!

BRIDGE TO MUSIC YOUTH ORCHESTRA SCHOOL CONCERTS

Youth Orchestra Program performing at the Centre in the Square

Staff:

Yujin Cha, Education & Community Programs Manager

Barbara Kaplanek, Education & Community Programs Manager Youth Orchestra & Schools YOP Conductors:

Matthew Jones, Youth Orchestra David Wadley, Youth Strings Allene Chomyn, Youth Sinfonia Ella Weber, Preludium Strings

KWS Education Programs—What We Do

Kinderconcert Series These programs for children ages 3 months to 4 years are developed and presented by KWS musicians. Music For

Young Children offers pre-concert activities. Each concert in the 3 concert series is performed at the Conrad

Centre for the Performing Arts (Kitchener), Waterloo Region Museum, (Kitchener) and Woolwich Memorial Centre

(Elmira).

School Concerts Each season, elementary school students in grades 1 – 3 and 4 – 6 come to the Centre in the Square to see a full

orchestra educational concert. The content of each concert has been developed to tie into the Ontario Ministry of

Education Curriculum. A set of 6 unique concerts are now offered on a 3-year cycle for grades 1 to 3 and grades 4

to 6 so that students have an opportunity to see a unique concert each year. The KWS provides supplementary

materials for teachers as well as in-classroom visits by musicians each concert.

Youth Orchestra Program (YOP)

Students ages 5 through 23 are invited to join the Kitchener-Waterloo Symphony Youth Orchestra Program comprised of four ensembles: Preludium Strings, Youth Strings, Youth Sinfonia and Youth Orchestra. The nationally acclaimed program provides motivating orchestra experience for future generations of music enthusiast and musicians. The YOP activities help to develop multiple skills -cooperation, communication, leadership, instrumental technique, public performance as well as love for arts and much more! Family Series The Family Series is an engaging concert experience designed for ages 4 – 12. The KWS has designed this set of 3

concerts to entertain and illuminate. Each concert includes a wide range of activities and explorations in the KW

Art Gallery and Centre in the Square lobbies prior to the start of each concert. Music for Young Children and Long

& McQuade partner with us for these pre-concert activities.

Preludes The KWS provides informative presentations that tie into the music of KWS Signature concerts and classical music

appreciation in general.

COMMUNITY PROGRAMS Bridge to Music Bridge to Music is a subsidized private music lessons program, where the KWS connects qualifying families to

symphony performers to allow them to experience music on a level that they would not otherwise be able to

access. This program is open to students ages 6 – 13 and provides subsidized music lessons and instrument loans

for standard orchestral instruments. Lessons take place in established private studios, at the Conrad Centre or any

other location arranged between students and teachers. Resources beyond music lessons, including performance

opportunities, concert tickets, access to KWS youth ensembles, and masterclass opportunities are all provided by

the KWS through the generous sponsorship of SunLife.

Health and Wellness Throughout the year, you will find ensembles from the KWS performing free concerts and giving mini music

lessons. We visit retirement communities, nursing care facilities, schools, libraries, city halls, soup kitchens, health

care facilities, and summer festivals.

When they're not rehearsing or performing, most KWS musicians mentor young musicians through private

teaching studios, conservatories, music schools and universities. Our musicians love bringing their music to all

members of our community.

For more information regarding any of our programs or concerts, please visit our website: kwsymphony.ca