Non-Directed Music Listening Programblogs.sd41.bc.ca/vpa/files/2011/06/listening-program-script-I.pdf · In this selection you hear the style of the flamenco guitar and the rhythms

Non-DirectedMusic

Listening Program

Series I

Non-Directed Music Listening Program Script Series I

Week 1

Day 1:This week’s listening selection is titled “Ritual Fire Dance”. It was composed byManuel de Falla.

Manuel de Falla was a Spanish musician who used ideas from folk stories and folkmusic in his compositions. The “Ritual Fire Dance” is from a ballet called“Bewitched By Love” and describes in musical images how the heroine tries tochase away an evil spirit which has been bothering her.

Day 2:This week’s feature selection is “Ritual Fire Dance” composed by the Spanishwriter Manuel de Falla.

In this piece of music, de Falla has used the effects of repetition, gradualcrescendo, and ostinato rhythms to create this very exciting composition.Crescendo is a musical term which means the music gets gradually louder. Listento the “Ritual Fire Dance” this time to see how the effect of the ‘crescendo’ helpsgive a feeling of excitement to the piece.

Day 3:This week’s featured selection, “Ritual Fire Dance”, was written by the Spanishcomposer Manuel de Falla in 1915.

Yesterday we mentioned how the composer made use of the effect of graduallygetting louder to help create excitement. Do you remember the musical term forthe effect of gradually increasing the volume? If you were thinking of the word‘crescendo’ you are correct.

Day 4:“Ritual Fire Dance”, this week’s featured composition, was composed by theSpanish writer Manuel de Falla.

Composer: Manuel de Falla (1876 – 1946)Composition: “Ritual Fire Dance” from “El Amor Brujo”Performance: Philadelphia Orchestra, Eugene OrmandyRecording: “Greatest Hits of The Ballet, Vol. 1” CBS XMT 45658


In this piece the composer uses a number of effects to make the music soundexciting. One of the effects is the use of a gradual crescendo to cause moretension in the music. De Falla also uses a great deal of repetition to make themusic have more tension. Listen today for repeated rhythms and melodies in themusic.

Day 5:This week’s feature selection is “Ritual Fire Dance”. It was written by a Spanishmusician. Do you remember his name? If you were thinking of Manuel de Falla,you are right.

Can you name two of the effects which the composer used to make the “RitualFire Dance” so exciting. If you were able to identify both “crescendo” andrepetition as contributing factors, you have done very well. Let’s now enjoy the“Ritual Fire Dance” for the final time.


Week 2

Day 1:This week’s featured selection is “Gypsy Earrings” by the contemporary composerand performer, Ardashir Farah.

“Gypsy Earrings” is a selection performed by the guitar duo, Strunz and Farah.Although there are other instruments in the performance, the music is stronglyoriented to the style of the acoustic guitar and draws heavily on the Latin Americanand Spanish background of one of the performers – Jorge Strunz.

Day2:This week’s selection, written by the contemporary guitarist, Ardashir Farah, isentitled “Gypsy Earrings”.

Ardashir Farah is an Iranian guitarist whose style and technique are a perfectcomplement to the talents of his performance partner, the Costa Rican born JorgeStrunz. In this selection you hear the style of the flamenco guitar and the rhythmsof Latin America combined with instruments associated with jazz and popularmusic. This unique combination of the diverse styles of classical guitar, folkrhythms and melodies, and jazz improvisation provides us with an exciting newmedium of musical expression.

Day 3:This week’s feature composition is entitled “Gypsy Earrings”. It was written by theIranian born guitarist, Ardashir Farah.

Composer: Ardashir FarahComposition: “Gypsy Earrings”Performance: Jorge Strunz and Ardashir FarahRecording: “Strunz and Farah – Americas”, Mesa RZ 79041


This selection combines the style of Spanish flamenco guitar with the folk music ofLatin America. Flamenco, the dance and music of the Spanish gypsies, ischaracterized by fanciful and colourful costumes, alluring movements, stamping ofthe feet, clapping of the hands, and skilful use of the castanets. Although thispiece was originally written for two acoustic guitars, the open nature of its formprovides a unique opportunity for freedom of musical expression in animprovisational form. The improvised, or invented, solos in the middle of the pieceare supported by the small jazz combo (keyboards, bass and percussion) whichaccompanies the guitars.

Day 4:The Iranian born composer, Ardashir Farah, wrote this week’s featured listeningselection entitled, “Gypsy Earrings”.

Do you remember for which group of instruments the piece was written? It waswritten for a guitar duo supported by jazz combo keyboards, bass, andpercussion. The composer used the style of the classical flamenco guitar andintertwined it with the wonderful rhythms of Latin American music to give it astrong Latin American feel. As you listen today, try to concentrate on the rhythmsand sounds of the instruments which accompany the melody.

Day 5:This week’s feature composer is the Iranian performer, Ardashir Farah. Thisweek’s listening selection is his composition, “Gypsy Earrings”, performed by theguitar duo of Jorge Strunz and Ardashir Farah.

“Gypsy Earrings” is heavily oriented to the styles and techniques of the acousticguitar. Yesterday you listened carefully to the instruments and rhythms whichsupport the guitar duo. Today, try to listen to all aspects of the piece and see ifyou can hear the influence of the Spanish flamenco guitar, the folk-like rhythms ofLatin America and passages which are improvised, or invented, as the piece isperformed.

Week 3


Special NoteTwo recordings of this selection have been recorded on the tape. The first (theorchestral version) is to be used to coincide with the dialogue for days 1, 2, and 4.The second (brass quintet version – Canadian Brass) is to be used with thedialogue for days 3 and 5.

Day 1:This week’s listening selection is the “Allegro” from “Autumn” composed byAntonio Vivaldi.

The composer wrote this selection as part of a longer piece of music titled “TheFour Seasons”. Before we hear the musical excerpt it will be helpful to know thatin this piece he is describing hunters setting out at dawn in chase of a fox. Youwill hear the hunting horns and the horses giving chase and you will hear themusic Vivaldi wrote to describe the terrified fox trying to avoid the hunters.

Day 2:This week’s feature selection is “Autumn” from “The Four Seasons” written byAntonio Vivaldi.

“Autumn” was written for a string orchestra and if you listen carefully you will noticethere are only violins, violas, cellos and string basses playing. You may alsonotice that the violin, the stringed instrument with the highest voice, often plays byitself. It was over two hundred years ago that Vivaldi chose the violin to lead theorchestra in describing one of the activities of “Autumn”.

Composer: Antonio Vivaldi (1678 – 1741)Composition: “Autumn” from the “Four Seasons,” “Allegro” Concerto in FMajor, R. 293Performance:New York Philharmonic, Leonard Bernstein, &“The Best of theCanadian Brass”, CBS FMT 45744


Day 3:This week’s feature selection, “Autumn” from “The Four Seasons” was written byAntonio Vivaldi in 1725.

For the past two days we have heard “Autumn” performed by a string orchestra asit was originally written. Today we will hear the same piece of music played by afamous Canadian group called the “Canadian Brass”. In order to perform thispiece they had to re-arrange the music of Vivaldi so that the parts played by thestringed instruments could be played by brass instruments. You will hear how thearrangement for brass instruments sounds quite different although all of themelodies are the same.

Day 4:Today we again listen to “Autumn” from “The Four Seasons” composed by AntonioVivaldi.

The version we will hear today is the original composition written for stringorchestra. As you listen, take note of the effects created by the strings imitatingthe hunting horns, the galloping horses, and the fox trying to escape from thehunters. Listen to the violin as it leads the orchestra so that when you listen to thearrangement for brass ensemble tomorrow, you will be able to determine whichinstrument has the dominant role.

Day 5:This week’s featured selection, “Autumn” from “The Four Seasons”, was written byAntonio Vivaldi in 1725.

Today we will listen to “Autumn” performed as an arrangement written for theinternationally acclaimed “Canadian Brass”. This group consists of two trumpets,one French horn, one trombone and one tuba. As you listen, try to decide whichinstrument has the leading role which was played by the violin in the arrangementfor string orchestra we heard yesterday.


Week 4

Special NoteIn order that students may hear the entire story of “Peter and the Wolf”, the workhas been divided and recorded in five sections. The recording for eachsuccessive day continues from the point where the piece ended on the previousday. Do not rewind the tape each day as the next section of the work isannounced and recorded in sequential order.

Day 1:This week’s listening selection is a series of excerpts from “Peter and the Wolf”written by the Russian composer Serge Prokofiev.

In “Peter and the Wolf”, the composer uses different melodies and musical moodsto tell the story. Each character is assigned a melodic theme which is playedevery time the character enters the story. At certain points you will hear several ofthe themes performed at the same time because a number of characters areinvolved simultaneously in the action. Let’s listen as the narrator introduces thecharacters and the story of “Peter and the Wolf”.

Day 2:“Peter and the Wolf”, this week’s featured listening, was written by the Russiancomposer Serge Prokofiev.

First performed at the Moscow Children’sTheatre on May 6, 1936, this piece isbased on a Russian story, the title of which is literally translated as “How littlePeter fooled the wolf.” Through this selection, the composer hoped to provide apiece of music that would help children identify the instruments of the orchestra.Try to remember how the story ended yesterday so its continuation will makesense today.

Composer: Serge Prokofiev (1891 – 1953)Composition: “Peter and the Wolf”Performance: Philadelphia Orchestra, Eugene OrmandyRecording: “Prokofiev: Peter and the Wolf”, Columbia Odyssey YT 34616


Day 3:This week’s featured composition is a series of excerpts from “Peter and the Wolf”written by Serge Prokofiev.

An excerpt is a portion of music which is taken from a longer musical selection.We only have time to hear a small portion of “Peter and the Wolf” because,although it is one of the most successful classical pieces ever written for youngpeople, the entire piece is approximately 25 minutes long.

Day 4:The Russian composer, Serge Prokofiev, wrote this week’s feature selection“Peter and the Wolf”.

As you listen to the continuation of “Peter and the Wolf”, notice which instrumentsthe composer has used to describe each character in the story. Try to decide ifyou think Prokofiev made choices which are well suited to the nature of eachcharacter. Let’s now listen as the story continues.

Day 5:Today we will hear the conclusion of “Peter and the Wolf” which was written by theRussian composer, Serge Prokofiev.

“Peter and the Wolf” uses easily recognized melodies and instrumental tonalqualities to describe the characters in the story. You may wish to listen to a copyof the record or tape at the public library so you can hear the entire selection inone listening. Listen now as we hear the conclusion of “Peter and the Wolf”.


Week 5

Day 1:This week’s featured listening is the “Prelude” from “L’Arlesienne, Suite No. 1” bythe French composer Georges Bizet.

The example you will hear this week was written as incidental music to accompanydrama. The Suite which we now hear performed in concerts was ‘created’ byputting together a series of extracts from that incidental music. The entire SuiteNo. 1 consists of four selections chosen from the twenty-seven original musicalitems written for the drama.

Day 2:French composer Georges Bizet wrote this week’s listening example in 1872. Wewill listen to a portion of the “Prelude” from “L’Arlesienne Suite No. 1”.

In this music, Bizet uses a tradition theme – the ‘Marcho del rei’ or “the march ofthe kings’ – as the basis for a number of ‘variations’. You will hear the themeplayed a number of times with each repetition being different but recognizable.Bizet varies the theme by changing the tempo, by changing the instrumentalarrangement and by altering its style. Listen for these variations during the firstportion of the excerpt.

Day 3:“L’Arlesienne, Suite No. 1” was written by the French composer Georges Bizet in1872. Here is an excerpt from the “Prelude”.

Yesterday you listened specifically for the variations on the traditional theme – ‘themarch of the kings’. Today, as you listen, notice the solo instrument in the secondhalf of the example to see if you can determine which instrument is featured in the‘Andante’ – the term used to describe the slower portion of this piece.Day 4:French composer Georges Bizet wrote this week’s listening example – the“Prelude” from “L’Arlesienne, Suite No. 1”.

Composer: Georges Bizet (1838 – 1875)Composition: “L’Arlesienne, Suite No. 1 – Prelude”Performance: New Philharmonic Orchestra, Charles MunchRecording: “Carmen / L’Arlesienne”, London 421 632-4


Yesterday, you listened with particular interest to the ‘Andante’ portion of the“Prelude” to determine which instrument was featured in the solo. If you think thesolo was played by a saxophone . . . you are correct. This is one of the fewpieces written for orchestra that features the saxophone in a prominent rolebecause the instrument was once considered to be ‘crude and unrefined’. Nowlet’s listen to the “Prelude” from “L’Arlesienne, Suite No. 1”.

Day 5:This week’s featured listening example is a portion of the “Prelude” from“L’Arlesienne, Suite No. 1” written by French composer Georges Bizet.

Georges Bizet is known for his ability to write music that uses the instruments ofthe orchestra to create fresh blends of sounds which mirror the colours of thepictures and images he is trying to describe. Listen today to Bizet’s skillful use ofthe orchestra – first in the opening passage of the “Prelude” as he uses thetechnique of ‘variation’ to alter the march of the kings and then in the ‘Andante’ ashe uses the orchestra to accompany the solo melody played by the saxophone.


Week 6

Day 1:This week’s feature listening selection is “Danse Macabre” written by the Frenchcomposer Camille Saint-Saens.

“Danse Macabre” is a ‘tone poem’ which Saint-Saens defined as a piece whichdevelops from a single idea and tells a story. Sometimes we call the styles ofmusic which tells stories ‘program music’. As you listen to this piece for the firsttime, use your imagination to develop a story which might be told by this music.Tomorrow I will tell you the story that Saint-Saens used.

Day 2:Camille Saint-Saens wrote this week’s listening program excerpt, “DanseMacabre”, in 1875.

The program for this piece was summarized by the composer as … “A graveyardat midnight …Death summons the dead from their coffins by drumming with hisheels on a piece of tombstone and playing a dance tune on his fiddle. The winterwind moans through the trees as the skeletons come through the dark, runningand leaping beneath their shrouds, their bones rattling as they dance… suddenlythe early morning rooster crows and, in a wild scramble, the skeletons hurry backto their graves.”

Day 3:“Danse Macabre” was written by Camille Saint-Saens in 1875.

Composer: Camille Saint-Saens (1835 – 1921)Composition: “Danse Macabre”Performance: Academy of St. Martin-in-the-Fields, Sir Neville MarinerRecording: “Bolero /Sorcerer’s Apprentice”, Phillips 420 812-4


As you listen today, try to identify the ‘fiddle’ played by Death to summon theskeletons and the rattling of skeletal bones which is performed on the xylophone.You may also hear the dance of the skeletons as it becomes more excited justbefore the rooster crows to signal the arrival of morning.

Day 4:This week’s feature selection is “Danse Macabre” written by Camille Saint-Saens.

At the first performance of “Danse Macabre”, the audience booed and called outnegative comments about the piece. Although we find the music quite acceptableand normal now, in the late 1800’s the harmonies that Saint-Saens used in thispiece were very unusual and proved to be very upsetting to the audience.

Day 5:The featured listening for this week was written by the French composer, CamilleSaint-Saens. It is titled “Danse Macabre”.

As you listen to this selection use your imagination to create the images of thestory to bring the music to life. Notice how effectively the composer uses theinstruments of the orchestra to develop musical pictures.


Week 7

Day 1:This week’s featured listening was written by the French composer Paul Dukas in1897. It is titled “The Sorcerer’s Apprentice”.

This selection paints the picture of a broom which has been given the ability towalk and carry water by a very powerful sorcerer so that the broom may help thesorcerer carry water in his castle. The broom finds a way to create more broomsjust like itself and soon they are all carrying water and are beginning to flood thecastle. You will hear the piece start very quietly with music that symbolizes thesingle broom, grows as more brooms become involved, reaches a climax whenthe sorcerer enters the room and discovers the mess, and concludes with thesingle broom carrying out the task by itself.

Day 2:French composer Paul Dukas wrote this week’s listening example, “The Sorcerer’sApprentice”, in 1897.

Today, as you listen to “The Sorcerer’s Apprentice”, notice how quietly the piecebegins with the bassoon playing the main theme and how it seems to create thepicture of the broom coming to life. After the loud climax of the piece, you willnotice that music, which is very similar to the opening, is used to bring theselection to a close.

Day 3:“The Sorcerer’s Apprentice”, this week’s featured listening example, was written bythe French composer Paul Dukas in 1897.

Composer: Paul Dukas (1865 – 1935)Composition: “The Sorcerer’s Apprentice”Performance: Academy of St. Martin-in-the-Fields, Sir Neville MarinerRecording: “Bolero / Sorcerer’s Apprentice”, Phillips 420 812-4


Some of you may recognize the music of “The Sorcerer’s Apprentice” from theWalt Disney movie entitled “Fantasia”. This piece was considered to be verysuitable as a theme for film animation because it creates such a vivid picture. Itwas the first musical selection that was animated for the movie.

Day 4:Paul Dukas was a French composer who lived from 1865 to 1935. This week’slistening selection is his composition “The Sorcerer’s Apprentice”.

Written in 1897, just before the beginning of the 20th century, this piece is the onlyone written by Dukas which has achieved international recognition. He wroteother music which is well known in his own country but “The Sorcerer’sApprentice” is the only selection performed regularly outside of France.

Day 5:This week’s featured listening is the “Sorcerer’s Apprentice” written by the Frenchcomposer Paul Dukas.

As you listen to “The Sorcerer’s Apprentice” for the final time, notice how thecomposer uses the instruments of the orchestra to create growing excitement asthe story evolves. You will probably observe that he gradually uses more andmore instruments with increasing emphasis on the percussion section as the piecenears the climax. After the strongest section of the piece, he creates a feelingvery much like the beginning by once again using only a few instruments.


Week 8

Composer: Series I FavouritesComposition: Various – School’s Own ChoicePerformance:Recording:


Week 9

Day 1:This week’s featured selection is the “Allegro Molto” from Symphony No. 40 in GMinor written by Wolfgang Amadeus Mozart.

In a six week period in 1788, during the most unhappy period of his life, Mozartwrote the last three of his 41 symphonies. The entire “allegro Molto” section of theSymphony in G Minor is based on three note themes. You will hear them all usedin the restless melody which opens this movement and becomes the basis of theentire Symphony.

Day 2:The listening example this week is the “Allegro Molto”, the first movement fromSymphony No. 40 in G Minor written by Wolfgang Amadeus Mozart.

The restlessness of the opening melody of the movement is created in part by thegreat rhythmic activity of the melody itself and by the rapid tempo of the whole“Allegro Molto” section. “Allegro Molto” means very quickly and is the term used todescribe the speed at which the piece is performed. It also becomes the name ofthe movement.

Day 3:Wolfgang Amadeus Mozart wrote the Symphony No. 40 in G Minor in 1788. Wewill listen to the first movement – “Allegro Molto”.

When this Symphony was written, Mozart was in a very unhappy state. His moodis reflected in the music of the “Allegro Molto” through the restlessness of thethemes and melodies created from the short, three note motifs. He also uses thetechnique of constantly changing the melody in subtle ways thus making it feelunsettled emphasizing the mood of restlessness.

Day 4:

Composer: Wolfgang Amadeus Mozart (1756 – 1791)Composition: “Symphony No. 40 in G Minor” – “Molto Allegro”Performance: Berlin Philharmonic Orchestra, Karl BohmRecording: “Mozart Symphonies”, Deutsche Grammophon, Privilege427 210-4


Austrian composer, Wolfgang Amadeus Mozart, wrote the Symphony No. 40 in GMinor approximately 200 years ago. Our listening example this week is the firstmovement from that Symphony – the “Allegro Molto”.

Much of the music that was written when the Symphony in G Minor was composedwas meant to be performed in the courts of wealthy people for entertainment. Thissymphony is somewhat unusual because it was written by Mozart for performanceat a public concert.

Day 5:Today we will listen to the “Allegro Molto” from Mozart’s Symphony No. 40 in GMinor for the last time.

As you listen to the Symphony notice once again how the composer uses thetechniques of orchestral composition to create a strong feeling of restlessness inthe music. As you listen to the music, remember that this piece was written nearthe end of Mozart’s life when he was very poor, unhealthy and unhappy. Do youthink the music communicates some feeling of the composer’s unhappiness?


Week 10

Day 1:This week’s featured listening is the overture “Light Cavalry” written by Franz vonSuppe in 1866.

The music begins with a fanfare-like passage played by the trumpets and thistheme is echoed by the French horns with some minor changes. Both versions ofthe opening theme set the mood for this piece which has been dubbed the ‘militaryoperetta’ because of the many obvious musical references to the cavalry – horsemounted troops.

Day 2:Composer-conductor, Franz von Suppe, wrote this week’s listening example, theoverture “Light Cavalry”, in the mid-nineteenth century.

Yesterday, you heard the fanfare-like opening played by the trumpets and theFrench horns. Today, as you listen to this famous overture, see if you can hearhow the composer uses the melody of the ‘fanfare’ to develop the first section ofthe piece before it change tempo.

Day 3:Franz von Suppe was born in Dalmatia which is now called Croatia. His overture“Light Cavalry” was written and first performed in 1866.

You have probably noticed that the music of this overture changes tempo anumber of times during the course of its performance. As you listen today, notethe manner in which the composer uses the changes of tempo and theinstruments of the orchestra to create the image of horses moving in a verygraceful trot.

Day 4:The overture “Light Cavalry” was written by the famous composer and conductorFranz von Suppe for performance in 1866.

Composer: Franz von Suppe (1819 – 1895) – pronounced ‘soop ae’Composition: “Light Cavalry Overture”Performance: Vienna Philharmonic Orchestra, Sir Georg SoltiRecording: “Light Cavalry / Suppe Overtures”, London 421-170-4


Most overtures were originally written as music that was to be performed before anopera or an operetta actually began to ensure that the audience was seated andpaying attention. Usually they used themes from the actual opera being presentedas a preview of the work. Suppe’s overtures are unique in that they served only toset the mood for the ensuing stage work, and thus a composition might be usedfor more than one play. Let’s now listen to the “Light Cavalry” overture.

Day 5:This week’s featured listening selection is the overture to the operetta “LightCavalry” written by Franz von Suppe.

The ‘military operetta’ “Light Cavalry” successfully combines Hungarian, Italianand German national music. First performed in Vienna before an enthusiasticaudience, the overture is one of approximately three hundred stage works writtenby the composer in addition to a variety of instrumental, orchestral and sacredmusic. Despite the large number of pieces Suppe wrote, only a few are stillperformed today and he is most famous for his overtures.


Week 11

Day 1:The music selected for the listening program this week is the “Hungarian DanceNo. 5 in G Minor” composed by Johannes Brahms.

Brahms was charmed by his country’s folk music and he was especially interestedin the music of the Hungarian gypsy because he found the music of the gypsies tobe ‘gloriously alive’. The folk melodies that Brahms selected to use when he wrotethis piece demonstrate the rhythmic vitality and beauty of the gypsy dance music.

Day 2:The “Hungarian Dance No. 5 in G Minor”, this week’s featured listening piece, waswritten by the Austrian composer Johannes Brahms.

“Hungarian Dance No. 5” is developed from four short melodies, which you will beable to identify because of their contrasting moods. Today, try to identify the firsttwo fold melodies that Brahms used when writing this piece. The first is sad andsorrowful and second is based on an exciting gypsy dance melody which shifts themain rhythmic accents off the beat or pulse of the song.

Day 3:Written by Johannes Brahms, this week’s featured listening selection is the“Hungarian Dance No. 5 in G Minor”.

Composer: Johannes Brahms (1833 – 1897)Composition: “Hungarian Dance No. 5 in G Minor”Performance: Gewandhaus Orchestra, Kurt MasurRecording: “Bolero / Sorcerer’s Apprentice”, Philips 420 812-4


Yesterday, we listened carefully to identify the first two folk songs used bycomposer Johannes Brahms when he wrote “Hungarian Dance No. 5”. Did youhear the first melody which has a strong feeling of sadness and the secondmelody which has a strong rhythmic pulse? Next comes a happy tune whichmakes one think of the running, shuffling steps that dancers sometimes take. Thefinal fold melody used sounds like a question and answer. See if you can identifyall four as you listen today.

Day 4:Johannes Brahms, an Austrian composer, wrote this week’s listening selectionwhich is titled “Hungarian Dance No. 5 in G Minor”.

As you listened today, were you able to identify all four of the gypsy folk melodiesused by Johannes Brahms in his composition “Hungarian Dance No. 5 in GMinor”? Hungarian folk music is known for its sharply contrasted moods. Themusic is often tender or sorrowful one moment and wild and exciting the next.

Day 5:Austrian composer Johannes Brahms wrote this week’s listening selection, the“Hungarian Dance No. 5 in G Minor”.

Much of the music written by Johannes Brahms is thoughtful and scholarly but healso delighted in the rollicking dance melodies of the country. During his life hecollected hundreds of folk songs and wrote them down so they would not be lost orforgotten. “Hungarian Dance No. 5” is a very famous example of Brahms’ ability touse folk music as a source for the creation of his own compositions.


Week 12

Composer: Series I FavouritesComposition: Various – School’s Own ChoicePerformance:Recording:


Week 13

Day 1:The featured listening example for this week was written by Johann SebastianBach and is titled, “Jesu, Joy of Man’s Desiring”.

This chorale, one of the best known of Bach’s works, is a hymn which comes froma longer piece called a cantata which was written for performance in church.Originally composed for a men’s choir with organ and orchestral accompaniment,the piece has been re-written in this version for symphony orchestra.

Day 2:The featured composer for this week is Johann Sebastian Bach. The featuredselection is “Jesu, Joy of Man’s Desiring”.

Neither ‘story’ nor ‘picture’ music, this chorale or hymn suggests listening for thesheer beauty of its sound. The majesty of this music creates the atmosphere of agreat cathedral with a special mood of dignity and serenity. Listen today to sensethe impressive, serious appeal of the chorale which was originally written to beperformed in Bach’s church in Eisenach, Germany.

Day 3:This week’s listening selection was written by the famous German composer,Johann Sebastian Bach. It is titled, “Jesu, Joy of Man’s Desiring”.

Today, as you listen to “Jesu, Joy of Man’s Desiring”, pay attention to the flowingaccompaniment which is such a vital part of this chorale, providing a feeling ofunceasing, graceful, rhythmic movement. The chorale’s melody, moving in a solidblock of chords, rings out clearly in contrast to the fluid nature of theaccompaniment.

Day 4:Written by German composer Johann Sebastian Bach, “Jesu, Joy of Man’sDesiring” is one of his most well known pieces.

Composer: Johann Sebastian Bach (1685 – 1750)Composition: “Jesu, Joy of Man’s Desiring”Performance: Lucerne Festival Strings, Rudolf BaumgartnerRecording: “Adagio Barocco”, Deutsche Grammophon 3335 606


Born over 300 years ago, Johann Sebastian Bach played an extremely importantpart in the development of the music of western culture. His attention to theestablished ‘rules’ of writing music, which had evolved before his time and his skillas a composer, resulted in the formalization of the principles of tonality (scales,keys, etc.) that we still follow today. Bach’s music remains a model and an on-going source of inspiration for musicians of the twentieth century.

Day 5:Johann Sebastian Bach composed this week’s listening example, “Jesu, Joy ofMan’s Desiring” in the early 1700’s.

Although famous as a composer, Bach was even more well known during hislifetime as an exceptional organist. Possessing an inventive mind and anindependent spirit, he nonetheless was willing to learn all he could from others,sometimes walking as far as thirty miles to hear other famous organists playconcerts in neighbouring cities. Let’s listen to his composition, “Jesu, Joy of Man’sDesiring”.

Week 14


Day 1:This week’s featured listening selection consists of two short pieces from “TheNutcracker” written by Russian composer Peter Ilyich Tchaikovsky.

Tchaikovsky’s music “The Nutcracker” was written as a story ballet or as a dancepiece for the stage which tells a story with its scenery, costumes, special musicand dancers enacting the play in pantomime. In the Soviet Union, Tchaikovsky’scountry ballet music has always been considered so important that only the bestcomposers are asked to write music for ballet. This week we will listen to twopieces from the ballet suite “The Dance of the Sugar Plum Fairies” and “TheDance of the Militons”.

Day 2:Peter Ilyich Tchaikovsky wrote this week’s very famous listening selection “TheNutcracker”.

Tchaikovsky wrote a great deal of ballet music which has become favorite concertmusic as well. “The Nutcracker” was written in response to a request from theRussian Imperial Theatre asking him to write a ballet for the Christmas season.For his theme, Tchaikovsky chose one of Hoffman’s ‘Christmas Tales’ entitled“The Nutcracker”. The “Dance of the Sugar Plum Fairies” and “The Dance of theMilitons” are two of the pieces the composer wrote and combined with other shortpieces to create the whole ballet and tell the story of “The Nutcracker”.

Day 3:“The Nutcracker” ballet was written by the famous Russian composer Peter IlyichTchaikovsky in the late 1800’s.

Composer: Peter Ilyich Tchaikovsky (1840 – 1893)Composition: “The Nutcracker” “Dance of the Sugar Plum Fairies” “Dance ofthe Militons”Performance: Paris Conservatoire Orchestra, Jean MartinonRecording:“Ballet Favourites”, London 417 840-4


Tchaikovsky wrote fifteen different dance pieces for his fairy tale ballet “TheNutcracker”. Later he chose seven of them as a set, or suite, of concert piecesand later added an overture or opening piece to the suite. One of the seven is“The Dance of the Sugar Plum Fairies”. The melody of the beautiful sugar plumfairy is very delicate and fairy-like. Part of that effect is created by using celesta,an instrument which looks like a piano but sounds like softly ringing bells.

Day 4:Peter Ilyich Tchaikovsky, one of the most well known of all Russian composers,wrote this week’s listening selection “The Nutcracker”.

“The Dance of the Militons” is the second piece from “The Nutcracker” we arelistening to this week. This piece has a different feel about it which results fromthe use of different orchestral instruments and a much more determined rhythmpattern. Tchaikovsky intended that the piece would help us imagine themovement of little toy soldiers. Let’s now listen to “The Dance of the Sugar PlumFairies” and “The Dance of the Militons”.

Day 5:The ballet “Nutcracker” was written by the famous Russian composer Peter IlyichTchaikovsky.

“The Nutcracker” was originally written as a ballet but the suite of seven pieces,which Tchaikovsky selected as concert music to be played apart from theperformance of the ballet, is equally famous. The theme of the ballet and thebeauty of the music is enjoyed by hundreds of thousands of concert goers aroundthe world each year at this time.


Week 15

Day 1:This week’s featured listening selection is the “Hallelujah Chorus” from “TheMessiah” written by George Frederic Handel.

“The Messiah” is probably the most famous oratorio ever composed. It was firstproduced in Dublin, Ireland with Handel himself conducting the orchestra andchorus. The entire work consists of a variety of choral, solo and orchestralselections combined in a manner very similar to the style of an opera. Let’s nowlisten to the “Hallelujah Chorus”.

Day 2:In 1741, George Frederic Handel composed the listening selection featured thisweek. The piece is the “Hallelujah Chorus” from “The Messiah”.

After “The Messiah” was performed in Dublin it was produced in London, Englandwhere it was met with a storm of protest by the clergy. It was during the firstperformance of the work in London that the audience, carried away by the powerand noble character of the “Hallelujah Chorus”, all stood at the same time as if bysome pre-arranged signal. Ever since, audiences around the world rise at thebeginning of this selection and remain standing until its conclusion.

Day 3:Composed by George Frederic Handel in 1741, the listening selection for thisweek is the “Hallelujah Chorus” from the oratorio “The Messiah”.

Composer: George Frederic Handel (1685 – 1759)Composition: “Hallelujah Chorus” from “The Messiah”Performance: London Philharmonic Orchestra, Karl RichterRecording: “The Messiah”, Polydor 2530 643


A virtuoso on the harpsichord, Handel also played the violin and the organ verywell. Although he worked as a church organist, Handel was first attracted to thecity of Hamburg, Germany by the productions of its famous opera house. He thenmoved to Italy to be in closer contact with the great Italian composers of the timeand then after a brief return to Germany, spent the last forty-two years of his life inLondon, England.

Day 4:This week’s listening selection is the famous “Hallelujah Chorus” from “TheMessiah” composed by George Frederic Handel in 1741.

“The Messiah” is an example of a musical form called an oratorio which may bedefined as an extensive setting for solo voices, chorus and orchestra. It isperformed without scenery, costumes or action on stage. Although based on textfrom the Bible, the oratorio was designed to be performed on the stage of thetheatre and not in the church. “The Messiah” was written in the incredibly shorttime span of twenty-four days. Let us now listen to the “Hallelujah Chorus”.

Day 5:Composed in 1741, the “Hallelujah Chorus” from “The Messiah” is one of the mostwell-known pieces of music written by George Frederic Handel.

In 1750, eight years after its first performance in Dublin, Ireland, “The Messiah”was finally accepted by London audiences. Since that time, it has probably beensung throughout the world more often than any other large choral work. Let’s nowlisten to this week’s featured listening selection for the final time, the “HallelujahChorus” from Handel’s oratorio “The Messiah”.


Week 16

Day 1:This week’s featured listening selection is the tone poem “Finlandia” written byFinnish composer Jean Sibelius.

Sibelius wrote music test characterized as “poems” which evoke meaning but donot literally describe. The composer identified deeply with the people of Finlandand so understood their nature that it made the quotation of folk songsunnecessary in his writing. although he never used folk music as a source ofthematic material, many of his themes could have been popular tunes, and at leastone – the choral from “Finlandia” – became one.

Day 2:In 1899, Finnish composer Jean Sibelius wrote the listening selection featured thisweek. The piece is the tone poem “Finlandia”.

Although it did not use folk songs of Finland, “Finlandia” became immediatelypopular with the people of the country and its musical nationalism was clearlyevident and those political implications were not lost to the authorities. Theperformance of “Finlandia” was forbidden by the tsarist police when Finland wasdemanding her independence at the beginning of the twentieth century.

Day 3:Composed by Jean Sibelius in the 1890’s, the listening selection for this week isthe tone poem “Finlandia”.

With its rousing trumpet calls and stirring melodies, “Finlandia” provides a goodexample of Sibelius’ technique of writing music. He was moving away from theuse of elaborate themes and turning to the use of simple, beautiful melodies andshort motives which were often no more than fragments. These motives areskillfully combined and developed into a meaningful structure which sustains ahigh degree of musical tension and momentum.Day 4:This week’s listening selection is the tone poem “Finlandia”, composed by JeanSibelius.

Composer: Jean Sibelius (1865 – 1957)Composition: “Finlandia”Performance: Berlin Philharmonic Orchestra, Herbert von KarajanRecording: “Herbert von Karajan Conducts: Les Preludes, ‘1812’ Overture,Finlandia”,Deutsche Grammophon 427 222-4


In 1899, Jean Sibelius wrote music to introduce and accompany six tableauxdepicting notable events in Finnish history – the last of which was entitled “FinlandAwakes”. Following a successful concert performance of these pieces and arequest from a wealthy patron for a nationalistic overture, the composer separatedthe final piece from the others in the set and gave it the now familiar title –“Finlandia”.

Day 5:Composed in 1899, “Finlandia” is one of the most well-known and most oftenperformed pieces of music written by Jean Sibelius.

Sibelius’ tone poem “Finlandia” had important nationalistic importance for hiscountry as Finland sought independence from the Russian Empire late in thenineteenth century. While his melodies are not folk tunes, they have many of thesame qualities and reflected the spirit and pride of his countrymen. Let’s listen to“Finlandia” for the final time.


Week 17

Day 1:This week’s featured listening selections are the “Allegro non molto” and the“Allegro” from the “Winter” section of “The Four Seasons” composed by AntonioVivaldi.

The composer wrote this selection as part of a longer piece of music titled “TheFour Seasons”. We listened to the “Autumn” movement of “The Four Seasons”earlier this year. The winter solstice (the first official day of winter) occurs on theday of the year which has the least amount of sunlight. The date of the wintersolstice is December 21. In this piece, Vivaldi celebrates the beginning of winter.

Day 2:This week’s selection is “Winter” from “The Four Seasons” written by AntonioVivaldi.

Vivaldi wrote “The Four Seasons” to describe the various seasons of the year. Hedescribed each of them in both words and in music. In the poem he wrote aboutwinter, he said “Trembling, frozen, in the icy snow at the horrid wind’s harshbreath; running while constantly stamping one’s feet; and feeling the chatter fromthe overwhelming cold.” In music he wrote the composition “Winter”.

Day 3:This week’s featured selection, “Winter” from “The Four Seasons” was written byAntonio Vivaldi in 1725.

Composer: Antonio Vivaldi (1678 – 1741)Composition: “Winter” from “The Four Seasons” – Allegro non molto,Allegro Concerto in F Major, R 293Performance: New York Philharmonic, Leonard Bernstein, Lorin Maazel(violin)Recording: “Vivaldi’s Greatest Hits”, CBS XMT 45810


Yesterday, we heard part of Vivaldi’s poem about winter. Today, we will hear therest of what he wrote about this season. “Passing quiet and contented days by thefire while outside the rain soaks people by the hundreds; walking in the ice withslow steps for fear of falling, turning cautiously. Turning suddenly, slipping, fallingdown, going on the ice again and running fast until the ice breaks open. Hearing,as they burst through the bolted doors, Scirocco, Boreas, and all the winds at war.This is winter, but it brings such joy.”

Day 4:Today, we again listen to the “Allegro non molto” and the “Allegro” from the“Winter” movement of “The Four Seasons” composed by Antonio Vivaldi.

From his words we can tell that Antonio Vivaldi had a variety of feelings aboutwinter. He describes “the wind’s harsh breath”, “the overwhelming cold”, “rainsoaks people by the hundreds.” But in the last line he wrote, Vivaldi said “This iswinter, but it brings such joy.” As you listen to the music today, can you hearVivaldi express the harsher aspects of winter as well as the beauty and joy of theseason?

Day 5:This week’s feature selection “Winter” from “The Four Seasons” was written byAntonio Vivaldi in 1725.

As he did when he composed the “Autumn” section of “The Four Season”, Vivaldichose the violin as the instrument which would lead the string orchestra and alsoserve as a solo instrument in “Winter”. He thought the violin would be anappropriate orchestral voice to help describe the harshness and beauty of winter.


Week 18

Day 1:The featured selection this week was composed by Louis Gottschalk. It is entitled“Cakewalk”.

At the beginning of the nineteenth century the idea of outstanding visitingperformers was beginning to be relatively common in the United States. Most ofthe visiting virtuosos were European artists. Toward the middle of the centuryAmerica produced its own virtuoso – Louis Gottschalk. Gottschalk was born inNew Orleans and was widely recognized as one of the most outstanding pianistsof his generation.

Day 2:The piece being featured in the Listening Program this week is “Cakewalk”, whichwas written by Louis Gottschalk.

An American pianist, Gottschalk wrote many short pieces which were very tunefuland of varying degrees of difficulty. May of these pieces became commonselections in the repertoire of piano students. “Cakewalk” – sometimes called“The Grand Walkaround” – was originally written for solo piano.

Day 3:“Cakewalk” is the title of this week’s listening selection. It was written by LouisGottschalk.

American Louis Gottschalk was best known during his lifetime as a virtuosopianist. Of more long lasting importance were the pieces he wrote for piano whichare still played by keyboard students. Also of great importance were the shortpieces he wrote during the 1840’s – “The Banjo”, “Bamboula”, “Le Bananier” –which, by exploiting themes and sounds of the New Orleans area, pointed the wayto an awakening nationalism in the United States.Day 4:The music selected for the Listening Program this week is the “Cakewalk” writtenby Louis Gottschalk.

Composer: Louis Gottschalk (1829 – 1869)Composition: “Cakewalk” - “The Grand Walkaround”Performance: Philadelphia Orchestra, Eugene OrmandyRecording: “Greatest Hits of the Ballet, Vol. 1”, CBS XMT 45658


A virtuoso American pianist, Louis Gottschalk drew upon the customs and musicof his New Orleans birthplace for many of the musical ideas he used in his owncompositions. “Cakewalk” is reminiscent of the style of music which was used atsocial functions where people brought fancy cakes, set them on display and thenwalked around the display of cakes in time to the music. People took the cakethey were standing closest to when the music stopped. Use your imagination tovisualize the ‘cakewalk’ as the music plays.

Day 5:Written by Louis Gottschalk, the music featured in the Listening Program this weekis entitled “Cakewalk”.

This piece was written by an outstanding American pianist in the mid nineteenthcentury. It draws upon the musical and non-musical traditions of New Orleans forinspiration and concept. As you listen today, see if you can hear some of thestylistic and rhythmic elements that you might hear in an early jazz piece from thesame area.


Week 19

Day 1:This week we will be listening to “Danse Infernale” from Igor Stravinsky’s ballet“L’Oiseau de Feu” or “The Firebird”.

Every ballet relates a story and as you will be able to tell from listening to themusic, the Russian legend of the Firebird is very exciting. Prince Igor releases theFirebird from captivity and the bird gives him one of his feathers in appreciation.This feather later enables the Prince to free thirteen beautiful girls from the ogreKastcher’s castle. One of these damsels eventually becomes Prince Igor’s bride.

Day 2:“Danse Infernale”, this week’s listening selection, comes from Igor Stravinsky’sballet, “The Firebird”.

You can easily imagine evil sorcerers, wizards and gnomes casting spells andcreating difficulties for the hero, Prince Igor. The music begins with a ‘bang’ thenimmediately drops to an ominous, low rumbling of the timpani as it begins to buildexcitement. Stravinsky effectively uses brass instruments to set the tone for thepiece then switches dramatically to the lighter, almost innocent, sounds of theflute, glockenspiel and violin. These two contrasting ideas then battle forsupremacy in the piece.

Day 3:Russian composer, Igor Stravinsky, wrote this week’s featured listening selection –“Danse Infernale” – in the year 1910.

Composer: Igor Stravinsky (1882 – 1871)Composition: “Firebird” - “Danse Infernale”Performance: Boston Pops Orchestra, Arthur FiedlerRecording: “Night on Bald Mountain”, Deutsche Grammophon 413 689-2


Stravinsky uses the instruments of the orchestra in a manner that allows you toalmost see the forces of good and evil battling each other. One of the ways heaccomplishes this is by using a lot of dissonance. Dissonance occurs when youhear notes that don’t seem to fit “correctly” with the rest of the music. Dissonancemakes you feel somewhat uncomfortable and agitated.

Day 4:Today, as you listen to Igor Stravinsky’s “Danse Infernale”, try to imagine thedance movements that would best help tell the story of “The Firebird”.

Stravinsky creates much excitement in the music by using a lot of dissonance. Healso sets a relatively fast musical tempo which effectively depicts the dancingflames and the spirits swirling around in the darkness. Do you feel Stravinsky’suse of dynamic contrasts (loud and soft) help create the mood of the piece?

Day 5:Today marks the final time that you will listen to “Danse Infernale” fromStravinsky’s ballet, “The Firebird”.

“The Firebird” was Igor Stravinsky’s first ballet. When it was introduced in Paris onJune 25, 1910, it was a huge success. Stravinsky brings the story of “TheFirebird” to life by using a variety of musical techniques. He uses dissonance,dynamic contrasts and tempo changes to make the characters come to life. Listento how Stravinsky constantly changes the combination of instruments to createspecific moods for each idea.


Week 20

Day 1:This week we will listen to the Allegretto from Joseph Haydn’s “Military”Symphony.

This particular symphony is one of the twelve which are appropriately labeled the“London Symphonies” as Haydn wrote them especially for a London audience.Before he moved to London, Haydn had spent thirty-two years in the employ of theHungarian Prince Esterhazy. Because he composed and conducted his ownorchestra he was able to experiment with many innovative ideas. In the AllegrettoHaydn uses a trumpet fanfare to capture the attention of his audience. A fanfare isa trumpet introduction to signal a military ceremony or operation. This was uniqueto the orchestra as previously trumpets never received ‘solo’ parts.

Day 2:This week’s featured listening selection is the Allegretto movement from JosephHaydn’s “Symphony in G, No. 100” which is sometimes called the “Military”symphony.

In the late 1700’s “Papa Haydn”, as he was fondly called by his fellow musicians,was invited to compose and conduct twelve symphonies for an appreciativeLondon audience. Notice how Haydn begins with a very simple theme in thestrings and woodwinds. He then alters this theme by adding the ‘stronger’ soundsof the brass and percussion instruments. He also changes the sound slightly byintroducing the sounds of a minor key which give the music a somewhat sadfeeling.

Day 3:

Composer: Joseph Haydn (1732 – 1809)Composition: Symphony in G, No. 100 (“Military”) - AllegrettoPerformance: Wiener Symphoniker, Wolfgang SwallischRecording: Haydn: Symphonies Nos. 94, 100 and 101”, Phillips 422 973-4


Joseph Haydn’s “Military” Symphony is one of the twelve “London Symphonies”.The Allegretto is the second movement from this work which is also known as thesymphony in G, No. 100.

Prior to Haydn ‘perfecting’ the art of orchestration or arranging music for orchestralinstruments, symphonic music was generally conducted from and accompanied bya piano-like instrument called the harpsichord. The harpsichord was supposed tofill in the ‘holes’ within the music by having the harpsichord player perform allnotes of the chord in case some were missing when the music was arranged fororchestra. The Allegretto begins with a simple theme in the strings andwoodwinds. This theme then moves between sections of the orchestra. Listen tohow Haydn uses a variety of techniques to connect the statements of the themethus achieving a long, uninterrupted musical line.

Day 4:Today we will again listen to the Allegretto from Austrian composer JosephHaydn’s Symphony in G, No. 100.

Haydn was sixty years old when he wrote the set of “London Symphonies”. Themusic represents the culmination of many years of work and practice and showshow Haydn used many techniques to intrigue and involve his listeners. In theAllegretto he begins with a simple thematic exchange between the strings and thewoodwinds. Listen to how he keeps the music moving with short solo-like linesplayed on instruments such as the oboe. He adds even more interest by switchinghis bright major key to a short minor key played by the ‘darker’ soundinginstruments. After this you are never quite sure what will happen next!

Day 5:Today we will listen to the Allegretto from Joseph Haydn’s “Military” Symphony forthe final time.

Haydn’s symphonies usually consisted of four contrasting movements or sections.Why do you think Haydn waits until the end of the Allegretto movement to soundthe trumpet fanfare? It is probably because he was constantly trying to surprisehis audience by using different combinations of instruments, rhythms and sounds.The trumpets had always acted as accompaniment to the rest of the horn section.In the Symphony in G, No. 100 they play a solo line which has a distinctivelymilitary sound.


Week 21

Day 1:This week’s selection is entitled “Basin Street Blues”. It was composed bySpencer Williams.

The ‘blues’ is a type of music which is derived from the work songs of the Africanslaves of the Southern United States. These songs of a slow or moderate tempooften reflected the slaves’ feelings of sadness, resignation and loneliness. ‘Blues’may be performed either vocally or instrumentally. In this arrangement of the“Basin Street Blues” performed by the Canadian Brass, listen as the brassinstruments – trumpet, French horn, trombone and tuba – imitate each others’melodies.

Day 2:The “Basin Street Blues” was written by Spencer Williams near the beginning ofthis century.

The ‘blues’, a form of music derived from the African music imported by thesouthern slaves, often incorporate a musical technique referred to as “call andresponse”. In this style a performer sings or plays a phrase which is answered bya chorus or group of instruments. As you listen to the “Basin Street Blues”, canyou hear how the instruments seem to call to each other?

Day 3:This week we are listening to the “Basin Street Blues” by Spencer Williams.

Composer: Spencer WilliamsComposition: “Basin Street Blues” arr. Luther HendersonPerformance: The Canadian BrassRecording: “The Best of the Canadian Brass”, CBS FMT 45744


In this piece notice how prominently the trombone is featured. In the 1930’s, JackTea Garden, an American Indian blues trombonist from Texas, helped create anew enthusiasm for the trombone as a jazz instrument through his performance ofpieces such as the “Basin Street Blues”. Listen carefully and you will hear thesliding notes of the trombone as the selection is now performed by the CanadianBrass.

Day 4:The “Basin Street Blues” performed by the Canadian Brass is this week’s featuredlistening selection.

‘Blues’ music is not performed according to the European tradition of ‘correct’pitch. In order to express the feelings of the ‘blues’ (the emotions of sadness,resignation and loneliness), sometimes the notes are played slightly ‘out of tune’.These notes are referred to as “bent” notes. Often the third and seventh notes ofthe scale were “bent” and called “blue” notes. The slide trombone lends itself tothese “bent/blue” notes. As you listen again to the “Basin Street Blues”, can youhear these notes?

Day 5:This week we have listened to the “Basin Street Blues” by Spencer Williams.

We have learned how the ‘blues’ was derived from the music of the African-American slaves. From ‘blues’ and ‘ragtime’ the genre of music called jazz wasborn. Basin Street is a street in New Orleans, Louisiana, a city which is called “thecradle of jazz”. Later, built upon the foundation provided by blues and jazz, rockand roll developed in the 1950’s. The music you like to listen to today on radioand MTV is most likely rooted in the ‘blues’. Let us now listen for the final time thisweek as the Canadian Brass perform the “Basin Street Blues”.


Week 22

Day 1: TThis week we will listen to an excerpt from Aram Khatchaturian’s ballet “Gayne”,entitled “Sabre Dance”.

Khatchaturian’s music was highly influenced by the folk songs of his nativeArmenia. The rhythm is driving and the music itself is full of colourful soundeffects. One of the amazing things about Khatchaturian is that he knew virtuallynothing about music before he was twenty years old. All he knew was that he hada burning desire to make music and to create his own unique style.

Day 2:Aram Khatchaturian, this week’s featured composer, wrote the “Sabre Dance”from the ballet “Gayne” in the early 1940’s.

“Sabre Dance” was an immediate success and was heard constantly on the radioand achieved nationwide popularity. When it was first performed in New York City,the audience so enjoyed it that they demanded an encore! The ballet tells thestory of the love affair between Kazakov and Gayneh. The musical score containstwelve Armenian folk dances written as into two separate suites. A suite is acollection of short pieces. How do you think the “Sabre Dance” could have fit intothis story? Don’t forget that a saber is a sword.

Day 3:“Sabre Dance”, our listening excerpt for this week, is part of the first suite fromAram Khatchaturian’s ballet, “Gayne”.

Composer: Aram Khatchaturian (1903 – 1978)Composition: “Sabre Dance” from “Gayne”Performance: Andre Kostelanetz and His OrchestraRecording: “Greatest Hits of the Ballet, No. 1”, CBS XMT 45658


As the story goes, Gayneh’s first husband is a traitor and Kazakov, Gayneh’s truelove, eventually emerges as the hero. Can you imagine a story that might involvea very exciting sword duel? The music compels you to move. Its rhythm isforceful and the conversation exchanged between instruments is almosthumorous. Listen to how the trombones slide their response to the xylophones.

Day 4:Upon its initial performance, Aram Khatchaturian’s “Sabre Dance” achievedinstantaneous acclaim in both Europe and North America.

Khatchaturian used the xylophone in his orchestration of this Armenian folk dance.Up until the 20th century, this was an extremely unusual instrument to be used inan orchestra. Khatchaturian chooses to employ its dry, hard sound to intensify theexcitement of this dance. At the beginning, the xylophone acts as a soloinstrument with the strings serving as a very quiet accompaniment. The temporemains constant but the intensity of sounds and rhythms make you feel the musicis racing away.

Day 5:Today we will listen for the final time to Aram Khatchaturian’s “Sabre Dance”.

After the xylophones, trombones and background strings make an exciting andcompelling opening statements, the strings respond with a very smooth, legatomelody. The accompaniment remains constant throughout even though the moodof the music changes dramatically. The entrance of the flutes is almost playful andwe remember that we heard them before in the same descending pattern earlier inthe piece. With renewed vigor the opening theme is repeated and the ending isprobably not what you would expect.


Week 23

Day 1:Felix Mendelssohn Bartholdy wrote this week’s featured selection. From the“Symphony No. 4 in A Major” we will listen to the “Allegro Vivace”.

This symphony was labeled the “Italian” symphony as Mendelssohn was inspiredto compose it after a visit to southern Europe. The mood is light and flirtatious andyou can feel the sunshine and the happy spirit of the people. Mendelssohn was aperfectionist and was never satisfied with this particular work which he completedin the early 1830’s. After a performance in 1838 he forbade that the symphony beplayed again. It was not revived until after his untimely death in 1847.

Day 2:The “Allegro Vivace” from Felix Mendelssohn-Bartholdy’s “Symphony No. 4 in AMajor” is this week’s listening selection.

The “Allegro Vivace” is a saltarello. (A saltarello is a 16th century Italian dance infast triple time.) In the 19th century the word saltarello referred to dance music ina very rapid tempo. Can you picture a ballroom full of dancers swinging on theirpartner’s arm? Can you feel and count the very quick 6/8 tempo? Towards theend of this selection you will hear the music seem to slow down to nearly half thespeed. It then begins to twirl and spin as it continues to dance.

Day 3:Felix Mendelssohn-Bartholdy composed the “Allegro Vivace”, the fourth movementfrom “Symphony No. 4 in A Major”, in the early 1830’s.

Composer: Felix Mendelssohn Bartholdy (1809 – 1847)Composition: “Symphony No. 4 in A Major (“Italian”) – Allegro VivacePerformance: Berlin Philharmonic, Lorin MaazelRecording: “Mendelssohn: ‘Italian’ Symphony”, Deutsche Grammaphon 423003-4


Yesterday we tried to count the rapid 6/8 tempo of the saltarello. The saltarello inthis, the “Italian” symphony, almost suggests with its persistent rhythmic motion, atarantella. The difference between these two dances is small. The saltarello holdsa constant tempo whereas the tarantella’s tempo increases throughout the dance.The theory was that the more frenzied the movement got, the faster the poisonfrom a tarantula’s bite would leave the body. Although the speed of the “AllegroVivace” doesn’t change, see if you can hear how Mendelssohn was imitating thestyle of a tarantella as he gives the feeling of a decrease in tempo near the end ofthe selection which then appears to speed up as he, using a crescendo, returns tothe original melody.

Day 4:In the early 1830’s Felix Mendelssohn-Bartholdy wrote the “Symphony No. 4 in AMajor” as he reflected on a wonderful visit he made to Italy.

Thus, the symphony is referred to as the “Italian” symphony. Throughout most ofthis selection, the music has a very light, dance-like quality. Mendelssohnorchestrated this mood by using the higher stringed instruments (the violins) tointroduce the theme. The prevailing feeling of “happiness” is intermittentlyinterrupted by other instruments – especially noticeable are the reed instruments –which seem to want to question this extremely happy attitude.

Day 5:The German composer Felix Mendelssohn-Bartholdy wrote this week’s featureselection “Allegro Vivace” from “Symphony No. 4 in A Major”.

In this piece, Mendelssohn makes very effective use of crescendos anddiminuendos. These gradually louder and gradually softer passages help makethe surging, ongoing rhythm of this saltarello even more dramatic. The musicseems to surround you and spin you in its grip.


Week 24

Day 1:This week’s listening selection, Fantasy Impromptu No. 4 in C Sharp Minor, waswritten by Frederic Chopin.

Chopin composed approximately two hundred piano pieces before he died fromtuberculosis at the age of thirty-nine. Chopin was a musical genius who beganperforming and composing when he was less than ten years old. His parentsrecognized his greatness and when he was only twenty and encouraged him toleave Poland and move to Paris where he would be exposed to and learn frommany other famous musicians. As you listen to the Fantasy Impromptu No. 4 in CSharp Minor, can you understand why Chopin was nicknamed the “Poet of thePiano”?

Day 2:Fantasy Impromptu No. 4 in C Sharp Minor was composed by Frederic Chopin inthe latter part of his life.

Yesterday you heard that Chopin is called the “Poet of the Piano”. Do you thinkthis nickname is appropriate? When Chopin composed for the piano, theinstrument itself was quite different than it is today. When we want to hold orsustain a note for a long time we push down the damper pedal. Chopin’s pianodidn’t sustain the same way and as a result his music tends to be full of manynotes which underlie the basic melody. These extra notes add colour to the pieceand must be played quietly so they don’t interrupt the melody line. Can you hearwhich notes are important to the melody and which ones just keep the musicflowing?

Day 3:There are three parts to this week’s listening selection, Frederic Chopin’s FantasyImpromptu No. 4 in C Sharp Minor.

Composer: Frederic Chopin (1810 – 1849)Composition: Fantasy – Impromptu No. 4 in C Sharp MinorPerformance: Adam HarasiewiczRecording: “Chopin: Greatest Works for Piano”, Phillips 422 282-4


The word fantasy is the French word for imagination. The word impromptu refersto someone improvising or making up the music on-the-spot. In Chopin’s FantasyImpromptu No. 4 in C Sharp Minor do you get that feeling in the first and thirdsections? These sections are almost identical and are full of many notes thataccompany and support the melody. It is often difficult to know just which notesare important and which are not. In the middle section the melody becomes farmore obvious. This same melody can also be heard at the very end of theFantasy Impromptu played by the left hand in the bass part.

Day 4:Our listening selection for this week is the piano piece “Fantasy Impromptu” writtenby Frederic Chopin.

It is hard to believe that before his death in 1849, Chopin demanded that theFantasy Impromptu No. 4 in C Sharp Minor be burned. Chopin, a genius, was aperfectionist and if he had any doubts regarding the flawlessness of a piece, hewould rewrite repeatedly or discard the less-than-perfect music manuscript.Obviously his orders were not carried out with the Fantasy Impromptu. It would beinteresting to know exactly what he didn’t like about it.

One very common technique used by Chopin in his “perfect” melodies was calledtempo rubato. If you were to keep a steady beat with your foot, in certain parts,you would hear the music going faster or slower than the set or established tempo.These speed changes are called accelerandos and ritandandos and are verycommon in Chopin’s music. Listen to how Chopin used tempo rubato in theFantasy Impromptu.

Day 5:The “Poet of the Piano”, Frederic Chopin, composed Fantasy Impromptu No. 4 inC Sharp Minor.

Chopin begins the Fantasy with a showy flourish of notes. The middle section is avery simple but beautiful melody – these lovely, singing lines are characteristic of


Chopin’s music. He then returns to the flurry of notes in the right hand – playedabove a very steady bass accompaniment. At the end we once again hear thesimple melody of the mid-section. Within the music, many times we experiencethe sensation of speeding up (accelerandos) and slowing down (ritardandos). Ifyou recall that these changes in tempo are called tempo rubato, you are correct.All Chopin’s music has a certain sad quality. This may reflect a very short andunhealthy life or that he never returned to his family in Poland after his departuretwenty hears earlier. In 1849, Chopin died in Paris – a poor and unhappy man.


Week 25

Day 1:This week’s feature composer is Aaron Copland. This week’s feature compositionis an excerpt from the ballet, “Appalachian Spring”.

Aaron Copland was an American composer who wrote Appalacian Spring in 1944.The story tells of how a pioneer community helps a newly married couple buildtheir first farmhouse in the Pennsylvania hills. Copland studied in New York andFrance and is today considered to be one of America’s greatest composers. Herecently passed away in 1990.

Day 2:This week’s feature composition is ‘Variations on a Shaker Tune: Simple Gifts”from the ballet, “Appalachian Spring”, written by Aaron Copland.

This ballet was a challenge for Copland to write because he wanted to make surethat the music would be interesting to listen to as well as descriptive enough forthe dancers who tell the story about a celebration in a pioneer community.Copland incorporates a folk tune, “Simple Gifts”, into his ballet. Copland hadlearned this folk tune as a young child.

Day 3:This week’s feature composer is Aaron Copland and the selection is an excerptfrom his ballet, “Appalachian Spring”.

Copland made the music interesting by using the folk tune, “Simple Gifts”. Thecomposer decided to have the clarinet play the song first followed in turn by theoboe, the strings, the trumpets, the woodwinds and finally by the entire orchestra.Let us now listen for the different instrumental solos.

Day 4:

Composer: Aaron Copland (1900 – 1990)Composition: “Appalachian Spring” – “Variations on a Shaker Tune: SimpleGifts”Performance: London Symphony Orchestra, Aaron CoplandRecording: “Greatest Hits of the Ballet, Vol. 1”, CBS XMT 45658


This week’s feature piece is entitled “Simple Gifts” form the ballet “AppalachianSpring” which was written by one of the greatest American composers, AaronCopland.

It tells the story of a pioneer community which helps a newly married couple buildtheir first farmhouse in the Appalachian Mountains. The music of “AppalachianSpring” demonstrates Copland’s ability to use popular regional songs and his skillin developing the feelings of spaciousness and grandeur contained in thisnationalistic American theme.

Day 5:This week’s feature composer is Aaron Copland and his ballet, “AppalachianSpring”, which was written in 1944.

Copland uses an old folk tune that he learned as a child in this excerpt from theBallet. The beautiful folk tune “Simple Gifts” is restated many times with differentsolo instruments and is then finally played by the entire orchestra. “AppalachianSpring” is one of Copland’s great successes, as well as his other two ballets, “Billythe Kid” and “Rodeo”. Let us now listen to “Variations on a Shaker Tune: SimpleGifts” from the ballet, “Appalachian Spring”.


Week 26

Day 1:This week’s feature composer is Georges Bizet. This week’s feature compositionis an excerpt from Bizet’s opera, “Carmen”, which was first presented in 1875.

Carmen is one of the most popular operas heard today but when it was firstpresented in 1875, it failed. The bitter disappointment of the opera’s premiere andthe exhaustion from the many months of rehearsals left Bizet very ill. Exactlythree months after the premiere of “Carmen”, Georges Bizet died from a heartattack at the age of 37. It was only 5 years later, when the opera was performedagain in Paris, that it received wonderful reviews! It is unfortunate that Bizet didnot live to experience the success that he had worked so hard to achieve. Let usnow listen to “Les Toreadors”, which means the bullfighter, from the opera“Carmen”.

Day 2:This week’s feature composer is Georges Bizet. This week’s feature compositionis an excerpt from the opera, “Carmen”. It is the famous toreador or bullfightersong.

“Carmen” is actually a very tragic love story about a Spanish gypsy namedCarmen and the faithful soldier, Don Jose, who has given up his career for her.However, when Carmen falls in love with the famous toreador, Escamillo, sheleaves Don Jose and wants nothing to do with him. In the final act of the opera,Don Jose kills Carmen and he says “Yes, it is I who killed her – Ah, my adoredCarmen!”

Day 3:

Composer: Georges Bizet (1838 – 1875)Composition: “Carmen Suite #1” – “Les Toreadors”, “Prelude Act IV”Performance: L’Orchestre de la Suisse Romande, Charles MunchRecording: “Bizet: Carmen, L’Arlesienne”, London 421 632-4


This week’s feature composer is George Bizet. He was born in 1838 and died in1875 at the age of 37. This week’s feature composition is an excerpt from hisopera, “Carmen”.

Bizet’s opera is filled with many emotions such as love, hopelessness andsadness. These emotions come to life through Bizet’s music. The use of exoticSpanish music and a storyline of passion among gypsies and soldiers was notaccepted by audiences when “Carmen” first premiered in 1875. Today “Carmen”is one of the most popular operas of all time.

Day 4:This week’s feature composer is Georges Bizet. This week’s feature compositionis an excerpt from the ever-popular opera, “Carmen”.

This excerpt is the instrumental music from the famous toreador song in whichEscamillo tells about his life as a popular bullfighter. It is while Escamillo is in thearena telling his story that Don Jose kills Carmen. There are cheers from thebullfighting arena to recognize that Escamillo has “done it again”, while outside,away from the arena, Don Jose holds the lifeless body of his beloved Carmen.

Day 5:This week’s feature composer is Georges Bizet. This week’s feature compositionis an excerpt from “Les Toreadors” from the opera “Carmen”.

The deep emotions which run through the score of this lyric drama are verypowerful and moving. Although the opera is a Spanish story it is sung in French.This opera is one of Bizet’s greatest musical works. Let’s listen to the excerptfrom “Carmen” for the final time this week.


Week 27

Day 1:This week’s feature composer is George Frederic Handel. The selection we willhear this week is the oratorio, “Solomon”.

An oratorio is a large-scale musical composition for solo voices, duets, trios,chorus and orchestra. It is usually based on a biblical story and is led by anarrator. An oratorio was performed in a church or hall but it was not part of areligious service. “Oratorio” is an Italian word for “a place for prayer”.

Day 2:This week’s feature composer is George Frederic Handel and his work. “TheEntry of the Queen of Sheba” from the oratorio “Solomon”.

Handel wrote music during the Baroque period and was born in the same year asJohann Sebastian Bach. As a child he dreamed of becoming a musician but hisfather did not think that music was a suitable profession for his son. After hisfather died, Handel was able to follow his love for music and wrote his first operawhen he was 20 years old.

Day 3:This week’s feature composer is George Frederic Handel. This week’s featurecomposition is the oratorio, “Solomon”.

An oratorio is a large-scale musical work, usually based on a religious story andperformed without costumes, props or scenery. Handel made the chorus – thepeople – the centre of attention. He also used big, rich melodies and massivechords to create an atmosphere for dramatic expression. Handel led a long andsuccessful life as a musician. In his later years he became blind and died shortlyafter his 74th birthday.

Composer: George Frederic Handel (1685 – 1759)Composition: “Solomon” – “The Arrival of the Queen of Sheba”Performance: The Academy of St. Martin in the Fields, Sir NevilleMarinerRecording: “Baroque Weekend: Pachelbel Kanon”, London 417 688-2


Day 4:This week’s selection is the oratorio, “Solomon”, which was written by the Baroquecomposer, George Frederic Handel.

Handel was born in Germany and traveled to many places, such as Italy andGermany. He wrote music for the Elector of Hanover who later became the Kingof England. Handel became a great musical influence on British music as anoratorio composer.

Day 5:This week’s composer is George Frederic Handel. This week’s featurecomposition is “The Entry of the Queen of Sheba” from the oratorio, “Solomon”.

Handel wrote many oratorios throughout his career. “Solomon” was written whenHandel was in his 60’s. Handel’s oratorios were known for their massivechoruses, beautiful, flowing arias, and tuneful recitatives. Handel worked hardover the years and was successful in introducing the sacred drama of the oratorioto the new middle class of his time. Let us now listen to the oratorio, “Solomon”.


Week 28

Day 1:This week’s feature composer is the Russian composer Dmitri Kabalevsky whowas born in 1904 and died a few years ago in 1987. This week’s selection is “TheComedians”.

The “Comedians” was written for a play called “Inventors and Comedians” whichwas performed at the Children’s Theatre in Moscow in 1938. The excerpt we willlisten to is titled “Comedians’ Galop”. You will hear the ceaseless movement andexcitement throughout this lively piece. “The Comedians” was originally written fora children’s audience but continues to be enjoyed by adults as well.

Day 2:This week’s selection is “The Comedians” written by the Russian composer DmitriKabalevsky.

Kabalevsky began playing the piano when he was 6 years old and later attendedthe Moscow Conservatory. When you listen to today’s selection, listen for themelody being played by muted trumpets, flutes, clarinets, oboes and then theadded xylophone.

Day 3:This week’s selection is Kabalevsky’s “The Comedians” which was written in 1938.

The excerpt that we have been listening to, “Comedians’ Galop”, is in the form of a19th century ballroom dance in a quick 2/4 time. When you listen to today’sselection, what kind of pictures can you paint in your mind? Listen to the music,close your eyes and imagine.

Day 4:The lively selection that we have been listening to this week is called “Comedians’Galop”. This piece was written by Russian composer Dmitri Kabalevsky.

Composer: Dmitri Kabalevsky (1904 – 1987)Composition: “Comedians’ Galop” from “The Comedians”Performance: Philadelphia Orchestra, Eugene OrmandyRecording: “Greatest Hits of the Ballet, Vol 1”, CBS XMT 45658


Do you think the composer selected a suitable title for this piece? When you listento the piece today try to think of another title that might be appropriate. Rememberit was first performed in a children’s festival in Moscow in 1938.

Day 5:This week’s selection has been Kabalevsky’s piece, “Comedians’ Galop”, which isfrom his play “Inventors and Comedians”.

In this piece you hear the ceaseless movement of the “galloping” and can feel theexcitement build throughout the piece. Kabalevsky uses many instrumentsthroughout the piece which take turns playing the melody. See if you can hear theplayful melody being played by the xylophone.


Week 29

Day 1:This week’s composer is Maurice Ravel. The featured composition is an excerptfrom “Bolero”.

A bolero is a Spanish dance for one person or a couple. It includes difficult steps,quick movements with sudden stops, and poses with one arm arched over thedancer’s head. Ravel wrote “Bolero” to be performed as a ballet and it waspremiered in Paris. You will hear Ravel use repetition to achieve an almosthypnotic effect. We will begin listening near the middle of the piece. Listen as themusic builds to a climax.

Day 2:Composed by Maurice Ravel, this week’s featured work is “Bolero”.

Ravel was fascinated by exotic dance rhythms from Spain. The timpani and thesnare drum repeat the same basic rhythm throughout the entire piece. Notice,however, that each time the theme is repeated new instruments are added. Thetheme builds each time to a louder level of volume. This gradual increase involume is called a “crescendo”. Listen as Ravel builds the crescendo througheach repetition of the theme to a frenzied finish of trombones and crashingcymbals.

Day 3:“Bolero” is this week’s featured composition The composer is Maurice Ravel.

Composer: Maurice Ravel (1875 – 1937)Composition: “Bolero” (excerpt)Performance: Dresden State Orchestra, Sir Neville MarinerRecording: “Bolero, Sorcerer’s Apprentice”, Phillips 420 812-4


A bolero is a stylized Spanish dance which shows the ability and dexterity of thesolo dancer. Ravel’s “Bolero” was instantly very popular. In fact, in the musicworld, it became the equivalent of Number 1 on the Top Forty almost overnight.Because of the length of this work we are unable to hear it in its entirety and,unfortunately, we do not hear its very soft, or “pianissimo”, beginning. We beginlistening in a section which is at a moderately loud volume as it continues to buildgradually to a climax. Do you remember what we call a gradual increase involume in music? If you said “crescendo”, you are correct.

Day 4:Maurice Ravel, a French composer, wrote this week’s featured composition,“Bolero”.

“Bolero” is an example of the power of repetition when there is a gradual increasein orchestration and added embellishment. This increase eventually reaches analmost feverish finish with cymbals and sliding trombones.

Day 5:The composition “Bolero” was written by the French composer Maurice Ravel.

In “Bolero” Ravel uses relentless repetition and an unchanging rhythm to support agradual build-up of orchestration. Do you recall that an increase of volume inmusic is called a crescendo. This excerpt is only the final third of the entire piece,“Bolero”. In its full length, the theme is actually repeated many more times. Doyou enjoy the slow, elegant pulsation of the recurring rhythms? Can you picturethe stately ballet as the dance builds in intensity?


Week 30

Day 1:This week’s feature composer is Antonio Vivaldi. We will hear the “Allegro” from“Spring” from “The Four Seasons”.

We can hear from this segment that, for Vivaldi, Spring was a happy, joyousseason. Vivaldi wrote, “Spring has come, and the joyful birds greet it with merrysong.” Listen to the string orchestra imitate the calling of birds celebrating Spring.

Day 2:Antonio Vivaldi wrote this week’s featured “Allegro” from “Spring” from “The FourSeasons”.

Vivaldi was called “the red-haired priest”. Due to his ill health, he was excusedform priestly duties and was allowed to devote all his energies to music. In thisAllegro, he features the solo violin, which plays some very bird-like passages. Theother strings then join in as a bird chorus. Can you hear them call to each other,back and forth?

Day 3:Antonio Vivaldi, “the red-haired priest”, wrote “The Four Seasons”. Today’sexcerpt is from “Spring”.

Vivaldi described Spring in the following way: “Spring has come, and the joyfulbirds greet it with merry song, and the brooks in Zephyr’s gentle breezes, murmurquietly as they flow along”. “Zephyr” was a name for the West Wind. Vivaldi usesa solo violin, along with other violins, violas, cellos, and double bass instruments.All of these strings imitate the birds, brooks, and welcome breezes of Spring. Canyou imagine yourself out in the fine weather as you listen to music about springs,birds, brooks, and breezes.

Day 4:Antonio Vivaldi wrote today’s music, the “Allegro” movement from “Spring”, from“The Four Seasons”.

Composer: Antonio Vivaldi (1678 – 1741)Composition: “Spring” from “The Four Seasons”, Allegro Concerto in F Major,R. 293Performance: Grand Ecurie et la Chambre du Roy, Jean-Claude MalgoireRecording:“Vivaldi’s Greatest Hits ”, CBS XMT 45810


We hear the happy sounds of birds calling back and forth, echoing each other.Listen for the solo violin as it plays its “bird solo”.

Day 5:Today we will listen to an excerpt from Antonio Vivaldi’s “Spring” from “The FourSeasons”.

The excerpt is called “Allegro”, which means fast and quick. In this case, the“Allegro” is used to show a happy, light outlook. Often when we think of Spring,we think of birds singing early in the morning or at sunset. Vivaldi decided toimitate the singing of birds, using a solo violin and string orchestra. Does the bird-like music make you feel like smiling and relaxing in the warm Spring air?


Week 31

Day 1:This week’s featured composition is “Procession of the Nobles”, by NicolaiRimsky-Korsakov.

Rimsky-Korsakov was a Russian composer who lived during the latter half of the1800’s. Today’s music shows how well Rimsky-Korsakov used orchestral color or“sound painting” to create an image. If you close your eyes, you will be able tovisualize and almost touch the richness of the court – the kings, the queens, theirattendants, the musicians, even the fine dress and jewels of each of the nobleswho has come to visit. Listen and try to picture how each royal visitor would lookas they make their grand entrance.

Day 2:The “Procession of the Nobles”, by Russian composer Nicolai Rimsky-Korsakov, isthis week’s featured composition.

The composer used trumpets and drums to start the piece. This is called a“fanfare”. A fanfare is a traditional signal of trumpets which mark the onset of aspecial ceremony, a military attack, or even a fox hunt. It is easy to visualize thegrandeur and pomp of the nobles as they parade through the courtyard or palace.Each entrance of a new noble is signaled by a contrasting, calmer style. Try topicture each one in your mind as they enter to show off their wealth in statelyelegance.

Day 3:Nicolai Rimsky-Korsakov, a Russian composer, wrote this week’s featuredcomposition, “Procession of the Nobles”.

Composer: Nicolai Rimsky-Korsakov (1844 – 1908)Composition: “Procession of the Nobles”Performance: Philadelphia Orchestra, Eugene OrmandyRecording: “Rimsky-Korsakov: Greatest Hits”, CBS XMT 45811


“Procession of the Nobles” begins with a fanfare which means that the trumpetsare signaling the beginning of a special ceremony. This fanfare is repeatedseveral times throughout the piece. Listen for each time the fanfare of trumpetsgreets the arrival of a new royal guest.

Day 4:Today we will listen to the “Procession of the Nobles” by Nicolai Rimsky-Korsakov.

Do you remember what word we used to describe trumpets announcing a specialceremonial, military, or hunting event? If you are thinking of the word “fanfare”,you are right. Listen each time the fanfare announces a new royal guest thenlisten for the contrasting sections which “paint a picture” of that guest. You willhear examples of great pomp, flourish, and richness of styles.

Day 5:Nicolai Rimsky-Korsakov wrote the “Procession of the Nobles” which we will heartoday.

Rimsky-Korsakov was a Russian composer who loved to write about fairy tales.He was masterful at arranging orchestration for richly brilliant and exotic sounds.As you hear the music, try to picture how the royal visitors are dressed. Are theywearing velvet, brocade, satin, silks, gold, precious jewels? Let us now listen tothe “Procession of the Nobles” for the final time.


Week 32

Day 1:This week’s musical composition is the “Allegro non troppo” from the ViolinConcerto in E Minor by Felix Mendelssohn Bartholdy.

A concerto is a form of music which features a solo instrument playing with anorchestra. In this music, the violin is the solo instrument. This concerto shows offthe violin’s brilliance and charm. Listen to the musical skills and rapid fingeringplayed by the violinist in today’s selection.

Day 2:Felix Mendelssohn wrote this week’s featured composition, the “Concerto in EMinor” for violin.

Do you remember what a concerto is? It is a form of music which has a soloinstrument play with an orchestra. We will hear the “Allegro non troppo”movement. “Allegro non troppo” means “fast and quick, but not too fast.” Thismovement allows the violinist to be fast and quick and thus show off his/hermusical dexterity. A highly skilled musical performer is called a virtuoso. Listen tothe violin soloist show off his/her abilities as a virtuoso in this excerpt.

Day 3:Today’s featured composition is by Felix Mendelssohn. It is the “Violin Concerto inE Minor” – “Allegro non troppo”.

Composer: Felix Mendelssohn Bartholdy (1809 – 1847)Composition: Violin Concerto in E Minor, Op. 64, Allegro non troppoPerformance: New Philharmonic Orchestra, Jan Krenz (violin: ArthurGrumiaux)Recording: Tchaikovsky-Mendelssohn Violin Concertos”, Phillips 422 473-4


Do you remember the musical work for a form of music that has a soloist playingwith an orchestra? If you said “concerto” you are correct. From the violin“Concerto in E Minor”, we will hear the “Allegro non troppo” movement. This violinconcerto was an immediate success when it was performed in 1845. Today it hasbecome one of the most popular of all violin concertos. It allows the violinist toshow off his/her technical capability and finesse in playing difficult, rapid passages.Day 4:Today’s featured composition is the “Violin Concerto in E Minor”, “Allegronon troppo”, by Felix Mendelssohn.

In his time and even to this day, Mendelssohn greatly influenced his fellowmusicians. He was one of the first orchestra conductors to use a baton. Do youremember what a virtuoso is? A virtuoso is someone who is able to play very fast,difficult solos with great facility and flair. Listen to the violin virtuoso in this excerpt.

Day 5:Today we will hear the “Allegro non troppo” from the “Violin Concerto in E Minor”by Felix Mendelssohn.

This is one of the most popular violin concertos in the violin repertoire. It allowsthe soloist to show off his/her musical sharpness and flair. In other words, itshows virtuoso ability. Listen and enjoy the flash and charm of this segment of the“Violin Concerto in E Minor” by Mendelssohn.


Week 33

Day 1:This week we will listen to the Concerto for Trumpet and Orchestra in Eb Major,the 3rd Movement “Rondo”, by Franz Joseph Haydn.

Last week we listened to a special form of music featuring a solo instrument(which was the violin) and an orchestra. Do you remember what that form iscalled? If you said “concerto” you are right. This week we will hear anotherconcerto, but with a different instrument. The instrument this week is the trumpet.Listen to how the trumpet and orchestra “talk” to each other in this movement. Tryto decide if they sound quick and bright, or slow and mournful. Is it a light, happymood or is it dark and heavy?

Day 2:Today we will hear music by Franz Joseph Haydn, his Concerto for Trumpet andOrchestra in Eb Major. We’ll listen to the 3rd Movement called “Rondo”.

It starts out with a “jolly melody” played first by the orchestra and then it is takenup by the trumpet. You will hear this bright theme played again periodicallythroughout the movement. This is a form of music called a Rondo. Listen to hearhow many times the opening theme is played throughout this Rondo. Do you hearit more than five times?

Day 3:The “Concerto for Trumpet and Orchestra in Eb Major, by Franz Joseph Haydn, isthis week’s featured composition.

Franz Joseph Haydn was a very successful, popular composer who lived inAustria during the 1700’s. He wrote over 100 symphonies and many other typesof music for both instruments and voices. He also wrote the National Anthem forthe country of Germany.

Yesterday we talked about a form of music in which the opening theme returnsagain throughout the music. Do you remember what that form is called? It is

Composer: Franz Joseph Haydn (1732 1809)Composition: “Concerto for Trumpet and Orchestra in Eb Major” – 3rdMovementPerformance: National Philharmonic Orchestra, Raymond Leppard (trumpet:Wynton Marsalis)Recording: “CBS Masterworks Digital Sampler”, MXK 42070


called a Rondo. In this Rondo, the opening theme is optimistic and bright. Someof the contrasting sections, however, sound more worried and agitated.

Day 4:The “Rondo” Movement from the Concerto for Trumpet and Orchestra in Eb Majoris our listening music this week.

We have heard the solo instrument, the trumpet, in other music in this ListeningProgram, most prominently in trumpet fanfares. The trumpet is often used to callsoldiers to battle or to announce a royal visitor. In this concerto, the trumpet isgiven a chance to demonstrate more of its range of musical potential. Do youremember what we call a solo performer who shows off his/her musical skill anddexterity? – A virtuoso. This week we are hearing a trumpet virtuoso demonstratesome very difficult playing, listen to how such a challenging piece can sound easyand effortless in this recording.

Day 5:For the final time this week you will hear Haydn’s Concerto for Trumpet andOrchestra in Eb Major. We will listen to the 3rd Movement “Rondo”.

In this selection we will hear a virtuoso trumpet player. To play a musicalinstrument very well actually takes many disciplined hours and years of practice.However, it sounds quite easy when we hear this recording.


Week 34

Day 1:This week, we will listen to the “Waltz” from the ballet “Swan Lake, Act 1” writtenby the Russian composer, Peter Ilyich Tchaikovsky in 1876.

“Swan Lake”, like Tchaikovsky’s ballet “The Nutcracker”, eventually became one ofthe most famous ballets of all time. The ballet begins with the twenty-first birthdayparty of Prince Siegfried. His mother tells him that she has arranged a ball tointroduce him to all the beautiful ladies of the kingdom. She tells him that he mustnow think of finding a bride. However, he is not at all interested. He sees somebeautiful white swans flying across the sky and decides to hunt them. Listen to theWaltz from Act 1 of the ballet “Swan Lake”. Tomorrow we will hear the rest of thestory.

Day 2:The “Waltz” from the ballet “Swan Lake, Act 1” is this week’s featured selection.

Yesterday, we heard how Prince Siegfried’s mother arranged a ball to introducehim to beautiful girls so that he could find a wife. However, Siegfried goes huntingand finds a swan-maiden on the moonlit lake. He falls in love with the gracefulSwan Queen, Odette. Sadly, she tells him that she is under a sorcerer’s spell.Only from dawn to midnight can she return to human form. She can only bereleased from the spell if someone swears eternal love to her. When the evilsorcerer foils their plans, Odette dies of grief. The lake submerges the two loversand their spirits then rise above the lake seeking a happier world. Listen to thelyrical music of the “Waltz” from Act 1 of the ballet “Swan Lake”.

Day 3:The Russian composer, Peter Ilyich Tchaikovsky wrote the ballet “Swan Lake”which is this week’s featured listening selection.

Composer: Peter Ilyich Tchaikovsky (1840 – 1893)Composition:“Swan Lake” – “Waltz” (Act 1)Performance:Royal Concertgebouw Orchestra of Amsterdam, AnatoleFistoulariRecording:“Ballet Favourites”, London 417 840-2


Tchaikovsky was commissioned to compose the ballet for the Russian ImperialTheaters in 1876. This occasion marked the first time a major composer had everwritten a ballet for a symphony orchestra. However, the ballet was unsuccessfulwhen it was performed for the first time and a few years later, it again met withfailure. Finally, eleven years after it was written, the ballet was performed for anappreciative audience. By this time, however, Tchaikovsky had died. He neverknew that “Swan Lake” became one of the most famous ballets ever written.Tchaikovsky is known for his beautiful, lush, singable melodies. As you listen tothe “Waltz” from “Swan Lake”, see how many of these lovely melodies you canidentify

Day 4:The Russian composer, Peter Ilyich Tchaikovsky, wrote this week’s listeningselection, the ballet “Swan Lake”.

Tchaikovsky was a composer who lived during the Romantic period of music.Composers of the Romantic period were not afraid of letting their emotions shinethrough their music. Listen for contrasts in the music which depicts these shiftingemotions –loud, soft, crescendo/decrescendo, smooth/jagged.

Day 5: TToday we will listen to the “Waltz” from “Swan Lake” by the Russian Romanticcomposer, Peter Ilyich Tchaikovsky, for the final time.

A waltz is a dance in 3/4 time which in this piece is danced by Odette. The role ofOdette, the Swan Queen, is difficult and demanding. Only ballerinas with strongpersonalities and secure technical skills can dance the part. As you listen,imagine the swan-maidens and their Swan Queen, Odette, as they swam acrossthe moonlit lake.


Week 35

Day 1:This week’s selection is entitled “In taberna quando sumus” from “CarminaBurana” composed by Carl Orff.

In this piece, you will hear a men’s chorus singing about the joys of life. The textor words form this song came from a 700 year old poem from the Middle Ages.The poetry was written in Latin in those days for the serious and somber businessof the clergy, government officials, scientists, and historians. However, this Latintext set to Carl Orff’s energetic music reflects the joyous vitality of youth.

Day 2:The German composer, Carl Orff, wrote this week’s musical selection called “Intaberna quando sumus” from a larger piece called “Carmina Burana”.

The Latin title “In taberna quando sumus” means “When we are in the Tavern.” Asyou listen to the piece sung by a men’s chorus you will discover that the musicalelement of rhythm is the driving force of the composition, not the melody or theharmony. Listen to how the rhythm and sudden changes in dynamics (theloudness and softness of the piece) help to create a powerful effect.

Day 3:In 1936, the German composer, Carl Orff, set a group of medieval Latin poems tomusic to produce a powerful composition called “Carmina Burana”.

Today we will listen to one of these songs called “In taberna quando sumus”. Aswe learned yesterday, rhythm is the most important musical element in this piece.As a result, percussion instruments are used extensively. Today, note how CarlOrff utilized percussion instruments, such as glockenspiels, xylophones, woodblocks, triangles, cymbals, gongs, tambourines, timpani, and drums to add colourand excitement.

Composer: Carl Orff (1895 – 1982)Composition: “Carmina Burana” – “In taberna quando sumus”Performance: Chicago Symphony Chorus and Orchestra, James LevineRecording: “Orff – Carmina Burana”, Deutsche Grammophon 415 136-2


Day 4:This week’s selection is “In taberna quando sumus” from “Carmina Burana” by theGerman composer Carl Orff.

Many Burnaby students play Orff instruments in school. In 1925, Carl Orffestablished a music school. He developed Orff instruments – metallophones,xylophones, and glockenspiels – to help his students learn about music. He alsowanted his students to improvise and write their own music. As you listen to CarlOrff’s music, are you able to identify the glockenspiels, xylophones, and otherpercussion instruments?

Day 5:This week, we have been listening to “In taberna quando sumus” from “CarminaBurana” by the German composer, Carl Orff.

Orff, who passed away In the early 80’s, was also a music teacher who developedthe Orff instruments most Burnaby students use in school today. This week’sselection is derived from a medieval Latin poem which expresses the happinesslife can bring. Orff used the element of rhythm and an array of percussioninstruments to reflect this feeling of joy.


Week 36

Day 1:This week’s listening selection is the “Allegro non molto” from the “Summer”section of Antonio Vivaldi’s “Four Seasons”.

Early this year, we listened to the “Autumn”, “Winter” and “Spring” sections of the“Four Seasons”. Vivaldi, who lived 250 years ago, was fond of telling storiesthrough his music. In this selection you will hear Vivaldi’s musical story of thebeginning of a summer storm.

Day 2:Today we will listen to “Allegro non molto” movement of “Summer” composed byAntonio Vivaldi. This piece is from the “Four Seasons”.

Vivaldi wrote a poem about summer to accompany his music. Listen to Vivaldidescribe a summer scene. “Man, sheep, and tree droop under the mid-day sun ofthe pitiless season. The cuckoo unleashes its note, and soon the songs ofturtledove and goldfinch are heard. Soft west winds fan the air but a strong northwind takes their place. The shepherd, alarmed by the rough blustering wind,weeps.”

Day 3:The Italian composer, Antonio Vivaldi, wrote the “Allegro non molto” movement of“Summer” from “The Four Seasons’ in 1725.

Yesterday, we heard Vivaldi’s poem about summer. As you listened to the music,could you see, in your mind’s eye, “man, sheep, and tree” drooping in the hotsummer sun? Could you hear the birds – the cuckoo, turtledove, and goldfinch -excitedly announcing that a storm is approaching? Can you feel the soft westwinds and the harsh north winds? Can you hear the crying of the shepherd boy?

Composer: Antonio Vivaldi (1678 - 1741)Composition: “Summer” from “The Four Seasons”, Allegro non moltoPerformance: English Chamber Orchestra, Pinchas ZuckermanRecording: “Vivaldi’s Greatest Hits”, CBS XMT 45810


Day 4:We will listen again to the “Allegro non molto” movement of “Summer” from “TheFour Seasons” by the Italian composer, Antonio Vivaldi.

In this piece, the violin, the highest string instrument, plays a solo accompanied bythe viola, cello, double bass, and harpsichord. Listen as the violin and stringorchestra express the heat of the summer day, the chirping of birds, the blusteringof winds, and the weeping of the shepherd boy.

Day 5:Today we will listen, for the final time, to the “Allegro non molto” movement of“Summer” from “The Four Seasons” by Antonio Vivaldi.

Vivaldi, who had flaming red hair, was called by some “The Red-Haired Priest”.He was an excellent violinist himself. Listen to how Vivaldi uses the violinaccompanied by the string orchestra to reflect the restless mood of summer.


Week 37

Day 1:This week’s selection is the “Wedding March” from “Midsummer Night’s Dream” byFelix Mendelssohn Bartholdy.

In 1826, when Mendelssohn was only 17 years old, he composed the theme of the“Wedding March”. The “Wedding March” celebrates the marriage of Theseus andHippolyta. They are two characters in the play about magical fairies and elvescalled “Midsummer Night’s Dream” written by the famous English playwright,William Shakespeare. Listen as the trumpets introduce the bridal couple.

Day 2:The German composer, Felix Mendelssohn Bartholdy, composed “WeddingMarch” from “Midsummer Night’s Dream”.

Mendelssohn wrote music to depict the scenes of a play called “MidsummerNight’s Dream” by William Shakespeare. In a scene in a magic forest, twocharacters, Theseus and Hippolyta are to be married. This grand and joyousscene is heralded in by a flourish of trumpets, cymbals and timpani.

Day 3:Felix Mendelssohn Bartholdy wrote this week’s selection called the “WeddingMarch” from “Midsummer Night’s Dream”.

Mendelssohn was a musical genius. He was perhaps the best violinist, pianist,and conductor of his day. He was also very rich. His father hired orchestras forhim to try out his new compositions. At 17, Felix Mendelssohn wrote the “WeddingMarch” which we will listen to today. Seventeen years later Mendelssohnincorporated this piece into a larger composition called “Midsummer Night’sDream”.

Composer: Felix Mendelssohn Bartholdy (1809 – 1847)Composition: “A Midsummer Night’s Dream” - “Wedding March”Performance: Royal Concertgebouw Orchestra of Amsterdam, George SzellRecording: “Mendelssohn: A Midsummer Night’s Dream”, Phillips 426 071-4


Day 4:“The “Wedding March” from “Midsummer Night’s Dream” was composed by FelixMendelssohn Bartholdy in 1826.

Mendelssohn’s graceful and elegant “Wedding March” is characterized bybeautiful, singable melodies, regular rhythms, and predictable harmonies, and isprobably the most famous wedding march ever written. You may be certain thatMendelssohn’s “Wedding March” from “Midsummer Night’s Dream” will be chosenby many brides and grooms this month!

Documents

Non-Directed Music Listening Programblogs.sd41.bc.ca/vpa/files/2011/06/listening-program-script-I.pdf · In this selection you hear the style of the flamenco guitar and the rhythms