2017 KSO Youth Concert Curriculum by Kalamazoo Symphony Orchestra

Story WRITE YOUR

YOUTH CONCERT 2017

Story WRITE YOUR

TABLE OF CONTENTS Concert Introduction ...........................................................................................................................4 What To Expect at the Symphony .....................................................................................................6 Instruments of the Orchestra .............................................................................................................8 Who Directs the Orchestra ................................................................................................................13 Leonard Bernstein: Overture to Candide ........................................................................................14 Maurice Ravel: Conversations of Beauty and the Beast, from Mother Goose Suite ...............18 Giacomo Puccini: “Sì, mi chiamano Mimì,” from La Bohème.......................................................22 Igor Stravinsky: The Firebird Suite ...................................................................................................27 The Firebird and Its Dance and Variation of the Firebird ................................................28 Infernal Dance .........................................................................................................................30 Berceuse ...................................................................................................................................34 Finale ........................................................................................................................................36 Art Project: The Firebird Suite ...........................................................................................................38 Leonard Bernstein: “Make Our Garden Grow,” from Candide ....................................................40 Lesson Adaptations for Student with Special Needs ....................................................................42 Musical Terms Index ..........................................................................................................................44 Design Team and Acknowledgments ..............................................................................................45

HELLO!

Students & Teachers

Those of us who work with children know the power of story. Stories instill hope, shape outlook, and ultimately transform children’s lives. As adults we are not immune to the allure of a good story. The rise of storytelling in marketing, branding, and professional productions such as The Moth Radio Hour reveal that we adults crave a good story as well. In fact, storytelling is central to human existence. This is why I am thrilled to introduce this year’s program — Write Your Story. We will focus on how master composers tell a timeless story through sound. Bernstein’s Candide teaches us that no matter what crazy adventure life gives us, we can still cultivate and shape our future. Ravel’s Conversations of Beauty and the Beast revels in the beauty of love and transformation. Mimì, the protagonist of Puccini’s La Bohéme, helps us to realize that no matter how insignificant we feel, our story is important. Stravinsky’s The Firebird takes us on an unforgettable, magical adventure. Most importantly, I will spend time in the program helping the kids realize that we are all “writing” our own stories. No matter what happens in our lives, we turn the page and continue to write our story. These timeless stories provide us inspiration and hope as we write our stories. Thank you for your dedication to the young people of our community. Your hard work helps our children dream and achieve. I’m looking forward to seeing you and your students at Chenery Auditorium as we explore this wonderful music together.

Daniel

Youth Concert Program 2017 February 13-17, 2017

BERNSTEIN: Overture to Candide RAVEL: Mother Goose Suite IV. Conversations of Beauty and the Beast PUCCINI: La Bohème “Si, mi chiamano Mimì” STRAVINSKY: The Firebird Suite (1919) II. The Firebird and Its Dance III. Variation of the Firebird V. Infernal Dance VI. Berceuse VII. Finale BERNSTEIN: “Make Our Garden Grow” from Candide 4

How to use this program Dear Teachers, We’re glad that you will be joining us in February for what we know will be an amazing experience for you and your students. In order for the concert to be the most meaningful for your students, a team of some of the best elementary educators in the region have designed specific lessons to help prepare your students. We have asked each educator to create a unique lesson on every composition of the program. You’ll notice that each lesson is very different from the next and will not only challenge and engage your students in different ways, but will hopefully challenge and engage you as an educator to try new approaches! We completely understand you are extremely busy, and this might just be a drop in the bucket of what you are doing in your classrooms. While we hope you use all of the lessons, we understand that might not be the case. Don’t be afraid to pick and choose – the lessons aren’t dependent on each other and could easily stand alone. We are grateful for as much preparation as you can do with your students, and can guarantee that every minute you spend on this material with them, the more your students will engage, learn and enjoy the concert! Here’s a bit of explanation of some of the areas you’ll see in this book.

Lesson Plans - In each lesson there are up to three main sections:

ESSENTIAL - The most essential part of the lesson that focuses on how to best engage your students with the composition, and music in general. EXPLORATION - The “next steps” to take your students to a deeper understanding of the concepts. EXTENSION - Additional directions to go with your students.

Listening Maps - For most compositions our team has designed a listening map to help give a visual aid to understanding the flow and form of the composition.

The Firebird Suite - This is our first time presenting a multi-movement work in a Youth Concert. Use this experience to teach students that orchestral works are often made up of multiple parts and tell a larger story - much like a novel. The full suite actually has seven movements, but we will only be presenting five. Each lesson covers one movement (though, we’ve combined movement two and three). While we know this is a lot of material, the important thing is that the students understand the story and background of The Firebird, as that will be an integral part of the concert experience.

Art Component - Before you begin teaching The Firebird, review the art lesson on pages 38-39 and determine your participation. We plan to utilize images from each school in the performance. See art lesson for more information on submissions. Michigan/Cross Curricular Standards & Benchmarks: Usually we provide the service of listing the standards and benchmarks that the concert and curriculum will cover. This year, in an effort to best utilize space, we have decided to provide a link to these on our website. To find the link to the current year’s list, please visit: http://www.kalamazoosymphony.com/education-community/educators/general-music/youth-concerts

Story WRITE YOUR

WHAT TO EXPECT AT THE SYMPHONY

For some of you, this will be your first trip to the symphony. It’s a fun and exciting place, much like a very LARGE movie theater. It’s also a place where we must act very mature so that we can respect the performers and the other audience members. Here are some things to know before coming.

CONCERT BEHAVIOR Don’t talk and stay seated during the concert. There will be hundreds of other kids there.

Think about how loud it would be if everyone talked during the concert. You wouldn’t be able to hear the music! Please be very quiet while listening so you and your neighbor can hear all of the music. Also, stay in your seat through the whole concert, because someone might be distracted.

Stay with your group at all times. Chenery Auditorium is a big and exciting place, but please don’t go exploring on your own. There are tons of kids and schools there all at the same time. Be sure to ALWAYS stay with your group. Walk, don’t run. Just like at school, don’t run in the hallways, we wouldn’t want you bumping into anyone and getting hurt (or hurting them). Clap at the end of a song. But be sure it is really the end. In the orchestra world, we show how much we enjoyed the music by clapping at the end of a song after the conductor puts his arms down. So be sure to clap really loud to let the musicians and conductor know how much you enjoyed it! Have fun! We can’t wait to play music and show you some new things. We know you’ll have tons of fun and really enjoy it!

How to be a great audience member

HOW TO PREPARE – THREE L’S LISTEN

Listen to the music that we’ll be playing before you come. We guarantee that you’ll love the concert even more.

LOOK

Check out some pictures of orchestras and some videos of orchestras playing. See what an orchestra and the instruments look like before you come.

LEARN

Learn the stories behind each song. When you know what the song is about, the music will make a lot more sense to you!

POWER LISTENING Did you know that listening is a SUPER POWER? And it’s something you can learn to even get better at over time. Practice being a power listener before you come so you can enjoy the concert even more! Here are some things you can do to be a POWER LISTENER:

ZOOM IN Zoom in to hear the details of the sound (loud/soft, instruments, fast/slow).

ZOOM OUT Zoom back out to hear them all at once.

WATCH

Observe what’s on stage and then figure out what sound goes with what you’re seeing. Look at certain instruments Look at the conductor Look at the musicians

FEEL What does the music make you feel like, both inside and outside?

STRINGS

The string family is the LARGEST family of the orchestra! Each instrument makes noise by their STRINGS – either plucking (pulling with your finger), bowing (using a stick with horsehair that rubs the strings) or tapping on the wood part of the instrument. The string players will push their fingers down on the strings to change the notes while they pluck or bow on the opposite end of the string.

BRASS

These are often the LOUDEST instruments in the orchestra. They are made up of long tubes that are bent in the shape of each instrument with one end of the tube being small and the other end being wide. The wide end is called the “bell.” To make a sound on a brass instrument, brass players have to press their lips together and blow air quickly through the mouthpiece (which sounds like a BUZZ). Some instruments have valves which are buttons you push down to change the notes while other instruments have slides which move in and out to change the notes.

WOODWIND

A long time ago, this whole family was made from wood instruments, but not anymore – they are now made from wood or metal! The woodwinds are all long, hollow tubes with little holes. Some of the holes have coverings on them called “keys.” You make a sound on a woodwind instrument by blowing into or just over the “mouthpiece.” Woodwind players change the notes by pressing down the keys.

PERCUSSION

This is the OLDEST family of instruments! Percussion instruments are anything that you can make a sound with when you hit, shake or scrape it. This family has many different types of instruments that use sticks, mallets or the musician’s hands to make the noise. Other percussion instruments require you to hit two things together. Often percussion instruments are used to keep time, but they can also make special sounds or even play different notes. The percussion family is pretty diverse! Did you know that the piano is both a percussion and string instrument? It has small hammers inside that hit a string when you push one of the keys.

INSTRUMENTS OF THE ORCHESTRA

On the next page, youâ&#x20AC;&#x2122;ll find the empty concert stage, much like the one where the Kalamazoo Symphony Orchestra performs. Can you guess where each instrument below usually sits during the performance? oon

Bass

Fre

Violin

Tuba

Obo

Trumpet Flu

Cymbals

Clarinet

Marimba

Harp

Cello

Bass Conductor

Timpani Piano

Trombone

Viola

ORCHESTRA LAYOUT MAP

n sio

s rcu

Pia

r Ho

p Har

Conductor

Violas

Flutes Piccolo

Clarinet

Trumpets

En Obo gli sh es Ho rn

Tro es

ORCHESTRA LAYOUT KEY

2n Vio d lin s

1st Violins

12 Basses

ba s

Cellos

WHO DIRECTS THE ORCHESTRA?

You’ll notice our Conductor, Daniel Brier, will be standing in front of the orchestra when they are playing. He has many very important roles in the orchestra, but here are some that he personally thinks are most important: - A conductor must be an accomplished musician (instrumentalist and/or singer). - A conductor must have a broad knowledge of music history, music theory, and the instruments of the orchestra. - The conductor spends many hours studying the music to prepare for rehearsals and performances. - The conductor shows the music through his or her body so that the orchestra is able to play together and bring life to the music. Conductors use different types of “conducting patterns” to help make sure everyone is in the same place and knows what the TEMPO (how fast or slow) is. Here are some “conducting patterns” that you can practice yourself with some of the music from this year’s program! ONE Conducting in one is just like bouncing a basketball. Maurice Ravel’s Conversations of Beauty and the Beast is in “one.” Try to “bounce the basketball” in time to Ravel’s music. TWO Conducting in two is not too different than one. When you conduct in two, beat one is down and to the right and beat two goes back up to the top. Our opening piece Overture to Candide starts out in “two.” THREE When conducting in three, think “down, out, up.” The beginning of Stravinsky’s Infernal Dance is in “three.” FOUR When conducting in four, think “down, in, out, up.” The Berceuse from Stravinsky’s The Firebird is in “four.” 13

Overture to Candide

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LEONARD BERNSTEIN

Composer · Pianist · Conductor August 25, 1918 | October 14, 1990 United States of America • Leonard Bernstein’s original name was Louis but he was always called Leonard. He legally changed his name when he was 15. • He studied music at three different colleges: Harvard University, Curtis Institute of Music and Tanglewood Institute of Music. In one of his very hard conducting classes, he was the ONLY student to ever get an A. • When Bernstein was only 27 he filled in last minute to conduct the New York Philharmonic at Carnegie Hall for a live national radio broadcast! This made him famous overnight. • Leonard started a “Young People’s Concerts” TV show in 1958 for CBS. This was the first program of its kind on TV. • Bernstein won 10 Grammy Awards, 2 Tony Awards and 11 Emmy Awards! • His music was always different and combined lots of different styles from classical to jazz to Latin to Broadway musicals! • Find out more information about Leonard Bernstein at www.leonardbernstein.com

THE STORY BEHIND THE MUSIC Candide was a novel written in 1759 by Voltaire. Candide, a young man, begins his life safely in a castle where he is taught and believes that his life is the “best of all possible worlds” and everything that happens is for the best, no matter what! The story follows Candide on his life of crazy adventures including being kicked out of the castle, joining an army at war, getting very rich (then losing it to a thief), being shipwrecked at sea and chasing the woman he loves all over the world bringing him to many far off lands. His adventures are challenging and difficult, but allow him to grow and learn many new things along the way!

Hyper-links available in digital pdf or visit the KSO YouTube Channel 14

Lesson created by Norma-Jean Forshey - King-Westwood Elementary School, Kalamazoo Public Schools

Overture to Candide LISTENING MAP

0:00-0:06

0:06-0:15 0:15-0:20

0:26-0:36

0:36-0:43

0:20-0:26

0:43-0:48

0:48-:54

0:54-1:16 1:16-2:07 2:17-2:28 2:07-2:12

2:12-2:17

2:28-2:34

2:34-2:42

3:10-3:30 2:42-3:10

3:30-3:49

3:49-End

Overture to Candide

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Lesson Plan

ABOUT THE MUSIC Candide is an operetta written by Leonard Bernstein that was first performed on Broadway on December 1, 1956. An operetta is a short opera that is usually humorous in nature and often includes both sung and spoken dialogue. What the orchestra will be playing is the overture to the operetta. An overture is a composition, usually at the beginning of an opera, played by the orchestra. It contains multiple contrasting sections of songs and main themes from the work to follow. The Overture to Candide has earned its place in orchestral repertoire. It is one of the most frequently performed orchestral compositions by a 20th Century American composer, and the most often performed piece of concert music by Bernstein. The overture incorporates tunes from the songs “The Best of All Possible Worlds,” “Battle Music,” “Oh, Happy We,” and “Glitter and Be Gay,” and other melodies composed specifically for the overture.

ESSENTIAL First Listening: Telling a Story

Tell the students they will be listening to a piece of music. Ask them to listen carefully to the music and decide if the music is telling a story. What story does the music bring to their mind? Is it an exciting story or a sad story? What happens during the story? Tell students to keep their story idea in their head until the listening is over. Play the music. Listen to as many student responses as you have time for.

Second Listening: Listening and Identifying

(If different class period, review what was discussed in the first listening. If same class period, continue.) Ask students to listen for what instruments they hear in the music. Do any parts of the music repeat? Is all of the music loud or all quiet? Is it fast or slow? (any concepts from the music that you would like to emphasize would work here!) Play the selection again. After listening, list the instruments students heard on the board. Ask your specific questions again. Do any parts repeat? Yes Is it fast or slow? Most are fast, some are a little slower Is it loud or quiet? Most are loud, some are quiet, etc.

Third Listening: Elements of the Listening Map

(If this is a different class period, review what was done before.) Show students the listening map. Announce the title and composer’s name. Explain that this music is from an operetta - where singers tell the story (see definition above). Tell students that an “overture” sets the mood at the beginning of an operetta with parts of the music that will be heard throughout the story (see definition above). 16

You can briefly explain that this is an adventure story (did any student say that the music sounded exciting or like an adventure during the first listening?) The main character, Candide, joins the army, participates in a war, loses a large fortune (money), is shipwrecked, and is separated from the woman he loves. Have students point out elements on the listening map that repeat. Notice which elements are not repeated. (This would be a good time to explain the form, coda, crescendo and accelerando.) Listen to the music again, and point to the listening map elements as students listen.

EXPLORATION As students listen to the music again, they can demonstrate their understanding of the different parts of the piece. You may compose your own gestures or movements or use the ones below. Feel free to only use one or two of the gestures – the music moves quickly from one part to the other! A Section: Students salute Running feet: students alternately tap their legs to the beat Circus clown: students show huge smiles Trumpets: play an imaginary trumpet Birds: use hand like a bird beak (imitate chirping silently with hands) B Section: Make a heart shape with both hands (pointer fingers and thumbs) or cover your heart with both hands C Section: What gesture would you use? D Section: What gesture would you use?

EXTENSION YouTube Videos • Listen to the overture with Leonard Bernstein conducting: https://youtu.be/6ZPF5mPIpXU • Listen to an organ rendition, with an interesting organist, Cameron Carpenter, who is playing with the KSO on April 1, 2017: https://youtu.be/zq_cy-ztcHc

Draw a Story

If you have lots of time (or maybe leave this as a sub plan!), your students could ‘draw a story’ as they listen to Overture to Candide. Explain to students that there is one main character in this story and his name is Candide. As students listen to the music, they can imagine what is happening to the main character. What type of adventure is he having? Using large drawing paper, students could draw one part of a story that they think of while listening to the music. You may need to play the overture numerous times. It could be fun to put the pictures in some kind of ‘story’ order, and have each student tell about what happens to the main character in their picture.

Write a Story

Older students could write one paragraph of a story about our main character, Candide. What happens to our character during different parts of the music? Students can choose one part of the music to focus on and write a paragraph about the adventures of Candide. It could be fun to put the paragraphs together in some kind of ‘story’ order. You could also just pick students to read what they wrote in no special order and see what kind of story happens!

Lesson created by Norma-Jean Forshey - King-Westwood Elementary School, Kalamazoo Public Schools

Conversations of Beauty & The Beast

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MAURICE RAVEL

Composer · Pianist March 7, 1875 | December 23, 1937 France • Ravel went to school at the Paris Conservatory, but got kicked out two times and never even graduated! • Ravel drove an army ambulance in World War I for France. He later wrote music about friends he met while there. • Ravel lived with his mother until he was 42 years old!

THE STORY BEHIND THE MUSIC Once upon a time there was a rich merchant who had three daughters. The two eldest were selfish and mean tempered. The youngest was lovely in spirit as well as appearance and was known as “Beauty.” In time, the fortunes of the father failed, and the family was forced to move to the country and a simpler life. While attending to his business, the father came upon an enchanted castle where Beast reigned. Upon learning that the merchant had three daughters, Beast promised that he would spare the father’s life if one of his daughters would willingly marry Beast. Beauty came willingly, but fearfully. Every night under kindly treatment from Beast, she engaged with him in pleasant conversation. Every night, Beast asked Beauty to marry him. It wasn’t until she left for a time, and was made aware that Beast was dying of sadness in her absence, that Beauty returned and they had their final conversation. BEAUTY: “When I think how good-hearted you are, you do not seem to me so ugly.” BEAST: “Yes, I have indeed a kind heart; but I am a monster.” BEAUTY: “There are many men more monstrous than you.” BEAST: “If I had wit, I would invent a fine compliment to thank you, but I am only a beast. Beauty, will you be my wife?” BEAUTY: “No Beast!” BEAST: “I die content since I have the pleasure of seeing you again.” BEAUTY: “No, my dear Beast, you shall not die: you shall live to be my husband!” The enchantment is broken, the Beast has disappeared, and Beauty sees at her feet only a prince.

Lesson created by Kimberly Licavoli - North Ward & Dawson Elementary Schools, Allegan Public Schools

Conversations of

Beauty & The Beast

LISTENING MAP

0:00 0:33

1:10

1:38

2:22

3:13

3:20 19

Conversations of Beauty & The Beast

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Lesson Plan

ABOUT THE MUSIC Conversations of Beauty and the Beast is the 4th movement in Ravel’s Mother Goose Suite, a collection of five pieces that illustrate well known fairytales. These pieces were first written in 1910 as a duet for two young piano students, Mimì and Jean, the children of his good friends. Unmarried and childless, Ravel adored children and their world of fantasy. He sought to write piano music that could be played by children, as well as reflected the world of childhood.

ESSENTIAL Written as a waltz, Ravel built in musical themes for Beauty and Beast. The music is divided into 4 sections: music that describes Beauty, music that describes Beast, music that describes Beauty declaring her love for the Beast, and finally Beast transformed into a handsome Prince. See Story on page 18.

First Listening: Section 1: (00:00 – 1:06); Section 2: (1:10 – 1:39)

• I can hear the beautiful solo clarinet melody that represents Beauty in Section 1. • I can hear the chilling solo contrabassoon melody that represents Beast in Section 2. Listen for the clarinet melody as it sings Beauty’s part of the conversation. The full melody is played twice (0:00) & (0:33).

TIMING: 0:00, 0:33

Listen for the contra-bassoon melody as it sings Beast’s part of the conversation in section 2. It is the lowest pitched instrument in the orchestra. TIMING: 1:10

Second Listening: Section 3: (1:39- 3:16); Section 4: (3:16 – 4:31)

• I can hear the combined melodies of Beauty and Beast in Section 3. • I can hear a harp glissando transform Beast (contrabassoon) to a Prince (violin) in Section 4. Listen for Beauty & Beast’s melodies to combine as they talk & dance clockwise in the Listening Map in Section 3. Beauty’s melody moves from the clarinet to the oboe, flute, & violin, while Beast remains on the contrabassoon. Can you hear Beast’s plea for Beauty to be his wife? (1:40) What is she telling him?

TIMING: 1:40

In Section 4, listen for a cymbal crash when she accepts his proposal thus breaking the magic spell! Listen to the harp as the pitches ascend, signaling a transformation of the Beast melody to the violin.

Third Listening: Whole Composition: (0:00 – 4:31) Listen to the piece from beginning to end. Younger students can use their hands as puppets for each character of the story.

EXPLORATION- MOVEMENT • Explore an ice skating movement in three beats to the measure. • Students, in grades K-1, practice stepping one foot every three counts. Add an arm swing to the movement. • Students, in grades 2-5, use two dinner size paper plates with a waxed coating, students place the ball of their foot on each paper plate pretending to ice skate through the space using flowing arm movements as they glide to Sections 1 & 3 of Ravel’s piece. • Explore the basic Waltz with older students. Use an 8.5 x 11 inch paper as the inside of a box. Students move their feet to the outside 4 corners.

BASIC BOX STEP

Lesson created by Kimberly Licavoli - North Ward & Dawson Elementary Schools, Allegan Public Schools

La Bohème: “Sì, mi chiamano Mimì”

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GIACOMO PUCCINI

Composer · Pianist · Organist December 22, 1858 | November 29, 1924 Italy & Belgium • Has been called “the greatest composer of Italian opera after Verdi.” • Puccini had 8 brothers and sisters! • Puccini came from four generations of musicians – that means his great-great grandparents were musicians. • In 1903 Puccini and his family were in a car accident. Luckily no one was injured too badly. • Puccini smoked cigarettes and cigars for most of his life and eventually was diagnosed with throat cancer! • Puccini loved technology and was good friends with the inventor, Thomas Edison. He also loved cars, boats, hunting and the country. • Four of Puccini’s operas are some of the most performed operas in the world today: La Bohème, Tosca, Madama Butterfly, Turandot.

THE STORY BEHIND THE MUSIC This song finds the two main characters in the story of La Bohème, Rodolfo and Mimì, talking in Rodolfo’s apartment in Paris, France. Rodolfo, a poet, decided to not go out with his friends one night in order to stay home and write. When he is writing Mimì, Rodolfo’s neighbor, knocks on his door asking if he can help her light a candle that had blown out. While she is there, she begins to feel sick and needs to sit down. After some time, and losing the key to her apartment, Rodolfo asks to know more about Mimì’s life. She describes her “simple” life to him. Rodolfo is very interested in Mimì and begins to fall in love with her as she tells him about herself. Taken from: https://en.wikipedia.org/wiki/La_boh%C3%A8me

Hyper-links available in digital pdf or visit the KSO YouTube Channel

Lesson Created by Jeanna Hickman - Winchell Elementary School, Kalamazoo Public Schools

La Bohème: “Sì, mi chiamano Mimì” LISTENING MAP

0:19 Harp & Violin

0:00

“La storia mia e breve...”

Timidly

“Si, mi chiamano Mimi.”

0:33 Strings

“Son tranquilla e lieta.”

0:47

Strings & Brass create open feeling pentatonic - Introspective -

“Mi piaccion quelle cose che han si dolce malia, che parlano d’amor, di primavere, di sogni e di chimere, quelle cose che han nome poesia... Lei m’intende?”

1:46

2:00 Strings

Timidly

“Si, mi chiamano Mimi, il perche non so.”

2:30 Strings & Brass

“Ma quando vien lo...” f

Staccato alternating with legato

3:23 Flute

“Sola, mi fo il pranzo da me stessa... Vivo sola...”

4:22 Pentatonic

“Germoglia in un vaso una rosa... ma i fior ch’io faccio, Ahime! Non hanno f odore.”

Recetative

“Altro di me non le saprei narrare.”

La Bohème: “Sì, mi chiamano Mimì”

Translations

word by word translation by Terry Eickel Mimi’s aria from La Bohème

Note to teachers: Consider having your students translate the Italian on the listening map on page 23 using this page.

Sì, mi chiamano Mimì

Yes, they call me Mimi

(Italian lyrics)

(English translation)

Sì, mi chiamano Mimì, ma il mio nome è Lucia. La storia mia è breve. A tela o a seta ricamo in casa e fuori... on tranquilla e lieta ed è mio svago far gigli e rose. Mi piaccion quelle cose che han sì dolce malìa, che parlano d’amor, di primavere, di sogni e di chimere, quelle cose che han nome poesia... Lei m’intende?

Yes, they call me Mimi, But my name is Lucy My history is brief To cloth or to silk I embroider at home or outside... I am peaceful and happy And it is my pastime To make lilies and roses I like these things That have so sweet smell, That speak of love, of spring, That speak of dreams and of fantasies These things that have poetic names Do you understand me?

Mi chiamano Mimì, il perché non so. Sola, mi fo il pranzo da me stessa. Non vado sempre a messa, ma prego assai il Signore. Vivo sola, soletta là in una bianca cameretta: guardo sui tetti e in cielo; ma quando vien lo sgelo il primo sole è mio il primo bacio dell’aprile è mio! Germoglia in un vaso una rosa... Foglia a foglia la spio! Cosi gentile il profumo d’un fiore! Ma i fior ch’io faccio, Ahimè! non hanno odore. Altro di me non le saprei narrare. Sono la sua vicina che la vien fuori d’ora a importunare.

They call me Mimi, And why I don’t know. Alone, I make Lunch for myself. I do not always go to mass, But I pray a lot to the Lord. I live alone, alone. There is a white little room I look upon the roofs and heaven. But, when the thaw comes The first sun is mine The first kiss of April is mine! Rose buds in a vase Leaf by leaf I watch it! That gentle perfume of a flower! But the flowers that I make Ah me! they don’t have odor! About me, I would not know how to tell. I am your neighbor who has come unexpectedly to bother you.

La Bohème: “Sì, mi chiamano Mimì”

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Yes, They Call Me... #3

Directions: Read the story all the way through first. Think about

what you would put in the blank boxes from the choices below the blanks. Remember that you are using Mimi’s aria as a story template to introduce yourself to someone. After you fill in the blanks, share your answers with a partner.

Yes, they call me _______________________. But my real name is ______________________. (insert nickname) (insert given name) My history is __________________. I _________________________ at _________________________ (short/ long) (action verb/ occupation) (insert location/place) or ____________________. I am _______________________ and _______________. It is my (2nd location/place) (insert personality trait) (insert emotion) pastime to make _________________ and _____________________. I _____________________ these things (noun/ items) (noun/ item) ( like/ dislike) that smell _____________________ and speak of __________________, of ______________________. (sweet/ sour) (insert emotion) (insert month of the year) That speak of dreams and of fantasies. These things that have ______________________ (insert adjective) names. Do you understand me?

They call me _________________. Why, I do not know. Alone, I make lunch for (insert nickname) ________________________. I live __________________________ alone, alone. There is a (insert best friend’s name) (insert adjective) ____________________ little room where I look upon the roofs and _______________. But, when the (favorite color) (heaven/space/clouds) __________________comes, the ___________________ sun is mine. The first ______________________ of (freeze/thaw) (favorite number) (hug/handshake/kiss) __________________________ is mine! (birthday month) ___________________________in a vase. Leaf by leaf I watch it! The ______________________________ (Favorite flower) (adjective) perfume of a flower! But the ______________________________ that I make, Ah me! They don’t (noun(s)) have any __________________________! About ______________________________, I would not know how (noun) (insert nickname) to tell. I am your neighbor who came unexpectedly to bother you.

Lesson Lesson created Created by Jeanna Winchell Elementary School, Kalamazoo SchoolsPublic Schools 25 byHickman Jeanna-Hickman, Winchell Elementary School,Public Kalamazoo

La Bohème: “Sì, mi chiamano Mimì” ck Tra

Lesson Plan

ABOUT THE MUSIC: The opera La Bohème is based on Henri Murger’s novel, Scènes de la vie de bohème, a collection of scenes portraying young bohemians living in the Latin Quarter of Paris in the 1840s. La Bohéme focuses on the relationship between Rodolfo and Mimì: their meeting, falling in love , and ending with her death. The Pulitzer and Tony award-winning musical Rent (by Jonathan Larson) was loosely based on the plot of La Bohème.

ESSENTIAL Lesson One: Exposure and introduction to the song.

Read the synopsis of the aria before the music is played to acquaint the students with the storyline of the aria. Students listen to the aria, imagining the story and listening to the emotion behind the aria. They do not need to understand the words, just try to feel the emotion and sentiment. You may refer to the translation and read it prior to listening if needed. Students are asked to consider the following questions while listening: Does the aria and orchestra sound thick or thin in texture? How would you describe the feelings the girl is expressing? Are there a range of dynamics? Could there be a range of feelings she is trying to express? What role does the orchestra play? Are there any instruments that stand out in your listening? Discuss observations as a class, around texture, dynamics and orchestration.

Lesson Two: Everybody has a story to tell!

Explain that the aria “Sì, mi chiamano Mimì” is when Mimì introduces herself to Rodolfo. She paints a picture of her world in this aria. Discuss with your students some of the important facets of her life that she feels describe her life to Rodolfo. What did she choose to discuss with him?

EXPLORATION Fun Activity Worksheet: “Yes, they call me…”

Pass out “Yes, they call me…” worksheets and allow students to fill in the blanks on the page. This is similar to a MadLib, where students can fill the blanks to help describe their likes and dislikes. Have students read their worksheets to a partner. If there is time, and if there are students willing to participate, ask for students to hand in their letters and the teacher can read them to the class. Discuss what new findings that were learned about classmates. Is their letter serious or silly? Ask the students how this relates to the aria “Sì, mi chiamano Mimì”. When listened to, each person has an interesting story to tell, listing their likes and dislikes, hopes and dreams. Is she being sincere? How can you tell her intent by the music? Invite students to listen to the aria once more. Discuss any feelings or findings regarding the character and her aria.

EXTENSION Activities Using Technology View traditional opera scenes of the aria “Sì, mi chiamano Mimì” at the following YouTube addresses:

• Staged version with Angela Gheorghiu - must see! https://www.youtube.com/watch?v=-4rsu11K3PY • Maria Callas performance with still pictures: https://www.youtube.com/watch?v=UgaN3vIqJUY • African American Soprano Leontyne Price: https://www.youtube.com/watch?v=9fOD5eG6KNI Hyper-links available in digital pdf or visit the KSO YouTube Channel

The Firebird Suite (1919 Version)

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IGOR STRAVINSKY

Composer · Pianist · Conductor June 17, 1882 | April 6, 1971 Russia, France, Switzerland & America • Stravinsky’s father was a famous opera singer in Russia, which is where he learned about music. • He originally went to college to be a lawyer, but changed his mind when he started to study music with another famous composer in Russia, named Nikolai Rimsky-Korsakov. • He wrote three ballets for the most famous ballet group in the world at the time, the Ballets Russes. One of his ballets, The Rite of Spring, was so different for the time that it caused a riot in the theater in 1913! • Stravinsky wrote in many different styles of classical music, but was interested in jazz music too. • While in America, Stravinsky lived in both New York City and Hollywood, where you can see him on the walk of fame. • Many of Stravinsky’s compositions are in movies. Check out Disney’s Fantasia, where you can hear The Rite of Spring, and Fantasia 2000, where you can hear The Firebird. • He wrote a piece called Circus Polka in 1942 that was meant for a ballet of circus elephants.

THE STORY BEHIND THE MUSIC This timeless story is based on Russian folklore. Prince Ivan finds himself lost in a magical forest. Ivan does not know that this forest is ruled by a dangerous king, Kastchei, who turns intruders into stone. While wandering in the forest, Ivan sees the Firebird picking golden to apples from a tree. Ivan captures the Firebird, releasing her only after she gives him a feather containing magical powers. Thirteen princesses appear and Ivan watches them dance and play with golden apples. The princesses warn Ivan of King Kastchei. Kastchei tries to turn Ivan to stone but the Firebird’s feather protects Ivan from the king’s magic. The Firebird then causes Kastchei and his followers to dance wildly until they drop exhausted. Prince Ivan discovers and then destroys an egg that holds the king’s special powers. Kastchei dies and all those he had turned to stone come back to life. In a triumphant celebration, Ivan takes the hand of the loveliest of the Princesses in marriage, and all is well again. Lesson created by Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Crosman, Portage Public Schools

The Firebird Suite (1919 Version)

Movement II Movement III The Firebird and Its Dance Variation of The Firebird

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STORY & LESSON

THE FIREBIRD AND ITS DANCE STORY An introduction allows the audience to learn about the characters and setting. • The Firebird is a wonderful and magical bird whose wings are the color of fire as she moves through the sky. She loves to be in the tree filled with golden apples that is in the middle of King Kastchei’s enchanted garden. • Setting: A beautiful enchanted garden right outside the king’s castle. • King Kastchei is an evil king. • Prince Ivan is a kind prince.

THE FIREBIRD AND ITS DANCE LESSON Hear the music. What to listen for: The Firebird and Its Dance: • Violins give a fiery strong introduction to the Firebird using tremolo and no particular melody.

Variations of the Firebird:

• Listen for the woodwinds as they represent the Firebird. You can really hear the piccolo tweeting about. The repeating theme of the woodwinds is the first solo for the Firebird. This movement is in 6/8 time and it’s obvious that it is a dance. • There are other families of instruments playing too, but they are not as significant as the woodwinds. Listen for a second theme where the woodwinds do a type of question/answer with the muted trumpets. (Woodwinds play the check marks and trumpets play the triangles in this listening map.) • Look and listen for a variation of the Firebird’s theme (1:06:40), which is shown with the repeated doodles on the listening map.

EXTENSION Discuss with your students if knowing the story is important for the musicians who are playing the music. Why or why not?

Other Resources:

• The Firebird Variation: https://youtu.be/GeKHVjbZOU8?t=1h5m48s

Hyper-links available in digital pdf or visit the KSO YouTube Channel

Lesson created by Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Crosman, Portage Public Schools

Movement II Movement III The Firebird and Its Dance Variation of The Firebird

LISTENING MAP

The Firebird and Its Dance Track #4

Variation of The Firebird Track #5

:14 :24

:39

1:02

Movement V Infernal Dance

The Firebird Suite (1919 Version)

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STORY & LESSON

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INFERNAL DANCE STORY An important sequence of events to the Firebird story 1. Prince Ivan wanders into King Kastchei’s garden and captures the Firebird. 2. The Firebird begs for freedom, and Prince Ivan agrees. 3. The Firebird gives Prince Ivan one of his feathers. 4. Thirteen beautiful princesses come out of King Kastchei’s castle to dance around Prince Ivan. He falls in love with one of the princesses, Elena. 5. Prince Ivan sees lots of stone statues in the garden. The princesses explain that he will also be turned into stone if King Kastchei captures him. 6. King Kastchei’s evil gang comes and tries to capture Prince Ivan. 7. Prince Ivan remembers that he has the Firebird’s feather and waves it. 8. The Firebird comes to help him, leading King Kastchei and his gang in a wild and fast dance that makes them whirl around and around and grow exhausted.

INFERNAL DANCE LESSON Tell the story. The sequence cards on the facing page can be used in many ways. To introduce the story and/or the music, you can show one set of cards on a large screen for all students to see. As a follow-up for older students, let individuals or small groups have sets of cards to manipulate and order a) as the class retells the story; or b) as they listen to the music. Younger students could take turns choosing a card to go next on the large screen, with teacher prompts. Hear the music. What to listen for:

Listen for the short motifs and patterns. • • • •

Melodies are moving quickly up and down. Rhythms are often syncopated (off the beat). Accents add excitement. The whole orchestra is featured, almost like a collage of sound. Listen especially for tambourine, triangle, trombone, and xylophone.

EXTENSION: Stravinsky’s style is like Picasso’s art in the cubism style. It is complex and made up of various shapes, colors and sounds. Each “cube” of the music when put together makes up the whole story or picture. Try using various colored paper shapes and glue them together into a picture while listening to The Firebird. Look at a picture of “Three Musicians” (1921) by Pablo Picasso to see the cubism style. https://en.wikipedia.org/wiki/ File:Picasso_three_musicians_moma_2006.jpg Other Resources: • Infernal Dance: https://youtu.be/GeKHVjbZOU8?t=1h12m7s • The last eight minutes of Disney’s Fantasia 2000 is music from The Firebird Suite

Hyper-links available in digital pdf or visit the KSO YouTube Channe 30

Lesson created by Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Crosman, Portage Public Schools

Movement V Infernal Dance

SEQUENCE CARDS

Prince Ivan wanders into King Kastchei’s garden and captures the Firebird.

The Firebird gives Prince Ivan one of his feathers. Prince Ivan sees lots of stone statues in the garden. The princesses explain that he will also be turned into stone if King Kastchei captures him.

Prince Ivan remembers that he has the Firebird’s feather and waves it.

The Firebird begs for freedom and Prince Ivan agrees.

Thirteen beautiful princesses come out of King Kastchei’s castle to dance around Prince Ivan. He falls in love with one of the princesses, Elena.

King Kastchei’s evil gang comes and tries to capture Prince Ivan.

The Firebird comes to help, leading King Kastchei and his gang in a wild and fast dance that makes them whirl around and around and grow exhausted. 31

Movement V Infernal Dance

LISTENING MAP

START

:30

:55

3:33

THE END

3:12

2:17

1:43

1:18 33

Movement VI Berceuse

The Firebird Suite (1919 Version)

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STORY & LESSON

BERCEUSE STORY Music can create a mood and let the story move forward at a proper pace. • The mood is very gentle. This music is a lullaby, and is named for the French word for lullaby, “berceuse.” • The music puts King Kastchei and his gang to sleep after their wild dance. • The music gives Prince Ivan a chance to stop and listen to information from the Firebird. The Firebird tells Prince Ivan that there is a secret place that holds King Kastchei’s power. Strange as it may sound, that secret place is a giant egg made of special glass called crystal. • Prince Ivan has time to think about how he will go and find the egg.

BERCEUSE LESSON Hear the music. What to listen for:

This is a listening exercise in tone color. Students should work on differentiating the woodwind sounds of oboe and bassoon and the string sounds of the harp and the violins. The harp plays a 4-note ostinato on A# G# A# B (all quarter notes). The low strings play a short descending pattern, which represents King Kastchei.

EXTENSION Younger children could have a picture of one of the woodwind instruments, and hold it up when that instrument is featured. Therefore, nothing is held up when strings are featured. This could also become a movement activity (with perhaps scarves and ribbons or other props replacing the instrument pictures). One group could be King Kastchei’s gang, represented by the bassoon, and the other the princesses and statues, represented by the oboe. Older students could expand their listening discrimination to include bassoon, oboe, harp and violin. Also, individual students could have a set of pictures and hold up whichever one was featured. The Listening Map could provide a visual cue, and with practice the students could discriminate the tone colors without the Listening Map. Other Resources:

• Berceuse: https://youtu.be/GeKHVjbZOU8?t=1h16m50s • Have the students watch The Firebird Ballet: https://www.youtube.com/watch?v=q0MpwTEkzqQ

Hyper-links available in digital pdf or visit the KSO YouTube Channel

Lesson created by Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Crosman, Portage Public Schools

Movement VI Berceuse

LISTENING MAP

:08-:27

:27-:37

:37-:56

:56-1:07

1:07-1:18 1:18-1:56

1:56-2:34 2:34-2:52

2:52-3:43

Movement VII Finale

The Firebird Suite (1919 Version)

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STORY & LESSON

FINALE STORY An ending can have many parts. Different characters need to finish their parts in the story. 1. Prince Ivan finds the crystal egg and smashes it. The egg breaks into many pieces. 2. King Kastchei’s life and power leave him, and he and his gang disappear. 3. The stone statues in King Kastchei’s enchanted garden are now turned back into the real people they are -- and so the people are set free to return to their lives. 4. Prince Ivan and Princess Elena fall in love and get married. 5. The Firebird flies away. What good deeds do you suppose she might do in the future?

FINALE LESSON Hear the music. What to listen for: • • • •

Listen to the soft and sweet (dolce) theme at the beginning as it is passed from the French horn to the strings and then the flute. It is a magical sound as this is where the spell is broken in the enchanted garden and the stone statues can move again! How are they moving? (Lento, very slow) Notice how the dynamics build to an extremely full and fff sound. How did that happen? (The rest of the instruments were added.) They are ALL playing variation 2 now. Listen as the strings play tremolo. (The bow is moved very fast on the same notes.) Which instrument family is playing variation 3, first fast and then slow? (Brass) Doesn’t it sound like the royal wedding of Prince Ivan and his princess? As the conclusion is played do you hear more extreme dynamics? (Loud, suddenly soft and then a big crescendo to loud again.) Could this be the Firebird flying away?

EXTENSION Ask your students why the dynamics are so important in this composition. To borrow a phrase from popular culture, why might they call it “extreme dynamics”. Other Resources: • Read a book about the Firebird to your students. If the text is too much, just show the pictures and retell it in your own words. Students could help recall the story in their own words. • Finale: https://youtu.be/GeKHVjbZOU8?t=1h20m21s

Hyper-links available in digital pdf or visit the KSO YouTube Channel

Lesson byby Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky & Tressa Lessoncreated Created Michele Helner, Beverly Ropp, Lisa Bernlohr Stucky, Tressa Crosman, Crosman, Portage Portage Public Public Schools Schools

Movement VI Finale

LISTENING MAP

Theme

:00

Variation 1

:32

Variation 2