Education Concert

Workshop

Tuesday, August 10, 2010

2010-11 Education Material AuthorsAnn Goldfinch (agoldfinch@wcpss.net)

Brooks Museum Magnet Elementary, Raleigh, NCKim Demery (kdemery@wcpss.net)

North Forest Pines Elementary, Raleigh, NCKatie Perkins (katieperkins@johnston.k12.nc.us)

West Smithfield Elementary, Smithfield, NCMelissa Raley (mraley@wcpss.net)

Underwood GT Magnet School, Raleigh, NCBo Reece (breece@wcpss.net)

Washington GT Magnet Elementary, Raleigh, NC

1879 - 1936

INTRODUCTION

La Boutique Fantasque,Mvt. II: Tarantella

Ottorino Respighi

Composer Facts: Respighi

• Much of his “serious” music is ignored today.• Best known for his Roman Trilogy and the

three suites of Ancient Airs and Dances.• Took composition lessons with Nikolai Rimsky-

Korsakov

La Boutique Fantasque

(Image Source: http://upload.wikimedia.org/wikipedia/en/3/39/La_Boutique_Fantasque.PNG)

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La Boutique Fantasque

• La Boutique Fantasque (1919) is a ballet commissioned by Diaghilev.

• La Boutique Fantasque premièred in London on June 5, 1919.

• It is a collection of pieces based on themes by Gioacchino Rossini.

Setting of La Boutique Fantasque

Toy Shop of Dolls from Around the World

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Tarantella• A couples folk dance of Italy characterized by

light, quick steps and teasing• Dancers frequently carry tambourines• The tarantella’s origin is connected with

tarantism, a disease or form of hysteria that appeared in Italy in the 15th to the 17th century and that was obscurely associated with the bite of the tarantula spider; victims seemingly were cured by frenzied dancing.

• Derived from the name of the town of Taranto, Italy

VIDEO

“Dances of the 7 Continents “

By Sanna Longen

Tarantella

This rhythm is the basic rhythm of the tarantella.

“Getting to know a piece of music”

• Assign small groups of students to listen for one particular element of music during the first listening of the selection.

• Have students circle any terms that apply to the selection. After listening to the selection, have students write and discuss their opinion on the sheet.

Please refer to the print-out in your workshop packet

Manuel de Falla1876 - 1946

RHYTHM

Spanish Dance No. 1 from La Vida Breve

Composer Facts: de Falla• Manuel de Falla is regarded as one of the most

distinguished Spanish composers of the 20th century. • He showed interest in literature, theater, and art. In

1889, Falla created a literary magazine with his friends titled, El Burlón, and later created the literary magazine, El Cascabel, where he was first a “contributor” and later the “editor.”

• Your daily schedule would be much different if you lived in Spain! Lunch is the big meal of the day, served between 2 and 3 in the afternoon. Lunch is followed by a nap called a “siesta.” Then you would go back to work at 4:30 or 5 in the afternoon and eat dinner at 9 or 10 at night.

La Vida Breve: Spanish Dance No. 1

• Representation of native opera and folk music• Collaborated with the poet and dramatist,

Fernández Shaw• Translated into French by Paul Milliet after de

Falla moved to France• Negotiated with the famous publisher,

Giulio Tito Ricordi

Development of La Vida Breve(page 13 in Teacher Handbook)

Power PointListen for rhythm, form and the instruments being used.

“Spanish Dance No. 1”from La Vida breve

Composer: Manuel de Falla

Powerpoint used at NCS Education Concert Workshop can be downloaded from the online resources page.

Characters in Opera

• Salud, a gypsy girl soprano• Paco, Salud’s lover tenor• Salud’s Grandmother mezzo-soprano• Uncle Salvador bass• Carmela, Paco's bride mezzo-soprano• Manuel, Salud’s brother baritone

Setting of La Vida BreveThe opera takes place in Granada, which de Falla never visited. He asked for more information about the city from friend Antonio Arango.

Granada Cathedral as seen from Bib-Rambla Square

http://en.wikipedia.org/wiki/Granada

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Plot of La Vida BreveAct 1

– Salud is caught in a lover’s triangle!– Her lover, Paco, is secretly seeing another woman of a higher status in their culture.– Salud’s Grandmother and Uncle Salvador are aware of Paco’s actions but keep the

information to themselves.– At the end of Act 1, Salud discovers Paco’s actions and the rumor is confirmed by her

Uncle Salvador.

Act 2– Act 2 begins with the celebration of the marriage between Paco and Carmela.– Salud is upset to see Paco with another woman but confronts Paco with her

grandmother and uncle by her side.– In Salud’s grief, she begs Paco to kill her but Paco acts as though he has never seen

Salud before and wants her thrown out of the celebration.– Devastated and heartbroken, Salud falls dead at Paco’s feet.

Spanish Dance No. 1: Check for Understanding

• Use Rondo Cards to assess the form of the music with students.

Rhythm and Art Activity

Rhythm Activity

TriangleTriangle MaracasMaracas

CastanetsCastanets

MaracasMaracas

CastanetsCastanets CastanetsCastanets CastanetsCastanets CastanetsCastanets CastanetsCastanets

Johannes Brahms1833 - 1897

TEMPO

Hungarian Dance No. 7 in A Major

Composer Facts: Brahms• In his later years, Brahms’ appearance was very

recognizable as he had a long beard and large frame, which was opposite of his thin figure and smooth cheeks as a youth. Brahms did not grow his beard until he was 45 years old.

• Brahms was extremely critical about his work and destroyed musical scores and sketches that he thought were not his best work.

• Although Brahms was quiet and shy he had many friends and even though he was not married he was known as a favorite “uncle” to many of his friends’ children.

The Hungarian Dances• The Hungarian Dances are a set of 21 lively

dance tunes based mostly on Hungarian themes, completed in 1869.

• Only numbers 11, 14 and 16 are entirely original compositions.

• They vary from about a minute to four minutes in length.

• They are among Brahms' most popular works, and were certainly the most profitable for him.

• Each dance has been arranged for a wide variety of instruments and ensembles.

Hungarian Dance No. 7

Hungarian Dance No. 7

Hungarian Dance No. 7 -Conducting

Basic four pattern Basic two pattern

Hungarian Dance No. 7: Fun Assessment!

Green: Start

Yellow: Caution/Slow

Red: Stop

Blue: Move aside

Black: Move to Pit

Black/White Cross: Disqualification

White: final lap

Checkered: Finish/Current Session complete

Aram Khachaturian1903 - 1978

FORM

Waltz from Masquerade Suite

Composer Facts: Khachaturian• Although he never composed an opera, he did write music for

20 dramatic plays, including the Waltz from the Masquerade Suite.

• You probably already know Khachaturian’s most famous work, Sabre Dance. This music is used often on television or at the circus, usually to demonstrate a quick pace or acrobatic activity.

• A masquerade ball is a party where guests dress in ornate costumes and wear masks to hide their faces. Imagine going to a party and not being able to recognize anybody!

• He loved animals and a royal poodle was gifted to him in Germany. He named it Lado (la do).

Khachaturian’s Life

• Aram Ilyich Khachaturian was born on June 6, 1903 in Tiflis, Georgia (now called Tbilisi in the Republic of Georgia) to an Armenian family.

• At age 20 he moved to Moscow to join his oldest brother Suren (a director of the Moscow Art Theater).

• He enrolled at Moscow State University to study biology but eventually focused on his cello and music studies at Gnesin Music School and Moscow Music Conservatory.

Khachaturian the Composer• Khachaturian’s musical works were deeply rooted in

Armenian folk culture and recognized as both European and Russian classics.

• He composed three symphonies, three ballets and concertos for violin, cello, and piano in addition to both large and small scale orchestral works.

• “The Sabre Dance” from his ballet Gayane is one of his most recognized pieces. You may have heard this fast paced xylophone accented piece on television or at the circus used to accompany an acrobatic activity.

Khachaturian the Composer (cont.)• He composed three ballets: Happiness (1939), later renamed

Gayaneh (1939-41) which includes the popular “Sabre Dance” and Spartacus (1950-54)

• He composed three symphonies: Symphony No. 1 (1934), Symphony No. 2 “The Bell Symphony” (1943, 1944) and Symphony No. 3, “Poem” (1947)

• He had a knack for use of musical imagery which drew him to compose memorable music for use in the dramatic theater, ballet and cinema. He maintained a large body of work that was used for cinema and dramatic plays.

• Today his music has been used in movies such as: “2001: A Space Odyssey,” “National Lampoon’s Vegas Vacation,” and on TV on “The Simpsons” and “Scooby Doo.”

Biography Highlights (cont.)• In the 1930’s he married Nina Makarova a

fellow composition student and composer.• He graduated from the Moscow National

Conservatory In 1934.• In the 1950’s he returned to the Moscow

Conservatory as a professor to teach composition. – He also taught at the Gnesin School until his

retirement.

Waltz from Masquerade SuiteFundamental of Music: Form

• This composition was written as incidental music for a dramatic play written by Mikhail Lermontov (1814-1841).

• A masquerade or masquerade ball is a costumed dance event. Usually the participants are “incognito” (in disguise) and unknown to each other, hiding behind masks.

• The Waltz is the first movement of the Masquerade Suite in Rondo Form ABACABA

The “Masquerade” drama reads like a soap opera!

• Lermontov was a Russian writer, poet, artist and writer of this play. • This story is a tale of love, jealousy and the consequences of

misunderstandings in relationships. • A lovely young woman (Nina) receives a bracelet from her husband

Arbenin. She loses her bracelet at the masquerade ball. It is found by the wicked Baroness Schtraal, who gives it Prince Zvezditch as a token of her affection. Prince Zvezditch shows it to his friend, Arbenin (Nina’s husband) who recognizes it as the gift he gave to Nina. Driven mad by jealousy, grief and despair, Arbenin poisons Nina before the truth about the bracelet can be revealed. Later, he realizes Nina was innocent and falls further into madness.

• It was staged in 1941 and Khachaturian’s music was later published as a suite.

• Khachaturian uses contrasting dynamics and is a master of orchestration in this rhythmically moving Waltz. He boisterously uses the percussion section to full advantage with timpani, bass drum and cymbals accenting and driving the triple meter dance form.

Rondo Form: A-B-A-C-A-B-A

Listen to the Waltz from Masquerade SuiteTrack 6 on Education CD

Call Chart (page 41)Waltz from Masquerade Suite

12-barintro

f-forte - waltz tempo is established with kettle drum accenting the downbeat. E harmonic minor moving from tonic to subdominant. Decrescendo going back to A theme

A p-piano – violins with upward moving melody with violas echoing and building to a crescendo and motif pattern with added high woodwinds that move down chromatically then a crescendo in a flurry of chromatics back to A theme

A f-forte – the repeat of A has violins and violas lead with the violins an octave higher with woodwinds and brass echoing. Low brass hold steady on um-pah-pah

B f-forte-entire string family introduces this new B theme calmly with its melody of longer durations followed by dotted eighth and sixteenth rhythms building with a crescendo for repeat of B

B f-forte - entire string family plays B theme again an octave higher with a slightly faster tempo. Percussion adds momentum with cymbals and kettle drum playing with vigor until the ritardando leading back to A

A f-forte - a tempo with violins and violas on upward moving melody with woodwinds and trombones echoing. Lead-in to C theme is ff-fortissimo-cymbals crashing and then pp-pianissimo

C mf - mezzo forte - In the key of C major with strings playing the main melody and high woodwinds setting a happy, light festive mood. Enjoy it! There is no repeat. Slight ritard before going back to A

A p-piano – violins with upward moving melody with violas echoing and building to a crescendo with added high woodwinds that moves down chromatically then a crescendo in a flurry of chromatism back to A theme

B f-forte - entire string family plays B theme this time an octave higher with a slightly faster tempo. Percussion adds momentum with cymbals and kettle drum playing with vigor until the ritardando leads back to A

A f-forte - a tempo with violins and violas with upward moving melody with woodwinds and brass echoing. Ritardando to the final ending on e minor chord and a crash of the cymbal.

Call Chart - continued (page 41)Waltz from Masquerade Suite

Large templates for these visuals are found on pages 46, 47, 48 in Teacher Workbook

Visual form for Khachaturian’s

Waltz from Masquerade Suite

“Welcome to the

Masquerade”

Theme A with lyrics can be

found on page 44 in the Teacher

Handbook

Waltz B Theme

Streamers

Theme C with lyrics can be found on page 44 in the

Teacher Handbook

“Wordle” Extention Activity

• Create a “visual” word cloud in Wordle using vocabulary about Khachaturian. (See p. 45 in Teacher Workbook) Lets create one now!

• First copy the Vocabulary for Word Cloud or make up your own.

• Open Wordle and select “create”. Paste the text and then the creative process begins.

• You can then post your word cloud or print it out.

Vocabulary For Word Cloud(page 45 in Teacher Handbook)

MELODY

“De Colores”

Mexican Traditional, arr. Terry Mizesko

b. 1954

Composer Facts: Mizesko

• Terry Mizesko was born in Morehead City, North Carolina and has been the principal Bass Trombonist for the North Carolina Symphony since 1971.

• He is a multi-talented musician who has composed orchestral works and arrangements for the Symphony pops, classical and education concerts.

“De Colores” Mexican Traditional, arr. Mizesko

• This arrangement uses both Mariachi and Habanera styles. Mizesko This arrangement uses both Mariachi and Habanera styles. Mizesko describes his arrangement as: describes his arrangement as:

““a Habanera bass line underneath a quasi-Mariachi style on the first verse. The a Habanera bass line underneath a quasi-Mariachi style on the first verse. The second verse adds a Bolero rhythm with the Habanera bass line. The second verse adds a Bolero rhythm with the Habanera bass line. The orchestration is reminiscent of Ravel with several quotes from ‘Bolero’”orchestration is reminiscent of Ravel with several quotes from ‘Bolero’”

• Mariachi is a traditional music ensemble and style of music that Mariachi is a traditional music ensemble and style of music that originated in the state of Jalisco in western Mexico. Mariachi players originated in the state of Jalisco in western Mexico. Mariachi players dress up in elaborately studded and ornamented pants, short jackets, dress up in elaborately studded and ornamented pants, short jackets, embroidered belts, bow ties and distinctive large sombrero hats.embroidered belts, bow ties and distinctive large sombrero hats.

“De Colores”Mexican Traditional, arr. Mizesko

Habanera is a genre of popular Cuban dance Habanera is a genre of popular Cuban dance music of the 19music of the 19thth century. It has a century. It has a recognizable rhythm and is performed by both recognizable rhythm and is performed by both singing and dancing.singing and dancing.

Listening Examples “Mariachi” and “Habanera” styles

• Springfield High School Mariachi Band performs “De Colores” http://www.youtube.com/watch?v=ZMrz1HzyIjk

• http://www.itunes.com/ To sample or download an MP3 for Maurice Ravel’s “Bolero” check out the Boston Symphony Orchestra and London Symphony Orchestra recordings. Other listening examples are found by searching for “Carmen” by George Bizet – “Habanera” for an example of this style of music.

In the style of The Mariachi Band

• The traditional instruments of the Mariachi Band are: violins, guitar, vihuela, trumpets and guitarrón. – Go to Smithsonian Global Sound’s website for an

interactive Mariachi experience.

“De Colores” Student Sing-a-long

(Found on page 57 in Teacher Book or on back cover of Student Book)

• This folk song is known throughout the Spanish speaking world and was brought to the Americas in the 16th century.

• “De Colores” translates to “of colors.” The music is an expression of joy and a celebration of nature and its many bright and beautiful colors.

• Students will have an opportunity to sing both in English and in Spanish at the concert.

Song sheet for “De Colores” can be

found on page 57 in the Teacher Book

or on the back cover of the Student Book

Learn Your Colors in SpanishCOLORS ESPAÑOL PRONUNCIATION

RED ROJO Roh-ho

WHITE BLANCO Blahn-co

BLUE AZUL Ah-sool

GREEN VERDE Verr-day

YELLOW AMARILLO Ah-mah-ree-yo

ORANGE NARANJO Nah-rahn-ho

GRAY GRIS Grees

“De Colores” with counter-melody “Beautiful Like the Sun” (page 58 in Teacher Handbook)

“De Colores” Percussion Ensemble(page 55 in Teacher Handbook)

Gioacchino Rossini

DYNAMICS

Overture to William Tell

1792 - 1868

Composer Facts: Rossini

• Rossini is respected as one of the principal Italian composers of the early nineteenth century.

• Rossini's life is like a two act opera: Act l, "Swift Triumph" and Act ll, "Seclusion"

• William Tell was the last of 37 operas that Rossini composed.

• http://www.52composers.com/rossini.html

Overture to William Tell

• The Overture to William Tell is the instrumental introduction to William Tell, the opera.

• It was Rossini’s final opera.• It was originally written in six acts, but was

quickly revised and condensed into four acts.• This opera is rarely performed today due to

length and unusual logistical demands.

Overture to William Tell

• Based on the play, Wilhelm Tell by Freidrich Schiller about the legendary Swiss hero, Guillaume Tell.

http://www.cbc.ca/radio2/blog/tell_william.jpg(Image Source)

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Overture to William Tell

• William Tell is one of the best examples of French Grand Opera of the 19th century.

• The opera is known for its famous overture, which was Rossini's longest and most elaborate.

• The musical imagery he employs is thought by many to be the "precursor to the tone poem."

Overture to William TellThe Overture is written in four distinct sections:

1. Prelude - a slow passage starting with a passage for five cellos2. Storm - a dynamic section played by full orchestra3. Ranz des Vaches (call to the dairy cows) - featuring the

Cor Anglais (English horn)4. Finale - ultra-dynamic "cavalry charge" galop with horns and

trumpets, played by full orchestra

Overture to William Tell

• Music from Rossini's Overture to William Tell is best known as the theme for radio and television shows of The Lone Ranger.

http://www.shockya.com/news/wp-content/uploads/the-lone-ranger.jpg(Image Source)

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Overture to William TellMusic from this Overture has also been used in…

– “A Clockwork Orange”– Dmitri Shostakovich in his Symphony No. 15– Glen Campbell on the flip side of "Southern Nights”

http://www.youtube.com/watch?v=Z6sJULCilu0– Spike Jones and his City Slickers’ parody in 1948

http://www.youtube.com/watch?v=UXRj9lSnJnI– Victor Borge used the cavalry charge backwards in one of his routines

http://www.youtube.com/watch?v=MuWUp1M-vuM– Walt Disney in a 1935 animated cartoon, "The Band Concert"

http://www.52composers.com/rossini.html– Thomas the Tank Engine and Friends– "The Price is Right”– “The Magic School Bus” and "The Concerto for Invented Instrument“– “Animaniacs”– Commercials for Dove, Honda and others

Fundamental of Music: Dynamics

• In the Harvard Concise Dictionary of Music and Musicians, dynamics is defined as:

“The various degrees of loudness called for in performance; directions and symbols used to indicate degrees of loudness”

Fundamentals of Music - Dynamics

• The orchestral scoring of the overture features a "long steady building of sound." The extended crescendo was described as a "tempest in teapots beginning in a whisper and rising to a flashing, glittering storm." Rossini used this technique so often that he was known as "Signor Crescendo."

Overture to William Tell

• Turn to page 28 in Teacher Workbook

• Students will create an artistic representation of the four sections in the Overture representing the dynamic variations by coloring the corresponding section with matching intensity of color.

Overture to William TellTheme Lyrics (found on page 27 in Teacher Handbook)

1. Play it loud. Play it loud. Play it loud, loud, loud.Play it soft. Play it soft. Play it soft, soft, soft.Play it loud. Play it soft. Then it’s up to you;

Oh “Signor Crescendo” tricks you too!

2. Play it soft, let it build ‘til it’s very loud; Fortissimo, sforzando, such a noisy crowd; Sudden soft, piano, that’s Rossini’s trick;

William Tell and his dynamic switch!

Overture to William TellLesson Plan: “The Race is On!”

(Can be found on page 29 in the Teacher Handbook)

Overture to William TellLesson Plan: “Act it Out!”

(Can be found on page 30 in the Teacher Handbook)

Overture to William Tell:The Horse Race!

http://www.youtube.com/watch?v=GqHNZPkl0qE

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William Tell Overture – Just for Fun!1947 Walter Lantz cartoon

http://www.youtube.com/watch?v=VKKR4JJMqoQDaffy and Porky in the WTO Cartoon

http://www.youtube.com/watch?v=s-BBwbTlXVw“The Teacher Song”

http://www.schooltube.com/video/1ff15c0c721343492915/The-Teacher-Song

“The Mom Song”http://video.google.com/videoplay?docid=8813101202766308044#

Antonin Dvorak1841 - 1904

ALL FUNDAMENTALS

Symphony No. 8 in G Major, Op. 88, Mvt. IV:

Allegro ma non troppo

Composer Facts: Dvorak

• It only took Dvorak one month to write his Eighth Symphony – for some composers, it takes many years to complete one symphony!

• In Dvorak’s Eighth Symphony, he uses many folk melodies from Bohemia – a country that no longer exists. After WWI, Bohemia became the core of the former Czechoslovakia. On January 1, 1993, these lands became the Czech Republic.

• While living in the United States, Dvorak believed that American composers could find their voice through the folk music of Native and African Americans.

• http://www.52composers.com/dvorak.html

Symphony No. 8 in G Major, Op. 88Mvt. IV: Allegro ma non troppo

• This symphony is “cheery” using Bohemian folk music for inspiration.

• Written in four movements, the entire symphony is performed in about 36 minutes.

• The four movements are:Allegro con brioAdagioAllegretto grazioso-Molto vivaceAllegro, ma non troppo

From Peter Laki’s program notes for a January 2010 performance at the Kennedy Center for the Performing Arts in New York, NY:

“A resounding trumpet fanfare announces the fourth movement (allegro ma non troppo), a complex theme-and-variations with a central episode that sounds at first like contrasting material but is in fact derived from the main theme … The variations vary widely in character: some are slower and some are faster in tempo, some are soft (such as the virtuosic one for solo flute), and some are noisy; most are in the major mode, though the central one, reminiscent of a village band, is in the minor.

The music is always cheerful and optimistic, yet it doesn't lack grandeur. The ending seems to be a long time coming, with an almost interminable series of closing figures. When the last chord finally arrives, it still sounds delightfully abrupt due to its unusual metric placement.”

Symphony No. 8 in G Major, Op. 88Mvt. IV: Allegro ma non troppo

• "Gentlemen, in Bohemia the trumpets never call to battle, they always call to the dance!" - Conductor Rafael Kubelik during a rehearsal of the trumpet fanfare opening the last movement of Dvorák's Symphony No. 8

• This is one of Dvorak’s most harmonic and structurally ambitious symphonic works.

• Dvorak said that he wanted “to write a work different from my other symphonies, with individual ideas worked out in a new manner.”

• It is unusual for a composer to write symphonies in the Key of G Major because it is considered to be better suited to folk music and song. For Dvorak, the choice was perfect since his intention was to write a symphony of “folk music and song.” – Haydn was the last major composer to write a symphony in the key of G.

• The Eighth Symphony was known as the “English Symphony” because Simrock, his German publisher, and Dvorak were having a disagreement at the time. Novello ended up publishing Dvorak’s Symphony No. 8.

Symphony No. 8 in G Major, Op. 88Mvt. IV: Allegro ma non troppo

Fundamentals of Music: ALL

As you listen, can you identify examples of:– Rhythm– Tempo– Dynamics– Texture– Form– Melody

Symphony No. 8 in G Major, Op. 88Mvt. IV: Allegro ma non troppo

Listening Detective

(p. 65)

Symphony No. 8, Mvt. 4 – Just for Fun!

The pictures in this video, from 1954 in Norway, are not related to the music. However, they provide a nice visual for students and you could introduce the idea of a silent movie.

http://www.youtube.com/watch?v=GL9g3Mvv0pE

Alexander Borodin1833 - 1887

TEXTURE

In the Steppes of Central Asia

Composer Facts: Borodin• Famous chemist, doctor, and musician• Borodin’s original interest in chemistry was sparked by

his desire to learn how to make fireworks. • Member of the group “The Five,” also known as “The

Mighty Handful,” who worked to promote Russian music• Composed music for symphonies and for the stage and

was awarded a Tony Award for the show “Kismet” in 1954 (after his death)

• http://www.52composers.com/borodin.html

In the Steppes of Central Asia

• Symphonic tone poem composed in 1880 and dedicated to Franz Liszt

• Written to celebrate the 25th anniversary of the reign of Alexander II.

• However, Alexander II was assassinated in 1881 so the production never occurred. The work was eventually premiered years later and became incredibly popular.

In the Steppes of Central Asia“ Steppes” are vast plains found in Europe, Siberia, and central

North America. They have drastic contrasts in climate where the temperature can vary from extremely hot to bitterly cold.

http://www.columbia.edu/itc/mealac/pritchett/00maplinks/medieval/mongols/steppes.gif (Image Source)

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In the Steppes of Central AsiaDuring the 19th century, the Russians conquered much of central Asia because the land in the steppes was very fertile. The Civil War was taking place in the United States in 1860 causing the price of cotton to skyrocket. The steppes offered a suitable climate for growing cotton so it became an important acquisition for Russia.

http://www.stockphotopro.com/photo-thumbs-2/stockphotopro_71786LQM_caravan_of_bactri.jpg

(Image Source)

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In the Steppes of Central Asia• Borodin created three musical themes: Russian,

Eastern, and travelling, that portray a caravan of Central Asian traders crossing the desert under the protection of Russian troops.

• The piece opens with the violins softly playing a high E, followed by the Russian theme, a Russian folk song, played very softly on clarinet and then French horn. This is followed by an Eastern theme played on the English horn.

• A traveling theme, said to represent the hoofs of the animals carrying the caravan, is also heard throughout the piece.

In the Steppes of Central Asia

• This music has been used in several films. – The Sheik, a 1921 silent movie. The “Bacchanale”

from Saint-Saen’s Samson and Delilah (last year’s education concert) was also used.

– Cassette tape recording of The Secret Garden. – The Broadway musical Kismet in the song “The

Sands of Time.” • Kismet also makes use of music from Borodin’s

Polovtsian Dances and String Quartet No. 2.

Fundamental of Music: Texture

• The Harvard Concise Dictionary of Music and Musicians defines texture as:

“The general pattern of sound created by the elements of a work or passage. For example, the texture of a work that is perceived as consisting of the combination of several melodic lines is said to be contrapuntal or polyphonic. A work consisting primarily of a succession of chords sounded as such is said to have a chordal or homophonic texture.”

Fundamental of Music: Texture

• Borodin layered the three themes into the composition, creating distinct textural differences.

• The texture goes from thin to thick to thin and dynamic levels mirror the texture (soft-loud-soft).

• The piece begins and ends with only the Russian theme.

In the Steppes of Central Asia

In the Steppes of Central AsiaScore Excerpts

In the Steppes of Central AsiaScore Excerpts

In the Steppes of Central AsiaInteractive Listening map by Bo Reece

Russian Theme

See online resources to download interactive listening map for In the Steppes of Central Asia used at NCS Education Concert Workshop

Technology Tutorial(Notes from the technology tutorial presented by Bo Reece and Katie Perkins will be

provided in a separate file under “online resources.”)