PHILHARMONIC KIDSNovember 1–2, 2017 9:30 am and 11:00 am

Pikes Peak Center for the Performing Arts

PHILHARMONIC KIDS SPONSORS

TABLE OF CONTENTS

WelcomeWhat you’ll See and HearMeet the PerformersMeet the ComposersInstruments of the OrchestraClassroom ActivitiesHistorical IntersectionsColorado Education Standards

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Deluxe Corporation FoundationKinder Morgan FoundationUSAA FoundationUS Bank FoundationMoniker FoundationThe Myron Stratton Home

Giddings FoundationP. Bruce and Virgina C. Benson FoundationGriffis/BlessingPikes Peak Kiwanis ClubRotary Club of Colorado Springs

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Welcome to Philharmonic Kids!

On November 1–2, voyage through history with the Colorado Springs Philharmonic to hear all kinds of great music from the past, present, and future as we travel Bach to the Future.

In our time machine, we’ll journey back to the Baroque period of J.S. Bach and discover what, exactly, is a fugue. Jumping forward in time, we will hear many styles of music by some of history’s greatest composers. With sounds, themes, and ideas introduced bydifferent instruments of the orchestra, students will hear how Bach’s music influenced later composers’ works, and how the sounds of the orchestra evolve through the Classical, Romantic, and 20th Century eras.

Leading up to the concert, we encourageyou to begin your discovery with theclassroom activities provided in this guide.The concert experience promises to be immersive and fun, and will be especially exciting to those who have already dipped their toes in the proverbial “waters.” Enjoylistening and musing upon these greatmasterworks, and we look forward toexperiencing the journey with you in the concert hall!

Sincerely,Bernie BrinkOutreach & Education Coordinator

Preparing for the Field Trip

Browse this helpful guide to learn more about the music and musicians you will hear at the concert. Listen to some recordings of each piece before your visit to the concert hall - having some familiarity with the music will make the live experience much more exciting!

When You Arrive at the Pikes Peak Center

Buses: Pikes Peak Center staff will be outside to direct you where to drop off and park.Parents/Homeschools: Parking is available on nearby streets, or in the attached parking garage (entrance on Sahwatch). Do not park in the parking lot north of the Pikes Peak Center as it is a tow-away zone.

When you arrive, teachers should check in at the Philharmonic booth in the front lobbyto receive seat assignments. Ushers will direct you to your seats.

After You Are Seated

Please wait until your party is fully seated to rearrange student seat assignments, or to address bathroom needs. If you need to leave the theatre during the concert, please wait for a break between pieces to exit and re-enter.

Notes on Audience EtiquetteBe prepared and arrive early. Allow for travel time, and plan to be in your seats at least 15 minutes before the performance begins.

Be aware and remain quiet. The theater is a “live” space – you can hear the performers easily, and they can hear you, too!

Show appreciation by applauding. Applause is the best way to show your enthusiasm and appreciation.

Concentrate to help the musicians. Focus on the mu-sicians to support and help them perform their best.

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What You’ll See and Hear

Bach to the FutureThomas Wilson conductor

Wednesday, November 1, 2017 at 9:30 and 11:00 amThursday, November 2, 2017 at 9:30 and 11:00 amPikes Peak Center for the Performing Arts

WHAT TO LISTEN FOR

RepetitionWhat melodies/patterns do you hear over and over?

ImmitationIs one instrument or group of instruments copying another?

FugueIs there one instrument immitating another,interrupting the first and starting the melody on a higher or lower pitch?

StyleWhat elements do you hear that make a piece sound different from another?

OrchestrationWhich instrument plays which part of the music?

Today, Bach is considered one of the greatest composers who ever lived. But did you know that, in his own lifetime, Bach was not famous? So what, then, is so special about Bach?

For the past 300 years, Bach’s music has influenced countless composers and musicians, from Mozart to the Modern Jazz Quartet; from Liszt to Lady Gaga. Of course, a wide variety of musical styles have been developed in the generations since Bach’s lifetime, each with different goals and values. Nonetheless, Bach’s musical ideas can be heard in each.

In Bach to the Future, you will hear many different styles of music, understand their place in history, and what makes each one unique. Throughout this auditory odyssey, you’ll discover what makes Bach’s music so fundamental to all that has come since, and master the art of hearing those threads throughout history. Join us as we travel Bach to the Future!

WHAT YOU’LL HEARBach Toccata and Fugue in D minor, BWV 565

Bach Brandenburg Concerto No. 3 - III. Allegro Assai

Mozart Symphony No. 41 “Jupiter” - IV. Finale

Mendellsohn Overture to Elijah

Brahms Variations on a Theme by Haydn - Finale

Barber Capricorn Concerto - III. Allegro con brio

Williams “March of the Resistance” from Star Wars: The Force Awakens

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Meet the Performers

Colorado Springs Philharmonic orchestra

The Colorado Springs Philharmonic began 90 years ago as the Colorado Springs Symphony Ensemble, in 1927. Today, the orchestra includes approximately 75 musicians, and they perform over 40 concerts each year, including 8 Philharmonic Kids concerts exclusively for kids. The Philharmonic performs a variety of concerts ranging from classical to pops music at the Pikes Peak Center. You can even hear their performances on the radio! Though our musicians live in Colorado, they come from all over the world, including Venezuela, Spain, China, Bulgaria, and Russia.

Thomas Wilson conductor

Maestro Wilson is the Associate Conductor of the Colorado Springs Philharmonic, and also serves as Music Director of the Chamber Orchestra of Colorado Springs. He is also a teacher, both at Colorado College and the Colorado Springs Conservatory.

Thomas began studying piano at age 4, and has also studied trumpet, percussion, string bass, voice, composition, and conducting – wow, that’s a lot of musical skills! When he isn’t conducting, Thomas plays in the trumpet section of the Colorado Springs Philharmonic. Thomas also likes reading, chess, and playing with his two dogs.

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Meet the Composers

JOHANN SEBASTIAN

bach1685–1750

Baroque Period(bah-ROKE)

wolfgang amadeus

MOZART1756–1791

Classical Period

FELIX

mendelssohn1809–1847

Romantic Period

johannes

BRAHMS1833–1897

Romantic Period

SAMUEL

barber1910–1981

20th Century

john

WILLIAMSb. 1932

20th Century

Bach was born in Eisenach, Germany, and came from a family full of musicians. Having learned violin from his father, Bach later learned to play the organ and harpsichord. In his own lifetime, Bach was most famous as an organ player.

Mozart began performing and composing at the age of 5, and went on performing tours to royal courts throughout Europe. He quickly rose to fame, and composed over 600 pieces before his death at the young age of 35.

Mendelssohn was a musical child prodigy, making his debut at the age of 9 in Berlin. By the age of 20, he had already composed some of his most famous works. Felix had a sister, Fanny Mendelssohn, who was also an accomplished composer.

A teenage Brahms performed regularly to help support his family. Brahms was close friends with twoother famous composers, Robert and Clara Schumann. He achieved fame and wealth later in life, but lived frugally, donating his money to friends and students.

Barber came from a middle-class family. His aunt was a leading singer at the Metropolitan Opera, and his uncle a noted composer himself. Barber fell in love with music early on, and attempted to compose his first opera at the age of 10.

Williams studied music at the famous Juilliard School, and first worked as a jazz pianist before writing music for T.V. and film. In addition to his many famous film scores, Williams has also written several themes for the Olympic Games.

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conductor

second violins

violas

cellos

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basses

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harp

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timpani

flutes oboes

clarinets bassoons

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trumpets trombones

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Instruments of the OrchestraThe orchestra features a wide variety of instruments, but they all belong to just four families of instruments: strings, woodwinds, brass, and percussion. Each instrument belongs to their family because of what the instrument is made of, and how it produces its sound. Can you place all of the instruments in their correct family?

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STRING FAMILY WOODWIND FAMILY________________________________________________________________

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conductor

second violins

violas

cellos

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basses

piano

harp

perc

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timpani

flutes oboes

clarinets bassoons

fren

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orns

trumpets trombones

tuba

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BRASS FAMILY PERCUSSION FAMILY________________________________________________________________

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Most orchestras today will arrange their instruments and musicians on stage in the same way, with a few slight variations. Below is a diagram showing how the musicians are seated at the Colorado Springs Philharmonic. Try to memorize where each instrument family is seated so that you can look for your favorite instruments at the concert!

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N Goals:• Understand patterns and music that immitates itself• Aurally identify repeating patterns and immitation• Define a Fugue

Grade Level:• Students Grade K-2

You Will Need:• 4x4 Music Grid (download at csphilharmonic.org/bach-to-the-future)• Pencils/Crayons/Markers for Drawing• Several Orff or Percussion Instruments

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Divide students into groups of two or three. Give each student their own percussion instrument, and each group one Music Grid. Ensure that each group has different percussion instruments among its students.With the entire class, practice keeping a steady beat on your instruments together. Practice passing the beat around the room from group to group (changing groups every 4-8 beats). Challenge the students to pass the beat after 3 beats, then 2 beats, then 1 beat!Try “conducting” the class, pointing to various groups to play and pick up the beat, changing groups at random intervals. To be successful, students must listen and maintain the beat together internally when they’re not playing.Return to the Music Grid and show the class that each box represents 1 beat. Have students work together to compose a percussion “theme” with their Music Grid. Each square in the grid should contain a picture of one of their percussion instruments. Alternatively, they can fill each box with rhythm notation that you have studied. (8-10 min.)When completed, students should practice their Music Grid percussion “themes.” Each group should be able to play their composition in isolation. If you used percussion drawings, combine 2 or 3 groups to play the same “theme” in a round - each group starting 4 or 8 beats after the group before. If you used notation, have each group practice playing in a round by themselves.

It’s okay for different students/groups to interpret the same music with different instruments - this is much like a fugue! When an orchestra plays a fugue, the “theme” – known as the “subject” – is played by one instrument, then is repeated by a different instrument, typically beginning on a different starting note.

Music Grid Composition

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Activities

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Goals:• Understand patterns and music that immitates itself• Aurally identify repeating patterns and immitation• Define a Fugue

Grade Level:• Students Grade 3-5

You Will Need:• Projector/Smart TV to view YouTube (https://youtu.be/ddbxFi3-UO4)• 1/4” Graph Paper (1 sheet per student)• No. 2 and Colored Pencils for Drawing

Watch YouTube user Smalin’s video featuring Bach’s “Little” Fugue in G minor (link above). Open a discussion with students to answer the following questions:• What repeating patterns did you hear/see?• Can you sing the main “theme?” (Try singing together as a class)

*In the context of a fugue, the repeated theme is called the “subject.”• Did the “subject” sound the same every time you heard it? If not, what

changed, or how was it different each time it appeared?Challenge students to create their own fugue subject on their graph paper, which will look similar to the video. First, have students draw heavy, bold lines with a No. 2 pencil to create 8x8 boxes on their graph paper. Imagine the 8 vertical squares as different notes in the diatonic scale; the 8 horizontal squares represent 4 beats, each divided into 2 halves, so in each beat students may draw one long note (color 2 identical squares) or two different short notes. Students should use a single colored pencil to draw their own fugue subject, which will look similar to what they saw in Smalin’s video. Each student’s fugue subject should extend horizontally through at least four 8x8 boxes.When students have completed their fugue subjects, have them switch their papers with a partner. Next, have the students try to faithfully copy, or immitate, their partner’s fugue subject in a second row of 8x8 boxes. Their immitation should begin two boxes to the right of the original, and students may choose to begin their immitative pattern on a different “note” (i.e. vertical square) than the original. Do the original subject and the immitation create any new and interesting patterns together?If desired, students may repeat step 3 with a third partner. What patterns emerge now?

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Graph CompositionActivities

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Goals:• Place composers and pieces in their historical context• Understand historical figures as people

Grade Level:• Students Grade 1-5

You Will Need:• Bio Cube Planning Sheets (http://www.readwritethink.org/files/

resources/interactives/cube_creator/media/planning_bio.pdf)• Library and/or Internet Access• Online Bio Cube Generator (http://www.readwritethink.org/files/

resources/interactives/cube_creator/)

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MORE FAMOUS COMPOSERS

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Ludwig van BeethovenClara SchumannFranz Josef HaydnWilliam Grant Still

George Frederic HandelPeter Ilyich TchaikovskyFanny MendelssohnFranz Schubert

Scott JoplinDmitri ShostakovichRobert SchumannHeitor Villa-Lobos

Nadia BoulangerIgor StravinskyEnrique GranadosMaurice Ravel

*This activity may be completed over several class sessions. Decide whether students will work alone or in groups before you begin.

As a class, generate a list of questions you might ask a historical figure. What might you ask of someone who lived 100 years ago, traveled throughout Europe, or began writing music at a young age?Have students select a famous composer for the basis of their Bio Cube. They may choose a composer featured in Bach to the Future, or another famous composer.Give each student/group a Bio Cube Planning Sheet. On the bottom or reverse of the sheet, have them write 3-5 of your class-generated questions. These will help guide their research as they complete their Bio Cube Planning Sheets.Students conduct research as you see fit. Visit your school library, local library, or computer lab for an internet search. Students should have three things written in each category on their Planning Sheets, and should strive to answer all of the questions they selected previously.With Planning Sheets completed, students can visit the Bio Cube Generator (link above) to begin building their Bio Cubes. Students can enter their favorite and most interesting facts into the web module. When finished, students may print, cut out, and assemble their Bio Cubes.Students can present their composers’ Bio Cubes to the class, or display them around your classroom!

Bio Cube BiographyActivities

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Goals:• Gain an aesthetic understanding and appreciation of different musical periods• Aurally distinguish compositions from different musical periods

Grade Level:• Students Grade 3-5

You Will Need:• Blank Sheet of Paper• Pencils/Crayons/Markers for Drawing• Recordings of various orchestral works (visit csphilharmonic.org/bach-

to-the-future)

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Discuss/research the different musical style periods: Baroque, Classical, Romantic, 20th Century (use the list below to guide or jumpstart your discussions).Give each student a sheet of paper. Fold in half lengthwise, then fold in thirds widthwise, so the sheet is divided into 6 equal boxes.In the upper left box, titled “The Story of Music,” have students create a musical drawing. In the following four boxes, the students should devote each one to a particular style period - Baroque, Classical, Romantic, and 20th Century - and create a drawing that conveys something (or many things!) about the values inherent in each period.For the final box, ask students to imagine that they are a famous composer. What sort of music would they write? What ideas would their music express? Students draw what is important about their musical style in the final box.

ELEMENTS OF STYLE PERIODSBAROQUEElaborate Construction

Highly Detailed, Ornamented

Religious Themes

Expression of Higher Power, The Cosmos, God

CLASSICALDesire to Emulate the Purity of Ancient Greece and Rome

Mostly Homophonic (Melody with Chordal Accompaniment)

Emphasis on Form

Striving for Perfection

ROMANTICIntense Emotional Expression

Heroic Individualism

Nostalgia for the Past and Childhood Innocence

Reverence for Nature

20th CenturyModernism

Effort to Reinvent or Reinterpret the Old Ways

Stylistic Variety

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Style StoryboardsActivities

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Milestones in Music Milestones in the World

Johann Sebastian Bach is born. 1685

South Carolina is named as a royal colony of the British monarchy.

Mozart completes his 41st and finalsymphony, later named “Jupiter.”

William Burt invents the typewriter.

Susan B. Anthony fined $100 for voting for President.

Duke Ellington performs atCarnegie Hall for the first time.

The U.S. establishes theNational Aeronautics and

Space Administration (NASA).

John Williams completes his first movie score. He went on to write

music for Jaws, Star Wars, E.T., Harry Potter, and more.

20________________________is born.

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WRITE IN YOUR NAME, BIRTH YEAR, AND AN INTERESTING EVENT FROM THAT YEAR!14

Historical Intersections

La Salle lands in Matagorda Bay, TX, establishing Fort St. Louis and France’s claim to Texas.

Bach completes his six Brandenburg Concertos, submits them to the

Margrave of Brandenburg.

Mozart gives his first public recital at the age of 5, performing

his first compositions.

Transit of Venus observed for only the second time in history (it was first observed over 100 years prior, in 1639!)

The U.S. Constitution is ratified and becomes law.

Mendelssohn gives performance of Bach’s St. Matthew Passion,

the first in 100 years.

Brahms composes his Variations on a Theme by Haydn, first

written for two pianos.

Barber purchases a house, dubbed“Capricorn,” which becomes the

inspiration for his Capricorn Concerto.

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Colorado Education Standards

Music Grid Composition (activity on page 10)• Expressively perform in groups or independently

MU09–GR.K–S.1–GLE.1 / MU09–GR.1–S.1–GLE.1 / MU09–GR.2–S.1–GLE.1

• Identify rhythmic and melodic patternsMU09–GR.K–S.2–GLE.2 / MU09–GR.K–S.3–GLE.4 / MU09–GR.1–S.1–GLE.2 / MU09–GR.1–S.2–GLE.2MU09–GR.1–S.3–GLE.4 / MU09–GR.2–S.1–GLE.2 / MU09–GR.2–S.2–GLE.2

• Comprehension of elements of musical formMU09–GR.K–S.3–GLE.2 / MU09–GR.2–S.3–GLE.4

• Demonstrate respect for the contributions of self and others in a musical settingMU09–GR.1–S.4–GLE.1

Graph Composition (activity on page 11)• Notate simple musical selections

MU09–GR.3–S.2–GLE.2 / MU09–GR.4–S.2–GLE.2

• Analyze instrumental examples and identify patternsMU09–GR.4–S.3–GLE.3 / MU09–GR.4–S.3–GLE.4

• Parts of a whole can be modeled and represented in different waysMA10–GR.3–S.1–GLE.2

• Geometric figures are described by their attributesMA10–GR.3–S.4–GLE.2

Bio Cube Biography (activity on page 12)• Comprehension of musical elements and values within cultural context

MU09–GR.1–S.4–GLE.2 / MU09–GR.3–S.4–GLE.2 / MU09–GR.5–S.4–GLE.1 / MU09–GR.5–S.4–GLE.2

• Comprehension strategies and analyzing informational textsRWC10–GR.1–S.4–GLE.1 / RWC10–GR.2–S.4–GLE.2 / RWC10–GR.3–S.2–GLE.2 / SS09–GR.3–S.1–GLE.1 RWC10–GR.4–S.2–GLE.2 / RWC10–GR.4–S.4–GLE.1 / SS09–GR.5–S.1–GLE.1 / RWC10–GR.5–S.2–GLE.2

• Developing vocabulary, communication, and recursive writing processRWC10–GR.1–S.1–GLE.1 / RWC10–GR.1–S.3–GLE.1 / RWC10–GR.2–S.3–GLE.2 / RWC10–GR.3–S.1–GLE.1 RWC10–GR.3–S.3–GLE.2 / RWC10–GR.3–S.4–GLE.1 / RWC10–GR.4–S.1–GLE.1 / RWC10–GR.4–S.3–GLE.2RWC10–GR.5–S.1–GLE.1 / RWC10–GR.5–S.3–GLE.2

• Researching a topic and sharing findingsRWC10–GR.1–S.2–GLE.2 / RWC10–GR.1–S.2–GLE.2 / RWC10–GR.2–S.2–GLE.2 / RWC10–GR.2–S.4–GLE.1SS09–GR.4–S.1–GLE.1 / RWC10–GR.5–S.4–GLE.1

Style Storyboards (activity on page 13)• Identify and explain personal preferences for specific music

MU09–GR.3–S.4–GLE.1 / MU09–GR.4–S.4–GLE.1 / MU09–GR.5–S.4–GLE.1

• Comprehend and articulate musical elements and artistic values considering cultural contextMU09–GR.3–S.4–GLE.2 / MU09–GR.3–S.4–GLE.3 / MU09–GR.4–S.4–GLE.2 / VA09–GR.4–S.1–GLE.1 MU09–GR.5–S.3–GLE.3 / MU09–GR.5–S.4–GLE.2

• Historical and cultural ideas are evident in works of artVA09–GR.3–S.4–GLE.1 / VA09–GR.3–S.4–GLE.2 / VA09–GR.4–S.4–GLE.2 / VA09–GR.5–S.4–GLE.1

• Use artistic media and expression to communicate ideasVA09–GR.3–S.3–GLE.1 / VA09–GR.4–S.3–GLE.1 / VA09–GR.5–S.1–GLE.2 / VA09–GR.5–S.3–GLE.1VA09–GR.5–S.3–GLE.3

To reference standards addressed by reference number, or for more information on Colorado State Education Standards, visit www.cde.state.co.us/standardsandinstruction.

DON’T MISS THE NEXT PHILHARMONIC KIDS CONCERT!

Coming February, 2018Link Up: The Orchestra SwingsTuesday, February 6, 2018 at 9:30 and 11:00 amWednesday, February 7, 2018 at 9:30 and 11:00 am

This interactive, multi-media concert and curriculum explores elements of swing and jazz music. Participate in this year-long preparatory curriculum absolutely free.

To register, visit our website atcsphilharmonic.org/community/educators.

Early bird registrants receive tickets for just $4.50!

Questions about Philharmonic Kids? Contact Bernie Brink at bernie@csphilharmonic.org