Download 1812 Overture - Queensland Symphony Orchestra

Program Notes for Song to Symphony – QSO Secondary Showcase 2015
5 March 2015
QPAC Concert Hall and live stream to Gladstone area schools
Song to Symphony - The Program
TCHAIKOVSKY 1812 Overture
CHANCE
Variations on a Korean
Folksong
HURST
Swagman’s Promenade
Waltzing Matilda
COPLAND
Applalachian Springs
Simple Gifts
GRAINGER
BRAHMS
Molly on the Shore
SCULTHORPE
Sun Song
MAHLER
Symphony No.1 in D Major
Hungarian Dances No. 5
G minor
(Titan) 3rd movement
Winner of The English Family Prize for Young
Instrumentalists
TCHAIKOVSKY Symphony No.4 in F minor
4th movement Finale
Conductor and Presenter
Brett Kelly
Song to Symphony
The simplicity of folk songs, world music and music of cultural significance has been the inspiration for
composers throughout time.
Discover the songs, woven through music, on a journey through time and style that reveal the source
of composer inspiration, the The Little Birch Tree growing into Tchaikovsky’s Symphony No 4 and Frere
Jacques morphing into Mahler’s Symphony No.1 to national anthems woven into the 1812 Overture.
During this program of orchestral music, explore the songs and simple melodies which began their
musical life in countries all around the world and discover the musical techniques used to create
masterpieces.
Waltzing Matilda
La Marseillaise French National Anthem
Molly on the Shore
Frere Jacques
Little Birch Tree
Arirang
Simple Gifts
TCHAIKOVSKY
1812 Overture op.49
1812 Overture op.49 – Pyotr Tchaikovsky
Watch and Listen: Click the link for YouTube video of Leningrad Philharmonic Orchestra performing 1812 Overture.
Get ready for the canons, carillons (bells) and fireworks at 15:09 minutes!
•
Composed by Pyotr Tchaikovsky in 1880 to commemorate Russia’s defense against Napoleon and the French Army in
1812.
•
The first performance was in Moscow in 1882.
•
Tchaikovsky conducted the work himself in America at Carnegie Hall in 1891.
The orchestra consists of
•
Piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, 2 bassoons
•
4 French horns, 2 cornets, 2 trumpets, 3 trombones, tuba
•
Timpani, bass drum, snare drum, cymbals, tambourine, triangle, carillon, cannon
•
Violins, violas, celli and double basses.
The 1812 Overture is composed for orchestra as well as:
•
An extra Brass Band for the finale
•
Carillons or bells. Tubular Bells are usually used in indoor performances
•
Canons although this is usually played by the bass drum when canons are not available or not allowed.
1812 Overture op.49 – Pyotr Tchaikovsky
Story of the music:
The 1812 Overture musically describes the campaign on June 1812 when the French Allied Army crossed the Niemen River
in Lithuania and headed to Moscow. This army was undefeated and had over half a million soldiers and massive fire power.
The Russian Imperial Army was very small, inexperienced, under-funded and under-resourced, so they called on the people
of Russia to pray for them in the upcoming battle. The Russian people responded and rushed to churches in every city and
town.
We then hear the ominous sound of the army approaching and prepared for the battle and the distant sound of the French
National Anthem as they approach.
The battle starts and as the French army rise, the French National Anthem becomes stronger. The Tsar of Russia appeals to
the people to rise and help the army defend their homeland. Tchaikovsky uses Russian folk music to depict their call to arms.
The battle starts in full force and the Russian folk music is mixed with the French National Anthem and just as all seems
hopeless and Moscow burns we hear the Russian hymn O Lord Save Thy People.
The Russians hold the French so long that winter hits and the full force of the cold and snow of a Russian winter means that
the French finally have to retreat as they can’t cope with the cold. The Russians capture the French guns, turn them against
the French and defeat them.
Over amazing odds, the guns are fired in celebrations and all the church bells in Russia ring to honor the Russian victory.
La Marseillaisse – French National Anthem
•
Composed in 1792 by Claude Rouget de Lisle during the French Revolution.
•
Title is Chant de Guerre pour l’Armee du Rhin (Song of war for the Rhine Armies). The name La
Marseillaise became popular after being sung in Paris by volunteers from Marseille marching to fight.
Lyrics for first verse French National Anthem:
Allons enfants de la Patrie,
Le jour de gloire est arrivé !
Contre nous de la tyrannie,
L'étendard sanglant est levé, (bis)
Entendez-vous dans les campagnes
Mugir ces féroces soldats ?
Ils viennent jusque dans vos bras
Égorger vos fils, vos compagnes !
Arise, children of the Fatherland,
The day of glory has arrived!
Against us tyranny
Raises its bloody banner (repeat)
Do you hear, in the countryside,
The roar of those ferocious soldiers?
They're coming right into your arms
To cut the throats of your sons and women
La Marseillaisse – French National Anthem
Time Signature 4/4
Key Signature
A major
MICHAEL HURST
Swagman’s Promenade
Excerpt - Waltzing Matilda
Swagman’s Promenade – Michael Hurst
An excerpt of Swagman’s Promenade, played by Australian Youth Orchestra
is available for purchase on itunes for $1.69.
This excerpt includes Click Go the Shears and Waltzing Matilda.
Michael Hurst was born in 1925 in London. He studied in England then studied opera in Europe before starting a career in a
music publishing business as an arranger and promotions manager. He came to Australia in 1964 and joined the ABC, again
as a music arranger and composer.
Swagman’s Promenade is a medley of Australian folksongs and melodies and was composed for the first series of Proms
concerts in Sydney in 1965.
The songs included in the medley are:
•
The Dying Stockman
•
Botany Bay
•
Click go the Shears
•
Waltzing Matilda.
Waltzing Matilda becomes the finale to the piece and is treated in a very grand manner with full orchestration.
Waltzing Matilda – Australian Song
Key:
G major
Time Signature: 4/4
For: Verse and Chorus
The lyrics were written by Banjo Patterson in 1895,
when he was on holiday at Dagworth Station near
Winton, Outback Queensland.
The melody is a Scottish melody, Thou Bonnie Wood of
Craigie lea composed by James Barr in 1818.
Once a jolly swagman camped by a billabong
Under the shade of a coolibah tree,
And he sang as he watched and waited till his billy boiled:
"Who'll come a-waltzing Matilda, with me?"
Waltzing Matilda, Waltzing Matilda
You'll come a-waltzing Matilda, with me
And he sang as he watched and waited till his billy boiled:
"You'll come a-waltzing Matilda, with me”.
PERCY GRAINGER
Molly on the Shore
A detailed resource pack has been produced for both
primary and secondary levels and is available on the
QSO website.
BRAHMS
Hungarian Dance No.5
G Minor
Hungarian Dance No.5 - Brahms
Listen and Watch: Hungarian Dance No.5 performed by the Russian Bolshoi Symphony.
For some fun, watch Andre Rieu and the Johann Strauss Orchestra performing Hungarian Dance No.5 with guest conductor Otto
Waalkes. Clap along with the orchestra noting the slow and fast sections.
The Hungarian Dances were composed by Johannes Brahms in 1869. There are 21 dances. There are three dances which are original
compositions. All the other dances have been based on Hungarian folk songs. The Dances were very popular during Brahms’ lifetime
and have been arranged for many combinations of instruments. Brahms was one of the few composers who actually made a career out
of being a composer. The Hungarian Dances helped him achieve this as their was very profitable for him.
In 1889 Thomas Edison (inventor of the phonograph (sound recording device), motion picture camera and light bulb among others)
invited Brahms to record one of his pieces. He played the Hungarian Dance No.1 on piano and this is one of the earliest recorded pieces
of music.
Hungarian Dance No.5 is in F# minor originally but was orchestrated in G minor. The version that Brahms wrote
was for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 hours, 2 trumpets, 3 trombones, timpani,
triangle, cymbals, violins, violas, celli and double basses.
There are many tempo changes and repeats throughout the piece.
The form is A A B B C D A B. This shows each section or new material of the piece
JOHN CHANCE
Variations on a Korean Folksong
Variations of a Korean Folksong - Chance
Variations on a Korean Folk Song was composed by John Barnes Chance
in 1965 and is a contemporary work using the tradition Korean Folk song,
Arirang. Chance has used the melody and transformed it into five contrasting variations.
Arirang
Arirang is a Korean folksong and it has been sung for more than 600 years. It has been considered the unofficial
national anthem of Korea. There are many versions of the story however the theme is always of ladies in distress
when their husband have leave them to go to war. The story and song became very popular when Korea was ruled
by Japan in the early 1900s.
One version of the English words are:
Arirang, Arirang, Arariyo,
Ariang Arirang Arariyo
Crossing over Arirang Pass.
Arirang Go-gae-ro num-mer gan-da
Dear who abandoned me,
Na-reul beo-ri-go ka-si-nun nim-eun
Shall not walk even ten li* before his feet hurt.
Sim-re-do mot-ga-seo bal-byeong-nan-da.
* Li is a Korean measure of distance equaling approximately one kilometre.
Arirang – Tradition Korean Folksong
Key: G major
Time Signature: 3/4 meaning 3 crotchet beats in each bar. 3/4 ll: q q q :ll
Form: Theme and Variations
Theme and Variations is a form of composition. The theme or main melody is stated to begin the work then various
compositional, rhythmic, harmonic or melody techniques are engaged to vary the original melody.
Form: Theme and Variations
Theme and Variations is a form of composition. The theme or main melody is stated to begin the work then
various compositional, rhythmic, harmonic or melody techniques are engaged to vary the original melody.
Compositional techniques to create the five variations:
1. Tempo change to Vivace – lively and fast. Rhythm changed to semi-quaver passages.
2. Tempo change to Larghetto – slower. Melody is inverted and played solo on oboe, flute and French Horn.
Look at the clarinet melody (above) and note how the melody for the flute (below) is inverted (upside down).
Form: Theme and Variations
Compositional techniques to create the five variations:
3. Tempo change to Allegro con brio – Lively and fast with brilliance. It is in March style and in 6/8 time signature.
4. Tempo change to Sostenuto – sustained and slower. Time signature is 3/2 meaning 3 minim beats per bar.
Form: Theme and Variations
Compositional techniques to create the five variations:
5. Direction is marked Con Islancio – with impetuousness and is faster and begins with a percussion solo section.
The time signature is 3/4 and the compositional technique of hemiola is used where the brass play the rhythm with a two
beat feel created by using two dotted crotchets per bar to equal 3 beats and the woodwinds are playing in 3 beats.
Dotted minim = 3 beats
Dotted crotchet = 1.5 beats
Variations of a Korean Folksong - The ending
The ending builds with many instruments trilling , others holding notes and getting louder building up to a very loud ending.
Trill is a musical
ornament made by
rapidly playing the
note and the note
above.
Sforzando piano
(sfp) - A strong,
accented start to the
note then
immediately to soft.
Rapidly repeat the
note to create demisemi quaver pattern
accent
Crescendo – gradually getting
louder to fortissimo (ff) very loud.
AARON COPLAND
Appalachian Spring
Simple Gifts
Appalachian Spring – Aaron Copland
Simple Gifts
Simple Gifts is a Shaker song composed in 1848 by Joseph Brackett.
Shakers are a religious community in America and are known for their communal lifestyle, model of equality of the sexes and
pacifist beliefs. It is a dancing song that was performed at a quick tempo.
Aaron Copland used the melody in his score for Martha Graham’s ballet Appalachian Spring in 1940. This is when the melody
became very well known by the wider community.
The melody has now been used in many other forums including:
•
As the melody for the song Lord of the Dance by Sydney Carter in 1963.
•
By Ronan Hardiman for Michael Flatley’s Irish dance musical Lord of the Dance.
•
In songs by rock bands Weezer, R.E.M. and Toy Dolls.
•
As a classical work by Yo-Yo Ma, famous cellist.
•
By film composer John Williams in a work Air and Simple Gifts for the inauguration of President Barack Obama.
•
In movies and TV shows such as Little House on the Prairie, Kung Fu, and Alias Smith and Jones.
Appalachian Spring – Aaron Copland
Simple Gifts
Key: C Major
Time Signature: 4/4
4/4 ll: q q q q :ll
'Tis the gift to be simple, 'tis the gift to be free
'Tis the gift to come down where we ought to be,
And when we find ourselves in the place just right,
'Twill be in the valley of love and delight.
When true simplicity is gained,
To bow and to bend we shan't be ashamed,
To turn, turn will be our delight,
Till by turning, turning we come 'round right.
PETER SCULTHORPE
Sun Song
Sun Song – Peter Sculthorpe
Peter Sculthorpe was an Australian composer born in Tasmania
in April 1929 and died 8 August 2014.
Sculthorpe was very much influenced by Asian music and he said that this became less important to him
though the 1970s as indigenous Australian music became more known and important.
His interest in indigenous music came from the stories his father told about the “past wrongs in Tasmania”.
Sculthorpe said that he was political and his music has always been about “the preservation of the
environment and more recently, climate change”.
His 16th String Quartet was inspired by extracts from letters written by asylum seekers in Australian
detention centres.
Sculthorpe’s works include orchestral works Sun Music, The Fifth Continent, Music for Japan, Small Town,
Earth Cry and Kakadu, small ensembles, piano, opera and film soundtracks including Age of Consent (story
of artist Norman Lindsay), Manganinnie (winner AFI award Best original Music Score) and Burke and Wills.
Peter Sculthorpe - Listen and Watch
Sun Song, played by Adelaide Symphony Orchestra is available
for purchase on itunes for $1.69
Click on links to view YouTube videos:
Interview with Peter Sculthorpe
Small Town begins with a narration and tells the story of the men from the small coastal town of Thirroul, in
central NSW, who went to war in 1914. It features the Last Post within the music.
Sun Song was also known as Jabiru Dreaming and Sculthorpe composed this as a percussion ensemble
piece and also for full orchestra.
Watch Jabiru Dreaming for Percussion Ensemble
Sun Song - Opening
Sun Song was composed in 1984, over 20 years since Sculthorpe’s Sun Music series (1965 – 69)
The piece is dedicated to Professor Sir Franck Callaway.
Form:
Opening – Section A – Section B – Section A – Coda
Opening:
Key:
C Major although dis-chordant
Time Signature: 6/4 meaning 6 crotchet beats per bar
6/4 ll: q q q q q q :ll
Tempo:
Poco Misterioso meaning a little mysteriously q = c.96
Dynamics:
mezzo forte (mf) Moderately loud.
Sun Song – Score excerpt of the opening
Rhythms: The opening has the violin 1 playing melody over sustained string and winds with brass
beginning on beat 2.5. A pause for the orchestra on a silent beat creates anticipation before the next
section begins.
Pause or fermata for
all instruments.
Melody with
different rhythm
to the violins.
Sustained
notes starting
in the 2nd beat
melody
Sustained
notes are held
for 10.5 beats.
(tied notes)
Double bass uses pizzicato (pizz) – plucking the strings
Sun Song - Section A
Section A
Key:
C Major although dis-chordant
Time Signature: 4/4 meaning 4 crotchet beats per bar
4/4 ll: q q q q :ll
Tempo:
Estatico meaning estactically or bright and excitedly q = c.120
Dynamics:
Pianissimo (pp) very soft
Imagine the sun slowly rising at dawn over the outback or over the sea.
Listen for:
A Tam Tam (percussion
gong) heralds the first beat
of this section.
The Double Bass plays a pizzicato
(plucked) note on the second beat.
Sun Song - Section A
Features:
The repetitive motif continues. The string family begins with the violin playing a syncopated melody and
violin, viola and cello playing on the beat.
Syncopation – placements of
rhythmic stresses where they
would no normally occur.
Violin is at times off the beat
Cello is on the beat.
Sun Song - Section B
Section B
Time Signature: A pattern of two bars of 4/4 and one bar of 2/4
Tempo:
Estatico meaning estactically or bright and excitedly q = c.120
Dynamics:
Piano (po) soft with crescendo (cresc.) gradually getting louder to forte (f) loud.
Imaging the heat starting to warm the ground. Light begins to shine on the trees and rocks or the sea and
sand.
Listen for:
•
The French horns and trumpets begin a new pattern with clashing notes.
Notes are only 1
semitone apart
creating a clashing
sound. E in trumpet
and F in horn then
trumpets clash
together with G# &
A
•
The string family use pizzicato (plucking the strings with the fingers instead of bowing) to pick a beat.
Sun Song - Section A then Section B returns
The congas are introduced in Section B and highlight the 2/4 bars
Sun Song - Section A then Section B returns
The congas then begin a repeated quaver rhythm although
some bars are 4/4 and one bar is 2/4.
Play the conga rhythm with an accent on the first beat of each bar.
Can you hear the change of time signature?
Accent (>) – make the beat
stronger than the others.
>
>
>
>
>
>
Sun Song - Section A then Section B returns
Section A returns with a dynamic of mezzo forte (mf) moderately loud.
Image the sun rising high and higher in the sky.
Section B follows with a dynamic of piano (mp) moderately soft before Section A returns again with full
instrumentation and playing forte (f) loud.
There is a moment when darkness is gone and the sun has risen and you can see all the landscape before
you and you are standing in the warmth of the sun.
Violin 2 are now playing quavers as
an accompaniment to the melody.
Sun Song - Coda
Coda
The Coda is the finishing section of the piece.
The sun has risen, the heat and light shines on the landscape and the day has begun.
All instruments are playing chords at the same time at fortissimo (ff) very loud.
A Tam Tam (percussion gong) is shimmering through the bars.
Sun Song finishes with a fortissimo chord on the second beat of the bar.
GUSTAV MAHLER
Symphony No.1 in D major (Titan)
Third Movement – Funeral March
Symphony No.1 in D Major (Titan) - Mahler
Gustav Mahler (1860 – 1911) was a Romantic era composer of symphonies and songs.
The 3rd Movement of Symphony No.1 is also known as the Funeral March. It features the folksong that
everyone knows as Frere Jacques however Mahler applies compositional techniques to changes the mood
of the song to fit his inspiration.
Mahler was inspired to write this movement from an artwork by Moritz von Schwind called The Hunters
Funeral Procession. The artwork is based on a fairytale that was well-known to Austrian children of the time,
where the animals kill the hunter rather than the usual story of the hunter killing the animals. Mahler was an
animal lover and liked this story where the animals win. Mahler combines a funeral song with a street dance
in this movement.
Symphony No.1 in D Major (Titan) 3rd Movement - Mahler
Key: D Minor
Time Signature: 4/4
Tempo: Solemn and measured without dragging
The Symphony began life as a work of program music with Mahler calling it a Symphonic Poem and wrote
notes for each movement. From the fourth performance it became known as Symphony No.1 without
program notes as they had confused and annoyed the audience.
Opening
The movement begins with a two note ostinato on timpani.
An ostinato is a repeated pattern.
Symphony No.1 in D Major (Titan) 3rd Movement - Mahler
Theme
•
The theme is introduced as a canon (or round) at 6 bars interval.
•
Different instruments play the theme each time. Mahler uses an unusual order of instruments beginning
with Double Bass then:
Muted cellos
Bass Tuba
Muted Violas
1st Horn
1st Bassoon and 1st Clarinet
4 Flutes
English Horn, 2 Clarinets and Bass Clarinet
Violas and cellos one octave apart
4 muted horns and harp
TCHAIKOVSKY
Symphony No.4 in F Minor
Fourth Movement - Finale
Symphony No.4 in F minor, 4th movement - Tchaikovsky
Listen and watch Symphony No.4, 4th Movement by Pyotr Tchaikovsky.
Tchaikovsky composed the symphony between 1877 and 1878.
Era:
Romantic
Key:
F major
Tempo:
Allegro con Fuoco Lively and Fast and with fire.
Time Signature:
Common time or 4/4
C ll: q q q q :ll
Read the score (click to reveal score in imslp.org) while listening to the 4th Movement.
The 4th movement uses the famous Russian folksong In a Field Stood a Birch Tree. The movement begins with a fiery start
with a fortissimo chord with cymbals and fast semiquaver passages.
At bar 10 the melody appears in the woodwinds (flute, clarinet and bassoon). Strings join the woodwinds with the melody at
bar 30.
Listen for the Russian folksong melody as it moves around the orchestra. While this is the finale of the Symphony and the
tempo is fast and furious and the key is F major, the melody itself still retains the minor sound of the folk song.
Listen and Watch a children’s choir singing The Birch Tree by Mary Goettz. Listen for the minor sound.
The Birch Tree – Russian folk song
The Birch Tree
wind
Australian Curriculum – Music
Elements of
Music
Foundation
to Year 2
Years
3 and 4
Major
Years
7 and 8
Beat
Pitch
Pitch direction (going
down)
Melodic shape
Arpeggio
Dynamics &
Expression
Forte, piano
Fortissimo
crescendo
Staccato, legato
Articulation: sforzando
Dynamic gradations
Ornamentation: trill
Form and
Structure
Introduction
Same/different
patterns
chorus
Repeat sign
1st & 2nd time bars
Theme, phrase
Introduction
Theme
Symphonic Poem
Recognise
instrumental groups
Identify instruments
by name and sound
production.
Recognise orchestral
instruments by sound
Timbre
Melody
Accompaniment
Patterns occurring
simultaneously
Responding
Beat sub-divisions
chromaticism
Contrast of texture
Performing
syncopated patterns
Creating
Performing
Syncopation
Ties, Pause , Quaver
rest
Years
9 and 10
Rhythm
Texture
Quaver, semi-quaver
Years
5 and 6
Clap rhythm
Keep beat
Rhythmic patterns
Playing melody
Write new words to
melodies.
Respond to the
stories.
Historical context
.
Prepared by Pam Lowry, Education Officer
Queensland Symphony Orchestra