Teacher Study Guide - ArtsAlive.caartsalive.ca/pdf/mus/guide/LetsGoMozart_NACOConcert… · ·...

2009-2010 Student Matinee concerts

Canada’s National Arts Centre Orchestra presents

Let’s Go Mozart!

Boris Brott, Principal Youth and Family Conductor

Teacher Study Guide Grade 4—8

Welcome Teachers! Concert Program Page 4 About the National Arts Centre and the Performers Page 5 Canada’s National Arts Centre Page 5 The National Arts Centre Orchestra Page 6 Boris Brott, conductor Page 7 Peter Duschenes, actor Page 7 Jan Lisiecki, piano Page 8

Program Notes Page 9 Wolfgang Amadeus Mozart: Background Page 9 W.A. Mozart’s The Magic Flute, K. 620: Overture Page 9

W.A. Mozart’s Symphony No. 41 in C major, K. 551, “Jupiter” Page 10 W.A. Mozart’s Piano Concerto No. 22 in E flat major, K. 482 Page 10 W.A. Mozart’s Theme from Piano Sonata in A, K. 331 Page 11 Haydn’s Symphony No. 45 in F sharp minor, “Farewell” Page 11 Gagnon’s Petit Concerto pour Carignan Page 12 L. Mozart’s Cassation in G major, “Toy Symphony” Page 12 Beethoven’s Symphony No. 5 in C minor, Op. 67 Page 13 Timeline Page 14

All about the Orchestra Page 15 Map of the NAC Orchestra Sections Page 16 Listening Guide Page 17 Audience Participation (Play along at the concert) Page 18 Performance Hall Etiquette Page 19 Classroom Activities Page 20 Bibliography of Resources Available at the Ottawa Public Library Page 35 Other available NAC Orchestra Teacher Study Guides Page 37

Table of Contents

This program is made possible by the National Youth and Education Trust supported by Founding Partner TELUS, Sun Life Financial, Michael Potter and Véronique Dhieux,

supporters and patrons of the annual National Arts Centre Gala and the donors of the NAC Foundation’s Corporate Club and Donor’s Circle.

Teacher Study Guide Page 2 Let’s Go Mozart!

Audience Participation

We invite you and your students to play the recorder and sing along with the NAC Orchestra during the concert. The piece we have selected for your participation, found on page 18 of this guide, is an arrangement for soprano recorder of Mozart’s Theme from “Piano Sonata in A.” Don’t forget to bring your recorders to the concert! The conductor will announce when it is time to play and sing.

Pinchas Zukerman Music Director, National Arts Centre Orchestra

Should you have any questions regarding Music Education at the National Arts Centre, please contact us:

General information Tel: 613‐947‐7000 x390 ♦ Email: mused@nac‐cna.ca

www.nac‐cna.ca www.ArtsAlive.ca Music

About this guide As a support to your classroom work, we have created this guide to help introduce you to the programme and content of the performance. In it you will find:

Programme notes about the music you will hear at the concert Biographical information about the conductor, the performers and the NAC Orchestra Classroom activities for you to share with your students

We hope this study guide is helpful in preparing you for your concert experience. The level of difficulty for the activities is broad, so please assess them according to the grade level you teach. If you have any comments about the study guide or the performance please write to us at mused@nac‐cna.ca.

See you at the NAC!

I am pleased that I once again have this opportunity to personally invite you and your students to the National Arts Centre to hear great music performed by your national Orchestra. I believe music is both a window to the world and one of the greatest gifts we can offer our children. Developing an appreciation of music is an invaluable learning and growing experience that can last a lifetime. The value we place as a society on the Arts and Arts Education will be severely tested during the economic uncertainty of the months ahead. I cannot emphasize enough how strongly I feel that music and music education has a fundamental role to play in the development of our youth, and ultimately our Canadian society. I can assure you we will continue to hold ourselves to the highest standards in the creation of educational programming that we hope you find is as entertaining as it is enriching.

Sincerely,

Dear Teacher,


mailto:[email protected]�

(subject to change)

Concert Dates: Thursday, May 27, 2010 10 a.m. – 11 a.m. (English) 12:30 p.m. – 1:30 p.m. (English) Friday, May 28, 2010 10 a.m. – 11 a.m. (French)

Location for all concerts: Southam Hall, National Arts Centre

Running time for all concerts: 60 minutes without intermission

Let’s Go Mozart! The National Arts Centre Orchestra

Boris Brott, Principal Youth and Family Conductor

FEATURING: Peter Duschenes, actor (Mr. Mozart)

Jan Lisiecki, piano

Concert Program

In this Student Matinee, students will hear excerpts from:

W.A. MOZART The Magic Flute, K. 620: Overture

W.A. MOZART Symphony No. 41 in C major, K. 551, "Jupiter" IV. Molto allegro

W.A. MOZART Piano Concerto No. 22 in E flat major, K. 482 III. Allegro Jan LIsiecki, piano

W.A. MOZART Theme from Piano Sonata in A, K. 331 (Arr. Duschenes/Armstrong) *Play your recorder with the NAC Orchestra!

CHOPIN To be confirmed Jan LIsiecki, piano

HAYDN Symphony No. 45 in F sharp minor, Hob.I:45, "Farewell" IV. Finale: Adagio

GAGNON Petit Concerto pour Carignan Peter Duschenes, spoons

L. MOZART Cassation in G major, “Toy Symphony” II. Menuetto III. Finale: Presto

BEETHOVEN Symphony No. 5 in C minor, Op. 67 III. Allegro


Designed by Fred Lebensold (ARCOP Design), one of North America's foremost theatre designers, the building was widely praised as a twentieth century architectural landmark. Of fundamental importance to the creators of the NAC was the belief that, beautiful and functional as the complex was, it would need more than bricks and mortar and, in the words of Jean Gascon, former Director of the NAC’s French Theatre Department (1977‐1983), "it would need a heart that beats."

A program to incorporate visual arts into the fabric of the building has resulted in the creation of one of the country's most unique permanent art collections of international and Canadian contemporary art. Pieces include special commissions such as Homage to RFK (mural) by internationally

acclaimed Canadian contemporary artist William Ronald, The Three Graces by Ossip Zadkine and a large free standing untitled bronze sculpture by Charles Daudelin. In 1997, the NAC collaborated with the Art Bank of the Canada Council for the Arts to install over 130 pieces of Canadian contemporary art.

Canada’s National Arts Centre

Situated in the heart of the nation's capital across Confederation Square from Parliament Hill, the National Arts Centre is among the largest performing arts complexes in Canada. It is unique as the only multidisciplinary, bilingual performing arts centre in North America and features one of the largest stages on the continent.

Southam Hall is home to the National Arts Centre Orchestra, to the largest film screen in the country and to the Micheline Beauchemin Curtain.

Officially opened on June 2, 1969, the National Arts Centre was a key institution created by Prime Minister Lester B. Pearson as a Centennial project of the federal government.

Built in the shape of a hexagon, the design became the architectural leitmotif for Canada's premier performing arts centre.

Today, the NAC works with countless artists, both emerging and established, from across Canada and around the world, and collaborates with scores of other arts organizations across the country.

The NAC is strongly committed to being a leader and innovator in each of the performing arts fields in which it works ‐ classical music, English theatre, French theatre, dance, variety, and community programming. It is at the forefront of youth and educational activities, supporting programs for young and emerging artists and programs for young audiences, and producing resources and study materials for teachers.

About the National Arts Centre and the Performers


The NAC Orchestra offers a number of programs dedicated to fostering a knowledge and appreciation of music among young people. In addition to a highly popular subscription series of TD Canada Trust Family Adventures with the NAC Orchestra, the Orchestra presents a variety of opportunities for schools to learn about classical music: Student Matinees, and Open Rehearsals to allow students to hear the Orchestra perform in its home at the NAC. In addition, Musicians in the

Schools programs including ensemble performances and instrument sectionals take the music to the students in their schools.

The National Arts Centre Orchestra Consistent praise has followed this vibrant orchestra throughout its history of touring both nationally and internationally, recording, and commissioning Canadian works. Canada’s National Arts Centre Orchestra, now under the direction of renowned conductor/violinist/violist Pinchas Zukerman, continues to draw accolades both abroad and at its home in Ottawa where it gives over 100 performances a year.

The NAC Orchestra was founded in 1969 as the resident orchestra of the newly opened National Arts Centre, with Jean‐Marie Beaudet as Music Director and Mario Bernardi as founding conductor and (from 1971) Music Director until 1982. He was succeeded by Franco Mannino (1982 to 1987), Gabriel Chmura (1987 to 1990), and Trevor Pinnock (1991‐1997). In April 1998, Pinchas Zukerman was named Music Director of the NAC Orchestra.

Pinchas Zukerman has led the Orchestra on tours within Canada in 1999, 2002, 2004, 2005, 2006 and 2008, to Europe and Israel in 2000, and the United States and Mexico in 2003, with educational activities ranging from master‐classes and question‐and‐answer sessions to sectional rehearsals with youth and community orchestras and student matinees.

The NAC Orchestra has 40 recordings to its name, six with Pinchas Zukerman: Haydn, Vivaldi, Beethoven, Schubert and two of Mozart (a CD of flute quartets, and a CD of orchestral music and string quintets). The commissioning of original Canadian works has always been an important part of the National Arts Centre’s mandate with over 90 works commissioned to date.

In addition to a full series of subscription concerts at the National Arts Centre each season, tours are undertaken to regions throughout Canada and around the world. Since the arrival of Pinchas Zukerman, education has been an extremely important component of these tours. Teacher Resource Kits have been developed for distribution to elementary schools in the regions toured and across Canada, and the public has been able to follow each tour through fully interactive websites which are now archived on the NAC’s Performing Arts Education Website at www.ArtsAlive.ca. The Orchestra’s tour of

Western Canada in October and November 2008 included over 100 education events.


http://www.artsalive.ca/�

Boris Brott Principal Youth and Family Conductor, NAC Orchestra

Maestro Boris Brott began playing the violin when he was three years old and first performed with the Montreal Symphony when he was only five. At the age of 14 he won a scholarship to study conducting and shortly afterwards, when he was still a teenager, founded the Philharmonic Youth Orchestra of Montreal. When he was 18, Boris Brott became the assistant conductor of the Toronto Symphony Orchestra. At 24, he won the Dimitri Mitropolous International Conducting Competition in New York and became Assistant to Leonard Bernstein.

He is now well known within Canada and beyond for having developed no fewer than six different Canadian orchestras and guest‐conducted around the world. He is especially interested in helping young artists and developing new audiences for music. In addition to conducting the New West Symphony in Los Angeles, California, of which he is Music Director, Maestro Brott conducts the McGill Chamber Orchestra in Montreal. Boris Brott,

along with his wife Ardyth, attorney and children's author, runs the Brott Spring, Summer, and Autumn Music Festivals based in Hamilton, Ontario which has as its centrepiece the National Academy Orchestra, Canada's National Orchestra training school. In 2006 he was appointed to the order of Ontario.


Peter Duschenes Actor (Mr. Mozart)

When Peter Duschenes was 13 his brothers were putting on a marionette production of Igor Stravinsky’s The Soldier’s Tale. They didn’t really want their little brother involved but at the last minute they needed someone to do the voice of the Soldier: Peter to the rescue! That was his first taste of doing theatre and also of combining theatre with music. 16 years later, after earning a Masters degree in theatre from the California Institute of the Arts, Peter and his brother, Michael, founded Platypus Theatre to once again combine theatre with classical music. As the Artistic Director of Platypus, Peter has been widely praised for his innovation in presenting symphonic music to young audiences. His ability to bring the concert stage to life by combining theatre and music has led to numerous commissions with orchestras from

coast to coast. An award‐winning playwright, Peter’s writing credits include all seven of Platypus’ symphony plays as well as the one‐act play, Lost River, which was the 1991 winner of the Theatre BC’s Canadian National Playwriting competition. The symphonic adventure of Platypus Theatre’s Music under a Midnight Moon (also known as Rhythm in your Rubbish), which the NAC Orchestra will perform in January 2009 as part of its Family Adventures with the NAC Orchestra series, was originally commissioned by the NAC Orchestra for school audiences and has since been performed all over the world. As an actor Peter has performed with companies across Canada and the United States appearing most recently as Richard in Shakespeare’s Richard II at Quantum Theatre in Pittsburgh, PA and as Louis Ironson in Angels in America at the Centaur in Montreal. Peter lives in Ottawa with his wife Sarah and their children, Magda and Theo.

Jan Lisiecki Piano

At age 14, Jan Lisiecki is already making a name for himself on the Canadian and international stage. He has appeared at Carnegie Hall, the Warsaw Philharmonic Concert Hall, Kaufman Hall and Salle Cortot. He has performed solo recitals in England, Scotland, France, Poland, the U.S. and Canada. On January 1 of this year he took part in events in Poland marking the 200th anniversary of Frederic Chopin’s birth, and a few weeks later performed Chopin’s Piano Concerto No. 1 with the Sinfonietta Cracovia chamber orchestra at the MIDEM Classical Awards ceremony in Cannes, France. Pianist Jan Lisiecki returned to the NAC Summer Music Institute last June for the second time. He has performed as soloist with the NAC Orchestra during the Alberta Scene and at the 2007 NAC Gala.


Jan has won a litany of major Canadian music titles. In 2008 he won the Grand Award in both the Canadian Music Competition and the Canadian Music Festival (the youngest in history). He has been very successful in seven international competitions as well, in the U.S., Italy, England and Japan. Also a composer, his work has won several competitions. In June 2008 he was appointed a National Youth Representative by UNICEF Canada.

Program Notes

Wolfgang Amadeus Mozart (1756‐1791)

Background Mozart was a child prodigy. At the age of six he was already playing concerts for fatuous aristocrats who adored the little boy who could do so many “tricks” at the piano. As an adult, however, he failed to obtain the type of court job he deserved. This was due both to his undiplomatic personality – he would often say anything that came into his head – and to the depression in European finances at the time. Mozart moved to Vienna, the artistic centre of

Austria, to work as a free‐lance musician. At first he succeeded beyond his wildest dreams: his concerts were sold out every season. By 1787, however, the fickle Viennese public were no longer interested in him. He had to cancel his concert season. Mozart borrowed money at exorbitant rates of interest and sank more and more into debt. During this difficult period in his life he composed the two pieces you will hear at the National Arts Centre Orchestra’s student matinee concert.

The story takes place in ancient Egypt. It involves a handsome prince who rescues a beautiful young woman (they later get married, of course!), an evil sorceress, a good magician, a birdcatcher, a dragon, three little boys who travel about in a flying machine, and of course, a magic flute that can tame wild beasts and protect its owner from all harm. For this story Mozart composed some of the most beautiful music ever written. The whole opera takes nearly three hours to perform in the theater, but you can hear just the overture, the short, purely instrumental piece that is played before the curtain goes up on Act I. The first sounds you hear are some big, loud chords from the full orchestra. These represent the brotherhood of priests, who will guide the prince through difficult ordeals. These chords return later in the overture. After a short period of serious, slow music the overture suddenly becomes bright in color and fast in tempo. Violins, then other instruments in turn, play a sprightly idea that seems to bounce along with all the joy in the world. Mozart proceeds to work this idea into all kinds of shapes and sizes, as if he wanted to show you how many different ways he can play around with it. The music transports the listener effortlessly into the opera's world of happiness, reverence, and belief in the goodness of humanity.

The Magic Flute, K. 620: Overture W.A. Mozart The Magic Flute was the last of Mozart’s many operas, first performed in Vienna just a few weeks before the composer died at the tragically young age of 35. The opera (a stage work combining solo voices, an orchestra, acting, scenery and costumes) was a tremendous success, and has remained so ever since. It is a wonderful mix of fantasy, fairy tale and deeply serious matters that concern all of us. At times it makes us laugh, but it also teaches us something about how we treat each other, and makes us think about the difference between good and bad behavior.


Piano Concerto No. 22 in E flat major, K. 482 (3rd movement) W.A. Mozart The year of this piano concerto, 1785, saw Mozart at the absolute peak of his professional fame and popularity in Vienna. Having moved there in 1781 to escape the oppressive measures and indignities he suffered at the Court of Salzburg, Mozart charted a course as musical free‐lancer in his newly adopted city, and for a time was grandly successful. He became the darling of Vienna. When the composer’s father Leopold paid a visit in February and March of 1785, he observed honor after honor bestowed on his son. It was on this occasion that Haydn made his much‐quoted remark: “I tell you before God, as an honest man, that your son is the grandest composer I know, in person or by name. He has taste, and, added to that, the greatest knowledge of composition.” At a concert, the Emperor himself doffed his hat and called out, “Bravo, Mozart!” It was in this happy environment of sweet success, exhilaration and financial security that Mozart wrote the majority of his piano concertos. No fewer than a dozen works poured forth (in addition to much other music, of course) during the brief period from 1784 to 1786. Not only was Mozart the first great composer of piano concertos, but the sheer prodigality invites disbelief. Quantity is no guarantee of quality, but here we are looking at an unprecedented and unsurpassed body of masterpieces, “the peak of all his instrumental achievement, at least in the orchestral domain,” claims Mozart scholar Alfred Einstein.

What is a sonata? A sonata is a piece of music, usually in three or four movements, for a solo instrument or a solo instrument accompanied by a piano – for example, a flute and piano.

What is a concerto?

A concerto is a musical composition, usually in three movements, in which a solo instrument performs a solo part accompanied by a full orchestra.


Symphony No. 41 in C major, K. 551, “Jupiter” (4th movement) W.A. Mozart Mozart wrote his last symphony in 1788 in only a few weeks. In the finale he presents a pervasive four‐note motive (C‐D‐F‐E) in a variety of ways like a diamond displayed in different ring settings. We sometimes hear it loudly in the full orchestra, at other times quietly in the strings, or passed back and forth between solo instruments. We also hear it in retrograde (played backwards) and in inversion (played upside down). Mozart then plays it backwards and forwards at the same time. To this motive he adds four other motives, all different in character, one after another. Near the end of the work, with consummate skill, Mozart triumphantly blends all five motives together in a complex tapestry but makes it sound effortless. That Mozart could compose in only a few weeks a work so rich in musical ideas and blend them so seamlessly shows that he was, as his father once said, “the miracle that God allowed to be born.”

What is a movement?

A movement is the largest, unified division of a musical composition, separated by pauses.

What is a symphony?

A symphony is a long, highly organized composition for full orchestra, usually in four movements.


Theme from Piano Sonata in A, K. 331 W.A. Mozart The Sonata in A major is without doubt one of Mozart's best‐known works of any type. It is easy enough for many students to learn, and beautiful enough for everyone to love. Mozart probably composed it in 1783 as a teaching piece for his students while living in Vienna and making a living as a famous piano teacher. The first movement is an example of theme‐and‐variations form (see Variations on "Ah vous dirai‐je, Maman" for an explanation of this kind of music). The theme of the opening movement has been identified as a Czech folksong, known to Mozart in a German setting. The theme divides into two sections, each repeated, with the second section more or less a development of the first. Six variations follow, each in the same binary (two‐part) form. The theme never disappears entirely, but the variations increase in difficulty (further adding to the sonata's value as a teaching piece!). A grazioso (Italian for "gracious") character can be heard in all but the fifth variation (marked adagio, which is Italian for "slow") and the allegro (lively) sixth. One variation in a set was usually altered to the minor mode, in this case the third.

Symphony No. 45 in F sharp minor, Hob. I:45, “Farewell” (4th movement) F. J. Haydn In the 18th century most musicians worked in the private orchestras of an aristocrat. Haydn’s patron was Prince Nikolaus Esterhazy. In 1772 the prince moved to a new palace in the country and ordered his orchestra to follow him. The palace wasn’t completed yet so there was no space for the wives of the musicians to accompany their husbands. The prince remained in his new residence for six long months. Eventually the musicians asked Haydn, the

leader of the orchestra, somehow to persuade their patron to let them go home. Haydn used music to get the message across. During the last movement of his new symphony, the “Farewell,” two musicians get up, extinguish the candles above their music, pick up their instruments, and quietly leave; then a third musician does the same, followed by a fourth, and so on until only two solitary violinists are left. Then they also depart leaving the stage dark and empty. Haydn’s message was clear to his patron: the prince graciously allowed the musicians to go home to their families.

Petit Concerto pour Carignan A. Gagnon The Quebec composer André Gagnon has spent much of his professional career bridging the gap between classical music and pop. He has made “popularized” versions of Vivaldi, Bach, and Mozart, in which he adds melodic material from popular Quebec songs to the original classics. In “Le Petit Concerto pour Carignan” (1976) he draws a witty analogy between Baroque violin writing and Québecois folk fiddling. The work is designed for two violinists, one classically trained, the other a country fiddler. At the premiere Yehudi Menuhin was the classical violinist while the great Quebec fiddler, Jean Carignan, was the folk artist. The work successfully reconciles two musical idioms that are usually thought to inhabit different artistic worlds.


Check out the “Let’s Go Mozart!” Teacher Resource Kit on ArtsAlive.ca/Music (see Resources, Resources for Teachers) for more information about Mozart’s life, times and music!

Cassation in G major, “Toy Symphony” L. Mozart We’re not sure exactly who composed the Toy Symphony. For many years it was thought to be by Joseph Haydn; then Haydn’s brother Michael emerged as a likely candidate. Nowadays it’s generally believed that the work is by Leopold Mozart (Wolfgang Amadeus Mozart’s father), though some people think Leopold simply wrote a new arrangement of a piece by another, anonymous composer. We’ll leave the final decision to the musicologists (music history specialists).

Most symphonies are serious, but this one is meant to be fun. You’ll hear the sound of bird calls, whistles, rattles, horns, and all

kinds of other mechanical objects. According to musicologist William B. Ober, “In the 18th century, many music lovers were fascinated by musical toys such as musical clocks, mechanical dolls that played toy instruments, mechanical singing birds in cages, and even ‘hunting concertos’ where you could hear shotguns firing and dogs barking.” What toys are used in Leopold Mozart’s Toy Symphony?


Symphony No. 5 in C minor, Op. 67 (3rd movement) L. V. Beethoven In the summer of 1802 Beethoven finally came to realize that he was going deaf. He had tried many doctors but no one was able to cure him. He moved to the village of Heiligenstadt where he went through a deep depression. Beethoven even considered committing suicide but decided that he must live for his art. It was during these dark days that Beethoven began composing his Fifth Symphony, completing it in 1808. It is a piece full of conflict and struggle. At the opening a 4‐note motive (short‐short‐short‐long) – sometimes referred to as “fate knocking at the door” – is played loudly by the

orchestra, then repeated obsessively over and over again throughout the movement, travelling from one instrument to another, depicting an epic struggle. As the first movement nears its conclusion, it switches from a minor mode to a major key, giving the impression that the work will end positively, but Beethoven adds a wrenching minor‐mode coda (or afterthought) which, like a punch in the stomach, once again reminds us that to Beethoven life was a constant battle.

Canada’s National Arts Centre Orchestra

Joseph II is Emperor of Holy Roman Empire.

British Parliament passes Stamp Act to tax American colonies.

Britain provides government for Quebec, Florida, and Grenada.

British acquire Quebec from French in the Battle of the Plains of Abraham.

French drive British from Great Lakes region of North America. 1756

Timeline

1759

1763

1765

Stamp Act repealed but Britain retains right to tax Americans. 1766

Napoleon Bonaparte born. 1769

Encyclopedia Britannica published. 1771

Roman Catholicism established in Canada to guarantee loyalty to Great Britain. 1774

American Revolution begins. 1775

Fountain pen invented. 1780

American Declaration of Independence signed July 4. 1776

France, Spain, Britain, and the United States sign the Treaty of Versailles.

The hot‐air balloon invented. 1783

Royal Academy of San Carlos (Arts and Culture) founded in Mexico City.

Carbonated soda invented. 1785

Constitution signed; federal government of the U.S. established. 1787

The Paris mob storms the Bastille.

The French Revolution begins.

George Washington inaugurated as first president of the United States.

1789

Canada Constitutional Act divides the country into Upper and Lower Canada.

George Vancouver explores the Pacific coast of North America. 1783


Quebec

What is an orchestra?

An orchestra is a group of musicians playing different musical instruments under the direction of a conductor. It can be large or small, depending on the pieces that are performed. Orchestras are comprised of instruments from four different families (also known as sections):

♪ Strings ♪ Woodwinds ♪ Brass ♪ Percussion

Strings: Violin, viola, cello, and double bass

All string instruments of the orchestra have four strings. The vibration of the strings produces the sound. A string player either draws a bow made of horsehair across the strings, or plucks the strings with his or her fingers to produce sound. The larger the instrument, the lower the sound – violins make the highest sounds and double basses the lowest. Every string instrument is constructed of pieces of wood carefully glued together and covered with several coats of varnish – no nails or screws are used.

Woodwinds: Flute, oboe, clarinet, and bassoon

Woodwind instruments are simply tubes pierced with holes. The musician blows through or across the tube while covering some holes to produce different notes. Many wind instruments are played with reeds. A reed is a thin piece of cane that is set in motion as the musician blows across it. The oboe and bassoon use a double reed while the clarinet uses a single reed. Most wind instruments are made from wood, like ebony, except for the flute, which is almost always made of silver. Flutes create the highest notes, bassoons create the lowest.

Brass: Trumpet, French horn, trombone, and tuba

The Brass Section has the most resounding instruments in the orchestra. They are metallic loops of tubing of different lengths, with a mouthpiece at one end and a bell shape at the other. The longer the length of tube, the lower the sound of the instrument will be. The vibration of the musician’s lips produces the sound as air is blown in the mouthpiece. Most brass instruments have valves that the players press and release in order to change and produce different notes. The trombone has a slide that moves to change notes.

Percussion: Timpani, bass drum, cymbals, triangle

Percussion instruments are made of naturally resonant materials like skin, wood, and metal. The sound is produced when the instrument is struck. The percussion provides rhythm and character to the orchestra. Different pitches are produced on the timpani by changing the skin tension either by tightening or loosening screws fixed to the shell, or by using the pedal.

Visit the Instrument Lab on ArtsAlive.ca Music to tweak, tinker and listen to all your favourite instruments of the orchestra!

All about the Orchestra


Map of the NAC Orchestra Sections

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Listening Guide


METER This is the part of the music you can tap your foot to. You will usually find that the main pulses fit into groups of twos, threes, or fours. Try to follow the meter while the music is playing.

MELODY This is the part of the music you can hum, whistle, or sing to yourself. You might call it a tune. Some melodies bounce all over the place, which may be difficult for you to sing, but are easy to play on an instrument like the violin.

TEMPO This is the speed of the music. The speed may vary from very slow to very fast. Most composers use Italian words to describe the tempo: adagio, for example, means very slow; andante, moderate; allegro, lively; and presto, very fast.

DYNAMICS Dynamics refer to how loudly or softly the music should be played. In baroque music the dynamics usually change abruptly rather than gradually.

TIMBRE The specific kind of sound each instrument makes is its timbre. The bright violin sounds different from a darker‐toned viola or from the deep, low cello, even if it’s playing exactly the same note.

HARMONY Underneath the melody are clusters of notes called chords, each of which sounds different. These chords can stand alone or they can support a melody. Some chords sound gentle and pleasant, some may sound harsh or unpleasant. The composer uses these to create the kind of mood he wants at each moment.

Audience Participation

Play or Sing Mozart’s Music! Please learn Mozart’s Sonata in A for soprano recorder. You will be invited to perform it with the NAC Orchestra at the concert.


Theme from Piano Sonata in A, K. 331

Play along on your recorder!

Go to Activities and Games at www.ArtsAlive.ca Music and play along with an

accompaniment.

Teachers: Help us ensure that everyone enjoys the performance!

As a teacher bringing your students to a performance at the National Arts Centre, please keep in mind that you are responsible for the behaviour of your students. It is up to you to ensure that the students behave in a respectful and attentive manner towards the performers on stage as well as NAC staff and fellow audience members. Use the guidelines below to brief your students about behaviour in the performance hall before you attend your NAC performance.

✓ Performers on stage rely on the audience for the energy to perform: audiences need to be attentive, quiet and respectful in order to help create the magic of live performance.

✓ Performers can see and hear everything that you do, just as you can see and hear everything that they do, so:

❏ Please save your snacks, drinks, candies and gum for another time ‐ the performance hall is no place for eating and drinking. ❏ Please discuss what you like and dislike about a performance ‐ but definitely do it after you leave the hall, not during the performance. ❏ It is important that you be comfortable in your seat in the hall ‐ but please don’t leave your seat once the performance has started. It’s distracting to those on stage. ❏ Be sure to turn off cell phones, pagers and anything that beeps before you enter the hall.

✓ Musicians love to have their performance acknowledged by your applause, but remember to wait until the whole piece is over. Some composers choose to write music in several movements. It may seem like the end of the piece when the performers come to the end of a movement, but often a piece of music is made up of several movements. If you get confused about when a piece of music is finished, watch the performers on stage—you’ll be sure to know when the piece is over when the conductor turns and faces the audience.

✓ Remember that there are a lot of people who work very hard to put on a performance: not just actors, dancers and musicians, but administrators, front‐of‐house and technical staff. Everyone will have a different opinion of what they see on stage, but consider that constructive criticism is always appreciated more than purely negative criticism.

✓ Through the performing arts we can explore other points of view, learn new and different things about ourselves and about others. Everyone who views a performance will experience it in a different way. It is important to respect this process of exploration in yourselves and those around you.

Performance Hall Etiquette


Classroom Activities

“Buzz, Moz, and the Bees” (p. 31) (Language Arts, Music)


Read the story aloud to your students. Lead a discussion with the students using the following prompts:

How does Roch Carrier portray Mozart? (as a pop star)

Why were Buzz and the Bees so impressed with Mozart’s music?

Make a “Role on the Wall” by drawing a large outline of a person on chart paper. Inside the figure write in any facts the students already know or think they know about Mozart. Outside the figure write

questions the students have about Mozart. Post the chart for ongoing reference.

Mozart Jigsaw (Language Arts, Social Studies, Geography)

A “jigsaw” strategy helps a class to quickly access and share a large amount of information.

Divide the class into “home” groups of six. Each member in the home group will become a Mozart “expert” in one of the following areas: Early Years and Education (including Hobbies and Interests), Family (including Note‐Zarts), Adult Life, Times, and Travels.

Go to Music Resources at www.ArtsAlive.ca (Music) and follow the links to the on‐line version of Let’s Go Mozart! Download the PDF version or photocopy the pages from the guide.

Assemble the “expert” groups (this means the students will have to leave their home groups for the research portion of the class) and distribute the information printouts. Each group reads, discusses, and notes significant information on chart paper.

When students have finished their charts, reassemble the home groups. Each student presents information to his/her home group, using the chart from the expert group. Rotate the charts from group to group.

Students can make individual webs with the information they have learned, add

information to the “Role on the Wall” chart, or write a reflective piece.


Musical Memories (Language Arts, Music)

Music and memory are closely linked. In fact, hearing a familiar song can trigger a memory and accompanying emotion almost instantaneously.

Ask students to close their eyes and think about a musical memory from when they were very young. Have them think silently as you prompt: Where were you when you heard this music? Who were you with? How did the music make you feel?

Students open their eyes and take a few minutes to either write or draw about their musical memory. Ask for volunteers to share their writing or drawing.

Go to the Great Composers and NAC Orchestra & Friends sections at www.ArtsAlive.ca (Music) to read about the life and times of the great composers and watch video interviews with professional musicians. Discuss what kind of impact these experiences may have had on their lives.

Ideas for using the CD (Language Arts, Music)

There are plenty of ways to use the Mozart CD that accompanies this guide. Frequent playing builds familiarity and enjoyment.

Create a template for a listening log and have students record the titles, dates of composition, and the composers’ names. Include a column for describing the music and a rating scale to indicate how well they liked the selection.

Play a selection from the CD for transitions when you are chang‐ing activities and want to establish a definite end and new begin‐ning. Give students until the end of the music to get their materials tidied up and books out for the next subject.

Several selections on your Mozart CD are particularly calming to listen to. Listening for a few minutes with eyes closed refreshes students and readies them for learning.

Listening and Responding (Music, Visual Arts)

Play a few minutes of one of the pieces featured on page 4 and ask students to close their eyes and visualize a scene or memory suggested by the music.

Invite students to draw their ideas using oil pastels, charcoal, or other materials. Attach a few sentences from each student about their choice of scene and how it reflects

the mood of the music. Repeat the activity another day with contrasting music.


Out and About with World‐Famous Canadians (Language Arts, Music)

Arts and culture are very important to the Canadian economy and create a significant amount of traffic back and forth between our trade partners. Historically, trade and exchange have always driven artistic development. Consider how Mozart and composers of his day travelled to major foreign cities like London and Paris to improve their music, assimilate musical styles, and develop their careers. This is much like the troubadours of the pop world today – Canada’s Avril Lavigne, America’s Britney Spears, and Mexico’s Paulina Rubio.

In this web‐based lesson, students research Canadian performers who are a part of a thriving cultural exchange throughout the world.

Working in small groups, students pick a Canadian performer or performance group to research.

Begin with a KWL chart (What do we Know already? What do we Want to know? What did we Learn?).

All groups should research: ✓ how their performer or group first got started ✓ where they are touring in the next few months ✓ what they are performing

Students jot down notes in the third column as their research progresses. Write up the findings and present in project form with photographs or drawings.

Encourage students to bring in recordings of their selected artists for their presentations.

K W L

Travel and Trade Scavenger Hunt (Language Arts, Social Studies) Trade and travel has always enriched civilization. Think of Marco Polo bringing back spices to Europe, or the influence of Mexican arts and crafts on American architecture and design. Consider how the export of Canadian comedians has influenced American movies and television.

Today’s “virtual travel” takes travel to a whole new dimension. Can you imagine what happens when the exchange of ideas and talent happens almost instantaneously through video conferencing, webcasts, and other broadband applications? Use a web site scavenger hunt to investigate two of Canada’s successful instrument makers. You will see what a wide‐reaching effect their talents have had. Divide the students into scavenger hunt teams of two or three students each. Verify answers only after everyone has had a chance to finish. (Bookmark the sites on the computers first – see sidebar.)

The following web sites all provide information about the export of Canadian cultural products: Export Development Canada: www.edc.ca • Industry Canada: www.strategis.ic.gc.ca


What’s in a Name?

Mozart’s full name is usually written “Wolfgang Amadeus Mozart,” but that’s not what Mozart called himself. His father baptized him Johannes Chrysotomus Wolfgangus Theophilus Mozart. He enjoyed decorating and twisting his various names into words like Wolfie, Wolfgango, Gangflow (that’s Wolfgang spelled backwards), Mozartini, Mozartus, and Mozarty. Remember, this guy loved to play around! But he virtually never used the name “Amadeus.” So where did “Amadeus” come from? The answer is easy if you know ancient Greek and Latin (as Mozart did): Amadeus is Latin for the Greek word Theophilus, which means “lover of God.” However, Mozart used variants of the Latin word, turning it into Amadeo, Amadè, or most often, Amadé.

3. Mozart gave himself at least three nicknames that we know of. Using your real first name, create three new names for yourself.

2. How many words can you make out of your name?

1. Write your first name backwards and try saying it out loud. Depending on where the vowels in your name are placed you may actually be able to pronounce it!

Mozart’s Musical Word Search

CLASSICAL CONCERTO ENLIGHTENMENT HARMONY HAYDN ORCHESTRA

PIANO QUARTET SALZBURG SONATA SYMPHONY TOURING

UNIVERSAL VIENNA WOLFGANG WUNDERKIND


A N S Z G A V O K W E L N C C X R L Y N N T I U Y N A B W M P K T N M R I N H H L S R W C X I E S E P D R A Y I R Y D A K I A C E E H R U N G E W R X V T N N R H M O I O H V H I U L O G K O O C Q N Q T I W Z U C D I A N F D R G Y E N O T K X N B Y C D U R O T N U L X J D L A C I S S A L C M A F I S S A L Z B U R G I I E T G D Q T E T R A U Q C U S N A A F O H A Y D N Y N B M B T N N Y S U L C W A Y J X O P U O G R M M F K N W W E D P I G S B T J

As you look for the hidden words, remember that they can be horizontal, vertical or diagonal—forwards or backwards!


Letters Home Mozart wrote these letters when he was a young teenager. He was on tour in Italy with his father and it was the first time he had travelled without his mother and his sister, Nannerl. Don’t forget that when Mozart travelled he was gone for months if not years at a time, and there were no phones, faxes, or e‐mails for keeping in touch. He was obviously homesick.

Interestingly, at the same time Mozart was writing his letters home to Nannerl and his mother, his father, Leopold, was writing to tell them that Mozart was just fine – “He is fat and cheerful and jolly all day long.” It seems that the way Mozart was acting on the outside was different from the way he was feeling on the inside.

Draw your own cartoon! Think of a time when you were home sick but didn’t let on. Draw a comic strip to describe the situation and use a square bubble to show what you were saying and a cloud bubble to show what you were thinking.

Welcome to ArtsAlive.ca, a performing arts website for students and teachers!

You will have about 30 minutes to complete this musical scavenger hunt. All of the answers can be found on the web pages of ArtsAlive.ca Music. Read the instructions carefully to direct you to the specific section of the site. Then read each question and look for the right answer as you scroll down the web page.

Good luck, and more importantly, have fun!

Musical Scavenger Hunt

1. Go to the Great Composers section and click on Beethoven.

a) In what year was Beethoven born? _______________________________ b) Name the famous composer who taught music to Beethoven in Vienna. ________________________________________________ 2. Go to Music Resources and click on Watch Videos, then click on the J.S. Bach Brandenburg Concerto no. 5 – I. Allegro. a) What are the first two instruments that perform solos with the orchestra? ________________________________________________ b) What is the name of the solo keyboard instrument that you hear and see in the video? ________________________________________________ 3. Remaining in the same section as question 2, click on Tchaikovsky Symphony No. 4 in F minor, Op. 36. Watch the video. What section of the orchestra begins this symphony? I) strings III) brass II) winds IV) percussion 4. Go to Music Resources ‐ Dictionary. Find “Zukerman”. Complete the following sentences about this man. a) His first name is _________________________________________. (Do you know how it’s pronounced? Your teacher can tell you.)

b) He comes from __________________________________________.

c) The two instruments he plays are the ___________________ and the _________________.

d) The position he holds with the National Arts Centre Orchestra is

_____________________________________________________.

Later on you can learn more about this famous musician and watch an interview with him by clicking on the link associated with this dictionary definition.


5. Scroll back up the page and go to the Instrument Lab. a) Name the four sections (also known as instrument "families") of the orchestra. I. __________________________________ II. __________________________________ III. __________________________________ IV. __________________________________ b) Click on Strings. Name the four instruments of the string family. I. __________________________________ II. __________________________________ III. __________________________________ IV. __________________________________ 6. Go to NAC Orchestra and friends. Think of your favourite orchestral instrument. Choose one musician from the list of Musician Interviews, who plays that instrument. Watch the video interview or read the musician’s biography; then write down three of the most interesting things that you learned about that musician. I. _____________________________________________ _____________________________________________ _____________________________________________ II. _____________________________________________ _____________________________________________ _____________________________________________ III. _____________________________________________ _____________________________________________ _____________________________________________


7. In NAC Orchestra and friends click on National Arts Centre Orchestra. a) When was the National Arts Centre Orchestra formed? ________________________________________________ b) How many full‐time musicians are in the NAC Orchestra? ________________________________________________ 8. Go to Orchestra on Tour. a) Between 1999 and 2006, in which year did the NAC Orchestra not go on tour?

________________________________________________

b) The United States and Mexico Tour introduced the work of which Canadian composer? _________________________________________________

c) Locate the Tour Map on the Quebec Tour main page. Name three cities that the NAC Orchestra visited during the Quebec Tour. I. ____________________________________________ II. ____________________________________________ III. ____________________________________________ 9. Go to NAC Orchestra and friends ‐ Musicians’ Bios. Find Donnie Deacon. Donnie plays the violin. a) Where was Donnie born? ___________________________

b) How old was Donnie when he joined the National Arts Centre Orchestra? _________________________________________________

Congratulations, you have finished the hunt! To reward yourself click on Activities & Games and try out a game!

Teachers: Click on Contact Us at the bottom of the website. Tell ArtsAlive.ca

what you thought of the Scavenger Hunt


Answers for ArtsAlive.ca Musical Scavenger Hunt

1a. 1770 1b. Franz Joseph Haydn 2a. violin & flute 2b. harpsichord 3. I. strings 4. I. Pinchas [pronounced PINK‐uss with a hard “C” sound] II. Israel III. Violin & Viola IV. Music Director 5a. I. Strings II. Woodwinds III. Brass IV. Percussion 5b. I. Violin II. Viola III. Cello IV. Double Bass 6. Responses to this question will vary depending on which musician the student chooses. Musician interviews and biographies can be found here: http://www.artsalive.ca/en/mus/nacorchestra/index.html 7a. 1969 7b. 50 full‐time members (Note: A Classical‐sized orchestra is about half the size of a symphony orchestra.) 8a. 1999 8b. Denys Bouliane The interview is located here: http://www.artsalive.ca/en/mus/nacorchestra/interviews/composers/boulaine‐interview.html 8c. Students may choose between the following cities:

Montréal Saint‐Irénée Pierrefonds Bécancour Trois‐Rivières Québec City Neufchâtel Val‐Bélair Roberval Jonquière Chicoutimi Mashteuiatsh

9a. Glasgow, Scotland 9b. 22 years old


http://www.artsalive.ca/en/mus/nacorchestra/index.html�

http://www.artsalive.ca/en/mus/nacorchestra/interviews/composers/boulaine-interview.html�


Food for the Brain! Mozart was fascinated with math, to the point that he even wrote

mathematical equations on the walls of his bedroom at home. (Don’t try this!)

A recent research study showed that high‐school students who studied a musical instrument in middle and high school were significantly better at math.

New technology allows us to see what part of the brain is being used when we are making music or doing math. Guess what? Music and math‐making processes occur in the same areas of the brain.

Does learning about math make you a better musician? Does making music help you in math class?

Let’s investigate! Take a survey of all the teachers in your school. 1. Ask each teacher “As a student, were you good at math?” and “As a student, were you good at music?”

2. Record the “yes” and “no” answers on a chart.

3. Compile the results. What percentage of teachers were good at: both music and math? math but not music? music but not math? not good at either?

4. Can you draw a conclusion?

Question: Were you...

Good at music and math?

Math but not music?

Music but not math?

Not good at either?

Teacher 1

Teacher 2

Teacher 3

Teacher 4

TOTA

L

Mozart Math Quiz

Here’s a little quiz for you:

Throughout his life, Mozart composed around 200 hours of

music. How many days

would it take you to listen to all of

Mozart’s music if you played it non‐stop?

Buzz, Moz and the Bees


BY ROCH CARRIER

Might as well tell you right away: my name is Buzz. I’m the singer in our band, Buzz

and the Bees. We practice three hours a day. Sometimes four. Our mothers often ask: “Why can’t you spend that much time on your homework?” We are in training for the Battle of the Bands. The other day, when we got to school, we saw that it wasn’t a regular day. In the hallway the girls were clustered like a bunch of grapes. Me, Buzz, and my Bees went up to them. In the middle of this group of girls, we saw this weird‐looking guy in a shiny tunic like people wore in the days of the Beatles. His face was pockmarked. The girls were all excited because he kissed their hands like in old movies. He spoke French, English, German, Italian all at the same time. The girls could understand his gobbledygook. They told us he was a musician: that he’d put on concerts in Europe. Me, Buzz, I didn’t believe his bragging. The bell rang. The great star declared: “A day without Mozart is a day without sunshine!” To the girls, that was awesome. Me and my Bees had a quiet meeting. We decided we hated this Mozart.

At the start of class, our teacher introduced the new student. He wasn’t nervous. He smiled at everybody. In his pink outfit, he looked like a butterfly. The lesson was about the origin of the world. “How did it begin?” asked the teacher. “I know because my father has a telescope and a microscope: it all started with music,” Mozart answered. Huh? We looked at each other. Who’d have thought such a thing? “Even when there wasn’t anything, there was music. Because silence is music too. Have you ever listened to silence?” The teacher said: “Scientists say the universe began with a huge explosion, the Big Bang!” “Here’s what the Big Bang was like,” said Mozart, and he blew this gigantic raspberry. The whole class roared. Mozart was proud of himself. The teacher did his best to keep a straight face. He ordered Mozart to explain his Big Bang to the principal. The new kid said: “Sorry, but that’s nature – not very polite.” At recess me, Buzz, and my Bees went and asked Mozart: “Hey, man, are you really a musician like us?” He said: “I could tell you guys had music in you!” I can’t say why, but we felt proud. Mozart had never skated. I lent him my skates. He borrowed scarves and wrapped them around his hands. “So I won’t break my fingers if I fall,” he explained. Then he zipped onto the ice like someone who isn’t worried about breaking his neck. Mozart had rubber ankles, but he sang and the girls followed him.



I invited him to visit Buzz and the Bees in our garage. Mozart asked: “How come you need all those boxes and wires to create music?” He’d never picked up an electric guitar. “You don’t need lessons to play this.” His fingers picked out a few notes and he started playing softly. Now me, Buzz, I’ve got talent. But I never got tunes out of my guitar like he did. Me, I play on three strings. Mozart sounded like he was improvising on twenty‐five strings. Wow! Would he like to join Buzz and the Bees for the Battle of the Bands? Yes! The next morning posters announced: BUZZ, MOZ, AND THE BEES LAY DOWN THE LAW! Never before in the history of the Battle of the Bands was there as much shouting as there was in our gym. We’d found an electronic piano for Mozart. He jumped up and down with excitement when he saw this toy. He took four or five notes of our music and broke them down. Here, I’ll explain. At his piano, Mozart cut the notes into little pieces of sound and flung them up in the air. The pieces whirled like birds, they did singing pirouettes, they danced and then he brought all the birds back to their cage . . . and closed the door. . . . There was just one that was chirping. Can you hear it? Then all at once Mozart opened the door again. And the feast of music started up again. Yeah! And Buzz, Moz, and the Bees won the Battle of the Bands. We’ll be on TV Wednesday night at 8:30. Don’t miss it! A couple of days later, we were rehearsing in our garage when this black limousine as long as a bus pulled up. It was Moz. “Get in, we’re going to the National Arts Centre.”

Me, Buzz, and my Bees got taken to seats in the first row. At least two thousand people were there, all dressed up as if they were at a wedding. When Moz came on stage the crowd jumped to their feet. He had on this wig. Me, Buzz, I think he was making up his music while he played it. Yeah! We were so close we could see everything. Sometimes his fingers moved so fast on the keys that we couldn’t follow them. Cool! His whole body was quivering. Wow! He was watching the audience. Sometimes one hand crossed over the other one to find a note at the opposite end of the keyboard. Or else instead of using ten fingers, Moz asked just one to do all the work. He played as easily as a kid scribbles. It was, it was . . . it was amazing. . . . With all his . . . inventions, his combinations, we felt . . . I don’t know how to put it. Mozart gave our ears wings. . . . Yeah! When his concert was over, Mozart said: “Ladies and Gentlemen, I’d like to introduce my musician friends, Buzz and the Bees, winners of the Battle of the Bands.” Believe it or not, he’d brought along our instruments. Even the electronic piano. I’m sorry you weren’t there. Me, Buzz, I’ve never played better. In the same way that he’d turned up at our school, Mozart, our friend Moz, disappeared. The girls say he went to Mexico. He told us once: “You have to know your limits to surpass them.” We play now as if he was still with us. Me, Buzz, I know he’ll come back. You know what I mean?

ROCH CARRIER May 2003

Translated by Sheila Fischman


ROCH CARRIER is one of Canada’s most‐beloved authors. He is best known for his timeless children’s story The Hockey Sweater, which was made into the short film The Sweater by the National Film Board. Carrier is the National Librarian of Canada.

of Resources Available at the Ottawa Public Library Compiled by Janis Perkin

Children’s Services, Ottawa Public Library

Bibliography

MOZART’S LIFE Baker, Richard MOZART: AN ILLUSTRATED BIOGRAPHY Bankston, John THE LIFE AND TIMES OF WOLFGANG AMADEUS MOZART Brighton, Catherine MOZART: SCENES FROM THE CHILDHOOD OF THE GREAT COMPOSER Downing, Julie MOZART TONIGHT Gay, Peter MOZART Greene, Carol WOLFGANG AMADEUS MOZART MUSICIAN Labbé, Brigitte MOZART (DE VIE EN VIE 5) Lepscky, Ibi AMADEUS (BIENTÔT CÉLÈBRES) Rachlin, Ann MOZART Salvi, Francesco MOZART & CLASSICAL MUSIC Salvi, Francesco MOZART ET SON ÉPOQUE Sis, Peter PLAY, MOZART, PLAY! Summerer, Eric Michael WOLFGANG AMADEUS MOZART Tames, Richard WOLFGANG AMADEUS MOZART Thompson, Wendy WOLFGANG AMADEUS MOZART Valentin, Erich MOZART AND HIS WORLD Vernon, Roland INTRODUCING MOZART Weeks, Marcus MOZART, THE BOY WHO CHANGED THE WORLD Weil, Lisl WOLFERL: THE FIRST SIX YEARS

MOZART’S CONTEMPORARIES & MENTORS Brenner, Barbara THE BOY WHO LOVED TO DRAW BENJAMIN WEST Lasker, Davis L’ENFANT MUSICIAN OU LES CHANDELLES DE L’AUTOMNE Rachlin, Ann HAYDN (ENFANTS CÉLÈBRES) Summerer, Eric Michael FRANZ JOSEPH HAYDN Thompson, Wendy JOSEPH HAYDN Zannos, Susan THE LIFE AND TIMES OF FRANZ JOSEPH HAYDN

MOZART’S WORLD Gates, Phil MEDICINE Peters, Stephanie True SMALLPOX IN THE NEW WORLD VISUAL DICTIONARY OF BUILDINGS Ward, Brian L’HISTOIRE DE LA MÉDICINE Williams, Brian THE AGE OF DISCOVERY


COSTUME & CUSTOM Kalman, Bobbie 18TH CENTURY CLOTHING Peacock, John UNE HISTOIRE FABLEUSE DU VÊTEMENT EN 330 DESSINS Reynolds, Helen A FASHIONABLE HISTORY OF COATS & PANTS Ribeiro, Aileen DRESS IN EIGHTEENTH‐CENTURY EUROPE Rowland‐Warne, L. COSTUME Sichel, Marion THE EIGHTEENTH CENTURY (COSTUME REFERENCE) Ventura, Piero LE VÊTEMENT : SES FORMES, SE MODES, SES USAGES À TRAVERS LES SIÈCLES

PLAYFUL MOZART Day, Jon CARD MAGIC THE ENCYCLOPEDIA OF IMMATURITY Frattini, Stéphane COPAIN DES JEUX Ripoll, Oriol PLAY WITH US: 100 GAMES FROM AROUND THE WORLD Taggar, Sam GREAT GAMES Tremaine, Jon AMAZING CARD TRICKS Trudel, Marc LES COULISSES DE LA MAGIE

THE MAGIC FLUTE Beauvert, Thierry LA FLÛTE ENCHANTÉE Crespi, Francesca THE MAGIC FLUTE Fiery, Ann AT THE OPERA: TALES OF THE GREAT OPERAS Holden, Amanda THE MAGIC FLUTE Rogers, Linda THE MAGIC FLUTE Switzer, Ellen THE MAGIC OF MOZART

THE ORCHESTRA & PIANO Ardley, Neil A YOUNG PERSON’S GUIDE TO MUSIC Blackwood, Alan LE PIANO ET LES AUTRES INSTRUMENTS À CLAVIER Blackwood, Alan PLAYING THE PIANO AND KEYBOARDS Coffrant, Christophe LE PIANO Durnin, Michael LEARNING TO PLAY MOZART Helsby, Genevieve THOSE AMAZING MUSICAL INSTRUMENTS Knight, M. J. KEYBOARDS Krull, Kathleen LIVES OF THE MUSICIANS Levine, Robert THE STORY OF THE ORCHESTRA Schomp, Virginia IF YOU WERE A … MUSICIAN Shipton, Alyn LES INSTRUMENTS À CLAVIER

OTHER BOOKS Bureau, Patrick AUTICHE (TRANS. AUSTRIA) Carrier, Roch LE CHANDAIL DE HOCKEY Carrier, Roch THE HOCKEY SWEATER Miller, William THE PIANO Nickel, Barbara THE SECRET WISH OF NANNERL MOZART


Be sure to check out all of this season’s

NAC Orchestra Student Matinee Teacher Study Guides available for free download on the

ArtsAlive.ca Music website! (see Music Resources, Resources for Teachers)

Kindergarten—Grade 3

Winter Wonderland Wednesday, December 9, 2009 10 a.m. to 11 a.m. (English)

Wednesday, December 9, 2009 12:30 p.m. to 1:30 p.m. (English) Thursday, December 10, 2009 10 a.m. to 11 a.m. (French)

Grade 4—8

Let’s Go Mozart! Thursday, May 27, 2010 10 a.m. to 11 a.m. (English)

Thursday, May 27, 2010 12:30 p.m. to 1:30 p.m. (English) Friday, May 28, 2010 10 a.m. to 11 a.m. (French)

Grade 7—12

The Outstanding Oscar Peterson Thursday, November 26, 2009 11 a.m. to 12 p.m. (Bilingual) Friday, November 27, 2009 11 a.m. to 12 p.m. (Bilingual)


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