2008-2009 student matinee concerts - artsalive.ca -...

2008-2009 Student Matinee concerts

Teacher Study Guide Grade 4—8

The National Arts Centre Orchestra presents

Bravo Beethoven!

Boris Brott, Principal Youth and Family Conductor

Table of Contents

This programme 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.

Welcome Teachers!

Concert Programme 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 Nikki Chooi, violin Page 8 Kenneth Simpson, synthesizer Page 8 Barbara Clark, choir director Page 9 Tobi Hunt, stage manager Page 9

Programme Notes Page 10 Beethoven’s Life Page 10 Artists who have also faced challenges Page 12 Beethoven’s Turbulent Times Page 13 Beethoven’s Famous Peers Page 14 Beethoven the Musician Page 16 Beethoven and Romanticism Page 17

All about the Orchestra Page 19

Map of the NAC Orchestra Sections Page 20

Musical Glossary Page 21

Audience Participation (Play and sing along at the concert) Page 22

Performance Hall Etiquette Page 23

Classroom Activities Page 24

Bibliography of Resources Available at the Ottawa Public Library Page 36

Other available NAC Orchestra Teacher Study Guides Page 38

Teacher Study Guide Page 2 Bravo Beethoven!

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 22 of this guide, is an arrangement for soprano recorder of Beethoven’s “Ode to Joy.” 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 x 390 ♦ 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!

Last year, you brought nearly 15,000 students to the National Arts Centre to hear great music performed by the NAC Orchestra. I can't tell you how overwhelmed I am by your commitment and this demonstration of support. It is proof that there exists in our schools a belief that music and music education have 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: Tuesday, April 7, 2009 10:00am – 11:00am (English) 12:30pm – 1:30pm (English) Thursday, April 9, 2009 10:00am – 11:00am (French)

Location for all concerts: Southam Hall, National Arts Centre

Running time for all concerts: 60 minutes without intermission

Bravo Beethoven! The National Arts Centre Orchestra

Boris Brott, Principal Youth and Family Conductor

FEATURING: Peter Duschenes, actor (Mr. Beethoven)

Nikki Chooi, violin Kenneth Simpson, synthesizer

School Board Choirs Barbara Clark, choir director Tobi Hunt, stage manager

Concert Programme


In this Student Matinee, Ludwig van Beethoven, in period costume, will tell you about his life and times and of course his music. Throughout the concert, students will hear excerpts from:

BEETHOVEN Symphony No. 5 in C minor, Op. 67, First movement

BEETHOVEN Symphony No. 3 in E‐flat major, Op. 55 "Eroica", First movement

BEETHOVEN Violin Concerto in D Major, Third movement Nikki Chooi, violin

BEETHOVEN Symphony No. 9 in D minor, Op. 125 "Choral" (arr. Mario Duschenes) Finale: “Ode to Joy” *Play your recorder with the NAC Orchestra!

BEETHOVEN Wellington’s Victory, Op. 91 “Battle Symphony”

DEBUSSY Golliwogg’s Cake‐Walk from Children's Corner Kenneth Simpson, synthesizer

BROTT, Alexander Paraphrase in Polyphony

BEETHOVEN Symphony No. 6 in F major, Op. 68, “Storm” movement

BEETHOVEN Symphony No. 9 in D minor, Op. 125 "Choral", Fourth movement School Board Choirs Barbara Clark, choir director

BEETHOVEN Symphony No. 9 in D minor, Op. 125 "Choral" Finale: “Ode to Joy” *Sing along with the NAC Orchestra!


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 programme 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 programmes for young and emerging artists and programmes 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 programmes 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 programmes 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. Beethoven)

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.


Nikki Chooi Violin

Kenneth Simpson Synthesizer

Kenneth Simpson, a native of Ottawa, is a percussionist with the National Arts Centre Orchestra. He is also principal percussion of the Ottawa Symphony Orchestra. Very active in chamber music, Kenneth has performed on the NAC’s Music for a Sunday Afternoon series, the Ottawa International Chamber Music Festival, Espace Musique, 13 Strings and Capital BrassWorks. He plays with the Bel Canto Wind Quintet in the NAC Orchestra’s Musicians in the Schools programme. He is an active clinician and an endorser for Zildjian Cymbals in Boston, Massachusetts.

Kenneth Simpson obtained a Bachelor of Music in Performance from the University of Ottawa in 1985 under the guidance of Ian Bernard, principal timpanist of the NAC Orchestra. Further study continued over a long period with renowned teacher/performer Pierre Beluse of McGill University in Montreal. As a student, Mr. Simpson won the NACO Bursary Award in 1983, as well as the Isobel Firestone Scholarship at the University of Ottawa in 1984. Kenneth Simpson was Professor of Percussion at the University of Ottawa for 18 years, and was a founding member of the percussion duo Bangers and Smash. Kenneth enjoys living in Ottawa with his wife Elizabeth and two wonderful daughters Olivia and Veronica.

Nikki Chooi, born in Victoria, is in his freshman year at the Curtis Institute of Music in Philadelphia studying with Joseph Silverstein and Ida Kavafian. His previous teachers include William van der Sloot at the Mount Royal College Conservatory (in Calgary), and Sydney Humphreys at the Victoria Conservatory of Music. Recently, he gave a series of recitals in Atlantic Canada with pianist Susanne Ruberg‐Gordon as part of the 07/08 Debut Atlantic Tour. He was a semifinalist and the only Canadian at the XIIIth Tchaikovsky

International Violin Competition and was awarded two Special Prizes. Other major accomplishments include: one of 18 semifinalists competing at the Michael Hill Violin Competition 2007 held in Auckland, New Zealand, winner of the Shean Competition 2007 in Edmonton, winner of the award for “Best Canadian Competitor” at the Quadrennial Montreal International Musical Competition in May 2006, winner of CBC Pacific Spotlight 2005 award, winner of the 2005 Roberto & Mary Wood scholarship, studying with maestro Pinchas Zukerman at the National Arts Centre Young Artist Programme on full scholarship, and 1st prize winner of the Montreal Symphony Standard Life strings competition. Also it was noted that Nikki is the only competitor to place 1st in three major categories in the history of Canada’s National Music Festival – in 2004, held in Charlottetown, PEI, he placed 1st in Strings, 1st in Chamber music and won the Grand Award. He has performed with the Montreal Symphony Orchestra, the Calgary Philharmonic Orchestra, the Victoria Symphony Orchestra, and the Winnipeg Symphony Orchestra. Nikki performed in recital on the NAC’s Debut Series in 2008 and will perform as soloist in three “Bravo Beethoven” Student Matinee concerts on the NAC Orchestra’s 2008 Western Canada Tour.


Dr. Barbara Clark, C.M. Choir Director

Barbara Clark is an honorary life member of the Ontario Music Educators' Association and the Nova Scotia Choral Federation. Awarded the Canada 125 medal in 1993, she was further recognized with the presentation of the Victor Tolgesy award by the City of Ottawa and the Council for the Arts in 1994. She also received a distinguished service award from Choirs Ontario in 1996 and a similar one from the Association of Canadian Choral Conductors in May 2008. In May 2001 Barbara Clark received the Order of Canada, the country's highest civilian honour, be‐stowed in recognition of her service to choral music throughout Canada. The following year she was the recipient of the Queen's Jubilee Medal. In November 2006 Ms. Clark received an honorary Doctor of Laws degree from Carleton University and the A. D. Dunton Alumni of Distinction Award, also from Carleton University. Barbara is currently a member of the Board of Directors of the Association of Canadian Choral Conductors and Youth Liaison with the Friends of the National Arts Centre Orchestra, planning TuneTown activities for the TD Canada Trust Family Adventure Series of NACO.

Tobi is excited to be working with the National Arts Centre Orchestra as their Season Stage Manager. In addition to her work as stage manager, last season she was thrilled to be a co‐producer (Canadian content) with Jack Everly on the first pops of the season, On the Air. In past seasons, she had the opportunity to work with guest artists Colm Feore, Luis Conte, Marc Garneau, Bernadette Peters, Harry Belafonte, Evelyn Hart, Eartha Kitt, Ann Hampton Callaway, and the late Lou Rawls. She has also stage managed the Lord of the Rings, Mendelssohn's A Midsummer Night's Dream with Christopher Plummer and much of the Pops and educational programming. As an Assistant Stage Manager for the NAC's English Theatre Department, Tobi played with a helium balloon in The Vaudevilles of Chekhov, dressed a bear in The Winter's Tale and changed flowers in

Garry Essendine's apartment in Present Laughter. She has also learned to box at the Factory Theatre (Toronto) with the cast of Fighting Words; worn a wetsuit and blue make‐up in High Park with the cast of The Tempest; and chased the Guess Who around Winnipeg Stadium at the opening and closing ceremonies of the Pan American Games. Tobi is thrilled to be working as a part time library technician and supply teacher at Lisgar Collegiate Institute.

Tobi Hunt Stage Manager


Programme Notes

Ludwig van Beethoven: A Composer Made of Fire

Beethoven’s Life Ludwig van Beethoven was a complex, difficult man consumed by a towering genius – all the more remarkable for the deafness with which he struggled – who lived a life driven by an unquenchable need to make music. His legacy is music that still delights, challenges, and moves us.

Born in Bonn, Germany on December 17, 1770 (or perhaps a day earlier according to some records), Beethoven had a miserable childhood. He was one of seven children, only three of whom survived to adulthood. Although he loved his gentle mother, Maria, he feared his hard‐drinking, demanding father, Johann. Johann had no great talent, but he gave music lessons to the children of the nobility. From the time Ludwig was a small boy, turning the iron handle of window shutters to hear the musical noise, the child had been absorbed by music. His father recognized the boy’s ability and nurtured it, possibly because he saw it as a source of income.

In 1787, when he was seventeen, Beethoven made his first trip to Vienna, the city that would become his home. There, he was quickly immersed in the life of Europe’s cultural capital, even playing the piano for Mozart. Mozart’s prediction was: “You will make a big noise in the world.”

Beethoven’s stay was cut short by a series of family tragedies. He returned to Bonn to his dying mother. Shortly after, his infant sister died. When his father lost his job, Beethoven had to take responsibility for the family.

After his father’s death in 1792, Beethoven returned to Vienna for good. The serious boy had grown into a man who was by turns rude and violent, kind and generous. He helped raise money for the only surviving child of Johann Sebastian Bach, who was living in poverty, and he donated new compositions for a benefit concert in aid of Ursuline nuns.

Despite his temper, Beethoven attracted friends easily. He studied piano with composer Franz Joseph Haydn. And even though the student‐teacher relationship failed, the two remained friends. In Vienna, Beethoven also met Mozart’s rival, Antonio Salieri – the man rumoured to have poisoned Mozart. Salieri was kind to Beethoven and, in return, Beethoven dedicated three violin sonatas to him.

Difficult Times

ÂYou will make a big noise in the world.” -Wolfgang Amadeus Mozart


Beethoven’s struggle to hear... At the age of twenty‐eight, just before writing his first symphony, Beethoven began to lose his hearing. He tried every available treatment and, at first, there were periods when he could hear. But in the last decade of his life, he lost his hearing completely. Nevertheless, he continued to lead rehearsals and play the piano as late as 1814. Possibly he “heard” music by feeling its vibrations.

As time passed, Beethoven became more and more absorbed in his music. He began to ignore his grooming, pouring water over his head instead of washing in a basin. On one of his beloved country walks, he was arrested by a local policeman who assumed he was a tramp. His rooms were piled high with manuscripts that nobody was allowed to touch. He had four pianos without legs so that he could feel their vibrations. He often worked in his underwear, or even naked, ignoring the friends who came to visit him if they interrupted his composing.

The Beethoven‐Haus (Beethoven House) The Beethoven family’s apartment on Bonngasse in Bonn, with its kitchen and three rooms, has been preserved. Visitors can see Beethoven’s piano, ear trumpet, manuscripts of some of his music, and the little room in which he was born.

Watch out for that temper! The stories about his temper became legend: he threw hot food at a waiter; he swept candles off a piano during a bad performance; he may even have hit a choirboy. His intensity spilled over into his family life. He became embroiled in a bitter custody battle for a nephew who attempted suicide to escape the family acrimony.

“Composers do not cry. Composers are made of fire.”

Perhaps he was terrified and furious about losing the world of sound. Perhaps he was completely preoccupied by the need to create. Despite his behaviour, he was admired and respected for the music that poured from him. He knew that it moved his listeners to tears, but he responded: “Composers do not cry. Composers are made of fire.”

What about the women in Beethoven’s life? With his talent and his larger‐than‐life personality, Beethoven was popular among women. Although he never married, he dedicated such pieces as the Moonlight Sonata and Für Elise to the women in his life.


Beethoven, Thunder and Death In November 1826, Beethoven returned from his brother’s estate to Vienna in an open wagon. By the time he got home he was ill with pneumonia, from which he never fully recovered.

Late in the afternoon of March 26, 1827, the sky became dark. Suddenly Beethoven’s room was lit by a flash of lightning. A great clap of thunder followed. Beethoven opened his eyes, raised his fist, and fell back dead. He was fifty‐seven years old.

Ludwig van Beethoven’s funeral was the final demonstration of the esteem in which he was held. On March 29, 1827, twenty thousand people lined the streets, while soldiers controlled the grieving crowd. Nine priests blessed the composer’s body.

He was buried in a grave marked by a simple pyramid on which was written one word: “Beethoven.” Today his remains lie beside those of the Austrian composer Franz Schubert, in Vienna’s Central Cemetery.

We are haunted by the idea of Beethoven, the composer of some of the most beautiful music the world has known, losing the sense that must have mattered the most to him—his hearing. He was not the only artist to have confronted, and risen to, such a challenge. Francisco José de Goya (1746–1828), one of the great Spanish painters, became deaf in 1792 as the result of an illness. He continued to paint, but his work reflected his sadness. The great French Impressionist painter Claude Monet (1840–1926) found his eyesight failing him late in his life. He continued to paint, studying his subjects so closely that the paintings appeared fragmented like abstract art. Edgar Degas (1834–1917), another French artist, began to lose his eyesight when he was in his fifties. He began working in sculpture and in pastels, choosing subjects that did not require careful attention to detail. One of the finest artists to come out of Mexico was Frida Kahlo (1907–1954). She began painting in 1925 while recovering from a streetcar accident. Many of her paintings reflect the physical pain she suffered. The Dutch painter Vincent van Gogh (1853–1890) suffered from seizures and depression. After quarrelling with fellow artist Paul Gauguin (1848–1903), he sliced off a piece of his ear lobe. Van Gogh committed suicide in 1890. Itzhak Perlman (1945–), the wonderful Israeli violinist, became ill with polio at the age of four. As a result of the disease, Perlman performs and conducts from a seated position.

Artists Who Have Also Faced Challenges


John Kay patented the fly shuttle in 1733, making it possible to weave wide cloth. James Hargreaves invented the spinning jenny in 1765, which spun many threads at the same time. James Watt invented the steam engine, patented in 1769, and Robert Fulton initiated steamship travel. The first railroad in England began operation early in the eighteenth century.

Beethoven became friends with Johann Nepomuk Mälzel, the “Court Mechanician.” He invented the musical chronometer, which in time was refined to the metronome, a device that can be set to a specific pace to guide the musician. Beethoven loved the chronometer and even composed a little canon to the words “Ta ta ta (suggesting the beat of the chronometer) lieber lieber Mälzel.”

Beethoven’s Turbulent Times Beethoven lived in a period of great turmoil. The French Revolution, which began on July 14, 1789, rocked Europe. The ideals of the French Revolution included equality and free speech for all. Within four years those fine ideals devolved into the Reign of Terror that overtook France and affected the rest of Europe. In 1798, Napoleon conquered Egypt, beginning his rise to power. Against the political upheaval, every aspect of human life seemed to shift. It was an age of change in ideas, the arts, science, and the structure of society itself.

An age of the musician

Earlier in the 18th century, the Church dominated the world of music. As time went on, the nobility began to enjoy music and even learned to play musical instruments. Composers and musicians were their servants. With his fiercely independent spirit, Beethoven challenged this notion. “It is good to move among the aristocracy,” he said, “but it is first necessary to make them respect us.” When a nobleman talked while he was performing, Beethoven stopped playing to declare: “For such pigs I do not play!” Literature and art also flourished during Beethoven’s lifetime. The first edition of the Encyclopedia Britannica appeared in three volumes.

An age of exploration

In 1770, Captain James Cook circumnavigated the globe, charting the coast of New Zealand and eastern Australia as well as the Bering Strait. James Bruce traced the Blue Nile to its confluence with the White Nile in 1771.

An age of invention Metronome


An age of science and mathematics

Joseph‐Louis Lagrange formulated the metric system and explained the satellites of Jupiter and the phases of the moon. Benjamin Franklin conducted his experiments with electricity. Joseph Priestley discovered oxygen. Edward Jenner developed the smallpox vaccine. Musician and astronomer William Herschel discovered Uranus.

An age of new pastimes

Coffee drinking – which Beethoven loved – became a part of social life. Gambling, lotteries, card‐playing, chess, checkers, dominoes, and billiards all entertained people.

Beethoven’s Famous Peers

Musicians

Beethoven was not the only composer writing music in this period. Richard Wagner’s (1813–1883) early instrumental works were influenced by Beethoven. Franz Liszt (1811–1886) “invented” the solo piano recital. Giuseppe Verdi (1813–1901) composed great operas. Frédéric Chopin (1810–1849) and Robert Schumann (1810–1856) also belonged to this era.

Artists

The shift from the Classic to the Romantic tradition was also reflected in the work of painters and sculptors such as the Spanish master Francisco José de Goya and Swiss‐born Angelica Kauffmann, who produced more than five hundred paintings in her lifetime.

The painter who most closely paralleled Beethoven’s move to Romanticism was Jean‐Baptiste Camille Corot (1796–1875). Early in his career he painted structured landscapes, but as he matured in works like Ville d’Avray and Memory of Mortefontaine, he showed a more imaginative style, creating a filmy aura.

The Bridge at Narni, Camille Corot National Gallery of Canada, Ottawa, Purchased 1939

Poets

British poet William Wordsworth (1770–1850), along with Samuel Taylor Coleridge (1772–1834), began the English Romantic movement in literature. Like Beethoven in music and Turner in painting, Wordsworth used nature as a theme in much of his writing. Here is an example of one of his best known poems:


Beethoven the Musician A pock‐marked, unkempt, awkward, brash, yet supremely self‐confident, young Beethoven easily took his place as both performer and composer in Vienna—the heart of musical Europe. He lived for a time in the home of Prince Lichnowsky, an accomplished musician who studied and played Beethoven’s new piano sonatas and paid the cost of publishing his Opus 1.

Beethoven’s initial purpose in coming to Vienna was to study with Haydn and to learn from the great master the style of Viennese classicism ‐ a structured world‐view where the form of things was more important than their content. Poetry, literature, painting and music of this Classic period were restrained and rational.

This formal, disciplined study, however, had little appeal to Beethoven’s unruly, irrepressible, revolutionary spirit. He absorbed just what suited him, and proceeded on his own course. Thus, we find, even in his first published compositions, a bold new voice in music. Formally, these early works still hark back to traditional classical forms. But the emotional intensity, rough humour, burning energy and bold modulations reveal a creator who has struck out on a new path.

By the 1800s, Classicism was giving way to Romanticism and this shift was evident in Beethoven’s music.

Ludwig van Beethoven, miniature painted on ivory by Christian Horneman (1802) Beethoven‐Haus Bonn, Collection H.C. Bodmer

What is a symphony?

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

What is a movement?

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

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.


Beethoven and Romanticism When Beethoven was born in 1770, the ideal in society was Classicism. It was a disciplined and structured worldview, according to which the form of things was important. Value was given to poetry, literature, painting, and music that was restrained and rational. By the 1800s, Classicism was giving way to Romanticism, and Beethoven’s music led the change in Classical music.

Romanticism valued imagination and emotion over intellect and reason. It was based on a belief that people are naturally good, that physical passion is splendid, and that political authority and rigid conventions should be overthrown.

Beethoven’s Romanticism transformed every kind of music he composed. One of his most popular compositions is the Moonlight Sonata, the second of two sonatas making up Opus 27. It became known as the Moonlight Sonata well after Beethoven’s death, when poet Ludwig Rellstab said that it reminded him of moonlight rippling on the waves of Lake Lucerne in Switzerland. Like all Romantic art, it appeals to the senses first.

Beethoven’s Romance No. 1 for Violin in G, Opus 40 and his Romance No. 2 for Violin in F, Opus 50, written between 1798 and 1802, were called romances for their light, sweet tone, almost like a song. This is typical of the Romantic period in music: many pieces lend themselves to being sung as well as played.

Beethoven’s movement away from Classicism and toward Romanticism is clearest in his symphonies. Before Beethoven, symphonies had conformed to the ideals of Classicism with clear structure and rational form. Beethoven’s Romantic symphonies broke out of those confines and became large, sometimes epic structures that plumbed emotional depths.

Beethoven’s first symphony was presented in 1800. Although the orchestra members were not sufficiently skilled to play the music, and the critics were unforgiving, it became widely known if not always liked. In 1802, Beethoven completed his Second Symphony, which has been described as “full of summer air and summer flowers.”

Photo of Beethoven’s Piano Beethoven‐Haus Bonn, Collection H.C. Bodmer

Beethoven had intended to dedicate the Eroica, his third and possibly favourite symphony, to Napoleon because he thought that Napoleon would free Europe from the iron‐fisted control of royalty. In 1804, Napoleon proclaimed himself Emperor. Beethoven raged: “So, he is just like the rest, after all. He will become a greater tyrant than the others.” He grabbed the title page and scratched out the dedication so violently that he tore the paper.


Beethoven the artist

Did you know that Beethoven was often stressed out?

In 1804, Beethoven composed his only opera, Fidelio.

It is interesting to listen for the musical ideas that appear in the Third, the Fifth, and the Ninth Symphonies.

The Fifth Symphony, with its “da‐da‐da‐daaa” beginning, is one of the world’s most famous pieces of music. Beethoven took these simple tones and rhythms and built the whole first movement around them. It has been suggested that these four notes represent the sound of Fate knocking at the door.

The Sixth Symphony, the Pastoral, draws on Beethoven’s love of nature, which he depicts in a series of musical scenes. Very different from Classical structure, the Pastoral is longer and more complex. By the Ninth Symphony, Beethoven had incorporated poetry, vocal soloists, and choir, as well as starkly contrasting moods.

By the time the Ninth Symphony premiered in Vienna in 1824, Beethoven was almost completely deaf. Nevertheless, he insisted on conducting the orchestra himself. He continued conducting even when the piece had ended because he could not hear that the orchestra had stopped playing. One of the singers tugged at his sleeve so that he would turn around to face the audience — an audience wild with applause.

Beethoven’s Ninth Symphony continues to move the hearts of people everywhere. It was played during the Beijing student protests in China in 1989 and at the dismantling of Germany’s Berlin Wall in 1990. It has become a symbol of unity, of love, and of the overwhelming power of music to change forever those who hear it.

Beethoven’s first public appearance as a piano virtuoso took place when he was twenty‐five years old. He was to play his Second Piano Concerto, but two days before the performance it was still not finished and Beethoven was suffering from an upset stomach. He continued to write while a friend fed him remedies and, just outside his chamber, copyists sat waiting for the music as the composer finished writing each sheet.

His career would be full of such last‐minute scrambles. On the morning of the concert to present an oratorio, Christ on the Mount of Olives, a friend found Beethoven sitting in bed, composing the part for the trombones. The piece had its first rehearsal at 8:00 a.m., with the trombone players reading from the original sheets of music.

Beethoven was more than a great composer. He was a force of nature, the first important musician to break free successfully from the mentality of servant. He was an artist, and he wrote for posterity, not just for mere mortals who happened to live at the same time as he. When confronted with rules of harmony he had supposedly broken, Beethoven brusquely retorted, “I admit them.” He was markedly lacking in social graces, but proud to the point where he could say to a prince and benefactor, straight to his face, “What you are, is by accident of birth; what I am, I created myself. There are, and have been, thousands, of princes; there is only one Beethoven.”


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

harp

tuba

trom

bone

trum

pet


Beat – Is there a strong pulse (like walking), or little sense of a beat, (like floating)? Is the speed (tempo): fast (allegro), medium (moderato), or slow (adagio)?

Metre/Time Signature – 2/4, 3/4, 4/4, 6/8 are most common. Listen for the strong beat, then find the grouping of beats in 2s, 3s 4s. Try conducting in 2 (down/up) or 3 (triangle) to feel duple or triple time.

Rhythm – Are sound patterns simple, or complex? Are they fast patterns (like eighth notes) or long notes (like whole notes)? Is the rhythm jazzy and syncopated (on the off‐beat)?

Melody – Is the tune memorable? Does it have leaping from high to low (disjunct) or notes moving in close steps (conjunct)? Is the playing smooth (legato) or detached playing, like hot potato (staccato)?

Harmony – is more than one pitch sounding at the same time (example do + mi + sol, or the “I chord”). One person singing alone creates unison, not harmony! Are the combined sounds modern, jazzy, more traditional?

Dynamics – How dramatic is the music? Are there loud and soft sections? The music terms (and symbols) are:

• pianissimo (pp) – very soft • piano (p) – soft • mezzo piano/mezzo forte (mp, mf) – medium soft/medium loud • forte (f) – loud • fortissimo (ff) – very loud

Texture – describes the density of sound: one sound (thin), or two sounds layered, or many sounds layered, performed simultaneously (thick). Polyphonic music has many layers, starting at different times, like singing the round Frère Jacques.

Timbre – Can you identify what is making the music: voice (male/female, adult/child), woodwinds, brass, strings, or percussion?

Form – is how music is organized in repeating or recognizable sections. Examples: ABA, Sonata, Theme and Variations, Rondo, Symphony

Musical Glossary


Audience Participation

Play or Sing Beethoven’s Music! Please learn Beethoven’s Symphony No. 9 Op. 125—Finale “Ode to Joy” for soprano recorder. You will be invited to perform it with the NAC Orchestra at the concert.


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

Performance Hall Etiquette


Classroom Activities

A Beethoven Autobiography

What is the difference between a biography and an autobiography? Biography _____________________________________________________________ Autobiography _________________________________________________________ Which do you think would be more informative? ____________________________________ Why? _______________________________________________________________________ List five important events in Beethoven’s life: 1 ________________________________________________________________ 2 ________________________________________________________________ 3 ________________________________________________________________ 4 ________________________________________________________________ 5 ________________________________________________________________ Now write Beethoven’s autobiography, imagining that you are Beethoven himself. Use an extra piece of paper if you need more space. ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________


The Age of Discoveries

The time period when Beethoven was born was one of many new discoveries and developments. For each of the names listed, fill in who the person was and why the discovery or invention is important. 1. Joseph‐Louis Lagrange The metric system ______________________________________________________________________ ______________________________________________________________________

2. James Watt The steam engine ______________________________________________________________________ ______________________________________________________________________

3. Edward Jenner Smallpox vaccine ______________________________________________________________________ ______________________________________________________________________

4. Captain James Cook The Bering Strait or The Hawaiian Islands ______________________________________________________________________ ______________________________________________________________________

5. Benjamin Franklin Electricity ______________________________________________________________________ ______________________________________________________________________

6. James Hargreaves The spinning jenny ______________________________________________________________________ ______________________________________________________________________

7. William Herschel Uranus ______________________________________________________________________ ______________________________________________________________________


Beethoven’s Life and Times Crossword Puzzle

Down 1. What symbol marked Beethoven’s grave? 3. Beethoven dedicated three violin sonatas to which composer? 4. What instrument does Itzhak Perlman play? 6. What revolution took place during Beethoven’s life? 8. Beethoven studied piano with...? 10. What part of the piano did Beethoven cut off?

Across 2. Which composer is buried next to Beethoven? 5. Beethoven developed as a professional musician in what great city? 7. What British poet used nature as a theme in much of his writing? 9. Who invented the musical chronometer, or metronome? 11. Beethoven was born in what country?

Answers 1. pyramid 2. Schubert 3. Salieri 4. violin 5. Vienna 6. French 7. Wordsworth 8. Haydn 9. Malzel 10. legs 11. Germany


An Acrostic Poem

A Beethoven Cinquain

Create an acrostic poem about Beethoven. Here’s how it’s done: You will see that Beethoven’s name has been written vertically. Next to each letter of his name is a space. In each space, write a word that you think describes Beethoven and starts with that letter of the alphabet. The first one has been done for you. When you are finished, post your acrostic poem on the classroom bulletin board.

B rave

E E T H O V E N

A cinquain is a five‐line poem. Write your own cinquain about Beethoven by following the format given. First line—subject’s name (Beethoven) Second line—two adjectives or descriptive words Third line—three verbs Fourth line—a simile (like a...or, as a…) Fifth line—a synonym for the first line Beethoven

____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________


A Postcard from Beethoven In 1787, Beethoven made his first visit to Vienna. He didn’t stay very long, but it is said that he met Mozart on that occasion. Create a postcard that Beethoven might have sent to his family from Vienna. You may want to read a little about Vienna to learn about the attractions there before you start. In the top square, draw the picture that would appear on one side of the postcard. In the second square, compose the note that Beethoven would have written.


Beethoven’s Musical Word Search

BENEFACTOR CLASSICISM COMPOSITION CONCERTMASTER CONCERTO CONDUCTOR INSTRUMENT MASTERPIECE

METRONOME MINUET MODULATION OPERA ORATORIO ORCHESTRA PIANO PIECE

POSTERITY REHEARSAL RHYTHM ROMANTICISM RONDO SCORE SOLOIST SYMPHONY

Answers


A Romantic Collage Beethoven’s work represents a transition from the Classical tradition in music to the Romantic. The Romantic style has many characteristics, including the expression of one’s emotions and a love of nature. Can you think of others?

Using the space provided (or you may wish to use a larger separate backing), create a collage on the theme of Romanticism. Be prepared to present and explain your collage to your classmates.


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�


1. Create a timeline of the important events in Beethoven’s life.

2. Research the career of Napoleon and, on a map of Europe, show the various countries he conquered, or tried to conquer.

3. Listen to a recording of Beethoven’s music and explain to your classmates what is typically “Beethoven” about it.

4. Write an obituary for Beethoven.

5. If you had an opportunity to interview Beethoven, list five questions you would ask.

6. Listen to a piece of music from the Romantic era (not necessarily by Beethoven) and paint an abstract picture in watercolours while listening to the music. How has the music influenced your painting?

7. Choose an event in Beethoven’s life and create a journal entry for it. Try to understand how Beethoven might have felt.

8. Choose an event from Beethoven’s life and, with a small group of your classmates, create a tableau to illustrate it. Explain your tableau to the rest of the class.

9. Imagine you and two other classmates are making a movie about Beethoven’s life. Pick an incident and write a scene that you will perform for your class.

10. Using a tape recorder and any sound effects you like, create a commercial to promote the NAC Orchestra. Play your commercial for your classmates.

11. Design a poster to promote the NAC Orchestra concerts. Display your poster in the classroom.

12. Design a poster to promote the Beethoven House in Bonn.

13. Listen to the audiotape or CD of Beethoven Lives Upstairs and write a review of it.

14. Read one of the books in the Resource Materials section of this publication. Explain to one of your classmates why he or she should also read it – or not.

15. Create an advertisement to sell one of Beethoven’s pianos. Remember that they often did not have legs, that he pounded hard on the keys, and often spilled ink inside.

16. Choose another artist (visual artist, composer, author) who was a contemporary of Beethoven’s. Research his or her life and give a report to your class.

17. Write about some aspect of Beethoven’s life from the point of view of his piano.

18. Create a poster advertising a concert featuring Mälzel’s musical chronometer.

19. Working with a small group of your classmates, compose a piece of music using only the most primitive of instruments: noises created by your voice, your hands, or your feet. Perform the piece for your class.

Additional Activities

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

Children’s Services, Ottawa Public Library


Bibliography

BOOKS

Autexier, Philippe A. BEETHOVEN: LA FORCE DE L’ABSOLU Gallimard, Paris, c.1991

Basile, Marianna BEETHOVEN Éditions France‐Amérique, Montréal, c.1980

Bergamini, Andrea BEETHOVEN AND THE CLASSICAL AGE (Masters of Music) Barron’s, Hauppauge, N.Y., 1999

Blackwood, Alan BEETHOVEN Wayland, Hove c.1987

Cencetti, Greta BEETHOVEN (The World of Composers) Peter Bedrick Books, Columbus, OH, c.2002

Harris, Robert WHAT TO LISTEN FOR IN BEETHOVEN: THE ESSENTIAL INTRODUCTION TO THE WORLD’S FOREMOST COMPOSER AND TO THE HIDDEN PLEASURES OF CLASSICAL MUSIC Macfarlane, Walter & Ross, c.1996

Jacobs, David BEETHOVEN (by the editors of Horizon Magazine) American Heritage Pub. Co., New York, c. 1970

Kerman, Joseph LISTEN: BRIEF EDITION Worth Publishers, New York, c.1987

Landon, H.C. BEETHOVEN: HIS LIFE, WORK AND WORLD Thames and Hudson, London, c.1992 May, Robin BEETHOVEN Grèund, Paris, c. 1990

May, Robin BEETHOVEN Hamlyn, London, c.1990

Nichol, Barbara BEETHOVEN LIVES UPSTAIRS Lester Pub., Toronto, c.1993 (fiction)

Orga, Ates BEETHOVEN (The Illustrated Lives of the Great Composers series) Omnibus Press, London, c.1978

Pinkwater, Daniel RAINY MORNING Atheneum Books for Young Readers, New York, c1998 (fiction)

Pugnetti, Gino BEETHOVEN (Grands de tous les temps) Dargaud, Paris, c.1968

Pugnetti, Gino THE LIFE AND TIMES OF BEETHOVEN Hamlyn, London, c.1967

Rachlin, Ann BEETHOVEN (Enfants célèbres) Éditions Gamma‐Éditions Héritage, Paris, Saint‐Lambert (Québec)

Rachlin, Ann BEETHOVEN (Famous Children) Barron’s, Hauppauge, N.Y., c.1994

Summerer, Eric LUDWIG VAN BEETHOVEN PowerKids Press, New York, c.2006

Tames, Richard LUDWIG VAN BEETHOVEN F. Watts, New York, c.1991


Thompson, Wendy LUDWIG VAN BEETHOVEN (Composer’s World), Faber & Faber, London, c. 1990

Venezia, Mike LUDWIG VAN BEETHOVEN (Getting to know the world’s great composers), Children’s Press, New York, c. 1996

Vernon, Roland INTRODUCING BEETHOVEN (Introducing Composers) Chelsea House Publishers, Philadelphia, c.1994, 2001

Winter, Jonah THE 39 APARTMENTS OF LUDWIG VAN BEETHOVEN Schwartz & Wade Books, New York, c.2006

VIDEO RECORDINGS BEETHOVEN LIVES UPSTAIRS The Children’s Group c. 1992 (Video & DVD) BEETHOVEN: THE AGE OF REVOLUTION Films for the Humanities & Sciences c. 2003 (DVD) GLENN GOULD PLAYS BEETHOVEN Canadian Broadcasting Corp., 199? (Video) LUDWIG VAN BEETHOVEN: TRIUMPH OVER ADVERSITY McNabb & Connolly c.1999 (Video) VIENNA: A MUSICAL TOUR OF THE CITY’S PAST AND PRESENT Naxos, c. 1993 (DVD)

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

Discover your Orchestra! Tuesday, March 3, 2009 10:00am‐11:00am (English) Tuesday, March 3, 2009 12:30pm‐1:30pm (English)

Wednesday, March 4, 2009 10:00am‐11:00am (French)

Grades 4—8

Bravo Beethoven! Tuesday, April 7, 2009 10:00am‐11:00am(English) Tuesday, April 7, 2009 12:30pm‐1:30pm (English) Thursday, April 9, 2009 10:00am‐11:00am(French)

Grades 7—12

Broadway Spectacular Thursday, November 20, 2008 11:00am‐12:00pm (bilingual) Friday, November 21, 2008 11:00am‐12:00pm (bilingual)


2008-2009 student matinee concerts - artsalive.ca -...

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