1

Presents

11:15am, Monday 28 July 2014

Teachers’ Resource Notes

2

Table of Contents ABOUT THE WEST AUSTRALIAN SYMPHONY ORCHESTRA WASO’s Past, Present and Future page 3 WASO’s Values page 3 WHO WILL YOU SEE AT THIS CONCERT? Conductor, Peter Moore (OAM) page 4 Classical Kids Live! page 4 Auslan Intepreters page 4 The Orchestra page 5 Instrument Families of the Orchestra pages 5-6 THE COMPOSER, THE MUSIC AND THE STORY The Composer: Ludwig van Beethoven page 7 Beethoven’s Music and It’s Place in History pages 7-8 Time-Line: Beethoven’s Music and the World Around Him page 9 PRE- AND POST-CONCERT ACTIVITIES Notes for this Resource page 10 Notes for the Online Playlist page 10 ACTIVITIES: BEETHOVEN AND HIS LIFE Activity One: Rock Stars! page 11 Activity Two: How’s Your Hearing? page 12 Activity Three: Beethoven’s Room pages 12-13 ACTIVITIES: BEETHOVEN’S MUSIC Activity One: Music and Storms page 14 Activity Two: Listening and Creating page 14 Activity Three: Landscapes and Soundscapes page 15 Activity Four: “Odd One Out” WORKSHEETS “Odd One Out” Worksheet and Solutions pages 16-17 Student Review Sheet including Parental Consent form (F&B) pages 18-19 CREDITS AND ACKNOWLEDGEMENTS Photos: Nik Babic, Craig Kinder Resources: These WASO resources were prepared by Hannah Clemen and are part-based on the original Beethoven Lives Upstairs resources by Susan Hammond, which can be purchased by visiting Classical Kids Music Education at: classicalkidsnfp.org

3

About the West Australian Symphony Orchestra

WASO’s Past, Present and Future The West Australian Symphony Orchestra (WASO) is Western Australia’s largest and busiest performing arts company. Established in 1928, WASO is the state’s only professional orchestra, playing a central role in the cultural life of Western Australia.

WASO’s vision is to touch souls and enrich lives through music. The Orchestra performs over 140 concerts each year with some of the world’s finest conductors and soloists to an audience in excess of 200,000. In addition to its own concerts, WASO regularly performs with the West Australian Opera and West Australian Ballet. Under the guidance of Principal Conductor & Artistic Adviser Asher Fisch, WASO’s 82 full-time musicians perform a broad range of music designed to reach a wide cross-section of the community at venues across Perth.

The Orchestra reaches an even larger audience across Australia and the world through concert webcasts, providing audiences with access to live and on-demand WASO performances. In addition, concerts are regularly broadcast on ABC Classic FM and are available on CD recordings. WASO’s award-winning Education and Community program provides primary, secondary and tertiary students across Western Australia with access to musical experiences of the highest quality. With a commitment to visiting remote and regional locations, WASO on the Road and WASO’s Education Chamber Orchestra (EChO) takes music to students in all corners of the state.

An integral part of the Orchestra is the WASO Chorus, a highly skilled ensemble of auditioned singers who represent the finest form of community music making. Under the guidance of Chorus Director Christopher van Tuinen and Coach Andrew Foote, the Chorus feature regularly in WASO’s annual concert season.

WASO has an innovative approach to music programming, performing both artistically vibrant classical music as well as original contemporary music. Each season features a selection of different concert series including Masters, Classics and Family, complemented by a number of special events with high profile artists. WASO is also at the forefront of Australian orchestras in commissioning original works from the country’s leading composers and the development of the next generation through its Young and Emerging Artists program.

WASO’s Values

Innovation and Excellence We strive for excellence and innovation in everything we do. Leadership We will be the champions of orchestral music in our region and be a leader in the performing arts sector. Passion and Inspiration We are passionate and committed to providing our audiences with inspiring and memorable experiences. Respect and Teamwork We are a company whose relationships are based on teamwork, honesty and mutual respect.

4

Who Will You See at the Concert? Conductor, Christopher Dragon In 2013 Christopher was appointed Assistant Conductor of the West Australian Symphony Orchestra (WASO). As WASO’s first Assistant Conductor, he has been given the unique opportunity to work closely with Principal Conductor Asher Fisch and other guest conductors. The position also provides Christopher with engagements with the orchestra. Since beginning his conducting studies in 2011 Christopher’s profile has expanded internationally. Christopher is a member of the prestigious Symphony Services International Conductor Development Program through which he has worked with orchestras in Australia and New Zealand under the guidance of course director Christopher Seaman and the orchestra’s Principal Conductors. From 100 international applicants, Chris was chosen to conduct the Princess Galyani Vadhana Youth Orchestra in Thailand and earlier in the year participated in the Jarvi Winter Academy in Estonia where he was awarded the Orchestra’s Favourite Conductor Prize. Christopher has also studied with numerous distinguished conductors including Paavo and Neeme Jarvi at the Jarvi Summer Festival, Fabio Luisi, Principal Conductor of the Metropolitan Opera, at the Pacific Music Festival in

Japan and conducting pedagogue Jorma Panula. Christopher has firm roots in many WA ensembles and is currently Musical Director of the Metropolitan Symphony Orchestra, the South Side Symphony Orchestra, Operabox, his co-founded orchestra the Swan Philharmonic and regularly conducts for the West Australian Academy of Performing Arts and the West Australian Youth Orchestra.

Classical Kids Live! Actors, Thad Avery and Natalie Berg Classical Kids Music Education, NFP was formed for charitable and educational purposes to build pathways for progression in music so that all young people, whatever their background or abilities, have access to the rich and diverse range of influence classical music offers. Reduced funding to the arts has diminished the ability of many symphony orchestras to provide high-quality educational and family programs like the one you are seeing today. It is imperative that more organizations are able to reach students and families through excellent music education programs in a time when affordable and worthy programming is lacking. Classical Kids Music Education, NFP was created to “bridge the gap” by securing funding for high-calibre projects and, together with individual donor support, help to bring music education into the 21st century by creating more opportunities for young people to be exposed to their interest and develop their talents to the fullest. Please visit ckme.org to learn more about how you can help.

Auslan Interpreters, Christy Smith and Adrian Chia For selected performances in the 2014 WASO Education and Community Engagement program, we have engaged Auslan interpreters provided by Sign Language Communications WA at the WA Deaf Society. Featuring talented actors and live-screen action, this performance is as much visual as it is aural, making it a terrific opportunity for WASO to work with the WA Deaf Society. Over the years, we have found these Primary School education concerts are ideal for music teachers who have students with special educational needs and this concert will give families with deaf children or parents the opportunity to enjoy a live symphony orchestra concert. If you meet one of our Auslan Interpreters or anybody at this performance with a hearing impairment, please wave “hello”.

5

The Orchestra A symphony orchestra is a group of musicians (usually 70-100) who play under the direction of a conductor, and have been the main large ensemble for Art Music in the last 250 years. The symphony orchestra has evolved over time to suit changes in musical style, instrument technology and venue size. The modern symphony orchestra has quite a standard format, but can be modified in size and instrument make-up to suit different venues and musical styles. When rehearsing and performing, the musicians of a symphony orchestra usually sit in a large semi-circle shaped group, with the conductor in the centre. All the instruments are grouped together into instrument types and then into large instrument “families”. This is to allow like-sounding instruments to work together more easily, as well as enhance the impact and blending of the instruments’ sound for the audience. As well as full-time players, WASO has casual players who help out when the orchestra needs extra musicians (names are in italics). For this performance of Beethoven Lives Upstairs the musicians will be wearing coloured shirts representing each instrument family (Strings: blue, Woodwinds: green, Brass: purple, Percussion: orange).

The Instrument Families of the Orchestra

STRINGS There are four main instruments types in this family, and they form the largest number of people in the orchestra. They all make their sound primarily by running a bow of horsehair across strings, and sometimes by plucking the strings. They sit in a large block around the front of the orchestra.

Violin: The smallest and highest of the string samily. They form a large group at the front and left of the orchestra, and have a prominent sound.

Viola: Very similar to the violin, the viola is a little larger and the sound is a little deeper. They usually sit at the front and centre of the orchestra.

Violoncello (Cello): Bigger again, the cellos sit at the front and right of the orchestra, and have a deep rich sound. Because they are large, cellos are rested on the ground between the musician’s knees when played.

Double Bass: The biggest and deepest of the string instruments, the double basses sit behind the cellos. Because they are so big, the musicians have to sit on high stools to play them.

Other String Instruments: Sometimes a composer will include a harp in the orchestra, a large 47 string instrument that is plucked. It usually sits on the far left of the orchestra and makes a soft and ethereal sound. WOODWINDS The woodwinds usually sit in a group behind the violas in the centre of the orchestra. They form a family not only because they all use the breath to make sound, but also because traditionally all these instruments are made of wood. Although they are all quite different, their sounds blend well together. Flute: The flute makes the lightest and highest sound in the woodwind family. Originally made from wood, flutes are now usually made of silver and nickel. The sound is made by blowing across an open tone-hole. Sometimes you will see a small and very high-pitched version of the flute called the piccolo. Oboe: The oboe makes a rich reedy sound and has a moderate to high pitch. It makes its sound by blowing between two thin pieces of cane (called “reeds”) at the top of the instrument. Sometimes the oboes are joined by a slightly larger instrument called the cor anglais.

6

Clarinet: The clarinet makes a mellow silky sound, and can cover both a low and high range. The sound is made by blowing between a mouthpiece and a single reed. A larger version of the clarinet, called the bass clarinet, looks a little bit like a saxophone. Bassoon: The bassoon is related to the oboe, but is much bigger and lower-pitched. Sometimes you may see a contra-bassoon, which is very big and has a pitch twice as deep as the bassoon. BRASS The brass players sit in a long row (or two rows in big orchestras) behind the woodwinds, and are easily seen because of their bright and shiny colour. All made from brass, these instruments all make sound by pursing the lips and blowing into an open mouthpiece.

Trumpet: The trumpets are the smallest and highest pitched brass instruments, and make a strong bright sound. French Horn: Deeper in pitch than the trumpet, the French horn makes a distant and warm sound. They look very beautiful with their round, coiled shape. Trombone: The trombones are unique among the brass instruments because they can slide their notes high and low using a long curved slide. They make a thick low sound. Tuba: The tuba is a very large instrument that can play the lowest notes of all the brass.

PERCUSSION There are many different percussion instruments that you might see in an orchestra, ranging from the massive bass drum and tubular bells through to small hand-held instruments like maracas and triangles. Sometimes, when a piano is added to the orchestra, it is also considered part of the percussion section. Timpani: By far, the most common percussion instrument found in the orchestra is the timpani. Usually in sets of two, three or four, the timpani are large upright drums that can be tuned to different pitches so the rhythms can also play out simple “melodies”.

7

The Composer, the Music and the Story

The Composer, Ludwig van Beethoven Ludwig van Beethoven was born in Bonn, Germany. Ludwig's father drilled him thoroughly with the ambition of showcasing him as a child prodigy. Ludwig gave his first public performance as a pianist when he was eight years old. At the age of eleven he received training in piano performance and composition. Beethoven was granted a paid leave of absence in the early part of 1787 to study in Vienna under Mozart.

In 1792 he chose Vienna as his new residence and took lessons from composers including Haydn. By 1795 he had earned a name for himself as a pianist of great fantasy and verve, admired in particular for his brilliant improvisations. Before long he was travelling in the circles of the nobility. They offered Beethoven their patronage, and the composer dedicated his works to them in return. By 1809 his patrons provided him with an annuity which enabled him to live as a freelance composer without financial worries. Beethoven was acutely interested in the development of the piano. He kept close contact with the leading piano building firms in Vienna and London and thus helped pave the way for the development of modern concert grand piano.

Around the year 1796 Beethoven noticed that he was suffering from a hearing disorder. He withdrew into increasing seclusion from the public and from his few friends and was eventually left completely deaf. By 1820 he was able to communicate with visitors and trusted friends only in writing, using "conversation notebooks". The final years in the life of the restless bachelor (he changed living quarters no fewer than fifty-two times) were darkened by severe illness. When the most famous composer of the age died, about thirty thousand mourners and curious onlookers were present at the funeral procession on March 26, 1827.

Beethoven’s Music and its Place in History It is often helpful to understand where exactly a composer fits into his era. At Beethoven’s birth, Bach had been dead for 20 years, Haydn was 38 and Mozart was 14. These composers of the Classical style were followed shortly by the Romantics of the 19th Century: Schubert, Mendelssohn, Chopin, Schumann, Liszt and Wagner. Many were born while Beethoven was in his forties. The late 18th century is often called the Age of Curiosity. It was a time of questioning everything from philosophy, politics, religion, medicine and science. Musicians who had formerly been considered humble servants of the church or court were raised to god-like status. For the first time, the role of the conductor emerged, as urban society demanded larger concert halls and bigger orchestras. Composers became free spirits who expressed the new Romantic ideals of the individual and nature. Beethoven is considered the pioneer of this era of musical expression.

Here is a list of the works featured in Beethoven Lives Upstairs. The colour code shows whether the works are for solo piano (blue), orchestra (red), soloist and orchestra (green) or chamber group (purple). The list on the following page shows the order in which the pieces appear in the production.

8

Featured Works in Beethoven Lives Upstairs 1. Symphony No.7 in A Major, Op.92 (2nd Movement) (1812) 2. Symphony No.5 in C Minor, Op.67 (1st Movement) 1808) 3. Piano Sonata No. 27 in E Minor, Op. 90 (1814) 4. Symphony No.1 in C Major, Op.21 (4th Movement) (1800) 5. Romance for Violin and Orchestra in No.1 in G Major, Op.40 (1802) 6. Piano Sonata No.8 in C Minor, Op.13 Pathétique (1798) 7. Symphony No.9 in D Minor Choral, Op.125 (2nd Movement) (1824) 8. Piano Sonata No.10 in G Major, Op. 14 No. 2 (1801) 9. Symphony No.4 in B-flat Major, Op.60 (2nd Movement) (1806) 10. Minuet in G major, WoO 10, No. 2 11. Violin Sonata No.5 in F Major, Op. 24 Spring 12. Symphony No.8 in F Major, Op.92 (2nd Movement) (1812) 13. Leonore Overture No.3, Op76b 14. Bagatelle in A Minor Für Elise, WoO 59 (1810) 15. Piano Sonata No.14 in C Minor, Op. 27 No. 2 Moonlight (1st Movement) (1801) 16. Variations on Mozart's “La ci darem la mano” for Woodwind Trio, WoO 28 17. Symphony No.6 in F Major Pastoral (1st Movement) (1808) 18. Symphony No.6 in F Major Pastoral (2nd Movement)(1808) 19. Symphony No.6 in F Major Pastoral (4th Movement) (1808) 20. Piano Concerto No.1 in C Major, Op.15 (1797) 21. Piano Concerto No.5 in E-flat Major, Op.73 Emperor (2nd Movement) (1810) 22. Six Variations on Nel cor piu non mi sento, WoO.70 23. Rondo alla ingharese quasi un capriccio Rage Over a Lost Penny in G Major, Op.129 (1798) 24. Symphony No.9 in D Minor Choral, Op.125 (5th Movement) (1824) 25. Symphony No.6 in F Major Pastoral (5th Movement) (1808)

Beethoven Lives Upstairs features a large number of works from throughout Beethoven’s career, many of which you can also hear in the Beethoven Lives Upstairs Teachers’ Playlist as part of this resource (see page 10 for details). On page 9 you will see a time-line that maps out many these pieces of music and how they relate to important historical events at the time. As Beethoven’s music evolved and changed, we can also see how he was responding to the changes around him in society, politics and culture. Old values were being questions, new discoveries made, and conflicts resolved.

The Story: Beethoven Lives Upstairs The story of Beethoven Lives Upstairs begins with Beethoven’s majestic funeral in Vienna. This is followed by a lively exchange of letters between young Christoph and his uncle, a student of music in Salzburg, Austria. Beethoven has moved in upstairs, and the boy pours out his outrage at the true-life eccentricities of this new boarder... hammering on his piano all night, pouring water over his head in the heat of inspiration, fighting with the housekeepers. Through it all, Christoph comes to understand the real Beethoven: his love of nature, the tragedy of his deafness and the greatness of his music. The story ends with Christoph attending the famous first performance of the Ninth Symphony. Eventually, the boy’s life returns to normal, but with the touching realization that, “Mr. Beethoven wanted to change the world with his music. Maybe he will do it, bit by bit.”

How much of this story is true? By 1824, Beethoven was no longer living in princely surroundings. At 54 years of age, he was poor and relatively neglected. It is quite plausible that he would move in above a widow and her young family. Although Christoph and his story are not “real,” all the facts about Beethoven portrayed in this story are true and documented.

9

Variations on Nel cor piu non mi sento (1795) ------- Piano Concerto No.1 (1797) -------------------------------- Piano Sonata No.8 Pathétique (1798) ------------------- Piano Sonata No.10 (1799) ---------------------------------- Symphony No.1; Violin Sonata No.5 Spring (1801) - Piano Sonata No.14 Moonlight (1802) ------------------- Piano Sonata No.20; Leonore Overture No.3(1805)-- Symphony No.4 (1806) ---------------------------------------- Symphony No.5; Symphony No.6 (1808) --------------- Bagatelle No. 25 Für Elise (1810) -------------------------- Piano Concerto No.5 (1811) -------------------------------- Symphony No.7; Symphony No.8 (1812) --------------- Piano Sonata No.27 (1814) ---------------------------------- Symphony No. 9 (1824) ---------------------------------------

--------- Beethoven is born in Bonn, Germany (1770)

Captain Cook claims the east Coast of Australia for Great Britain

(1770) ---------The American Revolutionary

War begins (1775-1783)

------------ First European settlement

in Australia (1788) -----------------The French Revolution

begins (1789-1799) ---------------- W.A. Mozart dies (1791) --------- Beethoven moves to Vienna

(1792) --- Beethoven begins to experience

hearing problems (1796)

------- Napoleon Bonaparte stages a coup d'état in France (1799)

--The Napoleonic Wars (1803-1815) ---------- Napoleon becomes French

Emperor; World population reaches 1 billion; first steam

locomotive (1804) -------- Britain declares Slave Trade

illegal (1807) ----------- Joseph Haydn dies (1809) ---------- Beethoven’s last attempt at

public piano performance (1811)

--The first Flintlock Revolver (1814) --------- Beethoven completely deaf; Napoleon defeated at the Battle of

Waterloo (1815) -------Discovery of Antarctica (1820)

----------First isolation of aluminium, world’s first public railway

(Stockton to Darlington) (1825) ------ Beethoven dies; William Blake

dies (1827)

1770

1830

1820

1810

1790

1800

1780

Time-Line: Beethoven’s Music and the World Around Him

10

Pre- and Post-Concert Activities Notes for this Resource Beethoven’s music offers a vast number of opportunities for teachers to create activities and lessons. His music can be used the aid the study of Music, Performing Arts, Visual Arts and Creative Writing. His life also gives us many opportunities for study in Society and Environment and Science, not only through his own life experiences, but also through the many important historical events of his time. This activities contained in this resource are by no means exhaustive, but offer a springboard of ideas for teachers to explore further. If you would like to use any of WASO’s free teacher resources, please visit our website at waso.com.au. Classical Kids Live has also released an extensive teachers’ pack to support this production, which can be purchased by visiting classicalkidsnfp.org.

Notes for the Online Playlist Beethoven Lives Upstairs features many of his great works, as well as some lesser-known pieces of music. As a part of this resource, an online playlist has been prepared featuring selections from this list of works. See below for the track listings: BEETHOVEN:

1. Piano Sonata No. 8 in C Minor, Op. 13, "Pathetique" - II. Adagio cantabile 00:04:42 2. Piano Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2, "Moonlight" - I. Adagio

sostenuto 00:04:11

3. 4 Piano Pieces, WoO 59-61a - Bagatelle in A Minor, WoO 59, "Fur Elise". Bagatelle, WoO 60. Allegretto quasi andante, WoO 61a. Allegretto, WoO 61

00:07:33

4. Rondo a Capriccio in G Major, Op. 129, "Rage over a Lost Penny" 00:06:08 5. Violin Sonata No. 5 in F Major, Op. 24, "Spring" - I. Allegro 00:10:28 6. Romance No. 1 in G Major, Op. 40 00:08:40 7. Piano Concerto No. 5 in E-Flat Major, Op. 73, "Emperor" - II. Adagio un poco

mosso 00:07:23

8. Symphony No. 4 in B-Flat Major, Op. 60 - II. Adagio 00:09:25 9. Symphony No. 5 in C Minor, Op. 67 - I. Allegro con brio 00:06:57 10. Symphony No. 6 in F Major, Op. 68, "Pastoral" - I. Awakening of Cheerful

Feelings Upon Arrival in the Country: Allegro ma non troppo 00:13:20

11. Symphony No. 6 in F Major, Op. 68, "Pastoral" - II. Scene by the Brook: Andante molto mosso

00:12:08

12. Symphony No. 6 in F Major, Op. 68, "Pastoral" - IV. Thunderstorm: Allegro 00:03:51 13. Symphony No. 6 in F Major, Op. 68, "Pastoral" - V. Shepherd's Song: Happy

and Thankful Feelings after the Storm: Allegretto 00:09:56

14. Symphony No. 7 in A Major, Op. 92 - II. Allegretto 00:08:39 15. Symphony No. 8 in F Major, Op. 93 - II. Allegretto scherzando 00:03:54 16. Symphony No. 9 in D Minor, Op. 125, "Choral" - II. Molto vivace 00:13:42 17.

VIVALDI:

Symphony No. 9 in D Minor, Op. 125, "Choral" - IV. Finale: Presto - Allegro assai

00:24:24

18.

GRIEG:

The 4 Seasons: Violin Concerto in G Minor, Op. 8, No. 2, RV 315, "L'estate" (Summer) - III. Presto

00:03:01

19. Peer Gynt Suite No. 2, Op. 55 - III. Peer Gynt's Homecoming 00:02:47 To activate the playlist, simply follow these steps:

• Go to: www.waso.com.au/education/education/resources_for_teachers • Click on “Beethoven Lives Upstairs Teachers’ Playlist” • To cue, play or pause a track simply click on it, making sure your Internet connection stays active.

11

Activities: Beethoven and His Life

Activity 1: Rock Stars! The way in which we imagine a person can create different assumptions and hence different images in our head about that person. This activity can be useful for students across a wide range of ages, and the discussions following it can be tailored to the year-group.

Part One: Discussion • Ask the students the question: “What is a rock star?”

Answers can include: o Someone who has wild hair o Someone who plays music really loud o Someone who makes everyone angry o Someone who has many fans o Someone who thinks he or she is a god o Someone who is very creative and can do crazy things

Part Two: Creating

• Ask the students to, on their individual pieces of paper, draw their own idea of what is a rock star, based on the points discussed on the board.

• Depending on class size, each student can briefly discuss what they created and why. Are there any new points to add to the board?

Part Three: Listening and Reviewing • Tell the students they are now going to hear some of this rock star’s music:

o Play opening bars of Beethoven’s Symphony No. 5 (Track 9 from the online playlist). • Ask the students if they know this piece of music. Of course it’s famous, it was written by the

famous rock star Ludwig van Beethoven! Is this what the students were expecting? • Show students the famous image here of Beethoven conducting. What were the

similarities/differences with the “rock star” drawings they have made?

Extension for Older Year Groups Talk about the word “eccentric.” Ask if anyone has a neighbor or family friend whom they would call eccentric? Beethoven had a chaotic daily life. He fired servants abruptly, threw food at waiters and sang wildly while walking in the streets. Ask your students why they think Beethoven acted like this?

12

Activity 2: How’s Your Hearing? This discussion-based activity explores the life of a composer and music as a profession. The student will be able to identify some of the characteristics of Beethoven’s life and the role of a composer.

Part One: Background Discussion • Provide students with an overview of Beethoven’s lifelong struggle with deafness. You can refer to

the timeline on page 9 of this resource, and/or relay some of the details from his famous letter of 1802 The Heiligenstadt Testament, in which Beethoven revealed the secret of his deafness to his friends:

Let me tell you that my most prized possession, my hearing, has greatly deteriorated... The symptoms are said to be caused by the condition of my abdomen... When I am playing and composing, my affliction still hampers me least; it affects me most when I am in company... my ears continue to hum and buzz day and night. I must confess that I lead a miserable life. For almost two years, I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf. If I had any other profession I might be able to cope with my infirmity; but in my profession it is a terrible handicap... At a distance I cannot hear the high notes of instruments or voices... I can hear sounds, it is true, but cannot make out the words. But if anyone shouts, I can’t bear it!

• Have 2 or 3 students play a variety of percussion instruments (e.g. Maracas, triangle, tambourine). • Which was the most difficult to hear? • Discuss how impaired hearing or hearing loss would affect your life. • What are some of the things that you can’t do if you are deaf? Why? (e.g – drive a car, listen to the

radio, enjoy music, listen to dogs bark, emergency warning alarms). • What are some of the things that would be difficult if you were deaf? (go to the movies, dance to

music, hear public announcements at venues such as the football, train stations, airports etc.) • How do deaf people communicate? • How would hearing loss affect a composer / performer / conductor? • Discuss composing for a specific event (commission) and for your own fulfilment (as Beethoven

often did). • What does a patron do? Why are they important? (Patron – person who pays the composer to

create a piece of music, with no personal gain – sponsorship) • What would Beethoven’s life have been like? How does that compare with a composer’s life

today? • Note: Beethoven was one of the first musicians to not be employed or financed by a member of

the nobility. This meant that he did not have to write music that he did not choose to write. He would hire his own musicians and make money from the sale of tickets to his performances. There are several accounts of him turning down invitations from the local nobility so that he could continue to write his music.

Activity Three: Beethoven’s Room In the story of Beethoven Lives Upstairs there are a number of descriptions that build up a mental picture of Beethoven’s room, including the objects in the room. This activity allows students to identify objects, research them if they are unfamiliar with them, and make their own rendition of what Beethoven’s room may have looked like.

• Read out the following features in Beethoven’s room, drawn from the Christoph’s descriptions in Beethoven Lives Upstairs. Ask your students to listen carefully to the details. For younger students, the sections can be read out separately.

o There are papers lying everywhere – on the floor, on the chairs, on the bed, which isn't made. There are dirty dishes stacked up, and clothing crumpled on the floor. Beethoven has been writing with a pencil on the wall.

o Beethoven was very fond of bells, from small hand bells to giant church bells. On his desk he keeps all sorts of bells: one made of clay, one of bronze, two little ones made of silver. Maybe they are his good luck charms. Mr. Beethoven has on his desk four ear trumpets as well. But you don't play music on them. They're to help him hear. He puts one end in his ear and then you're supposed to talk in the other end, but his nephew told me, they don't

13

really work. o Mr. Beethoven also keeps beside his bed a pencil and little notebook. It is called his

"conversation book", and helps him talk to people. He asks his visitors to write down their questions in the book, then he answers in his low gravelly voice.

o It is not true that Mr. Beethoven has three pianos in his room. He has FOUR! And you should see them! To begin with, his pianos have no legs. He takes them off so he can play the piano while he is lying on the floor… that way, he can use his whole body to “hear” his playing through the floorboards. It’s a wonder that his pianos can be played at all. The insides are all stained with ink from the number of times he has knocked the inkwell over with his sleeve, and all the strings are broken and curled up like a bird's nest made of wire.

o The man who made the ear trumpets also made Mr. Beethoven a metronome. It's a little box with a stick on it. The stick goes back and forth and tells people how fast they should play.

• Ask the students how many objects were mentioned and/or described. Write them up on the board.

• Are there any that seem a little unusual or that they don’t recognize? For example, why do they think he wrote on the wall? Why did he have four pianos?

• Divide the class into small groups. From what your students now knows about Beethoven, have each group source images from books or the internet of the different objects, or make drawings. Each group can then create a collage depicting Beethoven’s room with the different objects and the way it might have been laid out.

• Ask students to compare this depiction to their own room and its objects.

Extension: Beethoven’s Pianos Beethoven’s pianos were famous. At least four were given to him by manufacturers who sought his endorsement, much like sportswear manufacturers give their products to athletes today. Because the pianos had wooden rather than metal frames, they were more fragile than today’s and could support less tension on the strings. As a result, they made far less sound in Beethoven’s day than today’s pianos. To compensate for his declining hearing, Beethoven would lie on the floor and hold in his teeth a stick that touched the piano frame. This allowed the sound waves to enter his body through the floorboards and enter his head through his teeth!

• If you have a piano in your classroom, encourage your students to copy Beethoven’s attempts to hear sound through his body by doing the following: o Put one end of a pencil or stick in your mouth and rest the other end on the piano frame, while

someone else plays. o Similar experiments can be done using other instruments, by resting your hand on the body of

a double bass or frame of a drum while it is played. • What do students notice about how the feeling of the sound changes depending on how the

instrument is played? • Explain to them that sound is a physical wave that moves through the air, water or a solid object in

a similar way to waves in the ocean. When the waves hit our ears, our brain interprets them as sound. If the waves are powerful enough and create bigger vibrations through the substance they are moving through, we can also feel them in when they hit our body.

• Sometimes we can even see the waves, for example when watching a string or a drum skin vibrate after being plucked or struck. There have been artists who have created beautiful patterns with sand and liquid by sending a sound wave through it and photographing the patterns they make.

14

Activities: Beethoven’s Music

Activity One: Music and Storms The 4th Movement from Beethoven’s Symphony No.6 Pastoral contains one of the greatest musical depictions of a storm ever composed. This activity guides students in their listening and teaches them to identify musical characteristics, similarities and differences with music from different historical periods. Students compare this piece with Grieg’s “Stormy Evening on the Sea” (a piece from the late Romantic Period) and “Summer Storm” from Vivaldi’s Four Seasons (Baroque Period). In this activity you are encouraging students to brainstorm and also to share their knowledge. It is important that each child has a texta so that they can be actively involved.

Track 12: Beethoven, Symphony No.6 “Pastoral”, 3rd Movement (“Thunderstorm”) Track 18: Vivaldi, The Four Seasons: Concerto No.2, 3rd Movement (“Summer Storm”) Track 19: Grieg, Peer Gynt Suite No.2, “Peer’s Homecoming (“Stormy Evening on the Sea”)

• Organise the class into groups of four students. Each student will have a texta and each group will have two large sheets of paper.

• Explain that this is a listening activity. Ask students to create three columns on the first sheets of paper, and mark them “Vivaldi”, “Beethoven” and “Grieg” respectively.

• Write on the class board as many of the Elements of Music that the students are familiar with. Tell the students that all of these pieces are about storms, and when they listen they need to think about how the composer has used the Elements of Music to create the feeling of a storm.

• Play each piece for about 1 minute (you can decide which section of the music you would like to play) while students brainstorm and write on the column for that composer. Repeat play if necessary.

• Now come together as a class and combine all the lists. You may want to write the words on the white board in three large columns. Also discuss what aspects in each piece were the same (e.g. tempo was fast, minor key) and which were different (e.g. instruments, orchestra size).

Activity Two: Listening and Creating There are many ways in which listening can be used as a means of stimulating responses through creative writing, art or movement. The following are but a few possibilities.

Part 1: Creating to Moonlight • This simple activity uses the 1st Movement from Beethoven’s Piano Sonata No.14 Moonlight. The

title was not given by Beethoven, but by a poet who heard the piece some years after Beethoven’s death. The sound of the piece reminded him of the light of the moon rippling in a lake.

• Play this piece of music to your students but withhold the title (Track 2 from the playlist). While the music plays, encourage your students to express the way the music makes them feel by drawing a picture or writing a story or poem.

• At the conclusion of the music, ask each student to recite what they’ve written or show/describe their drawing. Write on the board any common points that are shared between students (eg. feeling sad, sleepy, mysterious, night time).

• Tell the students the name of the piece, and explain that it was not given by Beethoven. What do they think made the poet think about moonlight on water when he heard this piece of music?

Part 2: After the Concert – Review

• An engaging way for students to listen closely to a concert is to have them write a “review” project on it. After attending the concert, hand out copies of the project sheet on page 18 and ask them to write their impressions of the concert. What was their favourite part? What did they like the least? What did they learn? Encourage them to use the space at the top of the page to draw an impression of the concert.

• We love to hear student feedback about our concerts! If you would like to send back any of your student reviews, please do. If parents sign the consent form on page 19, we can feature your student’s review on the WASO website or in our promotional material.

15

Activity Three: Landscapes and Soundscapes In 1808 Beethoven wrote both the Symphonies No.5 and No.6, two works that mark the turn from Classical to Romantic music. In the 2nd Movement of his Symphony No.6 Pastoral, “Scene by the Brook”, Beethoven paints a picture with sound by recreating the sounds of a woodland brook. This activity first encourages students to listen and identify the sounds that Beethoven is recreating, and then to explore their own sound world using modern technology as well as their ears.

Part One: Listening Exercise • Play your students this piece (Track 11), encouraging them to listen for any sounds that help

“paint the picture” of the title (e.g. violins make a high “eddy” sounds on the water, woodwind bird noises, gentle flowing melody is relaxing). Ask them to write them down as they listen.

• Collate answers on the whiteboard and discuss how Beethoven “imitates” sounds in nature using musical sounds, as well as creating a mood.

Part 2: Sound Gathering Expedition • Ask your class whether they like to collect things outdoors. Consider collecting sounds as well. Go

on a class expedition to make a “picture in sound” of your school campus, neighborhood or a park. o Beethoven was able to store the memories of the sounds he heard in his imagination for

years. Remember that by the time he composed his Symphony No. 6, his hearing was already failing. Today, we can use a simple recording device like a mobile phone with an internal microphone for this project.

• Before going out on your field trip, make a list of sounds you might expect to hear in your area. Then really “listen” to your environment. Be ready for some surprises!

• Some classes might like to include voice-overs. In the style of a newscaster, describe what is happening while you record your soundscape. Remember that this must be done at the time of recording or you will erase your sound effects with the voice-over.

Activity Four: Odd One Out This exercises serves to familiarise students with a range of Beethoven’s music , as well as encourage them to listen closely to features such as instrumentation, rhythm and tempo. Students compare the music by listening to the recordings and completing the worksheet on page 16. The solutions to the worksheet are on page 17. This activity encourages careful listening. It is designed for older students but could be adapted for use with younger levels.

• There are 5 questions for which the students listen to three pieces of music and identify the one which is different. Some of these pieces are quite long, so for the purpose of this activity just 60 seconds from the beginning of each of these tracks can be played. Question 1: Which piece sounds the most like a dance? Excerpts: Track 15, Symphony No. 8, 2nd Movement Track 3, Für Elise Track 5, Violin Sonata Spring Question 2: Which one has a different mood?

Excerpts: Track 4, Rage Over a Lost Penny Track 2, Moonlight Sonata Track 16, Symphony No.9, 2nd Movement Question 3: Which of these pieces uses different instruments? Excerpts: Track 2, Moonlight Sonata Track 3, Für Elise Track 6, Romance for Violin and Orchestra Question 4: Which of these pieces uses a different speed? Excerpts: Track 10, Symphony No.6, 1st Movement Track 14, Symphony No.7, 2nd Movement Track 7, Piano Concerto No.5, 2nd Movement Question 5: Which of these pieces is the most dramatic? Excerpts: Track 9, Symphony No.5 Track 6, Romance for Violin and Orchestra Track 1, Pathetique Sonata

16

Odd One Out

My Name_______________________________________

Listen to the music and then put a circle

around the number of the piece that sounds different.

Which of these pieces sounds like a dance?

1 2 3

Which of these pieces has a different mood?

1 2 3

Which of these pieces uses different instruments?

1 2 3

Which of these pieces has a different speed?

1 2 3

Which one of these pieces is the most dramatic?

1 2 3

17

Odd One Out Teacher’s master copy

Students need to listen to the music and then put a circle around the number of the piece that sounds different.

Which of these pieces sounds like a dance?

1 2 3 Symphony No. 8, 2nd Mvt Für Elise Violin Sonata Spring , 1st Mvt

Which of these pieces has a different mood?

1 2 3 Rage Over a Lost Penny Moonlight Sonata Symphony No. 9, 2nd Mvt

Which one of these pieces uses different instruments?

1 2 3 Moonlight Sonata Für Elise Romance for Violin and Orchestra

Which of these pieces has a different speed?

1 2 3 Symphony No.6, 1st Mvt Symphony No.7, 2nd Mvt Piano Concerto No.5, 2nd Mvt

Which one of these pieces is the most dramatic?

1 2 3 Symphony No.5, 1st Mvt Romance for Violin and Orchestra Pathetique Sonata

18

MY CONCERT REVIEW

Name: ………………………………………………………………

Class: ………………………………………………………………

School: …………………………………………………………..

19

PLEASE POST TO: WASO, Community Engagement PO Box 3041, East Perth WA 6892

Want to be featured on the WASO website? For a chance to have your child’s drawing or a quote from their review featured on our website, Facebook page or published in a WASO brochure, please complete the consent form and post to us at the address below. Your child’s name will go in the draw to win a WASO package. (Images will not be

Signature of Parent/Legal Guardian:....................................................................................................

Date:...............................................................................................................................................................

Phone:............................................................................................................................................................

Email:..............................................................................................................................................................

I ...................................................................................(full name) being the parent or legal guardian of

................................................................................(full name) hereby give permission to the West Australian

Symphony Orchestra to use this artwork for a variety of public relations, communications and promotional

activities, including for publications, promotional material, media releases and the website (waso.com.au) for an

undefined period of time.