2015 SCHOOLS NOTES EGARR & THE GOLDEN AGE

Transcription

1 2015 SCHOOLS NOTES EGARR & THE GOLDEN AGE Image: Gary Heery Schools Notes: Matthew Law

2 ACO Schools Notes 2015 Program Title Repertoire YouTube Recording links for repertoire Egarr & The Golden Age J.S. Bach - Violin Concerto in A minor Haydn - Symphony No. 44 in E minor Not included in this resource pack: Purcell The Fairy Queen: Suite W Lawes Consort set in 6 parts in C major Haydn Keyboard Concerto in D major Bach - Violin Concerto in A minor This recording has the score to follow while listening A Vladimir Spivakov recording, chosen for focused listening to stylistic differences such as tempi A graphical score useful for students with limited music reading ability, a strong scaffold to help visualize texture, structure, form and melodic figuration. Haydn - Symphony No. 44 in E minor Recorded by Ton Koopman and the Amsterdam Baroque Orchestra, as a starting point for listening activities on period instruments A Naxos recording of Symphony No. 44 by a modern orchestra, as a comparison for focused listening activities Included in this pack Recorded by an Austro-Hungarian Haydn Orchestra, Adam Fischer Scores Lesson ideas for before and after the concert This resource is written in reference to the Draft Australian Curriculum: The Arts, for years 7-8 and Lesson ideas are labelled to identify links to the following aspects of the Australian National Curriculum: The Arts where applicable: (i) (ii) (iii) General capabilities Cross-curriculum links and priorities Viewpoints Use the Australian Curriculum Reference Page on the ACO website for a comprehensive outline of the areas above.

3 Programming Themes and Ideas This program features the music of Bach, Haydn, Lawes and Purcell played on period instruments. The authentic performance of these works is led by Richard Egarr, who has worked extensively with period orchestras. Richard is the Musical Director of the Academy of Ancient Music, a period instrument ensemble based in Cambridge which specializes in Baroque and Classical music. The activities below focus on discovery learning, with students exploring the golden age of luthiers, from Gaspard da Salo to Guadagnini, Guarneri, Amati and Stradivari. In groups or individually, students will research a topic and make a presentation to the class. The educator should scaffold students research and guide their investigations to ensure students: (i) Discover the importance of the instruments, both historically and as works by master artisans. (ii) (iii) Discover the qualities which make the instruments so sought after. Develop an understanding and appreciation of the Australian Chamber Orchestra s (ACO) fine period instruments which they will hear in concert.

4 2 nd Movement: Andante 1 st Movement: Allegro Teachers Analysis Guide J.S. Bach, Violin Concerto in A minor This work is a baroque concerto, which is a piece of music written in three movements where a solo instrument is accompanied by an orchestra. This work is in Ritornello form, which means the little thing that returns. Throughout this work, motifs recur and return in changing combinations. SECTION Musical features/ideas. Traditionally, the Ritornello form has clearly defined boundaries between the soloist and the tutti. In this work, however, Bach does away with the traditional approach and blends the two sections together, interjecting the soloist into the tutti, and vice versa. The first motif Bach uses begins at the anacrusis and ends at bar 8, and is followed by a series of sequences. The tutti begins the movement and continues until bar 24, where the solo violin takes over with the first ritornello section. The melody here is new, but linked to the first motif though syncopation and returning to the key of A minor. In this solo section we see Bach s innovation with the Ritornello form: the tutti plays an active role, punctuating this section with rhythms from the opening. In bar 51 the tutti begins to take over. In this section the ritornello sections and the tutti to overlap, one interjecting into the other, defying the clearly defined boundaries that defined the form previously. Listen carefully for the motifs that return in this section. These overlapping lines continue until bar 148, where the solo line takes over for the second ritornello. This solo section continues until the end of the movement, accompanied by the characteristically active tutti that we have come to expect from Bach in this movement. The Andante begins with a tutti section. The bass holds the interest here, with higher strings accompanying it. This bass line becomes a feature throughout this movement, using it as an ostinato. The Soloist takes over briefly in bar 5, followed by a return to the tutti in bar 7. Again, the bass plays the ostinato figuration: it could be called the glue that holds this movement together. The first substantial solo section begins in bar 9 and continues through a number of brief harmonic modulations, finishing in bar 15 with a brief return to the tutti and the bass ostinato. This movement continues this pattern of soloist then tutti until the end of the movement. The divisions are clearly visible on the score: unlike the first movement, the Andante has clearly defined boundaries in the ritornello structure.

5 Third movement: Allegro Teachers Analysis Guide SECTION Musical features/ideas. This movement is in 9/8, with the triple metre representative of a gigue. There is extensive use of bariolage in this movement, which is the repeated use of an open string note in a melody to create a resonating effect, something which would sound quite striking on the ACO s period instruments. The third movement also represents the ritornello form, with the opening establishing the first tutti, the overlapping triplet rhythms creating a contrapuntal feel. The solo section begins at bar 25, with light accompaniment until bar 44, where the tutti takes over, albeit briefly. In bar 46 the soloist takes over again and continues with virtuosic figuration until bar 60, where the tutti begins again on the soloists held G. Again we see Bach s blending of tutti and soloist here in the ritornello form: the soloist begins to take over from bar 67, and by bar 72 has again taken the lead, with light accompaniment by the tutti. This continues until the cadenza-like sequence of bars Following the pause there is a return to the tutti of the opening, with the motifs return to form the final section of this piece. The final solo section takes over from bar 97, continuing until the last tutti at bar 117. Composer information: List of works:

6 Movement 3: Adagio Movement 2: Menuetto Movement 1: Allegro con brio Teachers Analysis Guide Haydn Symphony No. 44 SECTION Musical features/ideas. The first movement begins with a four note motif that recurs through the movement, manipulated into various shapes and forms. Haydn was adept at composing using motifs, then developing these motifs to create interest. It is thought this strength influenced Beethoven and his works. This movement is in sonata form. The short motif in the opening could be considered an introduction to the exposition, which begins at bar 5. The first return of the motif in the introduction begins at bar 13 then is developed into melodic figuration in the violins. The development begins at bar 62 with the recurring motif from the introduction, and is quickly altered to begin developing the ideas presented in the exposition. During this section, many music ideas will return only to be changed in some way by Haydn. The recapitulation begins with the main thematic material from bar 101 and continues to the end, with some transitional material appearing from bar 128 as Haydn s four note motif is changed again. Haydn s manipulations of his motif in the recapitulation could be considered a secondary development, lasting from bar 129 through to the pause at bar 140. Haydn s Symphony No. 44 is unique in that it reverses the order of the 2 nd and 3 rd movements, placing the minuet in the second movement and the adagio in the third. Like all minuets, the second movement in is ¾ time and is in ternary structure. Section A begins the second movement, in the key of E minor. This section is a canon, with the cello, bass and bassoon playing exactly what the violins play three beats later and in a lower register. The viola, oboes and horns act independently of the rest of the orchestra. Section B, the trio, begins at the anacrusis to bar 61, and is in the key of E major. It is not canonic and creates contrast to the storm and stress of section A. At the end of the second movement, section A returns with menuetto da capo and completes the minuet and trio. This movement gives Symphony no. 44 its nickname, Trauer, which translates to Mourning. Reportedly, Haydn asked this movement to be played at his funeral. The third movement is in E major and is divided into two sections. Section A is the first 40 bars of the piece, while section B from bar 41 to the end. Strings are muted throughout the whole movement, giving the wind a chance to come to the fore and contrast their unique tone colours with the rest of the orchestra. In section A, generally speaking the music is organized into 4 bar phrases with a perfect cadence every 8 bars. Section B is much less predictable, with phrases sometimes six bars or three bars long and much fewer prefect cadences.

7 Movement 4: Presto Teachers Analysis Guide SECTION Musical features/ideas. The finale is a driving movement in 2/2 which is, at times, contrapuntal. Haydn wrote this symphony during his sturm and drang period (storm and stress), which is reflected in the counterpoint of the movement. The fourth movement is in sonata form, opening with a unison figure that is manipulated throughout the movement. The exposition continues at an unrelenting pace until bar 74, expounding the main thematic material. The development begins at the anacrusis to bar 75, in a similar fashion to the exposition, with a unison figure reflective of the opening bars. This figure is quickly changed as the development continues. The recapitulation is signalled by the return of the thematic material at bar 152 and continues to the end of the piece in an altered restatement of the exposition. Composer information: Biography and list of works:

8 LUTHIERS Before you see the concert RESEARCH TASK: GC - LIT, ICT, CCT, EU, PSC, ICU Research Activity 1 In groups or individually, students create a presentation on one of the following topics. Students should include videos, recordings and images to support their research on one of the following luthiers (violin makers). Nicolo Amati ( ) Antonio Stradivari ( ) Giuseppe Guarneri del Gesù ( ) Giovanni Battista Guadagnini ( ) Gaspard da Salò (Gasparo di Bertolotti) ( ) For the above research topics, give some background to the luthier and consider the following questions: What is this person remembered for? How do modern instruments differ from instruments made by this luthier? Why are the instruments of this luthier so sought after? What is the market value of an instrument made by this luthier? How many instruments made by this luthier survive today? What was happening in the world when this instrument was made? Instruments of the ACO c.1590 Gasparo da Salò double bass 1728/1729 Stradivarius violin 1729 Guarneri filius Andreæ cello 1743 "Carrodus" Guarneri del Gesù violin 1759 Guadagnini violin For research on particular instruments, give a brief history of the instrument and consider the following questions: Where was this instrument made? Who has played this instrument? What is the estimated market value of this instrument? Why is it so sought after? Who plays this instrument now? When is the next time it will be heard in concert? There are strong cross-curricular links to Technology, English and History in this research activity. Because of the self-directed nature of this task, there also might be links to Civics and Citizenship, Economics and Business, Geography and Language.

9 PERFORMANCE COMPOSITION LISTENING Before you see the concert The following sequence of activities focusses on stylistic understanding, interpretation and the importance of authentic performance on period instruments. An emphasis is placed on creative and critical thinking through composition, performance and listening. This sequence also seeks to develop active listening and an appreciation for stylistic choices performers make. Activities are to be undertaken in order, or the educational outcomes may not be present. STYLISTIC UNDERSTANDING: GC - LIT, NUM, ICT, CCT, PSC, EU Activity 1: Students learn about scores and score directions Listen to the Haydn while students follow the score. Deconstruct the score with students in a class discussion, paying close attention to tempo markings, accents, dynamics, and so on. Focus questions: What did the composer want here? What do you think the composer means here? Listen to the Bach Violin Concerto and scaffold students understanding of a score. Again, deconstruct the score with the students and discuss the markings (or lack thereof) on the score. Focus particularly on trying to discover what the composer s intentions were. GC - LIT, NUM, ICT, CCT Activity 2: Students write their own melody, complete with score directions Using a pentatonic scale (years 7-8) or a major scale (years 9-10) students are to compose a short melody. Students are to compose their short melody representative of a theme; be it an emotion, a place, a time, an animal or so on. Students are to put directions on their melody, much like the score that was deconstructed in the first activity. Haydn s four note melody could be used as a demonstration here. GC - LIT, NUM, ICT, CCT Activity 3: Students play each other s melodies Students are to exchange melodies and learn another student s compositions. NO demonstrations or verbal explanations are to be given; ONLY the composition. Students learn their new melody and perform it for the class.

10 ACTIVE LISTENING STYLE & INTERPRETATION Before you see the concert STYLISTIC UNDERSTANDING: GC - LIT, NUM, ICT, CCT, PSC, EU Activity 4: Students listen to their melodies performed by another student After each melody is performed, the teacher should scaffold a class discussion revolving around the Idea/theme/emotion that this melody might represent. The student who performed the melody is asked directly: How did you interpret the markings on the score? What choices did you make based on these markings? Students are reminded that the only help performers get are the markings on the score. The composers are not allowed to help them. Then, the student who composed the melody is asked directly: Was the performance accurate to his or her intentions? Did the performer represent the ideas faithfully? Why/why not? What were the differences between the performance and their intentions for the melody? Lead discussions around performances until it becomes apparent that discovering the composer s intentions to give an authentic performance is difficult. The teacher should then ask the students to imagine that the composer has been dead for hundreds of years: imagine the difficulty in discovering the composer s intentions to give an authentic performance on period instruments. The teacher should make the point that the differences in each performance are what we call stylistic interpretation; there are many possible performances of the same piece music, each with a different idea of what the composer s intentions might be. Emphasise this point, as it is important to developing an appreciation of style and plays a large role in active listening. GC - LIT, NUM, ICT, CCT, PSC, EU Activity 5: Students apply their active listening skills through their newfound understanding of style and interpretation Having discovered that different performers make different choices in their performances, students are to listen to two different recordings of the Bach Violin Concerto. Students are to return to their scores from the first lesson: the teacher scaffolds a discussion of how the markings (or lack thereof) on the score could be interpreted. Students are to listen to the performances, actively listening to the stylistic choices the performers make, and note the differences between the performances. Students are then asked to write down what they might expect to hear from the ACO s performance. There are strong cross-curricular links to History, English and Languages in this sequence of lessons. If the compositions were to be written using Finale, Sibelius or other notation software, there would also be strong links to technologies.

11 CONCERT REVIEW After the concert GC - LIT, NUM, ICT, CCT, PSC, EU, ICU Activity 1: Return students to where they were asked to write down what they expected to hear from the ACO s performance. Scaffold group discussions with reporting back to the whole class: How did what they expected to hear differ from what they heard? How did what they heard differ from recordings they are familiar with? What stylistic choices did the performers make? Return to the presentations of their period instruments. What did the students expect to hear? What did the students actually hear? How did the instruments differ from modern instruments? Further Exploration In these activities we have discussed the use of period instruments to give authentic performances, true to the composer s intentions. Interpreting notation and the markings on the music is an important part of this. Further exploration in this area could be: Performance and listening activities surrounding early written music such as neumes, trying to play early forms of written music, and discussing written music s development to what we know today Composition activities surrounding graphic notation, then performance activities as students try to perform other s works