2013 Boston Symphony Orchestra Youth Concerts

“From The Inside Out: A Musical Look At Courage, Competition, and Character” Thomas Wilkins, Conductor

March 6-8, 2013

Supplementary Materials for Teachers & Students

Prepared by the BSO’s Education and Community Engagement Department

WAGNER: Prelude to Act III of Lohengrin WILLIAMS: Imperial March from Star Wars SCHUMAN: “Chester” from New England Triptych PUCCINI: Intermezzo from Manon Lescaut FALLA: Jota from The Three-cornered Hat BRAHMS: Third Movement (Allegro giocoso) from Symphony No. 4 WILLIAMS: Adventures on Earth from E.T. the Extraterrestrial

Welcome to the 2013 BSO Youth Concert supplementary materials! We look forward to welcoming you and your students to Symphony Hall for the BSO’s 2013 Youth Concerts, which have been designed especially for 4th- to 6th-grade students. We have provided a number of re-sources to help you get the most out of your concert-going experience at Symphony Hall. These materials have been designed in accordance with both the Massachusetts Department of Education’s Arts Curriculum Framework Music Learning Standards (grades 4-6) and the National Standards for Music Education of the Na-tional Association for Music Education (NAfME). We’ve also endeavored to make these materials as flexible as possible, so that they can be used to fit a vari-ety of different contexts and situations. Inside this packet you’ll find:

Helpful information about our conductor, Maestro Thomas Wilkins, the Boston Symphony Orches-tra, and Symphony Hall.

Tips for your students on what to expect at Symphony Hall during their Youth Concert experience.

“Call sheet” listening guides to help teach students to listen for specific musical elements in “Allegro giocoso” movement of Brahms’s Fourth Symphony and the Prelude to Act III from Wag-ner’s Lohengrin.

A lesson plan on music and movement focusing on the march and dance elements in John Wil-liams’ “Imperial March” from Star Wars and the jota from Falla’s El Sombrero de Tres Picos, re-spectively.

A lesson plan addressing the three themes of these concerts — courage, competition, and

character — within the context of musical storytelling around the music of Puccini, Schuman, and Williams.

We hope these materials are helpful in creating a meaningful and lasting educational experience for your stu-dents via the Youth Concerts. Musically Yours, The Boston Symphony Orchestra’s Education and Community Engagement Department

Visit http://www.youtube.com/watch?v=zLTRd3tE1pk for an interview with Thomas Wilkins from February, 2011.

Meet Maestro Thomas Wilkins... Thomas Wilkins is Music Director of the Omaha Symphony, a position he has

held since 2005. Additionally he is Principal Guest Conductor of the Holly-

wood Bowl Orchestra and holds the Germeshausen Family and Youth Con-

cert Conductor chair with the Boston Symphony. Past positions have in-

cluded Resident Conductor of the Detroit Symphony, the Florida Orchestra

(Tampa Bay), and Associate Conductor of the Richmond (VA) Symphony. He

also has served on the music faculties of North Park University (Chicago), the University of Tennessee in

Chattanooga and Virginia Commonwealth University in Richmond.

Devoted to promoting a life-long enthusiasm for music, Thomas Wilkins brings energy and commitment to

audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following

his highly successful first season with the Boston Symphony, the Boston Globe named him among the “Best

People and Ideas of 2011.”

His commitment to community has been demonstrated by his participation on several Boards of Directors,

including the Greater Omaha Chamber of Commerce, the Charles Drew Health Center (Omaha), the Center

Against Spouse Abuse in Tampa Bay, and the Museum of Fine Arts as well as the Academy Preparatory Cen-

ter both in St. Petersburg, FL. Currently he serves as chairman of the board for the Raymond James Chari-

table Endowment Fund and as National Ambassador for the non-profit World Pediatric Project, headquar-

tered in Richmond, VA, which provides children throughout Central America and the Caribbean with critical

surgical and diagnostic care.

A native of Norfolk, Va., Thomas Wilkins is a graduate of the Shenandoah Conservatory of Music, and the

New England Conservatory of Music in Boston. He resides with his wife Sheri-Lee in Omaha. They are the

proud parents of twin daughters, Erica and Nicole.

September 2012, www.hughkaylor.com

Meet the BSO! Now in its 132nd season, the Boston Symphony Or-

chestra gave its inaugural concert on October 22,

1881, and has continued to uphold the vision of its

founder, the businessman, philanthropist, Civil War

veteran, and amateur musician Henry Lee Higgin-

son, for well over a century. The Boston Symphony

Orchestra has performed throughout the United

States, as well as in Europe, Japan, Hong Kong,

South America, and China; in addition, it reaches

audiences numbering in the millions through its

performances on radio, television, and recordings. It

plays an active role in commissioning new works

from today's most important composers; its sum-

mer season at Tanglewood is regarded as one of the world's most important music festivals; it helps de-

velop the audience of the future through BSO Youth Concerts and through a variety of outreach programs

involving the entire Boston community; and, during the Tanglewood season, it sponsors the Tanglewood

Music Center, one of the world's most important training grounds for young composers, conductors, instru-

mentalists, and vocalists.

Henry Lee Higginson dreamed of founding a great and permanent orchestra in his hometown of Boston for

many years before that vision approached reality in the spring of 1881. The following October the first Bos-

ton Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would

remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the

Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened

on October 15, 1900. The BSO's 2000-01 season celebrated the centennial of Symphony Hall, and the rich

history of music performed and introduced to the world at Symphony Hall since it opened a century ago.

In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler,

who had been a member of the orchestra since 1915 and who in 1930 became the 18th conductor of the

Boston Pops. Fiedler would hold the post for half a century, to be succeeded by John Williams in 1980. The

Boston Pops Orchestra celebrated its 100th birthday in 1985 under Mr. Williams' baton. Keith Lockhart be-

gan his tenure as 20th conductor of the Boston Pops in May 1995, succeeding Mr. Williams.

Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble

that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

Photo by Michael Lutch

About Symphony Hall

The first home of the Boston Symphony Orchestra was the

Old Boston Music Hall, which was threatened in 1893 by a

city road-building/rapid transit project. That summer, the

orchestra's founder, Major Henry Lee Higginson, organized

a corporation to finance a new and permanent home for

the orchestra. Symphony Hall opened on October 15, 1900

with an inaugural gala led by music director Wilhelm

Gericke. The architects, McKim, Mead & White of New

York, engaged Wallace Clement Sabine, a young assistant

professor of physics at Harvard, as their acoustical consult-

ant, and Symphony Hall became the first auditorium de-

signed in accordance with scientifically derived acoustical

principles.

Symphony Hall is widely regarded as one of the finest con-

cert halls in the world. The walls of the stage slope inward

to help focus the sound. The side balconies are shallow so as not to trap any of the sound, and the recesses

of the coffered ceiling, along with the statue-filled niches along the three sides, help to distribute the sound

throughout the hall. The 16 replicas of Greek and Roman statues are related in some way to music, art, or

literature. They were placed in the niches as part of an appreciation of the frequently quoted words,

"Boston, the Athens of America," written by Bostonian William Tudor in the early 19th century. The Sym-

phony Hall organ, an Aeolian Skinner designed by G. Donald Harrison and installed in 1949, is considered

one of the finest concert hall organs in the world.

A couple of interesting points for observant concert-goers: Beethoven is the only composer whose name

was inscribed on one of the plaques that trim the stage and balconies; the other plaques were left empty

since it was felt that only Beethoven's popularity would remain unchanged. The initials "BMH" for "Boston

Music Hall", as the building was originally to have been called, appear on the stairwell banisters at the

Huntington Avenue side, originally planned as the main entrance. The old Boston Music Hall was gutted

only after the new building, Symphony Hall, was opened.

Symphony Hall (Courtesy BSO Archives)

Make the most out of your trip to Symphony Hall!

Before you arrive:

Ask your teacher lots of questions about the music you are going to hear. Leave your cell phone at home or school along with any food, candy or gum. Leave your backpack at school or on the bus, since theater style seats really just have room for you. Go to the bathroom at school (the lines get really long at Symphony Hall!)

When you arrive to Symphony Hall: The ushers will take your group to your seats. Listen to your teacher and chaperones so you will know where to sit, and take your coat off and get comfortable. If you forgot to go to the bathroom at school, ask your teacher to go now so you won’t have to miss a minute of the concert. Be as quiet as you can so you can hear your teacher’s instructions. Make sure to stay with your group.

While you wait for the concert to begin: Look around Symphony Hall. How many statues are there? Whose name is over the stage? How many balconies are there? How many chandeliers are there? The orchestra musicians will begin to come out on stage and warm up. See if you can pick out the different families of the orchestra (strings, woodwinds, brass, and percussion). After the musicians warm up, you will see the concertmaster stand up and tune the orchestra. Listen carefully as the different instrument families tune their instruments. How are their sounds different? You will know the concert is about to begin when the conductor walks out on stage. Show your enthusiasm by clap-ping! Then get quiet so you can be ready when the music begins.

During the concert: Your job as a music listener is to be affected by the music! As you listen, let your imagination and emotions move along with the music. Watch the conductor’s motions and try to notice what type of reaction he gets from the musicians with each ges-ture. Listen for instrument solos and see if you can tell who is playing the solo. In each musical selection, listen for the loudest and softest parts, and for the fastest and slowest parts. Think about how each piece makes you feel – happy, sad, nervous, angry, peaceful? Pick out your favorite melodies to hum to your family when you get home. Remember that everyone listens to music in a different way! Keep your thoughts to yourself during the concert, and then share them with your friends on the bus ride back to school. At the end of each piece, the conductor will turn around and face you. This is the time to clap, showing your appre-ciation to the musicians and conductor.

After the concert: Gather your belongings and listen carefully for your teacher’s instructions. When you are back at school, ask your teacher questions about the music you just heard. Tell your friends and family about your experience at Symphony Hall. Be a music critic! Write about what you heard. Be sure to include what you enjoyed, what you didn’t like, and why.

We hope you will come back to Symphony Hall soon!

Massachusetts Arts Curriculum Framework Music Learning Standards: 5.4 Identify the sounds of a variety of instruments, including many orchestra and band instruments, and instruments from various cultures, as well as chil-dren’s voices and male and female adult voices. National Standards for Music Education: 6. Listening to, analyzing, and describing music.

CALL SHEET: Prelude to Act III of Lohengrin, by Richard

Wagner (1813-1883)

1. Wagner’s Prelude to Act III of Lohengrin explodes off the stage! Can you

hear what percussion instrument punctuates this opening passage, which is

played by all four instrument groups? Richard Wagner.

a. triangle b. gong c. xylophone d. cymbals

2. After this introduction, we are presented with a melody of great forward motion and energy – what in-struments do you mostly hear playing this theme? a. horns b. flutes c. violins d. oboes

3. Fill in the following correctly, after having answered the previous question: “The main theme in the _____ is accompanied with very fast triplet figures in the ____ and _____.” a. “tuba”; “brass and winds” b. “horns”; “percussion and strings” c. “horns”; “winds and strings” d. “percussion”; “winds and strings”

4. Now Wagner repeats the main theme but adds trombones beneath! How would you describe the char-acter of this theme, now that you’ve heard it once already? (choose all that apply!) Boring Excited Thrilling Passionate Sleepy Confused

5. Wagner then introduces a calmer, more relaxed section. Can you identify the reedy wind instrument that introduces this section with a solo passage? (hint: it’s often used to suggest shepherds and pastoral settings.) a. trombone b. oboe c. bassoon d. glockenspiel

6. But then the main theme returns to close the piece! When Lohengrin is performed as a complete opera, this Prelude ends quietly to open Act III, but when the Prelude is performed as a concert piece, as you’ll hear it, it ends with a bang! Which way makes more sense to you?

7. The Prelude to Act III is intended to describe the action that’s taking place in Lohengrin between Act II and Act III. Based on the way the music sounds, what do think that action might be? a. Looking for books in a library b. The excitement and pageantry of an elaborate wedding c. A writer sitting at his desk enjoying his morning coffee

LESSON PLAN: Marching and Dancing Marches and Dances in Orchestral Music Massachusetts Arts Curriculum Framework Music Learning Standards: 4.3 Improvise and compose simple rhythmic variations and simple melodic embellishments on familiar melo-dies. 4.4 Improvise and compose short vocal and instrumental melodies, using a variety of sound sources, includ-ing traditional sounds, nontraditional sounds available in the classroom, body sounds (such as clapping), and sounds produced by electronic means. National Standards for Music Education: 3. Improvising melodies, variations, and accompaniments.

Objectives: • To teach students about the military march and the Spanish jota in orchestral music • To become familiar with a famous march and a famous jota

Materials: • Recording of John Williams’ “Imperial March” from Star Wars • Recording of Manuel de Falla’s “Jota” from El Sombrero de Tres Picos Introduction: Ask the students, what is a march?

it’s rhythmic: that is to say, it’s governed by music. And since

we have two feet, march music is always in duple meter,

which means it’s written in groups of two counts. All march

music shares this characteristic; in fact, it’s the defining fea-

ture of a march, and it’s written that way because it’s sup-

posed to make you move! You can tell if a piece is written in

march rhythm if you can count out one, two, one, two, one,

two….and so on. You can think of it as the way your feet

would move if you were the one doing the marching, as left,

right, left, right, left, right, if you prefer, since that’s what a

march is supposed to make you do.

In its most basic sense, a march is the rhythmic procession of a person or a group of people from one place to another. It’s halfway between a walk and a run, and the main difference from either of those is that

Roman soldiers playing trumpets as they march (Trajan's column, Rome, 113 C.E.).

Marches were written (and continue to be written) for all kinds of different reasons. Armies, dating

back to the times of the Romans and before, have always used music to keep their soldiers all marching to-

gether at the same time to the same steps, and so we often think of marches as military music, played by

bands.

PART 1

We’re going to listen to a very well-known march by the composer John

Williams (b. 1932), who is especially famous for his film scores to movies

like Jaws, all the Indiana Jones movies, the Superman movies, the Juras-

sic Park movies, the Harry Potter movies, and countless more. The piece

we’ll hear is from perhaps his best-known film music, from the Star

Wars series: this the “Imperial March”, which appeared in the first Star

Wars film in 1977 and has been featured in every movie in the series

since. Forever linked with the characters of the Emperor and his ser-

vant Darth Vader, Luke Skywalker’s father and nemesis, the “Imperial

March” signals the entrance of villains on the scene more clearly and

succinctly than any other theme of its kind. When Steven Spielberg and

George Lucas envisioned how they would represent the fight between

good and evil in their movies they decided to paint evil as a faceless, im-

mense, impossibly large and powerful empire, with Darth Vader and his

master the Emperor at its head, and this march represents that idea

perfectly.

John Williams and C-3PO at Tanglewood.

But although this piece is most famous because of Star Wars, it’s a military march all the

same, and follows the same rules as any other military march. You’re going to listen to it all the way

through silently, and then half of you will clap on the “one”, and the other half of you will clap on the

“two”, outlining the left, right, left, right march rhythm. Notice when the orchestra plays at a much

lower volume in the quieter middle section that the march rhythm nonetheless stays the same.

First listening: listen for the one, two, one, two….march rhythm. Some things to think about: what keeps

the rhythm going? What instruments play the melody?

Second listening: clap in your assigned groupings. For an extra challenge: switch groups at the end of the

middle section, when the original march returns!

Gabriel Puig Roda, "Jota Valenciana" (1913).

PART 2 Development: Ask the students, what is a jota? A jota (pronounced HOE-tah) is a kind

of Spanish dance that is popular all over the

Iberian peninsula, but is especially associated

with the region of Aragón, which is in the

northeastern part of the country just south of

the Pyrenees. Because it is so well-known

throughout Spain, there are many different

jotas and different ways to play and dance

them, but they are always in triple meter,

unlike, that is, the duple meter of the march

music we just learned about. The jota is often also accompanied by castanets, a very characteristi-

cally Spanish-sounding handheld percussion instrument, and the dancers and musicians almost al-

ways wear the traditional folk attire of whatever region of Spain they’re from.

The jota that we’re going to listen to is from a ballet by the composer Manuel de Falla (1876-1946),

who was one of the very first Spanish composers in the twentieth century to use the folk music and

dances of his native country as the basis of many of his compositions. This ballet, first performed in

1919 by the famous Ballets

Russes dance company (with

sets and costumes by Falla’s

well-known countryman

Pablo Picasso), is called El

Sombrero de Tres Picos, or

“The Three-cornered Hat”.

It’s about life in a small Anda-

lusian village in the south of

Spain, where Falla was from.

The plot is about a miller and

his wife and the hijinks that

arise when the local magis-

trate develops an Manuel de Falla on a 100-peseta bill from 1970.

interest in the miller’s wife; mistaken identities and confusion ensue, and the jota we’ll listen to is the

grand final dance that closes the whole ballet, a spectacle of dancing brilliance and orchestral color.

For your first listening we’ll just hear the first minute or so, when the orchestra plays the main jota

rhythm. You’ll listen silently and then split into the same groups as you did when we listened to the

“Imperial March” – only this time, the first group will clap on one, and the second group will clap on two

and three! The jota rhythm starts after a very brief introduction.

First listening: you’ll hear the whole orchestra playing the jota after the short introduction in the strings and

brass – listen for the cymbal crash that marks the starts of the ONE-two-three, ONE-two-three rhythm!

What instrument family keeps the beat? What instruments play the melody?

Second listening: now, when the jota rhythm begins, the first

group must CLAP on ONE, and the second group on two and

three! Try this just for the first minute of the piece.

Here’s a fun extra challenge: Keep the music playing af-

ter the first minute, when the meter begins to change – listen

intently for all of the different rhythms that de Falla weaves into

the orchestral fabric, and listen especially for the return of the

jota rhythm! When it comes back (shortly after the 3-minute

mark, depending on the recording), you’ll know it’s returned

because of the appearance of the castanets to mark the dance

rhythm – now both groups should snap their fingers on all three

of the ONE-two-three beats, holding their hands in the air like

castanet players! Joaquín Sorolla, "La Jota" (1914).

Conclusion: Now compare and contrast the military march and the jota. In what ways would you say that they're alike? In what ways do they differ the most? Keep those differences and similarities in mind when you hear the BSO play this music!

LESSON PLAN: Musical Storytelling What’s your story behind the music? Massachusetts Arts Curriculum Framework Music Learning Standards: 6.1 When viewing or listening to examples of visual arts, architecture, music, dance, storytelling, and thea-tre, ask and answer questions such as, “What is the artist trying to say?” “Who made this, and why?” “How does this work make me feel?” National Standards for Music Education: 8. Understanding relationships between music, the other arts, and disciplines outside the arts.

Objectives: • To learn how tempo, dynamics, tone, melody, and other musical elements can convey

emotions, images, and other narrative devices

• To create stories based on musical selections and the concepts of courage, competition,

and character

Materials: • Recording of Giacomo Puccini’s Intermezzo from Manon Lescaut

• Recording of William Schuman’s “Chester” from New England Triptych

• Recording of John Williams’ “Adventures on Earth” from E.T. the Extraterrestrial

Introduction: Listening and imagining as a group

Sometimes music is composed to tell a story. Sometimes, there isn’t supposed to be ANY

story to a piece of music. But because of the way music makes us feel, we can imagine for ourselves what

we think a piece of music is about! We’re going to listen to three very different pieces of music; two of

them have stories of their own, but we’re going to create our own musical stories, using a musical storytel-

ling process.

The first piece we’re going to listen to is from the opera Manon

Lescaut by the Italian composer Giacomo Puccini (1858-1924),

about a tragic heroine by the same name – but as we’ve said,

we’re going to make our own story. But we’ll start by listening

to the piece and identifying its musical characteristics, like

TEMPO (how fast or slow the music is), DYNAMICS (how loud or

soft), MELODY (what a tune is like), and so on. Poster from the first production of Manon in 1893.

First listening: as the students listen to the piece, have them tell you what musical characteristics they hear

in the music; write their words on the board as they tell you them.

Now we’re going to discuss the word “COURAGE”: what does this word mean? What does

this word mean to you specifically, and what does it mean for you to be courageous? Now we’re going to

create a story about courage using the music we just heard.

Second listening: with all of the words still on the board from the first listening, have the students write a

story as a group that fits with the music. Write the story on the board and have the students read it as the

music plays!

Development: Listening and imagining in small groups

Next we’re going to listen to a piece by the American

composer William Schuman (1910-1992), called “Chester”, from his

New England Triptych. The New England Triptych is a set of compo-

sitions inspired by the music of William Billings (1746-1800), a com-

poser who was born and died right here in Boston, and who is re-

garded as one of the very first truly American composers. He wrote

mostly hymns and anthems, and one of his best-known works was

“Chester”. “Chester” is the basis of Schuman’s composition, and its

melody informs the whole movement, but the use of form, struc-

ture, and orchestral color is entirely Schuman’s.

A 6-part canon by William Billings, printed in Boston in 1770.

First listening: Go through the same listening process as before, having the students suggest what they’re

hearing and writing it on the board during a first listening.

This time, the word we’re going to discuss is “COMPETITION”, which might have different meanings for dif-

ferent people. What do you think of when you hear that word? What in the music you just heard sounds

competitive to you, or might describe a competition?

Second listening: now divide the students into small groups of 5-6 students apiece, and have them work to

create a story that describes ‘competition’ while listening to the music. Take turns sharing stories at the end

while the music plays!

Extension: Listening in small groups and writing skits

For our final listening, we’re going to hear a piece by famous film score composer John Wil-

liams, called “Adventures on Earth”, from the movie E.T. the Extraterrestrial. Our last word, “CHARACTER”,

is perhaps the most challenging, in the sense that it has many possible meanings. What are some of them?

What does it mean to you to have “character”? Let’s discuss this before we listen to the music itself, and

keep it in mind when we follow our listening process.

First listening: follow the same process (use only part of the music if preferred).

We’re now going to write short skits that describe a story about character, and what it means to have char-

acter, based on this music.

Second listening: using the same small groups, assign a student in each group to write down a silent skit

that reflects the meaning of “character” for the group to act out in front of the class. Have each group pre-

sent their skits to the class, to the music, and ask the class to describe what they saw.

Massachusetts Arts Curriculum Framework Music Learning Standards: 5.4 Identify the sounds of a variety of instruments, including many orchestra and band instruments, and instruments from various cultures, as well as chil-dren’s voices and male and female adult voices. National Standards for Music Education: 6. Listening to, analyzing, and describing music.

CALL SHEET: “Allegro giocoso” from Symphony No. 4, by

Johannes Brahms (1833-1897)

1. Listen to the very opening of this movement and think about the mood it

describes. If the word “allegro” in the tempo indication means ‘happy’, what

do you think “giocoso” means? Johannes Brahms.

a. angry

b. joyful

c. pensive

d. ridiculous

2. Listen for all the instrument families playing together in the full orchestral texture and check them off as

you hear them.

a. woodwinds (floating above the orchestral fabric)

b. brass (punctuating accents behind the strings)

c. percussion (listen for the roll of the timpani!)

d. strings (playing the main happy melody)

3. Now Brahms eases the orchestra back, and then gradually builds the volume level back up – what is this

building-up technique called?

a. diminuendo

b. landscaping

c. crescendo

d. sforzando

4. With this building-up we hear a very close variant of the main theme, with the addition of a special

new percussion instrument! What is this instrument?

a. triangle

b. gong

c. cymbals

d. wind machine

5. After a brief transition Brahms introduces a second theme in the strings, in a contrasting mood. How

would you describe this second theme? (pick all that you think apply.)

Cheerful Sleepy Thoughtful Uncertain Panicked Relaxed Pleasant

6. Listen now for the return of the main theme! After it comes back, Brahms alternates back and forth

between what two instrument families?

a. Brass and percussion

b. Brass and woodwinds

c. Strings and woodwinds

7. After the music begins to slow down a little, Brahms introduces a new tempo marking, “poco meno

presto”. Based on what you hear, what do you think this means?

a. a little less fast

b. a lot faster

c. the rabbit comes out of the hat

d. very loudly

8. Now the orchestra returns with full force to the original tempo! What rhythmic figure (hint: it has

to do with the number ‘3’) do you hear driving this section?

a. triad

b. tierce

c. triplet

d. treble

9. Now that you’ve heard them before, listen carefully for: 1) the return of the main theme, 2) the

return of the second theme, and 3) more of the same rhythmic figure in the question above!

Brahms made a point of not assigning a specific story to almost any of the music he composed, but for

the remainder of this piece, try and imagine what you think the music is trying to describe. Write

down your thoughts in two or three sentences.