TEXAS MUSIC TEACHERS ASSOCIATION
STUDENT AFFILIATE
2015 Publication Contest
Winners and Outstandings
TMTA Student Affiliate Publication Contest
Winners and Outstandings
IA (Grades 1 – 2) “Peter and the Wolf by Prokofiev”
Winner
Outstanding
Outstanding
Matthew Frank (Lee McKay, Metroplex MTA).........................................3
Miles Gabriel Simmons (Margaret Laakso, Fort Worth MTA) ................4
Sophia Ali (Mary Loy, Conroe MTA) .......................................................5
IB (Grades 1 – 2) “Meet the Brass Instruments”
Winner
Outstanding
Camille Haluschak (Vin Richards, El Paso MTA) ....................................6
Harini Venkatesh, (Debra Hadfield, Plano MTA) ....................................7
IIA (Grades 3 – 4) “Amahl and the Night Visitors by Menotti”
Winner
Outstanding
Pranika Kasturi, (Karen Lim-Smith, Denton MTA) ..................................8
Spencer Clouthier (Sheryl Speelman, Conroe MTA) ..............................10
IIB (Grades 3 – 4) “The Romantic Composer”
Winner
Outstanding
Outstanding
Natalie Stachowiak (Dorota Stachowiak, Plano MTA) ..........................11
Shreya Shetty (Karen Lim-Smith, Denton MTA) ....................................13
Emily Todd (Carol A. Crisp, Dallas MTA) ............................................15
IIIA (Grades 5 – 6) “Ragtime Music”
Outstanding
Amar Hamasagar (Marguerite DeBolt, Victoria MTA) ..........................17
III B (Grades 5 – 6) “The Contemporary Composer”
Winner
Outstanding
Outstanding
Outstanding
Outstanding
Outstanding
Kaydn Zehr (Michele Crawford, Arlington MTA) ..................................19
Caleb Womac (Debra Hadfield, Plano MTA) ........................................21
Sam Pantoja (Theresa Davis, Waxahachie MTA) ...................................23
Anika Saiprabhu (Karen Lim-Smith, Denton MTA) ...............................25
Joseph Tavana (Dr. Dinah Chesson, Plano MTA)..................................27
Lauren Nguyen (Ana Schoellman, Cypress Creek MTA) ......................29
IVA (Grades 7 – 8) “Handel’s Messiah”
Winner
Outstanding
Nicole Stachowiak (Dorota Stachowiak, Plano MTA) ...........................31
Anna Browder (Glenna O’Dell, Metroplex MTA) ..................................33
1
IVB (Grades 7 – 8) “The Baroque Composer”
Winner
Outstanding
Outstanding
Outstanding
Outstanding
Angela Carey (Debra Hadfield, Plano MTA) .........................................39
Devina Devagharan (Carolyn Gurley, MidCities MTA) .........................38
Caroline Batton (Sheryl T. Speelman, Conroe MTA) .............................40
Julie Le (Michele Crawford, Arlington MTA) ........................................42
Muriel Margaret Cotman (Beverly Cheshire, Victoria MTA) ................44
VA (Grades 9 – 10) “Military Music”
Winner
Outstanding
Outstanding
Outstanding
Outstanding
Outstanding
Katarina Jakimier (Carol A. Crisp, Dallas MTA) ...................................46
Drew Fowler (Sheryl Speelman, Conroe MTA) ......................................48
Phillip Yuen (Julie Chen, Plano MTA) ...................................................50
Maria-Luisa Cardenas (Sheryl Speelman, Conroe MTA) .......................52
Caroline Nguyen (Naulene Pittman, Grand Prairie MTA) ....................54
Crystal Pang (Carolyn Savko, Arlington MTA) ......................................56
VB (Grades 9 – 10) “The Classical Composer”
Winner
Outstanding
Outstanding
Andrea Fletcher (Cindy L Mills, Pearland MTA) ...................................59
Bela Gadgil (Lisa Shirah-Hilers, Austin MTA).......................................61
Sarah Son (Karen Lim-Smith, Denton MTA) ..........................................63
VIA (Grades 11 – 12) “Jazz Masters”
Outstanding
Elizabeth Batton (Sheryl Speelman, Conroe MTA) ................................65
VIB (Grades 11 – 12) “Medieval Music”
Winner
Outstanding
Outstanding
Outstanding
Outstanding
Karla Chang Gonzalez (Diane Morrow, El Paso MTA) .........................67
McKenna Black (Debra Hadfield, Plano MTA) .....................................69
Jeremy Doan (Debra Hadfield, Plano MTA) ..........................................71
Alex Dominic (Naulene Pittman, Grand Prairie MTA) .........................73
Emily Hu (Anna Farish, Denton MTA) ..................................................75
2
Division IA – Winner
Peter & the Wolf
Matthew Frank (Lee McKay, Metroplex MTA)
Peter and the Wolf is a fairy tale written by Sergei Prokofiev in 1936. This is a special story
because he wrote it with music and all of the characters are represented by their own instrument
as follows:
Grandfather – Bassoon
Peter – String Instruments (Violin, Viola, Cello, and Bass)
Hunters - Drums
Bird – Flute
Cat - Clarinet
Duck – Oboe
Wolf – French Horn
The story begins with Peter going to the meadow and leaving the gate open. The duck gets out
of the yard and goes to the pond. The duck and bird start to argue and they don’t see Peter's cat
trying to catch them. But the bird flies to the tree and the duck swims in the middle of the pond.
They are safe!
Peter's grandfather gets mad at Peter for being outside the gate because there is a wolf that could
hurt him. But Peter isn’t afraid of wolves because he is brave!
The animals see the wolf come out of the forest. The cat is fast and climbs into a tree. The duck
is not fast and gets swallowed by the wolf. Peter gets a rope and climbs into the tree. He tells the
bird to fly around the wolf's head so he can use the rope to get the wolf. He catches the wolf by
its tail!
The hunters want to shoot it, but Peter tells them to take the wolf to a zoo. At the zoo, the duck
is quacking in the wolf’s stomach!
In the end, we learn some important lessons from this story:
1. Music can be used to tell a story.
2. Always keep the gate closed.
3. If you are brave you can do anything – even catch a wolf!
Bibliography:
Prokofiev, Sergei (translated by Maria Carlson). Peter and the Wolf. New York: Penguin Group,
1982.
Peter and the Wolf. Videotape. Disney Studios, 1946.
3
Division IA – Outstanding
The Boy Who Didn't Cry Wolf
Miles Gabriel Simmons (Margaret Laakso, Fort Worth MTA)
Peter and the Wolf by Prokofiev, an orchestral piece with spoken narration, was
composed in 1913. It was “commissioned by Natalya Sats and the Central Children's Theatre in
Moscow to write a new musical symphony for children. … Intrigued by the invitation, Prokofiev
completed Peter and the Wolf in just four days.” (“Peter and the Wolf”, 2014)
Each character in the story has its own instrument. The choice of the instruments helps
me imagine what the characters are like. The music also helps me visualize the story along with
the narrator. The strings gave me the impression of a brave Peter opening the gate and finding his
friend. The flute for the bird helped me imagine him flying around quickly from place to place.
The low tones of the oboe made me imagine a fat duck waddling slowly. For the cat, the clarinet,
I imagined him tip-toeing to the pond and wondered if he would catch the bird. And the French
horns for the wolf, were very menacing. The story helped me enjoy the music, and the music
helped me enjoy the story.
Over 400 musical recordings and film adaptions of Peter and the Wolf were produced
since the time of its composition, including two recordings by the Prokofiev family. One with
Lina Prokofiev, the composer's widow, as the narrator and another with his son and grandson,
Oleg and Gabriel Prokofiev, as narrators. (“Peter and the Wolf”, 2014) I listened to the version
with David Bowie as the narrator. He tells a very good story. I enjoyed the music so much, I
listen to it before bed time. It is fun to use your imagination to make pictures for the music and
narration, and I like that Peter didn't cry wolf, he caught it.
Bibliography:
“Peter and the Wolf.” Wikipedia: The free encyclopedia. Wikimedia Foundation, Inc. 17
November 2014. Web. 3 November 2014.
“Natalya Sats.” Wikipedia: The free encyclopedia. Wikimedia Foundation, Inc. 1 December
2014. Web. 8 December 2014.
Discography:
Prokofiev, Sergei. Peter and the Wolf. Perf. Philadelphia Orchestra. Conductor. Eugene
Ormandy. Narrator. David Bowie. RCA Victor, 1977. CD.
4
Division IA – Outstanding
Peter and the Wolf
Sophia Ali (Mary Loy, Conroe MTA)
Peter and the Wolf is a children’s story in which an orchestra performs the music and the
conductor tells the story. It was composed by Sergei Prokofiev in 1936.
The story is about a boy named Peter and some animals from the forest like a duck, a bird, a cat,
and a wolf. The wolf catches and eats the duck alive but Peter saves the bird and the cat from the
wolf. Peter catches the wolf and takes him to the zoo.
I liked the music because each character in the story is represented by a different
instrument Peter is represented by the strings. The bird is represented by the flute which plays
very high notes because the bird has high-pitched tweets. The duck is represented by the oboe.
The cat is represented by the clarinet in a low key. Peter’s grandpa is a bassoon that plays low
notes. Hunters’ gunshots are played by a timpani and bass drums. The wolf is represented by
French horns.
I think that the music is interesting because it can show different feelings for different
parts of the story. For example, when Peter is exploring the meadow, the music goes high
pitched and sounds very happy. When Peter’s grandfather is angry because Peter’s being in the
meadow by himself is not safe, the music goes slower and lower pitched. Also, when the wolf is
chasing the duck, the music has a fast tempo and is high-pitched to show that the duck is in a
hurry.
I really enjoyed the story and the music. It was fun to discover that music can tell a story
by showing different characters and their emotions.
5
Division IB – Winner
The Brass Instruments
Camille Haluschak, (Vin Richards, El Paso MTA)
“We are next! It is almost our turn. We get to march after the float with all of the
flowers,” said Tommy Tuba.
“I just love parades!” exclaimed Charlie Trombone.
“Do you think all of the people watching will know how special we are as we march by
making beautiful music?” said Francis French Horn. “The brass instruments are not just shiny
gold and silver colored instruments.”
“Right, Francis. We are long tubes made of metal that flare at the end. Because we are
bent and coiled, we are easy to hold,” said Tiana Trumpet. “That is why we get to march in
parades.”
“Most of us have three valves that, when pressed, increase the length of our tube.
Pressing the valves changes the sounds we make,” said Charlie Trombone. “I am different. I
have a slide that can be moved to lengthen my tube.”
“It takes a lot of practice to play us well. A person playing a brass instrument needs to
have strong lips and good control of his diaphragm.” said Tiana Trumpet. “Lip vibrations help to
create the sound in a brass instrument. Tight lips make high notes and loose lips make low
notes.”
“I am one of the oldest brass instruments. The first horns were made of the horns from
animals,” said Francis French Horn. “It wasn’t until the 1800’s that I received my current shape.”
“I am the largest of the brass instruments, and if I was uncoiled I would be 18 feet long. I
also create the lowest notes,” said Tommy Tuba.
“There is so much to know about the brass instruments. But, we are about to start
marching and making beautiful music,” said Tiana Trumpet. “Here we go!”
Bibliography:
Ardley, Neil. A Young Person’s Guide to Music. New York: DK Publishing, 1995 Print.
Levine, Robert. The Story of the Orchestra. New York: Black Dog & Leventhal Publishers, 2001
Print.
O’Brien, Eileen. The Usborne Internet-Linked Introduction to Music. London: Usborne
Publishing, 2000 Print.
Posell, Elsa Z. This is an Orchestra. Boston: Houghton Mifflin Company, 1973 Print
6
Division IB – Outstanding
Meet the Brass Instruments
Harini Venkatesh, (Debra Hadfield, Plano MTA)
Hello! I am Trumpet. I am the eldest of my siblings. I love to sing at a high pitch. My
master blows air into my chamber through the mouthpiece on my head and ta da - you will hear
nice music! Do you love “music classes”? Well, we do!
We have named our youngest brother “Tuba”. He loves to sing at a low pitch. Younger
than I, but older than Tuba, are my sisters, Trombone and French-horn. They would be glad to
help if you would like to hear music at a pitch that is higher than Tuba's and lower than mine.
Do you think that we have muscles and bones like you? Oh, no. We are usually made of
brass. Most of us have valves, slides, crooks and keys to make our air passages short or long and
to sing at different pitches. But, Trombone uses her slides to do that, for she has no valves on her
body. We have other cousins in our family: Euphonium, Bugle, Alphorn, Flugelhorn, Tenorhorn,
and Cornet just to name a few.
Did you know that not all of us are made of brass? In fact, a few of us have wooden
bodies. It's interesting that I am the shortest and Tuba is the tallest among us. We just love to
appear curled up!
Would you like to make music with us? We would love it if you become our master and
blow into our mouthpiece or be a part of the choir. We love to sing in bands and orchestras or
sing along with you. Our favorite is, of course, the marching band. Well, can you now guess
what is our family name? You are right! It is Brass!
Bibliography:
Wikipedia: http://en.wikipedia.org/wiki/Brass_instrument
The Brass Family on Parade! (Musical Families) - Trisha Speed Shaskan
Brass Instruments – Kidport:
http://www.kidport.com/reflib/music/instruments/BrassInstr.htm
DSOKids: http://www.dsokids.com/activities-at-home/make-instrument/brassinstrumentsuncoiled.aspx
7
Division IIA – Winner
Menotti: A Christmas Special
Pranika Kasturi, (Karen Lim-Smith, Denton MTA)
Amahl and the Night Visitors is a favorite among modern opera-goers and is featured frequently
during the Christmas season. This opera, composed by Gian Carlo Menotti in 1951, is different
from other secular operas in that it is written for religious purposes. Menotti wrote both the
music and the libretto to Amahl and the Night Visitors for a television production.
Menotti incorporates solos for vocalists and chorus in Amahl and the Night Visitors. The
solos and chorus depict the characters and emotions as the story unfolds. Dancers are also used at
festive moments in the story. The orchestral accompaniment conveys the meaning and varying
moods of the story.
For example, Menotti cleverly uses the device of imitation between woodwinds and
pizzicato strings in staccato style to create suspense. Legato and lyrical melodies in the strings
bring out the mood and emotion of the story. To contrast sung passages and spoken dialogue in
this opera, Menotti utilizes recitatives with accompanied harp or piano and strings in arpeggio
style to. Menotti also incorporates dissonances both harmonically and melodically such as
tritones, seconds and sevenths to highlight conflicts in the story.
Amahl is a poor crippled shepherd boy who is known to tell tales and occasional lies. He
is visited by the three kings Kaspar, Balthazar and Melchior. The three kings are on their way to
Bethlehem to visit the newborn baby Jesus, and they stop at Amahl’s hut to rest for the night.
Amahl’s mother being a gracious host, welcomes the three kings. She goes out to arrange for
firewood.
Meanwhile, Amahl being an inquisitive boy inquires about the daily life and duties of the
kings. The three kings patiently answer his queries and ask Amahl about his life. Amahl replies
that he used to be a shepherd but hard times force his mother to sell all the sheep. The kings then
show the precious gifts they brought with them to offer Jesus. The gifts include candies, brightly
colored beads, magic stones along with gold, frankincense, and myrrh.
Amahl’s mother invites her neighbors over. Gifts are passed on to the kings for Jesus.
Looking at the precious gifts, Amahl’s mother is envious. She laments about the hardship that
had befallen them. Contemplating at the same time how the precious gifts would benefit her and
Amahl than Jesus, she tries to take a few gold coins from the treasure to cure Amahl. The kings’
page sees her pocketing the gold coins and tries to catch her. A fight ensues between Amahl’s
mother and the page, which awakens Amahl. He is distraught at seeing his mother being attacked
by the page and tries to stop him by flinging himself on the page. This commotion wakes up the
three kings.
The three kings see what happened and sense Amahl’s predicament. They order the page
to let Amahl’s mother keep the gold. Amahl’s mother apologizes and says she wants the gold to
cure her crippled son. The kings explain that the baby needs love and care. Not gold or precious
gifts. At this time, Amahl comes forward and proffers his crutch to Jesus. Instantly, a miracle
occurs. Amahl’s leg is cured, and he is able to walk. Amahl decides to join the kings’ pilgrimage
to pay homage to Jesus.
8
Bibliography:
www.indyopera.com
Program notes to booklet given in Rotunda Theatre On Dec. 6th and Dec 7th.
http://www.musicsalesclassical.com
http://classicalmusic.about.com/od/opera-synopses-a-thru-k/qt/Amahl-And-The-Night-Visitors.
Duff Elinor L. World of Music, Book 4. Texas Music Teachers Association, 1979.
9
Division IIA – Outstanding
An Old Story in a New World
Spencer Clouthier (Sheryl Speelman, Conroe MTA)
I wonder sometimes about old stories that I hear over and over and I wonder why they keep
being told. I think these stories are repeated because they tell us about an idea that is so
important that it has to be retold again to kids for the first time. Music is a great way to tell an
old story in a new way. Operas tell great stories on a stage with scenery, costumes and music.
Music adds the fun and inspiration of playing and singing music to any story, especially one that
is important enough for people to hear again and again. Amahl and the Night Visitors is an opera
that was written for television to tell the story of the Nativity to kids all over the world.
The composer of Amahl and the Night Visitors was Gian Carlo Menotti. He was born in Italy
in 1911. He traveled to America to study music and began composing Operas. Many of them
were for children. The story of Amahl tells of three educated men who were traveling to a place
that was marked by a new, unusual star in the sky. They knew of a great prophecy that said the
birth of a great King would be marked by a sign in the sky. The three men had been traveling for
some time, following the star, and they needed a place to stop for the night. They stopped at the
farmhouse of Amahl and his mother. Amahl was a crippled boy who walked with the help of a
crutch he had made for himself.
Amahl and his mother were poor and Amahl’s mother told him to steal a bag of gold coins
from the three men while they slept. Amahl is caught by the men. They decide not to punish
Amahl but sing, “Oh woman, you may keep the gold. The Child we seek doesn’t need our gold.
On love, on love alone He will build his Kingdom”. Amahl hears these words and he sings “Oh,
no, wait…take back your gold! For such a King I’ve waited for all my life. And if I weren’t so
poor I would send a gift of my own to such a child. But, Mother, let me send him my crutch.
Who knows, he may need one, and this I made myself. I walk, Mother…I walk, Mother!” The
willingness to give back the money and to give up his important crutch for the child are acts of
great kindness and belief. A miracle has occurred and Amahl is healed.
The story told by the Opera is the Christmas Story. The newborn King is not an earthly King,
but a spiritual King. Amahl and the Night Visitors is not only an old story told in a new way, it is
the greatest story ever told. Thanks to Gian Carlo Menotti, it is told again, to kids all over the
world, in a great way with music and singing that will live forever. An old story told to a new
world again, and again.
Bibliography:
Duff, Elinor L., World of Music, Book 4. Austin: Texas Music Teachers Association. 1979,
Rev. 2008, 2010, 2012.
Duff, Elinor L., World of Music, Book 5. Austin: Texas Music Teachers Association. 1979,
Rev. 2008, 2010, 2012.
Menotti, Gian-Carlo. Amahl and the Night Visitors. New York: G. Schirmer, Inc. 1951, 1952.
10
Division IIB – Winner
A Letter from Chopin
Natalie Stachowiak (Dorota Stachowiak, Plano MTA)
Dear Mom and Dad,
Paris, December 1832
It is a year since I have arrived in Paris, but I cannot stop thinking about all of you every
day. I miss you so much! How are my sisters? I miss so many things about my homeland! When
I left in September of last year, I never thought that I will not be able to return -- who would have
thought that there will be an uprising against the Russians and I would get in trouble with the
authorities? When the news of the fall of Warsaw reached me, I translated all fear and anguish I
felt into my music. Have you heard the Revolutionary Etude I composed in Stuttgart? Can you
hear the echoes of the battle in the dissonant chords and furious passages in the left hand?
Please tell Luiza thank you again for teaching me to play piano. She is the best sister
anyone can have. When I am lonely I often remember our Sunday afternoons spent playing
together, or the evenings when the only thing that brought quiet to our home was me playing
peaceful music that put all the children to sleep. Or I daydream about summer vacations in the
Polish countryside where I could hear folk music, go to country weddings and harvest festivals. I
think I will compose mazurkas and polonaises that will remind me of the wonderful feeling of
these carefree summers. I think I will even use the rhythms of these Polish national dances in my
piano pieces.
My music is loved here and I get many invitations to perform. I prefer quiet salon recitals
to big concerts. The critics call me "the poet of the piano" -- I think they mostly remember my
Nocturnes that really are quite dreamy. I like performing, but I do not like traveling and I am
planning to work more as a composer and teacher than a performer. So many pupils want to
study with me that I cannot find room for all of them. I think I am the most popular piano teacher
in Paris! My teaching supports me in comfort -- I can afford the best outfits and even my own
carriage!
I would gladly give all of this away just to be with you. With all of the changes in my life
you have to know that I still play Mozart and Bach before I give a performance, cannot sleep
unless my slippers are lined up, and do not enter a room with my left foot. Some people think I'm
odd that way ... but these habits help me be myself. They also remind me of the life at home that
I had to leave behind. Last night I played piano for a lady who named herself George Sand,
wears men clothes, and causes a stir in the salon society. But she is also an accomplished writer.
I think I would like to get to know her better. Last night I worked on my newest composition -Scherzo in b-minor -- and since Christmas is coming, I brought the melody of Polish Christmas
carol in the middle section. Anyone who hears it will know how much I miss you and my home.
I will write again soon.
Your loving son,
Fryderyk
11
Bibliography:
Hewitt, Kathryn and Krull Kathleen. Lives of the Musicians, pp.31-36. Boston: Houghton,
Mifflin, Harcourt, 1993.
Holoman, Kern. Masterworks: a Musical Discovery., pp.213-215. New Jersey, Prentice Hall,
1998.
Kerman, Joseph. Listen, pp.240-244. Berkeley: Worth Publishers, 1996.
Wright, Craig. Listening to Music, pp.269-272. New York, West Publishing Company, 1996.
12
Division IIB – Outstanding
Tchaikovsky and The Nutcracker Magic
Shreya Shetty (Karen Lim-Smith, Denton MTA)
Pyotr Tchaikovsky is arguably one of the most popular musical composers in history. He
was a romantic and a magician with musical instruments. He composed 169 pieces; his two
ballets The Sleeping Beauty and The Nutcracker ballets are the most popular of all times. Similar
to the character “Drosselmeyer – A Magician Toymaker” in the story The Nutcracker and The
Mouse King, Tchaikovsky created musical magic that we have all enjoyed.
Born in May 7, 1840, Tchaikovsky started playing the piano when he was 5. However, it
was only in 1875 he first received recognition when he composed Symphony No. 3 in D
Major. After a successful collaboration in the creation of The Sleeping Beauty, the director
for The Imperial Theatres, Ivan Vsevolozhsky commissioned Tchaikovsky to compose for The
Nutcracker ballet in 1890. A letter believed to have been written by Tchaikovsky was recently
discovered:
Dear Mr. Vsevolozhsky,
I want to thank you again for the opportunity to compose for your program. I have
returned from my trip to New York, and I have resumed work on The Nutcracker ballet. As per
our conversation, I am focusing on the dances. Pepita has simplified Alexandre Dumas’s
adaptation of E.T.A. Hoffmann’s story The Nutcracker and the Mouse King for this project.
Pepita and I believe we will need fifteen pieces for the two acts.
For Act I, I will be composing the following pieces: “A Minimal Overture,” “Lighting of
Christmas Tree,” “The March,” “Children's Galop” and “Entry of the Parents,” “Entry of
Drosselmeyer,” “Scene: Grandfather Dance,” “Scene: Departure of the Guests,” “Scene: The
Battle,” “Scene: Fir Forest in Winter and Waltz of the Snowflakes.”
Act II will see the following selections: “The Introduction: The Magical Palace of
Confiturenburg,” “Arrival of the Nutcracker and Clara,” various dance sequences – “Chocolate:
Spanish Dance,” “Coffee: Arabian Dance,” “Tea: Chinese Dance,” “Trepak: Russian Dance,”
“Dance of the Reed-Flutes,” “Mother Gigogne and the Clowns,” “Waltz of the Flowers,” “Dance
of the Sugar-Plum Fairy,” and finally, “The Grand Waltz and Apotheose.”
I believe these pieces will capture the full essence of the story. Pepita has been very
helpful and has provided me with valuable inputs. I plan to use several types of instruments to
bring each of the dance sequences to life – woodwinds, brass, percussion, and strings. I would
also be using the celesta, a marvelous instrument I came across recently when I was in Paris. The
sound of the celesta is similar to that of a glockenspiel, but softer and subtle in timbre. I know
the exact piece for it. “The Dance Of The Sugar-Plum Fairy” is perfect for the celesta. It sounds
so heavenly; I am sure the audience will love it.
Creating these pieces will take time. To give some of the dances a Russian flavor, I may
borrow and utilize a few Russian folk tunes. The “Chinese Dance” is somewhat tricky. I plan
to use the flute to imitate the sounds of the Chinese flute with pizzicato strings accompaniment.
I am quite decided I will use augmented seconds and minor thirds in the “Arabian Dance” to give
that Arabic flavor.
13
However, I am confident that I will get all of the pieces completed before the planned
premiere in December of 1892. I will keep you informed about my progress.
Sincerely,
Pyotr.
Bibliography:
http://www.britannica.com/EBchecked/topic/422801/The-Nutcracker-Op-71
http://classicalmusic.about.com/od/balletsynopses/a/thenutcracker.htm
http://classicalmusic.about.com/od/historyofballet/a/nutcrackerproa.htm
http://www.biography.com/people/pyotr-ilyich-tchaikovsky-9503375
http://www.allmusic.com/album/tchaikovsky-nutcracker-favorite-selections-mw0001426803
http://www.nutcrackerballet.net/html/nutcracker_music.html
14
Division IIB – Outstanding
The Romantic Composer Felix Mendelssohn
Emily Todd (Carol A. Crisp, Dallas MTA)
On November 28 of the year 1824, in Berlin, Germany, there was great excitement at the
Mendelssohn house. People were crowding around the house, anxious, excited, ready to
embrace the wonderful music made there by the talented young musicians. The handwritten
invitation read:
Morning Music at the Mendelssohn's
Felix's C minor Quartet
Felix's D Major Symphony
Concerto by Bach played by Fanny
Duet for Two Pianos in D minor by Samuel Arnold
For many years, concerts were held at the Mendelssohn house every other Sunday. The
children were the performers. Fanny and Felix played the piano, Rebecca sang and Paul played
the cello. Sometimes they hired an adult orchestra to play and Felix conducted. The guests
enjoyed it very much but mostly looked forward to seeing Felix. At first, Felix was so little he
had to stand on a stool just so the orchestra could see him. Many of the works were his own
compositions. By the age of thirteen he had written eighty works, including string quartets,
concertos, symphonies and two operas.
All was good at the Mendelssohn house, but lets start from the beginning:
Felix Mendelssohn-Bartholdy was born in 1809 in Hamburg, Germany. He died in 1847.
His life was short but packed full of accomplishments. His father, Abraham Mendelssohn was
the son of the famous philosopher Moses Mendelssohn. He was a successful banker and he
became quite wealthy. His mother Lea was a smart woman who made sure her children were
very well educated. The oldest child was Fanny, then Felix, Rebecca and Paul. Fanny and Felix
had a very close bond.
When Felix was very little he got up at five a.m. every day except Sunday. He had to get
up early because his tutors kept him busy studying languages, math, science, history, art and of
course music. He also practiced gymnastics, horseback riding and dancing. Felix had the best
teachers and knew the best composers and writers in Europe. He even met Queen Victoria and
Prince Albert. His music composition teacher, Zelter, taught him the music of Bach who had
been forgotten after he died in 1750. Felix learned to play the piano and the violin.
The Mendelssohn family loved to travel. When Felix was twelve he went to meet Johann
Wolfgang von Goethe. Goethe, the greatest German writer, was quite impressed by the boy's
talent. Felix felt honored to be his guest for two weeks. A few years later he composed music
based on some of Goethe’s poems. His love of travel took him to England, Scotland and Italy
where he found inspiration to write the Scottish and Italian Symphony and Fingal's Cave.
Felix loved to read the works of Shakespeare. His favorite play was 'Midsummer Night's
Dream.' Felix and his siblings acted out the parts of the play for fun. This inspired him to write
15
an overture when he was seventeen. Later he wrote music for the entire play. In that music you
can hear fairies, the braying of a donkey and the famous "Wedding March."
At twenty Mendelssohn finished his music studies. If it were not for Mendelssohn who
conducted the music of Bach, we might not have gotten to listen to Bach's music today. As the
conductor of the Gewandhaus orchestra in Leipzig, he was also able to help other composers by
making their music known. Mendelssohn got married when he was 28 years old and had five
children. For the next ten years he worked very hard composing, conducting and teaching. In
1843 he started the Leipzig Conservatory, which is still an important music school today.
Mendelssohn became so overworked and tired that he turned down an invitation to conduct in
New York. In 1845 he finished his famous violin concerto but was too ill to conduct its first
performance. He was heartbroken when his sister Fanny died. He passed away shortly after.
His last words were "I am tired, terribly tired"
Bibliography
Jenkins, David, and Viscocchi, Mark. Mendelssohn in Scotland. London: Chapell and Company,
1978. Print.
Kupferberg, Herbert. Felix Mendelssohn. New York: Charles Scribners Sons, 1972.Print.
Shichtman, Sandra, and Indenbaum, Dorothy. Gifted Sister: The Story Of Fanny
Mendelssohn.Greensboro: Morgan Reynolds, 2007. Print
Tomlinson, Craig. Felix Mendelssohn a Life In Letters. New York: International
PublishingCorporation, 1986. Print
Zannos, Suzan. The Life and Times of Felix Mendelsson. Hockessin: Mitchell Lane, 2004. Print
Discography :
Mendelssohn: The Symphonies II. Vienna Philharmonic Orchestra. Christoph von Dohnyanyi.
1979.
Symphony No. 3 in A Minor. Op. 56 “Scottish”
Symphony No. 4 in A Major, Op 90. “Italian”
Mendelssohn: A Midsummer Night’s Dream. Philharmonic Orchestra and Sir Neville Marriner
1984.
Bruch; Mendelssohn, Mozart: Violin Concertos. Joshua Bell. 2005.
Violin Concerto in E Minor, Op.64
Mendelssohn; Songs Without Words. Daniel Barenboirn. 1974.
16
Division IIIA – Outstanding
Ragtime Music
Amar Hamasagar, (Marguerite DeBolt, Victoria MTA)
Hi! My name is Amar, and I really want to tell you my interesting story, which
happened many years ago, back in 72. I was a young lad, living at Broadway. I was around 19
at that time, and was an actor. My co-workers had a plan to put on a re-make of a Ragtime
musical, which would be aired on the radio and on black and white TV's. I overheard my coworkers' conversation and thought, what is Ragtime? I was very curious, so I asked my coworkers. They started to tell me the story of Ragtime. I learned that its peak popularity was
mainly between 1895 and 1918. Its main characteristic is that it has syncopated, or ragged,
rhythm. It started as a dance music in New Orleans and St. Louis. It started years before it was
published.
The origin of Ragtime was from African music styles. The emergence of mature
ragtime is usually dated back to 1897, in which many important early rags were published. In
1899, Scott Joplin's "Maple Leaf Rag" became a hit and demonstrated more depth and
sophistication than earlier ragtime. Ragtime was actually one of the main influences for the
early development of Jazz. Ragtime fell out of favor as Jazz was born. But, Ragtime later
influenced classical composers.
Some artist performed both Ragtime and Jazz in that time period in which Jazz and
Ragtime overlapped. The heyday of Ragtime occured before sound recording was widely
available. Like classical, unlike Jazz, classical ragtime had a primarily written tradition
being distributed through sheet music.
"Is that why the ragtime performers memorize the music sheets for the musical?" I
asked. "Yes, they need the sheets because there are no ragtime recordings right now." My
friend replied. My co-workers continued telling me the history.
They said that a form of music known as novelty piano, or novelty ragtime, emerged as
the traditional rag was fading slowly in popularity. Ragtime served as the roots for another
type of music known as stride piano. Although most Ragtime was written for piano,
transcriptions for other instruments and ensembles are common. Ragtime guitar continued to
be popular into the 1930s. Joplin had long standing ambitions of synthesizing the worlds of
Ragtime and Opera. It's first performance was poorly staged and was never fully performed in
Joplin's lifetime.
Ragtime is not a meter in the same sense that march time is 2/4 meter and waltz is 3/4
meter. The name "swing" later came to be applied to an early genre of jazz that developed
from Ragtime. Converting a non-ragtime piece of music into Ragtime by changing the time
values of melody notes is known as "Ragging" the piece.
Ragtime pieces came in a number of different styles. Some include the Cakewalk, Two
Step, Coon Song, Classic rag, Fox-Trot, Novelty Piano, and a few more.
"What kind of style of Ragtime is in the musical?" I asked. "Our style that's in the
musical is Novelty Piano. It is a piano composition with piano that's fast and complex," my
co- worker replied.
17
Then she said that there were many Ragtime composers in America. The most
famous one was Scott Joplin. Joplin, Joseph Lamb, and James Scott were known as the
three most sophisticated Ragtime composers.
"Well, I think that's enough information for today. The musical is about to start!" I
was so excited for the musical! I got on that stage and began to dance and sing!
Bibliography:
en.m.wikipedia.org/wiki/Ragtime
"The New Groove" Dictionary of Music and Musicians.
18
Division IIIB – Winner
Jacob the Mouse in the Gershwin House
Kaydn Zehr (Michele Crawford, Arlington MTA)
Hello! I am Jacob the Mouse in the Gershwin House. Of course, I lived here before the
Gershwin’s moved in but I would never have stayed if not for the fine music and the tasty food.
Once (Moishe) Morris and (Roza) Rose moved in with baby (Israel) Ira, I began to experience
the most delightful morsels of food. Two years later, son Jacob, my namesake (I suggested or
rather whispered my name in Rose’s ear when she was dreaming about what to name her new
baby) was born. Never mind that they later called him George, the family of four celebrated
each day with the finest cuisine in New York prepared by Rose at 242 Snediker Avenue,
Brooklyn, New York. But this would not be my permanent home.
When George was growing up, I stowed away in the luggage, as the family moved from
place to place around Brooklyn, New York. We moved a lot because Morris changed jobs often
but, we were never far away from the Yiddish Theater District. George and I would often run
errands for the members of the theater. When we could get a part, we would appear as extras in
productions even though my name was never in the credits. Later as the family grew to include
two other children, namely younger brother Arthur and a sister named Frances, it became
apparent that this family had talents!
You see, Ira was supposed to take piano lessons and he did for a short time. But George
took to piano like a mouse would to cheese. He would practice and try to play the things he
heard at concerts and from his teachers. So Ira began doing what Ira did best, write lyrics.
Arthur composed also and Frances was a singer. But that is a story for another day.
When George was fifteen years old, he quit formal schooling and got a job as a “song
plugger” in “Tin Pan Alley”. We travelled around the New York City area playing the latest
songs and writing our own.
In 1917, when George was seventeen, he submitted a song to a publisher and wouldn’t
you know it, “When You Want ‘Em, You Can’t Get ‘Em, When You’ve Got ‘Em, You Don’t
Want ‘Em” was his first hit. We kept at it plugging songs and writing tunes until another job
came along. Next thing I knew we were writing songs for player pianos in which I found it
easier for me to hide. Running on the piano music rolls was good exercise for me, as long as I
didn’t get hit by the hammers.
George was asked to write Jazz for a Paul Whiteman but forgot about it until I reminded
him or he read it somewhere in the newspaper. George was working so frantically to get it
finished he almost squished me a half dozen times. Phew! “Rhapsody in Blue” is one of the best
pieces George and I ever wrote. I think watching me run around the room was where he got
some of his inspiration, especially on the fast parts. The slow parts represent when he was
resting from the chase and eyeing me from his piano bench.
In the next few years we traveled to Europe and wrote a few pieces for the stage, Opera
and movies. “Porgy and Bess” was based upon a book by Dubose Heyward. I guess George got
his idea to write the Opera based upon the book when I knocked “Porgy” off the bookshelf. We
may never know his true inspiration but I think I know. He liked the book! The Opera is now
one of his most complex and famous of his works. Who would have thought that the Gershwin
mouse knocking a book off a shelf could result in one of the most famous 20th century opera
compositions?
19
Bibliography
http://en.m.wikipedia.org/wiki/George_Gershwin
http://www.biography.com/people/george-gershwin-9309643 Duff, Elinor L. World of Music,
Book 6, Austin: Texas Music Teachers Association. 1979, Rev. 2012
Slonimsky, Nicolas. “The Concise Edition of Baker’s Biographical Dictionary of
Musicians” Eighth Edition. Schirmer Books, New York, Rev. 1994
20
Division IIIB – Outstanding
Ralph Vaughan Williams
Caleb Womac (Debra Hadfield, Plano MTA)
Ralph Vaughan Williams, an English composer and collector of folk music, was born
October 12, 1872, in Down Ampney, Gloucestershire. He was the third child of Arthur and
Margaret Vaughan Williams. His father, who served as a reverend at All Saints Church, died
suddenly in 1875, when Ralph was just two years old. After the tragedy, Margaret and her
children went to live at her family's home, Leith Hill Place in Surrey Hills. Music was of great
significance to the family. Ralph's aunt, Sophy Wedgwood, started teaching him piano lessons
at a young age. He wrote his first piano piece at the age of six, titled The Robin's Nest.
Vaughan Williams went to the Charterhouse School in 1887, where he was encouraged
to express himself musically. Afterwards, he studied at the Royal College of Music (RCM)
and Trinity College in Cambridge, where his subjects were history and music. Later, Vaughan
Williams and his friend, Hubert Parry, returned to the RCM to study composition. Ralph and
one of his classmates at the RCM, Leopold Stokowski, studied the organ with the guidance of
Sir Walter Parratt. Stokowski later performed six symphonies of Vaughan Williams' in front
of U.S. audiences. His performance of the Sixth Symphony was first recorded with the New
York Philharmonic in 1949.
In 1895, Vaughan Williams became friends with Gustav Holst, who was central to
Vaughan Williams' progress as a composer. They would often read and critique each other's
work. Vaughan Williams wrote his first published composition, Linden Lea, at the age of 30.
Along with composing, he would edit the music of the English hymnal and the works of
English composer Henry Purcell. He also gave lectures and conducted.
In 1904, folk music began to disappear. Because people were learning to read and
write, the oral traditions of folk music were fading. As a result, Vaughan Williams would travel
around, writing down and safeguarding scores of traditional music.
Vaughan Williams conducted his first concert in 1905 in Dorking, England, at Leith Hill
Music Festival. He remained a conductor there until 1953 when he was replaced by William
Cole. Vaughan Williams had immense public success after he conducted the premieres of the
Fantasia on a Theme by Thomas Tallis and his oratorio, A Sea Symphony. He would also
achieve outstanding success with his A London Symphony in 1914. In 1914, Vaughan Williams
served in World War 1 as a private in the Royal Army Medical Corps. While in Salonika and
France, he served as a stretcher bearer; it was a difficult experience. During his time in the
Royal Artillery, he was commissioned as a second lieutenant. His continued exposure to gunfire
ultimately caused severe hearing loss later in his life.
Adeline Fisher became Vaughn Williams' first wife in 1896. She suffered for many
years from crippling arthritis and died in 1951. Vaughn Williams then married Ursula Wood in
1953. They lived in London until his death five years later.
21
Ralph Vaughan Williams died on August 26, 1958, at the age of83. His funeral was
held at Westminster Abbey. Vaughn Williams' Five Variants of "Dives and Lazarus," which
was a folk song, opened the service. This great composer's music was loved throughout
Britain.
Bibliography:
Connock, Stephen. "The Life of Ralph Vaughan Williams."
http://www.rvwsociety.comlbio_expanded.html#top (November 24,2014)
"Ralph Vaughan Williams." November 4,2014.
http://en.wikipedia.org/wikilRalph_Vaughan_Williams (November 24,2014)
22
Division IIIB – Outstanding
The Museum Surprise
Sam Pantoja (Theresa Davis, Waxahachie MTA)
One day Ben was at school in his music history class. He was so bored, until he heard the
words, “as you all might know we are going to the music history museum tomorrow. I’m sure
you are all very excited. I know I am!’’ said Mrs. P. So after Ben heard that news the day
whizzed by!
The next day when they got to the front desk of the museum they got a special pass for
the John Williams exhibit. Ben had never heard of John Williams, but he followed along with
his class. As they entered the exhibit, Ben bumped into a man and apologized, but he didn’t pay
attention to the person he had bumped into.
Ben noticed a Star Wars display and said aloud, “I didn’t know there was a Star Wars
exhibit here.” A boy next to him answered, “There isn’t. John Williams composed the music for
that movie.” Ben said, “Whoa! I didn’t know that!”
As they continued into the exhibit he noticed displays from Indiana Jones and Superman.
John Williams had composed the music for those movies, too!
Then Ben walked to the next room and saw that it had the story of John Williams’ life.
Ben learned that he had been born in New York and served in the Air Force. After that,
Williams returned to New York and attended Julliard School, which is an important school for
musicians. He studied piano with Madame Rosina Lhevinne. While in New York, he also
worked as a jazz pianist, both in nightclubs and on recordings. He went to Los Angeles and
began his career in the film industry, working with such accomplished composers as Bernard
Herrmann, Alfred Newsman, and Franz Waxman. He went on to write music for more than 200
TV shows and films, such as Alcoa Theater, Kraft TV Theater, Chrysler Theatre, and Playhouse
90. He also composed the themes for NBC Nightly News, NBC’s Meet the Press, and a new
theme for PBS’s Great Performances. He conducted the Boston Pops for twelve years.
Williams was nominated for over 40 Academy Awards and won five times. He was also
nominated and won several Golden Globes, Emmys, and British Academy Awards.
As Ben moved on he accidentally bumped into someone again. He thought there was
something familiar about him. Then he completely turned around, and Ben knew exactly who it
was! It was John Williams!
“Mr. Williams I’m so sorry, I didn’t know it was you!” cried Ben. Mr. Williams said,
“Hello, young man. Are you enjoying the exhibit?” Ben nodded, “Yes! I’m so impressed at
everything you’ve done and all the great music you’ve written!” Mr. Williams replied, “Why,
thank you!” Mr. Williams put his hand out and Ben shook it, feeling star struck.
Ben caught up with his class and couldn’t believe how lucky he had been to have met the
most famous modern-day composer and the very man that the exhibit was about. He decided
that this was the best field trip he had ever been on!
Bibliography:
Classicfm.com. John Williams. Retrieved on December 28, 2014 from
www.classicfm.com/composers/williams.
23
IMDb.com. John Williams. Retrieved on December 28, 2014 from
http://www.imdb.com/name/nm0002354/.
Mandel, Mark. Boston Pops Orchestra, 2005 Season. (2005). Boston Symphony Orchestra. P. 8.
Mandel, Mark. Boston Pops Orchestra, 2009 Season. (2009). Week 6. Boston Symphony
Orchestra. P. 16, 17, & 24.
24
Division IIIB – Outstanding
Moby Dick, By Jake Heggie
Anika Saiprabhu (Karen Lim-Smith, Denton MTA)
Born on March 31, 1961 at West Palm Beach, Florida, Jake Heggie has etched his name
in American music history as an iconic pianist and composer of the operatic stage. He began
playing the piano at 5 and composing by 11. To supplement his music education, he studied in
Paris for two years and continued at the University of California at the age of 20.
A career spanning more than 40 years, Heggie has composed the following operas: Moby
Dick, Dead Man Walking, Three Decembers, The End of the Affair, To Hell and Back, At the
Statue of Venus, and Out of Darkness. Moby Dick stands out because it premiered in Dallas.
Moby Dick, an opera with two acts, was commissioned by The Dallas Opera and opened
on April 30, 2010 at the newly built Margot & Bill Winspear Opera House in Dallas.
When Heggie was commissioned to compose the music, he was hesitant. Because his
colleague, Terrence McNally, a playwright and librettist, could not wait a moment longer to get
started, Heggie went along with it. But when McNally backed out, Gene Scheer was chosen as
the librettist.
The idea of bringing Herman Melville’s epic tale of Moby Dick, about an obsessive
whaling boat captain who descends into madness and puts his crew in mortal danger, to the stage
was both challenging and fascinating.
“How could one set music for a novel that plays out mainly on a whaling ship? How
could a composer whom some critics branded a lightweight do justice to this American classic?”
Heggie would ask.
“I am by nature a theatre performer and collaborative pianist. Every song I do is about
telling a story, whether a physical journey or internal transformation. If I can feel it and see it, I
know I can write it. Any part of life can be expressed in song, provided there is an emotional
context for it. It's all human experience,” Heggie would say
The story occurs on board the whaling ship, The Pequod at Sea, with Sea Captain Ahab,
Queequeg, Greenhorn, Starbuck, Stubb, Flask, Pip, and Captain Gardiner. Greenhorn thinks he is
just going on a whaling trip, but Captain Ahab is after one whale, Moby Dick. Captain Ahab
stabs Moby Dick and gets dragged into the sea with the crew.
Moby Dick had currents and choruses of Britten, Debussy, Wagner and Hollywood in the
orchestra with moody Phillip Glass transitions and aria like Puccini. He had a mix of jaunty,
major key themes, wisps of discord and turmoil. The sadness and quiet of the crew’s death was
solemn.
Moby Dick exceeded all expectations. It received an eight-minute standing ovation.
When interviewed about the opera, Heggie said, “The character of Ahab is not an evil
man. He’s an obsessed man, but a brilliant leader. His voice had to sail above everyone else’s
on the ship. The entire language of the opera emerged in the aria with those four chords in the
first act monologue.”
25
Moby Dick represents a compositional step forward for Heggie. He could not depend on
the way he had written his earlier works. There was basically one harmonic world the ship floats
on and everything comes out of that. His mantra was staying true to himself and to his idea of
opera. He said, “That’s one of the things I’m proud of in this piece. It does things that only
opera can do.”
Moby Dick is also the subject of the book Heggie & Scheer’s Moby Dick: A Grand Opera
for the 21st Century. Heggie, a Guggenheim Fellow, has served as a mentor to Washington
National Opera’s American Opera Initiative for young composers and librettists for the past two
seasons.
Heggie is a popular contemporary composer in America today. He is working on a new
opera called Great Scott. It’s coming soon, so keep a lookout for it!
Bibliography:
seattleopera.org/discover/archive/2005-2006/affair
http://jakeheggie.com/moby-dick-2010/
www.playbillards.com/news/article/5519.html
http://www.nytimes.com/2010/05/03/arts/music/03moby.html
www.washingtonpost.com/entertainment/set-designer…
26
Division IIIB – Outstanding
You’re Coming With Me!
The Story of Composer Richard Danielpour
Joseph Tavana (Dr. Dinah Chesson, Plano MTA)
a Guggenheim Foundation Fellowship, a Charles Ives Fellowship, an award from the
American Academy of Arts and Letters, five MacDowell Colony Fellowships, a Jerome
Foundation Award, and a Rockefeller Foundation Grant.
Danielpour was born in New York in 1956 and, like much of my family, is of
Persian/Jewish descent. He started playing the piano when he was twelve, but did not have a
formal piano lesson until he was fifteen. When he was very young, Richard wanted to be a
doctor; but when he was exposed to the music of classical composers like Vivaldi, Chopin,
Mozart, and Beethoven, he knew he wanted to be a composer. Danielpour explained, “Once I
heard the music, it grabbed me and said ‘You’re coming with me!’”
Some of Danielpour's works include three symphonies (1985, 1986, and 1990), four piano
concerti (1981, 1993, 2002, and 2009), one opera, and two ballets (1995 and 1996). Danielpour
is one of only three composers ever signed to an exclusive recording contract with Sony
Classical. Many of his compositions have been commissioned by some of the world’s greatest
orchestras and artists. In our interview, I also asked him about his collaborations with other
artists. He spoke about the opera Margaret Garner (2005) that he wrote in collaboration with
Nobel Prize-winning author, Toni Morrison. Danielpour also spoke about collaborating with
Yo-Yo Ma and writing a composition for the cellist’s Grammy Award-winning classical album
in 1998.
Danielpour and I discussed how he writes his pieces. He said that he sometimes hears the
entire piece in his head and tries to write it down; or it comes to him in his dreams and he writes
down what he remembers. Danielpour said, “Other times, I write one measure and it grows like
a plant.” He writes each piece by hand and has a person who transcribes the piece to the
computer to get it ready for publication. No matter how a piece of music gets started, the process
is never easy. Danielpour explained, “The key to writing is re-writing.”
Danielpour studied at the famous Juilliard School of Music. He received a Doctor of
Musical Arts in composition in 1986. In addition to being a highly respected composer,
Danielpour is also a teacher. He teaches at the Manhattan School of Music, the Curtis Institute
of Music and is a visiting professor at other Universities.
Danielpour shared with me that he still gets nervous before each performance, but when he
gets to the stage he is focused on the music. I can tell from our short interview that he is the
most focused person I have ever talked to. That must be the key to his success.
Bibliography:
Danielpour, Richard. Telephone interview. 11 November 2014.
“Richard Danielpour.” Manhattan School of Music, n.d. Web. 11 November 2014.
http://www.msmnyc.edu/FacultyBio/FID/1008173081
“Richard Danielpour.” Bill Holab Music, 2014. Web. 18 November 2014.
27
http://www.billholabmusic.com/composers/richard-danielpour/
“Richard Danielpour.” Music Sales Classical, September 2013. Web. 18 November 2014.
http://www.musicsalesclassical.com/composer/long-bio/Richard-Danielpour
“Richard Danielpour.” Wikipedia, 15 November 2014. Web. 18 November 2014.
http://en.wikipedia.org/wiki/Richard_Danielpour
28
Division IIIB – Outstanding
Joaquin Rodrigo and The Orange Juice Concerto
Lauren Nguyen (Ana Schoellman, Cypress Creek MTA)
On a beautiful summer day, Lilly was visiting Madrid, Spain with her parents. While she
was walking through a park, she watched birds chirping and children laughing. There was a man
sitting on a bench playing his guitar. Lilly was amazed by the skill of the guitar player. She was
enchanted by the beautiful melody. By the time the man finished playing his guitar, there was a
small crowd who cheered wildly. Lilly asked a woman about the name of the piece. The woman
replied in Spanish. Since Lilly did not know Spanish, she thought the woman called the piece
"orange juice" concerto. Later in the evening, she borrowed her mom's iPhone to find out about
the "orange juice" concerto. Fortunately, Siri was able to explain that the piece was not called
"orange juice" concerto, but a famous work called "Concerto de Aranjuez" by Joaquin Rodrigo.
The next morning, Lilly visited a local guitar store in Madrid. She asked the store owner
Manuel about Joaquin Rodrigo. Manuel was both surprised and excited by her question. Manuel
loved Spanish guitar music and Joaquin Rodrigo was considered one of the great Spanish
composers of the twentieth century. Manuel proudly described Joaquin Rodrigo's amazing story.
He was born on November 22, 1901, in Valencia, Spain. At the age of three years old, he
was blinded due to diphtheria. Despite having surgery, he remained blind. Young Joaquin
studied piano and violin at a school for the blind. By the age of 20, Joaquin was an accomplished
pianist and moved to Paris to study musicology. He wrote his music compositions in Braille,
which was later transcribed into notes.
"That is so cool," said Lilly. She realized that he worked very hard and overcame many
obstacles since he was very young. Lilly asked Manuel,
"Which music piece made him famous?" Manuel replied, "Rodrigo's most famous work was
Concerto de Aranjuez."
Lilly remembered the beautiful and haunting melody from the park yesterday. Manuel
explained that this concerto was written for guitar and orchestra in Paris in 1939. The work has
become among the most well known pieces of Spanish music and the most famous guitar
concerto ever written. Manuel explained that the main theme was borrowed from the "Toccata in
D minor" written by Johann Sebastian Bach. Lilly also learned that Rodrigo never learned the
Spanish guitar. In fact, he composed this work on the piano. In Rodrigo's lifetime, he achieved
many honors including Spain's highest award for composition and Spain's highest civilian honor,
the prestigious Prince of Asturias Award.
As Lilly left Manuel's guitar store, she was inspired by Joaquin Rodrigo for overcoming
his childhood blindness to become one of the great Spanish composers of the twentieth century.
Bibliography:
"Joaquin Rodrigo." http://www.imdb.com
"Joaquin Rodrigo." http:1/www.52composers.com/rodrigo.html
"Concierto de Aranjuez." http://en.wikipedia.org/wiki/Concierto de Aranjuez
Discography
29
Discography:
Joaquin Rodrigo and John Williams - Concierto de Aranjuez (Adagio).
http://www.youtube.com/watch?v=x4Qljc3VQDo
30
Division IVA – Winner
Diary of King George I
Nicole Stachowiak (Dorota Stachowiak, Plano MTA)
April 24, 1742
I am about to attend a concert where I will hear Handel's newest oratorio, the Messiah. I
cannot say that I am particularly excited, as it is Lent and no opera is permitted, though I am
curious to hear how our illustrious court composer handled this new genre. Apparently, oratorios
are very similar to operas with recitatives and arias, but they do not feature stage decorations,
costumes, and acting. I hear that Handel composed this work in twenty-four days over the last
summer! It is hard to believe when one considers it is almost three hours long and consists of
fifty six numbers. Yet naturally, the inspiration draws from the story of Christ himself, and such
an elevated theme must be treated with utmost respect. After all, in my not so humble opinion,
all kings deserve utmost respect!
Speaking of respect, Handel should be very flattered that he is allowed to keep his post as
a Court Composer. Considering how he behaved when I hired him to be a Chapel Master in
Hanover during my years as an Elector, he should be glad of any employment with me! I still
cannot believe that after accepting the post, he simply disappeared to England! It was his bad
luck that after Queen Anne passed away, I became King George I. This must have been a
surprise for my dear Handel! Of course I intended to never see him again, but he won back my
affection with that wonderful composition for our barge excursion right after I had settled in
England -- I hear people call it the Water Music.
I have just returned from the concert and I am pleased to say that this experience
surpassed my expectations. The story was interpreted beautifully- it allowed me to see the
Christ’s life in a new light. The music was simply brilliant – it truly expressed the stories from
the Bible. This huge composition is divided into three parts: the story of prophecy and Christ's
birth, the story of crucifixion and resurrection, and the story of redemption. The first two parts
focus on the most well-known parts of the Bible -- the Christmas and Easter stories, and yet
Handel's music makes them original and unique. It is as though the music itself brings the text to
life!
Even though the Messiah is extremely long, gratefully it did not seem so -- I think it is
the constant succession of recitatives, arias, and choruses that brings welcomed variety to this
work. Since everyone is familiar with the story, the audience can focus on the music. The
constant changes in performing forces from solos to choruses, changes of texture from
monophonic to homophonic to polyphonic, variety of meters and rhythms, and fluctuations of
dynamics make listening to the Messiah a fascinating experience. My favorite parts are the
choruses -- Handel seems to have a phenomenal gift for composing music for choruses. The
31
chorus "Glory to God" in Part I makes the joy of Heaven and Earth at the birth of Christ very
real. The powerful trumpet parts in the orchestra, march like rhythms, and soprano voices
announce with triumph "Glory to God in the Highest" while unaccompanied low voices respond
slowly "And peace on Earth." This exchange was truly memorable.
But my absolutely favorite section was the chorus that ends Part II -- the "Hallelujah
Chorus." The music in this number employs monophonic texture for "King of Kings,"
homophonic texture for "Hallelujah," and polyphonic texture for "And he shall reign forever and
ever." The most wonderful music sets "The kingdom of this world" to a low vocal range in piano
dynamics to be answered by high register voices with forte dynamics for "the kingdom of our
God." Finally, trumpets introduce soprano voices singing "King of kings" higher and higher in
long, powerful statements to be answered by the rest of the chorus with joyful "forever,
Hallelujah." This moment was so powerful and uplifting that I was simply compelled to stand! I
have never felt like this during any performance -- the entire audience of course followed my suit
and I think we paid a just tribute to this extraordinary music.
I think it is safe to say that this music will never be forgotten. It is hard to believe that I
was not very excited about attending this concert. In the end this was an amazing experience, and
I feel enriched for having heard this glorious masterpiece!
Bibliography:
Holoman, Kern. Masterworks: a Musical Discovery, pp.138-142. New Jersey, Prentice Hall,
1998.
Kerman, Joseph. Listen, pp.140-145. Berkeley: Worth Publishers, 1996.
Nichols, David. Musical Encounters, pp.108-112. New Yersey, Prentince Hall, 1996.
Wright, Craig. Listening to Music, pp.138-147. New York, West Publishing Company, 1996.
32
Division IVA – Outstanding
Handel’s Messiah
Anna Browder (Glenna O’Dell, Metroplex MTA)
For Sir Edward Mouseson,
Dearest cousin, I, Margaret Mouse, have written a review on Handel's Messiah per your
request for the Bank of Ireland.
George Frederick Handel's new oratorio, Messiah, is proof of this composer's great skill.
Handel has always been one of my favorite composers, but, with the disappointment of his recent
works, I had begun to doubt his future success. Despite his two previous, ill-received operas,
Handel has and will impress audience members with his musical interpretation of the life of
Christ.
This awe-inspiring piece was written for charity as an oratorio, a composition that focuses
on religious subjects and is written for a choir, soloists, and an orchestra. Yet, this piece lacks the
narrative common to this style of composition. I found this change to be helpful, as it allows you
to listen to the praises to God instead of having to follow a storyline. The libretto was compiled
by the poet Charles Jennens, and it consists of passages from both the New Testament and the
Old Testament of the King James Bible and the Church of England's Book of Common Prayers.
The verses come mainly from Isaiah, Psalms, Paul's letters, and Revelation.
Messiah has three parts: Advent and Christmas, Christ's Passion, and Christ's
Resurrection.
Handel wrote the oratorio in twenty-four days during August and September of 1741. It
amazes me how little time it took him to compose a work of this size and grandeur. I have heard
rumors that the composer barely ate or slept during those three and a half weeks, and some are
saying he was moved to tears. I could imagine why, considering the beauty and power of the
words he set to music. Handel says his reason for writing was not for entertainment, but for
education. It seems he wishes for those that hear Messiah to gain an appreciation for what Christ
has done for us. Handel says his driving force was God. Upon completion, he told his servant, “I
did think I did see all Heaven before me, and the great God Himself!”
I recently attended the premiere of Messiah in Dublin, Ireland on the thirteenth of April,
1742. It was held in the new Musick Hall, and seven hundred people filled the concert hall
designed for six hundred. Because of the crowd, women were asked not to wear hoops under
their skirts, and men were asked not to bring their swords. I, of course, could wear my hoops,
seeing as I am so small. Not all the attendees were there for Handel and his oratorio, though.
Some might have attended for the contralto, Susannah Cibber, who is going through a divorce. I
have heard quite scandalous things about her and her ex-husband, but, that's beside the point.
As I said earlier, the first part of Messiah focuses on Advent and Christmas. The
prophecies of the Old Testament are mentioned, telling of the glory of the Lord revealed. It tells
of the birth of Jesus and the angels appearing to the shepherds. The audience and I were
enthralled by the music, and when Susannah Cibber began to sing Father James, a local priest,
exclaimed, “Woman, for this be all thy sins forgiven!” That outburst didn't bother her, though,
and she continued to sing.
Part Two focused on Christ's Passion, or His life, death, and resurrection. This section
includes John the Baptist's words about Jesus: “Behold the Lamb of God,” and the Hallelujah
33
Chorus. The Hallelujah Chorus portrays God as the “King of kings” and “Lord of lords.” It
certainly made quite an impression on the audience and me, and I am sure it will impress future
audiences as well.
The third and final part of Messiah focuses on the Resurrection of Jesus. It tells of the
triumph of life over death, gives thanks to God, and tells of His glory. The audience was greatly
impressed, for they gave Handel and the performers a standing ovation. I had to be careful so I
wouldn't get stepped on.
All-in-all, I think Messiah's premiere was a success and will boost Handel's income. I
believe that financially supporting Mr. Handel would be a wise decision for the Bank of Ireland,
as I see much success coming from Handel's Messiah.
Your ever-faithful servant,
Margaret Mouse
Bibliography:
"An Appreciation and Explanation of Handel's Oratorio "Messiah"" An Appreciation and
Explanation of Handel's Oratorio "Messiah" Southern California Ecclesia, 26 July 2013. Web.
07 Aug. 2014.
"A Charitable View of Handel's Messiah." Handel's Messiah. N.p., n.d. Web. 07 Aug. 2014.
<http://www.melos.ca/messiah.html>.
"Classical, Symphonic, Orchestral Series." George Friedrich Handel. RoyaltyFreeMusic.com,
n.d. Web. 07 Aug. 2014.
Denmead, Henley. "Handel's Messiah." Handel's Messiah. Hickory Hill LLC, 7 Sept. 1998.
Web. 7 Sept. 1998.
The Editors of Encyclopædia Britannica. "Aria (solo Song)." Encyclopedia Britannica Online.
Encyclopedia Britannica, n.d. Web. 07 Aug. 2014.
The Editors of Encyclopædia Britannica. "Oratorio (music)." Encyclopedia Britannica Online.
Encyclopedia Britannica, n.d. Web. 07 Aug. 2014.
"George Frideric Handel." Bath Choral Society Concerts. N.p., 7 Sept. 1998. Web. 7 Sept. 1998.
"George Frideric Handel." Great Composers. Arts Alive.ca, n.d. Web. 07 Aug. 2014.
<http://www.artsalive.ca/en/mus/greatcomposers/handel.html>.
"Handel Conducts London Premiere of Messiah." OUPblog. Oxford University Press, 23 Mar.
2012. Web. 07 Aug. 2014.
"Handel's Messiah"" Handel's Messiah. N.p., 7 Sept. 1998. Web. 7 Aug. 2014
"Handel's Messiah Premieres in Dublin." History.com. A&E Television Networks, n.d. Web. 07
Aug. 2014.
Kandell, Jonathan. "The Glorious History of Handel's Messiah." History, Travel, Arts, Science,
People, Places | Smithsonian. Smithsonian Magazine, Dec. 2009. Web. 07 Aug. 2014.
<http://www.smithsonianmag.com/arts-culture/the-glorius-history-of-handels-messiah148168540/?no-ist>.
Kelly, Thomas. "The Premier of Handel's Messiah." NPR. National Public Radio, 1999. Web. 07
Aug. 2014.
Mccullough, Joseph. "The First Performance of Handel's Messiah." A History of Ireland in 250
Episodes. Jonathan Bardon, Gill & Macmillian, 2009. Web. 07 Aug. 2014.
34
Newcombe, Jerry. "The Birth of a Classic-Handel's Messiah." Impact Newsletter, 19 Dec. 2011.
Web. 7 Aug. 2014.
Samdahl, Don. "Handel's Messiah." Doctrineorg. Bible Doctrine, 2014. Web. 07 Aug. 2014.
<http://doctrine.org/>.
Vickers, David. "Messiah A Sacred Oratorio." GFHandel.org. The Handel Institute, 21 Jan.
2013. Web. 07 Aug. 2014.
Witherington, Bill. "Handel’s Messiah— the Story behind the Classic." The Bible and Culture.
Beliefnet, n.d. Web. 07 Aug. 2014.
Discography:
"Christmas Food Court Flash Mob, Hallelujah Chorus - Must See!" YouTube. YouTube, 17 Nov.
2010. Web. 07 Aug. 2014. <http://www.youtube.com/watch?v=SXh7JR9oKVE>.
"Handel - "Messiah"/ The Choir of King's College, Cambridge." YouTube. YouTube, 9 Feb.
2013. Web. 07 Aug. 2014. <https://www.youtube.com/watch?v=AZTZRtRFkvk>.
Handel: Volume 5. Regency Music, n.d. CD.
"Opera Company of Philadelphia "Hallelujah!" Random Act of Culture." YouTube. YouTube, 1
Nov. 2010. Web. 07 Aug. 2014. <https://www.youtube.com/watch?v=wp_/RHnQ-jgU>.
35
Division IVB – Winner
His name shouldn’t be Bach but Ocean.
~Ludwig Van Beethoven
Angela Carey (Debra Hadfield, Plano MTA)
My name is Johann Sebastian Bach, the father of music, the greatest composer of all
time. You might be wondering why I’m here. After all, I reportedly died in 1750 on July 28,
from a stroke. The truth is, I never really left this world, I’m a ghost.
It might seem silly, I know, but it’s true. My body is gone, but my soul still
remains. As long as you continue to listen to my music, to speak my name, and to remember me,
I will never leave.
I am here to tell you how I became famous, how I became known, how my music
impacted other composers and music-lovers like you.
Now, you might be wondering why my friend Ludwig Van Beethoven suggested I should
have been named Ocean rather than Bach. You see, in German, the word bach means tiny river
but to Mr. Beethoven my music had such depth, breadth and enormity that ‘ocean’ better
represented my works.
My life was not very interesting. Born in Eisenach, Germany in 1685… blah blah blah,
youngest of eight children… blah blah blah, parents died when I was 10 years old … blah blah
blah, worked in a variety of churches, yadda yadda, married Maria Barbara and had 7 kids,
yadda, yadda, widowed, married Anna Magdalena and had 2 kids, etcetera etcetera, traveled a
little then went back to my hometown, blah blah blah. As you can tell my life is not that exiting.
Composing the greatest classical pieces in history - now that was interesting!
My most famous piece, and probably the most genius, was Toccata and Fugue in D
Minor. It is a piece of organ music composed by, you guessed it, me. I published it in 1833 with
a little help from my friend, Felix Mendelssohn. The piece became popular, of course, and is
now one of the most famous works in the organ repertoire. I’m not surprised, I mean, I am the
greatest composer in history - all my works should be famous.
Another one of my famous pieces is Mass in B Minor. It is a musical setting of the
complete Latin Mass - a stroke of genius in my part. The work was one of my last compositions,
not completed until 1749, the year before the unfortunate demise of my body. It was the last of
my astonishing pieces. Much of the Mass gave new form to vocal music that I had composed
throughout my wonderful career. Was I not brilliant?
Yet another example of my amazing music is the Brandenburg Concertos. The
Brandenburg Concertos are a collection of six instrumental works presented by me to my friend,
Christian Ludwig, Margrave of Brandenburg-Schwedt in 1721 (though probably composed
earlier, my memory seems to be failing). They are widely regarded as some of the best orchestral
compositions of the Baroque era.
The last piece I will chat about is The Well-Tempered Clavier. The Well-Tempered
Clavier is a collection of amazing solo keyboard music composed by, you guessed it, me. I gave
the title to a book of preludes and fugues in all 24 major and minor keys, dated 1722. I composed
"for the profit and use of musical youth desirous of learning, and especially for the pastime of
those already skilled in this study".
36
It was unusual for composers working in the Lutheran tradition to compose a Massa Tota
and my motivations remain a matter of scholarly debate. The Mass was never performed in its
entirety during my physical lifetime; the first documented complete performance took place in
1859. Since the nineteenth century, it has been widely hailed as one of the greatest compositions
in musical history, and today it is frequently performed and recorded.
“The music of my father has higher purposes: it is not supposed to fill the ear, but to
move your heart.” – Carl Philip Emanuel Bach.
“Sometimes I say, not honestly: If Bach is not in heaven, I don’t want to go there.” - Sir
Eliot Gardiner.
“What I have to say to Bach’s work of life: Listen, play, love, adore it – and just shut
up.” - Albert Einstein.
So please keep enjoying, studying, analyzing and playing my works; I plan to stay
forever!
Bibliography:
http://www.bachonbach.com/johann-sebastian-bach-66-quotes-tributes/
https://en.wikipedia.org/wiki/Toccata_and_Fugue_in_D_minor,_BWV_565
https://en.wikipedia.org/wiki/Mass_in_B_minor
https://en.wikipedia.org/wiki/Brandenburg_Concertos
https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier
http://www.biography.com/people/johann-sebastian-bach-9194289
Discography:
https://www.youtube.com/watch?v=ho9rZjlsyYY
https://www.youtube.com/watch?v=2LkFr9TJm44
https://www.youtube.com/watch?v=8ejVor497wQ
https://www.youtube.com/watch?v=9Em1leM682Y
37
Division IVB – Outstanding
Bach Through The Eye Of A Fountain Pen
Devina Devagharan (Carolyn Gurley, MidCities MTA)
I am an old fountain pen waiting to be used again. I have been held by tiny hands, big
hands, slimy hands, and warm hands, but my proudest moment was when I was held by one
famous hand. That hand was the hand of Johann Sebastian Bach, my very first owner. Nobody
talks about me anymore, nor was I credited for any of Bach’s fame although he used me to
compose his musical pieces. Without me, he would be nothing.
I remember the time when I was a brand-new and fine looking pen with black ink running
through my veins. I had a sharp gold-coated nib and was known to be the world's smoothest pen!
Not to brag, but it is true. I lay under a special glass cover in Galeria Kaufhof in Germany. Many
customers were fond of me, but nobody could afford me. I started to feel claustrophobic in my
glass ‘cage’, and nobody bought me for years due to my exorbitant price. Finally Galeria
Kaufhof was to close, and my price dropped tremendously. My discounted price still didn’t
attract many buyers, but one day my luck changed when a little boy stepped into the shop, and
begged his father for me. That was how I met my master Johann Sebastian Bach.
He never used me for what seemed like months, and I just sat alone inside a dark, cold,
and dirty drawer. No pens to talk to, and no pencils to antagonize. One day, while I pitied my
abandoned life, the drawer opened and a huge hand grabbed me. I would never have thought that
so many years had passed by! Bach was a young man! He stuffed me in his pocket and took me
to his piano which is where all the magic began.
I was used to write, draw, fill in the blanks, and compose music for Bach. I felt so special
and he worked me really hard. He used me for what seems like endless hours. During my rests,
Bach would play the music that I had written for him. It felt amazing listening to this music
because I always felt like I had composed his music.
The years went by, and Bach composed delightful sonatas and partitas! Bach’s sonatas, in
order, were the Sonata no. 1 in g minor, the Sonata no. 2 in a minor, and Sonata no. 3 in C major.
The Partitas were Partita no. 1 in b minor, Partita no. 2 in d minor, and Partita no. 3 in E major.
Isn’t that such a fun word? Partita! Partita! Partita! Bach brings out beautiful melodies in his
Sonatas and Partitas! In the first Sonata and Partita, Bach composed a self-consciously old
fashioned style harmonic form. It sounded like he was paying homage to his antecedents! The
next Sonata and Partita reminded me of Bach’s Weimer style. The third pair made you feel like
dancing in the E Major Partita.
Bach composed the third part of the Clavierubung and more oratios. Bach has been most
remembered and praised for the Well-Tempered Clavier, and the Goldberg Variations. The WellTempered Clavier is one of the world’s greatest musical treasures. Each of the two volumes
contains a prelude and fugue in each major and minor key by starting with C Major Prelude, and
then a C Major fugue. It progresses chromatically.
The next book published in 1744 was transversal from the chromatic cycle. Bach
demonstrated the well-tempered tuning system that allowed music to be composed in every key
easily. It is based on a single bass theme, and the variations reveal Bach’s wonderful knowledge
38
of different and unique styles of music, and his amazing performing techniques. It is one of the
largest clavier pieces ever published during the Baroque period!
I enjoyed every moment of my time with Bach, but he soon grew frustrated with me.
Even though I wrote smoothly, my ink ran out very quickly, and refilling became a hassle to him.
Slowly, the number of times I spent with Bach decreased. Soon, I never felt paper again. Back to
the damp and dusty drawer. Bach had replaced me with a new and ingenious technology that had
hit the market that year - the ball point pen!
Bibliography:
Wheeler, O and Deucher, S. Sebastian Bach, The Boy from Thuringia. Zeezok Publishing
(2010).
Cincinnati Public Radio. Classics for Kids.
<http://www.classicsforkids.com/composers/bio.asp?id=2> (2014)
Col, Jeananda. Enchanted Learning. <http://www.EnchantedLearning.com> (1996).
Green, Aaron. Classical Music.
<http://classicalmusic.about.com/od/classicalcomposers/p/bach.htm> (2014)
39
Division IVB – Outstanding
Vivaldi Girls
Caroline Batton (Sheryl T. Speelman, Conroe MTA)
Today is October 3, 1703 and it is either the worst or the best day of my life. It is my
thirteenth birthday and my mother has decided that I am old enough to move to the Ospedale
della Pieta. There are four Ospedali orphanages for girls like me in Venice, but most of the girls
come with large endowments from their families. So, while we are abandoned to the
orphanages, we aren’t necessarily poor. Here’s the good part; everyone knows that the Opsedali
are really music conservatories, and the Ospedale della Pieta, which I will call home for the rest
of my life, produces the best musicians in Venice! I will miss my mother and my home, but I
love to play my bass viol and organ. This is the best possible opportunity for me to continue my
studies in music and to fulfill my dream of becoming a musician. My name is Carolina, and here
is my story.
The funniest thing happened today in mass. The new, red-headed priest just walked away
from the alter! The entire service was confused and disordered until he came back. Father
Rostori gave him stern looks, and many of the girls giggled earning us severe looks from mother
superior, but the new priest didn’t even seem to notice. Everyone is whispering about him.
Guess what? He is our new violin and string teacher! Many people, like this priest and I, turn to
the church or state supported institutions like the Ospedale to get an education. I sure hope he is
better with music than he is at celebrating mass.
Oh, Father Antonio Vivaldi is much better at music. Father Vivaldi and I have been at
the Ospedali for two years now and he has written the most wonderful five-finger exercises,
virtuosic concerti and student sonatas for violin and basso continuo (that’s me!). Even his
student exercises are legitimate pieces of music. Our audiences certainly seem to think so,
especially when he plays his violin along with our more advanced musicians. Another of Father
Vivaldi’s duties, in addition to teaching and writing music for us, is to prepare two concerts a
month.
Sad news, Father Vivaldi has left the Ospedali della Pieta to work at the Teatro Sant’
Angelo, an opera theater. We performed his first oratorio, Juditha Triumphans devicta
Holofernis barbaric, at the Ospedali. This oratorio celebrated the Venetian victory over the
Turks in August (1716). Now he has left us to stage his first opera, Ottone in villa at the Teatro.
Opera is all the rage in Venice and our Father Vivaldi is as gifted at writing opera as he is at
writing instrumental music.
It is now 1725 and Antonio Vivaldi has composed The trial of harmony and invention,
which is descriptive concertos such as The Four Seasons. These concertos are really
compositional challenges designed to show that he can use the harmony of music to describe
experiences and nature. Some other titles from this “exercise” are Storm at Sea, Pleasure and
The Hunt. The Four Seasons is so popular that Father Vivaldi is receiving commissions from all
over Europe, including King Louis XV at his court in Versailles.
Antonio Vivaldi’s career has grown and, unlike the girls who have grown into women
here at the Ospedalia della Pieta, he lives and works in faraway places like Mantua, Verona,
Prague and Amsterdam. But he continues to write for us and was recently named “Maestro di
40
concerti” by the Ospedale. He sends us two concerti a month and is paid a ducat for each
concerto, but he has to pay for shipping them to us. I believe that Father Vivaldi would write
concerti for us even if he wasn’t paid. Our careers developed and matured together. We know
which concertio was written for each of us.
Father Antonio was here in Venice last year to resign his post with the Ospedale. That
was our last time to see him. Sadly, we heard that he died in Vienna on July 28, 1741. Venice is
not flourishing, so Father Vivaldi moved to Vienna to work for Emperor Charles VI. Antonio
Vivaldi wrote an incredible amount of music in his lifetime. He composed music for our
Ospedale throughout his entire career. I have been honored to be a vehicle for his incredible gift.
I’ve decided; my thirteenth birthday was a very good day!
Bibliography:
Antonio Vivaldi. http://www.baroquemusic.org/bqxvivaldi.html. “Baroque Composers and
Musicians.” http://www.baroquemusic.org/barcomp.html.
Duff, Elinor L. World of Music, Book 7. Austin: Texas Music Teachers Association. 1979,
Rev. 2006-2007.
List of compositions by Antonio Vivaldi.
http://en.wikipedia.org/wiki/List_of_compositions_by_Antonio_Vivaldi.
Discography:
A. Vivaldi: Ottone in villa atto 1. http://www.youtube.com/watch?v=XZr00s3edWQ.
Four Seasons – Vivaldi. http://www.youtube.com/watch?v=XZr00s3edWQ.
Micha Elman plays Vivaldi’s Concerto in g minor, Op. 12 No. 1.
http://www.youtube.com/watch?v=0hl75p71OK8.
Vivaldi. Sonata in C for Violin and Cello, RV 83 (3rd movement: Allegro).
http://www.youtube.com/watch?v=ixLh4yZOSAM.
41
Division IVB – Outstanding
The Story of My Life
Julie Le (Michele Crawford, Arlington MTA)
Oh, what a life I had. So many things have happened that I simply cannot tell it all. To
begin with, I’m well-known for being a skilled organist and harpsichordist. This may surprise
you, but I certainly wasn’t famous while I was alive; never mind that, though, for I had numerous
accomplishments. I have composed a great deal of sacred choral and organ music as well as
works for orchestra and small instrumental ensembles. Oh, but then again, very few of my
compositions have been published when I was alive.
My life had been musical from the start--in fact, my family had been church and town
musicians for many, many generations. Anyways, I remember the ambitious little me, attending
Eisenach Latin School. Studying singing, I quickly moved up to the advanced choir. I remember
the sharp glares the envious gave me. That really inflated my ego. It really was arduous work,
though, for I had to will myself out of bed at six o’clock every morning. Furthermore, practice
lasted until the late evening.
When my father had died, I had to go live with my older brother. He was so nice, giving
me organ and harpsichord lessons while he was so busy with work as a church organist. Either he
was a really good teacher or I’m really brilliant, but I caught on really fast. You might not
believe this, but to learn composing, I copied down--by hand--music by other composers and
made new arrangements out of it. I was really proud, showing it to my elder brother. For some
reason, though, I found myself losing them. It wasn’t until my brother had died that I found my
manuscripts. Turns out, he had locked them in a cupboard out of jealousy.
I finally left home when I was fifteen to become a professional church singer Luneburg.
There, I was able to continue my education in return for singing at church services. I really went
all out in my studies there, even walking to the far city of Lubeck and Celle to hear famous
organists and orchestral music performed. My feet had suffered from serious blisters and sores,
but let me tell you: it was all worth it. From 1703 to 1723, I had worked at various royal courts
and churches, performing at court concerts with the violin and harpsichord.
In 1707, I became an organist at Mulhausen, and married my cousin, Maria--and no, it
wasn’t weird back then, marrying your cousin. Most of my compositions for the organ were
written at this time. Later in 1717, I moved to the royal court at Cothen, composing orchestral
and ensemble music for my employer--and you may not believe this--Prince Leopold. Maria had
suddenly died in 1720, though, leaving me to care for our seven children. Seriously, I’d no idea
what to do--with being busy at work and seven children to look after. Somehow, I’d managed
and a year later, I married Anna Magdalena Wilcke, the daughter of a court trumpeter.
In 1723, I was appointed Director of Music in Leipzig, but I really was hated by the
Town Council rulers. It is not my fault I couldn’t get university training. I’m glad that my sons
would have an opportunity to attend a university, though, and avoid the hatred unlike me.
Nevertheless, I was responsible for the music of four large Lutheran churches as part of my
contract.
I had always been a deeply religious man, expressing my faith in the beautiful sacred
music for choir and instruments. Really, I wrote over 300 sacred cantatas for the Leipzig
42
churches. My greatest choral works are the St. John Passion and the St. Matthew Passion which
told about the life and death of Christ.
After 1735, I had more leisure time, traveling to royal courts in many places. King
Frederick II of Prussia even invited me to Potsdam to play for him. That was a really remarkable
memory, for different rooms of the palace had pianos built by Silbermann, a famous pianoforte
builder. I was literally jumping with excitement trying out the new pianos. Sadly, when I
returned to Leipzig, I was in bad shape. I was barely hanging on to life after two operations for
blindness, and my life ended in July of 1750. In case you didn’t know who I was, my name is
Johann Sebastian Bach.
Bibliography:
http://en.wikipedia.org/wiki/Johann_Sebastian_Bach
http://www.jsbach.org/
http://www.biography.com/people/johann-sebastian-bach-9194289
http://www.jsbach.net/
http://www.baroquemusic.org/bqxjsbach.html
http://www.classical.net/music/comp.lst/bachjs.php
http://www.allmusic.com/artist/johann-sebastian-bach-mn0000075140
http://www.ipl.org/div/mushist/bar/bach.html
http://www.last.fm/music/Johann+Sebastian+Bach/+wiki
Duff, Elinor L. “World of Music, Book 7” Austin: Texas Music Teachers Association. 1979,
Revised 2006-2008
43
Division IVB – Outstanding
Vivaldi: My Life in Four Seasons
Muriel Margaret Cotman (Beverly Cheshire, Victoria MTA)
"To everything there is a season, and a time to every purpose under the heavens."Ecclesiastes 3:1. When I was studying as a priest, this verse had great meaning to me. I was
Antonio Vivaldi. I am probably best known for "The Four Seasons", but that is only a very
small part of my work. I also composed operas, church music, over 450 concerti grossi, and
solo concertos for violin, flute, piccolo, cello, bassoon and mandolin. When I look back on my
lite,I see that it has been like the four seasons of the year. It has been happy like spring, fun like
summer, plentiful like autumn, and cold like winter.
My life began in spring; when everything is fresh and new. I was born March 4, 1678 in
Venice, Italy. My father was a violinist at St. Mark's Cathedral, and taught me to play the
violin at an early age. Mother gave birth to me during a minor earthquake. I had many brothers
and sisters, but I could not play games with them because of my severe asthma. I wanted to
make my family proud, so I worked diligently to become a priest, although my real talent had
always been music.
As a young adult, I often felt like it was summer; because everything seemed bright and
sunny. At 25 years old I became a priest; but I had to be excused from saying Mass since my
asthma would give me horrible coughing fits. However, I was young and full of energy, and at
that time, I was earning four times the salary my father had earned. Because of my red hair and
my religious background, people started to call me "II Prete Rosso" (The Red Priest). I also
started teaching violin at a girl's orphanage in Venice called the Pieta.
Later in life, all of Venice seemed to change color like the trees in autumn; everyone
knew my name, my music, and my personality. The board of directors at the Pieta never
unanimously voted to renew my contract, and I was fired quite a few times, but after I became
famous, they knew it would attract interest if such a celebrity as Antonio Vivaldi were to
conduct the Pieta Orchestra. I would sometimes play violin with the Pieta girls, and when I did,
people were astonished by how quickly, energetically, and skillfully I could play. The public
was charmed by how I made my compositions sound like nature, with chirping birds, crashing
thunder, and even barking dogs!
But toward the end of my life, a wintry chill started to come over Italy. In the Baroque
Era, people wanted to constantly hear new music, and my music was old news to them. False
rumors had started that I was dating a woman named Anna Giraud, who starred in many of my
operas, and often accompanied me on my international travels along with her sister Paolina.
Since I was a Catholic priest, that kind of thing was frowned upon. This tarnished my
reputation greatly. I died in 1741 at age 63. I was poor and was buried in an unmarked grave.
I had always hoped to be remembered as a great composer. Around the time of the 1930s, my
work was rediscovered. It was as if spring had begun again after a long cold winter. My works
were scattered an around the world. Convents -in Italy, libraries in America, even private
collectors had copies of my music. Records were made of my works, along with many other
Baroque composers, and I became one of the most famous composers of the Baroque Era. The
Four Seasons can now be listened to on CDs, on digital devices, and in concert halls, but no
44
matter how it is heard; my hope is that people will enjoy listening to it as much as I enjoyed
writing it.
Bibliography:
Anderson, Nicholas, "Baroque Music", Thames and Hudson, 1994
Bauer, Helen, "Young People's Guide to Classical Music", Amadeus Press, 2009
Buelow, George, "A History of Baroque Music", Indiana University Press, 2004
Costanza, Stephen, "Vivaldi and the Invisible Orchestra", Henry Holt and Company, 2012
Felsenfekf, Daniel and Donna Getzinger, “Antonio Vivaldi and the Baroque Tradition”·, Morgan
Reynolds, 2004
Kamien, Roger, "Music: An Appreciation”, McGraw-Hill, 2008
Krull, Kathleen, "Lives of the Musicians: Good Times, Bad Times, (And What the Neighbors
Thought)", Harcourt Brace Jovanovich, 1993
Landon,. H.C. Robbins, “Vivaldi: Voice of me Baroque”, The University of Chicago Press, 1996
Nicholas, Jeremy, "The Great Composers", Quercus, 2008
Taruskin, Richard, "Music in the Seventeenth and Eighteenth Centuries", Oxford University
Press, 2010
Thompson, Wendy and Max Wade-Matthews, "The Encyclopedia of Music", Anness, 2012
Discography:
Celenza, Anna, "'Vivaldi's Four Seasons" Charlesbridge, 2012, (book includes musical CD)
"Vivaldi; The Four Seasons, Versailles Soloists Orchestra, Villepreux Castle, France, 1997",
(performance DVD)
"Antonio Vivaldi: Le Quattro Stagioni, Venice, Italy, San Rocco Music Festival'', (performance
DVD)
45
Division VA - Winner
Military Music to Inspire and Unite!
Katarina Jakimier (Carol A. Crisp, Dallas MTA)
Host: Welcome to tonight’s radio broadcast! This year is the 25th anniversary of the fall of the
Berlin Wall. Though built by East Germans, it is widely accepted the Soviets were ultimately
behind it. Communist propaganda campaigns across Soviet-dominated Eastern Europe in the
years following World War II were not going well, and the Soviets wanted the Germans to stop
the embarrassing flow of emigrants from the Eastern Bloc to the West through Berlin. Soviet
use of military music as propaganda during World War II, however, was extremely successful.
That is our topic for tonight’s program. We will play some famous military music Stalin used,
and take your questions. Let’s start with the best-known piece from this era: Soviet composer
Dimitri Shostakovich’s Symphony No. 7 in C major “Leningrad”, Opus 60, and take our first
caller.
Caller 1: Hi. What is military music?
Host: Military music has been used for centuries. One of the most common uses has been
communication before, during, and after battles, to organize or time actions. The ancient
Chinese used drums, the Irish and Scotts used bagpipes in the Middle Ages, and more recently
the English, French, German and American militaries, among others, have used drums, fifes,
bugles, trumpets, larger military bands, and even orchestras in these ways. Other common uses
of military music have been to intimidate the enemy, and to inspire or keep up the morale of
troops. Military bands, an Ottoman 13th-century creation, and marching songs are examples of
this. Soldiers sing songs as they march and match their steps to the rhythm of the song. There
are many such marches from the American, Russian and Spanish Civil Wars, and both World
Wars. Let’s take our next caller.
Caller 2: How did Stalin use military music as propaganda?
Host: Stalin used military music during the War to promote the supremacy of his regime, raise
the morale of the Red Army as it fought, emphasize that it was Soviet destiny to defeat the
barbarian Nazis, and boost people’s morale at home. Next caller?
Caller 3: How did Stalin encourage composers to write military music?
Host: Stalin’s government held competitions in Soviet cities to encourage the composition of
military music, especially music praising the bravery and successes of the Red Army. Winners
received special rations and living privileges, and large cash awards. Professor Bentley is our
next caller.
Caller 4: Why is Shostakovich’s 7th Symphony the Soviets’ best-known World War II music?
Host: Both the Red Army and civilians identified it with their struggle against Nazi Germany. In
1941, invading Nazi troops arrived outside Leningrad and began a 900-day siege of the city that
left approximately one million dead. Shostakovich had already begun writing his 7th Symphony,
but the horrors of the siege inspired him to dedicate it to the city’s struggle. Stalin immediately
arranged for its performance in Leningrad, and gathered musicians who had not been evacuated.
The large audience was awestruck. “Leningrad” has been criticized by some as political
propaganda and praised by others as a masterpiece. It is easy to see how Soviets heard it as
46
inspiring resilience and uniting in spirit against an invading enemy. The first movement’s
development section combines a lively march melody with an increasingly louder snare drum
rhythm which sounds like an invading army. Overall tough, “Leningrad” makes listeners feel
hopeful that things will work out. Great question; next caller.
Caller 5: All the talk has been about Shostakovich, and rightly so, but who else wrote music that
Stalin used as wartime propaganda?
Host: Stalin also used works by Prokofiev, Popov, Aleksandrov, Pokrass, Shebalin, Kabelevsky
and Miaskovisky. No discussion about this topic would be complete, however, without
mentioning some of the many Russian wartime songs that Stalin allowed to be played and
therefore popularized. These include “Katyusha” (first sung by schoolgirls to soldiers leaving
for the battlefront with the Nazis in July 1941), “Zdi Menia” (Await Me), and “Tiomnaja Noc”
(Dark Night). You can find good CDs of these by the Red Army Choir, and the Red Army
Music & Dance Ensemble. Ok; one more.
Caller 6: How did military music get to the troops?
Host: By the beginning of World War II, recordings of songs could be electronically mass
distributed and movies could have sound. Very large numbers of people now had access to
recordings and broadcasts, and governments could control what music was heard. Using radio
and music as propaganda tools became extremely important to Stalin after the Nazi invasion and
especially during the Battle of Stalingrad. He ensured Radio Moscow broadcast continually
throughout the 6-month siege to keep up the morale of the besieged city’s troops and civilians.
In addition, knowing the Red Army often could not hear radio broadcasts, Stalin also regularly
sent the Red Army Choir to perform for the troops, and had the Composers’ Union send them
recordings of popular wartime songs and symphonies.
Outstanding questions. I hope we’ve all learned more how Stalin used military music as
propaganda during World War II. Thank you for listening!
Bibliography:
Delaine, Linda. “Music During the Soviet Regime.” Russian Life Aug. 21, 2001: 9-12. Print
Farmer, Henry George. The Rise & Development of Military Music. CreateSpace Independent
Publishing Platform, 2014.
Gammond, Peter, Consultant and Principal Author. The A-Z of Classical Composers, New
Jersey: CLB International, 1994.
Herrala, Meri E. The Struggle for Control of Soviet Music from 1932 to 1948: Socialist Realism
Vs. Western Formalism. New York: Edwin Mellen Pr., 2012.
Krull, Kathleen. Lives of the Musicians, Florida: Harcourt Inc., 2002.
Tomoff, Kiril. Creative Union: The Professional Organization of Soviet Composers, 1939-1953,
Ithaca and London: Cornell Univ. Press, 2006.
Discography:
Red Army Choir. “Kalinka,” “Partisan’s Song,” Souliko,” “On the Road,” “The Red Army Is
The Strongest,” “Song of the Volga Boatman,” and “Varchavianka” Best of the Red Army
Choir. Silva America. 2002. CD
Prokofiev, Sergei. “Symphony No. 1,” “Violin Concerto No. 1 in D Major,” “Symphony No. 5,”
47
“Piano Concerto No. 3 in C Major” Best of Prokofiev. Naxos. CD
Shostakovich Against Stalin: The War Symphonies. “Symphony Nos. 4-9” Weinstein, Larry
(Writer), Netherlands Radio Philharmonic, Valery Gergiev (Actor). Decca. 2005. DVD
Shostakovich, Dimitri. “Symphony No. 7,” and “Symphony No. 9” The Russian Archives:
Gennady Rozhdestvensky Conducts Shostakovich. USSR State Radio and TV Symphony
Orchestra, and USSR Ministry of Culture Symphony Orchestra, Gennady
Rozhedestvensky (Conductor). Pipeline Music Inc. 1968 & 1976. CD
Shebalin, Vissarion. “Symphony No. 2,” “Symphony No. 4” Russian Overture: Symphonies
Nos. 2 & 4. Olympia/Burnside. CD
48
Division VA - Outstanding
Do You Speak “March”?
Drew Fowler (Sheryl Speelman, Conroe MTA)
The alarm is ringing! It’s time to get up…”It’s time to get up in the morning.” These
words accompany Revelry, the bugle call that awakens soldiers on military installations or
onboard ship each morning. Early trumpets were signaling instruments used for clear
communication during the noise and confusion of a battlefield. Trumpets, drums, cymbals,
bagpipes and other loud instruments that were easily carried while the player was in motion were
other early military or marching, instruments. They form a legacy of music that has become its
own genre: Military Music. Military Music has a long history which culminates in the March as
its crowning glory.
War has driven human culture and has inspired more innovation and technology than
anything else. Examples include the bow and arrows, walled cities, gunpowder, guns, cannons,
rockets and even penicillin and the treatment of broken bones, which saved many lives in World
War I. War has also influenced music and caused its advancement in many ways. Chinese
emperors recorded the positive effect of drums for setting a marching pace as early as 684 BC.
They believed marching to a drumbeat improved soldier’s morale. Chinese emperors continued
to use drums in war to inspire their soldiers, as well as to intimidate, shock, and defeat enemies.
They also developed drum signals for communication during combat, and bronze wind
instruments to signal retreat.
The Ottomans were believed to have introduced the first military bands in the 13th
Century called Janissary bands or mehter. The instruments of the mehter included drums,
cymbal, trumpet and bells. The Janissary bands came with the Turkish invaders as they
attempted to conquer Europe between 1400 and 1800, and European military bands developed
from this influence. This Turkish inspiration even extended to the music of Haydn, Beethoven
and Mozart. Their Turkish style, called “alla Turca,” was included in Classical Era Symphonies,
Concertos and Piano Sonata and Operas. Beethoven and Mozart each wrote Turkish Marches.
Marches by the great composers are played today by military concert bands for
ceremonies and entertainment. Today’s marching bands evolved from field bands, which were
used for marching and controlling troops on the battlefield. Early European march or military
music included only the fife and drum and the music was not notated. Think of paintings from
the American Revolutionary War with the Flag, fife and snare drum. This early military music
kept the beat with the drum while the fife, or flute, improvised freely. Almost every concert band
performance includes marches by America’s March King, John Philip Sousa.
Sousa was an American composer and conductor who was born in Washington, D.C. in
1854. Sousa studied violin, music theory and composition before enlisting in the U.S. Marine
Band as an apprentice in 1868. He learned to conduct after leaving the Marine Band, and
returned five years later as conductor. Sousa later formed his own Band with which he toured
Europe and Australia. Two of his best-known marches are Semper Fidelis (Official march of the
U.S. Marine Corps) and The Stars and Stripes Forever (Official March of the United States).
Sousa also developed a new marching instrument, a large brass instrument similar to the tuba,
known as the sousaphone.
49
Sousa developed the March Form, which was based loosely on Sonata Form and the idea
of contrasting sections. Sousa’s form has a short Introduction that is played forte with marcato
style. The Introduction uses chromatic scales over the V Chord for leading into the next section.
Next is the First Strain or first melody. This melody usually has a straightforward rhythm. Next
comes the Second Strain, which contrasts in some way, rhythmically, melodically or
dynamically, from the First Strain. The Trio is the primary melody of the March. It is normally
piano and legato and features woodwinds. Typically the melody is played piano, repeated with a
piccolo playing over the melody, then played forte for the final repeat. The trio is played in the
key of the Subdominant (IV), which adds to the “relaxed” feeling of the Trio. Next is the
breakstrain or break-up strain, also called “the dogfight.” This section is forte, intense and
marcato and provides a contrast between the softer Trio and is played between repeats of the
Trio. The final repeat of the Trio is called the Grandioso and all the instruments of the band join
in to play a louder and more exciting version of the Trio, or main theme, of the March. The
March can sometimes end with a “stinger”; a One Chord (I) played in unison on the up beat after
a quarter rest.
The “stinger” is a way to end a piece that is up beat and exciting. Taps is the military
way for saying it’s time to turn in and go to bed. Both are ways that we have learned to use
instruments to communicate and to give instructions. Thanks largely to Sousa and his
innovations with the March, the era from 1850 to 1940 is known as the “March Music Era”, and
the “March” is another genre that we have in the language of music.
Bibliography:
American March Music. http://www.youtube.com/watch?v=yTDOoXd6EXs
Hugh Owen Thomas 1834-1891. Surgial-Tutor.Org.UK. http://www.surgical-tutor.org.UK/
John Philip Sousa. http://en.wikipedia.org/wiki/John_Philip_Sousa.
Li Rongyou, Zhejiang Music Institute, Hangzhou, China] [Research Center for
Music Iconography, City University of New York rcmi.gc.cuny.edu/parentpage/sounds-of-war…
Martial Music, W_en_Wikipedia.org/wiki/martial_music.
Ottoman Military Marching Band.
www.dailysabah.com/features/2014/04/20/ottoman-military-marching-band
Science-howstuffworks.com/war-drive-technological-advancement.htm.
Discography:
Beethoven. Turkish March, Op. 113. http://www.youtube.com/watch?v=1IXLfPcgX1U
Fife and Drum Music of the Revolutionary War.
http://www.youtube.com/watch?v=yTDOoXd6EXs.
John Philip Sousa – Semper Fidelis – March. http://www.youtube.com/watch?v=6AEj-otqMLE.
John Philip Sousa’s March, “The Stars and Strips Forever”.
http://www.youtube.com/watch?v=a-7XWhyvIpE.
Ottoman Janissaries – oldest military marching band – Attach March.
http://www.youtube.com/watch?v=DEbYsQWucxk.
50
Division VA - Outstanding
Mozart and Military Music
Phillip Yuen (Julie Chen, Plano MTA)
I can remember my mother playing music for me when I was a baby from Baby Einstein
and Mozart for Babies CDs. I would listen to the music until I fell asleep. One of my favorite
songs, I later learned, was Rondo alla Turca by Mozart. I have wanted to play it on the piano
ever since I can remember, and now I can! But why is it called alla Turca and what does that
mean? My study of this question became a history lesson and led me to a whole new genre of
music called military music.
Europe was at war with the Ottoman Empire for centuries, roughly the years from 1400
to 1800, because the Turks repeatedly attempted to invade and conquer it. This continuous war
impacted the culture of Europe and brought with it an awareness of the Turkish culture, which
seemed exotic to the Viennese. They were fascinated with “all things Turkish.” Baroque
composers Handel, Gluck and Rameau and Classical composers Haydn, Beethoven and Mozart,
wrote music in the Turkish style. Music written in this style was called “alla Turca.”
The Turks, or Ottomans, brought with them the first military bands Europe had ever
heard. These bands were called mehter or Janissary Bands. The usual instruments of the mehter
included a kos (giant timpani), the nakare (small kettledrum), the davul (bass drum), the zil
(cymbals), the kaba zurna (bass zurna), the boru (a kind of trumpet), and the cevgen (bells and
stick). These bands are possibly the oldest military bands in the world. Their music is quite
loud, percussive and aggressive and the wind instrument has a very piercing sound.
Alla Turca music has a lively tempo and is almost always a march. Rondo alla Turca,
the third movement from Mozart’s Piano Sonata K.331, is in rondo form (ABACA, etc., with a
returning theme). It is also in two-four time and sounds like a march. It is often called Turkish
March. In fact, both Google and YouTube list the rondo as a “Turkish March.” Alla Turca
music written for orchestra, like Beethoven’s Turkish March, includes instruments similar to
those of the mehter; the bass drum, triangle, cymbals and piccolo. Haydn uses these same
instruments, along with a minor melody, in the middle of each movement and the finale of his
Symphony No. 100 in G to create a Turkish sound. This earned the symphony the title “Military
Symphony.” I love the way the Turkish presence is a subtle, but pervasive presence throughout
this symphony. It mirrors the constant threat of Turkish invasion that permeates all European art
of the Classical Period.
Even keyboards of the day got into the Turkish fad. The fortepiano of the Classical
Period had from three to five pedals added for making different sounds. It is easy to take for
granted the magnificent sound of today’s grand piano and forget that it is the result of years of
evolution, from harpsichord to klavier to pianoforte, with many different kinds and concepts of
sound. There was a pedal for the new pianoforte called the Janissary pedal, which included a
bass drum, triangle and cymbals. That would make it easy to play anything and everything “alla
Turca!”
The Ottoman mehter, or Janissary Bands, also inspired the beginning of European and
American military bands. These bands were basically a snare drum and fife, or flute. You can
51
picture this type of musical accompaniment in battle when you think of pictures from the
American Revolutionary War, which occurred during the Classical Era. There is a famous
painting called “The Spirit of ‘76” which shows George Washington carrying the flag
surrounded by a drummer and a fife player. It calls to mind the many renditions of Yankee
Doodle, played on flute with snare accompaniment, that we associate with our images from the
Revolutionary War. This type of military music was taught by ear and never notated. The fife
part was usually improvised over the drumbeat. The upbeat music set a march pace and
improved troop morale. Early bugles were introduced for sounding a retreat and other signals
during the noise and confusion of combat. The March continued to develop until it became its
own genre during the “March Music Era” from 1850-1940. The change of warfare after the
American Civil War reduced the need for military bands for controlling troops on the battlefield
and military bands became primarily concert bands for ceremonial purposes. A march by
America’s March King, John Philip Sousa, like The Stars and Stripes Forever (the United States
National March), is almost always included in a military concert band performance.
It is funny now to think that, as a baby, I fell asleep to sounds inspired by war, by pieces
called “Attack March.” But that is the nature of art. Inspiration can be found in many places,
some of them unlikely, and through human creativity these ideas can be turned into something
that enlightens and inspires us, encouraging tolerance and understanding of other cultures
through the common language of music. Mozart, I salute you!
Bibliography:
Janissary Music. http://en.wikipedia.org/wiki/Ottoman_military_band.
Turkish Music (Style). http://en.wikipedia.org/wiki/Turkish_music_(style).
Dane, Jeffery. “Pianos of Beethoven and Other Famous Composers.” 1996-2011 by Shel
Horowitz. http://www.frugalfu.com/pianohistory.html.
Duff, Elinor L., World of Music, Book 7. Austin: Texas Music Teacher’s Association. 1979,
Rev. 2006-2008.
Hinson, Maurice and Montgomery, June. Meet the Great Composers. Alfred Publishing Co.,
Inc. MCMXCV.
Mozart. Klaviersonaten, Band II, Urtext. Munchen, Germany: G. Henle Verlag.
Discography:
Beethoven, Ludwig. Turkish March. http://www.youtube.com/watch?v=SWDY-6u9LWs.
Beethoven, Ludwig. Symphony 9, 4th Movement (complete) Ode to Joy, Presto, Philharmonia
Baroque. http://www.youtube.com/watch?v=ljGMhDSSGFU.
Mozart, Wolfgang. Rondo Alla Turca from Piano Sonata No. 11 in A Major, K 331.
http://www.youtube.com/watch?v=geER3iQD05k.
Mozart, Wolfgana. Violin Concerto No. 5 in A, K. 219 (complete).
http://www.youtube.com/watch?v=2TUIQjZT_8Y.
Mozart, Abduction from the Seraglio, Overture. YouTube:
http://www.youtube.com/watch?v=GrFbiw77_90.
Haydn/Karl Munchinger, 1961. Symphony No. 100 in G Major (Military)-Vienna Philharmonic
Orch. http://www.youtube.com/watch?v=3pPDFAoj_Tw.
Turkish Ottoman Military Band Mehter. http://www.youtube.com/watch?v=51MWamLXEqY.
52
Division VA - Outstanding
Mozart and Military Music
Maria-Luisa Cardenas (Sheryl Speelman, Conroe MTA)
I can remember my mother playing music for me when I was a baby from Baby Einstein
and Mozart for Babies CDs. I would listen to the music until I fell asleep. One of my favorite
songs, I later learned, was Rondo alla Turca by Mozart. I have wanted to play it on the piano
ever since I can remember, and now I can! But why is it called alla Turca and what does that
mean? My study of this question became a history lesson and led me to a whole new genre of
music called military music.
Europe was at war with the Ottoman Empire for centuries, roughly the years from 1400
to 1800, because the Turks repeatedly attempted to invade and conquer it. This continuous war
impacted the culture of Europe and brought with it an awareness of the Turkish culture, which
seemed exotic to the Viennese. They were fascinated with “all things Turkish.” Baroque
composers Handel, Gluck and Rameau and Classical composers Haydn, Beethoven and Mozart,
wrote music in the Turkish style. Music written in this style was called “alla Turca.”
The Turks, or Ottomans, brought with them the first military bands Europe had ever
heard. These bands were called mehter or Janissary Bands. The usual instruments of the mehter
included a kos (giant timpani), the nakare (small kettledrum), the davul (bass drum), the zil
(cymbals), the kaba zurna (bass zurna), the boru (a kind of trumpet), and the cevgen (bells and
stick). These bands are possibly the oldest military bands in the world. Their music is quite
loud, percussive and aggressive and the wind instrument has a very piercing sound.
Alla Turca music has a lively tempo and is almost always a march. Rondo alla Turca,
the third movement from Mozart’s Piano Sonata K.331, is in rondo form (ABACA, etc., with a
returning theme). It is also in two-four time and sounds like a march. It is often called Turkish
March. In fact, both Google and YouTube list the rondo as a “Turkish March.” Alla Turca
music written for orchestra, like Beethoven’s Turkish March, includes instruments similar to
those of the mehter; the bass drum, triangle, cymbals and piccolo. Haydn uses these same
instruments, along with a minor melody, in the middle of each movement and the finale of his
Symphony No. 100 in G to create a Turkish sound. This earned the symphony the title “Military
Symphony.” I love the way the Turkish presence is a subtle, but pervasive presence throughout
this symphony. It mirrors the constant threat of Turkish invasion that permeates all European art
of the Classical Period.
Even keyboards of the day got into the Turkish fad. The fortepiano of the Classical
Period had from three to five pedals added for making different sounds. It is easy to take for
granted the magnificent sound of today’s grand piano and forget that it is the result of years of
evolution, from harpsichord to klavier to pianoforte, with many different kinds and concepts of
sound. There was a pedal for the new pianoforte called the Janissary pedal, which included a
bass drum, triangle and cymbals. That would make it easy to play anything and everything “alla
Turca!”
The Ottoman mehter, or Janissary Bands, also inspired the beginning of European and
American military bands. These bands were basically a snare drum and fife, or flute. You can
picture this type of musical accompaniment in battle when you think of pictures from the
53
American Revolutionary War, which occurred during the Classical Era. There is a famous
painting called “The Spirit of ‘76” which shows George Washington carrying the flag
surrounded by a drummer and a fife player. It calls to mind the many renditions of Yankee
Doodle, played on flute with snare accompaniment, that we associate with our images from the
Revolutionary War. This type of military music was taught by ear and never notated. The fife
part was usually improvised over the drumbeat. The upbeat music set a march pace and
improved troop morale. Early bugles were introduced for sounding a retreat and other signals
during the noise and confusion of combat. The March continued to develop until it became its
own genre during the “March Music Era” from 1850-1940. The change of warfare after the
American Civil War reduced the need for military bands for controlling troops on the battlefield
and military bands became primarily concert bands for ceremonial purposes. A march by
America’s March King, John Philip Sousa, like The Stars and Stripes Forever (the United States
National March), is almost always included in a military concert band performance.
It is funny now to think that, as a baby, I fell asleep to sounds inspired by war, by pieces
called “Attack March.” But that is the nature of art. Inspiration can be found in many places,
some of them unlikely, and through human creativity these ideas can be turned into something
that enlightens and inspires us, encouraging tolerance and understanding of other cultures
through the common language of music. Mozart, I salute you!
Bibliography:
Janissary Music. http://en.wikipedia.org/wiki/Ottoman_military_band.
Turkish Music (Style). http://en.wikipedia.org/wiki/Turkish_music_(style).
Dane, Jeffery. “Pianos of Beethoven and Other Famous Composers.” 1996-2011 by Shel
Horowitz. http://www.frugalfu.com/pianohistory.html.
Duff, Elinor L., World of Music, Book 7. Austin: Texas Music Teacher’s Association. 1979,
Rev. 2006-2008.
Hinson, Maurice and Montgomery, June. Meet the Great Composers. Alfred Publishing Co.,
Inc. MCMXCV.
Mozart. Klaviersonaten, Band II, Urtext. Munchen, Gernany: G. Henle Verlag.
Discography:
Beethoven, Ludwig. Turkish March. http://www.youtube.com/watch?v=SWDY-6u9LWs.
Beethoven, Ludwig. Symphony 9, 4th Movement (complete) Ode to Joy, Presto, Philharmonia
Baroque. http://www.youtube.com/watch?v=ljGMhDSSGFU.
Mozart, Wolfgang. Rondo Alla Turca from Piano Sonata No. 11 in A Major, K 331.
http://www.youtube.com/watch?v=geER3iQD05k.
Mozart, Wolfgana. Violin Concerto No. 5 in A, K. 219 (complete).
http://www.youtube.com/watch?v=2TUIQjZT_8Y.
Mozart, Abduction from the Seraglio, Overture. YouTube:
http://www.youtube.com/watch?v=GrFbiw77_90.Philharmonic Orch.
http://www.youtube.com/watch?v=3pPDFAoj_Tw.
Turkish Ottoman Military Band Mehter. http://www.youtube.com/watch?v=51MWamLXEqY.
54
Division VA - Outstanding
Military Music
Caroline Nguyen (Naulene Pittman, Grand Prairie MTA)
Military music has been effectively utilized to aid armies for a long time and is continued
to be used in the military today.
Military music has been utilized for ages, dating back to the 16th century with the
Ottoman Empire and their Janissary Bands. The music created by the Ottomans later influenced
Classical composers such as Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van
Beethoven. One of the most popular forms of military music is marching songs. These songs
were sung by men to help pass time and ignore tired muscles as they marched to a new
destination. These songs have cadences that go along with the march to help them stay in step.
Many of these songs were later prevalent in popular music. Another use of music in military life
includes signaling where and when to attack or retreat. Also, they also alerted soldiers on daily
activities such as mealtimes and bedtimes. Many military ceremonies evoke emotion and are
usually supported by the music of a bugle. Ceremonies such as funerals, wreath-laying services,
and memorial services are usually accompanied by the bugle song Taps. The ritual that is
performed is first the escort of honor presents arms, then they fire the three shot salute, and after
a slight pause the bugler plays the sorrowful 24-note bugle call.
Music has also been used to help with diplomatic relations. Throughout American history
there have been many instances where America has sent musicians to other countries to improve
cultural diplomacy. For example, after World War Two, the United States and the Soviet Union
were under tense relations. In an effort to help loosen things up, President John F. Kennedy sent
a group of Navy Sea Chanters to West Berlin to show the Germans all about American culture
after negative Soviet propaganda. This helped people throughout Europe to truly understand
American culture with an uninfluenced point of view. Another example is the Goodwill
Ambassadors which included famous musicians like Duke Ellington, Louis Armstrong, and
Benny Goodman. These artists were sent oversees to promote American culture. Whenever an
important person from another country visits, the United States usually introduces them with a
band of American artists plus some of the ambassadors’ homeland’s musicians. This makes them
feel honored but they also feel comfortable as if they were at home. Musicians had more
relations with the government. When John F. Kennedy was assassinated, many composers
dedicated music to him including Ellington and Igor Stravinsky. Even our national anthem ties in
to the military as Francis Scott Key wrote the song after enduring the bombardment of Fort
McHenry aboard a British ship.
The recipe for military band instruments has been established and remained unchanged
for centuries. Most of these bands consisted mostly of light woodwind and percussion
55
instruments. But later as more instruments from the saxhorn family joined military bands, they
evolved into brass and woodwind bands. In Medieval Times fifes and drums were used for the
infantry and trumpets and drums were used by the cavalry. When Janissary bands came into
contact with Europeans, the Europeans adopted large bass drums, triangles, cymbals, and
crescents into their bands. At the end of the 18th century, wind and brass instruments were added
to the now great variety in military bands.
Military music does not only affect those in the military. It also influences those outside
of the army who incorporate elements of military music into their compositions. One great
example of this is the influence of military music on jazz music. After the US defeated the
Spanish in 1898, many of the soldiers sold brass instruments and army surplus bass drums very
cheaply to the people of New Orleans. Not only did they provide them with instruments, many
marching songs were passed along as well. This led to the takeoff of jazz music in New Orleans
as they used the instruments and techniques from military bands to spark the popularity of jazz
music.
56
Division VA - Outstanding
Military Music: March Along, Sing our Song
Crystal Pang (Carolyn Savko, Arlington MTA)
The solemn appearance of the Army recruiter belied his extensive knowledge in military
music. Yet, the Army recruiter--his name is Flint--presented to the classroom a stimulating and
dramatic cadence that rivaled any artistic and expressive rhythm. The classroom buzzed with
excitement after Flint wrapped up the presentation.
“Well, that’s all I’ve got for you today. Are there any questions?”
Many students raised their hands, but Flint noticed a hand waving in the back of the
room. That hand belonged to James.
“The hand way in the back, what’s your question?”
“Isn’t the military about fighting and not music?” asked James.
Flint laughed and replied, “Believe it or not, I get asked this question every time I go out
to recruit young people like you. What’s your name?”
“James.”
“Well James, music is essential in the military in communicating different instructions.
On the battlefield, there’s a lot of noise, so shouting out commands may not be heard by the
soldiers. This is when music comes into play. Musical signals can be heard above the crash of
battle, making them vital in commanding and controlling the army. The military actually has a
band for such purposes.”
“Is there a famous tune that the military band plays?”
“Though not played by the entire military band, there is a famous tune. Of all military
tunes, the “Taps” bugle call is one of the most recognized melodies. This call is usually played
by a bugler. Today, Taps are usually sounded at military funerals to honor fallen service
members, but its origins did not begin that way. ‘Taps’ began as a revision to the signal for
‘Extinguish Lights’ at the end of the day. During the Civil War, Union Army General Daniel
Butterfield felt that the ‘Extinguish Lights’ call was too formal. Collaborating with his bugler,
Oliver Wilcox Norton, General Butterfield rearranged an earlier bugle call, ‘Scott Tattoo,’ into
‘Taps.’ That night, the call sounded and soon spread to other units of the Union army. The tune
was even used by the Confederates. Shows you how catchy the new call was, eh?”
“Yeah, but how did ‘Taps’ turn into a tune played at military funerals?”
“During the Peninsular Campaign in 1862 on the orders of Captain John C. Tidball,
‘Taps’ was played to honor the death of a well-respected soldier. Fearing that firing three
volleys- the traditional way of honoring a fallen soldier- would be unsafe considering how close
they were to their enemies, Captain Tidball ordered ‘Taps’ to be played. Playing ‘Taps’ to pay
respect to a fallen member quickly became popular throughout the military. Eventually, in the
U.S. Army Infantry Drill Regulations for 1891, the use of ‘Taps’ became mandatory at military
ceremonies, memorial services, and funerals.”
Jane, who has been listening intently to this conversation, suddenly raised her hand.
Flint saw her and asked, “What’s your name, and what’s your question?”
57
“Hi, I’m Jane. On this continuing thought of music, is there an official song that the
soldiers sing?”
“Jane, each part of the military force has their own official song, but the most famous one
is called ‘The Army Goes Rolling Along.’
“What’s the history behind the song?”
“In 1908, First Lieutenant Edmund L. Gruber originally wrote this song because he
thought a song was needed for the field artillery. Gruber named it ‘The Caisson Song.’ He taught
the song to officers of the 1st Battalion, and the song’s popularity was instantaneous. Then,
during the last days of World War I, senior artillery leaders wanted an official marching song.
An artillery officer gave the ‘Caisson Song’ to noted composer John Philip Sousa and asked him
to revise the tune. In 1917, Sousa transformed the song into a march and renamed it ‘The Field
Artillery Song.’ The march was well received by the public, but the Army was not satisfied and
conducted a nationwide contest for its official song. Even though composers submitted more
than 800 songs, none of the compositions sparkled enough to be picked.
“Did the Army find an official song eventually?”
“Yes, the Army asked H.W. Arberg, a soldier music adviser, to develop an official song
for the Army. Finally, after many modifications, in 1956, Arberg adapted “The Caisson Song” to
become the official U.S. Army song, ‘The Army Goes Rolling Along.’ Because of numerous
revisions, the lyrics now tell the story of the army’s past, present, and future.”
“How does the song go like?”
“Well, the opening stanza of the song, ‘March along, sing our song,’ represents how the
Army continues to move forward with a joyful attitude.”
“Do military members sing the official Army song at special events since much time was
spent finding the perfect tune?”
“Yes indeed. ‘The Army Goes Rolling Along’ is played at the end of every U.S. Army
ceremony, and all soldiers are expected to stand and sing.”
Flint looked at his watch and said, “Thanks everyone for listening. I enjoy answering
your questions. Hopefully, I’ll see some of your faces at the military recruiting center!”
Bibliography:
http://www.historynet.com/the-music-of-war.htm
http://www.music.army.mil/music/buglecalls/
http://www.jvmusic.net/history-of-taps/
http://www.todayifoundout.com/index.php/2014/03/origin-military-song-taps/
http://www.music.army.mil/music/armysong/
http://www.music.army.mil/music/armysong/soldierssong.asp
http://www.music.army.mil/music/buglecalls/taps.asp
Discography:
https://www.youtube.com/watch?v=LSsya6IgrwM
https://www.youtube.com/watch?v=sd7b2v9T1Dw
58
Division VB - Winner
Mein Lieber Brüder (My Dear Brother)
Andrea Fletcher (Cindy L Mills, Pearland MTA)
June 1820
Dear Diary,
It is amazing how small this world really is. I bumped into Constanze and her new
husband yesterday. It is strange to think that she is married again. True, it has been over thirty
years since Wolfgang died, but still, it gives me an awkward feeling. Nevertheless, I have agreed
to send her the precious letters from my brother, her former husband, so that she can use them for
a biography of Wolfgang. Part of me is uneasy with myself for agreeing to send those dear letters
to her, since I still do not know her very well, yet part of me feels glad that I can do something
good for Wolfgang. This might begin to make it up to him for letting father act so terribly
towards him.
Should I still feel responsible for all those letters that our father, Leopold, sent trying to
manipulate Wolfgang into sending him money? Well, maybe not, but I do. I think about it
everyday. All the letters from Wolfgang, which were full of pleadings for love, that father never
opened, make me feel somewhat guilty.
But then I remember Wolfgang as a child, my little brother. I envision him sitting at a
harpsichord for the first time and playing a minuet, without having one lesson. I see his first
compositions, which he wrote before he even knew how to read, with all of the inkblots and
smudges. I recall him holding his miniature child’s violin, playing with father, Herr Wenzel, and
Johann Schachtner, and playing well I might add.
I also see his little eyes brimming with tears when he thought he was unloved.
Then I remember the tours. Wolfgang, Father, and I traveled to London, Paris, Brussels,
Augsburg, and everywhere in between. I remember Wolfgang playing the clavier with a piece of
cloth covering the keys. I remember how he charmed kings and queens with his talent, carefree
attitude, and sweet disposition. I remember how he was just as talented as I…and how I became
a side act, because I was older.
Don’t get me wrong. I am not bitter about that. It’s just a memory that goes with all the
others. I can’t enjoy the good ones without recalling the others.
Eventually, father took Wolfgang on another tour…and left me in Salzburg with mother.
I relished brother’s letters, and I hope he enjoyed mine even half as much as I did his. Although
they were full of nonsense that only he could conceive, they brightened my day.
But that was when Mozart was a child. After the pleasant recollections of childhood, the
sorrowful memories of adulthood follow.
I remember how father pestered Wolfgang with letters to accept a job in Paris and leave
Mannheim, where Wolfgang was living and working with mother. If father had not been so
persistent and Wolfgang not so impressionable, much would have been different.
He might not have gone to Paris. Mother might not have died there. More significantly,
he might have been more financially stable.
Then I remember when he came home in 1779…with Thekla Mozart, the “Bäsle”, the
“little cousin”. Father did not like her, so therefore, I was obligated to dislike her as well. I
59
regretted my hard feelings for a while, but now, I know that if Wolfgang had married Thekla, he
would have never married Constanze, which would have been a sad story for him. In one of
Wolfgang’s letters to father, he said of Constanze, “She takes on the responsibility for the whole
household and yet to judge from their attitudes you would think she did nothing right.”1
At first, I thought that Wolfgang only felt sorry for Constanze, until the end of the letter.
“I love her, and she loves me with all her soul.”2 After they were married, I soon became an aunt
to six children. Sadly, four of them have died. My surviving nephews’ names are Karl Thomas
and Franz Xaver Wolfgang.
But I digress. After he married Constanze, and after all the trouble father had given dear
brother, Wolfgang was never able to return to financial stability. Even though I wouldn’t have
been able to help him with money, I still feel guilty for not trying to help them more.
It grieves me to think that at only thirty-five years of age, one of the most amazing
composers, a brilliant performer, and my baby brother, died. And I was not there.
I must stop this. It breaks my heart.
Well, now I must go. I must collect all of the precious letters I can get my hands on for
Constanze. I shall write later.
~Nannerl Mozart
Bibliography:
Boehm, Volker. "Wolfgang Amadeus Mozart Biography." IMDb. IMDb.com, n.d. Web. 10 Jan.
2015. <http://www.imdb.com/name/nm0003665/bio>.
Isadora, Rachel. Young Mozart. New York: Viking, 1997. Print.
Lynch, Wendy. Mozart. Chicago, IL: Reed Educational & Professional, 2000. Print.
Plotkin, Fred. "Nannerl Mozart: Born Too Soon." WQXR. Wqxr.org, n.d. Web. 12 Dec. 2014.
<http%3A%2F%2Fwww.wqxr.org%2F%23!%2Fstory%2F183663nannerl-mozart-borntoo-soon%2F>.
Siepmann, Jeremy. Mozart: His Life and Music. Welwyn: Naxos, 2006. Print.
Wicker, Ireene. "Wolfgang Amadeus Mozart." Young Music Makers; Boyhoods of
Famous Composers. Indianapolis: Bobbs-Merrill, 1961. 35-50. Print.
1
2
“Mozart, His Life and Music”, p.109
“Mozart, His Life and Music”, p.109
60
Division VB - Outstanding
Franz Joseph Haydn: Hard-working Yet Humorous
Bela Gadgil (Lisa Shirah-Hilers, Austin MTA)
Hello! Welcome to the most fabulous show in Europe! This is Maria Anna Keller and I
am here to introduce you to one of the most influential musicians of the Classical era, Franz
Joseph Haydn, my husband. Haydn was born on March 31, 1732, in Rohrau, Austria. Though
neither of his parents had a musical history; his father was a wheelwright and his mother a cook,
Haydn developed an interest in music at a fairly young age. Both of his brothers pursued musical
careers just like Haydn. When he was six, his cousin recognized Haydn’s musical talent and
offered to teach him in a city nearby. Haydn would never return home, except for short family
visits after this.
At age eight, he started learning violin, keyboard, and various other instruments while in
the choir at St. Stephen’s Cathedral in Vienna. He stayed there for about nine years until he was
dismissed for cutting off another boy’s pigtail in the choir. Haydn was quite the prankster in his
childhood. After a while, Haydn received a job from Nicola Porpora, a composer who gave
Haydn lessons in exchange for being an assistant to Porpora. On November 26, 1760, Haydn
married me and we have been together ever since.
In 1761, Haydn was named “Kapellmeister” and became a court musician for the
Esterházy family, one of the most influential and wealthy families in Austria. This position
would support us for another thirty years. During his time with the Esterházy family, Haydn was
forced to become original with his work, since the rich family didn’t want to hear the same
pieces, however beautiful they were, repeatedly. Haydn became fairly famous for his work, and
was writing as much music for publications as he was for the Esterházy family! Several of these
pieces were commissions from abroad. One trick that Haydn is known for is selling the same
composition to several different people because of the lack of copyright rules back then.
Haydn came to feel lonely, isolated, and separated from other people and music, so with
the permission of the new Esterházy prince, Haydn moved to England in 1791 in pursuit of more
musical opportunities for himself. Haydn gained popularity in England, and it was in England
that he wrote some of his best work. In one year, Haydn earned as much money as he had earned
in twenty years in the Esterházy court. In 1795, he took up a part-time position again in the
Esterházy family and became one of Vienna’s public figures.
Haydn was also well known for his friendship with Wolfgang Amadeus Mozart, and for
being the teacher of Ludwig van Beethoven, one of his most celebrated pupils. Haydn was very
kind and good-natured to all of his friends and acquaintances, and for this reason, was named
“Papa” Haydn. Both Beethoven and Mozart were greatly influenced by Haydn and his work.
Mozart, in particular, was a close friend of Haydn even through their differences. One of
Mozart’s pieces, Requiem, was played at Haydn’s funeral. Unlike Mozart though, Haydn became
rich from composing his music.
61
Haydn was known for surprising the audience to keep them awake during his performances. He
played little musical tricks such as writing in a very loud note after a series of quiet notes. Along
with many of his other accomplishments, Franz Joseph Haydn also invented the string quartet. A
string quartet is a piece written for four string players, normally two violinists, a violist, and a
cellist. Haydn composed many pieces, including concertos, masses, operas, piano, and string
compositions. Throughout his life, Haydn composed around 100 symphonies, and was also often
called the “Father of Symphonies”, even though Haydn did not compose all of them. Franz
Joseph Haydn died on May 31, 1809, at age 77, in Vienna, Austria. He has been reburied many
times, the latest being in 1954.
Thanks for coming to the show! I hope you learned many things about our fellow friend
here, Franz Joseph Haydn and I hope to see you again soon! This is Maria Anna Keller, over and
out!
Bibliography:
http://www.biography.com/people/franz-joseph-haydn-9332156#later-years
http://www.classicsforkids.com/composers/bio.asp?id=27
http://www.britannica.com/EBchecked/topic/257714/Joseph-Haydn
http://www.artsalive.ca/en/mus/greatcomposers/haydn.html
http://kidsmusiccorner.co.uk/composers/classical/haydn/
http://www.makingmusicfun.net/htm/f_mmf_music_library/hey-kids-meet-franz-josephhaydn.htm
https://www.sfcv.org/learn/composer-gallery/haydn-franz-joseph
http://musiced.about.com/od/classicalmusicians/p/haydn.htm
62
Division VIA - Outstanding
The Case of Haydn
Sarah Son (Karen Lim-Smith, Denton MTA)
Detective Brunner opened the file. After a series of many unfortunate incidents, he had
finally been put on probation. Though he was being closely watched by his superiors, the only
cases they trusted upon him were, well, cold cases. The one he had just opened in particular was
years old. The report went as follows:
Year: 1820-Prince Esterhazy receives permission to move the body of renowned composer Franz
Joseph Haydn to Eisenstadt, the location of the Esterhazy estate. When the casket is opened to
identify the remains, it is found to be headless. No leads were found.
Startled, the detective reread the police statement. Franz Joseph Haydn was a prolific and
influential composer. Even the detective, famous for being oblivious to world affairs, had heard
of Haydn. If he were to solve this case, his career would take off! Determined, Detective Brunner
started for his home, resolved to solve the case of the missing head.
The detective started by conducting interviews. His first was with a former friend of
Haydn, back when the famous composer had been a young choirboy at the Cathedral of St.
Stephen. He told the detective about Joseph’s childhood, starting with the night of March 31st,
1732, in the quiet town of Rohrau, Austria.
“Haydn had been born into a peasant family. His father was a Cartwright, and his mother
was a housewife. After having twelve children, Joseph included, she passed away. Things may
have been tight, but Haydn always spoke about his childhood fondly. Igniting Haydn's passion
in music, his father encouraged his children to sing along while he played his favorite folk songs.
Music ended up having quite the impact in the Haydn family. You may recall the compositions
of his brother, Michael Haydn. "
"Because of his interest in music, Haydn moved in with a distant relative, who was a
schoolmaster and a choir director at a church. From him, he received an extensive musical
education!"
"In 1740, a choirmaster and court composer, Karl George Reutter, recruited both Haydn
and me. Haydn and I became friends. When Reutter expelled poor Haydn, he was sent out into
the streets of Vienna at the age of 17, with nothing but old raggedy clothes. And that was the last
I ever saw of Haydn."
Detective Brunner sat in silence, watching the reminiscing face of the former friend. But
he was still stuck. Though given quite an insight into the life of Haydn, he could not find any
obvious leads. Reutter had obviously died, and who knew the name of the pompous choirboy?
Frustrated, the detective moved on to his second interview, this time with a young musician who
had played with Haydn at the courts of Esterhazy.
“I only knew Haydn during his golden years, when he played for royal courts, and
audiences rushed to hear his symphonies. But before that, Haydn was quite poor. I heard he was
a sort of self-employed musician, teaching to children who lived nearby, and composing some of
his 104 symphonies. 104! My favorite was Surprise. How he startled the sleeping spectators with
that piece! Quite a funny man, he was. And inexhaustibly original! The way he developed a
63
simple tune into something complex. And he could always think of ingenious ways to transition
from one key to another! Oh, and the way that London Symphony left me bursting with a sense of
energy! It was quite amazing, hearing the ever increasing complexity, finesse, and style of his
works as the years progressed..."
The young musician seemed to ramble on for hours about the music of Haydn. Finally, he
ended his lecture, but only after explaining, in critical detail, Haydn's development of tonality
and musical form.
"Anyway, Haydn, or ‘Papa Haydn’, as some of us called him, ended up working at the
royal court. Why, we were all so very glad when he was rewarded with an honorary Doctor of
Music degree from Oxford University! Although many musicians are thought to be egotistic and
rude, Haydn was quite the opposite. Coming from humble beginnings, he became a successful
musician, and is even credited to being the ‘Father of Classical Music’. Undoubtedly, Haydn was
the strongest influence on music in his time.”
Disappointed, the detective headed home. He had been hoping Haydn had been a
condescending musician, but it seemed he was wrong. Detective Brunner had never been a very
good detective, but he could see it now. After days of pondering, he ceased the investigation,
because he knew. Only a madman could cut off the head of such a wonderful composer and
human being!
And a madman it was! Or madmen. Scientist Franz Joseph Gall was a phrenologist:
someone who studies the shape and size of the head as an indicator of a person's character and
mental abilities. Two of his followers, Joseph Carl Rosenbaum (a close friend of Haydn!) and
Johann Nepomuk Peter, stole Haydn's head just four days after he was buried. In 1954, in a large
ceremony at Eisenstadt, the head was returned to its body. Haydn was laid to rest.
Bibliography:
http://www.8notes.com/biographies/haydn.asp
http://www.artsalive.ca/pdf/mus/haydn_all_e.pdf
http://classicalmusic.about.com/od/classicalcomposers/p/haydnprofile.htm
http://inmozartsfootsteps.com/2227/the-strange-story-of-haydns-missing-skull/
64
Division VIA - Outstanding
Grandfather and the Jazz Masters
Elizabeth Batton (Sheryl Speelman, Conroe MTA)
My grandfather loves jazz. My memories of him blasting jazz throughout his house will
always be special to me, and since I don’t really know much about the jazz that I hear at his
house, he does what he can to explain it to me and to share his enthusiasm for jazz with all of us.
He even took my parents to jazz clubs in New York City when we visited him there (my
grandfather is from Buffalo, New York). He is a fan of Contemporary Jazz and his favorite
“Jazz Masters” are Oscar Peterson, piano; Paul Desmond, alto sax; John Coltrane, tenor sax; and
Ann Hampton Callaway, vocalist. Perhaps by learning a little about each of his favorite jazz
artists I can learn to share his passion.
My grandfather now lives in Canada. He still plays jazz at his house every time I visit.
Oscar Peterson was a Canadian born jazz pianist who is considered to be one of the greatest jazz
pianists of all time. He had a musical family and his sister, Daisy, gave him his first classical
piano lessons. Oscar was diligent in practicing the scales and etudes that developed the technical
mastery that he would be known for throughout his career. Peterson’s parents were immigrants
from the West Indies, but his piano studies were in the Classical European tradition. Consider
this legacy: he studied with Hungarian born Paul de Marky, a student of Istvan Thoman, a
student of none other than Franz Liszt! Liszt was known for his virtuosity on the keyboard and
Oscar Peterson clearly inherited that legacy. Peterson wrote his own book of Jazz Etudes, but
also asked his students to study the music of Bach, especially The Well-Tempered Clavier and
The Art of the Fugue. Ted Gioia said in his book, The History of Jazz, “Peterson’s command of
the keyboard was beyond reproach, and established him among a handful of post-war players
who successfully channeled the technique of the concert hall into a mainstream jazz piano
sound.” You can hear his technical mastery while listening to the Oscar Peterson Trio (piano,
bass and drums) perform C Jam Blues and Night Train. Oscar Peterson was awarded eight
Grammy Awards and multiple honorary degrees throughout his long career.
Paul Desmond was a jazz alto saxophone player best known for his work with the Dave
Brubeck Quartet. Desmond, a native of San Francisco, was a product of the West Coast’s cool
jazz scene despite the fact that he spent his childhood years living with family members in New
York. Paul first studied violin, then clarinet at the age of twelve, but didn’t begin playing alto
sax until college. Dave Brubeck and Paul Desmond worked together in military bands during
World War II. He was such an unreliable colleague that Dave Brubeck insisted on a written
Contract when the Quartet was formed…the Contract was only signed by Brubeck. Two of the
Quartet’s most famous jazz tunes are Take Five and Blue Rondo alla Turk. Both feature the light,
airy, lyrical tone of Desmond ‘s saxophone over Brubeck’s heavier piano progressions.
Desmond, a chain smoker, was only thirty-three years old when he died of lung cancer.
Back in New York, on 52nd Street, there was a raging debate about jazz characterized as
“Moldy Fig vs. Modern.” This referred to the separation between older, swing-style big bands of
the pre World War II era and the direction that Bebop was taking jazz. This new style of jazz
was called Modern Jazz. It took the same chord progressions and standard tunes of earlier jazz
and reworked the melody lines to include flatted ninths, eleventh and thirteenth chords, which
65
Beboppers called “upper chords.” The Beboppers continued to use a basic rhythm section with
drums, piano, string bass and sometimes guitar, but they preferred a small combo to the big band
sound. John Coltrane, another of my grandfather’s favorite jazz masters, was a Modern Jazz
saxophonist. His mother bought him his first saxophone when he was seventeen years old and
he was playing professional “gigs” with a piano and guitar trio within two years. Coltrane
jumped into the Bebop scene and began playing with other famous jazz musicians such as Miles
Davis, Lee Morgan, and even his idol, Charlie Parker. Coltrane’s first solo album, Giant Steps,
was released in 1958. Many consider the title track to have the most difficult and complex chord
progression of any popular jazz composition. John continued to develop these altered chords and
chord substitution cycles, known as Coltrane Changes, for the rest of his career.
My grandfather’s favorite jazz musician is pianist and vocalist Ann Hampton Calloway.
She is about as different as you can get from John Coltrane and Modern Jazz. Ann performs
frequently in concert halls, theaters (Broadway) and jazz clubs. Her songs are a mixture of
standards, jazz classics and original composition. She is one of the artists my parents heard with
my grandfather when they visited jazz clubs in New York. Ann asks the audience to call out a
name, an idea or a phrase, then improvises a song on the spot with piano accompaniment!
My parents weren’t “hip cats” hanging out in a Bebop Club on 52nd Street in New York,
but they still had a memorable experience listening to jazz with my grandparents. They enjoyed
listening to the music and, in the case of Ann Hampton Calloway, interacted with her to help
create new and uniquely improvised renditions of tunes from the American songbook. From
virtuosity, to complexity and simplicity, jazz is a constantly evolving and changing art form. I
think I understand that now, and I will have something to share with my grandfather the next
time he rattles the crystal by turning up the volume on his jazz CDs.
Bibliography:
Ann Hampton Callaway. http://www.annhamptoncallaway.com/bio.html.
Bach, J.S. The Well-Tempered Clavier. G. Henle Verlag.
Gioia,Ted. The History of Jazz. United States of America: Oxford University Press. 1997.
Paul Desmond. http://en.wikipedia.org/wiki/Paul_Desmond.
Shipton, Alyn. A New History of Jazz. New York: The Continuum International Publishing
Group, Inc. 2007, Revised Edition.
Discograohy:
Oscar Peterson – C Jam Blues. http://www.youtube.com/watch?v=NTJhHn-TuDY.
Night Train – Oscar Peterson Trio. http://www.youtube.com/watch?v=Dyip9jykZ7o.
Dave Brubeck – Take Five (Original Video). http://www.youtube.com/watch?v=PHdU5sHigYQ.
Dave Brubeck Quartet – “Blue Rondo a la Turk, ” live.
http://www.youtube.com/watch?v=j9GgmGLPbWU.
Its Alright With Me – Ann Hampton Callaway.
http://www.youtube.com/watch?v=2AVsJSxEFzo.
John Coltrane – Giant Steps full jazz album. http://www.youtube.com/watch?v=xr0Tfng9SP0.
66
Division VIB - Winner
The Legacy of the Dark Ages
Karla Chang Gonzalez (Diane Morrow, El Paso MTA)
“Father, don’t make me continue with this cursed theory, I despise it!” In an act of
defiance, I shove my music sheets in disgust and they cascade across the polished floor. It does
not convince my father. “Son, as a nobleman, you must continue your music studies.” “But
Father, it’s far too complicated.” “Complicated? Ha!” He lets out a booming scoff. “Music is in
your blood my son! Why, your great, great, great, umm… great, great… Well, your very great
grandfather invented music theory! You are a descendent of Guido d’Arezzo, history’s first
practical music theorist! I have some old journals of his... wait here.” He hurries out to the next
room. I hear him rummaging through files, and then, “Aha!” he returns and hands me an archaic,
leather-bound notebook with yellowing pages. I open the journal to the first page and find an
entry dated back to the year 1025, about two centuries ago! It reads:
“The not yet perfected pitches of the ‘Ut Queant Laxis’ resonate throughout the halls of
the cathedral school at Arezzo. I taught this ingenious melody to my students as a supplement to
yesterday’s lesson over solfeggio. This melody has served as an extremely useful tool in teaching
my students the solmization syllables that I invented, in which I gave a name to the first six steps
of a scale: Ut-re-mi-fa-sol-la, the hexachord. That is precisely why I’m having them practice it
everyday while I travel to Rome upon the summoning of Pope John XIX, to explain how I came
to be the most widely renowned musical theorist of my time.
Before I entered the world of music theory, there were numerous problems in the
discipline of music. The most prevalent was the complete lack of effective musical notation.
Choirs relied on memory when singing at masses. While memory was suffice for singing
Ordinary chants, which are prayers that are sung daily, it was troublesome when singing Proper
chants, which are not sung everyday and are easily forgotten. The only forms of musical notation
in existence were symbols called neumes, which describe the basic contour of the melody, but
are not nearly specific enough. I remember having my students sing from neumes once; they
managed to fill the chamber with nothing but jumbled cacophony. That was when I invented the
staff. My staff has four lines that, like rungs of a ladder, specify how wide intervals should be.
Thanks to what I like to call my “heighted neumes”, my students are the best of Europe, and all
of Europe knows it. Collectively, my solmization syllables, my staff, and my hand technique for
accurate singing (which many call the ‘Guidonian hand’, after myself) have earned me such
recognition that the pope himself wants me to meet me!
As a young boy, I recall dreading music classes. Each day I found speculative theory
increasingly questionable. Speculative theory, as the monks lectured, is the idea that music is
broadly defined as patterns that govern all aspects of the universe—the movement of the planets,
the cosmos, and even harmony between the human body and soul. I grew to find this notion
absurd, as speculative theory largely neglected the need for improvement in the practical
67
challenges of reading and performing music. Music must be a discipline, with strict measurement
and rules. It must be universal, like its own language. It must be…”
I turn the page, but find nothing more. The journal appears to have had several pages torn
from it. My father said “Guido d’Arezzo tore those pages out to publish them. On those pages he
wrote his most famous essay over the technical aspects of music theory. He called it Micrologus
de disciplina artis musicae. See son? Music is in your blood. Your very great grandfather would
want you to continue with your music schooling.” I set the journal on my desk. Ashamed, I
gather my music sheets from the floor. Guido d’Arezzo and I are quite similar, I think to myself.
“Father, I think Guido d’Arezzo disliked speculative theory because he disagreed with it. Well, I
disagree with music theory, so I will improve it, and make it less complicated!” Father smiles at
me. “And so you will, Franco.”
And so he did. Franco of Cologne came to further refine musical notation by developing
square notation: boxed shapes that represent note duration. It includes notes such as the longa,
brevis, and semibreves; the ancestors of quarter notes, eight notes and whole notes. In 1260,
Franco explained square notation in his Treatise Ars Cantus Mensurabilis. Square notation
allowed composers to assign duration to pitches, and this innovation opened the doors to
abundant changes in medieval music, an era known as “Ars Antiqua”. Before square notation,
music was strictly monophonic. Square notation allowed for the rise of polyphony, and its
evolution is seen in three stages: parallel organum, oblique organum, and free organum, each
more complex and innovative than its precursor. In the fourteenth century, measurement systems
grew in importance in music theory, and the earliest time signatures appeared. Thus,
compositions became increasingly intricate, and this era came to be known as the “Ars Nova”.
The Medieval musical period saw important innovations in music notation, musical
styles, and music theory. Although commonly referred to as the “Dark Ages”, the medieval
period was by no means idle in the development of the arts. It is thanks to the contributions of
many individuals such as Guido d’Arezzo and Franco of Cologne that music was able to develop
into what it is today. The very foundation of music as we know it lies within the advances of
medieval music.
Bibliography:
"Franco of Cologne Facts." Your Dictionary. Encyclopedia of World Biography, 1 Jan. 2004.
Web. 2 Dec. 2014. <http://biography.yourdictionary.com/franco-of-cologne>.
Palisca, Caulde V. “Guido of Arezzo.” The New Grove Dictionary of Music and Musicians. 2nd
ed. 2001. Print.
Swanson, Christopher. "Guido D'Arezzo." Sightsinging. Longwood University. Web. 1 Dec.
2014. <http://www.longwood.edu/staff/swansoncl/Sightsinging/GUIDO AREZZO.htm>.
Wilson, David Fenwick. Music of the Middle Ages: Style and Structure. New York: Schirmer
Books, 1990. Print.
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Division VIB - Outstanding
Medieval Music
McKenna Black (Debra Hadfield Plano MTA)
The Medieval time period brought many changes to the world of music through its
cultural influences, development of new instruments, and the beginning of polyphony. All of
these factors contributed to furthering the legacy of music throughout the Medieval Era in
Europe.
During the Middle Ages, cultural changes occurred in Europe due to foreign influence
from the Moors in Spain, as well as the Crusades. The Crusaders often brought back ideas and
music from their travels and ultimately impacted European music at the time. Medieval times
were the pinnacle of chivalry and courtly love, which influenced styles of music, especially
among the nobles and monarchies. Troubadours and minstrels were entertainers, poets, and
musicians who entertained noble families and royal courts alike with their ballads, which told
stories and legends. The strengthening of Christianity during the Dark Ages influenced
Medieval music by dividing it into sacred and secular music. Sacred music focused on religious
themes, usually of Christianity, and was used in worship. Secular music, however, included
music with themes of love, storytelling, and sometimes advertisement of products or services.
Before the Medieval Era, not many instruments were available to musicians. The
Renaissance and European re-devotion to Christianity resulted in a need for new instruments.
Many wind instruments were created or improved during this time such as the flute, which was
made of wood and could be played from a hole on the top or side, unlike today’s modern metal
flutes which are only played from the side. The recorder became popular during the Medieval
Era and has retained its original shape to this day. The pan flute, a predecessor of the flute, was
made of pipes of different lengths which produced different pitches. This instrument was
particularly popular during the Middle Ages and Medieval Era. Another wind instrument that
became widely used during this time was the salandj, an early type of bagpipe. String
instruments began to emerge during this time as well. For example, the dulcimer originally had
strings that were plucked; however, the emergence of new technologies resulted in metal strings
that were struck by small hammers. The lyra was the first European bowed, stringed instrument
from the Byzantine Empire which led to the creation of fiddles and early violins.
Throughout the Medieval time period, different styles and genres of music emerged;
largely due to influence from the church. During the early middle ages, monophonic Gregorian
chant was widely used as sacred music in churches for worship. Gregorian chant began to
evolve during the middle and high Medieval Eras. The plainchant could be doubled and sang in
parallel motion in the intervals of fourths, fifths, or octaves, which is called Organum and dates
back to the 9th century. In the high Medieval Era, polyphony emerged, first in the form of motets
which were choral pieces with lyrics and several different parts which were sung at the same
time. When they first became popular, their themes were exclusively sacred or liturgical. As
time went on, their themes began to encompass secular themes as well, such as courtly love and
general storytelling.
The Middle Ages marked the beginning of music notation and music theory. In the early
middle ages, no notation system existed because music was monophonic and therefore could be
69
transmitted by oral tradition. This approach proved to be ineffective as music became more
complex because it relied too heavily on the performer’s ability of memorization and familiarity
with the song. As a result of these problems, the neumes were created. Neumes were signs
written above lyrics or chants that directed the performer’s pitch. For example, acutus,
represented by the / symbol, indicated to the performer to raise the pitch of their voice. Gravis,
or \, told the performer to lower the pitch of their voice. These symbols gradually became more
elaborate as musical abilities increased with new instrumentation as well as polyphonic music.
Next, heightened neumes were created, giving the performer rough estimates of pitch and the
interval by which to change their pitch. Heightened neumes gave the performer direction of
pitch movement and used lines to designate where pitches were in relation to one another. This
system led to the creation of the four-line staff that we use today, which was created by Guido d’
Arezzo; one of the most influential theorists of the Middle Ages. Even once this system was
fully developed, however, there were no means by which to portray rhythms.
Medieval music is important to understanding modern music because of its significant
contributions. The cultural emphasis of secular music, the development of new instruments, and
a notation system that is still in existence today emphasize the relevance of Medieval music in
modern times.
Bibliography:
Medieval Music." - Medieval-Period.com. N.p., n.d. Web. 28 Jan. 2015.
Medieval Music." Medieval Music. N.p., n.d. Web. 28 Jan. 2015.
Medieval/Renaissance Music." Medieval/Renaissance Music. N.p., n.d. Web. 28 Jan. 2015.
Middle Ages Music." Middle Ages Music. N.p., n.d. Web. 28 Jan. 2015.
70
Division VIB - Outstanding
Medieval Music
Jeremy Doan (Debra Hadfield, Plano MTA)
Music today is so much more than simply just music. It has become an art by which
people can express themselves, share ideas, and reflect on past, current, and future events. Each
era in music has always been heavily influenced by preceding styles, seeking to mimic, alter, or
even differ drastically from the music of generations past. To gain a full understanding of music,
it is imperative to look into one of the oldest and most influential periods of music, the Medieval
Era. Extending nine hundred years from 500 to 1400 AD, the Medieval Era is the earliest
recognizable era in music history, seeing the first emergences of distinct music forms and styles.
Throughout the era, music was written primarily for religious purposes, and received a
great deal of influence from the church as a result. Being the main patron of the arts, the church
trained many musicians of the period, and preserved the majority of medieval music that exists
today. One of the earliest forms of music was found in the form of chanting prayers, or
Gregorian Chant. Extremely simplistic, Gregorian Chant did not feature background instruments
or secondary harmonies. Instead, the music was monophonic, consisting solely of one melody
without harmony or accompaniment. Gregorian Chant was one of the first styles of music to be
fully transcribed, using a system of squares and lines to denote each note’s relative pitch when
compared to adjacent notes. Primarily sung by monks during religious ceremonies, Gregorian
Chant remained the predominant form of music throughout the early Medieval Era.
Approximately four centuries later, around 900 AD, the musical concept of harmony
began to take hold in vocal church music. The simple two-part harmony took the form of either a
melody over a low, droning note, or the more complex form consisting of two pitches being sung
at the same time. With the addition of the second part, Medieval music took on new dimensions,
and allowed composers much greater latitude with their musical creativity. One such composer
was Hildegard von Bingen, a German nun known for over 70 pieces of Gregorian Chant.
Renowned for writing especially melodic music compared to the majority of mid-Medieval
works, von Bingen made use of unique note leaps and a wide range of pitches. One of her most
famous works, Ordo Virtutum, is a religious morality play with unique musical parts for each
character. Her most extended musical work, Ordo Virtutum was written in 1151 and can be
considered one of the major influences on oratorios of later eras. With the introduction of more
complex harmonies and melodies by composers such as von Bingen, the middle part of the
Medieval Era took a great step forward in developing the styles and forms introduced in the early
Medieval period.
Towards the late 11th century, church music developed more and more complex
secondary parts, eventually becoming polyphonic—consisting of two or more different melodies
71
sounding at the same time. The credit for developing this new texture can be given to the French
composer Leonin and his student Perotin. Composers of the Notre Dame Cathedral in Paris,
Leonin and Perotin were not only the first to develop and use polyphony in their compositions,
but also the first to establish a set of preliminary guidelines on how to use the style in church
music. These new developments were particularly significant because the main school of thought
of the time, Ars Antiqua, required that everything new, including musical compositions, be based
off of something old. This meant that the majority of music during the time followed extremely
closely behind previous music, leaving little room for creativity. Leonin and Perotin worked
around this by creating parallel rhythms and harmonies between the original pieces and the
added accompaniments. Leonin wrote two-part vocal music, while Perotin went further and
composed in three or four vocal parts. This new multi-part chant became known as organum.
Their compositions were recorded in a book called the Magnus Liber Organi. Originally written
by Leonin, Perotin modified and revised the book, adding new concepts and ideas. Their new
ideas also led them to develop a new form of rhythmic notation, using different types of notes to
indicate different note lengths. Eventually, their multi-part compositions gave rise to songs with
multiple vocal parts and differing texts, known as motets.
Over the nine hundred years of the Medieval Era, music made many great leaps and
underwent numerous changes. With the help of innovative composers such as Hildegard von
Bingen, Leonin, and Perotin, the concept of music was slowly molded over time, becoming the
core influence for many later eras to come, from the Baroque Era to the more modern
Contemporary Era. Music of the Medieval Era not only defined one of the earliest musical
generations, but also laid the foundation of musical styles and structure for generations to come.
Bibliography:
“Vocal Music of the Cathedral Notre-Dame di Paris in the year 1200”, 2011 – Vox Nostra,
07/23/2011. <http://magnatune.com/artists/albums/voxnostra-notredame?song=2>
“What is Medieval Music? – History, Church Music and Composers”, Educational Portal.
<http://education-portal.com/academy/lesson/what-is-medieval-music-history-churchmusic-composers.html#lesson>
“What is a Gothic acoustic?”, Benjamin Bagby, Sequentia.
http://www.sequentia.org/writings/Gothic_Acoustic.pdf
Discography:
“Medieval Music Vox Vulgaris – Stella Splendens”, uploaded on Dec 27, 2009.
<https://www.youtube.com/watch?v=YfbuP40bpiU>
“Early Middle Ages Music”, uploaded on Sep. 17, 2013.
<https://www.youtube.com/watch?v6GRLRm9oKUM>
“Medieval Music Ultimate Grand Collection”, uploaded on Apr 17, 2013.
https://www.youtube.com/watch?v=7RCM2leiB00
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Division VIB - Outstanding
“A Story”
The Tale of Medieval Music
Alex Dominic (Naulene Pittman, Grand Prairie MTA)
I sat on a rattling wooden stool, weary from my far away travels. I faced the bar waiting
for my flagon of ale and listening to the musician softly sing and play his vielle. The barkeep
poured me a drink as I surveyed my surroundings. The tavern was a large shadowy room filled
with the aromas of woods and meats. I got up and started making my way towards the musician,
stepping over and around the revelers scattered about the room. He was humming and strumming
his instrument as I walked up to him, he didn’t even glance toward me as I sat down a few feet
away. “Any requests”? He said, still softly strumming. “A story” I said, not sure why I had said
it. He stopped; it went silent except for patrons laughing by the bar.
Minutes later, he began strumming again but this time there was a melody to the music. It
was quiet when he began to talk with the melody. I was barely able to distinguish what he was
saying over the noises of the tavern. He started saying things I’ve never heard before, something
about music and the era we’re in. He sang of things I didn’t understand, music and instruments
of all different kinds. I could hear “pan flute, lute, mandore”. I can only assume what those were.
And then it dawned on me, he was singing about music of a time period long before my own. It
was then that I decided I would sit and listen until the very end.
Early medieval music began with a chant, the earliest known music of the Christian
church. Chants were formed in many different European countries, most importantly Rome,
Milan, and Ireland. Chants were created to support religious gatherings, each area creating their
own. Around 1011 A.D. the Catholic Church wanted to standardize chant, that meant combining
Roman and Gallizan chant styles, this became known as the Gregorian chant.
During the ninth century, singers began to experiment with adding more than one part to
a chant, usually in perfect fourth or fifth above the original. This idea was called organum and
brought about the first representation of harmony. Throughout the centuries oganum changed
and grew into “florid organum”, one person would play/sing long notes and another would sing
quicker notes, often very elaborate. With this growth came more experimentation than just fourth
and fifths, people began using different intervals, especially thirds.
Liturgical drama originated around the same time period, representing Christian stories
about the gospel and the lives of saints. The majority of Europe had developed some kind of
musical/musical drama, involving acting and singing in some combination. These liturgical
dramas were mostly performed by traveling actors and musicians.
Popular songs, not generally connected to the church, came about during the 12th and 13th
centuries. The bands and musicians playing them became wealthy. The most famous of these
were the French trouveres and troubadours, often playing rhythmic and lively melodies. The
subjects of the majority of these songs are love, joy and pain. Although secular music was
undoubtedly played on instruments during the Middle Ages, instrumental dance music didn’t
develop until much later.
Ars nova began in the early 14th century in an effort to make a new style of music. The
development occurred that the beat could be subdivided into two equal parts, syncopation was
73
created and polyphonic music became extremely complex and difficult. The term Ars Antiqua
refers to the music of the proceeding age.
In the later 14th century, Italy became much more a music center of Europe with the rise
of trecento. Trecento is Italian secular music featuring cantalina style, a florid top voice
supported by two more regular and slow moving voices. This eventually influenced the
development of the trio texture. There were three main forms of trecento; madrigal, caccia, and
balata.
Leaving the medieval era of music is very gradual; many can’t differentiate the end of
medieval from the beginning of renaissance. The two blend together at the end of the 14 th
century.
That was the end of the singer’s story; he put down his vielle, picked up his cloak and
began to walk toward the door. As he was leaving the tavern I chased after him, having many
questions about what he had just told me. I stepped outside into the mist and realized he was
gone.
Bibliography:
http://www.ipl.org/div/mushist/middle/
http://www.medieval-life-and-times.info/medieval-music/medieval-music.htm
http://en.wikipedia.org/wiki/Medieval_music
Discography:
https://www.youtube.com/watch?v=6GRLRm9oKUM
74
Division VIB Outstanding
A Unique Past: Music and History of the Medieval Period
Emily Hu (Anna Farish, Denton MTA)
When I step onto the unpaved roads, I feel like I’ve travelled through time. Crowds
dressed in peasant vests and lace dresses sweep me along dusty paths. Dancers weave in and out
of the crowds in mists of crimson and gold. Kids slink around mud-stained walls, dragging Black
Death over themselves with rags and posies. A Crusader brushes past me, bearing sword, shield,
and armor engraved with the Christian cross.
When I agreed to visit the Medieval Festival, I thought I would just watch a joust or two
and be on my way, but of course the festival turns out to be so much more. The Middle Ages
span a long period of time – roughly 500 to 1400 CE. In context, the period mediates between an
ending and a beginning – between the fall of Rome that ended the Dark Ages, and the rebirth that
defined the Renaissance. Although continuous with the periods before and after it, the Medieval
period is unique in its events, culture, and arts.
I pass a minstrel sitting cross-legged on a wine-barrel in front of me; his porcupine
eyebrows furrow in concentration as h monotones a Gregorian chant. I slip into the circle of
villagers who are swaying to his chants. Medieval music is as distinctive as the period itself.
From what we know, music started off in unison, with the religious choirs of plainsong. Most
surviving pieces from the Middle Ages are religious and coincide with the rise of Christianity
during the Dark Ages. The first of these religious plainsongs were slow and without harmony.
They were called Gregorian chants after Pope Gregory I who codified them during the 6th
century. The first known great composer, Hildegard of Bingen, wrote plainsongs during the 12th
century. One of her most famous compositions is the “Scivias” or “Knowledge of the Day.” The
minstrel may be chanting one of Hildegard’s works.
Rhythms and harmonies that anyone would recognize would not appear until the 11th
century, when Guido of Arezzo developed a system of musical notation. Composers like Lèonin
in the 12th century and Pèrotin in the 13th century started to write polyphonic music called
“organa,” developed from sacred music. One voice gave way to two, then three and four. These
“organa” were performed in the Notre-Dame Cathedral after it was constructed in the 12th
century. The building’s enormous acoustics gave rise to a new style of music and to the Notre
Dame School of composers. We know this period from the 12th to 13th centuries as the ars
antiqua – “old art.” Then, in the 14th century, came the ars nova – “new art.”
The ars nova was a radical movement driven by experimentation. Composers innovated.
French composer Guillaume de Machaut is one who led the movement. He wrote about courtly
love and created motets, polyphonic compositions that fit two or more different voices together.
He was the first to use polyphony for the Ordinary of the Catholic Mass, the segment of worship
that uses the same text for each mass. He was also the first composer who was conscious of his
achievements and who preserved his work for posterity. His best known work is the “Messe de
Notre Dame,” or the “Mass of Notre Dame.” Another prominent composer was Francesco
Landini, renowned for his work during the Trecento – a period in Italy in the 14th century with
great emphasis on polyphonic secular music. And then came Guillaume Dufay, who defined
early Renaissance music.
75
The Middle Ages encompass such a massive period of time, yet all the culture and styles
revolt within the last two centuries. The changes bury the Medievals in a landslide of
development, although, a few groups existed from the beginning – the waits, the troubadours, the
trouvères, and the minstrels.
The waits were the town band. They were usually a group of your musicians who played
at ceremonies and for entertainment, using shawms and hautboys – pipes similar to the modern
oboe. They used to be alarms – ones for the town watch, shrieking on their pipes to raise an alert,
or ones for the people, waiting for the sunrise like roosters to trill sleepers from their dreams.
Eventually, they became the town’s personal band, because everyone needs some music.
Troubadours were southern French aristocrats from the 11th to 13th centuries. They were
itinerant bards, writing and singing in the language Provençal. Then there were trouvères, 12th
and 13th century elite troubadours from northern France. They used langue d’oil, or French.
There were also minstrels, who sang in castles and courts. They took to wandering when the
troubadours started to displace them.
With lyres, flutes, or tambourines to accompany them, these poets and performers gave
stories a singing voice. They’re really all just timeless musicians with timeless rhymes, waltzing
with instrumental tongues into myths, legends, and ballads of courtly love and chivalry.
Perhaps the Middle Ages aren’t so different from other times. Each period may have its
own unique themes, but they’re all made up of people, trying to live and trying to find music in
their lives. The periods all encompass passion and experimentation. They harbor revolutionaries
who transform. The metamorphose to something newer and better, leaving the past in the past,
and leading to where I am, in the present, listening to a Texan minstrel finish a Gregorian chant
at a Medieval Festival.
The past is important. We learn from it, and we draw inspiration from it. From it, we
keep moving. Anyone who embraces a culture from the past is someone to be admired.
“Hey, mister!” I call to the minstrel. “How about an encore?”
Bibliography:
Alchin, Linda. “Medieval Music.” Medieval Life and Times. Siteseen Ltd., June 2014. Web. 6
Jan. 2015. <http://www.medieval-life-and-time.info/medieval-music/medieval-music.htm>.
“Beginning and Progress of the Renaissance.” History of the Renaissance in Europe: A Rebirth,
Renewal, Rediscovery. Ed. R. A. Guisepi. History World International, 2007. Web. 11
Jan. 2015. <http://history-world.org/renaissance.htm>.
Sherrane, Robert. “Music History 102: The Middle Ages.” Ipl2. Drexel University, 2012. Web. 8
Jan. 2015. <http://www.ipl.org/div/mushist/middle/>.
“The Medieval Period 590 - 1400.” Cutting Through Classical. Sinfini Music, 2014. Web. 6 Jan.
2015. <http://www.sinfinimusic.com/uk/learn/periods/medieval>
76