Document Sample
ESCAPE INTO SPACE_ Powered By Docstoc
					                                                                                                                   TITLE SPONSOR

                                                                                              2009-2010 YOUTH CONCERTS
                                                                                                          CONCERT GUIDE

         ESCAPE INTO
      Following his travels with the Orchestre symphonique de Montréal in the concerts
   A Trip Around the World, presented in 2007, and Adventure at Sea, performed in 2008,
               Octavio returns with his newest adventure, Escape into Space!

    Aboard an extraordinary “music-fuelled” spacecraft, Octavio blasts into orbit, where he
  will be accompanied by his faithful travelling companion, conductor Jean-François Rivest,
    inspired by his mentor, astrophysicist Hubert Reeves, and guided back to earth by his
friend, astronaut Julie Payette. Along the way, he has some astonishing “encounters of the
        third kind” on a few of the planets he visits. Buckle up for an exhilarating ride!

                                                                                                      THE YOUTH CONCERTS ARE PRESENTED BY:
                                              THE CHILDREN’S CORNER SERIES IS PRESENTED BY:

Proud to support music education at the OSM
                                                                                                              The crew
                                                                                                              Jean-François Rivest
                                                                                                              Conductor at the controls
                                                                                                                                                     Jean-François Rivest was the
                                                                                                                                                     OSM’s conductor in residence
                                                                                                                                                     from 2006 to 2009, during which
                                                                                                                                                     time he had three duties: to assist
                                                                                                                                                     Kent Nagano during rehearsals,
                                                                                                                                                     to help develop the Orchestra’s
                                                                                                                                                     youth programming, and to pro-
                                                                                                                                                     mote contemporary music—with
                                                                                                                                                     a focus on Canadian music in par-
                                                                                                                                                     ticular—while forging strong ties
                                                                                                                                                     with the Montreal community.
                                                                                                                                                  Jean-François believes that the
                                                                                                                                                  imagination plays an important
                                                                                                                                                  role in music: “A work of music
                                                                                                                                                  is a complete entity that has its
                                                                                                              own life, history, elements, molecules, and universe.” The works
                                                                                                              on the program of Escape into Space! were all chosen because they are
                                                                                                              linked to emotions and can be thought of as psychological portraits
                                                                                                              that could accompany Octavio on his extraordinary adventure through
                                                                                                              Some of the pieces make obvious reference to the planets themselves,
                                                                                                              such as “Mars” from Holst’s The Planets, or Mozart’s “Jupiter”
                                                                                                              Symphony, an animated and spirited piece, full of “positive energy and
Table of contents                                                                                             pure joy,” according to Jean-François. Others were included in the pro-
                                                                                                              gram because they evoke certain emotions, like Shostakovich’s Tenth
THE CREW .................................................................................................2   Symphony, for example, which conveys an impression of impending
        JEAN-FRANÇOIS RIVEST,                                                                                 danger. “It’s unbelievable how, with just a few notes, music can
        CONDUCTOR AT THE CONTROLS ...............................................2
                                                                                                              transport us elsewhere!”
                                                                                                              Jean-François has an unbridled curiosity and loves to deconstruct
        MAXIME GAUDETTE, ALIAS OCTAVIO .....................................3                                 musical scores to discover new dimensions within them. “A musical
        THE NATIONAL CIRCUS SCHOOL ...............................................3                           work is a window onto the world. What sets human beings apart from
        THE CANADIAN SPACE AGENCY................................................3                            other animals is curiosity. It is what has spurred our evolution ever since
                                                                                                              we lived in caves!” He admits to having been a science fiction fanatic
        JULIE PAYETTE, ASTRONAUT ................................................. 4-5
                                                                                                              since he can remember, and, for many years, an avid reader of Scientific
        HUBERT REEVES, ASTROPHYSICIST .........................................5
                                                                                                              American and various works on cosmology. He says he is continually
        JOHN ESTACIO, CANADIAN COMPOSER ..................................6                                   awestruck by the beauty of nature and the universe. “They are the back-
SHOSTAKOVICH .......................................................................................7         drop that helps us put things into perspective. It gives me immense
MUSICAL SIGNATURE .............................................................................8              pleasure to discover the wealth of beauty that resides in the smallest
                                                                                                              details.” From the infinitely minute to the infinitely vast, “that is how
“MARS” FROM THE PLANETS .............................................................. 9
                                                                                                              music is constructed. We can compare musical themes or motifs to mo-
PERCUSSION ...........................................................................................10
                                                                                                              lecules and atoms.” He illustrates this point using the two-note motif
THE MOON ...............................................................................................12    from the first movement of Beethoven’s Ninth Symphony, which in-
QUIZ - WHO WANTS TO BE A MUSICAL MILLIONAIRE? ...............14                                               fuses the entire work with energy and tension, in the same way as does
TEACHER’S PAGE...................................................................................15           the famous G-G-G-E flat, da-da-da-dum, opening of his Fifth Symphony.
                                                                                                              “We need energy—a motor—to move. The rhythmic energy in music
ADDITIONAL INFORMATION ..............................................................16
                                                                                                              provides us with just that sort of drive!”

2               Escape into Space! concert guide
Marie-Lou Dion                                                                  Maxim Gaudette
Scriptwriter and director                                                       alias Octavio
                                       After her successful production                                                   Maxim Gaudette is thrilled to take
                                       A Trip Around the World, which                                                    on the role of Octavio, a modern-
                                       garnered the “Best Production                                                     day space ranger. Since graduating
                                       for Young Audiences” Prix Opus                                                    from the Conservatoire d’art drama-
                                       in 2007, and Adventure at Sea, pre-                                               tique de Montréal in 1997, Maxim
                                       sented in 2008, Marie-Lou Dion                                                    has acted in theatre, film, and
                                       returns with a brand new show for                                                 television. He played Dartagnan—
                                       young audiences, Octavio’s third                                                  another adventurer—in Les trois
                                       adventure, Escape into Space!,                                                    mousquetaires, by Fernand Rainville,
                                       which she wrote and also directs.                                                 for which he was nominated for a
                                       This is her fifth script and the sixth                                            “Best Actor” Masque in 2002 by the
                                       production she has directed for                                                   Association des professionnels des
                                       the OSM.                                                                          arts de la scène du Québec (APASQ).
An actress who gained public recognition principally through her role           He has appeared on stage in a number of Montreal theatres, under the dir-
as Antoinette in Le Temps d’une Paix, Marie-Lou has devoted herself to          ection of such acclaimed directors as Claude Poissant, Denise Filiatrault, Yves
directing, scriptwriting, and coaching actors for the last fifteen years.       Desgagnés, Martin Faucher, Serge Denoncourt, Alice Ronfart, Normand
Before training in drama at the Conservatoire d’art dramatique de               Chouinard, and René Richard Cyr.
Montréal, she studied music at the École de Musique de l’Université             He starred in the television production of L'Ombre de l'épervier and
Laval, which paved the way naturally to her present career in the field         has also appeared in Fortier, Grande Ourse, and Virginie. Maxim was
of classical music. In addition to her collaborations with the OSM,             part of the cast of the hit TV series Lance et compte, in the episodes
she has written and directed several productions with the Orchestre             La reconquête, La revanche, and Le grand duel. Since 2008, audiences
Métropolitain, trained singers for solo recitals, and directed concerts for     have watched him in a new role, in L’Auberge du chien noir, on Radio-
the Atelier lyrique de l’Opéra de Montréal, where she has also worked as        Canada. In 2010, he will appear in the movie Incendies, directed by Denis
an acting coach since 2002.                                                     Villeneuve, based on a play by Wadji Mouawad.

The National Circus School                                                       The Canadian
                             The only school to provide advanced circus          Space Agency
                             arts training in North America, the National
                                                                                 Established in 1989, the Canadian Space
                             Circus School is an institution for higher
                                                                                 Agency (CSA) coordinates all civil space-
                             education that also offers academic subjects
                                                                                 related policies and programs on behalf of
at the secondary and college levels. Its primary mission is to prepare
                                                                                 the Government of Canada. The CSA directs
circus artists. It is intended for young people between 9 and 17 years
                                                                                 its resources and activities through four key
of age who wish to undertake professional training either while pur-
                                                                                 areas: earth observation, space exploration and science, satellite
suing their primary or secondary education or within a full-time arts
                                                                                 communications, and space awareness and learning. By lever-
and studies high school program. Andréanne Nadeau (arial hoop) and
                                                                                 aging international cooperation, the CSA generates world-class
Jonathan Morell (contortion and balancing) are graduates of the three-
                                                                                 scientific research and industrial development for the benefit of
year higher education collegial studies program that leads directly to a
professional career.
                                                                                 The OSM wishes to acknowledge the special collaboration of the
                                                                                 Canadian Space Agency and astronaut Julie Payette in the mak-
                                                                                 ing of the concert Escape into Space!
                                                                                 Ms. Payette graciously allowed us to film her for certain scenes
                                                                                 that will be projected on a giant screen during the concert, and
                                                                                 she also answered a few questions that will let our young audi-
                                                                                 ences discover her great love of music. In addition, the CSA grant-
                                                                                 ed the OSM access to a multitude of images of outer space and
                                                                                 of Ms. Payette’s most recent mission, provided by NASA, which
                                                                                 will be projected during the performance and which we have also
                                                                                 used in the pages of our teacher’s guide.

                                                                                                                     Escape into Space! concert guide        3
Julie Payette
Astronaut and musician
Before joining the Canadian Space Program, Julie Payette conducted
research in computer systems, natural language processing, and auto-
matic speech recognition. In June 1992, the Canadian Space Agency
(CSA) selected her from among 5,330 applicants to become one of four
new Canadian astronauts. She joined NASA’s Astronaut Corps in 1996,
and was assigned to work on technical issues in robotics and the ro-
botic arms used in space. Julie was also chief astronaut for the CSA from
A veteran of two space flights, Julie Payette has logged over 611 hours
in space. From July 15 to 31, 2009, she served as the flight engineer on
the crew of STS-127 aboard the space shuttle Endeavour. During this
16-day mission, the astronauts travelled to the International Space
Station, performed five spacewalks, and made 248 orbits of the Earth,
travelling 10,537,748 million miles in 15 days, 16 hours, 44 minutes, and
58 seconds.
Julie is fluent in French and English, and can converse in Spanish, Italian,
                                                                               3       Who are your favourite composers? Are there any works in
                                                                                       this program that you particularly enjoy?
                                                                               That’s a hard question to answer, because I enjoy so many different
Russian, and German. She plays the piano and the flute, and loves to           styles of music and have many favourite composers.
sing. She was delighted to answer a few questions on the subject of her
                                                                               As far as classical music is concerned, I’m a big fan of the baroque pe-
musical interests.
                                                                               riod, with a preference for the early music of Handel, Bach, Marcello,

1   You’ve had the chance to travel into space more than once. Was it
    as exciting each time?
We prepare for years to earn the privilege of working in space. Since
                                                                               Pergolesi, and Purcell. I have a weakness for Wolfgang Amadeus Mozart,
                                                                               whose music is so beautiful. A little closer to our era, there’s Chopin,
                                                                               Berlioz, Brahms, Tchaikovsky, Grieg, Prokofiev, Copland, Gershwin,
mankind began to explore outer space—the Russians made the first
spaceflight in 1961—only about 500 people have travelled to space. It          At home, we listen to a variety of genres, from children’s music (Barry
is a unique, and still highly uncommon, experience. Reaching that goal         Gray, Henriette Major), to blues, rock, and pop. We love to put on music
requires a lot of hard work and years of training, but it’s all worth it,      we can dance to, like rock ‘n’ roll, French singers like Piaf and Asnavour,
especially to have the chance to observe our magnificent planet from           Quebec groups like Beau Dommage and Mes Aïeux, and alternative
high above.                                                                    music like Quidam and Secret Gardens.

2        What role does music play
         in your life?
A huge role! At home, music is part of our daily life:
                                                                               This program is really interesting, with a rich mix of styles and some
                                                                                     major works. The first movement of Brahms’ First Symphony is one
                                                                                         of my favourite pieces. And to listen to John Williams’ Star
                                                                                            Wars theme played by a live symphony orchestra is really
we sing, we play instruments, we play the tambour-                                            impressive!

ine, we go to concerts, and we listen to all kinds of
music! We have two pianos (including a grand                                                               What about music on a space flight? Does
piano), a guitar, several flutes, a harmonica, a                                                           everyone listen on their own MP3 player
xylophone, percussion instruments, four MP3                                                         or is music piped in through speakers in the
players, a huge collection of recordings, and                                                       shuttle for all to enjoy? Do the astronauts all
a lot of stereo equipment. I played in or-                                                           share the same musical tastes?
chestras and sang in choirs for a long                                                                  Each astronaut has their own MP3 player with
time, and, as soon as I have a little                                                                     their personal playlist. But the shuttle is
more time, I hope to take up choral                                                                        outfitted with small speakers, so when we
singing again.                                                                                              have some free time—during supper,
                                                                                                              for example—we’ll put on something
                                                                                                               everyone can listen to. On board the
                                                                                                                International Space Station, you’ve got
                                                                                                                 a mix of Russian, American, Japanese,
                                                                                                                  Canadian, and European astronauts,
                                                                                                                  so it’s not unusual to hear music
                                                                                                                   with lyrics in languages from their

4          Escape into Space! concert guide
countries, as well as many others, too. Everyone shares their music, and,
                                                                                    Did you know that some OSM recordings have already travelled
in this way, we often make wonderful discoveries that we may other-
                                                                                    into space? The STS-96 mission, on board the space shuttle
wise never have known. One of my greatest pleasures in space was, at
                                                                                    Discovery, took with them a CD of the Orchestra’s recording of
the end of a full day, to put on my headphones, let myself float towards
                                                                                    Holst’s The Planets, where it completed 153 orbits of the Earth,
a window, and gaze out at the Earth below. It was like a lullaby before
                                                                                    travelling more than 6 million kilometres in 10 days, from May 27
I went to sleep!
                                                                                    to June 6, 1999.
Also, each morning in space, as a wake-up call, ground operations at
                                                                                    For her last mission, Julie Payette tucked the
mission control would broadcast a special piece of music into the space
                                                                                    CD Ideals of the French Revolution, which con-
shuttle cabin. Each piece was chosen for one of the astronauts. During
                                                                                    tains, notably, Beethoven’s Fifth Symphony,
my last space mission in July 2009, over the course of 16 days, I had two
                                                                                    into her luggage. She also brought along a
wake-up calls dedicated to me: the first was the theme from a 1960s
                                                                                    score of the work that had been used in per-
children’s TV series called Thunderbirds, and the second was the so-
                                                                                    formance by almost all of the OSM’s music
prano duet “De torrente in via bibet” from Dixit Dominus, by G.F. Handel,
                                                                                    directors since the Orchestra was founded.
one of the most exquisite baroque melodies in the world!
                                                                                    This score was sealed in a capsule along with
                                                                                    other objects, but will soon return to the
                                                                                    OSM, framed and signed by Julie Payette.

   Hubert Reeves                                                                   In a letter he posted on his website on March 23, 2009, he said: “The
                                                                                   story of mankind is in perpetual evolution, and humanity changes in
   Astrophysicist and music lover
                                                                                   step with the latest scientific discoveries and technological advance-
                                       Hubert Reeves is a Canadian astro-          ments. We are thus different from our ancestors, but I recognize that
                                       physicist who was born in 1932 in           we share something in common: our attraction for creative activity.
                                       Montreal, Quebec. He served as              When I first come into contact with an artistic work, I don’t know
                                       a scientific consultant for NASA’s          if I will assimilate it into my internal catalogue. That may come in
                                    PHOTO: LOUIS-ÉTIENNE DORÉ

                                       Institute for Space Studies in New          time. The profound harmony I feel for any given work, be it liter-
                                       York, was the director of research of       ary, pictorial, architectural, or musical, becomes a part of me. And
                                       the Centre national de la recherche         each time I read, or see, or hear that same work, the same vibrations
                                       scientifique in Paris, worked for the       resonate within me once more.
                                       Service d’astrophysique de Saclay,
   and was a professor in the physics department of the Université                 We are intelligent beings, but with art, it is our senses that dominate,
   de Montréal. He taught cosmology at several universities, has pub-              and this was true even in the most ancient of human societies. This
   lished a number of books, including Poussière d’étoiles, Patience dans          legacy, passed down through the ages, has always underpinned my
   l’azur, and, most recently, Petite histoire de la matière et de l’univers. In   solidarity with human beings, without regard for distances in time
   addition, he is the president of France’s Ligue ROC, whose mission              or space.”
   is the preservation of wildlife, and is a much sought-after speaker.
   Hubert Reeves has been listening to classical music since childhood.            The OSM extends its heartfelt thanks to Hubert Reeves for his
   He counts among his close friends the Quebec composer Gilles                    generous participation in the preparations for Escape into Space!,
   Tremblay, who will be celebrated across Canada in 2009-2010 as part             and especially for taking part in the filmed sequences that will be
   of the Société de musique contemporaine du Québec’s Tribute Series.             shown during the concert.

     One of the pieces featured on the program, Beethoven’s                                                        Another well-known scientist was
     “Pastoral” Symphony, was specially chosen by Mr. Reeves. “I’ve                                                also an ardent music lover: Albert
     loved this work since I was a child,” he says. I’ve heard it dozens                                           Einstein. An accomplished violin-
     of times, and I could go on listening to it indefinitely. Every time                                          ist, he played his instrument every
     I listen to it, right from the very first bars, I fall under its magic;                                       day. He maintained that it freed his
     it never fails to entrance me. For me, this piece is the perfect                                              spirit and allowed him to concentrate
     example of the hypnotic spell music can cast over a person; it                                                on the problems of physics he was
     is an image of perfect joy. This is the only way I can describe it;                                           working on. He enjoyed playing with
     the rest is beyond words. I would like everyone to hear this work                                             friends, among them some rather
     and to let themselves be transported by its perfect accents. For                                              notable people, including Queen
     those who don’t know it, I want to say that a source of great joy                                             Elizabeth of Belgium.
     awaits them, and I invite them to go and drink deeply from it.”

                                                                                                                      Escape into Space! concert guide        5
    Aurora borealis
    Contrary to popular belief, the aurora borealis are not caused           The Earth is like a giant magnet that produces a magnetic field.
    by sunlight reflecting off polar glaciers into the sky, but are the      The region surrounding the Earth controlled by this magnetic
    result of solar winds from the sun interacting with gases in the         field is called the magnetosphere. It protects the Earth by
    Earth’s atmosphere. Solar explosions cause particles to be thrust        deflecting solar winds and preventing them from disturbing the
    into space, which is what causes solar winds. These blow to-             Earth’s atmosphere. The electrically charged particles emitted
    wards Earth at a velocity of approximately 250 to 300 kilometres         by the sun after a solar explosion are diverted around the mag-
    a second, but they can reach up to 700 kilometres a second,              netosphere, but are attracted to both of the Earth’s poles: the
    often resulting in the aurora borealis.                                  North Pole and the South Pole. That is what produces the aurora
                                                                             borealis, or northern lights, in the northern hemisphere, and the
                                                                             aurora australis, or southern lights, in the southern hemisphere.

 Psst!                     If ever you visit Quebec City, go down to the Old
                           Port at dusk and see the grain silos lit up with giant
      projections of the aurora borealis. It’s the latest project by Robert Lepage.

Borealis, by John Estacio                                                                           Listen
John Estacio is a Canadian composer who was born in 1966, in Newmarket, Ontario. He                 Borealis is a work in two contrasting move-
always wanted to be a composer. “I always enjoyed music and creating my own music,                  ments. During the concert, however, you
but I never thought I could make a living doing that! But it was the best decision I could          will only hear excerpts from the first move-
have made. I can’t imagine what else I might have done, except maybe become a chef.”                ment, which sets the stage by creating the
Composition is part of his daily routine, and he sits down at the piano to write                    ethereal atmosphere of the play of lights. “I
every morning. “Composing never comes to you in a flash of inspiration… or rarely.                  like to think that the lights are performing a
You have to create, produce. The best way to get the creative juices flowing is to sit              gentle dance, one that’s cheerful and com-
down and work at it every day, as if you were exercising a muscle.”                                 forting at the same time. Each of us has their
The particular phenomenon that is the aurora borealis, or northern lights, was the in-              own impressions about the northern lights,
spiration for his work Borealis, premiered by the Edmonton Symphony Orchestra in 1997.              but my goal was to share with everyone the
                        “I love studying space and the stars,” the composer explained.              feelings that came to me as I watched them
                             “It’s completely mind-boggling to look up at the night sky and         for the very first time.”
                                think that what we are seeing has taken thousands of years          The movement opens with the strings play-
                                   to reach us. When we look at the sky, we are looking at the      ing a major chord (A flat - C - E flat). The
                                     past.” Before moving to Edmonton, I had never seen the         strings slide, bending the notes freely, until
                                      aurora borealis. “One crisp October evening, I noticed        they arrive at another chord (G - B - D). This
                                       these majestic curtains of swirling green light in the       musical device seeks to mirror the intrinsic
                                        sky. I had no idea what I was seeing until a friend con-    fluid motion of the lights and becomes a re-
                                                        firmed that it was indeed the northern      curring theme, which, if you listen carefully,
                                                            lights. Well, how could I not be in-    you will hear throughout the movement.
                                                               spired to write a piece of music?”
                                                                                                    Activity idea
                                                                                                    Choose an excerpt from Borealis that you
                                                                                                    particularly like. Then, either by yourself
                                                                                                    or working as a team, create a PowerPoint
                                                                                                    presentation using images of the northern
                                                                                                    lights that you find on the Internet.

6         Escape into Space! concert guide
Tenth Symphony,
by Shostakovich
                                                                          Shostakovich uses all the instrument families in the
                                                                          second movement of the Tenth Symphony. Follow them

                                                                          • Opening: the strings play alone.
                                                                          • 6 secs.: do you hear the slightly nasal sound of the
                                                                          • 17 secs.: the oboe is joined by the other woodwinds.
                                                                          • 23 secs.: listen for the military sounding snare drum.
                                                                          • 27 secs.: the cellos and double basses reprise the
                                                                                        main theme. They are sustained by the brass
                                                                                        in the low register.
                                                                          • 48 secs.: the trumpets make a triumphant entrance.
                                                                                       Do you hear the rattling of the xylophones
“ Let them listen and guess for themselves,” is how Shostakovich
                                                                                       in the background?
responded to a friend who asked him about the meaning behind his
Tenth Symphony. In public, however, he would say that he wanted           • 1 min. 11: the woodwinds emerge slightly from the
the symphony to “portray human emotions and passions.” One                             brass, and we can discern the very high-
thing is certain: the circumstances surrounding the composition of                     pitched piccolo.
this symphony were extraordinary.                                         • From 1 min. 20: Shostakovich alludes to horror and
March 5, 1953 will remain indelibly etched in the memories of his-                   violence through a succession of tight
torians: it was the day that Joseph Stalin, one of the cruelest dicta-               chromatic runs in the strings as well as a
tors of the twentieth century, died. He had transformed the USSR                     rhythmic acceleration.
(the Union of Soviet Socialist Republics) into a totalitarian regime,     • 1 min. 35: the woodwinds come to the forefront once
of which one of the most striking traits was the cult of personality                   again.
he created around himself. His was a long reign of terror that saw
                                                                          • 1 min. 40: one can imagine the trombones laughing
roughly fifteen ethnic minorities deported and millions of other
                                                                                       gruffly in the low register while the
people either executed or imprisoned in Gulag labour camps. A
                                                                                       woodwinds race along in the high
few months after Stalin’s death, freed of the artistic and intellectual
restraints imposed on him during the dictator’s rule, Shostakovich
emerged to pen his monumental Tenth Symphony.                             • 2 min. 09: the trumpets come centre stage again.
The second movement, Allegro (fast), is short but ferocious, and sur-     • 2 min. 25: the percussion instruments take the
prises in both its brevity and the violence of its musical language. In                spotlight.
his book of memoirs, Testimony, the composer explains that it was,        • 2 min. 33: Shostakovich treats the full brass section
in reality, a portrait of Stalin. Some musicologists have advanced                     as one gigantic fanfare, with all the other
that the one-note crescendos that permeate this movement rep-                          instruments maintaining their motif of two
resent a quirk of language of Stalin’s or an oddity of his personality                 eighth notes followed by a quarter note.
(for example, at around 20 seconds, you can hear two).
                                                                          • 3 min. 20: the strings resume their furious race,
                                                                                       pianissimo, and the brass fall silent.
                                                                          • 3 min. 38: led by the flutes, the woodwinds return
                                                                                       with their theme.
                                                                          • 3 min. 47: the piccolos reappear.
                                                                          • 3 min. 50: followed closely by the snare drum.
                                                                          • 3 min. 53: the brass return in full force, and
                                                                                       the movement ends in a tremendous

                                                                                                      Escape into Space! concert guide   7
Musical signature
Some composers affixed their own name or that of a friend onto the
theme of a particular work. Johann Sebastian Bach was perhaps the
first to use the four letters of his name B-A-C-H (B flat - A - C - B natural,
equivalent to the German nomenclature) to create the “Bach mo-
tif,” a unique and personal signature he used in some of his works.
Shostakovich also integrated his musical signature into the first, third,
and fourth movements of his Tenth Symphony—the letters D (for Dmitri)
and S-C-H (the three first letters of his last name, according to the
Russian spelling), which results in the notes D - B flat (S) - C - B natural (H).
In the third movement, as well, he incorporated the signature of pianist
and composer Elmira Nazirova, with whom he was in love.
Another example of a composer who created a personalized musical
motif to use in his work was Robert Schumann. He painted a musical
portrait of the composers Chopin and Paganini in Carnaval, a piece
based on four notes of his last name. In the same work, he also traced
the portrait of Clara, who would become his wife soon after, and
Ernestine, a former sweetheart. He subtly adapted their first names as
Chiarina and Estrella.

    Turn your own name into music!
    Using the table below, find the letters in your or someone else’s name, and write down the equivalent notes on music paper. You
    can vary the order of the letters, using either your first name or your last name. Not all the letters of the alphabet are listed, so
    just leave out those that don’t appear. Don’t forget to vary the rhythms to make your motif interesting.

    A              A
    B              B flat
    C              C
    D              D
    E              E
    F              F
    G              G                    Name:

    H              B natural
    L              C sharp
    M or N         F sharp

    O or P         A flat
    S              E flat
    X              Choose a note

    When you have all finished doing this, form a circle with your class-           Then, your teacher could lead you in a game of call and response of
    mates and each play the sounds of your name. Play each motif in                 two motifs, by calling out two names, such as, say, Xavier and Nathalie.
    roughly the same tempo, either on a recorder, an Orff instrument,               Xavier would play the notes of his name in a rhythm he chooses, and
    an electronic keyboard, or any other instrument you have in your                Nathalie would play hers in response. You can also try overlaying the
    classroom.                                                                      two by playing them both at the same time.

8            Escape into Space! concert guide
“Mars,” excerpt from The Planets,
 by Holst
The Planets is the best-known work by the English composer Gustav           Here, we have an ostinato rhythm played by the timpani and the violins,
Holst. The first movement, “Mars,” was written in 1914, just before the     which strike the strings with the wood of their bows rather than pulling
outbreak of World War I. Upon its completion, Holst put away the scores,    the hair across the strings.
believing that a work of such scope, with its massive orchestral require-
                                                                            •	The	first	theme	is	introduced	by	the	
ment, would never be mounted in wartime. But, in September 1918, a
                                                                              bassoons and the horns at 10 seconds.
semi-private performance of the work was nonetheless given in Queen’s
Hall, London. The first public performance took place not long after and    •	Following	a	crescendo	and	an	
was extremely well received; its popularity has continued to this day.        accelerando by the entire orchestra,
                                                                              the second theme is introduced
With its dissonance and menacing beat, “Mars” is a chaotic tableau. In
                                                                              by the trombones and the horns at
just a few fleeting seconds, the movement conjures an ominous image
                                                                              1 min. 29 sec.
of war. It begins with an ostinato, meaning a persistently repeated
musical rhythmic pattern, tune, or melody.

   How do the planets                                                  Did you know that the ancient Greeks
   get their names?                                                    believed that the distances between celestial
                                                                       bodies could be calculated according to a theory
   In the West, all of the eight planets in our solar system, with     known as the “harmony of the spheres”? The
   the exception of Earth, have names derived from Roman               movement of these heavenly bodies was thought
   mythology. Mercury was the messenger of the gods as                 to relate to musical proportions, because the
   well as the protector of merchants, doctors, and thieves.           distances between the planets—at that time, the
   The planet may have received this name because of the way           moon, Mercury, Venus, the sun, Mars, Jupiter,
   it quickly appears and disappears from our view in the sky.         and Saturn—corresponded to musical intervals.
   Venus was the goddess of beauty and love, and Mars, the             Two groups worked alongside the philosopher
   god of war and of battle. Mars was also the god of youth            Pythagoras (the one responsible for the theorem)
   and the spring, because the end of the winter marked the            developing this concept: mathematicians (from
   beginning of war campaigns. In fact, Mars was originally the        the Greek word mathematikoi meaning “learners”)
   first month of the year according to the Roman calendar.            and acousmaticians (from the Greek word akous-
   Jupiter was regarded as the father and king of the gods             matikoi, meaning “listeners”). They concerned
   and men. The symbols associated with him are the light-             themselves with both the scientific (astronomy,
   ning bolt and an eagle. He is the son of Saturn, the god of         proportions, musicology) and the metaphysical
   time, as well as the brother of Neptune, the god of the seas        (the notion of Being, harmony). The broad ac-
   and oceans, and of Pluto, the god of the underworld. (Pluto         ceptance of this representation of the universe,
   is a celestial body that, until recently, was considered as the     rooted in the traditions of Antiquity, would remain
   ninth planet in our solar system.) Uranus was the god of            unchallenged until the Middle Ages.
   the sky.

                                                                                                              Escape into Space! concert guide    9
Timpanist for a day                                                                        Build your own
We’d like to invite you to sit in with the OSM’S percussion section, specifically as
a timpanist. The most remarkable feature of timpani drums is that they can be
                                                                                           percussion instrument
tuned to produce different pitches, by increasing or de-
creasing the tension of the skin. The timpani were first                                   Percussion instruments were undoubtedly the first musi-
used as military drums, but joined the ranks of the or-                                    cal instruments. They produce sound by being struck or
chestra in the 17th century.                                                               scratched. Using recycled materials (yogurt containers, tin
                                                                                           cans, soft drink cans, bottles, etc.), why not try to build an
Timpani consist of a skin stretched over a large copper
                                                                                           original instrument? You could try stretching a piece of
bowl, which the timpanist strikes with a pair of drumsticks,
                                                                                           material over a container (to make a kind of drum), fill a
called mallets. Most mallets are made of wood, but there
                                                                                           can with rice and seal it (like a pair of maracas), and strike
are some that are made out of bamboo or aluminum.
                                                                                           everyday objects with a stick to explore the different
The ends, or heads, are covered with felt, flannel,
                                                                                           sounds they produce. Let your imagination and your ears
wood, cork, sponge, or other materials, each of which pro-
                                                                                           guide your experiment!
duces a slightly different sound. The timpanist can also
mute the sound of the timpani by placing a piece of felt on the skin. If a short note      The percussion instruments are divided into three main
is desired, the vibration of the membrane can be stopped by placing the pads of            families:
the fingers on the drumhead. To play a very long note, the timpanist executes a            We strike with sticks or with our hands the tightly stretched
roll, or tremolo, by rapidly striking the drum to create a sustained sound.                membrane of a membranophone, causing the mem-
You probably don’t have timpani drums in your class, so you can use any other              brane to vibrate and produce a sound. Timpani, snare

drum that’s available, a tambourine, or you could even make your own percussion            drums, and bass drums belong to this family.
instrument. Practice playing this rhythm: triplet, quarter                                 The idiophone is an instrument that produces sound
note, quarter note, two eighth notes, quarter note,        (                  )            primarily by way of the instrument vibrating itself when
and be sure to keep your beat steady. Start by mastering the pattern on your own,          struck, such as cymbals, wooden sticks, castanets, or rain
then get a small group to play together, making sure you are all playing the same          sticks.
rhythm. After a few rehearsals, you should be able to take your place in the per-
                                                                                           Certain string instruments fall into the percussion family
cussion section of the OSM, by playing along with the recording. Listen carefully
                                                                                           because their strings are struck, like the piano, for ex-
to the passage with the timpani and the violins to make sure you are “following”
                                                                                           ample. The piano is a chordophone.
the conductor.
                                                                                           In which category does your instrument belong?

 Reading a music score
 Do you think it’s difficult to read a score? It’s not as hard as you might    •	 Now,	read	the	first	line	and	reproduces	the	rhythms	indicated.	Each	
 imagine. To help you understand how it works, get together with three            of you does the same for their own line. Once each person has mas-
 friends and take a look at the different elements of this score. You don’t       tered their own line, play all your rhythms together. Be sure to keep
 need an instrument.                                                              the same beat or you won’t finish together!
 •	 Each	of	you	will	play	one	line	of	music,	so	the	first	thing	to	do	is	de-                   
                                                                               A whole note ( ) is worth 4 beats.
    cide who is going to play each line.                                                           
                                                                               A dotted half note ( ) is worth 3 beats.
 •	 For	the	first	line,	tap	out	the	rhythms	by	clapping	your	hands;	snap	                  
                                                                               A half note ( ) is worth 2 beats.
    your fingers for the second; slap your thighs for the third; and stamp                    
                                                                               A quarter note ( ) is worth 1 beat.
                                                                               An eighth note (  ) is worth ½ beat.
    your feet for the fourth.

           4                                                                                                           
           4                                                                                                                 
           4                                                                                                              
           4                                                                                                           

10         Escape into Space! concert guide
 Write your own                                     Could you conduct an orchestra
 score!                                             like Jean-François Rivest?
                                                    The technique of conducting, that is, the conductor’s bodily motions, follows certain gen-
 In small groups, using simple symbols, invent a    eral conventions. The conductor holds the baton in his right arm, with which he keeps the
 short piece based on one of the planets in our     tempo and indicates the dynamic levels (going from very soft to very loud) with the size of his
 solar system. Try to include at least three dif-   gestures. The left arm is used to remind musicians of their entrances. In this way, both arms
 ferent sound events. For example, you might :      express different things and only rarely make the same gesture.
 •	 Ask	one	of	the	musicians	in	your	group	to	
                                                    We can’t, of course, send 100 OSM musicians to your school, so you can practice your con-
    “play” a solo by clapping their hands to a
                                                    ducting skills with the recording of the Ride of the Valkyries by Wagner. The piece is in triple
    rhythm for five seconds;
                                                    time, so, for each bar, you have to draw a triangle in the air with your right hand like this: first
 •	 Indicate	at	one	point	that	everyone	has	        beat down, second beat to the right, third beat up. You can use a pencil as a baton, or just
    to whisper a certain word for a number of       your hand. At the beginning, you can figure out where to start by listening to when the violins
    beats;                                          give an accent: that will be the first beat. Once you’re comfortable with being able to keep the
 •	 Have	two	performers	play	a	tambourine;	         rhythm (which won’t change), you can indicate certain entrances with your left hand. For ex-
                                                    ample, around the 20th second, you should get ready to invite the trumpets to play. Around
 •	 Use	sounds	with	precise	beat	values	or	
                                                    the 50th second, they will be joined by other brass. Don’t forget: if the musicians are playing
    not, meaning write a precise rhythm (as in
                                                    softly, make the triangle you beat smaller; if the passages are very loud, do the opposite, make
    “Mars”) or let the performer improvise for a
                                                    the triangle bigger.
    period of time
 Try a variety of things to see what works best.    Watch Kent Nagano conducting a movement of Beethoven’s Third Symphony here:
 Play with different sounds and tones, such as
 high-pitched instruments (triangle) or those
 with lower pitches (a large tam-tam). The idea
 is to create the atmosphere and mood that
 you associate with your planet.

          4                                                                                                          
          4                                                                                                      
          4                                                                                                       
          4                                                                                                       

          4                                                                                                              
          4                                                                                                              
          4                                                                                                                
          4                                                                                                                

                                                                                                               Escape into Space! concert guide      11
Clair de lune
As a child, Claude Debussy wanted to be a painter. While visiting his
godfather, Achille Arosa, an art broker and collector, he discovered
Camille Corot, Eugène Delacroix, Gustave Courbet, Honoré Daumier,
William Turner, and all the impressionist painters, including Claude
Monet and Pierre-Auguste Renoir. These artists tried to capture the
overall effect of a landscape or of people by reproducing the vibra-
tions of colour or the transient effects of sunlight and shadow in
short brush strokes, to create an “impression” rather than a realistic
rendition of their subjects. Debussy hoped to translate elements of
this new technique in his music, seeking to recreate images, atmos-
pheres, and the multiple sounds of nature, through a writing that
was less linear, to present a series of impressions.

                                                                              Claude Monet, Impression soleil levant

                                            The moon as creative inspiration
                                            The moon has always invited reverie. The play of light and shadow forming shapes on its sur-
                                            face has been interpreted in various ways, depending on the culture and the stirring of imagi-
                                            nation. Some people gaze up at the moon and see a rabbit, others, a buffalo or the face of a
                                            man. Early astronomers thought that the dark areas (the plains) were great seas.
                                            The moon figures largely in mythology and folk beliefs. Some consider it as a deity, while others
                                            believe it causes periodic insanity, giving humans the power to change into their bestial form,
                                            such as a werewolf, during a full moon.
                                            The moon has inspired lovers, but also artists—fiction writers, poets, designers, filmmakers,
                                            and composers. Here are some examples:
                                            •	 Jules	Verne	wrote	two	books	about	the	moon:	De la terre à la lune (From the Earth to the Moon)
                                               and Autour de la lune (Around the Moon).
                                            •	 The	moon	was	the	muse	of	many	a	poet,	including	J.R.R.	Tolkien,	who	wrote	The Man in the
                                               Moon Came Down Too Soon, and Robert Louis Stevenson, who penned The Moon.
                                            •	 You	might	know	Hergé,	who	sent	his	fearless	adventurer,	Tintin,	on	a	couple	of	missions,	in	
                                               Destination Moon and Explorers on the Moon.
                                            •	 As	early	as	1902,	filmmakers	looked	to	the	moon	for	inspiration.	Méliès	created	the	film Le
                                               Voyage dans la lune (A Trip to the Moon), and, more recently, Stanley Kubrick made 2001: A
                                               Space Odyssey, which used an excerpt from Richard Strauss’s symphonic poem Also sprach
                                            •	 Composers,	too:	Ludwig	van	Beethoven	wrote	a	well-known	piece	called	the	“Moonlight”	
                                               Sonata, and Carl Orff created the comic opera Der Mond	(The	Moon).	Like	Debussy,	Fauré	com-
                                               posed a melody based on Paul Verlaine’s poem Clair de lune. It is interesting to compare how
                                               two contemporaries treated the same text and ended up with two entirely different works.

12       Escape into Space! concert guide
Be a poet inspired by the                                                                                        Write your own poem!
Before deciding to become a musician, Debussy also wrote many poems,
including some which he later set to music. Using Clair de lune as your
inspiration, write your own poem. You can make it rhyme or not!.

…or by the choreography
of our two circus artists.
As part of the concert, artists from the National Circus School will per-
form to the music of Debussy’s Clair de lune. Watch their act, then, when
you return to class, write a verse describing what you felt.

                                                                                                             Talking with your hands
                                                                                                             You can try choreographing some movement, a dance, or a pantomime
                                                                                                             to this music, like National Circus School students Andréanne Nadeau
                                                                                                             and Jonathan Morell have done.
                                                                                                             Hand and finger gestures constitute a language of their own because
                                                                                                             they can communicate so many things. Dancers and circus artists are
                                                                                                             well-versed in this form of body language and use it to convey a variety
                                                                                                             of emotions. Some gestures are universal, while others are associated
                                                                                                             with specific cultures. For example:
                                                                                                             •	 In	the	West,	spontaneous	applause	is	an	expression	of	approval.	At	
                                                                                                                the end of a performance or after a beautifully rendered passage, we
                                                                                                                clap to congratulate the artists. We also applaud someone to indicate
                                                                                                                respect or express affection, such as at a birthday. In Tibet, people
                                                                                                                clap to frighten and chase away evil spirits!
                                                                                                             •	 Placing	one’s	hand	over	one’s	heart	is	a	sign	of	affection	or	friendship.
                                                                                                             •	 Crossing	the	middle	finger	over	the	index	finger	is	thought	to	bring	
                                                                                                                good luck… but it can also be a gesture that renders a promise
                                                                                                             •	 A	clenched	fist	held	above	the	head	is	a	symbol	of	strength.	Depending	
                                                                                                                on the circumstances, it can represent victory (following the election
                                                                                                                of a popular leader, for example) or anger (during demonstrations).
                                                                                                             •	 The	palms	placed	together	unifies	the	body	in	a	gesture	of	prayer	that	
                                                                            PHOTOS: NATIONAL CIRCUS SCHOOL

                                                                                                                solicits the benediction of either another person or a higher being.
                                                                                                             •	 A	thumbs	up	or	thumbs	down—a	closed	fist	held	with	the	thumb	
                                                                                                                extended upward or downward—expresses approval or disapproval
                                                                                                             •	 Covering	your	face	with	your	hands	most	often	indicates	anxiety,	but	
                                                                                                                it can take on a number of different meanings, depending on how it is

                                                                                                                                                 Escape into Space! concert guide      13
     Who Wants to be a Musical Millionaire?
     Object of the game                                            $100                          $2,000
     In this quiz game, you have to correctly answer               It is the closest planet to   When the conductor
                                                                   the sun:                      indicates the first beat of a
     questions of increasing difficulty. The object of
                                                                   a. Mercury                    bar, he moves his arm…
     the game is to “stay alive” as long as possible to be
                                                                   b. Uranus                     a. To the left
     able to win as much “prize money” as you can.                 c. Mars                       b. To the right
     1. Make up teams of four to six contestants and choose        d. Jupiter                    c. Up
        a representative.                                                                        d. Down
     2. The host (the teacher) reads the first question
        followed by four multiple-choice answers. The host         Debussy wrote this piece,     $5,000
                                                                   which we’ll hear during the   He was inspired by the
        repeats the question and the answers once.
                                                                   concert:                      phenomenon of the aurora
     3. Contestants have 30 seconds to a minute (depending         a. Au clair de la lune        borealis to compose a piece
        on the level of the students) to answer the question.      b. Pleine lune                of music:
     4. The representative from each team gives the answer         c. Clair de lune              a. John Deere
        their team has chosen.                                     d. La nuit transfigurée       b. John Estacio
                                                                                                 c. Beethoven
     5. If the team cannot answer the question, they may use       $300                          d. Mozart
        three lifelines (see below).
                                                                   He will conduct the
     6. When all players have given their final answer, the        concert:                      $10,000
        host announces the correct answer. Those who have          a. Beethoven                  He was the god of war:
        answered correctly continue to play, but those who         b. Maxim Gaudette             a. Jupiter
        answer incorrectly are eliminated from that round.         c. Jean-François Rivest       b. Pluto
        The host keeps score of how much each team has             d. John Estacio               c. Mars
        won. The contestants with the most “prize money” at                                      d. Uranus
        the end of the game are the winners                        $500
                                                                   This composer wrote a         $15,000
                                                                   symphony named after a        This art movement was
     Lifelines                                                     planet:                       transposed into music by
     If the contestants are having difficulty answering a          a. Mozart                     Debussy:
     question, they may use a lifeline to help them “stay          b. Beethoven                  a. Impressionism
     alive.” A lifeline may be used anytime, but each life-        c. Shostakovich               b. Modernism
     line may only be used once. There are three types:            d. Debussy                    c. Cubism
                                                                                                 d. Fauvism
     •	 Copycat: The team copies the answer given by               $1,000
        another team, before hearing it. If the other team         What is the value of a half   $25,000
        provides the right answer, they stay alive. If not, both   note?                         Julie Payette took along
        teams are eliminated.                                                                    the music score of this
                                                                   a. 1
     •	 50/50: The host eliminates two incorrect answers           b. 2                          symphony on her most
        and reads the two remaining answers, leaving the           c. ½                          recent space mission:
        team the choice between one incorrect answer and           d. 4                          a. Brahms’s First Symphony
        the correct answer.                                                                      b. Beethoven’s Fifth
     •	 Check	your	notes: The team is allowed to consult                                         c. Shostakovich’s Tenth
        their teacher’s guide booklet to find the right answer.                                     Symphony
        But they only have one minute to find the answer!                                        d. Beethoven’s Ninth

14         Escape into Space! concert guide
                               Teacher’s page
                               The activities in this guide are suggestions, of course, and do not have to be completed
$50,000                        in their entirety. You may decide to focus only on one section of the guide and explore
This piece, which will be      one work in a little more depth. Or you can simply pick and choose as you wish to help
performed during the           your students discover some of the repertoire they will hear during the concert.
concert, was specially
chosen by Hubert Reeves:
a. Wagner’s Ride of the        Websites
   Valkyries                   Hubert Reeves’ official site:
b. Shostakovich’s Tenth        Canadian Space Agency:
                               National Circus School:
c. Holst’s The Planets
d. Beethoven’s “Pastoral”      Program notes for Borealis by the composer John Estacio:
   Symphony                    ealis.asp#notes
                               Information on the aurora borealis:
This famous scientist
played the violin every day:
a. Alfred Nobel
b. Pythagoras
                               Impressionism in music, with a focus on Canadian composers: http://www.thecanadianen-
c. Albert Einstein
d. Louis Pasteur
                               Robert Louis Stevenson’s poem The Moon:
$250,000                       Moon.htm

In his Tenth Symphony,         J.R.R. Tolkien’s poem The Man in the Moon Came Down Too Soon: http://www.lovethepoem.
Shostakovich painted the       com/famous-poems/the-man-in-the-moon-came-down-too-soon-by-j--r--r--tolkien/
portrait of this man:          Paul Verlaine’s poem Clair de lune (with a translation):
a. Karl Marx         
b. Joseph Stalin
c. Nelson Mandela
d. Winston Churchill
                               Other excellent selections of
$500,000                       music that could propel Octavio’s
Which of these languages
does Julie Payette not         spacecraft
                               One of Julie Payette’s favourite pieces, the soprano duet “De torrente in via bibet,” by G.F.
a. Russian                     Handel:
b. French
                               The theme from Thunderbirds:
c. Chinese
d. Italian                     Debussy’s Prélude à l’après-midi d’un faune, considered to be the first impressionist work
                               of music:;-Images;-
$1,000,000                     Nocturnes-Etc.-8888880002096.html
Timpani are part of this       Richard Strauss’s Also sprach Zarathustra (theme from the film 2001: A Space Odyssey):
sub-family of instruments:
a. Idiophones                  L%27espiegle---Don-Juan-0028947678151.html
b. Vibraphones                 Debussy’s Clair de lune and other classical music used in film scores: http://www.musicme.
c. Membranophones              com/Compilation/Cinema-Classics-(B.o.f.)-(Vol.2)-0724357204422.html
d. Chordophones                Fauré’s Clair de lune:
                               Debussy’s “other” Clair de lune:

                                                                                          Escape into Space! concert guide     15
Compact disc
(excerpts from the works)
Track 1 - Estacio, John (born in 1966)                                 Track 8 Bizet, Georges (1838-1875)
Borealis, Misterioso                                                   Carmen, Suite No. 1, “Prélude,” “Aragonaise”
Edmonton Symphony Orchestra                                            Orchestre symphonique de Montréal
Grzegorz Nowak, conductor                                              Charles Dutoit, conductor, London
Track 2 - Beethoven, Ludwig van (1770-1827)                            Track 9 - Holst, Gustav (1874-1934)
Symphony No. 9 in D minor, Opus 125                                    The Planets, “Mars, the Bringer of War”
Allegro ma non troppo (first movement)                                 Orchestre symphonique de Montréal
Leipzig Gewandhaus Orchestra                                           Charles Dutoit, conductor, London
Kurt Masur, conductor, Philips Classics
                                                                       Track 10 - Debussy, Claude (1862-1918)
Track 3 - Mozart, Wolfgang Amadeus (1756-1791)                         Clair de lune
Symphony No. 41 in C major, “Jupiter,” K551                            London Symphony Orchestra
Molto Allegro (fourth movement)                                        Bernard Herrman, conductor, London
Staatskapelle Dresden
                                                                       Track 11 - Beethoven, Ludwig van (1770-1827)
Sir Collin Davis, conductor, Philips Classics
                                                                       Symphony No. 6 in F major, “Pastoral,” Opus 68
Track 4 - Shostakovich, Dmitri (1906-1975)                             (fifth movement: Shepherds’ song; cheerful and
Symphony No. 10 in E minor, Opus 93                                    thankful feelings after the storm)
Allegro (second movement)                                              Leipzig Gewandhaus Orchestra
Berlin Philharmonic Orchestra                                          Kurt Masur, conductor, Philips Classics.
Herbert Von Karajan, conductor, Deutsche Grammophon

Track 5 - Wagner, Richard (1813-1883)
Die Walküre, “Hojotoho! Hojotoho!…”
The Metropolitan Opera and Chorus
James Levine, conductor, Deutsche Grammophon

Track 6 - Brahms, Johannes (1833-1897)
                                                                       Quiz answers: Who Wants
Symphony No. 1 in C minor, Opus 68                                     to Be a Musical Millionaire?
Adagio-Allegro non troppo (fourth movement)
Berlin Philharmonic Orchestra                                          $100: a                  $5,000: b               $250,000: b
Karl Böhm, conductor, Deutsche Grammophon                              $200: c                  $10,000: c              $500,000: c
Track 7 - Ravel, Maurice (1875-1935)                                   $300: c                  $15,000: a              $1,000,000: c
Daphnis et Chloé, Suite No. 2, “Lever du jour”                         $500: a                  $25,000: b
Orchestre symphonique de Montréal                                      $1,000: b                $50,000: d
Charles Dutoit, conductor, London                                      $2,000: d                $100,000: c

We thank the Canadian Space Agency (CSA) for granting us access to the magnificent photos of space, provided by NASA,
which illustrate the pages of this teacher’s guide and which will also be projected on a giant screen during the Escape into
Space! concert.

We thank Universal Music Canada and the Edmonton Symphony Orchestra for their permission to use the musical excerpts.

The OSM teacher’s guides created for the Youth Concerts and Children’s Corner concert series are available online at:
Feel free to consult them and to print extra copies if you need.

Teacher’s guide production team
Lucie Renaud, musicologist, concept and writing
                                                                                                                                        Design and layout: Derome design

Suzanne Ferland, OSM, Coordinator of Education and Contemporary Music, concept and project management
Pierre-André Derome, Derome design, graphic design and layout
Keren Penney, translator, English version
Marianne Perron, OSM, Associate Director of Music Programming, Education and Contemporary Music

Shared By: