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CMP Unit Plan- Dylan Gourley Edvard Greig- Holberg Suite- Sarabande. Analysis Edvard Grieg, born June 15 1843, is considered to be one of Norway’s greatest cultural influences, created the essence of the Norwegian musical style. At age 15, virtuoso violinist Ole Bull recommended the young musician to the Leipzig Conservatory. Grieg studied at Leipzig for four years, and learned the styles of German composers such as Schumann and Wagner. Once he returned to Norway, he focused on Norwegian culture with his peers. Grieg’s works influenced Debussy, Ravel, and Bartok. Grieg’s Holberg Suite can be considered a composition that attempts to imitate the music of an era that has come, lived, and passed. In this specific case, the model is the dance suite from the 1700’s and the 1800’s. J.S. Bach and other Baroque composers utilized the suite, which is formatted with a prelude and a number of stylized dances in binary form. The Sarabande may have originated in Mexico, and spread through Europe from the country’s connection with Spain. The gavotte, Musette, and Rigaudon are rooted from France. The Musette, a dance that is associated with the countryside, imitates the drones of small bagpipes, also knows as musettes. The Air, or aria, shows great emphasis on the production of a vocal, song-like expression. Rather than trying to replicate the exact ‘old style’, Grieg extracts the rhythmic and formal traditions of the dance suite, while maintaining his unique compositional traits. The Holberg Suite, or Aus Holbers Zeit, was composed in 1884 for the celebration of the bicentennial of Ludvig Holberg’s birth, a great literary and cultural figure of the Danish language. He wrote novels, poetry, political satire, historical works and dramas. Edvard Grieg’s Suite was first composed for solo piano, with a dedication to Erika Lie Nissen, the first prominent female Norwegian pianist. Grieg performed the Holberg Suite in Bergen, Norway on December 7th, 1884. Possibly in order to promote sales of the piece in Germany, Peters, his publisher, chose to release the transcription for string orchestra first and to promote it as a chamber piece. The string orchestra version was first performed on March 12th, 1885, in Bergen. Technical Considerations Grieg’s writing for string instruments is demanding in the areas of technique and artistic expression. The keys of G, C, D and F-sharp major, B, G, D, and E minor are prominent throughout, as well as chromatic alterations within these keys. Register is not particularly difficult, though the first violin part requires a B-flat on the fifth ledger line in measures 26 and 27 of movement three. The cello part remains below the first harmonic on the A string, with only one passage in the Sarabande written in tenor clef.

The most difficult aspect of the Holberg Suite is the tempo variety. The viola parts and upper strings contain passages that require functional fingerings and an ample amount of time in the practice room. For example, measures 19-29 from the prelude and measures 12-15 of movement three are particularly challenging. The second and fourth movements offer many opportunities for emotional expression that can be shown through the width, speed, and intensity of the vibrato. The chromatic passages allow for the exploration of interval temperament, a unique aspect to string instruments, such as letter G in the Sarabande. Grieg composed the score to be rich with expressive markings that demand technical bowings and articulations. The full range of on the string and off the string strokes are found, from the smoothest legato detache in the Sarabande, to a brisk spiccato in the third movement, to everything in between, such as slightly articulated detache in the accompaniment eighth notes in movement four, balanced and relaxed shuffle bowings in the upper strings throughout the prelude, and more vigorous accents and martele in the prelude. Slurred and separated string crossings are another challenge unique to string instruments. Control of bow speed in rapid and sustained playing is absolutely necessary. Stylistic Considerations A stylistic component in the Holberg Suite is fp, and ffp, and accents at dynamic levels from piano to fortissimo. Despite the intense scoring and rapid movements, an overall goal for the Suite should be to reveal the larger structures and the larger phrasings. The rhythmic pulse of the Sarabande is to be played with an emphasis on the second beat of each measure. The double nature of this piece presents many interesting and unique interpretations. In one aspect, a clear, defined style will provide coherence and intelligibility of musical balance and form. In another aspect, the composition is from the 1880’s, and utilizes Romantic attacks, vibrato, and an overall rich approach to tone production. The most rewarding way to perform the Holberg Suite is a hearty mixture of the two- for example, the repeated sections in the Sarabande can reveal two very different aspects of the same musical idea. Musical Elements Edvard Grieg’s musical language is rooted in common eighteenth century practice, with other integrated modern elements. Phrase lengths and harmonies are fairly concrete and observe to the tonic-dominant-tonic patterns of the traditional suite dances. In places, the phrases are extended and the harmonies are enriched, particularly through the use of secondary dominant chords in the Prelude, and pedal points in the Sarabande and also the fifth movement. The textures are predominantly homophonic with a single, clear melodic voice, although the scoring repeatedly calls for the use of divisi and other doublings that are not from the era of Ludvig Holberg, as found in the Musette.

Form and Structure Section Movement 1: Prelude Form: Sonata A: Theme 1 Theme 2 B: Development A’: Recapitulation Theme 1 Theme 2

Measures

1 9 19 42 55

Movement 2: Sarabande Form: Rounded binary, AABA’ A 1 B 9 A’ 25 Movement 3: Gavotte Form: Overall ternary, Gavotte-Musette-Gavotte; rondo ABACA plus ternary DDED A 1 B 9 A 15 C 24 A 32 D 41 E 49 D 61 Movement 4: Air Form: Rounded binary, AABA’ A: Theme 1 1 Theme 2 9 B 16 A’: Theme 1 (in cello) 40 Theme 2 (in violin 1) 48

Movement 5: Rigaudon Form: Ternary, Rigaudon-trio-Rigaudon; binary, AAB plus rounded binary trio CCDC+ codetta A 1 B 8 C 41 D 48 C 57 Codetta 64 Suggested Listening J.S. Bach: Orchestral Suites (Overtures) 1-4 English Suites (keyboard) Benjamin Britten, Simple Symphony Edvard Grieg: Peer Gynt Suites 1 and 2 English Suites (keyboard) Sergei Prokofiev, Classical Symphony Maurice Ravel, Le Tombeau de Couperin Ottorino Respighi, Ancient Airs and Dances, Suite No. 3 Igor Stravinsky, Pulcinella Additional References and Resources Griev, Edvard. Aus Holbergs Zeit: Suite im alten Stil, Op. 40. Ed. Einar Steen Nokleberg and Ernst Herttrich. Urtext piano part. Co., 1972. Monrade-Johansen, David. Edvard Grieg. Translated by Madge Robinson. New York: Tudor Publishing, 1938. Reprint, New York: Kraus Reprint Co., 1972. Steen-Nokleberg, Einar. Onstage with Grieg: Interpreting His Piano Music. Translated by William H. Halverson. Bloomington, IN: Indiana University Press, 1997.



Long-range Outcome Students will be able to perform proper bowing styles throughout the Sarabande, based on a Romantic interpretation. Strategies For Outcome

Introduction  The teacher will play the Sarabande as the students enter the room and lead a discussion on Grieg and the time period of his life. Warm-ups Students will play 2 octave scales in a ¾ time signature, in G major and G minor. Students will play these scales with accurate intonation. Students will play these scales without the use of open strings. Students will play these scales with emphasis on the second beat. Students will play these scales with a down-down-up pattern, legato, marcato, or sul tasto Visual, auditory, and kinesthetic Students will be able to recognize and circle romantic style phrasings, dynamics, and ornamentations in their part. Ex: Violin 1: Measures 7, 10-11, 22-24 Ex: Violin 2: Measures 2-4, 7, 22-24 Ex: Viola: Measures 2, 7, 10-12 Ex: Cello: Measures 13-21, 28-31 Student-centered Students will take turns playing melody lines with their stand partner. The stand partner will observe and make corrections on technique and suggestions on how to use the bow with proper bow weight, bow speed, and articulations. Others-interdisciplinary, listening assignments, internet research/assignments Students will complete a journaling assignment assessing their musicality on the very first reading of the sarabande. Students will complete a journaling assignment comparing their musicality on day three of the unit, after working on an emphasized second beat, to the musicality on day one.

Assessment For Outcome Performance Assessment The students who share a stand will play one measure from G to the end of the piece. The next stand will play the following measure. The entire section should be played fluidly and in time. The teacher will record the students’ names and scores It will be scored out of 14 points. Bowings- 8 points. Phrasings- 4 points. Intonation- 2 points.

Measures 25-32 Outcome: Students will be able to perform proper bowing styles throughout the Sarabande, based on a Romantic interpretation. Criteria Proper Bowing Directions

1

2

Proper Bow Placement

1

2

Proper Bow Speed

1

2

Proper Bow Articulation

1

2

Dynamics

1

2

Use of Vibrato

1

2

Intonation

1

2

Music Selection The Sarabande from the Holberg Suite was written in the 19th century. It demonstrates different movement in the entirety of the suite, beginning with a Prelude, moving to Sarabande, Gavotte, Air, and finally, Rigaudon, or the styles contained in a Suite. Demonstrates qualities of well-written music. Written for a chamber ensemble, the Sarabande has melody lines that can be altered to be solos, such as the cello and viola melodies in the B section of the piece. The harmonies in the Sarabande of the Holberg Suite fit smoothly together when intonation is accurate. The bowing styles required are pizzicato, marcato, legato, lifts, retakes, and varying bow speed. This piece allows for many teaching opportunities, and many enlightening learning opportunities.

Long-range Outcomes Students will be able to write compare the A and B sections of the Sarabande, and define the emotional difference between the cello theme and violin theme. Strategies Introduction  The teacher will play the Sarabande from Grieg’s Holberg Suite as the students enter the room.  The teacher will tell the students to focus on the cello theme and the main theme. 

Warm-ups Students will listen to the Sarabande without direction. Students will listen to the Sarabande once more while being instructed to compare the cello melody to the main theme found in the first violins. Visual, auditory, and kinesthetic Students will complete a journal on the listening, and describe the musical differences between section A and section B. Students will draw pictures conveying the images they imagine while listening to each section. Students will describe the instrumentation, dynamics, and phrasing. Student-centered Students will discuss their journal entry with their stand partner. Students will discuss their journal entry with their section. Others-interdisciplinary, listening assignments, internet research/assignments Students will perform the piece while integrating the topics discussed in their journals. Assessments The teacher will record the students playing the beginning of the Sarabande through measure 21. The teacher will play the recording, and the students will complete a graded journal entry describing the ensemble’s emotional contrast. The students must include the concepts of bowing styles, phrasing, vibrato, and balance. Outcome: Students will be able to write compare the A and B sections of the Sarabande, and define the emotional difference between the cello theme and violin theme. The journal will be scored out of 20 points.

Criteria Discussion of Bowings:

1

2

3

4

5

Discussion of Phrasing:

1

2

3

4

5

Analysis of Vibrato:

1

2

3

4

5

Analysis of Balance:

1

2

3

4

5

Music Selection The Sarabande from the Holberg Suite was written in the 19th century. It demonstrates different movement in the entirety of the suite, beginning with a Prelude, moving to Sarabande, Gavotte, Air, and finally, Rigaudon, or the styles contained in a Suite. Demonstrates qualities of well-written music. Written for a chamber ensemble, the Sarabande has melody lines that can be altered to be solos, such as the cello and viola melodies in the B section of the piece. The harmonies in the Sarabande of the Holberg Suite fit smoothly together when intonation is accurate. The bowing styles required are pizzicato, marcato, legato, lifts, retakes, and varying bow speed. This piece allows for many teaching opportunities, and many enlightening learning opportunities.

Long-range Outcomes Students will be able to write a journal relating other romantic pieces to the Holberg Suite. Strategies Introduction The class will begin with a discussion on the stylistic choices Grieg composed for the Sarabande. Students will listen to professional recordings of other pieces, and journal about their phrasing. Ravel, Le Tombeau de Couperin Bach, Orchestral Suites 1-4, Grieg, Peer Gynt Suites 1 and 2

Warm-ups Students will the piece and attempt to integrate the professional interpretations into their playing. Visual, auditory, and kinesthetic Students will mark notes, bowings, and dynamics in their parts as necessary. The ensemble will play the piece once more, and the students will attempt to integrate the professional interpretations into their playing. Student-centered Students will complete a collaborative paper with their section describing what techniques they plan to integrate into their playing, and where specifically in the music they will utilize it. Others-interdisciplinary, listening assignments, internet research/assignments

Assessments Students will turn their journals into the teacher. The ensemble will play the Sarabande four times without repeats. The sections will be graded on what degree their phrasing match their description in the journal. It will be scored out of 20 points. Outcome: Students will be able to write a journal relating other romantic pieces to the Holberg Suite.

Criteria: Specific Measure Numbers Listed:

1

2

3

4

5

Specific Techniques Discussed:

1

2

3

4

5

Use of Techniques: 10

3

4

5

6

7

1

2

8

9

Music Selection The Sarabande from the Holberg Suite was written in the 19th century. It demonstrates different movement in the entirety of the suite, beginning with a Prelude, moving to Sarabande, Gavotte, Air, and finally, Rigaudon, or the styles contained in a Suite. Demonstrates qualities of well-written music. Written for a chamber ensemble, the Sarabande has melody lines that can be altered to be solos, such as the cello and viola melodies in the B section of the piece. The harmonies in the Sarabande of the Holberg Suite fit smoothly together when intonation is accurate. The bowing styles required are pizzicato, marcato, legato, lifts, retakes, and varying bow speed. This piece allows for many teaching opportunities, and many enlightening learning opportunities.

Bowing Terminology ARCO - Bowed passage, to use the bow, in music it tells you to use the bow. AU TALON - Bow at the frog. COL LEGNO - The bow stick is used to hit the strings. COLLE – Played in the lower half of the bow, approached from the air with an attack, then a lift. DÉTACHÉ - A broad legato stroke with a slight space between each note. LEGATO - A smooth stroke without any spacing between the change of bow. MARTELE - Hammer style bowing – accented affect. PIZZACATO – Plucking of the string with the finger. PORTATO - The slight separation of a series of notes taken in a slur. RICOCHET - Rebounding bow. SALTATO - A thrown staccato in the upper half of bow- a down bow throw. SAUTILLE - A fast spiccato acquired through a completely relaxed hand that permits sufficient elasticity to allow the bow to bounce itself. SON FILÉ - Sustained tone. SPICCATO - A controlled bouncing or spring bow off the string. SUL PONTICELLO - Bowing is down near the bridge and creates a glassy sounding tone. SUL TASTO - The bow is played lightly over the fingerboard, creating a hazy sound. STACCATO – A light, short stroke with a period of silence between notes that varies according to tempo. TRÉMOLO - Moving the bow with great rapidity, trembling. It is a repeat of the same note with rapid up and down bow movements, best done with the wrist.

Annotated Bibliography (August 2013). Florida Orchestra Association Required Music List. Retreived from http://www.myfoa.org/sites/default/files/mpamusic/FOA_MPA_Music_list%20201 4Classification.pdf . -This resource come from the Florida State Orchestra Association’s approved music list. The Holberg Suite appears on this list, proving the piece to be a legitimate orchestral suite, with passages that provide ample opportunity for student learning. O’Toole, Patricia Ann. (2003). Shaping Sound Musicians: An Innovative Approach to Teaching Comprehensive Musicianship through Performance. Chicago, IL: GIA Publications, Inc. -This resource was central to the CMP unit plan. Patricia O’toole wrote out exactly how to develop a comprehensive music lesson with objectives, teaching strategies, and assessments. I modeled my unit plan off of the ‘Shaping Sound Musicians’ book, utilizing many objectives and strategies. Littrell, David. Racin, Laura R. (Ed). (2001). Teaching Music Through Performance in Orchestra. (Volume 1). Chicago, IL: GIA Publications, Inc. -‘Teaching Music Through Performance in Orchestra’ was vital to creating my CMP unit plan. It provided an in depth analysis of the Holberg Suite, beginning with Edvard Grieg’s life, and ending with additional resources. It goes into detail on technical and musical considerations, such as key signatures and modulations, tempo variety, dynamcs, divisi sections, and bowing styles. This book breaks the Holberg Suite down into specific sections, and analyzes each movement’s form and structure by measure. This resource allowed me to understand the Holberg Suite on a deeper level.

CMP Unit Plan Handout Sarabande, Holberg Suit- Edvard Grieg. Florida State List Dylan Gourley Standards 9.1.12.A: Know and use the elements and principles of each art form to create works in the arts 9.1.12.B: Recognize, know, use, and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts 9.1.12.C: Demonstrate and apply advanced vocabulary 9.1.12.D: Demonstrate specific styles in combination through the production or performance of a unique work of art 9.1.12.F: Analyze works of arts influenced by experiences or historical and cultural events through performance Objectives 1. Students will be able to perform proper bowing styles throughout the Sarabande based on a Romantic interpretation. (Skill Outcome, Bloom’s Taxonomy Level III) 2. Students will be able to compare the A and B sections of the Sarabande, and define the emotional difference between the cello theme and violin theme. (Affective outcome. Bloom’s Taxonomy Level IV) 3. Students will be able to journal on musicality, and compare their own playing to that of professionals. (Cognitive Outcome, Bloom’s Taxonomy Level II) Assessment Students will be able to perform proper bowing styles throughout the Sarabande based on a Romantic interpretation. (Skill Outcome, Bloom’s Taxonomy Level III)    

Each stand will play a measure of the piece. Students will go down the line of stands and play chronological measures. Measures 25- 32. The teacher will watch for proper bowings, and listen for phrasings and intonation.Grace notes slurred to the first beat, marcato, crescendo at frog, decrescendo at tip. The teacher will record the students’ names and score. Bowings- 8 Points. Phrasings- 4 Points. Intonation- 2 Points.

Students will be able to compare the A and B sections of the Sarabande, and define the emotional difference between the cello theme and violin theme. (Affective outcome. Bloom’s Taxonomy Level IV)  

The teacher will record the students playing the beginning of the Sarabande through the end of the B section. Mm. 1-9. The teacher will play the recording, and the students will complete a graded journal entry describing the ensemble’s emotional contrast. The students must use the concepts of bowing styles, phrasing, vibrato, and balance. Journal graded out of 20 points. Discussion of bowings- 5 Points. Discussion of phrasing- 5 Points. Analysis of vibrato- 5 Points. Analysis of balance- 5 Points.

Students will be able to journal on musicality, and compare their own playing to that of professionals. (Cognitive Outcome, Bloom’s Taxonomy Level II)   

Individual sections will turn in their journals. The ensemble will play through the Sarabande four times. The teacher will grade each section based on if their phrasing matched the way they described in the journal. Scored out of 20 points. Specific measure numbers- 5 Points. Specific techniques- 5 Points. Use of techniques in those measures- 10 Points.

Listening Examples J.S. Bach: Orchestral Suites, English Suites Benjamin Britten: Simple Symphony Edvard Grieg: Peer Gynt Suites 1 and 2, Piano Concerto in A Minor Sergei Prokofiev: Classical Symphony Maurice Ravel: Le Tombeau de Couperin Ottorno, Respighi: Ancient Airs and Dances Suite No. 3 Igor Stravinsky: Pulcinela