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Classical 100 released nationwide

3 years ago

 

ABRSM’s ‘Classical 100’, a free online resource bringing classical music to primary schools, launches nationwide for the first time on 22 February 2016

Teachers in primary schools across the whole of the UK will be able to ignite their pupils’ enthusiasm for classical music with a free online resource, Classical 100, which will be available for the first time in Scotland, Wales and Northern Ireland on 22 February, following the resource’s successful launch in England in November.

Complementing existing teaching resources, Classical 100 has been developed by ABRSM in partnership with Classic FM and Decca Classics and with the support of the Department for Education.

Schools across the whole of the UK can gain full, free, unlimited access to Classical 100 from 22 February by registering at www.abrsm.org/classical100.

 

What is Classical 100?

Classical 100 is built around 100 recordings of classical music pieces which teachers can draw upon in lessons, school assemblies and other school activities. Alongside a recording of each of the works taken from Decca’s world-renowned catalogue, there is information about the composer and the story behind the music. ABRSM will also draw on its network of primary school experts to create and publish a range of downloadable materials on the resource throughout the academic year, thereby helping teachers to bring the music to life in the classroom.

Classic FM’s Aled Jones, musician, broadcaster and father of two, has welcomed the initiative, saying: “Classical music can be the richest and most emotionally fulfilling thing in the world for many people and it’s important that children can hear and explore it in imaginative ways from an early age. Classical 100 is a wonderful collection of some of the treasures of classical music and will hopefully help open doors to a lifetime of listening for a new generation.”

Classical 100

A diversity of styles

To encourage pupils to explore, discover and listen to music – and ultimately to develop their own personal interests, tastes and talents – the 100 pieces embrace a rich diversity of styles ranging over ten centuries, (from Hildegard of Bingen to Graham Fitkin via JS Bach, Beethoven, Brahms, Mozart, Tchaikovsky and more) and can be sorted according to a variety of criteria, such as mood, genre, country of origin or even when they were written.

Teachers can use the flexible resource to raise energy levels by selecting Bernstein’s Mambo from West Side Story, or encourage a moment of quiet reflection with Beethoven’s Moonlight Sonata. If a class were, for example, exploring storytelling, the teacher could draw together multiple resources around Prokofiev’s Peter and the Wolf. Classical 100 can also be used to meet the National Curriculum’s Key Stage 1 criteria, which focuses on listening to, reviewing and evaluating music across a range of historical periods, genres, styles and traditions. For example, if a teacher wanted to discuss the Romantic period, the tool would lead them to a list including Tchaikovsky’s 1812 Overture, and if they were exploring choral music they could discover Handel’s Hallelujah Chorus from Messiah.

Classical 100

Commentary on Classical 100

Introducing Classical 100, Michael Elliott, ABRSM’s Chief Executive, said:

“Classical 100 is a listening resource, an approachable starting point that brings together an amazing collection of music in a format that is designed to be helpful. Each and every piece included in the resource is designed to awaken the listener’s curiosity, encouraging further exploration of the rich and varied world of music.

Listening is, of course just the start and with colleagues in schools, music services and the broader music education sector working together, Classical 100 will play its part in opening the door onto the world of making, performing, exploring and enjoying music in all its forms.

Classical 100 exemplifies ABRSM’s commitment to high quality music-making and learning and is representative of a new generation of digital resources. We all want to make a child’s first experience of music magical, the beginning of a rich and varied life-long journey.”

Speaking for Classic FM, Sam Jackson, the station’s Managing Editor, said:

“At Classic FM, we want to help everyone discover and enjoy classical music. Our aim is to make classical music accessible and relevant to people’s lives, no matter what their age, gender or demographic. We’ve seen a big increase in younger listeners in recent years and now with Classical 100 we’re looking forward to introducing children around the country to the joys of classical music.”

Impact of Classical 100 since launch

Since launching in England in November, Classical 100 has received widespread praise from media commentators, educators and musicians alike. 2,508 teachers have registered in 1,830 English schools, with users logging in over 7,074 times and counting. The most listened-to piece is currently Bernstein’s Mambo, and ‘Story-telling’ remains the most popularly selected option with which to sort pieces.

Tom Lydon, commissioning editor for Rhinegold Education, writes:

“ABRSM has pulled off something of a coup with its Classical 100 app... and in collaboration with Decca and Classic FM, have created something really exceptional.”

“The possibilities are endless!” says Jane Harris, Year 6 teacher at St.Charles Primary School, London. “It’s a really user-friendly resource for teachers. I love the selection of pieces - they’re really well thought out! There are some well-known pieces as well as some that aren’t as well-known. It can build help children build their understanding of what was going on at different times of history.”

How was the Classical 100 list selected?

The pieces of music were selected using Adaptive Comparative Judgement (ACJ) technology working in partnership with education tech provider, Digital Assess. The use of ACJ allowed the music to be judged and ranked according to its suitability for classroom scenarios using iteration and an adaptive algorithm.


Notes to editors

List of selected works (in alphabetical order of composer)

Composer

Piece(s)

Allegri

Miserere

Bach

Brandenburg No. 5, 1st Movement
Air on a G String
‘Badinerie’ from Orchestral Suite No. 2
Toccata and Fugue in D Minor

Barber

Adagio for Strings

Bartók

‘Joc cu bâtă’ from Romanian Dances

Beethoven

Moonlight Sonata, 1st Movement
Symphony No. 5, 1st Movement
Für Elise
‘Ode to Joy’ from Symphony No. 9

Bernstein

‘Mambo’ from West Side Story Symphonic Dances

Bizet

‘Farandole’ from L’Arlésienne Suite No. 2
‘March of the Toreadors’ from Carmen Suite No. 1

Brahms

Hungarian Dance No. 5

Britten

‘Fugue’ from Young Person’s Guide to the Orchestra

Chopin

Raindrop Prelude

Copland

Fanfare for the Common Man
‘Hoe Down’ from Rodeo

Debussy

L’après Midi d’un Faune

Delibes

‘Flower Duet’ from Lakmé

Dukas

Sorcerer’s Apprentice

Dvořák

‘Largo’ from Symphony No. 9 ‘New World’
Slavonic Dance No. 8

Elgar

Cello Concerto, 1st movement
‘Nimrod’ from Enigma Variations
Pomp and Circumstance March No. 1

Falla

‘Ritual Fire Dance’ from The Bewitched Love

Fauré

‘Berceuse’ from Dolly Suite
Pavane

Fitkin, Graham

Hook

Gershwin

Rhapsody in Blue

Grainger

Londonderry Air

Grieg

‘Gavotte’ from Holberg Suite
Piano Concerto, 1st Movement
‘Morning Mood’ from Peer Gynt

Handel

‘Hallelujah’ from The Messiah
‘Hornpipe’ from Water Music Suite No. 1

Haydn

Symphony No. 94 ‘Surprise’, 2nd Movement
Trumpet Concerto, 3rd movement

Hérold

‘Clog Dance’ from La Fille Mal Gardée

Hildegard of Bingen

O Euchari, Symphonia armonie celestium revelationum

Holst

‘Jupiter’ from The Planets

Humperdinck

‘Evening Prayer’ from Hansel and Gretel

John Adams

‘Chairman Dances’ from Nixon in China

Kats-Chemin, Elena

‘Eliza Aria’ from Wild Swans

Khachaturian

‘The Sabre Dance’ from Gayane Suite No. 3

Kodály

‘Viennese Musical Clock’ from Háry János Suite

Mendelssohn

‘Scherzo’ from A Midsummer Night’s Dream
The Hebrides Overture

Monteverdi

‘Ave Maris Stella’ from Vespers of the Blessed Virgin

Mozart

Eine Kleine Nachtmusik, 1st Movement
Symphony No. 40, 1st Movement
Clarinet Concerto, 2nd Movement
Horn Concerto No. 4, 3rd Movement
‘Papageno’s Song’ from The Magic Flute

Mussorgsky

‘Baba Yaga’ from Pictures at an Exhibition
Night on a Bare Mountain

Orff

‘O Fortuna’ from Carmina Burana

Pachelbel

Canon

Prokofiev

‘Peter’s Theme’ from Peter and the Wolf
‘Troika’ from Lieutenant Kijé Suite
‘Dance of the Knights’ from Romeo and Juliet

Puccini

‘Nessun Dorma’ from Turandot

Purcell

‘Dido’s Lament’ from Dido and Aeneas

Rachmaninov

Piano Concerto No. 2, 1st Movement

Ravel

Boléro

Reich, Steve

Six Pianos

Rimsky-Korsakov

Scheherezade, 2nd Movement
‘Flight of the Bumble Bee’ from The Tale of Tsar Saltan

Rodrigo

Concierto de Aranjuez, 2nd movement

Rossini

William Tell Overture

Rutter, John

Shepherd’s Pipe Carol

Saint-Saëns

‘Aquarium’ from Carnival of the Animals

Schubert

Marche Militaire
Trout Quintet, 4th Movement

Schumann, C

Romances for Violin and Piano, 1st Movement

Schumann, R

‘About Foreign Lands’ from Kinderszenen

Shostakovich

Symphony No. 5, 4th Movement
‘Waltz’ from Jazz Suite No. 2

Sibelius

‘Intermezzo’ from Karelia Suite

Sous

Liberty Bell

Strauss, J

The Blue Danube

Strauss, R

Also sprach Zarathustra

Stravinsky

‘Russian Dance’ from Petrushka

Tallis

If Ye Love Me

Tavener

The Lamb

Tchaikovsky

1812 Overture
‘Dance of the Sugar Plum Fairy’ from The Nutcracker

Vaughan Williams

Fantasia on Greensleeves
The Lark Ascending
The Wasps overture

Verdi

‘Grand March’ from Aida
‘La Donna è Moblie’ from Rigoletto

Wagner

‘Ride of the Valkyries’ from Die Walküre

Warlock

‘Mattachins’ from Capriol Suite

Widor

‘Toccata’ from Organ Symphony No. 5

Vivaldi

The Four Seasons, Winter, 2nd movement


ABRSM and Classic FMClassical 100 is developed and funded by ABRSM in partnership with Classic FM and Decca.

 

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