European classical music

Though many civilisations around the world have a tradition of classical music, when used as a generic term, the phrase is usually understood as referring to the type of classical music that arose in Europe.

Understand
"Penso che una vita per la musica sia una vita spesa bene ed è a questo che mi sono dedicato. "I think a life in music is a life well spent and this is what I have dedicated myself to.""

- Luciano Pavarotti, 1935-2007

History
While classical music has roots in the Middle Ages, the best-known epochs are the Baroque period (late 16th to mid 18th century), the Classical period (mid 18th to early 19th century) and the Romantic period (19th to early 20th centuries); a similar periodization is used for European art. Of course, in practice the transition from one period to the next occurred gradually over a number of years, and music written during the transition periods often featured aspects of the periods they were straddling. Much classical music also continues to be written today, and contemporary classical music has at least a niche following in many parts of the world.

Classical ensembles have usually been dependent on patrons. In the olden days, it was particularly large imperial courts such as those of the Austro-Hungarian Empire, the Russian Empire, France, England, Prussia, Burgundy, the Kingdom of Naples and the Papacy and Roman Catholic Church generally, as well as prominent city states such as Venice and Florence that supported music, while nowadays, it's often national, provincial or municipal governments or foundations started by wealthy individuals and corporations.

Baroque
The Baroque was an artistic period from the late 16th to mid-18th century, including painting, interior design and other artistic expressions. Baroque music marked the establishment of tonality, with common pitches, keys and chord progressions, which formed melodies, often polyphonic. Some of the most famous Baroque composers include Claudio Monteverdi, Henry Purcell, Johann Sebastian Bach, George Frideric Handel, Antonio Vivaldi and Johann Pachelbel.

The period also saw the development of opera, with its stories often inspired by various mythologies or historical events from around the world, in particular Greek mythology (e.g. the myth of Orpheus). Two distinct operatic traditions developed during the period; the Italian and French traditions. While opera was invented in Italy during the Renaissance by Jacopo Peri (whose first opera, Dafne, premiered in 1598 but is now lost), Claudio Monteverdi's L'Orfeo, which permiered in 1607, is the oldest one to still be regularly performed today. Eventually, Italian opera would spread throughout all of Europe and become the preferred form of entertainment for the nobility across the continent, except in France, where the Italian-born Jean-Baptiste Lully was hired by King Louis XIV to create a uniquely French operatic style instead. Lully's Cadmus et Hermione, the first ever French opera, premiered in Paris in 1673. In England, Henry Purcell would develop a uniquely English operatic style with Dido and Aeneas in 1689, though his untimely death in 1695 at the age of 36 meant that the genre failed to reach its full potential.

The late Baroque and Rococo periods saw the development of opera buffa, or comic opera, in the city-state of Naples. It focused on stories about regular people instead of the heroic kings or gods of the then-prevalent operatic style, also known as opera seria, or serious opera. As these were intended more as entertainment for the masses than the nobility, many of the early opere buffe were written in Neapolitan, the dominant vernacular of the common people in Naples at the time, instead of Italian. Some early Neapolitan-language opere buffe include Leonardo Vinci's Li zite 'ngalera (1722) and Leonardo Leo's L'Alidoro (1740). Many opere buffe were also originally written as short intermezzi to be performed during the intervals between acts of opere serie, perhaps the most famous being Giovanni Battista Pergolesi's La serva padrona (1733).

Classicism
The Classical period from 1730 to 1820 saw the formation of the genres and ensembles still familiar today, from string trios and quartets to symphony orchestras. Polyphony was comparatively deemphasized in favor of melodies with supportive accompaniment, especially in the early post-Baroque Rococo style of people like Giovanni Battista Pergolesi, Giovanni Sammartini and Johann Stamitz, who were writing vocal and orchestral works in the 1730s and following that radically broke from the denser textures and more active bass lines of composers like J.S. Bach. Among the most famous composers in the Classical style were Christoph Willibald Gluck, Joseph Haydn and Wolfgang Amadeus Mozart; the early works of Ludwig van Beethoven, Gioachino Rossini and Franz Schubert are sometimes also considered to be in this style.

The genre of opera buffa reached its zenith during the 18th and 19th centuries, with composers such as Domenico Cimarosa, Giovanni Paisiello, Wolfgang Amadeus Mozart and Gioachino Rossini. German opera would also begin to grow in prominence during this era, with Mozart's Singspiel Die Zauberflöte (1791) elevating the art form to a new level. A new genre of French opera known as opera comique would begin to develop in France, with André Grétry being the best known exponent of this form from the Classical period.

Romanticism
Romanticism was a mainly 19th-century cultural movement which challenged Enlightenment ideals of reason, promoting the individual's emotions, and relationship to nature and spirituality. Romantic music became an expression of national identity and a common past, with inspiration from the Middle Ages, folk culture, and pagan mythology, including Graeco-Roman, Celtic, Germanic and Slavic mythology. Beethoven's work established many elements of the aesthetic and style which were emulated and developed by other composers throughout the rest of the 19th century. Some representative composers, starting with the generation after Beethoven, were Franz Schubert, Felix Mendelssohn, Frédéric Chopin, Gioachino Rossini, Jacques Offenbach, Johannes Brahms, Georges Bizet, Giuseppe Verdi, Richard Wagner, Johann Strauss II, Pyotr Ilyich Tchaikovsky, Antonín Dvořák and Edvard Grieg.

While operas from the Baroque and Classical periods almost invariably had happy endings, the romantic period saw public tastes in opera shift towards a preference for tragedies, leading to the current stereotype of operas being tragedies. That said, a new genre of operatic comedy, known as the operetta, developed, with Jacques Offenbach pioneering the genre with Orphée aux enfers in 1858. The genre also became popular in German-speaking areas, with Johann Strauss II's Die Fledermaus (1874) being the best known representative of the genre. Opera also expanded between beyond the main languages Italian, French and German, perhaps best exemplified by Pyotr Illyich Tchaikovsky's Yevgény Onégin (1879) in Russian, and Antonín Dvořák's Rusalka (1901) in Czech.

Later styles and influences
Since the late 19th century, European classical music has been greatly influenced by music from throughout the world. In particular, Impressionist composers (Claude Debussy and Maurice Ravel being the most famous) were influenced by Javanese and Balinese gamelan music and music from China; African-American music such as ragtime, jazz and the blues influenced numerous classical composers, perhaps most notably George Gershwin; and the complex polyrhythmic music of Africa inspired many Modernist composers to use intricate rhythms and emphasize percussive sounds. In turn, colonization and cultural exchange spread the performance and composition of European-style classical music and classical music clearly influenced by both local and European traditions throughout the world. Interestingly, the main centre of classical music is arguably shifting from Europe and North America to East Asia in the 21st century, as that part of the world has many talented instrumentalists, and has generally bucked the trend of the rising average age of classical music audiences.

In Italy, Giacomo Puccini and his contemporaries such as Ruggero Leoncavallo and Pietro Mascagni developed a new operatic style known as verismo, which aimed to portray the world with greater realism, including by focusing on the day to day lives of the poor. Puccini is considered to be the last of the great Italian operatic composers.

Classical music today
Although classical music is somewhat a niche area in modern times, at least in much of Europe it is very much present in society. Most bigger towns have a municipal orchestra, there are lots of minor professional and amateur ensembles, and most choirs and brass bands have some classical pieces in their repertoire. The majority of European villages host at least one or two concerts a year, either in their church or parish hall or at a local landmark. Thus you will easily find concerts anywhere you go in Europe. Many major cities around the world also have bandstands or bandshells in one or more of their parks, where the local classical music ensembles may put on free concerts for special occasions, usually in the summer months. Churches, in particular those of the Roman Catholic, Lutheran, Anglican and Russian Orthodox denominations, sometimes put on performances of the sacred works of the great composers for special occasions, either as part of the liturgy or in specially-arranged concerts; these may or may not have free admission, though in the former case it is considered good manners to donate an appropriate amount of money to the church if you can afford to do so.

Much of the music from the great classical composers of years gone by continues to pervade modern life, with such music often used in film scores, advertising and even quoted in modern pop music. Classical music continues to be composed today for modern film scores, with Ennio Morricone (the Dollars Trilogy, The Mission, The Hateful Eight), John Williams (Lost in Space, Star Wars, Harry Potter, Indiana Jones, Jurassic Park, E.T. the Extra-Terrestrial), Howard Shore (The Lord of the Rings, The Hobbit, The Silence of the Lambs) and Hans Zimmer (Crimson Tide, The Lion King, Pirates of the Caribbean, The Dark Knight) being household names even to non-musically-inclined people. Another area where contemporary classical music plays an important role is in the video game industry, with some famous video game music composers being Nobuo Uematsu (Final Fantasy, Chrono Trigger), Christopher Tin (Civilization IV, Civilization VI), Koji Kondo (Super Mario Bros, The Legend of Zelda) and Martin O'Donnell (Halo).

The European Union celebrates the continent's musical heritage by using Beethoven's musical composition of Ode to Joy as its anthem. Many Latin national anthems, most notably those of Argentina, France, Italy, and Uruguay, are known by classical music enthusiasts for their operatic qualities, while the melody for the national anthem of Germany was composed by the famous 18th-century Austrian composer Joseph Haydn (albeit originally for a different purpose with different lyrics). Russian composer Alexander Vasilyevich Alexandrov was commissioned by a fan (Joseph Stalin) to write the epically choral State Anthem of the Soviet Union, whose melody is still used for the modern Russian national anthem, though with different lyrics. The opening bars of Canada's national anthem also bear an uncanny resemblance to those of The March of the Priests from Mozart's Die Zauberflöte.

Genres
Classical music works are categorized into different genres.


 * Chamber music is music written for a small ensemble (generally 3-9 players).
 * A symphony is written for a full symphony orchestra and usually has 3-4 movements.
 * A concerto is a piece for one or more solo instrumentalists and orchestra, generally in 3 movements. In Russia, the term "concerto" can also refer to the choral concerto, a short a capella piece intended to be sung when the clergy are taking their communion during the divine liturgy in the Russian Orthodox Chruch; the most famous composer of the choral concerto is the Ukrainian composer Dmitry Bortniansky (Dmytro Bortnyans'kyy in Ukrainian).
 *  is intended for performance in a religious service. A mass is a musical setting of the words of standard Catholic prayers; a divine liturgy is a musical setting of the words of standard Eastern Orthodox prayers; a requiem is a funeral mass; vespers are the standard set of Catholic evening prayers; the all-night vigil is the standard set of Eastern Orthodox evening prayers; a motet is a setting of other religious texts, such as from the Bible; an anthem is a type of Anglican choral music that usually makes use of texts from the Holy Scriptures; a passion is a setting of Gospel passages about the events leading up to the crucifixion of Jesus. A hymn is a vocal song for religious service or prayer. See Christianity for more information.
 * A cantata is a work for one or more vocal soloists with the accompaniment of an orchestra or small ensemble and often includes a chorus. Cantatas are liturgical in the Lutheran church, but they may also be on secular subjects.
 * A sonata is a work for instruments, usually 3-4 movements long and usually for 1-2 players but sometimes (as in the case of Baroque trio sonatas) for four or more.
 * Ballet is classical dance performance, or the music for such dance. Many French operas, and some of Handel's Italian operas, also include ballet segments.
 * Opera is the classical counterpart to musical theatre. Unlike in musical theatre, singers are expected to project their voices without the use of microphones. You may sometimes also come across the term operetta, which is a light-hearted work that features spoken dialogue, and is widely regarded as the precursor of modern musical theatre. Many opera overtures are popular concert pieces that are often performed independently from the full opera, in some cases even though the full opera has faded into obscurity; examples of such overtures include those of Mozart's Le Nozze di Figaro, Bizet's Carmen, Rossini's Guillaume Tell and Franz von Suppé's Leichte Kavallerie.
 * An oratorio is similar to an opera but less commonly staged and more often performed in a church or concert hall, and the text is often religious.
 * An art song or Lied (pronounced like the English word "lead"; plural Lieder) is a setting of the words of a known poet, usually for a solo singer with the accompaniment of the piano and sometimes including another instrument.
 * Incidental music is music written for a play, film, video game or some other medium of presentation that is not primarily musical.
 * Military music and patriotic music are often described as separate genres, though their arrangement can be similar to classical music. A military band is a large ensemble comparable in size to a symphony orchestra but composed entirely of woodwind, brass and percussion instruments, except for the occasional harp and string bass. Some famous military marches by composers like John Philip Sousa have been arranged for orchestra and form part of orchestral "pops" concerts as well as military and concert band performances. Many national anthems are arranged as military marches or hymns. See also military and police ceremonies.

Terminology
Music written before 1700 or so, and especially before 1600, is often called "early music", and instrumental ensembles that specialize in performing this repertoire are often called "early music" groups or, if they use instruments built in a similar style to those in use in those centuries, "original instruments" groups.

Music written since 1900, and especially after World War II, is often called "modern" or "contemporary" music, and ensembles specializing in the performance of these periods of classical music are often called "contemporary music" ensembles or, particularly if they concentrate on world premieres and other recently-composed music, "new music" ensembles.

Full-sized orchestras are often called "symphony orchestra" or "philharmonic". A symphony orchestra is one suitable for playing the standard symphonic repertoire, up to and including the symphonies of Shostakovich (for Mahler symphonies, additional personnel may need to be hired for the concert). "Philharmonic" means "love of harmony". Though these terms have different derivations, in practice, "symphony orchestra" and "philharmonic" refer to the same size of ensemble with the same complement of instruments that plays music from the same repertoire. That said, the exact composition of orchestras varies from piece to piece, and many operas and ballets require orchestras that differ significantly from the standard symphony orchestra. For example, Mozart's Die Zauberflöte requires a glockenspiel, Tchaikovsky's The Nutcracker requires a celesta, and most Baroque pieces and Classical period operas require a basso continuo consisting of a harpsichord and perhaps a cello, theorbos and/or bassoons.

Most orchestras are composed of four instrument families, namely the string, woodwind, brass and percussion families. Despite their names, the terms "woodwind" and "brass" do not refer to the material the instrument is made of, but are instead used to classify the instruments based on how the sound is produced. For instance, the saxophone is usually made of brass, but is classified as a woodwind instrument, while the cornett and alphorn are usually made of wood, but are classified as brass instruments. The difference is that woodwind instruments require the performer to insert a reed or mouthpiece in their mouth or blow across a lip plate, whereas brass instruments require the performer to buzz their lips against a mouthpiece that is pressed against both lips.

Another question people newly introduced to orchestras often ask is what the difference is between the "first violins" and "second violins". The answer is that just as in a string quartet, there are two different violin parts that often play different notes and rhythms, but all these musicians are playing on violins.

In choral music, the four main voice types are, in descending order of range, the soprano, contralto or alto, tenor and bass, with the former two usually sung by women and the latter two usually sung by men, though some church choirs and operas have boys singing the soprano and contralto parts. Soloists in operas and concert music such as oratorios also frequently include mezzo-sopranos and baritones, who are generally the middle voices of the women and men respectively. A countertenor refers to a man singing in falsetto, thus allowing him to hit higher pitches. In an opera, the lead female singer is known as the prima donna, while the lead male singer is known as the primo uomo. The prima donna is typically a soprano, while the primo uomo has typically been a tenor since the Romantic period, though the primo uomo roles of Italian opera were usually taken by castrati during the Baroque and early Classical periods (castrati are men who were castrated before puberty; their roles are usually played by countertenors or women in pants/breeches roles in modern-day revivals). In French Baroque and Classical opera, the primo uomo is usually a high tenor known as the haute-contre.

In number operas (so called because each section in the score is marked with a number, in order of its appearance), the overture or sinfonia (or in operas by Wagner, the prelude) is the opening section, played by the orchestra without vocalists; it often contains snatches of the most memorable tunes you will hear later. Some operas from the late 19th century or later, such as those by Giacomo Puccini, dispense with the overture altogether. An aria is a song for solo voice and orchestra. When there are two voices, it is known as a duet, a trio is for three voices and so on (numbers featuring four or more singers who act particular roles in an opera are often called ensembles, and there are also choruses which may represent a crowd of townspeople, peasants, shepherds, witnesses to a crime or any other group relevant to the plot). In sung-through operas, dialogue between characters is in the form of recitatives, of which there are two main types: recitativo secco that is accompanied only by a keyboard (harpsichord or piano) and recitativo accompagnato that is accompanied by the full orchestra, or a substantial part of it. Some operatic genres, such as the German Singspiel or the French opéra comique, feature spoken dialogue in place of sung recitatives. Romantic opera increasingly used the arioso, which combines elements of both aria and recitative styles, rather than using the previously common formula of having a recitative followed by an aria. Operas that were through-composed also came onto the scene. This type of opera is not clearly divided into different sections but may have each section transition without pause into the next until the end of an act is reached.

The text of an opera is known as the libretto, and someone who writes libretti is known as a librettist. For example, Lorenzo da Ponte wrote the libretti for Mozart's most famous Italian-language operas, The Marriage of Figaro, Don Giovanni and Così fan tutte. While the composer and librettist are usually separate individuals, some composers, perhaps most famously Richard Wagner, also wrote the libretti for their own operas. You may also see the word "libretto" being used to refer to the plot of a ballet.

Talk
Italian is generally considered to be the most important language in classical music, with musical terminology being almost exclusively in Italian and the majority of operas being written in Italian. Besides Italian, the other major operatic languages are German and French, while a handful of important works are in Russian, Czech, English and Neapolitan. French is the most important language in ballet, with almost all ballet terminology, as well as the libretti of most ballets being in French.

For sacred music, Latin is the main liturgical language used in the Roman Catholic church, while German is used in the Lutheran church, English is used in the Anglican church and Church Slavonic is used in the Russian Orthodox church. That said, oratorios, which attempt to tell Biblical stories in a more operatic style in order to educate and entertain the public, are often set in the local vernacular language (such as Italian, French, German or English), rather than a no-longer-spoken liturgical language, although there are quite a few early oratorios set in Latin.

Europe
Any bigger town will probably have some performances, and any bigger city venues worth seeing. Below are some especially famous or otherwise worthwhile destinations.

British Isles












Italy

 * [[File:Bartolomeo giuseppe guarneri, violino cannone, appartenuto a niccolò paganini, cremona 1743.JPG|thumb|upright|Paganini's violin Il Cannone Guarnerius on display at the Palazzo Doria-Tursi in Genoa]]

Russia




Respect
The experience of going to a classical concert is very different from going to a rock, hip-hop or jazz concert, and likewise with an opera or ballet from a musical. Classical concerts vary in level of formality, and also somewhat by location and genre. This is only a rough guide of what to expect.

How to dress
People who have never been to a classical concert often ask what to wear. This varies. If you are going to Opening Night at La Scala, you've paid a lot of money and are probably expected to dress up. However, if you are in the cheap seats at the Metropolitan Opera House or Carnegie Hall, you are not going to get stared at for wearing jeans and a t-shirt. If you dress up, you are unlikely to be out of place anywhere, but you needn't worry, and you are virtually guaranteed entry as long as you aren't wearing rags or going topless or barefoot.

When to applaud
You are never required to applaud unless you want to. That said, if you go to a concert of purely instrumental music, such as a symphony orchestra or chamber music concert or a recital (performance by a solo instrumentalist or vocalist, with or without the accompaniment of a chord-playing instrument such as a piano or a small group of bass and chord-playing instruments called the basso continuo), you will generally be expected to clap only at the end of each piece, regardless of how many movements (discrete sections with subtitles such as tempo markings [e.g., Presto, Allegro, Andante, Adagio] or names of dances [e.g. Minuet, Gigue]) it has. However, it is not a horrible faux pas to clap at the end of a movement, and a polite performer may acknowledge the applause. Vocalists in recitals also often sing an entire song cycle, composed of a group of poems set to music, and likewise, you will normally be expected to clap at the end of the entire song cycle.

If you go to an opera, however, it is customary to applaud at the end of any discrete section you enjoyed listening to, including the overture and any aria, duet or ensemble, and not wait till the end of each act, though it wouldn't be normal to applaud the high note in the middle of an aria. Sometimes, audiences start applauding and cheering when the orchestra is still playing out the end of an aria.

If you are uncertain whether it was an appropriate time to applaud, just wait and let someone start the initial applause and you can join in.

In any kind of classical performance, if you feel particularly inspired, you may shout the Italian word "Bravo" while applauding, if the performer is a man, "Brava" if it's a woman, "Bravi" if it's both or more than one man and "Brave" if it's a group of women, although you may find "Bravo" used generically in some non-Italian-speaking countries. In some countries such as Italy or France, "Bis" (meaning "Again") may be shouted, instead, and the audience may be treated to a repeat of an aria or another short piece. In English-speaking countries, if you'd like to hear an additional short piece at the end of a solo recital or a concert by only one chamber group, you may shout "Encore", the French word for "More". It's not uncommon for 2-3 encores to be performed at the ends of recitals. They are not mentioned on the printed concert program but are usually announced by a performer before they are played. However, do not expect an encore at the end of an opera or orchestral concert.

At a liturgical performance of sacred classical music, applause is normally not appropriate at any time, except perhaps if the priest requests a round of applause for the musicians at the end. However, concerts presented in churches outside of masses or services may or may not receive applause after each piece or group of works as in secular concert halls.

Lengths of performances
This also varies. Purely instrumental concerts usually feature about 1 hour of playing, but how long they last also depends on the length of the intermission (called the interval in Britain and some other English-speaking countries). The same is true of opera performances, but running times for operas are usually 2½-4 hours, though some, such as Rossini's Guillaume Tell, Verdi's Don Carlos or Wagner's Götterdämerung can take over 5 hours. In some European countries such as Germany and the Netherlands, the intermission lasts at least 30 minutes, with the price of your ticket including a glass of good wine or beer (or at very informal recitals, at least some fizzy mineral water) at intermission and an opportunity to chat with other concertgoers and relax. In the United States, intermissions are often 15 minutes, just enough time to get back from the bathroom if you're lucky, and refreshments, when offered, are often quite overpriced. Operas are generally in 2-5 acts, with intermissions between each act, though there are also 1-act operas, which are usually performed on the same program as other 1-act operas (for example, Giacomo Puccini's Trittico is a group of 3 highly contrasting operas that are typically performed one after the other, with intermissions in between, and Cavalleria rusticana by Pietro Mascagni is typically performed on a double bill with Pagliacci by Ruggero Leoncavallo).

Also, the punctuality of the start of concerts varies by nation. In Switzerland, expect concerts to start right on time; in Germany, perhaps 5 minutes late; in the United States, 10-15 minutes late; in France, perhaps 15-20 minutes late; and in Italy, 20-40 or more minutes late. But don't be so confident that a concert will start late that you miss it! Should you arrive late, you will generally not be allowed in until the next pause between pieces or movements, in order to avoid distracting the performers and other audience members. At operas, ballets or other dramatic performances, you are likely to have to wait until the next intermission to be allowed in.

Problematic behavior
At concerts in nightclubs, the music is often loud, and it's quite normal for members of the audience to cheer loudly during the performance and take pictures at any time. By contrast, untimely outbursts or unauthorized photography can get you ejected from a classical concert. As in some of the classiest jazz clubs, classical concert halls expect as close to total silence as possible from the audience, except when it's appropriate to applaud.

Even making noise talking, unwrapping cough drops or rustling papers can get you stared at or audibly shushed, and if your cell phone goes off during the most delicate moment, people will really get irate. Even if it's not mentioned at the start of the performance, it's always a good idea to turn off your phone (or make it totally silent – note that "silent" may still allow alarms and not very silent vibration). If you have a cold or cough, you may want to bring some lozenges and unwrap them at the beginning of the concert or another opportune time so you can suppress the urge to cough.

Laughing is different. It's fine to laugh at a funny moment in the plot of an opera or in a piece of instrumental music (e.g., there are many funny moments in Haydn symphonies), but it is very rude to laugh because you heard a performer mess up. You may find some audience members staring at you for laughing at music because it's funny, but they're being ignorant, so don't take it to heart.

The problem of photography is different, and it applies even more to unauthorized recordings (called bootlegs): These are a violation of the artists' and hall's right to profit from images and recordings of their work. Some places are very strict about this: unauthorized recording in Carnegie Hall, for example, can lead to your device being confiscated and its memory cleared completely. At the very least, personnel in some concert halls may personally give you a verbal telling-off or warn that you will have to leave if you continue. However, in less formal settings, many artists are happy for you to take pictures and even recordings if you ask for permission.

Children
Well-behaved children are generally welcome at any type of classical concert. If you want to expose your child to classical music, by all means bring them. If they get fussy, you can take them just outside the hall, and when they calm down, you will normally be able to reenter, though you may be required to wait till the end of a movement or aria.

Some organizations, such as symphony orchestras, also have special children's concerts, in which the conductor will probably speak to them and teach them things about music. Such concerts tend to be shorter than ordinary concerts and often feature staples of children's classical music such as Prokofiev's Peter and the Wolf or Britten's Young Person's Guide to the Orchestra that demonstrate the roles and capabilities of different orchestral instruments and include a narrator.