Seventh of a series of music-appreciation books for young readers covering composers and interpreters from Bach to...
In 18th-century Venice, a young priest named Vivaldi taught music to the orphans of the Ospedale della Pietà and later composed a concerto for them, the first of four “seasons,” each with an accompanying sonnet.
In her serviceable re-creation of the circumstances behind the composition of “Spring,” Celenza provides a believable back story. She describes the orphanage, the hidden girls’ musical performances (they played behind a screen so no one could see them), and their story-telling teacher, whom they called “Padre Rossi” for his red hair. But there is no real narrative arc to carry readers along. The description and invented dialogue serve as a backdrop for presenting the program of the concerto: the opening birdsong, storm and sunlight’s return; the meadow scenes with the goatherd’s barking dog; and the celebratory dance of the third movement. Watercolor illustrations on double-page spreads give a sense of time and place, but the people are stiff and static. Included as backmatter are translations of the sonnets that accompanied publication of The Four Seasons and a note from the author, who is a commentator and professor of music, adding some further information. Included on CD is a much-lauded performance by the Venice Baroque Orchestra with Giuliano Carmignola on Baroque violin.
Seventh of a series of music-appreciation books for young readers covering composers and interpreters from Bach to Ellington, this is a useful introduction to a beloved classic. (Picture book. 6-9)Pub Date: July 1, 2012
ISBN: 978-1-57091-637-3
Page Count: 32
Publisher: Charlesbridge
Review Posted Online: May 1, 2012
Kirkus Reviews Issue: May 15, 2012
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A welcome, well-researched reflection of cultural pride in the early-reader landscape.
The fourth installment in Delacre’s early-reader series centers on the rich musical traditions of Puerto Rico, once again featuring sibling tree frogs Rafi and Rosi Coquí.
Readers learn along with Rafi and Rosi as they explore bomba, plena, and salsa in three chapters. A glossary at the beginning sets readers up well to understand the Spanish vocabulary, including accurate phoneticization for non-Spanish speakers. The stories focus on Rafi and Rosi’s relationship within a musical context. For example, in one chapter Rafi finds out that he attracts a larger audience playing his homemade güiro with Rosi’s help even though he initially excluded her: “Big brothers only.” Even when he makes mistakes, as the older brother, Rafi consoles Rosi when she is embarrassed or angry at him. In each instance, their shared joy for music and dance ultimately shines through any upsets—a valuable reflection of unity. Informational backmatter and author’s sources are extensive. Undoubtedly these will help teachers, librarians, and parents to develop Puerto Rican cultural programs, curriculum, or home activities to extend young readers’ learning. The inclusion of instructions to make one’s own homemade güiro is a thoughtful addition. The Spanish translation, also by Delacre and published simultaneously, will require a more advanced reader than the English one to recognize and comprehend contractions (“pa’bajo-pa-pa’rriba”) and relatively sophisticated vocabulary.
A welcome, well-researched reflection of cultural pride in the early-reader landscape. (Early reader. 7-9)Pub Date: Sept. 17, 2019
ISBN: 978-0-89239-429-6
Page Count: 64
Publisher: Children's Book Press
Review Posted Online: July 27, 2019
Kirkus Reviews Issue: Aug. 15, 2019
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look...
Winning actually isn’t everything, as jazz-happy Rooster learns when he goes up against the legendary likes of Mules Davis and Ella Finchgerald at the barnyard talent show.
Having put together a band with renowned cousin Duck Ellington and singer “Bee” Holiday, Rooster’s chances sure look good—particularly after his “ ‘Hen from Ipanema’ [makes] / the barnyard chickies swoon.”—but in the end the competition is just too stiff. No matter: A compliment from cool Mules and the conviction that he still has the world’s best band soon puts the strut back in his stride. Alexander’s versifying isn’t always in tune (“So, he went to see his cousin, / a pianist of great fame…”), and despite his moniker Rooster plays an electric bass in Bower’s canted country scenes. Children are unlikely to get most of the jokes liberally sprinkled through the text, of course, so the adults sharing it with them should be ready to consult the backmatter, which consists of closing notes on jazz’s instruments, history and best-known musicians.Pub Date: Sept. 1, 2011
ISBN: 978-1-58536-688-0
Page Count: 32
Publisher: Sleeping Bear Press
Review Posted Online: July 19, 2011
Kirkus Reviews Issue: Aug. 1, 2011
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