23 Season 2015-2016

Thursday, March 31, at 8:00 Friday, April 1, at 2:00 The Philadelphia Saturday, April 2, at 8:00 Pablo Heras-Casado Conductor Akiko Suwanai

Tchaikovsky Fantasy-Overture, The Tempest, Op. 18

ProkofievViolin No. 2 in G minor, Op. 63 I. Allegro moderato II. Andante assai—Allegretto—Andante assai, come prima III. Allegro, ben marcato

Intermission

Mendelssohn Symphony No. 3 in A minor, Op. 56 (“Scottish”) I. Andante con moto—Allegro un poco agitato—Assai animato—Andante come I— II. Vivace non troppo— III. Adagio— IV. Allegro vivacissimo—Allegro maestoso assai

This program runs approximately 2 hours, 5 minutes.

The March 31 concert is sponsored by Medcomp.

The April 2 concert is sponsored in part by Ruth W. and A. Morris Williams, Jr.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit wrti.org to listen live or for more details.

3 Story Title 25 The Jessica Griffin

The Philadelphia Orchestra Orchestra also reaches and the is one of the preeminent thousands of listeners on the Kennedy Center while also in the world, radio with weekly Sunday enjoying summer residencies renowned for its distinctive afternoon broadcasts on in Saratoga Springs, New sound, desired for its WRTI-FM. York, and Vail, Colorado. keen ability to capture the Philadelphia is home and The Philadelphia Orchestra hearts and imaginations the Orchestra nurtures an of audiences, and admired serves as a catalyst for important relationship with for a legacy of imagination cultural activity across patrons who support the and innovation on and off Philadelphia’s many main season at the Kimmel the concert stage. The communities, as it builds an Orchestra is transforming its Center, and also with those offstage presence as strong rich tradition of achievement, who enjoy the Orchestra’s as its onstage one. The sustaining the highest area performances at the Orchestra’s award-winning level of artistic quality, but Mann Center, Penn’s Landing, Collaborative Learning also challenging—and and other cultural, civic, initiatives engage over exceeding—that level by and learning venues. The 50,000 students, families, creating powerful musical Orchestra maintains a strong and community members experiences for audiences at commitment to collaborations through programs such as home and around the world. with cultural and community PlayINs, side-by-sides, PopUp organizations on a regional concerts, free Neighborhood Music Director Yannick and national level. Concerts, School Concerts, Nézet-Séguin’s highly collaborative style, deeply- Through concerts, tours, and residency work in rooted musical curiosity, residencies, presentations, Philadelphia and abroad. and boundless enthusiasm, and recordings, the Orchestra The Orchestra’s musicians, paired with a fresh approach is a global ambassador for in their own dedicated to orchestral programming, Philadelphia and for the roles as teachers, coaches, have been heralded by . Having been and mentors, serve a key critics and audiences alike the first American orchestra role in growing young since his inaugural season in to perform in China, in 1973 musician talent and a love 2012. Under his leadership at the request of President of , nurturing the Orchestra returned to Nixon, The Philadelphia and celebrating the wealth recording, with two celebrated Orchestra today boasts a new of musicianship in the CDs on the prestigious partnership with the National Philadelphia region. For Centre for the Performing more information on The label, continuing its history Arts in Beijing. The ensemble Philadelphia Orchestra, of recording success. The annually performs at please visit www.philorch.org. 6 Music Director

Chris Lee Music Director Yannick Nézet-Séguin, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra, and he has renewed his commitment to the ensemble through the 2021-22 season. His highly collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fourth season include a year-long exploration of works that exemplify the famous Philadelphia Sound, including Mahler’s Symphony No. 8 and other pieces premiered by the Orchestra; a Music of Vienna Festival; and the continuation of a commissioning project for principal players.

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He also continues to enjoy a close relationship with the London Philharmonic, of which he was principal guest conductor. He has made wildly successful appearances with the world’s most revered ensembles, and he has conducted critically acclaimed performances at many of the leading opera houses.

Yannick Nézet-Séguin and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership The Philadelphia Orchestra returned to recording with two CDs on that label; the second, Rachmaninoff’s Rhapsody on a Theme of Paganini with Daniil Trifonov, was released in August 2015. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic and Choir for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued lessons with renowned conductor and with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are appointments as Companion of the Order of Canada and Officer of the National Order of Quebec, a Royal Philharmonic Society Award, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, Musical America’s 2016 Artist of the Year, and honorary doctorates from the University of Quebec, the Curtis Institute of Music, and Westminster Choir College. To read Yannick’s full bio, please visit www.philorch.org/conductor. 26 Conductor

Fernando Sancho Spanish conductor Pablo Heras-Casado makes his Philadelphia Orchestra debut with these performances. Musical America’s 2014 Conductor of the Year, he enjoys an unusually varied career encompassing the great symphonic and operatic repertoire, historically informed performances, and cutting-edge contemporary scores. Principal conductor of the Orchestra of St. Luke’s in New York since 2012, he was also appointed principal guest conductor of the Teatro Real in Madrid in 2014. Mr. Heras-Casado is a regular guest with the Chicago, San Francisco, and Bavarian Radio symphonies, the Los Angeles and Munich philharmonics, the Staatskapelle Berlin, the Mariinsky Orchestra, and the . In addition to these current performances, highlights of the 2015-16 season include return visits to the , the London Symphony, the Orchestra dell’Accademia Nazionale di Santa Cecilia, and the Rotterdam Philharmonic; debuts with the Vienna and Israel philharmonics and the Vienna Symphony; continued collaborations with the Ensemble InterContemporain, the Freiburg Baroque Orchestra, and the Balthasar Neumann Chor and Ensemble; and an appearance at the Mozarteum Salzburg, where he is invited annually for Mozart Week. The season’s opera projects include Verdi’s at the Metropolitan Opera and at the Teatro Real. Mr. Heras-Casado records for Harmonia Mundi and Deutsche Grammophon’s Archiv Produktion. He has received numerous prizes for his recordings, including three ECHO Klassik awards, two Diapason d’Or awards, and a Latin Grammy. Recent releases on Harmonia Mundi include Schumann’s Violin and with violinist Isabelle Faust and pianist Alexander Melnikov, Schubert’s Third and Fourth symphonies with the Freiburg Baroque Orchestra, and Mendelssohn’s Symphony No. 2 with the Bavarian Radio Symphony. For Archiv he has recorded a disc of works by Jacob, Hieronymus, and Michael Praetorius, and an album celebrating the legendary castrato singer Farinelli. In June 2014 he joined the Spanish charity Ayuda en Acción supporting the eradication of poverty and injustice in the world. 27 Soloist

Kiyotaka Saito Violinist Akiko Suwanai made her Philadelphia Orchestra debut in 2004 in Verizon Hall and last performed with the ensemble on tour in Tokyo in 2014. The youngest-ever winner of the International Tchaikovsky Competition, she now enjoys a prestigious international career. Recent performances have included concerts with the BBC and philharmonics and the Danish National and Vancouver symphonies; a tour with the Orchestra dell’Accademia Nazionale di Santa Cecilia and ; and an appearance at the Bergen International Festival, performing with pianist . Conductors with whom she has collaborated include Yannick Nézet-Séguin, Andrew Davis, , David Robertson, Susanna Mälkki, Neeme Järvi, Sakari Oramo, and Seiji Ozawa. In addition to these current performances, highlights of Ms. Suwanai’s 2015-16 season include appearances with the Philharmonia Orchestra and Tugan Sokhiev, the Finnish Radio Symphony and Hannu Lintu, and the Gürzenich Orchestra Cologne and François-Xavier Roth. She also tours Japan with the St. Petersburg Philharmonic and Yuri Temirkanov, and China with the NHK Symphony and Tan Dun. Future highlights include concerts with the Bamberg Symphony and Herbert Blomstedt. Ms. Suwanai is artistic director of the International Music Festival NIPPON, which she launched in 2012. At the Festival in 2014 she gave the world premiere of Karol Beffa’s with the Deutsche Kammerphilharmonie Bremen and Paavo Järvi; she also gave master classes, performed , and gave charity concerts for the Great East Japan Earthquake. At previous festivals she has performed the Japanese premiere of Esa-Pekka Salonen’s Violin Concerto with the Philharmonia Orchestra conducted by the composer, and the world premiere of Eric Tanguy’s In a Dream with pianist Akira Eguchi. Ms. Suwanai’s extensive discography with Universal Music includes her most recent release, Emotion, a recital disc with pianist Itamar Golan. She performs on the Stradivarius “Dolphin” violin from 1714, previously owned by and kindly loaned to her by the Nippon Music Foundation. 28 Framing the Program

The plays of William Shakespeare have inspired an untold Parallel Events number of composers and provided the basis for a vast 1842 Music range of pieces, from intimate songs to grand symphonies Mendelssohn Glinka and operas. Romeo and Juliet was the source for one of Symphony Ruslan and Tchaikovsky’s earliest successes and today we hear a No. 3 Lyudmila work he wrote soon afterward that calls upon the Bard’s Literature The Tempest. Longfellow Poems of composed his Second Violin Concerto at Slavery a crucial juncture of his career. After winning early fame Art in his native Russia, he decided in the wake of the 1917 Turner Bolshevik Revolution to move to America, and then to Snowstorm Europe. During the late 1920s, however, he started to visit History the Soviet Union and in 1936 returned home for good. Treaty of His music during this time increasingly strove for what he Nanking ends called a “new simplicity,” apparent in his Violin Concerto Opium War No. 2. It is a cosmopolitan composition—as Prokofiev 1873 Music recalled: “The principal theme of the first movement was Tchaikovsky Bruckner written in , the first theme of the second movement The Tempest Symphony No. 3 in Voronezh (Russia), the orchestration was completed in Literature Baku, and the first performance was given in Madrid, in Tolstoy December 1935.” Anna Karenina Mendelssohn’s Symphony No. 3 is known as the Art “Scottish,” which is what the composer called it in letters Cézanne The Straw Hat although not in the actual score. In fact, it is the last of History his five symphonies to be completed, but because two Republic others were published later the chronology was confused. proclaimed in The work offers a brilliant musical travelogue of the composer’s impressions of Scotland.

1935 Music Prokofiev Orff Violin Concerto No. 2 Literature Day Life with Father Art Dalí Giraffe on Fire History Roosevelt signs Social Security Act 29 The Music The Tempest

When Mozart was 33 years old, he had composed all his symphonies, all his piano concertos, and all but two of his operas. When Schubert was 33 (to paraphrase the musical satirist Tom Lehrer), he had been dead for two years. In 1873 what Tchaikovsky had to show for his 33 years was a handful of immature works and the first version of one vivid and characteristic piece, the fantasy- overture Romeo and Juliet. At the urging of the influential critic Vladimir Stasov, Tchaikovsky took another bite of the Shakespeare apple, this time creating a new orchestral work on The Tempest. This fantasy-overture made its bow Born in Kamsko-Votkinsk, at a concert of the Moscow Musical Society on Russia, May 7, 1840 December 19, 1873. Died in St. Petersburg, November 6, 1893 One of Shakespeare’s last works, The Tempest is usually counted among his “fantasy plays.” It is certainly a more elusive subject for composition than Romeo and Juliet, with its melodrama of star-crossed lovers: Mariners are cast ashore on a strange island, presided over by an enigmatic magician (Prospero) and populated by creatures both fairy-like (Ariel) and bestial (Caliban). There is a love story between the mariner Ferdinand and Prospero’s daughter, Miranda, but the play is as much about philosophy and “the doors of perception” as about any real events. Standing on the threshold of greatness as a composer— his epic No. 1 came the following year, followed by the Fourth Symphony and the opera Eugene Onegin—Tchaikovsky bravely tackled The Tempest with music that is recognizably his own, and rich in the kind of imaginative details that distinguish his ballet scores. From its Wagnerian evocation of the calm sea to its drama of storm-tossed lovers, it offers the listener many vivid images, and a soaring love theme in the passionate . Stasov’s program for the work serves as a map to the dramatic elements in Tchaikovsky’s piece: The Sea. Ariel, spirit of the air, obedient to the will of the magician Prospero, evokes a tempest. Wreck of the ship which carries Ferdinand. The Enchanted Isle. First timid stirring of love between Miranda and Ferdinand. Ariel. Caliban. The loving couple abandon 30

The Tempest was composed themselves to the triumphant sway of passion. in 1873. Prospero lays aside his magical power and quits the led the isle. The Sea. first Philadelphia Orchestra —David Wright performances of the work, in February 1944. The Orchestra last performed the Fantasy- Overture on subscription concerts in September 2008, conducted by Rossen Milanov. The score calls for piccolo, two flutes, two , two , two , four horns, two , three , , , percussion (bass drum, cymbals), and strings. Performance time is approximately 18 minutes. 31 The Music Violin Concerto No. 2

Many Russian composers of the mid-20th century were compelled to write under the oppressive restrictions of Stalinism. But Sergei Prokofiev lived in the Soviet Union by choice, not by fate. After establishing a youthful reputation as a musical rebel, then tempering that reputation somewhat with more orthodox works like the “Classical” Symphony and the First Violin Concerto, he left his native Russia in 1918. Even though his Modernism would’ve been welcomed at first by the post-Revolutionary communist government, he decided to pursue a career in Sergei Prokofiev the West, moving first to the United States before settling Born in Sontsovka, in . But like his compatriot Rachmaninoff, Prokofiev Ukraine, April 23, 1891 felt alienated while abroad, separated from his friends and Died in Moscow, March 5, his culture. He gradually re-established ties with Moscow, 1953 and with assurances that he would be given special advantages and privileged treatment, moved back to the Soviet Union in early 1936. Prokofiev was, however, no communist. Soviet apparatchiks were consistently suspicious of his experiences in the West. He was denounced in the 1948 “purge” at the Soviet Composers’ Union that also humiliated Shostakovich and Khachaturian. And Stalin personally intervened to complicate Prokofiev’s late career. His spirit broken, his health (which was never robust) worsened. It seemed somehow emblematic of his career that Prokofiev died on the same day as Stalin: March 5, 1953. It took almost a week for the news of this great composer’s death to be reported in the Russian newspapers, and even then it was hidden in the middle pages. He was always more highly regarded in the West than in his own country. A Work from Happy Times It was during happier times, though, while preparing to move from Paris back to Moscow in 1935, that Prokofiev composed his Violin Concerto No. 2. The decision to return to his had already been made by this time; he even spent the summer and autumn of 1935 in Russia composing Romeo and Juliet for the Bolshoi Theatre, and working on the new violin concerto using themes he had jotted down earlier in Paris and during other travels. 32

The Concerto was a commission for the Belgian violinist Robert Soetens, who in 1932 had played (with ) the Western premiere of Prokofiev’s Sonata for Two Violins, Op. 56. Stravinsky was already writing a Violin Concerto for Dushkin—it seemed appropriate that Prokofiev should pen one for Soetens. After working on the score in Russia, he returned briefly to Paris in October 1935 to rehearse the work with Soetens. They then embarked on a tour together, presenting the world premiere of the new Concerto in Madrid. After the tour Prokofiev returned to the USSR as a fully repatriated resident. Soetens continued to champion Prokofiev’s music, and this Concerto specifically, for the remainder of his long career, which lasted into the 1990s. Prokofiev’s two violin concertos, bookending his time as an émigré in the West, could not be more different in style. This was a conscious decision by the composer, who wanted to signal to the Soviet authorities in 1935 his willingness to write more tuneful works in general. But while the Second Concerto does contain a number of charming melodies in a leaner style, there is at the same time a disconcerting ambiguity, a lingering legacy of the composer’s Paris period and his curbed Modernism. A Closer Look The solo violin’s ominous opening theme (Allegro moderato) with its asymmetrical phrasing, has a distinctly Russian flavor to it. When the ensemble enters, there is an austerity to the orchestration that might be thought of as “neoclassical,” though far more brooding than the objectivity of Stravinsky’s neoclassicism. A nervous transition passage leads into a richly- toned second theme in B-flat, marked by Prokofiev’s characteristically fluid harmonic shifts. The development section becomes even more nervous, fractured, and sardonic with its pizzicato accompaniment and ascetic winds in open octaves. When the opening theme returns in the recapitulation, it is in the low strings, darkening the character even further. And as the second theme is reprised (in G major), it is played so high in the violin register that any intrinsic lyricism is attenuated into intense disquiet. A brief coda presents the theme in canon before ending in a somewhat sparse, resigned G minor. Over an almost banal arpeggio, the solo violin opens the slow movement (Andante assai) with a supple, long- breathed melody in E-flat major. But an insistent rhythmic ambiguity, with the violin playing duplets against a triplet accompaniment, mitigates the repose. In this episodic movement, the harmonic center shifts frequently and 33

Prokofiev’s Violin Concerto often abruptly, as the rhythmic disjunction transforms No. 2 was composed in 1935. towards a kind of consensus. In the final statement of the Zino Francescatti was the main theme, both soloist and orchestra play in congruent soloist in the first Philadelphia triplets, but the ominous bass drum pulses in the coda, Orchestra performances of bringing the movement to a deep, sinister close. the Second Concerto, in In the finale (Allegro, ben marcato), the violin seems December 1948 with Eugene determined to maintain a waltz rhythm despite the Ormandy. Since then a number of leading violinists have played frustration of shifting meters and displaced accents in the work here, including Isaac the orchestra. This movement is a black comedy, with Stern, , Shlomo Shostakovich-like grotesqueries in the interior episodes, Mintz, Kyung-Wha Chung, passages in 7/4 and 5/4 meter, and the peculiar Joshua Bell, , appearance of castanets (which might have been a Leila Josefowicz, and Lisa late addition to the work, once the premiere was set for Batiashvili. The Concerto was Madrid). Throughout the movement, the bass drum and last performed on subscription snare drum lurk in the background, threatening danger concerts in April 2014 by and propelling the work to a brittle, volatile climax. James Ehnes, with Gianandrea Noseda . —Luke Howard The Philadelphians recorded the piece in 1963 with Stern and Ormandy. Prokofiev’s score calls for solo violin, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, percussion (bass drum, castanets, snare drum, suspended cymbal, triangle), and strings. The Second Concerto runs approximately 25 minutes in performance. 34 The Music Symphony No. 3 (“Scottish”)

Like Mozart’s early travels around Europe, Mendelssohn’s “grand tour” of 1829-34 had a profound impact on his music. Several of his best-known compositions—the Calm Sea and Prosperous Voyage and Hebrides overtures, and the “Italian” and “Scottish” symphonies—had their conceptual origins during this five-year sojourn, when the young composer broke out of provincial Berlin to see the world for the first time. But unlike the child Mozart, who assimilated the actual musical styles of France, Italy, Bohemia, and Austria, Mendelssohn arrived in the European capitals with his musical personality fairly well- Born in Hamburg, formed. What the precocious 20-year-old absorbed from February 3, 1809 London, Rome, Paris, Salzburg, and Vienna was more in Died in Leipzig, the way of atmosphere and variety—a deepening and November 4, 1847 enrichment of a ready technique and brilliant natural talent. Inspiration at Holyrood England and Scotland were among his first stops. “This evening in the twilight we went to the palace where Queen Mary lived and loved,” Mendelssohn wrote to his sister Fanny from Edinburgh in July 1829. The young German tourist had come upon the castle known as Holyrood, and its histories had completely fascinated him: A little room is shown there with a winding staircase leading up to the door; up this way they came and found Rizzio in the little room, pulled him out, and three rooms off there is the dark corner where they murdered him. The chapel close to it is roofless now; grass and ivy grow there, and the altar at which Mary was crowned Queen of Scotland is broken. Everything around is broken and moldering, and the bright sky shines in. I believe I found today in that chapel the beginning of my “Scottish” Symphony. Despite this auspicious initial inspiration, which evoked 16 measures of musical sketches, Mendelssohn was not to take up his “Scottish” Symphony in earnest until many years later. Immediately after the above visit, in fact, he traveled to Italy and, dazzled by sun and warmth, wrote, “Who can blame me if I am unable to put myself back into the foggy mood of Scotland?” For now, the atmospheric moment was dispelled. Instead the composer took up 35

Mendelssohn composed his the “Italian” and “Reformation” symphonies, not returning Symphony No. 3 in 1842. to complete the “Scottish” until 1842. The latter (“No. The first Philadelphia Orchestra 3”) was thus the last of Mendelssohn’s works in this performances of the “Scottish” genre to be finished—but because the “Italian” (No. 4) Symphony took place in and “Reformation” (No. 5) symphonies were published December 1905, with Fritz afterward, the numbering continues to reflect the order of Scheel on the podium. Since conception, rather than that of completion. then the work has appeared sporadically on subscription The “Scottish” received its belated premiere in March series (it was absent from 1842, with Mendelssohn conducting the Gewandhaus 1930-46 and then again Orchestra of Leipzig; three months later the composer until 1971). Most recently led the work in London, dedicating it to Queen Victoria. on subscription it was led by Mendelssohn did not actually title the piece “Scottish” Gianandrea Noseda in March himself, despite having referred to it thus in his 2012. correspondence; nonetheless the work retains a palpable The Philadelphians recorded flavor of the misty and ancient sadness of Scotland’s the Symphony in 1977 for green hills. RCA with Eugene Ormandy. A Closer Look The movements of this structurally Mendelssohn scored the work unique work “must follow each other directly,” as the for two flutes, two oboes, two composer has written in the manuscript score, “and are clarinets, two bassoons, four not to be separated by the otherwise customary long horns, two trumpets, timpani, pauses.” The brooding introduction (Andante con moto) and strings. leads into a bristling main section (Allegro un poco Performance time is agitato). A vibrant scherzo follows (Vivace non troppo); approximately 40 minutes. but the sense of melancholy returns in the Adagio, which looks to Beethoven’s later works for thematic inspiration. The complex finale (Allegro vivacissimo—Allegro maestoso assai) works stealthily and inexorably toward a richly scaled climax of majesty and joy—but always with the tinge of tristesse that is the Symphony’s pervasive mood. —Paul J. Horsley

Program notes © 2016. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association and/or David Wright. 36 Musical Terms

GENERAL TERMS the 20th century must be Sonata form: The form in Arpeggio: A broken adequate to the unique and which the first movements chord (with notes played radical character of the age (and sometimes others) in succession instead of Octave: The interval of symphonies are usually together) between any two notes that cast. The sections are Cadenza: A passage or are seven diatonic (non- exposition, development, section in a style of brilliant chromatic) scale degrees and recapitulation, the improvisation, usually apart last sometimes followed inserted near the end of a Op.: Abbreviation for opus, by a coda. The exposition movement or composition a term used to indicate is the introduction of Chord: The simultaneous the chronological position the musical ideas, which sounding of three or more of a composition within a are then “developed.” In tones composer’s output the recapitulation, the Chromatic: Relating to Pizzicato: Plucked exposition is repeated with tones foreign to a given key Recapitulation: See modifications. (scale) or chord sonata form Tonic: The keynote of a Coda: A concluding section Rondo: A form frequently scale or passage added in order used in symphonies and to confirm the impression of concertos for the final THE SPEED OF MUSIC finality movement. It consists of a (Tempo) Development: See sonata main section that alternates Adagio: Leisurely, slow form with a variety of contrasting Agitato: Excited Diatonic: Melody or sections (A-B-A-C-A etc.). Allegretto: A tempo harmony drawn primarily Scale: The series of between walking speed and from the tones of the major tones which form (a) any fast or minor scale major or minor key or (b) Allegro: Bright, fast Fantasy: A composition the chromatic scale of Andante: Walking speed free in form and more or successive semi-tonic steps Animato: Lively, animated less fantastic in character Scherzo: Literally “a Come prima (I): Like the Harmonic: Pertaining to joke.” Usually the third first time chords and to the theory movement of symphonies Con moto: With motion and practice of harmony and quartets that was Maestoso: Majestic Harmony: The combination introduced by Beethoven Marcato: Accented, of simultaneously to replace the minuet. The stressed sounded musical notes to scherzo is followed by a Moderato: A moderate produce chords and chord gentler section called a trio, tempo, neither fast nor slow progressions after which the scherzo is Vivace: Lively Modernism: A repeated. Its characteristics Vivacissimo: Very lively consequence of the are a rapid tempo in triple fundamental conviction time, vigorous rhythm, and TEMPO MODIFIERS among successive humorous contrasts. Also Assai: Much generations of composers an instrumental piece of Ben: Quite since 1900 that the means a light, piquant, humorous Non troppo: Not too much of musical expression in character. Un poco: A little 37 April The Philadelphia Orchestra

Enjoy the ultimate in flexibility with a Create-Your-Own 3-Concert Series today! Choose 3 or more concerts that fit your schedule and your tastes and receive exclusive subscriber benefits. Choose from the remaining performances including: An American in Paris April 8 & 9 8 PM April 10 2 PM Yannick Nézet-Séguin Conductor Alexandre Tharaud Piano Weill Symphony No. 2 Ravel Piano Concerto for the Left Hand Gershwin An American in Paris These performances are funded in part by the Kurt Weill Foundation for Music. The April 8 concert is sponsored by Rachelle and Ronald Kaiserman. Fabulous Philadelphians: the Commissions April 14 & 16 8 PM April 15 2 PM Yannick Nézet-Séguin Conductor Don S. Liuzzi Timpani Ricardo Morales Bernstein Suite from Fancy Free Wright Resounding Drums (Philadelphia Orchestra Commission-world premiere) Leshnoff Clarinet Concerto(Philadelphia Orchestra Commission-world premiere) Prokofiev Symphony No. 7 These performances are made possible in part by the generous support of the Presser Foundation. The April 14 concert is sponsored by Dr. and Mrs. John Glick. Hurry, before tickets disappear for this exciting season. Call 215.893.1999 or log on to www.philorch.org PreConcert Conversations are held prior to every Philadelphia Orchestra subscription concert, beginning 1 hour before curtain. Photo: Jessica Griffin 1638 Story Title Tickets & Patron Services

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