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Home , Giancarlo Guerrero, Medea (ballet), Piano Concerto (Higdon), Roberto Sierra, Walter Damrosch

27 Season 2012-2013

Thursday, November 1, at 8:00 The Friday, November 2, at 2:00 Saturday, November 3, at 8:00 Conductor Kirill Gerstein

Barber ’s Dance of Vengeance, Op. 23a

Gershwin Piano in F I. Allegro II. Adagio—Andante con moto III. Allegro agitato

Intermission

Copland Appalachian Spring Suite (1945 version)

Sierra Sinfonía No. 4 I. Moderadamente rápido II. Rápido III. Tiempo de bolero IV. Muy rápido y rítmico First performances— Commissioned by the inaugural Sphinx Commissioning Consortium, whose founding members were The Philadelphia Orchestra; the Cincinnati, Baltimore, Detroit, Grand Rapids, New Jersey, Richmond, Virginia, Nashville, and New World symphonies; the Chicago Sinfonietta; the Rochester Philharmonic; and the Sphinx Organization

This program runs approximately 1 hour, 50 minutes. 228 Story Title The Philadelphia Orchestra Jessica Griffin

Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. an extraordinary history of Center, Penn’s Landing, artistic leaders in its 112 and other venues. The The ensemble maintains seasons, including music Philadelphia Orchestra an important Philadelphia directors Fritz Scheel, Carl Association also continues tradition of presenting Pohlig, , to own the Academy of educational programs for Eugene Ormandy, Riccardo Music—a National Historic students of all ages. Today Muti, Wolfgang Sawallisch, Landmark—as it has since the Orchestra executes a and Christoph Eschenbach, 1957. myriad of education and and Charles Dutoit, who community partnership Through concerts, served as chief conductor programs serving nearly tours, residencies, from 2008 to 2012. With 50,000 annually, including presentations, and the 2012-13 season, its Neighborhood Concert recordings, the Orchestra Yannick Nézet-Séguin Series, Sound All Around is a global ambassador becomes the eighth music and Family Concerts, and for Philadelphia and for director of The Philadelphia eZseatU. the United States. Having Orchestra. Named music been the first American For more information on director designate in 2010, orchestra to perform in The Philadelphia Orchestra, Nézet-Séguin brings a China, in 1973 at the please visit www.philorch.org. vision that extends beyond request of President Nixon, symphonic music into the today The Philadelphia

29 Conductor

Giancarlo Guerrero is music director of the (NSO) and concurrently holds the position of principal guest conductor of the Cleveland Orchestra’s Miami Residency. Last year he led the Nashville Symphony to a Grammy win for a second consecutive year with their recording of American Joseph Schwantner’s Concerto for Percussion and Orchestra. His previous recording with the orchestra of ’s Metropolis Symphony and Deus Ex Machina won three 2011 Grammy awards. A fervent advocate of contemporary music, Mr. Guerrero has collaborated with and championed the works of several , including , , , , Mr. Daugherty, , and Richard Danielpour. Mr. Guerrero has conducted The Philadelphia Orchestra numerous times since making his debut with the ensemble in 2003 (these current performances mark his Orchestra subscription debut). This season he debuts with the BBC Symphony, the Deutsches Symphonie-Orchester Berlin, and the Norwegian Radio Orchestra. An advocate for young musicians and music education, Mr. Guerrero now returns annually to Caracas, Venezuela, to conduct the Simón Bolívar Symphony and to work with young musicians in the country’s lauded El Sistema music program. This season he will also work with the student orchestras of the Curtis Institute of Music and the Colburn School. Early in his career Mr. Guerrero worked regularly with the Costa Rican Lyric Opera and in recent seasons has conducted new productions of Bizet’s , Puccini’s La bohème, and Verdi’s Rigoletto. Future plans include productions at the Houston Grand Opera and Marseille Opera. In February 2008 he gave the Australian premiere of Mr. Golijov’s one-act opera Ainadamar at the Adelaide Festival. From 1999 to 2004 Mr. Guerrero served as associate conductor of the Minnesota Orchestra, where he made his subscription debut in March 2000, leading the world premiere of John Corigliano’s Phantasmagoria (on themes from The Ghosts of Versailles). In June 2004 Mr. Guerrero was honored by the American Symphony Orchestra League with the Helen M. Thompson Award, which recognizes outstanding achievement among young conductors nationwide. 30 Soloist

Marco Borggreve Pianist Kirill Gerstein made his Philadelphia Orchestra debut in 2007, performing Tchaikovsky’s No. 1 at the Saratoga Performing Arts Center. Since then he has appeared with the Orchestra five times, most recently this past summer at the Gerald R. Ford Amphitheater in Vail under the baton of Yannick Nézet-Séguin (these current performances mark his Orchestra subscription debut). This season Mr. Gerstein also makes subscription debuts with the Boston Symphony, the Montreal Symphony, and the Toronto Symphony. Return engagements include performances with the Indianapolis Symphony, the Oregon Symphony, the Saint Louis Symphony, and the San Antonio Symphony. He will perform in recital for the La Jolla Music Society and at the Eastman School of Music, and tour with long-time chamber music partner cellist Steven Isserlis. Internationally he will make debuts with the Czech Philharmonic, the NDR Symphony in , the Berlin Radio Symphony, and the Tonkünstler Orchestra in Vienna. Mr. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award, presented every four years to an exceptional pianist who, regardless of age or nationality, possesses broad and profound musicianship and charisma and who can sustain a career as a major international concert artist. Since receiving the Award in 2010 Mr. Gerstein has shared his prize through the commissioning of boundary crossing new works by Oliver Knussen, Brad Mehldau, Chick Corea, and Timothy Andres. His other awards include First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, a 2002 Gilmore Young Artist Award, and a 2010 Avery Fisher Grant. Born in 1979 in Voronezh, in southwestern Russia, Mr. Gerstein first learned piano at a school for gifted children. While studying he taught himself to play jazz by listening to his parents’ extensive record collection. After coming to the attention of vibraphonist Gary Burton, who was performing at a music festival in the Soviet Union, Mr. Gerstein came to the United States at age 14 to study jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. An American citizen since 2003, Mr. Gerstein now divides his time between the United States and , where he has been a professor of piano at the State University of Music and the Performing Arts in Stuttgart since 2006. 31 Framing the Program

As America elects its president next week, The Parallel Events Philadelphia Orchestra celebrates our democracy with 1925 Music composers whose music is as varied as the country’s Gershwin Berg landscape. , , and Piano Concerto Wozzeck Aaron Copland helped forge the “American Sound” of in F Literature classical music in the first half of the 20th century while Dos Passos contemporary composer Roberto Sierra has expanded Manhattan that vision with new sounds and compelling references to Transfer his Latino heritage. Art Kokoschka The impetus for both Barber’s Medea’s Dance of Tower Bridge Vengeance and Copland’s Appalachian Spring came History from dance, specifically ballets composed in the mid- Scopes Trial 1940s for the great American choreographer . Between these works we hear Gershwin’s Piano 1943 Music Concerto, originally called New York Concerto. Gershwin Copland Shostakovich built on the fantastic success of his , Appalachian Symphony written the previous year, by fusing a jazz inspiration with Spring No. 8 Literature a more classical approach to form. Hersey Puerto Rican-born composer Roberto Sierra is esteemed A Bell for Adano for the rhythmic propulsion, danceable melodies, and vivid Art colors of his orchestral music. His new four-movement Rivera Sinfonía No. 4 was commissioned by a consortium of The Rug orchestras, including The Philadelphia Orchestra, in Weaver History collaboration with the Sphinx Organization, which supports D-Day landings minority composers. in Normandy

1955 Music Barber Piston Medea’s Dance Symphony of Vengeance No. 5 Literature Nabokov Lolita Art De Chirico Italian Square History Churchill resigns 32 The Music Medea’s Dance of Vengeance

Among American composers, Samuel Barber had perhaps the keenest literary sense of any native artist of his generation. At the Curtis Institute he studied not only music but also English and French literature, and he took courses in German and Spanish as well. His journals suggest that during these years he read widely from Shakespeare, Marlowe, Swift, Sterne, Dickens, Shelley, Keats, Pope, Yeats, Carlyle, Turgenev, Chekov—and the list goes on and on. Several of Barber’s best scores manifest this literary passion, including the Music for a Scene from Samuel Barber Shelley, the School for Scandal Overture, and of course Born in West Chester, his operas and vocal works as well. Pennsylvania, March 9, 1910 First a Ballet One of his most searing orchestral scores Died in , was inspired by ’s classic tale of Medea. At January 23, 1981 the end of World War II Barber received a commission from the Ditson Fund to compose a ballet for Martha Graham, from which grew a piece Graham called The Serpent Heart (subsequently renamed Cave of the Heart). The ballet was introduced in New York at Columbia University’s McMillan Theater on May 10, 1946. Later Barber produced an orchestral suite from the ballet, first performed by Eugene Ormandy and The Philadelphia Orchestra in December 1947. In 1955 this was revised as a single-movement tone poem consisting only of the music pertaining to the character of Medea. In this form it was introduced by and the in 1956. A Closer Look The anguish of jealousy is something that most of us have experienced, though fortunately not many of us have taken it to the point of murderous rage, however much we might have liked to. We might not approve of homicidal wrath, but our empathy with those who have been spurned makes us sensitive to the plight of someone like Medea, the mythological sorceress whose lover, the adventurous , abandons her for someone of higher social standing. Overwhelmed with the fury of one who “loves too much”—sweet affectionate Medea turns into a frenzied mass murderer. As a wedding gift she gives Jason’s bride a magical poison robe, which kills the wearer as soon as it’s put 33

Originally part of a ballet score, on. Still not satisfied, she proceeds to murder her own Medea’s Dance of Vengeance children, just to spite Jason, then leaves Corinth in a was extracted from a suite and chariot drawn by dragons. “The action,” wrote Graham in revised as this tone poem in her synopsis of the ballet, “is focused directly upon the 1955. central theme of the myth: the terrible destructiveness of Eugene Ormandy was on the jealousy and of alliance with the dark powers of humanity podium for The Philadelphia as symbolized by magic.” Orchestra’s first performances of the work, in September This is how Euripides presents the protagonist’s resolve 1958. Most recently on of vengeance, in a passage that Barber has reproduced in subscription the piece was led the front of his printed score: Medea: Look, my soft eyes by William Smith in October have suddenly filled with tears: / O children, how ready 1991. to cry I am, how full of foreboding! / Jason wrongs me, though I have never injured him. / He has taken a wife to The score calls for three his house, supplanting me. … / Now I am in the full force flutes (III doubling piccolo), two , English horn, of the storm of hate. / I will make dead bodies of three of two , E-flat , my enemies—father, the girl, and my husband! / Come, bass clarinet, two , Medea, whose father was noble, / whose grandfather God contrabassoon, four horns, of the sun, / go forward to the dreadful act. three , three The music actually embraces several stages in the , , timpani, development of Medea’s bloody deed, as the composer percussion (bass drum, himself has written: “Tracing her emotions from her cymbals, side drum, tam- tam, tom-tom, triangle, whip, tender feelings toward her children, through her mounting xylophone), harp, piano, and suspicions and anguish at her husband’s betrayal and her strings. decision to avenge herself, the piece increases in intensity to close in the frenzied Dance of Vengeance of Medea, Performance time is the Sorceress descended from the Sun God.” approximately 13 minutes. —Paul J. Horsley 34 The Music Piano

Having already made a name for himself with more than a dozen sensational musicals, and having virtually invented a new genre with his “jazz concerto” Rhapsody in Blue of 1924, Gershwin longed to write a big “serious” score that he could call his own. The Rhapsody, after all, had been orchestrated by Ferde Grofé (of Grand Canyon Suite fame), who had worked as an arranger for the Paul Whiteman Band (which had commissioned the Rhapsody). As such, Gershwin’s sense of “ownership” had been less than complete. Thus it was with pride that he forged George Gershwin ahead with the Concerto in F—with a working-title of New Born in Brooklyn, New York Concerto—which he composed and orchestrated by York, September 26, 1898 himself. Completed in late 1925, the piece remains one of Died in Hollywood, the most elusively intriguing by an American. California, July 11, 1937 An Immediate Success “Every day between 2:00 and 6:00 and evenings between 8:00 and 10:00 you will find me diligently writing notes,” wrote Gershwin to his sweetheart, Pauline Heifetz, younger sister of violinist Jascha, in July 1925, “playing piano or praying (you’ve got to pray in Chautauqua) to the God of Melody to please be kind to me and send me some hair-raising ‘blues’ for my second movement.” The young composer was spending part of his summer at the music festival at Chautauqua, New York, and it was there that he had begun composing in earnest the work that conductor Walter Damrosch commissioned of him earlier in the year for performance with the New York Symphony. After a reading with conductor William Daly at the Globe Theater, the Concerto was premiered at Carnegie Hall and then performed in Washington, Baltimore, and Philadelphia. It was a success everywhere. “Of all those writing music of today,” wrote Samuel Chotzinoff of Gershwin in an oft-quoted review in the New York World, “he alone actually expresses us.” The composer Morton Gould, a friend of Gershwin’s who, 10 years later, would become the rehearsal pianist for the original production of Porgy and Bess, called the Concerto “a unique and highly original piece that bypassed all the fashions and trends.” A Closer Look Gershwin wrote his own program note for the piece, short and to-the-point: 35

The Piano Concerto in F was The first movement employs the Charleston rhythm. composed in 1925. It is quick and pulsating, representing the young, George Gershwin himself enthusiastic spirit of American life. It begins with was the pianist in the first a rhythmic motif given out by the kettledrums, Philadelphia Orchestra supported by other percussion instruments, and performances of the work, with a Charleston motif. … The principal theme is in January 1936; Alexander announced by the . Later, a second theme is Smallens was on the podium. introduced by the piano. The work has been played on regular subscription concerts The second movement has a poetic nocturnal only three times before this atmosphere which has come to be referred to as the week: in December 1966 with American blues, but in a purer form than in which pianist Philippe Entremont they are usually treated. The final movement reverts and Eugene Ormandy; in to the style of the first. It is an orgy of rhythms, September 1998 with Garrick starting violently and keeping to the same pace Ohlsson and Wolfgang throughout. Sawallisch; and in January 2003 with Jon Kimura Parker —Paul J. Horsley and Bobby McFerrin, although it has often been performed on summer concerts at the Mann Center and in Saratoga. The Orchestra recorded Gershwin’s Piano Concerto for CBS in 1967 with Entremont and Ormandy. Gershwin scored the Concerto for an orchestra of piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, orchestra bells, snare drum), and strings, in addition to the solo piano. The work runs approximately 30 minutes in performance. 36 The Music Appalachian Spring Suite

Aaron Copland began his career during the 1920s in Paris, where he quickly became one of ’s most successful composition pupils. Returning to America, he entered a period in which he explored jazz and various Modernist techniques. But toward the end of the 1930s he found himself increasingly dissatisfied with the state of American music—especially, as he wrote in 1941, “with the relations of the music-loving public and the living composer. … The conventional concert public continued apathetic or indifferent to anything but the established Aaron Copland classics. It seemed to me that we composers were in Born in Brooklyn, danger of working in a vacuum. I felt it was worth the November 14, 1900 effort to see if I couldn’t say what I had to say in the Died in North Tarrytown, simplest possible terms.” It was in this spirit that Copland New York, December 2, embarked upon a series of enduringly popular works 1990 that included the Fanfare for the Common Man, the ballet Rodeo, Lincoln Portrait, and Appalachian Spring. The Inception and Story Appalachian Spring, composed in 1943-44, quickly became an American classic. The spark for its creation came from the dancer and choreographer Martha Graham. The action of the new ballet, Copland wrote, concerned “a pioneer celebration in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century.” The composer’s description continues thus: The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, that their new partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house. … The music of the ballet takes as its point of departure the personality of Martha Graham. … Miss Graham and I [had often] planned to collaborate on a stage work. Nothing might have come of our intentions except for the lucky chance that brought Mrs. Elizabeth Sprague Coolidge to a Graham performance for the first time early in 1942. … She 37

Appalachian Spring was invited Martha Graham to create three new ballets composed from 1943 to 1944. for the 1943 annual Fall Festival of the Coolidge Eugene Ormandy conducted Foundation in Washington, D.C., and commissioned the first Philadelphia Orchestra three composers—Paul Hindemith, Darius Milhaud, performances of the work, on a and myself—to compose scores especially for the Student Concert in November occasion. After considerable delay, Miss Graham 1954, to accompany a sent me an untitled script. … I began work on the performance with the Martha music of the ballet in Hollywood in June 1943, but Graham Dance Company. didn’t complete it until a year later, in June 1944, at The most recent subscription Cambridge, Mass. performances of the Suite were in November 2001, with David The premiere took place in Washington a year Robertson on the podium. later than originally planned in October, 1944. The principal roles were danced by Miss Graham, Merce The Philadelphians have Cunningham, and May O’Donnell. Louis Horst recorded Appalachian Spring twice. The full ballet was conducted. recorded in 1954 for CBS and A Closer Look Copland continues: the Suite in 1969 for RCA, both with Ormandy. The suite arranged from the ballet contains the following sections: 1. Very slowly. Introduction of the Copland scored his original characters, one by one. … 2. Fast. Sudden burst of ballet for a chamber ensemble unison strings in A-major arpeggios starts the action. of 13 instruments, in which … 3. Moderate. Duo for the bride and her intended; version it is occasionally performed and recorded. scene of tenderness and passion. 4. Quite fast. The Usually it is heard in the revivalist and his flock. … 5. Still faster. Solo dance expertly scored suite for full of the bride; presentiment of motherhood. … 6. orchestra that the composer Very slowly. Transition scene … 7. Calm and flowing. prepared in the spring of 1945, Scenes of daily activity for the bride and her farmer for two flutes (II doubling husband. There are five variations on a Shaker theme piccolo), two oboes, two … published under the title “The Gift to be Simple.” clarinets, two bassoons, two … 8. Moderato. The bride takes her place among her horns, two trumpets, two neighbors. At the end the couple are left in their new trombones, timpani, percussion house. (bass drum, claves, orchestra bells, snare drum, suspended —Paul J. Horsley cymbal, tabor or long drum, triangle, wood block, xylophone), harp, piano, and strings. Appalachian Spring runs approximately 25 minutes in performance. 38 The Music Sinfonía No. 4

A native of , Roberto Sierra studied music at the Puerto Rico Conservatory and the University of Puerto Rico before undertaking graduate studies in London (at both the Royal College of Music and London University) and in Utrecht. He then spent three years working and studying with György Ligeti in Hamburg and then returned to Puerto Rico, where he took on administrative roles in the arts community while continuing to compose. Sierra’s music began to emerge onto the international scene in the mid-1980s, beginning with a performance of his first Roberto Sierra major orchestral work, Júbilo, at Carnegie Hall in 1987. Born in Vega Baja, Puerto And in 1992 he joined the faculty of , Rico, October 9, 1953 where he continues to teach today. He has served as Now living in Ithaca, New composer-in-residence with the Milwaukee, Puerto York Rico, and New Mexico symphonies, and in 2010 he was elected to the American Academy of Arts and Sciences. The Traditional Mixed with Tropical Flavor In the last decade Sierra has enjoyed a growing reputation as one of the most exciting symphonists of his generation, writing works that blend traditional forms and practices with what he terms a “tropicalization” of musical expression, or the incorporation of Latin and Caribbean rhythms, percussion, and folk styles. But this isn’t merely the superficial application of exotic elements to an essentially Western style. Rather, it embraces a deeper synthesis of Latin and other Western European traditions. Sierra’s Concierto barocco (1998) for example—a work for guitar and orchestra—imagines a meeting between Handel, Vivaldi, and a slave from the New World. Sierra composed his first three Sinfonías—he keeps the Spanish generic title rather than using the English “symphony”—between 2002 and 2006, and manifests in each of them his interest in cross-cultural expression; the second, for example, is subtitled “Gran Passacaglia” and the third, “La Salsa.” The Sinfonía No. 4, composed from 2008 to 2009, was written on commission from the Sphinx Consortium, a collection of 12 major American orchestras (including The Philadelphia Orchestra) whose founding goal is to promote contemporary music by Black and Latino composers. This was the first commission from the group, and the work has already been performed by 39

Sierra composed his Sinfonía several consortium orchestras as well as by others from No. 4 from 2008 to 2009. outside the group. (In 2001 The Philadelphia Orchestra These are the first Philadelphia gave the world premiere of Sierra’s Concierto para Orchestra performances orquesta, one of the ensemble’s centennial commissions.) of the piece, which was A Closer Look Apart from the added “exotic” percussion commissioned by the Sphinx (marimba, bongos, congas, and claves, for example) Commissioning Consortium, Sierra’s orchestration for the Sinfonía No. 4 is fairly whose founding members were The Philadelphia Orchestra; the traditional. But he is able to create shimmering timbres Cincinnati, Baltimore, Detroit, and exciting sound combinations from this ensemble Grand Rapids, New Jersey, largely through his sensitivity to Latin and Caribbean Richmond, Virginia, Nashville, musical styles. The Sinfonía opens (Moderadamente and New World symphonies; rápido) with dance rhythms that recall Baroque music, the Chicago Sinfonietta; the expressed through harmonies based on an A-minor Rochester Philharmonic; and modality that has been darkened by dissonance. The the Sphinx Organization. balance between rhythmic and melodic motifs shifts The score calls for piccolo, throughout the movement, favoring one first, then the two flutes, two oboes, English other. Toward the end of the movement, however, the horn, two clarinets (II doubling energetic drive begins to dissipate, and the music slows E-flat clarinet), bass clarinet, to an enervated close. two bassoons, contrabassoon, The energy picks up again in the second movement four horns, three trumpets, (Rápido), where percussion and brass enliven the three trombones, tuba, timpani, percussion (bass drum, musical textures. Functioning like a traditional scherzo in bongos, clave, congas, cow a four-movement symphony, it is constructed in sections bell, cymbals, glockenspiel, that recur throughout, alternating animated and relaxed marimba, snare drum, timbales, tempos. Frequently the hemiola and syncopations typical vibraphone, xylophone), harp, of Latin musical styles underscore the periodic shifts from piano (doubling celesta), and duple to triple meter. strings. The composer marks the slow third movement Tiempo Performance time is de bolero, but it is not the stately bolero dance rhythm approximately 20 minutes. heard in Ravel’s famous work. (The movement actually begins in 4/4 time before switching to 3/8.) It is a reference to the Latin ballads of the 1950s that were also frequently labeled “boleros,” with the pizzicato basses playing a descending chromatic line at the opening that simultaneously gives a nod to the ground-bass patterns of the Baroque. Although this movement’s alternations of meter and the sectional arrangement allude to the form of the previous movement, the musical fabric and rhythmic complexity are much more intricate here. Sierra notes that in the finale (Muy rápido y rítmico) Program notes © 2012. All “the main idea is the vibrant Latin claves rhythm [that] rights reserved. Program notes may not be reprinted without supports all the melodic and harmonic materials from written permission from beginning to end.” It is a lavishly orchestrated and vibrant The Philadelphia Orchestra Latin dance that has occasionally been excerpted as an Association and/or Luke encore independent of its origins in this piece. Howard. —Luke Howard 40 Musical Terms

GENERAL TERMS of publication rather than is the introduction of Arpeggio: A broken composition. the musical ideas, which chord (with notes played Pizzicato: Plucked are then “developed.” In in succession instead of Rondo: A form frequently the recapitulation, the together) used in symphonies and exposition is repeated with Bolero: A Spanish concertos for the final modifications. national dance in 3-4 movement. It consists Syncopation: A shift of time and lively tempo of a main section that rhythmic emphasis off the (allegretto) alternates with a variety of beat Chord: The simultaneous contrasting sections (A-B- THE SPEED OF MUSIC sounding of three or more A-C-A etc.). (Tempo) tones Scherzo: Literally “a Adagio: Leisurely, slow Chromatic: Relating to joke.” Usually the third Agitato: Excited tones foreign to a given movement of symphonies Allegretto: A tempo key (scale) or chord and quartets that was between walking speed Dissonance: A introduced by Beethoven and fast combination of two or more to replace the minuet. The Allegro: Bright, fast tones requiring resolution scherzo is followed by a Andante: Walking speed Ground bass: A gentler section called a trio, Con moto: With motion continually repeated bass after which the scherzo is Moderadamente: At a phrase of 4 or 8 measures repeated. Its characteristics moderate tempo Hemiola: The articulation are a rapid tempo in triple Moderato: A moderate of two units of triple meter time, vigorous rhythm, and tempo, neither fast nor as if they were notated as humorous contrasts. slow three units of duple meter Sonata form: The form in Rápido: Fast Op.: Abbreviation for opus, which the first movements Rítmico: Rhythmic a term used to indicate (and sometimes others) Tiempo de bolero: the chronological position of symphonies are usually Tempo of a bolero of a composition within a cast. The sections are composer’s output. Opus exposition, development, TEMPO MODIFIERS numbers are not always and recapitulation, the reliable because they are last sometimes followed Muy: Very often applied in the order by a coda. The exposition 41 November The Philadelphia Orchestra Jessica Griffin

Create-Your-Own 4-Concert Series Now Available!

Enjoy the ultimate in flexibility with a Create-Your- Own 4-Concert Series today! Choose 4 or more concerts that fit your schedule and your tastes. Hurry, before tickets disappear for Yannick’s Inaugural Season. The 2012-13 season has over 80 performances to choose from including:

The Stokowski Legacy November 8 & 10 8 PM November 9 2 PM Emmanuel Krivine Conductor Christina and Michelle Naughton Franck Symphony in D minor Poulenc Concerto for Two Pianos Bach/orch. Stokowski Toccata and Fugue in D minor

Prokofiev’s Alexander Nevsky November 15 & 17 8 PM November 16 2 PM Stéphane Denève Conductor Michelle DeYoung Mezzo-soprano The Philadelphia Singers Chorale David Hayes Music Director Prokofiev Alexander Nevsky, with film directed by Sergei Eisenstein

TICKETS Call 215.893.1955 or log on to www.philorch.org PreConcert Conversations are held prior to every Philadelphia Orchestra subscription concert, beginning 1 hour before curtain. All artists, dates, programs, and prices subject to change. All tickets subject to availability. 1642 Story Title Tickets & Patron Services

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