27 Season 2013-2014

Friday, April 11, at 8:00 Saturday, April 12, at 8:00 The Philadelphia Sunday, April 13, at 2:00 Gianandrea Noseda Conductor James Ehnes Violin

Casella Symphonic Fragments from La donna serpente I. Sinfonia: Allegro vivacissimo—Pocchissimo meno mosso—Riprendeno II. Music of Altidòr’s Dream: Andante (tempo di berceuse) III. Interlude: Andante moderato IV. War March: Tempo di marcia (piuttosto vivace ma non troppo) V. Prelude: Lento ma non troppo—Sempre più fortissimo VI. Battle and Finale: Allegro vivacissimo— Sempre fortissimo First performances

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

Intermission

Saint-Saëns Symphony No. 3 in C minor, Op. 78 (“Organ”) I. Adagio—Allegro moderato—Poco adagio II. Allegro moderato—Presto—Maestoso Michael Stairs, organ

This program runs approximately 1 hour, 55 minutes.

The April 11 concert is sponsored by Medcomp.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 228 Story Title The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. Arts in Beijing. The Orchestra audiences, and admired for annually performs at Under Yannick’s leadership a legacy of innovation in Carnegie Hall while also the Orchestra returns to music-making. The Orchestra enjoying annual residencies in recording with a newly- is inspiring the future and Saratoga Springs, N.Y., and at released CD on the Deutsche transforming its rich tradition the Bravo! Vail festival. Grammophon label of of achievement, sustaining Stravinsky’s The Rite of Spring Musician-led initiatives, the highest level of artistic and including highly-successful quality, but also challenging transcriptions. In Yannick’s PlayINs, shine a spotlight on and exceeding that level, by inaugural season the the Orchestra’s musicians, creating powerful musical Orchestra has also returned as they spread out from the experiences for audiences at to the radio airwaves, with stage into the community. home and around the world. weekly Sunday afternoon The Orchestra’s commitment Music Director Yannick broadcasts on WRTI-FM. to its education and Nézet-Séguin triumphantly community partnership Philadelphia is home and opened his inaugural initiatives manifests itself the Orchestra nurtures an season as the eighth artistic in numerous other ways, important relationship not leader of the Orchestra including concerts for families only with patrons who support in fall 2012. His highly and students, and eZseatU, the main season at the collaborative style, deeply- a program that allows full- Kimmel Center but also those rooted musical curiosity, time college students to who enjoy the Orchestra’s and boundless enthusiasm, attend an unlimited number other area performances paired with a fresh approach of Orchestra concerts for at the Mann Center, Penn’s to orchestral programming, a $25 annual membership Landing, and other venues. have been heralded by fee. For more information on The Orchestra is also a global critics and audiences alike. The Philadelphia Orchestra, ambassador for Philadelphia Yannick has been embraced please visit www.philorch.org. and for the U.S. Having been by the musicians of the the first American orchestra Orchestra, audiences, and the 4 Music Director

Nigel Parry/CPi Yannick Nézet-Séguin continues his inspired leadership as the eighth music director of The Philadelphia Orchestra, which began in the fall of 2012. 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 Yannick “phenomenal,” adding that under his baton “the ensemble … has never sounded better.” He has taken the Orchestra to new musical heights. His second season builds on the momentum of the first with highlights that included a Philadelphia Commissions Micro-Festival, for which three leading composers were commissioned to write solo works for three of the Orchestra’s principal players. The season ends with a unique, theatrically-staged presentation of Strauss’s revolutionary , a first-ever co-production with Opera Philadelphia.

Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. In addition he becomes the first ever mentor conductor of the Curtis Institute of Music’s fellows program in the fall of 2013. He has made wildly successful appearances with the world’s most revered ensembles, and has conducted critically acclaimed performances at many of the leading opera houses.

Yannick Nézet-Séguin and (DG) enjoy a long-term collaboration. Under his leadership the Orchestra returns to recording with a newly-released CD on that label of Stravinsky’s Rite of Spring and Leopold Stokowski transcriptions. Yannick continues a fruitful recording relationship with the Rotterdam Philharmonic for DG, BIS, and EMI/Virgin; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick Nézet-Séguin 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 an appointment as Companion of the Order of Canada, one of the country’s highest civilian honors; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise- Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government; and an honorary doctorate by the University of Quebec in Montreal.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 29 Conductor

Sussie Ahlburg One of the most sought-after conductors, Gianandrea Noseda has propelled the Teatro Regio Torino into the ranks of the leading opera houses of the world since becoming its music director in 2007. A regular guest conductor at many of the most renowned international orchestras, he is also chief guest conductor of the Israel Philharmonic, Guest Conductor of the Pittsburgh Symphony, and laureate conductor of the BBC Philharmonic. He was the first foreign principal guest conductor of the , from 1997 to 2007, and for over a decade he has served as artistic director of the Stresa Festival in Italy. He has appeared with The Philadelphia Orchestra every season since his debut in December 2010. In December 2014 Mr. Noseda brings the orchestra and chorus of the Teatro Regio to for its continental debut with four concert performances of Rossini’s in , Ann Arbor, Toronto, and at Carnegie Hall. Many of the productions he has led at the Teatro Regio have been released on DVD, including Verdi’s I vespri siciliani and Don Carlo; Musorgsky’s Boris Godunov; and Massenet’s Thaïs directed by Stefano Poda, which was recently recognized as one of the top 20 opera productions of the last 20 years by BBC Music Magazine. Mr. Noseda’s relationship with the dates back to 2002. He has conducted five Verdi and garnered considerable attention with the recent revival of Macbeth. In February 2014 he returned to the Met to lead a new production of Borodin’s Prince Igor staged by and a revival of Giordano’s Andrea Chénier. Mr. Noseda has been an exclusive Chandos artist since 2002. His discography includes over 35 recordings featuring works by, among others, Prokofiev, Karłowitz, Dvorˇák, Smetana, Shostakovich, Liszt, Rachmaninoff, Mahler, and Bartók. He has recently started to champion both known and lesser-known Italian composers of the 20th century, such as , , Alfredo Petrassi, and Ermanno Wolf-Ferrari through the critically acclaimed Musica Italiana project. Born in Milan, Mr. Noseda is a leading cultural ambassador for Italy, advocating for the need to find new avenues to invest in opera and culture. He holds the honor of Cavaliere Ufficiale al Merito della Repubblica Italiana. 30 Soloist

Benjamin Ealovega Violinist James Ehnes made his Philadelphia Orchestra debut in 2000 in Saratoga and his subscription debut in 2009. He has performed in over 30 countries on five continents, appearing regularly in the world’s great concert halls and with many of the most celebrated orchestras and conductors. In the 2013-14 season he performs in the , Canada, the United Kingdom, Russia, Israel, , , Germany, the Netherlands, , and Australia. In addition to these current performances, season highlights include concerts with the Chicago, Montreal, and Toronto symphonies; a three-week residency in Melbourne; and performances in London, , Berlin, Leipzig, , Prague, Tel Aviv, and Moscow. An avid chamber musician, Mr. Ehnes also tours with his string quartet, the Ehnes Quartet, leading the winter and summer festivals of the Seattle Chamber Music Society, where he is the artistic director. Mr. Ehnes has an extensive discography of over 30 recordings featuring music ranging from J.S. Bach to John Adams. Recent projects include a disc featuring concertos by Britten and Shostakovich, three CDs of the music of Bartók, a recording of Tchaikovsky’s complete works for violin, and a recording of Khachaturian’s paired with Shostakovich’s String Quartets Nos. 7 and 8. He also recently released, on the Chandos label, a double CD of the complete violin works of Prokofiev, featuring conductor Gianandrea Noseda and the BBC Philharmonic. Mr. Ehnes’s recordings have been honored with many international awards and prizes, including a Grammy, a Gramophone award, and seven JUNO awards. Mr. Ehnes was born in 1976 in Brandon, Manitoba, Canada. He began violin studies at the age of four and made his major orchestral solo debut at age 13 with the Montreal Symphony. He has won numerous awards and prizes, including a 2005 Avery Fisher Career Grant. In 2010 he was appointed a Member of the Order of Canada, and in 2013 was named an Honorary Member of the Royal Academy of Music. Mr. Ehnes plays the “ex-Marsick” Stradivarius of 1715. He currently lives in Bradenton, Florida, with his wife and daughter. 31 Framing the Program

Italian music in the early 20th century was so dominated Parallel Events by opera—with Puccini as the great shining star—that 1886 Music instrumental music had a harder time getting attention. Saint-Saëns Verdi and Alfredo Casella were two who Symphony Otello found favor. The concert today opens with a collection of No. 3 Literature “Symphonic Fragments” from Casella’s rarely performed Rimbaud opera La donna serpente (The Snake-Woman), based on Les Illuminations an 18th-century fable-play by Carlo Gozzi. Art Rodin won initial fame in his native Russia The Kiss with bold compositions that pointed in new directions. He History continued this path after moving to America, and then to Boulder Dam Europe, in the wake of the 1917 Bolshevik Revolution. In completed the late 1920s, however, he began to visit the Soviet Union and in 1936 decided to return home for good. His music 1928 Music increasingly strove for what he called a “new simplicity.” Casella Gershwin These qualities are apparent in his Violin Concerto No. 2, La donna An American in serpente Paris dating from the transitional time just before his return. As Literature the composer later recalled: “The principal theme of the Woolf first movement was written in Paris, the first theme of the Orlando second movement in Voronezh (Russia), the orchestration Art was completed in Baku, and the first performance was O’Keeffe given in Madrid, in December 1935.” Nightwave Camille Saint-Saëns’s so-called “Organ” Symphony is History Fleming the fifth (and last) that he composed and the third he discovers published. (The two others, very early works, appeared penicillin posthumously.) He dedicated the mighty Third Symphony to , whom he revered, and some of its features 1935 Music show the influence of that innovative composer. The use Prokofiev Orff of the organ, the “king of instruments,” is relatively limited Violin Concerto Carmina burana in the piece, but overwhelmingly effective. No. 2 Literature Day Life with Father Art Dalí Giraffe on Fire History Roosevelt signs Social Security Act 32 The Music Symphonic Fragments from La donna serpente

There is a quality of Italian modernism that can be likened to driving on a highway, looking into the rearview mirror, and spotting a speeding Ferrari about to pass. This exhilaration, and anxiety, is evident in the music of Alfredo Casella, whom Ezra Pound called “the most competent of living Italian composers, an unrivaled teacher, and an impeccable orchestral conductor.” Born a generation after Puccini, Casella wrote that the great opera composer produced a shadow over him like that of Beethoven over Brahms. As a result, he delved into instrumental genres, Alfredo Casella particularly ballet and piano music. Born in Turin, Italy, July 25, 1883 A Man of Many InfluencesCasella was born into Died in Rome, March 5, a musical family in the northern Italian town of Turin. 1947 His grandfather was a cellist and a personal friend of Paganini; his father played cello professionally. His mother was a fine pianist who taught him Latin and history in addition to music. After his father’s death, she brought him to the Paris Conservatory where he studied piano with Louis Diémer and composition with Gabriel Fauré. He became fast friends with George Enescu and Ravel, met Proust, Degas, and Rodin and attended concerts of Diaghilev’s Ballets Russes. Casella began to collect art in Paris; de Chirico painted a portrait of the composer (see above). He recounted how he once declined an offer to buy a piece by a little-known painter named Picasso. Casella was introduced to jazz, which was still new and controversial in many circles. He wrote about the origins of il jazz and defended it to its detractors. Like Debussy before him, he traveled to Russia, where he heard Rimsky-Korsakov’s music and met Leo Tolstoy. In 1915 Casella moved back to Italy to accept a job as professor of piano at the Accademia Nazionale di Santa Cecilia in Rome. He dedicated himself to the advancement of Italian contemporary music, creating an Italian society for young composers and publishing a journal called Ars nova. In 1923, together with the writer Gabriele D’Annunzio, he formed the Corporation of New Music, whose goal was to bring contemporary music to Italy. He organized tours of Schoenberg’s Pierrot Lunaire and Stravinsky’s Les Noces. Casella wrote “that every night and in every city there was a violent reaction” to 33

Schoenberg’s music. Furthermore, he was responsible for the renaissance of Vivaldi’s works. In 1939, with the help of Ezra Pound, he organized “Vivaldi Week,” which featured a revival of Vivaldi’s Gloria in Siena. Casella’s passion for music is best captured in his own words: “My blind faith in art is in every instance my true religion. Music has been for me the only reason for existing and the determining cause of my actions.” A Fantastical First Opera Casella’s chameleonic music reflects the intensity with which he adored his influences. In addition to his appreciation of the French, Russian, and American styles, he was also drawn to classical works, and, like Prokofiev and Ravel, passed through a neoclassical phase. It was during this time, 1918, that he pondered the subject of his first full-length opera, La donna serpente (The Snake-Woman), Op. 50, based on an 18th-century fable play by Carlo Gozzi. Casella knew that Wagner had derived his first opera, Die Feen (The Fairies), from the same source, and believed that the story—a fairy (Miranda) marries a human (Altidòr) and tests his love by becoming a serpent—could work as a balletto-corale (ballet with sung parts). Gozzi’s La donna serpente combined fantasy and the commedia dell’arte, and Casella noted these common qualities in Mozart’s The Magic Flute. Gozzi’s Turandot was later used to great success by Busoni and Puccini, and Prokofiev derived his Love for Three Oranges from another of his plays. While conducting the Boston Pops Orchestra in the late 1920s, Casella finally began work on La donna serpente, completing its three acts in 1931. He conducted the premiere the following year in Rome to mixed reviews—critics were negative about the overall work but praised the orchestral writing. A Closer Look Casella’s colorful 26-minute Symphonic Fragments from La donna serpente consist of two parts, or suites, of three pieces each. Casella did not say much about the genesis of these orchestral pieces, and we know little about their early reception. Like the opera, they date from 1928 to 1931, and it appears that their first performance took place in Rome in February 1933, followed by performances in Venice in April and in Rochester, New York, in November under the baton of , to whom the first part was dedicated (the second part was dedicated to conductor Bernardino Molinari). Casella extracted all the extended instrumental portions of La donna serpente for his Fragments, although not in the order they appear in the opera. In these 34

La donna serpente was Philadelphia Orchestra performances Gianandrea Noseda composed between 1928 and places the Sinfonia (the first movement from Part II) first, 1931. and then proceeds with Part I complete and the remainder These are the first Philadelphia of Part II. Orchestra performances of the The Sinfonia begins with a spiky fugato and is Casella’s Symphonic Fragments, or any most original movement. It is the only one of the excerpts music from the opera. that was not originally an actual fragment in the opera, but The score calls for piccolo, rather a completed overture in ABA form from Act I. The three flutes, two oboes, English first movement of Part I (Music of Altidòr’s Dream, horn, two clarinets, E-flat from Act I) opens with a mesmerizing woodwind solo in a clarinet, bass clarinet, three lush orchestral stew reminiscent of Ravel and Mahler. The bassoon, contrabassoon, four next piece, Interlude, introduces a bold cello recitative horns, three trumpets, three punctuated by brass instruments, which transmutes into trombones, tuba, timpani, a full blown Prokofiev-inspired frenetic march. This War percussion (bass drum, castanets, cymbal, orchestra March appeared originally between choral sections in bells, snare drum, tenor drum, the Act I finale of the opera. Miranda’s opening spooky triangle, xylophone), harp, music from Act III, an initially quiet Prelude dripping celesta, and strings. with linear woodwind counterpoint that builds into a louder section reminiscent of Debussy’s Nuages, follows. Performance time is A lovely violin solo intrudes this impressive movement. approximately 26 minutes. The Fragments conclude with the Battle and Finale’s frightfully loud opening measures signaling a fight in which Altidòr vanquishes the monsters and reunites with his love. Casella’s music is passionate and electric, and like Vivaldi’s, merits a renaissance. —Eleonora M. Beck 35 The Music Violin Concerto No. 2

During the early 1930s Sergei Prokofiev began to yearn for Russia, the native land that he had forsaken in 1918 in order to live in the United States and Europe. The process of repatriation was a gradual one—the composer did not take up residency in Moscow until 1936—yet it grew from a sincere desire to establish lasting contacts with Soviet society and culture. This impulse perhaps explains the sort of immediate appeal of the first compositions of this period, which strike a simpler and more direct style than had his iconoclastic and often bizarre works of the Sergei Prokofiev 1920s. His first Soviet commissions, such as the film Born in Sontsovka, score for Lieutenant Kijé and the ballet Romeo and Juliet, Ukraine, April 23, 1891 are cut from a consciously tonal and even Romantic Died in Moscow, March 5, cloth, in keeping with the Soviet demand for an open and 1953 accessible style. A Multi-National Work The Second Violin Concerto, composed mostly during the summer of 1935, was a product of this transition, and musically it seems to stand with one foot still in the West and one already planted on Russian soil. “The variety of places in which the Concerto was written is a reflection of the nomadic concert-tour existence I led at that time,” the composer later wrote. “The principal theme of the first movement was written in Paris, the first theme of the second movement in Voronezh (Russia), the orchestration was completed in Baku, and the first performance was given in Madrid, in December 1935.” The work had begun as a commission from a Belgian violinist in Paris, whose friends had felt that a concerto by Prokofiev would be a mark of prestige. “In 1935 a group of admirers of the violinist Robert Soetens asked me to write a concerto for him,” the composer wrote. “I readily agreed, since I had been intending to write something for violin and had accumulated some material. As in the case of the preceding concertos, I began by searching for an original title for the piece, such as ‘Concert Sonata for Violin and Orchestra,’ but I finally returned to the simplest solution: Concerto No. 2. … Still, I wanted it to be altogether different from No. 1 in both content and style.” A Closer Look Indeed it is different. The soloist introduces the listener to the Concerto’s remote and 36

Prokofiev’s Violin Concerto No. strangely lyrical world, with a squarely tonal theme of 2 was composed in 1935. strikingly voluptuous beauty. Its strains are supplemented Zino Francescatti was the first by violas and basses, then by the whole orchestra; soloist in the first Philadelphia after a brief, vigorous transition, the soloist presents Orchestra performances, in a passionate second theme in B-flat major. These December 1948 with Eugene two thematic ideas become the building blocks of the Ormandy. Since then a number movement (Allegro moderato), which is cast in sonata of leading violinists have played form. The Andante assai brings us into the graceful the work, including Isaac world of ballet that had so completely occupied the Stern, , Shlomo composer during the previous months of work on Romeo Mintz, Kyung-Wha Chung, and Juliet. It presents a principal theme of haunting Joshua Bell, Maxim Vengerov, lyricism. A middle section features trumpet and horns in Leila Josefowicz, and Nikolaj counterpoint with the soloist; this gives way to a section Znaider. The Concerto was of fiery discourse, and a return to the lilting triplet-figures last performed on subscription concerts in March 2009 by of the opening. The soloist springs into action in the Lisa Batiashvili, with Charles athletic finale (Allegro, ben marcato), which is built Dutoit conducting. from sinewy thematic material and neoclassical harmonies and rhythms. The Philadelphians have recorded the Concerto once, in —Paul J. Horsley 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. 37 The Music Symphony No. 3 (“Organ”)

The struggles for the soul of music in 19th-century Germany formed opposing camps that have long been familiar to concert audiences. Classical Romantics, such as Mendelssohn, Schumann, and Brahms, were pitted against a progressive group epitomized by Wagner and two honorary Germans: Berlioz and Liszt. Less well-known battles over musical values also raged in France, Italy, Russia, and elsewhere, and frequently dealt with the same issues: opera versus instrumental music, program versus absolute music, and who could most justly claim to be Beethoven’s heir. Camille Saint-Saëns Born in Paris, October 9, Placing Saint-Saëns the man and composer within the 1835 warring musical divides of the time is not easy, in part Died in Algiers, because what the man declared verbally often seems at December 16, 1921 odds with what his compositions demonstrate musically. Distinguishing between his progressive and conservative tendencies is further complicated by his unusually long career. If not quite a man of mystery, Saint-Saëns was certainly one of contradictions and shifting affiliations. During his early years he supported the innovations of Wagner and Liszt, but as an old man he could not countenance the modernist adventures of Debussy and Stravinsky, nor was he shy in saying so. A Progressive Classicist? Over the course of his long life, the prolific composer and busy piano soloist (he played with The Philadelphia Orchestra in 1906) was also active as an organist, conductor, teacher, editor, and writer on a wide range of topics not limited to music. In the early 1870s, he was pivotal in the founding of the Société Nationale de Musique, which sought to present and support French music (its motto was “Ars Gallica”). He composed in nearly every genre, including symphonies, concertos, and chamber music, as well as 13 operas (only Samson and Delilah has remained in the repertoire), and was the first significant composer to write a film score (L’Assassinat du Duc de Guise, 1908). He produced his first four symphonies (two of them unnumbered) in the 1850s, very early in his career, but it is only his last, the so-called “Organ” Symphony, composed as he turned 50, that became a repertory standard. Admired by a disparate array of composers, including Rossini, Berlioz, and Liszt, Saint-Saëns was essentially 38

Saint-Saëns composed his a conservative composer who nevertheless sought to “Organ” Symphony in 1886. integrate progressive Romantic trends within Classical The first Philadelphia Orchestra limits. He followed Liszt’s model of transforming themes, performances of the Symphony as we hear in the “Organ” Symphony, in which a musical were in December 1910, with idea, such as the melody that opens the allegro of the first Carl Pohlig on the podium. The movement, reappears in different guises in subsequent work was given most recently movements. In fact, he dedicated the Symphony to Liszt, on subscription concerts in who had done much to promote his career (including September 2009, with Charles conducting the premiere of Samson) and played parts of Dutoit. it for him when the older master made his last trip to Paris The Orchestra has recorded in 1886, shortly before his death. Not only were some of the “Organ” Symphony five the thematic transformations and cyclic elements of the times: with Symphony Lisztian, but also the idea of incorporating the in 1956 and 1962 for CBS, organ into an orchestral work of this kind was something in 1973 for RCA, and in 1980 Liszt had done in his symphonic poem Hunnenschlacht for Telarc; and with Christoph (Battle of the Huns). Eschenbach in 2006 for Ondine. A Closer Look In a program note for the triumphant London premiere of the Symphony in 1886, Saint-Saëns The work is scored for three discussed the structural unfolding of the work, referring flutes (III doubling piccolo), to himself in the third person: “The Symphony is divided two oboes, English horn, two into two parts … nevertheless it includes practically the clarinets , bass clarinet, two bassoons, contrabassoon, four traditional four movements. The first, checked in the horns, three trumpets, three development, serves as an introduction to the Adagio. trombones, tuba, timpani, In the same manner, the Scherzo is with the Finale. The percussion (bass drum, composer has thus endeavored to avoid in a certain cymbals, triangle), piano (four measure the interminable repetitions that are now more hands/two people), organ, and and more disappearing from instrumental music.” strings. Thus, after a short Adagio introduction (music that The Symphony runs breathes the same air as Wagner’s Tristan), the principal approximately 35 minutes in theme that unifies all four sections of the work, and that performance. will be recast and transformed in so many ingenious ways, is first heard in violins (Allegro moderato). Its initial presentation recalls the opening of Schubert’s “Unfinished” Symphony, but the contour of the melody itself is the old Gregorian chant “Dies Irae” (Day of Wrath). The organ first appears in the connected slow movement (Poco adagio). The second half of the Symphony begins with a C-minor scherzo (Allegro moderato) that contains a faster and brilliant C-major trio (Presto) featuring sparkling keyboard writing for piano four hands. A brief imitative section, once again related to the principal theme, leads to the finale (Maestoso) in which the organ makes its boldest appearance. The motif is Program notes © 2014 The again transformed, first into a chorale and then as the Philadelphia Orchestra and/or basis for an energetic fugue, before a majestic coda. Eleonora M. Beck. All rights —Christopher H. Gibbs reserved. 39 Musical Terms

GENERAL TERMS instrumental works that Trio: See scherzo Chorale: A hymn tune resemble vocal recitatives. Triplet: A group of of the German Protestant Scherzo: Literally “a three equal notes to be Church, or one similar in joke.” Usually the third performed in the time of style. Chorale settings are movement of symphonies two of like value in the vocal, instrumental, or both. and quartets that was established rhythm Coda: A concluding introduced by Beethoven section or passage added to replace the minuet. The THE SPEED OF MUSIC in order to confirm the scherzo is followed by a (Tempo) impression of finality gentler section called a trio, Adagio: Leisurely, slow Counterpoint: A after which the scherzo is Allegro: Bright, fast term that describes repeated. Its characteristics Andante: Walking speed the combination of are a rapid tempo in triple Lento: Slow simultaneously sounding time, vigorous rhythm, and Maestoso: Majestic musical lines humorous contrasts. Also Moderato: A moderate Divertimento: A piece an instrumental piece of tempo, neither fast nor of entertaining music a light, piquant, humorous slow in several movements, character. Presto: Very fast often scored for a mixed Sonata: An instrumental Riprendendo: Resuming ensemble and having no composition in three or Tempo di berceuse: fixed form four extended movements Tempo of a lullaby Fugato: A passage or contrasted in theme, Tempo di marcia: Tempo movement consisting of tempo, and mood, usually of a march fugal imitations, but not for a solo instrument Vivace: Lively worked out as a regular Sonata form: The form in Vivacissimo: Very lively fugue which the first movements Fugue: A piece of music (and sometimes others) TEMPO MODIFIERS in which a short melody of symphonies are usually Ma non troppo: But not is stated by one voice cast. The sections are too much and then imitated by the exposition, development, Meno mosso: Less other voices in succession, and recapitulation, the moved (slower) reappearing throughout last sometimes followed Più: More the entire piece in all the by a coda. The exposition Piuttosto: Rather, voices at different places is the introduction of somewhat Op.: Abbreviation for opus, the musical ideas, which Pochissimo: Very little a term used to indicate are then “developed.” In Poco: Little, a bit the chronological position the recapitulation, the Sempre: Always of a composition within a exposition is repeated with composer’s output modifications. DYNAMIC MARKS Recitative: Declamatory Suite: A set or series of Fortissimo (ff): Very loud singing, free in tempo and pieces in various dance rhythm. Recitative has also forms. The modern sometimes been used to orchestral suite is more like refer to parts of purely a divertimento. 40 Orchestra Headlines

Philadelphia Orchestra Musicians in Concert Liebesfreud, whose membership includes Orchestra violinist Philip Kates, presents a free one-hour concert as part of its “Last Fridays” series on Friday, April 25, 2014, at 5:30 PM at the Philadelphia Art Alliance, 251 S. 18th St. The quartet will be joined by special guest violist Pierre Tourville (in his debut Philadelphia chamber music appearance) for Mozart’s String Quintet in C minor, K. 406. For more information, please visit www.liebesfreud.org. On Sunday, April 27, at 3:00 PM, Orchestra musicians Jonathan Beiler and Renard Edwards participate in the 20th annual Woodford Serenade for Wildlife concert, which includes works by Brahms, Ravel, and Sarasate. The concert takes place at Lord of Life Lutheran Church in Tabernacle, NJ. Tickets are $15.00 in advance and $20.00 at the door, and all proceeds benefit the Woodford Cedar Run Wildlife Refuge. For more information, e-mail [email protected] or call 856.983.3329. The Dolce Suono Ensemble, whose roster includes many Philadelphia Orchestra musicians, presents a concert on Sunday, April 27, at 3:00 PM, at Old Pine Street Church, 412 Pine Street. The concert features music by Dowland, Handel, Mozart, Beethoven, Rachmaninoff, Martin, and Piazzolla. Tickets are $25.00 general, $20.00 senior, $10.00 student. For more information, call 267.252.1803 or visit www.dolcesuono.com. Philadelphia Orchestra Principal Clarinet Ricardo Morales joins the Daedalus Quartet for a concert on Sunday, May 4, at 3:00 PM, in Perelman Theater at the Kimmel Center. The concert, presented by the Philadelphia Chamber Music Society, includes works by Capanna and Beethoven, along with Hindemith’s Clarinet Quintet. Tickets are $24.00. For more information visit www.pcmsconcerts.org or call 215.569.8080. 1807 & Friends, a chamber music group that includes many Philadelphia Orchestra musicians, presents a concert on Monday, May 5, at 7:30 PM, at the Academy of Vocal Arts, 1920 Spruce Street. The performance includes works by Janácˇek, Saint-Saëns, and Dvorˇák. Tickets are $17.00. For more information, visit www.1807friends.org or call 215.438.4027 or 215.978.0969. 41 April/May The Philadelphia Orchestra Pete Checchia Great Seats Still Available—order today!

Mozart Celebration Yannick Nézet-Séguin Conductor Jan Lisiecki Piano Thursday, April 24 8 PM Friday, April 25 2 PM Mozart Overture to Così fan tutte Mozart Piano Concerto No. 22, K. 482 Mozart Symphony No. 39 Friday, April 25 8 PM Mozart Overture to Don Giovanni Mozart Piano Concerto No. 20, K. 466 Mozart Symphony No. 40 Saturday, April 26 8 PM Mozart Overture to The Marriage of Figaro Mozart Piano Concerto No. 21, K. 467 Mozart Symphony No. 41 (“Jupiter”) Bruckner’s Final Symphony May 1 & 3 8 PM Yannick Nézet-Séguin Conductor Lisa Batiashvili Violin Barber Adagio for Strings Bartók Violin Concerto No. 1 Bruckner Symphony No. 9

TICKETS Call 215.893.1999 or log on to www.philorch.org PreConcert Conversations are held prior to every Philadelphia Orchestra subscription concert, beginning one hour before curtain. All artists, dates, programs, and prices subject to change. All tickets subject to availability. 1642 Story Title Tickets & Patron Services

TICKETS & PATRON PreConcert Conversations: Ticket Philadelphia Staff SERVICES PreConcert Conversations are Gary Lustig, Vice President held prior to every Philadelphia Jena Smith, Director, Patron Subscriber Services: Orchestra subscription concert, Services 215.893.1955 beginning one hour before curtain. Dan Ahearn, Jr., Box Office Call Center: 215.893.1999 Conversations are free to ticket- Manager holders, feature discussions of the Gregory McCormick, Service and Fire Notice: The exit indicated by season’s music and music-makers, Training Manager a red light nearest your seat is the and are supported in part by the Catherine Pappas, Project shortest route to the street. In the Wells Fargo Foundation. Manager event of fire or other emergency, Michelle Parkhill, Client Relations please do not run. Walk to that exit. Lost and Found: Please call Manager 215.670.2321. Jayson Bucy, Patron Services No Smoking: All public space in Supervisor the Kimmel Center is smoke-free. Web Site: For information about Samantha Apgar, Business The Philadelphia Orchestra and Operations Coordinator Cameras and Recorders: The its upcoming concerts or events, Elysse Madonna, Program and taking of photographs or the please visit www.philorch.org. Web Coordinator recording of Philadelphia Orchestra Tad Dynakowski, Assistant concerts is strictly prohibited. Subscriptions: The Philadelphia Treasurer, Box Office Orchestra offers a variety of Michelle Messa, Assistant Phones and Paging Devices: subscription options each season. Treasurer, Box Office All electronic devices—including These multi-concert packages Patricia O’Connor, Assistant cellular telephones, pagers, and feature the best available seats, Treasurer, Box Office wristwatch alarms—should be ticket exchange privileges, Thomas Sharkey, Assistant turned off while in the concert hall. guaranteed seat renewal for the Treasurer, Box Office following season, discounts on James Shelley, Assistant Treasurer, Late Seating: Latecomers will not individual tickets, and many other Box Office be seated until an appropriate time benefits. For more information, Tara Bankard, Lead Patron in the concert. please call 215.893.1955 or visit Services Representative www.philorch.org. Meg Hackney, Lead Patron Accessible Seating: Accessible Services Representative seating is available for every Ticket Turn-In: Subscribers who Hannah McIntosh, Lead Patron performance. Please call Ticket cannot use their tickets are invited Services Representative Philadelphia at 215.893.1999 for to donate them and receive a Julia Schranck, Lead Patron more information. You may also tax-deductible credit by calling Services Representative purchase accessible seating online 215.893.1999. Tickets may be Alicia DiMeglio, Priority Services at www.philorch.org. turned in any time up to the start Representative of the concert. Twenty-four-hour Megan Brown, Patron Services Assistive Listening: With the notice is appreciated, allowing Representative deposit of a current ID, hearing other patrons the opportunity to Maureen Esty, Patron Services enhancement devices are available purchase these tickets. Representative at no cost from the House Isaiah Harris, Patron Services Management Office. Headsets Individual Tickets: Don’t assume Representative are available on a first-come, first- that your favorite concert is sold Brand-I Curtis McCloud, Patron served basis. out. Subscriber turn-ins and other Services Representative special promotions can make last- Scott Leitch, Quality Assurance Large-Print Programs: minute tickets available. Call Ticket Analyst Large-print programs for every Philadelphia at 215.893.1999 or subscription concert are available stop by the Kimmel Center Box in the House Management Office Office. in Commonwealth Plaza. Please ask an usher for assistance.