27 Season 2013-2014

Thursday, October 24, at 8:00 The Philadelphia Orchestra Friday, October 25, at 2:00 Saturday, October 26, at Rafael Frühbeck de Burgos Conductor 8:00 Augustin Hadelich Violin

Lalo Symphonie espagnole, Op. 21, for violin and orchestra I. Allegro non troppo II. Scherzando: Allegro molto III. Intermezzo: Allegretto non troppo IV. Andante V. Rondo: Allegro

Intermission

Debussy La Mer I. From Dawn to Midday at Sea II. Play of the Waves III. Dialogue of the Wind and the Sea

Ravel Suite No. 2 from Daphnis and Chloé I. Daybreak— II. Pantomime— III. General Dance

This program runs approximately 1 hour, 50 minutes.

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.

3 Story Title 29 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 orchestras 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 Leopold Stokowski including highly-successful quality, but also challenging transcriptions. In Yannick’s Cello and Violin Play-Ins, and exceeding that level, by inaugural season the shine a spotlight on the creating powerful musical Orchestra has also returned Orchestra’s musicians, as experiences for audiences at to the radio airwaves, with they spread out from the home and around the world. weekly Sunday afternoon stage into the community. Music Director Yannick broadcasts on WRTI-FM. The Orchestra’s commitment Nézet-Séguin triumphantly to its education and Philadelphia is home and opened his inaugural community partnership the Orchestra nurtures an season as the eighth artistic initiatives manifests itself important relationship not leader of the Orchestra in numerous other ways, only with patrons who support in fall 2012. His highly including concerts for families the main season at the collaborative style, deeply- and students, and eZseatU, Kimmel Center but also those rooted musical curiosity, a program that allows full- who enjoy the Orchestra’s and boundless enthusiasm, time college students to other area performances paired with a fresh approach attend an unlimited number at the Mann Center, Penn’s to orchestral programming, of Orchestra concerts for Landing, and other venues. have been heralded by a $25 annual membership The Orchestra is also a global critics and audiences alike. fee. For more information on ambassador for Philadelphia Yannick has been embraced The Philadelphia Orchestra, and for the U.S. Having been by the musicians of the please visit www.philorch.org. the first American orchestra Orchestra, audiences, and the 8 Music Director

Nigel Parry/CPi Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra 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.” In his first season he took the Orchestra to new musical heights. His second builds on that momentum with highlights that include a Philadelphia Commissions Micro-Festival, for which three leading composers have been commissioned to write solo works for three of the Orchestra’s principal players; the next installment in his multi-season focus on requiems with Fauré’s Requiem; and a unique, theatrically-staged presentation of Strauss’s revolutionary opera Salome, 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 London 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 conducting 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 Deutsche Grammophon (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 Carlo Maria Giulini 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. 30 Conductor

Steve J. Sherman This season marks Rafael Frühbeck de Burgos’s 150th appearance with The Philadelphia Orchestra in Philadelphia. The 80-year-old conductor made his American debut with the Philadelphians on Valentine’s Day in 1969. A regular guest with all of North America’s top orchestras, he conducts the New York and Los Angeles philharmonics and the Boston, Cincinnati, Pittsburgh, Detroit, San Francisco, Saint Louis, Houston, Seattle, New World, and National symphonies in the 2013-14 season. He also appears annually at the Tanglewood Music Festival. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic. This is his second season as chief conductor of the Danish National Orchestra. Born in Burgos, Spain, Mr. Frühbeck studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid; he studied conducting at Munich’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, including the Gold Medal of the City of Vienna; Germany’s Order of Merit; the Gold Medal from the Gustav Mahler International Society; and the Jacinto Guerrero Prize, Spain’s most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Mr. Frühbeck was appointed emeritus conductor of the Spanish National Orchestra. He has an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando in Madrid. Mr. Frühbeck has made tours with ensembles including London’s Philharmonia, the London Symphony, the National Orchestra of Madrid, the Swedish Radio Orchestra, and The Philadelphia Orchestra, and he has toured North America with the Vienna Symphony, the Spanish National Orchestra, and the Dresden Philharmonic. Mr. Frühbeck has recorded extensively for EMI, Decca, Deutsche Grammophon, Spanish Columbia, and Orfeo. Several of his recordings are considered to be classics, including his interpretations of Mendelssohn’s Elijah and St. Paul, Mozart’s Requiem, Orff’s Carmina burana, Bizet’s Carmen, and the complete works of Spanish composer Manuel de Falla. 31 Soloist

Violinist Augustin Hadelich is making his Philadelphia Orchestra debut. This season he also debuts with the Atlanta, Detroit, and Oregon symphonies in the U.S.; the Bournemouth Symphony in England; the Orquestra Sinfónica do Porto in Portugal; and the Royal Scottish National Orchestra. Other 2013-14 highlights include a recital at New York’s Frick Collection celebrating the 75th anniversary of the Museum’s concert series; a tour of China with the San Diego Symphony; and a week-long residency with the Cincinnati Symphony. In April 2014 Mr. Hadelich, along with guitarist Pablo Sáinz Villegas and pianist Joyce Yang, performs at the Kennedy Center for the premiere of an originally-conceived multimedia recital, Tango Song and Dance, based on, and named after, André Previn’s work for violin and piano. Last season Mr. Hadelich made his debut with the Boston Symphony at Tanglewood; his subscription debut with the New York Philharmonic; and debuts with the San Francisco, Dallas, New Jersey, Saint Louis, Milwaukee, and Toronto symphonies, as well as the Buffalo Philharmonic, the Los Angeles Chamber Orchestra, the BBC Philharmonic, and the SWR Orchestra. In the summer of 2013 he performed with the Los Angeles Philharmonic at the Hollywood Bowl, the New York Philharmonic at the Bravo! Vail festival, the Britt Festival Orchestra in Oregon, and the Chautauqua Symphony in New York. Mr. Hadelich has made three recordings for AVIE: Flying Solo, a CD of masterworks for solo violin; Echoes of Paris, featuring French and Russian repertoire; and Histoire du Tango, a program of violin-guitar works in collaboration with Mr. Sáinz Villegas. For Naxos he has recorded Haydn’s complete violin concertos and Telemann’s Fantasies for solo violin. The son of German parents, Mr. Hadelich was born in Italy in 1984. He holds an Artist Diploma from the Juilliard School, where he was a student of Joel Smirnoff. The 2006 gold medalist of the International Violin Competition of Indianapolis, Mr. Hadelich is also the recipient of Lincoln Center’s Martin E. Segal Award (2012), a Borletti- Buitoni Trust Fellowship in the U.K. (2011), and an Avery Fisher Career Grant (2009). He plays the 1723 “Ex- Kiesewetter” Stradivarius violin, on loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society. 32 Framing the Program

Édouard Lalo is the senior member of the trio of French Parallel Events masters featured on the program today, which opens with 1874 Music his best loved work, the exuberant Symphonie espagnole. Lalo Verdi The five-movement piece is in essence a dazzling violin Symphonie Requiem concerto, yet its name captures both the symphonic espagnole Literature ambitions of the score as well as the southern inspiration Hardy from Spain. Far from the Madding Crowd Claude Debussy and Maurice Ravel were the most Art famous French composers of the next generation and Renoir figures whose innovations became associated with the La Loge Impressionist movement, a term initially used pejoratively History in connection with Claude Monet’s paintings. Many of Billroth discovers Debussy’s pieces were inspired by images and nature. streptococci As he remarked in 1908: “I am trying in some way to do ‘something different’—an effect of reality—what some 1905 Music imbeciles call ‘Impressionism,’ a term that is utterly Debussy Strauss La Mer La Mer Salome misapplied, especially by the critics.” In he offers Literature three meditations on the sea: “From Dawn to Midday at Wharton Sea,” “Play of the Waves,” and “Dialogue of the Wind and House of Mirth the Sea.” Art Many of the greatest early-20th-century composers Picasso produced music for Sergei Diaghilev’s legendary Ballets Two Youths Russes. The innovative Russian impresario presented History Einstein exotic projects that captivated Parisian audiences. Among formulates the many works he commissioned was Ravel’s Daphnis and Theory of Chloé, based on an ancient Greek pastoral drama. Ravel Relativity said his intention was “to compose a vast musical fresco, less thoughtful of archaism than of fidelity to the Greece of 1910 Music my dreams.” Ravel Berg Daphnis and String Quartet Chloé Literature Forster Howard’s End Art Léger Nues dans le forêt History DuBois founds NAACP 33 The Music Symphonie espagnole

What’s in a name? The title that Édouard Lalo bestowed upon his best-loved and best-known work, the Symphonie espagnole, is fraught with inner significances. First, the very fact that this contemporary of Tchaikovsky and Brahms used the term “symphony” for a work that looks and sounds every bit like a concerto indicates the unique role that he had in mind for the violin soloist. “I kept the title Symphonie espagnole, contrary to, and in spite of, everybody’s advice,” wrote Lalo in 1879, “first, because it conveyed my thought—that is to say, of a violin solo Édouard Lalo soaring above the rigid form of an old symphony—and Born in Lille, France, then because the title was less banal than others that January 27, 1823 were proposed to me.” Died in Paris, April 22, 1892 The Allure of Spain Some believe (rather implausibly) that Lalo’s reference to Spain in the title is significant on a personal level—that it reflected his intention to make the work an expression of his national roots: His own family, at least on his father’s side, had immigrated from Spain during the 16th century to settle in northern France. Thus, like Ravel he could claim “real” Spanish heritage; at the same time it seems probable that Lalo, like many composers of his day, was motivated chiefly by a desire to take advantage of the craze for “things Spanish” in late- 19th-century France. (Ravel, Debussy, Massenet, Chabrier, and many others wrote “Iberian” works. Lalo, in addition, had a penchant for “national flavor” in general: He also composed a Concerto russe and a Fantaisie norvégienne.) Another reason—perhaps the principal reason—why this work has been designated “espagnole” is related to the violinist for whom it was composed. Lalo was taken with the musicianship of the Spanish virtuoso Pablo Sarasate (1844-1908), who had introduced European audiences of the late 19th century to a new style of violin playing—one marked by astonishing technical perfection and a sweet, lush tone. “He represented a completely new type of violinist,” wrote one contemporary. Sarasate had given the world premieres of Lalo’s first two violin concertos during the early 1870s, and in 1873 the composer produced the Symphonie expressly for him and his peculiar style. 34

The Symphonie espagnole A Closer Look Instead of a concerto-like three was composed in 1874. movements, Lalo originally cast the Symphonie in four John Witzemann was the movements, with a scherzo after the opening movement soloist in the first Philadelphia (it is actually a sort of seguidilla, a Spanish dance). Orchestra performance of the Later he also added, almost as an afterthought, a fifth work, in 1910 with Carl Pohlig. movement: a central Intermezzo. The dance-like finale Most recently on subscription, is also a nod to the violinist’s spiky virtuosity. In the final it was performed in December analysis, Lalo’s unique Symphonie is one of the most 1987/January 1988, with outstandingly lyrical and gracious works of its era. violinist Joshua Bell and Hugh Wolff. —Paul J. Horsley The Philadelphia Orchestra recorded Lalo’s Symphonie espagnole twice, both for CBS with Eugene Ormandy: in 1944 with Nathan Milstein and in 1956 with Isaac Stern. The score calls for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion (snare drum, triangle), harp, strings, and solo violin. The Symphony espagnole runs approximately 30 minutes in this performance. 35 The Music La Mer

In a letter to André Messager dated September 12, 1903, Claude Debussy announced, “I am working on three symphonic sketches entitled: 1. ‘Calm Sea around the Sanguinaires Islands’; 2. ‘Play of the Waves’; 3. ‘The Wind Makes the Sea Dance’; the whole to be titled La Mer.” In a rare burst of autobiography, he then confided, “You’re unaware, maybe, that I was intended for the noble career of a sailor and have only deviated from that path thanks to the quirks of fate. Even so, I have retained a sincere devotion to the sea.” Debussy points out to Messager the irony that he Claude Debussy is working on his musical seascape in landlocked Burgundy, Born in St. Germain-en- but declares, “I have innumerable memories, and those, in Laye, August 22, 1862 my view, are worth more than a reality which, charming as it Died in Paris, March 25, 1918 may be, tends to weigh too heavily on the imagination.” The Advancing Tide But the quirks of fate, of which Debussy wrote so lightly in 1903 led him back to the sea over and over again in the two years that elapsed between this letter and the premiere of La Mer on October 15, 1905, performed in Paris by the Lamoureux Orchestra conducted by Camille Chevillard. It was a twist of fate that Debussy finished correcting the proofs of his symphonic sketches by the sea while staying at the Grand Hotel in the quirky British resort of Eastbourne. The otherwise ironical composer had washed up on the Atlantic shores of this little town swept away by that most oceanic of emotions: love. What did the concierge at the Grand Hotel think of the curious French couple staying there during July and August of 1905? The other guests, who were probably too British and well-bred to have initiated a conversation, must have been intrigued by the saturnine Frenchman with the protruding forehead, who spoke no English and, indeed, rarely said a word even in his native tongue. But what of the woman with him, speaking fluent English with an enchanting accent, charming, vivacious, and clearly pregnant? Surely represented to the hotel management as Debussy’s wife, she was in reality Emma Bardac, née Moyse, a socialite and gifted singer who had left her wealthy husband for an impecunious composer. Her husband, Sigismund, who had tolerated with indulgent good humor her earlier affair with the discreet Gabriel Fauré, assumed that she would return to him after her 36

passion for Debussy cooled. But Emma never looked back: She bore Debussy a daughter, Claude-Emma, nicknamed “Chou-Chou” by her adoring father, who was born some two weeks after the first performance of La Mer. In the scandal that followed their elopement, especially after Debussy’s unsophisticated first wife made an ineffectual attempt at suicide, he lost many friends—but not the loyal Messager. In consequence of her adultery, Emma lost a lavish inheritance from her wealthy uncle, thus condemning her reticent husband to seek lucrative but agonizing public appearances as a pianist and conductor. They finally married in 1908, enjoying their life together until he died of cancer on March 25, 1918, as German artillery bombarded Paris; despite the acute danger, Emma refused to leave her husband’s side. “Symphonic Sketches” During his lifetime and after, critics labeled Debussy as an “Impressionist,” associating him with the then-radical but now beloved painters Monet and Renoir. Debussy protested that he was not merely an Impressionist but a Symbolist like Maurice Maeterlinck, whose play Pelléas et Mélisande (1902) he had transformed into an opera, or his friend Pierre Louÿs, whose poems he set in the voluptuous song cycle Chansons de Bilitis (1898). Despite the suggestive titles of his pieces, Debussy was at least as much a “literary” composer as he was a “visual” one. By insisting that his publisher, Jacques Durand, place a stylized picture of a wave by the great Japanese artist Hokusai on the cover of La Mer, Debussy indicated implicitly that his score was not merely a seascape painted rapidly from prosaic reality nor a pantheistic rhapsody, but rather an evocation of those elemental forces that the sea itself symbolizes: birth (in French, the word for the sea, mer, is a homonym for the word for mother, mère); desire (waves endlessly lapping the shore, forever unsatisfied); love (all-enveloping emotion in which the lover is completely submerged); and, of course, death (dissolution into eternity). Furthermore, as was evinced in his choice of a Japanese print for the score’s cover, Debussy went to considerable trouble to differentiate his work from the aesthetics of the Impressionist painters. Although its subtitle has puzzled critics over the years, Debussy knew exactly what he was doing when he called La Mer a series of “symphonic sketches.” “Symphonic” because of the sophistication of the processes involved in generating the musical materials, but the word “sketches” is not used in the sense of something rapidly executed or unfinished, but 37

La Mer was composed from rather to denote a clearly delineated line drawing, nothing 1903 to 1905. remotely “Impressionistic.” Carl Pohlig conducted the A Closer Look Writing shortly after the premiere of La first Philadelphia Orchestra Mer, the critic Louis Laloy noted, “in each of these three performances of La Mer, in episodes … [Debussy] has been able to create enduringly January 1911. The most recent all the glimmerings and shifting shadows, caresses and subscription performances were murmurs, gentle sweetness and fiery anger, seductive under the direction of Esa- Pekka Salonen in March 2012. charm and sudden gravity contained in those waves In between the work has been which Aeschylus praised for their ‘smile without number.’” heard numerous times, with The slow, tenebrous, and mysterious opening of the first such conductors as Fritz Reiner, “sketch,” which Debussy ultimately called From Dawn Pierre Monteux, Artur Rodzinski, to Midday at Sea, contains all of the thematic motifs Ernest Ansermet, George Szell, that will pervade the rest of the entire score, just as in a Charles Munch, Carlo Maria Beethovenian symphony. The resemblance to the German Giulini, André Previn, Charles symphonic tradition essentially ends there, however, for Dutoit, Christoph Eschenbach, only the most evanescent lineaments of sonata form, with and Valery Gergiev. its contrasting themes and development section, can be The Philadelphians have discerned flickering behind Debussy’s complex formal recorded the work four times: design. There is no formal section devoted exclusively in 1942 for RCA with Arturo to development in La Mer because Debussy develops Toscanini; in 1959 for CBS incessantly from the very first notes. The second of the with Eugene Ormandy; in 1971 “sketches,” Play of the Waves, is constructed from tiny for RCA with Ormandy; and in mosaic-like thematic and harmonic fragments, a process 1993 for EMI with Riccardo that anticipates the extraordinary subtlety of Debussy’s Muti. last completed orchestral score, Jeux (1912-13), in which Debussy scored La Mer for the “games” are more explicitly erotic. The final “sketch,” piccolo, two flutes, two oboes, Dialogue of the Wind and the Sea, begins in storm English horn, two clarinets, and, rising to grandeur, concludes with an orgasmic burst three bassoons, contrabassoon, of enveloping, oceanic rapture. four horns, three trumpets, two cornets, three trombones, tuba, —Byron Adams timpani, percussion (bass drum, cymbals, glockenspiel, tam- tam, and triangle), two harps, celesta, and strings. Performance time is approximately 25 minutes. 38 The Music Suite No. 2 from Daphnis and Chloé

For two decades Sergei Diaghilev’s Ballets Russes reigned supreme in the Parisian avant-garde, producing from 1909 to the late 1920s an unprecedented series of masterworks such as Stravinsky’s Firebird, Petrushka, and The Rite of Spring, Debussy’s Jeux, and Prokofiev’s The Prodigal Son. Audiences responded not only to the troupe’s extraordinary dancers (including the great Vaslav Nijinsky), but also to the startlingly original choreography of Michel Fokine, the dazzling and exotic stage designs of Léon Bakst, and music by the most forward-looking composers of the day. Maurice Ravel Rarely, if ever, has a single company been responsible for Born in Ciboure, Lower so many visionary classics—the music of which continues Pyrenees, March 7, 1875 to enrich the concert hall. Died in Paris, December 28, 1937 In 1909 Diaghilev asked Ravel to write music for a ballet based on a Greek pastoral drama by the third-century author Longus. Fokine sketched the scenario of the love between the young goatherd Daphnis and the shepherdess Chloé. In addition to telling the tale in a continuous flow of uninterrupted action (a marked departure from the “number” ballets of the 19th century), Fokine’s initial (and somewhat naïve) vision included an attempt to re-create the music of antiquity. Ravel, however, had a different concept of a staged Daphnis. “My intention was to compose a vast musical fresco, less thoughtful of archaism than of fidelity to the Greece of my dreams, which identifies willingly with that imagined and depicted by late-18th- century French artists.” As a result of conflicting visions, the collaboration was a stormy one. The composer’s Watteau-esque view of the ballet (which clashed not only with Fokine’s Neohellenism but also with Bakst’s garishly colored primitivist set designs) ultimately took its shape through musical means. “The work is constructed symphonically,” Ravel wrote, “according to a strict tonal plan, by means of a small number of motifs, whose development assure the symphonic homogeneity of the work.” The result was no less than the composer’s finest work. Completed in April 1912, the ballet received its first performances that June at the Théâtre du Châtelet, under the baton of Pierre Monteux, who the following year would 39

Ravel composed Daphnis and later conduct the notorious Rite of Spring premiere. Two Chloé from 1909 to 1912. orchestral suites were extracted, from the second and third scenes respectively, for concert performance; the Suite No. The Second Suite was first 2 has become a concert favorite. performed by The Philadelphia Orchestra in January 1927, The third scene begins with Daphnis prostrate and alone, with Artur Rodzinski conducting. near the sacred grove of Pan. The famous “Daybreak” The work was a favorite music (with which the Suite No. 2 begins) occurs as a of Eugene Ormandy, who moment of extraordinary climax and relief, for it signals conducted it almost every other the return of hope after our hero’s darkest hour; its misty year and took it on numerous undulation of woodwinds and uncanny bird-twitterings, tours. It has also been led in fact, make this one of the most distinctive and striking here by such conductors as passages of 20th-century music. The scene culminates Fritz Reiner, Ernest Ansermet, with the couple’s ecstatic reunion. The dénouement Georges Prêtre, Charles Dutoit, begins as Lammon, an old shepherd, explains that Pan has Riccardo Muti, Erich Leinsdorf, Mariss Jansons, Wolfgang answered Daphnis’s prayer because of the memory of his Sawallisch, and, most recently own love for Syrinxin which the god has seen a fortuitous on subscription, Christoph parallel. Daphnis and Chloé then dance a reenactment Eschenbach in March 2005. of how Pan romanced the unwilling Syrinx, who finally cast herself into a stream and drowned. In his grief, Pan The Orchestra recorded the (Daphnis) plucks two reeds from the brook and forms a Second Suite five times: in 1939 flute, on which he plays a plangent tune. Stepping out of for RCA with Ormandy; in 1949 their roles as Pan and Syrinx, Daphnis and Chloé kneel at and 1959 for CBS with Ormandy; the nymphs’ altar. The ballet (and the Second Suite) ends in 1971 for RCA with Ormandy; with the happy, tumultuous Danse générale, which is cast and in 1982 for EMI with Muti. in an infectious 5/4 rhythm that caused Diaghilev’s young The work can also be found in dancers no end of torment in the work’s first production. The Philadelphia Orchestra: The Centennial Collection (Historic —Paul J. Horsley Broadcasts and Recordings from 1917-1998), in a performance led by Charles Munch from 1963.

The score calls for piccolo, two flutes, alto flute, two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, percussion (triangle, cymbals, side drum, tambourine, snare drum, castanets, glockenspiel, bass drum), two harps, celesta, and strings, plus an optional mixed chorus (singing without words).

Performance time is Program notes © 2013. All rights reserved. Program notes may approximately 15 minutes. not be reprinted without written permission from The Philadelphia Orchestra Association. 40 Musical Terms

GENERAL TERMS Minuet: A dance in triple gentler section called a trio, Cadence: The conclusion time commonly used up to after which the scherzo is to a phrase, movement, the beginning of the 19th repeated. Its characteristics or piece based on a century as the lightest are a rapid tempo in triple recognizable melodic movement of a symphony time, vigorous rhythm, and formula, harmonic Octave: The interval humorous contrasts. progression, or dissonance between any two notes Seguidilla: a triple-meter resolution that are seven diatonic dance style from the south Cadenza: A passage or (non-chromatic) scale of Spain section in a style of brilliant degrees apart Sonata form: The form in improvisation, usually Op.: Abbreviation for opus, which the first movements inserted near the end of a a term used to indicate (and sometimes others) movement or composition the chronological position of symphonies are usually Chord: The simultaneous of a composition within a cast. The sections are sounding of three or more composer’s output. Opus exposition, development, tones numbers are not always and recapitulation, the Chromatic: Relating to reliable because they are last sometimes followed tones foreign to a given often applied in the order by a coda. The exposition key (scale) or chord of publication rather than is the introduction of Coda: A concluding composition. the musical ideas, which section or passage added Rondo: A form frequently are then “developed.” In in order to confirm the used in symphonies and the recapitulation, the impression of finality concertos for the final exposition is repeated with Development: See movement. It consists modifications. sonata form of a main section that Tonic: The keynote of a Dissonance: A alternates with a variety of scale combination of two or more contrasting sections (A-B- THE SPEED OF MUSIC tones requiring resolution A-C-A etc.). (Tempo) Harmonic: Pertaining to Scale: The series of Allegretto: A tempo chords and to the theory tones which form (a) any between walking speed and practice of harmony major or minor key or (b) and fast Intermezzo: A short the chromatic scale of Allegro: Bright, fast movement connecting successive semi-tonic Andante: Walking speed the main divisions of a steps Scherzando: Playfully symphony Scherzo: Literally “a Legato: Smooth, even, joke.” Usually the third TEMPO MODIFIERS without any break between movement of symphonies Molto: Very notes and quartets that was Non troppo: Not too Meter: The symmetrical introduced by Beethoven much grouping of musical to replace the minuet. The rhythms scherzo is followed by a 41 October/November The Philadelphia Orchestra

Pete Checchia Yannick has created a week-long celebration bringing together three diverse composers and presenting their music in unique combinations for each concert. Solo works for three of our principal players crafted by the leading composers of today will be premiered. Plus Yannick and The Philadelphia Orchestra perform a Rachmaninoff masterpiece—the luxuriant Symphonic Dances. Philadelphia Commissions Thursday, October 31 8 PM Yannick Nézet-Séguin Conductor Elizabeth Hainen Harp Jeffrey Khaner Flute Tan Dun Nu Shu: The Secret Songs of Women, Symphony for Microfilms, Harp, and Orchestra (U.S. premiere) Behzad Ranjbaran Flute Concerto (world premiere) Rachmaninoff Symphonic Dances Friday, November 1 2 PM Yannick Nézet-Séguin Conductor Elizabeth Hainen Harp Daniel Matsukawa Bassoon Tan Dun Nu Shu: The Secret Songs of Women, Symphony for Microfilms, Harp, and Orchestra David Ludwig Pictures from the Floating World, for bassoon and orchestra (world premiere) Rachmaninoff Symphonic Dances Saturday, November 2 8 PM Yannick Nézet-Séguin Conductor Jeffrey Khaner Flute Daniel Matsukawa Bassoon Bernstein Overture to Candide Behzad Ranjbaran Flute Concerto David Ludwig Pictures from the Floating World, for bassoon and orchestra Rachmaninoff Symphonic Dances

TICKETS 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. 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 Catherine Pappas, Project Fire Notice: The exit indicated by season’s music and music-makers, Manager a red light nearest your seat is the and are supported in part by the Michelle Parkhill, Client Relations shortest route to the street. In the Wells Fargo Foundation. Manager event of fire or other emergency, Mariangela Saavedra, Manager, please do not run. Walk to that exit. Lost and Found: Please call Patron Services 215.670.2321. Gregory McCormack, Training No Smoking: All public space in Specialist 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 Patrick Curran, Assistant Treasurer, concerts is strictly prohibited. Subscriptions: The Philadelphia Box Office Orchestra offers a variety of Tad Dynakowski, Assistant Phones and Paging Devices: subscription options each season. Treasurer, Box Office All electronic devices—including These multi-concert packages Michelle Messa, Assistant cellular telephones, pagers, and feature the best available seats, Treasurer, Box Office wristwatch alarms—should be ticket exchange privileges, Patricia O’Connor, Assistant turned off while in the concert hall. guaranteed seat renewal for the Treasurer, Box Office following season, discounts on Thomas Sharkey, Assistant Late Seating: Latecomers will not individual tickets, and many other Treasurer, Box Office be seated until an appropriate time benefits. For more information, James Shelley, Assistant Treasurer, in the concert. please call 215.893.1955 or visit Box Office www.philorch.org. Tara Bankard, Lead Patron Accessible Seating: Accessible Services Representative seating is available for every Ticket Turn-In: Subscribers who Jayson Bucy, Lead Patron Services performance. Please call Ticket cannot use their tickets are invited Representative Philadelphia at 215.893.1999 for to donate them and receive a Meg Hackney, Lead Patron more information. You may also tax-deductible credit by calling Services Representative purchase accessible seating online 215.893.1999. Tickets may be Julia Schranck, Lead Patron at www.philorch.org. turned in any time up to the start Services Representative of the concert. Twenty-four-hour Alicia DiMeglio, Priority Services Assistive Listening: With the notice is appreciated, allowing Representative deposit of a current ID, hearing other patrons the opportunity to Megan Brown, Patron Services enhancement devices are available purchase these tickets. Representative at no cost from the House Maureen Esty, 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.