Season 2014-2015

Home , Carlo Maria Giulini, Intermezzo (opera), Ivan Fischer

27 Season 2014-2015

Thursday, December 4, at 8:00 The Philadelphia Orchestra Saturday, December 6, at 8:00 Yannick Nézet-Séguin Conductor Jean-Guihen Queyras Cello

Brahms Symphony No. 3 in F major, Op. 90 I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro—Un poco sostenuto

Intermission

Haydn Cello Concerto in C major, H. VIIb:1 I. Moderato II. Adagio III. Finale: Allegro molto

Strauss Suite from Der Rosenkavalier, Op. 59

This program runs approximately 1 hour, 45 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 is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage. The Orchestra is transforming its rich tradition of achievement, sustaining the highest level of artistic quality, but also challenging—and exceeding—that level by creating powerful musical experiences for audiences at home and around the world. Music Director Yannick Nézet-Séguin’s 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 since his inaugural season in 2012. Under his leadership the Orchestra returned to recording with a celebrated CD of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions on the Deutsche Grammophon label, continuing its history of recording success. The Orchestra also reaches thousands of listeners on the radio with weekly Sunday afternoon broadcasts on WRTI-FM. Philadelphia is home, and the Orchestra nurtures an important relationship with patrons who support the main season at the Kimmel Center, and also with those who enjoy the Orchestra’s other area performances at the Mann Center, Penn’s Landing, and other cultural, civic, and learning venues. The Orchestra maintains a strong commitment to collaborations with cultural and community organizations on a regional and national level. Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the United States. Having been the first American orchestra to perform in China, in 1973 at the request of President Nixon, today The Philadelphia Orchestra boasts a new partnership with the National Centre for the Performing Arts in Beijing. The ensemble annually performs at Carnegie Hall and the Kennedy Center while also enjoying summer residencies in Saratoga Springs, New York, and Vail, Colorado. The Philadelphia Orchestra has a decades-long tradition of presenting learning and community engagement opportunities for listeners of all ages. The Orchestra’s recent initiative, the Fabulous Philadelphians Offstage, Philly Style!, has taken musicians off the traditional concert stage and into the community, including highly-successful Pop- Up concerts, PlayINs, SingINs, and ConductINs. The Orchestra’s musicians, in their own dedicated roles as teachers, coaches, and mentors, serve a key role in growing young musician talent and a love of classical music, nurturing and celebrating the wealth of musicianship in the Philadelphia region. For more information on The Philadelphia Orchestra, please visit www.philorch.org. 6 Music Director

Chris Lee Music Director Yannick Nézet-Séguin continues his inspired leadership 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 Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” He has taken the Orchestra to new musical heights. Highlights of his third season as music director include an Art of the Pipe Organ festival; the 40/40 Project, in which 40 great compositions that haven’t been heard on subscription concerts in at least 40 years will be performed; and Bernstein’s MASS, the pinnacle of the Orchestra’s five- season requiem cycle.

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

Yannick Nézet-Séguin and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership The Philadelphia Orchestra returned to recording with a CD on that label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions. He continues a fruitful recording relationship with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic and Choir for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick 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; and honorary doctorates from the University of Quebec in Montreal and the Curtis Institute of Music in Philadelphia.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 30 Soloist

Cellist Jean-Guihen Queyras has performed with many of the world’s great orchestras, including the London Philharmonia; the Orchestre de Paris; the NHK and Tokyo symphonies; the Rotterdam and Netherlands philharmonics; and the Tonhalle, Leipzig Gewandhaus, and Budapest Festival orchestras. He has worked with conductors Yannick Nézet-Séguin, Franz Brüggen, Günther Herbig, Ivan Fischer, Philippe Herreweghe, Jiří Bělohlávek, Oliver Knussen, and Roger Norrington. He is also a regular soloist with several early music ensembles, including the Freiburg Baroque Orchestra and the Academy for Ancient Music Berlin. In addition to his debut with The Philadelphia Orchestra, highlights of the current season include return visits to the Rotterdam Philharmonic and the Orchestre de Paris; performances with the Bavarian Radio Symphony and the Orchestra della Svizzera Italiana; and a European tour with pianist Alexander Melnikov performing a program of the complete Beethoven sonatas. An enthusiastic supporter of contemporary music, Mr. Queyras is committed to expanding the repertoire boundaries of his instrument. He regularly collaborates with such composers as Bruno Mantovani, Jörg Widmann, and Pierre Boulez, and he has recently commissioned Thomas Larcher to compose a piece for solo cello and string orchestra, which will premiere in 2016. Mr. Queyras has also premiered concertos by Michael Jarrel and Johannes- Maria Staud. In November 2014 he performed Peter Eötvös’s Cello Concerto Grosso with the Radio France Philharmonic in celebration of the composer’s 70th birthday. Mr. Queyras has made numerous recordings for Harmonia Mundi, including Bach’s complete solo Cello Suites, which received the Diapason d’Or; Elgar’s Cello Concerto and Tchaikovsky’s Rococo Variations with the BBC Symphony and Mr. Bělohlávek; and, most recently, Beethoven’s complete works for cello and piano with Mr. Melnikov. He is currently involved in an all-Schumann project, recording the string trios with his regular chamber music partners, Mr. Melnikov and violinist Isabelle Faust. Mr. Queyras is a professor at the Freiburg Conservatory of Music. He plays a cello made by Gioffredo Cappa in 1696, on loan from the Mécénat Musical Société Générale. 31 Framing the Program

Vienna—the legendary “City of Music.” While none of the Parallel Events three composers featured tonight was born there, all 1761 Music lived in Vienna for extended periods and were deeply Haydn Gluck connected to its traditions. Cello Concerto Don Juan in C major Literature Robert Schumann discovered Johannes Brahms in 1853, Rousseau when he wrote a glowing article praising his extraordinary Julie, ou la gifts. He held great expectations for the 20-year-old nouvelle Héloïse composer, especially with regard to writing symphonies. Art It took Brahms another 23 years to complete his first, a Gainsborough second soon followed, and tonight he hear the Symphony Portrait of No. 3, which received its premiere in Vienna. Susannah “Suky” Trevelyan Much as we may dream of finding long-lost works of past History masters the reality is that most of what scholars stumble Coronoation of upon in archives are minor pieces or variants of those that George III are better-known. The discovery in the 1960s of Haydn’s Cello Concerto in C major, a work long thought lost, was 1883 Music significant and added a wonderfully buoyant piece to the Brahms Chabrier cello repertory. Symphony España No. 3 Literature Richard Strauss was not related to the legendary Maupassant Viennese family of dance composers, notably the Waltz Un Vie King Johann Strauss, Jr., but his opera Der Rosenkavalier Art evoked a mythic past for Vienna and features Cézanne unforgettable waltzes. The concert concludes with a suite Rocky of beloved moments from the opera, among them the Landscape evocative horn beginning to Act I, the presentation of the History silver rose, the marvelous concluding trio beginning, and a Brooklyn Bridge variety of alluring waltzes. opened to traffic

1910 Music Strauss Stravinsky Der The Firebird Rosenkavalier Literature Forster Howard’s End Art Modigliani The Cellist History Du Bois founds NAACP 32 The Music Symphony No. 3

The shortest of Brahms’s four symphonies, the Third is nonetheless one of the composer’s subtlest and most complex works. It was a product of the summer of 1883, and followed closely on the heels of such consummate pieces as the C-major Piano Trio and the F-major String Quintet. Having intended to spend the summer at Bad Ischl (a posh spa near Salzburg), Brahms was suddenly struck with ideas for a symphony while traveling in the Rhineland; he decided to forgo the baths and remain in the region to work through these ideas. Taking rooms Johannes Brahms in picturesque Wiesbaden, he composed the F-major Born in Hamburg, May 7, Symphony in a matter of weeks, completing and scoring it 1833 by the fall. Hans Richter conducted the premiere in Vienna Died in Vienna, April 3, 1897 on December 2, 1883, with the Vienna Philharmonic. A Slow and Laborious Process Six years had separated this work from its predecessor, the Second Symphony in D major, composed in 1877, shortly after the laborious completion of the First. To be sure, Brahms had continued to hone his skills in the symphonic realm during this hiatus. But writing a symphony was a different challenge altogether: Ever since Beethoven had “reinvented” the symphonic idea, the act of writing a symphony had become, for many, a composer’s most perilous task. (“You don’t know what it’s like to be dogged by his footsteps,” Brahms had said to the conductor Hermann Levi during the slow and painful progress toward his own First Symphony.) In 1881 Brahms had befriended the conductor and pianist Hans von Bülow, who had offered him the use of the famous Meiningen Court Orchestra as a sort of “rehearsal ensemble.” There is some evidence that Brahms did not “start from scratch” when working on the Third during the summer of 1883. For the middle two movements of the Symphony he might have drawn upon music already sketched in 1881 as incidental music for Goethe’s Faust. (Several commentators have claimed to hear echoes of Schumann here, since Brahms would have been aware of his mentor’s own Faust music.) In any case, the composer integrated these movements into a symphonic conception of almost unprecedented unity. Some have gone so far as to characterize the Third in terms of a cyclic plan like 33

Brahms composed his that of Liszt’s piano concertos, in which an entire multi- Symphony No. 3 in 1883. movement work is conceived as a single continuous Fritz Scheel conducted the structure. first Philadelphia Orchestra Indeed the tonal plan of the Third Symphony is unusual in performances of the work, in many respects—such as the use of C major and C minor, November 1901. Most recently respectively, for the two inner movements—and the return on a subscription series it was of initial thematic material at the end of the work is only led by Simon Rattle, in April 2012. one of many means by which the four movements are unified. “What a harmonious mood pervades the whole!” The Orchestra has recorded said Clara Schumann of the Third, immediately perceiving the complete Third Symphony this sense of organicism. “All the movements seem to be of three times: in 1928 for RCA one piece, one beat of the heart, each one a jewel.” with Leopold Stokowski; in 1946 for CBS with Eugene A Closer Look Much has been written of the rising motto Ormandy; and in 1989 for that opens the Symphony’s Allegro con brio, which Philips with Riccardo Muti. The forms an essential building block for the entire piece. The third movement only was also signature of F, A-flat, F is heard not only in the massive recorded in 1921 for RCA with wind chords that begin the piece, but also in the bass Stokowski. line that accompanies the subsequent string theme. The The score calls for two flutes, A-natural of the main theme’s outline of F-A-F (often said two oboes, two clarinets, to be an anagram for the composer’s “personal motto” Frei three bassoons (III doubling aber Froh, “Free but Happy”) casts itself in immediate relief contrabassoon), four horns, with the A-flat of the bass, creating a major-minor tension two trumpets, three trombones, whose spring-like coil unwinds itself throughout the course timpani, and strings. of the Symphony. And if the development section seems The Symphony runs too concise for the material presented in the exposition, approximately 35 minutes in Brahms makes up for this by extending the movement performance. through a substantial coda that elaborates the essential descending motif. The second movement is an uncomplicated but darkly shaded Andante, containing a hymn-like first theme and a pointedly contrasted second subject (heard in the clarinets and bassoons) that is not repeated in the movement’s recapitulation—but instead reappears at the climax of the final movement, by way of “straightening out” (in musicologist David Brodbeck’s formulation) the A/A-flat conflict. The third movement (Poco allegretto), neither scherzo nor minuet, reminds us somewhat of the composer’s intermezzos for piano—and features one of his most securely passionate melodies. The stormy finale (Allegro—Un poco sostenuto), which begins squarely in F-minor, serves as a genuine culmination, and its tranquil coda in F major heightens the sense of relief—indeed of the “triumph” of A over the A-flat, and of resolution over tension. —Paul J. Horsley 34 The Music Cello Concerto in C major

In 1961 Oldřich Pulkert, an eager young Czech archivist who specialized in music of the 18th century, was engaged in the enormous team effort to organize and catalog a huge cache of music manuscripts that the Czechoslovak government had collected from private archives formerly belonging to the Bohemian nobility. The Radenín Castle archive, former possession of the Kolovrat-Kralovsky family, had contained one of the richest stores of 18th-century manuscripts, including works by Haydn, Dittersdorf, and others. Like other collections of the region, the material Franz Joseph Haydn came to rest in the Music Archive of Prague’s National Born in Rohrau, Lower Museum. But as there were few catalogs to the collections, Austria, March 31, 1732 no one really knew what was contained in these cartons Died in Vienna, May 31, and cartons of musicalia. 1809 A Lost Work Pulkert knew his Haydn. When he came across the yellowed manuscript parts inscribed with the name “Heydn,” he might well have scoffed, for many a composition by a lesser master of the Classical period has been attributed to more popular contemporaries. But Pulkert was familiar with the first volume of Anthony van Hoboken’s new catalog of Haydn’s works, published four years earlier. Among the pieces that Hoboken had listed as “lost” was a cello concerto in C—which he had given the unwieldy number H. VIIb:1. When Pulkert glanced at the opening bars of the Radenín Cello Concerto before him, his heart jumped. At that moment he realized that he was about to make a name for himself in the scholarly community: As the confirmation below (from the Haydn Institute in Cologne) showed, Pulkert had indeed found the only existing copy of one of Haydn’s most delightful concertos, lost for 200 years. The Violoncello Concerto in C major, of which Mr. Oldřich Pulkert has discovered a genuine, old copy in the Fond Radenín of the National Museum in Prague, is indeed a composition by Haydn, previously lost. The authenticity of the work is beyond doubt, since the theme is noted in Haydn’s own catalog of his works; moreover the style leaves no doubt as to Haydn’s authorship. The newly-discovered Cello Concerto represents one of the composer’s best works from the 1760s. 35

In the five decades since its discovery, the work has become a concert favorite, alongside Haydn’s Cello Concerto in D, composed 20 years later. Unlike the later Concerto, which is a fully Classical work, the Concerto in C is very much a product of the “pre-Classical” world of the 1760s, the period in which the playful rococo utterances of the late Baroque still held sway. Compelled to Innovate In 1761 Haydn, not yet 30 years old, began the job that was to form his livelihood for most of his career: as court musician for the Esterházy princes, first at their Eisenstadt castle near Vienna, and later at the splendid Eszterháza palace in what is now northwestern Hungary. Among the challenges presented to Haydn was to provide new music for the court orchestra. The composer immediately found that the contrapuntal training he had received as a choirboy in Vienna was not adequate for the practical task of composing symphonic music—so he began to innovate. The concerto for cello was in fact a relatively new concept when Haydn composed the present work sometime between 1761 and 1765. Composers of the Baroque era had favored violins, woodwind, and keyboard instruments when writing concertos. Still, Vivaldi had composed concertos with solo cello, as had C.P.E. Bach and a number of others; there is some question, however, as to how many of these Haydn might have known. More likely, Haydn was inspired to compose his first known cello concerto by the presence at the Esterházy court of a first-rate cellist by the name of Joseph Weigl. The latter had come to Eisenstadt in 1761, and not only was he close friends with Haydn, but he also apparently shared a drafty apartment in Eisenstadt with the composer and with court violinist Luigi Tomasini. A Closer Look The C-major Concerto’s light instrumentation reveals its pre-Classical origins. The orchestral cello line is to be taken by the soloist when he/ she is not playing the solo line; Esterházy court records reveal, in fact, the presence of only one cellist in the chapel orchestra during this period: Weigl. Most of the orchestral music at the court was played in chamber-like fashion, with one on a part except for violins (three firsts and three seconds) and violas (two). The Moderato that opens the Concerto is cast in a three- part form that resembles a Baroque work as much as it does a Classical concerto—though it does contain elements of a rudimentary “sonata form,” such as a modulatory middle section and a decisive return to the main theme and the main key. Even in the 1760s Haydn was an 36

Haydn composed the C-major inveterate experimenter in matters of form, and his early Cello Concerto c. 1761 to symphonies also contain sonata-like structures long before 1765. that procedure was firmly articulated during the 1770s and The first performance of the 1780s. Concerto by The Philadelphia The second movement (Adagio) spins out a lyrical solo Orchestra was in March 1970, melody that hearkens to Haydn’s operatic style. Vocal with Jacqueline Du Pré as music was central to the composer’s activities in the service soloist and Eugene Ormandy conducting. Most recently at Eszterháza, and it is easy to envision this charming on subscription Han-Na melody as a tenor vocal solo. The light-hearted wit of the Chang performed the piece in Finale: Allegro molto presages the merry dash and November 2010, with Jaap van humor that were later to form an important part of Haydn’s Zweden on the podium. mature realization of the Classical style. The Concerto is scored for solo —Paul J. Horsley cello, two oboes, two horns, harpsichord, and strings. The work runs approximately 25 minutes in performance. 37 The Music Suite from Der Rosenkavalier

“Light, flowing tempi,” wrote Strauss of the manner in which one should approach the performance of his opera Der Rosenkavalier, “without compelling the singers to rattle off the text. In a word: Mozart, not Lehár.” Indeed Strauss’s incomparable opera has a uniquely lyrical quality that for many listeners is more serious than comic—perhaps the 18th-century term “semi-seria” should be called into service here, a word that was used to describe comic opera with a foundation of profundity. It is not coincidental that Mozart’s “semi-serious” opera The Marriage of Figaro comes Richard Strauss to mind, for it clearly served as a model for Rosenkavalier Born in Munich, June 11, in a number of respects. Strauss composed his opera from 1864 1909 to 1910, working closely with his librettist, the great Died in Garmisch- poet Hugo von Hofmannsthal; it was the second of their Partenkirchen, six splendid collaborations, and from an artistic standpoint September 8, 1949 it was the most successful. Already lionized by the German public—partly as a result of the immense popularity of his salacious shocker Salome—Strauss was surprised to see the success of Rosenkavalier nearly surpass that of his earlier tragedy. First performed at the Dresden Court Theater in January 1911, it was gobbled up by the public and snatched up immediately by theaters all over Europe. To this day it remains Strauss’s most popular opera. Part Bedroom Farce, Part Bourgeois Satire Set in the mid-18th-century Vienna of Empress Maria Theresa, Rosenkavalier is permeated with waltz—even though, strictly speaking, the waltz as genre did not come into being until later, and thus its appearance here was somewhat anachronistic. The work is part bedroom farce on the scandalous order of Mozart’s Figaro, part archetypical bourgeois satire in the Molière vein. Adapted from a French novel by Louvet de Couvray (a contemporary of Beaumarchais, on whose work Mozart and Lorenzo Da Ponte based Figaro), it is a tale as full of intrigues and subplots as any 18th-century comedy. On the surface it is simply a story of bourgeois manners surrounding love, marriage, and alliances of noble families created through arranged (and often loveless) marriages; beneath the froth, however, are serious musings on the nature of fidelity, kinship, aging, and altruism. 38

At the center of the drama is the Marschallin Marie Thérèse, who at the opening of the opera (and of the Suite heard on tonight’s concert) is engaged in a love-tryst with the strapping young Count Rofrano (Octavian) while her husband, the Field Marshal, is away on duty. Later that same day her cousin, the oafish Baron von Ochs, comes to visit, announcing that he would like to marry Sophie, the young daughter of the Faninal family; he aims to propose to her by presenting her with a silver rose. The Marschallin suggests sending young Octavian as envoy to present the rose, and Ochs agrees. In the second act, when the young man presents the rose to the lovely Sophie, the two fall immediately in love. (It is Octavian, then, who is the “rose-knight,” or Rosenkavalier. Because of his youth, his is a “trousers role,” sung by a mezzo-soprano.) Octavian and Ochs duel for Sophie’s love, and the younger man wounds Ochs’s arm. The third act begins with a typical farce designed to “teach Ochs a lesson,” complete with an attempted seduction by Octavian, dressed in drag as “Mariandel.” At the scene’s culmination, in which policemen are called in to shame the Baron, the wise and authoritative Marschallin breaks in to restore order. Renouncing her own dalliance with the young man (she knows he will ultimately leave her for a younger woman anyway), the worldly Marie Thérèse gives Sophie and Octavian her blessing, content with the knowledge that the couple will marry for love and not—as in her own case—for reasons of expediency. A Closer Look The music of Rosenkavalier is full of wistful romance, with a palpable undercurrent of tristesse, an awareness of life’s brevity. Several orchestral suites have been spawned from this glorious music, including a background score for a silent-film version of the opera prepared in 1926 by film assistants and conducted (rather reluctantly) by Strauss himself. The composer arranged a set of waltzes from the opera for concert performance, but was never moved to gather a more broadly encompassing suite of the most important moments of the work. In 1944 the conductor Artur Rodzinski prepared an orchestral suite for performance with the New York Philharmonic, which was possibly approved by Strauss and quickly became a favorite of Eugene Ormandy and of Philadelphia Orchestra audiences. (Rodzinski’s authorship of this arrangement is subject to dispute. Ormandy’s own score of the Suite has been inscribed with the following: “Opera score made into a suite. [Arr. by] Rodzinski?, Ormandy?, Dor[ati]?” This score includes paste-ins and written-out transitions, suggesting that it had been used in modular fashion by guest conductors, each of whom altered it according to his own taste.) 39

Der Rosenkavalier was In the version published by Boosey & Hawkes in 1945, composed from 1909 to 1910. the Rosenkavalier Suite comprises much of the Prelude to Eugene Ormandy conducted Act I; the presentation of the silver rose (accompanied by the first Philadelphia Orchestra the striking and justly famous chromatic chords consisting performances of the Suite, of piccolo, flutes, celesta, harp, and solo violins); the arrival in February 1945. The work of Baron von Ochs in Act II; the second-act waltzes; and was a favorite of his, and finally the duet (the “Ist ein Traum” culmination of the love he performed it many times, drama—possibly the opera’s most beautiful music); the especially on tour. Its most trio; and the big waltz from Act III. recent appearance on a subscription concerts was in —Paul J. Horsley April 2013, with either Yannick Nézet-Séguin or Cristian Măcelaru on the podium (replacing the indisposed Jaap van Zweden). The Philadelphians recorded the work four times, all with Ormandy: in 1947, 1958, and 1964 for CBS, and in 1974 for RCA. The score calls for three flutes (III doubling piccolo), three oboes (III doubling English horn), three clarinets (III doubling E-flat clarinet), bass clarinet, three bassoons (III doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, ratchet, snare drum, tambourine, triangle), two harps, celesta, and strings. Performance time is approximately 20 minutes.

GENERAL TERMS Legato: Smooth, even, character. Cadence: The conclusion without any break between Semitone: The smallest to a phrase, movement, notes interval of the modern or piece based on a Meter: The symmetrical Western tone system, or recognizable melodic grouping of musical 1/12 of an octave formula, harmonic rhythms Sonata form: The form in progression, or dissonance Minuet: A dance in triple which the first movements resolution time commonly used up to (and sometimes others) Cadenza: A passage or the beginning of the 19th of symphonies are usually section in a style of brilliant century as the lightest cast. The sections are improvisation, usually movement of a symphony exposition, development, inserted near the end of a Op.: Abbreviation for opus, and recapitulation, the movement or composition a term used to indicate last sometimes followed Chord: The simultaneous the chronological position by a coda. The exposition sounding of three or more of a composition within a is the introduction of tones composer’s output. Opus the musical ideas, which Chromatic: Relating to numbers are not always are then “developed.” In tones foreign to a given reliable because they are the recapitulation, the key (scale) or chord often applied in the order exposition is repeated with Coda: A concluding of publication rather than modifications. section or passage added composition. in order to confirm the Recapitulation: See THE SPEED OF MUSIC impression of finality sonata form (Tempo) Contrapuntal: See Scale: The series of Adagio: Leisurely, slow counterpoint tones which form (a) any Allegretto: A tempo Counterpoint: A major or minor key or (b) between walking speed term that describes the chromatic scale of and fast the combination of successive semi-tonic Allegro: Bright, fast simultaneously sounding steps Andante: Walking speed musical lines Scherzo: Literally “a Con brio: Vigorously, with Development: See joke.” Usually the third fire sonata form movement of symphonies Moderato: A moderate Exposition: See sonata and quartets that was tempo, neither fast nor form introduced by Beethoven slow H.: Abbreviation for to replace the minuet. The Sostenuto: Sustained Hoboken, the chronological scherzo is followed by a list of all the works of gentler section called a trio, TEMPO MODIFIERS Haydn made by Anthony after which the scherzo is Molto: Very van Hoboken repeated. Its characteristics Poco: Little, a bit Intermezzo: The name are a rapid tempo in triple given to an independent time, vigorous rhythm, and piece, often solo piano, that humorous contrasts. Also is predominantly lyrical in an instrumental piece of character a light, piquant, humorous 41 December/January The Philadelphia Orchestra Jessica Griffin 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 this exciting season.

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Gershwin and Bernstein Thursday, December 11 8 PM Friday, December 12 8 PM Saturday, December 13 8 PM Bramwell Tovey Conductor Alison Balsom Trumpet Britten Passacaglia, from Peter Grimes Tovey Songs of the Paradise Saloon, for trumpet and orchestra Gershwin Catfish Row: Suite from Porgy and Bess Bernstein Symphonic Dances from West Side Story The December 11 concert is sponsored by MedComp. Eschenbach Visits with Strauss and Schumann Thursday, January 8 8 PM Friday, January 9 2 PM Saturday, January 10 8 PM Christoph Eschenbach Conductor Jennifer Montone Horn Strauss Till Eulenspiegel’s Merry Pranks Strauss Horn Concerto No. 1 Schumann Symphony No. 2

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. 42 Tickets & Patron Services

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