Season 2016-2017

Home , Ignaz Moscheles, Louis Lortie, Petrushka

23 Season 2016-2017

Thursday, January 19, at 8:00 The Philadelphia Orchestra Friday, January 20, at 2:00 Saturday, January 21, City of Light and Music: at 8:00 The Paris Festival, Week 2 Yannick Nézet-Séguin Conductor Louis Lortie Piano

Chopin Piano Concerto No. 1 in E minor, Op. 11 I. Allegro maestoso II. Romanze: Larghetto III. Rondo: Vivace

Intermission

Stravinsky Petrushka (1947 version) I. The Shrovetide Fair (First Tableau): The Magic Trick—Russian Dance II. Petrushka’s Room (Second Tableau) III. The Moor’s Room (Third Tableau): Dance of the Ballerina—Waltz IV. The Shrovetide Fair, Toward Evening (Fourth Tableau): Dance of the Nursemaids—Dance of the Coachmen and the Stable Boys—The Mummers

This program runs approximately 1 hour, 50 minutes.

Stravinsky’s Petrushka is being recorded live for future release by Deutsche Grammophon. We ask for your cooperation in making this project a success. Please make every effort to minimize noise during the concert.

The January 21 concert is sponsored by Medcomp.

The January 21 concert is also sponsored by Ms. Alexandra Edsall and Mr. Robert Victor.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit wrti.org to listen live or for more details. 24

Steven Spielberg’s filmE.T. the Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes … but the performances, particularly by the children and by E.T. himself, are so honest, timeless, and true, that the film absolutely qualifies to be ranked as a classic. What’s particularly special about today’s concert is that we’ll hear one of our great symphony orchestras, The Philadelphia Orchestra, performing the entire score live, along with the complete picture, sound effects, and dialogue. I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event … and I hope that today’s audience will find great joy in experiencing this magical film. 25 25 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage. The Orchestra Center, Penn’s Landing, Concerts, School Concerts, is inspiring the future and and other cultural, civic, and residency work in transforming its rich tradition and learning venues. The Philadelphia and abroad. of achievement, sustaining Orchestra maintains a strong Through concerts, tours, the highest level of artistic commitment to collaborations residencies, presentations, quality, but also challenging— with cultural and community and recordings, The and exceeding—that level, organizations on a regional Philadelphia Orchestra is by creating powerful musical and national level, all of which a global ambassador for experiences for audiences at create greater access and Philadelphia and for the home and around the world. engagement with classical US. Having been the first Music Director Yannick music as an art form. American orchestra to Nézet-Séguin’s connection The Philadelphia Orchestra perform in China, in 1973 to the Orchestra’s musicians serves as a catalyst for at the request of President has been praised by cultural activity across Nixon, the ensemble today both concertgoers and Philadelphia’s many boasts a new partnership with critics since his inaugural communities, building an Beijing’s National Centre for season in 2012. Under his offstage presence as strong the Performing Arts and the leadership the Orchestra as its onstage one. With Shanghai Oriental Art Centre, returned to recording, with Nézet-Séguin, a dedicated and in 2017 will be the first- two celebrated CDs on body of musicians, and one ever Western orchestra to the prestigious Deutsche of the nation’s richest arts appear in Mongolia. The Grammophon label, ecosystems, the Orchestra Orchestra annually performs continuing its history of has launched its HEAR at Carnegie Hall while also recording success. The initiative, a portfolio of enjoying summer residencies Orchestra also reaches integrated initiatives that in Saratoga Springs, NY, and thousands of listeners on the promotes Health, champions Vail, CO. For more information radio with weekly Sunday music Education, eliminates on The Philadelphia afternoon broadcasts on barriers to Accessing the Orchestra, please visit WRTI-FM. orchestra, and maximizes www.philorch.org. 26 4 Music Director

Chris Lee Music Director Yannick Nézet-Séguin is now confirmed to lead The Philadelphia Orchestra through the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he becomes music director of the Metropolitan Opera beginning with the 2021-22 season. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of the Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fifth season include an exploration of American Sounds, with works by Leonard Bernstein, Christopher Rouse, Mason Bates, and Christopher Theofanidis; a Music of Paris Festival; and the continuation of a focus on opera and sacred vocal works, with Bartók’s Bluebeard’s Castle and Mozart’s C-minor Mass.

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He was also principal guest conductor of the London Philharmonic from 2008 to 2014. 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 Philadelphia Orchestra returned to recording with two CDs on that label. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique. In Yannick’s inaugural season The Philadelphia Orchestra returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, Musical America’s 2016 Artist of the Year, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music in Philadelphia, and Westminster Choir College of Rider University in Princeton, NJ.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 27 Soloist

Elias French-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia, and the United States. He has performed complete Beethoven sonata cycles at London’s Wigmore Hall and Berlin’s Philharmonie. As both pianist and conductor with the Montreal Symphony, he has performed all five Beethoven concertos and all of the Mozart concertos. He has won widespread acclaim for his interpretation of pieces by Ravel and Chopin, playing the complete works of Ravel in London and Montreal for the BBC and CBC. He is renowned all over the world for his performances of the complete Chopin Études. He has appeared with the world’s leading conductors, including Riccardo Chailly, Lorin Maazel, Jaap Van Zweden, Kurt Masur, Seiji Ozawa, Kurt Sanderling, Neeme Järvi, Andrew Davis, Mark Elder, Wolfgang Sawallisch, and Charles Dutoit. He made his Philadelphia Orchestra debut in 1988 at the Mann Center and his subscription debut in 1993, both with Mr. Dutoit. Mr. Lortie celebrated the bicentennial of Liszt’s birth in 2011 by performing the complete Années de pèlerinage at international music festivals and, later, at Carnegie Hall. His Chandos recording of this monumental work was named one of the 10 best of 2012 by the New Yorker. He has made more than 30 recordings for Chandos, covering repertoire from Mozart to Stravinsky and also including the complete Beethoven sonatas. Recent recordings include Lutosławski’s Piano Concerto and Paganini Variations with Edward Gardner and the BBC Symphony; a disc of Liszt transcriptions; the complete concertos of Poulenc with Mr. Gardner and the BBC Philharmonic; and, with Helène Mercier, Rachmaninoff’s complete works for two pianos. Mr. Lortie made his debut with the Montreal Symphony at the age of 13; three years later his first appearance with the Toronto Symphony led to a historic tour of China and Japan. In 1992 he was named Officer of the Order of Canada and received both the Order of Quebec and an honorary doctorate from Universite Laval. He has lived in Berlin since 1997 and also has homes in Canada and Italy. In October 2016 he became the master in residence at the Queen Elisabeth Music Chapel in Brussels. 28 Framing the Program

The Philadelphia Orchestra’s Paris Festival continues with a Parallel Events program featuring two composers born abroad who moved 1830 Music to the City of Light to make a home and build a career. Chopin Berlioz Piano Concerto Symphonie Frédéric Chopin was born near Warsaw to a French father No. 1 fantastique and a Polish mother. His dazzling skills as pianist and Literature composer captivated audiences in his homeland, where as Tennyson a teenager he wrote both of his piano concertos. At age 21 Poems, Chiefly he moved to Paris, where he spent the rest of his relatively Lyrical short life. The Concerto No. 1 in E minor became his Art musical calling card, first in his native land, then in Vienna, Delacroix Germany, and finally in his new home. Liberty Guiding the People Some 80 years later Igor Stravinsky likewise moved to the History French capital from the Slavic east, in his case from St. Indian Removal Petersburg. In Paris the influence of French Impressionism, Act signed into particularly the music of Claude Debussy, merged with law Stravinsky’s Russian training and folkloric traditions. This found brilliant expression in the three revolutionary works 1911 Music he composed for Sergei Diaghilev’s Ballets Russes: The Stravinsky Strauss Firebird, Petrushka, and The Rite of Spring. Today we hear Petrushka Der Petrushka, about a puppet character who comes to life— Rosenkavalier with complicated consequences. Literature Wharton Ethan Frome Art Braque Man with a Guitar History Chinese Republic proclaimed 29 The Music Piano Concerto No. 1

In what turned out to be a successful bid to boost his professional career in his native Poland, the teenage Chopin did what had worked for Mozart, Beethoven, and many others before him: He decided to write pieces for piano and orchestra that he could play at public concerts. In this way he would display his gifts as both instrumentalist and composer, and prove that he was more than simply a pianist. By this time Chopin had already written dozens of solo Frédéric Chopin keyboard pieces, but they were generally aimed for Born in Żelazowa Wola domestic consumption, not for concerts where audiences (near Warsaw), March 1, expected grander orchestral and vocal fare, usually 1810 presented in a pleasing mixed variety. In fact, at the Died in Paris, October 17, premiere of the Concerto we hear today, an aria and 1849 chorus were performed in between the first and second of its three movements, a not uncommon practice at the time. In addition to the two concertos Chopin wrote in 1829-30, he produced other somewhat less familiar works for piano with orchestra, including Variations on Mozart’s “Là ci darem la mano,” a Grand Fantasy on Polish Airs, and Krakowiak. The Mozart Variations won Robert Schumann’s enthusiastic support in a famous review that stated: “Hats off, Gentleman, a genius!” Two Youthful Concertos Due to the order of their eventual publication, the chronology of Chopin’s E-minor and F-minor concertos is actually reversed, although in any case both were written within the space of less than a year. (The numbering of Beethoven’s first two piano concertos is similarly switched.) Chopin began composing the “Second” Concerto in F minor, Op. 21, in the fall of 1829, upon returning from triumphant appearances in Vienna, and gave its premiere at the National Theater in Warsaw on March 17, 1830. The immediate success the work enjoyed—as well as acclaim for Chopin’s playing—led to a repeat performance five days later and prompted the composer to start writing the Concerto in E minor, Op. 11. By the end of the summer the new concerto was finished and ready for its premiere at the same venue in October. The concert proved to be Chopin’s farewell to his native Poland; he never played there again, although he had no 30

way of knowing that at the time. He again scored a great success, as he described in a letter the next day: “I did not have the slightest trace of stage fright and I played as if I were alone. Everything went well. The hall was full. The first piece was the symphony by Görner. Then came yours truly with the Allegro in E minor [the first movement]; on the Streicher grand piano it seemed to play itself. Ear- splitting ‘Bravos.’” After the aria with chorus came the last two movements of the Concerto. Three weeks later Chopin left Poland on his way to Vienna, where he performed the E-minor Concerto, before eventually settling in Paris, the city in which he would spend the rest of his life. He played the E-minor Concerto in Breslau, Vienna, Munich, and on various occasions in France in the 1830s. Critical Debates Loved from the start by pianists and audiences, both of Chopin’s concertos have suffered some in critical assessment. The charge is that these are early works by a composer not yet fully comfortable handling large-scale forms or orchestration. Hector Berlioz’s reaction was typical: “In Chopin all the interest is concentrated on the piano part; the orchestra in his piano concertos is merely a cold, almost superfluous accompaniment.” While there is some justice to this criticism (the orchestra tends to do rather little when the piano is present and otherwise asserts itself mainly in loud tutti passages), it may not be entirely appropriate to judge Chopin either by the standards of Beethoven’s earlier symphonic concertos or by the later Romantic essays of his great contemporaries, such as Schumann and Liszt. Orchestral parts had to be fairly simple to accommodate traveling virtuosos who often had little (or even no) rehearsal with local orchestras. Chopin’s model and competition in 1829- 30 would have been the virtuoso fare of pianist/composers like Friedrich Kalkbrenner (to whom Chopin dedicated the E-minor Concerto), Ignaz Moscheles, and Johann Nepomuk Hummel, figures who are barely remembered today and whose concertos Chopin himself played. A Closer Look The opening Allegro maestoso uses the so-called double exposition typical of Classical concertos in which the orchestra first presents the thematic material and the soloist waits some time before re-presenting it. In fact Chopin has the soloist wait such a long time that conductors occasionally abridge the orchestral section. (This rarely happens any longer, but if 31

Chopin composed his E-minor one listens to the 1937 recording by Arthur Rubinstein, for Concerto in 1830. example, the opening tutti is cut from about four minutes to Ossip Gabrilowitsch was the just one.) Chopin’s coloratura keyboard writing, reminiscent soloist in The Philadelphia in some respects to the vocal style of Vincenzo Bellini’s Orchestra’s first performance of operas, is already apparent in this movement. the piece, in December 1902; Of the second movement (Larghetto), Chopin wrote to Fritz Scheel conducted. The his friend Tytus Woyciechowski that “it was not meant to work’s most recent appearance on subscription was in create a powerful effect; it is rather a Romance, calm and November 2007, with Marc- melancholy, giving the impression of someone looking André Hamelin as soloist and gently toward a spot that calls to mind a thousand happy Jiří Bělohlávek on the podium. memories. It is a kind of reverie in the moonlight on a Many of the great pianists have beautiful spring evening. Hence the accompaniment is performed the Concerto with muted; that is, the violins are muffled by a sort of comb the Philadelphians, including that sits over the strings and gives them a nasal and Josef Hofmann, Arthur silvery tone. I wonder if that will have a good effect. Well, Rubinstein, Claudio Arrau, Emil time will tell.” Gilels, Van Cliburn, Garrick Ohlsson, Murray Perahia, and The finale (Vivace), as in the F-minor Concerto, is Emanuel Ax. a Polish dance, in this case the krakowiak. During rehearsals, Chopin remarked, “The Rondo, I think, will go The Philadelphia Orchestra down well with everyone.” And so it does. has recorded Chopin’s First Piano Concerto five times, —Christopher H. Gibbs all with Eugene Ormandy: for CBS in 1952 with György Sándor, in 1961 with Alexander Brailowsky, and in 1964 with Gilels, and for RCA in 1969 with Cliburn and in 1980 with Ax. The score calls for solo piano, two flutes, two clarinets, two oboes, two bassoons, four horns, two trumpets, trombone, timpani, and strings. The First Concerto runs approximately 40 minutes in performance.

33 The Music Petrushka

After the success in 1910 of his first ballet,Zhar-ptitsa (known in French as L’Oiseau de feu and in English as The Firebird), Stravinsky began to plan his next work, which was to be a ballet taking as its subject the fertility rites of pagan Russia. But he realized that composing such a score would be a “long and difficult task” and so decided “to refresh myself by composing an orchestral piece in which the piano would play the most important part—a sort of Konzertstück.” (Of course, Stravinsky was right: His sketches for Vesna svyashchennaya—better known Igor Stravinsky as The Rite of Spring—testify to the almost superhuman Born in Lomonosov, concentration that the composer had to summon within Russia, June 17, 1882 himself in order to complete this transcendent score Died in New York City, April 6, 1971 in 1913.) Searching for a title for his concert piece, whose subject the composer described as a “droll, ugly, sentimental, shifting personage who was always in an explosion of revolt,” Stravinsky suddenly hit upon a solution: “One day I leapt for joy. I had indeed found my title—Petrushka, the immortal and unhappy hero of every fair in all countries.” From Orchestra Piece to Ballet Score Who, or what, exactly, is this Petrushka? A venerable comic figure who is called Pulcinella in Italy and Punch in England, a figure of indignation and violence, a trickster whose tricks all too often turn back upon himself. In Stravinsky’s native city of St. Petersburg, the petrushka shows in their colorful booths were played at the fairs put on during Shrovetide, that midwinter period of uninhibited carnival that occurred a week before the austerities of the penitential season of Lent. As music historian Richard Taruskin writes, “The earliest account of what is arguably a petrushka play is found in a book published in 1636 by Adam Olearius, the Dutch Ambassador to the Russian court, who gives both a written description and a drawing of a puppet performance.” By 1830, the period in which Stravinsky’s ballet is set, the influence of Italiancommedia dell’arte had considerably modified the ancientpetrushka plays. Once Stravinsky sharpened the focus of his invention by embracing the figure of Petrushka, he quickly completed two sections of the score, including the scintillating Russian Dance. Sergei Diaghilev, the great impresario who 34

founded the Ballets Russes and who had commissioned The Firebird, visited Stravinsky in Switzerland to inquire after the progress of what would become The Rite of Spring. Instead of sketches for that score, however, Stravinsky played to an entranced Diaghilev the completed sections of his Konzertstück about Petrushka. Diaghilev grasped instantly the potential of this music for ballet, forcefully persuading the composer to transform it into a dramatic work. Diaghilev then brought Stravinsky together with Alexander Benois, the artist and set designer, and the choreographer of The Firebird, Mikhail Fokine. The eldest of this group, Benois remembered well the Shrovetide fairs of his childhood in St. Petersburg and sketched colorful sets and costumes as well as helped to devise its scenario. Fokine’s innovative choreography violated the traditional suavity of ballet by creating jerky, marionette-like movements for the incandescent Vaslav Nijinsky, the star dancer of the Ballets Russes, who created the title role. The coruscating brilliance of Stravinsky’s orchestration is unparalleled. Given the strong and conflicting aesthetic opinions of these three collaborators, it is hardly surprising that the scenario they wrote for Petrushka contains a healthy dollop of ambiguity: how, for example, can a puppet have a ghost that, like Till Eulenspiegel in Richard Strauss’s tone poem, returns after death to have the last word? Far from detracting from the dramatic impact of the ballet, however, this ambiguity allows the audience to enter imaginatively into the action themselves. The first tableau seems to be a realistic recreation of a Shrovetide fair in St. Petersburg, but this expectation is transmogrified once the sinister Magician enters and commands three puppets to dance. At this point the audience is ushered into the fantastic realm of Russian symbolism; as Andrew Wachtel writes, “by combining the realistic and fantastic worlds in the finale, the authors called the very distinction between the stage world and the real world into question.” Audiences were enchanted rather than disconcerted: Petrushka was an immense success at its Paris premiere by the Ballets Russes on June 13, 1911, in the Théâtre du Châtelet. Since then Petrushka has never left the ballet repertory. A Closer Look The action of Petrushka unfolds over four tableaux. The curtain rises upon a set that evokes Admiralty Square in St. Petersburg, replete with a puppet theater with closed curtain, a carousel, and a boisterous 35

Petrushka was composed crowd, more than a few of whom are inebriated. The from 1910 to 1911 and the revelry grows wilder until the Magician appears, playing orchestration was revised in the flute by which he animates his three puppets: a 1947. resplendent Moor, a pretty Ballerina, and the awkward Stravinsky himself conducted Petrushka, who is clearly in love with the indifferent the first Philadelphia Orchestra Ballerina, who prefers the virile Moor. performances of the work, In the Second Tableau, set in Petrushka’s room, Stravinsky in January 1925. Christian Ma˘celaru led the most recent illustrates the duality of his protagonist’s frustrated subscription performances in nature by a piercing harmonic amalgam that combines December 2013, in the original two unrelated chords—(F-sharp major and C major)— 1911 version. the famous “Petrushka Chord.” The Ballerina enters, but Petrushka’s anguished gyrations frighten her and she The Philadelphians have flees. recorded Petrushka four times: in 1937 for RCA with Leopold The Third Tableau takes place in the Moor’s voluptuously Stokowski; in 1954 and Oriental room. The Magician places the Ballerina close to 1964 for CBS with Eugene the Moor, who commences to seduce her: A distraught Ormandy; and in 1981 for EMI Petrushka discovers them and makes a fuss. Furious with Riccardo Muti. at this intrusion, the Moor draws a scimitar and chases Stravinsky scored the piece Petrushka out of the room. for four flutes (III doubling The Fourth, and final, Tableau returns to Admiralty Square, piccolo I, IV doubling piccolo where the celebration continues with a series of dances II), four oboes (IV doubling English horn), four clarinets interrupted by a trained bear. To the dismay of the crowd, (IV doubling bass clarinet), the two puppets suddenly enter into their midst: The Moor four bassoons (IV doubling kills Petrushka with a single stroke of his blade. Night contrabassoon), four horns, falls, the revelers are dispersed, and the Magician, carrying two trumpets, two cornets, the limp body of his puppet, is terrified to see the angry three trombones, tuba, timpani, ghost of Petrushka, who thumbs his nose at his erstwhile percussion (bass drum, tormentor to the mocking sound of “his” chord—and at the cymbals, glockenspiel, snare audience as well. drum, tam-tam, tambourine, triangle, xylophone), two harps, —Byron Adams piano, celesta (four-hands), and strings. Petrushka runs approximately 35 minutes in performance.

GENERAL TERMS simultaneously sounded voices with an instrumental Aria: An accompanied musical notes to produce accompaniment, and solo song (often in ternary chords and chord are similar to operas but form), usually in an opera progressions without costumes, scenery, or oratorio Konzertstück: A short and actions. Cadence: The conclusion concerto in one movement Romance: Originally to a phrase, movement, and free form a ballad, or popular tale or piece based on a Krakowiak: Polish folk in verse; now a title for recognizable melodic dance, from the Kraków epico-lyrical songs or of formula, harmonic region, characterized by short instrumental pieces progression, or dissonance syncopated rhythms in a of sentimental or romantic resolution fast duple meter nature, and without special Cadenza: A passage or Legato: Smooth, even, form section in a style of brilliant without any break between Rondo: A form frequently improvisation, usually notes used in symphonies and inserted near the end of a Meter: The symmetrical concertos for the final movement or composition grouping of musical movement. It consists Chord: The simultaneous rhythms of a main section that sounding of three or more Op.: Abbreviation for opus, alternates with a variety of tones a term used to indicate contrasting sections (A-B- Coloratura: Florid the chronological position A-C-A etc.). figuration or ornamentation, of a composition within a Syncopation: A shift of particularly in vocal music composer’s output. Opus rhythmic emphasis off the Dissonance: A numbers are not always beat combination of two or more reliable because they are Timbre: Tone color or tone tones requiring resolution often applied in the order quality Fantasia: A composition of publication rather than Tutti: All; full orchestra free in form and more or composition. less fantastic in character Oratorio: Large-scale THE SPEED OF MUSIC Fantasy: See fantasia dramatic composition (Tempo) Harmonic: Pertaining to originating in the 16th Allegro: Bright, fast chords and to the theory century with text usually Larghetto: A slow tempo and practice of harmony based on religious subjects. Maestoso: Majestic Harmony: The Oratorios are performed Vivace: Lively combination of by choruses and solo 38 Tickets & Patron Services

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