Season 2012-2013

Home , Aspects of Love, Joshua Bell, Norman Carol

27 Season 2012-2013

Thursday, October 25, at 8:00 The Philadelphia Orchestra Friday, October 26, at 2:00 Saturday, October 27, at 8:00 Yannick Nézet-Séguin Conductor Joshua Bell Violin

Frank Concertino Cusqueño World premiere—Commissioned by The Philadelphia Orchestra

Bernstein Serenade (after Plato’s Symposium) for Solo Violin, Strings, Harp, and Percussion I. Phaedrus: Pausanias (Lento—Allegro marcato) II. Aristophanes (Allegretto) III. Eryximachus (Presto) IV. Agathon (Adagio) V. Socrates: Alcibiades (Molto tenuto—Allegro molto vivace)

Intermission

Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso—Poco meno presto—Tempo I IV. Allegro energico e passionato—Più allegro

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

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

29 Soloist

Lisa-Marie Mazzucco Violinist Joshua Bell was just 14 years old when he made his highly acclaimed Philadelphia Orchestra debut, performing Mozart’s Violin Concerto No. 3 at the Academy of Music under the baton of Riccardo Muti and launching his career into a permanent spotlight. Since that performance in 1982 Mr. Bell has appeared with the Orchestra 27 times, most recently in the summer of 2012 at the Bravo! Vail Valley Music Festival and the Saratoga Performing Arts Center. Other recent concert highlights include the premiere, also this past summer, of Edgar Meyer’s new concerto for violin and double bass, which Mr. Bell performed with Mr. Meyer at Tanglewood, Aspen, and the Hollywood Bowl. Mr. Bell began the 2012-13 season with the San Francisco Symphony’s Opening Night Gala. Often referred to as the “poet of the violin,” Mr. Bell is one of the world’s most celebrated violinists. He is an Avery Fisher Prize recipient and Musical America’s 2010 Instrumentalist of the Year. Recently appointed music director of the Academy of St. Martin in the Fields, he is the first person to hold this title since Neville Marriner formed the orchestra in 1958. Mr. Bell currently records exclusively for Sony Classical. He has recorded more than 40 CDs and is a multiple Grammy Award winner. He performed on the soundtrack for the film The Red Violin, which won the Oscar for Best Original Score. His television appearances have ranged from Great Performances on PBS to Sesame Street. In 2007 he made headlines when he performed, incognito, in a Washington, D.C., subway station for a Pulitzer Prize-winning Washington Post story examining art and context. Born in Bloomington, IN, Mr. Bell received his first violin at age four after his parents noticed him plucking tunes with rubber bands he had stretched around the handles of his dresser drawers. At 12 he began studying with renowned violinist Josef Gingold at Indiana University and two years later made his debut with the Philadelphians. Mr. Bell’s Carnegie Hall debut, an Avery Fisher Career Grant, and a notable recording contract soon followed. His career has now spanned over 30 years as a soloist, chamber musician, recording artist, and conductor. Mr. Bell performs on the 1713 Huberman Stradivarius and uses a late-18th-century French bow by François Tourte. For more information visit www.joshuabell.com. 30 Framing the Program

The Philadelphia Orchestra commissioned Gabriela Lena Parallel Events Frank’s Concertino Cusqueño, which receives its world 1885 Music premiere on these concerts, to honor Yannick Nézet- Brahms Franck Séguin as the eighth music director of the ensemble. In Symphony Symphonic this composition the California-born and bred Frank, the No. 4 Variations daughter of a Peruvian immigrant, imaginatively blends Literature her South American heritage with a love for the music of Haggard the 20th-century English composer Benjamin Britten. The King Solomon’s principal theme of the one-movement work is spun from Mines a religious melody (“Ccollanan María”) and a simple motif Art Van Gogh that opens Britten’s Violin Concerto. The Potato Looking to the past in such a way had earlier inspired Eaters Johannes Brahms when he composed his Fourth Symphony, History which concludes today’s concert. He based the last Galton proves movement of the work on a recurring theme drawn from individuality of J.S. Bach’s Cantata No. 150. Brahms’s final symphony fingerprints proved a masterful culmination to his symphonic career, a 1954 Music work that honors the past all the while forging compositional Bernstein Stravinsky innovations that inspired the next generation of composers. Serenade In Memoriam Between these compositions by Frank and Brahms we Dylan Thomas hear Leonard Bernstein’s Serenade, a violin concerto in Literature all but name after Plato’s Symposium. The five-movement Golding work offers reflections on the nature of love as amicably Lord of the Flies Art argued among a group of philosophers in a long night of De Kooning passionate discussion. Marilyn Monroe History Segregation ruled illegal in U.S. 31 The Music Concertino Cusqueño

Sabina Frank Gabriela Lena Frank is a brilliant, genial composer whose beautiful music appeals to a wide audience. She was born in Berkeley, California, in 1972. Her father, a Mark Twain scholar, instilled in her a love of literature and the vernacular, while her mother, an artist, surrounded their precocious daughter with a collection of fascinating visual stimuli. At age three she began to play the piano, picking out notes from Peruvian folk music heard on her parents’ stereo. Like Clara Schumann, Frank did not begin to speak until she was five or six years old. She Gabriela Lena Frank soon embarked on a journey to craft an aural response to Born in Berkeley, California, her rich cultural Latin American, Lithuanian, and Chinese September, 26, 1972 heritage, even adding folk-music tunes to traditional Now living there Classical sonatinas. During her last year in high school, Frank came to the decision to devote her life to composition, following her passion to Rice University, where she received a firm foundation in what she calls “old school” music-making. Subsequently, at the University of Michigan under the tutelage of William Bolcom, among many others, she worked to make “old school” music new by nurturing her predilection for folk genres and enriching her music with allusions to literary and visual sources. A Prolific and Award-winning Composer Frank has composed in a wide range of musical genres, from string quartets to piano works to pieces for orchestra. She bestows on each a poetic title, which she calls “the hardest part.” Like Gustav Mahler and others preceding her, she debates the amount of information she wishes her audience to know about a piece before it is heard. She has won numerous awards, including a Latin Grammy for Best Classical Contemporary Composition for Inca Dances (2009), a piece for guitar and string quartet, and a prestigious John Simon Guggenheim Memorial Foundation Fellowship. Frank’s music has been premiered by many major orchestras: the Indiana Symphony, Peregrinos (2009); the Houston Symphony, La Llorona: Tone Poem for Viola and Orchestra (2007); and the Utah Symphony, Three Latin American Dances for Orchestra (2004). Numerous 32

ensembles have performed her music, among them the Saint Paul Chamber Orchestra featuring Dawn Upshaw, which premiered La Centinela y la Paloma (The Keeper and the Dove, 2011); the ALIAS Chamber Ensemble, which played Hilos (2010); and Ballet Hispanico, which introduced her Puntos Suspensivos (2010). She has composed Ritmos Anchinos (2006) for the Silk Road Project, under the direction of cellist Yo-Yo Ma, and Inkarrí (2005) for the venerable Kronos Quartet. The Naxos label has issued a recording of Hilos with the ALIAS Ensemble. Music that “Speaks to a Lot of People” Frank possesses a unique ability to capture sound in its original environment, as one might recognize the wind through chimes. While traveling in South America she gathered cultural treasures that deeply inform her music. Visuals can “enhance composition and performance,” she says, and her music is a loving scrapbook of Latin rhythms, syncopation, displaced accents, and colorful instrumentation. Like Leonard Bernstein, whose music she has quoted in her compositions, Frank hopes that her music “speaks to a lot of people.” The composer explains that her 12-minute Concertino Cusqueño, commissioned by The Philadelphia Orchestra and premiered at these concerts for the arrival of Yannick Nézet-Séguin as music director, exudes a festive sonority and was written to “sound classical,” have clear form, and challenge the orchestra and audience she so admires. Of the work, Nézet-Séguin remarks that it borrows the music of Benjamin Britten in much the same way that Brahms’s Fourth Symphony, also on the program tonight, quotes from J.S. Bach’s Cantata No. 150. A Closer Look: Frank describes her piece: Concertino Cusqueño, written in celebration of the fine players of The Philadelphia Orchestra on the eve of Yannick Nézet-Ségun’s inaugural season as music director, finds inspiration in two unlikely bedfellows: Peruvian culture and British composer Benjamin Britten. As a daughter of a Peruvian immigrant, I’ve long been fascinated by my multicultural heritage and have been blessed to find Western classical music to be a hospitable playpen for my wayward explorations. In doing so, I’ve looked to composers such as Alberto Ginastera from Argentina, Béla Bartók from Hungary, Chou Wen Chung from China, and my own teacher, William Bolcom, from the U.S. as heroes: To me, these gentlemen are the very 33

Concertino Cusqueño was definition of “cultural witnesses,” as they illuminate composed in 2012. new connections between seemingly disparate These are the world premiere idioms of every hue imaginable. performances of the piece, To this list, I add Britten, who I admire inordinately. which was commissioned by I wish I could have met him, worked up the nerve The Philadelphia Orchestra to show him my own music, invited him to travel in honor of Yannick Nézet- to beautiful Peru with me … I would have shared Séguin’s arrival as music director. chicha morada (purple corn drink) with him, taken him to a zampoña panpipe instrument-making shop, Ms. Frank scored the work for set him loose in a mercado (market) streaming with two flutes (II doubling piccolo), immigrant chinos and the native indio descendants two oboes, two clarinets (II of the Incas. I would have loved showing him the doubling bass clarinet), two port towns exporting anchoveta (anchovies), the bassoons, two horns, two serranos (highlands) exporting potatoes, and the trumpets, timpani, percussion (marimbas, snare drum, selvas (jungles) exporting sugar. And I know Britten suspended cymbals, triangles), would have been fascinated by the rich mythology harp, celesta, and strings. enervating the literature and music of this small Andean nation, so deeply similar to the plots of his Concertino Cusqueño runs many operas, among other works. approximately 12 minutes in performance. Concertino Cusqueño welds together two brief musical ideas: the first few notes of a religious tune, “Ccollanan María,” from Cusco (the original capital of the Inca empire Tawantinsuyu, and a major tourist draw today) with the simple timpani motif from the opening bars of the first movement of Britten’s elegant Violin Concerto. I am able to spin an entire one-movement work from these two ideas, designating a prominent role to the four string principal players (with a healthy nod to the piccolo/bass clarinet duo and, yes, the timpanist). In this way, while imagining Britten in Cusco, I can also indulge my own enjoyment of personalizing the symphonic sound by allowing individuals from the ensemble to shine. It is with further joy that I dedicate this piece to my nephew, Alexander Michael Frank, born in Philadelphia on February 25, 2011. —Eleonora M. Beck 34 The Music Serenade (after Plato’s Symposium)

One of the most versatile and original musicians that America has produced, Leonard Bernstein made his career not just as conductor but as pianist, educator, and not least, composer. It was the very eclecticism of his gifts, partly, that distinguished him. “No musician of the 20th century has ranged so wide,” writes one biographer. Bernstein’s achievement as composer reflects this breadth. His three great theater works (West Side Story, On the Town, Candide) brought a new level of musical sophistication to Broadway, while his more serious scores Leonard Bernstein such as the three symphonies and the Serenade (after Born in Lawrence, Plato’s Symposium) for violin and orchestra infused Massachusetts, August 25, traditional structures with popularizing elements. 1918 Died in New York City, A Fusion of Old and New The eldest child of a October 14, 1990 Ukrainian immigrant who wanted his son to assume the family’s beauty-supply business, Bernstein initially broke ground as conductor, becoming at age 40 the first American-born music director of the New York Philharmonic. The dynamism of his interpretations of the central repertory with that orchestra grew partly from his synthesis of the Old-World traditions he learned from the conductor Serge Koussevitzky with the verve and energy he assimilated from jazz and Tin Pan Alley tunes. And it was this same fusion of old and new that made his compositions unique. He asserted his intellectual independence early on, though, by attending Harvard instead of seeking the usual conservatory training. He studied with three brahmans of old-school tradition: the theorist A. Tillman Merritt, the composer Edward Burlingame Hill, and the contrapuntalist Walter Piston. The last of these, who was also one of America’s most significant composers, left an indelible mark upon Bernstein’s musical outlook; the rigors of Piston’s methods of strict counterpoint permeate the young composer’s works, even those for the vernacular stage. Later he studied at the Curtis Institute and at Tanglewood (with Koussevitzky), and that instruction left deep imprints of European tradition upon his sensibilities. 35

Theater Works and “Serious” Pieces The decade of the ’50s was an extraordinarily creative time for Bernstein, during which he was building his international reputation as conductor and pianist, serving as music director of the Berkshire Music Center (as Koussevitzky’s successor), and composing works like Trouble in Tahiti, Wonderful Town, Candide, and West Side Story. This much is known. Less well known is the fact that Bernstein was also composing “serious” works during these years, including symphonies, incidental music, and chamber works. One of the best of these—a work that the composer himself valued highly until his last days—was the Serenade for solo violin and orchestra. Written in 1954 on commission from the Koussevitzky Foundation, and dedicated “to the beloved memory of Serge and Natalie Koussevitzky,” the Serenade is a reflection on various aspects of love, as expressed in Plato’s Symposium. Since its first performance by Isaac Stern in Venice in September 1954, with the composer conducting the Israel Philharmonic, the Serenade has become one of the most frequently performed American works for solo violin and orchestra. A Closer Look Like many composers of program music, Bernstein seems to want simultaneously to deny and to acknowledge the programmatic nature of his piece. After stating “there is no literal program for the Serenade,” he proceeds to map out a rather specific literary framework, in a note reproduced at the front of the printed score (probably written by Jack Gottlieb): There is no literal program for the Serenade, despite the fact that it resulted from a re-reading of Plato’s charming dialogue, The Symposium. The music, like the dialogue, is a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at the banquet. The “relatedness” of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements in the preceding one. For the benefit of those interested in literary allusion, I might suggest the following points as guideposts: I. Phaedrus; Pausanias (Lento; Allegro). Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of lover and beloved. This is expressed in a classical 36

Bernstein’s Serenade was sonata-allegro, based on the material of the opening composed in 1954. fugato. Eugene Ormandy conducted II. Aristophanes (Allegretto). Aristophanes does not the first Philadelphia Orchestra play the role of the clown in this dialogue, but instead performances of the work, in that of the bedtime story-teller, invoking the fairy-tale May 1973, with Concertmaster mythology of love. Norman Carol as soloist. Most recently Co-Concertmaster III. Eryximachus (Presto). The physician speaks of William de Pasquale performed bodily harmony as a scientific model for the workings the piece in January/February of love-patterns. This is an extremely short fugato 2000, with Wolfgang scherzo, born of a blend of mystery and humor. Sawallisch on the podium. IV. Agathon (Adagio). Perhaps the most moving The score calls for solo speech of the dialogue, Agathon’s panegyric violin and an accompanying embraces all aspects of love’s powers, charms, and ensemble of timpani, functions. This movement is a simple three-part song. percussion (bass drum, chimes, Chinese blocks, V. Socrates; Alcibiades (Molto tenuto; Allegro glockenspiel, snare drum, molto vivace). Socrates describes his visit to the suspended cymbal, seer Diotima, quoting her speech on the demonology tambourine, tenor drum, of love. This is a slow introduction of greater triangle, xylophone), harp, and weight than any of the preceding movements; and five-part strings. serves as a highly developed reprise of the middle Performance time is section of the Agathon movement, thus suggesting approximately 30 minutes. a hidden sonata-form. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended Rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party-music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party. “What he has done above all,” wrote the critic Joan Peyser, by way of summing up Bernstein’s career, “is proclaim that an American can be a remarkable and exciting musician.” The composer’s sheer exuberance is no less apparent in the Serenade than in the arching melodies of his better-known Broadway scores. Bernstein never shied away from allowing the two worlds to intermingle: Just as aspects of Piston’s formalism pervade West Side Story, popular elements appear in scores such as the Serenade. In the end, programmatic aspects are indeed evident as well—such as the use of fugue to represent “bodily harmony,” or the classical (bipartite) sonata form to reflect the “duality of lover and beloved.” —Paul J. Horsley 37 The Music Symphony No. 4

Haydn composed over 100 symphonies, Mozart some 50, but the most celebrated 19th-century composers dramatically scaled back on such quantity. Beethoven’s formidable nine upped the stakes. The Romantic celebration of originality meant that each new work now carried extraordinary weight. While Mozart had written his first symphony at the age of eight, Beethoven held off until age 29. Many subsequent 19th-century composers waited until long into their careers to produce a symphony.

Johannes Brahms After Robert Schumann in 1853 more or less discovered Born in Hamburg, May 7, the 20-year-old Brahms, writing a glowing review praising 1833 him as the new musical messiah, all eyes and ears were Died in Vienna, April 3, on the young composer. Brahms felt under phenomenal 1897 pressure to produce an impressive first symphony. He made various false starts and it ultimately took him until age 43 to complete the Symphony No. 1 in C minor. Following the premiere of that glorious work in 1876 the celebrated conductor Hans von Bülow hailed it as “Beethoven’s Tenth.” Brahms’s next symphony, a quite different work in a sunny D major, came quickly the next year. The Symphony No. 3 in F major dates from 1883 and he began the Fourth the following summer. A Final Symphony Brahms composed the Symphony over the course of two summers in the resort of Mürzzuschlag, not far southwest from Vienna. From the start he had the idea of ending the work with a passacaglia, a Baroque procedure in which a musical theme is constantly repeated; specifically he wanted to use as its basis a passage from Johann Sebastian Bach’s Cantata No. 150. He composed the first two movements in 1884 and then the fourth and third (it seems in that order) the next summer. Brahms was acutely aware that the Fourth Symphony was different from his earlier efforts. With his typical self-deprecating humor, he compared the work to the sour cherries found in the Alpine region in which he was composing. He wrote to Bülow, with whose formidable court orchestra in Meiningen he often performed, that “a few entr’actes are lying here—what [taken] together is usually called a symphony.” But Brahms worried “about 38

whether it will reach a wider public! That is to say, I fear that it tastes of the native climate—the cherries here do not get sweet, you would not eat them!” Initial Reactions As was often his practice, Brahms sought the opinion of trusted colleagues to whom he sent the score and eventually played through the piece with composer Ignaz Brüll in a version for two pianos. In early October 1885 he assembled a group of friends, among them the powerful critic Eduard Hanslick, conductor Hans Richter, and his future biographer Max Kalbeck. After the first movement concluded there was no reaction— Hanslick said the experience was like being beaten “by two terribly clever people,” which dissipated some of the tension. The next day Kalbeck suggested scrapping the third movement entirely and publishing the finale as a separate piece. Despite some polite praise Brahms realized that most of his friends were lukewarm on the piece; he may well have felt that until it was played by an orchestra its true effect could not really be judged. Bülow put the Meiningen ensemble at the composer’s disposal: “We are yours to command.” Brahms could test out the piece, see what he might want to change, and then present the premiere. The event on October 25, 1885, turned out to be a triumph— each movement received enthusiastic applause and the audience attempted, unsuccessfully, to have the brief third-movement scherzo repeated. Over the next month the new work was presented on tour in various German and Dutch cities. The first performance in Brahms’s adopted hometown of Vienna took place in January 1886 with Richter conducting the Vienna Philharmonic. Hanslick was now enthusiastic and compared the work to a “dark well; the longer we look into it, the more brightly the stars shine back.” On the opposing side, Hugo Wolf, taking time off from composing great songs to write scathing reviews, lambasted the “musical impotence” of the Symphony and declared that “the art of composing without ideas has decidedly found in Brahms its worthiest representative.” Another notable Viennese performance came a decade later, again with Richter at the helm, in what proved to be Brahms’s last public appearance; he died of cancer a month later. As Florence May, an English pianist who wrote a biography of Brahms, recalled: A storm of applause broke out at the end of the first movement, not to be quieted until the composer, 39

Brahms composed his coming to the front of the “artists’” box in which Symphony No. 4 from 1884 he was seated, showed himself to the audience. to 1885. The demonstration was renewed after the second Brahms’s Fourth Symphony and the third movements, and an extraordinary has been a favorite piece scene followed the conclusion of the work. The of Philadelphia Orchestra applauding, shouting audience, its gaze riveted on conductors from its first the figure standing in the balcony, so familiar and yet appearance, in January 1902 in present aspect so strange, seemed unable to let with Fritz Scheel. The work him go. Tears ran down his cheeks as he stood there last appeared on subscription shrunken in form, with lined countenance, strained concerts in October 2010, expression, white hair hanging lank; and through the with Christoph von Dohnányi. audience there was a feeling as of a stifled sob, for The Orchestra has recorded the each knew that they were saying farewell. piece four times: in 1931 and A Closer Look Although Brahms thought of beginning 1933 with Leopold Stokowski for RCA; in 1944 with Eugene the first movement (Allegro non troppo) with a brief Ormandy for CBS; and in 1988 chordal introduction, he ultimately decided to cut these with Riccardo Muti for Philips. measures and launch directly into the opening theme, a series of limpid two-note sighs consisting of descending The Symphony is scored for thirds and ascending sixths that bind the movement two flutes (II doubling piccolo), together. The following Andante moderato opens with two oboes, two clarinets, two a noble horn theme that yields to a magnificently adorned bassoons, contrabassoon, four horns, two trumpets, three theme for the strings. The tempo picks up in the sparkling trombones, timpani, triangle, third movement (Allegro giocoso), a scherzo in sonata and strings. form that gives the triangle a workout. The work runs approximately As mentioned, Brahms initially had the idea of the final 40 minutes in performance. movement (Allegro energico e passionato) using the Baroque technique of a passacaglia or chaconne (the terms were often used interchangeably). He slightly altered a ground bass progression from the final chorus of Bach’s Cantata No. 150, “Nach Dir, Herr, verlanget mich” (For Thee, Lord, Do I Long) over which he built a mighty set of 30 variations and coda. (The cantata may be Bach’s earliest to survive, although some scholars have questioned its authenticity.) In 1877 Brahms had made a piano transcription for left hand alone of Bach’s D-minor Chaconne for solo violin, which provided a model here, as did the last movement of Beethoven’s “Eroica” Symphony. The variations, often presented in pairs, begin with a bold statement based on Bach’s theme. Despite a section in major, the movement gradually builds in its tragic force to a thrilling conclusion. —Christopher H. Gibbs

GENERAL TERMS composition. the musical ideas, which Coda: A concluding Passacaglia: In 19th- and are then “developed.” In section or passage added 20th-century music, a set the recapitulation, the in order to confirm the of ground-bass or ostinato exposition is repeated with impression of finality variations, usually of a modifications. Contrapuntal: See serious character Syncopation: A shift of counterpoint Rondo: A form frequently rhythmic emphasis off the Counterpoint: A used in symphonies and beat term that describes concertos for the final THE SPEED OF MUSIC the combination of movement. It consists (Tempo) simultaneously sounding of a main section that Adagio: Leisurely, slow musical lines alternates with a variety of Allegretto: A tempo Fugato: A passage or contrasting sections (A-B- between walking speed movement consisting of A-C-A etc.). and fast fugal imitations, but not Scherzo: Literally “a Allegro: Bright, fast worked out as a regular joke.” Usually the third Andante: Walking speed fugue movement of symphonies Energico: With vigor, Fugue: A piece of music and quartets that was powerfully in which a short melody introduced by Beethoven Giocoso: Humorous is stated by one voice to replace the minuet. The Lento: Slow and then imitated by the scherzo is followed by a Marcato: Accented, other voices in succession, gentler section called a trio, stressed reappearing throughout after which the scherzo is Passionato: Impassioned, the entire piece in all the repeated. Its characteristics very expressive voices at different places are a rapid tempo in triple Presto: Very fast Ground bass: A time, vigorous rhythm, and Tenuto: Held, sustained continually repeated bass humorous contrasts. Vivace: Lively phrase of 4 or 8 measures Sonata form: The form in Op.: Abbreviation for opus, which the first movements TEMPO MODIFIERS a term used to indicate (and sometimes others) Meno: Less the chronological position of symphonies are usually Molto: Very of a composition within a cast. The sections are Non troppo: Not too composer’s output. Opus exposition, development, much numbers are not always and recapitulation, the Più: More reliable because they are last sometimes followed Poco: Little, a bit often applied in the order by a coda. The exposition of publication rather than is the introduction of 41 November The Philadelphia Orchestra Jessica Griffin

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

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

Barber, Gershwin, and Copland November 1 & 3 8:00 PM November 2 2:00 PM Giancarlo Guerrero Conductor Kirill Gerstein Piano Barber Medea’s Dance of Vengeance Gershwin Piano Concerto in F Copland Appalachian Spring Sierra Sinfonía No. 4

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

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

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