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Home , Angela Meade, Sarah Connolly

27 Season 2014-2015

Thursday, October 30, at 8:00 The Philadelphia Orchestra Saturday, November 1, at 8:00 Yannick Nézet-Séguin Conductor Sunday, November 2, Angela Meade Soprano at 2:00 Sarah Connolly Mezzo-soprano Westminster Symphonic Choir Joe Miller Director

Mahler Symphony No. 2 in C minor (“Resurrection”) I. Allegro maestoso II. Andante moderato III. In ruhig fliessender Bewegung— IV. “Urlicht”— V. Finale

This program runs approximately 1 hour, 25 minutes, and will be performed without an intermission.

Please join us immediately following the November 2 concert for a Chamber Postlude, featuring members of The Philadelphia Orchestra.

L. Mozart/ from Frosch-Parthia in C major, for violin, cello, arr. Hori and bass (arranged for three cellos): I. Moderato IV. Polonaise III. Vivace

Beethoven/ Trio in C major, Op. 87, for two oboes and arr. Prell English horn (arranged for three cellos) I. Allegro II. Adagio cantabile III. Menuetto: Allegro molto. Scherzo IV. Finale: Presto

Hai-Ye Ni Cello John Koen Cello Alex Veltman Cello

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 228 Story Title The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra 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 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 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. 29 Soloist

Dario Acosta Soprano Angela Meade is the recipient of the 2012 Beverly Sills Artist Award from the and the 2011 Richard Tucker Award. She joined an elite group of singers when she made her professional operatic debut on the Met stage, substituting for an ill colleague in 2008 in the role of Elvira in Verdi’s . She had previously sung at the Met as one of the winners of the 2007 Metropolitan Opera National Council Auditions, a process documented in the filmThe Audition, released on DVD by Decca. Highlights of the 2014-15 season include Ms. Meade’s return to the Metropolitan Opera as Elvira in Ernani opposite Plácido Domingo, conducted by , and her acclaimed interpretation of the title role in Bellini’s for her debut in Seville. On the concert stage, she makes her debut with the New York Philharmonic under Alan Gilbert in Verdi’s Requiem, which she also performs in Oviedo, Spain. She travels with the orchestra of the di Torino under Gianandrea Noseda to the Edinburgh International Festival and the Stresa Festival in Italy for concert performances as Mathilde in Rossini’s William Tell, repeating the role for a North American tour that includes Chicago, Toronto, Ann Arbor, and Carnegie Hall. Additional projects include a studio recording of Donizetti’s Le Duc d’Albe with in London and a New York recital under the auspices of the George London Foundation. Ms. Meade made her Philadelphia Orchestra debut in June 2009 on a Best of Baroque concert and her subscription debut in October 2012 in Verdi’s Requiem, after being called again on short notice to replace an ailing colleague. Other highlights of recent seasons include Norma and Verdi’s at the Metropolitan Opera; debuts at the , Deutsche Oper Berlin, Frankfurt Opera, , Torino’s Teatro Regio, and Washington National Opera, where she was subsequently honored as “2013 Artist of the Year.” She has appeared in recital at the Kennedy Center and as soloist with numerous orchestras, performing with such conductors as , Charles Dutoit, and Yannick Nézet-Séguin. Ms. Meade is a native of Washington State and an alumnus of the Academy of Vocal Arts in Philadelphia. 30 Soloist

Peter Warren British mezzo-soprano Sarah Connolly studied piano and singing at the , of which she is now a Fellow. She was made Commander of the Most Excellent Order of the British Empire (CBE) in the 2010 New Year’s Honors List; was honored by the Incorporated Society of Musicians and presented with the Distinguished Musician Award in 2011; and received the Royal Philharmonic Society’s Singer Award in 2012. She is making her Philadelphia Orchestra debut with these current performances. Highlights of Ms. Connolly’s 2014-15 season include Berlioz’s The Death of Cleopatra with the City of Birmingham and BBC symphonies; Elgar’s The Dream of Gerontius with the Mozarteum Orchestra in Salzburg; and Rossini’s Stabat Mater with the Leipzig Gewandhaus Orchestra. She also gives recitals in London, New York, Amsterdam, Stuttgart, and Schwarzenberg, and she returns to in the role of Brangäne in Wagner’s Tristan and Isolde. Notable highlights on the operatic stage have included Fricka in Wagner’s and Die Walküre (Covent Garden); Dido in Purcell’s (); the Composer in Strauss’s (Metropolitan Opera); Phèdre in Rameau’s Hippolytus and Aricia (Paris Opera); the title role in Handel’s Julius Caesar and Brangäne (Glyndebourne Festival); and the title roles in Handel’s (Aix-en-Provence Festival), Handel’s (Gran Teatre del ), and Donizetti’s (Opera North). Much in demand in concert for the great lyric mezzo repertoire, Ms. Connolly has appeared at the Aldeburgh, Edinburgh, Lucerne, Salzburg, Tanglewood, and Three Choirs festivals and at the BBC Proms where, in 2009, she was a guest soloist at the Last Night. Recent appearances have also included the Boston Symphony with Colin Davis and Christoph von Dohnányi; La Scala Philharmonic with Daniel Harding; the Orchestre des Champs-Élysées with Philippe Herreweghe; the London Philharmonic with and Yannick Nézet- Séguin; the Hallé Orchestra with Mark Elder; and the Berlin Philharmonic with Simon Rattle. She is a prolific recording artist, twice nominated for a Grammy Award. 31 Chorus

Peter Borg Recognized as one of the world’s leading choral ensembles, the Westminster Symphonic Choir has recorded and performed with major orchestras under virtually every internationally acclaimed conductor of the past 80 years. It is composed of students at Westminster Choir College in Princeton, New Jersey. The ensemble made its Philadelphia Orchestra debut in 1934 with Leopold Stokowski in Bach’s Mass in B minor; in recent seasons the Choir has been featured in performances of Bach’s St. Matthew Passion, Verdi’s Requiem, and Beethoven’s Symphony No. 9 and Calm Sea and Prosperous Journey under the baton of Yannick Nézet-Séguin, who studied choral conducting at Westminster Choir College. The Choir was prepared for this performance by Joe Miller, Westminster’s director of choral activities, who is also conductor of the Westminster Choir and director of choral activities for the Spoleto Festival U.S.A. In addition to these performances of Mahler’s Symphony No. 2, the Choir’s 2014-15 season includes performances of Carmina burana with the New Jersey Symphony and Jacques Lacombe and Brahms’s Requiem with the Vienna Philharmonic and Daniele Gatti. Recent seasons have included performances of Berg’s Wozzeck with the London Philharmonia and Esa-Pekka Salonen; Villa- Lobos’s Choros No. 10 with the Simón Bolívar Symphony of Venezuela and Gustavo Dudamel; Beethoven’s Symphony No. 9 with the West-Eastern Divan Orchestra and Daniel Barenboim; and Rouse’s Requiem with the New York Philharmonic and Alan Gilbert. Westminster Choir College is a division of Rider University’s Westminster College of the Arts, which has campuses in Princeton and Lawrenceville. A professional college of music with a unique choral emphasis, Westminster prepares students at the undergraduate and graduate levels for careers in teaching, sacred music, and performance. The Choir returns to Verizon Hall in the spring of 2015 for Bernstein’s MASS and encore performances of Bach’s St. Matthew Passion with The Philadelphia Orchestra. 32 Framing the Program

Gustav Mahler, in his 20s and 30s, was a very busy man Parallel Events on the rise. He devoted most of his time to building a 1894 Music conducting career, chiefly of opera, and meteorically Mahler Debussy ascended from provincial theaters to the most prized Symphony Prelude to the position in Europe: music director of the Court Opera No. 2 Afternoon of a in Vienna. Such a demanding pace left little time for Faun composing, most of which he did during the summer Literature months. Mahler was conflicted about the kind of music Kipling to write and concentrated on songs and program The Jungle Book music. What we now know as his Symphony No. 1 was Art Degas premiered in Budapest as a “Symphonic Poem in Two Femme à sa Parts” and for some time he planned a sequel with toilette a massive single-movement piece called Todtenfeier History (Funeral Rite), which became the first movement of the Dreyfus affair Second Symphony we hear today. It is remarkable that the Second Symphony, composed over the span of nearly seven years (the longest gestation for any of Mahler’s works), should emerge as one of his most powerful and seemingly unified compositions. When he began writing it in 1888, at age 28, he had no idea where it would go, and the process of discovery—and self-discovery—addressed issues no less weighty than the meaning of life and death. How to conclude the Symphony posed a particular problem and the solution, when it came, proved a revelation: a choral finale setting a “Resurrection” poem by the 18th-century German writer Friedrich Gottlieb Klopstock, which Mahler adapted with his own words. What became known as the “Resurrection” Symphony is one of the longest, most ambitious, and profoundly moving orchestral works ever composed; its unusual impact and philosophical import has been recognized ever since Mahler conducted the premiere in Berlin in 1895. 33 The Music Symphony No. 2 (“Resurrection”)

List-making figures among the diverting games many music lovers enjoy playing: lists of unforgettable performances one has heard, of great recordings collected, of favorite composers, pieces, performers, and so forth. ’s Second Symphony often ranks high in such reckonings, especially when musicians and audiences remember transformative experiences with the work. Testimonials to the power of this particular symphony began with its premiere in Berlin under Mahler’s direction in Gustav Mahler December 1895. His sister Justine recalled: “The triumph Born in Kalischt (Kaliště), grew after every movement. Such enthusiasm is seen only Bohemia, July 7, 1860 once in a lifetime! Afterward I saw grown men weeping and Died in Vienna, May 18, 1911 youths falling all over one another.” The Swiss composer Ernest Bloch heard a performance a few years later and wrote: “For me the impression will never be effaced, nor will it be for anyone fortunate enough to have shared in it. The excited audience, transported and oblivious to its surroundings, gave the composer an enthusiastic ovation; it sensed the presence of an independent work, a work coming from the heart which spoke directly to their hearts.” The effect on the younger generation of composers in Vienna, Mahler’s greatest admirers, was profound. stated that he was “overwhelmed, completely overwhelmed” by the piece: “I remember distinctly that the first time I heard Mahler’s Second Symphony I was seized, especially in certain passages, with an excitement which expressed itself even physically in the violent throbbing of my heart.” said that his initial encounter with the piece was so intimate he felt the need to confess “infidelity” to his fiancée. “A Special Place among My Works” The Second Symphony seems to have held a special place for Mahler as well. He chose it as the first of his symphonies that he conducted in Vienna and also as his farewell there in 1907. It was likewise the first he presented in Munich, New York, and Paris. According to her memoirs, he told his confidant Natalie Bauer-Lechner: Never again will I attain such depths and heights, as Ulysses only once in his life returned from Tartarus. One can create only once or twice in a lifetime works 34

on such a great subject. Beethoven in his C minor [Fifth Symphony] and his Ninth, Goethe with Faust, Dante with the Divine Comedy, etc. Without putting myself on their level, or comparing myself to them, I am amazed that I was able to write this that summer in Steinbach! It was only thanks to the long interruption that had been forced on me, after which the waters gushed forth, as they do from any obstructed pipe. In many ways the overwhelming impact of the Second Symphony is hardly surprising. It projects a powerful narrative of Life over Death that resonates with philosophical issues Mahler explored throughout his career. It is a monumental piece written for an enormous orchestra and capped off by a magnificent chorus that is reserved until the end of the final movement. After completing the work Mahler remarked: “What effect I could have achieved if I had used the chorus and organ earlier, but I wanted to save them for the climax and would rather relinquish its effect in other places.” As a great conductor, especially of opera, Mahler certainly knew how to gauge effects; he was well aware of what was compelling dramatically and knew how to build to a shattering conclusion. Mahler came to expect the success of the work with audiences. After performing it in Paris the year before his death in 1911, he told a friend: “My Second Symphony occupies a special place among my works: If it is successful anywhere, this means nothing for my other works!” A Protracted Genesis And yet the effect, power, and success of the Symphony might not have been predicted given its unusually protracted genesis. The work gave Mahler a lot of trouble over the course of the nearly seven years he took to write it, a longer period than for any other piece. Moreover, when he began composing the Symphony early in 1888 he had no central vision of its content or structure nor did he know how it would all end. In November 1889 Mahler conducted the premiere of his “Symphonic Poem in Two Parts” in Budapest, where he served at the time as director of the Royal Hungarian Opera. This five-movement work would later lose its second movement entirely and be retitled “Symphony in D major,” what we now know as his First. The year before he had already begun composing a new Symphony in C minor, of which he drafted an enormous opening movement. Somewhat later he decided to name it Todtenfeier (Funeral Rite, more literally: Celebration of the Dead) and promote it as an independent piece, which he tried to get published 35 as such in 1891. The title most likely derives from a ballad called Dziady (Forefathers’ Eve) by the celebrated Polish poet Adam Mickiewicz, which had recently been translated as Todtenfeier by Mahler’s close friend Siegfried Lipiner. Mahler wrote to the journalist Max Marschalk in 1896 about the movement, saying “if you would like to know, I am interring the hero of my D-major [First] Symphony, whose life I capture in a pure reflection from a higher vantage point.” Todtenfeier remained unperformed and unpublished as the larger symphonic project stalled for some five years. During this hiatus, Mahler played the movement on the piano for the eminent conductor Hans von Bülow, who had led the premieres of Wagner’s Tristan and Isolde and Die Meistersinger. But when Mahler looked up from the keyboard, he saw Bülow covering his ears; afterwards his mentor stated that the work made Tristan sound like a Haydn symphony. This discouraging response to Todtenfeier, compounded by his taxing conducting duties and the deaths of his parents and a sister, led to even further delays in what would eventually become the five- movement Second Symphony. Songs within a Symphony The “long interruption”—the “obstructed pipe” that Mahler mentioned to Bauer-Lechner— ended in 1893, when he resumed work on the Symphony. That year he also orchestrated two songs that would become two of the middle movements. Once again he called upon poetry from the early-19th-century folk collection (The Youth’s Magic Horn), poems that obsessed him for more than a decade. In addition to some two dozen vocal settings with piano and/or orchestra, he also used the collection in his early symphonies. The two Wunderhorn songs employed for the third and fourth movements of the Second Symphony were originally written for piano and voice, but joined the second movement Andante to provide a three-movement interlude leading to the finale. The third movement is a purely instrumental version, much expanded, of the ironic song “Des Antonius von Padua Fischpredigt” (St. Anthony of Padua’s Sermon to the Fishes.) The fourth movement, “Urlicht” (Primal Light), retains the vocal part, sung by a mezzo-soprano. Yet Mahler was still baffled about how to end the Symphony. The breakthrough came in March 1894 while attending a memorial service in the same Hamburg church where he would himself be baptized three years later. The occasion—a “Todtenfeier,” in fact—honored Bülow, who 36

had died in Cairo the previous month. “The way in which I received inspiration for the Finale is deeply indicative of the essence of musical creation,” Mahler would later tell critic Arthur Seidl: I had long considered the idea of employing a chorus for the last movement, and only the fear that this might be seen as a superficial imitation of Beethoven made me hesitate time and again. Then Bülow died, and I went to his funeral. My mood as I sat there thinking of the man who had died was wholly in tune with the work that was growing in my mind. Suddenly the choir chanted from the organ-loft the Klopstock chorale “Aufersteh’n!” It was as if I had been struck by lightning—the whole work now stood clearly before me! Such is the flash for which the creator waits, such is sacred inspiration! After that I had to create in sound what I had just experienced. Nonetheless, if I had not already been carrying the work within me, how could I have experienced this moment? Weren’t thousands of other people with me in the church? That’s how it always is with me. I only compose when I truly experience something, and I only experience it when I create! And so Mahler crafted the finale of the Second Symphony using a poem by the 18th-century German writer Friedrich Gottlieb Klopstock, which he heavily edited and vastly expanded with his own words. The final movement begins with a cataclysmic dischord, looking back to the “cry of despair” of the Scherzo, that is comparable to the famous “terror fanfare” (as Wagner called it) with which Beethoven opened the finale of his Ninth Symphony. And indeed it was Beethoven’s final symphony that served as a model in other respects as well. For example, Mahler brings back themes from the earlier movements at the opening of the finale, thus lending unity to the disparate work he composed over so many years. He worked on this last movement in the summer of 1894 in Steinbach, in Austria’s majestic Salzkammergut region. The Symphony was completed in December and Mahler conducted the first three movements with the Berlin Philharmonic in March 1895. He presented the premiere of the complete Symphony with the same orchestra in December and although the critical response was tepid, the general audience response was apparently enthusiastic. Possible Programs If the preceding narrative gives something of the story behind the lengthy creation of the 37

Second Symphony, there is also a story, perhaps several of them, within the work itself. Over the course of his career Mahler vacillated concerning “programs,” one of the most important aesthetic issues in 19th-century music. To what extent should a composer connect a piece to extra-musical ideas or stories and how much should then be disclosed to audiences? Mahler at first embraced a programmatic approach, which meant bestowing titles to his works and engaging with the genre of the symphonic poem—hence the early idea of Todtenfeier as a standalone piece. Over time he grew increasingly reluctant to say much about his music, at least publically. This may have been in part to distance himself from the works of his friend and rival . Mahler withdrew programs he had devised for his early symphonies, but then on occasion would divulge information again. And so back and forth he went. About the Second Mahler gave various accounts, some in private as well as at least one for public consumption. All of them sketch a fairly similar scheme for the piece. Not long after finishing the Symphony, he told Marschalk that it grapples with the question: “‘Why did you live? Why did you suffer? Is it all nothing but a huge, frightful joke?’ We must answer these questions in some way, if we want to go on living—indeed, if we are to go on dying! He into whose life this call has once sounded must give an answer; and it is his answer I give in the final movement.” The explanation Mahler gave for public consumption in 1900 was originally intended for a Munich performance but was suppressed in the end. It was printed, however, for a presentation the next year in Dresden. Somewhat less well known than his earlier private accounts, it is excerpted here: First Movement: We are standing near the grave of a beloved man. His whole life, his struggles, his sufferings and accomplishments on earth pass before us. And now, in this solemn and deeply stirring moment, when the confusion and distractions of everyday life are lifted like a hood from our eyes, a voice of awe- inspiring solemnity chills our heart, a voice that, blinded by the mirage of everyday life, we usually ignore: “What next?” it says. “What is life and what is death? Will we live on eternally? Is it all an empty dream or do our life and death have a meaning?” And we must answer this question, if we are to go on living. The next three movements are conceived as intermezzos. Second Movement, Andante: A blissful moment in the dear departed’s life and a sad recollection of his youth 38

Mahler composed his Second and lost innocence. Symphony from 1888 to 1894. Third Movement, Scherzo: A spirit of disbelief and Leopold Stokowski conducted negation has seized him. … He loses his perception the first Philadelphia Orchestra of childhood and the profound strength that love can performances of Mahler’s give. He despairs both of himself and of God. The Second, in May 1921. The last world and life begin to seem unreal. Utter disgust for subscription performances were every form of existence and evolution seizes him in in May 2007, conducted by Christoph Eschenbach. an iron grasp, torments him until he utters a cry of despair. The Orchestra recorded the “Resurrection” in 1970 for Fourth Movement: “Urlicht” (Primeval Light) from the RCA, with Eugene Ormandy, Knaben Wunderhorn. The stirring words of simple faith soprano Evelyn Mandac, sound in his ears: “I come from God and I will return mezzo-soprano Birgit Finnila, to God!” and Singing City Choir. Fifth Movement: Once more we must confront The work is scored for terrifying questions, and the atmosphere is the same four flutes (all doubling as at the end of the third movement. The voice of the piccolo), four oboes (III and Caller is heard. The end of every living thing has come, IV doubling English horn), the last judgment is at hand, and the horror of the day three clarinets (III doubling of days has come upon us. The earth trembles, the bass clarinet), two E-flat graves burst open, the dead arise and march forth in clarinets (II doubling clarinet IV), four bassoons (III and IV endless procession. The great and the small of this doubling contrabassoon), 10 earth, the kings and the beggars, the just and the horns (VII-X doubling offstage godless, all press forward. … The last trumpet sounds. horns), 10 trumpets (VII-X … In the eerie silence that follows we can just barely doubling offstage trumpets), make out a distant nightingale, a last tremulous echo four trombones, tuba, timpani, of earthly life. The gentle sound of a chorus of saints offstage timpani, onstage and heavenly hosts is then heard: “Rise again, yes, percussion (bass drum, rise again thou wilt!” The God in all His glory comes cymbals, glockenspiel, high into sight. A wondrous light strikes us to the heart. and low tam-tams, orchestra All is quiet and blissful. Lo and behold: There is no bells, rute, snare drum, triangle), judgment, no sinners, no just men, no great and small; offstage percussion (bass drum, there is no punishment and no reward. A feeling of cymbals, triangle), two harps, overwhelming love fills us with blissful knowledge and organ, strings, soprano and illuminates our existence. mezzo-soprano soloists, and mixed choir. —Christopher H. Gibbs Performance time is approximately 80 minutes. 39

IV. “Urlicht” [Contralto] IV. “Primal Light” [Contralto] (from Des Knaben Wunderhorn) (from The Youth’s Magic Horn) O Röschen rot! Oh little red rose! Der Mensch liegt in grösster Not! Mankind lies in greatest need! Der Mensch liegt in grösster Pein! Mankind lies in greatest pain! Je lieber möcht’ ich im Himmel sein! How I would rather be in heaven!

Da kam ich auf einen breiten Weg; I came upon a broad path: da kam ein Engelein und wollt’ mich A little angel came and wanted to turn me abweisen. away. Ach nein! Ich liess mich nicht abweisen! Ah no! I would not be sent away! Ich bin von Gott und will wieder zu Gott! I am from God, and will return to God! Der liebe Gott wird mir ein Lichtchen geben, Dear God will give me a little light, wird leuchten mir bis in das ewig selig Leben! will light my way to eternal, blessed life!

V. “Aufersteh’n” [Chorus and Soprano] V. Resurrection [Chorus and Soprano] (Friedrich Klopstock) Aufersteh’n, ja aufersteh’n wirst du, Rise again, yes you will rise again, mein Staub, nach kurzer Ruh! my dust, after a short rest! Unsterblich Leben! Unsterblich Leben Immortal life! Immortal life wird der dich rief dir geben. will be given to you by Him who called you.

Wieder aufzublüh’n wirst du gesät! You are sown in order to bloom again! Der Herr der Ernte geht The Lord of the harvest goes und sammelt Garben and gathers the sheaves uns ein, die starben! of us who have died.

[Contralto] [Contralto] O glaube, mein Herz, o glaube: Oh believe, my heart, believe: es geht dir nichts verloren! You have lost nothing! Dein ist, ja dein, was du gesehnt, Yours, yes, yours is what you have longed for, dein, was du geliebt, was du gestritten! yours, what you loved, what you fought for!

[Soprano] [Soprano] O glaube: Oh believe: du wardst nicht umsonst geboren! You were not born in vain! Hast nicht umsonst gelebt, gelitten! You have not lived and suffered in vain!

[Chorus and Contralto] [Chorus and Contralto] Was entstanden ist, das muss vergehen! What was created must perish! Was vergangen, auferstehen! What has perished must rise again! Hör’ auf zu beben! Cease trembling! Bereite dich zu leben! Prepare yourself to live!

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[Soprano and Contralto] [Soprano and Contralto] O Schmerz! Du Alldurchdringer! Oh pain, all-pervading, Dir bin ich entrungen! from you have I been wrested! O Tod! Du Allbezwinger! Oh death, all-conquering, Nun bist du bezwungen! now are you conquered!

Mit Flügeln, die ich mir errungen, With wings that I have earned in heissem Liebesstreben in fervent, loving aspiration, werd’ ich entschweben will I soar zum Licht, zu dem kein Aug’ gedrungen! to the light that no eye has penetrated!

[Chorus] [Chorus] Mit Flügeln, die ich mir errungen, With wings that I have earned werde ich entschweben! will I soar! Sterben werd’ ich, um zu leben! I shall die, that I may live!

Aufersteh’n, ja aufersteh’n wirst du, Rise again, yes you will rise again, mein Herz, in einem Nu! my heart, in an instant! Was du geschlagen, What you have fought for, zu Gott wird es dich tragen! will carry you to God!

English translation by Darrin T. Britting

Program note © 2014. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association. 41 Musical Terms

GENERAL TERMS Op.: Abbreviation for opus, by a coda. The exposition Cadence: The conclusion a term used to indicate is the introduction of to a phrase, movement, the chronological position the musical ideas, which or piece based on a of a composition within a are then “developed.” In recognizable melodic composer’s output. Opus the recapitulation, the formula, harmonic numbers are not always exposition is repeated with progression, or dissonance reliable because they are modifications. resolution often applied in the order Symphonic poem: Chorale: A hymn tune of publication rather than A type of 19th-century of the German Protestant composition. symphonic piece in one Church, or one similar in Scale: The series of movement, which is based style. Chorale settings are tones which form (a) any upon an extramusical idea, vocal, instrumental, or both. major or minor key or (b) either poetic or descriptive Chord: The simultaneous the chromatic scale of Timbre: Tone color or tone sounding of three or more successive semi-tonic quality tones steps Tonic: The keynote of a Chromatic: Relating to Scherzo: Literally “a scale tones foreign to a given joke.” Usually the third key (scale) or chord movement of symphonies THE SPEED OF MUSIC Dissonance: A and quartets that was (Tempo) combination of two or more introduced by Beethoven Adagio: Leisurely, slow tones requiring resolution to replace the minuet. The Allegro: Bright, fast Harmonic: Pertaining to scherzo is followed by a Andante: Walking speed chords and to the theory gentler section called a trio, Cantabile: In a singing and practice of harmony after which the scherzo is style, lyrical, melodious, Intermezzo: A short repeated. Its characteristics flowing movement connecting are a rapid tempo in triple In ruhig fliessender the main divisions of a time, vigorous rhythm, and Bewegung: With calm, symphony humorous contrasts. Also flowing movement Legato: Smooth, even, an instrumental piece of Maestoso: Majestic without any break between a light, piquant, humorous Moderato: A moderate notes character. tempo, neither fast nor Meter: The symmetrical Sonata form: The form in slow grouping of musical which the first movements Presto: Very fast rhythms (and sometimes others) Minuet: A dance in triple of symphonies are usually TEMPO MODIFIERS time commonly used up to cast. The sections are Molto: Very the beginning of the 19th exposition, development, century as the lightest and recapitulation, the movement of a symphony last sometimes followed 42 November The Philadelphia Orchestra

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Jakub Hrůša Conductor André Watts Piano

Janáček Jealousy Beethoven Piano Concerto No. 1 Dvořák Symphony No. 8 The November 13 concert is sponsored by MEDCOMP. The November 15 concert is sponsored by the Capital Grille. 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.