PYO Organization Hosts Auditions for the Upcoming Season in Both June and September

Philadelphia Youth Orchestra Louis Scaglione • Music Director Presents PHILADELPHIA YOUTH ORCHESTRA

KIMMEL CENTER CONCERT SERIES

Louis Scaglione • Conductor

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Sunday • February 12 • 2017 • 3:00 p.m.

Kimmel Center for the Performing Arts Verizon Hall Audition The PYO organization hosts auditions for the upcoming season in both June and September. Application forms, audition schedules, and FAQs are available at Get involved ! pyos.org/audition Whether you support the Philadelphia Youth Attend Orchestra as an audience member or donor, we Ticket prices vary by performance. welcome and appreciate For specific ticket and venue information for all upcoming your involvement—and we events please visit thank you for believing in pyos.org/events/season-schedule the power and merit of great music education. Support The Philadelphia Youth Orchestra organization relies on the generous support of patrons, corporations, foundations, and private donors to continue to fulfill our important mission of championing a new generation of leaders, musicians and patrons of classical orchestral music. Please join us in celebrating our 77th Anniversary season with a tax-deductible contribution by calling 215 545 0502 or visiting pyos.org/support

Philadelphia Youth Orchestra P.O. Box 41810 Philadelphia, PA 19101-1810 Office: 215 545 0502 Email: [email protected] www.pyos.org

PYO organization receives support from Pennsylvania Council on the Arts, a commonwealth agency funded by the Commonwealth of Pennsylvania, National Endowment for the Arts, U.S. Department of Education and The Philadelphia Cultural Fund. 01

Philadelphia Youth Orchestra Kimmel Center Series

Philadelphia Youth Orchestra Louis Scaglione • Conductor

The Kimmel Center for the Performing Arts • Verizon Hall Sunday, February 12, 2017 • 3:00 p.m.

PROGRAM

Symphony No. 1 in F minor, Op. 10 Dmitri Shostakovich I. Allegretto – Allegro non troppo II. Allegro – Meno mosso – Allegro – Meno mosso III. Lento - Largo IV. Allegro molto - Lento – Allegro molto – Meno mosso – Allegro molto – Molto meno mosso - Adagio

INTERMISSION

Romeo and Juliet, Suite No. 2, Op. 64b Sergei Prokofiev I. Montagues and Capulets II. The Child Juliet III. Friar Laurence IV. Dance V. Romeo at Juliet’s before parting VI. Dance of the Antilles Girls VII. Romeo at the Grave of Juliet

The Firebird: Suite (1919 version) Igor Stravinsky I. Introduction II. The Firebird and Its Dance III. Variation of the Firebird IV. Round of the Princesses V. Infernal Dance of King Kastchei VI. Lullaby VII. Finale

Latecomers will not be seated until an appropriate time in the concert. The use of photographic and recording equipment is strictly prohibited. As a courtesy to the performers and fellow concert-goers, please disconnect all cell phones prior to the performance. 02 Philadelphia Youth Orchestra • 2016–2017

Louis Scaglione Music Director & Conductor

Violin I Violin II Violoncello Jason Vassiliou, Lily Mell, Daniel J. Kim, Concertmaster Principal Principal Stephanie van Duijn, Chloe Cho, Sabine Jung, Associate Concertmaster Associate Principal Associate Principal Fiyi Adebekun, Sarah Kim, Joy Zhao, Assistant Concertmaster Assistant Principal Assistant Principal Allyson Cohen Anne Liu Daniel T. Kim John May Alyssa Kim Katherine Quinn Hiroto Saito Karthik Yegnesh Robin Park Catelyn Huang Steven Zhang Jason Shu Isabella Egawa Rebecca Kim Daniel Y. Kim Austina Lin Portia Maidment Kail Yuan Veronique Shaftel Maxwell Chambers Shizhuo Duan Joanna Kuo Olivia Brody-Bizar Seol-Yee Lee Kathryn Song Akili Farrow Jordan Brooks Andrew Pai Shannon Quinn Nathan Kim Rachel Zimmerman Jenna Kim Shangen Lu Jolade Adebekun Raphael Lopez Rose Ni Eric Gao Boglarka Kearney Young Young Wang Ramya Muthukrishnan Vanessa Poe Grace Wei Derrick Pondexter-Lee Double Bass Daniel Cho Carly Soll Justin Cao, David Kwon Allen Sun Principal Eion Lyons, Viola Associate Principal Conor McAvinue, Hannah Perron, Principal Assistant Principal Christopher Dahlke, Sami Jamieson Associate Principal Raymond Zhang Sarah S. Jang, Gregory Padilla Assistant Principal Sophia Kelsall Vera Lee Braden Ellis Joshua Baw Anthony Christou Micaela Greco Zebadiah Coombs Clara Bouch Isabelle D’Amico David Shapiro Nicolette Sullivan-Cozza Isabella Maloney Robert Brosnan Harry Kim 03 Philadelphia Youth Orchestra • 2016–2017

Flute/Piccolo French Horn Percussion Betty Ben-Dor Emerson Ahn Reilly Bova* Jessica Lynch Henry Crocker Christopher Carlson Hannah Silverberg* Isaac Duquette Heidi Chu Olin Wei Gregory Greene Haley Cowan Etienne Kambara* Christian Ortolf Oboe/English Horn Benjamin Kenzakowski Branch Buehler Paige Richards Harp Nina Haiyin Cheng* Jordan Robinson Sarina Marone* Hsihsin Liu Trumpet Piano/Celeste Clarinet/Bass Clarinet Robert Kellar* Immanuel Mykyta-Chomsky* Jun Choi Erik Larson Justin Yeo Daniel J. Kim* Dallas Taylor Jae Hoon Kim Josue Villegas William Klotsas Maria Thomas Trombone Donovan Austin * Section Leader Bassoon/Contra Mohan Biswas Bassoon Noah Stein Tara Frederick Ehren Valmé* Anand Iyer Nolan Wenik* Tuba Dotan Yarden Evan Sacks-Wilner* 04 Louis Scaglione: Music Director and Conductor

This season, Maestro Scaglione celebrates also arranged musical collaborations for his 20th anniversary with the Philadelphia the orchestras with many nationally and Youth Orchestra organization. Under his internationally celebrated concert artists, leadership, the organization has grown to as well as many regional performing arts include six program divisions and more institutions. than 525 students. Maestro Scaglione Maestro Scaglione has also served as is deeply committed to the greater Artistic Director of the Choral Society Philadelphia cultural and educational com- of Montgomery County in residence at munity, and has served on numerous Montgomery County Community College nonprofit boards and committees. He from 2002 to 2012. From 2006 through has extensive experience as a nonprofit 2010, he was Resident Music Director and executive, and also serves as Executive Vice Conductor for the Luzerne Music Center President and Chief Operating Officer of (NY). He is a former member of the faculty The Philly Pops. and administrative staff of Temple University Scaglione’s tenure began in 1997, when Music Preparatory Division. Because of Joseph Primavera, who served as PYO’s his work with the PYO program, Maestro Music Director for 51 years, appointed him Scaglione was elected by his peers in Conductor of the Philadelphia Young Artists 2006 to serve as Chairman of the Youth Orchestra. In 1999, Maestro Scaglione was Orchestra Division Board of the League of named Associate Conductor of the PYO American Orchestras, and served on the organization, becoming the organization’s League’s Board of Directors. first Executive Director two years later. In Additionally, Maestro Scaglione’s involve- 2003, Scaglione accepted the position of ment with the greater Philadelphia cultural President, and upon Maestro Primavera’s and social community includes service as retirement two years later, he became the a member of the Board of Directors of organization’s fifth Music Director, President The Philly Pops; and Treasurer of Studio and CEO. Incamminati. Past appointments included Maestro Scaglione has led the Philadelphia serving as Director of The Union League Youth Orchestra on several international of Philadelphia; and Vice Chairman of The concert tours, with destinations includ- Youth Work Foundation of The Union ing The 1998 World Youth Music Forum League of Philadelphia; among others. in Moscow; the Czech Republic and Italy Maestro Scaglione graduated with (2000); China (2002); eastern and central honors from The University of Illinois with Europe (2004); and Brazil (2007), where a Bachelor of Science in Music Education they performed to sold-out venues in São and holds a Master of Music degree Paulo and Rio de Janeiro. Scaglione has from Temple University. Philanthropy is paramount to Maestro Scaglione, and he teaches his students the importance of “giving-back” to one’s community through one’s talents. 05 Philadelphia Youth Orchestra Organization

Louis Scaglione Ranging in age from 6 to 21 years, the President and Music Director, musicians of the Philadelphia Youth Philadelphia Youth Orchestra Orchestra organization are selected by competitive audition and come from The Philadelphia Youth a 70-plus-mile radius of Philadelphia Orchestra Organization encompassing nearly 20 counties within The Philadelphia Youth Orchestra is the Pennsylvania, New Jersey, and Delaware. tri-state region’s premier youth orchestra Through advanced orchestra repertoire, organization for gifted, young, classical students are challenged to perform at pro- musicians, and one of the oldest and most fessional levels, to strive for advanced musi- highly regarded youth orchestra organiza- cianship, and to achieve superior technical, tions in the United States. For 77 years, the musical, and personal application. Philadelphia Youth Orchestra organization Former PYO musicians currently hold chairs has been providing professional-caliber in most of the top 20 professional orches- musical experiences to young instrumental- tras in the United States, with 12 PYO ists, while thrilling discriminating audiences alumni currently serving in The Philadelphia in the Greater Philadelphia region and Orchestra. across the globe. Extraordinary artistic leadership is a hall- The organization has six programs: mark of the Philadelphia Youth Orchestra Philadelphia Youth Orchestra (PYO), organization. Adolph Sorian (1940–1941), Philadelphia Young Artists Orchestra J.W.F. Leman (1941–1952), William R. (PYAO), Philadelphia Young Musicians Smith (1952–1954), and Joseph Primavera Orchestra (PYMO), Bravo Brass, (1954–2005) served as Music Directors, Philadelphia Region Youth String Music with Maestro Primavera having had the (PRYSM), and Tune Up Philly, an El Sistema extraordinary distinction of being the inspired program. longest-serving active conductor of any orchestra in the world. Louis Scaglione, appointed in 1997 by Maestro Primavera and the PYO Board of Trustees, continues the legacy of leadership currently serving as the PYO organization’s President, CEO and Music Director. 06 Philadelphia Youth Orchestra Organization

Philadelphia Youth Orchestra Philadelphia Young Musicians Orchestra Philadelphia Youth Orchestra, having been Philadelphia Young Musicians Orchestra, a presented on tour in over twenty coun- new and expanded educational offering of tries, is one of the most well-recognized the Philadelphia Youth Orchestra organiza- youth orchestra programs in the nation. tion, is a beginning to intermediate level full It provides the region’s most advanced symphonic orchestra that provides most classical instrumental music students with students with their first introduction to unparalleled training and performance large orchestral playing. Through a challeng- opportunities with world renowned solo- ing repertoire including both arrangements ists under the direction of Maestro Louis and original masterworks, students are Scaglione, one of the leading youth orches- challenged to hone their talents for listen- tra conductors in the country. In addition ing, blending, balancing, and making music to the opportunity to showcase their tal- within the full orchestral context. PYMO ents through high-profile radio broadcasts prepares its members for participation in on WRTI FM and live performances in Philadelphia Young Artists Orchestra — and, Verizon Hall of The Kimmel Center for the eventually, Philadelphia Youth Orchestra. Performing Arts, members learn character- Maestro Kenneth Bean is the director and building life skills and supplement their col- conductor of PYMO, and is also Conductor legiate and conservatory applications, mak- of the Junior String Philharmonic of the ing them strong candidates for acceptance Lehigh Valley and Symphony in C Youth into the most prestigious universities and Orchestra, and Associate Director of the conservatories around the world. Primavera Fund. Philadelphia Young Artists Orchestra Bravo Brass Philadelphia Young Artists Orchestra chal- Bravo Brass, the only year-round brass lenges students through sophisticated ensemble in the Philadelphia area and one symphonic repertoire and musical discipline, of only three in the country and under the is under the director of Maestra Rosalind direction of Paul Bryan, offers the highest Erwin. PYAO further provides the opportu- level of individual and ensemble training nity to rehearse standard orchestral reper- opportunities for the most accomplished toire with a highly experienced professional young brass musicians in the area. In addi- conductor; to work with master teachers tion to the opportunity to showcase their in sectional rehearsals; to participate in a talents through multiple live performances concerto competition; and to perform in throughout the year, members have dis- high-profile professional venues throughout tinguished themselves and gained accep- the greater Philadelphia region, including tance to some of the most competitive The Kimmel Center for the Performing and prestigious institutions for music and Arts. Ms. Erwin, a graduate of the New School of Music and Temple University, studied conducting with Ricardo Muti, Leonard Slatkin, and David Zinman. She was previously Music Director of the Pottstown Symphony and is currently Music Director and Conductor of the Drexel University Orchestra. 07 Philadelphia Youth Orchestra Organization

higher learning around the globe. Maestro Tune Up Philly Bryan serves as both the Dean of Faculty Tune Up Philly offers a differentiated musi- and Students and a faculty member at the cal curriculum that was created to meet Curtis Institute of Music. An accomplished the specific needs of students living in trombonist and teacher, he also holds posi- challenging social and economic conditions, tions as Music Director of Symphony in with a focus on effecting meaningful com- C’s Summer Symphony Camp and Head munity change. As the first Philadelphia-area Conductor of the Young Artist Summer El Sistema program founded in 2010, Tune Program at Curtis. Up Philly offers children in under-resourced Philadelphia Region Youth String Music communities an opportunity to learn and perform orchestral music and make a true Philadelphia Region Youth String Music difference within their communities, both offers unparalleled, personalized small through the use of music and through a group instruction and educational sup- purposeful connection with others. An port for beginning to intermediate string award-winning educator, classical recording students, under the direction of the highly artist, and nationally performed composer, respected Philadelphia Orchestra cel- Paul Smith, Director of Tune Up Philly, holds list Gloria dePasquale. With performance degrees from Mannes College of Music opportunities alongside the program’s and The Juilliard School. Mr. has helped faculty, PRYSM also provides members with hundreds of families and leading cultural peer mentors from the senior ensembles of institutions use intensive performing arts to the PYO organization. Maestra dePasquale engage communities and foster success. joined The Philadelphia Orchestra’s cello section in 1977 at the invitation of Eugene Ormandy. She was cellist of the dePasquale String Quartet and dePasquale Trio. She The PYO organization receives support from the is an advocate for music education and Pennsylvania Council on the Arts, a commonwealth agency funded by the Commonwealth of chairs the Music Education Committee of Pennsylvania, the National Endowment for the The Philadelphia Orchestra, and is senior Arts, the U.S. Department of Education & The artistic and educational advisor to PYO. She Philadelphia Cultural Fund. maintains a large private cello studio, and is nationally recognized as an instructor of cello performance. 08 Philadelphia Youth Orchestra Organization

Artistic and Educational Leadership Board of Trustees Louis Scaglione Joseph F. DiMauro, VMD, Chairman President, CEO & Music Director Renée Dillon Johnson, Vice Chair Rosalind Erwin James Matour, Esq., Treasurer Director & Conductor, PYAO Zachary M. Johns, Esq., Secretary Patrick Bailey Assistant Conductor, PYAO Kenneth Blank, Ph.D. Kenneth Bean Gary Frank Director & Conductor, PYMO Frank Giordano Rachel Segal Trude Haecker, MD Associate Director, PYMO Sharon McGinley Paul Bryan David R. McShane Director & Conductor, Bravo Brass David Michie Barry McCommon & Robert Skoniczin Associate Conductors, Bravo Brass Lydia Ogden Gloria dePasquale Carl Primavera, Esq. Director & Conductor, PRYSM Christopher Rinaldi Andrea Weber W. Matthew Skilton Conductor, PRYSM Young Artists MaryTeresa Soltis, Esq. Paul Smith Walter Strine, Esq. Director & Conductor, Tune Up Philly Rick Touhill Colleen M. Hood, General Manager & Librarian Denise Valmé-Lundy, Esq. Kevin Gifford Development Director Patrick Bailey Operations Associate, PYO & PYAO Emilia del Grosso Administrative and Development Associate 09 Program Notes

Dmitri Shostakovich About the Composer Born: St. Petersburg, Russia, Some composers are more often identified 25 September 1906 by their nationality or a national movement Died: Moscow, Soviet Union, than by their own music. Verdi was uniquely 9 August 1975 tied with Italian unity, Copland with the American frontier, and Shostakovich with Symphony No. 1 in F minor, Op. 10 the former Soviet Union. Shostakovich’s Symphony No. 1 is scored Described as “the conscience of the Soviet for two piccolos, three flutes, two oboes, Union,” Dmitri Shostakovich has become two clarinets, two bassoons, four horns, two one of the most discussed figures in music trumpets, alto trumpet, three trombones, since the composer’s death, the collapse of tuba, timpani, snare drum, bass drum, cym- the Soviet Union, and the turn of the 21st bals, triangle, tam-tam, glockenspiel, piano, century. Publicly Shostakovich was a mem- and divided strings. ber of the Communist Party and, unlike his Duration: 33 minutes Russian colleagues Prokofiev and Stravinsky who lived abroad, Shostakovich emerged Parallel Events of 1926 because of, rather than in spite of, the Walt Disney opens film studio Soviet regime. First talkie film debuts Shostakovich’s upbringing was rooted in NBC is founded music as his parents were both amateur musicians. After graduating from the St. George Gershwin’s musical Petersburg Conservatory, Shostakovich felt Oh, Kay premieres the need to choose between a career as Ernest Hemingway publishes a pianist or composer. Although composing The Sun Also Rises did not come easily, he chose a career as a composer and quickly gained international Puccini’s last opera Turandot premieres attention with his First Symphony, composed Cuban dictator Fidel Castro, Queen when he was eighteen years old. Elizabeth Windsor II, musicians John Coltrane, Miles Davis, Tony Bennett, and Chuck Berry, and actors George C. Scott, Marilyn Monroe, Andy Griffith, and Mel Brookes are born Magician Harry Houdini, circus founder Charles Ringling, and artists Claude Monet die 10 Program Notes

Like any artist, Shostakovich’s curiosities led The relationship between the Soviet gov- him to seek other influences, especially the ernment and Shostakovich was complex. works of Prokofiev and Stravinsky who had His music suffered two official denuncia- become “Western-ized.” Shostakovich’s dis- tions and periodic bans of his work. At covery of modernism and post-modernism one point, the Communist Party declared was quickly squashed by the Soviet govern- Shostakovich’s music offensive and harmful ment. Everything in the Soviet Union was to Soviet citizens as it contained “decadent viewed in political terms. Soviet musicolo- Western manners” and “formalist perver- gists proclaimed that the new Soviet Union sions.” At the same time, he received a awaited “a composer whose melodies number of accolades and state awards, and will touch the hearts of all sections of the served in the Supreme Soviet. Shostakovich populations and…will not only warm the was reminded by the Stalin regime that his concert hall, but the streets and fields as duty was to compose for the Soviet peo- well, because it will be music with roots ple and his works should provide inspira- deep in Russian life…” tion for the communist way of life. Despite As Shostakovich’s early musical efforts these controversies, Shostakovich remained became internationally recognized, the the most popular Soviet composer of his Soviet Union was quick to capitalize on generation. Shostakovich’s success (how ironic!) and Shostakovich reacted, at least publicly, by adopted Shostakovich as the country’s accepting the political ideology of the “musical spokesperson.” His music would Soviet government and composed several provide propaganda for the Soviet govern- works that, at least superficially, embraced ment and the communist way of life to an the communist regime. He proceeded to international community. speak out against Western music. Looking back and seeing the dreadful alternatives, he had no choice. While he composed some private works such as his string quartets and the tragic Tenth Symphony, Shostakovich mainly produced “acceptable” compositions, including the patriotic oratorio The Song of the Forests, the cantata The Sun Shines Over Our Land¸ and Symphonies 5, 7 (titled Leningrad), 11 (titled The Year 1905), and 12 (titled The Year 1917). After suffering from severe heart problems and his life long bout with tuberculosis, Shostakovich ultimately died a painful death from lung cancer. His death coin- cided with the anniversary of the first performance of his Seventh Symphony and with the eleventh birthday of his grandson. 11 Program Notes

About the Music “I sense that music was not merely a com- Shostakovich entered the Leningrad bination of sounds arranged in a particular Conservatory in 1919 at the age of thir- order,” explained Shostakovich, “but an teen as a student of piano, composition, art capable of expressing though its own counterpoint, harmony, and orchestration. means the most varied ideas and feelings.” After his father died three years later, In future works, “ideas and feelings” would Shostakovich was forced to find work as come to mean political ideas and feelings a pianist in a movie house. In addition to about the Soviet government, both seem- suffering from tuberculosis, the job sapped ingly supportive and subversively against. his strength and made composing virtually More so, Shostakovich’s personality was impossible. A believer in her son’s talents, evident in his first major work. His musical Shostakovich’s mother insisted that he leave style evolved from his brash humor and his musical purgatory and devote himself to experimental nature, his obsessive composing full time. With the hopes of his and nervous mannerisms, his introverted family pinned on the success of his com- melancholy, his nationalistic fervor, and even positions, Shostakovich began work on his a defiant, bleak mood coupled with irony First Symphony. and satire. Seeking to write a grand, public work From the premiere performance onward, for his graduation from the Leningrad the First Symphony showed no signs of Conservatory, Shostakovich’s First Symphony academic rigidness or lack of expression. was grounded in the Russian traditions of In fact, Shostakovich was immediately com- Tchaikovsky, Rimsky-Korsakov, Glazunov, and pared to Russian great (and Soviet outcast) Scriabin that he learned in school, but also Sergei Prokofiev and the revolutionary included the modern influences of Mahler, musical giant, Igor Stravinsky. By the age of Prokofiev, and Stravinsky. To help the family 21, two years after the premiere of the First with expenses, the school produced the Symphony, Shostakovich was mentioned in premiere performance on May 12, 1926 – the same vain as Prokofiev and Stravinsky the day that Shostakovich would from then and from then on seen as a Soviet celebrity. on celebrate as his birthday as a composer, Following conventional form, the First his “second birth” as he called it. Symphony takes place over four movements. Opening with a sarcastic muted trumpet and answered by a cheeky bassoon line, the main march-like theme is wonderfully con- trasted with a lyrical second subject that has an air of nonchalance and grace. Other themes including violins playing spiky inter- vals, a mock-march strutted out by the clarinet, and a cockeyed waltz theme from the flute are all whipped together to a noisy climax before the movement returns to the opening themes, but this time in reverse. 12 Program Notes

The movement ends with Shostakovich’s Sergi Prokofiev distinctive musical personality of technical craftsmanship and wry wit that become the Born: Sontsovka, Russia, hallmark of Shostakovich’s works. 23 April 1891 Died: Moscow, Russia, The second movement is a sarcastic scherzo 5 March 1953 built on a cocky theme initiated by the clarinet. The quiet but intense middle section Romeo and Juliet, Suite No. 2, Op. 64b (trio) becomes an icy, detached woodwind Prokofiev’s Romeo and Juliet is scored for dominated section until the opening theme piccolo, two flutes, two oboes, English horn, of the movement returns. Full of pathos, a two clarinets, bass clarinet, two bassoons, lamenting theme for the oboe opens the contrabassoon, tenor saxophone, four third movement that ultimately becomes horns, cornet, two trumpets, three trom- a funeral-like march. Threatening brass bones, tuba, optional viola d’amore, timpani, sounds lead to a slower, calming section, snare drum, bass drum, triangle, tambou- but at the price of gloom. A somber snare rine, cymbals, maracas, glockenspiel, piano, drum roll connects the third movement celeste, harp, and divided strings. to the final movement’s snappy melody Duration: 30 minutes that has mini episodes which seem to start and stop, switching from fast to slow, soft Parallel Events of 1935 to strong, and melancholy to irony and Beginnings of World War II even playfulness. While Shostakovich’s First Symphony contains scattered musical ideas U.S. establishes Works Progress at times typical of early artistic efforts, the Administration work also contains some of the most poi- Babe Ruth hits 714th and final home run gnant foreshadowing of the next fourteen George Gershwin’s opera symphonies that solidifies Shostakovich as Porgy and Bess premieres one of the most prolific composers of the twentieth century. Humorist Will Rogers is killed Three decades after Shostakovich’s death Elvis Presley, Woody Allen, Julie Andrews, and nearly a quarter century after the fall and Luciano Pavarotti were born of the Soviet Union, the West has redis- Prokofiev, the Soviet Union’s greatest covered Shostakovich as a composer of artistic hero, ironically died on the same day immense integrity and of fearless persever- Joseph Stalin died – the Soviet Union’s most ance and courage. Today we realize that he evil villain. spoke through a mask of conformism using musical codes. Shostakovich gave the Soviet authorities what they demanded, yet he deliberately maintained a musical expression that spoke to his audience – the people who were suppressed by the communist government. 13 Program Notes

Without question, Sergei Prokofiev contrib- Prokofiev was not a late developer. In uted more works of music to the standard fact, he fully matured as a composer by symphonic repertoire than any other single the age of twenty-three. Originally home composer of the 20th century. Moreover, schooled by his well-off parents, Prokofiev Prokofiev’s musical voice cannot be began piano lessons with his mother before “pigeon-holed” into any one, two, or even entering the St. Petersburg Conservatory three types of styles. where he challenged teachers like Rimsky- The music of Prokofiev has been cat- Korsakov. egorized as post-romantic, anti-romantic, Soon after the premiere of the Classical nationalistic, neoclassical, eclectic, cold, Symphony, Prokofiev left his homeland as sarcastic, innocent, savage, lyrical, epic, mis- the Russian Revolution broke out. For sev- chievous, and ironic. Despite all of the many eral years he toured Japan, Europe, and the contradictions within these descriptions, United States before living a self-imposed praises, and criticisms, Prokofiev’s compos- exile from Russia in France for seventeen ing style was all of these things. years. In 1934, Prokofiev returned home For example, in his Ten Pieces for Children to the Soviet Union where he was initially and his well-loved Peter and the Wolf, he is welcomed back like the prodigal son. innocent and perhaps a bit sarcastic. Film Yearning to establish lasting contacts score Alexander Nevsky and opera War & with Soviet society and culture, Prokofiev Peace demonstrate Prokofiev’s nationalistic accepted commissions to make the tran- and epic imagination while his Scythian Suite sition from the iconoclastic and often and Symphony No. 2 reveal his brashness bizarre style of the 1920s to a more direct, and savagery. His greatest ballets, Romeo consciously tonal, and therefore more and Juliet and Cinderella are warm and lyri- accessible style that the Soviet people (and cal, and even profoundly tragic (in terms of government) expected. the former). Prokofiev’s commitment to the techniques It was Prokofiev’s love for all of the musical of earlier Russian composers (yet all the genres that enabled him to poignantly com- while maintaining a unique voice) used the pose operas, ballets, film scores, concertos, orchestra in a bold, expressive manner. His sonatas, symphonies, children’s music, songs, distinctive style is perhaps most evident and choruses, quartets, orchestral suites, march- most effective in his dramatic music. es for military bands, and even a composition for four bassoons! 14 Program Notes

The most successful of these dramatic almost unbearable heartbreak and tragedy works is without question his ballet, Romeo of the two characters. The lyrical beauty and Juliet. While Prokofiev was attempting and tragic power of Prokofiev’s Romeo to reestablish ties to the Soviet Union after and Juliet is simply overwhelming at times, more than 15 years of living away from his and because audiences know the ending homeland, he began working with the Kirov to the story there seems to be nostalgia Ballet. He agreed with the company to set that exists throughout the score that is Shakespeare’s play as “an opera without hauntingly heart-breaking. A New York critic words” and designed a ballet comprised of commented that “Prokofiev has written short scenes to capture the author’s intent. music for the masses with Romeo and Juliet By the summer of 1935, Prokofiev com- and at the same time has attained extraor- pleted the ballet, although the Kirov Ballet dinary nobility.” Romeo and Juliet is certainly decided not to premiere the work as the most successful full length ballet of the some dancers felt the work did not lend 20th century and once experienced with itself to dance, rejecting Prokofiev’s score or without the dance, it is hard to forget or as “undanceable.” Prokofiev responded by resist the almost surreal and unbelievable arranging two concert suites (and a third beauty and marriage of romance suite years after the ballet did actually and tragedy. premiere), which are more often per- The story of tragic love perhaps touched formed than the actual ballet. Prokofiev Prokofiev’s own life in a much more per- also created some controversy by altering sonal way than his other works. After Shakespeare’s narrative, where Prokofiev World War II, Prokofiev’s music fell victim scripted a happy ending in which Romeo to the Stalinist attack on Western “for- finds Juliet alive! The composer justified his malist” styles and his music was officially change by explaining that dead characters banned, though that was rarely enforced. cannot dance (Shakespeare’s ending It was the arrest and imprisonment of eventually prevailed). Prokofiev’s wife, and not the artistic Of the music itself, Prokofiev stated that rejection, that caused Prokofiev to compose “I have taken great pains to achieve a sim- works that reflected a cold, anti-Stalin plicity which will, I hope, reach the hearts of sentiment. all listeners.” This is truly an understatement. It was only after the passing of political Prokofiev not only depicts Shakespeare’s upheavals in the Soviet Union and after timeless story, but he creates an experience the end of the Stalin reign of terror did that draws in the listener to the innocent Prokofiev’s music return to its central place love of the characters and most notably, the in the Russian repertoire and popular appeal. For Prokofiev’s genius of composition and great imagination had little use to a government that did not see music as art or even entertainment, rather as a means of social control. 15 Program Notes

Igor Stravinsky Ever since it appeared in our vocabulary, the word ‘dissonance’ has carried with it an Born: Oranienbaum, Russia, odor of sinfulness. Let us light our lantern 17 June 1882 —dissonance is an element of transition. Died: New York City, – Igor Stravinsky New York, 6 April 1971

L’oiseau de feu (The Firebird): Paris, 29 May 1913 – The audience at a bal- Suite (1919 version) let rioted, stormed the stage, and prevented The 1919 Suite version of The Firebird is the performance from finishing. Stravinsky’s scored for piccolo, two flutes, two oboes, Le Sacre du Printemps (The Rite of Spring) is English horn, two clarinets, two bassoons, not only remembered because of the large four horns, two trumpets, three trombones, scandal and chaos it caused in Paris, but it tuba, timpani, bass drum, triangle, cymbals, single-handedly altered the course of music. xylophone, piano, optional celeste, harp, and Because of this single work, Igor Stravinsky divided strings. remains the most influential and important Duration: 23 minutes composer (albeit, not the most loved) of the 20th century. Parallel Events of 1910 Educated at St. Petersburg’s University in China ends slavery criminal law and legal philosophy, Stravinsky George V becomes King of England was the son of a prominent opera singer. Carving out his own unique path in music, Halley’s Comet is first visible Stravinsky’s early compositional style Matisse paints La Dance focused on rhythmic exploration. Using Picasso’s cubist period asymmetrical patterns of compound meters, the composer broke down tra- Mahler’s Symphony of a Thousand ditional balanced phrasing. The pulse of premieres with 1,026 performers Stravinsky’s music was often unwavering, New York City’s Pennsylvania Station opens yet accented and articulated unevenly. Just King of England Edward VII, nurse Florence as The Rite of Spring, in a sense, predicted Nightingale, novelists Mark Twain and Leo or at least foreshadowed the chaos of Tolstoy die World War I, so did Stravinsky’s compositional style after the War reflect the pulse American composer Samuel Barber and sea of society. The end of World War I moved explorer Jacques Cousteau are born Stravinsky’s music into a sparer, pared- Boy Scouts of America is established 16 Program Notes

down style. With works such as L’Historie Learning from Rimsky-Korsakov’s exotic du Soldat, Tango, Ragtime, Pulcinella, and his flair and love of fantasy, Stravinsky’s score oratorio Oedipus Rex, Stravinsky’s neo- to The Firebird contained a rich harmonic classical period first seemed like an element texture with a spectacular, shimmering of parody, but after careful study, his second orchestration, as well as some explosive period became a movement of “objectifica- rhythms – all of which were to become the tion,” like a Cubist collage with everyday hallmark of Stravinsky’s style. In many ways, objects painted by Picasso. Stravinsky influ- The Firebird has more of a late-Romantic, enced more composers during the period late 19th century stamp on it. The Firebird’s between the two Wars than any other score as well as its plot perfectly combine period during his lifetime, especially in the Romantic interests in the supernatural and United States and France. He spent the last the expression of a nationalist feeling. few years of his career experimenting with The Firebird is based on two Russian fairy- serialism (atonal music) inspired by com- tales. The Firebird, a brilliantly colored sym- poser Anton Webern. bol of goodness, and Kastchei, a green ogre After privately studying with composer who presents evil, vie for the soul of the Rimsky-Korsakov, Stravinsky began his col- young prince Ivan Tsarevich. Ivan unexpect- laboration with ballet impresario, Serge edly meets the “fabulous bird with plum- Diaghilev. Between 1910 and 1913, togeth- age of fire” during a hunting expedition. er with The Rite of Spring, Stravinsky com- In exchange for its life, the Firebird offers posed two other ballets (The Firebird and Ivan a magic feather. Later, Ivan chances Petroushka) that immediately ushered him upon an enchanted castle with a courtyard to the pedestal of modern music. The first full of lovely maidens (Round Dance of the of these ballets (often referred to as the Princesses). They warn Ivan of the evil King trilogy) was The Firebird and was the first Kastchei in the castle who, for amusement, great triumph for Stravinsky’s career, bring- turns travelers into stone and is holding the ing him international attention and two princesses captive. Ivan enters the castle more commissions from Diaghilev. and is faced by Kastchei. The magic feather shields Ivan from harm as the Firebird appears sending Kastchei and his ogres into a mad dance (Infernal Dance of King Kastchei). Kastchei and his followers are left exhausted and are eventually led to sleep by the Firebird (Berceuse). Kastchei’s victims are freed from their stone spells, and Ivan wins the hand of one of the lovely princesses (Finale). And like a great fairy tale, there is a wonderful happy ending.

Foundations The Presser Foundation Judith Haskell Brewer Psalm 103 Foundation Fund of the Community The Rittenhouse Foundation Serving Foundation Richmond & Central VA The Philadelphia Youth The Robinson Family Orchestra organization, Julian A. and Lois G. Foundation of The Jewish and the Board of Trustees Brodsky Foundation Communal Fund thank the following D’Addario Foundation The Samantha Fund individuals, corporations, Dolfinger-McMahon of The Community foundations and govern- Foundation Foundation of NJ ment agencies for their The Seattle Foundation generous contributions Elsie Lee Garthwaite during the past year. Memorial Foundation Jean and David Soll The Ethel Sergeant Clark Philanthropic Fund Smith Memorial Fund of the Jewish Federation Note: This list acknowl- ® of Greater Philadelphia edges donations through H.E.L.P. Foundation William Penn Foundation December 31, 2016. Henrietta Tower Wurts If a name, company, Memorial Fund of The The Wright-Hayre Fund of foundation or government Philadelphia Foundation the Philadelphia Foundation agency has been omitted Colleen Maguire or misprinted, please accept Family Fund our apologies and notify us Corporations The Maguire Foundation by calling 215 545 0502 or Aetna Foundation email at [email protected] The McGinley Family Foundation AirProducts, Corp. The Andrew W. Mellon Allen Organ Company Foundation Archer & Greiner, P.C. The Philadelphia Bachrach Photography Foundation BHC Holdings, Inc. A. Carter Pottash Family Brown Brothers Harriman Foundation Citizens Bank Comcast Custom Processing Services, Inc. (Sandra and Jeffrey Klinger) David Michie Violins, LLC Donatic Eastern Standard Frederick W. Cook & Co., Inc. 18 In Appreciation

GE Foundation Matching Paone Design Associates Benefactor Gifts Program Pfizer Foundation $5,000 and above Give with Liberty Matching Gifts Program Anonymous GlaxoSmithKline PNC Bank Min Chang Foundation Matching Gift The Prime Rib Drs. Robert Day & Trude Program of Philadelphia Haecker Day Gramercy Property Trust PSEG Power Dr. & Mrs. Joseph DiMauro GTPHL, LLC of Giving Program Gary Frank The Haverford Trust Quaker Chemical Jayne & Walter Garrison Company Foundation Dorothy & Frank Giordano Henry Troemner, LLC Republic Bank Sarah & Zachary Johns, Esq. Horsham Veterinary The Royal Heritage Society Hospital of the Delaware Valley Renée Dillon & Phillip Johnson, MD Jacobs Music Company SAP Software Solutions Leroy Kean, in honor of Johnson & Johnson Family SKF, Inc. Louis Scaglione of Companies Society of The Sons Frances & James Maguire J.W. Pepper, Inc. of St. George Sharon & Joseph McGinley Karen Corbin Southern Ocean Communications Medical Center David R. McShane Love the Arts in Station Place Enterprises Denise Houghton, Esq. & David Michie Philadelphia Studio Incamminati Louis Scaglione Macy’s Philadelphia Strine Family of Companies Matthew Skilton Microsoft Matching Gift UHS of Delaware, Inc. Program Alice & Walter Strine, Esqs. UHS of Pennsylvania, Inc. Network for Good Josephine Templeton Tiffany’s Bakery Veritable The Welsh Society of Philadelphia

Government Citizens for the Arts in Pennsylvania Pennsylvania Council on the Arts The Philadelphia Cultural Fund 19 In Appreciation

Guarantor Patron Peter Jang, in honor of $2,500 – $4,999 $1,000 – $2,499 Daniel & Sarah Jang Gabriel Battista The Adebekun Family, Michele & Donald Nancy Moses & Myron in memory of Maestro Kenzakowski Bloom William dePasquale Sandra & Jefferey Klinger, Marie & Joseph Field, in Joan Carter in honor of Gia Angelo honor of David Michie & John Agliaoro Dr. Jiyeon Lee, in honor Robert Foley Michael Bleiman, in honor of Chloe Cho of Margery & Howard Susan & James Matour Dr. Charles Lentz Bleiman & Matthew Malinowski Drs. Kenneth Blank Lois & Julian Brodsky & Donna Murasko Yinghe & Austin Li, Dr. Lydia Ogden in honor of Delia Li Christina & Dr. James Buehler & Carl Primavera, Esq. Don S. Liuzzi Anne Callahan Mark Nicoletti, Sr. Leslie & Frank Skilton, in & Charles Croce honor of Maestro Louis Elizabeth Pitcairn Salvatore DeBunda, Esq. Scaglione Wayne Shuh Barbara & Michael Devine Mr. & Mrs. Ernest Smith Dr. & Mrs. Michael Warhol Karen & David Smith Linda & GE Donoho, in honor of Camille Donoho Gang Wei MaryTeresa Soltis, Esq. Penelope Harris Denise Valmé-Lundy, Esq. Mr. & Mrs. Herbert Henze Alysson Cwyk & Colleen M. Hood Jennifer Hsieh 20 In Appreciation

Donor Julie Jensen Contributor $500 – $999 & Robert Bryan $250 – $499 Anonymous Charles Lentz, in honor of Julie & Eugene Allport Mary & Robert Ballard, in Geana Snart Anonymous, in honor memory of Maestro Joseph St. Mary’s Episcopal Church of Geana Snart Primavera Edith May Susan Bleiman-Soll Willo Carey & Peter Susan Ng & Andrew Susan & Dave Bravo Benoliel Maidment Lei Cui Joellyn & Edward Cattell Graham & Susan Jason DePue, in memory Gloria dePasquale McDonald of William dePasquale Monica & Daniel DiLella Joseph Petko Gerard Donahue, in mem- Dr. Reginald & Mrs. Kathy Kerri Ryan, in memory ory of Sharon Donahue Foy of Helen Carp Deborah & Gary Judith Francis Dr. Bradley Robinson Dorshimer, MD Alice & Stephen Gaston Yumi & Henry Scott Rosalind Erwin, in memory Elizabeth Gemmill Martha & Ronald Stang of Rosamond Jeanette & William Nathan Erwin Heather Giampapa Lisa & Greg Warshaw Margaret G. Ewing Lorrie Gunn Phyllis Fox Lynn & Steve Hewitt Patricia Furlan Gladis & Richard Hwang Alice & Stephen Gaston Joanne & Walter Jenkins, Esqs. Mandi Jo & David Hanneke Dorothy & George Hawke Peggy Hobbs, in honor of Michael Chou 21 In Appreciation

Karen & William Hoffman, Serena & Frank Brian Benda in honor of Cayley Pantazopoulos Rita Bevilacqua, in memory Hoffman Rong Wang & Zhiping Qiu of Richard Bevilacqua Lisa & William Hoffman Dr. Harry Rosenthal Jerry Bidlack, in honor of Commander Michael Sharon Roszkowski Kenneth Bean & Mrs. Terez Kearney Sheryl & Eric Rothman Harriet Bleiman, in memo- Gisela & Herold Klein, in ry of Margery Bleiman Ramona & Jack Vosbikian honor of Louis Scaglione Mary Bobolis Winnie Zhu & Qi Wang Robert Laskowski Ann & Scott Botel-Barnard Martin Wilensky William Leach, in honor Joan & George Brantz of Arnold Grossi Michelle Che & Xiao Yang Kathleen Breslin Michael Li P.K. Yegneswaran Kristen Poole & Martin PeiHong Chen & Peng Liu Brueckner William Loeb Friends Barry Buchy Christine Lussier & Robert Up to $249 Nancie W. Burkett Hamill Eunice & Henry Alexander Kristin & Ulf Cahn von James Lynch Jessica Attie Seelen Mr. & Mrs. Thomas J. Lynch Dr. Alec Beekley Sigrid & Ulf Cahn von Robert Mead, in honor Cynthia & David Beekley, Seelen of Gareth T.E. Haynes in honor of Alexandra Wenwen Cai Margaret & William Metz Beekley Christine Charles Barbara Mitnick Ren Egawa & Rujing Chang, Sue & Steve Munzer in memory of William Barbara Noseworthy dePasquale 22 In Appreciation

Lan Jin & Gang Cheng, Cristin Dziekonski Daphne Child Hill in honor of Nina Cheng Hope & Matthew Feldman & Jesse Hill, in memory of Stanley Child Kathy Chou Phyllis Fox Karen Huang & Paul Chou Sharon & Isidore Joseph Freedman Hofferman Maria Christou Martha Friedman, in mem- Sophie Huang Sharon Clark ory of Marcia Kopps Alexander Ioffreda Charlene Clarke Chun Ren & Peng Gao Nicholas Ioffreda Shannon Cline Charlotte Gardiner Sandra & Richard Josephs Diane & Ross Collins, in Mark Garvin, in memory honor of Joshua Collins of Bob Gallagher Roger Janssen Peter Cressman Alfred Gaus, Jr. Ming Jiang Lisa Crocker Kevin Gifford Michelle & Michael Johns Joseph, Veronica, & Olivia Nancy & William Giles Christiane & Takahito Kambarra Cwynar, in memory of Michelle Golden Sharon & Louis Scaglione Michelle & Richard Kang Kris & Jeff Grabell Monica & William Ruth Kartman, in honor DeGrandis, in memory John Granozio, in honor of David Segal of Gloria & William of Otello & Eleanor Susan Ketell DeGrandis dePasquale Susan Kirsch Debora L. DeVaughn Kent Gushner, in memory of Margery Bleiman Lorraine Kligman Frances Dimond Kate Hall, in memory of Jeri & David Kozloff, David Dinella Margery Bleiman in honor of Benjamin S. Mr. & Mrs. Roger Dinella Lucinda & Roland Harper Kozloff Jay Donner Catherine Harper & Roy Winnick 23 In Appreciation

Mary Louise& Kenneth Meg Matlack Hirono Oka Kubacki Nathalie & John May Mira & Timothy Olsen Jeffrey Lang Robert & Theresa McLaren Irene & Theodore Oslick EunJoo Lancaster Elizabeth McLean Theodore Pasternak, Dr. Morton A. Langsfield, Philip Mendelsohn in memory of Michael DDS Maleno Frances Menin Gregory Lare Melissa Patridge Marguerite Mertz & Mr. & Mrs. Robert Lawler Michael Lynagh, in honor David Paulsen Rob Lawless of Dan Rothermel Kelly & Michael Perron Brad Lederman Susan Meyer, in memory Robert & Lance Podell Michele & Robert Levin, of Margery Bleiman Leonard Podolin in memory of Margery Kimberly Miller Linda Polishuk Bleiman Margarita Montanaro Joy Pollock Laura Lewis (Buckwald) Jean Hee Moon Maureen Quinn Ilene & William Lipshutz, Richard Mulford in memory of Margery Mark Rachlin Bleiman Nancy & Michael Neary Min Zhong & Dejian Ren Min Zhu & Wei Liu Holly & Norman Nelson Rosemarie & Bill Reynolds Tarasa Lovick Maria L. Newman Catherine Robinson Judy & Charles Lyons, Mr. & Mrs. Reade Nimick Albert Rodstein, in memo- in memory of Margery Etta & Charles Nissman, ry of Margery Bleiman Bleiman in memory of Margery Toba Guttler Rotman, in Lynne & Bill MacKnight Bleiman honor of Ruth H. Guttler Douglas Mapp William J. Nolan Arlene Rubin, in memory Margarete & Robert Frances O’Brien, in honor of Margery Bleiman Marvin of Nanette A. O’Brien 24 In Appreciation

Geoffrey Rupprecht Robert Simpson Kathleen & David Vito Steven Sacks-Wilner David Smith Richard Vogel Ralph Sauer, in memory Rheta Smith Deborah Volker of Joseph Primavera Richard Donald Smith Caroline Walsh Selma & Samuel Savitz Carole Solomon, in memo- Eve Warner Pascale & Matthew Shaftel ry of Margery Bleiman Lesley & Mark Weber Thuy Pham Sharp Gary & Amy Steinberg, Robin Weiner Shelley A. Showers in memory of Margery Bleiman Rochelle, Jonathan, Rita & Charles Schedel, Haley & Drew Weiss Jill & Sydney Steinberg in honor of Dr. Margaret A. Jerome Wigler, in memory Schedel Shari & Richard Steinberg, of Joseph Primavera in memory of Margery Barbara & Richard John Wolf Schmeltzer Bleiman Brian Wormley Joseph Shapiro Patricia Stewart Cheryl & Robert Nancy Stokking Shelderfer Elaine & Martin Sussman, Mung-Yo Sheu in memory of Margery Bleiman Joan & Leonard Shore Michelle Sysol The Siegel Family, in memory of Margery Bleiman Chik-Kwun Tang Janet Sigman, in memory Claire & Evan Thomas of Margery Bleiman Ann Marie Turner * R E M I N D E R *

2017 PYO GALA DINNER & CONCERT Friday • March 10, 2017 • 6:00 p.m. • The Union League of Philadelphia 140 South Broad Street Philadelphia, Pennsylvania •

To become a sponsor, or request an invitation, please contact the PYO office, 215 545 0502 or visit online: www.pyos.org/support/annual-gala

Upcoming Performances

Saturday, March 4, 2017 – 7:30 p.m. Saturday, May 13, 2017 – 3:00 p.m. Bravo Brass 10th Annual Festival Concert Saint Mark’s Church of Philadelphia PRYSM & PRYSM Young Artists Information: 215 545 0502 Centennial Hall – The Haverford School Information: 215 545 0502 Friday, March 10, 2017 – 6:00 p.m. 2017 PYO Gala Dinner and Concert Saturday, May 13, 2017 – 7:30 p.m. Bravo Brass 14th Annual Festival Concert Tune Up Philly Bravo Brass Philadelphia Youth Orchestra Saint Mark’s Church of Philadelphia The Union League of Philadelphia Information: 215 545 0502 To request an invitation: 215 545 0502 Sunday, May 21, 2017 – 3:00 p.m. Sunday, March 12, 2017 – 3:00 p.m. 22nd Annual Festival Concert Philadelphia Young Artists Orchestra Philadelphia Young Artists Orchestra The Kimmel Center for the Performing Arts The Kimmel Center for the Performing Arts Information: 215 893 1999 Information: 215 893 1999

Sunday, March 26, 2017 – 3:00 p.m. Saturday, May 27, 2017 – 3:00 p.m. Philadelphia Youth Orchestra Showcase 2017 Inaugural Festival Concert Philadelphia Youth Orchestra Philadelphia Young Musicians Orchestra Philadelphia Young Artists Orchestra 7th Annual Festival Concert Philadelphia Young Musicians Orchestra Tune Up Philly PRYSM & PRYSM Young Artists Temple Performing Arts Center Bravo Brass Information: 215 545 0502 Tune Up Philly The Kimmel Center for the Performing Arts Sunday, June 4, 2017 – 3:00 p.m. Information: 215 893 1999 77th Annual Festival Concert Philadelphia Youth Orchestra The Kimmel Center for the Performing Arts Information: 215 893 Information: 215 893 1999 design: paone design design: associates

For complete schedule information and performance updates, please visit www.pyos.org