Season 2012-2013

23 Season 2012-2013

Thursday, April 25, at 8:00 Friday, April 26, at 2:00 The Philadelphia Orchestra Saturday, April 27, at 8:00 Donald Runnicles Conductor Jonathan Biss Piano

Elgar Cockaigne Overture, Op. 40 (“In London Town”)

Mozart Piano Concerto No. 13 in C major, K. 415 I. Allegro II. Andante III. Allegro

Intermission

Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo—L’istesso tempo, ma grazioso III. Allegretto grazioso (quasi andantino)—Presto, ma non assai—Tempo I—Presto, ma non assai—Tempo I IV. Allegro con spirito

This program runs approximately 1 hour, 55 minutes.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 2 PM. Visit www.wrti.org to listen live or for more details. 224 Story Title The Philadelphia Orchestra Jessica Griffin

Renowned for its distinctive Philadelphia is home and Carnegie Hall and the sound, beloved for its the Orchestra nurtures Kennedy Center while also keen ability to capture the an important relationship enjoying a three-week hearts and imaginations not only with patrons who residency in Saratoga of audiences, and admired support the main season Springs, N.Y., and a strong for an unrivaled legacy of at the Kimmel Center but partnership with the Bravo! “firsts” in music-making, also those who enjoy the Vail festival. The Philadelphia Orchestra Orchestra’s other area The ensemble maintains is one of the preeminent performances at the Mann an important Philadelphia orchestras in the world. Center, Penn’s Landing, tradition of presenting and other venues. The The Orchestra has educational programs for Philadelphia Orchestra cultivated an extraordinary students of all ages. Today Association also continues history of artistic leaders the Orchestra executes a to own the Academy of in its 112 seasons, myriad of education and Music, a National Historic including music directors community partnership Landmark. Fritz Scheel, Carl Pohlig, programs serving nearly Leopold Stokowski, Eugene Through concerts, 50,000 annually, including Ormandy, Riccardo Muti, tours, residencies, its Neighborhood Concert Wolfgang Sawallisch, and presentations, and Series, Sound All Around Christoph Eschenbach, and recordings, the Orchestra and Family Concerts, and Charles Dutoit, who served is a global ambassador eZseatU. as chief conductor from for Philadelphia and for In February 2013 the 2008 to 2012. With the the U.S. Having been the Orchestra announced a 2012-13 season, Yannick first American orchestra recording project with Nézet-Séguin becomes the to perform in China, in Deutsche Grammophon, eighth music director of 1973 at the request of in which Yannick and The Philadelphia Orchestra. President Nixon, today The the ensemble will record Named music director Philadelphia Orchestra Stravinsky’s The Rite of designate in 2010, Nézet- boasts a new partnership Spring. Séguin brings a vision that with the National Centre extends beyond symphonic for the Performing Arts For more information on music into the vivid world of in Beijing. The Orchestra The Philadelphia Orchestra, opera and choral music. annually performs at please visit www.philorch.org. 4 Music Director

Jessica Griffin Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. From the Orchestra’s home in Verizon Hall to the Carnegie Hall stage, 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 Yannick “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”

Over the past decade, Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. He has appeared with such revered ensembles as the Vienna and Berlin philharmonics; the Boston Symphony; the Accademia Nazionale di Santa Cecilia; the Dresden Staatskapelle; the Chamber Orchestra of Europe; and the major Canadian orchestras. His talents extend beyond symphonic music into opera and choral music, leading acclaimed performances at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival.

In February 2013, following the July 2012 announcement of a major long-term collaboration between Yannick and Deutsch Grammophon, the Orchestra announced a recording project with the label, in which Yannick and the Orchestra will record Stravinsky’s The Rite of Spring. His discography with the Rotterdam Philharmonic for BIS Records and EMI/Virgin includes an Edison Award-winning album of Ravel’s orchestral works. He has also recorded several award-winning albums with the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued studies with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. In 2012 Yannick was appointed a Companion of the Order of Canada, one of the country’s highest civilian honors. His other honors include Canada’s National Arts Centre Award; a Royal Philharmonic Society Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and an honorary doctorate by the University of Quebec in Montreal.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 25 Conductor

Johannes Ifkovits One of today’s leading Wagnerian specialists, Donald Runnicles is the general music director of the Deutsche Oper Berlin, chief conductor of the BBC Scottish Symphony, music director of the Grand Teton Music Festival, and principal guest conductor of the Atlanta Symphony. He made his Philadelphia Orchestra debut in 2005 and has led the ensemble on numerous occasions, most recently last November in a program of highlights from Wagner’s Ring. He also maintains regular relationships with the Berlin Philharmonic and the London Symphony. A Scot by birth, Mr. Runnicles has literally returned home as chief conductor of the BBC Scottish Symphony, leading subscription concerts in various cities in Scotland and northern England, and anchoring the Symphony’s substantial presence at the U.K.’s two largest festivals, the Edinburgh International Festival and the London Proms. From 1992 to 2008 Mr. Runnicles was music director of the San Francisco Opera, having unexpectedly won the job after stepping in for a colleague and conducting two Wagner Ring cycles in 1990. During his many years with the company, he led more than 60 productions, including the world premieres of John Adams’s Dr. Atomic and Conrad Souza’s Les Liaisons dangereuses, and the U.S. premieres of Olivier Messiaen’s Saint François d’Assise and Aribert Reimann’s Lear. At the close of his tenure he was given the San Francisco Opera Medal, the company’s highest honor, previously given to such luminaries as Leontyne Price, Marilyn Horne, and Plácido Domingo. Other awards include the Order of the British Empire (OBE) and honorary degrees from Edinburgh University, the San Francisco Conservatory of Music, and an honorary doctorate from the Royal Scottish Academy of Music and Drama. Mr. Runnicles’s recordings with the Atlanta Symphony include a critically acclaimed concert disc of works by Strauss and Wagner with soprano Christine Brewer, Mozart’s Requiem, and Orff’s Carmina burana. Also in his discography are a live recording of Wagner’s Tristan and Isolde with Ms. Brewer and John Treleaven; a Grammy- nominated recital of German romantic opera arias with tenor Ben Heppner; and Wagner’s Ring excerpts with the Dresden Staatskapelle. 26 Soloist

Jimmy Katz American pianist Jonathan Biss is a graduate of the Curtis Institute of Music and has been on the faculty there since 2010. He made his Philadelphia Orchestra debut in 2004 performing Mozart’s Piano Concerto No. 24. Widely regarded for his orchestral, recital, and chamber music concerts, he performs a diverse repertoire that ranges from Mozart and Beethoven to works by contemporary composers, including commissions from Leon Kirchner, Lewis Spratlan, Timo Andres, and Bernard Rands. Mr. Biss’s engagements this season include performances with the Seattle, National, Swedish Radio, and Danish National symphonies, and the Rotterdam and Prague philharmonics. Another season highlight has been his four-part chamber music series entitled “Schumann: Under the Influence,” which has been presented at numerous venues including Wigmore Hall in London and the Concertgebouw in Amsterdam with partners Mark Padmore, Miah Persson, Kim Kashkashian, and the Elias Quartet. Mr. Biss made his Carnegie Hall recital debut in January 2011 performing works by Beethoven, Schumann, Janácˇek, and a new piece written for him by Mr. Rands; he presents his second Carnegie recital in January 2014. Mr. Biss is an award-winning recording artist. Onyx Classics has so far released two CDs in a nine-year, nine- disc recording cycle of Beethoven’s complete sonatas. Mr. Biss wrote about this project and his relationship with Beethoven’s music more generally in Beethoven’s Shadow, published electronically by RosettaBooks as a Kindle Single. His recordings also include an album of Schubert sonatas and two Kurtág pieces from the collection Játékok on the Wigmore Hall Live label, and four recordings for EMI Classics, the first of which, in 2004, was of works by Beethoven and Schumann. Mr. Biss made his New York recital debut at age 20 at the 92nd Street Y’s Tisch Center for the Arts in 2000 and his New York Philharmonic debut under Kurt Masur that same season. Born in 1980 he has said that his first performance triumph came even before his birthday, when his pregnant mother, violinist Miriam Fried, performed at Carnegie Hall. He grew up in a family of musicians, a circumstance detailed in more entertaining fashion in the biography and blog on his website, www.jonathanbiss.com. 27 Framing the Program

The careers of the three composers on the program today Parallel Events unfolded in quite different ways. Edward Elgar was a slow 1782 Music starter who came to prominence in his mid-40s at the Mozart Haydn turn of the 20th century with the “Enigma” Variations for Piano Concerto Symphony orchestra and the oratorio The Dream of Gerontius. With No. 13 No. 73 these works, as well as with the lively Cockaigne Overture Literature from the same period, he quickly emerged as the leading Choderlos de English composer, indeed the first English composer for Laclos centuries to win broad international acclaim. In the concert Les Liaisons overture Cockaigne, subtitled “In London Town,” Elgar dangereuses Art captures the city in music, depicting the urban sounds of Reynolds marching bands, church bells, and merry revelers. Colonel Tarleton Mozart, of course, was perhaps the earliest starter in the History history of music, one who was already dazzling international First U.S. audiences before the age of 10. Piano concertos became commercial favored vehicles with which he could display his gifts. Today bank opens we hear the rarely performed Concerto No. 13 in C major, 1877 Music the last of a set of three he composed soon after moving Brahms Saint-Saëns to Vienna in 1781 and pursuing his career with a new Symphony Samson and determination and independence. No. 2 Delilah Brahms won great fame at age 20 when he was Literature discovered and promoted by Robert Schumann. Already a James noted pianist, his composing career rapidly grew in stature, The American Art except for two genres that proved troublesome: symphony Homer and opera. Like Elgar, Brahms never did write an opera The Cotton and he waited until his 40s to complete a first symphony. Pickers After that work triumphed in 1876, the Second Symphony History followed quickly and easily the next summer and it, too, Edison invents won immediate acclaim. If Brahms’s First Symphony is the phonograph largely dark and brooding in C minor, the Second we hear today is generally bright and joyful in D major. 1900 Music Elgar Puccini Cockaigne Tosca Overture Literature Chekov Uncle Vanya Art Cézanne Still Life with Onions History World Exhibition in Paris 28 The Music Cockaigne Overture

Cockaigne was a medieval fantasyland of plenty and content, where food and drink were laid out for free. Hence, by some accounts, the term “cockney” for a Londoner. Elgar’s Cockaigne is a portrait of London in the spirit of fantasy, a 15-minute tour of a city where a royal cavalcade is proceeding through the streets, supported by horse guards in their uniforms of scarlet, white, and silver; where street urchins are whistling along with their hands in their pockets; and where two young lovers are strolling Edward Elgar in Regent’s Park or seeking a quiet moment in one of the Born in Broadheath (near city’s churches. Such are the elements in the program Worcester), England, Elgar drew up for the piece, which he started in October June 2, 1857 1900 and finished the following year. (The work had its Died in Worcester, first performance in London at Queen’s Hall on June 20, February 23, 1934 1901, conducted by the composer.) The real city, for him, was rather different. He moved there in 1890, a thoroughly experienced musician who was into his 30s and had begun to achieve modest success as a composer. London did not listen. The next year he retreated with his wife and baby daughter to his native territory, the region of quiet towns and hills around the cathedral city of Worcester. There he worked on choral music and light instrumental pieces until his “Enigma” Variations (1898-99) suddenly brought him not only national but also international prominence. Now he could return to London as a man of distinction—but only for visits, for not until 1912 did he again take up residence in the city. A Closer Look Cockaigne was Elgar’s first orchestral work after the “Enigma” Variations. The opening is a sly and smiling maneuver that soon leads into a military march—a genre Elgar was about to make his own with the first of his set “Pomp and Circumstance.” In Cockaigne the march form is drawn in quick overview, with a middle section based on a big, broad tune: Here for the first time Elgar used the marking “nobilmente.” When the main march theme has come back and then slipped away, a variant of the majestic tune arrives, gentler and perhaps nostalgic, taking over the music for several musing minutes. About halfway through, the march reappears 29

Elgar composed the Cockaigne at full strength, and again disappears into the distance. Overture from 1900 to 1901. (Marvelously Elgar evokes the space of the city, as the The Overture had its march fades to a far-off drumbeat.) A new melody arrives, Philadelphia Orchestra identifiably churchy. Then the opening material is restored premiere in January 1963 with for a grand development that sweeps on through the William Smith conducting. Overture’s great tunes—reaching a point of Tchaikovskian The work has been heard only rapture—and leads ultimately, with a heralding of bells, to one other time on subscription the nobilmente melody in apotheosis. concerts, in March/April 2005, with Roger Norrington. Elgar dedicated the piece, commissioned by the Royal Philharmonic Society, to “my many friends, the members The Orchestra recorded the of British orchestras.” At the end, though, he inscribed a Cockaigne Overture in 1962 quotation from the 15th-century poem Piers Plowman: with Eugene Ormandy for “Meatless and moneyless on Malvern hills”—the hills CBS. that dominate the landscape near Worcester. “Meatless The score calls for two flutes and moneyless” he may no longer have been, but his (II doubling piccolo), two Cockaigne was still in the Worcestershire countryside, not oboes, two clarinets, two in the streets of London, however colorfully evoked. bassoons, contrabassoon, four horns, two trumpets, two —Paul Griffiths cornets, three trombones, tuba, timpani, percussion (bass drum, cymbals, military drum, orchestra bells, snare drum, tambourine, triangle), optional organ, and strings. The work runs approximately 15 minutes in performance. 30 The Music Piano Concerto No. 13

Indentifying Mozart’s piano concertos can be a confusing business, one that reveals something of the role these pieces played in his career. Today we hear the Concerto No. 13, the numbering of which (unlucky associations aside) would have been meaningless to Mozart—it was bestowed long after his death and some catalogues count it differently. In Mozart’s day printed programs and concert announcements were relatively rare; if they do exist the information provided tends to be limited. When Mozart performed one of his concertos it was sometimes listed by Wolfgang Amadè Mozart key, which is not entirely helpful in this instance because Born in Salzburg, he wrote three piano concertos in C major. Occasionally January 27, 1756 a program would say the work was “new,” but Mozart Died in Vienna, composed so many concertos, often in close succession, December 5, 1791 that there is rarely certainty which new one he performed on a specific concert. (His letters can be more informative because he gives exact descriptions of pieces.) Mozart produced our C-major Concerto during the winter of 1782-83 and it was published two years later as Op. IV. Opus numbers, however, are no longer used for Mozart’s compositions, as they are for Beethoven’s, so this too is unhelpful. Amidst all this confusion Ludwig Ritter von Köchel would appear to have come to the rescue. (This seems appropriate since Ritter in German means knight.) In 1862 he published a massive chronological catalogue of Mozart’s compositions, which earned him some degree of immortality due to the “K” numbers that now identify the composer’s works. Today we hear K. 415, which would put an end to the matter were it not that Köchel’s catalogue has gone through many editions in the past 150 years (with a new one in the works) and the numbers keep changing. Our Concerto is now officially K. 387b, although fortunately most listings stick to the old numbering. Mozart’s Cultivation of the Piano Concerto These labeling issues would be a minor matter except that they point to fundamental elements of Mozart’s engagement with the genre of the piano concerto. One is that he wrote a lot of them—the standard listing is 27, but once again numbers are misleading. His earliest attempts were not actually his own independent concertos but rather 31 arrangements of piano sonatas by C.P.E. Bach, J.C. Bach, and lesser figures, possibly an assignment given to the pre- teen composer by his father, Leopold. The issue of key is also important, as it was for many composers in Mozart’s day, when learned treatises were written about the specific affective qualities associated with particular keys. Of special interest is divining what keys meant for individual composers. We can see that Mozart seems to have associated some with nature, with love, with spirituality, even with Freemasonry. C major is the key of his great final symphony, the so-called “Jupiter,” as well as his late String Quintet, K. 515. His three piano concertos in C major—K. 415, K. 467, and K. 503—share a festive character often associated with this uncomplicated key without any sharps or flats. The Concerto we hear today has a somewhat larger orchestra than usual, with two trumpets and drums that add to the celebratory, even military flavor. Mozart’s piano concertos brilliantly allowed him to display his gifts to the public and Concerto No. 13 is one of the earliest he wrote after moving in 1781 to Vienna, where he sought to jump-start his mature career. He began giving concerts, which he produced at his own expense so as to support himself and Constanze Weber, the singer he married the following summer. The C-major Concerto, K. 415, is the last of a group of three that he wrote in the late fall and early winter of 1782-83 for his Lenten concerts that season. The others are No. 11 in F major (K. 413) and No. 12 in A major (K. 414). Mozart placed an advertisement in a local paper offering handwritten copies of these pieces that could be played in two ways, either with piano and full orchestra or a quattro, with a string quartet and thus chamber music for the home. A Closer Look In a letter to his father Mozart indicated that “These [three] concertos are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which the connoisseurs alone can derive satisfaction, but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why.” We see both qualities in the opening movement (Allegro), which begins as a quiet march with what initially seems to be a fugal unfolding but that soon explodes into the full orchestra. The movement continues to juxtapose the meltingly lyrical, especially for the piano soloist, with the festive and learned. 32

Mozart composed the Piano The following Andante is much more intimate and gives Concerto No. 13 from 1782 a relatively rare opportunity to experience the kinds of to 1783. melodic embellishments Mozart would typically improvise William Kapell was the soloist in performance; in this Concerto, as with its cadenzas—he in the Orchestra’s first, and wrote them all out. only other, performances of The finale (Allegro) has several surprises and an the work, in April 1951 with extraordinary opposition of moods. Things begin as Eugene Ormandy conducting. expected with the piano alone softly stating a jaunty theme In addition to the solo piano, that is loudly answered by the full orchestra. The second Mozart scored the Concerto for appearance of the soloist is a complete contrast: The key two oboes, two bassoons, two changes to minor, the tempo slows to Adagio, the meter horns, two trumpets, timpani, switches to duple, and the mood turns plaintive. After this and strings. brief interlude things get back on the happy track only to Performance time is be interrupted once again by the solemn Adagio before approximately 26 minutes. ultimately leading to a final statement of the opening theme; the entire Concerto unexpectedly ends softly. —Christopher H. Gibbs 33 The Music Symphony No. 2

Robert Schumann’s prophetic review in 1853 hailing the 20-year-old Johannes Brahms as the savior of Western music is well known. His effusive praise, however, may have had the unintended consequence of delaying a first symphony from the young genius. Schumann and everyone else wondered when Brahms would write one, what it would be like, and how he would answer one of the most pressing aesthetic questions of the day: the best way to write a symphony after the towering achievements of Beethoven. Berlioz, Liszt, Schumann, Mendelssohn, Johannes Brahms and other composers all came up with their own varying Born in Hamburg, answers. Brahms’s was eagerly awaited. May 7, 1833 Died in Vienna, But he kept delaying. Soon after receiving Schumann’s April 3, 1897 benediction, he started to write a symphony, but ultimately diverted the music to other pieces. Two orchestral serenades, Opp. 11 and 16, came fairly close to being full-fledged symphonies, and there are comparable aspirations evident in his unusually symphonic First Piano Concerto and the great “Haydn” Variations of 1873, which must have boosted his confidence in proving his orchestral prowess. In the end it took some 23 years before Brahms finished writing his magnificent Symphony No. 1 in C minor, a work immediately hailed as “Beethoven’s Tenth” by the celebrated conductor Hans von Bülow. Unidentical Twins After all the angst of producing that work, his Second Symphony had no such protracted birth pangs; its labor was relatively quick and easy. Brahms may have felt liberated to some degree from the burden of expectations set up so long ago by Schumann and turned to writing quite a different kind of symphony the second time around. Throughout his career he frequently created works in contrasting pairs. The First and Second symphonies may be considered such an instance of unidentical twins. They present an intriguing juxtaposition of gravity and cheer, which some have interpreted as a glimpse of the two sides of Brahms’s personality. As the composer had said of another pair of works, the Academic Festival Overture and the Tragic Overture: “One laughs, the other weeps.” 34

Brahms wrote the Second Symphony between June and October 1877, while also correcting the proofs of the First Symphony and making a four-hand piano arrangement of that work. His physical surroundings apparently inspired him, as he began composing amidst the breathtaking beauty of the Wörthersee, a lake nestled in the Carinthian Alps of southern Austria (Mahler would later find inspiration there as well) and completed it in Lichtental near Baden- Baden. He informed his friend, the powerful Viennese critic Eduard Hanslick, that the Symphony was “so cheerful and lovely that you will think it especially for you or even your young lady! That’s no great feat, you will say, Brahms is a smart fellow and the Wörthersee virgin soil, with so many melodies flying around that you must be careful not to tread on any.” The composer eventually sent the work to his good friend Theodor Billroth, a prominent Viennese physician, who responded: “I have already completely immersed myself in this piece, and it has given me many a happy hour. I cannot tell which movement is my favorite; I find each one magnificent in its own way. A cheerful, carefree mood pervades the whole, and everything bears the stamp of perfection and of the untroubled outpouring of serene thoughts and warm sentiments.” Late Idyll Such descriptions of the Second as sunny, warm, even pastoral (similar therefore to Beethoven’s Sixth Symphony, which contrasted so with his famous Fifth, or to Dvorˇák’s Sixth Symphony) have been attached to the work from the beginning. But the piece also has its more somber moments, specifically in the first two movements. A conductor wrote to Brahms two years after the Symphony appeared to inquire about the dark tone that intrudes in the first movement with the trombones and timpani. The composer explained that “I would have to confess that I am, by the by, a severely melancholic person, that black wings are constantly flapping above us, that in my works—possibly not entirely without intent—this Symphony is followed by a small essay on the great ‘Why.’ If you do not know it [the motet “Why Is the Light Given to the Hard-pressed”] I will send it to you. It throws the necessary sharp shadows across the light-hearted symphony and perhaps explains those trombones and drums.” Musicologist Reinhold Brinkmann has explored what he calls the “Late Idyll” represented in this not-so-straightforward work. After the popular and critical success of the First Symphony, which had its premiere in the relatively provincial Karlsruhe, Brahms was emboldened to premiere his Second in 35

Brahms composed his Vienna. Hans Richter was enlisted to conduct the Vienna Symphony No. 2 in 1877. Philharmonic for the first performance scheduled for The Philadelphia Orchestra’s early December 1877, but, as Walter Frisch has noted, first performance of the “in one of those little ironies of music history, it had to be Second Symphony was in postponed until December 30 because the players were so December 1900, under Fritz preoccupied with learning Wagner’s Rheingold.” Scheel’s direction. The most A Closer Look The ear may be drawn, at the beginning recent performances on the Orchestra’s subscription of the first movement (Allegro non troppo), to the concerts were in October musical ideas presented by the woodwinds and brass, but 2010, with Christoph von the primary building block of the entire Symphony comes Dohnányi on the podium. before, with the first four notes intoned in the lower strings: D, C-sharp, D, A. The movement is rich in melodic ideas, The Philadelphia Orchestra has including a brief allusion to Brahms’s song from the same recorded Brahms’s Second time (and in same key) “Es liebt sich so lieblich im Lenze!,” Symphony four times: with Leopold Stokowski in 1929 Op. 71, No. 1 (Love Is So Lovely in Spring). for RCA Victor; with Eugene The second movement (Adagio non troppo) is the least Ormandy in 1939 for RCA sunny and exhibits the “Brahmsian fog” of which critics Victor; with Ormandy in 1953 commented during the composer’s time, with the dark for CBS; and in 1988 with sonorities of its instrumental palette and the thickness Riccardo Muti for Philips. of the orchestration. The third movements of Brahms’s The score calls for two flutes, symphonies typically serve as a kind of intermezzo; that two oboes, two clarinets, two of the Second Symphony merges elements of the minuet bassoons, four horns, two (Allegretto grazioso) and the scherzo (Presto, ma non trumpets, three trombones, assai). The final movement (Allegro con spirito) begins tuba, timpani, and strings. with a soft and mysterious theme that suddenly bursts into The Symphony runs a fortissimo statement with great energy and forward drive. approximately 40 minutes in —Christopher H. Gibbs performance.

GENERAL TERMS Op.: Abbreviation for opus, and recapitulation, the Cadence: The conclusion a term used to indicate last sometimes followed to a phrase, movement, the chronological position by a coda. The exposition or piece based on a of a composition within a is the introduction of recognizable melodic composer’s output. Opus the musical ideas, which formula, harmonic numbers are not always are then “developed.” In progression, or dissonance reliable because they are the recapitulation, the resolution often applied in the order exposition is repeated with Cadenza: A passage or of publication rather than modifications. section in a style of brilliant composition. Tonic: The keynote of a improvisation, usually Rondo: A form frequently scale inserted near the end of a used in symphonies and movement or composition concertos for the final THE SPEED OF MUSIC Chord: The simultaneous movement. It consists (Tempo) sounding of three or more of a main section that Adagio: Leisurely, slow tones alternates with a variety of Allegretto: A tempo Dissonance: A contrasting sections (A-B- between walking speed combination of two or more A-C-A etc.). and fast tones requiring resolution Scherzo: Literally “a Allegro: Bright, fast Fugue: A piece of music joke.” Usually the third Andante: Walking speed in which a short melody movement of symphonies Andantino: Slightly is stated by one voice and quartets that was quicker than andante and then imitated by the introduced by Beethoven Con spirito: With spirit other voices in succession, to replace the minuet. The Grazioso: Graceful and reappearing throughout scherzo is followed by a easy the entire piece in all the gentler section called a trio, L’istesso tempo: At the voices at different places after which the scherzo is same tempo K.: Abbreviation for Köchel, repeated. Its characteristics Nobilmente: Nobly the chronological list of all are a rapid tempo in triple Presto: Very fast the works of Mozart made time, vigorous rhythm, and by Ludwig von Köchel humorous contrasts. TEMPO MODIFIERS Legato: Smooth, even, Sonata form: The form in Ma non assai: But not without any break between which the first movements much notes (and sometimes others) Non troppo: Not too Meter: The symmetrical of symphonies are usually much grouping of musical cast. The sections are Quasi: Almost rhythms exposition, development, 37 May The Philadelphia Orchestra Jessica Griffin

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Hilary Hahn Returns May 3 & 4 8 PM May 5 2 PM Yannick Nézet-Séguin Conductor Hilary Hahn Violin Strauss Love Scene from Feuersnot Korngold Violin Concerto Mahler Symphony No. 1 The May 3 concert is sponsored by the Louis N. Cassett Foundation.

Simon Rattle and Lang Lang May 9 & 11 8 PM May 10 2 PM Simon Rattle Conductor Lang Lang Piano Andrew Norman Unstuck Beethoven Piano Concerto No. 3 Sibelius Symphony No. 6 Sibelius Symphony No. 7 These concerts are sponsored by the Blanche and Irving Laurie Foundation.

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. 1638 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.