23 Season 2012-2013

Wednesday, January 16, at 8:00 The Philadelphia Orchestra Friday, January 18, at 2:00 Saturday, January 19, at 8:00 Yannick Nézet-Séguin Conductor Leonidas Kavakos

Ravel La Valse

Szymanowski No. 2, Op. 61 (In one movement)

Intermission

Shostakovich Symphony No. 5 in D minor, Op. 47 I. Moderato—Allegro non troppo II. Allegretto III. Largo IV. Allegro non troppo

This program runs approximately 1 hour, 50 minutes.

The January 16 concert is sponsored by Ballard Spahr, LLP.

3 Story Title 25 The Philadelphia Orchestra Jessica Griffin

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

26 Soloist

Yannis Bournias Violinist Leonidas Kavakos has been a regular soloist with The Philadelphia Orchestra since making his debut in 1999 performing Tchaikovsky’s Violin Concerto under the baton of Charles Dutoit at the Mann Center. He has appeared with the Orchestra under the direction of music directors Wolfgang Sawallisch and Christoph Eschenbach as well as guest conductors Rafael Frühbeck de Burgos and Peter Oundjian. In 2009 Mr. Kavakos was a guest soloist for the Orchestra’s tour of Europe and the Canary Islands, performing in Tenerife, Grand Canary, Lisbon, Madrid, Valencia, Luxembourg, Budapest, and Vienna. Mr. Kavakos was still in his teens when he first gained international attention, winning the Sibelius Competition in 1985 and, three years later, the Paganini Competition. He now works with the world’s major orchestras and conductors, including the Vienna Philharmonic, the Leipzig Gewandhaus Orchestra, the Royal Concertgebouw Orchestra, the London Symphony, the Orchestre de , the La Scala Philharmonic, the Mariinsky Theatre Orchestra, the Boston Symphony, and the New York and Los Angeles philharmonics. This season he is the focus of the London Symphony’s UBS Soundscapes LSO Artist Portrait; he is also artist in residence at the Philharmonic. Increasingly recognized as a conductor as well, Mr. Kavakos makes conducting debuts at the Finnish Radio Symphony and the Vienna Symphony this season. Mr. Kavakos is now an exclusive Decca recording artist. His first CD on the label, the complete Beethoven violin sonatas with pianist Enrico Pace, was released this month. They performed the sonatas at the Salzburg Festival in August 2012 and will reprise the performance at the Concertgebouw in 2013. Mr. Kavakos has a distinguished discography, including an award-winning disc with Mendelssohn’s Violin Concerto and a live recording of Mozart’s five violin concertos and Symphony No. 39 with the Camerata Salzburg, both on Sony Classical. In 1991, shortly after winning the Sibelius Competition, Mr. Kavakos won a Gramophone Award for the first- ever recording of the original version of Sibelius’s Violin Concerto, recorded on BIS. Mr. Kavakos plays the “Abergavenny” Stradivarius of 1724. 27 Framing the Program

Amid the heated debates about what path musical Parallel Events modernism should take in the 1920s and ’30s, the 1919 Music three composers featured on the program today charted Ravel Elgar courses that were bold and distinctive, yet they never lost La Valse Cello Concerto touch with audiences. Direct communication was a shared Literature concern. Hesse Demian “I feel this work a kind of apotheosis of the Viennese Art waltz, linked in my mind with the impression of a fantastic Klee whirl of destiny.” So Maurice Ravel said of La Valse, which Dream Birds he composed in the wake of the First World War, after History a period of poor health, creative inactivity, and the death Treaty of of his mother. The brilliantly orchestrated work begins Versailles mysteriously as a haunted waltz and builds through various thrilling climaxes to a cataclysmic conclusion. 1933 Music Szymanowski Copland The great Polish composer Karol Szymanowski Violin Concerto Symphony assimilated a wide range of influences, from the lush No. 2 No. 2 Romanticism of Strauss and Mahler, to the Impressionism Literature of Debussy and Ravel, and ultimately incorporated into Lorca his music various folk traditions of the imposing Tatra The Blood Mountains near where he lived. The Violin Concerto No. 2 Wedding was his last major orchestral work, written in collaboration Art with his close friend, the celebrated violinist Paweł Magritte Kochan´ski. The Human Condition Shostakovich’s most famous Symphony, his magnificent History Fifth, was the work that brought him back into the good Repeal of graces of the Soviet musical establishment in 1937, after Prohibition a series of harsh attacks on his music the previous year. Shostakovich’s searing Symphony not only won official 1937 Music approval but also ultimately proved to be an enduring Shostakovich Orff testament to the trying realities of his time. Symphony Carmina burana No. 5 Literature Steinbeck Of Mice and Men Art Picasso Guernica History Japan invades China 28 The Music La Valse

Deeply moved by works of Debussy from the 1890s, around 1900 Ravel began to find his own answers to the questions about harmony, color, and instrumental texture that the late 19th century had left unresolved. As a new century dawned, so did hopes of a “new music,” and this impulse found expression in the music of composers as diverse as Elgar and Schoenberg, Puccini and Debussy. At the beginning of the decade, Ravel’s music began to appear in print for the first time with elegiac pieces such as the Pavane for a Dead Princess and revolutionary Maurice Ravel ones such as Jeux d’eau. Buoyed by these successes, Born in Ciboure, France, in 1904 the composer wrote Miroirs, a remarkable set March 7, 1875 of “impressionistic” piano pieces that some would later Died in Paris, compare to the paintings of Monet or Van Gogh. After this December 28, 1937 he was destined to join Debussy in writing a new chapter in the history of French music. An “Apotheosis of the Viennese Waltz” There is a popular element in the work we hear today that was inspired by the past and that conveys both nostalgia and shrewd critique. Ravel conceived La Valse as an “apotheosis of the Viennese waltz, which is entangled in my mind with the idea of the whirl of destiny.” He completed the piece, which he had first called Wien (Vienna), at the end of World War I, when Vienna’s destiny—as the former center of the empire that the war dissolved—had indeed determined a new course for the Western world. As such it became a sort of “Death and Transfiguration” for the very concept of the waltz, as it had been defined through two centuries and perfected by the Strauss family a quarter- century earlier. If the piece contains a dark and even somewhat sinister element, this is in keeping with the time and place of its inception. World War I had, after all, altered the shape of the world as no war ever had. Composed originally as a dance score for Sergei Diaghilev’s Ballets Russes, La Valse used material sketched years earlier—some of which had already appeared, in fact, near the end of the 1911 Valses nobles et sentimentales. Diaghilev found the piece untenable as a ballet, claiming that it would be too expensive to produce. Thus it was first performed as a concert piece, on a program of the Concert Lamoureux in Paris on December 12, 1920; Camille 29

La Valse was composed from Chevillard was the conductor. Not until October 1926 was 1919 to 1920. La Valse presented as a ballet, in a production by the Royal Leopold Stokowski conducted Flemish Ballet in Antwerp, with the great Ida Rubinstein. the first Philadelphia Orchestra A Closer Look Ravel described the piece thus: “Eddying performances of La Valse, in clouds allow glimpses of waltzing couples. The clouds October 1922. Most recently gradually disperse, revealing a vast hall filled with a whirling on subscription, it was led by throng. The scene grows progressively brighter. The light Charles Dutoit in June 2009. of chandeliers blazes out: an imperial court around 1855.” The Orchestra has recorded This brilliantly orchestrated work conveys both the gaiety La Valse three times, all with of the waltz and, as a reflection of Vienna’s somewhat Eugene Ormandy: in 1953 and paralytic new destiny, a level of seriousness that is 1963 for CBS, and in 1971 ultimately disquieting. for RCA. —Paul J. Horsley The work is scored for three flutes (III doubling piccolo), three oboes (III doubling English horn), two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, castanets, crotales, cymbals, orchestra bells, snare drum, tam-tam, tambourine, triangle), two harps, and strings. Performance time is approximately 15 minutes. 30 The Music Violin Concerto No. 2

Karol Szymanowski was born in 1882, the same year as Igor Stravinsky and just one after Belá Bartók. Along with the older Czech Leoš Janácˇek, these composers carved out a special space in early-20th-century music. All four hailed from places somewhat afield from the “center” of the European musical tradition. But they traveled to France and Germany and were influenced by compositional currents in those countries, whether initiated by Mahler or Strauss, Debussy or Ravel. They were also at various times inspired by, and drew from, the musical traditions of their Karol Szymanowski native lands, particularly folk music. Born in Tymoszówka, Ukraine, October 3, 1882 Of the four, Stravinsky went on to enjoy the most celebrated Died in Lausanne, international career, while Bartók is especially recognized Switzerland, March 29, for the brilliant incorporation of his ethnomusicological 1937 explorations into his own music. Janácˇek’s reputation has risen steadily in recent decades, spurred on in large part by the appreciation of his operas. Szymanowski remains the least known. Undoubtedly the leading Polish composer of his era—indeed, the greatest between Chopin and Lutosławski—he awaits appropriately broad rediscovery. Born on his Polish family’s estate in the Ukraine, Szymanowski received his earliest musical training at home before moving in his late teens to for formal study, and then on to Berlin and Vienna. Wagner and Strauss were his models at the time, but the influences broadened as he developed an interest in Eastern cultures and traveled to North Africa. His musical allegiances turned to the French Impressionism of Debussy, the modernism of Stravinsky, as well as to the Russian mysticism of Scriabin. This wide range of influences would later merge with his explorations of Polish folk music, especially from the region of the imposing Tatra Mountains. The folk element came to the fore in his late large-scale works, the ballet Harnasie (1922-32), the Symphonie concertante (Symphony No. 4; 1932), and the Second Violin Concerto we hear today. While the ballet explicitly uses folk material, the other two subtly adapt gestures, modes, and rhythms of indigenous sources. In the last interview he gave, Szymanowski called himself “opposed to confining oneself to folklore,” which for him was significant as a “fertilizing agent.” 31

Szymanowski composed his A Great Last Collaboration During his final years Second Violin Concerto in Szymanowski toured far and wide, much to the detriment of 1933. his fragile health, in order to supplement his meager income. Angel Reyes was the soloist The Second Violin Concerto was his last major orchestral for the first Philadelphia work. Like the First Concerto from 1916, and a series Orchestra performances of of remarkable pieces for violin and piano, Szymanowski the work, in April 1948, with composed it for his good friend Paweł Kochan´ski. Eugene Ormandy on the podium. Since then the work The two formed a great musical partnership. As with the has been heard only one other eminent 19th-century violinist Joseph Joachim before time on subscription concerts: him—who collaborated with Schumann, Brahms, Dvorˇák, in March 1981 with violinist and many others—Kochan´ski functioned in many respects Henryk Szeryng and conductor as co-creator in Szymanowski’s violin compositions. John Nelson. The piece was (He also worked closely with Prokofiev, Stravinsky, and also heard in summer 1993 other leading composers of the time.) Szymanowski at both the Mann Center and acknowledged in a memorial address that he was “indebted the Saratoga Performing Arts to him alone for imparting to me his profoundly penetrating Center, with Chantal Juillet and ‘secret knowledge of the violin.’” The published score to the Charles Dutoit. Second Violin Concerto generously states: “The violin part The score calls for two flutes composed in collaboration with P. Kochan´ski.” (II doubling piccolo), two In the early 1920s Kochan´ski had moved to America, oboes (II doubling English where he taught at Juilliard, but maintained his ties to horn), two clarinets (II doubling E-flat clarinet), two bassoons, Europe. At his urging, as Szymanowski wrote in a letter, contrabassoon, four horns, two the Second Violin Concerto was “squeezed out of me, trumpets, three trombones, as out of a dessicated tube of toothpaste.” Turning even tuba, timpani, percussion (bass further from his earlier Modernist style, Szymanowski drum, cymbals, snare drum, half seriously said the work was “horribly sentimental triangle), piano, strings, and … beating all records of sentimentality. … I am almost solo violin. ashamed of myself!!” He wrote the work quickly with The Concerto runs Kochan´ski’s help and the violinist, who was terminally ill approximately 20 minutes in at the time, gave the first performance with the Warsaw performance. Philharmonic on October 6, 1933. A Closer Look Both of Szymanowski’s violin concertos are continuous works consisting of two large sections separated by an extensive cadenza composed (and credited to) Kochan´ski. Although one still finds the colorful orchestral palette of the composer’s earlier Impressionism, the Tatra folk element now plays an important role, especially in the second half of the piece. The violin presents the long, haunting opening melody that generates many of the musical ideas to come. Following the startling chord that ends the cadenza, the second half of the piece begins with a lively march leading to a tranquil andantino. The final part looks back to the opening of the Concerto, with the principal theme boldly returning to end the piece. —Christopher H. Gibbs 32 The Music Symphony No. 5

The life and career of Dmitri Shostakovich were in a perilous state when he began writing his Fifth Symphony in April 1937. The 30-year-old composer had recently experienced a precipitous fall from the acclaim he had enjoyed throughout his 20s, ever since he burst on the musical scene at age 19 with his brash and brilliant First Symphony. That work won him overnight fame and extended his renown far beyond the Soviet Union. Shostakovich also received considerable attention for his contributions to the screen and stage, including film Dmitri Shostakovich scores, ballets, incidental music, and two full-scale operas: Born in St. Petersburg, The Nose and Lady Macbeth of the Mtsensk District. The September 25, 1906 latter enjoyed particular popular and critical success in Died in Moscow, the Soviet Union and abroad after its premiere in January August 9, 1975 1934, so much so that a new production was presented at the Bolshoi Theater in Moscow two years later. A Fall from Grace And that is when the serious troubles began that changed the course of Shostakovich’s life. Stalin attended Lady Macbeth on January 26, 1936, and left before the end of the performance. A few days later an article entitled “Muddle Instead of Music” appeared in Pravda, the official newspaper of the Communist Party. The anonymous critic wrote that the opera “is a leftist bedlam instead of human music. The inspiring quality of good music is sacrificed in favor of petty-bourgeois formalist celebration, with pretense at originality by cheap clowning. This game may end badly.” Those terrifying last words were life-threatening; this was not just a bad review that could hamper a thriving career. The article was soon followed by another in Pravda attacking his ballet The Limpid Stream, and then by yet another. The musical establishment, with a few brave exceptions, lined up in opposition to Shostakovich. He was working at the time on a massive Fourth Symphony, which went into rehearsals in December 1936. At the last moment, just before the premiere, the work was withdrawn, most likely at the insistence of the authorities. The impressive Symphony would have to wait 25 years for unveiling in 1961. (The Philadelphians gave the American premiere in 1963.) 33

The Return of Shostakovich The composer, whose first child had just been born, was well aware of the show trials and mounting purges, as friends, family, and colleagues disappeared or were killed. He faced terrifying challenges in how to proceed after the sustained attacks on his music. He composed the first three movements of the Fifth Symphony with incredible speed—he later recounted that he wrote the Largo in just three days— although the finale slowed him down. The completion of his new symphony is usually dated July 29, 1937, but the most recent investigation for a new critical edition indicates that composition continued well into the fall. The notable premiere took place on November 21 with the Leningrad Philharmonic under Evgeny Mravinsky. In the words of Shostakovich biographer Laurel Fay: “The significance of the occasion was apparent to everyone. Shostakovich’s fate was at stake. The Fifth Symphony, a non-programmatic, four-movement work in a traditional, accessible symphonic style, its essence extrapolated in the brief program note as ‘a lengthy spiritual battle, crowned by victory,’ scored an absolute, unforgettable triumph with the listeners.” The funereal third movement, the Largo, moved many listeners to tears. According to one account, members of the audience, one by one, began to stand during the extravagant finale. Composer Maximilian Steinberg, a former teacher of Shostakovich, wrote in his diary: “The ovation was stupendous, I don’t remember anything like it in about the last ten years.” Yet the enormous enthusiasm from musicians and non-musicians alike—the ovations reportedly lasted nearly a half hour—could well have been viewed as a statement against the Soviet authorities’ rebukes of the composer—artistic triumphs could spell political doom. Two officials were sent to monitor subsequent performances and concluded that the audience had been selected to support the composer—a false charge made even less tenable by the fact that every performance elicited tremendous ovations. The Importance of Art It may be difficult for contemporary American audiences to appreciate how seriously art was taken in the Soviet Union. The attention and passions, the criticism and debates it evoked—dozens of articles, hours of official panels at congresses, and abundant commentary—raised the stakes for art and for artists. For his part Shostakovich remained silent at the time about the Fifth Symphony. He eventually stated that the quasi-autobiographical work was about the “suffering 34

Shostakovich composed his of man, and all-conquering optimism. I wanted to convey Symphony No. 5 in 1937. in the Symphony how, through a series of tragic conflicts Leopold Stokowski led the first of great inner spiritual turmoil, optimism asserts itself as a Philadelphia performances of world view.” Shostakovich’s Fifth Symphony, The best-known remark about the work is often in March 1939. Since then misunderstood. In connection with the Moscow premiere the Orchestra has performed of the Symphony, Shostakovich noted that among all the work many times at home, as well as on domestic and the attention it had received, one interpretation gave international tours, including him “special pleasure, where it was said that the Fifth performances in Russia under Symphony is the practical creative response of a Soviet Eugene Ormandy in 1958. artist to just criticism.” This last phrase was subsequently Among the other conductors attributed to the composer as a general subtitle for the to lead the piece here are Symphony. Yet as Fay has observed, Shostakovich never István Kertész, André Previn, agreed with what he considered the unjust criticism of his Riccardo Muti, Yuri Temirkanov, earlier work, nor did he write the Fifth along the lines he Maxim Shostakovich, Leonard had been told to do. Most importantly, he gave no program Slatkin, Wolfgang Sawallisch, or title to it at any time. The work, which reportedly was one and Christoph Eschenbach. the composer thought particularly highly of in later years, The most recent subscription went on to be one of his most popular and successful performances were with compositions and a staple of the symphonic repertory. Charles Dutoit in June 2009. A Closer Look The first movement (Moderato) opens The Philadelphians have recorded the Symphony several with the lower strings intoning a striking, jagged theme, times: in 1939 for RCA with which is immediately imitated by the and gradually Stokowski; in 1965 for CBS winds down to become an accompaniment to an eerie with Ormandy; in 1975 for theme that floats high above in the upper reaches of RCA with Ormandy; in 1992 the violins. The tempo eventually speeds up (Allegro for EMI with Muti; and in 2006 non troppo), presenting a theme that will appear in with Eschenbach for Ondine. different guises elsewhere in the Symphony, most notably Shostakovich scored the transformed in the triumphant conclusion. work for piccolo, two flutes, The brief scherzo-like Allegretto shows Shostakovich’s two oboes, two clarinets, increasing interest at the time in the music of Mahler, in E-flat clarinet, two bassoons, this case the Fourth Symphony, which also includes a contrabassoon, four horns, grotesque violin solo. The Largo, the movement that so three trumpets, three moved audiences at the first performances, projects a trombones, tuba, timpani, percussion (bass drum, tragic mood of enormous intensity. The brass instruments cymbals, orchestra bells, do not play at all in the movement, but return in full force snare drum, tam-tam, triangle, to dominate the finale (Allegro non troppo). The “over xylophone), harp, piano the top” exuberance of this last movement has long been (doubling celesta), and strings. debated, beginning just after the first performances. Especially following the effect of the preceding lament, The Symphony runs some have found the optimistic triumphalism of the approximately 45 minutes in performance. ending forced and ultimately false. Perhaps it is the ambiguity still surrounding the work that partly accounts for its continued appeal and prominence. —Christopher H. Gibbs Program notes © 2013. 35 Musical Terms

GENERAL TERMS grouping of musical Sonata form: The form in Cadence: The conclusion rhythms which the first movements to a phrase, movement, Modulate: To pass from (and sometimes others) or piece based on a one key or mode into of symphonies are usually recognizable melodic another cast. The sections are formula, harmonic Op.: Abbreviation for opus, exposition, development, progression, or dissonance a term used to indicate and recapitulation, the resolution the chronological position last sometimes followed Cadenza: A passage or of a composition within a by a coda. The exposition section in a style of brilliant composer’s output. Opus is the introduction of improvisation, usually numbers are not always the musical ideas, which inserted near the end of a reliable because they are are then “developed.” In movement or composition often applied in the order the recapitulation, the Chord: The simultaneous of publication rather than exposition is repeated with sounding of three or more composition. modifications. tones Rondo: A form frequently Tonic: The keynote of a Coda: A concluding used in symphonies and scale section or passage added concertos for the final THE SPEED OF MUSIC in order to confirm the movement. It consists (Tempo) impression of finality of a main section that Allegretto: A tempo Concertante: A work alternates with a variety of between walking speed featuring one or more solo contrasting sections (A-B- and fast instruments A-C-A etc.). Allegro: Bright, fast Dissonance: A Scherzo: Literally “a Andante: Walking speed combination of two or more joke.” Usually the third Andantino: Slightly tones requiring resolution movement of symphonies quicker than andante Harmonic: Pertaining to and quartets that was Largo: Broad chords and to the theory introduced by Beethoven Moderato: A moderate and practice of harmony to replace the minuet. The tempo, neither fast nor Intonation: The treatment scherzo is followed by a slow of musical pitch in gentler section called a trio, performance after which the scherzo is TEMPO MODIFIERS Legato: Smooth, even, repeated. Its characteristics Non troppo: Not too without any break between are a rapid tempo in triple much notes time, vigorous rhythm, and Meter: The symmetrical humorous contrasts. 36 Orchestra Headlines

Philadelphia Orchestra Chamber Music Concert Tickets are now on sale for the fourth concert in The Philadelphia Orchestra’s 28th Season Chamber Music Series on Sunday, February 17, at 3:00 PM in Perelman Theater at the Kimmel Center. Tickets range from $19.00-$28.00. For more information, call Ticket Philadelphia at 215.893.1999 or visit www.philorch.org. Mozart Divertimento in E-flat major, K. 563, for violin, viola, and cello Schubert Octet in F major, D. 803, for clarinet, bassoon, horn, two violins, viola, cello, and double bass Angela Anderson Bassoon Derek Barnes Cello Che-Hung Chen Viola Elina Kalendareva Violin Juliette Kang Violin Robert Kesselman Double Bass Kathryn Picht Read Cello Marc Rovetti Violin Shelley Showers Horn Annual Martin Luther King Jr. Tribute Concert The Philadelphia Orchestra’s 23rd annual Martin Luther King Jr. Tribute Concert takes place on Monday, January 21, at 4:00 PM at Martin Luther King High School, 6100 Stenton Ave. Yannick Nézet-Séguin leads the Orchestra along with speaker Charlotte Blake Alston, guest conductor Jeri Lynne Johnson, and the Philadelphia All City Choir in a program that pays tribute to Dr. King’s religious beliefs, his vision of a society free of prejudice and racial divisions, and his belief in the power of music to effect change. The event is free but tickets are required. For more information please visit www.philorch.org/mlk. New Barbara Govatos Recording A new boxed set recording of the complete Beethoven Sonatas for Violin and Piano by Orchestra violinist Barbara Govatos and pianist Marcantonio Barone was recently released on Bridge Records. The set is available through Bridge Records or Amazon. This past November the duo received the Classical Recording Foundation’s Samuel Sanders Award for Collaborative Artists in recognition of the new recording. 37 January/February The Philadelphia Orchestra Jessica Griffin

Tickets are disappearing fast for these amazing concerts! Order your tickets today.

Yannick and Bruckner January 24 8 PM January 25 2 PM Yannick Nézet-Séguin Conductor Wagner Siegfried Idyll Bruckner Symphony No. 7

Watts and Beethoven February 1 & 2 8 PM Rafael Frühbeck de Burgos Conductor André Watts Piano Bach/orch. Stokowski “Wachet auf, ruft uns die Stimme” Beethoven Piano Concerto No. 5 (“Emperor”) Hindemith Concert Music for Strings and Brass Liszt Les Préludes

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