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Season 2016-2017 23 Season 2016-2017 Thursday, May 18, at 8:00 Friday, May 19, at 8:00 The Philadelphia Orchestra Saturday, May 20, at 8:00 Sunday, May 21, at 2:00 Yannick Nézet-Séguin Conductor Karen Cargill Mezzo-soprano Women of the Philadelphia Symphonic Choir Amanda Quist Director The American Boychoir Fernando Malvar-Ruiz Music Director Mahler Symphony No. 3 in D minor Part I I. Kräftig. Entschieden Part II II. Tempo di menuetto: Sehr mässig III. Comodo. Scherzando. Ohne Hast IV. Sehr langsam. Misterioso— V. Lustig im Tempo und keck im Ausdruck— VI. Langsam. Ruhevoll. Empfunden This program runs approximately 1 hour, 40 minutes, and will be performed without an intermission. The May 18 concert is sponsored by Ballard Spahr. The May 19 concert is sponsored by Elia D. Buck and Caroline B. Rogers. The May 20 concert is sponsored by Wells Fargo. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 24 Please join us immediately following the May 18-20 performances for free Postlude recitals. May 18 Jeremy Flood Organ J.S. Bach Prelude and Fugue in G major, BWV 541 Brahms from Eleven Chorale Preludes, Op. 122: V. Schmücke dich, o liebe Seele VII. O Gott, du frommer Gott X. Herzlich tut mich verlangen XI. O Welt, ich muss dich lassen Vierne from Symphony No. 1, Op. 14: VI. Final May 19-20 Peter Richard Conte Organ Elgar from Organ Sonata No. 1 in G major, Op. 28: I. Allegro maestoso Dvořák/trans. Conte Humoresque in G-flat major, Op. 101, No. 7 Boëllmann Suite gothique, Op. 25 I. Introduction—Choral II. Menuet gothique III. Prière à Notre-Dame IV. Toccata Funding for the Organ Postludes is provided through a generous grant from the Wyncote Foundation in support of The Philadelphia Orchestra’s Fred J. Cooper Memorial Organ Artistic Planning Initiative. 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage. The Orchestra Center, Penn’s Landing, is inspiring the future and free Neighborhood and other cultural, civic, Concerts, School Concerts, transforming its rich tradition and learning venues. The of achievement, sustaining and residency work in Orchestra maintains a strong Philadelphia and abroad. the highest level of artistic commitment to collaborations quality, but also challenging— with cultural and community Through concerts, tours, and exceeding—that level, organizations on a regional residencies, presentations, by creating powerful musical and national level, all of which and recordings, The experiences for audiences at create greater access and Philadelphia Orchestra is home and around the world. engagement with classical a global ambassador for Music Director Yannick music as an art form. Philadelphia and for the Nézet-Séguin’s connection US. Having been the first to the Orchestra’s musicians The Philadelphia Orchestra serves as a catalyst for American orchestra to has been praised by perform in China, in 1973 both concertgoers and cultural activity across Philadelphia’s many at the request of President critics since his inaugural Nixon, the ensemble today season in 2012. Under his communities, building an offstage presence as strong boasts a new partnership with leadership the Orchestra Beijing’s National Centre for returned to recording, with as its onstage one. With the Performing Arts and the two celebrated CDs on Nézet-Séguin, a dedicated Shanghai Oriental Art Centre. the prestigious Deutsche body of musicians, and one Grammophon label, of the nation’s richest arts The Orchestra annually continuing its history of ecosystems, the Orchestra performs at Carnegie Hall recording success. The has launched its HEAR while also enjoying summer Orchestra also reaches initiative, a portfolio of residencies in Saratoga thousands of listeners on the integrated initiatives that Springs, NY, and Vail, CO. radio with weekly Sunday promotes Health, champions For more information on afternoon broadcasts on music Education, eliminates The Philadelphia Orchestra, WRTI-FM. barriers to Accessing the please visit www.philorch.org. 4 Music Director Chris Lee Music Director Yannick Nézet-Séguin is now confirmed to lead The Philadelphia Orchestra through the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he becomes music director of the Metropolitan Opera beginning with the 2021-22 season. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of the Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fifth season include an exploration of American Sounds, with works by Leonard Bernstein, Christopher Rouse, Mason Bates, and Christopher Theofanidis; a Music of Paris Festival; and the continuation of a focus on opera and sacred vocal works, with Bartók’s Bluebeard’s Castle and Mozart’s C-minor Mass. Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He was also principal guest conductor of the London Philharmonic from 2008 to 2014. He has made wildly successful appearances with the world’s most revered ensembles and has conducted critically acclaimed performances at many of the leading opera houses. Yannick Nézet-Séguin and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership The Philadelphia Orchestra returned to recording with two CDs on that label. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique. In Yannick’s inaugural season The Philadelphia Orchestra returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM. A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, Musical America’s 2016 Artist of the Year, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music in Philadelphia, and Westminster Choir College of Rider University in Princeton, NJ. To read Yannick’s full bio, please visit www.philorch.org/conductor. 26 Soloist K.K. Dundas Scottish mezzo-soprano Karen Cargill was the winner of the 2002 Kathleen Ferrier Award. She made her Philadelphia Orchestra debut in 2013 as a soloist in Bach’s St. Matthew Passion, returning in 2015 to reprise the role and to sing as soloist in performances of Handel’s Messiah. Opera engagements in the 2016-17 season and beyond include Waltraute in Wagner’s Götterdämmerung in her debut with the Canadian Opera Company; a return to Scottish Opera as Judith in Bartók’s Bluebeard’s Castle; her debut at the Glyndebourne Festival Opera; and return invitations to both the Royal Opera in London and the Metropolitan Opera in New York. Ms. Cargill’s concert highlights include her debut with the Royal Concertgebouw Orchestra in Mahler’s Symphony No. 2 with Daniele Gatti; Tippett’s A Child of our Time with the Bavarian Radio Symphony; Verdi’s Requiem with both the Philharmonia Orchestra and the Royal Philharmonic; Mahler’s Das Lied von der Erde with Esa-Pekka Salonen and the Met Orchestra at Carnegie Hall; performances with the Orchestre National de France and Robin Ticciati and with the Staatskapelle Dresden and Donald Runnicles; and return invitations to the London Symphony to sing Berlioz’s The Damnation of Faust with Simon Rattle and Bruckner’s Te Deum with Bernard Haitink. She regularly appears at the Salzburg and Edinburgh festivals and at the BBC Proms. Past and future recital highlights with her regular partner, pianist Simon Lepper, include appearances at Wigmore Hall, the Concertgebouw, the Kennedy Center, and Carnegie Hall, as well as recitals for BBC Radio 3. She and Mr. Lepper have recorded a critically acclaimed recital of lieder by Alma and Gustav Mahler for Linn Records. In 2013 Ms. Cargill was appointed associate artist of the Scottish Chamber Orchestra and together they have performed Berlioz’s The Death of Cleopatra, L’Enfance du Christ, and Les Nuits d’été; Mahler’s Das Lied von der Erde, Symphony No. 4, and Kindertotenlieder; Wagner’s Wesendonck Lieder; and Berlioz’s Beatrice and Benedict. Their recent Linn Records recording of Les Nuits d’été and The Death of Cleopatra with Mr. Ticciati was chosen as Gramophone magazine’s Recording of the Month in June 2013. 27 Choirs Pete Checchia Pete The Philadelphia Symphonic Choir made its Philadelphia Orchestra debut earlier this year in Orff’s Carmina burana.
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