Season 2012-2013

Conductor Jaap van Zweden has regrettably withdrawn from the April 4-6 performances due to family reasons. This Thursday, April 4, and Friday, April 5, Philadelphia Orchestra Music Director Yannick Nézet-Séguin will conduct. On Saturday, April 6, Associate Conductor Cristian Măcelaru will lead the ensemble in his Philadelphia Orchestra subscription debut. As a result, the repertoire has been changed slightly. Brahms’s Piano Concerto No. 1 and Strauss’s Suite from Der Rosenkavalier will remain on the program, while Schoenberg’s Transfigured Night will be replaced by Strauss’s Death and Transfiguration. Season 2012-2013

Thursday, April 4, at 8:00 Friday, April 5, at 2:00 The Philadelphia Orchestra Saturday, April 6, at 8:00 Yannick Nézet-Séguin Conductor (April 4 and 5) Cristian Măcelaru Conductor (April 6) Garrick Ohlsson Piano

Brahms Piano Concerto No. 1 in D minor, Op. 15 I. Maestoso II. Adagio III. Rondo: Allegro non troppo

Intermission

Strauss Death and Transfiguration, Op. 24

Strauss Suite from Der Rosenkavalier, Op. 59

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. Associate Conductor Cristian Măcelaru began his tenure as assistant conductor of The Philadelphia Orchestra with the 2011-12 season. He was promoted to associate conductor in November 2012, and his contract was extended through the 2013-14 season. In this role he conducts special non-subscription performances and covers concerts for Music Director Yannick Nézet-Séguin and many of the ensemble’s guest conductors. A native of Romania, Mr. Măcelaru comes to the Orchestra from the Shepherd School of Music at Rice University, where he served on the conducting staff and completed his Master of Music degree in conducting.

Recently Mr. Măcelaru received the 2012 Sir Georg Solti Emerging Conductor Award, a prestigious honor awarded only once before in the foundation’s history. In February 2012 he made his Chicago Symphony subscription debut as a replacement for Pierre Boulez with overwhelming success and rave reviews. Other previous highlights include engagements with the Baltimore, Houston, and San Antonio symphonies and the Civic Orchestra of Chicago. Mr. Măcelaru’s 2012-13 season brings highly anticipated debuts with Montreal’s Orchestre Métropolitain, the Florida Orchestra, the Alabama Symphony, and the Naples Philharmonic, as well as a return to the Baltimore Symphony.

Mr. Măcelaru has been a conducting fellow at the Tanglewood Music Center and the Aspen Music Festival and served as assistant conductor at Dallas Opera. He made his Houston Grand Opera debut leading performances of Puccini’s Madame Butterfly in the 2010-11 season. While completing his Bachelor of Music degree at the University of Miami, he was assistant conductor of the University of Miami Symphony, associate conductor of the Florida Youth Orchestra, conductor and founder of the Clarke Chamber Players, and concertmaster of the Miami Symphony. In 2006 he received a Master of Music degree in violin performance from Rice University, during which time he was also a member of the Houston Symphony.

A strong supporter of music education, Mr. Măcelaru has served as a conductor with the Houston Youth Symphony, where he created a successful chamber music program. As the founder and artistic director of the Crisalis Music Project, he spearheaded a program in which young musicians perform in a variety of settings, side by side with established, renowned artists. Mr. Măcelaru started studying violin at the age of six in his native Romania. After winning top prizes in the National Music Olympiad of Romania, he attended the Interlochen Arts Academy, where he furthered his studies in both violin and conducting. He resides in Philadelphia with his wife, Cheryl; son, Beniamin; and daughter, Maria. 26 Soloist

Paul Body Pianist Garrick Ohlsson is a familiar presence on stage with The Philadelphia Orchestra, having appeared as soloist dozens of times since making his debut in 1970 in a performance of Chopin’s Concerto No. 1 with Eugene Ormandy. It was that same year that he became the only American ever to win the Gold Medal at the Chopin International Piano Competition in Warsaw. Long regarded as one of the world’s leading exponents of the music of Chopin, Mr. Ohlsson commands an enormous repertoire, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him. Highlights of Mr. Ohlsson’s 2012-13 season include performances of Busoni’s rarely programmed Piano Concerto with the European Union Youth Orchestra led by Gianandrea Noseda; concerts with the London Philharmonic; a month-long tour in Australia; performances with the Cleveland Orchestra and Franz Welser-Möst and the Chicago Symphony and Mark Elder; a Kennedy Center appearance with the Iceland Symphony as part of the Center’s Nordic Festival; a tour with the Swedish Chamber Orchestra; and a return to Carnegie Hall with the Boston Symphony and Rafael Frühbeck de Burgos. An avid chamber musician, Mr. Ohlsson has collaborated with the Cleveland, Emerson, Takács, and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the FOG Trio. Passionate about singing and singers, he has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podles´ . Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, and Virgin Classics labels. His 10- disc set of the complete Beethoven sonatas, for Bridge Records, won a Grammy for Volume 3. A native of White Plains, N.Y., Mr. Ohlsson began piano studies at age eight at the Westchester Conservatory; at 13 he entered the Juilliard School. His musical development was influenced by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne, and Irma Wolpe. In addition to the Chopin Competition Mr. Ohlsson won first prizes at the 1966 Busoni Competition and the 1968 Montreal Competition. 28 The Music Piano Concerto No. 1

Like Beethoven before him, Brahms struggled for years with his First Piano Concerto before he was satisfied enough to present it to the public. Part of the challenge lay in conquering problems inherent in the medium itself: The “Romantic piano concerto” as genre was still only half-formed in 1854, the year that the young Brahms began an early version of the work that would become the D-minor Concerto. But a large part of the composer’s difficulty lay in his own stylistic and textural experimentalism, in which the lines between Johannes Brahms piano, chamber, and symphonic music were often Born in Hamburg, May 7, indistinct. Brahms habitually struggled to find the proper 1833 instrumental setting for a work. Several of his orchestral Died in Vienna, April 3, and chamber works exist in versions for two pianos, for 1897 example, and his piano sonatas, with their crashing rolled chords and unpianistic writing, sound as if they really should have been symphonies. An Enigma The D-minor Concerto caused Brahms more trouble than most things. He initially conceived the stormy piece as a grand sonata for two pianos, in the spring of 1854; its Sturm und Drang was partly an expression of his recent acquaintance with the Schumanns, who had taken him under their wing as a sort of surrogate son that year. (Robert had proclaimed Brahms’s genius in the music magazine he had edited, and Clara had become a vital musical advisor to him.) He began his D-minor “sonata” just weeks after Robert’s suicide attempt; when the 21-year-old Brahms had rushed to Düsseldorf to comfort poor Clara, he quickly fell in love with her. Thus all sorts of emotions were warring within him as he sketched out the piece, and passionate love was certainly among them. He later wrote to Clara that the slow movement was “a lovely portrait of you.” Like many of his large early works, this would-be sonata immediately began to give him problems; he set it aside that summer, declaring to a friend that “two pianos are not really enough for me.” It is important to keep in mind that by this time Brahms’s experience in writing for full orchestra was practically nil: Having studied instrumentation from a purely academic standpoint, he 29

Brahms composed his First would wait until 1857 before a job at Detmold gave him Piano Concerto from 1854 to his first opportunity to “try out” works with a real orchestra. 1858. Nevertheless in 1855 he tackled an orchestration of the Harold Bauer was soloist in two-piano sonata, working for several months before the first Philadelphia Orchestra he reached a second crisis: The piece didn’t work as a performances of Brahms’s symphony, either. Stuck again, he told Clara he felt he had D-minor Concerto, in January not mastered symphonic technique. 1914; Leopold Stokowski conducted. The most recent The solution to the work’s enigma seems to have come to subscription performances were him in a dream. “I had used my unfortunate symphony for a in December 2009, with pianist piano concerto,” as he recounted the dream to Clara, “and Nicholas Angelich and Yannick was performing it—from the first movement to the Scherzo Nézet-Séguin. to the huge and difficult finale. I was completely delighted.” This bizarre image stayed with him; ultimately Brahms The Philadelphians have replaced the original “huge” finale with the turbulent Rondo recorded the Concerto twice: in 1961 for CBS with Eugene we know, and he omitted a scherzo movement that he Ormandy conducting Rudolf would later reconstitute (or so scholars have speculated) Serkin, and in 1983 for EMI as the second movement of the German Requiem. with Riccardo Muti and Alexis A Closer Look The result was, quite simply, one of Weissenberg. A live 1945 the most remarkable orchestral works in existence. The performance of the work from opening Maestoso, craggy and rough-hewn, contains Carnegie Hall with Ormandy some of Brahms’s most beautiful writing for piano, despite and William Kapell can be heard on The Philadelphia Édouard Lalo’s criticism of the work’s “overly symphonic Orchestra: The Centennial nature.” The D-minor Concerto contains plenty of luxuriant Collection (Historic Broadcasts passages where the soloist is allowed to ruminate on and Recordings from 1917- long-breathed melodies reserved for the piano. There is 1998). death-defying virtuosity as well, including the distinctive octave trills that can turn an unprepared pianist’s right In addition to the solo piano, the work is scored for two hand into a cramped claw. The Adagio is a florid song for flutes, two oboes, two clarinets, Clara, a young man’s passionate declaration of devotion; two bassoons, four horns, two but the defiant tone of the final Rondo (Allegro non trumpets, timpani, and strings. troppo) suggests that Brahms is not to be bogged down by melancholic or unrealistic dreams. Performance time is approximately 42 minutes. —Paul J. Horsley The Music Death and Transfiguration

Strauss did not invent the orchestral tone poem— that distinction goes to Franz Liszt, who as early as the 1840s composed works he called “symphonic poems”—but he brought to this unusual genre such technical brilliance and philosophical aplomb that today he is often thought of as the founder of the genre. Coming directly on the heels of his first tone poem, namely the brilliant and highly successful Don Juan, the ambitious companion-piece he called Tod und Verklärung (Death and Transfiguration) treated death with all the wonder and grave fascination that one Richard Strauss would expect of a 25-year-old, and it helped further Born in Munich, June 11, 1864 the 20th-century notion that even purely instrumental Died in Garmisch-Partenkirchen, music could be made to express the deepest and most September 8, 1949 complex of philosophical concepts.

An Autobiographical Work? Though Death and Transfiguration was mostly complete by the time of Don Juan’s premiere in Weimar in November 1889, it was not performed until June 1890, in Eisenach, with the composer conducting. The assertion of the early biographer Richard Specht that it was autobiographical—in the sense that it depicted some delirious illness of the composer—was based partly on a misunderstanding of the work’s chronology. Strauss did indeed fall ill, but not until nearly two years after he completed this piece. Yet it would not be remiss to place the composer in the role of the “hero” of this work, in the same sense in which Don Juan and Ein Heldenleben contain personal references.

Strauss recovered from his illness, in fact—neither dead nor, presumably, transfigured— and went on to live another 60 years. Nevertheless he continued to treat the subjects of death and the afterlife again and again in his music—most notably in Also sprach Zarathustra and Ein Heldenleben, and even to some extent in the more comic Don Juan, Till Eulenspiegel’s Merry Pranks, and Don Quixote, not to mention the operas.

A Closer Look Still, Death and Transfiguration remains a most potent statement on the nature of death and dying. It began with an idea, which the composer’s friend Alexander Ritter formed into a brief poem that outlined the “program.” This poem was later expanded into the 62-line verse that was printed in the first edition of the Tod und Verklärung score. In 1894 Strauss summarized the essence of the verse in a letter— where some of the autobiographical elements of the work can be detected:

Six years ago it occurred to me to present, in the form of a tone poem, the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible agonies; his limbs shake with fever. As the attack passes and the pains leave off, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains already begin to return, there appears to him the fruit of his life’s path, the conception, the ideal which he has sought to realize, to present artistically, but which he had not been able to complete, since it is not for man to be able to accomplish such things. The hour of death approaches, the soul leaves the body in order to find gloriously achieved in everlasting space those things which could not be fulfilled here below.

All of this is depicted through specific programmatic elements. The work begins with atmospheric music representing the sick and suffering man, whose heartbeat is an irregular pulse heard alternately in the strings and timpani at the outset. Several contrasting themes depict various aspects of the man’s character and progress, and a bright, yearning descent in the solo oboe is sounded as he thinks back upon his youth.

But suddenly his violent agony returns with an explosive pang, as expressed through music that is at once agitated and contrapuntal, and is then overcome in a resolute tutti theme of triumph. The road to transcendence is the famous ascending subject representing the hero’s ideological transfiguration; it is this tune that returns several times to represent stages in the hero’s achievement of truth. (Many years later, it would show up in the valedictory strains of “Im Abendrot” from the composer’s Four Last Songs.)

The central section, a development of sorts, features a series of resolutions and hopes, climaxing in a soaring ascent that nearly overcomes the man’s sickened heart. Each climax results in a restatement of the “ideology” theme, until death’s inevitability approaches, and the hero achieves transcendence in a luminous blaze of C major.

—Paul J. Horsley

Death and Transfiguration was composed from 1888 to 1889.

Strauss himself conducted The Philadelphia Orchestra’s first performances of the work, in March 1904, in a series of concerts that also featured the appearance of his wife, Pauline de Ahna Strauss, in songs by her husband. Most recently on subscription concerts the piece was led by Neeme Järvi, in November 2006.

The Philadelphia Orchestra recorded Death and Transfigurationfive times: in 1934 for RCA with Leopold Stokowski; in 1942 for RCA with Arturo Toscanini; in 1944 and 1959 for CBS with Eugene Ormandy; and in 1978 for RCA with Ormandy.

Strauss’s score calls for an orchestra of three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (tam-tam), two harps, and strings.

The work runs approximately 24 minutes in performance.

“Light, flowing tempi,” wrote Strauss of the manner in which one should approach the performance of his opera Der Rosenkavalier, “without compelling the singers to rattle off the text. In a word: Mozart, not Lehár.” Indeed Strauss’s incomparable opera has a uniquely lyrical quality that for many listeners is more serious than comic—perhaps the 18th-century term “semi-seria” should be called into service here, a word that was used to describe comic opera with a foundation of profundity. It is not coincidental that Mozart’s “semi-serious” opera The Richard Strauss Marriage of Figaro comes to mind, for it clearly served as a Born in Munich, model for Rosenkavalier in a number of respects. Strauss June 11, 1864 composed his opera from 1909 to 1910, working closely Died in Garmisch- with his librettist, the great poet Hugo von Hofmannsthal; Partenkirchen, it was the second of their six splendid collaborations, and September 8, 1949 from an artistic standpoint it was the most successful. Already lionized by the German public—partly as a result of the immense popularity of his salacious shocker Salome—Strauss was surprised to see the success of Rosenkavalier nearly surpass that of his earlier tragedy. First performed at the Dresden Court Theater in January 1911, it was gobbled up by the public and snatched up immediately by theaters all over Europe. To this day it remains Strauss’s most popular opera. Part Bedroom Farce, Part Bourgeois Satire Set in the mid-18th-century Vienna of Empress Maria Theresa, Rosenkavalier is permeated with waltz—even though, strictly speaking, the waltz as genre did not come into being until later, and thus its appearance here was somewhat anachronistic. The work is part bedroom farce on the scandalous order of Mozart’s Figaro, part archetypical bourgeois satire in the Molière vein. Adapted from a French novel by Louvet de Couvray (a contemporary of Beaumarchais, on whose work Mozart and Lorenzo Da Ponte based Figaro), it is a tale as full of intrigues and subplots as any 18th-century comedy. On the surface it is simply a story of bourgeois manners surrounding love, marriage, and alliances of noble families created through arranged (and often loveless) marriages; beneath the froth, however, are serious musings on the nature of fidelity, kinship, aging, and altruism. 34

At the center of the drama is the Marschallin Marie Thérèse, who at the opening of the opera (and of the Suite heard on today’s concert) is engaged in a love-tryst with the strapping young Count Rofrano (Octavian)—while her husband, the Field Marshal, is away on duty. Later that same day her cousin, the oafish Baron von Ochs, comes to visit, announcing that he would like to marry Sophie, the young daughter of the Faninal family; he aims to propose to her by presenting her with a silver rose. The Marschallin suggests sending young Octavian as envoy to present the rose, and Ochs agrees. In the second act, when the young man presents the rose to the lovely Sophie, the two fall immediately in love. (It is Octavian, then, who is the “rose-knight,” or Rosenkavalier. Because of his youth, his is a “trousers role,” sung by a mezzo- soprano.) Octavian and Ochs duel for Sophie’s love, and the younger man wounds Ochs’s arm. The third act begins with a typical farce designed to “teach Ochs a lesson,” complete with an attempted seduction by Octavian, dressed in drag as “Mariandel.” At the scene’s culmination, in which policemen are called in to shame the Baron, the wise and authoritative Marschallin breaks in to restore order. Renouncing her own dalliance with the young man (she knows he will ultimately leave her for a younger woman anyway), the worldly Marie Thérèse gives Sophie and Octavian her blessing, content with the knowledge that the couple will marry for love and not—as in her own case—for reasons of expediency. A Closer Look The music of Rosenkavalier is full of wistful romance, with a palpable undercurrent of tristesse, an awareness of life’s brevity. Several orchestral suites have been spawned from this glorious music, including a background score for a silent-film version of the opera prepared in 1926 by film assistants and conducted (rather reluctantly) by Strauss himself. The composer arranged a set of waltzes from the opera for concert performance, but was never moved to gather a more broadly encompassing suite of the most important moments of the work. In 1945 the conductor Artur Rodzinski prepared an orchestral suite for performance with the New York Philharmonic, which was possibly approved by Strauss and quickly became a favorite of Eugene Ormandy and of Philadelphia Orchestra audiences. (Rodzinski’s authorship of this arrangement is subject to dispute. Ormandy’s own score of the Suite has been inscribed with the following: “Opera score made into a suite. [Arr. by] Rodzinski?, Ormandy?, Dor[ati]?” This score includes paste-ins and written-out transitions, suggesting that it had been used 35

Der Rosenkavalier was in modular fashion by guest conductors, each of whom composed from 1909 to 1910. altered it according to his own taste.) Eugene Ormandy conducted In the version published by Boosey & Hawkes in 1945, the first Philadelphia the Rosenkavalier Suite comprises much of the Prelude to Orchestra performances of Act I; the presentation of the silver rose (accompanied by the Rosenkavalier Suite, in the striking and justly famous chromatic chords consisting February 1945. The work of piccolo, flutes, celesta, harp, and solo violins); the arrival was a favorite of his, and he performed it many times, of Baron von Ochs in Act II; the second-act waltzes; and especially on tour. Its most finally the duet (the “Ist ein Traum” culmination of the love recent appearance on a drama—possibly the opera’s most beautiful music); the subscription performance was trio; and the big waltz from Act III. in November 2010, with Rafael —Paul J. Horsley Frühbeck de Burgos on the podium. The Philadelphians recorded the work four times, all with Ormandy: in 1947, 1958, and 1964 for CBS, and in 1974 for RCA. The score calls for three flutes (III doubling piccolo), three oboes (III doubling English horn), three clarinets (III doubling E-flat clarinet), bass clarinet, three bassoons (III doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, ratchet, snare drum, tambourine, triangle), two harps, celesta, and strings. Performance time is approximately 20 minutes.

GENERAL TERMS often applied in the order contrasted in theme, Atonality: A term used to of publication rather than tempo, and mood, usually describe music that is not composition. for a solo instrument tonal, especially organized Rondo: A form frequently Sonata form: The form in without reference to key or used in symphonies and which the first movements tonal center concertos for the final (and sometimes others) Cadence: The conclusion to movement. It consists of symphonies are usually a phrase, movement, or piece of a main section that cast. The sections are based on a recognizable alternates with a variety of exposition, development, melodic formula, harmonic contrasting sections (A-B- and recapitulation, the progression, or dissonance A-C-A etc.). last sometimes followed resolution Scale: The series of by a coda. The exposition Cadenza: A passage or tones which form (a) any is the introduction of section in a style of brilliant major or minor key or (b) the musical ideas, which improvisation, usually the chromatic scale of are then “developed.” In inserted near the end of a successive semi-tonic steps the recapitulation, the movement or composition Scherzo: Literally “a exposition is repeated with Chord: The simultaneous joke.” Usually the third modifications. sounding of three or more movement of symphonies Sturm und Drang: tones and quartets that was Literally, storm and stress. Chromatic: Relating to introduced by Beethoven A movement throughout tones foreign to a given to replace the minuet. The the arts that reached its key (scale) or chord scherzo is followed by a highpoint in the 1770s, Coda: A concluding gentler section called a trio, whose aims were to section or passage added after which the scherzo is frighten, stun, or overcome in order to confirm the repeated. Its characteristics with emotion. impression of finality are a rapid tempo in triple Trill: A type of Dissonance: A time, vigorous rhythm, and embellishment that combination of two or more humorous contrasts. consists, in a more or less tones requiring resolution Serialism: Music rapid alternation, of the Meter: The symmetrical constructed according to main note with the one a grouping of musical rhythms the principle pioneered by tone or half-tone above it Octave: The interval Schoenberg in the early 12-tone: See serialism between any two notes 1920s, whereby the 12 THE SPEED OF MUSIC that are seven diatonic notes of the scale are (Tempo) (non-chromatic) scale arranged in a particular Adagio: Leisurely, slow degrees apart order, forming a series of Allegro: Bright, fast Op.: Abbreviation for opus, pitches that serves as the Maestoso: Majestic a term used to indicate basis of the composition the chronological position and a source from which the TEMPO MODIFIERS of a composition within a musical material is derived Non troppo: Not too much composer’s output. Opus Sonata: An instrumental numbers are not always composition in three or reliable because they are four extended movements 37 April The Philadelphia Orchestra Jessica Griffin

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Tchaikovsky and Prokofiev April 12 2 PM April 13 8 PM Jaap van Zweden Conductor Tchaikovsky Souvenir de Florence, for string orchestra Prokofiev Symphony No. 5

Bach and His Brandenburgs April 18 & 20 8 PM April 19 2 PM Nicholas McGegan Conductor

Bach Brandenburg Concerto Nos. 1-4 Bach Orchestral Suite No. 3

The April 18 concert is sponsored by Medcomp.

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.