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Home , Kol Nidrei (Bruch), Max Bruch, Robert McDuffie, The Hebrides (overture), Willy Hess (violinist)

23 Season 2019-2020

Thursday, October 24, at 7:30 The Friday, October 25, at 8:00 Saturday, October 26, at 8:00 Nathalie Stutzmann Conductor David Kim

Mendelssohn Hebrides (“Fingal’s Cave”), Op. 26

Bruch Violin No. 1 in , Op. 26 I. Vorspiel: Allegro moderato— II. Adagio III. Allegro energico

Intermission

Brahms 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, 50 minutes.

The October 26 concert is sponsored by Allan Schimmel in memory of Reid Reames.

These concerts are part of The Phildadelphia Orchestra’s WomenNOW celebration.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent . classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at Carnegie Hall, music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons. Vail Music Festival. The excitement through music The Philadelphia Orchestra Orchestra also has a rich in the Philadelphia region, continues the tradition of history of touring, having across the country, and educational and community first performed outside around the world. Through engagement for listeners Philadelphia in the earliest innovative programming, of all ages. It launched its days of its founding. It was robust educational initiatives, HEAR initiative in 2016 to the first American orchestra and an ongoing commitment become a major force for to perform in the People’s to the communities that it good in every community that Republic of China in 1973, serves, the ensemble is on a it serves. HEAR is a portfolio launching a now-five-decade path to create an expansive of integrated initiatives commitment of people-to- future for , that promotes Health, people exchange. and to further the place champions music Education, The Orchestra also makes of the arts in an open and enables broad Access to live recordings available on democratic society. Orchestra performances, and popular digital music services Yannick Nézet-Séguin is now maximizes impact through and as part of the Orchestra in his eighth season as the Research. The Orchestra’s on Demand section of its eighth music director of The award-winning education and website. Under Yannick’s Philadelphia Orchestra. His community initiatives engage leadership, the Orchestra connection to the ensemble’s over 50,000 students, returned to recording, with musicians has been praised families, and community five celebrated CDs on by both concertgoers and members through programs the prestigious Deutsche critics, and he is embraced such as PlayINs, side-by- Grammophon label. The by the musicians of the sides, PopUP concerts, Free Orchestra also reaches Orchestra, audiences, and Neighborhood Concerts, thousands of radio listeners the community. School Concerts, sensory- with weekly broadcasts on Your Philadelphia Orchestra friendly concerts, the School WRTI-FM and SiriusXM. For takes great pride in its Partnership Program and more information, please visit hometown, performing for the School Ensemble Program, www.philorch.org. people of Philadelphia year- and All City Orchestra round, from Verizon Hall to Fellowships. 25 Conductor

Simon Fowler Nathalie Stutzmann is in her second season as chief conductor of the Kristiansand Symphony in Norway and her third season as principal guest conductor of the RTÉ National Symphony of Ireland. Her inaugural concert with the Kristiansand Symphony, a Brahms and Wagner program, was chosen as Norway’s Concert of the Year 2018 by the Norwegian press. She is also this season’s artist-in-residence at the Philharmonic. She enjoys parallel careers as a world-renowned contralto and a rising-star conductor. She made her Philadelphia Orchestra debut in 2016 with Handel’s Messiah and her subscription conducting debut in 2019; her performing debut was in 1997. Ms. Stutzmann began this season with her BBC Proms debut, conducting works by Wagner, Brahms, and Mozart with the BBC National Orchestra of Wales. In addition to these current performances, other highlights of the 2019–20 season include debuts with the London, Seattle, Atlanta, and Bamberg and the Philharmonic, and returns to the Orchestra, the Gothenburg Symphony, and the Rotterdam, Oslo, Royal , and Royal Stockholm philharmonics. Ms. Stutzmann is also establishing a strong reputation as an opera conductor. This season she leads Tchaikovsky’s Queen of Spades at La Monnaie in Brussels. She recently conducted Boito’s Mefistofele at the 2018 Chorégies d’Orange festival in Provence, which followed a production of Wagner’s Tannhäuser at Monte Carlo Opera in 2017. Ms. Stutzmann began her studies in piano, , and at a very young age. She studied conducting with the legendary Finnish teacher Jorma Panula and was mentored by Seiji Ozawa and Simon Rattle. Each season she undertakes a few projects as a singer, performing song recitals and concerts with her Stutzmann Camerata. In January 2019 she was admitted into the Ordre National de la Légion d’Honneur, ’s highest honor, at the rank of Chevalier. She is also Chevalier de l’Ordre National du Mérite and Officier de l’Ordre des Arts et des Lettres in France. Ms. Stutzmann is an exclusive recording artist of Warner Classics/Erato, as both singer and conductor. 26 Soloist

Jessica Griffin David Kim was named concertmaster of The Philadelphia Orchestra in 1999 and holds the Dr. Benjamin Rush Chair. Born in Carbondale, IL, in 1963, he started playing the violin at age three, began studies with the famed pedagogue Dorothy DeLay at age eight, and later received his bachelor’s and master’s degrees from the Juilliard School. Highlights of his current season include teaching/performance residencies and master classes at the University of Texas at Austin, the Manhattan School of Music, Bob Jones University, the Taipei Academy and Festival, and the Aspen Music Festival; continued appearances as concertmaster of the All-Star Orchestra on PBS stations across the US and online at the Kahn Academy; as well as recitals, speaking engagements, and appearances with orchestras across the US. Each season Mr. Kim appears as a guest with the famed modern hymn writers Keith and Kristyn Getty at such venues as the Grand Old Opry, the Kennedy Center, and Carnegie Hall. A recent Getty Music CD includes Mr. Kim featured in a solo role. In August he returned to Nashville to perform at the Getty Music Worship Conference—Sing! 2019. He is the founder and artistic director of the annual David Kim Orchestral Institute of Cairn University, where he is also a professor of violin studies. Additionally, he serves as distinguished artist at the Robert McDuffie Center for Strings at . Mr. Kim performs as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world. He also appears internationally at such festivals as Arizona Musicfest, the Kingston Festival, and the Taipei Music Academy and Festival. He frequently serves as an adjudicator at international violin competitions such as the Menuhin and Sarasate. Mr. Kim has been awarded honorary doctorates from Eastern University, the University of Rhode Island, and Dickinson College. His instruments are a J.B. Guadagnini from Milan, ca. 1757, on loan from The Philadelphia Orchestra, and a Michael Angelo Bergonzi from Cremona, ca. 1754. Mr. Kim resides in a Philadelphia suburb with his wife and daughters. He is an avid runner, golfer, and outdoorsman. He endorses and uses Thomastik Dominant strings as well as the AirTurn hands-free page turning system. 27 Framing the Program

The brilliant young recorded his Parallel Events impressions of a grand European tour in vivid letters, 1829 Music beautiful drawings, and marvelous music. The time the Mendelssohn Rossini 20-year-old spent in Scotland inspired several Hebrides William Tell compositions, including the evocative Hebrides Overture Overture Literature (also known as “Fingal’s Cave”), which captures an Balzac unforgettable experience he had in a stormy steamship Les Chouans crossing to the island of . Art Turner Although was one of the most versatile German Ulysses Deriding in the second half of the , his Polyphemus reputation now rests principally on a small number of History pieces for violin or cello with orchestra, notably his First Slavery , the , and . Bruch abolished in began composing the Concerto at age 19, although it took Mexico some eight years to finish and then another couple more of revision (with the help of the great violinist ) 1864 Music Bruch Offenbach to get it just right. But get it right he did and Joachim, to Violin Concerto La Belle Hélène whom the work is dedicated, gave the triumphant premiere No. 1 Literature in January 1868. Tolstoy Bruch was five years younger than War and Peace but completed a first symphony, which he dedicated “in Art friendship” to Brahms, years earlier than his colleague did. Homer Indeed, it took Brahms decades to finish his first, which Haymaking History triumphantly premiered in 1876 when he was age 43. His First Geneva Symphony No. 2, which concludes tonight’s concert, came Convention quickly the following summer and it, too, won immediate acclaim. If the First Symphony is dark and brooding, the 1877 Music Second is for the most part bright and joyful. Brahms once Brahms Saint-Saëns remarked concerning another pair of orchestral pieces, “one Symphony Samson and cries, the other laughs,” which seems an apt description of No. 2 Delilah these two masterful symphonies as well. Literature James The American Art Rodin The Age of Bronze History Edison invents the phonograph The Philadelphia Orchestra is the only orchestra in the world with three weekly broadcasts on SiriusXM’s Symphony Hall, Channel 76, on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 4 PM. 28 The Music Hebrides Overture (“Fingal’s Cave”)

The 20-year-old Felix Mendelssohn was a fully formed artist when he embarked in 1829 on what he called his “Grand Tour” of . In addition to being a virtuosic prodigy on the piano, the precocious youth had already composed operas, symphonies, and ; chamber and piano music; and his first . It was his financially comfortable parents who insisted that he make an extended tour of the Continent, and during the subsequent three years Mendelssohn performed concerts and rubbed shoulders with Europe’s leading artistic Felix Mendelssohn and intellectual figures. He frequently found himself in Born in Hamburg, the company of the most brilliant literary and musical February 3, 1809 figures of the day, including Goethe, Heine, Cherubini, Died in Leipzig, November 4, 1847 Berlioz, Chopin, and Schumann. Perhaps just as important as whom he met and what he heard were the visual impressions of the sights he saw. Musical Landscapes Mendelssohn recorded his impressions in a variety of artistic media: in marvelously vivid letters, in drawings, and, of course, in music. Some of his most famous works—such as the “Scottish” and “Italian” symphonies—capture characteristics of the places he visited. In fact the composer already knew something of the music of Scotland even before he first visited there in August 1829 and began to sketch his Hebrides Overture. But it was not the Scottish music that left its mark on this brilliant piece, nor did his “sketch” only involve, as it usually did, jotting down musical ideas. The visual landscape captivated him, in this case the isolated coast and later the experience he had in a steamship crossing to the island of Staffa during a storm. There he saw Fingal’s Cave, which gave the Overture one of its several alternative titles. Mendelssohn, who in addition to his musical talents could draw marvelously, made a pen-and-ink sketch of the coast, the mysterious branches of a large tree in the foreground, a castle in the distance, and far beyond the sea and its isles. He also set about trying to express this all in music. He informed his parents on August 7, “In order to make you realize how extraordinarily the Hebrides have affected me, the following came to my mind.” He then wrote out essentially the first 21 measures of the 29

Overture, going so far as to specify instrumentation and dynamics. The opening indeed does create a vivid picture, with the constant motion of the water represented by a descending arpeggiated minor triad and subtle layering of instruments. A much more expansive second theme, first stated by the , suggests broader visions. It would take Mendelssohn some years to get the Overture into its final state. He continued work in in 1830 and was still polishing it in Paris two years later. As he wrote to his parents, “The so-called development section smacks more of counterpoint than of train-oil, seagulls, and salt cod, and it should be the other way around.” The Overture received its triumphant premiere in London that year. A critic writing at the time for the music magazine the Harmonicon noted: “The idea of this work was suggested to the author while he was in the most northern part of Scotland, on a wild, desolate coast, where nothing is heard but the howling of the wind and roaring of the waves; and nothing living seen, except the sea-bird, whose reign is there undisturbed by human intruder. So far as music is capable of imitating, the composer has succeeded in his design.” Even , no Mendelssohn lover (however much the older composer’s music influenced his own), conceded that he was a “first-class musical landscape painter” and that this work showed “wonderful imagination and delicate feeling, presented with consummate art.” Mendelssohn’s Concert Overtures In fact, Mendelssohn helped to create a new kind of music— the “concert overture”—which became one of the leading vehicles for Romantic musical expression. Earlier overtures, in their typical 17th- and 18th-century incarnations, had introduced theatrical events of various sorts. Operas, oratorios, and more modest vocal genres usually began with a purely instrumental piece. (This also served, of course, the eminently practical purpose of getting people’s attention, telling them to sit down and be quiet.) After a while it was not uncommon to call an overture “sinfonie,” thus pointing to the increasingly shared features with the emerging genre of the symphony and, ultimately, of the . The overture was reinvented in the 19th century, or at least considerably expanded in its conception, initially by Beethoven and Weber, and then by Mendelssohn and Berlioz. Mendelssohn was the first leading composer to produce a series of concert overtures. He started in 1826, at age 17, with his Shakespearean miracle, A Midsummer Night’s 30

The Hebrides Overture was Dream, Op. 21. (Only years later did he write the other composed from 1829 to 1832. incidental music to the play that made it more feasible Fritz Scheel conducted the for theatrical use.) In 1828 he composed Calm Sea and first Philadelphia Orchestra Prosperous Voyage, a musical sea portrait inspired by performances of the Overture, two short Goethe poems. (Goethe was a close friend in November 1902. The work of the and mentor to the young has only been performed composer, who studied with Carl Friedrich Zelter, Goethe’s about two dozen times since. musical counsel and preferred composer.) Mendelssohn The most recent subscription began the Hebrides the next year, even though it had performances were in April the most protracted genesis (as well as the most names, 2012, under Gilbert Varga’s called at various times “Overture to a Lonely Island,” baton. “The Isles of Fingal,” “Fingal’s Cave”). He intended these The Philadelphians recorded three works be published as a set. While each of them the work in 1979 for RCA with (as well as the somewhat later Fair Melusine Overture) Eugene Ormandy. displays Mendelssohn’s astounding ability to paint vivid The score calls for pairs musical landscapes or stories, the Hebrides is the most of , , , independent, taking its inspiration neither from a play nor , horns, and , a poem, but from his own experience. , and strings. —Christopher H. Gibbs The Hebrides Overture runs approximately 10 minutes in performance. 35 The Music Violin Concerto No. 1

While little general attention has been paid to Max Bruch the composer, heaps of attention has been paid to his Violin Concerto in G minor, Op. 26. It is one of the most frequently played pieces in the violin concerto repertory, indeed in the entire concerto repertory. Bruch was by profession a pedagogue, conductor, and champion of choral repertory. A contemporary of , he was a steady teacher and composer, and as the great music commentator Donald Francis Tovey quipped, “Like Spohr, he achieved this mastery in all art-forms; and, unlike Spohr, he developed Max Bruch no irritating mannerisms.” Bruch composed flawless music, Born in , taking no chances by venturing into the sea of chromatic January 6, 1838 harmonies of his contemporaries. Died in Friedenau (near ), October 20, 1920 Born to a soprano and a police chief in 1838, Bruch was five years younger than Johannes Brahms and 25 years younger than Richard Wagner. He was a prodigious painter as a boy, his relatives dubbing him a “second Raphael.” At 11 he composed his first significant composition, a for , horn, bassoon, two , cello, and double bass. His father enlisted the composer to teach him, and it was Hiller who brought the boy to the attention of other musicians, solidifying his foothold in composition and conducting. Bruch’s Op. 1 was an opera based on Goethe’s Scherz, List und Rache. Bruch composed more than 200 pieces, some three-quarters for the voice, in the form of ones for the stage, sacred and secular choral works, and songs; he also wrote three symphonies. He spent the bulk of his long life conducting in Berlin, Liverpool, and Breslau, and in his last years he taught at the Hochschule für Musik in Berlin, where and were among his students. Joachim and Success Bruch’s Violin Concerto in G minor became the centerpiece of his life soon after its conception. He acknowledged that composing a concerto for violin “is a damned difficult thing to do; between 1864 and 1868 I rewrote my concerto at least half a dozen times, and conferred with x [sic] violinists before it took the final form in which it is universally famous and played everywhere.” Bruch expressed a refreshing insecurity during 36

its composition, asking his teacher Hiller, “Do you not think that it is in fact very audacious to write a violin concerto?” Bruch worked closely on revisions with Joseph Joachim, the virtuoso violinist, who took an immediate liking to the Concerto, but suggested many important changes. For instance, in an extensive letter Joachim insisted that the orchestral passages be longer. He even rewrote melodic ideas in the piece. Concerned that later generations would believe that Joachim had too big a hand in the evolution of the piece, Bruch urged Joachim’s son, who was in the process of publishing his father’s collected letters, not to include a detailed letter with Joachim’s suggestions. The G-minor Concerto brought Bruch much fame and recognition in his lifetime, and he attempted to sell the autographed manuscript abroad to two American sisters, Ottilie and Rose Sutro, who had so impressed Bruch with their playing that he agreed to compose a concerto for them, the Concerto for Two Pianos, Op. 88a. The story goes that the Sutro sisters said they would sell the Violin Concerto manuscript for Bruch in the and send him back the proceeds. They never did, and the manuscript now resides in the Pierpont Morgan Public Library in New York. Bruch died in 1920, age 82, after an indefatigable career. The violinist performed the Adagio from the Concerto at his funeral in the cemetery chapel of St. Matthew in Berlin. A Closer Look The Concerto is an extraordinary mixture of bravura and pathos. The G-minor key sets a despairing and ominous tone, while the muscular opening violin lines (Vorspiel [Prelude]) require the violinist to bravely traverse open octaves and fly through quick-hitting scales. Unlike traditional preludes, this is not a warm-up piece, but requires the violinist to have done plenty of calisthenics before walking out on stage. The movement (Allegro moderato) is in ABA form, with the opening ascending melody returning at the end with just a few alterations, flowing directly into the Adagio. In the traditionally heavenly key of E-flat major and perfect triple time, the Adagio movement arouses sublime emotions. Notes melt into one another as the orchestra provides a subdued canvas upon which the violin soars. The orchestra finally deigns itself to break through in the middle of the movement, playing the primary theme. The pace soon increases and climaxes into triumphant fortissimo. Peace returns at the end as the primary theme rises again reassuringly and fades to pianissimo. 37

Bruch composed his Violin The brightly optimistic key of G major appears in the last Concerto No. 1 from 1864 to movement (Allegro energico), and the violinist stabs the 1866. instrument in double and triple stops, reminiscent of the last The first Philadelphia Orchestra movement of Brahms’s Violin Concerto, to which Joachim performances of Bruch’s also made significant contributions. We are firmly in the Concerto were presented land of quick-fingered virtuosity and grandly gestured tutti in January 1902, with melodies. Bruch’s Concerto is noteworthy for its ability to soloist Cornelius Franke and capture primary human emotions, from longing and despair conductor Fritz Scheel. Jennifer to triumph and courage, in a traditionally tonal 19th-century Koh was the most recent idiom sure to move audiences for all time. violinist to perform the work on subscription concerts, in —Eleonora M. Beck November 2011 with Christoph Eschenbach. The Philadelphia Orchestra recorded the work once, with Isaac Stern and Eugene Ormandy in 1956. The Concerto is scored for an orchestra of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings, in addition to the solo violin. Performance time is approximately 23 minutes. 38 The Music Symphony No. 2

“All you need to do is sit down, place your little feet alternately on both pedals, and strike an F-minor chord for a good while, alternately low and high … then you will gradually gain the most accurate picture of the ‘latest.’” With typical heavy-handed facetiousness, Johannes Brahms announced the existence of his Second Symphony to his friend Elisabet von Herzogenberg. In a letter sent to her a few days later, he continued by writing that the musicians were wearing black armbands to perform the Symphony because “it sounds so very Johannes Brahms mournful; it will also be printed with a black border.” He Born in Hamburg, similarly told his publisher, Fritz Simrock, that the score “is May 7, 1833 so melancholy that you will not be able to bear it.” Died in Vienna, April 3, 1897 A Cheerful Work Although Brahms was joking in his ponderous way, his statements about his Second Symphony in D major, Op. 77, reveal how starkly the work differs from his First Symphony premiered the previous year. While the latter work has a portentous introduction complete with throbbing timpani, the Second begins immediately without introduction. The First Symphony’s tense opening movement was clearly composed under Beethoven’s shadow. By contrast, the first movement of the Second Symphony evinces Schubert’s beneficent and liberating influence. The First is in the somber key of C minor, while the Second is cast in a radiant D major. Musicologists point to a number of reasons why the Second Symphony is more cheerful than the First. The success of the Symphony No. 1 had undeniably lifted a great weight from Brahms’s shoulders by helping to establish him as a worthy successor to the Beethovenian symphonic tradition. Commentators have also noted that Brahms wrote the Symphony No. 2 during a protracted summer holiday in the idyllic Austrian village of Pörtschach on the banks of the Wörthersee in the Carinthian Alps. While the natural beauty of this locale certainly contributed to the Symphony’s warmth and lyricism, an equally important reason for Brahms’s good mood during 1877 was largely the result of gaining complete financial independence, which allowed him to concentrate exclusively on composition. The year ended on a triumphant note with the first performance of the 39

Second Symphony by the Vienna Philharmonic conducted by Hans Richter on December 30. The premiere was a complete success; the Symphony’s piquant scherzo had to be encored. A Closer Look The opening measures of Brahms’s Second Symphony are unforgettable: Four quiet notes are played by the cellos and basses and then the French horns intone a theme that is reminiscent of alphorns heard from the distance. By the time he wrote the work, the composer, who had settled in Vienna in 1863, had been seduced by Austrian Gemütlichkeit, an untranslatable word with connotations of winsome charm and coziness. Cast in a meter of three beats to a measure, this movement (Allegro non troppo) recalls both the waltz and its predecessor, the Austrian folk dance known as the Ländler. Many commentators have noticed the resemblance of the second theme to the composer’s own “Wiegenlied,” Op. 49, No. 4 (1868), best known in Anglophone countries as “Brahms’s Lullaby.” As is characteristic of Brahms, however, this music is not an expression of undiluted happiness: Troubled passages redolent of darkness and even pain pass over the surface of the music like clouds across a verdant landscape. The slow movement that follows (Adagio non troppo— L’istesso tempo, ma grazioso) is introverted and somber. This movement puzzled early listeners. The Viennese music critic Eduard Hanslick, usually one of Brahms’s partisans, quipped that this Adagio was “more conspicuous for the development of the themes than the themes themselves.” In fact, the eloquent opening theme is one of the composer’s finest achievements, at once complex and memorable. This deeply introspective movement is an example of what called “developing variation”—thematic materials that are constantly developed—while also using an ingenious adaptation of sonata form. The charming scherzo with its two trios, Allegretto grazioso (quasi andantino)—Presto ma non assai, banishes the brooding seriousness of the preceding movement with a burst of musical sunshine. Even here in this lighthearted movement, however, Brahms deploys his ingenuity, subjecting each section to constant variation. He finishes off the Symphony with a rambunctious final movement (Allegro con spirito), some of the most joyous music of his career. Only the finale of his Violin Concerto rivals the last movement of the Second Symphony for extroverted high spirits. The finale is yet 40

Brahms composed his another example of sonata form, and it is a study in Symphony No. 2 in 1877. the skillful contrast of exuberance with mystery. The The Philadelphia Orchestra’s movement concludes with an exultant coda that hurtles first performance of the forward to its conclusion. Symphony was in December —Byron Adams 1900, under Fritz Scheel’s direction. The most recent appearance on the Orchestra’s subscription concerts was in January 2018, with Pablo Heras-Casado on the podium. The Philadelphia Orchestra has recorded Brahms’s Second Symphony four times: with in 1929 for RCA Victor; with Eugene Ormandy in 1939 for RCA Victor; with Ormandy in 1953 for CBS; and in 1988 with Riccardo Muti for Philips. A live recording from 1995 with Wolfgang Sawallisch is also available by digital download. The score calls for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three , , timpani, and strings. The Symphony runs approximately 40 minutes in performance.

Program notes © 2019. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 41 Musical Terms

GENERAL TERMS dramatic composition piece in one movement, Arpeggio: A broken originating in the 16th which is based upon an chord (with notes played century with text usually extramusical idea in succession instead of based on religious subjects. Tonic: The keynote of a together) Oratorios are performed scale Chord: The simultaneous by choruses and solo Triad: A three-tone chord sounding of three or more voices with an instrumental composed of a given tone tones accompaniment, and (the “root”) with its third and Chromatic: Relating to are similar to operas but fifth in ascending order in tones foreign to a given key without costumes, scenery, the scale or chord and actions. Tutti: All; full orchestra Coda: A concluding Scale: The series of tones Vorspiel: Prelude or section or passage added which form any major or introductory movement in order to confirm the minor key impression of finality Scherzo: Literally “a THE SPEED OF MUSIC Counterpoint: joke.” Usually the third (Tempo) The combination of movement of symphonies Adagio: Leisurely, slow simultaneously sounding and quartets that was Allegretto: A tempo musical lines introduced by Beethoven between walking speed Diatonic: Melody or to replace the minuet. The and fast harmony drawn primarily scherzo is followed by a Allegro: Bright, fast from the tones of the major gentler section called a trio, Andantino: Slightly or minor scale after which the scherzo is quicker than walking speed Double-stop: In violin repeated. Its characteristics Con spirito: With spirit playing, to stop two strings are a rapid tempo in triple Energico: With vigor together, thus obtaining time, vigorous rhythm, and Grazioso: Graceful two-part harmony humorous contrasts. L’istesso tempo: At the Harmony: The Sonata form: The form in same tempo combination of which the first movements Moderato: A moderate simultaneously sounded (and sometimes others) tempo, neither fast nor slow musical notes to produce of symphonies are usually Presto: Very fast chords and chord cast. The sections are progressions exposition, development, TEMPO MODIFIERS Octave: The interval and recapitulation, the Ma non assai: But not between any two notes that last sometimes followed much are seven diatonic (non- by a coda. The exposition Non troppo: Not too chromatic) scale degrees is the introduction of much apart the musical ideas, which Quasi: Almost Op.: Abbreviation for opus, are then “developed.” In a term used to indicate the recapitulation, the DYNAMIC MARKS the chronological position exposition is repeated with Fortissimo (ff): Very loud of a composition within a modifications. Pianissimo (pp): Very composer’s output Symphonic poem: A type soft Oratorio: Large-scale of 19th-century symphonic 42 Tickets & Patron Services

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