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Home , A Sea Symphony, Betrothal in a Monastery, Choral symphony, Frances Yeend, Jubilee quartet, Philadelphia Orchestra

23 Season 2013-2014

Thursday, February 13, at 8:00 The Friday, February 14, at 8:00 Saturday, February 15, at 8:00 Conductor Vsevolod Grivnov Alexey Zuev Speaker Tatiana Monogarova Westminster Symphonic Joe Miller Director

Rachmaninoff/ Songs orch. Jurowski I. “Christ Is Risen,” Op. 26, No. 6 II. “Dreams,” Op. 38, No. 5 III. “The Morn of Life,” Op. 34, No. 10 IV. “So Dread a Fate,” Op. 34, No. 7 V. “All Things Depart,” Op. 26, No. 15 VI. “Come Let Us Rest,” Op. 26, No. 3 VII. “Before My Window,” Op. 26, No. 10 VIII. “The Little Island,” Op. 14, No. 2 IX. “How Fair this Spot,” Op. 21, No. 7 X. “What Wealth of Rapture,” Op. 34, No. 12 (U.S. premiere of orchestrated version)

Rachmaninoff Piano No. 4 in , Op. 40 I. Allegro vivace II. Largo III. Allegro vivace

Intermission 24

Rachmaninoff , Op. 35 I. Allegro, ma non tanto II. Lento—Adagio III. Presto—Prestissimo IV. Lento lugubre—Allegro—Andante— Tempo I

This program runs approximately 1 hour, 45 minutes.

These concerts are presented in cooperation with the Foundation.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 3 Story Title 25 The Jessica Griffin

The Philadelphia Orchestra community itself. His concerts to perform in , in 1973 is one of the preeminent of diverse repertoire attract at the request of President in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. Arts in . The Orchestra audiences, and admired for annually performs at Under Yannick’s leadership a legacy of innovation in while also the Orchestra returns to -making. The Orchestra enjoying annual residencies in recording with a newly- is inspiring the future and Saratoga Springs, N.Y., and at released CD on the Deutsche transforming its rich tradition the Bravo! Vail festival. Grammophon label of of achievement, sustaining Stravinsky’s The Rite of Musician-led initiatives, the highest level of artistic and including highly-successful quality, but also challenging transcriptions. In Yannick’s and Play-Ins, and exceeding that level, by inaugural season the shine a spotlight on the creating powerful musical Orchestra has also returned Orchestra’s musicians, as experiences for audiences at to the radio airwaves, with they spread out from the home and around the world. weekly Sunday afternoon stage into the community. Music Director Yannick broadcasts on WRTI-FM. The Orchestra’s commitment Nézet-Séguin triumphantly to its education and Philadelphia is home and opened his inaugural community partnership the Orchestra nurtures an season as the eighth artistic initiatives manifests itself important relationship not leader of the Orchestra in numerous other ways, only with patrons who support in fall 2012. His highly including concerts for families the main season at the collaborative style, deeply- and students, and eZseatU, Kimmel Center but also those rooted musical curiosity, a program that allows full- who enjoy the Orchestra’s and boundless enthusiasm, time college students to other area performances paired with a fresh approach attend an unlimited number at the Mann Center, Penn’s to orchestral programming, of Orchestra concerts for Landing, and other venues. have been heralded by a $25 annual membership The Orchestra is also a global critics and audiences alike. fee. For more information on ambassador for Philadelphia Yannick has been embraced The Philadelphia Orchestra, and for the U.S. Having been by the musicians of the please visit www.philorch.org. the first American orchestra Orchestra, audiences, and the 8 Music Director

Nigel Parry/CPi Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. 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 Times has called Yannick “phenomenal,” adding that under his baton “the ensemble … has never sounded better.” In his first season he took the Orchestra to new musical heights. His second builds on that momentum with highlights that include a Philadelphia Commissions Micro-Festival, for which three leading have been commissioned to write solo works for three of the Orchestra’s principal players; the next installment in his multi-season focus on with Fauré’s ; and a unique, theatrically-staged presentation of Strauss’s revolutionary Salome, a first-ever co-production with Opera Philadelphia.

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. In addition he becomes the first ever mentor conductor of the Curtis Institute of Music’s fellows program in the fall of 2013. 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 Orchestra returns to recording with a newly-released CD on that label of Stravinsky’s Rite of Spring and Leopold Stokowski transcriptions. Yannick continues a fruitful recording relationship with the Rotterdam Philharmonic for DG, BIS, and EMI/Virgin; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick Nézet-Séguin studied at that city’s Conservatory of Music and continued lessons with renowned conductor and with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, one of the country’s highest civilian honors; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise- Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government; and an honorary doctorate by the University of Quebec in Montreal.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 26 Conductor

Sheila Rock One of today’s most sought-after conductors, Vladimir Jurowski has been a frequent guest with The Philadelphia Orchestra since making his debut in 2005. He made his international debut in 1995 at the Wexford Festival conducting Rimsky-Korsakov’s , and the same year made his debut at the Royal with Verdi’s . Mr. Jurowski was appointed principal guest conductor of the London Philharmonic in 2003 and became principal conductor in September 2007. From 2001 to 2013 he served as music director of the Glyndebourne Festival Opera. He also holds the titles of principal artist of the Orchestra of the Age of Enlightenment and artistic director of the Russian State Academic . As a guest he has conducted many of the world’s leading orchestras, including the Berlin and Vienna philharmonics, the Royal Concertgebouw Orchestra, the Boston and , and the Staatskapelle. Recent and upcoming performance highlights include debuts with the and the NHK and symphonies; tours with the Chamber Orchestra of Europe and the Mahler Chamber Orchestra; and return visits to the , the Berlin Radio Symphony, and the Orchestra dell’Accademia Nazionale di Santa Cecilia. Mr. Jurowski made his debut at the in 1999 with Verdi’s Rigoletto and has since returned for Janácˇek’s Jenu˚fa, Tchaikovsky’s The Queen of Spades, Humperdinck’s Hansel and Gretel, and, in 2013, Strauss’s Die Frau ohne Schatten. Mr. Jurowski’s discography includes the first-ever recording of the Exile by for ECM, Meyerbeer’s L’Étoile du Nord for Marco Polo, Massenet’s for BMG, and a series of records for PentaTone with the Russian National Orchestra. The London Philharmonic has released a wide selection of his live recordings on its LPO Live label. His tenure at Glyndebourne has been documented in CD releases of Rossini’s La Cenerentola, Wagner’s Tristan and Isolde, and Prokofiev’s , as well as DVD releases of Puccini’s , Johann Strauss Jr.’s Die Fledermaus, Wagner’s Die Meistersinger von Nürnberg, Mozart’s , and Rachmaninoff’s , all released by Medici Arts. 27 Soloists

Kristen Loken Anstey Russian tenor Vsevolod Grivnov makes his Philadelphia Orchestra debut with these performances. A principal soloist with the , recent performances with that company include Verdi’s La traviata, A Masked Ball, and Luisa Miller, and Cilea’s Adriana Lecouvreur. He has sung Levko in Rimsky-Korsakov’s May Night at the Wexford Festival; Dmitri in Musorgsky’s Boris Godunov; Fernando in Donizetti’s La favorita; and Prince Guidon in Rimsky-Korsakov’s at Nice Opera. He made his American debut as Dmitri in Boris Godunov at the and later debuted at the Royal Danish Opera as Fenton in Verdi’s Falstaff, a role he has also performed at the New Israeli Opera. Other engagements have included Bach’s in with the Orchestra of the Teatro Massimo in Palermo; Stravinsky’s Pulcinella with the ; Shostakovich’s Six Romances on Texts by Japanese Poets in Venice; and Stravinsky’s The Wedding with the RIAS Kammerchor in Berlin, which was recorded by Harmonia Mundi. Mr. Grivnov has performed Rachmaninoff’s The Bells with Vladimir Jurowski and the Philharmonic and at the BBC Proms. Russian Alexey Zuev is making his Philadelphia Orchestra debut. Born in 1982 in St. Petersburg, he gave his first public performance at age eight and won the International Prokofiev Competition at 17. Recent and upcoming performance highlights include his debut with the London Philharmonic and Vladimir Jurowski; performances with the World Orchestra for Peace in St. Petersburg and with ; Britten’s in Switzerland; recital and concerto performances in Luxembourg, Austria, , Italy, Switzerland, and ; and appearances at the Kreuth and St. Gallen festivals, Klavier-Olympiade in Bad Kissingen, Alpenklassik in Bad Reichenhall, and Kissinger Sommer, among others. Mr. Zuev’s 2008 debut CD of works by Weber, Schubert, and Brahms is on Moscow’s Art Classics “Russian Virtuosos” series. Also available on disc are his performances of Schumann, Liszt, and Debussy at the Ruhr International Piano Festival; a live recital disc of works by Beethoven, Stravinsky, Schumann, Chopin, and Marina Schmotova; and, with pianist Alexei Lubimov, four- hand arrangements of Debussy’s Three and Prelude to the Afternoon of a Faun released on ECM. 28 Soloists

Sherman Howard, who is making his Philadelphia Orchestra debut, has appeared with the New Jersey Symphony in Sibelius’s Suite from . His Broadway credits include Gore Vidal’s The Best Man, A Bengal Tiger in the Baghdad Zoo, All My Sons, and Inherit the Wind. With the Shakespeare Theatre of New Jersey he has appeared as Henry II in The Lion in Winter, Scrooge in A Christmas Carol, Galileo Galilei in Life of Galileo, Lopakhin in The Cherry Orchard, Benedick in , and the title role in Enrico IV. Mr. Howard’s Off-Broadway credits include Another Part of the Forest, , Geography of a Horse Dreamer, The Lady or the Tiger, The Crate, and I’m Not Rappaport. He also appeared with Lauren Bacall in the national tour of Sweet Bird of Youth. Mr. Howard has appeared in numerous productions across the U.S., including Rosencrantz and Guildenstern are Dead, Sheridan, Nine Armenians, The Front Page, Getting Out, The Runner Stumbles, , The Mystery Cycle, and Cyrano de Bergerac. His television credits include , Person of Interest, Cold Case, , ER, Star Trek, OP-Center, Good and Evil, and Law and Order.

Eugene Beregovoy Highlights of Russian soprano Tatiana Monogarova’s 2013-14 season include the title role of Tchaikovsky’s at the Grand Theatre in Warsaw with Valery Gergiev; her debut with the Zurich Opera singing Lisa in Tchaikovsky’s The Queen of Spades with Jirˇí Beˇlohlávek; a return to the role of Cio-Cio San in Puccini’s Madame Butterfly with Cape Town Opera; and performances of Britten’s War Requiem with the London Philharmonic and Vladimir Jurowski at the Southbank Centre in London, the Musikverein in Vienna, and the Rostropovich Festival in Moscow. In the 2012-13 season she returned to the Bolshoi Theatre in Moscow as Tatiana in Tchaikovsky’s , a signature role she has also performed on tour with the Bolshoi in Europe and Israel. In future seasons she makes debuts with Washington National Opera, l’Opéra National du Rhin in Strasbourg, and Frankfurt Opera. Ms. Monogarova, who is making her Philadelphia Orchestra debut, has performed Rachmaninoff’s The Bells with Vladimir Jurowski and the London Philharmonic; with and the Atlanta Symphony; and at the BBC Proms, also with Mr. Jurowski. 29 Soloist/Chorus

Baritone Sergei Leiferkus has appeared in opera houses around the world in roles such as Scarpia in Puccini’s , Iago in Verdi’s , Rangoni in Musorgsky’s Boris Godunov, Telramund in Wagner’s Lohengrin, and Alberich in Wagner’s Ring Cycle. Highlights of the current season include a role written especially for him: Professor Filip Filippovich Preobrazhensky in Alexander Raskatov’s A Dog’s Heart at the Opéra de Lyon; and concert engagements in Moscow, St. Petersburg, and at the Schleswig-Holstein Festival in Germany. Mr. Leiferkus has recorded nearly 40 CDs. His first recording of Musorgsky songs received a Grammy nomination; another recording of all of Musorgsky’s songs was awarded the Cannes Classical Award and the Diapason d’Or Prize in 1997. Video recordings include staged at the (Tchaikovsky’s Eugene Onegin and Prokofiev’s ) and at (Otello and Borodin’s Prince Igor). Mr. Leiferkus was born in St. Petersburg and graduated from that city’s Conservatory. His debut with the under in the early 1980s launched his international career. He made his Philadelphia Orchestra debut in 1989. Peter Borg The Westminster Symphonic Choir is composed of students at Westminster Choir College of Rider University in Princeton. The Choir has recorded and performed with major orchestras under virtually every internationally acclaimed conductor of the past 78 years. The Westminster Symphonic Choir, led by conductor Joe Miller, director of choral activities at the college, made its Philadelphia Orchestra debut in 1934 with Leopold Stokowski in Bach’s Mass in B minor. In addition to these current performances, highlights of the Westminster Symphonic Choir’s 2013- 14 season include Beethoven’s Symphony No. 9 with The Philadelphia Orchestra conducted by Yannick Nézet-Séguin and the Vienna Chamber Orchestra conducted by Mark Laycock; Handel’s Messiah with the New York Philharmonic and Andrew Manze; and Rouse’s Requiem with the New York Philharmonic and Alan Gilbert. The Westminster Choir has made two recordings with Dr. Miller: Noël, a collection of French Christmas music and sacred works; and Flower of Beauty, which received four stars from Choir and Organ magazine and earned critical praise from American Record Guide as “the gold standard for academic in America.” 30 Framing the Program

Some composers over the past two centuries formed Parallel Events particularly close relationships with specific orchestras, 1913 Music such as Mendelssohn with the Gewandhaus, Rachmaninoff Stravinsky Mahler and the Vienna Philharmonic, and Bernstein with The Bells The Rite of the New York Philharmonic. During the latter part of his Spring career Sergei Rachmaninoff remarked that he often wrote Literature with the sound of The Philadelphia Orchestra in his head Mann and as a soloist he said that he would “rather perform Death in Venice with The Philadelphia Orchestra than any other of the Art world.” Beginning with his first American tour in 1909, Sargent Portrait of Henry he showed a special affinity for the “Philadelphia Sound” James and started writing most of his symphonic works for it, History including the Fourth Piano Concerto we hear tonight, the Balkan War Rhapsody on a Theme of Paganini, the Third Symphony, and the Symphonic Dances. He and the Orchestra also 1926 Music collaborated on landmark recordings of the and Rachmaninoff Bartók other pieces. Piano Concerto The Miraculous No. 4 Mandarin The all-Rachmaninoff program today opens with a Literature selection of his songs, a genre he cultivated during his Milne Russian years before emigrating in the wake of the 1917 Winnie the Pooh Bolshevik Revolution. Originally composed for voice and Art piano, we hear them today in luminous from Munch the mid-1960s by Vladimir Michailovich Jurowski (1915- The Red House 72), grandfather of Vladimir Jurowski who conducts the History Philadelphians in this concert. Trotsky expelled from Moscow The program concludes with The Bells, a that Rachmaninoff composed in Russian to a haunting poem by . Leopold Stokowski led The Philadelphia Orchestra in the U.S. premiere of the work in 1920. 30A The Music Songs

Sergei Rachmaninoff composed over 80 songs between the early 1890s and 1916; each collection of songs that he published evinced a marked advance in subtlety, insight, and musical resource. After the composition of his magisterial collection of Six Songs, Op. 38, in 1916, Rachmaninoff, who fled the Bolshevik Revolution with his family the following year, wrote no more. He may have wondered who would comprise the audience for more Russian songs after he became an émigré in the West—perhaps the very thought of Sergei Rachmaninoff setting Russian poetry while in exile proved too poignant Born in Semyonovo, to bear. Whatever the reason, after 1917 Rachmaninoff’s Russia, , 1873 wellspring of song dried up, never to return. Died in Beverly Hills, California, March 28, 1943 An Honored Tradition The distinguished Russian film composer Vladimir Michailovich Jurowski (1915- 72), grandfather of Vladimir Jurowski who conducts the Philadelphians in this concert, selected a number of Rachmaninoff’s most characteristic songs and orchestrated their elaborate and often orchestral sounding piano parts with taste, skill, and an informed understanding of the composer’s style. By so doing, Jurowski himself was following in a hallowed tradition, for orchestrating the songs of honored contemporaries for concert performance was a common and venerated practice among 19th-century Russian composers. Furthermore, this set provides a welcome overview of Rachmaninoff’s signal but underrated achievement as a song composer. Finally, this music, too little known outside of Russia, is ravishing. A curious feature of the selections that Jurowski made from the Fourteen Songs, Op. 34 (1912), and the Six Songs, Op. 38, is the indirect manner by which the texts were selected to be set to music. In 1912 Rachmaninoff began an intimate five-year epistolary relationship with Marietta Sergeyevna Shaginian (1888-1982), a gifted writer of Armenian heritage who signed her letters to the composer with the pseudonym “Re.” At Rachmaninoff’s request, Shaginian compiled a selection of poems for his last two song collections; in gratitude he dedicated to her the first one of his Op. 34, a setting of Pushkin’s lyric Muza (“Muse”). On March 15, 1912, he wrote to her “that 30B

Rachmaninoff composed his the mood [of the selected poetry] should be sad rather Op. 26 songs in 1906; Op. than witty, as bright tones do not come easily to me.” 38 in 1916; Op. 34 in 1912 (except No. 7, which was A Closer Look This group commences with “Christ composed in 1910 and revised Is Risen,” composed in 1906. Despite the opening in 1912); Op. 26 in 1906; quotation from the of the Russian Op. 14 in 1896 (except No. Orthodox liturgy, this is an exceedingly somber 1, which was composed in song: The text by Dmitri Merezhkovsky portrays Christ 1894); and Op. 21 in 1901 lamenting the soiled world into which he rose again. (except No. 1, which was “Dreams” effects a complete change of mood: A composed in 1900). The set voluptuous poem by the symbolist Fyodor Sologub is heard tonight was orchestrated enveloped by enchanting music. “The Morn of Life” by Vladimir Michailovich is an exultant paean to the transformative power of love Jurowski in 1963. set to a poem by . In the following song, These concerts are the “So Dread a Fate,” Rachmaninoff composes ineffably premiere of this poignant music to adorn a poem by Apollon Maykov in orchestrated version of these which the poet mourns the death of his young daughter. songs and the first Philadelphia (Although this haunting song was published in 1912, its Orchestra performances of first version was written in 1910 on the death of the great any of the Rachmaninoff actress Vera Komissarzhevskaya.) songs in this set, although Marcella Sembrich sang The subdued mood continues with “All Things Depart,” “Before My Window” with in which Rachmaninoff creates a concise masterpiece of piano accompaniment only in declamatory power inspired by Daniil Rathaus’s meditation Springfield on February 18, on the fragility of life. “Come Let Us Rest” is a further 1913. example of Rachmaninoff’s mastery of declamation: It is a The score for the songs in this setting of Sonya’s concluding monologue from the fourth calls for solo act of Anton Chekov’s play Uncle Vanya. “Before My tenor, two , two , Window” is a refulgent setting of a poem by Countess two , , Adolfovna Einerling, who published under the nom- two , four horns, two de-plume “Galina.” “The Little Island” is an inspired , three , setting of a translation of one of Shelley’s lyric poems , , percussion (bass by . Rachmaninoff returns to the drum, , tubular bells), poetry of “Galina” for the gently pantheistic “How Fair harp, celeste, and strings. this Spot.” This selection concludes with the exultant Performance time for the set is “What Wealth of Rapture,” in which the poet Afanasy approximately 27 minutes. Fet describes how a lover’s racing pulse is gradually becalmed through a rapturous contemplation of the starry firmament. —Byron Adams 30C

“Khristos voskres” “Christ Is Risen” (Dmitri Merezhkovsky)

“Khristos voskres,” poyut vo khrame; “Chris is risen!” they sing in the churches; No grustno mne … dusha molchit. but I am sad, my heart is silent. Mir polon krov’yu i slezami, The earth is full of tears and bloodshed, i etot gimn pred altaryami and this song of praise before the altars tak oskorbitel’no zvuchit. sounds like a mockery. Kogda b On bïl mezh nas i videl, If He came among us and could see chevo dostig nash slavnïy vek, the triumphs of our glorious age— kak brata brat voznenavidel, how brother hates brother, kak opozoren chelovek, how shameful men have become— i esli b zdes’, v blestyashchem khrame, if He were here, in this glittering church “Khristos voskres,” On uslïkhal, to hear the chant “Christ is risen!,” kakimi b gor’kimi slezami, what bitter tears He would weep pered tolpoy On zarïdal! in front of the multitude!

“Son” “Dreams” (Fyodor Sologub)

V mire net nichevo vozhdelenneye Nothing in the world is more longed-for sna, than a dream: charï est’ u nevo, u nevo tishina, it possesses enchantment, brings silence, u nevo na ustakh ni pechal’ i ni smekh, its features show neither laughter nor pain, i v bezdonnïkh ochakh mnogo taynïkh in its fathomless eyes lie great secret utekh. delights. U nevo shiroki, shiroki dva krïla, It soars to the heights on shining wings, i legki, tak legki, kak polnochnaya mgla. as lightly as the darkness of midnight. Ne ponyat’, kak nesyot, i kuda i na chom, Incomprehensible, outside time and space, on krïlom ne vzmakhnyot, on wings that are still, i ne dvinet plechom. motionless.

“Sey den’ ya pomnyu” “The Morn of Life” (Fyodor Tyutchev)

Sey den’, ya pomnyu, dlya menya I remember that day: for me bïl utrom zhiznennovo dnya: it was the morning of the day of life. stoyala molcha predo mnoyu, She stood in silence before me, vzdïmalas’ grud’ eyo, her breast heaving, aleli shchoki, kak zarya, her cheeks flushing red as dawn, vsyo zharche rdeya i gorya! glowing with increasing fire … I vdrug, kak solntse zolotoye, and suddenly, like the golden sun, lubvi priznan’ye molodoye a youthful confession of love istorglos’ iz grudi eya burst from her breast. i novïy mir uvidel ya! And I beheld a new world!

(Please turn the page quietly.) 30D

“Ne mozhet bït’!” “So Dread a Fate” (Apollon Maykov)

Ne mozhet bït’! Ne mozhet bït’! So dread a fate! So dread a fate! Ona zhiva! … seychas prosnyotsya … She lives! … and now awakes. Smotrite: khochet govorit’, See: she wants to speak, otkroyet ochi, ulïbnyotsa, she opens her eyes and smiles. menya uvidevshi, poymyot, When she sees me, she will understand chto neuteshnïy plach’ moy znachit, the meaning of my bitter tears, i vdrug s ulïbkoyu shepnyot: and will whisper with a smile: “Ved’ ya zhiva! O chom on plachet!” “But I am alive! Why are you weeping?” No net! Lezhit … tikha, nema, nedvizhna … But no! She lies … silent, still, unmoving.

“Prokhodit vsyo” “All Things Depart” (Daniil Rathaus)

Prokhodit vsyo, i net k nemu vozvrata. All things depart, nothing will ever return. Zhizn’ mchitsya vdal’, mgnoveniya bïstreye. Life hurries on, like passing moments. Gde zvuki slov, zvuchavshikh nam Words uttered once find echo kogda-to? in oblivion. Gde svet zari nas ozarivshikh dney? Who can call back yesterday’s dawn? Rastsvel tsvetok, a zavtra on uvyanet. A flower grows, and tomorrow is withered. Gorit ogon’, chtob vskore otgoret’ … A flame spring sup, only to die in ashes … Idyot volna, nad ney drugaya The waters flow past, never still for vstanet … a moment … Ya ne mogu veselïkh pesen pet’! There cannot be any joy in my song!

“Mï otdokhnyom” “Come Let Us Rest” ()

Mï otdokhnyom! Mï uslïshim angelov, Come let us rest! Let us hear the angels, mï uvidim vse let us nebo v almazah, mï uvidim, kak vse zlo see the covered with stars like zemnoye, diamonds; vse nashi stradaniya v miloserdii, kotoroye all earthly evil, all our sufferings swept napolnit away by the soboyu ves’ mir, i nasha zhizn’ stanet grace which will fill the world, and our life tikhoyu, will be nezhnoyu, sladkoyu, kak laska. peaceful, gentle, sweet as a caress. Ya veruyu, veruyu … I believe it, I believe it … Mï otdokhnyom … Mï otdokhnyom. Come let us rest … come let us rest. 31

“U moyevo okna” “Before My Window” (Glafira Galina)

U moyevo okna cheremukha tsvetyot, Before my window flowers a cherry tree, tsvetyot zadumchivo pod rizoy serebristoy … blossoming dreamily in bridal whiteness … i vetkoy svezhey i dushistoy its silvery branches gently sway, sklonilas’ i zovyot … and rustling call to me … Eyo trepeshchushchikh vozdushnïkh I draw down the trembling lepestkov blossoms ya radostno lovlyu veseloye dïkhan’ye, and joyfully breathe their fresh perfume, ikh sladkiy aromat tumanit mne soznan’ye, until their sweetness clouds my senses, i pesni o lyubvi oni poyut bez slov … singing a wordless song of love …

“Ostrovok” “The Little Island” (trans. Konstantin Balmont) ()

Iz moray smotrit ostrovok, There was a little lawny islet evo zelyonïye uklonï By anemone and violet, ukrasil trav gustïkh venok Like mosaic paven: fialki, anemonï. And its roof was flowers and leaves Nad nim spletayutsya listï, Which the summer’s breath enweaves, vokrug nevo chut’ pleshchut volnï. Where nor sun nor showers nor breeze Derev’ya grustnï, kak mechtï, Piece the pines and tallest trees, kak statui, bezmolvnï. Each a gem engraves;— Zdes’ ele dïshit veterok, Girt by many an azure wave syuda groza ne doletayet, i bezmyateznïy With which the clouds and mountains ostrovok pave vsyo dremlet, zasïpayet. A lake’s blue chasm.

“Zdes’ khorosho” “How Fair this Spot” (Glafira Galina)

Zdes’ khorosho … How fair this spot! Vzglyani, vdali I gaze around me, where ognyom gorit reka; the golden brook flows past, tsvetnïm kovrom luga legli, the fields are covered with flowers, beleyut oblaka. white clouds sail above. Zdes’ net lyudey … There is no-one here, zdes’ tishina silence reigns; zdes’ tol’ko Bog da ya. here I am alone with God, Tsvetï, da staraya sosna, with the flowers, the ancient pines, da tï, mechta moya! and with you, my only dream!

(Please turn the page quietly.) 32

“Kakoye schast’ye” “What Wealth of Rapture” (Afanasy Fet)

Kakoye schast’ye: What wealth of rapture: i noch’, i mï odni! it is night and we are alone! Reka—kak zerkalo The river is as smooth as glass, i vsya blestit zvezdami; reflecting a myriad of stars. a tam-to … golovu zakin’— Oh come, bend your head ka da vzglyani: and look into kakaya glubina i chistota nad nami. the purity of its depths!

O nazïvay menya bezumnïm! Oh, tell me I have lost all reason! nazovi chem khochesh’; Call it what you will! v etot mig ya razumom slabeyu In this moment my mind is faint, i v serdtse chuvstvuyu my heart is flooded takoy priliv lyubvi, with love and desire chto ne mogu molchat’, ne stanu, and I cannot speak ne umeyu! or understand!

Ya bolen, ya vlyublen; I am sick with love, no, muchas’ i lyubya— with the pains of love! O, slushay! o poymi!— Oh listen, believe me! ya strasti ne skrïvayu, I cannot hide my agony, i ya khochu skazat’, but have to tell you chto ya lyublyu tebya— how I love you! tebya, odnu tebya You, you alone, lyublyu ya i zhelayu! I love you, I desire you! 33 The Music Piano Concerto No. 4

One of the proudest chapters in the history of The Philadelphia Orchestra is the relationship between Sergei Rachmaninoff and the ensemble during the long tenures of Leopold Stokowski and . In the 1920s, ’30s, and ’40s, when Rachmaninoff was far more esteemed as a pianist than as a composer by the modernists of the time, Stokowski and Ormandy kept after him for new works, and gave the world premieres of them. Forced to present 70 or 80 concerts and recitals a year just to put food on his family’s table, beset (as always) by Sergei Rachmaninoff doubts about his abilities as a composer, confronted with audiences and critics who preferred his old “hits” to his new compositions, Rachmaninoff nonetheless responded to this Orchestra’s call with works such as the Third Symphony, the Rhapsody on a Theme of Paganini, the Symphonic Dances, and the Piano Concerto No. 4. A More “Modern” Approach These later compositions do not woo us with lush , but invigorate us with caustic wit, finely-etched details, harmonic freedom, and bold . At times, they sound like what Haydn might have written had he been composing between two World Wars instead of during the Age of Enlightenment. Was Rachmaninoff keeping up with the times at last, or were the times finally catching up with the sardonic side of his nature? In any case, without loving the sensuous, “Hollywood” Rachmaninoff of the early works any less, we can now appreciate these later and sharper inspirations, these (to quote T.S. Eliot) “thoughts of a dry brain in a dry season.” Throughout Rachmaninoff’s lifetime, the great popularity of his Piano Concerto No. 2 overshadowed all his other works, even the masterful Concerto No. 3. Though this latter work is now acknowledged to be a superb musical epic, the Mt. Everest for piano virtuosos, the composer himself performed it with drastic cuts, for fear of wearing out the audience’s patience. He was even more concerned that listeners would find his Concerto No. 4 too long, considering its more “modern” style. He joked to his friend, the composer , that the piece might have to be performed on successive evenings, like Wagner’s Ring. Conceived in 1914, incorporating 34

music written as early as 1911, but actually composed in 1926, this Concerto did not receive its world premiere in Philadelphia until March 18, 1927, and Rachmaninoff continued to revise it after that, not producing the definitive version until 1941. A Closer Look Unlike his other concertos, which begin softly and build to their forte climaxes, this one plunges right into the middle of the excitement (Allegro vivace), with the theme in big piano chords, as if the composer were trying to get this “Rachmaninoff” thing over with as soon as possible. The dry, rustling passages that follow have their counterparts in the previous concertos, but they also show an awareness of what Prokofiev and Gershwin were doing around that time, in the 1920s. The meditative second theme is adventurous harmonically and has some beautiful, Chopin-like ornamentation. The ideas come in profusion after that, introducing new themes or recasting old ones; far from overstaying their welcome, they rush by almost too fast to catch. Through it all, Rachmaninoff seems to be toying with our expectations. There is even a brilliant “final” coda at about the seven-minute mark, when the movement actually has several more minutes to go; the end, when it does come, is sudden and sarcastic. About the last thing one would expect in this lean, mean, modernistic music is a slow movement (Largo) that sounds as if it was lifted straight from Grieg’s Peer Gynt Suite. The much-repeated falling phrase, with its chromatic , is uncannily Grieg-like; Rachmaninoff seems to return to it and wrestle with it, as if trying to free himself from an old influence. The sudden dramatic outburst at mid-movement, which spends itself quickly, is based on a chromatic version of that same phrase. In the end, Rachmaninoff is liberated by a splendid passage from one of his own withheld works, an Etude-Tableau for piano in , composed in 1911 but not published until after his death. In another rather brutal gesture, Rachmaninoff cuts the slow movement short with an orchestral outburst that launches the finale (Allegro vivace). The movement is unmatched in Rachmaninoff’s orchestral works for tension and ferocity, demanding the utmost in brilliance and attack from the soloist; this composer whom we’re used to thinking of as ultra-lyrical even treats the broad second theme with impatience. With familiarity, we may have become used to the bracing sarcasm of Rachmaninoff’s Symphonic Dances, but lovers of his piano concertos may be startled to find it here. Rachmaninoff manages to tame 35

Rachmaninoff composed his this wild music to a full close, softly, in dreamy D-flat major. Fourth Piano Concerto in But a devilish little hopping theme in the , which was 1926. hinted at in the first movement, gets the music started The Philadelphia Orchestra, again, slowly at first, on its long climb toward a frenzied conductor Leopold Stokowski, conclusion. Incidentally, Rachmaninoff was in the audience and the composer as soloist at the 1924 world premiere of Gershwin’s Rhapsody in gave the world premiere of Blue; in these closing pages of the Fourth Concerto, one the Piano Concerto No. 4, in can tell the experience wasn’t wasted on him. March 1927. Most recently on subscription the work was —David Wright performed in April 2003 by pianist and Alan Gilbert on the podium. The Orchestra has recorded Rachmaninoff’s Fourth Piano Concerto twice: in 1941 with Rachmaninoff and Stokowski for RCA and in 1961 with and Eugene Ormandy for CBS. The score calls for solo piano, piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (, cymbals, side drum, , triangle), and strings. The Concerto runs approximately 25 minutes in performance. 36 The Music The Bells

For Russian composers born in the , one of the pervasive sounds of daily life was the ringing of bells from the belfries of onion-domed Orthodox churches: Whether in the city or in the countryside, the tolling and chiming of bells was a constant sonorous reality. Unsurprisingly, the plangent sonority of bells, large and small, resonates throughout Russian music of the 19th century and, for those composers whose musical development predated the Bolshevik Revolution of 1917, such as Rachmaninoff and Stravinsky, into the 20th century as well. From the grand and somber Sergei Rachmaninoff coronation bells that ring in Musorgsky’s Boris Godunov (1874), to the coruscating pealing that occurs throughout the last act of Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh and the Maiden Fevroniya (1907), to the funereal knells that conclude Stravinsky’s Requiem Canticles (1966), bells were an integral part of the Russian musical tradition. With the music of Sergei Rachmaninoff, the Russian obsession with tintinnabulation, the resonating tones after a bell has been struck, reached its zenith. He conjured the and rhythmic patterns of bells in works for solo piano; in suites for two ; in choral pieces, such as his Vespers, Op. 37; and throughout his orchestral works. Indeed, the final sonority of his last orchestral score, the Symphonic Dances, Op. 45 (1940), is a loud stroke on a tam-tam that, like a great bell, is meant to ring on into silence after the last tumultuous chord from the orchestra has ended. It must have seemed fortuitous to Rachmaninoff when, during the summer of 1912, an anonymous admirer sent him a typescript of the Symbolist poet Konstantin Balmont’s free Russian translation of Edgar Allan Poe’s poem The Bells (1849). (After the composer’s death, it was revealed that this copy had been posted to him by Maria Davilova, a student cellist at the .) As Rachmaninoff had enjoyed writing his Liturgy of St. , Op. 31, in 1910, he sought to compose more choral music. At the same time, he had, as he later told an interviewer, “sketched out a plan for a symphony.” With the arrival of the copy of Balmont’s translation of Poe, these two impulses coalesced into the creation of a choral symphony in four movements, The Bells, Op. 35. 37

The Bells was composed in Another fortuitous event may well have played a decisive 1913. part in the genesis of Rachmaninoff’s choral symphony, a Leopold Stokowski and The genre that was exceedingly uncommon in Russian music Philadelphia Orchestra gave of this period. In 1910 the Irish composer and conductor the United States premiere of Sir Charles Villiers Stanford invited Rachmaninoff to the work, in February 1920, appear at the Leeds Festival. Rachmaninoff accepted with soprano Florence Hinkle, the engagement, playing his Second Piano Concerto tenor Arthur Hackett, bass on the same program that featured the premiere of Frederick Patton, and the a new choral symphony by Stanford’s erstwhile pupil Philadelphia Orchestra Chorus. , his massive The piece was last heard here on texts by . Several British writers, most on subscription in 1992, with notably Daniel Gideon Jaffé, have observed the striking , Alexandrina similarities between A Sea Symphony and The Bells, Pendatchanska, Kaludi especially evident in their hurtling as well as Kaludov, Kevin McMillan, and the Choral Arts Society of the introspective codas with which both symphonies end. Philadelphia. Rachmaninoff, who was not prone to gushing praise of other composers, deeply admired Vaughan Williams’s The Orchestra has recorded music. In a remarkable coincidence, Rachmaninoff The Bells three times: in participated in the English conductor Sir ’s 1954 with Eugene Ormandy, Jubilee Concert in 1938 that included the premiere of , David Lloyd, another of Vaughan Williams’s major vocal works, the Mack Harrell, and the Temple University Choirs for CBS; in . Rachmaninoff wrote to Wood the next 1973 with Ormandy, Phyllis morning requesting him to tell Vaughan Williams “how Curtin, , Michael much I enjoyed hearing his work.” Devlin, and the Temple A Closer Look In A Sea Symphony, Vaughan Williams University Choirs; and in 1992 uses the sea as a metaphor for human aspiration; in with Dutoit, Pendatchanska, The Bells Rachmaninoff employs the imagery of bells to Kaludov, Sergei Leiferkus, and the Choral Arts Society. illustrate the stages of human existence. The opening movement (Allegro ma non tanto) describes the Rachmaninoff scored the work exaltation of childhood. The second movement Largo— for piccolo, three flutes, three Adagio is a solemn to marriage, while the third oboes, English horn, three (Presto—Prestissimo) paints a terrifying picture of a fiery clarinets, , three apocalypse. The concluding Lento lugubre sounds the bassoons, , six death knell. The theme of death pervades The Bells, as the horns, three trumpets, three trombones, tuba, timpani, ringing, chiming, warning, and tolling of each successive percussion (bass drum, movement is intertwined with the virtual omnipresence of chimes, cymbals, orchestra the “” chant from the Roman Catholic bells, , tam-tam, Requiem Mass, a theme that Rachmaninoff knew well tambourine, triangle), harp, from works by Berlioz and Liszt and that he used in many pianino, celeste, organ, strings, of his own works. Poe’s poem ends in bleak despair, soprano, tenor, bass, and but Rachmaninoff concludes his score with a moving mixed chorus. evocation of the “peace that passes all understanding.” The Bells runs approximately The composer conducted the successful premiere of The 35 minutes in performance. Bells in St. Petersburg on December 13, 1913; fittingly, he last conducted it in Chicago in 1941, his final appearance anywhere as a conductor. —Byron Adams 38

Kokola The Bells (trans. Konstantin Balmont) (Edgar Allan Poe)

I. Slyshish, sani mchatsya v ryad, I. Hear the sledges with the bells— Mchatsya v ryad, Silver bells! Kolokolchiki zvenyat. What a world of merriment their Serebristym legkim zvonom slukh nash foretells! sladostno tomyat. How they tinkle, tinkle, tinkle, Etim penyem i gudenyem o zabvenye govoryat. In the icy air of night! O, kak zvonko, zvonko, zvonko, While the stars that oversprinkle Tochno zvuchnyi smekh rebyonka, All the heavens seem to twinkle V yasnom vozdukhe nochnom With a crystalline delight; Govoryat oni o tom. Keeping time, time, time, Shto za dnyami zabluzhdenya Nastupayet In a sort of Runic rhyme, vozrozhdenye. To the tintinnabulation that so musically Shto volshebno naxlazhdenye, wells naxlazhdenye nezhnym snom. From the bells, bells, bells, bells, Sani mchatsya, mchatsya v ryad. Bells, bells, bells— Kolokolchiki zvenyat. From the jingling and the tinkling of the Zvyozdy slushayut, kak sani, ubegaya, govoryat bells. I, vnimaya im, goryat. I mechtaya i blistaya, v nebe dukhami paryat; I izmenchivym siyanyem, Molchalivym obayanyem, Vmeste s zvonom, vmeste s penyem, o zabvenye govoryat.

II. Slyshish, k svadbe zov svyatoy, II. Hear the mellow wedding bells— Zolotoy. Golden bells! Skolko nezhnovo blazhenstva v etoy pesne What a world of happiness their harmony molodoy! foretells! Skovz spokoinyi vozdukh nochi Through the balmy air of night Slovno smotryat hyi to ochi How they ring out their delight! I blestyat, From the molten-golden notes, Iz volny pevuchikh zvukov na lunu oni And all in tune, glyadyat. What a liquid ditty floats Iz prizyvnykh divnykh keliy, To the turtle-dove that listens, while she gloats Polny skazochnykh vesehy, On the moon! Narastaya, upadaya, bryzgi svetlyye letyat. Oh, from out the sounding cells, Vnov potukhnut, vnov blestyat, What a gush of euphony voluminously wells! I ronyayut svetlyi vzglyad How it swells! Na gryadushcheye, gde dremlet How it dwells bezmyatezhnost nezhnykh snov, On the Future!—how it tells Vozveshchayemykh soglasyem zolotykh Of the rapture that impels kolokolov. To the swinging and the ringing Of the bells, bells, bells, bells, Bells, bells, bells— To the rhyming and the chiming of the bells! 38A

III. Slyshish, voyushchiy nabat, III. Hear the loud alarum bells— Tochno stonet medniy ad. Brazen bells! Eti zvuki, v dikoy muke, skazku uzhasov What a tale of terror, now, their turbulency tverdyat! tells! Tochno molyat im pomoch, In the startled ear of night Krik kidayut pryamo v noch, How they scream out their affright! Pryamo v ushi temnoy nochi Too much horrified to speak, Kazhdyi zvuk, They can only shriek, shriek, To dlinneye, to koroche Out of tune, Vyklikayet svoy ispug. In a clamorous appealing to the mercy of I ispug ikh tak velik. the fire, Tak bezumen kazhdyi krik, In a mad expostulation with the deaf and Shto razorvannyye zvony, nesposobnyye frantic fire, zvuchat, Leaping higher, higher, higher, Mogut tolko bitsya, bitsya, i krichat, krichat, With a desperate desire, krichat And a resolute endeavor I k pylayushchey gromade, Now—now to sit, or never, Vopli skorbi obrashchat. By the side of the pale-faced moon. A mezh tem ogon bezumnyi, Oh, the bells, bells, bells! I glukhoy i mnogoshumnyi, vsyo gorit, What a tale their terror tells To iz okon, to na kryshe Of despair! Mchitsya vyshe, vyshe, vyshe, How they clang, and clash, and roar! I kak budto govorit: Ya khochu What a horror they outpour Vyshe mchatsya, razgoratsya vstrechu On the bosom of the palpitating air! lunnomu luchu, Yet the ear, it fully knows, Il umru, il totchas, totchas, vplot do By the twanging, mesyatsa vzlechu. And the clanging, O, nabat, nabat, nabat, How the danger ebbs and flows; Yesli b ty vernul nazad Yet the ear distinctly tells, Etot uzhas, eto plamya, etu iskru, etot In the jangling, vzglyad, And the wrangling, Etot pervyi vzglyad ognya, How the danger sinks and swells, O kotorom ty veshchayesh s voplem, By the sinking or the swelling in the anger s plachem i zvenya of the bells— A teper nam net spasenya. Of the bells— Vsyudu strakh i vozmushchenye. Of the bells, bells, bells, bells, Tvoy prizyv, Bells, bells, bells— Dikikh zvukov nesoglasnost In the clamor and the clanging of the bells! Vozveshchayet nam opasnost. To rastyot beda glukhaya, to spadayet, kak priliv. Slukh nash chutko lovit volny v peremene zvukovoy, Vnov spadayet, vnov rydayet medno stonushchiy priboy!

(Please turn the page quietly.) 38B

IV. Pokhoronnyi slyshen zvon, IV. Hear the tolling of the bells— Dolgiy zvon! Iron bells! Gorkoy skorbi slyshny zvuki, gorkoy zhizni What a world of solemn thought their konchen son. monody compels! Zvuk zheleznyi vozveshchayet o pechali In the silence of the night, pokhoron. How we shiver with affright I nevolno my drozhim, At the melancholy menace of their tone! Ot zabav svoikh speshim, For every sound that floats I rydayem, vspominayem, shto i my glaza From the rust within their throats smezhim. Is a groan. Neizmenno monotonnyi, And the people—ah, the people— Etot vozglas otdalyonnyi. They that dwell up in the steeple, Pokhoronnyi tyazhkiy zvon, All alone, Tochno ston. And who, tolling, tolling, tolling, Skorbnyi gnevnyi In that muffled monotone, I plachevnyi Feel a glory in so rolling Vyrastayet v dolgiy gul, On the human heart a stone— Vozveshchayet, shto stradalets They are neither man nor woman— neprobudnym snom usnul. They are neither brute nor human— V kolokolnykh kelyakh rzhavykh They are Ghouls:— On dlya pravykh i nepravykh And their king it is who tolls:— Grozno vtorit ob odnom: And he rolls, rolls, rolls, Shto na serdtse budto kamen, shto glaza Rolls somknutsya snom. A paean from the bells! Fakel traurnyi gorit. And his merry bosom swells S kolokolni kto-to kriknul, kto-to gromko With the paean of the bells! govorit, And he dances, and he yells: Kto-to chyornyi tam stoit. Keeping time, time, time, I khokhochet, i gremit, In a sort of Runic rhyme, I gudit, gudit, gudit, To the paean of the bells:— K kolokolne pripadayet, Of the bells: Gulkiy kolokol kachayet, Keeping time, time, time Gulkiy kolokol ryadayet, In a sort of Runic rhyme, Stonet v vozdukhe nemom To the throbbing of the bells— I rotyazhno vozveshchayet o pokoye Of the bells, bells, bells— grobovom. To the sobbing of the bells:— Keeping time, time, time, As he knells, knells, knells, In a happy Runic rhyme, To the rolling of the bells— Of the bells, bells, bells— To the tolling of the bells— Of the bells, bells, bells, bells, Bells, bells, bells,— To the moaning and the groaning of the bells.

Program notes commissioned by The Philadelphia Orchestra—© 2014 Byron Adams and David Wright. 38C Musical Terms

GENERAL TERMS Op.: Abbreviation for opus, form: The form in A cappella: a term used to indicate which the first movements Unaccompanied voices the chronological position (and sometimes others) Cadence: The conclusion of a composition within a of symphonies are usually to a phrase, movement, composer’s output. Opus cast. The sections are or piece based on a numbers are not always exposition, development, recognizable melodic reliable because they are and recapitulation, the formula, harmonic often applied in the order last sometimes followed progression, or dissonance of publication rather than by a coda. The exposition resolution composition. is the introduction of : A passage or Requiem: A musical the musical ideas, which section in a style of brilliant setting of the Latin mass are then “developed.” In improvisation, usually for the dead the recapitulation, the inserted near the end of a Rondo: A form frequently exposition is repeated with movement or composition used in symphonies and modifications. Chord: The simultaneous concertos for the final sounding of three or more movement. It consists THE SPEED OF MUSIC tones of a main section that (Tempo) Chromatic: Relating to alternates with a variety of Adagio: Leisurely, slow tones foreign to a given contrasting sections (A-B- Allegro: Bright, fast key (scale) or chord A-C-A etc.). Largo: Broad Coda: A concluding : Literally “a Lento: Slow section or passage added joke.” Usually the third Lugubre: Dismal, dark, in order to confirm the movement of symphonies sad impression of finality and quartets that was Prestissimo: As fast as Dissonance: A introduced by Beethoven possible combination of two or more to replace the minuet. The Presto: Very fast tones requiring resolution scherzo is followed by a Vivace: Lively Meter: The symmetrical gentler section called a trio, grouping of musical after which the scherzo is TEMPO MODIFIERS rhythms repeated. Its characteristics Ma non tanto: But not Octave: The interval are a rapid tempo in triple too much so between any two notes time, vigorous , and that are seven diatonic humorous contrasts. Also an DYNAMIC MARKS (non-chromatic) scale instrumental piece of a light, Forte (f): Loud degrees apart piquant, humorous character. 38D February/March The Philadelphia Orchestra

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