Season 2020111111----2020202011112222
Thursday, March 888,8, at 8:00 Friday, March 999,9, at 222:002:00:00:00 Saturday, March 101010,10 , at 8:00
James Gaffigan Conductor Stewart Goodyear Piano
Bernstein Symphonic Suite from On the Waterfront
Gershwin/orch. Grofé Rhapsody in Blue
Intermission
Tchaikovsky Excerpts from Swan Lake, Op. 20 I. Scene II. Waltz III. Dance of the Swans IV. Scene V. Hungarian Dance, Czardas VI. Spanish Dance VII. Neapolitan Dance VIII. Mazurka IX. Scene X. Dance of the Little Swans XI. Scene XII. Final Scene
This program runs approximately 1 hour, 50 minutes.
American conductor James Gaffigan, who is making his Philadelphia Orchestra debut with these performances, was recently appointed chief conductor of the Lucerne Symphony and principal guest conductor of the Netherlands Radio Philharmonic; he assumed both posts in the summer of 2011. This season he debuts with the Atlanta Symphony and the Los Angeles Philharmonic and makes return visits to the Minnesota Orchestra and the Baltimore, Dallas, Milwaukee, National, and Toronto symphonies. Recent and upcoming festival appearances include the Aspen, Blossom, Grant Park, and Grand Teton music festivals, and the Spoleto Festival USA. In Europe he makes debuts with the Czech, Dresden, and London philharmonics.
In 2009 Mr. Gaffigan completed his three-year tenure as associate conductor with the San Francisco Symphony. Prior to that appointment he was assistant conductor of the Cleveland Orchestra. He has appeared with such North American orchestras as the Saint Paul Chamber Orchestra and the Chicago, Detroit, Houston, New World, Seattle, and Saint Louis symphonies. Internationally he has worked with the City of Birmingham Symphony, Zurich’s Tonhalle Orchestra, the Camerata Salzburg, the Munich and Rotterdam philharmonics, the Deutsches Sinfonie-Orchester Berlin, the Dresden Staatskapelle, the Scottish Chamber Orchestra, the Sydney Symphony, and the Tokyo Metropolitan Symphony, among others.
A New York City native, Mr. Gaffigan attended La Guardia High School of the Performing Arts as an electric guitar player, focusing on jazz and rock music. He took up the bassoon because everyone needed to be in the orchestra, and it was Frank Zappa’s favorite orchestral instrument. Mr. Gaffigan entered the New England Conservatory of Music as a bassoon major and it was there that he began his interest in conducting; he earned a master’s in conducting from the Shepherd School of Music at Rice University. Mr. Gaffigan's international career was launched when he was named a first prize winner at the 2004 Sir Georg Solti International Conducting Competition in Frankfurt. He resides in Lucerne with his wife, Lee Taylor Gaffigan, and daughter, Sofia. He is also an enthusiastic gourmand and his blogs, which can be found on his website, www.jamesgaffigan.com, frequently contain restaurant and wine recommendations along with his experiences as a conductor.
Pianist Stewart GoodyearGoodyear’s career spans many genres—concerto soloist, chamber musician, recitalist, and composer. He has performed with many of the world’s major orchestras, including the New York, Los Angeles, and Royal Liverpool philharmonics; the Cincinnati, Chicago, Pittsburgh, San Francisco, Bournemouth, Montreal, Toronto, Dallas, Atlanta, Detroit, and Seattle symphonies; the Cleveland and Mostly Mozart Festival orchestras; and the Academy of St. Martin in the Fields. He made his Philadelphia Orchestra debut in 1992 at the Mann Center.
Conductors with whom Mr. Goodyear has collaborated include Daniel Barenboim, Andrew Davis, Charles Dutoit, Christoph Eschenbach, JoAnn Falletta, Miguel Harth-Bedoya, Yakov Kreizberg, Emmanuel Krivine, Jun Märkl, Roberto Minczuk, Peter Oundjian, Stefan Sanderling, Jukka-Pekka Saraste, Gerard Schwarz, Michael Tilson Thomas, Hugh Wolff, and Pinchas Zukerman. Mr. Goodyear has appeared in recitals in New York, Chicago, San Francisco, Philadelphia, Atlanta, Toronto, Bad Kissingen, and at the Kennedy Center. He has also performed with the festivals of Caramoor, Santa Fe, and Ravinia.
In addition to his talents as a pianist, Mr. Goodyear is a composer and frequently performs his own works, including his Variations on “Eleanor Rigby” for solo piano, which was premiered at Lincoln Center in 2000, and his Piano Sonata. He was commissioned by the Toronto Youth Symphony for its 25th anniversary, as well as by the Santa Fe Chamber Music Festival. His Piano Concerto was premiered in 2010 at the Peninsula Music Festival, and the Cincinnati Symphony recently commissioned him to compose a fanfare in honor of Paavo Järvi’s last season as music director of that ensemble. A new work for chorus was premiered by the Nathaniel Dett Chorale in Toronto in 2005. Mr. Goodyear is also noted for improvising his cadenzas when performing concertos from the Classical period.
A native of Toronto, Mr. Goodyear holds a master’s degree from the Juilliard School of Music, where he studied with Oxana Yablonskaya. He previously studied at the Curtis Institute of Music with Leon Fleisher, Gary Graffman, and Claude Frank.
FRAMIFRAMINGNG THE PROGRAM
Many beloved works of classical music have found a welcome home in the concert hall despite the fact that they were originally written or inspired by other settings and circumstances. Music composed for the theater, opera, ballet, and film takes on a life of its own, detached from its non-musical associations, which allows listeners to focus ever more closely on the sounds themselves.
The 35-year-old Leonard Bernstein composed the brilliant film score to Elia Kazan’s Academy- Award winning On the Waterfront in 1954 and the next year extracted the Suite we hear today. This allowed Bernstein to turn his musical ideas into a symphonic tone poem that masterfully weaves together material spread throughout the film into a fabric with a coherence and logic all its own.
One of the striking elements of the legendary premiere of George Gershwin’s Rhapsody in Blue at New York’s Aeolian Hall in February 1924 was the idea of presenting music associated with dance halls in a classical concert setting. Commissioned by Paul Whiteman for his Palais Royal Orchestra, the piece marvelously merges Tin Pan Alley tunes with the gestures of a virtuoso concerto.
Following the example of 19th-century French ballets that he admired, Tchaikovsky brought the genre to new heights in Russia. His entrancing scores for Swan Lake (1875-76), The Sleeping Beauty (1889), and The Nutcracker (1892) endure as works for the theater, but suites drawn from them, such as the one we hear today from Swan Lake, are frequent presences in the concert hall.
Parallel Events 1876 Tchaikovsky Swan Lake Music Brahms Symphony No. 1 Literature James Roderick Hudson Art Renoir Le Moulin de la Galette History World Exhibition in Philadelphia
1924 Gershwin Rhapsody in Blue Music Berg Chamber Concerto Literature Forster A Passage to India Art Braque Sugar Bowl History Lenin dies
1919195419 545454 Bernstein On the Waterfront Music Schoenberg Moses and Aron Literature Golding Lord of the Flies Art Dubuffet Les Vagabonds History McCarthyism takes hold SymphonSymphonicic SSSuiteSuite from On the Waterfront
Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918 Died in New York City, October 14, 1990
Leonard Bernstein’s 1954 film score for Elia Kazan’s On the Waterfront shook up many of our contemporary notions of cinematic music. Critic Hans Keller, writing at the time of the film’s premiere, called Bernstein’s work “about the best film score that has come out of America.” More than a half century later, it still is. Bernstein’s biographer, Humphrey Burton, sees it today as “a twentieth-century equivalent of Tchaikovsky’s fantasy overture Romeo and Juliet, with the film’s principal characters, Terry and Edie, as the star-crossed lovers.”
Music for a Classic Film Based on Budd Schulberg’s harsh story of the labor unions among New York City’s dock workers, On the Waterfront has long been considered a classic American film. It now seems clear, too, that Bernstein’s music played no small role in the impact that the film had when it was released. Starring Marlon Brando, Eva Marie Saint, Karl Malden, and Lee J. Cobb, the film won eight Oscars, including Best Picture, Director, and Actor. Ironically, the score was passed over by the Academy in favor of Dmitri Tiomkin’s admittedly decent (but largely forgotten) music for The High and the Mighty.
Bernstein worked on the music for On the Waterfront during the late winter and spring of 1954, at first intimidated by this terra incognita. It was only when he began to see the rough footage that the whole project fell into place for him. “I heard music as I watched: that was enough,” the composer said. “And the atmosphere of talent that this film gave off was exactly the atmosphere in which I love to work and collaborate. … Day after day I sat at a movieola, running the print back and forth, measuring in feet the sequences I had chosen for the music, converting feet into seconds by mathematical formulas, making homemade cue sheets.”
Nevertheless he found film scoring a frustrating exercise, “a musically unsatisfactory experience for a composer to write a score whose chief musical merit ought to be its unobtrusiveness.” If this old-school type of scoring has sometimes been replaced in recent years by progressive approaches (in which some directors have tried to make music a conspicuous part of the action), it was still very much a part of “film culture” in 1950s Hollywood. But Bernstein produced a marvelous score anyway, rich in short, potently concentrated passages that together added up to about 35 minutes of music. In the summer of 1955 he turned this into a symphonic tone poem, taking these fragments and weaving them into a fabric with a coherence and logic all its own. The composer wrote of the musical materials going through “metamorphoses, following as much as possible the chronological flow of the film score.” Thus it is helpful but not necessary to be familiar with the film in order to enjoy the beauty and design of the Suite. The piece was premiered at Tanglewood on August 11, under the composer’s baton.
A Closer Look The thematic coherence is built partly from the gentle subject heard at the outset in the winds and brass, an ascending minor-third taunt that is quickly supplanted by a vigorous tutti but which returns at several points to re-inform the structure. One hears touches of the film’s drama, its romance, its fraternal love-hate, and its violence. Like Fancy Free, it is an unflinching and yet affectionate take on the city of dreams, the “wonderful town” in which Bernstein made his life and his career.
—Paul J. Horsley
The score to On the Waterfront was composed in 1954 and the Suite was compiled in 1955.
David Zinman was on the podium for the first, and only other, performances of the Suite by The Philadelphia Orchestra, in November 1998.
On the Waterfront is scored for piccolo, two flutes, two oboes, E-flat clarinet, two clarinets in B-flat, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, glockenspiel, small and large tam-tams, snare drum, triangle, tuned drums, vibraphone, wood block, xylophone), piano, harp, and strings.
Performance time is approximately 22 minutes.
Rhapsody in Blue
George Gershwin Born in Brooklyn, September 26, 1898 DieDieDiedDie d in Hollywood, July 11, 1937
George Gershwin’s career is an American success story, tempered only (as earlier with Mozart and Schubert) by early death in his 30s cutting it short. Born to Russian-Jewish immigrants in Brooklyn, he grew up in a poor household. As was also the case for his slightly younger Brooklyn contemporary Aaron Copland, music offered opportunities. But while Copland went to study abroad as an American in Paris, Gershwin dropped out of high school and started working his way up as a “song-plugger,” playing Tin Pan Alley songs for perspective customers at a music store. Soon he was writing his own songs (his first big hit was “Swanee” in 1919) and enjoying success on Broadway.
An Experiment iiinin Modern Music The signal event of his early career came at age 25, on Tuesday afternoon, February 12, 1924 (Lincoln’s Birthday), at a concert in New York’s Aeolian Hall given by Paul Whiteman (1890-1967) and his Palais Royal Orchestra. Although billed as “An Experiment in Modern Music,” the programming was hardly very adventuresome and featured a variety of familiar pieces, including popular fare and comedy, as well as works by Edward MacDowell, Victor Herbert, and concluding with one of Edward Elgar’s Pomp and Circumstance marches.
Whiteman explained that the purpose of the experiment was to highlight “the tremendous strides which have been made in popular music from the day of the discordant jazz, which sprang into existence about ten years ago from nowhere in particular, to the really melodious music of today which—for no good reason—is still being called jazz.” The comment that the music came “from nowhere in particular” is striking. As music historian Richard Taruskin has keenly observed, this event was “in essence an attempt to sanitize contemporary popular music and elevate it in public esteem by divorcing it from its roots in African American improvised music and securing endorsements from luminaries of the classical music establishment, many of whom were in attendance that evening.” (Among those said to have been there were Sergei Rachmaninoff, Leopold Stokowski, Jascha Heifetz, and Fritz Kreisler.) It was not so much that the music was unusual as was presenting performances by a dance band in a concert hall.
The highlight of the afternoon came just before the Elgar march with Gershwin playing his Rhapsody in Blue, composed in the space of just a few weeks and then quickly orchestrated by Whiteman’s favored arranger, Ferde Grofé (1892-1972). The Rhapsody proved an enormous success with a capacity audience, as well as with most of the critics. Deems Taylor said the piece “hinted at something new, something that had not hitherto been said in music.” Gershwin, he believed, provided “a link between the jazz camp and the intellectuals.” Even a grumpy voice from Theatre Magazine acknowledged that the wildly popular concert “was often vulgar, but it was never dull.” Whiteman repeated the program a month later and then again at Carnegie Hall in April, as well as in Philadelphia and Boston. In June he and Gershwin made their first recording of the Rhapsody, which sold over a million copies. Over the roughly next decade performances, recordings, and sheet music earned the composer some $250,000, an almost unimaginable sum.
Gershwin went on in his remaining years to enjoy many other triumphs: Broadway shows (most of them written to words by his brother, Ira), the Concerto in F, An American in Paris, and his opera, Porgy and Bess. He continued imaginatively in his quest to merge the popular and classical, all the while following modernist trends with great interest. He travelled to Europe in 1928, was feted everywhere, and met admirers such as Prokofiev, Milhaud, Ravel, and Berg. There is a famous story relating that Gershwin sought out Ravel for orchestration lessons; after asking about Gershwin’s recent income from his compositions, Ravel allegedly remarked, “Then it is I who should be taking lessons from you.” (This may well be a tall tale; in other accounts the envious colleague was Stravinsky.)
A Closer Look Gershwin originally entitled the work American Rhapsody, perhaps to capitalize on the popularity of Liszt’s Hungarian Rhapsodies, but his brother suggested one inspired by paintings of James McNeill Whistler, such as Nocturne in Blue and Silver. He originally wrote a two-piano version, which Grofé, who was intimately familiar with the marvelous instrumental colors Whiteman’s band could produce, orchestrated based on some indications in Gershwin’s score. The famous opening clarinet glissando was contributed by Ross Gorman, who asked permission to change a written-out scale to something more enticing.
The piece basically unfolds as a sequence of five Tin Pan Alley-like songs with virtuoso connecting passagework. The work has been criticized by some as a loose patchwork of relatively interchangeable parts (Gershwin’s own early recordings made cuts so as to fit on one 78 disc), but Howard Pollack has observed that the piece might be viewed as a “compressed four-movement symphony or sonata,” along the lines of Schubert’s “Wanderer” Fantasy. For his part, Gershwin said that he “wanted to show that jazz is an idiom not to be limited to a mere song and chorus that consumed three minutes in presentation,” which meant putting the blues “in a larger and more serious form.” Twelve years after its successful premiere he commented that the piece was “still very much alive,” while if he had “taken the same themes and put them in songs they would have been gone years ago.”
—Christopher H. Gibbs
Rhapsody in Blue was composed in 1924.
Roy Bargy was the soloist in the first Philadelphia Orchestra performances of the Rhapsody, in November 1936; Paul Whiteman conducted. The work has been heard here frequently over the years, but not on subscription concerts. The last time the piece appeared on subscription was in 1966, with pianist Philippe Entremont and Eugene Ormandy conducting. Most recently, the Rhapsody was last performed by the Philadelphians at the World Expo in Shanghai in May 2010, with Stewart Goodyear and Charles Dutoit.
The Orchestra has recorded the Rhapsody twice, both for CBS and both with Ormandy: in 1945 with Oscar Levant and in 1967 with Entremont.
The score calls for two flutes, two oboes, two clarinets, bass clarinet, two alto saxophones, tenor saxophone, two bassoons, three horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, gong, snare drum, triangle), optional banjo, and strings, in addition to the solo piano.
Rhapsody in Blue runs approximately 16 minutes in performance.
Excerpts from Swan Lake
Pyotr Ilyich Tchaikovksy Born in KamskoKamsko----Votkinsk,Votkinsk, Russia, May 7, 1840 Died in St. Petersburg, November 5, 1893
It is hardly surprising that Tchaikovsky emerged as the greatest 19th-century composer of ballet music. Despite the distinguished history of music connected to dance going back to ancient times, formal ballet played little or no role in the careers of Bach, Handel, Haydn, Mozart, Beethoven, or many other masters. Ballet long held a special place in French culture, especially during the age of Louis XIV, and there was an explosion of full-length major scores during the 19th century. Perennial favorites were written by figures who are now otherwise generally forgotten, such as Adolphe Adam ( Giselle from 1841) and his pupil Léo Delibes (Coppélia in 1870 and Sylvia in 1876).
These were composers Tchaikovsky greatly admired but would ultimately surpass in achievement. Russia was the remaining autocratic society, one permeated with French culture and language, and ballet came to thrive there with Tchaikovsky providing a model that Stravinsky, Prokofiev, Shostakovich, and others would later emulate. Today we hear excerpts from his first major ballet score: Swan Lake (1875-76), which he followed with The Sleeping Beauty (1889) and The Nutcracker (1892). As with his revered Mozart, so much of Tchaikovsky’s music is fundamentally connected to movement—his symphonies, suites, piano music, and operas are permeated with the spirit of dance.
From Stage tttoto Suite There is a prehistory to Swan Lake that preceded Tchaikovsky’s commission from the Imperial Theaters in 1875 to write a full-length ballet. Some summers earlier, while visiting his sister, Alexandra, at her country home in Kamenka, he had assembled a domestic ballet on this plot to amuse his two nieces. He later apparently remembered some of the music, recast portions of two unperformed operas, and wrote some completely new selections for Swan Lake. When he began composing he was still licking his professional wounds from Nikolai Rubinstein’s searing attack on his First Piano Concerto (“Only one or two pages are worth anything”), but the favorable public reception of his Third Symphony had given him fresh confidence in his abilities.
Upon receiving the commission, he threw himself into the project. As he said in a letter: “ I have taken on this task partly because of money, which I need, partly because I have wanted to try my hand at this kind of music for a long time.” The work was completed by the spring of 1876 and was premiered in March of the next year by the Bolshoi Ballet in Moscow. The performance, which included various cuts in the score and interpolations of music by other composers, was evidently poor and the event not well received. Swan Lake continued to be in the company’s repertoire for several more years, still without much success (and with continued additions by other composers). It was not until Marius Petipa’s revival of the ballet in 1895 that the work decisively entered the international repertoire. Since then it has taken on a whole life of its own, becoming perhaps the central classical piece of most traditional ballet companies.
The initially poor reception of the work led to various expressions of self-doubt from the composer, who wrote at one point to his patron, Madame Nadezhda von Meck, that “ Swan Lake is not fit to hold a candle to Sylvia .” Von Meck, for her part, enlisted her protégé, Claude Debussy, to arrange parts of the ballet for piano, which became the French composer’s first publication. In 1882, in an effort to salvage some of the music, Tchaikovsky wrote to his publisher, Peter Jurgenson: “You know that the French composer Delibes wrote ballets. Since ballet is an ephemeral genre, he made concert suites from them. The other day I thought about my own Swan Lake, and I would like very much to save this music from oblivion since it contains some fine things. And so I decided to make a suite from it, as Delibes did.” The publisher agreed, and sent the score to him to select from and adapt. The project went nowhere, and it was only a few years after Tchaikovsky’s death that Jurgenson released a six-movement suite as Op. 20a. It is not known who chose which sections to include; they come from various parts of the ballet and are not presented in their original narrative order. In 1954 Muzgiz, the Soviet State Music Publisher, issued a different eight- movement suite with the same opus number (the first five movements are identical in both suites, however the final movement from the earlier version was omitted and three dances were added; this has become the standard suite). On the concert today we hear the 1954 published Suite augmented by four additional segments to conclude.
A Closer Look The story, based on a German fairy tale, involves a young prince, Siegfried, who has reached the age to choose a bride. Encountering the lovely Odette, he falls immediately in love. What he does not know is that the evil Rothbart has placed Odette under a spell, which dooms her to live as a swan during the day until she meets a man who loves her absolutely and faithfully. Clearly the Prince is that man, but during the celebrations at which the Prince is to choose his bride, Rothbart brings in as a candidate his own daughter, Odile, who is Odette’s double. Siegfried chooses the wrong girl, and is doomed to stick by his decision; by the time he discovers the deception, Odette has already drowned herself in utter despair. Siegfried, preferring to die rather than live without Odette, follows his beloved into the lake and drowns as well. His love and self-sacrifice destroys Rothbart and his evil empire, and in a final apotheosis Siegfried and Odette are seen floating into the sunrise in a luminous magic boat.
One of Tchaikovsky’s achievements in the complete ballet is the use of themes deployed somewhat in the manner of Wagnerian leitmotifs, some associated with specific characters or events. The Scene that begins the Suite comes from the opening of the Act II and features the haunting theme of the swan for a soaring solo oboe amidst a shimmering halo of strings. The lilting Waltz comes from the Act I celebration of Siegfried’s birthday. The short Dance of the Swans accompanies an Act II tableau in which Siegfried sees his beloved among the swans. After an elaborate harp passage, the next Scene offers a dance for Odette and Siegfried prominently featuring a solo violin later joined by solo cello. There follow a series of dances (Hungarian Dance, Spanish Dance, Neapolitan Dance, and Mazurka) from an Act III party scene, a wonderful excuse for some cultural tourism. The excerpts on today’s concert culminate with four selections from the end of the ballet, including the transfiguring final scene of the story in which the lovers are joined in death.
—Christopher H. Gibbs/Paul J. Horsley
Swan Lake was composed from 1875 to 1876.
The Ballets Russes were soloists in the first performance of any Swan Lake music by The Philadelphia Orchestra, in February 1938; Eugene Ormandy was on the podium. The most recent appearance of excerpts from the work on subscription concerts was in October 1993, with Wolfgang Sawallisch.
The Philadelphia Orchestra has recorded the Suite from Swan Lake four times: in 1956 and 1961 for CBS with Ormandy; in 1972 for RCA with Ormandy; and in 1984 for EMI with Muti. The ensemble also recorded the complete ballet in 1993 for EMI with Sawallisch.
The score for today’s excerpts calls for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani, percussion (bass drum, castanets, cymbals, tambourine, triangle), harp, and strings.
Today’s excerpts last approximately 40 minutes.
Program notes © 2012. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.
GENERAL TERMS Cadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolution Cadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or composition Chord: The simultaneous sounding of three or more tones Chromatic: Relating to tones foreign to a given key (scale) or chord Coda: A concluding section or passage added in order to confirm the impression of finality Czardas: A national Hungarian dance distinguished by its passionate character and changing tempo Dissonance: A combination of two or more tones requiring resolution Divertimento: A piece of entertaining music in several movements, often scored for a mixed ensemble and having no fixed form Fantasy: A composition free in form and more or less fantastic in character Glissando: A glide from one note to the next Legato: Smooth, even, without any break between notes Leitmotif: Literally “leading motif.” Any striking musical motif (theme, phrase) characterizing or accompanying one of the actors, or some particular idea, emotion, or situation, in a drama. Meter: The symmetrical grouping of musical rhythms Op.: Abbreviation for opus, a term used to indicate the chronological position of a composition within a composer’s output. Opus numbers are not always reliable because they are often applied in the order of publication rather than composition. RhRhRhapsody:Rh apsody: Generally an instrumental fantasia on folksongs or on motifs taken from primitive national music Rondo: A form frequently used in symphonies and concertos for the final movement. It consists of a main section that alternates with a variety of contrasting sections (A-B-A-C-A etc.). Scale: The series of tones which form (a) any major or minor key or (b) the chromatic scale of successive semi-tonic steps Sonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then “developed.” In the recapitulation, the exposition is repeated with modifications. Suite: A set or series of pieces in various dance-forms. The modern orchestral suite is more like a divertimento. Symphonic poem: A type of 19th-century symphonic piece in one movement, which is based upon an extramusical idea, either poetic or descriptive Tonality: The orientation of melodies and harmonies towards a specific pitch or pitches Tonic: The keynote of a scale Tutti: All; full orchestra