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Home , Denis Matsuev, Gianandrea Noseda, Philadelphia Orchestra, Victor de Sabata, Villa Senar

27 Season 2012-2013

Thursday, December 6, at 8:00 The Friday, December 7, at 2:00 Saturday, December 8, Gianandrea Noseda Conductor at 8:00 Denis Matsuev

Rachmaninoff Piano No. 3 in D minor, Op. 30 I. Allegro, ma non tanto II. Intermezzo: Adagio— III. Finale: Alla breve

Intermission

Rachmaninoff No. 2 in E minor, Op. 27 I. Largo—Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace

This program runs approximately 2 hours, 10 minutes.

These concerts are made possible in cooperation with the Foundation.

3 Story Title 29 The Philadelphia Orchestra Jessica Griffin

Renowned for its distinctive vivid world of and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in . the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. an extraordinary history of Center, Penn’s Landing, artistic leaders in its 112 and other venues. The The ensemble maintains seasons, including music Philadelphia Orchestra an important Philadelphia directors , Carl Association also continues tradition of presenting Pohlig, , to own the Academy of educational programs for , Riccardo Music—a National Historic students of all ages. Today Muti, , Landmark—as it has since the Orchestra executes a and , 1957. myriad of education and and , who community partnership Through concerts, served as chief conductor programs serving nearly tours, residencies, from 2008 to 2012. With 50,000 annually, including presentations, and the 2012-13 season, its Neighborhood Concert recordings, the Orchestra Yannick Nézet-Séguin Series, Sound All Around is a global ambassador becomes the eighth music and Family Concerts, and for Philadelphia and for director of The Philadelphia eZseatU. the United States. Having Orchestra. Named music been the first American For more information on director designate in 2010, orchestra to perform in The Philadelphia Orchestra, Nézet-Séguin brings a , in 1973 at the please visit www.philorch.org. vision that extends beyond request of President Nixon, symphonic music into the today The Philadelphia

30 Conductor

Sussie Ahlburg Italian conductor Gianandrea Noseda is music director of the Teatro Regio in , chief guest conductor of the Israel Philharmonic, Victor De Sabata Guest Conductor of the Pittsburgh Symphony, laureate conductor of the BBC Philharmonic, principal conductor of the Orquesta de Cadaqués, and artistic director of the Stresa Festival near his hometown of . He served as the first foreign principal guest conductor of the from 1997 to 2007 and regularly conducts many of the leading international orchestras. Mr. Noseda made his Philadelphia Orchestra debut in 2010 and has returned several times since to lead the ensemble, most recently this past summer at the Saratoga Performing Arts Center. Recent highlights of Mr. Noseda’s career include performances of Britten’s War with the London Symphony and Chorus in London and New York; his highly anticipated debut at the Teatro alla Scala in June 2012 with a new production of Verdi’s Luisa Miller; and debuts at the Edinburgh International Festival and the . During the 2012-13 season he makes debuts with the and the Los Angeles Philharmonic, and at the Aix-en-Provence Festival with the London Symphony in a new production of Verdi’s Rigoletto by Robert Carsen. In addition to numerous productions in Turin each season, Mr. Noseda’s work with the orchestra and chorus of the Teatro Regio includes major recording projects, international tours, and residencies he instituted in Asia and Europe. In May 2013 he takes the ensemble to Vienna for the first time, performing Verdi’s Requiem at the Konzerthaus. Mr. Noseda has conducted five Verdi at the , most recently last season’s revival of ; he returns to the Met in the 2013-14 season. A supporter of young artists, Mr. Noseda led a multi-city tour of the European Union Youth Orchestra in August 2012. He also maintains an intense collaboration with the BBC Philharmonic; his live performances of Beethoven’s complete from Manchester with that ensemble in 2005 have seen more than 1.4 million downloads from BBC Radio 3. An exclusive Chandos artist since 2002, Mr. Noseda’s discography includes over 35 recordings featuring, among others, works by Prokofiev, Karłowicz, Dvorˇák, Shostakovich, Liszt, Rachmaninoff, Mahler, and Bartók. 31 Soloist

Evgeny Evtuhow Known internationally as a Rachmaninoff expert, pianist Denis Matsuev, who is making his Philadelphia Orchestra debut, has spent the last five years collaborating with the Sergei Rachmaninoff Foundation and its president, the late Alexander Rachmaninoff, the grandson of the . Mr. Matsuev was chosen by the Foundation to perform and record unknown pieces of Rachmaninoff on the composer’s own piano at the Rachmaninoff house, Villa Senar, in Lucerne. In the 2012-13 season the Foundation is presenting a series of concerts illuminating the composer’s works. Born in Siberia, Mr. Matsuev became a fast-rising star after his triumphant victory at the 11th International Tchaikovsky Competition in in 1998. He now appears regularly with orchestras in his native Russia, including the St. Petersburg Philharmonic, the Mariinsky Orchestra, and the Russian National Orchestra, as well as other celebrated orchestras of the world. Recent appearances include performances with the Israel Philharmonic and Zubin Mehta in Russia and with the Royal Philharmonic and Charles Dutoit at the Annecy Music Festival in France. Upcoming highlights include tours with the London Symphony and the Mariinsky Orchestra under in the U.S., Europe, and Japan, and concerts with the Royal Concertgebouw Orchestra and and the Israel Philharmonic and Kurt Masur. Mr. Matsuev is a frequent guest at the Ravinia Festival and the Hollywood Bowl in the U.S.; the BBC Proms and the Edinburgh International Festival in Great Britain; the Chopin Festival in Poland; the Budapest Festival in Hungary; and Stars of the White Nights Festival in Russia. He is artistic director of three international festivals promoting gifted young musicians: the Annecy Music Festival; Stars on Baikal in his hometown of ; and Crescendo, with events in cities from Moscow to New York. Mr. Matsuev is also the president of the charitable foundation New Names, supporting children’s music education in Russia. Mr. Matsuev’s recording of Rachmaninoff’s Piano Concerto No. 3 with Mr. Gergiev and the Mariinsky Orchestra was recently released by the new Mariinsky label. 32 Framing the Program

During the latter part of his career Sergei Rachmaninoff Parallel Events remarked that he often composed with the sound of The 1907 Music Philadelphia Orchestra in his head. From the time of his Rachmaninoff Mahler first American tour in 1909 he showed a special affinity Symphony Symphony for the Orchestra’s lush tone and started writing most of No. 2 No. 8 his symphonic works for it, including the Fourth Piano Literature Concerto, the Rhapsody on a Theme of Paganini, the Conrad Third Symphony, and the masterly Symphonic Dances, his The Secret last work. As an eminent pianist, Rachmaninoff said that Agent he would “rather perform with The Philadelphia Orchestra Art Chagall than any other of the world.” More than a century later, Peasant the Orchestra’s singular sound still makes it the premier Women interpreter of the great Russian’s compositions. History Rachmaninoff’s long and fruitful relationship with the Bank Panic of Philadelphians began with his first appearance in this 1907 country at the Academy of Music, when he conducted his 1909 Music recently finished Second Symphony, which we hear today. Rachmaninoff Strauss In addition to the five works he wrote for the Orchestra, Piano Concerto Elektra the composer also collaborated in landmark recordings, No. 3 Literature including of the popular Third Piano Concerto that opens Wells the program. Composed in 1909, the work surpassed Tono-Bungay the success of his two earlier essays in the genre and Art has come to rival Tchaikovsky’s First as the supreme late Matisse Romantic piano concerto. The Dance History Peary reaches the North Pole 33 The Music Piano Concerto No. 3

The first decade of the 20th century was a decisive period in Rachmaninoff’s life, during which growing political unrest in his native Russia was threatening to make his quasi-aristocratic lifestyle obsolete. Early in 1906 he resigned his position as conductor at the Bolshoi Theater in Moscow and temporarily settled in Dresden, where he spent part of the next several years. But Rachmaninoff still returned to the stately solitude of Ivanovka, the family country estate where he frequently summered, at least until the upheaval and aftermath of World War I made it Sergei Rachmaninoff impossible for him to return to Russia at all. Born in Semyonovo, Russia, April 1, 1873 A Concerto for America By 1909, when Rachmaninoff Died in Beverly Hills, composed his Third Piano Concerto, he must have sensed California, March 28, 1943 that grave changes were in store for his country, and that emigration was likely. At this point the 36-year-old had already established worldwide renown both as a composer and as one of the greatest pianists of the era. In addition to the acclaim lavished upon his operas, choral works, piano music, First Symphony, tone-poem The Isle of the Dead, and two extremely successful piano , the word of his unparalleled pianism—during an era in which recorded music was in its infancy—had reached as far as America’s shores. Invited to make his first American tour that winter, the composer took advantage of the calm of Ivanovka to prepare a new concerto for his first appearances here. The result was nothing short of a miracle, and in the century since its inception, the D-minor Concerto has grown so popular among audiences that it has threatened to usurp the Tchaikovsky First as “the” Romantic piano concerto—i.e., the piece on which every virtuoso pianist must prove his or her musical mettle. The popularity of the movie Shine (1996) introduced an even vaster audience to the “Rach 3.” Rachmaninoff dedicated the Third Concerto to Josef Hofmann, the brilliant Polish-born pianist (later director of the Curtis Institute of Music) who had made a considerable impression during his Russian and European tours early in the century. Hofmann never performed the Concerto; instead it was Rachmaninoff himself who gave 34

Rachmaninoff composed his the work’s premiere, in November 1909, with conductor Piano Concerto No. 3 in 1909. and the New York Symphony Orchestra. Since Alfred Cortot’s Rachmaninoff continued to favor the Concerto for many appearance in the Orchestra’s years; in 1914 he wrote that he still preferred to perform first performance of the the Third because the Second, though more popular, was Concerto, in January 1920 “uncomfortable to play”—namely that it did not “lie in the with Leopold Stokowski, hands” as easily as the Third. The Piano Concerto No. 3 is, a number of great pianists nonetheless, more difficult to play. have performed it here, including , A Closer Look In terms of the interplay of soloist , , and orchestra, the Third Concerto is probably the most Van Cliburn, and André impressive work in the Romantic literature. Not only does Watts. Rachmaninoff himself the composer use his large orchestra transparently, but he performed it with the Orchestra also provides the soloist with a piano part so massive that in February 1920 (with it really does seem an equal to the large ensemble behind Stokowski) and in December it. The opening bars of the first movement (Allegro, ma 1939 (with Eugene Ormandy). non tanto) set the tone for this partnership, with a simple The most recent subscription but non-melodic figuration in the strings designed to set performances were in May off the piano’s melancholy theme. Many have compared 2010, with Nikolaï Lugansky this tune to other, similar melodies from orchestral and Charles Dutoit. literature, though the most likely source of inspiration The Orchestra has recorded is the Kiev religious chant “Thy tomb, O Savior, soldiers Rachmaninoff’s Third Piano guarding,” which Rachmaninoff’s tune echoes closely. Concerto three times: in 1939 with the composer and The composer produced two cadenzas for the first Ormandy for RCA; in 1975 movement; the more elaborate second version is almost with Vladimir Ashkenazy and always played today, though the composer himself Ormandy for RCA; and in often played the first. One of the Concerto’s most awe- 1986 with and inspiring moments—indeed, one of the finest passages of for EMI. Rachmaninoff’s whole oeuvre—occurs immediately at the Rachmaninoff scored the end of the cadenza, when a mournful flute hovers above the work for two flutes, two piano’s haunting arpeggios, seeming to condense, in a few oboes, two clarinets, two simple bars, the entire tragedy of the death of Old Russia. bassoons, four horns, two The mournful Intermezzo: Adagio, after a seemingly trumpets, three trombones, tearful introduction, glides into a tranquilly melodic tuba, timpani, percussion passage for piano, with light accompaniment. This gives (bass drum, cymbals, snare drum, suspended cymbal), and way to a bright, scherzo-like section in quick triple meter, strings, in addition to the solo after which a brilliant piano flourish leads without pause piano. into the Finale: Alla breve, a bracingly virtuosic march that barely stops for a breath. Its climax, a vivace coda, The Concerto runs is one of the truly hair-raising moments of Romantic approximately 45 minutes in pianism; its tension is released through a series of performance. cadenzas and cymbal-crashes. —Paul J. Horsley 35 The Music Symphony No. 2

Though the public has always loved the music of Sergei Rachmaninoff, until fairly recently he was met largely with disdain by critical and academic circles. Viewed as an anachronism and Romantic holdout by progressives of the 1920s and ’30s, he is now embraced as a Romantic master who just happened to have flourished in the 20th century. He was trained during the 1880s and ’90s in a staunchly conservative Russian conservatory system, and he held true to this outlook to his dying day.

Sergei Rachmaninoff A True Original As it turns out, this was not vice but virtue—and indeed, Rachmaninoff’s reputation has gained considerably from our renewed interest in tonal music of all sorts. It was once fashionable to criticize his works as “sounding like movie music.” Today, at a time when fascinating concert programs are being formed from film scores of Miklós Rózsa, Erich Wolfgang Korngold, and Bernard Herrmann, this might just as easily be taken as a compliment. Although he had composed several big orchestral scores and piano works, it was not until the first decade of the 20th century that Rachmaninoff’s originality began to shine forth. The Second Symphony was one of a series of masterworks that began forming around 1900. The year was 1906, and the composer had come a long way since the 1897 disaster of his First Symphony—the piece that César Cui had colorfully declared would have “delighted the imps of hell.” Since then the young composer’s artistic outlook had broadened, and he took up the Second Symphony in the first decade of the new century with fresh confidence gained through the creation of a brilliant series of pieces such as the Second Piano Concerto, the Cello Sonata, and the Op. 23 piano preludes. He began sketching the new symphony as early as 1902, but apparently made little progress until 1906. “A month or more ago I did indeed finish a symphony,” he wrote to his friend Nikita Morozov in January 1907, “but to this must be added the crucial words ‘in rough.’ I have not announced it to the world because I wanted to finish it completely beforehand.” Determined to Succeed Reluctant to repeat the debacle of the First Symphony, whose raw youthful vigor 36

had startled St. Petersburg’s genteel public, Rachmaninoff was determined to polish this work to a high luster before allowing it to leave his work-desk. This was no simple matter. “I can tell you that I am dissatisfied with it but that it will come into existence,” the composer wrote, with determination, “though probably not before autumn.” The result was indeed a gigantic symphony, one of the longest Russian symphonic works up to that time, and even after Rachmaninoff had completed the short-score version it took him nearly six months to finish the thick and colorfully textured orchestration. Much of this work took place in late 1907 in Dresden, where the composer had taken his family for a respite from the Russian political unrest that would soon bring about his departure from his native land. Completing the Symphony at the close of the year, he dedicated the work to his former teacher, Sergei Taneyev. Alexander Siloti, the conductor who had continually urged the composer toward haste (by circulating rumors that the Symphony was already finished), arranged for its premiere on a concert in St. Petersburg on January 26, 1908; the composer conducted. The work’s extraordinary success with a public that had previously regarded him so coolly must have been a source of deep satisfaction. In many respects, in fact, neither of his subsequent symphonies— of 1913 (a symphony in all but name) or the Symphony No. 3 of 1936—was to show the mastery of structure and idiom of the Second. A Closer Look “A composer’s music should express the country of his birth, his love affairs, his religion,” Rachmaninoff once said to the critic David Ewen; all three of these things are found in ample measure here. There is much of Russia in the Second Symphony, particularly the Russia of Tchaikovsky, Rimsky-Korsakov, and Prokofiev; the florid melodic style is deeply romantic in its inspiration, and the composer’s religious nature is heard in such aspects as the pervasive presence of the Dies irae melody—the Day of Wrath tune from the Requiem —that had already played a role in the First Symphony. Until recently the Second was usually performed in heavily cut versions, which Rachmaninoff himself had authorized while in America. In the last decades conductors have begun playing the piece without cuts, and have found that only in the complete version can one make sense of the composer’s intricate pacing and logic. The four-movement work begins with an introductory Largo that contains clear reminiscences of the composer’s 37

Rachmaninoff composed his earliest “Youth” Symphony of 1891; the main theme of the Second Symphony from 1906 subsequent Allegro moderato, derived from the “motto” to 1907. of the introduction, and first heard in the violins, is a tune The Second Symphony of subtlety and grandeur. The second movement (Allegro has been a favorite of The molto) is a dashing and brilliant scherzo, with a lyrical Philadelphia Orchestra for second theme and a vivid and dazzling central trio section. many years after its first local The lugubrious Adagio, one of Rachmaninoff’s most performances in November 1909, under the composer’s celebrated slow movements, evokes youthful love at direction. The most recent its most impassioned; the lush main theme in the first subscription performances violins gives way to two other equally expressive and were led by Jaap van Zweden, long-breathed tunes. Among the crucial events here is in November 2010. the reiteration of the first-movement “motto” immediately following the fortissimo climax. The finale (Allegro vivace) The Orchestra has recorded is a spirited gathering-in of themes that concludes the the Symphony four times: in 1951 and 1959 with Eugene work in a sunny blaze of E major. Ormandy for CBS; in 1973 —Paul J. Horsley with Ormandy for RCA; and in 1993 with Charles Dutoit for London. The work is scored for three flutes (III doubling piccolo), three oboes (III doubling English horn), two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, snare drum), and strings. Performance time is approximately one hour.

Program notes © 2012. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 38 Musical Terms

GENERAL TERMS without any break between of symphonies are usually Arpeggio: A broken notes cast. The sections are chord (with notes played Meter: The symmetrical exposition, development, in succession instead of grouping of musical and recapitulation, the together) rhythms last sometimes followed Cadence: The conclusion Op.: Abbreviation for opus, by a coda. The exposition to a phrase, movement, a term used to indicate is the introduction of or piece based on a the chronological position the musical ideas, which recognizable melodic of a composition within a are then “developed.” In formula, harmonic composer’s output. Opus the recapitulation, the progression, or dissonance numbers are not always exposition is repeated with resolution reliable because they are modifications. Cadenza: A passage or often applied in the order Tonality: The orientation section in a style of brilliant of publication rather than of melodies and harmonies improvisation, usually composition. towards a specific pitch or inserted near the end of a Rondo: A form frequently pitches movement or composition used in symphonies and Tonic: The keynote of a Chord: The simultaneous concertos for the final scale sounding of three or more movement. It consists Trio: See scherzo tones of a main section that THE SPEED OF MUSIC Coda: A concluding alternates with a variety of (Tempo) section or passage added contrasting sections (A-B- Adagio: Leisurely, slow in order to confirm the A-C-A etc.). Alla breve: (1) 2/2 meter impression of finality Scherzo: Literally “a [cut time]. (2) Twice as fast Dissonance: A joke.” Usually the third as before. combination of two or more movement of symphonies Allegro: Bright, fast tones requiring resolution and quartets that was Largo: Broad Harmonic: Pertaining to introduced by Beethoven Moderato: A moderate chords and to the theory to replace the minuet. The tempo, neither fast nor and practice of harmony scherzo is followed by a slow Intermezzo: A) A short gentler section called a trio, Vivace: Lively movement connecting after which the scherzo is the main divisions of a repeated. Its characteristics TEMPO MODIFIERS symphony. B) The name are a rapid tempo in triple Ma non tanto: But not given to an independent time, vigorous rhythm, and too much so piece, often solo piano, that humorous contrasts. Molto: Very is predominantly lyrical in Sonata form: The form in DYNAMIC MARKS character. which the first movements Fortissimo (ff): Very loud Legato: Smooth, even, (and sometimes others) 39 Orchestra Headlines

Philadelphia Orchestra Chamber Music Concert Tickets are now on sale for the third concert in The Philadelphia Orchestra’s 28th Season Chamber Music Series on Sunday, January 13, at 3:00 PM in Perelman Theater at the Kimmel Center. Tickets range from $19.00-$28.00. For more information, call Ticket Philadelphia at 215.893.1999 or visit www.philorch.org. Mozart Fantasia in C minor, K. 396, for solo piano Mozart Quintet in E-flat major, K. 452, for piano and winds Mozart String Quintet No. 5 in D major, K. 593 Samuel Caviezel Clarinet Imogen Cooper Piano (Guest) Renard Edwards Viola Mark Gigliotti Bassoon Jennifer Montone Horn Hai-Ye Ni Cello David Nicastro Violin Anna Marie Ahn Petersen Viola Peter Smith Oboe Annual Martin Luther King Jr. Tribute Concert As our nation inaugurates its 44th president, join us for our annual free Martin Luther King Jr. Tribute Concert on Monday, January 21, 2013, at 3:00 PM at Martin Luther King High School, located at 6100 Stenton Avenue in Philadelphia. Yannick Nézet-Séguin will lead the Orchestra and other special guests in this moving tribute to the life of Dr. King. The performance will include inspiring music and readings in commemoration of the 50th anniversary of Dr. King’s renowned “I Have a Dream” speech. One of the highlights of the annual Tribute Concert is the opportunity to hear two student speakers deliver an essay on Dr. King’s life and words. All finalists will be recognized at the Concert and will receive $100 each. The two student winners will receive a prize of $500, in addition to their concert appearance. Full program details and ticket information will be announced at a later date. 40

Philadelphia Orchestra Musicians in Concert The Wister Quartet, which includes former Orchestra Assistant Concertmaster Nancy Bean, Philadelphia Orchestra violinist Davyd Booth, former Assistant Principal Cello Lloyd Smith, and violist Pamela Fay, presents a concert at the German Society of Pennsylvania, on Sunday, December 9, at 3:00 PM. The program includes works by Corelli, Mozart, and Schumann. Single tickets are $20. For more information, please call 215.627.2332 or visit www.germansociety.org. The Dolce Suono Ensemble, which includes numerous Orchestra members, will present DSE on the Road concerts on Sunday, December 9, at 3:00 PM at the McEvoy Auditorium at the Smithsonian American Art Gallery in Washington, D.C. The Ensemble will be joined by the Washington National Opera Domingo-Cafritz Young Artists. Tickets are $25.00, $20.00 seniors, and $10.00 students. For more information, call 267-252- 1803 or visit www.dolcesuono.com. The Lower Merion Symphony, led by Philadelphia Orchestra Co-Principal Bassoon Mark Gigliotti, presents the second concert of its 2012-13 season on Sunday, December 16, at 3:00 PM at Rosemont College’s McShain Auditorium, 1400 Montgomery Avenue in Bryn Mawr. Philadelphia Orchestra Associate Principal Viola Kerri Ryan is the concert’s guest artist in Handel’s Viola Concerto; the remainder of the program is Bruckner’s Symphony No. 5. For more information, please e-mail [email protected]. 1807 & Friends, a chamber music group whose roster includes many Philadelphia Orchestra musicians, presents a concert on Monday, December 17, at 7:30 PM, at the Academy of Vocal Arts, 1920 Spruce Street, Philadelphia. The performance, which features harpist Anne Sullivan, includes works by Rachmaninoff, Saint-Saëns, Vaughan Williams, and Spohr. Single tickets are $17.00. For more information, please call 215.438.4027 or 215.978.0969. Philadelphia Orchestra Principal Clarinet Ricardo Morales and pianist Natalie Zhu present a concert on Monday, January 14, at 8:00 PM, at the American Philosophical Society, 427 Chestnut Street. The concert, presented by the Philadelphia Chamber Music Society, features works by Stanford, Higdon, Debussy, and Weber. Tickets are $24.00. For more information visit www.pcmsconcerts.org or call 215.569.8080. 41 December/January The Philadelphia Orchestra Jessica Griffin

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Tchaikovsky and a Genius December 13-15 8 PM Gianandrea Noseda Conductor Alisa Weilerstein Cello Borodin Overture to Prince Igor Elgar Tchaikovsky Symphony No. 3 (“Polish”) Mozart in His Time January 10 & 12 8 PM January 11 2 PM David Kim Leader Imogen Cooper Piano and Leader Mozart Eine kleine Nachtmusik, Serenade in G major Mozart Piano Concerto No. 24, K. 491 Mozart Symphony No. 25

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