23 Season 2016-2017

Thursday, January 26, at 8:00 The Philadelphia Friday, January 27, at 2:00 City of Light and Music: The Paris Festival, Week 3

Yannick Nézet-Séguin Conductor Choong-Jin Chang Viola

Berlioz Harold in Italy, Op. 16 I. Harold in the Mountains (Scenes of melancholy, happiness, and joy) II. Pilgrims’ March—Singing of the Evening Hymn III. Serenade of an Abruzzi Mountaineer to his Sweetheart IV. Brigands’ Orgy (Reminiscences of the preceding scenes)

Intermission

Ravel

Ravel I. Prelude to the Night— II. Malagueña III. Habanera IV. Feria

Ravel Bolero

This program runs approximately 1 hour, 55 minutes.

The January 26 concert is sponsored in memory of Ruth W. Williams.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit wrti.org to listen live or for more details. 24

Steven Spielberg’s filmE.T. the Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes … but the performances, particularly by the children and by E.T. himself, are so honest, timeless, and true, that the film absolutely qualifies to be ranked as a classic. What’s particularly special about today’s concert is that we’ll hear one of our great symphony , The , performing the entire score live, along with the complete picture, sound effects, and dialogue. I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event … and I hope that today’s audience will find great joy in experiencing this magical film. 25 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage. The Orchestra Center, Penn’s Landing, Concerts, School Concerts, is inspiring the future and and other cultural, civic, and residency work in transforming its rich tradition and learning venues. The Philadelphia and abroad. of achievement, sustaining Orchestra maintains a strong Through concerts, tours, the highest level of artistic commitment to collaborations residencies, presentations, quality, but also challenging— with cultural and community and recordings, The and exceeding—that level, organizations on a regional Philadelphia Orchestra is by creating powerful musical and national level, all of which a global ambassador for experiences for audiences at create greater access and Philadelphia and for the home and around the world. engagement with classical US. Having been the first Music Director Yannick music as an art form. American orchestra to Nézet-Séguin’s connection The Philadelphia Orchestra perform in China, in 1973 to the Orchestra’s musicians serves as a catalyst for at the request of President has been praised by cultural activity across Nixon, the ensemble today both concertgoers and Philadelphia’s many boasts a new partnership with critics since his inaugural communities, building an Beijing’s National Centre for season in 2012. Under his offstage presence as strong the Performing Arts and the leadership the Orchestra as its onstage one. With Shanghai Oriental Art Centre, returned to recording, with Nézet-Séguin, a dedicated and in 2017 will be the first- two celebrated CDs on body of musicians, and one ever Western orchestra to the prestigious Deutsche of the nation’s richest arts appear in Mongolia. The Grammophon label, ecosystems, the Orchestra Orchestra annually performs continuing its history of has launched its HEAR at Carnegie Hall while also recording success. The initiative, a portfolio of enjoying summer residencies Orchestra also reaches integrated initiatives that in Saratoga Springs, NY, and thousands of listeners on the promotes Health, champions Vail, CO. For more information radio with weekly Sunday music Education, eliminates on The Philadelphia afternoon broadcasts on barriers to Accessing the Orchestra, please visit WRTI-FM. orchestra, and maximizes www.philorch.org. 4 Music Director

Chris Lee Music Director Yannick Nézet-Séguin is now confirmed to lead The Philadelphia Orchestra through the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he becomes music director of the Metropolitan Opera beginning with the 2021-22 season. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of the Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fifth season include an exploration of American Sounds, with works by Leonard Bernstein, Christopher Rouse, Mason Bates, and Christopher Theofanidis; a Music of Paris Festival; and the continuation of a focus on opera and sacred vocal works, with Bartók’s Bluebeard’s Castle and Mozart’s C-minor Mass.

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He was also principal guest conductor of the London Philharmonic from 2008 to 2014. 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 Philadelphia Orchestra returned to recording with two CDs on that label. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique. In Yannick’s inaugural season The Philadelphia Orchestra returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

A native of Montreal, Yannick studied , conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor ; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, Musical America’s 2016 Artist of the Year, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music in Philadelphia, and Westminster Choir College of Rider University in Princeton, NJ.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 26 27 Soloist

Jessica Griffin A native of Seoul, Korea, Choong-Jin (C.J.) Chang became principal viola of The Philadelphia Orchestra in 2006 after having joined the Orchestra in 1994. He made his performance debut as a 12-year-old violinist with the Seoul Philharmonic as winner of the grand prize in Korea’s Yook Young National Competition. In 1981, at the age of 13, he moved to the U.S. to attend the Juilliard School of Music. He subsequently studied in Philadelphia at the Esther Boyer College of Music at Temple University and at the Curtis Institute of Music, from which he received degrees in both violin and viola. His primary teachers were Jascha Brodsky and Joseph dePasquale. Mr. Chang made his solo debut recital at Carnegie Hall in 2007 and since then has appeared in numerous recitals in the U.S. and South Korea. In 2008 he was featured as a soloist with The Philadelphia Orchestra during its Asian Tour, performing in Seoul and Shanghai, and its summer residency at the Saratoga Performing Arts Center. He made his Philadelphia Orchestra subscription solo debut in 2009. In 2013 he planned the Bach and Hindemith Project, which included all 19 pieces from both composers and was performed in four recitals over a year at the Kuhmo Arts Hall in Seoul. As a chamber musician, he performs with the world’s great musicians at many prestigious festivals throughout the United States and Asia. Mr. Chang is a founding member of the Johannes Quartet, whose debut performances at Philadelphia’s Ethical Society and at Carnegie Hall received glowing reviews. Since 1997 the Quartet has performed throughout the U.S., and has recently premiered Esa-Pekka Salonen’s Homunculus, and William Bolcom’s Double Quartet, with the Guarneri Quartet. Alongside his extensive performing activities, Mr. Chang is a respected teacher on both violin and viola. Among his former pupils are members of The Philadelphia Orchestra and the Cleveland Orchestra, as well as many winners of major competitions. He currently serves as the viola professor at John Hopkins University’s Peabody Conservatory of Music. Mr. Chang, who holds the Ruth and A. Morris Williams Chair, is performing on a viola made for him by Samuel Zygmuntowicz in October 2016. 28 Framing the Program

The final week of The Philadelphia Orchestra’s Paris Parallel Events Festival spotlights two French masters, Hector Berlioz and 1834 Music , who were entranced by the south and found Berlioz Mendelssohn inspiration in the culture and landscape of Italy and Spain. Harold in Italy Rondo brillant Literature After winning the prestigious Prix de Rome in 1830 Balzac Berlioz lived in Italy, soaking in sights and sounds that Le Père Goriot found expression in a range of compositions for many Art years to come. One is Harold in Italy, which is part Turner symphony, part viola concerto. The great Italian virtuoso The Fountain of Niccolò Paganini commissioned the piece after acquiring Indolence a Stradivarius viola that he wished to showcase. In this History work Berlioz was inspired by Lord Byron’s poem Childe French Foreign Harold’s Pilgrimage, but just as much by his own vivid Legion founded Italian experiences. 1907 Music Ravel was born to a Basque mother in the French Ravel Bartók Pyrenees, not far from the Spanish border. Today we Rapsodie Violin Concerto hear three works that show his enduring fascination with espagnole No. 1 Spain, starting with the spirited scherzo Alborada del Literature gracioso (Morning-Serenade of the Jester). The playful Gorki and exotic Rapsodie espagnole unfolds in four parts: a Mother nocturnal prelude, two dances, and concluding holiday Art fair. The concert concludes with the evocative Bolero, a Picasso glorious crescendo for orchestra. Les Demoiselles d’Avignon History Second Hague Peace Conference

1928 Music Ravel Gershwin Bolero An American in Paris Literature Lawrence Lady Chatterley’s Lover Art Beckmann Black Lilies History Fleming discovers penicillin 29 The Music Harold in Italy

In 1832 the great virtuoso violinist Niccolò Paganini became the proud new owner of a Stradivarius viola. Wanting to show it off, but frustrated by the lack of concertos featuring the instrument, he came up with the idea of commissioning Hector Berlioz, a composer he greatly admired, to write a work that would display his purchase. In his Memoirs (elegantly translated by David Cairns), Berlioz describes his aim upon receiving Paganini’s request: “To please the great man, I attempted to write a solo for the viola, but a solo combined with Hector Berlioz orchestral accompaniment in such a way as to leave the Born in La Côte-St.-André, orchestra full freedom of action; for I was confident that Isère, December 11, 1803 by the incomparable power of his playing Paganini would Died in Paris, March 8, 1869 be able to maintain the supremacy of the soloist. The concept struck me as new.” Virtuoso Demands Paganini approached Berlioz in mid-January 1834 and the project was soon announced in the press: “The work will be called The Last Moments of Mary Stuart, dramatic fantasy for orchestra, chorus, and solo viola. Paganini will play the viola part at the first performance.” In the end, nearly everything changed: The chorus was dropped, the story switched, and new programmatic movement titles eventually added. And Paganini, with his glorious Strad, never played it. Berlioz finished the work in June and showed it to the eager Paganini upon his return to Paris at the end of the summer. As Berlioz had feared, he was not pleased. He was a great virtuoso and this work was more a symphony than a concerto, more a showcase for an orchestra than a preening soloist with a prized instrument. Berlioz reports Paganini responding, “That’s no good. There’s not enough for me to do here. I should be playing all the time.” Berlioz replied that that was exactly what he had thought from the outset— Paganini really wanted a viola concerto, in which case he might as well write it himself. It is to Berlioz’s credit that he did not compromise his artistic vision, and it is to Paganini’s credit that when he heard the finished composition some four years later he stated that he had never been “so powerfully impressed” at a concert and he graciously gave Berlioz 20,000 francs. This gift allowed him to write his next big work, Romeo and Juliet, which he dedicated to Paganini. 30

Byronic Inspirations Berlioz’s first symphony—one like no other first—was theSymphonie fantastique, the work, in fact, that initially attracted Paganini to the young composer. Berlioz was keen to write a second symphony. Although it is less revolutionary, it is also programmatic, breaks with conventions, and bears a title more evocative than Symphony No. 2. Berlioz describes how his idea was “to write a series of orchestral scenes in which the solo viola would be involved, to a greater or lesser extent, like an actual person, retaining the same character throughout. I decided to give it as a setting the poetic impressions from my wandering in the Abruzzi [mountains northwest of Rome], introducing the viola as a sort of melancholy dreamer, in the style of Byron’s Childe Harold. Hence the title of the symphony, Harold in Italy.” The title, initially simply Harold, came later in the compositional process. Unlike the elaborate story Berlioz had concocted a few years earlier for the Symphonie fantastique, the names of the individual movements are clues to an atmospheric mood, not a specific scenario. While those for the second, third, and fourth were conceived of from the start, the Byronic title of the first one, “Harold in the Mountains,” came later. Unlike many pieces of program music that faithfully try to illustrate a story, the inspiration here is diffuse. The English poet Lord Byron was a major influence on Berlioz, as he was on many Romantics. In his Memoirs, the composer recalls going to St. Peter’s in Rome on hot summer days with “a volume of Byron and, settling myself comfortably in a confessional, enjoy the cool air of the cathedral.” More than Byron or his poem Childe Harold’s Pilgrimage (1818), however, it was Italy, where Berlioz spent time after winning the prestigious Prix de Rome, that inspired the work. A Closer Look Harold in Italy, like the Symphonie fantastique, is unified by a theme that appears throughout the piece. Berlioz commented on the rather different function of this melody than what he had used in the earlier work: “Whereas the theme of the Symphonie fantastique, the idée fixe, keeps intruding like an obsessive idea on scenes that are alien to it and deflects the current of the music, the Harold theme is superimposed on the other orchestral voices so as to contrast with them in character and tempo without interrupting their development.” The orchestral introduction to the first movement hints at the melody, but it is most simply and completely stated when the viola soloist enters. Berlioz had used the tune before, in his Rob Roy Overture. 31

Berlioz composed Harold in The first movement, Harold in the Mountains (Scenes Italy in 1834. of melancholy, happiness, and joy), is the most Emile Ferir, principal viola of conventional in its formal layout. The viola melody serves The Philadelphia Orchestra, as the first theme of a modified sonata form and is was soloist in the first contrasted with a more playful second theme. The second Orchestra performances of the movement, Pilgrims’ March—Singing of the Evening piece, in November 1918 with Hymn, enjoyed immediate popular success and was Leopold Stokowski conducting. encored at the premiere. A simple processional theme is The work has been heard regularly punctuated by French horns and harp playing a only a handful of times since, dissonant note in imitation of church bells. The legacy of most recently on subscription this imaginative movement can be heard in similar solemn in September 2003, with marches found in Wagner operas and Mendelssohn’s Principal Viola Roberto Díaz “Italian” Symphony. Once again the viola presents the and . theme that unifies the entire symphony. The Philadelphians recorded the work in 1965 for CBS Most of the movements are related in some way to with Principal Viola Joseph experiences Berlioz had while living in Italy in the early dePasquale and Eugene 1830s. In the case of the third movement, Serenade Ormandy. of an Abruzzi Mountaineer to his Sweetheart, Berlioz recalls hearing a young man with “a formidable Berlioz’s score calls for solo pair of lungs” sing out his heart beneath the window of viola, two flutes (II doubling his beloved. The music starts as a lively dance before piccolo), two , English horn, two , four becoming more songful. The viola soloist continues to , four horns, two observe the situation, presenting Harold’s theme with , two cornets, three all its expansive lyricism. In a contrapuntal tour-de-force , , , near the end, Berlioz combines all three themes, each in percussion (, a different meter, to form three layers of musical activity. , triangle), harp, and He opens the final movement, Brigands’ Orgy, with strings. Reminiscences of the preceding scenes. Just as he Harold in Italy runs was beginning to compose Harold, he heard for the first approximately 42 minutes in time live in performance Beethoven’s Ninth Symphony, performance. the finale of which also starts with a review of the earlier movements before moving on its own spirited way. —Christopher H. Gibbs

33 The Music Alborada del gracioso Rapsodie espagnole Bolero

Deeply moved by works of Debussy from the 1890s, Ravel began to find his own answers to the questions about harmony, color, and instrumental texture that the late 19th century had left unresolved. As a new century dawned, so did hopes of a “new music,” and this impulse found expression in the works of composers as diverse as Elgar and Schoenberg, Puccini and Debussy. At the beginning of the decade, Ravel’s music began to appear in print for the first time: The publisher Demets brought out elegiac pieces such as the pour une infante défunte Maurice Ravel (Pavane for a Dead Princess) and revolutionary works Born in Ciboure, , such as Jeux d’eau (Water Games). Buoyed by these March 7, 1875 successes, in 1904 the composer wrote (Mirrors), a Died in Paris, December 28, 1937 remarkable set of “impressionistic” piano pieces that some would later compare to the paintings of Monet or Van Gogh. After this he was destined to join Debussy in writing a new chapter in the history of French music.

Alborada del gracioso was A Conservatory Drop Out Three times Ravel had composed from 1904 to 1905. entered the competition for the Prix de Rome—1901, 1902, and 1903—and three times he had failed, achieving Leopold Stokowski led the first Philadelphia Orchestra in his last year only Third Prize. Finally he dropped performances of the work, in out of the Paris Conservatory altogether, and instead March 1926. Most recently on became involved in “Les Apaches,” an informal, vaguely subscription Riccardo Chailly disreputable collection of Parisian aesthetes who met conducted it in December to discuss art, literature, painting, music, history, and 1995. any other topic that might arise. It was at meetings of Les Apaches that Ravel tried out some of his more The Orchestra recorded the piece twice: in 1958 with daring new works, often for audiences that included for CBS and such musicians as Manuel de Falla and Florent Schmitt. in 1982 with Riccardo Muti Their unconventional tastes gave Ravel just the creative for EMI. encouragement he needed to continue on the path that he had set for himself. Ironically, despite early rejections by the musical establishment of his native country, as he matured Ravel found his iconoclastic tendencies becoming tempered by a growing reverence for the past—and especially the music of French masters. Eventually, in the 1930s, 34

Alborada del gracioso is he would assimilate jazz as well, and its rhythms and scored for three flutes (III harmonies would imbue his music with unique “popular” doubling piccolo), two oboes, inflections that would give courage to later generations of English horn, two clarinets, composers compelled to lace their scores with elements two bassoons, contrabassoon, of mass culture. four horns, two trumpets, three trombones, tuba, timpani, An Enthusiasm for All Things Spanish Of all the percussion (, composers who responded to the craze for things , crotales, cymbals, Spanish during the late 19th and early 20th centuries, military drum, tambourine, none did so with Ravel’s eloquence and panache. Neither triangle, ), two harps, Édouard Lalo’s Symphonie espagnole nor Nikolai Rimsky- and strings. Korsakov’s Capriccio espagnol, both strong works in their Performance time is own right, contain the fire and passion—not to mention approximately nine minutes. the sheer fun—of Ravel’s music. This is perhaps partly because Ravel’s interest in Spanish folk-tunes and idioms can be traced back to his own origins: His mother was Ravel composed the Rapsodie Basque, and he himself was born and raised in Basque espagnole from 1907 to 1908. country. This sense of identity found expression in a Leopold Stokowski conducted number of Ravel’s works throughout his career, including the first Philadelphia Orchestra “Alborada del gracioso,” the sun-splashed final piece performances of the piece, from Miroirs, which he orchestrated in 1918; the little- in December 1917. The known song cycle Don Quichotte à Dulcinée; the playful most recent subscription and exotic Rapsodie espagnole; and, of course, the performances were in indefatigable Bolero. December 2013, with Cristian Măcelaru on the podium. Alborada del gracioso A brilliant virtuoso piano piece in its original version, Alborada also makes for dazzling The Philadelphia Orchestra orchestral fireworks. It employs rhythms and percussive has recorded the Rapsodie effects that powerfully suggest the strike of guitar strings, four times: in 1934 for RCA or the twists and turns of a maracas-tapping dancer. with Stokowski; in 1950 and 1963 for CBS with Eugene The critic and fellow Apache Michel Calvocoressi (the Ormandy; and in 1979 for EMI dedicatee of Alborada) described it as “a big independent with Riccardo Muti. scherzo in the manner of Chopin and Balakirev.” The title, perhaps best translated as “Morning-Serenade of the The score calls for two Jester,” refers to a type of energetic love-serenade, as piccolos, two flutes, two performed in the early morning hours by the gracioso— oboes, English horn, two clarinets, bass , three the stock character of the “court clown” in the classical bassoons, contrabassoon, four Spanish theater of Lope de Vega and others. horns, three trumpets, three Rapsodie espagnole Completed in 1908, Rapsodie trombones, tuba, timpani, espagnole consists of four lively tone-pictures of Spain, percussion (bass drum, each employing an expansive orchestral palette. In the castanets, cymbals, military first, Prelude to the Night, an eerie nocturnal scene is drum, tam-tam, tambourine, created through a descending four-note ostinato figure, triangle, xylophone), two harps, celesta, and strings. initially heard in the strings—which cuts across the barline and obscures the triple meter altogether. The rich, redolent Performance time is magic of the night, observed as if through a veil, is slowly approximately 16 minutes. revealed. The second piece is a Malagueña, a spirited dance in triple meter, allegedly from Málaga in Andalusia (southern Spain). This is followed by a Habanera, 35

Bolero was composed in the duple-meter dance style known for the halting 1928. prolongation of the second beat of each measure; it is The Orchestra’s “unofficial” probably of Cuban origin, and is now recognized as the premiere of Bolero is of special direct ancestor of the tango. The Rapsodie closes with the interest. On December 20, extended Feria, in which Ravel uses the orchestra’s full 1929, after a concert of music coloristic resources to recreate the verve and excitement by Wagner, Leopold Stokowski of a holiday fair. turned to the audience in Academy of Music and made Composed in 1928 for Ida Rubinstein’s Parisian the following announcement: dance troupe, Bolero is one of the most subversive “We are receiving much orchestral scores of the 20th century. Ravel said later that interesting modern music from he wanted to write a piece that had “no form, properly the publishers. Perhaps you speaking, and no modulation, or almost none—just rhythm would like to hear some. It and orchestra.” The ballet caused a stir at its premiere that may be that you will not like November, and many decades later the music continues to this piece. It is very modern.” draw a crowd. Each repetition of the bolero tune presents And with that Stokowski and a new and intriguing combination of instruments, both in The Philadelphia Orchestra the melody and in the accompaniment. The initial strophes, performed the local premiere for instance, explore the soloistic qualities of various wind of Bolero. It was performed instruments; the sixth combines muted and flute most recently on subscription to produce a tone that sounds like neither. By the end, concerts in March 2012; we are so entrenched in the key of C that the effect of Rafael Frühbeck de Burgos conducted. the brief, shocking swerve into E major in the 18th and final strain is way out of proportion to its actual harmonic The Philadelphia Orchestra has significance. recorded the work five times: in 1953, 1960, and 1968 for In 1979 the piece was used in Blake Edwards’s film CBS with Eugene Ormandy; in 10, as the accompaniment to Dudley Moore’s bumbling 1973 for RCA with Ormandy; lovemaking to bombshell Bo Derek—and for this reason it and in 1982 for EMI with remains indelibly fixed in the mind, for many listeners, as Riccardo Muti. a sexual metaphor. While such a blatant connection might The piece is scored for indeed have been in the back of Ravel’s mind, it should piccolo, two flutes, two oboes not limit us to thinking about the piece only in these (II doubling d’amore), terms. Bolero is, in the composer’s straightforward and English horn, two clarinets (II no-nonsense description, “a piece lasting 17 minutes and doubling E-flat clarinet), bass consisting wholly of orchestral effects without music—one clarinet (doubling soprano long and very gradual crescendo.” saxophone), tenor saxophone, two bassoons, contrabassoon, —Paul J. Horsley four horns, three trumpets, piccolo trumpet, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drums, tam- tam), harp, celeste, and strings. Bolero runs approximately 17 minutes in performance. Program notes © 2017. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 36

Steven Spielberg’s filmE.T. the Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes … but the performances, particularly by the children and by E.T. himself, are so honest, timeless, and true, that the film absolutely qualifies to be ranked as a classic. What’s particularly special about today’s concert is that we’ll hear one of our great symphony orchestras, The Philadelphia Orchestra, performing the entire score live, along with the complete picture, sound effects, and dialogue. I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event … and I hope that today’s audience will find great joy in experiencing this magical film. 37 Musical Terms

GENERAL TERMS musical notes to produce written for a small Cadence: The conclusion chords and chord ensemble and having to a phrase, movement, progressions characteristics of the suite or piece based on a Idée fixe:A term coined and the sonata recognizable melodic by Berlioz to denote Sonata: An instrumental formula, harmonic a musical idea used composition in three or progression, or dissonance obsessively four extended movements resolution Legato: Smooth, even, contrasted in theme, Capriccio: A short without any break between tempo, and mood, usually piece of a humorous notes for a solo instrument or capricious character, Malagueña: A Spanish Sonata form: The form in usually in ternary form folk dance in triple time which the first movements Chord: The simultaneous Meter: The symmetrical (and sometimes others) sounding of three or more grouping of musical of symphonies are usually tones rhythms cast. The sections are Coda: A concluding Modulate: To pass from exposition, development, section or passage added one key or mode into and recapitulation, the in order to confirm the another last sometimes followed impression of finality Op.: Abbreviation for opus, by a coda. The exposition Contrapuntal: See a term used to indicate is the introduction of counterpoint the chronological position the musical ideas, which Counterpoint: A of a composition within a are then “developed.” In term that describes composer’s output. Opus the recapitulation, the the combination of numbers are not always exposition is repeated with simultaneously sounding reliable because they are modifications. musical lines often applied in the order Suite: A set or series of Dissonance: A of publication rather than pieces in various dance combination of two or more composition. forms tones requiring resolution Ostinato: A steady bass Ternary: A musical form Fantasy: A composition accompaniment, repeated in three sections, ABA, in free in form and more or over and over which the middle section less fantastic in character Rhapsody: Generally is different than the outer Habanera: A Spanish an instrumental fantasia sections dance in slow to moderate on folksongs or on motifs Timbre: Tone color or tone duple time with distinctive taken from primitive quality rhythmic character national music Tutti: All; full orchestra Harmonic: Pertaining to Scherzo: Literally “a joke.” chords and to the theory An instrumental piece of DYNAMIC MARKS and practice of harmony a light, piquant, humorous Crescendo: Increasing Harmony: The character volume combination of Serenade: An simultaneously sounded instrumental composition 38 Tickets & Patron Services

We want you to enjoy each and and are supported in part by your consent to such and to every concert experience you the Hirschberg-Goodfriend any use, in any and all media share with us. We would love Fund established by Juliet J. throughout the universe in to hear about your experience Goodfriend. perpetuity, of your appearance, at the Orchestra and it would Lost and Found: Please call voice, and name for any purpose be our pleasure to answer any 215.670.2321. whatsoever in connection with questions you may have. The Philadelphia Orchestra. Late Seating: Late seating Please don’t hesitate to contact breaks usually occur after the Phones and Paging Devices: us via phone at 215.893.1999, first piece on the program or at All electronic devices—including in person in the lobby, or at intermission in order to minimize cellular telephones, pagers, and [email protected]. disturbances to other audience wristwatch alarms—should be Subscriber Services: members who have already turned off while in the concert 215.893.1955, M-F, 9 AM-5 PM begun listening to the music. hall. The exception would be our If you arrive after the concert LiveNote™ performances. Please Patron Services: visit philorch.org/livenote for 215.893.1999, Daily, 9 AM-8 PM begins, you will be seated only when appropriate breaks in the more information. Web Site: For information about program allow. Ticket Philadelphia Staff The Philadelphia Orchestra and Accessible Seating: Linda Forlini, Vice President its upcoming concerts or events, Rebecca Farnham, please visit philorch.org. Accessible seating is available for every performance. Director, Patron Services Individual Tickets: Don’t Please call Patron Services at Brandon Yaconis, assume that your favorite 215.893.1999 or visit philorch. Director, Client Relations concert is sold out. Subscriber org for more information. Dan Ahearn, Jr., turn-ins and other special Box Office Manager promotions can make last- Assistive Listening: With Jayson Bucy, minute tickets available. Call us the deposit of a current ID, Program and Web Manager at 215.893.1999 and ask for hearing enhancement devices Meg Hackney, assistance. are available at no cost from the Patron Services Manager House Management Office in Gregory McCormick, Subscriptions: The Commonwealth Plaza. Hearing Philadelphia Orchestra offers a Training Manager devices are available on a first- Catherine Pappas, variety of subscription options come, first-served basis. each season. These multi- Project Manager concert packages feature the Large-Print Programs: Michelle Messa, best available seats, ticket Large-print programs for Assistant Box Office Manager exchange privileges, discounts every subscription concert Alex Heicher, on individual tickets, and many are available in the House Program and Web Coordinator other benefits. Learn more at Management Office in Lindsay Kreig, philorch.org. Commonwealth Plaza. Please Business Operations Coordinator ask an usher for assistance. Elizabeth Jackson-Murray, Ticket Turn-In: Subscribers Priority Services Representative who cannot use their tickets Fire Notice: The exit indicated by a red light nearest your seat is Assistant Treasurers, Box Office: are invited to donate them Tad Dynakowski and receive a tax-deductible the shortest route to the street. In the event of fire or other Patricia O’Connor acknowledgement by calling Thomas Sharkey 215.893.1999. Twenty-four-hour emergency, please do not run. Walk to that exit. James Shelley notice is appreciated, allowing Mike Walsh other patrons the opportunity No Smoking: All public space Lead Patron Services to purchase these tickets and in the Kimmel Center is smoke- Representatives: guarantee tax-deductible credit. free. Megan Chialastri PreConcert Conversations: Cameras and Recorders: Stacey Ferraro PreConcert Conversations are The taking of photographs or Meaghan Gonser held prior to most Philadelphia the recording of Philadelphia Jared Gumbs Orchestra subscription concert, Orchestra concerts is strictly Danielle Rose beginning one hour before the prohibited. By attending this Patron Services Representatives: performance. Conversations are Philadelphia Orchestra concert Rui Dong-Scott free to ticket-holders, feature you consent to be photographed, Brand-I Curtis McCloud discussions of the season’s filmed, and/or otherwise Rachelle Seney music and music-makers, recorded. Your entry constitutes