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23 Season 2017-2018

Thursday, January 11, at 7:30 The Philadelphia Orchestra Friday, January 12, at 8:00 Saturday, January 13, British Isles Festival: Week 1 at 8:00 Yannick Nézet-Séguin Conductor Paul Jacobs Organ

MacMillan A Scotch Bestiary: Enigmatic Variations on a Zoological Carnival at a Caledonian Exhibition, for organ and orchestra I. The Menagerie, Caged The book is opened 1. Ode to a cro-magnon hyena A page is turned 2. Reptiles and Big Fish (in a small pond) 3. Her Serene and Ubiquitous Majesty, Queen Bee Another page is turned 4. The red-handed, no-surrender, howler monkey 5. Uncle Tom Cat and his chickens Yet another page is turned 6. Scottish Patriots 7. The Reverend Cuckoo and his Parroting Chorus 8. Jackass Hackass The book is closed II. The Menagerie, Uncaged First Philadelphia Orchestra performances

Intermission

Handel Suite No. 1 in F major from Water I. Overture— II. Adagio e staccato— III. [No indicated] IV. Andante V. [No tempo indicated] VI. Air VII. Minuet VIII. Bourrée IX. Hornpipe X. [No tempo indicated]

Program continued 24

Britten Four Sea Interludes, Op. 33a, from Peter Grimes I. Dawn II. Sunday Morning III. Moonlight IV. Storm

This program runs approximately 1 hour, 50 minutes.

LiveNote®, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances.

These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation.

The January 12 concert is sponsored by Medcomp.

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

Getting Started with LiveNote®™ » Please silence your phone ringer. » Download the app from the Apple App Store or Google Play Store by searching for LiveNote. » Join the LiveNote Wi-Fi network from your phone. The wireless network LiveNote should appear in the list available to you. Select that network. » Welcome to LiveNote: You should see a greeting that says you are connected to the Live Stream. Helpful Hints » Tap “View Live” to follow the original content in sync with the Orchestra. » Tap home in the top left if you are in live mode and select the piece you want by tapping the piece and then tapping the movement. Then you can swipe to the right and left. » Tap a word highlighted in yellow or hit “Glossary” to take you to an in-depth glossary. » If the live stream appears to be timed out or lapsed, hit the refresh app button in the top left of the home screen. » If you get a “Live Stream Error” touch the refresh icon in the upper left corner of the screen. Double check your network settings and that you are connected to the LiveNote Wi-Fi network.

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LiveNote was funded by the John S. and James L. Knight Foundation, the National Endowment for the Arts, and the William Penn Foundation. 26 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 the third music director of the Metropolitan beginning with the 2021-22 season, and from 2017-18 is music director designate. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The 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.”

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He is in his 10th and final season as music director of the Rotterdam Philharmonic, and he has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. In summer 2017 he became an honorary member of the Chamber Orchestra of Europe. 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 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 at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are a 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 philorch.org/conductor.

09.17 Bio.indd 4 8/29/17 1:47 PM 27 Soloist

Fran Kaufman The only organist ever to have won a Grammy Award—in 2011 for Messiaen’s towering Livre du Saint- Sacrement—Paul Jacobs combines a probing intellect and extraordinary technical skills with an unusually large repertoire, both old and new. An eloquent champion of his instrument, he argues that the organ for too long has been excluded from the mainstream of . He has been an important influence in the revival of symphonic music featuring the organ, and has premiered new works by such as Samuel Adler, Mason Bates, Michael Daugherty, Wayne Oquin, Stephen Paulus, Christopher Theofanidis, and Christopher Rouse. Mr. Jacobs made his Philadelphia Orchestra debut in 2008 and most recently appeared with the ensemble in October performing Wayne Oquin’s Resilience, a piece written for him. In the 2017-18 season he serves as president of the jury for the first International Organ Competition in Shanghai, China. Orchestral engagements include Paulus’s Grand for Organ and Orchestra with the Cleveland Orchestra and Saint-Saëns’s No. 3 with the Utah Symphony. Recitals include appearances in San Francisco, Cleveland, Sacramento, Tampa, Houston, and Pittsburgh. Last season he joined the Toledo Symphony for Daugherty’s Once Upon a Castle, a work recorded in 2015 with the Nashville Symphony, released by Naxos in 2016, and awarded three Grammy awards, including Best Classical Compendium. He has also recorded organ by Lou Harrison and Aaron Copland with the San Francisco Symphony. At age 15 Mr. Jacobs was appointed head organist of a parish in his hometown, Washington, PA. He studied at the Curtis Institute of Music and Yale University, and at age 23 he made musical history when he played J.S. Bach’s complete organ works in an 18-hour marathon on the 250th anniversary of the ’s death. He joined the faculty of the Juilliard School in 2003 and was named chairman of the organ department in 2004, one of the youngest faculty appointees in the School’s history. Mr. Jacobs has appeared on American Public Media’s Performance Today, Pipedreams, and Saint Paul Sunday, as well as NPR’s Morning Edition, ABC-TV’s World News Tonight, and BBC Radio 3. 28 Framing the Program

This season The Philadelphia Orchestra’s annual Winter Parallel Events Festival offers a three-week tour of the sea-bound British 1715 Music Isles. Handel Bach Water Music No. 161 The first concert begins with Scottish composer James Literature MacMillan, one of the most frequently performed figures Defoe of our time. His A Scotch Bestiary, scored for organ and A Hymn to the orchestra, offers a musical portrait of “human archetypes Mob and personalities encountered in Scottish life over Art the years.” As in Modest Musorgsky’s Pictures from an Ruysch Exhibition, a recurring refrain connects the different Bouquet of sections of the piece. Flowers History Baroque master composed his Peter the Great Water Music to serenade his employer King George I of travels to Paris England along the River Thames in the summer of 1717. We hear the buoyant First Suite in F major with its lovely “Air.” 1944 Music Peter Grimes, ’s first full-scale opera, Britten Strauss Peter Grimes Metamorphosen was hailed as a masterpiece upon its premiere in 1945. Literature Britten based the work on a long narrative poem about a Hersey small coastal village in which a fisherman’s apprentices die A Bell for Adano mysteriously. There are six extended orchestral sections in Art Peter Grimes, four of which Britten published separately Kahlo as the evocative Sea Interludes: “Dawn,” “Sunday Morning,” The Broken “Moonlight,” and “Storm.” Column History D-Day landings in Normandy

Listen to The Philadelphia Orchestra on SiriusXM’s Symphony Hall, Channel 76. 29 The Music A Scotch Bestiary Andrew Farrington Sir James MacMillan (he was knighted in 2015) is the best- known Scottish composer of our time. Also a highly sought- after conductor, he has been in the international limelight for almost 30 years, since his orchestral work The Confession of Isabel Gowdie was performed at the BBC Proms in 1990. A committed Catholic, he has been particularly noted for his sacred and religiously inspired works, such as Seven Last Words from the Cross (1993), St. John Passion (2007), St. Luke Passion (2013), and the percussion concerto Veni, Veni, Emmanuel (1992), written for Evelyn James MacMillan Glennie and performed over 500 times worldwide, including Born in Kilwinning, with The Philadelphia Orchestra. MacMillan’s catalogue Scotland, July 16, 1959 of compositions runs to 275 titles, among them six stage Now living in Ayrshire, Scotland works, four , some 20 concertos, and a large number of other orchestral, choral, and chamber pieces. MacMillan’s musical influences include such seemingly incompatible sources as Scottish traditional music, British modernism (Harrison Birtwistle), Catholic mysticism (Olivier Messiaen), and the communicative directness of . As commentator Stephen Johnson put it: “Thrillingly garish or abrasive colors sit alongside delicate, fragile patterns or velvety warmth. Hymn tunes, folk laments, and brash marches float as conflicting layers in vibrant musical tapestries.” —Peter Laki A Closer Look The composer has provided the following commentary on A Scotch Bestiary: Enigmatic Variations on a Zoological Carnival at a Caledonian Exhibition: This concertante work for organ and orchestra was commissioned by the Los Angeles Philharmonic and the BBC, for the BBC Philharmonic. It is in two movements and follows in a tradition of musical portraiture set by Elgar, Saint-Saëns, and Musorgsky, as indicated in the subtitle of the work. Since the first performance took place in the new Walt Disney Concert Hall in Los Angeles, I was motivated by the great American cartoon makers who represented human characters in animal form. A Scotch Bestiary is inspired by human archetypes and personalities encountered in Scottish life over the years. 30

I. The Menagerie, Caged The book is opened. Musorgsky’s “Promenade” from Pictures from an Exhibition provides the model here for this recurring refrain. 1. Ode to a cro-magnon hyena. Duetting melodic lines on organ, violas, and cellos are accompanied by laughing trumpets, lolloping trombones, howling clarinets, and little ticking rhythmic figures on percussion and horns. A page is turned. The refrain material is now presented on the woodwinds. 2. Reptiles and Big Fish (in a small pond). Large, slithering, and lumbering melodies are presented on the organ pedals, tuba, and double basses, which lead to an ungainly waltz, doused in watery textures. 3. Her Serene and Ubiquitous Majesty, Queen Bee. A buzzing organ solo emerges from the depths, interrupted by violent and shrill interjections, before a grotesque Scottish reel winds its way through various fluttering textures. The section ends regally and serenely. Another page is turned. The refrain material is now carried by the strings. 4. The red-handed, no-surrender, howler monkey. A military strain is overlaid by a jabbering organ, tootling flutes, and cackling trumpets and clarinets. Horns blare out an obsessive two-note motif. 5. Uncle Tom Cat and his chickens. Sleek, surreptitious, prowling clarinets and nervous strings and woodwinds predominate in this section. Yet another page is turned. This time the refrain is presented on percussion, harp, and electric piano. 6. Scottish Patriots. A discarded fanfare for the opening of the new Scottish Parliament receives appropriate transformations on trombones, accompanied by bagpipe-like drones and snuffling on the organ. Later it is accompanied by a vamping piano and jazz-like pizzicato . 7. The Reverend Cuckoo and his Parroting Chorus. A high clarinet represents the obsessive cuckoo and the other woodwind instruments parrot their eager responses. The organ accompanies this with a hymn. 31

A Scotch Bestiary was 8. Jackass Hackass. This is a moto composed from 2003 to 2004. perpetuo movement, where the organ rushes and These are the first Philadelphia flies virtuosically, accompanied by a bodhran (a celtic Orchestra performances of the drum) and braying hee-haws on strings and brass. A work. couple of noisy typewriters improvise a fast jig over a vamping piano and bass. The score calls for solo organ, three flutes (II doubling alto The book is closed. A coda for the solo organ, and flute, III doubling piccolo), a tentative dreamy final chord. two oboes, English horn, two clarinets, bass clarinet, two II. The Menagerie, Uncaged bassoons, contrabassoon, four This is a freewheeling, through-composed fantasy on horns, three trumpets, three all the major ideas from the first movement. All the trombones, tuba, timpani, animals are now unleashed and rampage in chaotic, percussion (almglocken, bass violent abandon. New animals appear—elephants, drum, bodhran, bongos, brake horses, cows, dogs, lions, and more birds, with some drums, chimes, clash cymbals, added grunting and rooting. The materials are all crotales, cymbal, drumset, predominantly fast and frenetic, rushing to a virtuosic glockenspiel, güiro, hi-hat, finale for soloist and orchestra. marimba, sizzle cymbal, snare drum, suspended cymbal, tambourine, tam-tam, temple blocks, tom-toms, triangles, tuned gongs, typewriters, vibraphone, vibraslap, water gong, whip, wood blocks, xylophone), harp, synthesizer, and strings. Performance time is approximately 30 minutes. 32 The Music Suite No. 1 from Water Music

Handel wrote few strictly instrumental works, although some, including the Water Music and Music for the Royal Fireworks, have become popular favorites. Perhaps one of the reasons for their success is that Handel’s instrumental writing was almost always connected in some way with his and oratorios. He so frequently approached instrumental composition via these dramatic genres that his purely instrumental works reveal an almost palpable theatricality and sense of occasion.

George Frideric Handel Theatrical Drama In the case of the Water Music, added Born in Halle, , drama has become attached to the work retrospectively, February 23, 1685 and somewhat fancifully. The famous story surrounding Died in London, April 14, Handel’s composition of the Water Music is rife with 1759 concocted details and romanticized intrigues. But it’s still a good story, and played no small part in the work’s subsequent popularity. This legend states that Handel was employed at the court of George, Elector of Hanover, when he requested a leave of absence to visit London in 1712. The request was granted, as long as Handel returned “within a reasonable time.” But the composer had every intention of staying in London permanently, and upon arrival immediately endeared himself to the royal court of Queen Anne. A couple of years later the queen died, and according to the formula agreed upon in the 1701 Act of Settlement the next king would be none other than the Elector of Hanover, who became King George I of England. Handel, frightfully embarrassed at now having to face the former employer he had abandoned, wrote a suite of music that would be played on a barge next to the king’s boat while he journeyed along the Thames. At this event, the king asked to know who had composed the enjoyable music that accompanied the “water party,” and he was then re-introduced to his former court composer. After much groveling and apologizing, Handel received the king’s forgiveness, and the reconciliation was complete. While the first half of the story is historical fact, the notion that Handel’s Water Music was written as a gesture of apology to his former employer, now king, is almost certainly a fabrication. It would seem that upon accepting 33 the British throne, George I was actually glad to have his countryman and former Kapellmeister around. He reportedly increased Handel’s pension soon after the coronation, and from the start held no grudge against the composer, so no reconciliation was necessary. There were at least three “water parties” organized for the king—in 1715, 1717, and 1726—for which Handel provided music. While it’s probably safe to assume that the collection of movements titled Water Music, issued in 1733 by John Walsh (Handel’s publisher), represents the music played on these occasions, the exact correlation between events and repertory remains unclear. The movements fall somewhat neatly into three key areas and have three distinct instrumentations, suggesting that originally there may have been three separate suites, one each in F, D, and G major, and that is how the work has usually been published in modern editions. A Closer Look The Overture in French style opens with a majestic dotted-rhythm figure, derived from ornamented upbeats, followed by a faster fugal episode. The concluding half-cadence leads directly into the next movement, marked Adagio e staccato. Here a plaintive oboe solo sings a lamenting D-minor aria against a sobbing string accompaniment. Another half-cadence—a sure sign that there is still more to come—presages a robust Allegro (although the tempo marking is not indicated in the original score) that features the horns and winds duetting with the strings in a lively out-of-doors exchange. The horns then take a break for a more lyrical, lushly-scored Andante in D minor. A da capo repeat of the Allegro returns the horns into the mix. In the lusty Presto Minuet (again, the tempo marking was added later) the horns create an echo effect at the end of each section, repeating the final phrase without accompaniment. The Air that follows has become perhaps the most well-known movement from the Suite. In the score for this movement (and some of the later movements, as well), Handel indicates that each section of the binary form is to be played three times instead of the more customary two, an indication not always observed in modern concert performances. Another Minuet returns to the texture of two horns playing the main theme unaccompanied. Only on the repeat does the full ensemble participate. In the spritely Bourrée and the quirky Hornpipe that follow, the threefold repetition of each section is more necessary. Strings play the first statement, then winds alone play the 34

The first suite of Water Music second, combining with the strings for the final iteration to was composed in 1715. highlight the contrasts and combinations of timbre. The first appearance of the A woodwind trio introduces the D-minor Allegro finale Water Music on a Philadelphia (another added tempo marking), the most contrapuntally Orchestra program was in dense movement of the Suite. Some modern performers, February 1927, when Leopold discomfited by this conclusion in a minor key (and Stokowski conducted excerpts lacking a parting flourish from the horns), reprise one of in his own arrangement. Since then it has also been the earlier movements so as to bring the Suite back to performed in arrangements by its home key with an appropriately jubilant ending. The Hamilton Harty and Eugene D-minor conclusion, on the other hand, might have been Ormandy. The only Orchestra Handel’s way of effecting a smooth transition to the next performances of the complete Suite in D major. Water Music were in October —Luke Howard 1985, with Riccardo Muti. Most recently Bernard Labadie led performances of the Second and Third suites in January 2006. The Philadelphia Orchestra recorded suites from Water Music five times: in 1934 for RCA with Stokowski; in 1946 and 1959 for CBS with Ormandy; and in 1970 and 1971 for RCA with Ormandy. The First Suite is scored for two oboes, bassoon, two horns, harpsichord continuo, and strings. The First Suite runs approximately 30 minutes. 35 The Music Four Sea Interludes, from Peter Grimes

Benjamin Britten was born by the sea, in Lowestoft, on the eastern rim of England, and spent nearly all his adult life in the same coastal region. That was his destination when, in 1942, he returned with his partner, Peter Pears, from a three-year stay in the U.S. Indeed, part of the reason they came back was so that Britten could be on home territory while composing an opera based on a narrative poem by George Crabbe (1754-1832), which Crabbe had set in an east-coast fishing town very like his own native Aldeburgh, a little way south of Lowestoft. Britten owned a house Benjamin Britten near the same town, in the village of Snape. Besides that Born in Lowestoft, geographical serendipity, there was the chord that Crabbe’s England, November 22, tale struck in its subject matter. Peter Grimes, an outsider in 1913 Died in Aldeburgh, a community remote and revolving around itself, is destroyed December 4, 1976 by gossip, irrational fear, misunderstanding, and hypocrisy. Grimes’s story is partly mirrored in the moods of the sea, as these are depicted in two interludes from the first act and in the preludes to the second and third. The first act has no prelude, as the opera immediately plunges the audience into a dramatic courtroom scene, but it does require interludes to cover set changes, from the courtroom to outdoors, and from there to the town’s pub. Altering the order a little, Britten put these orchestral installments together as Four Sea Interludes. A Closer Look The sequence begins appropriately with Dawn, which, apart from defining the beginning of the day, is the first of these passages to appear in the opera. It comes right after a duet for Peter and his close friend Ellen Orford: he complaining of wagging tongues, she attempting to reassure him. A melody on and flutes suggests the wide horizon and the emerging light; answering arpeggios on violas, clarinets, and harp might picture early sunbeams reflected on the waves, to which the brass-led lower instruments respond with swelling calm. The music works as a nature picture, but, as these elements are repeated, we realize more is at stake. The melody also sounds like an effort to soothe, Ellen’s effort, and the arpeggios take on the shape of slanders being passed on, unsettling the calm. Sunday Morning is the prelude to the second act. Church bells are ringing, if in distinctly mid-20th-century rhythms, 36

Peter Grimes was composed and the birds are starting to sing. Most of the town is off between 1944 and 1945. to church, but Ellen is about to have a solo scene with Eugene Ormandy was on the Peter’s new apprentice (a mute role), and the orchestra podium for the first Philadelphia is at the same time conveying something of her anxiety, Orchestra performances of as also, once more, the slippery ease with which rumor the Four Sea Interludes, in communicates itself. November 1948. Most recently Innocent nature and disturbed humanity are again illustrated on subscription, the work was Moonlight, heard in March 2014, with simultaneously, by the same means, in which Donald Runnicles. introduces the third and final act. The dragging rhythm and the restless harmony might speak of the ebb and flow of The score calls for two flutes the waves in semi-darkness, with flashes of light reflected in (both doubling piccolo), two the breaking surf—and perhaps the great globe of the moon oboes, two clarinets (II doubling itself comes into view when the music arrives at its rounded E-flat clarinet), two bassoons, climax. However, there is no real serenity here. The music is contrabassoon, four horns, piccolo trumpet, two trumpets, dragging and restless with the human tragedy about to be three trombones, tuba, timpani, consummated, and the “flashes of light” could just as well be percussion (bass drum, bells in socially inflicted wounds. B-flat and E-flat, cymbals, snare Storm is another interlude from the first act, but suitably drum, tam-tam, tambourine, placed here as a vigorous finale and as an outbreak of xylophone), harp, and strings. tensions that have been under the surface in the earlier Performance time is movements. In the opera, this music follows a scene in approximately 16 minutes. which Balstrode, a retired merchant captain and the only man sympathetic to Peter, has advised him to leave the town and seek a life at sea. But Peter will not do this. As Balstrode can see, the coming storm is more than a meteorological phenomenon: Peter is dooming himself. At the end of their dialogue, Peter has an aria, “What harbour shelters peace?” whose arching melody is recalled in this interlude. It is, however, the storm music that wins out, especially in this concert version, with its emphatic conclusion. —Paul Griffiths

Program notes © 2018. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association, Peter Laki, Luke Howard, and/or Paul Griffiths. 37 Musical Terms

GENERAL TERMS simultaneously sounding Minuet: A dance in triple Air: A tune or melody musical lines time Aria: An accompanied Da capo: Repeated from Moto perpetuo: See solo song (often in ternary the beginning perpetual motion form), usually in an opera Dissonance: A Op.: Abbreviation for opus, or oratorio combination of two or more a term used to indicate Arpeggio: A broken tones requiring resolution the chronological position chord (with notes played Fantasy: A composition of a composition within a in succession instead of free in form and more or composer’s output. Opus together) less fantastic in character numbers are not always Binary: A musical Fugue: A piece of music reliable because they are structure consisting of in which a short melody often applied in the order two mutually dependent is stated by one voice of publication rather than sections of roughly equal and then imitated by the composition. duration other voices in succession, Perpetual motion: Bourrée: A French folk reappearing throughout A musical device in dance, court dance, and the entire piece in all the which rapid figuration is instrumental form, either voices at different places persistently maintained in duple or triple meter, Harmonic: Pertaining to Pizzicato: Plucked which flourished from the chords and to the theory Staccato: Detached, mid-17th century to the and practice of harmony with each note separated mid-18th Harmony: The combination from the next and quickly Cadence: The conclusion of simultaneously released to a phrase, movement, sounded musical notes to Suite: A set or series of or piece based on a produce chords and chord pieces in various dance recognizable melodic progressions forms formula, harmonic Hornpipe: An old English Ternary: A musical form progression, or dissonance dance in lively tempo in three sections, ABA, in resolution HWV: The thematic which the middle section Chord: The simultaneous catalogue of all the works is different than the outer sounding of three or more of George Frideric Handel. sections tones The initials stand for Through-composed: A Coda: A concluding Händel-Werke-Verzeichnis song in which new music is section or passage added (Handel-Works-Catalogue). provided for each stanza in order to confirm the Jig: A kind of country impression of finality dance, with many THE SPEED OF MUSIC Concertante: A work modifications of step and (Tempo) featuring one or more solo gesture, in rapid tempo Adagio: Leisurely, slow instruments Legato: Smooth, even, Andante: Walking speed Contrapuntal: See without any break between counterpoint notes Counterpoint: A Meter: The symmetrical term that describes grouping of musical the combination of rhythms 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- Bridget Morgan, Accounting variety of subscription options come, first-served basis. each season. These multi- Manager concert packages feature the Large-Print Programs: Catherine Pappas, best available seats, ticket Large-print programs for Project Manager exchange privileges, discounts every subscription concert Michelle Carter Messa, on individual tickets, and many are available in the House Assistant Box Office Manager other benefits. Learn more at Management Office in Robin Lee, Staff Accountant philorch.org. Commonwealth Plaza. Please Alex Heicher, ask an usher for assistance. Program and Web Coordinator Ticket Turn-In: Subscribers Lindsay Kreig, who cannot use their tickets Fire Notice: The exit indicated by a red light nearest your seat is Business Operations Coordinator are invited to donate them Dani Rose, Patron Services and receive a tax-deductible the shortest route to the street. In the event of fire or other Supervisor and Access Services acknowledgement by calling Specialist 215.893.1999. Twenty-four-hour emergency, please do not run. Walk to that exit. Elizabeth Jackson, notice is appreciated, allowing Philadelphia Orchestra Priority other patrons the opportunity No Smoking: All public space Services Representative to purchase these tickets and in the Kimmel Center is smoke- Treasurers, Box Office: guarantee tax-deductible credit. free. Tad Dynakowski PreConcert Conversations: Cameras and Recorders: Thomas Sharkey PreConcert Conversations are The taking of photographs or James Shelley held prior to most Philadelphia the recording of Philadelphia Mike Walsh Orchestra subscription concert, Orchestra concerts is strictly beginning one hour before the prohibited. By attending this performance. Conversations are Philadelphia Orchestra concert free to ticket-holders, feature you consent to be photographed, discussions of the season’s filmed, and/or otherwise music and music-makers, recorded. Your entry constitutes