23 Season 2017-2018

Wednesday, January 24, The Philadelphia Orchestra at 7:30 Thursday, January 25, at 7:30 British Isles Festival: Week 3 Friday, January 26, at 2:00

Fabio Luisi Conductor Yefim BronfmanPiano

Haydn No. 104 in D major (“”) I. Adagio—Allegro II. Andante III. Menuetto (Allegro)—Trio—Menuetto da capo IV. Finale: Spiritoso

Intermission

Beethoven Piano No. 3 in C minor, Op. 37 I. Allegro con brio II. Largo III. Rondo: Allegro—Presto

Wagner Prelude and “Liebestod,” from Tristan and Isolde

This program runs approximately 1 hour, 55 minutes.

The January 25 concert is sponsored by Neal Krouse.

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. 24 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. 26 Conductor

Barbara Luisis is general music director of the Zurich , chief conductor of the Danish National Symphony, music director of the Festival della Valle d’Itria in Martina Franca (Apulia, Italy), and music director-designate of the Maggio Musicale Fiorentino. He was principal conductor of the Metropolitan Opera from 2011 to 2017. He has also served as chief conductor of the Symphony (2005-13), general music director of the Staatskapelle Dresden and the Saxon State Opera (2007-10), music director and principal conductor of the MDR Symphony Leipzig (1999-2007), music director of the Orchestre de la Suisse Romande (1997-2002), and music director of the Tonkünstler Orchestra in Vienna (1995-2000). He made his Philadelphia Orchestra debut in 2011. In addition to these current performances, Mr. Luisi’s guest conducting engagements include appearances with the Royal Concertgebouw, Cleveland, and Saito Kinen orchestras; the London, San Francisco, and Tokyo’s NHK ; the Munich Philharmonic; and the Filarmonica della Scala. He has also conducted in all the major opera houses worldwide. Recent operatic performance highlights include Richard Strauss’s The Love of Danae and The Egyptian Helen for the Salzburg Festival and, at Zurich Opera, new productions of three Bellini as well as Beethoven’s , Berg’s Wozzeck, and Verdi’s and . Mr. Luisi’s recordings include Verdi’s Aroldo, , and Jerusalem; Bellini’s I Puritani and The Capulets and the Montagues; all of Schumann’s and Honegger’s symphonies; the symphonies and the oratorio Das Buch mit sieben Siegeln by the largely forgotten Austrian Franz Schmidt; and various symphonic poems by Richard Strauss. His acclaimed performance of Bruckner’s Ninth Symphony together with the Staatskapelle Dresden was awarded the 2009 ECHO Klassik Award. His recordings of Wagner’s Siegfried and Götterdämmerung with the Met Orchestra earned him a Grammy. In 2013 he won Italy’s coveted Premio Franco Abbiati critics’ award, and in 2014 he was awarded the Grifo d’Oro by the City of . Mr. Luisi is also a Cavaliere of the Italian Republic and a Commedatore of the Ordine della Stella d’Italia. 27 Soloist

Dario Acosta Pianist Yefim Bronfmanmade his Philadelphia Orchestra debut in 1977 and has performed regularly with the ensemble ever since. Widely regarded as one of the most talented virtuoso pianists performing today, he has won consistent critical acclaim for his solo recitals and orchestral engagements. In addition to these current performances, highlights of his 2017-18 season include concerts with the Israel Philharmonic conducted by Zubin Mehta during that orchestra’s U.S. tour; performances in Munich, London, and Vienna with the Bavarian Radio Symphony and Mariss Jansons; return visits to the orchestras of New York, Cleveland, Los Angeles, Pittsburgh, Washington, Indianapolis, and Toronto; and a tour with the Vienna Philharmonic and Andrés Orozco-Estrada in a program celebrating his 60th birthday this spring. Mr. Bronfman has been nominated for six Grammy awards, winning in 1997 with Esa-Pekka Salonen and the Los Angeles Philharmonic for their recording of the three Bartók piano . His prolific catalogue of recordings includes works for two pianos by Rachmaninoff and Brahms with Emanuel Ax, the complete Prokofiev concertos with the Israel Philharmonic and Mr. Mehta, a Schubert/Mozart disc with the Zukerman Chamber Players, and the soundtrack to Disney’s Fantasia 2000. Recent releases include the 2014 Grammy-nominated recording of Magnus Lindberg’s Piano Concerto No. 2, commissioned for him and performed by the New York Philharmonic conducted by Alan Gilbert on the Da Capo label; Tchaikovsky’s Piano Concerto No.1 with Mr. Jansons and the Bavarian Radio Symphony; a recital disc, Perspectives, complementing Mr. Bronfman’s designation as a Carnegie Hall “Perspectives” artist for the 2007-08 season; and all the Beethoven concertos. Born in Tashkent in the Soviet Union in 1958, Mr. Bronfman immigrated to Israel with his family in 1973 and became an American citizen in 1989. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking his first public performances there since leaving the country at age 15. That same year he was awarded the prestigious Avery Fisher Prize. He is also a 2015 recipient of an honorary doctorate from the Manhattan School of Music. 28 29 Framing the Program

The final week of The Philadelphia Orchestra’s British Parallel Events Isles Festival begins with the last symphony of Franz 1795 Music , sometimes called the “Father of the Haydn Beethoven Symphony.” He composed more than 100 during his long Symphony Op. 1 Piano and distinguished career and brought the genre to new No. 104 Trios heights. He wrote most of them for private performances Literature at the palaces of his employer, Prince Nikolaus Esterházy, Goethe but he produced his late ones for public concerts in Wilhelm Meisters France and England. The last 12 are known generally as Lehrjahre Art the “London” symphonies and No. 104 in D major goes Goya specifically by that name. It shows the old master at the The Duchess of summit of his imaginative powers. Alba History When Haydn went on his second trip to England, he left Bread riots behind a promising young pupil, 23-year-old Ludwig and White van Beethoven, who was making a name for himself Terror in Paris as a pianist and composer. Piano concertos were his natural calling card and his Piano Concerto No. 3 proved 1802 Music a transitional piece, one that bridges his early Classical Beethoven Cimarosa style and youthful performing ambitions to his fully mature Piano Concerto I due baroni middle period and “heroic” struggles. No. 3 Literature Chateaubriand Richard Wagner’s path-breaking opera Tristan and René Art Isolde tells the story of an Irish princess who falls in love Canova with Tristan as he brings her to Cornwall to marry his Napoleon uncle. The course of their tragic love is prefigured in the Bonaparte haunting Prelude, which in this performance blends into History the “Liebestod” (Love-Death) that concludes the opera as Herschel Isolde collapses over the body of her dead lover. discovers binary stars

1857 Music Wagner Liszt Prelude and Die Ideale “Liebestod,” Literature from Tristan Trollope and Isolde Barchester Towers Art Millet The Gleaners History The Panic of Listen to The Philadelphia Orchestra on SiriusXM’s 1857 Symphony Hall, Channel 76. 30 The Music Symphony No. 104 (“London”)

During his first visit to London in 1791-92, the 60-year-old Haydn had already astonished and delighted the London public with such works as the “Surprise” and the “Miracle” symphonies. When the impresario and orchestra director Johann Peter Salomon invited him back a second time, the composer outdid even his own achievement, composing six new symphonies that, together with the six from the previous visit, established a new standard for orchestral music that in some respects has never been matched. Works such as the “Military,” the “Clock,” and the “Drum Franz Joseph Haydn Roll” symphonies attained a popularity in England that Born in Rohrau, Lower outstripped the music of even many native . , March 31, 1732 Structurally and texturally, the 12 “London” symphonies Died in Vienna, May 31, 1809 synthesized the basic elements of the Classical style in a way that had wide-ranging implications. A Celebrity Goes to London Initially Haydn had resisted going to London. After 30 years of service to the Esterházy family, at their estates in Eisenstadt and in what is now northwestern Hungary, the composer was thinking primarily of a peaceful retirement in the Vienna of his youth. Had it not been for the blunt insistence of Salomon (who announced to him in 1791: “I am Salomon from London and I’ve come to fetch you”) we might not have the “London” symphonies at all. But the opportunity to appear before the London public was simply too attractive to refuse: During each of his two London visits Haydn earned the equivalent of several years’ salary at the Esterházy court. He was an instant celebrity in London, and a favorite and highly popular guest of the nobility. “Everyone wants to know me,” he wrote to a friend. “I had to dine out six times up to now, and if I wanted, I could have an invitation every day.” During his concerts Salomon positioned the keyboard in a unique way, with Haydn facing the audience. Everyone wanted to watch the famous composer. But late in 1794, the overextended Salomon determined that he could no longer compete with the other principal concert organization in town, and he announced that his concerts would merge with those of his competitor, the Opera Concerts. It was the latter, then, that performed the symphonies 102 to 104 in the spring of 1795. The 104th received its premiere in May. “For fullness, richness, and 31

Haydn composed his majesty,” wrote a critic in London’s Morning Chronicle, “[this Symphony No. 104 in 1795. new symphony] is thought by some of the best judges Carl Pohlig conducted the to surpass all Haydn’s other compositions. A gentleman first Philadelphia Orchestra eminent for his musical knowledge, taste, and sound performance of the piece, criticism declared that for 50 years to come, musical in January 1909. Since the composers would be little better than imitators of Haydn; 1930s it has been performed and would do little more than pour water on his leaves.” on only seven occasions by Haydn’s experiences in London were so consistently the Orchestra; most recently positive that he might well have established a second Roger Norrington conducted home there, had the Esterházys not called him back for the piece on subscription in service in 1795. March/April 2005. A Closer Look Like Beethoven’s symphonies, Haydn’s The work is scored for two 104th is notable for its use of recurring motivic material flutes, two , two clarinets, to create organic unity between movements. The principal two bassoons, two horns, two trumpets, timpani, and strings. thematic cells are presented—in a prominent, almost self- conscious fashion that foreshadows Beethoven—in the The “London” Symphony runs introduction (Adagio) to the first movement. The unison approximately 30 minutes in ascending fifth and descending fourth, and the dotted performance. chromatic “sigh” figure heard immediately thereafter, provide the motivic foundation for the whole piece. The beginning of the first movement proper (Allegro), for example, presents a main theme that “fills in,” with stepwise scale motion, first the ascending fifth and then the descending fourth. These figures then proceed to pervade the entire movement. The second movement (Andante) is a sort of playful rondo-like form that parades as a set of double variations on a simple theme. The G-major subject is punctuated by fitful stops and starts, “grand pauses” (a full measure’s rest), and outbursts of mock tragedy. At one point the solo flute “loses its way,” disoriented—then wryly finds its way back to the main key. The Menuetto (Allegro) echoes the slow movement’s witty pauses, while emphasizing again the first movement’s ascending-fifth motif. The same fifth (and the descending fourth as well) underlie the main theme of the electrified finale (Spiritoso), a folk- like subject that some have characterized as “Croatian” (a reflection of the region of Haydn’s birth), and still others have suggested (somewhat implausibly) is based on London street-vendors’ cries that Haydn might have heard while composing the movement: “Live cod, live cod ...” —Paul J. Horsley 32 The Music Piano Concerto No. 3

April 5, 1803, was a hectic day for those involved in mounting the premiere of Beethoven’s Piano Concerto No. 3 at Vienna’s . On the morning of the concert, the composer was still copying out the trombone parts for his oratorio Christ on the Mount of Olives, one of the other pieces to be premiered that evening. The ink had barely dried before the grueling all-day rehearsal began, a musical marathon made all the more challenging by the amount that needed to be practiced: Beethoven’s first two symphonies were scheduled to be performed, along with the oratorio and Third Concerto. Born in Bonn, probably December 16, 1770 For Ignaz von Seyfried, the newly appointed conductor of Died in Vienna, March 26, the theater, perhaps the most trying part of the concert 1827 came when he turned pages for Beethoven, who played the Concerto’s solo part. As Seyfried later recalled: I saw almost nothing but empty leaves; at the most, on one page or another a few Egyptian hieroglyphs wholly unintelligible to me were scribbled down to serve as clues for him; for he played nearly all of the solo part from memory since, as was so often the case, he had not had time to set it all down to paper. He gave me a secret glance whenever he was at the end of one of the invisible passages, and my scarcely concealable anxiety not to miss the decisive moment amused him greatly. From Performer to Composer Beethoven’s audience was familiar with his remarkable pianistic skills by this point, as he had been living in Vienna for more than a decade and had firmly established his reputation as a virtuoso. He was not content, however, to work as a “mere” performer and was hoping to earn a living as a composer. He had studied theory and counterpoint with several Viennese composers, including Haydn, and was now grappling with the challenge of forging a compositional voice that would be heard as distinct from those who came before him, especially the much-loved Mozart. Mozart’s piano concertos were well-known to many Viennese concert-goers by the time the 32-year-old Beethoven took the stage to premiere his third mature essay in the genre. He knew this, and deliberately used one 33

Beethoven composed his of his predecessor’s concertos, No. 24, also in C minor, as Piano Concerto No. 3 from a model. This was a common practice for many composers 1802 to 1803. in the early stages of their career as a means of paying The Third Concerto was first respect to those who came before while also signaling their performed by The Philadelphia intent to surpass. When the orchestra played the opening Orchestra in December C-minor arpeggio of Beethoven’s concerto, it probably 1914, with pianist Leonard would not have escaped many in the audience that it was Borwick and Carl Pohlig on a paraphrase of the beginning of Mozart’s concerto in the the podium. Most recently on same key from almost 20 years earlier. subscription concerts, Emanuel Ax performed the work in May A Closer Look Despite its allusions to Mozart, the 2015, with Yannick Nézet- main theme of the first movement (Allegro con brio) Séguin conducting. is typically Beethovenian in its elemental simplicity. As with many other themes Beethoven would write during The Philadelphia Orchestra his career, the musical interest lies not necessarily in the has recorded the Concerto three times: in 1947 for material itself, but in how it is developed. The cadenza at CBS, with Claudio Arrau and the end of this movement, written out after the concert Eugene Ormandy; in 1953 had concluded, is particularly arresting in the way it for CBS, with Rudolf Serkin reworks the opening material in a kaleidoscopic array of and Ormandy; and in 1971 stormy moods. for RCA, with Van Cliburn and In the words of one of the audience members present Ormandy. on the night of the premiere, the opening of the Largo The score calls for solo piano, second movement is “a holy, distant, and celestial two flutes, two oboes, two Harmony.” Its otherworldly quality is derived in part from clarinets, two bassoons, two the harmonic contrast between the previous movement’s horns, two trumpets, timpani, close in C minor and this movement’s hymn-like beginning and strings. in E major. In addition, the theme is played extremely softly Performance time is and with the sustain pedal pressed down, which allows the approximately 35 minutes. pitches to resonate and almost shimmer. The Rondo finale (Allegro) alternates between the simple opening theme and several contrasting melodies, including a short fugato in the middle of the movement. The onset of the coda is a particularly dramatic moment of melodic contrast, as the key modulates to C major and the meter changes into a bouncy triple grouping. This move from minor to major, from darkness to light, prefigures many similar transitions in Beethoven’s later works, particularly in the Fifth and Ninth symphonies. —Sean Colonna 34 The Music Prelude and “Liebestod,” from Tristan and Isolde

Richard Wagner’s musical output is devoted principally to operas. The instrumental and vocal pieces he wrote as a teenager—piano works, songs, and even a symphony—are undistinguished; few composers artistically ended up so far from where they began. He composed 13 operas, the first three of which are rarely performed. In the 1840s came The Flying Dutchman, Tannhäuser, and Lohengrin. After these “Romantic operas,” Wagner took off some years to reevaluate his creative mission and produced lengthy writings expounding a new theory of music drama. Richard Wagner Born in Leipzig, May 22, Wagner began to put his ideas into action with a wildly 1813 ambitious venture, the four-part The Ring of the Nibelung, Died in Venice, February on which he toiled for more than a quarter century. Part 13, 1883 way through the project he had a reality check: This massive tetralogy had slim prospects for actual staged performances. He put the Ring aside to write Tristan and Isolde and Die Meistersinger von Nürnberg. Only after completing those works, which assumed enormous proportions in themselves, did he complete the Ring in 1874 and then write his final opera,Parsifal, which premiered seven months before his death at age 69 in February 1883. A Medieval Tale Wagner interrupted the composition of the Ring in the summer of 1857 and finishedTristan and Isolde two years later. Its Prelude was performed in Paris in 1860, although the complete opera was not staged until 1865. Today we hear the opening Prelude and an instrumental rendering of the opera’s conclusion, which Isolde sings just before she dies. Tristan and Isolde is the ultimate love story, one that Wagner apparently identified with as he composed it. He was infatuated with Mathilde Wesendonck, the wife of one of his benefactors. The degree of their actual intimacy is unclear, although his correspondence chronicles passionate emotions. He set five of her poems to music, some of which share musical themes with the opera. The plot is based on an ancient Celtic legend. At sea, the young knight Tristan is bringing the reluctant Irish princess Isolde to Cornwall to marry his uncle, King Mark. Isolde had nursed the disguised Tristan back to health after 35 he killed her betrothed and now seeks vengeance. She orders her maid, Brangäne, to prepare a death potion for them, but a love potion is substituted instead. Much of the second act is devoted to a nocturnal love scene between Tristan and Isolde that builds to a height of passion, some of it using the same music that will end the opera. At the climax of the duet King Mark and his courtiers burst on the scene. Tristan is mortally wounded. In the final act, he is at his castle in Brittany, where his friend Kurwenal has taken him to die. Tristan hallucinates that Isolde has returned to him. She soon arrives by ship—King Mark plans to unite the lovers, but it is all too late. Tristan dies; Isolde sings her final “transfiguration” and collapses next to her beloved. A Closer Look After a yearning leap of a minor sixth from the cellos that then descends chromatically, the first harmony that sounds in the Prelude is the “Tristan chord,” the most famous chord in the history of Western music. It is a dissonance that needs to be resolved, but is not, which leaves the listener frustrated and unsatisfied. Wagner delays resolving this chord for nearly five hours—that is, until the very end of the opera, when the chord is struck one final time. The on-going frustration in resolving the “Tristan chord” serves as a marvelous musical metaphor that Wagner uses to convey the deep longing between Tristan and Isolde, a love that remains unconsummated. The music associated with the culmination of their passionate Act II love duet, with its sensuous sequences, returns after Tristan dies and Isolde sings what Wagner called her “Verklärung” (Transfiguration). It is now known by the title “Liebestod” (Love-Death), the term Wagner had in fact originally given to the Prelude but that Franz Liszt used for his impressive piano arrangement of the opera’s conclusion. Wagner described the beginning and end of the opera in a brief program note: [Prelude] Taking on the role of suitor for his uncle, the king, Tristan brings Isolde to him. They love one another. From the most timid complaint of unquenchable longing, from the most delicate quivering, up through the most fearsome outburst confessing a hopeless love, the feeling here traces every phase of this hopeless struggle against inner passion—until, sinking back unconscious, that passion seems to be extinguished in death. [Transfiguration] And yet, what fate has kept apart in life now lives on, transfigured, in death: the gates 36

Wagner composed Tristan and to their union are open. Isolde, dying atop Tristan’s Isolde from 1857 to 1859. body, perceives the blessed fulfillment of her burning Fritz Scheel conducted the desire: eternal union in measureless space, no first Philadelphia Orchestra bounds, no fetters, indivisible! performances of the Tristan —Christopher H. Gibbs Prelude and “Liebestod” in February 1905. The most recent subscription appearances were in November 2008, with Andrey Boreyko. The Orchestra recorded the Act I Prelude four times (all also included the “Liebestod”): in 1952 and 1959 with Eugene Ormandy for CBS; in 1972 with Ormandy for RCA; and in 1997 with Christian Thielemann for Deutsche Grammophon. Wagner scored the Prelude and “Liebestod” for an orchestra of three flutes (III doubling piccolo), two oboes, English horn, two clarinets, clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, harp, and strings. Performance time is approximately 17 minutes.

Program notes © 2018. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 37 Musical Terms

GENERAL TERMS H.: Abbreviation for accompaniment, and Arpeggio: A broken Hoboken, the chronological are similar to operas but chord (with notes played list of all the works of without costumes, scenery, in succession instead of Haydn made by Anthony and actions. together) van Hoboken Rondo: A form frequently Cadenza: A passage or Harmonic: Pertaining to used in symphonies and section in a style of brilliant chords and to the theory concertos for the final improvisation, usually and practice of harmony movement. It consists inserted near the end of a Harmony: The of a main section that movement or composition combination of alternates with a variety of Chord: The simultaneous simultaneously sounded contrasting sections (A-B- sounding of three or more musical notes to produce A-C-A etc.). tones chords and chord Scale: The series of Chromatic: Relating to progressions tones which form (a) any tones foreign to a given Legato: Smooth, even, major or minor key or (b) key (scale) or chord without any break between the chromatic scale of Coda: A concluding notes successive semi-tonic section or passage added Meter: The symmetrical steps in order to confirm the grouping of musical Tonic: The keynote of a impression of finality rhythms scale Counterpoint: A Minuet: A dance in triple Trio: A division set term that describes time commonly used up to between the first theme the combination of the beginning of the 19th and its repetition, and simultaneously sounding century as the lightest contrasting with it by a musical lines movement of a symphony more tranquil movement Da capo: Repeated from Op.: Abbreviation for opus, and style the beginning a term used to indicate Dissonance: A the chronological position THE SPEED OF MUSIC combination of two or more of a composition within a (Tempo) tones requiring resolution composer’s output. Opus Adagio: Leisurely, slow Fugato: A passage or numbers are not always Allegro: Bright, fast movement consisting of reliable because they are Andante: Walking speed fugal imitations, but not often applied in the order Con brio: Vigorously, with worked out as a regular of publication rather than fire fugue composition. Largo: Broad Fugue: A piece of music Oratorio: Large-scale Presto: Very fast in which a short melody dramatic composition Spiritoso: Spirited, lively is stated by one voice originating in the 16th and then imitated by the century with text usually other voices in succession, based on religious subjects. reappearing throughout Oratorios are performed the entire piece in all the by choruses and solo voices at different places voices with an instrumental 38 Tickets & Patron Services

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