27 Season 2016-2017

Thursday, October 6, at 8:00 The Philadelphia Orchestra

Simon Rattle Conductor

Mahler Symphony No. 6 in A minor I. Allegro energico, ma non troppo II. Andante moderato III. Scherzo: Wuchtig IV. Finale: Allegro moderato

This program runs approximately 1 hour, 20 minutes, and will be performed without an intermission.

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.

29 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 piano, conducting, composition, and chamber music 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 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.

31 Conductor

Johann Sebastian Hanel Conductor Simon Rattle made his Philadelphia Orchestra debut in 1993 conducting Mahler’s Symphony No. 9 and has been a familiar presence on the podium with the Philadelphians ever since. It is the only U.S. orchestra he appears with this season. He has been chief conductor and artistic director of the Berlin Philharmonic since 2002, and this season undertakes an extensive tour of the U.S. with the ensemble. In the 2017-18 season he becomes music director of the London Symphony. From 1980 to 1998 he was principal conductor and artistic adviser, then music director, of the City of Birmingham Symphony. Mr. Rattle is currently leading the season- opening performances of Wagner’s Tristan and Isolde at the Metropolitan Opera. He is also a Carnegie Hall “Perspectives” artist for the 2016-17 season. Mr. Rattle has made over 70 recordings for EMI (now Warner Classics) and has received numerous international awards for recordings on various labels. Releases with the Berlin Philharmonic on EMI include Stravinsky’s Symphony of Psalms, which won the 2009 Grammy Award for Best Choral Performance; Berlioz’s Symphonie fantastique; Mahler’s Symphony No. 2; and Stravinsky’s The Rite of Spring. In August 2013 Warner Classics released Rachmaninoff’s The Bells and Symphonic Dances. Mr. Rattle’s most recent releases (the Beethoven, Sibelius, and Schumann symphonies, and the Bach Passions) have been for Berliner Philharmoniker Recordings, the orchestra’s in-house label, established in early 2014. He regularly conducts the Vienna Philharmonic, with which he has recorded the complete Beethoven symphonies and piano concertos with Alfred Brendel. Born in Liverpool, Mr. Rattle studied at the Royal Academy of Music. He was knighted in 1994 and in the New Year’s Honors of 2014 received the Order of Merit from the Queen of England. His partnership with the Berlin Philharmonic has broken new ground with the educational program Zunkunft@Bphil, which has earned numerous prizes. He and the Philharmonic were also appointed international UNICEF ambassadors, the first time the honor has been conferred on an artistic ensemble. Mr. Rattle appears by kind permission of the Metropolitan Opera. 32 Framing the Program

Mahler performed his Sixth Symphony just three times Parallel Events in his career and on the last occasion, in Vienna, the 1904 Music title “Tragic” was printed in the program. While so much Mahler Puccini of Mahler’s music is deeply personal, and much of it Symphony Madame despairing, he plumbed new depths in this work. No. 6 Butterfly Literature Long after Mahler’s death, his widow recounted elaborate Chekhov stories about the autobiographical meanings of the The Cherry Symphony, which culminates with “blows of fate” sounded Orchard by a hammer in the final movement. The possible meanings Art the Sixth Symphony may have held for Mahler can never be Rousseau determined, but its passion, integrity, and innovations remain The Wedding extraordinarily powerful for performers and audiences alike History more than a hundred years after its composition. Work begins on the Panama Canal 33 The Music Symphony No. 6

The Sixth Symphony is widely viewed as one of Gustav Mahler’s most personal and darkest creations. There is, admittedly, a good deal of competition in this regard among his compositions and what we know (or think we know) about his music is often based on other’s accounts rather than on what Mahler himself said or indicated in sketches and the manuscript. He wrote the Symphony during the summers of 1903 and 1904, by which stage he had decisively moved away from explicit extra-musical programs to guide audiences. In his first four symphonies Gustav Mahler he had called upon sections from his own earlier songs or Born in Kalischt (Kaliště), had actually incorporated songs and choruses within them. Bohemia, July 7, 1860 Between 1901 and 1905, however, Mahler produced a Died in Vienna, May 18, 1911 trilogy of purely instrumental works that mark his ostensible retreat from explicit vocal segments and programs. Summer Composition Throughout Mahler’s career pressing administrative and performance duties forced him to do most of his composing during the summer. In June 1901 he moved to a new house on the Wörthersee— the idyllic mountain resort where Brahms had loved to vacation—and started work on his Fifth Symphony. It had been a harrowing winter, marked by a near fatal medical emergency in February and by his resignation as principal conductor of the Vienna Philharmonic soon thereafter. (He remained as director of the Court Opera, arguably the most powerful musical position in all Europe.) Mahler composed part of his Fifth Symphony that summer, as well as some magnificent songs, and upon his return to Vienna for the new season, he met, and four months later married, the beautiful Alma Schindler, who at 22 was nearly half his age. By the time he could finish the work the following summer, they were expecting their first child, Maria. The Sixth Symphony followed over the course of the next two summers, written amid the same inspiring natural surroundings and as the couple saw the birth in June 1904 of their second child, Anna. In what would later seem to Alma to be tempting fate, Mahler completed his haunting Kindertotenlieder (Songs of Dead Children) that summer as well. He continued working on the orchestration of the Sixth Symphony during the winter and dated the manuscript May 1, 1905. 34

The apparent change in Mahler’s compositional strategies for his middle symphonies therefore coincided with crucial developments in his personal life. At age 41 he was starting his own family—another kind of bid for immortality, as the psychoanalyst Stuart Feder observed. The range of emotions in the Fifth Symphony, beginning with the opening funeral march, to the “love song” of the famous Adagietto, to the blazing triumph of the last movement, may give some indication of his hopes. The Sixth charts a decidedly different course. First Hearings of a “Tragic Symphony” Mahler premiered the Sixth Symphony in May 1906 at the Essen Festival of Contemporary Music. The critical response there and in Berlin (where Oskar Fried conducted it in October) was largely negative, as it was when Mahler presented it in Munich in November 1906, notwithstanding enthusiasm from many audience members. Mahler remarked, “I gave up reading the reviews after one critic. … These little people are always the same. Now all at once they like my first five symphonies. The Sixth must just wait until my Seventh appears.” Mahler revised the Sixth Symphony several times, beginning after preliminary reading rehearsals he did in April with the Vienna Philharmonic before the Essen premiere, and then later as well; the changes—principally a lightening of the orchestration at various points, the alteration of tempo indications, and the elimination of the third hammer blow in the final movement—were incorporated into the second edition of the published score released in 1906. Altogether Mahler performed his Sixth only three times. The printed program for the last performance in Vienna carried the title “Tragic.” (It was not so titled in the manuscript, at the premiere, or in the published editions released during his lifetime.) Title or not, colleagues and critics alike remarked on its mood. “It reeks of the bitter cup of human life,” wrote the conductor Bruno Walter, a close colleague of Mahler’s. “In contrast with the Fifth, the Sixth says ‘No,’ above all in its last movement, where something resembling the inexorable strife of ‘all against all’ is translated into music. ‘Existence is a burden; death is desirable and life hateful’ might be its motto.” What Alma Tells Us Much of what we know (or think we know) about the Sixth Symphony comes from Mahler’s long-lived widow. (Mahler died in 1911, Alma in 1964.) While the composer had sought to suppress explanations 35 as to its meanings, her stories helped to construct a “program.” She relates in her memoirs: “Not one of his works came so directly from his heart as this one. We both wept that day [when he finished writing it]. The music and what it foretold touched us so deeply. The Sixth is the most completely personal of his works and a prophetic one also. … In the Sixth he anticipated his own life in music.” Many commentators have mused about how Mahler’s music anticipates the future. What is usually meant is the future of music, the path, for example, pursued by such ardent young admirers as Arnold Schoenberg, Alban Berg, and Anton Webern. Leonard Bernstein went further when he argued that Mahler foresaw the future in broader cultural and historical ways, foretelling the cataclysms of the 20th century. Alma was the one who cast the Sixth as specifically prophetic of Mahler’s own life, turning it into a “fate symphony” in the tradition of Beethoven, Tchaikovsky, and others. There is even a musical fate motto (a major triad changing one note to shift to minor) and a distinctive fate rhythm. But unlike the heroic affirmations with which earlier fate symphonies conclude, Mahler’s Sixth ends in defeat. The final movement, according to Alma, traces the hero’s decline with three mighty hammer blows: “In the last movement he described himself and his downfall or, as he later said, that of his hero—It is the hero on whom fall three blows of fate, the last of which fells him as a tree is felled.” Mahler had hoped to keep ideas about the Symphony abstract. The published score offers a telling comment in this regard with respect to the marvelous effect of using cowbells in three of the four movements. He indicates that they “must be treated very discreetly—in realistic imitation of the higher and lower bells of a grazing herd, sounding from afar, sometimes combined, sometimes singly,” and then adds: “It must be expressly stated that this technical remark allows no programmatic interpretation.” There are good reasons, moreover, for some skepticism concerning Alma’s interpretation of the Symphony. For one thing, Mahler originally sketched five hammer blows in the last movement, then reduced them to three, which he ultimately cut back to two. Moreover, there is often little or no connection between the kind of music that a composer writes and the external circumstances in his or her life at the time. Cheerful music is written in sad times, as well as the reverse, which would seem to be the case in this instance with Mahler. He composed the Sixth at the height of his professional fame and personal happiness.

37

Newly married, Alma was pregnant when he began the Symphony and his second daughter had been born by the time it was finished. It was only a few years later that this joyous world was indeed shattered by devastating professional and personal blows: leaving the Vienna Court Opera in 1907, Maria’s death at age four that summer, and the diagnosis of a dangerous heart condition. As biographer Henry-Louis de La Grange has noted, Alma fails to mention a fourth blow: her love affair with the young architect Walter Gropius, which Mahler learned of and consulted Sigmund Freud about. Much as we may wish to resist (or at least question) the idea of Mahler as musical prophet, there is a good bit of accuracy to a remark he made himself in a letter to the critic Richard Specht: “My Sixth will pose puzzles which can only be broached by a generation which has imbibed and digested my first five.” The Symphony indeed took quite some time to appeal to audiences. The American premiere, with the New York Philharmonic at Carnegie Hall, came only in 1947; it was first played by the Philadelphians in 1968. In recent years, however, it has emerged as one of the composer’s most admired and frequently performed pieces. A Closer Look The Sixth is one of Mahler’s most Classical symphonies. As published, it is his only one arranged in the “normal” four-movement order, and it is clearly centered in the key of A minor. There are also cyclical elements—musical ideas that appear in different movements and that unify the whole—as Beethoven had done most overtly in his Fifth and Ninth symphonies. Except for the opening movement of the First Symphony, the Sixth is the only one in which Mahler indicates that the exposition should be repeated (about the first four minutes of the work). The opening movement (Allegro energico, ma non troppo) is built from various ideas, beginning, as do many of Mahler’s symphonies, with a march. The “fate” motto—a loud A-major triad that dies away to a soft A-minor one—is sounded next by the trumpets at the same time as the fundamental “fate” rhythm is pounded out by the timpani. After a chorale-like bridge (but one that does not modulate— it has been called a “negative” chorale), there is a passionate theme marked schwungvoll (with vigor). According to Alma, this was intended as her theme: “After [Mahler] had drafted the first movement, he came down from the woods to tell me he had tried to express me in a theme. ‘Whether I’ve succeeded, I don’t know; but you’ll have to put up with

39 it.’ This is the great soaring theme of the first movement.” Cowbells, which will return in later movements, evoke an eerie dream world of distance and memory. The movement ends with a passionate affirmation of the “Alma” theme. For nearly a century there has been debate concerning the order of the middle two movements, about which Mahler changed his mind, perhaps several times. We hear it tonight as he performed it—the Andante followed by the Scherzo, which reverses the order he originally wrote in the manuscript. After finishing the Symphony and having it published, but before the first performance, Mahler decided to flip the order and that was how it was presented the three times he conducted the work during his lifetime and how the revised version of the score, as well as a four-hand piano arrangement by Alexander Zemlinsky, was published in 1906. Alma told the conductor Willem Mengelberg after Mahler’s death that he had later changed his mind again, and that the original order should be reinstated, which is how the piece has usually been performed. There are musical and interpretative arguments to be made for both orderings, which is probably why Mahler was conflicted about the matter. Arnold Schoenberg praised the “curious structure” of the beautiful melody that opens the Andante moderato. The movement does not allude to the common thematic material found in the other ones and therefore stands more on its own. The Scherzo (Wuchtig) is one of Mahler’s darker dances, a distorted Ländler. The trio section, with frequent meter changes, is marked altväterisch (grandfatherly or old-fashioned). What Alma tells us about this movement, once again, does not quite align with the facts. Here, she writes, Mahler “represented the unrhythmic games of the two little children, tottering in zigzags over the sand. Ominously, the childish voices became more and more tragic, and at the end died out in a whimper.” The summer he wrote the music, however, only Maria was born. The finale (Allegro moderato) is the longest movement and one of Mahler’s most complex. It opens with a fantastic expressionist outburst, the fate rhythm, and a series of fragmentary themes that take some time to coalesce. When Mahler revised the Symphony, he pared down some of the rich orchestration and, as mentioned, eliminated the third hammer blow. (Mahler was specific about how he wanted them to sound: “short, mighty, but dull in resonance, with a non-metallic character, like the stroke of an ax.”) 40

Mahler composed his Bruno Walter saw the movement as “the mounting Symphony No. 6 from 1903 tensions and climaxes [that] resemble, in their grim power, to 1905. the mountainous waves of a sea that will overwhelm and The first Philadelphia destroy the ship. … The work ends in hopelessness and the Orchestra performances of dark night of the soul. Non placet is his verdict on this world; the Sixth Symphony were in the ‘other world’ is not glimpsed for a moment.” Indeed, the October 1968, with Claudio fate motifs—rhythm and major/minor triad—reappear for Abbado on the podium. Antal the terrifying conclusion of this tragic Symphony. Dorati conducted the work in November 1974, Klaus —Christopher H. Gibbs Tennstedt in February 1990, James Conlon in March 1999, Christoph Eschenbach in November 2005, and Yannick Nézet-Séguin in January 2012. The Philadelphians recorded the Symphony in 2005 with Eschenbach for the Ondine label. The work is scored for piccolo, four flutes (third and fourth doubling piccolo), four oboes (third and fourth doubling English horn), English horn, four clarinets (fourth doubling E-flat clarinet), bass clarinet, four bassoons, contrabassoon, eight horns, six trumpets, four trombones, tuba, timpani, percussion (bass drum, chimes, cowbells, cymbals, glockenspiel, hammer, orchestra bells, rute, snare drum, tambourine, tam-tam, triangle, xylophone), two harps, celesta, and strings. Performance time is approximately 80 minutes.

Program note © 2016. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association. 41 Musical Terms

GENERAL TERMS century as the lightest are then “developed.” In Bridge: A term applied movement of a symphony the recapitulation, the to a passage in which a Modulate: To pass from exposition is repeated with formal transition is made one key or mode into modifications. Cadence: The conclusion another Timbre: Tone color or tone to a phrase, movement, Polyphony: A term used quality or piece based on a to designate music in more Tonic: The keynote of a recognizable melodic than one part and the style scale formula, harmonic in which all or several of Triad: A three-tone chord progression, or dissonance the musical parts move to composed of a given tone resolution some extent independently (the “root”) with its third Chorale: A hymn tune Scale: The series of and fifth in ascending order of the German Protestant tones which form (a) any in the scale Church, or one similar in major or minor key or (b) Trio: See scherzo style. Chorale settings are the chromatic scale of vocal, instrumental, or both. successive semi-tonic THE SPEED OF MUSIC Chord: The simultaneous steps (Tempo) sounding of three or more Scherzo: Literally “a Adagietto: A tempo tones joke.” Usually the third somewhat faster than Chromatic: Relating to movement of symphonies adagio (leisurely, slow) tones foreign to a given and quartets that was Allegro: Bright, fast key (scale) or chord introduced by Beethoven Andante: Walking speed Exposition: See sonata to replace the minuet. The Energico: With vigor, form scherzo is followed by a powerfully Harmonic: Pertaining to gentler section called a trio, Moderato: A moderate chords and to the theory after which the scherzo is tempo, neither fast nor and practice of harmony repeated. Its characteristics slow Harmony: The are a rapid tempo in triple Wuchtig: Ponderous, slow, combination of time, vigorous rhythm, and emphatic simultaneously sounded humorous contrasts. Also musical notes to produce an instrumental piece of TEMPO MODIFIERS chords and chord a light, piquant, humorous Ma non troppo: But not progressions character. too much Ländler: A dance similar Sonata form: The form in to a slow waltz which the first movements Legato: Smooth, even, (and sometimes others) without any break between of symphonies are usually notes cast. The sections are Meter: The symmetrical exposition, development, grouping of musical and recapitulation, the rhythms last sometimes followed Minuet: A dance in triple by a coda. The exposition time commonly used up to is the introduction of the beginning of the 19th the musical ideas, which 42 Tickets & Patron Services

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