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Home , An Alpine Symphony, Elektra (opera), Elektra discography, Gary Graffman, Haochen Zhang, Philadelphia Orchestra

23 Season 2019-2020

Friday, October 4, at 8:00 Saturday, October 5, at The 8:00

Yannick Nézet-Séguin Conductor Piano

Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando

Intermission

Strauss An Alpine , Op. 64

This program runs approximately 1 hour, 55 minutes.

LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances.

These concerts are sponsored by the Hess Foundation.

The October 4 concert is sponsored by Mitchell and Hilarie Morgan.

This concert is part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24

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LiveNote is funded by the John S. and James L. Knight Foundation, the National Endowment for the Arts, and the William Penn Foundation. 25 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent . classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at , music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons. Vail Music Festival. The excitement through music The Philadelphia Orchestra Orchestra also has a rich in the Philadelphia region, continues the tradition of history of touring, having across the country, and educational and community first performed outside around the world. Through engagement for listeners Philadelphia in the earliest innovative programming, of all ages. It launched its days of its founding. It was robust educational initiatives, HEAR initiative in 2016 to the first American orchestra and an ongoing commitment become a major force for to perform in the People’s to the communities that it good in every community that Republic of in 1973, serves, the ensemble is on a it serves. HEAR is a portfolio launching a now-five-decade path to create an expansive of integrated initiatives commitment of people-to- future for classical music, that promotes Health, people exchange. and to further the place champions music Education, The Orchestra also makes of the arts in an open and enables broad Access to live recordings available on democratic society. Orchestra performances, and popular digital music services Yannick Nézet-Séguin is now maximizes impact through and as part of the Orchestra in his eighth season as the Research. The Orchestra’s on Demand section of its eighth music director of The award-winning education and website. Under Yannick’s Philadelphia Orchestra. His community initiatives engage leadership, the Orchestra connection to the ensemble’s over 50,000 students, returned to recording, with musicians has been praised families, and community four celebrated CDs on by both concertgoers and members through programs the prestigious Deutsche critics, and he is embraced such as PlayINs, side-by- Grammophon label. The by the musicians of the sides, PopUP concerts, Free Orchestra also reaches Orchestra, audiences, and Neighborhood Concerts, thousands of radio listeners the community. School Concerts, sensory- with weekly broadcasts on Your Philadelphia Orchestra friendly concerts, the School WRTI-FM and SiriusXM. For takes great pride in its Partnership Program and more information, please visit hometown, performing for the School Ensemble Program, www.philorch.org. people of Philadelphia year- and All City Orchestra round, from Verizon Hall to Fellowships. 6 Music Director

Music Director Yannick Nézet-Séguin will lead The Philadelphia Orchestra through at least the 2025–26 season, an extraordinary and significant long-term commitment. Jessica Griffin Additionally, he became the third music director of New York’s Metropolitan in August 2018. 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 programming, have been heralded by critics and audiences alike. 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 has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000, and in summer 2017 he became an honorary member of the Chamber Orchestra of Europe. He was music director of the Rotterdam Philharmonic from 2008 to 2018 (he is now honorary conductor) and was 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 signed an exclusive recording contract with (DG) in 2018. Under his leadership The Philadelphia Orchestra returned to recording with four CDs on that label (a fifth will be released in October). His upcoming recordings will include projects with The Philadelphia Orchestra, the , the Chamber Orchestra of Europe, and the Orchestre Métropolitain, with which he will also continue to record for ATMA Classique. Additionally, he has recorded with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records, and the London Philharmonic for the LPO label.

A native of Montreal, Yannick studied piano, , 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; an Officer of the Order of Montreal; ’s 2016 Artist of the Year; the Prix Denise-Pelletier; and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music, Westminster Choir College of Rider University, McGill University, the University of Montreal, and the University of Pennsylvania.

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

Benjamin Ealovega Twenty-nine-year-old Chinese Haochen Zhang made his Philadelphia Orchestra debut as a winner of the Orchestra’s Albert M. Greenfield Student Competition in 2006 and his subscription debut in 2017, the same year he received the prestigious Avery Fisher Career Grant, which recognizes the potential for a major career in music. Since winning the gold medal at the Van Cliburn International Piano Competition in 2009, he has appeared with many of the world’s leading orchestras, including the China Philharmonic with Long Yu at the BBC Proms; the Philharmonic with at home and on a tour to China; the Sydney Symphony and David Robertson on a tour to China; the NDR Hamburg and Thomas Hengelbrock on a tour of Tokyo, , and ; and at the Easter Festival in Moscow by special invitation of Valery Gergiev. In addition to these current performances, Mr. Zhang continues his ongoing collaboration with The Philadelphia Orchestra and Yannick Nézet-Séguin with a tour of Japan in November. He previously toured China with the Orchestra in May 2019. Additional highlights of the 2019–20 season include an engagement with the Singapore Symphony, performances of all the Beethoven concertos with the Hong Kong Philharmonic, a China tour with the National Symphony and Gianandrea Noseda, and solo recitals across China and Europe. In July Mr. Zhang released his debut concerto album on BIS Records: Prokofiev’s Second Concerto and Tchaikovsky’s First Concerto with the Lahti Symphony and Dima Slobodeniouk. His debut solo album—including works by Schumann, Brahms, Janáček, and Liszt—was released by BIS in February 2017. He is also featured in Peter Rosen’s award-winning documentary A Surprise in Texas, chronicling the 2009 Van Cliburn Competition. Mr. Zhang is an avid chamber musician. He is frequently invited by chamber music festivals in the U.S. and collaborates with such colleagues as the Shanghai, Tokyo, and Brentano quartets. A graduate of the Curtis Institute of Music, he studied under . He was previously trained at the Shanghai Conservatory of Music and the Shenzhen Arts School, where he was admitted in 2001 at the age of 11. 27 28 Framing the Program

The 23-year-old was utterly Parallel Events shattered by the dismal reaction to his Symphony No. 1 1900 Music in 1897, and although his First Piano Concerto had fared Rachmaninoff Elgar somewhat better, he withdrew both works, stopped Piano Concerto Dream of composing, and entered a period of serious depression. No. 2 Gerontius The enormous success that his Second Piano Concerto Literature immediately enjoyed four years later helped him to regain Chekov his confidence, and it became one of his signature works, Uncle Vanya which he would record with and The Art Philadelphia Orchestra nearly three decades later. Sargent The Sitwell While Rachmaninoff’s relationship with the Philadelphians Family was particularly close and long-standing, History was another eminent figure to collaborate with the Boxer Rebellion ensemble. He conducted The Philadelphia Orchestra in China during both of his trips to America, in 1904 and 1921. was his final large-scale orchestral 1915 Music Strauss Bloch work and charts a mountain climbing expedition, observing An Alpine Schelomo nature’s wonders as well as its challenges, such as a Symphony Literature terrifying storm. The majestic work calls for an enormous Maugham orchestra that includes wind and thunder machines, Of Human cowbells, organ, and a brilliant offstage brass ensemble. Bondage Art Chagall The Birthday History Sinking of Lusitania

The Philadelphia Orchestra is the only orchestra in the world with three weekly broadcasts on SiriusXM’s Symphony Hall, Channel 76, on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 4 PM. 29 The Music Piano Concerto No. 2

Sergei Rachmaninoff was born to a well-to-do family that proudly cultivated his prodigious musical gifts. His mother was his first piano teacher and at age nine he began studies at the St. Petersburg Conservatory, but floundered. The family finances were declining, as was his parents’ marriage, and he chose to transfer to the Moscow Conservatory, where he thrived. He met leading Russian musicians, studied with some of them, and won the whole- hearted support of his hero, Tchaikovsky.

Sergei Rachmaninoff Upon graduation in the spring of 1892 Rachmaninoff was Born in Semyonovo, awarded the Great Gold Medal, a rarely bestowed honor. , April 1, 1873 His career as both pianist and composer was clearly on Died in Beverly Hills, the rise with impressive works such as the Piano Concerto California, March 28, 1943 No. 1, the one-act opera Aleko (about which Tchaikovsky enthused), and pieces in a variety of other genres. One piano work written at age 18 received almost too much attention: the C-sharp-minor Prelude, the extraordinary popularity of which meant he found himself having to perform it for the rest of his life. Early Success and Failure Rachmaninoff seemed on track for a brilliant and charmed career, the true successor to Tchaikovsky. Then things went terribly wrong with the premiere of his Symphony No. 1 in D minor, which proved to be one of the legendary fiascos in music history and a bitter shock to the young composer just days before his 24th birthday. Alexander Glazunov, an eminent composer and teacher but, according to various reports, a mediocre conductor, led the ill-fated performance in March 1897. The event plunged Rachmaninoff into deep despair: “When the indescribable torture of this performance had at last come to an end, I was a different man.” The Second Piano Concerto came at this crucial juncture in Rachmaninoff’s career, following a nearly three-year period of compositional paralysis in the wake of the First Symphony’s failure. Although he stopped composing entirely, he had continued to perform as a pianist and to teach, and began to establish a new career as a conductor. In the hopes of getting him back on track as a composer, friends and family put him in touch with Dr. Nikolai Dahl, who was experimenting with hypnosis treatments pioneered in Paris around this time by Freud’s 30

Rachmaninoff’s Second Piano teacher Jean-Martin Charcot. Dahl was a gifted amateur Concerto was composed from musician who took great interest in the case. According 1900 to 1901. to various accounts (perhaps exaggerated), the two met Ossip Gabrilowitsch was almost daily, with the composer half asleep in the doctor’s pianist in the first Philadelphia armchair hearing the mantra: “You will begin to write Orchestra performance of your concerto. … You will work with great facility. … The the Second Concerto, on concerto will be of excellent quality.” November 28, 1916, in Cleveland; Leopold Stokowski The treatment worked—or at least complemented other conducted. Rachmaninoff factors that got the composer back on his creative track. A performed the piece here close friendship with the celebrated Russian Fyodor in 1921 and again on other Chaliapin was encouraging, especially when the two were occasions during the late approached after a performance by the great writer Anton 1930s and early ’40s. The Chekhov, who remarked: “Mr. Rachmaninoff, nobody most recent subscription knows you yet but you will be a great man one day.” By the performances were in April summer of 1900 he was composing the Second Piano 2018 with pianist Concerto, his first substantial work since the Symphony and Yannick Nézet-Séguin. fiasco, which he dedicated to Dahl. The second and third In addition to Rachmaninoff’s of its three movements were completed by the fall and and Stokowski’s 1929 Rachmaninoff premiered them in Moscow that December recording of the Concerto, the with his cousin Alexander Siloti conducting. He finished Orchestra recorded the work the first movement in May 1901 and performed the in 1956 for CBS with Eugene entire Concerto in November. The work was greeted Istomin and , enthusiastically and opened the way to Rachmaninoff’s in 1971 for RCA with Arthur most intensive period of compositional activity. Rubinstein and Ormandy, and in 1989 for EMI with Andrei A Closer Look To begin the first movement Gavrilov and . The (Moderato), the solo piano inexorably intones imposing second and third movements chords in a gradual crescendo, repeatedly returning only were also recorded by to a low F. This opening evokes the peeling of bells, a Rachmaninoff and Stokowski preoccupation of many Russian composers and one for RCA in 1924. that had roots in Rachmaninoff’s childhood experiences. Rachmaninoff scored the work The passage leads to the broad first theme played by for an orchestra of two , the strings. The core of the Concerto is an extended two , two , two slow middle movement (Adagio sostenuto). The , four horns, two pianistic fireworks come to the fore in the finale (Allegro , three , scherzando), which intersperses more lyrical themes— , , percussion (bass indeed the beloved tunes from all three movements were drum, ), and strings, in later adapted into popular songs championed by Frank addition to the solo piano. Sinatra and others. Performance time is —Christopher H. Gibbs approximately 35 minutes. 35 The Music An Alpine Symphony

During the early years of the 20th century, Europe’s two great conductor-composers observed each other largely from a distance—with bemusement, friendly regard, and some envy. Richard Strauss and were wise enough to maintain a sincere respect for each other’s artistic gifts. Each conducted and promoted the other’s works. And when Mahler died in 1911, at the age of 50, the slightly younger Strauss—who would live for nearly four more decades—was moved and saddened. “Mahler’s death has affected me greatly,” he wrote. Richard Strauss Born in Munich, June 11, It was shortly after this loss that he set to work in earnest 1864 on a piece begun much earlier and that can ultimately be Died in Garmisch- viewed as a tribute to Mahler’s spirit. An Alpine Symphony Partenkirchen, September 8, marked Strauss’s return to instrumental music after a 1949 decade devoted primarily to writing —, , and . It was his first piece sporting this genre-title since his of 1903 and reveals an affinity to the natural world similar to that found in many of Mahler’s . It is a paean to sweeping mountain landscapes, tranquil meadows, and terrifying spring storms—in short, to the grandeur and awe of nature itself. A Nature Symphony The initial conception for an “alpine” symphony had occurred to the composer many years before, after an eventful boyhood mountain hike in which Strauss and his friends had become lost on the way up a mountain and then drenched in a torrent on the way down. Once Strauss arrived back home he recorded his musical impressions of this exhilarating adventure. He later wrote to his friend Ludwig Thuille that these early sketches “naturally contained a lot of nonsense and dramatic Wagnerian tone-painting.” For a number of years after the experience the composer toyed with the idea of a symphony in this vein. In 1900 he wrote to his parents of a work that was gestating in his mind that “would begin with a sunrise in Switzerland.” Some sketches from this time point toward a piece in two movements with the title Tragedy of an Artist. He returned to the project 10 years later, this time for a four-movement work called The Alps. The idea, as musicologist Charles Youmans has observed, was to follow “an artist’s evolving 36

perception of nature to the stage at which it could be used as a liberation from metaphysics.” The Death of Mahler Then Strauss heard of Mahler’s death. He noted in his diary: “The death of this aspiring, idealistic, energetic artist is a grave loss. … As a Jew, Mahler was still able to find exaltation in Christianity. As an old man the hero Wagner returned to it under the influence of Schopenhauer. It is absolutely clear to me that the only way the German nation can regain its vitality is by liberating itself from Christianity. … I shall call my alpine symphony ‘The Antichrist’ for it has: moral regeneration through one’s own efforts, liberation through work, adoration of eternal, magnificent Nature.” Strauss composed most of An Alpine Symphony at his chalet in the mountain setting of Garmisch, completing the sketches in 1914 and orchestrating them during the next year. The work was finished by February 1915. By this time the “Antichrist” title drawn from (who had inspired his earlier tone poem ) had been dropped, although the idea of surmounting religion and all metaphysics through the adoration of nature remained. Strauss conducted the premiere on October 28, 1915, in Berlin with the Dresden Hofkapelle Orchestra. During rehearsals he commented to the orchestra: “I have finally learned to orchestrate.” Although the piece received mixed reviews, Strauss retained affection for it and chose it as one of the works he wished to present on concerts in England in 1948, the year before his death. Leopold Stokowski led what was billed as a U.S. premiere of An Alpine Symphony in April 1916—though a “hearing” had been presented by the Cincinnati Symphony two days before the first Philadelphia performance. A Closer Look The vast one-movement composition, which includes some of Strauss’s most vivid tone-painting, calls for an enormous orchestra and lasts longer than any of his other orchestral compositions. He cast it in 22 continuous sections, each carefully titled so as to recount successively the tale of the youthful mountain adventure. The titles serve as a relatively straightforward guide for listening: “Night” opens with a unison B-flat chord and a descending scale against which is intoned an ominous brass chorale theme; “Sunrise” continues the slow introduction; one is reminded of the famous parallel occurrence in Also sprach Zarathustra. 37 38

An Alpine Symphony was The main body of the work now begins with the vigorous composed from 1911 to 1915. theme of “The Ascent,” which features hunting horns Leopold Stokowski conducted sounded in the distance. “Entry into the Forest” offers the first Philadelphia Orchestra some repose and magical orchestration reminiscent of performances of the piece Wagner’s “Forest Murmurs” from Siegfried, coupled with in April 1916. Most recently Mahlerian bird calls. Water sounds make an appearance in on subscription Yannick “Wandering Beside the Brook” and then becomes a torrent Nézet-Séguin led the work in with “At the Waterfall.” “Apparition” refers to a legendary Alp September 2014. fairy or sprite and leads to “On the Flowering Meadows.” The Philadelphians recorded the “The Alpine Pasture” opens with cowbells, such as Mahler work with André Previn in 1983 had used in his Sixth and Seventh symphonies, as well as for EMI. A live performance with yodeling effects. The climbers now get lost in “Through from 2008 with Thicket and Brush on Wrong Paths” before emerging at is also available as a digital the magnificent “On the Glacier.” The following “Dangerous download. Moments” depicts the perils as they get higher and reach The Symphony is scored for “On the Summit.” The destination has been achieved four flutes (III and IV doubling and there is now “The Vision,” “The Mists Rise,” “The Sun piccolo), three oboes (III Gradually Darkens,” “Elegy,” and “Calm Before the Storm.” doubling English horn), , three clarinets Next the “Thunderstorm” erupts and is one of the most (III doubling bass ), striking and harrowing musical depictions of a torrent ever E-flat clarinet, four bassoons composed; it features both a wind machine and a thunder (IV doubling ), machine. The climbers begin their “Descent” and themes 20 horns (V, VI, VIII, and VIII we heard on the way up pass in rather quick review on doubling , 12 the way down. The final three sections are more nostalgic: offstage), six trumpets (two “Sunset,” “Conclusion,” and “Night,” which bring us back to offstage), six trombones (2 the music with which the entire began. offstage), two , timpani, percussion (, cow —Paul J. Horsley/Christopher H. Gibbs bell, cymbals, , , tam-tam, thunder machine, triangle, wind machine), two harps, , organ, and strings. An Alpine Symphony runs approximately 52 minutes in performance.

Program notes © 2019. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

40 Musical Terms

GENERAL TERMS simultaneously sounded Tone poem: A type of Cadence: The conclusion musical notes to produce 19th-century symphonic to a phrase, movement, chords and chord piece in one movement, or piece based on a progressions which is based upon an recognizable melodic Legato: Smooth, even, extramusical idea, either formula, harmonic without any break between poetic or descriptive progression, or dissonance notes Tonic: The keynote of a resolution Meter: The symmetrical scale Cadenza: A passage or grouping of musical section in a style of brilliant rhythms THE SPEED OF MUSIC improvisation, usually Op.: Abbreviation for opus, (Tempo) inserted near the end of a a term used to indicate Adagio: Leisurely, slow movement or composition the chronological position Allegro: Bright, fast Chorale: A hymn tune of a composition within a Moderato: A moderate of the German Protestant composer’s output. Opus tempo, neither fast nor Church, or one similar in numbers are not always slow style. Chorale settings are reliable because they are Scherzando: Playfully vocal, instrumental, or both. often applied in the order Sostenuto: Sustained Chord: The simultaneous of publication rather than sounding of three or more composition. DYNAMIC MARKS tones Polyphony: A term used Crescendo: Increasing Chromatic: Relating to to designate music in more volume tones foreign to a given than one part and the style key (scale) or chord in which all or several of Coda: A concluding the musical parts move to section or passage added some extent independently in order to confirm the Scale: The series of impression of finality tones which form (a) any Counterpoint: major or minor key or (b) The combination of the chromatic scale of simultaneously sounding successive semi-tonic steps musical lines Staff: In Western musical Diatonic: Melody or notation a set of five harmony drawn primarily horizontal lines and four from the tones of the major spaces on which music is or minor scale written Dissonance: A Symphonic poem: See combination of two or more tone poem tones requiring resolution Timbre: Tone color or tone Harmonic: Pertaining to quality chords and to the theory : The orientation and practice of harmony of melodies and harmonies Harmony: The towards a specific pitch or combination of pitches

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