Aubade (Choreographic Concerto), for Piano and 18 Instruments First Philadelphia Orchestra Performance Janine N

23 Season 2013-2014

Thursday, February 27, at 6:30 The Philadelphia Orchestra

Stéphane Denève Conductor Eric Le Sage Piano The Philadelphia Dance Company (Philadanco) Joan Myers Brown Executive Artistic Director

Poulenc Aubade (choreographic concerto), for piano and 18 instruments First Philadelphia Orchestra performance Janine N. Beckles Dancer Jennifer Jones Dancer Roxanne Lyst Dancer Courtney Robinson Dancer Lauren Putty White Dancer Tommie-Waheed Evans Choreographer

Stravinsky Suite from The Firebird (1919 version) I. Introduction—The Firebird and its Dance II. The Princesses’ Round Dance III. Infernal Dance of King Kastcheï— IV. Berceuse— V. Finale

This program runs approximately 1 hour, 15 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 www.wrti.org to listen live or for more details.

3 Story Title 25 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. Arts in Beijing. The Orchestra audiences, and admired for annually performs at Under Yannick’s leadership a legacy of innovation in Carnegie Hall while also the Orchestra returns to music-making. The Orchestra enjoying annual residencies in recording with a newly- is inspiring the future and Saratoga Springs, N.Y., and at released CD on the Deutsche transforming its rich tradition the Bravo! Vail festival. Grammophon label of of achievement, sustaining Stravinsky’s The Rite of Spring Musician-led initiatives, the highest level of artistic and Leopold Stokowski including highly-successful quality, but also challenging transcriptions. In Yannick’s Cello and Violin Play-Ins, and exceeding that level, by inaugural season the shine a spotlight on the creating powerful musical Orchestra has also returned Orchestra’s musicians, as experiences for audiences at to the radio airwaves, with they spread out from the home and around the world. weekly Sunday afternoon stage into the community. Music Director Yannick broadcasts on WRTI-FM. The Orchestra’s commitment Nézet-Séguin triumphantly to its education and Philadelphia is home and opened his inaugural community partnership the Orchestra nurtures an season as the eighth artistic initiatives manifests itself important relationship not leader of the Orchestra in numerous other ways, only with patrons who support in fall 2012. His highly including concerts for families the main season at the collaborative style, deeply- and students, and eZseatU, Kimmel Center but also those rooted musical curiosity, a program that allows full- who enjoy the Orchestra’s and boundless enthusiasm, time college students to other area performances paired with a fresh approach attend an unlimited number at the Mann Center, Penn’s to orchestral programming, of Orchestra concerts for Landing, and other venues. have been heralded by a $25 annual membership The Orchestra is also a global critics and audiences alike. fee. For more information on ambassador for Philadelphia Yannick has been embraced The Philadelphia Orchestra, and for the U.S. Having been by the musicians of the please visit www.philorch.org. the first American orchestra Orchestra, audiences, and the 8 Music Director

Nigel Parry/CPi Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. His highly 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 Yannick “phenomenal,” adding that under his baton “the ensemble … has never sounded better.” In his first season he took the Orchestra to new musical heights. His second builds on that momentum with highlights that include a Philadelphia Commissions Micro-Festival, for which three leading composers have been commissioned to write solo works for three of the Orchestra’s principal players; the next installment in his multi-season focus on requiems with Fauré’s Requiem; and a unique, theatrically-staged presentation of Strauss’s revolutionary opera Salome, a first-ever co-production with Opera Philadelphia.

Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. In addition he becomes the first ever mentor conductor of the Curtis Institute of Music’s conducting fellows program in the fall of 2013. 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 Orchestra returns to recording with a newly-released CD on that label of Stravinsky’s Rite of Spring and Leopold Stokowski transcriptions. Yannick continues a fruitful recording relationship with the Rotterdam Philharmonic for DG, BIS, and EMI/Virgin; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick Nézet-Séguin studied at that city’s Conservatory of Music and continued lessons with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, one of the country’s highest civilian honors; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise- Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government; and an honorary doctorate by the University of Quebec in Montreal.

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

J. Henry Fair Stéphane Denève is chief conductor of the Stuttgart Radio Symphony and the former music director of the Royal Scottish National Orchestra. He is a familiar presence with The Philadelphia Orchestra on stage in Verizon Hall, at the Saratoga Performing Arts Center, and at the Gerald R. Ford Amphitheater in Vail, having appeared as guest conductor numerous times since making his debut in 2007. He conducted the Orchestra in two subscription series in the 2012-13 season and returns for two more this season. Recent European engagements include appearances with the Royal Concertgebouw and Philharmonia orchestras; the Bavarian Radio, Swedish Radio, and London symphonies; the Munich Philharmonic; the Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia in Rome; and the Deutsches Symphonie-Orchester Berlin. In North America Mr. Denève made his Carnegie Hall debut in 2012 with the Boston Symphony. He appears regularly with the Chicago and San Francisco symphonies, the Cleveland Orchestra, and the Los Angeles Philharmonic. In the field of opera Mr. Denève has conducted productions at the Royal Opera House, the Glyndebourne Festival, La Scala, Netherlands Opera, La Monnaie in Brussels, Paris Opera, the Opéra National de Paris, the Teatro Comunale Bologna, and Cincinnati Opera. He enjoys close relationships with many of the world’s leading artists, including Jean-Yves Thibaudet, Leif Ove Andsnes, Emanuel Ax, Lars Vogt, Nikolaï Lugansky, Yo-Yo Ma, Pinchas Zukerman, Joshua Bell, Leonidas Kavakos, Hilary Hahn, Gil Shaham, and Natalie Dessay. As a recording artist, Mr. Denève has won critical acclaim for his recordings of the works of Poulenc, Debussy, Roussel, Franck, and Connesson. He is a double winner of the Diapason d’Or, was shortlisted in 2012 for Gramophone’s Artist of the Year award, and won the prize for symphonic music at the 2013 International Classical Music Awards. A graduate of, and prizewinner at, the Paris Conservatory, Mr. Denève worked closely in his early career with Georg Solti, Georges Prêtre, and Seiji Ozawa. Mr. Denève is a champion of new music and has a special affinity for the music of his native France. 27 Soloists

Jean-Baptiste Millot Pianist Eric Le Sage is making his Philadelphia Orchestra debut. He has appeared with the Los Angeles, Toronto, Rotterdam, Radio France, Dresden, and Bremen philharmonics; the Saint Louis, NHK, Netherlands Radio, and Stuttgart Radio symphonies; the Royal Scottish National and Munich Chamber orchestras; the Orchestre National du Capitole de Toulouse; and the Orchestre National d’Ile-de-France, with conductors such as Stéphane Denève, Armin Jordan, Edo de Waart, Louis Langrée, Michel Plasson, and Simon Rattle. Mr. Le Sage has performed recitals and chamber music concerts in venues across Europe, North and South America, and Japan. He has won numerous recording awards, including the Diapason d’Or, the Choc du Monde de la Musique, and the Grand Prix du Disque. In 2010 he completed recording Schumann’s complete works for piano on the independent French label Alpha. He has also recorded for RCA-BMG, Naïve, and EMI. Born in Aix-en-Provence, Mr. Le Sage was the winner of major international competitions including Porto in 1985 and the Robert Schumann competition in Zwickau in 1989. He was also a prizewinner at the 1989 Leeds International Piano Competition. Lois Greenfield Since its inception in 1970, the Philadelphia Dance Company (Philadanco) has had a significant impact on the dance world. Its artistic direction and renowned national and international guest choreographers have developed a reputation of producing a dance repertory with passion, power, skill, and diversity. Its faculty has trained over 4,500 dancers in a program achieving the highest level of technical skills in dance and performance. The unique blend of dance styles of Philadanco and its annual schedule of 50-60 performances and 45 residencies has made them one of the most sought after companies in the U.S. Joan Myers Brown is the founder of Philadanco and the Philadelphia School of Dance Arts. She serves as honorary chairperson for the International Association of Blacks in Dance, is a distinguished visiting professor at the University of the Arts, and is a member of the dance faculty at Howard University. In July 2013 she received the National Medal of Arts Award presented by President Obama. 28 Soloists

Deborah Boardman Deborah Janine N. Beckles, from New York City, started dancing at the age of six at Dance Theatre of Harlem and studied there for eight years under fellowship scholarship. She continued her training at Fiorello H. LaGuardia High School of Music & Art and Performing Arts and the Ailey School (performing Memoria, Hymn, and Revelations) both on full scholarship. She received a BFA in Dance Performance and a BA in Sociology from Southern Methodist University in Dallas. Ms. Beckles was a National Foundation of the Arts award recipient in Modern Dance in 2000. A former member of Dallas Black Dance Theatre for five years, she is also a member of Alpha Kappa Alpha Sorority, Inc. Deborah Boardman Deborah With a background in ballet, modern, and jazz Jennifer Jones studied at the Ballet Royale Institute in Ellicott City, MD. She earned her BFA in Jazz Dance from the University of the Arts, where she studied with Zane Booker, Donald Lundsford, Wayne St. David, and Molly Misgalla; she also worked with Michael Sheridan at PA Ballet, Brian Sanders at JUNK, and Roni Koresh at Koresh Dance Co. She has appeared with New York City Dance Alliance’s Scott Jovovich in a performance honoring Roberta Flack called Bright Lights, Shining Stars, and she was featured on So You Think You Can Dance, Season 10. Ms. Jones, originally from Costa Rica, has danced with the 76ers Dreamteam and performed for Tommie-Waheed Evans and Gunnar Montana.

Deborah Boardman Deborah Roxanne Lyst began her professional training in Washington, DC, under the tutelage of Adrian Bolton and Alfred Dove. She attended Jacobs Pillow Dance Festival and was a scholarship student at the Alvin Ailey American Dance Center. She was a member of the Alvin Ailey Repertory Ensemble and joined Philadanco in 1999. Ms. Lyst, originally from Annapolis, MD, performed with the Alvin Ailey American Dance Theater for five years before rejoining Philadanco in 2010. She is currently adjunct faculty at Mason Gross School of the Arts of Rutgers University. Most recently she received her MFA from Hollins University in Roanoke, VA. 29 Soloists

Deborah Boardman Deborah Courtney Robinson, originally from Richmond, VA, began training at age four at Pine Camp Arts and Recreational Center under the direction of Annette Holt and Rodney Williams. She attended Appomattox Regional Governor’s School for the Arts and Technology where she received training with Rebecca Hodal, Starrene Foster, and Willie Hinton, among others. Ms. Robinson has been a part of programs such as Richmond Ballet, the Ailey School’s Fellowship Program, and Bates Dance Festival. She later went to the Conservatory of Dance at SUNY Purchase College. She also studied at Codarts Rotterdam Dance Academy in the Netherlands. She has performed works by Bella Lewitzky, Pam Tanowitz, Wallie Wolfgruber, Stephen Petronio, and others. Deborah Boardman Deborah Originally from Baltimore, Lauren Putty White began studying dance at a young age. In 2005 she earned her BFA from the University of the Arts, where she received the Choreography Prize and the award for Outstanding Performance in Modern Dance. Her professional choreography debut was at the 2005 Elan Awards. Her performing experience includes Washington Reflections, Urban Bush Woman II, and Parsons Dance Company. She received the Individual Artist Fellowship Grant for choreography and in 2007 Reflections Dance Company performed her first company work, Shades of Thought. In 2010 her piece Hide premiered with BalletX. Her Sleeping in Wonderland was featured in the 2011 Regional Dance America showcase in Pittsburgh. Deborah Boardman Deborah Tommie-Waheed Evans, originally from Los Angeles, began his dance training with Michelle Blossom at Dance Connection and Andrea Calomee at Hamilton High School. As the result of Karen McDonald’s guidance, he studied under a fellowship at the Alvin Ailey School. He has worked and performed for Matthew Rushing, Benoit-Swan Pouffer, and Debbie Allen, and he was an assistant to Troy O’Neil Powell. Mr. Evans’s professional appearances include the Emmy Awards, the Ailey Student Showcase Group, and Lula Washington Dance Theatre. Recently he founded Waheed-Works and his choreography has appeared at the Painted Bride Art Center and DanceBoom at the Wilma Theater. He is the resident choreographer for Eleone Dance Theatre. 30 Framing the Program

The program tonight is dedicated to music and dance and Parallel Events features a collaboration with the dancers of Philadanco. 1910 Music Private patronage and a premiere at a palatial home Stravinsky Elgar The Firebird Violin Concerto led to the composition of Francis Poulenc’s Aubade, a Literature “choreographic concerto” for 18 instruments, solo piano, Forster and dancers. The Vicomte and Vicomtesse de Noailles Howard’s End commissioned what is in essence Poulenc’s first piano Art concerto to be danced at their mansion on the Place des Modigliani États-Unis in Paris. Today the Orchestra collaborates with The Cellist Philadanco for a unique presentation of this animated and History expressive work, based on the mythological tale of Diana, Japan annexes the Greek goddess of the hunt. The title alludes to a dawn Korea song and depicts her struggle between love and purity, sensuality and loneliness. 1929 Music Poulenc Ravel The concert concludes with the Suite from Stravinsky’s Aubade Piano Concerto Firebird, which proved to be the young composer’s in G major breakout success in 1910. Sergei Diaghilev Literature commissioned the work for his Ballets Russes in Paris Hemingway and the acclaim it won led to Petrushka and The Rite of A Farewell to Spring. All three works have found as welcome a place in Arms the concert hall as on the theater stage. Art Klee Fool in a Trance History Trotsky expelled from USSR 31 The Music Aubade

As late as the period between the two world wars, European nobility gave much of its wealth over to the cultivation of the arts. In 1929 the Vicomte and Vicomtesse de Noailles, among the last of these great patrons, commissioned Francis Poulenc to compose a score for a ballet about the Greek goddess of the hunt, Diana. The choreography was to be by Bronislava Nijinska, sister of the great dancer Vaslav Nijinsky. About Feminine Solitude Though ill at the time, Francis Poulenc Poulenc accepted the commission and in less than two Born in Paris, January 7, months produced a score tailored to the outdoor staging 1899 envisioned by the Vicomte and Vicomtesse: solo piano, Died there, January 30, with an accompaniment dominated by winds, and no 1963 violins at all. Poulenc even supplied a diagram showing how the instruments were to be placed: pairs of violas, cellos, and double basses directly behind the piano; and winds comprising pairs of flutes, oboes, clarinets, bassoons, and horns, plus one trumpet, a little off to the side; plus timpani at the back. The ballet was given a private premiere at the palatial Paris home of its commissioners. A public version, with new choreography by Diaghilev’s young discovery, George Balanchine, was presented the following year in Paris. Poulenc disapproved, however, of Balanchine’s choreography, which added men to the previously all- female scenario. Poulenc later said he had intended his music to be “about feminine solitude,” and that it had been written at a time of personal “melancholy and anguish.” A Closer Look An “aubade” is a song sung at dawn, and the work gets this title because the action of the ballet took place from dawn on one day until dawn the next. The score is remarkably literal in its tone-painting. Even when presented without dancing, it suggests certain visuals and action. What follows is a description of the score linked to the events of the original scenario: 1. Toccata. It begins with a great brass fanfare that evokes the rising of the sun. This is no gentle sunrise, but a rather brutal one that wakes Diana’s companions from a gentle sleep. The piano latches on to the fanfare’s stoic gesture and thunders in octaves. Immediately the 32

oboe and bassoon soften the effect and the flutes enter on a trill as if to remind one of a bird singing to the dawn. Then the piano is off on a spectacular series of bravura runs, the sort of which you might expect from the movement’s title. 2. Recitative: Diana’s Companions. Diana’s companions awake to an unwelcome dawn. Unison blasts from the orchestra recall the fanfare, but these are suddenly replaced by the sound of the clarinets, playing doucement (sweetly) a comforting melody. The piano once again grabs hold of the fanfare gesture as the movement ends. 3. Rondeau: Diana with Her Companions. This allegro movement is announced by a deceptively innocent melody in the piano, accentuated by winds. Diana’s entrance is announced in bright colors as the tempo accelerates and the key changes to the rarely used signature of seven sharps: C-sharp major. Diana is in torment over her vowed chastity, for she may have found a potential lover in the woods, and the mood shifts wildly from exuberance to depression, ending on the latter with some solo strokes on the timpani. 4. Presto: Diana Dressing. The fastest movement in the score is a scurrying depiction of Diana being dressed by her friends. The interplay of piano and winds is remarkable, as is the fleet rhythmic writing. Throughout Aubade, the few strings that are included serve mainly to support the piano during certain solo sections, or to provide sustained harmonies under wind solos. 5. Recitative: Introduction to Diana’s Variation. The companions give Diana a bow, which reminds her of her vow of chastity. At the start, only the orchestra plays, with each section given a chance to shine—even the strings, which at last get brief solos. The piano enters and leads the orchestra to the solo variation at the heart of the score. 6. Andante: Diana’s Variation. This solo dance clearly presents the “melancholy and anguish” of both the composer and the ballet’s lead character. Solo winds trace a piquant melody that expands on the music of the third movement. Here and there a trumpet salvo signals determination. Diana’s inner battle between chastity (represented by her bow) and sensual love leads to a kind of sorrowful resignation. 7. Allegro feroce: Diana’s Despair. Suddenly, Diana throws away her bow and, in one last gesture against her 33

Aubade was composed in celibate fate, dashes into the forest. But it is not to be: 1929. She returns in despair. This is the first Philadelphia 8. Conclusion: Diana’s Farewell and Departure. Orchestra performance of Grim block chords on the piano announce the finale and Aubade. the goddess’ decision. At length we hear a startlingly The score calls for two flutes, song-like cello solo, the only extended string solo in the two oboes (II doubling English 20-plus minutes of the piece. The tone is one of comfort, horn), two clarinets, two as Diana’s companions attempt to console her. Diana bassoons, two horns, trumpet, picks up her abandoned bow and runs one last time into timpani, two violas, two cellos, the woods. Armed with her bow of chastity, she will no two basses, and solo piano. longer seek love in the forest, but only the hunt. To the Performance time is music’s quiet close, her companions fall asleep with the approximately 22 minutes. coming of another dawn. —Kenneth LaFave 34 The Music Suite from The Firebird (1919 version)

When Igor Stravinsky’s father died in 1902, Nikolai Rimsky-Korsakov—Russia’s most important living composer and a friend of the Stravinsky family—became for the 20-year-old musician not just an artistic mentor but a sort of father-figure as well. Stravinsky’s early works are best viewed in this light, for the majority of them were written for, or composed in emulation of, this great master. As the young composer’s most important composition teacher, Rimsky-Korsakov played a seminal role in the foundation of Stravinsky’s approach to melody and instrumental color. Igor Stravinsky In 1907 Stravinsky dedicated his Op. 1, the Symphony Born in Lomonosov, in E-flat major, to him, and the normally taciturn Rimsky- Russia, June 17, 1882 Korsakov demonstrated his approval by engaging a private Died in New York City, performance of this exuberant work with the St. Petersburg April 6, 1971 court orchestra. Emboldened by this success, shortly afterward Stravinsky presented for his teacher’s approval a piece for large orchestra, the Scherzo fantastique. A Love of Russian Folklore Stravinsky left Russia not long after, settling first in Paris, then Switzerland, and ultimately in the United States, although for all practical purposes he could be viewed as a citizen of the world. Much of the spirit and character of his native Russia remained with him throughout his long and fruitful life. This spirit, which consisted partly of a deep knowledge of Russian folklore, partly of a large repertoire of folk tunes of which he made liberal use in his scores, and partly of his sheer adventurousness, permeated his music and stamped it with a unique character that allows us to identify blind a work by Stravinsky almost immediately. Young Stravinsky’s veneration of Russian folklore was manifested early on, in the loving care with which he set to music the fairy-tale of the Firebird in 1909. Written on commission from the great dance impresario Sergei Diaghilev, The Firebird was composed for his second season of ballet in Paris. Its enormous success at the Paris Opéra premiere in June 1910 not only established Diaghilev as the leader of Paris’ avant-garde, it proclaimed Stravinsky as the most promising of Europe’s young generation of composers. Petrushka and The Rite of Spring, also both composed for Diaghilev’s Ballets Russes, followed in rapid succession, and later Les Noces, Marva, 35

Stravinsky composed The and Apollon musagète. The first three ballets made his Firebird from 1909 to 1910. name. Igor Stravinsky, aged 27, had arrived. In the early Music from The Firebird was 1960s, he noted that the Firebird quickly became a first played by The Philadelphia “mainstay” of his life as a conductor: “I made my conducting Orchestra in November 1917, debut with it (the complete ballet) in 1915 at a Red Cross when the 1911 Suite was led benefit in Paris, and since then I have conducted it nearly a by Leopold Stokowski. Since thousand times, though ten thousand would not erase the that time, barely a year has memory of the terror I suffered that first time.” gone by when some Firebird music hasn’t been heard A Closer Look The tale of the Firebird is simple, even on one of the Orchestra’s elemental. An enchanted bird, the Firebird, guides Crown concerts, whether subscription, Prince Ivan, who is lost in the woods, to the castle of education, summer, or tour. Kastcheï the Immortal. The evil Kastcheï, who holds 13 The most recent subscription princesses captive, would ordinarily turn Ivan to stone, as performances were in February he has all the other knights who have attempted to free the 2010, when Charles Dutoit princesses. But Ivan is more valiant; and he has a magic conducted the 1911 Suite. bird on his side, too, which helps a great deal. Aided by the The Philadelphia Orchestra Firebird, who tells him the secret of Kastcheï’s immorality— has recorded the Firebird Suite that his soul is in the form of an egg kept in a casket, which seven times: in 1924, 1927, is promptly crushed—the Prince defeats the evil forces, and 1935 with Stokowski for the magic castle vanishes with a “poof,” all the knights RCA; in 1953 and 1967 with come back to life to comfort the freed princesses, and Ivan Eugene Ormandy for CBS; in makes away with the most beautiful princess, of course, 1973 with Ormandy for RCA; who becomes his bride as the dark woods fill with light and and in 1978 with Riccardo Muti all dance to the familiar finale-music. for EMI. After the ballet’s premiere, Stravinsky prepared a five- The score for the 1919 Suite movement concert suite from Firebird (1911); in 1919 calls for piccolo (doubling alto he revised this suite, omitting two movements and adding flute II), two flutes (II doubling alto flute), three oboes (III the “Berceuse” and Finale. In 1945 he made a third suite, doubling English horn), two containing all of the above elements. clarinets, two bassoons, four —Paul J. Horsley/Christopher H. Gibbs horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, tambourine, triangle, xylophone), harp, piano (doubling celeste), and strings. The Firebird Suite runs approximately 20 minutes in performance.

GENERAL TERMS Western tone system, or major or minor key or (b) Aubade: Literally “dawn 1/12 of an octave the chromatic scale of song.” A term originally Legato: Smooth, even, successive semi-tonic applied to music intended without any break between steps for performance in the notes Scherzo: Literally “a joke.” morning. Now it is simply a Meter: The symmetrical An instrumental piece of generic title. grouping of musical a light, piquant, humorous Berceuse: Lullaby rhythms character. Cadence: The conclusion Mode: Any of certain Suite: A set or series of to a phrase, movement, fixed arrangements of the pieces in various dance or piece based on a diatonic tones of an octave, forms. The modern recognizable melodic as the major and minor orchestral suite is more like formula, harmonic scales of Western music a divertimento. progression, or dissonance Octave: The interval Toccata: Literally “to resolution between any two notes touch.” A piece intended Chord: The simultaneous that are seven diatonic as a display of manual sounding of three or more (non-chromatic) scale dexterity, often free in form tones degrees apart. Two and almost always for a Chromatic: Relating to notes an octave apart solo keyboard instrument. tones foreign to a given are different only in their Tonic: The keynote of a key (scale) or chord relative registers. scale Diatonic: Melody or Recitative: Declamatory Trill: A type of harmony drawn primarily singing, free in tempo and embellishment that from the tones of the major rhythm. Recitative has also consists, in a more or less or minor scale sometimes been used to rapid alternation, of the Dissonance: A refer to parts of purely main note with the one a combination of two or more instrumental works that tone or half-tone above it tones requiring resolution resemble vocal recitatives. Divertimento: A piece Rondeau: A term used in THE SPEED OF MUSIC of entertaining music France for a composition, (Tempo) in several movements, instrumental or vocal, Allegro: Bright, fast often scored for a mixed based on the alternation Andante: Walking speed ensemble and having no of a main section with Feroce: Wild fixed form subsidiary sections Presto: Very fast Half-step: The smallest Scale: The series of interval of the modern tones which form (a) any 37 March The Philadelphia Orchestra

Jessica Griffin Enjoy the ultimate in flexibility with a Create-Your-Own 4-Concert Series today! Choose 4 or more concerts that fit your schedule and your tastes. Hurry, before tickets disappear for this exciting season.

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Beethoven and Shostakovich March 6 & 8 8 PM March 7 2 PM Stéphane Denève Conductor Nikolaj Znaider Violin Beethoven Violin Concerto Shostakovich Symphony No. 10 Fauré’s Requiem March 13 & 15 8 PM March 14 2 PM Alain Altinoglu Conductor Michael Stairs Organ Susanna Phillips Soprano Philippe Sly Bass-baritone The Philadelphia Singers Chorale David Hayes Music Director Gabrieli Canzon septimi toni, No. 2, from Sacrae symphoniae Franck Organ Chorale No. 1 in E major Villa-Lobos Bachianas brasileiras No. 5 Duruflé Four Motets on Gregorian Themes Fauré Requiem The March 13 concert is sponsored by Ballard Spahr.

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