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Home , Lang Lang, Lied, Philadelphia Orchestra, Philippe Entremont

23 Season 2015-2016

Thursday, May 12, at 8:00 Friday, May 13, at 8:00 The Saturday, May 14, at 8:00 Yannick Nézet-Séguin Conductor

Rachmaninoff No. 1 in F-sharp minor, Op. 1 I. Vivace II. Andante III. Allegro vivace

Intermission

Mahler/Cooke No. 10 in F-sharp major I. Adagio II. Scherzo III. Purgatorio (Allegretto moderato) IV. [Scherzo]— V. Finale (Lento non troppo)

This program runs approximately 2 hours, 5 minutes.

The May 12 concert is sponsored by Ballard Spahr.

The May 12 concert is sponsored by Constance Smukler.

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.

25 The Jessica Griffin

The Philadelphia Orchestra Orchestra also reaches and the is one of the preeminent thousands of listeners on the Kennedy Center while also in the world, radio with weekly Sunday enjoying summer residencies renowned for its distinctive afternoon broadcasts on in Saratoga Springs, New sound, desired for its WRTI-FM. York, and Vail, Colorado. keen ability to capture the Philadelphia is home and The Philadelphia Orchestra hearts and imaginations the Orchestra nurtures an of audiences, and admired serves as a catalyst for important relationship with for a legacy of imagination cultural activity across patrons who support the and innovation on and off Philadelphia’s many main season at the Kimmel the concert stage. The communities, as it builds an Orchestra is transforming its Center, and also with those offstage presence as strong rich tradition of achievement, who enjoy the Orchestra’s as its onstage one. The sustaining the highest area performances at the Orchestra’s award-winning level of artistic quality, but Mann Center, Penn’s Landing, Collaborative Learning also challenging—and and other cultural, civic, initiatives engage over exceeding—that level by and learning venues. The 50,000 students, families, creating powerful musical Orchestra maintains a strong and community members experiences for audiences at commitment to collaborations through programs such as home and around the world. with cultural and community PlayINs, side-by-sides, PopUp organizations on a regional concerts, free Neighborhood Music Director Yannick and national level. Concerts, School Concerts, Nézet-Séguin’s highly collaborative style, deeply- Through concerts, tours, and residency work in rooted musical curiosity, residencies, presentations, Philadelphia and abroad. and boundless enthusiasm, and recordings, the Orchestra The Orchestra’s musicians, paired with a fresh approach is a global ambassador for in their own dedicated to orchestral programming, Philadelphia and for the roles as teachers, coaches, have been heralded by United States. Having been and mentors, serve a key critics and audiences alike the first American orchestra role in growing young since his inaugural season in to perform in , in 1973 musician talent and a love 2012. Under his leadership at the request of President of , nurturing the Orchestra returned to Nixon, The Philadelphia and celebrating the wealth recording, with two celebrated Orchestra today boasts a new of musicianship in the CDs on the prestigious partnership with the National Philadelphia region. For Centre for the Performing more information on The label, continuing its history Arts in . The ensemble Philadelphia Orchestra, of recording success. The annually performs at please visit www.philorch.org.

6 Music Director

Chris Lee Music Director Yannick Nézet-Séguin, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra, and he has renewed his commitment to the ensemble through the 2021-22 season. 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. 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 fourth season include a year-long exploration of works that exemplify the famous Philadelphia Sound, including Mahler’s Symphony No. 8 and other pieces premiered by the Orchestra; a Music of Vienna Festival; and the continuation of a commissioning project for principal players.

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 also continues to enjoy a close relationship with the London Philharmonic, of which he was principal guest conductor. He has made wildly successful appearances with the world’s most revered ensembles, and he 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; the second, Rachmaninoff’s Rhapsody on a Theme of Paganini with pianist , was released in August 2015. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic and for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued lessons with renowned conductor and with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are appointments as Companion of the Order of Canada and Officer of the National Order of Quebec, a Royal Philharmonic Society Award, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, ’s 2016 Artist of the Year, and honorary doctorates from the University of Quebec, the Curtis Institute of Music, and Westminster Choir College. To read Yannick’s full bio, please visit www.philorch.org/conductor. 27 Soloist

Harald Hoffmann Superstar pianist Lang Lang has played sold-out concerts in every major city across the globe, from intimate recital halls to the grandest of stages—including the 2014 World Cup concert in Rio de Janeiro with Plácido Domingo; the 2014 and 2015 Grammy Awards, where he performed with and ; the opening ceremony of the 2008 Beijing Olympics, where more than four billion people viewed his performance; the last night of at London’s ; and the Liszt 200th birthday concert with The Philadelphia Orchestra and , which was broadcast live in more than 300 movie theaters around the U.S. and 200 cinemas across Europe. A graduate of the Curtis Institute of Music, Lang Lang is the first Chinese pianist to be engaged by the Vienna, Berlin, and New York philharmonics and is a regular soloist with The Philadelphia Orchestra. He made his debut with the Philadelphians in 2001; performed with them on tour in Asia in 2001, 2005, and 2008 (and also this month); and most recently appeared with the ensemble in 2014. Named one of Time magazine’s “100 most influential people in the world,” Lang Lang has formed enduring musical partnerships with numerous artists, from conductors such as and to artists from outside classical music, including singer , jazz titan , and hip hop dancer Marquese “Nonstop” Scott. He served as the first official ambassador of the YouTube Symphony, a role that combined two of his great loves: music and outreach through technology. An exclusive recording artist with Music Entertainment since February 2010, Lang Lang’s latest releases include an all-Mozart CD and Lang Lang in Paris, featuring works by Tchaikovsky, Bach, and Chopin. Lang Lang credits the cartoon “The Cat Concerto” (featuring Liszt’s Hungarian Rhapsody No. 2) with introducing him to that composer’s music. He retains a childlike excitement about what he calls “his second career” bringing music into the lives of children around the world through his work for charities such as UNICEF and through the Lang Lang International Music Foundation. A Steinway piano, specially designed for early music education, has been named for him. And his biography, Journey of a Thousand Miles, includes a version for younger readers. 28 Framing the Program

Although had written some earlier Parallel Events pieces, he decided to present as his official Opus 1 the 1890 Music First Piano Concerto. He began composing the work Rachmaninoff Nielsen at age 17 and was soloist at 18 for its premiere. He Piano Concerto Symphony published the Concerto a few years later, but then cooled No. 1 No. 1 on the piece, declining to play it any longer. Twenty-five Literature years passed before he returned to this youthful venture Ibsen to thoroughly revise it. He gave the first performance Hedda Gabler of the new version in 1917 at Carnegie Hall and two Art decades later recorded it with and The Cézanne The Philadelphia Orchestra. Cardplayers When died at age 50 in 1911 he had History drafted a five-movement symphony, which would have Global influenza been his Tenth. The opening movement was quite far epidemics advanced and some dozen years later Alma, his widow, decided it should be performed, as it has been frequently 1910 Music Mahler Stravinsky ever since then. The remaining four movements of the Symphony work were in more preliminary states, some sections fully No. 10 Literature orchestrated while other parts were minimally sketched Forster with a basic melodic line. For the Mahler Centenary in Howard’s End 1960 the British musicologist Deryck Cooke created Art a performing version to accompany a BBC lecture Modigliani broadcast. Ormandy and the Philadelphians gave the The Cellist American premiere five years later and made the first History recording of Cooke’s completion, which was later further Du Bois founds revised and recorded by the Orchestra under . NAACP 29 The Music Piano Concerto No. 1

Sergei Rachmaninoff was born to a wealthy family that assiduously cultivated his prodigious musical gifts. Although he composed a fair amount of juvenilia, he thought fit to publish his First Piano Concerto as his official Opus 1. The 17-year-old began writing it in 1890 at his family’s pastoral estate Ivanovka, some 300 miles south of Moscow. “I am composing a piano concerto,” he wrote to a friend the following March: “Two movements are already written; the last movement composed, but not yet written; I will probably finish the whole concerto by late Sergei Rachmaninoff spring and then orchestrate it during the summer.” (This Born in Semyonovo, letter suggests an interesting distinction between what he Russia, April 1, 1873 felt was “composing” a work and “writing” it down.) Died in Beverly Hills, California, March 28, 1943 As anticipated, by mid-July Rachmaninoff reported success: “I could have finished it earlier, but after the first movement I idled for a long time and began to write out the other movements only on July 3. I wrote down and orchestrated the last two movements in two and a half days. Just imagine: I wrote from five in the morning until eight in the evening, after finishing the work I was so terribly tired. … I am pleased with the Concerto.” A Path to Revision Rachmaninoff premiered the first movement of the piece in March 1892 at the Moscow Conservatory. He dedicated the work to his cousin, the distinguished pianist Alexander Siloti, who proceeded to perform the piece frequently. Although Rachmaninoff published the Concerto a couple years later in a two-piano version, he cooled on the work and declined to play it himself. A decade later he said that he needed to take it “in hand, look it over, and then decide how much time and work will be required for its new version, and whether it’s worth doing, anyway.” Now in his mid-30s, Rachmaninoff was a famous composer. The Second Piano Concerto (1901) had helped secure that stature and people were curious to hear what his first effort in the genre was like—hence the reassessment: “It is so terrible in its present form that I should like to work at it and, if possible, get it into decent shape.” But the Third Concerto (1909), which proved yet another triumph when he premiered it in New York, 30

Rachmaninoff composed his sidetracked Rachmaninoff again. It was not until 1917, just First Piano Concerto from 1890 before he left revolutionary Russia for the West, that he to 1891 and revised it in 1917. returned to his youthful concerto. The revisions involved a Rachmaninoff himself gave thinning out of the orchestration, making some structural the first Philadelphia Orchestra modifications, writing a new cadenza for the opening performances of his First movement, and recasting the finale to a considerable Concerto, on March 28, extent. Rachmaninoff gave the first performance of the new 1919, with version that year at Carnegie Hall with Modest Altschuler . The most recent conducting the Russian Symphony Orchestra Society. appearance of the work on subscription concerts was in Despite the attractions of an early work tempered by November 2001, when Stewart mature second thoughts, it was not able to dislodge Goodyear performed it with Rachmaninoff’s famous Second and Third concertos. As . the composer confessed to Alfred Swan, the first professor of music at Haverford College: “I have rewritten my First The composer returned to Philadelphia during the Concerto; it is really good now. All the youthful freshness late 1930s for a series of is there, and yet it plays itself so much more easily. And performances of the piece, nobody pays any attention. When I tell them in America during which he recorded the that I will play the First Concerto, they do not protest, but I work with Eugene Ormandy can see by their faces that they would prefer the Second and the Orchestra for RCA. The or Third.” Philadelphians also recorded A Closer Look Despite the composer’s revisions, the the Concerto for CBS in 1963, with and First Concerto still sounds like the Rachmaninoff whose Ormandy conducting. music audiences so embraced, chronologically situated, as it is, both before and after its phenomenally famous The score calls for solo piano, siblings and his brilliant Second Symphony (1906–07). two flutes, two oboes, two Because the original version of the Concerto survives we clarinets, two bassoons, four know that the revision remains close to what the teenage horns, two trumpets, three Rachmaninoff initially composed. Even at such a young age trombones, timpani, percussion (cymbal, triangle), and strings. many fingerprints of his mature style are already evident, beginning with the lushly expansive first theme of the first Rachmaninoff’s First Piano movement (Vivace) that follows a dramatic opening—a Concerto runs approximately brass fanfare leading to massive double octaves loudly 25 minutes in performance. proclaimed by the piano soloist. This and other parts of the Concerto seem to be modeled on ’s Piano Concerto in A minor, which it seems Siloti was diligently practicing while spending the summer of 1890 at Ivanovka with the composer. The brief second-movement Andante offers a lyrical and nocturnal interlude before the vibrant finale (Allegro vivace). —Christopher H. Gibbs 31 The Music Symphony No. 10 (performing version by Deryck Cooke [1976])

Soon after Gustav Mahler’s death at age 50 in 1911, observed: “It seems that the Ninth is a limit. He who wants to go beyond it must die. It seems as if something might be imparted to us in the Tenth that we should not yet know, for which we are not yet ready. Those who have written a Ninth stood too near to the hereafter.” Mahler apparently shared some of these superstitions about writing a ninth symphony, as had concluded the careers of Beethoven and . His widow, Alma, reported that he tried to cheat fate by following Gustav Mahler his Eighth Symphony (1906) with Born in Kalischt (Kaliště), (The Song of the Earth; 1908-09). After writing his official Bohemia, July 7, 1860 Ninth (1909), he allegedly told her, “Actually, of course, it’s Died in Vienna, May 18, 1911 the Tenth, because Das Lied von der Erde was really the Ninth.” When he began what was to be a five-movement Tenth Symphony, he remarked: “Now the danger is past.” Mahler worked on the Tenth during the summer of 1910, but died the following May before finishing it. Others have tried to do that for him—or rather, at least to give some idea of what the Symphony might have sounded like at the time he died based on three movements that were fairly far advanced in their working out and continuous drafts for all five. Of course Mahler might ultimately have decided to cut some of the movements, or to have added more, and the folders in which he kept the sketches indicate that he had evolving thoughts as to their order. An infinite number of details, exactly those miracles that make Mahler’s music so distinctive, remained in his imagination. And yet the attraction persisted of giving audiences some idea of what existed in draft through a responsible performing edition. The British musicologist Deryck Cooke (1919-76) did just that in what has emerged as the most frequently programmed version, which he called “A Performing Version of the Draft for the Tenth Symphony.” In 1965 Eugene Ormandy and The Philadelphia Orchestra presented the United States premiere and made the first commercial recording. Finishing Masterpieces In some art forms direct 32

access to unfinished works is possible for those interested in learning more about a great creative figure. A painting or a novel that is left incomplete can be looked at or read with the viewer/reader trying to imagine what path the work might have taken had its creator lived to finish the task. Music poses a more complex case as few people can look at sketches or a manuscript draft and hear the music in their inner ear. An editor needs to produce a performing score for musicians to play—one that brings the music to life and to the public. While some object to such attempts, others feel that the benefits far outweigh the problems. Cooke and other musicians who have made performing editions of Mahler’s Tenth Symphony offer public access, even if inevitably through the filter of their own knowledge, skill, and imagination. Cooke repeatedly made disclaimers about what he had done: “If Mahler had lived to complete the work, he would have elaborated the music considerably, refined and perfected it in a thousand details, possibly expanded or contracted or switched around a passage here or there.” Although the opening movement of the Tenth Symphony was the farthest advanced at the time of Mahler’s death, Cooke’s warning applies to a certain extent to it as well, and the last two movements are far more speculative in their working out. A Troubled Time Mahler composed the Tenth Symphony at a troubled juncture in his life. In 1907 he resigned from the Vienna Court Opera, where he had ruled for a decade, and moved to New York City, first to conduct at the and later to assume the post of music director of the . He and Alma returned to Europe for the summers, which throughout his career was when he did most of his composing. By 1910 the situation in New York was becoming increasingly difficult, as was his marriage to the nearly 20-year- younger Alma, who had begun an affair with the young architect Walter Gropius (later her second husband). Mahler learned of this liaison and sought help from none other than Sigmund Freud in late August. Although some musical ideas apparently date from a few years earlier, Mahler drafted the Tenth Symphony that same summer, about 75 minutes of music, on a four- stave score. He essentially laid out the entire sweep of the Symphony—the melodies, much of the counterpoint and harmony, and various indications of instrumentation. He then went back and started the full orchestration. He managed to get to this second stage with the first 33 movement, much of the second, and the beginning of the third, thus about half the Symphony. These orchestrations were preliminary and had Mahler survived the summer of 1911, he would have continued the orchestral draft and then made a final fair copy indicating in greater detail everything he wanted, not just the instrumentation, but also expressive markings. The Path to the Public In 1924 Alma arranged the publication of a handsome facsimile edition of most of the draft materials and her son-in-law, the composer Ernst Krenek, with assistance from and others, fashioned a performing score of the first and third movements, which Franz Schalk premiered that year with the . In the years that followed both Dmitri Shostakovich and Schoenberg were approached to see if they would realize the complete Symphony, but declined. Scholars and Mahler enthusiasts independently pursued the project, most prominently Cooke. A preliminary version of his edition was prepared for the Mahler centennial in 1960 as part of a lecture for a BBC broadcast featuring an orchestral performance of most of the piece. Although initially resistant, Alma eventually heard a tape of the broadcast and agreed to end her ban and endorse Cooke’s efforts. He worked for several more years on refining a full score (more sketch materials had come to light), producing a final version together with composers David and Colin Matthews and conductor Berthold Goldschmidt in 1976. Many commentators have characterized Das Lied von der Erde, the Ninth Symphony, and what exists of the Tenth as a “farewell” trilogy. Although Mahler had just turned 50 as he started the Tenth, his health had been precarious for several years after being diagnosed with a heart condition. Death marked both his life (the death of many of his siblings and of a daughter) and his art, perhaps most noticeably in the funeral marches found in many of his . But as Cooke observed, while his earlier works have “images” of death, the late ones “taste” of it. The psychologist Elisabeth Kübler-Ross has explored the various stages of dealing with death—among them denial, anger, and acceptance—and one might argue that all of these states and more may be found in Mahler’s late works, both within and among the individual compositions. Yet the Tenth, even with its moments of extreme, dissonant anger, seems finally to move toward acceptance at the end. A Closer Look The lengthy first movement begins as an andante with unaccompanied violas stating an

35 extended first theme before being joined by the rest of the strings for the second theme, distinguished by wide leaps and lush harmony (Adagio). The third theme is more humorous, almost like in a scherzo, characterized by trills. The three ideas alternate, not always in the same order. The movement includes some of the most dissonant music Mahler ever wrote, most remarkably a shocking nine-note chord sounded at the climax near the end. One of the many things learned from the complete draft is that Mahler planned to bring back this distinctive chord in the last movement and in the end have the disturbing dissonance resolve, somewhat as Wagner ultimately did his famous “Tristan chord” into a final “love death.” The following Scherzo offers a striking contrast with its variety of constantly changing meters, abruptly shifting to normalized Ländler dance sections in triple meter. The overall ABABA form ends with a coda that ingeniously combines the metrically irregular A and melodic B materials. Mahler named the third movement Purgatorio and orchestrated the first 30 measures (Allegretto moderato). This brief movement is a delicately scored perpetual motion. Here and in the concluding two movements Mahler left fascinating annotations (as he had already in his Ninth Symphony) that have led to considerable speculation as to their possible autobiographical implications: “Death! Transfiguration!” “Mercy!!” “O God! O God! why hast Thou forsaken me?,” and “Thy will be done!” (There were probably more revealing words on the cover page, but someone—most likely Alma—cut off the lower part.) Another Scherzo follows, this one particularly intense and at times angry. On the folder containing the sketches Mahler wrote: “The Devil dances it with me / Madness, seize me, who am accursed! / Destroy me that I may forget that I exist! / that I may cease to be / that I for.” His annotations are again suggestive: “You alone know what it means. Ah! Ah! Ah! Farewell, my lyre! Farewell. Farewell. Farewell.” The movement ends with the shocking thud of a muffled military drum. In her memoirs Alma relates this to an experience in New York when they observed the funeral of a fallen fireman from their 11th-floor hotel window and heard stark solitary drum beats signaling advance. The movement proceeds without pause into the Finale (Lento non troppo), in which the drumbeat is sounded again five times near the start. The movement prominently brings back materials from the Purgatorio movement, as well as from the first and fourth. A more 36

Mahler composed his draft of carefree and faster middle section (allegro moderato) the Symphony No. 10 in 1910. ultimately leads to an extended adagio to conclude the Deryck Cooke’s version of Symphony. Mahler’s annotations at this point read “To live Mahler’s Tenth Symphony for you! To die for you!” and at the very end: Almschi!” (his received its United States diminutive pet-name for Alma). premiere by The Philadelphia —Christopher H. Gibbs Orchestra under Eugene Ormandy’s baton, in November 1965. Since then Ormandy performed it on two subsequent occasions, James Levine conducted Cooke’s final revision of his performing version in 1980, and most recently, James DePreist led the work on subscription in January 1993. Ormandy led a recording of the work for CBS in 1965 and Levine recorded the Adagio in 1978 and the remainder of the piece in 1980, both for RCA. The Symphony, in Cooke’s 1976 version, is scored for four flutes (IV doubling piccolo), four oboes (IV doubling English horn), four clarinets (IV doubling E-flat clarinet), bass clarinet, four bassoons (III and IV doubling contrabassoon), four horns, four trumpets, four trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, large military drum, rute, side drum, tam-tam, triangle, xylophone), harp, and strings. Performance time is approximately 72 minutes.

Program notes © 2016. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 37 Musical Terms

GENERAL TERMS Octave: The interval (and sometimes others) Cadenza: A passage or between any two notes of symphonies are usually section in a style of brilliant that are seven diatonic cast. The sections are improvisation, usually (non-chromatic) scale exposition, development, inserted near the end of a degrees apart and recapitulation, the movement or composition Op.: Abbreviation for opus, last sometimes followed Chord: The simultaneous a term used to indicate by a coda. The exposition sounding of three or more the chronological position is the introduction of tones of a composition within a the musical ideas, which Chromatic: Relating to composer’s output. Opus are then “developed.” In tones foreign to a given numbers are not always the recapitulation, the key (scale) or chord reliable because they are exposition is repeated with Coda: A concluding often applied in the order modifications. section or passage added of publication rather than Staff: In Western musical in order to confirm the composition. notation a set of five impression of finality Perpetual motion: horizontal lines and four Counterpoint: A A musical device in spaces on which music is term that describes which rapid figuration is written the combination of persistently maintained Stave: See staff simultaneously sounding Scale: The series of Tonic: The keynote of a musical lines tones which form (a) any scale Diatonic: Melody or major or minor key or (b) harmony drawn primarily the chromatic scale of THE SPEED OF MUSIC from the tones of the major successive semi-tonic steps (Tempo) or minor scale Scherzo: Literally “a Adagio: Leisurely, slow Dissonance: A joke.” Usually the third Allegretto: A tempo combination of two or more movement of symphonies between walking speed tones requiring resolution and quartets that was and fast Harmony: The introduced by Beethoven Allegro: Bright, fast combination of to replace the minuet. The Andante: Walking speed simultaneously sounded scherzo is followed by a Lento: Slow musical notes to produce gentler section called a trio, Moderato: A moderate chords and chord after which the scherzo is tempo, neither fast nor progressions repeated. Its characteristics slow Ländler: A dance similar are a rapid tempo in triple Vivace: Lively to a slow waltz time, vigorous rhythm, and Legato: Smooth, even, humorous contrasts. Also TEMPO MODIFIERS without any break between an instrumental piece of Non troppo: Not too notes a light, piquant, humorous much Meter: The symmetrical character. grouping of musical Sonata form: The form in rhythms which the first movements 38 Tickets & Patron Services

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