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Home , Gyorgy Sandor, Philadelphia Orchestra, Valerie Coleman

23 Season 2019-2020

Thursday, September 19, at 7:30 The Friday, September 20, at 2:00 Saturday, September 21, Yannick Nézet-Séguin Conductor at 8:00 Sunday, September 22, Hélène Grimaud Piano at 2:00

Coleman Umoja, Anthem for Unity, for orchestra World premiere— commission

Bartók Piano Concerto No. 3 I. Allegretto II. Adagio religioso—Poco più mosso—Tempo I— III. Allegro vivace—Presto—Tempo I

Intermission

Dvořák Symphony No. 9 in E minor, Op. 95 (“From the New World”) I. Adagio—Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco—Meno mosso e maestoso— Un poco meno mosso—Allegro con fuoco

This program runs approximately 1 hour, 45 minutes.

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

These concerts are sponsored by Leslie A. Miller and Richard B. Worley.

These concerts are part of The Philadelphia Orchestra’s WomenNOW celebration.

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 , 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 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 Deutsche Grammophon (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 Metropolitan Opera, 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 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 .

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

Mat Hennek-DG French pianist Hélène Grimaud made her Philadelphia Orchestra debut in 2000 and has enjoyed many collaborations with her friend Yannick Nézet-Séguin. Born in 1969 in Aix-en-Provence, where she began her piano studies, she was accepted into the Paris Conservatory at age 13 and in 1987 made her recital debut in Tokyo. That same year Daniel Barenboim invited her to perform with the Orchestre de Paris, marking the launch of her musical career, one highlighted by concerts with most of the world’s major orchestras and many celebrated conductors. Ms. Grimaud’s recordings have been awarded numerous accolades, among them the Cannes Classical Recording of the Year, the Choc du Monde de la Musique, the Diapason d’Or, the Grand Prix du Disque, the Midem Classical Award, the Record Academy Prize (Tokyo), and the ECHO Klassik Award. She has been an exclusive Deutsche Grammophon artist since 2002. Her most recent album, Memory, was released in September 2018 and includes works by Chopin, Debussy, Satie, and Valentin Silvestrov. Recent performance highlights include a recital tour of Germany, the Netherlands, and Belgium featuring repertoire from Memory; a U.S. tour focusing on Beethoven’s Fourth Concerto and Ravel’s G-major Concerto at venues including Concert Hall in Los Angeles and New York’s Carnegie Hall; and a series of performances of the Schumann Concerto with Andris Nelsons and the Gewandhaus Orchestra in Leipzig, Hamburg, Paris, Luxembourg, Munich, and Vienna. Ms. Grimaud has established herself as a committed wildlife conservationist, a compassionate human rights activist, and a writer. Between her debut in 1995 with the Berlin Philharmonic under Claudio Abbado and her first performance with the under Kurt Masur in 1999, she established the Wolf Conservation Center in New York State. Her love for the endangered species was sparked by a chance encounter with a wolf in northern Florida. Ms. Grimaud is a member of Musicians for Human Rights, a worldwide network of people working in the music field to promote a culture of social change. She is also the author of three books.

Hélène Grimaud’s performances are sponsored in part by Robert Heim and Eileen Kennedy. 27 Framing the Program

The first subscription concerts of The Philadelphia Parallel Events Orchestra’s 120th season feature three compositions with 1893 Music American roots. They open with the world premiere of a Dvořák Sibelius Philadelphia commission: the orchestral version of Umoja Symphony Karelia Suite by American composer . She originally No. 9 Literature composed this vibrant piece for women’s chorus and then Maeterlinck arranged it as a woodwind quintet for her chamber music Pelléas and group , in which she plays .Umoja, which Mélisande means “unity” in Swahili, calls upon Afro-Cuban, jazz, and Art classical styles and now can shine forth in all its colorful Munch Scream brilliance in this new version for full orchestra. History Béla Bartók fled his native during the Second Ford builds his World War and settled in America. He had nearly completed first car his Third Piano Concerto, written as a birthday gift for his pianist wife, when he died of leukemia in September 1945 Music 1945. Former Philadelphia Orchestra violist Tibor Serly Bartók Strauss orchestrated the final measures of the Concerto and the Piano Concerto Metamorphosen No. 3 Literature ensemble gave its world premiere in 1946, with Eugene Orwell Ormandy conducting and as soloist. Animal Farm In 1892 Jeannette Thurber, a wealthy American music Art patron, enticed Antonín Dvořák to move to New York to lead Moore the National Conservatory of Music of America, which she Family Group had founded a few years earlier. In addition, she hoped that History WWII: Surrender he would make a lasting contribution to the enhancement of Germany of musical life in America through original compositions. Dvořák’s great Ninth Symphony, “From the New World,” was immediately hailed as a masterpiece upon its premiere at Carnegie Hall in December 1893. Part of the inspiration for the Symphony came from the composer’s encounter with African-American spirituals and with Henry Wadsworth Longfellow’s poem The Song of Hiawatha.

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. 28 The Music Umoja, Anthem for Unity, for orchestra

Originally a simple song arranged for women’s choir, Valerie Coleman’s Umoja is joyful. Umoja means “unity” in Swahili. It is the first principle of the African Diaspora holiday Kwanzaa and represents family, community, and harmonious living captured in the African proverb “I AM because WE ARE.” Coleman reflects, “The work embodies a sense of ‘tribal unity’ through the feel of a drum circle, the sharing of history through traditional ‘call and response’ form, and the repetition of a memorable sing-song melody.” In 1999 she rearranged the piece Valerie Coleman for woodwind quintet for her chamber music group Born in Louisville, Imani Winds, “with the intent of providing an anthem Kentucky, in 1970 that celebrated the diverse heritages of the ensemble Now living in itself.” Umoja is a word that applies to Coleman’s vision of classical music: “We have the opportunity to let people know that classical music is an all-inclusive thing.” Early Exposure Coleman was born in Louisville, Kentucky, in 1970. She says about where she was raised, “You know, I grew up in ’s neighborhood, the west end of Louisville. And that is about as inner-city as any inner-city can get.” Her mother introduced her to classical music while she was still in the womb. Coleman recounts, “She would play Beethoven’s Sixth Symphony, the ‘Pastoral’ Symphony, to me all the time. And so that’s how it all began.” A precocious child, Coleman started notating music in elementary school. She began formal musical studies at the age of 11 and by the age of 14 had already composed three complete symphonies. In high school she earned the opportunity to study flute and composition at Tanglewood, later receiving a double degree in composition/theory and flute performance at . Coleman moved to New York City, where she received a master’s in flute performance from the Mannes College of Music and founded Imani Winds, for which she has composed many works, including her Afro-Cuban Concerto for and orchestra, encore pieces, and arrangements of spirituals. In 2002 Chamber Music America selected Umoja as one of its “Top 101 Great American Works,” and in 2005 she was nominated with Imani Winds for a Grammy® Award for Best Classical 29

Crossover Album. A sought-after teacher who has given master classes at the and the Mannes College of Music, to name a few, she was recently appointed assistant professor of performance, chamber music, and entrepreneurship at the Frost School of Music at the . Varied InfluencesColeman describes her compositional process as a “very intuitive one,” though “never an easy one,” which requires “digging deep.” Sometimes she begins with a poem, a painting, or a biography of a unique, great person. For instance, her Portraits of Josephine, a ballet suite in eight movements for chamber ensemble, celebrates the life of entertainer Josephine Baker. Coleman is inspired by the creativity of Wayne Shorter’s improvisations and Mozart’s flute concertos. The poetry of Langston Hughes and Maya Angelou have also led her to compose. She has a love for Paris and mentions the paintings of Matisse as revelatory backdrops. Her compositional process begins with what she calls a “kernel,” a topic that is “impactful,” and she strives to “listen for the soul” of her idea. She uses the metaphor of cooking to describe how composing for the Imani Winds was like being a “cook in the kitchen.” One of her goals in composing is to create a shared experience. A Closer Look In her orchestral version of Umoja, which was commissioned by The Philadelphia Orchestra and receives its world premiere at these performances, rearranged almost two decades after the original, Coleman expands on the short and sweet melody. She writes: It begins with sustained ethereal passages that float and shift from a bowed vibraphone, supporting the introduction of the melody by solo violin. Here the melody is a sweetly singing in its simplest form, with an earnest reminiscent of Appalachian style music. From there, the melody dances and weaves throughout the instrument families, interrupted by dissonant viewpoints led by the brass and percussion sections, which represent the clash of injustices, racism, and hate that threatens to gain a foothold in the world today. Spiky textures turn into an aggressive exchange between upper woodwinds and percussion, before a return to the melody as a gentle reminder of kindness and humanity. Through the brass-led ensemble tutti, the journey ends with a bold call of unity that harkens back to the original anthem. Umoja has many versions, which Coleman characterizes as “like siblings to one another,” each with a unique voice 30

Umoja was originally that is informed by her ever-evolving perspective. For the composed for women’s choir composer “this version honors the simple melody that in 1997 and was arranged ever was but is now a full exploration into the meaning for wind quintet in 1999; it of freedom and unity. Now more than ever, Umoja has to has since been arranged for ring as a strong and beautiful anthem for the world we numerous other instrumental live in today.” groups. The orchestral version was created in 2019. —Eleonora M. Beck These are the world premiere performances of the orchestral version of Umoja and the first time The Philadelphia Orchestra has performed any work by the composer. The score calls for piccolo, two , two , English horn, two , bass , two , two horns, two trumpets, trombone, bass trombone, tuba, timpani, percussion (bass drum, crash cymbals, glockenspiel, marimba, ride cymbal, snare drum, suspended cymbal, tambourine, temple blocks, triangle, vibraphone, xylophone), harp, piano, and strings. Performance time is approximately 10 minutes. 31 The Music Piano Concerto No. 3

Béla Bartók wrote his first two piano concertos for himself and played the solo parts of both works at their premieres. The Third Concerto, which he composed in the , was intended for his second wife, the pianist Ditta Pásztory Bartók. Suffering from the illness that would soon claim his life, Bartók was thinking of giving Ditta a vehicle that could provide her with some income after his death. A Light and Graceful Work We can find no trace of such gloomy thoughts in the Concerto itself. The work’s Béla Bartók tone is lyrical and graceful throughout, the structure Born in Nagyszentmiklós, is of Mozartian clarity, and the whole composition is Hungary (now Romania), characterized by a lightness of touch that is rare in Bartók. March 25, 1881 Some critics have interpreted this stylistic change as a Died in New York City, concession made to a conservative American public, but September 26, 1945 in fact, Bartók’s evolution toward a warmer and more melodic style had begun almost a decade earlier with such pre-emigration works as the Second and the Divertimento for Strings. At 64, dying of leukemia, Bartók was obviously not the same composer who had written Allegro barbaro or in his younger years. Yet the stylistic continuity between the earlier and the later Bartók is unbroken. Melodic and rhythmic elements derived from folk music are present in the Third Piano Concerto as much as they are in his earlier works, and the famous “nocturnal noises” in the Concerto’s second movement belong to a group of “night musics” that Bartók had been writing since 1926, when he composed “Night Music” as the fourth movement of his piano suite Out of Doors. A Closer Look The Third Concerto opens (Allegretto) with a peaceful theme played by the pianist with both hands in unison against a rocking accompaniment in the strings. Bartók adheres to traditional sonata form with a scherzando (playful) second theme, an expansive—though relatively short—development section and a regular recapitulation. The second-movement Adagio religioso is Bartók’s personal response to the slow movement of Beethoven’s String Quartet No. 15 in A minor, Op. 132, titled by Beethoven “Holy Song of Thanksgiving of a Convalescent 32

Bartók’s Piano Concerto No. 3 to the Deity in the Lydian Mode.” A quiet chorale melody, was composed in 1945. played by the piano, is surrounded by solemn interludes on György Sándor presented the strings. Then suddenly the tempo becomes faster and the world premiere of the eerie noises begin to appear. The music seems to imitate Third Concerto, on February insects buzzing and birds chirping; the noises rise from a 8, 1946, with Eugene mysterious pianissimo to a full forte with the strong voices Ormandy and The Philadelphia of the trumpet and xylophone joining with the more and Orchestra. Most recently on more elaborate arpeggios of the piano. This intermezzo subscription, the work was ends as suddenly as it began; the chorale returns in the performed by pianist Radu woodwinds, interwoven with a new piano part that sounds Lupu and Yannick Nézet- almost like a two-part invention by J.S. Bach, with a few Séguin in January/February brief cadenzas interspersed. 2014. The cheerful main theme of the finale (Allegro vivace) is The Philadelphians recorded derived from a type of Hungarian folksong that Bartók had the work in 1946 with Sándor and Ormandy for CBS. discussed at length in his ethnomusicological writings. The movement is cast in rondo form, with fugal episodes that In addition to solo piano, again pay homage to Bach. At the time of Bartók’s death, Bartók scored the piece for the final 17 bars of this movement were left unorchestrated; two flutes (II doubling piccolo), this accounts for little more than 10 seconds of music. two oboes (II doubling English Bartók felt so close to completing the piece that he drew horn), two clarinets (II doubling the final double bar followed by the wordvége (the end)— bass clarinet), two bassoons, four horns, two trumpets, three a word that, sadly, took on a symbolic meaning shortly after trombones, tuba, timpani, it was written down. His friend and compatriot, Tibor Serly, percussion (bass drum, a violist in The Philadelphia Orchestra from 1928 to 1936, cymbals, snare drum, tam- completed the orchestration. tam, triangle, xylophone), and Following her husband’s death, Ditta was in no condition strings. to play the premiere of the Concerto; this honor went to The Concerto runs another Bartók student from Hungary, György Sándor. approximately 25 minutes in Ditta, who returned to Hungary in 1946, did not perform performance. the work until many years later. —Peter Laki 33 The Music Symphony No. 9 (“From the New World”)

The moving Czech national anthem opens with a question: “Kde domov můj?” (Where is my Home?). Antonín Dvořák, the most famous of all Czech , might well have asked the same thing given the course of his career. Born in the provincial town of Nelahozeves, he was initially educated in Zlonice, a town not much bigger, before moving to Prague to complete his studies. His professional career began there as violist at the Provisional Theater, eventually playing under the direction of Bedřich Smetana, the country’s leading composer. Antonín Dvořák Soon his own compositions started to pour forth and get Born in Nelahozeves, noticed. Powerful figures from Vienna repeatedly awarded Bohemia, September 8, him a state stipendium and arranged a 1841 Died in Prague, May 1, crucial introduction to his own German publisher. 1904 Within two decades Dvořák’s fame and popularity extended far beyond his homeland. The English became particularly enamored of his music. Dvořák made eight trips there, was awarded an honorary doctorate from Cambridge University, and basked in the adulation of enormous audiences. His longest time abroad was the two and a half years he spent in America beginning in September 1892. He came at the invitation of a visionary music patron, Jeannette Thurber, who made such a lucrative offer to become director of the National Conservatory of Music of America that Dvořák felt he could not turn it down. He spent the academic year in New York City, living with his family in a brownstone at 327 East 17th Street. During the summer of 1893 he traveled to Spillville, Iowa, which boasted a large Czech community. Creating American Music The Symphony in E minor was the first in a series of important works Dvořák wrote in America, which also included the String Quartet in F major (the “American”), the String Quintet in E-flat major, the Violin Sonatina in G major, and the magnificent . Composing such substantial music was one of the reasons Thurber sought out Dvořák in the first place. She was interested not only in finding someone to lead the National Conservatory, but also in a figure who could make a lasting contribution to the enhancement of American musical life. As Dvořák wrote in a letter to a friend back home: “The Americans expect great things of me. Above all, I am to show them the way into the 34

Promised Land, into the realms of a new independent art—in short, to create a national music.” Thurber provided him with American poems and other materials, and even took him to see Buffalo Bill’s Wild West Show. Dvořák began writing a new symphony less than four months after his arrival and made rapid progress. By mid- April he reported in a letter: “I have not much work at school now, so that I have enough time for my own work and am now just finishing my E-minor Symphony. I take pleasure in it, and it will differ very considerably from my others. Indeed, the influence of America in it must be felt by everyone who has any ‘nose’ at all.” In another letter two days later he repeated how pleased he was with the piece and how different this symphony was from his earlier ones, adding “It is perhaps turning out rather American!!!” Shortly before the premiere Dvořák gave the Symphony the subtitle “Z nového světa” (From the New World), by which he explained he meant “Impressions and Greetings from the New World.” The eminent Wagnerian conductor Anton Seidl led the premiere performances with the New York Philharmonic at Carnegie Hall on December 15 and 16, 1893. Dvořák recounted that “the newspapers are saying that no composer has ever had such a triumph. I was in a box, the hall was filled with the highest New York society, the people clapped so much that I had to acknowledge the applause like a king!” One prominent critic declared it “the greatest symphony ever composed in this country.” Some of the reviewers raised the issue of writing a distinctively American symphony, commented on the mood of the work, and noted its use of indigenous sources. A Story Within? Dvořák had indeed been influenced by his surroundings and his exposure to a new culture and its music. He noted that the second movement Largo “is in reality a study or a sketch for a longer work, whether a cantata or an opera which I propose writing, and which will be based upon Longfellow’s Hiawatha.” It seems that among the materials Thurber had given him was Henry Wadsworth Longfellow’s poem The Song of Hiawatha, first published in 1855, which Dvořák had earlier known in a Czech translation. Although he never wrote a cantata or opera on this story, he acknowledged that at least two of the Symphony’s movements, the middle ones, are based on parts of it. The fascinating detective work of musicologist Michael Beckerman has revealed some of the many unknown layers and influences that helped form this remarkable symphony. 35

Dvořák also called upon American musical resources. He read an article that included musical examples of spirituals and heard some sung by an African-American student at the National Conservatory, Harry T. Burleigh (1866–1949). In an interview he gave to the New York Herald Dvořák discussed the influence of music by Native Americans: I therefore carefully studied a certain number of Indian melodies which a friend gave me, and became thoroughly imbued with their characteristics—with their spirit, in fact. It is this spirit which I have tried to reproduce in my Symphony. I have not actually used any of the melodies. I have simply written original themes embodying the peculiarities of Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythm, harmony, counterpoint, and orchestral color. Listeners have long been fascinated by Dvořák’s references to these American sources, presented with a heavy Czech accent. That Czech musical accent is, of course, just as much a construction as the American idiom. In his Czech pieces Dvořák also invented his own tunes and resented insinuations that he was calling upon actual folk material. In its formal construction and ambition, the “New World” Symphony calls on a Germanic heritage drawn both from the symphonies of Brahms and the symphonic poems of Liszt—there is even a brief allusion in the last movement to Wagner’s opera Tannhäuser. A Closer Look The four-movement Symphony begins with a mournful Adagio introduction that builds to an Allegro molto initiated by a prominent horn theme. One of the “Germanic” features of the Symphony is the recycling of themes between and among movements, leading to a parade of them in the fourth movement finale. The second theme is given by the flute and bears some resemblance to the spiritual “Swing Low, Sweet Chariot.” The famous Largo second movement relates to Hiawatha, although there is some debate about exactly which part of the story; a lamenting section in the middle seems to allude to the funeral of Minnehaha. The well-known English horn solo that opens the movement is not an actual spiritual, although through Dvořák’s invention it has in some ways become one—a student of his, William Arms Fisher, provided words for it in the 1920s as “Goin’ Home.” The Molto vivace scherzo opens with a passage that harkens back to the scherzo of Beethoven’s Ninth Symphony. Dvořák again acknowledged the influence of 36

Dvořák’s “New World” Longfellow: “It was suggested by the scene at the feast in Symphony was composed in Hiawatha where the Indians dance, and is also an essay I 1893. made in the direction of imparting the local color of Indian conducted the character to music.” The finale (Allegro con fuoco) first Philadelphia Orchestra provides a grand conclusion in its propulsive energy and performances of the work, review of themes from the previous movements. in November 1902. Most —Christopher H. Gibbs recently on subscription it was presented by Bramwell Tovey in March/April 2017. The Philadelphians have recorded the complete Ninth Symphony seven times: in 1925, 1927, and 1934 with for RCA; in 1944 and 1956 with for CBS; in 1976 with Ormandy for RCA; and in 1988 with for EMI. The Orchestra also recorded the famous “Largo” second movement in 1919, with Stokowski for RCA. The score calls for two flutes (II doubling piccolo), two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, two trombones, bass trombone, tuba, timpani, percussion (cymbals and triangle), and strings. The “New World” Symphony runs approximately 40 minutes in performance.

Program notes © 2019. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association and/or Eleonora Beck. 37 Musical Terms

GENERAL TERMS vocal or instrumental piece Sonata form: The form in Arpeggio: A broken with no special definite which the first movements chord (with notes played characteristics apart from (and sometimes others) in succession instead of novelty of material or form of symphonies are usually together) Lydian: The common cast. The sections are Cadenza: A passage or name for the fifth of the exposition, development, section in a style of brilliant eight church modes and recapitulation, the improvisation, usually Mode: Any of certain last sometimes followed inserted near the end of a fixed arrangements of the by a coda. The exposition movement or composition diatonic tones of an octave, is the introduction of Cantata: A multi- as the major and minor the musical ideas, which movement vocal piece scales of Western music are then “developed.” In consisting of arias, Octave: The interval the recapitulation, the recitatives, ensembles, and between any two notes exposition is repeated with choruses and based on a that are seven diatonic modifications. continuous narrative text (non-chromatic) scale Tutti: All; full orchestra Chorale: A hymn tune degrees apart of the German Protestant Op.: Abbreviation for opus, THE SPEED OF MUSIC Church, or one similar in a term used to indicate (Tempo) style the chronological position Adagio: Slow Chromatic: Relating to of a composition within a Allegretto: Between tones foreign to a given composer’s output walking speed and fast key or chord Rondo: A form frequently Allegro: Fast Counterpoint: The used in symphonies and Barbaro: Fierce combination of concertos for the final Con fuoco: With fire simultaneously sounding movement. It consists Largo: Broad musical lines of a main section that Maestoso: Majestic Diatonic: Melody or alternates with a variety of Più mosso: Faster harmony drawn primarily contrasting sections. Presto: Very fast from the tones of the major Scale: The series of tones Religioso: Sacred, devout or minor scale which form any major or Scherzando: Playfully Divertimento: A piece minor key Vivace: Lively of entertaining music Scherzo: Literally “a joke.” in several movements, Usually the third movement TEMPO MODIFIERS often scored for a mixed of symphonies and quartets Meno: Less ensemble and having no that was introduced by Molto: Very fixed form Beethoven. The scherzo Poco: Little, a bit Harmony: The is followed by a gentler combination of section called a trio, after DYNAMIC MARKS simultaneously sounded which the scherzo is Forte (f): Loud musical notes to produce repeated. Its characteristics Pianissimo (pp): Very chords and chord are a rapid tempo in triple soft progressions time, vigorous rhythm, and Sforzando: With a strong Invention: Usually a short humorous contrasts. accent 38 Tickets & Patron Services

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