23 Season 2014-2015

Thursday, February 5, at 8:00 Friday, February 6, at 2:00 The Philadelphia Orchestra Saturday, February 7, at 8:00 David Kim Leader Imogen Cooper Piano and Leader

Grieg From Holberg’s Time, Suite in the Old Style for Strings, Op. 40 I. Prelude (Allegro vivace) II. Sarabande (Andante) III. (Allegretto)—Musette (Poco più mosso)—Gavotte da capo IV. Air (Andante religioso) V. Rigaudon (Allegro con brio)

Beethoven No. 2 in B-flat major, Op. 19 I. Allegro con brio II. Adagio III. Rondo: Molto allegro

Intermission

Mozart Symphony No. 38 in D major, K. 504 (“Prague”) I. Adagio—Allegro II. Andante III. Presto

This program runs approximately 1 hour, 50 minutes.

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. 224 Story Title The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage. The Orchestra is transforming its rich tradition of achievement, sustaining the highest level of artistic quality, but also challenging—and exceeding—that level by creating powerful musical experiences for audiences at home and around the world. Music Director Yannick Nézet-Séguin’s 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 since his inaugural season in 2012. Under his leadership the Orchestra returned to recording with a celebrated CD of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions on the Deutsche Grammophon label, continuing its history of recording success. The Orchestra also reaches thousands of listeners on the radio with weekly Sunday afternoon broadcasts on WRTI-FM. Philadelphia is home, and the Orchestra nurtures an important relationship with patrons who support the main season at the Kimmel Center, and also with those who enjoy the Orchestra’s other area performances at the Mann Center, Penn’s Landing, and other cultural, civic, and learning venues. The Orchestra maintains a strong commitment to collaborations with cultural and community organizations on a regional and national level. Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the United States. Having been the first American orchestra to perform in China, in 1973 at the request of President Nixon, today The Philadelphia Orchestra boasts a new partnership with the National Centre for the Performing Arts in Beijing. The ensemble annually performs at Carnegie Hall and the Kennedy Center while also enjoying summer residencies in Saratoga Springs, New York, and Vail, Colorado. The Philadelphia Orchestra has a decades-long tradition of presenting learning and community engagement opportunities for listeners of all ages. The Orchestra’s recent initiative, the Fabulous Philadelphians Offstage, Philly Style!, has taken musicians off the traditional concert stage and into the community, including highly-successful Pop- Up concerts, PlayINs, SingINs, and ConductINs. The Orchestra’s musicians, in their own dedicated roles as teachers, coaches, and mentors, serve a key role in growing young musician talent and a love of classical music, nurturing and celebrating the wealth of musicianship in the Philadelphia region. For more information on The Philadelphia Orchestra, please visit www.philorch.org.

6 Music Director

Chris Lee Music Director Yannick Nézet-Séguin continues his inspired leadership of The Philadelphia Orchestra, which began 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 Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” He has taken the Orchestra to new musical heights. Highlights of his third season as music director include an Art of the Pipe Organ festival; the 40/40 Project, in which 40 great compositions that haven’t been heard on subscription concerts in at least 40 years will be performed; and Bernstein’s MASS, the pinnacle of the Orchestra’s five- season requiem cycle.

Yannick has established himself as a musical leader of the highest caliber and one of the most exciting 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 a CD on that label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions. He continues a fruitful recording relationship with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic and Choir 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; and honorary doctorates from the University of Quebec in Montreal and the Curtis Institute of Music in Philadelphia.

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

Jessica Griffin Violinist David Kim was named concertmaster of The Philadelphia Orchestra in 1999. Born in Carbondale, Illinois, in 1963, he started playing the violin at age three, began studies with the famed pedagogue Dorothy DeLay at age eight, and later received bachelor’s and master’s degrees from the Juilliard School. In 1986 he was the only American violinist to win a prize at the International Tchaikovsky Competition in Moscow, and in 1990 he was a prizewinner at the International Violin Competition of Indianapolis. Mr. Kim appears as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world. Highlights of his 2014-15 season include a return as concertmaster of the All-Star Orchestra in New York City and on PBS stations across the United States; a residency at the San Francisco Conservatory of Music; a return to L’Orchestre Symphonique de Bretagne in France for a continuation of his Eight Seasons of Vivaldi and Piazzolla project, as well as a tour of Korea with that ensemble; multiple appearances with the Hyogo Performing Arts Center Orchestra in Japan; and recitals and solo appearances with orchestras across the U.S. As a highly sought-after pedagogue, Mr. Kim presents master classes at schools and institutions such as Juilliard, the New World Symphony in Miami, Princeton, Yale, the Korean National University of Arts, and universities and colleges across the U.S. He serves as artist in residence at the Hyogo Performing Arts Center Orchestra in Japan, performing and holding master classes several times each season. He is also artist in residence at Eastern University in suburban Philadelphia. The latest additions to Mr. Kim’s discography are The Lord Is My Shepherd, a collection of sacred works for violin and piano with pianist and composer Paul S. Jones, and Encore, a collection of recital favorites with pianist Gail Niwa. He has received honorary doctorates from Eastern University, the University of Rhode Island, and Dickinson College. Mr. Kim’s instrument is a J.B. Guadagnini from Milan, Italy, ca. 1757 on loan from The Philadelphia Orchestra. He resides in a Philadelphia suburb with his wife, Jane, and daughters, Natalie and Maggie. For more information please follow him on Twitter at @Dkviolin. 27 Soloist and Leader

Sussie Ahlburg Pianist and leader Imogen Cooper made her Philadelphia Orchestra debut in 2009 and last performed with the ensemble in the 2012-13 season. She has appeared with many of the world’s leading orchestras, including the New York and Vienna philharmonics; the Royal Concertgebouw, Leipzig Gewandhaus, and Budapest Festival orchestras; and the NHK Symphony. She has performed with all the major British orchestras and has especially close relationships with the Royal Northern Sinfonia and the Britten Sinfonia, with which she plays and directs. She has also toured with the Camerata Salzburg, and the Australian and Orpheus chamber orchestras. Her recital appearances have included concerts in New York, Tokyo, Paris, Vienna, Prague, London, and at the Schubertiade festival in Schwarzenberg, Austria. In addition to these concerts, highlights of Ms. Cooper’s 2014-15 season include Ravel’s G-major Concerto with the Netherlands Radio Philharmonic at the Concertgebouw in Amsterdam; performances with Music of the Baroque in Chicago; playing and directing Mozart with the Seattle Symphony; and solo recitals in Hong Kong, Seoul, and Singapore. Last season she performed with the London Symphony; made her Cleveland Orchestra debut; played solo recitals in the U.S., U.K., and the Netherlands; toured Australia; and performed twice at the BBC Proms. As a supporter of new music, Ms. Cooper has premiered two works at the Cheltenham International Festival: Traced Overhead by Thomas Adès in 1996 and Decorated Skin by Deirdre Gribbin in 2003. In 1996 Ms. Cooper also collaborated with members of the Berlin Philharmonic in the premiere of the quintet Voices for Angels, written by the ensemble’s viola player, Brett Dean. As a lieder recitalist, Ms. Cooper has had a long collaboration with baritone Wolfgang Holzmair in both the concert hall and recording studio. She also performs and records frequently with cellist Sonia Wieder-Atherton. Ms. Cooper has recorded Mozart concertos with the Royal Northern Sinfonia for Avie; a solo recital at Wigmore Hall for Wigmore Live; and a cycle of solo works by Schubert, recorded live and released under the title Schubert Live for Avie. Ms. Cooper is the recipient of many honors and in 2012-13 was the Humanitas Visiting Professor in Classical Music and Music Education at the University of Oxford. 28 Framing the Program

The role of the conductor most familiar to us today Parallel Events emerged during the 19th century as orchestral 1786 Music compositions became larger, more complex, and displayed Mozart Dittersdorf greater varieties of contrasts in speed, volume, and Symphony Doctor und affective moods. Today’s concert looks back to a time No. 38 Apotheker when concerto soloists and members of instrumental Literature ensembles led their colleagues while also performing Bourgoyne themselves. The Heiress Art Now affectionately known as the “Holberg” Suite, the Reynolds great Norwegian master composed Fra The Duchess of Holbergs tid (From Holberg’s Time) in honor of the Devonshire bicentennial of the celebrated Danish writer Ludwig History Holberg (1684-1754). Grieg originally cast the piece Shays Rebellion as a piano suite consisting of five dance pieces looking back to Holberg’s time. The set proved so immediately 1795 Music successful that Grieg arranged it for string orchestra the Beethoven Haydn Piano Concerto “Drum Roll” following year. No. 2 Symphony Beethoven modeled his first two piano concertos (which Literature were published in reverse order) on those of Mozart, Goethe who had nearly two decades earlier found the genre the Wilhelm Meisters perfect vehicle to display his gifts as both a performer and Lehrjahre composer. Imogen Cooper leads from the keyboard in the Art Second Concerto, the work with which Beethoven first Goya The Duchess of made his name as a concerto soloist. Alba Prague loved Mozart’s music and the composer rewarded History the city with the premieres of some of his greatest Bread riots in pieces. The concert concludes with David Kim leading Paris his colleagues in the Symphony No. 38, known as the “Prague” because of its premiere there on Mozart’s first 1884 Music trip in 1787. Grieg Brahms From Holberg’s Symphony No. 3 Time Literature Twain Huckleberry Finn Art Seurat Une Baignade, Asnières History Alaska becomes US territory 29 The Music From Holberg’s Time

The dizzying polyphony and piquant dance styles of the Baroque have continued to intrigue composers and choreographers up to the present day. Though we tend to think of this retrospective urge as a product of the early 20th century, as expressed in works of Stravinsky or Ravel from the 1920s and ’30s, in fact composers of the 19th century had already drawn inspiration from Baroque and Classical music—long before neoclassicism became a mark of “modernism.” One need only reflect on such pieces as Tchaikovsky’s Fourth Suite for orchestra Edvard Grieg (“Mozartiana”) or Brahms’s Variations on a Theme by Born in Bergen, Norway, Haydn to be reminded that Baroque and Classical June 15, 1843 composers have always been with us. Died there, September 4, 1907 Composed to Honor the “Danish Molière” Grieg’s “Holberg” Suite is a case in point. Three decades before Ravel composed Le Tombeau de Couperin, his masterly suite of stylized piano pieces (later orchestrated) that emulated Baroque courtly dances, Grieg penned this similar set of five dances bearing titles that also looked back to 17th- and early-18th-century models. Fra Holbergs tid (From Holberg’s Time)—or the “Holberg” Suite as it has come to be called—was written in 1884 as a set of piano miniatures, and arranged the following year for string orchestra. The occasion was the bicentenary of the birth of Ludwig Holberg (1684-1754), the author known as the “Danish Molière” and venerated as the father of Danish national literature, not only by Danes and Norwegians but throughout Scandinavia. The Norwegian Grieg, having recently returned from an extensive concert tour of Europe, was commissioned to compose a cantata honoring Holberg. While completing the Holberg-Kantate for bass soloist and male choir he penned these piano sketches, as a sort of stylization of music he imagined Holberg might have heard in the courts where he lived and worked. The set proved so successful as a piano suite when it was published in 1884 that the composer’s 1885 orchestration was printed almost as soon as it was completed. Both versions have continued to be a presence in the repertory of pianists and orchestras. 30

Grieg composed his “Holberg” “What warmth and passion in Grieg’s melodic phrases,” Suite in 1884. wrote Tchaikovsky of the composer whom he admired The work has appeared only as enthusiastically as he did any of his contemporaries. twice before on Philadelphia “What originality and beauty in the turn of his piquant Orchestra concerts, in and ingenious modulations and rhythms, and in all the December 1901, during the rest, what interest, novelty, and independence!” Holberg Orchestra’s second season, probably never heard music quite like that of the with Fritz Scheel, and in “Holberg” Suite, in fact—for like Ravel, Grieg has employed November 1996, with André only the general outlines of earlier dance forms, and Raphel. has used them to create something that is uniquely and Grieg scored the piece for unmistakably his own. Like the that Grieg strings only. composed throughout his career, which infused the style of the Schumannesque character-piece with brilliant and Performance time is uniquely Nordic melodies and modalities, these Holberg approximately 20 minutes. pieces are formed from a self-consciously Norwegian approach to the central European style in which the composer had been trained. A Closer Look The suite consists of five movements. The Prelude is a brief and lively introduction to a tranquil Sarabande, which is restful and pastoral in the true Baroque manner. The Gavotte is a tripartite (ABA) structure, with an intervening Musette forming the drone- like central “trio.” There is something passionate and even devotional about the Air, which is marked “religioso” but sounds more like a Norwegian folk tune. A rousing Rigaudon brings the work to a busy, vigorous close. —Paul J. Horsley 31 The Music Piano Concerto No. 2

While Mozart did not invent the piano concerto, he was the one to bring it to prominence and create enduring musical monuments. He served as an inspiring model for the young Beethoven, who at age 12 was already being compared to him. An important music journal announced that the prodigy “would surely become a second Wolfgang Amadeus Mozart if he were to continue as he has begun.” At 16 Beethoven went to Vienna in the hopes of studying with his idol. He is said to have played for Mozart and to have earned the approving remark, “Keep your eyes on him; Ludwig van Beethoven someday he will give the world something to talk about.” Born in Bonn, probably December 16, 1770 Not long after his arrival, however, Beethoven was called Died in Vienna, March 26, home to tend to his gravely ill mother and he remained in 1827 Bonn for the next five years. In 1792, financially assisted by the Elector Maximilian Franz and Count Waldstein, Beethoven won the chance to return to Vienna. With Mozart now dead, Haydn would be his teacher. Waldstein informed Beethoven, “With the help of assiduous labor you shall receive Mozart’s spirit from Haydn’s hands.” After studies with Haydn and others, Beethoven began to mold his public career. As Mozart had found some two decades earlier, piano concertos offered the ideal vehicle to display both performing and composing gifts, including those of improvisation in the unaccompanied cadenza sections heard near the end of certain movements. Really a First Concerto As is often remarked, Beethoven’s Second Piano Concerto is chronologically really the first of the famous five that he composed. Yet the issue is even a bit more complicated because Beethoven at age 13, while still living in Bonn, had in fact composed what we might call a Piano Concerto “No. 0” in E-flat major. Although only the piano part survives with some instrumental cues, an orchestration has been reconstructed; a few available recordings of this curiosity give a good idea of how the young composer sought to emulate Mozart. The exact chronology of Beethoven’s first three mature piano concertos is not altogether clear. The genesis of the B-flat-major Concerto is the most protracted of them. The earliest version was apparently written while Beethoven 32

Beethoven’s Piano Concerto was in his late teens and still living in Bonn. He revised No. 2 was composed in 1790. the work in Vienna and included a different rondo finale The composer revised the than the one we know today. The Concerto went through score from 1793 to 1795 and other revisions leading to performances in Prague in again in 1798 and 1801. 1798, and final ones before its publication in 1801. This The Second Concerto wasn’t evolving, changing life of the work over the course of premiered at Philadelphia more than a decade shows how Beethoven considered Orchestra concerts until his early concertos vehicles for his own concert use. He February 1954, with Rudolf was still learning what worked best and to what audiences Serkin as soloist and Eugene most responded. Throughout this long process, however, Ormandy conducting. The most Beethoven retained the essential Classical dimensions recent performances were in for the Concerto, his shortest and the one deploying October 2011, with pianist the smallest orchestra (it is the composer’s only mature Lang Lang and Charles Dutoit orchestral work without clarinets). on the podium. The Philadelphia Orchestra A Closer Look The Allegro con brio begins with recorded the Second Concerto an energetic orchestral introduction that presents a in 1955 and 1965, both for variety of themes before the soloist enters with a florid, CBS with Serkin and Ormandy. more reserved melody. The cadenza of this movement juxtaposes music Beethoven wrote around 1809 with The score calls for solo piano, the Concerto’s original material, dating back as far as one flute, two oboes, two 20 years. The cadenza begins as a fugato exploring the bassoons, two horns, and strings. opening material and displays powerful, boldly harmonic, dynamically diverse writing. Beethoven’s Second Concerto runs approximately 30 minutes The Adagio contrasts a soft string-dominated opening in performance. with a full orchestral statement from which the soloist responds with lush chords. The final Molto allegro presents a syncopated theme for piano alone that is taken up by the full orchestra. Beethoven wittily experiments with the theme, later presenting it in the wrong key and without the characteristic syncopations until the orchestra brings the soloist back on track. —Christopher H. Gibbs 33 The Music Symphony No. 38 (“Prague”)

As greatly as Mozart long yearned to leave his native Salzburg and live in Vienna, which he eventually succeeded in doing in 1781, his final decade in the capital city was not uniformly happy. At first his music was widely performed and praised, and his skills as a pianist equally lauded, but opportunities declined in the second half of the 1780s, due partly to war and inflation. Mozart never won the broad public recognition or the official position he deserved. As he is said famously to have remarked when he was appointed Court Kammermusicus (chamber musician), he was paid Wolfgang Amadè Mozart “too much for what I do, too little for what I can do.” Born in Salzburg, January 27, 1756 Beloved in Prague But Mozart enjoyed enthusiastic Died in Vienna, triumphs elsewhere: most notably in Prague, the Bohemian December 5, 1791 capital and the Austrian Empire’s second largest city. His first visit in January 1787 was announced in a local newspaper and hopes expressed that he would perform in public (“discerning inhabitants of Prague will surely assemble in large numbers”). For his part, Mozart reported that everyone was whistling tunes from The Marriage of Figaro, which he conducted there, and that he was showered with honors. A week after his arrival he obliged public demand by presenting a concert on which he offered a major new piece, the Symphony in D major, now fittingly known as the “Prague,” a work he had finished just the month before and probably not yet performed. On this concert he also dazzled with extensive piano improvisations, including on a favorite aria from Figaro. The month-long stay was so successful that later that year he rewarded the city with a special present: the premiere of Don Giovanni, which he returned to conduct himself in October. The love affair between Mozart and Prague continued and the composer made further trips (about a three-day journey of 150 miles) before he died at age 35; the last time was in 1791 to conduct the premiere of this final opera, La clemenza di Tito. A few years after his death, the “Prague” Symphony was heard at an all-Mozart concert. A local critic commented: It is easy to imagine how full the hall was, if one knows Prague’s artistic sense and its love for Mozart’s music. Mozart’s widow and son both wept tears of 34

Mozart composed the “Prague” grief at their loss, and of gratitude towards a noble Symphony in 1786. nation. Thus this evening was fittingly and admirably Fritz Reiner was on the podium devoted to an act of homage to merit and genius; for the first Philadelphia it was a rewarding feast for sensitive hearts and a Orchestra performances of the small tribute to the unspeakable delight that Mozart’s Symphony, in December 1927. divine tones often drew from us. From many a noble The most recent subscription eye there flowed a silent tear for this well-loved man! appearance of the work was It is as though Mozart had composed especially for in March 2012, with James Bohemia; nowhere is his music better understood and Conlon. executed than in Prague, and even out in the country The score calls for two flutes, it is universally popular. two oboes, two bassoons, two A Closer Look The “Prague” Symphony was Mozart’s horns, two trumpets, timpani, most serious and ambitious work in the genre to date, and strings. and came following a three-year hiatus after his “Linz” Performance time is Symphony, No. 36. (Audiences and record collectors often approximately 26 minutes. wonder what happened to No. 37, which it turns out was written primarily by Michael Haydn; Mozart only contributed the slow introduction to its opening movement.) The genre of the symphony, which historically had primarily been geared toward entertainment, becomes more substantial and serious. Mozart’s new attitude, further realized in his miraculous final three symphonies from the summer of 1788, is evident in the rich orchestration, the weighty introduction to the first movement, and in the absence of a minuet. Most of his symphonies display the traditional four movements, but here he seems to question the vestige of older Baroque suites and dispenses with a dance movement altogether. The extended Adagio introduction of the first movement, lasting some three minutes, immediately indicates the ambition of the Symphony. (Unlike Haydn, Mozart relatively rarely used slow introductions.) It leads to a syncopated Allegro theme that bears some resemblance to the principal theme of the Overture to The Magic Flute with its insistent repeated notes and it undergoes elaborate contrapuntal development of great intensity. The second movement Andante is in G major and a 6/8 meter with alluring use of chromatic scales to give color. Mozart the great composer of comic opera is fully evident in the breathless concluding Presto, which is back in D major and more straightforward and carefree than the earlier two movements. The Prague audience no doubt delighted in Program notes © 2015. All the similarity of the principal theme with the brief duettino rights reserved. Program “Aprite presto” sung by Susanna and Cherubino in Act II of notes may not be reprinted The Marriage of Figaro. without written permission from The Philadelphia Orchestra —Christopher H. Gibbs Association.

36 Musical Terms

GENERAL TERMS century as the lightest movement of symphonies Air: A tune or melody movement of a symphony and quartets that was Cadenza: A passage or Modulate: To pass from introduced by Beethoven section in a style of brilliant one key into another to replace the minuet. The improvisation Musette: A short piece scherzo is followed by a Cantata: A multi- imitating a kind of bagpipe, gentler section called a trio, movement vocal piece with a drone bass after which the scherzo is consisting of arias, Op.: Abbreviation for opus, repeated. Its characteristics recitatives, ensembles, and a term used to indicate are a rapid tempo in triple choruses and based on a the chronological position time, vigorous rhythm, and continuous narrative text of a composition within a humorous contrasts. Chord: The simultaneous composer’s output Sonata form: The form in sounding of three or more Polyphony: A term used which the first movements tones to designate music in more of symphonies are usually Chromatic: Relating to than one part and the style cast. The sections are tones foreign to a given in which all or several of exposition, development, key (scale) or chord the musical parts move to and recapitulation. The Counterpoint: A term that some extent independently exposition is the introduction describes the combination Rigaudon: A French of the musical ideas, which of simultaneously sounding folkdance, court dance, and are then “developed.” In musical lines instrumental form popular the recapitulation, the Da capo: Repeated from in France and England; exposition is repeated with the beginning duple-meter in two or more modifications. Fugato: A passage or strains characterized by Syncopation: A shift of movement consisting of four-bar phrases, usually rhythmic emphasis off the fugal imitations with an upbeat beat Fugue: A piece of music Rondo: A form frequently in which a short melody used in symphonies and THE SPEED OF MUSIC is stated by one voice concertos for the final Adagio: Leisurely, slow and then imitated by the movement. It consists Allegretto: A tempo other voices in succession, of a main section that between walking speed reappearing throughout alternates with a variety of and fast the entire piece in all the contrasting sections (A-B- Allegro: Bright, fast voices at different places A-C-A etc.). Andante: Walking speed Gavotte: A French court Sarabande: One of the Con brio: Vigorously, with dance and instrumental most popular of Baroque fire form in a lively duple-meter instrumental dances and a Più mosso: Faster K.: Abbreviation for Köchel, standard movement of the Presto: Very fast the chronological list of all suite; characterized by an Religioso: Sacred, devout the works of Mozart made intense, serious affect, set Vivace: Lively by Ludwig von Köchel in a slow triple meter based Minuet: A dance in triple on four-bar phrases TEMPO MODIFIERS time commonly used up to Scherzo: Literally “a Molto: Very the beginning of the 19th joke.” Usually the third Poco: Little, a bit 37 February The Philadelphia Orchestra Jessica Griffin Enjoy the ultimate in flexibility with a Create-Your-Own 3-Concert Series today! Choose 3 or more concerts that fit your schedule and your tastes. Hurry, before tickets disappear for this exciting season.

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Gergiev Conducts Thursday, February 12 8 PM Friday, February 13 8 PM Valery Gergiev Conductor Stravinsky Symphony in C Shostakovich Symphony No. 9 ProkofievSymphony No. 5

Valentine’s Concert Saturday, February 14 8 PM Stéphane Denève Conductor The Philadelphia Shakespeare Theatre Walton Selections from As You Like It Berlioz Overture to Beatrice and Benedict Tchaikovsky Romeo and Juliet Mendelssohn Excerpts from Incidental Music to A Midsummer Night’s Dream

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