23 Season 2013-2014

Thursday, January 30, at 8:00 The Friday, January 31, at 2:00 Saturday, February 1, at 8:00 Yannick Nézet-Séguin Conductor

Smetana “The Moldau,” from Má vlast

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

Intermission

Dvorˇák Symphony No. 6 in D major, Op. 60 I. Allegro non tanto II. Adagio III. Scherzo (Furiant: Presto)—Trio (Poco meno mosso)—Tempo I (Presto) IV. Finale: Allegro con spirito

This program runs approximately 1 hour, 45 minutes.

The January 30 concert is sponsored by Medcomp.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details.

3 Story Title 25 The Philadelphia Orchestra Jessica Griffin

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

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

Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. In addition he becomes the first ever mentor conductor of the Curtis Institute of Music’s conducting fellows program in the fall of 2013. He has made wildly successful appearances with the world’s most revered ensembles, and has conducted critically acclaimed performances at many of the leading opera houses.

Yannick Nézet-Séguin and (DG) enjoy a long-term collaboration. Under his leadership the Orchestra returns to recording with a newly-released CD on that label of Stravinsky’s Rite of Spring and Leopold Stokowski transcriptions. Yannick continues a fruitful recording relationship with the Rotterdam Philharmonic for DG, BIS, and EMI/Virgin; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

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

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

Mary Roberts Radu Lupu is widely acknowledged as a leading interpreter of the works of Beethoven, Brahms, Mozart, and Schubert. Since winning the prestigious Van Cliburn (1966) and Leeds (1969) piano competitions, he has regularly performed as soloist and recitalist in the musical capitals and major festivals of and the . He has appeared many times with the since debuting with that ensemble at the 1978 under , and with the , including the opening concert of the 1986 Salzburg Festival under . He is also a frequent visitor to the Royal Orchestra and all the major London orchestras. Mr. Lupu’s first major American appearances were in 1972 with the and and with the Chicago Symphony and Carlo Maria Giulini. He made his Philadelphia Orchestra debut in 1973. In the 2013-14 season Mr. Lupu is artist in residence at the Dresden Staatskapelle. Concerto appearances include performances with the Bournemouth, Montreal, Milwaukee, and Cincinnati symphonies; the Berlin, Stockholm, Monte Carlo, and Flanders philharmonics; and the Tonhalle, Leipzig Gewandhaus, and Cleveland orchestras. Other season highlights include his 11th tour of Japan, and the conclusion of his cycle of the Beethoven piano concertos at the new concert hall in Helsinki with the Finnish Chamber Orchestra and Jukka-Pekka Saraste. Mr. Lupu has made more than 20 recordings for London/Decca, including the complete Beethoven concertos with the Israel Philharmonic and ; the complete Mozart violin and piano sonatas with ; Grieg and Schumann concertos; Debussy and Franck violin and piano sonatas with ; and numerous solo recordings of works by Beethoven, Brahms, and Schubert. He also has two recordings with pianist (Sony Classical); two albums of Schubert lieder with soprano (EMI); and a disc of Schubert works for piano, four hands, with Mr. Barenboim (). Born in in 1945, Mr. Lupu began studying the piano at age six. He made his public debut with a complete program of his own music at age 12 and won a scholarship to the Moscow State Conservatory. 27 Framing the Program

The concert today visits Central Europe, featuring three Parallel Events illustrious Czech and Hungarian composers. 1874 Music Bedrˇich Smetana’s “The Moldau” is the second and Smetana Grieg “The Moldau” Peer Gynt most famous movement of a six-part set of orchestral Literature tone poems entitled Má vlast (My Homeland). The piece Hardy marvelously evokes a trip along the mighty Vltava River Far from the (Moldau in German), beginning with two intermingling Madding Crowd streams (delightfully rendered by flutes and clarinets) Art that join to flow by peasants dancing, hunters hunting, Renoir and through an atmospheric nocturnal landscape. The La Loge river eventually reaches the imposing Vyšehrad cliffs and History passes through the center of Prague. First American zoo founded in Béla Bartók fled his native Hungary during the Second Philadelphia World War and settled in America, where he died of leukemia in 1945. He had nearly completed his 1880 Music Third Piano Concerto, written as a birthday gift for his Dvorˇák Tchaikovsky pianist wife. His student, Philadelphia Orchestra violist Symphony Capriccio italien Tibor Serly, orchestrated the final 17 measures of the No. 6 Literature Concerto and the Orchestra gave its world premiere in Dostoyevsky 1946, with conducting and György The Brothers Sándor as soloist. Karamazov Art Although Antonín Dvorˇák wrote nine symphonies, the Cézanne first one was lost soon after its composition (and only Château de discovered long after the composer’s death), and the Medan others were published out of order. What we now know History as his Sixth Symphony in D major was the first one to New York be released and helped to establish his international streets first lit by reputation. The work is in large measure modeled on the electricity recent Second Symphony, also in D major, by his friend and mentor . In this magnificent and 1945 Music Bartók Strauss sunny work Dvorˇák combines elements of the Germanic Piano Concerto Metamorphosen symphonic tradition with the spirit of his native Bohemia, No. 3 Literature most notably in the lively third-movement furiant. Orwell Animal Farm Art Moore Family Group History Surrender of 28 The Music “The Moldau,” from Má vlast

At the peak of his career Smetana poured the better part of his energies into eight first-rate operas, which were produced in Prague between 1866 and 1882 and still form an important part of the local repertory. It was the subject matter of one of these dramas, Libuše, that sparked the inspiration for Má vlast (My Homeland), the cycle of six symphonic poems that became his most lasting orchestral work. In that opera, completed in 1872, the legendary Bohemian Princess Libuše proclaims—from her castle high atop the Vyšehrad cliffs that overlook the Vltava River (near Bedrˇich Smetana central Prague)—her dream of a grand and glorious Czech Born in Litomysl, Bohemia, nation, which would “vanquish the terrors of hell.” Smetana March 2, 1824 considered Libuše his “most perfect work in the field of Died in Prague, May 12, 1884 high drama” and was still under its nationalistic spell when he sketched “Vyšehrad,” the first piece of Má vlast, in 1872 or 1873. Deafness Strikes In the middle of the composition of “Vyšehrad,” tragedy struck the composer: In October of 1874 Smetana became deaf virtually all at once. Unlike Beethoven, whose hearing loss developed over the course of more than a decade, Smetana hardly had an opportunity to become accustomed to the idea before total deafness set in. As a result he had to give up his position as principal conductor of the National Theater in Prague, a blow that initiated a series of disappointments over the next decade that eventually led to a complete mental collapse. Nevertheless he produced some of his most durable scores during this period, including Má vlast, which occupied him until 1879. When deafness struck he was composing the second piece of the cycle, “Vltava” (or “Moldau,” as the river is called in German), which has become Smetana’s most popular piece. He completed “The Moldau” in late 1874, and it was first performed in Prague in April 1875; the entirety of Má vlast received its premiere there in November 1882 under Adolf Cˇ ech’s baton. Although the main theme of “The Moldau” was derived from a Swedish folk tune, “Ack Värmeland du sköne,” the treatment of themes and the brilliance of orchestration—including the “running” flute and clarinet passages at the outset—indicate a composer of the first order. 29

Smetana composed “The A Closer Look For each of the six works of the cycle the Moldau” in 1874. composer provided a programmatic description; his note The first Philadelphia Orchestra for “The Moldau” reveals his passionate affection for the performance of the piece was earthy, ancient richness of the Czech countryside: on December 14, 1900, during Two springs gush forth in the shade of the Bohemian the Orchestra’s first season; forest, the one warm and spouting, the other cool Fritz Scheel conducted. Most and tranquil. Their waves, joyously rushing down over recently on subscription, Wolfgang Sawallisch led the their rocky beds, unite and glisten in the rays of the entire Má vlast cycle in April/ morning sun. The hurrying forest brook becomes the May 2001. river Vltava, which grows to a mighty stream while flowing through Bohemia’s valleys: It flows through The Orchestra recorded “The thick woods where the joyous noise of the hunt and Moldau” in 1957 for CBS with the tones of the hunter’s horn are heard ever nearer Eugene Ormandy. and nearer; it flows through grass-grown pastures Smetana scored the piece for and lowlands, where a wedding feast is celebrated piccolo, two flutes, two oboes, with song and dancing. At night the wood and water two clarinets, two bassoons, nymphs revel in its shining waves, in which many four horns, two trumpets, three fortresses and castles are reflected, as witnesses of trombones, tuba, timpani, the past glory of knighthood and the vanished warlike percussion (bass drum, fame of bygone ages. At the St. John Rapids, the cymbals, suspended cymbal, stream rushes on, weaving through the cataracts, and triangle), harp, and strings. with its foamy waves beats a path for itself through Performance time is the rocky chasm into the broad river in which it flows approximately 12 minutes. onward in majestic repose toward Prague, welcomed by time-honored Vyšehrad, whereupon it vanishes in the far distance from the poet’s gaze. —Paul J. Horsley 30 The Music Piano Concerto No. 3

Of the major European composers of the first half of the 20th century, it is Béla Bartók whose imprint on subsequent music is the most difficult to assess. Schoenberg, who devised a potent system for atonal composition, remains the most influential intellectual figure in music of the last century, despite the fact that his music is played with relative infrequency. Stravinsky, ostensibly the most accessible of the three, has become a household name, and many of his works are as familiar as those of Bach or Brahms. Bartók, less cosmopolitan than Stravinsky and less severely Béla Bartók systematic than Schoenberg, forged a peculiar style that Born in Nagyszentmiklós, was fiercely personal, built partly on pride in Hungarian Hungary (now Romania), ethnicity. He was, in many ways, a more conventional artist March 25, 1881 than either of his contemporaries—yet he still became one Died in , of the most original musicians and thinkers of his era. September 26, 1945 A Hungarian in Self-Exile Bartók had already achieved a full and rich career when he arrived in America in 1940. As a composer he had amazed and shocked the European music world with scandalous theater works such as The Miraculous Mandarin and with densely wrought orchestral works—including concertos that quickly became part of many ’s and violinists’s concert repertoire. He had also carved out a substantial career for himself as pianist and pedagogue. But when Fascism began to envelop Europe during the early 1930s, the ever-individualistic Bartók was outspoken in his criticism of its tactics. After 1933 he refused to perform in Germany. As a result, he himself began to be the object of attacks; at first he considered moving to England, but during concerts in America in the late 1930s he contemplated the possibility of settling here, an idea that was solidified in 1940 through the offer of a temporary appointment as Visiting Research Associate at Columbia University. He accepted the position, which began in 1941. New York bewildered him. He wrote of being lost in the subway system, he and his wife “travelling hither and thither in the earth; finally, our time waning and our mission incomplete, we shamefacedly slunk home—all entirely underground, of course.” There was worse to come. The Columbia appointment was not to be renewed, and he found himself in financial straits. As he tried to make a 31 living concertizing, he grew ill. In 1943, after becoming so sick he could no longer give concerts, he was finally diagnosed with leukemia (though his doctors told him it was polycythema, a less serious illness affecting the white blood cells). His final years consisted of a series of charitable gestures from friends and, ultimately, money from ASCAP (American Society of Composers, Authors, and Publishers), which allowed him to survive but not thrive. Nevertheless he was able to compose several of the works for which he is best known today, including the Concerto for Orchestra, the Viola Concerto (left unfinished), and the Third Piano Concerto—which was completed except for the scoring of the final 17 measures. Piano Concertos as Paradoxes The three piano concertos present prime examples of the paradoxes of Bartók’s art—the tension between tradition and revolution, between folk song and iconoclasm. They remain among the most important contributions to the genre of the piano concerto in the 20th century, though their entrance into the standard repertoire has been a bumpy one. Each of these works offers insight into an important aspect of Bartók the musician. The First (1926), with its “barbaric” rhythms and martellato (“hammered”) effects, suggests the importance of irregular meters and percussive sonorities in Bartók’s music. The Second synthesizes folk rhythm with orchestral tone-painting, Baroque counterpoint, and relentless motivic development. The lyrical Third Concerto underscores the neoclassical tranquility and resignation of the composer’s final years in exile in New York. The Third Concerto is normally regarded as his last completed composition, since the orchestration of the final bars, effected by former Philadelphia Orchestra violist Tibor Serly, was a relatively mechanical exercise. A Closer Look The Piano Concerto was conceived as a birthday present for Bartók’s wife, the prominent pianist Ditta Pásztory-Bartók, who was to turn 42 on October 31, 1945. Bartók knew he was dying, and he rushed to complete the Concerto—partly, some believe, so that Ditta could have a work with which to build her own career in America. Serly tells of visiting Bartók in September as he was completing the orchestration of the piece, on the last evening before the composer’s final hospitalization. Having interrupted his work, he felt responsible for hindering Bartók from finishing the piece, and thus took it upon himself to do so after the composer’s death later that month. 32

Bartók’s Piano Concerto No. 3 The Third is a remarkably tranquil, transparent work. Gone was composed in 1945. is the brutal percussiveness of the First Piano Concerto, György Sándor presented the or the transcendent virtuosic difficulty of the Second. The world premiere of the Third first movement Allegretto begins with a simple, charming Concerto, on February 8, 1946, melody in the piano, played with both hands two octaves with Eugene Ormandy and The apart; this shimmering, transparent quality is carried Philadelphia Orchestra. Most through the entire work. In place of virtuosity is brilliant, recently on subscription, the breathless instrumental color, the sparkling shades that work was performed by pianist transform simple motivic ideas into poetry. The tonality is Andreas Haefliger and Jonathan unusually clear, opening and closing on E and languishing Nott in January 2011. mostly in major mode but also with shades of Mixolydian The Fabulous Philadelphians and Lydian. recorded the work in 1946 with Likewise the twittering of the second movement (Adagio Sándor and Ormandy for CBS. religioso) transports the listener to a sound-world of In addition to solo piano, Bartók artifice and high refinement. Much of this is based on bird scored the piece for two flutes songs that Bartók noted during a visit to Asheville, North (II doubling piccolo), two oboes Carolina, the year before; the central Trio section contains (II doubling English horn), much of the ethereal “night music” of Bartók’s early piano two clarinets (II doubling bass works like Out of Doors. The finale (Allegro vivace) clarinet), two bassoons, four recalls somewhat the texture and feel of the Concerto for horns, two trumpets, three Orchestra, and recapitulates many of the first movement’s trombones, tuba, timpani, percussion (bass drum, ideas, albeit in more strikingly contrapuntal form. The cymbals, snare drum, tam-tam, Concerto concludes in a deep sense of calm and transport. triangle, xylophone), and strings. —Paul J. Horsley The Concerto runs approximately 25 minutes in performance. 33 The Music Symphony No. 6

Johannes Brahms and Antonín Dvorˇák offer a wonderful example of master composers for whom mentorship turned into friendship. In 1874 the 33-year-old Czech applied for a newly created Austrian state stipend helping needy young artists. He submitted 15 compositions, including his Second and Third symphonies. The jury was chaired by the powerful music critic Eduard Hanslick and included prominent musicians in Vienna. Dvorˇák was awarded a grant. The next year, with Brahms joining the jury, he succeeded again (this time with the Fifth Symphony among Antonín Dvorˇák the submitted pieces), as he did the following three years, Born in Nelahozeves, ultimately winning all five times he applied. Bohemia, September 8, 1841 Died in Prague, May 1, 1904 The financial support freed Dvorˇák from having to play in an orchestra and allowed him to concentrate on composition. An additional benefit was that Brahms enthusiastically took up his cause, going so far as to write to his Berlin publisher, Fritz Simrock, urging him to publish some works: “Dvorˇák has written all manner of things: operas (Czech), symphonies, quartets, piano pieces. In any case, he is a very talented man. Moreover, he is poor! I ask you to think about it! The duets will show you what I mean.” Simrock took the tip, releasing the Moravian Duets Brahms mentioned, as well as Slavonic Dances. Mainstream Versus Nationalistic And here is where certain paradoxes begin to emerge: The pieces for which Dvorˇák proved so successful winning the stipend were principally written in the mainstream German style, rarely marked by specifically Czech musical elements. Yet Brahms was initially most attracted to Dvorˇák’s more nationalist fare, as he sensed his publisher would be as well. Simrock had already made a substantial profit from Brahms’s hugely popular Hungarian Dances, and Dvorˇák now offered a new revenue stream. Brahms had an abiding attraction to the so-called Hungarian Style, which he employed in many of his own compositions. As he was himself north German, however, no one thought to view him as being provincial or nationalist. Dvorˇák, on the other hand, found himself caught in a wave of growing anti-Czech sentiment in Vienna that had serious consequences for the Sixth Symphony we hear today. 34

The eminent Hans Richter conducted his Third Slavonic Rhapsody with the Vienna Philharmonic in November 1879. Dvorˇák attended the concert with Brahms and was thrilled: “It was a splendid day that I shall not easily forget for the rest of my life.” Plans were soon hatched for a new symphony for Richter and the orchestra. Yet dissenting voices within the ensemble led to the cancellation later that season of a scheduled performance of Dvorˇák’s Serenade for Winds. A comment from critic Ludwig Speidel, second in power only to Hanslick, is telling: “The Slavic folk school is not loved in Vienna; when faced with it the Viennese feels himself to be decidedly German.” Dvorˇák nonetheless pressed forward with the Sixth Symphony, which he completed in the fall of 1880. He informed Simrock that he wished to place the work “first of all before Meister Brahms for his inspection.” The political situation in Vienna and the reluctance of some members of the Philharmonic to perform the work meant that the premiere kept getting postponed, much to the composer’s frustration. In the end Dvorˇák got back the score and parts from Richter (to whom the Symphony remained dedicated) and arranged the first performance in Prague conducted by Adolf Cˇ ech. David Brodbeck, who has studied this complicated genesis, believes that “Dvorˇák must have taken this rejection especially hard, since he seems to have designed the symphony in accordance with the cultural biases of its intended German audience.” While the third movement, a furiant dance, is notably Czech, the Sixth Symphony otherwise “not only reflects a primarily German tradition, but indeed a specifically Viennese one, and through its many allusions to Brahms and Beethoven, it goes out of its way to suggest an orientation toward what the Viennese elite would have understood as the ‘center,’ not the ‘periphery.’” The genre of the symphony was one in which Dvorˇák could aspire to the highest in instrumental music at an international level. Confusion concerning the numbering of the nine he composed is more than a mere cataloguing issue—it points to the fitful progress of his professional career. Dvorˇák himself misnumbered them because his first, written at age 24, was submitted to a competition in Germany (which he did not win) and it was never returned. (The work was only discovered in 1923.) Simrock published what we now know as the Sixth Symphony in 1881 as Dvorˇák’s First and four years later released the Seventh Symphony in D minor as the Second. The popularity these and other works enjoyed 35

Dvorˇák composed his D-major led him to request more music from Dvorˇák, who provided Symphony in 1880. unpublished works written years earlier. Simrock readily William Smith conducted the took these “new old” pieces, but hid their origins by giving first Philadelphia Orchestra them high opus numbers, much to the composer’s dismay performances of the Symphony, and leading to even further confusion about the order and in December 1958. Since then numbering of Dvorˇák’s symphonies. it has appeared seldom on A Closer Look Dvorˇák’s immediate model for the Sixth subscription concerts; the most recent were with conductor Symphony was Brahms’s Second Symphony, which is in the David Loebel, in January 1994. same key and scored for the same forces; even the tempo and meter of the first and last movements are the same. The work is scored for an Beethoven’s “Eroica” has a somewhat similar opening orchestra of two flutes (II theme as the Allegro non tanto, but Dvorˇák’s spacious doubling piccolo), two oboes, beginning, projecting wonderful freshness, is ultimately two clarinets, two bassoons, more lyrically pastoral than heroic. In any case, various four horns, two trumpets, three trombones, tuba, timpani, and themes in the Symphony have a simple triadic cast that strings. relate to the Czech folk tradition. Performance time is The woodwind introduction to the second movement approximately 40 minutes. Adagio harkens back to the slow movement of Beethoven’s Ninth Symphony, leading to a lovely violin melody in delicate dialogue with oboe and then horn. The movement is a rondo in ABACABA form with coda. The distinctively Czech third movement (repeated at the premiere performance in Prague) is a Scherzo making use of a furiant, a fast Bohemian triple-meter dance that here often sounds as if it were a duple meter. A calmer middle section provides contrast. The last movement (Allegro con spirito) opens with a quiet tune for the strings again similar to Brahms’s Second Symphony. Dvorˇák recalls and reworks earlier themes in this finale that lend the entire Symphony a larger unity. The movement builds to a fast and thrilling conclusion, a virtuoso display for the orchestra. As one Prague critic remarked: “The overall mood of this work is happy and buoyant; if we were to name the work, we would call it the ‘Czech Spring Symphony.’” —Christopher H. Gibbs

Program notes © 2014. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 36 Musical Terms

GENERAL TERMS rhythms character. Atonality: A term used to Mixolydian: The common Sonata form: The form in describe music that is not name for the seventh of which the first movements tonal, especially organized the eight church modes (and sometimes others) without reference to key or Octave: The interval of symphonies are usually tonal center between any two notes cast. The sections are Cadence: The conclusion that are seven diatonic exposition, development, to a phrase, movement, (non-chromatic) scale and recapitulation, the or piece based on a degrees apart last sometimes followed recognizable melodic Op.: Abbreviation for opus, by a coda. The exposition formula, harmonic a term used to indicate is the introduction of progression, or dissonance the chronological position the musical ideas, which resolution of a composition within a are then “developed.” In Cadenza: A passage or composer’s output. Opus the recapitulation, the section in a style of brilliant numbers are not always exposition is repeated with improvisation, usually reliable because they are modifications. inserted near the end of a often applied in the order Symphonic poem: movement or composition of publication rather than A type of 19th-century Chord: The simultaneous composition. symphonic piece in one sounding of three or more Recapitulation: See movement, which is based tones sonata form upon an extramusical idea, Coda: A concluding Rondo: A form frequently either poetic or descriptive section or passage added used in symphonies and Trio: See scherzo in order to confirm the concertos for the final impression of finality movement. It consists THE SPEED OF MUSIC Contrapuntal: See of a main section that (Tempo) counterpoint alternates with a variety of Adagio: Leisurely, slow Counterpoint: A contrasting sections (A-B- Allegretto: A tempo term that describes A-C-A etc.). between walking speed the combination of Scherzo: Literally “a and fast simultaneously sounding joke.” Usually the third Allegro: Bright, fast musical lines movement of symphonies Con spirito: With spirit Dissonance: A and quartets that was Meno mosso: Less combination of two or more introduced by Beethoven moved (slower) tones requiring resolution to replace the minuet. The Più mosso: Faster Furiant: A rapid Bohemian scherzo is followed by a Presto: Very fast dance, with alternating gentler section called a trio, Religioso: Sacred, devout rhythms and changing after which the scherzo is Vivace: Lively accentuation repeated. Its characteristics Lydian: The common are a rapid tempo in triple TEMPO MODIFIERS name for the fifth of the time, vigorous rhythm, and Non tanto: Not too much eight church modes humorous contrasts. Also so Meter: The symmetrical an instrumental piece of Poco: Little, a bit grouping of musical a light, piquant, humorous 37 February The Philadelphia Orchestra

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Ax, from Bach to Strauss February 6 & 8 8 PM February 7 2 PM Vladimir Jurowski Conductor Jeffrey Khaner Flute Piano Bach Orchestral Suite No. 2 Strauss Burleske, for piano and orchestra Bach Piano Concerto No. 1 Mahler Todtenfeier All Rachmaninoff February 13, 14, & 15 8 PM Vladimir Jurowski Conductor Vsevolod Grivnov Tenor Alexey Zuev Piano Tatiana Monogarova Soprano Sergei Leiferkus Baritone Westminster Symphonic Choir Joe Miller Director Rachmaninoff Songs Rachmaninoff Piano Concerto No. 4 Rachmaninoff The Bells

TICKETS Call 215.893.1999 or log on to www.philorch.org PreConcert Conversations are held prior to every Philadelphia Orchestra subscription concert, beginning 1 hour before curtain. All artists, dates, programs, and prices subject to change. All tickets subject to availability. 1638 Story Title Tickets & Patron Services

TICKETS & PATRON PreConcert Conversations: Ticket Philadelphia Staff SERVICES PreConcert Conversations are Gary Lustig, Vice President held prior to every Philadelphia Jena Smith, Director, Patron Subscriber Services: Orchestra subscription concert, Services 215.893.1955 beginning one hour before curtain. Dan Ahearn, Jr., Box Office Call Center: 215.893.1999 Conversations are free to ticket- Manager holders, feature discussions of the Catherine Pappas, Project Fire Notice: The exit indicated by season’s music and music-makers, Manager a red light nearest your seat is the and are supported in part by the Michelle Parkhill, Client Relations shortest route to the street. In the Wells Fargo Foundation. Manager event of fire or other emergency, Mariangela Saavedra, Manager, please do not run. Walk to that exit. Lost and Found: Please call Patron Services 215.670.2321. Gregory McCormack, Training No Smoking: All public space in Specialist the Kimmel Center is smoke-free. Web Site: For information about Samantha Apgar, Business The Philadelphia Orchestra and Operations Coordinator Cameras and Recorders: The its upcoming concerts or events, Elysse Madonna, Program and taking of photographs or the please visit www.philorch.org. Web Coordinator recording of Philadelphia Orchestra Patrick Curran, Assistant Treasurer, concerts is strictly prohibited. Subscriptions: The Philadelphia Box Office Orchestra offers a variety of Tad Dynakowski, Assistant Phones and Paging Devices: subscription options each season. Treasurer, Box Office All electronic devices—including These multi-concert packages Michelle Messa, Assistant cellular telephones, pagers, and feature the best available seats, Treasurer, Box Office wristwatch alarms—should be ticket exchange privileges, Patricia O’Connor, Assistant turned off while in the concert hall. guaranteed seat renewal for the Treasurer, Box Office following season, discounts on Thomas Sharkey, Assistant Late Seating: Latecomers will not individual tickets, and many other Treasurer, Box Office be seated until an appropriate time benefits. For more information, James Shelley, Assistant Treasurer, in the concert. please call 215.893.1955 or visit Box Office www.philorch.org. Tara Bankard, Lead Patron Accessible Seating: Accessible Services Representative seating is available for every Ticket Turn-In: Subscribers who Jayson Bucy, Lead Patron Services performance. Please call Ticket cannot use their tickets are invited Representative Philadelphia at 215.893.1999 for to donate them and receive a Meg Hackney, Lead Patron more information. You may also tax-deductible credit by calling Services Representative purchase accessible seating online 215.893.1999. Tickets may be Julia Schranck, Lead Patron at www.philorch.org. turned in any time up to the start Services Representative of the concert. Twenty-four-hour Alicia DiMeglio, Priority Services Assistive Listening: With the notice is appreciated, allowing Representative deposit of a current ID, hearing other patrons the opportunity to Megan Brown, Patron Services enhancement devices are available purchase these tickets. Representative at no cost from the House Maureen Esty, Patron Services Management Office. Headsets Individual Tickets: Don’t assume Representative are available on a first-come, first- that your favorite concert is sold Brand-I Curtis McCloud, Patron served basis. out. Subscriber turn-ins and other Services Representative special promotions can make last- Scott Leitch, Quality Assurance Large-Print Programs: minute tickets available. Call Ticket Analyst Large-print programs for every Philadelphia at 215.893.1999 or subscription concert are available stop by the Kimmel Center Box in the House Management Office Office. in Commonwealth Plaza. Please ask an usher for assistance.