23 Season 2012-2013

Thursday, April 11, at 7:00 The Philadelphia Orchestra

Beyond the Score®: Pure Propaganda?

Jaap van Zweden Conductor Michael Boudewyns Actor David Ingram Actor Benjamin Lloyd Actor Kimberly Schroeder Actor Alexandre Moutouzkine Piano

A multi-media exploration of Prokofiev’s Symphony No. 5

Intermission

ProkofievSymphony No. 5 in B-flat major, Op. 100 I. Andante II. Allegro marcato III. Adagio IV. Allegro giocoso

This program runs approximately 2 hours.

Beyond the Score® is made possible by support from the Hirschberg-Goodfriend Fund in memory of Adolf Hirschberg as established by Juliet J. Goodfriend and by the Wachovia Wells Fargo Foundation. Additional funding comes from the Annenberg Foundation, the Pennsylvania Council on the Arts, and the Pennsylvania Department of Community and Economic Development.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 2 PM. Visit www.wrti.org to listen live or for more details. 24

Beyond the Score® is produced by the Chicago Symphony Orchestra. Gerard McBurney, Creative Director, Beyond the Score Martha Gilmer, Executive Producer, Beyond the Score Cameron Arens, Production Stage Manager

Acknowledgments Mary Evans Picture Library Lebrecht Music & Arts Rosenthal Archives 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin

Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. an extraordinary history of Center, Penn’s Landing, artistic leaders in its 112 and other venues. The The ensemble maintains seasons, including music Philadelphia Orchestra an important Philadelphia directors Fritz Scheel, Carl Association also continues tradition of presenting Pohlig, , to own the Academy of educational programs for Eugene Ormandy, Riccardo Music—a National Historic students of all ages. Today Muti, Wolfgang Sawallisch, Landmark—as it has since the Orchestra executes a and Christoph Eschenbach, 1957. myriad of education and and Charles Dutoit, who community partnership Through concerts, served as chief conductor programs serving nearly tours, residencies, from 2008 to 2012. With 50,000 annually, including presentations, and the 2012-13 season, its Neighborhood Concert recordings, the Orchestra Yannick Nézet-Séguin Series, Sound All Around is a global ambassador becomes the eighth music and Family Concerts, and for Philadelphia and for director of The Philadelphia eZseatU. the United States. Having Orchestra. Named music been the first American For more information on director designate in 2010, orchestra to perform in The Philadelphia Orchestra, Nézet-Séguin brings a China, in 1973 at the please visit www.philorch.org. vision that extends beyond request of President Nixon, symphonic music into the today The Philadelphia 4 Music Director

Jessica Griffin Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. From the Orchestra’s home in Verizon Hall to the Carnegie Hall stage, his highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Yannick “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”

Over the past decade, 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. He has appeared with such revered ensembles as the and philharmonics; the Boston Symphony; the Accademia Nazionale di Santa Cecilia; the Dresden Staatskapelle; the Chamber Orchestra of Europe; and the major Canadian orchestras. His talents extend beyond symphonic music into opera and choral music, leading acclaimed performances at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival.

In February 2013, following the July 2012 announcement of a major long-term collaboration between Yannick and Deutsch Grammophon, the Orchestra announced a recording project with the label, in which Yannick and the Orchestra will record Stravinsky’s The Rite of Spring. His discography with the Rotterdam Philharmonic for BIS Records and EMI/Virgin includes an Edison Award-winning album of Ravel’s orchestral works. He has also recorded several award-winning albums with the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued studies with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. In 2012 Yannick was appointed a Companion of the Order of Canada, one of the country’s highest civilian honors. His other honors include Canada’s National Arts Centre Award; a Royal Philharmonic Society Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and an honorary doctorate by the University of Quebec in Montreal.

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

Bert Hulselmans -born has risen rapidly in little more than a decade to become one of today’s most sought-after conductors. He has been music director of the Dallas Symphony since 2008, and in September 2012 he became music director of the Hong Kong Philharmonic. Appointed at age 19 as the youngest concertmaster ever of the Royal Orchestra, he began his career in 1995. He has held the positions of chief conductor of the Netherlands Symphony, the of , and the Royal Flemish Philharmonic, and chief conductor and artistic director of the Netherlands Radio Philharmonic and the Netherlands Radio Chamber Orchestra. He remains honorary chief conductor of the Netherlands Radio Philharmonic and conductor emeritus of the Netherlands Radio Chamber Orchestra. Mr. van Zweden was recently named Musical America’s Conductor of the Year for 2012 in recognition of his critically-acclaimed work with the Dallas Symphony and as a guest conductor with the most prestigious U.S. orchestras, including The Philadelphia Orchestra, which he has conducted every season since making his debut in 2009. On the opera stage he has conducted Verdi’s La traviata and Beethoven’s Fidelio with the National Reisopera, and concert performances of Verdi’s , Barber’s Vanessa, and Wagner’s Die Meistersinger von Nürnberg, Parsifal, and Lohengrin at the Concertgebouw with the Netherlands Radio Philharmonic. Highlights of the 2012-13 season and beyond include subscription debuts with the Orchestre de Paris, the San Francisco Symphony, the National Symphony, and the Chamber Orchestra of Europe, and return visits to the Orchestre National de France, the Chicago and Saint Louis symphonies, the Cleveland Orchestra, and the Rotterdam and London philharmonics. Mr. van Zweden’s numerous recordings include Stravinsky’s The Rite of Spring and Petrushka, Mahler’s Symphony No. 5 with the London Philharmonic (LPO Live), and the complete Beethoven and Brahms symphonies. He is currently recording a cycle of Bruckner symphonies with the Netherlands Radio Philharmonic. 27 Actors

Michael Boudewyns has appeared in numerous Beyond the Score presentations, including Bartók’s The Miraculous Mandarin, Stravinsky’s The Rite of Spring, and Beethoven’s Symphony No. 5 with The Philadelphia Orchestra; Musorgsky’s Pictures from an Exhibition with the Des Moines Symphony; and Shostakovich’s Symphony No. 4 with the National Symphony. Since 2004 he has been a frequent guest on The Philadelphia Orchestra’s Family Concerts. Other family concert performances include the orchestras of Milwaukee, Charlotte, Princeton, Annapolis, Lincoln, New Haven, and Harrisburg. This season he appears with the Saint Louis, Illinois, Richmond, Winnipeg, and Texarkana symphonies; the Tulane University Orchestra; Camden’s Symphony in C; and with James Madison University’s Montpelier Wind Quintet and the University of Delaware’s Master Players Concert Series. Next season he debuts with the Kansas Symphony. Mr. Boudewyns is a graduate of the Professional Theatre Training Program at the University of Delaware and the co-founder of ReallyInventiveStuff.com. David Ingram has acted and directed in the Philadelphia area for over 20 years. He made his Philadelphia Orchestra debut in 2011 as Edward Elgar in the “Enigma” Variations Beyond the Score concert. He was last seen as Russ and Dan in Arden Theatre Company’s Clybourne Park. He has been a member of the People’s Light and Theater Company since 1989 and has appeared in dozens of plays there, including End Days, I Have before Me a Remarkable Document Given to Me by a Young Lady from Rwanda, and Tuesdays with Morrie. Mr. Ingram has appeared in a number of area theaters, including 1812 Productions, the Lantern Theater Company, InterAct Theatre Company, PlayPenn, Act II Playhouse, and Temple Repertory Theater. Mr. Ingram currently serves on the theater faculty at Temple University. 28 Actors

Benjamin Lloyd, who made his Philadelphia Orchestra debut in 2011 in the “Enigma” Variations Beyond the Score concert, is a Philadelphia-based theater artist. He teaches acting at Temple University and Penn State and has taught at Princeton, Arcadia, and Villanova universities. In addition to performing at every major theater in Philadelphia, he has acted and directed in New York, Edinburgh, and Prague. Mr. Lloyd recently appeared in Cinderella and Cyrano, both at the Arden Theatre, as Bottom in A Midsummer Night’s Dream at Lantern Theater, and in various roles in Bristol Riverside Theatre’s production of Gypsy! Since 1994 he has performed major roles at the Wilma Theater, the Walnut Street Theatre, the Arden Theatre, InterAct Theatre Company, 1812 Productions, and People’s Light & Theatre Company. He is currently directing Grease for Cheltenham High School and developing two orginal pieces for his production company, White Pines Productions: The Music You Remember and Luckiest Kid. He has a B.A. in Theater Studies from Yale College and an M.F.A. in Acting from the Yale School of Drama. Kimberly Schroeder is making her Philadelphia Orchestra debut with tonight’s concert. In 2010 she made her orchestral debut with the Annapolis Symphony in Robert Kapilow’s Green Eggs and Ham and continues performing family concerts around the country. She has performed with the Milwaukee, Richmond, Charlotte, Annapolis, and Lincoln symphonies, and this season she appears with the Saint Louis, Illinois, Harrisburg, Kennett, and Winnipeg symphonies. Next season she debuts with the symphonies of Kansas City, Texarkana, and Victoria in British Columbia. She is currently a member of the dance faculty at University of Delaware and a company member of ReallyInventiveStuff.com. Ms. Schroeder is a graduate of the University of Nebraska-Lincoln and the University of Wisconsin-Milwaukee. 29 Pianist

E. Appel Highlights of pianist Alexandre Moutouzkine’s 2012-13 season include chamber music concerts with violinist Mikhail Simonyan at the Kennedy Center in Washington, D.C., and the Bremen Musikfest; debuts with the West Virginia Symphony, the Flint Symphony, and the Bay-Atlantic Symphony; and performances of “Between the Keys,” a program of the complete solo piano works of John Corigliano. The winner of many awards, Mr. Moutouzkine claimed top prizes at the Walter W. Naumburg, Cleveland, Montreal, and Arthur Rubinstein international competitions, and he is a winner of Astral Artists’ 2009 National Auditions. He holds a master’s degree and post-graduate degrees from the Manhattan School of Music, where he studied with Solomon Mikowsky. Mr. Moutzoukine holds undergraduate degrees from the Hochschule für Musik und Theater in Hannover and Russia’s Nizhny Novgorod Music Academy. He is currently a teaching associate at the Manhattan School of Music where he received a 2012 Distinguished Alumnus Award. He made his Philadelphia Orchestra debut on a 2011 Beyond the Score concert. 30 Beyond the Score

Begun in 2005 the Chicago Symphony’s Beyond the Score® seeks to open the door to the symphonic repertoire for first-time concertgoers as well as to encourage an active, more fulfilling way of listening for seasoned audiences. The lifeblood of Beyond the Score is its firm rooting in the live tradition: musical extracts, spoken clarification, theatrical narrative, and hand-paced projections on a large central screen are performed in close synchrony—an arresting and innovative approach that illuminates classical music more idiomatically than other methods (program notes, pre-concert lectures, filmed documentary, etc.). After each 60-minute program focusing on a single masterwork, audiences return from intermission to experience the piece performed in a regular concert setting, equipped with a new understanding of its style and genesis. This format’s potential was quickly recognized by orchestras in the United States and abroad; a rapidly expanding licensing program has since brought Beyond the Score to audiences throughout the United States, as well as in Canada and Holland, presented by organizations of many sizes. Recognizing that a large population is economically or geographically unable to attend these performances in person, the Chicago Symphony also offers digital video downloads of selects programs from its website at www.beyondthescore.org. In September 2008 the Chicago Symphony released Shostakovich’s Fourth Symphony, led by its then-principal conductor, , on its CSO Resound label. Accompanying this Grammy Award-winning recording of the Symphony is a free bonus DVD video of the Beyond the Score production examining Shostakovich’s controversial and powerful work—the first commercially released video from this acclaimed concert series. For more information on Beyond the Score, including video downloads, please visit www.beyondthescore.org. 31 Pure Propaganda?

In 1936, after nearly 20 years in the West, Prokofiev Parallel Events returned to his native Russia, now the Soviet Union, 1944 Music where he found it more difficult than he had thought to Prokofiev Copland write music to please the Communist authorities. But Symphony Appalachian when war came in 1941, the atmosphere changed. The No. 5 Spring regime needed artists to inspire and lead. Prokofiev Literature played his part, and, as the tide of war turned in 1944, he Camus created one of his most paradoxical and yet melodious Caligula masterpieces. Art Rivera The Rug Weaver History D-Day landings in Normandy 32 The Music Symphony No. 5

One is hard pressed to identify positive things associated with the horrors of war. Yet musicians, like other artists through the ages, have often used their creative gifts to deal with tragedy and their music has helped others to cope as well. The Second World War inspired an unusually large quantity of significant music and nowhere more so than in the genre of the symphony. Some of them were written in the heat of war, others as the conflict was ending or after victory had been achieved. The emotions exhibited in these works range from despair to hope, from the bitterness of defeat to the exultation of victory. Born in Sontsovka, Ukraine, April 23, 1891 War Symphonies It is perhaps telling that while no Died in Moscow, German or Italian symphonies composed during the March 5, 1953 war are remembered today, many from other countries remain impressive monuments. Aaron Copland’s Third, widely considered the “Great American Symphony,” was premiered in October 1946, after the Allied victory. (The work incorporates his Fanfare for the Common Man, composed for the war effort four years earlier.) ’s Symphony in Three Movements, Ralph Vaughan Williams’s Fifth and Sixth symphonies, and a number of Bohuslav Martinu˚’s symphonies are among other enduring works that either openly or in more subtle ways engaged with the perilous times. Which brings us to the Soviet Union, where the relationship between the arts and politics was always complex and where the war extracted the largest number of causalities. The two leading Russian composers of the day both made important symphonic contributions: with his Seventh Symphony, the “Leningrad” (1941), and Sergei Prokofiev with his Fifth Symphony (1944). These works were composed in dire times, received triumphant premieres, made the rounds internationally led by eminent conductors, and were enthusiastically greeted by appreciative audiences. Americans embraced both symphonies by their Soviet allies. Shostakovich was hailed on the cover of Time magazine in August 1942 and Prokofiev appeared on the cover three years later, after the premiere of the Fifth Symphony in January 1945. 33

Prokofiev’s Path to the FifthFor all its success, Prokofiev’s path to his Fifth was an arduous one— personally, professionally, and most specifically with regard to how to write a substantive work in a genre that kept causing him some difficulty. After enjoying a privileged childhood, molded by parents eager to cultivate his obvious musical gifts, Prokofiev went on to study at the St. Petersburg Conservatory with leading Russian composers of the day, including Nikolai Rimsky-Korsakov and Reinhold Glière. He won early fame with challenging Modernist scores that were unlike what most composers were writing in Russia during the 1910s. Then came the October Revolution of 1917. Like other prominent figures from similarly comfortable family backgrounds, including Stravinsky and Rachmaninoff, Prokofiev left Russia. He made a long journey through Siberia, stopped off in Tokyo, and finally arrived in in early September 1918. He would live in America, Paris, and other Western cities for nearly 20 years. In 1927 he returned for a visit to the Soviet Union and began to spend an increasing amount of time in his transformed native country. In the summer of 1936, with timing that boggles the mind today, he moved back permanently with his wife and their two young sons. He spent the rest of his life there, riding a roller coaster ride of official favor and stinging condemnation. He died on March 5, 1953, the same day as Joseph Stalin. Prokofiev had composed his First Symphony, the “Classical,” in the summer of 1917, before leaving Russia. This brief work, which charmingly looks back to Haydn, remains a popular repertory item but hardly represented a bold new symphonic statement. His next symphony was disappointingly received at its Paris premiere in 1925 under Serge Koussevitzky. For his symphonies No. 3 (1928) and No. 4 (1930) Prokofiev recycled music he had previously written for opera and ballet scores and still seemed to be struggling with the genre, which may explain a comment he made about the Fifth: “I consider my work on this symphony very significant both because of the musical material put into it and because I returned to the symphonic form after a 16-year interval. The Fifth Symphony completes, as it were, a long period of my works.” A Triumphant Premiere Prokofiev wrote some of his most compelling music during the Second World War, including the opera War and Peace, the ballet Cinderella, the Second String Quartet, and three impressive piano sonatas. Given the grim circumstances in the Soviet 34

Union, the Fifth Symphony was born under relatively comfortable conditions during the summer of 1944, which Prokofiev spent in an artists’ colony set up by the Union of Composers at Ivanovo, some 160 miles from Moscow. (Shostakovich, Glière, Kabalevsky, and other prominent figures were also there.) After absolutely devastating years for the Soviet Union in their struggle against the Germans, things were beginning to look more hopeful with the news from Normandy and Poland. By the time Prokofiev conducted the premiere at the Great Hall of the Moscow Conservatory on January 13 there was real good news: The day before the Soviet Army had surged forward. The work was heard after intermission and as Time reported: It was exactly 9:30 p.m. A woman announcer in a black dress stepped to the platform. Said she: “In the name of the fatherland there will be a salute to the gallant warriors of the First Ukrainian front who have broken the defenses of the Germans—20 volleys of artillery from 224 guns.” The dark days of Stalingrad were over; the Polish offensive of January 1945 had begun. As she spoke, the first distant volley shook the hall. That evening was a complete triumph for Prokofiev, but also an ending of sorts. The concert proved to be the last time he conducted as just a few days later he had a serious fall, most likely the result of untreated high blood pressure, and was ill, although productive, for the remaining eight years of his life. A Closer Look Prokofiev excelled in many genres, producing chamber, choral, and keyboard music, impressive concertos, as well a distinguished quantity of dramatic music: operas, ballets, and film scores. As mentioned earlier, symphonies proved a bigger challenge for him and may be one reason he recycled music he had written earlier for stage projects. The Fifth Symphony does not do so to nearly the extent of his previous two essays in the genre, but it does have moments that may remind listeners of War and Peace and uses some musical ideas originally conceived for his ballet Romeo and Juliet. The seriousness of the four-movement Symphony is immediately apparent from the spare opening theme of the Andante, played by flutes and bassoon. This builds to a grand statement of epic scope, one that returns in the finale. There is throughout the work a profusion of 35

Prokofiev composed his thematic material and Prokofiev’s prodigious lyrical gifts Symphony No. 5 in 1944. are fully evident—what sounds like a passionate love The first Philadelphia Orchestra theme is followed by a nervous repeated note motif, all of performances of Prokofiev’s which are seamlessly integrated. The first movement ends Fifth Symphony took place in with a bold coda that pounds out the opening theme, January 1947, with George now fully orchestrated and at full volume, suggestive of Szell on the podium. The Prokofiev’s comment that he “conceived it as a symphony Philadelphians have performed of the greatness of the human spirit.” the Symphony many times, including on American and The following scherzo (Allegro marcato) has both light European tours. The work’s and more ominous elements, showing off the composer’s most recent appearance on deft balletic writing as well as his affinity for the a subscription series was grotesque. The following Adagio returns us to a lyrical, in March 2011, with Vasily even elegiac, tone with soaring themes and a funereal Petrenko conducting. middle section. Themes from the preceding movements The Orchestra has recorded are reviewed in the final Allegro giocoso, which begins the Symphony three times: in with a slow introduction. The music has an inexorable 1957 for CBS with Eugene quality of moving forward and reaches a marvelous coda. Ormandy; in 1975 for RCA After all the epic grandeur heard to this point, the texture with Ormandy; and in 1990 for suddenly shifts to chamber music, with string soloists, Philips with . percussion, piano, and harp taking frantic center stage before the thrilling final chord for the full orchestra. The Symphony is scored for piccolo, two flutes, two oboes, —Christopher H. Gibbs English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, suspended cymbal, tam- tam, tambourine, triangle, woodblock), piano, harp, and strings. The Fifth Symphony runs approximately 50 minutes in performance.

Program note © 2013. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association. 36 Musical Terms

GENERAL TERMS generations of composers scherzo is followed by a Cadence: The conclusion since 1900 that the means gentler section called a trio, to a phrase, movement, of musical expression in after which the scherzo is or piece based on a the 20th century must be repeated. Its characteristics recognizable melodic adequate to the unique and are a rapid tempo in triple formula, harmonic radical character of the age time, vigorous rhythm, and progression, or dissonance Op.: Abbreviation for opus, humorous contrasts. resolution a term used to indicate Sonata form: The form in Chord: The simultaneous the chronological position which the first movements sounding of three or more of a composition within a (and sometimes others) tones composer’s output. Opus of symphonies are usually Chromatic: Relating to numbers are not always cast. The sections are tones foreign to a given reliable because they are exposition, development, key (scale) or chord often applied in the order and recapitulation, the Coda: A concluding of publication rather than last sometimes followed section or passage added composition. by a coda. The exposition in order to confirm the Polyphony: A term used is the introduction of impression of finality to designate music in more the musical ideas, which Counterpoint: A than one part and the style are then “developed.” In term that describes in which all or several of the recapitulation, the the combination of the musical parts move to exposition is repeated with simultaneously sounding some extent independently modifications. musical lines Rondo: A form frequently Tonality: The orientation Dissonance: A used in symphonies and of melodies and harmonies combination of two or more concertos for the final towards a specific pitch or tones requiring resolution movement. It consists pitches Harmonic: Pertaining to of a main section that Tonic: The keynote of a chords and to the theory alternates with a variety of scale and practice of harmony contrasting sections (A-B- Trio: See scherzo Intonation: The treatment A-C-A etc.). of musical pitch in Scale: The series of THE SPEED OF MUSIC performance tones which form (a) any (Tempo) Legato: Smooth, even, major or minor key or (b) Adagio: Leisurely, slow without any break between the chromatic scale of Allegretto: A tempo notes successive semi-tonic between walking speed Meter: The symmetrical steps and fast grouping of musical Scherzo: Literally “a Allegro: Bright, fast rhythms joke.” Usually the third Andante: Walking speed Modernism: A movement of symphonies Giocoso: Humorous consequence of the and quartets that was Marcato: Accented, fundamental conviction introduced by Beethoven stressed among successive to replace the minuet. The 37 April The Philadelphia Orchestra Jessica Griffin

Tickets are disappearing fast for these amazing concerts! Order your tickets today.

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