Season 20102010----20112011

The Philadelphia Orchestra

Thursday, December 22,, at 8:00 Friday, December 33,, at 2:00 Saturday, December 44,, at 8:00

Gianandrea Noseda Conductor Garrick Ohlsson Piano

Smetana Hakon Jarl, Op. 16 First Philadelphia Orchestra performances

Prokofiev No. 5 in G major, Op. 55 I. Allegro con brio II. Moderato ben accentuato III. Toccata: Allegro con fuoco (più presto che le prima volta) IV. Larghetto V. Vivo

Intermission

Respighi The Fountains of Rome I. The Fountain of Valle Giulia at Dawn— II. The Triton Fountain at Morn— III. The Fountain of Trevi at Mid-day— IV. The Villa Medici Fountain at Sunset

Respighi Roman Festivals I. Circenses II. The Jubilee III. The October Festival IV. The Epiphany

This program runs approximately 1 hour, 50 minutes.

Gianandrea Noseda currently serves as music director of the Teatro Regio in Turin, chief conductor of the BBC Philharmonic, Victor de Sabata Guest Conductor of the Pittsburgh Symphony, principal conductor of the Orquesta de Cadaqués, and artistic director of the Stresa Festival. Formerly principal guest conductor of the Rotterdam Philharmonic from 1999 to 2003 and the Orchestra Sinfonica Nazionale della RAI from 2003 to 2006, he became the first foreign principal guest conductor of the in St. Petersburg in 1997 and later was co-founder and principal conductor of the Mariinsky Young Philharmonic.

Born in Milan, Mr. Noseda appears all over the world with orchestras such as the New York, Oslo, and Israel philharmonics, and the Chicago, Boston, London, and NHK symphonies. In Italy he regularly conducts the Orchestra Sinfonica Nazionale della RAI, the Filarmonica della Scala, and the Santa Cecilia Orchestra. Future engagements include his debuts with the National Symphony in Washington and the Orchestre de Paris. These current performances mark his Philadelphia Orchestra debut.

Mr. Noseda is an exclusive Chandos recording artist and his extensive discography includes music by Rachmaninoff, Prokofiev, Karlowitz, Dvořák, Smetana, Shostakovich, and Mahler. He has also made recordings of works by such Italian composers as Respighi, Dallapiccola, Wolf-Ferrari, and Casella, in addition to a complete cycle of Liszt’s symphonic works. Mr. Noseda’s recordings with the BBC Philharmonic on Chandos include live performances of Beethoven’s complete symphonies as well as the complete symphonies of Tchaikovsky, Schumann, and Brahms.

Mr. Noseda works closely with youth orchestras worldwide, including the Joven Orquesta Nacional de España, the Orchestra of the Royal College of Music in London, the National Youth Orchestra of the United Kingdom, the Orchestra Giovanile Italiana of Fiesole, and the European Union Youth Orchestra. For his activity in Italy and abroad, Mr. Noseda has received the honor of Cavaliere Ufficiale al Merito della Repubblica Italiana.

Garrick Ohlsson opened his 2010-11 season at Carnegie Hall with the Orpheus Chamber Orchestra, followed by return visits to the orchestras of Cleveland, Pittsburgh, Washington, Milwaukee, Toronto, San Diego, and the New World Symphony in Miami. In Europe he will visit orchestras in Sweden, Denmark, and Spain. In recognition of the bicentenary of Chopin’s birthday, Mr. Ohlsson will present a series of all-Chopin recital programs in Seattle, Berkeley, and La Jolla culminating at Lincoln Center. In conjunction with that project a documentary featuring Mr. Ohlsson, The Art of Chopin, has recently been released. In the summer of 2010, he was featured in all-Chopin programs at the Ravinia and Tanglewood festivals as well as in appearances in Taipei, Beijing, Melbourne, and Sydney.

Mr. Ohlsson is an avid chamber musician who has collaborated with the Cleveland, Emerson, Takács, and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco- based FOG Trio.

Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, and Virgin Classics labels. His undertaking of the complete Beethoven sonatas for Bridge Records has already resulted in eight discs, the third of which won a Grammy Award for Best Instrumental Soloist Performance. Hyperion has also re- released his 16-disc set of the complete works of Chopin as well as a disc of Brahms piano works.

A native of White Plains, NY, Mr. Ohlsson began his piano studies at the age of eight. He attended the Westchester Conservatory of Music and at 13 entered the Juilliard School. Among his teachers are Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne, and Irma Wolpe. Winner of first prizes at the 1966 Busoni Competition in Italy and the 1968 Montreal Piano Competition, his Gold Medal at the 1970 Chopin Competition in Warsaw brought him worldwide recognition. That same year he made his Philadelphia Orchestra debut. Mr. Ohlsson was awarded the Avery Fisher Prize in 1994, and in 1998 he received the University Musical Society Distinguished Artist Award in Ann Arbor, MI. He makes his home in San Francisco.

FRAMING THE PROGRAM

The three composers on today’s program are all closely identified with their homelands— Smetana with Bohemia, Prokofiev with Russia, and Respighi with Italy. Yet each of them lived abroad for extended periods and had experiences that profoundly affected their art.

Smetana’s Hakon Jarl is the last of a trilogy of symphonic poems he composed while living in Sweden for five years in his mid-30s. In this piece, which depicts a contest between pagan and Christian leaders, Smetana drew upon the latest in German compositional techniques and was particularly inspired by .

Prokofiev left Russian soon after the 1917 Revolution and spent nearly the next 20 years in the United States and Europe. He composed his Fifth Piano Concerto a few years before moving back to the Soviet Union in 1936. Prokofiev was the soloist for the premiere with the Berlin Philharmonic, conducted by Wilhelm Furtwängler.

Respighi is justly recognized for his brilliant orchestrations, a skill he learned in part as a young composer studying with Nikolai Rimsky-Korsakov in Russia. Today’s concert concludes with two of his so-called Roman Trilogy: The Fountains of Rome and Roman Festivals.

Parallel Events 1861 Smetana Hakon Jarl Music Brahms Piano Quartet No. 1 Literature Eliot Silas Marner Art Whistler Wapping History Civil War begins

1916 Respighi The Fountains of Rome Music Korngold Violanta Literature Burroughs The Beasts of Tarzan Art Monet Water Lilies History National Park Service established

1931 Prokofiev Piano Concerto No. 5 Music Varèse Ionisation Literature Buck The Good Earth Art Brancusi Mlle. Pognany History George Washington Bridge completed Hakon Jarl

BedBedřřřřichich Smetana Born in Litomysl, Bohemia, March 2, 1824 Died in Prague, May 12, 1884

Although Bedřich Smetana is widely viewed as the first great Czech composer, other lands and languages helped to shape his early career. Born near Prague, Smetana, like many upper-class Bohemians, was raised speaking German. In a letter written at age 35, during the time he was composing the piece we hear today, he confessed:

Educated from my youth in German, both at school and in society, I took no care, while still a student, to learn anything but what I was forced to learn, and later divine music monopolized all my energy and my time so that to my shame, I must now confess that I cannot express myself adequately or write correctly in Czech.

The “divine music” to which Smetana refers was not that of the Czech lands, but rather that of the great German tradition. His musical language therefore also had a heavy German accent. Mozart was his idol and a life changing experience came at age 16 when he heard a performance by Franz Liszt, the leader of the so-called New German School.

The Swedish Symphonic Poems Smetana vowed to become “a Liszt in technique and a Mozart in composition.” He found, however, that the Czechs were initially unreceptive to his music, notably his Piano Trio in G minor, which Liszt praised highly when visiting Prague in 1856. “Prague did not wish to acknowledge me, so I left it,” Smetana informed his parents at the end of the year as he emigrated to Göteborg, Sweden. The Swedes embraced him and he pursued new compositional paths, further spurred by a trip to Weimar to see Liszt, whose innovative symphonic poems became his model.

And thus were born a trilogy of Smetana’s own symphonic poems written in Sweden. He began with Richard III (1858), inspired by Shakespeare’s play and emulating Liszt’s Hamlet; there followed Wallensteins Lager (Wallenstein’s Camp, 1859), after a play by Friedrich Schiller that presented a military struggle akin to Liszt’s Hunnenschlacht (Battle of the Huns). The final symphonic poem, Hakon Jarl (Earl Hakon, 1861), is also based on a play, one by the Danish poet Adam Oehlenschläger. Smetana saw the drama performed several times and told a friend, “I can assure you that the impression made on me was so powerful that I tried to present at least the plot of the tragedy in symphonic form.”

Smetana finished Hakon Jarl in March 1861 and soon returned to Bohemia, where he spent the rest of his life. He achieved recognition as his country’s greatest composer through his chamber music, operas, and later orchestral works, most notably the six-part cycle Má vlast (My Country). He continued to be greatly influenced by Liszt, and his Swedish years left their mark on his most famous piece. The principal theme of Vlatava (Moldau in German) is not based on a Czech folk song, but rather a Swedish one. In the 1890s, after Smetana’s death, the melody was transformed into Hatikvah (The Hope) and adopted as the anthem at the First Zionist Congress. Musicologist Richard Taruskin has observed that the “ Moldau theme, in its Czech manifestation, can thus be looked upon as a stage in the history of a melody as it passed from its Swedish origins to its Israeli destination. But of course even this characterization is misleading. There are no origins and no destinations in such histories, only stages.”

A Closer Look Smetana uses neither Scandinavian nor Czech melodies in Hakon Jarl, and the religious sounding chorale in it is of his own invention. The symphonic poem depicts a contest between two political rivals, the pagan Earl Hakon and the Christian Olaf. Smetana gave an overview of the piece in a letter for a performance in 1883:

Hakon, a Norwegian usurper, can no longer endure the weak rule of Olaf, the rightful heir to the throne. Consequently he drives him out and has himself crowned King. Olaf flees to seek support among neighboring princes. Hakon, victorious in battle, immediately wins the people’s support and leads them to worship heathen idols, but later he rouses their anger by introducing and enforcing severe measures. Olaf meanwhile gains the help of Christian princes abroad and makes a surprise attack, offering the Norwegian people concessions. Hakon is betrayed by his own subjects and Olaf is declared King. In the course of the battle, Hakon takes refuge in a cave high in the mountains where he believes himself invulnerable to attack. But he is murdered by members of his own band.

The opening of the work is marked Andante energico and the music has a Beethovenian force representing Hakon that gives way to a soft brass chorale associated with Olaf. As the piece progresses we hear the struggles between the opposing forces, Olaf’s victory, and the concluding assassination of Hakon.

—Christopher H. Gibbs

Smetana composed Hakon Jarl in 1861.

These are the first Philadelphia Orchestra performances of Hakon Jarl.

The score calls for piccolo, two , two , two , bass , two , four horns, two , three , , timpani, percussion (bass drum, cymbals, triangle), harp, and strings.

Performance time is approximately 16 minutes.

Piano Concerto No. 5

Sergei Prokofiev Born iiinin Sontsovka (Ukraine), April 23, 1891 Died iiinin Moscow, March 5, 1953

The early 1930s marked a period of transition for . Drawn increasingly back to his homeland, he became disenchanted with the West, having lived in the United States and Europe. He was immersed in a new compositional style, one that he called a “new simplicity,” perhaps a reaction to the French modernist school of Poulenc. In a 1932 letter to his friend Nikolai Myaskovsky, he admits, “When you become infatuated with the search for a new melodic style and for a new simplicity, you can begin to forget how far you have drifted from shore.” Prokofiev continues by acknowledging the precarious compositional path he has chosen: “If this process really does help you to discover a new language, then that is good; if you fall into sterility and mannerisms, then you’re finished.” His “new simplicity” eschewed lush melody for short, brittle motifs and favored counterpoint, extreme dynamic markings, fast embellishments, quirky turns of phrase, and succinctness.

French and American modernism may be found in Prokofiev’s compositions of 1932, including his Sonata for Two Violins in C major, Op. 56, and his Music for Piano and Orchestra, a title that he later crossed out in favor of Piano Concerto No. 5. Prokofiev premiered the Concerto with the Berlin Philharmonic, under the baton of Wilhelm Furtwängler. Conscious of the conductor’s perfectionism, Prokofiev wrote in a letter that he would “have to do a lot of cramming” to be prepared. He was late arriving in Berlin, prompting Furtwängler to remark, “I left one rehearsal for you, but that is of course not enough for such a difficult score.” Nevertheless, the Berlin premiere, which occurred three months before Hitler’s succession to power, was well received by the audience and led to an extended concert tour, in which Prokofiev played the Concerto in Moscow, Leningrad, and the United States.

A “New Muscular Piano Idiom” Prokofiev composed nine vigorous piano sonatas, spanning his life—the final one written in 1953, the year he died. (Incidentally, Prokofiev shares the day of his death with Stalin.) He penned numerous program pieces for keyboard, including arrangements of his ballets Cinderella and Romeo and Juliet. His five piano concertos represent a remarkable achievement in the genre. His signature compositional style combines Classical structure with colorful pianism, harmonic bombshells, percussive articulation, and driving rhythms.

Prokofiev was himself a virtuoso pianist. Myaskovsky heard him perform Scriabin’s Fifth Sonata, enthusiastically endorsing his interpretation of music so different from Prokofiev’s own. Prokofiev’s mother was his first teacher, and at age seven he was already composing a march for four hands. At 13 he entered the Conservatory in St. Petersburg, where he studied composition and worked with the pianist Anna Esipova. In his autobiography, Prokofiev noted that her method did not fit his personality and admitted, “Moreover I had great difficulty in ridding myself of the habit of careless playing, and the Mozart, Schubert, and Chopin, which she insisted on.” Prokofiev was drawn to a new muscular piano idiom, often commented upon by critics. One wrote of a 1918 New York concert that Prokofiev’s playing made him think of a “herd of mammoths charging across an Asiatic plateau” and noted his “steel fingers, steel wrists, steel biceps, and triceps.” It was no wonder that a hotel worker touched Prokofiev’s sleeve and remarked in awe, “steel muscles.”

A Closer Look Strength of conviction and interpretation are certainly required for the difficult Piano Concerto No. 5. In it we find the meeting of “new simplicity” and “steel muscles.” The Fifth Concerto consists of five rather brief movements in which ingenious thoughts flow effortlessly, capturing the composer’s expected inexhaustible enthusiasm for the piano and its nemesis, the colorful orchestra.

The first movement (AllegroAllegro con briobrio) consists of an overactive piano line, jumping joyfully about the keyboard, juxtaposed with a patient and restrained orchestra. The piano seems to push the envelope with each subsequent entry, almost mocking the orchestra with its independence. A Meno mosso section follows, in which the pianist calms down, as if in a child’s time-out, resulting in a final section in which the orchestra and piano play together. A marching beat pervades the second movement (ModeratModeratoo ben accenaccentuatotuatotuato). Fabulous mark the entrance of the piano as the orchestra keeps the beat. A 12/8 section mixes in spunky syncopation. The third movement Toccata (AllegroAllegro con fuoco [più presto che la prima volta]volta]) abounds with tricky rhythms.

The fourth movement Larghetto is the longest and most pensive of the Concerto. Prokofiev assigns the piano a beautiful melody played in octaves. The woodwinds enter, contributing to this tranquil oasis, but not for long, as a restless middle section skips up and down the keyboard. Chordal calm returns in a striking piano solo. The piano follows, sounding like a harp in its uppermost register, and we return to the serene beginning, this time sotto voce. The last movement (VivoVivoVivo) recalls the opening movement’s delirious rollicking. Prokofiev’s music is suggestive and entertaining, a testament to his unique imagination as composer and pianist.

The Fifth Piano Concerto captures a sense of artistic freedom, which, ironically, Prokofiev believed he could find more readily in the Soviet Union, as his autobiography explains: “Here is how I feel about it: I care nothing for politics—I’m a composer first and last. Any government that lets me write my music in peace, publishes everything I compose before the ink is dry, and performs every note that comes from my pen is all right with me. In Europe, we all have to fish for performances, cajole conductors and theatre directors; in Russia they come to me—I can hardly keep up with the demand.”

—Eleonora M. Beck

Prokofiev composed his Piano Concerto No. 5 from 1931 to 1932.

Sviatoslav Richter was the pianist in the first Philadelphia Orchestra performance of the Fifth Concerto, on May 29, 1958, in Moscow as part of the Orchestra’s Tour to Europe and the Soviet Union; Eugene Ormandy was on the podium. The most recent performance of the work was in June 1970 at the Robin Hood Dell with Jerome Lowenthal as soloist and Daniel Barenboim.

Prokofiev scored the work for two flutes (II doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, , bass trombone, tuba, timpani, percussion (bass drum, snare drum), strings, and solo piano.

The piece runs approximately 25 minutes in performance.

The Fountains of Rome and Roman Festivals

Ottorino Respighi Born iiinin Bologna, July 9, 1879 Died in Rome, April 18, 1936

Artists who define themselves and their art primarily in terms of a single city—such as Dickens for London, Pissarro for Paris, or Woody Allen for New York—find that, rather than limiting their artistic palette, their choice broadens their creativity, simultaneously revealing subtle new things about the city. was as passionate about Rome as any artist could be. After studies with Giuseppe Martucci in Bologna and Nikolai Rimsky- Korsakov in St. Petersburg, Respighi settled in Rome in 1913.

It is no surprise that three of this musical colorist’s most popular orchestral scores are impressions of various aspects of the city he loved: The Fountains of Rome, The Pines of Rome, and Roman Festivals. Influenced by the orchestral music of Strauss, Debussy, Ravel, and Rimsky-Korsakov, Respighi took their differing ideals of sound and color and forged them into a personal and unabashedly extroverted instrumental style.

“I wonder why no one has ever thought of making the fountains of Rome ‘sing,’” wrote Respighi, “for they are, after all, the very voice of the city.” The set received its first performance in Rome in February 1918 led by Arturo Toscanini.

A Closer Look: The Fountains of Rome The descriptions in the first printed score below quite probably stem from the composer himself:

In this symphonic poem the composer has endeavored to give expression to the sentiments and visions suggested to him by four of Rome’s fountains, contemplated at the hour in which their character is most in harmony with the surrounding landscape, or in which their beauty appears most impressive to the observer.

The first part of the poem, inspired by the FountainFountain of Valle Giulia, depicts a pastoral landscape; droves of cattle pass and disappear in the fresh, damp mists of a Roman dawn. A sudden loud and insistent blast of horns above the trills of the whole orchestra introduces the second part, the Triton Fountain. It is like a joyous call, summoning troops of naiads and tritons, who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.

Next there appears a solemn theme, borne on the undulations of the orchestra. It is the Fountain of Trevi at mid-day. The solemn theme … assumes a triumphal character. Trumpets peal; across the radiant surface of the water there passes Neptune’s chariot, drawn by sea horses and followed by a train of sirens and tritons. The procession then vanishes, while faint blasts resound in the distance. The fourth part, the Villa Medici Fountain,Fountain, is announced by a sad theme, which rises above a subdued warbling. It is the nostalgic hour of sunset. The air is full of the sound of tolling bells, birds twittering, leaves rustling. Then all dies peacefully into the silence of the night.

A Closer Look: Roman Festivals Roman Festivals, first performed in February 1929 by Toscanini and the New York Philharmonic, traces a cycle of religious and pagan feasts. The composer’s definitive program note for the piece follows.

I. Circenses. A threatening sky hangs over the Circus Maximus, but it is the people’s holiday: “Ave Nero!” The iron doors are unlocked, the strains of a religious song and the howling of wild beasts float in the air. The crowd comes to its feet in agitation. Unperturbed, the song of the martyrs gathers strength, conquers, and then is lost in the tumult.

II. The Jubilee. Pilgrims trail along the road, praying. Finally, from the summit of Monte Mario appears to ardent eyes and gasping spirits the Holy City: “Rome! Rome”! A hymn of praise bursts forth, and the churches ring out their reply.

III. The October Festival. The October Festival (“L’Ottobrata”) in the Roman castelli, covered with vines; echoes of the hunt, tinkling of bells, songs of love. Then in the tender twilight arises a romantic serenade.

IV. The Epiphany. The night before Epiphany in the Piazza Navona: a characteristic rhythm of trumpets dominates the frantic clamor; from time to time among the swelling noise float rustic motives, saltarello cadenzas, the strains of a barrel-organ in a booth and the call of the barker, the harsh song of the inebriated and the lively refrain in which is expressed the popular sentiment— “Lassàtese passà, semo Romani!” (Let us pass, we are Romans!).

—Paul J. Horsley

The Fountains of Rome was composed in 1916 and Roman Festivals in 1928.

The first Philadelphia Orchestra performances of Fountains were in January 1932, with Fritz Reiner. The last Orchestra subscription performances were in November 2006, with Rafael Frühbeck de Burgos. Eugene Ormandy conducted the first Orchestra performances of Festivals, in October 1940. Most recently on subscription it was led by André Raphel Smith in March 1996.

Fountains has been recorded by the Orchestra four times: with Ormandy in 1957 and 1968 for CBS and in 1974 for RCA; and with Riccardo Muti in 1984 for EMI. The Philadelphia Orchestra has recorded Roman Festivals six times: in 1941 for RCA with Toscanini; in 1946, 1960, and 1961 for CBS and 1974 for RCA, all with Ormandy; and in 1984 for EMI with Muti.

Fountains is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (chimes, cymbals, orchestra bells, suspended cymbal, triangle), two harps, piano, celesta, organ, and strings. Festivals is scored for three flutes (III doubling piccolo), two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, percussion (bass drum with cymbal, chimes, cymbals, orchestra bells, ratchet, sleighbells, snare drum, tam- tam, tambourine, tenor drum, triangle, wood blocks, xylophone), piano (four-hands), organ, three buccini (usually played by trumpets), mandolin, and strings.

Fountains of Rome runs approximately 15 minutes and Roman Festivals approximately 24 minutes in performance.

Program notes © 2010. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association and/or Eleonora M. Beck. GENERAL TERMS Cadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or composition ChoralChorale:e: A hymn tune of the German Protestant Church, or one similar in style Chord: The simultaneous sounding of three or more tones Coda: A concluding section or passage added in order to confirm the impression of finality Counterpoint: A term that describes the combination of simultaneously sounding musical lines : A glide from one note to the next Octave: The interval between any two notes that are seven diatonic (non-chromatic) scale degrees apart. Two notes an octave apart are different only in their relative registers (e.g. c- c′; d-d′). Op.: Abbreviation for opus, a term used to indicate the chronological position of a composition within a composer’s output. Opus numbers are not always reliable because they are often applied in the order of publication rather than composition. Rondeau: A form frequently used in symphonies and concertos for the final movement. It consists of a main section that alternates with a variety of contrasting sections (A-B-A-C-A etc.). Saltarello: An Italian 16th-century dance in quick triple meter ScherScherzo:zo: Literally “a joke.” Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo in triple time, vigorous rhythm, and humorous contrasts. Sonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then “developed.” In the recapitulation, the exposition is repeated with modifications. Sotto voce: Softly, in a low voice Symphonic poem: A type of 19th-century symphonic piece in one movement, which is based upon an extramusical idea, either poetic or descriptive Syncopation: Generally, the deliberate disturbance of the normal pulse of meter, accent, and rhythm Toccata: Literally “to touch.” A piece intended as a display of manual dexterity, often free in form and almost always for a solo keyboard instrument. Trill: A type of embellishment that consists, in a more or less rapid alternation, of the main note with the one a tone or half-tone above it

THE SPEED OF MUSIC (Tempo) Accentuato: Accented, emphasized, stressed Allegro: Bright, fast Andante: Walking speed Con brio: Vigorously, with fire Con fuoco: With fire, passionately, excited Energico: With vigor, powerfully Larghetto: A slow tempo Meno mosso: Less moved (slower) Moderato: A moderate tempo, neither fast nor slow Più presto che la prima volta: Faster than the first movement Vivo: Lively, intense

TEMPO MODIFIERS Ben: Quite