23 Season 2017-2018

Thursday, February 8, The Philadelphia at 7:30 Friday, February 9, at 2:00 Saturday, February 10, Mirga Gražinytė-Tyla Conductor at 8:00 Menahem Pressler Janai Brugger Soprano

Mozart Piano Concerto No. 23 in A major, K. 488 I. Allegro II. Adagio III. Allegro assai

Intermission

Mahler Symphony No. 4 in G major I. Bedächtig. Nicht eilen II. In gemächlicher Bewegung III. Ruhevoll. Poco adagio IV. Sehr behaglich

This program runs approximately 1 hour, 50 minutes.

The February 8 concert is sponsored by Leslie A. Miller and Richard B. Worley.

The February 10 concert is sponsored by Allan Schimmel in memory of Reid B. Reames.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24

Please join us following the February 9 concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra.

Reicha Two Andantes and Adagio, for English horn, flute, , , and I. Andante arioso II. Andante III. Adagio Elizabeth Starr Masoudnia English Horn David Cramer Flute Samuel Caviezel Clarinet Angela Anderson Smith Bassoon Shelley Showers Horn 25 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage. The Orchestra Center, Penn’s Landing, Concerts, School Concerts, is inspiring the future and and other cultural, civic, and residency work in transforming its rich tradition and learning venues. The Philadelphia and abroad. of achievement, sustaining Orchestra maintains a strong Through concerts, tours, the highest level of artistic commitment to collaborations residencies, presentations, quality, but also challenging— with cultural and community and recordings, The and exceeding—that level, organizations on a regional Philadelphia Orchestra is and national level, all of which by creating powerful musical a global ambassador for create greater access and experiences for audiences at Philadelphia and for the engagement with classical home and around the world. US. Having been the first music as an art form. American orchestra to Music Director Yannick The Philadelphia Orchestra perform in China, in 1973 Nézet-Séguin’s connection serves as a catalyst for at the request of President to the Orchestra’s musicians cultural activity across Nixon, the ensemble today has been praised by Philadelphia’s many boasts a new partnership with both concertgoers and communities, building an Beijing’s National Centre for critics since his inaugural offstage presence as strong the Performing Arts and the season in 2012. Under his as its onstage one. With Shanghai Oriental Art Centre, leadership the Orchestra Nézet-Séguin, a dedicated and in 2017 will be the first- returned to recording, with body of musicians, and one ever Western orchestra to two celebrated CDs on of the nation’s richest arts appear in Mongolia. The the prestigious Deutsche ecosystems, the Orchestra Orchestra annually performs Grammophon label, has launched its HEAR at Carnegie Hall while also continuing its history of initiative, a portfolio of enjoying summer residencies recording success. The integrated initiatives that in Saratoga Springs, NY, and Orchestra also reaches promotes Health, champions Vail, CO. For more information thousands of listeners on the music Education, eliminates on The Philadelphia radio with weekly broadcasts barriers to Accessing the Orchestra, please visit on WRTI-FM and SiriusXM. orchestra, and maximizes www.philorch.org. 26 Conductor

Fran Jansen Mirga Gražinytė-Tyla, who is making her Philadelphia Orchestra debut, was named music director of the City of Birmingham Symphony (CBSO) in February 2016, following in the footsteps of Simon Rattle, Sakari Oramo, and Andris Nelsons. As a guest conductor she has electrified audiences all over the world. In Europe she has collaborated with the Lithuanian National, Danish National, and Vienna Radio symphonies; the Beethoven Orchestra Bonn; the Deutsche Radiophilharmonie; the Choir of the Bavarian Radio; the MDR Symphony Leipzig; the Vienna Chamber Orchestra; the Mozarteum Orchestra; the Camerata Salzburg; and the Orchestra of the Komische Oper in Berlin. At the Kremerata Baltica she has enjoyed a dynamic collaboration with artistic director Gidon Kremer on numerous European tours. She has led in Heidelberg, Salzburg, at the Komische Oper Berlin, and in Bern, where she served as Kapellmeister. In North America she has worked with the Seattle and San Diego symphonies and made her New York conducting debut with the Juilliard Orchestra. With the Los Angeles Philharmonic, Ms. Gražinytė-Tyla was a Dudamel Fellow in the 2012-13 season, assistant conductor for two seasons (2014-16), and associate conductor for the 2016-17 season. She was the music director of the Salzburg State Theatre from 2015 to 2017. Winner of the prestigious Salzburg Festival Young Conductors Award in 2012, she subsequently made her debut with the Gustav Mahler Youth Orchestra in a symphonic concert at the Festival. In addition to these current performances, highlights of her 2017-18 season include an extensive tour of Europe with the CBSO; return visits to the Lithuanian National Symphony and the Los Angeles Philharmonic; and debuts with the Orchestre Philharmonique de Radio France, the Deutsches Symphonie-Orchester Berlin, the Orchestra dell’Accademia Nazionale di Santa Cecilia, the RAI National Symphony, and the Met Orchestra at Carnegie Hall. A native of Vilnius, Lithuania, Ms. Gražinytė-Tyla was born into a musical family. Before pursuing her studies at the Music Conservatory in Zurich, she studied at the Music Conservatory Felix Mendelssohn-Bartholdy in Leipzig and at the Music Conservatory in Bologna, Italy. 27 Soloist

Marco Borggreve Menahem Pressler, founding member and pianist of the Beaux Arts Trio, has established himself among the world’s most distinguished and honored musicians, with a career that spans seven decades. Now, at 94 years old, he continues to captivate audiences throughout the world as performer and pedagogue, playing solo and chamber music recitals to great critical acclaim while maintaining a dedicated and robust teaching career. Born in Magdeburg, Germany, in 1923, Mr. Pressler fled Nazi Germany in 1939 and immigrated to Israel. His world-renowned career was launched after he was awarded first prize at the Debussy International Piano Competition in San Francisco in 1946. This was followed by his successful American debut with The Philadelphia Orchestra under the baton of Eugene Ormandy in 1947. Mr. Pressler last appeared with the Orchestra in summer 1996, performing with the Beaux Arts Trio at the Mann and at Saratoga; this is his first solo appearance with the ensemble since 1951. Mr. Pressler’s extensive tours of North America, Europe, and the Far East have included performances with the orchestras of New York, , Cleveland, Pittsburgh, Dallas, San Francisco, London, Paris, Berlin, Hamburg, Dresden, Amsterdam, Brussels, Oslo, Helsinki, and many others. The 1955 Berkshire Music Festival marked his debut as a chamber musician, where he appeared as pianist with the Beaux Arts Trio—the ensemble’s only pianist for nearly 55 years. After the Trio took its final bows in 2008, Mr. Pressler continued to dazzle audiences throughout the world, both as piano soloist and collaborating chamber musician. Recent solo engagements include six performances with the Berlin Philharmonic, the last three with Simon Rattle for the 2014 New Year’s Eve concerts televised worldwide, as well as performances with the Orchestre de Paris and the Royal Concertgebouw Orchestra. Nearing 90 he collaborated with tenor Christoph Pregardien, playing Schubert’s Winterreise for the first time. Mr. Pressler underwent lifesaving surgery and recuperation in 2015. This season he tours Asia, Europe, the U.S., and Israel, giving recitals, playing chamber music, and performing as soloist with orchestras. He also continues to give master classes. 28 Soloist

Dario Acosta Janai Brugger made her Philadelphia Orchestra debut in 2013 at Longwood Gardens and makes her subscription debut with these performances. A 2012 winner of both and the National Council Auditions, she began the 2017-18 season returning to the Royal Opera House as Pamina in Mozart’s . In addition to these current concerts, she also performs Mahler’s Fourth Symphony with the Los Angeles Philharmonic. In her hometown she sings the role of Liù in Puccini’s Turandot at the and performs in Laura Karpman’s Ask Your Mama with the Chicago Sinfonietta. She also gives a recital and appears as Clara in a concert performance of Gershwin’s Porgy and Bess at the University of Michigan; sings Susanna in Mozart’s at Palm Beach Opera; and finishes the season at the Dutch National Opera as Servillia in Mozart’s La clemenza di Tito. Ms. Brugger’s recent highlights include performances at the Metropolitan Opera in several roles: Jemmy in Rossini’s William Tell (role debut), Micaëla in Bizet’s , Pamina, and Marzelline in Beethoven’s Fidelio (role debut). She won the Kennedy Center’s 2016 Marian Anderson Vocal Award and gave a recital at the Center. She has also recently appeared with the Atlanta Symphony singing Amore in Gluck’s Orfeo and Euridice in concerts and for a recording; at the Bonn Aids Gala in Germany; and at Grant Park in Chicago for Beethoven’s Ninth Symphony. Identified byOpera News as one of the top 25 “brilliant young artists” (October 2015 issue), Ms. Brugger appeared last season in the Metropolitan Opera’s Rising Stars concert series and made several U.S. concert and recital appearances, along with her debut as Norina in Donizetti’s Don Pasquale at Palm Beach Opera. For she has sung Musetta in Puccini’s La bohème under the baton of Gustavo Dudamel and Pamina in a new production by Barrie Kosky. She made her Metropolitan Opera debut in 2012 as Liù, returning in the 2013-14 season to sing Helena in the pastiche The Enchanted Island. 29 Framing the Program

Even if it would be exaggerating to say that Mozart Parallel Events invented the piano concerto he was undoubtedly the 1786 Music composer who made the genre matter and whose Mozart Dittersdorf prodigious works remain at the center of the standard Piano Concerto Doktor und concert repertory. In early 1786, while at work on his No. 23 Apotheker opera The Marriage of Figaro, he rapidly composed three Literature piano concertos for a series of concerts he planned to Bourgoyne give during Lent. Today we hear the second of them, the The Heiress radiant Concerto in Art A major, K. 488. Goya The Seasons Gustav Mahler had a special reverence for the music History of Mozart and frequently conducted his operas, late Daniel Shays symphonies, and Requiem. Although the size and length of Rebellion in most of Mahler’s symphonies are very different from those Massachusetts of Mozart, the Fourth is his shortest and in many respects his most Classical and intimate. He displays his Mozartian 1899 Music Mahler Sibelius affinities. The work opens evocatively with the sounds of Symphony Finlandia sleigh bells and progresses through the four movements No. 4 Literature to a vocal finale that offers a child’s vision of paradise with Wilde a setting of the song “The Heavenly Life.” The Importance of Being Earnest Art Cézanne Turning Road at Montgeroult History Boer War

The Philadelphia Orchestra is the only American orchestra with weekly broadcasts on Sirius XM’s Symphony Hall, Channel 76, made possible through support from the Damon Runyon Cancer Research Foundation on behalf of David and Sandy Marshall. Broadcasts are heard on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 4 PM. 30 The Music Piano Concerto No. 23

Mozart’s mature piano concertos are often characterized as “operatic,” for their approach to melody and texture seems to borrow from principles the composer learned in writing stage music. Since the Classical concerto is partly a historical descendant of the concertante aria of the Baroque, an 18th-century concerto movement often resembles an aria—with the soloist in the role of protagonist, and with the interplay of solo and ensemble akin to the dramatic unfolding and “character-development” found in operatic scenes. Mozart’s piano concertos of the Wolfgang Amadè Mozart 1785-86 season illustrate this analogy neatly, and perhaps Born in Salzburg, for this reason his operas and mature concertos are often January 27, 1756 discussed together. Both genres seemed to have brought Died in Vienna, December 5, 1791 out the very best in him: dazzling cantabile, dense wit, and a sharp sense of drama. Three Masterful Works At the same time that he was working on The Marriage of Figaro (from late 1785 to April 1786), Mozart was also writing three masterly piano concertos, now known as K. 482, 488, and 491. Each of these three works contains the same melodic sophistication and harmonic subtlety that make Figaro the composer’s most rewarding opera. “They are compositions which I keep for myself, or for a small circle of music- lovers and connoisseurs,” wrote the composer to one of his patrons, in a letter accompanying gift-copies of the three concertos, “who promise not to let them out of their hands.” Indeed, these were works for sophisticates, for music-lovers of refined tastes and sensibilities. Mozart wrote the concertos to play in Vienna on his own series of Lenten subscription concerts during the spring of 1786. What a treat for the handful of connoisseurs fortunate enough to get tickets to these: the chance to hear one of the great piano virtuosos of his era performing premieres of his own works. Though we are uncertain which of these concerts contained which particular concertos, we are amply informed, through contemporary accounts, as to Mozart’s artistry at the keyboard. “I had never heard anything so great or so wonderful,” wrote the music-lover Ambros Rieder. “Such bold flights of fancy, which seemed to attain the highest regions, were like a marvel and a delight to even the most experienced of 31

Mozart’s A-major Concerto, K. musicians. Even to this day, although a very old man, I can 488, was composed in 1786. still hear those heavenly harmonies, and I die in the firm The Concerto received conviction that there has only been one Mozart.” its Philadelphia Orchestra The A-major Concerto, K. 488—the manuscript of which premiere in 1919, with Harold the composer dated March 2, 1786—remains one of Bauer as pianist and Leopold Mozart’s most deservedly popular works, partly because of Stokowski conducting. Most its amazing abundance of themes. His choice of the “soft” recently on a subscription program, it appeared in key of A major, uncommon for piano concertos, facilitates November/December 2006, the use of in A to fill the lines normally reserved with Christoph Eschenbach for —lending the texture a rich, burnished sound. conducting from the keyboard. A Closer Look The first three chords of the Concerto The score calls for solo establish a surprising harmonic interest that immediately piano, flute, two clarinets, two sparks the listener’s curiosity; this sense of suspense hardly , two horns, and lets up during the entire length of the delicately crafted strings. Allegro. The piano, entering with a presentation of the Performance time is same piquant opening subject, leads the proceedings with approximately 25 minutes. a virtuosity that is rarely showy, but instead poised and tranquil. The second movement Adagio is a passionate siciliano-style dance, cast in the unusually serious key of F-sharp minor; its dramatic, long-breathed opening theme is one of Mozart’s most genuinely tragic melodies. A similarly fecund array of melodies tumbles out in the Allegro assai finale, a dashing sonata-rondo with enough insouciant wit to dispel most of the Allegro’s ponderous uncertainty and the Adagio’s obscurity. —Paul J. Horsley 32 The Music Symphony No. 4

By 19th-century standards Mahler’s Fourth Symphony is imposing in its length and instrumentation, and unusual in ending with a movement using a soprano soloist. But for later audiences, ones familiar with all of the composer’s symphonies, the Fourth may seem rather modest, intimate, and Classical. It is his shortest, calls for the smallest orchestra, and employs some conventional symphonic forms. This is Mahler’s most “normal” symphony and his “happiest.” At least that is what many commentators have said about it for more than a century, despite the fact that Gustav Mahler with a composer so prone to irony things may never quite Born in Kalischt (Kaliště), be as straightforward as they initially appear. Bohemia, July 7, 1860 Died in Vienna, May 18, By 1901, when Mahler conducted the premiere of the 1911 Fourth in Munich, he was one of the leading musical figures in Europe. His ascension to the directorship of the Vienna Court Opera in 1897 had placed him in a position of extraordinary power and prestige, earning him adoring fans and implacable foes. The consuming demands of his job meant that time to compose came mainly during the summers, with revisions and orchestrations squeezed in when possible during the regular season. The “World of My Fourth” After writing his first three symphonies, each longer and more complex than the preceding one, Mahler had reached something of a limit and in 1899 struck out in new directions. His earlier symphonies all had programs of some sort—stories, titles, and poems— extra-musical baggage that he increasingly sought to suppress: “Death to programs,” he proclaimed at the time. Mahler addressed the issue of the differences among his early symphonies while composing the Fourth. As he resumed work on the piece in 1900 he confided to a friend his fears of not being able to pick up where he had left off the summer before: “I must say I now find it rather hard to come to grips with things here again; I still live half in, half out of the world of my Fourth. It is so utterly different from my other symphonies. But that must be; I could never repeat a state of mind, and as life progresses I follow new paths in each new work.” From Song to Symphony The Fourth Symphony has a rather complicated genesis that is crucial to understanding 33 its special character. For more than a decade, beginning in the late 1880s, Mahler was obsessed with Des Knaben Wunderhorn (The Youth’s Magic Horn), a collection of folk poetry compiled in the early 19th century. One of the poems, “Das himmlische Leben” (The Heavenly Life), relates a child’s innocent idea of blissful existence in heaven. Mahler first set the poem for voice and piano in February 1892 and orchestrated it soon thereafter. A few years later he decided to end his Third Symphony— destined to be the longest symphony ever written by a major composer—with that song as its seventh movement. He eventually changed his mind and chose to divert it to conclude his next symphony instead. Mahler originally planned for the Fourth Symphony to have six movements, three of them songs, leading to “Das himmlische Leben.” Although he eliminated the other vocal movements, and suppressed as well most of the programmatic elements he had initially envisioned, the heavenly Wunderhorn song remained and in fact helped to generate the entire Symphony. Mahler called attention to this on a number of occasions, such as when he chided a critic that his analysis was missing one thing: “Did you overlook the thematic connections that figure so prominently in the work’s design? Or did you want to spare the audience some technical explanations? In any case, I ask that that aspect of my work be specially observed. Each of the three movements is connected thematically with the last one in the most intimate and meaningful way.” Melodic, rhythmic, and instrumental ideas, drawn from both the vocal and orchestral parts of “Das himmlische Leben,” can be discovered in each of the three preceding movements. Mahler retained the rather modest orchestration of the original song, which omitted and , even though he regretted not having recourse to lower brass for the climax of the slow movement. The unusual instrumental sound of sleigh bells, which opens the first movement, is derived from the refrain that separates the stanzas of the song. Even the large-scale key scheme of the Symphony, the progressive tonality so rare before Mahler, comes from the song, in which G major leads to an ethereal E major. From melody, to rhythm, to orchestration and tonal planning, “Das himmlische Leben” was the source of the Fourth Symphony, and ultimately provided the spiritual vision as well. In the end Mahler decided not to divulge its program. He told his friend Natalie Bauer-Lechner: “I know the most wonderful names for the movements, but I will not betray them to the rabble of critics and listeners so they can 34

Mahler’s Symphony No. 4 was subject them to banal misunderstandings and distortions.” composed from 1899 to 1900, She also reports Mahler remarking: “At first glance one and was revised several times does not even notice all that is hidden in this inconspicuous between 1901 and 1910. little song, and yet one can recognize the value of such Bruno Walter led the first a seed by testing whether it contains the promise of a Philadelphia Orchestra manifold life.” The rich image of the “seed” from which performances of the an enormous work grows is useful in understanding the Symphony, in January 1946, importance of this song and its hold on Mahler. with soprano Desi Halban as soloist. The most recent A Closer Look The sounds of the sleigh bells that subscription performances open the first movement (Bedächtig. Nicht eilen) took place in October 2013; set a pastoral tone that pervades the work. This sunny Yannick Nézet-Séguin landscape, however, darkens in the middle of the conducted and Christiane Karg movement. Mahler remarked on the mood of the Fourth was the soprano. being like “the uniform blue of the sky. … Sometimes The score calls for four flutes it becomes overcast and uncanny, horrific: but it is (III and IV doubling piccolo), not heaven itself that darkens, for it goes on shining three oboes (III doubling with its everlasting blue. It is only that to us it seems English horn), three clarinets suddenly sinister.” Other clouds will pass in the following (II doubling E-flat clarinet and movements, but the blue sky always returns. III doubling ), The scherzo (In gemächlicher Bewegung) unleashes three bassoons (III doubling demonic powers. The concertmaster at points plays an contrabassoon), four horns, three , timpani, instrument tuned up one tone. Mahler originally subtitled percussion (bass drum, the movement “Friend Death Strikes up the Dance.” cymbals, orchestra bells, sleigh According to Mahler’s widow, Alma, her husband was bells, suspended cymbals, “under the spell of the self-portrait by Arnold Böcklin, in triangle), harp, strings, and which Death fiddles unto the painter’s ear.” The profound soprano soloist. slow movement (Ruhevoll) has the character of a lullaby Mahler’s Fourth runs elaborated in a set of variations. approximately 60 minutes in Despite all that proceeds, the final vocal movement performance. (Sehr behaglich) is not so much a culmination, as is the finale of Mahler’s earlier Second Symphony, but rather an arrival. The music is charming, wise, and difficult to pin down. Mahler provides an intriguing performance instruction: “To be sung with childlike, cheerful expression; entirely without parody.” Reacting to the last time Mahler conducted the work, with the Philharmonic Society of New York at Carnegie Hall in January 1911, a critic commented: “Mahler’s Symphony is more or less a puzzle. The composer did not provide titles for the individual movements for the Symphony as a whole. Through the artistic device of connecting the movements thematically and through the employment of a solo voice in the last movement Mr. Mahler admits, voluntarily or involuntarily, that his work is to be counted as program music.” Nearly a century later musicians and audiences are still discovering its richness and meanings. —Christopher H. Gibbs 35

“Das himmlische Leben” “Heavenly Life” (Achim von Arnim and Clemens Brentano)

Wir geniessen die himmlischen Freuden, We savor the joys of heaven, d’rum thun wir das Irdische meiden. thus we avoid earthly things. Kein weltlich’ Getümmel No worldly tumult hört man nicht im Himmel! is heard in heaven! Lebt Alles in sanftester Ruh’. All things live in gentlest peace. Wir führen ein englisches Leben! We lead an angelic life! Sind dennoch ganz lustig daneben! Yet we’re quite merry anyway! Wir tanzen und springen, We dance and jump, wir hüpfen und singen! we hop and sing! Sankt Peter im Himmel sieht zu! St. Peter in heaven looks on!

Johannes das Lämmlein auslasset, St. John lets the lamb out, der Metzger Herodes drauf passet! and Herod the butcher looks after it! Wir führen ein geduldig’s, We lead a long-suffering unschuldig’s, geduldig’s, blameless, long-suffering, ein liebliches Lämmlein zu Tod! dear lamb to its death! Sankt Lucas den Ochsen thät schachten St. Luke slaughters the ox ohn’ einig’s Bedenken und Achten, without giving it a thought; der Wein kost kein Heller the wine doesn’t cost a cent im himmlischen Keller, in heaven’s cellar, die Englein, die backen das Brot. and the little angels bake bread.

Gut’ Kräuter von allerhand Arten, Good vegetables of all sorts, die wachsen im himmlischen Garten! grow in the heavenly garden! Gut’ Spargel, Fisolen Good asparagus, snap beans, und was wir nur wollen! and anything we like! Ganze Schüsseln voll sind uns bereit! Whole platefuls are at our disposal! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben! Good apples, pears, and grapes! Die Gärtner, die Alles erlauben! The gardeners permit everything! Willst Rehbock, willst Hasen, If you want deer, if you want rabbit, auf offener Strassen they run right by sie laufen herbei! on the open road!

Sollt’ ein Fasttag etwa kommen Should perhaps a holiday come, alle Fische gleich mit Freuden all the fish swim up angeschwommen! with joy! Dort läuft schon Sankt Peter Look! St. Peter is already running mit Netz und mit Köder with net and bait zum himmlischen Weiher hinein. to the heavenly fish pond. Sankt Martha die Köchin muss sein! St. Martha has to be the cook!

Please turn the page quietly. 36

Kein’ Musik ist ja nicht auf Erden, There is no music on earth die uns’rer verglichen kann werden. that can be compared to ours. Elftausend Jungfrauen Eleven thousand virgins zu tanzen sich trauen! dare to dance! Sankt Ursula selbst dazu lacht! Even St. Ursula laughs at the sight! Cäcilia mit ihren Verwandten St. Cecilia and her relatives sind treffliche Hofmusikanten! are superb court musicians! Die englischen Stimmen ermuntern Angelic voices invigorate die Sinnen! the senses! Dass Alles für Freuden erwacht. So that all things awaken to joy!

English translation by Paul J. Horsley

Program notes © 2018. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 37 Musical Terms

GENERAL TERMS K.: Abbreviation for Köchel, which the first movements Aria: An accompanied the chronological list of all (and sometimes others) solo song (often in ternary the works of Mozart made of symphonies are usually form), usually in an opera by Ludwig von Köchel cast. The sections are or oratorio Legato: Smooth, even, exposition, development, Arioso: A vocal piece without any break between and recapitulation, the which is stylistically notes last sometimes followed between that of an aria and Meter: The symmetrical by a coda. The exposition a recitative. grouping of musical is the introduction of Cadence: The conclusion rhythms the musical ideas, which to a phrase, movement, Minuet: A dance in triple are then “developed.” In or piece based on a time commonly used up to the recapitulation, the recognizable melodic the beginning of the 19th exposition is repeated with formula, harmonic century as the lightest modifications. progression, or dissonance movement of a symphony Ternary: A musical form resolution Modulate: To pass from in three sections, ABA, in Cadenza: A passage or one key or mode into which the middle section section in a style of brilliant another is different than the outer improvisation, usually Rondo: A form frequently sections inserted near the end of a used in symphonies and movement or composition concertos for the final THE SPEED OF MUSIC Chord: The simultaneous movement. It consists (Tempo) sounding of three or more of a main section that Adagio: Leisurely, slow tones alternates with a variety of Allegro: Bright, fast Coda: A concluding contrasting sections (A-B- Andante: Walking speed section or passage added A-C-A etc.). Bedächtig: Unhurried, in order to confirm the Scherzo: Literally “a deliberate impression of finality joke.” Usually the third Behaglich: Agreeably Concertante: A work movement of symphonies Cantabile: In a singing featuring one or more solo and quartets that was style, lyrical, melodious, instruments introduced by Beethoven flowing Dissonance: A to replace the minuet. The In gemächlicher combination of two or more scherzo is followed by a Bewegung: In a tones requiring resolution gentler section called a trio, comfortable tempo Harmonic: Pertaining to after which the scherzo is Nicht eilen: Not rushed chords and to the theory repeated. Its characteristics Ruhevoll: Restful, calm and practice of harmony are a rapid tempo in triple Harmony: The time, vigorous rhythm, and TEMPO MODIFIERS combination of humorous contrasts. Assai: Much simultaneously sounded Siciliano: A Sicilian dance Poco: Little, a bit musical notes to produce in 6/8 meter and fairly Sehr: Very chords and chord slow progressions Sonata form: The form in 38 Tickets & Patron Services

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