Season 2014-2015

27 Season 2014-2015

Thursday, March 12, at 8:00 Friday, March 13, at 2:00 The Philadelphia Orchestra Saturday, March 14, at 8:00 These concerts are dedicated to the memory of Maestro Rafael Frühbeck de Burgos (1933-2014), who shared a 44-year friendship with The Philadelphia Orchestra and was originally scheduled to conduct these concerts.

Cristian Măcelaru Conductor Jorge Federico Osorio Piano

Beethoven Symphony No. 6 in F major, Op. 68 (“Pastoral”) I. Allegro, ma non troppo (Awakening of cheerful feelings upon arriving in the country) II. Andante molto moto (Scene by the brook) III. Allegro—Presto (Merry gathering of peasants)— IV. Allegro (Tempest, storm)— V. Allegretto (Shepherds’ hymn—Happy and thankful feelings after the storm)

Intermission

Falla Nights in the Gardens of Spain, for piano and orchestra I. At the Generalife II. Distant Dance— III. In the Gardens of the Sierra de Córdoba

Falla Suite No. 2 (Three Dances) from The Three- Cornered Hat I. The Neighbors’ Dance (Seguidillas) II. The Miller’s Dance (Farruca) III. Final Dance (Jota)

This program runs approximately 1 hour, 45 minutes.

The March 12 concert is sponsored by the Louis N. Cassett Foundation.

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

6 Music Director

Chris Lee Music Director Yannick Nézet-Séguin continues his inspired leadership of The Philadelphia Orchestra, which began in the fall of 2012. His highly collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” He has taken the Orchestra to new musical heights. Highlights of his third season as music director include an Art of the Pipe Organ festival; the 40/40 Project, in which 40 great compositions that haven’t been heard on subscription concerts in at least 40 years will be performed; and Bernstein’s MASS, the pinnacle of the Orchestra’s five- season requiem cycle.

Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He also continues to enjoy a close relationship with the London Philharmonic, of which he was principal guest conductor. He has made wildly successful appearances with the world’s most revered ensembles, and he has conducted critically acclaimed performances at many of the leading opera houses.

Yannick Nézet-Séguin and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership The Philadelphia Orchestra returned to recording with a CD on that label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions. He continues a fruitful recording relationship with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic and Choir for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

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

To read Yannick’s full bio, please visit www.philorch.org/conductor. 30 Conductor

Sorin PopaSorin Winner of the 2014 Solti Conducting Award, Cristian Măcelaru is conductor-in-residence of The Philadelphia Orchestra. He began his tenure as assistant conductor in September 2011 and became associate conductor in November 2012. He made his Orchestra subscription debut in April 2013 stepping in unexpectedly for Jaap van Zweden. Mr. Măcelaru recently made two successful appearances with the Chicago Symphony on subscription programs two seasons in a row as a replacement for Pierre Boulez. In addition to two subscription weeks in Philadelphia, Mr. Măcelaru’s 2014-15 season includes his official Carnegie Hall conducting debut, with the Danish National Symphony. Replacing that orchestra’s chief conductor, Rafael Frühbeck de Burgos, Mr. Măcelaru led the ensemble in Denmark and on a German and U.S. tour in January/February 2015. He also returns on subscription to Chicago and has subscription debuts with the Toronto, Baltimore, Houston, Hallé, St. Louis, Seattle, Detroit, Bournemouth, Milwaukee, and Indianapolis symphonies, and the Residentie Orkest in the Netherlands. An accomplished violinist, Mr. Măcelaru was the youngest concertmaster in the history of the Miami Symphony and made his Carnegie Hall debut with that orchestra at age 19. He also played in the first violin section of the Houston Symphony for two seasons. Formerly he held the position of resident conductor at Rice University’s Shepherd School of Music. Mr. Măcelaru was the founder and artistic director of the Crisalis Music Project, a program in which young musicians perform in a variety of settings, side-by-side with established, renowned artists. He also served as a conductor with the Houston Youth Symphony. Mr. Măcelaru received the 2012 Sir Georg Solti Emerging Conductor Award, an honor given only once before in the Foundation’s history. He has participated in the conducting programs of the Tanglewood Music Center and the Aspen Music Festival, studying under David Zinman, Murry Sidlin, Rafael Frühbeck de Burgos, Robert Spano, Oliver Knussen, and Stefan Asbury. Mr. Măcelaru’s main studies were with Larry Rachleff at Rice University, where he received his master’s degree in conducting as well as a master’s in violin performance. He completed undergraduate studies in violin performance at the University of Miami. 31 Soloist

Jorge Federico Osorio has performed with many of the world’s leading ensembles, including the Chicago, Cincinnati, Dallas, Detroit, Milwaukee, Pittsburgh, and Seattle symphonies; the National Symphony Orchestra of Mexico; the Israel, Warsaw, and Royal philharmonics; the Moscow State and Philharmonia orchestras; the Orchestre Nationale de France; and Amsterdam’s Royal Concertgebouw Orchestra. These current performances mark his Philadelphia Orchestra debut. His concert tours have taken him to Europe, Asia, and North, Central, and South America, and he has collaborated with such distinguished conductors as James Conlon, Bernard Haitink, Manfred Honeck, Mariss Jansons, Lorin Maazel, Juanjo Mena, and Jaap van Zweden, among many others. American festival appearances have included the Hollywood Bowl, Ravinia, and Newport. Among the highlights of Mr. Osorio’s career were performances of all five Beethoven concertos over two consecutive nights with the Chicago Symphony and Mr. Conlon at the 2010 Ravinia Festival. Mr. Osorio’s discography includes a solo Brahms CD that Gramophone magazine proclaimed “one of the most distinguished discs of Brahms’ piano music in recent years.” Recordings with orchestra include Beethoven’s five concertos and “Choral” Fantasy; both Brahms concertos; and concertos by Chávez, Mozart, Rachmaninoff, Rodrigo, Schumann, and Tchaikovsky. His solo recordings on Cedille Records include the recently released Russian Recital, including Musorgsky’s Pictures from an Exhibition; Salón Mexicano, comprising music of Mexican composers Manuel María Ponce, Felipe Villanueva, Ricardo Castro, and José Rolón; a two-CD set of works by Debussy and Liszt; and Piano Español, works by Albéniz, Falla, Granados, and Soler. His other recordings can be found on the Artek, ASV, CBS, EMI, IMP, and Naxos labels. Mr. Osorio, a native of Mexico, began his studies at the age of five with his mother, Luz María Puente, and later attended the conservatories of Mexico, Paris, and Moscow. He has won numerous awards, including the Medalla Bellas Artes, the highest honor granted by Mexico’s National Institute of Fine Arts. He currently serves on the faculty of Roosevelt University’s Chicago College of Performing Arts. 32 In Memoriam

Maestro Frühbeck leading a Philadelphia Orchestra rehearsal in 1979. Photo by Louis Hood

Maestro Rafael Frühbeck de Burgos passed away at the age of 80 on June 11, 2014. He was a great friend of The Philadelphia Orchestra and a musician of exemplary standards. He made his U.S. debut with the Orchestra on Valentine’s Day in 1969 and became a regular presence on the ensemble’s podium, often for multi-week residencies. His continued presence over a 44-year span is unmatched by any other guest conductor or artist in The Philadelphia Orchestra’s history. In fact, just recently we celebrated his 150th performance with the Orchestra in Philadelphia—and that did not include the numerous performances he led in Saratoga, NY, or with the Orchestra on tour. He had a special relationship with our musicians, who revered and respected his leadership. Philadelphia audiences, and audiences wherever he conducted, were always thrilled by his concerts. The breadth of repertoire he conducted was truly astounding, from Bach, Beethoven, and Mozart, to Ravel, Bartók, Hindemith, and beloved composers from his native Spain such as Turina, Rodrigo, and Falla, among others. He held a deep connection to the legacy and history of this Orchestra, and for that reason he will be remembered as an important part of this institution. We celebrate the great friendship and musical collaboration we shared with him for almost half a century. His legacy will live on in the many notable recordings he made, and in the hearts of those who were lucky enough to participate in or witness his magical music-making. 33 Framing the Program

“No one can love the country as much as I do. For surely Parallel Events woods, trees, and rocks produce the echo which man 1808 Music desires to hear.” So Beethoven declared in a letter a few Beethoven Weber years after composing the “Pastoral” Symphony. The Symphony Silvana performance today of the sixth of his nine symphonies No. 6 Literature continues The Philadelphia Orchestra’s Beethoven Goethe cycle with the composer’s most explicitly programmatic Faust, Pt. I essay, complete with bird calls, burbling brook, country Art dancing, a mighty thunderstorm, and a concluding hymn Ingres of thanksgiving. La Grande Baigneuse The second half of the concert offers programmatic History delights from Spanish composer Manuel de Falla with his France invades Nights in the Gardens of Spain, an evocative nocturne for Spain piano and orchestra, and a suite drawn from his imaginative ballet The Three-Cornered Hat. In both works Falla drew 1909 Music inspiration from traditional Andalusian folk music. Falla Mahler Nights in the Symphony No. 9 Gardens of Literature: Spain Maeterlinck L’Oiseau bleu Art: Matisse The Dance History: Peary reaches North Pole

1917 Music Falla Respighi The Three- The Pines of Cornered Hat Rome Literature Sinclair King Coal Art Duchamp Fountain History Mata Hari executed as spy 34 The Music Symphony No. 6 (“Pastoral”)

Most of the familiar titles attached to Beethoven’s works were first applied by someone other than the composer. Critics, friends, and publishers invented the labels “Moonlight,” “Tempest,” and “Appassionata” for popular piano sonatas. Prominent patrons’ names—Archduke Rudolph, Count Razumovsky, Count Waldstein—became wedded to compositions they either commissioned or that were dedicated to them, thereby winning a sort of immortality for those who supported the composer.

Ludwig van Beethoven Beethoven himself crossed out the heading “Bonaparte” Born in Bonn, probably from the title page of the Third Symphony, but later wrote December 16, 1770 in “Sinfonia eroica” (Heroic Symphony), and it is his only Died in Vienna, March 26, symphony besides the Sixth to bear an authentic title. To 1827 be sure, stories about “fate knocking at the door” in the Fifth and the choral finale of the Ninth have encouraged programmatic associations for those works, beginning in Beethoven’s own time. But, in the end, it is the Sixth Symphony, the “Pastoral,” that stands most apart from his others, and indeed from nearly all of Beethoven’s instrumental and keyboard music, in its intentional, publicly declared, and often quite audible extramusical content. Beethoven’s full title is: “Pastoral Symphony, or Recollections of Country Life.” “More an Expression of Feeling than Painting” And yet the Sixth Symphony does not aspire to the level of musical realism found in a work like Berlioz’s Symphonie fantastique or in Richard Strauss’s tone poems. Beethoven famously noted that the “Pastoral” contained “more an expression of feeling than painting.” He had earlier objected to some of the musical illustration in Haydn’s oratorios The Creation (1798) and The Seasons (1801), with their imitations of storms, frogs, and other phenomena. He probably would not have cared much for what the “New German School” of Berlioz, Liszt, and Wagner would later advocate and create. Beethoven’s “Pastoral” Symphony belongs to a tradition, going back to the previous century, of “characteristic” symphonies. Indeed, the titles for the movements that Beethoven provided closely resemble those of Le Portrait musical de la nature, written nearly 25 years earlier by the 35

Rheinish composer Justin Heinrich Knecht. (It is doubtful Beethoven knew the music of the piece, but he may have known the titles.) Scattered comments that Beethoven made in his sketches for the Symphony are revealing: “The hearers should be allowed to discover the situations / Sinfonia caracteristica—or recollection of country life / All painting in instrumental music is lost if it is pushed too far / Sinfonia pastorella. Anyone who has an idea of country life can make out for himself the intentions of the composer without many titles / Also without titles the whole will be recognized as a matter more of feeling than of painting in sounds.” Regardless of the musical and aesthetic implications that the “Pastoral” Symphony raises with respect to the program music—a key issue for debate over the rest of the century— the piece unquestionably offers eloquent testimony to the importance and power of nature in Beethoven’s life. The composer reveled in walking in the environs of Vienna and spent nearly every summer in the country. When Napoleon’s second occupation of the city in 1809 made his departure impossible, he wrote to his publisher: “I still cannot enjoy life in the country, which is so indispensable to me.” Indeed, Beethoven’s letters are filled with declarations of the importance of nature in his life, such as one from 1810: “How delighted I will be to ramble for awhile through the bushes, woods, under trees, through grass, and around rocks. No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo that man desires to hear.” Companion Symphonies Beethoven wrote the “Pastoral” primarily during the spring and fall of 1808, although some sketches date back years earlier. Its composition overlapped in part with that of the Fifth Symphony, which might be considered its non-identical twin. Not only did both have the same period of genesis and the same dedicatees (Count Razumovsky and Prince Lobkowitz), but they were also published within weeks of one another in the spring of 1809 and premiered together (in reverse order and with their numbers switched). The occasion was Beethoven’s famous marathon concert of December 22, 1808, at the Theater an der Wien, and was the only time he premiered two symphonies together. Moreover, the program also included the first public performance of the Fourth Piano Concerto, two movements from the Mass in C, the concert aria Ah! perfido, and the “Choral” Fantasy. Reports indicate that all did not go well, as musicians playing after limited rehearsal struggled their way through this demanding new music, and things fell 36

The “Pastoral” Symphony was apart during the “Choral” Fantasy. Although the Fifth and composed from 1803 to 1808. Sixth symphonies are extremely different from one another Fritz Scheel conducted the in overall mood, there are notable points of convergence, first Philadelphia Orchestra such as the innovations in instrumentation (the delayed performances of the Sixth, in and dramatic introduction of piccolo and trombones in the December 1901. Most recently fourth movements) and the splicing together of the final on subscription, Simon Rattle movements. led the work here in May 2013. Some of the conductors who A Closer Look Beethoven’s descriptive movement have led the Symphony with titles for the “Pastoral” were made public to the audience the Orchestra include Leopold before the premiere. The first movement, “Awakening Stokowski, Eugene Ormandy, of cheerful feelings upon arriving in the country,” Arturo Toscanini, Bruno Walter, engages with a long musical tradition of pastoral music. George Szell, Otto Klemperer, From the initial drone of an open fifth in the lower strings to Georg Solti, Riccardo Muti, the jovial coda, the leisurely and often repetitive pace of the Wolfgang Sawallisch, and movement is far from the intensity of the Fifth Symphony. Christoph Eschenbach. The second movement, “Scene by the brook,” includes The Orchestra has recorded the famous birdcalls: flute for the nightingale, oboe for the Beethoven’s Sixth Symphony quail, and two clarinets for the cuckoo (Berlioz copied the five times: in 1939 in an effect for two of the birds in the pastoral third movement of abridged version with his Symphonie fantastique). Stokowski for RCA; in 1946 This is Beethoven’s only symphony with five movements with Walter for CBS; in 1966 with Ormandy for CBS; and and the last three lead one into the next. The third is in 1978 and 1987 with Muti entitled “Merry gathering of peasants” and suggests a for EMI. town band of limited ability playing dance music. The gaiety is interrupted by a “Tempest, storm” that approaches The “Pastoral” is scored for from afar as ominous rumblings give way to the full fury of piccolo, two flutes, two oboes, thunder and lightning. The storm is far more intense than two clarinets, two bassoons, two horns, two trumpets, two other well-known storms—such as by Vivaldi and Haydn— trombones, timpani, and strings. and presages later ones by Berlioz and Wagner. Just as the storm had approached gradually, so it passes, leaving some Performance time is scattered moments of disruption before the “Shepherds’ approximately 40 minutes. hymn—Happy and thankful feelings after the storm” brings the work to its close. Regardless of Beethoven’s declared intentions, this music seems to function on both descriptive and expressive levels, therein fueling arguments about the issue ever since his time. —Christopher H. Gibbs 37 The Music Nights in the Gardens of Spain Suite No. 2 from The Three-Cornered Hat

When Manuel de Falla brought back to Madrid the musical techniques he had absorbed in Paris during the early years of the 20th century, affected most strongly by Debussy’s music, a cycle of Franco-Iberian mutual influences was complete. Ravel and Debussy had already manifested how deeply their approach to rhythm and color had been influenced by Spanish folk and dance styles, in works such as the former’s Rapsodie espagnole (1907- 08) and the latter’s Iberia (1908-09). Now Falla, born in Andalusia of a Catalonia mother and a Valencian father, Manuel de Falla re-assimilated this “Impressionist” approach to structural Born in Cádiz, Spain, and orchestral technique into his own increasingly November 23, 1876 nationalist consciousness. Died in Alta Gracia, Argentina, November 14, A Fusion of “High” and “Low” For Falla, as for many 1946 of his generation, a sense of ethnic or regional identity was central to one’s creative being. As a child he had been exposed to influences not only from traditional operatic and orchestral music he heard in Cádiz, but also from Andalusian and gypsy folk music he heard all around him. Interestingly it was the music of Edvard Grieg, which the young composer discovered in the 1890s, that first revealed to him the possibilities of infusing traditional “cultivated” styles with the folk material of one’s own nation. Thereafter Falla longed to achieve for Spain what Grieg had done for Norway, and this fusion of “high” and “low” characterizes nearly all of his music. In pieces such as The Three-Cornered Hat, the opera La vida breve, or the “opera-ballet” El amor brujo, this quintessentially Iberian composer used newly composed melodies that sound nevertheless like folk tunes because they are based on an assiduous and lifelong study of genuine native materials. Then with the Nights in the Gardens of Spain (which the composer originally referred to as “nocturnes”), written between 1909 and 1916, Falla brought this fusion into the realm of concertante music, in a work that can be described as neither piano concerto nor tone poem. In true Impressionist fashion, he created three pictorial scenes that evoke—in the words of one contemporary 38

Falla composed Nights in the critic—“the mystery of voluptuousness and a scented Gardens of Spain from 1909 darkness.” (Ultimately he subtitled the work “Symphonic to 1916 and The Three- impressions.”) At the same time Falla composed a tightly Cornered Hat from 1916 to structured piece that functions by its own laws of logic 1919. and thematic development. He began the Nights in Paris The first Philadelphia Orchestra in 1909, completing it in 1915-16 in the Catalan fishing performances of Nights were village of Sitges—a place as evocative as the music being in April 1927, with Walter composed. In April 1916 the work received its premiere at Gieseking as soloist and the Teatro Real in Madrid, with José Cubiles as keyboard Leopold Stokowski. Most soloist (a young pianist from Falla’s home town of Cadíz) recently on subscription and Enrique Fernandez Arbós conducting the Orquesta Pierre-Laurent Aimard played Sinfónica. it with David Robertson, in January 2001. The Orchestra Nights in the Gardens of Spain: A Closer Look The first presented music from first movement is a re-creation of the splendid gardens The Three-Cornered Hat of the Generalife (from the Arabic Jennat al Arif, Garden in October 1927 with Fritz of the Architect), the summer villa of the Moorish nobility Reiner. Most recently on near Granada, in southern Spain. These gardens are subscription the complete work replete with fountains and cascading waterfalls, a place was performed in April 2011 whose beauty Alexandre Dumas extolled: “Nowhere were with Rossen Milanov. so many orange trees, so many roses, so many jasmines The Philadelphians recorded gathered in so small a place. … Nowhere will you see so Nights twice: in 1961with many springs, so many leaping waterfalls, so many rushing Eugene Ormandy and Philippe torrents.” All of this is evoked in the dazzling interplay of Entremont for CBS and in orchestral and pianistic virtuosity. The second movement 1969 with Ormandy and (Distant Dance), imbued with the fiery rhythms of the Arthur Rubinstein for RCA. Spanish night, contains the rise and fall of the cante The Orchestra recorded the jondo, the dash of the flamenco guitar, the lazy rise and Second Suite from The Three- fall of the malagueña. It is followed (without pause) by the Cornered Hat in 1968 with Ormandy for CBS, and both third and final movement, a dashing and vigorous finale suites in 1979 with Riccardo that depicts the wild and jagged beauty of the Gardens Muti for EMI. of the Sierra de Córdoba. Here as before, the piano shares its virtuosic role with the whole orchestra, Nights is scored for solo concluding the work with a tranquil farewell to the moonlit piano, piccolo, two flutes, mountains and the atmospheric and fragrant night. two oboes, English horn, two clarinets, two bassoons, four The Three-Cornered Hat: A Closer Look Falla had horns, two trumpets, three long considered an operatic adaptation of the 1874 novel trombones, tuba, timpani, El sombrero de tres picos by the Spanish author Pedro percussion (cymbals, triangle), de Alarcón (1833-91). While this project was stalled, he harp, celesta, and strings. The turned his operatic ambitions elsewhere first, composing Second Suite of The Three- La vida breve in 1904-05. Then in 1916 the Parisian Cornered Hat is scored for impresario Diaghilev put forth the idea of a ballet on the piccolo, two flutes (II doubling piccolo), two oboes, English subject, and Falla was persuaded to adapt his initial ideas horn, two clarinets, two to the dance. The first version was a pantomime with bassoons, four horns, three songs, which he called El corregidor y la molinera (The trumpets, three trombones, Sheriff and the Miller’s Wife), performed in Madrid in 1917; tuba, timpani, percussion (bass this was then expanded as the ballet that we know today, drum, castanets, cymbals, which was premiered by the Ballets Russes in London on 39 snare drum, tam-tam, triangle, July 22, 1919, with the great Leonide Massine in the role xylophone), harp, piano, of the miller, and with sets and costumes by Pablo Picasso. celesta, and strings. The story concerns a corregidor or village sheriff, whose Performance time for both three-cornered hat is the symbol of his officious authority. works is approximately 22 This particular sheriff has his eye on the miller’s wife, who minutes each. becomes aware of his lecherous plans and proceeds to lay a trap for him. When the sheriff arranges to get the miller out of his house for a night, he comes to woo the wife; she flees the house and manages to push him into a stream. He returns to the miller’s house, alone, and leaves his clothes (including the three-cornered hat) on the line outside to dry. When the miller returns home and sees the clothes, he assumes the worst about the sheriff and his own wife. He seeks revenge by seducing the sheriff’s wife. But when he goes into town, he meets his own wife instead, and the two of them stir the whole village to rise up against the unscrupulous corregidor. The sheriff and his deputies are all denounced, and an effigy of the corregidor is beaten and thrown into the air. The second suite comprises three dances in accessible style. —Paul J. Horsley

GENERAL TERMS a dreamily romantic or humorous contrasts. Also Aria: An accompanied solo sentimental character, an instrumental piece of song, usually in an opera or without fixed form a light, piquant, humorous oratorio Op.: Abbreviation for opus, character. Cante jondo: Literally, a term used to indicate Seguidilla: A triple-meter “deep song.” The central the chronological position dance style from the south component of flamenco of a composition within a of Spain song, the characteristics of composer’s output Sonata form: The form in which are a narrow range, Oratorio: Large-scale which the first movements a predilection for the dramatic composition (and sometimes others) reiteration of one note in originating in the 16th of symphonies are usually the manner of a recitative, century with text usually cast. The sections are a dramatic use of ornate based on religious subjects. exposition, development, melodic embellishment, Oratorios are performed and recapitulation, the an Oriental preoccupation by choruses and solo last sometimes followed with microtones (intervals voices with an instrumental by a coda. The exposition smaller than a semitone), accompaniment, and is the introduction of and a subtle, intricate are similar to operas but the musical ideas, which rhythm that defies notation. without costumes, scenery, are then “developed.” In Coda: A concluding and actions. the recapitulation, the section or passage added Recitative: Declamatory exposition is repeated with in order to confirm the singing, free in tempo and modifications. impression of finality rhythm. Recitative has also Tone poem: A type of Concertante: A work sometimes been used to 19th-century symphonic featuring one or more solo refer to parts of purely piece in one movement, instruments instrumental works that which is based upon an Fantasia: A composition resemble vocal recitatives. extramusical idea, either free in form and more or Rhapsody: Generally an poetic or descriptive less fantastic in character instrumental fantasia on Farruca: A type folksongs or on motifs THE SPEED OF MUSIC of flamenco music, taken from primitive (Tempo) traditionally danced only national music Allegretto: A tempo by men Scherzo: Literally “a between walking speed Jota: A national dance of joke.” Usually the third and fast northern Spain, danced by movement of symphonies Allegro: Bright, fast couples, in triple time and and quartets that was Andante: Walking speed rapid movement, something introduced by Beethoven Moto: Motion, speed, like a waltz to replace the minuet. The movement Malagueña: A Spanish scherzo is followed by a Presto: Very fast folk dance in triple time gentler section called a trio, Meter: The symmetrical after which the scherzo is TEMPO MODIFIERS grouping of musical repeated. Its characteristics Ma non troppo: But not rhythms are a rapid tempo in triple too much Nocturne: A piece of time, vigorous rhythm, and Molto: Very 41 March The Philadelphia Orchestra

Jessica Griffin Enjoy the ultimate in flexibility with a Create-Your-Own 3-Concert Series today! Choose 3 or more concerts that fit your schedule and your tastes. Hurry, before tickets disappear for this exciting season.

There’s still time to subscribe and receive exclusive subscriber benefits! Choose from over 25 performances including:

The Planets Friday, March 20 8 PM Saturday, March 21 8 PM Sunday, March 22 2 PM Gianandrea Noseda Conductor Nadja Salerno-Sonnenberg Violin Women of the Philadelphia Singers Chorale Respighi Ancient Airs and Dances for the Lute, Suite No. 2 Mendelssohn Violin Concerto Holst The Planets Mahler 5 Thursday, March 26 8 PM Friday, March 27 2 PM Saturday, March 28 8 PM Gianandrea Noseda Conductor Carol Jantsch Tuba Daugherty Reflections on the Mississippi, for tuba and orchestra Mahler Symphony No. 5

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. 42 Tickets & Patron Services

Thank you for joining us in Headsets are available on a first- Ticket Philadelphia Staff Verizon Hall. We want you to come, first-served basis. Gary Lustig, enjoy each and every concert Large-Print Programs: Vice President experience you share with us. Large-print programs for Carrie Farina, We would love to hear about every subscription concert Director, Patron Services your experience at the Orchestra are available in the House Dan Ahearn, Jr., and are happy to answer any Management Office in Box Office Manager questions you may have. Please Commonwealth Plaza. Please Gregory McCormick, don’t hesitate to contact us via ask an usher for assistance. Service and Training Manager phone at 215.893.1999, in Catherine Pappas, person in the lobby, or by e-mail PreConcert Conversations: Project Manager at [email protected]. PreConcert Conversations are Michelle Parkhill, held prior to every Philadelphia Subscriber Services: Client Relations Manager Orchestra subscription concert, Jayson Bucy, 215.893.1955 beginning one hour before Patron Services: 215.893.1999 Patron Services Supervisor curtain. Conversations are Samantha Apgar, Fire Notice: The exit indicated free to ticket-holders, feature Business Operations by a red light nearest your seat discussions of the season’s Coordinator is the shortest route to the music and music-makers, and Elysse Madonna, street. In the event of fire or are supported in part by the Program and Web Coordinator other emergency, please do not Wells Fargo Foundation. Tad Dynakowski, run. Walk to that exit. Lost and Found: Please call Assistant Treasurer, Box Office No Smoking: All public space in 215.670.2321. Michelle Messa, the Kimmel Center is smoke-free. Web Site: For information about Assistant Treasurer, Box Office Cameras and Recorders: The Philadelphia Orchestra and Patricia O’Connor, The taking of photographs or its upcoming concerts or events, Assistant Treasurer, Box Office the recording of Philadelphia please visit www.philorch.org. Thomas Sharkey, Assistant Treasurer, Box Office Orchestra concerts is strictly Subscriptions: The Philadelphia prohibited. James Shelley, Assistant Orchestra offers a variety of Treasurer, Box Office Phones and Paging Devices: subscription options each season. Tara Bankard, All electronic devices—including These multi-concert packages Lead Patron Services cellular telephones, pagers, and feature the best available seats, Representative wristwatch alarms—should be ticket exchange privileges, Meg Hackney, turned off while in the concert hall. guaranteed seat renewal for the Lead Patron Services Late Seating: Late seating following season, discounts on Representative breaks usually occur after the individual tickets, and many other Hannah McIntosh, first piece on the program or at benefits. For more information, Lead Patron Services intermission in order to minimize please call 215.893.1955 or visit Representative disturbances to other audience www.philorch.org. Julia Schranck, members who have already Ticket Turn-In: Subscribers who Lead Patron Services begun listening to the music. cannot use their tickets are invited Representative If you arrive after the concert to donate them and receive a Elizabeth Jackson-Murray, begins, you will be seated as tax-deductible credit by calling Priority Services quickly as possible by the usher 215.893.1999. Tickets may be Representative staff. turned in any time up to the start Megan Brown, Patron Services Accessible Seating: of the concert. Twenty-four-hour Representative Accessible seating is available notice is appreciated, allowing Maureen Esty, for every performance. other patrons the opportunity to Patron Services Please call Patron Services purchase these tickets. Representative at 215.893.1999 for more Individual Tickets: Don’t Isaiah Harris, information. You may also assume that your favorite Patron Services purchase accessible seating concert is sold out. Subscriber Representative online at www.philorch.org. turn-ins and other special Brand-I Curtis McCloud, promotions can make last- Assistive Listening: With Patron Services minute tickets available. the deposit of a current ID, Representative Call Ticket Philadelphia at hearing enhancement devices Scott Leitch, 215.893.1999 or stop by the are available at no cost from Quality Assurance Analyst the House Management Office. Kimmel Center Box Office.