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Home , Das Rheingold, Der Ring des Nibelungen, Rhinemaidens, Ride of the Valkyries, Siegfried (opera), Siegfried discography

27 Season 2012-2013

Thursday, November 29, at 8:00 The Philadelphia Friday, November 30, at 2:00 Saturday, December 1, Conductor at 8:00 Lars Vogt Piano

Beethoven Piano Concerto No. 1 in C major, Op. 15 I. Allegro con brio II. Largo III. Rondo: Allegro

Intermission

Wagner Orchestral Highlights from The Ring of the I. “The Ride of the ,” from Die Walküre II. “Forest Murmurs,” from III. “Dawn and Siegfried’s Journey,” from Götterdämmerung IV. “Siegfried’s Death and Funeral Music,” from Götterdämmerung V. Brünnhilde’s Immolation Scene, from Götterdämmerung

This program runs approximately 2 hours.

3 Story Title 29 The Philadelphia Orchestra Jessica Griffin

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

30 Conductor

Johannes Ifkovits One of today’s leading Wagnerian specialists, Donald Runnicles is general music director of the Deutsche Oper Berlin, chief conductor of the BBC Scottish Symphony, music director of the Grand Teton Music Festival, and principal guest conductor of the Atlanta Symphony. He made his Philadelphia Orchestra debut in 2005 and has led the ensemble on numerous occasions. He also maintains regular relationships with the and the London Symphony. A Scot by birth, Mr. Runnicles has literally returned home as chief conductor of the BBC Scottish Symphony, leading subscription concerts in various cities in Scotland and northern England, and anchoring the Symphony’s substantial presence at the U.K.’s two largest festivals: the Edinburgh International Festival and the London Proms. From 1992 to 2008 Mr. Runnicles was music director of the , having unexpectedly won the job after stepping in for a colleague and two Ring cycles in 1990. During his many years with the company, he led more than 60 productions, including the world premieres of John Adams’s Dr. Atomic and Conrad Susa’s Dangerous Liaisons, and the U.S. premieres of Olivier Messiaen’s Saint François d’Assise and Aribert Reimann’s Lear. At the close of his tenure he was given the San Francisco Opera Medal, the company’s highest honor, previously given to such luminaries as Leontyne Price, Marilyn Horne, and Plácido Domingo. Other awards include the Order of the British Empire and honorary degrees from Edinburgh University, the San Francisco Conservatory of Music, and an honorary doctorate from the Royal Scottish Academy of Music and Drama. Mr. Runnicles’s recordings with the Atlanta Symphony include a critically acclaimed concert disc of works by Strauss and Wagner with Christine Brewer, Mozart’s , and Orff’s Carmina burana. Also in his discography are a live recording of Wagner’s Tristan and Isolde with Ms. Brewer and John Treleaven; a Grammy- nominated recital of German romantic opera with ; and Wagner’s Ring excerpts with the Staatskapelle. Mr. Runnicles returns to Verizon Hall to conduct the Orchestra in April. 31 Soloist

Felix Broede Pianist Lars Vogt returns to The Philadelphia Orchestra for the first time since making his debut in 2007. Highlights of his 2012-13 season also include performing the Lutosławski Concerto with the under Franz Welser-Möst at the Edinburgh Festival; concerts with the Gewandhaus under Riccardo Chailly; two appearances in , with the Orchestre de Paris and Herbert Blomstedt and with the Orchestre National de Paris under Kurt Masur; performances with the Los Angeles Philharmonic, the National Arts Centre Orchestra in Ottawa, and the Cincinnati and Atlanta symphonies; and the conclusion of his residency with the Netherlands Philharmonic at the Concertgebouw in Amsterdam. Born in the German town of Düren in 1970, Mr. Vogt first came to public attention when he won second prize at the 1990 Leeds International Piano Competition and has since gone on to give concerto and recital performances around the world. In 2003 he was appointed the first- ever pianist in residence with the Berlin Philharmonic; his special relationship with that ensemble continues with regular collaborations. In 2011 Mr. Vogt toured in Germany and the U.K. with Yannick Nézet-Séguin and the London Philharmonic. Other highlights of recent seasons include a residency at the Mozartwoche in Salzburg with the and Christoph Eschenbach; appearances with the New York, New Japan, and Rotterdam philharmonics and the Chicago, NHK, and London symphonies; performances with the Royal Concertgebouw Orchestra, the Chamber Orchestra of Europe, and the Dresden Staatskapelle; and a tour with violinist Christian Tetzlaff, which included a recital in the Kimmel Center’s Perelman Theater. In June 1998 Mr. Vogt founded his own festival, Spannungen, in Heimbach, and in 2005 he founded Rhapsody in School, a high-profile education project across Germany. An avid chamber musician, he is also increasingly working with orchestras both as conductor and directing from the keyboard. His recent recordings include works by Schubert for CAvi-music, Mozart concertos with the Salzburg Mozarteum Orchestra for Oehms, Liszt and Schumann pieces on the Berlin Classics label, and Mozart sonatas with Mr. Tetzlaff for Ondine. 32 Framing the Program

Following the inspiring model of Mozart, the young Parallel Events Beethoven made his initial career in Vienna with his 1795 Music youthful piano concertos, pieces that offered a showcase Beethoven Haydn for his gifts both as a virtuoso pianist and brilliant Piano Symphony composer. At first Beethoven withheld his early concertos Concerto No. 1 No. 103 from publication so that only he could play them in Literature public. This meant that their eventual numbering is not Goethe chronological—the Piano Concerto No. 1 we hear today Wilhelm was actually his second mature essay in the genre. Meisters Lehrjahre Beethoven in turn served as the principal musical model Art for in his determined quest to forge Blake a new path for German music. It is no surprise that Nebuchad- Wagner’s mature , especially the monumental nezzar four-part cycle (The Ring of History the Nibelung), contain so many spectacular orchestral 11th moments. Large sections can effectively be extracted Amendment to the Constitution from the staged drama and presented at symphony concerts. Wagner frequently did just this to help generate 1874 Music interest in his operas—along the lines of movie “trailers” Wagner Verdi today. This tradition continued with conductors such Götterdäm- Requiem as Leopold Stokowski, who regularly presented entire merung Literature evenings of Wagner’s music with The Philadelphia Hardy Orchestra, which this season celebrates the centennial Far from the of Stokowski’s arrival as the ensemble’s music director, in Madding Crowd October 1912, and the bicentennial of Wagner’s birth, in Art May 1813. Renoir La Loge History First American zoo founded in Philadelphia 33 The Music Piano Concerto No. 1

While Mozart did not literally invent the piano concerto, he was the first great composer to bring it to prominence and create enduring musical monuments. He served as an inspiring model for the young Beethoven, who was already being compared to him when he was just 12 years old. An important German music journal announced that the prodigy “would surely become a second Wolfgang Amadeus Mozart if he were to continue as he has begun.” At 16 Beethoven went to Vienna in the hopes of studying with his idol. He is said to have played Ludwig van Beethoven for Mozart and to have earned his approving remark, Born in Bonn, probably “Keep your eyes on him; someday he will give the world December 16, 1770 something to talk about.” Died in Vienna, March 26, 1827 The Young Virtuoso Not long after his arrival, however, Beethoven was called home to tend to his gravely ill mother and he remained in Bonn for the next five years. In 1792, with assistance from the Elector Maximilian Franz and Count Waldstein, Beethoven won the chance to return to Vienna. With Mozart now dead, Haydn would be his teacher. Waldstein informed Beethoven, “With the help of assiduous labor you shall receive Mozart’s spirit from Haydn’s hands.” After studies with Haydn and others, Beethoven began to mold his public career. As Mozart had found some two decades earlier, piano concertos offered the ideal vehicle to display various performing and composing gifts, including those of improvisation in the unaccompanied sections heard near the end of certain movements. Discussions of today are usually restricted to what a given pianist chooses to play—one by the composer, by someone else, or his or her own. But the issue of cadenzas speaks to a much larger one: that Beethoven viewed his early piano concertos as showpieces for his own use. In fact, he sometimes withheld the publication of keyboard pieces, particularly concertos, for many years so that he could retain sole rights to perform them. As Beethoven improvised cadenzas on the spot in performance, he had no reason at first to write them down, especially if the concerto was not going to be 34

published anytime soon. Beethoven thus took many years before committing cadenzas to paper and, even then, he offered choices: For the First Concerto he wrote three possible cadenzas for the first movement. These cadenzas, inserted years later, offer an interesting point of comparison with the earlier keyboard writing of the Concerto proper. The original solo parts of the Concerto were written in the 1790s for smaller-scale pianos in use at a time when, at least to a certain compositional extent, Beethoven was not yet fully BEETHOVEN. The cadenzas, dating from more than a decade later, utilize a wider keyboard range made possible by more advanced instruments, and were composed by Beethoven in his full maturity. The mixtures of styles can be somewhat disconcerting, but also fascinating, as the older, wiser, and wilder Beethoven looks back on his younger self and reinterprets his earlier musical ideas. Really a Second Concerto As is often remarked, Beethoven’s “First” Piano Concerto is chronologically really the second one of his famous five. Yet the issue is even a bit more complicated because Beethoven in fact wrote what we might call a Piano Concerto “No. 0” in E-flat, his true first concerto, at age 13 while still living in Bonn. Although only the piano part survives with some instrumental cues, an has been reconstructed; a few available recordings of this curiosity give a good idea of how the young composer sought to emulate Mozart, his compositional and professional model. The exact chronology of Beethoven’s first three mature piano concertos is not altogether clear, although, as mentioned, the compositional order of the First and Second concertos is reversed. Beethoven did not consider the Second Concerto in B-flat as among his most successful pieces and therefore decided to release first his somewhat further advanced C-major Concerto, Op. 15. The C major is a more elaborate work than the B-flat and makes use of a larger orchestra, which includes clarinets, , and . It projects something of the grandeur of Mozart’s C-major piano concertos (such as K. 415, K. 467, and K. 503) and is an unusually long and technically demanding work for the 1790s. The C-major Concerto seems to date from 1795, with further revisions up until its publication in 1801. Beethoven most likely gave its first public performance at a concert in December 1795 that celebrated Haydn’s triumphant return from his second English excursion. Although we cannot otherwise always be sure on which 35

Beethoven composed his occasions Beethoven played this Concerto, or the B-flat, Piano Concerto No. 1 in 1795 he seems to have preferred the C major and performed and revised it from 1800 to it more often, both in Vienna and on tour in Germany and 1801. Bohemia. The work was first performed A Closer Look The Concerto No. 1 exudes a youthful by The Philadelphia Orchestra energy, beginning with the first movement Allegro con in December 1918, with Alfred brio that opens with a polite, softly played octave leap Cortot and conductor Leopold Stokowski. The most recent and upward scale in the strings that becomes increasingly performances on subscription festive. A lyrical second theme in the strings leads to the concerts were in February piano’s entrance with new thematic material. The Largo 2009 with Radu Lupu and is far more intimate (flutes, , trumpets, and timpani Charles Dutoit. remain silent throughout) and possesses the quality of an . Infectious energy returns in the Allegro finale, The First Concerto was remarkable for its humor, syncopated themes, and off- recorded twice by the Orchestra: in 1954 and 1965, beat accents. After a headlong dash to the end, a brief both for the CBS label, and coda features the piano imitating distant calls before both with Rudolf Serkin and an elaborate right-hand ornamentation and unexpected Eugene Ormandy. concluding orchestral outburst. The composer scored the —Christopher H. Gibbs work for an orchestra of one flute, two oboes, two clarinets, two , two horns, two trumpets, timpani, and strings, in addition to the solo piano. Beethoven’s First Piano Concerto runs approximately 35 minutes in performance. 36 The Music Orchestral Highlights from The Ring

Richard Wagner believed that Beethoven’s Ninth marked the culmination of the genre of the symphony as it had been cultivated by the great Classical masters. He further believed that Beethoven’s monumental work pointed to the future, namely to Wagner’s own operas: “Beyond [the Ninth] no forward step is possible, for upon it the perfect artwork of the future alone can follow, the universal drama to which Beethoven had forged the key.” Words and music must be combined, Wagner argued, as Beethoven did in the last movement of his last symphony, to produce Richard Wagner “music drama.” Born in Leipzig, May 22, 1813 While a teenager Wagner had composed a traditional Died in Venice, Beethovenian symphony, but he devoted his mature February 13, 1883 career almost exclusively to writing ambitious works of musical theater. No project was more ambitious than the four-part Der Ring des Nibelungen (The Ring of the Nibelung), which took him more than 25 years to create and which altogether includes some 17 hours of music. Forging the Ring When it came to writing the Ring, Wagner went about it backwards. In the revolutionary year of 1848 he devised a prose sketch for a new opera based on the medieval German myth of the and then set to work on a called Siegfrieds Tod (Siegfried’s Death, later renamed Götterdämmerung or Twilight of the Gods). A few years later he realized that this opera would need to be prefaced by an account of earlier events in the hero’s life, and thus sketched the libretto for Der junge Siegfried (Young Siegfried), the title of which was later shortened to Siegfried. Once again he felt that more background was necessary concerning the mythic history and ancestry of his hero. This led to the libretto of Die Walküre (The ), which explained the circumstances of Siegfried’s conception by the brother and sister Siegmund and Sieglinde. The libretto for a unified trilogy now complete, Wagner decided to append an extended one-act prologue, (The Rhinegold) that described a cursed ring made of gold and the contest among the gods for power. Once the for the four operas were finished in 1853, Wagner started writing the music, which 37 would occupy much of the next 20 years of his life. He completed Das Rheingold in 1854, Die Walküre by 1856, and had begun Siegfried when he had a reality check: There were slim prospects for actual staged performances of this vast cycle. So Wagner put the Ring project aside in order to compose what he initially envisioned as a brief romantic opera, , and a light comedy, Die Meistersinger von Nürnberg. Only after writing those two operas, which assumed enormous proportions in themselves, did he return to Siegfried in 1869, finishing the last act in 1871. He then turned to Götterdämmerung, completed in 1874, 26 years after he had first begun working on the Ring. From Score to Stage The extravagant patronage of King Ludwig II of Bavaria, the most passionate of Wagnerians, made the crucial difference in finally getting the Ring performed in its entirety. At Ludwig’s insistence (but without Wagner’s participation) Das Rheingold and Die Walküre were staged in in 1869 and 1870. It was the construction of a new theater in , conceived of by Wagner to mount his mature operas and heavily subsidized by Ludwig, that enabled the premiere of the complete Ring cycle in August 1876. The event, attended by many cultural luminaries, for the most part proved an artistic success, although it was a financial disaster. As part of his efforts to raise funds for Bayreuth, as well as to enlist subscribers in the venture, Wagner conducted many orchestral concerts featuring Ring excerpts. We might think of these today as “trailers” for a movie—previews of coming attractions. In many instances Wagner omitted the singers, which let the instrumental fabric emerge in all its glory. He sometimes had to compose some new beginnings, endings, and transitions to make the excerpts work in concert, abstracted from the stage, but the inherently symphonic nature of so much of the Ring allowed for “bleeding chunks” (as music critic Sir Donald Francis Tovey once memorably called them) to be presented without any alteration. A Closer Look The selections we hear today begin with one of the most famous, one that Wagner himself often conducted in concert. The “” opens the third act of Die Walküre and depicts the nine “Hojotoho”-screaming daughters of the chief god, Wotan, as they transport the bodies of fallen heroes to their final resting place in . Wotan’s favorite daughter, Brünnhilde, has disobeyed his orders and saved Sieglinde, who is pregnant with a child fathered by Siegmund. As 38

Wagner composed The Ring punishment, Wotan places Brünnhilde in a deep sleep, of the Nibelungen from 1853 surrounded by a wall of fire that can only be broached by to 1874. a hero. The hero who successfully does this is Siegfried; The Philadelphia Orchestra we hear music associated with him from the final two Ring has performed excerpts from operas, beginning with the marvelously evocative “Forest the Ring Cycle numerous Murmurs,” filled with the sounds of nature and birds. times since the ensemble’s The Prologue to Götterdämmerung is in two scenes, inaugural concert on November 16, 1900, which featured which are separated by one brief interlude (“Dawn”) “The Entry of the Gods into and followed by a longer one (“Siegfried’s Rhine Valhalla,” from Das Rheingold. Journey”). The orchestral excerpt begins with music In December 2009 Neeme depicting the dawn as the lovers emerge from a cave Järvi led performances of Henk that has given them shelter, continues with a brief de Vlieger’s The Ring: An passage from the parting of Siegfried and Brünnhilde, and Orchestral Adventure. concludes with the “Rhine Journey.” We hear Siegfried’s The Philadelphia Orchestra has horn call, one of the many leitmotifs (or “leading motives”) recorded numerous excerpts that Wagner devised. Later in the opera Siegfried is from the Ring over its 112-year killed and his body transported in an impressive funeral history, beginning in 1921 march (“Siegfried’s Death and Funeral Music”). To when Stokowski recorded conclude the excerpts on the concert today we hear the “The Ride of the Valkyries” and music that brings the Ring to its close: Brünnhilde’s “Wotan’s Farewell and Magic Immolation Scene. Fire Music” from Die Walküre for RCA. One of the reasons these orchestral excerpts have proved so successful in concert, divorced from the words These excerpts are scored and dramatic action, is that Wagner’s leitmotifs provide for piccolo, three flutes, recurring thematic material that connects disparate parts three oboes, English horn, of the entire work. The Immolation Scene in particular three clarinets, clarinet, reviews, summarizes, and exalts many of the musical ideas three bassoons, six horns, four Wagnerian , three that have emerged over the four operas. Valhalla will now trumpets, bass , four be destroyed, restored to its primal state, with the cursed , bass , ring back in the Rhine. In the original opera, Brünnhilde , timpani, percussion does not quite have the last word—the character (, , snare shouts a final “Stay away from the ring!” and the music drum, tenor drum, triangle), two returns to that of the Rhine and the . harps, and strings. Wagner thus recreates a musical ring, going back to the Performance time is elemental leitmotifs from the opening of Das Rheingold, approximately 55 minutes. composed so many years before. —Christopher H. Gibbs

Program notes © 2012. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 39 Musical Terms

GENERAL TERMS accompanying one of the major or minor key or (b) Aria: An accompanied actors, or some particular the chromatic scale of solo song (often in ternary idea, emotion, or situation, successive semi-tonic form), usually in an opera in a drama. steps or oratorio Meter: The symmetrical Scherzo: Literally “a Cadence: The conclusion grouping of musical joke.” Usually the third to a phrase, movement, rhythms movement of symphonies or piece based on a Octave: The interval and quartets that was recognizable melodic between any two notes that introduced by Beethoven formula, harmonic are seven diatonic (non- to replace the minuet. The progression, or dissonance chromatic) scale degrees scherzo is followed by a resolution apart gentler section called a trio, Cadenza: A passage or Op.: Abbreviation for opus, after which the scherzo is section in a style of brilliant a term used to indicate repeated. Its characteristics improvisation, usually the chronological position are a rapid tempo in triple inserted near the end of a of a composition within a time, vigorous rhythm, and movement or composition composer’s output. Opus humorous contrasts. Chord: The simultaneous numbers are not always Sonata form: The form in sounding of three or more reliable because they are which the first movements tones often applied in the order (and sometimes others) Chromatic: Relating to of publication rather than of symphonies are usually tones foreign to a given composition. cast. The sections are key (scale) or chord Oratorio: Large-scale exposition, development, Coda: A concluding dramatic composition and recapitulation, the section or passage added originating in the 16th last sometimes followed in order to confirm the century with text usually by a coda. The exposition impression of finality based on religious subjects. is the introduction of Diatonic: Melody or Oratorios are performed the musical ideas, which drawn primarily by choruses and solo are then “developed.” In from the tones of the major voices with an instrumental the recapitulation, the or minor scale accompaniment, and exposition is repeated with Dissonance: A are similar to operas but modifications. combination of two or more without costumes, scenery, Syncopation: A shift of tones requiring resolution and actions. rhythmic emphasis off the Harmonic: Pertaining to Rondo: A form frequently beat chords and to the theory used in symphonies and and practice of harmony concertos for the final THE SPEED OF MUSIC Legato: Smooth, even, movement. It consists (Tempo) without any break between of a main section that Allegro: Bright, fast notes alternates with a variety of Con brio: Vigorously, with : Literally contrasting sections (A-B- fire “leading motif.” Any striking A-C-A etc.). Largo: Broad musical motif (theme, Scale: The series of phrase) characterizing or tones which form (a) any 40 Orchestra Headlines

Philadelphia Orchestra Chamber Music Concert Tickets are now on sale for the third concert in The Philadelphia Orchestra’s 28th Season Chamber Music Series on Sunday, January 13, at 3:00 PM in Perelman Theater at the Kimmel Center. Tickets range from $19.00-$28.00. For more information, call Ticket Philadelphia at 215.893.1999 or visit www.philorch.org. Mozart Fantasia in C minor, K. 396, for solo piano Mozart Quintet in E-flat major, K. 452, for piano and winds Mozart String Quintet No. 5 in D major, K. 593 Samuel Caviezel Clarinet Imogen Cooper Piano (Guest) Renard Edwards Lisa-Beth Lambert Jennifer Montone Horn Hai-Ye Ni David Nicastro Violin Anna Marie Ahn Petersen Viola Peter Smith Rittenhouse Square Lecture-Luncheon The third in this season’s series of Lecture-Luncheons sponsored by the Rittenhouse Square Volunteer Committee takes place on Friday, December 7, at 11:15 AM in the Orchestra Room at the DoubleTree Hotel in Philadelphia. The guest lecturer will be Temple University Professor of Piano Michael Klein, and the celebrity guest will be Paul Arnold, Philadelphia Orchestra violinist. Single admission price is $36.00, by reservation only. Tickets are also available at the door for the Lecture only at $15.00. For more information, please call Fran Schwartz at 215.884.2659. 41 December The Philadelphia Orchestra Jessica Griffin

Tickets are disappearing fast for these amazing concerts! Order your tickets today. Rachmaninoff in Philadelphia LIMITED AVAILABILITY December 6 & 8 8 PM December 7 2 PM Gianandrea Noseda Conductor Denis Matsuev Piano Rachmaninoff Piano Concerto No. 3 Rachmaninoff Symphony No. 2

These performances are made possible in cooperation with the Sergei Rachmaninoff Foundation. Tchaikovsky and a Genius December 13-15 8 PM Gianandrea Noseda Conductor Alisa Weilerstein Cello Borodin Overture to Prince Igor Elgar Cello Concerto Tchaikovsky Symphony No. 3 (“Polish”)

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