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Home , Fyodor Stravinsky, Sergei Prokofiev

27 Season 2017-2018

Thursday, March 22, at 7:30 The Philadelphia Friday, March 23, at 2:00 Saturday, March 24, Lahav Shani at 8:00 Conductor David Bilger Trumpet

C. Lindberg Akbank Bunka, for trumpet and chamber orchestra I. Akolebank II. Japabunka III. Turkjazz First Philadelphia Orchestra performances

Stravinsky Suite from (1919 version) I. Introduction—The Firebird and its II. The Princesses’ Round Dance III. Infernal Dance of King Kastcheï— IV. Berceuse— V. Finale

Intermission

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

This program runs approximately 1 hour, 55 minutes.

The March 22 concert is sponsored by American Airlines. The March 22 concert is also sponsored by Joseph Neubauer and Jeanette Lerman-Neubauer. The March 23 concert is sponsored by Gail Ehrlich in memory of Dr. George E. Ehrlich.

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. 28 29 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 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 new five-year both concertgoers and communities, building an partnerships with Beijing’s critics since his inaugural offstage presence as strong National Centre for the season in 2012. Under his as its onstage one. With Performing Arts and the leadership the Orchestra Nézet-Séguin, a dedicated Shanghai Media Group. In returned to recording, body of musicians, and one 2018 the Orchestra travels with three celebrated of the nation’s richest arts to Europe and Israel. The CDs on the prestigious ecosystems, the Orchestra Orchestra annually performs Deutsche Grammophon has launched its HEAR at Carnegie Hall while also label, continuing its history initiative, a portfolio of enjoying summer residencies of 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. 30 Conductor

Marco Borggreve Israeli conductor Lahav Shani makes his Philadelphia Orchestra debut with these performances. His career was launched when he won first prize at the 2013 International Conducting Competition in Bamberg. Since then he has established himself as one of the most talked-about young conducting talents, making a huge impression with his astonishing maturity and natural, instinctive musicality. He will become chief conductor of the Rotterdam Philharmonic in September 2018, taking over from Yannick Nézet-Séguin and becoming the youngest chief conductor in the orchestra’s history, and in the 2020-21 season he will succeed Zubin Mehta as music director of the Israel Philharmonic. This season he became principal guest conductor of the Vienna , following a number of appearances with the ensemble since his debut in May 2015, including European tour in January 2016. Mr. Shani’s recent and upcoming highlights as a guest conductor include the Bavarian Radio, Berlin Radio, Bamberg, London, and Boston ; the Royal Concertgebouw, Tonhalle, Philharmonia, and Budapest Festival orchestras; the Dresden Staatskapelle; the Orchestre de ; and the Royal Stockholm and Radio France philharmonics. He made his debut with the Berlin Staatskapelle in 2014 and has since returned regularly to conduct at the Berlin Staatsoper and for symphonic concerts. In December 2015 he stepped in, on short notice, to make his debut with the Vienna Philharmonic in the Musikverein, where he led Bach’s in from the keyboard and conducted Mahler’s Symphony No. 1. In October 2013 he was invited to open the Israel Philharmonic’s season. An immediate re-invitation followed for the next two seasons and in December 2016 he conducted the final concert of the orchestra’s 80th birthday celebrations. His close relationship with the Israel Philharmonic started in 2007 when he performed Tchaikovsky’s under the baton of Mr. Mehta. Mr. Shani was born in Tel Aviv in 1989 and started his piano studies at the age of six. He completed his studies in conducting and piano at the Academy of Music Hanns Eisler Berlin. As a student he was mentored by Daniel Barenboim. 31 Soloist

Jessica Griffin David Bilger (Marguerite and Gerry Lenfest Chair) has held the position of principal trumpet of The Philadelphia Orchestra since 1995. Prior to joining the Orchestra, he held the same position with the Dallas Symphony. As a soloist he has appeared with The Philadelphia Orchestra, the Dallas Symphony, the Houston Symphony, the Chamber Orchestra of Philadelphia, the Oakland Symphony, the Indianapolis Chamber Orchestra, and Philharmonia Virtuosi of New York. His solo appearances with The Philadelphia Orchestra include Hummel’s Trumpet Concerto, the United States premiere of Herbert Willi’s Eirene, the Tomasi Trumpet Concerto at Carnegie Hall and on tour in North and South America, Haydn’s Trumpet Concerto, Copland’s Quiet City, and Bloch’s Proclamation. He has performed recitals in New York, Washington DC, Cleveland, Los Angeles, Philadelphia, and other major American cities. Mr. Bilger has appeared with the National Brass Ensemble and the Society of Lincoln Center, with which he recorded Bach’s Second Brandenburg Concerto. Other chamber music appearances include Chamber Music Northwest, the New York Trumpet Ensemble, Saint Luke’s Chamber Ensemble, as well as guest appearances with the Canadian Brass and the Empire Brass. He also released a recording of new electro-acoustic music for trumpet and synthesizers with composer Meg Bowles. Mr. Bilger is currently on the faculties of the Curtis Institute of Music and Temple University, and he has formerly been affiliated with the University of Georgia, Swarthmore College, Catholic University, Rice University, and the University of North Texas. In the fall of 2018, he will join the adjunct faculty of Northwestern University. He has performed master classes at dozens of institutions, including the Juilliard School of Music, Indiana University, the University of Michigan, the Manhattan School of Music, and the Peabody Conservatory. He has also taught at the Hamamatsu International Festival and Academy, the Pacific Music Festival, the National Orchestral Institute, and at the Aspen Music Festival and School. Mr. Bilger holds a Master of Music degree from Juilliard and a Bachelor of Music degree from the University of Illinois. He performs on instruments made for him by Yamaha. 32 Framing the Program

A range of traditions that inspired Christian Lindberg’s Parallel Events eclectic, virtuosic Akbank Bunka is partly reflected in the title, 1910 Music which is a combination of Turkish and Japanese: Akbank Stravinsky Elgar is the name of a Turkish bank and bunka means culture in The Firebird Japanese. The jazz-inflected trumpet concerto with chamber Literature orchestra features Principal Trumpet David Bilger. Forster Howard’s End ’s Firebird proved to be the young Russian Art composer’s breakout success in 1910. The impresario Modigliani commissioned the work for his The Cellist Russes in Paris and its immediate popularity led to two History more revolutionary ballets: in 1911 and The Rite of Japan annexes Spring in 1913. All three have found an even more welcome Korea place in the concert hall as dazzling orchestral showpieces.

1944 Music Stravinsky left before the Revolution, but Sergei Prokofiev Barber Prokofiev emigrated to the West in 1917. He decided to Symphony Symphony return, surprisingly, in 1936. He composed his epic Fifth No. 5 No. 2 Symphony during the summer of 1944, as the fortunes Literature of the were finally beginning to turn in what Camus had been devastating years during the Second World War. Caligula The composer led the premiere in January of the following Art year, the last time he conducted before health issues Rivera curtailed his activities. The stirring Symphony registers a The Rug wide range of emotions reflective of its time and earned Weaver History the composer international accolades. D-Day landings in Normandy

2004 Music Lindberg Sheng Akbank Bunka The Phoenix Literature Munro Runaway Art Kapoor Cloud Gate History Zuckerberg launches The Philadelphia Orchestra is the only American orchestra with Facebook 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. 33 The Music Akbank Bunka Mats Bäcker Christian Lindberg’s own philosophy regarding his work as a composer is simple: “I do not write in any style whatsoever! I just listen to what my brain and my soul tell me, and what I hear I simply put down on paper. To say anything more about my work would be pretentious nonsense.” A Composer, Conductor, and Performer Lindberg became well known as a virtuoso trombonist (in his youth, he learned to play the trumpet, and subsequently began Christian Lindberg lessons at age 17). He attended the Royal Born in Danderyd, Swedish Academy of Music and by age 19 had obtained Sweden, February 15, 1958 a position in the Royal Swedish Orchestra. At 20 Now living in Stockholm he decided to switch from an orchestral career to that of a full-time soloist. Alongside these activities, Lindberg is also in demand worldwide as a conductor (with a list of orchestras too numerous to mention) and continues to compose, accepting numerous commissions, and to record extensively. His talents as instrumentalist, conductor, and composer are as varied as his personality. Lindberg has said, “The trumpet is an instrument that can sing. It has an advantage that it is versatile. It can sound like a voice, a violin, an , a bass flute. … The most important thing for me in making music is to dream.” Originally commissioned by the Scottish Chamber Orchestra, Akbank Bunka was dedicated to renowned Norwegian trumpeter Ole Edvard Antonsen. In a review of the piece, the Scotsman wrote: “There are echoes of Carl Nielsen in the brittleness of the , though never in a derivative sense. No matter what references Lindberg slips in—quirky shades of orientalism or riotous explosions of jazz—the music maintains its strong sense of purpose. Akbank Bunka—unadulterated jazz with the flirtatious unpredictability of a butterfly.” A Closer Look Lindberg’s style is unassuming. He comfortably combines modal lyricism with powerful dissonances and engaging jazz elements. The solo and orchestral writing complement and support each other, though sometimes seemingly in conflict.Akbank Bunka effectively challenges the trumpet’s capabilities. Whatever influences may be reflected, this concerto upholds 34

Akbank Bunka was composed its individuality. The work, structured in three succinct in 2004. movements, places specific demands—technical agility These are the first Philadelphia and long cantabile lines—not usually associated with the Orchestra performances of trumpet. The soloist’s brilliance is at the center of attention. the work, and the first time the The powerful solo writing is reinforced by elusive Orchestra is performing any orchestral writing that seems almost disconnected at piece by the composer. times. Lindberg has said, “The music reflects eclecticism: The score calls for solo The trumpet writing seems to evoke in turn the sound trumpet, piccolo, flute, of Miles Davis in Sketches of Spain, Herb Alpert and the oboe, English horn, clarinet, Tijuana Brass, and even the score for a Sergio Leone , , movie as re-composed by Sibelius. But the result is contrabassoon, two horns, taut, muscular, and deftly constructed.” No matter what two trumpets, , percussion references Lindberg might, or might not, reveal, his music (bass drum, hi-hat, snare drum, maintains its strong, personal character. The work’s suspended cymbals, tom- toms), and strings. energy, dramatic elements, spontaneity, enticing originality, and virtuosity are captivating. Performance time is approximately 15 minutes. —Lynne S. Mazza Lindberg has written the following on the piece: It was in September 2003, after taking part in the Austrian premiere of my double concerto Behac Munroh, that Ole Edvard Antonsen asked me if I would write a 15-minute piece for him and the Scottish Chamber Orchestra. I listened to some of his recordings—some wonderfully childish songs written for his son—and I was amazed by the beauty of his sound in these pieces. The opening of my piece could not have been written had I not first heard this. Afterwards, my work on the piece was influenced by one thing after another. In the middle of writing the fast section of the first movement, I was contacted by a Turkish orchestra about a concert; while working on the second movement I was planning a Japanese tour for my new orchestra, the Nordic Chamber Orchestra; and as I was starting the third I got a call from Ole saying he was in New York playing oriental jazz. These small incidents had a strange impact on the piece itself, even if I was almost not aware of it at the time. The title is a combination of Turkish and Japanese, Akbank being the name of a Turkish bank and bunka meaning culture in Japanese. I could tell you a lot more about the different composition techniques I used and the work’s , form, and analysis … and bore you to death. But I will not. Instead I’ll end this little program note with the hope that you will have as much fun listening to it as I had writing it! 35 The Music Suite from The Firebird (1919 version)

On May 19, 1909, the impresario Sergei Diaghilev presented the Parisian debut of his troupe, the astonishing . This revelatory first night featured both the brilliant dancer Vaslav Nijinsky and a stunning new entitled La Pavilion d’Armide with music by and lavish decor by Alexandre Benois. The discriminating aesthete and diarist Count Harry Kessler wrote effusively to the poet Hugo von Hoffmannstahl, “All in all, this Russian ballet is one of the most remarkable and significant artistic manifestations of our time.” The Igor Stravinsky music was not the only aspect of the Ballets Russes to Born in Lomonosov, which Kessler reacted, however: The colorful sets and Russia, June 17, 1882 Died in New York City, costumes designed by Léon Bakst and the revolutionary April 6, 1971 choreography by Mikhail Fokine also enthralled him. A Third-Choice Composer The success of that first season in Paris presented Diaghilev with a pressing problem: How was he to exceed this triumph for the 1910 season? One way was to commission a new ballet based on Russian folktales, Zhar-ptitsa (The Firebird). Diaghilev had his subject; his choreographer, Fokine; his set designer, Alexander Golovin; and his costume designer, Bakst. What he needed, urgently, was a composer. Diaghilev’s first choice was Tcherepnin, but he withdrew from the project early on. His second choice was Anatoli Liadov, a pupil of Rimsky-Korsakov who wrote enchanting tone poems on Russian subjects. Although later accounts claimed that Liadov was feckless about composing The Firebird, there is no documentary evidence that he agreed to write it in the first place. Running out of time, Diaghilev convinced one of Rimsky-Korsakov’s last pupils, the young Igor Stravinsky, to accept the commission. Stravinsky had a very short time to compose an extended and complex score. He began work in November 1909 and finished the following May. He worked closely with Fokine as he composed, although he did overrule the choreographer’s tasteless demand to have a suite of Russian dances conclude the ballet. After stormy rehearsals, The Firebird proved an immense success when it was premiered in Paris on June 25, 1910; it is not an exaggeration to say that it made 36

Stravinsky composed The Stravinsky famous overnight. While the sets, costumes, Firebird from 1909 to 1910. and choreography received praise, the music elicited an Music from The Firebird was ecstatic response from critics, colleagues, and audiences first played by The Philadelphia alike. Capitalizing on this newfound fame, Stravinsky Orchestra in November 1917, derived three suites from The Firebird: a short one in 1911, when the 1911 Suite was led a more extended one in 1919 that incorporated revisions by . Since to the orchestration, and a final version from 1945. Of that time, barely a year has these three, the 1919 one is the most often performed. gone by when some Firebird music hasn’t been heard A Closer Look For the 1919 Firebird Suite, Stravinsky on one of the Orchestra’s excerpted six sections of his ballet score: the concerts, whether subscription, Introduction that leads directly into The Firebird and education, summer, or tour. its Dance, The Princesses’ Round Dance, and the The most recent subscription Infernal Dance of King Kastcheï that leads directly performances were in February into the Berceuse—a lullaby—and then without pause 2010, when Yannick Nézet- to the Finale. By so doing, he maintains the outline of Séguin conducted the entire the plot, which was drawn from a collection of folktales ballet music. collected by . These tales feature The Philadelphia Orchestra both the Firebird and the sinister figure of Kashcheï the has recorded the Firebird Suite Deathless. As Stravinsky’s father, the famous bass singer seven times: in 1924, 1927, Fyodor Stravinsky, was a bibliophile who had amassed and 1935 with Stokowski for a remarkable collection of Russian folktales, so the RCA; in 1953 and 1967 with composer was surely well aware of Afanasyev’s anthology. for CBS; in In addition, Rimsky-Korsakov had written a one-act opera in 1973 with Ormandy for RCA; 1902 entitled Kashcheï the Deathless, for which Stravinsky and in 1978 with had prepared the vocal score. The influence of this opera for EMI. upon the plot and music of The Firebird is striking. The score for the 1919 Suite The action of The Firebird is fantastical but calls for piccolo (doubling II), two flutes (II doubling straightforward. While out hunting, Tsarevich Ivan strays alto flute), three (III into the enchanted realm of Kashcheï. He captures the doubling English horn), two Firebird, who begs for her freedom. Ivan lets her go and in clarinets, two , four return gives him one of her feathers through which he can horns, two trumpets, three summon her aid in times of danger. Ivan happens upon , tuba, timpani, a group of princesses, who have been taken prisoner percussion (bass drum, by Kashcheï, and falls in love with the fairest of them. cymbals, tambourine, triangle, Confronted by Kashcheï himself, Ivan remembers the xylophone), harp, piano feather and waves it to summon the Firebird. She makes (doubling celesta), and strings. Kashcheï’s minions dance an Infernal Dance and during The work runs approximately 20 the following Berceuse, he and his servants fall into a minutes in performance. deep sleep. Ivan smashes the egg that holds Kashcheï’s immortality, thus destroying him. The Finale, which begins with a noble horn solo, reveals Ivan and his bride sitting in majesty on glittering thrones as the orchestra evokes the tintinnabulation of Russian church bells. —Byron Adams 37 The Music Symphony No. 5

One is hard pressed to identify positive things associated with the horrors of war. Yet musicians, like other artists through the ages, have often used their creative gifts to deal with tragedy and their music has helped others to cope as well. The Second World War inspired an unusually large quantity of significant music and nowhere more so than in the genre of the symphony. Some of them were written in the heat of war, others as the conflict was ending or after victory had been achieved. The emotions exhibited in these works range from despair to hope, from Sergei Prokofiev the bitterness of defeat to the exultation of victory. Born in Sontsovka, , April 23, 1891 War Symphonies It is perhaps telling that while no Died in Moscow, March 5, German or Italian symphonies composed during the 1953 war are remembered today, many from other countries remain impressive monuments. ’s Third, widely considered the “Great American Symphony,” was premiered in October 1946, after the Allied victory. (The work incorporates his Fanfare for the Common Man, composed for the war effort four years earlier.) Igor Stravinsky’s Symphony in Three Movements, ’s Fifth and Sixth symphonies, and a number of Bohuslav Martinů’s symphonies are among other enduring works that either openly or in more subtle ways engaged with the perilous times. Which brings us to the Soviet Union, where the relationship between the arts and politics was always complex and where the war extracted the largest number of causalities. The two leading Russian composers of the day both made important symphonic contributions: with his Seventh Symphony, the “Leningrad” (1941), and Sergei Prokofiev with his Fifth Symphony (1944). These works were composed in dire times, received triumphant premieres, made the rounds internationally led by eminent conductors, and were enthusiastically greeted by appreciative audiences. Americans embraced both symphonies by their Soviet allies. Shostakovich was hailed on the cover of Time magazine in August 1942 and Prokofiev appeared on the cover three years later, after the premiere of the Fifth Symphony in January 1945. 38

Prokofiev’s Path to the FifthFor all its success, Prokofiev’s path to his Fifth was an arduous one— personally, professionally, and most specifically with regard to how to write a substantive work in a genre that kept causing him some difficulty. After enjoying a privileged childhood, molded by parents eager to cultivate his obvious musical gifts, Prokofiev went on to study at the St. Petersburg Conservatory with leading Russian composers of the day, including Nikolai Rimsky-Korsakov and Reinhold Glière. He won early fame with challenging Modernist scores that were unlike what most composers were writing in Russia during the 1910s. Then came the October Revolution of 1917. Like other prominent figures from similarly comfortable family backgrounds, including Stravinsky and Rachmaninoff, Prokofiev left Russia. He made a long journey through Siberia, stopped off in Tokyo, and finally arrived in New York City in early September 1918. He would live in America, Paris, and other Western cities for nearly 20 years. In 1927 he returned for a visit to the Soviet Union and began to spend an increasing amount of time in his transformed native country. In the summer of 1936, with timing that boggles the mind today, he moved back permanently with his wife and their two young sons. He spent the rest of his life there, riding a roller coaster of official favor and stinging condemnation. He died on March 5, 1953, the same day as . Prokofiev had composed his First Symphony, the “Classical,” in the summer of 1917, before leaving Russia. This brief work, which charmingly looks back to Haydn, remains a popular repertory item but hardly represented a bold new symphonic statement. His next symphony was disappointingly received at its Paris premiere in 1925 under . For his symphonies No. 3 (1928) and No. 4 (1930) Prokofiev recycled music he had previously written for opera and ballet scores and still seemed to be struggling with the genre, which may explain a comment he made about the Fifth: “I consider my work on this symphony very significant both because of the musical material put into it and because I returned to the symphonic form after a 16-year interval. The Fifth Symphony completes, as it were, a long period of my works.” A Triumphant Premiere Prokofiev wrote some of his most compelling music during the Second World War, including the opera , the ballet , the Second String Quartet, and three impressive piano . Given the grim circumstances in the Soviet 39

Union, the Fifth Symphony was born under relatively comfortable conditions during the summer of 1944, which Prokofiev spent in an artists’ colony set up by the Union of Composers at Ivanovo, some 160 miles from Moscow. (Shostakovich, Glière, Kabalevsky, and other prominent figures were also there.) After absolutely devastating years for the Soviet Union in their struggle against the Germans, things were beginning to look more hopeful with the news from Normandy and Poland. By the time Prokofiev conducted the premiere at the Great Hall of the on January 13 there was real good news: The day before the Soviet Army had surged forward. The work was unveiled after intermission and as Time reported: It was exactly 9:30 p.m. A woman announcer in a black dress stepped to the platform. Said she: “In the name of the fatherland there will be a salute to the gallant warriors of the First Ukrainian front who have broken the defenses of the Germans—20 volleys of artillery from 224 guns.” The dark days of Stalingrad were over; the Polish offensive of January 1945 had begun. As she spoke, the first distant volley shook the hall. That evening was a complete triumph for Prokofiev, but also an ending of sorts. The concert proved to be the last time he conducted as just a few days later he had a serious fall, most likely the result of untreated high blood pressure, and was ill, although productive, for the remaining eight years of his life. A Closer Look Prokofiev excelled in many genres, producing chamber, choral, and keyboard music, impressive , as well a distinguished quantity of dramatic music: , ballets, and film scores. As mentioned earlier, symphonies proved a challenge for him and may be one reason he recycled music he had written earlier for stage projects. The Fifth Symphony does not do so to nearly the extent of his previous two essays in the genre, but it does have moments that may remind listeners of War and Peace and uses some musical ideas originally conceived for his ballet . The seriousness of the four-movement Symphony is immediately apparent from the spare opening theme of the Andante, played by flutes and bassoon. This builds to a grand statement of epic scope, one that returns in the finale. There is throughout the work a profusion of thematic material and Prokofiev’s prodigious lyrical gifts 40

Prokofiev composed his are fully evident—what sounds like a passionate love Symphony No. 5 in 1944. theme is followed by a nervous repeated note motif, all The first Philadelphia Orchestra of which are seamlessly integrated. The first movement performances of the Symphony ends with a bold coda that pounds out the opening theme, took place in January 1947, now fully orchestrated and at full volume, suggestive of with on the Prokofiev’s comment that he “conceived it as a symphony podium. The Philadelphians of the greatness of the human spirit.” have performed the work Allegro marcato many times, including on The following scherzo ( ) has both light American and European tours. and more ominous elements, showing off the composer’s Its most recent appearance deft balletic writing as well as his affinity for the on a subscription series was grotesque. The following Adagio returns us to a lyrical, in February 2015, with Valery even elegiac, tone with soaring themes and a funereal Gergiev conducting. middle section. Themes from the preceding movements are reviewed in the finalAllegro giocoso, which begins The Orchestra recorded the Symphony three times: in with a slow introduction. The music has an inexorable 1957 for CBS with Eugene quality of moving forward and reaches a marvelous coda. Ormandy, in 1975 for RCA After all the epic grandeur heard to this point, the texture with Ormandy, and in 1990 for suddenly shifts to chamber music, with string soloists, Philips with Riccardo Muti. A percussion, piano, and harp taking frantic center stage live recording from 2008 with before the thrilling final chord for the full orchestra. Christoph Eschenbach is also —Christopher H. Gibbs available by digital download. Prokofiev’s score calls for piccolo, two flutes, two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, suspended cymbal, tam- tam, tambourine, triangle, woodblock), piano, harp, and strings. Performance time is approximately 50 minutes.

Program notes © 2018. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association and/or Lynne Mazza. 41 Musical Terms

GENERAL TERMS the 20th century must be cast. The sections are Berceuse: Lullaby adequate to the unique and exposition, development, Cadence: The conclusion radical character of the age and recapitulation, the to a phrase, movement, Op.: Abbreviation for opus, last sometimes followed or piece based on a a term used to indicate by a coda. The exposition recognizable melodic the chronological position is the introduction of formula, harmonic of a composition within a the musical ideas, which progression, or dissonance composer’s output. Opus are then “developed.” In resolution numbers are not always the recapitulation, the Chord: The simultaneous reliable because they are exposition is repeated with sounding of three or more often applied in the order modifications. tones of publication rather than Tone poem: A type of Chromatic: Relating to composition. 19th-century symphonic tones foreign to a given : A form frequently piece in one movement, key (scale) or chord used in symphonies and which is based upon an Coda: A concluding concertos for the final extramusical idea, either section or passage added movement. It consists poetic or descriptive in order to confirm the of a main section that Tonic: The keynote of a impression of finality alternates with a variety of scale Dissonance: A contrasting sections (A-B- combination of two or more A-C-A etc.). THE SPEED OF MUSIC tones requiring resolution Scale: The series of (Tempo) Harmonic: Pertaining to tones which form (a) any Adagio: Leisurely, slow chords and to the theory major or minor key or (b) Allegro: Bright, fast and practice of the chromatic scale of Andante: Walking speed Harmony: The successive semi-tonic Giocoso: Humorous combination of steps Marcato: Accented, simultaneously sounded Scherzo: Literally “a stressed musical notes to produce joke.” Usually the third chords and chord movement of symphonies progressions and quartets that was Legato: Smooth, even, introduced by Beethoven without any break between to replace the minuet. The notes scherzo is followed by a Meter: The symmetrical gentler section called a trio, grouping of musical after which the scherzo is rhythms repeated. Its characteristics : A are a rapid tempo in triple consequence of the time, vigorous rhythm, and fundamental conviction humorous contrasts. among successive form: The form in generations of composers which the first movements since 1900 that the means (and sometimes others) of musical expression in of symphonies are usually 42 Tickets & Patron Services

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