Philadelphia Youth Orchestra Louis Scaglione • Music Director Presents PHILADELPHIA YOUTH ORCHESTRA
KIMMEL CENTER CONCERT SERIES
Louis Scaglione • Conductor
Jennifer Montone • Horn
Sunday • November 22 • 2015 • 3:00 p.m.
Kimmel Center for the Performing Arts Verizon Hall Welcome to the 76th Anniversary season of the Philadelphia Youth Orchestra!
This year promises to “spirit you away” with the great talent and artistry of our young musicians. You have seen us here with your belief in the power and great merit of music. Our solid, sustained history affords us the ability to reach out into our diverse communities ensuring that the universal gift and language of music is known to all who desire it. The Philadelphia Youth Orchestra organization takes pride in playing a pivotal role to prepare its students for successful university and conservatory experiences. PYO prepares its students to be successful, contributing members of society, and trains them to be tomorrow’s leaders. As you settle into your seats in the acoustically and aesthetically magnificent Verizon Hall, we hope that you will delight in today’s performance. May your experience with us, today, be a catalyst for your returning to us throughout our concert season for you and your family’s music and cultural enjoyment. We welcome and appreciate your generosity and support of our mission, and look forward to welcoming you to our concerts.
With much gratitude,
Louis Scaglione, President and Music Director 01
Philadelphia Youth Orchestra Kimmel Center Series
Philadelphia Youth Orchestra Louis Scaglione • Conductor
Jennifer Montone • Horn
The Kimmel Center for the Performing Arts • Verizon Hall Sunday, November 22, 2015 • 3:00 p.m.
PROGRAM
Till Eulenspiegels lustige Streiche, Op. 28 Richard Strauss
Concerto for Horn and Orchestra in B-flat major, Op. 91 Reinhold Glière I. Allegro II. Andante III. Moderato – Allegro vivace
Jennifer Montone • Horn
INTERMISSION
Symphony No. 2 in D major, Op. 73 Johannes Brahms I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi Andantino) IV. Allego con spirito
Latecomers will not be seated until an appropriate time in the concert. The use of photographic and recording equipment is strictly prohibited. As a courtesy to the performers and fellow concert-goers, please disconnect all cell phones prior to the performance. 02 Philadelphia Youth Orchestra • 2015–2016
Louis Scaglione Music Director & Conductor
Violin I Violin II Violoncello Jason C.S. Vassiliou, Kyle Joseph Michie, Cindy Yeo, Concertmaster Principal Principal May Wang, Clara Bouch, Alexander Chen, Associate Concertmaster Associate Principal Associate Principal Samuel W. Wang, Lily Mell, Daniel J. Kim, Assistant Concertmaster Assistant Principal Assistant Principal Sean Bennett Evelyn Bravo Geana Florence Snart Fiyi Adebekun Maggy Simon Daniel T. Kim Clare Sooyeon Choi Chloe Cho Janis Dawn Bates Cheyenne King-Bails Byron Pondexter Sabine Jung John May Luke Kyungchon Kim Michael Li Catelyn Huang Sarah Kim Joy Zhao H.A. Isaac Linton Anne Liu Eunteak An Austina Lin Alyssa Kim Sonia Kim Veronique Shaftel Sherie Yang Seyoung Kim Molly Doman Noriyuki Shinagawa Robin Park Joanna Kuo Karthik Yegnesh Isaac Gaston Kathryn Song Ajmain Hossain Nicholas Vottero Andrew Samuel Pai Steven Zhang Shizhuo Duan Cayley Hoffman Portia Maidment Kail Yuan Yoshitaka Shinagawa Maxwell Chambers Seol-Yee Lee Sophia Maloney Sasha He David Yang Justin Guo
Viola Double Bass Kyran Shaun Littlejohn, Olivia Rae Steinmetz, Principal Principal Conor McAvinue, Juan Serviano, Associate Principal Associate Principal Sarah S. Jang, Justin Cao, Assistant Principal Assistant Principal Vera Lee Luke Mottola Katie Sharbaugh Hannah Perron Micaela Greco Sami Jamieson Grant Wei Raymond Zhiang Zebadiah Coombs Austin Gentry Isabelle D’Amico 03 Philadelphia Youth Orchestra • 2015–2016
Flute/Piccolo French Horn Percussion Hyerin Kim * Libby Ando * Hayley Cowan Rachel Schuck Sebastian Burboa Alyssa Resh Hannah Silverberg Gregory Greene Reilly Bova * Olin Wei Etienne Kambara Christian Ortolf Wei Wei Wang Jordan Robinson Heidi Chu Olivia Weng Oboe/English Horn Kristina Gannon • Harp Nina Haiyin Cheng * Benjamin Mulholland • Sarina Marone * Katrina Kwantes Alexander N. Kim Trumpet Piano/Celeste Branch Buehler Charlie Barber Christine Kim * Robert Kellar Immanuel Mykyta- Clarinet/Bass Clarinet Erik Larson Chomsky Daniel Kim Todd Oehler * Jae Hoon Kim Alexander Wolfe Matthew No * Danny Pak Trombone Evan Schnurr Jon Hutchings • Section Leader Maria Thomas Henry Shankweiler * Guest Musician Neal Williamson Bassoon/Contra Ehren Valme * Bassoon Olivia Cleri Tuba Rebecca Krown * Yale Rosin * Nolan Wenik Evan Sacks-Wilner Dotan Yarden 04 Louis Scaglione: Music Director and Conductor
Maestro Louis Scaglione and PYO Maestro Scaglione has led the Philadelphia Under the leadership of Maestro Youth Orchestra on several international Louis Scaglione, the Philadelphia Youth concert tours, with destinations includ- Orchestra (PYO) – founded in 1939 as ing The 1998 World Youth Music Forum an all-volunteer organization – has grown in Moscow; the Czech Republic and Italy and transformed into a nationally recog- (2000); China (2002); eastern and central nized, professionally managed institution. Europe (2004); and Brazil (2007), where Scaglione’s tenure began in 1997, when they performed to sold-out venues in São Joseph Primavera, who served as PYO’s Paulo and Rio de Janeiro. Scaglione has Music Director for 51 years, appointed him also arranged musical collaborations for Conductor of the Philadelphia Young Artists the orchestras with such accomplished Orchestra. In 1999, Maestro Scaglione was soloists as William dePasquale, former named Associate Conductor of the PYO Co-Concertmaster of The Philadelphia organization, becoming the organization’s Orchestra; Gloria dePasquale, cellist for first Executive Director two years later. In The Philadelphia Orchestra; Michael Ludwig, 2003, Scaglione accepted the position of former Associate Concertmaster of The President, and upon Maestro Primavera’s Philadelphia Orchestra; and internationally retirement two years later, he became the renowned violinist Sarah Chang and pianist organization’s fifth Music Director, President, Susan Starr. and CEO. Professional Affiliations, Appointments, and Honors Because of his work with the PYO program, Maestro Scaglione was elected by his peers in 2006 to serve as Chairman of the Youth Orchestra Division Board of the League of American Orchestras, and served on the League’s Board of Directors concurrent with his chairmanship. In addition, Maestro Scaglione is Executive Vice President & Chief Operating Officer of Encore Series, Inc., the presenter of The Philly POPS; a position he has held since July 2012. He also served as Artistic Director of the Choral Society of Montgomery County in residence at Montgomery County Community College from 2002 to 2012. From 2006 through 2010, he was Resident Music Director and Conductor for the Luzerne Music Center (NY). He is a former member of the faculty of Temple University Music Preparatory Division. 05 Louis Scaglione: Music Director and Conductor
From 1995 to 2002, he served as Artistic Professional Studies Director of “Arts at Andalusia” a free, out- Maestro Scaglione’s professional stud- door, summer concert series held on the ies as a conductor have taken him to the grounds of the Andalusia Estate. Maestro Oregon Bach Festival in Eugene, Oregon; Scaglione has served as Board member of the Internationale Bachakademie and the Pennsylvania Institute of Technology’s the Europäische Musikfest in Stuttgart, Performing Arts Center; Trustee to the Germany; the Classical Music Seminar in Andalusia Foundation; Advisor to the Arts Eisenstadt, Austria; and master classes at the Advisory Council of The Society for the conservatory in Saint Petersburg, Russia. Performing Arts of the Media Theater; and on the Arts and Cultural Advisory Board in Maestro Scaglione graduated with hon- Bensalem Township (PA). For many years, ors from The University of Illinois with a he has served as grant review panelist for Bachelor of Science in Music Education the Pennsylvania Council on the Arts and and holds a Master of Music degree from the Philadelphia Cultural Fund. Temple University. His scholarship and academic excellence have been duly rec- Additionally, Maestro Scaglione’s involve- ognized by the top honor societies in the ment with the greater Philadelphia cultural country, including the Golden Key National and social community includes service Honor Society, Kappa Delta Pi Honor as a member of the Board of Directors Society in Education, and Pi Kappa Lambda of The Philly POPS; The Archbishop’s Honor Society in Music. Cabinet, Archdioceses of Philadelphia; and Treasurer of Studio Incamminati. More Philanthropy recent appointments include Director of Philanthropy is paramount to Maestro The Union League of Philadelphia; and Vice Scaglione. For the past 17 years, he Chairman of The Youth Work Foundation of has donated a portion of the proceeds The Union League of Philadelphia. from many PYO performances to chari- table organizations, such as Reach Out and Read at The Children’s Hospital of Philadelphia; MANNA (Metropolitan AIDS Neighborhood Nutritional Alliance); the Voices for Children Foundation; St. James School, Philadelphia; and the Youth Work Foundation of The Union League of Philadelphia. 06 Jennifer Montone: Soloist
Jennifer Montone As a chamber musician Ms. Montone Horn has performed with the Bay Chamber Jennifer Montone joined The Philadelphia Concerts, the Chamber Music Society Orchestra as principal horn in 2006. She of Lincoln Center, the La Jolla Chamber is on the faculty at the Curtis Institute Music Festival, the Santa Fe Chamber Music of Music, the Juilliard School, and Temple festival, the Bellingham Music Festival, the University. Previously the principal horn Spoleto (Italy) Chamber Music Festival, and of the Saint Louis Symphony and associ- the Marlboro Music Festival. ate principal horn of the Dallas Symphony, In May 2006 Ms. Montone was awarded Ms. Montone was an adjunct professor at the prestigious Avery Fisher Career Grant. Southern Methodist University and per- She is also the winner of the 1996 Paxman former/faculty at the Aspen Music Festival Young Horn Player of the Year Award and School. Prior to her tenure in Dallas in London and the 1998 Philadelphia she was third horn of the New Jersey Concerto Soloists Competition. She was Symphony and performed regularly with a fellow in the Tanglewood Music Festival the Metropolitan Opera Orchestra, the Orchestra in 1996 and 1997. She is a Orpheus Chamber Orchestra, and the New graduate of the Juilliard School, where she York Philharmonic. studied with Julie Landsman, principal horn Ms. Montone has performed as a soloist of the Metropolitan Opera. A native of with The Philadelphia Orchestra, the Saint northern Virginia, Ms. Montone studied with Louis Symphony, the Dallas Symphony, the Edwin Thayer, principal horn of the National National Symphony, the Polish National Symphony, as a fellow in the Symphony’s Radio Symphony, the Warsaw National Youth Fellowship Program. Philharmonic, and the Curtis Orchestra, among others. Her recording of the Penderecki Horn Concerto (“Winterreise”) with the Warsaw National Philharmonic won a 2013 Grammy Award in the cat- egory of “Best Classical Compendium.” Other recordings include Still Falls the Rain – works of Benjamin Britten – and a soon to be released solo CD. She regularly appears as a featured artist at International Horn Society workshops and International Women’s Brass conferences. 07 Philadelphia Youth Orchestra Organization
Louis Scaglione Philadelphia Youth Orchestra President & Music Director Established in 1939, Philadelphia Youth The Philadelphia Youth Orchestra Orchestra is one of the most well- Organization recognized youth orchestras in the nation, provides the region’s most advanced instru- The Philadelphia Youth Orchestra is the mental music students with unparalleled tri-state region’s premier youth orchestra training and performance opportunities organization for gifted, young, classical under the direction of nationally acclaimed musicians, and one of the oldest and most Maestro Louis Scaglione. In addition to highly regarded youth orchestra organiza- the opportunity to showcase their talents tions in the United States. For 76 years, the through high-profile performances at high- Philadelphia Youth Orchestra organization profile venues, including Verizon Hall at The has been providing professional-caliber Kimmel Center for the Performing Arts musical experiences to young instrumental- with live broadcasts on Philadelphia classical ists, while thrilling discriminating audiences and jazz radio station WRTI, members learn in the Greater Philadelphia region and character-building life skills and supple- across the globe. ment their collegiate and conservatory The organization has five programs: applications, making them strong candidates Philadelphia Youth Orchestra (PYO), for acceptance into the most prestigious Philadelphia Young Artists Orchestra universities and conservatories around (PYAO), Bravo Brass, Philadelphia Region the world. Fourteen international concert Youth String Music (PRYSM), and Tune Up tours since 1981 have offered hundreds of Philly, an El Sistema inspired program. talented young musicians the opportunity Ranging in age from 6 to 21 years, the to perform in many of the world’s great musicians of the Philadelphia Youth concert halls, where their performances Orchestra organization are selected by have often been considered on par with competitive audition and come from professional orchestras. a 70-plus-mile radius of Philadelphia Philadelphia Young Artists Orchestra encompassing nearly 20 counties within Pennsylvania, New Jersey, and Delaware. Philadelphia Young Artists Orchestra, PYO’s Through advanced orchestra repertoire, companion orchestra, prepares younger students are challenged to perform at pro- classical music students through a sophis- fessional levels, to strive for advanced musi- ticated repertoire and rigorous intellectual cianship, and to achieve superior technical, and musical discipline. PYAO further pro- musical, and personal application. vides the opportunity to work with a highly experienced professional conductor, musi- Former PYO musicians currently hold chairs cians, and teachers; to rehearse a standard in most of the top 20 professional orches- orchestral repertoire at a professional level; tras in the United States, with 12 PYO and to perform in high-profile professional alumni currently serving in The Philadelphia venues throughout the greater Philadelphia Orchestra. region. For nearly 20 years, PYAO has raised funds through performances to sup- port organizations from throughout the region, including Reach Out and Read at The Children’s Hospital of Philadelphia and 08 Philadelphia Youth Orchestra Organization
the Youth Work Foundation of The Union the specific needs of students living in League of Philadelphia. PYAO, conducted challenging social and economic conditions, by Rosalind Erwin, was established in 1996 with a focus on effecting meaningful com- under a grant from the Pew Charitable munity change. As the first Philadelphia-area Trusts. El Sistema program founded in 2010, Tune Up Philly’s mission is to nurture children by Bravo Brass keeping them engaged in success through Bravo Brass — the only year-round brass weekday after-school music instruction. ensemble in the Philadelphia area and one Under the leadership of Director Paul of only three in the country — offers the Smith, the program offers children an highest level of individual and ensemble opportunity to learn and perform orches- training opportunities for the most accom- tral music and make a true difference plished high school brass musicians in the within their communities, both through the tri-state region. Created in 1997 to provide use of music and through a purposeful con- advanced musical education and perfor- nection with others. Tune Up Philly believes mance opportunities to talented young that music education is a powerful vehicle students, Bravo Brass offers a repertoire for children to master skills that will enable that challenges students to improve their them to acquire valuable tools for coopera- individual and ensemble playing skills. The tive learning, teamwork, academic success, Bravo Brass teaching faculty, led by Maestro and self-esteem. Paul Bryan, Dean of Faculty and Students at the Curtis Institute of Music, provides valu- PYO Organization Leadership able musical training through side-by-side The 2015/2016 Season marks Maestro rehearsals. Louis Scaglione’s 19th anniversary with the Philadelphia Youth Orchestra organization. Philadelphia Region Youth String Music He was appointed the PYO organization’s Created in 2007, Philadelphia Region Youth Music Director in 2005, joined the artistic String Music (PRYSM) offers unparalleled, staff in 1997 as Conductor of the PYAO, personalized instruction and educational and was appointed Associate Conductor support for the region’s beginning to inter- of PYO in 1999. In addition to his work mediate string students, under the direc- as a member of the artistic staff, Maestro tion of the highly respected Philadelphia Scaglione was appointed President of the Orchestra cellist Gloria dePasquale. PRYSM PYO organization in 2004, having served as provides performance opportunities along- the program’s Executive Director for three side faculty and in ensemble concerts with years. musicians from the Philadelphia Orchestra. Extraordinary artistic leadership is a hall- In addition, the program provides students mark of the Philadelphia Youth Orchestra with mentorship opportunities and enables organization. Adolph Sorian (1940–1941), them to become strong candidates for J.W.F. Leman (1941–1952), William R. matriculation into other PYO organization Smith (1952–1954), and Joseph Primavera ensembles. (1954–2005) served as Music Directors, Tune Up Philly with Maestro Primavera having had the extraordinary distinction of being the Tune Up Philly offers a differentiated musi- longest-serving active conductor of any cal curriculum that was created to meet orchestra in the world. 09 Philadelphia Youth Orchestra Organization
Artistic and Educational Leadership Board of Trustees Louis Scaglione Joseph F. DiMauro, VMD, Chairman President & Music Director, Conductor, PYO Renée Dillon Johnson, Vice Chair Kenny Bean James Matour, Esq., Treasurer Associate Conductor, PYO MaryTeresa Soltis, Esq., Secretary Rosalind Erwin Director & Conductor, PYAO Kenneth Blank, Ph.D. Patrick Bailey Michael Devine Assistant Conductor, PYAO Gary Frank Operations Assistant, PYO & PYAO Frank Giordano Paul Bryan Trude Haecker, MD Director & Conductor, Bravo Brass Zachary M. Johns, Esq. Barry McCommon & Robert Skoniczin Assistant Conductors, Bravo Brass Sharon McGinley Gloria dePasquale David R. McShane Director & Conductor, PRYSM David Michie Jessica Villante Nancy Moses Conductor, PRYSM Young Artists Carl Primavera, Esq. Paul Smith W. Matthew Skilton Director, Tune Up Philly Walter Strine, Esq. Colleen M. Hood General Manager & Librarian Rick Touhill Maria L. Newman Denise Valmé-Lundy, Esq. Director of Development
The PYO organization receives support from the Pennsylvania Council on the Arts, a commonwealth agency funded by the Commonwealth of Pennsylvania, the National Endowment for the Arts, the U.S. Department of Education & The Philadelphia Cultural Fund. 10 Philadelphia Youth Orchestra Organization
Auditions Open Rehearsals To audition for one of the Philadelphia Philadelphia Youth Orchestra Youth Orchestra ensembles, please Saturdays, 8:30 a.m. – 12:00 p.m. visit our website for additional information, audition applications and online registration. Philadelphia Young Artists Orchestra Advance registration is required: Sundays, 2:00 p.m. to 5:00 p.m. www.pyos.org Bravo Brass Mondays, 6:00 p.m. – 8:30 p.m. Philadelphia Youth Orchestra Saint Patrick Hall & Philadelphia Young Artists Orchestra Twentieth & Locust Streets Auditions are open to musicians from Philadelphia, Pennsylvania 19103 10 through 21 years of age. PRYSM Advance registration is required. Fridays, 6:30 p.m. – 8:30 p.m. Saturday, June 11, 2016 Bryn Mawr College Strings, Woodwinds, Brass, 101 North Merion Avenue Percussion, Harp, Keyboard Bryn Mawr, Pennsylvania 19010 9:00 a.m. – 5:00 p.m. Tune Up Philly Sunday, June 12, 2016 Belmont Academy Charter School Strings, Woodwinds, Brass, Independence Charter School Percussion, Harp, Keyboard Inquiry Charter School 1:00 p.m. – 5:00 p.m. Mariana Bracetti Academy Charter School Bravo Brass People for People Charter School Auditions are open to musicians from Saint James School 12 through 21 years of age. Salvation Army Ray & Joan Kroc Center Advance registration is required.
Monday, June 13, 2016 Give to PYO Brass, Percussion 5:30 p.m. – 8:30 p.m. The Philadelphia Youth Orchestra is a 501(c)3 non-profit charitable organization PRYSM & PRYSM Young Artists which relies on the generous support Auditions are open to student string of donors and foundations. If you would players from 6 through 17 years of age. like to make a tax-deductible contribution, Advance registration is required. please visit our website or mail your Friday, June 10, 2016 donation payable to: 6:30 p.m. – 8:30 p.m. Philadelphia Youth Orchestra P.O. Box 41810 Philadelphia, PA 19101-1810 Office: 215 545 0502 Email: [email protected] www.pyos.org 11 Program Notes
Richard Strauss “I may not be a first-rate Born: Munich, Germany, composer, but I am a first-class 11 June 1864 second-rate composer.” Died: Garmisch-Partenkirchen, Bavaria, While Beethoven’s music closed the 8 September 1949 Classical era of Mozart and Haydn and Till Eulenspiegels lustige Streiche, Op. 28 simultaneously transitioned to the Romantic (Till Eulenspiegel’s Merry Pranks) period, it was the music of Mahler and Strauss that culminated the Romantic Till Eulenspiegels is scored for piccolo, period. Mahler and his symphonies also cre- three flutes, three oboes, English horn, two ated the bridge between the late Romantic clarinets, bass clarinet, E-flat clarinet, three period (championed by Wagner) and the bassoons, contrabassoon, four horns, three more modern sounds of the twentieth cen- trumpets, three trombones, tuba, (optional tury. Richard Strauss, however, seem to hold additional four horns and three trumpets), on to the sounds of the late nineteenth timpani, bass drum, cymbals, ratchet, snare century. Even though Strauss was originally drum, triangle, and divided strings. referred to as “the other Strauss,” due to Duration: 15 minutes the popularity of the waltzes of Johann Parallel Events of 1895 Strauss, Jr. (no relation to Richard), Strauss rose to be one of most important music Cuban War of Independence figures of the twentieth century. Even more against Spain begins so, Strauss’ music came to symbolize the Los Angeles Railway establishes end of an era and, while somewhat contro- streetcar service versial at times, it became more en vogue Guglielmo Marconi invents the radio that much of Mahler’s music. Tchaikovsky’s ballet Swan Lake premieres The son of an exceptional horn player, Richard Strauss was raised on the formal- Mahler’s Resurrection Symphony premieres ity and perfection of Brahms’ music and Oscar Wilde’s final play The Importance the dramatic operas of Wagner. At the of Being Earnest premieres same time, Strauss lived long enough to experience the first half of the twentieth H.G. Wells’ publishes novel century. During the Nazi regime in the The Time Machine 1930s, Strauss seemed to attempt to keep Stephen Crane writes his head down. He disliked the interference The Red Badge of Courage of the government in the arts and was not Volleyball is invented interested in politics, but he did not wish to leave Germany, so he passively acquiesced Gillette invents safety razor to Nazis in order to ensure the perfor- Abolitionist Frederick Douglas dies mance of his music. 12 Program Notes
Because of his family’s daily involvement opera Guntrum, Strauss returned to tone with music, Strauss began his piano stud- poems. Originally considered for the sub- ies at the age of four, and wrote his first ject of an opera, the story Till Eulenspiegel work, a Christmas song, when he was six. was taken from a somewhat comic yet mis- By his mid twenties, Strauss had already chievous character from German folk-tales. begun a successful conducting career. More Literally translated “Till owl mirror,” the than anything, however, Strauss is hailed as name Till Eulenspiegel was taken from the the greatest composer of orchestral tone saying: “One sees his own faults as little as poems. Designed to musically depict a an owl sees his ugliness looking into a mir- story, poem, painting, or idea, tone poems ror.” Thus, the fourteenth century German became increasingly popular in the late folklore of Till Eulenspiegel becomes a nineteenth century. Composers enjoyed comic anti-hero that holds up the mirror to lack of required structure in a tone poem, man’s foolishness. and Strauss used this freedom to assign Usually depicted as a practical joker, Till melodic themes to aspects of a story and proudly chooses to cause problems, do then carefully wove those themes together things as he sees fit, and thumbs his nose at to create a musical narrative that is unpar- those who disagree with him. After recently alleled even today. experiencing much critical rejection of his The tone poem Don Juan was Strauss’ first recent opera, Strauss perhaps used Till major success as a composer (at the age Eulenspiegel as his own attempt to get his of 22), and it was quickly followed by Tod way, and “thumbs his nose at the critics,” und Verklärung (Death and Transfiguration). suggests musicologist Eric Sellen. “Strauss’ In additional to the successes of later new tone poem could be seen as a work tone poems, such as Ein Heldenleben, Till of art and a practical joke.” Eulenspiegel, and Also Sprach Zarathustra Till Eulenspiegel is composed in rondo form, (known today by audiences because of where the main theme returns after dif- its famous opening used in the film Space ferent episodes or verse-like sections. The Odyssey 2001), Strauss also made his mark episodes appropriately become different in the theatre with landmark and seem- adventures or scenes in Till’s life. While ingly revolutionary operas including Elektra, there is no set program listing different Salome, and Der Rosenkavalier. scenes in the work, Strauss did have certain Strauss’ operas have become important scenarios in mind: galloping through a town masterworks in the major opera houses market and upsetting the tables of goods; today, but his orchestral tone poems have imitating andmocking clergyman; flirting become high symphonic art, and the pre- with a girl (and being rejected); mocking miere of Till Eulenspiegel solidified his legacy. university teachers; and then accused of After the unsuccessful premiere of his blasphemy and then sentenced to death by hanging. Complete with drum beats, ratchet, and slapstick (a whip-like sound), the image of Till upsetting the marketing carts is vivid. The slow, haughty theme in the violas and bassoons wonderfully depicts the mock- ing the piety of the clergy. Till’s romantic pursuit is wonderfully captured by the solo 13 Program Notes
violin and the sweeping glissandos by all of Reinhold Glière the violins. But Till’s theme played by the Born: Kiev, Russia, horns always follows the mini adventures, 30 December 1874 and the character’s boastfulness is equally Died: Moscow, Soviet Union, remembered as the theme returns. 23 June 1956 To give the true sentiment of a folk-tale Horn Concerto in B-flat, Op. 91 or adventure, Strauss uses the sounds of quiet strings to convey a “Once upon a Glière’s Horn Concerto is composed for time” opening and closing to the work. solo horn, three flutes, two oboes, two He uses a solo horn to introduce Till’s clarinets, two bassoons, three horns, two main theme and the high-pitched E-flat trumpets, three trombones, tuba, timpani, clarinet to depict Till’s mischievous laughter. triangle, snare drum, cymbals, bass drum, Appropriately, a snare drum roll portrays harp, and divided strings. Till’s death scene until the “once upon a Duration: 26 minutes time” theme returns, followed by one more Parallel Events of 1951 laughter from Till, “giving us,” as Mr. Sellen continues, “a musical wink that Till’s spirit U.S. and USSR both begi lives on, always challenging tradition, and nuclear weapons testing laughing with delight at human folly.” Typhoon flood in Manchuria kills The work is clearly complex, rhythmically 4,800 people and harmonically. When Till Eulenspiegel Winston Churchill is re-elected made its premiere in Britain, it was con- Prime Minister of England at age 86 sidered so complex that it was played President Harry Truman fires twice in row to justify the time spent by General Douglas McArthur the orchestra to prepare the work. One critic said that “No gentleman would have Ethel & Julius Rosenberg are convicted written such a thing,” and the composer of espionage and sentenced to death Claude Debussy, who was no stranger to Rodgers & Hammerstein’s musical harsh criticism, wrote that Till Eulenspiegel The King & I premieres on Broadway is “an hour of music in an asylum… You do Television shows I Love Lucy, Dragnot and not know whether to roar with laughter Amos n’ Andy premiere or shout with pain.” While today the work is not considered anything musically outra- NY Yankee Mickey Mantel plays geous and, in fact, is seen as a charming his first game crowd-pleaser, Till Eulenspiegel is best expe- Joe DiMaggio retires from baseball rienced when we allow ourselves to have some silliness, mischief, and imagination. 14 Program Notes
Even though most of the important works Glière’s career was somewhat more stable by Russian composer Reinhold Glière than his Soviet colleagues because he kept were written during the first half of the out of the ideological war between the 20th century, they truly place him as a late Soviet leaders and many artists at the time. Romantic at the end of the previous centu- His utterly Russian music was considered ry. Born Reinhold Ernest Glière to parents to be in “good taste” by the Soviet govern- of German-Polish ancestry, the composer ment, as they found that he did not dabble changed his last name to Glière, leaving in the “bourgeois decadence” of modern- some to believe he had French heritage. ism. He was even appointed to serve as the After learning the violin, Glière studied chairman of the organizing committee of music theory with acclaimed composer the Soviet Composers’ Union for a decade. and teacher Nikolai Rimsky-Korsakov (who Despite his reputation for being a fol- also taught Igor Stravinsky and Ottorino lower of Stalin and a promoter of con- Respighi). Glière went on to a presti- ventional and sentimental “art that serves gious student career at both the Kiev and the people” per the Communists instruc- Moscow conservatories, where he was tions, Glière is remembered (mostly by infused with Russian Romanticism that was Russian audiences) as a true successor to made famous by Tchaikovsky. Even though Tchaikovsky, especially because of his music Glière went on to compose during the for Russian ballets. In all, he composed time of modernists like John Cage, György three symphonies, four string quartets, five Ligeti, and Pierre Boulez, Glière (like operas, six ballets, several concertos, and Rachmaninoff) always seemed to embrace many chamber works. the overly lush and sweeping sounds of the Glière’s Horn Concerto remains his most late 1800s. popular work today, especially outside of His monumental Third Symphony propelled Russia. Concertos for horns are rare – well his career in 1912, and he became the written ones are even rarer. During a break director of the Kiev Conservatory through- in a rehearsal of Glière’s ballet The Bronze out the entire Russian Revolution. In 1920 Horseman, Valery Polekh, the principal he became professor of music at the horn of the Bolshoi Theatre, approached Moscow Conservatory until World War II the composer to write a new concerto interrupted his position there. In Moscow, to showcase the full range and diversity Glière went on to teach many young com- of the horn. Glière immediately met with posers, including Serge Prokofiev and Aram Polekh to gain a complete understanding of Khachaturian. the horn’s abilities and limitations. Several years later in 1951, the Horn Concerto premiered with Polekh performing the horn solo and the composer conducting the Leningrad Radio Symphony Orchestra. 15 Program Notes
Like so much of Glière’s music, the Horn Johannes Brahms Concerto is skillfully crafted and complete Born: Hamburg, Germany, with inventive, colorful harmonies, and 7 May 1833 bright orchestral colors. He also wonder- Died: Vienna, Austria, fully infused Slavic folk melodies with the 3 April 1897 late Romantic sonorities that are invariably nationalistic. The irresistibly beautiful slower Symphony No. 2 in D major, Op. 73 movement has a film score-like feel that Brahms’ Second Symphony is scored for becomes a real Hollywood tearjerker, while two flutes, two oboes, two clarinets, two the final movement conjures up exciting bassoons, four horns, two trumpets, three Russian dances and marches. The most vir- trombones, tuba, timpani, and divided tuosic passages, however, were composed strings. by the soloist Polekh for the cadenza sec- Duration: 40 minutes tion, which most soloists still perform today. While Glière’s Horn Concerto demon- Parallel Events of 1877 strates the lush sounds of the horn, and its U.S. Congress determines 1876 Presidential extensive range (the first movement alone Election, awarding Florida’s electoral votes the soloist performs about three and a half to Rutherford B. Hayes, who becomes octaves), the overall sense is that Glière the 19th U.S. President without winning the was paying homage to the instrument itself popular vote in an endearing and playful musical adora- U.S. at war with Native American tribes tion to the horn. Washington Post publishes its first newspaper Bell Telephone Company is founded Tchaikovsky’s ballet Swan Lake premieres Thomas Edison makes first recording of human voice and invents phonograph John Wanamaker opens first U.S. depart- ment store in Philadelphia Entrepreneur Cornelius Vanderbilt and Mormon leader Brigham Young die Mexican revolutionary rebel Pancho Villa is born Catcher’s mask first worn in baseball First National League Baseball game is played 16 Program Notes
About the Composer his sleeve and tried to avoid using music After Beethoven left the world nine great as a means to paint pictures or tell stories. symphonies, very few composers attempt- He preferred more intangible works. Even ed to rise to the challenge of writing a Brahms’ funeral mass, German Requiem (his symphony. As a result, most composers first major success), avoided the liturgical produced works that were less structured text that traditionally employed the words than a symphony and more program- from the funeral mass. Instead, Brahms used matic such as operas or tone poems. In the texts from the more poetic Beatitudes the immediate post-Beethoven world, the and suggested that death is more con- majority of composers followed the leader- cerned about consoling the living than ship of opera composer Richard Wagner, the one who died (“Blessed are they that who led the movement of a new German mourn for they shall be comforted.”) school of composing. More exotic instru- Yet in a sense Brahms was more of the ments such as the tuba and English horn Romantic Era than most of those who were used in the orchestra, the number of branded him an anti-Romanticist. In nearly strings tripled, and the overall sound took every work Brahms wrote, he composed on larger-than-life images and intensities. from personal experience, especially heart- Composers throughout the world followed ache. Romantic artists seemed to not only this new movement, what is referred to embody their works, they are plagued with today as the Romantic Era (1820-1900). an “inner demon,” as Beethoven called it, Started by Beethoven, the Romantic Period which aided their plight to express them- is principally focused on the will, dreams, selves artistically. hopes, disappointments, fears, or any emo- Beethoven lost his hearing, Tchaikovsky tion or desire of the writer. The art and the struggled as a homosexual with serious artist are inseparable, where in the previous bouts of depression, and Robert Schumann eras of Mozart and Haydn (Classical) or went insane. Looking at Brahms’ life and Bach and Handel (Baroque), artistic output music, it is clear he suffered from a more was simply another occupation not prone common and perhaps more painful demon to personal passions or influences. – loneliness. Ironically and tragically, Brahms While very much a German composer, loved the wife of one of his greatest sup- Johannes Brahms rejected this new way porters and closest friends – Robert of thinking. The son of a mediocre musi- Schumann. Clara Schumann happened to cian, Brahms embraced the more struc- be one of the world’s finest pianists and the tured forms of the Classical era, including first major woman virtuoso performers. Beethoven who was the bridge between After Robert Schumann’s death in 1856, the Classical and Romantic periods. Above Brahms and Clara decided to go their sepa- all else, Brahms hated wearing his heart on rate ways, but their friendship remained the deepest and only emotional anchor Brahms ever knew. Artistically, the heartache and anguish sowed the seeds of several major compositions, many of which took years to complete. 17 Program Notes
As a craftsman, Brahms was a perfectionist About the Work and he sought to refine and finish every Admiration is a powerful thing. Brahms moment of music to absolute perfection. was so awed by the works of Beethoven He offered advice to a fellow musician that Brahms was burdened by the legacy saying, “Go over it and over it again and of Beethoven’s symphonies, saying “I shall again until there is not a bar you could never compose a symphony. You have improve on….Whether it is beautiful also no idea how it feels to be dogged by is an entirely different matter, but perfect it Beethoven’s footsteps; to hear behind you must be.” Unlike Beethoven, Brahms really the tramp of a giant like Beethoven.” It did did not have a steady patter of evolution not help Brahms that twenty years earlier and progress in his works. Rather, Brahms his close friend and composer Robert seemed complete as an artist from the Schumann published an article suggesting start. Robert Schumann observed in a now Brahms would be the heir to Beethoven, famous article that Brahms was one of saying that “if Brahms directs his magic “music’s mysteries in arriving fully armed, wand where the massed power in chorus like Athena from the head of Zeus.” and orchestra might lend him their strength, As a result, Brahms became the heir- we can look forward to even more won- apparent to Beethoven even before Brahms drous glimpses into the secret world of the completed his first of only four symphonies. spirits.” At the time of Schumann’s procla- Brahms surpassed his contemporaries mation, Brahms had yet to write anything in his ability to control the intertwining for orchestra. melodic lines coupled with richly expres- The precocious prodigy Mozart com- sive harmonies. Yet all of this was framed posed his first symphony at the age of in the methodical and structured styles of nine; Mendelssohn was 15; Schubert was his immediate predecessors, like Beethoven, 16; Haydn was 25; Beethoven was 29; and Mozart, and Haydn. Brahms’ imaginative Schumann reached the ripe old age of skill to phrase a musical line with the seem- 31 before composing his first symphony. ingly perfect orchestral timbres and colors Brahms unveiled his first symphony to the is unprecedented, even today. Brahms’ public at the age of 43; however, unlike the published works include the Variations on previous composers mentioned, Brahms’ a Theme of Haydn, the Academic Festival first attempt immediately entered the main- Overture, the Tragic Overture, concertos for stream of the symphonic repertoire. piano, violin, and cello, sonatas for piano, violin, cello and clarinet, piano trios, quar- tets and a quintet, string quartets, many works for solo piano, organ preludes, many songs, vocal quartets and duets (Liebeslieder Waltzes, Zigeunerlieder), choral works (German Requiem, Alto Rhapsody, Nanie, Gesang der Parzen, Schicksalslied), and four perfect symphonies. 18 Program Notes
With the agony of his First Symphony Brahms, who often used the cellos for his behind him, Brahms launched into his most expressive music, opens the second Second Symphony with considerable movement with the dark voices of the speed. Composed during the summer of cellos in one of the most sorrowful move- 1877, Brahms attributed the surround- ments that is amazingly not in a minor key. ings of a relaxing Austrian resort village The horn, flutes, and oboes then take up to the new work’s quick birth. Moreover, the cellos’ song, reshaping it into a much Brahms’ Second Symphony musically and more expansive theme. The most uncanny emotionally resembles Beethoven’s nature- and incredible thing about the second inspired Pastoral Symphony. Brahms’ First movement is its ability to tug on our heart- (in C minor) and Beethoven’s Fifth (also strings in a way that is so introspective in C minor) both suggest a heroic theme, without ever sounding melancholy, almost and both Brahms and Beethoven took like a “good cry.” considerable time to create these works. The delicately scored third movement Then, after the two C minor symphonies alternates between two faster episodes of of storm and stress, each produced, in a exceptional grace and lightness, and again short time, a work which offered deliberate relate back to the open three notes of contrast to the previous epic works. The the first movement. A solo oboe over the result (Beethoven’s Pastoral Symphony and plucking of strings introduces a folk-like Brahms’ Symphony No. 2) implies a “return tune to open the movement in a relatively to nature.” stately yet dancing rhythm until it is trans- For all its outward simplicity, Brahms’ Second formed into energetic variations punctu- Symphony conceals unexpected depths of ated by a few breathless pauses. The result seriousness and introspection, and is one of is almost a naïve charm and intimacy, and the most rigorously organized of all of the at the world premiere performance the composer’s works. For example, almost all delighted Viennese audience demanded of the Second Symphony’s thematic material (and received) an encore of this movement. grows from the simple three-note figure Following a consciously restrained open- that is heard by the cellos and basses in the ing of the final movement, the Finale takes opening measures. The three-note figure shape with an exuberant outburst. The undergoes several transformations that energetic movement presents, develops, lead to the violins taking on the flowing, alters, and reconfigures three principal reflective theme. The three-note figure also themes in rapid succession. Contrasting becomes the basis of the secondary theme manic energy with a broad, hymn-like of unfulfillable longing played by the lower melody there is an inevitable sense of strings. motion that provides the undercurrent for the entire movement until the music builds confidently into a blazing fanfare ending the Second Symphony with sheer exhilaration virtually unparalleled among Brahms’ other works. While it is Brahms’ most intricately 19 Program Notes
organized movement he ever created, most attempts to analyze this movement are usu- ally swept away by the blaze of D major sunlight that overwhelms the entire move- ment and simply abounds in joy. With an odd sense of humor, Brahms teased his friends saying that his “new sym- phony is so melancholy that you will not be able to bear it.” His Second Symphony, of course, is nothing of the kind and today is still thought of as one of the most reflec- tive and uplifting works Brahms or any composer has ever created. Yet, the Second Symphony is much more than that. The composer’s ability to orchestrate many textures from a relatively limited orchestral force is brilliant – from soft and tender melodies, to sprightly dancing tunes, to his trademark sonorous strings. The skill to essentially shape the entire work from a mere three-note figure shows not only Brahms’ limitless imagination, but perfection of his craft – the theme that permeates all of Brahms’ works.
Program Notes © Allan R. Scott 20 In Appreciation
Foundations The Presser Foundation Asociación de A. Carter Pottash Family Puertorriqueños en La Foundation Marcha The Rittenhouse Foundation The Philadelphia Youth Judith Haskell Brewer Orchestra organization, and Fund of the Community The Robinson Family the Board of Trustees thank Foundation Serving Foundation of The Jewish the following individuals, Richmond & Central VA Communal Fund corporations, foundations Julian A. and Lois G. The Samantha Fund and government agencies Brodsky Foundation of The Community for their generous con- D’Addario Foundation Foundation of NJ tributions during the past The Seattle Foundation year. Elsie Lee Garthwaite Foundation Society of The Sons This list acknowledges of St. George donations from September The Ethel Sergeant Clark 1, 2014 through September Smith Memorial Fund Jean and David Soll 31, 2015. If a name, Frederick W. Cook & Co., Inc. Philanthropic Fund company, foundation or Friends of the of the Jewish Federation government agency has Wanamaker Organ of Greater Philadelphia been omitted or misprinted, H.E.L.P. ® Foundation The Welsh Society please accept our of Philadelphia apologies and notify us by Henrietta Tower Wurts calling 215 545 0502. Memorial Fund of The The Wright-Hayre Fund of Philadelphia Foundation the Philadelphia Foundation The H.O. West Foundation Horsham Veterinary Hospital Corporations Impact 100 Philadelphia Allen Organ Company Colleen Maguire Family Fund AirProducts, Corp. The Maguire Foundation Bachrach Photography The McGinley Blank Rome, LLP Family Foundation Custom Processing The Philadelphia Services, Inc. (Sandra Foundation & Jeffrey Klinger) David Michie Violins. LLC Donatic Eastern Standard GE Foundation Matching Gifts Program Give with Liberty 21 In Appreciation
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Saturday, December 19, 2015 – 7:30 p.m. Sunday, April 3, 2016 – 2:00 p.m. Bravo Brass 2016 Philadelphia Youth Orchestra Showcase Saint Mark’s Church of Philadelphia Philadelphia Youth Orchestra Information: 215 545 0502 Philadelphia Young Artists Orchestra PRYSM & PRYSM Young Artists Sunday, December 20, 2015 – 4:00 p.m. Bravo Brass Philadelphia Young Artists Orchestra Tune Up Philly Upper Darby Performing Arts Center The Kimmel Center for the Performing Arts Information: 215 545 0502 Information: 215 893 1999
Saturday, February 6, 2016 – 3:00 p.m. Saturday, May 14, 2016 – 3:00 p.m. PRYSM & PRYSM Young Artists 9th Annual Festival Concert Centennial Hall – The Haverford School PRYSM & PRYSM Young Artists Information: 215 545 0502 Centennial Hall – The Haverford School Information: 215 545 0502 Sunday, February 21, 2016 – 3:00 p.m. Philadelphia Youth Orchestra Saturday, May 21, 2016 – 3:00 p.m. The Kimmel Center for the Performing Arts 6th Annual Festival Concert Information: 215 893 1999 Tune Up Philly Temple Performing Arts Center Sunday, February 28, 2016 – 3:00 p.m. Information: 215 545 0502 Philadelphia Young Artists Orchestra The Union League of Philadelphia Sunday, May 22, 2016 – 3:00 p.m. Information: 215 545 0502 21st Annual Festival Concert Philadelphia Young Artists Orchestra Saturday, March 5, 2016 – 7:30 p.m. The Kimmel Center for the Performing Arts Bravo Brass Information: 215 893 1999 Saint Mark’s Church of Philadelphia Information: 215 545 0502 Saturday, June 4, 2016 – 7:30 p.m. 13th Annual Festival Concert Sunday, March 6, 2016 – 4:00 p.m. Bravo Brass Bravo Brass Saint Mark’s Church of Philadelphia
Saint Mary’s Episcopal Church of Burlington Information: 215 545 0502 paone design design: associates Information: 215 545 0502 Sunday, June 5, 2016 – 3:00 p.m. Friday, March 11, 2016 – 6:00 p.m. 76th Annual Festival Concert 2016 PYO Gala Dinner and Concert Philadelphia Youth Orchestra Philadelphia Youth Orchestra The Kimmel Center for the Performing Arts Bravo Brass Information: 215 893 1999 Tune Up Philly The Union League of Philadelphia To request an invitation: 215 545 0502 For complete schedule information and performance updates, please visit www.pyos.org