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Home , Air on the G String, August Wilhelmj, Brandenburg Concertos, Harpsichord concerto, Orchestral suites (Bach), Perpetuum mobile

23 Season 2012-2013

Thursday, April 18, at 8:00 Friday, April 19, at 2:00 The Philadelphia Saturday, April 20, at 8:00 Nicholas McGegan Conductor

Bach No. 1 in , BWV 1046 I. [no indicated] II. Adagio III. Allegro IV. Menuet—Trio I—Polonaise—Trio II David Kim, Richard Woodhams, Jonathan Blumenfeld, oboe Peter Smith, oboe Jennifer Montone, Jeffrey Lang, horn

Bach Brandenburg Concerto No. 3 in , BWV 1048 I. [no tempo indicated] II. Adagio III. Allegro

Bach Brandenburg Concerto No. 2 in F major, BWV 1047 I. [no tempo indicated] II. Andante III. Allegro assai David Kim, violin Jeffrey Khaner, Richard Woodhams, oboe David Bilger,

Intermission 24

Bach Brandenburg Concerto No. 4 in G major, BWV 1049 I. Allegro II. Andante III. Presto David Kim, violin Jeffrey Khaner, flute Loren Lind, flute

Bach Orchestral No. 3 in , BWV 1068 I. II. Air III. I—Gavotte II IV. Bourrée V.

This program runs approximately 1 hour, 55 minutes.

The April 18 concert is sponsored by Medcomp.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 2 PM. . Visit www.wrti.org to listen live or for more details 25 3 Story Title The Philadelphia Orchestra Jessica Griffin

Renowned for its distinctive Philadelphia is home and Carnegie Hall and the sound, beloved for its the Orchestra nurtures Kennedy Center while also keen ability to capture the an important relationship enjoying a three-week hearts and imaginations not only with patrons who residency in Saratoga of audiences, and admired support the main season Springs, N.Y., and a strong for an unrivaled legacy of at the Kimmel Center but partnership with the Bravo! “firsts” in music-making, also those who enjoy the Vail festival. The Philadelphia Orchestra Orchestra’s other area The ensemble maintains is one of the preeminent performances at the Mann an important Philadelphia in the world. Center, Penn’s Landing, tradition of presenting and other venues. The The Orchestra has educational programs for Philadelphia Orchestra cultivated an extraordinary students of all ages. Today Association also continues history of artistic leaders the Orchestra executes a to own the Academy of in its 112 seasons, myriad of education and Music, a National Historic including music directors community partnership Landmark. Fritz Scheel, Carl Pohlig, programs serving nearly Leopold Stokowski, Eugene Through concerts, 50,000 annually, including Ormandy, Riccardo Muti, tours, residencies, its Neighborhood Concert , and presentations, and Series, Sound All Around Christoph Eschenbach, and recordings, the Orchestra and Family Concerts, and Charles Dutoit, who served is a global ambassador eZseatU. as chief conductor from for Philadelphia and for In February 2013 the 2008 to 2012. With the the U.S. Having been the Orchestra announced a 2012-13 season, Yannick first American orchestra recording project with Nézet-Séguin becomes the to perform in China, in Deutsche Grammophon, eighth music director of 1973 at the request of in which Yannick and The Philadelphia Orchestra. President Nixon, today The the ensemble will record Named music director Philadelphia Orchestra Stravinsky’s The Rite of designate in 2010, Nézet- boasts a new partnership Spring. Séguin brings a vision that with the National Centre extends beyond symphonic for the Performing Arts For more information on music into the vivid world of in Beijing. The Orchestra The Philadelphia Orchestra, opera and choral music. annually performs at please visit www.philorch.org. 4 Music Director

Jessica Griffin Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. From the Orchestra’s home in Verizon Hall to the Carnegie Hall stage, his highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Yannick “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”

Over the past decade, Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. He has appeared with such revered ensembles as the Vienna and Berlin philharmonics; the Boston Symphony; the Accademia Nazionale di Santa Cecilia; the Dresden Staatskapelle; the Chamber Orchestra of Europe; and the major Canadian orchestras. His talents extend beyond symphonic music into opera and choral music, leading acclaimed performances at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival.

In February 2013, following the July 2012 announcement of a major long-term collaboration between Yannick and Deutsch Grammophon, the Orchestra announced a recording project with the label, in which Yannick and the Orchestra will record Stravinsky’s . His discography with the Rotterdam Philharmonic for BIS Records and EMI/Virgin includes an Edison Award-winning album of Ravel’s orchestral works. He has also recorded several award-winning albums with the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued studies with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. In 2012 Yannick was appointed a Companion of the Order of Canada, one of the country’s highest civilian honors. His other honors include Canada’s National Arts Centre Award; a Royal Philharmonic Society Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and an honorary doctorate by the University of Quebec in Montreal.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 26 Conductor

Steve J. Sherman For 27 years conductor Nicholas McGegan has been music director of the San Francisco-based Philharmonia Baroque Orchestra and Philharmonia Chorale, one of the world’s leading period-performance ensembles. The orchestra has appeared at Carnegie Hall, the London Proms, Amsterdam’s Concertgebouw, and at the International Handel Festival in Göttingen where Mr. McGegan was artistic director from 1991 to 2011. He made his Philadelphia Orchestra debut in 2002 and has appeared with major orchestras including the New York, Los Angeles, and Hong Kong philharmonics; the Chicago, Milwaukee, Saint Louis, Toronto, and Sydney symphonies; and the Cleveland, Northern , and Scottish Chamber orchestras. Born in England, Mr. McGegan was educated at Cambridge and Oxford. He was made an Officer of the Most Excellent Order of the British Empire “for services to music overseas.” Other awards include the Halle Handel Prize; Germany’s Order of Merit of the State of Lower Saxony; the Medal of Honor of the City of Göttingen; and a declaration of “Nicholas McGegan Day” by the mayor of San Francisco in recognition of his work with the Philharmonia Baroque. His extensive discography includes recent releases on Philharmonia Baroque’s label, Philharmonia Baroque Productions, including Brahms’s serenades; Berlioz’s Les Nuits d’été and Handel arias with mezzo-soprano Lorraine Hunt Lieberson; Haydn symphonies No. 88, 101, and 104; and Vivaldi’s The Four Seasons and other with violinist Elizabeth Blumenstock. Mr. McGegan has enjoyed a long collaboration with groundbreaking choreographer Mark Morris, notably the premiere performances of Morris’s production of Rameau’s Platée at the Edinburgh Festival, and Handel’s L’allegro, il penseroso, ed il moderato at Ravinia and the Mostly Mozart Festival in New York. In 2014 he will rejoin the Mark Morris Dance Group, along with Philharmonia Baroque, for the premiere and touring performances of Mr. Morris’s new production of Handel’s Acis and Galatea in an by Mozart. Beginning in the 2013- 14 season Mr. McGegan becomes the principal guest conductor of the Pasadena Symphony, where he will have the opportunity to conduct a wide range of his favorite repertoire, which includes Dvorˇák, Britten, Elgar, Mahler, Brahms, and Wagner. 27 Framing the Program

Bach’s Six , of which we hear the Parallel Events first four on the concert today, are now considered among 1721 Music his greatest and most famous compositions. Relatively little Bach Handel is known, however, about their genesis or performance Brandenburg Acis and history during his lifetime. He composed them around Concertos Galatea 1720, when employed as the court musician in Cöthen Literature and writing a large quantity of instrumental music. Montesquieu Lettres In March 1721 Bach assembled six recent concertos in persanes a handsome manuscript copy and affixed an elaborate Art dedication to Christian Ludwig, the Margrave of Watteau Brandenburg, an enthusiastic music patron and collector. Pilgrimate to Bach had a good job at the time but evidently was Cythera open to something better. Although the Margrave won History some measure of immortality due to these concertos, Regular postal Bach never got a job from him. The virtuoso writing service begins Bach crafted for the individual instrumentalists—each between London and concerto has a different orchestration—gives abundant New England opportunities for the Philadelphians to shine. Bach seems to have composed the third of his four 1731 Music (he called them ) about 10 Bach Pergolesi years later, after he had moved on to a new position in Orchestral Magnificat Leipzig, where he spent the rest of his life. The Third Suite Suite No. 3 Literature became the most famous due to the wondrous second Prévost Manon Lescaut movement. Its nickname, “,” derived Art from a late-19th-century arrangement for with violin Hogarth playing on one string. The Harlot’s Progress History Franklin founds subscription library in Philadelphia 28 The Music Brandenburg Concerto Nos. 1-4

It is a great irony in history that one of the most famous sets of instrumental concertos, the so- called Brandenburg Concertos by J.S. Bach, were never performed at the court in Brandenburg, nor were they originally written for that court. In 1721 Bach dedicated a very ornate and elaborately-presented score of six concerto grossos to Christian Ludwig, the Margrave of Brandenburg, who, two years earlier, had made a vague request of Bach to see some of his music. It is quite probable that Bach intended this collection of scores as a kind of job application, hoping to gain a position at Born in Eisenach, the Margrave’s court in Berlin. But the score was never March 21, 1685 opened, and sat unperformed on the Margrave’s shelf until Died in Leipzig, July 28, his death. Bach was never offered a position in Berlin. 1750 Works in Several Versions But this doesn’t mean that the Brandenburg Concertos weren’t performed during Bach’s lifetime. In fact each of the six concertos in the set had been performed by the orchestra in Cöthen, where Bach was court composer and director of the orchestra from 1717 to 1723. Several of them are based on earlier works, and after he moved to Leipzig in 1723 he reworked a number of the concertos into movements and other vocal and instrumental pieces. With several different versions of the concerto scores extant, each performed during Bach’s lifetime, there are a variety of with legitimate claims to being “authentic.” To make matters more interesting, the score sent to the Margrave of Brandenburg is riddled with errors, and includes parts for instruments that were not part of the Margrave’s band of musicians, so even that famous score cannot be considered definitive. Since these works emerged for the most part from Bach’s years in Cöthen, and were almost certainly all played there as courtly entertainments for the Prince during his Sunday evening concerts, these six concertos give a very accurate picture of the musical performances and practices at Cöthen during Bach’s tenure. Detailed records were kept regarding musician payments, and so it is possible to reconstruct the make-up and instrumentation of that ensemble from week to week, and even to speculate when they may have performed each of the concertos. 29

While in Cöthen, Bach had at his disposal a relatively large orchestra of up to 18 musicians. The ensemble did not include horn players, but on numerous occasions traveling horn players were hired to play the horn parts in Bach’s compositions. Most of the full-time musicians were trained in Berlin, and were performers of the highest order. Bach himself played lead in the ensemble, and directed the group from the viola desk. The size and variety of the orchestra at Cöthen is reflected in the instrumentation of these six concertos, each of which is scored for a different ensemble. They are all concerto grossos in the sense that the music juxtaposes a small ensemble of soloists (or ) against a larger group (the ripieno), but Bach’s scoring is so chamberistic that the division between soloist and ensemble is very fluid, and at times almost moot. These are not the same kind of concerto grossos as, for example, those written by Vivaldi or Corelli, where the division is much clearer. It seems to have been Bach’s purpose to demonstrate the remarkable variety of instrumental combinations, timbres, and textures possible within the chamber concerto genre. Bach’s predilection for order and pattern is evident in the numbering and organization of the Brandenburg Concertos. The set is arranged roughly in decreasing order of the number of performers required. It is also arranged according to key: Concerto Nos. 1 and 2 are in F major (one flat), Nos. 3 and 4 in G major (one sharp), No. 5 is in D major (two sharps), and No. 6 in B-flat major (two flats). The overall desire to impress with variety adheres to the late Baroque philosophy of music imitating nature, even if imperfectly, in its diversity. Concerto No. 1 It’s thought that the First Concerto in F major, BWV 1046, was originally penned as an opening sinfonia or overture for Bach’s 1713 “Hunting Cantata,” BWV 208 (the same cantata that includes the now- popular aria “”). In this earlier form, dating from Bach’s time in Cöthen, it differs the most from the later Brandenburg version of the score, which includes an expanded instrumentation as well as an added Polonaise in the set of dances that make up the last movement. The later scoring balances a string ensemble against two separate soloist groups: a woodwind group of three and , and a duet of hunting horns. The buoyant, cheerful first movement (without tempo idication, but performed Allegro) is written in an older 30

antiphonal style with the different groups alternating the musical materials, rather than the more modern form of the later . The juxtaposition of a woodwind group with the hunting horns emphasizes not only the distinct instrumental timbres, but is also expressed through periodic cross-rhythms as the horns play triplets against the woodwinds’ duplets. (In its original conception, the Concerto’s horn calls would have led directly into a recitative and aria on the joys of the hunt.) In the slow movement (Adagio), the oboe and solo violin state the main theme individually before ingeniously combining them into a series of short canon-like passages. In this Concerto, Bach wrote for a , a smaller instrument than the standard violin, tuned a fourth higher, to produce a brighter sound. (Modern are now more able to play music originally written for the violino piccolo). The horns return in the sprightly third movement Allegro, which was later reworked as the opening chorus of a secular cantata by Bach (BWV 207, “Vereinigte Zwietracht der wechselnden Saiten”). In this movement, the woodwinds take their place in the main ensemble or ripieno while the violin and horns assume the primary solo roles. This is the only one of the six Brandenburg Concertos to include a fourth movement. The addition of a short suite of dances at the end has led some scholars to suggest that this Concerto might have functioned as a post-concert entertainment of some sort. The dances are arranged somewhat like a rondo movement, with an elegant Menuet as the main theme. The Menuet includes subtle horn calls—a quote, perhaps, of the horn calls from the first movement—but here in the triple meter of the Menuet the horns’ triplet rhythms match perfectly with the rest of the ensemble. The first Trio features the woodwinds playing without accompaniment. Then, after a repeat of the Menuet, the strings play a gentle Polonaise. The Menuet returns, followed by a rather military-like Trio in duple time for horns and winds, and then a final run- through of the Menuet to round out the Concerto. Concerto No. 3 The Concerto No. 3 in G major (BWV 1048) is scored entirely for strings and continuo, with three violins, three , three , and . Each of the string groups functions as a concertino or solo group, but also combine to constitute the complete ripieno. This demonstrates perfectly Bach’s blurring of the division between groups, allowing each instrument to perform multiple functions in the texture. 31

The first movement (without tempo indication but performed Allegro) blends concerto form with a rondo principle. In Baroque concerto form, the ripieno main theme alternates with contrasting episodes for the concertino. It is the persistent return of the main theme (or fragments of it) that creates a resemblance to rondo form, but the rondo elements are obscured behind a sophisticated surface texture and archaic antiphonal writing. The strongest suggestion of rondo influence is the appearance of a new tutti theme in the middle of the movement. The slow movement (Adagio) is notated in the score as nothing more than a two-chord Phrygian , a common final cadence in minor-key works of the Baroque period. Some scholars suggest that Bach meant this as an opportunity to improvise a slow movement by providing the last two chords as a suggested conclusion. Others treat it as simply a break in momentum between two fast movements, and not something to be elaborated upon too extensively. For the Allegro finale, which also blends rondo and concertante techniques, Bach writes a lively perpetuum mobile with the triplet feel of a gigue. The Brandenburg Concerto No. 3 was popularized in the late 1960s by Walter (now Wendy) Carlos, who recorded it on synthesizer and included it on the ground-breaking album Switched-On Bach. Concerto No. 2 The Brandenburg Concerto No. 2 in F major, BWV 1047, is written for a concertino of four treble-ranged instruments—trumpet, recorder, oboe, and violin—each required to play in their upper registers throughout. (The solo trumpet part, written originally for , is still considered one of the most difficult in the repertory because of its range and virtuosic passage work.) With their shared high registers, this ensemble would not normally play well together as a quartet, so Bach minimizes the potential for shrillness by writing their parts in smaller ensembles of accompanied solos, duets, and trios. In their variety of configurations, these concertino instruments stand out clearly against the background of strings in the first movement (without tempo indication but performed Allegro), as they explore the entire harmonic range of the home key. The movement’s harmonic motion wanders further and further afield until the relentless 16th-note flow of modulations stops suddenly on an A-minor triad—a key not closely related to the home key of F. But, after a grand pause, the whole ensemble simply 32

restarts in the tonic key for one final statement of the congenial theme. The trumpet and orchestral strings are silent in the middle movement (Andante), leaving the three remaining soloists to elaborate on a single melodic idea over a continuo accompaniment. In one of Bach’s master-strokes, he leaves out the melody entirely for the last section of the movement, providing only the accompaniment and expecting the listener to “fill in” the missing melody using their own imaginations—a silent, 18th-century form of karaoke, perhaps. Rarely has a composer trusted the musicality and intelligence of his listeners so deeply that he would invite them to “complete” the music in their own heads, as Bach does here. The Allegro assai finale combines the form of the with a concerto movement, as the soloists enter one-by-one with the fugue theme and dominate the episodic material. A recording of the first movement of the Second Brandenburg Concerto was included on the two “golden records” sent into deep space on the Voyager spacecraft in the late 1970s. It was one of several representative musical examples of the “Sounds of Earth” contained on those recordings. Concerto No. 4 In the Fourth Brandenburg Concerto (G major, BWV 1049) Bach calls for a concertino of violin and two “echo-,” almost certainly a reference to a kind of Baroque recorder. (When Bach wanted a transverse flute he called for it specifically, as in the Fifth Brandenburg Concerto.) But the violin is so greatly favored in the first and last movements of this Concerto that it essentially becomes a solo (in the style of Vivaldi) with flutes. Even in the Allegro opening movement—a pastorale in ritornello form—the paired flutes are introduced early on, but it is the solo violin that commands the soloistic episodes. The flutes are included primarily to enhance orchestral color and add an idyllic perfume to the bucolic movement. While the first movement had seemingly separated the solo violin from the flutes with different motifs and roles, the second-movement Andante groups the concertino instruments together and contrasts them with the rest of the ensemble. In this minor-key movement, the violin assumes the role of bass-line instrument when the three soloists play alone, allowing the flutes to trace the melodic arches in the style of a slow movement from a Corelli trio . The last movement (Presto) is a vibrant 33

Bach composed his concertante fugue with especially virtuosic displays from Brandenburg Concertos the violin. around 1721. In yet another example of how much Bach sometimes The first Philadelphia Orchestra viewed his own music as flexible and unfixed, he performances of the Concerto reworked this Concerto into a No. 1 were in November (BWV 1057) during his Leipzig years, blending the three 1903, with Fritz Scheel; the solo instruments and much of the continuo into the No. 2 in February 1921, with Leopold Stokowski; harpsichord part. the Concerto No. 3 in October —Luke Howard 1913, with Stokowski; and the Concerto No. 4 in December 1926, with Stokowski. Most recently on subscription the First Concerto was heard in December 1970, with William Smith; the Second Concerto in December 1962, with Eugene Ormandy; the Third Concerto in October 2004, with Nicholas McGegan; and the Fourth Concerto in October 1969, with Lorin Maazel. The Philadelphians recorded the Second Brandenburg Concerto in 1929 for RCA with Stokowski. The First Concerto is scored for three oboes, bassoon, two horns, harpsichord, and strings. The Second Concerto is scored for flute, oboe, trumpet, harpsichord, and strings. The Third Concerto is scored for harpsichord and strings. And the Fourth Concerto is scored for two flutes, harpsichord, and strings. Performance time for the First Concerto is approximately 21 minutes; for the Second Concerto is approximately 13 minutes; for the Third Concerto is approximately 11 minutes; and for the Fourth Concerto is approximately 18 minutes. 34 The Music Orchestral Suite No. 3

While it was the French (or, more accurately, Jean- Baptiste Lully) who developed the instrumental Baroque dance suite, it was J.S. Bach who combined this form with the Italian concertante style of Vivaldi to produce a new variety of orchestral suite. Each of Bach’s four orchestral suites begins characteristically with an extended , followed by typical French dance forms such as the gavotte, , menuet, bourrée, , and gigue. But Bach’s writing also manifests the Italian influence by contrasting smaller groups of instruments Johann Sebastian Bach within the larger ensemble. To this he brings a Germanic flair for counterpoint, creating an idiosyncratic and distinct yet cosmopolitan style. The Overture The term “overture” was originally used to denote the opening movements of 17th-century French opera and ballet scores. Then, near the end of the century, it was applied to the first movement of a purely instrumental suite, this practice becoming more prevalent in Germany than elsewhere. By 1700 German composers (including Bach) even began to refer to the entire dance suite as an “Ouvertüre,” regarding the opening movement itself as the longest, weightiest, and most serious section of the suite. It was this kind of suite that appealed to composers like Georg Muffat, Johann Joseph Fux, Johann Fischer, J.S. Bach, George Frideric Handel, and (who, by some estimates, composed over 1,000 such instrumental suites). Thus the terms “orchestral suite” and “overture” are often used interchangeably when referring to German instrumental suites of the early 18th century. Composed in Cöthen, Leipzig, or Both It seems reasonable to assume that Bach’s orchestral works would date from his Cöthen period (1717-23), when he had a court orchestra at his disposal. But recent studies have suggested that the majority of Bach’s instrumental music might date from his later Leipzig years where, in addition to his church duties at St. Thomas Church, he was associated with the town’s Collegium musicum. The autograph manuscripts for Bach’s four orchestral suites have all been 35

Bach’s Third Orchestral Suite lost, making it difficult to accurately date their composition. was composed around 1730 Stylistically they seem to belong to the Cöthen years, but to 1731. the extant copies are from the Leipzig period. If they did The Orchestral Suite No. originate in Cöthen, then all four suites were undoubtedly 3, especially the second revised for the Collegium musicum in Leipzig, and it is in movement Air, has been their Leipzig form that they are known today. a popular piece with The The extant score for the Orchestral Suite No. 3 most likely Philadelphia Orchestra since its first performances, in dates from 1730-31. The orchestral parts are in three November 1906 with Fritz different hands—Bach’s own, his pupil Johann Krebs, and Scheel conducting. The his son C.P.E. Bach—giving the impression that getting most recent subscription the parts ready quickly was a priority. This may well have performances were with been the case as Bach was constantly seeking new Bernard Labadie, in January repertory for the Collegium musicum’s weekly concerts at 2010. Zimmermann’s Coffee House in Leipzig. The Philadelphia Orchestra has A Closer Look The Suite begins with a Lully-esque recorded the Air three times: Overture, characterized by slow dotted rhythms at the in 1936 for RCA with Leopold opening followed by a faster contrapuntal section, then a Stokowski, in an arrangement return to the slower tempo at the end. In the faster fugal by him, and in 1954 and 1959 section, Bach introduces elements of Italian concertante for CBS with Eugene Ormandy. technique by contrasting orchestral passages with The score calls for two oboes, separate fugal episodes for solo violin. three , , harpsichord, and strings. The Air that follows is one of the most famous pieces of Baroque music, largely through an 1879 arrangement by Performance time is the German violinist . In his arrangement approximately 20 minutes. for solo violin and piano, Wilhelmj transposed the movement’s key and register so that it could be played entirely on the violin’s G-string. The melody itself has consequently come to be widely (and inaccurately) known as the “Air on the G String.” Tuneful and tender, this Air maintains the repeating two-part form of a stylized dance, with the pendulum-like movement of the bass providing the regular pulse. The remaining dances in the Suite trace a path of incrementally intensified liveliness of tempo and rhythm. First, a jaunty Gavotte and its more restrained companion are played in the pattern of a and trio, the first Gavotte being repeated in abbreviated form after the second. The short but lively Bourrée that follows continues the common meter of the . And then a final Gigue—a typical conclusion to most Baroque dance suites—introduces a running triplet figure that brings the Suite to a cheerful conclusion.

—Luke Howard

Program notes commissioned by The Philadelphia Orchestra Association: © 2013 Luke Howard. All rights reserved. 36 Musical Terms GENERAL TERMS Fugue: A piece of music Ritornello: Literally “a Antiphonal: Works in in which a short melody little thing that returns.” which an ensemble is is stated by one voice Relatively short passages divided into distinct groups, and then imitated by the of music played by the performing in alternation other voices in succession, entire ensemble alternating and together reappearing throughout with sections dominated by Bourrée: A French folk the entire piece in all the the soloist(s). dance, court dance, and voices at different places Rondo: A form frequently instrumental form, either Gavotte: A French court used in symphonies and in duple- or triple-meter, dance and instrumental concertos for the final which flourished from the form in a lively duple-meter movement. It consists mid-17th century to the popular from the late 16th of a main section that mid-18th century to the late 18th alternates with a variety of BWV: The thematic century contrasting sections (A-B- catalogue of all the works Gigue: One of the most A-C-A etc.). of J.S. Bach. The initials popular of Baroque Sinfonia: A short stand for Bach-Werke- instrumental dances and a introductory instrumental Verzeichnis (Bach-Works- standard movement of the piece Catalogue). suite, written in a moderate Tonic: The keynote of a Canon: A device whereby or fast tempo with irregular scale an extended melody, stated phrases and an imitative, Triad: A three-tone chord in one part, is imitated contrapuntal texture composed of a given tone strictly and in its entirety in Minuet: A dance in triple (the “root”) with its third one or more other parts time commonly used up to and fifth in ascending order Cantata: A multi- the beginning of the 19th in the scale movement vocal piece century as the lightest Trio: See consisting of arias, movement of a symphony Tutti: All; full orchestra recitatives, ensembles, and Obbligato: Literally, THE SPEED OF MUSIC choruses and based on a “obligatory.” A term that (Tempo) continuous narrative text refers to an essential Adagio: Leisurely, slow Concertante: A work instrumental part that is not Allegro: Bright, fast featuring one or more solo to be omitted. Andante: Walking speed instruments Perpetuum mobile: Moderato: A moderate Concerto grosso: A A title sometimes given tempo, neither fast nor type of concerto in which to a piece in which rapid slow a large group (known as figuration is persistently Presto: Very fast the ripieno or the concerto maintained grosso) alternates with Polonaise: A Polish TEMPO MODIFIERS a smaller group (the national dance in moderate Assai: Much concertino). The term is triple meter often loosely applied to any Recitative: Declamatory concertos of the Baroque singing, free in tempo and period except solo ones. rhythm 37 April/May The Philadelphia Orchestra Jessica Griffin

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Biss Plays Mozart April 25 & 27 8 PM April 26 2 PM Donald Runnicles Conductor Jonathan Biss Piano Elgar Cockaigne Overture (“In London Town”) Mozart No. 13, K. 415 Brahms Symphony No. 2 Hilary Hahn Returns May 3 & 4 8 PM May 5 2 PM Yannick Nézet-Séguin Conductor Hilary Hahn Violin Strauss Love Scene from Feuersnot Korngold Violin Concerto Mahler Symphony No. 1 The May 3 concert is sponsored by the Louis N. Cassett Foundation.

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