27 Season 2013-2014

Thursday, March 6, at 8:00 Friday, March 7, at 2:00 The Philadelphia Orchestra Saturday, March 8, at 8:00 Stéphane Denève Conductor Nikolaj Znaider Violin

Beethoven in D major, Op. 61 I. Allegro ma non troppo II. Larghetto— III. Rondo: Allegro

Intermission

Shostakovich Symphony No. 10 in E minor, Op. 93 I. Moderato II. Allegro III. Allegretto IV. Andante—Allegro

This program runs approximately 2 hours, 5 minutes.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details.

3 Story Title 29 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. Arts in Beijing. The Orchestra audiences, and admired for annually performs at Under Yannick’s leadership a legacy of innovation in Carnegie Hall while also the Orchestra returns to music-making. The Orchestra enjoying annual residencies in recording with a newly- is inspiring the future and Saratoga Springs, N.Y., and at released CD on the Deutsche transforming its rich tradition the Bravo! Vail festival. Grammophon label of of achievement, sustaining Stravinsky’s The Rite of Spring Musician-led initiatives, the highest level of artistic and Leopold Stokowski including highly-successful quality, but also challenging transcriptions. In Yannick’s Cello and Violin Play-Ins, and exceeding that level, by inaugural season the shine a spotlight on the creating powerful musical Orchestra has also returned Orchestra’s musicians, as experiences for audiences at to the radio airwaves, with they spread out from the home and around the world. weekly Sunday afternoon stage into the community. Music Director Yannick broadcasts on WRTI-FM. The Orchestra’s commitment Nézet-Séguin triumphantly to its education and Philadelphia is home and opened his inaugural community partnership the Orchestra nurtures an season as the eighth artistic initiatives manifests itself important relationship not leader of the Orchestra in numerous other ways, only with patrons who support in fall 2012. His highly including concerts for families the main season at the collaborative style, deeply- and students, and eZseatU, Kimmel Center but also those rooted musical curiosity, a program that allows full- who enjoy the Orchestra’s and boundless enthusiasm, time college students to other area performances paired with a fresh approach attend an unlimited number at the Mann Center, Penn’s to orchestral programming, of Orchestra concerts for Landing, and other venues. have been heralded by a $25 annual membership The Orchestra is also a global critics and audiences alike. fee. For more information on ambassador for Philadelphia Yannick has been embraced The Philadelphia Orchestra, and for the U.S. Having been by the musicians of the please visit www.philorch.org. the first American orchestra Orchestra, audiences, and the 8 Music Director

Nigel Parry/CPi Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. His highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Yannick “phenomenal,” adding that under his baton “the ensemble … has never sounded better.” In his first season he took the Orchestra to new musical heights. His second builds on that momentum with highlights that include a Philadelphia Commissions Micro-Festival, for which three leading composers have been commissioned to write solo works for three of the Orchestra’s principal players; the next installment in his multi-season focus on requiems with Fauré’s Requiem; and a unique, theatrically-staged presentation of Strauss’s revolutionary opera Salome, a first-ever co-production with Opera Philadelphia.

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. In addition he becomes the first ever mentor conductor of the Curtis Institute of Music’s fellows program in the fall of 2013. He has made wildly successful appearances with the world’s most revered ensembles, and has conducted critically acclaimed performances at many of the leading opera houses.

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

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

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

J. Henry Fair Stéphane Denève is chief conductor of the Stuttgart Radio Symphony and the former music director of the Royal Scottish National Orchestra. He is a familiar presence with The Philadelphia Orchestra on stage in Verizon Hall, at the Saratoga Performing Arts Center, and at the Gerald R. Ford Amphitheater in Vail, having appeared as guest conductor numerous times since making his debut in 2007. He conducted the Orchestra in two subscription series in the 2012-13 season and returns for two more this season. Recent European engagements include appearances with the Royal Concertgebouw and Philharmonia orchestras; the Bavarian Radio, Swedish Radio, and London symphonies; the Munich Philharmonic; the Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia in Rome; and the Deutsches Symphonie-Orchester Berlin. In North America Mr. Denève made his Carnegie Hall debut in 2012 with the Boston Symphony. He appears regularly with the Chicago and San Francisco symphonies, the Cleveland Orchestra, and the Los Angeles Philharmonic. In the field of opera Mr. Denève has conducted productions at the Royal Opera House, the Glyndebourne Festival, La Scala, Netherlands Opera, La Monnaie in , Paris Opera, the Opéra National de Paris, the Teatro Comunale Bologna, and Cincinnati Opera. He enjoys close relationships with many of the world’s leading artists, including Jean-Yves Thibaudet, Leif Ove Andsnes, Emanuel Ax, Lars Vogt, Nikolaï Lugansky, Yo-Yo Ma, Pinchas Zukerman, Joshua Bell, Leonidas Kavakos, Hilary Hahn, Gil Shaham, and Natalie Dessay. As a recording artist, Mr. Denève has won critical acclaim for his recordings of the works of Poulenc, Debussy, Roussel, Franck, and Connesson. He is a double winner of the Diapason d’Or, was shortlisted in 2012 for Gramophone’s Artist of the Year award, and won the prize for symphonic music at the 2013 International Classical Music Awards. A graduate of, and prizewinner at, the Paris Conservatory, Mr. Denève worked closely in his early career with Georg Solti, Georges Prêtre, and Seiji Ozawa. Mr. Denève is a champion of new music and has a special affinity for the music of his native France. 31 Soloist

George Lange This is Nikolaj Znaider’s fourth subscription appearance since making his Philadelphia Orchestra debut in 2000. A violin soloist who works regularly with the world’s leading orchestras, he is also principal guest conductor of the Mariinsky Orchestra in St. Petersburg, where this season he leads productions of Verdi’s Aida and Mozart’s The Marriage of Figaro and Don Giovanni in addition to symphonic concerts. Last season he made his conducting debut with the Royal Concertgebouw Orchestra and the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome. Conducting highlights this season include the London, Pittsburgh, and RAI National symphonies. He is also a regular guest conductor with the Dresden Staatskapelle; the Munich, Czech, and Los Angeles philharmonics; and the Russian National, Swedish Radio, and Hallé orchestras. This season Mr. Znaider is artist in residence with the Konzerthausorchester Berlin, where he conducts and appears in recital and concert. Performance highlights include solo appearances with the Orchestre de Paris and David Zinman, the Orchestra del Teatro alla Scala and Fabio Luisi, and a European tour with the Southwest German Radio Symphony and Stéphane Denève. Mr. Znaider’s latest recording for RCA Red Seal is the Elgar Concerto with and the Dresden Staatskapelle. His award-winning recordings include the Brahms and Korngold concertos with the and , the Beethoven and Mendelssohn concertos with and the Philharmonic, and concertos by Prokofiev and Glazunov with and the Bavarian Radio Symphony. He has also recorded Brahms’s complete works for violin and piano with . For EMI Classics he has recorded the Mozart piano trios with Daniel Barenboim and the Nielsen and Bruch concertos with the London Philharmonic. Mr. Znaider is passionate about the education of musical talent and for 10 years served as founder and artistic director of the Nordic Music Academy, an annual summer school. He plays the “Kreisler” Guarneri del Gesù (1741) on extended loan to him by the Royal Danish Theater through the generosity of the VELUX Foundations and the Knud Højgaard Foundation. 32 Framing the Program

This season The Philadelphia Orchestra is juxtaposing Parallel Events Beethoven’s path-breaking symphonies and concertos 1806 Music with those of the great orchestral master of the 20th Beethoven Weber century, Shostakovich. Violin Concerto Symphony No. 1 Literature Beethoven’s Violin Concerto is one of the signal works Armin and of the composer’s “heroic” period, which also included Brentano the “Eroica” and Fifth symphonies. And as with those Des Knaben transformative and challenging works, this Concerto Wunderhorn breaks with many of the expectations of a time that Art valued entertainment and flashy virtuosity. Beethoven Constable aimed for something higher, which is the reason the Windermere piece is remembered while every other violin concerto History of the time is either forgotten or is on the margins of the Formal repertoire. dissolution of the Holy Roman Shostakovich was one of the greatest and most prolific Empire symphonists of the 20th century. His 15 works in the genre seem to chart not only the history of the Soviet 1953 Music Union, but also his own fraught experiences as a brilliant Shostakovich Stockhausen composer living and working within a brutal system. Symphony Electronic What Shostakovich wrote as a precocious teenager grew No. 10 Study I out of an almost entirely different world from the one Literature he inhabited at the end of his life. The heady, optimistic Fleming days after the Revolution had passed through the horrific Casino Royale Art realities of Stalin to the stagnation and dreariness of the Chagall Brezhnev era. His brilliant Tenth Symphony dates from Eiffel Tower 1953, composed in the immediate aftermath of Stalin’s History death. It was his first symphonic work in eight years and USSR explodes helped to initiate a new, more liberated final phase of his hydrogen bomb career. 33 The Music Violin Concerto

As he entered his 30s at the turn of the century, Beethoven’s personal life dramatically changed, and so, too, did his music. In letters dating from the fall of 1801 he revealed for the first time the secret of his looming deafness. Despite ever growing professional successes, he lamented how “that jealous demon, my wretched health, has put a nasty spoke in my wheel; and it amounts to this, that for the past three years my hearing has become weaker and weaker.”

Ludwig van Beethoven The following spring Beethoven moved to the Vienna Born in Bonn, probably suburb of Heiligenstadt, where he penned the remarkable December 16, 1770 “Heiligenstadt Testament,” an unsent letter to his brothers Died in Vienna, March 26, in which he poured out his heart. After describing various 1827 social, personal, and professional consequences of his condition, such as that he could no longer hear the sounds of nature, he confessed: “Such incidents brought me almost to despair; a little more and I would have ended my life. Only my art held me back. It seemed to me impossible to leave the world until I had produced all that I felt was within me.” New Paths The challenges Beethoven faced at this crucial juncture in his life can be sensed in many of the compositions he wrote over the next decade, usually labeled as his “heroic” period. He talked of writing in a “completely new manner” and of a “new path,” producing music that proved increasingly challenging both for performers and audiences. The Third Symphony, the monumental “Eroica,” is a key work in this respect, but his first two symphonies (a genre he came to relatively late) had already been greeted with some skepticism. “Bizzare”—the word is the same in German—crops up more and more often in reviews. Beethoven initially played it somewhat safer with the genre of the concerto, partly because, as for his model Mozart before him, they were meant for his own use as a virtuoso soloist. While he had held off writing a symphony, concertos came early and his involvement extends beyond the canonic five piano concertos; the “Triple” Concerto for piano, violin, and cello; and the Violin Concerto. During his student years in his native Bonn, and then after moving 34

to Vienna at age 21, Beethoven experimented with concertos for piano, for violin, and even one for oboe, but these early works are either incomplete or lost. Around 1800 he composed two attractive Romances for violin and orchestra, a sort of preview of coming attractions, specifically of the second movement of the Concerto we hear today. Beethoven played the violin, but he was far from the virtuoso on the instrument that Mozart had been. A Concerto for a Friend Beethoven’s Violin Concerto challenged the expectations of his contemporaries, who were accustomed more to flashy entertainment in such pieces than to works of sustained substance. It took several decades for the piece to enter the standard repertoire. Beethoven composed it in 1806 in an extremely short time, apparently about a month, for Franz Clement, an important figure in Vienna’s musical scene whom he had long admired. Clement was first violinist at the Theater an der Wien, a position that gave him the opportunity to present an annual concert for his own benefit. On April 7, 1805, he played his own Violin Concerto in D on a program that also included the first public performance of the “Eroica” Symphony. It was for Clement’s concert the next year, given on December 23, that Beethoven wrote his Violin Concerto, which he allegedly completed just before the premiere and which the violinist had to play at sight. The concert opened with an overture by Etienne Méhul followed by the new Concerto. After works by Handel, Mozart, and Cherubini, Clement improvised and then performed a “Sonata on one string played with the violin upside down” before a concluding chorus by Handel. Viennese audiences were accustomed to virtuoso concertos, works that neither aspired to nor reached the substance of Beethoven. Beethoven’s Concerto was in certain respects influenced by Clement’s own from the previous year, the work that had been paired with the “Eroica.” As with that profoundly challenging symphony, some critics worried that the composer was pursuing the wrong path in this new piece. The Wiener Theater-Zeitung noted that the Concerto was “received with exceptional applause due to its originality and abundance of beautiful passages” and commended Clement’s performance, but followed with a word of caution: “It is feared that if Beethhofen [sic] continues to follow his present course, it will go ill both with him and the public. The music could soon fail to please anyone not completely familiar with the rules and difficulties of the art. … [Listeners 35

Beethoven composed the risk being] oppressed by a multitude of interconnected Violin Concerto in 1806. and overabundant ideas and a continuous tumult of the Conductor Fritz Scheel combined instruments … [and may] leave the concert with and violinist only an unpleasant feeling of exhaustion.” collaborated on the first A Closer Look Beethoven establishes an unusually Philadelphia Orchestra meditative mood at the outset of the Concerto with an performances of Beethoven’s expansive orchestral introduction featuring one of his Violin Concerto, in January 1902. The most recent most lyrical themes (Allegro ma non troppo)—indeed, subscription performances a lovely lyricism and soaring melodies in the highest were in January 2012, with registers characterize much of the movement. The Arabella Steinbacher and following Larghetto opens with a hymn-like theme for conductor Robin Ticciati. The muted strings before horns and clarinet take over and the work has been performed with violin provides decorative commentary. This movement, in the Orchestra by such well- a modified variation form, leads without pause to the lively known violinists as Eugène and dance-like Rondo finale that more overtly showcases Ysaÿe, Efrem Zimbalist, Joseph virtuosic playing for the soloist. Szigeti, Jascha Heifetz, , Isaac Stern, and Beethoven was asked a couple of years later to transform Gidon Kremer. the work into a piano concerto, which was then published in London. While the orchestral parts are the same, the The Orchestra has recorded violin solo is arranged for piano. It is not entirely clear the work only once, in 1950 how much of this version was actually Beethoven’s own for CBS, with Zino Francescatti and Eugene Ormandy. work; not many musicians today find the result persuasive, which means it is rarely performed, although a few The Concerto is scored for an recordings are available. The arrangement is of some orchestra of solo violin, flute, interest, however, because Beethoven did not write any two oboes, two clarinets, two cadenzas for the Violin Concerto, while he did for the bassoons, two horns, two piano arrangement. Neither version was often performed trumpets, timpani, and strings. during Beethoven’s life nor even in the 1830s, as the Performance time is work was widely viewed as “ungrateful” and “unplayable.” approximately 45 minutes. The great violinist Joseph Joachim is credited for championing the work beginning in 1844, when, as a 12-year-old virtuoso, he played it with conducting the London Philharmonic Society. In the absence of any cadenzas by Beethoven, Joachim’s were widely played for many years until displaced by Fritz Kreisler’s, which we hear today. —Christopher H. Gibbs 36 The Music Symphony No 10

In order to appreciate something of the context in which Shostakovich wrote his Tenth Symphony, and to understand how Soviet authorities, critics, and audiences first viewed the work, we might consider the dramatic public unveilings of his earlier symphonies. The First, premiered when the composer was just 19, made him famous overnight and extended his renown far beyond the Soviet Union as Bruno Walter, Wilhelm Furtwängler, Arturo Toscanini, and other leading conductors championed the youthful work. (Leopold Stokowski gave Dmitri Shostakovich the American premiere with The Philadelphia Orchestra Born in St. Petersburg, in 1928.) The Second Symphony came the next year and September 25, 1906 was entitled “To October—A Symphonic Dedication.” It Died in Moscow, includes a chorus praising the revolution and Lenin. The August 9, 1975 Third Symphony, entitled “The First of May,” was another choral and political statement. By the time of his Fourth, in 1936, the 29-year-old Shostakovich had run into serious difficulties with the Soviet government. Stalin’s displeasure at his opera Lady Macbeth of the Mtsensk District had resulted in a scathing reprimand in the official newspaper Pravda. Shostakovich was forced to withdraw the Symphony, a grand Mahlerian work that waited 25 years for its premiere, once Stalin was safely buried. (The Philadelphians gave the first American performance in 1963.) The Fifth Symphony officially redeemed Shostakovich in 1937 and became his most popular and admired work, an instant “classic.” And though the Sixth (1939) did not fare quite as well, the Seventh, written during the Second World War and performed to great acclaim in Russia and the West in 1942, secured his position as the leading Soviet composer. It landed Shostakovich on the cover of Time. Expectations were great about what he would do next and the Eighth (1943) generally disappointed in its pessimistic tone. Worse, the Ninth, composed in 1945 when Russia’s victory was to be celebrated, proved a modest and witty affair. The number “nine” has weighed heavily on symphonists, not just because of Beethoven’s imposing model, but also because of the superstitions that so many composers seem to die after writing a Ninth (or trying to do so). 37

A Decade of Symphonic Silence After the criticisms of his Eighth and Ninth, Shostakovich did not attempt another symphony for nearly a decade, during which time things just got worse for him. Together with Prokofiev and other prominent composers, Shostakovich was denounced again in 1948. His major works from these years, such as From Jewish Folk Poetry, the First Violin Concerto, and Fourth and Fifth string quartets, went unperformed, and in most cases were released only after Stalin’s death. Shostakovich was reduced to writing film scores and such patriot fare as the oratorio Song of the Forests, which celebrates the reforestation of the country after the ravages of war and drought. While these activities helped in a second rehabilitation, his most important compositional statements remained in the drawer, and pressure for him to write an appropriate symphony mounted. Shostakovich knew these aesthetic and cultural issues were, literally, matters of life and death. He had already seen all too many acquaintances, including some quite prominent figures, meet tragic ends. He began writing the Tenth Symphony in the summer of 1953 and completed it quickly. An important and perhaps liberating circumstance had occurred a few months earlier: Stalin died on March 5, 1953. (Prokofiev died the same day.) An “Optimistic Tragedy” The premiere of any Shostakovich symphony was a major event in the USSR and interest in the Tenth was particularly intense when Evgeny Mravinsky led the work in Leningrad in December 1953. Aram Khachaturian, another composer who had been officially attacked in 1948, called the work “an optimistic tragedy, infused with a firm belief in the victory of bright, life-affirming forces.” Others were not so sure. A three-day discussion took place at the Union of Composers in which Shostakovich expressed his own dissatisfaction with his Symphony, pointing to various deficiencies movement by movement, but stating, “In this work I wanted to convey human feelings and passions.” The Tenth won no official prizes, as Shostakovich’s works often did, although it has since emerged for many listeners as his greatest symphonic achievement. We can try to guess at what the “human feelings and passions” were in the Symphony. The death of Stalin must have left its mark, and there appears as well to have been a more personal matter. At the time of its composition Shostakovich was enamored with a young student of his, Elmira Nazirova, a 24-year-old pianist who lived in 38

Shostakovich composed his Baku. (Shostakovich was then married to his first wife, Symphony No. 10 in 1953. who would die the following year.) He wrote to Elmira Eugene Ormandy conducted continuously during the gestation and composition of the first Philadelphia Orchestra the Symphony, testifying to its progress and his opinions performances of the Tenth about the work. He also informed her that he was working Symphony, in April 1968. her name into the music through a musical spelling. Since then it has appeared on A Closer Look The Tenth is among the more “purely subscription under the direction of Ormandy (twice), Kiril musical” of Shostakovich’s 15 symphonies, four of Kondrashin, Erich Leinsdorf, which use voice and four have titles bestowed by the Mark Wigglesworth, Mariss composer. As he had found effective in earlier works, Jansons, Gerard Schwarz, particularly in his celebrated Fifth Symphony, the four Mstislav Rostropovich, movements are arranged in the order slow-fast-slow-fast. Christoph Eschenbach, and The vast opening Moderato begins from the depths most recently in October 2011 of the lower strings. The expansiveness of the theme, with Charles Dutoit. almost Brucknerian in its unfolding, may refer to the The Orchestra has recorded similar opening of Liszt’s Faust Symphony. The following the Tenth Symphony twice: in movement, Allegro, lasts only four minutes and provides 1968 with Ormandy for CBS a stark contrast. Mahler and his demonic marches may and in 1994 with Jansons for come to mind, although this is the movement some EMI. commentators have associated with Stalin. The score calls for three flutes The personal meaning of the Allegretto is encoded in (II and III doubling piccolo), the music. This was one of several pieces from the latter three oboes (III doubling Eng- part of Shostakovich’s career in which he spelled out lish horn), three clarinets (III his name musically. D[mitri] SCH[ostakowitsch], as it is doubling E-flat clarinet), three spelled in German, corresponds to the pitches D, E-flat, C, bassoons (III doubling con- B natural in German. (Other composers have done similar trabassoon), four horns, three things since as far back as the Middle Ages, Bach most trumpets, three trombones, tuba, timpani, percussion (bass notably.) Shostakovich’s initials appear at first in the upper drum, cymbals, snare drum, woodwinds near the start of the movement. The motto is suspended cymbal, tam-tam, later taken up by the cellos and basses, which leads to tambourine, triangle, xylo- a forte solo horn theme that encrypts Nazirova’s name: phone), and strings. The pitches are E-A-E-D-A (corresponding to E-L(a)-Mi- R(e)-A). The two motifs are combined at the end of the The Symphony runs movement. approximately 50 minutes in performance. An Andante introduction opens the finale, sustaining the general slow pace of the Symphony and like the first movement growing from the lower strings. After a section for woodwinds, most prominently a lamenting oboe, there is an abrupt headlong charge into a wild Allegro. The second movement is briefly revisited and ultimately Shostakovich’s DSCH motto reappears, pounded out repeatedly in the drums at the brilliant conclusion. —Christopher H. Gibbs

Program notes © 2014. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 39 Musical Terms

GENERAL TERMS of publication rather than an instrumental piece of Cadence: The conclusion composition. a light, piquant, humorous to a phrase, movement, Oratorio: Large-scale character. or piece based on a dramatic composition Sonata form: The form in recognizable melodic originating in the 16th which the first movements formula, harmonic century with text usually (and sometimes others) progression, or dissonance based on religious subjects. of symphonies are usually resolution Oratorios are performed cast. The sections are Cadenza: A passage or by choruses and solo exposition, development, section in a style of brilliant voices with an instrumental and recapitulation, the improvisation, usually accompaniment, and last sometimes followed inserted near the end of a are similar to operas but by a coda. The exposition movement or composition without costumes, scenery, is the introduction of Chord: The simultaneous and actions. the musical ideas, which sounding of three or more Rondo: A form frequently are then “developed.” In tones used in symphonies and the recapitulation, the Chromatic: Relating to concertos for the final exposition is repeated with tones foreign to a given movement. It consists modifications. key (scale) or chord of a main section that Timbre: Tone color or tone Coda: A concluding alternates with a variety of quality section or passage added contrasting sections (A-B- Tonic: The keynote of a in order to confirm the A-C-A etc.). scale impression of finality Scale: The series of Dissonance: A tones which form (a) any THE SPEED OF MUSIC combination of two or more major or minor key or (b) (Tempo) tones requiring resolution the chromatic scale of Allegretto: A tempo Meter: The symmetrical successive semi-tonic between walking speed grouping of musical steps and fast rhythms Scherzo: Literally “a Allegro: Bright, fast Mute: A mechanical joke.” Usually the third Andante: Walking speed device used on musical movement of symphonies Larghetto: A slow tempo instruments to muffle the and quartets that was Moderato: A moderate tone introduced by Beethoven tempo, neither fast nor Op.: Abbreviation for opus, to replace the minuet. The slow a term used to indicate scherzo is followed by a the chronological position gentler section called a trio, TEMPO MODIFIERS of a composition within a after which the scherzo is Ma non troppo: But not composer’s output. Opus repeated. Its characteristics too much numbers are not always are a rapid tempo in triple reliable because they are time, vigorous rhythm, and DYNAMIC MARKS often applied in the order humorous contrasts. Also Forte (f): Loud 40 Orchestra Headlines

Philadelphia Orchestra Musicians in Concert The Lower Merion Symphony, led by Philadelphia Orchestra Co-Principal Bassoon Mark Gigliotti, presents a concert on Sunday, March 9, at 3:00 PM at Lower Merion High School in Ardmore. Philadelphia Orchestra pianist Kiyoko Takeuti is the soloist in Beethoven’s Third Piano Concerto; the remainder of the program is Schumann’s First Symphony and Weber’s Overture to Oberon. For more information e-mail [email protected]. Principal Flute Jeffrey Khaner is the guest artist in the Chamber Orchestra of Philadelphia’s concerts on Sunday, March 23, at 2:30 PM and Monday, March 24, at 7:30 PM, in Perelman Theater. The all-Mozart program includes the Symphony No. 17, Flute Concerto No. 2, and Symphony No. 40. For more information visit www. chamberorchestra.org. The Wister Quartet, which includes former Orchestra Assistant Concertmaster Nancy Bean, Orchestra violinist Davyd Booth, former Assistant Principal Cello Lloyd Smith, and violist Pamela Fay, presents a concert at the German Society of Pennsylvania on Sunday, March 23, at 3:00 PM. The program includes works by Rachmaninoff, Schubert, and Dvorˇák. Single tickets are $20.00. For more information call 215.627.2332 or visit www.germansociety.org. The Philadelphia Chamber Ensemble, comprised of current or retired Philadelphia Orchestra members, presents concerts on Friday, March 28, at 8:00 PM and Sunday, March 30, at 2:00 PM at Old Pine Street Church, 412 Pine Street, Philadelphia. The program includes works by Dvorˇák, Nielsen, and Françaix. Single tickets are $25.00. For more information call 215.542.4890, e-mail info@ pecconcerts.org, or visit www.pceconcerts.org. On Sunday, April 27, at 3 PM, Orchestra musicians Jonathan Beiler and Renard Edwards participate in the 20th annual Woodford Serenade for Wildlife concert, which includes works by Brahms, Ravel, and Sarasate. The concert takes place at Lord of Life Lutheran Church in Tabernacle, NJ. Tickets are $15.00 in advance and $20.00 at the door, and all proceeds benefit the Woodford Cedar Run Wildlife Refuge. For ticket/ additional information e-mail [email protected] or call 856.983.3329. 41 March The Philadelphia Orchestra

Jessica Griffin Enjoy the ultimate in flexibility with a Create-Your-Own 4-Concert Series today! Choose 4 or more concerts that fit your schedule and your tastes. Hurry, before tickets disappear for this exciting season.

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Fauré’s Requiem March 13 & 15 8 PM March 14 2 PM Alain Altinoglu Conductor Michael Stairs Organ Susanna Phillips Soprano Philippe Sly Bass-baritone The Philadelphia Singers Chorale David Hayes Music Director Gabrieli Canzon septimi toni, No. 2, from Sacrae symphoniae Franck Organ Chorale No. 1 in E major Villa-Lobos Bachianas brasileiras No. 5 Duruflé Four Motets on Gregorian Themes Fauré Requiem The March 13 concert is sponsored by Ballard Spahr. Brahms’s First March 20-22 8 PM Herbert Blomstedt Conductor Mozart Serenade in B-flat major (“Gran Partita”) Brahms Symphony No. 1

TICKETS Call 215.893.1999 or log on to www.philorch.org PreConcert Conversations are held prior to every Philadelphia Orchestra subscription concert, beginning 1 hour before curtain. All artists, dates, programs, and prices subject to change. All tickets subject to availability. 1642 Story Title Tickets & Patron Services

TICKETS & PATRON PreConcert Conversations: Ticket Philadelphia Staff SERVICES PreConcert Conversations are Gary Lustig, Vice President held prior to every Philadelphia Jena Smith, Director, Patron Subscriber Services: Orchestra subscription concert, Services 215.893.1955 beginning one hour before curtain. Dan Ahearn, Jr., Box Office Call Center: 215.893.1999 Conversations are free to ticket- Manager holders, feature discussions of the Catherine Pappas, Project Fire Notice: The exit indicated by season’s music and music-makers, Manager a red light nearest your seat is the and are supported in part by the Michelle Parkhill, Client Relations shortest route to the street. In the Wells Fargo Foundation. Manager event of fire or other emergency, Mariangela Saavedra, Manager, please do not run. Walk to that exit. Lost and Found: Please call Patron Services 215.670.2321. Gregory McCormack, Training No Smoking: All public space in Specialist the Kimmel Center is smoke-free. Web Site: For information about Samantha Apgar, Business The Philadelphia Orchestra and Operations Coordinator Cameras and Recorders: The its upcoming concerts or events, Elysse Madonna, Program and taking of photographs or the please visit www.philorch.org. Web Coordinator recording of Philadelphia Orchestra Patrick Curran, Assistant Treasurer, concerts is strictly prohibited. Subscriptions: The Philadelphia Box Office Orchestra offers a variety of Tad Dynakowski, Assistant Phones and Paging Devices: subscription options each season. Treasurer, Box Office All electronic devices—including These multi-concert packages Michelle Messa, Assistant cellular telephones, pagers, and feature the best available seats, Treasurer, Box Office wristwatch alarms—should be ticket exchange privileges, Patricia O’Connor, Assistant turned off while in the concert hall. guaranteed seat renewal for the Treasurer, Box Office following season, discounts on Thomas Sharkey, Assistant Late Seating: Latecomers will not individual tickets, and many other Treasurer, Box Office be seated until an appropriate time benefits. For more information, James Shelley, Assistant Treasurer, in the concert. please call 215.893.1955 or visit Box Office www.philorch.org. Tara Bankard, Lead Patron Accessible Seating: Accessible Services Representative seating is available for every Ticket Turn-In: Subscribers who Jayson Bucy, Lead Patron Services performance. Please call Ticket cannot use their tickets are invited Representative Philadelphia at 215.893.1999 for to donate them and receive a Meg Hackney, Lead Patron more information. You may also tax-deductible credit by calling Services Representative purchase accessible seating online 215.893.1999. Tickets may be Julia Schranck, Lead Patron at www.philorch.org. turned in any time up to the start Services Representative of the concert. Twenty-four-hour Alicia DiMeglio, Priority Services Assistive Listening: With the notice is appreciated, allowing Representative deposit of a current ID, hearing other patrons the opportunity to Megan Brown, Patron Services enhancement devices are available purchase these tickets. Representative at no cost from the House Maureen Esty, Patron Services Management Office. Headsets Individual Tickets: Don’t assume Representative are available on a first-come, first- that your favorite concert is sold Brand-I Curtis McCloud, Patron served basis. out. Subscriber turn-ins and other Services Representative special promotions can make last- Scott Leitch, Quality Assurance Large-Print Programs: minute tickets available. Call Ticket Analyst Large-print programs for every Philadelphia at 215.893.1999 or subscription concert are available stop by the Kimmel Center Box in the House Management Office Office. in Commonwealth Plaza. Please ask an usher for assistance.