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Home , Cantabile, Divertimento, Frank Braley, Legend (Tchaikovsky), Richard Strauss, Tugan Sokhiev

23 Season 2016-2017

Thursday, May 11, at 8:00 Friday, May 12, at 8:00 The Philadelphia Saturday, May 13, at 8:00 Tugan Sokhiev Conductor Renaud Capuçon

Liadov Kikimora, Op. 63

Korngold Violin in D major, Op. 35 I. Moderato nobile II. Romance: Andante III. Finale: Allegro assai vivace

Intermission

Tchaikovsky No. 5 in E minor, Op. 64 I. Andante—Allegro con anima II. Andante cantabile, con alcuna III. Valse: Allegro moderato IV. Andante maestoso—Allegro vivace

This program runs approximately 1 hour, 50 minutes.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit wrti.org to listen live or for more details. 24 The Jessica Griffin

The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage. The Orchestra Center, Penn’s Landing, is inspiring the future and free Neighborhood and other cultural, civic, Concerts, School Concerts, transforming its rich tradition and learning venues. The of achievement, sustaining and residency work in Orchestra maintains a strong Philadelphia and abroad. the highest level of artistic commitment to collaborations quality, but also challenging— with cultural and community Through concerts, tours, and exceeding—that level, organizations on a regional residencies, presentations, by creating powerful musical and national level, all of which and recordings, The experiences for audiences at create greater access and Philadelphia Orchestra is home and around the world. engagement with classical a global ambassador for Director Yannick music as an art form. Philadelphia and for the Nézet-Séguin’s connection US. Having been the first to the Orchestra’s musicians The Philadelphia Orchestra serves as a catalyst for American orchestra to has been praised by perform in China, in 1973 both concertgoers and cultural activity across Philadelphia’s many at the request of President critics since his inaugural Nixon, the ensemble today season in 2012. Under his communities, building an offstage presence as strong boasts a new partnership with leadership the Orchestra Beijing’s National Centre for returned to recording, with as its onstage one. With the Performing Arts and the two celebrated CDs on Nézet-Séguin, a dedicated Shanghai Oriental Art Centre. the prestigious Deutsche body of musicians, and one Grammophon label, of the nation’s richest arts The Orchestra annually continuing its history of ecosystems, the Orchestra performs at recording success. The has launched its HEAR while also enjoying summer Orchestra also reaches initiative, a portfolio of residencies in Saratoga thousands of listeners on the integrated initiatives that Springs, NY, and Vail, CO. radio with weekly Sunday promotes Health, champions For more information on afternoon broadcasts on music Education, eliminates The Philadelphia Orchestra, WRTI-FM. barriers to Accessing the please visit www.philorch.org. 4 Music Director

Chris Lee Music Director Yannick Nézet-Séguin is now confirmed to lead The Philadelphia Orchestra through the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he becomes music director of the Metropolitan beginning with the 2021-22 season. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of the Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fifth season include an exploration of American Sounds, with works by , Christopher Rouse, Mason Bates, and Christopher Theofanidis; a Music of Paris Festival; and the continuation of a focus on opera and sacred vocal works, with Bartók’s Bluebeard’s Castle and Mozart’s C-minor Mass.

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He was also principal guest conductor of the London Philharmonic from 2008 to 2014. 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 (DG) enjoy a long-term collaboration. Under his leadership The Philadelphia Orchestra returned to recording with two CDs on that label. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique. In Yannick’s inaugural season The Philadelphia Orchestra returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

A native of Montreal, Yannick studied piano, , composition, and at Montreal’s Conservatory of Music and continued his studies with renowned conductor ; he also studied choral conducting with Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, Musical America’s 2016 Artist of the Year, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music in Philadelphia, and Westminster Choir College of Rider University in Princeton, NJ.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 25 Conductor

Mat Hennek Russian conductor Tugan Sokhiev is music director of the Orchestre National du Capitole de Toulouse (ONCT), which he has led for over a decade. He is also music director and chief conductor of the in and recently ended his tenure as music director of the Deutsches Symphonie-Orchester (DSO) Berlin. His Philadelphia Orchestra debut was in 2014 and he makes his second appearance with the ensemble at these concerts. Other highlights of his 2016-17 season include Berlioz’s The Damnation of Faust, Bizet’s , Shostakovich’s Katerina Izmailova (the revised version of Lady of the Mtsensk District), Rossini’s , and Tchaikovsky’s The Maid of Orleans at the Bolshoi Theatre; return visits to the Berlin and philharmonics and the ; a return to Japan for the NHK Music Festival; and tours of Europe and the Far East with the ONCT. Highlights of recent seasons include appearances with the Chicago and London and the Gewandhaus Orchestra, and European tours with the Philharmonia and Mahler Chamber orchestras. Mr. Sokhiev has toured extensively with the ONCT in Europe, Asia, the U.K., and South America, and with the DSO Berlin in Europe. In addition to touring with the Philharmonia Orchestra, he has conducted the ensemble in London every season since 2003. He has also appeared as guest conductor with the at the Mozart Week Festival in Salzburg. His extensive opera experience includes many productions for the Mariinsky Theatre and . He has appeared as guest conductor at the Metropolitan Opera (with the Mariinsky), the Houston Grand Opera, the Aix-en-Provence Festival, and in Madrid. He was named “Révélation musicale de l›année” by the French Critics’ Union in 2005 for his performance in the Théâtre des Champs-Élysées with the ONCT. Mr. Sokhiev’s discography includes numerous acclaimed recordings for Naïve Classique with the ONCT, including Tchaikovsky’s Fourth and Fifth symphonies, Musorgsky’s Pictures from an Exhibition, Rachmaninoff’s Symphonic Dances, Prokofiev’s Peter and the Wolf, and Stravinsky’s and . DSO Berlin releases include Prokofiev’sIvan the Terrible, Symphony No. 5, and Scythian Suite for SONY Classical. 26 Soloist

Mat Hennek French violinist Renauld Capuçon was born in Chambéry in 1976 and studied at the Conservatoire National Supérieur de Musique de Paris with Gérard Poulet and Veda Reynolds, and later with Thomas Brandis in Berlin and Isaac Stern. Since then he has collaborated with many of the world’s most important orchestras and conductors, including the under , David Robertson, and Matthias Pintscher; the Staatskapelle with Daniel Harding; the Bamberg Symphony with Jonathan Nott; the Leipzig Gewandhaus Orchestra with ; the Orchestre de Paris with and Christoph Eschenbach; the Orchestre National du Capitole de Toulouse with Tugan Sokhiev; and the Chamber Orchestra of Europe with Yannick Nézet-Séguin. He made his Philadelphia Orchestra debut at Saratoga in 2006 and his subscription debut in 2010. In addition to these current performances, highlights of Mr. Capuçon’s 2016-17 season include appearances with the Singapore Symphony and , the Orchestre de Paris and Mr. Harding, the Boston Symphony and Alain Altinoglu, the Royal Philharmonic and , and the Orchestre National de France and Valery Gergiev; a tour of China and Hong Kong with the Hong Kong Philharmonic and Jaap Van Zweden; and recitals with pianists Khatia Buniatishvili and Nicholas Angelich. Passionate about chamber music, Mr. Capuçon also performs with pianists Martha Argerich, Hélène Grimaud, , David Kadouch, Yefim Bronfman, Myung- Whun Chung, Katia and Marielle Labèque, Maria João Pires, Mikhail Pletnev, and Jean-Yves Thibaudet; violinist and violist Yuri Bashmet; violist Gérard Caussé; and cellists Truls Mørk, , and Yo-Yo Ma. Mr. Capuçon’s discography for Erato includes Frank, Grieg, and Dvořák for violin and piano with Ms. Buniatishvili, and Beethoven’s Triple Concerto with Ms. Argerich and Mr. Maisky. The French government has honored Mr. Capuçon as a Chevalier dans l’Ordre National du Mérite and a Chevalier de la Légion d’Honneur. He is artistic director of the Easter Festival in Aix-en-Provence, which he founded in 2013, and Les Sommets Musicaux, a winter music festival in Gstaad. He also teaches violin at the High School of Music in Lausanne. 27 Framing the Program

Russian frame the concert this evening. Anatoli Parallel Events Liadov was a fantastically imaginative who 1888 Music produced little—procrastination, self-doubt, and teaching Tchaikovsky Rimsky- duties (Prokofiev was one of his students) make his body Symphony Korsakov of compositions frustratingly small. For a number of years No. 5 Sheherazade he worked on an opera but when the project stalled he Literature diverted some of the music to three orchestral pieces. One Zola is Kikimora, about a mythical Russian house spirit. La Terre Art Tchaikovsky’s beloved Fifth Symphony was an immediate Toulouse- hit with audiences, though the composer himself wavered Lautrec in his affection for the piece. That may have been related Place Clichy to his mood, as the work carried deep autobiographical History associations. Like that other famous Fifth—Beethoven’s—it Jack the Ripper deals with the theme of fate. murders In between we hear the sumptuous Violin Concerto of Erich 1909 Music Wolfgang Korngold. Korngold grew up in Vienna where Liadov Strauss he won the support of and Kikimora and was widely hailed as the greatest musical prodigy Literature since Mozart and Mendelssohn. History dealt him a difficult Wells hand and as a Viennese Jew he ultimately immigrated to Tono-Bungay America, where he settled in Hollywood. His second career Art was as a great film composer. For his Violin Concerto, Matisse premiered by , he drew from some recent The History movie scores and wrote in a Romantically lush style rarely Peary reaches encountered in concert music of the time. the North Pole

1945 Music Korngold Bartók Violin Concerto Concerto Literature Orwell Animal Farm Art Moore Family Group History Independent republic of Vietnam formed 28 The Music Kikimora

The brilliant, erratic Anatol Liadov was perhaps Nikolai Rimsky-Korsakov’s most talented pupil at the St. Petersburg Conservatory. He was also evidently the laziest. Only 11 years younger than his distinguished teacher, Liadov was born into one of the city’s most prominent musical families: His father, Konstantin, was a leading conductor at the Imperial Opera Theater. Expelled from Rimsky-Korsakov’s class for non-attendance, the young Liadov nevertheless completed his training with a graduation piece that consisted of a splendid operatic Anatol Liadov scene drawn from ’s play Die Braut von Born in St. Petersburg, Messina (The Bride of Messina). The setting drew praise May 11, 1855 from his teacher and, of equal importance, from the Died in Polinovka, Novgorod district, influential music critic Vladimir Stasov. August 28, 1914 Because he had a special talent for , Liadov was appointed instructor in theory at the Conservatory and in 1906 became Professor of Composition. (Prokofiev was one of his students.) The comfortable teaching position had the unfortunate side-effect of further discouraging productivity. His career continued to be plagued by procrastination, intense self-criticism, and by large musical projects begun but never completed. Russian Fairy Tales in Music One such notorious affair concerned a ballet requested by the great impresario in 1909. In this case we can be thankful that Liadov’s score never got out of the planning stages—for it was his very procrastination that enabled a young, ambitious composer by the name of to step in and launch his career with The Firebird. In fairness, it must be said that Liadov did indeed write several brilliant and arrangements in collaboration with other composers; the creation of original works was simply not a high priority for him. The inception of the Kikimora, Op. 63, dates from the decade before the Diaghilev debacle. During the last years of the , Liadov worked on an opera that was to be called Zoryushka. Alas, this too remained incomplete; but in the first decade of the new century he forged three lovely orchestral from the substantial material left over from the aborted opera. He had a particular affinity for supernatural tales 29

Kikimora was composed in that allowed him to combine flights of fancy with a brilliant 1909. orchestral technique and imagination. He once remarked: The Philadelphia Orchestra “Give me fairies and dragons, mermaids and goblins first performed Kikimora in and I am thoroughly happy.” This is evident in Baba-Yaga February 1933, with Issay (1904), The Enchanted Lake (1909), and Kikimora (1909). Dobrowen conducting. The The latter two were performed to great acclaim in St. piece has been performed on Petersburg in December 1909 and remain Liadov’s best- subscription concerts only loved works. three times since then, the last in October 1988, led by Yuri A Closer Look Kikimora recreates a traditional Russian Temirkanov. folk legend. “Kikimora, ‘the phantom,’ was raised by a sorcerer,” as the preface in the score describes the The score calls for piccolo, two traditional tale, “who lived in a rocky mountain. Each day flutes, two , English , a wise old cat told her bizarre tales of exotic deeds. After two , , seven years she is fully grown—tall and dark, her head two , four horns, two trumpets, , percussion as small as a thimble, her body as thin as a straw. During (xylophone), celesta, and the daylight hours she is noisy; from dusk to midnight strings. she whistles and hisses, and from midnight to dawn she works at spinning hemp, reeling yarn and fitting her silken Performance time is dress—all the while plotting evil against mortals.” approximately eight minutes. The piece begins ominously with and basses in a slow introduction against which woodwinds and timpani expand the texture until, atop a flowing string accompaniment, the English horn intones a melancholy and distinctively Russian sounding theme. After a brief burst from the fuller orchestra the introduction is repeated and the music takes on a more supernatural mood as the celesta magically enters. Just after the mid-point of the eight-minute piece the tempo abruptly shifts to presto and we may feel we are in a lively fairy world—not quite Mendelssohnian, but still charming and often delicate. The music accelerates to a presstissimo coda with the full orchestra playing loudly and then suddenly shifts yet again to a delightfully playful soft conclusion. —Paul J. Horsley/Christopher H. Gibbs 30 The Music Violin Concerto

No history of Vienna and its musical legacy in this century is complete without an appreciation of . The son of Julius Korngold, the city’s most influential music critic after Eduard Hanslick, Erich was perhaps the most amazing prodigy that Europe had seen since the days of the Salzburg phenomenon from whom the boy received his middle name. Like Mozart, Korngold had the opportunity to sample the best that the Austro- Hungarian Empire could offer, for he was raised in a social circle that included the principal figures of the day. He Erich Wolfgang Korngold astonished those around him, not just with brilliant pianism Born in Brno (Moravia), but with big, serious compositions. May 29, 1897 Died in Hollywood, A Child Genius Gustav Mahler, upon perusing the cantata November 29, 1957 Gold in 1907, declared its 10-year-old creator a genius. The following year the pantomime Der Schneemann was performed at the Vienna Court Theater in honor of Emperor Franz Joseph’s nameday. “One’s first reaction,” wrote Richard Strauss, “upon learning that these compositions are by a boy, is of fear—and of concern that such a precocious genius should follow a normal course of development. The firmness of style, mastery of form, individuality of expression, and command of are amazing.” Korngold quickly ascended to the position of one of Europe’s leading musical figures, particularly with the Violanta (1916), Die tote Stadt (1920), and Das Wunder der Heliane (1927). In 1934 the theater director took Korngold with him to Hollywood to supervise the music for a film ofA Midsummer Night’s Dream. It marked the beginning of a long collaboration with Warner Bros., which brought him unprecedented fame—and which would later provide a means of escape when history forced him to emigrate. From 1934 to 1938 he divided his life between Vienna and California; and when the Anschluss of 1938 blocked the staging of his opera Die Kathrin in Vienna, he knew that he must leave. Settling in America, he devoted the next decade to scoring such films as Juarez, King’s Row, Of Human Bondage, and Deception. A Return to Concert Works After the war he longed to reestablish himself as a composer of full-scale symphonic works. Having vowed to his father that he would not 31 compose concert music again until Hitler was deposed, in 1945 he resumed with relish, beginning with the Violin Concerto, followed one year later by a Concerto, a Symphonic (1947), and the Symphony in F-sharp major (1952). Korngold’s symphonic works and his film scores were often inextricably linked. The , for example, was composed simultaneously with the score for Deception, with which it shares a great deal of thematic material. The Violin Concerto, departing only slightly from this, takes passages from four of his preexisting film scores of the 1930s—Another Dawn and Juarez (material for the first movement),Anthony Adverse (second movement, main theme), and The Prince and the Pauper (the finale). According to Luzi Korngold, the composer’s wife, it was the violinist Bronislaw Huberman who had first asked for a violin concerto from the composer, many years before Korngold actually began working on the piece in 1945. Much later, when Jascha Heifetz found out Korngold was composing a concerto, he expressed immediate interest. At the risk of offending his friend Huberman—who had not yet offered to pay for the work—Korngold found it impossible to refuse the great violinist’s request to play it. It was Heifetz, then, who paid for the commission, thus receiving the rights to the first performance. (Huberman, upon learning this, conceded to Heifetz, apparently with no hard feelings.) Heifetz played the world premiere on February 14, 1947, with Vladimir Goldschmann conducting the Saint Louis Symphony and went on to make a marvelous recording of the piece with the Los Angeles Philharmonic. A Closer Look The Concerto is in three movements. The soloist opens the first (Moderato nobile) with a noble, nostalgic theme—which quickly gives way to fiery passagework. A developmental section contains much of the orchestral color and harmonic restlessness of Strauss’s tone poems; in fact throughout the Concerto one is reminded of the spirit of those pieces. The movement gently climaxes with a brilliant of double stops and precipitous passagework; a coda closes it, with bursts of orchestral color. In the second movement (Romance: Andante), gently pulsating chords support the soloist’s sweet opening melody—a lovely tune with an urgent forward motion through shifting meters that correspond to a spontaneous 32

Korngold composed his Violin melodic flow. A middle section (Misterioso) in a Concerto in 1945. contrasting key features the soloist soaring over an William dePasquale was the eerie orchestral fabric; soloist and ensemble join in a soloist in the first Philadelphia shimmering climax. The finale (Allegro assai vivace) is Orchestra performances of the a series of folk-like dances; a coda sums up the Concerto Concerto, in December 1994; with an expansive orchestral statement, in which the James DePreist conducted. violinist joins for a final virtuosic display. The work has appeared only two other times on subscription —Paul J. Horsley since then, in April 1999 with Elmar Oliveria as soloist and , and in May 2013 with Hilary Hahn and Yannick Nézet-Séguin. The Concerto is scored for solo violin, two flutes (II doubling on piccolo), two oboes (II doubling English horn), two clarinets, , two bassoons (II doubling ), four horns, two trumpets, , timpani, percussion (bass drum, cymbals, glockenspiel, vibraphone, xylophone), harp, celesta, and strings. The work runs approximately 24 minutes in performance. 33 The Music Symphony No. 5

When Tchaikovsky conducted the premiere of his Fifth Symphony in St. Petersburg, the audience responded enthusiastically, as did the orchestra, which struck up fanfares to signal its delight. Critical reaction, however, proved less positive. A particularly damning view held that the “symphony is a failure. There is something repulsive about it, a certain excess of gaudiness, insincerity, and artificiality. And the public instinctively recognizes this.” And who was this disparaging critic? None other than the composer himself, confiding in a letter to his generous patroness, , after he had conducted Born in Kamsko-Votkinsk, further performances in Prague. , May 7, 1840 Died in St. Petersburg, Tchaikovsky’s insecurities about a composition that would November 6, 1893 over time become one of his most famous and beloved date back to its inception in the spring of 1888. He had recently concluded a brilliant three-month concert tour around Europe (“Success, which I enjoyed everywhere, is very pleasant”), but had not composed a significant piece in almost a year. Returning to Russia in late March, Tchaikovsky informed his brother that he wanted to write a new symphony, but weeks later could only report, “I have still not yet made a start. … I can honestly say that once again I have no urge to create. What does this mean? Am I really written out? I have no ideas or inspiration whatsoever!” When ideas finally did begin to come it was “gradually, and with some difficulty, [that] I am squeezing the symphony out of my dulled brain.” The Fifth Symphony was finished by late August and ready for its premiere in November. Another Fate Symphony In a well-known letter to Madame von Meck a decade earlier, Tchaikovsky had provided an elaborate program for his Fourth Symphony, casting its “central idea” as “Fate, the fatal force that prevents our strivings for happiness from succeeding.” Similar thoughts seem to have been behind the Fifth—and this time they were expressed before the piece was written. (What Tchaikovsky had told von Meck about the Fourth came well after its completion, prompted by her specific request to learn the story behind the work.) In a notebook Tchaikovsky indicated a program for the first movement: 34

Intr[oduction]. Total submission before Fate, or, which is the same thing, the inscrutable design of Providence. Allegro. I) Murmurs, doubts, laments, reproaches against … XXX. II) Shall I cast myself into the embrace of Faith??? A wonderful program, if only it can be fulfilled. The meaning of “XXX,” which also appears in Tchaikovsky’s diaries, has traditionally been deciphered as referring to his homosexuality, although biographer Alexander Poznansky has recently suggested that it may refer to problems with gambling. Fate was a familiar topic in music long before Tchaikovsky. In the realm of the symphony, it extended back at least as far as that most famous of Fifths, Beethoven’s, the opening of which allegedly represented “Fate knocking at the door.” Perhaps even more common are Fate themes in operas, as in Bizet’s Carmen, Verdi’s La forza del destino (The Force of Destiny), and Wagner’s Ring. In such orchestral and dramatic works “Fate” provides not only a narrative thread, but also something to be represented musically. A Closer Look There is no certainty, of course, that the slow opening theme of Tchaikovsky’s first movement (Andante), played by the clarinets in the “chalumeau” (or lowest) register, represents Fate, even if that is what the early sketches suggest and what most commentators have heard for well over a century. The melody itself is drawn from ’s great opera A Life for the Tsar (1836), where it sets the words “turn not to sorrow.” Tchaikovsky casts a far more expansive melody than the well-known Beethoven Fifth motif, although, as in Beethoven, the theme appears not just at the opening, or only in the first movement, but rather in all four movements. Thus “Fate” twice rudely interrupts the lyrical second movement (Andante cantabile), with its famous slow horn melody opening, in ways that suggest catastrophe. As the Symphony progresses, however, Fate seems to be tamed, or at least integrated with its surroundings. The theme also reappears near the end of the third movement waltz (Allegro moderato) and it forms the basis for the major key finale, from the slow introduction (Andante maestoso), to the fast core (Allegro vivace), and finally to its apotheosis in the triumphant coda. In his Fourth Symphony, Tchaikovsky, like Beethoven, seemed to shake his fist at Fate—the music is angry 35

Tchaikovsky composed his and defiant. The mood in his Fifth Symphony is quite Fifth Symphony in 1888. different: Here Tchaikovsky dances with Fate. An early The work has been performed critic disapprovingly called it “the symphony with three by The Philadelphia Orchestra waltzes,” reflecting not only the waltz replacement of a probably as often as any piece traditional scherzo in the third movement, but also the in the orchestral repertory. waltz episodes in the opening two movements. Over the Fritz Scheel conducted the course of the Symphony Tchaikovsky appears to become first Orchestra performance, in reconciled with Fate, perhaps under “the embrace of Faith” October 1906; from the 1930s that he anticipated before beginning the composition. And it was a favorite of Eugene in time, his attitude about the quality of the Symphony also Ormandy, who led it on tours changed. After enjoying another great success with the and at the Academy. The most work in Hamburg, at a performance attended by Brahms, recent performances during the Tchaikovsky wrote to his nephew: “The Fifth Symphony regular season were Yannick was beautifully played and I have started to love it again.” Nézet-Séguin’s, in January 2015. The Orchestra has recorded —Christopher H. Gibbs the Fifth eight times: in 1934 for RCA with ; in 1941 for RCA with Ormandy; in 1950 and 1959 for CBS with Ormandy; in 1974, again for RCA, with Ormandy; in 1981 for Delos with Ormandy; in 1991 for EMI with Riccardo Muti; and in 2005 for Ondine with Christoph Eschenbach. The second movement alone was also recorded by Stokowski, in 1923 for RCA. The score calls for three flutes (III doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three , , timpani, and strings. Tchaikovsky’s Symphony No. 5 runs approximately 50 minutes in performance.

Program notes © 2017. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 36 37 Musical Terms

GENERAL TERMS Meter: The symmetrical : An instrumental Cadenza: A passage or grouping of musical composition in three or section in a style of brilliant rhythms four extended movements improvisation, usually Op.: Abbreviation for opus, contrasted in theme, inserted near the end of a a term used to indicate tempo, and mood, usually movement or composition the chronological position for a solo instrument Cantata: A multi- of a composition within a Suite: A set or series of movement vocal piece composer’s output. Opus pieces in various dance consisting of , numbers are not always forms. The modern , ensembles, and reliable because they are orchestral suite is more like choruses and based on a often applied in the order a divertimento. continuous narrative text of publication rather than Tone poem: A type of Chord: The simultaneous composition. 19th-century symphonic sounding of three or more Romance: Originally piece in one movement, tones a ballad, or popular tale which is based upon an Coda: A concluding in verse; now a title for extramusical idea, either section or passage added epico-lyrical songs or of poetic or descriptive in order to confirm the short instrumental pieces impression of finality of sentimental or romantic THE SPEED OF MUSIC Counterpoint: A nature, and without special (Tempo) term that describes form Allegro: Bright, fast the combination of Scherzo: Literally “a Andante: Walking speed simultaneously sounding joke.” Usually the third Cantabile: In a singing musical lines movement of symphonies style, lyrical, melodious, Divertimento: A piece and quartets that was flowing of entertaining music introduced by Beethoven Con alcuna licenza: in several movements, to replace the minuet. The With some freedom often scored for a mixed scherzo is followed by a Con anima: With feeling ensemble and having no gentler section called a trio, Maestoso: Majestic fixed form after which the scherzo is Moderato: A moderate Double-stop: In violin repeated. Its characteristics tempo, neither fast nor playing, to stop two strings are a rapid tempo in triple slow together, thus obtaining time, vigorous rhythm, and Nobile: Dignified, stately two-part harmony humorous contrasts. Also Presto: Very fast Harmonic: Pertaining to an instrumental piece of Vivace: Lively chords and to the theory a light, piquant, humorous and practice of harmony character. TEMPO MODIFIERS Harmony: The Serenade: An Assai: Much combination of instrumental composition simultaneously sounded written for a small MODIFYING musical notes to produce ensemble and having SUFFIXES chords and chord characteristics of the suite -issimo: Very progressions and the sonata 38 Tickets & Patron Services

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