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Home , After (Elgar), Anima (chorus), Brussels Philharmonic, Edward Elgar, Enigma Variations, E major

27 Season 2018-2019

Thursday, May 2, at 7:30 Friday, May 3, at 2:00 The Saturday, May 4, at 8:00 Stéphane Denève Conductor Nikolaj Szeps-Znaider

Elgar Violin in B minor, Op. 61 I. Allegro II. Andante III. Allegro molto

Intermission

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

This program runs approximately 2 hours.

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The May 2 concert is sponsored by Mrs. Ameline Pappas.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 28

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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, free Neighborhood is inspiring the future and and other cultural, civic, Concerts, School Concerts, transforming its rich tradition and learning venues. The and residency work in of achievement, sustaining Orchestra maintains a Philadelphia and abroad. the highest level of artistic strong commitment to Through concerts, tours, quality, but also challenging— collaborations with cultural residencies, presentations, and exceeding—that level, and community organizations and recordings, the on a regional and national by creating powerful musical Orchestra is a global cultural level, all of which create experiences for audiences at ambassador for Philadelphia greater access and home and around the world. and for the US. Having engagement with classical been the first American Music Director Yannick music as an art form. orchestra to perform in the Nézet-Séguin’s connection The Philadelphia Orchestra People’s Republic of , to the Orchestra’s musicians serves as a catalyst for in 1973 at the request has been praised by cultural activity across of President Nixon, the both concertgoers and Philadelphia’s many ensemble today boasts critics since his inaugural communities, building an five-year partnerships with season in 2012. Under his offstage presence as strong Beijing’s National Centre for leadership the Orchestra as its onstage one. With the Performing Arts and the returned to recording, with Nézet-Séguin, a dedicated Shanghai Media Group. In four celebrated CDs on body of musicians, and one 2018 the Orchestra traveled the prestigious Deutsche of the nation’s richest arts to and Israel. The Grammophon label, ecosystems, the Orchestra Orchestra annually performs continuing its history of has launched its HEAR at while also recording success. The initiative, a portfolio of enjoying summer residencies Orchestra also reaches integrated initiatives that in Saratoga Springs and Vail. thousands of listeners on the promotes Health, champions For more information on radio with weekly broadcasts music Education, eliminates The Philadelphia Orchestra, on WRTI-FM and SiriusXM. barriers to Accessing the please visit www.philorch.org. 31 Principal Guest Conductor

Jessica Griffin Stéphane Denève is currently in his fifth season as principal guest conductor of The Philadelphia Orchestra, a position that runs through the 2019-20 season. He spends multiple weeks each year with the ensemble, subscription, tour, and summer concerts. He has led more programs with the Orchestra than any other guest conductor since making his debut in 2007, in repertoire that has spanned more than 100 works, ranging from Classical through the contemporary, including presentations with dance, theater, film, and cirque performers. Mr. Denève is also music director of the Philharmonic and director of its Centre for Future Orchestral Repertoire (CffOR), and with the 2019-20 season will become music director of the St. Louis Symphony. He was previously chief conductor of the Stuttgart Radio Symphony Orchestra and music director of the Royal Scottish National Orchestra. Recent engagements in Europe and Asia include appearances with the Royal Concertgebouw Orchestra, the Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia in Rome, the and NHK , the Deutsches Symphonie-Orchester Berlin, the Orchestre National de France, and the Munich, Czech, and Rotterdam philharmonics. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony, with which he has appeared several times, both in Boston and at Tanglewood. He regularly conducts the Cleveland Orchestra, the and Los Angeles philharmonics, and the San Francisco and Toronto symphonies. As a recording artist, Mr. Denève has won critical acclaim for his recordings of the works of Poulenc, Debussy, Ravel, Roussel, Franck, and Connesson. He is a triple winner of the Diapason d’Or de l’Année, was shortlisted for Gramophone’s Artist of the Year award, and won the prize for symphonic music at the International Awards. A graduate of, and prizewinner at, the Paris Conservatory, Mr. Denève worked closely in his early career with , Georges Prêtre, and Seiji Ozawa. He is committed to inspiring the next generation of musicians and listeners and has worked regularly with young people in the programs of the Tanglewood Music Center, the New World Symphony, the Colburn School, and the Music Academy of the West, among others. For further information please visit www.stephanedeneve.com. 32 Soloist

Lars Gundersen Violinist and conductor Nikolaj Szeps-Znaider made his Philadelphia Orchestra debut in 2000. He is currently artist in residence with the Vienna Symphony, both performing with and conducting the orchestra in a series of concerts throughout the 2018-19 season, including his conducting debut at the Musikverein and a European tour with Philippe Jordan. As a conductor he has given acclaimed performances at the helms of the , Detroit, and symphonies; the New York Philharmonic; and the Cleveland Orchestra. This season and next he returns to the Orchestre National de Lyon, of which he becomes music director in 2020; the Detroit, Montreal, City of , and Chicago symphonies; the Cleveland Orchestra; and the Luxembourg Philharmonic. He also makes debuts with the Semperoper Dresden and the Hamburg Opera, and he continues his Nielsen project with the Odense Symphony, conducting and recording the complete symphonies. Mr. Szeps-Znaider has a particularly strong relationship with the London Symphony, an orchestra he conducts and performs with as soloist every season, and with which he has recently recorded the complete Mozart violin , directed from the violin. The first album comprising Concertos No. 4 and 5 was released on the LSO Live label in March 2018. Concertos No. 1, 2, and 3 followed last November. His extensive discography also includes the Nielsen Concerto with Alan Gilbert and the New York Philharmonic, and award-winning recordings of the Brahms and Korngold concertos with and the . He has also recorded the complete works of Brahms for violin and piano with Yefim Bronfman. Mr. Szeps-Znaider is passionate about supporting the next generation of musical talent and spent 10 years as founder and artistic director of the Nordic Music Academy, an annual summer school. He is now president of the Nielsen Competition, which takes place every three years in Odense, Denmark. He plays the “Kreisler” Guarneri del Gesù (1741) on extended loan to him by the Royal Danish Theater through the generosity of the Velux Foundation, the Villum Foundation, and the Knud Højgaard Foundation. 33 Framing the Program

The enormous success that enjoyed around Parallel Events 1900 with his “Enigma” Variations brought international 1888 Music attention to the English composer, who was in his Tchaikovsky Rimsky- early 40s at the time. His greatest choral and chamber Symphony Korsakov music followed over the next two decades, as did two No. 5 Sheherazade symphonies, two concertos, and other formidable pieces. Literature The fame of Elgar’s Concerto, one of his last Zola compositions, has overshadowed his magnificent earlier

La Terre , dedicated to, and premiered by, Fritz Art Kreisler. There is a special link with the concert today as Toulouse- Lautrec our soloist, Nikolaj Szeps-Znaider, plays Kreisler’s own Place Clichy Guarneri violin. History The program also features Tchaikovsky’s spectacular Fifth Jack the Ripper Symphony. A “Fate” symphony like that other famous and murders beloved Fifth—Beethoven’s—it concludes with a kind of double coda: an exciting one that could end the piece 1910 Music Elgar Mahler and then an additional triumphant one that ties everything Violin Concerto Symphony together. No. 10 Literature Forster Howard’s End Art Modigliani The Cellist History Du Bois founds NAACP

The Philadelphia Orchestra is the only orchestra in the world with three weekly broadcasts on SiriusXM’s Symphony Hall, Channel 76, on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 6 PM. 34 The Music Violin Concerto

Elgar’s is one of the longest violin concertos ever written, stretching some three-quarters of an hour. As such, for many people it comes across at first hearing like nothing so much as a large, over-stuffed Edwardian sofa. Despite its length, and in spite of its apparently comfortable musical language, Elgar’s Violin Concerto can be an exciting and worthwhile adventure. It offers a sumptuous glimpse into a historic past—and an emotional look into the personal life of its creator, his circle of close friends, and the era and society in which they lived. Perhaps Edward Elgar most music can be looked at in this way, but Elgar— Born in Broadheath, notwithstanding his everyday British reserve—was more , June 2, 1857 emotionally transparent in his music than many other Died in Worcester, February 23, 1934 are in theirs. From Modest Origins Elgar’s road to fame and fortune was neither swift nor easy. He was born to lower middle- class parents, who could offer him few of the advantages that wealth and higher station might have provided. He was raised a Roman Catholic and therefore was part of a distinct minority in a country whose national Anglican Church predominated. He was also quite shy. And although he was fortunate to learn much of the musical trade from his father, who owned a small music shop and played organ for the local , he was largely a self-taught musician. Elgar did manage to choose a near-perfect wife, Caroline Alice Roberts (one of his music pupils), who steadfastly believed in him and his work. But she was not without her faults in the eyes of others, many of whom looked askance at her marriage to a man both younger and of a lower class than herself. A life of such adversity often imparts strength and stamina. Elgar, toying briefly with becoming a concert violinist, set his course as a composer and stayed with it even when events seemed to propel him toward obscurity, poverty, and disappointment. Fame and Fortune After a number of near-misses at regional music festivals, Elgar finally captured wide national and then international attention in 1899, at the age of 42, with his “Enigma” Variations. His middle- 35 aged successes spread quickly. He tossed off one new hit after another and reached his apotheosis as a composer during the first decade of the new century, a period corresponding roughly (and in Elgar’s mind not coincidentally) to King Edward Vll’s brief reign as British sovereign (1901-10). He was knighted in 1904, was feted with many celebrations both public and private, and in relatively short order produced three of his major works for orchestra: the First Symphony (premiered in December 1908), the Violin Concerto (November 1910), and the Second Symphony (May 1911). Through stirring melodies and swelling orchestration (most tellingly manifested in his celebrated Pomp and Circumstance marches), Elgar’s music quickly came to symbolize Britain’s national pride in itself and in its paradoxical dominion over the world (brute force combined with uncommon gentility and reserve). Half a Commission Elgar’s Violin Concerto is dedicated to , the great Austrian violinist who premiered it under Elgar’s direction on November 10, 1910, at Queen’s Hall in London with the orchestra of the Philharmonic Society. It was Kreisler who in 1905 gave direct impetus for its composition, in an interview published in the Times: “If you want to know whom I consider to be the greatest living composer, I say without hesitation, Elgar. , Scandinavia, my own Fatherland, or any other nation can produce nothing like him. I say this to please no one; it is my own conviction. … I wish Elgar would write something for the violin. He could do so, and it would certainly be something effective.” Kreisler and Elgar had first met in person a year before these calculated comments, and Kreisler had previously asked Elgar (through a mutual friend) if the composer’s rumored youthful concerto from 1890 was available for performance. Elgar’s exact response to this question is unknown, but no score appeared from the attic—perhaps there was no earlier attempt at a concerto. Soon after Kreisler’s “suggestion” was published in 1905, Elgar and the virtuoso met to discuss a new violin concerto. In preparation for this meeting, Elgar was inspired enough to jot down several possible themes in his sketchbook. How formal the agreement between Elgar and Kreisler was is not known; what the press later referred to as “a commission from Kreisler” may have been no more than a gentlemen’s understanding that, when and if Elgar wrote a violin concerto, Kreisler would be given the chance to 36

premiere it. In fact, other things were on Elgar’s mind in 1906, and he set the concerto ideas aside in favor of his long-awaited First Symphony. Riddles and Rhymes Elgar was an inveterate word punster and puzzle-maker who delighted in baffling friends with obscure clues to half-discovered mysteries. Thus, he had originally offered the world the “Enigma” Variations without identifying who each variation represented. Similar issues concern the Violin Concerto. In addition to the dedication to Kreisler, the printed score includes the following quotation in Spanish: “Aqua esta encerrada el alma de . . . . .” (Herein is enshrined the soul of . . . . .). It seems that Elgar was quite specific that five periods or dots be included at the end of the quotation. It has therefore been believed that Elgar was suggesting a name of five letters. A close friend of the Elgars, Alice Stuart-Wortley, has been the most often accepted candidate, with letters representing either her first name or her initials, A.S.C.S.W. Certainly the Violin Concerto and Alice were closely connected. Elgar’s nickname for her in later years was Windflower, and the fact that he named two melodies in the Violin Concerto windflower themes has been seen as proof of her presence. However, the musical themes were named first and Mrs. Stuart-Wortley given the nickname afterward, partly as a solution for how to refer to the two Alices in his life. That Elgar saw some connection between his original windflower themes (named after a common flower in England) and Stuart-Wortley should not be doubted—and he did often refer to the work as “your concerto” in letters to her. More recent speculation has begun to suggest that several people may be represented in the Concerto. Rather than enshrining the soul of any one person, the Concerto may represent Elgar’s ideal of W-O-M-A-N; there is a letter from Elgar to a friend, seemingly (but inconclusively) indicating that the “soul’’ is feminine rather than masculine. Similarly, of course, W-O-M-A-N in Elgar’s life was represented specifically by the two Alices and several other close family friends, a number of whom had five-letter names. There is a point in the middle-movement Andante that Elgar is said to have described as a moment “where two souls merge and melt into one another”—surely, if he really said it, an apt description of the kind of symbiotic relationship he enjoyed with his wife. And the fact that two of his closest woman friends were named Alice might have greatly appealed to Elgar’s enigmatic sense of humor. 37

Elgar’s Violin Concerto was In another vein, it has been suggested that the “soul composed from 1906 to 1910. enshrined” is Elgar himself, noting that he once told The Concerto was not Stuart-Wortley that he had “written out my soul in the performed by The Philadelphia Concerto.” If he was thus writing an autobiography, it is Orchestra until December not surprising that his friends can be found in it—and that 1977, when William he could without deceit have allowed several of them to dePasquale appeared as the believe that they were “in it.” soloist with William Smith A Closer Look on the podium. It has been The Concerto opens with a long presented by the Orchestra orchestral introduction, during which several themes are on three additional occasions: stated in quick succession. The soloist enters quietly, as if in October 1982 with violinist tenderly answering the orchestra’s question or finishing its and soul mate’s sentence. Elgar included many themes in this ; in October Concerto, most of them are short, and many seem to fall 1987 with into groups or families, almost like Wagnerian leitmotifs— and conductor Dennis Russell except that we do not really know the underlying dramatic Davies; and in May 2001 with idea that each might represent before it is subsequently and nurtured by the soloist or the orchestra and then Wolfgang Sawallisch. transformed into something else entirely. Elgar scored the work for solo The middle-movement Andante is one of Elgar’s most violin, two , two , passionate renderings; such slow movements were two , two , perhaps his greatest strength as a composer. Nostalgia, , four horns, two , three , sad joy, and bittersweet pathos are blended in a unique , , and strings. formula that few have surpassed or equaled. Performance time is Toward the close of the Allegro molto third-movement approximately 45 minutes. finale, all of the Concerto’s major themes are revisited in an innovative solo —innovative in that the soloist is not alone, but is accompanied by various members of the orchestra. The cadenza thus begins to sum up everything that the Concerto has been trying to communicate to us—from the opening orchestral introduction through the passionate nostalgia of the Andante to the Mendelssohn-like jump-start of the third movement. When the cadenza ends, we are brought quickly to a satisfying close—as though Elgar were smiling for a moment, untroubled by all the bad luck that had ever visited him. —Eric Sellen 38 The Music Symphony No. 5

Tchaikovsky’s orchestral works were not always as successful as his elevated position in today’s concert- hall pantheon would suggest. While he may have been regarded as Russia’s greatest symphonist and arguably its most talented composer during his lifetime, his ballet scores, , and concertos often received responses ranging from pedestrian to outright disdain. Tchaikovsky endured periods of crushing self-doubt, exacerbated by the critical responses to his music. It was largely during the 20th century, after the composer’s death, that his reputation as an audience favorite became firmly established. Born in Kamsko-Votkinsk, Russia, May 7, 1840 When Tchaikovsky began composing his Symphony Died in St. Petersburg, No. 5 in the summer of 1888, it was with a mixture of November 6, 1893 determination and paralyzing uncertainty. “I want so much to show not only to others, but to myself, that I still haven’t expired,” he wrote to his patron and friend . It had been 10 years since his Fourth Symphony and he was resolved to prove that his inspiration had not dried up. The initial sketches for this new work came to him only with difficulty, but he found some creative momentum as he was working on the instrumentation. When the new symphony was completed in August 1888, he exclaimed with some relief, “Thank God, it is no worse than my previous ones.” The following week, he reiterated, “it has turned out well.” A Self-Proclaimed Failure At its premiere the following month, the audience and his close friends received the piece enthusiastically, but the critics were harsh at subsequent performances. Tchaikovsky unfortunately believed the critics rather than his friends, and concluded after three performances that the work was a failure. “There is something repellant in it,” he lamented, “some over-exaggerated color, some insincerity of fabrication.” It was not until the following year, when Brahms heard a performance in Hamburg and expressed his admiration for the new work, that Tchaikovsky finally admitted this colorful, emotional, patchwork-quilt of a symphony had any merit. “I have started to love it again,” he wrote to his nephew. “My earlier judgment was undeservedly harsh.” 39

Tchaikovsky claimed that the Fifth Symphony was not programmatic, but his early sketches included comments about “fate,” “providence,” and “faith.” Perhaps he was thinking of Beethoven’s famous “Fate” symphony—also a Fifth—and had planned a similar symphonic trajectory for this work. Those initial sketches were eventually rejected, though, and unlike a true programmatic symphony the piece holds together well without a specific narrative program when heard simply in terms of its musical discourse and development. And in that regard, it might resemble Beethoven’s Fifth even more closely. A Closer Look A single theme—perhaps a of fate—appears in each of the four movements, suggesting a journey or gradual metamorphosis, culminating in a conclusion that can be heard as either triumphant or ominous. At the Symphony’s opening (Andante), this dotted-rhythm theme is presented in a slow introduction—a mournful . Then the clarinets and introduce the Allegro con anima section with a variant on the theme that, while lilting and more animated, even dance-like at times, still bears the emotional weight of the portentous introduction. If this is indeed a “Fate” theme, then the fatal narrative has already been set, and cannot be avoided. A less-troubled second idea only serves to intensify of the contrapuntally dense development, where the dotted- rhythm figure relentlessly reemerges. After the main theme is reprised, the waltz-like second theme is brought back in E major, but the coda re-establishes the funeral- march connotations with a repeated lament bass-line and a total dissipation of energy. Out of the darkness of the low strings, the harmonies turn to D major in the Andante cantabile second movement, a nocturne whose ravishing horn melody was later adapted to the popular song “Moon Love.” This melody is dramatically interrupted by the Fate motif, but gradually regains its composure, reaching an almost-triumph before Fate cruelly silences it once more. The lyrical melody can then only limp to a defeated close. A short waltz (Allegro moderato), instead of the usual third-movement scherzo, transforms the horn melody into an oasis of untroubled delight before the Fate motif returns, again, to shroud the closing. The finale opens (Andante maestoso) and proceeds much as the first movement did, with a dramatic dialogue between Fate and Joy, except the Fate theme is now in E major. With repeated references to other motifs from the inner movements, the dramatic momentum arches 40

Tchaikovsky composed his toward a seemingly triumphant victory, the Fate motif Fifth Symphony in 1888. now an exultant brass fanfare, hammered home with The work has been performed Beethovenian repetitions of tonic major harmony. by The Philadelphia Orchestra And yet the Symphony’s conclusion feels less victorious probably as often as any piece than it should. Is it Tchaikovsky’s wishful thinking—a forced in the orchestral repertory. victory paralleling the composer’s own fears and hopes Fritz Scheel conducted the for this work? As a commentator of the day remarked, if first Orchestra performance, in October 1906; from the 1930s Beethoven’s Fifth Symphony was “Fate knocking at the it was a favorite of Eugene door,” then Tchaikovsky’s Fifth might represent “Fate trying Ormandy, who led it on tours to get out.” and at the Academy of Music. —Luke Howard The most recent performances during the regular season were Cristian Măcelaru’s in May 2017. The Orchestra has recorded 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 trombones, tuba, timpani, and strings. Tchaikovsky’s Symphony No. 5 runs approximately 50 minutes in performance.

Program notes © 2019. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 41 Musical Terms

GENERAL TERMS Leitmotif: Literally last sometimes followed Cadence: The conclusion “leading motif.” Any striking by a coda. The exposition to a phrase, movement, musical motif (theme, is the introduction of or piece based on a phrase) characterizing or the musical ideas, which recognizable melodic accompanying one of the are then “developed.” In formula, harmonic actors, or some particular the recapitulation, the progression, or dissonance idea, emotion, or situation exposition is repeated with resolution in a drama. modifications. Cadenza: A passage or Meter: The symmetrical Timbre: Tone color or tone section in a style of brilliant grouping of musical quality improvisation, usually rhythms Tonic: The keynote of a inserted near the end of a Op.: Abbreviation for opus, scale movement or composition a term used to indicate Chord: The simultaneous the chronological position THE SPEED OF MUSIC sounding of three or more of a composition within a () tones composer’s output. Opus Allegro: Bright, fast Coda: A concluding numbers are not always Andante: Walking speed section or passage added reliable because they are Cantabile: In a singing in order to confirm the often applied in the order style, lyrical, melodious, impression of finality of publication rather than flowing Contrapuntal: See composition. Con alcuna licenza: counterpoint Scherzo: Literally “a With some freedom Counterpoint: joke.” Usually the third Con anima: With feeling The combination of movement of symphonies Maestoso: Majestic simultaneously sounding and quartets that was Moderato: A moderate musical lines introduced by Beethoven tempo, neither fast nor Dissonance: A to replace the minuet. The slow combination of two or more scherzo is followed by a Vivace: Lively tones requiring resolution gentler section called a trio, Harmonic: Pertaining to after which the scherzo is TEMPO MODIFIERS chords and to the theory repeated. Its characteristics Molto: Very and practice of harmony are a rapid tempo in triple Harmony: The time, vigorous rhythm, and combination of humorous contrasts. simultaneously sounded : The form in musical notes to produce which the first movements chords and chord (and sometimes others) progressions of symphonies are usually Legato: Smooth, even, cast. The sections are without any break between exposition, development, notes and recapitulation, the 42 Tickets & Patron Services

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