Season 2020111111----2020202011112222 The Philadelphia Orchestra ThThThurTh urururssssday,day, March 1515,, at 777:007:00:00:00 Beyond the Score ®®®: Elusive Simplicity? Jeffrey Kahane Conductor and Piano Gerard McBurney Narrator Alex Bechtel Actor Charlotte Dobbs Soprano Aaron Cromie Mime Artist Lee Ann EtzolEtzoldddd Mime Artist A multimulti----mediamedia exploration of Mozart’s Piano Concerto No. 27 Intermission Mozart Piano Concerto No. 27 in B-flat major, K. 595 I. Allegro II. Larghetto III. Allegro This program runs approximately 2 hours. This concert is sponsored by BBBankBank of America. Philadelphia Orchestra performances of Beyond the Score® are made possible by support from the Hirschberg-Goodfriend Fund in memory of Adolf Hirschberg as established by Juliet J. Goodfriend and by the Wachovia Wells Fargo Foundation. Additional funding comes from the Annenberg Foundation, the Pennsylvania Council on the Arts, and the Pennsylvania Department of Community and Economic Development. Beyond the Score® is produced by the Chicago Symphony Orchestra. Gerard McBurney, Creative Director, Beyond the Score Martha Gilmer, Executive Producer, Beyond the Score Caroline Moores, Production Stage Manager Acknowledgments The Art Institute of Chicago The British Library Kunsthistorisches Museum Wien Mary Evans Picture Library Currently in his 15th season as music director of the Los Angeles Chamber Orchestra, Jeffrey Kahane was previously music director of the Colorado Symphony and the Santa Rosa Symphony. He received the 2007 ASCAP Award for Adventurous Programming for his work in both Los Angeles and Denver. Highlights of his 2011-12 season include programs playing and conducting with the New York Philharmonic and the Vancouver, Seattle, and New Jersey symphonies; his debut conducting the Juilliard Orchestra at Lincoln Center; and a solo/chamber music program at Disney Hall presented by the Los Angeles Philharmonic in honor of his 15th anniversary as music director of the Los Angeles Chamber Orchestra. Mr. Kahane's recordings include works of Gershwin and Bernstein with cellist Yo-Yo Ma for Sony, Paul Schoenfield's Four Parables with the New World Symphony conducted by John Nelson for Decca/Argo, Strauss’s Burleske on Telarc with the Cincinnati Symphony and Jesús López-Cobos, and Bach’s complete Brandenburg Concertos (on harpsichord) with the Oregon Bach Festival Orchestra and Helmuth Rilling on the Haenssler label. Mr. Kahane has also recorded Schubert’s complete works for violin and piano with Joseph Swensen for RCA, Bach's sinfonias and Partita No. 4 for Nonesuch, and Bernstein's Age of Anxiety for Virgin Records, which was nominated for Gramophone magazine’s Record of the Year. Mr. Kahane is a native of Los Angeles and a graduate of the San Francisco Conservatory of Music. His early piano studies were with Howard Weisel and Jakob Gimpel. First-prize winner at the 1983 Rubinstein Competition and a finalist at the 1981 Van Cliburn Competition, Mr. Kahane was also the recipient of a 1983 Avery Fisher Career Grant and the first Andrew Wolf Chamber Music Award in 1987. Also an avid linguist, he received a master's degree in Classics from the University of Colorado at Boulder in 2011. Mr. Kahane, who made his Philadelphia Orchestra debut in 1983, resides in Santa Rosa with his wife, Martha, a clinical psychologist. They have two children; Gabriel, a composer, pianist, and singer/songwriter, and Annie, a dancer and poet. A native of England, Gerard McBurney studied in Cambridge and at the Moscow Conservatory before returning to London, where he worked for many years as a composer, arranger, broadcaster, teacher, and writer. He is artistic programming advisor for the Chicago Symphony and creative director of Beyond the Score. Mr. McBurney’s original compositions include orchestral works, a ballet, a chamber opera, songs, and chamber music, as well as many theater scores. He also is well known for his reconstructions of various lost and forgotten works by Dmitri Shostakovich. As a scholar Mr. McBurney has published mostly in the field of Russian and Soviet music. His journalistic work includes articles on many different musical subjects. For 20 years he created and presented hundreds of programs on BBC Radio 3, as well as occasional programs for other radio stations in the U.K., Europe, and the former Soviet Union. He has also written, researched, and presented more than two dozen documentary films for British and German television channels. For many years Mr. McBurney lectured and taught, first at the London College of Music and then for more than 10 years at the Royal Academy of Music. He has also acted as advisor and collaborated with many orchestras and presenters, including Lincoln Center, the Emerson String Quartet, and the Los Angeles Philharmonic, which premiered his reconstruction of Shostakovich’s newly-discovered operatic fragment Orango in December 2011, under the direction of Peter Sellars and Esa-Pekka Salonen. Mr. McBurney joined the staff of the Chicago Symphony in September 2006 and made his Philadelphia Orchestra debut in 2009. Alex Bechtel is a Philadelphia-based actor, writer, composer, and music director who has worked with the Walnut Street Theatre ( The Musical of Musicals ), 1812 Productions ( This Is the Week That Is ), New Paradise Laboratories ( FATEBOOK ), Act II Playhouse ( First Impressions, Here’s Tony) , Theatre Horizon ( Honk!, An American Songbook ), and Philadelphia Theatre Workshop ( Traveling Light) . He has also given readings, concerts, and workshops at 1812, the Wilma Theater, and Pig Iron Theatre Company. Mr. Bechtel is co- creator and co-star of The Bech/Doh Sketch/Show —a comedy show with writer/actor Michael Doherty. Soprano Charlotte Dobbs made her European debut in 2009 as Corinna in Rossini’s Il viaggio a Reims at the Pesaro Rossini Festival and returned to Italy to sing Rosina in Rossini’s The Barber of Seville in Jesi, Fermo, and Ravenna. She made her debut with the Chicago Opera Theater as Servilia in Mozart’s La clemenza di Tito, returning to Chicago in 2010 as Belinda in Purcell’s Dido and Aeneas with Music of the Baroque. Other recent highlights include the Governess in the Chateauville Foundation’s production of Britten’s The Turn of the Screw with Lorin Maazel, and Amina in Bellini’s La sonnambula, Donna Elvira in Mozart’s Don Giovanni, the title role in Tchaikovsky's Iolanta, Nuria in Osvaldo Golijov’s Ainadamar , and the Countess in Mozart’s The Marriage of Figaro with the Curtis Opera Theater. She has appeared with the Alabama Symphony, the Los Angeles Chamber Orchestra, and the Saratoga Chamber Players, and at the Marlboro Music Festival. Her recent appearances include the title role in Gluck’s Iphigenie in Aulide and Elettra in Mozart’s Idomeneo at the Juilliard School. Ms. Dobbs made her Carnegie Hall debut in Nielsen's Third Symphony with the Curtis Symphony in 2008. She received a master’s degree from both Curtis and Juilliard and a bachelor’s degree in English and Music from Yale. Aaron Cromie is a Philadelphia based director, performer, and mask and puppet designer who has appeared on stage with the Walnut Street Theatre, the Arden Theatre Company, the Philadelphia Theatre Company, 1812 Productions, the Opera Company of Philadelphia, and The Philadelphia Orchestra, among others. He is currently directing the upcoming production of Titus Andronicus for the Philadelphia Shakespeare Theatre and has directed for such companies as Azuka Theatre, the Lantern Theater Company, and the Commonwealth Classic Theatre Company. As a mask and puppet designer, he has created objects for the Folger Theatre, the Shakespeare Theatre Company in Washington D.C., the Wilma Theater, and Theatre Exile, among others. He has been honored with three Barrymore awards for choreography/movement and music direction. Mr. Cromie’s original work has been supported by the Philadelphia Theatre Initiative, the Independence Foundation, the American Philosophical Society, and the Jim Henson Foundation. He is co-founding faculty of the Headlong Performance Institute, teaches at the University of the Arts, and is a graduate of the Dell'Arte International School of Physical Theatre. Lee Ann Etzold is a Philadelphia-based theater artist and teacher who has worked in the U.K., Spain, France, the Czech Republic, and the U.S., at such theaters as the Actors Theatre of Louisville, the Children’s Theatre Company in Minneapolis, the Delaware Theatre Company, PS 122, and 7 Stages in Atlanta. She co-founded New Paradise Laboratories and has also created original physical theater works with Pig Iron Theatre Company, Headlong Dance Theater, Lucidity Suitcase Intercontinental, and Bill Irwin (Barrymore Award for Outstanding Supporting Actress in a Play). She studied clown in Paris with Ami Hathab, completed the Lincoln Center Theatre’s Directors Lab in New York City, and is a member of the Young Vic Directors Program in London. Ms. Etzold has been a teaching artist and creative consultant for many organizations and institutions, including the National Constitution Center and White Box Theatre. She is currently the co-artistic director of Brat Productions and continues to collaborate on new work. BEYOND THE SCORE Begun in 2005 the Chicago Symphony’s Beyond the Score ® seeks to open the door to the symphonic repertoire for first-time concertgoers as well as to encourage an active, more fulfilling way of listening for seasoned audiences. The lifeblood of Beyond the Score is its firm rooting in the live tradition: musical extracts, spoken clarification, theatrical narrative, and hand-paced projections on a large central screen are performed in close synchrony—an arresting and innovative approach that illuminates classical music more idiomatically than other methods (program notes, pre-concert lectures, filmed documentary, etc.). After each 60-minute program focusing on a single masterwork, audiences return from intermission to experience the piece performed in a regular concert setting, equipped with a new understanding of its style and genesis.