Eine Kleine Nachtmusik, Serenade in G Major, K

23 Season 2012-2013

Thursday, January 10, at 8:00 The Philadelphia Orchestra Friday, January 11, at 2:00 Saturday, January 12, at 8:00 David Kim Leader Imogen Cooper Piano and Leader

Mozart Eine kleine Nachtmusik, Serenade in G major, K. 525 I. Allegro II. Romance: Andante III. Menuetto (Allegretto)—Trio—Menuetto da capo IV. Rondo: Allegro

Mozart Piano Concerto No. 24 in C minor, K. 491 I. Allegro II. Larghetto III. Allegretto

Intermission

Mozart Symphony No. 25 in G minor, K. 183 I. Allegro con brio II. Andante III. Menuetto—Trio—Menuetto da capo IV. Allegro

This program runs approximately 1 hour, 45 minutes.

3 Story Title 25 The Philadelphia Orchestra Jessica Griffin

Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. an extraordinary history of Center, Penn’s Landing, artistic leaders in its 112 and other venues. The The ensemble maintains seasons, including music Philadelphia Orchestra an important Philadelphia directors Fritz Scheel, Carl Association also continues tradition of presenting Pohlig, Leopold Stokowski, to own the Academy of educational programs for Eugene Ormandy, Riccardo Music—a National Historic students of all ages. Today Muti, Wolfgang Sawallisch, Landmark—as it has since the Orchestra executes a and Christoph Eschenbach, 1957. myriad of education and and Charles Dutoit, who community partnership Through concerts, served as chief conductor programs serving nearly tours, residencies, from 2008 to 2012. With 50,000 annually, including presentations, and the 2012-13 season, its Neighborhood Concert recordings, the Orchestra Yannick Nézet-Séguin Series, Sound All Around is a global ambassador becomes the eighth music and Family Concerts, and for Philadelphia and for director of The Philadelphia eZseatU. the United States. Having Orchestra. Named music been the first American For more information on director designate in 2010, orchestra to perform in The Philadelphia Orchestra, Nézet-Séguin brings a China, in 1973 at the please visit www.philorch.org. vision that extends beyond request of President Nixon, symphonic music into the today The Philadelphia

26 Leader

Ryan Donnell Violinist David Kim was named concertmaster of The Philadelphia Orchestra in 1999. Born in Carbondale, Illinois, in 1963, he started playing the violin at the age of three, began studies with the famed pedagogue Dorothy DeLay at the age of eight, and later received his bachelor’s and master’s degrees from the Juilliard School. In 1986 he was the only American violinist to win a prize at the International Tchaikovsky Competition in Moscow. As a highly sought-after pedagogue, Mr. Kim presents master classes at schools and institutions such as Juilliard, the New World Symphony in Miami, Princeton, Yale, the Hyogo Performing Arts Center Orchestra in Japan, the Korean National University of Arts, and universities and colleges across the U.S. He also serves as artist in residence at Eastern University in suburban Philadelphia and in May 2011 was conferred the Doctor of Humane Letters, Honoris Causa. Mr. Kim appears as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world. Highlights of his 2012-13 season include festival performances, master classes, recitals, and solo appearances with orchestras in California, Massachusetts, Michigan, New York, North Carolina, Oklahoma, South Carolina, Texas, New Jersey, France, and Japan. Conductors with whom he has performed include Myung-Whun Chung, Christoph von Dohnányi, Charles Dutoit, Christoph Eschenbach, Rafael Frühbeck de Burgos, Vladimir Jurowski, and Wolfgang Sawallisch. The latest additions to Mr. Kim’s discography are The Lord Is My Shepherd, a collection of sacred works for violin and piano with pianist and composer Paul S. Jones, and Encore, a collection of recital favorites with pianist Gail Niwa. Mr. Kim’s instrument is a J.B. Guadagnini from Milan, Italy, ca. 1757 on loan from The Philadelphia Orchestra Association. He resides in a Philadelphia suburb with his wife, Jane, and daughters, Natalie and Maggie. For more information please visit www.davidkimviolin.com and follow him on Twitter at @Dkviolin. 27 Soloist

Sussie Ahlburg Pianist Imogen Cooper made her Philadelphia Orchestra debut in 2009 performing Mozart’s Piano Concerto No. 25 in C major. She has appeared with many of the world’s leading orchestras, including the New York and Vienna philharmonics, the Royal Concertgebouw and Leipzig Gewandhaus orchestras, and the London and NHK symphonies. She has performed with all the major British orchestras and has especially close relationships with the Northern Sinfonia and the Britten Sinfonia, with which she plays and directs. Her recital appearances have included concerts in New York, Chicago, Paris, Vienna, Prague, and London. Highlights of Ms. Cooper’s 2012-13 season include appearances with the Deutsche Symphonie-Orchester and Mark Elder and the Rotterdam Philharmonic and Ludovic Morlot; a U.K. tour with the Budapest Festival Orchestra under Iván Fischer; a series at LSO St. Luke’s (home to the London Symphony’s community and music education program, LSO Discovery); and duo recitals with pianist Paul Lewis. She performs a cycle of Schubert’s solo works at London’s Wigmore Hall, which follows a recent series at Queen Elizabeth Hall, which was recorded and released under the title Schubert Live for Avie. She also celebrates the Britten centenary year by performing two of his song cycles. As a supporter of new music, Ms. Cooper has premiered two works at the Cheltenham International Festival: Traced Overhead by Thomas Adès in 1996 and Decorated Skin by Deirdre Gribbin in 2003. In 1996 Ms. Cooper also collaborated with members of the Berlin Philharmonic in the premiere of the quintet Voices for Angels, written by the ensemble’s viola player Brett Dean. As a lieder recitalist, Ms. Cooper has had a long collaboration with baritone Wolfgang Holzmair in both the concert hall and recording studio. She also performs and records frequently with cellist Sonia Wieder-Atherton. Mr. Holzmair and Ms. Wieder-Atherton both feature in the box set Imogen Cooper and Friends, a Philips recording encompassing solo and chamber works, and lieder. Ms. Cooper has also recorded Mozart concertos with the Northern Sinfonia for Avie and a solo recital at Wigmore Hall for Wigmore Live. She is the 2012-13 Humanitas Visiting Professor in Classical Music and Music Education at the University of Oxford. 28 Framing the Program

The all-Mozart program today reveals both ingratiating Parallel Events and challenging sides of the composer’s musical 1773 Music personality. His formidable father, Leopold, himself a Mozart Haydn prominent musician, worried that Mozart did not cater Symphony Piano Sonata enough to popular taste, that he liked too much to show No. 25 No. 24 off and to provoke. In an Age of Enlightenment dedicated Literature to “the pursuit of happiness,” most music was meant to be Kenrick pleasingly diverting. The charming Serenade in G major, The Duellist Eine kleine Nachtmusik (A Little Night Music), does just Art that and has remained an audience favorite. Reynolds Joseph Banks But Mozart also pursued more unusual and demanding History paths. All of his piano concertos are in major keys, except Boston Tea for the D minor (K. 466) and C minor (K. 491), which tend Party to go deeper into unfamiliar territory and are more likely to approach the drama we associate with his operas. The 1786 Music Concerto No. 24 in C minor contains some of Mozart’s Mozart Dittersdorf Piano Concerto Doctor und darkest moments, foreshadowing the introverted fury of No. 24 Apotheker his late music, such as found in The Magic Flute and the Literature Requiem. Bourgoyne Among Mozart’s some four dozen symphonies there are The Heiress also only two in minor keys—both in G minor—numbers 25 Art and 40. The former became the first to achieve a secure Goya place in the symphonic repertoire (it was memorably The Seasons History enlisted in the film Amadeus) and it remains one of his Shays Rebellion most intense orchestral utterances. in MA In the concert today The Philadelphia Orchestra comes together as an ensemble to mold a musical interpretation 1787 Music all its own, without a conductor. Concertmaster David Kim Mozart Devienne leads from the first chair, as was done in Mozart’s time. Eine kleine Flute Concerto For the C-minor Concerto, Imogen Cooper leads from the Nachtmusik No. 7 Literature keyboard as Mozart did at so many of his own concerts. Goethe Iphigenie auf Tauris Art David The Death of Socrates History U.S. Constitution signed 29 The Music Eine kleine Nachtmusik, Serenade in G major

Of the many instrumental genres prevalent during Mozart’s lifetime, the serenade or “divertimento” is the category most closely associated with the servile role that most composers played in the European palaces under the old feudal aristocracy. After working arduously from dawn to late afternoon—composing, copying, teaching, rehearsing, and writing lengthy official letters in meticulous bureaucratic prose—a court composer was then required to put on a nightly concert for the after- dinner leisure of his underworked noble employer. Wolfgang Amadè Mozart Born in Salzburg, Such an evening program might include symphonies, January 27, 1756 concertos, and vocal works; but more than likely it would Died in Vienna, include one of the numerous types of “background” music December 5, 1791 that broadly fall under the rubric of divertimento—literally, music for diversion. Titles of these works ranged widely, and during the 18th century the varying designations were often mixed freely: serenade, cassation, notturno, partita, feldparthie, tafelmusik, finalmusik. The names probably had some basis of differentiation among them, at least for 18th-century audiences. The notturno, for example, was often performed at about 11 PM, in contrast to the serenade, which tended to begin around 9 PM. Moreover, in the late 18th century the serenade still carried traces of its ancient association with a musical performance outside a young woman’s window. The Work’s Genesis and Title The precise circumstances surrounding the composition of the Serenade in G major are unclear. We do know that it was composed in 1787, when Mozart was thoroughly occupied with the second act of Don Giovanni. (“Completed in Vienna, August 10, 1787,” he wrote on the title page.) It was uncharacteristic of Mozart to interrupt work on an important commission, particularly an opera, in order to compose an instrumental work for his own pleasure; more than likely the serenade was produced for a sum of money, at the request of some member of the nobility. The subtitle of the Serenade in G, K. 525, stems from Mozart himself: “eine kleine Nacht-Musik …” he wrote when he entered the piece into the handwritten catalogue of his works—doubtless indicating that he thought of the 30

Eine kleine Nachtmusik was work as a notturno. His phrase “little night music” (better composed in 1787. translated “short notturno”) was simple shorthand, and Fritz Scheel conducted The was never intended to serve as the piece’s title. In any Philadelphia Orchestra’s first case, it was ever after referred to as a serenade, rather performance of the G-major than a notturno. Serenade, in January 1906. Mozart’s inscription in his catalogue continued: “ … Eugene Ormandy took the comprising an Allegro, Minuet and Trio, Romance, Minuet piece on the Orchestra’s United States tours during the and Trio, and Finale.” Such “extra” dance movements—in 1940s and early 1950s, but this case, a second minuet—distinguished the serenade since that time it has been or divertimento from other chamber and symphonic played only occasionally. The genres. At some point the first minuet movement from K. most recent performances of 525 disappeared, however, and it has never been found. the work on subscription were Possibly Mozart himself removed it, to make the work under Christoph Eschenbach’s suitable for “serious” occasions; the result is a light piece direction, in January 1993. that strongly resembles a symphony. The Orchestra recorded Eine A Closer Look During the 18th century serenades were kleine Nachtmusik in 1959 performed by small orchestras, often with two players or with Ormandy for the CBS perhaps two stands for each upper part, and at times with label. only one double bass. Flexibility was the rule, however: The work is scored for two Eine kleine Nachtmusik might just as well have been violins, viola, cello, and double played one-on-a-part as with a large, full orchestra. The bass. size of the group depended on the forces available at the Performance time is time, and often on the patron’s demands as well. There approximately 16 minutes. was no universal 18th-century performing ensemble; each court and each region forged its own customs. The expansive opening theme of the Allegro suggests a larger group than a quintet, and charms the listener with Mozart’s coy, almost manipulative sense of symmetry. The suaveness spills over into the Romance, where a hesitant, sigh-filled melody is varied three times. The brevity of the Menuetto again reminds the listener that this is a serenade, in which dance movements are frequently shorter and more numerous. The work closes with a Rondo in Allegro tempo, which is an abridged sonata form full of Mozartean verve and dash. —Paul J. Horsley 31 The Music Piano Concerto No. 24

It is not difficult to see why the 19th century favored “minor-key” Mozart. Works such as the G-minor Symphony, K. 440, the Piano Concerto in D minor, K. 466, or the Don Giovanni Overture possessed the drama and pathos that the Romantic period craved, and these compositions helped engender the view of Mozart as precursor to the histrionics of Beethoven, Schumann, and Wagner. Today we see Mozart from broader perspectives, not just as proto-Romantic but as Italianate melodist and as slightly out-of-step Classicist. Investigations into Wolfgang Amadè Mozart late-Baroque opera have uncovered sources for his incomparable bel canto, and studies of J.C. Bach have revealed the extent to which he drew upon the music of this youngest of Sebastian’s sons toward developing a mature concerto style. Still, even as these studies have increased our estimation of the major-key concertos, fascination with such works as the C-minor Piano Concerto remains strong. A Rare Struggle for Mozart The C-minor Concerto was one of the trio written in early 1786 for Lenten concerts presented at Vienna’s Burgtheater. Since Mozart dated the manuscript of K. 491 as having been completed on March 24, 1786, scholars have reasonably presumed that the work formed a part of the benefit concert Mozart gave there on April 7. But as no program for that concert survives, uncertainty remains; in any case the Concerto was not published until after Mozart’s death, in 1800. The 12 concertos that Mozart completed from 1782 to 1786 constitute his most important instrumental music, “symphonic in the highest sense,” in the words of musicologist Alfred Einstein. No fewer than six of these were written in 1785 and 1786, and they are among Mozart’s best-known works: K. 466, 467, 482, 488, 491, and 503. Each of these is unique; each creates its own individual ethic. The C-minor Concerto contains some of the composer’s darkest moments, and is filled with chilling intimations of the introverted fury of Mozart’s last music, such as that of The Magic Flute and the Requiem. The C-minor Concerto apparently caused Mozart some difficulty, as indicated by the alternative versions he 32

Mozart composed the C-minor provided in the third variation of the finale. Here the Piano Concerto in 1786. composer seems to have struggled—right in the pages of Fannie Bloomfield Zeisler the autograph manuscript itself, atypically for him—to find was the soloist in the first a “right” solution. The soloist is left to make the choice for Philadelphia Orchestra him- or herself, and is furthermore called upon to fill out performances of the Concerto, some of the implied rapid passagework that Mozart has in February 1915; Leopold left in a sort of skeletal shorthand of widely separated Stokowski was the conductor. long notes. And finally, Mozart has left no written-out The most recent subscription cadenzas or Eingänge (lead ins) for the Concerto. Ms. performances were in April Cooper plays cadenzas by the pianist Alfred Brendel in 2009, with André Previn as these performances. conductor and soloist. A Closer Look The Concerto’s first movement (Allegro) Mozart scored the work for an opens with a principal subject of marvelous interest orchestra of flute, two oboes, and potential. The listener can hardly help thinking that two clarinets, two bassoons, two horns, two trumpets, Beethoven had this theme in his ear when he wrote his timpani, and strings, in addition Third Concerto in C minor—a piece that bears more than to the solo piano. passing resemblance, in fact, to Mozart’s Concerto. But Mozart’s first subject is more elusive and unpredictable The Concerto lasts than Beethoven’s, and it keeps us in suspense for a approximately 30 minutes in full 12 bars of motivic prolongation before arriving at a performance. splashy tutti reiteration. The piano enters, typically, with a theme all its own, and quickly launches into one of the most turbulent, unsettled movements in Mozart’s oeuvre. Momentary and welcome respite is provided by the uncomplicated Larghetto (the tempo marking is not the composer’s), a free interplay of spontaneous pianism and sympathetic instrumental underpinning. The Allegretto brings us back to the restless world of C minor (again, the tempo indication has been added in a later hand)—a set of somber variations on a square and halting theme. There is no deus ex machina here, no felicitous final turn to the major mode, as in the finale of the D-minor Concerto, K. 466. All is mood here, wonder and mystery. But if the storm clouds are never fully dispersed, the absolute consistency of affect remains perfect throughout—a virtue that provides its own gloomy sense of satisfaction. —Paul J. Horsley 33 The Music Symphony No. 25

Mozart did not number his symphonies. If he had been asked after composing his last how many he had written to that point, his answer probably would have been pretty far off the mark. Indeed the quantity and chronology remains confusing to this day, even after more than two centuries of trying to get things straight. The first complete publication of Mozart’s symphonies, issued by the Leipzig firm of Breitkopf & Härtel in the 19th century, included 41. But some of them were not in fact by Mozart (No. 37, except for a short introductory passage, Wolfgang Amadè Mozart was actually written by Michael Haydn, younger brother of Joseph), still others have surfaced since, and more than a dozen should probably also be included but were not because they adapted earlier Mozart works (usually overtures). And so, by some accounts, Mozart wrote more than 50 symphonies, beginning at the age of eight and culminating with the miraculous final trio from the summer of 1788. Truth be told, we rarely hear the first two dozen or so symphonies, those Mozart wrote before the age of 17. His First Symphony, K. 16, sometimes appears on concerts, but mainly as a curiosity, to display what Mozart could do before most of us can do much of anything. The mania for discographic completeness has led record companies to release all of Mozart’s music, but the late symphonies deservedly get most of the attention. In its more than 100 years of existence The Philadelphia Orchestra has performed only three of the symphonies Mozart wrote before No. 25. The Drama of Storm and Stress Today we hear the earliest symphony of Mozart’s that regularly appears in performance and on recordings: the “Little” Symphony in G minor, K. 183 (the tag distinguishes it from his well- known Symphony No. 40 in the same key, K. 550). This work has been particularly popular since the mid-1980s when the movie Amadeus prominently featured the opening movement. Mozart completed the Symphony in Salzburg on October 5, 1773, not long after returning from more than two months in Vienna, where he had gotten to know Haydn’s most recent symphonies. This was the height of Haydn’s 34

Mozart composed his “little” so-called Sturm und Drang (Storm and Stress) period, G-minor Symphony in 1773. when he wrote many works in minor keys. Musicologist The first Philadelphia Orchestra H.C. Robbins Landon has noted the specific similarity performances of Mozart’s between the Mozart Symphony we hear today and Symphony No. 25 weren’t Haydn’s Symphony No. 39, another G-minor work that until November 1976, with features four horns. The additional horns give the work Riccardo Muti conducting. a distinctive coloring. As musicologist Neal Zaslaw The most recent subscription observes, “The special sound of the Symphony’s outer performances were in January movements is partly the result of four horns in place of 2003, with Bobby McFerrin. the usual two, which not only impart a certain solidity to Mozart scored the work for the work’s texture, but, as the two pairs of horns are in two oboes, two bassoons, four different keys (G and B-flat), gave Mozart a wider palette horns, and strings. of pitches to exploit.” The Symphony runs Another influence is apparent in the Symphony, similarly approximately 20 minutes in connected with the young composer’s travels. Earlier in performance. 1773, Mozart returned from his third and final sojourn in Italy. In Milan he had enjoyed a successful run of his Lucio Silla, and something of the drama of that serious opera permeates the Symphony. In the end, the 17-year-old Mozart brilliantly combined his own distinctive dramatic flair with some of Haydn’s innovations to produce his first really significant symphony. A Closer Look Mozart infrequently wrote in minor keys in his important instrumental works; there are only two piano concertos, two string quartets, and two symphonies out of a combined total of nearly a hundred pieces in the three genres. Both symphonies are in G minor, this “little” one and the great late one, and it was a tonality that elicited some of his most profound music. Intensity and urgency are two words that come to mind when confronting the opening: a loud oboe theme against syncopated octaves in the strings. Both the first (Allegro con brio) and last movements have two large-scale repeats, followed by brief codas. The Andante in E-flat major offers some relief from the serious drama of the other movements and is also in sonata form. The Menuetto, like the outer two movements, begins with a bare theme stated in octaves, here by the full orchestra—if this is a dance it is hardly a polite aristocratic one. A calmer gentility comes in the middle section, a trio in the major that uses only wind and Program notes © 2013. All brass instruments. The finalAllegro explores some of the rights reserved. Program notes may not be reprinted without same musical devices as the first movement, particularly written permission from syncopation, that lends not only unity to the whole work, but The Philadelphia Orchestra also helps to sustain the dramatic intensity to the very end. Association. —Christopher H. Gibbs 35 Musical Terms

GENERAL TERMS Romance: Originally last sometimes followed Cadence: The conclusion a ballad, or popular tale by a coda. The exposition to a phrase, movement, in verse; now a title for is the introduction of or piece based on a epico-lyrical songs or of the musical ideas, which recognizable melodic short instrumental pieces are then “developed.” In formula, harmonic of sentimental or romantic the recapitulation, the progression, or dissonance nature, and without special exposition is repeated with resolution form modifications. Cadenza: A passage or Rondo: A form frequently Sturm und Drang: section in a style of brilliant used in symphonies and Literally, storm and stress. improvisation, usually concertos for the final A movement throughout inserted near the end of a movement. It consists the arts that reached its movement or composition of a main section that highpoint in the 1770s, Coda: A concluding alternates with a variety of whose aims were to section or passage added contrasting sections (A-B- frighten, stun, or overcome in order to confirm the A-C-A etc.). with emotion. impression of finality Scherzo: Literally “a Suite: A set or series Da capo: Repeated from joke.” Usually the third of pieces in various the beginning movement of symphonies dance-forms. The modern Dissonance: A and quartets that was orchestral suite is more like combination of two or more introduced by Beethoven a divertimento. tones requiring resolution to replace the minuet. The Syncopation: A shift of Divertimento: A piece scherzo is followed by a rhythmic emphasis off the of entertaining music gentler section called a trio, beat in several movements, after which the scherzo is Tonality: The orientation often scored for a mixed repeated. Its characteristics of melodies and harmonies ensemble and having no are a rapid tempo in triple towards a specific pitch or fixed form time, vigorous rhythm, and pitches K.: Abbreviation for Köchel, humorous contrasts. Trio: See scherzo the chronological list of all Serenade: An Tutti: All; full orchestra the works of Mozart made instrumental composition by Ludwig von Köchel written for a small THE SPEED OF MUSIC Minuet: A dance in triple ensemble and having (Tempo) time commonly used up to characteristics of the suite Allegretto: A tempo the beginning of the 19th and the sonata between walking speed century as the lightest Sonata form: The form in and fast movement of a symphony which the first movements Allegro: Bright, fast Octave: The interval (and sometimes others) Andante: Walking speed between any two notes of symphonies are usually Con brio: Vigorously, with that are seven diatonic cast. The sections are fire (non-chromatic) scale exposition, development, Larghetto: A slow tempo degrees apart and recapitulation, the 36 Orchestra Headlines

Philadelphia Orchestra Chamber Music Concert Tickets are now on sale for the third concert in The Philadelphia Orchestra’s 28th Season Chamber Music Series on Sunday, January 13, at 3:00 PM in Perelman Theater at the Kimmel Center. Tickets range from $19.00-$28.00. For more information, call Ticket Philadelphia at 215.893.1999 or visit www.philorch.org. Mozart Fantasia in C minor, K. 396, for solo piano Mozart Quintet in E-flat major, K. 452, for piano and winds Mozart String Quintet No. 5 in D major, K. 593 Samuel Caviezel Clarinet Imogen Cooper Piano (Guest) Renard Edwards Viola Mark Gigliotti Bassoon Jennifer Montone Horn Hai-Ye Ni Cello David Nicastro Violin Amy Oshiro-Morales Violin Anna Marie Ahn Petersen Viola Peter Smith Oboe Annual Martin Luther King Jr. Tribute Concert The Philadelphia Orchestra’s 23rd annual Martin Luther King Jr. Tribute Concert takes place on Monday, January 21, at 4:00 PM at Martin Luther King High School, 6100 Stenton Ave. Yannick Nézet-Séguin leads the Orchestra along with speaker Charlotte Blake Alston, guest conductor Jeri Lynne Johnson, and the Philadelphia All City Choir in a program that pays tribute to Dr. King’s religious beliefs, his vision of a society free of prejudice and racial divisions, and his belief in the power of music to effect change. The event is free but tickets are required. For more information please visit www.philorch.org/mlk. New Barbara Govatos Recording A new boxed set recording of the complete Beethoven Sonatas for Violin and Piano by Orchestra violinist Barbara Govatos and pianist Marcantonio Barone was recently released on Bridge Records. The set is available through Bridge Records or Amazon. This past November the duo received the Classical Recording Foundation’s Samuel Sanders Award for Collaborative Artists in recognition of the new recording. 37 January The Philadelphia Orchestra Jessica Griffin

Tickets are disappearing fast for these amazing concerts! Order your tickets today.

Ravel and Shostakovich January 16 & 19 8 PM January 18 2 PM Yannick Nézet-Séguin Conductor Leonidas Kavakos Violin Ravel La Valse Szymanowski Violin Concerto No. 2 Shostakovich Symphony No. 5

Yannick and Bruckner January 24 8 PM January 25 2 PM Yannick Nézet-Séguin Conductor Wagner Siegfried Idyll Bruckner Symphony No. 7

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