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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.
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