23 Season 2017-2018

Thursday, October 5, The Philadelphia Orchestra at 7:00

Opening Night Gala

Yannick Nézet-Séguin Conductor Harmony Zhu Piano Emanuel Ax Piano

Bernstein Symphonic Suite from On the Waterfront

Beethoven from Piano Concerto No. 1 in C major, Op. 15: I. Allegro con brio

Brahms Hungarian Dance No. 1 in G minor and No. 5 in G minor, for piano four-hands

Bernstein/ Symphonic Dances from West Side Story arr. Ramin & Kostal

This program runs approximately 1 hour, 30 minutes, and will be performed without an intermission.

We thank the musicians of The Philadelphia Orchestra, Music Director Yannick Nézet-Séguin, and Emanuel Ax who are graciously donating their services in support of this event and The Philadelphia Orchestra.

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

25 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage. The Orchestra Center, Penn’s Landing, Concerts, School Concerts, is inspiring the future and and other cultural, civic, and residency work in transforming its rich tradition and learning venues. The Philadelphia and abroad. of achievement, sustaining Orchestra maintains a strong Through concerts, tours, the highest level of artistic commitment to collaborations residencies, presentations, quality, but also challenging— with cultural and community and recordings, The and exceeding—that level, organizations on a regional Philadelphia Orchestra is by creating powerful musical and national level, all of which a global ambassador for experiences for audiences at create greater access and Philadelphia and for the home and around the world. engagement with classical US. Having been the first Music Director Yannick music as an art form. American orchestra to Nézet-Séguin’s connection The Philadelphia Orchestra perform in China, in 1973 to the Orchestra’s musicians serves as a catalyst for at the request of President has been praised by cultural activity across Nixon, the ensemble today both concertgoers and Philadelphia’s many boasts a new partnership with critics since his inaugural communities, building an Beijing’s National Centre for season in 2012. Under his offstage presence as strong the Performing Arts and the leadership the Orchestra as its onstage one. With Shanghai Oriental Art Centre, returned to recording, with Nézet-Séguin, a dedicated and in 2017 will be the first- two celebrated CDs on body of musicians, and one ever Western orchestra to the prestigious Deutsche of the nation’s richest arts appear in Mongolia. The Grammophon label, ecosystems, the Orchestra Orchestra annually performs continuing its history of has launched its HEAR at Carnegie Hall while also recording success. The initiative, a portfolio of enjoying summer residencies Orchestra also reaches integrated initiatives that in Saratoga Springs, NY, and thousands of listeners on the promotes Health, champions Vail, CO. For more information radio with weekly Sunday music Education, eliminates on The Philadelphia afternoon broadcasts on barriers to Accessing the Orchestra, please visit WRTI-FM. orchestra, and maximizes 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 the third music director of the Metropolitan Opera beginning with the 2021-22 season, and from 2017-18 is music director designate. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He is in his 10th and final season as music director of the Rotterdam Philharmonic, and he has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. In summer 2017 he became an honorary member of the Chamber Orchestra of Europe. 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 and Deutsche Grammophon (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, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are a 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 philorch.org/conductor.

09.17 Bio.indd 4 8/29/17 1:47 PM 26 Soloist

Harmony Zhu is a prodigy with multiple talents. She is making her Philadelphia Orchestra debut tonight as a winner of the Chidlren’s Division of the Orchestra’s Albert M. Greenfield Student Competition. She has been featured on CBC News, NPR’s From the Top, as well as NBC’s The Ellen DeGeneres Show three times for her exceptional gifts in composing, piano, and chess. She has won numerous first prizes and scholarships in piano competitions and chess tournaments. She has performed extensively in Europe, Asia, and North America in such prestigious venues as Lincoln Center, Carnegie Hall, Jordan Hall, Harris Hall, and Koerner Hall. Recently she was invited by the Peoria Symphony to be the RAW (Resident Artist of the Week), where she performed Beethoven’s First Concerto. In 2015 Ms. Zhu won the Grand Prize at the VI Chopin International Competition in Connecticut. She was the youngest winner in its history and earned the highest mark ever, including four perfect scores. That same year she appeared in three concerts at the International Chopin Festival in Poland, the youngest pianist ever to perform there. She has been invited to play at Carnegie Hall three times, including to open the International Festival “Passion of Music 2015.” This season she performs with the Israel Philharmonic and the Detroit Symphony. At age eight Ms. Zhu began studying at the Juilliard Pre- College program under the tutelage of Yoheved Kaplinsky, chair of Juilliard’s Piano Department. She won the Juilliard Pre-College Concerto Competition during her first year of study there, the youngest winner in the history of the Competition, and gave her winning performance at Lincoln Center. Later in the same year, she also became the youngest-ever pianist to give a solo recital at Juilliard. She is also studying composition with Ira Taxin at Juilliard. Ms. Zhu’s talents extend well beyond music. As a chess prodigy she has won numerous trophies and medals in national and international tournaments. She became the world champion of her age group after winning the World Youth Chess Championships held in the United Arab Emirates in 2013. She is also the North American Chess Champion of her age group and was awarded the title of Woman Candidate Master at the age of seven. 27 Soloist

Lisa-Marie Mazzucco Born in Poland, pianist Emanuel Ax moved to Canada with his family when he was a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America; he subsequently won the Young Concert Artists Award and also attended Columbia University, where he majored in French. Mr. Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. He won the Michaels Award of Young Concert Artists in 1975, the same year he made his Philadelphia Orchestra debut. Four years later he was awarded the coveted Avery Fisher Prize. In addition to his performances with The Philadelphia Orchestra, highlights of Mr. Ax’s 2017-18 season include returns to the Cleveland Orchestra, the New York Philharmonic, and the San Francisco, Boston, Houston, Ottawa, Toronto, Indianapolis, and Pittsburgh symphonies. In partnership with frequent collaborator David Robertson, he performs six Mozart concertos over two weeks with the St. Louis Symphony, repeating the project with the Sydney Symphony in February. He concludes the season by returning to Carnegie Hall for a recital. In Europe he can be heard in Stockholm, Vienna, Paris, London, and on tour with the Budapest Festival Orchestra. Mr. Ax will also tour across the U.S. with violinist Leonidas Kavakos and cellist Yo-Yo Ma in support of the release of their new disc of Brahms trios for Sony Classical. Mr. Ax is a Grammy-winning recording artist exclusive to Sony Classical since 1987. His recent releases include Mendelssohn Trios with Mr. Ma and violinist Itzhak Perlman; Strauss’s Enoch Arden narrated by Patrick Stewart; and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. In 2015 Deutsche Grammophon released a duo recording of Mr. Ax and Mr. Perlman performing sonatas by Fauré and Strauss, which the two artists presented on tour during the 2015-16 season. Mr. Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates from Yale and Columbia universities. He resides in New York City with his wife, pianist Yoko Nozaki. They have two children, Joseph and Sarah. For more information please visit www.emanuelax.com. 28 Framing the Program

The Philadelphia Orchestra’s 118th season takes flight Parallel Events with “Three Bs.” The term was coined in the late 19th 1795 Music century referring to Bach, Beethoven, and Brahms, as the Beethoven Haydn last of the three was welcomed to the ranks of the great. Piano Concerto Symphony Tonight’s celebratory program updates the lineage with No. 1 No. 103 Leonard Bernstein, whose 100th birthday is internationally Literature celebrated this season. Goethe Wilhelm Meisters Beginning with illustrious student days at the Curtis Lehrjahre Institute of Music, Bernstein was connected in numerous Art ways to Philadelphia and to The Philadelphia Orchestra. Blake The program opens with the symphonic suite from his only Nebuchadnezzar film score, Elia Kazan’s Academy Award-winningOn the History Waterfront. It concludes with the Symphonic Dances from White Terror in Bernstein’s beloved musical West Side Story, the famous Paris story of star-crossed lovers, a retelling of Romeo and Juliet for the 20th century. 1869 Music Brahms Tchaikovsky Beethoven and Brahms come in between. Eleven-year- Hungarian Romeo and Juliet old Harmony Zhu, winner of the Children’s Division of the Dances Literature Orchestra’s Albert M. Greenfield Student Competition (published) Twain in 2016, performs the sparkling first movement of Innocents Beethoven’s Piano Concerto No. 1. She is then joined by Abroad Philadelphia favorite Emanuel Ax to play two of Brahms’s Art Hungarian Dances. During Brahms’s lifetime, these Manet were pieces that won the composer his greatest popular The Balcony success. Although best known today in their orchestral History guise, he originally composed them for piano four-hands, Opening of Suez as we hear this evening. Canal

1957 Music Bernstein Shostakovich West Side Story Symphony No. 11 Literature Fleming From Russia, with Love Art Noguchi Endless Coupling History USSR launches Sputnik 2 29 The Music Symphonic Suite from On the Waterfront

Leonard Bernstein’s score for Elia Kazan’s 1954 filmOn the Waterfront shook up many of our contemporary notions of cinematic music. Critic Hans Keller, writing at the time of the film’s premiere, called Bernstein’s work “about the best film score that has come out of America.” More than a half century later, it still is. Bernstein’s biographer, Humphrey Burton, sees it as “a twentieth-century equivalent of Tchaikovsky’s fantasy overture Romeo and Juliet, with the film’s principal characters, Terry and Edie, as the star- crossed lovers.” Leonard Bernstein Born in Lawrence, Music for a Classic Film Based on Budd Schulberg’s Massachusetts, August 25, harsh story of the labor unions among New York City’s 1918 dock workers, On the Waterfront has long been considered Died in New York City, a classic American film. It now seems clear, too, that October 14, 1990 Bernstein’s music played no small role in the impact that the film had when it was released. Starring Marlon Brando, Eva Marie Saint, Karl Malden, and Lee J. Cobb, the film won eight Oscars, including Best Picture, Director, and Actor. Ironically, the score was passed over by the Academy in favor of Dmitri Tiomkin’s admittedly decent (but largely forgotten) music for The High and the Mighty. Bernstein worked on the music for On the Waterfront during the late winter and spring of 1954, at first intimidated by this terra incognita. It was only when he began to see the rough footage that the whole project fell into place for him. “I heard music as I watched: that was enough,” the composer said. “And the atmosphere of talent that this film gave off was exactly the atmosphere in which I love to work and collaborate. … Day after day I sat at a movieola, running the print back and forth, measuring in feet the sequences I had chosen for the music, converting feet into seconds by mathematical formulas, making homemade cue sheets.” Nevertheless he found film scoring a frustrating exercise, “a musically unsatisfactory experience for a composer to write a score whose chief musical merit ought to be its unobtrusiveness.” If this old-school type of scoring has sometimes been replaced in recent years by progressive approaches (in which some directors have tried to make music a conspicuous part of the action), it was still very 30

The score to On the Waterfront much a part of “film culture” in 1950s Hollywood. But was composed in 1954 and the Bernstein produced a marvelous score anyway, rich in Suite was compiled in 1955. short, potently concentrated passages that together added David Zinman was on up to about 35 minutes of music. In the summer of 1955 the podium for the first he turned this into a symphonic tone poem, taking these performances of the Suite by fragments and weaving them into a fabric with a coherence The Philadelphia Orchestra, in and logic all its own. The composer wrote of the musical November 1998. The only other materials going through “metamorphoses, following as appearances on Orchestra much as possible the chronological flow of the film score.” subscription concerts were Thus it is helpful but not necessary to be familiar with the in March 2012, with James film in order to enjoy the beauty and design of the Suite. Gaffigan conducting. The piece was premiered at Tanglewood on August 11, The Symphonic Suite is scored under the composer’s baton. for piccolo, two flutes, two A Closer Look The thematic coherence is built partly oboes, E-flat clarinet, two clarinets in B-flat, bass clarinet, from the gentle subject heard at the outset in the winds alto saxophone, two bassoons, and brass, an ascending minor-third taunt that is quickly contrabassoon, four horns, three supplanted by a vigorous tutti but which returns at several trumpets, three trombones, tuba, points to re-inform the structure. One hears touches of timpani, percussion (bass drum, the film’s drama, its romance, its fraternal love-hate, and its chimes, cymbals, glockenspiel, violence. Like his earlier Fancy Free, it is an unflinching and snare drum, tam-tams, triangle, yet affectionate take on the city of dreams, the “wonderful tuned drums, vibraphone, wood town” in which Bernstein made his life and his career. block, xylophone), piano, harp, and strings. —Paul J. Horsley Performance time is approximately 22 minutes. 30A The Music First Movement from Piano Concerto No. 1

While Mozart did not literally invent the piano concerto, he was the genius to bring it to prominence and first create enduring musical monuments in the genre. He served as an inspiring model for the young Beethoven, who was already being compared to him when he was just 12 years old. An important German music journal announced that the prodigy “would surely become a second Wolfgang Amadeus Mozart if he were to continue as he has begun.” At 16 Beethoven went from his native Bonn to Vienna in the hopes of studying with his idol. He is said to have Ludwig van Beethoven played for Mozart and to have earned his approving Born in Bonn, probably remark, “Keep your eyes on him; someday he will give the December 16, 1770 world something to talk about.” Died in Vienna, March 26, 1827 The Young Virtuoso Not long after his arrival, however, Beethoven was called back home to tend to his gravely ill mother and he remained in Bonn for the next five years. In 1792, with assistance from the Elector Maximilian Franz and Count Waldstein, Beethoven won the chance to return to Vienna. With Mozart now dead, Haydn would be his teacher. Waldstein informed Beethoven, “With the help of assiduous labor you shall receive Mozart’s spirit from Haydn’s hands.” After studies with Haydn and others, Beethoven began to mold his public career. As Mozart had found some two decades earlier, piano concertos offered the ideal vehicle in which to display both performing and compositional gifts, including those of improvisation in the unaccompanied cadenza sections heard near the end of certain movements. Discussions of cadenzas today are usually restricted to what a given pianist chooses to play—one by the composer, by someone else, or his or her own. But the issue of cadenzas speaks to a much larger one: that Beethoven viewed his early piano concertos as showpieces for his own use. In fact, he sometimes withheld the publication of keyboard pieces, particularly concertos, for many years so that he could retain sole rights to perform them. As Beethoven improvised cadenzas on the spot in performance, he had no reason at first to write them down, especially if there were no plans to publish the concerto 30B

Beethoven composed his anytime soon. Beethoven thus took many years before Piano Concerto No. 1 in 1795 committing cadenzas to paper and, even then, he offered and revised it from 1800 to choices: For the First Concerto he wrote three possible 1801. ones for the first movement. These cadenzas, inserted The work was first performed years afterward, offer an interesting point of comparison by The Philadelphia Orchestra with the earlier writing for the keyboard of the Concerto in December 1918, with Alfred proper. The original solo parts were composed in the Cortot and conductor Leopold 1790s for smaller-sized pianos in use at a time when, at Stokowski. The most recent least to his eventual mythic extent, Beethoven was not yet subscription performances fully BEETHOVEN. The early concerto cadenzas, dating were in November 2014, with from more than a decade later, utilize a wider keyboard André Watts as soloist and range made possible by more advanced instruments, and

Jakub Hrůša. were composed by Beethoven in his full maturity. The The First Concerto was mixtures of styles can be somewhat disconcerting, but are recorded twice by the also fascinating, as the older, wiser, and wilder Beethoven Orchestra: in 1954 and 1965, looks back on his younger self reinterpreting earlier both for the CBS label, and musical ideas. both with Rudolf Serkin and Eugene Ormandy. Really a Second Concerto As is always dutifully remarked, Beethoven’s “First” Piano Concerto is The score calls for flute, two chronologically really the second one of his famous five. oboes, two clarinets, two Yet the issue is even a bit more complicated because bassoons, two horns, two trumpets, timpani, and strings, the composer in fact wrote what we might call a Piano in addition to the solo piano. Concerto “No. 0” in E-flat, his true first concerto, at age 13 while he was still living in Bonn. Although only the The first movement of piano part survives with some instrumental cues, an Beethoven’s First Piano orchestration has been reconstructed; a few available Concerto runs approximately recordings of this curiosity give a good idea of how 17 minutes in performance. the young composer sought to emulate Mozart, his compositional and professional model. The C-major Concerto seems to date from 1795, with further revisions up until its publication in 1801. Beethoven most likely gave its first public performance at a concert in December 1795 that celebrated Haydn’s triumphant return to Vienna from his second English excursion. Although we cannot otherwise always be sure on which occasions Beethoven played the piece, or for that matter the B-flat, he seems to have preferred the C major and performed it more often, both in Vienna and on tour in Germany and Bohemia. A Closer Look The Concerto No. 1 exudes a youthful energy, beginning with the first movementAllegro con brio that opens with a polite, softly played octave leap and upward scale in the strings that becomes increasingly festive. A lyrical second theme in the strings leads to the piano’s entrance with new thematic material. —Christopher H. Gibbs 30C The Music Hungarian Dance Nos. 1 and 5, for piano four-hands

The patterns of migration that are often brought about by war, famine, or social upheaval can play a vital role in the cultural cross-fertilization with which art continually renews itself. Thousands of Hungarians fled Europe after the Austrians quashed an uprising of 1848; a great many of them set sail from or stayed and lived in Brahms’s hometown, the port city of Hamburg. It was thus that the young Brahms had his first contact around 1850 with the alla zingarese (gypsy) style. The 19th-century craze for this dashing musical style of the czárdás, the lassu, and the Johannes Brahms friss pervaded all Europe. Born in Hamburg, May 7, 1833 Brahms was especially fascinated with the music’s Died in Vienna, April 3, extremes of rubato (rhythmic “give-and-take”) and its 1897 irregular, complex meters. Through his friendship with the Hungarian violinist Eduard Hoffmann (known as Reményi), with whom he toured Europe in the early 1850s as piano accompanist, the composer not only learned the zingarese style of playing but also became acquainted with a large number of the tunes—many of which were appearing in popular published collections.

Brahms began his Ungarische Tänze (Hungarian Dances) in 1852, while still in his teens and over the next 17 years he set 21 numbers for piano four-hands. Three of these were original compositions in the style of the romany music; the rest were settings of gypsy tunes in various combinations. These dances were enormously popular and not only enjoyed brisk sales but also inspired widespread imitation; even Dvořák acknowledged his debt to them when he prepared the publication of his own Slavonic Dances, also first conceived for piano duet. Brahms himself orchestrated only three of the dances, Nos. 1, 3, and 10, in 1873.

—Paul J. Horsley

31 The Music Symphonic Dances from West Side Story (orchestrated by Sid Ramin and Irwin Kostal) Gordon Parks—Life Pictures Collection As early as 1949, Leonard Bernstein and two of his friends, choreographer Jerome Robbins and librettist Arthur Laurents, were toying with the idea of a Broadway musical that adapted Shakespeare’s Romeo and Juliet into a modern New York setting. But deciding exactly which social struggle to portray in this adaptation proved to be difficult, and the project languished for several years. When the brilliant young lyricist Steven Sondheim joined the team, the original creators hit on the idea that rival white and Hispanic street gangs on the Upper West Side of New Leonard Bernstein York City would be the basis of the story’s conflict, and production moved ahead quickly. Excited by the project’s rapid development, the composer declared “I hear rhythms and pulses and, most of all, I can sort of feel the form.” The “rhythms and pulses” Bernstein was hearing were the sounds of Latin music—mambo, Latin jazz, and conga, for example; sounds that were gaining popularity in the late 1950s. Bernstein’s senior thesis at Harvard University, which discussed the influence of Latin music on the emerging “American style” of composition, was in some ways a preparation for his work on this new Broadway musical. And once it was determined that one of the rival gangs would be Puerto Rican, the musical qualities of the score for West Side Story fell into place. An Emphasis on Dance West Side Story opened on Broadway in the fall of 1957. It was a moderate popular success with audiences, but the critical response was mixed. Although in many ways it was a traditional Broadway musical, West Side Story included two important innovations that made it stand out: It was unusually violent and tragic (with onstage deaths at the end of both acts) and it incorporated dance into the musical to a degree never seen on the Broadway stage before. The composer himself said, “So much was conveyed in music, including an enormous reliance upon dance to tell plot—not just songs stuck in a book.” Instead of handing off the dance numbers to an assistant, Bernstein composed the dances himself. He had already written two fully-fledged ballet scores as well as 32

two successful Broadway musicals (On the Town and Wonderful Town). Not only could he handle standard song forms and dance music, he knew how to orchestrate, how to conceive larger musical structures as part of a dramatic narrative, and how to write symphonically for the stage. There are three orchestral versions of the music from West Side Story. For the original Broadway stage show, Bernstein closely supervised the orchestrations of Sid Ramin and Irwin Kostal, scored for a lean, 30-piece pit ensemble. In 1961 Ramin and Kostal re-orchestrated the score for the film version, using a much larger orchestra. Though Bernstein wasn’t entirely pleased with this richer orchestration, Ramin and Kostal both won a Grammy Award and an Oscar for their work on the West Side Story movie soundtrack. As they were wrapping up the orchestrations for the film version, a benefit concert was planned to honor Bernstein, who had just extended his contract as music director of the New York Philharmonic. With the popularity of West Side Story reaching a peak, and a movie version about to be released, the music simply had to be included on the program. Ramin and Kostal chose selections from the orchestral film score, and Bernstein re-ordered them into a new sequence based not on their order in the show but according to their musical relationships. As the Symphonic Dances from West Side Story, these selections were premiered on February 13, 1961, by the New York Philharmonic, with Lukas Foss conducting. A Closer Look While audiences will recognize many of the popular songs from the show in the Symphonic Dances, there are a number of famous tunes that are conspicuous by their absence, including “America,” “I Feel Pretty,” “One Hand, One Heart,” and the ever-popular “Tonight.” But Bernstein may have thought too many familiar melodies would weaken the musical structure of this single-movement symphonic work. The piece opens with a nervous and dramatic Prologue that depicts mounting tensions between the rival Jets and Sharks. This leads without a break into the fantasy dream sequence (“Somewhere”) in which the gangs peacefully co-exist in a friendly and serene world. This fantasy continues in the Coplandesque Scherzo, only to be interrupted by the music of the high school Mambo. It is at this dance that Tony and Maria meet, dancing together (Cha-Cha) and then speaking to each other for the first time (Meeting Scene). In the “Cool” fugue, the Jets try to alleviate some of the rising unease, but the agitation 33

West Side Story was spills over into the Rumble, where the respective leaders composed in 1957, and the of each gang are killed. The hymn-like Finale, which Symphonic Dances were alludes to the “Somewhere” theme, characterizes the orchestrated in 1961. story’s central ideas of tragedy and love. The Philadelphia Orchestra —Luke Howard first performed selections from West Side Story in November 1961, with Arthur Fiedler. The Symphonic Dances were first played in July 1976 at the Robin Hood Dell, led by Bernstein himself. The most recent appearance of the work on subscription concerts was in December 2014, conducted by Bramwell Tovey. The Dances are scored for three flutes (III doubling piccolo), two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, bongos, chime, conga drums, cowbell, cymbals, drum set, finger cymbals, gong, güiro, maracas, orchestra bells, police whistle, tambourine, tenor drum, timbales, triangle, vibraphone, wood block, and xylophone), harp, celesta (doubling piano), and strings. Performance time is approximately 20 minutes.

Program notes © 2017. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 34 2017 Opening Night

Movie Mogul Caroline and Sidney Kimmel

Screenwriter Central Committee for The Philadelphia Orchestra

Producers Edith R. Dixon David W. Haas Mr. and Mrs. John Imbesi Mr. Joseph Neubauer and Mrs. Jeanette Lerman-Neubauer Richard B. Worley and Leslie A. Miller

Directors Mark and Tobey Dichter Dilworth Paxson LLP Carole Haas Gravagno Bob Green/Parx Casino PECO Vivian W. Piasecki Stradley, Ronan, Stevens & Young LLP Arthur Wolk

Starring Roles Ballard Spahr LLP Jeffry Benoliel and Amy Branch Peter A. Benoliel and Willo Carey Judith Broudy Richard S. Burns & Company Sara A. Cerato Chimcles and Tikellis Alexandra Edsall and Robert Victor Marie and Joseph Field Firstrust Bank Dr. Marcy Gringlas and Mr. Joel Greenberg Kenneth Hutchins LCG, Ltd., and Gary Frank, CEO Drs. Leon and Elsa Malmud Lynn and Joe Manko John McFadden and Lisa Kabnick Hilarie and Mitchell Morgan Ralph Muller and Elizabeth Johnston Louise and Alan Reed Dr. and Mrs. Milton L. Rock 35

Jeffrey and Dianne Rotwitt Mark and Robin Rubenstein Saul Ewing LLP Jo Ann and Joseph Townsend Wawa, Inc. Lisa and Paul Yakulis Anonymous

Special Thanks Evantine Design

List complete as of print deadline 36 2017 Opening Night Gala Committees

Chairmen Sara Cerato, Volunteer Committees Mark Dichter, Board of Directors William Polk, Philadelphia Orchestra Musicians

Vice Chairman Alison Avery Lerman

President, Volunteer Committees Lisa Yakulis

Honorary Committee Stephanie Brandow Sibby Brasler Sally Bullard Sarah Miller Coulson Alice Cullen Nancy Galloway Toni Garrison Grete Greenacre Ronna Hall Priscilla Holmes Elizabeth Mahoney Lynn Manko Sandra Marshall Leslie Ann Miller Despina F. Page Alexandra Pennington Diana Regan Susie Robinson Caroline B. Rogers Dianne Rotwitt Adele Schaeffer Mollie Slattery Ann Sorgenti Sydney Stevens Roberta R. Tannenbaum

Opening Night Committee Central Committee Chestnut Hill Committee Chestnut Hill Musical Cocktails Committee Main Line Committee New Jersey Committee Rittenhouse Square Committee West Philadelphia Committee 37 2017 Opening Night The Volunteer Committees for The Philadelphia Orchestra

Governing Board Officers Lisa Yakulis, President Caroline B. Rogers, Immediate Past President Nancy M. Galloway, Vice President Sheila Leith, Vice President for Standing and Ad Hoc Committees Judith F. Glick, Vice President for Special Functions Sherrin Baky-Nessler, Treasurer Lenora Hume, Secretary

Volunteer Governing Board Standing Committees Lynn Manko, Annual Giving Chair Ramona Vosbikian, Education Elizabeth A. Crowell, Volunteer Archives

Individual Committee Chairmen Central: Marie Kenkelen Chestnut Hill: Diana Regan Main Line: Deborah Ledley Musical Cocktails: Ann D. Hozack New Jersey: Richelle Rabenou Rittenhouse Square: Frances Schwartz West Philadelphia: Alice Cullen

38A 2017 Opening Night Attendees

Hollywood Agents Martin and Cynthia Heckscher Sherrin Baky-Nessler and William Nessler Lynn and Anthony Hitschler Sandra Blumberg Lenora and Eric Hume Sibby Brasler Joe Kluger and Susan Lewis Elaine Woo Camarda Florence and Richard Maloumian Rick and Flo Celender Mr. and Mrs. Charles E. Mather III Ida Chen Marji Rosenbluth Philips Michael and Constance Cone Carol C. Sherman Sarah Miller Coulson Patricia and Thomas Vernon Toby and Bruce Eisenstein Thomas and Penelope Watkins Martin W. Field and Carole Isen F. Gordon Yasinow Mark and Rebecca Foley John and Nancy Galloway Supporting Role Judy and John Glick Susan C. Aldridge, Ph.D. Penelope Harris Ellen and Peter Bodenheimer Osagie and Losenge Imasogie Lois Boyce Rachelle and Ronald Kaiserman Stephen and Naomi Breman Neal W. Krouse Carol Melman Brown Marguerite and Gerry Lenfest Kristine Casullo Elizabeth and Edwin Mahoney Alice Cullen Sandra and David Marshall Henry C. Fader, Esq. Robert E. Mortensen Phyllis and Howard Fischer Dr. and Mrs. Joel Porter Mr. Joe Folger and Dr. Marilyn McDonald Caroline B. Rogers Nancy Gellman Mari and Peter Shaw Dr. Thelma Gosfield Lee F. Shlifer Martyn and Grete Greenacre Dr. and Mrs. Stephen Spinelli Robert Half International Randy Swartz and Judith Sills Swartz Katherine Hall Leonard and Barbara Sylk Kay and Harry Halloran Jack and Ramona Vosbikian Russell Harris, M.D. Jeff and Breanna Harvey Benefactors Marybeth Henry Charlotte H. Biddle Jeffrey and Marie Kenkelen Sandra Blumberg Drs. Toba and Lawrence Kerson Dr. Claire Boasi Bernice J. Koplin Mr. and Mrs. James Crowell Katherine Kuznetsov Richard L. Davidson Gary and Deborah Ledley Kenneth and Nancy Davis Laura and Mark Lenet Henry and Kathy Donner Dr. Roy Lerman and Alison Avery Lerman Barbara Eberline and Jerry Wind Anita Leto Katharine and Bill Eyre Robyn Leto The Franklin Institute Hon. and Mrs. Stephen Levin Toni and Bob Garrison Constance Madara 44 38C 2017 Opening Night Attendees

Supporting Role cont. Mr. and Mrs. Thomas McCarthy John and Leigh Middleton David and Maureen Miller Mrs. Philippus Miller, Jr. Cathy Moss Nancy V. Ronning Stephen M. Sader Nancy and Ned Scharff Faye Senneca and Richard Weisenberg Babette and Harvey Snyder Charles and Benita Staadecker Mr. and Mrs. Jeffrey Warzel Julie Williams Richard and Diane Woosnam

Young Friends Daniel Bedrossian James and Micaela Brandau Jacob Cohen Christina Deaver Mr. J. Andrew Greenblatt Michael Steven Higgins Vidya Plainfield Mary Wagner

Donors Sara Forster William and Nancy Giles Gary S. Glazer Janice Taylor Gordon Hannah Henderson Ellis and Margot Horwitz Laura and Shaun Lenet Herbert Lipton Harriet and Sheldon Margolis Anthony and Lynn Salvo Adele Schaeffer The Linda and Charles Schelke Charitable Trust Constance Smukler Harold and Ann Sorgenti Barclay Whitaker

List complete as of print deadline 38D Tickets & Patron Services

We want you to enjoy each and and are supported in part by your consent to such and to every concert experience you the Hirschberg-Goodfriend any use, in any and all media share with us. We would love Fund established by Juliet J. throughout the universe in to hear about your experience Goodfriend. perpetuity, of your appearance, at the Orchestra and it would Lost and Found: Please call voice, and name for any purpose be our pleasure to answer any 215.670.2321. whatsoever in connection with questions you may have. The Philadelphia Orchestra. Late Seating: Late seating Please don’t hesitate to contact breaks usually occur after the Phones and Paging Devices: us via phone at 215.893.1999, first piece on the program or at All electronic devices—including in person in the lobby, or at intermission in order to minimize cellular telephones, pagers, and [email protected]. disturbances to other audience wristwatch alarms—should be Subscriber Services: members who have already turned off while in the concert 215.893.1955, M-F, 9 AM-5 PM begun listening to the music. hall. The exception would be our If you arrive after the concert LiveNote™ performances. Please Patron Services: visit philorch.org/livenote for 215.893.1999, Daily, 9 AM-8 PM begins, you will be seated only when appropriate breaks in the more information. Web Site: For information about program allow. Ticket Philadelphia Staff The Philadelphia Orchestra and Accessible Seating: Linda Forlini, Vice President its upcoming concerts or events, Rebecca Farnham, please visit philorch.org. Accessible seating is available for every performance. Director, Patron Services Individual Tickets: Don’t Please call Patron Services at Brandon Yaconis, assume that your favorite 215.893.1999 or visit philorch. Director, Client Relations concert is sold out. Subscriber org for more information. Dan Ahearn, Jr., turn-ins and other special Box Office Manager promotions can make last- Assistive Listening: With Jayson Bucy, minute tickets available. Call us the deposit of a current ID, Program and Web Manager at 215.893.1999 and ask for hearing enhancement devices Meg Hackney, assistance. are available at no cost from the Patron Services Manager House Management Office in Gregory McCormick, Subscriptions: The Commonwealth Plaza. Hearing Philadelphia Orchestra offers a Training Manager devices are available on a first- Bridget Morgan, Accounting variety of subscription options come, first-served basis. each season. These multi- Manager concert packages feature the Large-Print Programs: Catherine Pappas, best available seats, ticket Large-print programs for Project Manager exchange privileges, discounts every subscription concert Michelle Carter Messa, on individual tickets, and many are available in the House Assistant Box Office Manager other benefits. Learn more at Management Office in Robin Lee, Staff Accountant philorch.org. Commonwealth Plaza. Please Alex Heicher, ask an usher for assistance. Program and Web Coordinator Ticket Turn-In: Subscribers Lindsay Kreig, who cannot use their tickets Fire Notice: The exit indicated by a red light nearest your seat is Business Operations Coordinator are invited to donate them Dani Rose, Patron Services and receive a tax-deductible the shortest route to the street. In the event of fire or other Supervisor and Access Services acknowledgement by calling Specialist 215.893.1999. Twenty-four-hour emergency, please do not run. Walk to that exit. Elizabeth Jackson-Murray, notice is appreciated, allowing Philadelphia Orchestra Priority other patrons the opportunity No Smoking: All public space Services Representative to purchase these tickets and in the Kimmel Center is smoke- Treasurers, Box Office: guarantee tax-deductible credit. free. Tad Dynakowski PreConcert Conversations: Cameras and Recorders: Thomas Sharkey PreConcert Conversations are The taking of photographs or James Shelley held prior to most Philadelphia the recording of Philadelphia Mike Walsh Orchestra subscription concert, Orchestra concerts is strictly beginning one hour before the prohibited. By attending this performance. Conversations are Philadelphia Orchestra concert free to ticket-holders, feature you consent to be photographed, discussions of the season’s filmed, and/or otherwise music and music-makers, recorded. Your entry constitutes