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Home , Alexander Siloti, Andrei Gavrilov, Haochen Zhang, Modest Altschuler, Nikolai Lugansky, Philadelphia Orchestra

25 Season 2016-2017

Thursday, April 27 The

Rachmaninoff Festival

6:30 PM The Trilogy, Part 1, written and directed by Didi Balle

“The Breakthrough” John Hutton Todd Cerveris Judith Lightfoot Clarke Natalia/Female Reporter David Beach Alfred Swan/Narrator Peter Bradbury Dr. Nikolai Dahl/

8:00 PM

Stéphane Denève Conductor Nikolai Lugansky Piano

Rachmaninoff Piano No. 4 in , Op. 40 I. Allegro vivace II. Largo III. Allegro vivace

Intermission

Rachmaninoff No. 2 in , Op. 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando

This program runs approximately 1 hour, 35 minutes.

Program continued 26

10:00 PM “Russian Salon” Postlude

Rachmaninoff Romance, from Two Pieces, for piano six-hands Nikolai Lugansky, Stéphane Denève, Haochen Zhang Piano

Rachmaninoff Etude-Tableau in C minor, Op. 33, No. 3 Nikolai Lugansky Piano

Rachmaninoff from in G minor, Op. 19: I. Lento. Allegro moderato Hai-Ye Ni Cello Marcantonio Barone Piano

Support for the Rachmaninoff Festival is provided by Tatiana Copeland. Mrs. Copeland’s mother was the niece of Sergei Rachmaninoff, and Tatiana Copeland was named after the composer’s daughter, Tatiana Sergeyevna Rachmaninoff.

Special thanks to Jacobs for providing the Steinway Spirio Reperformance used during the Rachmaninoff Festival.

Archival exhibit in Commonwealth Plaza curated by Jack McCarthy.

Casting by Stephanie Klapper C.S.A.

Phonograph generously loaned to The by Don Wilson.

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. 27 Season 2016-2017

Friday, April 28 The Philadelphia Orchestra

Rachmaninoff Festival

6:30 PM The Rachmaninoff Trilogy, Part 2, written and directed by Didi Balle

“Musician in Exile” John Hutton Sergei Rachmaninoff Todd Cerveris Eugene Ormandy Judith Lightfoot Clarke Natalia/Female Reporter David Beach Alfred Swan/Narrator Peter Bradbury Dr. Nikolai Dahl/Alexander Siloti

8:00 PM

Stéphane Denève Conductor Nikolai Lugansky Piano

Rachmaninoff Rhapsody on a Theme of Paganini, Op. 43, for piano and orchestra

Intermission

Rachmaninoff Piano Concerto No. 3 in , Op. 30 I. Allegro ma non tanto II. : Adagio— III. Finale: Alla breve

This program runs approximately 1 hour, 45 minutes.

Program continued 28

10:00 PM “Russian Salon” Postlude

Szymanowski Caprice No. 24 in A minor, from Three Paganini Caprices, Op. 40 Juliette Kang Violin Parker Kitterman Piano

Rachmaninoff Prelude in G major, Op. 32, No. 5 Prelude in G-sharp minor, Op. 32, No. 12 Nikolai Lugansky Piano

Support for the Rachmaninoff Festival is provided by Tatiana Copeland. Mrs. Copeland’s mother was the niece of Sergei Rachmaninoff, and Tatiana Copeland was named after the composer’s daughter, Tatiana Sergeyevna Rachmaninoff.

Special thanks to Jacobs Music for providing the Steinway Spirio Reperformance pianos used during the Rachmaninoff Festival.

Archival exhibit in Commonwealth Plaza curated by Jack McCarthy.

Casting by Stephanie Klapper C.S.A.

Phonograph generously loaned to The Philadelphia Orchestra by Don Wilson.

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. 29 Season 2016-2017

Saturday, April 29 The Philadelphia Orchestra

Rachmaninoff Festival

6:30 PM The Rachmaninoff Trilogy, Part 3, written and directed by Didi Balle

“A Musical Marriage in Philadelphia” John Hutton Sergei Rachmaninoff Todd Cerveris Eugene Ormandy Judith Lightfoot Clarke Natalia/Female Reporter David Beach Alfred Swan/Narrator Peter Bradbury Dr. Nikolai Dahl/Alexander Siloti

8:00 PM

Stéphane Denève Conductor Haochen Zhang Piano

Rachmaninoff Piano Concerto No. 1 in F-sharp minor, Op. 1 I. Vivace II. Andante III. Allegro vivace

Intermission

Rachmaninoff Symphonic Dances, Op. 45 I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai—Allegro vivace—Lento assai, come prima—L’istesso tempo, ma agitato—Poco meno mosso— “Alliluya”

This program runs approximately 1 hour, 45 minutes.

Program continued 30

10:00 PM “Russian Salon” Postlude

Rachmaninoff String Quartet No. 1 I. Romance: Andante espressivo II. Scherzo: Allegro Marc Rovetti Violin William Polk Violin Kerri Ryan Viola Priscilla Lee Cello

Rachmaninoff “C’était en avril” Sarah Shafer Soprano Stéphane Denève Piano

Rachmaninoff Romance in A minor, Op. Posth. Ying Fu Violin Natalie Zhu Piano

Rachmaninoff Paraphrase on Tchaikovsky’s “Lullaby,” Op. 16, No. 1 Haochen Zhang Piano

Support for the Rachmaninoff Festival is provided by Tatiana Copeland. Mrs. Copeland’s mother was the niece of Sergei Rachmaninoff, and Tatiana Copeland was named after the composer’s daughter, Tatiana Sergeyevna Rachmaninoff.

Special thanks to Jacobs Music for providing the Steinway Spirio Reperformance pianos used during the Rachmaninoff Festival.

Archival exhibit in Commonwealth Plaza curated by Jack McCarthy.

Casting by Stephanie Klapper C.S.A.

Phonograph generously loaned to The Philadelphia Orchestra by Don Wilson.

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. 31 32 From the Writer/Director

The Rachmaninoff Trilogy brings to life through music and theater the compelling story of self-exiled Sergei Rachmaninoff who, despite genius and fame, wandered the globe haunted by the loss of his beloved country and family estate (burned to the ground during the 1917 ) until finding an artistic home with the renowned Philadelphia Orchestra and its visionary music directors and Eugene Ormandy. The musical and dramatic story are set in Philadelphia using the Orchestra’s real Rachmaninoff Cycle in 1939 as the anchor story and jumping-off point for flashbacks dramatizing the stories behind seminal compositions featured in the Cycle and in the Rachmaninoff Festival. We discover the arc of Rachmaninoff’s life through the making of his music and the profound and prolific relationship between the composer and the Orchestra over three decades. The 1939 scenes take place in present time at the Academy of Music and dramatize events around the Cycle. Scenes from the past are set in , , Philadelphia, New York, , and on a transatlantic ship. —Didi Balle Didi Balle created Symphonic Plays™, a new genre for actors and . She’s received nine commissions by American orchestras to create, write, and direct. In addition to The Rachmaninoff Trilogy, for The Philadelphia Orchestra she created Shostakovich: Notes for Stalin and Elements of the Earth. and the Baltimore named her the first-ever Playwright-in- Residence with a symphony orchestra. Her symphonic plays with them include CSI: Beethoven, CSI: Mozart, Analyze this: Mahler & Freud, A Composer Fit for a King: Wagner and King Ludwig II, and Tchaikovsky: Mad but for Music. Alsop, Lincoln Center, the Barbican Center, and the Colorado and St. Louis commissioned Radio Rhapsody: A Musical Tribute to Paul Whiteman. Ms. Balle’s work as a playwright, lyricist, and librettist spans song cycles, , musical theater, and radio musicals, and live broadcasts of her work have appeared on stations from the BBC to NPR. Her awards include a Rockefeller Foundation Bellagio Fellowship and the Oscar Hammerstein scholarship at NYU’s Tisch School of the Arts Graduate Musical Theater Program. She is at work on her first historical musical novel:Beethoven Betrayed. 32A 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 , 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 ’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 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 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 music director of the beginning with the 2021-22 season. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of the Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fifth season include an exploration of American Sounds, with works by , Christopher Rouse, Mason Bates, and Christopher Theofanidis; a Music of Paris Festival; and the continuation of a focus on opera and sacred vocal works, with Bartók’s Bluebeard’s Castle and Mozart’s C-minor .

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. 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 Nézet-Séguin and (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, , composition, and at Montreal’s Conservatory of Music and continued his studies with renowned conductor ; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, ’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 www.philorch.org/conductor. 32B Principal Guest Conductor

Jessica Griffin As principal guest conductor of The Philadelphia Orchestra, Stéphane Denève spends multiple weeks each year with the ensemble, conducting subscription, Family, and summer concerts. His 2016-17 subscription season appearances include a Rachmaninoff Festival; performances of John Williams’s iconic score to E.T. the Extra-Terrestrial while the movie is shown in its entirety; and a tour to Florida, his second with the ensemble. Mr. Denève has led more programs than any other guest conductor since making his Philadelphia Orchestra 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 chief conductor of the Brussels Philharmonic and director of its Centre for Future Orchestral Repertoire. From 2011 to 2016 he was chief conductor of the Stuttgart Radio Symphony Orchestra and from 2005 to 2012 music director of the Royal Scottish National Orchestra. Recent engagements in Europe and Asia include appearances with the Royal Concertgebouw and Philharmonia orchestras; the Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia; the Vienna, London, Bavarian Radio, and NHK symphonies; the and Czech philharmonics; and the Orchestre National de France. In North America he made his Carnegie Hall debut in 2012 with the Symphony, with which he is a frequent guest. He appears regularly with the , the Philharmonic, and the and Toronto symphonies. He made his debut in 2015. Mr. Denève has won critical acclaim for his recordings of the works of Poulenc, Debussy, Ravel, Roussel, Franck, and Connesson. He is a double winner of the Diapason d’Or de l’Année, was shortlisted in 2012 for Gramophone’s Artist of the Year award, and won the prize for symphonic music at the 2013 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 works regularly with young people in the programs of the Tanglewood Music Center and the New World Symphony. For further information please visit www.stephanedeneve.com. 32C Soloist

Benjamin Ealovega Twenty-six-year-old Chinese Haochen Zhang made his Philadelphia Orchestra debut at the Mann Center for the Performing Arts in 2006 and makes his subscription debut with these performances. Since winning the gold medal at the International Piano Competition in 2009, he has appeared at many of the world’s leading festivals and concert series. In 2017 he received the prestigious Avery Fisher Career Grant, which recognizes the potential for a major career in music. A popular guest soloist for many orchestras in his native China, Mr. Zhang made his Munich Philharmonic debut with in April 2013, preceding their sold-out tour. He has toured in China with the Sydney Symphony and David Robertson; performed in , Beijing, and Shanghai with the NDR Hamburg and Thomas Hengelbrock; and appeared with and the Mariinsky Orchestra in Beijing. In addition to these current performances, highlights of his 2016-17 season include a new recital CD released by BIS in February, which includes works by Schumann, Brahms, Janáček, and Liszt; extensive recital and concerto tours in Asia with performances in China, Hong Kong, and Japan; return engagements with the Osaka Philharmonic and the Singapore and Pacific symphonies; recitals in San Francisco, Palma de Mallorca, Imola, and Helsingborg; and a European tour with the Hangzhou Philharmonic, with which he was resident artist last season. Mr. Zhang is an avid chamber musician, collaborating with such colleagues as the Shanghai String Quartet and violinist Benjamin Beilman. He is frequently invited by chamber music festivals in the U.S. His performances at the Cliburn Competition were released to critical acclaim by Harmonia Mundi in 2009. He is also featured in Peter Rosen’s award-winning documentary A Surprise in Texas, chronicling the 2009 Competition. His complete Competition performances are available on www.cliburn. tv. A graduate of the Curtis Institute of Music, Mr. Zhang studied under . He was previously trained at the Shanghai Conservatory of Music and the Shenzhen Arts School, where he was admitted in 2001 at the age of 11. 32D Soloist

Marco Borggreve / Naïve-Ambroisie Russian pianist Nikolai Lugansky made his Philadelphia Orchestra debut at the Saratoga Performing Arts Center in 2008 and his subscription debut in 2010. In addition to these current performances, highlights of his 2016- 17 season include a North American tour with the St. Petersburg Philharmonic and ; debuts with the Philharmonic and the Vienna Symphony; and return engagements with London’s , the Orchestre National de France, and the St. Louis and Tokyo Metropolitan symphonies. He continues his cycle of all the Prokofiev piano with the Royal Scottish National Orchestra to celebrate the 125th anniversary of the orchestra and birth of the composer. He appears in recital in Geneva and Budapest; at the Alte Oper Frankfurt, London’s Wigmore Hall, and the Théâtre des Champs-Élysées in Paris; and in the Great Halls of the Conservatory and the St. Petersburg Philharmonia. He also regularly appears at some of the world’s most distinguished festivals, including La Roque d’Anthéron, Verbier, Tanglewood, and Ravinia. His chamber music collaborators include cellists and Alexander Kniazev, and violinist . An award-winning recording artist, Mr. Lugansky records exclusively for the Naïve-Ambroisie label. His recital CD featuring Rachmaninoff’s piano won the Diapason d’Or and an award. His recording of concertos by Grieg and Prokofiev with Kent Nagano and the Deutsches Symphonie-Orchester Berlin was a Gramophone Editor’s Choice. His earlier recordings have also won a number of awards, including a Diapason d’Or, the BBC Music Magazine Award, and the ECHO Klassik prize. Recent recordings include a 2016 disc of music by Schubert, and Tchaikovsky’s Op. 37 Sonata and The Seasons, due for release this year. Mr. Lugansky is artistic director of the Rachmaninoff Festival and is also a supporter of, and regular performer at, the Rachmaninoff Estate and Museum of Ivanovka. He studied at Moscow’s Central Music School and the , where his teachers included Tatiana Kestner, Tatiana Nikolayeva, and Sergei Dorensky. He was awarded the People’s Artist of Russia in April 2013. 32E Framing the Program

As a celebrated composer, pianist, and conductor Sergei Parallel Events Rachmaninoff had deep ties to The Philadelphia Orchestra 1890 Music that began during his first American tour in 1909 and Rachmaninoff Nielsen gloriously culminated more than 30 years later with his Piano Concerto Symphony final work, the Symphonic Dances. All five of his last No. 1 No. 1 orchestral compositions premiered in Philadelphia. Literature Ibsen During the latter part of his career Rachmaninoff Hedda Gabler remarked that he wrote with the sound of The Art Philadelphia Orchestra in his head and that as a soloist Cézanne he would “rather perform with The Philadelphia Orchestra The than any other of the world.” The three concerts of this Cardplayers Rachmaninoff Festival celebrate this special affinity and History important historical relationship. Global influenza epidemics Rachmaninoff’s five works for piano and orchestra have particularly intimate connections to the Philadelphians, 1926 Music with whom he performed as soloist for the premieres of Rachmaninoff Bartók the Fourth Piano Concerto and the Variations on a Theme Piano Concerto The Miraculous of Paganini, and with whom he recorded them all. No. 4 Mandarin Literature Milne Winnie the Pooh Art Munch The Red House History Sesquicentennial Exposition in Philadelphia

1940 Music Rachmaninoff Stravinsky Symphonic Symphony in C Dances Literature Hemingway For Whom the Bell Tolls Art Kandinsky Sky Blue History Trotsky assassinated 32F The Music

Sergei Rachmaninoff pursued multiple professional careers and juggled different personal identities, often out of joint with the realities of his time and place. He was a Russian who fled his country after the 1917 Revolution and who lived in America and Europe for the rest of his life. He was a great composer who, in order to support himself and his family, spent most of his time performing, both as a conductor and as one of the towering of the 20th century. And he was a Romantic composer writing in the age of burgeoning Sergei Rachmaninoff Modernism, his music embraced by audiences but Born in Semyonovo, seemingly from a bygone world alien to the stylistic Russia, , 1873 Died in Beverly Hills, innovations of Debussy, Schoenberg, Ives, Stravinsky, and , March 28, 1943 other contemporaries. Three Professions Rachmaninoff worried at times that his triple professional profile might cancel one another out: “I have chased three hares,” he remarked. “Can I be certain that I have captured one?” (This is based on an old Russian proverb that warned against the problem of chasing two hares, hence spreading oneself too thin.) He was an unusually accomplished performer in two domains at a time when there was an ever increasing separation between performer and composer. Rachmaninoff, in the great tradition Mozart and Beethoven through Strauss and Mahler, was the principal performing advocate of his own music. And yet even when he was out of sync with time and place, Rachmaninoff pressed on with a gruelling performance schedule (sometimes 70 or more concerts in a year) and composed some of the most popular and enduring works of the first half of the 20th century. That during the latter half of his career he did most of this with The Philadelphia Orchestra makes the connections here all the more personal and poignant. The Last Romantic? Rachmaninoff acknowledged his temporal and geographical homelessness. In an interview from the late he said: I feel like a ghost in a world grown alien. I cannot cast out the old way of writing, and I cannot acquire the new. I have made intense effort to feel the musical manner of today, but it will not come to me. … I cannot cast out my musical gods in a moment and 33

bend the knee to new ones. Even with the disaster of living through what has befallen the Russia where I spent my happiest years, yet I always feel that my own music and my reactions to all music, remained spiritually the same, unendingly obedient in trying to create beauty. It was exactly the personal, expressive, and spiritual that so often gives his music its instantly recognizable sound, drawn from Russian folksong, Orthodox liturgical chant, and a quest for beauty. Two years before his death he declared: “A composer’s music should express the country of his birth, his love affairs, his religion, the books which have influenced him, the pictures he loves. It should be the product of the sum total of a composer’s experience.” Rachmaninoff’s unusual positon as a late Romantic— perhaps even the last Romantic—was shrewdly assessed by Richard Taruskin in his monumental Oxford History of Western Music: There were many, during the 1920s and 1930s, who regarded him as the greatest living composer, precisely because he was the only one who seemed capable of successfully maintaining the familiar and prestigious style of the nineteenth-century “classics” into the twentieth century. The fact that he was in fact capable of doing so, moreover, and that his style was as distinctive as any contemporary’s, could be used to refute the modernist argument that traditional styles had been exhausted. Taruskin puts his finger on the difference between a conservative composer like Rachmaninoff, who is genuinely popular with audiences, and challenging Modernist composers whose music is widely resisted, but whose stylistic innovations earn them prominent places in history books. Rachmaninoff demonstrated that it was still possible to develop an individual, instantly recognizable, and captivating compositional voice. , another composer with deep ties to The Philadelphia Orchestra, did something similar, but such figures were rare in the 20th century. Rachmaninoff in Russia Rachmaninoff was born to a well-to-do family that assiduously cultivated his prodigious musical gifts. His mother was his first piano teacher and at age nine he began studies at the St. Petersburg Conservatory, but floundered there. The family finances were declining, as was his parents’ marriage, and he transferred to the Moscow Conservatory, where 34

he thrived. He met leading Russian musicians, studied with some of them, and won the whole-hearted support of his hero, Tchaikovsky. Upon graduation in the of 1892 Rachmaninoff was awarded the Great Gold Medal, a rarely bestowed honor. His career as both pianist and composer was clearly on the rise with impressive works such as the Piano Concerto No. 1, the one-act opera (about which Tchaikovsky enthused), and pieces in a wide variety of other genres. One piano work written at age 18 received almost too much attention: the C-sharp minor Prelude, the extraordinary popularity of which meant he found himself having to perform it for the rest of his life. He seemed on track for a brilliant and charmed career, the true successor to Tchaikovsky. Then things went terribly wrong with the premiere of his Symphony No. 1 in D minor, which proved to be one of the legendary fiascos in music history and a bitter shock to Rachmaninoff just days before his 24th birthday. , an eminent composer and teacher but, according to various reports, a mediocre conductor, led the ill- fated performance in March 1897. The event plunged Rachmaninoff into deep despair: “When the indescribable torture of this performance had at last come to an end, I was a different man.” For some three years Rachmaninoff stopped composing, although he continued to perform as a pianist and began to establish a prominent new career as a conductor. He eventually found therapeutic relief and reemerged in 1901 with the Second Piano Concerto, an instant success. The following year, after surmounting religious obstacles, he married his cousin Natalia Satina, with whom he had two daughters. His first important tour abroad was to London, where he conducted the orchestral fantasy and played various small piano pieces. (He declined to perform the First Piano Concerto, which would have been the natural vehicle but he considered it a student work until he revised it later.) His conducting career flourished as principal conductor at the Bolshoi Theater in Moscow and he earned some further income teaching. But political ferment in Russia after the Bloody Sunday massacre in January 1905 prompted him to spend more time abroad and concentrate on composition, writing in particular. Beginning in late 1906 he and his family spent most of the year in , where he finished his Second 35

Symphony, another compositional triumph. This was the piece he chose to conduct for his Philadelphia Orchestra debut in 1909 and it remains a signature work for the Philadelphians to this day. During this first American tour he premiered the Third Piano Concerto in New York and by the end of his three-month stay turned down the offer to become music director of the Boston Symphony Orchestra. (He would decline again in 1918.) These years turned out to be Rachmaninoff’s most prolific as a composer. He wrote the majority of his music during summers at a pastoral estate called Ivanovka, some 300 miles south of Moscow. But this idyllic world came to an abrupt end with the Russian Revolution in 1917. He and his family left in late December, never to return. The Bolsheviks burned most of Ivanovka to the ground (it has since been reconstructed as a museum). Rachmaninoff sought to recapture his happiest Russian memories in faraway places. Life after Russia Challenged with finding ways to support his family, Rachmaninoff decided to concentrate on his keyboard career and began to make recordings as well, in 1920 signing a lucrative contract with the Victor Talking Machine Company (later RCA). His repertory, in comparison with other star pianists, was initially quite limited, and his technique needed honing in order to compete. These realities left him with far less time to compose and his productivity declined considerably. He wrote some small piano pieces and produced many dazzling arrangements that served him well as encores on his extended American and European tours and that fit easily on 78 rpm recordings, but in his last quarter century there were only six more pieces to which he assigned opus numbers. The Variations on a Theme of Corelli, Op. 42 (1931), was his final solo piano work. The five others are for, or with, orchestra, and all were premiered by The Philadelphia Orchestra. Three Russian Songs, Op. 41, scored for chorus and orchestra, and the Fourth Piano Concerto, Op. 40, premiered on the same concert in March 1927 with Leopold Stokowski conducting. The Rhapsody on a Theme of Paganini, Op. 43, followed in 1934, premiered with Stokowski in Baltimore. His final two works were for orchestra alone: the Symphony No. 3, Op. 44, premiered in 1936 with Stokowski, and the magisterial Symphonic Dances, Op. 45, in 1941 with Eugene Ormandy. In 1939, to mark the 30th anniversary of his first tour to America and his debut with the Orchestra, the Philadelphians and Ormandy presented a “Rachmaninoff Cycle” here and in New York. Rachmaninoff played his first 36

three concertos and the Paganini Rhapsody (with Ormandy on the podium), and conducted his Third Symphony (which he recorded at the time), and the earlier (1913). In addition, Ormandy led the Second Symphony and The Isle of the Dead. After the first concert the New York Times reported that when Rachmaninoff came on stage the audience stood in his honor: “Their admiration for him and their enjoyment of his music were more evident there than words can make them here. The occasion was a memorable tribute to a great artist.” The next year Rachmaninoff made his final trip to Europe and then spent his last years in America, touring to the very end. Although his music was briefly banned in the during the early 1930s, after he wrote a damning letter to the New York Times attacking the regime, he was prized in his homeland as well. A communication on the occasion of his 70th birthday from the Union of Soviet Composers, signed by Shostakovich, Prokofiev, Khachaturian, Kabalevsky, Glière, and others, offered “cordial greetings to you, renowned master of Russian musical art, glorious continuer of the great traditions of Glinka and Tchaikovsky, creator of works that are dear and close to the hearts of the Russian people and all progressive humanity.” Unfortunately, Rachmaninoff did not get the message. He died at his home in Beverly Hills just days before his birthday, the belated end of an era.

Piano Concerto No. 1 in F-sharp minor, Op. 1

Although he composed a fair amount of juvenilia, Rachmaninoff decided that his First Piano Concerto should be presented as the official Opus 1. The 17-year- old began composing the work in the summer of 1890 and premiered the first movement in March 1892 at the Moscow Conservatory, from which he graduated a few months later. He dedicated the piece to his cousin, pianist and conductor Alexander Siloti, who proceeded to perform it frequently. Although Rachmaninoff soon published the Concerto in a two-piano version, he cooled on the work and declined to play it himself. A decade later he said that he needed to take it “in hand, look it over, and then decide how much time and work will be required for its new version, and whether it’s worth doing, anyway.” By his mid-30s, Rachmaninoff was a famous composer. The enormous success of the Second Piano Concerto (1901) had helped to secure that stature and people 37

Rachmaninoff composed his were understandably curious to hear what his first effort First Piano Concerto from 1890 in the genre was like—hence the reassessment: “It is so to 1891 and revised it in 1917. terrible in its present form that I should like to work at it Rachmaninoff himself gave and, if possible, get it into decent shape.” But the Third the first Philadelphia Orchestra Concerto (1909), which proved to be yet another triumph performances of the piece, when he premiered it in New York, side-tracked him in March 1919, with Leopold again. It was not until 1917, just before Rachmaninoff left Stokowski conducting. The Russia for good, that he returned to his youthful effort. The most recent appearance on revisions involved a thinning out of the orchestration, some subscription concerts was in structural modifications, a new for the opening May 2016, when movement, and a considerable recasting of the finale. performed it with Yannick Rachmaninoff gave the first performance of the new Nézet-Séguin. version that year at Carnegie Hall with The composer returned conducting the Russian Symphony Orchestra. to Philadelphia during the late 1930s for a series of A Closer Look Yet despite the revisions, the First performances of the piece, Concerto still sounds like the Rachmaninoff whose during which he recorded it music audiences have so embraced for over a century, with Eugene Ormandy and chronologically situated, as it is, both before and after its the Orchestra for RCA. The phenomenally famous concerto siblings and the brilliant Philadelphians also recorded Second Symphony (1907). Because the original version of the Concerto for CBS in 1963, the Concerto survives, we know that the revision remains with and relatively close to what the teenage Rachmaninoff initially Ormandy. composed. Even at such a young age many fingerprints The score calls for solo piano, of his mature style are already evident, beginning with two flutes, two oboes, two the lushly expansive first theme of the first movement clarinets, two bassoons, four (Vivace) that follows a dramatic opening—a brass fanfare horns, two trumpets, three leading to massive double octaves loudly proclaimed by , timpani, percussion the piano soloist. This and other parts of the Concerto (cymbal, triangle), and strings. seem to be modeled on ’s Piano Concerto Rachmaninoff’s First Piano in A minor, which Siloti was diligently practicing while Concerto runs approximately spending the summer of 1890 at Rachmaninoff’s country 25 minutes in performance. estate. The brief second-movement Andante offers a lyrical and nocturnal interlude before the vibrant finale (Allegro vivace).

Piano Concerto No. 2 in C minor, Op. 18

The Second Concerto came at a crucial juncture in Rachmaninoff’s career, following a nearly three-year period of compositional paralysis in the wake of the legendary failure of his First Symphony in 1897. Although he stopped composing entirely, he continued to perform as a pianist, to teach, and began to establish a new career as a conductor. In the hopes of getting him back on track as a composer, friends and family put him in touch with Dr. Nikolai Dahl, who was experimenting with hypnosis 38

Rachmaninoff’s Second Piano treatments pioneered in Paris around this time by Freud’s Concerto was composed from teacher Jean-Martin Charcot. Dahl was a gifted amateur 1900 to 1901. musician who took great interest in this case. According was to various accounts (perhaps exaggerated), the two met pianist in the first Philadelphia almost daily, with the composer half asleep in the doctor’s Orchestra performance of armchair hearing the mantra: “You will begin to write the Second Concerto, on your concerto. … You will work with great facility. … The November 28, 1916, in concerto will be of excellent quality.” Cleveland; Leopold Stokowski conducted. Rachmaninoff The treatment worked—or at least complemented other performed the piece here factors that got the composer back on his creative track. in 1921 and again on other A close friendship with the phenomenal Russian occasions during the late Fyodor Chaliapin was encouraging, especially when the 1930s and early ’40s. The two were approached after a performance by writer Anton most recent subscription Chekhov, who remarked: “Mr. Rachmaninoff, nobody performances were in February knows you yet but you will be a great man one day.” 2012, with pianist Nikolai By the summer he was composing the Second Piano Lugansky and . Concerto, his first substantial work since the Symphony In addition to Rachmaninoff’s fiasco; he dedicated the work to Dahl. The second and and Stokowski’s 1929 third of its three movements were completed by the recording of the Concerto, the fall and Rachmaninoff premiered them in Moscow that Orchestra recorded the work December with his cousin Alexander Siloti conducting. He in 1956 for CBS with Eugene finished the first movement in May 1901 and performed Istomin and Eugene Ormandy; the entire Concerto in November. The work was greeted in 1971 for RCA with Arthur enthusiastically and opened the way to Rachmaninoff’s Rubinstein and Ormandy; most intensive period of compositional activity. and in 1989 for EMI with and Riccardo A Closer Look To begin the first movement Muti. The second and third (Moderato), the solo piano inexorably intones imposing movements only were also chords in a gradual crescendo, repeatedly returning recorded by Rachmaninoff and to a low F. This opening evokes the peeling of bells, a Stokowski for RCA in 1924. preoccupation of many Russian composers and one Rachmaninoff scored the work that had roots in Rachmaninoff’s childhood experiences. for an orchestra of two flutes, The passage leads to the broad first theme played by two oboes, two clarinets, two the strings. The core of the Concerto is an extended bassoons, four horns, two slow middle movement (Adagio sostenuto). The trumpets, three trombones, pianistic fireworks come to the fore in the finale (Allegro tuba, timpani, percussion (bass scherzando), which intersperses more lyrical themes— drum, cymbals, side drum), and indeed the beloved tunes from all three movements were strings, in addition to the solo later adapted into popular songs championed by Frank piano. Sinatra and others. Performance time is approximately 35 minutes. 39 Piano Concerto No. 3 in D minor, Op. 30

Rachmaninoff composed his Rachmaninoff continued to build on the compositional Piano Concerto No. 3 in 1909. successes of his Second Piano Concerto and Second Since Alfred Cortot’s Symphony during what turned out to be the most appearance in the Orchestra’s productive period of his career. Now in his mid-30s, he first performances of the was about to undertake his first tour to America in 1909. Concerto, in January 1920 In preparation, he decided to write a new concerto, again with Leopold Stokowski, amidst the calm of the family retreat in Ivanovka. a number of great pianists have performed it here, Rachmaninoff dedicated the Third Concerto to Josef including , Hofmann, the great Polish-born pianist who would later , , become the director of the Curtis Institute of Music. Van Cliburn, and André Soon after his friend’s death, Hofmann commented: Watts. Rachmaninoff himself “Rachmaninoff was made of steel and gold; steel in performed it with the Orchestra his arms, gold in his heart.” In the end, Hofmann never in February 1920 (with performed the piece, which Rachmaninoff premiered as Stokowski) and in December soloist in November 1909 with leading 1939 (with Eugene Ormandy). the New York Symphony Orchestra. After a few weeks The most recent subscription elsewhere on his three-month tour, Rachmaninoff played performances were in the piece again in New York, this time with November 2013, with Yuja conducting the New York Philharmonic. (The competing Wang and Yannick Nézet- orchestras later merged.) Séguin. A Closer Look The unforgettable opening of the Third The Orchestra has recorded Rachmaninoff’s Third Piano Piano Concerto (Allegro ma non tanto) is simplicity Concerto three times: in itself: a hauntingly beautiful played in octaves that 1939 with the composer and has a chant-like quality. Rachmaninoff stated that it was Ormandy for RCA; in 1975 “borrowed neither from folk song nor from ecclesiastical with and sources. It just ‘got written.’ … I wanted to ‘sing’ a melody Ormandy for RCA; and in on the piano the way singers sing.” Rachmaninoff 1986 with Andrei Gavrilov and composed two , both of which he played. The for EMI. short coda returns to the opening melody. Rachmaninoff’s score calls The following Intermezzo: Adagio begins with an for solo piano, two flutes, orchestral section presenting the principal melodic ideas, two oboes, two clarinets, two melancholic in tone, until the piano enters building to bassoons, four horns, two a broadly Romantic theme. There is a very brief, fast, trumpets, three trombones, scherzo-like section that leads without pause into the tuba, timpani, percussion (bass drum, cymbals, snare thrilling and technically dazzling Finale: Alla breve. drum, suspended cymbal), and The movement recycles some of the musical ideas of strings. the first one, making this one of the most unified of the composer’s concertos. The Third Concerto runs approximately 45 minutes in performance. 40

Piano Concerto No. 4 in G minor, Op. 40

The Fourth Piano Concerto As early as 1914 Rachmaninoff thought of writing a was composed from 1924 to new concerto to add to his performing repertory but 1926 and revised in 1928 and little came of the idea until the summer of 1924, when again in 1941. he began composing his Fourth Concerto in G minor, The Philadelphia Orchestra, which he finished in 1926. It was his first significant conductor Leopold Stokowski, composition since he had left Russia nearly a decade and the composer as soloist earlier. He confided to his friend , himself a gave the world premiere of distinguished composer to whom he dedicated the piece, the Piano Concerto No. 4, in that he was worried some about its length: “Perhaps it will March 1927. Rachmaninoff have to be given like Wagner’s Ring cycle, over the course and the Orchestra also of several consecutive evenings.” He also acknowledged performed the premiere of that “the orchestra is almost never silent,” which made the 1941 revised version, the work “less like a concerto for piano and more like a in October of that year, this concerto for piano and orchestra.” time with Eugene Ormandy. Most recently on subscription The Concerto is in fact not as long as either his Second the work was performed in or Third, but unlike the great successes he enjoyed with October 2015 by pianist Daniil those pieces, it was not well received when he premiered Trifonov and Yannick Nézet- it with Leopold Stokowski and The Philadelphia Orchestra Séguin on the podium. in March 1927. He soon revised the piece, rewriting the The Orchestra has recorded opening, making cuts and other changes, before its first the Fourth Concerto twice: publication in 1928; he overhauled it again in 1941, less in 1941 with Rachmaninoff than two years before his death, his final compositional and Stokowski for RCA and in project. This last version he recorded with Eugene 1961 with Philippe Entremont Ormandy that year and it is the most often performed. and Ormandy for CBS. (There are recordings available of the two earlier versions.) The Concerto is scored for A Closer Look The Concerto displays many of solo piano, piccolo, two flutes, Rachmaninoff’s distinctive musical fingerprints and two oboes, English horn, two clarinets, two bassoons, four gestures, but updated somewhat for the 1920s. There are horns, two trumpets, three fleeting influences, for example, of jazz. Rachmaninoff, trombones, tuba, timpani, along with musical luminaries, attended the legendary percussion (bass drum, February 1924 premiere of George Gershwin’s Rhapsody cymbals, side drum, tambourine, in Blue in New York with the composer playing with triangle), and strings. Paul Whiteman’s orchestra, and the experience left its mark. Unlike the subdued beginnings of his two previous Rachmaninoff’s Fourth Concerto runs approximately concertos, this one starts with a full-blown romantically 25 minutes in performance. Rachmaninoff theme (Allegro vivace). The Largo has a hint of the blues and makes use of an earlier solo piano work, the Etude-Tableau in C minor, which Rachmaninoff composed in 1911 but had held back from publication—it only appeared posthumously. The finale (Allegro vivace), which immediately follows, offers an energetic tour de force with allusions, as Rachmaninoff so often does, to the “” from the Mass for the Dead. 40A Rhapsody on a Theme of Paganini, Op. 43

The Rhapsody on a Theme Rachmaninoff composed the Rhapsody on a Theme of of Paganini was composed in Paganini in the summer of 1934 at his Swiss villa near 1934. . At the time, he described it as “not a ‘concerto,’ Sergei Rachmaninoff was and its name is ‘Symphonic Variations on a Theme of the soloist in the world Paganini,’” which he then changed to “Fantasy.” But premiere performance of ultimately it was as a Rhapsody that Leopold Stokowski the Rhapsody, with The led the Philadelphians in the world premiere (in Baltimore) Philadelphia Orchestra on November 7, 1934, with the composer as soloist. The and Leopold Stokowski forces recorded the piece on Christmas Eve. on November 7, 1934, in Baltimore. The most recent Rachmaninoff had earlier been attracted to variation subscription performances form and wrote substantial pieces based on themes were in November 2015, with by Chopin and Corelli. For the Rhapsody he chose a Simon Trpčeski as soloist simple but ingenious tune that has also seduced many and other composers: the Caprice No. 24 in A minor by conducting. Niccolò Paganini (1782-1840). The great Italian violinist, In addition to Rachmaninoff’s the first instrumental “rock star” of the , recording of this work with wrote a dazzling collection of 24 caprices for solo violin the Philadelphians in 1934 that explored everything that the instrument, and the with Stokowski for RCA, the instrumentalist, could do. In 1820 Paganini published the Orchestra has recorded the pieces, on which he had worked for nearly two decades, Rhapsody four times: in 1958 as his Op. 1. , who at age 20 was deeply with Philippe Entremont and inspired when he first witnessed Paganini perform at the Eugene Ormandy for CBS; in Paris Opera and who aspired to become the “Paganini 1970 with Van Cliburn and of the Piano,” transcribed some of them for piano, as Ormandy for RCA; in 1989 did . More surprising and impressive with Andrei Gavrilov and are ’s two sets of variations on the Riccardo Muti for EMI; and A-minor Caprice. Prominent 20th-century composers in 2015 with and Yannick Nézet-Séguin for after Rachmaninoff, including Witold Lutosławski, Alfred Deutsche Grammophon. Schnittke, and George Rochberg, took Modernist looks at the alluring theme. The score calls for an orchestra of two flutes, piccolo, two A Closer Look The original A-minor Caprice is itself a oboes, English horn, two miniature set of variations. Almost by definition variation clarinets, two bassoons, four sets begin with a statement of the principal theme in the horns, two trumpets, three simplest possible way so that listeners can grasp the basis trombones, tuba, timpani, for what follows. After a very brief introduction for the full percussion (bass drum, orchestra, Rachmaninoff begins unusually with a pointillist cymbals, orchestra bells, side variation (marked “precedente”) before the strings actually drum, snare drum, triangle), state the theme with unobtrusive piano support. The first harp, and strings, in addition to variations are dispatched at a quick pace until things slow the solo piano. down with No. 7, in which the rich piano chords introduce Performance time is another theme that plays a prominent role in what follows. approximately 25 minutes. This is the well-known plainchant “Dies irae” from the Requiem Mass for the Dead. Rachmaninoff, who alluded to or quoted the medieval melody in other compositions, 40B

associated this motto not only with death but also with the violin’s longstanding connection to the devil. (Many contemporaries commented on demonic performances by Paganini, whose name translates as “little pagan.”) Five years after writing the Rhapsody, Mikhail Fokine, the prominent Russian choreographer, used the piece for a ballet called Paganini. While in the planning stages Rachmaninoff suggested to him: “Why not resurrect the legend about Paganini, who, for perfection in his art and for a woman, sold his soul to an evil spirit?” He further remarked that “the variations which have the ‘Dies irae’ represent the evil spirit.” Over the course of the 24 variations Rachmaninoff devises many ingenious transformations of the theme, the most famous being the beautiful 18th variation, which offers a lyrical inversion (upside-down) of the tune as the emotional climax of the Rhapsody.

Symphonic Dances, Op. 45

Rachmaninoff’s last composition was the Symphonic Dances. He had been frustrated by the hostile reception given to some of his recent pieces and perhaps sensed more than ever being out of sync with his times. The exception among these later works was the Rhapsody on a Theme of Paganini, which proved an immediate success and got a further boost when the choreographer Mikhail Fokine created a wildly popular ballet called Paganini, which premiered at London’s Covent Garden in June 1939. Rachmaninoff even allowed his friend to make some changes to the score. The composer and his wife had since settled in a comfortable oceanside estate on , where Fokine and other celebrated were neighbors. Rachmaninoff had never written a ballet (unlike most of his great Russian precursors and contemporaries), despite some earlier aborted projects, and wondered whether Fokine might be interested in creating a new piece. (Fokine’s death ended those hopes.) Another great satisfaction came in late 1939 when The Philadelphia Orchestra presented a “Rachmaninoff Cycle” here and in New York. The next summer, at age 67, he was inspired to compose again for the first time in several years. He informed Eugene Ormandy: “Last week I finished a new symphonic piece, which I naturally want to give first to you and your orchestra. It is called Fantastic Dances. I shall now begin the orchestration. Unfortunately my concert tour begins on October 14. I have a great deal 40C

Rachmaninoff composed the of practice to do and I don’t know whether I shall be able Symphonic Dances in 1940. to finish the orchestration before November. I should be The Philadelphia Orchestra very glad if, upon your return, you would drop over to our gave the world premiere of place. I should like to play the piece for you.” Rachmaninoff’s Symphonic The Symphonic Dances premiered successfully in Dances in January 1941, Philadelphia, although it was less well received a few with Eugene Ormandy on days later in New York. With time the piece established the podium. Most recently on subscription, the work itself as a dazzling and vibrant compositional farewell, was performed in October/ one with poignant private echoes and resonances. It November 2013, with Yannick is also a reminder that although Rachmaninoff was a Nézet-Séguin conducting. towering pianist and wrote the five great works for piano and orchestra we hear this week, he was also a gifted The work is scored for piccolo, conductor who composed many pieces that do not involve two flutes, two oboes, English the piano at all, from operas, to the evocative large a horn, two clarinets, , E-flat alto , cappella choral works, three symphonies, and this final two bassoons, contrabassoon, orchestral masterpiece. four horns, three trumpets, A Closer Look Rachmaninoff initially thought of titling three trombones, tuba, timpani, the three movements “Daytime,” “Twilight,” and “Midnight,” percussion (bass drum, but ultimately decided against it. The first movement (Non chimes, cymbals, orchestra allegro) gets off to a rather subdued start, but quickly bells, snare drum, suspended becomes more energetic as a rather menacing march. cymbal, tam-tam, tambourine, triangle, xylophone), harp, It is notable for its use of solo saxophone, an indication piano, and strings. of Rachmaninoff’s interest in jazz. There is a slower middle part and coda, where he quotes the brooding The Philadelphians have opening theme of his First Symphony. Since 1940 recorded the piece twice: in he—and everyone—thought the score was lost (it was 1960 for CBS with Ormandy discovered a few years after his death)—the reference and in 1990 with Dutoit for London. is entirely personal. The magical scoring at this point, with strings evocatively accompanied by piccolo, flutes, The Symphonic Dances run piano, harp, and glockenspiel, makes what had originally approximately 35 minutes in seemed aggressive more than 40 years earlier in the First performance. Symphony now appear calm and serene. The Andante con moto offers a soloistic, leisurely, melancholy, and mysterious mood in what is marked “tempo of a waltz” with a grander, faster, and more excited ending. The finale begins with a brief slow section (Lento assai) followed by a lively dance with constantly changing meters (Allegro vivace). After a slower middle section, the ending has further personal resonances. It is the last time Rachmaninoff uses the “Dies irae” chant from the Mass of the Dead, which had become something of his signature tune beginning with his First Symphony and appears in Program notes © 2017. All many other compositions. He also recalls music he had rights reserved. Program notes used in his choral All-Night Vigil nearly 30 years earlier, and may not be reprinted without here marks the score “Alliluya” (to use the Russian spelling). written permission from At the very end he wrote the words, “I thank Thee, Lord.” The Philadelphia Orchestra Association. —Christopher H. Gibbs

40E Musical Terms

GENERAL TERMS Octave: The interval THE SPEED OF MUSIC : between any two notes (Tempo) Unaccompanied voices that are seven diatonic Adagio: Leisurely, slow Cadenza: A passage or (non-chromatic) scale Agitato: Excited section in a style of brilliant degrees apart Alla breve: (1) 2/2 meter improvisation, usually Op.: Abbreviation for opus, [cut time]. (2) Twice as fast inserted near the end of a a term used to indicate as before. movement or composition the chronological position Allegro: Bright, fast Caprice: A short piece of of a composition within a Andante: Walking speed a humorous or capricious composer’s output. Opus Come prima: Like the character, usually fairly free numbers are not always first time in form reliable because they are Con moto: With motion Chord: The simultaneous often applied in the order L’istesso tempo: At the sounding of three or more of publication rather than same tempo tones composition. Largo: Broad Coda: A concluding Plainchant: The official Lento: Slow section or passage added monophonic unison chant Meno mosso: Less in order to confirm the (originally unaccompanied) moved (slower) impression of finality of the Christian liturgies Moderato: A moderate Etude: A study, especially Rhapsody: Generally tempo, neither fast nor one affording practice in an instrumental fantasia slow some particular technical on folksongs or on motifs Precedente: In the difficulty taken from primitive preceding tempo Fantasy: A composition national music Scherzando: Playfully free in form and more or Scherzo: Literally “a Sostenuto: Sustained less fantastic in character joke.” Usually the third Tempo di valse: Tempo Intermezzo: A) A short movement of symphonies of a waltz movement connecting and quartets that was Vivace: Lively the main divisions of a introduced by Beethoven symphony. B) The name to replace the minuet. The TEMPO MODIFIERS given to an independent scherzo is followed by a Assai: Much piece, often solo piano, that gentler section called a trio, Ma non tanto: But not is predominantly lyrical in after which the scherzo is too much so character. repeated. Its characteristics Poco: Little, a bit Meter: The symmetrical are a rapid tempo in triple grouping of musical time, vigorous , and DYNAMIC MARKS humorous contrasts. Also an Crescendo: Increasing Monophony: Music for a instrumental piece of a light, volume single voice or part piquant, humorous character. 40F Tickets & Patron Services

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