Season 2011-2012 The P hiladelphia Orchestra Friday, January 6, at 2:00 Saturday, January 7, at 8:00 Sunday, January 8, at 2:00 a!id "in#an $onductor $hoon%-Jin $han% &iola Tor'e Ash First P hiladelphia O rchestra perform ances ( alton &iola $oncerto )* +ndante co#odo,$on spirito ))* &i!o, con #olto preciso )))* +lle%ro #oderato )nter#ission -eetho!en Sy#phony . o* / in $ #inor, Op* 67 )* +lle%ro con 0rio ))* +ndante con #oto )))* +lle%ro, )&* +lle%ro This pro%ra# runs appro1i#ately 1 hour, 2/ #inutes* a!id "in#an is in his 16th season as #usic director o3 the "urich Tonhalle Orchestra* 4 e studied conductin% 5ith Pierre 6onteu1 and #ade his 3irst #a7or conductin% de0ut 5ith The Philadelphia Orchestra in 1867* 6r* "in#an 5as pre!iously #usic director o3 the 9otterda# and 9ochester philhar#onics and the -alti#ore Sy#phony, and principal conductor o3 the . etherlands $ha#0er Orchestra* 4 e 5as also #usic director o3 the +spen 6usic Festi!al and School and +#erican +cade#y o3 $onductin% 3or 1: years* 6r* "in#an recently per3or#ed 5ith the . 4 ; Sy#phony and 4 on% ;on% Philhar#onic and #a'es return en%a%e#ents to the Sydney and . e5 "ealand sy#phonies this season* 4 e has toured 5idely 5ith #any international orchestras and continues to tour in <urope, +sia, and the = *S* 5ith the Tonhalle Orchestra* 4 is #ost recent opera per3or#ance 5as O33en0ach>s The Tales of H offm ann at ? ene!a Opera* 6r* "in#an>s e1tensi!e disco%raphy o3 #ore than 100 recordin%s has earned hi# nu#erous international honors, includin% 3i!e ? ra##y a5ards, t5o ? rand Pri1 du is@ue a5ards, t5o <dison priAes, the eutsche Schallplattenpreis, and a G ram ophone +5ard* 4 e 5as also the 1887 recipient o3 the itson +5ard 3ro# $olu#0ia = ni!ersity in reco%nition o3 his co##it#ent to the per3or#ance o3 5or's 0y +#erican co#posers* 6r* "in#an and the Tonhalle Orchestra recently co#pleted -rah#s and 6ahler sy#phony cycles Bthe 6ahler Sy#phony . o* 8 disc recei!in% a 2011 <cho +5ardC, 5hich 3ollo5ed -eetho!en, Strauss, and Schu#ann cycles* + recordin% o3 all the Schu0ert sy#phonies is their current pro7ect 3or SonyD-6? * )n 2000 the French 6inistry o3 $ulture a5arded 6r* "in#an the title o3 $he!alier de l>Ordre des +rts et des Eettres and in Octo0er 2002 he recei!ed the $ity o3 "urich +rt PriAe, #a'in% hi# the 3irst conductor and non-S5iss nati!e to recei!e this a5ard* 6ore recently 6r* "in#an recei!ed the Tho#as Theodore +5ard, and in 2008 he 5on the 6ide# $lassical +rtist o3 the Fear +5ard* + nati!e o3 Seoul, ;orea, $hoon%-Jin B$*J*C $han% 7oined The Philadelphia Orchestra as associate principal !iola in . o!e#0er 1882 and 0eca#e principal !iola in +pril 2006* 4 e #ade his per3or#ance de0ut as a 12-year-old !iolinist 5ith the Seoul Philhar#onic as 5inner o3 the %rand priAe in ;orea>s Foo' Foun% . ational $o#petition* )n 1881, at the a%e o3 1:, he #o!ed to the = nited States to attend the Juilliard School o3 6usic* 4 e su0se@uently studied in Philadelphia at the <sther -oyer $olle%e o3 6usic o3 Te#ple = ni!ersity and at the $urtis )nstitute o3 6usic, 3ro# 5hich he recei!ed de%rees in 0oth !iolin and !iola* 4 is pri#ary teachers 5ere Jascha -rods'y and retired Philadelphia Orchestra Principal &iola Joseph de Pas@uale* 6r* $han% #ade his solo de0ut recital at $arne%ie 4 all in 2007 and since then has appeared in nu#erous recitals in the = *S* and South ;orea* )n 2008 he appeared as soloist 5ith The Philadelphia Orchestra in Seoul and Shan%hai durin% its +sia Tour and its su##er residency at the Sarato%a Per3or#in% +rts $enter* The 3ollo5in% year he #ade his Philadelphia Orchestra su0scription de0ut as !iola soloist, and last +pril he per3or#ed -erlioA>s H arold in Italy 5ith the -usan Philhar#onic in the 3inal concert o3 ;orea>s 2011 Orchestra Festi!al* +s a cha#0er #usician 6r* $han% per3or#s 5ith the 5orld>s %reatest #usicians at #any presti%ious 3esti!als throu%hout the = nited States and +sia* 6r* $han% is a 3oundin% #e#0er o3 the Johannes G uartet, 5hose de0ut per3or#ances at Philadelphia>s <thical Society and at $arne%ie 4 all recei!ed %lo5in% re!ie5s* Since 1887 the G uartet has per3or#ed to audience and critical acclai# throu%hout the = nited States* The G uartet recently pre#iered <sa-Pe''a Salonen>s @uartet H om unculus and ( illia# -olco#>s ou0le G uartet 5ith the ? uarneri G uartet* +lon%side his e1tensi!e per3or#in% acti!ities, 6r* $han% is a respected !iolin and !iola teacher* +#on% his 3or#er pupils are current #e#0ers o3 The Philadelphia Orchestra and the $le!eland Orchestra, as 5ell as #any 5inners o3 #a7or co#petitions* 4 e currently ser!es on the 3aculties o3 9ut%ers = ni!ersity>s 6ason ? ross School o3 the +rts and Te#ple 6usic Prep* F9+6). ? T4 < P 9O? 9+6 The Philadelphia Orchestra inau%urates the . e5 Fear 5ith a -eetho!en $ele0ration, presentin% 0elo!ed sy#phonies and concertos o!er the course o3 three 5ee's o3 concerts* Today spotli%hts the #onu#ental Fi3th Sy#phony, 5hich 5as the 3eatured co#position on the !ery 3irst concert the Orchestra %a!e in 1800* The Fi3th traces a thrillin% tra7ectory, 3ro# its o#inous openin% #oti3 BHFate ;noc'in% at the oor,I in the 5ords o3 one o3 the co#poser>s collea%uesC to its heroically triu#phant conclusion* The pro%ra# opens 5ith Ash, 5hich +#erican co#poser 6ichael Tor'e co#posed in 1888 5hen he 5as in #id-20s* )t is a 5or' that loo's 0ac' in !arious 5ays to the $lassical past o3 -eetho!en>s era, all the 5hile pro7ectin% a !i0rant conte#porary sound* Si1ty years earlier another co#poser in his #id-20s, ( illia# ( alton, co#posed his &iola $oncerto* 4 e conducted the pre#iere 5ith no less than co#poser and !iola !irtuoso Paul 4 inde#ith as the soloist* T5o ru#inati!e #o!e#ents 3ra#e a daAAlin% scherAo in this deeply 3elt 5or'* P arallel < !ents 1807 -eetho!en Sy#phony . o* / 6usic Spontini La vestale Eiterature -yron H ours of Idleness +rt Turner S un R isin in a ! ist 4 istory -ritain a0olishes sla!e trade 1828 ( alton &iola $oncerto 6usic 9a!el " olero Eiterature Ea5rence Lady # hatterly$s Lover +rt $ha%all % eddin 4 istory Fle#in% disco!ers penicillin Ash 6ichael Tor'e -orn in 6il5au'ee, Septe#0er 22, 1861 . o5 li!in% in . e5 F or' $ity +t the ti#e he 5rote this piece, in 1888, 6ichael Tor'e 5as still in his #id-20s, 0ut already a seasoned pro3essional* 4 is 3irst #a7or per3or#ance had co#e 3i!e years earlier, at Tan%le5ood, and a3ter that he 5as co##issioned 0y the -roo'lyn Philhar#onic B&cstatic O ran e, 188/C, the 6il5au'ee Sy#phony BG reen, 1886C, and . e5 For' $ity -allet BP urple, 1887C* +s those titles su%%est, he 5as seein% his #usic in ter#s o3 color, and it 5as this !i0rancy, coupled to a dri!in% pulse, that 0rou%ht hi# so #uch early attention* The ter# Hpost-#ini#alistI 5as coined to descri0e his style, ho5 repetiti!e patterns su%%esti!e o3 Ste!e 9eich or John +da#s 5ould 0e %i!en a rhyth#ic ener%y out o3 roc' to%ether 5ith technicolor orchestration* )t 5as +da#s, not at all coincidentally, 5ho conducted the 3irst per3or#ance o3 Ash, %i!en 0y the Saint Paul $ha#0er Orchestra in St* Paul on Fe0ruary :, 1888* -y then Tor'e had recei!ed t5o 3urther presti%ious pre#ieres, 0oth in the sprin% o3 1888: # opper, 3or 0rass @uintet and orchestra, co##issioned 0y the etroit Sy#phony, and another score 3or . e5 For' $ity -allet, " lac' and % hite( Ash, too, 5as ta'en up 0y that co#pany in 1881, and, listenin% to it, one can 5ell understand its appeal to dancers and choreo%raphers* )ndeed, it al#ost dances itsel3, 5ith its shi3ts o3 0eat, har#ony, color, and #oti3* Eoo'in% -ac' ( hile Eoo'in% For5ard Tor'e chose his title aptly, to indicate a #ore su0dued color sche#e than in #ost o3 his 5or's o3 this ti#e, and to su%%est, too, a so#0er tone that co#es 3ro# the pre!alence o3 F #inor* The 5or' is scored 3or an orchestra on the scale o3 t5o centuries 0e3ore, the scale o3 late 4 aydn, 6oAart, or early -eetho!en, 5ith pairs o3 o0oes and 0assoons, solo 3lute, clarinet, and tru#pet, three horns, ti#pani, and strin%s, 7oined 0y an electronic synthesiAer as the conte#porary e@ui!alent o3 the harpsichord or piano a $lassical-period co#poser #i%ht ha!e e1pected in the ense#0le* )3 one 5anted to pile up the la0els, one could call the style Hpost-#ini#alist neo-classicis#,I in that Tor'e restores and re!italiAes the #eans o3 earlier ti#es, rather as Pro'o3ie! did in his H$lassicalI Sy#phony or Stra!ins'y in his Sy#phony in $* +nd in loo'in% 0ac' to the %reat &iennese classics, Tor'e>s 5or' loo's 0ac' also to these nearer ancestors, especially in so#e o3 its #ore pi@uant har#onies* +t the sa#e ti#e, the co#position>s insistent pulse, its al#ost constant repeatin% notes, and its 7a%%ed syncopations #a'e it !ery #uch a conception o3 its o5n period, 5hile its e1pressi!e a#0i%uity 5ould 0e unusual in any a%e, at once e1cited and an1ious* + $loser Eoo' The score is #ar'ed H+%%ressi!e, stron%, 5ith con!iction,I and under this headin% the #usic sets out in a #oderately 3ast #arch rhyth# that is pretty #uch unchan%ed to the end* e3inin% ideas are presented ri%ht a5ay, includin% a repeatin% pattern o3 t5o @uic' notes 3ollo5ed 0y a lon%er one Bdit-dit-da, dit-dit-da, etc*C and the e1hilaratin% sound o3 a %esture risin% throu%h the steps o3 an arpe%%io B3ro# F to +-3lat to $ in F #inorC* These ideas %i!e rise to others, 5hich #ay ta'e on li!es o3 their o5n, 0ut the piece re#ains a0solutely consistent in its har#ony and rhyth#,a sin%le thrust, propelled 0y the circlin% o3 short se%#ents* Thou%h ed%es o3 color sho5 throu%h, and thou%h there are patches 5here the te1ture clears, the orchestration is #ostly 3ull durin% the 3irst