The Philadelphia Orchestra

David Kim LeaderImogen Cooper Piano and Leader

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

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

Intermission

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

This program runs approximately 1 hour, 45 minutes.

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Season 2012-2013Thursday, January 10, at 8:00Friday, January 11, at 2:00Saturday, January 12, at 8:00

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The Philadelphia Orchestra

Renowned for its distinctive sound, beloved for its keen ability to capture the hearts and imaginations of audiences, and admired for an unrivaled legacy of “firsts” in music-making, The Philadelphia Orchestra is one of the preeminent orchestras in the world.

The Philadelphia Orchestra has cultivated an extraordinary history of artistic leaders in its 112 seasons, including music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, who served as chief conductor from 2008 to 2012. With the 2012-13 season, Yannick Nézet-Séguin becomes the eighth music director of The Philadelphia Orchestra. Named music director designate in 2010, Nézet-Séguin brings a vision that extends beyond symphonic music into the

vivid world of opera and choral music.

Philadelphia is home and the Orchestra nurtures an important relationship not only with patrons who support the main season at the Kimmel Center for the Performing Arts but also those who enjoy the Orchestra’s other area performances at the Mann Center, Penn’s Landing, and other venues. The Philadelphia Orchestra Association also continues to own the Academy of Music—a National Historic Landmark—as it has since 1957.

Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the United States. Having been the first American orchestra to perform in China, in 1973 at the request of President Nixon, today The Philadelphia

Orchestra boasts a new partnership with the National Centre for the Performing Arts in Beijing. The Orchestra annually performs at Carnegie Hall and the Kennedy Center while also enjoying a three-week residency in Saratoga Springs, N.Y., and a strong partnership with the Bravo! Vail Valley Music Festival.

The ensemble maintains an important Philadelphia tradition of presenting educational programs for students of all ages. Today the Orchestra executes a myriad of education and community partnership programs serving nearly 50,000 annually, including its Neighborhood Concert Series, Sound All Around and Family Concerts, and eZseatU.

For more information on The Philadelphia Orchestra, please visit www.philorch.org.

Jessica Griffin

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LeaderViolinist David Kim was named concertmaster of The Philadelphia Orchestra in 1999. Born in Carbondale, Illinois, in 1963, he started playing the violin at the age of three, began studies with the famed pedagogue Dorothy DeLay at the age of eight, and later received his bachelor’s and master’s degrees from the Juilliard School. In 1986 he was the only American violinist to win a prize at the International Tchaikovsky Competition in Moscow.

As a highly sought-after pedagogue, Mr. Kim presents master classes at schools and institutions such as Juilliard, the New World Symphony in Miami, Princeton, Yale, the Hyogo Performing Arts Center Orchestra in Japan, the Korean National University of Arts, and universities and colleges across the U.S. He also serves as artist in residence at Eastern University in suburban Philadelphia and in May 2011 was conferred the Doctor of Humane Letters, Honoris Causa.

Mr. Kim appears as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world. Highlights of his 2012-13 season include festival performances, master classes, recitals, and solo appearances with orchestras in California, Massachusetts, Michigan, New York, North Carolina, Oklahoma, South Carolina, Texas, New Jersey, France, and Japan. Conductors with whom he has performed include Myung-Whun Chung, Christoph von Dohnányi, Charles Dutoit, Christoph Eschenbach, Rafael Frühbeck de Burgos, Vladimir Jurowski, and Wolfgang Sawallisch.

The latest additions to Mr. Kim’s discography are The Lord Is My Shepherd, a collection of sacred works for violin and piano with pianist and composer Paul S. Jones, and Encore, a collection of recital favorites with pianist Gail Niwa.

Mr. Kim’s instrument is a J.B. Guadagnini from Milan, Italy, ca. 1757 on loan from The Philadelphia Orchestra Association. He resides in a Philadelphia suburb with his wife, Jane, and daughters, Natalie and Maggie. For more information please visit www.davidkimviolin.com and follow him on Twitter at @Dkviolin.

Ryan D

onnell

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SoloistPianist Imogen Cooper made her Philadelphia Orchestra debut in 2009 performing Mozart’s Piano Concerto No. 25 in C major. She has appeared with many of the world’s leading orchestras, including the New York and Vienna philharmonics, the Royal Concertgebouw and Leipzig Gewandhaus orchestras, and the London and NHK symphonies. She has performed with all the major British orchestras and has especially close relationships with the Northern Sinfonia and the Britten Sinfonia, with which she plays and directs. Her recital appearances have included concerts in New York, Chicago, Paris, Vienna, Prague, and London.

Highlights of Ms. Cooper’s 2012-13 season include appearances with the Deutsche Symphonie-Orchester and Mark Elder and the Rotterdam Philharmonic and Ludovic Morlot; a U.K. tour with the Budapest Festival Orchestra under Iván Fischer; a series at LSO St. Luke’s (home to the London Symphony’s community and music education program, LSO Discovery); and duo recitals with pianist Paul Lewis. She performs a cycle of Schubert’s solo works at London’s Wigmore Hall, which follows a recent series at Queen Elizabeth Hall, which was recorded and released under the title Schubert Live for Avie. She also celebrates the Britten centenary year by performing two of his song cycles.

As a supporter of new music, Ms. Cooper has premiered two works at the Cheltenham International Festival: Traced Overhead by Thomas Adès in 1996 and Decorated Skin by Deirdre Gribbin in 2003. In 1996 Ms. Cooper also collaborated with members of the Berlin Philharmonic in the premiere of the quintet Voices for Angels, written by the ensemble’s viola player Brett Dean. As a lieder recitalist, Ms. Cooper has had a long collaboration with baritone Wolfgang Holzmair in both the concert hall and recording studio. She also performs and records frequently with cellist Sonia Wieder-Atherton. Mr. Holzmair and Ms. Wieder-Atherton both feature in the box set Imogen Cooper and Friends, a Philips recording encompassing solo and chamber works, and lieder. Ms. Cooper has also recorded Mozart concertos with the Northern Sinfonia for Avie and a solo recital at Wigmore Hall for Wigmore Live. She is the 2012-13 Humanitas Visiting Professor in Classical Music and Music Education at the University of Oxford.

Sussie A

hlburg

Framing the ProgramThe all-Mozart program today reveals both ingratiating and challenging sides of the composer’s musical personality. His formidable father, Leopold, himself a prominent musician, worried that Mozart did not cater enough to popular taste, that he liked too much to show off and to provoke. In an Age of Enlightenment dedicated to “the pursuit of happiness,” most music was meant to be pleasingly diverting. The charming Serenade in G major, Eine kleine Nachtmusik (A Little Night Music), does just that and has remained an audience favorite.

But Mozart also pursued more unusual and demanding paths. All of his piano concertos are in major keys, except for the D minor (K. 466) and C minor (K. 491), which tend to go deeper into unfamiliar territory and are more likely to approach the drama we associate with his operas. The Concerto No. 24 in C minor contains some of Mozart’s darkest moments, foreshadowing the introverted fury of his late music, such as found in The Magic Flute and the Requiem.

Among Mozart’s some four dozen symphonies there are also only two in minor keys—both in G minor—numbers 25 and 40. The former became the first to achieve a secure place in the symphonic repertoire (it was memorably enlisted in the film Amadeus) and it remains one of his most intense orchestral utterances.

In the concert today The Philadelphia Orchestra comes together as an ensemble to mold a musical interpretation all its own, without a conductor. Concertmaster David Kim leads from the first chair, as was done in Mozart’s time. For the C-minor Concerto, Imogen Cooper leads from the keyboard as Mozart did at so many of his own concerts.

Parallel Events1773MozartSymphony No. 25

1786MozartPiano Concerto No. 24

1787MozartEine kleine Nachtmusik

MusicHaydnPiano Sonata No. 24LiteratureKenrickThe DuellistArtReynoldsJoseph BanksHistoryBoston Tea Party

MusicDittersdorfDoctor und ApothekerLiteratureBourgoyneThe HeiressArtGoyaThe SeasonsHistoryShays Rebellion in MA

MusicDevienneFlute Concerto No. 7LiteratureGoetheIphigenie auf TaurisArtDavidThe Death of SocratesHistoryU.S. Constitution signed

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The MusicEine kleine Nachtmusik, Serenade in G major

Wolfgang Amadè MozartBorn in Salzburg, January 27, 1756Died in Vienna, December 5, 1791

Of the many instrumental genres prevalent during Mozart’s lifetime, the serenade or “divertimento” is the category most closely associated with the servile role that most composers played in the European palaces under the old feudal aristocracy. After working arduously from dawn to late afternoon—composing, copying, teaching, rehearsing, and writing lengthy official letters in meticulous bureaucratic prose—a court composer was then required to put on a nightly concert for the after-dinner leisure of his underworked noble employer.

Such an evening program might include symphonies, concertos, and vocal works; but more than likely it would include one of the numerous types of “background” music that broadly fall under the rubric of divertimento—literally, music for diversion. Titles of these works ranged widely, and during the 18th century the varying designations were often mixed freely: serenade, cassation, notturno, partita, feldparthie, tafelmusik, finalmusik. The names probably had some basis of differentiation among them, at least for 18th-century audiences. The notturno, for example, was often performed at about 11 PM, in contrast to the serenade, which tended to begin around 9 PM. Moreover, in the late 18th century the serenade still carried traces of its ancient association with a musical performance outside a young woman’s window.

The Work’s Genesis and Title The precise circumstances surrounding the composition of the Serenade in G major are unclear. We do know that it was composed in 1787, when Mozart was thoroughly occupied with the second act of Don Giovanni. (“Completed in Vienna, August 10, 1787,” he wrote on the title page.) It was uncharacteristic of Mozart to interrupt work on an important commission, particularly an opera, in order to compose an instrumental work for his own pleasure; more than likely the serenade was produced for a sum of money, at the request of some member of the nobility.

The subtitle of the Serenade in G, K. 525, stems from Mozart himself: “eine kleine Nacht-Musik …” he wrote when he entered the piece into the handwritten catalogue of his works—doubtless indicating that he thought of the

work as a notturno. His phrase “little night music” (better translated “short notturno”) was simple shorthand, and was never intended to serve as the piece’s title. In any case, it was ever after referred to as a serenade, rather than a notturno.

Mozart’s inscription in his catalogue continued: “ … comprising an Allegro, Minuet and Trio, Romance, Minuet and Trio, and Finale.” Such “extra” dance movements—in this case, a second minuet—distinguished the serenade or divertimento from other chamber and symphonic genres. At some point the first minuet movement from K. 525 disappeared, however, and it has never been found. Possibly Mozart himself removed it, to make the work suitable for “serious” occasions; the result is a light piece that strongly resembles a symphony.

A Closer Look During the 18th century serenades were performed by small orchestras, often with two players or perhaps two stands for each upper part, and at times with only one double bass. Flexibility was the rule, however: Eine kleine Nachtmusik might just as well have been played one-on-a-part as with a large, full orchestra. The size of the group depended on the forces available at the time, and often on the patron’s demands as well. There was no universal 18th-century performing ensemble; each court and each region forged its own customs.

The expansive opening theme of the Allegro suggests a larger group than a quintet, and charms the listener with Mozart’s coy, almost manipulative sense of symmetry. The suaveness spills over into the Romance, where a hesitant, sigh-filled melody is varied three times. The brevity of the Menuetto again reminds the listener that this is a serenade, in which dance movements are frequently shorter and more numerous. The work closes with a Rondo in Allegro tempo, which is an abridged sonata form full of Mozartean verve and dash.

—Paul J. Horsley

Eine kleine Nachtmusik was composed in 1787.

Fritz Scheel conducted The Philadelphia Orchestra’s first performance of the G-major Serenade, in January 1906. Eugene Ormandy took the piece on the Orchestra’s United States tours during the 1940s and early 1950s, but since that time it has been played only occasionally. The most recent performances of the work on subscription were under Christoph Eschenbach’s direction, in January 1993.

The Orchestra recorded Eine kleine Nachtmusik in 1959 with Ormandy for the CBS label.

The work is scored for two violins, viola, cello, and double bass.

Performance time is approximately 16 minutes.

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The MusicPiano Concerto No. 24

Wolfgang Amadè Mozart

It is not difficult to see why the 19th century favored “minor-key” Mozart. Works such as the G-minor Symphony, K. 440, the Piano Concerto in D minor, K. 466, or the Don Giovanni Overture possessed the drama and pathos that the Romantic period craved, and these compositions helped engender the view of Mozart as precursor to the histrionics of Beethoven, Schumann, and Wagner. Today we see Mozart from broader perspectives, not just as proto-Romantic but as Italianate melodist and as slightly out-of-step Classicist. Investigations into late-Baroque opera have uncovered sources for his incomparable bel canto, and studies of J.C. Bach have revealed the extent to which he drew upon the music of this youngest of Sebastian’s sons toward developing a mature concerto style. Still, even as these studies have increased our estimation of the major-key concertos, fascination with such works as the C-minor Piano Concerto remains strong.

A Rare Struggle for Mozart The C-minor Concerto was one of the trio written in early 1786 for Lenten concerts presented at Vienna’s Burgtheater. Since Mozart dated the manuscript of K. 491 as having been completed on March 24, 1786, scholars have reasonably presumed that the work formed a part of the benefit concert Mozart gave there on April 7. But as no program for that concert survives, uncertainty remains; in any case the Concerto was not published until after Mozart’s death, in 1800.

The 12 concertos that Mozart completed from 1782 to 1786 constitute his most important instrumental music, “symphonic in the highest sense,” in the words of musicologist Alfred Einstein. No fewer than six of these were written in 1785 and 1786, and they are among Mozart’s best-known works: K. 466, 467, 482, 488, 491, and 503. Each of these is unique; each creates its own individual ethic. The C-minor Concerto contains some of the composer’s darkest moments, and is filled with chilling intimations of the introverted fury of Mozart’s last music, such as that of The Magic Flute and the Requiem.

The C-minor Concerto apparently caused Mozart some difficulty, as indicated by the alternative versions he

Mozart composed the C-minor Piano Concerto in 1786.

Fannie Bloomfield Zeisler was the soloist in the first Philadelphia Orchestra performances of the Concerto, in February 1915; Leopold Stokowski was the conductor. The most recent subscription performances were in April 2009, with André Previn as conductor and soloist.

Mozart scored the work for an orchestra of flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings, in addition to the solo piano.

The Concerto lasts approximately 30 minutes in performance.

provided in the third variation of the finale. Here the composer seems to have struggled—right in the pages of the autograph manuscript itself, atypically for him—to find a “right” solution. The soloist is left to make the choice for him- or herself, and is furthermore called upon to fill out some of the implied rapid passagework that Mozart has left in a sort of skeletal shorthand of widely separated long notes. And finally, Mozart has left no written-out cadenzas or Eingänge (lead ins) for the Concerto. Ms. Cooper plays cadenzas by the pianist Alfred Brendel in these performances.

A Closer Look The Concerto’s first movement (Allegro) opens with a principal subject of marvelous interest and potential. The listener can hardly help thinking that Beethoven had this theme in his ear when he wrote his Third Concerto in C minor—a piece that bears more than passing resemblance, in fact, to Mozart’s Concerto. But Mozart’s first subject is more elusive and unpredictable than Beethoven’s, and it keeps us in suspense for a full 12 bars of motivic prolongation before arriving at a splashy tutti reiteration. The piano enters, typically, with a theme all its own, and quickly launches into one of the most turbulent, unsettled movements in Mozart’s oeuvre.

Momentary and welcome respite is provided by the uncomplicated Larghetto (the tempo marking is not the composer’s), a free interplay of spontaneous pianism and sympathetic instrumental underpinning. The Allegretto brings us back to the restless world of C minor (again, the tempo indication has been added in a later hand)—a set of somber variations on a square and halting theme. There is no deus ex machina here, no felicitous final turn to the major mode, as in the finale of the D-minor Concerto, K. 466. All is mood here, wonder and mystery. But if the storm clouds are never fully dispersed, the absolute consistency of affect remains perfect throughout—a virtue that provides its own gloomy sense of satisfaction.

—Paul J. Horsley

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The MusicSymphony No. 25

Wolfgang Amadè Mozart

Mozart did not number his symphonies. If he had been asked after composing his last how many he had written to that point, his answer probably would have been pretty far off the mark. Indeed the quantity and chronology remains confusing to this day, even after more than two centuries of trying to get things straight. The first complete publication of Mozart’s symphonies, issued by the Leipzig firm of Breitkopf & Härtel in the 19th century, included 41. But some of them were not in fact by Mozart (No. 37, except for a short introductory passage, was actually written by Michael Haydn, younger brother of Joseph), still others have surfaced since, and more than a dozen should probably also be included but were not because they adapted earlier Mozart works (usually overtures). And so, by some accounts, Mozart wrote more than 50 symphonies, beginning at the age of eight and culminating with the miraculous final trio from the summer of 1788.

Truth be told, we rarely hear the first two dozen or so symphonies, those Mozart wrote before the age of 17. His First Symphony, K. 16, sometimes appears on concerts, but mainly as a curiosity, to display what Mozart could do before most of us can do much of anything. The mania for discographic completeness has led record companies to release all of Mozart’s music, but the late symphonies deservedly get most of the attention. In its more than 100 years of existence The Philadelphia Orchestra has performed only three of the symphonies Mozart wrote before No. 25.

The Drama of Storm and Stress Today we hear the earliest symphony of Mozart’s that regularly appears in performance and on recordings: the “Little” Symphony in G minor, K. 183 (the tag distinguishes it from his well-known Symphony No. 40 in the same key, K. 550). This work has been particularly popular since the mid-1980s when the movie Amadeus prominently featured the opening movement.

Mozart completed the Symphony in Salzburg on October 5, 1773, not long after returning from more than two months in Vienna, where he had gotten to know Haydn’s most recent symphonies. This was the height of Haydn’s

so-called Sturm und Drang (Storm and Stress) period, when he wrote many works in minor keys. Musicologist H.C. Robbins Landon has noted the specific similarity between the Mozart Symphony we hear today and Haydn’s Symphony No. 39, another G-minor work that features four horns. The additional horns give the work a distinctive coloring. As musicologist Neal Zaslaw observes, “The special sound of the Symphony’s outer movements is partly the result of four horns in place of the usual two, which not only impart a certain solidity to the work’s texture, but, as the two pairs of horns are in different keys (G and B-flat), gave Mozart a wider palette of pitches to exploit.”

Another influence is apparent in the Symphony, similarly connected with the young composer’s travels. Earlier in 1773, Mozart returned from his third and final sojourn in Italy. In Milan he had enjoyed a successful run of his Lucio Silla, and something of the drama of that serious opera permeates the Symphony. In the end, the 17-year-old Mozart brilliantly combined his own distinctive dramatic flair with some of Haydn’s innovations to produce his first really significant symphony.

A Closer Look Mozart infrequently wrote in minor keys in his important instrumental works; there are only two piano concertos, two string quartets, and two symphonies out of a combined total of nearly a hundred pieces in the three genres. Both symphonies are in G minor, this “little” one and the great late one, and it was a tonality that elicited some of his most profound music. Intensity and urgency are two words that come to mind when confronting the opening: a loud oboe theme against syncopated octaves in the strings. Both the first (Allegro con brio) and last movements have two large-scale repeats, followed by brief codas.

The Andante in E-flat major offers some relief from the serious drama of the other movements and is also in sonata form. The Menuetto, like the outer two movements, begins with a bare theme stated in octaves, here by the full orchestra—if this is a dance it is hardly a polite aristocratic one. A calmer gentility comes in the middle section, a trio in the major that uses only wind and brass instruments. The final Allegro explores some of the same musical devices as the first movement, particularly syncopation, that lends not only unity to the whole work, but also helps to sustain the dramatic intensity to the very end.

—Christopher H. Gibbs

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Mozart composed his “little” G-minor Symphony in 1773.

The first Philadelphia Orchestra performances of Mozart’s Symphony No. 25 weren’t until November 1976, with Riccardo Muti conducting. The most recent subscription performances were in January 2003, with Bobby McFerrin.

Mozart scored the work for two oboes, two bassoons, four horns, and strings.

The Symphony runs approximately 20 minutes in performance.

Program notes © 2013. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

Musical TermsGENERAL TERMSCadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolutionCadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or compositionCoda: A concluding section or passage added in order to confirm the impression of finalityDa capo: Repeated from the beginningDissonance: A combination of two or more tones requiring resolutionDivertimento: A piece of entertaining music in several movements, often scored for a mixed ensemble and having no fixed formK.: Abbreviation for Köchel, the chronological list of all the works of Mozart made by Ludwig von KöchelMinuet: A dance in triple time commonly used up to the beginning of the 19th century as the lightest movement of a symphonyOctave: The interval between any two notes that are seven diatonic (non-chromatic) scale degrees apart

Romance: Originally a ballad, or popular tale in verse; now a title for epico-lyrical songs or of short instrumental pieces of sentimental or romantic nature, and without special formRondo: A form frequently used in symphonies and concertos for the final movement. It consists of a main section that alternates with a variety of contrasting sections (A-B-A-C-A etc.).Scherzo: Literally “a joke.” Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo in triple time, vigorous rhythm, and humorous contrasts.Serenade: An instrumental composition written for a small ensemble and having characteristics of the suite and the sonataSonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the

last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then “developed.” In the recapitulation, the exposition is repeated with modifications.Sturm und Drang: Literally, storm and stress. A movement throughout the arts that reached its highpoint in the 1770s, whose aims were to frighten, stun, or overcome with emotion.Suite: A set or series of pieces in various dance-forms. The modern orchestral suite is more like a divertimento.Syncopation: A shift of rhythmic emphasis off the beatTonality: The orientation of melodies and harmonies towards a specific pitch or pitches Trio: See scherzoTutti: All; full orchestra

THE SPEED OF MUSIC (Tempo)Allegretto: A tempo between walking speed and fastAllegro: Bright, fastAndante: Walking speedCon brio: Vigorously, with fireLarghetto: A slow tempo

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Orchestra HeadlinesPhiladelphia Orchestra Chamber Music ConcertTickets are now on sale for the third concert in The Philadelphia Orchestra’s 28th Season Chamber Music Series on Sunday, January 13, at 3:00 PM in Perelman Theater at the Kimmel Center. Tickets range from $19.00-$28.00. For more information, call Ticket Philadelphia at 215.893.1999 or visit www.philorch.org.

Mozart Fantasia in C minor, K. 396, for solo pianoMozart Quintet in E-flat major, K. 452, for piano and windsMozart String Quintet No. 5 in D major, K. 593

Samuel Caviezel ClarinetImogen Cooper Piano (Guest)Renard Edwards ViolaMark Gigliotti BassoonJennifer Montone HornHai-Ye Ni CelloDavid Nicastro ViolinAmy Oshiro-Morales ViolinAnna Marie Ahn Petersen ViolaPeter Smith Oboe

Annual Martin Luther King Jr. Tribute ConcertThe Philadelphia Orchestra’s 23rd annual Martin Luther King Jr. Tribute Concert takes place on Monday, January 21, at 4:00 PM at Martin Luther King High School, 6100 Stenton Ave. Yannick Nézet-Séguin leads the Orchestra along with speaker Charlotte Blake Alston, guest conductor Jeri Lynne Johnson, and the Philadelphia All City Choir in a program that pays tribute to Dr. King’s religious beliefs, his vision of a society free of prejudice and racial divisions, and his belief in the power of music to effect change. The event is free but tickets are required. For more information please visit www.philorch.org/mlk.

New Barbara Govatos RecordingA new boxed set recording of the complete Beethoven Sonatas for Violin and Piano by Orchestra violinist Barbara Govatos and pianist Marcantonio Barone was recently released on Bridge Records. The set is available through Bridge Records or Amazon. This past November the duo received the Classical Recording Foundation’s Samuel Sanders Award for Collaborative Artists in recognition of the new recording.

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Ravel and ShostakovichJanuary 16 & 19 8 PM January 18 2 PMYannick Nézet-Séguin Conductor Leonidas Kavakos Violin

Ravel La Valse Szymanowski Violin Concerto No. 2 Shostakovich Symphony No. 5

Yannick and BrucknerJanuary 24 8 PM January 25 2 PMYannick Nézet-Séguin Conductor

Wagner Siegfried Idyll Bruckner Symphony No. 7

TICKETS Call 215.893.1999 or log on to www.philorch.org PreConcert Conversations are held prior to every Philadelphia

Orchestra subscription concert, beginning 1 hour before curtain. All artists, dates, programs, and prices subject to change. All tickets subject to availability.

January The Philadelphia Orchestra

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