23

The Philadelphia Orchestra

Stéphane Denève ConductorJames Ehnes Violin

Ravel Pavane pour une infante défunte

Williams Violin Concerto I. Moderato II. Slowly (in peaceful contemplation) III. Broadly (Maestoso)—Quickly

Intermission

Beethoven Symphony No. 7 in A major, Op. 92 I. Poco sostenuto—Vivace II. Allegretto III. Presto—Assai meno presto—Presto IV. Allegro con brio

This program runs approximately 1 hour, 45 minutes.

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

Season 2015-2016Thursday, May 5, at 8:00Friday, May 6, at 2:00Saturday, May 7, at 8:00

24

25

The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage. The Orchestra is transforming its rich tradition of achievement, sustaining the highest level of artistic quality, but also challenging—and exceeding—that level by creating powerful musical experiences for audiences at home and around the world.

Music Director Yannick Nézet-Séguin’s highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike since his inaugural season in 2012. Under his leadership the Orchestra returned to recording, with two celebrated CDs on the prestigious Deutsche Grammophon label, continuing its history of recording success. The

Orchestra also reaches thousands of listeners on the radio with weekly Sunday afternoon broadcasts on WRTI-FM.

Philadelphia is home and the Orchestra nurtures an important relationship with patrons who support the main season at the Kimmel Center, and also with those who enjoy the Orchestra’s area performances at the Mann Center, Penn’s Landing, and other cultural, civic, and learning venues. The Orchestra maintains a strong commitment to collaborations with cultural and community organizations on a regional and national level.

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, The Philadelphia Orchestra today boasts a new partnership with the National Centre for the Performing Arts in Beijing. The ensemble annually performs at

Carnegie Hall and the Kennedy Center while also enjoying summer residencies in Saratoga Springs, New York, and Vail, Colorado.

The Philadelphia Orchestra serves as a catalyst for cultural activity across Philadelphia’s many communities, as it builds an offstage presence as strong as its onstage one. The Orchestra’s award-winning Collaborative Learning initiatives engage over 50,000 students, families, and community members through programs such as PlayINs, side-by-sides, PopUp concerts, free Neighborhood Concerts, School Concerts, and residency work in Philadelphia and abroad. The Orchestra’s musicians, in their own dedicated roles as teachers, coaches, and mentors, serve a key role in growing young musician talent and a love of classical music, nurturing and celebrating the wealth of musicianship in the Philadelphia region. For more information on The Philadelphia Orchestra, please visit www.philorch.org.

The Philadelphia Orchestra

Jessica Griffin

26

Principal Guest ConductorAs principal guest conductor of The Philadelphia Orchestra, Stéphane Denève spends multiple weeks each year with the ensemble, conducting subscription, Family, and summer concerts. His 2015-16 subscription season appearances include his first tour with the Orchestra, of Florida, and a two-week focus on the music of John Williams, a composer he feels passionately about, and with whom he has a close friendship. 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, film, and cirque performers. Mr. Denève is also chief conductor of the Stuttgart Radio Symphony Orchestra, and chief conductor of the Brussels Philharmonic and director of its Centre for Future Orchestra Repertoire.

Recent engagements in Europe and Asia include appearances with the Royal Concertgebouw Orchestra; the NHK, Vienna, London, Bavarian Radio, and Swedish Radio symphonies; the Munich Philharmonic; the Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia in Rome; the Orchestre National de France; the Philharmonia Orchestra; and the Deutsches Symphonie-Orchester Berlin. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony, with which he is a frequent guest. He also appears regularly with the Chicago and San Francisco symphonies, the Cleveland Orchestra, and the Los Angeles Philharmonic. He made his New York Philharmonic debut in February 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 Classical Music Awards. A graduate of, and prizewinner at, the Paris Conservatory, Mr. Denève worked closely in his early career with Georg Solti, 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.

Jessica Griffin

27

SoloistBorn in 1976 in Brandon, Manitoba, Canada, James Ehnes made his Philadelphia Orchestra debut in 2000 in Saratoga and his subscription debut in 2009. He has performed with such ensembles as the Boston, Chicago, Pittsburgh, London, and NHK symphonies; the Cleveland and Philharmonia orchestras; the Los Angeles, New York, BBC, and Czech philharmonics; and the Deutsches Symphonie-Orchester Berlin. Alongside his concerto work, Mr. Ehnes maintains a busy recital schedule. He has appeared at festivals such as City of London, Ravinia, Montreux, Chaise-Dieu, the White Nights in St Petersburg, and Salzburg. He is a regular guest at Wigmore Hall in London, and at the 2007 BBC Proms he premiered a new work for violin and piano by Aaron Jay Kernis. In May 2016 he embarks on a cross-Canada recital tour to celebrate his 40th birthday. As a chamber musician he has collaborated with such leading artists as Leif Ove Andsnes, Louis Lortie, Jan Vogler, and Yo-Yo Ma. In 2010 he formally established the Ehnes Quartet, with which he made his debut European tour in February 2014 and returned in 2015 for performances in London, Paris, and Aix, among others. He is also the artistic director of the Seattle Chamber Music Society.

Mr. Ehnes has an extensive discography and has won many awards for his recordings, including a 2008 Gramophone Award for his live recording of the Elgar Concerto with Andrew Davis and the Philharmonia Orchestra. His recording of the Korngold, Barber, and Walton concertos won a 2008 Grammy Award for Best Instrumental Soloist Performance and a 2008 JUNO award for Best Classical Album of the Year. Recent releases include concertos by Britten, Shostakovich, Prokofiev, and Khachaturian.

Mr. Ehnes began violin studies at the age of four, became a protégé of the noted Canadian violinist Francis Chaplin at nine, made his orchestral debut with the Montreal Symphony at 13, and graduated from the Juilliard School in 1997, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada. He plays the “Marsick” Stradivarius of 1715.

Benjam

in Ealovega

28

Framing the ProgramMaurice Ravel composed his lilting Pavane for a Dead Princess in 1899 while studying at the Paris Conservatory under Gabriel Fauré. A decade earlier Fauré had written his own version of a “pavane,” which was a stately Renaissance dance. Ravel originally composed his piece, which he hoped evoked what “a little princess might, in former times, have danced at the Spanish court,” for piano and its quick success prompted him to orchestrate it in 1910.

John Williams, widely hailed as today’s preeminent film composer, has simultaneously written many concert works, most notably a dozen concertos. He began composing his haunting Violin Concerto in 1974, soon after his first wife, actress Barbara Ruick, died suddenly of a cerebral hemorrhage at age 43. It was she who had originally suggested he write a violin concerto and the work is dedicated to her memory.

Richard Wagner famously characterized Beethoven’s Seventh Symphony as “the Apotheosis of the Dance.” Beethoven was at the height of his popular fame when the jubilant piece premiered in 1813. In this Symphony, unveiled as victory in the Napoleonic wars was close at hand, he brilliantly captured the celebratory spirit of the times.

Parallel Events1812BeethovenSymphony No. 7

1899RavelPavane pour une infante défunte

1974WilliamsViolin Concerto

MusicWeberPiano Concerto No. 2LiteratureBrothers GrimmFairy TalesArtGéricaultThe Charging ChasseurHistoryU.S. declares war on Britain

MusicElgar“Enigma” VariationsLiteratureTolstoyResurrectionArtToulouse-LautrecJane AvrilHistoryFirst magnetic recording of sound

MusicCarterBrass QuintetLiteratureBenchleyJawsArtWarholMan RayHistoryNixon resigns

29

The MusicPavane pour une infante défunte

Maurice RavelBorn in Ciboure, France, March 7, 1875Died in Paris, December 28, 1937

During his time as a teacher of composition at the Paris Conservatory, Gabriel Fauré was solicitous of his students’ welfare and assiduously cultivated their careers. His generosity won the unwavering affection of his pupils, including such luminaries as Lili and Nadia Boulanger, Charles Koechlin, Florent Schmitt, and the Italian composer Alfredo Casella. Chief among his protégées was Maurice Ravel, who reciprocated the kindness of his maître by dedicating two of his early masterpieces, the scintillating piano piece Jeux d’eux (1901) and his String Quartet (1902-03), to Fauré.

Influential Salons and Hostesses One of the most important favors that Fauré performed for his students was to introduce them into the salons of influential society hostesses. Such women were usually part of the nobility, and they were often themselves good amateur musicians. They wielded enormous power over the artistic life of France in general and Paris in particular. These princesses, duchesses, and countesses acted as patrons of musical organizations; they encouraged the government to extend musical education to the working class; they supported the avant-garde by commissioning new scores; and they used their social status to induce conductors and opera directors to produce new music.

One of the grandest and most discerning of these society hostesses was the Princesse Edmond de Polignac. She had been born Winnaretta Singer, one of the many children of the sewing machine pioneer. Her father’s success as an inventor and industrialist assured that she inherited a huge fortune; as her mother was French, it is unsurprising that she married into the aristocracy. Madame la Princesse played the piano and organ with skill and dedication—the music room of her lavish hôtel particulier in Paris contained a pipe organ built by the great maker Aristide Cavaillé-Coll. The Princess de Polignac was one of Fauré’s most loyal patrons, although she went on to commission music by Stravinsky, Satie, Falla, and Poulenc as well.

As a gesture to this munificent benefactor of music, Ravel dedicated his Pavane pour une infante défunte (Pavane for a Dead Princess) to Polignac. She was charmed by

30

the piece and remained grateful to its composer. Ravel originally composed the work for solo piano. Spanish pianist Ricardo Viñes premiered this version at a concert sponsored by the Société Nationale de Musique held in the Salle Pleyel in Paris on April 5, 1902.

A Closer Look Ravel clearly modeled his Pavane pour une infante défunte upon his teacher Fauré’s Pavane in F-sharp minor for orchestra and chorus, Op. 50 (1888). As their titles suggest, both scores descend from the pavane, a dignified processional court dance of the 16th and 17th centuries invariably danced in duple meter. But the similarities between Fauré’s work and that of Ravel are even more pronounced than their common origin in a particular dance: Both scores are cast as concise rondo forms and both conjure up the ancien régime through the use of pizzicato figuration in the strings that is used to suggest the plucking of a lute or guitar. French composers of the fin de siècle delighted in recalling the past: The Passepied of Debussy’s Suite bergamasque for piano (1890) is another case in point, an elegant recreation of an old dance form that evinces the marked influence of Fauré’s Pavane.

While Ravel flippantly remarked that he had chosen his title because of its pleasing assonance, Pavane pour une infante défunte has an unmistakable melancholy air. It deftly evokes the dignified court of Philip IV of Spain. (Spain was always close to Ravel’s heart: His mother was of Basque origin and preferred to speak Spanish rather than French.) Unlike Fauré’s sensuous and playful minor-mode Pavane that is situated in the world of the painter Jean-Antoine Watteau’s fête galante style, Ravel’s stately G-major score is suitable for the princely inhabitants of the Escorial as painted by Diego Velázquez. Encouraged by its success as a piano piece, Ravel orchestrated the Pavane in 1910. The British conductor Henry J. Wood conducted the first performance of the orchestral version on February 27, 1910, at a Gentleman’s Concert in Manchester, England.

Ravel deplored performances of his Pavane that were too slow or filled with exaggerated pathos. Although piano rolls can be unreliable, the steady tempo of the Duo-Art piano roll that Ravel made of the Pavane in 1922 may well indicate something of the composer’s preference in this regard. Ravel once rebuked a young amateur pianist who had played the piece too slowly by murmuring, “Listen, dear boy, remember another time that I wrote a Pavane for a dead princess. … And not a dead Pavane for a princess.”

—Byron Adams

Ravel composed the Pavane pour une infante défunte in 1899 and orchestrated it in 1910.

Fritz Reiner was on the podium for the first Philadelphia Orchestra performances of the work, in December 1927. Most recently on subscription the piece was heard in March 2011, with Robert Spano conducting.

The Orchestra has recorded the Pavane three times, all with Eugene Ormandy: in 1954 and 1963 for CBS, and in 1971 for RCA.

The score calls for two flutes, oboe, two clarinets, two bassoons, two horns, harp, and muted strings.

Performance time is approximately six minutes.

31

The MusicViolin Concerto

John WilliamsBorn in New York, February 8, 1932Now living in Hollywood, California

John Williams is one of the most recognized musical figures of our time, but a substantial portion of his music remains relatively unknown. For in addition to his more than 100 film scores he has composed some 40 orchestral compositions, including numerous solo concertos spanning almost a half-century—for flute, violin, tuba, clarinet, bassoon, cello, trumpet, horn, viola, harp, oboe, and piano. These works are marked by Williams’s signature abundance of memorable themes and dazzling orchestral color, and in recent years they have been championed by an increasing number of soloists and ensembles.

Still, no survey of Williams’s output can overlook his work in cinema, which not only transformed the nature of film music but also brought the composer into something resembling a full collaborator. His music for Jaws, Star Wars, E.T., Close Encounters of the Third Kind, Superman, Jurassic Park, and Raiders of the Lost Ark has become virtually as iconic as the films themselves. He has received five Academy awards, four Golden Globe awards, five Emmy awards, seven British Academy Film awards, and 22 Grammy awards.

Blurring Lines Moreover, Williams has helped blur lines between “serious” concert music and film music, not just with his accessible style but through his relationships with major artists such as Yo-Yo Ma and Gil Shaham, and through connections with major orchestras and venues. From 1980 to 1993 he was music director of the Boston Pops Orchestra, and he has guest conducted the London Symphony and the orchestras of Atlanta, Chicago, Cleveland, Dallas, Los Angeles, New York, Philadelphia, Pittsburgh, and San Francisco.

Williams was born in New York but moved with his family to Los Angeles in 1948, where he studied at the University of California-Los Angeles and worked privately with the Italian-born composer Mario Castelnuovo-Tedesco. After military service he lived in New York, studying piano with Rosina Lhevinne at the Juilliard School and performing jazz in Manhattan nightclubs. Moving back to L.A., he worked in television and film as pianist, orchestrator, and eventually composer.

The Violin Concerto, one of Williams’s first major concert

32

works, was written mostly in 1974, during a period of such early film successes as The Sugarland Express, Earthquake, The Towering Inferno, and Jaws. The composer’s wife, the Broadway and television actress Barbara Ruick, had reportedly suggested to Williams that he write a violin concerto; in March 1974 she died suddenly of a cerebral hemorrhage, aged 43, and Williams completed the Concerto as a memorial to her. Inscribed “In Memory of B.R.W,” the piece was first performed in January 1981 by the violinist Mark Peskanov and the St. Louis Symphony, led by Leonard Slatkin.

A Closer Look Williams wrote the following about the piece:

The 20th century has been an extremely rich period in the production of violin concertos. It is a period in which we have been given masterpieces of the genre by Bartók, Berg, Elgar, Prokofiev, Stravinsky, Walton, and others. These works have set a very high standard for any composer wishing to contribute a piece of this kind. However daunting these great examples of the recent past may be, the medium of the violin concerto continues to fascinate. The violin itself remains an instrument of enormous expressive power, and the urge to contribute to its repertoire is great.

With these thoughts in mind, I set to work laying out my Concerto in three movements, each with expansive themes and featuring virtuosic passage work used both for effective contrast and display. The pattern of movements is fast, slow, fast, with a cadenza at the end of the first movement. Although atonal in style and technique, I think of the piece as lying within the Romantic tradition.

I wrote the Concerto in 1974, and have dedicated it to the memory of my late wife. The first movement [Moderato] begins with an unaccompanied presentation, by the solo violin, of the principal theme, which is composed of broad melodic intervals and rhythmic contour, in contrast with the more jaunty second subject. Orchestra and soloist share the exploitation of this material, and after the solo cadenza the movement is brought to a quiet conclusion.

The second movement [Slowly (in peaceful contemplation)] features an elegiac melodic subject. While this melody is the central feature of the movement, there is, by way of contrast, a brisk middle section based on rushing “tetrachordal” figures

33

that are tossed back and forth between soloist and orchestra. The mood of the opening is always present, however, as the rushing and playing about continue to be accompanied by hints of a return to the movement’s more introspective opening.

The finale [Broadly (Maestoso)—Quickly] opens with chiming chords of great dissonance from the orchestra, all of which pivot around a G being constantly sounded by the trumpet. The solo part begins immediately on a journey of passagework in triple time that forms a kind of moto perpetuo which propels the movement. In rondo-like fashion, several melodies emerge until insistent intervals, borrowed from the first movement, form to make up the final lyrical passage “sung” by the solo violin. An excited coda, based on the triple-time figures, concludes the work.

—Paul J. Horsley

Williams composed his Violin Concerto in 1974.

James Ehnes and Stéphane Denève performed the first Philadelphia Orchestra performance of the Concerto, at the Bravo! Vail festival in July 2015.

The score calls for solo violin, piccolo, two flutes, two oboes (II doubling English horn), two clarinets, two bassoons (II doubling contrabassoon), four horns, three trumpets, two trombones, bass trombone, tuba, timpani, percussion (bass drum, chimes, cymbals, glockenspiel, marimba, small and large triangles, snare drum, suspended cymbal, vibraphone, xylophone), harp, and strings.

Performance time is approximately 30 minutes.

34

The MusicSymphony No. 7

Ludwig van Beethoven Born in Bonn, probably December 16, 1770 Died in Vienna, March 26, 1827

By the mid-1810s Beethoven was recognized far and wide as the preeminent living composer. That did not mean, however, that he was the most popular, widely published, or frequently performed. The great Italian composer Gioachino Rossini was emerging as a new force in the musical world, and his prominence extended far beyond the opera house; arrangements for every conceivable combination of instruments took his music into home, café, and concert hall. Beethoven’s imposing historical stature can obscure our appreciation of how in his own time he sought to juggle fame, popularity, and artistic innovations.

Greatness and Popularity Many of what are today considered Beethoven’s most highly esteemed compositions, especially ones from late in his career, were initially received with a complex mixture of admiration, bewilderment, and resistance. But there were also works that were truly popular, or at least aimed to be so. These pieces tend to be much less familiar in our time, but were the favorites of his contemporaries: Wellington’s Victory, the oratorio Christ on the Mount of Olives, the Septet, and his best-loved song, “Adelaide.” Occasionally Beethoven wrote something that was recognized as both artistically monumental and hugely popular. An example is the second movement of his Seventh Symphony, a piece that was sometimes performed separately from the complete Symphony and that may have been Beethoven’s most prized orchestral composition. It also exerted extraordinary influence on later composers, as the slow movements of Schubert’s “Great” C-major Symphony and E-flat Piano Trio, Mendelssohn’s “Italian” Symphony, Berlioz’s Harold in Italy, and other works attest.

After its premiere in 1813, the Seventh Symphony was repeated in Vienna three times during the following 10 weeks; at one of the performances the “applause rose to the point of ecstasy,” according to a newspaper account. The Leipzig Allgemeine musikalische Zeitung reported that “the new symphony (A major) was received with so much applause, again. The reception was as animated as at the first time; the Andante [sic] (A minor), the crown of modern instrumental music, as at the first performance, had to be repeated.” The Symphony’s appeal is not hard to understand. In scope and intensity, it is fully Beethovenian,

35

and yet it does not place quite as many demands on the listener as does the “Eroica.” The ambition of the first movement, beauty of the second, the breathlessness of the scherzo, and relentless energy of the finale greatly impressed audiences. Beethoven himself called it “one of the happiest products of my poor talents.”

Celebrating Victory Beethoven wrote the Seventh Symphony in 1811-12. He premiered it at one of his most successful concerts, given on December 8, 1813, to benefit soldiers wounded in the battle of Hanau six weeks earlier. Paired with it was the first performance of Wellington’s Victory, also known as the “Battle Symphony.” The enjoyment of the event was hardly surprising given what most members of the Viennese audience had been through during the preceding decade. Napoleon’s occupations of Vienna in 1805 and 1809 had proven traumatic, but the tide had recently turned. In June the Duke of Wellington was triumphant against Joseph Bonaparte, Napoleon’s younger brother, in the northern Spanish town of Vittoria, and within the year the Congress of Vienna was convened to reapportion Europe in the aftermath of France’s defeat. After so much conflict and misery, impending victory could be honored and celebrated.

Later writers characterized the Seventh Symphony in various ways, but it is striking how many of the descriptions touch on its frenzy, approaching a bacchanal at times, and on its elements of dance. Richard Wagner’s poetic account is representative:

All tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which carries us away with bacchanalian power through the roomy space of nature, through all the streams and seas of life, shouting in glad self-consciousness as we sound throughout the universe the daring strains of this human sphere-dance. The Symphony is the Apotheosis of the Dance itself: it is Dance in its highest aspect, the loftiest deed of bodily motion, incorporated into an ideal mold of tone.

As biographer Maynard Solomon has keenly observed, the descriptions of Wagner and others seem to have a common theme:

The apparently diverse free-associational images of these critics—of masses of people, of powerful rhythmic energy discharged in action or in dance, of celebrations, weddings, and revelry—may well be variations on a single image: the carnival or festival,

36

which from time immemorial has temporarily lifted the burden of perpetual subjugation to the prevailing social and natural order by periodically suspending all customary privileges, norms, and imperatives.

Wellington’s Victory gave a realistic imitation of battle between the English (represented by the song “Rule Britannia”) and the French (“Marlborough s’en va-t’en guerre”) and ends victoriously with variations on “God Save the King”—it is an effective but hardly subtle work. The Seventh apparently tapped into similar celebratory emotions vivid at the moment, but on a much deeper level that has allowed the Symphony to retain its stature ever since.

A Closer Look The Symphony’s dance elements, vitality, and sense of celebration are conveyed principally through rhythm. It is not so much the melodies that are striking and memorable as it is the general sense of forward movement. (At times there is no melody at all, but simply the repetition of a single pitch.) The first movement (Poco sostenuto) opens with the longest of Beethoven’s introductions—indeed the longest yet in the history of the symphony, that leads (by way of repeating just one note) into the main body of the movement (Vivace). The famous A-minor Allegretto is framed by the same unstable chord to open and close the movement. The form is ABABA with the opening section using a theme that is once again more distinctive for its rhythmic profile than for its melody. The movement builds in intensity and includes a fugue near the end.

The Presto scherzo brings out the dance aspect even more. As in some of his other instrumental works, Beethoven includes two trio sections. The Allegro con brio finale offers a tour-de-force of energy and excitement. As throughout the Symphony, part of the distinctive sound comes from Beethoven’s use of the horns. The work is in A major, which gives a brightness not found in the composer’s earlier symphonies.

—Christopher H. Gibbs

Program notes © 2016. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association, Byron Adams, and/or Paul J. Horsley.

Beethoven composed his Seventh Symphony from 1811 to 1812.

Fritz Scheel conducted the first Philadelphia Orchestra performances of the Symphony, in March 1903. The most recent subscription performances were in April 2014, with Christoph von Dohányi on the podium.

The Orchestra has recorded the work five times: in 1927 for RCA with Leopold Stokowski; in 1944 and 1964 for CBS with Eugene Ormandy; and in 1978 and 1988 for EMI with Riccardo Muti.

The Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

Performance time is approximately 35 minutes.

37

Musical TermsGENERAL TERMSAtonality: A term used to describe music that is not tonal, especially organized without reference to key or tonal centerCadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or compositionChord: The simultaneous sounding of three or more tonesCoda: A concluding section or passage added in order to confirm the impression of finalityDissonance: A combination of two or more tones requiring resolutionFugue: A piece of music in which a short melody is stated by one voice and then imitated by the other voices in succession, reappearing throughout the entire piece in all the voices at different placesMoto perpetuo: See perpetual motionOp.: Abbreviation for opus, a term used to indicate the chronological position of a composition within a composer’s output. Opus numbers are not always reliable because they are often applied in the order of publication rather than composition.

Oratorio: Large-scale dramatic composition originating in the 16th century with text usually based on religious subjects. Oratorios are performed by choruses and solo voices with an instrumental accompaniment, and are similar to operas but without costumes, scenery, and actions.Passepied: An old French dance in 3/8 or 6/8 time, with 3 or 4 reprises; like the minuet in movement, but quickerPavane: A court dance of the early 16th century, probably of Spanish originPerpetual motion: A musical device in which rapid figuration is persistently maintainedPizzicato: PluckedRondo: 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. Also an instrumental piece of a light, piquant, humorous character.Tetrachord: A four-note scale outlined by the interval of a fourthTrio: See scherzo

THE SPEED OF MUSIC (Tempo)Allegretto: A tempo between walking speed and fastAllegro: Bright, fastAndante: Walking speedCon brio: Vigorously, with fireMaestoso: MajesticModerato: A moderate tempo, neither fast nor slowPresto: Very fastSostenuto: SustainedVivace: Lively

TEMPO MODIFIERSAssai: MuchMeno: LessUn poco: A little

38

Tickets & Patron ServicesWe want you to enjoy each and every concert experience you share with us. We would love to hear about your experience at the Orchestra and are happy to answer any questions you may have. Please don’t hesitate to contact us via phone at 215.893.1999, in person in the lobby, or at patronserverices@philorch.org.Subscriber Services: 215.893.1955Patron Services: 215.893.1999Web Site: For information about The Philadelphia Orchestra and its upcoming concerts or events, please visit www.philorch.org.Individual Tickets: Don’t assume that your favorite concert is sold out. Subscriber turn-ins and other special promotions can make last-minute tickets available. Call us at 215.893.1999 and ask for assistance.Subscriptions: The Philadelphia Orchestra offers a variety of subscription options each season. These multi-concert packages feature the best available seats, ticket exchange privileges, discounts on individual tickets, and many other benefits. Learn more at www.philorch.org.Ticket Turn-In: Subscribers who cannot use their tickets are invited to donate them and receive a tax-deductible credit by calling 215.893.1999. Twenty-four-hour notice is appreciated, allowing other patrons the opportunity to purchase these tickets and guarantee tax-deductible credit. PreConcert Conversations: PreConcert Conversations are held prior to every Philadelphia Orchestra subscription concert, beginning one hour before the performance. Conversations are

free to ticket-holders, feature discussions of the season’s music and music-makers, and are supported in part by the Hirschberg-Goodfriend Fund established by Juliet J. Goodfriend Lost and Found: Please call 215.670.2321.Late Seating: Late seating breaks usually occur after the first piece on the program or at intermission in order to minimize disturbances to other audience members who have already begun listening to the music. If you arrive after the concert begins, you will be seated as quickly as possible by the usher staff.Accessible Seating: Accessible seating is available for every performance. Please call Patron Services at 215.893.1999 or visit www.philorch.org for more information.Assistive Listening: With the deposit of a current ID, hearing enhancement devices are available at no cost from the House Management Office. Headsets are available on a first-come, first-served basis.Large-Print Programs: Large-print programs for every subscription concert are available in the House Management Office in Commonwealth Plaza. Please ask an usher for assistance.Fire Notice: The exit indicated by a red light nearest your seat is the shortest route to the street. In the event of fire or other emergency, please do not run. Walk to that exit.No Smoking: All public space in the Kimmel Center is smoke-free.Cameras and Recorders: The taking of photographs or the recording of Philadelphia Orchestra concerts is strictly prohibited.

Phones and Paging Devices: All electronic devices—including cellular telephones, pagers, and wristwatch alarms—should be turned off while in the concert hall. Ticket Philadelphia StaffLinda Forlini, Vice PresidentCarrie Farina, Director, Patron

ServicesMichelle Harris, Director, Client

RelationsDan Ahearn, Jr., Box Office

ManagerGregory McCormick, Training

ManagerCatherine Pappas, Project

ManagerJayson Bucy, Patron Services

ManagerElysse Madonna, Program and

Web CoordinatorMichelle Messa, Assistant Box

Office ManagerTad Dynakowski, Assistant

Treasurer, Box OfficePatricia O’Connor, Assistant

Treasurer, Box OfficeThomas Sharkey, Assistant

Treasurer, Box OfficeJames Shelley, Assistant

Treasurer, Box OfficeMike Walsh, Assistant

Treasurer, Box OfficeElizabeth Jackson-

Murray, Priority Services Representative

Stacey Ferraro, Lead Patron Services Representative

Meaghan Gonser, Lead Patron Services Representative

Meg Hackney, Lead Patron Services Representative

Megan Chialastri, Patron Services Representative

Jared Gumbs, Patron Services Representative

Kristina Lang, Patron Services Representative

Brand-I Curtis McCloud, Patron Services Representative

Steven Wallace, Quality Assurance Analyst