The Philadelphia Orchestra

Yannick Nézet-Séguin ConductorJoshua Bell Violin

Frank Concertino Cusqueño World premiere—Commissioned by The Philadelphia Orchestra

Bernstein Serenade (after Plato’s Symposium) for Solo Violin, Strings, Harp, and Percussion I. Phaedrus: Pausanias (Lento—Allegro marcato) II. Aristophanes (Allegretto) III. Eryximachus (Presto) IV. Agathon (Adagio) V. Socrates: Alcibiades (Molto tenuto—Allegro molto vivace)

Intermission

Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso—Poco meno presto—Tempo I IV. Allegro energico e passionato—Più allegro

This program runs approximately 1 hour, 50 minutes.

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Season 2012-2013Thursday, October 25, at 8:00Friday, October 26, at 2:00Saturday, October 27, 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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SoloistViolinist Joshua Bell was just 14 years old when he made his highly acclaimed Philadelphia Orchestra debut, performing Mozart’s Violin Concerto No. 3 at the Academy of Music under the baton of Riccardo Muti and launching his career into a permanent spotlight. Since that performance in 1982 Mr. Bell has appeared with the Orchestra 27 times, most recently in the summer of 2012 at the Bravo! Vail Valley Music Festival and the Saratoga Performing Arts Center. Other recent concert highlights include the premiere, also this past summer, of Edgar Meyer’s new concerto for violin and double bass, which Mr. Bell performed with Mr. Meyer at Tanglewood, Aspen, and the Hollywood Bowl. Mr. Bell began the 2012-13 season with the San Francisco Symphony’s Opening Night Gala.

Often referred to as the “poet of the violin,” Mr. Bell is one of the world’s most celebrated violinists. He is an Avery Fisher Prize recipient and Musical America’s 2010 Instrumentalist of the Year. Recently appointed music director of the Academy of St. Martin in the Fields, he is the first person to hold this title since Neville Marriner formed the orchestra in 1958. Mr. Bell currently records exclusively for Sony Classical. He has recorded more than 40 CDs and is a multiple Grammy Award winner. He performed on the soundtrack for the film The Red Violin, which won the Oscar for Best Original Score. His television appearances have ranged from Great Performances on PBS to Sesame Street. In 2007 he made headlines when he performed, incognito, in a Washington, D.C., subway station for a Pulitzer Prize-winning Washington Post story examining art and context.

Born in Bloomington, IN, Mr. Bell received his first violin at age four after his parents noticed him plucking tunes with rubber bands he had stretched around the handles of his dresser drawers. At 12 he began studying with renowned violinist Josef Gingold at Indiana University and two years later made his debut with the Philadelphians. Mr. Bell’s Carnegie Hall debut, an Avery Fisher Career Grant, and a notable recording contract soon followed. His career has now spanned over 30 years as a soloist, chamber musician, recording artist, and conductor. Mr. Bell performs on the 1713 Huberman Stradivarius and uses a late-18th-century French bow by François Tourte. For more information visit www.joshuabell.com.

Lisa-Marie M

azzucco

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Framing the ProgramThe Philadelphia Orchestra commissioned Gabriela Lena Frank’s Concertino Cusqueño, which receives its world premiere on these concerts, to honor Yannick Nézet-Séguin as the eighth music director of the ensemble. In this composition the California-born and bred Frank, the daughter of a Peruvian immigrant, imaginatively blends her South American heritage with a love for the music of the 20th-century English composer Benjamin Britten. The principal theme of the one-movement work is spun from a religious melody (“Ccollanan María”) and a simple motif that opens Britten’s Violin Concerto.

Looking to the past in such a way had earlier inspired Johannes Brahms when he composed his Fourth Symphony, which concludes today’s concert. He based the last movement of the work on a recurring theme drawn from J.S. Bach’s Cantata No. 150. Brahms’s final symphony proved a masterful culmination to his symphonic career, a work that honors the past all the while forging compositional innovations that inspired the next generation of composers.

Between these compositions by Frank and Brahms we hear Leonard Bernstein’s Serenade, a violin concerto in all but name after Plato’s Symposium. The five-movement work offers reflections on the nature of love as amicably argued among a group of philosophers in a long night of passionate discussion.

Parallel Events1885BrahmsSymphony No. 4

1954BernsteinSerenade

MusicFranckSymphonic VariationsLiteratureHaggardKing Solomon’s MinesArtVan GoghThe Potato EatersHistoryGalton proves individuality of fingerprints

MusicStravinskyIn Memoriam Dylan ThomasLiteratureGoldingLord of the FliesArtDe KooningMarilyn MonroeHistorySegregation ruled illegal in U.S.

The MusicConcertino Cusqueño

Gabriela Lena FrankBorn in Berkeley, California, September, 26, 1972Now living there

Gabriela Lena Frank is a brilliant, genial composer whose beautiful music appeals to a wide audience. She was born in Berkeley, California, in 1972. Her father, a Mark Twain scholar, instilled in her a love of literature and the vernacular, while her mother, an artist, surrounded their precocious daughter with a collection of fascinating visual stimuli. At age three she began to play the piano, picking out notes from Peruvian folk music heard on her parents’ stereo. Like Clara Schumann, Frank did not begin to speak until she was five or six years old. She soon embarked on a journey to craft an aural response to her rich cultural Latin American, Lithuanian, and Chinese heritage, even adding folk-music tunes to traditional Classical sonatinas.

During her last year in high school, Frank came to the decision to devote her life to composition, following her passion to Rice University, where she received a firm foundation in what she calls “old school” music-making. Subsequently, at the University of Michigan under the tutelage of William Bolcom, among many others, she worked to make “old school” music new by nurturing her predilection for folk genres and enriching her music with allusions to literary and visual sources.

A Prolific and Award-winning Composer Frank has composed in a wide range of musical genres, from string quartets to piano works to pieces for orchestra. She bestows on each a poetic title, which she calls “the hardest part.” Like Gustav Mahler and others preceding her, she debates the amount of information she wishes her audience to know about a piece before it is heard. She has won numerous awards, including a Latin Grammy for Best Classical Contemporary Composition for Inca Dances (2009), a piece for guitar and string quartet, and a prestigious John Simon Guggenheim Memorial Foundation Fellowship.

Frank’s music has been premiered by many major orchestras: the Indiana Symphony, Peregrinos (2009); the Houston Symphony, La Llorona: Tone Poem for Viola and Orchestra (2007); and the Utah Symphony, Three Latin American Dances for Orchestra (2004). Numerous

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Sabina Frank

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ensembles have performed her music, among them the Saint Paul Chamber Orchestra featuring Dawn Upshaw, which premiered La Centinela y la Paloma (The Keeper and the Dove, 2011); the ALIAS Chamber Ensemble, which played Hilos (2010); and Ballet Hispanico, which introduced her Puntos Suspensivos (2010). She has composed Ritmos Anchinos (2006) for the Silk Road Project, under the direction of cellist Yo-Yo Ma, and Inkarrí (2005) for the venerable Kronos Quartet. The Naxos label has issued a recording of Hilos with the ALIAS Ensemble.

Music that “Speaks to a Lot of People” Frank possesses a unique ability to capture sound in its original environment, as one might recognize the wind through chimes. While traveling in South America she gathered cultural treasures that deeply inform her music. Visuals can “enhance composition and performance,” she says, and her music is a loving scrapbook of Latin rhythms, syncopation, displaced accents, and colorful instrumentation. Like Leonard Bernstein, whose music she has quoted in her compositions, Frank hopes that her music “speaks to a lot of people.”

The composer explains that her 12-minute Concertino Cusqueño, commissioned by The Philadelphia Orchestra and premiered at these concerts for the arrival of Yannick Nézet-Séguin as music director, exudes a festive sonority and was written to “sound classical,” have clear form, and challenge the orchestra and audience she so admires. Of the work, Nézet-Séguin remarks that it borrows the music of Benjamin Britten in much the same way that Brahms’s Fourth Symphony, also on the program tonight, quotes from J.S. Bach’s Cantata No. 150.

A Closer Look: Frank describes her piece:

Concertino Cusqueño, written in celebration of the fine players of The Philadelphia Orchestra on the eve of Yannick Nézet-Ségun’s inaugural season as music director, finds inspiration in two unlikely bedfellows: Peruvian culture and British composer Benjamin Britten. As a daughter of a Peruvian immigrant, I’ve long been fascinated by my multicultural heritage and have been blessed to find Western classical music to be a hospitable playpen for my wayward explorations. In doing so, I’ve looked to composers such as Alberto Ginastera from Argentina, Béla Bartók from Hungary, Chou Wen Chung from China, and my own teacher, William Bolcom, from the U.S. as heroes: To me, these gentlemen are the very

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definition of “cultural witnesses,” as they illuminate new connections between seemingly disparate idioms of every hue imaginable.

To this list, I add Britten, who I admire inordinately. I wish I could have met him, worked up the nerve to show him my own music, invited him to travel to beautiful Peru with me … I would have shared chicha morada (purple corn drink) with him, taken him to a zampoña panpipe instrument-making shop, set him loose in a mercado (market) streaming with immigrant chinos and the native indio descendants of the Incas. I would have loved showing him the port towns exporting anchoveta (anchovies), the serranos (highlands) exporting potatoes, and the selvas (jungles) exporting sugar. And I know Britten would have been fascinated by the rich mythology enervating the literature and music of this small Andean nation, so deeply similar to the plots of his many operas, among other works.

Concertino Cusqueño welds together two brief musical ideas: the first few notes of a religious tune, “Ccollanan María,” from Cusco (the original capital of the Inca empire Tawantinsuyu, and a major tourist draw today) with the simple timpani motif from the opening bars of the first movement of Britten’s elegant Violin Concerto. I am able to spin an entire one-movement work from these two ideas, designating a prominent role to the four string principal players (with a healthy nod to the piccolo/bass clarinet duo and, yes, the timpanist). In this way, while imagining Britten in Cusco, I can also indulge my own enjoyment of personalizing the symphonic sound by allowing individuals from the ensemble to shine.

It is with further joy that I dedicate this piece to my nephew, Alexander Michael Frank, born in Philadelphia on February 25, 2011.

—Eleonora M. Beck

Concertino Cusqueño was composed in 2012.

These are the world premiere performances of the piece, which was commissioned by The Philadelphia Orchestra in honor of Yannick Nézet-Séguin’s arrival as music director.

Ms. Frank scored the work for two flutes (II doubling piccolo), two oboes, two clarinets (II doubling bass clarinet), two bassoons, two horns, two trumpets, timpani, percussion (marimbas, snare drum, suspended cymbals, triangles), harp, celesta, and strings.

Concertino Cusqueño runs approximately 12 minutes in performance.

The MusicSerenade (after Plato’s Symposium)

Leonard BernsteinBorn in Lawrence, Massachusetts, August 25, 1918Died in New York City, October 14, 1990

One of the most versatile and original musicians that America has produced, Leonard Bernstein made his career not just as conductor but as pianist, educator, and not least, composer. It was the very eclecticism of his gifts, partly, that distinguished him. “No musician of the 20th century has ranged so wide,” writes one biographer. Bernstein’s achievement as composer reflects this breadth. His three great theater works (West Side Story, On the Town, Candide) brought a new level of musical sophistication to Broadway, while his more serious scores such as the three symphonies and the Serenade (after Plato’s Symposium) for violin and orchestra infused traditional structures with popularizing elements.

A Fusion of Old and New The eldest child of a Ukrainian immigrant who wanted his son to assume the family’s beauty-supply business, Bernstein initially broke ground as conductor, becoming at age 40 the first American-born music director of the New York Philharmonic. The dynamism of his interpretations of the central repertory with that orchestra grew partly from his synthesis of the Old-World traditions he learned from the conductor Serge Koussevitzky with the verve and energy he assimilated from jazz and Tin Pan Alley tunes. And it was this same fusion of old and new that made his compositions unique.

He asserted his intellectual independence early on, though, by attending Harvard instead of seeking the usual conservatory training. He studied with three brahmans of old-school tradition: the theorist A. Tillman Merritt, the composer Edward Burlingame Hill, and the contrapuntalist Walter Piston. The last of these, who was also one of America’s most significant composers, left an indelible mark upon Bernstein’s musical outlook; the rigors of Piston’s methods of strict counterpoint permeate the young composer’s works, even those for the vernacular stage. Later he studied at the Curtis Institute and at Tanglewood (with Koussevitzky), and that instruction left deep imprints of European tradition upon his sensibilities.

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Theater Works and “Serious” Pieces The decade of the ’50s was an extraordinarily creative time for Bernstein, during which he was building his international reputation as conductor and pianist, serving as music director of the Berkshire Music Center (as Koussevitzky’s successor), and composing works like Trouble in Tahiti, Wonderful Town, Candide, and West Side Story.

This much is known. Less well known is the fact that Bernstein was also composing “serious” works during these years, including symphonies, incidental music, and chamber works. One of the best of these—a work that the composer himself valued highly until his last days—was the Serenade for solo violin and orchestra. Written in 1954 on commission from the Koussevitzky Foundation, and dedicated “to the beloved memory of Serge and Natalie Koussevitzky,” the Serenade is a reflection on various aspects of love, as expressed in Plato’s Symposium. Since its first performance by Isaac Stern in Venice in September 1954, with the composer conducting the Israel Philharmonic, the Serenade has become one of the most frequently performed American works for solo violin and orchestra.

A Closer Look Like many composers of program music, Bernstein seems to want simultaneously to deny and to acknowledge the programmatic nature of his piece. After stating “there is no literal program for the Serenade,” he proceeds to map out a rather specific literary framework, in a note reproduced at the front of the printed score (probably written by Jack Gottlieb):

There is no literal program for the Serenade, despite the fact that it resulted from a re-reading of Plato’s charming dialogue, The Symposium. The music, like the dialogue, is a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at the banquet. The “relatedness” of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements in the preceding one.

For the benefit of those interested in literary allusion, I might suggest the following points as guideposts:

I. Phaedrus; Pausanias (Lento; Allegro). Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of lover and beloved. This is expressed in a classical

sonata-allegro, based on the material of the opening fugato.

II. Aristophanes (Allegretto). Aristophanes does not play the role of the clown in this dialogue, but instead that of the bedtime story-teller, invoking the fairy-tale mythology of love.

III. Eryximachus (Presto). The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humor.

IV. Agathon (Adagio). Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms, and functions. This movement is a simple three-part song.

V. Socrates; Alcibiades (Molto tenuto; Allegro molto vivace). Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. This is a slow introduction of greater weight than any of the preceding movements; and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata-form. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended Rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party-music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party.

“What he has done above all,” wrote the critic Joan Peyser, by way of summing up Bernstein’s career, “is proclaim that an American can be a remarkable and exciting musician.” The composer’s sheer exuberance is no less apparent in the Serenade than in the arching melodies of his better-known Broadway scores. Bernstein never shied away from allowing the two worlds to intermingle: Just as aspects of Piston’s formalism pervade West Side Story, popular elements appear in scores such as the Serenade. In the end, programmatic aspects are indeed evident as well—such as the use of fugue to represent “bodily harmony,” or the classical (bipartite) sonata form to reflect the “duality of lover and beloved.”

—Paul J. Horsley

Bernstein’s Serenade was composed in 1954.

Eugene Ormandy conducted the first Philadelphia Orchestra performances of the work, in May 1973, with Concertmaster Norman Carol as soloist. Most recently Co-Concertmaster William de Pasquale performed the piece in January/February 2000, with Wolfgang Sawallisch on the podium.

The score calls for solo violin and an accompanying ensemble of timpani, percussion (bass drum, chimes, Chinese blocks, glockenspiel, snare drum, suspended cymbal, tambourine, tenor drum, triangle, xylophone), harp, and five-part strings.

Performance time is approximately 30 minutes.

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The MusicSymphony No. 4

Johannes BrahmsBorn in Hamburg, May 7, 1833Died in Vienna, April 3, 1897

Haydn composed over 100 symphonies, Mozart some 50, but the most celebrated 19th-century composers dramatically scaled back on such quantity. Beethoven’s formidable nine upped the stakes. The Romantic celebration of originality meant that each new work now carried extraordinary weight. While Mozart had written his first symphony at the age of eight, Beethoven held off until age 29. Many subsequent 19th-century composers waited until long into their careers to produce a symphony.

After Robert Schumann in 1853 more or less discovered the 20-year-old Brahms, writing a glowing review praising him as the new musical messiah, all eyes and ears were on the young composer. Brahms felt under phenomenal pressure to produce an impressive first symphony. He made various false starts and it ultimately took him until age 43 to complete the Symphony No. 1 in C minor. Following the premiere of that glorious work in 1876 the celebrated conductor Hans von Bülow hailed it as “Beethoven’s Tenth.” Brahms’s next symphony, a quite different work in a sunny D major, came quickly the next year. The Symphony No. 3 in F major dates from 1883 and he began the Fourth the following summer.

A Final Symphony Brahms composed the Symphony over the course of two summers in the resort of Mürzzuschlag, not far southwest from Vienna. From the start he had the idea of ending the work with a passacaglia, a Baroque procedure in which a musical theme is constantly repeated; specifically he wanted to use as its basis a passage from Johann Sebastian Bach’s Cantata No. 150. He composed the first two movements in 1884 and then the fourth and third (it seems in that order) the next summer.

Brahms was acutely aware that the Fourth Symphony was different from his earlier efforts. With his typical self-deprecating humor, he compared the work to the sour cherries found in the Alpine region in which he was composing. He wrote to Bülow, with whose formidable court orchestra in Meiningen he often performed, that “a few entr’actes are lying here—what [taken] together is usually called a symphony.” But Brahms worried “about

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whether it will reach a wider public! That is to say, I fear that it tastes of the native climate—the cherries here do not get sweet, you would not eat them!”

Initial Reactions As was often his practice, Brahms sought the opinion of trusted colleagues to whom he sent the score and eventually played through the piece with composer Ignaz Brüll in a version for two pianos. In early October 1885 he assembled a group of friends, among them the powerful critic Eduard Hanslick, conductor Hans Richter, and his future biographer Max Kalbeck. After the first movement concluded there was no reaction—Hanslick said the experience was like being beaten “by two terribly clever people,” which dissipated some of the tension. The next day Kalbeck suggested scrapping the third movement entirely and publishing the finale as a separate piece.

Despite some polite praise Brahms realized that most of his friends were lukewarm on the piece; he may well have felt that until it was played by an orchestra its true effect could not really be judged. Bülow put the Meiningen ensemble at the composer’s disposal: “We are yours to command.” Brahms could test out the piece, see what he might want to change, and then present the premiere. The event on October 25, 1885, turned out to be a triumph—each movement received enthusiastic applause and the audience attempted, unsuccessfully, to have the brief third-movement scherzo repeated. Over the next month the new work was presented on tour in various German and Dutch cities.

The first performance in Brahms’s adopted hometown of Vienna took place in January 1886 with Richter conducting the Vienna Philharmonic. Hanslick was now enthusiastic and compared the work to a “dark well; the longer we look into it, the more brightly the stars shine back.” On the opposing side, Hugo Wolf, taking time off from composing great songs to write scathing reviews, lambasted the “musical impotence” of the Symphony and declared that “the art of composing without ideas has decidedly found in Brahms its worthiest representative.” Another notable Viennese performance came a decade later, again with Richter at the helm, in what proved to be Brahms’s last public appearance; he died of cancer a month later. As Florence May, an English pianist who wrote a biography of Brahms, recalled:

A storm of applause broke out at the end of the first movement, not to be quieted until the composer,

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Brahms composed his Symphony No. 4 from 1884 to 1885.

Brahms’s Fourth Symphony has been a favorite piece of Philadelphia Orchestra conductors from its first appearance, in January 1902 with Fritz Scheel. The work last appeared on subscription concerts in October 2010, with Christoph von Dohnányi.

The Orchestra has recorded the piece four times: in 1931 and 1933 with Leopold Stokowski for RCA; in 1944 with Eugene Ormandy for CBS; and in 1988 with Riccardo Muti for Philips.

The Symphony is scored for two flutes (II doubling piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle, and strings.

The work runs approximately 40 minutes in performance.

coming to the front of the “artists’” box in which he was seated, showed himself to the audience. The demonstration was renewed after the second and the third movements, and an extraordinary scene followed the conclusion of the work. The applauding, shouting audience, its gaze riveted on the figure standing in the balcony, so familiar and yet in present aspect so strange, seemed unable to let him go. Tears ran down his cheeks as he stood there shrunken in form, with lined countenance, strained expression, white hair hanging lank; and through the audience there was a feeling as of a stifled sob, for each knew that they were saying farewell.

A Closer Look Although Brahms thought of beginning the first movement (Allegro non troppo) with a brief chordal introduction, he ultimately decided to cut these measures and launch directly into the opening theme, a series of limpid two-note sighs consisting of descending thirds and ascending sixths that bind the movement together. The following Andante moderato opens with a noble horn theme that yields to a magnificently adorned theme for the strings. The tempo picks up in the sparkling third movement (Allegro giocoso), a scherzo in sonata form that gives the triangle a workout.

As mentioned, Brahms initially had the idea of the final movement (Allegro energico e passionato) using the Baroque technique of a passacaglia or chaconne (the terms were often used interchangeably). He slightly altered a ground bass progression from the final chorus of Bach’s Cantata No. 150, “Nach Dir, Herr, verlanget mich” (For Thee, Lord, Do I Long) over which he built a mighty set of 30 variations and coda. (The cantata may be Bach’s earliest to survive, although some scholars have questioned its authenticity.) In 1877 Brahms had made a piano transcription for left hand alone of Bach’s D-minor Chaconne for solo violin, which provided a model here, as did the last movement of Beethoven’s “Eroica” Symphony. The variations, often presented in pairs, begin with a bold statement based on Bach’s theme. Despite a section in major, the movement gradually builds in its tragic force to a thrilling conclusion.

—Christopher H. Gibbs

Program notes © 2012. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association and/or Eleonora Beck.

Musical TermsGENERAL TERMSCoda: A concluding section or passage added in order to confirm the impression of finality Contrapuntal: See counterpointCounterpoint: A term that describes the combination of simultaneously sounding musical linesFugato: A passage or movement consisting of fugal imitations, but not worked out as a regular fugueFugue: 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 placesGround bass: A continually repeated bass phrase of 4 or 8 measuresOp.: 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.Passacaglia: In 19th- and 20th-century music, a set of ground-bass or ostinato variations, usually of a serious characterRondo: 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.Sonata 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.Syncopation: A shift of rhythmic emphasis off the beat

THE SPEED OF MUSIC (Tempo)Adagio: Leisurely, slowAllegretto: A tempo between walking speed and fastAllegro: Bright, fastAndante: Walking speedEnergico: With vigor, powerfullyGiocoso: HumorousLento: SlowMarcato: Accented, stressedPassionato: Impassioned, very expressivePresto: Very fastTenuto: Held, sustainedVivace: Lively

TEMPO MODIFIERSMeno: LessMolto: VeryNon troppo: Not too muchPiù: MorePoco: Little, a bit

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Barber, Gershwin, and CoplandNovember 1 & 3 8:00 PM November 2 2:00 PMGiancarlo Guerrero Conductor Kirill Gerstein Piano

Barber Medea’s Dance of Vengeance Gershwin Piano Concerto in F Copland Appalachian Spring Sierra Sinfonía No. 4

The Stokowski LegacyNovember 8 & 10 8 PM November 9 2 PMEmmanuel Krivine Conductor Christina and Michelle Naughton Pianos

Franck Symphony in D minor Poulenc Concerto for Two Pianos Bach/orch. Stokowski Toccata and Fugue in D minor

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

November The Philadelphia Orchestra

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Enjoy the ultimate in flexibility with a Create-Your-Own 4-Concert Series today! Choose 4 or more concerts that fit your schedule and your tastes. Hurry, before tickets disappear for Yannick’s Inaugural Season.

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Jessica Griffin

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Web Site: For information about The Philadelphia Orchestra and its upcoming concerts or events, please visit www.philorch.org.

Subscriptions: The Philadelphia Orchestra offers a variety of subscription options each season. These multi-concert packages feature the best available seats, ticket exchange privileges, guaranteed seat renewal for the following season, discounts on individual tickets, and many other benefits. For more information, please call 215.893.1955 or visit 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. Tickets may be turned in any time up to the start of the concert. Twenty-four-hour notice is appreciated, allowing other patrons the opportunity to purchase these tickets.

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 Ticket Philadelphia at 215.893.1999 or stop by the Kimmel Center Box Office.

Ticket Philadelphia StaffGary Lustig, Vice PresidentJena Smith, Director, Patron

ServicesDan Ahearn, Jr., Box Office

ManagerCatherine Pappas, Project

ManagerMariangela Saavedra, Manager,

Patron ServicesJoshua Becker, Training SpecialistKristin Allard, Business Operations

CoordinatorJackie Kampf, Client Relations

CoordinatorPatrick Curran, Assistant Treasurer,

Box OfficeTad Dynakowski, Assistant

Treasurer, Box OfficeMichelle Messa, Assistant

Treasurer, Box OfficePatricia O’Connor, Assistant

Treasurer, Box OfficeThomas Sharkey, Assistant

Treasurer, Box OfficeJames Shelley, Assistant Treasurer,

Box OfficeJayson Bucy, Lead Patron Services

RepresentativeFairley Hopkins, Lead Patron

Services RepresentativeMeg Hackney, Lead Patron

Services RepresentativeTeresa Montano, Lead Patron

Services RepresentativeAlicia DiMeglio, Priority Services

RepresentativeMegan Brown, Patron Services

RepresentativeJulia Schranck, Priority Services

RepresentativeBrand-I Curtis McCloud, Patron

Services RepresentativeScott Leitch, Quality Assurance

Analyst

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