The Philadelphia Orchestra

Stéphane Denève ConductorNikolaj Znaider Violin

Beethoven Violin Concerto in D major, Op. 61 I. Allegro ma non troppo II. Larghetto— III. Rondo: Allegro

Intermission

Shostakovich Symphony No. 10 in E minor, Op. 93 I. Moderato II. Allegro III. Allegretto IV. Andante—Allegro

This program runs approximately 2 hours, 5 minutes.

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

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Season 2013-2014Thursday, March 6, at 8:00Friday, March 7, at 2:00Saturday, March 8, at 8:00

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The Philadelphia Orchestra

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 innovation in music-making. The Orchestra is inspiring the future and 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 triumphantly opened his inaugural season as the eighth artistic leader of the Orchestra in fall 2012. His 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. Yannick has been embraced by the musicians of the Orchestra, audiences, and the

community itself. His concerts of diverse repertoire attract sold-out houses, and he has established a regular forum for connecting with concert-goers through Post-Concert Conversations.

Under Yannick’s leadership the Orchestra returns to recording with a newly-released CD on the Deutsche Grammophon label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions. In Yannick’s inaugural season the Orchestra has also returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

Philadelphia is home and the Orchestra nurtures an important relationship not only with patrons who support the main season at the Kimmel Center but also those who enjoy the Orchestra’s other area performances at the Mann Center, Penn’s Landing, and other venues. The Orchestra is also a global ambassador for Philadelphia and for the U.S. 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 while also enjoying annual residencies in Saratoga Springs, N.Y., and at the Bravo! Vail festival.

Musician-led initiatives, including highly-successful Cello and Violin Play-Ins, shine a spotlight on the Orchestra’s musicians, as they spread out from the stage into the community. The Orchestra’s commitment to its education and community partnership initiatives manifests itself in numerous other ways, including concerts for families and students, and eZseatU, a program that allows full-time college students to attend an unlimited number of Orchestra concerts for a $25 annual membership fee. For more information on The Philadelphia Orchestra, please visit www.philorch.org.

Jessica Griffin

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Music DirectorYannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. His 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. The New York Times has called Yannick “phenomenal,” adding that under his baton “the ensemble … has never sounded better.” In his first season he took the Orchestra to new musical heights. His second builds on that momentum with highlights that include a Philadelphia Commissions Micro-Festival, for which three leading composers have been commissioned to write solo works for three of the Orchestra’s principal players; the next installment in his multi-season focus on requiems with Fauré’s Requiem; and a unique, theatrically-staged presentation of Strauss’s revolutionary opera Salome, a first-ever co-production with Opera Philadelphia.

Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. In addition he becomes the first ever mentor conductor of the Curtis Institute of Music’s conducting fellows program in the fall of 2013. He has made wildly successful appearances with the world’s most revered ensembles, and has conducted critically acclaimed performances at many of the leading opera houses.

Yannick Nézet-Séguin and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership the Orchestra returns to recording with a newly-released CD on that label of Stravinsky’s Rite of Spring and Leopold Stokowski transcriptions. Yannick continues a fruitful recording relationship with the Rotterdam Philharmonic for DG, BIS, and EMI/Virgin; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick Nézet-Séguin studied at that city’s Conservatory of Music and continued lessons with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, one of the country’s highest civilian honors; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government; and an honorary doctorate by the University of Quebec in Montreal.

To read Yannick’s full bio, please visit www.philorch.org/conductor.

Nigel P

arry/CP

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ConductorStéphane Denève is chief conductor of the Stuttgart Radio Symphony and the former music director of the Royal Scottish National Orchestra. He is a familiar presence with The Philadelphia Orchestra on stage in Verizon Hall, at the Saratoga Performing Arts Center, and at the Gerald R. Ford Amphitheater in Vail, having appeared as guest conductor numerous times since making his debut in 2007. He conducted the Orchestra in two subscription series in the 2012-13 season and returns for two more this season.

Recent European engagements include appearances with the Royal Concertgebouw and Philharmonia orchestras; the Bavarian Radio, Swedish Radio, and London symphonies; the Munich Philharmonic; the Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia in Rome; and the Deutsches Symphonie-Orchester Berlin. In North America Mr. Denève made his Carnegie Hall debut in 2012 with the Boston Symphony. He appears regularly with the Chicago and San Francisco symphonies, the Cleveland Orchestra, and the Los Angeles Philharmonic. In the field of opera Mr. Denève has conducted productions at the Royal Opera House, the Glyndebourne Festival, La Scala, Netherlands Opera, La Monnaie in Brussels, Paris Opera, the Opéra National de Paris, the Teatro Comunale Bologna, and Cincinnati Opera. He enjoys close relationships with many of the world’s leading artists, including Jean-Yves Thibaudet, Leif Ove Andsnes, Emanuel Ax, Lars Vogt, Nikolaï Lugansky, Yo-Yo Ma, Pinchas Zukerman, Joshua Bell, Leonidas Kavakos, Hilary Hahn, Gil Shaham, and Natalie Dessay.

As a recording artist, Mr. Denève has won critical acclaim for his recordings of the works of Poulenc, Debussy, Roussel, Franck, and Connesson. He is a double winner of the Diapason d’Or, 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. Mr. Denève is a champion of new music and has a special affinity for the music of his native France.

J. Henry Fair

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SoloistThis is Nikolaj Znaider’s fourth subscription appearance since making his Philadelphia Orchestra debut in 2000. A violin soloist who works regularly with the world’s leading orchestras, he is also principal guest conductor of the Mariinsky Orchestra in St. Petersburg, where this season he leads productions of Verdi’s Aida and Mozart’s The Marriage of Figaro and Don Giovanni in addition to symphonic concerts. Last season he made his conducting debut with the Royal Concertgebouw Orchestra and the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome. Conducting highlights this season include the London, Pittsburgh, and RAI National symphonies. He is also a regular guest conductor with the Dresden Staatskapelle; the Munich, Czech, and Los Angeles philharmonics; and the Russian National, Swedish Radio, and Hallé orchestras. This season Mr. Znaider is artist in residence with the Konzerthausorchester Berlin, where he conducts and appears in recital and concert. Performance highlights include solo appearances with the Orchestre de Paris and David Zinman, the Orchestra del Teatro alla Scala and Fabio Luisi, and a European tour with the Southwest German Radio Symphony and Stéphane Denève.

Mr. Znaider’s latest recording for RCA Red Seal is the Elgar Concerto with Colin Davis and the Dresden Staatskapelle. His award-winning recordings include the Brahms and Korngold concertos with the Vienna Philharmonic and Valery Gergiev, the Beethoven and Mendelssohn concertos with Zubin Mehta and the Israel Philharmonic, and concertos by Prokofiev and Glazunov with Mariss Jansons and the Bavarian Radio Symphony. He has also recorded Brahms’s complete works for violin and piano with Yefim Bronfman. For EMI Classics he has recorded the Mozart piano trios with Daniel Barenboim and the Nielsen and Bruch concertos with the London Philharmonic.

Mr. Znaider is passionate about the education of musical talent and for 10 years served as founder and artistic director of the Nordic Music Academy, an annual summer school. He plays the “Kreisler” Guarneri del Gesù (1741) on extended loan to him by the Royal Danish Theater through the generosity of the VELUX Foundations and the Knud Højgaard Foundation.

George Lange

Framing the ProgramThis season The Philadelphia Orchestra is juxtaposing Beethoven’s path-breaking symphonies and concertos with those of the great orchestral master of the 20th century, Shostakovich.

Beethoven’s Violin Concerto is one of the signal works of the composer’s “heroic” period, which also included the “Eroica” and Fifth symphonies. And as with those transformative and challenging works, this Concerto breaks with many of the expectations of a time that valued entertainment and flashy virtuosity. Beethoven aimed for something higher, which is the reason the piece is remembered while every other violin concerto of the time is either forgotten or is on the margins of the repertoire.

Shostakovich was one of the greatest and most prolific symphonists of the 20th century. His 15 works in the genre seem to chart not only the history of the Soviet Union, but also his own fraught experiences as a brilliant composer living and working within a brutal system. What Shostakovich wrote as a precocious teenager grew out of an almost entirely different world from the one he inhabited at the end of his life. The heady, optimistic days after the Revolution had passed through the horrific realities of Stalin to the stagnation and dreariness of the Brezhnev era. His brilliant Tenth Symphony dates from 1953, composed in the immediate aftermath of Stalin’s death. It was his first symphonic work in eight years and helped to initiate a new, more liberated final phase of his career.

Parallel Events1806BeethovenViolin Concerto

1953ShostakovichSymphony No. 10

MusicWeberSymphony No. 1LiteratureArmin and BrentanoDes Knaben WunderhornArtConstableWindermereHistoryFormal dissolution of the Holy Roman Empire

MusicStockhausenElectronic Study ILiteratureFlemingCasino RoyaleArtChagallEiffel TowerHistoryUSSR explodes hydrogen bomb

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The MusicViolin Concerto

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

As he entered his 30s at the turn of the century, Beethoven’s personal life dramatically changed, and so, too, did his music. In letters dating from the fall of 1801 he revealed for the first time the secret of his looming deafness. Despite ever growing professional successes, he lamented how “that jealous demon, my wretched health, has put a nasty spoke in my wheel; and it amounts to this, that for the past three years my hearing has become weaker and weaker.”

The following spring Beethoven moved to the Vienna suburb of Heiligenstadt, where he penned the remarkable “Heiligenstadt Testament,” an unsent letter to his brothers in which he poured out his heart. After describing various social, personal, and professional consequences of his condition, such as that he could no longer hear the sounds of nature, he confessed: “Such incidents brought me almost to despair; a little more and I would have ended my life. Only my art held me back. It seemed to me impossible to leave the world until I had produced all that I felt was within me.”

New Paths The challenges Beethoven faced at this crucial juncture in his life can be sensed in many of the compositions he wrote over the next decade, usually labeled as his “heroic” period. He talked of writing in a “completely new manner” and of a “new path,” producing music that proved increasingly challenging both for performers and audiences. The Third Symphony, the monumental “Eroica,” is a key work in this respect, but his first two symphonies (a genre he came to relatively late) had already been greeted with some skepticism. “Bizzare”—the word is the same in German—crops up more and more often in reviews.

Beethoven initially played it somewhat safer with the genre of the concerto, partly because, as for his model Mozart before him, they were meant for his own use as a virtuoso soloist. While he had held off writing a symphony, concertos came early and his involvement extends beyond the canonic five piano concertos; the “Triple” Concerto for piano, violin, and cello; and the Violin Concerto. During his student years in his native Bonn, and then after moving

to Vienna at age 21, Beethoven experimented with concertos for piano, for violin, and even one for oboe, but these early works are either incomplete or lost. Around 1800 he composed two attractive Romances for violin and orchestra, a sort of preview of coming attractions, specifically of the second movement of the Concerto we hear today. Beethoven played the violin, but he was far from the virtuoso on the instrument that Mozart had been.

A Concerto for a Friend Beethoven’s Violin Concerto challenged the expectations of his contemporaries, who were accustomed more to flashy entertainment in such pieces than to works of sustained substance. It took several decades for the piece to enter the standard repertoire. Beethoven composed it in 1806 in an extremely short time, apparently about a month, for Franz Clement, an important figure in Vienna’s musical scene whom he had long admired. Clement was first violinist at the Theater an der Wien, a position that gave him the opportunity to present an annual concert for his own benefit. On April 7, 1805, he played his own Violin Concerto in D on a program that also included the first public performance of the “Eroica” Symphony. It was for Clement’s concert the next year, given on December 23, that Beethoven wrote his Violin Concerto, which he allegedly completed just before the premiere and which the violinist had to play at sight. The concert opened with an overture by Etienne Méhul followed by the new Concerto. After works by Handel, Mozart, and Cherubini, Clement improvised and then performed a “Sonata on one string played with the violin upside down” before a concluding chorus by Handel.

Viennese audiences were accustomed to virtuoso concertos, works that neither aspired to nor reached the substance of Beethoven. Beethoven’s Concerto was in certain respects influenced by Clement’s own from the previous year, the work that had been paired with the “Eroica.” As with that profoundly challenging symphony, some critics worried that the composer was pursuing the wrong path in this new piece. The Wiener Theater-Zeitung noted that the Concerto was “received with exceptional applause due to its originality and abundance of beautiful passages” and commended Clement’s performance, but followed with a word of caution: “It is feared that if Beethhofen [sic] continues to follow his present course, it will go ill both with him and the public. The music could soon fail to please anyone not completely familiar with the rules and difficulties of the art. … [Listeners

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risk being] oppressed by a multitude of interconnected and overabundant ideas and a continuous tumult of the combined instruments … [and may] leave the concert with only an unpleasant feeling of exhaustion.”

A Closer Look Beethoven establishes an unusually meditative mood at the outset of the Concerto with an expansive orchestral introduction featuring one of his most lyrical themes (Allegro ma non troppo)—indeed, a lovely lyricism and soaring melodies in the highest registers characterize much of the movement. The following Larghetto opens with a hymn-like theme for muted strings before horns and clarinet take over and the violin provides decorative commentary. This movement, in a modified variation form, leads without pause to the lively and dance-like Rondo finale that more overtly showcases virtuosic playing for the soloist.

Beethoven was asked a couple of years later to transform the work into a piano concerto, which was then published in London. While the orchestral parts are the same, the violin solo is arranged for piano. It is not entirely clear how much of this version was actually Beethoven’s own work; not many musicians today find the result persuasive, which means it is rarely performed, although a few recordings are available. The arrangement is of some interest, however, because Beethoven did not write any cadenzas for the Violin Concerto, while he did for the piano arrangement. Neither version was often performed during Beethoven’s life nor even in the 1830s, as the work was widely viewed as “ungrateful” and “unplayable.” The great violinist Joseph Joachim is credited for championing the work beginning in 1844, when, as a 12-year-old virtuoso, he played it with Felix Mendelssohn conducting the London Philharmonic Society. In the absence of any cadenzas by Beethoven, Joachim’s were widely played for many years until displaced by Fritz Kreisler’s, which we hear today.

—Christopher H. Gibbs

Beethoven composed the Violin Concerto in 1806.

Conductor Fritz Scheel and violinist Fritz Kreisler collaborated on the first Philadelphia Orchestra performances of Beethoven’s Violin Concerto, in January 1902. The most recent subscription performances were in January 2012, with Arabella Steinbacher and conductor Robin Ticciati. The work has been performed with the Orchestra by such well-known violinists as Eugène Ysaÿe, Efrem Zimbalist, Joseph Szigeti, Jascha Heifetz, Yehudi Menuhin, Isaac Stern, and Gidon Kremer.

The Orchestra has recorded the work only once, in 1950 for CBS, with Zino Francescatti and Eugene Ormandy.

The Concerto is scored for an orchestra of solo violin, flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

Performance time is approximately 45 minutes.

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The MusicSymphony No 10

Dmitri ShostakovichBorn in St. Petersburg, September 25, 1906Died in Moscow, August 9, 1975

In order to appreciate something of the context in which Shostakovich wrote his Tenth Symphony, and to understand how Soviet authorities, critics, and audiences first viewed the work, we might consider the dramatic public unveilings of his earlier symphonies. The First, premiered when the composer was just 19, made him famous overnight and extended his renown far beyond the Soviet Union as Bruno Walter, Wilhelm Furtwängler, Arturo Toscanini, and other leading conductors championed the youthful work. (Leopold Stokowski gave the American premiere with The Philadelphia Orchestra in 1928.) The Second Symphony came the next year and was entitled “To October—A Symphonic Dedication.” It includes a chorus praising the revolution and Lenin. The Third Symphony, entitled “The First of May,” was another choral and political statement. By the time of his Fourth, in 1936, the 29-year-old Shostakovich had run into serious difficulties with the Soviet government. Stalin’s displeasure at his opera Lady Macbeth of the Mtsensk District had resulted in a scathing reprimand in the official newspaper Pravda. Shostakovich was forced to withdraw the Symphony, a grand Mahlerian work that waited 25 years for its premiere, once Stalin was safely buried. (The Philadelphians gave the first American performance in 1963.)

The Fifth Symphony officially redeemed Shostakovich in 1937 and became his most popular and admired work, an instant “classic.” And though the Sixth (1939) did not fare quite as well, the Seventh, written during the Second World War and performed to great acclaim in Russia and the West in 1942, secured his position as the leading Soviet composer. It landed Shostakovich on the cover of Time. Expectations were great about what he would do next and the Eighth (1943) generally disappointed in its pessimistic tone. Worse, the Ninth, composed in 1945 when Russia’s victory was to be celebrated, proved a modest and witty affair. The number “nine” has weighed heavily on symphonists, not just because of Beethoven’s imposing model, but also because of the superstitions that so many composers seem to die after writing a Ninth (or trying to do so).

A Decade of Symphonic Silence After the criticisms of his Eighth and Ninth, Shostakovich did not attempt another symphony for nearly a decade, during which time things just got worse for him. Together with Prokofiev and other prominent composers, Shostakovich was denounced again in 1948. His major works from these years, such as From Jewish Folk Poetry, the First Violin Concerto, and Fourth and Fifth string quartets, went unperformed, and in most cases were released only after Stalin’s death. Shostakovich was reduced to writing film scores and such patriot fare as the oratorio Song of the Forests, which celebrates the reforestation of the country after the ravages of war and drought.

While these activities helped in a second rehabilitation, his most important compositional statements remained in the drawer, and pressure for him to write an appropriate symphony mounted. Shostakovich knew these aesthetic and cultural issues were, literally, matters of life and death. He had already seen all too many acquaintances, including some quite prominent figures, meet tragic ends. He began writing the Tenth Symphony in the summer of 1953 and completed it quickly. An important and perhaps liberating circumstance had occurred a few months earlier: Stalin died on March 5, 1953. (Prokofiev died the same day.)

An “Optimistic Tragedy” The premiere of any Shostakovich symphony was a major event in the USSR and interest in the Tenth was particularly intense when Evgeny Mravinsky led the work in Leningrad in December 1953. Aram Khachaturian, another composer who had been officially attacked in 1948, called the work “an optimistic tragedy, infused with a firm belief in the victory of bright, life-affirming forces.” Others were not so sure. A three-day discussion took place at the Union of Composers in which Shostakovich expressed his own dissatisfaction with his Symphony, pointing to various deficiencies movement by movement, but stating, “In this work I wanted to convey human feelings and passions.” The Tenth won no official prizes, as Shostakovich’s works often did, although it has since emerged for many listeners as his greatest symphonic achievement.

We can try to guess at what the “human feelings and passions” were in the Symphony. The death of Stalin must have left its mark, and there appears as well to have been a more personal matter. At the time of its composition Shostakovich was enamored with a young student of his, Elmira Nazirova, a 24-year-old pianist who lived in

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Baku. (Shostakovich was then married to his first wife, who would die the following year.) He wrote to Elmira continuously during the gestation and composition of the Symphony, testifying to its progress and his opinions about the work. He also informed her that he was working her name into the music through a musical spelling.

A Closer Look The Tenth is among the more “purely musical” of Shostakovich’s 15 symphonies, four of which use voice and four have titles bestowed by the composer. As he had found effective in earlier works, particularly in his celebrated Fifth Symphony, the four movements are arranged in the order slow-fast-slow-fast. The vast opening Moderato begins from the depths of the lower strings. The expansiveness of the theme, almost Brucknerian in its unfolding, may refer to the similar opening of Liszt’s Faust Symphony. The following movement, Allegro, lasts only four minutes and provides a stark contrast. Mahler and his demonic marches may come to mind, although this is the movement some commentators have associated with Stalin.

The personal meaning of the Allegretto is encoded in the music. This was one of several pieces from the latter part of Shostakovich’s career in which he spelled out his name musically. D[mitri] SCH[ostakowitsch], as it is spelled in German, corresponds to the pitches D, E-flat, C, B natural in German. (Other composers have done similar things since as far back as the Middle Ages, Bach most notably.) Shostakovich’s initials appear at first in the upper woodwinds near the start of the movement. The motto is later taken up by the cellos and basses, which leads to a forte solo horn theme that encrypts Nazirova’s name: The pitches are E-A-E-D-A (corresponding to E-L(a)-Mi-R(e)-A). The two motifs are combined at the end of the movement.

An Andante introduction opens the finale, sustaining the general slow pace of the Symphony and like the first movement growing from the lower strings. After a section for woodwinds, most prominently a lamenting oboe, there is an abrupt headlong charge into a wild Allegro. The second movement is briefly revisited and ultimately Shostakovich’s DSCH motto reappears, pounded out repeatedly in the drums at the brilliant conclusion.

—Christopher H. Gibbs

Shostakovich composed his Symphony No. 10 in 1953.

Eugene Ormandy conducted the first Philadelphia Orchestra performances of the Tenth Symphony, in April 1968. Since then it has appeared on subscription under the direction of Ormandy (twice), Kiril Kondrashin, Erich Leinsdorf, Mark Wigglesworth, Mariss Jansons, Gerard Schwarz, Mstislav Rostropovich, Christoph Eschenbach, and most recently in October 2011 with Charles Dutoit.

The Orchestra has recorded the Tenth Symphony twice: in 1968 with Ormandy for CBS and in 1994 with Jansons for EMI.

The score calls for three flutes (II and III doubling piccolo), three oboes (III doubling Eng-lish horn), three clarinets (III doubling E-flat clarinet), three bassoons (III doubling con-trabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, suspended cymbal, tam-tam, tambourine, triangle, xylo-phone), and strings.

The Symphony runs approximately 50 minutes in performance.

Program notes © 2014. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

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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 compositionChord: The simultaneous sounding of three or more tonesChromatic: Relating to tones foreign to a given key (scale) or chordCoda: A concluding section or passage added in order to confirm the impression of finalityDissonance: A combination of two or more tones requiring resolutionMeter: The symmetrical grouping of musical rhythmsMute: A mechanical device used on musical instruments to muffle the toneOp.: 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.Rondo: 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.).Scale: The series of tones which form (a) any major or minor key or (b) the chromatic scale of successive semi-tonic stepsScherzo: 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.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.Timbre: Tone color or tone qualityTonic: The keynote of a scale

THE SPEED OF MUSIC (Tempo)Allegretto: A tempo between walking speed and fastAllegro: Bright, fastAndante: Walking speedLarghetto: A slow tempoModerato: A moderate tempo, neither fast nor slow

TEMPO MODIFIERSMa non troppo: But not too much

DYNAMIC MARKSForte (f): Loud

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Orchestra HeadlinesPhiladelphia Orchestra Musicians in Concert

The Lower Merion Symphony, led by Philadelphia Orchestra Co-Principal Bassoon Mark Gigliotti, presents a concert on Sunday, March 9, at 3:00 PM at Lower Merion High School in Ardmore. Philadelphia Orchestra pianist Kiyoko Takeuti is the soloist in Beethoven’s Third Piano Concerto; the remainder of the program is Schumann’s First Symphony and Weber’s Overture to Oberon. For more information e-mail info@lowermerionsymphony.org.

Principal Flute Jeffrey Khaner is the guest artist in the Chamber Orchestra of Philadelphia’s concerts on Sunday, March 23, at 2:30 PM and Monday, March 24, at 7:30 PM, in Perelman Theater. The all-Mozart program includes the Symphony No. 17, Flute Concerto No. 2, and Symphony No. 40. For more information visit www.chamberorchestra.org.

The Wister Quartet, which includes former Orchestra Assistant Concertmaster Nancy Bean, Orchestra violinist Davyd Booth, former Assistant Principal Cello Lloyd Smith, and violist Pamela Fay, presents a concert at the German Society of Pennsylvania on Sunday, March 23, at 3:00 PM. The program includes works by Rachmaninoff, Schubert, and Dvorák. Single tickets are $20.00. For more information call 215.627.2332 or visit www.germansociety.org.

The Philadelphia Chamber Ensemble, comprised of current or retired Philadelphia Orchestra members, presents concerts on Friday, March 28, at 8:00 PM and Sunday, March 30, at 2:00 PM at Old Pine Street Church, 412 Pine Street, Philadelphia. The program includes works by Dvorák, Nielsen, and Françaix. Single tickets are $25.00. For more information call 215.542.4890, e-mail info@pecconcerts.org, or visit www.pceconcerts.org.

On Sunday, April 27, at 3 PM, Orchestra musicians Jonathan Beiler and Renard Edwards participate in the 20th annual Woodford Serenade for Wildlife concert, which includes works by Brahms, Ravel, and Sarasate. The concert takes place at Lord of Life Lutheran Church in Tabernacle, NJ. Tickets are $15.00 in advance and $20.00 at the door, and all proceeds benefit the Woodford Cedar Run Wildlife Refuge. For ticket/additional information e-mail info@cedarrun.org or call 856.983.3329.

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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.

March The Philadelphia Orchestra

Fauré’s RequiemMarch 13 & 15 8 PM March 14 2 PMAlain Altinoglu Conductor Michael Stairs Organ Susanna Phillips Soprano Philippe Sly Bass-baritone The Philadelphia Singers Chorale David Hayes Music Director

Gabrieli Canzon septimi toni, No. 2, from Sacrae symphoniae Franck Organ Chorale No. 1 in E major Villa-Lobos Bachianas brasileiras No. 5 Duruflé Four Motets on Gregorian Themes Fauré Requiem

The March 13 concert is sponsored by Ballard Spahr.

Brahms’s FirstMarch 20-22 8 PMHerbert Blomstedt Conductor

Mozart Serenade in B-flat major (“Gran Partita”) Brahms Symphony No. 1

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Jessica Griffin

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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.

Late Seating: Latecomers will not be seated until an appropriate time in the concert.

Accessible Seating: Accessible seating is available for every performance. Please call Ticket Philadelphia at 215.893.1999 for more information. You may also purchase accessible seating online at www.philorch.org.

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.

PreConcert Conversations: PreConcert Conversations are held prior to every Philadelphia Orchestra subscription concert, beginning one hour before curtain. Conversations are free to ticket-holders, feature discussions of the season’s music and music-makers, and are supported in part by the Wells Fargo Foundation.

Lost and Found: Please call 215.670.2321.

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

ManagerMichelle Parkhill, Client Relations

ManagerMariangela Saavedra, Manager,

Patron ServicesGregory McCormack, Training

SpecialistSamantha Apgar, Business

Operations CoordinatorElysse Madonna, Program and

Web 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 OfficeTara Bankard, Lead Patron

Services RepresentativeJayson Bucy, Lead Patron Services

RepresentativeMeg Hackney, Lead Patron

Services RepresentativeJulia Schranck, Lead Patron

Services RepresentativeAlicia DiMeglio, Priority Services

RepresentativeMegan Brown, Patron Services

RepresentativeMaureen Esty, Patron Services

RepresentativeBrand-I Curtis McCloud, Patron

Services RepresentativeScott Leitch, Quality Assurance

Analyst

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