Season The Philadelphia Orchestra

Conductor Jaap van Zweden has regrettably withdrawn from the April 4-6 performances due to family reasons. This Thursday, April 4, and Friday, April 5...
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Conductor Jaap van Zweden has regrettably withdrawn from the April 4-6 performances due to family reasons. This Thursday, April 4, and Friday, April 5, Philadelphia Orchestra Music Director Yannick Nézet-Séguin will conduct. On Saturday, April 6, Associate Conductor Cristian Măcelaru will lead the ensemble in his Philadelphia Orchestra subscription debut. As a result, the repertoire has been changed slightly. Brahms’s Piano Concerto No. 1 and Strauss’s Suite from Der Rosenkavalier will remain on the program, while Schoenberg’s Transfigured Night will be replaced by Strauss’s Death and Transfiguration.

Season 2012-2013 Thursday, April 4, at 8:00 Friday, April 5, at 2:00 Saturday, April 6, at 8:00

The Philadelphia Orchestra Yannick Nézet-Séguin Conductor (April 4 and 5) Cristian Măcelaru Conductor (April 6) Garrick Ohlsson Piano Brahms Piano Concerto No. 1 in D minor, Op. 15 I. Maestoso II. Adagio III. Rondo: Allegro non troppo Intermission Strauss Death and Transfiguration, Op. 24 Strauss Suite from Der Rosenkavalier, Op. 59 This program runs approximately 1 hour, 55 minutes.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 2 PM. Visit www.wrti.org to listen live or for more details.

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The Philadelphia Orchestra Jessica Griffin

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 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, NézetSéguin 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 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. Through concerts, tours, residencies, presentations, and recordings, the Orchestra is 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 and the Kennedy Center while also enjoying a three-week residency in Saratoga Springs, N.Y., and a strong partnership with the Bravo! Vail 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. In February 2013 the Orchestra announced a recording project with Deutsche Grammophon, in which Yannick and the ensemble will record Stravinsky’s The Rite of Spring. For more information on The Philadelphia Orchestra, please visit www.philorch.org.

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Music Director Jessica Griffin

Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. From the Orchestra’s home in Verizon Hall to the Carnegie Hall stage, 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, famous for its glowing strings and homogenous richness, has never sounded better.” Over the past decade, 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. He has appeared with such revered ensembles as the Vienna and Berlin philharmonics; the Boston Symphony; the Accademia Nazionale di Santa Cecilia; the Dresden Staatskapelle; the Chamber Orchestra of Europe; and the major Canadian orchestras. His talents extend beyond symphonic music into opera and choral music, leading acclaimed performances at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival. In February 2013, following the July 2012 announcement of a major long-term collaboration between Yannick and Deutsch Grammophon, the Orchestra announced a recording project with the label, in which Yannick and the Orchestra will record Stravinsky’s The Rite of Spring. His discography with the Rotterdam Philharmonic for BIS Records and EMI/Virgin includes an Edison Award-winning album of Ravel’s orchestral works. He has also recorded several award-winning albums with the Orchestre Métropolitain for ATMA Classique. A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued studies with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. In 2012 Yannick was appointed a Companion of the Order of Canada, one of the country’s highest civilian honors. His other honors include Canada’s National Arts Centre Award; a Royal Philharmonic Society Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and an honorary doctorate by the University of Quebec in Montreal. To read Yannick’s full bio, please visit www.philorch.org/conductor.

Associate Conductor Cristian Măcelaru began his tenure as assistant conductor of The Philadelphia Orchestra with the 2011-12 season. He was promoted to associate conductor in November 2012, and his contract was extended through the 2013-14 season. In this role he conducts special non-subscription performances and covers concerts for Music Director Yannick Nézet-Séguin and many of the ensemble’s guest conductors. A native of Romania, Mr. Măcelaru comes to the Orchestra from the Shepherd School of Music at Rice University, where he served on the conducting staff and completed his Master of Music degree in conducting. Recently Mr. Măcelaru received the 2012 Sir Georg Solti Emerging Conductor Award, a prestigious honor awarded only once before in the foundation’s history. In February 2012 he made his Chicago Symphony subscription debut as a replacement for Pierre Boulez with overwhelming success and rave reviews. Other previous highlights include engagements with the Baltimore, Houston, and San Antonio symphonies and the Civic Orchestra of Chicago. Mr. Măcelaru’s 2012-13 season brings highly anticipated debuts with Montreal’s Orchestre Métropolitain, the Florida Orchestra, the Alabama Symphony, and the Naples Philharmonic, as well as a return to the Baltimore Symphony. Mr. Măcelaru has been a conducting fellow at the Tanglewood Music Center and the Aspen Music Festival and served as assistant conductor at Dallas Opera. He made his Houston Grand Opera debut leading performances of Puccini’s Madame Butterfly in the 2010-11 season. While completing his Bachelor of Music degree at the University of Miami, he was assistant conductor of the University of Miami Symphony, associate conductor of the Florida Youth Orchestra, conductor and founder of the Clarke Chamber Players, and concertmaster of the Miami Symphony. In 2006 he received a Master of Music degree in violin performance from Rice University, during which time he was also a member of the Houston Symphony. A strong supporter of music education, Mr. Măcelaru has served as a conductor with the Houston Youth Symphony, where he created a successful chamber music program. As the founder and artistic director of the Crisalis Music Project, he spearheaded a program in which young musicians perform in a variety of settings, side by side with established, renowned artists. Mr. Măcelaru started studying violin at the age of six in his native Romania. After winning top prizes in the National Music Olympiad of Romania, he attended the Interlochen Arts Academy, where he furthered his studies in both violin and conducting. He resides in Philadelphia with his wife, Cheryl; son, Beniamin; and daughter, Maria.

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Soloist Paul Body

Pianist Garrick Ohlsson is a familiar presence on stage with The Philadelphia Orchestra, having appeared as soloist dozens of times since making his debut in 1970 in a performance of Chopin’s Concerto No. 1 with Eugene Ormandy. It was that same year that he became the only American ever to win the Gold Medal at the Chopin International Piano Competition in Warsaw. Long regarded as one of the world’s leading exponents of the music of Chopin, Mr. Ohlsson commands an enormous repertoire, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him. Highlights of Mr. Ohlsson’s 2012-13 season include performances of Busoni’s rarely programmed Piano Concerto with the European Union Youth Orchestra led by Gianandrea Noseda; concerts with the London Philharmonic; a month-long tour in Australia; performances with the Cleveland Orchestra and Franz Welser-Möst and the Chicago Symphony and Mark Elder; a Kennedy Center appearance with the Iceland Symphony as part of the Center’s Nordic Festival; a tour with the Swedish Chamber Orchestra; and a return to Carnegie Hall with the Boston Symphony and Rafael Frühbeck de Burgos. An avid chamber musician, Mr. Ohlsson has collaborated with the Cleveland, Emerson, Takács, and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the FOG Trio. Passionate about singing and singers, he has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podles´. Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, and Virgin Classics labels. His 10disc set of the complete Beethoven sonatas, for Bridge Records, won a Grammy for Volume 3. A native of White Plains, N.Y., Mr. Ohlsson began piano studies at age eight at the Westchester Conservatory; at 13 he entered the Juilliard School. His musical development was influenced by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne, and Irma Wolpe. In addition to the Chopin Competition Mr. Ohlsson won first prizes at the 1966 Busoni Competition and the 1968 Montreal Competition.

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The Music

Piano Concerto No. 1

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

Like Beethoven before him, Brahms struggled for years with his First Piano Concerto before he was satisfied enough to present it to the public. Part of the challenge lay in conquering problems inherent in the medium itself: The “Romantic piano concerto” as genre was still only half-formed in 1854, the year that the young Brahms began an early version of the work that would become the D-minor Concerto. But a large part of the composer’s difficulty lay in his own stylistic and textural experimentalism, in which the lines between piano, chamber, and symphonic music were often indistinct. Brahms habitually struggled to find the proper instrumental setting for a work. Several of his orchestral and chamber works exist in versions for two pianos, for example, and his piano sonatas, with their crashing rolled chords and unpianistic writing, sound as if they really should have been symphonies. An Enigma The D-minor Concerto caused Brahms more trouble than most things. He initially conceived the stormy piece as a grand sonata for two pianos, in the spring of 1854; its Sturm und Drang was partly an expression of his recent acquaintance with the Schumanns, who had taken him under their wing as a sort of surrogate son that year. (Robert had proclaimed Brahms’s genius in the music magazine he had edited, and Clara had become a vital musical advisor to him.) He began his D-minor “sonata” just weeks after Robert’s suicide attempt; when the 21-year-old Brahms had rushed to Düsseldorf to comfort poor Clara, he quickly fell in love with her. Thus all sorts of emotions were warring within him as he sketched out the piece, and passionate love was certainly among them. He later wrote to Clara that the slow movement was “a lovely portrait of you.” Like many of his large early works, this would-be sonata immediately began to give him problems; he set it aside that summer, declaring to a friend that “two pianos are not really enough for me.” It is important to keep in mind that by this time Brahms’s experience in writing for full orchestra was practically nil: Having studied instrumentation from a purely academic standpoint, he

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Brahms composed his First Piano Concerto from 1854 to 1858. Harold Bauer was soloist in the first Philadelphia Orchestra performances of Brahms’s D-minor Concerto, in January 1914; Leopold Stokowski conducted. The most recent subscription performances were in December 2009, with pianist Nicholas Angelich and Yannick Nézet-Séguin. The Philadelphians have recorded the Concerto twice: in 1961 for CBS with Eugene Ormandy conducting Rudolf Serkin, and in 1983 for EMI with Riccardo Muti and Alexis Weissenberg. A live 1945 performance of the work from Carnegie Hall with Ormandy and William Kapell can be heard on The Philadelphia Orchestra: The Centennial Collection (Historic Broadcasts and Recordings from 19171998). In addition to the solo piano, the work is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings. Performance time is approximately 42 minutes.

would wait until 1857 before a job at Detmold gave him his first opportunity to “try out” works with a real orchestra. Nevertheless in 1855 he tackled an orchestration of the two-piano sonata, working for several months before he reached a second crisis: The piece didn’t work as a symphony, either. Stuck again, he told Clara he felt he had not mastered symphonic technique. The solution to the work’s enigma seems to have come to him in a dream. “I had used my unfortunate symphony for a piano concerto,” as he recounted the dream to Clara, “and was performing it—from the first movement to the Scherzo to the huge and difficult finale. I was completely delighted.” This bizarre image stayed with him; ultimately Brahms replaced the original “huge” finale with the turbulent Rondo we know, and he omitted a scherzo movement that he would later reconstitute (or so scholars have speculated) as the second movement of the German Requiem. A Closer Look The result was, quite simply, one of the most remarkable orchestral works in existence. The opening Maestoso, craggy and rough-hewn, contains some of Brahms’s most beautiful writing for piano, despite Édouard Lalo’s criticism of the work’s “overly symphonic nature.” The D-minor Concerto contains plenty of luxuriant passages where the soloist is allowed to ruminate on long-breathed melodies reserved for the piano. There is death-defying virtuosity as well, including the distinctive octave trills that can turn an unprepared pianist’s right hand into a cramped claw. The Adagio is a florid song for Clara, a young man’s passionate declaration of devotion; but the defiant tone of the final Rondo (Allegro non troppo) suggests that Brahms is not to be bogged down by melancholic or unrealistic dreams. —Paul J. Horsley

The Music Death and Transfiguration

Richard Strauss Born in Munich, June 11, 1864 Died in Garmisch-Partenkirchen, September 8, 1949

Strauss did not invent the orchestral tone poem— that distinction goes to Franz Liszt, who as early as the 1840s composed works he called “symphonic poems”—but he brought to this unusual genre such technical brilliance and philosophical aplomb that today he is often thought of as the founder of the genre. Coming directly on the heels of his first tone poem, namely the brilliant and highly successful Don Juan, the ambitious companion-piece he called Tod und Verklärung (Death and Transfiguration) treated death with all the wonder and grave fascination that one would expect of a 25-year-old, and it helped further the 20th-century notion that even purely instrumental music could be made to express the deepest and most complex of philosophical concepts.

An Autobiographical Work? Though Death and Transfiguration was mostly complete by the time of Don Juan’s premiere in Weimar in November 1889, it was not performed until June 1890, in Eisenach, with the composer conducting. The assertion of the early biographer Richard Specht that it was autobiographical—in the sense that it depicted some delirious illness of the composer—was based partly on a misunderstanding of the work’s chronology. Strauss did indeed fall ill, but not until nearly two years after he completed this piece. Yet it would not be remiss to place the composer in the role of the “hero” of this work, in the same sense in which Don Juan and Ein Heldenleben contain personal references. Strauss recovered from his illness, in fact—neither dead nor, presumably, transfigured— and went on to live another 60 years. Nevertheless he continued to treat the subjects of death and the afterlife again and again in his music—most notably in Also sprach Zarathustra and Ein Heldenleben, and even to some extent in the more comic Don Juan, Till Eulenspiegel’s Merry Pranks, and Don Quixote, not to mention the operas. A Closer Look Still, Death and Transfiguration remains a most potent statement on the nature of death and dying. It began with an idea, which the composer’s friend Alexander Ritter formed into a brief poem that outlined the “program.” This poem was later expanded into the 62-line verse that was printed in the first edition of the Tod und Verklärung score. In 1894 Strauss summarized the essence of the verse in a letter— where some of the autobiographical elements of the work can be detected: Six years ago it occurred to me to present, in the form of a tone poem, the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible agonies; his limbs shake with fever.

As the attack passes and the pains leave off, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains already begin to return, there appears to him the fruit of his life’s path, the conception, the ideal which he has sought to realize, to present artistically, but which he had not been able to complete, since it is not for man to be able to accomplish such things. The hour of death approaches, the soul leaves the body in order to find gloriously achieved in everlasting space those things which could not be fulfilled here below. All of this is depicted through specific programmatic elements. The work begins with atmospheric music representing the sick and suffering man, whose heartbeat is an irregular pulse heard alternately in the strings and timpani at the outset. Several contrasting themes depict various aspects of the man’s character and progress, and a bright, yearning descent in the solo oboe is sounded as he thinks back upon his youth. But suddenly his violent agony returns with an explosive pang, as expressed through music that is at once agitated and contrapuntal, and is then overcome in a resolute tutti theme of triumph. The road to transcendence is the famous ascending subject representing the hero’s ideological transfiguration; it is this tune that returns several times to represent stages in the hero’s achievement of truth. (Many years later, it would show up in the valedictory strains of “Im Abendrot” from the composer’s Four Last Songs.) The central section, a development of sorts, features a series of resolutions and hopes, climaxing in a soaring ascent that nearly overcomes the man’s sickened heart. Each climax results in a restatement of the “ideology” theme, until death’s inevitability approaches, and the hero achieves transcendence in a luminous blaze of C major. —Paul J. Horsley Death and Transfiguration was composed from 1888 to 1889. Strauss himself conducted The Philadelphia Orchestra’s first performances of the work, in March 1904, in a series of concerts that also featured the appearance of his wife, Pauline de Ahna Strauss, in songs by her husband. Most recently on subscription concerts the piece was led by Neeme Järvi, in November 2006. The Philadelphia Orchestra recorded Death and Transfiguration five times: in 1934 for RCA with Leopold Stokowski; in 1942 for RCA with Arturo Toscanini; in 1944 and 1959 for CBS with Eugene Ormandy; and in 1978 for RCA with Ormandy. Strauss’s score calls for an orchestra of three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (tam-tam), two harps, and strings. The work runs approximately 24 minutes in performance.

Program notes © 2013. All rights reserved.

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The Music

Suite from Der Rosenkavalier

Richard Strauss Born in Munich, June 11, 1864 Died in GarmischPartenkirchen, September 8, 1949

“Light, flowing tempi,” wrote Strauss of the manner in which one should approach the performance of his opera Der Rosenkavalier, “without compelling the singers to rattle off the text. In a word: Mozart, not Lehár.” Indeed Strauss’s incomparable opera has a uniquely lyrical quality that for many listeners is more serious than comic—perhaps the 18th-century term “semi-seria” should be called into service here, a word that was used to describe comic opera with a foundation of profundity. It is not coincidental that Mozart’s “semi-serious” opera The Marriage of Figaro comes to mind, for it clearly served as a model for Rosenkavalier in a number of respects. Strauss composed his opera from 1909 to 1910, working closely with his librettist, the great poet Hugo von Hofmannsthal; it was the second of their six splendid collaborations, and from an artistic standpoint it was the most successful. Already lionized by the German public—partly as a result of the immense popularity of his salacious shocker Salome—Strauss was surprised to see the success of Rosenkavalier nearly surpass that of his earlier tragedy. First performed at the Dresden Court Theater in January 1911, it was gobbled up by the public and snatched up immediately by theaters all over Europe. To this day it remains Strauss’s most popular opera. Part Bedroom Farce, Part Bourgeois Satire Set in the mid-18th-century Vienna of Empress Maria Theresa, Rosenkavalier is permeated with waltz—even though, strictly speaking, the waltz as genre did not come into being until later, and thus its appearance here was somewhat anachronistic. The work is part bedroom farce on the scandalous order of Mozart’s Figaro, part archetypical bourgeois satire in the Molière vein. Adapted from a French novel by Louvet de Couvray (a contemporary of Beaumarchais, on whose work Mozart and Lorenzo Da Ponte based Figaro), it is a tale as full of intrigues and subplots as any 18th-century comedy. On the surface it is simply a story of bourgeois manners surrounding love, marriage, and alliances of noble families created through arranged (and often loveless) marriages; beneath the froth, however, are serious musings on the nature of fidelity, kinship, aging, and altruism.

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At the center of the drama is the Marschallin Marie Thérèse, who at the opening of the opera (and of the Suite heard on today’s concert) is engaged in a love-tryst with the strapping young Count Rofrano (Octavian)—while her husband, the Field Marshal, is away on duty. Later that same day her cousin, the oafish Baron von Ochs, comes to visit, announcing that he would like to marry Sophie, the young daughter of the Faninal family; he aims to propose to her by presenting her with a silver rose. The Marschallin suggests sending young Octavian as envoy to present the rose, and Ochs agrees. In the second act, when the young man presents the rose to the lovely Sophie, the two fall immediately in love. (It is Octavian, then, who is the “rose-knight,” or Rosenkavalier. Because of his youth, his is a “trousers role,” sung by a mezzosoprano.) Octavian and Ochs duel for Sophie’s love, and the younger man wounds Ochs’s arm. The third act begins with a typical farce designed to “teach Ochs a lesson,” complete with an attempted seduction by Octavian, dressed in drag as “Mariandel.” At the scene’s culmination, in which policemen are called in to shame the Baron, the wise and authoritative Marschallin breaks in to restore order. Renouncing her own dalliance with the young man (she knows he will ultimately leave her for a younger woman anyway), the worldly Marie Thérèse gives Sophie and Octavian her blessing, content with the knowledge that the couple will marry for love and not—as in her own case—for reasons of expediency. A Closer Look The music of Rosenkavalier is full of wistful romance, with a palpable undercurrent of tristesse, an awareness of life’s brevity. Several orchestral suites have been spawned from this glorious music, including a background score for a silent-film version of the opera prepared in 1926 by film assistants and conducted (rather reluctantly) by Strauss himself. The composer arranged a set of waltzes from the opera for concert performance, but was never moved to gather a more broadly encompassing suite of the most important moments of the work. In 1945 the conductor Artur Rodzinski prepared an orchestral suite for performance with the New York Philharmonic, which was possibly approved by Strauss and quickly became a favorite of Eugene Ormandy and of Philadelphia Orchestra audiences. (Rodzinski’s authorship of this arrangement is subject to dispute. Ormandy’s own score of the Suite has been inscribed with the following: “Opera score made into a suite. [Arr. by] Rodzinski?, Ormandy?, Dor[ati]?” This score includes paste-ins and written-out transitions, suggesting that it had been used

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Der Rosenkavalier was composed from 1909 to 1910.

in modular fashion by guest conductors, each of whom altered it according to his own taste.)

Eugene Ormandy conducted the first Philadelphia Orchestra performances of the Rosenkavalier Suite, in February 1945. The work was a favorite of his, and he performed it many times, especially on tour. Its most recent appearance on a subscription performance was in November 2010, with Rafael Frühbeck de Burgos on the podium.

In the version published by Boosey & Hawkes in 1945, the Rosenkavalier Suite comprises much of the Prelude to Act I; the presentation of the silver rose (accompanied by the striking and justly famous chromatic chords consisting of piccolo, flutes, celesta, harp, and solo violins); the arrival of Baron von Ochs in Act II; the second-act waltzes; and finally the duet (the “Ist ein Traum” culmination of the love drama—possibly the opera’s most beautiful music); the trio; and the big waltz from Act III. —Paul J. Horsley

The Philadelphians recorded the work four times, all with Ormandy: in 1947, 1958, and 1964 for CBS, and in 1974 for RCA. The score calls for three flutes (III doubling piccolo), three oboes (III doubling English horn), three clarinets (III doubling E-flat clarinet), bass clarinet, three bassoons (III doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, ratchet, snare drum, tambourine, triangle), two harps, celesta, and strings. Performance time is approximately 20 minutes.

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

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Musical Terms GENERAL TERMS Atonality: A term used to describe music that is not tonal, especially organized without reference to key or tonal center Cadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolution Cadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or composition Chord: The simultaneous sounding of three or more tones Chromatic: Relating to tones foreign to a given key (scale) or chord Coda: A concluding section or passage added in order to confirm the impression of finality Dissonance: A combination of two or more tones requiring resolution Meter: The symmetrical grouping of musical rhythms Octave: The interval between any two notes that are seven diatonic (non-chromatic) scale degrees apart Op.: 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. 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-BA-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 steps 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. Serialism: Music constructed according to the principle pioneered by Schoenberg in the early 1920s, whereby the 12 notes of the scale are arranged in a particular order, forming a series of pitches that serves as the basis of the composition and a source from which the musical material is derived Sonata: An instrumental composition in three or four extended movements

contrasted in theme, tempo, and mood, usually for a solo instrument 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. Sturm und Drang: Literally, storm and stress. A movement throughout the arts that reached its highpoint in the 1770s, whose aims were to frighten, stun, or overcome with emotion. Trill: A type of embellishment that consists, in a more or less rapid alternation, of the main note with the one a tone or half-tone above it 12-tone: See serialism THE SPEED OF MUSIC (Tempo) Adagio: Leisurely, slow Allegro: Bright, fast Maestoso: Majestic TEMPO MODIFIERS Non troppo: Not too much

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April

The Philadelphia Orchestra Jessica Griffin

Tickets are disappearing fast for these amazing concerts! Order your tickets today.

Tchaikovsky and Prokofiev April 12 2 PM April 13 8 PM Jaap van Zweden Conductor Tchaikovsky Souvenir de Florence, for string orchestra Prokofiev Symphony No. 5

Bach and His Brandenburgs April 18 & 20 8 PM April 19 2 PM Nicholas McGegan Conductor Bach Brandenburg Concerto Nos. 1-4 Bach Orchestral Suite No. 3 The April 18 concert is sponsored by Medcomp.

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.

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Tickets & Patron Services Subscriber Services: 215.893.1955 Call Center: 215.893.1999 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. Late Seating: Latecomers will not be seated until an appropriate time in the concert. Wheelchair Seating: Wheelchair seating is available for every performance. Please call Ticket Philadelphia at 215.893.1999 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, firstserved basis. Large-Print Programs: Large-print programs for every subscription concert are available on each level of the Kimmel Center. 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 ticketholders, 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 lastminute tickets available. Call Ticket Philadelphia at 215.893.1999 or stop by the Kimmel Center Box Office.

Ticket Philadelphia Staff Gary Lustig, Vice President Jena Smith, Director, Patron Services Dan Ahearn, Jr., Box Office Manager Catherine Pappas, Project Manager Mariangela Saavedra, Manager, Patron Services Joshua Becker, Training Specialist Kristin Allard, Business Operations Coordinator Jackie Kampf, Client Relations Coordinator Patrick Curran, Assistant Treasurer, Box Office Tad Dynakowski, Assistant Treasurer, Box Office Michelle Messa, Assistant Treasurer, Box Office Patricia O’Connor, Assistant Treasurer, Box Office Thomas Sharkey, Assistant Treasurer, Box Office James Shelley, Assistant Treasurer, Box Office Jayson Bucy, Lead Patron Services Representative Fairley Hopkins, Lead Patron Services Representative Meg Hackney, Lead Patron Services Representative Teresa Montano, Lead Patron Services Representative Alicia DiMeglio, Priority Services Representative Megan Brown, Patron Services Representative Julia Schranck, Priority Services Representative Brand-I Curtis McCloud, Patron Services Representative Scott Leitch, Quality Assurance Analyst

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