The Philadelphia Orchestra

Giancarlo Guerrero ConductorKirill Gerstein Piano

Barber Medea’s Dance of Vengeance, Op. 23a

Gershwin Piano Concerto in F I. Allegro II. Adagio—Andante con moto III. Allegro agitato

Intermission

Copland Appalachian Spring Suite (1945 version)

Sierra Sinfonía No. 4 I. Moderadamente rápido II. Rápido III. Tiempo de bolero IV. Muy rápido y rítmico

First Philadelphia Orchestra performances—Commissioned by the inaugural Sphinx Commissioning Consortium, whose founding members were The Philadelphia Orchestra; the Cincinnati, Baltimore, Detroit, Grand Rapids, New Jersey, Richmond, Virginia, Nashville, and New World symphonies; the Chicago Sinfonietta; the Rochester Philharmonic; and the Sphinx Organization

This program runs approximately 1 hour, 50 minutes.

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Season 2012-2013Thursday, November 1, at 8:00Friday, November 2, at 2:00Saturday, November 3, 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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ConductorGiancarlo Guerrero is music director of the Nashville Symphony (NSO) and concurrently holds the position of principal guest conductor of the Cleveland Orchestra’s Miami Residency. Last year he led the Nashville Symphony to a Grammy win for a second consecutive year with their recording of American composer Joseph Schwantner’s Concerto for Percussion and Orchestra. His previous recording with the orchestra of Michael Daugherty’s Metropolis Symphony and Deus Ex Machina won three 2011 Grammy awards. A fervent advocate of contemporary music, Mr. Guerrero has collaborated with and championed the works of several composers, including John Adams, John Corigliano, Osvaldo Golijov, Jennifer Higdon, Mr. Daugherty, Roberto Sierra, and Richard Danielpour.

Mr. Guerrero has conducted The Philadelphia Orchestra numerous times since making his debut with the ensemble in 2003 (these current performances mark his Orchestra subscription debut). This season he debuts with the BBC Symphony, the Deutsches Symphonie-Orchester Berlin, and the Norwegian Radio Orchestra. An advocate for young musicians and music education, Mr. Guerrero now returns annually to Caracas, Venezuela, to conduct the Simón Bolívar Symphony and to work with young musicians in the country’s lauded El Sistema music program. This season he will also work with the student orchestras of the Curtis Institute of Music and the Colburn School.

Early in his career Mr. Guerrero worked regularly with the Costa Rican Lyric Opera and in recent seasons has conducted new productions of Bizet’s Carmen, Puccini’s La bohème, and Verdi’s Rigoletto. Future plans include productions at the Houston Grand Opera and Marseille Opera. In February 2008 he gave the Australian premiere of Mr. Golijov’s one-act opera Ainadamar at the Adelaide Festival. From 1999 to 2004 Mr. Guerrero served as associate conductor of the Minnesota Orchestra, where he made his subscription debut in March 2000, leading the world premiere of John Corigliano’s Phantasmagoria (on themes from The Ghosts of Versailles). In June 2004 Mr. Guerrero was honored by the American Symphony Orchestra League with the Helen M. Thompson Award, which recognizes outstanding achievement among young conductors nationwide.

SoloistPianist Kirill Gerstein made his Philadelphia Orchestra debut in 2007, performing Tchaikovsky’s Piano Concerto No. 1 at the Saratoga Performing Arts Center. Since then he has appeared with the Orchestra five times, most recently this past summer at the Gerald R. Ford Amphitheater in Vail under the baton of Yannick Nézet-Séguin (these current performances mark his Orchestra subscription debut). This season Mr. Gerstein also makes subscription debuts with the Boston Symphony, the Montreal Symphony, and the Toronto Symphony. Return engagements include performances with the Indianapolis Symphony, the Oregon Symphony, the Saint Louis Symphony, and the San Antonio Symphony. He will perform in recital for the La Jolla Music Society and at the Eastman School of Music, and tour with long-time chamber music partner cellist Steven Isserlis. Internationally he will make debuts with the Czech Philharmonic, the NDR Symphony in Hamburg, the Berlin Radio Symphony, and the Tonkünstler Orchestra in Vienna.

Mr. Gerstein is the sixth recipient of the prestigious Gilmore Artist Award, presented every four years to an exceptional pianist who, regardless of age or nationality, possesses broad and profound musicianship and charisma and who can sustain a career as a major international concert artist. Since receiving the Award in 2010 Mr. Gerstein has shared his prize through the commissioning of boundary crossing new works by Oliver Knussen, Brad Mehldau, Chick Corea, and Timothy Andres. His other awards include First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, a 2002 Gilmore Young Artist Award, and a 2010 Avery Fisher Grant.

Born in 1979 in Voronezh, in southwestern Russia, Mr. Gerstein first learned piano at a school for gifted children. While studying classical music he taught himself to play jazz by listening to his parents’ extensive record collection. After coming to the attention of vibraphonist Gary Burton, who was performing at a music festival in the Soviet Union, Mr. Gerstein came to the United States at age 14 to study jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. An American citizen since 2003, Mr. Gerstein now divides his time between the United States and Germany, where he has been a professor of piano at the State University of Music and the Performing Arts in Stuttgart since 2006.

Marco B

orggreve

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Framing the ProgramAs America elects its president next week, The Philadelphia Orchestra celebrates our democracy with composers whose music is as varied as the country’s landscape. Samuel Barber, George Gershwin, and Aaron Copland helped forge the “American Sound” of classical music in the first half of the 20th century while contemporary composer Roberto Sierra has expanded that vision with new sounds and compelling references to his Latino heritage.

The impetus for both Barber’s Medea’s Dance of Vengeance and Copland’s Appalachian Spring came from dance, specifically ballets composed in the mid-1940s for the great American choreographer Martha Graham. Between these works we hear Gershwin’s Piano Concerto, originally called New York Concerto. Gershwin built on the fantastic success of his Rhapsody in Blue, written the previous year, by fusing a jazz inspiration with a more classical approach to form.

Puerto Rican-born composer Roberto Sierra is esteemed for the rhythmic propulsion, danceable melodies, and vivid colors of his orchestral music. His new four-movement Sinfonía No. 4 was commissioned by a consortium of orchestras, including The Philadelphia Orchestra, in collaboration with the Sphinx Organization, which supports minority composers.

Parallel Events1925GershwinPiano Concerto in F

1943CoplandAppalachian Spring

1955BarberMedea’s Dance of Vengeance

MusicBergWozzeckLiteratureDos PassosManhattan TransferArtKokoschkaTower BridgeHistoryScopes Trial

MusicShostakovichSymphony No. 8LiteratureHerseyA Bell for AdanoArtRiveraThe Rug WeaverHistoryD-Day landings in Normandy

MusicPistonSymphony No. 5LiteratureNabokovLolitaArtDe ChiricoItalian SquareHistoryChurchill resigns

The MusicMedea’s Dance of Vengeance

Samuel BarberBorn in West Chester, Pennsylvania, March 9, 1910Died in New York City, January 23, 1981

Among American composers, Samuel Barber had perhaps the keenest literary sense of any native artist of his generation. At the Curtis Institute he studied not only music but also English and French literature, and he took courses in German and Spanish as well. His journals suggest that during these years he read widely from Shakespeare, Marlowe, Swift, Sterne, Dickens, Shelley, Keats, Pope, Yeats, Carlyle, Turgenev, Chekov—and the list goes on and on. Several of Barber’s best scores manifest this literary passion, including the Music for a Scene from Shelley, the School for Scandal Overture, and of course his operas and vocal works as well.

First a Ballet One of his most searing orchestral scores was inspired by Euripides’s classic tale of Medea. At the end of World War II Barber received a commission from the Ditson Fund to compose a ballet for Martha Graham, from which grew a piece Graham called The Serpent Heart (subsequently renamed Cave of the Heart). The ballet was introduced in New York at Columbia University’s McMillan Theater on May 10, 1946.

Later Barber produced an orchestral suite from the ballet, first performed by Eugene Ormandy and The Philadelphia Orchestra in December 1947. In 1955 this was revised as a single-movement tone poem consisting only of the music pertaining to the character of Medea. In this form it was introduced by Dimitri Mitropoulos and the New York Philharmonic in 1956.

A Closer Look The anguish of jealousy is something that most of us have experienced, though fortunately not many of us have taken it to the point of murderous rage, however much we might have liked to. We might not approve of homicidal wrath, but our empathy with those who have been spurned makes us sensitive to the plight of someone like Medea, the mythological sorceress whose lover, the adventurous Jason, abandons her for someone of higher social standing. Overwhelmed with the fury of one who “loves too much”—sweet affectionate Medea turns into a frenzied mass murderer.

As a wedding gift she gives Jason’s bride a magical poison robe, which kills the wearer as soon as it’s put

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on. Still not satisfied, she proceeds to murder her own children, just to spite Jason, then leaves Corinth in a chariot drawn by dragons. “The action,” wrote Graham in her synopsis of the ballet, “is focused directly upon the central theme of the myth: the terrible destructiveness of jealousy and of alliance with the dark powers of humanity as symbolized by magic.”

This is how Euripides presents the protagonist’s resolve of vengeance, in a passage that Barber has reproduced in the front of his printed score: Medea: Look, my soft eyes have suddenly filled with tears: / O children, how ready to cry I am, how full of foreboding! / Jason wrongs me, though I have never injured him. / He has taken a wife to his house, supplanting me. … / Now I am in the full force of the storm of hate. / I will make dead bodies of three of my enemies—father, the girl, and my husband! / Come, Medea, whose father was noble, / whose grandfather God of the sun, / go forward to the dreadful act.

The music actually embraces several stages in the development of Medea’s bloody deed, as the composer himself has written: “Tracing her emotions from her tender feelings toward her children, through her mounting suspicions and anguish at her husband’s betrayal and her decision to avenge herself, the piece increases in intensity to close in the frenzied Dance of Vengeance of Medea, the Sorceress descended from the Sun God.”

—Paul J. Horsley

Originally part of a ballet score, Medea’s Dance of Vengeance was extracted from a suite and revised as this tone poem in 1955.

Eugene Ormandy was on the podium for The Philadelphia Orchestra’s first performances of the work, in September 1958. Most recently on subscription the piece was led by William Smith in October 1991.

The score calls for three flutes (III doubling piccolo), two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, side drum, tam-tam, tom-tom, triangle, whip, xylophone), harp, piano, and strings.

Performance time is approximately 13 minutes.

The MusicPiano Concerto in F

George GershwinBorn in Brooklyn, New York, September 26, 1898Died in Hollywood, California, July 11, 1937

Having already made a name for himself with more than a dozen sensational musicals, and having virtually invented a new genre with his “jazz concerto” Rhapsody in Blue of 1924, Gershwin longed to write a big “serious” score that he could call his own. The Rhapsody, after all, had been orchestrated by Ferde Grofé (of Grand Canyon Suite fame), who had worked as an arranger for the Paul Whiteman Band (which had commissioned the Rhapsody). As such, Gershwin’s sense of “ownership” had been less than complete. Thus it was with pride that he forged ahead with the Concerto in F—with a working-title of New York Concerto—which he composed and orchestrated by himself. Completed in late 1925, the piece remains one of the most elusively intriguing concertos by an American.

An Immediate Success “Every day between 2:00 and 6:00 and evenings between 8:00 and 10:00 you will find me diligently writing notes,” wrote Gershwin to his sweetheart, Pauline Heifetz, younger sister of violinist Jascha, in July 1925, “playing piano or praying (you’ve got to pray in Chautauqua) to the God of Melody to please be kind to me and send me some hair-raising ‘blues’ for my second movement.” The young composer was spending part of his summer at the music festival at Chautauqua, New York, and it was there that he had begun composing in earnest the work that conductor Walter Damrosch commissioned of him earlier in the year for performance with the New York Symphony.

After a reading with conductor William Daly at the Globe Theater, the Concerto was premiered at Carnegie Hall and then performed in Washington, Baltimore, and Philadelphia. It was a success everywhere. “Of all those writing music of today,” wrote Samuel Chotzinoff of Gershwin in an oft-quoted review in the New York World, “he alone actually expresses us.” The composer Morton Gould, a friend of Gershwin’s who, 10 years later, would become the rehearsal pianist for the original production of Porgy and Bess, called the Concerto “a unique and highly original piece that bypassed all the fashions and trends.”

A Closer Look Gershwin wrote his own program note for the piece, short and to-the-point:

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The first movement employs the Charleston rhythm. It is quick and pulsating, representing the young, enthusiastic spirit of American life. It begins with a rhythmic motif given out by the kettledrums, supported by other percussion instruments, and with a Charleston motif. … The principal theme is announced by the bassoon. Later, a second theme is introduced by the piano.

The second movement has a poetic nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than in which they are usually treated. The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping to the same pace throughout.

—Paul J. Horsley

The Piano Concerto in F was composed in 1925.

George Gershwin himself was the pianist in the first Philadelphia Orchestra performances of the work, in January 1936; Alexander Smallens was on the podium. The work has been played on regular subscription concerts only three times before this week: in December 1966 with pianist Philippe Entremont and Eugene Ormandy; in September 1998 with Garrick Ohlsson and Wolfgang Sawallisch; and in January 2003 with Jon Kimura Parker and Bobby McFerrin, although it has often been performed on summer concerts at the Mann Center and in Saratoga.

The Orchestra recorded Gershwin’s Piano Concerto for CBS in 1967 with Entremont and Ormandy.

Gershwin scored the Concerto for an orchestra of piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, orchestra bells, snare drum), and strings, in addition to the solo piano.

The work runs approximately 30 minutes in performance.

The MusicAppalachian Spring Suite

Aaron CoplandBorn in Brooklyn, November 14, 1900Died in North Tarrytown, New York, December 2, 1990

Aaron Copland began his career during the 1920s in Paris, where he quickly became one of Nadia Boulanger’s most successful composition pupils. Returning to America, he entered a period in which he explored jazz and various Modernist techniques. But toward the end of the 1930s he found himself increasingly dissatisfied with the state of American music—especially, as he wrote in 1941, “with the relations of the music-loving public and the living composer. … The conventional concert public continued apathetic or indifferent to anything but the established classics. It seemed to me that we composers were in danger of working in a vacuum. I felt it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms.” It was in this spirit that Copland embarked upon a series of enduringly popular works that included the Fanfare for the Common Man, the ballet Rodeo, Lincoln Portrait, and Appalachian Spring.

The Inception and Story Appalachian Spring, composed in 1943-44, quickly became an American classic. The spark for its creation came from the dancer and choreographer Martha Graham. The action of the new ballet, Copland wrote, concerned “a pioneer celebration in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century.” The composer’s description continues thus:

The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, that their new partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house. …

The music of the ballet takes as its point of departure the personality of Martha Graham. … Miss Graham and I [had often] planned to collaborate on a stage work. Nothing might have come of our intentions except for the lucky chance that brought Mrs. Elizabeth Sprague Coolidge to a Graham performance for the first time early in 1942. … She

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invited Martha Graham to create three new ballets for the 1943 annual Fall Festival of the Coolidge Foundation in Washington, D.C., and commissioned three composers—Paul Hindemith, Darius Milhaud, and myself—to compose scores especially for the occasion. After considerable delay, Miss Graham sent me an untitled script. … I began work on the music of the ballet in Hollywood in June 1943, but didn’t complete it until a year later, in June 1944, at Cambridge, Mass.

The premiere took place in Washington a year later than originally planned in October, 1944. The principal roles were danced by Miss Graham, Merce Cunningham, and May O’Donnell. Louis Horst conducted.

A Closer Look Copland continues:

The suite arranged from the ballet contains the following sections: 1. Very slowly. Introduction of the characters, one by one. … 2. Fast. Sudden burst of unison strings in A-major arpeggios starts the action. … 3. Moderate. Duo for the bride and her intended; scene of tenderness and passion. 4. Quite fast. The revivalist and his flock. … 5. Still faster. Solo dance of the bride; presentiment of motherhood. … 6. Very slowly. Transition scene … 7. Calm and flowing. Scenes of daily activity for the bride and her farmer husband. There are five variations on a Shaker theme … published under the title “The Gift to be Simple.” … 8. Moderato. The bride takes her place among her neighbors. At the end the couple are left in their new house.

—Paul J. Horsley

Appalachian Spring was composed from 1943 to 1944.

Eugene Ormandy conducted the first Philadelphia Orchestra performances of the work, on a Student Concert in November 1954, to accompany a performance with the Martha Graham Dance Company. The most recent subscription performances of the Suite were in November 2001, with David Robertson on the podium.

The Philadelphians have recorded Appalachian Spring twice. The full ballet was recorded in 1954 for CBS and the Suite in 1969 for RCA, both with Ormandy.

Copland scored his original ballet for a chamber ensemble of 13 instruments, in which version it is occasionally performed and recorded. Usually it is heard in the expertly scored suite for full orchestra that the composer prepared in the spring of 1945, for two flutes (II doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, percussion (bass drum, claves, orchestra bells, snare drum, suspended cymbal, tabor or long drum, triangle, wood block, xylophone), harp, piano, and strings.

Appalachian Spring runs approximately 25 minutes in performance.

The MusicSinfonía No. 4

Roberto SierraBorn in Vega Baja, Puerto Rico, October 9, 1953Now living in Ithaca, New York

A native of Puerto Rico, Roberto Sierra studied music at the Puerto Rico Conservatory and the University of Puerto Rico before undertaking graduate studies in London (at both the Royal College of Music and London University) and in Utrecht. He then spent three years working and studying with György Ligeti in Hamburg and then returned to Puerto Rico, where he took on administrative roles in the arts community while continuing to compose. Sierra’s music began to emerge onto the international scene in the mid-1980s, beginning with a performance of his first major orchestral work, Júbilo, at Carnegie Hall in 1987. And in 1992 he joined the faculty of Cornell University, where he continues to teach today. He has served as composer-in-residence with the Milwaukee, Puerto Rico, and New Mexico symphonies, and in 2010 he was elected to the American Academy of Arts and Sciences.

The Traditional Mixed with Tropical Flavor In the last decade Sierra has enjoyed a growing reputation as one of the most exciting symphonists of his generation, writing works that blend traditional forms and practices with what he terms a “tropicalization” of musical expression, or the incorporation of Latin and Caribbean rhythms, percussion, and folk styles. But this isn’t merely the superficial application of exotic elements to an essentially Western style. Rather, it embraces a deeper synthesis of Latin and other Western European traditions. Sierra’s Concierto barocco (1998) for example—a work for guitar and orchestra—imagines a meeting between Handel, Vivaldi, and a slave from the New World.

Sierra composed his first three Sinfonías—he keeps the Spanish generic title rather than using the English “symphony”—between 2002 and 2006, and manifests in each of them his interest in cross-cultural expression; the second, for example, is subtitled “Gran Passacaglia” and the third, “La Salsa.” The Sinfonía No. 4, composed from 2008 to 2009, was written on commission from the Sphinx Consortium, a collection of 12 major American orchestras (including The Philadelphia Orchestra) whose founding goal is to promote contemporary music by Black and Latino composers. This was the first commission from the group, and the work has already been performed by

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several consortium orchestras as well as by others from outside the group. (In 2001 The Philadelphia Orchestra gave the world premiere of Sierra’s Concierto para orquesta, one of the ensemble’s centennial commissions.)

A Closer Look Apart from the added “exotic” percussion (marimba, bongos, congas, and claves, for example) Sierra’s orchestration for the Sinfonía No. 4 is fairly traditional. But he is able to create shimmering timbres and exciting sound combinations from this ensemble largely through his sensitivity to Latin and Caribbean musical styles. The Sinfonía opens (Moderadamente rápido) with dance rhythms that recall Baroque music, expressed through harmonies based on an A-minor modality that has been darkened by dissonance. The balance between rhythmic and melodic motifs shifts throughout the movement, favoring one first, then the other. Toward the end of the movement, however, the energetic drive begins to dissipate, and the music slows to an enervated close.

The energy picks up again in the second movement (Rápido), where percussion and brass enliven the musical textures. Functioning like a traditional scherzo in a four-movement symphony, it is constructed in sections that recur throughout, alternating animated and relaxed tempos. Frequently the hemiola and syncopations typical of Latin musical styles underscore the periodic shifts from duple to triple meter.

The composer marks the slow third movement Tiempo de bolero, but it is not the stately bolero dance rhythm heard in Ravel’s famous work. (The movement actually begins in 4/4 time before switching to 3/8.) It is a reference to the Latin ballads of the 1950s that were also frequently labeled “boleros,” with the pizzicato basses playing a descending chromatic line at the opening that simultaneously gives a nod to the ground-bass patterns of the Baroque. Although this movement’s alternations of meter and the sectional arrangement allude to the form of the previous movement, the musical fabric and rhythmic complexity are much more intricate here.

Sierra notes that in the finale (Muy rápido y rítmico) “the main idea is the vibrant Latin claves rhythm [that] supports all the melodic and harmonic materials from beginning to end.” It is a lavishly orchestrated and vibrant Latin dance that has occasionally been excerpted as an encore independent of its origins in this piece.

—Luke Howard

Sierra composed his Sinfonía No. 4 from 2008 to 2009.

These are the first Philadelphia Orchestra performances of the piece, which was commissioned by the Sphinx Commissioning Consortium, whose founding members were The Philadelphia Orchestra; the Cincinnati, Baltimore, Detroit, Grand Rapids, New Jersey, Richmond, Virginia, Nashville, and New World symphonies; the Chicago Sinfonietta; the Rochester Philharmonic; and the Sphinx Organization.

The score calls for piccolo, two flutes, two oboes, English horn, two clarinets (II doubling E-flat clarinet), bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, bongos, clave, congas, cow bell, cymbals, glockenspiel, marimba, snare drum, timbales, vibraphone, xylophone), harp, piano (doubling celesta), and strings.

Performance time is approximately 20 minutes.

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

Musical TermsGENERAL TERMSArpeggio: A broken chord (with notes played in succession instead of together)Bolero: A Spanish national dance in 3-4 time and lively tempo (allegretto)Chord: The simultaneous sounding of three or more tonesChromatic: Relating to tones foreign to a given key (scale) or chordDissonance: A combination of two or more tones requiring resolutionGround bass: A continually repeated bass phrase of 4 or 8 measuresHemiola: The articulation of two units of triple meter as if they were notated as three units of duple meterOp.: 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.Pizzicato: PluckedRondo: A form frequently used in symphonies and concertos for the final movement. It consists of a main section that alternates with a variety of contrasting sections (A-B-A-C-A etc.).Scherzo: Literally “a joke.” Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo in triple time, vigorous rhythm, and humorous contrasts.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, slowAgitato: ExcitedAllegretto: A tempo between walking speed and fastAllegro: Bright, fastAndante: Walking speedCon moto: With motionModeradamente: At a moderate tempoModerato: A moderate tempo, neither fast nor slowRápido: FastRítmico: RhythmicTiempo de bolero: Tempo of a bolero

TEMPO MODIFIERS

Muy: Very

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Prokofiev’s Alexander NevskyNovember 15 & 17 8 PMNovember 16 2 PMStéphane Denève Conductor Michelle DeYoung Mezzo-soprano The Philadelphia Singers Chorale David Hayes Music Director

Prokofiev Alexander Nevsky, with film directed by Sergei Eisenstein

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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Jessica Griffin

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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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