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The Philadelphia Orchestra City of Light and Music:The Paris Festival, Week 2

Yannick Nézet-Séguin ConductorLouis Lortie Piano

Chopin Piano Concerto No. 1 in E minor, Op. 11 I. Allegro maestoso II. Romanze: Larghetto III. Rondo: Vivace

Intermission

Stravinsky Petrushka (1947 version) I. The Shrovetide Fair (First Tableau): The Magic Trick—Russian Dance II. Petrushka’s Room (Second Tableau) III. The Moor’s Room (Third Tableau): Dance of the Ballerina—Waltz IV. The Shrovetide Fair, Toward Evening (Fourth Tableau): Dance of the Nursemaids—Dance of the Coachmen and the Stable Boys—The Mummers

This program runs approximately 1 hour, 50 minutes.

Stravinsky’s Petrushka is being recorded live for future release by Deutsche Grammophon. We ask for your cooperation in making this project a success. Please make every effort to minimize noise during the concert.

The January 21 concert is sponsored by Medcomp.

The January 21 concert is also sponsored byMs. Alexandra Edsall and Mr. Robert Victor.

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

Season 2016-2017Thursday, January 19, at 8:00Friday, January 20, at 2:00Saturday, January 21, at 8:00

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Steven Spielberg’s film E.T. the Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes … but the performances, particularly by the children and by E.T. himself, are so honest, timeless, and true, that the film absolutely qualifies to be ranked as a classic.

What’s particularly special about today’s concert is that we’ll hear one of our great symphony orchestras, The Philadelphia Orchestra, performing the entire score live, along with the complete picture, sound effects, and dialogue.

I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event … and I hope that today’s audience will find great joy in experiencing this magical film.

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The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage. The Orchestra is 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’s connection to the Orchestra’s musicians has been praised by both concertgoers and critics since his inaugural season in 2012. Under his leadership the Orchestra returned to recording, with two celebrated CDs on the prestigious Deutsche Grammophon label, continuing its history of recording success. The Orchestra also reaches thousands of listeners on the radio with weekly Sunday afternoon broadcasts on WRTI-FM.

Philadelphia is home and the Orchestra continues to discover new and inventive ways to nurture its relationship with its loyal patrons at its home in the Kimmel Center, and also with those who enjoy the Orchestra’s area performances at the Mann Center, Penn’s Landing, and other cultural, civic, and learning venues. The Orchestra maintains a strong commitment to collaborations with cultural and community organizations on a regional and national level, all of which create greater access and engagement with classical music as an art form.The Philadelphia Orchestra serves as a catalyst for cultural activity across Philadelphia’s many communities, building an offstage presence as strong as its onstage one. With Nézet-Séguin, a dedicated body of musicians, and one of the nation’s richest arts ecosystems, the Orchestra has launched its HEAR initiative, a portfolio of integrated initiatives that promotes Health, champions music Education, eliminates barriers to Accessing the orchestra, and maximizes

impact through Research. The Orchestra’s award-winning Collaborative Learning programs engage over 50,000 students, families, and community members through programs such as PlayINs, side-by-sides, PopUP concerts, free Neighborhood Concerts, School Concerts, and residency work in Philadelphia and abroad. Through concerts, tours, residencies, presentations, and recordings, The Philadelphia Orchestra is a global ambassador for Philadelphia and for the US. Having been the first American orchestra to perform in China, in 1973 at the request of President Nixon, the ensemble today boasts a new partnership with Beijing’s National Centre for the Performing Arts and the Shanghai Oriental Art Centre, and in 2017 will be the first-ever Western orchestra to appear in Mongolia. The Orchestra annually performs at Carnegie Hall while also enjoying summer residencies in Saratoga Springs, NY, and Vail, CO. For more information on The Philadelphia Orchestra, please visit www.philorch.org.

The Philadelphia Orchestra

Jessica Griffin

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Music DirectorMusic Director Yannick Nézet-Séguin is now confirmed to lead The Philadelphia Orchestra through the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he becomes music director of the Metropolitan Opera beginning with the 2021-22 season. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of the Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fifth season include an exploration of American Sounds, with works by Leonard Bernstein, Christopher Rouse, Mason Bates, and Christopher Theofanidis; a Music of Paris Festival; and the continuation of a focus on opera and sacred vocal works, with Bartók’s Bluebeard’s Castle and Mozart’s C-minor Mass.

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He was also principal guest conductor of the London Philharmonic from 2008 to 2014. 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 Philadelphia Orchestra returned to recording with two CDs on that label. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique. In Yannick’s inaugural season The Philadelphia Orchestra returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, Musical America’s 2016 Artist of the Year, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music in Philadelphia, and Westminster Choir College of Rider University in Princeton, NJ.

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

Chris Lee

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SoloistFrench-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia, and the United States. He has performed complete Beethoven sonata cycles at London’s Wigmore Hall and Berlin’s Philharmonie. As both pianist and conductor with the Montreal Symphony, he has performed all five Beethoven concertos and all of the Mozart concertos. He has won widespread acclaim for his interpretation of pieces by Ravel and Chopin, playing the complete works of Ravel in London and Montreal for the BBC and CBC. He is renowned all over the world for his performances of the complete Chopin Etudes. He has appeared with the world’s leading conductors, including Riccardo Chailly, Lorin Maazel, Jaap Van Zweden, Kurt Masur, Seiji Ozawa, Kurt Sanderling, Neeme Jarvi, Andrew Davis, Mark Elder, Wolfgang Sawallisch, and Charles Dutoit. He made his Philadelphia Orchestra debut in 1988 at the Mann Center and his subscription debut in 1993, both with Mr. Dutoit.

Mr. Lortie celebrated the bicentennial of Liszt’s birth in 2011 by performing the complete Annees de pelerinage at international music festivals and, later, at Carnegie Hall. His Chandos recording of this monumental work was named one of the 10 best of 2012 by the New Yorker. He has made more than 30 recordings for Chandos, covering repertoire from Mozart to Stravinsky and also including the complete Beethoven sonatas. Recent recordings include Lutosławski’s Piano Concerto and Paganini Variations with Edward Gardner and the BBC Symphony; a disc of Liszt transcriptions; the complete concertos of Poulenc with Mr. Gardner and the BBC Philharmonic; and, with Hélene Mercier, Rachmaninoff’s complete works for two pianos.

Mr. Lortie made his debut with the Montreal Symphony at the age of 13; three years later his first appearance with the Toronto Symphony led to a historic tour of China and Japan. In 1992 he was named Officer of the Order of Canada and received both the Order of Quebec and an honorary doctorate from Université Laval. He has lived in Berlin since 1997 and also has homes in Canada and Italy. In October 2016 he became the master in residence at the Queen Elisabeth Music Chapel in Brussels.

Elias

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Framing the ProgramThe Philadelphia Orchestra’s Paris Festival continues with a program featuring two composers born abroad who moved to the City of Light to make a home and build a career.

Frédéric Chopin was born near Warsaw to a French father and a Polish mother. His dazzling skills as pianist and composer captivated audiences in his homeland, where as a teenager he wrote both of his piano concertos. At age 21 he moved to Paris, where he spent the rest of his relatively short life. The Concerto No. 1 in E minor became his musical calling card, first in his native land, then in Vienna, Germany, and finally in his new home.

Some 80 years later Igor Stravinsky likewise moved to the French capital from the Slavic east, in his case from St. Petersburg. In Paris the influence of French Impressionism, particularly the music of Claude Debussy, merged with Stravinsky’s Russian training and folkloric traditions. This found brilliant expression in the three revolutionary works he composed for Sergei Diaghilev’s Ballets Russes: The Firebird, Petrushka, and The Rite of Spring. Today we hear Petrushka, about a puppet character who comes to life—with complicated consequences.

Parallel Events1830ChopinPiano Concerto No. 1

1911StravinskyPetrushka

MusicBerliozSymphonie fantastiqueLiteratureTennysonPoems, Chiefly LyricalArtDelacroixLiberty Guiding the PeopleHistoryIndian Removal Act signed into law

MusicStraussDer RosenkavalierLiteratureWhartonEthan FromeArtBraqueMan with a GuitarHistoryChinese Republic proclaimed

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The MusicPiano Concerto No. 1

Frédéric ChopinBorn in Żelazowa Wola (near Warsaw), March 1, 1810Died in Paris, October 17, 1849

In what turned out to be a successful bid to boost his professional career in his native Poland, the teenage Chopin did what had worked for Mozart, Beethoven, and many others before him: He decided to write pieces for piano and orchestra that he could play at public concerts. In this way he would display his gifts as both instrumentalist and composer, and prove that he was more than simply a pianist.

By this time Chopin had already written dozens of solo keyboard pieces, but they were generally aimed for domestic consumption, not for concerts where audiences expected grander orchestral and vocal fare, usually presented in a pleasing mixed variety. In fact, at the premiere of the Concerto we hear today, an aria and chorus were performed in between the first and second of its three movements, a not uncommon practice at the time. In addition to the two concertos Chopin wrote in 1829-30, he produced other somewhat less familiar works for piano with orchestra, including Variations on Mozart’s “Là ci darem la mano,” a Grand Fantasy on Polish Airs, and Krakowiak. The Mozart Variations won Robert Schumann’s enthusiastic support in a famous review that stated: “Hats off, Gentleman, a genius!”

Two Youthful Concertos Due to the order of their eventual publication, the chronology of Chopin’s E-minor and F-minor concertos is actually reversed, although in any case both were written within the space of less than a year. (The numbering of Beethoven’s first two piano concertos is similarly switched.) Chopin began composing the “Second” Concerto in F minor, Op. 21, in the fall of 1829, upon returning from triumphant appearances in Vienna, and gave its premiere at the National Theater in Warsaw on March 17, 1830. The immediate success the work enjoyed—as well as acclaim for Chopin’s playing—led to a repeat performance five days later and prompted the composer to start writing the Concerto in E minor, Op. 11.

By the end of the summer the new concerto was finished and ready for its premiere at the same venue in October. The concert proved to be Chopin’s farewell to his native Poland; he never played there again, although he had no

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way of knowing that at the time. He again scored a great success, as he described in a letter the next day: “I did not have the slightest trace of stage fright and I played as if I were alone. Everything went well. The hall was full. The first piece was the symphony by Görner. Then came yours truly with the Allegro in E minor [the first movement]; on the Streicher grand piano it seemed to play itself. Ear-splitting ‘Bravos.’” After the aria with chorus came the last two movements of the Concerto.

Three weeks later Chopin left Poland on his way to Vienna, where he performed the E-minor Concerto, before eventually settling in Paris, the city in which he would spend the rest of his life. He played the E-minor Concerto in Breslau, Vienna, Munich, and on various occasions in France in the 1830s.

Critical Debates Loved from the start by pianists and audiences, both of Chopin’s concertos have suffered some in critical assessment. The charge is that these are early works by a composer not yet fully comfortable handling large-scale forms or orchestration. Hector Berlioz’s reaction was typical: “In Chopin all the interest is concentrated on the piano part; the orchestra in his piano concertos is merely a cold, almost superfluous accompaniment.”

While there is some justice to this criticism (the orchestra tends to do rather little when the piano is present and otherwise asserts itself mainly in loud tutti passages), it may not be entirely appropriate to judge Chopin either by the standards of Beethoven’s earlier symphonic concertos or by the later Romantic essays of his great contemporaries, such as Schumann and Liszt. Orchestral parts had to be fairly simple to accommodate traveling virtuosos who often had little (or even no) rehearsal with local orchestras. Chopin’s model and competition in 1829-30 would have been the virtuoso fare of pianist/composers like Friedrich Kalkbrenner (to whom Chopin dedicated the E-minor Concerto), Ignaz Moscheles, and Johann Nepomuk Hummel, figures who are barely remembered today and whose concertos Chopin himself played.

A Closer Look The opening Allegro maestoso uses the so-called double exposition typical of Classical concertos in which the orchestra first presents the thematic material and the soloist waits some time before re-presenting it. In fact Chopin has the soloist wait such a long time that conductors occasionally abridge the orchestral section. (This rarely happens any longer, but if

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one listens to the 1937 recording by Arthur Rubinstein, for example, the opening tutti is cut from about four minutes to just one.) Chopin’s coloratura keyboard writing, reminiscent in some respects to the vocal style of Vincenzo Bellini’s operas, is already apparent in this movement.

Of the second movement (Larghetto), Chopin wrote to his friend Tytus Woyciechowski that “it was not meant to create a powerful effect; it is rather a Romance, calm and melancholy, giving the impression of someone looking gently toward a spot that calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening. Hence the accompaniment is muted; that is, the violins are muffled by a sort of comb that sits over the strings and gives them a nasal and silvery tone. I wonder if that will have a good effect. Well, time will tell.”

The finale (Vivace), as in the F-minor Concerto, is a Polish dance, in this case the krakowiak. During rehearsals, Chopin remarked, “The Rondo, I think, will go down well with everyone.” And so it does.

—Christopher H. Gibbs

Chopin composed his E-minor Concerto in 1830.

Ossip Gabrilowitsch was the soloist in The Philadelphia Orchestra’s first performance of the piece, in December 1902; Fritz Scheel conducted. The work’s most recent appearance on subscription was in November 2007, with Marc-Andre Hamelin as soloist and Jiří Bělohlávek on the podium. Many of the great pianists have performed the Concerto with the Philadelphians, including Josef Hofmann, Arthur Rubinstein, Claudio Arrau, Emil Gilels, Van Cliburn, Garrick Ohlsson, Murray Perahia, and Emanuel Ax.

The Philadelphia Orchestra has recorded Chopin’s First Piano Concerto five times, all with Eugene Ormandy: for CBS in 1952 with György Sándor, in 1961 with Alexander Brailowsky, and in 1964 with Gilels, and for RCA in 1969 with Cliburn and in 1980 with Ax.

The score calls for solo piano, two flutes, two clarinets, two oboes, two bassoons, four horns, two trumpets, trombone, timpani, and strings.

The First Concerto runs approximately 40 minutes in performance.

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The MusicPetrushka

Igor StravinskyBorn in Lomonosov, Russia, June 17, 1882Died in New York City, April 6, 1971

After the success in 1910 of his first ballet, Zhar-ptitsa (known in French as L’Oiseau de feu and in English as The Firebird), Stravinsky began to plan his next work, which was to be a ballet taking as its subject the fertility rites of pagan Russia. But he realized that composing such a score would be a “long and difficult task” and so decided “to refresh myself by composing an orchestral piece in which the piano would play the most important part—a sort of Konzertstück.” (Of course, Stravinsky was right: His sketches for Vesna svyashchennaya—better known as The Rite of Spring—testify to the almost superhuman concentration that the composer had to summon within himself in order to complete this transcendent score in 1913.) Searching for a title for his concert piece, whose subject the composer described as a “droll, ugly, sentimental, shifting personage who was always in an explosion of revolt,” Stravinsky suddenly hit upon a solution: “One day I leapt for joy. I had indeed found my title—Petrushka, the immortal and unhappy hero of every fair in all countries.”

From Orchestra Piece to Ballet Score Who, or what, exactly, is this Petrushka? A venerable comic figure who is called Pulcinella in Italy and Punch in England, a figure of indignation and violence, a trickster whose tricks all too often turn back upon himself. In Stravinsky’s native city of St. Petersburg, the petrushka shows in their colorful booths were played at the fairs put on during Shrovetide, that midwinter period of uninhibited carnival that occurred a week before the austerities of the penitential season of Lent. As music historian Richard Taruskin writes, “The earliest account of what is arguably a petrushka play is found in a book published in 1636 by Adam Olearius, the Dutch Ambassador to the Russian court, who gives both a written description and a drawing of a puppet performance.” By 1830, the period in which Stravinsky’s ballet is set, the influence of Italian commedia dell’arte had considerably modified the ancient petrushka plays.

Once Stravinsky sharpened the focus of his invention by embracing the figure of Petrushka, he quickly completed two sections of the score, including the scintillating Russian Dance. Sergei Diaghilev, the great impresario who

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founded the Ballets Russes and who had commissioned The Firebird, visited Stravinsky in Switzerland to inquire after the progress of what would become The Rite of Spring. Instead of sketches for that score, however, Stravinsky played to an entranced Diaghilev the completed sections of his Konzertstück about Petrushka. Diaghilev grasped instantly the potential of this music for ballet, forcefully persuading the composer to transform it into a dramatic work.

Diaghilev then brought Stravinsky together with Alexander Benois, the artist and set designer, and the choreographer of The Firebird, Mikhail Fokine. The eldest of this group, Benois remembered well the Shrovetide fairs of his childhood in St. Petersburg and sketched colorful sets and costumes as well as helped to devise its scenario. Fokine’s innovative choreography violated the traditional suavity of ballet by creating jerky, marionette-like movements for the incandescent Vaslav Nijinsky, the star dancer of the Ballets Russes, who created the title role. The coruscating brilliance of Stravinsky’s orchestration is unparalleled.

Given the strong and conflicting aesthetic opinions of these three collaborators, it is hardly surprising that the scenario they wrote for Petrushka contains a healthy dollop of ambiguity: how, for example, can a puppet have a ghost that, like Till Eulenspiegel in Richard Strauss’s tone poem, returns after death to have the last word? Far from detracting from the dramatic impact of the ballet, however, this ambiguity allows the audience to enter imaginatively into the action themselves.

The first tableau seems to be a realistic recreation of a Shrovetide fair in St. Petersburg, but this expectation is transmogrified once the sinister Magician enters and commands three puppets to dance. At this point the audience is ushered into the fantastic realm of Russian symbolism; as Andrew Wachtel writes, “by combining the realistic and fantastic worlds in the finale, the authors called the very distinction between the stage world and the real world into question.” Audiences were enchanted rather than disconcerted: Petrushka was an immense success at its Paris premiere by the Ballets Russes on June 13, 1911, in the Théâtre du Châtelet. Since then Petrushka has never left the ballet repertory.

A Closer Look The action of Petrushka unfolds over four tableaux. The curtain rises upon a set that evokes Admiralty Square in St. Petersburg, replete with a puppet theater with closed curtain, a carousel, and a boisterous

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Petrushka was composed from 1910 to 1911 and the orchestration was revised in 1947.

Stravinsky himself conducted the first Philadelphia Orchestra performances of the work, in January 1925. Christian Macelaru led the most recent subscription performances in December 2013, in the original 1911 version.

The Philadelphians have recorded Petrushka four times: in 1937 for RCA with Leopold Stokowski; in 1954 and 1964 for CBS with Eugene Ormandy; and in 1981 for EMI with Riccardo Muti.

Stravinsky scored the piece for four flutes (III doubling piccolo I, IV doubling piccolo II), four oboes (IV doubling English horn), four clarinets (IV doubling bass clarinet), four bassoons (IV doubling contrabassoon), four horns, two trumpets, two cornets, three trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, snare drum, tam-tam, tambourine, triangle, xylophone), two harps, piano, celesta (four-hands), and strings.

Petrushka runs approximately 35 minutes in performance.

crowd, more than a few of whom are inebriated. The revelry grows wilder until the Magician appears, playing the flute by which he animates his three puppets: a resplendent Moor, a pretty Ballerina, and the awkward Petrushka, who is clearly in love with the indifferent Ballerina, who prefers the virile Moor.

In the Second Tableau, set in Petrushka’s room, Stravinsky illustrates the duality of his protagonist’s frustrated nature by a piercing harmonic amalgam that combines two unrelated chords—(F-sharp major and C major)— the famous “Petrushka Chord.” The Ballerina enters, but Petrushka’s anguished gyrations frighten her and she flees.

The Third Tableau takes place in the Moor’s voluptuously Oriental room. The Magician places the Ballerina close to the Moor, who commences to seduce her: A distraught Petrushka discovers them and makes a fuss. Furious at this intrusion, the Moor draws a scimitar and chases Petrushka out of the room.

The Fourth, and final, Tableau returns to Admiralty Square, where the celebration continues with a series of dances interrupted by a trained bear. To the dismay of the crowd, the two puppets suddenly enter into their midst: The Moor kills Petrushka with a single stroke of his blade. Night falls, the revelers are dispersed, and the Magician, carrying the limp body of his puppet, is terrified to see the angry ghost of Petrushka, who thumbs his nose at his erstwhile tormentor to the mocking sound of “his” chord—and at the audience as well.

—Byron Adams

Program notes © 2017. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

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Steven Spielberg’s film E.T. the Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes … but the performances, particularly by the children and by E.T. himself, are so honest, timeless, and true, that the film absolutely qualifies to be ranked as a classic.

What’s particularly special about today’s concert is that we’ll hear one of our great symphony orchestras, The Philadelphia Orchestra, performing the entire score live, along with the complete picture, sound effects, and dialogue.

I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event … and I hope that today’s audience will find great joy in experiencing this magical film.

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Musical TermsGENERAL TERMSAria: An accompanied solo song (often in ternary form), usually in an opera or oratorioCadence: 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 tonesColoratura: Florid figuration or ornamentation, particularly in vocal musicDissonance: A combination of two or more tones requiring resolutionFantasia: A composition free in form and more or less fantastic in characterFantasy: See fantasiaHarmonic: Pertaining to chords and to the theory and practice of harmonyHarmony: The combination of

simultaneously sounded musical notes to produce chords and chord progressionsKonzertstück: A short concerto in one movement and free formKrakowiak: Polish folk dance, from the Kraków region, characterized by syncopated rhythms in a fast duple meterLegato: Smooth, even, without any break between notesMeter: The symmetrical grouping of musical rhythmsOp.: 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.Romance: Originally a ballad, or popular tale in verse; now a title for epico-lyrical songs or of short instrumental pieces of sentimental or romantic nature, and without special formRondo: 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.).Syncopation: A shift of rhythmic emphasis off the beatTimbre: Tone color or tone qualityTutti: All; full orchestra

THE SPEED OF MUSIC (Tempo)Allegro: Bright, fastLarghetto: A slow tempoMaestoso: MajesticVivace: Lively

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