Download Season 2012-2013 - The Philadelphia Orchestra

23
Season 2012-2013
Thursday, January 10,
at 8:00
Friday, January 11, at 2:00
Saturday, January 12,
at 8:00
The Philadelphia Orchestra
David Kim Leader
Imogen Cooper Piano and Leader
Mozart Eine kleine Nachtmusik, Serenade in G major,
K. 525
I. Allegro
II. Romance: Andante
III. Menuetto (Allegretto)—Trio—Menuetto da capo
IV. Rondo: Allegro
Mozart Piano Concerto No. 24 in C minor, K. 491
I. Allegro
II. Larghetto
III. Allegretto
Intermission
Mozart Symphony No. 25 in G minor, K. 183
I. Allegro con brio
II. Andante
III. Menuetto—Trio—Menuetto da capo
IV. Allegro
This program runs approximately 1 hour, 45 minutes.
3 Story Title
25
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 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.
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Leader
Ryan Donnell
Violinist David Kim was named concertmaster of The
Philadelphia Orchestra in 1999. Born in Carbondale, Illinois,
in 1963, he started playing the violin at the age of three,
began studies with the famed pedagogue Dorothy DeLay
at the age of eight, and later received his bachelor’s and
master’s degrees from the Juilliard School. In 1986 he was
the only American violinist to win a prize at the International
Tchaikovsky Competition in Moscow.
As a highly sought-after pedagogue, Mr. Kim presents
master classes at schools and institutions such as Juilliard,
the New World Symphony in Miami, Princeton, Yale,
the Hyogo Performing Arts Center Orchestra in Japan,
the Korean National University of Arts, and universities
and colleges across the U.S. He also serves as artist in
residence at Eastern University in suburban Philadelphia
and in May 2011 was conferred the Doctor of Humane
Letters, Honoris Causa.
Mr. Kim appears as soloist with The Philadelphia Orchestra
each season as well as with numerous orchestras around
the world. Highlights of his 2012-13 season include
festival performances, master classes, recitals, and solo
appearances with orchestras in California, Massachusetts,
Michigan, New York, North Carolina, Oklahoma, South
Carolina, Texas, New Jersey, France, and Japan. Conductors
with whom he has performed include Myung-Whun
Chung, Christoph von Dohnányi, Charles Dutoit, Christoph
Eschenbach, Rafael Frühbeck de Burgos, Vladimir Jurowski,
and Wolfgang Sawallisch.
The latest additions to Mr. Kim’s discography are The Lord
Is My Shepherd, a collection of sacred works for violin and
piano with pianist and composer Paul S. Jones, and Encore,
a collection of recital favorites with pianist Gail Niwa.
Mr. Kim’s instrument is a J.B. Guadagnini from Milan,
Italy, ca. 1757 on loan from The Philadelphia Orchestra
Association. He resides in a Philadelphia suburb with his
wife, Jane, and daughters, Natalie and Maggie. For more
information please visit www.davidkimviolin.com and follow
him on Twitter at @Dkviolin.
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Soloist
Sussie Ahlburg
Pianist Imogen Cooper made her Philadelphia
Orchestra debut in 2009 performing Mozart’s Piano
Concerto No. 25 in C major. She has appeared with many
of the world’s leading orchestras, including the New York
and Vienna philharmonics, the Royal Concertgebouw and
Leipzig Gewandhaus orchestras, and the London and
NHK symphonies. She has performed with all the major
British orchestras and has especially close relationships
with the Northern Sinfonia and the Britten Sinfonia, with
which she plays and directs. Her recital appearances have
included concerts in New York, Chicago, Paris, Vienna,
Prague, and London.
Highlights of Ms. Cooper’s 2012-13 season include
appearances with the Deutsche Symphonie-Orchester and
Mark Elder and the Rotterdam Philharmonic and Ludovic
Morlot; a U.K. tour with the Budapest Festival Orchestra
under Iván Fischer; a series at LSO St. Luke’s (home to
the London Symphony’s community and music education
program, LSO Discovery); and duo recitals with pianist
Paul Lewis. She performs a cycle of Schubert’s solo works
at London’s Wigmore Hall, which follows a recent series at
Queen Elizabeth Hall, which was recorded and released
under the title Schubert Live for Avie. She also celebrates the
Britten centenary year by performing two of his song cycles.
As a supporter of new music, Ms. Cooper has premiered
two works at the Cheltenham International Festival: Traced
Overhead by Thomas Adès in 1996 and Decorated Skin
by Deirdre Gribbin in 2003. In 1996 Ms. Cooper also
collaborated with members of the Berlin Philharmonic
in the premiere of the quintet Voices for Angels, written
by the ensemble’s viola player Brett Dean. As a lieder
recitalist, Ms. Cooper has had a long collaboration with
baritone Wolfgang Holzmair in both the concert hall
and recording studio. She also performs and records
frequently with cellist Sonia Wieder-Atherton. Mr.
Holzmair and Ms. Wieder-Atherton both feature in the
box set Imogen Cooper and Friends, a Philips recording
encompassing solo and chamber works, and lieder. Ms.
Cooper has also recorded Mozart concertos with the
Northern Sinfonia for Avie and a solo recital at Wigmore
Hall for Wigmore Live. She is the 2012-13 Humanitas
Visiting Professor in Classical Music and Music Education
at the University of Oxford.
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Framing the Program
Parallel Events
1773
Mozart
Symphony
No. 25
1786
Mozart
Piano Concerto
No. 24
1787
Mozart
Eine kleine
Nachtmusik
Music
Haydn
Piano Sonata
No. 24
Literature
Kenrick
The Duellist
Art
Reynolds
Joseph Banks
History
Boston Tea
Party
Music
Dittersdorf
Doctor und
Apotheker
Literature
Bourgoyne
The Heiress
Art
Goya
The Seasons
History
Shays Rebellion
in MA
Music
Devienne
Flute Concerto
No. 7
Literature
Goethe
Iphigenie auf
Tauris
Art
David
The Death of
Socrates
History
U.S.
Constitution
signed
The all-Mozart program today reveals both ingratiating
and challenging sides of the composer’s musical
personality. His formidable father, Leopold, himself a
prominent musician, worried that Mozart did not cater
enough to popular taste, that he liked too much to show
off and to provoke. In an Age of Enlightenment dedicated
to “the pursuit of happiness,” most music was meant to be
pleasingly diverting. The charming Serenade in G major,
Eine kleine Nachtmusik (A Little Night Music), does just
that and has remained an audience favorite.
But Mozart also pursued more unusual and demanding
paths. All of his piano concertos are in major keys, except
for the D minor (K. 466) and C minor (K. 491), which tend
to go deeper into unfamiliar territory and are more likely
to approach the drama we associate with his operas. The
Concerto No. 24 in C minor contains some of Mozart’s
darkest moments, foreshadowing the introverted fury of
his late music, such as found in The Magic Flute and the
Requiem.
Among Mozart’s some four dozen symphonies there are
also only two in minor keys—both in G minor—numbers 25
and 40. The former became the first to achieve a secure
place in the symphonic repertoire (it was memorably
enlisted in the film Amadeus) and it remains one of his
most intense orchestral utterances.
In the concert today The Philadelphia Orchestra comes
together as an ensemble to mold a musical interpretation
all its own, without a conductor. Concertmaster David Kim
leads from the first chair, as was done in Mozart’s time.
For the C-minor Concerto, Imogen Cooper leads from the
keyboard as Mozart did at so many of his own concerts.
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The Music
Eine kleine Nachtmusik, Serenade in G major
Wolfgang Amadè Mozart
Born in Salzburg,
January 27, 1756
Died in Vienna,
December 5, 1791
Of the many instrumental genres prevalent during
Mozart’s lifetime, the serenade or “divertimento” is the
category most closely associated with the servile role
that most composers played in the European palaces
under the old feudal aristocracy. After working arduously
from dawn to late afternoon—composing, copying,
teaching, rehearsing, and writing lengthy official letters
in meticulous bureaucratic prose—a court composer was
then required to put on a nightly concert for the afterdinner leisure of his underworked noble employer.
Such an evening program might include symphonies,
concertos, and vocal works; but more than likely it would
include one of the numerous types of “background” music
that broadly fall under the rubric of divertimento—literally,
music for diversion. Titles of these works ranged widely,
and during the 18th century the varying designations
were often mixed freely: serenade, cassation, notturno,
partita, feldparthie, tafelmusik, finalmusik. The names
probably had some basis of differentiation among them,
at least for 18th-century audiences. The notturno, for
example, was often performed at about 11 PM, in
contrast to the serenade, which tended to begin around 9
PM. Moreover, in the late 18th century the serenade still
carried traces of its ancient association with a musical
performance outside a young woman’s window.
The Work’s Genesis and Title The precise
circumstances surrounding the composition of the
Serenade in G major are unclear. We do know that it was
composed in 1787, when Mozart was thoroughly occupied
with the second act of Don Giovanni. (“Completed in
Vienna, August 10, 1787,” he wrote on the title page.)
It was uncharacteristic of Mozart to interrupt work on
an important commission, particularly an opera, in order
to compose an instrumental work for his own pleasure;
more than likely the serenade was produced for a sum of
money, at the request of some member of the nobility.
The subtitle of the Serenade in G, K. 525, stems from
Mozart himself: “eine kleine Nacht-Musik …” he wrote
when he entered the piece into the handwritten catalogue
of his works—doubtless indicating that he thought of the
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Eine kleine Nachtmusik was
composed in 1787.
Fritz Scheel conducted The
Philadelphia Orchestra’s first
performance of the G-major
Serenade, in January 1906.
Eugene Ormandy took the
piece on the Orchestra’s
United States tours during the
1940s and early 1950s, but
since that time it has been
played only occasionally. The
most recent performances of
the work on subscription were
under Christoph Eschenbach’s
direction, in January 1993.
The Orchestra recorded Eine
kleine Nachtmusik in 1959
with Ormandy for the CBS
label.
The work is scored for two
violins, viola, cello, and double
bass.
Performance time is
approximately 16 minutes.
work as a notturno. His phrase “little night music” (better
translated “short notturno”) was simple shorthand, and
was never intended to serve as the piece’s title. In any
case, it was ever after referred to as a serenade, rather
than a notturno.
Mozart’s inscription in his catalogue continued: “ …
comprising an Allegro, Minuet and Trio, Romance, Minuet
and Trio, and Finale.” Such “extra” dance movements—in
this case, a second minuet—distinguished the serenade
or divertimento from other chamber and symphonic
genres. At some point the first minuet movement from K.
525 disappeared, however, and it has never been found.
Possibly Mozart himself removed it, to make the work
suitable for “serious” occasions; the result is a light piece
that strongly resembles a symphony.
A Closer Look During the 18th century serenades were
performed by small orchestras, often with two players or
perhaps two stands for each upper part, and at times with
only one double bass. Flexibility was the rule, however:
Eine kleine Nachtmusik might just as well have been
played one-on-a-part as with a large, full orchestra. The
size of the group depended on the forces available at the
time, and often on the patron’s demands as well. There
was no universal 18th-century performing ensemble; each
court and each region forged its own customs.
The expansive opening theme of the Allegro suggests a
larger group than a quintet, and charms the listener with
Mozart’s coy, almost manipulative sense of symmetry.
The suaveness spills over into the Romance, where
a hesitant, sigh-filled melody is varied three times. The
brevity of the Menuetto again reminds the listener
that this is a serenade, in which dance movements are
frequently shorter and more numerous. The work closes
with a Rondo in Allegro tempo, which is an abridged
sonata form full of Mozartean verve and dash.
—Paul J. Horsley
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The Music
Piano Concerto No. 24
Wolfgang Amadè Mozart
It is not difficult to see why the 19th century favored
“minor-key” Mozart. Works such as the G-minor
Symphony, K. 440, the Piano Concerto in D minor, K.
466, or the Don Giovanni Overture possessed the drama
and pathos that the Romantic period craved, and these
compositions helped engender the view of Mozart as
precursor to the histrionics of Beethoven, Schumann, and
Wagner. Today we see Mozart from broader perspectives,
not just as proto-Romantic but as Italianate melodist
and as slightly out-of-step Classicist. Investigations into
late-Baroque opera have uncovered sources for his
incomparable bel canto, and studies of J.C. Bach have
revealed the extent to which he drew upon the music of
this youngest of Sebastian’s sons toward developing a
mature concerto style. Still, even as these studies have
increased our estimation of the major-key concertos,
fascination with such works as the C-minor Piano
Concerto remains strong.
A Rare Struggle for Mozart The C-minor Concerto
was one of the trio written in early 1786 for Lenten
concerts presented at Vienna’s Burgtheater. Since Mozart
dated the manuscript of K. 491 as having been completed
on March 24, 1786, scholars have reasonably presumed
that the work formed a part of the benefit concert Mozart
gave there on April 7. But as no program for that concert
survives, uncertainty remains; in any case the Concerto
was not published until after Mozart’s death, in 1800.
The 12 concertos that Mozart completed from 1782
to 1786 constitute his most important instrumental
music, “symphonic in the highest sense,” in the words of
musicologist Alfred Einstein. No fewer than six of these
were written in 1785 and 1786, and they are among
Mozart’s best-known works: K. 466, 467, 482, 488, 491,
and 503. Each of these is unique; each creates its own
individual ethic. The C-minor Concerto contains some of
the composer’s darkest moments, and is filled with chilling
intimations of the introverted fury of Mozart’s last music,
such as that of The Magic Flute and the Requiem.
The C-minor Concerto apparently caused Mozart some
difficulty, as indicated by the alternative versions he
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Mozart composed the C-minor
Piano Concerto in 1786.
Fannie Bloomfield Zeisler
was the soloist in the first
Philadelphia Orchestra
performances of the Concerto,
in February 1915; Leopold
Stokowski was the conductor.
The most recent subscription
performances were in April
2009, with André Previn as
conductor and soloist.
Mozart scored the work for an
orchestra of flute, two oboes,
two clarinets, two bassoons,
two horns, two trumpets,
timpani, and strings, in addition
to the solo piano.
The Concerto lasts
approximately 30 minutes in
performance.
provided in the third variation of the finale. Here the
composer seems to have struggled—right in the pages of
the autograph manuscript itself, atypically for him—to find
a “right” solution. The soloist is left to make the choice for
him- or herself, and is furthermore called upon to fill out
some of the implied rapid passagework that Mozart has
left in a sort of skeletal shorthand of widely separated
long notes. And finally, Mozart has left no written-out
cadenzas or Eingänge (lead ins) for the Concerto. Ms.
Cooper plays cadenzas by the pianist Alfred Brendel in
these performances.
A Closer Look The Concerto’s first movement (Allegro)
opens with a principal subject of marvelous interest
and potential. The listener can hardly help thinking that
Beethoven had this theme in his ear when he wrote his
Third Concerto in C minor—a piece that bears more than
passing resemblance, in fact, to Mozart’s Concerto. But
Mozart’s first subject is more elusive and unpredictable
than Beethoven’s, and it keeps us in suspense for a
full 12 bars of motivic prolongation before arriving at a
splashy tutti reiteration. The piano enters, typically, with
a theme all its own, and quickly launches into one of the
most turbulent, unsettled movements in Mozart’s oeuvre.
Momentary and welcome respite is provided by the
uncomplicated Larghetto (the tempo marking is not the
composer’s), a free interplay of spontaneous pianism and
sympathetic instrumental underpinning. The Allegretto
brings us back to the restless world of C minor (again, the
tempo indication has been added in a later hand)—a set of
somber variations on a square and halting theme. There
is no deus ex machina here, no felicitous final turn to the
major mode, as in the finale of the D-minor Concerto,
K. 466. All is mood here, wonder and mystery. But if
the storm clouds are never fully dispersed, the absolute
consistency of affect remains perfect throughout—a virtue
that provides its own gloomy sense of satisfaction.
—Paul J. Horsley
33
The Music
Symphony No. 25
Wolfgang Amadè Mozart
Mozart did not number his symphonies. If he had been
asked after composing his last how many he had written
to that point, his answer probably would have been pretty
far off the mark. Indeed the quantity and chronology
remains confusing to this day, even after more than
two centuries of trying to get things straight. The first
complete publication of Mozart’s symphonies, issued by
the Leipzig firm of Breitkopf & Härtel in the 19th century,
included 41. But some of them were not in fact by
Mozart (No. 37, except for a short introductory passage,
was actually written by Michael Haydn, younger brother
of Joseph), still others have surfaced since, and more
than a dozen should probably also be included but were
not because they adapted earlier Mozart works (usually
overtures). And so, by some accounts, Mozart wrote
more than 50 symphonies, beginning at the age of eight
and culminating with the miraculous final trio from the
summer of 1788.
Truth be told, we rarely hear the first two dozen or so
symphonies, those Mozart wrote before the age of 17. His
First Symphony, K. 16, sometimes appears on concerts,
but mainly as a curiosity, to display what Mozart could do
before most of us can do much of anything. The mania
for discographic completeness has led record companies
to release all of Mozart’s music, but the late symphonies
deservedly get most of the attention. In its more than
100 years of existence The Philadelphia Orchestra has
performed only three of the symphonies Mozart wrote
before No. 25.
The Drama of Storm and Stress Today we hear the
earliest symphony of Mozart’s that regularly appears in
performance and on recordings: the “Little” Symphony in
G minor, K. 183 (the tag distinguishes it from his wellknown Symphony No. 40 in the same key, K. 550). This
work has been particularly popular since the mid-1980s
when the movie Amadeus prominently featured the
opening movement.
Mozart completed the Symphony in Salzburg on October
5, 1773, not long after returning from more than two
months in Vienna, where he had gotten to know Haydn’s
most recent symphonies. This was the height of Haydn’s
34
Mozart composed his “little”
G-minor Symphony in 1773.
The first Philadelphia Orchestra
performances of Mozart’s
Symphony No. 25 weren’t
until November 1976, with
Riccardo Muti conducting.
The most recent subscription
performances were in January
2003, with Bobby McFerrin.
Mozart scored the work for
two oboes, two bassoons, four
horns, and strings.
The Symphony runs
approximately 20 minutes in
performance.
so-called Sturm und Drang (Storm and Stress) period,
when he wrote many works in minor keys. Musicologist
H.C. Robbins Landon has noted the specific similarity
between the Mozart Symphony we hear today and
Haydn’s Symphony No. 39, another G-minor work that
features four horns. The additional horns give the work
a distinctive coloring. As musicologist Neal Zaslaw
observes, “The special sound of the Symphony’s outer
movements is partly the result of four horns in place of
the usual two, which not only impart a certain solidity to
the work’s texture, but, as the two pairs of horns are in
different keys (G and B-flat), gave Mozart a wider palette
of pitches to exploit.”
Another influence is apparent in the Symphony, similarly
connected with the young composer’s travels. Earlier in
1773, Mozart returned from his third and final sojourn in
Italy. In Milan he had enjoyed a successful run of his Lucio
Silla, and something of the drama of that serious opera
permeates the Symphony. In the end, the 17-year-old
Mozart brilliantly combined his own distinctive dramatic
flair with some of Haydn’s innovations to produce his first
really significant symphony.
A Closer Look Mozart infrequently wrote in minor keys
in his important instrumental works; there are only two
piano concertos, two string quartets, and two symphonies
out of a combined total of nearly a hundred pieces in
the three genres. Both symphonies are in G minor, this
“little” one and the great late one, and it was a tonality
that elicited some of his most profound music. Intensity
and urgency are two words that come to mind when
confronting the opening: a loud oboe theme against
syncopated octaves in the strings. Both the first (Allegro
con brio) and last movements have two large-scale
repeats, followed by brief codas.
Program notes © 2013. All
rights reserved. Program notes
may not be reprinted without
written permission from
The Philadelphia Orchestra
Association.
The Andante in E-flat major offers some relief from
the serious drama of the other movements and is also
in sonata form. The Menuetto, like the outer two
movements, begins with a bare theme stated in octaves,
here by the full orchestra—if this is a dance it is hardly
a polite aristocratic one. A calmer gentility comes in the
middle section, a trio in the major that uses only wind and
brass instruments. The final Allegro explores some of the
same musical devices as the first movement, particularly
syncopation, that lends not only unity to the whole work, but
also helps to sustain the dramatic intensity to the very end.
—Christopher H. Gibbs
35
Musical Terms
GENERAL TERMS
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
Coda: A concluding
section or passage added
in order to confirm the
impression of finality
Da capo: Repeated from
the beginning
Dissonance: A
combination of two or more
tones requiring resolution
Divertimento: A piece
of entertaining music
in several movements,
often scored for a mixed
ensemble and having no
fixed form
K.: Abbreviation for Köchel,
the chronological list of all
the works of Mozart made
by Ludwig von Köchel
Minuet: A dance in triple
time commonly used up to
the beginning of the 19th
century as the lightest
movement of a symphony
Octave: The interval
between any two notes
that are seven diatonic
(non-chromatic) scale
degrees apart
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
form
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.).
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.
Serenade: An
instrumental composition
written for a small
ensemble and having
characteristics of the suite
and the sonata
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.
Suite: A set or series
of pieces in various
dance-forms. The modern
orchestral suite is more like
a divertimento.
Syncopation: A shift of
rhythmic emphasis off the
beat
Tonality: The orientation
of melodies and harmonies
towards a specific pitch or
pitches
Trio: See scherzo
Tutti: All; full orchestra
THE SPEED OF MUSIC
(Tempo)
Allegretto: A tempo
between walking speed
and fast
Allegro: Bright, fast
Andante: Walking speed
Con brio: Vigorously, with
fire
Larghetto: A slow tempo
36
Orchestra Headlines
Philadelphia Orchestra Chamber Music Concert
Tickets are now on sale for the third concert in The
Philadelphia Orchestra’s 28th Season Chamber Music
Series on Sunday, January 13, at 3:00 PM in Perelman
Theater at the Kimmel Center. Tickets range from
$19.00-$28.00. For more information, call Ticket
Philadelphia at 215.893.1999 or visit www.philorch.org.
Mozart Fantasia in C minor, K. 396, for solo piano
Mozart Quintet in E-flat major, K. 452, for piano and winds
Mozart String Quintet No. 5 in D major, K. 593
Samuel Caviezel Clarinet
Imogen Cooper Piano (Guest)
Renard Edwards Viola
Mark Gigliotti Bassoon
Jennifer Montone Horn
Hai-Ye Ni Cello
David Nicastro Violin
Amy Oshiro-Morales Violin
Anna Marie Ahn Petersen Viola
Peter Smith Oboe
Annual Martin Luther King Jr. Tribute Concert
The Philadelphia Orchestra’s 23rd annual Martin Luther
King Jr. Tribute Concert takes place on Monday, January
21, at 4:00 PM at Martin Luther King High School, 6100
Stenton Ave. Yannick Nézet-Séguin leads the Orchestra
along with speaker Charlotte Blake Alston, guest conductor
Jeri Lynne Johnson, and the Philadelphia All City Choir in a
program that pays tribute to Dr. King’s religious beliefs, his
vision of a society free of prejudice and racial divisions, and
his belief in the power of music to effect change. The event
is free but tickets are required. For more information please
visit www.philorch.org/mlk.
New Barbara Govatos Recording
A new boxed set recording of the complete Beethoven
Sonatas for Violin and Piano by Orchestra violinist
Barbara Govatos and pianist Marcantonio Barone was
recently released on Bridge Records. The set is available
through Bridge Records or Amazon. This past November
the duo received the Classical Recording Foundation’s
Samuel Sanders Award for Collaborative Artists in
recognition of the new recording.
37
January
The Philadelphia Orchestra
Jessica Griffin
Tickets are disappearing fast
for these amazing concerts!
Order your tickets today.
Ravel and Shostakovich
January 16 & 19 8 PM
January 18 2 PM
Yannick Nézet-Séguin Conductor
Leonidas Kavakos Violin
Ravel La Valse
Szymanowski Violin Concerto No. 2
Shostakovich Symphony No. 5
Yannick and Bruckner
January 24 8 PM
January 25 2 PM
Yannick Nézet-Séguin Conductor
Wagner Siegfried Idyll
Bruckner Symphony No. 7
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.
16 Story Title
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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