The Philadelphia Orchestra

Rafael Frühbeck de Burgos ConductorAugustin Hadelich Violin

Lalo Symphonie espagnole, Op. 21, for violin and orchestra I. Allegro non troppo II. Scherzando: Allegro molto III. Intermezzo: Allegretto non troppo IV. Andante V. Rondo: Allegro

Intermission

Debussy La Mer I. From Dawn to Midday at Sea II. Play of the Waves III. Dialogue of the Wind and the Sea

Ravel Suite No. 2 from Daphnis and Chloé I. Daybreak— II. Pantomime— III. General Dance

This program runs approximately 1 hour, 50 minutes.

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

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Season 2013-2014Thursday, October 24, at 8:00Friday, October 25, at 2:00Saturday, October 26, at 8:00

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The Philadelphia Orchestra

The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of innovation in music-making. The Orchestra is inspiring the future and transforming its rich tradition of achievement, sustaining the highest level of artistic quality, but also challenging and exceeding that level, by creating powerful musical experiences for audiences at home and around the world.

Music Director Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth artistic leader of the Orchestra in fall 2012. His highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. Yannick has been embraced by the musicians of the Orchestra, audiences, and the

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

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

Philadelphia is home and the Orchestra nurtures an important relationship not only with patrons who support the main season at the Kimmel Center but also those who enjoy the Orchestra’s other area performances at the Mann Center, Penn’s Landing, and other venues. The Orchestra is also a global ambassador for Philadelphia and for the U.S. Having been the first American orchestra

to perform in China, in 1973 at the request of President Nixon, today The Philadelphia Orchestra boasts a new partnership with the National Centre for the Performing Arts in Beijing. The Orchestra annually performs at Carnegie Hall while also enjoying annual residencies in Saratoga Springs, N.Y., and at the Bravo! Vail festival.

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

Jessica Griffin

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

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

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

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

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

Nigel P

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ConductorThis season marks Rafael Frühbeck de Burgos’s 150th appearance with The Philadelphia Orchestra in Philadelphia. The 80-year-old conductor made his American debut with the Philadelphians on Valentine’s Day in 1969. A regular guest with all of North America’s top orchestras, he conducts the New York and Los Angeles philharmonics and the Boston, Cincinnati, Pittsburgh, Detroit, San Francisco, Saint Louis, Houston, Seattle, New World, and National symphonies in the 2013-14 season. He also appears annually at the Tanglewood Music Festival. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic. This is his second season as chief conductor of the Danish National Orchestra.

Born in Burgos, Spain, Mr. Frühbeck studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid; he studied conducting at Munich’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, including the Gold Medal of the City of Vienna; Germany’s Order of Merit; the Gold Medal from the Gustav Mahler International Society; and the Jacinto Guerrero Prize, Spain’s most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Mr. Frühbeck was appointed emeritus conductor of the Spanish National Orchestra. He has an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando in Madrid.

Mr. Frühbeck has made tours with ensembles including London’s Philharmonia, the London Symphony, the National Orchestra of Madrid, the Swedish Radio Orchestra, and The Philadelphia Orchestra, and he has toured North America with the Vienna Symphony, the Spanish National Orchestra, and the Dresden Philharmonic. Mr. Frühbeck has recorded extensively for EMI, Decca, Deutsche Grammophon, Spanish Columbia, and Orfeo. Several of his recordings are considered to be classics, including his interpretations of Mendelssohn’s Elijah and St. Paul, Mozart’s Requiem, Orff’s Carmina burana, Bizet’s Carmen, and the complete works of Spanish composer Manuel de Falla.

Steve J. S

herman

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SoloistViolinist Augustin Hadelich is making his Philadelphia Orchestra debut. This season he also debuts with the Atlanta, Detroit, and Oregon symphonies in the U.S.; the Bournemouth Symphony in England; the Orquestra Sinfónica do Porto in Portugal; and the Royal Scottish National Orchestra. Other 2013-14 highlights include a recital at New York’s Frick Collection celebrating the 75th anniversary of the Museum’s concert series; a tour of China with the San Diego Symphony; and a week-long residency with the Cincinnati Symphony. In April 2014 Mr. Hadelich, along with guitarist Pablo Sáinz Villegas and pianist Joyce Yang, performs at the Kennedy Center for the premiere of an originally-conceived multimedia recital, Tango Song and Dance, based on, and named after, André Previn’s work for violin and piano.

Last season Mr. Hadelich made his debut with the Boston Symphony at Tanglewood; his subscription debut with the New York Philharmonic; and debuts with the San Francisco, Dallas, New Jersey, Saint Louis, Milwaukee, and Toronto symphonies, as well as the Buffalo Philharmonic, the Los Angeles Chamber Orchestra, the BBC Philharmonic, and the SWR Orchestra. In the summer of 2013 he performed with the Los Angeles Philharmonic at the Hollywood Bowl, the New York Philharmonic at the Bravo! Vail festival, the Britt Festival Orchestra in Oregon, and the Chautauqua Symphony in New York. Mr. Hadelich has made three recordings for AVIE: Flying Solo, a CD of masterworks for solo violin; Echoes of Paris, featuring French and Russian repertoire; and Histoire du Tango, a program of violin-guitar works in collaboration with Mr. Sáinz Villegas. For Naxos he has recorded Haydn’s complete violin concertos and Telemann’s Fantasies for solo violin.

The son of German parents, Mr. Hadelich was born in Italy in 1984. He holds an Artist Diploma from the Juilliard School, where he was a student of Joel Smirnoff. The 2006 gold medalist of the International Violin Competition of Indianapolis, Mr. Hadelich is also the recipient of Lincoln Center’s Martin E. Segal Award (2012), a Borletti-Buitoni Trust Fellowship in the U.K. (2011), and an Avery Fisher Career Grant (2009). He plays the 1723 “Ex-Kiesewetter” Stradivarius violin, on loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society.

Framing the ProgramÉdouard Lalo is the senior member of the trio of French masters featured on the program today, which opens with his best loved work, the exuberant Symphonie espagnole. The five-movement piece is in essence a dazzling violin concerto, yet its name captures both the symphonic ambitions of the score as well as the southern inspiration from Spain.

Claude Debussy and Maurice Ravel were the most famous French composers of the next generation and figures whose innovations became associated with the Impressionist movement, a term initially used pejoratively in connection with Claude Monet’s paintings. Many of Debussy’s pieces were inspired by images and nature. As he remarked in 1908: “I am trying in some way to do ‘something different’—an effect of reality—what some imbeciles call ‘Impressionism,’ a term that is utterly misapplied, especially by the critics.” In La Mer he offers three meditations on the sea: “From Dawn to Midday at Sea,” “Play of the Waves,” and “Dialogue of the Wind and the Sea.”

Many of the greatest early-20th-century composers produced music for Sergei Diaghilev’s legendary Ballets Russes. The innovative Russian impresario presented exotic projects that captivated Parisian audiences. Among the many works he commissioned was Ravel’s Daphnis and Chloé, based on an ancient Greek pastoral drama. Ravel said his intention was “to compose a vast musical fresco, less thoughtful of archaism than of fidelity to the Greece of my dreams.”

Parallel Events1874LaloSymphonie espagnole

1905DebussyLa Mer

1910RavelDaphnis and Chloé

MusicVerdiRequiemLiteratureHardyFar from the Madding CrowdArtRenoirLa LogeHistoryBillroth discovers streptococci

MusicStraussSalomeLiteratureWhartonHouse of MirthArtPicassoTwo YouthsHistoryEinstein formulates Theory of Relativity

MusicBergString QuartetLiteratureForsterHoward’s EndArtLégerNues dans le forêtHistoryDuBois founds NAACP

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The MusicSymphonie espagnole

Édouard LaloBorn in Lille, France, January 27, 1823Died in Paris, April 22, 1892

What’s in a name? The title that Édouard Lalo bestowed upon his best-loved and best-known work, the Symphonie espagnole, is fraught with inner significances. First, the very fact that this contemporary of Tchaikovsky and Brahms used the term “symphony” for a work that looks and sounds every bit like a concerto indicates the unique role that he had in mind for the violin soloist. “I kept the title Symphonie espagnole, contrary to, and in spite of, everybody’s advice,” wrote Lalo in 1879, “first, because it conveyed my thought—that is to say, of a violin solo soaring above the rigid form of an old symphony—and then because the title was less banal than others that were proposed to me.”

The Allure of Spain Some believe (rather implausibly) that Lalo’s reference to Spain in the title is significant on a personal level—that it reflected his intention to make the work an expression of his national roots: His own family, at least on his father’s side, had immigrated from Spain during the 16th century to settle in northern France. Thus, like Ravel he could claim “real” Spanish heritage; at the same time it seems probable that Lalo, like many composers of his day, was motivated chiefly by a desire to take advantage of the craze for “things Spanish” in late-19th-century France. (Ravel, Debussy, Massenet, Chabrier, and many others wrote “Iberian” works. Lalo, in addition, had a penchant for “national flavor” in general: He also composed a Concerto russe and a Fantaisie norvégienne.)

Another reason—perhaps the principal reason—why this work has been designated “espagnole” is related to the violinist for whom it was composed. Lalo was taken with the musicianship of the Spanish virtuoso Pablo Sarasate (1844-1908), who had introduced European audiences of the late 19th century to a new style of violin playing—one marked by astonishing technical perfection and a sweet, lush tone. “He represented a completely new type of violinist,” wrote one contemporary. Sarasate had given the world premieres of Lalo’s first two violin concertos during the early 1870s, and in 1873 the composer produced the Symphonie expressly for him and his peculiar style.

A Closer Look Instead of a concerto-like three movements, Lalo originally cast the Symphonie in four movements, with a scherzo after the opening movement (it is actually a sort of seguidilla, a Spanish dance). Later he also added, almost as an afterthought, a fifth movement: a central Intermezzo. The dance-like finale is also a nod to the violinist’s spiky virtuosity. In the final analysis, Lalo’s unique Symphonie is one of the most outstandingly lyrical and gracious works of its era.

—Paul J. Horsley

The Symphonie espagnole was composed in 1874.

John Witzemann was the soloist in the first Philadelphia Orchestra performance of the work, in 1910 with Carl Pohlig. Most recently on subscription, it was performed in December 1987/January 1988, with violinist Joshua Bell and Hugh Wolff.

The Philadelphia Orchestra recorded Lalo’s Symphonie espagnole twice, both for CBS with Eugene Ormandy: in 1944 with Nathan Milstein and in 1956 with Isaac Stern.

The score calls for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion (snare drum, triangle), harp, strings, and solo violin.

The Symphony espagnole runs approximately 30 minutes in this performance.

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The MusicLa Mer

Claude DebussyBorn in St. Germain-en-Laye, August 22, 1862Died in Paris, March 25, 1918

In a letter to André Messager dated September 12, 1903, Claude Debussy announced, “I am working on three symphonic sketches entitled: 1. ‘Calm Sea around the Sanguinaires Islands’; 2. ‘Play of the Waves’; 3. ‘The Wind Makes the Sea Dance’; the whole to be titled La Mer.” In a rare burst of autobiography, he then confided, “You’re unaware, maybe, that I was intended for the noble career of a sailor and have only deviated from that path thanks to the quirks of fate. Even so, I have retained a sincere devotion to the sea.” Debussy points out to Messager the irony that he is working on his musical seascape in landlocked Burgundy, but declares, “I have innumerable memories, and those, in my view, are worth more than a reality which, charming as it may be, tends to weigh too heavily on the imagination.”

The Advancing Tide But the quirks of fate, of which Debussy wrote so lightly in 1903 led him back to the sea over and over again in the two years that elapsed between this letter and the premiere of La Mer on October 15, 1905, performed in Paris by the Lamoureux Orchestra conducted by Camille Chevillard. It was a twist of fate that Debussy finished correcting the proofs of his symphonic sketches by the sea while staying at the Grand Hotel in the quirky British resort of Eastbourne. The otherwise ironical composer had washed up on the Atlantic shores of this little town swept away by that most oceanic of emotions: love.

What did the concierge at the Grand Hotel think of the curious French couple staying there during July and August of 1905? The other guests, who were probably too British and well-bred to have initiated a conversation, must have been intrigued by the saturnine Frenchman with the protruding forehead, who spoke no English and, indeed, rarely said a word even in his native tongue. But what of the woman with him, speaking fluent English with an enchanting accent, charming, vivacious, and clearly pregnant? Surely represented to the hotel management as Debussy’s wife, she was in reality Emma Bardac, née Moyse, a socialite and gifted singer who had left her wealthy husband for an impecunious composer. Her husband, Sigismund, who had tolerated with indulgent good humor her earlier affair with the discreet Gabriel Fauré, assumed that she would return to him after her

passion for Debussy cooled. But Emma never looked back: She bore Debussy a daughter, Claude-Emma, nicknamed “Chou-Chou” by her adoring father, who was born some two weeks after the first performance of La Mer.

In the scandal that followed their elopement, especially after Debussy’s unsophisticated first wife made an ineffectual attempt at suicide, he lost many friends—but not the loyal Messager. In consequence of her adultery, Emma lost a lavish inheritance from her wealthy uncle, thus condemning her reticent husband to seek lucrative but agonizing public appearances as a pianist and conductor. They finally married in 1908, enjoying their life together until he died of cancer on March 25, 1918, as German artillery bombarded Paris; despite the acute danger, Emma refused to leave her husband’s side.

“Symphonic Sketches” During his lifetime and after, critics labeled Debussy as an “Impressionist,” associating him with the then-radical but now beloved painters Monet and Renoir. Debussy protested that he was not merely an Impressionist but a Symbolist like Maurice Maeterlinck, whose play Pelléas et Mélisande (1902) he had transformed into an opera, or his friend Pierre Louÿs, whose poems he set in the voluptuous song cycle Chansons de Bilitis (1898). Despite the suggestive titles of his pieces, Debussy was at least as much a “literary” composer as he was a “visual” one. By insisting that his publisher, Jacques Durand, place a stylized picture of a wave by the great Japanese artist Hokusai on the cover of La Mer, Debussy indicated implicitly that his score was not merely a seascape painted rapidly from prosaic reality nor a pantheistic rhapsody, but rather an evocation of those elemental forces that the sea itself symbolizes: birth (in French, the word for the sea, mer, is a homonym for the word for mother, mère); desire (waves endlessly lapping the shore, forever unsatisfied); love (all-enveloping emotion in which the lover is completely submerged); and, of course, death (dissolution into eternity).

Furthermore, as was evinced in his choice of a Japanese print for the score’s cover, Debussy went to considerable trouble to differentiate his work from the aesthetics of the Impressionist painters. Although its subtitle has puzzled critics over the years, Debussy knew exactly what he was doing when he called La Mer a series of “symphonic sketches.” “Symphonic” because of the sophistication of the processes involved in generating the musical materials, but the word “sketches” is not used in the sense of something rapidly executed or unfinished, but

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rather to denote a clearly delineated line drawing, nothing remotely “Impressionistic.”

A Closer Look Writing shortly after the premiere of La Mer, the critic Louis Laloy noted, “in each of these three episodes … [Debussy] has been able to create enduringly all the glimmerings and shifting shadows, caresses and murmurs, gentle sweetness and fiery anger, seductive charm and sudden gravity contained in those waves which Aeschylus praised for their ‘smile without number.’” The slow, tenebrous, and mysterious opening of the first “sketch,” which Debussy ultimately called From Dawn to Midday at Sea, contains all of the thematic motifs that will pervade the rest of the entire score, just as in a Beethovenian symphony. The resemblance to the German symphonic tradition essentially ends there, however, for only the most evanescent lineaments of sonata form, with its contrasting themes and development section, can be discerned flickering behind Debussy’s complex formal design. There is no formal section devoted exclusively to development in La Mer because Debussy develops incessantly from the very first notes. The second of the “sketches,” Play of the Waves, is constructed from tiny mosaic-like thematic and harmonic fragments, a process that anticipates the extraordinary subtlety of Debussy’s last completed orchestral score, Jeux (1912-13), in which the “games” are more explicitly erotic. The final “sketch,” Dialogue of the Wind and the Sea, begins in storm and, rising to grandeur, concludes with an orgasmic burst of enveloping, oceanic rapture.

—Byron Adams

La Mer was composed from 1903 to 1905.

Carl Pohlig conducted the first Philadelphia Orchestra performances of La Mer, in January 1911. The most recent subscription performances were under the direction of Esa-Pekka Salonen in March 2012. In between the work has been heard numerous times, with such conductors as Fritz Reiner, Pierre Monteux, Artur Rodzinski, Ernest Ansermet, George Szell, Charles Munch, Carlo Maria Giulini, André Previn, Charles Dutoit, Christoph Eschenbach, and Valery Gergiev.

The Philadelphians have recorded the work four times: in 1942 for RCA with Arturo Toscanini; in 1959 for CBS with Eugene Ormandy; in 1971 for RCA with Ormandy; and in 1993 for EMI with Riccardo Muti.

Debussy scored La Mer for piccolo, two flutes, two oboes, English horn, two clarinets, three bassoons, contrabassoon, four horns, three trumpets, two cornets, three trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, tam-tam, and triangle), two harps, celesta, and strings.

Performance time is approximately 25 minutes.

The MusicSuite No. 2 from Daphnis and Chloé

Maurice RavelBorn in Ciboure, Lower Pyrenees, March 7, 1875Died in Paris, December 28, 1937

For two decades Sergei Diaghilev’s Ballets Russes reigned supreme in the Parisian avant-garde, producing from 1909 to the late 1920s an unprecedented series of masterworks such as Stravinsky’s Firebird, Petrushka, and The Rite of Spring, Debussy’s Jeux, and Prokofiev’s The Prodigal Son. Audiences responded not only to the troupe’s extraordinary dancers (including the great Vaslav Nijinsky), but also to the startlingly original choreography of Michel Fokine, the dazzling and exotic stage designs of Léon Bakst, and music by the most forward-looking composers of the day. Rarely, if ever, has a single company been responsible for so many visionary classics—the music of which continues to enrich the concert hall.

In 1909 Diaghilev asked Ravel to write music for a ballet based on a Greek pastoral drama by the third-century author Longus. Fokine sketched the scenario of the love between the young goatherd Daphnis and the shepherdess Chloé. In addition to telling the tale in a continuous flow of uninterrupted action (a marked departure from the “number” ballets of the 19th century), Fokine’s initial (and somewhat naïve) vision included an attempt to re-create the music of antiquity. Ravel, however, had a different concept of a staged Daphnis. “My intention was to compose a vast musical fresco, less thoughtful of archaism than of fidelity to the Greece of my dreams, which identifies willingly with that imagined and depicted by late-18th-century French artists.” As a result of conflicting visions, the collaboration was a stormy one.

The composer’s Watteau-esque view of the ballet (which clashed not only with Fokine’s Neohellenism but also with Bakst’s garishly colored primitivist set designs) ultimately took its shape through musical means. “The work is constructed symphonically,” Ravel wrote, “according to a strict tonal plan, by means of a small number of motifs, whose development assure the symphonic homogeneity of the work.”

The result was no less than the composer’s finest work. Completed in April 1912, the ballet received its first performances that June at the Théâtre du Châtelet, under the baton of Pierre Monteux, who the following year would

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later conduct the notorious Rite of Spring premiere. Two orchestral suites were extracted, from the second and third scenes respectively, for concert performance; the Suite No. 2 has become a concert favorite.

The third scene begins with Daphnis prostrate and alone, near the sacred grove of Pan. The famous “Daybreak” music (with which the Suite No. 2 begins) occurs as a moment of extraordinary climax and relief, for it signals the return of hope after our hero’s darkest hour; its misty undulation of woodwinds and uncanny bird-twitterings, in fact, make this one of the most distinctive and striking passages of 20th-century music. The scene culminates with the couple’s ecstatic reunion. The dénouement begins as Lammon, an old shepherd, explains that Pan has answered Daphnis’s prayer because of the memory of his own love for Syrinxin which the god has seen a fortuitous parallel. Daphnis and Chloé then dance a reenactment of how Pan romanced the unwilling Syrinx, who finally cast herself into a stream and drowned. In his grief, Pan (Daphnis) plucks two reeds from the brook and forms a flute, on which he plays a plangent tune. Stepping out of their roles as Pan and Syrinx, Daphnis and Chloé kneel at the nymphs’ altar. The ballet (and the Second Suite) ends with the happy, tumultuous Danse générale, which is cast in an infectious 5/4 rhythm that caused Diaghilev’s young dancers no end of torment in the work’s first production.

—Paul J. Horsley

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

Ravel composed Daphnis and Chloé from 1909 to 1912.

The Second Suite was first performed by The Philadelphia Orchestra in January 1927, with Artur Rodzinski conducting. The work was a favorite of Eugene Ormandy, who conducted it almost every other year and took it on numerous tours. It has also been led here by such conductors as Fritz Reiner, Ernest Ansermet, Georges Prêtre, Charles Dutoit, Riccardo Muti, Erich Leinsdorf, Mariss Jansons, Wolfgang Sawallisch, and, most recently on subscription, Christoph Eschenbach in March 2005.

The Orchestra recorded the Second Suite five times: in 1939 for RCA with Ormandy; in 1949 and 1959 for CBS with Ormandy; in 1971 for RCA with Ormandy; and in 1982 for EMI with Muti. The work can also be found in The Philadelphia Orchestra: The Centennial Collection (Historic Broadcasts and Recordings from 1917-1998), in a performance led by Charles Munch from 1963.

The score calls for piccolo, two flutes, alto flute, two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, percussion (triangle, cymbals, side drum, tambourine, snare drum, castanets, glockenspiel, bass drum), two harps, celesta, and strings, plus an optional mixed chorus (singing without words).

Performance time is approximately 15 minutes.

Musical TermsGENERAL TERMSCadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolutionCadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or compositionChord: The simultaneous sounding of three or more tonesChromatic: Relating to tones foreign to a given key (scale) or chordCoda: A concluding section or passage added in order to confirm the impression of finalityDevelopment: See sonata formDissonance: A combination of two or more tones requiring resolutionHarmonic: Pertaining to chords and to the theory and practice of harmonyIntermezzo: A short movement connecting the main divisions of a symphonyLegato: Smooth, even, without any break between notesMeter: The symmetrical grouping of musical rhythms

Minuet: A dance in triple time commonly used up to the beginning of the 19th century as the lightest movement of a symphonyOctave: The interval between any two notes that are seven diatonic (non-chromatic) scale degrees apart Op.: Abbreviation for opus, a term used to indicate the chronological position of a composition within a composer’s output. Opus numbers are not always reliable because they are often applied in the order of publication rather than composition.Rondo: A form frequently used in symphonies and concertos for the final movement. It consists of a main section that alternates with a variety of contrasting sections (A-B-A-C-A etc.).Scale: The series of tones which form (a) any major or minor key or (b) the chromatic scale of successive semi-tonic stepsScherzo: Literally “a joke.” Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a

gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo in triple time, vigorous rhythm, and humorous contrasts.Seguidilla: a triple-meter dance style from the south of SpainSonata 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.Tonic: The keynote of a scale

THE SPEED OF MUSIC (Tempo)Allegretto: A tempo between walking speed and fastAllegro: Bright, fastAndante: Walking speedScherzando: Playfully

TEMPO MODIFIERSMolto: VeryNon troppo: Not too much

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TICKETS Call 215.893.1999 or log on to www.philorch.org PreConcert Conversations are held prior to every Philadelphia

Orchestra subscription concert, beginning 1 hour before curtain.

All artists, dates, programs, and prices subject to change. All tickets subject to availability.

October/November The Philadelphia Orchestra

Philadelphia CommissionsThursday, October 31 8 PMYannick Nézet-Séguin Conductor Elizabeth Hainen Harp Jeffrey Khaner Flute

Tan Dun Nu Shu: The Secret Songs of Women, Symphony for Microfilms, Harp, and Orchestra (U.S. premiere) Behzad Ranjbaran Flute Concerto (world premiere) Rachmaninoff Symphonic Dances

Friday, November 1 2 PMYannick Nézet-Séguin Conductor Elizabeth Hainen Harp Daniel Matsukawa Bassoon

Tan Dun Nu Shu: The Secret Songs of Women, Symphony for Microfilms, Harp, and Orchestra David Ludwig Pictures from the Floating World, for bassoon and orchestra (world premiere) Rachmaninoff Symphonic Dances

Saturday, November 2 8 PMYannick Nézet-Séguin Conductor Jeffrey Khaner Flute Daniel Matsukawa Bassoon

Bernstein Overture to Candide Behzad Ranjbaran Flute Concerto David Ludwig Pictures from the Floating World, for bassoon and orchestra Rachmaninoff Symphonic Dances

Yannick has created a week-long celebration bringing together three diverse composers and presenting their music in unique combinations for each concert. Solo works for three of our principal players crafted by the leading composers of today will be premiered. Plus Yannick and The Philadelphia Orchestra perform a Rachmaninoff masterpiece—the luxuriant Symphonic Dances.

Pete C

hecchia

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Subscriber Services:215.893.1955Call 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.

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

Assistive Listening: With the deposit of a current ID, hearing enhancement devices are available at no cost from the House Management Office. Headsets are available on a first-come, first-served basis.

Large-Print Programs: Large-print programs for every subscription concert are available in the House Management Office in Commonwealth Plaza. Please ask an usher for assistance.

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

Lost and Found: Please call 215.670.2321.

Web Site: For information about The Philadelphia Orchestra and its upcoming concerts or events, please visit www.philorch.org.

Subscriptions: The Philadelphia Orchestra offers a variety of subscription options each season. These multi-concert packages feature the best available seats, ticket exchange privileges, guaranteed seat renewal for the following season, discounts on individual tickets, and many other benefits. For more information, please call 215.893.1955 or visit www.philorch.org.

Ticket Turn-In: Subscribers who cannot use their tickets are invited to donate them and receive a tax-deductible credit by calling 215.893.1999. Tickets may be turned in any time up to the start of the concert. Twenty-four-hour notice is appreciated, allowing other patrons the opportunity to purchase these tickets.

Individual Tickets: Don’t assume that your favorite concert is sold out. Subscriber turn-ins and other special promotions can make last-minute tickets available. Call Ticket Philadelphia at 215.893.1999 or stop by the Kimmel Center Box Office.

Ticket Philadelphia StaffGary Lustig, Vice PresidentJena Smith, Director, Patron

ServicesDan Ahearn, Jr., Box Office

ManagerCatherine Pappas, Project

ManagerMichelle Parkhill, Client Relations

ManagerMariangela Saavedra, Manager,

Patron ServicesGregory McCormack, Training

SpecialistSamantha Apgar, Business

Operations CoordinatorElysse Madonna, Program and

Web CoordinatorPatrick Curran, Assistant Treasurer,

Box OfficeTad Dynakowski, Assistant

Treasurer, Box OfficeMichelle Messa, Assistant

Treasurer, Box OfficePatricia O’Connor, Assistant

Treasurer, Box OfficeThomas Sharkey, Assistant

Treasurer, Box OfficeJames Shelley, Assistant Treasurer,

Box OfficeTara Bankard, Lead Patron

Services RepresentativeJayson Bucy, Lead Patron Services

RepresentativeMeg Hackney, Lead Patron

Services RepresentativeJulia Schranck, Lead Patron

Services RepresentativeAlicia DiMeglio, Priority Services

RepresentativeMegan Brown, Patron Services

RepresentativeMaureen Esty, Patron Services

RepresentativeBrand-I Curtis McCloud, Patron

Services RepresentativeScott Leitch, Quality Assurance

Analyst

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