The Philadelphia Orchestra

Mozart Fantasia in C minor, K. 396, for solo piano Imogen Cooper Piano (Guest)

Mozart Quintet in E-flat major, K. 452, for piano and winds I. Largo—Allegro moderato II. Larghetto III. Rondo: Allegretto Imogen Cooper Piano (Guest) Peter Smith Oboe Samuel Caviezel Clarinet Mark Gigliotti Bassoon Jennifer Montone Horn

Intermission

Mozart String Quintet No. 5 in D major, K. 593 I. Larghetto—Allegro II. Adagio III. Menuetto: Allegretto IV. Finale: Allegro Amy Oshiro-Morales Violin David Nicastro Violin Anna Marie Ahn Petersen Viola Renard Edwards Viola Hai-Ye Ni Cello

This program runs approximately 1 hour, 40 minutes.

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Season 2012-2013Sunday, January 13, at 3:0028th Season of Chamber Music Concerts—Perelman Theater

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The Philadelphia Orchestra

Renowned for its distinctive sound, beloved for its keen ability to capture the hearts and imaginations of audiences, and admired for an unrivaled legacy of “firsts” in music-making, The Philadelphia Orchestra is one of the preeminent orchestras in the world.

The Philadelphia Orchestra has cultivated an extraordinary history of artistic leaders in its 112 seasons, including music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, who served as chief conductor from 2008 to 2012. With the 2012-13 season, Yannick Nézet-Séguin becomes the eighth music director of The Philadelphia Orchestra. Named music director designate in 2010, Nézet-Séguin brings a vision that extends beyond symphonic music into the

vivid world of opera and choral music.

Philadelphia is home and the Orchestra nurtures an important relationship not only with patrons who support the main season at the Kimmel Center for the Performing Arts but also those who enjoy the Orchestra’s other area performances at the Mann Center, Penn’s Landing, and other venues. The Philadelphia Orchestra Association also continues to own the Academy of Music—a National Historic Landmark—as it has since 1957.

Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the United States. Having been the first American orchestra to perform in China, in 1973 at the request of President Nixon, today The Philadelphia

Orchestra boasts a new partnership with the National Centre for the Performing Arts in Beijing. The Orchestra annually performs at Carnegie Hall and the Kennedy Center while also enjoying a three-week residency in Saratoga Springs, N.Y., and a strong partnership with the Bravo! Vail Valley Music Festival.

The ensemble maintains an important Philadelphia tradition of presenting educational programs for students of all ages. Today the Orchestra executes a myriad of education and community partnership programs serving nearly 50,000 annually, including its Neighborhood Concert Series, Sound All Around and Family Concerts, and eZseatU.

For more information on The Philadelphia Orchestra, please visit www.philorch.org.

Jessica Griffin

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The MusicFantasia in C minor, K. 396, for solo piano

Wolfgang Amadè MozartBorn in Salzburg, January 27, 1756Died in Vienna, December 5, 1791

The history of music is littered with great unfinished projects. Among the most ambitious are operas, ranging from the barely begun (Verdi’s King Lear) to the nearly finished (Puccini’s Turandot and Berg’s Lulu), and symphonies. Schubert completed two glorious movements of his B-minor Symphony (the “Unfinished”), but sketched only part of a third movement and left nothing for a finale. Mahler was making headway on his Tenth Symphony during his final year, but beyond the opening movement most of the rest survives only in detailed sketches.

Such pieces raise important aesthetic questions, as well as ethical ones. As with great incomplete works of literature and painting it would often be a significant artistic loss if they were unavailable to be heard, read, or seen. Music, which needs to be completed and performed in some manner in order to reach an audience, poses particular challenges. It seems an even greater loss if access to unfinished compositions were limited to notated sketches and drafts known only to musicologists in archives and never aurally realized in actual performance. But there is also the problem of honesty, responsibility, and acknowledgement when it comes to authorship and how an unfinished musical work makes it from the written page to the sounding performance. If one is disappointed hearing Mahler’s Tenth, is that Mahler’s fault or that of the eager musician who speculatively completed the score?

In Mozart’s brief 35-year lifetime he wrote a superhuman quantity (not to mention quality) of music. It is not surprising that there were a good many false starts and abandoned pieces. The most famous are his two greatest sacred pieces: the Mass in C minor and the Requiem, his final composition that he was writing on his deathbed and that is now performed in versions finished by others.

Mozart’s wife, Constanze, left a 29-year-old widow with children to support, sought various ways to makes ends meet after the composer’s death in December 1791. She got a pension from the Emperor, gave concerts, and actively promoted the publication of her husband’s music. She enlisted one of his acquaintances, the theologian and musician Abbé Maximilian Stadler (1748-1833), to

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sort through the surviving manuscripts. Together with the Danish diplomat Georg Nissen (whom Constanze would later marry), Stadler prepared a catalogue of Mozart’s fragments that was included as an appendix to an important biography of the composer written by Nissen. Stadler also published a strong defense of the authenticity of the Requiem for which Constanze was most grateful—in a letter she salutes him as “My most esteemed and still more beloved friend.”

Stadler first heard Mozart perform when the composer was eight and later accompanied him in some violin sonatas that were published in 1781. The next summer, just after marrying Constanze, Mozart began a sonata movement for piano and violin that breaks off after 28 measures. He put the work aside and never returned to it in his remaining nine years. A decade after his death Stadler finished the work, omitting the violin entirely (Mozart had barely written any of its part) and casting it as a fantasy for solo keyboard. The first part follows Mozart’s manuscript closely, which is the exposition of a sonata form movement up to the double bar; Stadler continued from there, writing the development and recapitulation. Despite the Classical sonata form structure, the piece clearly has an improvisational quality captured by Stadler’s title. The work was published in 1802 in Vienna as “Fantaisie pour le Clavecin ou Pianoforte, dédiée à Mad. Constanze Mozart.”

—Christopher H. Gibbs

The MusicQuintet in E-flat major, K. 452, for piano and winds

Wolfgang Amadè Mozart After the 1784 premiere of Mozart’s Piano Quintet in E-flat, K. 452, the composer reported to his father that the piece had “received the most remarkable applause; I myself consider it to be the best work I have ever composed. It is written for one oboe, one clarinet, one horn, one bassoon, and the pianoforte. How I wish you could have heard it! And how beautifully it was performed! To tell the truth I was really worn out in the end after playing so much—and it is greatly to my credit that my listeners never got tired.” Mozart’s novel Quintet had managed to impress even himself, but he never wrote another work like it. It is virtually unique in Mozart’s oeuvre, and in the corpus of Western classical music in general.

When Mozart composed his Piano Quintet during March of 1784, he was in the middle of one of the most intense periods of concerto composition he ever undertook. He completed six concertos that year, and two more in early 1785. In fact, in Köchel’s chronological catalogue of Mozart’s compositions, the Quintet is immediately preceded by three piano concertos—No. 14 in E-flat (K. 449), No. 15 in B-flat (K. 450), and No. 16 in D (K. 451)—and is followed by another concerto, No. 17 in G (K. 453). These five new compositions were completed in a single three-month span. It’s no surprise then that the Quintet, with its almost unique instrumentation, is in the concertante style—it is essentially a piano concerto without a string section. The concerto connection was emphasized when the Quintet was premiered alongside two of the new concertos at a Vienna concert on April 1, 1784.

While this work is obviously an experiment, it set Mozart on the path of piano-based chamber composition. Apart from a single set of divertimentos for piano trio from 1776, he had written no mature keyboard-based chamber works before the Quintet. But within a handful of years after the Quintet he had produced two piano quartets and a further six piano trios.

The Quintet stands at the head of Mozart’s keyboard-based chamber works, but it also brings to a culmination his wind ensemble pieces, which include the divertimentos and more especially the serenades (K. 361, 375, 388)

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composed in the years immediately preceding the Quintet. Mozart wrote almost no wind ensemble music after 1784. The Quintet is therefore a pivotal work, one that admits wind instruments into the refined world of chamber music (some for the first time), but also one that redefines the role of the wind section in subsequent works. The writing for winds in the Quintet changed, for example, Mozart’s approach to future concertos, where the winds no longer merely doubled the strings but began to be used idiomatically.

The equality of instruments in this Quintet is a rare achievement. The musicologist Alfred Einstein commented: “The particular charm of this work consists in its feeling for the tonal character of each of the four wind instruments, of which none is disproportionately prominent—not even the clarinet … and none is subordinated—not even the horn.”

Perhaps because of the difficulty of balancing instrumental timbres, a quintet formed by piano and wind ensemble has never been a popular instrumentation. Beethoven wrote a Quintet (or more accurately, paraphrased Mozart’s), by copying Mozart’s instrumentation, key, slow introduction, movement outline, and more than a couple of melodic ideas, publishing it as his Op. 16. Franz Danzi also used the same instruments for his Quintet, written in 1810. But after Mozart, the piano quintet—never a popular genre in any arrangement—was almost exclusively formed by adding a piano to a string quartet.

Mozart’s Piano and Wind Quintet borrows the three-movement format of a concerto—a departure from the four-movement format of much chamber music. The first movement begins with a Largo introduction that immediately places the four wind instruments on equal footing. At the outset the winds dialogue with the piano, but soon break off to converse among themselves. In the sparkling Allegro moderato that follows, the short, syncopated themes allow Mozart to display a wide variety of tone-color combinations as the instruments exchange and develop the musical motifs. In the second key area, as contrasting themes are introduced, it is the winds that carry the main melodies while the piano retreats into the background.

The second movement (Larghetto), in B-flat major, is also in sonata-allegro form. Typically for a slow movement, it is more lyrical than the outer movements, with similarities to the cantabile melodic style Mozart cultivated

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in his Italian operas. The brief development section, introduced by surprising forte chords, quickly makes way for a return to the melodic conversations among the winds that had characterized the movement’s opening. Here the piano’s role is almost completely secondary—it rarely takes the melodic interest except as part of a dialogue with the others.

The solo piano returns at the start of the sonata-rondo third movement (Allegretto) where it presents the straightforward, dance-like main theme. The piano writing in this finale is more traditionally concertante—it dominates the discussion, and even when accompanying it fills the texture with figurations that draw attention to itself. Near the end Mozart includes a cadenza “in tempo,” fully scored for the whole ensemble but intended to have an improvisatory sound to it, that is not virtuosic at all but rather relaxed.

—Luke Howard

Mozart’s K. 593 in D major was his fifth string quintet; the sixth and last would be one in E-flat, K. 614. All six were “viola” quintets, scored for the standard deployment of string quartet—two violins, viola, and cello—plus a second viola. (While there are also such things as two-cello quintets, the extra viola is more common.) Mozart composed one quintet as a young man, then abandoned the form in his middle years—which, given the composer’s short lifespan, means from about age 21 to 31. In 1787 he transcribed one of his own wind serenades for the string quintet instrumentation, apparently as a warm-up for a return to the form. Later that year came the first in a series of four masterful string quintets; K. 593 is dated December 1790.

At this time, only a year from his death at age 35, Mozart’s financial situation was difficult. He received little remuneration for the many compositions he continued to write, and was forced to sell some of them for small fees. In this context, the Fifth and Sixth String Quintets were a godsend, issued as they were from a commission by “a Hungarian said to be the wholesale merchant Johann Tost,” according to Alfred Einstein’s biography of the composer. Tost, a violinist already the bearer of dedications of several quartets by Haydn, had newly married into wealth and celebrated the nuptials by commissioning the man Haydn himself had called “the greatest composer I know.”

While the New Grove Dictionary of Music and Musicians regretfully accuses Mozart’s last string quartets of “involving something of a falling off in inventiveness and ingenuity,” it cites the late quintets as proof to the contrary. The D-major Quintet in particular boasts “a first movement [Larghetto—Allegro] in a style more spare in texture than the preceding quintets but polyphonically richer, particularly in the recapitulation where the exposition material is extended and developed.” In this, Mozart anticipated Beethoven, whose recapitulations sometimes resemble “second developments.” As for the Adagio, it is “intense with its chromaticisms, its dialogues between violin and cello across throbbing middle textures, and its great range of elaborations throughout every phase of the

The MusicString Quintet No. 5 in D major, K. 593

Wolfgang Amadè Mozart

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movement of the descending tetrachord figure heard at the start.” The score goes on to example “a sophisticated canonic minuet [Allegretto] and a graceful dialogue-style trio,” ending with “a 6/8 finale [Allegro] whose main theme begins with a descending chromatic scale” and is “contrapuntally developed, in light, open textures with a curiously cool, even astringent flavour.”

There is no record of Tost ever producing a concert of the quintets, and the earliest known performances occurred after Mozart’s death. Strangely, the publisher found the descending chromatic scale of the finale’s main theme of slight interest and embellished it himself with a zig-zag pattern that for a long time was the standard way the work was performed. The discovery of original manuscript corrected the embellishment and showed that Mozart knew, after all, what he was doing: The original form of the theme is precisely what announces the “cool, even astringent” nature of the movement. Indeed, the entire Quintet is pervaded by falling melodic lines and dropping harmonic sequences. The Adagio gets its very character from the exploitation of plummeting melodic lines. Even in the brave little minuet, which fights against falling, conveys nonetheless a sense of delicate gravity. The more it strives upward, the more it is calmed and returned to earth. In some very general sense, the Quintet feels akin to night-music, like a serenade to the moon as it drops to the horizon.

That Mozart uses the two violas in his quintets not only to provide the “throbbing middle textures” referenced above but also to supply greater lucidity is remarkable. The polyphonic nature of the score, noticed by so many commentators, is never thick or obvious. Mozart uses the five distinct voices of his strings to limn a transparent musical experience that breathes freely the open air of a moonlit night.

—Kenneth LaFave

Program notes © 2013. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association, Luke Howard, and/or Kenneth LaFave.

Musical TermsGENERAL TERMSCadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or compositionCanon: A device whereby an extended melody, stated in one part, is imitated strictly and in its entirety in one or more other partsCantabile: In a singing style, lyrical, melodious, flowingChromatic: Relating to tones foreign to a given key (scale) or chordCoda: A concluding section or passage added in order to confirm the impression of finalityConcertante: A work featuring one or more solo instrumentsContrapuntal: See counterpointCounterpoint: A term that describes the combination of simultaneously sounding musical linesDevelopment: See sonata formDivertimento: A piece of entertaining music in several movements, often scored for a mixed ensemble and having no fixed formFantasia: A composition free in form and more or less fantastic in characterK.: Abbreviation for Köchel,

the chronological list of all the works of Mozart made by Ludwig von KöchelMinuet: A dance in triple time commonly used up to the beginning of the 19th century as the lightest movement of a symphonyPolyphony: A term used to designate music in more than one part and the style in which all or several of the musical parts move to some extent independentlyRecapitulation: See sonata 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.).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.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 beatTetrachord: A four-note scale outlined by the interval of a fourth

THE SPEED OF MUSIC (Tempo)Adagio: Leisurely, slowAllegretto: A tempo between walking speed and fastAllegro: Bright, fastLarghetto: A slow tempoLargo: BroadModerato: A moderate tempo, neither fast nor slow

DYNAMIC MARKSForte (f): Loud

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SoloistsSamuel Caviezel, associate principal clarinet, joined The Philadelphia Orchestra in 1998 after having served as principal clarinet of the Grand Rapids Symphony. He was born in Seattle and grew up in the Puget Sound region of Washington State. He began his clarinet studies with Laurie DeLuca of the Seattle Symphony, progressed through the Tacoma Youth Symphony Association, and spent his senior year of high school at the Interlochen Arts Academy in Michigan. In 1992 he entered the Curtis Institute of Music, where he studied with then-Philadelphia Orchestra Associate Principal Clarinet Donald Montanaro and played in the Curtis Symphony, becoming its principal clarinet in 1994. Upon graduation in 1996, Mr. Caviezel joined the Grand Rapids Symphony.

Pianist Imogen Cooper has appeared with such ensembles as the New York and Vienna philharmonics, the Royal Concertgebouw and Leipzig Gewandhaus orchestras, the NHK Symphony, and all the major British orchestras, and she 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 the U.S. and across Europe. As a lieder recitalist she has had a long collaboration with baritone Wolfgang Holzmair and also performs frequently with cellist Sonia Wieder-Atherton; both feature in the box set Imogen Cooper and Friends on the Philips label. Ms. Cooper has also recorded Mozart concertos 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.

Renard Edwards, viola, is a native Philadelphian. He attended Overbrook High School while studying with former Philadelphia Orchestra member Leonard Mogill at the Settlement Music School. Mr. Edwards continued his viola studies with Max Aronoff at the New School of Music and was coached in chamber music by Edgar Ortenberg, former violinist in the Budapest String Quartet. Mr. Edwards also studied with Karen Tuttle in Philadelphia.

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SoloistsMark Gigliotti joined The Philadelphia Orchestra as assistant principal bassoon in 1982. He became associate principal in 1984 and has been co-principal since 1999. He began his professional career with the Hague Philharmonic in the Netherlands and has also been principal bassoon of the Pittsburgh Symphony. Mr. Gigliotti first appeared as a soloist with The Philadelphia Orchestra in 1979, as a winner of the Orchestra’s Student Competition. He graduated from the Curtis Institute of Music in 1979 and studied bassoon with Bernard Garfield, Sol Schoenbach, and Shirley Curtiss, and conducting with Kees Bakkels and Luis Biava. Currently music director and conductor of the Lower Merion Symphony, Mr. Gigliotti has been on the faculty of the College of New Jersey since 1992. He has also recorded with the Taipei Symphony for the Bravo label.

Principal Horn Jennifer Montone joined The Philadelphia Orchestra in 2006 and is currently on the faculties of Curtis, Juilliard, and Temple. Previously she was principal horn of the Saint Louis Symphony, associate principal horn of the Dallas Symphony, and third horn of the New Jersey Symphony. She has performed as a soloist with The Philadelphia Orchestra and the Dallas, Saint Louis, and National symphonies and has appeared with the Chamber Music Society of Lincoln Center and at the La Jolla, Santa Fe, Spoleto, and Marlboro festivals. Recipient of a 2006 Avery Fisher Career Grant and the 1996 Paxman Young Horn Player of the Year Award, she also won the 1998 Philadelphia Concerto Soloists Competition. She is a graduate of Juilliard, where she studied with Julie Landsman. Her recording of the Penderecki Horn Concerto with the Warsaw National Philharmonic is currently available.

Born in Shanghai, Hai-Ye Ni began cello studies with her mother and later trained at the Shanghai Conservatory. She also studied with Irene Sharp at the San Francisco Conservatory, Joel Krosnick at Juilliard, and William Pleeth. Ms. Ni joined The Philadelphia Orchestra as principal cello in 2006; previously she was associate principal cello of the New York Philharmonic. She made her New York debut in 1991 as first prize winner at the Naumburg International Cello Competition, the youngest recipient of that award. She also won first prize in the 1996 International Paulo Cello Competition and received an Avery Fisher Career Grant. Her solo engagements include the New York Philharmonic and the Chicago, San Francisco, Houston, Vancouver, and Shanghai symphonies. She has also given recitals and participated in music festivals around the world.

Chris Lee

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SoloistsViolist David Nicastro became a member of The Philadelphia Orchestra in the summer of 1995. Previously he served as associate principal viola of the San Francisco Opera Orchestra. He has been guest violist with the Takács String Quartet and was a member of the Kono Quartet in Indiana. Born in New York, Mr. Nicastro grew up in the Hague, Netherlands, where he began violin studies at the age of six. Returning to the U.S., he received a Bachelor of Arts degree in English literature and a Bachelor of Music degree in violin performance from Boston University while studying with Yuri Mazurkevich. Continuing his musical studies, Mr. Nicastro received a University Fellowship and an Artist Diploma from Indiana University, where he studied viola with Abraham Skernick, Atar Arad, and former Philadelphia Orchestra Principal Viola Joseph de Pasquale.

Amy Oshiro-Morales joined the second violin section of The Philadelphia Orchestra in 2008; she is currently acting assistant concertmaster. Previously she was assistant concertmaster of the Saint Louis Symphony and the Grant Park Orchestra and associate concertmaster of the Colorado Symphony. She has appeared as a soloist with such ensembles as the Chicago, Saint Louis, and Napa Valley symphonies, and the Minnesota Sinfonia. Ms. Oshiro-Morales has been a guest artist at the Sun Valley Summer Symphony, the Cactus Pear and Grand Teton music festivals, and the National Orchestral and Innsbrook institutes, among others. She studied with Almita and Roland Vamos at Oberlin Conservatory and continued her studies at the Juilliard School with Robert Mann. Ms. Oshiro-Morales also enjoys hiking and running and has completed the Chicago and New York City marathons.

Anna Marie Ahn Petersen, viola, joined The Philadelphia Orchestra in 1992 upon her graduation from the Curtis Institute of Music, where she was a student of Joseph de Pasquale, then principal viola of The Philadelphia Orchestra. She made her solo recital debut in Seoul, Korea, in 1988, which was sponsored by Jeunesses Musicales. She has performed as soloist with the Seoul Philharmonic and the Orquesta Filarmónica de Bogotá, and she has served as principal viola of the Brandenburg Ensemble and the Jupiter Symphony. Ms. Petersen enjoys reading, cooking, mountain biking, and golf in her free time. She and her husband, Bill, have a son, Matthew.

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SoloistsPeter Smith has been associate principal oboe of The Philadelphia Orchestra since 1991. He participated in such festivals as the Colorado Music Festival, where he was principal oboe in 1991. A graduate of the Curtis Institute of Music, he studied with Philadelphia Orchestra Principal Oboe Richard Woodhams; he has also studied with Louis Rosenblatt and Marc Lifschey. Mr. Smith has appeared as soloist with the Philadelphia and Colorado Festival orchestras; the Lower Merion, Newark (Delaware), Curtis, and Bucks County symphonies; the Camerata Classica; and the Chamber Orchestra of Philadelphia. He was also a soloist in Mozart’s Piano Quintet with pianist Emanuel Ax as part of The Philadelphia Orchestra’s Absolutely Mozart Festival. Mr. Smith is currently on the faculty of Temple University, where he is a member of the Conwell Woodwind Quintet.

Jean Brubaker

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Sunday, February 17 3 PM Perelman TheaterAngela Anderson Bassoon Derek Barnes Cello Che-Hung Chen Viola Elina Kalendareva Violin Juliette Kang Violin Robert Kesselman Double Bass Kathryn Picht Read Cello Marc Rovetti Violin Shelley Showers Horn

Mozart Divertimento in E-flat major, K. 563, for violin, viola, and cello Schubert Octet in F major, D. 803, for clarinet, bassoon, horn, two violins, viola, cello, and double bass

Through a wide range of ensembles and musical styles, encounter the Orchestra’s musicians as individuals, with their unique talents and musical personalities. Order your tickets for the next Chamber Music Concert today!

TICKETS Call 215.893.1999 or log on to www.philorch.org All artists, dates, programs, and prices subject to change. All tickets subject to availability.

Chamber Music Concert with Members of The Philadelphia Orchestra

Join us in the intimate setting of Perelman Theater, where the virtuosity of each musician shines.

Jessica Griffin

February The Philadelphia Orchestra

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