The Philadelphia Orchestra

Yannick Nézet-Séguin ConductorLeonidas Kavakos Violin

Ravel La Valse

Szymanowski Violin Concerto No. 2, Op. 61 (In one movement)

Intermission

Shostakovich Symphony No. 5 in D minor, Op. 47 I. Moderato—Allegro non troppo II. Allegretto III. Largo IV. Allegro non troppo

This program runs approximately 1 hour, 50 minutes.

The January 16 concert is sponsored byBallard Spahr, LLP.

23

Season 2012-2013Wednesday, January 16, at 8:00Friday, January 18, at 2:00Saturday, January 19, at 8:00

3 Story Title

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

25

SoloistViolinist Leonidas Kavakos has been a regular soloist with The Philadelphia Orchestra since making his debut in 1999 performing Tchaikovsky’s Violin Concerto under the baton of Charles Dutoit at the Mann Center. He has appeared with the Orchestra under the direction of music directors Wolfgang Sawallisch and Christoph Eschenbach as well as guest conductors Rafael Frühbeck de Burgos and Peter Oundjian. In 2009 Mr. Kavakos was a guest soloist for the Orchestra’s tour of Europe and the Canary Islands, performing in Tenerife, Grand Canary, Lisbon, Madrid, Valencia, Luxembourg, Budapest, and Vienna.

Mr. Kavakos was still in his teens when he first gained international attention, winning the Sibelius Competition in 1985 and, three years later, the Paganini Competition. He now works with the world’s major orchestras and conductors, including the Vienna Philharmonic, the Leipzig Gewandhaus Orchestra, the Royal Concertgebouw Orchestra, the London Symphony, the Orchestre de Paris, the La Scala Philharmonic, the Mariinsky Theatre Orchestra, the Boston Symphony, and the New York and Los Angeles philharmonics. This season he is the focus of the London Symphony’s UBS Soundscapes LSO Artist Portrait; he is also artist in residence at the Berlin Philharmonic. Increasingly recognized as a conductor as well, Mr. Kavakos makes conducting debuts at the Finnish Radio Symphony and the Vienna Symphony this season.

Mr. Kavakos is now an exclusive Decca recording artist. His first CD on the label, the complete Beethoven violin sonatas with pianist Enrico Pace, was released this month. They performed the sonatas at the Salzburg Festival in August 2012 and will reprise the performance at the Concertgebouw in 2013. Mr. Kavakos has a distinguished discography, including an award-winning disc with Mendelssohn’s Violin Concerto and a live recording of Mozart’s five violin concertos and Symphony No. 39 with the Camerata Salzburg, both on Sony Classical. In 1991, shortly after winning the Sibelius Competition, Mr. Kavakos won a Gramophone Award for the first-ever recording of the original version of Sibelius’s Violin Concerto, recorded on BIS. Mr. Kavakos plays the “Abergavenny” Stradivarius of 1724.

Yannis Bournias

26

27

Framing the ProgramAmid the heated debates about what path musical modernism should take in the 1920s and ’30s, the three composers featured on the program today charted courses that were bold and distinctive, yet they never lost touch with audiences. Direct communication was a shared concern.

“I feel this work a kind of apotheosis of the Viennese waltz, linked in my mind with the impression of a fantastic whirl of destiny.” So Maurice Ravel said of La Valse, which he composed in the wake of the First World War, after a period of poor health, creative inactivity, and the death of his mother. The brilliantly orchestrated work begins mysteriously as a haunted waltz and builds through various thrilling climaxes to a cataclysmic conclusion.

The great Polish composer Karol Szymanowski assimilated a wide range of influences, from the lush Romanticism of Strauss and Mahler, to the Impressionism of Debussy and Ravel, and ultimately incorporated into his music various folk traditions of the imposing Tatra Mountains near where he lived. The Violin Concerto No. 2 was his last major orchestral work, written in collaboration with his close friend, the celebrated violinist Paweł Kochanski.

Shostakovich’s most famous Symphony, his magnificent Fifth, was the work that brought him back into the good graces of the Soviet musical establishment in 1937, after a series of harsh attacks on his music the previous year. Shostakovich’s searing Symphony not only won official approval but also ultimately proved to be an enduring testament to the trying realities of his time.

Parallel Events1919RavelLa Valse

1933SzymanowskiViolin Concerto No. 2

1937ShostakovichSymphony No. 5

MusicElgarCello ConcertoLiteratureHesseDemianArtKleeDream BirdsHistoryTreaty of Versailles

MusicCoplandSymphony No. 2LiteratureLorcaThe Blood WeddingArtMagritteThe Human ConditionHistoryRepeal of Prohibition

MusicOrffCarmina buranaLiteratureSteinbeckOf Mice and MenArtPicassoGuernicaHistoryJapan invades China

The MusicLa Valse

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

Deeply moved by works of Debussy from the 1890s, around 1900 Ravel began to find his own answers to the questions about harmony, color, and instrumental texture that the late 19th century had left unresolved. As a new century dawned, so did hopes of a “new music,” and this impulse found expression in the music of composers as diverse as Elgar and Schoenberg, Puccini and Debussy. At the beginning of the decade, Ravel’s music began to appear in print for the first time with elegiac pieces such as the Pavane for a Dead Princess and revolutionary ones such as Jeux d’eau. Buoyed by these successes, in 1904 the composer wrote Miroirs, a remarkable set of “impressionistic” piano pieces that some would later compare to the paintings of Monet or Van Gogh. After this he was destined to join Debussy in writing a new chapter in the history of French music.

An “Apotheosis of the Viennese Waltz” There is a popular element in the work we hear today that was inspired by the past and that conveys both nostalgia and shrewd critique. Ravel conceived La Valse as an “apotheosis of the Viennese waltz, which is entangled in my mind with the idea of the whirl of destiny.” He completed the piece, which he had first called Wien (Vienna), at the end of World War I, when Vienna’s destiny—as the former center of the empire that the war dissolved—had indeed determined a new course for the Western world. As such it became a sort of “Death and Transfiguration” for the very concept of the waltz, as it had been defined through two centuries and perfected by the Strauss family a quarter-century earlier. If the piece contains a dark and even somewhat sinister element, this is in keeping with the time and place of its inception. World War I had, after all, altered the shape of the world as no war ever had.

Composed originally as a dance score for Sergei Diaghilev’s Ballets Russes, La Valse used material sketched years earlier—some of which had already appeared, in fact, near the end of the 1911 Valses nobles et sentimentales. Diaghilev found the piece untenable as a ballet, claiming that it would be too expensive to produce. Thus it was first performed as a concert piece, on a program of the Concert Lamoureux in Paris on December 12, 1920; Camille

28

29

Chevillard was the conductor. Not until October 1926 was La Valse presented as a ballet, in a production by the Royal Flemish Ballet in Antwerp, with the great Ida Rubinstein.

A Closer Look Ravel described the piece thus: “Eddying clouds allow glimpses of waltzing couples. The clouds gradually disperse, revealing a vast hall filled with a whirling throng. The scene grows progressively brighter. The light of chandeliers blazes out: an imperial court around 1855.” This brilliantly orchestrated work conveys both the gaiety of the waltz and, as a reflection of Vienna’s somewhat paralytic new destiny, a level of seriousness that is ultimately disquieting.

—Paul J. Horsley

La Valse was composed from 1919 to 1920.

Leopold Stokowski conducted the first Philadelphia Orchestra performances of La Valse, in October 1922. Most recently on subscription, it was led by Charles Dutoit in June 2009.

The Orchestra has recorded La Valse three times, all with Eugene Ormandy: in 1953 and 1963 for CBS, and in 1971 for RCA.

The work is scored for three flutes (III doubling piccolo), three oboes (III doubling English horn), two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, castanets, crotales, cymbals, orchestra bells, snare drum, tam-tam, tambourine, triangle), two harps, and strings.

Performance time is approximately 15 minutes.

The MusicViolin Concerto No. 2

Karol SzymanowskiBorn in Tymoszówka, Ukraine, October 3, 1882Died in Lausanne, Switzerland, March 29, 1937

Karol Szymanowski was born in 1882, the same year as Igor Stravinsky and just one after Belá Bartók. Along with the older Czech Leoš Janácek, these composers carved out a special space in early-20th-century music. All four hailed from places somewhat afield from the “center” of the European musical tradition. But they traveled to France and Germany and were influenced by compositional currents in those countries, whether initiated by Mahler or Strauss, Debussy or Ravel. They were also at various times inspired by, and drew from, the musical traditions of their native lands, particularly folk music.

Of the four, Stravinsky went on to enjoy the most celebrated international career, while Bartók is especially recognized for the brilliant incorporation of his ethnomusicological explorations into his own music. Janácek’s reputation has risen steadily in recent decades, spurred on in large part by the appreciation of his operas. Szymanowski remains the least known. Undoubtedly the leading Polish composer of his era—indeed, the greatest between Chopin and Lutosławski—he awaits appropriately broad rediscovery.

Born on his Polish family’s estate in the Ukraine, Szymanowski received his earliest musical training at home before moving in his late teens to Warsaw for formal study, and then on to Berlin and Vienna. Wagner and Strauss were his models at the time, but the influences broadened as he developed an interest in Eastern cultures and traveled to North Africa. His musical allegiances turned to the French Impressionism of Debussy, the modernism of Stravinsky, as well as to the Russian mysticism of Scriabin. This wide range of influences would later merge with his explorations of Polish folk music, especially from the region of the imposing Tatra Mountains. The folk element came to the fore in his late large-scale works, the ballet Harnasie (1922-32), the Symphonie concertante (Symphony No. 4; 1932), and the Second Violin Concerto we hear today. While the ballet explicitly uses folk material, the other two subtly adapt gestures, modes, and rhythms of indigenous sources. In the last interview he gave, Szymanowski called himself “opposed to confining oneself to folklore,” which for him was significant as a “fertilizing agent.”

30

31

Szymanowski composed his Second Violin Concerto in 1933.

Angel Reyes was the soloist for the first Philadelphia Orchestra performances of the work, in April 1948, with Eugene Ormandy on the podium. Since then the work has been heard only one other time on subscription concerts: in March 1981 with violinist Henryk Szeryng and conductor John Nelson. The piece was also heard in summer 1993 at both the Mann Center and the Saratoga Performing Arts Center, with Chantal Juillet and Charles Dutoit.

The score calls for two flutes (II doubling piccolo), two oboes (II doubling English horn), two clarinets (II doubling E-flat clarinet), two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, triangle), piano, strings, and solo violin.

The Concerto runs approximately 20 minutes in performance.

A Great Last Collaboration During his final years Szymanowski toured far and wide, much to the detriment of his fragile health, in order to supplement his meager income. The Second Violin Concerto was his last major orchestral work. Like the First Concerto from 1916, and a series of remarkable pieces for violin and piano, Szymanowski composed it for his good friend Paweł Kochanski.

The two formed a great musical partnership. As with the eminent 19th-century violinist Joseph Joachim before him—who collaborated with Schumann, Brahms, Dvorák, and many others—Kochanski functioned in many respects as co-creator in Szymanowski’s violin compositions. (He also worked closely with Prokofiev, Stravinsky, and other leading composers of the time.) Szymanowski acknowledged in a memorial address that he was “indebted to him alone for imparting to me his profoundly penetrating ‘secret knowledge of the violin.’” The published score to the Second Violin Concerto generously states: “The violin part composed in collaboration with P. Kochanski.”

In the early 1920s Kochanski had moved to America, where he taught at Juilliard, but maintained his ties to Europe. At his urging, as Szymanowski wrote in a letter, the Second Violin Concerto was “squeezed out of me, as out of a dessicated tube of toothpaste.” Turning even further from his earlier Modernist style, Szymanowski half seriously said the work was “horribly sentimental … beating all records of sentimentality. … I am almost ashamed of myself!!” He wrote the work quickly with Kochanski’s help and the violinist, who was terminally ill at the time, gave the first performance with the Warsaw Philharmonic on October 6, 1933.

A Closer Look Both of Szymanowski’s violin concertos are continuous works consisting of two large sections separated by an extensive cadenza composed (and credited to) Kochanski. Although one still finds the colorful orchestral palette of the composer’s earlier Impressionism, the Tatra folk element now plays an important role, especially in the second half of the piece. The violin presents the long, haunting opening melody that generates many of the musical ideas to come. Following the startling chord that ends the cadenza, the second half of the piece begins with a lively march leading to a tranquil andantino. The final part looks back to the opening of the Concerto, with the principal theme boldly returning to end the piece.

—Christopher H. Gibbs

The MusicSymphony No. 5

Dmitri ShostakovichBorn in St. Petersburg, September 25, 1906Died in Moscow, August 9, 1975

The life and career of Dmitri Shostakovich were in a perilous state when he began writing his Fifth Symphony in April 1937. The 30-year-old composer had recently experienced a precipitous fall from the acclaim he had enjoyed throughout his 20s, ever since he burst on the musical scene at age 19 with his brash and brilliant First Symphony. That work won him overnight fame and extended his renown far beyond the Soviet Union. Shostakovich also received considerable attention for his contributions to the screen and stage, including film scores, ballets, incidental music, and two full-scale operas: The Nose and Lady Macbeth of the Mtsensk District. The latter enjoyed particular popular and critical success in the Soviet Union and abroad after its premiere in January 1934, so much so that a new production was presented at the Bolshoi Theater in Moscow two years later.

A Fall from Grace And that is when the serious troubles began that changed the course of Shostakovich’s life. Stalin attended Lady Macbeth on January 26, 1936, and left before the end of the performance. A few days later an article entitled “Muddle Instead of Music” appeared in Pravda, the official newspaper of the Communist Party. The anonymous critic wrote that the opera “is a leftist bedlam instead of human music. The inspiring quality of good music is sacrificed in favor of petty-bourgeois formalist celebration, with pretense at originality by cheap clowning. This game may end badly.”

Those terrifying last words were life-threatening; this was not just a bad review that could hamper a thriving career. The article was soon followed by another in Pravda attacking his ballet The Limpid Stream, and then by yet another. The musical establishment, with a few brave exceptions, lined up in opposition to Shostakovich. He was working at the time on a massive Fourth Symphony, which went into rehearsals in December 1936. At the last moment, just before the premiere, the work was withdrawn, most likely at the insistence of the authorities. The impressive Symphony would have to wait 25 years for unveiling in 1961. (The Philadelphians gave the American premiere in 1963.)

32

33

The Return of Shostakovich The composer, whose first child had just been born, was well aware of the show trials and mounting purges, as friends, family, and colleagues disappeared or were killed. He faced terrifying challenges in how to proceed after the sustained attacks on his music. He composed the first three movements of the Fifth Symphony with incredible speed—he later recounted that he wrote the Largo in just three days—although the finale slowed him down. The completion of his new symphony is usually dated July 29, 1937, but the most recent investigation for a new critical edition indicates that composition continued well into the fall.

The notable premiere took place on November 21 with the Leningrad Philharmonic under Evgeny Mravinsky. In the words of Shostakovich biographer Laurel Fay: “The significance of the occasion was apparent to everyone. Shostakovich’s fate was at stake. The Fifth Symphony, a non-programmatic, four-movement work in a traditional, accessible symphonic style, its essence extrapolated in the brief program note as ‘a lengthy spiritual battle, crowned by victory,’ scored an absolute, unforgettable triumph with the listeners.”

The funereal third movement, the Largo, moved many listeners to tears. According to one account, members of the audience, one by one, began to stand during the extravagant finale. Composer Maximilian Steinberg, a former teacher of Shostakovich, wrote in his diary: “The ovation was stupendous, I don’t remember anything like it in about the last ten years.” Yet the enormous enthusiasm from musicians and non-musicians alike—the ovations reportedly lasted nearly a half hour—could well have been viewed as a statement against the Soviet authorities’ rebukes of the composer—artistic triumphs could spell political doom. Two officials were sent to monitor subsequent performances and concluded that the audience had been selected to support the composer—a false charge made even less tenable by the fact that every performance elicited tremendous ovations.

The Importance of Art It may be difficult for contemporary American audiences to appreciate how seriously art was taken in the Soviet Union. The attention and passions, the criticism and debates it evoked—dozens of articles, hours of official panels at congresses, and abundant commentary—raised the stakes for art and for artists. For his part Shostakovich remained silent at the time about the Fifth Symphony. He eventually stated that the quasi-autobiographical work was about the “suffering

of man, and all-conquering optimism. I wanted to convey in the Symphony how, through a series of tragic conflicts of great inner spiritual turmoil, optimism asserts itself as a world view.”

The best-known remark about the work is often misunderstood. In connection with the Moscow premiere of the Symphony, Shostakovich noted that among all the attention it had received, one interpretation gave him “special pleasure, where it was said that the Fifth Symphony is the practical creative response of a Soviet artist to just criticism.” This last phrase was subsequently attributed to the composer as a general subtitle for the Symphony. Yet as Fay has observed, Shostakovich never agreed with what he considered the unjust criticism of his earlier work, nor did he write the Fifth along the lines he had been told to do. Most importantly, he gave no program or title to it at any time. The work, which reportedly was one the composer thought particularly highly of in later years, went on to be one of his most popular and successful compositions and a staple of the symphonic repertory.

A Closer Look The first movement (Moderato) opens with the lower strings intoning a striking, jagged theme, which is immediately imitated by the violins and gradually winds down to become an accompaniment to an eerie theme that floats high above in the upper reaches of the violins. The tempo eventually speeds up (Allegro non troppo), presenting a theme that will appear in different guises elsewhere in the Symphony, most notably transformed in the triumphant conclusion.

The brief scherzo-like Allegretto shows Shostakovich’s increasing interest at the time in the music of Mahler, in this case the Fourth Symphony, which also includes a grotesque violin solo. The Largo, the movement that so moved audiences at the first performances, projects a tragic mood of enormous intensity. The brass instruments do not play at all in the movement, but return in full force to dominate the finale (Allegro non troppo). The “over the top” exuberance of this last movement has long been debated, beginning just after the first performances. Especially following the effect of the preceding lament, some have found the optimistic triumphalism of the ending forced and ultimately false. Perhaps it is the ambiguity still surrounding the work that partly accounts for its continued appeal and prominence.

—Christopher H. Gibbs

34

Shostakovich composed his Symphony No. 5 in 1937.

Leopold Stokowski led the first Philadelphia performances of Shostakovich’s Fifth Symphony, in March 1939. Since then the Orchestra has performed the work many times at home, as well as on domestic and international tours, including performances in Russia under Eugene Ormandy in 1958. Among the other conductors to lead the piece here are István Kertész, André Previn, Riccardo Muti, Yuri Temirkanov, Maxim Shostakovich, Leonard Slatkin, Wolfgang Sawallisch, and Christoph Eschenbach. The most recent subscription performances were with Charles Dutoit in June 2009.

The Philadelphians have recorded the Symphony several times: in 1939 for RCA with Stokowski; in 1965 for CBS with Ormandy; in 1975 for RCA with Ormandy; in 1992 for EMI with Muti; and in 2006 with Eschenbach for Ondine.

Shostakovich scored the work for piccolo, two flutes, two oboes, two clarinets, E-flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, orchestra bells, snare drum, tam-tam, triangle, xylophone), harp, piano (doubling celesta), and strings.

The Symphony runs approximately 45 minutes in performance.

Program notes © 2013.

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 tonesCoda: A concluding section or passage added in order to confirm the impression of finalityConcertante: A work featuring one or more solo instrumentsDissonance: A combination of two or more tones requiring resolutionHarmonic: Pertaining to chords and to the theory and practice of harmonyIntonation: The treatment of musical pitch in performanceLegato: Smooth, even, without any break between notesMeter: The symmetrical

grouping of musical rhythmsModulate: To pass from one key or mode into anotherOp.: 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.).Scherzo: Literally “a joke.” Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo in triple time, vigorous rhythm, and humorous contrasts.

Sonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then “developed.” In the recapitulation, the exposition is repeated with modifications.Tonic: The keynote of a scale

THE SPEED OF MUSIC (Tempo)Allegretto: A tempo between walking speed and fastAllegro: Bright, fastAndante: Walking speedAndantino: Slightly quicker than andanteLargo: BroadModerato: A moderate tempo, neither fast nor slow

TEMPO MODIFIERSNon troppo: Not too much

35

36

Orchestra HeadlinesPhiladelphia Orchestra Chamber Music ConcertTickets are now on sale for the fourth concert in The Philadelphia Orchestra’s 28th Season Chamber Music Series on Sunday, February 17, 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 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

Angela 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

Annual Martin Luther King Jr. Tribute ConcertThe 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 RecordingA 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

Watts and BeethovenFebruary 1 & 2 8 PMRafael Frühbeck de Burgos Conductor André Watts Piano

Bach/orch. Stokowski “Wachet auf, ruft uns die Stimme” Beethoven Piano Concerto No. 5 (“Emperor”) Hindemith Concert Music for Strings and Brass Liszt Les Préludes

Yannick and BrucknerJanuary 24 8 PM January 25 2 PMYannick 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.

January/February The Philadelphia Orchestra

Tickets are disappearing fast for these amazing concerts! Order your tickets today.

Jessica Griffin

16 Story Title

Tickets & Patron ServicesSubscriber 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.

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, first-served 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 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

ManagerMariangela Saavedra, Manager,

Patron ServicesJoshua Becker, Training SpecialistKristin Allard, Business Operations

CoordinatorJackie Kampf, Client Relations

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 OfficeJayson Bucy, Lead Patron Services

RepresentativeFairley Hopkins, Lead Patron

Services RepresentativeMeg Hackney, Lead Patron

Services RepresentativeTeresa Montano, Lead Patron

Services RepresentativeAlicia DiMeglio, Priority Services

RepresentativeMegan Brown, Patron Services

RepresentativeJulia Schranck, Priority Services

RepresentativeBrand-I Curtis McCloud, Patron

Services RepresentativeScott Leitch, Quality Assurance

Analyst

38