Season 2013-2014 - The Philadelphia Orchestra

27
Season 2013-2014
Thursday, September 26,
at 8:00
Friday, September 27,
at 2:00
Saturday, September 28,
at 8:00
The Philadelphia Orchestra
Yannick Nézet-Séguin Conductor
Christine Brewer Soprano
Mihoko Fujimura Mezzo-soprano
Christian Elsner Tenor
Shenyang Bass-baritone
Westminster Choir and Westminster
Symphonic Choir
Joe Miller Director
Beethoven Calm Sea and Prosperous Voyage, Op. 112,
for chorus and orchestra
Muhly Bright Mass with Canons
I. Kyrie
II. Gloria
III. Sanctus and Benedictus—
IV. Agnus Dei
World premiere of orchestrated version—Commissioned by The Philadelphia Orchestra
Intermission
Beethoven Symphony No. 9 in D minor, Op. 125 (“Choral”)
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace—Presto
III. Adagio molto e cantabile—Andante
moderato—Tempo I
IV. Presto—Allegro assai—Presto (Recitativo)—
Allegro assai—Allegro assai vivace: alla
marcia—Andante maestoso—Allegro
energico—Allegro ma non tanto—Poco
adagio—Poco adagio, strigendo il tempo—
Prestissimo
This program runs approximately 1 hour, 55 minutes.
Philadelphia Orchestra concerts are broadcast on
WRTI 90.1 FM on Sunday afternoons at 2 PM.
Visit www.wrti.org to listen live or for more details.
3 Story Title
29
The Philadelphia Orchestra
Jessica Griffin
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, deeplyrooted 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 concertgoers through Post-Concert
Conversations.
Under Yannick’s leadership
the Orchestra returns to
recording with a newlyreleased 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 fulltime 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.
8
Music Director
Nigel Parry/CPi
Yannick 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 DenisePelletier, 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.
30
Soloist
Christian Steiner
Soprano Christine Brewer made her Philadelphia
Orchestra debut in 1991. Born in Illinois she began her
professional career with the Opera Theatre of Saint
Louis, with which she has performed Ellen Orford in
Britten’s Peter Grimes, Donna Anna in Mozart’s Don
Giovanni, and the title roles in Strauss’s Ariadne auf Naxos
and Rossini’s Armida. She has sung the roles of the
Countess in Mozart’s The Marriage of Figaro for New York
City Opera and at Covent Garden; Donna Anna at the
Edinburgh Festival and in London, New York, and Florida;
and Leonore in Beethoven’s Fidelio in Lisbon and San
Francisco. Most recently she sang in the world premiere
of Douglas J. Cuomo’s Doubt for Minnesota Opera.
Ms. Brewer has appeared in concert in the United States
with the Cleveland Orchestra, the Los Angeles and
New York philharmonics, and the Chicago, Boston, San
Francisco, Atlanta, and New World symphonies, with
such conductors as Pierre Boulez, James Levine, James
Conlon, Michael Tilson Thomas, David Robertson, Alan
Gilbert, Christoph Eschenbach, Christoph von Dohnányi,
and Gustavo Dudamel. She is a regular guest with the
Saint Louis Symphony. In Europe she has sung with the
Royal Concertgebouw Orchestra and the Bavarian Radio
Symphony with Mariss Jansons, the BBC Symphony with
Jiří Bělohlávek, the London Philharmonic with Vladimir
Jurowski, the London Symphony with Colin Davis, and the
Orchestra dell’Accademia Nazionale di Santa Cecilia with
Antonio Pappano. She has also been a regular guest at
the Edinburgh Festival and the BBC Proms.
Highlights of Ms. Brewer’s 2013-14 season include
Britten’s Albert Herring with the BBC Symphony and War
Requiem with the San Francisco Symphony; Strauss’s
Four Last Songs in Tokyo with Jonathan Nott; Rodgers
and Hammerstein’s The Sound of Music at the Lyric
Opera of Chicago; and a return to the Opera Theatre of
Saint Louis as Madame Lidoine in Poulenc’s Dialogues
of the Carmelites. Her many recordings include Don
Giovanni with Charles Mackerras; Barber’s Vanessa with
Leonard Slatkin; Fidelio and Verdi’s Requiem with Mr.
Davis; Ariadne auf Naxos with Richard Armstrong; the War
Requiem with Kurt Masur; Mahler’s Symphony No. 8 with
Simon Rattle; the Four Last Songs with Donald Runnicles;
and Schubert and Strauss recitals.
31
Soloist
R&G Photography
Mezzo-soprano Mihoko Fujimura was born in Japan
and studied at both Tokyo University and the University of
Music and Performing Arts Munich. She won numerous
international singing competitions before joining the
ensemble of Graz Opera from 1995 to 2000, where she
sang many of her signature roles for the first time. She
came to international attention in performances at the
2002 Munich Opera Festival and the Bayreuth Festival
and has since become a regular guest at the Royal Opera
House, Covent Garden; the Teatro alla Scala in Milan;
the Bavarian State Opera in Munich; the Vienna State
Opera; the Théâtre du Châtelet in Paris; the Teatro Real
in Madrid; Deutsche Oper Berlin; the Maggio Musicale
Fiorentino; and the Bayreuth and Aix-en-Provence
festivals. She is a regular guest artist in Japan and has
appeared with the world’s leading orchestras. She has
sung with Yannick Nézet-Séguin and the Rotterdam
and London philharmonics, and with The Philadelphia
Orchestra both in Philadelphia with Charles Dutoit and on
tour in Europe with Christoph Eschenbach.
Ms. Fujimura has appeared at the Bayreuth Festival for
nine consecutive seasons in the roles of Kundry (Parsifal),
Brangäne (Tristan and Isolde), Fricka (Die Walküre),
Waltraute (Götterdämmerung), and Erda (Siegfried). Her
operatic repertoire also includes Venus in John Blow’s
Venus and Adonis; Idamante in Mozart’s Idomeneo;
Octavian in Strauss’s Der Rosenkavalier; Princess Eboli in
Verdi’s Don Carlos; Amneris in Verdi’s Aida; Azucena in
Verdi’s Il trovatore; and the title role in Bizet’s Carmen. Ms.
Fujimura’s concert repertoire includes Verdi’s Requiem;
Wagner’s Wesendonck Lieder; and Mahler’s Das Lied von
der Erde, Rückert Lieder, Des Knaben Wunderhorn, and
Second, Third, and Eighth symphonies.
Ms. Fujimura has recorded the role of Brangäne with
Antonio Pappano for EMI Classics; Schoenberg’s
Gurrelieder with the Bavarian Radio Symphony and
Mariss Jansons; Mahler’s Symphony No. 3 with the
Bamberg Symphony and Jonathan Nott; and Beethoven’s
Symphony No. 9 with Christian Thielemann and the
Vienna Philharmonic. For Fontec she has released two
solo recital discs with pianist Wofram Rieger of works by
Wagner, Mahler, Schubert, Strauss, and Brahms.
32
Soloist
Anne Hoffmann
Born in Freiburg in southern Germany, tenor Christian
Elsner studied singing with Martin Gründler, Dietrich
Fischer-Dieskau, and Neil Semer and had prize-winning
successes at various international competitions. As
a concert singer he is a regular guest performer at
international festivals and in all the major concert halls
around the world, from Berlin, Vienna, Milan, and London
to New York and Tokyo. He has worked with such
conductors as Yannick Nézet-Séguin, Herbert Blomstedt,
Adam Fischer, Carlo Maria Giulini, Nikolaus Harnoncourt,
Thomas Hengelbrock, Marek Janowski, Mariss Jansons,
Fabio Luisi, Neville Marriner, Simon Rattle, and David
Zinman. He makes his Philadelphia Orchestra debut with
these current performances.
Mr. Elsner has sung the role of Siegmund in Wagner’s Die
Walküre in three concert versions with Mr. Rattle and the
Berlin Philharmonic. Other performance highlights include
Mahler’s Das Lied von der Erde with the Rotterdam
Philharmonic and Yannick and with the Tonhalle Orchestra
and Mr. Zinman (also for CD); Beethoven’s Missa solemnis
and Mendelssohn’s “Lobgesang” with the MDR Leipzig
Radio Symphony under Jun Märkl; the Missa solemnis
with the Munich Philharmonic conducted by Lorin Maazel;
the title role in Wagner’s Parsifal at the Staatstheater
Kassel under Patrick Ringborg, and in his debut at the
Leipzig Opera conducted by Ulf Schirmer; his debut as
Loge in a concert version of Wagner’s Das Rheingold
with the Berlin Radio Symphony under Mr. Janowski (also
for CD); song recitals in Baden-Baden and Würzburg;
Bruckner’s Te Deum with the Dresden Philharmonic under
Sebastian Weigle; and Beethoven’s Symphony No. 9 with
the Bamberg Symphony under Jonathan Nott.
Mr. Elsner has been involved in numerous radio
productions and CD recordings. Accompanied by
pianists including Hartmut Höll, Graham Johnson, Gerold
Huber, and Burkhard Kehring, Mr. Elsner has performed
lieder recitals in Brussels, Frankfurt, Cologne, Dresden,
Lucerne, and London, and at the Ravinia Festival and
the Schubertiade Feldkirch. Mr. Elsner is a professor of
classical singing at the University of Music in Würzburg.
He is also an enthusiastic writer of children’s books.
33
Soloist
Montblanc-Johannes Ifkovits
Twenty-nine-year-old bass-baritone Shenyang was the
winner of the 2007 BBC Cardiff Singer of the World
competition, a 2008 winner of the Borletti-Buitoni Trust
Award, and a 2010 winner of the Montblanc New Voices
at Stars of the White Nights Festival. He also has won
First Prize at the International Opera Competition in
Verona, the 2007 Verona Orfeo Singing Competition, and
the 2005 Verona Don Giovanni Singing Competition. Born
in Tianjin, China, Shenyang studied with Ping Gu at the
Shanghai Conservatory of Music. He is an alumnus of the
Metropolitan Opera Lindemann Young Artist Development
Program and of the Juilliard School Opera Center. He
made his Philadelphia Orchestra debut in 2011.
During the 2013-14 season Shenyang returns to the
Metropolitan Opera for Julie Taymor’s production of
Mozart’s The Magic Flute, conducted by Jane Glover, and
for Rossini’s La Cenerentola under the baton of the Met’s
principal conductor, Fabio Luisi. On the concert stage he
joins Alan Gilbert and the New York Philharmonic, and
Gianluigi Gelmetti and the Monte-Carlo Philharmonic for
Beethoven’s Ninth Symphony. Other upcoming highlights
include a return engagement with Michael Tilson Thomas
and the San Francisco Symphony for Beethoven’s Mass
in C; Verdi’s Requiem with the Huangzhou Philharmonic;
and, in his conducting debut, an orchestral program of
Dvořák and Smetana with the Shanghai Philharmonic.
Last season featured Shenyang’s debut as Figaro in
Mozart’s The Marriage of Figaro in a new production at
the National Centre for the Performing Arts in Beijing
and a return to the Beijing Music Festival for Jing Xiang’s
opera Yuan Ye, conducted by Long Yu. Shenyang gave
the world premiere of the orchestral song cycle Song of
Farewell, written for him by Xiaogang Ye and performed
in Beijing and at the Philharmonie in Berlin with the China
National Symphony. As artist in residence of the Shanghai
Symphony in 2011-12, he performed in numerous
programs conducted by Long Yu with repertoire ranging
from Bach and Mozart to Rachmaninoff and Mahler.
Reflecting his emerging stature as a musical and cultural
figure in Asia and elsewhere, Shenyang is a brand
ambassador for Montblanc luxury products.
34
Choruses
Peter Borg
The Westminster Choir and Westminster Symphonic
Choir are composed of students at Westminster Choir
College of Rider University in Princeton. Led by conductor
Joe Miller, director of choral activities at the college, the
Westminster Choir has been the chorus-in-residence for
the Spoleto Festival USA since 1977, performing both in
concert and as the opera chorus. It also forms the core
of the Westminster Symphonic Choir, which has recorded
and performed with major orchestras under virtually every
internationally acclaimed conductor of the past 78 years.
The Westminster Symphonic Choir made its Philadelphia
Orchestra debut in 1934 with Leopold Stokowski in Bach’s
Mass in B minor; last season the Choir was featured in
performances of Bach’s St. Matthew Passion and Verdi’s
Requiem under the baton of Yannick Nézet-Séguin, who
studied choral conducting at Westminster Choir College.
In addition to these current performances, highlights of
the Westminster Symphonic Choir’s 2013-14 season
include Beethoven’s Symphony No. 9 with the Vienna
Chamber Orchestra conducted by Mark Laycock; Handel’s
Messiah with the New York Philharmonic and Andrew
Manze; Rouse’s Requiem with the New York Philharmonic
and Alan Gilbert; and a return to Verizon Hall in February
for Rachmaninoff’s The Bells with The Philadelphia
Orchestra and Vladimir Jurowski.
The Westminster Symphonic Choir has sung more than
350 performances with the New York Philharmonic
alone. Recent seasons have also included concerts with
the Berlin Philharmonic and Simon Rattle, the Dresden
Staatskapelle and Daniel Harding, the Lucerne Festival
Orchestra and David Robertson, the San Francisco
Symphony and Michael Tilson Thomas, the Staatskapelle
Berlin and Pierre Boulez, the Bavarian Radio Symphony
and Mariss Jansons, the London Philharmonic and EsaPekka Salonen, the Simón Bolívar Symphony and Gustavo
Dudamel, the West-Eastern Divan Orchestra and Daniel
Barenboim, and the Westminster Festival Orchestra
conducted by Dr. Miller. The Westminster Choir has made
two recordings with Dr. Miller: Noël, a collection of French
Christmas music and sacred works; and Flower of Beauty,
which received four stars from Choir and Organ magazine
and earned critical praise from American Record Guide as
“the gold standard for academic choirs in America.”
34A
Framing the Program
Parallel Events
Last things first: Today’s performance of Beethoven’s
monumental Ninth Symphony under the direction of Music
1814
Music
Director Yannick Nézet-Séguin inaugurates a two-year
Beethoven
Schubert
cycle of the composer’s complete symphonies with The
Calm Sea and Symphony No. 2 Philadelphia Orchestra. Beethoven’s final Symphony sets
Prosperous
Literature
Friedrich Schiller’s “Ode to Joy,” a poem with a powerful
Voyage
Austin
Enlightenment message that has continued to resonate
Mansfield Park
and inspire for nearly two centuries.
Art
Goya
The Second of
May 1808
History
British
forces burn
Washington, D.C.
1824
Beethoven
Symphony
No. 9
Music
Mendelssohn
Concerto for
Two Pianos
Literature
Scott
Redgauntlet
Art
Ingres
Vow of Louis XIII
History
Erie Canal
finished
An earlier Beethoven choral work opens the concert:
his atmospheric but rarely performed Calm Sea and
Prosperous Voyage. This brief cantata for chorus and
orchestra sets two poems by Goethe that depict a
ship becalmed at sea in deadly stillness that turns to
celebration as the winds pick up and land becomes visible.
Beethoven’s works frame the world premiere of Nico
Muhly’s newly-orchestrated Bright Mass with Canons
for chorus and orchestra, and featuring the Fred J.
Cooper Memorial Organ. This is the first time a piece
by the prominent young American composer has
been performed by The Philadelphia Orchestra, which
commissioned the orchestration of the work, originally
written for choir and organ.
34B
The Music
Calm Sea and Prosperous Voyage
It is hardly surprising that Beethoven, like Schubert and
other contemporaries, set the words of Johann Wolfgang
von Goethe more often than those of any other poet.
Goethe was the preeminent literary figure of the time, an
imposing presence whose influence on European cultural
and intellectual life would be hard to exaggerate.
Ludwig van Beethoven
Born in Bonn, probably
December 16, 1770
Died in Vienna, March 26,
1827
Beethoven’s enduring admiration for Goethe, his senior
by 21 years, was deeply felt. The poet’s understanding
of music, while keen, was limited and yet he clearly
recognized Beethoven’s genius. The two met a few
times during the summer of 1812 in Teplitz, the site
of a fashionable Bohemian spa. Writing to his friend,
composer Johann Friedrich Zelter, Goethe declared that
Beethoven’s “talent amazed” him, but described the man
as “an utterly untamed personality, not at all in the wrong
if he finds the world detestable, but he thereby does not
make it more enjoyable either for himself or others.” For
his part, Beethoven thought Goethe enamored by power
and privilege, remarking to a publisher, “Goethe delights
far too much in the court atmosphere, far more than is
becoming in a poet.”
From Poems to Cantata Beethoven’s compositional
engagement with Goethe’s writings ranged from modest
songs to grander projects, including incidental music for
the tragic play Egmont. His choral work Calm Sea and
Prosperous Voyage sets two Goethe poems that would
later inspire a mesmerizing song from Schubert and an
impressive overture from Mendelssohn.
Beethoven premiered the brief cantata on a Christmas
Day concert in 1815 and published it seven years later
bearing a dedication to Goethe. While the poet’s diary
registers receiving the score, he chose not respond to
Beethoven, who contacted him again nine months later in
a letter that also went unanswered:
Still living as I have lived from my youthful years
in your immortal, never-aging works, and never
forgetting the happy hours spent in your company,
it nevertheless happens that I must recall myself
to your recollection. I hope that you received the
dedication to Your Excellency of Calm Sea and
34C
Prosperous Voyage, composed by me. Because of
their contrast they seemed to me adaptable for music
in which the same quality appears; how gladly would
I know whether I have fittingly united my harmonies
with yours. … A few words from you would fill me
with happiness.
A Closer Look The eight-minute Calm Sea and
Prosperous Voyage charts a course from darkness to light,
a psychological trajectory that Beethoven also explored
in his Fifth Symphony, Fidelio, the Egmont Overture, and
other works. The atmospheric mood at the beginning
brilliantly captures the scary stillness of the sea, where
the lack of any wind stalls ships and can lead to death.
(Goethe apparently based the poem on a personal
experience he had off the coast of Capri in 1787.)
“Meeres Stille” is usually translated as “Calm Sea,” but in
context perhaps better understood at “Becalmed at Sea”:
Tiefe Stille herrscht im
Wasser,
ohne Regung ruht das Meer,
und bekümmert sieht der
Schiffer
glatte Fläche
ringsumher.
Keine Luft von keiner Seite!
Todesstille fürchterlich!
In der ungeheuern Weite
reget keine Welle sich.
Deep stillness rules the
water,
the sea rests motionless,
and the sailor looks
anxiously
at the smooth surface
all around him.
No wind from any direction!
A terrible deathly stillness!
In the entire vast expanse
not a single wave rises.
Beethoven conveys a static quality, a lack of motion, and
beyond that, a haunting, deathly stillness. The music for
this first part, more than half the piece, is played almost
entirely softly. There is some effective text-painting on
the word Weite (expanse), when everything explodes in
volume on a sustained dissonant chord with the sopranos
reaching their highest note and the basses their lowest.
As he mentioned in the letter to Goethe, Beethoven
exploits the rich possibilities for contrast with the second
poem, “Glückliche Fahrt” (Prosperous Voyage). He
changes the meter to a flowing 6/8 and accelerates the
tempo to Allegro vivace. As the wind picks up, there is
a transition from motionless calm to joyful journey and
ultimate homecoming. Beethoven’s music here conveys
an exciting energy he had already deployed in the finale
to Fidelio and that he later refined in the fourth movement
of the Ninth Symphony. The second poem reads:
34D
Beethoven composed Calm
Sea and Prosperous Voyage
from 1814 to 1815.
Eugene Ormandy and
the Mendelssohn Club of
Philadelphia gave the first,
and only other, Philadelphia
Orchestra performance of the
work, on the Opening Night
Concert in September 1970.
The score calls for pairs of
flutes, oboes, clarinets, and
bassoons; four horns; two
trumpets; timpani; strings; and
mixed chorus.
Performance time is
approximately 10 minutes.
Die Nebel zerreissen,
der Himmel ist helle,
und Aeolus löset
das ängstliche Band.
Es säuseln die Winde,
es rührt sich der Schiffer.
Geschwinde! Geschwinde!
Es teilt sich die Welle,
es naht sich die Ferne.
Schon seh’ ich das Land!
The mist is clearing,
the sky grows bright,
and Aeolus loosens
the constraining bond.
The winds are sighing,
the sailor is roused.
Quickly! Quickly!
The waves divide,
the distance draws near
already I see land!
—Christopher H. Gibbs
35
The Music
Bright Mass with Canons
Nico Muhly
Born in Randolph, Vermont,
August 26, 1981
Now living in New York City
One of the most eminent young composers of our day,
Nico Muhly runs the gamut from pop-music arrangements
to avant-garde collaborations, film soundtracks, and major
choral and orchestral compositions. He has worked with
eclectic artists including Björk and Rufus Wainwright, and
yet has also written pieces for the Chicago Symphony
Orchestra, violinist Hilary Hahn, and the Royal Ballet. He
counts among his compositions a full-length opera—Two
Boys, produced at the English National Opera and this
fall at the Metropolitan Opera—and a chamber opera
(Dark Sisters, a joint commission with Opera Philadelphia),
but can also be heard in performances at New York’s
experimental-music hub, the Kitchen. He has written
numerous orchestrations and arrangements of works by
other musicians ranging from William Byrd to the popular
rap artist Usher. Among his film scores, Muhly wrote
the original music for the 2008 Oscar-winning film The
Reader, winning him the “Discovery of the Year” award
from the World Soundtrack Academy.
A Love of Choral Music As a young boy Muhly sang
in a church choir in Providence, Rhode Island, and he
freely acknowledges a lasting, deep affinity with the
choral tradition. “Working with choral music is one of my
greatest pleasures in life,” he has noted, and pieces for
choir constitute a significant share of his prolific output.
His composition teachers included John Corigliano and
Christopher Rouse, but he also recognizes the impact
of the minimalist and post-minimalist procedures of
John Adams and Philip Glass (for whom he worked
as an editor, MIDI programmer, and keyboardist for
several years). Muhly combines these influences with the
centuries-long tradition of English scared choral music,
from the 20th-century liturgical pieces of Herbert Howells
back to Byrd and Tallis in the 16th century.
Bright Mass with Canons is a relatively early work,
composed in 2004 just after Muhly graduated with a
master’s degree from Juilliard. It was written for the choir
of St. Thomas Church in New York City and its director of
music, John Scott, who led the premiere in 2005, and has
since become one of Muhly’s most frequently-performed
compositions. The Philadelphia Orchestra commissioned
36
the orchestration of this work, which was originally written
for choir and organ, and these current performances
represent the premiere of this new orchestral version.
The “canons” in the composition’s title refer to imitative
repetitions that permeate almost every measure of the
Mass, sometimes overt but frequently hidden among the
rich textures and contrapuntal vocal lines. What might
not be so obvious is why Muhly titled this a “bright”
Mass. Much of the vocal writing, which dominates the
sparse accompaniment, is long-breathed, and the work’s
temperament is often subdued. In keeping with the
tradition of many Anglican Mass settings, he has omitted
the Credo (which because of its length is frequently
spoken rather than sung in Anglican services), creating a
four-movement Mass that consists exclusively of prayers
petitioning God for mercy and peace. And yet behind the
imploring texts and within the sparse accompaniment,
Muhly frequently includes flashes of dynamism and vitality.
Chirping motifs, brief fanfare images, and demarcating
punctuations from the orchestra contrast with the
sustained vocal lines, like flickering shimmers of gold leaf
on an illuminated page of scripture.
In Bright Mass with Canons, Muhly attempts to “rediscover
the tropes and moments that brightened [his] childhood
music-making.” In that spirit, he notes, the piece is
constructed around “little fetishes” such as a particular
turn of phrase from a favorite liturgical work, an affecting
vocal leap, or an antiphonal effect, all drawn from earlier
choral repertories.
A Closer Look The Kyrie opens with trumpet fanfares
that quickly soften into sustained, plaintive lines. But the
orchestral motifs in the background outline the secondary
layer of energy and animation that lurks beneath the
choir’s repeated appeals for mercy. That energy is
expressed more overtly by the choir in the Gloria where
the canonic imitations (heard at the outset between the
women’s voices) are also more apparent. In a mid-20thcentury style not far removed from Maurice Duruflé,
or Gerald Finzi, Muhly creates an arch form that builds
toward “exactly the kind of outrageous, suspended climax”
that he loved to sing as a choirboy.
Near the beginning of the Sanctus, the choir women are
asked to sing in their own rhythm and tempos, creating
aleatoric clusters over a steady accompaniment. At the
same time, Muhly alludes to the style of Herbert Howells
in the “long, unctuous lines” of the men’s voices. Minimalist
37
Bright Mass with Canons was
composed for mixed chorus
and organ in 2004, and was
orchestrated in 2013.
These are the world premiere
performances of the
orchestrated version, which
was commissioned by The
Philadelphia Orchestra.
Muhly scored the piece
for piccolo, two flutes, two
oboes, two clarinets, bassoon,
contrabassoon, two horns,
two trumpets, two trombones,
bass trombone, timpani,
percussion (bass drum,
crotales, glockenspiel, sleigh
bells, tam-tam, triangle, tubular
bells, vibraphone), harp, organ,
strings, and mixed chorus.
The work runs approximately
13 minutes in performance.
ostinatos occasionally emerge in this movement, most
noticeably in the Benedictus. Then, the brief Agnus
Dei—a prayer that, like the Kyrie, is primarily a plea for
mercy—ends the mass solemnly “with only the slightest
tilt of the head upwards,” the composer notes, “as a semichorus outlines, with appoggiaturas, an ascending scale.”
—Luke Howard
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord have mercy.
Christ have mercy.
Lord have mercy.
Gloria in excelsis Deo
et in terra pax hominibus
bonae voluntatis
Glory to God in the highest
And on earth peace to men
of goodwill.
Laudamus te.
Benedicimus te.
Adoramus te.
Glorificamus te.
Gratias agimus tibi propter
magnam gloriam tuam.
We praise Thee.
We bless Thee.
We adore Thee.
We glorify Thee.
We give thanks to Thee for
Thy great glory.
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite
Jesu Christe.
O Lord God, heavenly King,
O God, Father almighty,
O Lord, son of the Father,
Jesus Christ.
Domine Deus, Agnus Dei,
Filius Patris.
Lord God, Lamb of God,
Son of the Father.
Qui tollis
peccata mundi,
miserere nobis.
Qui tollis
peccata mundi, suscipe
deprecationem nostram.
Qui sedes ad
dexteram Patris,
miserere nobis.
O Thou, who takest away
the sins of the world,
have mercy upon us.
O Thou, who takest away
the sins of the world,
receive our prayer.
O Thou, who sittest at the
right hand of the Father,
have mercy upon us.
Quoniam tu solus sanctus,
tu solus Dominus,
tu solus Altissimus,
Jesu Christe.
For Thou only art holy,
Thou only art the Lord,
Thou only art most high,
Jesus Christ.
Please turn the page quietly.
38
Cum Sancto Spiritu, in
gloria Dei Patris.
Amen.
With the Holy Ghost, in the
glory of God the Father.
Amen.
Sanctus, sanctus, sanctus
Dominus Deus Sabaoth.
Pleni sunt caeli et terra
gloria tua.
Hosanna in excelsis.
Holy, holy, holy,
Lord God of Sabaoth.
Heaven and earth are full of
Thy glory.
Hosanna in the highest.
Benedictus qui venit in
nomine Domini.
Hosanna in excelsis.
Blessed is he who cometh
in the name of the Lord.
Hosanna in the highest.
Agnus Dei, qui tollis
peccata mundi,
miserere nobis.
Agnus Dei, qui tollis
peccata mundi,
dona nobis pacem.
Lamb of God, who takest
away the sins of the world,
have mercy upon us.
Lamb of God, who takest
away the sins of the world,
grant us peace.
39
The Music
Symphony No. 9 (“Choral”)
Throughout his career, Beethoven was a fervent believer
in Enlightenment values and sought ways to express his
beliefs in many of his compositions. One of the reasons
for the broad and sustained appeal of his Ninth Symphony
is that people enjoying or seeking freedom see this work
as exquisitely expressing a message they wish loudly to
proclaim. The message is simple, one we learn as children:
People should live together in joyous brotherhood.
Ludwig van Beethoven
An Enlightenment Testament As a child of the
Enlightenment, Beethoven grew up during the American
and French revolutions. He followed political events
throughout his life and experienced war close at hand
when Napoleon’s troops invaded Vienna in 1805 and
again in 1809. His first large-scale composition, written at
the age of 19, was an impressive cantata commemorating
the death of Emperor Joseph II, who had done so much
to liberalize the Austrian empire during the early 1780s.
Years later Beethoven wrote his lone opera, Fidelio, which
tells the story of a loving wife’s brave efforts to save her
husband, an unjustly jailed political prisoner. Through her
heroic deeds he is rescued and tyranny exposed.
For his final symphony Beethoven turned to a lengthy
poem by Friedrich Schiller that he had long wanted to
set to music: the “Ode to Joy” (1785). Schiller’s famous
words state that in a new age the old ways will no longer
divide people; “all men shall become brothers.” Since
the premiere of the Ninth Symphony in Vienna in May
1824, performances of the work have become almost
sacramental occasions, as musicians and audiences alike
are exhorted to universal fraternity.
The Ultimate Symphony On a purely musical level,
few pieces of music have exerted such an impact on
later composers. How, many wondered, should one
write a symphony after the Ninth? Schubert, Berlioz,
Brahms, Wagner, Bruckner, Mahler—the list goes on and
on—all dealt with this question in fascinating ways that
fundamentally shaped 19th-century music. Schubert,
who most likely attended the 1824 premiere, briefly
quoted the “joy” theme in his own final symphony, written
the following year. Most Bruckner symphonies begin
40
in the manner of the Ninth. Mendelssohn, Mahler, and
Shostakovich followed the model of a choral finale.
Wagner was perhaps the composer most influenced by the
work, arguing that in it Beethoven pointed the way to the
“Music of the Future,” a universal drama uniting music and
words that, in short, was realized in Wagner’s own operas.
Composers are not the only people who have become
deeply engaged with the Ninth, and struggled with its
import and meaning. For nearly two centuries the work
has surfaced at crucial times and places, appropriated for
widely diverse purposes. As the ultimate “feel-good” piece,
the Ninth has been used to open the Olympic Games and
bring nations together in song. Yet during the Nazi era
it was often performed to celebrate Hitler’s birthday. Its
melody is the official anthem of the European Union—but
it was also the anthem of Ian Smith’s racist regime in
Rhodesia during the 1970s. Within more recent memory,
we have heard protestors playing recordings of the Ninth
in Tiananmen Square in Beijing and jubilant students also
chose it as their theme as the Berlin Wall fell in 1989.
There were commemorative performances in the wake
of 9/11, when the Ninth was once again enlisted for its
hopeful message.
A Resisted Masterpiece In a penetrating essay,
“Resisting the Ninth,” music historian Richard Taruskin has
pointed to ways in which some musicians and listeners
have from the beginning resisted the Ninth Symphony,
embarrassed by what they consider its naive optimism.
This Symphony, Taruskin states, “is among connoisseurs
preeminently the Piece You Love to Hate, no less now
than a century and a half ago. Why? Because it is at once
incomprehensible and irresistible, and because it is at
once awesome and naive.”
Those who revere the Ninth Symphony may be surprised
to hear that some have resisted it now or at any time.
Undoubtedly its message has been “neutered” as it has
been trivialized in movies and TV commercials, and often
treated by musicians in purely musical terms rather than
in humanistic ones. For some modern listeners, Taruskin
argues, its message may be difficult to take seriously
anymore: “We have our problems with demagogues who
preach to us about the brotherhood of man. We have been
too badly burned by those who have promised Elysium
and given us gulags and gas chambers.” Yet Beethoven
understood that great works of art matter, in part because
they constitute a threat to tyrants. Beethoven strove for
ways to express a deeply-felt political vision.
41
Beethoven composed his Ninth
Symphony from 1822 to 1824.
The Philadelphia Orchestra
performed the first three
movements of Beethoven’s
Ninth Symphony in March
1902. The Orchestra’s first
complete performance of
the work, with Fritz Scheel
conducting, took place in
March 1903. The most recent
subscription performances
were in May 2006, with
Christoph Eschenbach, Marina
Mescheriakova, Jill Grove,
Vinson Cole, Alan Held, and
the Philadelphia Singers
Chorale.
The Orchestra has recorded
the Symphony five times: in
1934 with Leopold Stokowski
for RCA; in 1945, 1962, and
1964 with Eugene Ormandy
for CBS; and in 1988 with
Riccardo Muti for EMI.
The work is scored for piccolo,
two flutes, two oboes, two
clarinets, two bassoons,
contrabassoon, four horns, two
trumpets, three trombones,
timpani, percussion (bass
drum, cymbals, triangle),
strings, four vocal soloists, and
a four-part chorus.
The Ninth Symphony runs
approximately 70 minutes in
performance.
A Closer Look The opening of the first movement
(Allegro ma non troppo, un poco maestoso)
grows out of a void. Against the murmurings of the low
strings emerge falling fifths in the violins that build to
a loud and imposing first theme. It has been likened to
the creation of the world; certainly no symphony before
had sounded anything like it. Beethoven switched the
expected order of movements (another feature later
composers would imitate) by following the allegro with
the scherzo (Molto vivace). A favorite with audiences
from the beginning (especially the prominent role given to
the timpani), it projects both humor and power. The lyrical
slow movement (Adagio molto e cantabile) seems to
explore more personal, even spiritual realms.
The Presto finale opens with what Wagner called the
“terror fanfare,” a dissonant and frantic passage that leads
to a “recitative” (so marked in the score) for the cellos and
basses. Fragments from the previous three movements
pass in review—a few measures of the opening theme
of each—but are in turn rejected by the strings. After
this strange, extended instrumental recitative comes an
aria-like melody: the famous “Ode to Joy” tune to which
later will be added words. After some seven minutes the
movement starts over again: The “terror fanfare” returns,
this time followed by a true vocal recitative, with the bass
soloist singing “O friends, not these tones! But rather, let
us strike up more pleasant and more joyful ones.” The
chorus and four vocal soloists take up the “joy” theme,
which undergoes a series of variations, including a brief
section in the Turkish manner, with cymbals, triangle,
drum, piccolo, and trumpets. The music reaches a climax
with a new theme: “Be embraced, ye millions, … above
the starry canopy there must dwell a loving Father,” which
is later combined in counterpoint with the joy theme and
eventually builds to a frenzied coda.
—Christopher H. Gibbs
Text/translations begin on next page.
42
Bass
O Freunde, nicht diese Töne!
Sondern lasst uns
angenehmere
anstimmen, und
freudenvollere.
Bass
O friends, not these tones!
But rather, let us
strike up
more pleasant and more
joyful ones.
Bass and Chorus
Freude, schöner
Götterfunken,
Tochter aus Elysium,
wir betreten feuertrunken,
Himmlische,
dein Heiligtum!
Deine Zauber binden wieder,
was die Mode streng
geteilt;
alle Menschen werden Brüder
wo dein sanfter Flügel
weilt.
Bass and Chorus
Joy, thou lovely spark of
the gods,
daughter of Elysium;
drunk with fire, we tread
thy holy realm,
O heavenly one!
Thy magic joins again
that which custom has torn
apart;
all men become brothers
wherever thy gentle wings
are spread.
Wem der grosse Wurf
gelungen,
eines Freundes Freund zu sein,
wer ein holdes Weib
errungen,
mische seinen Jubel ein!
Ja, wer auch nur eine Seele
sein nennt auf dem
Erdenrund!
Und wer’s nie gekonnt,
der stehle,
weinend sich aus diesem
Bund!
He who has had the great
fortune
of being a friend’s friend,
he who has won a gracious
wife,
let him join the celebration!
Yes, even he who can call
only one soul on earth his
own!
And let the one who could
never do this
steal from our midst in
tears!
Freude trinken alle Wesen
an den Brüsten der Natur;
alle Guten, alle Bösen
folgen ihrer Rosenspur.
Küsse gab sie uns
und Reben,
einen Freund, geprüft im
Tod;
Wollust war dem
Wurm gegeben,
und der Cherub steht
vor Gott.
All living beings drink joy
at Nature’s breast;
all good things, all evil things
walk her rose-strewn path.
She gave us kisses, she
gave us vines,
she gave us a friend true to
the grave;
wantonness was given to
the worm,
and the cherub stands
before God.
42A
Tenor and Chorus
Froh, wie seine Sonnen
fliegen
durch des Himmels
prächt’gen Plan,
laufet, Brüder, eure Bahn,
freudig, wie ein Held zum
Siegen.
Tenor and Chorus
Happily, as his suns
fly
across heaven’s
magnificent expanse,
brothers, run your course
joyfully, like a hero to
victory.
Chorus
Seid umschlungen, Millionen!
Diesen Kuss der ganzen
Welt!
Brüder über’m
Sternenzelt
muss ein lieber Vater
wohnen.
Chorus
Be embraced, ye millions!
This kiss goes to all the
world!
Brothers, above the starry
canopy
there must dwell a loving
Father.
Ihr stürzt nieder,
Millionen?
Ahnest du den
Schöpfer, Welt?
Such’ ihm über’m
Sternenzelt,
über Sternen muss er
wohnen.
Do you fall prostrate,
O millions?
Do you worship the
Creator, O world?
Look for Him above the
starry canopy;
He must live above the
stars.
English translation by Paul J. Horsley
Program notes © 2013. All rights reserved. Program notes may
not be reprinted without written permission from The Philadelphia
Orchestra Association and/or Luke Howard.
42B
Musical Terms
GENERAL TERMS
Aleatory: A term
applied to music whose
composition and/or
performance is, to a
greater or lesser extent,
undetermined by the
composer
Antiphonal: Works in
which an ensemble is
divided into distinct groups,
performing in alternation
and together
Appoggiatura: A
“leaning-note.” As a
melodic ornament, it
usually implies a note one
step above or below the
“main” note.
Aria: An accompanied
solo song (often in ternary
form), usually in an opera
or oratorio
Canon: A device whereby
an extended melody, stated
in one part, is imitated
strictly and in its entirety in
one or more other parts
Cantata: A multimovement vocal piece
consisting of arias,
recitatives, ensembles, and
choruses and based on a
continuous narrative text
Chord: The simultaneous
sounding of three or more
tones
Coda: A concluding
section or passage added
in order to confirm the
impression of finality
Contrapuntal: See
counterpoint
Counterpoint: A term that
describes the combination
of simultaneously sounding
musical lines
Dissonance: A
combination of two or more
tones requiring resolution
Meter: The symmetrical
grouping of musical
rhythms
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.
Ostinato: A steady bass
accompaniment, repeated
over and over
Recitative: Declamatory
singing, free in tempo and
rhythm
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.
THE SPEED OF MUSIC
(Tempo)
Adagio: Leisurely, slow
Alla marcia: March time
Allegro: Bright, fast
Andante: Walking speed
Cantabile: In a singing
style, lyrical, melodious,
flowing
Energico: With vigor,
powerfully
Maestoso: Majestic
Moderato: A moderate
tempo, neither fast nor
slow
Prestissimo: As fast as
possible
Presto: Very fast
Recitativo: In declamatory
style, free in rhythm and
tempo
Strigendo: Hurrying,
speeding up
Vivace: Lively
TEMPO MODIFIERS
Assai: Much
Ma non tanto: But not
too much so
Ma non troppo: But not
too much
Molto: Very
Un poco: A little
42C
October
The Philadelphia Orchestra
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Mahler 4
October 4 & 5 8 PM
October 6 2 PM
Yannick Nézet-Séguin Conductor
Richard Woodhams Oboe
Christiane Karg Soprano
Britten Variations and Fugue on a Theme of Purcell
Strauss Oboe Concerto
Mahler Symphony No. 4
Bronfman Plays Beethoven
October 10 & 12 8 PM
October 11 2 PM
Semyon Bychkov Conductor
Yefim Bronfman Piano
Beethoven Piano Concerto No. 4
Shostakovich Symphony No. 11 (“The Year 1905”)
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24 Story Title
42D
Tickets & Patron Services
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