Season Mirga Gražinytė-Tyla Conductor Menahem Pressler Piano Janai Brugger Soprano. Intermission

Transcription

1 Season Thursday, February 8, at 7:30 Friday, February 9, at 2:00 Saturday, February 10, at 8:00 The Philadelphia Orchestra Mirga Gražinytė-Tyla Conductor Menahem Pressler Piano Janai Brugger Soprano 23 Mozart Piano Concerto No. 23 in A major, K. 488 I. Allegro II. Adagio III. Allegro assai Intermission Mahler Symphony No. 4 in G major I. Bedächtig. Nicht eilen II. In gemächlicher Bewegung III. Ruhevoll. Poco adagio IV. Sehr behaglich This program runs approximately 1 hour, 50 minutes. The February 8 concert is sponsored by Leslie A. Miller and Richard B. Worley. The February 10 concert is sponsored by Allan Schimmel in memory of Reid B. Reames. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit to listen live or for more details.

2 24 Please join us following the February 9 concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra. Reicha Two Andantes and Adagio, for English horn, flute, clarinet, bassoon, and French horn I. Andante arioso II. Andante III. Adagio Elizabeth Starr Masoudnia English Horn David Cramer Flute Samuel Caviezel Clarinet Angela Anderson Smith Bassoon Shelley Showers Horn

3 The Philadelphia Orchestra 25 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 imagination and innovation on and off the concert stage. 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 s connection to the Orchestra s musicians has been praised by both concertgoers and critics since his inaugural season in Under his leadership the Orchestra returned to recording, with two celebrated CDs on the prestigious Deutsche Grammophon label, continuing its history of recording success. The Orchestra also reaches thousands of listeners on the radio with weekly broadcasts on WRTI-FM and SiriusXM. Philadelphia is home and the Orchestra continues to discover new and inventive ways to nurture its relationship with its loyal patrons at its home in the Kimmel Center, and also with those who enjoy the Orchestra s area performances at the Mann Center, Penn s Landing, and other cultural, civic, and learning venues. The Orchestra maintains a strong commitment to collaborations with cultural and community organizations on a regional and national level, all of which create greater access and engagement with classical music as an art form. The Philadelphia Orchestra serves as a catalyst for cultural activity across Philadelphia s many communities, building an offstage presence as strong as its onstage one. With Nézet-Séguin, a dedicated body of musicians, and one of the nation s richest arts ecosystems, the Orchestra has launched its HEAR initiative, a portfolio of integrated initiatives that promotes Health, champions music Education, eliminates barriers to Accessing the orchestra, and maximizes impact through Research. The Orchestra s awardwinning Collaborative Learning programs engage over 50,000 students, families, and community members through programs such as PlayINs, side-bysides, PopUP concerts, free Neighborhood Concerts, School Concerts, and residency work in Philadelphia and abroad. Through concerts, tours, residencies, presentations, and recordings, The Philadelphia Orchestra is a global ambassador for Philadelphia and for the US. Having been the first American orchestra to perform in China, in 1973 at the request of President Nixon, the ensemble today boasts a new partnership with Beijing s National Centre for the Performing Arts and the Shanghai Oriental Art Centre, and in 2017 will be the firstever Western orchestra to appear in Mongolia. The Orchestra annually performs at Carnegie Hall while also enjoying summer residencies in Saratoga Springs, NY, and Vail, CO. For more information on The Philadelphia Orchestra, please visit

4 26 Conductor Fran Jansen Mirga Gražinytė-Tyla, who is making her Philadelphia Orchestra debut, was named music director of the City of Birmingham Symphony (CBSO) in February 2016, following in the footsteps of Simon Rattle, Sakari Oramo, and Andris Nelsons. As a guest conductor she has electrified audiences all over the world. In Europe she has collaborated with the Lithuanian National, Danish National, and Vienna Radio symphonies; the Beethoven Orchestra Bonn; the Deutsche Radiophilharmonie; the Choir of the Bavarian Radio; the MDR Symphony Leipzig; the Vienna Chamber Orchestra; the Mozarteum Orchestra; the Camerata Salzburg; and the Orchestra of the Komische Oper in Berlin. At the Kremerata Baltica she has enjoyed a dynamic collaboration with artistic director Gidon Kremer on numerous European tours. She has led operas in Heidelberg, Salzburg, at the Komische Oper Berlin, and in Bern, where she served as Kapellmeister. In North America she has worked with the Seattle and San Diego symphonies and made her New York conducting debut with the Juilliard Orchestra. With the Los Angeles Philharmonic, Ms. Gražinytė-Tyla was a Dudamel Fellow in the season, assistant conductor for two seasons ( ), and associate conductor for the season. She was the music director of the Salzburg State Theatre from 2015 to Winner of the prestigious Salzburg Festival Young Conductors Award in 2012, she subsequently made her debut with the Gustav Mahler Youth Orchestra in a symphonic concert at the Festival. In addition to these current performances, highlights of her season include an extensive tour of Europe with the CBSO; return visits to the Lithuanian National Symphony and the Los Angeles Philharmonic; and debuts with the Orchestre Philharmonique de Radio France, the Deutsches Symphonie-Orchester Berlin, the Orchestra dell Accademia Nazionale di Santa Cecilia, the RAI National Symphony, and the Met Opera Orchestra at Carnegie Hall. A native of Vilnius, Lithuania, Ms. Gražinytė-Tyla was born into a musical family. Before pursuing her studies at the Music Conservatory in Zurich, she studied at the Music Conservatory Felix Mendelssohn-Bartholdy in Leipzig and at the Music Conservatory in Bologna, Italy.

5 Soloist 27 Marco Borggreve Menahem Pressler, founding member and pianist of the Beaux Arts Trio, has established himself among the world s most distinguished and honored musicians, with a career that spans seven decades. Now, at 94 years old, he continues to captivate audiences throughout the world as performer and pedagogue, playing solo and chamber music recitals to great critical acclaim while maintaining a dedicated and robust teaching career. Born in Magdeburg, Germany, in 1923, Mr. Pressler fled Nazi Germany in 1939 and immigrated to Israel. His world-renowned career was launched after he was awarded first prize at the Debussy International Piano Competition in San Francisco in This was followed by his successful American debut with The Philadelphia Orchestra under the baton of Eugene Ormandy in Mr. Pressler last appeared with the Orchestra in summer 1996, performing with the Beaux Arts Trio at the Mann and at Saratoga; this is his first solo appearance with the ensemble since Mr. Pressler s extensive tours of North America, Europe, and the Far East have included performances with the orchestras of New York, Chicago, Cleveland, Pittsburgh, Dallas, San Francisco, London, Paris, Berlin, Hamburg, Dresden, Amsterdam, Brussels, Oslo, Helsinki, and many others. The 1955 Berkshire Music Festival marked his debut as a chamber musician, where he appeared as pianist with the Beaux Arts Trio the ensemble s only pianist for nearly 55 years. After the Trio took its final bows in 2008, Mr. Pressler continued to dazzle audiences throughout the world, both as piano soloist and collaborating chamber musician. Recent solo engagements include six performances with the Berlin Philharmonic, the last three with Simon Rattle for the 2014 New Year s Eve concerts televised worldwide, as well as performances with the Orchestre de Paris and the Royal Concertgebouw Orchestra. Nearing 90 he collaborated with tenor Christoph Pregardien, playing Schubert s Winterreise for the first time. Mr. Pressler underwent lifesaving surgery and recuperation in This season he tours Asia, Europe, the U.S., and Israel, giving recitals, playing chamber music, and performing as soloist with orchestras. He also continues to give master classes.

6 28 Soloist Dario Acosta Janai Brugger made her Philadelphia Orchestra debut in 2013 at Longwood Gardens and makes her subscription debut with these performances. A 2012 winner of both Operalia and the Metropolitan Opera National Council Auditions, she began the season returning to the Royal Opera House as Pamina in Mozart s The Magic Flute. In addition to these current concerts, she also performs Mahler s Fourth Symphony with the Los Angeles Philharmonic. In her hometown she sings the role of Liù in Puccini s Turandot at the Lyric Opera of Chicago and performs in Laura Karpman s Ask Your Mama with the Chicago Sinfonietta. She also gives a recital and appears as Clara in a concert performance of Gershwin s Porgy and Bess at the University of Michigan; sings Susanna in Mozart s The Marriage of Figaro at Palm Beach Opera; and finishes the season at the Dutch National Opera as Servillia in Mozart s La clemenza di Tito. Ms. Brugger s recent highlights include performances at the Metropolitan Opera in several roles: Jemmy in Rossini s William Tell (role debut), Micaëla in Bizet s Carmen, Pamina, and Marzelline in Beethoven s Fidelio (role debut). She won the Kennedy Center s 2016 Marian Anderson Vocal Award and gave a recital at the Center. She has also recently appeared with the Atlanta Symphony singing Amore in Gluck s Orfeo and Euridice in concerts and for a recording; at the Bonn Aids Gala in Germany; and at Grant Park in Chicago for Beethoven s Ninth Symphony. Identified by Opera News as one of the top 25 brilliant young artists (October 2015 issue), Ms. Brugger appeared last season in the Metropolitan Opera s Rising Stars concert series and made several U.S. concert and recital appearances, along with her debut as Norina in Donizetti s Don Pasquale at Palm Beach Opera. For Los Angeles Opera she has sung Musetta in Puccini s La bohème under the baton of Gustavo Dudamel and Pamina in a new production by Barrie Kosky. She made her Metropolitan Opera debut in 2012 as Liù, returning in the season to sing Helena in the pastiche The Enchanted Island.

7 Framing the Program 29 Parallel Events 1786 Music Mozart Dittersdorf Piano Concerto Doktor und No. 23 Apotheker Literature Bourgoyne The Heiress Art Goya The Seasons History Daniel Shays Rebellion in Massachusetts 1899 Mahler Symphony No. 4 Music Sibelius Finlandia Literature Wilde The Importance of Being Earnest Art Cézanne Turning Road at Montgeroult History Boer War Even if it would be exaggerating to say that Mozart invented the piano concerto he was undoubtedly the composer who made the genre matter and whose prodigious works remain at the center of the standard concert repertory. In early 1786, while at work on his opera The Marriage of Figaro, he rapidly composed three piano concertos for a series of concerts he planned to give during Lent. Today we hear the second of them, the radiant Concerto in A major, K Gustav Mahler had a special reverence for the music of Mozart and frequently conducted his operas, late symphonies, and Requiem. Although the size and length of most of Mahler s symphonies are very different from those of Mozart, the Fourth is his shortest and in many respects his most Classical and intimate. He displays his Mozartian affinities. The work opens evocatively with the sounds of sleigh bells and progresses through the four movements to a vocal finale that offers a child s vision of paradise with a setting of the song The Heavenly Life. The Philadelphia Orchestra is the only American orchestra with weekly broadcasts on Sirius XM s Symphony Hall, Channel 76, made possible through support from the Damon Runyon Cancer Research Foundation on behalf of David and Sandy Marshall. Broadcasts are heard on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 4 PM.

8 30 The Music Piano Concerto No. 23 Wolfgang Amadè Mozart Born in Salzburg, January 27, 1756 Died in Vienna, December 5, 1791 Mozart s mature piano concertos are often characterized as operatic, for their approach to melody and texture seems to borrow from principles the composer learned in writing stage music. Since the Classical concerto is partly a historical descendant of the concertante aria of the Baroque, an 18th-century concerto movement often resembles an aria with the soloist in the role of protagonist, and with the interplay of solo and ensemble akin to the dramatic unfolding and character-development found in operatic scenes. Mozart s piano concertos of the season illustrate this analogy neatly, and perhaps for this reason his operas and mature concertos are often discussed together. Both genres seemed to have brought out the very best in him: dazzling cantabile, dense wit, and a sharp sense of drama. Three Masterful Works At the same time that he was working on The Marriage of Figaro (from late 1785 to April 1786), Mozart was also writing three masterly piano concertos, now known as K. 482, 488, and 491. Each of these three works contains the same melodic sophistication and harmonic subtlety that make Figaro the composer s most rewarding opera. They are compositions which I keep for myself, or for a small circle of musiclovers and connoisseurs, wrote the composer to one of his patrons, in a letter accompanying gift-copies of the three concertos, who promise not to let them out of their hands. Indeed, these were works for sophisticates, for music-lovers of refined tastes and sensibilities. Mozart wrote the concertos to play in Vienna on his own series of Lenten subscription concerts during the spring of What a treat for the handful of connoisseurs fortunate enough to get tickets to these: the chance to hear one of the great piano virtuosos of his era performing premieres of his own works. Though we are uncertain which of these concerts contained which particular concertos, we are amply informed, through contemporary accounts, as to Mozart s artistry at the keyboard. I had never heard anything so great or so wonderful, wrote the music-lover Ambros Rieder. Such bold flights of fancy, which seemed to attain the highest regions, were like a marvel and a delight to even the most experienced of

9 31 Mozart s A-major Concerto, K. 488, was composed in The Concerto received its Philadelphia Orchestra premiere in 1919, with Harold Bauer as pianist and Leopold Stokowski conducting. Most recently on a subscription program, it appeared in November/December 2006, with Christoph Eschenbach conducting from the keyboard. The score calls for solo piano, flute, two clarinets, two bassoons, two horns, and strings. Performance time is approximately 25 minutes. musicians. Even to this day, although a very old man, I can still hear those heavenly harmonies, and I die in the firm conviction that there has only been one Mozart. The A-major Concerto, K. 488 the manuscript of which the composer dated March 2, 1786 remains one of Mozart s most deservedly popular works, partly because of its amazing abundance of themes. His choice of the soft key of A major, uncommon for piano concertos, facilitates the use of clarinets in A to fill the lines normally reserved for oboes lending the texture a rich, burnished sound. A Closer Look The first three chords of the Concerto establish a surprising harmonic interest that immediately sparks the listener s curiosity; this sense of suspense hardly lets up during the entire length of the delicately crafted Allegro. The piano, entering with a presentation of the same piquant opening subject, leads the proceedings with a virtuosity that is rarely showy, but instead poised and tranquil. The second movement Adagio is a passionate siciliano-style dance, cast in the unusually serious key of F-sharp minor; its dramatic, long-breathed opening theme is one of Mozart s most genuinely tragic melodies. A similarly fecund array of melodies tumbles out in the Allegro assai finale, a dashing sonata-rondo with enough insouciant wit to dispel most of the Allegro s ponderous uncertainty and the Adagio s obscurity. Paul J. Horsley

10 32 The Music Symphony No. 4 Gustav Mahler Born in Kalischt (Kaliště), Bohemia, July 7, 1860 Died in Vienna, May 18, 1911 By 19th-century standards Mahler s Fourth Symphony is imposing in its length and instrumentation, and unusual in ending with a movement using a soprano soloist. But for later audiences, ones familiar with all of the composer s symphonies, the Fourth may seem rather modest, intimate, and Classical. It is his shortest, calls for the smallest orchestra, and employs some conventional symphonic forms. This is Mahler s most normal symphony and his happiest. At least that is what many commentators have said about it for more than a century, despite the fact that with a composer so prone to irony things may never quite be as straightforward as they initially appear. By 1901, when Mahler conducted the premiere of the Fourth in Munich, he was one of the leading musical figures in Europe. His ascension to the directorship of the Vienna Court Opera in 1897 had placed him in a position of extraordinary power and prestige, earning him adoring fans and implacable foes. The consuming demands of his job meant that time to compose came mainly during the summers, with revisions and orchestrations squeezed in when possible during the regular season. The World of My Fourth After writing his first three symphonies, each longer and more complex than the preceding one, Mahler had reached something of a limit and in 1899 struck out in new directions. His earlier symphonies all had programs of some sort stories, titles, and poems extra-musical baggage that he increasingly sought to suppress: Death to programs, he proclaimed at the time. Mahler addressed the issue of the differences among his early symphonies while composing the Fourth. As he resumed work on the piece in 1900 he confided to a friend his fears of not being able to pick up where he had left off the summer before: I must say I now find it rather hard to come to grips with things here again; I still live half in, half out of the world of my Fourth. It is so utterly different from my other symphonies. But that must be; I could never repeat a state of mind, and as life progresses I follow new paths in each new work. From Song to Symphony The Fourth Symphony has a rather complicated genesis that is crucial to understanding

11 33 its special character. For more than a decade, beginning in the late 1880s, Mahler was obsessed with Des Knaben Wunderhorn (The Youth s Magic Horn), a collection of folk poetry compiled in the early 19th century. One of the poems, Das himmlische Leben (The Heavenly Life), relates a child s innocent idea of blissful existence in heaven. Mahler first set the poem for voice and piano in February 1892 and orchestrated it soon thereafter. A few years later he decided to end his Third Symphony destined to be the longest symphony ever written by a major composer with that song as its seventh movement. He eventually changed his mind and chose to divert it to conclude his next symphony instead. Mahler originally planned for the Fourth Symphony to have six movements, three of them songs, leading to Das himmlische Leben. Although he eliminated the other vocal movements, and suppressed as well most of the programmatic elements he had initially envisioned, the heavenly Wunderhorn song remained and in fact helped to generate the entire Symphony. Mahler called attention to this on a number of occasions, such as when he chided a critic that his analysis was missing one thing: Did you overlook the thematic connections that figure so prominently in the work s design? Or did you want to spare the audience some technical explanations? In any case, I ask that that aspect of my work be specially observed. Each of the three movements is connected thematically with the last one in the most intimate and meaningful way. Melodic, rhythmic, and instrumental ideas, drawn from both the vocal and orchestral parts of Das himmlische Leben, can be discovered in each of the three preceding movements. Mahler retained the rather modest orchestration of the original song, which omitted trombones and tuba, even though he regretted not having recourse to lower brass for the climax of the slow movement. The unusual instrumental sound of sleigh bells, which opens the first movement, is derived from the refrain that separates the stanzas of the song. Even the large-scale key scheme of the Symphony, the progressive tonality so rare before Mahler, comes from the song, in which G major leads to an ethereal E major. From melody, to rhythm, to orchestration and tonal planning, Das himmlische Leben was the source of the Fourth Symphony, and ultimately provided the spiritual vision as well. In the end Mahler decided not to divulge its program. He told his friend Natalie Bauer-Lechner: I know the most wonderful names for the movements, but I will not betray them to the rabble of critics and listeners so they can

12 34 Mahler s Symphony No. 4 was composed from 1899 to 1900, and was revised several times between 1901 and Bruno Walter led the first Philadelphia Orchestra performances of the Symphony, in January 1946, with soprano Desi Halban as soloist. The most recent subscription performances took place in October 2013; Yannick Nézet-Séguin conducted and Christiane Karg was the soprano. The score calls for four flutes (III and IV doubling piccolo), three oboes (III doubling English horn), three clarinets (II doubling E-flat clarinet and III doubling bass clarinet), three bassoons (III doubling contrabassoon), four horns, three trumpets, timpani, percussion (bass drum, cymbals, orchestra bells, sleigh bells, suspended cymbals, triangle), harp, strings, and soprano soloist. Mahler s Fourth runs approximately 60 minutes in performance. subject them to banal misunderstandings and distortions. She also reports Mahler remarking: At first glance one does not even notice all that is hidden in this inconspicuous little song, and yet one can recognize the value of such a seed by testing whether it contains the promise of a manifold life. The rich image of the seed from which an enormous work grows is useful in understanding the importance of this song and its hold on Mahler. A Closer Look The sounds of the sleigh bells that open the first movement (Bedächtig. Nicht eilen) set a pastoral tone that pervades the work. This sunny landscape, however, darkens in the middle of the movement. Mahler remarked on the mood of the Fourth being like the uniform blue of the sky. Sometimes it becomes overcast and uncanny, horrific: but it is not heaven itself that darkens, for it goes on shining with its everlasting blue. It is only that to us it seems suddenly sinister. Other clouds will pass in the following movements, but the blue sky always returns. The scherzo (In gemächlicher Bewegung) unleashes demonic powers. The concertmaster at points plays an instrument tuned up one tone. Mahler originally subtitled the movement Friend Death Strikes up the Dance. According to Mahler s widow, Alma, her husband was under the spell of the self-portrait by Arnold Böcklin, in which Death fiddles unto the painter s ear. The profound slow movement (Ruhevoll) has the character of a lullaby elaborated in a set of variations. Despite all that proceeds, the final vocal movement (Sehr behaglich) is not so much a culmination, as is the finale of Mahler s earlier Second Symphony, but rather an arrival. The music is charming, wise, and difficult to pin down. Mahler provides an intriguing performance instruction: To be sung with childlike, cheerful expression; entirely without parody. Reacting to the last time Mahler conducted the work, with the Philharmonic Society of New York at Carnegie Hall in January 1911, a critic commented: Mahler s Symphony is more or less a puzzle. The composer did not provide titles for the individual movements for the Symphony as a whole. Through the artistic device of connecting the movements thematically and through the employment of a solo voice in the last movement Mr. Mahler admits, voluntarily or involuntarily, that his work is to be counted as program music. Nearly a century later musicians and audiences are still discovering its richness and meanings. Christopher H. Gibbs

13 35 Das himmlische Leben (Achim von Arnim and Clemens Brentano) Wir geniessen die himmlischen Freuden, d rum thun wir das Irdische meiden. Kein weltlich Getümmel hört man nicht im Himmel! Lebt Alles in sanftester Ruh. Wir führen ein englisches Leben! Sind dennoch ganz lustig daneben! Wir tanzen und springen, wir hüpfen und singen! Sankt Peter im Himmel sieht zu! Johannes das Lämmlein auslasset, der Metzger Herodes drauf passet! Wir führen ein geduldig s, unschuldig s, geduldig s, ein liebliches Lämmlein zu Tod! Sankt Lucas den Ochsen thät schachten ohn einig s Bedenken und Achten, der Wein kost kein Heller im himmlischen Keller, die Englein, die backen das Brot. Gut Kräuter von allerhand Arten, die wachsen im himmlischen Garten! Gut Spargel, Fisolen und was wir nur wollen! Ganze Schüsseln voll sind uns bereit! Gut Äpfel, gut Birn und gut Trauben! Die Gärtner, die Alles erlauben! Willst Rehbock, willst Hasen, auf offener Strassen sie laufen herbei! Sollt ein Fasttag etwa kommen alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sankt Peter mit Netz und mit Köder zum himmlischen Weiher hinein. Sankt Martha die Köchin muss sein! Heavenly Life We savor the joys of heaven, thus we avoid earthly things. No worldly tumult is heard in heaven! All things live in gentlest peace. We lead an angelic life! Yet we re quite merry anyway! We dance and jump, we hop and sing! St. Peter in heaven looks on! St. John lets the lamb out, and Herod the butcher looks after it! We lead a long-suffering blameless, long-suffering, dear lamb to its death! St. Luke slaughters the ox without giving it a thought; the wine doesn t cost a cent in heaven s cellar, and the little angels bake bread. Good vegetables of all sorts, grow in the heavenly garden! Good asparagus, snap beans, and anything we like! Whole platefuls are at our disposal! Good apples, pears, and grapes! The gardeners permit everything! If you want deer, if you want rabbit, they run right by on the open road! Should perhaps a holiday come, all the fish swim up with joy! Look! St. Peter is already running with net and bait to the heavenly fish pond. St. Martha has to be the cook! Please turn the page quietly.

14 36 Kein Musik ist ja nicht auf Erden, die uns rer verglichen kann werden. Elftausend Jungfrauen zu tanzen sich trauen! Sankt Ursula selbst dazu lacht! Cäcilia mit ihren Verwandten sind treffliche Hofmusikanten! Die englischen Stimmen ermuntern die Sinnen! Dass Alles für Freuden erwacht. There is no music on earth that can be compared to ours. Eleven thousand virgins dare to dance! Even St. Ursula laughs at the sight! St. Cecilia and her relatives are superb court musicians! Angelic voices invigorate the senses! So that all things awaken to joy! English translation by Paul J. Horsley Program notes All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

15 Musical Terms 37 GENERAL TERMS Aria: An accompanied solo song (often in ternary form), usually in an opera or oratorio Arioso: A vocal piece which is stylistically between that of an aria and a recitative. Cadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolution Cadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or composition Chord: The simultaneous sounding of three or more tones Coda: A concluding section or passage added in order to confirm the impression of finality Concertante: A work featuring one or more solo instruments Dissonance: A combination of two or more tones requiring resolution Harmonic: Pertaining to chords and to the theory and practice of harmony Harmony: The combination of simultaneously sounded musical notes to produce chords and chord progressions K.: Abbreviation for Köchel, the chronological list of all the works of Mozart made by Ludwig von Köchel Legato: Smooth, even, without any break between notes Meter: The symmetrical grouping of musical rhythms Minuet: A dance in triple time commonly used up to the beginning of the 19th century as the lightest movement of a symphony Modulate: To pass from one key or mode into another 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. Siciliano: A Sicilian dance in 6/8 meter and fairly slow 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. Ternary: A musical form in three sections, ABA, in which the middle section is different than the outer sections THE SPEED OF MUSIC (Tempo) Adagio: Leisurely, slow Allegro: Bright, fast Andante: Walking speed Bedächtig: Unhurried, deliberate Behaglich: Agreeably Cantabile: In a singing style, lyrical, melodious, flowing In gemächlicher Bewegung: In a comfortable tempo Nicht eilen: Not rushed Ruhevoll: Restful, calm TEMPO MODIFIERS Assai: Much Poco: Little, a bit Sehr: Very

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