Messiah - The Philadelphia Orchestra

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Season 2012-2013 Sunday, December 23, at 2:00

The Philadelphia Orchestra Paul Goodwin Conductor Karina Gauvin Soprano Diana Moore Mezzo-soprano John Tessier Tenor Christòpheren Nomura Baritone The Philadelphia Singers Chorale David Hayes Music Director Handel Messiah Part I Overture Tenor Accompagnato: “Comfort ye my people” Tenor Air: “Ev’ry valley shall be exalted” Chorus: “And the glory of the Lord” Bass Accompagnato: “Thus saith the Lord of Hosts” Alto Air: “But who may abide the day of His coming?” Chorus: “And He shall purify” Alto Recitative: “Behold, a virgin shall conceive” Alto Air and Chorus: “O thou that tellest good tidings to Zion” Bass Accompagnato: “For behold, darkness shall cover the earth” Bass Air: “The people that walked in darkness” Chorus: “For unto us a Child is born” Pastoral Symphony Soprano Recitative: “There were shepherds abiding in the field” Soprano Accompagnato: “And lo, the angel of the Lord came upon them” Soprano Recitative: “And the angel said unto them” Soprano Accompagnato: “And suddenly there was with the angel” Chorus: “Glory to God in the highest” Soprano Air: “Rejoice greatly, O daughter of Zion” Alto Recitative: “Then shall the eyes of the blind be open’d” Alto and Soprano Duet: “He shall feed His flock” Chorus: “His yoke is easy” Intermission

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Part II Chorus: “Behold the Lamb of God” Alto Air: “He was despised” Chorus: “Surely He hath borne our griefs” Chorus: “And with His stripes we are healed” Chorus: “All we like sheep have gone astray” Tenor Accompagnato: “All they that see Him, laugh Him to scorn” Chorus: “He trusted in God” Tenor Accompagnato: “Thy rebuke hath broken His heart” Tenor Arioso: “Behold, and see if there be any sorrow” Soprano Accompagnato: “He was cut off out of the land of the living” Soprano Air: “But Thou didst not leave His soul in hell” Chorus: “Lift up your heads, o ye gates” Alto Air: “Thou art gone up on high” Chorus: “The Lord gave the word” Soprano Air: “How beautiful are the feet of Him” Bass Air: “Why do the nations so furiously rage together?” Chorus: “Let us break their bonds asunder” Tenor Recitative: “He that dwelleth in heaven” Tenor Air: “Thou shalt break them with a rod of iron” Chorus: “Hallelujah” Part III Soprano Air: “I know that my Redeemer liveth” Chorus: “Since by man came death” Bass Accompagnato: “Behold, I tell you a mystery” Bass Air: “The trumpet shall sound” Jeffrey Curnow, trumpet

Chorus: “Worthy is the Lamb that was slain” Michael Stairs, organ; Davyd Booth, harpsichord; Yumi Kendall, cello; Joseph Conyers, bass

This program runs approximately 2 hours, 30 minutes.

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The Philadelphia Orchestra Jessica Griffin

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.

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Conductor Ben Ealovega

Conductor Paul Goodwin made his Philadelphia Orchestra debut leading performances of Handel’s Messiah in 2009; he conducted the Orchestra’s Messiah performances again in 2010. Renowned for his historically-informed interpretations of music of all periods, he has a great passion for incorporating period style within the traditional orchestral world to create unusual and dynamic programs. He is artistic director and conductor of the Carmel Bach Festival in California. Mr. Goodwin has a wide symphonic repertoire, conducting orchestras including the BBC, Rotterdam, Helsinki, and Royal Stockholm philharmonics; the Scottish Chamber and Hallé orchestras; the City of Birmingham Symphony; and the Belgian, Spanish, and Royal Scottish national orchestras. In the U.S. he has conducted the Minnesota Orchestra, the Seattle and National symphonies, and the Saint Paul Chamber Orchestra. Recent opera successes have included Gluck’s Iphigenie en Tauride at the Komische Oper Berlin, Britten’s Rape of Lucretia at the Teatro Real Madrid, and Handel’s Orlando at the Scottish Opera. This season Mr. Goodwin conducts Handel’s Jephtha with the Welsh National Opera. For 11 years Mr. Goodwin was the associate conductor of the Academy of Ancient Music. He toured extensively with the ensemble and made recordings of Schütz choral works, Mozart’s Zaide, and music by John Tavener. He was principal guest conductor of the English Chamber Orchestra for six years, collaborating with such artists as soprano Kiri Te Kanawa, violinist Joshua Bell, pianist Maria João Pires, cellist Mstislav Rostropovich, and mezzo-soprano Magdalena Kožená. Mr. Goodwin has also recorded CDs of works by Strauss and Hartmann, Handel’s Riccardo Primo and Athalia, and Elgar’s Nursery Suite for Harmonia Mundi. Mr. Goodwin has worked with national youth orchestras in Spain and Holland as well as the Royal Conservatory in the Hague and the orchestras of the Royal College and Royal Academy of Music, London. For many years he has been a regular visiting conductor for the Queen Elisabeth International Competition in Brussels. In 2007 Mr. Goodwin was awarded the Halle Handel Prize in recognition of his services to performances of works by George Frederic Handel.

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Soloist Michael Slobodian

Canadian soprano Karina Gauvin made her Philadelphia Orchestra debut as a soloist in Handel’s Messiah in 2003. Earlier this year she worked with Yannick NézetSéguin performing the role of the Princess in Ravel’s L’Enfant et les sortilèges with the Rotterdam Philharmonic. Recognized for her work in the Baroque repertoire, she sings Bach, Mahler, Britten, and the music of the 20th and 21st centuries with equal success. She has appeared with many of the world’s most well-known orchestras, including the Montreal, San Francisco, and Chicago symphonies; the New York Philharmonic; and Baroque orchestras including Les Talens Lyriques, the Venice Baroque Orchestra, the Accademia Bizantina, Il Complesso Barocco, the Academy for Ancient Music Berlin, Tafelmusik, and Les Violons du Roy. She has performed under the direction of Charles Dutoit, Michael Tilson Thomas, Bernard Labadie, Christophe Rousset, Alan Curtis, Roger Norrington, Kent Nagano, Semyon Bychkov, and Helmut Rilling, among others. Ms. Gauvin has performed the title roles in Handel’s Alcina with Les Talens Lyriques and Conradi’s Ariadne for the Boston Early Music Festival. She has sung Seleuce in Handel’s Tolomeo with Alan Curtis, with whom she has also recorded Handel operas on the ARCHIV/Deutsche Grammophon, Virgin, and Naïve labels. She performed in Vivaldi’s Tito Manlio in Brussels and in London; in Handel’s Ezio and Julius Caesar in Paris and Vienna; and in Vivaldi’s Juditha triumphans at Amsterdam’s Concertgebouw. Her performances with the Boston Early Music Festival Orchestra earned her Grammy nominations in 2007 and 2009. Ms. Gauvin’s extensive discography includes over 30 titles. She has won numerous awards, including several Opus prizes and a Chamber Music America Award for her Fête Galante disc with pianist Marc-André Hamelin. Her recent projects include a European tour and a recording of Handel’s Ariodante for EMI Virgin Classics; a European tour and a recording of Julius Caesar for Naïve, both with Mr. Curtis and Il Complesso Barocco; a recording of Britten’s Les Illuminations with Les Violons du Roy; and an album in honor of Anna Maria Strada del Po with Alexander Weimann and the Arion Baroque Orchestra.

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Soloist Peter Everard Smith

English mezzo-soprano Diana Moore makes her Philadelphia Orchestra debut with today’s performance. This season she also makes several international appearances with the King’s Consort, including performances of Handel’s Messiah, Mendelssohn’s Paulus (with the Leipzig Gewandhaus Orchestra), and an all-Vivaldi program in Paris. Her recording debut with the group, performing Handel’s Parnasso in festa conducted by Matthew Halls, won the Stanley Sadie Handel Recording Prize. Ms. Moore is a popular soloist at many major music festivals. She credits conductor and harpsichordist Trevor Pinnock for launching her solo career with performances of Bach’s St. Matthew Passion with the English Concert. Ms. Moore recently completed a North American tour with Handel’s Orlando, singing the role of Medoro at the Ravinia Festival, Lincoln Center’s Alice Tully Hall, and the Tanglewood Festival with the Philharmonia Baroque Orchestra conducted by Nicholas McGegan. She has performed the title role in Handel’s Rinaldo at the Göttingen International Handel Festival, the Vlaamse Opera, the National Theatre in Prague, and Versailles. Other Handel roles have included Sesto in Julius Caesar, Armindo in Partenope, and Medoro in Orlando. Recent engagements also include Elgar’s The Dream of Gerontius at the Barbican Centre, London; arias by Vivaldi and Handel at the Norfolk Chamber Music Festival with the Philharmonia Baroque Orchestra; Bach’s Mass in B minor in Barcelona with the King’s Consort; a tour of Swizterland performing Haydn masses with John Eliot Gardiner; Beethoven’s Mass in C with the Salzburg Camerata; Berlioz’s Les Nuits d’été with the Northern Sinfonia; and a performance of Mahler’s Das Lied von der Erde. Born in Lowestoft, Suffolk, Ms. Moore studied at the University of Birmingham and the Royal Academy of Music, London. She is committed to celebrating the music and musicians of her homeland and has built a reputation as a leading exponent of English song. In 2007 she devised “Kathleen Ferrier—Her Life, Letters & Music” to honor that legendary English singer. Ms. Moore presented the program widely throughout 2012 at many major venues as part of the official centennial celebrations of Ms. Ferrier’s birth.

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Soloist Rozarii Lynch

Canadian tenor John Tessier made his Philadelphia Orchestra debut in 1999 in performances of Handel’s Messiah. He returned as a guest soloist for Messiah performances in 2000 and 2004, and most recently appeared with the Orchestra performing Berlioz’s Te Deum in 2009. The Juno Award-winning artist has worked on the international stages of opera, concert, and recital with many notable conductors, including Yannick Nézet-Séguin, Charles Dutoit, Lorin Maazel, Leonard Slatkin, Plácido Domingo, Franz Welser-Möst, Donald Runnicles, and Robert Spano. In the 2012-13 season Mr. Tessier performs Tonio in Donizetti’s The Daughter of the Regiment for his debut at the Vienna State Opera; Jason in Cherubini’s Médée at the Théâtre des Champs-Élysées; Tamino in Mozart’s The Magic Flute with Vancouver Opera; Gomez in Saint-Saëns’s Henry VIII with the Bard Music Festival; Jacquino in Beethoven’s Fidelio with Seattle Opera; and Fenton in Verdi’s Falstaff with Calgary Opera. Symphonic engagements include the Evangelist in Bach’s St. Matthew Passion with Iván Fischer and the Orchestra of St. Luke’s at Carnegie Hall; Orff’s Carmina burana with Marin Alsop and the Baltimore Symphony; and a concert version of Wagner’s The Flying Dutchman with David Robertson and the Sydney Symphony. Recent symphonic performances have included John Corigliano’s A Dylan Thomas Trilogy with Leonard Slatkin and the Nashville Symphony (recorded on Naxos), Stephen Paulus’s To Be Certain of the Dawn with Osmo Vänskä and the Minnesota Orchestra (recorded on BIS Records), Berlioz’s L’Enfance du Christ under the baton of John Nelson in Spain, Britten’s Serenade with Carl St. Clair and the Pacific Symphony, Beethoven’s Ninth Symphony with Itzhak Perlman and the Russian National Orchestra at the Festival of the Arts Boca, Haydn’s “Mass in the Time of War” with Bernard Labadie and the San Francisco Symphony, Mozart’s Requiem with Donald Runnicles and the Orchestra of St. Luke’s at Carnegie Hall, and Mozart’s Mass in C with Lorin Maazel and the New York Philharmonic. Mr. Tessier has also given performances of Messiah with the San Francisco and Toronto symphonies and the Los Angeles Philharmonic.

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Soloist Baritone Christòpheren Nomura made his Philadelphia Orchestra debut in 2010 in performances of Handel’s Messiah. He has appeared with many of the leading orchestras of North America, including the Boston, San Francisco, Baltimore, Vancouver, Indianapolis, Charlotte, Utah, and National symphonies; the Minnesota Orchestra; the Saint Paul Chamber Orchestra; the Philharmonia Baroque Orchestra; the Orchestra of St. Luke’s; and the Boston Pops. He has performed under internationally renowned conductors including Leonard Bernstein, Seiji Ozawa, James Conlon, Sergiu Comissiona, Bruno Weil, and Nicholas McGegan. Mr. Nomura is a frequent performer with the Pacific Symphony under Carl St. Clair and the North Carolina Symphony with Grant Llewellyn. In 2006 he gave the premiere of Philip Glass’s The Passion of Rama Krishna for the Pacific Symphony’s inaugural concerts in Segerstrom Hall; he returned to sing and record the piece in 2011. He also gave the premiere of Alva Henderson’s From Greater Light with the Pacific Symphony in 2009. A Bach and early music specialist, Mr. Nomura has performed with the Bach Choir of Bethlehem, the Oregon and Carmel Bach festivals, the Handel & Haydn Society, the Boston Early Music Festival, and the Berkshire Choral Festival. On the opera stage, Mr. Nomura has made his mark as a Mozartean, singing the title role in Don Giovanni, Papageno in The Magic Flute, the Count in The Marriage of Figaro, and Guglielmo in Così fan tutte. He sang Papageno for his debut with the Lyric Opera of Kansas City. He also has a strong association with Puccini’s Madame Butterfly. He was Prince Yamadori in the SONY film co-directed by Martin Scorsese and Frédéric Mitterand and conducted by James Conlon, and he appeared in Butterfly for his debuts with the Boston Symphony and the Dallas and Cincinnati operas. Mr. Nomura’s discography includes recordings on the Sony, Dorian, Teldec, London, Denon, TDK, and L’Oiseau Lyre labels. His recording of the Monteverdi Vespers of 1610 on Telarc was nominated for a Grammy for Best Classical Ensemble Recording. Mr. Nomura is the recipient of numerous awards and distinctions, including a four-year Fulbright grant to study with Dietrich Fischer-Dieskau, Hermann Prey, and Gérard Souzay.

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Chorus Celebrating its 40th anniversary in the 2012-13 season, the Philadelphia Singers is a professional chorus with a mission to preserve and strengthen America’s rich choral heritage through performances, commissions, and music education. The ensemble was described by Wolfgang Sawallisch as “one of the musical treasures of Philadelphia.” The chorus performs regularly with leading national and local performing arts organizations, including The Philadelphia Orchestra, the New York Philharmonic, the Curtis Institute of Music, the Philadelphia Chamber Music Society, Kimmel Center Presents, and the Mannes Orchestra. In 1991 the Philadelphia Singers founded the Philadelphia Singers Chorale, a symphonic chorus composed of professional singers and talented volunteers, and the ensemble made its Philadelphia Orchestra debut in 1992. The Chorale was resident chorus of the Orchestra from 2000 to 2011. In addition to today’s concert, the Chorale will appear with the Orchestra in February for performances of Orff’s Carmina burana. Past performances have included Mahler’s Symphony No. 8 and Das klagende Lied; Berlioz’s Romeo and Juliet, The Damnation of Faust, and Requiem; Beethoven’s Symphony No. 9; and the world premiere of Jennifer Higdon’s The Singing Rooms. In May 2012 the Chorale appeared with the Orchestra for performances of Ravel’s complete Daphnis and Chloe, celebrating Charles Dutoit’s final concerts as chief conductor. David Hayes was appointed music director of the Philadelphia Singers in 1992. Music director of the Mannes Orchestra of the Mannes College of Music in New York, he is also staff conductor of the Curtis Symphony and from 2000 to 2010 served as a cover conductor for The Philadelphia Orchestra. Mr. Hayes studied conducting with Charles Bruck at the Pierre Monteux School and with Otto-Werner Mueller at the Curtis Institute of Music.

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The Music Messiah

Messiah, the most famous oratorio ever written, is quite unlike Handel’s other ones, let alone those by most earlier and later composers. A German who initially made his fame writing Italian operas for English audiences, Handel found in the 1730s that the public wanted something new and more understandable. After composing some three dozen Italian operas, works of great musical brilliance, he shifted his energies to creating what are in essence sacred operas in English. George Frideric Handel Born in Halle, Germany, February 23, 1685 Died in London, April 14, 1759

The performance venues in which Handel’s oratorios were originally presented, the performers who participated, and the audiences that attended were pretty much the same as those previously connected with his operas. It was a natural shift for Handel, a man of the theater. An Oratorio of a Different Kind The principal differences between Handel’s operas and oratorios are that the stories are usually religious, often biblical, and that oratorios were not staged—no sets or costumes. They both tend to open with a so-called “French Overture,” followed by various recitatives and arias. Castrato singers, the superstars of the day, were also shared features. One of the most vocally elaborate and dazzling moments in Messiah—the fast section of “But who may abide the day of His coming”—was revised from its original version featuring bass voice for the famous alto castrato Gaetano Guadagni and made into a real showstopper. Most of the musical elements were interchangeable between opera and oratorio, although the role of the chorus became much more prominent in the latter, often carrying nationalistic resonances as representatives of the people. Handel the dramatic composer, therefore, is still very much in evidence in his oratorios. If his theatrical sense did not change, he nonetheless was able to adapt to new circumstances after interest in Italian opera waned and the success of John Gay’s The Beggar’s Opera (1728) demonstrated public desire for simpler fare given in English. Handel quickly enjoyed considerable success with oratorios such as Esther, Deborah, Saul, and Israel in Egypt. But by the early 1740s, he was in some financial difficulty and suffering from poor health after a stroke.

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At this low point in his career he composed what would become his most famous and beloved piece and one that is the oldest work to remain consistently in the repertory of so-called “classical music.” Unlike his own operas or Bach’s passions, Messiah never needed to be revived because it never disappeared. The Idea of a Messiah The title of this celebrated composition gives some indication of its basic difference from most of Handel’s other sacred stories in sound: Messiah, not The Messiah. He did not write a narrative drama about the birth, life, death, and resurrection of Christ (the latter parts the subject of musical settings of the Passion, such as those by Bach), but rather offered a mediation on the idea of a Messiah, for which reason some of the text is derived not from the New Testament but from the Old, as well as from the Psalms. Later parts of the oratorio then offer episodes dealing with Christ’s birth, sufferings, death, and resurrection. While Handel’s oratorios usually had characters and a clear narrative, Messiah does not. Soloists are still used, but for their vocal qualities rather than to represent specific individuals. This change in approach was commented upon by Handel’s contemporaries, one of whom noted that Messiah “although called an Oratorio, yet it is not dramatic but properly a Collection of Hymns or Anthems drawn from the sacred Scriptures.” A Legendary Work Various legends, registering differing degrees of reality, inevitably surround such a famous and long-lived composition. It is known that Handel wrote most of the work in some three weeks time, secluding himself beginning on August 22, 1741. Such speed was typical of the composer, who after finishing Messiah immediately turned to writing the oratorio Samson. Another legend attached to the work relates to his inspiration, which casts the frenzied composition as a sort of divine dictation. Handel is said to have emerged at some point (usually, it is noted, after finishing the “Hallelujah” chorus,) and proclaimed: “I did think I did see all Heaven before me, and the great God himself!” A practical reason that Handel could compose this work and others so quickly was that he often drew upon music composed earlier. While self-borrowing was far more common in the 18th century than it became once the cult of originality emerged in the 19th, Handel took it to new extremes, not to mention borrowing a large degree from other composers as well. His practices aroused attention

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Handel composed Messiah in 1741.

in his own day, even from his collaborator Charles Jennens, who deftly compiled the libretto for Messiah.

Eugene Ormandy conducted the first official Philadelphia Orchestra performances of Messiah, in October and November of 1958; the soloists were Leontyne Price, Martha Lipton, Davis Cunningham, William Warfield, and the Mormon Tabernacle Choir. The series opened on Halloween (!) and was so popular the first year that an extra performance was added. (Actually the Orchestra had performed Messiah much earlier, as far back as 1902, with the now-defunct Choral Society of Philadelphia, but not on its own concert series.) Since 1961, the Orchestra has performed Messiah every year.

The borrowings in Messiah, which for the most part come from Handel’s own works, are fascinating as they invite us to reconsider the “inspired” relation between the words and music. The music for the joyous chorus “For unto us a Child is born,” for example, which seems so perfectly to capture the celebratory words from Isaiah, was originally written for a profane, indeed frivolous, duet for two sopranos castigating “blind Cupid” and “cruel beauty.” There are other such examples from Messiah, which in no way diminishes the glory of the music, but does help to explain how Handel could compose so rapidly.

The Philadelphians recorded Messiah in 1958 for CBS with the above forces, except Eileen Farrell replaced Ms. Price. This recording earned the Orchestra one of its three gold records. The Orchestra also recorded excerpts from the work twice: the “Pastoral” Symphony was recorded in 1929 for RCA with Leopold Stokowski, and “For unto us a Child is born” and the “Hallelujah” Chorus were recorded in 1964 for CBS with Ormandy and the Temple University Concert Choir. The instrumentation in this performance calls for two oboes, bassoon, two trumpets, timpani, organ, harpsichord, strings, mixed chorus, and four vocal soloists. This performance of Messiah runs approximately two hours and 30 minutes.

First Hearings The first performance of Messiah took place not in London, but rather in Dublin, on April 13, 1742. Handel gave the London premiere less than a year later at Covent Garden. It was not well received, in part because of objections to presenting a sacred work in that most profane of buildings—a theater! (Handel had advertised the oratorio as a “musical entertainment.”) It was only in 1750, when Messiah began to be presented in annual performances for a London charity at the local Foundling Hospital, that the public embraced the work. Handel performed it some three dozen times—every time, it should be noted, around Easter, not Christmas, as later became the custom. Over the years he revised Messiah to accommodate new surroundings, performing forces, and audiences. Such adaptations have continued ever since: Mozart re-orchestrated the work in 1789 to bring it up to the dimensions of a Classical period orchestra, and more “heavy metal” versions would come in the 19th and 20th centuries. Many of these later arrangements helped to make the work viable for large choral festivals with many hundreds of singers, sometimes even more than a thousand. Messiah is divided into three sections. The first is concerned with the prophesy of the coming of a Messiah and then with Christ’s Nativity. Part II deals with Christ’s suffering and death. The concluding section offers an affirmation of Christian faith and glimpses of Revelation. In the selection being performed on today’s program, Part I forms the first half of the program, Part II begins after intermission and continues until “Hallelujah,” and Part III begins with the aria “I know that my Redeemer liveth.” —Christopher H. Gibbs Program note © 2012. All rights reserved.

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Orchestra Headlines Philadelphia Orchestra Chamber Music Concert Tickets are now on sale for the third concert in The Philadelphia Orchestra’s 28th Season Chamber Music Series on Sunday, January 13, 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 Fantasia in C minor, K. 396, for solo piano Mozart Quintet in E-flat major, K. 452, for piano and winds Mozart String Quintet No. 5 in D major, K. 593 Samuel Caviezel Clarinet Imogen Cooper Piano (Guest) Renard Edwards Viola Mark Gigliotti Bassoon Jennifer Montone Horn Hai-Ye Ni Cello David Nicastro Violin Amy Oshiro-Morales Violin Anna Marie Ahn Petersen Viola Peter Smith Oboe Annual Martin Luther King Jr. Tribute Concert The 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 Recording A 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.

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January

The Philadelphia Orchestra Jessica Griffin

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

Mozart in His Time January 10 & 12 8 PM January 11 2 PM David Kim Leader Imogen Cooper Piano and Leader Mozart Eine kleine Nachtmusik, Serenade in G major Mozart Piano Concerto No. 24, K. 491 Mozart Symphony No. 25

Ravel and Shostakovich January 16 & 19 8 PM January 18 2 PM Yannick Nézet-Séguin Conductor Leonidas Kavakos Violin Ravel La Valse Szymanowski Violin Concerto No. 2 Shostakovich Symphony No. 5

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.

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Tickets & Patron Services Subscriber Services: 215.893.1955 Call 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, firstserved 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 ticketholders, 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 lastminute tickets available. Call Ticket Philadelphia at 215.893.1999 or stop by the Kimmel Center Box Office.

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