The Philadelphia Orchestra Holló José/beFORe John5, for percussion quartet Christopher Deviney Percussion Víctor Pablo García-Gaetán Percussion (Guest) Bradley Loudis Percussion (Guest) Phillip O’Banion Percussion (Guest)

Reich from Drumming: Part I Part II Christopher Deviney Percussion Víctor Pablo García-Gaetán Percussion (Guest) Bradley Loudis Percussion (Guest) Phillip O’Banion Percussion (Guest) Temple University Percussion Ensemble (Guests)

Spivack Scherzo for Percussion Septet and Forty Instruments Christopher Deviney Percussion Víctor Pablo García-Gaetán Percussion (Guest) Bradley Loudis Percussion (Guest) Phillip O’Banion Percussion (Guest) Temple University Percussion Ensemble (Guests)

Intermission

Bartók String Quartet No. 3 (In one movement) Marc Rovetti Violin William Polk Violin Kerri Ryan Viola Yumi Kendall Cello

Beethoven String Quartet No. 2 in G major, Op. 18, No. 2 I. Allegro II. Adagio cantabile III. Scherzo: Allegro IV. Allegro molto quasi presto Marc Rovetti Violin William Polk Violin Kerri Ryan Viola Yumi Kendall Cello

This program runs approximately 1 hour, 55 minutes.

23

Season 2012-2013Sunday, April 14, at 3:0028th Season of Chamber Music Concerts—Perelman Theater

2 Story Title

The Philadelphia Orchestra

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

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

vivid world of opera and choral music.

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

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

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

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

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

Jessica Griffin

24

4

Music DirectorYannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. From the Orchestra’s home in Verizon Hall to the Carnegie Hall stage, 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, famous for its glowing strings and homogenous richness, has never sounded better.”

Over the past decade, 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. He has appeared with such revered ensembles as the Vienna and Berlin philharmonics; the Boston Symphony; the Accademia Nazionale di Santa Cecilia; the Dresden Staatskapelle; the Chamber Orchestra of Europe; and the major Canadian orchestras. His talents extend beyond symphonic music into opera and choral music, leading acclaimed performances at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival.

In February 2013, following the July 2012 announcement of a major long-term collaboration between Yannick and Deutsch Grammophon, the Orchestra announced a recording project with the label, in which Yannick and the Orchestra will record Stravinsky’s The Rite of Spring. His discography with the Rotterdam Philharmonic for BIS Records and EMI/Virgin includes an Edison Award-winning album of Ravel’s orchestral works. He has also recorded several award-winning albums with the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued studies with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. In 2012 Yannick was appointed a Companion of the Order of Canada, one of the country’s highest civilian honors. His other honors include Canada’s National Arts Centre Award; a Royal Philharmonic Society Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and an honorary doctorate by the University of Quebec in Montreal.

To read Yannick’s full bio, please visit www.philorch.org/conductor.

Jessica Griffin

25

The MusicJosé/beFORe JOHN5, for percussion quartet

Aurél HollóBorn in Mór, Hungary, in 1966Now living in Hungary

Aurel Holló is one of the foremost avant-garde composers on the European scene. Born in 1966 in Mór, Hungary, Holló studied composition at the Györ Conservatory in western Hungary. It was while a student there that he began to study percussion instruments and to find in them the resources for his own musical expression. Jazz also influenced the young composer. For several years, he played percussion for Tea, a jazz fusion group that some called the Central European answer to American fusion band Spyro Gyra.

Holló joined European percussion ensemble Amadinda in 1991 and remains a member of that group. Most of his music is written for Amadinda, including José/beFORe JOHN5 composed in 2000. But percussion is not the composer’s only medium, and his list of titles include A Rák jegyében (Under the Sign of Cancer) for piano; It’s like jazz! for small ensemble; Preludes for piano; Pan for electronic sources; and Sör és virsli (Sausage and Beer) for clarinet, cello, and piano.

José is one of a series of pieces under the umbrella title of beFORe JOHN5, some of them composed by Holló’s colleague Zoltán Váczi, intended to explore the musical cultures of various world populations. About José, the composer writes:

The basic idea of my piece was born when I was listening to the recording Oriental Bass by the ethnic contrabass-player Renaud Garcia-Fons. I wondered many times whether it would be possible to present his fundamentally Spanish style with its Arabic and Gypsy effects in an original percussion composition instead of a simple adaptation. My answer to this question is José. Besides Garcia-Fons’s recording I also used a theme by Paco de Lucía in this composition. Marimba has the lead through in this short character piece almost exclusively: Two players standing face-to-face play especially virtuosic complementary motives. Most of these figures are based on the traditional xylophone music of Africa.

The players use techniques of amadinda and akadinda (traditional percussion instruments

26

from Uganda) yet the scale they cover is typically flamenco-like at the same time. In the end these two players sound a real guitar as well, with the same technique. This rhythmical-melodic source is enriched by the playing of two other musicians who create many interesting and exciting sounds, for example with the Spanish cajon or the favorite instrument of Gypsy folk music, the simple sheet-iron can, and many more.

The piece is dedicated to the composer’s friend, percussionist Josep Vicent. In addition to his continued work with Amadinda, Holló teaches percussion at the Béla Bartók Conservatory in Budapest. His current creative projects include background music for animated films, orchestral arrangements for Hungarian pop singers, in addition to his series of compositions for Amadinda.

—Kenneth LaFave

Parts I and II from Drumming

Steve ReichBorn in New York City, October 3, 1936Now living there and in Rochester, Vermont

Here is a recognized way of charting the contested history of post-war classical music by using the geography of the island of Manhattan: There were “uptown” composers (so-called because of the connection with Columbia University) who wrote complex music in the high Modernist tradition of Arnold Schoenberg and Anton Webern. Then there was the “midtown” contingent, based at the Juilliard School of Music, performed comfortably at Carnegie Hall and Lincoln Center, which much less controversially continued the 19th-century Romantic tradition. Aaron Copland, Leonard Bernstein, and Philadelphian Samuel Barber were among the most prominent of these composers, whose music was more familiar and accessible. Finally, there were the “downtown” composers, whose music initially was more likely to be performed in art galleries and rock clubs than in standard concert halls. The most celebrated trend to emerge from this group in the 1960s and ’70s was so-called minimalism, with Steve Reich and Philip Glass as the preeminent figures.

This afternoon we hear the first two parts of Reich’s four-part Drumming, one of his earliest works and one that pointed to an incredibly successful and influential future. Now in the 21st century it has become clear that the

uptowners had a very limited appeal to audiences despite a prominent position in history books. Reich’s music, on the other hand, immediately connected with the public. His impact in both the classical and popular spheres has been enormous.

Born in New York City, Reich graduated with honors in philosophy from Cornell University. He studied composition privately with Hall Overton, with Vincent Persichetti and William Bergsma at Juilliard, and with Luciano Berio and Darius Milhaud at Mills College. In the summer of 1970 he traveled to Ghana to explore African drumming, a trip he later said “confirmed my intuition that acoustic instruments could be used to produce music that was genuinely richer in sound than that produced with electronic instruments, as well as confirming my natural inclination towards percussion.” (Reich had studied in his teens as a drummer.)

Drumming received its premiere in December 1971 at the Museum of Modern Art in New York performed by the composer’s own ensemble, Steve Reich and Musicians. The landmark piece displays many of the compositional techniques that have come to characterize Reich’s music, associated not only with the word “minimalism,” but also with “process,” “pulse,” and “phasing.” The last term refers to a procedure in which two musicians state a rhythm exactly in sync until one, either gradually or abruptly, goes “out of phase” by moving ahead. We hear this process in Drumming, the first part of which is scored for four pairs of tuned bongo drums on stands that are played with sticks. The second part expands the instrumentation to three marimbas performed by nine players and also brings in two women’s voices. Reich describes how he came up with this idea: “While first playing the drums during the process of composition, I found myself sometimes singing with them, using my voice to imitate the sounds they made. I began to understand that this might also be possible with the marimbas and glockenspiels as well. Thus the basic assumption about the voices in Drumming was that they would not sing words, but would precisely imitate the sound of the instruments.”

The basic pulse is established at the beginning of Drumming and remains present throughout work, which in its full four-parts lasts some 55 to 75 minutes depending on the number of repeats the performers take. The effectiveness of the piece is both aural and visual as the listener engages with the slow process of its unfolding. Reich describes the first part as follows: “Drumming

27

Scherzo for Percussion Septet and Forty Instruments

28

begins with two drummers building up the basic rhythmic pattern of the entire piece from a single drum beat, played in a cycle of twelve beats with rests on all the other beats. Gradually additional drumbeats are substituted for the rests, one at a time, until the pattern is completed. The reduction process is simply the reverse where rests are gradually substituted for the beats, one at a time, until only a single beat remains.”

—Christopher H. Gibbs

Larry SpivackBorn in Brooklyn, in 1954Now living in New York City

Born in Brooklyn, New York, in 1954, Larry Spivack’s career has defied the norms of musical education. His first instrument was the accordion. He learned harmony by copying out a “fake book” (a book of melodies with chord symbols instead of complete chords), and his first professional gigs consisted of playing a used organ at weekend club dates. Says Spivack: “I wasn’t that good, but keyboard players always worked.”

Eventually Spivack focused on percussion, studying with Morris “Arnie” Lang, a percussion legend and member of the New York Philharmonic. He entered the Juilliard School and continued his study with two more New York Philharmonic members: timpanist Saul Goodman and snare drummer Elden “Buster” Bailey. Along the way he also fell in love with the vibraphone, taking lessons from jazz virtuoso David Friedman. Many of Spivack’s later compositions would feature the vibraphone.

Spivack received his Master of Music degree from Juilliard in 1977 and began his career as a freelance musician. He subbed as a percussionist for the Broadway production of A Chorus Line and composed a film score. His most widely heard composition was only three seconds long: a fanfare for brass and percussion, aired over ABC-TV from 1980 to 1982 to announce that the ensuing program was close-captioned for the hearing impaired. “It was on before all of their prime-time shows, so my music was heard by millions,” the composer notes.

The Scherzo for Percussion Septet and Forty Instruments was inspired by the output of visual artist James Rizzi. Somewhat in keeping with Spivack’s three seconds of fame over ABC-TV, Rizzi’s work, too, has been experienced by millions of people via a poster on the wall

of Jerry’s apartment during the final season of Seinfeld. The piece originated as a film score. Spivack notes:

It was 1977, when James Rizzi was a relatively unknown artist. My friend was filming a documentary about him and asked me to compose music for a 5-minute montage of Jimmy’s artwork. I don’t remember whose idea it was to do a piece scored only for percussion, but when “Scherzo” was finished it called for 7 players and 40 instruments including glockenspiel, xylophone, steel drums, vibraphone, marimba, timpani, duck call, whip, and bicycle horn.

My friend was a specialist at producing cheaply. To save money, we loaded everything into a recording studio after midnight and began takes around 2 a.m. I remember getting all the instruments loaded back into cars just as the sun was coming up.

All that work and the documentary never got finished. A college percussion ensemble wanted to perform “Scherzo” live, so my friend shot 58 slides of the artwork, which were arranged in a carousel that could be advanced with a push button, and I wrote out a part for cuing a projectionist.

We only had one set of slides and over the years it got lost. In 2010 I visited Jimmy’s studio and took new photos. The new slideshow has 96 photos synchronized with the music. Jimmy passed away in 2011 but his artwork lives on.

—Kenneth LaFave

29

String Quartet No. 3

Béla BartókBorn in Nagyszentmiklós, Hungary (now Romania), March 25, 1881Died in New York, September 26, 1945

Along with Zoltán Kodály and Ernö Dohnányi, Béla Bartók was a founding figure of 20th-century Hungarian musical culture. But Bartók was far more progressive than either of his counterparts. While the others wrote folk-song settings and folk-inflected instrumental works, Bartók developed a new musical language that, while thoroughly grounded in the features of Hungarian folk music, neither quoted nor mimicked authentic folk tunes.

Bartók also changed the focus of new music. Other innovative composers throughout history had emphasized developments in form, harmony, melody, and even rhythm, but not until Bartók had any composer so thoroughly

30

explored the possibilities of timbre: the quality of musical sound sometimes referred to as “tone color.” Even as he formulated a highly structured approach to form (favoring symmetrical or palindromic arrangements within and between movements) and melodic shapes derived from the angularity of Hungarian folk music, he was constantly searching for nuances of timbre, innovative instrumental techniques, and different kinds of sound to sharpen the edge of his new style.

A pioneer in ethnomusicology, Bartók assiduously collected and notated folk tunes, but he didn’t just collect the melodies. He noted the nuances of the performance itself—the rhythmic irregularities, the unusual turns of melody and range—and allowed those to influence his own approach. He said, “What we had to do was divine the spirit of this unknown music, and to make this spirit the basis of our works.” The development of this new language and focus can be traced in Bartók’s six string quartets, which span his entire career and manifest each stage of his stylistic development.

Bartók’s Third and Fourth quartets, from 1927 and 1928, came at the peak of his most experimental period. He knew these works would never become popular with the general audience. Even a composer so immersed in the avant-garde as Anton Webern found them too harsh for his liking. The Third Quartet, in particular, was Bartók’s most terse and intense, the one in which his break with tonality was complete. The influential German critic Theodor Adorno noted the Quartet’s “formative power […] the iron concentration, the wholly original tectonics.” But it was also perhaps the most varied quartet any composer had written to that point in terms of timbre, with its remarkable multiplicity of playing techniques and compositional effects.

Three months after the Quartet was completed in September 1927, Bartók entered it into a contest run by the Musical Fund Society of Philadelphia. (Although he worked on the score in Budapest, it’s possible he wrote it specifically for this contest. Alternatively, submitting it may have been more a convenient afterthought, facilitated by the fact that he was touring through the U.S. at the time.) But the results of the contest were not announced until a year later, and in the interim the work could not be performed, due to the contest rules. He completed his Fourth String Quartet before the premiere of the Third had taken place.

31

Finally, in October 1928, Bartók’s Third Quartet was announced as a first-prize winner (shared with a Serenata by Alfredo Casella), and the work was premiered at the Bellevue-Stratford Hotel in Philadelphia on December 30, 1928. The Musical Fund Society (to which the Quartet is dedicated) owned the composer’s manuscript of the work until 1991, when it became part of the Ormandy Collection in the Music Library at the University of Pennsylvania.

This Quartet integrates features of folk music with some of the pre-Baroque techniques—canon, fugue, fugato, inversion, augmentation, diminution—that had begun to interest Bartók during the 1920s. And his ongoing concern with continuous variation ensured that there is very little verbatim repetition of material. He was inspired in this regard by the improvisations and embellishments he found in folk music, where no two performances are exactly alike.

Bartók also may have been influenced in this Quartet by his hearing of Berg’s Lyric Suite in 1927 and noticing the attention Berg paid to tone color. In the Third Quartet he employs an extraordinary range of string-playing techniques to produce such variety of timbre, including pizzicato, col legno, sul ponticello, glissando, martellato, exaggerated vibrato, strumming, mutes, even the so-called “Bartók pizzicato” where the string is plucked so vigorously it rebounds and slaps the fingerboard.

This Quartet is in a compressed four-section format, played without a break, but one in which the standard classical four movements are replaced by a more symmetrical arrangement. The first two “parts” are both recapitulated (with significant changes) as the Quartet’s third and fourth sections, creating an overall form that simultaneously blends symmetry and asymmetry, one of the composer’s signature traits.

The entire opening section (Moderato)—rather bleak in its affect—is derived from a single three-note motif that first rises and then falls. Sometimes it’s a rising fourth and a descending third, at others a rising fifth and descending fourth, but always with the same contour. The opening emerges quietly, as if from a chromatic cluster, before the germ motif appears more clearly.

This motif then repeats as an ostinato in a passage that recalls Bartók’s “night music” style—quiet, quivering music he invoked frequently to portray the trembling stillness of night. Inversions and reflections of the motif permeate the texture, punctuated by aggressive block chords. Then, near the end of the section, a folk-like melody played

in octaves by the second violin and viola seems to be constructed from linked iterations of the original motif and its variants. Or, instead, it could simply be the movement’s “real” theme, heard only in fragmented form to that point.

Without a break, the second section (Allegro) begins with a trill, followed by rising and falling scale passages. Typically of Bartók, the falling scale often “fills in” notes left out of the rising scale—another display of the composer’s interest in synthesizing symmetry and asymmetry. Again, germ motifs are heard first before they collect into phrases that approach folk-melody style. The rustic qualities of rhythmic, dance-like accents are enhanced by the playing of bare fifths on the open strings. And hidden among all this activity are subtle references to the three-note motif heard in the opening, woven in here as both accompaniment and embellishment.

A short line for solo cello leads in to the first “recapitulation” (Moderato), where it is joined by viola and eventually the two violins. Rather than a literal reprise, Bartók offers a restrained recapitulation so varied that it may not immediately be recognizable. But the main motif can still be heard occasionally in the cello part. Then sul ponticello buzzing introduces the coda, which functions as a quasi-recapitulation of the second part. The scale passages in this contrapuntally complex section are heard in unison, parallel motion, and contrary motion, culminating in the thick, aggressive chords of the climax.

—Luke Howard

String Quartet No. 2 in G major, Op. 18, No. 2

Ludwig van BeethovenBorn in Bonn, probably December 16, 1770Died in Vienna, March 26, 1827

32

The conventional three phases of an artist’s career—analogous to the life stages of youth, maturity, and old age—are nowhere more evident than in Beethoven’s incomparable 16 string quartets. These extraordinary works chart the composer’s artistic growth over the course of his mature life, from his late 20s to shortly before his death in 1827 at age 56.

The set of six quartets, Op. 18, dates from the turn of the century and marks a culmination of the Classical chamber music tradition cultivated by Haydn and Mozart. The five middle quartets (Opp. 59, Nos.1-3, 74, 95) are more ambitious, with one critic warning potential customers that the three of Op. 59 were “very long and very difficult.”

33

With these pieces, the genre exited the genteel parlor where amateurs would spend evenings playing chamber music and began to migrate to the concert hall. Beethoven devoted the last years of his life almost entirely to writing five quartets (Opp. 127, 130, 131, 132, 135) and they reveal him as isolated, reflective, and inward. The complete cycle of his quartets makes this genre, more than the sonatas, symphonies, or anything else, the best register of Beethoven’s “spiritual development,” to invoke the title of J.W.N. Sullivan’s famous study of the composer from 1927.

Beethoven composed the six quartets published in 1801 as Op. 18 during the first stage of his career, when he was still most under the influence of Mozart (who allegedly had predicted he would go far—“Keep your eyes on him; some day he will give the world something to talk about”) and of his teacher Haydn. He had avoided writing quartets until relatively late in his 20s, perhaps due to the accomplishments of these imposing predecessors, particularly Haydn, the so-called father of the string quartet. Beethoven’s youthful forays in the genre are generally more carefree than the ones he wrote after the onset of deafness in his early 30s.

Beethoven seems to have taken particular care with his early quartets. He composed two versions of Op. 18, No. 1, and in a letter to the friend for whom the piece was written, he stated, “Be sure not to pass on your quartet to anyone else, because I have substantially altered it. For only now have I learnt to write quartets properly—as you will surely see when you receive them.” Fortunately both versions survive, which gives valuable insights into Beethoven’s growth in this genre. All six of the quartets in Op. 18 (the order of composition was probably 3, 1, 2, 5, 4, 6) are in four movements.

The String Quartet in G major we hear this afternoon often exhibits more of the politeness one associates with Haydn than the bizarreness with which Beethoven shocked his contemporaries, but it already tests the boundaries. (So, for that matter did Haydn—to a large extent he established the rules and then reveled in breaking them.) We hear the Classical symmetry in the phrasing—a theme stated and then answered—already at the outset of the first movement (Allegro), and there is also is a good amount of virtuosity and playful interaction among the four instruments.

Beethoven revised the second movement (Adagio cantabile—Allegro—Tempo I), yet another indication

of his care with these pieces. (One scholar has recently reconstructed the original version based on a study of the sketches.) It begins as a slow and lyrical aria, but is surprisingly interrupted by a spirited fast section before returning the singable start.

Beethoven was the composer who helped make the shift from the expected third movement form of a minuet and trio to the more spirited scherzo and trio. This early example (Scherzo: Allegro) has one foot in both camps. The finale (Allegro molto quasi presto) returns us to Classical symmetry—the cello states the first half and the full quartet responds. But things soon begin to take some unusual turns, as did Beethoven’s career and his engagement with a genre that he was continually reinventing.

—Christopher H. Gibbs

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

34

Musical TermsGENERAL TERMSAria: An accompanied solo song (often in ternary form), usually in an opera or oratorioAugmentation: Doubling (or increasing) the time value of the notes of a theme or motifCanon: A device whereby an extended melody, stated in one part, is imitated strictly and in its entirety in one or more other partsChord: The simultaneous sounding of three or more tonesChromatic: Relating to tones foreign to a given key (scale) or chordCoda: A concluding section or passage added in order to confirm the impression of finalityCol legno: Playing with the wood (stick) of the bowContrapuntal: See counterpointCounterpoint: A term that describes the combination of simultaneously sounding musical linesDiminution: The repetition of a theme in notes of smaller time valueFugato: A passage or movement consisting of fugal imitations, but not worked out as a regular fugueFugue: A piece of music in which a short melody

is stated by one voice and then imitated by the other voices in succession, reappearing throughout the entire piece in all the voices at different placesGlissando: A glide from one note to the nextMartellato: “Hammered” bowingMinimalism: A style of composition characterized by an intentionally simplified rhythmic, melodic, and harmonic vocabularyMinuet: A dance in triple time commonly used up to the beginning of the 19th century as the lightest movement of a symphonyOstinato: A steady bass accompaniment, repeated over and overPizzicato: PluckedRecapitulation: See sonata formScherzo: 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.Sul ponticello: Bowing near the bridgeTrill: A type of embellishment that consists, in a more or less rapid alternation, of the main note with the one a tone or half-tone above itTrio: See scherzoVibrato: Pulsation of musical sound, on stringed instruments produced by rapid rocking of finger stopping the string

THE SPEED OF MUSIC (Tempo)Adagio: Leisurely, slowAllegro: Bright, fastCantabile: In a singing style, lyrical, melodious, flowingModerato: A moderate tempo, neither fast nor slowPresto: Very fast

TEMPO MODIFIERSMolto: VeryQuasi: Almost

35

36

SoloistsChristopher Deviney became principal percussion of The Philadelphia Orchestra in 2003. Previously he was a percussionist in the Houston Symphony and performed and recorded with the New Orleans and Toronto symphonies and the New York Philharmonic. He has performed at the Bard Music Festival and as a featured soloist with the Brevard (FL) Symphony. He was a student at the Aspen Music Festival and was also a two-year Tanglewood Institute Fellowship recipient. Mr. Deviney received his bachelor’s degree from Florida State University and his master’s degree from Temple University. He is an adjunct professor at Rutgers University and has given master classes at Temple University and the Curtis Institute and professional coaching at the New World Symphony.

Percussionist and composer Víctor Pablo García-Gaetán began his musical training in his native Puerto Rico where his teachers included Diana Valdés Santos, Mariano Morales, Rolando Morales-Matos, and Rafael “Tito” De Gracia. While in Puerto Rico he participated in the PR Youth Symphony and the FOSJA Music Festival and played at the 2006 and 2007 Heineken Jazz fests. In 2008 he moved to Philadelphia to study at Temple University under Glenn Steele and Christopher Deviney. In 2010 he co-founded the Three for All percussion trio with Bradley Loudis and Patrick Bailey. In 2012 he was awarded the Avedis Zildjian scholarship from the Boyer College of Music and Dance and a fellowship to the National Orchestral Institute. He is currently pursuing a master’s degree from Temple University studying under Alan Abel and uses TOCA percussion instruments.

Yumi Kendall joined The Philadelphia Orchestra in 2004 as assistant principal cello after graduating from the Curtis Institute, where she studied with David Soyer and Peter Wiley (she is currently acting associate principal cello). She previously served as principal cello of the Haddonfield Symphony (now the Symphony in C). Ms. Kendall began studying the cello at age five, made her recital debut at age seven, and in 1998 made her orchestral solo debut with the National Symphony. She has participated in the Tanglewood Institute, Music from Angel Fire, the Verbier and Marlboro festivals, the Taos School of Music, and the Kingston Chamber Music Festival. She is also a member of the Dryden String Quartet. Ms. Kendall won first place in the Friday Morning Music Club Competition and the National Symphony Young Soloists’ Competition.

Abner M

ckenzie-Ortiz/V

PG

GR

osalie O’C

onnor

SoloistsBradley Loudis is an orchestral and chamber musician originally from Berks County, PA. He received his Bachelor of Music degree from Temple University where he studied with Glenn Steele and Christopher Deviney and is currently pursuing his Master of Music degree at Temple with former Philadelphia Orchestra percussionist Alan Abel. Outside of his study at Temple, Mr. Bradley has participated in the Hot Springs Music Festival, the Leigh Howard Stevens Marimba Seminar, the Alan Abel Orchestral Percussion Seminar, the Aspen Music Festival and School, and as substitute percussionist with the Pottstown and Reading symphonies. He is a member of the Three for All percussion trio with Víctor Pablo García-Gaetán and Patrick Bailey.

Phillip O’Banion is assistant professor of percussion, conductor of percussion ensembles, and director of percussion studies at the Boyer College of Music & Dance within Temple University’s newly created Center for the Arts. As a performer he appears often with The Philadelphia Orchestra and other regional ensembles. Mr. O’Banion has also worked as a collaborative percussionist with local theaters and choruses, and as a community teaching artist in dozens of school programs. As soloist he was recently featured with the Temple University Chamber Orchestra and the Temple University Wind Symphony. He is an artist endorser for SABIAN Cymbals and Evans drumheads, vice president of the PA chapter of the Percussive Arts Society, and a member of the P.A.S. Symphonic Committee.

William Polk, violin, joined The Philadelphia Orchestra in 2007. He previously served as associate principal second violin of the Minnesota Orchestra and prior to that, he was guest principal second violin of the Saint Paul Chamber Orchestra. Mr. Polk has also performed as an orchestral musician with the San Francisco and Saint Louis symphonies and has participated as a chamber musician in the Mainly Mozart Summer Festival in San Diego and the Bach Dancing and Dynamite Society in Madison, WI. Mr. Polk and his wife, Kerri Ryan, now assistant principal viola of The Philadelphia Orchestra, founded and performed with the Minneapolis Quartet from 2002 to 2007, winning a McKnight Artist Fellowship in 2006. Mr. Polk attended Louisiana State University and the University of Minnesota, and his teachers have included Sally O’Reilly and Camilla Wicks.

37

38

SoloistsViolinist Marc Rovetti joined The Philadelphia Orchestra during the summer of 2007 and became assistant concertmaster at the beginning of the 2009-10 season. This season he is acting associate concertmaster. Previously he was a member of the New World Symphony, the International Contemporary Ensemble, the Rothko String Quartet, and the Mark Morris Dance Group Ensemble. He also spent several summers at the Tanglewood Music Center, both as a fellow and as a violinist in the New Fromm Players. Born and raised in Hartford, CT, Mr. Rovetti made his solo debut with the Atlanta Symphony in 2005. He holds both bachelor and master degrees from Juilliard and an advanced certificate from New York University, where his teachers were Ronald Copes and Pamela Frank, respectively. During his time at NYU he also served as adjunct violin faculty.

Assistant Principal Viola Kerri Ryan became a member of The Philadelphia Orchestra in 2007. She came to Philadelphia from the Minnesota Orchestra, where she was assistant principal viola for seven seasons. Following her graduation from the Curtis Institute of Music in 1998, she served as associate concertmaster of the Charleston Symphony. Ms. Ryan and her husband, Philadelphia Orchestra violinist William Polk, are founding members of the award-winning Minneapolis Quartet. In Philadelphia, while pursuing a violin performance degree at Curtis, she began studying viola with Karen Tuttle. Ms. Ryan also studied at the Cleveland Institute of Music as a member of its Young Artist Program. Her violin teachers include Lee Snyder, Jascha Brodsky, Rafael Druian, and Arnold Steinhardt.

Members of the Temple University Percussion Ensemble, Phillip O’Banion, director, appearing in today’s concert are Adam Bailey, Hunter Brown, Daniel deSimone, Tyler DiMarco, Denzell Ivery, Kevin Longwill, Thomas Kolakowski , Wes Schaal-Kurkjian, Matt Schillizzi, Dave Stauffer, Austin Wagner, and Kevin Walker. They are joined by vocalists Ianthe Marini and Laurel Wacyk.

William

Schrickel