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The Philadelphia Orchestra

Yannick Nézet-Séguin ConductorDavid Kim Violin

Bach Violin Concerto No. 2 in E major, BWV 1042 I. Allegro II. Adagio III. Allegro assai

Intermission

Bruckner Symphony No. 8 in C minor (Haas edition) I. Allegro moderato II. Scherzo: Allegro moderato III. Adagio: Feierlich langsam, doch nicht schleppend IV. Finale: Feierlich, nicht schnell

This program runs approximately 2 hours.

These concerts are sponsored by Gretchen and M. Roy Jackson.

The November 9 concert is also sponsored byAmerican Airlines.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details.

Season 2017-2018Thursday, November 9, at 7:30Friday, November 10, at 2:00Saturday, November 11, at 8:00

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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 2012. 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 Sunday afternoon broadcasts on WRTI-FM.

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 award-winning Collaborative Learning programs engage over 50,000 students, families, and community members through programs such as PlayINs, side-by-sides, 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 first-ever 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 www.philorch.org.

The Philadelphia Orchestra

Jessica Griffin

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Music DirectorMusic Director Yannick Nézet-Séguin is now confirmed to lead The Philadelphia Orchestra through the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he becomes the third music director of the Metropolitan Opera beginning with the 2021-22 season, and from 2017-18 is music director designate. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra. His intensely 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 him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He is in his 10th and final season as music director of the Rotterdam Philharmonic, and he has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. In summer 2017 he became an honorary member of the Chamber Orchestra of Europe. He was also principal guest conductor of the London Philharmonic from 2008 to 2014. He has made wildly successful appearances with the world’s most revered ensembles and has conducted critically acclaimed performances at many of the leading opera houses.

Yannick and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership The Philadelphia Orchestra returned to recording with two CDs on that label. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique. In Yannick’s inaugural season The Philadelphia Orchestra returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are a appointment as Companion of the Order of Canada; Musical America’s 2016 Artist of the Year; Canada’s National Arts Centre Award; the Prix Denise-Pelletier; and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music in Philadelphia, and Westminster Choir College of Rider University in Princeton, NJ.

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

Chris Lee

09.17 Bio.indd 4 8/29/17 1:47 PM

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SoloistViolinist David Kim was named concertmaster of The Philadelphia Orchestra in 1999. Born in Carbondale, IL, in 1963, he started playing the violin at the age of three, began studies with the famed pedagogue Dorothy DeLay at the age of eight, and later received his bachelor’s and master’s degrees from the Juilliard School.

In addition to the present concerts, highlights of Mr. Kim’s 2017-18 season include teaching/performance residencies at Bob Jones University, Haverford College, Swarthmore College, and the Aspen Music Festival and School; continued appearances as concertmaster of the All-Star Orchestra on PBS stations across the United States and online at the Kahn Academy; and recitals, speaking engagements, and appearances with orchestras across the United States, including Alaska. Mr. Kim appeared with the famed modern hymn writers Keith and Kristyn Getty at the Grand Old Opry in Nashville in September, and at Carnegie Hall in December. He is the founder and artistic director of the annual David Kim Orchestral Institute of Cairn University in Philadelphia, where he is also a professor of violin studies. Additionally in the fall of 2017 he became a distinguished artist at the Robert McDuffie Center for Strings at Mercer University in Macon, GA.

Mr. Kim appears as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world. He also appears internationally at such festivals as Brevard, MasterWorks (US), and Pacific (Japan). He frequently serves as an adjudicator at international violin competitions such as the Menuhin and Sarasate.

Mr. Kim has been awarded honorary doctorates from Eastern University in suburban Philadelphia, the University of Rhode Island, and Dickinson College. His instruments are a J.B. Guadagnini from Milan, ca. 1757, on loan from The Philadelphia Orchestra, and a Michael Angelo Bergonzi from Cremona, ca. 1754. Mr. Kim resides in a Philadelphia suburb with his wife, Jane, and daughters, Natalie and Maggie. He is an avid runner, golfer, and outdoorsman. Mr. Kim endorses and uses Thomastik Dominant strings as well as the AirTurn hands free page turning system.

Jessica Griffin

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Framing the ProgramThe music of Johann Sebastian Bach and Anton Bruckner expressed, to an unusual degree, profound religious faith. They both found ways for doing so, moreover, in pieces that were not overtly religious, either of Bach’s Lutheranism or of Bruckner’s Catholicism. The sacred, or at least the spiritual, could also be purely instrumental.Bach’s Six Brandenburg Concertos are his best-known instrumental ensemble works, but he wrote many other concertos, usually for one or more violins or for keyboard. Most are original compositions, but some are adaptations of pieces by earlier composers such as Antonio Vivaldi. Bach must have particularly valued his Violin Concerto No. 2, which we hear today, because he later arranged it as a keyboard concerto.Bruckner was a relatively late bloomer when it came to writing the pieces that posterity values most: monumental symphonies. He made his first attempt at age 39, but suppressed this “Study Symphony in F minor.” His official Symphony No. 1 came three years later. Bruckner struggled for years to win recognition, which came with his Fourth Symphony when he was 50. The Seventh proved his greatest critical and popular success and fueled great expectations for his Eighth, which he started composing at 60. The conductor who was his principal advocate, however, expressed grave reservations about the piece. Bruckner set about substantially revising the work, his last complete symphony. (The Ninth lacks a final movement.) The glorious Eighth Symphony emerged as one of Bruckner’s greatest masterpieces, a veritable gothic cathedral of sound.

Parallel Events1720BachViolin Concerto No. 2

1887BrucknerSymphony No. 8

MusicHandelHarpsichord Suite No. 5LiteratureDefoeMemoires of a CavalierArtTiepoloMartyrdom of St. BartholomewHistoryTibet becomes Chinese protectorate

MusicVerdiOtelloLiteratureHardyThe WoodlandersArtVan GoghMoulin de la GaletteHistory Queen Victoria celebrates her Golden Jubilee

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The MusicViolin Concerto No. 2

Johann Sebastian BachBorn In Eisenach, March 21, 1685Died In Leipzig, July 28, 1750

Bach’s preeminence as a composer of sacred music has led to some mystification in biographical accounts of his career. He is often cast as a sort of “Fifth Evangelist,” a superhuman composer taking divine dictation from God. Notwithstanding his deep faith, Bach was also a practical, practicing musician, an outstanding member in a long familial line of musicians. He had to please both secular and religious employers at different phases of his career. He wrote most of his organ music, for example, early on, when employed as an organist in Weimar. Beginning in 1717, after becoming a Kapellmeister (music director) in Cöthen, he was charged with creating a large quantity of instrumental music, and during that period wrote the beloved Brandenburg Concertos.

When Bach moved to Leipzig in 1723, his principal duties shifted once again to producing religious music, although he continued to compose many secular instrumental pieces. He did so most often for the Collegium Musicum there, a group Georg Philipp Telemann had founded and which Bach took over in 1729. Throughout his maturity he wrote keyboard pieces for his many children and also explored more purely compositional issues in large-scale projects such as the two books of the Well-Tempered Clavier, A Musical Offering, and The Art of the Fugue.

Concertos New and Transformed Despite his fame today, Bach was relatively unrecognized in his own time and for more than a half century after his death. It is not surprising therefore that many of his works got lost, and that often little background is known about surviving pieces. Dating his output has proved a formidable problem that has occupied generations of scholars. The standard catalogue number of the Concerto performed today pairs it with his Violin Concerto in A minor (BWV 1041), both traditionally viewed as dating from the Cöthen years. While the E-major Concerto we hear today seems to have been written then, musicologist Christoph Wolff has suggested, based on manuscript evidence and stylistic considerations, that the other was composed in Leipzig sometime around 1730.

The numbering, ordering, and dating issues with Bach’s surviving concertos are further complicated by their

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various versions and arrangements. One of the ways that Bach arrived at the forms and styles for his concertos was by looking to earlier composers, mainly Italian and specifically the celebrated Venetian Antonio Vivaldi (1678-1741). Indeed, some of Bach’s concertos were arrangements of ones originally by Vivaldi that he adapted for different instruments. Likewise, Bach on occasion transformed his own violin concertos into ones for keyboard. In the late 1730s, in fact, he did just that with the piece we hear today, producing what is now known as the Piano Concerto No. 3 in D major (BWV 1054).

A Closer Look The Baroque concerto grosso shares some traits with the later Classical and Romantic concerto. All tend to be in three movements and explore the contrast between a single soloist or small group and a larger ensemble. (Baroque ones often have multiple soloists.) One of the biggest differences is structural. Baroque concertos are based on so-called ritornello form, in which a relatively short passage of music played by the entire ensemble alternates with sections dominated by the soloist(s). Bach admired Vivaldi’s handling of this form and learned from him, while usually extending its limits more imaginatively.

As with many Baroque concertos, the E-major Violin Concerto is scored only for soloist and strings. (It could, in fact, be performed as a chamber music piece—as a Bach string quintet.) The outer two movements of the Concerto are in ritornello form, with a lyrical slow movement placed in between. More than most of his contemporaries, Bach integrated the musical material of the full ensemble, such as the authoritative theme beginning with a broken E-major chord that opens the first movement (Allegro), with the solo-dominated interludes that follow. This seamless flow continues throughout the movement. The Adagio presents an aria “sung” by the violin soloist. The final Allegro assai is a brief dance-like movement that becomes increasingly virtuosic as it proceeds.

—Christopher H. Gibbs

Bach composed his E-major Violin Concerto probably between 1717 and 1723.

The great violinist Eugène Ysaÿe was the soloist in the first Philadelphia Orchestra performances of the Concerto, in November 1904; Fritz Scheel was on the podium. Most recently, Nadja Salerno-Sonnenberg performed the work with Christoph Eschenbach in September/October 2006. Other violinists who have played the piece with the Orchestra include Yehudi Menuhin, Fritz Kreisler, David Oistrakh, Henryk Szerying, and Pinchas Zukerman.

Oistrakh and Eugene Ormandy recorded the Concerto with the Philadelphians in 1955 for CBS.

The work is scored for solo violin, strings, and harpsichord continuo.

The Second Concerto runs approximately 20 minutes in performance.

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The MusicSymphony No. 8

Anton BrucknerBorn in Ansfelden, Austria, September 4, 1824Died in Vienna, October 11, 1896

Bruckner lost his father at age 13, and throughout his life he seems to have sought out a series of paternal surrogates. This fact is relevant toward understanding the composer’s almost childlike willingness to accept, at times, the criticisms of his musical mentors, including Richard Wagner, celebrated conductor Hermann Levi, and others, whose well-meaning but meddlesome suggestions exacerbated Bruckner’s lifelong struggle with self-doubt, and brought about major revisions in nearly all of his symphonies. The “father problem” is especially pertinent to an understanding of the reworkings of the Eighth Symphony, for it was the disapproval of Levi, whom Bruckner called his “father in art” (though he was the composer’s junior by 15 years), that forced him to revise radically what had actually been an excellent symphony in its original version. Though there is little doubt that the 1890 revision of the Eighth we hear today was an improvement over the 1887 original, one cannot help reflecting on the possibility that, had Bruckner spent less time revisiting his earlier orchestral works, he might have completed the Ninth Symphony, and perhaps a Tenth as well.

A Man of Contradictions The irony of Bruckner’s disappointment over the Eighth was that it happened during a period in which the composer had finally begun to garner—after years of public neglect and critical bewilderment—an enormous measure of success. He had powerful detractors, including Johannes Brahms, who had called his works “symphonic boa-constrictors.” But despite the mostly successful efforts of Brahms’s champion, critic Eduard Hanslick, in keeping Bruckner’s symphonies out of Vienna, his music was still making inroads elsewhere. It was Levi himself, in fact—fresh from historic successes in 1882 as conductor of the premiere of Wagner’s Parsifal—who had vigorously championed the Seventh Symphony in Germany in 1884, conducting it in Munich to wild acclaim.

It was only natural that, upon completing the Eighth in August 1887, Bruckner would send the score to Levi, writing to him: “Hallelujah! At long last the Eighth is finished, and my father in art must be the first to know about it. ... May it find grace!” A man of sensitivity and tact, Levi could not bring himself to tell the composer directly

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that he found the Eighth incomprehensible; he asked Bruckner’s pupil Josef Schalk to bear the news to the poor composer that he would not conduct the piece. The dejected Bruckner entered a dark phase of self-doubt, during which he worked with Franz and Josef Schalk and others toward revising not only the Eighth but also the Third and Seventh—and eventually the First, Second, and Fourth symphonies as well.

Bruckner was a man of contradictions. While he was working on a piece, he felt utterly convinced of its validity and worth; he spent much of his life defending his art, proudly and assuredly, against powerful criticism. His conviction stemmed partly from religious belief. “They want me to compose in a different way,” he once said. “I could, but I must not. Out of thousands, God gave talent to me. One day I will have to give an account of myself. How would the Father in Heaven judge me if I followed others and not Him?”

Yet at the same time it required only a single negative word from the wrong person to bring Bruckner’s self-assuredness toppling down like a house of cards. Perhaps in a curious way his religious beliefs as to the nature of human fallibility made him more open to “suggestions for improvement” than some of the more egoistically impervious Romantic artists might have been. A number of critics and music-lovers have even suggested that Bruckner’s friendly critics were right at times; in the case of the Eighth Symphony, at least, the composer’s reexamination of his score seems to have resulted in a “better” piece. He began revising the work in March 1889 and completed the task in January of the following year. This is the version most often performed today—the 1887 original, although of considerable historical interest, is favored by almost no conductor.

In addition to Bruckner’s original 1887 version and the 1890 revision used for the Leopold Nowak editions released in 1972 and 1955 respectively, there is the “mixed” edition dating from 1939 that we hear on this concert. Robert Haas, the first director of the Bruckner Society, used Bruckner’s revised 1890 score as its basis, but restored some passages cut from the 1887 original on the argument that the composer made these excisions under the influence of Josef Schalk and not of his own accord.

The “Bruckner Symphony” If Mahler’s symphonies strive to “contain the whole world,” Bruckner’s seem more like a spiritual journey in which, at the end, no ground has

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actually been traversed. Bruckner’s mature symphonies often confound the listener not just by their sheer length—and the Eighth is the longest of them all—but also by the leisure with which they saunter toward climaxes and formal goals. A sense of “arrival” is rarely the composer’s concern here. “With Bruckner firm in his religious faith,” writes the scholar Deryck Cooke, “the music has no need to go anywhere, no need to find a point of arrival, because it is already there.” Another critic, Hans-Hubert Schönzeler, has remarked on the feeling that each symphony is in reality “one gigantic arch that starts on earth in the midst of suffering humanity, sweeps up towards the heavens to the very Throne of Grace, and returns to earth with a message of peace.”

If that is too cosmic, the reader might consider the words of scholar Othmar Wessely, who summarizes his discussion of the composer’s symphonies in The New Grove Dictionary of Music and Musicians thus:

Despite its general debt to Beethoven and Wagner, the “Bruckner Symphony” is a unique conception, not only because of the individuality of its spirit and its materials, but even more because of the absolute originality of its formal processes. At first, these processes seemed so strange and unprecedented that they were taken as evidence of sheer incompetence: Bruckner’s symphonies were widely regarded as spectacular mishandlings of the symphonic form established by Beethoven, or as misguided and disastrous attempts to compose “Wagnerian symphonies.” Now it is recognized that Bruckner’s unorthodox structural methods were inevitable: the presentation of huge blocks of material often isolated from one another, the extended pauses followed by unexpected continuations, the long ascents that break off sharply when a climax seems imminent, the persistent sequences and the remorseless reiteration at the ends of sections or movements of a single motif to the same harmony over a period of 16, 32, or even 64 bars—all these are essential elements of the conception. Bruckner created a new and monumental type of symphonic organism, which abjured the terse, dynamic continuity of Beethoven, and the broad, fluid continuing of Wagner, in order to express something profoundly different from either composer, something elemental and metaphysical.

Bruckner capped the Austro-Germanic symphonic tradition with works that expressed not only his “classical” training

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in form and archaic counterpoint but also his fascination with the subversive tonalities and formal experiments of Liszt and Wagner. But by composing symphonies instead of tone poems or music dramas he came down on the side of the ancients. Hanslick’s efforts notwithstanding, he was, finally, the last of the Viennese Classicists.

The revisions to the Eighth were substantial. The orchestration was enriched (reportedly under pressure from Josef Schalk to make the piece more “Wagnerian”). The first movement’s original fortissimo ending was replaced with a pianissimo “dying-out” and Bruckner wrote an entirely new Trio for the second-movement Scherzo. The fully revised score was scheduled for performance in Mannheim by the conductor Felix Weingartner; when he stepped down from his post there, the great Hans Richter stepped in and agreed to conduct the piece with the Vienna Philharmonic. The premiere on December 18, 1892, in Vienna was the most spectacular success of Bruckner’s career; the Emperor Franz Josef I, to whom the work was dedicated, was highly pleased.

A Closer Look Like nearly all the Bruckner symphonies, the Eighth begins with an “elemental” tremolo in the strings that always seems to remind commentators of Beethoven’s Ninth. (It also happens to resemble tremolos in works of Liszt, Sibelius, Mendelssohn, Mahler, and a myriad of others, but the impulse to connect Bruckner to the otherworldliness of late Beethoven is understandably strong.) The halting, elusive opening “theme” of the first movement (Allegro moderato), heard in the low strings at the outset, is strikingly different from the stark triadic blasts with which Bruckner’s symphonies often begin. The movement is, ultimately, a relatively concise sonata structure—despite the gigantic sense of scale overall—with three well-defined theme areas and a dazzlingly colorful and dramatic development section. Nevertheless the piece is an extraordinary oddity; at times it goes careening into a passage that resembles a Hollywood score, or embarks upon a truly peculiar instrumental solo. The last climax is followed by a sense of exhaustion; this is the only one of Bruckner’s symphonic first movements that ends quietly.

The ghostly Scherzo (Allegro moderato), with its delicate tremolo strings and gradual accretion of winds and brass, evokes a mood that is both expansive and remote; the Trio (Langsam) is a plaintive little slow section that serves as a respite from the first movement’s high drama and the Scherzo’s eeriness.

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The slow movement (Feierlich langsam, doch nicht schleppend) is one of the great achievements of the 19th century: a half-hour love poem shot through with the most desperate longing and the most pious devotion. It, too, is tripartite, with a tidy structure that remains somewhat hidden but which nevertheless lends cohesion to the mildly tragic expressiveness. The movement dies into an oblivion that seems a vague motivic echo of the first movement’s final bars.

The finale (Feierlich, nicht schnell) begins with a marchlike ostinato that ushers in a wildly discursive and massive sonata form—to use the latter term quite loosely. Again one finds three theme groups, as well as a huge coda that begins tranquilly and ascends to a climax in which the major subjects of all the movements are combined—thus telescoping the entire thematic and tonal plan into a single unifying event of almost cataclysmic power.

—Paul J. Horsley

Program notes © 2017. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

Bruckner composed his Eighth Symphony from 1884 to 1887 and revised it from 1889 to 1890.

Zubin Mehta conducted the first Philadelphia Orchestra performances of Bruckner’s Eighth, in February 1971. The work was last led here on subscription concerts by Simon Rattle in May 2009.

The score calls for three flutes, three oboes, three clarinets, three bassoons (III doubling contrabassoon), eight horns (V-VIII doubling on Wagner tubas), three trumpets, three trombones, tuba, timpani, percussion (cymbals, triangle), harp, and strings.

Performance time is approximately 75 minutes.

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Musical TermsGENERAL TERMSAria: An accompanied solo song (often in ternary form), usually in an opera or oratorioBWV: The thematic catalogue of all the works of J.S. Bach. The initials stand for Bach-Werke-Verzeichnis (Bach-Works-Catalogue).Chord: The simultaneous sounding of three or more tonesCoda: A concluding section or passage added in order to confirm the impression of finalityConcerto grosso: A type of concerto in which a large group (known as the ripieno or the concerto grosso) alternates with a smaller group (the concertino). The term is often loosely applied to any concertos of the Baroque period except solo ones.Counterpoint: A term that describes the combination of simultaneously sounding musical linesFugue: 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 placesHarmonic: Pertaining to chords and to the theory and practice of harmonyHarmony: The combination

of simultaneously sounded musical notes to produce chords and chord progressionsMeter: The symmetrical grouping of musical rhythmsOstinato: A steady bass accompaniment, repeated over and overRitornello: Literally “a little thing that returns.” Relatively short passages of music played by the entire ensemble alternating with sections dominated by the soloist(s).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. Also an instrumental piece of a light, piquant, humorous character.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 Tone poem: A type of 19th-century symphonic piece in one movement, which is based upon an extramusical idea, either poetic or descriptiveTremolo: In bowing, repeating the note very fast with the point of the bowTrio: See scherzo.

THE SPEED OF MUSIC (Tempo)Adagio: Leisurely, slowAllegro: Bright, fastFeierlich: Solemn, statelyLangsam: SlowModerato: A moderate tempo, neither fast nor slowSchleppend: Dragging, slowSchnell: Fast

TEMPO MODIFIERSAssai: MuchDoch nicht: But not

DYNAMIC MARKSFortissimo (ff): Very loudPianissimo (pp): Very soft

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