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Janáček: TARAS BULBA TUESDAY, NOVEMBER 4, 2014 @ 8PM Pre-concert lecture by Rich Capparela, 7pm Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall

CZECH PHILHARMONIC JIřÍ BěLOHLÁVEK, CHIEF CONDUCTOR | MUSIC DIRECTOR JEAN-YVES THIBAUDET, PIANO

Leoš Janáček

Taras Bulba

(1854-1928) The Death of Andrei The Death of Ostap The Prophecy and Death of Taras Bulba

Franz LISZT

Piano Concerto no. 2 in a major S.125

(1811-1886)

Jean-Yves Thibaudet, piano

- InTeRMISSIOn Symphony no. 9 in e minor Op. 95 "From the new World"

antonín DvOřák (1841-1904)

Adagio, Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco TOUR DIRECTION: Tim Fox and Alison Ahart Williams Columbia Artists Management LLC | New York, NY www.cami.com The Philharmonic Society gratefully acknowledges the Donna L. Kendall Foundation for its generous sponsorship of tonight’s performance. The Philharmonic Society dedicates tonight’s performance to The Committees of the Philharmonic Society.

Exclusive Print Sponsor Although rare, all dates, times, artists, programs and prices are subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices. 2

Of Janáček’s three symphonic poems, The Fiddler’s Child, Taras Bulba, and The Ballad of Blanik, the middle one, Taras Bulba, is by far the most frequently performed. Completed in 1918, it is also one of Janáček’s most popular pieces. The work, based on a fictional story by Russian writer Gogol published in 1835, depicts a battle in the 1600s in which Ukraine’s Zaporozhye Cossacks fight Poland. Their leader, Taras Bulba, is accompanied by his two sons, Andrei and Ostap. The three movements of Janáček’s symphonic poem depicts the death of each of them. As the work opens, the sound of the English horn represents Andrei falling in love with a Polish girl, followed by a prominent part for the organ representing the prayers of the people and Andrei’s fear of getting caught. The mood suddenly changes after this treasonous act is discovered: Taras rides onto the scene and murders his son. In the second movement, Taras Bulba’s other son, Ostap, is captured. Upon being led away, Janáček represents the celebration of the Polish people with a wild Mazurka, one of Poland’s national dances. Along with the dance, there are the heavy sounds of Taras Bulba making his way, in disguise, through the crowd to give Ostap some support. However, Ostap meets a nasty end when he is publicly tortured and killed. In the final movement, Taras Bulba himself is captured, nailed to a tree, and sentenced to be burned to death. Much of the music in this movement is derived from a simple three-note motive heard at the beginning and again later

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