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The Philadelphia Orchestra

Friday, June 7, 2019 8 PM Stern Auditorium / Perelman Stage
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Yannick Nézet-Séguin by Chris Lee, Beatrice Rana by Marie Staggat
Two “lost” works bookend this all-Russian program. Stravinsky’s recently discovered Funeral Song is a memorial to his tutor Rimsky-Korsakov, drawing on the elder composer's harmonic style while also looking ahead to Stravinsky's own early ballet scores. There’s also Rachmaninoff’s symphony, a notorious disaster at its 1897 premiere, which was never performed again in the composer’s lifetime. It is now justly recognized for its youthful Romantic fervor and driving ferocity. The Stravinsky and Rachmaninoff works frame Prokofiev’s most popular concerto, beloved for its biting wit, romantic interludes, and fiery solo part, played here by Beatrice Rana, called one of “the most faultless of young pianists today” (The Washington Post).

Part of: Russian Nights, The Philadelphia Orchestra, and Carnegie Hall Live on WQXR

The Philadelphia Orchestra is also performing November 13 and March 8.

Yannick Nézet-Séguin is also performing November 13March 8June 3, and June 14.

Beatrice Rana is also performing March 12.


The Philadelphia Orchestra
Yannick Nézet-Séguin, Music Director and Conductor
Beatrice Rana, Piano



PROKOFIEV Piano Concerto No. 3


Pre-Concert Talk

Pre-concert talk at 7 PM with Simon Morrison, Professor of Music, Princeton University.
Breguet | Exclusive Timepiece

Sponsored by Breguet, Exclusive Timepiece of Carnegie Hall

The Trustees of Carnegie Hall gratefully acknowledge the generosity of Jean-Marie and Elizabeth Eveillard in support of the 2018-2019 season.

Public support for Carnegie Hall Live on WQXR is provided by the National Endowment for the Arts.

Have you heard?

Rachmaninoff’s Symphony No. 1 

The premiere of the young Rachmaninoff’s First Symphony was a disaster, no thanks to the drunken condition of the conductor, Alexander Glazunov, and a biting assessment by composer César Cui. Lost for 50 years, the work has now won overdue respect for its energy and quintessentially Russian juxtaposition of passion, tenderness, and intense drama. One of Rachmaninoff’s calling cards makes an appearance as well, a quotation of the Latin chant for the dead—a theme that appears in a number of his works.

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