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Pictures at an Exhibition

The Philadelphia Orchestra Jean-Efflam Bavouzet, piano
Orchestral Series
Sunday, July 13, 2025 at 6pm Gerald R. Ford Amphitheater
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Pianist Jean-Efflam Bavouzet joins The Philadelphia Orchestra for Ravel's Piano Concerto for the Left Hand. The evening, conducted by Stéphane Denève, also features Holmès’ enchanting La Nuit et l’amour and Mussorgsky’s timeless Pictures at an Exhibition.

Featured Artists

Stéphane Denève

conductor

Jean-Efflam Bavouzet

piano

Program Highlights

Stéphane Denève, conductor
Jean-Efflam Bavouzet, piano

HOLMES La Nuit et l’amour
RAVEL Piano Concerto for the Left Hand 
MUSSORGSKY Pictures at an Exhibition

Pre-Concert Talk Speaker: Marc Shulgold (former music critic, Rocky Mountain News)
5:10 PM | Gerald R. Ford Amphitheater Lobby


All artists, programs, and pricing subject to change.

Program Notes

La nuit et l’amour (1888)

(6 minutes)

AUGUSTA HOLMÈS (1847-1903)

“La nuit et l’amour” (Interlude) from Ludus pro patria

Her father was Irish and a Shakespeare fanatic, her mother of Irish and Scottish ancestry and an intrepid equestrian and traveler. Their daughter was christened Augusta Mary Anne Holmes but she styled herself as Augusta Holmès after she took French citizenship, in 1871. Her godfather was the poet Alfred de Vigny; some said he was really her father. Her life would be filled with intimations that she neither confirmed nor denied. The most enduring was that she had an affair with César Franck, which was supposed to explain his flurry of inspiration in the last decade of his life. It now seems certain that she did not, although she may or may not have studied with him and certainly associated with other pupils in his circle. She composed some 130 songs, a good deal of orchestral music, and four operas, only one of which was produced. Her most successful pieces were examples of the ode-symphonie, cantatas for choir and orchestra in which choruses (and sometimes recitatives and arias) interweave with spoken narration. Holmès was an impassioned Wagnerite, and this accorded somewhat with Wagner’s ideal of Gesamtkunstwerk, in which various disciplines unite to make a “total artwork” that is greater than the sum of its parts. Her 1888 odesymphonique Ludus pro patria (Patriotic Games) was inspired by a Puvis de Chavannes mural installed that year in the Musée de Picardie in Amiens. It depicts young athletes of ancient France training with spears or pikes—piques, which presumably gave the province of Picardy its name. La nuit et l’amour (Night and Love) serves as a strictly instrumental interlude between vocal sections, which set Holmès’s own verses. Listeners may sense echoes of Lohengrin in its lush textures—an inherently French sound with a Wagnerian accent.

Concerto for the Left Hand (1929-30)

(19 minutes)

MAURICE RAVEL (1875-1937)

Concerto for the Left Hand
     Lento—Andante—Allegro—Tempo 1°

Ravel wrote his Concerto for the Left Hand in response to a commission from Paul Wittgenstein (brother of the famous philosopher Ludwig Wittgenstein), who was a promising, emerging pianist when he lost his right arm in World War I. He rehabilitated himself as a left-hand-only pianist and set about commissioning new pieces to spotlight his specialized talent. Earlier left-hand music tended to have pedagogical overtones, but Ravel’s Concerto does not in the least smack of the etude. It is an elegantly crafted, generally serious piece cast in a single movement made up of dramatically contrasting sections. Although Ravel would maintain that concertos in general ought to stress brilliance over philosophical depth, he allowed that his Concerto for the Left Hand was “very different” from that. “It contains many jazz elements,” he noted, “and the writing is not so light. In a work of this kind, it is essential to give the impression of a texture no thinner than that of a part written for both hands. For the same reason, I resorted to a style that is much nearer to that of the more solemn kind of traditional concerto.”

The work opens in darkness but builds in texture, volume, and intensity until the piano makes its entrance with an explosive cadenza, after which both soloist and orchestra maintain the measured pace while adding some jazzy flavoring. The music breaks into an eerie scherzo in spirited 6/8 meter, but a grand theme from earlier in the movement returns briefly as a transition to another piano cadenza, this one of exquisite delicacy. The orchestra gradually joins in at the end, and all forces add their voices to the final page, a fleet recollection of the punchy music from the scherzo.

INTERMISSION

Pictures at an Exhibition (1874, orch. 1922)

(31 minutes)

MODEST MUSORGSKY (1839-81), orchestrated by Maurice Ravel (1875-1937)

Pictures at an Exhibition
     Promenade
     Gnomus (Gnome)
     Promenade
     Il vecchio castello (The Old Castle)
     Promenade
     Tuileries
     Bydlo (Polish Ox-cart)
     Promenade
     Ballet des poussins dans leurs coques
       (Ballet of the Unhatched Chicks)
     Samuel Goldenberg und Schmuyle
       (Samuel Goldenberg and Schmuyle)
     Limoges: Le Marché (Marketplace at Limoges)
     Catacombae: Sepulcrum Romanum
       (Catacombs: Roman Burial Place)
       (attacca)
     Con mortuis in lingua mortua (With the Dead in a Dead Language)
     La cabane sur des pattes de poules (Baba Yaga) (The Hut on Chicken Feet: Baba Yaga)
     La grande porte de Kiev (The Great Gate at Kyiv)