Cancelled: The Philadelphia Orchestra
Part of: Yannick Nézet-Séguin Perspectives and Beethoven Celebration
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This partner event focuses on music included in this concert.
The Philadelphia Orchestra is also performing October 15, March 20, March 26, and April 3.
Yannick Nézet-Séguin is also performing October 15, November 22, December 15, March 20, March 26, April 3, June 12, and June 16.
Yannick Nézet-Séguin: Also performing , and , and April 15, , and April 28, , and June 12, , and June 18, , and October 16, , and October 31, , and December 9, , and February 4, 2026, , and March 1, 2026, , and March 10, 2026, , and May 5, 2026, , and May 29, 2026, , and June 11, 2026, , and and June 18, 2026.
Performers
The Philadelphia Orchestra
Yannick Nézet-Séguin, Music Director and Conductor
Program
ALL-BEETHOVEN PROGRAMSymphony No. 5
Symphony No. 6, "Pastoral"
Event Duration
The printed program will last approximately two hours, including one 20-minute intermission. Please note that there will be no late seating before intermission.Pre-Concert Talk
Pre-concert talk at 7 PM with Scott Burnham, Distinguished Professor of Music at The Graduate Center, CUNY, and author of Beethoven Hero.Explore More


At a Glance
The Philadelphia Orchestra’s performances of Beethoven’s complete symphonies commence with the Fifth and Sixth, which some might consider unidentical twins, or at least kissing cousins. Beethoven composed them around the same time and with the same dedicatees; the two works were also published within weeks of one another and premiered on the same concert in 1808. They share some musical features as well, such as the linked final movements and withholding certain instruments until late in the respective works to produce particularly powerful effects.
Yet the overall mood of the two symphonies is very different. The Fifth, from its famous opening to its triumphant conclusion, offers an intense journey that somehow seems to mirror aspects of Beethoven’s personal struggles. He titled the Sixth Symphony “Pastoral” and said that it was “more an expression of feeling than painting.” The work reflects Beethoven’s great love of nature and the countryside, where he would frequently go for walks.