Ille

Dr. Bentley showed him the same passage in Latin: In principio erat Serina ille, et Sermo ille erat apud Deum, eratque ille Sermo Deus.

The work’s chamber scale came to the Philharmonic transformed, in an arrangement for full orchestra by Honeck and Thomas Ille, who have also collaborated on symphonic assemblages from operas such as “Jenufa” and “Rusalka.”

His students—if they were any mark of his tutelage—were imposing enough, and different as they all were they shared a certain coolness, a cruel, mannered charm which was not modern in the least but had a strange cold breath of the ancient world: they were magnificent creatures, such eyes, such hands, such looks—sic oculos, sic ille manus, sic ora ferebat.

The project’s hook lay in its contributors: Each story — “Carmen,” “The Venus of Ille” and a dozen others — would be translated by a different, and notable, literary figure of the time, all friends of Phelps’s.

He conducts selections from Tchaikovsky’s “Sleeping Beauty,” his own “Rusalka Fantasy” — a suite arranged from Dvorak’s opera with the aid of Thomas Ille — and Sibelius’s Violin Concerto.