Botticelli Triptych

Home , Glagolitic Mass, Mixed Messages (Muhly), Organ concerto

RESPIGHI Botticelli Triptych

November 2014 6 From the President J.D. Scott Dear Friends:

Since the 1920s The Philadelphia Orchestra has engaged young people, and indeed people of all ages, with the joys and thrills of orchestral music through the presentation of numerous programs. Today that tradition continues with expanded offerings, which are more important than ever.

November is School Concert month at The Philadelphia Orchestra. This year’s theme, Music and Art: Instruments of Expression, explores how these two artistic forms serve as a means for understanding ourselves and the world around us. The concert, led by our new assistant conductor, Lio Kuokman, will make powerful connections between music and other creative forms in a guided tour through vibrant sounds and images.

This month also brings the first of our Open Rehearsals for Students, allowing high school and college students a behind- the-scenes peek at how a concert comes together, and a rare opportunity to observe first-hand the artistic collaboration between musicians and conductors. It’s a fascinating way to get even closer to the music.

From Sound All Around (our award-winning program for 3-5 year olds) to Family Concerts, from PreConcert Conversations to Free Neighborhood Concerts, PlayINs, Side-by-Side rehearsals, and LiveNote (our recently launched interactive concert guide for mobile devices), our collaborative learning offerings are a key element of the Orchestra’s mission.

Our community offerings take Orchestra musicians offstage, on the road, and into the lives of music-lovers throughout the Philadelphia region, celebrating the wealth of musicianship in this area. They have popped up and “playedIN” across Philadelphia’s communities, making and sharing music at the Kimmel Center, Citizens Bank Park, the Market & Shops at Comcast Center, and Urban Outfitters, Inc., Headquarters at the Navy Yard, to name a few. We will expand this idea next spring when we undertake a Collaborative Learning Week—stay tuned for more information about that. Working and performing with musicians of all abilities is as inspiring for us as it is for them.

It’s through these exciting and interactive programs that we continue to build new relationships with our fans everywhere. They enable us to bring people together and join forces in common artistic expression, whether they are listeners in the audience or participants on stage.

Yours in Music,

Allison Vulgamore President & CEO 6 Music Director

Chris Lee Music Director Yannick Nézet-Séguin continues his inspired leadership of The Philadelphia Orchestra, which began in the fall of 2012. His highly collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” He has taken the Orchestra to new musical heights. Highlights of his third season as music director include an Art of the Pipe Organ festival; the 40/40 Project, in which 40 great compositions that haven’t been heard on subscription concerts in at least 40 years will be performed; and Bernstein’s MASS, the pinnacle of the Orchestra’s five- season requiem cycle.

Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He also continues to enjoy a close relationship with the London Philharmonic, of which he was principal guest conductor. He has made wildly successful appearances with the world’s most revered ensembles, and he has conducted critically acclaimed performances at many of the leading opera houses.

Yannick Nézet-Séguin and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership The Philadelphia Orchestra returned to recording with a CD on that label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions. He continues a fruitful recording relationship with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic and Choir for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick Nézet-Séguin studied at that city’s Conservatory of Music and continued lessons with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, one of the country’s highest civilian honors; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and honorary doctorates from the University of Quebec in Montreal and the Curtis Institute of Music in Philadelphia.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 10 The Philadelphia Orchestra 2014–2015 Season

Yannick Nézet-Séguin Violas Flutes Music Director Choong-Jin Chang, Principal Jeffrey Khaner, Principal Walter and Leonore Annenberg Chair Ruth and A. Morris Williams Chair Paul and Barbara Henkels Chair Kirsten Johnson, Associate David Cramer, Associate Principal Stéphane Denève Principal Rachelle and Ronald Kaiserman Principal Guest Conductor Kerri Ryan, Assistant Principal Chair Cristian Ma˘celaru Judy Geist Loren N. Lind Conductor-in-Residence Renard Edwards Kazuo Tokito, Piccolo Liu Kuokman Anna Marie Ahn Petersen Assistant Conductor Piasecki Family Chair Oboes Charles Dutoit David Nicastro Richard Woodhams, Principal Conductor Laureate Burchard Tang Samuel S. Fels Chair Che-Hung Chen Peter Smith, Associate Principal First Violins Rachel Ku Jonathan Blumenfeld David Kim, Concertmaster Marvin Moon* Edwin Tuttle Chair Dr. Benjamin Rush Chair Elizabeth Starr Masoudnia, English Juliette Kang, First Associate Cellos Horn Concertmaster Hai-Ye Ni, Principal Joanne T. Greenspun Chair Joseph and Marie Field Chair Albert and Mildred Switky Chair Ying Fu, Associate Concertmaster Yumi Kendall, Acting Associate Clarinets Marc Rovetti, Assistant Principal Ricardo Morales, Principal Concertmaster Wendy and Derek Pew Leslie Miller and Richard Worley Herbert Light Foundation Chair Chair Larry A. Grika Chair John Koen, Acting Assistant Samuel Caviezel, Associate Barbara Govatos Principal Principal Wilson H. and Barbara B. Taylor Richard Harlow Sarah and Frank Coulson Chair Chair Gloria dePasquale Paul R. Demers, Bass Clarinet Jonathan Beiler Orton P. and Noël S. Jackson Peter M. Joseph and Susan Hirono Oka Chair Rittenhouse Joseph Chair Richard Amoroso Kathryn Picht Read Robert and Lynne Pollack Chair Winifred and Samuel Mayes Bassoons Yayoi Numazawa Chair Daniel Matsukawa, Principal Jason DePue Robert Cafaro Richard M. Klein Chair Lisa-Beth Lambert Volunteer Committees Chair Mark Gigliotti, Co-Principal Jennifer Haas Ohad Bar-David Angela Anderson Smith Miyo Curnow Catherine R. and Anthony A. Holly Blake, Contrabassoon Elina Kalendarova Clifton Chair Daniel Han Derek Barnes Horns Yiying Li Mollie and Frank Slattery Chair Jennifer Montone, Principal Alex Veltman Gray Charitable Trust Chair Second Violins Jeffrey Lang, Associate Principal Kimberly Fisher, Principal Basses Daniel Williams Peter A. Benoliel Chair Harold Robinson, Principal Jeffry Kirschen Paul Roby, Associate Principal Carole and Emilio Gravagno Denise Tryon Sandra and David Marshall Chair Chair Shelley Showers Dara Morales, Assistant Principal Michael Shahan, Associate Anne M. Buxton Chair Principal Trumpets Philip Kates Joseph Conyers, Assistant David Bilger, Principal Mitchell and Hilarie Morgan Principal Marguerite and Gerry Lenfest Family Foundation Chair John Hood Chair Booker Rowe Henry G. Scott Jeffrey Curnow, Associate Davyd Booth David Fay Principal Paul Arnold Duane Rosengard Gary and Ruthanne Schlarbaum Lorraine and David Popowich Chair Robert Kesselman Chair Yumi Ninomiya Scott Anthony Prisk Dmitri Levin Some members of the string Robert W. Earley Boris Balter sections voluntarily rotate William Polk seating on a periodic basis. Amy Oshiro-Morales Roster continues on pg. 12 12 The Philadelphia Orchestra 2014–2015 Season

Trombones Percussion Librarians Nitzan Haroz, Principal Christopher Deviney, Principal Robert M. Grossman, Principal Neubauer Family Foundation Mrs. Francis W. De Serio Chair Steven K. Glanzmann Chair Anthony Orlando, Associate Matthew Vaughn, Co-Principal Principal Stage Personnel Eric Carlson Ann R. and Harold A. Sorgenti Edward Barnes, Manager Blair Bollinger, Bass Trombone Chair James J. Sweeney, Jr. Drs. Bong and Mi Wha Lee Chair Angela Zator Nelson James P. Barnes

Tuba Piano and Celesta Carol Jantsch, Principal Kiyoko Takeuti *On leave Lyn and George M. Ross Chair **Regularly engaged musician Keyboards Timpani Davyd Booth Don S. Liuzzi, Principal Michael Stairs, Organ** Dwight V. Dowley Chair Angela Zator Nelson, Associate Harp Principal Elizabeth Hainen, Principal Patrick and Evelyn Gage Chair Patricia and John Imbesi Chair

Musicians Behind the Scenes Juliette Kang First Associate Concertmaster

Stewart Traver Where were you born? I was born in Edmonton, Alberta, Canada. What piece of music could you play over and over again? Anything by Mozart in E-flat major. What’s your favorite Philadelphia restaurant? I love Kanella at 10th and Spruce, and Percy St. BBQ on South Street. Tell us about your instrument. It was built by Camilli in Mantua, around 1730. What’s in your instrument case? Rosin, mutes, lipstick (in a neutral shade I can apply in the dark of backstage). If you could ask one composer one question what would it be? I would want to ask Schubert some very specific questions about articulation. What piece of music never fails to move you? The second movement of Ravel’s Piano Concerto in G major. When did you join the Orchestra? September 2005. Do you play any other instruments? A little basic piano. What’s your favorite type of food? Currently Vietnamese or Thai. What books are on your nightstand? Hard copy or e-reader? Hard copy of The Lacuna by Barbara Kingsolver. Do you speak any other languages? I’ve forgotten most of it now but I learned French. Do you follow any blogs? A few recipe sites. I trust thepioneerwoman.com and smittenkitchen.com.

To read the full set of questions, please visit www.philorch.org/kang. 12 Yannick’s Vision of 40/40 40/40 is the signature project of Yannick’s third season as music director. The season-long theme presents 40 pieces of repertoire— from Mozart to Nico Muhly—that have not been heard on subscription concerts in at least the last 40 years. Vice President for Artistic Planning Jeremy Rothman shares the genesis of this idea and how the final works were selected. Chris Lee

Yannick Nézet-Séguin From the moment Yannick arrived in Philadelphia, he began a tradition of talking with audiences at the end of every concert. Through those intimate question-and- answer sessions—a tradition that continues this season— he soon discovered that Philadelphia audiences had a huge appetite for a wide variety of repertoire. During those post-concert conversations hosted by Philadelphia Orchestra President and CEO Allison Vulgamore, I would listen intently from a back corner of the hall as the subject of repertoire inevitably arose every night. Audience members would raise their hands, project their voices toward Yannick onstage, and enthusiastically deliver their pitch for their favorite pieces. 14 Yannick’s Vision of 40/40

“When will we hear Vaughan Williams’s Fourth Symphony?” inquired one listener.

“Roy Harris. I love his Symphony No. 3,” pleaded another.

And a frequent refrain, what seemed like every night, called for “Bach’s St. Matthew Passion!”

When the Orchestra performed the St. Matthew Passion over Easter weekend in 2013, it was a direct result of that regular feedback from Look for this icon next to audiences. The Orchestra’s programming continues to be the works that are part of informed by these requests received in person, via e-mail, the 40/40 Project. by phone messages, and even through Yannick’s casual interactions on the street walking between his Rittenhouse Square home and the Kimmel Center.

When Yannick was named the Orchestra’s next music director in June 2010 he took an immediate interest in Philadelphia’s historical repertoire and programs. He wanted to know as much about works that had been performed, as those that hadn’t. I provided him with long lists of pieces that received premieres in Philadelphia, composers that performed their music here, and extensive compilations of repertoire performed over the last 10-20 seasons. He would highlight and notate these lists in great detail, modeling programs for years to come.

In June 2012, before Yannick officially took up the post, he led a week-long celebration at the Academy of Music for former Music Director Leopold Stokowski. It was an important moment honoring the centenary of Stokowski taking the helm of the Orchestra. It was also a key opportunity to dig back into Stokowski’s very first programs. Pouring over decades of yellowed program books from the 1910s through the ’30s, we carefully noted the works he programmed regularly, the unusual style he often employed in programs, and the risks he took in staging the Orchestra. It became an inspiration for a style of programming in each of Yannick’s seasons.

16 Yannick’s Vision of 40/40

As Yannick studied the more recent performance Below is a complete list of the history of the Orchestra, there were some works included in the 40/40 Project during the 2014-15 season. obvious gaps that he quickly filled. Mozart’s Requiem hadn’t been played since 1991. Bach’s Saint-Saëns “Bacchanale,” from St. Matthew Passion, not since 1985. There was Samson and Delilah Borodin In the Steppes of Central Asia limited representation from early Classical and Williams Essay for Strings Baroque eras. Haydn, Bach, and Handel now Glazunov “Autumn” from The Seasons have a more regular presence on the Orchestra’s Khachaturian Piano Concerto Sibelius Night Ride and Sunrise seasons. Janáček Glagolitic Mass Anderson The Stations of the Sun In one of the early meetings with the season Buxtehude/orch. Chavez Chaconne in E minor planning team, consisting of Vulgamore, Vice Jongen Symphonie concertante President of Marketing Janice Hay, and me, Guilmant Symphony No. 1 for Organ Yannick expressed a vision to continue pushing and Orchestra Paulus Grand Concerto for Organ and the boundaries of what audiences were hearing Orchestra during the 2014-15 season. He wanted to build Janáček Jealousy on that enthusiasm expressed at post-concert Rimsky-Korsakov Capriccio espagnol Debussy Rhapsody No. 1 conversations. Rossini Variations for Clarinet and Orchestra Yannick always designs a main idea to connect Tovey Songs of the Paradise Saloon Gershwin Catfish Row: Suite from the journey of a season, and he wanted this year Porgy and Bess to be about discovering a lot of new musical Glazunov “Winter” from The Seasons gems. This wasn’t just about contemporary Tchaikovsky Suite Nos. 1and 2 from The Nutcracker repertoire, but also unearthing some of those Rachmaninoff/orch. Stokowski beloved works that have been absent for so long Prelude in C-sharp minor from subscription programs. He came up with the Turnage Piano Concerto Shostakovich Selections from Suite idea of doing 40 works that hadn’t been heard from the film The Gadfly on subscription concerts in at least 40 years. Walton Selections from As You Like It The 40/40 theme would include Rossini and Debussy/orch. Stokowski “The Sunken Cathedral” Rachmaninoff as well as Jongen and Janáček. Higdon Violin Concerto Vaughan Williams Symphony No. 4 Why 40 years? With Yannick’s 40th birthday Respighi Ancient Airs and Dances for the Lute, Suite No. 2 on March 6, 2015, he thought that this concept Daugherty Reflections on the would be a beautiful gift—not for him—for his Mississippi audiences in Philadelphia. Plus, we figured, if The Mozart Symphony in D major, after the “Posthorn” Serenade Philadelphia Orchestra hadn’t played a piece on C. Stamitz Viola Concerto in D major a subscription program in the lifetime of its music Prokofiev Peter and the Wolf director, it was probably due to be heard. Poulenc Selections from Les Animaux modèles Saint-Saëns Carnival of the Animals And why 40 pieces? Yannick felt very strongly Williams Excerpts from Close that identifying 40 made a statement of true Encounters of the Third Kind Lindberg Graffiti commitment to this theme. “Let’s really go for it all Bernstein MASS the way,” he said. And 40/40 had a nice ring to it. Ligeti Romanian Concerto Enescu Romanian Rhapsody No. 1 Muhly Mixed Messages With some searching and filtering, I pulled together a list of about 1,500 pieces that fit the criterion. The hefty document was 60 pages long. Yannick eagerly took the print-out into his studio 18 Yannick’s Vision of 40/40

and studied it quickly. A couple of days later, he returned were immediately enthusiastic. it to me, highlighted and notated. Principal Guest Conductor Stéphane Denève was particularly interested We spent a couple hours together narrowing down in presenting music of John Williams the list further to a few hundred. It was surprising what on subscription for the very first time. we found. Obviously there were many delightful works Cristian Măcelaru, the Orchestra’s of the 20th century that hadn’t yet been performed in conductor-in-residence, was eager to Philadelphia, not to mention countless works from the present music of his homeland with Baroque or early Classical eras. But there were also Enescu’s First Romanian Rhapsody. Rimsky-Korsakov’s some really beloved treasures that hadn’t been played Alan Gilbert had the perfect pairing Capriccio espagnol on subscription programs in a long time, or never at all. of Janáček’s Glagolitic Mass with has been performed on There were many works, so popular and well-known Sibelius’s Night Ride and Sunrise. every conceivable type of Philadelphia Orchestra that they often found their way onto summer or Family Paul Goodwin had a unique version concert over the years concerts, but never into the main season. Rimsky- of the Mozart “Posthorn” Symphony (summer, tour, education, Kosakov’s Capriccio espagnol. Tchaikovsky’s Nutcracker he wanted to bring. Academy Anniversary, Suites. Prokofiev’s Peter and the Wolf. Gershwin’s pension, etc.) but until Catfish Row Suite from Porgy and Bess hadn’t As we built the season, we quickly November 28-30 of this season hasn’t been heard on been performed by The Philadelphia Orchestra since got to 20 … 25 … 30 … 35 of the a subscription concert since Gershwin himself performed the world premiere of the 40/40 works. January 1931 piece with the Orchestra in 1936. When we got to 37, we had to From that lengthy list Yannick picked many works he choose those final three pieces from wanted to conduct himself. A few major pieces were a long, remaining list. That’s when targeted for specific concerts right from the start: Yannick turned back to those historic Bernstein’s MASS; Khachaturian’s Piano Concerto; Stokowski programs for inspiration. and of course the Vaughan Williams Fourth requested Stokowski often ended his seasons by that audience member. There were contemporary with an audience choice program, for works by Jennifer Higdon, Michael Daugherty, Julian which the public voted to select the Anderson, Stephen Paulus, Mark-Anthony Turnage, works. What better way to kick-off Magnus Lindberg, Bramwell Tovey, John Williams, and the 40/40 theme than by asking our the world premiere of a piece by Nico Muhly that also audiences what to perform? After all, would be part of the 40/40 theme. There was the multi- this whole idea started with audience week organ celebration that would include two organ members making their requests at concertos receiving their Philadelphia premieres—by those post-concert chats. Therefore, Stephen Paulus and Alexandre Guilmant—plus the it was only appropriate to give Joseph Jongen Sinfonia concertante that had been the loyal fans of The Philadelphia commissioned for performances with Stokowski and Orchestra the final word. The Philadelphia Orchestra in the 1920s but never presented on a subscription concert. By the way, that 60-page list of un-performed works, now dog- With that solid foundation, the guest conductors selected eared and coffee-stained, still sits the rest of the 40/40 works. Each one received a copy on the shelves in Yannick’s studio of that same list that Yannick had marked up. Each were backstage. And any time he starts to asked to select pieces from that list to include on their plan a new program, it’s always close programs as part of the 40/40 theme. The responses at hand. 18 Yannick’s Vision of 40/40

How do the organ and orchestra interact in this piece? This performance will be a great opportunity to see how that piece works symphonically, because the organ is completely integrated with the orchestra in the same way a piano or violin concerto would be. It’s really a dialogue with the two instruments instead of finding other ways to combine organ and orchestra, which is like some of the other works we’re playing this year. This is a real Romantic concerto, it just happens to be with organ.

How do you describe the piece, coloristically and stylistically? The development of organ repertoire is really influenced by the development of the symphonic organ, which happened in France sometime in the course of the 19th century. The French always were intrigued by this idea of colors, whether they were writing for the keyboard or the orchestra, or operas, like Bizet and Massenet. Similarly the organ was developing as an instrument that would imitate all the instruments of the orchestra. It has stops that sound like flute, and oboe, and trumpet, and gamba, and on and on. So I envision the Guilmant color wise as two orchestras speaking to each other in a way, because the organ part is trying to imitate an orchestra. The orchestra, at the same time, is trying to take the organ out of its religious context, which was the instrument’s historic use. This is why it makes sense for us to play it because it connects the purpose of this organ being in a concert venue so we can hear the instrument with different ears than those that only associate it with church service.

Guilmant’s Symphony No. 1 for Organ and Orchestra will be performed November 7. 2424 In the Spotlight A Monthly Profile of Orchestra Fans and Family

If you’re a regular at Orchestra concerts, you have certainly seen Tom Kerrigan. He’s the friendly guy in the black tuxedo—formal even on Saturday mornings—standing under the Kimmel Center’s glass dome outside the entrances to Verizon Hall, directing traffic around Commonwealth Plaza, addressing ticket issues, making sure everything runs smoothly.

The only person ever to hold the position of head usher at the Kimmel Center, Kerrigan (who also has another full-time job, more on that later …) has not missed a single evening or weekend regular season performance since the Kimmel opened in 2001. It’s an impressive achievement, and one he plans on continuing to uphold “probably ’til I can’t do it anymore,” he laughs.

Kerrigan, along with his family, has had a long relationship with The Philadelphia Orchestra. His father, Charles Kerrigan, who knew the box office manager from their South Philly neighborhood, worked as an usher at the Tom Kerrigan Academy of Music. (“He opened the doors on the Locust Street side.”) Tom started ushering on November 24, 1981. (That makes 33 years this month.) His maternal grandfather and four of his siblings (Tom’s the oldest of 10) have also ushered over the years. (His brother Charles works with him now at the Kimmel and sister Edie is at the Academy.) When the Orchestra moved to its new home a few blocks down Broad Street, Tom applied for the job— and the rest is history.

Kerrigan may not be on a first-name basis with all the patrons, but he knows all the faces—and they are most definitely on a first-name basis with him. “They know me much better than I know all of them,” he says. “Once I was in a restaurant having dinner and this woman kept looking, and she finally came over to the table and said, ‘I just have to thank you because seven years ago we came to see The Nutcracker and you helped my family out and really got us some great seats.’ And I didn’t even remember the situation!

“That’s the kind of thing that I enjoy,” Kerrigan says. “The performances are great … but my real love is the audience that I’ve come to know very well.”

For more on Tom’s story visit www.philorch.org/kerrigan. 4624 Orchestra Portraits are Installed in the Kimmel Center Will Figg

Now you can see our musicians off the stage as well as on. The next time you are at a concert visit our four new Orchestra portrait galleries on both the north and south sides of Tiers 1 and 2 in the Kimmel Center. The permanent galleries were created as the tangible expression of the Philadelphia Orchestra Award, given to the Orchestra musicians to recognize the exemplary contributions they have made to The Philadelphia Orchestra Association. These art installations are grouped by section and also include the conducting roster. In addition, on each photo you will find a QR code that leads back to each musician’s biography on the Orchestra’s website, providing an opportunity to instantly learn more about them. The principal photographer for the galleries was the award-winning Jessica Griffin, with installation by Preston Link.