27 Season 2016-2017

Friday, September 30, at 7:00 The Philadelphia Orchestra

Opening Night Gala

Yannick Nézet-Séguin Conductor

Bernstein Three Dance Episodes from On the Town I. The Great Lover II. Lonely Town: Pas de deux III. Times Square 1944

Gershwin An American in Paris

Ravel Rapsodie espagnole I. Prelude to the Night— II. Malagueña III. Habanera IV. Feria

Respighi The Pines of Rome I. The Pine Trees of the Villa Borghese— II. Pine Trees near a Catacomb— III. The Pine Trees of the Janiculum— IV. The Pine Trees of the Appian Way

This program runs approximately 1 hour, 25 minutes, and will be performed without an intermission.

We thank the musicians of The Philadelphia Orchestra and Music Director Yannick Nézet-Séguin who are graciously donating their services in support of this event and The Philadelphia Orchestra.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details.

29 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage. The Orchestra Center, Penn’s Landing, Concerts, School Concerts, is inspiring the future and and other cultural, civic, and residency work in transforming its rich tradition and learning venues. The Philadelphia and abroad. of achievement, sustaining Orchestra maintains a strong Through concerts, tours, the highest level of artistic commitment to collaborations residencies, presentations, quality, but also challenging— with cultural and community and recordings, The and exceeding—that level, organizations on a regional Philadelphia Orchestra is by creating powerful musical and national level, all of which a global ambassador for experiences for audiences at create greater access and Philadelphia and for the home and around the world. engagement with classical US. Having been the first Music Director Yannick music as an art form. American orchestra to Nézet-Séguin’s connection The Philadelphia Orchestra perform in China, in 1973 to the Orchestra’s musicians serves as a catalyst for at the request of President has been praised by cultural activity across Nixon, the ensemble today both concertgoers and Philadelphia’s many boasts a new partnership with critics since his inaugural communities, building an Beijing’s National Centre for season in 2012. Under his offstage presence as strong the Performing Arts and the leadership the Orchestra as its onstage one. With Shanghai Oriental Art Centre, returned to recording, with Nézet-Séguin, a dedicated and in 2017 will be the first- two celebrated CDs on body of musicians, and one ever Western orchestra to the prestigious Deutsche of the nation’s richest arts appear in Mongolia. The Grammophon label, ecosystems, the Orchestra Orchestra annually performs continuing its history of has launched its HEAR at Carnegie Hall while also recording success. The initiative, a portfolio of enjoying summer residencies Orchestra also reaches integrated initiatives that in Saratoga Springs, NY, and thousands of listeners on the promotes Health, champions Vail, CO. For more information radio with weekly Sunday music Education, eliminates on The Philadelphia afternoon broadcasts on barriers to Accessing the Orchestra, please visit WRTI-FM. orchestra, and maximizes www.philorch.org. 4 Music Director

Chris Lee Music Director Yannick Nézet-Séguin is now confirmed to lead The Philadelphia Orchestra through the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he becomes music director of the Metropolitan Opera beginning with the 2021-22 season. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of the Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fifth season include an exploration of American Sounds, with works by Leonard Bernstein, Christopher Rouse, Mason Bates, and Christopher Theofanidis; a Music of Paris Festival; and the continuation of a focus on opera and sacred vocal works, with Bartók’s Bluebeard’s Castle and Mozart’s C-minor Mass.

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling 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 was also principal guest conductor of the London Philharmonic from 2008 to 2014. He has made wildly successful appearances with the world’s most revered ensembles and 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 two CDs on that label. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique. In Yannick’s inaugural season The Philadelphia Orchestra returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, Musical America’s 2016 Artist of the Year, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music in Philadelphia, and Westminster Choir College of Rider University in Princeton, NJ.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 30 Framing the Program

The Opening Night Gala of The Philadelphia Orchestra’s Parallel Events 117th season offers a magical musical tour moving from 1907 Music America to Italy by way of France and Spain. The program Ravel Bartók begins with three dances from Leonard Bernstein’s Rapsodie Violin Concerto Broadway hit On the Town, about sailors during the espagnole No. 1 Second World War on shore leave in vibrant New York Literature City. We move then to Paris for George Gershwin’s Gorki evocative An American in Paris, based on his own Mother autobiographical experience of homesickness while in the Art City of Light. Picasso Les Demoiselles Maurice Ravel’s attraction to Spain derived in part from d’Avignon being born just north of the border to a Basque mother. History His brilliantly orchestrated Rapsodie espagnole offers four Second glimpses of Spain: a nocturnal prelude, a lively dance, a Hague Peace sultry Habanera, and a sparkling festival. The concert ends Conference with Ottorino Respighi’s The Pines of Rome, one of several pieces he wrote to honor his beloved eternal city. 1928 Music Gershwin Walton An American Viola Concerto in Paris Literature Huxley Point Counterpoint Art Munch Girl on Sofa History Fleming discovers penicillin

1944 Music Bernstein Prokofiev On the Town Symphony No. 5 Literature Camus Caligula Art Rivera The Rug Weaver History D-Day Landings 31 The Music Three Dance Episodes from On the Town

A decade before West Side Story, Leonard Bernstein had cut his teeth on a musical comedy that would also carve out a unique place in the Broadway repertory. The topic of On the Town was, again, the search for love in the midst of urban chaos. But this time the tone was light, and the songs were lighter. On the Town was filled with dashing dance tunes and ensemble numbers like “New York, New York” that helped the nation get its mind off the war overseas. The year was 1944, and notions of love and romance Leonard Bernstein were dominated by war and soldiering. On the Town, a Born in Lawrence, collaboration with the choreographer Jerome Robbins and Massachusetts, August 25, Bernstein’s favorite lyricists, Betty Comden and Adolph 1918 Green, tells the story of three lonely sailors who find love Died in New York City, during a brief three-day leave in New York. If the show had October 14, 1990 a ring of truth, it was because it was based on the realities that these collaborators had been observing all around them. “We wanted these sailors to possess the qualities and attitudes of the servicemen we had seen coming into the Bernstein composed On the city for the first time,” Comden wrote in theNew York Times Town in 1944. when the show opened on Broadway on December 28, The Philadelphia Orchestra first 1944, “and touch upon the frantic search for gaiety and love, performed the Three Dance and the terrific pressure of time that war brings.” Indeed Episodes from On the Town part of what makes On the Town unique is this juxtaposition on a 1971 Student Concert, of the comic and the manic. It is a frothy love-comedy with conducted by William Smith. an unmistakable undercurrent of war-jitters—a search for The first, and only, subscription love before shipping off to some strange and terrible place performances were in January/ where one might very well meet a violent death. February 2008, led by Rossen Milanov. The music, too, is filled with this energy and urgency. As one of the first American musicals by a “classical” composer,On The work is scored for piccolo, the Town was praised for the integrity of its tunes and the flute, oboe, English horn, three sophistication of its orchestration. In 1945 Bernstein himself clarinets (I doubling E-flat clarinet, II doubling alto saxophone, III prepared a lengthy orchestral suite of the show. This was doubling bass clarinet), two later shortened and presented in February 1946 as Three horns, three trumpets, three Dance Episodes from On the Town. Bernstein later wrote: trombones, tuba, timpani, “I believe this is the first Broadway show ever to have as percussion (bass drum, drum set, many as seven or eight dance episodes in the space of two snare drum, suspended cymbal, acts, and as a result, the essence of the whole production is triangle, wood block, xylophone), contained in these dances.” piano, and strings. —Paul J. Horsley The piece runs approximately 11 minutes in performance. 32 The Music An American in Paris

George Gershwin’s career was an American success story, one tragically cut short by early death in his 30s, like Mozart and Schubert before him. Born in Brooklyn to Russian- Jewish immigrants, he grew up in a poor household. As was also the case with Aaron Copland, his slightly younger Brooklyn contemporary, music offered opportunities for advancement. But while Copland went abroad to study in Paris, Gershwin dropped out of high school and started working his way up as a “song-plugger,” playing Tin Pan Alley songs at a music store. Soon he was writing his own George Gershwin songs (his first big hit was “Swanee” in 1919) and enjoying Born in Brooklyn, fame on Broadway. Success followed success—and not September 26, 1898 just in the theater. Gershwin made history at age 25, on Died in Hollywood, July 11, February 12, 1924, when Paul Whiteman and his Palais 1937 Royal Orchestra premiered Rhapsody in Blue. The Concerto in F for Piano and Orchestra, originally titled New York Concerto, followed the next year. Homesick for the Hudson River After his triumph with Rhapsody in Blue it was Gershwin’s turn for a European adventure and to write a piece that he described as “impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere.” He first visited the City of Light following the premiere of the Rhapsody and then returned early in 1926, when he got the idea for the work we hear tonight. In a postcard thanking his hosts, Robert and Mabel Schirmer, Gershwin wrote out a melody that he identified as “An American in Paris” and marked it “Very Parisienne.” Gershwin returned to the tune nearly two years later when he started serious work on what he originally considered an “orchestral ballet.” Now living in New York, far from the Seine, he looked out on the Hudson from his home on 103rd Street: I love that river and I thought how often I had been homesick for a single sight of it, and then the idea struck me—an American in Paris, homesickness, the blues. So there you are. I thought of a walk on the Champs Élysées, the honking of the taxi. … There are episodes on the left bank, and then come the blues—thinking of home, perhaps the Hudson. There is 33

a meeting with a friend, and after a second fit of blues [a] decision that in Paris one may as well do as the Parisians do. In March 1928 Gershwin returned to Europe for three months where he worked on the piece. He went shopping with Mabel Schirmer in search of the taxi horns that he marvelously used to convey “the traffic sound of the Place de la Concorde during rush hour.” The composition was completed back in New York and then orchestrated. (Whiteman’s favored arranger, Ferde Grofé, had scored Rhapsody in Blue, but this time Gershwin wanted to do it himself.) Everything was finished by late November, just a couple of weeks before Walter Damrosch conducted the premiere of the “tone poem for orchestra” with the New York Philharmonic. According to one review, a capacity audience at Carnegie Hall welcomed the work with “a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses.” Other conductors soon began to champion the piece across America and the next year Gershwin made his debut as a conductor leading it with the Philharmonic at Lewisohn Stadium. Given the original conception as a ballet, it is hardly surprising that the piece inspired various choreographers, including Gene Kelly in a 1951 MGM movie directed by Vincent Minnelli entitled An American in Paris. A Closer Look Gershwin acknowledged that the piece, “really a rhapsodic ballet,” was composed “very freely” and was the “most modern music” he had yet attempted, influenced both by Debussy and the French composers known as Les Six. The work can be divided into five parts, but as Howard Pollack observes in his excellent Gershwin biography, they “basically form a large ABA structure: the first A (comprising the first two sections) depicting the American ‘drinking in the sights, and other things’ of Paris; the B episode (comprising sections three and four), his homesickness; and the return of A (section five), his cheerful resignation.” In an article in Musical America Gershwin described the composition in this way: The opening gay section … is followed by a rich “blues” with a strong rhythmic undercurrent. Our American friend, perhaps after strolling into a café, and having a few drinks, has suddenly succumbed to a spasm of homesickness. The harmony here is both more intense and simple than in the preceding pages. This “blues” 34 34A

An American in Paris was rises to a climax followed by a coda in which the composed in 1928. spirit of the music returns to the vivacity and bubbling The piece’s first Philadelphia exuberance of the opening part with its impressions Orchestra appearance was on of Paris. Apparently the homesick American, having a Special Pops Concert led by left the café and reached the open air, has downed his André Kostelanetz in December spell of the blues and once again is an alert spectator 1951. Most recently on of Parisian life. At the conclusion, the street noises and subscription it was performed in French atmosphere are triumphant. April 2016 with Yannick Nézet- Séguin on the podium. —Christopher H. Gibbs Eugene Ormandy recorded the work with the Philadelphians in 1967 for CBS. The score calls for three flutes (III doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, alto saxophone, tenor saxophone, bass saxophone, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, orchestra bells, snare drum, suspended cymbal, taxi horns, tom-tom, triangle, wood block, xylophone), celesta, and strings. An American in Paris runs approximately 17 minutes in performance. 34AJ 34C The Music Rapsodie espagnole

It was not until the first decade of the 20th century that Ravel’s career as a composer took flight. He had failed at several attempts to win the coveted Prix de Rome at the Paris Conservatory, partly because his daring experiments with color and harmony did not fit easily into an academic mentality. He eventually abandoned his studies altogether, becoming involved instead with Les Apaches, a vaguely disreputable collection of Parisian aesthetes who met in private homes to discuss art, literature, painting, and music. It was in this context that he “tried out” new works, and was emboldened by the Maurice Ravel positive reactions of his colleagues (among them, at times, Born in Ciboure, France, Manuel de Falla and pianist Ricardo Viñes). March 7, 1875 Died in Paris, December 28, Despite critical aspersions, his reputation grew steadily. 1937 Around 1900 the Parisian publisher Demets began to print several of the composer’s remarkable early works: the Pavane pour une infante défunte, the String Quartet, and the piano piece Jeux d’eau. The public received them with astonished enthusiasm. Buoyed by these successes, Ravel produced a string of brilliant works that secured his position as more than just Debussy’s also-ran. None of these early works has taken on a more solid position in the repertory than the Rapsodie espagnole, which he completed in 1908. An Enthusiasm for All Things Spanish Of all the composers who responded to the craze for things Spanish during the late 19th and early 20th centuries, none did so with Ravel’s eloquence and panache. Neither Édouard Lalo’s Symphonie espagnole nor Nikolai Rimsky-Korsakov’s Capriccio espagnol, both strong works in their own right, contain the fire and passion—not to mention the sheer fun—of Ravel’s music. This is perhaps partly because Ravel’s interest in Spanish folk-tunes and idioms can be traced back to his own origins: His mother was Basque, and he himself was born and raised in Basque country. This sense of identity found expression in a number of Ravel’s works throughout his career, including the splashy “Alborada del gracioso” from Miroirs, the little-known song cycle Don Quichotte à Dulcinée, and, of course, the indefatigable Bolero. A Closer Look But the most playful and exotic work in this vein is the Rapsodie espagnole, now a staple of the orchestral repertoire. It consists of four lively tone-pictures 34D

Ravel composed the Rapsodie of Spain, each employing an expansive orchestral palette. In espagnole from 1907 to 1908. the first, Prelude to the Night, an eerie nocturnal scene Leopold Stokowski conducted is created through a descending four-note ostinato figure, the first Philadelphia Orchestra initially heard in the strings—which cuts across the barline performances of the piece, and obscures the triple meter altogether. The rich, redolent in December 1917. The magic of the night, observed as if through a veil, is slowly most recent subscription revealed. The second piece is a Malagueña, a spirited performances were in dance in triple meter, allegedly from Málaga in Andalusia December 2013, with Cristian (southern Spain). This is followed by a Habanera, the Măcelaru on the podium. duple-meter dance style known for the halting prolongation The Philadelphia Orchestra has of the second beat of each measure; it is probably of Cuban recorded the Rapsodie four origin, and is now recognized as the direct ancestor of the times: in 1934 for RCA with tango. The Rapsodie closes with the extended Feria, in Stokowski; in 1950 and 1963 which Ravel uses the orchestra’s full coloristic resources to for CBS with Eugene Ormandy; recreate the verve and excitement of a holiday fair. and in 1979 for EMI with Riccardo Muti. —Paul J. Horsley The score calls for two piccolos, two flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, castanets, cymbals, military drum, tam-tam, tambourine, triangle, xylophone), two harps, celesta, and strings. Performance time is approximately 16 minutes. 35 The Music The Pines of Rome

Artists who define themselves and their art primarily in terms of a single city—such as Dickens for London, Pissarro for Paris, Brunelleschi for Florence, or Woody Allen for New York—find that, rather than limiting their artistic palette, their choice broadens their creativity, simultaneously revealing subtle new things about the city to the rest of us. Ottorino Respighi was as passionate about Rome as any artist could be. After studies with Giuseppe Martucci in Bologna and Nikolai Rimsky- Korsakov in St. Petersburg, Respighi settled in Rome in Ottorino Respighi 1913, the city where he would spend the rest of his career. Born in Bologna, July 9, 1879 Impressions of Rome It is no surprise that three of Died in Rome, April 18, this musical colorist’s most popular orchestral scores are 1936 impressions of various aspects of the city he loved: The Fountains of Rome of 1916 paints images of fountains, The Pines of Rome (1924) explores the city’s pine groves, and Roman Festivals (1929) describes four of the city’s festivals. Influenced by the orchestral music of Strauss, Debussy, Ravel, and Rimsky-Korsakov, Respighi took their differing ideals of sound and color and forged them into a personal and unabashedly extroverted instrumental style. Each of his “Roman” suites exploits the full resources of a large orchestra, and all three remain popular concert favorites worldwide. The Pines of Rome employs a spectacularly rich orchestra, including an imitation of the Roman army trumpet (called a buccina) and a recording of a nightingale’s song. The latter might appear tame for today’s audience, but it must have seemed a daring bit of musique concrète (as such effects were later called) to those present at the work’s premiere in Rome in December 1924. The piece gained currency after it became a favorite of a number of prominent conductors, especially Arturo Toscanini, who performed its United States premiere in 1926 with the New York Philharmonic. A Closer Look The four sections of the piece are performed without pause. The composer’s detailed statements on each piece were published in the first edition of the work: The Pine Trees of the Villa Borghese. Children are at play in the pine groves of Villa Borghese; they 36 37

The Pines of Rome was dance round in circles, they play at soldiers, marching composed in 1924. and fighting, they are wrought up by their own Respighi himself conducted cries like swallows at evening, they come and go in the first Philadelphia Orchestra swarms. Suddenly the scene changes, and … performances of the piece, in Pine Trees near a Catacomb. … we see the January 1926, the day after shades of the pine trees fringing the entrance to a the United States premiere catacomb. From the depth rises the sound of mournful in New York. The last time the Orchestra performed The psalm-singing, floating through the air like a solemn Pines of Rome on subscription hymn, and gradually and mysteriously dispersing. was in October 2013, led by The Pine Trees of the Janiculum. A quiver runs Rafael Frühbeck de Burgos. through the air: the pine trees of the Janiculum stand The work has been recorded by distinctly outlined in the clear light of a full moon. A the Orchestra four times: with nightingale is singing. Eugene Ormandy in 1946 and The Pine Trees of the Appian Way. Misty dawn 1968 for CBS and in 1973 for RCA, and with Riccardo Muti on the Appian Way: solitary pine trees guarding the in 1984 for EMI. It can also magic landscape; the muffled, ceaseless rhythm be found in The Philadelphia of unending footsteps. The poet has a fantastic Orchestra: The Centennial vision of bygone glories: trumpets sound and, in the Collection (Historic Broadcasts brilliance of the newly risen sun, a consular army and Recordings from 1917- bursts forth towards the Sacred Way, mounting in 1998), in a performance led by triumph to the Capitol. Muti from 1998. —Paul J. Horsley Respighi scored the work for three flutes (III doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cog rattle, cymbals, orchestra bells, tam-tam, tambourine, triangle, two small cymbals), six offstage “Roman trumpets” (buccine, which attempt to imitate a historic army instrument—performed here on four trumpets and two trombones), recorded sounds of a nightingale, harp, piano, celesta, organ, and strings. Pines runs approximately 22 minutes in performance.

Program notes © 2016. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

39 2016 Opening Night

Lead Benefactor Caroline and Sidney Kimmel

Sapphire Benefactors Central Committee for The Philadelphia Orchestra

Diamond Benefactors Edith R. Dixon Electronic Ink Gary Frank and LCG, Ltd. David W. Haas West Philadelphia Committee for The Philadelphia Orchestra

Champagne Benefactors Patricia and John Imbesi Mr. Joseph Neubauer and Mrs. Jeanette Lerman-Neubauer

Platinum Benefactors Mr. and Mrs. Harry R. Halloran, Jr. PECO Stradley, Ronon, Stevens and Young, LLP Mr. Richard B. Worley and Ms. Leslie A. Miller

Gold Benefactors Ballard Spahr LLP Richard S. Burns and Company, Inc. Dilworth Paxson LLP Fortis Partners, LLC Dr. Marcy Gringlas and Mr. Joel Greenberg Ken Hutchins Dr. Larry Kaiser, M.D., and Ms. Lindy L. Snider Drs. Leon and Elsa Malmud Manko, Gold, Katcher and Fox LLP Lynn and Joseph Manko Mrs. Vivian Piasecki PNC Dianne and Jeffrey Rotwitt Saul Ewing LLP Tony Schaeffer and Katie Adams Cynthia and Scott Schumacker Wawa, Inc.

Special Thanks Penncora Events

List complete as of September 19 40 2016 Opening Night Gala Committees

Co-Chairmen Dianne Rotwitt and Gary A. Frank

Vice Chairman Sara Cerato

President, Volunteer Committees Lisa W. Yakulis

Honorary Committee Sylvia Brasler Alice Cullen Ronna Hall Despina F. Page Adele Schaeffer Mollie Slattery Ann Sorgenti Roberta Tanenbaum

Opening Night Committee Barbara Alleva Marilyn Appel Sherrin Baky-Nessler Ellen Bodenheimer Stephanie Brandow Judy Breslin Ingrid Butcher Joyce Cafiero Elizabeth A. Crowell Colleen DeMorat Katherine Donner Nancy Galloway Barbara Gilbert Anne Glunk Grete Greenacre Priscilla Holmes Hollie Holt Marie Kenkelen Laura Koropey Deborah Ledley Sheila Leith Alison Lerman 41

Anita Leto Robyn Leto Myrna Levin Lynn Manko Sandra Marshall Sharon Modelevsky Leslie A. Miller Linda Mui Valerie Smith Pease Alex Pennington Diana Regan Caroline Rogers Nancy Ronning Lauren Royer Lynn Salvo Faye Senneca Judith Sills-Swartz Ramona Vosbikian Margaret Zehner 42 2016 Opening Night The Volunteer Committees for The Philadelphia Orchestra

Governing Board Officers Lisa W. Yakulis, President Caroline B. Rogers, Immediate Past President Nancy M. Galloway, Vice President Sheila Leith, Vice President for Standing and Ad Hoc Committees Judith F. Glick, Vice President for Special Functions Sherrin Baky-Nessler, Treasurer Lenora Hume, Secretary

Volunteer Governing Board Standing Committees Lynn Manko, Annual Giving Chair Ramona Vosbikian, Education Elizabeth A. Crowell, Archives

Individual Committee Chairmen Central: Nancy Galloway Chestnut Hill: Diana Regan Main Line: Dianne Rotwitt Musical Cocktails: Ann D. Hozack New Jersey: Richelle Rabenou Rittenhouse Square: Frances Schwartz West Philadelphia: Alison Avery Lerman 42A 2016 Opening Night

Principal Benefactors Mr. and Mrs. Harold Sorgenti Dennis Adams Joan and Bernard Spain Nina and Billy Albert Barbara and Leonard Sylk Barbara Alleva and Donald Gant Mr. and Mrs. H. Robert Tiffany III Peter A. Benoliel and Willo Carey Jack and Ramona Vosbikian Mrs. Robert M. Brasler Marcia Wells Judith Broudy Dr. and Hon. Sankey and Elaine Woo Camarda Constance Williams Rick and Flo Celendar Paul and Lisa Yakulis Sara A. Cerato Sarah Miller Coulson Benefactors Katherine and Henry Donner Ms. Jill Acker Mrs. Elise R.W. du Pont Dr. Susan Aldridge Alexandra Edsall and Robert Victor Charlotte Biddle Joseph and Marie Field Mrs. Sandra Blumberg Ms. Linda Frankel Julie and Robert Bryan Nancy and John Galloway Mrs. J. Mahlon Buck, Jr. Carole and Emilio Gravagno Robert Capanna and Cathryn Coate Lynn and Tony Hitschler Todd S. Carmichael and Lauren Hart David Hoffman Cashman and Associates Lynne and Harold Honickman Mr. and Mrs. James L. Crowell Losenge and Osagie Imasogie Nancy and Kenneth Davis Rachelle and Ron Kaiserman Colleen DeMorat and Ray Dombroski Andrea and Warren Kantor Tobey and Mark Dichter Neal W. Krouse Stacy Maria Dutton and Charles McMahon Merle and Marvin Levy Mr. and Mrs. William H. Eyre, Jr. Elizabeth and Edwin Mahoney The Franklin Institute Sandra and David Marshall Mr. and Mrs. Robert Garrison John McFadden and Lisa Kabnick Katherine Hall Robert E. Mortensen Sally and Anthony Jannetta Cathy Moss and Mitchell Harris Drs. Peter and Caroline Koblenzer Ralph Muller and Elizabeth Johnston Elizabeth and Terrance McCabe Mr. and Mrs. John A. Nyheim Mary E. Moore Louise and Alan Reed Ms. Despina F. Page Caroline B. Rogers Dr. and Mrs. John H. Regan Lyn M. Ross Constance and Milton Rock Robin and Mark Rubenstein Ms. Christina Snylyk Mr. and Mrs. Anthony Salvo Carol and Stephen Spinelli Adele and Harold Schaeffer Randy Swartz and Judith Sills Swartz Peter and Mari Shaw Penelope and Thomas Watkins Carol C. Sherman F. Gordon Yasinow Mollie and Frank Slattery Joseph S. and Renée M. Zuritsky Ms. Constance Smukler 42B 2016 Opening Night

Patrons Young Friends Dr. Marilyn Appel Henry A. Davidsen, Master Tailors and Joan and Paul Bergsteinsson Image Consultants Joanne Berwind Joseph G. Donahue Mr. and Mrs. Alan Bleznak Arianna Esposito Ellen and Peter Bodenheimer Julie and Ryan Golembiewski Lois and Bruce Boyce Mr. Michael Higgins Naomi and Stephen Breman Allison Hume and Jacob Cesareo Joyce Cafiero Martin Ihrig Scott and Nelly Childress Mr. Guillaume Perrin and Mr. Robert C. Cole Mrs. Karen Rotwitt Perrin Richard Davidson Vidya Plainfield Vikram H. Dewan Rebekkah M. Rotwitt John and Virginia Dowd Miss Megan A. Speight Judith Garst Thomas Steinborn Girl Scouts of Eastern Pennsylvania David Wong Dr. Thelma Gosfield Dr. Jessica Yannelli Hannah Henderson Francis Zih Marybeth Henry Eric and Lenora Hume List complete as of September 19 J.W. Pepper and Son, Inc. Jeff and Marie Kenkelen Bernice Koplin Drs. Gary and Deborah Ledley Sheila Leith Mrs. Anita Leto Mrs. Robyn Leto Hon. and Mrs. Stephen G. Levin Michael Lynagh and Peg Mertz Ms. Karyl Charna Lynn Richard and Florence Maloumian Mrs. Philippus Miller, Jr. Mr. and Mrs. John Royer Faye Senneca and Richard Weisenberg Millie and Dean Shilenok David and Deborah Simon Roberta R. Tanenbaum Kristin and David Touchstone Margaretta T. Walton Julie D. Williams 45 42D Tickets & Patron Services

We want you to enjoy each and and are supported in part by your consent to such and to every concert experience you the Hirschberg-Goodfriend any use, in any and all media share with us. We would love Fund established by Juliet J. throughout the universe in to hear about your experience Goodfriend perpetuity, of your appearance, at the Orchestra and it would Lost and Found: Please call voice, and name for any purpose be our pleasure to answer any 215.670.2321. whatsoever in connection with questions you may have. The Philadelphia Orchestra. Late Seating: Late seating Please don’t hesitate to contact breaks usually occur after the Phones and Paging Devices: us via phone at 215.893.1999, first piece on the program or at All electronic devices—including in person in the lobby, or at intermission in order to minimize cellular telephones, pagers, and [email protected]. disturbances to other audience wristwatch alarms—should be Subscriber Services: members who have already turned off while in the concert 215.893.1955, M-F, 9 AM-5 PM begun listening to the music. hall. The exception would be our If you arrive after the concert LiveNote™ performances. Please Patron Services: visit philorch.org/livenote for 215.893.1999, Daily, 9 AM-8 PM begins, you will be seated only when appropriate breaks in the more information. Web Site: For information about program allow. Ticket Philadelphia Staff The Philadelphia Orchestra and Accessible Seating: Linda Forlini, Vice President its upcoming concerts or events, Rebecca Farnham, please visit philorch.org. Accessible seating is available for every performance. Director, Patron Services Individual Tickets: Don’t Please call Patron Services at Brandon Yaconis, assume that your favorite 215.893.1999 or visit philorch. Director, Client Relations concert is sold out. Subscriber org for more information. Dan Ahearn, Jr., turn-ins and other special Box Office Manager promotions can make last- Assistive Listening: With Jayson Bucy, minute tickets available. Call us the deposit of a current ID, Program and Web Manager at 215.893.1999 and ask for hearing enhancement devices Meg Hackney, assistance. are available at no cost from the Patron Services Manager House Management Office in Gregory McCormick, Subscriptions: The Commonwealth Plaza. Hearing Philadelphia Orchestra offers a Training Manager devices are available on a first- Catherine Pappas, variety of subscription options come, first-served basis. each season. These multi- Project Manager concert packages feature the Large-Print Programs: Michelle Messa, best available seats, ticket Large-print programs for Assistant Box Office Manager exchange privileges, discounts every subscription concert Alex Heicher, on individual tickets, and many are available in the House Program and Web Coordinator other benefits. Learn more at Management Office in Lindsay Kreig, philorch.org. Commonwealth Plaza. Please Business Operations Coordinator ask an usher for assistance. Assistant Treasurers, Box Office: Ticket Turn-In: Subscribers Tad Dynakowski who cannot use their tickets Fire Notice: The exit indicated by a red light nearest your seat is Patricia O’Connor are invited to donate them Thomas Sharkey and receive a tax-deductible the shortest route to the street. In the event of fire or other James Shelley acknowledgement by calling Mike Walsh 215.893.1999. Twenty-four-hour emergency, please do not run. Walk to that exit. Elizabeth Jackson-Murray, notice is appreciated, allowing Priority Services Representative other patrons the opportunity No Smoking: All public space Lead Patron Services to purchase these tickets and in the Kimmel Center is smoke- Representatives: guarantee tax-deductible credit. free. Megan Chialastri PreConcert Conversations: Cameras and Recorders: Stacey Ferraro PreConcert Conversations are The taking of photographs or Meaghan Gonser held prior to every Philadelphia the recording of Philadelphia Jared Gumbs Orchestra subscription concert, Orchestra concerts is strictly Danielle Rose beginning one hour before the prohibited. By attending this Patron Services Representatives: performance. Conversations are Philadelphia Orchestra concert Rui Dong-Scott free to ticket-holders, feature you consent to be photographed, Brand-I Curtis McCloud discussions of the season’s filmed, and/or otherwise Rachelle Seney music and music-makers, recorded. Your entry constitutes