November 2018 4 From the President

Dear Friends:

The “Philadelphia Sound.” It is a phrase we hear often in reference to The Philadelphia Orchestra. In today’s world, the Orchestra has retained an identity largely defined by this distinctive sound. But if you were to ask 10 people to define what that sound is, you might walk away with 10 different answers.

There is debate as to whether the sonic grandeur and richness that came to be known as the “Philadelphia Sound” began under the tenure of Leopold Stokowski or Eugene Ormandy— or before—and whether or not it had anything to do with the acoustics in the Academy of Music, the Orchestra’s former home. Many associate it with the rich, velvety playing of the strings, the burnished woodwinds, or the sheer power and beauty of the brass, to name a few. If the Orchestra has a musical DNA, passed down from generation to generation, some would say the

Jessica Griffin sound has to do with the continuity from teacher to student, and the academies—Curtis and Juilliard in particular—that have been the training grounds for many generations of musicians.

While I have been listening to The Philadelphia Orchestra for many years, beginning when I was a child hearing the Orchestra first at the Proms, the annual summer festival held in London, I now have the opportunity to experience this extraordinary ensemble week in and week out, in rehearsals and performances at home in Philadelphia and far beyond. In fact, though I have only been here two months, I have already heard the concerts of the Orchestra in seven venues around the country. There is something else, though. It is not solely how the sound is produced—the perfect combination of speed and pressure of the bow on the strings, the beginning of a chord in the winds and brass, or the expressive phrasing of a solo moment. It is also about the silence between the notes—the space the musicians give to each phrase, and, perhaps most important of all, the incredible way the musicians listen to each other. The defining “Philadelphia Sound” is not just one thing but a combination of many elements that come together in a unique way.

I invite you to come to as many concerts as possible, and to think about the “Philadelphia Sound” each time—how it changes from piece to piece, concert to concert, or from conductor to conductor. This month, in particular, is a great time to hear the Orchestra in the widest range of repertoire, from Baroque and Classical masterworks by Handel, Mozart, and Beethoven to the lush sounds of Brahms, Wagner, and Dvořák, to stunning contemporary pieces by Mason Bates and Jake Heggie. Throughout, the sound changes and evolves, but always with this unique, endlessly enchanting character at its core.

With warmest wishes,

Matías Tarnopolsky President and CEO

11.18 Letter.indd 2 10/5/18 11:14 AM 6 Music Director

Chris Lee Music Director Yannick Nézet-Séguin will lead The Philadelphia Orchestra through at least the 2025-26 season, an extraordinary and significant long-term commitment. Additionally, he became the third music director of the Metropolitan Opera, beginning with the 2018-19 season. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra. His intensely 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 him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”

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 artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000, and in summer 2017 he became an honorary member of the Chamber Orchestra of Europe. He was music director of the Rotterdam Philharmonic from 2008 to 2018 (he is now honorary conductor) and was 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 signed an exclusive recording contract with Deutsche Grammophon (DG) in May 2018. Under his leadership The Philadelphia Orchestra returned to recording with four CDs on that label. His upcoming recordings will include projects with The Philadelphia Orchestra, the Metropolitan Opera, the Chamber Orchestra of Europe, and the Orchestre Métropolitain, with which he will also continue to record for ATMA Classique. Additionally, he has recorded with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records, and the London Philharmonic for the LPO label.

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; an Officer of the Order of Montreal; Musical America’s 2016 Artist of the Year; the Prix Denise-Pelletier; and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music, Westminster Choir College of Rider University, McGill University, and the University of Pennsylvania.

To read Yannick’s full bio, please visit philorch.org/conductor. 8 The Philadelphia Orchestra 2018–2019 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 Patrick Williams, Stéphane Denève Principal Associate Principal Principal Guest Conductor Kerri Ryan, Assistant Principal Rachelle and Ronald Kaiserman Kensho Watanabe Judy Geist Chair Assistant Conductor Renard Edwards Olivia Staton First Violins Anna Marie Ahn Petersen Erica Peel, Piccolo David Kim, Concertmaster Piasecki Family Chair Dr. Benjamin Rush Chair David Nicastro Oboes Juliette Kang, First Associate Burchard Tang Peter Smith, Associate Principal Concertmaster Che-Hung Chen Jonathan Blumenfeld Joseph and Marie Field Chair Rachel Ku Edwin Tuttle Chair Ying Fu, Associate Concertmaster Marvin Moon Elizabeth Starr Masoudnia, Marc Rovetti, Assistant Meng Wang English Horn Concertmaster Joanne T. Greenspun Chair Barbara Govatos Cellos Robert E. Mortensen Chair Hai-Ye Ni, Principal Clarinets Jonathan Beiler Priscilla Lee, Associate Principal Ricardo Morales, Principal Hirono Oka Yumi Kendall, Assistant Principal Leslie Miller and Richard Worley Richard Amoroso Wendy and Derek Pew Chair Robert and Lynne Pollack Chair Foundation Chair Samuel Caviezel, Associate Yayoi Numazawa Richard Harlow Principal Jason DePue Gloria dePasquale Sarah and Frank Coulson Chair Larry A. Grika Chair Orton P. and Noël S. Jackson Socrates Villegas Jennifer Haas Chair Paul R. Demers, Bass Clarinet Miyo Curnow Kathryn Picht Read Peter M. Joseph and Susan Elina Kalendarova Robert Cafaro Rittenhouse Joseph Chair Daniel Han Volunteer Committees Chair Julia Li Ohad Bar-David* Bassoons William Polk John Koen Daniel Matsukawa, Principal Mei Ching Huang* Derek Barnes Richard M. Klein Chair Mollie and Frank Slattery Chair Mark Gigliotti, Co-Principal Second Violins Alex Veltman Angela Anderson Smith Kimberly Fisher, Principal Holly Blake, Contrabassoon Peter A. Benoliel Chair Basses Paul Roby, Associate Principal Harold Robinson, Principal Horns Sandra and David Marshall Chair Carole and Emilio Gravagno Jennifer Montone, Principal Dara Morales, Assistant Principal Chair Gray Charitable Trust Chair Anne M. Buxton Chair Joseph Conyers, Acting Jeffrey Lang, Associate Principal Philip Kates* Associate Principal Hannah L. and J. Welles Mitchell and Hilarie Morgan John Hood Henderson Chair Family Foundation Chair Michael Shahan Daniel Williams Booker Rowe David Fay Jeffry Kirschen Joseph Brodo Chair, given by Duane Rosengard Ernesto Tovar Torres Peter A. Benoliel Robert Kesselman Shelley Showers Davyd Booth Nathaniel West Paul Arnold Trumpets Lorraine and David Popowich Chair Some members of the string David Bilger, Principal Dmitri Levin sections voluntarily rotate Marguerite and Gerry Lenfest Boris Balter seating on a periodic basis. Chair Amy Oshiro-Morales Jeffrey Curnow, Associate Yu-Ting Chen Principal Jeoung-Yin Kim Gary and Ruthanne Schlarbaum Chair Anthony Prisk Robert W. Earley

continued on page 10 10 The Philadelphia Orchestra 2018–2019 Season

Trombones Percussion Librarians Nitzan Haroz, Principal Christopher Deviney, Principal Robert M. Grossman, Principal Neubauer Family Foundation Angela Zator Nelson Steven K. Glanzmann Chair Matthew Vaughn, Co-Principal Piano and Celesta Stage Personnel Eric Carlson Kiyoko Takeuti James J. Sweeney, Jr., Manager Blair Bollinger, Bass Trombone James P. Barnes Drs. Bong and Mi Wha Lee Chair Keyboards Davyd Booth Tuba Carol Jantsch, Principal Harp Lyn and George M. Ross Chair Elizabeth Hainen, Principal Patricia and John Imbesi Chair Timpani Don S. Liuzzi, Principal Dwight V. Dowley Chair Angela Zator Nelson, Associate Principal *On leave

Musicians Behind the Scenes Elizabeth Starr Masoudnia English Horn Where were you born? I was born at Chestnut Hill Hospital in Philadelphia. What piece of music could you play over and over again? The English horn plays a prominent part in both Berlioz’s Symphonie fantastique and Stravinsky’s The Rite of Spring. They are both revolutionary pieces of music that continue to intrigue and surprise me! What’s your favorite Philadelphia restaurant? Shiroi Hana. Tell us about your instrument. It is not English and not a horn! It is a longer, tenor version of the oboe. Like the oboe it is a double- reed instrument—all of us in the oboe section work on reeds daily, as they don’t last long and vary with weather conditions. And we need different reeds for different purposes. What’s in your instrument case? A beautiful feather from Philadelphia Orchestra violinist Davyd Booth’s macaw. I use it to clean out the moisture that accumulates inside the instrument so the water doesn’t go into key holes and cause a gurgling noise. If you could ask one composer one question what would it be? I would ask Brahms why he didn’t include English horn in any of his music! The sonority of the English horn would be perfect for his symphonies. What piece of music never fails to move you? Ravel’s Mother Goose Suite. When did you join the Orchestra? In September 1995. Do you play any other instruments? The oboe and a little bit of piano. What’s your favorite type of food? Since meeting my husband (in 1996) who is originally from Tehran, I have grown very fond of Persian food. What books are on your nightstand? Hard copy or e-reader? I always have at least five books on my nightstand! Often several are from the excellent Gladwyne library. One of them is Start with Why: How Great Leaders Inspire Everyone to Take Action by Simon Sinek. I have read books on an e-reader but prefer reading books the old- fashioned way, which, as my son pointed out, is not very practical for touring! To read the full set of questions, please visit www.philorch.org/Masoudnia. 12 Beyond the Baton This Month Yannick Talks about Mezzo-soprano Joyce DiDonato and Chausson’s Poème de l’amour et de la mer. You’ve brought so much incredible vocal work to our stage. Tell us what Chris Lee it means to have a talent like Joyce DiDonato joining us. My role as music director of the Metropolitan Opera, parallel with being music director of The Philadelphia Orchestra, means that I can collaborate with the most amazing singers of our time, and bring them to The Philadelphia Orchestra to nurture partnerships. One of these is with Joyce DiDonato. I consider her maybe the diva assoluta in America at the moment. And in the world she’s an inspiring force. Everything she does has a social meaning and something that is beyond the words, beyond the music. She brings unique emotion whenever she sings.

How will Joyce’s voice, paired with the Orchestra’s lush sound, bring this work to life? Joyce and I have done many things together: operas, concerts, and recitals. The Poème de l’amour et de la mer by Chausson is unjustly neglected. Its text is so uniquely made in combination with the music, so even if you don’t understand French, and especially with the way Joyce will bring it to life with her voice, you will be able to feel all the shades of emotion and the unique melancholy of French music of the Romantic era. I just can imagine now the sounds the Orchestra will produce with her voice, which is so human and warm. But at the same time it feels like another instrument of the orchestra. And the combination of the voice of our instruments of The Philadelphia Orchestra and the great voices of our time is always where we reach the pinnacle of our expressivity.

Joyce DiDonato performs Chausson’s Poème de l’amour et de la mer with the Orchestra November 8-10 in Philadelphia and November 13 at Carnegie Hall in New York.

To read previous Beyond the Batons, please visit www.philorch.org/ baton. Jessica Griffin

Ask Matías Tarnopolsky why he came to Philadelphia as Ask Matías Tarnopolsky off new president and CEO, and he’s the Orchestra’s and running, presto and molto espressivo. is in a unique class. It is an Philadelphia Orchestra “The organization of remarkable artistic excellence, propelled by an extraordinary relationship with the inspirational Nézet-Séguin, who himself occupies a stellar Yannick makes position in the international music scene and I was also absolutely great music with the Orchestra. in the Philadelphia Orchestra by the love for the struck the incredible opportunities within and by community, I was that community to engage ever more deeply. but impressed by not just the playing of the musicians, they do, also by their warmth, their passion for what and their passion for sharing what they do. Every time I learned something more about this group of musicians it added another layer to the depth and this community, is an opportunity I embrace with of my admiration. This a tremendous honor!” enormous joy and excitement. It’s

14

Jessica Griffin Jessica Matías Tarnopolsky (far left) Matías Tarnopolsky with Music Director Yannick Nézet-Séguin and Board B. Chairman Richard Worley

By Steve Holt An Interview with Matías Tarnopolsky Matías with An Interview

Writing the Next Next the Writing Illustrious Chapter 16 Writing the Next Illustrious Chapter Jessica Griffin

Tarnopolsky is introduced to the Born in Argentina and raised in London, Tarnopolsky Orchestra after being named comes to the Orchestra after nine years as executive president and CEO in April 2018. and artistic director of Cal Performances, the highly regarded, multi-disciplinary arts presenter and producer at UC Berkeley. Prior to that he held senior artistic management posts with the Chicago Symphony Orchestra and the New York Philharmonic, as well as in London.

Tarnopolsky says he’s loved the cornucopia of different performers he’s brought to the Bay Area for concerts, workshops, and master classes in music, dance, and theater. “But I’ve missed being around an orchestra and the core symphonic repertoire. It’s exciting to me how that body of music, from Baroque and before to modern day, so deeply intersects with other art forms. That’s been such a powerful source of creative energy from my years in Berkeley. None of the arts exist in isolation. They are all deeply connected; each helps to shine a light on the other. In my new role, I fully expect to stay in close contact with all of the art forms that I’m passionate about, and of course with the core symphonic repertoire, which is what has driven me since the beginning.”

Tarnopolsky’s journey to the pinnacle of the classical music world began in London. “I would go to the Proms [the legendary music festival held every summer in the Royal Albert Hall] all the time. That’s where I first heard The Philadelphia Orchestra, as a kid. I remember going to glorious concerts night after night and thinking, ‘I want to share this magic with as many people as possible.’ And that has been the great motivator for me from day one, just sharing this love and passion for orchestral music.”

Later, as a university student, “I would organize concerts, but I didn’t understand that could be a profession. Gradually I realized I could study music without necessarily aspiring to be a performer. I got so much energy from being able to share this experience with audiences.”

Not surprisingly for someone with his experience, Tarnopolsky is familiar with the long-running narrative that the institution of the symphony orchestra is in trouble, if not dying. He doesn’t buy it.

“I’ve been reading the same articles about ‘The Demise of Classical Music’ for decades. But you can see it’s not true when you go to concert halls around the country and the world. It’s not true when you hear orchestras like The Philadelphia Orchestra and come away inspired by their concerts. It’s our job as arts administrators and musicians in these orchestras to be the most passionate 18 Writing the Next Illustrious Chapter Jessica Griffin

Tarnopolsky addresses a advocates for the work of these mighty global cultural gathering of Board members, institutions. We do need to be ever smarter about how Orchestra musicians, and staff at we connect with our audiences and our communities. a reception in April 2018. Here he We need to be ever more relevant in the public eye and thanks Ralph Muller, chair of the make sure the programs on our stage resonate deeply search committee, and the other with our audiences. We need to advance our art form. members of the committee. But I don’t subscribe to the ‘Demise’ narrative. I’m an eternal optimist, not like Candide, but genuinely and viscerally optimistic.”

Is there a tension between being someone who is passionate about music, but also has to pay the bills? Steve Holt, managing partner at “I don’t think so. Long-term financial sustainability is re:Write, is a veteran journalist and absolutely part of the equation. When you’re thinking musician. abut great artistic projects, you need to do be able to do them year after year; there’s no point in doing something in year one that you can no longer do years later. The magic happens when everything is well in balance, literally and figuratively. So understanding how you put all the pieces of the jigsaw puzzle together, creating and vision, and then implementing that as a strategy, is central to any kind of exciting ambitious planning.”

Tarnopolsky also believes that a great arts institution like The Philadelphia Orchestra has a responsibility to evolve and build, to keep looking for the new, the interesting, and how to present it. But that does not mean abandoning the Orchestra’s glorious heritage.

“I want us to be as much the home for somebody to hear their very first Beethoven Ninth Symphony, or their hundredth, and the place where you can hear that wonderful piece by a really interesting new composer or that new artist. The metaphor I use is being both a museum and a laboratory: a museum where the great works of art are beautifully expressed and you can connect with them deeply in our hall, and a laboratory where you can see the future taking shape, be that a new artist or a new piece of music, or a new form of concert presentation.”

Tarnopolsky already feels at home in the City of Brotherly Love, thanks to earlier visits. “I was at the opening of the Kimmel Center. It was unforgettable to walk into that glorious hall and hear the Orchestra; it was an unforgettable occasion. What’s exciting now is the sense of discovery. Philadelphians love their city and that’s infectious. I’m greatly looking forward to delving deeply and finding those great corners of the city I don’t know yet. Of course, just the sheer joy of being able to hear the Orchestra on an almost daily basis is a life-giving source of energy for me.”

This early in the game, his vision for the Orchestra’s future is a work in progress. But he promises, “It will be a vision that celebrates the great ‘Philadelphia Sound,’ the excellence of this mighty Orchestra, the uniqueness of the relationship with Yannick, which is just extraordinary. And making sure we prepare ourselves to write the next illustrious chapter!” P 20 In the Spotlight A Monthly Profile of Orchestra Fans and Family

As is true with so many of The Philadelphia Orchestra’s dedicated volunteers, newly installed President of the Alan Kolc Orchestra Volunteer Committees Nancy Galloway got involved at the urging of a friend. Nancy started her own business, Custom Curtains, and one of her first clients was Dottebob Andes, the late, beloved force in Philadelphia charities for 40 years.

“When Dottebob first asked me to become an Orchestra volunteer, I was a widow with a daughter and a business. I had never done anything like this before, and I thought I didn’t have a lot of time for volunteering. But eventually, I got remarried to John Galloway, my daughter graduated from college, and I had more time.

“As soon as I said yes, Dottebob said ‘I know you’ll want to take a leadership role.’ I thought, ‘What have I gotten myself into!’” Nancy Galloway Nancy became the chair of a major fundraiser. One volunteer role led to another, until, in 2016, she became vice president of the Volunteer Committees, the stepping-stone to her current post.

Long before she met Dottebob, Nancy had a connection to the Orchestra. A Philadelphian since the age of four, Nancy grew up in a sports family, not a musical one. (Her father, Al Molloy, was a legendary tennis and squash coach at the University of Pennsylvania.) But starting when she was in fourth grade, an uncle who lived in Montreal made regular trips to the Metropolitan Opera in New York, with Nancy in tow. That lit the fires of musical interest.

Later, as a student at Penn, Nancy took a course on the history of the symphony. Soon, she was regularly climbing into the lofty seats in the Academy of Music, to thrill to the sounds of the Fabulous Philadelphians.

Now, as president of the Volunteer Committees, Nancy has lofty goals for her two-year term.

“My focus is going to be on the membership of the volunteers, creating new ones, and keeping us engaged and happy as a community. To that end, we’ve started a brand new online newsletter called Grace Notes. I think it’s the perfect description of volunteers, because ‘grace notes’ add to and embellish the musical score, and that’s what our volunteers do for the Orchestra.” For more on Nancy Galloway’s story visit www.philorch.org/galloway. 44 New Rachmaninoff CD on Deutsche Grammophon

Yannick, pianist Daniil Trifonov, and The Philadelphia Orchestra continue their cycle of works by Rachmaninoff for the Deutsche Grammophon (DG) label with their latest CD, released last month. The new recording features the Second and Fourth piano concertos in live performances from Verizon Hall, along with three movements from Bach’s Partita No. 3 for solo violin, arranged for piano by Rachmaninoff.

In his review of the Second Concerto from April 2018, David Patrick Stearns wrote in the Philadelphia Inquirer: “I’ve heard most Rachmaninoff concerto recordings out there, and on the basis of what I heard Friday, these aren’t going to sound like any of the others. In a good way. Maybe in a great way.” And he remarked about the Fourth Concerto: “By the end of the performance, DG had another winner.”

“One can feel that the music is almost in their genes,” Trifonov remarked when asked about these collaborations with Yannick and The Philadelphia Orchestra. “It comes very effortlessly and very naturally. That makes the whole music- making experience incredibly exciting. It’s a great joy to be coming back.”

The disc can be purchased through most digital music services, including iTunes and Amazon, in addition to other music retailers.

11.18 News.indd 24 10/3/18 10:28 AM 48 Noted in Passing

The Philadelphia Orchestra mourns the passing on May 10 of Keith Brown, trombonist with the Orchestra from 1959 to 1962 (associate principal, 1961-62).

Mr. Brown was born in Colorado Springs in 1933, and in 1951 he began musical studies at the University of Southern California (USC). Two years later he joined the U.S. Army and in 1956 returned to USC, graduating cum laude. He went on to become a member of the Indianapolis Symphony, the Aspen Festival, the New York Brass Quintet, the Symphony of the Air, and the Casals Festival and Metropolitan Opera orchestras. He was also affiliated with numerous schools as a faculty member and conductor, including Temple and Indiana universities, the Manhattan School of Music, and the Music Academy of the West.

Keith Brown He will perhaps be most remembered for more than 80 editions published by the International Music Co., including 10 volumes of orchestral studies for trombone and tuba, commonly known as the “Brown Books.”

11.18 Noted.indd 24 10/3/18 10:30 AM