April/May 2013 The Inaugural Season 2 From the President

J.D. Scott Dear Friends:

What a tremendous 2012-13 season it’s been. You have welcomed Yannick with open arms and warm hearts, not only to the Kimmel Center but to the city. From Verizon Hall to Carnegie Hall, audiences and critics alike have been unanimous in praising the unique bond between him and the Orchestra, and many have remarked that they believe the ensemble has never sounded better. There have been many incredible moments already this year, and there are still more to come, from two weeks with our very special friend Simon Rattle, to Yannick’s return with concerts that feature the brilliant violinists Hilary Hahn and Gil Shaham. There’s still time to witness the magic firsthand and introduce your friends to the Orchestra!

Yannick has designed a remarkable 2013-14 season, of which he is especially proud. He has chosen programs that in particular showcase the virtuosity of the Orchestra musicians. As Yannick has said, “The fabric of the season is really woven together to create a sense of continuity. We have put together a great journey.” When we combine the fireworks produced by this partnership between Yannick and the Orchestra with the thoughtfully-curated 2013-14 season, the stars will be aligned for exemplary artistry on the stage.

I encourage you to become part of the journey, by renewing your subscription early, or becoming a new subscriber before this season ends. You can choose from a traditional subscription, or for those who enjoy making their own selections, you can create your own six- concert package. Subscribers also receive great benefits, including the opportunity to add on single tickets before they go on sale to the general public at up to 40% off, flexible ticket exchanges, and discounted parking. Many concerts do sell out so the only way to guarantee that you’ll be able to see the performances you want is to subscribe now. Visit www.philorch.org to learn all about the new season and how you can subscribe.

The upcoming summer promises to be one that is full of meaningful musical experiences as the Orchestra travels from to China, Vail, and Saratoga. Please follow us online, or join us if your plans allow.

On a reflective note of gratitude, we are all still mourning the passing of former Music Director this past February. A loss such as this deeply affects our artistic and musical community— not just here in Philadelphia but around the world. Maestro Sawallisch was a man of profound artistry and unwavering yet quiet dedication. We will continue to honor his rich legacy as would befit him—by making beautiful and inspired music that touches the hearts and minds of all those who will hear it.

Yours in Music,

Allison Vulgamore President & CEO 4 Music Director

Jessica Griffin Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The in the fall of 2012. From the Orchestra’s home in Verizon Hall to the Carnegie Hall stage, 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 Yannick “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”

Over the past decade, Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. He has appeared with such revered ensembles as the Vienna and Berlin philharmonics; the Boston Symphony; the Accademia Nazionale di Santa Cecilia; the Dresden Staatskapelle; the Chamber Orchestra of Europe; and the major Canadian orchestras. His talents extend beyond symphonic music into opera and choral music, leading acclaimed performances at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival.

In February 2013, following the July 2012 announcement of a major long-term collaboration between Yannick and Deutsch Grammophon, the Orchestra announced a recording project with the label, in which Yannick and the Orchestra will record Stravinsky’s The Rite of Spring. His discography with the Rotterdam Philharmonic for BIS Records and EMI/Virgin includes an Edison Award-winning album of Ravel’s orchestral works. He has also recorded several award-winning albums with the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued studies with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. In 2012 Yannick was appointed a Companion of the Order of Canada, one of the country’s highest civilian honors. His other honors include Canada’s National Arts Centre Award; a Royal Philharmonic Society Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and an honorary doctorate by the University of Quebec in Montreal.

To read Yannick’s full bio, please visit www.philorch.org/conductor. 6 The Philadelphia Orchestra 2012-2013 Season

Yannick Nézet-Séguin Yumi Ninomiya Scott David Fay Music Director Dmitri Levin Duane Rosengard Walter and Leonore Annenberg Boris Balter Robert Kesselman Chair William Polk Some members of the string Wolfgang Sawallisch Violas sections voluntarily rotate Conductor Laureate Choong-Jin Chang, Principal seating on a periodic basis. Charles Dutoit Ruth and A. Morris Williams Conductor Laureate Chair Flutes Cristian Macelaru Kirsten Johnson, Associate , Principal Assistant Conductor Principal Paul and Barbara Henkels Kerri Ryan, Assistant Principal Chair First Violins Judy Geist David Cramer, Associate David Kim, Concertmaster Renard Edwards Principal Dr. Benjamin Rush Chair Anna Marie Ahn Petersen Rachelle and Ronald Juliette Kang, First Associate Piasecki Family Chair Kaiserman Chair Concertmaster David Nicastro Loren N. Lind Joseph and Marie Field Chair Burchard Tang Kazuo Tokito, Piccolo Marc Rovetti, Acting Che-Hung Chen Associate Concertmaster Rachel Ku Oboes Amy Oshiro-Morales, Acting Marvin Moon Richard Woodhams, Principal Assistant Concertmaster Jonathan Chu Samuel S. Fels Chair Herbert Light Peter Smith, Associate Larry A. Grika Chair Cellos Principal Barbara Govatos Hai-Ye Ni, Principal Jonathan Blumenfeld Wilson H. and Barbara B. Taylor Albert and Mildred Switky Edwin Tuttle Chair Chair Chair Elizabeth Starr Masoudnia, English Jonathan Beiler Yumi Kendall, Acting Associate Horn Hirono Oka Principal Joanne T. Greenspun Chair Richard Amoroso Wendy and Derek Pew Robert and Lynne Pollack Foundation Chair Clarinets Chair John Koen, Acting Assistant Ricardo Morales, Principal Yayoi Numazawa Principal Leslie Miller and Richard Jason De Pue Richard Harlow Worley Chair Lisa-Beth Lambert Gloria de Pasquale Samuel Caviezel, Associate Jennifer Haas Orton P. and Noël S. Jackson Principal Miyo Curnow Chair Sarah and Frank Coulson Elina Kalendareva Kathryn Picht Read Chair Daniel Han Winifred and Samuel Mayes Chair Raoul Querze Noah Geller* Robert Cafaro Peter M. Joseph and Susan Volunteer Committees Chair Rittenhouse Joseph Chair Second Violins Ohad Bar-David Paul R. Demers, Bass Clarinet Kimberly Fisher, Principal Catherine R. and Anthony A. Peter A. Benoliel Chair Clifton Chair Bassoons Paul Roby, Associate Derek Barnes Daniel Matsukawa, Principal Principal Mollie and Frank Slattery Richard M. Klein Chair Sandra and David Marshall Chair Mark Gigliotti, Co-Principal Chair Alex Veltman Angela Anderson Dara Morales, Assistant Holly Blake, Contrabassoon Principal Basses Anne M. Buxton Chair Harold Robinson, Principal Horns Philip Kates Carole and Emilio Gravagno Jennifer Montone, Principal Mitchell and Hilarie Morgan Chair Gray Charitable Trust Chair Family Foundation Chair Michael Shahan, Associate Jeffrey Lang, Associate Principal Booker Rowe Principal Jeffry Kirschen Davyd Booth Joseph Conyers, Assistant Daniel Williams Paul Arnold Principal Denise Tryon Lorraine and David Popowich John Hood Shelley Showers Chair Henry G. Scott Roster continues on pg. 8 8 The Philadelphia Orchestra 2012-2013 Season

Trumpets Tuba Piano and Celesta David Bilger, Principal Carol Jantsch, Principal Kiyoko Takeuti Marguerite and Gerry Lenfest Lyn and George M. Ross Chair Chair Harps Jeffrey Curnow, Associate Elizabeth Hainen, Principal Principal Timpani Patricia and John Imbesi Gary and Ruthanne Don S. Liuzzi, Principal Chair Schlarbaum Chair Dwight V. Dowley Chair Margarita Csonka Montanaro, Robert W. Earley Angela Zator Nelson, Associate Co-Principal Principal Trombones Patrick and Evelyn Gage Librarians Nitzan Haroz*, Principal Chair Robert M. Grossman, Neubauer Family Foundation Principal Chair Percussion Steven K. Glanzmann Matthew Vaughn, Acting Christopher Deviney, Principal Principal Mrs. Francis W. De Serio Chair Stage Personnel Eric Carlson Anthony Orlando, Associate Edward Barnes, Manager Blair Bollinger, Bass Principal James J. Sweeney, Jr. Trombone Ann R. and Harold A. Sorgenti James P. Barnes Drs. Bong and Mi Wha Lee Chair Chair Angela Zator Nelson *On leave Musicians Behind the Scenes Holly Blake Contrabassoon

Chris Lee Where were you born? Philadelphia, PA. What piece of music could you play over and over again? Rachmaninoff’s Symphonic Dances. What is your most treasured possession? My possessions are expendable or replaceable. I treasure my family above all. What’s your favorite Philadelphia restaurant? We always have a great meal at Fiorino in East Falls. Tell us about your instrument. My contrabassoon is a Heckel from the 1930s. It was originally owned by the , then the Cincinnati Symphony. I purchased it from the retired contrabassoonist there in 1993 and have played it here ever since. The Philadelphia Orchestra also owns a wonderful historic Heckel contrabassoon from the early 20th century. What’s in your instrument case? My Heckel bassoon, two bocals [mouthpieces], two swabs, a seat strap, a water bottle, three reed boxes, 15 reeds, a pouch of reed-making tools, magnifiers, a tuner, a pencil, and a silk scarf to protect the instrument. If you could ask one composer one question what would it be? I would ask Brahms to write a concerto for bassoon.

To read the full set of questions, please visit www.philorch.org/hollyblake. 10 History, Serendipity, Legacy The Philadelphia Orchestra’s 2013 Residency and 40th Anniversary Tour of China By Margie Smith Holt Chris Lee

(L to r) Violist Che-Hung Among the documents and memorabilia from The Chen, Concertmaster David Philadelphia Orchestra’s historic trip as the first Kim, violinist Daniel Han, and American orchestra to visit the People’s Republic of Acting Associate Principal China is a brief piece of correspondence on official Cello Yumi Kendell give a White House letterhead. Dated October 1, 1973, and pop-up performance at the Temple of Heaven in Beijing signed by President Richard Nixon, the letter praises the during the Orchestra’s 2012 Orchestra for its “magnificent job” and personally thanks China Residency. for having “demonstrated an admirable spirit of flexibility in adjusting your performances to Chinese desires.”

You know there’s a backstory, and it goes something like this: Ormandy was forced into being “flexible” when Chairman Mao’s wife insisted that he change the program—from Beethoven’s Fifth Symphony to the Sixth. A scramble for music ensued. Hardly anyone was listening to Western music in China at the time, 12 History, Serendipity, Legacy Philadelphia Orchestra Association Archives

Music Director Eugene never mind finding a score. Violinist Herb Light, one of Ormandy and The just a handful of musicians who made that trip and still Philadelphia Orchestra plays with the Orchestra, laughs at the memory of the perform at Beijing’s Hall of hand-copied sheets full of clunkers that were eventually the Nationalities during the procured. It was hearsay, of course, but word was historic 1973 tour of China. that the legendary music director was livid. Who was Madame Mao to tell him what to program? “Ormandy was quite furious. He was ready to jump ship!” Light remembers hearing. “They calmed him down … U.S.- China relations were hinging on this!”

It was a different world. Diplomatic ties between the two countries were still new. Nixon himself had visited China just the previous year. “It was unknown territory,” says Light, who remembers landing in Beijing (then Peking) in what seemed “like a little country airport.” He also has a memory of the entire Orchestra, jet-lagged from the long flight, being herded into a theater for a showing of The White-Haired Girl, a popular—and propaganda-filled— production of the Communist era. “The time change is crazy so three o’clock in the afternoon was three o’clock at night,” says Light. “I don’t remember much about it except I have a vivid memory of ballet dancers. And the title.”

Unbeknownst to Light, or anybody else in the sleepy Philadelphia contingent in the audience, there was a cellist playing in that show named Xiao Fang Lu. Her daughter—too young to attend the performance—is Hai-Ye Ni, The Philadelphia Orchestra’s principal cello. “I was one-year-old, living in Shanghai,” she says. The only current member of the Orchestra born in mainland China, Ni didn’t know about the historic visit until after she joined the ensemble in the fall of 2006. “Back then, there wasn’t that much cultural exchange,” she says. “It was a small population of people who studied —Western music.”

Her mother was one of them. “She studied Western music on the cello but during the Cultural Revolution, which was 1966 through ’76 … she played mostly Chinese music arranged for cello. That was what everybody was playing then.”

Discovering the ties that bind—the stories that connect us—is what cultural exchange is all about. When people of different backgrounds begin talking to each other, understanding is fostered. Music is made. Little girls with limited exposure to Western music grow up to be principals with a great American orchestra. “The Philadelphia Orchestra has always been an ambassador to the world for the Commonwealth and for our great 14 History, Serendipity, Legacy

city,” says Orchestra President and CEO Allison Vulgamore, “so it’s essential for us to keep that part of our legacy alive.”

She adds, “It’s important to me that this is built on something good and generated from conversations between people of two countries as early as 1940” when Ormandy and organized a relief concert for war- battered hospitals in China. A chamber ensemble The Orchestra, says Vulgamore, “owns this historic performs on an outdoor relationship” with China. stage at Hongshuizhuang Central Elementary School, a Coca-Cola The Philadelphians returned to China 20 years after that Project Hope School in initial visit in 1973, then again in 1996 and 2001 (with Tianjin during the 2012 Wolfgang Sawallisch for all three visits and Chinese Residency. Comprised pianist Lang Lang in 2001); in 2008 with Christoph of (l to r) erhu player Eschenbach; and, with Charles Dutoit, in 2010 for Jiebing Chen (the erhu is a Chinese two-stringed the World Expo in Shanghai. It was at the Expo, when bowed fiddle), Principal Vulgamore was still new on the job, that she had a Clarinet Ricardo Morales, serendipitous meeting with Ambassador Nicholas Platt, Principal Timpani Don a diplomat instrumental in both the President’s and the Liuzzi, and cellist Ohad Orchestra’s seminal visits to China. Bar-David, the ensemble performed a variety of repertoire for students at “It was like meeting a great part of your past,” Vulgamore the school. says, likening the encounter to having a chance meeting with Stokowski. “He just showed up to the performance and came backstage because a couple of musicians recognized him. It was wonderful,” she says. “Meeting Ambassador Platt reminded me of the important history that this Orchestra and that country had and so I told him we should do something together.”

They did. The next year, with support from the U.S. State Department’s “People-to-People” Exchange and China’s Ministry of Culture, Vulgamore and Chen Ping, president of the National Centre for the Performing Arts in Beijing, signed a memo of understanding. A planned five-year residency began with a pilot program last year that included concerts, master classes, and community 16 History, Serendipity, Legacy Chris Lee outreach events, “connecting through the hearts of local musicians to their supporting communities, through the sharing of musical talents between Philadelphia Orchestra musicians and Chinese musicians, engaging in music education, and spreading the joy of classical music with citizens in residential neighborhoods and at unique historic sites,” says Vulgamore. There were a total of 31 community engagement activities over the course of a week, from visits to schools and hospitals to chamber concerts in art galleries and side-by-side rehearsals, in both cities and the provinces.

The 2013 Residency (from May 29-June 9) will bring American and Chinese musicians together again in those same types of activities. According to During the 2012 Residency Orchestra Vice President for Global Initiatives and Principal Flute Jeffrey Government Relations Craig Hamilton, “The Orchestra Khaner conducts a master looks forward to returning to the communities where the class in the Guangzhou Orchestra has established relationships with the citizens Opera House with students from the city’s Xinghai of Beijing, Shanghai, Macao, and Tianjin, Philadelphia’s Conservatory of Music. Sister City. We’re also looking forward to getting to know people in the Hangzhou community, where we’ll do residency activities as well as perform, allowing us to Margie Smith Holt is a expand our work with the people of China.” New York-based writer and journalist. She is former director of communications One of the more special events will be a performance for The Kimmel Center with members of The Philadelphia Orchestra and the for the Performing Arts China National Symphony, the same ensemble Ormandy and was the host of The rehearsed 40 years ago (then called the Central Philadelphia Orchestra’s Philharmonic Society of China). “In 1973 our sound was Global Concert Series. put through what was then the Communist broadcast system. Madame Mao broadcast the Orchestra throughout the country … including into the rice paddies. So it is very important that our concerts today offer the memory everyone has of the great Philadelphia Sound,” says Vulgamore.

Part of the focus of the Residency is to partner with organizations in smaller communities that don’t have frequent contact with international musicians and orchestras. “It’s paramount,” says Vulgamore, “to help citizens anywhere, whether they’re in big cities or small, have access to the arts, have access to concerts and the joy that brings.” The Residency is an opportunity to Violinist Philip Kates performs Philip Kates Violinist for patients and employees Union Medical of the Peking College Hospital. He visited and performed at the hospital for three days during the 2012 Residency. P ways.” our peoples together—in simple, powerful, and lasting our peoples together—in person, and country to country, and it specifically brings and it country, person, and country to that music is our common language, shared person to that music is our common Vulgamore sums it all up by saying,is a powerful truth “It Vulgamore further artistic innovation.” further artistic innovation.” directly to the people, creating cultural bonds that drive bonds that drive the people, creating cultural directly to takes and delivers it of the concert hall the music out “break the mold of traditional orchestras,” she says. she “It mold of traditional orchestras,” “break the Chris Lee 18 Beyond the Baton A Q&A with Yannick Nézet-Séguin

Chris Lee What was the first piece of music you conducted, and where? The first time I actually stood in front of a group was when I was nine, and I “conducted” the national anthem of Canada in a rehearsal. I was dying to try it, and it worked! So that was when I knew I could have that ambition. The first time I conducted a concert, with choir and organ, was the Fauré Requiem, when I was 18. And the first time with orchestra was Bach’s St. John Passion. What is the hardest piece you’ve ever conducted, and why? Berg’s Wozzeck. I was excited to be given this opportunity, but I was very young. I started studying a few months ahead of time and remember my panic when I looked at the first page—I couldn’t understand a thing! I spent two hours on that one page! It was very difficult, but eventually, of course, I did it. You conduct a lot of opera. Do you have a favorite? Oh, it is so hard to choose, because of my love for choruses and big ensembles. I love so much, from Mozart to Strauss, but perhaps I can say that I feel especially at ease with Puccini’s Turandot. What would you do on an unexpected night off? I’m still trying to get a real night off to go and see a show on Broadway. I have never seen a Broadway musical, and I would really like to have that experience. What instrument(s) do you play? The piano is my real instrument. I had cello lessons and trumpet lessons, but never consider that I really play these instruments. Do you have a favorite movie? The greatest movie I’ve ever seen, and my favorite, is Dancer in the Dark by Lars van Trier, starring Björk. Do you play any sports? When I was in school in gym class, the thing I succeeded at the most was gymnastics because I have the build of a gymnast. But now I also consider myself very good at wind surfing. And I’ve had a few tennis lessons, but I would need to do more to become really good.

To read the questions from previous months, please visit www.philorch.org/baton. In12 Tribute

On February 22, 2013, the world lost a musical giant when former Philadelphia Orchestra Music Director Wolfgang Sawallisch passed away at his home in Grassau, Germany. While specific musical highlights are personal for each of us and too numerous to mention Ken Kaufman “I think it’s within human nature to desire harmony and beauty and communication in the world, to try to understand one another. Music is a very big part of that.” — Wolfgang Sawallisch here, he will be remembered for his pure musicianship, humble integrity, unparalleled inspiration, and serene wisdom.

Maestro Sawallisch made his Orchestra debut in 1966, was music director from 1993 to 2003, and made his final appearance leading the Philadelphians in 2005; he was conductor laureate at the time of his death. Sawallisch’s tenure included many memorable and significant moments, including a year-long celebration of the Orchestra’s­ 100th Birthday in 2000 and the opening of the Kimmel Center in December 2001. During his decade as music director he fostered the rich tradition of the ensemble’s legendary Philadelphia Sound, led the ensemble in over 650 performances at home and on tour, and presented musical works by more than 100 composers, while strengthening and securing the Orchestra’s artistic future.

“I am a Philadelphian,” he said in 1993, just after he became music director, and indeed, he and his beloved wife, Mechthild, became part of the fabric of this city. Despite an initial uneasiness among some, Sawallisch won hearts with surprising ease. His enduring legacy of artistic excellence will continue to be felt for years to Wolfgang Sawallisch the come. Orchestra in 1995. Don Tracy 4024 In the Spotlight A Monthly Series of Donor and Patron Profiles

When Yannick Nézet-Séguin made his first subscription concert appearances as music director of The Philadelphia Orchestra—leading performances of Verdi’s Requiem—the ovations were resounding. Raves poured in. When he led the work the following week for his Carnegie Hall debut, the New York Times described it as “a heaven- storming performance” that had “thoroughly … won over the audience.” The critics weren’t the only ones impressed.

“We were so blown away by that concert,” says Kristen Phillips, who Kristen Phillips and Matt attended the performance with her husband, Matt Schreck were inspired to Schreck. “It was a really powerful and emotionally moving make a donation. performance,” says Kristen. “From the very first note to the end, I was riveted.” Matt agrees. “The presence of the music at that concert was just incredible,” he says.

They say that music has the power to inspire. Kristen and Matt were so moved by the Fabulous Philadelphians’ Verdi performance that they were inspired to make a $10,000 donation. “We pretty much immediately inquired about joining the Maestro’s Circle,” says Kristen. “That was our first concert of the season. A new season, a new era. And we just felt like we wanted to be a part of it.”

As recent transplants to Philadelphia, Kristen and Matt are relatively new fans of The Philadelphia Orchestra, but they’re no strangers to the music world. Kristen was president and CEO of the Hartford Symphony from 2008 to 2011. She’s also a choral singer and has sung the Verdi Requiem (as an alto with the Houston Symphony Chorus and the Hartford Chorale). They’re big believers in supporting the organizations they love. “We’re still contributors to the Hartford Symphony because we just really feel strongly in what they’re doing,” says Kristen, “and want to put our money where our mouth is.”

For more on Kristen and Matt’s story visit www.philorch.org/phillips- schreck.