27 Season 2015-2016

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

Opening Night Gala

Yannick Nézet-Séguin Conductor

Bach/orch. Stokowski Toccata and Fugue in D minor, BWV 565

Debussy/orch. Stokowski “Clair de lune,” from Suite bergamasque

Dukas The Sorcerer’s Apprentice

Tchaikovsky from Suite from The Nutcracker, Op. 71a (with Disney’s Fantasia): III. Dance of the Sugar Plum Fairy VII. Dance of the Reed Flutes V. Arabian Dance VI. Chinese Dance IV. Russian Dance VIII. Waltz of the Flowers

This program runs approximately 1 hour, 15 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 wrti.org to listen live or for more details.

3 Story Title 29 The Philadelphia Orchestra Jessica Griffin

The Philadelphia Orchestra Orchestra also reaches Carnegie Hall and the is one of the preeminent thousands of listeners on the Kennedy Center while also orchestras in the world, radio with weekly Sunday enjoying summer residencies renowned for its distinctive afternoon broadcasts on in Saratoga Springs, New sound, desired for its WRTI-FM. York, and Vail, Colorado. keen ability to capture the Philadelphia is home and The Philadelphia Orchestra hearts and imaginations the Orchestra nurtures an of audiences, and admired serves as a catalyst for important relationship with for a legacy of imagination cultural activity across patrons who support the and innovation on and off Philadelphia’s many main season at the Kimmel the concert stage. The communities, as it builds an Orchestra is transforming its Center, and also with those offstage presence as strong rich tradition of achievement, who enjoy the Orchestra’s as its onstage one. The sustaining the highest area performances at the Orchestra’s award-winning level of artistic quality, but Mann Center, Penn’s Landing, Collaborative Learning also challenging—and and other cultural, civic, initiatives engage over exceeding—that level by and learning venues. The 50,000 students, families, creating powerful musical Orchestra maintains a strong and community members experiences for audiences at commitment to collaborations through programs such as home and around the world. with cultural and community PlayINs, side-by-sides, PopUp organizations on a regional concerts, free Neighborhood Music Director Yannick and national level. Concerts, School Concerts, Nézet-Séguin’s highly collaborative style, deeply- Through concerts, tours, and residency work in rooted musical curiosity, residencies, presentations, Philadelphia and abroad. and boundless enthusiasm, and recordings, the Orchestra The Orchestra’s musicians, paired with a fresh approach is a global ambassador for in their own dedicated to orchestral programming, Philadelphia and for the roles as teachers, coaches, have been heralded by United States. Having been and mentors, serve a key critics and audiences alike the first American orchestra role in growing young since his inaugural season in to perform in China, in 1973 musician talent and a love 2012. Under his leadership at the request of President of classical music, nurturing the Orchestra returned to Nixon, The Philadelphia and celebrating the wealth recording, with two celebrated Orchestra today boasts a new of musicianship in the CDs on the prestigious partnership with the National Philadelphia region. For Deutsche Grammophon Centre for the Performing more information on The label, continuing its history Arts in Beijing. The ensemble Philadelphia Orchestra, of recording success. The annually performs at please visit www.philorch.org. 6 Music Director

Chris Lee Music Director Yannick Nézet-Séguin is an inspired leader of The Philadelphia Orchestra, and he has renewed his commitment to the ensemble through the 2021-22 season. 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 him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fourth season include a year-long exploration of works that exemplify the famous Philadelphia Sound, including Mahler’s Symphony No. 8 and other pieces premiered by the Orchestra; a Music of Vienna Festival; and the continuation of a commissioning project for principal players.

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 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 two CDs on that label; the second, Rachmaninoff’s Rhapsody on a Theme of Paganini with pianist Daniil Trifonov, was released in August 2015. He continues fruitful recording relationships 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 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 appointments as Companion of the Order of Canada and Officer of the National Order of Quebec, a Royal Philharmonic Society Award, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, and honorary doctorates from the University of Quebec, the Curtis Institute of Music, and Westminster Choir College.

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

31 Framing the Program

The Philadelphia Orchestra’s Opening Night Concert this Parallel Events season celebrates the 75th anniversary of Fantasia, Walt 1708 Music Disney’s masterpiece that so prominently features the Bach A. Marcello Fabulous Philadelphians. Toccata and Oboe Concerto Fugue in Literature Fantasia begins with the striking image of Leopold D minor Curll Stokowski conducting Johann Sebastian Bach’s Toccata The Charitable and Fugue in D minor, which opens the concert this Surgeon evening as well. Stokowski was crucial to the film in Art many ways, from helping to conceive the project, to Watteau orchestrating some of the pieces (Bach’s Toccata was Quellnymphe originally written for organ), to exposing generations of History children to classical music. He also played a starring role English capture and got to shake hands with Mickey Mouse! Sardinia The initial idea was to animate French composer Paul 1891 Music Dukas’s The Sorcerer’s Apprentice (the one piece Tchaikovsky Dvořák in Fantasia for which Stokowski conducted a pick- The Nutcracker Carnival up orchestra rather than the Philadelphians) but the Overture project ultimately expanded to a full-length feature that Literature included many works. Tonight we also hear Stokowski’s Doyle orchestration of the beloved piano piece “Clair de lune” The White from Claude Debussy’s Suite bergamasque, and the Company concert concludes with excerpts from Tchaikovsky’s ballet Art The Nutcracker, which will be accompanied by a screening Munch Melancholy of that part of Fantasia. History Discovery of Java Man

1897 Music Dukas Strauss The Sorcerer’s Don Quixote Apprentice Literature Kipling Captains Courageous Art Matisse Dinner Table History World Exhibition in Brussels

33 The Music Toccata and Fugue in D minor (orchestrated by Leopold Stokowski)

Leopold Stokowski, who was music director of The Philadelphia Orchestra from 1912 to 1941, wonderfully transformed music he loved into vibrantly colored orchestrations of his own. The compositions that inspired him varied widely, ranging from pieces by Baroque masters to Romantic opera arias, from medieval plainchant to the piano music of Chopin and Debussy. He was particularly drawn to the music of J.S. Bach and over the years arranged some three dozen organ, instrumental, and vocal pieces. The largest number were those for organ, which was Stokowski’s Johann Sebastian Bach own instrument; when he emigrated from England to Born in Eisenach, America he served as organist at St. Bartholomew’s Church March 21, 1685 in New York City. This attraction seems natural as well Died in Leipzig, July 28, 1750 because the organ is itself an orchestra in the sounds and instrumental colors it can produce. From Baroque Organ to Modern Orchestra The organs of Bach’s time, especially early in his career, were manually pumped pipe instruments that produced nowhere near the volume of sound we now associate with great cathedral organs, let alone with a modern symphony orchestra. Yet some of Bach’s organ pieces, notably this Toccata and Fugue, anticipate such a sonic future. As Stokowski himself declared: “Bach foresaw … this immense volume that a modern organ or orchestra can produce. That showed foresight of a tremendous nature.” Stokowski’s advocacy of Bach’s organ works helped to make this music known; he was not capitalizing on the fame of beloved pieces, but rather helping to make them beloved. As the pianist Oscar Levant observed: “The highly polished and iridescent playing of the orchestra—as slick, colorful, and vibrant as the audience it attracted—virtually put Bach, for the first time, on the Hit Parade.” This was especially the case with the Toccata and Fugue in D minor, which some pianists played in piano transcriptions by virtuosos like Carl Tausig and Ferruccio Busoni but which was generally not well known. Disney’s landmark Fantasia changed all that and made the Toccata and Fugue in D minor one of Bach’s most famous works. 34

Bach composed the D-minor A Closer Look Toccata means a “touch piece” and in the Toccata and Fugue probably Baroque era usually signaled a fast and free work with a around 1708. Leopold good amount of virtuoso scales and arpeggiation. Bach’s Stokowski orchestrated it in piece opens with a dramatic flourish, an ornament that then 1925. leads through various sections of free writing before a four- The first Philadelphia Orchestra voice fugue. The piece concludes with a toccata-like coda. performance of the Toccata In the preface to the score Stokowski wrote: and Fugue in Stokowski’s orchestration was in February Of all the music of Bach this Toccata and Fugue is 1926, led by Stokowski. Most among the freest in form and expression. Bach was in recently on subscription, the the habit of improvising on the organ and harpsichord, work was heard in March 2013, and this Toccata probably began as an organ with Yannick Nézet-Séguin. improvisation in the church of St. Thomas in Leipzig. In this lengthy, narrow, high church the thundering This orchestration was recorded harmonies must have echoed long and tempestuously, by the Orchestra five times: in 1927, 1934, and 1939 with for this music has a power and majesty that is cosmic. Stokowski for RCA; in 1995 One of its main characteristics is immense freedom with Wolfgang Sawallisch of rhythm, and plasticity of melodic outline. In the for EMI; and in 2013 with sequence of harmonies it is bold and path-breaking. Nézet-Séguin for Deutsche Its tonal architecture is irregular and asymmetric. Of all Grammophon. the creations of Bach this is one of the most original. Its inspiration flows unendingly. Its spirit is universal so The score calls for four flutes (III and IV doubling piccolo), that it will always be contemporary and have a direct three oboes, English horn, three message for all men. clarinets, bass clarinet, three Stokowski seems to have gotten the chronology wrong— bassoons, contrabassoon, recent scholarship suggests the work dates from early in six horns, four trumpets, four Bach’s career, long before he moved to Leipzig in 1723. trombones, tuba, timpani, two That is, if Bach wrote the piece in the first place. A number harps, celesta, and strings. of prominent Bach scholars don’t think he did. There would The Toccata and Fugue runs certainly be some irony if one of Bach’s most famous approximately 10 minutes in compositions turned out not to be by Bach, but this is performance. not infrequent with early music. (And even more so in the visual arts—surely not all the “Rembrandts” on display in museums around the world are actually by Rembrandt.) In any case, Stokowski’s observation about the freedom and boldness of the music is right on the mark. In a letter he likened the piece to A vast upheaval of nature. It gives the impression of great white thunderclouds—like those that float so often over the valley of the Seine—or the towering majesty of the Himalayas. The Fugue is set in the frame of the Toccata, which comes before and after. This work is one of Bach’s supreme inspirations—the final cadence is like massive Doric columns of white marble. —Christopher H. Gibbs 34A The Music “Clair de lune,” from Suite bergamasque (orchestrated by Leopold Stokowski)

“The primary aim of French music should be to bring pleasure,” Claude Debussy said in 1904. This maverick spent his lifetime forging an aesthetic that would balance form and feeling, architecture and color. With works such as the opera Pelleas and Melisande, the orchestral Nocturnes, La Mer, and Iberia, and the piano works such as Images and the first book of Preludes, he established himself not only as the leading musical figure of France, but as one of the great innovators of the 20th century. The profound effect of his music on composers can hardly Claude Debussy be overestimated. “The seductive influence of Debussy’s Born in St. Germain-en- style spread quickly throughout the Western world,” writes Laye, August 22, 1862 William Austin. “Without necessarily knowing the name of Died in Paris, March 25, Debussy or the sound even of his ‘Clair de lune,’ everyone 1918 who grows up hearing and making music in the Western world in the 20th century learns to imagine, dimly or vividly, Debussy composed the Suite sounds and sequences of sounds like those that Debussy bergamasque in 1890, revising imagined for the first time.” the score in 1905. “Clair de lune” (Moonlight) was originally the third The first Orchestra subscription performances of this movement of a piano piece called Suite bergamasque. orchestration were in April Composed in 1890 and revised in 1905, this four- 1937 and the most recent movement set is Chopinesque in texture and pastoral in March 1939, all with in outlook. Yet there is something disquieting about its Stokowski; it was heard most nocturnal stillness; a peculiar melancholy seems to lurk recently in Saratoga in 2013, beneath its tranquil surface. It has become one of the with Cristian Măcelaru. most familiar of all piano pieces. The keyboard music The Orchestra recorded the of the French impressionists has always lent itself Stokowski orchestration to orchestration. Debussy and especially Ravel often twice: in 1937 for RCA with transcribed their own piano works for orchestra, and Stokowski, and in 1995 for others have naturally felt free to follow suit. Leopold EMI with Wolfgang Sawallisch. Stokowski and Lucien Cailliet each made orchestrations of “Clair de lune,” which were favorites of The Philadelphia The score calls for two flutes, Orchestra throughout the first half of this century. The oboe, English horn, two clarinets, two bassoons, horn, orchestration performed tonight is by Stokowski. two trumpets, harp, and strings. —Paul J. Horsley Performance time is approximately five minutes.

34C The Music The Sorcerer’s Apprentice

The legend on which French composer Paul Dukas based The Sorcerer’s Apprentice crops up as early as the second century. The Classical writer Lucian relates the story of a lazy apprentice who tries to charm a broom into doing his work for him. (In the original myth the magic stick is actually a “pestle” or large club; it was Walt Disney’s cartoonists who devised the piquantly whimsical image of broomsticks with arms and legs.) When the boy orders the rapidly multiplying brooms to carry water for him, he finds that his knowledge of wizardry does not extend far Paul Dukas enough to permit him to “turn off” the spell. As most of Born in Paris, October 1, us know, the Sorcerer returns to find that the enchanted 1865 broomsticks have flooded the house. Died there, May 17, 1935 Many serious readers will know this story through Goethe’s Dukas composed The telling of it, in his 1797 poem Der Zauberlehrling, but Sorcerer’s Apprentice in 1897. audiences today are probably most familiar with the version Carl Pohlig conducted the in Disney’s film. Dukas doubtless knew Lucian’s tale, but he first Philadelphia Orchestra based his 1897 symphonic poem on Goethe’s telling. performances of the piece in Although he composed in a variety of genres, Dukas was October 1910. Most recently on subscription it was heard not prolific and was forced to come to terms with the fact in November 2000, with that—even during his lifetime—the latter part of his career Wolfgang Sawallisch on the was shaped largely by the popularity of one short piece. podium. And for over a century now The Sorcerer’s Apprentice has maintained its position as one of the most popular works The work has been recorded in the orchestral repertory. four times by the Orchestra: in 1937 with Leopold Stokowski Dukas called the piece The Sorcerer’s Apprentice, for RCA; in 1947 and 1963 Symphonic Scherzo after a Ballad of Goethe. And it is with Eugene Ormandy for indeed a classical scherzo, complete with the humor and CBS; and in 1971 with rhythmic spice typical of the genre, combined with spiky, Ormandy for RCA. racing excitement and bright orchestral colors. Completed Dukas’s score calls for piccolo, only days before its premiere in Paris in May 1897, The two flutes, two oboes, two Sorcerer’s Apprentice was an immediate success. Almost clarinets, bass clarinet, three half a century later, the inspired retelling by Disney’s bassoons, contrabassoon, four artists quickly became a part of America’s national “pop” horns, four trumpets, three mythology. trombones, timpani, percussion (bass drum, cymbals, orchestra —Paul J. Horsley bells, suspended cymbal, triangle), harp, and strings. Performance time is approximately 12 minutes.

35 The Music Excerpts from Suite from The Nutcracker

At age 50 Tchaikovsky confessed he felt himself an old man and deeply worried about being burnt out as a composer. Such mood swings had been frequent over the years, although by this point in his career he was an internationally celebrated master. When a leading European composer was sought to help inaugurate Carnegie Hall in 1891, Tchaikovsky was entreated to come and conduct on the first concert. He stayed in America for a month and gave a concert in Philadelphia at the Academy of Music. Just before setting off on his Pyotr Ilyich Tchaikovsky transatlantic trip he began writing The Nutcracker, which Born in Kamsko-Votkinsk, premiered at the Mariinsky Theater in St. Petersburg in Russia, May 7, 1840 December 1892. Although not in poor health, he died just Died in St. Petersburg, a year later at age 53. November 6, 1893 Russian Imperial Ballet Tchaikovsky produced masterpieces in a wide range of genres, not just his beloved symphonies and concertos, but also extending to music for the stage, including nearly a dozen operas. Another theatrical genre he brought to new heights was ballet. Russian culture was intimately connected to France, where dance had long held a special place, going back to the age of Louis XIV. There was an explosion of grand narrative ballets in Paris during the 19th century, among them Adolphe Adam’s Giselle (1841) and Léo Delibes’s Coppélia (1870) and Sylvia (1876). It was only natural that Russia would follow suit; Tchaikovsky played the crucial role there with his three ballets, Swan Lake (1876), Sleeping Beauty (1889), and The Nutcracker (1892). His final theatrical project was an ambitious double bill of a one-act opera and two-act ballet: Iolanta and The Nutcracker. It seems economically unimaginable these days to mount an opera alongside a ballet, but it had been done in Paris and Russia did so as well. Sleeping Beauty had been an enormous success in 1889 and Tchaikovsky was commissioned by the Imperial theaters for this project. He began writing the ballet in February 1891, using a scenario devised by the legendary French choreographer Marius Petipa, who dominated the scene in St. Petersburg. Work on Iolanta and his conducting tour to Paris and America meant that the composition of both the opera and ballet spread out longer than usual for Tchaikovsky. 36

Tchaikovsky composed his A Closer Look The ballet is based on Nussknacker und Nutcracker from 1891 to Mausekönig (Nutcracker and Mouse King), a story by the 1892. prominent German writer E.T.A. Hoffmann as related in a Carl Pohlig led the first French version by Alexandre Dumas père. The tale takes Philadelphia Orchestra place at Christmas time (Tchaikovsky called his ballet The performances of a suite from Christmas Tree in the manuscript) as the Silberhaus family the ballet, in December 1911. and their assorted guests gather for a merry party. Clara The most recent appearance and her brother, Fritz, help in decorating the tree. The of any Nutcracker music on mysterious Drosselmeyer, the children’s godfather, enters a subscription concert was in with many gifts, including a large Nutcracker outfitted as January 2015, when Yannick a soldier, which particularly delights the young girl. Fritz Nézet-Séguin performed breaks the gift and Clara holds it in her arms. several excerpts. After everyone goes to bed, Clara returns and is amazed The Philadelphia Orchestra has to see the gifts—various dolls and soldiers—at war with an recorded the first Nutcracker army of mice. The Nutcracker, crucially assisted by Clara, Suite seven times: in 1926, 1934, and 1939 with Leopold does battle with the King of the Mice, emerges victorious, Stokowski for RCA; in 1941 and is magically transformed into a dashing Prince. He and 1972 with Eugene transports Clara to a winter wonderland. Act II takes place Ormandy for RCA; and in in the Kingdom of Sweets, where the Sugar-Plum Fairy 1952 and 1963 with Ormandy welcomes Clara and the Prince. There is a grand banquet for CBS. Stokowski and the accompanied by a series of six national dances before a Orchestra recorded the “Dance final waltz in which everyone praises Clara. of the Reed Flutes” in 1922 for —Christopher H. Gibbs RCA. Several excerpts from the score were also recorded by the Orchestra in 1939 as part of the soundtrack for the film Fantasia. The score calls for three flutes (II and III doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, castanets, cymbals, glockenspiel, nipple gong, snare drum, tam-tam, tambourine, triangle), two harps, and strings. Tonight’s excerpts run approximately 14 minutes in performance.

Program notes © 2015. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 37 Musical Terms

GENERAL TERMS ensemble and having no of publication rather than Arpeggio: A broken fixed form composition. chord (with notes played Fugue: A piece of music Plainchant: The official in succession instead of in which a short melody monophonic unison chant together) is stated by one voice (originally unaccompanied) BWV: The thematic and then imitated by the of the Christian liturgies catalogue of all the works other voices in succession, Scale: The series of of J.S. Bach. The initials reappearing throughout tones which form (a) any stand for Bach-Werke- the entire piece in all the major or minor key or (b) Verzeichnis (Bach-Works- voices at different places the chromatic scale of Catalogue). Harmonic: Pertaining to successive semi-tonic Cadence: The conclusion chords and to the theory steps to a phrase, movement, and practice of harmony Scherzo: Literally “a joke.” or piece based on a Harmony: The An instrumental piece of recognizable melodic combination of a light, piquant, humorous formula, harmonic simultaneously sounded character. progression, or dissonance musical notes to produce Suite: A set or series of resolution chords and chord pieces in various dance Chorale: A hymn tune progressions forms. The modern of the German Protestant Legato: Smooth, even, orchestral suite is more like Church, or one similar in without any break between a divertimento. style. Chorale settings are notes Symphonic poem: vocal, instrumental, or both. Meter: The symmetrical A type of 19th-century Chord: The simultaneous grouping of musical symphonic piece in one sounding of three or more rhythms movement, which is based tones Mode: Any of certain upon an extramusical idea, Chromatic: Relating to fixed arrangements of the either poetic or descriptive tones foreign to a given diatonic tones of an octave, Timbre: Tone color or tone key (scale) or chord as the major and minor quality Coda: A concluding scales of Western music Toccata: Literally “to section or passage added Monophony: Music for a touch.” A piece intended in order to confirm the single voice or part as a display of manual impression of finality Nocturne: A piece of dexterity, often free in form Diatonic: Melody or a dreamily romantic or and almost always for a harmony drawn primarily sentimental character, solo keyboard instrument. from the tones of the major without fixed form Tonality: The orientation or minor scale Op.: Abbreviation for opus, of melodies and harmonies Dissonance: A a term used to indicate towards a specific pitch or combination of two or more the chronological position pitches tones requiring resolution of a composition within a Tonic: The keynote of a Divertimento: A piece composer’s output. Opus scale of entertaining music numbers are not always in several movements, reliable because they are often scored for a mixed often applied in the order

39 2015 Opening Night

Sapphire Benefactor The Central Committee for The Philadelphia Orchestra Cocktail Reception Benefactors David W. Haas Caroline and Sidney Kimmel The West Philadelphia Committee for The Philadelphia Orchestra Champagne Benefactors Edith R. Dixon Leslie A. Miller and Richard B. Worley Joseph Neubauer and Jeanette Lerman-Neubauer Anonymous Platinum Benefactors Robert Cottone Dilworth Paxson, LLP Electronic Ink PECO Gold Benefactors Bank of America Chimicles and Tikellis, LLP Marie and Joseph Field Firstrust Bank Fortis Partners, LLC Peggy Fossett The Franklin Institute Marcy Gringlas and Joel Greenberg Harry and Kay Halloran Neal Krouse Drs. Elsa and Leon Malmud Parx Casino Vivian W. Piasecki PNC Lorraine and David Popowich Louise and Alan Reed Lyn M. Ross Saul Ewing, LLP Cynthia and Scott Schumacker Deborah H. and David F. Simon Lindy Snider and Larry Kaiser Willis Personal Lines, Inc. Special Thanks TableArt

List complete as of print deadline 40 2015 Opening Night Gala Committees

Co-Chairmen Lisa Weber Yakulis and Henry N. Nassau

Vice Chairman Dianne Rotwitt

President, Volunteer Committees Caroline B. Rogers

Honorary Committee Alice Cullen Mimi Dimeling Toni Garrison Ronna Hall Dee Page Adele Schaeffer Mollie D. Slattery Ann Sorgenti Sydney Stevens Roberta R. Tanenbaum

Opening Night Committee Barbara Alleva MaryBeth Alvin Alison Avery Sherrin Baky Martha Barron Margery Bleiman Ellen Bodenheimer Judith Bradley Stephanie Brandow Sibby Brasler Sally Bullard Lisa Canavarro Sara Cerato Sarah M. Coulson Elizabeth Crowell Alice Cullen Colleen DeMorat Edna Dick Katherine Donner Nancy Galloway 41

Judith Garst Sabina Gatti Grete Greenacre Lisa Hall Priscilla Holmes Hollie Holt Lenora T. Hume Deborah Ledley Myrna S. Levin Beth Mahoney Lynn Manko Sandy Marshall Regina Pakradooni Valerie Pease Alexandra Pennington Diana Regan Nancy Ronning Lynn Salvo Esther Schwartz Faye Senneca Judith Sills Ramona Vosbikian Robin Warzel Felice Wiener 42 2015 Opening Night The Volunteer Committees for The Philadelphia Orchestra

Governing Board Officers Caroline B. Rogers, President Stephanie S. Brandow, Immediate Past President Lisa Weber Yakulis, Vice President Sara A. Cerato, Vice President for Standing and Ad Hoc Committees and Special Functions Lauren Royer, Treasurer Esther Schwartz, Secretary

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

Individual Committee Chairmen Central: Nancy Galloway Chestnut Hill: Lisa Canavarro Main Line: Dianne Rotwitt Musical Cocktails: Ann D. Hozack New Jersey: Lois Boyce Rittenhouse Square: Marilyn Appel West Philadelphia: Alison Avery Lerman 42A 2015 Opening Night

Principal Benefactors Dr. and Hon. Sankey V. and Dennis Adams Constance Williams Ann Young Bloom Lisa and Paul Yakulis Dr. Claire Boasi F. Gordon Yasinow Ms. Judith Broudy Benjamin Zuckerman and Laura and Bill Buck Marian Robinson Richard and Florence Celender Sara A. Cerato Benefactors R. Putnam Coes III and Amy M. Coes Barbara Alleva Suzanne and Norman Cohn Peter A. Benoliel and Willo Carey Constance and Michael Cone Dr. and Mrs. Arnold P. Berman Sarah Miller Coulson Ellen and Peter Bodenheimer Tobey and Mark Dichter Mrs. Robert M. Brasler Henry and Kathy Donner Elia D. Buck Virginia and John Dowd Roland and Sally Bullard Mark and Rebecca Foley Robert Capanna and Cathryn Coate Linda Frankel Mr. and Mrs. James L. Crowell Annette Y. Friedland Richard Davidson Nancy and John Galloway Nancy and Kenneth Davis Carole and Emilio Gravagno Colleen DeMorat and Roy Dombrowski Lynn and Tony Hitschler Irina and Patrick Gage Lynne and Harold Honickman Toni and Bob Garrison Ken Hutchins Mackenzie and Joshua Gross Osagie and Losenge Imasogie Ronna and Bob Hall Betsy J. Joyce Martin and Cynthia Heckscher Andrea and Warren Kantor Eric and Lenora Hume Ruth Sarah Lee Rachelle and Ronald Kaiserman Elizabeth and Edwin Mahoney Bernice J. Koplin Lynn and Joe Manko Dr. Morton and Rhea Mandell John McFadden and Lisa Kabnick Mr. and Mrs. Thomas A. McCarthy Hilarie and Mitchell Morgan David J. Miller and Maureen Mr. Robert E. Mortensen Brennan-Miller Caroline B. Rogers J.P. Morgan Harold S. and Franny Rosenbluth Despina F. Page Dianne and Jeffrey Rotwitt Alexandra and David Pennington Mr. and Mrs. Mark E. Rubenstein PricewaterhouseCoopers Lynn and Anthony C. Salvo Susanne S. Robinson Adele and Harold Schaeffer Dr. and Mrs. Milton L. Rock Constance Smukler Faye Senneca and Richard Weisenberg Ann and Harold Sorgenti Christina Snylyk Mrs. Roberta R. Tanenbaum Kenneth and Mary Sweet Jack and Ramona Vosbikian Aileen E. Whitman Joanne and Raymond Welsh Richard and Diane Woosnam Felice and Tom Wiener Renee M. and Joseph S. Zuritsky 42B 2015 Opening Night

Patrons Mary Belle S. Rauch Maggie and Bob Beck Nancy and Randy S. Ronning Charlotte Biddle Eric G. Schultz Lois and Bruce Boyce Carol C. Sherman Stephanie and Kirk Brandow David Silverman and Gary Mucciaroni Peggy Butchkavitz and Carl Poplar Glenna G. Stewart Lisa Canavarro Randy Swartz and Judith Sills Swartz Scott and Nelly Childress Kristin and David Touchstone Alice Cullen Rose and Bennett Wartman David Devan and David Dubbledam Robin Warzel Edna Dick Wells Fargo Virginia and John Dowd Julie D. Williams Richard and Mary Emrich Jerry Wind Ruth Eni Sara W. Forster Young Friends Mr. and Mrs. Robert A. Fox Mr. Daniel Bedrossian Melvin Gang Stephen Cantando Sabina Gatti Dr. Charisse Chin Judy and John Glick Joseph G. Donahue Anne Stanley Glunk Jonathan Greenblatt Criswell Gonzalez Dr. Martin Ihrig Dr. Janice T. Gordon Ms. Dayna Imam Dr. Thelma D. Gosfield Mr. and Mrs. Brian Kelley Kate Hall Mr. Brian Lipstein Mary Beth Henry Matthew Malinowksi and E. Wilhelmina Holden Dr. C. William Lentz Diana L. Harrison Dr. Jammie Menetray Mr. and Mrs. James R. Holt, Jr. Dionna N. Martin Robert and Jeanne Hunsicker Mr. Jason Mo Marie and Jeff Kenkelen Arlene and David Morgan Drs. Peter and Caroline Koblenzer Mr. and Mrs. Alexander K. Nagy Drs. Deborah and Gary Ledley Andrea and Brian Ramunno Dr. and Mrs. Roy M. Lerman Mr. Joseph Ribecchi The Hon. and Mrs. Stephen Levin Anne G. Rogers Constance Madara Drs. Deepak and Preeti Sudheendra Florence and Richard Maloumian Clinton Walker Dr. Marilyn McDonald and Mr. Joe Folger Miss Laura Williams Marguerite Mertz and Michael Lynagh D. Wong and Th. Steinborn Mrs. Philippus Miller, Jr. David M. Zawrotny Sharon and Ian Modelevsky Dr. and Mrs. R. Barrett Noone List complete as of print deadline Mrs. Peter B. Pakradooni 42C October The Philadelphia Orchestra

Enjoy the ultimate in flexibility with a Create-Your-Own 5-Concert Series today! Choose 5 or more concerts that fit your schedule and your tastes and receive exclusive subscriber benefits. Choose from over 90 performances including: Yannick & Rachmaninoff October 1 & 3 8 PM October 2 & 4 2 PM Yannick Nézet-Séguin Conductor Daniil Trifonov Piano Ravel Une Barque sur l’océan Rachmaninoff Piano Concerto No. 4 Rimsky-Korsakov Sheherazade

Yannick with Gil Shaham October 8 & 10 8 PM October 9 2 PM Yannick Nezet-Seguin Conductor Gil Shaham Violin Grieg Suite No. 1 from Peer Gynt Bartók Violin Concerto No. 2 Sibelius Symphony No. 5

Hurry, before tickets disappear for this exciting season. Call 215.893.1999 or log on to www.philorch.org PreConcert Conversations are held prior to every Philadelphia Orchestra subscription concert, beginning 1 hour before curtain. Photo: Jessica Griffin 2442D Story Title Tickets & Patron Services

We want you to enjoy each and free to ticket-holders, feature Phones and Paging Devices: every concert experience you discussions of the season’s All electronic devices—including share with us. We would love music and music-makers, cellular telephones, pagers, and to hear about your experience and are supported in part by wristwatch alarms—should be at the Orchestra and are happy the Hirschberg-Goodfriend turned off while in the concert to answer any questions you Fund established by Juliet J. hall. may have. Goodfriend Ticket Philadelphia Staff Please don’t hesitate to contact Lost and Found: Please call Carrie Farina, Director, Patron us via phone at 215.893.1999, 215.670.2321. Services in person in the lobby, or at Late Seating: Late seating Michelle Harris, Director, Client [email protected]. breaks usually occur after the Relations Subscriber Services: first piece on the program Dan Ahearn, Jr., Box Office 215.893.1955 or at intermission in order to Manager Patron Services: minimize disturbances to other Gregory McCormick, Training 215.893.1999 audience members who have Manager already begun listening to the Catherine Pappas, Project Web Site: For information music. If you arrive after the Manager about The Philadelphia concert begins, you will be Jayson Bucy, Patron Services Orchestra and its upcoming seated as quickly as possible Manager concerts or events, please visit by the usher staff. Elysse Madonna, Program and www.philorch.org. Accessible Seating: Web Coordinator Individual Tickets: Don’t Accessible seating is available Michelle Messa, Assistant Box assume that your favorite for every performance. Office Manager concert is sold out. Subscriber Please call Patron Services at Tad Dynakowski, Assistant turn-ins and other special 215.893.1999 or visit www. Treasurer, Box Office promotions can make last- philorch.org for more information. Patricia O’Connor, Assistant minute tickets available. Call us Treasurer, Box Office at 215.893.1999 and ask for Assistive Listening: With Thomas Sharkey, Assistant assistance. the deposit of a current ID, Treasurer, Box Office hearing enhancement devices Subscriptions: The James Shelley, Assistant are available at no cost from Treasurer, Box Office Philadelphia Orchestra offers a the House Management Office. variety of subscription options Mike Walsh, Assistant Headsets are available on a Treasurer, Box Office each season. These multi- first-come, first-served basis. concert packages feature the Elizabeth Jackson- best available seats, ticket Large-Print Programs: Murray, Priority Services exchange privileges, discounts Large-print programs for Representative on individual tickets, and many every subscription concert Stacey Ferraro, Lead Patron other benefits. Learn more at are available in the House Services Representative www.philorch.org. Management Office in Meaghan Gonser, Lead Patron Commonwealth Plaza. Please Services Representative Ticket Turn-In: Subscribers ask an usher for assistance. Meg Hackney, Lead Patron who cannot use their tickets Services Representative are invited to donate them Fire Notice: The exit indicated by a red light nearest your seat Megan Chialastri, Patron and receive a tax-deductible Services Representative credit by calling 215.893.1999. is the shortest route to the street. In the event of fire or Jared Gumbs, Patron Services Twenty-four-hour notice is Representative appreciated, allowing other other emergency, please do not run. Walk to that exit. Kristina Lang, Patron Services patrons the opportunity to Representative purchase these tickets and No Smoking: All public space Brand-I Curtis McCloud, Patron guarantee tax-deductible credit. in the Kimmel Center is smoke- Services Representative PreConcert Conversations: free. Steven Wallace, Quality PreConcert Conversations are Cameras and Recorders: Assurance Analyst held prior to every Philadelphia The taking of photographs or Orchestra subscription concert, the recording of Philadelphia beginning one hour before the Orchestra concerts is strictly performance. Conversations are prohibited.