September/October 2015 4 From the President

J.D. Scott Dear Friends:

The Orchestra opened the 2015-16 season with the honor of playing an important role in Pope Francis’s recent historic visit, performing during the Festival of Families and for the Papal Mass. It was extremely moving to play for His Holiness and to be in service for all of . We’ve been ambassadors to the world many times and were proud to welcome the world to our city. We also were fortunate to share the artistry and special bond between Yannick and the musicians during their first European Tour together this past spring. Here is what some of the press had to say:

“There is no doubt about it, the Americans are a great, world-class orchestra under inspired leadership.” “… it’s proving a remarkable partnership …”

We now look forward to a new season of extraordinary music-making You’ll witness how truly magical the relationship is between Yannick and the Orchestra. But we also have great music-making by other conductors, including Principal Guest Conductor Stéphane Denève and Conductor-in-Residence Cristian Măcelaru, as well as the exceptional guest artists who grace our stage. There is so much to look forward to—we’re glad you’ve joined us.

A successful organization is the sum of many parts, one of which is our generous donors who feel passionately about the Orchestra. Ticket sales do not cover the full costs of performing our concerts—the rest must be raised through gifts and grants. We depend on the generosity of more than 6,000 donors each year who make charitable gifts above and beyond the cost of tickets and who show their support for Yannick and our amazing musicians. But we need to enlarge this circle even more. In preparation for our March performances of Mahler’s “Symphony of a Thousand,” we are launching a campaign for 1,000 new donors to join our family—1,000 new voices expressing their appreciation, love, and support for our Fabulous Philadelphians. Please add yours to our chorus of supporters, as loudly and as generously as you are able. The future of our Orchestra depends upon you.

One of the ways the world knows the Orchestra is through its extensive catalogue of recordings. In August the ensemble’s latest was released on Deutsche Grammophon: Rachmaninoff’s Rhapsody on a Theme of Paganini with pianist Daniil Trifonov and Yannick. The Orchestra has a storied legacy of performing and recording the works of this composer, and it was Rachmaninoff and the Orchestra, with , who gave the world premiere performances (followed by the world premiere recording) of the Rhapsody in 1934. If you haven’t already,I urge you to get your copy today!

Yours in Music,

Allison Vulgamore President & CEO 6 Music Director

Chris Lee Music Director Yannick Nézet-Séguin is an inspired leader of The , 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. 8 The Philadelphia Orchestra 2015–2016 Season

Yannick Nézet-Séguin Flutes Music Director Choong-Jin Chang, Principal Jeffrey Khaner, Principal Walter and Leonore Annenberg Chair Ruth and A. Morris Williams Chair Paul and Barbara Henkels Chair Kirsten Johnson, Associate David Cramer, Associate Principal Stéphane Denève Principal Rachelle and Ronald Kaiserman Principal Guest Conductor Kerri Ryan, Assistant Principal Chair Cristian Ma˘celaru Judy Geist Loren N. Lind Conductor-in-Residence Renard Edwards Kazuo Tokito, Piccolo Lio Kuokman Anna Marie Ahn Petersen Assistant Conductor Piasecki Family Chair Oboes Charles Dutoit David Nicastro Richard Woodhams, Principal Conductor Laureate Burchard Tang Samuel S. Fels Chair First Che-Hung Chen Peter Smith, Associate Principal David Kim, Concertmaster Rachel Ku Jonathan Blumenfeld Dr. Benjamin Rush Chair Marvin Moon Edwin Tuttle Chair Juliette Kang, First Associate Elizabeth Starr Masoudnia, English Concertmaster Horn Joseph and Marie Field Chair Hai-Ye Ni, Principal Joanne T. Greenspun Chair Ying Fu, Associate Concertmaster Albert and Mildred Switky Chair Marc Rovetti, Assistant John Koen, Acting Associate Clarinets Concertmaster Principal Ricardo Morales, Principal Herbert Light Yumi Kendall, Assistant Principal Leslie Miller and Richard Worley Larry A. Grika Chair Wendy and Derek Pew Chair Barbara Govatos Foundation Chair Samuel Caviezel, Associate Wilson H. and Barbara B. Taylor Richard Harlow Principal Chair Gloria dePasquale Sarah and Frank Coulson Chair Jonathan Beiler Orton P. and Noël S. Jackson Paul R. Demers, Bass Clarinet Hirono Oka Chair Peter M. Joseph and Susan Richard Amoroso Kathryn Picht Read Rittenhouse Joseph Chair Robert and Lynne Pollack Chair Winifred and Samuel Mayes Yayoi Numazawa Chair Bassoons Jason DePue Robert Cafaro* Daniel Matsukawa, Principal Lisa-Beth Lambert Volunteer Committees Chair Richard M. Klein Chair Jennifer Haas Ohad Bar-David Mark Gigliotti, Co-Principal Miyo Curnow Catherine R. and Anthony A. Angela Anderson Smith Elina Kalendarova Clifton Chair Holly Blake, Contrabassoon Daniel Han Derek Barnes Yiying Li Mollie and Frank Slattery Chair Horns Alex Veltman Jennifer Montone, Principal Second Violins Gray Charitable Trust Chair Kimberly Fisher, Principal Basses Jeffrey Lang, Associate Principal Peter A. Benoliel Chair Harold Robinson, Principal Daniel Williams* Paul Roby, Associate Principal Carole and Emilio Gravagno Jeffry Kirschen Sandra and David Marshall Chair Chair Denise Tryon Dara Morales, Assistant Principal Michael Shahan, Associate Shelley Showers Anne M. Buxton Chair Principal Philip Kates Joseph Conyers, Assistant Trumpets Mitchell and Hilarie Morgan Principal David Bilger, Principal Family Foundation Chair John Hood Marguerite and Gerry Lenfest Booker Rowe Henry G. Scott Chair Davyd Booth David Fay Jeffrey Curnow, Associate Paul Arnold Duane Rosengard Principal Lorraine and David Popowich Chair Robert Kesselman Gary and Ruthanne Schlarbaum Yumi Ninomiya Scott Chair Dmitri Levin Some members of the string Anthony Prisk Boris Balter sections voluntarily rotate Robert W. Earley William Polk seating on a periodic basis. Amy Oshiro-Morales Mei Ching Huang Roster continues on pg. 10 10 The Philadelphia Orchestra 2015–2016 Season

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

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

Musicians Behind the Scenes Barbara Govatos

Jessica Griffin Where were you born? In Wilmington, Delaware. What piece of music could you play over and over again? Strauss’s Don Juan and Bartók’s Divertimento for strings. What’s your most treasured possession? I own it, but it possesses me. I am very blessed to have found my musical voice through my Brothers Amati violin, made in 1619 in Cremona. What’s your favorite Philadelphia restaurant? Impossible to name just one! Kanella, Parc, Mama’s Vegetarian for falafel, Barbuzzo, Modo Mio, Shiroi Hana, Pizzeria Vetri … What’s in your instrument case? Other than what you would expect, photos of family, friends, and beloved teachers, and a pair of fingerless gloves for really frigid rehearsal halls. What piece of music never fails to move you? Schubert’s Fantasy in C major, for violin and piano. When did you join the Orchestra? 1982. What books are on your nightstand? Hard copy or e-reader? My Kindle is very well traveled. Right now, I’m absorbed with a book about mindfulness and rereading Orwell’s 1984. Do you speak any other languages? I manage to be understood almost everywhere the Orchestra has traveled, however, my grammar is non-existent. My favorites are Italian, French, and Greek.

To read the full set of questions, please visit www.philorch.org/Govatos. 12

The Keeper of the Sound As He Begins his Fourth Season as Music Director, Yannick Talks about the Philadelphia Sound

By Steve Holt Jessica Griffin

The Philadelphia Orchestra It’s a concept that’s so familiar to fans of The Philadelphia with Music Director Yannick Orchestra it seems to need no explanation: the Nézet-Séguin Philadelphia Sound. Born under the legendary Leopold Stokowski, burnished under the equally legendary , the Sound has been part of the orchestral landscape for generations, acknowledged and enjoyed in Philadelphia and in concert halls literally around the globe.

The Philadelphia Sound is one of the main themes running through the 2015-16 season, a celebration of over 100 years of unique Philadelphia music-making, exploring masterworks given premieres, and therefore influential interpretations, by the Fabulous Philadelphians. 14 The Keeper of the Sound Chris Lee

But what, really, is the Philadelphia Sound?

Some who create the sound today reach for similes:

“I’m a real foodie and wine lover, and I can only describe it as one describes great wine or great chocolate … because you can’t quantify it.” David Kim, Concertmaster

There are also technical explanations: The Sound is all about the strings:

“We use a lot more bow to make a fuller sound—a rich, fuller sound. There’s a lot more warmth and robustness to the sound.” Hai-Ye Ni, Principal

And yet one of the Orchestra’s most seasoned string players is full of praise for his woodwind colleagues:

“Richard Woodhams, Jeffrey Khaner, Ricardo Morales, Daniel Matsukawa: “They are first rate. … They really are the center of the sound.” Herbert Light, 55-year violin veteran 16 The Keeper of the Sound

Leopold Stokowski, music In addition, an often-heard remark is that the Sound was director from 1912 to 1941 born in the Academy of Music, where the acoustics forced the musicians to dig deep and play their hearts out.

Yannick Nézet-Séguin was entranced by the Sound from his earliest guest-conducting stints. “At first I could hear it in some lines and phrases, and then in some entire sections of pieces. I felt, OK, I’ve turned the switch on something. Now it’s my goal to try and put the switch on for the full concert!”

Reading about the history of the Philadelphia Sound left Yannick with the impression it was about power and precision. “But now, 100 or so years later, precision is something that many orchestras achieve; and we’ve become accustomed to powerful orchestras as well. Yet, this sound is special, so it means there’s more to it than the two adjectives.”

Yannick says the overwhelming impression he got the first time he conducted the Philadelphians was generosity. “That’s different from power. It’s not about being loud; it’s about the loudness of the resonating soul.” 18 The Keeper of the Sound

He hastens to add that without discipline all those resonating souls on stage wouldn’t mean anything. “The beauty is, this orchestra has extraordinary discipline as well. It’s a combination of virtuosity and the lack of the feeling of hierarchy you get in so many other orchestras. Here, the last stand of the strings will give as much as the first stand, and so on throughout the sections.” “The Philadelphia Since arriving as music director, Nézet-Séguin says, Sound is born “I’ve been inspired by listening to a lot of Stokowski recordings. We associate him with something big, a bold sound, but it’s actually extraordinarily together and of the deep precise. You can’t achieve clarity of a score if people aren’t perfectly together, so I’ve been focusing on that clarity musicality, the within the richness of the sound.”

generosity of He’s also trying to take the Sound and apply it to more of the repertory than it has traditionally been associated spirit, and the with, such as the big Romantic pieces by Tchaikovsky or Rachmaninoff. “Why not try to define that Philadelphia Sound in Haydn, Mozart, or Bach? What is that sound incomparable in contemporary composers? This is an endless thing to develop of course!” commitment to In practical terms, how does he carry out his custodial ensemble playing responsibilities to the Sound? Selecting the repertoire is crucial. “There should be a of our Orchestra balance so we have occasions to go back to the conception of our Sound; where I can actually work on musicians.” making sure that this is really how we nurture it, how we keep it alive, yet balanced with the new repertoire.” —Yannick Nézet-Séguin What about rehearsing? “I’ve never said ‘Oh, this is not our sound.’ What I can say, sometimes, even in working on well-known pieces, is ‘you know, I don’t think this is really us, or the way we can play it.’ It’s my role sometimes to just make people think back, or think anew and fresh about it.

“But I think that’s more of a nonverbal thing, allowing that generosity to happen. That happens in rehearsal without me having to say ‘please play generously!’ Some orchestras would need that; we don’t, which is great.

What if the Philadelphia Sound was somehow put in a time capsule, and dug up a century from now. Would it still be recognizable? 20 The Keeper of the Sound Adrian Siegel Collection/Philadelphia Orchestra Archives Adrian Siegel Collection/Philadelphia

Eugene Ormandy, music “Let me answer this way. When I listen to all of my director from 1936 to 1980. predecessors’ recordings, I do recognize the sound. Of From 1936 to 1941 the course it’s not only one sound: When we play Beethoven podium was shared by both we shouldn’t sound like Wagner; in the 1920s it shouldn’t Stokowski and Ormandy. sound precisely the same as today. Also it’s not the same musicians; even if there’s a continuity, the individual Steve Holt, managing partner musicians will have their personalities. Therefore it should at re:Write, is a veteran change. However, I do believe that we as conductors also journalist and musician. have the responsibility of keeping alive the specific colors of each ensemble.

“It’s up to the conductors to listen as much as they give, in order to keep those alive. That is especially true when you’re music director, but it’s also true when you’re guest conducting. So I do hope that the strength of the offering of this Orchestra is so seductive and so strong and imposing that if a guest conductor is shaping it, he or she lets it happen, too. I hope the same also for generations to come, and that in a hundred years we will recognize the Philadelphia Sound.

“I don’t consider myself as a revolutionary or someone who tries to just break everything and start over. That would be pretentious and I don’t believe it’s my place. For me, there’s a lot of listening and caring. This is only my little contribution in a certain period of time to something that’s much bigger. So I approach it with respect ... but also with the conviction that I can bring my two-cents’ worth!” P 22 Beyond the Baton This Month Yannick Talks about Rimsky-Korsakov’s Sheherazade. Chris Lee How does this piece speak to the Philadelphia Sound? Sheherazade is the ultimate symphonic poem, and the ultimate piece to show off an orchestra. Of course Russian music always shows all the colors of an orchestra. But in this case, because it’s related to the Tales from the Thousand and One Nights, it has this dreamy and vaguely fearful aspect to it. It’s all about a special world that is foreign to Rimsky-Korsakov and therefore to us. It’s one of those fascinating works, and has been so for many decades because it encompasses many different cultures inside it. Therefore it’s closely associated with the history of The Philadelphia Orchestra and its sound. Every music director before me, from Stokowski and Ormandy onward, has put their stamp on this piece with the Orchestra. So I’m eager now to put my own stamp on it and step into this tradition.

Why did you choose this piece to put on the opening subscription concerts? One of the features of this piece is that it has the full orchestra always evoking the sea and the landscape. But the characters, especially the solo violin, the concertmaster, which portrays Sheherazade herself, has this way of narrating the story and connecting all the parts together. The same motifs vaguely repeat each time but in a different mood. We can imagine the storyteller just narrating the story and indicating the emotion that’s about to happen. Other instruments come and go: There’s a famous bassoon solo, a famous clarinet solo, and a famous solo for the second trombone. So there are slightly unusual combinations, which make the story interesting to hear, and to listen to as a whole. But the piece also features different soloists and every section of the Orchestra. In short this couldn’t be more ideally suited to the opening of a season of our great Philadelphia Orchestra.

Rimsky-Korsakov’s Sheherazade will be performed October 1-4.

To read previous Beyond the Batons, please visit www.philorch.org/baton. 2424 Noted in Passing

The Philadelphia Orchestra mourns the passing of former Philadelphia Orchestra Associate Principal Chris Lee Bass Neil Courtney, who died on June 16; former Principal Joseph dePasquale, who died on June 22; and former Associate Principal Cello George Harpham, who died on June 26.

Neil Courtney was a graduate of the Eastman School of Music, where he studied with Oscar Zimmerman. While a student at Eastman, he played with the Rochester Philharmonic under the direction of Erich Leinsdorf for three seasons. Mr. Courtney became a member of the U.S. Marine Band, at which time he studied with former Philadelphia Orchestra Principal Bass Roger Scott. Mr. Courtney Neil Courtney was principal bass with the National Symphony for four years before leaving in 1961 to join The Philadelphia Orchestra; he became assistant principal bass in 1988. Some of his own highlights of his tenure were the historic 1973 Tour to China; his performance with the Orchestra playing the virtuosic double bass obbligato in Mozart’s concert aria “Per questa bella mano” with bass Eric Owens in 1994; and a performance by the Orchestra of his composition A Dutch Lullaby on a Family Concert in 1992 (his Songs and Dances was also programmed on two Orchestra chamber concerts, in 1992 and 2000). Mr. Courtney also served on the Board of the Philadelphia Orchestra Media Institute and was instrumental in helping bring about the documentary Music from the Inside Out. Joseph dePasquale Joseph dePasquale was principal viola with The Philadelphia Orchestra from 1964 until his retirement in 1996. A native Philadelphian, he graduated from the Curtis Institute of Music and studied with Louis Bailly, Max Aronoff, and . Following his years at Curtis, he spent four years in the U.S. Marine Band and subsequently became a member of the American Broadcasting Orchestra in New York before joining the Boston Symphony as principal viola in 1947. While there, he taught at the New England Conservatory and the Berkshire Music Center at Tanglewood. Mr. dePasquale premiered many new works, including viola concertos composed for him by Walter Piston and Joseph Castaldo, and he appeared as soloist with orchestras around the world. He made George Harpham his Philadelphia Orchestra solo debut in 1964, performing Mozart’s Sinfonia concertante with violinist Anshel Brusilow. As a chamber musician, Mr. dePasquale joined his brothers, violinists William and Robert and cellist Francis, all members of The Philadelphia Orchestra, to form the dePasquale Quartet, the only professional string quartet composed of four brothers. During the late 1960s, he appeared on two occasions at in chamber performances with and Gregor Piatigorsky, with whom he also recorded the Françaix Trio and the Dvořák Piano Quintet. In 1997 Mr. dePasquale was awarded the Philadelphia Orchestra Award, together with retired Principal Clarinet Anthony M. Gigliotti. He taught at the Curtis Institute and the Peabody Institute and gave seminars and master classes across the U.S.

George Harpham was born in Washington, D.C., where he studied cello with Franz Vlashek and John Martin. He attended the Curtis Institute of Music, studying with Orlando Cole; he also studied with Harvey Shapiro in New York. He spent two summers at the Tanglewood Institute and from 1966 to 1967 was a member of the National Symphony. After graduating from Curtis in 1969 he joined the cello section of The Philadelphia Orchestra, becoming assistant principal in 1977 and associate principal in 1988. During his tenure in Philadelphia he was a member of the dePasquale String Quartet, the Philadelphia Baroque Quartet, and the Academy Chamber Players. He also taught at the Philadelphia Music Academy and the Philadelphia College of the Performing Arts. Mr. Harpham made his Philadelphia Orchestra solo debut on a Student Concert in 1983, performing “The Swan” from Carnival of the Animals under William Smith’s baton. In 1986 he was soloist, with the other members of the dePasquale String Quartet, in Elgar’s Introduction and Allegro for string quartet and string orchestra at the Mann, under the baton of Stanisław Skrowaczewski. And in 1990 he and Concertmaster Norman Carol performed Brahms’s on subscription, with Erich Leinsdorf. He retired in 1990.