Season 2012-2013

27 Season 2012-2013

Sunday, November 18, at 3:00 The Philadelphia Orchestra 28th Season of Chamber Music Concerts—Perelman Theater Milhaud String Quintet No. 2, Op. 316 I. Modérément animé II. Vif III. Lent IV. Finale Elina Kalendareva Violin Miyo Curnow Violin Kerri Ryan Viola Kathryn Picht Read Cello Robert Kesselman Double Bass

Debussy String Quartet in G minor, Op. 10 I. Animé et très décidé II. Assez vif et bien rythmé III. Andantino, doucement expressif IV. Très modéré Elina Kalendareva Violin Miyo Curnow Violin Kerri Ryan Viola Kathryn Picht Read Cello

Intermission

Rachmaninoff Trio élégiaque in D minor, Op. 9, for violin, cello, and piano I. Moderato—Allegro vivace II. Quasi variazione III. Allegro risoluto Dmitri Levin Violin Robert Cafaro Cello Luba Agranovsky Piano (Guest)

This program runs approximately 1 hour, 45 minutes. 228 Story Title The Philadelphia Orchestra Jessica Griffin

Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. an extraordinary history of Center, Penn’s Landing, artistic leaders in its 112 and other venues. The The ensemble maintains seasons, including music Philadelphia Orchestra an important Philadelphia directors Fritz Scheel, Carl Association also continues tradition of presenting Pohlig, Leopold Stokowski, to own the Academy of educational programs for Eugene Ormandy, Riccardo Music—a National Historic students of all ages. Today Muti, Wolfgang Sawallisch, Landmark—as it has since the Orchestra executes a and Christoph Eschenbach, 1957. myriad of education and and Charles Dutoit, who community partnership Through concerts, served as chief conductor programs serving nearly tours, residencies, from 2008 to 2012. With 50,000 annually, including presentations, and the 2012-13 season, its Neighborhood Concert recordings, the Orchestra Yannick Nézet-Séguin Series, Sound All Around is a global ambassador becomes the eighth music and Family Concerts, and for Philadelphia and for director of The Philadelphia eZseatU. the United States. Having Orchestra. Named music been the first American For more information on director designate in 2010, orchestra to perform in The Philadelphia Orchestra, Nézet-Séguin brings a China, in 1973 at the please visit www.philorch.org. vision that extends beyond request of President Nixon, symphonic music into the today The Philadelphia

29 The Music String Quintet No. 2, Op. 316

Darius Milhaud The January 1920 issue of the popular French journal Born in Aix-en-Provence, Comoedia carried an article by 25-year-old composer- September 4, 1892 critic Henri Collet called “The Russian Five, the French Died in Geneva, June 22, Six, and M. Erik Satie.” In it Collet made a case for the 1974 rise of a new aesthetic to replace the fading influences of Romanticism and Impressionism, an approach to musical art that was leaner, smarter, more rhythmically varied, and more contrapuntally rich than the thickly chordal music then common in concert halls. The new aesthetic was essentially eclectic—a rejection of old ideas rather than the delineation of a new one—and Collet gave it no label. Instead, he emulated the example of the “Russian handful,” a nationalist group that had included Nikolai Rimsky-Korsakov and Modest Musorgsky, and enumerated a list of six younger composers whose work embodied the new wave: Francis Poulenc, Arthur Honegger, Georges Auric, Louis Durey, Germaine Tailleferre, and Darius Milhaud. Les Six, under the strong influence if not the outright (though covert) direction of poet-filmmaker Jean Cocteau, embraced popular forms, embodied clarity over obscurity, and promoted the idea of music as an everyday experience. The fates of the group’s members varied widely. Durey gave up composition, Tailleferre never fulfilled her early promise, and Auric came to be known primarily for film scores, including the popular 1953 Audrey Hepburn vehicle Roman Holiday. Only Poulenc, Honegger, and Milhaud contributed significantly to concert music, and among them they exhibit such varied stylistic characteristics that linking them together seems almost random. Milhaud was born in 1892 to a wealthy merchant family in Aix-en-Provence, France, and displayed the usual early signs of musical proclivity. He played the violin at eight and first composed music at age 12, showing sufficient gifts to be accepted to his country’s most famous music school, the Paris Conservatory. He studied there with composers Paul Dukas and Vincent d’Indy, absorbing not only their academic and traditional methods but also experimenting with the Debussyian Impressionism that was then in its sunset years. In 1918 he went to Brazil as 30

an attaché to the French ambassador, his friend the poet Paul Claudel. When Milhaud returned to France in 1920 he brought with him a new penchant for lively rhythm, evinced in an orchestral piece, Le Beouf sur la toit, which went on to become one of his two signature works. (The other, the jazz-drenched La Creation du monde of 1923, similarly incorporates an extra-classical idiom.) Milhaud shot to fame as one of Les Six, but he was never comfortable with his membership. He wrote in his autobiography: “(Collet) chose six names absolutely arbitrarily … simply because we knew each other and we were pals and appeared on the same musical programs, no matter if our temperaments and personalities weren’t at all the same! Auric and Poulenc followed ideas of Cocteau, Honegger followed German Romanticism, and myself, Mediterranean lyricism!” In 1953 Cocteau himself addressed a reunion of Les Six and admitted that little linked the half dozen together. And yet, said Cocteau: “If there was a certain general tendency, it might have been toward rescuing the melodic line.” Cocteau might even have said “freeing” instead of “rescuing,” since the melodies of Les Six shot off in directions never before aimed at by classical music: jazz, popular songs, folk music, ethnic tunes, and what we would now call “world rhythms.” Also characteristic of the group was the renewed importance given to counterpoint. All but abandoned in the 19th century, counterpoint gives primacy to melodies combined in patterns that produce a texture comparable to a thick weave, as opposed to the smooth surface of harmonic music. This element persisted throughout Milhaud’s career, and is central to the work at hand. Milhaud’s Op. 316 is labeled his String Quintet No. 2, but in point of fact his String Quintet No. 1, composed shortly prior, was what is usually called a piano quintet—a string quartet plus piano. The String Quintet No. 2 is an actual string quintet, though of the rarest kind, as the fifth instrument is a double bass. Only one other work in the mainstream repertoire uses that instrumentation, and that is Dvorˇák’s String Quintet No 2. Milhaud went on to write two other string quintets, one with a second viola and the other with a second cello, thus exhausting all the usual combinations gathered under that term. We often divide composer’s careers into third periods, and talk of, for example, Beethoven’s first, second, and third periods, corresponding roughly to youth, middle, and old 31 age. But Milhaud’s career divides more neatly into two periods: a first one before 1940 and a second afterward. The defining event between them was the fall of France to the Nazis. Milhaud and his wife, both Jewish, fled to the United States, where he was named professor of composition at Mills College, in Oakland, California. After the war Milhaud was also named to the faculty of the Paris Conservatory; his career thereafter took him back and forth between the two schools. Milhaud complained bitterly that his association with Les Six pigeon-holed him as a purveyor of populist style along the lines of La Creation du monde, and indeed his work after 1940 is much more concerned with matters of form and of advanced polytonality (the use of multiple keys at the same time) than with café tune and world rhythms. But it was the very fame of Les Six that allowed Milhaud the luxury of writing any music he wanted to write. What did he want to write? Primarily chamber music of deep contrapuntal complexity. In the late ’40s, Milhaud went beyond any composer before him in that area by composing two string quartets, his 14th and 15th, that can be played either by themselves, or together at the same time as an octet. The Quintet No. 2 comes from 1952, the middle of the composer’s period of intense Modernist preoccupation. Though almost astringent at times, it nonetheless exhibits Milhaud’s usual generous gift for long-lined melody. The work is in four movements, utilizing a typical classical deployment of tempos, with the scherzo in second place rather than third. —Kenneth LaFave 32 The Music String Quartet in G minor, Op. 10

Claude Debussy As a precocious teenager, Debussy toured Russia, Italy, Born in Saint-Germain-en- and Austria playing piano in the “house trio” of Nadezhda Laye, August 22, 1862 von Meck, a Russian widow now remembered as the Died in Paris, March 25, chief patron and confidante of Tchaikovsky. Like the 1918 Russian composer, Debussy was little inclined to compose chamber music himself; the Austro-German ideal of discourse among independent but similar instruments was alien to his ears, which preferred tone-painting—or, as he called it, “sound chemistry”—at the piano or in the orchestra. Something, however, impelled the 31-year-old Debussy to present his “classical” credentials, in the form of a string quartet, at the Société Nationale, the organization in Paris that epitomized the German-influenced Classicism of César Franck and his school. The year was 1893, barely 12 months before the succès de scandale of Debussy’s ballet Prelude to the Afternoon of a Faun, and not much longer until the completion of his revolutionary opera Pelleas and Melisande. These works were to form the foundation of the languid, ambiguous style that came to be called “Impressionism.” In the String Quartet, however, Debussy’s originality took another path, exploring not imagery from poetry or painting but a web of purely musical associations. These begin with Franck, the leading exponent of cyclical form, in which a work of many movements is unified by recurrences of a single “motto” theme or motif throughout. Then there are the Russian composers, who have a similar way of bringing the same theme back often in new orchestral and harmonic guises, and who also appealed to Debussy with their Oriental influences, modal melodies, and inventiveness in coloristic effects. Finally, and most interestingly, there is the example of Edvard Grieg, who in his one completed string quartet (Op. 27, composed in 1877) strove mightily to join the pantheon of German masters of counterpoint and motivic development, but fell back often on his familiar vein of simple chordal texture and Nordic lyricism. That work’s homophonic texture, so unsatisfactory to its composer, apparently encouraged Debussy to follow a similar course, even going so far as to adopt Grieg’s key (G minor) and a motto theme very 33 similar to his. Surely, however, Debussy’s tongue was in his cheek when he gave the work the academic-sounding title “Premier Quatuor en sol mineur, Op. 10”—the only time he ever assigned a key or an opus number to one of his pieces. The Quartet’s first performance was given at the Société Nationale on December 29, 1893, by a quartet headed by Eugène Ysaÿe, the distinguished Belgian violinist who had introduced many other important works, including Franck’s ever-popular Sonata for Violin and Piano. Although the Quartet enjoyed immediate popular success, there was some sniffing among the more academically-minded at the Société, and the piece contributed to a rupture between Debussy and his good friend Ernest Chausson, a former Franck pupil, that would never fully heal. Franck himself had previously referred to Debussy’s 1888 song cycle Ariettes as “de la musique sur les pointes d’aiguilles” (music on pins and needles), a put-down that nevertheless captures the difference between the younger composer’s nervous, volatile style and Franck’s stately, Baroque-inspired phrases. Debussy’s Quartet plunges into its syncopated motto theme forte and without preliminaries, and returns to it often throughout the first movement (Animé et trés decidé), always with new instrumental and harmonic coloration but rarely with what a student of Beethoven would call “thematic development.” An impassioned, lyrical second theme also receives this treatment, in a subordinate role. Like Beethoven in some of his late works, Debussy goes directly from a solid first movement to a scherzo (Assez vif et bien rythmé) that parodies it. A sassy version of the motto theme skips and twirls amid a welter of pizzicatos, no doubt inspired by the celebrated pizzicato scherzo of Tchaikovsky’s Fourth Symphony, which Debussy had heard in Russia. Here, cross-rhythms of two against three add still more dazzle to the accompaniment. Nothing so literal‑minded as A-B-A scherzo form intrudes here, but there is a Russian-sounding legato tune for contrast, and some sense of recapitulation later in this kaleidoscopic movement. The Andantino for muted strings, marked “sweetly expressive” by the composer, draws both on Russian melodies (as in Tchaikovsky and especially Borodin) and on Grieg, wrapping them in an elusive atmosphere that is uniquely Debussy’s. The main theme’s gentle syncopations echo the rhythm of the Quartet’s motto 34

theme. The viola’s solo recitative in modal or pentatonic phrases anticipates the folk-influenced idiom of Vaughan Williams; one of its features is the little melodic turn in triplets from the motto theme, which grows in prominence as the movement reaches its expressive climax. In the finale’s opening bars (Très modéré), the previous movement’s sweet Debussyan languor settles over the motto theme; but soon a variant of the motto gathers force as a repeating ostinato, somewhat in the manner of the scherzo. Still another version of the motto establishes the movement’s hard-driving finale character, which is relieved by reminiscences of the middle section of the Andantino, serving here as a second theme. The motto is recalled in its original, strongly-syncopated form, and many other familiar bits of melody are woven into the music as it increases in speed and brilliance all the way to the end. —David Wright 35 The Music Trio élégiaque in D minor, Op. 9, for violin, cello, and piano

Sergei Rachmaninoff In addition to the symphonies, concertos, and solo piano Born in Semyonovo, works by which he is best known to concertgoers today, Russia, April 1, 1873 Rachmaninoff wrote about a dozen chamber works, Died in Beverly Hills, nearly all by the time he was 25. These include two string March 28, 1943 quartets, Romances for violin and for cello, and a Cello Sonata in G minor that has become one of the favorite works in the genre. He also wrote two piano trios, in 1892 and 1893, both of which were called Trio élégiaque. The First is seldom played, but the Second—published as Op. 9 but revised in 1907 and again in 1917—has established a solid position in the post-Romantic repertoire. It is a big, passionate work that recalls nothing so much as Tchaikovsky’s A-minor Piano Trio from 1881. That work had been composed “To the Memory of a Great Artist,” named to the composer’s friend Nikolai Rubinstein, who had just died. Tchaikovsky himself, who died in November 1893, would in turn become the dedicatee of Rachmaninoff’s Second Trio. The news of the great Russian composer’s death stunned the 20-year-old Rachmaninoff, who had come to regard Tchaikovsky as his chief mentor and one of his closest friends. He apparently began writing the D-minor Trio the day after hearing of the death. “In Memory of P.I. Tchaikovsky,” reads the inscription. The composition of the piece paid a heavy toll on the young man. “While working on it, all my thoughts, feelings, energies were devoted to it,” he wrote. “As it says in one of my songs, ‘all the time I was tormented and sick in heart.’ I trembled for every phrase, sometimes crossed out everything and began again to think, and think. …” An unmistakable atmosphere of mourning and grief hangs over the work, which is clearly modeled after Tchaikovsky’s Trio. The first movement (Moderato— Allegro vivace) opens with a funeral march that seems to imbue death with a harrowing sweetness. A second subject is constructed from a “sigh-motif,” a weary descending third grows into the principal building-block of the development section. The second movement 36 (Andante: Quasi variazione) is a dense, variegated, magnificent set of eight variations on a theme that bears kinship to the subject of the parallel movement of Tchaikovsky’s Trio (also a set of variations). The biographer Barrie Martyn also hears a relationship to the music of Rachmaninoff’s own The Rock, the last piece that the young composer had shown to Tchaikovsky before his death. The massive but brief finale, Allegro risoluto, reintroduces the descending lament-motif from the first movement, building to a series of gigantic and anguished emotional outbursts, which bring the Trio to a resigned and exhausted conclusion. —Paul J. Horsley

Program notes © 2012. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association, Kenneth LaFave, and/or David Wright. 37 Musical Terms

Counterpoint: A Pizzicato: Plucked THE SPEED OF MUSIC term that describes Recapitulation: See (Tempo) the combination of sonata form Allegro: Bright, fast simultaneously sounding Recitative: Declamatory Andantino: Slightly musical lines singing, free in tempo and quicker than andante Development: See rhythm Animé: Animated sonata form Scherzo: Literally “a Décidé: Decisive Diatonic: Melody or joke.” Usually the third Doucement: Sweetly harmony drawn primarily movement of symphonies Expressif: Expressive from the tones of the major and quartets that was Lent: Slow or minor scale introduced by Beethoven Moderato: A moderate Homophonic: Alike in to replace the minuet. The tempo, neither fast nor sound and pitch scherzo is followed by a slow Legato: Smooth, even, gentler section called a trio, Modéré: At a moderate without any break between after which the scherzo is tempo notes repeated. Its characteristics Modérément: At a Mode: Any of certain are a rapid tempo in triple moderate tempo fixed arrangements of the time, vigorous rhythm, and Risoluto: Boldly, diatonic tones of an octave, humorous contrasts. vigorously, decisively as the major and minor Sonata form: The form in Rythmé: Rhythmical scales of Western music which the first movements Vif: Lively, animated Octave: The interval (and sometimes others) Vivace: Lively between any two notes of symphonies are usually that are seven diatonic cast. The sections are TEMPO MODIFIERS (non-chromatic) scale exposition, development, Assez: Somewhat degrees apart and recapitulation, the Bien: Well, thoroughly Op.: Abbreviation for opus, last sometimes followed Quasi: Almost a term used to indicate by a coda. The exposition Très: Very the chronological position is the introduction of of a composition within a the musical ideas, which DYNAMIC MARKS composer’s output are then “developed.” In Ostinato: A steady bass the recapitulation, the Forte (f): Loud accompaniment, repeated exposition is repeated with over and over modifications. Pentatonic: A) Five tones. Syncopation: A shift of B) A five-tone pattern rhythmic emphasis off the common in folk music of beat many regions; often used in Western music as an example of exoticism. 38 Soloists

Luba Agranovsky, piano, is a native of Moscow and a graduate of the Gnessin Academy of Music. She was a winner of the Israel Broadcast Authority Competition and the Carlo Soliva International Chamber Music Competition, as well as various Russian piano competitions. She has appeared with numerous Israeli orchestras and has also made many recordings for Israel Radio and Israel TV. During the last 10 years Ms. Agranovsky has been performing regularly as a chamber music recitalist and solo pianist throughout Germany, Italy, England, Scotland, Russia, Israel, the United States, and Canada.

Chris Lee Robert Cafaro, cello, is a native of New York City and began cello studies at age nine. He won first prize at the Suffolk Symphony Young Artist Competition and the Five Towns Competition on Long Island. He entered the Juilliard Preparatory Division and later received bachelor and master degrees from the Juilliard School; he won the Juilliard Cello Concerto Competition in 1979. Prior to joining The Philadelphia Orchestra in 1985, he was a member of the Baltimore Symphony and the Metropolitan Opera Orchestra. Mr. Cafaro has been on the faculties of the University of Virginia, the College of New Jersey, Strings International, the Hartwick Summer Music Festival in Oneonta, and the Summer Strings Seminar in Rhinebeck. He has been a member of the Rachmaninov Trio since 2003 and also organizes The Philadelphia Orchestra’s Habitat for Humanity events in Camden. Bob Mader Miyo Curnow, violin, was born in New York City and began her studies at age three. At age nine she was accepted into the pre-college division of the Juilliard School, where she studied with Louise Behrend and Christine Dethier. After 10 years in the pre-college and college divisions at Juilliard, Ms. Curnow transferred to Indiana University where she studied with Henryk Kowalski and received a Bachelor of Music degree. She pursued a Master of Music degree from the San Francisco Conservatory, studying with Stuart Canin, and freelanced with such ensembles as the San Francisco Symphony and the San Francisco Opera and Ballet orchestras. In 1995 she won a position in the Dallas Symphony as section second violin and in 1997 was promoted to section first violin. She joined The Philadelphia Orchestra in 2002. 39 Soloists Chris Lee Elina Kalendareva, violin, joined The Philadelphia Orchestra in 2002. A native of Tashkent, Uzbekistan, she was born into a family of classical musicians. She began violin studies with Nathan Mendelsson and debuted with the Uzbekistan Philharmonic at age 12. She went on to study with Igor Bezrodny at the Moscow Conservatory, where she completed a Master of Music degree and did post-graduate work. As a member of the Moscow Conservatory Quintet, she recorded works by Taneyev and Glinka for Le Chant du Monde. Since moving to the U.S. in 1994, Ms. Kalendareva performed as a soloist with the Liederkrantz Symphony Orchestra in New York and as a recitalist for the Ascending Artists series. Before joining The Philadelphia Orchestra, she played with the American Symphony Orchestra, and the New Jersey and Pittsburgh symphonies. She is a founding member of the Society Hill String Quintet.

Chris Lee Robert Kesselman, double bass, is a native Philadelphian and attended Temple University and the Curtis Institute of Music. In 1980 he won a section bass position with the Pittsburgh Symphony, where he remained until 1987. Mr. Kesselman had always dreamed of playing in The Philadelphia Orchestra, and in 1987 he was accepted into the bass section. When he is not playing in the Orchestra, he enjoys teaching, solo playing, and performing chamber music. He was formerly on the faculty of the Peabody Conservatory in Baltimore and currently teaches at Temple University.

Jean Brubaker Dmitri Levin, violin, was born in Minsk and studied at the School for the Musically Talented before entering the Moscow Conservatory, where he was a student of Yuri Yankelevich. After completing his studies Mr. Levin served as principal second violin with the Minsk Opera and Ballet Theater. He emigrated to the United States in 1977 and joined the Pittsburgh Symphony in 1979. During his five-and-a-half year tenure there, he served as co-principal second violin for two seasons, and he gave two solo appearances. He joined The Philadelphia Orchestra in 1984. 40 Soloists Bachrach Kathryn Picht Read, cello, studied piano with her mother from the age of five and began cello lessons when she was 10. She attended the University of Wisconsin and holds a Bachelor of Music degree from the University of Illinois and a Master of Music degree from Boston University. While in Boston she studied with George Neikrug. Prior to joining The Philadelphia Orchestra in 1979, Ms. Picht Read was assistant principal cello of the Kalamazoo Symphony, a member of the Springfield (MA) Symphony, and principal cello of the Battle Creek and Champagne-Urbana symphonies. A former faculty member of the New School of Music, she is now an adjunct professor at Temple University and is on the faculty of FOSJA, the Festival of the Youth Symphony Orchestra of the Americas, in San Juan, Puerto Rico.

William Schrickel Assistant Principal Viola Kerri Ryan became a member of The Philadelphia Orchestra in 2007. She came to Philadelphia from the Minnesota Orchestra, where she was assistant principal viola for seven seasons. Following her graduation from the Curtis Institute of Music in 1998, she served as associate concertmaster of the Charleston Symphony. Ms. Ryan and her husband, Philadelphia Orchestra violinist William Polk, are founding members of the award-winning Minneapolis Quartet. In Philadelphia, while pursuing a violin performance degree at Curtis, she began studying viola with Karen Tuttle. Ms. Ryan also studied at the Cleveland Institute of Music as a member of its Young Artist Program. Her violin teachers include Lee Snyder, Jascha Brodsky, Rafael Druian, and Arnold Steinhardt. 41 January The Philadelphia Orchestra Jessica Griffin

Chamber Music Concert with Members of The Philadelphia Orchestra

Join us in the intimate setting of Perelman Theater, where the virtuosity of each musician shines.

Sunday, January 13 3 PM Perelman Theater Samuel Caviezel Clarinet Imogen Cooper Piano (Guest) Renard Edwards Viola Lisa-Beth Lambert Violin Jennifer Montone Horn Hai-Ye Ni Cello David Nicastro Violin Anna Marie Ahn Petersen Viola Peter Smith Oboe Program includes: Mozart Quintet in E-flat major, K. 452, for piano and winds Mozart String Quintet No. 5 in D major, K. 593

Through a wide range of ensembles and musical styles, encounter the Orchestra’s musicians as individuals, with their unique talents and musical personalities. Order your tickets for the next Chamber Music Concert today!

TICKETS Call 215.893.1999 or log on to www.philorch.org All artists, dates, programs, and prices subject to change. All tickets subject to availability. 1642 Story Title Tickets & Patron Services

Subscriber Services: PreConcert Conversations: Ticket Philadelphia Staff 215.893.1955 PreConcert Conversations are Gary Lustig, Vice President Call Center: 215.893.1999 held prior to every Philadelphia Jena Smith, Director, Patron Orchestra subscription concert, Services Fire Notice: The exit indicated by beginning one hour before curtain. Dan Ahearn, Jr., Box Office a red light nearest your seat is the Conversations are free to ticket- Manager shortest route to the street. In the holders, feature discussions of the Catherine Pappas, Project event of fire or other emergency, season’s music and music-makers, Manager please do not run. Walk to that exit. and are supported in part by the Mariangela Saavedra, Manager, Wells Fargo Foundation. Patron Services No Smoking: All public space in Joshua Becker, Training Specialist the Kimmel Center is smoke-free. Lost and Found: Please call Kristin Allard, Business Operations 215.670.2321. Coordinator Cameras and Recorders: The Jackie Kampf, Client Relations taking of photographs or the Web Site: For information about Coordinator recording of Philadelphia Orchestra The Philadelphia Orchestra and Patrick Curran, Assistant Treasurer, concerts is strictly prohibited. its upcoming concerts or events, Box Office please visit www.philorch.org. Tad Dynakowski, Assistant Phones and Paging Devices: Treasurer, Box Office All electronic devices—including Subscriptions: The Philadelphia Michelle Messa, Assistant cellular telephones, pagers, and Orchestra offers a variety of Treasurer, Box Office wristwatch alarms—should be subscription options each season. Patricia O’Connor, Assistant turned off while in the concert hall. These multi-concert packages Treasurer, Box Office feature the best available seats, Thomas Sharkey, Assistant Late Seating: Latecomers will not ticket exchange privileges, Treasurer, Box Office be seated until an appropriate time guaranteed seat renewal for the James Shelley, Assistant Treasurer, in the concert. following season, discounts on Box Office individual tickets, and many other Jayson Bucy, Lead Patron Services Wheelchair Seating: Wheelchair benefits. For more information, Representative seating is available for every please call 215.893.1955 or visit Fairley Hopkins, Lead Patron performance. Please call Ticket www.philorch.org. Services Representative Philadelphia at 215.893.1999 for Meg Hackney, Lead Patron more information. Ticket Turn-In: Subscribers who Services Representative cannot use their tickets are invited Teresa Montano, Lead Patron Assistive Listening: With the to donate them and receive a Services Representative deposit of a current ID, hearing tax-deductible credit by calling Alicia DiMeglio, Priority Services enhancement devices are available 215.893.1999. Tickets may be Representative at no cost from the House turned in any time up to the start Megan Brown, Patron Services Management Office. Headsets of the concert. Twenty-four-hour Representative are available on a first-come, first- notice is appreciated, allowing Julia Schranck, Priority Services served basis. other patrons the opportunity to Representative purchase these tickets. Brand-I Curtis McCloud, Patron Large-Print Programs: Services Representative Large-print programs for every Individual Tickets: Don’t assume Scott Leitch, Quality Assurance subscription concert are available that your favorite concert is sold Analyst on each level of the Kimmel out. Subscriber turn-ins and other Center. Please ask an usher for special promotions can make last- assistance. minute tickets available. Call Ticket Philadelphia at 215.893.1999 or stop by the Kimmel Center Box Office.