Season 2015-2016 - The Philadelphia Orchestra

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
is one of the preeminent
orchestras in the world,
renowned for its distinctive
sound, desired for its
keen ability to capture the
hearts and imaginations
of audiences, and admired
for a legacy of imagination
and innovation on and off
the concert stage. The
Orchestra is transforming its
rich tradition of achievement,
sustaining the highest
level of artistic quality, but
also challenging—and
exceeding—that level by
creating powerful musical
experiences for audiences at
home and around the world.
Music Director Yannick
Nézet-Séguin’s highly
collaborative style, deeplyrooted musical curiosity,
and boundless enthusiasm,
paired with a fresh approach
to orchestral programming,
have been heralded by
critics and audiences alike
since his inaugural season in
2012. Under his leadership
the Orchestra returned to
recording, with two celebrated
CDs on the prestigious
Deutsche Grammophon
label, continuing its history
of recording success. The
Orchestra also reaches
thousands of listeners on the
radio with weekly Sunday
afternoon broadcasts on
WRTI-FM.
Carnegie Hall and the
Kennedy Center while also
enjoying summer residencies
in Saratoga Springs, New
York, and Vail, Colorado.
Philadelphia is home and
the Orchestra nurtures an
important relationship with
patrons who support the
main season at the Kimmel
Center, and also with those
who enjoy the Orchestra’s
area performances at the
Mann Center, Penn’s Landing,
and other cultural, civic,
and learning venues. The
Orchestra maintains a strong
commitment to collaborations
with cultural and community
organizations on a regional
and national level.
The Philadelphia Orchestra
serves as a catalyst for
cultural activity across
Philadelphia’s many
communities, as it builds an
offstage presence as strong
as its onstage one. The
Orchestra’s award-winning
Collaborative Learning
initiatives engage over
50,000 students, families,
and community members
through programs such as
PlayINs, side-by-sides, PopUp
concerts, free Neighborhood
Concerts, School Concerts,
and residency work in
Philadelphia and abroad.
The Orchestra’s musicians,
in their own dedicated
roles as teachers, coaches,
and mentors, serve a key
role in growing young
musician talent and a love
of classical music, nurturing
and celebrating the wealth
of musicianship in the
Philadelphia region. For
more information on The
Philadelphia Orchestra,
please visit www.philorch.org.
Through concerts, tours,
residencies, presentations,
and recordings, the Orchestra
is a global ambassador for
Philadelphia and for the
United States. Having been
the first American orchestra
to perform in China, in 1973
at the request of President
Nixon, The Philadelphia
Orchestra today boasts a new
partnership with the National
Centre for the Performing
Arts in Beijing. The ensemble
annually performs at
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
Parallel Events
1708
Bach
Toccata and
Fugue in
D minor
Music
A. Marcello
Oboe Concerto
Literature
Curll
The Charitable
Surgeon
Art
Watteau
Quellnymphe
History
English capture
Sardinia
Music
1891
Tchaikovsky Dvořák
The Nutcracker Carnival
Overture
Literature
Doyle
The White
Company
Art
Munch
Melancholy
History
Discovery of
Java Man
1897
Dukas
The Sorcerer’s
Apprentice
Music
Strauss
Don Quixote
Literature
Kipling
Captains
Courageous
Art
Matisse
Dinner Table
History
World Exhibition
in Brussels
The Philadelphia Orchestra’s Opening Night Concert this
season celebrates the 75th anniversary of Fantasia, Walt
Disney’s masterpiece that so prominently features the
Fabulous Philadelphians.
Fantasia begins with the striking image of Leopold
Stokowski conducting Johann Sebastian Bach’s Toccata
and Fugue in D minor, which opens the concert this
evening as well. Stokowski was crucial to the film in
many ways, from helping to conceive the project, to
orchestrating some of the pieces (Bach’s Toccata was
originally written for organ), to exposing generations of
children to classical music. He also played a starring role
and got to shake hands with Mickey Mouse!
The initial idea was to animate French composer Paul
Dukas’s The Sorcerer’s Apprentice (the one piece
in Fantasia for which Stokowski conducted a pickup orchestra rather than the Philadelphians) but the
project ultimately expanded to a full-length feature that
included many works. Tonight we also hear Stokowski’s
orchestration of the beloved piano piece “Clair de lune”
from Claude Debussy’s Suite bergamasque, and the
concert concludes with excerpts from Tchaikovsky’s ballet
The Nutcracker, which will be accompanied by a screening
of that part of Fantasia.
33
The Music
Toccata and Fugue in D minor (orchestrated by
Leopold Stokowski)
Johann Sebastian Bach
Born in Eisenach,
March 21, 1685
Died in Leipzig, July 28,
1750
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
own instrument; when he emigrated from England to
America he served as organist at St. Bartholomew’s Church
in New York City. This attraction seems natural as well
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
Toccata and Fugue probably
around 1708. Leopold
Stokowski orchestrated it in
1925.
The first Philadelphia Orchestra
performance of the Toccata
and Fugue in Stokowski’s
orchestration was in February
1926, led by Stokowski. Most
recently on subscription, the
work was heard in March 2013,
with Yannick Nézet-Séguin.
This orchestration was recorded
by the Orchestra five times: in
1927, 1934, and 1939 with
Stokowski for RCA; in 1995
with Wolfgang Sawallisch
for EMI; and in 2013 with
Nézet-Séguin for Deutsche
Grammophon.
The score calls for four flutes
(III and IV doubling piccolo),
three oboes, English horn, three
clarinets, bass clarinet, three
bassoons, contrabassoon,
six horns, four trumpets, four
trombones, tuba, timpani, two
harps, celesta, and strings.
The Toccata and Fugue runs
approximately 10 minutes in
performance.
A Closer Look Toccata means a “touch piece” and in the
Baroque era usually signaled a fast and free work with a
good amount of virtuoso scales and arpeggiation. Bach’s
piece opens with a dramatic flourish, an ornament that then
leads through various sections of free writing before a fourvoice fugue. The piece concludes with a toccata-like coda.
In the preface to the score Stokowski wrote:
Of all the music of Bach this Toccata and Fugue is
among the freest in form and expression. Bach was in
the habit of improvising on the organ and harpsichord,
and this Toccata probably began as an organ
improvisation in the church of St. Thomas in Leipzig.
In this lengthy, narrow, high church the thundering
harmonies must have echoed long and tempestuously,
for this music has a power and majesty that is cosmic.
One of its main characteristics is immense freedom
of rhythm, and plasticity of melodic outline. In the
sequence of harmonies it is bold and path-breaking.
Its tonal architecture is irregular and asymmetric. Of all
the creations of Bach this is one of the most original.
Its inspiration flows unendingly. Its spirit is universal so
that it will always be contemporary and have a direct
message for all men.
Stokowski seems to have gotten the chronology wrong—
recent scholarship suggests the work dates from early in
Bach’s career, long before he moved to Leipzig in 1723.
That is, if Bach wrote the piece in the first place. A number
of prominent Bach scholars don’t think he did. There would
certainly be some irony if one of Bach’s most famous
compositions turned out not to be by Bach, but this is
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)
Claude Debussy
Born in St. Germain-enLaye, August 22, 1862
Died in Paris, March 25,
1918
Debussy composed the Suite
bergamasque in 1890, revising
the score in 1905.
The first Orchestra subscription
performances of this
orchestration were in April
1937 and the most recent
in March 1939, all with
Stokowski; it was heard most
recently in Saratoga in 2013,
with Cristian Măcelaru.
The Orchestra recorded the
Stokowski orchestration
twice: in 1937 for RCA with
Stokowski, and in 1995 for
EMI with Wolfgang Sawallisch.
The score calls for two flutes,
oboe, English horn, two
clarinets, two bassoons, horn,
two trumpets, harp, and strings.
Performance time is
approximately five minutes.
“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
be overestimated. “The seductive influence of Debussy’s
style spread quickly throughout the Western world,” writes
William Austin. “Without necessarily knowing the name of
Debussy or the sound even of his ‘Clair de lune,’ everyone
who grows up hearing and making music in the Western
world in the 20th century learns to imagine, dimly or vividly,
sounds and sequences of sounds like those that Debussy
imagined for the first time.”
“Clair de lune” (Moonlight) was originally the third
movement of a piano piece called Suite bergamasque.
Composed in 1890 and revised in 1905, this fourmovement set is Chopinesque in texture and pastoral
in outlook. Yet there is something disquieting about its
nocturnal stillness; a peculiar melancholy seems to lurk
beneath its tranquil surface. It has become one of the
most familiar of all piano pieces. The keyboard music
of the French impressionists has always lent itself
to orchestration. Debussy and especially Ravel often
transcribed their own piano works for orchestra, and
others have naturally felt free to follow suit. Leopold
Stokowski and Lucien Cailliet each made orchestrations
of “Clair de lune,” which were favorites of The Philadelphia
Orchestra throughout the first half of this century. The
orchestration performed tonight is by Stokowski.
—Paul J. Horsley
34C
The Music
The Sorcerer’s Apprentice
Paul Dukas
Born in Paris, October 1,
1865
Died there, May 17, 1935
Dukas composed The
Sorcerer’s Apprentice in 1897.
Carl Pohlig conducted the
first Philadelphia Orchestra
performances of the piece in
October 1910. Most recently
on subscription it was heard
in November 2000, with
Wolfgang Sawallisch on the
podium.
The work has been recorded
four times by the Orchestra: in
1937 with Leopold Stokowski
for RCA; in 1947 and 1963
with Eugene Ormandy for
CBS; and in 1971 with
Ormandy for RCA.
Dukas’s score calls for piccolo,
two flutes, two oboes, two
clarinets, bass clarinet, three
bassoons, contrabassoon, four
horns, four trumpets, three
trombones, timpani, percussion
(bass drum, cymbals, orchestra
bells, suspended cymbal,
triangle), harp, and strings.
Performance time is
approximately 12 minutes.
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
enough to permit him to “turn off” the spell. As most of
us know, the Sorcerer returns to find that the enchanted
broomsticks have flooded the house.
Many serious readers will know this story through Goethe’s
telling of it, in his 1797 poem Der Zauberlehrling, but
audiences today are probably most familiar with the version
in Disney’s film. Dukas doubtless knew Lucian’s tale, but he
based his 1897 symphonic poem on Goethe’s telling.
Although he composed in a variety of genres, Dukas was
not prolific and was forced to come to terms with the fact
that—even during his lifetime—the latter part of his career
was shaped largely by the popularity of one short piece.
And for over a century now The Sorcerer’s Apprentice has
maintained its position as one of the most popular works
in the orchestral repertory.
Dukas called the piece The Sorcerer’s Apprentice,
Symphonic Scherzo after a Ballad of Goethe. And it is
indeed a classical scherzo, complete with the humor and
rhythmic spice typical of the genre, combined with spiky,
racing excitement and bright orchestral colors. Completed
only days before its premiere in Paris in May 1897, The
Sorcerer’s Apprentice was an immediate success. Almost
half a century later, the inspired retelling by Disney’s
artists quickly became a part of America’s national “pop”
mythology.
—Paul J. Horsley
35
The Music
Excerpts from Suite from The Nutcracker
Pyotr Ilyich Tchaikovsky
Born in Kamsko-Votkinsk,
Russia, May 7, 1840
Died in St. Petersburg,
November 6, 1893
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
transatlantic trip he began writing The Nutcracker, which
premiered at the Mariinsky Theater in St. Petersburg in
December 1892. Although not in poor health, he died just
a year later at age 53.
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
Nutcracker from 1891 to
1892.
Carl Pohlig led the first
Philadelphia Orchestra
performances of a suite from
the ballet, in December 1911.
The most recent appearance
of any Nutcracker music on
a subscription concert was in
January 2015, when Yannick
Nézet-Séguin performed
several excerpts.
The Philadelphia Orchestra has
recorded the first Nutcracker
Suite seven times: in 1926,
1934, and 1939 with Leopold
Stokowski for RCA; in 1941
and 1972 with Eugene
Ormandy for RCA; and in
1952 and 1963 with Ormandy
for CBS. Stokowski and the
Orchestra recorded the “Dance
of the Reed Flutes” in 1922 for
RCA. Several excerpts from the
score were also recorded by
the Orchestra in 1939 as part
of the soundtrack for the film
Fantasia.
A Closer Look The ballet is based on Nussknacker und
Mausekönig (Nutcracker and Mouse King), a story by the
prominent German writer E.T.A. Hoffmann as related in a
French version by Alexandre Dumas père. The tale takes
place at Christmas time (Tchaikovsky called his ballet The
Christmas Tree in the manuscript) as the Silberhaus family
and their assorted guests gather for a merry party. Clara
and her brother, Fritz, help in decorating the tree. The
mysterious Drosselmeyer, the children’s godfather, enters
with many gifts, including a large Nutcracker outfitted as
a soldier, which particularly delights the young girl. Fritz
breaks the gift and Clara holds it in her arms.
After everyone goes to bed, Clara returns and is amazed
to see the gifts—various dolls and soldiers—at war with an
army of mice. The Nutcracker, crucially assisted by Clara,
does battle with the King of the Mice, emerges victorious,
and is magically transformed into a dashing Prince. He
transports Clara to a winter wonderland. Act II takes place
in the Kingdom of Sweets, where the Sugar-Plum Fairy
welcomes Clara and the Prince. There is a grand banquet
accompanied by a series of six national dances before a
final waltz in which everyone praises Clara.
—Christopher H. Gibbs
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
Arpeggio: A broken
chord (with notes played
in succession instead of
together)
BWV: The thematic
catalogue of all the works
of J.S. Bach. The initials
stand for Bach-WerkeVerzeichnis (Bach-WorksCatalogue).
Cadence: The conclusion
to a phrase, movement,
or piece based on a
recognizable melodic
formula, harmonic
progression, or dissonance
resolution
Chorale: A hymn tune
of the German Protestant
Church, or one similar in
style. Chorale settings are
vocal, instrumental, or both.
Chord: The simultaneous
sounding of three or more
tones
Chromatic: Relating to
tones foreign to a given
key (scale) or chord
Coda: A concluding
section or passage added
in order to confirm the
impression of finality
Diatonic: Melody or
harmony drawn primarily
from the tones of the major
or minor scale
Dissonance: A
combination of two or more
tones requiring resolution
Divertimento: A piece
of entertaining music
in several movements,
often scored for a mixed
ensemble and having no
fixed form
Fugue: A piece of music
in which a short melody
is stated by one voice
and then imitated by the
other voices in succession,
reappearing throughout
the entire piece in all the
voices at different places
Harmonic: Pertaining to
chords and to the theory
and practice of harmony
Harmony: The
combination of
simultaneously sounded
musical notes to produce
chords and chord
progressions
Legato: Smooth, even,
without any break between
notes
Meter: The symmetrical
grouping of musical
rhythms
Mode: Any of certain
fixed arrangements of the
diatonic tones of an octave,
as the major and minor
scales of Western music
Monophony: Music for a
single voice or part
Nocturne: A piece of
a dreamily romantic or
sentimental character,
without fixed form
Op.: Abbreviation for opus,
a term used to indicate
the chronological position
of a composition within a
composer’s output. Opus
numbers are not always
reliable because they are
often applied in the order
of publication rather than
composition.
Plainchant: The official
monophonic unison chant
(originally unaccompanied)
of the Christian liturgies
Scale: The series of
tones which form (a) any
major or minor key or (b)
the chromatic scale of
successive semi-tonic
steps
Scherzo: Literally “a joke.”
An instrumental piece of
a light, piquant, humorous
character.
Suite: A set or series of
pieces in various dance
forms. The modern
orchestral suite is more like
a divertimento.
Symphonic poem:
A type of 19th-century
symphonic piece in one
movement, which is based
upon an extramusical idea,
either poetic or descriptive
Timbre: Tone color or tone
quality
Toccata: Literally “to
touch.” A piece intended
as a display of manual
dexterity, often free in form
and almost always for a
solo keyboard instrument.
Tonality: The orientation
of melodies and harmonies
towards a specific pitch or
pitches
Tonic: The keynote of a
scale
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
Dennis Adams
Ann Young Bloom
Dr. Claire Boasi
Ms. Judith Broudy
Laura and Bill Buck
Richard and Florence Celender
Sara A. Cerato
R. Putnam Coes III and Amy M. Coes
Suzanne and Norman Cohn
Constance and Michael Cone
Sarah Miller Coulson
Tobey and Mark Dichter
Henry and Kathy Donner
Virginia and John Dowd
Mark and Rebecca Foley
Linda Frankel
Annette Y. Friedland
Nancy and John Galloway
Carole and Emilio Gravagno
Lynn and Tony Hitschler
Lynne and Harold Honickman
Ken Hutchins
Osagie and Losenge Imasogie
Betsy J. Joyce
Andrea and Warren Kantor
Ruth Sarah Lee
Elizabeth and Edwin Mahoney
Lynn and Joe Manko
John McFadden and Lisa Kabnick
Hilarie and Mitchell Morgan
Mr. Robert E. Mortensen
Caroline B. Rogers
Harold S. and Franny Rosenbluth
Dianne and Jeffrey Rotwitt
Mr. and Mrs. Mark E. Rubenstein
Lynn and Anthony C. Salvo
Adele and Harold Schaeffer
Constance Smukler
Ann and Harold Sorgenti
Mrs. Roberta R. Tanenbaum
Jack and Ramona Vosbikian
Joanne and Raymond Welsh
Felice and Tom Wiener
Dr. and Hon. Sankey V. and
Constance Williams
Lisa and Paul Yakulis
F. Gordon Yasinow
Benjamin Zuckerman and
Marian Robinson
Benefactors
Barbara Alleva
Peter A. Benoliel and Willo Carey
Dr. and Mrs. Arnold P. Berman
Ellen and Peter Bodenheimer
Mrs. Robert M. Brasler
Elia D. Buck
Roland and Sally Bullard
Robert Capanna and Cathryn Coate
Mr. and Mrs. James L. Crowell
Richard Davidson
Nancy and Kenneth Davis
Colleen DeMorat and Roy Dombrowski
Irina and Patrick Gage
Toni and Bob Garrison
Mackenzie and Joshua Gross
Ronna and Bob Hall
Martin and Cynthia Heckscher
Eric and Lenora Hume
Rachelle and Ronald Kaiserman
Bernice J. Koplin
Dr. Morton and Rhea Mandell
Mr. and Mrs. Thomas A. McCarthy
David J. Miller and Maureen
Brennan-Miller
J.P. Morgan
Despina F. Page
Alexandra and David Pennington
PricewaterhouseCoopers
Susanne S. Robinson
Dr. and Mrs. Milton L. Rock
Faye Senneca and Richard Weisenberg
Christina Snylyk
Kenneth and Mary Sweet
Aileen E. Whitman
Richard and Diane Woosnam
Renee M. and Joseph S. Zuritsky
42B
2015 Opening Night
Patrons
Maggie and Bob Beck
Charlotte Biddle
Lois and Bruce Boyce
Stephanie and Kirk Brandow
Peggy Butchkavitz and Carl Poplar
Lisa Canavarro
Scott and Nelly Childress
Alice Cullen
David Devan and David Dubbledam
Edna Dick
Virginia and John Dowd
Richard and Mary Emrich
Ruth Eni
Sara W. Forster
Mr. and Mrs. Robert A. Fox
Melvin Gang
Sabina Gatti
Judy and John Glick
Anne Stanley Glunk
Criswell Gonzalez
Dr. Janice T. Gordon
Dr. Thelma D. Gosfield
Kate Hall
Mary Beth Henry
E. Wilhelmina Holden
Diana L. Harrison
Mr. and Mrs. James R. Holt, Jr.
Robert and Jeanne Hunsicker
Marie and Jeff Kenkelen
Drs. Peter and Caroline Koblenzer
Drs. Deborah and Gary Ledley
Dr. and Mrs. Roy M. Lerman
The Hon. and Mrs. Stephen Levin
Constance Madara
Florence and Richard Maloumian
Dr. Marilyn McDonald and Mr. Joe Folger
Marguerite Mertz and Michael Lynagh
Mrs. Philippus Miller, Jr.
Sharon and Ian Modelevsky
Dr. and Mrs. R. Barrett Noone
Mrs. Peter B. Pakradooni
Mary Belle S. Rauch
Nancy and Randy S. Ronning
Eric G. Schultz
Carol C. Sherman
David Silverman and Gary Mucciaroni
Glenna G. Stewart
Randy Swartz and Judith Sills Swartz
Kristin and David Touchstone
Rose and Bennett Wartman
Robin Warzel
Wells Fargo
Julie D. Williams
Jerry Wind
Young Friends
Mr. Daniel Bedrossian
Stephen Cantando
Dr. Charisse Chin
Joseph G. Donahue
Jonathan Greenblatt
Dr. Martin Ihrig
Ms. Dayna Imam
Mr. and Mrs. Brian Kelley
Mr. Brian Lipstein
Matthew Malinowksi and
Dr. C. William Lentz
Dr. Jammie Menetray
Dionna N. Martin
Mr. Jason Mo
Arlene and David Morgan
Mr. and Mrs. Alexander K. Nagy
Andrea and Brian Ramunno
Mr. Joseph Ribecchi
Anne G. Rogers
Drs. Deepak and Preeti Sudheendra
Clinton Walker
Miss Laura Williams
D. Wong and Th. Steinborn
David M. Zawrotny
List complete as of print deadline
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
24 Story Title
42D
Tickets & Patron Services
We want you to enjoy each and
every concert experience you
share with us. We would love
to hear about your experience
at the Orchestra and are happy
to answer any questions you
may have.
Please don’t hesitate to contact
us via phone at 215.893.1999,
in person in the lobby, or at
[email protected].
Subscriber Services:
215.893.1955
Patron Services:
215.893.1999
Web Site: For information
about The Philadelphia
Orchestra and its upcoming
concerts or events, please visit
www.philorch.org.
Individual Tickets: Don’t
assume that your favorite
concert is sold out. Subscriber
turn-ins and other special
promotions can make lastminute tickets available. Call us
at 215.893.1999 and ask for
assistance.
Subscriptions: The
Philadelphia Orchestra offers a
variety of subscription options
each season. These multiconcert packages feature the
best available seats, ticket
exchange privileges, discounts
on individual tickets, and many
other benefits. Learn more at
www.philorch.org.
Ticket Turn-In: Subscribers
who cannot use their tickets
are invited to donate them
and receive a tax-deductible
credit by calling 215.893.1999.
Twenty-four-hour notice is
appreciated, allowing other
patrons the opportunity to
purchase these tickets and
guarantee tax-deductible credit.
PreConcert Conversations:
PreConcert Conversations are
held prior to every Philadelphia
Orchestra subscription concert,
beginning one hour before the
performance. Conversations are
free to ticket-holders, feature
discussions of the season’s
music and music-makers,
and are supported in part by
the Hirschberg-Goodfriend
Fund established by Juliet J.
Goodfriend
Lost and Found: Please call
215.670.2321.
Late Seating: Late seating
breaks usually occur after the
first piece on the program
or at intermission in order to
minimize disturbances to other
audience members who have
already begun listening to the
music. If you arrive after the
concert begins, you will be
seated as quickly as possible
by the usher staff.
Accessible Seating:
Accessible seating is available
for every performance.
Please call Patron Services at
215.893.1999 or visit www.
philorch.org for more information.
Assistive Listening: With
the deposit of a current ID,
hearing enhancement devices
are available at no cost from
the House Management Office.
Headsets are available on a
first-come, first-served basis.
Large-Print Programs:
Large-print programs for
every subscription concert
are available in the House
Management Office in
Commonwealth Plaza. Please
ask an usher for assistance.
Fire Notice: The exit indicated
by a red light nearest your seat
is the shortest route to the
street. In the event of fire or
other emergency, please do not
run. Walk to that exit.
No Smoking: All public space
in the Kimmel Center is smokefree.
Cameras and Recorders:
The taking of photographs or
the recording of Philadelphia
Orchestra concerts is strictly
prohibited.
Phones and Paging Devices:
All electronic devices—including
cellular telephones, pagers, and
wristwatch alarms—should be
turned off while in the concert
hall.
Ticket Philadelphia Staff
Carrie Farina, Director, Patron
Services
Michelle Harris, Director, Client
Relations
Dan Ahearn, Jr., Box Office
Manager
Gregory McCormick, Training
Manager
Catherine Pappas, Project
Manager
Jayson Bucy, Patron Services
Manager
Elysse Madonna, Program and
Web Coordinator
Michelle Messa, Assistant Box
Office Manager
Tad Dynakowski, Assistant
Treasurer, Box Office
Patricia O’Connor, Assistant
Treasurer, Box Office
Thomas Sharkey, Assistant
Treasurer, Box Office
James Shelley, Assistant
Treasurer, Box Office
Mike Walsh, Assistant
Treasurer, Box Office
Elizabeth JacksonMurray, Priority Services
Representative
Stacey Ferraro, Lead Patron
Services Representative
Meaghan Gonser, Lead Patron
Services Representative
Meg Hackney, Lead Patron
Services Representative
Megan Chialastri, Patron
Services Representative
Jared Gumbs, Patron Services
Representative
Kristina Lang, Patron Services
Representative
Brand-I Curtis McCloud, Patron
Services Representative
Steven Wallace, Quality
Assurance Analyst