January 2015 - The Philadelphia Orchestra · January 2015. Dear Friends: I hope you all had a...

January 2015

Dear Friends:

I hope you all had a wonderful holiday season, filled with family, good friends, laughter, and glorious music. This month we are thrilled to have Yannick with us for our three-week St. Petersburg Festival, highlighting the music of Tchaikovsky, Rachmaninoff, and Shostakovich—three composers who have special meaning not only to that historic city but also to Philadelphia. Yannick also leads the Orchestra in the 158th Academy of Music Anniversary Concert on January 24, with special guests Al Pacino and violinist Simone Porter. This gala evening is a highlight of the season and it’s always wonderful to return to the hall that was the Orchestra’s home for its first century.

Also this month we welcome back to the podium former Music Director Christoph Eschenbach, who brings with him masterpieces from the Germanic repertoire: Robert Schumann’s Fourth Symphony and Richard Strauss’s Till Eulenspiegel’s Merry Pranks and First Horn Concerto, with Principal Horn Jennifer Montone as soloist.

It would not be January without the Orchestra’s free annual Martin Luther King Jr. Tribute Concert, this year held on Monday, January 19, at 1:30 PM at Girard College Chapel. This will be the second year that the performance will be at the College, the signature site for the annual Greater Philadelphia Martin Luther King Day of Service, and also the second time that the concert will be led by Yannick. This year’s celebration is extra special: it’s the 25th Anniversary of the Orchestra’s first MLK Tribute Concert; the 20th National Day of Service; the 50th Anniversary of the Voting Rights Act; and the 50th Anniversary of the desegregation of Girard College and the visit made by Dr. King to the College in August 1965 in support of that movement. Visit our website at www.philorch.org for more information.

On behalf of the musicians, Board, staff, and volunteers I wish you the happiest of years ahead. We all look forward to seeing you often at our concerts at the Kimmel Center and throughout the region.

Yours in Music,

Allison VulgamorePresident & CEO

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From the President

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Music DirectorMusic Director Yannick Nézet-Séguin continues his inspired leadership of The Philadelphia Orchestra, which began in the fall of 2012. 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 Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” He has taken the Orchestra to new musical heights. Highlights of his third season as music director include an Art of the Pipe Organ festival; the 40/40 Project, in which 40 great compositions that haven’t been heard on subscription concerts in at least 40 years will be performed; and Bernstein’s MASS, the pinnacle of the Orchestra’s five-season requiem cycle.

Yannick has established himself as a musical leader of the highest caliber and one of the most exciting 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 a CD on that label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions. He continues a fruitful recording relationship 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 Nézet-Séguin 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 an appointment as Companion of the Order of Canada, one of the country’s highest civilian honors; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and honorary doctorates from the University of Quebec in Montreal and the Curtis Institute of Music in Philadelphia.

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

Chris Lee

The Philadelphia Orchestra2014–2015 SeasonYannick Nézet-SéguinMusic Director Walter and Leonore Annenberg Chair

Stéphane DenèvePrincipal Guest ConductorCristian MacelaruConductor-in-ResidenceLiu KuokmanAssistant ConductorCharles DutoitConductor Laureate

First ViolinsDavid Kim, ConcertmasterDr. Benjamin Rush ChairJuliette Kang, First Associate ConcertmasterJoseph and Marie Field ChairYing Fu, Associate ConcertmasterMarc Rovetti, Assistant Concertmaster Herbert Light Larry A. Grika ChairBarbara GovatosWilson H. and Barbara B. Taylor ChairJonathan BeilerHirono OkaRichard AmorosoRobert and Lynne Pollack ChairYayoi NumazawaJason DePueLisa-Beth LambertJennifer HaasMiyo CurnowElina KalendarovaDaniel HanYiying Li

Second ViolinsKimberly Fisher, PrincipalPeter A. Benoliel ChairPaul Roby, Associate PrincipalSandra and David Marshall ChairDara Morales, Assistant PrincipalAnne M. Buxton ChairPhilip KatesMitchell and Hilarie Morgan Family Foundation ChairBooker RoweDavyd BoothPaul ArnoldLorraine and David Popowich ChairYumi Ninomiya ScottDmitri LevinBoris BalterWilliam PolkAmy Oshiro-Morales

ViolasChoong-Jin Chang, PrincipalRuth and A. Morris Williams ChairKirsten Johnson, Associate PrincipalKerri Ryan, Assistant PrincipalJudy Geist Renard EdwardsAnna Marie Ahn PetersenPiasecki Family ChairDavid NicastroBurchard TangChe-Hung Chen Rachel KuMarvin Moon*

CellosHai-Ye Ni, PrincipalAlbert and Mildred Switky ChairYumi Kendall, Acting Associate PrincipalWendy and Derek Pew Foundation ChairJohn Koen, Acting Assistant PrincipalRichard HarlowGloria dePasqualeOrton P. and Noël S. Jackson ChairKathryn Picht ReadWinifred and Samuel Mayes ChairRobert CafaroVolunteer Committees ChairOhad Bar-DavidCatherine R. and Anthony A. Clifton ChairDerek BarnesMollie and Frank Slattery ChairAlex Veltman

BassesHarold Robinson, PrincipalCarole and Emilio Gravagno ChairMichael Shahan, Associate PrincipalJoseph Conyers, Assistant PrincipalJohn HoodHenry G. ScottDavid FayDuane RosengardRobert Kesselman

Some members of the string sections voluntarily rotate seating on a periodic basis.

FlutesJeffrey Khaner, PrincipalPaul and Barbara Henkels ChairDavid Cramer, Associate PrincipalRachelle and Ronald Kaiserman ChairLoren N. LindKazuo Tokito, Piccolo

OboesRichard Woodhams, PrincipalSamuel S. Fels ChairPeter Smith, Associate PrincipalJonathan BlumenfeldEdwin Tuttle ChairElizabeth Starr Masoudnia, English HornJoanne T. Greenspun Chair

ClarinetsRicardo Morales, PrincipalLeslie Miller and Richard Worley ChairSamuel Caviezel, Associate PrincipalSarah and Frank Coulson ChairPaul R. Demers, Bass ClarinetPeter M. Joseph and Susan Rittenhouse Joseph Chair

BassoonsDaniel Matsukawa, PrincipalRichard M. Klein ChairMark Gigliotti, Co-PrincipalAngela Anderson SmithHolly Blake, Contrabassoon

HornsJennifer Montone, PrincipalGray Charitable Trust ChairJeffrey Lang, Associate PrincipalDaniel WilliamsJeffry KirschenDenise TryonShelley Showers

TrumpetsDavid Bilger, PrincipalMarguerite and Gerry Lenfest ChairJeffrey Curnow, Associate PrincipalGary and Ruthanne Schlarbaum ChairAnthony PriskRobert W. Earley

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TrombonesNitzan Haroz, PrincipalNeubauer Family Foundation ChairMatthew Vaughn, Co-PrincipalEric CarlsonBlair Bollinger, Bass TromboneDrs. Bong and Mi Wha Lee Chair

TubaCarol Jantsch, PrincipalLyn and George M. Ross Chair

TimpaniDon S. Liuzzi, PrincipalDwight V. Dowley ChairAngela Zator Nelson, Associate PrincipalPatrick and Evelyn Gage Chair

PercussionChristopher Deviney, PrincipalMrs. Francis W. De Serio ChairAnthony Orlando, Associate PrincipalAnn R. and Harold A. Sorgenti ChairAngela Zator Nelson

Piano and CelestaKiyoko Takeuti

KeyboardsDavyd BoothMichael Stairs, Organ**

HarpElizabeth Hainen, PrincipalPatricia and John Imbesi Chair

LibrariansRobert M. Grossman, PrincipalSteven K. Glanzmann

Stage PersonnelEdward Barnes, ManagerJames J. Sweeney, Jr.James P. Barnes

*On leave**Regularly engaged musician

Where were you born? I was born in Fairfax, VA.What piece of music could you play over and over again? Hmm ... almost all of them! I love that about our job, that you get to revisit these amazing works, interspersed with learning an occasional new one. What’s your favorite Philadelphia restaurant? We just moved to Bella Vista, so we’re really enjoying all the Italian restaurants in South Philly, and being so close to the Italian Market. Tell us about your instrument. It’s a horn built by a Norwegian man, Daniel Rauch, who is married to a horn legend, former principal horn of the Oslo Philharmonic, Frøydis Ree Wekre.If you could ask one composer one question what would it be? How on Earth did you write all that?!?! It’s amazing! What piece of music never fails to move you? Almost any and all Bach; the slow inner movements of Bruckner and Brahms; the second movement of Ravel’s G-major Piano Concerto; the last movement of Mahler’s Third Symphony, etc. … So many! When did you join the Orchestra? In September 2006.Do you play any other instruments? Nope, not that you’d want to hear! What’s your favorite type of food? Probably sushi, or chocolate. Do you have any hobbies? My husband and I got into sailing a number of years ago, and right now I’m having a ball with my two little sons, who are 2 and 1/4, and 10 months, respectively.

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

Musicians Behind the ScenesJennifer Montone Principal Horn

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A New Conducting Roster

“They’re the new stars of classical music.” That’s how Philadelphia Orchestra President and Chief Executive Officer Allison Vulgamore describes the new conducting roster. Announced last spring, this dazzling trio is coming into its own this season, under the leadership of Music Director Yannick Nézet-Séguin.

He hails his colleagues: “[Principal Guest Conductor] Stéphane Denève is a formidable artist with a lively and imaginative approach to making music, a passion for engaging audiences, and a deep connection with the Orchestra musicians. I am also proud to see a great career emerging for [Conductor-in-Residence] Cristian

From left: Lio Kuokman, Yannick Nézet-Séguin, Stéphane Denève, and Cristian Măcelaru

By Steve Holt

The Philadelphia Orchestra Welcomes Three Conductors

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Măcelaru. He has a remarkable talent that has made a strong bond with both the musicians and audiences of The Philadelphia Orchestra. And I am delighted to welcome [Assistant Conductor] Lio Kuokman as a regular presence on the podium and in support of our many great programs throughout the entire year.” In bringing this crew on board, Yannick adds, “It is my vision that The Philadelphia Orchestra maintain a circle of collaborators who share a close musical bond with our musicians, and contribute meaningfully to our creative aspirations.”

Vulgamore agrees. She describes the conductors as a creative team of like-minded perspective, who can foster a dialogue about repertoire, concert format, and creative partners such as dance, film, video installations, and theater companies.

What do the Orchestra musicians get from this? “Stability of excellence” says Vulgamore. In other words, the musicians benefit from having a known group of conductors working with them. With over 160 concerts a year, it’s a definite plus to have “a core connective tissue” between the conducting staff and the Orchestra.

And as for the Orchestra’s devoted audience, Vulgamore says this conducting roster allows concertgoers to develop a personal relationship with those who lead the ensemble on so many occasions throughout the year.

So who are these “new stars of classical music”?

Music Director Yannick Nézet-Séguin


Denève is well-known to Orchestra audiences, as a frequent guest conductor since 2007. But his emotional ties to the ensemble stretch much farther back. It was the first orchestra he ever heard, as a small child in France, when he went to see the Disney classic Fantasia. “I remember I thought it must be very cool to be a conductor: You get to shake hands with Mickey Mouse; he says ‘maestro’ to you … that may have decided my career.”

Fast forward to his first performances conducting the Orchestra. He remembers the Kimmel Center matinee vividly. “I felt I was driving the fastest Ferrari ever, made into sound! Because at that concert, I pushed them a little bit, and they responded more than I thought they would, so I pushed the pedal even more, and the virtuosity and sound was absolutely overwhelming. I thought ‘This is it! This is the great Philadelphia Orchestra!’”

Those first concerts made Denève realize that the Orchestra “is an ensemble of soloists. It’s quite a miracle to have this very characteristic big sound from each player, and yet when they play together they merge into this magical blend.”

As for his programming philosophy: “For me, what is important is that every program should be a journey; every piece should have a relationship with the others.” Denève hopes to include new music that’s “very melodic, very passionate, emotional music,” as well as rarely heard classics, that he’s sure audiences will love.

Principal Guest Conductor Stéphane Denève

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Denève often travels with his wife and young daughter. They love Philadelphia and have been spotted visiting sites like the Zoo and the Mutter Museum. They have also spent time together at the Orchestra’s summer home in Saratoga. But he’s not just about classical music. An accomplished pianist, he enjoys playing jazz and can often be overheard describing the harmonic progressions of such pop artists as Daft Punk or Farrell Williams.

Cristian Măcelaru became conductor-in-residence this season, after two years as associate conductor; he debuted as assistant conductor in 2011. He’ll lead two weeks of subscription concerts later this year (one in March replacing the recently deceased Rafael Frühbeck de Burgos, and one in May), in addition to select Family and community programs, and summer concerts.

“I am deeply appreciative of The Philadelphia Orchestra’s endorsement,” says Măcelaru. “I have grown artistically in the past three years and it is primarily because the musicians received me with genuine warmth and an open heart, sharing both their knowledge and expertise. Working with Yannick and the musicians of this great orchestra makes me a better conductor each time I have this opportunity. It is exciting that this new title will allow me to continue my involvement and contribution to the Philadelphia community both on and off the podium.”

Conductor-in-Residence Cristian Măcelaru speaks to the audience before a recent Family Concert.

rehearsals, and other programs in his one-year appointment. “It has been my dream to work with The Philadelphia Orchestra ever since I first heard this orchestra live in Hong Kong when I was a student,” he says. “I am honored to be the assistant conductor and very happy to be a part of the Philadelphia Orchestra family.”

Born in Macao, Kuokman has already been an invaluable resource for the Orchestra’s work in China, facilitating such signature projects as residency activities. He also helped prepare members of the Orchestra and the Philadelphia Singers for their performance of Wang Ning’s Ode to Humanity at the United Nations last September.

Kuokman made his Kimmel Center debut in October at the free College Concert (which was also the debut of the Orchestra’s innovative LiveNote interactive concert guide). He is at home in both the symphonic and operatic repertoires, leading critically acclaimed performances all over the world. An accomplished pianist, he has soloed with the Fort Worth Symphony, Camerata Salzburg, the Shanghai Symphony, and with members of Les Arts Florissants at New York’s Lincoln Center. He is a founding member and president of the Macao Chamber Music Association.

And what about the justly legendary Philadelphia Sound, the hallmark of this orchestra for decades? Vulgamore maintains that “The Philadelphia Sound” is more than just the virtuosity of the individual musicians. It’s how the ensemble as a whole can present a variety of repertoire and respond to different musical interpretations with a unified voice. All four conductors have their unique repertoire tastes and musical perspectives. She explains: Yannick has the responsibility to foster the growth and depth of the sound, expand the repertoire, and maintain the vitality of this inherited legacy. By welcoming three other conductors who share his musical values, bring fresh perspectives, and connect strongly with the musicians, that precious sound can be nourished throughout a multitude of concert experiences at home and on the road.

Four conductors carrying batons on the same team? If that sounds like an athletic event, have no doubt that these gold medal conductors are determined to help The Philadelphia Orchestra soar to Olympian heights.


Assistant Conductor Lio Kuokman and cellist Richard Harlow get their picture taken with some fans after last fall’s Free College Night Concert.

Măcelaru, along with his wife and two young children, have just moved into a home in Philadelphia. One of the things he’s known for backstage are his colorful shirts, of which he owns many dozens. As associate conductor he was pressed into service on a number of occasions, stepping in for indisposed conductors often on short notice. Once he found out he was to conduct less than five minutes before the start of the concert! His wife didn’t even know about it until he came home wearing his concert clothes.

An accomplished violinist, the Romanian-born Măcelaru was the youngest concertmaster in the history of the Miami Symphony, and he made his Carnegie Hall debut with that orchestra at age 19. In 2012 he received the Sir Georg Solti Emerging Conductor Award, a prestigious honor only awarded once before in the Foundation’s history, and he was recently named the 2014 Solti Fellow. Beyond Philadelphia, his profile as guest conductor has rapidly blossomed, including appearances with major North American orchestras such as those in Chicago, Los Angeles, and Toronto, and an increasing slate of European engagements.

Rounding out the team, newly appointed Assistant Conductor Lio Kuokman will lead Family and School Concerts, Neighborhood Concerts, Side-by-Side

Steve Holt, managing partner at re:Write, is a veteran journalist and musician.

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Beyond the Baton

You premiered this Concerto with Marc-André Hamelin and the Rotterdam Philharmonic in 2013. Can you tell us a little bit about the character of the piece? Among all the premieres that I have done, this is one that most immediately got my attention. I was fortunate to have commissioned this piece in Rotterdam for Marc-André Hamelin, our soloist also in Philadelphia. I was struck by great qualities that are not so usual in new music. For example, immediacy of rhythm. It’s something where one wants to dance and it immediately goes right into the stomach in terms of impact and enjoyment. It’s connected to jazz very much. I think Turnage had as a model Gershwin and his treatment of piano and orchestra, whether it’s in Rhapsody in Blue or in the Concerto in F. I think it’s also very, very personal and it doesn’t repeat itself too much—that’s also a great quality. There’s not one note too many, I find. There are some great moments where the piano goes alone, on its own, not really like a cadenza, but more generating the impulse where the orchestra is just taking it and bringing it to another level. It was an immediate success when we performed it in Rotterdam and I expect at least that success when we perform it here.

The piece is part of the St. Petersburg Festival, performed with works by Rachmaninoff. So there was some specific thinking about this pairing. When we talk about Gershwin, which is a connection to Turnage, we talk also about a very specific era where the roots of concert music, which now we call classical, and jazz were still common. And there was an ebullience at that moment where composers were taking this into different directions and eventually it became like two branches of the same tree. So now we’re just there where the tree is about to divide in branches and there is this specific era, which applies not only to Gershwin but to Rachmaninoff. And Rachmaninoff’s Second Symphony, which is paired with the Turnage, might not be his jazziest, because he had not spent much time in North America, but you can feel already that kind of thinking rhythmically. That will allow later Rachmaninoff to develop in a different direction, which is closer to jazz and Gershwin—therefore Turnage. And it was interesting for us to underline this connection in this program.

Turnage’s Piano Concerto will be performed January 22 and 23.

To read previous Beyond the Batons, please visit www.philorch.org/baton.

Chris Lee

This month Yannick talks about Turnage’s Piano Concerto.

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The Philadelphia Orchestra’s new concert series, LiveNote Nights, begins on Wednesday, January 14, with Music Director Yannick Nézet-Séguin and Tchaikovsky’s Fifth Symphony. The new series of earlier, shorter, and informative concert presentations also offers audiences the chance to use the recently introduced LiveNote application for mobile devices. The concerts begin at 6:30 PM, run approximately 75 minutes, and will be performed without an intermission. Tickets are $45, inclusive of fees, and seating is general admission, allowing patrons to sit where, and with whom, they wish.

LiveNote Nights concert presentations offer a program of core repertoire and feature the conductor talking about the music and the Orchestra demonstrating the music that will be performed. Following the concerts the musicians step off the stage to meet and mingle with audience members. The early start time, shorter length, and casual atmosphere are designed to engage a wide range of audience members, from families with teenagers looking for a shorter concert to young professionals seeking a more informative presentation, to longtime Orchestra patrons who want to enjoy an earlier evening with dinner following the concert.

The LiveNote mobile application will be enabled for all three concerts in the series. Concertgoers can access custom-created information about the pieces through the app, which follows along with the music in real time, presenting musical, emotional, and historical highlights. Use of the app is optional for patrons and is not required.

“Our LiveNote Nights concert presentations continue our work to curate concerts that bring musical and extra-musical experiences to our audiences in new and different ways,” said Philadelphia Orchestra President and CEO Allison Vulgamore. “We want to provide all our listeners, from newcomers to seasoned concertgoers, with experiences at the intersection of their interests and lifestyles.”

The remaining LiveNote Nights are February 25, with guest conductor Robert Spano and Benjamin Beilman performing Higdon’s Violin Concerto, and Debussy’s Iberia, and April 22, with Principal Guest Conductor Stéphane Denève leading excerpts from Prokofiev’s Romeo and Juliet. For more information or to purchase tickets please visit our website at www.philorch.org.

The Orchestra Introduces LiveNote Nights: Earlier, Shorter, More Casual

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Academy Award-winning actor Al Pacino and young virtuoso violinist Simone Porter join The Philadelphia Orchestra and Music Director Yannick Nézet-Séguin for the Academy of Music 158th Anniversary Concert on Saturday, January 24, at 7:30 PM. Al Pacino is known the world over for such films as Scent of a Woman, The Godfather, Serpico, Dog Day Afternoon, … And Justice for All, and Scarface, among many others. Amidst the grandeur of the Academy of Music he will share a favorite monologue that will demonstrate why he is one of the most celebrated actors of his generation.

Eighteen-year-old violinist Simone Porter has already appeared with the New York and Los Angeles philharmonics, and the Nashville and Utah symphonies. She made her professional solo debut at age 10 with the Seattle Symphony, and her international debut with the Royal Philharmonic at age 13. Her appearance at the Anniversary Concert marks her Philadelphia Orchestra debut.

“To have an actor of Al Pacino’s caliber share his craft with us will make for a truly memorable evening,” says Yannick Nézet-Séguin. “To combine his formidable dramatic ability, our outstanding musicians of the Orchestra, and the rising talent of Simone Porter will bring special electricity to this Academy Anniversary Concert, sure to be talked about for years to come.”

The celebration begins at 5:30 PM with the Chairman’s Pre-Concert Reception. Guests will mix and mingle enjoying cocktails and sumptuous hors d’oeuvres while exploring the architectural wonders and beauty of this beloved landmark building. The evening continues with the concert at 7:30 PM, followed by the elegant dinner and Ball at the Hyatt at the Bellevue.

For more information on the 158th Academy of Music Anniversary Concert please visit www.theacademyball.org or call the Academy of Music Restoration Fund Office at 215.893.1978.

Legendary Actor Al Pacino and Violinist Simone Porter Join the Orchestra for the Academy of Music 158th Anniversary Concert

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