Season Yannick Nézet-Séguin Conductor Lang Lang Piano. Intermission. The May 12 concert is sponsored by Ballard Spahr.

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1 Season Thursday, May 12, at 8:00 Friday, May 13, at 8:00 Saturday, May 14, at 8:00 The Philadelphia Orchestra Yannick Nézet-Séguin Conductor Lang Lang Piano Rachmaninoff Piano Concerto No. 1 in F-sharp minor, Op. 1 I. Vivace II. Andante III. Allegro vivace Intermission Mahler/Cooke Symphony No. 10 in F-sharp major I. Adagio II. Scherzo III. Purgatorio (Allegretto moderato) IV. [Scherzo] V. Finale (Lento non troppo) This program runs approximately 2 hours, 5 minutes. The May 12 concert is sponsored by Ballard Spahr. The May 12 concert is sponsored by Constance Smukler. 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.

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3 The Philadelphia Orchestra 25 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 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. 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. 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 Carnegie Hall and the Kennedy Center while also enjoying summer residencies in Saratoga Springs, New York, and Vail, Colorado. 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

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5 6 Music Director Chris Lee Music Director Yannick Nézet-Séguin, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra, and he has renewed his commitment to the ensemble through the 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 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 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, Musical America s 2016 Artist of the Year, 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

6 Soloist 27 Harald Hoffmann Superstar pianist Lang Lang has played sold-out concerts in every major city across the globe, from intimate recital halls to the grandest of stages including the 2014 World Cup concert in Rio de Janeiro with Plácido Domingo; the 2014 and 2015 Grammy Awards, where he performed with Metallica and Pharrell Williams; the opening ceremony of the 2008 Beijing Olympics, where more than four billion people viewed his performance; the last night of the Proms at London s Royal Albert Hall; and the Liszt 200th birthday concert with The Philadelphia Orchestra and Charles Dutoit, which was broadcast live in more than 300 movie theaters around the U.S. and 200 cinemas across Europe. A graduate of the Curtis Institute of Music, Lang Lang is the first Chinese pianist to be engaged by the Vienna, Berlin, and New York philharmonics and is a regular soloist with The Philadelphia Orchestra. He made his debut with the Philadelphians in 2001; performed with them on tour in Asia in 2001, 2005, and 2008 (and also this month); and most recently appeared with the ensemble in Named one of Time magazine s 100 most influential people in the world, Lang Lang has formed enduring musical partnerships with numerous artists, from conductors such as Daniel Barenboim and Gustavo Dudamel to artists from outside classical music, including singer Julio Iglesias, jazz titan Herbie Hancock, and hip hop dancer Marquese Nonstop Scott. He served as the first official ambassador of the YouTube Symphony, a role that combined two of his great loves: music and outreach through technology. An exclusive recording artist with Sony Music Entertainment since February 2010, Lang Lang s latest releases include an all-mozart CD and Lang Lang in Paris, featuring works by Tchaikovsky, Bach, and Chopin. Lang Lang credits the Tom and Jerry cartoon The Cat Concerto (featuring Liszt s Hungarian Rhapsody No. 2) with introducing him to that composer s music. He retains a childlike excitement about what he calls his second career bringing music into the lives of children around the world through his work for charities such as UNICEF and through the Lang Lang International Music Foundation. A Steinway piano, specially designed for early music education, has been named for him. And his biography, Journey of a Thousand Miles, includes a version for younger readers.

7 28 Framing the Program Parallel Events 1890 Rachmaninoff Piano Concerto No Mahler Symphony No. 10 Music Nielsen Symphony No. 1 Literature Ibsen Hedda Gabler Art Cézanne The Cardplayers History Global influenza epidemics Music Stravinsky The Firebird Literature Forster Howard s End Art Modigliani The Cellist History Du Bois founds NAACP Although Sergei Rachmaninoff had written some earlier pieces, he decided to present as his official Opus 1 the First Piano Concerto. He began composing the work at age 17 and was soloist at 18 for its premiere. He published the Concerto a few years later, but then cooled on the piece, declining to play it any longer. Twenty-five years passed before he returned to this youthful venture to thoroughly revise it. He gave the first performance of the new version in 1917 at Carnegie Hall and two decades later recorded it with Eugene Ormandy and The Philadelphia Orchestra. When Gustav Mahler died at age 50 in 1911 he had drafted a five-movement symphony, which would have been his Tenth. The opening movement was quite far advanced and some dozen years later Alma, his widow, decided it should be performed, as it has been frequently ever since then. The remaining four movements of the work were in more preliminary states, some sections fully orchestrated while other parts were minimally sketched with a basic melodic line. For the Mahler Centenary in 1960 the British musicologist Deryck Cooke created a performing version to accompany a BBC lecture broadcast. Ormandy and the Philadelphians gave the American premiere five years later and made the first recording of Cooke s completion, which was later further revised and recorded by the Orchestra under James Levine.

8 The Music Piano Concerto No Sergei Rachmaninoff Born in Semyonovo, Russia, April 1, 1873 Died in Beverly Hills, California, March 28, 1943 Sergei Rachmaninoff was born to a wealthy family that assiduously cultivated his prodigious musical gifts. Although he composed a fair amount of juvenilia, he thought fit to publish his First Piano Concerto as his official Opus 1. The 17-year-old began writing it in 1890 at his family s pastoral estate Ivanovka, some 300 miles south of Moscow. I am composing a piano concerto, he wrote to a friend the following March: Two movements are already written; the last movement composed, but not yet written; I will probably finish the whole concerto by late spring and then orchestrate it during the summer. (This letter suggests an interesting distinction between what he felt was composing a work and writing it down.) As anticipated, by mid-july Rachmaninoff reported success: I could have finished it earlier, but after the first movement I idled for a long time and began to write out the other movements only on July 3. I wrote down and orchestrated the last two movements in two and a half days. Just imagine: I wrote from five in the morning until eight in the evening, after finishing the work I was so terribly tired. I am pleased with the Concerto. A Path to Revision Rachmaninoff premiered the first movement of the piece in March 1892 at the Moscow Conservatory. He dedicated the work to his cousin, the distinguished pianist Alexander Siloti, who proceeded to perform the piece frequently. Although Rachmaninoff published the Concerto a couple years later in a two-piano version, he cooled on the work and declined to play it himself. A decade later he said that he needed to take it in hand, look it over, and then decide how much time and work will be required for its new version, and whether it s worth doing, anyway. Now in his mid-30s, Rachmaninoff was a famous composer. The Second Piano Concerto (1901) had helped secure that stature and people were curious to hear what his first effort in the genre was like hence the reassessment: It is so terrible in its present form that I should like to work at it and, if possible, get it into decent shape. But the Third Concerto (1909), which proved yet another triumph when he premiered it in New York,

9 30 Rachmaninoff composed his First Piano Concerto from 1890 to 1891 and revised it in Rachmaninoff himself gave the first Philadelphia Orchestra performances of his First Concerto, on March 28, 1919, with Leopold Stokowski conducting. The most recent appearance of the work on subscription concerts was in November 2001, when Stewart Goodyear performed it with Yakov Kreizberg. The composer returned to Philadelphia during the late 1930s for a series of performances of the piece, during which he recorded the work with Eugene Ormandy and the Orchestra for RCA. The Philadelphians also recorded the Concerto for CBS in 1963, with Philippe Entremont and Ormandy conducting. The score calls for solo piano, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion (cymbal, triangle), and strings. Rachmaninoff s First Piano Concerto runs approximately 25 minutes in performance. sidetracked Rachmaninoff again. It was not until 1917, just before he left revolutionary Russia for the West, that he returned to his youthful concerto. The revisions involved a thinning out of the orchestration, making some structural modifications, writing a new cadenza for the opening movement, and recasting the finale to a considerable extent. Rachmaninoff gave the first performance of the new version that year at Carnegie Hall with Modest Altschuler conducting the Russian Symphony Orchestra Society. Despite the attractions of an early work tempered by mature second thoughts, it was not able to dislodge Rachmaninoff s famous Second and Third concertos. As the composer confessed to Alfred Swan, the first professor of music at Haverford College: I have rewritten my First Concerto; it is really good now. All the youthful freshness is there, and yet it plays itself so much more easily. And nobody pays any attention. When I tell them in America that I will play the First Concerto, they do not protest, but I can see by their faces that they would prefer the Second or Third. A Closer Look Despite the composer s revisions, the First Concerto still sounds like the Rachmaninoff whose music audiences so embraced, chronologically situated, as it is, both before and after its phenomenally famous siblings and his brilliant Second Symphony ( ). Because the original version of the Concerto survives we know that the revision remains close to what the teenage Rachmaninoff initially composed. Even at such a young age many fingerprints of his mature style are already evident, beginning with the lushly expansive first theme of the first movement (Vivace) that follows a dramatic opening a brass fanfare leading to massive double octaves loudly proclaimed by the piano soloist. This and other parts of the Concerto seem to be modeled on Edvard Grieg s Piano Concerto in A minor, which it seems Siloti was diligently practicing while spending the summer of 1890 at Ivanovka with the composer. The brief second-movement Andante offers a lyrical and nocturnal interlude before the vibrant finale (Allegro vivace). Christopher H. Gibbs

10 The Music Symphony No. 10 (performing version by Deryck Cooke [1976]) 31 Gustav Mahler Born in Kalischt (Kaliště), Bohemia, July 7, 1860 Died in Vienna, May 18, 1911 Soon after Gustav Mahler s death at age 50 in 1911, Arnold Schoenberg observed: It seems that the Ninth is a limit. He who wants to go beyond it must die. It seems as if something might be imparted to us in the Tenth that we should not yet know, for which we are not yet ready. Those who have written a Ninth stood too near to the hereafter. Mahler apparently shared some of these superstitions about writing a ninth symphony, as had concluded the careers of Beethoven and Anton Bruckner. His widow, Alma, reported that he tried to cheat fate by following his Eighth Symphony (1906) with Das Lied von der Erde (The Song of the Earth; ). After writing his official Ninth (1909), he allegedly told her, Actually, of course, it s the Tenth, because Das Lied von der Erde was really the Ninth. When he began what was to be a five-movement Tenth Symphony, he remarked: Now the danger is past. Mahler worked on the Tenth during the summer of 1910, but died the following May before finishing it. Others have tried to do that for him or rather, at least to give some idea of what the Symphony might have sounded like at the time he died based on three movements that were fairly far advanced in their working out and continuous drafts for all five. Of course Mahler might ultimately have decided to cut some of the movements, or to have added more, and the folders in which he kept the sketches indicate that he had evolving thoughts as to their order. An infinite number of details, exactly those miracles that make Mahler s music so distinctive, remained in his imagination. And yet the attraction persisted of giving audiences some idea of what existed in draft through a responsible performing edition. The British musicologist Deryck Cooke ( ) did just that in what has emerged as the most frequently programmed version, which he called A Performing Version of the Draft for the Tenth Symphony. In 1965 Eugene Ormandy and The Philadelphia Orchestra presented the United States premiere and made the first commercial recording. Finishing Masterpieces In some art forms direct

11 32 access to unfinished works is possible for those interested in learning more about a great creative figure. A painting or a novel that is left incomplete can be looked at or read with the viewer/reader trying to imagine what path the work might have taken had its creator lived to finish the task. Music poses a more complex case as few people can look at sketches or a manuscript draft and hear the music in their inner ear. An editor needs to produce a performing score for musicians to play one that brings the music to life and to the public. While some object to such attempts, others feel that the benefits far outweigh the problems. Cooke and other musicians who have made performing editions of Mahler s Tenth Symphony offer public access, even if inevitably through the filter of their own knowledge, skill, and imagination. Cooke repeatedly made disclaimers about what he had done: If Mahler had lived to complete the work, he would have elaborated the music considerably, refined and perfected it in a thousand details, possibly expanded or contracted or switched around a passage here or there. Although the opening movement of the Tenth Symphony was the farthest advanced at the time of Mahler s death, Cooke s warning applies to a certain extent to it as well, and the last two movements are far more speculative in their working out. A Troubled Time Mahler composed the Tenth Symphony at a troubled juncture in his life. In 1907 he resigned from the Vienna Court Opera, where he had ruled for a decade, and moved to New York City, first to conduct at the Metropolitan Opera and later to assume the post of music director of the New York Philharmonic. He and Alma returned to Europe for the summers, which throughout his career was when he did most of his composing. By 1910 the situation in New York was becoming increasingly difficult, as was his marriage to the nearly 20-yearyounger Alma, who had begun an affair with the young architect Walter Gropius (later her second husband). Mahler learned of this liaison and sought help from none other than Sigmund Freud in late August. Although some musical ideas apparently date from a few years earlier, Mahler drafted the Tenth Symphony that same summer, about 75 minutes of music, on a fourstave score. He essentially laid out the entire sweep of the Symphony the melodies, much of the counterpoint and harmony, and various indications of instrumentation. He then went back and started the full orchestration. He managed to get to this second stage with the first

12 33 movement, much of the second, and the beginning of the third, thus about half the Symphony. These orchestrations were preliminary and had Mahler survived the summer of 1911, he would have continued the orchestral draft and then made a final fair copy indicating in greater detail everything he wanted, not just the instrumentation, but also expressive markings. The Path to the Public In 1924 Alma arranged the publication of a handsome facsimile edition of most of the draft materials and her son-in-law, the composer Ernst Krenek, with assistance from Alban Berg and others, fashioned a performing score of the first and third movements, which Franz Schalk premiered that year with the Vienna Philharmonic. In the years that followed both Dmitri Shostakovich and Schoenberg were approached to see if they would realize the complete Symphony, but declined. Scholars and Mahler enthusiasts independently pursued the project, most prominently Cooke. A preliminary version of his edition was prepared for the Mahler centennial in 1960 as part of a lecture for a BBC broadcast featuring an orchestral performance of most of the piece. Although initially resistant, Alma eventually heard a tape of the broadcast and agreed to end her ban and endorse Cooke s efforts. He worked for several more years on refining a full score (more sketch materials had come to light), producing a final version together with composers David and Colin Matthews and conductor Berthold Goldschmidt in Many commentators have characterized Das Lied von der Erde, the Ninth Symphony, and what exists of the Tenth as a farewell trilogy. Although Mahler had just turned 50 as he started the Tenth, his health had been precarious for several years after being diagnosed with a heart condition. Death marked both his life (the death of many of his siblings and of a daughter) and his art, perhaps most noticeably in the funeral marches found in many of his symphonies. But as Cooke observed, while his earlier works have images of death, the late ones taste of it. The psychologist Elisabeth Kübler-Ross has explored the various stages of dealing with death among them denial, anger, and acceptance and one might argue that all of these states and more may be found in Mahler s late works, both within and among the individual compositions. Yet the Tenth, even with its moments of extreme, dissonant anger, seems finally to move toward acceptance at the end. A Closer Look The lengthy first movement begins as an andante with unaccompanied violas stating an

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14 35 extended first theme before being joined by the rest of the strings for the second theme, distinguished by wide leaps and lush harmony (Adagio). The third theme is more humorous, almost like in a scherzo, characterized by trills. The three ideas alternate, not always in the same order. The movement includes some of the most dissonant music Mahler ever wrote, most remarkably a shocking nine-note chord sounded at the climax near the end. One of the many things learned from the complete draft is that Mahler planned to bring back this distinctive chord in the last movement and in the end have the disturbing dissonance resolve, somewhat as Wagner ultimately did his famous Tristan chord into a final love death. The following Scherzo offers a striking contrast with its variety of constantly changing meters, abruptly shifting to normalized Ländler dance sections in triple meter. The overall ABABA form ends with a coda that ingeniously combines the metrically irregular A and melodic B materials. Mahler named the third movement Purgatorio and orchestrated the first 30 measures (Allegretto moderato). This brief movement is a delicately scored perpetual motion. Here and in the concluding two movements Mahler left fascinating annotations (as he had already in his Ninth Symphony) that have led to considerable speculation as to their possible autobiographical implications: Death! Transfiguration! Mercy!! O God! O God! why hast Thou forsaken me?, and Thy will be done! (There were probably more revealing words on the cover page, but someone most likely Alma cut off the lower part.) Another Scherzo follows, this one particularly intense and at times angry. On the folder containing the sketches Mahler wrote: The Devil dances it with me / Madness, seize me, who am accursed! / Destroy me that I may forget that I exist! / that I may cease to be / that I for. His annotations are again suggestive: You alone know what it means. Ah! Ah! Ah! Farewell, my lyre! Farewell. Farewell. Farewell. The movement ends with the shocking thud of a muffled military drum. In her memoirs Alma relates this to an experience in New York when they observed the funeral of a fallen fireman from their 11th-floor hotel window and heard stark solitary drum beats signaling advance. The movement proceeds without pause into the Finale (Lento non troppo), in which the drumbeat is sounded again five times near the start. The movement prominently brings back materials from the Purgatorio movement, as well as from the first and fourth. A more

15 36 Mahler composed his draft of the Symphony No. 10 in Deryck Cooke s version of Mahler s Tenth Symphony received its United States premiere by The Philadelphia Orchestra under Eugene Ormandy s baton, in November Since then Ormandy performed it on two subsequent occasions, James Levine conducted Cooke s final revision of his performing version in 1980, and most recently, James DePreist led the work on subscription in January Ormandy led a recording of the work for CBS in 1965 and Levine recorded the Adagio in 1978 and the remainder of the piece in 1980, both for RCA. The Symphony, in Cooke s 1976 version, is scored for four flutes (IV doubling piccolo), four oboes (IV doubling English horn), four clarinets (IV doubling E-flat clarinet), bass clarinet, four bassoons (III and IV doubling contrabassoon), four horns, four trumpets, four trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, large military drum, rute, side drum, tam-tam, triangle, xylophone), harp, and strings. Performance time is approximately 72 minutes. carefree and faster middle section (allegro moderato) ultimately leads to an extended adagio to conclude the Symphony. Mahler s annotations at this point read To live for you! To die for you! and at the very end: Almschi! (his diminutive pet-name for Alma). Christopher H. Gibbs Program notes All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

16 Musical Terms 37 GENERAL TERMS Cadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or composition 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 Counterpoint: A term that describes the combination of simultaneously sounding musical lines 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 Harmony: The combination of simultaneously sounded musical notes to produce chords and chord progressions Ländler: A dance similar to a slow waltz Legato: Smooth, even, without any break between notes Meter: The symmetrical grouping of musical rhythms Octave: The interval between any two notes that are seven diatonic (non-chromatic) scale degrees apart 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. Perpetual motion: A musical device in which rapid figuration is persistently maintained 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. Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo in triple time, vigorous rhythm, and humorous contrasts. Also an instrumental piece of a light, piquant, humorous character. Sonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then developed. In the recapitulation, the exposition is repeated with modifications. Staff: In Western musical notation a set of five horizontal lines and four spaces on which music is written Stave: See staff Tonic: The keynote of a scale THE SPEED OF MUSIC (Tempo) Adagio: Leisurely, slow Allegretto: A tempo between walking speed and fast Allegro: Bright, fast Andante: Walking speed Lento: Slow Moderato: A moderate tempo, neither fast nor slow Vivace: Lively TEMPO MODIFIERS Non troppo: Not too much

17 38 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 , in person in the lobby, or at patronserverices@philorch.org. Subscriber Services: Patron Services: Web Site: For information about The Philadelphia Orchestra and its upcoming concerts or events, please visit 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 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 Ticket Turn-In: Subscribers who cannot use their tickets are invited to donate them and receive a tax-deductible credit by calling 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 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 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 Linda Forlini, Vice President 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 Jackson- Murray, 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