23

The Philadelphia Orchestra

Yannick Nézet-Séguin ConductorHaochen Zhang Piano

Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando

Intermission

Strauss An Alpine Symphony, Op. 64

This program runs approximately 1 hour, 55 minutes.

LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances.

These concerts are sponsored by theHess Foundation.

The October 4 concert is sponsored byMitchell and Hilarie Morgan.

This concert is part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details.

Season 2019-2020Friday, October 4, at 8:00Saturday, October 5, at 8:00

24

Getting Started with LiveNote® 2.0» Please silence your phone ringer.

» Make sure you are connected to the internet via a Wi-Fi or cellular connection.

» Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store.

» Once downloaded open the Philadelphia Orchestra app.

» Tap “OPEN” on the Philadelphia Orchestra concert you are attending.

» Tap the “LIVE” red circle. The app will now automatically advance slides as the live concert progresses.

Helpful Hints» You can follow different tracks of content in LiveNote. While you are in a LiveNote content slide you can change tracks by selecting the tabs in the upper left corner. Each track groups content by a theme. For example, “The Story” track provides historical information about the piece and composer. “The Roadmap” track gives the listener more in-depth information about the orchestration and music theory behind the piece. *Note: Some pieces only contain one track.

» Tap in the middle of the screen to display player controls such as Glossary, Brightness, Text Size, and Share.

» Tap a highlighted word in yellow or select the “Glossary” in the player controls to take you to an in-depth glossary of musical terms.

» If during the concert the content slides are not advancing, or you have browsed to other slides, you can tap the “LIVE” button in the bottom right corner to get to the current live slide.

LiveNote is funded by the John S. and James L. Knight Foundation, the National Endowment for the Arts, and the William Penn Foundation.

25

The Philadelphia Orchestra is one of the world’s preeminent orchestras. It strives to share the transformative power of music with the widest possible audience, and to create joy, connection, and excitement through music in the Philadelphia region, across the country, and around the world. Through innovative programming, robust educational initiatives, and an ongoing commitment to the communities that it serves, the ensemble is on a path to create an expansive future for classical music, and to further the place of the arts in an open and democratic society.Yannick Nézet-Séguin is now in his eighth season as the eighth music director of The Philadelphia Orchestra. His connection to the ensemble’s musicians has been praised by both concertgoers and critics, and he is embraced by the musicians of the Orchestra, audiences, and the community. Your Philadelphia Orchestra takes great pride in its hometown, performing for the people of Philadelphia year-round, from Verizon Hall to

community centers, the Mann Center to Penn’s Landing, classrooms to hospitals, and over the airwaves and online. The Orchestra continues to discover new and inventive ways to nurture its relationship with loyal patrons.The Philadelphia Orchestra continues the tradition of educational and community engagement for listeners of all ages. It launched its HEAR initiative in 2016 to become a major force for good in every community that it serves. HEAR is a portfolio of integrated initiatives that promotes Health, champions music Education, enables broad Access to Orchestra performances, and maximizes impact through Research. The Orchestra’s award-winning education and community 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, sensory-friendly concerts, the School Partnership Program and School Ensemble Program, and All City Orchestra Fellowships.

Through concerts, tours, residencies, and recordings, the Orchestra is a global ambassador. It performs annually at Carnegie Hall, the Saratoga Performing Arts Center, and the Bravo! Vail Music Festival. The Orchestra also has a rich history of touring, having first performed outside Philadelphia in the earliest days of its founding. It was the first American orchestra to perform in the People’s Republic of China in 1973, launching a now-five-decade commitment of people-to-people exchange.The Orchestra also makes live recordings available on popular digital music services and as part of the Orchestra on Demand section of its website. Under Yannick’s leadership, the Orchestra returned to recording, with four celebrated CDs on the prestigious Deutsche Grammophon label. The Orchestra also reaches thousands of radio listeners with weekly broadcasts on WRTI-FM and SiriusXM. For more information, please visit www.philorch.org.

The Philadelphia Orchestra

Jessica Griffin

6

Music DirectorMusic Director Yannick Nézet-Séguin will lead The Philadelphia Orchestra through at least the 2025–26 season, an extraordinary and significant long-term commitment. Additionally, he became the third music director of New York’s Metropolitan Opera in August 2018. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to 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.”

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 artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000, and in summer 2017 he became an honorary member of the Chamber Orchestra of Europe. He was music director of the Rotterdam Philharmonic from 2008 to 2018 (he is now honorary conductor) and was principal guest conductor of the London Philharmonic from 2008 to 2014. He has made wildly successful appearances with the world’s most revered ensembles and has conducted critically acclaimed performances at many of the leading opera houses.

Yannick signed an exclusive recording contract with Deutsche Grammophon (DG) in 2018. Under his leadership The Philadelphia Orchestra returned to recording with four CDs on that label (a fifth will be released in October). His upcoming recordings will include projects with The Philadelphia Orchestra, the Metropolitan Opera, the Chamber Orchestra of Europe, and the Orchestre Métropolitain, with which he will also continue to record for ATMA Classique. Additionally, he has recorded with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records, and the London Philharmonic for the LPO label.

A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada; an Officer of the Order of Montreal; Musical America’s 2016 Artist of the Year; the Prix Denise-Pelletier; and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music, Westminster Choir College of Rider University, McGill University, the University of Montreal, and the University of Pennsylvania.

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

Jess

ica

Grif

fin

26

SoloistTwenty-nine-year-old Chinese pianist Haochen Zhang made his Philadelphia Orchestra debut as a winner of the Orchestra’s Albert M. Greenfield Student Competition in 2006 and his subscription debut in 2017, the same year he received the prestigious Avery Fisher Career Grant, which recognizes the potential for a major career in music. Since winning the gold medal at the Van Cliburn International Piano Competition in 2009, he has appeared with many of the world’s leading orchestras, including the China Philharmonic with Long Yu at the BBC Proms; the Munich Philharmonic with Lorin Maazel at home and on a tour to China; the Sydney Symphony and David Robertson on a tour to China; the NDR Hamburg and Thomas Hengelbrock on a tour of Tokyo, Beijing, and Shanghai; and at the Easter Festival in Moscow by special invitation of Valery Gergiev.

In addition to these current performances, Mr. Zhang continues his ongoing collaboration with The Philadelphia Orchestra and Yannick Nézet-Séguin with a tour of Japan in November. He previously toured China with the Orchestra in May 2019. Additional highlights of the 2019–20 season include an engagement with the Singapore Symphony, performances of all the Beethoven concertos with the Hong Kong Philharmonic, a China tour with the National Symphony and Gianandrea Noseda, and solo recitals across China and Europe. In July Mr. Zhang released his debut concerto album on BIS Records: Prokofiev’s Second Concerto and Tchaikovsky’s First Concerto with the Lahti Symphony and Dima Slobodeniouk. His debut solo album—including works by Schumann, Brahms, Janáček, and Liszt—was released by BIS in February 2017. He is also featured in Peter Rosen’s award-winning documentary A Surprise in Texas, chronicling the 2009 Van Cliburn Competition.

Mr. Zhang is an avid chamber musician. He is frequently invited by chamber music festivals in the U.S. and collaborates with such colleagues as the Shanghai, Tokyo, and Brentano quartets. A graduate of the Curtis Institute of Music, he studied under Gary Graffman. He was previously trained at the Shanghai Conservatory of Music and the Shenzhen Arts School, where he was admitted in 2001 at the age of 11.

Benjam

in Ealovega

27

28

Framing the ProgramThe 23-year-old Sergei Rachmaninoff was utterly shattered by the dismal reaction to his Symphony No. 1 in 1897, and although his First Piano Concerto had fared somewhat better, he withdrew both works, stopped composing, and entered a period of serious depression. The enormous success that his Second Piano Concerto immediately enjoyed four years later helped him to regain his confidence, and it became one of his signature works, which he would record with Leopold Stokowski and The Philadelphia Orchestra nearly three decades later.

While Rachmaninoff’s relationship with the Philadelphians was particularly close and long-standing, Richard Strauss was another eminent figure to collaborate with the ensemble. He conducted The Philadelphia Orchestra during both of his trips to America, in 1904 and 1921. An Alpine Symphony was his final large-scale orchestral work and charts a mountain climbing expedition, observing nature’s wonders as well as its challenges, such as a terrifying storm. The majestic work calls for an enormous orchestra that includes wind and thunder machines, cowbells, organ, and a brilliant offstage brass ensemble.

Parallel Events1900RachmaninoffPiano Concerto No. 2

1915Strauss An Alpine Symphony

MusicElgarDream of Gerontius LiteratureChekovUncle VanyaArtSargentThe Sitwell FamilyHistoryBoxer Rebellion in China

MusicBlochSchelomoLiteratureMaughamOf Human BondageArtChagallThe BirthdayHistorySinking of Lusitania

The Philadelphia Orchestra is the only orchestra in the world with three weekly broadcasts on SiriusXM’s Symphony Hall, Channel 76, on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 4 PM.

29

The MusicPiano Concerto No. 2

Sergei RachmaninoffBorn in Semyonovo, Russia, April 1, 1873Died in Beverly Hills, California, March 28, 1943

Sergei Rachmaninoff was born to a well-to-do family that proudly cultivated his prodigious musical gifts. His mother was his first piano teacher and at age nine he began studies at the St. Petersburg Conservatory, but floundered. The family finances were declining, as was his parents’ marriage, and he chose to transfer to the Moscow Conservatory, where he thrived. He met leading Russian musicians, studied with some of them, and won the whole-hearted support of his hero, Tchaikovsky.

Upon graduation in the spring of 1892 Rachmaninoff was awarded the Great Gold Medal, a rarely bestowed honor. His career as both pianist and composer was clearly on the rise with impressive works such as the Piano Concerto No. 1, the one-act opera Aleko (about which Tchaikovsky enthused), and pieces in a variety of other genres. One piano work written at age 18 received almost too much attention: the C-sharp-minor Prelude, the extraordinary popularity of which meant he found himself having to perform it for the rest of his life.

Early Success and Failure Rachmaninoff seemed on track for a brilliant and charmed career, the true successor to Tchaikovsky. Then things went terribly wrong with the premiere of his Symphony No. 1 in D minor, which proved to be one of the legendary fiascos in music history and a bitter shock to the young composer just days before his 24th birthday. Alexander Glazunov, an eminent composer and teacher but, according to various reports, a mediocre conductor, led the ill-fated performance in March 1897. The event plunged Rachmaninoff into deep despair: “When the indescribable torture of this performance had at last come to an end, I was a different man.”

The Second Piano Concerto came at this crucial juncture in Rachmaninoff’s career, following a nearly three-year period of compositional paralysis in the wake of the First Symphony’s failure. Although he stopped composing entirely, he had continued to perform as a pianist and to teach, and began to establish a new career as a conductor. In the hopes of getting him back on track as a composer, friends and family put him in touch with Dr. Nikolai Dahl, who was experimenting with hypnosis treatments pioneered in Paris around this time by Freud’s

30

teacher Jean-Martin Charcot. Dahl was a gifted amateur musician who took great interest in the case. According to various accounts (perhaps exaggerated), the two met almost daily, with the composer half asleep in the doctor’s armchair hearing the mantra: “You will begin to write your concerto. … You will work with great facility. … The concerto will be of excellent quality.”

The treatment worked—or at least complemented other factors that got the composer back on his creative track. A close friendship with the celebrated Russian bass Fyodor Chaliapin was encouraging, especially when the two were approached after a performance by the great writer Anton Chekhov, who remarked: “Mr. Rachmaninoff, nobody knows you yet but you will be a great man one day.” By the summer of 1900 he was composing the Second Piano Concerto, his first substantial work since the Symphony fiasco, which he dedicated to Dahl. The second and third of its three movements were completed by the fall and Rachmaninoff premiered them in Moscow that December with his cousin Alexander Siloti conducting. He finished the first movement in May 1901 and performed the entire Concerto in November. The work was greeted enthusiastically and opened the way to Rachmaninoff’s most intensive period of compositional activity.

A Closer Look To begin the first movement (Moderato), the solo piano inexorably intones imposing chords in a gradual crescendo, repeatedly returning to a low F. This opening evokes the peeling of bells, a preoccupation of many Russian composers and one that had roots in Rachmaninoff’s childhood experiences. The passage leads to the broad first theme played by the strings. The core of the Concerto is an extended slow middle movement (Adagio sostenuto). The pianistic fireworks come to the fore in the finale (Allegro scherzando), which intersperses more lyrical themes—indeed the beloved tunes from all three movements were later adapted into popular songs championed by Frank Sinatra and others.

—Christopher H. Gibbs

Rachmaninoff’s Second Piano Concerto was composed from 1900 to 1901.

Ossip Gabrilowitsch was pianist in the first Philadelphia Orchestra performance of the Second Concerto, on November 28, 1916, in Cleveland; Leopold Stokowski conducted. Rachmaninoff performed the piece here in 1921 and again on other occasions during the late 1930s and early ’40s. The most recent subscription performances were in April 2018 with pianist Daniil Trifonov and Yannick Nézet-Séguin.

In addition to Rachmaninoff’s and Stokowski’s 1929 recording of the Concerto, the Orchestra recorded the work in 1956 for CBS with Eugene Istomin and Eugene Ormandy, in 1971 for RCA with Arthur Rubinstein and Ormandy, and in 1989 for EMI with Andrei Gavrilov and Riccardo Muti. The second and third movements only were also recorded by Rachmaninoff and Stokowski for RCA in 1924.

Rachmaninoff scored the work for an orchestra of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals), and strings, in addition to the solo piano.

Performance time is approximately 35 minutes.

35

The MusicAn Alpine Symphony

Richard StraussBorn in Munich, June 11, 1864Died in Garmisch-Partenkirchen, September 8, 1949

During the early years of the 20th century, Europe’s two great conductor-composers observed each other largely from a distance—with bemusement, friendly regard, and some envy. Richard Strauss and Gustav Mahler were wise enough to maintain a sincere respect for each other’s artistic gifts. Each conducted and promoted the other’s works. And when Mahler died in 1911, at the age of 50, the slightly younger Strauss—who would live for nearly four more decades—was moved and saddened. “Mahler’s death has affected me greatly,” he wrote.

It was shortly after this loss that he set to work in earnest on a piece begun much earlier and that can ultimately be viewed as a tribute to Mahler’s spirit. An Alpine Symphony marked Strauss’s return to instrumental music after a decade devoted primarily to writing operas—Salome, Elektra, and Der Rosenkavalier. It was his first piece sporting this genre-title since his Symphonia domestica of 1903 and reveals an affinity to the natural world similar to that found in many of Mahler’s symphonies. It is a paean to sweeping mountain landscapes, tranquil meadows, and terrifying spring storms—in short, to the grandeur and awe of nature itself.

A Nature Symphony The initial conception for an “alpine” symphony had occurred to the composer many years before, after an eventful boyhood mountain hike in which Strauss and his friends had become lost on the way up a mountain and then drenched in a torrent on the way down. Once Strauss arrived back home he recorded his musical impressions of this exhilarating adventure. He later wrote to his friend Ludwig Thuille that these early sketches “naturally contained a lot of nonsense and dramatic Wagnerian tone-painting.”

For a number of years after the experience the composer toyed with the idea of a symphony in this vein. In 1900 he wrote to his parents of a work that was gestating in his mind that “would begin with a sunrise in Switzerland.” Some sketches from this time point toward a piece in two movements with the title Tragedy of an Artist. He returned to the project 10 years later, this time for a four-movement work called The Alps. The idea, as musicologist Charles Youmans has observed, was to follow “an artist’s evolving

36

perception of nature to the stage at which it could be used as a liberation from metaphysics.”

The Death of Mahler Then Strauss heard of Mahler’s death. He noted in his diary: “The death of this aspiring, idealistic, energetic artist is a grave loss. … As a Jew, Mahler was still able to find exaltation in Christianity. As an old man the hero Wagner returned to it under the influence of Schopenhauer. It is absolutely clear to me that the only way the German nation can regain its vitality is by liberating itself from Christianity. … I shall call my alpine symphony ‘The Antichrist’ for it has: moral regeneration through one’s own efforts, liberation through work, adoration of eternal, magnificent Nature.”

Strauss composed most of An Alpine Symphony at his chalet in the mountain setting of Garmisch, completing the sketches in 1914 and orchestrating them during the next year. The work was finished by February 1915. By this time the “Antichrist” title drawn from Friedrich Nietzsche (who had inspired his earlier tone poem Also sprach Zarathustra) had been dropped, although the idea of surmounting religion and all metaphysics through the adoration of nature remained.

Strauss conducted the premiere on October 28, 1915, in Berlin with the Dresden Hofkapelle Orchestra. During rehearsals he commented to the orchestra: “I have finally learned to orchestrate.” Although the piece received mixed reviews, Strauss retained affection for it and chose it as one of the works he wished to present on concerts in England in 1948, the year before his death. Leopold Stokowski led what was billed as a U.S. premiere of An Alpine Symphony in April 1916—though a “hearing” had been presented by the Cincinnati Symphony two days before the first Philadelphia performance.

A Closer Look The vast one-movement composition, which includes some of Strauss’s most vivid tone-painting, calls for an enormous orchestra and lasts longer than any of his other orchestral compositions. He cast it in 22 continuous sections, each carefully titled so as to recount successively the tale of the youthful mountain adventure. The titles serve as a relatively straightforward guide for listening:

“Night” opens with a unison B-flat chord and a descending scale against which is intoned an ominous brass chorale theme; “Sunrise” continues the slow introduction; one is reminded of the famous parallel occurrence in Also sprach Zarathustra.

37

38

The main body of the work now begins with the vigorous theme of “The Ascent,” which features hunting horns sounded in the distance. “Entry into the Forest” offers some repose and magical orchestration reminiscent of Wagner’s “Forest Murmurs” from Siegfried, coupled with Mahlerian bird calls. Water sounds make an appearance in “Wandering Beside the Brook” and then becomes a torrent with “At the Waterfall.” “Apparition” refers to a legendary Alp fairy or sprite and leads to “On the Flowering Meadows.”

“The Alpine Pasture” opens with cowbells, such as Mahler had used in his Sixth and Seventh symphonies, as well as with yodeling effects. The climbers now get lost in “Through Thicket and Brush on Wrong Paths” before emerging at the magnificent “On the Glacier.” The following “Dangerous Moments” depicts the perils as they get higher and reach “On the Summit.” The destination has been achieved and there is now “The Vision,” “The Mists Rise,” “The Sun Gradually Darkens,” “Elegy,” and “Calm Before the Storm.”

Next the “Thunderstorm” erupts and is one of the most striking and harrowing musical depictions of a torrent ever composed; it features both a wind machine and a thunder machine. The climbers begin their “Descent” and themes we heard on the way up pass in rather quick review on the way down. The final three sections are more nostalgic: “Sunset,” “Conclusion,” and “Night,” which bring us back to the music with which the entire symphonic poem began.

—Paul J. Horsley/Christopher H. Gibbs

An Alpine Symphony was composed from 1911 to 1915.

Leopold Stokowski conducted the first Philadelphia Orchestra performances of the piece in April 1916. Most recently on subscription Yannick Nézet-Séguin led the work in September 2014.

The Philadelphians recorded the work with André Previn in 1983 for EMI. A live performance from 2008 with Charles Dutoit is also available as a digital download.

The Symphony is scored for four flutes (III and IV doubling piccolo), three oboes (III doubling English horn), heckelphone, three clarinets (III doubling bass clarinet), E-flat clarinet, four bassoons (IV doubling contrabassoon), 20 horns (V, VI, VIII, and VIII doubling Wagner tuba, 12 offstage), six trumpets (two offstage), six trombones (2 offstage), two tubas, timpani, percussion (bass drum, cow bell, cymbals, glockenspiel, snare drum, tam-tam, thunder machine, triangle, wind machine), two harps, celesta, organ, and strings.

An Alpine Symphony runs approximately 52 minutes in performance.

Program notes © 2019. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

40

Musical TermsGENERAL TERMSCadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolutionCadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or compositionChorale: 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 tonesChromatic: Relating to tones foreign to a given key (scale) or chordCoda: A concluding section or passage added in order to confirm the impression of finalityCounterpoint: The combination of simultaneously sounding musical linesDiatonic: Melody or harmony drawn primarily from the tones of the major or minor scaleDissonance: A combination of two or more tones requiring resolutionHarmonic: Pertaining to chords and to the theory and practice of harmonyHarmony: The combination of

simultaneously sounded musical notes to produce chords and chord progressionsLegato: Smooth, even, without any break between notesMeter: The symmetrical grouping of musical rhythmsOp.: 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.Polyphony: A term used to designate music in more than one part and the style in which all or several of the musical parts move to some extent independentlyScale: The series of tones which form (a) any major or minor key or (b) the chromatic scale of successive semi-tonic stepsStaff: In Western musical notation a set of five horizontal lines and four spaces on which music is writtenSymphonic poem: See tone poemTimbre: Tone color or tone qualityTonality: The orientation of melodies and harmonies towards a specific pitch or pitches

Tone poem: A type of 19th-century symphonic piece in one movement, which is based upon an extramusical idea, either poetic or descriptiveTonic: The keynote of a scale

THE SPEED OF MUSIC (Tempo)Adagio: Leisurely, slowAllegro: Bright, fastModerato: A moderate tempo, neither fast nor slowScherzando: PlayfullySostenuto: Sustained

DYNAMIC MARKSCrescendo: Increasing volume

42

Tickets & Patron ServicesWe 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 it would be our pleasure 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 patronserverices@philorch.org.Subscriber Services: 215.893.1955, Mon.-Fri., 9 AM–5 PMPatron Services: 215.893.1999Mon., 10 AM–6 PMTue.-Fri., 10 AM–8 PMSat.-Sun., 11 AM–8 PMWeb Site: For information about The Philadelphia Orchestra and its upcoming concerts or events, please visit philorch.org.Individual Tickets: Don’t assume that your favorite concert is sold out. Subscriber turn-ins and other special promotions can make last-minute 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 multi-concert packages feature the best available seats, ticket exchange privileges, discounts on individual tickets, and many other benefits. Learn more at philorch.org.Ticket Turn-In: Subscribers who cannot use their tickets are invited to donate them and receive a tax-deductible acknowledgement 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 most Philadelphia Orchestra subscription concerts, 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 in memory of Adolf Hirschberg, 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 only when appropriate breaks in the program allow.Accessible Seating: Accessible seating is available for every performance. Please call Patron Services at 215.893.1999 or visit 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 in Commonwealth Plaza. Hearing devices 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 smoke-free.Cameras and Recorders: The taking of photographs or the recording of Philadelphia Orchestra concerts is strictly prohibited, but photographs are allowed before and after concerts and during bows. By attending this Philadelphia Orchestra concert you consent to be photographed, filmed, and/or otherwise recorded for any purpose in connection with The Philadelphia Orchestra.Phones and Paging Devices: All electronic devices—including cellular telephones, pagers, and wristwatch alarms—should be turned off while in the concert hall. The exception would be our LiveNote® performances. Please visit philorch.org/livenote for more information.Ticket Philadelphia StaffLinda Forlini, Vice PresidentMatt Cooper, Assistant Vice

PresidentMolly Albertson, Director, Client

RelationsMeg Hackney, Senior Patron

Services ManagerDan Ahearn, Jr., Box Office

ManagerJayson Bucy, Program and Web

ManagerBridget Morgan, Accounting

ManagerCatherine Pappas, Project

ManagerDani Rose, Service and Training

Manager and Access Services Coordinator

Michelle Carter Messa, Assistant Box Office Manager

Robin Lee, Staff AccountantAlex Heicher, Program and Web

CoordinatorNicole Sikora, Patron Services

SupervisorKathleen Moran, Philadelphia

Orchestra Priority Services Coordinator