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Chairman: Philip S. Birsh
Editor in Chief Emeritus: Joan Alleman
Secretary/Treasurer: Shamindra Jagnanan
FROM THE PRESIDENT AND CEO
Dear Friends:
Just four days after its very first concert in November 1900, The Philadelphia Orchestra was already on the road, performing at the Academy of Music in Reading. From the beginning, sharing music beyond our hometown has been part of who we are. By the following season, we were visiting other cities across Pennsylvania and neighboring states. In 1902 we made our Carnegie Hall debut, and in 1918 we gave our first international performance, in Toronto. More than a century later, the Orchestra has become one of the mosttraveled ensembles in the world. This past February Music and Artistic Director Yannick NézetSéguin led the Orchestra on a weeklong tour in Florida, and last month Principal Guest Conductor Marin Alsop led four concerts in the Midwest. Touring allows us to share the great “Philadelphia Sound” far and wide and shows the best of Philadelphia and Pennsylvania to the rest of the country and the world.
As much as we love touring, there is nothing like performing at home. And it is so gratifying to see the response we have received to our recently announced 2026–27 season from our most loyal audiences, especially our subscribers, some of whom have been attending Orchestra concerts for over 75 years. The upcoming season reflects the three pillars of our artistic vision: to bring forward the great masterworks of the orchestral repertoire, to showcase new premieres, and to highlight overlooked works that deserve a place on our concert stage played by one of the top ensembles in the world.
We are also excited about our upcoming Broadway season, which was announced last month and includes such classics as The Phantom of the Opera and Tommy and more recent Tony Award winners like Maybe Happy Ending and The Great Gatsby. Broadway has been an important part of our offerings for more than 20 years, and we are so pleased to be able to present these shows on our stages and make Broadway accessible to our entire community
If you haven’t yet explored all we have planned, I invite you to have a look and to join us for what will surely be a season to remember. We can’t wait to share it with you.
Best regards,
Ryan Fleur President and CEO
Jeff Fusco
MUSIC AND ARTISTIC DIRECTOR
Canadian-born conductor and pianist Yannick Nézet-Séguin is currently in his 14th season with The Philadelphia Orchestra, serving as music and artistic director. An inspired leader, Yannick is both an evolutionary and a revolutionary, developing the mighty “Philadelphia Sound” in new ways. His collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. The Philadelphia Inquirer has said that under his baton the Orchestra is “at the top of its considerable form”; the Associated Press has called it “a premier orchestra at its peak”; and The New York Times wrote, “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 and sought-after talents of his generation. He became the third music director of New York’s Metropolitan Opera in 2018. In addition, he has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. In 2017 he became the third-ever honorary member of the Chamber Orchestra of Europe. He served as 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 at many of the leading opera houses.
Yannick has shown a deep commitment to expanding the repertoire by embracing an evergrowing and diverse group of today’s composers and by performing and recording the music of underappreciated composers of the past, including Florence Price, Clara Schumann, William Dawson, Lili Boulanger, Louise Farrenc, and William Grant Still. In 2018 he signed an exclusive recording contract with Deutsche Grammophon. Under his leadership The Philadelphia Orchestra returned to recording with 15 releases on that label, including Florence Price Symphonies Nos. 1 & 3, which won a GRAMMY® Award for Best Orchestral Performance in 2022.
A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductors, most notably 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; Companion to the Order of Arts and Letters of Quebec; an Officer of the Order of Quebec; an Officer of the Order of Montreal; an Officier de l’Ordre des Arts et des Lettres; Musical America’s 2016 Artist of the Year; ECHO KLASSIK’s 2014 Conductor of the Year; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise-Pelletier; the Oskar Morawetz Award; and honorary doctorates from the University of Quebec, the Curtis Institute of Music, Westminster Choir College of Rider University, McGill University, the University of Montreal, the University of Pennsylvania, Laval University, and Drexel University.
To read Yannick’s full bio, please visit philorch.org/conductor.
THE PHILADELPHIA ORCHESTRA
2025–2026 Season
Yannick Nézet-Séguin
Music and Artistic Director
Walter and Leonore
Annenberg Chair
Marin Alsop
Principal Guest Conductor
Ralph and Beth Johnston
Muller Chair
Joe Hisaishi
Composer-in-Residence
Naomi Woo Assistant Conductor
Joseph Conyers
Education and Community Ambassador
Mark and Tobey Dichter Chair
Charlotte Blake Alston
Storyteller, Narrator, and Host
Osagie and Losenge
Imasogie Chair
First Violins
David Kim, Concertmaster
James and Agnes Kim Foundation Chair
Juliette Kang, First Associate Concertmaster
Joseph and Marie Field Chair
Christine Lim, Associate Concertmaster
Marc Rovetti, Assistant Concertmaster
Dr. James F. Dougherty Chair
Barbara Govatos
Robert E. Mortensen Chair
Jonathan Beiler
Hirono Oka
Richard Amoroso
Robert and Lynne Pollack Chair
Yayoi Numazawa
Jason DePue
Larry A. Grika Chair
Jennifer Haas
Miyo Curnow
Elina Kalendarova
Daniel Han
Julia Li
William Polk
Mei Ching Huang
Second Violins
Kimberly Fisher, Principal
Peter A. Benoliel Chair
Paul Roby, Associate Principal
Sandra and David
Marshall Chair
Dara Morales, Assistant Principal
Anne M. Buxton Chair
Philip Kates
Peter A. Benoliel Chair
Davyd Booth
Paul Arnold
Joseph Brodo Chair, given by Peter A.Benoliel
Amy Oshiro-Morales Volunteer Committees Chair
Yu-Ting Chen
Jeoung-Yin Kim
Willa Finck
John Bian
MuChen Hsieh
Eliot Heaton
Violas
Choong-Jin Chang, Principal
Ruth and A. Morris Williams, Jr., Chair
Kirsten Johnson, Associate Principal
Kerri Ryan, Assistant Principal
Burchard Tang
Renard Edwards
Anna Marie Ahn
Petersen*
Piasecki Family Chair
David Nicastro
Che-Hung Chen
Rachel Ku
Marvin Moon Meng Wang
Hsiang-Hsin Ching
Cellos
Hai-Ye Ni, Principal
Priscilla Lee, Associate Principal
Yumi Kendall, Assistant Principal
Elaine Woo Camarda and A. Morris Williams, Jr., Chair
Richard Harlow
Kathryn Picht Read
John Koen
Derek Barnes
Alex Veltman
Jiayin He
Michael Katz
Eugene Lin
Basses
Joseph Conyers, Principal
Carole and Emilio Gravagno Chair
Gabriel Polinsky, Associate Principal
Tobias Vigneau, Assistant Principal
David Fay
Duane Rosengard
Nathaniel West
Michael Franz
Christian Gray
Some members of the string sections voluntarily rotate seating on a periodic basis.
Flutes
Jeffrey Khaner, Principal
Paul and Barbara Henkels Chair
Patrick Williams, Associate Principal
Rachelle and Ronald Kaiserman Chair
Olivia Staton
Erica Peel, Piccolo
Oboes
Philippe Tondre, Principal
Samuel S. Fels Chair
Peter Smith, Associate Principal
Jonathan Blumenfeld
Edwin Tuttle Chair
Elizabeth Starr
Masoudnia, English Horn
Joanne T. Greenspun Chair
Clarinets
Ricardo Morales, Principal
Leslie Miller and Richard Worley Chair
Samuel Caviezel, Associate Principal
Sarah and Frank Coulson Chair
Socrates Villegas
Paul R. Demers, Bass Clarinet
Peter M. Joseph and Susan Rittenhouse Joseph Chair
Bassoons
Daniel Matsukawa, Principal
Richard M. Klein Chair
Mark Gigliotti, Co-Principal
Angela Anderson Smith
Holly Blake, Contrabassoon
Horns
Jennifer Montone, Principal
Jeffrey Lang, Associate Principal
Hannah L. and J. Welles
Henderson Chair
Victoria Knudtson, Assistant Principal
Christopher Dwyer
Chelsea McFarland
Ernesto Tovar Torres
Trumpets (position vacant)
Principal
Marguerite and Gerry Lenfest Chair
Anthony Prisk
Sam Huss
Trombones
Nitzan Haroz, Principal
Neubauer Family Foundation Chair
Matthew Vaughn, Co-Principal
Jack Grimm
Blair Bollinger, Bass Trombone
Drs. Bong and Mi Wha Lee Chair
Tuba
Carol Jantsch, Principal
Lyn and George M. Ross Chair
Timpani
Don S. Liuzzi, Principal
Don S. Liuzzi Chair, given by Linda and David Glickstein
Angela Zator Nelson, Associate Principal
Percussion
Christopher Deviney, Principal
Charlie Rosmarin, Associate Principal
Angela Zator Nelson
Keyboards
Davyd Booth
Harp
Elizabeth Hainen, Principal
Librarians
Nicole Jordan, Principal
Holly Matthews
Stage Personnel
Dennis Moore, Jr., Manager
Francis “Chip” O’Shea III
Aaron Wilson
*On leave
MARIAN ANDERSON HALL
On June 8, 2024, Verizon Hall at the Kimmel Center for the Performing Arts was officially rededicated as Marian Anderson Hall in honor of the legendary Black contralto, civil rights icon, and Philadelphian. The first major concert venue in the world to honor Marian Anderson—85 years after she was barred from performing at Constitution Hall in Washington, D.C., because of her race—the hall is a permanent monument to its namesake’s artistry and achievements, a reflection of the inclusive future she helped to engender, and an active testament to the intersection of music, art, and positive social impact. We look forward to honoring Marian Anderson in perpetuity with a venue that reflects the ideals by which she lived her life: equity, justice, freedom, and the belief that the arts are for everyone.
Marian Anderson Hall was named in her honor by a visionary $25-million philanthropic gift from Richard Worley and Leslie Miller. Worley has been a member of The Philadelphia Orchestra’s Board of Trustees since 1997 and served as board chair from 2009 to 2019. Miller is a former Kimmel Center trustee and previous acting president of the Kimmel Center. They are among the largest donors in Philadelphia Orchestra history. Additional generous support for Marian Anderson Hall was given by Sidney and Caroline Kimmel.
Marian Anderson with Music Director Eugene Ormandy during a Philadelphia Orchestra rehearsal at the Academy of Music in December 1938
Adrian Siegel Collection/Philadelphia Orchestra Archives
MUSICIANS BEHIND THE SCENES
John Koen Cello
Where were you born? I was born in Dallas, Texas. What piece of music could you play over and over again? Prokofiev’s Fifth Symphony.
What is your most treasured possession? Rather than a thing, my treasured possession is a connection to human emotion through music.
What’s your favorite food? Traveling lets me indulge my interest in cuisines around the world. I can only narrow it down to Chinese, Italian, Mexican, Vietnamese, and French!
Tell us about your instrument. It was made in 1890 in Munich by the Bolognese luthier Giuseppe Fiorini. I borrowed it from a shop for an audition I was taking and fell in love with it, so I managed to buy it!
What piece of music never fails to move you? The Sarabande from Bach’s Cello Suite No. 4.
What is the most challenging piece you have ever played? Schubert’s Arpeggione Sonata. It’s more difficult than Prokofiev’s Sinfonia concertante or Dutilleux’s Tout un monde lointain (both cello concertos).
When did you join the Orchestra? In 1990. I won the audition in January, and I was hired as a sub to play Brahms’s Fourth Symphony the following week. Since it had been on the audition, I knew it very well and essentially played the entire Symphony from memory. [Music Director Riccardo] Muti was looking over at the back of the cellos from time to time and I always returned his gaze without looking down at the notes. That piece always has a special place in my heart.
Do you play any other instruments? I play piano sometimes in my students’s lessons (very badly). I can also play the double bass decently, although it’s tiring! I can play violin and viola to some degree, and if I hold them like a tiny cello I do okay! I’ve sometimes demonstrated on violin and viola when coaching chamber music.
What do you like to do in your spare time? I’m the music director of the Philadelphia Chamber Ensemble, which gives three series of concerts a year. Planning the pieces for the season, who will play when, and details for the venues takes a substantial time commitment, but it is rewarding to carry on the legacy left from [former Principal Clarinet] Donald Montanaro who founded the ensemble 48 years ago! I also read, play with my cats, and cook. I have a large class of cello students at Temple University and have been arranging music for them to play, or for me to accompany them so that I don’t have to play piano.
Is there a piece of music that isn’t in the standard orchestral repertoire that should be? Dvořák’s Third Symphony. I think I’ve only played it once here, with [Erich] Leinsdorf in the early ’90s.
What advice would you give to aspiring young musicians? Work efficiently on technique and control, but don’t neglect your artist’s soul. I’ll repeat advice Muti gave me after my audition when I thanked him for giving me the job: “It is yourself you must thank, for you have done the work. I just want you to have the same passion for the music in 40 years that you have now.” And this from former Principal Cello Bill Stokking: “There are a million people who will tell you what you can’t do. I want to be one who tells you what you CAN.”
To read the full set of questions, please visit www.philorch.org/blog.
WITNESS TO HISTORY: JOAN STERN AND A LIFETIME OF MUSICAL STORIES WITNESS TO HISTORY: JOAN STERN AND A LIFETIME OF MUSICAL STORIES
Part of a season-long series of oral histories
By Judith Kurnick
If you’ve ever doubted that history is in the details, just spend some time listening to Joan Stern’s recollections. As a successful public finance attorney (at a time when few women were in that field), Stern represented the Commonwealth of Pennsylvania under every governor from Milton Shapp to Tom Wolf, and the City of Philadelphia from Frank Rizzo’s time as mayor until her retirement in 2023. Her projects ranged from Jeffrey Lurie’s purchase of the Eagles to the bond issue for the Kimmel Center.
Passionate about education, Stern remains active on the board of the School District of Philadelphia. But her passion for music, and especially The Philadelphia Orchestra, dates from before she started school. She has the stories to prove it.
Joan Stern
“I was two when we started coming on Saturday nights,” Stern recalls. “My sister was three. My parents had seats in the Family Circle [at the Academy of Music], and they figured out that it was cheaper to buy a subscription for my sister and me than it was to hire a babysitter. So, my father would take us all the way up to the Amphitheatre. He and the ushers would put us on piles of telephone books. We were on a level with the chandelier, which we loved. And the ushers would buy us the only thing that was for sale to eat during a concert, Hershey bars. We thought it was magical.”
Didn’t they disturb other concertgoers? “My father would say the same thing to us every week: ‘If I hear a noise, I will know it’s you. And I will come and get you, and we won’t come back.’ We were certain that he was telling us the absolute truth. We sat very still the whole time, and he would come at the end and take us back downstairs.”
Of course, they wore their best clothes. “I thought everybody in the city was in the Academy on Saturday night. I had never seen that many people in one place. So, I was sure that was the entire population. I was very surprised to discover there were people who had never been to the Academy.”
The Academy of Music in the 1960s with the Amphitheatre at the top.
Many young children might be turned off by such strict rules. But Stern came from a family of Russian Jewish immigrants who prized music. “My grandfather Stern, who had emigrated from the Russian Empire to the United States in 1895, was a cantor. He had been trained at a cantorial academy in Riga, which was a possession of the Tsar of Russia. My grandparents had a Victrola, the kind you cranked. And 78 [rpm] records. We had beautiful music to listen to all the time. My father studied piano, and he taught my sister and me.”
The Philadelphia Orchestra’s first commercial recording, Brahms’s Hungarian Dance No. 5
Photos: Adrian Siegel Collection/Philadelphia Orchestra Archives
Former Music Director Leopold Stokowski leading a rehearsal during his return to The Philadelphia Orchestra in 1960.
Music Director Eugene Ormandy, pianist Sviatoslav Richter, and The Philadelphia Orchestra performing at the Academy of Music in 1960.
Her parents had four seats in a Balcony box. “They told us stories about the world premieres they heard, about seeing Rachmaninoff debut his piano works.” And then there are the stories about Stokowski. “I was lucky enough to see him because he was invited as a guest conductor when I was in high school. He was amazing. And he taught the audience to come to concerts on time. He did it by closing the doors to the hall. People had to stand outside. So they learned.”
Stern’s father had his own way of helping Stokowski keep the audience quiet. “My father always carried two handkerchiefs in his jacket. One in his hip pocket and one in his breast pocket. They were big, 22 inches square. And if there was someone sitting near him who was wearing noisy bracelets, he would give that lady his spare hanky to tie up her arm so she didn’t jangle. They used to hold out their wrist, and he would tie up the handkerchief so they didn’t make any noise.”
Joan soon learned her way around the concert hall. “You always sat on the keyboard side of the hall. That way, you see the pianist, the keyboard, the pedals, and you can see that the person uses his or her entire body for the performance. You appreciate it in ways that you couldn’t possibly appreciate it if you sat in the wrong spot. I was lucky. I always sat in the right spot.”
Young Joan decided she wanted to be in the school orchestra. “I looked at the orchestra at school very carefully, and thought, ‘If I can play a wind instrument, I’ll get to be in the orchestra.’”
She joined as a flutist, and from then on, she paid particular attention to the flutes at Orchestra performances. “I still do.”
Stern’s family especially loved Russian composers like Rachmaninoff and Shostakovich, and Soviet artists. “I remember when Ormandy was the conductor. The violin was his instrument. He was a wonderful accompanist. He had guests who were significant figures in the music world. I loved [violinist David] Oistrakh, [pianist Emil] Gilels, [pianist Sviatoslav] Richter. Later, [Mstislav] Rostropovich, the cellist, came to play. He was magnificent.”
Stern has a special memory about Oistrakh. “The Soviet Union had a great collection of musical instruments that were taken during military conquests, especially World War II. They allowed their top musicians to play them. But Oistrakh was so successful that he was allowed to buy a violin in Philadelphia to take home.” One of her parents’ friends, a Russian cellist who had emigrated to escape the Russian Revolution, went with him to the shop, the renowned William Moennig & Son, to translate, and he invited Stern’s father to go along. “Moennig had found him a Guarneri violin,” Stern recalls. “My father told me Oistrakh wept tears of joy.”
It was a shock for Joan when Riccardo Muti succeeded Ormandy as music director. “I couldn’t imagine the Orchestra without Ormandy. But then you always saw the conductor from the back. And here was this exciting vigorous young conductor with great hair. He did wonderful performances of Prokofiev’s score for the film Alexander Nevsky, and other Eisenstein films.”
As a regular audience member, Stern formed strong opinions. She has fond memories of hearing pianist André Watts. “He studied at the Philadelphia Musical Academy. Ormandy had him guest many times.” Vladimir Horowitz? “Yes, he was born in Kyiv, Ukraine; he was a magician of a pianist. The closest thing we have to him today is Evgeny Kissin.”
And when Arthur Rubinstein played Chopin, “it was like perfume coming from the piano.” Van Cliburn? Although he became a sensation after winning the Tchaikovsky Competition, he was “not my favorite. People who win competitions are not great heroes of mine.”
Stern recalls when Fredric R. Mann had the idea to start “free” concerts at what was then the Robin Hood Dell. “He was the one who instituted the summer concerts when he was city representative. And he said, ‘People don’t value what they don’t pay for.’ So, it cost a quarter to get a ticket. You had to buy the newspaper—The Bulletin, The Inquirer, and the Daily News. You had to cut the coupon out. You’d have to send in your quarters. And the Orchestra played at what was then called the Robin Hood Dell. Now, we still have the Dell, but the Orchestra plays at the Mann Center.”
The Philadelphia Orchestra’s first commercial recording, Brahms’s Hungarian Dance No. 5
The Robin Hood Dell
Yuja Wang with Yannick Nézet-Séguin and The Philadelphia Orchestra performing the Rachmaninoff Marathon at Carnegie Hall in January 2023.
When her father died, in 1979, Stern inherited her parents’ Orchestra subscription at the Academy. “I may have been the last person allowed to inherit a subscription,” she says. “And I have maintained it. The only time we had to move was if Great Performances was being taped for television. Our seats were where the TV cameras went.” She is happy to have similar seats now at Marian Anderson Hall.
Even as an octogenarian, Stern notes, “I don’t get tired of hearing the Orchestra and new music. I like that [Yannick] unveils music that was brought to our attention by people like Stokowski, and composers who were underrepresented by the traditions.” In fact, she has traveled with the Orchestra on patrons’ trips and to Carnegie Hall. A recent highlight was hearing Curtis alumna Yuja Wang perform the entire Rachmaninoff orchestra/piano cycle in one day. Another: “I went to hear Sting with the Orchestra, and he was wonderful. A friend said, ‘You really have to hear and see him.’ I was blown away.”
How does Stern feel about the changes she has experienced over her years attending the Orchestra? “I think what Yannick has accomplished is introducing people to the traditions of the Orchestra,” she says. “The music is the most important thing. It doesn’t matter who’s playing it. It doesn’t matter what race the people are. The only thing that matters is that they love the music, and they love sharing it with the rest of the city. And the city loves music. Whether it’s jazz or hip hop or classical music. It doesn’t matter. Everyone loves the music.”
Judith Kurnick has written about music for The New York Times, The Philadelphia Inquirer, and media outlets in Europe. She was The Philadelphia Orchestra’s vice president for communications from 1983 to 1989 and 2000 to 2005 and held the same role at the League of American Orchestras from 2008 to 2013.
Scan the QR code to visit the Orchestra’s special 125th anniversary website, including more oral histories.
2025–2026 | 126TH SEASON
MARIAN ANDERSON HALL
THE PHILADELPHIA ORCHESTRA
Thursday, April 23, at 7:30
Friday, April 24, at 2:00
Saturday, April 25, at 8:00
Marin Alsop Conductor
Time for Three:
Ranaan Meyer Bass and Vocals
Nick Kendall Violin and Vocals
Charles Yang Violin and Vocals
Haydn Symphony No. 59 in A major (“Fire”)
I. Presto
II. Andante o più tosto allegretto
III. Menuetto
IV. Allegro assai
First Philadelphia Orchestra performances
Puts Contact, for string trio and orchestra
I. The Call
II. Codes (Scherzo)
III. Contact
IV. Convivium
Intermission
Strauss Don Juan, Op. 20
Ravel Bolero
This program runs approximately 2 hours.
The April 23 concert is sponsored by Linda and David Glickstein .
The April 24 concert is sponsored by the Volunteer Committees .
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.
THE PHILADELPHIA ORCHESTRA
The world-renowned Philadelphia Orchestra 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 education initiatives, a commitment to its diverse communities, and the embrace of digital outreach, the ensemble is creating an expansive and inclusive future for classical music. In June 2021 the Orchestra and its home, the Kimmel Center, united. Today, The Philadelphia Orchestra and Ensemble Arts brings the greatest performances and most impactful education and community programs to audiences in Philadelphia and beyond.
Yannick Nézet-Séguin is now in his 14th season with The Philadelphia Orchestra, serving as music and artistic director. His connection to the ensemble’s musicians has been praised by both concertgoers and critics, and he is esteemed by the musicians of the Orchestra, audiences, and the community. In addition to expanding the repertoire by embracing an ever-growing and diverse group of today’s composers, Yannick and the Orchestra are committed to performing and recording the works of previously overlooked composers.
The Philadelphia Orchestra takes great pride in its hometown, performing for the people of Philadelphia year-round, at the Kimmel Center for the Performing Arts, throughout the community, over the airwaves, and online. The Kimmel Center has been the ensemble’s home since 2001, and in 2024 Verizon Hall at the Kimmel Center was officially rededicated as Marian Anderson Hall in honor of the legendary
contralto, civil rights icon, and Philadelphian. The Orchestra’s award-winning education and community programs connect, uplift, and celebrate nearly 40,000 Philadelphians and 250 schools from diverse communities annually, through inclusive arts education and vibrant engagement that reflect our city’s voices and expand access to creative opportunities. Students, families, and other community members can enjoy free and discounted experiences with The Philadelphia Orchestra through programs such as the Jane H. Kesson School Concerts, Family Concerts, Open Rehearsals, PlayINs, and Our City, Your Orchestra community concerts.
Through concerts, tours, residencies, and recordings, the Orchestra is a global ambassador and one of our nation’s greatest exports. It performs annually at Carnegie Hall, the Mann Center, the Saratoga Performing Arts Center, and the Bravo! Vail Music Festival. The Orchestra also has a rich touring history, having first performed outside Philadelphia in its earliest days. In 1973 it became the first American orchestra to perform in the People’s Republic of China, launching a now-five-decade commitment of people-to-people exchange through music.
Under Yannick’s leadership, the Orchestra returned to recording with 15 celebrated releases on the Deutsche Grammophon label, including the GRAMMY® Award–winning Florence Price Symphonies Nos. 1 & 3. The Orchestra also reaches thousands of radio listeners with weekly broadcasts on WRTI-FM and SiriusXM. For more information, please visit www.philorch.org.
Jeff Fusco
PRINCIPAL GUEST CONDUCTOR
One of the foremost conductors of our time, Marin Alsop is principal guest conductor of The Philadelphia Orchestra, with which she made her debut in 1990. She is the first woman to serve as the head of major orchestras in the United States, South America, Austria, and Great Britain. She is also the first and only conductor to receive a MacArthur Fellowship. This season marks her third as artistic director and chief conductor of the Polish National Radio Symphony and her third as principal guest conductor of London’s Philharmonia. She is also chief conductor of the Ravinia Festival and the first music director of the National Orchestral Institute + Festival at the University of Maryland. She served as chief conductor of the ORF Vienna Radio Symphony from 2019 to 2025; she is now honorary conductor. Season highlights include her five-concert Carnegie Hall Perspectives series, Washington National Opera’s new production of Bernstein’s West Side Story, and a tour to Japan with the Polish National Radio Symphony. She also conducts the Chicago, Dallas, Houston, and ORF Vienna Radio symphonies; the Deutsches Symphonie-Orchester Berlin; and London’s Philharmonia. Last season, she became the first United States–born woman to conduct the Berlin Philharmonic.
In 2021 Ms. Alsop assumed the title of music director laureate and OrchKids founder of the Baltimore Symphony. During her 14-year tenure as its music director, she led the orchestra on its first European tour in 13 years, released multiple award-winning recordings, and conducted more than two dozen world premieres, as well as founding OrchKids, its groundbreaking music education program for Baltimore’s most disadvantaged youth. In 2019, after seven years as music director, she became conductor of honor of Brazil’s São Paulo Symphony. Deeply committed to new music, she was music director of California’s Cabrillo Festival of Contemporary Music for 25 years, leading 174 premieres.
Recognized with BBC Music Magazine ’s “Album of the Year” and Emmy nominations in addition to GRAMMY, Classical BRIT, and Gramophone awards, Ms. Alsop’s discography comprises more than 200 titles on the Decca, Harmonia Mundi, Sony Classical, Naxos, Pentatone, and LSO labels. Among her many awards and academic positions are the 2025 Golden Baton Award, the highest accolade conferred by the League of American Orchestras; the 2019 World Economic Forum’s Crystal Award; the 2021–22 Harman/Eisner Artist-in-Residence of the Aspen Institute Arts Program; and the 2020 artist-in-residence at Vienna’s University of Music and Performing Arts. She is currently director of graduate conducting at the Johns Hopkins University’s Peabody Institute. She holds honorary doctorates from Yale University, Johns Hopkins University, and the Juilliard School. To promote and nurture the careers of her fellow women conductors, Ms. Alsop founded the Taki Alsop Conducting Fellowship in 2002. The Conductor , an Emmy-nominated feature documentary about her life, debuted at New York’s 2021 Tribeca Film Festival.
Ogata
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SOLOISTS
GRAMMY- and Emmy-winning ensemble Time for Three (TF3) defies convention and boundaries, merging classical, Americana, and singer-songwriter traditions into a singular, remarkable sound. Consisting of Ranaan Meyer (bass, vocals), Nicolas “Nick” Kendall (violin, vocals), and Charles Yang (violin, vocals), TF3 captivates audiences worldwide with their virtuosic playing and insatiable appetite for creativity that expands typical perceptions of a string trio. The group made its Philadelphia Orchestra debut in July 2005 at the Mann Center and its subscription debut in January 2008. In addition to these current performances, orchestral highlights of the 2025–26 season include appearances with the Louisville Orchestra and Teddy Abrams and the St. Louis Symphony and Stéphane Denève. Time for Three’s history of groundbreaking commissions has entered a new chapter with Silicon Hymnal, a genre-blending concerto by composer Mason Bates, which integrates electronica into the orchestral fabric. The concerto received its premiere at Arizona Musicfest, with subsequent performances with the San Francisco Symphony and with The Philadelphia Orchestra at the Saratoga Performing Arts Center. TF3 has also embarked, with mezzo-soprano Joyce DiDonato, on a project titled Emily—No Prisoner Be . Written by Pulitzer Prize–winning composer Kevin Puts and inspired by the poetry of Emily Dickinson, the work received its world premiere at the Bregenz Festival in August 2025 and toured across the United States this season, including at Carnegie Hall, Berkeley’s Zellerbach Hall, and Chicago’s Symphony Center. TF3’s previous collaboration with Mr. Puts helped earn the trio their first GRAMMY Award, winning in the category of Best Classical Instrumental Solo. The commissioned work, titled Contact , was recorded with The Philadelphia Orchestra and conductor Xian Zhang as part of the album Letters for the Future on the Deutsche Grammophon label. The recording also included Jennifer Higdon’s Concerto 4-3 , written specifically for the trio and co-commissioned by The Philadelphia Orchestra. TF3 has enjoyed additional collaborations with composers Chris Brubeck and William Bolcom, as well as a wide range of artists including Ben Folds, Branford Marsalis, Joshua Bell, Aoife O’Donovan, Natasha Bedingfield, and Arlo Guthrie. TF3’s concert special, Time for Three in Concert , was produced by PBS and earned the trio an Emmy Award.
Both on and off stage, TF3 is committed to encouraging the next generation of musicians. In conjunction with their performances, the trio hosts master classes, workshops, and musical conversations. They have been invited for multi-day residencies by universities and youth orchestras. As part of their performances, they regularly welcome local student musicians to share the stage with them, creating collaborative moments that are both empowering and inspiring. Mr. Meyer and Mr. Kendall are both graduates of the Curtis Institute of Music. Mr. Yang is a graduate of the Juilliard School.
FRAMING THE PROGRAM
PARALLEL EVENTS
1769
Haydn
Symphony No. 59
Music
Mozart
Te Deum
Literature
Brooke
The History of
Emily Montague
Art
Fragonard
The Study
History
Dartmouth
College established
1888
Strauss
Don Juan
1928
Ravel
Bolero
Music
Tchaikovsky
Symphony No. 5
Literature
Zola
La Terre
Art
Van Gogh
The Yellow Chair
History
Tesla constructs electric motor
Music
Gershwin
An American in Paris
Literature
Lawrence
Lady Chatterley’s
Lover
Art
Beckmann
Black Lilies
History
Fleming discovers penicillin
Joseph Haydn composed over 100 symphonies—just one of the reasons he is known as the “Father of the Symphony”—but it is his later ones that most often appear on concerts. Today we hear a relative rarity, Symphony No. 59, which is known as the “Fire.” The compact four-movement work is unusually dramatic, from the fiery first movement to the horn-driven finale.
Kevin Puts’s Contact imagines an encounter across galaxies, as he described it, “a call to intelligent life across the vast distances containing clues to our DNA, to our very nature as Earth people.” Written for the innovative ensemble Time for Three, the work won GRAMM Y Awards for the composer and artists in 2023.
Richard Strauss composed Don Juan , his first great tone poem, in 1888 around the time of his 24th birthday. A century earlier Mozart, the composer Strauss most revered, had tackled the subject in Don Giovanni . Strauss’s depiction of the legendary libertine does not end in the anti-hero being dragged to Hell, as in Mozart’s opera, but rather with the disillusioned lover allowing himself to be killed in a duel.
The concert concludes with Maurice Ravel’s evocative Bolero , a glorious crescendo for orchestra. Ravel was born to a Basque mother in the French Pyrenees, not far from the Spanish border, and Bolero is just one of many pieces that testify to his enduring fascination with Spain.
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.
THE MUSIC
Symphony No. 59 (“Fire”)
Joseph Haydn
Born in Rohrau, Lower Austria, March 31, 1732
Died in Vienna, May 31, 1809
Joseph Haydn is justly celebrated as the “father of the symphony” not only because he wrote more than 100, but also because of their extraordinary variety and quality. The genre was in its infancy when he started in the late 1750s, with fine contemporaneous offerings by composers like Giovanni Battista Sammartini and Johann Stamitz that are now rarely performed. When a composer creates in such quantity—we may think of the hundreds of concertos by Antonio Vivaldi or the cantatas by J.S. Bach—the feat is usually accomplished by using a certain amount of recycling, repeating, and formulas, which makes the task easier and more efficient. Haydn engaged in such behavior less often than most 18th-century composers, which makes his achievement all the more remarkable.
A Shifting Symphonic Career Haydn came to the symphony when he was in his mid20s, which was actually rather late as he had already written a great deal of music in other genres. Over the course of the next 40 years, he composed more than 100 despite periods when he produced relatively few. His symphonic output was largely determined by practicalities, that is, who was paying for a particular piece. His earliest ones came when he was hired by one Count Morzin, for whom he worked for four years beginning in the late 1750s as music director for the family’s palaces in Bohemia and Vienna. The count wanted symphonies written for his private orchestra and for the first time Haydn therefore had reason to write them.
Haydn composed most of his symphonies, including the rather unfamiliar one we hear today, while in the service of an exceedingly rich family—the Esterházys—that had estates spread over the Austro-Hungarian Empire. After the death of his principal patron, the music-loving Prince Nickolas Esterházy, his duties were scaled back and he went into semiretirement. A final blossoming came late in Haydn’s career when he was commissioned to write symphonies for Paris and then composed the magnificent final dozen (Nos. 94–104) for prestigious public concerts in London.
The Chronology and Numbering Problem Were Haydn alive and attending this concert he would have no idea what “Symphony No. 59” meant, although the nickname “Fire” (apparently not his devising) might have helped. The key of a composition was the principal identifier during his time—this one is in A major—but he had already written several in that tonality. Haydn was occasionally enlisted to help catalogue his symphonies,
partly because many were falsely being attributed to him, sometimes by unscrupulous publishers. It was only in the early 20th century that the standard numbering emerged. (At that time 104 were known, which has been supplemented by later discoveries.)
For several reasons, “59” seems to be a higher number than its actual chronology, which probably should place it among symphonies numbered in the 30s. It seems to date from around 1769. Some of the confusion about its origins is that parts of the Symphony were later used as incidental music to accompany performances of Gustav Friedrich Wilhelm Großmann’s play Die Feuersbrunst (The Conflagration) at the Esterházy palace in the mid1770s. Therefore, unlike some symphonies in which Haydn reused music he had previously written for the theater, in this instance the symphony came first. There is a manuscript from Haydn’s time that has the title “Feuer” (Fire) in the violin part for the first movement as well a reference in an early catalogue of his compositions that lists a “Fire Symphony/La Tempesta.”
A Closer Look In any case the music itself is fiery enough and also dramatic. It is unusual for a first movement to be marked Presto (typically that is saved for a brief finale), but the excitement here is immediate, beginning with a loud octave drop and then repeated A’s that suddenly ease into a soft and lyrical passage before exploding again with the opening energy, now with added horns.
The slow second movement ( Andante o più tosto allegretto ) in triple meter provides a stark contrast to the lively opening one. It begins politely, scored just for strings, and offers a variety of moods, from operatic to pastoral. The full orchestra returns for the more ceremonial Menuetto with its expected repeats and contrasting middle Trio section scored only for strings. The finale ( Allegro assai ) contains some unusual features, most notably the prominent use of horns, that have made commentators wonder about an extramusical impetus. Unaccompanied solo horns open the movement, answered by solo oboes, to create a fanfare effect. Strings enter, leading to a contrapuntally complex middle section before the opening horns and oboes return to conclude the movement.
—Christopher H. Gibbs
Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College and has been the program annotator for The Philadelphia Orchestra since 2000. He is the author of several books on Schubert and Liszt, and the co-author, with Richard Taruskin, of The Oxford History of Western Music, College Edition.
Haydn composed his Symphony No. 59 in 1769.
These are the first Philadelphia Orchestra performances of the piece.
The score calls for two oboes, bassoon, two horns, harpsichord, and strings
Performance time is approximately 17 minutes.
THE MUSIC
Contact
Kevin Puts
Born in St. Louis, Missouri, January 3, 1972
Now living in Yonkers, New York
Combining lyrical immediacy with richly colored orchestration and a strong sense of narrative structure, Kevin Puts’s music has earned international recognition in both orchestral and operatic repertoires. His works have been commissioned and performed by organizations including The Philadelphia Orchestra, the Metropolitan Opera, and Carnegie Hall, and he has collaborated with artists such as Renée Fleming and Yo-Yo Ma. Puts is perhaps best known for his opera Silent Night (2011), which received the Pulitzer Prize for Music in 2012. Based on the Christmas Truce of 1914—an episode early in World War I when soldiers on opposing sides briefly laid down their weapons and fraternized across the trenches on Christmas Eve—the opera dramatizes the event from multiple perspectives, including German, French, and Scottish soldiers as well as civilians. Music itself becomes central to the plot as familiar Christmas carols sung across the trenches open a tentative space for recognition and human connection. Puts’s subsequent operas include The Manchurian Candidate (2015), based on Richard Condon’s Cold War political thriller, and The Hours (2022), adapted from Michael Cunningham’s novel about the intertwined lives of three women connected through Virginia Woolf’s Mrs. Dalloway, which received its world premiere by The Philadelphia Orchestra in a concert version in March 2022.
Drawn to Concertos Alongside his operatic work, Puts has returned repeatedly to the concerto form, using it as a space to explore juxtaposing expressive melodic writing within lushly orchestrated textures. An early example can be found in the Marimba Concerto (1997), written for Makoto Nakura and shaped, in the composer’s words, by his “love for Mozart’s piano concertos.” Puts has noted that he was especially drawn to the clarity and balance of Mozart’s concerto writing—the sense of dialogue between soloist and orchestra—which he sought to translate into the marimba’s distinctive voice.
With Contact , Puts’s interest in the concerto tradition took on a more explicitly collaborative dimension. In 2017 the composer attended a performance at Joe’s Pub in New York City by the string trio Time for Three—violinists Nick Kendall and Charles Yang and bassist Ranaan Meyer. Inspired by the group’s remarkable stylistic range, encompassing classical repertoire, improvisation, and vocal performance, the idea for a concerto tailored to their talents quickly took shape. The project evolved over several years and underwent further refinement when the COVID-19 pandemic delayed its planned premiere in
David White
2020, giving the composer and performers additional time to shape the work and reflect on its narrative possibilities. The title Contact ultimately came to suggest both cosmic communication and a deeper human longing for connection during a period marked by profound isolation.
A Closer Look The four-movement concerto begins with an unconventional gesture: The soloists sing. Inspired by hearing Time for Three both play and sing their original song “Vertigo,” Puts recalls, “I wondered about the possibility of beginning the concerto with the trio singing a wordless refrain, a cappella.” The first movement, The Call , unfolds from this simple idea: A single pitch expands into suspended harmonies sung first by the trio and then echoed by the orchestra. The refrain passes gradually through different sections—first woodwinds, then strings—its contour and sense of yearning shaping the entire movement even when it is not repeated verbatim. Winds and soloists decorate the material with improvisatory flourishes as the movement builds toward an arresting climax before settling back into its original atmosphere of uncertainty, repeating the opening refrain.
Beginning with “threatening unison stabs, played by the entire orchestra,” the second movement—a scherzo titled Codes —abruptly shatters the contemplative atmosphere of the opening movement. Relentless, driving momentum defines this movement, which is peppered with scintillating pizzicato passages for both soloists and the entire ensemble; the overall effect vividly suggests coded transmissions racing through space. By contrast, the third movement, Contact , opens in stark stillness. Puts imagines “an abandoned vessel floating inert in the recesses of space,” an image reflected in the orchestra’s heavy, dissonant opening chords and the vast horizons they evoke. Wisps of melody drift through this suspended texture, and the sense of musical time seems dramatically stretched after the restless motion of the scherzo. The soloists subsequently shift into a more unified, lyrical texture, eventually joined by solo oboe and clarinet, transforming the ominous opening into a more passionate, heartfelt arioso.
The concerto’s finale ( Convivium ) takes inspiration from the Bulgarian folk melody Gankino horo , which Puts first heard performed by a group of young cellists at his son’s recital. Fascinated by its asymmetric rhythms, he fashioned a vibrant fantasy on the tune, whose uneven meter gives the movement a dance-like vitality. In the closing minutes, the vocal refrain from the first movement briefly returns before yielding once more to the driving folk rhythms, sending the piece to a raucous and exuberant conclusion.
—Sean Colonna
Sean Colonna is the associate director of the Language and Thinking Program at Bard College, where he also teaches courses in music history and philosophy and serves as associate editor for The Musical Quarterly. Contact was composed from 2019 to 2021.
Time for Three gave the first Philadelphia Orchestra performance of Contact in July 2022 at the Saratoga Performing Arts Center; Erina Yashima conducted. The ensemble also performed the piece with the Orchestra at the Bravo! Vail Music Festival in July 2023, with Stéphane Denève conducting.
Time for Three and conductor Xian Zhang recorded the piece with the Philadelphians in 2021 for Deutsche Grammophon, part of an album that won the 2023 GRAMMY Award for Best Classical Instrumental Solo. Puts’s Contact also won a GRAMMY that year for Best Contemporary Classical Composition.
The score calls for two violin and double bass soloists, three flutes (III doubling piccolo), three oboes (III doubling English horn), three clarinets (III doubling bass clarinet), three bassoons (III doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, crash cymbals, glockenspiel, marimba, snare drum, tambourine, tam-tam, triangle, vibraphone, woodblock, xylophone), piano, and strings.
The piece runs approximately 30 minutes in performance.
THE MUSIC
Don Juan
Richard Strauss
Born in Munich, June 11, 1864
Died in Garmisch-Partenkirchen, September 8, 1949
In the late 1880s Richard Strauss was at a personal and professional crossroads. Professionally, just in his 20s at the time, he was rising through the ranks as a conductor at a dizzying pace; he was appointed to the important post of Kapellmeister to the Grand Duke of Saxe-Weimar-Eisenach in 1889. The year before this appointment in Weimar, which rescued the composer from an unsatisfactory position in his native Munich, he took his second trip to Italy. (Strauss’s two sojourns to Italy were very much in the tradition of the Italian pilgrimages made by figures like Goethe and the art historian Johann Joachim Winckelmann in the 18th century.) Standing in the sun-drenched cloister of the Basilica of Saint Anthony in Padua, Strauss sketched what would become the principal theme of his tone poem Don Juan.
Part Autobiography? Strauss’s personal life was going through a series of changes as well. In 1883 he met Dora Wihan, a married woman four years older, and he had fallen precipitously in love with her. While very little of their correspondence survives, the letters that do exist suggest a remarkable degree of intimacy. In one of them, Strauss wrote about his aesthetic development in a confiding manner that speaks to the intensity of their relationship. In April 1889 he said, “Imagine, I have even joined the Lisztians now; in short, a more progressive standpoint than the one I now hold is hardly conceivable. And yet, with the clarity that has come to me, I feel so well. … I’m going to Bayreuth as an assistant, piano rehearsals and so on. Recently I made Frau Wagner’s acquaintance. She took a great interest in me.”
What Strauss did not confide to the newly divorced Dora was that he had met another woman who would gradually replace her in his affections. Pauline Maria de Ahna was a gifted soprano who began taking singing lessons with the composer in 1887. After her first lesson with him, he wrote to a mutual friend, “She is much more talented than you think, we have only got to bring out her gifts.” After he assumed his duties in Weimar, Pauline began to supplant Dora in Strauss’s heart. Poor Dora! How could she compete with the deliciously volatile Pauline, who possessed a superb soprano voice and true musicianship? Richard and Pauline were married on September 10, 1894; they were inseparable until his death in 1949.
As the history of his youthful amatory experience suggests, Strauss himself was hardly a Don Juan. He was, however, a daringly “advanced” composer in his youth and a dashing
figure on the podium. The premiere of Don Juan, with the composer conducting the Weimar Opera Orchestra, was a massive success, catapulting him to the forefront of the German avant-garde. Strauss found the narrative idea for the piece in a play by Paul Heyse (1830–1914), Don Juans Ende (1883), as well as in an unfinished poem on the same subject by Nikolaus Lenau (1802–50); the composer affixed excerpts from Lenau’s poem at the head of his score. Both play and poem present Don Juan as a philosophical philanderer whose compulsion to seduction was prompted by his search for the “ideal woman.” Sickened by erotic disillusionment, Don Juan allows himself to be killed in a duel.
A Closer Look Michael Kennedy aptly describes the genre of the tone poem as “chiming in perfectly with the Romantic’s wish for interrelationship of all the arts and especially the interaction of music and literature. … In addition, the invention, development, and improvement of instruments, and the consequent enlargement of the symphony orchestra, with the widening and intensifying of its expressive capabilities, encouraged composers to attain a more sophisticated and complex style.” Although Strauss was attracted to the hybrid nature of the tone poem as created by Liszt, he did not entirely discard the broad outlines of sonata form. In Don Juan, the exhilarating primary theme is succeeded by a yielding second theme played by the oboe; the exposition ends with a grandiose melody played by the massed horns. Strauss does not distort his narrative to conform to the dictates of sonata form, however. After the idyllic central section, the confident music with which Don Juan opens gradually loses its nerve during the recapitulation and concludes in shuddering despair, with the fatal rapier thrust chillingly depicted by a dissonant note in the trumpets.
—Byron Adams
Byron Adams is Emeritus Distinguished Professor of Musicology at the University of California, Riverside. Both composer and musicologist, he specializes in French and British music of the 19th and 20th centuries. Among his publications are two edited volumes, Edward Elgar and His World (2007) and Vaughan Williams and His World (2023), which he co-edited with Daniel M. Grimley.
Don Juan was composed in 1888.
Carl Pohlig conducted the first Philadelphia Orchestra performances of Don Juan, in January 1908. Richard Strauss conducted the Orchestra in the work in October and November 1921, in the Academy of Music and at Carnegie Hall. The most recent subscription performances were in March 2018, with Yannick Nézet-Séguin.
The Orchestra has recorded Don Juan four times: in 1955 and 1960 for CBS with Eugene Ormandy; in 1974 for RCA, also with Ormandy; and in 1996 for EMI Classics with Wolfgang Sawallisch.
The score calls for three flutes (III doubling piccolo), two oboes, English horn, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (cymbals, orchestra bells, suspended cymbal, triangle), harp, and strings.
Performance time is approximately 20 minutes.
THE MUSIC
Bolero
Maurice Ravel
Born in Ciboure, Lower Pyrenees, March 7, 1875
Died in Paris, December 28, 1937
Deeply moved by works of Debussy from the 1890s, around 1900 Maurice Ravel began to find his own answers to the questions about harmony, color, and instrumental texture that the late 19th century had left unresolved. As a new century dawned, so did hopes of a “new music,” and this impulse found expression in the music of composers as diverse as Elgar and Schoenberg, Puccini and Debussy. At the beginning of the decade, Ravel’s music began to appear in print for the first time: The publisher Demets brought out elegiac pieces such as the Pavane pour une infante défunte (Pavane for a Dead Princess) and revolutionary works such as Jeux d’eau (Water Games). Buoyed by these successes, in 1904 the composer wrote Miroirs (Mirrors), a remarkable set of “impressionistic” piano pieces that some would later compare to the paintings of Monet or Van Gogh. After this he was destined to join Debussy in writing a new chapter in the history of French music.
A Conservatory Drop Out Three times Ravel had entered the competition for the Prix de Rome—1901, 1902, and 1903—and three times he had failed, achieving in his last year only Third Prize. Finally he dropped out of the Paris Conservatory altogether, and instead became involved in “Les Apaches,” an informal, vaguely disreputable collection of Parisian aesthetes who met to discuss art, literature, painting, music, history, and any other topic that might arise. It was at meetings of Les Apaches that Ravel tried out some of his more daring new works, often for audiences that included such musicians as Manuel de Falla, M.D. Calvocoressi, and Florent Schmitt. Their unconventional tastes gave Ravel just the creative encouragement he needed to continue on the path that he had set for himself. Ironically, despite early rejections by the musical establishment of his native country, as he matured Ravel found his iconoclastic tendencies becoming tempered by a growing reverence for the past—and especially the music of French masters. Eventually, in the 1930s, he would assimilate jazz as well, and its rhythms and harmonies would imbue his music with unique “popular” inflections that would give courage to later generations of composers compelled to lace their scores with elements of mass culture.
A Closer Look Composed in 1928 for Ida Rubinstein’s Parisian dance troupe, Bolero is one of the most subversive orchestral scores of the 20th century. Ravel said later that he wanted to write a piece that had “no form, properly speaking, and no modulation, or almost none—just rhythm and orchestra.” The ballet caused a stir at its premiere that November,
and many decades later the music continues to draw a crowd. Each repetition of the bolero tune presents a new and intriguing combination of instruments, both in the melody and in the accompaniment. The initial strophes, for instance, explore the soloistic qualities of various wind instruments; the sixth combines muted trumpet and flute to produce a tone that sounds like neither. By the end, we are so entrenched in the key of C that the effect of the brief, shocking swerve into E major in the 18th and final strain is way out of proportion to its actual harmonic significance.
In 1979 the piece was used in Blake Edwards’s film 10, as the accompaniment to Dudley Moore’s bumbling lovemaking to bombshell Bo Derek—and for this reason it remains indelibly fixed in the mind, for many listeners, as a sexual metaphor. While such a blatant connection might indeed have been in the back of Ravel’s mind, it should not limit us to thinking about the piece only in these terms. Bolero is, in the composer’s straightforward and no-nonsense description, “a piece lasting 17 minutes and consisting wholly of orchestral effects without music—one long and very gradual crescendo.”
—Paul J. Horsley
P aul J. Horsley is performing arts editor for The Independent in Kansas City. Previously he was program annotator and musicologist for The Philadelphia Orchestra and music and dance critic for The Kansas City Star . Bolero was composed in 1928.
The Orchestra’s “unofficial” premiere of Bolero is of special interest. On December 20, 1929, after a concert of music by Wagner, Leopold Stokowski turned to the audience in the Academy of Music and made the following announcement: “We are receiving much interesting modern music from the publishers. Perhaps you would like to hear some. It may be that you will not like this piece. It is very modern.” And with that Stokowski and The Philadelphia Orchestra performed the local premiere of Bolero. Its most recent appearance on subscription concerts was in October 2022 with Yannick Nézet-Séguin.
The Philadelphia Orchestra has recorded the work five times: in 1953, 1960, and 1968 for CBS with Eugene Ormandy; in 1973 for RCA with Ormandy; and in 1982 for EMI with Riccardo Muti.
The score calls for piccolo, two flutes (II doubling piccolo), two oboes (II doubling oboe d’amore), English horn, two clarinets (II doubling E-flat clarinet), bass clarinet (doubling soprano saxophone), tenor saxophone, two bassoons, contrabassoon, four horns, three trumpets, piccolo trumpet, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drums, tam-tam), harp, celesta, and strings.
Bolero runs approximately 15 minutes in performance.
A cappella: Choral singing performed without instrumental accompaniment
Aria: An accompanied solo song (often in ternary form), usually in an opera or oratorio
Arioso: A style that is songlike
Cantata: A multimovement vocal piece consisting of arias, recitatives, ensembles, and choruses and based on a continuous narrative text
Chord: The simultaneous sounding of three or more tones
Chromatic: Relating to tones foreign to a given key (scale) or chord
Contrapuntal: See counterpoint
Counterpoint: 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
Fantasy: A composition free in form and more or less fantastic in character
Harmony: The combination of simultaneously sounded musical notes to produce chords and chord progressions
Kapellmeister: Conductor of an orchestra (historically one attached to a German court)
Menuetto: A dance in triple time commonly used up to the beginning of the 19th century as the lightest movement of a symphony
Meter: The symmetrical grouping of musical rhythms
Modulate: To pass from one key or mode into another
Octave: The interval between any two notes that are seven diatonic (nonchromatic) 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.
Oratorio: Large-scale dramatic composition originating in the 16th century with text usually based on religious subjects. Oratorios are performed by choruses and solo voices with an instrumental accompaniment, and are similar to operas but without costumes, scenery, and actions.
Pizzicato: Plucked
Recapitulation: See sonata form
Recitative: Declamatory singing, free in tempo and rhythm. Recitative has also sometimes been used to refer to parts of purely instrumental works that resemble vocal recitatives.
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, 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.
Ternary: A musical form in three sections, A-B-A, in which the middle section is different than the outer sections
Tone poem: A type of 19th-century symphonic piece in one movement, which is based upon an extramusical idea, either poetic or descriptive
Tonic: The keynote of a scale
Trio: A division set between the first section of a minuet or scherzo and its repetition, and contrasting with it by a more tranquil movement and style
THE SPEED OF MUSIC (Tempo)
Allegretto: A tempo between walking speed and fast
Allegro: Bright, fast
Andante: Walking speed
Presto: Very fast
TEMPO MODIFIERS
Assai: Much
Più tosto: Or rather
DYNAMIC MARKS
Crescendo: Increasing volume
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No Smoking: All public space in Ensemble Arts Philly venues is smoke-free.
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Electronic Devices: All watch alarms should be turned off while in the concert hall and all cellular phones should be switched to silent mode.
BOARD OF TRUSTEES
The Philadelphia Orchestra and Ensemble Arts
BOARD OF TRUSTEES
Ralph W. Muller, Chair
Ryan Fleur, President and Chief Executive Officer
Yannick Nézet-Séguin, Music and Artistic Director, The Philadelphia Orchestra
James P. Brandau
Patrick J. Brennan, M.D.
Jeffrey Brown
Karen Dougherty Buchholz
Elaine Woo Camarda
Joseph Ciresi
David L. Cohen
Michael M. Cone
Joseph Conyers*
Robert R. Corrato, M.D.
Sarah Miller Coulson
Robert Curley
Robert J. Delany, Sr.
Mark S. Dichter
Jeff Dittus
Carl E. Dranoff
Joseph M. Field
Ryan Fleur*
Mark J. Foley
John Fry
Lauren Gilchrist
Donald A. Goldsmith
Amy Gutmann, Ph.D.
Janet Haas, M.D.
Julia Haller, M.D.
Robert C. Heim
Nina Henderson
Osagie O. Imasogie
Patricia Harron Imbesi
Philip P. Jaurigue
Kenyatta Johnson*
Bennett Keiser
Christopher M. Keith
David Kim*
Neal W. Krouse
Lauren Lambrugo*
Joan Lau
Brook J. Lenfest
Jeffrey A. Leonard
Bruce G. Leto
Tod J. MacKenzie
Joseph M. Manko, Sr.
John H. McFadden
Jami Wintz McKeon
Stan Middleman
Dara Morales*
Ralph W. Muller
Yannick Nezet-Seguin*
Amy Oshiro-Morales*
Benjamin Persofsky
Richelle Rabenou*
Jon Michael Richter
Caroline B. Rogers
Charles E. Ryan
Kerri Ryan*
Adele K. Schaeffer
Peter L. Shaw
Adrienne Simpson
Matthew A. Taylor
Jennifer F. Terry
Tiffany Thurman*
Michael R. Vennera
Rev. Dr. Alyn Waller
Robert Wilson
Richard B. Worley
Joseph Zebrowitz, M.D.
Bin Zhang
* Ex officio
THE PHILADELPHIA ORCHESTRA AND ENSEMBLE ARTS
PRESIDENT’S LEADERSHIP COUNCIL
Robert Bogle
Sheldon M. Bonovitz
Willo Carey
Kathleen P. Chimicles
Gerard P. Cuddy
Peter Dachowski
Kenneth E. Davis
Rodney D. Day III
Peter J. Dean, Co-Chair
Thomas A. Decker
James F. Dougherty, V.M.D., Co-Chair
Stacy M. Dutton
Carole Haas Gravagno
William P. Hankowsky
H. Edward Hanway
Martin A. Heckscher, Esq.
David F. Hoffman
Joseph H. Jacovini
Lisa D. Kabnick
Ronald L. Kaiserman, Esq.
Susan Y. Kim
Frederick W. Kyle
Larry Magid
Elizabeth M. Mahoney
David G. Marshall
Sandra G. Marshall
Joseph J. McLaughlin, Jr.
Edward A. Montgomery, Jr.
Hilarie L. Morgan
Henry N. Nassau
Charles P. Pizzi
Robert Pollack
Robert L. Pratter
Hon. Marjorie O. Rendell
Lyn M. Ross
David B. Rubenstein
John F. Salveson
Molly D. Shepard, Co-Chair
Richard L. Smoot
Leonard A. Sylk
Sheldon L. Thompson
Brian P. Tierney
Charles K. Valutas
Ramona Vosbikian
Laurie Wagman
James W. Zug
As of February 2025
THEN: The Philadelphia Orchestra with Stokowski, 1936
MAKE A GIFT MAKE HISTORY
CELEBRATE 125 YEARS OF MUSIC
NOW: The Philadelphia Orchestra with Nézet-Séguin, 2024
Since 1900, The Philadelphia Orchestra has relied on support from patrons like you to create a legacy of exceptional music. The generosity of our donors makes it possible to present hundreds of performances each season, including free community and education events for audiences of all ages. Make a gift and be a part of the next 125 years of music history.
In appreciation, donors receive a variety of benefits, including:
• Access to Open Rehearsals and other members-only events
• Advance purchase opportunities for the best seats in the house
• Discounts on concessions, Curtain Call Cafe and Lounge, and Leo Restaurant and Bar
• And more exclusive opportunities that bring you closer to the art you love
Explore our membership levels, benefits, and flexible payment options at philorch.org/membership.
Photos: Allie Ippolito
ANNUAL FUND
Philanthropic support inspires and sustains Your Philadelphia Orchestra’s work on stage, in our local communities, and around the world. We are proud to recognize our generous Annual Fund donors by name on this and subsequent pages. We extend our deepest gratitude to every donor, including those listed anonymously and at levels not included in this program.
For more information about donating to the Annual Fund at any level, please contact us at 215.893.3151 or development@ philorch.org, or visit philorch.org/donate.
Contributions listed were received between August 1, 2024, to February 1, 2026. Please contact us if your name has been omitted in error or if you would like to update your recognition name.
ARTISTIC COUNCIL
$500,000 AND ABOVE
Estate of M.J. Fischer
Estate of Robert T. Foley
Otto Haas Charitable Trust
Innisfree Foundation
James and Agnes Kim Foundation
Neal Krouse and Karl Fong
Leslie A. Miller and Richard B. Worley
Elizabeth Wiegers
Constance and Sankey Williams
Anonymous (3)
ARTISTIC COUNCIL
$125,000 TO $499,999
Lois and Julian Brodsky
Elaine W. Camarda and A. Morris Williams, Jr.
The CHG Charitable Trust
Dr. Alan R. Cohen and Michele Langer
Constance and Michael Cone
Sarah Miller Coulson
Tobey and Mark Dichter
Dr. James F. Dougherty
Susan and Jonas Ellenberg
Robert Heim and Eileen Kennedy
Osagie and Losenge Imasogie
Gretchen and M. Roy Jackson
Bennett Keiser and Joy Wilf Keiser
Dr. Richard M. Klein
Estate of Winifred Mayes
John H. McFadden and Lisa D. Kabnick
Ralph and Beth Johnston Muller
Estate of Dr. Betty T. Richards
Caroline B. Rogers
Peter and Mari Shaw
Dr. Cecilia Segawa Seigle Tannenbaum*
Dr. and Mrs. Joseph B. Townsend
Waterman Trust
Estates of Dr. and Mrs. Robert Williams
PRESENTERS CIRCLE
$75,000 TO $124,999
Estate of Sherrin H. Baky-Nessler
Estate of Dr. Barbara Comins
Jerome L. and Thao Dodson
Joseph and Marie Field
Mrs. Penelope P. Harris
Sandy and David G. Marshall
Joe Neubauer and Jeanette Lerman-Neubauer
Mr. Charles Ryan
Carol Tyler
PRESENTERS CIRCLE
$50,000 TO $74,999
Dean S. Adler and Susanna Lachs Adler
Dr. and Mrs. Robert R. Corrato
Christos Coutifaris and Deborah Driscoll
Estate of Thomas and Floramae Force
Linda and David Glickstein
Juliet J. Goodfriend and Marc R. Moreau
Mr. and Mrs. Chris Keith
Marguerite and Gerry* Lenfest
Joseph M. Manko, in loving memory of Lynn Manko
Estate of Ron North
Salkind Family Foundation
Diane Schneider
Mr. Oscar Tang and Dr. Agnes Hsu-Tang
Anonymous
PRESENTERS CIRCLE
$25,000 TO $49,999
Vijay and Susan Aggarwal
Dr. James R. Anderson
Donald E. Barb, Esq., and the Rev. Bruce H. Davidson
Peter A. Benoliel* and Willo Carey
James and Micaela Brandau
Judith Broudy
Karen Dougherty Buchholz
Mr. and Mrs. Christopher B. Chandor
Mr. and Mrs. John Fry
Irina and Patrick Gage
Barbara and Jerome Glickman
Amy Gutmann and Michael O’Doyle
Julia A. Haller, M.D.
Nancy S. Halpern
Ed and Ellen Hanway
Ann S. and Steven B. Hutton
Patricia and John Imbesi
Rachelle and Ronald Kaiserman
Gay and Donald Kimelman
In honor of Katherine O. Leone
Mr. and Mrs. Bruce Leto
Chris and Jeffrey Libson
Mrs. Catharine Maxey
Susan and Frank Mechura
Dr. and Mrs. John L. Neigh
Miriam Ort and Lawrence Hirsch
Estates of Adolf and Geraldine Paier
Ameline Pappas*
Claudio Pasquinelli and Kyong-Mi Chang
Robert and Lynne Pollack
Robert L. Pratter
Red Moose Charitable Trust
Jon and Karen Richter
Beth L. Rogers
Lyn Ross
Vincent N. and Lila Russo
Allan Schimmel and Reid Reames*
Kate Groark Shields
Constance Smukler, Trustee, Smukler-Lasch Family Trust
Mr. Wayne Titerence and Ms. Vicki Mechner
Michael and Renee Vennera
Thomas and Patricia Vernon
Jennifer and Ralph Watts
Zisman Family Foundation
Anonymous
PRESENTERS CIRCLE
$15,000 TO $24,999
M. Therese and Barry Bentley
Mr. and Mrs. Robert Bickford
Estate of Mark J. Bojanowski
Carol W. Buettger
Drew Camarda
Alice Chen-Plotkin and Joshua Plotkin
Mr. and Mrs. David L. Cohen, Esq.
Joslyn G. Ewart
Mr. and Mrs. Moses Feldman
Claudia and Richard Fischer
Ryan Fleur and Laura Banchero
Drs. Peter and Pamela Freyd
Ken and Sue Greathouse
Peter Grove and Nancy Greene
Joseph and Bette Hirsch
Terry and Ann Marie Horner
Toba and Lawrence Kerson
Mr. Kevin King and Mrs. Susan West King
Drs. Joan and Brook Lau
Lurie Family Foundation
Tom and Linda McCarthy
Mr. and Mrs. Bruce McKittrick
Jane G. Pepper
Jeffrey and Deborah Pierce
The Estate of Miss E. Irene Reymann
Dianne and Jeffrey Rotwitt
Joan N. Stern
Mr. and Mrs. Sheldon Lee Thompson
Dr. Bettyruth Walter
Judith Whellan
Steve and Mary Beth Young
Anonymous (7)
PRESENTERS CIRCLE
$10,000 TO $14,999
John R. Alchin and Hal Marryatt
Mr. and Mrs. James Allison
Charles Arnao and Rosemary Watt
Barbara B. and Theodore R. Aronson
Jim and Janet Averill
Drs. Robert and Jean Belasco
Jill and Sheldon Bonovitz
Dr. and Mrs. Patrick J. Brennan
Mr. and Mrs. Jonathan Broder
Judy and Mark Brodsky
James and Doris Brogan
Dr. Eugenio* and Giuliana Calabi
Dr. Rosemary Cook
John Cornell
Joyce Creamer
Richard and Patricia Cummines
Mr.* and Mrs. Edward C. Dearden
Edith R. Dixon
Alex J. Ettl Foundation
Eph and Pat Fithian
Mr. and Mrs. David M. Friedman
Donald Goldsmith
In memory of
Rena and Morton C. Grad and John de Lancie
Vivian and Mark Greenberg
Gni Grossman and Christopher Murray
Leon and Miriam Hamui
Fred and Michelle Harde
Mr. and Mrs. Stephen Harris
Katherine Hatton and Richard Bilotti
Hannah L. Henderson
Richard H. Holzer Memorial Foundation
Eric and Lenora Hume
Ms. Lisa R. Jacobs
Andrew Jacobson and Carol Overvold
Erika James
Lyn Kratz and Pamela French
Dr. Peter Langmuir and Dr. Colette Desrochers
Nestor Llorente and Don Jones
Sally and Tod MacKenzie
Nicholas Maiale*
Dr. Ann Elizabeth Mayer
Paul H. McKelvie
Estate of Mary and David Meese
Dr. Jill Mortensen
Alexander Nikas and Dr. Marianne Ruhl Nikas
Yannick Nézet-Séguin and Pierre Tourville
Mrs. Sarah Peterson
Mrs. Vivian W. Piasecki*
Dr. and Mrs. Joel and Bobbie Porter
Susan and David Rattner
Marney Roia
Dr. Marta Rozans and Prof. Ilan Peleg
Xiaomei Shao
Lee F. Shlifer
Edward and Shelley Sigman
Kathleen and Roger Smith
Richard and Amanda Smoot
Samuel and Rosanne Spear
Mary Ann Stehr
Mr. and Mrs. William Stone
Walter and Alice Strine, Esqs.
Charles and Suzanne Valutas
The Vert Charitable Trust
Peggy Wachs
Penelope and Thomas Watkins
Mary E. Webb
Carol A. Westfall
Martin Zeldin and Bill Brinkman
Walter A. Zanchuk and Norma Milne Zanchuk
James W. and Debora C. Zug
Anonymous (5)
AMBASSADORS CIRCLE
$5,000 TO $9,999
Erika Aaron and Marc Fliegelman
Mrs. Neysa Adams
Peter J. Allen
Larry and Dr. Marcia Arem
Drs. Janine and Barry Arkles
Lynn Axelroth and Cricket Handsaker
Richard and Jane Baron
William And Sylvia Barone
Carol Beam
John D. Benson, Esq.
Isabelle Benton and Aileen White
Ms. Donna Brennan and Dr. James Bergey
Andrea Biondo and Kenneth Hartzell
Allen D. Black and R. Randolph Apgar
Jeff Benoliel and Amy Branch
Ms. Linda Bross
Alfred Anthony Brown and Hai-Ye Ni
Dr. and Mrs. I. Stephen Brown
Mr. and Mrs. James M. Buck III
Estate of James Buttenwieser
Malcolm and Carla Cain
Jennifer and David Cardy
Robert Carmichael
Kathleen and Nicholas Chimicles
Kristine Christensen
Celia Mendes Chumaceiro
Georgette P. Ciukurescu
Earl* and Margaret Clime
Mrs. Marlynne Clothier
Dr. Robert Cody
Stephen Cohen and John McNett
Ruth M. and Tristram* C. Colket, Jr.
Peggy Cooke
Jeffrey Cooper and Nancy Klaus
Kenneth and Nancy Davis
Stephen and Rhoda Davis
Evelyn S.* and Rodney D. Day III
Mr.* and Mrs. Willem K. Dikland
Dr. and Ms. James Doghramji
Cynthia Tehan and Ed Dougherty
Ellason Downs
Perpetual Charitable Trust
MaryAnn Edwards
Ms. Carol S. Eicher
Dr. Bruce Eisenstein, in memory of Dr. Toby Eisenstein
Audrey Escoll
Andrew E. Faust and Ann Russavage-Faust
Mary Felley
$5,000
Allen R. and Judy Brick Freedman
John R. and Karen S. Fulton III
John and Beth Gamel
The Gant Family Foundation
Patsy and Ed Garno
Jim and Kay Gately
Ms. Phyllis S. Gitlin
Howard and Norah Goldfine
Mary L. Goldman
David and Bonnie Goldmann
Charles and Alison Graham
Lyn and Harry Groome
Diana and Robert Harding
Hope and Stephen Heaney
Martin and Cynthia Heckscher
Mr. and Mrs. Christopher Henkels, in memory of Paul M. Henkels
Ms. Rhoda K. Herrold, in memory of Deenie and Yale Evelev
Maria Hoek-Smit
Stockton Illoway and Mac K. Griswold
Mr. and Mrs. Joseph Jacovini
Mr. and Mrs. Scott M. Jenkins
Susan E. Kane
Arthur M. Kaplan and R. Duane Perry
Leroy E. Kean
Estate of Robert Michael Kelly
Dr. Stephanie and Mr. Andrew Kirk
Ms. Gabrielle Kissling
Dr. and Mrs. Anton J. Kleiner
Dr. Mel Kohn
William Lake Leonard
Jeff Lewis and Mary Ann Rossi
In memory of David W. Lindstrom
Mr. James P. MacElderry* and Ms. Marilyn S. Fishman
Drs. Leon and Elsa Malmud
Mary L.C. McAdoo
Susan and Graham McDonald
Mr. and Mrs. James M. McGrath
Robert and Claire McLear
Missy and Bob McQuiston
Mr. and Mrs. Charles Meacham
Mr. and Mrs. Marshall Meyer
Mr. and Mrs. Paul Meyer
Madelyn Mignatti
Mr. Mladen Milic and Dr. Barbara Wolf
Mr. and Mrs. Stephen Miller
Mr. and Mrs. H. Laddie Montague, Jr.
Virginia Montgomery
Mr. and Mrs. Rodman W. Moorhead III
Mr. and Mrs. David J. Morgan
Mrs. Robert Morris
Ms. Susan Mucciarone and Mr. David Moore
Dr. Robert and Carla Myerson
Mr. and Mrs. Benjamin R. Neilson
Dick and Mimi Nenno
Arthur E. Newbold IV
Marie O’Donnell and Bruce Satalof
Norman Olson
Mr. and Mrs. Richard Palmer
Lili Perski
Marjorie M. and Irwin Nat Pincus Fund
Susan C. Porcino and Peter R. Porcino
Dr. Carol A. Raviola
Nancy J. Remy
Maria and Eric Rieders
Mr.* and Mrs. Richard Rizzo
Sevgi B. Rodan, Ph.D.
Mrs. Debbie Rodgers
Mrs. Willa Rosenbloom
Dr. Louis and Mrs. Val Rossman
Linda S. Rothermel
Mr. and Mrs. Charles Schelke
Mrs. Carole L. Schultz
Valerie and Will Schwartz
Fredda L. Segal
Dr. and Mrs. Hass Shafia
Christine J. Shamborsky
Elizabeth Stokes and Lynne Brown
In memory of Sha Sung
Ms. Nancy L. Tindall
Rebecca Wells and John Tobias
Nancy and Bruce Urbschat
Mr. and Mrs. Archbold D. van Beuren
Richard and Carolyn Veith
Maria Parisi Vickers
Nina Robinson Vitow
Laurie Wagman
Dr. R.J. Wallner
Alan and Leni Windle
Mr. and Mrs. Harold L. Yoh III
Stephen Zeller
Anonymous (11)
AMBASSADORS CIRCLE
$3,500 TO $4,999
Amaranth Foundation, Joan M. Moran, Trustee
Gary and Mary Ammon
Dr. Ronald and Mrs. Catherine Anderson
Mary Jo Ashenfelter and Thomas S. Heckman
Myrna and Howard* Asher
Theodore H. Ashford
The Albert W. Bader Foundation
Sarah Batchelor and Kirk Schneider
Mr. and Mrs. Eugene Beier
Narinder and Tracy Bhalla
Jan R. Birsch
Mr. and Mrs. Stephen Bleyer
Samuel A. Bobrow and Maxine Blum
The Bohan and Fox Family
Ira Brind and Stacey Spector
Nancy Carey and DeWitt Brown
The Clarke Family Fund
Barbara R. Cobb for the Hamilton Family Foundation
Ms. Eileen Courtney
Ana V. Diez Roux and Jose Tapia
Ray Dombroski and Colleen DeMorat
Henry and Katherine Donner
Mr. Jay M. Donner
Dr. Andrew F. Drake
Stacy Maria Dutton and Charles McMahon
Barbara Eberlein and Jerry Wind
Dr. Pamela Edmonds and Mr. David Chianese
Mr. and Mrs. Spencer Ervin, Jr.
Helen and Phillip Escaravage
Nina Maria Fite
Debbie and Bob Fleischman
Ms. Jane Foster and Mr. Arthur Willson
Mr. and Mrs. William W. Fox, Jr.
Mr. and Mrs. Lawrence Fridkis
Dr. Deborah Gaspar and Mr. Mark Gaspar
Robert Gelsher
Anna Marie and Michael Gewirtz
Eduardo Glandt and George Ritchie
Susan Kohn Gleeksman
Joseph and Jane Goldblum
Robert Graff
Rekha and Jon Hagen
Mrs. Jane M. Hastings
Mr. Charles Head, Jr., and Mr. John Faggotti
Archibald C. Hewes
Kathy Hirsh-Pasek and Jeffrey Pasek
Lois Horgan
Dr. and Mrs. Leonid Hrebien
Ralph Johanson
Mr. and Mrs. Melvin Jones
Clare Kahn
Donald and Dorothy Kardon
Dr. Maureen Kelly
Mr. and Mrs. Robert C. Kline
Kenneth Klothen and Eve Biskind Klothen
Timothy E. Koehler
Mrs. Beth Ann Wahl Kolpen and Mr. Jack Kolpen
Shira Kramer and Leon Josowitz
Sanford and Carol Levy
Mrs. H. Gates Lloyd
William A. Loeb
Robert Logemann
Drs. W.B. and Sarah S. Long
Dr. and Mrs. Michael B. Love
Robert and Lynn V.D. Luft
Mr. and Mrs. Robert Lukens
Joseph Manko, Jr., and Jennifer Porges
Dr. Bernard A. Mason and Jane R. Mason
Denise McCleary and Paul von Behren
Mr. and Mrs. Joseph J. McLaughlin, Jr.
Russell L. McTague
Michael and Anna Minkovich
Margarita Montanaro
Mr. Edward A. Montgomery, Jr.
Dr. and Mrs. A.H. Nishikawa
Mr. and Mrs. Stuart Ockman
Ellen J. Odoner and Edward W. Kerson
Mr. Frederick Oster and Ms. Catherine Jacobs
Linda and David Paskin
Barbara L. Phillips
Mrs. Vivian W. Piasecki*
Dr. Leo Podolsky and Ms. Debra Ross
Anonymous in memory of Jan Popper
Allan Rayfield
David Rhody
David Richman and Janet Perry
Dr. Elizabeth and Mr. Hershel Richman
Gretchen and Jay Riley
Pamela and Gresham Riley
Mr. and Mrs. Mark E. Rubenstein
John Salveson
Marilyn C. Sanborne and Richard J. Labowskie
William and Klare Scarborough
David Seidman
Mr. and Mrs. Robert W. Seminack
Dr. M. Lana Sheer, in memory of Dr. J. Peter Jesson
Janet A. Simon and Georg U. Simon
Joseph Sinkus and Christopher Labonte
Drs. Kobie A. Smith and Vincent H. Harris
Mr. and Mrs. Robert L. Stevens
Stacy Stone and Stephen McMillan
John and Sandra Stouffer
Mr. Brian A. Stumm
Dr. Norman L. Sykes and Mrs. Gabriella Sykes
Jack and Ramona Vosbikian
Daniel V. Walls
Julie D. Williams
Ursule Phaeton Yates
Dr. Daniel Yoshor
James W. and Debora C. Zug
John Zurlo and Margaret Kreher
Anonymous (5)
FRIENDS CIRCLE
$2,500 TO $3,499
Dr. Janice Asher
Ellen W. Baxter and Robert W. Kavash
Joel D. Beaver
Cathy and Saul Behar
Diane Bernoff
Howard Blumstein
Drs. Bruce and Carole Bogdanoff
Richard A. Brand
Ms. Marilyn A. Brown
Mrs. Linda Burke
Estate of Mr. and Mrs. Charles M. Butler
Mark and Cindy Butler
Selden Cooper and Paige Edwards
Alice B. Cullen
Karen and John Cunningham
Dr. H.T. Dombrowski
Dr. and Mrs. William L. Elkins
Robert N. and Doris D. Fanelli
Paul and Judith Farber
Ellen W. Freeman
Charles and Judith Freyer
Michael Gealt and Maryjanet McNamara
Glazer Family Foundation
Marybeth Henry
Mark and Sally Hurwitz
Eva R. Jackson
Richard and Gail Johnson
Lori Julian
Denise and Robert Keyser
David and Jane Kim
Mrs. Sylvia Kreithen
Dr. Leona Laskin
Sheila Leith
Sylvia and Norman Lieberman
Jay Lippincott
Lawrence and Nancy Ludgus
Elizabeth M. Mahoney
Dwight and Christina McCawley
Elizabeth McLean
Janet and Howard Mendel
Dr. Margaret Motl
Charles and Etta Nissman
Dr. and Mrs. R. Barrett Noone
Kay and Jerry* O’Grady
Mr. and Mrs. Lanny R. Patten
Jonathan Pearce
Judy and Jim Pohlman
Ms. Nancy Pontone
Mr. and Mrs. Alfred Rauch, Jr.
John and Claire Rodgers
David and Rowena Rosenbaum
Ms. Ann Rosewater and Mr. Robert Kronley
Joyce Seewald Sando
Catherine and Stephan Schifter
John Schueler and Karen Warner
Henry and Yumi* Scott
Howard J. Sedran and Martha Levine
Irene Shabel
Paul and Susan Shaman
Marla Share
Ms. Katharine Sokoloff and William B. McLaughlin III
Dr. Christina A. Stasiuk and Mr. George M. Farion
Dr. Mary K. Stom and Ms. Dru E. Hammell
Dr. Alan E. Tasoff and Jacalyn Shelley-Tasoff
Mr. and Mrs. Luciano Virgili
Mr. and Mrs. Nicholas W. Wanck
Mr. and Mrs.* David R. Wilmerding, Jr.
Barbara Duby Wilson
Earl and Jackie Wolf
Anne Jeffrey Wright
Sherley Young
Ms. Margaret G. Zehner
Benjamin E. Zuckerman and Marian Robinson
Anonymous (3)
We are proud to recognize the following musicians, retired musicians, and staff who have generously contributed to the Annual Fund.
Davyd Booth and Carlos Perez*
Joseph H. Conyers
Helen and Phillip Escaravage
Ryan Fleur and Laura Banchero
Mr. and Ms. Randy Gardner
Andrea Gartner and Lee Clements
Anna Marie and Michael Gewirtz
Barbara S. Govatos
Ms. Jennifer Pratt Johnson and Dr. Fred Johnson
Ruth Kasow
Thomas Kerrigan
David and Jane Kim
Marjorie and Nolan* Miller
Kathleen Moran and Nicholas Smith
Yannick Nézet-Séguin and Pierre Tourville
Hai-Ye Ni and Alfred Anthony Brown
Samantha Noll
April and Brendan O’Brien
Mr. and Mrs. Anthony Orlando
Ms. Catherine A. Pappas
Doris Parent
William B. and Anna Marie Ahn
Petersen
Harold Hall Robinson
Joseph Sinkus and Christopher Labonte
Drs. Kobie A. Smith and Vincent H. Harris
Tubas for Good, Inc.,
Carol Jantsch, President and Founder
Anonymous
*Deceased
INSTITUTIONAL SUPPORT
Generous support from corporations, foundations, and government agencies sustains
The Philadelphia Orchestra with vital funding for performances, education programs, and a variety of innovative projects. We are proud to acknowledge our current institutional donors.
For more information about institutional support for The Philadelphia Orchestra, please contact Ruth Auslander, managing director of institutional giving at 215.790.5829 or rauslander@ ensembleartsphilly.org.
Contributions listed were received between June 1, 2024, and December 31, 2025. Please contact us if your name has been omitted in error or if you would like to update your recognition name.
$500,000 AND ABOVE
City of Philadelphia
Ford Foundation
The Hess Foundation
The Knight Foundation
William Penn Foundation
Pennsylvania Department of Community and Economic Development
The Presser Foundation
$100,000 TO $499,999
Bank of China
Casamigos Tequila
CHG Charitable Trust
China National Tourist Office, New York
Jessie Ball duPont Fund
The Hearst Foundation
The History Channel
Independence Blue Cross
Merck & Co. Incorporated
MKM Foundation
PECO
The Pew Center for Arts and Heritage
PNC Arts Alive
TD Bank
U.S. Department of State
Wyncote Foundation
$50,000 TO $99,999
Paul M. Angell Family Foundation
Chubb
KeyBank
Bells Grocery Stores
Kind Insurance
KPK Development Co. LP
US-China Cultural Institute
Vault Communications
TN Ward Company Builders
Anonymous
$25,000 TO $49,999
Abington Neurological Associates
Action Karate
Brotherston Homecare, Inc.
The Chamber of Commerce for Greater Philadelphia
China Center for International Communication Development
John Ciccone Playhouse
Comcast NBCUniversal
Drexel University
Eagles Autism Foundation
Faegre Drinker Biddle & Reath LLP
Amy P. Goldman Foundation
Gray Charitable Trust
Hamilton Family Charitable Trust
The Christian Humann Foundation
Katznelson Associates LP
Ninja Transfers, LLC
Ollin, LLC
PHLCVB
Raynier Institute & Foundation
Rhubarb Hospitality Collection
Rush Order Tees
Sun Cruiser
$15,000 TO $24,999
Julius and Ray Charlestein Foundation in memory of Malvina and Morton Charlestein
The Connelly Foundation
Cozen O’Connor
Duane Morris LLP
Essential Utilities
The Anne M. and Philip H. Glatfelter III
Family Foundation
Independence Foundation
The Blanche and Irving Laurie Foundation
Law Office of Ana Ferriera
Lyft
JPMorgan Chase & Co.
Philadelphia International Airport
Mrs. Ressler’s Food Products
SpotHero
Tito’s Handmade Vodka
Universal Health Services, Inc.
$10,000 TO $14,999
Always Best Care Senior Services
Ardmore Toyota
Elliot’s Vending Company
Elliott-Lewis Corporation
The Hassel Foundation
HUB International
JKG Florida Business Corp.
Laudenbach Periodontics and Dental Implants
The Lincoln Financial Group Foundation
The McLean Contributionship
One Source Reps
Origlio Beverage
Power Marketing Group
Qlik
The H. Glenn Sample, Jr., M.D., Memorial Fund through the PNC Charitable Trusts Grant Review Committee
MJ Settelen Construction, LLC
Subbio Center for Plastic Surgery
Team Clean
Truist
White and Williams
$5,000 TO $9,999
Corinne R. and Henry Bower
Memorial Trust
The Capital Grille
Dorothy V. Cassard Fund of the Philadelphia Foundation
The Aaron Copland Fund for Music
Dolfinger-McMahon Foundation
Four Seasons Hotel Philadelphia at Comcast Center
The Gitlin Family Foundation
Grant Thornton, LLP
Christian R. and Mary F. Lindback Foundation
M&T Charitable Foundation
M3 Printing
The McCausland Foundation
Leo Niessen, Jr., Charitable Trust
Rutgers University—Camden
Sarah West Real Estate PC
WSFS Bank
Wyatt Elevator Company
THE VOLUNTEER COMMITTEES FOR THE PHILADELPHIA ORCHESTRA
The Volunteer Committees for The Philadelphia Orchestra are dedicated to supporting the Orchestra through audience development, educational programs, fundraising, community relations, and special events. The Committees were first formed in 1904 and have the distinction of being the oldest auxiliary volunteer organization associated with an orchestra in the United States. We are profoundly grateful for the Volunteers’ leadership and support throughout the years.
For more information about the Volunteer Committees for The Philadelphia Orchestra, please contact Samantha Noll, assistant director of development events and volunteer relations, at 215.893.1956 or snoll@philorch.org.
List complete as of February 17, 2026
EXECUTIVE COMMITTEE OFFICERS
Richelle Rabenou, President
Sara Cerato, Immediate Past President
Deborah Ledley, Vice President
Mrs. Diane Larzelere, Treasurer
Sheila Cox, Secretary
GOVERNING BOARD CHAIRS
Central: Jean Park
Main Line: Jill Acker
New Jersey: Mrs. Diane Larzelere
Rittenhouse Square: Marlena Kleit and Fran Schwartz
Starlight Circle: Mrs. Anna Minkovich
STANDING COMMITTEE CHAIRS
Annual Giving: Nancy Galloway
Education: Deborah Ledley*
Marketing: Kelsey Larzelere
Special Functions: Jennifer Porges
Volunteer Archives: Elizabeth A. Crowell
VOLUNTEER COMMITTEE MEMBERS
Dennis Adams
Dr. Susan C. Aldridge
Pam Alles
Barbara A. Alleva
Rosana Anchondo-Issak
Mrs. Betsy Anderson
Dr. Marilyn H. Appel
Mrs. Mercer B. Barrows
Mrs. Thomas E. Beach
Mrs. H. Binney Beale
Ms. Sandra Blumberg Beatty
Mrs. Nancy Belber
Isabelle Benton
Susan Segal Berrigan
Charlotte H. Biddle
Mrs. Thomas H. Bliss
Ann Young Bloom
Mrs. Peter Bodenheimer
Mrs. Eugene T. Borish, Jr.
Lois Boyce
Judith Bradley
Sibby Brasler
Anna Breyman
Leo Breyman
Mrs. Leanore Brookman
Judith Broudy
Ms. Carol Melman Brown
Mrs. Roland K. Bullard II
Mrs. Howard Butcher IV
Mrs. John P. Butler III
Mrs. Donald F. Cafiero
Mrs. Alfred M. Campbell III
Beverly Caplan-Freeman
Lorin Carlson-Healy
Nicole A. Cashman
Mrs. Thomas A.V. Cassel
Mrs. Kristine Christensen
DeAnn P. Clancy
Rebecca Clement
Marsha Cohen
Frances Connolly
Peggy Cooke
Sarah Miller Coulson
Mrs. James E. Crutchfield
Alice B. Cullen
Karen Cunningham
Chris D’Ascenzo
Mrs. J. David Davis
James F. Davis*
Mrs. Gerard de Lisser
Colleen DeMorat
Mimi Dimeling
Denise Dolan
Katherine Donner
Mrs. Virginia Dowd
Mrs. John G. Drosdick
Duc Duclos
Lynn Duclos
Roberta Epstein*
Mrs. Charles B. Fancher
Mrs. C. Richard Farmer
Kathleen Fitzgerald
Mrs. Timothy E. Foster
Mrs. Richard Freed
Katherine Garber
Ms. Janine Gardner
Judi Garst
Nancy J. Gellman
Robert Gelsher
Mrs. Kimberly Gerson
Mrs. Micki Ginsberg
Mrs. Jean Givey
Judy Glick
Paula Goldstein
Dr. Janice Taylor Gordon
Dr. Thelma B. Gosfield
Mrs. Richard B. Gould
Carole H. Gravagno
Grete Greenacre
Ms. Nancy V. Gulick
Kate Hall
Noel Butcher Hanley
Fred Harde
Michelle Harde*
Mrs. John S.C. Harvey III
Mrs. Jane M. Hastings
Mrs. Patricia Heidler
Marybeth Henry
Mrs. Frances Herr
Eileen Higgins
Mrs. Robert B. Hobbs, Jr.
Joan R. Holmes
Mrs. Stephen R. Holstad
Eric Hume
Lenora Hume
Ms. Adrienne Jacoby
Yardly R. Jenkins
Jamie Joffe
Karen Jones
Mrs. Mary Anne Dutt Justice
Mrs. Wilma C. Katz
Ms. Phyllis Kauffman
Marie Kenkelen
Kris Kent
Gina Kernicky
John Kernicky
Liz Knudsen*
Ms. Ellen G. Kopeland
Mrs. Bernice J. Koplin
Laura Bender Koropey
Mrs. Anthony Lame
Mrs. MaryAnn Landmesser
Molly Lawrence
Matthew Ledley*
Sheila Leith
Mrs. Dana Thompson Lerch
Mrs. Roy Lerman
Anita Leto
Mrs. Bruce Leto
Mrs. Stephen Levin
Sofia Leybin
Liddy Lindsay
Ric Lipman
Mrs. Rosemary Livingston
Miss Phoebe Loh
Carol Love, M.D.
Mrs. Robert S. Lovett II
Robin Lowey
Rochelle Magarick
Elizabeth Mahoney
Joseph Manko, Sr.
Sandy Marshall
Linda Massey
Mary MacGregor Mather
Mrs. James McAdam
Susan McChesney
Mrs. Stella McSparran
Ms. Peg Mertz
Mrs. Barbara G. Miller
Mrs. Keiko Miller
Leslie A. Miller
Mrs. Philippus Miller, Jr.
Michael Minkovich
Mrs. Robert F. Morris, Jr.
Ingrid Morsman
Ms. Cathy Moss*
Joanne Muhr
Linda Mui
Mrs. J. Brien Murphy
Mrs. Albert B. Murphy III
Chuck Nagele
Patricia Nagele
Lana Nania
Carol Neiman*
Mrs. John J. Nesbitt III
Mrs. Patricia Ann Nogar
Mrs. R. Barrett Noone
Terry Norton-Wright
Mrs. Wilber W. Oaks, Jr.
Kay O’Grady
Diane Oliva
Mrs. Mimi O’Malley
Mrs. Eleanor Oxman*
Alice Pakman*
Mrs. Regina H. Pakradooni
Mrs. Sandra Pfaff
Mrs. John W. Piasecki
Linda Pizzi*
Elizabeth Pontillo
Mrs. Malcolm D. Pryor
Michelle Fella Przybylowski*
Mr. Kameron Rabenou
Mrs. Ellen Ragone
Jill Raich*
Mrs. Alfred Rauch, Jr.
Kate Brady Rauscher
Josephine Rees
Caroline B. Rogers
Mrs. Randy S. Ronning
Dr. Lucy B. Rorke-Adams
Miriam Rosenwasser
Mrs. Dianne Rotwitt
Mrs. John E. Royer, Jr.
Lynn Salvo
Joyce Seewald Sando
Mrs. Harold F. Scattergood, Jr.
Jason Schupback
Mrs. Michael P. Schwartz
Faye Senneca
Linda A. Serotta
Marla Share
Carol C. Sherman
Ms. Irina Sipe
Theresa Slater
Mrs. Carol Smith
Cyndee Solomon
Ann Sorgenti
Carol Spinelli
Joyce Stein
Robin Bender Stevens
Lois Stick*
Danielle Stoler
Mrs. Kathleen Stone
Stacy Stone
Dr. Judith Sills Swartz
Roberta R. Tanenbaum
Ms. Faith Tarangelo
Ms. Mary Tattersfield
Barbara Taylor
Ling Tran
Kathryn E. Tusler*
Mrs. Hope Ulrich
Mrs. Annegret Voparil
Mrs. Ramona Vosbikian
Mrs. Nancy Weiss
Janine Weller
Dr. Erlis Wickersham
Mrs. Brooke N. Williams
Julie D. Williams
Mr. Alan Windle
Ms. Marian Wissman
Lisa Yakulis
Selina Yang
Bonnie Young
Mrs. Gilbert G. Young
Anonymous (5)
*Denotes current members of the Philadelphia Orchestra Docent Program
The Volunteer Committees for The Philadelphia Orchestra gratefully acknowledge the following benefactors for their generous support of the Main Line Committee’s 2025 Notable Kitchen Tour:
Bluebell Fine Cabinetry & Design
Devon Tile & Design Studio
Ferguson Home
High Swartz Attorneys at Law
Kountry Kraft
Main Line Kitchen Design
Period Architecture
Pinemar
The Hope and Tim Ulrich Fund
Lisa Yakulis Properties
ENDOWMENT
We proudly recognize our generous donors to The Philadelphia Orchestra’s endowment. Their leadership gifts support the Orchestra and its programs in perpetuity, helping to ensure the legacy of the ensemble for the next generation.
To learn how you and your family can be permanently associated with The Philadelphia Orchestra through an endowment gift, please contact Helen Escaravage, managing director of philanthropic engagement, at 215.893.1819 or hesca@philorch.org.
List complete as of February 17, 2026
TRANSFORMATIONAL GIFTS
The Annenberg Foundation
Silicon Valley Community Foundation
$10,000,000
Leslie A. Miller and Richard B. Worley
The Neubauer Family Foundation
$1,000,000 TO $9,999,999
The Acadia Fund
Peter A. Benoliel* and Willo Carey
Mr.* and Mrs.* J. Mahlon Buck, Jr.
Estate of Anne M. Buxton
Elaine Woo Camarda and A. Morris Williams, Jr.
Sarah and Frank* Coulson
Mark S. and Tobey Dichter
Dr. James F. Dougherty
Estate of Dwight V. Dowley
Samuel S. Fels Fund
Joseph and Marie Field
Linda and David Glickstein
Carole and Emilio* Gravagno
Joanne T. Greenspun*
Otto Haas Charitable Trust
Phoebe W. Haas Charitable Trust “A” as recommended by Carole Haas Gravagno
Phoebe W. Haas Charitable Trust “B”
Robert Heim and Eileen Kennedy
Hannah L. and J. Welles* Henderson
Mr. Paul M.* and Mrs. Barbara B.* Henkels
Hess Foundation
Osagie and Losenge Imasogie
The Kaiserman Family
The James and Agnes Kim Foundation
Dr. Richard M. Klein
Drs. Bong and Mi-Wha* Lee
The Lenfest Foundation
Sandra and David Marshall
Robert E. Mortensen*
Ralph and Beth Johnston Muller
Caroline B. Rogers
Estate of Mary R. Romig-DeYoung
Constance and Joseph* Smukler
Estate of Edwin E. Tuttle
Raymond H.* and Joanne T. Welsh
Constance H. and Sankey Williams
Ruth W.* and A. Morris Williams, Jr.
Richard B. Worley Tribute Fund
Zisman Family Foundation
Anonymous (3)
$500,000 TO $999,999
Lois G. and Julian A. Brodsky Foundation
J. Alexis* and Patricia M.* Burland
T. Norwood* and Doreene* Collins
Evelyn S.* and Rodney D. Day III
Mrs. F. Eugene Dixon, Jr.*
The Horace W. Goldsmith Foundation
Gray Charitable Trust
The Hamilton Family Foundation
Mr. and Mrs. John C. Imbesi
Orton P.* and Noël* Jackson
Billy Joel Fund for Music Education
Peter M. Joseph* and Susan Rittenhouse Joseph*
Christian R. and Mary F. Lindback Foundation
Estate of Katharine S. Matthews
Vivian W. Piasecki*
Lyn and George* Ross
Gary and Ruthanne Schlarbaum
Scott and Cynthia Schumacker
Charlotte and Bob Watts
Anonymous (3)
$250,000 TO $499,999
Mr. and Mrs. James M. Buck III
Peter Buttenwieser* and Terry Marek
Ruth M. and Tristram C.* Colket, Jr.
Michael and Constance Cone
Kenneth Conners*
L. Patrick Gage
Toni and Bob Garrison
Ed and Ellen Hanway
Mrs. Winnifred Howard*
Mr. and Mrs. Berton E. Korman
William A. Loeb*
Mr.* and Mrs. A. Bruce Mainwaring
Winifred Mayes*
Estate of Joseph F. McCrindle
Mrs. J. Maxwell Moran*
Mitchell and Hilarie Morgan
Wendy and Derek Pew Foundation
Robert and Lynne Pollack
Lorraine* and David* Popowich
Mrs. Eleanor K. Read*
Ronald* and Marcia Rubin
Peter and Mari Shaw
Mr. and Mrs. Frank P. Slattery, Jr.
Ann and Harold* Sorgenti
Mr.* and Mrs. Bernard Spain
Mr. and Mrs. Wilson H. Taylor
The Wahl Endowment Fund for Music Education, established by Beth Ann Wahl Kolpen
Donors to the Allison Vulgamore Legacy Endowment Fund
Anonymous (4)
$100,000 TO $249,999
Mr. and Mrs.* Leonard Abramson
Lorraine and Ben* Alexander
Mr. and Mrs. Sid R. Bass
Donna and Jon Boscia
Mr. Theodore A. Burtis*
Donald R. Caldwell
William B.* and Elizabeth* Chamberlin
Catherine R. and Anthony A. Clifton
Marie* and Peter* Dooner
Michael and Joan Emmi
Peter and Catherine Ernster
The Moses Feldman Family Foundation
Dr. Betty Gottlieb*
The Frederick and Colette B. Heldring Charitable Fund
Hirschberg-Goodfriend Fund established by Juliet J. Goodfriend
Lynn and Tony* Hitschler
David and Gale Hoffman
Estate of Howard Hornstein
The Hovey Foundation
Joseph and Ann Jacovini
Estate of Jane Kesson
Joseph K.* and Bernice J. Koplin
Neal W. Krouse
Elena and Frederick Kyle
Joanna M. Lewis
Lomax Family Foundation
Trust of Helen T. Madeira
Joseph and Lynn* Manko
Donors to the Lynn K. Manko Volunteer Endowment Fund
Gene and Linda Massey
The McCausland Foundation
Stephanie and Michael Naidoff
Jeffrey P. Orleans
Estates of Mr. and Mrs. Eugene Ormandy
Francis H. Rasmus
Harold* and Frances* Rosenbluth
Dr. Harry Rosenthal
Frank Joseph Saul and Joseph Donald O’Keefe Endowment
Christa and Calvin Schmidt
Mr.* and Mrs.* John J.F. Sherrerd
Richard and Amanda Smoot
John and Sandra Stouffer
Sunoco
Mr. and Mrs. Leonard Sylk
Robbi and Bruce Toll
Mrs. Joseph B. Townsend*
Mr. and Mrs. Archbold D. van Beuren
James W. and Debora C. Zug
Anonymous (4)
$50,000 TO $99,999
Estate of Phyllis H. Bernstein
Mr. Frank Boni and Mrs. Julia Ann Gehman*
Richard P. Brown, Jr.*
Mr. and Mrs. William C. Buck
Mr. and Mrs. Roland K. Bullard II
John* and Helen* Christy
D. Walter Cohen* and Family
Stacy Maria Dutton
Deborah E. Glass
Mrs. William Gerstley II*
Martin A. and Cynthia P. Heckscher
Richard B. Kent, M.D.
Ken and Molly Lawrence
Doris and Joseph Levine
Mrs. Elsie H. Lisovitch*
The Malmud-Kravitz Foundation/ The Henrietta Varbalow Kravitz Fund
John H. McFadden and Lisa D. Kabnick
Frances C. Middleton*
The Helen Sewall Minton Memorial Fund
Janneke Seton Neilson*
Mr. and Mrs. Jeremiah O’Grady
Louise and Alan* Reed
Mr.* and Mrs. Norman P. Robinson
Dr. and Mrs. Francis Schumann
Carol C. Sherman
Mr. Oliver I. Shoemaker*
The Sidewater Family Foundation
Mr.* and Mrs.* Lewis S. Somers III
Joseph and Joyce Stein— The Philibosian Foundation
Karen and Shel Thompson
James and Wendy Undercofler
Mrs. Francis L. Van Dusen*
Jack and Ramona Vosbikian
Anonymous (2)
$25,000 TO $49,999
The Reba Bacharach Trust
Helen and Jack* Bershad
Stephen Breman
David E. Brinson*
Estate of Harold W. Brown
In memory of Richard P. Brown
Kathleen “Kit” Cafaro
Mr. Joseph L. Castle*
Cordelia E. Clement
Don* and Viki Denny
Charley* and Rogie Dickey
In memory of David P. Eastburn
Mr. David B. Ford
Joanne B. and Arthur Frank
Charles* and Beatriz Furr
The Eugene Garfield Foundation
Peter G. Gould and Robin M. Potter
Mr. and Mrs.* J. Barton Harrison
Joseph Kluger and Susan Lewis
In memory of John B. Leake
William Lake Leonard
Mrs. Anna Hayward Lisle*
Mr. and Mrs. David S. Loeb, Jr.
Dr.* and Mrs.* Francis R. Manlove
Charles and Etta Nissman
R. Steward Rauch*
Mr.* and Mrs. Richard Ravenscroft
Lois and Gerald Renthal
Dr. and Mrs. Yale Richmond
Robert and Caro Rock
The Rubenstein Foundation
Mr.* and Mrs. Samuel J. Savitz
Mr. Nathan Snader*
Mr. and Mrs. Robert L. Stevens
Harue and Gaisi Takeuti Memorial Fund
Bradford Wm. Voigt
Allison Vulgamore
Mary E. Webb
Elizabeth C. Wiegers
Richard C. Woodhams and Kiyoko Takeuti
Anonymous (5)
*Deceased
ACADEMY OF MUSIC
Restoration & Preservation Fund
We gratefully acknowledge the following individuals, foundations, and corporations for their generous support of the Academy of Music Restoration Fund. We extend our gratitude to all supporters of the Academy of Music, including those not listed below and event sponsors.
For more information about making a gift to the Academy Restoration Fund, please contact the Annual Fund office at 215.893.3151 or AcademyofMusic@philorch.org.
Gifts received between between September 1, 2024, and February 17, 2026
PROSCENIUM CIRCLE
$25,000 AND ABOVE
Joanna McNeil Lewis
Pennsylvania Department of Community and Economic Development
Caroline B. Rogers
Mrs. Adele K. Schaeffer
Twenty Fifth Century Foundation
Anonymous
DIRECTORS CIRCLE
$10,000 TO $24,999
Mr. and Mrs. S. Matthews V. Hamilton, Jr.
Mr. and Mrs. Harry Edward Hill III
Mr. and Mrs. Bruce Leto
Ms. Jacqueline Badger Mars
Sandra and David Marshall
PRESIDENTS CIRCLE
$5,000 TO $9,999
Lois and Julian Brodsky
Gay and Donald Kimelman
Robert and Betsy Legnini
The Philadelphia Contributionship
Mr.* and Mrs. Bernard Spain
Penelope and Thomas Watkins
BENEFACTORS AND PATRONS
$1,500 TO $4,999
Barb and Clarke Blynn
Mr. and Mrs. James M. Buck III
Barbara R. Cobb
Ian and Marci Comisky
Penelope P. Harris
Robert and Margo Keith
The McCausland Foundation
Susan and Frank Mechura
John and Tammy Murabito
Mr. and Mrs. Benjamin R. Neilson
Harold A.* and Ann R. Sorgenti
Mr. and Mrs. Archbold D. van Beuren
Janice and Jeff Yass
FRIENDS
$1,000 TO $1,499
Frank and Sandra Baldino
Sibby Brasler
Bob and Cheryl Carfagno
Dr. Joe and Yolanda Costabile
Ryan Fleur and Laura Banchero
Peter G. Gould and Robin M. Potter
Gail Howard
Ms. Rita W. Ingersoll
Mr. and Mrs. Kenneth E. Jones
Maxine de S. Lewis
William A. Loeb*
Ms. Stefanie W. Lucas and Mr. Christopher Thompson
Asuka and Karen Nakahara
Mrs. Bonnie Rocap, in memory of Richard S. Rocap
Catherine A. Worrall
*Deceased
THE FRANCES ANNE WISTER SOCIETY
Individuals who have included The Philadelphia Orchestra in their estate plans are recognized through membership in the Frances Anne Wister Society. Miss Wister made a long-lasting mark on the Orchestra through decades of volunteerism and by leaving a major portion of her estate in support of its continued excellence. We gratefully acknowledge the generosity and foresight of those who have joined the Wister Society, and we welcome others to follow their example and make the Orchestra the beneficiary of a bequest or other form of planned gift.
If you would like more information about how to make a planned gift to the Orchestra, please contact Natalie Sandstrom, philanthropic engagement and legacy giving officer, at 215.790.5867 or nsandstrom@philorch.org.
List complete as of February 17, 2026
Hon. Lynne Abraham
Vijay and Susan Aggarwal
Joseph and Julia Anisko
Mr. and Mrs. Robert S. Balter
Dr. F. Joshua Barnett* and Dr. Heidi Kolberg
Mr. and Mrs. Clifford W. Baumbach, Jr.
Joel D. Beaver
Peter A. Benoliel* and Willo Carey
Ms. Jane Berryman
Jan R. Birsch
Wilson H. Black
Jill and Sheldon Bonovitz
Mrs. Frances Brenner
Beth* and Edward B. Brunswick
Dr. Robert A. Bubeck
Carol W. Buettger
Peter L. Buttenwieser* and Terry A. Marek
Ms. Kathleen Cafaro
Mr. Donald R. Caldwell
Mr. and Mrs. Frank J. Campbell III
Beverly Caplan-Freeman
Lawrence Chanen
William Clemens* and Robert Leis
Mr. and Mrs. Anthony A. Clifton
Dr. Alan R. Cohen
Gianne Conard
Mrs. M. Todd Cooke
Joyce J. Creamer
Ann Csink
Malcolm and Seta Demurjian
Tobey and Mark Dichter
Lisa and Peter DiLullo
Norman E. Donoghue, Esq.
Mrs. Anne Dooley
Dr. James F. Dougherty
MaryAnn Edwards
Dr. David J. Eschelman
Dr. and Mrs. John Farmer
Gilbert Feinberg and Nadeen Van Tuyle
Anne S. Foote
George and Joan Forde
Mr. and Mrs. William W. Fox, Jr.
Joanne B. and Arthur Frank
Mr. Charles* and Mrs. Beatriz Furr
Rosalie K. Gerson
Howard and Norah Goldfine
Dr. Alfred E. and Adele* Goldman
Betty and Gary Grunder
Nancy S. Halpern
Donna K. Hammaker, Esq., and Dr. Thomas M. Knadig
Nimmi Harisinghani
Mr. and Mrs. Henry Hauptfuhrer
Martin A. Heckscher, Esq.
Robert Heim and Eileen Kennedy
Mrs. Rhoda Hershman
Dr. Archibald C. Hewes
Kris and Dick Hughey
Linda R. Jacobs
Jerome Kaplan, Esq.
Dr. Richard B. Kent
Robert E. Keppler
Carolyn Kidder
William E. Kindley
Dr. Richard M. Klein
Mr. and Mrs. Robert C. Kline
Dr. Charles L. Knecht III
Dr. Deborah Komins
Bernice J. Koplin and Joseph K. Koplin*
Ms. Deborah Krauss
Drs. Bong and Mi-Wha* Lee
Dr. Sherman Leis
William L. Leonard, Esq.
Doris and Joseph Levine
Denis Lohman and Ellen Feldman Lohman
Mrs. Robert S. Lovett II
Mr.* and Mrs. A. Bruce Mainwaring
Mr. Donald Malpass, Jr.
Dr. and Mrs. Robert L. Meckelnburg
Carol R. Meister
Mrs. Philippus Miller, Jr.
Arlene Notoro Morgan
Ms. Fran D. Moskovitz
Stephanie and Michael Naidoff
Dr. and Mrs. Samuel K. Nash
Dr. and Mrs. John L. Neigh
Charles and Etta Nissman
Hon. Joseph D. O’Keefe
Mrs. Frank J. O’Malley
Mrs. Peter B. Pakradooni
John N. Park, Jr.
Claudio Pasquinelli and Kyong-Mi Chang
B.J. Phillips and Kath Howarth
Barbara L. Phillips
Robert and Lynne Pollack
Nancy D. Pontone
Roger T. Prichard and Astrid M. Caruso
Janet T. and Frank P.* Reiche
Mr. David Rhody
Dr. and Mrs. Yale Richmond
James. M. Roland
Mr. Edward Rorer
Dr. Harry Rosenthal
Lyn and George* Ross
Mr. and Mrs. Richard L. Rothermel
Harold and Marianne* Sacks
Jeffrey and Kendell Saunders
Catherine and Steve Schifter
Allan Schimmel
Mr. and Mrs. Gary G. Schlarbaum
Dr. and Mrs. William Schwartz
Robert and Joan Shaffer
Mr. Richard J. Shaginaw
Edward and Shelley Sigman
Mr. and Mrs. Richard L. Smoot
Yara Snylyk and Christina Snylyk
Dr. Norman Solomon and Dr. Merwin Geffen
Mr. and Mrs. Harold* A. Sorgenti
Marilyn and Dean R. Staats
Alyce and Howard F. Stick
John and Sandra Stouffer
Dr. Norman L. Sykes
Leonard and Barbara Sylk
Andrew J. Szabo
Peter H. and Elizabeth V. Talbot, in memory of Peter H. Talbot, Jr., and Frank A. Talbot
Dr. Cecilia Segawa Seigle Tannenbaum
Mr. and Mrs. Sheldon L. Thompson
John and Gina Torzolini
Mrs. Herman B. Wagner
Nicholas A. Walls
Ruth W.* and A. Morris Williams, Jr.
Jackie and Earl L. Wolf
Dr. and Mrs. Theodore V. Yuhas
Walter Zanchuk
Benjamin Zuckerman, Esq., and Marian Robinson
Anonymous (10)
*Deceased
MAKE A PLANNED GIFT to The Philadelphia Orchestra
Ensure your legacy, benefit your loved ones, and support The Philadelphia Orchestra—today and for years to come—with a planned gift.
Planned giving can include a variety of deferred donations, such as bequests, IRA rollovers, and charitable gift annuities. Consider including The Philadelphia Orchestra in your estate plans.
To learn more about planned giving, or if you’ve already arranged for a legacy gift, visit philorchlegacy.org or contact:
Helen Escaravage
Managing Director of Philanthropic Engagement hesca@philorch.org 215.893.1819
I included The Philadelphia Orchestra in my estate plans because it is the cultural gem of Philadelphia, and I want to assure that future generations enjoy what I have been privileged to enjoy.”
— Joel Beaver, Wister Society member
Photo:
ADMINISTRATIVE STAFF
The Philadelphia Orchestra and Ensemble Arts
EXECUTIVE OFFICE
Ryan Fleur, President and Chief Executive Officer
Crystal Brewe, Executive Vice President and Chief Operating Officer
Doris Parent, Chief People and Culture Officer
Kristen Chun, Director, International Engagement
Colleen Coffey-Snyder, Manager, Office of the President and Chief Executive Officer
