Mozart's Requiem_Apr 10-12

Inspired by a 1935–36 Orchestra program cover

APRIL 2026

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CONTENTS April 2026

Page 4

From the President and CEO Page 8

Marian Anderson Hall Page 9

Musicians Behind the Scenes Page 10

Witness to History: Joan Stern and a Lifetime of Musical Storiest Page 19

The Program On the Cover: A program book cover (left) from the 1935–36 season that was the inspiration for this month’s cover

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FROM THE PRESIDENT AND CEO

Jeff Fusco

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

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MUSIC AND ARTISTIC DIRECTOR

Landon Nordeman

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.

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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

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Gabriel Polinsky, Associate Principal Tobias Vigneau, Assistant Principal David Fay Duane Rosengard Nathaniel West Michael Franz Christian Gray

Samuel Caviezel, Associate Principal Sarah and Frank Coulson Chair Socrates Villegas Paul R. Demers, Bass Clarinet Peter M. Joseph and Susan Rittenhouse Joseph Chair

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

Bassoons Daniel Matsukawa, Principal Richard M. Klein Chair Mark Gigliotti, Co-Principal Angela Anderson Smith Holly Blake, Contrabassoon

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

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

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

Percussion Christopher Deviney, Principal Charlie Rosmarin, Associate Principal Angela Zator Nelson

Trumpets (position vacant) Principal Marguerite and Gerry Lenfest Chair Anthony Prisk Sam Huss

Librarians Nicole Jordan, Principal Holly Matthews

Trombones Nitzan Haroz, Principal Neubauer Family Foundation Chair

Keyboards Davyd Booth Harp Elizabeth Hainen, Principal

Stage Personnel Dennis Moore, Jr., Manager Francis “Chip” O’Shea III Aaron Wilson *On leave

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Adrian Siegel Collection/Philadelphia Orchestra Archives

MARIAN ANDERSON HALL

Marian Anderson with Music Director Eugene Ormandy during a Philadelphia Orchestra rehearsal at the Academy of Music in December 1938

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.

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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.

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Narrator Michael Boudewyns portrays each of the characters in Prokofiev’s Peter and the Wolf on the Orchestra’s Family Concert in October 2022.

Eugene Ormandy during a rehearsal.

WITNESS TO HISTORY: JOAN STERN AND A LIFETIME OF MUSICAL STORIES

Part of a season-long series of oral histories

By Judith Kurnick

Joan Stern

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.

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“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.”

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Jessica Griffin

The Academy of Music in the 1960s with the Amphitheatre at the top.

Former Music Director Leopold Stokowski leading a rehearsal during his return to The Philadelphia Orchestra in 1960.

Photos: Adrian Siegel Collection/Philadelphia Orchestra Archives

Music Director Eugene Ormandy, pianist Sviatoslav Richter, and The Philadelphia Orchestra performing at the Academy of Music in 1960.

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 The Philadelphia Orchestra’s Russian Empire to the United States in 1895, was a cantor. He had been trained at a cantorial academy first commercial recording, in Riga, which was a possession of the Tsar of Russia. My grandparents had a Victrola, the kindNo. you Brahms’s Hungarian Dance 5 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.”

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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.”

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The Robin Hood Dell

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 The Philadelphia Orchestra’s to buy the newspaper—The Bulletin, The Inquirer, and the Daily News. You had cut the coupon firstto commercial recording, Brahms’s Dance 5 out. You’d have to send in your quarters. And the Orchestra played at what was Hungarian then called theNo. Robin Hood Dell. Now, we still have the Dell, but the Orchestra plays at the Mann Center.”

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Chris Lee

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.

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2025–2026 | 126TH SEASON MARIAN ANDERSON HALL

THE PHILADELPHIA ORCHESTRA Friday, April 10, at 2:00 Saturday, April 11, at 8:00 Sunday, April 12, at 2:00 Harry Bicket Conductor Lauren Snouffer Soprano Elizabeth DeShong Mezzo-Soprano David Portillo Tenor Brandon Cedel Bass-Baritone Philadelphia Symphonic Choir Joe Miller Director Mozart Symphony No. 40 in G minor, K. 550 (original version) I. Molto allegro II. Andante III. Menuetto: Allegretto IV. Allegro assai Intermission Mozart/compl. Süssmayr Requiem, K. 626 I. Introitus: Requiem (Soprano and Chorus) II. Kyrie (Chorus) III. Sequentia 1. Dies irae (Chorus) 2. Tuba mirum (Solo Quartet) 3. Rex tremendae (Chorus) 4. Recordare (Solo Quartet) 5. Confutatis (Chorus) 6. Lacrimosa (Chorus) IV. Offertorium 1. Domine Jesu (Solo Quartet and Chorus) 2. Hostias (Chorus) V. Sanctus (Chorus) VI. Benedictus (Solo Quartet and Chorus) VII. Agnus Dei (Chorus) VIII. Communio: Lux aeterna (Soprano and Chorus) This program runs approximately 2 hours.

The April 10 concert is sponsored by Constance and Michael Cone in memory of Antoinette DuBiel.

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.

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Jeff Fusco

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 20

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.

Richard Haughton

CONDUCTOR Harry Bicket makes his Philadelphia Orchestra debut with these performances. Internationally renowned as an opera and concert conductor of distinction, he is especially noted for his interpretations of Baroque and Classical repertoire. Since 2007 he has been artistic director of the English Concert, one of the world’s finest period instrument orchestras, with which he recently embarked on a project to film all of Handel’s repertoire to create an online resource for all. Their everpopular annual Handel opera tours regularly fill venues in Asia and the United States including Carnegie Hall.

Mr. Bicket is also music director of Santa Fe Opera where his productions have included Mozart’s Don Giovanni, The Marriage of Figaro, La finta giardiniera, and Così fan tutte; Monteverdi’s L’Orfeo; Handel’s Alcina; Bizet’s Carmen; Britten’s A Midsummer Night’s Dream; Beethoven’s Fidelio; Gounod’s Romeo and Juliet; Bernstein’s Candide; and Debussy’s Pelleas and Melisande. He returns this year for Handel’s Rodelinda and Mozart’s The Magic Flute. Elsewhere in the United States, Mr. Bicket is a frequent visitor to the Metropolitan Opera, and last season he returned to the Canadian Opera Company for The Marriage of Figaro. On the orchestral platform, he is a regular guest with the Chicago Symphony, with which he has collaborated in special projects with the Joffrey Ballet in repertoire ranging from Bach to Prokofiev, Milhaud, and Pärt. This season he also returns to the San Francisco Symphony. In Europe, last season he returned to the Opéra National de Paris for Handel’s Julius Caesar following his debut with the company in 2023 with Handel’s Ariodante in Robert Carsen’s new production. In 2025 he made his debut at Zurich Opera in Jetske Mijnssen’s new production of Handel’s Agrippina. At the Bavarian State Opera he has conducted Handel’s Rinaldo, Ariodante, Serse, and Orlando; Gluck’s Orfeo and Eurydice; Rossini’s The Barber of Seville; and Mozart’s The Abduction from the Seraglio and The Magic Flute. He has appeared regularly in all the United Kingdom opera houses, and his Handel’s Theodora at the Royal Opera House in 2022 was nominated for an Olivier Award for best new production. In the 2024–25 season he returned to Opera North for Purcell’s Masque of Might, devised and directed by David Pountney.

Born in Liverpool, Mr. Bicket studied at the Royal College of Music and Oxford University, where he was organ scholar at Christ Church. He was appointed an honorary member of the Royal Academy of Music in 2018 and officer of the Most Excellent Order of the British Empire in the 2022 Queen’s Birthday Honors for services to music.

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Anja Schutz

SOLOIST American soprano Lauren Snouffer makes her Philadelphia Orchestra debut with these performances. Recognized for her unique artistic curiosity in world-class performances spanning the music of Monteverdi and Handel to Missy Mazzoli and George Benjamin, she is celebrated as one of the most versatile and respected sopranos on the international stage. She made her Metropolitan Opera debut this season as Sarah Kavalier in the premiere of Mason Bates’s The Amazing Adventures of Kavalier and Clay, an exhilarating new adaptation of Michael Chabon’s Pulitzer Prize–winning novel; her debut also marked her first collaborations with Music Director Yannick Nézet-Séguin and stage director Bartlett Sher. In addition she makes her role debut as Stella Kowalski at Opera Theatre of Saint Louis in a new production of Previn’s A Streetcar Named Desire. Symphonic highlights of the season include the world premiere of Angélica Negrón’s For everything you keep losing with Fabio Luisi and the Dallas Symphony; Hans Abrahamsen’s Let me tell you with the Finnish Radio Symphony led by Nicholas Collon and the Minnesota Orchestra conducted

by Thomas Søndergård; Mozart’s Exsultate, jubilate and Mahler’s Fourth Symphony with the Fort Worth Symphony; and Handel’s Messiah with Cristian Măcelaru and the Cincinnati Symphony, Jonathan Cohen and the Handel & Haydn Society, and Michael Francis and the Toronto Symphony.

Last season Ms. Snouffer made three high-profile role debuts: the title role in Debussy’s Pelleas and Melisande in a new production at Dallas Opera; Bess McNeil in Ms. Mazzoli’s adaptation of Lars von Trier’s acclaimed feature film Breaking the Waves at Houston Grand Opera; and the title role in Handel’s Semele at Atlanta Opera. Concert performances included debuts at the Salzburg Mozart Week in a program of works by Haydn and Mozart conducted by Roberto González-Monjas and with the Bilbao Symphony and conductor Elena Schwarz in performances of Let me tell you paired with Mahler’s Fourth Symphony.

An eminent interpreter of contemporary music, Ms. Snouffer created the role of Justine in the world premiere of Mikael Karlsson’s Melancholia at the Royal Swedish Opera and the title role in Stefan Wirth’s Girl with a Pearl Earring at Zurich Opera. Closely associated with Mr. Benjamin’s Written on Skin, she has performed the work under the composer’s baton at the Tanglewood Festival, with the Finnish Radio Symphony, and in staged productions at the Théâtre du Capitole de Toulouse and Opera Philadelphia.

Ms. Snouffer is a GRAMMY-nominated artist whose recordings include Hasse’s Siroe and Handel’s Ottone with George Petrou for Decca, Gottschalk’s Requiem for the Living with Vladimir Lande on Navona Records, Donald Grantham’s La cancíon desesperada with Craig Hella Johnson on Harmonia Mundi, and Feldman’s Rothko Chapel with Steven Schick for ECM. An alumna of the Houston Grand Opera Studio, she is a graduate of Rice University and the Juilliard School.

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Dario Acosta

SOLOIST Mezzo-soprano Elizabeth DeShong is lauded equally for her musicianship and her commanding stage presence. She has established herself as a regular on concert and operatic stages worldwide, performing extensively with such companies as the Metropolitan Opera, San Francisco Opera, Paris Opera, the Lyric Opera of Chicago, Los Angeles Opera, the Canadian Opera Company, English National Opera, the Vienna State Opera, the Royal Opera and Ballet, the Stuttgart State Opera, Zurich Opera, the Opéra National de Bordeaux, and Santa Fe Opera, as well as the Glyndebourne and Aix-en-Provence festivals. On the concert stage she has appeared with the Cleveland, Royal Flemish, and Royal Scottish National orchestras; the Chicago, Baltimore, Pittsburgh, Dallas, Cincinnati, National, Toronto, Oregon, and Houston symphonies; the Orchestra of St. Luke’s; the English Concert; and the Orchestra dell’Accademia Nazionale di Santa Cecilia. She made her Philadelphia Orchestra debut in 2019.

Ms. DeShong’s repertoire includes roles in works by Handel (Bradamante and Sesto in Alcina, Juno and Ino in Semele); Verdi (Ulrica in A Masked Ball, Azucena in Il trovatore); Wagner (Fricka in Das Rheingold); Rossini (Calbo in Maometto II, Arsace in Semiramide, Angelina in La Cenerentola, and Rosina in The Barber of Seville); Puccini (Suzuki in Madame Butterfly); Mercadante (Odoardo Douglas in Il proscritto); Tchaikovsky (Polina in Queen of Spades); Bellini (Adalgisa in Norma); Mozart (Sesto in La clemenza di Tito); Humperdinck (Hansel in Hansel and Gretel); and Britten (Hermia in A Midsummer Night’s Dream).

Ms. DeShong was the recipient of the Washington National Opera’s “Artist of the Year” award in 2010 for her performance as the Composer in Strauss’s Ariadne auf Naxos. On DVD she can be seen as Suzuki in the Royal Opera’s production of Madame Butterfly (Opus Arte); Hermia in the Metropolitan Opera’s pastiche opera The Enchanted Island (Virgin); Suzuki in the Glyndebourne Opera production of Madame Butterfly (Opus Arte); and Maffio Orsini in San Francisco Opera’s production of Donizetti’s Lucrezia Borgia (EuroArts Music and Naxos of America). Her recording of Handel’s Messiah with the Toronto Symphony under the direction of Andrew Davis was released by Chandos and nominated for two GRAMMY Awards in 2018. Recent recordings include Handel’s Alcina with Marc Minkowski and Les Musiciens du Louvre (Pentatone) and Meyerbeer’s Le prophète live from the Aix-en-Provence Festival with Mark Elder and the London Symphony (LSO label).

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SOLOIST Winner of the 2024 Sphinx Medal of Excellence by the Sphinx Organization, American tenor David Portillo has established himself as a leading classical singer of his generation. In addition to these current performances, in which he makes his Philadelphia Orchestra debut, highlights of his 2025–26 season include Jupiter in Handel’s Semele in a new production at Dutch National Opera by Claus Guth, conducted by Emmanuelle Haïm; Frederic in Sullivan’s The Pirates of Penzance with Seattle Opera; the title role in Mozart’s Idomeneo with Boston Baroque; Orff ’s Carmina burana with the Lyric Opera of Chicago; and Mozart’s Requiem with Manfred Honeck and the San Francisco Symphony. He also performs in a series of recitals with the Sag Harbor Song Festival on Long Island, New York, and tour with Harry Bicket and the English Concert as Hyllus in Handel’s Hercules.

In the 2024–25 season, Mr. Portillo sang Tamino in Mozart’s The Magic Flute at the Metropolitan Opera; La Natura, Pane, and Furia in Cavalli’s La Calisto at the Aix-enProvence Festival; Dr. Richardson in Missy Mazzoli’s Breaking the Waves at Houston Grand Opera; Lysander in Britten’s A Midsummer Night’s Dream at the Seiji Ozawa Matsumoto Festival; Benedict in Berlioz’s Beatrice and Benedict with Irish National Opera; Bajazet in Handel’s Tamerlano with Haymarket Opera in Chicago; and, in concert, Beethoven’s Symphony No. 9 with the San Antonio Symphony and Septimius in Handel’s Theodora with Jane Glover and Music of the Baroque. Past seasons on the opera stage include the Metropolitan Opera (Tamino, Steuermann in Wagner’s The Flying Dutchman, Count Almaviva in Mozart’s The Marriage of Figaro, Eduardo in Thomas Adès’s The Exterminating Angel, Camille de Rosillon in Lehár’s The Merry Widow, Chevalier de la Force in Poulenc’s Dialogues of the Carmelites, Jacquino in Beethoven’s Fidelio); Lyric Opera of Chicago (David in Wagner’s Die Meistersinger von Nürnberg, Arbace in Idomeneo, Trin in Puccini’s The Girl of the Golden West, Andres in Berg’s Wozzeck); Houston Grand Opera (Tamino, Count Almaviva); Dallas Opera (Ferrando in Mozart’s Così fan tutte, Don Ottavio in Mozart’s Don Giovanni); Opera Australia (Ferrando); Washington National Opera (Tamino, Don Ramiro in Rossini’s La Cenerentola); Santa Fe Opera (Don Ottavio, Italian Singer in Strauss’s Der Rosenkavalier, Jonathan Harker in John Corigliano’s The Lord of Cries); the Glyndebourne Festival (Tamino, David); Opera Theatre of St. Louis (Don Ottavio, Ferrando); and Opera Philadelphia (Don Ottavio, Dr. Richardson in Breaking the Waves).

An accomplished recitalist, Mr. Portillo has collaborated with pianist Craig Terry for appearances with Vocal Arts DC, the Harris Theater in Chicago, and the Cleveland Art Song Festival. An alumnus of the Ryan Opera Center at Lyric Opera of Chicago, the Merola Opera Program at San Francisco Opera, and Wolf Trap Opera in Vienna, Virginia, he grew up in San Antonio, Texas, and resides in Zurich, Switzerland.

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SOLOIST American bass-baritone Brandon Cedel made his Philadelphia Orchestra debut in 2012 as the Old Servant in Strauss’s Elektra. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, he was an ensemble member of Frankfurt Opera from 2016 to 2019.

In addition to these current performances, highlights of his 2025–26 season include Masetto in Mozart’s Don Giovanni at the Metropolitan Opera, the title role in Mozart’s The Marriage of Figaro for Atlanta Opera, Father Palmer in Kevin Puts’s Silent Night in his debut for Houston Grand Opera, Bach’s Cantata No. 82 and Haydn’s Lord Nelson Mass with Bach in Baltimore, and Mozart’s Requiem with the New York Choral Society in a new version completed by Gregory Spears.

Mr. Cedel’s recent appearances include Dulcamara in Donizetti’s The Elixir of Love in his debut for English National Opera; Garibaldo in Handel’s Rodelinda in his debut for Garsington Opera and on tour with the English Concert; the title role in The Marriage of Figaro, Bottom in Britten’s A Midsummer Night’s Dream, Leporello in Don Giovanni, and Argante in Handel’s Rinaldo for the Glyndebourne Festival; the title role in Handel’s Hercules for the Karlsruhe Handel Festival and the Komische Oper Berlin; the title role in Don Giovanni for Atlanta Opera; Dan Brown in the world premiere of Kevin Puts’s The Hours with The Philadelphia Orchestra and Yannick Nézet-Séguin and subsequently at the Metropolitan Opera; Leporello with the Chicago Symphony at the Ravinia Festival; Masetto in Don Giovanni for the Lyric Opera of Chicago; Collatinus in Britten’s The Rape of Lucretia and Magnifico in Rossini’s La Cenerentola for Boston Lyric Opera; the title role in The Marriage of Figaro for Opera Philadelphia and the Stuttgart Staatsoper; Golaud in Debussy’s Pelleas and Melisande for Des Moines Metro Opera; the Porter and Policeman in Shostakovich’s Lady Macbeth of the Mtsensk District with the Boston Symphony; and Colline in Puccini’s La bohème and Basilio in Rossini’s The Barber of Seville for the Canadian Opera Company.

Mr. Cedel’s many roles for Frankfurt Opera include Masetto in Don Giovanni, Sprecher in Mozart’s The Magic Flute; Lieutenant Ratcliffe in Britten’s Billy Budd, Argante in Rinaldo, Ariodate in Handel’s Serse, Angelotti in Puccini’s Tosca, Brander in Berlioz’s The Damnation of Faust, and Achior in Mozart’s La Betulia liberata.

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Choir Jeff Fusco

The Philadelphia Symphonic Choir made its debut in December 2016, performing in three programs with The Philadelphia Orchestra that season. Consisting of talented vocalists auditioned from around the country, the ensemble was created to marry gifted and unique voices of Philadelphia and beyond with the legendary “Philadelphia Sound.”

Performance highlights with the Orchestra include the world premiere of the concert version of Kevin Puts’s opera The Hours and Beethoven’s Missa solemnis in Philadelphia and at Carnegie Hall. The ensemble has also sung in performances of Haydn’s The Seasons, Puccini’s Tosca, Bernstein’s Symphony No. 3 (“Kaddish”), Rossini’s Stabat Mater, Bruckner’s “Christus factus est” and Te Deum, Brahms’s A German Requiem, and Mozart’s Requiem, as well as holiday performances of Menotti’s Amahl and the Night Visitors and multiple season performances of Handel’s Messiah.

The Philadelphia Symphonic Choir is directed by Joe Miller, professor of conducting and director of choral studies at the University of Cincinnati College-Conservatory of Music (CCM). He has served as artistic director of choral activities for the Spoleto Festival USA in Charleston, South Carolina, a role he concluded in June 2025 after a 19-year tenure. This year marks his inaugural season as music director of the Vocal Arts Ensemble of Cincinnati.

He has served as conductor of the Philadelphia Symphonic Choir since 2016 and made his conducting debut with The Philadelphia Orchestra in 2021 leading Messiah. In addition to these current performances, featured concerts with the Philadelphia Symphonic Choir in the 2025–26 season include Handel’s Messiah this past December and Mahler’s Symphony No. 2 in March, both under the baton of Yannick Nézet-Séguin..

In the 2024–25 season, the Philadelphia Symphonic Choir joined The Philadelphia Orchestra for performances of Handel’s Messiah, Mahler’s Symphony No. 3, Beethoven’s Symphony No. 9, and Wagner’s Tristan and Isolde with Yannick Nézet-Séguin; Verdi’s Requiem with Riccardo Muti; and Holst’s The Planets with Daniele Rustioni. The 2023–24 season marked the premiere of the film Maestro, a collaboration with Bradley Cooper and Netflix featuring the Philadelphia Symphonic Choir and the music of Leonard Bernstein.

The movie received a Best Picture nomination for the Academy Awards. Music from the film has been released on Deutsche Grammophon. The American Guild of Musical Artists, AFL-CIO, the union of professional singers, dancers, and production personnel in opera, ballet, and concert, represents the choral artists in these performances.

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Philadelphia Symphonic Choir Joe Miller Director Sopranos Hayley Abramowitz Katharine Burns Lily Carmichael Lauren Cohen Maria Palombo Costa Marisa Curcio Emily Tiberi Pei Ying Wang

Tenors Brendan Barker Nathaniel Bear Joshua John Tom Leighton Joshua Lisner Kev Schneider Steven Soph Tyler Tejada

Altos Serafina Belletini Christine Browne-Munz Marissa Chalker Alyson Harvey Katherine Doe Morse Lindsey Polcyn Cecelia Snow Lisa Stein

Basses Steven Berlanga Maxwell Brey Sam Duffey Matthew Marinelli Erik Potteiger Sam Scheibe Sergey Tkachenko Kirby Traylor

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FRAMING THE PROGRAM PARALLEL EVENTS This all-Mozart program includes the composer’s next1788 Mozart Symphony No. 40

Music Boccherini Sinfonia in C minor Literature Goethe Egmont Art Goya Manuel Osorio Manrique de Zuñiga History Bread riots in France

1791 Mozart Requiem

Music Cherubini Overture to Lodoïska Literature Paine The Rights of Man, Part I Art Morland The Stable History Vermont becomes a state

to-last symphony and his magnificent Requiem, the unfinished masterpiece he was writing when he died in December 1791 at age 35.

Mozart composed his final three symphonies in the space of just six weeks during the summer of 1788. Although they were not consciously valedictory—he lived for more than three more years—they mark the summit of his symphonic achievement. Mozart wrote just two symphonies in a minor key, both in G minor: No. 25 (K. 183) from 1773 and the great No. 40 (K. 550), which opens the concert today.

It is hardly surprising that many legends surround Mozart’s final composition: the unfinished Requiem. The idea of a dying young genius composing what turned out to be his own musical memorial has long captivated audiences, who immediately sensed the unusually personal nature of the music.

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. 28 26B

Enjoy happy hour specials and pre-concert fun, one-hour performances, and chats with the stars.

THIS SEASON: Best Classical Outing

Alpine Adventure Thursday, October 9

Italian Getaway

Thursday, January 15

Postcards from Spain Thursday, May 14

Photo: Margo Reed

philorch.org/after5 29

THE MUSIC Symphony No. 40 Wolfgang Amadè Mozart Born in Salzburg, January 27, 1756 Died in Vienna, December 5, 1791

Mozart is understandably regarded as the supreme prodigy in the history of the arts. As the son of Leopold Mozart, a prominent musician in Salzburg, his exposure to music no doubt began in the womb. (Mozart therefore himself experienced the so-called “Mozart Effect” that some psychologists today suggest is so beneficial for newborns.) By age three he was playing keyboard, at first easy melodies that his father had compiled for his seven-year-old sister, Nannerl.

Two years later he was composing his own pieces. Some of Mozart’s earliest works no doubt received quite a bit of help from his father, himself a respected composer. Nannerl, who was a phenomenon in her own right but whose talents Leopold exploited while not nurturing them as he did Wolfgang’s, later remembered that while on tour in London their father fell seriously ill and that her brother passed the time by composing his first symphony. He was eight at the time.

Mozart’s gifts astounded the crowned heads and the elite of Europe. Some doubted that such memory and facility were possible in one so young and devised elaborate tests to determine whether he was the real thing. The Royal Society in London published the findings of a study conducted on the nine-year-old boy and confirmed music historian Charles Burney’s conclusion that his talents were “almost supernatural.”

A Prodigy Matures And yet, truth be told, we rarely hear much of Mozart’s early music.

The mania for completeness has led record companies to release everything—there are a number of wonderful sets, for example, of his complete symphonies—but it is the mature Mozart that is usually performed. The teenage works of Felix Mendelssohn, one of the other legendary prodigies, and of Franz Schubert, enjoy a much more secure place in the standard repertory. Rightly so—Mendelssohn’s Overture to A Midsummer’s Night Dream and Schubert’s song “Erlkönig” are more fully seasoned statements than most of Mozart’s efforts at ages 17 and 18.

The first complete publication of Mozart’s symphonies in the late 19th century included 41 of them, although some were not in fact by Mozart (No. 37, except for a short introductory passage to the first movement, was actually written by Michael Haydn, younger brother of Joseph), and some authentic ones were omitted entirely. The number of completed symphonies exceeds 50 if we include ones that Mozart adapted from other works. In any case, the majority of them are early works, written before age 17, that were largely unknown 30 26D

until revived on CDs. The symphony was evolving as a genre, from light entertainment connected with theatrical and social events, to more serious works intended for formal public concerts. Although there are wonderful moments—miracles in fact—in the first two dozen or so, many critics feel that Mozart achieved real greatness in the genre with No. 29 in A major, K. 201. And yet for all his orchestral accomplishments from then on, Mozart was never as comfortable with the symphony as was his friend Joseph Haydn, who wrote more than 100 and is acknowledged as the “father of the symphony.” Mozart tended to make his greatest strides in his operas and concertos.

Three Miraculous Symphonies Mozart usually composed with knowledge of a planned performance of a new piece. He had to, as much of his income came from commissions, concert fees, and publisher’s receipts. Three of the late symphonies are connected with specific places (the “Linz” and the “Prague”) or people (the “Haffner”) that led to their creation. During the summer of 1788, at the peak of his creative powers, Mozart composed his last three. In the carefully written catalogue that he kept of his works, he entered the date June 26 for the Symphony in E-flat, K. 543; July 25 for the G minor we hear today; and August 10 for the final C major, K. 551, later named “Jupiter” by the English impresario Johann Peter Salomon. Although we are not certain about the first performances of these works, the sentimental notion that Mozart never heard any of them is extremely unlikely.

Indeed, he may have presented them on his concert tours abroad in 1789 and 1790. Antonio Salieri, the famous Kapellmeister who most famously did not murder Mozart, may as well have performed one of them on a charity concert given by the Society of Musicians in Vienna in 1791.

Although the final “Jupiter” may seem particularly valedictory—a statement of what can be done not only in the genre of the symphony, but what is possible to achieve in the most advanced art of music—there is no indication that Mozart consciously viewed this trio of symphonies as a final statement. He was to live for over three more years, and many masterpieces were yet to come in other areas.

A Closer Look For 19th-century critics, the G-minor Symphony represented one of Mozart’s most passionate statements. True, he wrote only one other minor-key symphony, K. 183 from 1773, also in G minor, a tonality that elicited some of his most profound music.

Listeners today may be more struck by the Classical proportions and intensity of the work than by tragic and dark feelings.

The opening of the first movement (Molto allegro) is extraordinary: An innocuous accompaniment softly chugs away in the violas before the theme proper enters. This is really just filler, the opening of a purely sonic space with absolutely no musical interest.

Then the theme enters, stated by the violins, and it is exemplary of the Classical style in music. The exquisite balance of antecedent and consequent phrases, not so much question and answer, as perfectly aligned pillars supporting a Greek temple, is stated without any distraction. Robert Schumann famously praised the “Hellenic hovering grace” of this Symphony. In contrast to the complex textures of the earlier Baroque era, the Classical style is characterized by such symmetrically balanced melodies against 31 27

simple accompanimental textures. The movement proceeds according to the design of sonata form, with the second theme in the relative major and a repeat of the exposition.

The development is brief, but a tour-de-force nonetheless. Feverish modulations make the music unstable, while the theme itself, with those beautiful, long, perfectly balanced phrases, is gradually fragmented by cutting off the end so that ultimately all that remains are the first three notes.

The Andante is a lyrical meditation, also in sonata form, that continues some of the serious and intense mood of the first movement. The Menuetto presents an undanceable dance, with accents on the upbeats and many syncopations. The middle Trio section turns to the major, before the repeat of the opening. The finale, marked Allegro assai, is another sonata form, bursting with brilliant energy, bold modulations, and fugal counterpoint.

—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.

Mozart composed his Symphony No. 40 in 1788.

Fritz Scheel conducted the first Philadelphia Orchestra performances of the Symphony in February 1902. The work last appeared on subscription concerts in October 2019, with Yannick Nézet-Séguin on the podium.

The Orchestra recorded the Symphony No. 40 in its entirety once, in 1956 with Eugene Ormandy for CBS. The third movement alone was recorded by Leopold Stokowski for RCA in 1919.

The score calls for flute, two oboes, two bassoons, two horns, and strings.

Performance time is approximately 35 minutes.

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THE MUSIC Requiem Wolfgang Amadè Mozart

“Grant Them Eternal Rest.” The solemn words that open the Mass for the Dead plead for everlasting peace, but as the 35-year-old Mozart composed his miraculous Requiem in the fall of 1791 he experienced no such comfort. A relentless work schedule, declining health, and dark moods clouded much of the last months of his life.

When Mozart received a mysterious request to compose a Requiem during the summer, two ambitious operas were in the offing. He was already working on The Magic Flute, which he had to interrupt when he got a prestigious commission to write a serious opera, La clemenza di Tito (The Clemency of Titus), for the coronation of Leopold II as King of Bohemia. Mozart composed that work feverishly in August, travelling to Prague at the end of the month to conduct the premiere on September 6. He then returned to Vienna to finish The Magic Flute, writing two additional numbers just before conducting its triumphant premiere on September 30. Within weeks he composed his great Clarinet Concerto and a small cantata to celebrate the opening of a temple of his Masonic lodge, New Crowned Hope (Zur Neugekrönten Hoffnung).

Mozart’s Final Project At some point in September Mozart began serious work on the Requiem, but legend has it (and more about other legends later) that when his wife, Constanze, returned from a rest cure at a spa in Baden she was distressed to see how exhausted he was and how obsessed he had become in particular with the Requiem, which she allegedly took away from him. Mozart nonetheless returned to its composition somewhat later and worked on the piece until his death on December 5.

The well-known movie Amadeus fictitiously has Mozart on his deathbed dictating the Requiem to his rival Antonio Salieri, who was long rumored to have poisoned him.

Although there was no such final meeting between the two composers (or any murder), Mozart did reportedly gather Constanze and some colleagues around him to sing through parts of the Requiem and instructed his student Franz Xaver Süssmayr on how to finish the piece. The haunting opening of the Requiem, the only part completed by Mozart, may have been performed at his funeral a week later.

Constanze enlisted a series of Mozart’s students to finish the Requiem; she asked Joseph Eybler, who did only minimal work, as did two others who orchestrated some incomplete 29

sections. Most of the task of completion fell to the 25-year-old Süssmayr, thus earning him some limited fame as well as some infamy. Over the course of the 19th century Mozart’s Requiem became the most famous musical setting of the Mass for the Dead, and was sung at memorial services for Haydn, Beethoven, Weber, Chopin, and other celebrated musicians, as well as at funerals of public figures such as Napoleon.

A Legendary Work It is hardly surprising that many legends surround the work. The idea of someone of Mozart’s gifts, just age 35, writing what he apparently came to believe was his own musical memorial was immediately appealing to contemporaries and even more so to later Romantics. Soon after Mozart’s death a newspaper in his hometown of Salzburg reported that he composed the piece “often with tears in his eyes, constantly saying: I fear that I am writing a Requiem for myself.”

There are numerous uncertainties about the Requiem, most importantly about who actually composed much of the music. The manuscript shows that Mozart completed only the opening Introit, as well as most of the following Kyrie. The next sections to the opening of the Lacrimosa were drafted by Mozart but not finished. For the final sections no authentic materials survive.

The mysteries about the piece begin with the circumstances of its genesis. A legend emerged that a “grey messenger” appeared to Mozart with the anonymous request for him to write a Requiem and that he should not ask who was initiating the commission. In fact it came from one Count Franz von Walsegg, who hired noted composers to write pieces that he would then pass off as his own. (It is not entirely clear that his intent was fraudulent— he seems to have enjoyed having invited audiences guess who the composer actually was.)

In any case, Mozart was given half the handsome fee in advance and although pressed with his opera projects was hardly in the financial position to refuse the lucrative offer.

Mozart had recently received an appointment as assistant music director of St. Stephen’s Cathedral (Vienna’s most prominent), which meant that composing sacred music would henceforth play a larger role in his career. Although he had written a large amount of religious music during his early years in Salzburg, this activity dropped off after moving to Vienna in 1781. His greatest sacred work, the Mass in C minor, K. 427, had remained unfinished, and such, of course, would be the fate of the Requiem as well. The masterly late music for the Requiem encompasses Mozart’s astounding range of styles, beginning with the pleading expressiveness of the Introit even before the first words are sung. The contrapuntal virtuosity of the double fugue in the Kyrie gives evidence of his increasing interest in the music of Bach and Handel. Mozart the keen dramatist is also present—the Magic Flute character of Sarastro may come to mind with the bass solo of the Tuba mirum.

After Süssmayr finished the piece, he wrote out a new score so as to avoid suspicion of its multiple composers; he forged Mozart’s signature and dated the manuscript 1792. The Requiem was then dispatched to Count Walsegg who in turn copied it all out again in his own hand and wrote “Requiem composta del Conte Walsegg” at the top. He conducted the work on December 14, 1793, at a Mass in memory of his wife, who had died two years earlier at age 20.

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A Closer Look After the opening entirely by Mozart, there follow parts for which he provided most of the music but that required fleshing out of the orchestration. For the last movements—the Sanctus, Benedictus, and Agnus Dei, and concluding Communion—there is nothing in Mozart’s autograph manuscript. Süssmayr asserted in a letter written in 1800 that he wrote this music himself (“ganz neu von mir verfertigt”—wholly composed by me).

The claim has aroused considerable debate. In the early 1960s a sheet of Mozart’s sketches for a projected fugal end to the Lacrimosa was found and there has long been speculation that other such sketches were available to Süssmayr, as well as whatever Mozart may have told him while writing the piece.

The general consensus is that the music for the missing parts of the Requiem is at a much higher level than Süssmayr’s other sacred music and therefore must have been based on authentic Mozart materials. Thus when something awkward or less satisfactory appears in the score poor Süssmayr is blamed, putting him in the unenviable situation of getting little credit and a good deal of blame. In any case, the music that opens the Requiem returns for the final Communion, thus ensuring a genuine Mozartean frame to the work.

—Christopher H. Gibbs Mozart composed the Requiem in 1791.

Harl McDonald led the first Philadelphia Orchestra performance of Mozart’s Requiem on March 12, 1938, with soprano Lys Bert, mezzo-soprano Elsie MacFarlane, tenor Fritz Krueger, bass Lester Englander, and Mendelssohn Club. The work has only been performed by the Orchestra a handful of times since then, most recently in April 2024, led by Nathalie Stutzmann with soprano Erin Morley, contralto Sara Mingardo, tenor Kenneth Tarver, bass Harold Wilson, and the Philadelphia Symphonic Choir in the Süssmayr version.

The Philadelphians recorded the Requiem once, in 1938 for RCA with McDonald, soprano Barbara Thorne, MacFarlane, tenor Donald Coker, Englander, and the University of Pennsylvania Choral Society. The Introitus and Kyrie alone were recorded by Eugene Ormandy and the Mormon Tabernacle Choir in 1962 for CBS. The score calls for two basset horns, two bassoons, two trumpets, three trombones, timpani, organ, strings, four vocal soloists, and mixed chorus.

The Requiem runs approximately 50 minutes in performance.

Text and translations begin on the next page.

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I. INTROITUS Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

Te decet hymnus Deus in Sion, et tibi reddetur votum in Jerusalem: Exaudi orationem meam ad te omnis caro veniet.

Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

I. INTROITUS Grant them eternal rest, Lord, and let perpetual light shine upon them.

A hymn is due to Thee, God in Zion, and to Thee a vow shall be paid in Jerusalem: Hear my prayer, to Thee all flesh shall come.

Grant them eternal rest, Lord, and let perpetual light shine upon them.

II. KYRIE Kyrie eleison.

Christe eleison.

Kyrie eleison.

II. KYRIE Lord, have mercy on us.

Christ, have mercy on us.

Lord, have mercy on us.

III. SEQUENTIA 1. Dies irae Dies irae, dies illa, solvet saeclum in favilla: teste David cum Sibylla.

III. SEQUENTIA 1. Dies irae The day of wrath, that day, will dissolve the world in ashes, as David prophesied with the Sibyl.

Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus!

How great a terror there will be when the Judge comes to examine all things with rigor!

2. Tuba mirum Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum.

2. Tuba mirum The trumpet, scattering a wondrous sound through the tombs of every land, will gather all before the throne.

Mors stupebit et natura, cum resurget creatura, judicanti responsura.

Death and nature will stand amazed when creation rises again to answer to the Judge.

Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.

A written book will be brought forth in which all will be contained, from which the world will be judged.

Judex ergo cum sedebit, quidquid latet apparebit: nil inultum remanebit.

Thus when the Judge takes His seat whatever is hidden will be revealed; nothing will remain unavenged.

Quid sum miser tunc dicturus?

Quem patronum rogaturus?

Cum vix justus sit securus.

What shall I say then in my misery?

Whom shall I seek as protector, when a righteous man would scarcely be safe?

3. Rex tremendae Rex tremendae majestatis, qui salvandos salvas gratis, salve me, fons pietatis.

3. Rex tremendae King of dreadful majesty, who freely saves the redeemed, grant me pardon, thou fount of goodness.

4. Recordare Recordare Jesu pie.

Quod sum causa tuae viae: ne me perdas illa die.

4. Recordare Remember, good Jesus, that I am the cause of Thy journey: do not abandon me on that day.

Quaerens me, sedisti lassus: redemisti crucem passus: tantus labor non sit cassus.

Seeking me, Thou didst sit down weary: Thou didst redeem me by enduring the cross: Let not such great pains be in vain.

Juste judex ultionis, donum fac remissionis, ante diem rationis.

Righteous Judge of vengeance, grant me the gift of redemption before the day of reckoning.

Ingemisco, tamquam reus: culpa rubet vultus meus: supplicanti parce Deus.

I groan, like one condemned: My face blushes with guilt: Spare a suppliant, O God.

Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.

Thou who didst absolve Mary and hear the prayer of the thief, to me also Thou hast given hope.

Preces meae non sunt dignae: sed tu bonus fac benigne, ne perenni cremer igne.

My prayers are not worthy: But Thou, O good one, show mercy, lest I burn in the everlasting fire.

Inter oves locum praesta, et ab haedis me sequestra, statuens in parte dextra.

Grant me a place among the sheep, and separate me from the goats, placing me on Thy right hand.

5. Confutatis Confutatis maledictis, flammis acribus addictis.

Voca me cum benedictis.

5. Confutatis When the damned are confounded and consigned to the acrid flames, summon me among the blessed.

Please turn the page quietly.

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Oro supplex et acclinis, cor contritum quasi cinis: gere curam mei finis.

I pray, suppliant and kneeling, my heart contrite as if in ashes: Take care of my ending.

6. Lacrimosa Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus:

6. Lacrimosa That day is one of weeping, on which will rise again from the ashes the guilty man to be judged.

huic ergo parce Deus.

Pie Jesu Domine, dona eis requiem.

Therefore spare him, O God. Merciful Lord Jesus, grant them rest.

Amen.

Amen.

IV. OFFERTORIUM 1. Domine Jesu Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum:

IV. OFFERTORIUM 1. Domine Jesu Lord Jesus Christ, King of Glory, deliver the souls of all the departed faithful from the pains of hell and from the deep abyss.

Deliver them from the lion’s mouth, that hell may not swallow them, and they may not fall into darkness.

sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti, et semini ejus.

But may the standard-bearer Saint Michael lead them into the holy light, which Thou didst promise of old to Abraham and his seed.

2. Hostias Hostias et preces tibi Domine laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam.

Quam olim Abrahae promisisti, et semini ejus.

2. Hostias We offer unto Thee, Lord, sacrifices and prayers of praise: Do Thou receive them on behalf of those souls whom we commemorate this day: Grant them, Lord, to pass from death to life, which Thou didst promise of old to Abraham and his seed.

V. SANCTUS Sanctus, sanctus, sanctus Dominus Deus Sabaoth.

Pleni sunt coeli et terra gloria tua.

Hosanna in excelsis.

V. SANCTUS Holy, holy, holy, Lord God of Sabaoth.

Heaven and earth are full of Thy glory.

Hosanna in the highest.

VI. BENEDICTUS Benedictus qui venit in nomine Domini.

Hosanna in excelsis.

VI. BENEDICTUS Blessed is he who cometh in the name of the Lord.

Hosanna in the highest.

VII. AGNUS DEI Agnus Dei, qui tollis peccata mundi: dona eis requiem.

Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.

VII. AGNUS DEI Lamb of God, who takest away the sins of the world, grant them rest.

Lamb of God, who takest away the sins of the world, grant them eternal rest.

VIII. COMMUNIO Lux aeterna luceat eis, Domine: cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis Domine, et lux perpetua luceat eis.

VIII. COMMUNIO Let eternal light shine upon them, Lord, among Thy saints forever, for Thou art merciful.

Grant them eternal rest, Lord, and let eternal light shine upon them.

Program note © 2026. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association.

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MUSICAL TERMS GENERAL TERMS Aria: An accompanied solo song (often in ternary form), usually in an opera or oratorio Cantata: A multimovement vocal piece consisting of arias, recitatives, ensembles, and choruses and based on a continuous narrative text Coda: A concluding section or passage added in order to confirm the impression of finality Contrapuntal: See counterpoint Counterpoint: The combination of simultaneously sounding musical lines Fugal: Of, relating to, or being in the style of a fugue Fugue: A piece of music in which a short melody is stated by one voice and then imitated by the other voices in succession, reappearing throughout the entire piece in all the voices at different places K.: Abbreviation for Köchel, the chronological list of all the works of Mozart made by Ludwig von Köchel 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 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.

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.

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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.

Syncopation: A shift of rhythmic emphasis off the beat Ternary: A musical form in three sections, A-B-A, in which the middle section is different than the outer sections 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 TEMPO MODIFIERS Assai: Much Molto: Very

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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

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$5,000 TO $9,999 CONT. 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.

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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

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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

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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* 43

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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

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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) 45

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$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)

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

$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

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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

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

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

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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

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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:

“

I included The Philadelphia Orchestra in my estate plans because it is the cultural gem of Philadelphia, and I want to

Helen Escaravage

assure that future generations

Managing Director of

enjoy what I have been

Philanthropic Engagement

privileged to enjoy.”

hesca@philorch.org

— Joel Beaver, Wister Society member

Photo: Pete Checchia

215.893.1819

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ADMINISTRATIVE STAFF The Philadelphia Orchestra and Ensemble Arts EXECUTIVE OFFICE Ryan Fleur, President and Chief Executive Officer

Laura McClatchy, Programming Artist Relations Manager Annika Jorgensen, Coordinator

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 Sophia Konopelsky, Administrative Manager, Governance Christine Lauer, Administrative Coordinator

ARTISTIC PRODUCTION Tanya Derksen, Chief Artistic Production Officer Joanna Scorese, Administrative Manager, Artistic Production and Media Orchestra Production Kimberly Barna, Director Ashley Stonebraker, Director, Orchestra Personnel Michelle Zwi, Director, Orchestra Operations and Touring Joseph Scriva, Manager, Orchestra Personnel Ashley Vogler, Administrative Coordinator, Orchestra Operations and Touring Production Andre Barette, Director King Rogers, Senior Production Manager, Academy of Music Eric Hagenbarth, Production Manager, Miller Theater Eileen Harris, Production Manager, Marian Anderson Hall and Special Projects Chris Nelson, Production Manager, Ancillary Spaces Travis Roberts, Performance Manager Adam Steinbauer, Production Manager, Perelman Theater and Education Alison McLeod, Associate Production Manager Augusta Zuerker, Administrative Assistant Academy of Music Kevin McEntee, Head Props Paul Myers, Head Electrician Beverly Nolan, Head Wardrobe William Ringland, Head Carpenter Greg Canzanese, Flyman Jim McPeak, Assistant Head Carpenter Scott Smith, Assistant Head Electrician Michael Troncone, Assistant Head Utility Steve Weber, Assistant Head Props Kimmel Center Amari Callaway, Head Wardrobe

ARTISTIC PLANNING Jeremy Rothman, Chief Programming Officer Shannon Walsh, Master Scheduler Education and Community Eliza Bailey, Director, Theater and Dance Maya Jacobs, Director, Instrumental Music Joshua Lawrence, Manager, Jazz Education Programs Adrian Rosas, Manager, Orchestral Music Programs Mark Wong, Manager, Theater and Dance Education Programs Nadine Choucri, Coordinator Orchestral Programming Makiko Freeman, Artistic Administrator Andrew Mellor, Audio Producer and Engineer Stephen Alston, Assistant to the Music and Artistic Director and Artist Liaison Christa Bean, Manager, Artist Services Carolyn Hupalowsky, Manager, Artistic Administration Theatrical Programming and Presentations Frances Egler, Vice President Napoleon Gladney, Director Tyler Daddario, Manager Stacey Ferraro, Programming Operations and Events Manager

Christopher Hanes, Head Carpenter Ryan Morris, Head Electrician Kenneth Nash, Head Audio Walter Bass, Assistant Head Audio Walter Brown, Sr., Assistant Head Audio Michael Cobb-Durkin, Assistant Head Electrician Amber Faulhaber, Assistant Head Electrician Kristen Klumpp, Assistant Head Carpenter Miller Theater Bridget Brennan, Head Wardrobe Christine Gaydos, Head Props Jay Madara, Head Electrician Pete Mohan, Head Carpenter Joseph Schramm, Head Audio Dave Cain, Assistant Head Fly Kyle Hanahan, Assistant Head Utility Stephen Hungerford, Assistant Head Carpenter Joey Narducci, Assistant Head Electrician AUDIENCE EXPERIENCE / SERVICES Matt Cooper, Managing Director, Audience Services and Information Technology Lindsay Berckman, Senior Director, Audience Experience Meg Hackney, Director, Ticketing and Audience Services Conner Lucas, Director, Food and Beverage Business Kyleigh Taylor, Associate Director, Audience Services Katie Masterson, Senior Manager, Events Services Joanna Bak, Audience Services Manager Julie Bernard, Manager, Operations Support Jessa Bintliff, Audience Services Manager Delaney Burke, Manager, Guest Services Keith Donaghue, House Manager Rose Farrell, House Manager Emily Grove, Training Manager Korey Jones, Venue Manager, Kimmel Center Thomas J. Kerrigan, House Manager

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Todd Kunze, Venue Manager, Academy of Music and Miller Theater Erin Lunsford, Administrative Manager Catherine Pappas, Subscription Project Manager Devin Randall, Manager, Guest Services Hayden Abrahams, Operations Support Tyshawn Burrell, Operations Support Joshua Goldstein, Operations Support Andrew Hight, Operations Support Zapheir Johnson, Operations Support Chrisla Dor, Priority Services Coordinator, The Philadelphia Orchestra Chris Eklund, Priority Services Coordinator, Ensemble Arts Philly Matthew Enters, Quality Assurance Coordinator Elijah Doss, Group Sales Representative Rob Lawlor, Group Sales Representative Nicola Scicchitano, Lead Audience Services Representative Danielle Woolis, Lead Audience Services Representative Damarise Johnson, Audience Services Representative Andy Svarczkopf, Audience Services Representative Tristan Berrien, Audience Services Associate Alyssa Brownell, Audience Services Associate Alicia Katz, Ticketing Operations Associate Benji Childs, Tickets Operations Coordinator Box Office Dan Ahearn, Jr., Manager Michelle Messa, Assistant Manager Tad Dynakowski, Assistant Treasurer Marie McCarthy, Assistant Treasurer William Qualls, Assistant Treasurer Thomas Sharkey, Assistant Treasurer Mike Walsh, Assistant Treasurer DEVELOPMENT Kobie Smith, Chief Philanthropy Officer Anna Marie Gewirtz, Vice President, Philanthropy Liz Saccardi, Vice President, Philanthropy Rachel Messeck, Director, Development Communications Megan Gow, Administrative Assistant

Annual Fund Anne Henry, Senior Director Jennifer Pratt Johnson, Director April O’Brien, Director Kathleen Moran, Membership Manager Juan Carlos Mata, Development Coordinator Nina Mitchell, Development Coordinator Development Services Andrea Gartner, Managing Director Lisalotte Crampton, Manager Emiline Homan, Manager, Donor Research and Strategy Wesley Hershner, Data and Research Analyst Donor Relations and Stewardship Jennifer Monahan, Director, Event Sales Joseph Sinkus, Director, Donor Relations Samantha Noll, Assistant Director, Development Events and Volunteer Relations Institutional Giving Ruth Auslander, Managing Director Rob Ruzanic, Senior Grants Manager Rachel Holder, Manager Gabrielle Lantieri, Grants Manager Philanthropic Engagement Helen Escaravage, Managing Director Jen Beatty, Senior Officer Neva Kelly, Senior Officer Natalie Sandstrom, Philanthropic Engagement and Legacy Giving Officer Olivia Schultz, Manager FACILITIES James Pecora, Vice President Jennifer Stark, Director, Capital Projects Scott Derkacz, Assistant Director Kevin Quinn, Chief Engineer Derrick Johnson, Lead Maintenance Mechanic Jonathan McCarthy, Maintenance Mechanic Gary Stanford, Maintenance Mechanic Kevin Hamilton, Dockmaster Trondell Hill, Project Manager, Housekeeping Evani Outerbridge, Business Manager, Housekeeping Angela Schiavo, Painter Donna Cloman, Administrative Assistant Brea Kelley, Administrative Assistant

Office Services Kathie Cronk, Senior Manager, Office and Volunteer Services Nahema Rivers, Administrative Services Manager Safety and Security John Gallagher, Director Euronn McCloud-Armstrong, Assistant Director, Security Matthew Lally, Security Manager Henri Byrd, Security Supervisor Mia Lowry, Security Supervisor Anthony Williams, Security Supervisor Roland Carbonetta, Jr., Security Officer Clifford Cook, Security Officer Clarence Cottman, Security Officer Ronal Emile, Security Officer Kenneth L. Gilliard, Security Officer Nakesha Humbert, Security Officer Taebreya Lewis, Security Officer Sara Mahan, Security Officer Mian Mason, Security Officer Gregory Meek, Security Officer Leon Middleton, Security Officer Randall Monte, Security Officer Thomas Pierce, Security Officer Oliver Rigney, Security Officer Timothy Ryan, Security Officer David Sisco, Security Officer FACILITY SALES Carrie Reynolds, Associate Vice President, Hospitality and Audience Experience Shawn Cotugno, Senior Manager Audrey Gildea, Senior Sales Manager FINANCE Mario Mestichelli, Executive Vice President and Chief Financial Officer Ruth Kasow, Vice President and Director Kevin Pearce, Controller Kathleen Curtis, Director, Budget and Planning Ashley Willcox, Senior Accounting Manager Laura DiGiambattista, Accounting Manager Jennifer Walker, Payroll Manager Kristoffer Domingo, Senior Accountant Jonelle Kelly, Senior Accountant, Payroll and Benefits Bridget Morgan, Senior Accountant Jennifer Munster, Senior Accountant Lauren Tighe, Senior Accountant Jessica Kerler, Staff Accountant, Budget Mona Song, Staff Accountant Matthew Demetrides, Accounts Payable Accountant 51

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Jamie Zorrilla-Gray, Staff Accountant/Accounts Payable Julrena Outen, Payroll Coordinator INFORMATION TECHNOLOGY Jamie Shover, Vice President John Callinan, Director, Technology Infrastructure Pari Dasmuth, Director, Business Applications and Project Management Tristian Gay, Director Kenton Grizzle, Senior Network Engineer John Jardel, Senior Network Engineer Mohammed Djaballah, Manager, Business Intelligence Khalil Et Tkhyly, Business Intelligence Developer Mark Macalanda, Quality Assurance/ Testing Analyst Leo Konkel, IT Support Engineer Mpho Reed, IT Support Engineer MARKETING AND COMMUNICATIONS Leslie Patterson-Tyler, Senior Vice President, Community Impact and Civic Engagement Elizabeth Hess, Vice President, Marketing Geoff Cohen, Associate Vice President, Marketing, Philadelphia Orchestra Karina Kacala, Senior Director, Marketing

Ashley Ryan, Senior Director, Marketing, Ensemble Arts Presentations Darrin T. Britting, Director, Publications and Content Development Lauren Hall, Director, Program Public Relations, Ensemble Arts Presentations Victoria McCabe, Director, Marketing, Philadelphia Orchestra Travis Wurges, Video Producer Roberta Gorin-Paracka, Associate Director, Digital Asset Management Carrie Williams, Associate Director, Marketing, Ensemble Arts Presentations Erica Barry, Manager, Marketing, Philadelphia Orchestra Kacy Hofstetter, Manager, Marketing Taylor Martin, Manager, Marketing Manisha Modi-Davis, Manager, Audience Development, Ensemble Arts Presentations Alec Newell, Manager, Audience Development, Philadelphia Orchestra Matthew Nicolosi, Senior Data Analyst Remy Perez, Graphic Design Project Manager Zoe King, Data Analyst Doménica Castro, Marketing Content Associate Alison Hopkins, Marketing Associate Emma Noel, Marketing Associate Erin Witman, Marketing Associate

Rachel Bennett, Graphic Designer Jake Rogan, Coordinator, Communications Digital Marketing Daniel Christiansen, Senior Director, Digital Marketing Strategy and Web Shakerra Grays, Director, Digital Marketing—Web Sarah Biddle, Manager Brooke Grant, Manager, Web Content and UX Manager Rachael Micucci, Marketing Manager, Customer Journey Lindsay Goldschmidt, Digital Marketing Associate PEOPLE AND CULTURE Christopher Shaw, Vice President Jessica Rivera, Senior Director, People and Culture Operations Indonesia Young, Talent Management Specialist Ashley Colston, Coordinator ADMINISTRATIVE OFFICES 300 South Broad Street Philadelphia, PA 19102 Phone: 215.893.1900 www: philorch.org

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SUPPORT ARTS EDUCATION WITH YOUR TAX DOLLARS

Photo: Pete Checchia

Did you know that you can support our arts education programs and receive tax credit for up to 90% of your donation?

Scan to learn more, or visit philorch.org/EITC

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