Musicians' Choice

Inspired by a 2001–02 Orchestra program cover

MAY 2026

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CONTENTS May 2026

Page 4

From the President and CEO Page 8

Marian Anderson Hall Page 9

Exclusive Philadelphia Orchestra Merch Page 10

Renard Edwards and the Joy of Being at Home Page 19

The Program

On the Cover: A program book cover (left) from the 2001–02 season that was the inspiration for this month’s cover

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FROM THE PRESIDENT AND CEO Dear Friends:

Jeff Fusco

As we wind down the celebrations for our own 125th anniversary this season, we are excited and proud to participate in marking significant anniversaries for two beloved partners this summer—the 50th anniversary of the Highmark Mann Center for the Performing Arts and the 60th anniversary of the Saratoga Performing Arts Center (SPAC). The Philadelphia Orchestra was closely involved in the planning of both venues and helped open each of them. In addition, we continue to celebrate America’s 250th birthday this summer with some very special concerts.

We honor the Highmark Mann’s milestone with a commemorative 50th anniversary concert led by Principal Guest Conductor Marin Alsop, which will include some of the repertoire we performed on that very first concert during the nation’s Bicentennial. The Orchestra will also give the world premiere of A Hundred Years On, an oratorio by Peter Boyer and Mark Campbell about the 1876 Centennial Exposition in Fairmount Park, alongside Julia Wolfe’s Liberty Bell, both presented as part of America’s 250th celebrations.

Additional 250th repertoire includes Jennifer Higdon’s Concerto for Orchestra, Terence Blanchard’s Orchestral Suite from Fire Shut Up in My Bones, and John Adams’s The Rock You Stand On—all commissioned and premiered by the Orchestra—performed by the Philadelphians at the Bravo!

Vail Music Festival in July.

Music and Artistic Director Yannick Nézet-Séguin headlines the Orchestra’s residency at SPAC, conducting a celebratory performance of Beethoven’s Ninth Symphony. He also leads that joyous piece at Bravo! Vail and on the opening concert of our own 127th season this September, creating a wonderful connection between our various homes. It is so meaningful having the continuity of spending our summer seasons away from the Kimmel Center in places that feel like home.

The Orchestra will also return to Marian Anderson Hall this summer for two special programs highlighting some of the best classical repertoire: an all-Mozart performance on July 31 and an allBeethoven performance on August 1.

There is still so much activity in our venues throughout the months ahead, including The Outsiders, The Notebook, Bluey’s Big Play, The Wizard of Oz in Concert, and jazz great Herbie Hancock.

Please join us!

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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EXCLUSIVE PHILADELPHIA ORCHESTRA MERCH

Celebrate your love of The Philadelphia Orchestra with exclusive apparel and souvenirs. From stylish T-shirts and cozy hoodies to mugs, totes, hats, and Yannick bobbleheads, the shop is your destination for keepsakes that celebrate the Orchestra’s 125th anniversary. In addition, you can find limited-edition items like Mozart Requiem and Mahler Symphony No. 2 t-shirts or a Mahler Symphony poster.

Shop online anytime (shop.philorch.org) or at our Pop-Up Shop, open during select Orchestra performances at the Kimmel Center—an ideal chance to browse, connect, and take home something unforgettable for you or as the perfect gift.

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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.

RENARD EDWARDS AND THE JOY OF BEING AT HOME Part of a season-long series of oral histories

By Judith Kurnick

Have you ever felt something completely unexpected that you knew in that moment was a kind of destiny? We’re lucky to experience one of these. Yet not one, but several such moments have brought Philadelphia Orchestra violist Renard Edwards to a life he could scarcely have imagined as a young boy. It all happened right here in Philadelphia.

The first occasion occurred when he was in middle school, watching television with his parents in West Philadelphia. “I saw an orchestra,” he recounts, “and a violinist. I had never heard classical music. But the piece was so beautiful, and I wanted to play it. I thought if I could just get a violin, I could do it.”

A few weeks later, after a Philadelphia Orchestra string quintet came to the school, there was an announcement that anyone who wanted to learn to play should come get an instrument. “I was just waiting until the end of the day so I could run to the music room to get a violin,” Edwards continues. “When I got there, the violins were all gone. But they had a viola.

When I opened the case, it looked like a violin, so I said, ‘I’ll take it.’”

After a year with a local teacher, the 13-year-old was told to go to Settlement Music School, Stern in Joan South Philadelphia, where he studied with Philadelphia Orchestra violist Leonard Mogill. One day the chamber music teacher told Mogill that a group of older musicians needed a replacement second violist to play the Scherzo from Mendelssohn’s String Octet. Could young Renard manage the part? Mogill said yes, and Edwards was thrilled to be rehearsing with upperclassmen.

Jessica Griffin

This was Edwards’s second transformative moment. “I got the viola, and the only thing that mattered to me was that I had a short period of time before I was going to graduate high school. And since I had somehow decided that I was going to try to make a career playing this music, I wanted to gain as much experience on the instrument as I could.

Starting on viola helped me, because there was always a need for violists.”

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Renard Edwards

Jessica Griffin

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Jan Regan Will Figg

Edwards (back row, fourth from left) during a welcome ceremony in Shanghai in May 2013 at the start of the Orchestra’s 40th Anniversary Tour of China with other musicians who had been part of the historic 1973 China Tour

Edwards passes on his expertise to the next generation during a side-by-side concert in July 2016 with NYO2, a youth orchestra and sister ensemble to the National Youth Orchestra (NYO).

When he got to school—an hour early—on the morning of the performance, “I realized I had left my music at home,” Edwards recalls. “The principal called me into her office. I told her I could go home and get it. But that meant taking the trolley, and she knew I wouldn’t make it in time. She told me, ‘There are seven people who won’t get to play because of you. I’m afraid you’ll have to leave the school.’”

Without thinking, Edwards made a split-second decision. “I said I could play it from memory. I had never memorized anything, but I just felt as if I could do it. When we went out on the stage, they all had a thin sheet of music, and I brought my etude book. I look back on it and think ‘What chutzpah!’

But I did it, no memory slip.”

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With that incident, Edwards had both surprised and proven himself. His chamber music teacher said, “I’ve changed my opinion of you.” Edwards explains, “Back in the ’50s, seeing a Black kid playing chamber music people thought, ‘That’s nice, but really?’ He later learned that some Black friends who went to Central High School were told, “Orchestras like The Philadelphia Orchestra will never hire you. You should change your major.”

They did. He notes, “I didn’t hear about that until we were all adults, and it shocked me.” At his own Overbrook High School, “while my music teacher wasn’t enthusiastic for me to become a classical musician, he didn’t tell me that. I kept doing the plus/minus percentages,” Edwards says, “weighing the social, economic, artistic reasons to go on. And it seemed like the pluses always won out, so I kept at it, no matter what the minuses.”

After graduation, Edwards had to give his instrument back to the school. To buy one of his own, he had to get a job. He spent a year sweeping up in a TV appliance store, a year of not playing viola. “I didn’t have any guidance,” he recalls.” I just had the will to keep trying.” Fortunately, his brother was able to pitch in with the rest of the funds.

Mogill, Edwards’s teacher, took him to pick out a viola and bow. “I had to learn how to play again.”

Edwards auditioned for Indiana University, which has a very large music department with multiple orchestras. Academic institutions wanted to encourage young Black high school students to continue their studies, and he was offered a full scholarship. “But after I came home, I didn’t hear anything from them,” he remembers. “I thought maybe things had changed.”

And then he encountered another of those transformative moments. A friend told him about the New School of Music and its professional training orchestra. The school was founded by Max Aronoff, the violist of the Curtis String Quartet, and the faculty included the members of the quartet and members of The Philadelphia Orchestra. “When I found out the teachers were the same teachers who taught at Curtis, and it was right here in Philadelphia, I thought ‘I’m a Philadelphian. It would be beneficial for me to stay and be in the music

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atmosphere at home, rather than the campus of a large university. I’d be crazy to go to Indiana.’”

Edwards studied for four years with Aronoff on a full scholarship. He soon put together a string quartet that played concerts in the Delaware Valley and beyond. “I was living the life I’d dreamed of.”

But lightning struck, yet again. Aronoff told Edwards there was a viola opening in The Philadelphia Orchestra and that he should take the audition. Thanks to the Orchestra’s Friday afternoon free ticket program for high school students and his membership in the Columbia Record Club, Edwards was very familiar with the Orchestra’s style and sound. “I just did it. It was music I had heard so many times. After the audition, I packed up my viola and walked the few blocks home from the Academy of Music. Ten minutes later I got a phone call from the Orchestra’s personnel manager, Mason Jones. He said, ‘Why aren’t you here? Come back, you’re in the second round.’ So, I went back and played again.

We were all asked to wait in the Green Room. Mason came out and told me, ‘You’ve been accepted.’ I just blinked and said, ‘You mean in the Orchestra?’ He said, ‘Yes, you are now going to be a member of The Philadelphia Orchestra.’ And … I was home.”

The announcement of Edwards’s hiring spread to newspapers across the United States and as far as Europe. After getting over his initial shock, he remembers being surprised that it was such a big deal.

“It’s like a young tennis player winning his first big tournament and thinking, I just hit forehand and backhand, and I won,” he says. But this was 1970, and Edwards was the first Black member in the Orchestra’s history, one of very few Black musicians in major American orchestras.

Did he face racism? Edwards found the Orchestra members “very kind, on the whole.” There have been small issues from time to time, he notes, but nothing overt. “It’s difficult to have overt negativity and then walk out and play Brahms or Mozart,” he says.

And today, after more than five decades in the Orchestra, Edwards notes, “When I look out and see people who love this music sitting there by the thousands, it’s a vindication of anything that could be negative socially. We play music by composers—men and women of all racial and ethnic backgrounds. It is the Edwards performs at the Marian Anderson Hall rededication ceremony in June 2024 with First Associate Concertmaster Juliette Kang and Assistant Principal Cello Yumi Kendall.

Pete Checchia

The Philadelphia Orchestra’s first commercial recording, Brahms’s Hungarian Dance No. 5

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Philadelphia Orchestra Association Archives

manifestation of the creativity of humanity. We have so many examples of that all over the world.

And we can celebrate it.”

Former Music Director Leopold Stokowski

Edwards is one of the last remaining Orchestra members who went on the historic 1973 Tour of China, the first by an American orchestra (“I remember I was sick there, and the Chinese gave me some kind of potion that tasted like Ovaltine. It seemed to work.”) He is also one of the few members who can say they have played for every music director except the first two. Wait, how is that possible? Ormandy already was music director then and Stokowski, the third music director, did not return after 1969, one year before Edwards became a member.

“My last year in high school, I was rehearsing in the All City Orchestra,” recalls Edwards. “Our music director said that Stokowski was going to show up. Right, we thought. Then a door at the back of the auditorium opened, and who should come down the aisle but the man we all saw shake Mickey Mouse’s hand? We were speechless. We revered this man. We had all seen Fantasia and dreamed of playing that music one day. When he asked for an A [to tune the orchestra], it was the most beautiful A I ever heard. He was a very old man with a wizened look and beautiful hands. He had a presence that seemed to embody the music.”

Over his time in the Orchestra, Edwards has appreciated how each music director kept the beauty of the sound while shaping the music according to their interpretations. Some of his fondest memories are of accompanying great singers, like Leontyne Price, Beverly Sills, George Shirley, and Shirley Verrett. But he singles out one experience during a performance of Bach’s St. Matthew Passion, when the Christ figure sings, “My God, why has Thou created me?” “I was reading a book called The Murder of Christ,” Edwards recalls, “and suddenly I was overwhelmed, crying, and I couldn’t control it. My stand partner, Irving Segall, said, ‘Don’t be embarrassed. That’s what this is all about.’”

“I’ve been moved many times in performances, sitting among the sound of this orchestra,” Edwards muses. “And I’m at home. I’m still at home.”

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 Thursday, May 7, at 7:30 Friday, May 8, at 2:00 Saturday, May 9, at 8:00 Naomi Woo Conductor Joseph Conyers Bass Mozart Overture to Così fan tutte, K. 588 Tan Bass Concerto: Wolf Totem I. Largo malencolia—Allegro II. Andante molto— III. Allegro vivace First Philadelphia Orchestra performances

Intermission Shaw Entr’acte, for string orchestra Bartók Romanian Folk Dances I. Stick Dance II. Sash Dance III. In One Spot IV. Dance from Bucsum V. Romanian Polka VI. Fast Dance VII. Fast Dance Hindemith Symphonic Metamorphosis of Themes by Carl Maria von Weber I. Allegro II. Turandot, Scherzo: Moderato—Lebhaft III. Andantino IV. Marsch This program runs approximately 1 hour, 50 minutes.

These concerts are part of the Ellenberg Philadelphia Orchestra Spotlight Series.

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.

Christa Holka

CONDUCTOR Canadian conductor Naomi Woo is gaining worldwide attention for her spirited dynamism and infectious musicality.

A widely sought-after symphonic and operatic conductor, she is currently in her second season as assistant conductor of The Philadelphia Orchestra. This season, she debuts with the New York and BBC philharmonics, the Royal Northern Sinfonia, and the Royal Ballet and Opera, Covent Garden. She also returns to Montreal’s Orchestre Métropolitain, where she was artistic partner from 2023 to 2025, as well as to the Vancouver Symphony, the Calgary Philharmonic, and the City of London Sinfonia. A renowned advocate for contemporary music, she conducts the world premiere of Oliver Leith’s Garland at Bold Tendencies in London and leads a workshop for Huang Ruo’s upcoming opera The Wedding Banquet at the Metropolitan Opera in New York. In previous seasons, Ms. Woo appeared with the Toronto, Baltimore, and Montreal symphonies; the National Arts Centre Orchestra; London’s Philharmonia; the Orchestra della Svizzera Italiana; the Chamber Orchestra of Luxembourg; and at LSO St. Luke’s in London with Tangram Sound, an ensemble devoted to celebrating the vitality of Chinese cultures and producing new music by transnational Chinese creators.

On the opera stage, Ms. Woo has conducted the Canadian premiere of Du Yun’s Pulitzer Prize–winning Angel’s Bone in Vancouver, Puccini’s Edgar at Opera Holland Park, Rossini’s La Cenerentola with English Touring Opera, and the world premiere of Ellis LudwigLeone’s The Night Falls in New York City. Recognized for her collaborative approach and natural command for storytelling and language, Ms. Woo has conducted more than a dozen operas with students and young professionals in the United States and the United Kingdom, and collaboratively created new, genre-bending operatic works with Sasha Amaya and Catherine Kontz (A Certain Sense of Order), Sophie Seita (Beethoven Was a Lesbian), and Alex Ho/Julia Cheng. Ms. Woo was music director of the National Youth Orchestra of Canada for its 2024 and 2025 seasons and is the former music director of El Sistema Winnipeg. As a pianist, she has led performances from the keyboard with The Philadelphia Orchestra, the Winnipeg Symphony, and others.

Ms. Woo holds a Ph.D. from the University of Cambridge, where she was a Gates Cambridge Scholar. She has also studied mathematics, philosophy, and music at Yale College, the Yale School of Music, and the University of Montreal. The 2022 winner of the Canada Council’s prestigious Virginia Parker Prize, she is a member of Tapestry Opera’s Women in Musical Leadership program and was chosen by her mentor, Philadelphia Orchestra Music and Artistic Director Yannick Nézet-Séguin, as a member of the Orchestre Métropolitain’s inaugural orchestral conducting academy. She acknowledges generous support over the years from the Manitoba Arts Council, Canada Council for the Arts, Help Musicians UK, and the BC Arts Council.

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Nicole Roche

SOLOIST Philadelphia Orchestra Principal Bass Joseph H. Conyers (Carole and Emilio Gravagno Chair) is a multi-faceted artist whose innovative work on the stage, coupled with his life’s dedication to music education and access, has been recognized internationally. He was honored as a WHYY “Good Soul” in 2025 and in 2024 was named The Philadelphia Orchestra’s Education and Community Ambassador. He joined The Philadelphia Orchestra in 2010 as assistant principal bass, was acting associate principal from 2017 to 2023, and became principal in 2023. He makes his Philadelphia Orchestra solo debut with these concerts.

Previously, he was a member of the Atlanta Symphony and the Santa Fe Opera Orchestra and principal bass of the Grand Rapids Symphony. He’s an alumnus of the Tanglewood Music Center, the Aspen Music Festival and School, Spoleto USA, the Boston University Tanglewood Institute, and the Brevard Music Center.

A native of Savannah, Georgia, Mr. Conyers received an Honorary Doctor of Music Arts from the Cleveland Institute of Music in 2025. Additional accolades include the C. Hartman Kuhn Award from Yannick Nézet-Séguin and The Philadelphia Orchestra, the Sphinx Organization’s Medal of Excellence, Musical America’s 30 Top Professionals, and numerous honors from the International Society of Bassists. He was featured in Ebony magazine and appeared on the cover of The Strad magazine after being named principal bass of The Philadelphia Orchestra, the first Black musician to hold a playing principal position in the ensemble’s history. In 2015 he was the inaugural recipient of the Young Alumni Award from his alma mater, the Curtis Institute of Music, where he studied with Harold Robinson and Edgar Meyer.

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Mr. Conyers is founder and vision advisor of Project 440, a Philadelphia non-profit organization that has helped thousands of high school students use their interest in music to explore new pathways for themselves and ignite change in their communities. He is also music director of Philadelphia’s All City Orchestra and serves on the board of the Boston University Tanglewood Institute. A 2004 Sphinx Laureate, Mr. Conyers has been a bass soloist with numerous orchestras and an artist of the Chamber Music Society of Lincoln Center. He is the artistic director and founder of Dubhe, a collective of some of the most influential chamber musicians who dedicate themselves to creating performances centered on authentic connections and inclusivity. Mr. Conyers is the co-host of the podcast Tacet No More with Yumi Kendall, assistant principal cello of The Philadelphia Orchestra. He is a sought-after pedagogue and music coach with former students in orchestras across the Americas and Europe. He currently serves on the faculty of the Juilliard School and Temple University. Known by his handle @weatherclef, Mr. Conyers maintains a significant social media presence. He performs on the “Zimmerman/Gladstone” 1802 Vincenzo Panormo bass, which he has affectionately named “Norma,” and an Aaron Reiley bass, which he has affectionately named “Miss Riley.”

FRAMING THE PROGRAM PARALLEL EVENTS Today's concert of works chosen by the musicians of 1789 Mozart Overture to Così fan tutte

Music Haydn Symphony No. 92 (“Oxford”) Literature Blake Songs of Innocence Art Goya Blind Man’s Bluff History Washington inaugurated

1917 Bartók Romanian Folk Dances

Music Stravinsky Song of the Nightingale Literature Joyce The Dubliners Art Kokoschka The Bride of the Wind History Mata Hari executed as a spy

1943 Hindemith Symphonic Metamorphosis of Themes by Carl Maria von Weber

Music Copland Lincoln Portrait Literature Willkie One World Art Benton July Hay History Soviet victory at Stalingrad

The Philadelphia Orchestra opens with the Overture to Così fan tutte (Thus Do They All), the last of Mozart’s collaborations with the librettist Lorenzo Da Ponte, following on their successes with The Marriage of Figaro and Don Giovanni. The somewhat risqué plot around infidelity caused the opera some problems entering the standard repertoire, but its great music, beginning with the brilliant Overture, has captivated audiences ever since its premiere in January 1790, just a day before Mozart turned 34.

Tan Dun was born in Hunan Province in south-central China and later moved to New York to get his doctorate at Columbia University. In many symphonies, concertos, film scores, and operas he has explored intersections between East and West. Today we hear his three-movement concerto for bass, titled Wolf Totem after a recent epic Chinese novel of the same name.

The great Hungarian composer Béla Bartók was a pioneer in studying the peasant music of Central and Eastern Europe. He collected thousands of melodies, some of which found their way into his own compositions. His Romanian Folk Dances—a brief suite of seven peasant melodies—has proved one of his most popular and enduring works.

During the Second World War, the German composer Paul Hindemith left his homeland and moved to the United States. One of his early American works is the Symphonic Metamorphosis of Themes by Carl Maria von Weber, which imaginatively transforms some of Weber’s piano pieces and incidental music composed for the play Turandot.

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. 23

THE MUSIC Overture to Così fan tutte Wolfgang Amadè Mozart Born in Salzburg, January 27, 1756 Died in Vienna, December 5, 1791

By the time he turned 20, Mozart had already composed nearly a dozen theater pieces; dramatic music would remain a central preoccupation of his life and career until the end, when at age 35 he composed The Magic Flute and La clemenza di Tito shortly before his death. His first major success came with Idomeneo, which premiered in Munich in 1781. The Abduction from the Seraglio, unveiled the following year in Vienna, went on to be his most performed opera. These works gave further evidence that he could compose masterpieces in German and Italian, in different styles, and could negotiate both the comic and the serious.

Breaking Out on His Own Mozart moved to Vienna in 1781, escaping his stultifying hometown of Salzburg, and concentrated during his initial years there on instrumental music, particularly piano concertos. He longed to write more operas but had difficulty finding worthy subjects. He informed his father that he had “looked through at least a hundred librettos and more, but I have not found a single one with which I am satisfied; that is to say, so many alterations would have to be made here and there, that even if a poet would undertake to make them, it would be easier for me to write a completely new text— which indeed it is always best to do.”

Mozart went on to complain about difficulties getting a promised libretto from Lorenzo Da Ponte (1749–1838), who had recently been named the official poet at the Imperial Court Theater: “If he [Da Ponte] is in league with Salieri, I will never get anything out of him.”

This is the sort of comment that led to slanderous legends of Salieri murdering Mozart, a topic the celebrated Russian writer Alexander Pushkin used in his drama Mozart and Salieri, which Nikolai Rimsky-Korsakov later turned into an opera, and that inspired Peter Shaffer’s Broadway play Amadeus and then Milos Forman’s Academy Award–winning film.

Da Ponte was a fascinating character in his own right, as his enthralling memoirs colorfully confirm. The composer and poet formed one of the great partnerships in opera history, although one that proved short-lived. Da Ponte would survive Mozart by nearly five decades; he ended up in New York City, where he became the first professor of Italian at Columbia University.

A Great Partnership Their first big project began in the fall of 1785 with an Italian adaptation of the popular (and politically explosive) French play La Folle Journée, ou Le Mariage de Figaro (The Madcap Day, or The Marriage of Figaro), by Pierre-Augustin 24

Caron de Beaumarchais. Da Ponte toned down some of the play’s most overt political provocations and the opera successfully premiered in May 1786. The team next turned to an old Spanish legend about Don Juan that had inspired many previous plays, ballets, and operas. Il dissoluto punito, ossia Il Don Giovanni (The Dissolute Punished, or Don Giovanni) was written for Prague, where Mozart was much better appreciated than he was in Vienna and where the opera triumphantly premiered in October 1787.

Today we hear the Overture to their third collaboration, Così fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers), which turned out to be Mozart’s last opera buffa. It was an immediate popular success upon its Vienna premiere on January 26, 1790, the day before Mozart turned 34. This final joint venture had a more difficult time, however, entering the general repertoire, not for lack of glorious music but rather due to its somewhat risqué plot.

Don Alfonso, a cynical old philosopher, initiates a wager with two young officers that their fiancées would not remain faithful to them in their absence. When Ferrando and Guglielmo pretend to go off to war, the sisters Fiordiligi and Dorabella are devastated. The officers return disguised as “Albanians” and successfully woo the other’s betrothed. In the end all is exposed, although it is not entirely clear whether the couples return to the original pairing or move on to the new one. (It was pretty clearly the former in Mozart’s day, although there is no exact mention in the libretto or score, and some modern productions have proposed other alternatives.)

A Closer Look The brief Overture to Così, like that for Don Giovanni but unlike the one for Figaro, has a musical connection to the opera that follows, in addition to marvelously setting the mood. It begins with an andante section that juxtaposes full orchestral chords with a lyrical oboe melody and a brief allusion to a phrase Don Alfonso sings near the end of the opera, namely its title: “così fan tutte.”

A presto section with enormous energy follows in which an undulating woodwind phrase quotes music from Act I of Figaro, sung by the slippery music teacher Don Basilio, where the words, appropriately, are “Così fan tutte le belle, non c’e alcuna novitá” (That’s what they all do, the ladies, there’s nothing new in that). Near the end of the Overture the opening allusion to Don Alfonso’s musical phrase returns in double-note values.

—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 the Overture to Così fan tutte in 1789.

Zubin Mehta was on the podium for the first Philadelphia Orchestra performance of the Overture, in July 1981 at the Mann Center. The work’s first, and only other, subscription performances were in April 2014, with Yannick Nézet-Séguin.

The Overture is scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets; timpani; and strings.

Performance time is approximately five minutes.

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THE MUSIC Bass Concerto: Wolf Totem Tan Dun Born in Simao, Hunan Province, August 18, 1957 Now living in New York

In many of his compositions, including the Bass Concerto: Wolf Totem that we hear on this concert, Tan Dun explores intersections between East and West, which seems only natural given his background and education. He was born in China’s Hunan Province and studied at the Beijing Conservatory before moving to New York City and earning a doctorate at Columbia University in 1993. Armed with expertise in both Chinese music and the Western classical tradition, he began to pursue projects around the world; this has never stopped and only become more expansive and imaginative.

In some of his pieces Tan Dun not only ingeniously combines disparate musical traditions but also explores new sonic realms through technology. 2000 Today: A World Symphony for the Millennium was internationally broadcast on New Year’s Day in 2000, and his Internet Symphony (2009)—commissioned by Google and YouTube—has been heard by many millions online. His evocative film score for Ang Lee’s Crouching Tiger, Hidden Dragon (2000) won an Academy Award as well as a GRAMMY. Tan Dun has also written operas, including Nine Songs (1989), Marco Polo (1995), Tea: A Mirror of Soul (2002), Buddha Passion (2018), and The First Emperor, which premiered at the Metropolitan Opera in 2006.

From Novel to Concerto Tan Dun’s accomplishments have been honored with a wide array of prestigious recognitions, including the Grawemeyer Award in 1998. In 2003 he was named Musical America’s Composer of the Year and a decade later added the title of global Goodwill Ambassador for UNESCO in an inauguration at the organization’s Paris headquarters on World Water Day. This position also connects with the piece we hear today in that it highlights the composer’s deep concern for nature and the environment.

For Wolf Totem, Tan Dun was inspired by reading Jiang Rong’s semi-autobiographical novel by that name, which explores the disappearing culture of the Mongols in tandem with the extinction of the fierce Mongol wolves they held sacred. The novel, a best seller from 2004 that was translated into many languages, resonates with Tan Dun’s larger artistic vision explored in many of his works, encompassing not only the natural world but also spirituality, more specifically, ancient Chinese traditions and rituals.

Closer Look Tan Dun casts Wolf Totem in the standard three movements (fast, slow, fast) that have served composers well for centuries. The emotional arc of the work unfolds 26

from mystery to motion to lament to a galloping finale. The first movement (Largo melancolia—Allegro), which lasts as long as the other two combined, has an extensive meditative introduction that evocatively features Tibetan singing bowls and harmonics on the divided basses. Throughout the Concerto, the bass is used for both its lyrical and percussive qualities. The soloist is asked to play an extraordinary range of notes, from the instrument’s lowest to unusually high registers, presenting modal melodies that have an Eastern flavor. Many passages are unaccompanied, perhaps representing the lone wolf, and have the feeling of miniature cadenzas. The music suddenly shifts to an intense gallop that may remind some listeners of Rossini’s William Tell Overture.

The middle movement (Andante molto) offers the emotional core of the Concerto and is basically monothematic, leading without pause into the propulsive final movement (Allegro vivace). Although Tan Dun has not provided descriptive titles to the movements, he recently gave a clue to the thrilling finale through a new incarnation he crafted of this movement tilted Ten Thousand Galloping Horses. In this version, the original solo bass part is transferred to other instruments. Tan Dun conducted the premiere with The Orchestra Now at Bard College’s Fisher Center, where he has served as dean of the Conservatory of Music since 2019.

—Christopher H. Gibbs Tan Dun composed his Bass Concerto in 2014.

These are the first Philadelphia Orchestra performances of the piece.

The Concerto is scored for solo bass, piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, Chinese cymbals, Chinese fish blocks, marimba, slapsticks, snare drum, Tibetan singing bowls), harp, and strings.

Performance time is approximately 20 minutes.

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THE MUSIC Entr’acte Caroline Shaw Born in Greenville, North Carolina, August 1, 1982 Now living in New York City and Western Massachusetts

Caroline Shaw won the 2013 Pulitzer Prize in Music for her Partita for 8 Voices. At the age of 30, she was the youngest composer ever awarded the prestigious accolade and the fifth woman. Partita grew out of Shaw’s performing activities as a member of the vocal ensemble Roomful of Teeth, for which she wrote the four-movement piece and which unveiled it in stages between 2009 and 2011.

That situation—a work in progress by someone writing for their own ensemble—is one shared by an ever-increasing number of young composers also active as performers. Of course, such engagement was the norm for centuries, be it in the careers of Bach, Mozart, Beethoven, or most Romantic composers. The 20th century saw an increasing separation between isolated composers and specialist performers, albeit with notable exceptions from Mahler and Rachmaninoff through Bernstein and Boulez. The scene shifted some in the late 20th century due largely to figures such as Steve Reich, Philip Glass, Meredith Monk, and others. This is ever more the case today, as many composers are performers whose compositions evolve from their own ensembles, more akin to the world of popular music.

A Performing Composer Although Shaw’s award-winning Partita came from her activities as a singer with Roomful of Teeth, her principal training was as a violinist, starting at age two with her mother, who was a Suzuki-method teacher. Born in North Carolina, Shaw went to Rice University and then won a Thomas J. Watson Fellowship to study formal gardens in Europe and compose string quartets inspired by them. She received a master’s degree in violin at Yale and in 2010 entered the doctoral program in composition at Princeton University. Three years later came the Pulitzer and since then an unusual range of activities, collaborations, and commissions, including writing film scores, working with leading rappers, and appearing as a fictional version of herself in Amazon’s Mozart in the Jungle.

It is not surprising that Shaw has long been attracted to the genre of the string quartet as she has performed many herself. Among her quartet compositions are Punctum (2009), Entr’acte (2011), and Blueprint (2016). These pieces take inspiration from Bach, Haydn, and Beethoven, which has led Shaw to compare them to a sort of “chamber music fan fiction” and wryly note that for young quartets not used to playing contemporary works, her pieces are “like a gateway drug for new music.” Entr’acte, which we hear on this concert, grew 28

out of Shaw’s experience as a listener after hearing the Brentano Quartet perform Haydn’s String Quartet in F major, Op. 77, No. 2. The Brentano premiered Entr’acte at Princeton in April 2011 and three years later Shaw crafted the string orchestra version performed today.

A Closer Look Haydn, who has been hailed as the “father” of the string quartet, wrote nearly 70. This alleged paternity, as with that of the symphony, should not be taken literally, but rather as an acknowledgement of his being the composer who brought the genre to prominence and superb refinement. Haydn’s Op. 77, No. 2, is his last completed string quartet and dates from 1799. Shaw was inspired for Entr’acte by its third movement. Most Classical-era quartets are in four movements and the third is usually a so-called minuet and trio, predictable and quite repetitive in form. Such ABA dance movements account for literally hundreds among the chamber and symphonic music of Haydn, Mozart, Beethoven, and others. Shaw’s piece is also structured like a minuet and trio, as she says “riffing on that Classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.”

The opening of Entr’acte sounds “normal,” perhaps we could be in Vienna circa 1800, but with a wrong note or two. The memorable first theme uses the Beethoven Fifth Symphony rhythm of three short notes and a long. After about a minute, things take a weirder turn as the players start using so-called extended techniques, meaning they are not playing their instruments in the usual way. (Extended vocal effects played a large role in Shaw’s Partita.)

As in a Classical minuet, there is a fair amount of repetition of short sections, either literally (marked with a repeat sign in the score) or transformed in some way. After a few minutes the initial triple meter that is expected in a minuet suddenly changes every measure, creating an unpredictability—it is hard to tap your feet in these instances—such as one associates with a piece like Stravinsky’s Rite of Spring but in this instance less jarring and more joyous.

Throughout the work the performing instructions that Shaw includes are unusual, informal, and almost conversational, as if coaching the performers. Near the end of the piece the opening theme returns, as one would expect in a traditional minuet and trio, but here it is not a literal return of the “A” section. The instruments gradually drop out (first viola, then violins), leaving just the solo cello to pluck out the final chords as a lute might in a piece from the Renaissance. Shaw’s instruction here says it should be “like recalling fragments of an old tune or story, feel free to roll chords extra luxuriously when necessary for technical, or aesthetic, reasons.”

—Christopher H. Gibbs Entr’a cte was composed in 2011 and was arranged for string orchestra in 2014.

Joshua Weilerstein conducted the first, and only other, Philadelphia Orchestra performances of the piece, in February 2019.

The score calls for strings only.

Entr’a cte runs approximately 11 minutes in performance.

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THE MUSIC Romanian Folk Dances Béla Bartók Born in Nagyszentmiklos, Hungary (now Romania), March 25, 1881 Died in New York City, September 26, 1945

Before World War I irrevocably changed the face of Central and Eastern Europe, Béla Bartók spent years researching, recording, and systematizing the folk music of Hungary, Romania, Slovakia, Bulgaria, and beyond (later venturing to North Africa) in an unending quest to gather and compare the folk music from different regions. He traveled extensively, living Margaret Mead-like in villages among his subjects for extended periods. Bartók’s methods would become a model for later ethnomusicologists, and his thousands of field recordings and meticulously inscribed volumes of folk tunes are still the foundation of the study of this music today. In addition to their research value, Bartók’s folk explorations had a direct bearing on his own music. The melodies he collected form the backbone of most of his compositions, as he believed “there have always been folk music influences on the higher types of art music.”

From Village to Concert Hall Bartók wrote an essay in 1931 in which he laid out three basic approaches to using folk materials. In the first, one could “take over a peasant melody unchanged or only slightly varied, write an accompaniment to it and possibly some opening and concluding phrases.” He compared this least obtrusive adaptation to providing “an ornamental setting for a precious stone.” In the second approach “the composer does not make use of a real peasant melody but invents his own imitation of such melodies.”

Bartók became unusually adept at inventing his own folk tunes. The third way is more abstract: The composer has so “completely absorbed the idiom of peasant music which has become his musical mother tongue” that it comes naturally, not as quotation or imitation, but simply as creation. This approach he mastered to an unprecedented degree.

Bartók used all three approaches in his compositions. Early in his career, he tended toward the first one and made a great number of arrangements of genuine folk melodies.

The Romanian Folk Dances, which became one of his most popular pieces, fall into this category as they are arrangements of actual tunes drawn from field recordings he made in 1910 and 1912. A decade later, he wrote in a program note: “Romanian dance tunes are used here in their original form without alteration.” While the tunes are the real thing, to this he added imaginative accompaniments and vivid orchestral colors. Bartók initially composed the piece in 1915 as a suite for piano and orchestrated it two years later. Others subsequently made many other arrangements, most famously one for violin and piano by 30

Zoltán Székely. Bartók recorded the original piano version twice, privately around 1915 and in 1928 as a piano roll, as well as the violin version with Joseph Szigeti.

A Closer Look The melodies Bartók collected for this piece were originally played on the shepherd’s flute or violin from four regions in Transylvania, which was in Hungary at the time. At first he called the work “Romanian Folk Dances from Hungary,” but after the Treaty of Versailles in 1920, the area was part of Romania, so he omitted the qualification.

The score gives titles in three languages: the Romanian original as well as Hungarian and German translations—he did not authorize English titles.

Romanian Folk Dances consists of seven brief movements performed without pause that last barely six minutes in total. The Stick Dance (Allegro moderato) presents the ornamented folk melody in the first violins and clarinets over simple string accompaniment. The melody for the following Sash Dance (Allegro) was originally for shepherd’s flute, played here by solo clarinet with pizzicato strings underneath. This dance was for partners holding each other tightly bound by a sash or wristband. In One Spot (Andante) lets the piccolo shine in a melody with a narrow range as the dancers do not move from a single location. Dance from Bucsum (Moderato) is in a more lyrical triple meter featuring solo violin. The very short final three dances race to the end, growing in dynamics, tempo, and instrumentation (bassoons added first and finally horns) to reach a thrilling conclusion: Romanian Polka (Allegro), then Fast Dance (Allegro) and Fast Dance (Allegro vivace).

—Paul J. Horsley/Christopher H. Gibbs Paul J. Horsley is performing arts editor for The Independent in Kansas City. Previously he was program annotator and musicologist for The Philadelphia Orchestra and music and dance critic for The Kansas City Star.

Bartók composed his Romanian Folk Dances in 1915 and orchestrated them in 1917.

The first Philadelphia Orchestra performances were in January 1944, with Eugene Ormandy conducting the work in his own transcription. The most recent subscription performances were in January/February 1945, again with Ormandy, although the piece has been played since, mostly on education concerts.

The score calls for two flutes (II doubling piccolo), two clarinets, two bassoons, two horns, and strings.

The works runs approximately six minutes in performance.

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THE MUSIC Symphonic Metamorphosis of Themes by Carl Maria von Weber Paul Hindemith Born in Hanau, Germany, November 16, 1895 Died in Frankfurt, December 28, 1963

Exiled from his native Germany, Hindemith arrived in the United States in early 1940 to begin a new life and a new career. Known the world over for startling theater works such as Mathis der Maler (Mathis the Painter) and Mörder, Hoffnung der Frauen (Murder, the Hope of Women), and for orchestral and chamber works that established new approaches to tonality, he had been perhaps the central musical figure in Germany during the pre-war period. As an influential professor at the Berlin Hochschule, he had devised revolutionary methods for the teaching of counterpoint and composition. During the 1920s and early ’30s he had also carved out a niche as a composer and performer from whom the public could always expect to be surprised. A musical polymath, he mastered many instruments, including piano, violin, viola, and clarinet.

A New Life in Exile It was no surprise, though, that the National Socialists found his unconventional music decadent, his methods suspect, and (perhaps the real point) his refusal to disassociate himself from Jewish musicians intolerable. Although he had strong allies in musical circles, his prominent position in German life became impossible to sustain.

In 1940, like so many others, Hindemith made his way to New York. During his first months in the United States he taught composition at several universities in upstate New York (Buffalo, Cornell, Wells College in Aurora). In 1941 he received a permanent appointment as professor of counterpoint and composition at Yale.

Hindemith was not one to live dreamily in the past. He forged a new life, building a studio of talented students and growing into a figure every bit as influential in the New World as he had been in the Old. His compositions from 1940 on were marked by the same rigor of design and mastery of polyphony that had characterized his earlier music. His application of quasi-socialist ideals to musical pedagogy—spawned of his upbringing in a workingclass neighborhood of Frankfurt—fit nicely into post-war American life. And in fact, the essential presuppositions of his teachings, namely that music should be useful (and by inference that art for art’s sake was dalliance), still seem like distinctly “American” ideas.

The Work’s Origins The work on today’s concert was composed during Hindemith’s first American years. In 1939, while still living in Europe, he had contracted with Leonide 32

Massine, the eccentric genius of the Ballets Russes, to compose a ballet based on paintings of Pieter Brueghel. Later, he and Massine discussed the idea of a scenario employing paraphrases of the music of Carl Maria von Weber. But when the composer happened to see—in a ballet performance in Buffalo—Massine’s production of the bacchanale from Wagner’s Tannhäuser, he was so turned off by the choreographer’s “hallucinatory” style that he immediately set about trying to get out his agreement. Though in addition to the Brueghel music, he had also begun sketching out music for a ballet based on several pieces by Weber, when he learned that Massine planned to employ Salvador Dali (who had designed the Wagner scene) for the decor, he withdrew from his contract.

Nevertheless, he was able to use material from the Weber sketches for the later Symphonic Metamorphosis of Themes by Carl Maria von Weber, completed in the summer of 1943 and first performed the following year by Artur Rodzinski and the New York Philharmonic.

The work takes a substantially different approach to the variation form. It is an expression of the composer’s acute and lifelong awareness of the music of the past, from Medieval and Renaissance counterpoint to 18th-century Classicism. It is an affectionate homage to the past, as well as a wry reflection on Weber and his time. Yet at the same time it is conceptually subtle and formally ingenious.

A Closer Look The work is cast in four movements, with each individual movement built on principles of variation rather than of sonata form. For thematic material the composer has drawn upon three different sources from Weber’s works: two sets of pieces for piano duet (Opp. 10 and 60) and incidental music for a stage production of Turandot (Schiller’s translation of the Carlo Gozzi play). The first movement (Allegro) shapes one of the Op. 60 pieces into a vigorous passage requiring great instrumental virtuosity. The Turandot, Scherzo makes plain its “oriental” intent through the use of a tune from the Overture of Weber’s Turandot music—a melody, interestingly, that Weber himself had derived from a collection of “genuine” Chinese tunes from Jean-Jacques Rousseau’s Dictionaire de musique. Hindemith’s transformation of Rousseau’s and Weber’s naïve tune is one of the great tours de force of 20th-century orchestral music. A slow movement (Andantino) follows, based on one of Weber’s Op. 10 piano duets and containing echoes of the Baroque siciliano rhythm. It is capped by a florid solo for flute. The final Marsch returns to Op. 60 for its inspiration; the square march rhythm gradually gives way to a dashing triplet figure that closes the work in a sea of sonority.

—Paul J. Horsley Hindemith composed the Symphonic Metamorphosis of Themes by Carl Maria von Weber in 1943.

The Philadelphia Orchestra’s first performance of the work took place in November 1955, under Eugene Ormandy’s baton. Most recently, Charles Dutoit and the Orchestra performed the work in February 2012.

The Orchestra recorded the Symphonic Metamorphosis three times: in 1961 with Ormandy for CBS; in 1977 with Ormandy for EMI; and in 1994 with Wolfgang Sawallisch for EMI. The score calls for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, glockenspiel, large tom-tom, small gong, snare drum, tambourine, tenor drum, triangle, woodblock), and strings.

Running time is approximately 21 minutes.

Program notes © 2026. All rights reserved.

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Hearing devices are available on a first-come, first-served basis.

Large-Print Programs: Large-print programs for every subscription concert are available in the House Management Office in Commonwealth Plaza. Please ask an usher for assistance.

Fire Notice: The exit indicated by a red light nearest your seat is the shortest route to the street. In the event of fire or other emergency, please do not run. Walk to that exit.

No Smoking: All public space in Ensemble Arts Philly venues is smoke-free.

Cameras and Recorders: The taking of photographs or the recording of Philadelphia Orchestra concerts is strictly prohibited, but photographs are allowed before and after concerts and during bows. By attending this Philadelphia Orchestra concert you consent to be photographed, filmed, and/or otherwise recorded for any purpose in connection with The Philadelphia Orchestra.

Electronic Devices: All watch alarms should be turned off while in the concert hall and all cellular phones should be switched to silent mode.

BOARD OF TRUSTEES The Philadelphia Orchestra and Ensemble Arts BOARD OF TRUSTEES Ralph W. Muller, Chair Ryan Fleur, President and Chief Executive Officer Yannick Nézet-Séguin, Music and Artistic Director, The Philadelphia Orchestra James P. Brandau Patrick J. Brennan, M.D. Jeffrey Brown Karen Dougherty Buchholz Elaine Woo Camarda Joseph Ciresi David L. Cohen Michael M. Cone Joseph Conyers* Robert R. Corrato, M.D. Sarah Miller Coulson Robert Curley Robert J. Delany, Sr. Mark S. Dichter Jeff Dittus Carl E. Dranoff Joseph M. Field Ryan Fleur* Mark J. Foley John Fry Lauren Gilchrist Donald A. Goldsmith Amy Gutmann, Ph.D. Janet Haas, M.D. Julia Haller, M.D. Robert C. Heim Nina Henderson Osagie O. Imasogie Patricia Harron Imbesi Philip P. Jaurigue Kenyatta Johnson* Bennett Keiser Christopher M. Keith David Kim* Neal W. Krouse Lauren Lambrugo* Joan Lau Brook J. Lenfest Jeffrey A. Leonard Bruce G. Leto Tod J. MacKenzie Joseph M. Manko, Sr. John H. McFadden Jami Wintz McKeon

Stan Middleman Dara Morales* Ralph W. Muller Yannick Nezet-Seguin* Amy Oshiro-Morales* Benjamin Persofsky Richelle Rabenou* Jon Michael Richter Caroline B. Rogers Charles E. Ryan Kerri Ryan* Adele K. Schaeffer Peter L. Shaw Adrienne Simpson Matthew A. Taylor Jennifer F. Terry Tiffany Thurman* Michael R. Vennera Rev. Dr. Alyn Waller Robert Wilson Richard B. Worley Joseph Zebrowitz, M.D. Bin Zhang * Ex officio THE PHILADELPHIA ORCHESTRA AND ENSEMBLE ARTS PRESIDENT’S LEADERSHIP COUNCIL

Frederick W. Kyle Larry Magid Elizabeth M. Mahoney David G. Marshall Sandra G. Marshall Joseph J. McLaughlin, Jr. Edward A. Montgomery, Jr. Hilarie L. Morgan Henry N. Nassau Charles P. Pizzi Robert Pollack Robert L. Pratter Hon. Marjorie O. Rendell Lyn M. Ross David B. Rubenstein John F. Salveson Molly D. Shepard, Co-Chair Richard L. Smoot Leonard A. Sylk Sheldon L. Thompson Brian P. Tierney Charles K. Valutas Ramona Vosbikian Laurie Wagman James W. Zug As of March 2026

Robert Bogle Sheldon M. Bonovitz Willo Carey Kathleen P. Chimicles Gerard P. Cuddy Peter Dachowski Kenneth E. Davis Rodney D. Day III Peter J. Dean, Co-Chair Thomas A. Decker James F. Dougherty, V.M.D., Co-Chair Stacy M. Dutton Carole Haas Gravagno William P. Hankowsky H. Edward Hanway Martin A. Heckscher, Esq. David F. Hoffman Joseph H. Jacovini Lisa D. Kabnick Ronald L. Kaiserman, Esq. Susan Y. Kim 35

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1900

T H E N : The Philadelphia Orchestra with Stokowski, 1936

MAKE A GIFT MAKE HISTORY CELEBRATE 125 YEARS OF MUSIC

N O W : The Philadelphia Orchestra with Nézet-Séguin, 2024 2025

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Since 1900, The Philadelphia Orchestra has relied on support from patrons like you to create a legacy of exceptional music. The generosity of our donors makes it possible to present hundreds of performances each season, including free community and education events for audiences of all ages. Make a gift and be a part of the next 125 years of music history.

HOW TO GIVE ONLINE

philorch.org/donate

MAIL

The Philadelphia Orchestra Annual Fund 300 South Broad Street Philadelphia, PA 19102

In appreciation, donors receive a variety of benefits, including: • •

IN-PERSON

Access to Open Rehearsals and other members-only events

donation box in the

Advance purchase opportunities for the

Envelopes are located at

best seats in the house •

Leave a gift in our Kimmel Center lobby. the drop box.

Discounts on concessions, Curtain Call Cafe and Lounge, and Leo Restaurant and Bar

Explore our membership levels,

CONTACT THE ANNUAL FUND OFFICE

benefits, and flexible payment options

or 215.893.3151

•

And more exclusive opportunities that bring you closer to the art you love

at philorch.org/membership.

development@philorch.org Hours: M–F | 9 AM to 5 PM

Photos: Allie Ippolito

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ANNUAL FUND Philanthropic support inspires and sustains Your Philadelphia Orchestra’s work on stage, in our local communities, and around the world. We are proud to recognize our generous Annual Fund donors by name on this and subsequent pages. We extend our deepest gratitude to every donor, including those listed anonymously and at levels not included in this program.

ARTISTIC COUNCIL $500,000 AND ABOVE Estate of M.J. Fischer Estate of Robert T. Foley Otto Haas Charitable Trust Innisfree Foundation James and Agnes Kim Foundation Neal Krouse and Karl Fong Leslie A. Miller and Richard B. Worley Elizabeth Wiegers Constance and Sankey Williams Anonymous (3)

For more information about donating to the Annual Fund at any level, please contact us at 215.893.3151 or development@ philorch.org, or visit philorch.org/donate.

ARTISTIC COUNCIL $125,000 TO $499,999 Lois and Julian Brodsky Elaine W. Camarda and A. Morris Williams, Jr. The CHG Charitable Trust Dr. Alan R. Cohen and Michele Langer Constance and Michael Cone Sarah Miller Coulson Tobey and Mark Dichter Dr. James F. Dougherty Susan and Jonas Ellenberg Robert Heim and Eileen Kennedy Osagie and Losenge Imasogie Gretchen and M. Roy Jackson Bennett Keiser and Joy Wilf Keiser Dr. Richard M. Klein Estate of Winifred Mayes John H. McFadden and Lisa D. Kabnick Ralph and Beth Johnston Muller Estate of Dr. Betty T. Richards Caroline B. Rogers Peter and Mari Shaw Dr. Cecilia Segawa Seigle Tannenbaum* Dr. and Mrs. Joseph B. Townsend Waterman Trust Mrs. Carol Tyler Estates of Dr. and Mrs. Robert Williams

Contributions listed were received between August 1, 2024, to March 19, 2026. Please contact us if your name has been omitted in error or if you would like to update your recognition name.

PRESENTERS CIRCLE $75,000 TO $124,999 Estate of Sherrin H. Baky-Nessler Estate of Dr. Barbara Comins Jerome L. and Thao Dodson Joseph and Marie Field Mrs. Penelope P. Harris Sandy and David G. Marshall Joe Neubauer and Jeanette Lerman-Neubauer Mr. Charles Ryan John and Sandra Stouffer

PRESENTERS CIRCLE $50,000 TO $74,999 Dean S. Adler and Susanna Lachs Adler Dr. and Mrs. Robert R. Corrato Christos Coutifaris and Deborah Driscoll Estate of Thomas and Floramae Force Linda and David Glickstein Juliet J. Goodfriend and Marc R. Moreau Mr. and Mrs. Chris Keith Marguerite and Gerry* Lenfest Joseph M. Manko, in loving memory of Lynn Manko Estate of Ron North Salkind Family Foundation Diane Schneider Mr. Oscar Tang and Dr. Agnes Hsu-Tang Anonymous PRESENTERS CIRCLE $25,000 TO $49,999 Vijay and Susan Aggarwal Dr. James R. Anderson Donald E. Barb, Esq., and the Rev. Bruce H. Davidson Peter A. Benoliel* and Willo Carey James and Micaela Brandau Judith Broudy Karen Dougherty Buchholz Mr. and Mrs. Christopher B. Chandor Mr. and Mrs. John Fry Irina and Patrick Gage Barbara and Jerome Glickman Amy Gutmann and Michael O’Doyle Julia A. Haller, M.D. Nancy S. Halpern Ed and Ellen Hanway Ann S. and Steven B. Hutton Patricia and John Imbesi Rachelle and Ronald Kaiserman Gay and Donald Kimelman In honor of Katherine O. Leone Mr. and Mrs. Bruce Leto Chris and Jeffrey Libson Mrs. Catharine Maxey Susan and Frank Mechura Dr. and Mrs. John L. Neigh Miriam Ort and Lawrence Hirsch Estates of Adolf and Geraldine Paier Ameline Pappas* Claudio Pasquinelli and Kyong-Mi Chang Robert and Lynne Pollack Robert L. Pratter Red Moose Charitable Trust Jon and Karen Richter

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Beth L. Rogers Lyn Ross Vincent N. and Lila Russo Allan Schimmel and Reid Reames* Kate Groark Shields Constance Smukler, Trustee, Smukler-Lasch Family Trust Mr. Wayne Titerence and Ms. Vicki Mechner Michael and Renee Vennera Thomas and Patricia Vernon Jennifer and Ralph Watts Zisman Family Foundation Anonymous PRESENTERS CIRCLE $15,000 TO $24,999 M. Therese and Barry Bentley Mr. and Mrs. Robert Bickford Estate of Mark J. Bojanowski Carol W. Buettger Drew Camarda Alice Chen-Plotkin and Joshua Plotkin Mr. and Mrs. David L. Cohen, Esq. Joslyn G. Ewart Mr. and Mrs. Moses Feldman Claudia and Richard Fischer Ryan Fleur and Laura Banchero Drs. Peter and Pamela Freyd Ken and Sue Greathouse Peter Grove and Nancy Greene Joseph and Bette Hirsch Terry and Ann Marie Horner Toba and Lawrence Kerson Mr. Kevin King and Mrs. Susan West King Drs. Joan and Brook Lau Lurie Family Foundation Tom and Linda McCarthy Mr. and Mrs. Bruce McKittrick Jane G. Pepper Jeffrey and Deborah Pierce The Estate of Miss E. Irene Reymann Dianne and Jeffrey Rotwitt Mr. Richard J. Shaginaw Joan N. Stern Mr. and Mrs. Sheldon Lee Thompson Dr. Bettyruth Walter Judith Whellan Steve and Mary Beth Young Anonymous (7) PRESENTERS CIRCLE $10,000 TO $14,999 John R. Alchin and Hal Marryatt Mr. and Mrs. James Allison Charles Arnao and Rosemary Watt Barbara B. and Theodore R. Aronson Jim and Janet Averill Drs. Robert and Jean Belasco Jill and Sheldon Bonovitz Dr. and Mrs. Patrick J. Brennan Mr. and Mrs. Jonathan Broder

Judy and Mark Brodsky James and Doris Brogan Dr. Eugenio* and Giuliana Calabi Dr. Rosemary Cook John Cornell Joyce Creamer Richard and Patricia Cummines Mr.* and Mrs. Edward C. Dearden Edith R. Dixon Alex J. Ettl Foundation Eph and Pat Fithian Mr. and Mrs. David M. Friedman Donald Goldsmith In memory of Rena and Morton C. Grad and John de Lancie Vivian and Mark Greenberg Gni Grossman and Christopher Murray Leon and Miriam Hamui Fred and Michelle Harde Mr. and Mrs. Stephen Harris Katherine Hatton and Richard Bilotti Hannah L. Henderson Richard H. Holzer Memorial Foundation Eric and Lenora Hume Ms. Lisa R. Jacobs Andrew Jacobson and Carol Overvold Erika James Lyn Kratz and Pamela French Dr. Peter Langmuir and Dr. Colette Desrochers Nestor Llorente and Don Jones Sally and Tod MacKenzie Nicholas Maiale* Dr. Ann Elizabeth Mayer Paul H. McKelvie Estate of Mary and David Meese Dr. Jill Mortensen Alexander Nikas and Dr. Marianne Ruhl Nikas Yannick Nézet-Séguin and Pierre Tourville Mrs. Sarah Peterson Mrs. Vivian W. Piasecki* Dr. and Mrs. Joel and Bobbie Porter Susan and David Rattner Marney Roia Dr. Marta Rozans and Prof. Ilan Peleg Xiaomei Shao Lee F. Shlifer Edward and Shelley Sigman Kathleen and Roger Smith Richard and Amanda Smoot Samuel and Rosanne Spear Mary Ann Stehr Mr. and Mrs. William Stone Walter and Alice Strine, Esqs.

Charles and Suzanne Valutas The Vert Charitable Trust Peggy Wachs

Penelope and Thomas Watkins Mary E. Webb Carol A. Westfall Martin Zeldin and Bill Brinkman Walter A. Zanchuk and Norma Milne Zanchuk James W. and Debora C. Zug Anonymous (5) AMBASSADORS CIRCLE $5,000 TO $9,999 Erika Aaron and Marc Fliegelman Mrs. Neysa Adams Peter J. Allen Larry and Dr. Marcia Arem Drs. Janine and Barry Arkles Lynn Axelroth and Cricket Handsaker Richard and Jane Baron William And Sylvia Barone Carol Beam John D. Benson, Esq. Isabelle Benton and Aileen White Ms. Donna Brennan and Dr. James Bergey Andrea Biondo and Kenneth Hartzell Allen D. Black and R. Randolph Apgar Jeff Benoliel and Amy Branch Ms. Linda Bross Alfred Anthony Brown and Hai-Ye Ni Dr. and Mrs. I. Stephen Brown Mr. and Mrs. James M. Buck III Estate of James Buttenwieser Malcolm and Carla Cain Jennifer and David Cardy Robert Carmichael Kathleen and Nicholas Chimicles Kristine Christensen Celia Mendes Chumaceiro Georgette P. Ciukurescu Earl* and Margaret Clime Mrs. Marlynne Clothier Dr. Robert Cody Stephen Cohen and John McNett Ruth M. and Tristram* C. Colket, Jr. Peggy Cooke Jeffrey Cooper and Nancy Klaus Kenneth and Nancy Davis Stephen and Rhoda Davis Evelyn S.* and Rodney D. Day III Mr.* and Mrs. Willem K. Dikland Dr. and Ms. James Doghramji Cynthia Tehan and Ed Dougherty Ellason Downs Perpetual Charitable Trust MaryAnn Edwards Ms. Carol S. Eicher Dr. Bruce Eisenstein, in memory of Dr. Toby Eisenstein Audrey Escoll Andrew E. Faust and Ann Russavage-Faust 39

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

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Mr. Edward A. Montgomery, Jr. Dr. and Mrs. A.H. Nishikawa Mr. and Mrs. Stuart Ockman Ellen J. Odoner and Edward W. Kerson Mr. Frederick Oster and Ms. Catherine Jacobs Linda and David Paskin Barbara L. Phillips Mrs. Vivian W. Piasecki* Dr. Leo Podolsky and Ms. Debra Ross Anonymous in memory of Jan Popper Allan Rayfield David Rhody David Richman and Janet Perry Dr. Elizabeth and Mr. Hershel Richman Gretchen and Jay Riley Pamela and Gresham Riley Mr. and Mrs. Mark E. Rubenstein John Salveson Marilyn C. Sanborne and Richard J. Labowskie William and Klare Scarborough David Seidman Mr. and Mrs. Robert W. Seminack Dr. M. Lana Sheer, in memory of Dr. J. Peter Jesson Janet A. Simon and Georg U. Simon Joseph Sinkus and Christopher Labonte Drs. Kobie A. Smith and Vincent H. Harris Mr. and Mrs. Robert L. Stevens Stacy Stone and Stephen McMillan 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 August 1, 2024, and February 28, 2026. 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 Eagles Autism Foundation Faegre Drinker Biddle & Reath LLP Amy P. Goldman Foundation Gray Charitable Trust Hamilton Family Charitable Trust The Christian Humann Foundation JKG Florida Business Corp.

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 Drexel University Duane Morris LLP Essential Utilities The Anne M. and Philip H. Glatfelter III Family Foundation Independence Foundation The Blanche and Irving Laurie Foundation 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 Laudenbach Periodontics and Dental Implants Law Office of Ana Ferriera 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 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 March 19, 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 March 19, 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 March 19, 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 March 19, 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 Dr. Nancy Broz 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 Michele G. Hyk-Farlow 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 Judith Morgan Lloyd 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. 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, Director, Audience Experience Katie Masterson, Senior Manager, Events Services Joanna Bak, Manager, Audience Services Julie Bernard, Manager, Operations Support Jessa Bintliff, Manager, Audience Services 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

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 Erin Witman, Manager, Marketing Administration 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

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 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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