Yunchan Lim Plays Rachmaninoff by Ensemble Arts

THE PHILADELPHIA SOUND.

Refined Over Generations.

SEPTEMBER/OCTOBER 2026

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CONTENTS

September/October 2026 Page 4

From the President and CEO Page 10

The Kimmel Center Turns 25 Page 11

Musicians Behind the Scenes Page 12

The All-Embracing World of Gustav Mahler’s Symphonies

This season, Yannick and the Philadelphians perform the First, Third, Fifth, and Seventh Symphonies Page 17

Noted in Passing Page 19

The Program On the Cover: Assistant Principal Cello Yumi Kendall (Elaine Woo Camarda and A. Morris Williams, Jr., Chair) at LOVE Park; photo by Jeff Fusco. To learn more about Yumi, scan the QR code.

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FROM THE PRESIDENT AND CEO Dear Friends:

Jeff Fusco

Welcome to The Philadelphia Orchestra’s 2026–27 season. For more than 125 years, the Orchestra has told its story through sound—through moments of daring creativity, profound beauty, and shared discovery. Each season adds a new chapter, shaped by the extraordinary artists on our stage and the devoted community that surrounds them. This season is one that is rich with stories that reflect who we are today and where we are headed. Building on our legacy of artistry and innovation, this year brings epic musical journeys, bold premieres, and unforgettable experiences that reaffirm music’s power to connect us all. At the heart of the season is Yannick’s continued exploration of Mahler’s symphonies, works that span intimacy and grandeur, joy and transcendence. These towering masterpieces sit alongside an array of world premieres, from powerful new orchestrations of works by Leonard Bernstein and Florence Price to the newest creations by Reena Esmail and Joe Hisaishi, written for this Orchestra and for our time. Innovation takes center stage as well, with a groundbreaking multidisciplinary event that fuses orchestral music, visual art, and animation in The Party—an imaginative rethinking of what an orchestral experience can be. And our concert-opera journey continues with Wagner’s Lohengrin, a work of sweeping beauty and emotional depth. The 2026–27 season also celebrates the 25th anniversary of the Kimmel Center for the Performing Arts. Since opening its doors in 2001, the Kimmel Center has grown into far more than a performance venue. It is a gathering place for Philadelphia, a home for creativity and civic expression, and a powerful symbol of what the arts—and the freedom to experience and share together—can mean to a community. This season is an invitation—to listen deeply, to watch intently, to be moved, to celebrate with us, and to be part of living artistic traditions that continue to evolve with you at the center. Thank you for your ongoing support and for helping shape the stories we tell together. Best regards,

Ryan Fleur President and CEO

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THE PHILADELPHIA ORCHESTRA 2026–2027 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 Sara Aldana 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 Mika Gibbs

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 David Nicastro Che-Hung Chen Rachel Ku Marvin Moon Meng Wang Laura Fuller Stephen Savage Cellos Hai-Ye Ni, Principal Priscilla Lee, Associate Principal Ambassador Amy Gutmann and Dr. Michael Doyle Chair 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 Some members of the string sections voluntarily rotate seating on a periodic basis. Flutes Jeffrey Khaner, Principal Paul and Barbara Henkels Chair Patrick Williams, Associate Principal Rachelle and Ronald Kaiserman Chair Olivia Staton Erica Peel, Piccolo Oboes Philippe Tondre, Principal Samuel S. Fels Chair Peter Smith, Acting Co-Principal Elizabeth Starr Masoudnia, English Horn Joanne T. Greenspun Chair Clarinets Ricardo Morales, Principal Leslie Miller and Richard Worley Chair Samuel Caviezel, Associate Principal Sarah and Frank Coulson Chair Socrates Villegas

Paul R. Demers, Bass Clarinet Peter M. Joseph and Susan Rittenhouse Joseph Chair

Blair Bollinger, Bass Trombone Drs. Bong and Mi Wha Lee Chair

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

Tuba Carol Jantsch, Principal Lyn and George M. Ross Chair

Horns Jennifer Montone, Principal Jeffrey Lang, Associate Principal Hannah L. and J. Welles Henderson Chair Victoria Knudtson, Assistant Principal Christopher Dwyer Chelsea McFarland Ernesto Tovar Torres Trumpets James Vaughen, Principal Marguerite and Gerry Lenfest Chair Travis Peterson, Associate Principal Anthony Prisk Sam Huss Trombones Nitzan Haroz, Principal Neubauer Family Foundation Chair Matthew Vaughn, Co-Principal Jack Grimm

Timpani Don S. Liuzzi, Principal Don S. Liuzzi Chair, given by Linda and David Glickstein Angela Zator Nelson, Associate Principal Percussion Christopher Deviney, Principal Charlie Rosmarin, Associate Principal Angela Zator Nelson Keyboards Davyd Booth Harp Elizabeth Hainen, Principal Librarians Nicole Jordan, Principal Holly Matthews Stage Personnel Dennis Moore, Jr., Manager Francis “Chip” O’Shea III Aaron Wilson

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MUSIC AND ARTISTIC DIRECTOR

Landon Nordeman

Canadian-born conductor and pianist Yannick NézetSéguin is currently in his 15th 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 at Westminster Choir College in Princeton, New Jersey. 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. 8

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THE KIMMEL CENTER TURNS 25

Twenty-five years ago, Philadelphia opened the doors to a new home for the performing arts, and to a new chapter for The Philadelphia Orchestra. The Kimmel Center for the Performing Arts was created with the belief that one of the world’s great orchestras deserved a home designed for artistic excellence and civic connection—a place built not only for performance, but for gathering, where artists, audiences, students, families, and communities could come together. Now stewarded by Ensemble Arts Philly, the Kimmel Center has grown into something its founders envisioned but couldn’t fully predict: a place where hundreds of thousands of people across all ages come together each year to experience the transformative power of the performing arts, through free and low-cost education programs, community events, family concerts, and more. We welcome you to the Kimmel Center for your performance and can’t wait to see you again. Explore the Kimmel Center’s impact and discover how you can join the 25th anniversary celebration at www.EnsembleArtsPhilly.org/ Kimmel25 or by scanning the QR code.

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MUSICIANS BEHIND THE SCENES Laura Fuller Viola Where were you born? I was born in Overland Park, Kansas. Todd Rosenberg

What piece of music could you play over and over again? Beethoven’s Symphony No. 7, the end of the last movement gives me goosebumps every single time. What piece of music never fails to move you? The second movement (Adagio assai) from Ravel’s Piano Concerto in G major. What do you love most about performing? I think music, whether performing or listening, is a beautiful and powerful way to press pause on the busyness of life and, in a sense, be transported into another world. When did you join the Orchestra? In 2026. Do you play any other instruments? Not currently, but I used to play violin and also played bass for a year in high school. What do you like to do in your spare time? I enjoy jogging, cooking, traveling, and listening to music. What’s your favorite movie? Gladiator. What do you love most about Philadelphia? The Orchestra! What’s the first album you ever bought or downloaded? A compilation called Romantic Favorites for Strings with the New York Philharmonic conducted by Leonard Bernstein, which includes works by Mahler, Barber, Vaughan Williams, and Tchaikovsky. What’s on your Spotify playlist? I have a playlist of about 250 of my favorite classical music tracks, but my recent favorite additions include the last movement of Schnittke’s Piano Quintet, the third movement of Britten’s String Quartet No. 1, and Schumann’s Dichterliebe. I also love ’90s old school rap. When was the first time you heard The Philadelphia Orchestra? My dad took me to Philly to hear Charles Dutoit conduct Copland’s Symphony No. 3 in 2000. I was in high school and was completely starstruck! What is your favorite memory with the Orchestra? Playing Stravinsky’s Rite of Spring with Yannick Nézet-Séguin. I love the piece and LOVED his interpretation! What advice would you give to aspiring young musicians? Never give up on your dreams! Especially regarding auditions, not winning at first can be an invaluable opportunity to learn and grow. Don’t be afraid to climb the ladder.

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Eugene Ormandy during a rehearsal.

Portrait of Gustav Mahler by Emil Orlik from 1902

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THE ALL-EMBRACING WORLD OF GUSTAV MAHLER’S SYMPHONIES This season, Yannick and the Philadelphians perform the First, Third, Fifth, and Seventh Symphonies By Christopher H. Gibbs

“The symphony must be like the world, it must embrace everything.” Whether or not Gustav Mahler actually said this in 1907 to the Finnish composer Jean Sibelius, the sentiment resonates with other statements he made over the years. Expanding the idea further, some musicians have argued that, taken together, all of Mahler’s symphonies form a single gigantic work, fascinatingly interconnected and indeed all-embracing. Mahler’s symphonies are usefully divided into three groups. The first four are known as the “Wunderhorn” symphonies because in them he used songs composed to poems from the folk collection Des Knaben Wunderhorn (From the Youth’s Magic Horn). He next wrote three purely instrumental symphonies (Nos. 5, 6, and 7), and then, after the somewhat anomalous Eighth (the “Symphony of a Thousand”), he concluded his career with the trilogy of Das Lied von der Erde (The Song of the Earth), the Ninth Symphony, and the unfinished Tenth.

Mahler composed his symphonies over the course of a quarter century, generally during the summer months because he was otherwise preoccupied as one of the great conductors of the day. He was born in 1860 in a small Bohemian town into the family of a Jewish distiller and at age 15 moved to Vienna to begin studies at the Conservatory. He started his career with conducting jobs at provincial opera houses before assuming posts in Prague, Leipzig, Budapest, and Hamburg. In 1897 he was offered the greatest plum: the directorship of the Vienna Court Opera, the most powerful musical position in Europe. To get the job, he had accepted baptism in the Catholic faith. Mahler held the Vienna post for a decade before accepting prestigious appointments in New York, first with the Metropolitan Opera and then with the New York Philharmonic; he returned to Europe each summer to compose. Although some aspects of Mahler’s musical style and aesthetic commitments changed over the years, there are throughlines that help create the sense of a gigantic whole. His symphonies tackle eternal questions of life and death (funeral marches appear in many of them), of nature and the universe. The symphonies are deeply personal, qualities which Mahler in some instances candidly divulged and at other times attempted to hide. He often invites us to make connections between his life and music by giving titles and by making 13

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Jessica Griffin

Over the course of this season Yannick Nézet-Séguin and The Philadelphia Orchestra present four of Mahler’s symphonies, beginning in October with the Fifth. In April they perform the Seventh Symphony, in May the Third, and in June the First. In addition, this season Yannick conducts a cycle of the nine completed Mahler symphonies at Carnegie Hall and the Metropolitan Opera, with the Philadelphians, the Met Orchestra, and the Vienna Philharmonic.

New York Public Library

comments in letters, sketches, and manuscript scores, an intense subjectivity that was a legacy of Beethoven and later Romantic composers. Some autobiographical moments in Mahler relate to one of the great debates of Romanticism: program music, about which he was deeply ambivalent. Symphonies during the earlier Classical era were usually “absolute,” not explicitly connected to literature, history, or other extra-musical elements. While Beethoven initially continued this approach, he also helped to forge a new path with his “Eroica” and “Pastoral” symphonies through titles and other programmatic clues. He opened further vistas in his Ninth Symphony by bringing in poetry and the human voice, a strategy Mahler emulated in his Second, Third, Fourth, and Eighth Symphonies. A manuscript of the Adagietto movement from Mahler’s Symphony No. 5, dated 1902, with marks by Gustav and Alma

Mahler composed almost exclusively in just two genres: songs and symphonies, which he interrelated in masterful ways. For his songs he initially used Wunderhorn poems drawn from an early-19th-century anthology. While these folk poems had attracted some earlier composers, they proved especially inspiring for the young Mahler and formed the basis of his first four symphonies. After writing three symphonies, each progressively longer and more complex, Mahler reached something of a limit. They all had programs of some sort—titles, stories, or poems—the compositional approach successfully pursued by his friend and rival Richard Strauss. But Mahler increasingly sought to suppress such extra-musical baggage: “Death to programs,” he proclaimed around the time of the Fourth Symphony, which was shorter, more modest in its orchestration, and, although it concludes with a Wunderhorn song, less programmatic. Symphonies Five, Six, and Seven are a trilogy that mark Mahler’s ostensible retreat from programs and vocal movements. During this time, he stopped using the Wunderhorn anthology and began to write songs based on the more elevated poetry of Friedrich Rückert. Even though songs are no longer boldly sung or overtly quoted in the middle symphonies, they go “underground,” as Mahler scholar Donald Mitchell has put it, and nonetheless leave traces through affinities of mood or brief allusions. These changes in Mahler’s compositional strategies coincided with crucial developments in his personal life. A medical crisis in early 1901 (internal hemorrhaging) brought the 40-year-old composer close to death. Soon thereafter he resigned his position as head of the Vienna Philharmonic’s subscription concerts, which he had taken up in 1898, and by the end of the year was engaged to Alma Schindler, who was 19 years his junior, and was starting his own family. The range of emotions explored in the Fifth Symphony, beginning with the solemn funeral march, including the magnificent “love song” of the famous Adagietto, and concluding with the blazing triumph 14

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of the finale, may give some indication of Mahler’s hopes. The Sixth Symphony, which briefly carried the title “Tragic,” charts a very different and more somber course. The Seventh again seems a journey from darkness to light in a poetic work featuring two evocative “night music” movements. Mahler wrote the monumental Eighth Symphony in a white heat of inspiration during the summer of 1906. It is popularly known as the “Symphony of a Thousand” because of the enormous forces involved: an immense orchestra, mixed choirs and separate children’s chorus, organ, off-stage brass, and eight vocal soloists. The two-part work unfolds using a Latin Pentecost hymn and then the conclusion of Goethe’s Faust, Part II. Mahler’s astonishing feat of combining different languages, genres of music, and sacred and secular themes led to the greatest success of his career at its premiere in Munich in 1910. Leopold Stokowski and The Philadelphia Orchestra gave its American premiere in 1916. A series of devastating personal blows in 1907 led to another turning point in Mahler’s life: His beloved elder daughter died at the age of four, he resigned from the Vienna Court Opera, and he was diagnosed with a heart condition. The final three works followed: Das Lied von der Erde in the summer of 1908, the Ninth Symphony the next summer, and parts of the Tenth in the summer of 1910, but Mahler died in May 1911 before finishing it. Given their ultimate place in the composer’s output, it has proven all too tempting to view these pieces as pointing toward death, a “farewell” trilogy, the artistic testament of a dying man. Another famous Mahler soundbite to conclude—this from a letter he wrote to his wife in which he said, “My time will come.” The context was in relation to Strauss, as the sentence continues “when his has passed.” At the time of his death, age 50, Mahler was hailed as a great conductor but was seriously underrated, and often dismissed, as a composer. Strauss was more esteemed and far more often performed. Of the four symphonies the Philadelphians present this season, Mahler conducted his First 16 times, the Third a total of 15 times (not including a pre-premiere performance of the second movement in 1897 in Budapest), the Fifth nine times (he also performed just the Adagietto at a 1907 concert in Rome), and the Seventh just five times. It took decades for most of his pieces to enter the international repertoire, but in the wake of the 1960 centennial of his birth, Mahler was ascendent. By the end of the century, one might even say he

Mahler’s composition hut in Maiernigg, Austria, on Lake Wörth where he wrote the Symphonies No. 4, 5, 6, 7, and 8

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had become the new Beethoven in popularity and with his music frequently performed at festival occasions. For more than a century, symphonies by Beethoven (usually the Fifth or Ninth) were used at celebratory events. The Philadelphia Orchestra’s inaugural concert in 1900 featured the Fifth. Now, when a music director begins or ends their tenure, or when a new concert hall is dedicated, it is often marked with a Mahler symphony. His time, the vast all-embracing vision of his music, has arrived. 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.

The Philadelphia Orchestra’s first commercial recording, Brahms’s Hungarian Dance No. 5 Caricature drawings satirizing Mahler’s conducting style when he was director of the Vienna Court Opera, originally published in 1901 in the German humorous magazine Fliegende Blätter (Flying Leaves) 16

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NOTED IN PASSING

Jessica Griffin

The Philadelphia Orchestra mourns the passing of former violinist Booker Rowe on August 1 at the age of 85.

Born in Lexington, Kentucky, Mr. Rowe moved to Philadelphia at the age of two and began lessons in the sixth grade at the M. Hall Stanton School in North Philadelphia. In high school he was concertmaster of the West Philadelphia High School Orchestra, the All City High School Orchestra, and the All-Eastern Orchestra. He received his Bachelor of Music degree from Temple University and then played in the Nashville Symphony for two years. During this time, he also played in the Nashville Symphony String Quartet, making it the first racially integrated professional string quartet in the south. He received his master’s degree from Yale University and joined the National Symphony for the 1969–70 season. He premiered numerous new works by Black and other minority composers and played with many chamber music ensembles. He also performed with such artists as Sammy Davis, Jr., Isaac Hayes, Smokey Robinson, the Supremes, and Barbra Streisand, among others. He taught at Tennessee State University, Wesleyan University, the Settlement Music School, and the Community College of Philadelphia. In November 1968, Mr. Rowe received a phone call from Philadelphia Orchestra Personnel Manager Mason Jones saying that Eugene Ormandy had requested he play with the Orchestra for the remainder of the season as a substitute for a violinist who had just died. Thus, Mr. Rowe made history as the first Black musician to play in the ensemble. In 1970 Ormandy hired him back for a full-time position but on a conditional basis. He joined the Orchestra as a full-time member in 1971, the second Black member after violist Renard Edwards, who joined in 1970. Mr. Rowe retired in 2020. 17

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2026–2027 | 127TH SEASON MARIAN ANDERSON HALL

THE PHILADELPHIA ORCHESTRA Thursday, October 29, at 7:30 Friday, October 30, at 2:00 Saturday, October 31, at 2:00 Marin Alsop Conductor Yunchan Lim Piano Barber Symphony No. 1, Op. 9 (in one movement) Stravinsky Suite from The Firebird (1919 version) I. Introduction—The Firebird and its Dance II. The Princesses’ Round Dance III. Infernal Dance of King Kashcheï— IV. Berceuse— V. Finale Intermission Rachmaninoff Piano Concerto No. 3 in D minor, Op. 30 I. Allegro ma non tanto II. Intermezzo: Adagio— III. Finale: Alla breve This program runs approximately 2 hours.

These concerts are part of the James and Agnes Kim Fund for Korean Artistry and Engagement. The October 29 concert is sponsored by Davyd Booth and Constance and Michael Cone in Memory of Ruth Slenczynska.

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. 19

Jessica Griffin

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.

Yannick Nézet-Séguin is now in his 15th season with The Philadelphia Orchestra, serving as music and artistic director. His connection to the ensemble’s musicians has been praised by both concertgoers and critics, and he is esteemed by the musicians of the Orchestra, audiences, and the community. In addition to expanding the repertoire by embracing an ever-growing and diverse group of today’s composers, Yannick and the Orchestra are committed to performing and recording the works of previously overlooked composers.

The Philadelphia Orchestra takes great pride in its hometown, performing for the people of Philadelphia year-round, at the Kimmel Center for the Performing Arts, throughout the community, over the airwaves, and online. The Kimmel Center has been the ensemble’s home since 2001, and in 2024 Verizon Hall at the Kimmel Center was officially rededicated as Marian Anderson Hall in honor of the legendary contralto, civil rights icon, and Philadelphian. The Orchestra’s award-winning education and community programs connect, uplift, and celebrate nearly 40,000 Philadelphians and 250 schools from diverse communities annually, through inclusive arts education and vibrant engagement that reflect our city’s voices and expand access to creative opportunities. Students, families, and other community members can enjoy free and discounted experiences with The Philadelphia Orchestra through programs such as the Jane H. Kesson School Concerts, Family Concerts, Open Rehearsals, PlayINs, and Our City, Your Orchestra community concerts.

The Philadelphia Orchestra believes deeply in the power of music to connect people and the role cultural diplomacy can play in affecting change. Through concerts, national and international tours, residencies, and recordings, the Orchestra is a global ambassador and one of our nation’s greatest cultural exports. It performs annually at Carnegie Hall, the Highmark 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-topeople 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.

Photo: Jessica Griffin

@philorch

Ogata

PRINCIPAL GUEST CONDUCTOR One of the foremost conductors of our time, Marin Alsop is in her third season as principal guest conductor of The Philadelphia Orchestra, which involves a regular presence in the Orchestra’s subscription series in Philadelphia; at its summer festivals in Vail, Colorado, and Saratoga Springs, New York; and on tour. She made her Philadelphia Orchestra debut in 1990. Ms. Alsop made history as the first woman to serve as the head of major orchestras in the United States, South America, Austria, and Great Britain and is the first and only conductor to receive a MacArthur Fellowship. She is internationally recognized for her bold artistic leadership, innovative programming, commitment to education, and lifelong dedication to expanding the reach and impact of classical music. She serves as artistic director and chief conductor of the Polish National Radio Symphony and principal guest conductor of London’s Philharmonia Orchestra. She also made history as the first female conductor of the BBC’s Last Night of the Proms and made her long-awaited debut with the Berlin Philharmonic in 2025, where she became the first American-born woman to lead the orchestra. To promote and nurture the careers of women conductors, Ms. Alsop founded the Taki Alsop Conducting Fellowship in 2002 to empower extraordinary women conductors through intensive coaching, mentoring, and financial support. Today, the Fellowship includes 92 award recipients and mentees and among them, 32 music director/chief conductor titles are held with orchestras around the world.

Ms. Alsop’s 2026–27 season highlights include her return to the BBC Proms with the Philharmonia Orchestra, in addition to appearances with the Baltimore Symphony, the São Paulo State Symphony, the Singapore Symphony, the Oslo Philharmonic, the Orchestre de Paris, the Budapest Festival Orchestra, and the Rundfunk-Sinfonieorchester Berlin. She also embarks on her second tour of Asia with The Philadelphia Orchestra alongside piano virtuoso Yunchan Lim and will direct the 2027 Cincinnati May Festival, where she will lead one of the nation’s oldest and most distinguished choral festivals, championing both the choral-orchestral canon and contemporary works. Ms. Alsop’s discography comprises more than 200 titles, featuring music from the standard repertoire and by contemporary composers. Her 2024 album with John Adams’s City Noir was nominated for a GRAMMY Award. Her upcoming partnership with PENTATONE will including recordings of the Mahler symphony cycle, making her the first woman conductor to do so. In 2021 Ms. Alsop assumed the title of music director laureate of the Baltimore Symphony. During her 14-year tenure as its music director, she led the orchestra on its first European tour in 13 years, conducted more than two dozen world premieres, and founded the music education program OrchKids. She is the winner of the 2025 Golden Baton Award from the League of American Orchestras.

Shin-joong Kim

SOLOIST Since becoming the youngest person ever to win gold at the Van Cliburn International Piano Competition at the age of 18 in 2022, Yunchan Lim’s ascent to international stardom has been meteoric. He has made orchestral debuts with the New York, Los Angeles, Munich, Tokyo, and Seoul philharmonics; the Boston, Chicago, Lucerne, and BBC symphonies; the Orchestre de Paris; and the Orchestre Philharmonique de Radio France, among others. His Philadelphia Orchestra debut was in October 2025. Recital appearances have included Carnegie Hall, the Verbier Festival, Paris’ Philharmonie, Walt Disney Hall, Wigmore Hall, the Concertgebouw, and Suntory Hall. He regularly works with conductors such as Marin Alsop, Semyon Bychkov, Myung-Whun Chung, Gustavo Dudamel, Daniel Harding, Jakub Hrůša, Paavo Järvi, Vladimir Jurowski, Cristian Măcelaru, Klaus Mäkelä, Gianandrea Noseda, and Lahav Shani. Highlights of Mr. Lim’s 2026–27 season include a tour of Korea with The Philadelphia Orchestra and Marin Alsop. He gives a series of recitals performing the complete cycle of Mozart’s sonatas at both Carnegie Hall and Wigmore Hall, with additional recital debuts featuring selections of the all-Mozart program at the Berlin Philharmonie, Elphilharmonie, Musikverein, Teatro di San Carlo, Teatro del Maggio Musicale Fiorentino, Auditorio Nacional de Música, and L’Auditori. He makes his debut with the Berlin Philharmonic and Mr. Mäkelä; returns to the Royal Concertgebouw Orchestra, the Chicago Symphony, the Cleveland Orchestra, and Le Piano symphonique festival in Lucerne with the Lucerne Symphony and Mikhail Pletnev. An exclusive Decca Classics recording artist, Mr. Lim has been awarded the Opus Klassik Instrumentalist of the Year 2026 for his latest release, Goldberg Variations Live at Carnegie Hall. His acclaimed debut studio album, Chopin Études, has gone quadruple platinum in South Korea and topped the classical charts around the world. The album won a 2024 Gramophone Award in the piano category and Mr. Lim was named Young Artist of the Year. He also received a prestigious Diapason d’Or. He made history winning three awards at the BBC Music Magazine Awards, including Recording of the Year. His other Decca releases include his momentous performance of Rachmaninoff’s Piano Concerto No. 3 live from the Cliburn Competition and Tchaikovsky’s The Seasons. Born in Siheung, Korea, Mr. Lim began piano lessons at age seven. He entered the Music Academy of the Seoul Arts Center the next year and at age 13 met his teacher and mentor, Minsoo Sohn. A year later, in 2018, he captured international attention when he won both Second Prize and the Chopin Special Award in his first competition: the Cleveland International Piano Competition for Young Artists. That same year, he won the Third and Audience prizes at the Cooper International Competition. Following two years at the Korea National University of Arts, he studied at the New England Conservatory of Music with Mr. Sohn. 23

FRAMING THE PROGRAM PARALLEL EVENTS Philadelphia claims Samuel Barber as one of its own. Born 1909 Rachmaninoff Piano Concerto No. 3

1910 Stravinsky The Firebird

Music Strauss Elektra Literature Wells Tono-Bungay Art Matisse The Dance History Peary reaches the North Pole Music Elgar Violin Concerto Literature Forster Howard’s End Art Modigliani The Cellist History Japan annexes Korea

in the suburbs and trained at the Curtis Institute of Music, he went on to become one of the great composers of the 20th century. He wrote most of his one-movement First Symphony in Italy and finished it in France during his mid-20s, not long after graduating from Curtis. Igor Stravinsky’s Firebird proved to be the young Russian composer’s breakout success in 1910. The impresario Sergei Diaghilev commissioned the work for his Ballets Russes in Paris and its immediate popularity led to two more revolutionary ballets: Petrushka in 1911 and The Rite of Spring in 1913. All three have found a welcome place in the concert hall as dazzling orchestral showpieces.

As a celebrated composer, pianist, and conductor, Sergei Rachmaninoff had deep ties to The Philadelphia Orchestra that began during his first tour to America in 1909. The Orchestra would go on to give five significant world premieres of his works and also make landmark recordings with him as conductor and soloist. Building on the success of his Second Piano Concerto, Rachmaninoff wrote a new one for his first American tour. The Third 1935 Music Concerto has come to rival Tchaikovsky’s First as the Barber Orff great late Romantic piano concerto. Symphony No. 1 Carmina burana Literature Steinbeck Tortilla Flat Art Dalí Giraffe on Fire History Roosevelt signs Social Security Act

The Philadelphia Orchestra is the only orchestra in the world with three weekly broadcasts on SiriusXM’s Symphony Hall, Channel 66, on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 4 PM. 24

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THE MUSIC Symphony No. 1 Samuel Barber Born in West Chester, Pennsylvania, March 9, 1910 Died in New York City, January 23, 1981

Samuel Barber was a genuine Romantic who remained true to himself. His music has stood up—through its solid construction and innate lyricism—to some rather severe criticism from academic circles. As tonality and Romanticism have gained new acceptance, the value of Barber’s musical “stock” has risen considerably. Viewed as old-fashioned by critics during the composer’s lifetime, Barber’s music has always been embraced by audiences as delightfully lush and marvelously reassuring. It is music that one might expect of a Philadelphian trained at the Curtis Institute of Music: perfectly crafted, polished to a burnished glow, brusquely assertive yet deeply conservative. In 1932 Barber, aged 22, graduated from Curtis, where he had studied piano with Isabella Vengerova and composition with Rosario Scalero. Almost immediately his compositions began to attract attention: He won his second Columbia University Joseph H. Bearns Prize in 1933 (for the School for Scandal Overture), and shortly thereafter he received both a Prix de Rome from the American Academy and a Pulitzer Traveling Scholarship. His European years, spent mostly in Italy, constitute the most decisive stage of his development as a composer. There he not only sampled a different spectrum of musical styles than that available to him on Rittenhouse Square, but he also found the necessary tranquility and solitude—chiefly at the family estate of his partner Gian Carlo Menotti—to spend the long hours necessary to formulate a musical “voice.” Inspired by Sibelius Barber began the work that he initially called Symphony in One Movement in August 1935, completing it early the next year in France. Its immediate model was Jean Sibelius’s Seventh Symphony, also cast in four continuous movements. (In fact, within the same sketchbooks where Barber first drafted themes for his symphony, he had also sketched out the principal themes of Sibelius’s piece.) With its haunting seriousness and unflinchingly difficult concept, the Finnish master’s innovative work was clearly one of the composer’s models. Similarities to Robert Schumann’s cyclical Fourth Symphony are also evident. Almost immediately upon the Symphony’s completion, the Italian conductor Bernardino Molinari asked to conduct it. “He is enthusiastic about my Symphony,” Barber wrote to a friend in 1936. “He finds it moderna ma seria, and said at once he wanted it for his programs.” Molinari presented the world premiere in Rome in December 1936; the Italians 26

received the piece coolly (“at the time,” Barber remarked later, “it was thought too darktoned, too Nordic and Sibelian”), but it was received warmly at its American premiere, by the Cleveland Orchestra and conductor Rudolf Ringwald, in January 1937. Artur Rodzinski also became a champion of the piece, performing it with the New York Philharmonic that spring; in July it was also played at the Salzburg Festival, becoming the first orchestral composition by an American to appear there. In the Composer’s Words Barber supplied the following program note at the time of the first Philadelphia Orchestra performances of the Symphony in 1938: The Symphony in One Movement is a synthetic treatment of the four-movement classical symphony. It is based on the three themes of the initial Allegro ma non troppo, which retain throughout the work their fundamental character. The Allegro ma non troppo opens with the usual exposition of a main theme, a more lyric second theme, and a closing theme. After a brief development of the three themes, instead of the customary recapitulation, the first theme in diminution forms the basis of a scherzo section (Vivace). The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale, which is a short passacaglia based on the first theme (introduced by violoncellos and contrabasses), over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire Symphony. In 1942 Barber subjected the Symphony to a thorough revision, tightening its structure throughout and replacing the scherzo with a completely new one. Bruno Walter took up the piece in this new version, which he called “an astonishing work,” performing it with the Philadelphians and making the first commercial recording of it. The piece quickly took its place alongside Roy Harris’s Third and Howard Hanson’s “Romantic” as counting among the great American symphonies. —Paul J. Horsley 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. Barber composed his Symphony No. 1 from 1935 to 1936 and revised it in 1942.. In December 1938 Eugene Ormandy led The Philadelphia Orchestra in the Symphony’s original version, and in February 1944 Bruno Walter presented the world premiere of the work’s revised version with the Orchestra. Most recently on subscription, James Gaffigan led the piece in November 2017. The score calls for three flutes (III doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals), harp, and strings. Performance time is approximately 20 minutes.

THE MUSIC Suite from The Firebird (1919 version) Igor Stravinsky Born in Lomonosov, Russia, June 17, 1882 Died in New York City, April 6, 1971

On May 19, 1909, the impresario Sergei Diaghilev presented the Parisian debut of his troupe, the astonishing Ballets Russes. This revelatory first night featured both the brilliant dancer Vaslav Nijinsky and a stunning new ballet entitled La Pavilion d’Armide with music by Nikolai Tcherepnin and lavish decor by Alexandre Benois. The discriminating aesthete and diarist Count Harry Kessler wrote effusively to the poet Hugo von Hofmannsthal, “All in all, this Russian ballet is one of the most remarkable and significant artistic manifestations of our time.” The music was not the only aspect of the Ballets Russes to which Kessler reacted, however: The colorful sets and costumes designed by Léon Bakst and the revolutionary choreography by Mikhail Fokine also enthralled him. A Third-Choice Composer The success of that first season in Paris presented Diaghilev with a pressing problem: How was he to exceed this triumph for the 1910 season? One way was to commission a new ballet based on Russian folktales, Zhar-ptitsa (The Firebird). Diaghilev had his subject; his choreographer, Fokine; his set designer, Alexander Golovin; and his costume designer, Bakst. What he needed, urgently, was a composer. Diaghilev’s first choice was Tcherepnin, but he withdrew from the project early on. His second choice was Anatoli Liadov, a student of Rimsky-Korsakov who wrote enchanting tone poems on Russian subjects. Although later accounts claimed that Liadov was feckless about composing The Firebird, there is no documentary evidence that he agreed to write it in the first place. Running out of time, Diaghilev convinced one of Rimsky-Korsakov’s last pupils, the young Igor Stravinsky, to accept the commission. Stravinsky had a very short time to compose an extended and complex score. He began work in November 1909 and finished the following May. He worked closely with Fokine as he composed, although he did overrule the choreographer’s tasteless demand to have a suite of Russian dances conclude the ballet. After stormy rehearsals, The Firebird proved an immense success when it was premiered in Paris on June 25, 1910; it is not an exaggeration to say that it made Stravinsky famous overnight. While the sets, costumes, and choreography received praise, the music elicited an ecstatic response from critics, colleagues, and audiences alike. Capitalizing on this newfound fame, Stravinsky derived three suites from The Firebird: a short one in 1911, a more extended one in 1919 that incorporated revisions to the orchestration, and a final 28

version from 1945. Of these three, the 1919 one is the most often performed. A Closer Look For the 1919 Firebird Suite, Stravinsky excerpted six sections of his ballet score: the Introduction that leads directly into The Firebird and its Dance, The Princesses’ Round Dance, and the Infernal Dance of King Kashcheï that leads directly into the Berceuse—a lullaby—and then without pause to the Finale. By so doing, he maintains the outline of the plot, which was drawn from a collection of folktales collected by Alexander Afanasyev. These tales feature both the Firebird and the sinister figure of Kashcheï the Deathless. As Stravinsky’s father, the famous bass singer Fyodor Stravinsky, was a bibliophile who had amassed a remarkable collection of Russian folktales, so the composer was surely well aware of Afanasyev’s anthology. In addition, RimskyKorsakov had written a one-act opera in 1902 entitled Kashcheï the Deathless, for which Stravinsky had prepared the vocal score. The influence of this opera upon the plot and music of The Firebird is striking. The action of The Firebird is fantastical but straightforward. While out hunting, Tsarevich Ivan strays into the enchanted realm of Kashcheï. He captures the Firebird, who begs for her freedom. Ivan lets her go and in return gives him one of her feathers through which he can summon her aid in times of danger. Ivan happens upon a group of princesses, who have been taken prisoner by Kashcheï, and falls in love with the fairest of them. Confronted by Kashcheï himself, Ivan remembers the feather and waves it to summon the Firebird. She makes Kashcheï’s minions dance an Infernal Dance and during the following Berceuse, he and his servants fall into a deep sleep. Ivan smashes the egg that holds Kashcheï’s immortality, thus destroying him. The Finale, which begins with a noble horn solo, reveals Ivan and his bride sitting in majesty on glittering thrones as the orchestra evokes the tintinnabulation of Russian church bells. —Byron Adams Byron Adams is Emeritus Distinguished Professor of Musicology at the University of California, Riverside. Both composer and musicologist, he specializes in French and British music of the 19th and 20th centuries. Among his publications are two edited volumes, Edward Elgar and His World (2007) and Vaughan Williams and His World (2023), which he co-edited with Daniel M. Grimley. Stravinsky composed The Firebird from 1909 to 1910. Music from The Firebird was first played by The Philadelphia Orchestra in November 1917, when the 1911 Suite was led by Leopold Stokowski. The most recent subscription performances were in April 2025, when Yannick Nézet-Séguin conducted the entire ballet music. The Philadelphia Orchestra has recorded the Firebird Suite seven times: in 1924, 1927, and 1935 with Stokowski for RCA; in 1953 and 1967 with Eugene Ormandy for CBS; in 1973 with Ormandy for RCA; and in 1978 with Riccardo Muti for EMI. The score for the 1919 Suite calls for two flutes (II doubling piccolo), two oboes (II doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, tambourine, triangle, xylophone), harp, piano (doubling celesta), and strings. The work runs approximately 20 minutes in performance.

THE MUSIC Piano Concerto No. 3 Sergei Rachmaninoff Born in Semyonovo, Russia, April 1, 1873 Died in Beverly Hills, California, March 28, 1943

Sergei Rachmaninoff was born to a well-to-do family that cultivated his prodigious musical gifts. His mother was his first piano teacher and at age nine he began studies at the St. Petersburg Conservatory but floundered. The family finances were declining, as was his parents’ marriage, and he transferred to the Moscow Conservatory, where he thrived. He met leading Russian musicians, studied with some of them, and won the support of his hero, Tchaikovsky. Upon graduation in the spring of 1892 Rachmaninoff was awarded the Great Gold Medal, a rarely bestowed honor. His career as both pianist and composer was clearly on the rise with impressive works such as the Piano Concerto No. 1, the one-act opera Aleko (about which Tchaikovsky enthused), and pieces in a variety of other genres. One piano work written at age 18 received almost too much attention: the C-sharp minor Prelude, the extraordinary popularity of which meant he found himself having to perform it for the rest of his life. Early Success, Failure, and Success Rachmaninoff seemed on track for a brilliant and charmed career, the true successor to Tchaikovsky. Then things went terribly wrong with the premiere of his Symphony No. 1 in D minor, which proved to be one of the legendary fiascos in music history and a bitter shock to Rachmaninoff just days before his 24th birthday. Alexander Glazunov, an eminent composer and teacher but, according to various reports, a mediocre conductor, led the ill-fated performance in March 1897. The event plunged Rachmaninoff into deep despair: “When the indescribable torture of this performance had at last come to an end, I was a different man.” For some three years Rachmaninoff stopped composing, although he continued to perform as a pianist and began to establish a prominent new career as a conductor. He eventually found therapeutic relief and reemerged in 1901 with the Second Piano Concerto, an instant success. The following year, after surmounting religious obstacles, he married his cousin Natalia Satina, with whom he had two daughters. He composed primarily during summers at a pastoral estate called Ivanovka, some 300 miles south of Moscow. Rachmaninoff continued to build on the compositional successes of his Second Piano Concerto and Second Symphony during what turned out to be the most productive period of his career. Now in his mid-30s, he was about to undertake his first tour to America in 1909. In preparation, he decided to write a new concerto, again 30

amidst the calm of the family retreat in Ivanovka. Rachmaninoff dedicated the Third Concerto to Josef Hofmann, the great Polish-born pianist who would later become the director of the Curtis Institute of Music. Soon after his friend’s death, Hofmann commented: “Rachmaninoff was made of steel and gold; steel in his arms, gold in his heart.” In the end, Hofmann never performed the piece, which Rachmaninoff premiered as soloist in November 1909 with Walter Damrosch leading the New York Symphony Orchestra. After a few weeks elsewhere on his three-month tour, Rachmaninoff played the piece again in New York, this time with Gustav Mahler conducting the New York Philharmonic. (The competing orchestras later merged.) A Closer Look The unforgettable opening of the Third Piano Concerto (Allegro ma non tanto) is simplicity itself: a hauntingly beautiful melody played in octaves that has a chant-like quality. Rachmaninoff stated that it was “borrowed neither from folk song nor from ecclesiastical sources. It just ‘got written.’ … I wanted to ‘sing’ a melody on the piano the way singers sing.” Rachmaninoff composed two cadenzas, both of which he played. The short coda returns to the opening melody. The following Intermezzo: Adagio begins with an orchestral section presenting the principal melodic ideas, melancholic in tone, until the piano enters building to a broadly Romantic theme. There is a very brief, fast, scherzo-like section that leads without pause into the thrilling and technically dazzling Finale: Alla breve. The movement recycles some of the musical ideas of the first one, making this one of the most unified of the composer’s concertos. —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. Rachmaninoff composed his Piano Concerto No. 3 in 1909. Alfred Cortot was the soloist in The Philadelphia Orchestra's first performances of the Concerto, in January 1920 with Leopold Stokowski. Rachmaninoff himself performed it with the Orchestra in February 1920 (with Stokowski) and in December 1939 (with Eugene Ormandy). The most recent subscription performances were in May 2024 with pianist Leif Ove Andsnes and Dalia Stasevska. The Orchestra has recorded Rachmaninoff ’s Third Piano Concerto four times: in 1939 with the composer and Ormandy for RCA; in 1975 with Vladimir Ashkenazy and Ormandy for RCA; in 1986 with Andrei Gavrilov and Riccardo Muti for EMI; and in 2016 with Daniil Trifonov and Yannick Nézet-Séguin for Deutsche Grammophon. Rachmaninoff ’s score calls for solo piano, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum), and strings. The Third Concerto runs approximately 45 minutes in performance.

MUSICAL TERMS GENERAL TERMS Berceuse: Lullaby Cadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or composition Chord: The simultaneous sounding of three or more tones Chromatic: Relating to tones foreign to a given key (scale) or chord Coda: A concluding section or passage added in order to confirm the impression of finality Diatonic: Melody or harmony drawn primarily from the tones of the major or minor scale Ground bass: A continually repeated bass phrase of four or eight measures Harmony: The combination of simultaneously sounded musical notes to produce chords and chord progressions Intermezzo: A short connecting instrumental movement in an opera or other musical work Mute: A mechanical device used on musical instruments to muffle the tone Octave: The interval between any two notes that are seven diatonic (nonchromatic) scale degrees apart Op.: Abbreviation for opus, a term used to indicate the chronological position of a composition within a composer’s output. Opus numbers are not always reliable because they are often applied in the order of publication rather than composition. Passacaglia: An instrumental musical composition consisting of variations usually on a ground bass in moderately slow triple time Recapitulation: See sonata form Scale: The series of tones which form (a) any major or minor key or (b) the chromatic scale of successive semi-tonic steps Scherzo: Literally “a joke.” Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is

followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo, vigorous rhythm, and humorous contrasts. Also an instrumental piece of a light, piquant, humorous character. Sonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then “developed.” In the recapitulation, the exposition is repeated with modifications. Suite: During the Baroque period, an instrumental genre consisting of several movements in the same key, some or all of which were based on the forms and styles of dance music. Later, a group of pieces extracted from a larger work, especially an opera or ballet. Tonality: The orientation of melodies and harmonies toward a specific pitch or pitches Tone poem: A type of 19th-century symphonic piece in one movement, which is based upon an extramusical idea, either poetic or descriptive Tonic: The keynote of a scale THE SPEED OF MUSIC (Tempo) Adagio: Leisurely, slow Alla breve: (1) 2/2 meter [cut time]. (2) Twice as fast as before. Allegro: Bright, fast Andante: Walking speed Tranquillo: Quiet, peaceful, soft Vivace: Lively TEMPO MODIFIERS Ma non tanto: But not too much so Ma non troppo: (But) not too much DYNAMIC MARKS Crescendo: Increasing volume

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BOARD OF TRUSTEES The Philadelphia Orchestra and Ensemble Arts BOARD OF TRUSTEES Ralph W. Muller, Chair Ryan Fleur, President and Chief Executive Officer Yannick Nézet-Séguin, Music and Artistic Director, The Philadelphia Orchestra James P. Brandau Patrick J. Brennan, M.D. Jeffrey Brown Karen Dougherty Buchholz Elaine Woo Camarda Joseph Ciresi David L. Cohen Michael M. Cone Joseph Conyers* Robert R. Corrato, M.D. Sarah Miller Coulson Robert Curley Robert J. Delany, Sr. Mark S. Dichter Jeff Dittus Carl E. Dranoff Joseph M. Field Ryan Fleur* Mark J. Foley John Fry Lauren Gilchrist Donald A. Goldsmith Amy Gutmann, Ph.D. Janet Haas, M.D. Susan Hakkarainen, Ph.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 Deborah Ledley* Brook J. Lenfest Jeffrey A. Leonard Bruce G. Leto Tod J. MacKenzie Joseph M. Manko Sr.

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Susan Y. Kim Frederick W. Kyle 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

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THE PHILADELPHIA ORCHESTRA AND ENSEMBLE ARTS PRESIDENT’S LEADERSHIP COUNCIL Robert Bogle Sheldon M. Bonovitz Willo Carey Kathleen P. Chimicles Gerard P. Cuddy Peter Dachowski Kenneth E. Davis Rodney D. Day III Peter J. Dean, Co-Chair Thomas A. Decker James F. Dougherty, V.M.D., CoChair 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. 35

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ANNUAL FUND Philanthropic support inspires and sustains The Philadelphia Orchestra’s work on stage, in our local communities, and around the world. We are proud to recognize our generous Annual Fund donors by name on this and subsequent pages. We extend our deepest gratitude to every donor, including those listed anonymously and at levels not included in this program. For more information about donating to the Annual Fund at any level, please contact us at 215.893.3151 or development@ philorch.org, or visit philorch.org/donate. Contributions listed were received between January 1, 2025, and June 30, 2026. Please contact us if your name has been omitted in error or if you would like to update your recognition name.

ARTISTIC COUNCIL $500,000 AND ABOVE Elaine W. Camarda and A. Morris Williams, Jr. Ambassador David L. Cohen (ret.) and Mrs. Rhonda R. Cohen Estate of Mr. Robert T. Foley Dr. Amy Gutmann and Dr. Michael Doyle Osagie and Losenge Imasogie James and Agnes Kim Foundation John H. McFadden and Lisa D. Kabnick Leslie A. Miller and Richard B. Worley Adele K. Schaeffer Waterman Trust Anonymous (3) ARTISTIC COUNCIL $125,000 TO $499,999 Lois and Julian Brodsky Elaine W. Camarda The CHG Charitable Trust Dr. Alan R. Cohen and Michele Langer Constance and Michael Cone Dr. and Mrs. Robert R. Corrato Sarah Miller Coulson Tobey and Mark Dichter Dr. James F. Dougherty Susan and Jonas Ellenberg Robert Heim and Eileen Kennedy Gretchen and M. Roy Jackson Bennett Keiser and Joy Wilf Keiser Dr. Richard M. Klein Neal Krouse and Karl Fong Ralph and Beth Johnston Muller Caroline B. Rogers Peter and Mari Shaw Dr. and Mrs. Joseph B. Townsend Carol Tyler PRESENTERS CIRCLE $75,000 TO $124,999 Joseph and Marie Field Mrs. Penelope P. Harris Sandy and David G. Marshall Ms. Stephanie W. Naidoff, Esq. 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 Judith Broudy Christos Coutifaris and Deborah Driscoll Linda and David Glickstein Otto Haas Charitable Trust Mr. and Mrs. Chris Keith Joseph M. Manko, in loving memory of Lynn Manko

Estate of Ron North Robert L. Pratter Salkind Family Foundation Diane Schneider Richard and Amanda Smoot Mr. Oscar Tang and Dr. Agnes Hsu-Tang Michael and Renee Vennera Anonymous PRESENTERS CIRCLE $25,000 TO $49,999 Vijay and Susan Aggarwal Donald E. Barb, Esq., and the Rev. Bruce H. Davidson Peter A. Benoliel* and Willo Carey James and Micaela Brandau Karen Dougherty Buchholz Mr. and Mrs. Christopher B. Chandor Mr. and Mrs. John Fry Barbara and Jerome Glickman Juliet J. Goodfriend and Marc R. Moreau Nancy Gottlieb and Michael Spolan Vivian and Mark Greenberg Susan Hakkarainen Julia A. Haller, M.D. Ed and Ellen Hanway Ann S. and Steven B. Hutton Patricia and John Imbesi Rachelle and Ronald Kaiserman Gay and Donald Kimelman Dr. Peter Langmuir and Dr. Colette Desrochers Drs. Joan and Brook Lau Marguerite and Gerry* Lenfest In honor of Katherine O. Leone Mr. and Mrs. Bruce Leto Chris and Jeffrey Libson Susan and Frank Mechura Dr. and Mrs. John L. Neigh Miriam Ort and Lawrence Hirsch Estates of Adolf and Geraldine Paier Claudio Pasquinelli and Kyong-Mi Chang Benjamin N. Persofsky and Danielle Sandsmark Robert and Lynne Pollack Red Moose Charitable Trust Beth L. Rogers Lyn M. Ross Vincent N. and Lila Russo Allan Schimmel and Reid Reames* Constance Smukler, Trustee Smukler-Lasch Family Trust Dr. Cecilia Segawa Seigle Tannenbaum Mr. Wayne Titerence and Ms. Vicki Mechner Thomas and Patricia Vernon Judith W. Whellan Steve and Mary Beth Young Martin Zeldin and Bill Brinkman Anonymous

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PRESENTERS CIRCLE $15,000 TO $24,999 Barbara A. Alleva and Donald Ross Gant Dr. James R. Anderson M. Therese and Barry Bentley Mr. and Mrs. Robert Bickford Drew Camarda Alice Chen-Plotkin and Joshua Plotkin John Cornell Joslyn G. Ewart Mr. and Mrs. Moses Feldman Claudia and Richard Fischer Ryan Fleur and Laura Banchero Drs. Peter and Pamela Freyd John and Beth Gamel The Gant Family Foundation Ken and Sue Greathouse Peter Grove and Nancy Greene Leon and Miriam Hamui Joseph and Bette Hirsch Terry and Ann Marie Horner Toba and Lawrence Kerson Kevin King and Susan West King Sanford and Carol Levy Household Sally and Tod MacKenzie Tom and Linda McCarthy Jane G. Pepper Jeffrey and Deborah Pierce The Estate of Miss E. Irene Reymann Jon and Karen Richter Dianne and Jeffrey Rotwitt Mr. Richard J. Shaginaw Molly Shepard and Peter Dean Joan N. Stern Mr. and Mrs. Sheldon Lee Thompson Charles and Suzanne Valutas Dr. Bettyruth Walter Jennifer and Ralph Watts Carol A. Westfall Anonymous (4) PRESENTERS CIRCLE $10,000 TO $14,999 Erika Aaron and Marc Fliegelman 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 William and Sylvia Barone Drs. Robert and Jean Belasco Mr. George Benes and Mr. Michael T. Mallee Isabelle Benton and Aileen White 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 The Clarke Family Fund

Dr. Rosemary Cook Joyce Creamer Richard and Patricia Cummines Kenneth and Nancy Davis MaryAnn Edwards* Dr. Bruce Eisenstein in memory of Dr. Toby Eisenstein Alex J. Ettl Foundation Eph and Pat Fithian Mr. and Mrs. David M. Friedman Mr. and Ms. Donald A. Goldsmith Janet Goldstein In memory of Rena and Morton C. Grad and John de Lancie Nancy S. Halpern Fred and Michelle Harde Mr. and Mrs. Stephen Harris Katherine Hatton and Richard Bilotti Nina Henderson Ms. Rhoda K. Herrold, in memory of Deenie and Yale Evelev Richard H. Holzer Memorial Foundation Eric and Lenora Hume Stockton Illoway and Mac K. Griswold Ms. Lisa R. Jacobs Andrew Jacobson and Carol Overvold Lyn Kratz and Pamela French Jeffrey Leonard Nestor Llorente and Don Jones Lurie Family Foundation Dr. Ann Elizabeth Mayer Paul H. McKelvie Mr. and Mrs. Bruce McKittrick Missy and Bob McQuiston Estate of Mary and David Meese Arlene N. and David Morgan Dr. Jill Mortensen Mr. Alexander Nikas and Dr. Marianne Ruhl Nikas Mrs. Sarah Peterson Dr. and Mrs. Joel and Bobbie Porter Susan and David Rattner Allan Rayfield Mrs. Willa Rosenbloom Dr. Marta Rozans and Prof. Ilan Peleg Edward and Shelley Sigman Kathleen and Roger Smith Samuel and Rosanne Spear Walter and Alice Strine, Esqs. Kathrine Abbat Threefoot The Vert Charitable Trust Peggy Wachs Penelope and Thomas Watkins Mary E. Webb Anonymous (5) AMBASSADORS CIRCLE $5,000 TO $9,999 Mrs. Neysa Adams

Mr. and Mrs. Lawrence J. Arem Drs. Janine and Barry Arkles Lynn Axelroth and Cricket Handsaker The Albert W. Bader Foundation Drs. Claudia and Richard Balderston Carol Beam Jeff Benoliel and Amy Branch John D. Benson, Esq. Narinder and Tracy Bhalla Andrea Biondo and Kenneth Hartzell Allen D. Black* and R. Randolph Apgar Ms. Donna Brennan and Dr. James Bergey Dr. and Mrs. I. Stephen Brown Julie Jensen Bryan Mr. and Mrs. James M. Buck III 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 Dr. Robert Cody Stephen Cohen and John McNett Ruth M. and Tristram* C. Colket, Jr. Peggy Cooke Jeffrey Cooper and Nancy Klaus Evelyn S.* and Rodney D. Day III Mr.* and Mrs. Willem K. Dikland Ellason Downs Perpetual Charitable Trust Ms. Carol S. Eicher Mr. and Mrs. Spencer Ervin, Jr. Audrey Escoll Andrew E. Faust and Ann Russavage-Faust Mary Felley Allen R. and Judy Brick Freedman John R. and Karen S. Fulton III Patsy and Ed Garno Jim and Kay Gately Anna Marie and Michael Gewirtz Ms. Phyllis S. Gitlin Howard and Norah Goldfine Mary L. Goldman David and Bonnie Goldmann Mrs. Antonia Gordon Charles and Alison Graham Lyn and Harry Groome Gni Grossman and Christopher Murray Diana and Robert Harding Mr. Charles Head, Jr., and Mr. John Faggotti Hope and Stephen Heaney Martin and Cynthia Heckscher Mr. and Mrs. Christopher Henkels, in memory of Paul M. Henkels Marybeth Henry Jan Hoek and Marja Hoek-Smit 39

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$5,000 TO $9,999 CONT. Mr. and Mrs. Joseph Jacovini Susan E. Kane Arthur M. Kaplan and R. Duane Perry Estate of Robert Michael Kelly Mr. and Ms. Andy Kirk Ms. Gabrielle Kissling Dr. and Mrs. Anton J. Kleiner Mr. and Mrs. Robert C. Kline 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 Joseph Manko, Jr., and Jennifer Porges Dr. and Mrs. Richard Markowitz Dwight and Christina McCawley Susan and Graham McDonald Mr. and Mrs. James M. McGrath Mr. and Mrs. Joseph J. McLaughlin, Jr. Robert and Claire McLear Mr. and Mrs. Marshall Meyer Mr. and Mrs. Paul W. Meyer Madelyn Mignatti Mr. Mladen Milic and Dr. Barbara Wolf Mr. and Mrs. Stephen Miller Mr. and Mrs. Kenneth D. Mitchell Mr. and Mrs. H. Laddie Montague, Jr. Virginia Montgomery Mr. and Mrs. Rodman W. Moorhead III 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 Hai-Ye Ni and Alfred A. Brown Northwest Connecticut Community Foundation, Inc. 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 Sevgi B. Rodan, Ph.D. Marney Roia Dr. Louis and Mrs. Val Rossman Linda S. Rothermel Marilyn C. Sanborne and Richard J. Labowskie Mr. and Mrs. Charles Schelke Mrs. Carole L. Schultz

Fredda L. Segal Christine J. Shamborsky Mary Ann Stehr Elizabeth Stokes and Lynne Brown Stacy Stone and Stephen McMillan Mr. and Mrs. William Stone Dr. Edward L. Sung Ardith Talbott Dr. Alan E. Tasoff and Jacalyn Shelley-Tasoff Cynthia Tehan and Ed Dougherty Ms. Nancy L. Tindall Bill Untereker Nancy and Bruce Urbschat Mr. and Mrs. Archbold D. van Beuren Richard and Carolyn Veith Maria Parisi Vickers Laurie Wagman Dr. R.J. Wallner Rebecca Wells and John Tobias Alan and Leni Windle Ursule Phaeton Yates Mr. and Mrs. Harold L. Yoh III Daniel Yoshor Walter A. Zanchuk and Norma Milne Zanchuk Stephen Zeller James W. and Debora C. Zug Anonymous (13) AMBASSADORS CIRCLE $3,500 TO $4,999 Kenneth Abbott Amaranth Foundation, Joan M. Moran, Trustee Gary and Mary Ammon Dr. Ronald and Mrs. Catherine Anderson Dr. Carolyn Asbury Mary Jo Ashenfelter and Thomas S. Heckman Myrna and Howard* Asher Theodore H. Ashford Sarah Batchelor and Kirk Schneider Joel D. Beaver Jan R. Birsch Mr. and Mrs. Stephen Bleyer Samuel A. Bobrow and Maxine Blum Dr. and Dr. Bruce M. Bogdanoff The Bohan and Fox Family Ira Brind and Stacey Spector Ms. Marilyn A. Brown Nancy Carey and DeWitt Brown Barbara R. Cobb for the Hamilton Family Foundation Hon. Lita Indzel Cohen Selden Cooper and Paige Edwards Ms. Eileen Courtney Dr. Ana Diez-Roux and Mr. Jose A. 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 Ren Egawa in memory of Jan Popper Helen and Phillip Escaravage Robert N. and Doris D. Fanelli 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 Robert Gelsher Eduardo Glandt and George Ritchie Susan Kohn Gleeksman Joseph and Jane Goldblum Robert Graff Stephan A. Grupp and Sheryl Forste-Grupp Mr. Richard Guerrein and Mr. Harry Miller Mrs. Jane M. Hastings Archibald C. Hewes Mike Hinkson Kathy Hirsh-Pasek and Jeffrey Pasek Lois Horgan Dr. and Mrs. Leonid Hrebien Mark and Sally Hurwitz Erika James Ralph Johanson Mr. and Mrs. Melvin Jones Clare Kahn Donald and Dorothy Kardon Dr. Maureen Kelly Kenneth Klothen and Eve Biskind Klothen Timothy E. Koehler Mrs. Beth Ann Wahl Kolpen and Mr. Jack Kolpen Shira Kramer and Leon Josowitz Robert Logemann Drs. W.B. and Sarah S. Long Dr. and Mrs. Michael B. Love Lawrence and Nancy Ludgus Robert and Lynn V.D. Luft Mr. and Mrs. Robert Lukens Linda and David Marder Dr. Bernard A. Mason and Jane R. Mason Denise McCleary and Paul von Behren Russell L. McTague Michael and Anna Minkovich Margarita Montanaro Mrs. Beverly Monteverde Mr. Edward A. Montgomery, Jr. Mr. and Mrs. Stuart Ockman Ellen J. Odoner and Edward W. Kerson Mr. Frederick Oster and Ms. Catherine Jacobs

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Linda and David Paskin Barbara L. Phillips Mrs. Vivian W. Piasecki* Dr. Leo Podolsky and Ms. Debra Ross David Rhody David Richman and Janet Perry Dr. Elizabeth and Mr. Hershel Richman Gretchen and Jay Riley Pamela and Gresham Riley Mr. Hugh Rosenbaum Mr. and Mrs. Mark E. Rubenstein John Salveson 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 T. Harris Mr. and Mrs. Robert L. Stevens Mr. Brian A. Stumm Gabriella and Norman Sykes Jack and Ramona Vosbikian Dr. and Ms. Scott A. Waldman Daniel V. Walls* Julie D. Williams John Zurlo and Margaret Kreher Anonymous (2) FRIENDS CIRCLE $2,500 TO $3,499 Dr. Janice Asher Richard and Jane Baron Ellen W. Baxter and Robert W. Kavash Cathy and Saul Behar Robert D. Behar Ms. Diane Bernoff Howard Blumstein Lois Boyce Ms. Linda Bross Mrs. Linda Burke The Estate of Mr. and Mrs. Charles M. Butler Mark and Cindy Butler Stephen Denning Dr. H.T. Dombrowski Dr. and Mrs. William L. Elkins Thomas Faracco Ellen W. Freeman Charles and Judith Freyer Michael Gealt and Maryjanet McNamara Dr. and Mrs. Thomas P. Gerrity Glazer Family Foundation Mr. and Mrs. William J. Hill Melissa Hsu Mr. and Mrs. Richard B. Johnson Lori Julian Mr. and Mrs. Howard L. Kaye

Denise and Robert Keyser David and Jane Kim Mrs. Sylvia Kreithen Janet Kronfeld Dr. Leona Laskin Sherman Leis and Bozena Bonneau Sheila Leith Fran and Leon L. Levy Merle and Marvin Levy Ms. Carolyn Lewis Sylvia and Norman Lieberman Jay Lippincott Elizabeth M. Mahoney Elizabeth McLean Dr. Howard and Janet Mendel Ms. Nancy L. Middlebrook Kathleen S. and Arthur S. Miller Dr. Margaret Motl Charles and Etta Nissman Jonathan Pearce Judy and Jim Pohlman Ms. Nancy Pontone Mr. and Mrs. Alfred Rauch, Jr. John and Claire Rodgers 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 Paul Starita and Carolyn E. Prue Dr. Christina A. Stasiuk and Mr. George M. Farion Dr. Mary K. Stom and Ms. Dru E. Hammell Jadwiga Villa Mr. and Mrs. Luciano Virgili Nina Robinson Vitow 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 (4)

Daniel Christiansen Mr. 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 Ruth M. Kasow Thomas Kerrigan Marjorie and Nolan* Miller Kathleen Moran and Nicholas Smith April and Brendan O’Brien Mr. and Mrs. Anthony Orlando Doris Parent Anna Marie Ahn Petersen Harold Hall Robinson Olivia Schultz Christopher Shaw Joseph Sinkus and Christopher Labonte Drs. Kobie A. Smith and Vincent T. Harris Anonymous *Deceased

We are proud to recognize the following musicians, retired musicians, and staff who have generously contributed to the Annual Fund. Mr. and Mrs. Blair J. Bollinger Davyd Booth and Carlos Perez* 41

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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 January 1, 2025, and June 30, 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 Ford Foundation The Horace W. Goldsmith Foundation The Hess Foundation Knight Foundation William Penn Foundation Pennsylvania Department of Community & Economic Development Philadelphia City Council $100,000 TO $499,999 The Arcadia Foundation Bank of China The CHG Charitable Trust China National Tourist Office New York Independence Blue Cross Merck and Co., Inc. PECO PNC Bank The Presser Foundation TD Bank $50,000 TO $99,999 Paul M. Angell Foundation Bells Grocery Store Chubb John Ciccone Playhouse KeyBank Kind Insurance KPK Development Co. LP The McLean Contributionship Vault Communications TN Ward Company Builders Anonymous $25,000 TO $49,999 Abington Neurological Associates Action Karate Brotherston Homecare China Center for International Communication Development Comcast NBCUniversal Drexel University Eagles Autism Foundation Faegre Drinker Biddle & Reath, LLP Amy P. Goldman Foundation Gray Charitable Trust Hamilton Family Charitable Trust Highmark Blue Shield The Christian Humann Foundation JKG Florida Business Corp. Katznelson Associates, LP MKM Foundation Ninja Transfers LLC Oak View Group Hospitality Ollin, LLC Raynier Institute & Foundation Rush Order Tees Tito’s Handmade Vodka

$15,000 TO $24,999 Cozen O’Connor Duane Morris, LP Essential Utilities Ana Ferriera Law Office The Anne M. and Philip H. Glatfelter III Family Foundation Independence Foundation The Blanche and Irving Laurie Foundation JPMorganChase Mrs. Ressler’s Food Products Truist Universal Health Services, Inc. $10,000 TO $14,999 Always Best Care Senior Services Elliott-Lewis Corporation The Hassel Foundation Laudenbach Periodontics and Dental Implants Lincoln Financial Group Foundation One Source Reps Origlio Beverage Qlik MJ Settelen Subbio Center for Plastic Surgery Team Clean, Inc. $5,000 TO $9,999 The Capital Grille The Aaron Copland Fund for Music, Inc. C.S.F. Technologies DBS Audio Systems Deshow Wellness & Aesthetic Center Dolfinger-McMahon Foundation Gitlin Family Foundation Grant Thornton, LLP HUB International H.F Lenfest Fund of the Philadelphia Foundation Christian R. and Mary F. Lindback Foundation M&T Bank M3 Printing Philadelphia International Airport Sarah West Real Estate PC

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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. The Volunteer Committees for The Philadelphia Orchestra are grateful to the Lynn K. Manko Volunteer Endowment Fund for its ongoing support. List complete as of July 21, 2026 EXECUTIVE COMMITTEE OFFICERS Deborah Ledley*, President Richelle Rabenou, Immediate Past President Marie Kenkelen, Vice President Diane Larzelere, Treasurer Sheila Cox*, Secretary GOVERNING BOARD CHAIRS Central: Jean Park Main Line: Jill Acker New Jersey: Diane Larzelere Rittenhouse Square: Marlena Kleit and Fran Schwartz Starlight Circle: Anna Minkovich STANDING COMMITTEE CHAIRS Annual Giving: Nancy Galloway Education: Michelle Fella Przybylowski* Marketing: Robin Bender Stevens

Special Functions: Jennifer Porges Volunteer Archives: Elizabeth A. Crowell VOLUNTEER COMMITTEE MEMBERS Dennis Adams Dr. Susan C. Aldridge Kimberly Allen Pam Alles Barbara A. Alleva Rosana Anchondo-Issak* Mrs. Betsy Anderson Dr. Marilyn H. Appel Dr. Nikki Ariaratnam Kelly Arzoumanian Sylvia Barone William Barone 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 Deanna Blackwell Jordan Blackwell Mrs. Thomas H. Bliss Ann Young Bloom Mrs. Peter Bodenheimer Katherine Borish Lois Boyce Judith Bradley Sibby Brasler Anna Breyman Lev Breyman Mrs. Leanore Brookman Judith Broudy Ms. Carol Melman Brown Mrs. Roland K. Bullard II Robin Burgos Mrs. Howard Butcher IV Mrs. John P. Butler III Mrs. Donald F. Cafiero Mrs. Alfred M. Campbell III Beverly Caplan-Freeman Fran Cardella* Lorin Carlson-Healy Nicole A. Cashman Mrs. Thomas A.V. Cassel Sara Cerato Kris Christensen DeAnn P. Clancy Rebecca Clement Marsha Cohen Frances Connolly Peggy Cooke

Mrs. Lawrence Freed Cooper Michael Coraluzzi Sarah Miller Coulson Mrs. James E. Crutchfield 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 Diane Fuchs 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 Jennifer Goodbinder* Dr. Janice Taylor Gordon Dr. Thelma B. Gosfield Mrs. Richard B. Gould Carole H. Gravagno Grete Greenacre Susan Grossman Ms. Nancy V. Gulick Kate Hall Ronna Hall Noel Butcher Hanley Fred Harde Michelle Harde* Mrs. Jane M. Hastings Mrs. Patricia Heidler Marybeth Henry Mrs. Frances Herr* Mrs. Robert B. Hobbs, Jr. Joan R. Holmes Mrs. Stephen R. Holstad Eric Hume Lenora Hume Dr. Adrienne Jacoby David Jannetta Yardly R. Jenkins 43

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Jamie Joffe Karen Jones Mrs. Mary Anne Dutt Justice Mrs. Wilma C. Katz Ms. Phyllis Kauffman Debra Kempf Kris Kent Gina Kernicky John Kernicky Diane Kessler Liz Knudsen* Ms. Ellen G. Kopeland Mrs. Bernice J. Koplin Laura Bender Koropey Mrs. Anthony Lame Mrs. MaryAnn Landmesser Kelsey Larzelere Molly Lawrence 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 Lisa Lloyd 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 Dr. Susan McGroarty Mrs. Stella McSparran Ms. Peg Mertz Harvey S. Shipley Miller Mrs. Keiko Miller Leslie A. Miller

Mrs. Philippus Miller, Jr. Michael Minkovich JoAnn Morgano 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 Mrs. Wilber W. Oaks, Jr. Kay O’Grady Diane Oliva Mrs. Mimi O’Malley Carol Orenstein Mrs. Eleanor Oxman* Alice Pakman* Mrs. Regina H. Pakradooni Claudio Pasquinelli* Mrs. Sandra Pfaff Mrs. John W. Piasecki Linda Pizzi* Elizabeth Pontillo Mrs. Malcolm D. Pryor 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 Schupbach

Mrs. Michael P. Schwartz Faye Senneca Linda A. Serotta Maria Shamkalian Marla Share Carol C. Sherman Annabelle Shore Ron Simon Ms. Irina Sipe Theresa Slater Mrs. Carol Smith Cyndee Solomon Ann Sorgenti Carol Spinelli Joyce Stein Dee Dee Stewart 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 Sharon Yoh Bonnie Young Mrs. Gilbert G. Young Anonymous (4) *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 2026 Notable Kitchen Tour: Bluebell Fine Cabinetry & Design Cullen Construction Ernst Brothers Judith Gibbons Hallowell Construction Company Kountry Kraft, Inc. Pinemar Royer Cooper Cohen Braunfeld LLC Skylight Foundation Spire Builders The Hope and Tim Ulrich Fund Lisa Yakulis Properties Peter Zimmerman Architects, Inc. 44

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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 June 30, 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 Donors to the Allison Vulgamore Legacy Endowment Fund The Wahl Endowment Fund for Music Education, established by Beth Ann Wahl Kolpen 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 Mrs. William Gerstley II* Deborah E. Glass 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)

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 In memory of John B. Leake William Lake Leonard Mrs. Anna Hayward Lisle*

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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. Contributions received between January 1, 2025, and June 30, 2026

PROSCENIUM CIRCLE $25,000 AND ABOVE Joanna McNeil Lewis Leslie A. Miller and Richard B. Worley Pennsylvania Department of Community and Economic Development Caroline B. Rogers Twenty Fifth Century Foundation DIRECTORS CIRCLE $10,000 TO $24,999 Mr. and Mrs. S. Matthews V. Hamilton Jr. Mr. and Mrs. Harry Edward Hill III Bruce and Robyn Leto Ms. Jacqueline Badger Mars Sandra and David Marshall

FRIENDS $1,000 TO $1,499 Frank and Sandra Baldino Mr. and Mrs. Robert F. Carfagno Dr. and Mrs. Joseph P. Costabile Betsy and Kevin Donohoe Ryan Fleur and Laura Banchero Jim and Kay Gately Peter G. Gould and Robin M. Potter Ms. Rita W. Ingersoll William A. Loeb* Ms. Stefanie W. Lucas and Mr. Christopher Thompson Asuka and Karen Nakahara Mrs. Bonnie Rocap Catherine A. Worrall *Deceased

PRESIDENTS CIRCLE $5,000 TO $9,999 Mr. Rodney D. Day III Mr. and Mrs. Donald Kimelman Mr. and Mrs. Robert Legnini The Philadelphia Contributionship Mr.* and Mrs. Bernard Spain Penelope and Thomas Watkins BENEFACTORS AND PATRONS $1,500 TO $4,999 Barb and Clarke Blynn Sibby Brasler Mr. and Mrs. James M. Buck III Barbara R. Cobb Ian and Marci Comisky Penelope P. Harris Gail Howard Mr. and Mrs. Kenneth E. Jones Robert and Margot Keith Maxine de S. Lewis The McCausland Foundation Mr. and Mrs. Frank Mechura Mr. and Mrs. John Murabito Mr. and Mrs. Benjamin R. Neilson Valerie and Will Schwartz Harold A.* and Ann R. Sorgenti Mr. and Mrs. Archbold D. van Beuren Janine and Jeffrey 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 June 30, 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 Mr. 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 Beverly Caplan-Freeman Lawrence Chanen William Clemens* and Robert Leis Mr. and Mrs. Anthony A. Clifton Dr. Alan R. Cohen Ambassador David L. Cohen (ret.) and Mrs. Rhonda R. Cohen

Gianne Conard Mrs. M. Todd Cooke Joyce J. Creamer Ann Csink Tobey and Mark Dichter Lisa and Peter DiLullo Norman E. Donoghue, Esq. Mrs. Anne Dooley Dr. James F. Dougherty 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 Neil Goldfarb Howard and Norah Goldfine Dr. Alfred E. and Adele* Goldman P. Duane Groves Betty and Gary Grunder Amy Gutmann and Michael Doyle 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 Dr. Richard M. Klein Mr. and Mrs. Robert C. Kline 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. Donald Malpass, Jr. Dr. and Mrs. Robert L. Meckelnburg Carol R. Meister Mrs. Philippus Miller, Jr. Arlene Notoro Morgan Ms. Fran D. Moskovitz

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 Miriam Passarella Barbara L. Phillips B.J. Phillips and Kath Howarth 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 Harold and Marianne* Sacks Jeffrey and Kendell Saunders Catherine and Steve Schifter Allan Schimmel Mr. and Mrs. Gary G. Schlarbaum 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 Thomas and Patricia Vernon 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: Natalie Sandstrom

“

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

Philanthropic Engagement and

enjoy what I have been

Legacy Giving Officer

privileged to enjoy.”

nsandstrom@philorch.org

— Joel Beaver, Wister Society member

Photo: Pete Checchia

215.790.5867

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ADMINISTRATIVE STAFF The Philadelphia Orchestra and Ensemble Arts EXECUTIVE OFFICE Ryan Fleur, President and Chief Executive Officer Crystal Brewe, Executive Vice President and Chief Operating Officer 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 PLANNING Orchestral Programmimg Makiko Freeman, Artistic Administrator Christa Bean, Director, Artist Services and Choral Administrator Andrew Mellor, Audio Producer and Engineer Stephen Alston, Assistant to the Music and Artistic Director and Artist Liaison 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 Laura McClatchy, Programming Artist Relations Manager Annika Jorgensen, 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 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 Joey Narducci, Assistant Head Electrician AUDIENCE EXPERIENCE / INFORMATION TECHNOLOGY Matt Cooper, Vice President and General Manager, Audience Services and Information Technology Meg Hackney, Director, Ticketing and Audience Services Jessa Bintliff, Manager, Audience Services Emily Grove, Training Manager Catherine Pappas, Subscription Project Manager 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 Logan Griffin, Audience Services Associate Kayla Jones, Audience Services Associate Alicia Katz, Ticketing Operations Associate Hazel Schaffer, Audience Services Associate Benji Childs, Tickets Operations Coordinator Box Office Dan Ahearn, Jr., Manager Michelle Messa, Assistant Manager Marie McCarthy, Assistant Treasurer William Qualls, Assistant Treasurer Thomas Sharkey, Assistant Treasurer Mike Walsh, Assistant Treasurer

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COMMUNICATIONS Andrea Garcia, Vice President Darrin T. Britting, Director, Publications and Content Development Lauren Hall, Director, Program Public Relations, Ensemble Arts Presentations Travis Wurges, Video Producer Roberta Gorin-Paracka, Associate Director, Digital Asset Management Doménica Castro, Marketing Content Associate Jake Rogan, Coordinator, Communications COMMUNITY IMPACT AND CIVIC ENGAGEMENT Leslie Patterson-Tyler, Senior Vice President Nadine Choucri, Coordinator Education Catherine Charlton, Vice President 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 Government Affairs Joel Volcy, Director DEVELOPMENT Kobie Smith, Chief Philanthropy Officer Anna Marie Gewirtz, Vice President, Philanthropy Liz Saccardi, Vice President, Philanthropy Rachel Messeck, Director, Development Communications Kelsea Reel, Development Manager 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

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Donor Relations and Stewardship 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 Lara Sinangil, 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 Kevin Quinn, Chief Engineer Jonathan McCarthy, Maintenance Mechanic Gary Stanford, Maintenance Mechanic Kevin Hamilton, Dockmaster Trondell Hill, Project Manager, Housekeeping Derrick Johnson, Manager Evani Outerbridge, Business Manager, Housekeeping Angela Schiavo, Painter Donna Cloman, Administrative Assistant Brea Kelley, Administrative Assistant Office Services Kathie Cronk, Senior Manager, Workplace Operations Nahema Rivers, Administrative Services 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 Stephanie Still, Staff Accountant, Accounts Jamie Zorrilla-Gray, Staff Accountant/Accounts Payable Lexi Foll, Administrative Coordinator Julrena Outen, Payroll Coordinator HOSPITALITY AND VENUE SERVICES Carrie Reynolds, Associate Vice President Business Development Conner Lucas, Director, Food and Beverage Business Jennifer Monahan, Director, Event Sales Audrey Gildea, Senior Sales Manager Event Services Shawn Cotugno, Senior Manager Katie Masterson, Senior Manager Shannon Walsh, Senior Manager, Scheduling and Client Relations Venue Services Lindsay Berckman, Senior Director Kyleigh Taylor, Director, Audience Experience Julie Bernard, Manager, Operations Support Delaney Burke, Manager, Guest Services Keith Donaghue, House Manager Rose Farrell, House Manager Korey Jones, Venue Manager, Kimmel Center Thomas J. Kerrigan, House Manager Todd Kunze, Venue Manager, Academy of Music and Miller Theater Erin Lunsford, Administrative 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 Safety and Security John Gallagher, Director Euronn McCloud-Armstrong, Assistant Director, Security Matthew Lally, Security Manager Henri Byrd, Security Supervisor Mia Lowry, Security Supervisor 51

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Dominic Mirarchi, 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 Derek Matterson, Security Officer INFORMATION TECHNOLOGY Jamie Shover, Vice President Pari Dasmuth, Director, Business Applications and Project Management Tristian Gay, Director Katherine Knorr, CRM and Business Application 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 Elizabeth Hess, Vice President Geoff Cohen, Associate Vice President, Marketing, Philadelphia Orchestra Karina Kacala, Senior Director Victoria McCabe, Director, Marketing, Philadelphia Orchestra Neil Waite, Director, Marketing, Ensemble Arts Presentations Carrie Williams, Associate Director, Marketing, Ensemble Arts Presentations Erica Barry, Manager, Marketing, Philadelphia Orchestra Kacy Hofstetter, Manager Taylor Martin, Manager 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 Alison Hopkins, Marketing Associate Emma Noel, Marketing Associate Rachel Bennett, Graphic Designer 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 Doris Parent, Chief Culture & People Officer Christopher Shaw, Vice President Jessica Rivera, Senior Director, People & Culture Operations Jazmyn Sellers, Manager 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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8/31/26 6:35 PM

Photo: Allie Ippolito

SUPPORT ARTS EDUCATION WITH YOUR TAX DOLLARS Did you know that you can support our arts education programs and receive PA tax credit for up to 90% of your donation?

Your Impact In Action

40,000+

students served annually

6,150

students from 105 schools attended our Jane H. Kesson School Concerts

544

school buses brought students to the Kimmel Center

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

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