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November 14, 2018

"Appalachian Spring" Like Never Before

Guest conductor Cristian Măcelaru leads The Philadelphia Orchestra in the full-orchestra version of Aaron Copland’s complete score for Appalachian Spring on November 23 and 24 (more information and tickets can be found here). The following excerpt from an essay in the score written by Aaron Sherber, former music director of the Martha Graham Dance Company, explains the history behind the piece and how this newly completed version of the ballet score came to be.

November 06, 2018

Back to Baroque

French conductor Emmanuelle Haïm makes her Philadelphia Orchestra debut November 16-18 with a program of works by two composers who dominated the English musical scene during the Baroque period: Henry Purcell and George Frideric Handel. We asked Emmanuelle to describe her program.

November 06, 2018

Some "Perspectives"

Yannick and the Orchestra perform the US premiere of Stacey Brown’s Perspectives November 29-December 1. Born in Kamloops, British Columbia, Stacey began Suzuki piano lessons at the age of five, and studied at the University of Victoria and the University of Montreal. Perspectives was inspired by a sculpture by Canadian composer Michel Longtin.

October 30, 2018

Beyond the Baton

A Q&A with Yannick Nézet-Séguin

Photo by Chris Lee

From the November 2018 Playbill

This month Yannick Talks about mezzo-soprano Joyce DiDonato and Chausson’s Poème de l’amour et de la mer.

October 30, 2018

Elizabeth Starr Masoudnia - Behind the Scenes

Each month in the Orchestra’s Playbill, we feature one musician in a question-and-answer segment. Below is that feature in its entirety.

October 30, 2018

Nancy Galloway: In the Spotlight

A Monthly Profile of Orchestra Fans and Family

As is true with so many of The Philadelphia Orchestra’s dedicated volunteers, newly installed President of the Orchestra Volunteer Committees Nancy Galloway got involved at the urging of a friend. Nancy started her own business, Custom Curtains, and one of her first clients was Dottebob Andes, the late, beloved force in Philadelphia charities for 40 years.

October 24, 2018

Stokowski & "Fantasia": A Quest for the Limelight

During Leopold Stokowski’s tenure as music director of The Philadelphia Orchestra (1912-41), patrons would often line up around the block of the Academy of Music, even in poor weather, to hear the world-renowned ensemble. Stokowski began to dream of new formats to bring classical music to an even wider audience. In The Philadelphia Orchestra: A Century of Music, Joseph Horowitz explains: “Foremost in his thinking was Hollywood—its glamour, its mass impact and appeal.

October 12, 2018

ListeningLAB: In the Spirit of Albert Barnes’s “Ensembles”

“Time present and time past

Are both perhaps present in time future…”

—T.S. Eliot, “Burnt Norton” from Four Quartets

SoundLAB presents two contemporary chamber concerts on October 16 and 18 as guest ensemble in The Philadelphia Orchestra’s Barnes/Stokowski Festival. The Festival is in celebration of Maestro Leopold Stokowski and Dr. Albert Barnes, two neighbors, art lovers, and innovators who had a lasting and indelible imprint on the artistic climate of Philadelphia and contemporary music’s home there.

October 01, 2018

Albert Barnes and Leopold Stokowski: Titans of Philadelphia Arts and Culture

Albert Barnes and Leopold Stokowski had a complex relationship, characterized at times by warmth and mutual respect, and at other times by disagreement and contentiousness. The businessman-turned-art collector and educator and the longtime Philadelphia Orchestra music director were titans of arts and culture in early-20th-century Philadelphia, forward-thinking visionaries who molded their respective institutions into world-renowned organizations.

October 01, 2018

A Tale of Two Innovators: The Barnes/Stokowski Festival

Courage in the art world and on the concert stage means taking risks. The Barnes/Stokowski Festival celebrates the innovations of two men who took risks, supported living artists, and gave greater access to the arts because they believed in the power of art to communicate.

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