Dear Friends:

As we approach our summer season, we have much to look forward to. The Orchestra embarks on a tour to China and Japan on May 16 and then throughout the next three months makes beautiful music with cherished longtime partners in Philadelphia, Vail, and Saratoga. But before all that happens, the ensemble still has many magical moments to make for its loyal audiences here at home.

Yannick and the Orchestra continue a proud tradition of commissioning new works for principal players April 14-16, when Principal Timpani Don Liuzzi performs Maurice Wright’s Resounding Drums and Principal Clarinet Ricardo Morales performs Jonathan Leshnoff’s Clarinet Concerto, led by Yannick. It’s an important part of the Orchestra’s artistic mission to give our musicians the opportunity to stand in front of the ensemble as soloists, in works that have been created especially for them, commissioned by the Orchestra. This also allows you, the audience, to see and hear individual musicians in a different light.

Principal Guest Conductor Stéphane Denève returns to the Orchestra to lead a two-week-long celebration (April 28-May 7) of the music of one of his idols, and dear friend, John Williams. And, for one night only, John Williams himself conducts the Orchestra in a special event concert (May 4). The performances will not only include music from the film scores that we all know and love, but also give us the chance to hear some of Williams’s concert works, including his Violin Concerto with James Ehnes and his Cello Concerto with Yo-Yo Ma. What a thrilling opportunity to hear the full range of genius from one of America’s most well-loved composers.

Finally, I’d like to extend my utmost gratitude to those who joined us as part of our “1,000 new donors” campaign prior to our March performances of Mahler’s “Symphony of a Thousand.” Not only did we meet our goal, but we exceeded it. We are so thankful to have you as part of our Annual Fund family.

Yours in Music,

Allison VulgamorePresident & CEO

2

From the President

J.D. S

cott

6

Music DirectorMusic Director Yannick Nézet-Séguin, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra, and he has renewed his commitment to the ensemble through the 2021-22 season. His highly collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Highlights of his fourth season include a year-long exploration of works that exemplify the famous Philadelphia Sound, including Mahler’s Symphony No. 8 and other pieces premiered by the Orchestra; a Music of Vienna Festival; and the continuation of a commissioning project for principal players.

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He also continues to enjoy a close relationship with the London Philharmonic, of which he was principal guest conductor. He has made wildly successful appearances with the world’s most revered ensembles, and he has conducted critically acclaimed performances at many of the leading opera houses.

Yannick Nézet-Séguin and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership The Philadelphia Orchestra returned to recording with two CDs on that label; the second, Rachmaninoff’s Rhapsody on a Theme of Paganini with pianist Daniil Trifonov, was released in August 2015. He continues fruitful recording relationships with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic and Choir for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued lessons with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are appointments as Companion of the Order of Canada and Officer of the National Order of Quebec, a Royal Philharmonic Society Award, Canada’s National Arts Centre Award, the Prix Denise-Pelletier, Musical America’s 2016 Artist of the Year, and honorary doctorates from the University of Quebec, the Curtis Institute of Music, and Westminster Choir College.To read Yannick’s full bio, please visit www.philorch.org/conductor.

Chris Lee

05.16 Bio.indd 4 3/29/16 2:44 PM

The Philadelphia Orchestra2015–2016 SeasonYannick Nézet-SéguinMusic Director Walter and Leonore Annenberg Chair

Stéphane DenèvePrincipal Guest ConductorCristian MacelaruConductor-in-ResidenceLio KuokmanAssistant ConductorCharles DutoitConductor Laureate

First ViolinsDavid Kim, ConcertmasterDr. Benjamin Rush ChairJuliette Kang, First Associate ConcertmasterJoseph and Marie Field ChairYing Fu, Associate ConcertmasterMarc Rovetti, Assistant Concertmaster Herbert Light Larry A. Grika ChairBarbara GovatosWilson H. and Barbara B. Taylor ChairJonathan BeilerHirono OkaRichard AmorosoRobert and Lynne Pollack ChairYayoi NumazawaJason DePueLisa-Beth Lambert*Jennifer HaasMiyo CurnowElina KalendarovaDaniel HanYiying Li

Second ViolinsKimberly Fisher, PrincipalPeter A. Benoliel ChairPaul Roby, Associate PrincipalSandra and David Marshall ChairDara Morales, Assistant PrincipalAnne M. Buxton ChairPhilip KatesMitchell and Hilarie Morgan Family Foundation ChairBooker RoweDavyd BoothPaul ArnoldLorraine and David Popowich ChairYumi Ninomiya ScottDmitri LevinBoris BalterWilliam PolkAmy Oshiro-MoralesMei Ching Huang

ViolasChoong-Jin Chang, PrincipalRuth and A. Morris Williams ChairKirsten Johnson, Associate PrincipalKerri Ryan, Assistant PrincipalJudy Geist Renard EdwardsAnna Marie Ahn PetersenPiasecki Family ChairDavid NicastroBurchard TangChe-Hung Chen Rachel KuMarvin Moon

CellosHai-Ye Ni, PrincipalAlbert and Mildred Switky ChairJohn Koen, Acting Associate PrincipalYumi Kendall, Assistant PrincipalWendy and Derek Pew Foundation ChairRichard HarlowGloria dePasqualeOrton P. and Noël S. Jackson ChairKathryn Picht ReadWinifred and Samuel Mayes ChairRobert CafaroVolunteer Committees ChairOhad Bar-DavidCatherine R. and Anthony A. Clifton ChairDerek BarnesMollie and Frank Slattery ChairAlex Veltman

BassesHarold Robinson, PrincipalCarole and Emilio Gravagno ChairMichael Shahan, Associate PrincipalJoseph Conyers, Assistant PrincipalJohn HoodHenry G. ScottDavid FayDuane RosengardRobert Kesselman

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

FlutesJeffrey Khaner, PrincipalPaul and Barbara Henkels ChairDavid Cramer, Associate PrincipalRachelle and Ronald Kaiserman ChairLoren N. LindKazuo Tokito, Piccolo

OboesRichard Woodhams, PrincipalSamuel S. Fels ChairPeter Smith, Associate PrincipalJonathan BlumenfeldEdwin Tuttle ChairElizabeth Starr Masoudnia, English HornJoanne T. Greenspun Chair

ClarinetsRicardo Morales, PrincipalLeslie Miller and Richard Worley ChairSamuel Caviezel, Associate PrincipalSarah and Frank Coulson ChairPaul R. Demers, Bass ClarinetPeter M. Joseph and Susan Rittenhouse Joseph Chair

BassoonsDaniel Matsukawa, PrincipalRichard M. Klein ChairMark Gigliotti, Co-PrincipalAngela Anderson SmithHolly Blake, Contrabassoon

HornsJennifer Montone, PrincipalGray Charitable Trust ChairJeffrey Lang, Associate PrincipalDaniel WilliamsJeffry KirschenDenise TryonShelley Showers

TrumpetsDavid Bilger, PrincipalMarguerite and Gerry Lenfest ChairJeffrey Curnow, Associate PrincipalGary and Ruthanne Schlarbaum ChairAnthony PriskRobert W. Earley

6

RosteR continues on pg. 8

TrombonesNitzan Haroz, PrincipalNeubauer Family Foundation ChairMatthew Vaughn, Co-PrincipalEric CarlsonBlair Bollinger, Bass TromboneDrs. Bong and Mi Wha Lee Chair

TubaCarol Jantsch, PrincipalLyn and George M. Ross Chair

TimpaniDon S. Liuzzi, PrincipalDwight V. Dowley ChairAngela Zator Nelson, Associate PrincipalPatrick and Evelyn Gage Chair

PercussionChristopher Deviney, PrincipalMrs. Francis W. De Serio ChairAnthony Orlando, Associate PrincipalAnn R. and Harold A. Sorgenti ChairAngela Zator Nelson

Piano and CelestaKiyoko Takeuti

KeyboardsDavyd BoothMichael Stairs, Organ**

HarpElizabeth Hainen, PrincipalPatricia and John Imbesi Chair

LibrariansRobert M. Grossman, PrincipalSteven K. Glanzmann

Stage PersonnelEdward Barnes, ManagerJames J. Sweeney, Jr.James P. Barnes

*On leave**Regularly engaged musician

Where were you born? In Weymouth, Massachusetts.What piece of music could you play over and over again? Respighi’s The Pines of Rome.

What is your most treasured possession? Peace of mind.What’s your favorite Philadelphia restaurant? Shiroi Hana.If you could ask one composer one question what would it be? I’d ask Prokofiev how his study of Christian Science affected his composing.What piece of music never fails to move you? It’s a tie but the same composer, Ravel—the last movement from the Mother Goose Suite and L’Enfant et les sortilèges.

When did you join the Orchestra? In September 1989.Do you play any other instruments? Faux guitar, faux French horn, and lame piano.What’s your favorite type of food? Japanese.What books are on your nightstand? The Bible.Do you speak any other languages? Lame Italian.Do you follow any blogs? No.Do you have any hobbies? Writing songs/poetry, kayaking/hiking, and looking at the sky. Do you have a favorite movie? Cast Away.

Is there a piece of music that isn’t in the standard orchestral repertoire that should be? It’s a tie for me—Schumann’s Paradise and the Peri and Honegger’s Joan of Arc at the Stake.

To read the full set of questions, please visit www.philorch.org/Liuzzi.

Musicians Behind the ScenesDon Liuzzi Principal Timpani

Jessica Griffin

8 The Philadelphia Orchestra 2015–2016 Season

10

“A Collection of Everything that’s Great in Music … without Boundaries”

That’s how Yannick Nézet-Séguin describes The Philadelphia Orchestra’s 2016-17 season, his fifth at the helm of the Fabulous Philadelphians. A bold statement to be sure, but as Will Rogers (among others) once said, “It ain’t bragging if you can back it up.” And boy can he! Consider the following:

• The season includes a collection of music inspired by Paris, with a three-week festival at the heart. Celebrations of Rachmaninoff, Mozart, and a complete cycle of Brahms’s four symphonies are complemented by music of prominent Americans such as Christopher Rouse, Mason Bates, Christopher Theofanidis, and Pat Metheny. Centuries of music covers ground from Bach to electronica, from Bartók’s Bluebeard’s Castle to John Williams’s score to E.T. live with film.

• Fantastic soloists sharing the stage with the Orchestra: legends such as André Watts, Radu Lupu, Midori, and Yefim Bronfman; rising stars like Benjamin

By Steve Holt

The Philadelphia Orchestra Announces its 2016-17 Season

Chr

is L

ee

04.16 Article.indd 8 3/1/16 7:19 PM

Beilman and Daniil Trifonov (our Grammy-nominated recording partner); dear friends including Leonidas Kavakos, Yuja Wang, and Garrick Ohlsson; and our own Principal Viola Choong-Jin Chang, Principal Bassoon Daniel Matsukawa, and Principal Percussion Christopher Deviney.

• Conductor Laureate Charles Dutoit returns, plus Principal Guest Conductor Stéphane Denève leads multiple weeks; notable guest conductors include Simon Rattle, Michael Tilson Thomas, Itzhak Perlman (who also performs), close colleague Cristian Măcelaru, Herbert Blomstedt (celebrating his 90th birthday), as well as returns by Gianandrea Noseda, Fabio Luisi, Tugan Sokhiev, and Alain Altinoglu, and debuts of Jane Glover (on subscription) and Louis Langrée.

• The classics everyone loves, including Berlioz’s Symphonie fantastique, Orff’s Carmina burana, and Mendelssohn’s Violin Concerto, plus Mahler’s Third Symphony, Britten’s War Requiem, and Bernstein’s “Jeremiah” Symphony (looking ahead to Bernstein’s centennial in 2018).

• Acclaimed voices to stir the heart, including Susan Graham in selections from Songs of the Auvergne; Michelle DeYoung and John Relyea in Bluebeard’s Castle; Karen Cargill in the Mahler Third; and Tatiana Monogarova, John Mark Ainsley, Matthias Goerne, the Westminster Symphonic Choir, and the American Boychoir in Britten’s War Requiem.

• Important commissions and premieres, including a brand new Organ Concerto from Christopher Rouse for the 10th anniversary of the Fred J. Cooper Memorial Organ, featuring Paul Jacobs; the world premiere of our own Christopher Deviney’s Duo Concerto, based on music by Pat Metheny; Alternative Energy by Mason Bates (with the composer joining the performance); and the world premiere of transcriptions of Brahms’s organ Choral Preludes by Detlev Glanert.

• And then there’s just plain amazing: Denève leading the Orchestra in three live screenings of E.T.: the Extraterrestrial; our Halloween Organ Extravaganza; a Valentine’s Day event concert; and the Glorious Sound of Christmas!

Amidst all the musical riches embodied by these wonderful artists, let’s not forget the main attraction: the Orchestra itself. Renowned for over a century as one of the world’s greatest musical ensembles, The Philadelphia Orchestra is revered everywhere for the astonishing talent of its musicians, its unmatched cohesiveness, and of course the Philadelphia Sound, what Yannick calls its “resonating soul.”

12 “A Collection of Everything that’s Great in Music … without Boundaries”

Yannick Nézet-Séguin and The Philadelphia Orchestra

Jeff

Fus

co

04.16 Article.indd 8 3/1/16 7:19 PM

14 “A Collection of Everything that’s Great in Music … without Boundaries”

And while we’re on the subject, let’s acknowledge Yannick’s accomplishments. In a brief four years, he has taken the Orchestra to new musical heights, honoring its storied past while infusing it with even more energy, passion, and joy. And recently the music world recognized what we’ve known here in Philadelphia for a long time when he was named Musical America’s 2016 Artist of the Year.

Yannick himself will wield the baton for some of the upcoming season’s most unforgettable programs, including our season opener with pianist Yuja Wang; Mozart’s Mass in C minor; the complete version of Ravel’s Daphnis and Chloé (“a work that’s dear to my heart,” says Yannick); the Rouse Organ Concerto; Brahms’s towering Fourth Symphony; Bluebeard’s Castle; Bernstein’s “Jeremiah” Symphony; Mahler’s Third Symphony; and many others.

He’s especially enthusiastic about three weeks of programs next January, which brings us to the “without boundaries” part of our story. Yannick says he likes to have a theme across the season “of somewhere we’d like to travel, in music.” Recent seasons have seen musical trips to St. Petersburg and Vienna. “You know, when it’s January, and it’s after the holidays, and it’s winter here … sometimes our minds and our bodies would like to explore the rest of the world. So we give you, at The Philadelphia Orchestra, the opportunity of joining us on a musical journey abroad, to one of the cities that has generated so much great music, and where everybody still wants to travel: Paris.”

Audiences will travel to Paris with Yannick and the Orchestra in January 2017.

04.16 Article.indd 12 3/1/16 7:19 PM

This metaphorical journey (we’re not actually leaving the Kimmel Center!) takes place over three weeks in January 2017. We’ll hear from French composers: Ravel (Menuet antique), Fauré (Pavane), Saint-Saëns (“Bacchanale” from Samson and Delilah), and Chabrier (Joyeuse Marche); composers who moved to Paris and made an indelible mark there: Chopin (Piano Concerto No. 1 with Louis Lortie) and Stravinsky (Petrushka); and composers who looked beyond France for inspiration, with resounding success: Berlioz (Harold in Italy with Principal Viola Choong-Jin Chang) and Ravel (Rapsodie espagnole, and, of course, Bolero). We’ll also hear from these French masters outside the festival, throughout the season. Yannick sums up: “I think Paris will be full of poetry and imagery to make us travel!”

Building on the thrilling success of his performances of Strauss’s Salome, Yannick brings another deeply psychological and gripping opera score to audiences with Bartók’s Bluebeard’s Castle. “It’s especially remarkable for its orchestral writing. It’s a piece that is very compelling dramatically, and that we will combine with a ballet suite from Swan Lake by Tchaikovsky, which is again an exploration of how our Orchestra can define itself in repertoire that is associated with other forms of art, like vocal music or dance music.”

Set design by Dezső Zádor for the 1918 premiere of Bartók’s Bluebeard’s Castle. The opera will be performed March 2-4, 2017.

04.16 Article.indd 13 3/1/16 7:19 PM

16 “A Collection of Everything that’s Great in Music … without Boundaries”

Of course, the Orchestra is renowned for its mastery of European classics, which will be displayed brilliantly in the 2016-17 season. But Yannick is also increasingly bringing in new American sounds, such as Broadway, jazz, spirituals, film, and now electronica. And he’s chosen a dazzling selection to highlight this in the new season.

In his second week of concerts, Yannick will lead the Orchestra in Rainbow Body by Christopher Theofanidis, “one of the most-played, and I think really more promising and interesting pieces of recent American music,” he says.

Yannick is also very eager to lead a work called Alternative Energy by Mason Bates. “It’s a fascinating piece because it brings a new definition of what is American music.” In addition, the composer himself will join the Orchestra onstage to produce the electronic components of the piece. Another new work is a Duo Concerto for Vibraphone and Marimba based on several pieces by jazz guitarist Pat Metheny, as arranged and orchestrated by Principal Percussion Christopher Deviney. There’s also a new Organ Concerto commissioned from Christopher Rouse, “one of the most important American composers living today” says Yannick. Soloist Paul Jacobs will perform on the matchless Fred J. Cooper Memorial Organ.

Finally, no collection of American music would be complete without the works of Leonard Bernstein. Leading up to his centenary in 2018, the Orchestra will present his jazzy Prelude, Fugue, and Riffs and Symphony No. 1 (“Jeremiah”). “So this is, I think, a nice picture of American music,” says Yannick, “not only of our time, but connecting the past, the present, and the future.”

Speaking of American music, what’s more American than a brilliant movie soundtrack by the incredible John Williams? And what could be more thrilling than watching the unforgettable E.T.: the Extra-Terrestrial in Verizon Hall, while Principal Guest Conductor Stéphane Denève leads the Orchestra in this timeless score? Denève, a fervent champion of Williams’s music, calls these three special performances next October “a dream come true,” and we think you’ll agree.

An amazing season, with superstar artists, classic masterworks, the best of American music, and even a trip to Paris. We’ll let Yannick have the last word: “A season with The Philadelphia Orchestra can be one week of all Mozart. It can be also Stéphane Denève bringing all his passion to the score of E.T. And it can also be a week where we do the Shostakovich Fourth Symphony.” In other words: “A collection of everything that’s great in music … without boundaries.”

Steve Holt, managing partner at re:Write, is a veteran journalist and musician.

Conductor Laureate Charles Dutoit returns March 23-25, 2017, with Britten’s War Requiem.

Principal Guest Conductor Stéphane Denève leads the Orchestra in three performances of the classic film E.T.: the Extra-Terrestrial October 14-16, 2016.E.T.: the Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios Licensing LLC. All rights reserved. ©A.M.P.A.S.®

Chr

is L

ee

P

04.16 Article.indd 14 3/1/16 7:20 PM

18

Beyond the Baton

The Seventh Symphony is not one many people know well. Can you tell us about it? When we say Prokofiev and symphonies, we think huge orchestrations, quite loud, like the Fifth or Sixth symphonies. There are also some lesser known symphonies that are quite aggressive and serve a certain way of defining the world. But then there’s the First Symphony, the “Classical,” which is so elegant and pure and quintessentially classical. His last symphony is so underestimated because nobody plays it, and actually it’s as gorgeous as the “Classical” Symphony. It’s as if Prokofiev was coming back to his roots, or coming back at the end of his life to a sense of purity. The Seventh Symphony is not necessarily a happy work, but it’s a work that has very defined melodies—almost like an empty way of orchestrating (there’s only one line in the violins and the very low strings are accompanying, and there’s a big part for the tuba). So there’s an emptiness and nostalgic aspect to this music, which is very moving. And yet there is all the dance and rhythmic vitality we associate with Prokofiev and the balletic aspect, too, which was very important to him.

There are two endings to the Symphony, which will you perform? The Philadelphia Orchestra gave the U.S. premiere of the Seventh and recorded for the first time a new ending, which was a faster and brighter one. There’s a complicated story about this Symphony being written to get an award, which would give Prokofiev some money at the end of his life, which he really needed. Someone advised him that if he was to write a fast ending it would get more applause and maybe more money. But he did ask that after his death the new ending never be played. So even though our history is closely associated with the fast ending, we will do the original one, which I think is much more moving and touching about one of the greatest composers of the 20th century.

Prokofiev’s Seventh Symphony will be performed April 14-16.

To read Yannick’s thoughts on Kurt Weill’s Second Symphony (performed April 14-16) and Gustav Mahler’s Tenth Symphony (performed May 12-14), or to read previous Beyond the Batons, please visit www.philorch.org/baton.

Chris Lee

This Month Yannick Talks about Prokofiev’s Symphony No. 7.

24

Harold Rosenbluth had been a member of the Orchestra’s Board since 1993, and served as the chair of the Board Emeritus Council since 2002. He and his wife, Franny, were deeply committed to the arts and were steadfast supporters of the Or-chestra. Born in Philadelphia, Harold was a third-generation leader of Rosenbluth travel agencies, which at one time was the fifth largest travel agency in the United States. From 1942 to 1944 he served in World War II under Gen. George S. Pat-ton. Harold graduated from the University of Pennsylvania in 1947 and received a law degree from Penn in 1950. He worked for three years as a corporate lawyer be-fore joining his family’s business, which was founded by his grandfather in 1892 to help Eastern European immigrants buy steamship tickets to the U.S. He served on the boards of the Opera Company of Philadelphia (now Opera Philadelphia), the Institute for Jewish-Catholic Relations at St. Joseph’s University, Gratz College, and the American Jewish Historical Society; he was also on the Board of Overseers for the University of Pennsylvania Librar-ies. From 1976 to 1980 he was president of the Congregation Rodeph Shalom. Donations may be made to the Harold S. Rosenbluth Memorial Fund at Rodeph Shalom Synagogue.

Noted in Passing

20

The Philadelphia Orchestra mourns the passing of Board Member Harold Rosenbluth, who died on February 3; Board Member Raymond H. Welsh, who died on February 14; and retired violinist Arnold Grossi, who died on February 18.

Harold Rosenbluth

Raymond H. Welsh

04.16 Noted in Passing.indd 24 2/29/16 12:48 PM

Raymond H. Welsh joined the Orches-tra’s Board of Directors in 2011, becoming chairman of the Development Committee. He and his wife, Joanne, were generous patrons of the Orchestra for decades and philanthropic leaders in the community. Born in Summit, NJ, Raymond grew up in Chatham, NJ, and attended the Wharton School at the University of Pennsylvania. He served in the U.S. Navy upon graduating and after returning to Philadelphia joined Kidder, Peabody & Co. (which ended up as UBS Financial Services)—he celebrated his 60th year with the firm last year. Raymond was a Trustee at Penn and led numerous fundraising campaigns for the school and for Penn Health Systems. He sat on many alumni committees, established scholarship funds, and was awarded Penn’s Alumni Award of Merit. He also served as chairman of the Salvation Army of Greater Philadel-phia and was instrumental in raising funds to build Philadelphia’s Kroc Center, and served in leading roles on the boards of the United Way of Southeastern Pennsylvania, Episcopal Community Services, Bancroft NeuroHealth, Bancroft Foundation, the Girl Scouts of Philadelphia, and the Committee of Seventy. Donations can be sent to the Raymond H. Welsh Memorial Fund, Penn Medicine Development, 3535 Market St., Suite 750, Philadelphia 19104, or Bancroft, 1255 Caldwell Rd., Cherry Hill, N.J. 08034.

Continued on page 39

04.16 Noted in Passing.indd 25 2/29/16 12:48 PM

39

Arnold Grossi was a longtime violinist with the Orchestra, having joined the ensemble in 1969; he retired in 2004. Before then he was a member of the National Symphony in Washington D.C., the U.S. Marine Band, and the Pittsburgh Symphony. He began studying the violin at the age of six, a year after he and his family moved to Philadelphia from Charleroi, PA, where he was born. He continued his studies with Raphael Bronstein at the Settlement Music School in Philadelphia and privately in New York City. He shared his talent with younger generations of musicians as a faculty member at Temple University and Trenton State College. Arnold’s career included performing for presidents Truman and Eisenhower, Winston Churchill, and the king and queen

of Greece. He appeared as a featured soloist while with the U.S. Marine Band and performed chamber music and recitals throughout the region. He also appeared as guest soloist on a TV Portraits of Music program and with orchestras throughout the Tri-State area. His passion for music was matched by his passion for French and Italian gourmet cooking.

Noted in Passing

Arnold Grossi

Continued from page 21

Jean Brubaker

04.16 Noted in Passing.indd 26 2/29/16 12:48 PM