The Philadelphia Orchestra

Gianandrea Noseda ConductorDenis Matsuev Piano

Rachmaninoff Piano Concerto No. 3 in D minor, Op. 30 I. Allegro, ma non tanto II. Intermezzo: Adagio— III. Finale: Alla breve

Intermission

Rachmaninoff Symphony No. 2 in E minor, Op. 27 I. Largo—Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace

This program runs approximately 2 hours, 10 minutes.

These concerts are made possible in cooperation with the Sergei Rachmaninoff Foundation.

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Season 2012-2013Thursday, December 6, at 8:00Friday, December 7, at 2:00Saturday, December 8, at 8:00

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The Philadelphia Orchestra

Renowned for its distinctive sound, beloved for its keen ability to capture the hearts and imaginations of audiences, and admired for an unrivaled legacy of “firsts” in music-making, The Philadelphia Orchestra is one of the preeminent orchestras in the world.

The Philadelphia Orchestra has cultivated an extraordinary history of artistic leaders in its 112 seasons, including music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, who served as chief conductor from 2008 to 2012. With the 2012-13 season, Yannick Nézet-Séguin becomes the eighth music director of The Philadelphia Orchestra. Named music director designate in 2010, Nézet-Séguin brings a vision that extends beyond symphonic music into the

vivid world of opera and choral music.

Philadelphia is home and the Orchestra nurtures an important relationship not only with patrons who support the main season at the Kimmel Center for the Performing Arts but also those who enjoy the Orchestra’s other area performances at the Mann Center, Penn’s Landing, and other venues. The Philadelphia Orchestra Association also continues to own the Academy of Music—a National Historic Landmark—as it has since 1957.

Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the United States. Having been the first American orchestra to perform in China, in 1973 at the request of President Nixon, today The Philadelphia

Orchestra boasts a new partnership with the National Centre for the Performing Arts in Beijing. The Orchestra annually performs at Carnegie Hall and the Kennedy Center while also enjoying a three-week residency in Saratoga Springs, N.Y., and a strong partnership with the Bravo! Vail Valley Music Festival.

The ensemble maintains an important Philadelphia tradition of presenting educational programs for students of all ages. Today the Orchestra executes a myriad of education and community partnership programs serving nearly 50,000 annually, including its Neighborhood Concert Series, Sound All Around and Family Concerts, and eZseatU.

For more information on The Philadelphia Orchestra, please visit www.philorch.org.

Jessica Griffin

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ConductorItalian conductor Gianandrea Noseda is music director of the Teatro Regio in Turin, chief guest conductor of the Israel Philharmonic, Victor De Sabata Guest Conductor of the Pittsburgh Symphony, laureate conductor of the BBC Philharmonic, principal conductor of the Orquesta de Cadaqués, and artistic director of the Stresa Festival near his hometown of Milan. He served as the first foreign principal guest conductor of the Mariinsky Theatre from 1997 to 2007 and regularly conducts many of the leading international orchestras. Mr. Noseda made his Philadelphia Orchestra debut in 2010 and has returned several times since to lead the ensemble, most recently this past summer at the Saratoga Performing Arts Center.

Recent highlights of Mr. Noseda’s career include performances of Britten’s War Requiem with the London Symphony and Chorus in London and New York; his highly anticipated debut at the Teatro alla Scala in June 2012 with a new production of Verdi’s Luisa Miller; and debuts at the Edinburgh International Festival and the Vienna State Opera. During the 2012-13 season he makes debuts with the Cleveland Orchestra and the Los Angeles Philharmonic, and at the Aix-en-Provence Festival with the London Symphony in a new production of Verdi’s Rigoletto by Robert Carsen. In addition to conducting numerous productions in Turin each season, Mr. Noseda’s work with the orchestra and chorus of the Teatro Regio includes major recording projects, international tours, and residencies he instituted in Asia and Europe. In May 2013 he takes the ensemble to Vienna for the first time, performing Verdi’s Requiem at the Konzerthaus. Mr. Noseda has conducted five Verdi operas at the Metropolitan Opera, most recently last season’s revival of Macbeth; he returns to the Met in the 2013-14 season.

A supporter of young artists, Mr. Noseda led a multi-city tour of the European Union Youth Orchestra in August 2012. He also maintains an intense collaboration with the BBC Philharmonic; his live performances of Beethoven’s complete symphonies from Manchester with that ensemble in 2005 have seen more than 1.4 million downloads from BBC Radio 3. An exclusive Chandos artist since 2002, Mr. Noseda’s discography includes over 35 recordings featuring, among others, works by Prokofiev, Karłowicz, Dvorák, Shostakovich, Liszt, Rachmaninoff, Mahler, and Bartók.

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SoloistKnown internationally as a Rachmaninoff expert, pianist Denis Matsuev, who is making his Philadelphia Orchestra debut, has spent the last five years collaborating with the Sergei Rachmaninoff Foundation and its president, the late Alexander Rachmaninoff, the grandson of the composer. Mr. Matsuev was chosen by the Foundation to perform and record unknown pieces of Rachmaninoff on the composer’s own piano at the Rachmaninoff house, Villa Senar, in Lucerne. In the 2012-13 season the Foundation is presenting a series of concerts illuminating the composer’s works.

Born in Siberia, Mr. Matsuev became a fast-rising star after his triumphant victory at the 11th International Tchaikovsky Competition in Moscow in 1998. He now appears regularly with orchestras in his native Russia, including the St. Petersburg Philharmonic, the Mariinsky Orchestra, and the Russian National Orchestra, as well as other celebrated orchestras of the world. Recent appearances include performances with the Israel Philharmonic and Zubin Mehta in Russia and with the Royal Philharmonic and Charles Dutoit at the Annecy Music Festival in France. Upcoming highlights include tours with the London Symphony and the Mariinsky Orchestra under Valery Gergiev in the U.S., Europe, and Japan, and concerts with the Royal Concertgebouw Orchestra and Mariss Jansons and the Israel Philharmonic and Kurt Masur.

Mr. Matsuev is a frequent guest at the Ravinia Festival and the Hollywood Bowl in the U.S.; the BBC Proms and the Edinburgh International Festival in Great Britain; the Chopin Festival in Poland; the Budapest Spring Festival in Hungary; and Stars of the White Nights Festival in Russia. He is artistic director of three international festivals promoting gifted young musicians: the Annecy Music Festival; Stars on Baikal in his hometown of Irkutsk; and Crescendo, with events in cities from Moscow to New York. Mr. Matsuev is also the president of the charitable foundation New Names, supporting children’s music education in Russia.

Mr. Matsuev’s recording of Rachmaninoff’s Piano Concerto No. 3 with Mr. Gergiev and the Mariinsky Orchestra was recently released by the new Mariinsky label.

Evgeny E

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Framing the ProgramDuring the latter part of his career Sergei Rachmaninoff remarked that he often composed with the sound of The Philadelphia Orchestra in his head. From the time of his first American tour in 1909 he showed a special affinity for the Orchestra’s lush tone and started writing most of his symphonic works for it, including the Fourth Piano Concerto, the Rhapsody on a Theme of Paganini, the Third Symphony, and the masterly Symphonic Dances, his last work. As an eminent pianist, Rachmaninoff said that he would “rather perform with The Philadelphia Orchestra than any other of the world.” More than a century later, the Orchestra’s singular sound still makes it the premier interpreter of the great Russian’s compositions.

Rachmaninoff’s long and fruitful relationship with the Philadelphians began with his first appearance in this country at the Academy of Music, when he conducted his recently finished Second Symphony, which we hear today. In addition to the five works he wrote for the Orchestra, the composer also collaborated in landmark recordings, including of the popular Third Piano Concerto that opens the program. Composed in 1909, the work surpassed the success of his two earlier essays in the genre and has come to rival Tchaikovsky’s First as the supreme late Romantic piano concerto.

Parallel Events1907RachmaninoffSymphony No. 2

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The MusicPiano Concerto No. 3

Sergei RachmaninoffBorn in Semyonovo, Russia, April 1, 1873Died in Beverly Hills, California, March 28, 1943

The first decade of the 20th century was a decisive period in Rachmaninoff’s life, during which growing political unrest in his native Russia was threatening to make his quasi-aristocratic lifestyle obsolete. Early in 1906 he resigned his position as conductor at the Bolshoi Theater in Moscow and temporarily settled in Dresden, where he spent part of the next several years. But Rachmaninoff still returned to the stately solitude of Ivanovka, the family country estate where he frequently summered, at least until the upheaval and aftermath of World War I made it impossible for him to return to Russia at all.

A Concerto for America By 1909, when Rachmaninoff composed his Third Piano Concerto, he must have sensed that grave changes were in store for his country, and that emigration was likely. At this point the 36-year-old had already established worldwide renown both as a composer and as one of the greatest pianists of the era. In addition to the acclaim lavished upon his operas, choral works, piano music, First Symphony, tone-poem The Isle of the Dead, and two extremely successful piano concertos, the word of his unparalleled pianism—during an era in which recorded music was in its infancy—had reached as far as America’s shores. Invited to make his first American tour that winter, the composer took advantage of the calm of Ivanovka to prepare a new concerto for his first appearances here.

The result was nothing short of a miracle, and in the century since its inception, the D-minor Concerto has grown so popular among audiences that it has threatened to usurp the Tchaikovsky First as “the” Romantic piano concerto—i.e., the piece on which every virtuoso pianist must prove his or her musical mettle. The popularity of the movie Shine (1996) introduced an even vaster audience to the “Rach 3.”

Rachmaninoff dedicated the Third Concerto to Josef Hofmann, the brilliant Polish-born pianist (later director of the Curtis Institute of Music) who had made a considerable impression during his Russian and European tours early in the century. Hofmann never performed the Concerto; instead it was Rachmaninoff himself who gave

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the work’s premiere, in November 1909, with conductor Walter Damrosch and the New York Symphony Orchestra. Rachmaninoff continued to favor the Concerto for many years; in 1914 he wrote that he still preferred to perform the Third because the Second, though more popular, was “uncomfortable to play”—namely that it did not “lie in the hands” as easily as the Third. The Piano Concerto No. 3 is, nonetheless, more difficult to play.

A Closer Look In terms of the interplay of soloist and orchestra, the Third Concerto is probably the most impressive work in the Romantic literature. Not only does the composer use his large orchestra transparently, but he also provides the soloist with a piano part so massive that it really does seem an equal to the large ensemble behind it. The opening bars of the first movement (Allegro, ma non tanto) set the tone for this partnership, with a simple but non-melodic figuration in the strings designed to set off the piano’s melancholy theme. Many have compared this tune to other, similar melodies from orchestral literature, though the most likely source of inspiration is the Kiev religious chant “Thy tomb, O Savior, soldiers guarding,” which Rachmaninoff’s tune echoes closely.

The composer produced two cadenzas for the first movement; the more elaborate second version is almost always played today, though the composer himself often played the first. One of the Concerto’s most awe-inspiring moments—indeed, one of the finest passages of Rachmaninoff’s whole oeuvre—occurs immediately at the end of the cadenza, when a mournful flute hovers above the piano’s haunting arpeggios, seeming to condense, in a few simple bars, the entire tragedy of the death of Old Russia.

The mournful Intermezzo: Adagio, after a seemingly tearful introduction, glides into a tranquilly melodic passage for piano, with light accompaniment. This gives way to a bright, scherzo-like section in quick triple meter, after which a brilliant piano flourish leads without pause into the Finale: Alla breve, a bracingly virtuosic march that barely stops for a breath. Its climax, a vivace coda, is one of the truly hair-raising moments of Romantic pianism; its tension is released through a series of cadenzas and cymbal-crashes.

—Paul J. Horsley

Rachmaninoff composed his Piano Concerto No. 3 in 1909.

Since Alfred Cortot’s appearance in the Orchestra’s first performance of the Concerto, in January 1920 with Leopold Stokowski, a number of great pianists have performed it here, including Vladimir Horowitz, William Kapell, Emil Gilels, Van Cliburn, and André Watts. 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 2010, with Nikolaï Lugansky and Charles Dutoit.

The Orchestra has recorded Rachmaninoff’s Third Piano Concerto three times: in 1939 with the composer and Ormandy for RCA; in 1975 with Vladimir Ashkenazy and Ormandy for RCA; and in 1986 with Andrei Gavrilov and Riccardo Muti for EMI.

Rachmaninoff scored the work for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, suspended cymbal), and strings, in addition to the solo piano.

The Concerto runs approximately 45 minutes in performance.

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The MusicSymphony No. 2

Sergei Rachmaninoff

Though the public has always loved the music of Sergei Rachmaninoff, until fairly recently he was met largely with disdain by critical and academic circles. Viewed as an anachronism and Romantic holdout by progressives of the 1920s and ’30s, he is now embraced as a Romantic master who just happened to have flourished in the 20th century. He was trained during the 1880s and ’90s in a staunchly conservative Russian conservatory system, and he held true to this outlook to his dying day.

A True Original As it turns out, this was not vice but virtue—and indeed, Rachmaninoff’s reputation has gained considerably from our renewed interest in tonal music of all sorts. It was once fashionable to criticize his works as “sounding like movie music.” Today, at a time when fascinating concert programs are being formed from film scores of Miklós Rózsa, Erich Wolfgang Korngold, and Bernard Herrmann, this might just as easily be taken as a compliment.

Although he had composed several big orchestral scores and piano works, it was not until the first decade of the 20th century that Rachmaninoff’s originality began to shine forth. The Second Symphony was one of a series of masterworks that began forming around 1900. The year was 1906, and the composer had come a long way since the 1897 disaster of his First Symphony—the piece that César Cui had colorfully declared would have “delighted the imps of hell.” Since then the young composer’s artistic outlook had broadened, and he took up the Second Symphony in the first decade of the new century with fresh confidence gained through the creation of a brilliant series of pieces such as the Second Piano Concerto, the Cello Sonata, and the Op. 23 piano preludes. He began sketching the new symphony as early as 1902, but apparently made little progress until 1906. “A month or more ago I did indeed finish a symphony,” he wrote to his friend Nikita Morozov in January 1907, “but to this must be added the crucial words ‘in rough.’ I have not announced it to the world because I wanted to finish it completely beforehand.”

Determined to Succeed Reluctant to repeat the debacle of the First Symphony, whose raw youthful vigor

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had startled St. Petersburg’s genteel public, Rachmaninoff was determined to polish this work to a high luster before allowing it to leave his work-desk. This was no simple matter. “I can tell you that I am dissatisfied with it but that it will come into existence,” the composer wrote, with determination, “though probably not before autumn.”

The result was indeed a gigantic symphony, one of the longest Russian symphonic works up to that time, and even after Rachmaninoff had completed the short-score version it took him nearly six months to finish the thick and colorfully textured orchestration. Much of this work took place in late 1907 in Dresden, where the composer had taken his family for a respite from the Russian political unrest that would soon bring about his departure from his native land. Completing the Symphony at the close of the year, he dedicated the work to his former teacher, Sergei Taneyev.

Alexander Siloti, the conductor who had continually urged the composer toward haste (by circulating rumors that the Symphony was already finished), arranged for its premiere on a concert in St. Petersburg on January 26, 1908; the composer conducted. The work’s extraordinary success with a public that had previously regarded him so coolly must have been a source of deep satisfaction. In many respects, in fact, neither of his subsequent symphonies—The Bells of 1913 (a symphony in all but name) or the Symphony No. 3 of 1936—was to show the mastery of structure and idiom of the Second.

A Closer Look “A composer’s music should express the country of his birth, his love affairs, his religion,” Rachmaninoff once said to the critic David Ewen; all three of these things are found in ample measure here. There is much of Russia in the Second Symphony, particularly the Russia of Tchaikovsky, Rimsky-Korsakov, and Prokofiev; the florid melodic style is deeply romantic in its inspiration, and the composer’s religious nature is heard in such aspects as the pervasive presence of the Dies irae melody—the Day of Wrath tune from the Requiem Mass—that had already played a role in the First Symphony.

Until recently the Second was usually performed in heavily cut versions, which Rachmaninoff himself had authorized while in America. In the last decades conductors have begun playing the piece without cuts, and have found that only in the complete version can one make sense of the composer’s intricate pacing and logic.

The four-movement work begins with an introductory Largo that contains clear reminiscences of the composer’s

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earliest “Youth” Symphony of 1891; the main theme of the subsequent Allegro moderato, derived from the “motto” of the introduction, and first heard in the violins, is a tune of subtlety and grandeur. The second movement (Allegro molto) is a dashing and brilliant scherzo, with a lyrical second theme and a vivid and dazzling central trio section.

The lugubrious Adagio, one of Rachmaninoff’s most celebrated slow movements, evokes youthful love at its most impassioned; the lush main theme in the first violins gives way to two other equally expressive and long-breathed tunes. Among the crucial events here is the reiteration of the first-movement “motto” immediately following the fortissimo climax. The finale (Allegro vivace) is a spirited gathering-in of themes that concludes the work in a sunny blaze of E major.

—Paul J. Horsley

Program notes © 2012. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

Rachmaninoff composed his Second Symphony from 1906 to 1907.

The Second Symphony has been a favorite of The Philadelphia Orchestra for many years after its first local performances in November 1909, under the composer’s direction. The most recent subscription performances were led by Jaap van Zweden, in November 2010.

The Orchestra has recorded the Symphony four times: in 1951 and 1959 with Eugene Ormandy for CBS; in 1973 with Ormandy for RCA; and in 1993 with Charles Dutoit for London.

The work is scored for three flutes (III doubling piccolo), three oboes (III doubling English horn), two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, snare drum), and strings.

Performance time is approximately one hour.

Musical TermsGENERAL TERMSArpeggio: A broken chord (with notes played in succession instead of together)Cadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolutionCadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or compositionChord: The simultaneous sounding of three or more tonesCoda: A concluding section or passage added in order to confirm the impression of finalityDissonance: A combination of two or more tones requiring resolutionHarmonic: Pertaining to chords and to the theory and practice of harmonyIntermezzo: A) A short movement connecting the main divisions of a symphony. B) The name given to an independent piece, often solo piano, that is predominantly lyrical in character.Legato: Smooth, even,

without any break between notesMeter: The symmetrical grouping of musical rhythmsOp.: 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.Rondo: A form frequently used in symphonies and concertos for the final movement. It consists of a main section that alternates with a variety of contrasting sections (A-B-A-C-A etc.).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 in triple time, vigorous rhythm, and humorous contrasts.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.Tonality: The orientation of melodies and harmonies towards a specific pitch or pitches Tonic: The keynote of a scaleTrio: See scherzo

THE SPEED OF MUSIC (Tempo)Adagio: Leisurely, slowAlla breve: (1) 2/2 meter [cut time]. (2) Twice as fast as before.Allegro: Bright, fastLargo: BroadModerato: A moderate tempo, neither fast nor slowVivace: Lively

TEMPO MODIFIERSMa non tanto: But not too much soMolto: Very

DYNAMIC MARKSFortissimo (ff): Very loud

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Orchestra HeadlinesPhiladelphia Orchestra Chamber Music ConcertTickets are now on sale for the third concert in The Philadelphia Orchestra’s 28th Season Chamber Music Series on Sunday, January 13, at 3:00 PM in Perelman Theater at the Kimmel Center. Tickets range from $19.00-$28.00. For more information, call Ticket Philadelphia at 215.893.1999 or visit www.philorch.org.

Mozart Fantasia in C minor, K. 396, for solo pianoMozart Quintet in E-flat major, K. 452, for piano and windsMozart String Quintet No. 5 in D major, K. 593

Samuel Caviezel ClarinetImogen Cooper Piano (Guest)Renard Edwards ViolaMark Gigliotti BassoonJennifer Montone HornHai-Ye Ni CelloDavid Nicastro ViolinAnna Marie Ahn Petersen ViolaPeter Smith Oboe

Annual Martin Luther King Jr. Tribute ConcertAs our nation inaugurates its 44th president, join us for our annual free Martin Luther King Jr. Tribute Concert on Monday, January 21, 2013, at 3:00 PM at Martin Luther King High School, located at 6100 Stenton Avenue in Philadelphia. Yannick Nézet-Séguin will lead the Orchestra and other special guests in this moving tribute to the life of Dr. King. The performance will include inspiring music and readings in commemoration of the 50th anniversary of Dr. King’s renowned “I Have a Dream” speech. One of the highlights of the annual Tribute Concert is the opportunity to hear two student speakers deliver an essay on Dr. King’s life and words. All finalists will be recognized at the Concert and will receive $100 each. The two student winners will receive a prize of $500, in addition to their concert appearance. Full program details and ticket information will be announced at a later date.

Philadelphia Orchestra Musicians in Concert

The Wister Quartet, which includes former Orchestra Assistant Concertmaster Nancy Bean, Philadelphia Orchestra violinist Davyd Booth, former Assistant Principal Cello Lloyd Smith, and violist Pamela Fay, presents a concert at the German Society of Pennsylvania, on Sunday, December 9, at 3:00 PM. The program includes works by Corelli, Mozart, and Schumann. Single tickets are $20. For more information, please call 215.627.2332 or visit www.germansociety.org.

The Dolce Suono Ensemble, which includes numerous Orchestra members, will present DSE on the Road concerts on Sunday, December 9, at 3:00 PM at the McEvoy Auditorium at the Smithsonian American Art Gallery in Washington, D.C. The Ensemble will be joined by the Washington National Opera Domingo-Cafritz Young Artists. Tickets are $25.00, $20.00 seniors, and $10.00 students. For more information, call 267-252-1803 or visit www.dolcesuono.com.

The Lower Merion Symphony, led by Philadelphia Orchestra Co-Principal Bassoon Mark Gigliotti, presents the second concert of its 2012-13 season on Sunday, December 16, at 3:00 PM at Rosemont College’s McShain Auditorium, 1400 Montgomery Avenue in Bryn Mawr. Philadelphia Orchestra Associate Principal Viola Kerri Ryan is the concert’s guest artist in Handel’s Viola Concerto; the remainder of the program is Bruckner’s Symphony No. 5. For more information, please e-mail info@lowermerionsymphony.org.

1807 & Friends, a chamber music group whose roster includes many Philadelphia Orchestra musicians, presents a concert on Monday, December 17, at 7:30 PM, at the Academy of Vocal Arts, 1920 Spruce Street, Philadelphia. The performance, which features harpist Anne Sullivan, includes works by Rachmaninoff, Saint-Saëns, Vaughan Williams, and Spohr. Single tickets are $17.00. For more information, please call 215.438.4027 or 215.978.0969.

Philadelphia Orchestra Principal Clarinet Ricardo Morales and pianist Natalie Zhu present a concert on Monday, January 14, at 8:00 PM, at the American Philosophical Society, 427 Chestnut Street. The concert, presented by the Philadelphia Chamber Music Society, features works by Stanford, Higdon, Debussy, and Weber. Tickets are $24.00. For more information visit www.pcmsconcerts.org or call 215.569.8080.

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Tchaikovsky and a GeniusDecember 13-15 8 PMGianandrea Noseda Conductor Alisa Weilerstein Cello

Borodin Overture to Prince Igor Elgar Cello Concerto Tchaikovsky Symphony No. 3 (“Polish”)

Mozart in His TimeJanuary 10 & 12 8 PM January 11 2 PMDavid Kim Leader Imogen Cooper Piano and Leader

Mozart Eine kleine Nachtmusik, Serenade in G major Mozart Piano Concerto No. 24, K. 491 Mozart Symphony No. 25

TICKETS Call 215.893.1999 or log on to www.philorch.org PreConcert Conversations are held prior to every Philadelphia

Orchestra subscription concert, beginning 1 hour before curtain. All artists, dates, programs, and prices subject to change. All tickets subject to availability.

December/January The Philadelphia Orchestra

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Tickets & Patron ServicesSubscriber Services:215.893.1955Call Center: 215.893.1999

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

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Ticket Turn-In: Subscribers who cannot use their tickets are invited to donate them and receive a tax-deductible credit by calling 215.893.1999. Tickets may be turned in any time up to the start of the concert. Twenty-four-hour notice is appreciated, allowing other patrons the opportunity to purchase these tickets.

Individual Tickets: Don’t assume that your favorite concert is sold out. Subscriber turn-ins and other special promotions can make last-minute tickets available. Call Ticket Philadelphia at 215.893.1999 or stop by the Kimmel Center Box Office.

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