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January 03, 2019

Hannibal’s Oasis of Inspiration

“I love you, babies.”

“We love you, Mr. Hannibal.”

It’s a familiar farewell between students at Creative Arts Morgan Village Academy and Music Alive Composer-in-Residence Hannibal.

Hannibal describes the school, located in Camden, NJ, as an “oasis.” He recently met with members of the jazz band to discuss his new work for The Philadelphia Orchestra, Healing Tones––the text of which they helped to inspire.

January 03, 2019

Schoolhouse Classical: The Philadelphia Orchestra Gives Back

It’s no secret that The Philadelphia Orchestra spends a lot of time away from Verizon Hall. Every summer it heads to the Mann Center, Vail, and Saratoga. There are regular visits to New York’s Carnegie Hall and community concerts around Philadelphia, plus frequent overseas tours.

January 03, 2019

Patrick Williams - 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.

Where were you born? Boulder, CO.

What piece of music could you play over and over again? Mahler's Das Lied von der Erde.

What is your most treasured possession? My road bike.

January 03, 2019

Jane Kesson - In the Spotlight

A Monthly Profile of Orchestra Fans and Family

"If I didn’t know the facts, I wouldn’t have believed it!”

That’s how Cindi Pasceri describes her reaction to the news that her dear friend, the late Jane Kesson, had donated an astonishing $4.7 million to The Philadelphia Orchestra.

December 21, 2018

"Bugs Bunny at the Symphony": The Philadelphia Connection

Seinfeld, season 4, episode 9: “The Opera”

Exterior. Opera House.

Jerry and Elaine wait outside the opera house, as last-minute patrons rush in to the performance.

ELAINE

“Jerry, we’re going to miss the overture!”

JERRY (Singing)

“Overture, curtain lights! This is it, we’ll hit the heights. And oh what heights we’ll hit! On with the show, this is it!”

ELAINE (after a pause)

November 29, 2018

“Amahl” and the “television opera”: The creation of a rare, important genre

It’s not as if Gian Carlo Menotti sat down one day and said, “I think I’ll invent a new genre today.” Yet with the composition of Amahl and the Night Visitors in 1951 (the Philadelphians perform the work December 13 and 15), that is essentially what he did. Almost unwittingly, the Italian-born American created what has come to be considered the first opera composed for television.

November 29, 2018

Tovey’s Thoughts: A Guest Post on “Amahl and the Night Visitors” from Conductor Bramwell Tovey

Sometime in the early 1960s, when I was age 9 or 10, my father arrived home with an LP recording from a specialist gramophone store in Soho, London. The most memorable tracks on this anonymously recorded disc were Leroy Anderson’s Sleigh Ride and the Christmas song Mary’s Boy Child, each performed in slightly syrupy arrangements the style of which we came to associate with America. This was something quite alien to the so-called “sophisticated” world of Kings College Choir, Cambridge, heard then, as now, every Christmas Eve on BBC radio.

November 29, 2018

Davyd Booth - 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.

Where were you born? I was born Clarksburg, West Virginia.

What piece of music could you play over and over again? Bach’s St. Matthew Passion.

What is your most treasured possession? My violin.

November 29, 2018

Matthew Fitzpatrick - In the Spotlight

A Monthly Profile of Orchestra Fans and Family

The Philadelphia Orchestra’s website touts its Campus Representative program as “a great way to get professional publicity and promotions experience while in college.”

But that’s not why Matthew Fitzpatrick decided to become a campus rep, starting last year. For one thing, the St. Joseph’s University senior is a math major, not a marketer.

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.

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