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NEWS
September 11, 2005 | By Peter Dobrin INQUIRER CULTURE WRITER
The Philadelphia Orchestra has satisfied the terms of a major challenge grant, triggering a $10 million gift and pushing the orchestra's campaign for its endowment past the $100 million mark. The orchestra will receive $10 million from the Neubauer Family Foundation - now that the orchestra has raised an additional $10 million from various donors and $10 million from its own board. The Neubauer money puts the total raised for the endowment campaign at $100,800,000. The current goal is $125 million - "though I'd like to see us blow past that," said Julie D?az, the orchestra's vice president of development.
NEWS
December 28, 1989 | By Lucinda Fleeson, Inquirer Staff Writer
The Philadelphia Orchestra announced yesterday that it had received a $3 million challenge grant from the William Penn Foundation, the first gift from a major Philadelphia foundation for the proposed $95 million concert hall. "It's a very significant sign," said Peter Wyeth, director of development for the orchestra. The foundation grant, he said, gave the concert-hall project "the Good Housekeeping Seal of Approval. " According to a statement by Bernard C. Watson, president of the William Penn Foundation, the grant "reflects our belief that the concert hall project is an extremely important one for Philadelphia.
ENTERTAINMENT
May 13, 1990 | By Daniel Webster, Inquirer Music Critic
The Philadelphia Orchestra takes its case to the people tomorrow, beginning a three-week, cross-country, sea-to-sea tour. But despite all the departure hoopla scheduled at Philadelphia International Airport - balloons, a brass quintet playing Sousa marches, and a speech by music director Riccardo Muti - the orchestra will board its plane wondering if this may be the end of a format, the last flight into the sunset, the twilight of a 70-year-old tradition....
ENTERTAINMENT
August 25, 2005 | By TOM DI NARDO For the Daily News
The two Kimmel Center resident organizations will combine their operational functions, though each will remain a separate nonprofit entity with their own board of directors. The public may see little change in the near-term, though crossmarketing and cost savings will eventually benefit both organizations. "Only about 6 percent of the audience attends both orchestras, so there is plenty of opportunity," said outgoing orchestra association president Joseph Kluger. "The Pops budget is about $4 million, a tenth of ours, but by combined saving on administration, ticketing, fund-raising and other matters, the number of Pops performances may be able to increase.
ENTERTAINMENT
April 30, 2005 | By Peter Dobrin INQUIRER CULTURE WRITER
The Philadelphia Orchestra will perform three neighborhood concerts this summer. Once again, all are free. Continuing a practice that started regularly in 2000, the orchestra will trade its downtown venue for area neighborhoods. This year's concerts will be on Penn's Landing, in Camden's Whitman Park, and at Montgomery County Community College. The program will differ slightly for each concert, but all three will include Copland's Fanfare for the Common Man, Bernstein's "Overture" to Candide, and the "Symphonic Dances" from West Side Story.
NEWS
October 4, 2000 | by Tom Di Nardo, Daily News Classical Music Writer
Our Philadelphia Orchestra has garnered many historic firsts, and tomorrow night adds a cosmic one: the first symphony orchestra represented in space. The occasion is the 100th space shuttle launch, a slick tie-in to the upcoming 100th birthday of the Orchestra Nov. 16. Several weeks ago, the National Aeronautics and Space Administration filmed the Orchestra at the Academy of Music playing the opening bars of Richard Strauss' "Also Sprach Zarathustra," indelibly linked with Stanley Kubrick's film "2001: A Space Odyssey.
ENTERTAINMENT
March 23, 1998 | By Daniel Webster, INQUIRER MUSIC CRITIC
Karl Nielsen's symphonies blow through concert halls, their sounds a reminder that late romantic music is not neatly categorized. When Daniel Hege led the Haddonfield Symphony in Nielsen's Symphony No. 3 on Saturday, he was on a voyage of discovery. Certainly the piece is not overplayed, and it was probably being heard for the first time at the Voorhees Schools Theater. Nielsen's melodic ideas sound like poetry read in a not-quite-familiar language. Phrases, whole sections, move with fresh motion, modulate, shift and, in this work, burst into gaiety.
ENTERTAINMENT
September 22, 1989 | By Daniel Webster, Inquirer Music Critic
The Philadelphia Orchestra's first concert after its gala opening always has the air of a grateful return to its real mission. Orchestra and audience meet with high expectations on both sides and with few distractions to jostle those hopes. That was the basis on which the orchestra began its season last night at the Academy of Music. Riccardo Muti was on the podium, and in this beginning program, defined the orchestra's mission as one of pointing out the unifying threads that connect 19th- and 20th-century music.
ENTERTAINMENT
April 5, 2011 | By David Runk, Associated Press
DETROIT - The Detroit Symphony Orchestra and its striking musicians said Monday that a tentative agreement reached after a weekend of lengthy negotiating sessions could resolve a six-month walkout. The deal, which was reached after a final 10 hours of talks on Sunday, is subject to a ratification vote expected this week, said musicians' spokesman Greg Bowens. If approved, he said, Detroit Federation of Musicians union members with the nationally acclaimed orchestra could be back at work by next weekend.
NEWS
June 29, 1989 | By Daniel Webster, Inquirer Music Critic
The Philadelphia Orchestra has been keeping alive the music of composer Vincent Persichetti with greater care since his death than before. James DePreist, in his first concert of the season, conducted the orchestra in Persichetti's Symphony No. 4 last night at the Mann Music Center. It was a good reminder off the composer's range, for this piece is full of bright good spirits and short bursts of melody. The dark, acerbic sounds of some of his other symphonies appear only occasionally in this piece.
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ENTERTAINMENT
April 27, 2016 | By David Patrick Stearns, CLASSICAL MUSIC CRITIC
If John Williams is an alien presence on traditional symphonic programs, his concertos and overtures are like the friendly UFOs visiting Earth in Close Encounters of the Third Kind : They may not entirely fit in, but that's what makes their presence interesting. The composer has been the consistent musical voice of filmmaker Steven Spielberg for more than 40 years, an association that accounts for many of his 50 Oscar nominations and 22 Grammy Awards. For just as long, though, Williams has been writing classical concert works with an increasing assurance that's likely to be apparent in the Philadelphia Orchestra's John Williams mini-festival, which takes place over the next two weeks at the Kimmel Center.
NEWS
April 25, 2016
Q uestion: I recently attended a concert held in a local church. The event was so crowded that we sat in the balcony and happened to be behind a couple who were probably in their 30s. Despite the fact that members of the Philadelphia Orchestra were performing and there were incredible professional singers, these two spent the entire time playing games on their phones. They never stopped and, sitting behind them, it was extremely distracting. Should I have said something to them? Were they being rude?
NEWS
April 24, 2016
Face(book)ing the Music. The San Francisco Symphony says it will become the first major symphony orchestra to stream on Facebook Live on Wednesday, when it performs the world premiere of Mason Bates' Auditorium. Pablo Heras-Casado conducts, with Bates performing on electronica - the piece samples the sounds of baroque instruments - at Davies Symphony Hall on Wednesday at 8:15 p.m. California (11:15 p.m. East Coast) time. Information: www.facebook.com/sfsymphony . And while you're Facebooking your way around the classics, search for Kanye and Beethoven to hear the mashup created with the Los Angeles Young Musicians Foundation that comingles Kanye with the traditional symphony orchestra in a strangely compelling way. - Peter Dobrin Ancient Echoes.
NEWS
April 24, 2016 | By Peter Dobrin, CLASSICAL MUSIC CRITIC
It's OK to show up at a Philadelphia Orchestra concert this season and feel conflicted that big plans never materialized. The Stravinsky Soldier's Tale in a staged version by James Alexander, announced for the current run of concerts, was a victim of this season's budget cuts, and so the program was reworked without actors and dancers. The orchestra's current leadership feels that visuals are a good way to lure more listeners to the sound. Maybe. And though the orchestra has staged The Soldier's Tale before - in an elegant 2006 family-concert production by director Susan Fenichell - it was tantalizing to consider what Alexander (who has staged the St. Matthew Passion here)
ENTERTAINMENT
April 20, 2016 | By Peter Dobrin, Music Critic
What is the state of the orchestral training program at the Curtis Institute of Music at the moment? The question is worth asking mostly because so many Curtis orchestra concerts over the last 21/2 decades have so decisively tipped over into the professional-quality realm. The Curtis orchestra playing Sunday night in Verizon Hall veered more into the territory of a terrific student group - highly capable, but never quite getting to the sophisticated ensemble concepts that have often made this group a startling and unlikely phenomenon.
NEWS
April 18, 2016 | By Peter Dobrin, Music Critic
Will a seismic movement on the podium of the Metropolitan Opera have reverberations in Philadelphia? Yannick Nézet-Séguin, music director of the Philadelphia Orchestra, has been frequently seen as a prime candidate to succeed James Levine, whose shift to music director emeritus after a four-decade tenure was announced Thursday in New York by the Met. But apart from whether the Met actually offers the job to Nézet-Séguin, the Philadelphia Orchestra...
NEWS
April 17, 2016 | By David Patrick Stearns, CLASSICAL MUSIC CRITIC
Alternative musical universes aren't the stock and trade of the Philadelphia Orchestra, but that's what audiences were invited into Friday at the Kimmel Center in a concert with two new concertos. They were nothing radical, but they hardly represented the status quo. The audience seemed perfectly comfortable with it all, partly because the performances under music director Yannick Nézet-Séguin were shipshape, partly because the pieces were hugely engaging, even at their least conventional.
NEWS
April 13, 2016 | By David Patrick Stearns, CLASSICAL MUSIC CRITIC
Marcel Farago, 92, a Philadelphia Orchestra cellist from 1955 to 1994, died Friday, April 8, in Cherry Hill. Born in Romania, he was also a composer of numerous works, several of which were performed by the orchestra. Mr. Farago reportedly suffered from cancer but chose not to discuss it, and gave an interview packed with keen observations and lively wit only weeks before his death. He proudly stated that he was born in Timisoara, near the birthplace of the great Hungarian composer Bela Bartok.
NEWS
April 8, 2016 | By Peter Dobrin, MUSIC CRITIC
"How do we use music to increase quality of life for people in challenging situations?" Daniel Berkowitz, the Philadelphia Orchestra's director of collaborative learning, asks the question, and says the orchestra is increasing the number of ways music can answer the call. The group is instituting a new social-impact program, increasing others, and packaging them under an umbrella acronym: HEAR, which stands for health, education, access, and research. Under the heading of health, the orchestra is sending its musicians into Broad Street Ministry as music therapists to work with victims of trauma.
ENTERTAINMENT
April 6, 2016 | By David Patrick Stearns, CLASSICAL MUSIC CRITIC
Although a well-established 20th-century masterwork, Bartók's Music for Strings, Percussion, and Celesta is a special-occasion piece in the United States - and the Chamber Orchestra of Philadelphia is not a likely party to be creating the occasion. The piece is a tall order that would seem to require full orchestra. You could have guessed conductor laureate Ignat Solzhenitsyn was behind Sunday's performance: He's the kind of serious musician who will take on something this formidable and get the rehearsal time to pull it off. His chamber music appearances here mean he's never away for long, but Solzhenitsyn emerges as a key part of the Chamber Orchestra's season, maintaining a classical foundation as music director Dirk Brosse explores populist realms.
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