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Philadelphia Orchestra

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LIVING
June 15, 2001 | By Diane Goldsmith INQUIRER STAFF WRITER
When Ann and Bill Hozack bought it in 1996, Homewoods, their storied Chestnut Hill estate, was in a state of neglect, the gardens terribly overgrown. That they saw beyond the vines is evident in the refurbished grand Norman-style home whose serene backyard is now a frequent site for garden-party benefits. Two have been held there this spring, and tomorrow the Hozacks will host well over 150 guests for the Philadelphia Orchestra's tony "Toys for Big Boys" event. "It's a fabulous house.
NEWS
May 23, 2006 | By TOM DI NARDO For the Daily News
JOSEPH C. LANZA, a Philadelphia Orchestra violinist since 1958, died of pneumonia early Saturday morning. He was 73. "His life was the orchestra," Roslyn, his wife of 53 years said. "He was totally committed and dedicated to music. " On Saturday evening, before the orchestra's final concert of the season, Bach's "Air on a G String" was performed in his honor, and his chair was left empty. Lanza held the title of assistant principal second violinist, and could prominently be seen playing with youthful excitement.
ENTERTAINMENT
September 14, 1986 | By Leonard W. Boasberg, Inquirer Staff Writer
In the months to come, the Delaware Valley's museums, cultural institutions and performing arts groups will be keying many of their activities to the 200th anniversary of the convention that met in this city in the hot summer of 1787 and produced what George Washington later called "that precious depository of American happiness, the Constitution of the United States. " Starting this month and continuing through 1987, there'll be exhibits and historical presentations, plays and parades, conferences and symposiums, lectures and ceremonies, culminating - but not ending - Sept.
ENTERTAINMENT
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Fabio Luisi and Christian Tetzlaff perform Tchaikovsky on Thursday through Saturday at the Kimmel Center. Information: 215-893-1999 or www.philorch.org .
ENTERTAINMENT
February 20, 1993 | By Lesley Valdes, INQUIRER MUSIC CRITIC
Yefim Bronfman was the soloist in Prokofiev's brashly entertaining Third Piano Concerto, whose energies enlivened the Philadelphia Orchestra program, under Charles Dutoit, last night at the Academy of Music. Bronfman, 34, and a frequent visitor to this orchestra, possesses that brilliance of tone and overall alacrity to make the most of its glittering timbres and escalations, while his command of the work's sonorities is impressively virile. There was much to admire in the keyboard's climbing, spiraling passagework - its perpetual fevers that can exhaust a player's busy wrist.
NEWS
September 22, 1990 | By Lesley Valdes, Inquirer Music Critic
The gala is over, the contract strike was averted, the new music director Wolfgang Sawallisch approved and introduced before the hardly old maestro, Riccardo Muti, returned to start his penultimate season. For the Philadelphia Orchestra, it has been an exhausting week. Understandable, then, that there was a certain back-to-work quality at the Academy of Music last night when the orchestra opened its subscription series. Actually it felt like a tough-love session with Father Muti whisking rather tightly the belt in Prokofiev's Classical Symphony and Tchaikovsky's Fourth, stopping to hug his charges only in a magnetically sensitive reading of the Barber Violin Concerto.
NEWS
December 20, 1986 | By Daniel Webster, Inquirer Music Critic
Folk art frequently produces the image of youth climbing stairs toward maturity, crossing a landing and hobbling down steps toward the grave. That image was much in mind yesterday as Gilbert Levine, in his local debut, led the Philadelphia Orchestra at the Academy of Music. The spirit of the musicmaking reached the landing early and hurried listeners toward a feeling of overwhelming decrepitude. For the first half-hour, the climb was invigorating. Levine led the local premiere of Jacob Druckman's Aureoles, a work which has become a classic while Philadelphia wasn't looking.
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ARTICLES BY DATE
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 13, 2016 | By John Timpane, For The Inquirer
Nine artists, including two from Philadelphia, plus a Curtis Institute of Music graduate, have been announced as recipients of grants from the Leonore Annenberg Fellowship Fund for the Performing and Visual Arts. The fund awards $50,000 a year for up to two years to help beginning-career artists across the arts. The two Philadelphians are violinist Robyn Bollinger and actor Miriam A. Hyman. The Curtis graduate is bass-baritone Brandon Cedel of Charleston, S.C. Bollinger, daughter of Philadelphia Orchestra trombonist Blair Bollinger, made her Philadelphia Orchestra debut at age 12. She is a graduate of the New England Conservatory of Music.
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.
NEWS
April 6, 2016
An article Monday on the city's lobbying costs incorrectly stated the amount Philadelphia Industrial Development Corp. lobbyist Aaron Cohen is paid. His firm receives $90,000 a year. In Monday's Business section, "At the Convention Centers" listed an incorrect date for Philly I-Day. The educational networking event for insurance and risk-management professionals will take place April 28 at the Pennsylvania Convention Center. A March 27 story about violinist Francesca dePasquale mischaracterized the positions held by her father, the violinist William de Pasquale, with the Philadelphia Orchestra.
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.
NEWS
April 3, 2016 | By Peter Dobrin, Music Critic
Not long ago, a member of the Philadelphia Orchestra's leadership wrote me with an insight. In talking to musicians after concerts, he had gleaned that interpretation came from the musicians themselves, and not the conductor - and in fact the orchestra was able to play brilliantly without any podium guidance at all. The idea that a conductor could stand in front of an orchestra and have little or no impact seemed especially fanciful Thursday night...
NEWS
March 20, 2016
1-3 p.m. Sunday on WRTI-FM (90.1): In the second of three concerts in the Philadelphia Orchestra's Music of Vienna series, Yannick Nézet-Séguin leads the Philadelphians in Joseph Haydn's Symphony 103, "The Drumroll ," and Anton Bruckner's Symphony No. 4 . Each spotlights a principal soloist in the orchestra.
NEWS
March 20, 2016 | By David Patrick Stearns, Classical Music Critic
He stood before the Philadelphia Orchestra with the face of an anguished god, saying little with his partially paralyzed mouth, much through his hands, and more through his eyes - behind thick, sometimes askew glasses. In 1962, Otto Klemperer, one of the great conductors of the 20th century, returned to the Philadelphia Orchestra after an absence of more than 25 years, having suffered a brain tumor, a stroke, severe bipolar disorder, and third-degree burns from setting himself on fire by smoking in bed. "His beat was slurred.
NEWS
March 20, 2016 | By David Patrick Stearns, CLASSICAL MUSIC CRITIC
Never a polite purveyor of antique music, Dutch keyboardist/conductor Ton Koopman immediately let Bach's Orchestral Suite No. 3 off its leash in his Philadelphia Orchestra debut Thursday. It was a performance with more prominent timpani than I've previously encountered, and it set the tone for a concert that could be recklessly exuberant, and even blithely imprecise. Koopman and his Amsterdam Baroque Orchestra have long been an antidote to more severe Dutch early-music specialists who stripped away the accumulated traditions of the more recent past but put too little personality in its place.
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