2017 2018 Improvisionaries SeasonSunday, December 32:30Monday, December 47:30

Joseph and Marie Field Kimmel Center Series

Dirk Brossé, conductorMimi Stillman, flute

ROUSSEL - Concerto for Small Orchestra (1926/27), Op. 35 I: Allegro II: Andante III: Presto

MOZART - Flute Concerto No. 1 in G (1778), K. 313/285c I: Allegro maestoso II: Adagio ma non troppo III: Rondo: Tempo di Menuetto

INTERMISSION

MOZART (arr. VIDIKSIS) - Musikalisches Würfelspiel (1787), Kv526f Musician Realization

MOZART (arr. VIDIKSIS) - Musikalisches Würfelspiel (1787), Kv526f Audience Realization

JOHN CAGE - Atlas Eclipticalis (1961)

DIRK BROSSÉ - DNA in Music (2016)*

ASTOR PIAZZOLLA/BROSSÉ - Libertango

*US Premiere

VIOLIN IStephen Tavani, Concertmaster Joseph and Marie Field ChairMeichen Liao Barnes, Associate Concertmaster William A. Loeb ChairIgor SzwecLuigi MazzocchiJoseph KauffmanShizuka Inoue

VIOLIN IIElizabeth Kaderabek, Acting PrincipalNatasha ColkettDonna GranthamCatherine Kei FukudaAndrea Levine

VIOLAKathleen Foster, Acting PrincipalJulia DiGaetaniAndrew GonzalezRenee Warnick

CELLOGlenn Fischbach, Acting Principal Susan and Graham McDonald ChairElizabeth ThompsonJesus Morales

BASSDaniel McDougall, Acting Principal Kenneth M. Jarin and Robin Wiessmann ChairTimothy Ressler

FLUTEDavid DiGiacobbe, Acting Principal Dr. Joan Parker ChairKimberly Trolier

OBOEGeoffrey Deemer, PrincipalNicholas Masterson

CLARINETDoris Hall-Gulati, Principal Miles Morgan ChairRié Suzuki

BASSOONMichelle Rosen, PrincipalColleen Hood

HORNKaren Schubert, Acting Principal Kathleen and Stephen Thompson Chair, in memory of Kenneth A. Thompson

TRUMPETBrian Kuszyk, Acting Principal Joan and Bill Goldstein Chair

HARPSophie Bruno Labiner

TIMPANIMartha Hitchins, Principal

MIMI STILLMAN, FLUTE Flutist Mimi Stillman, acclaimed by The New York Times as “not only a consummate and charismatic performer, but also a scholar whose programs tend to activate ear, heart, and brain”, is renowned for her virtuosity, insightful interpretation, and adventurous programming. As soloist, she has appeared with orchestras including The Philadelphia Orchestra, Indianapolis Chamber Orchestra, Bach Collegium Stuttgart, Orquesta Sinfónica de Yucatán, Chamber Orchestra of the Triangle, and Orchestra 2001, and as recitalist and chamber musician at venues including Carnegie Hall, The Kennedy Center, Philadelphia Chamber Music Society, Smithsonian American Art Museum, National Sawdust, Isabella Stewart Gardner Museum, Symphony Space, La Jolla Chamber Music Society, The Kimmel Center, The Verbier Festival, and Kol HaMusica. Ms. Stillman is the founding Artistic Director of the popular Dolce Suono Ensemble, performing Baroque to new music with 50 world premieres in 12 seasons in Philadelphia and on tour. A wide-ranging and innovative artist, Ms. Stillman celebrates the canon while deeply exploring new music and Latin genres.  She is highly regarded for expanding the repertoire through her commissions, arrangements, and compositions. She can be heard on several recordings including Odyssey: 11 American Premieres for Flute and Piano and Freedom, both with her longstanding duo pianist Charles Abramovic, and American Canvas for flute, cello, and piano, performed by her Dolce Suono Trio, all on the Innova label. Her unique project, Syrinx Journey, a tribute to Claude Debussy on his 150th anniversary through her daily recordings of Syrinx, garnered an international following. Mimi Stillman made the leap from child prodigy to inimitable artist. At age 12, she was the youngest wind player ever admitted to the Curtis Institute of Music, where she studied with the legendary Julius Baker and Jeffrey Khaner and earned her Bachelor of Music degree. She received a MA and PhD (abd) in History at the University of Pennsylvania, and is a published author on music and history integrating scholarship with her artistic vision in projects with her hallmark, thought-provoking depth. Her articles have appeared in publications including The Oxford Encyclopedia of the Modern World, The Mozart Society of America, The Flutist Quarterly, and NewMusicBox. Ms. Stillman has enjoyed fruitful collaborations with artists including Eric Owens, Lucy Shelton, Paquito D’Rivera, Julius Baker, Juan Diego Flórez, Roberto Díaz, Jaime Laredo, and the Dover Quartet, and recorded a film score for Kevin Bacon. At the invitation of Plácido

Domingo, Ms. Stillman and Dolce Suono Ensemble enjoy a partnership with the Washington National Opera’s Domingo-Cafritz Young Artist Program. Orchestrally, she has played under the baton of conductors including Simon Rattle, André Previn, Wolfgang Sawallisch, Christoph Eschenbach, Kurt Masur, Robert Spano, Marin Alsop, Yuri Temirkanov, and David Zinman.                        Mimi Stillman has won numerous competitions and awards including Young Concert Artists International Auditions, the Bärenreiter Prize for Best Historical Performance for Winds, Astral Artists Auditions, and Philadelphia Women in the Arts Award. A Yamaha Performing Artist and Clinician, strongly committed to excellence in education, she has taught masterclasses at institutions including the National Flute Association, Eastman School of Music, Cornell University, Swarthmore College, Virginia Tech, the universities of Texas, California, Virginia, Florida, and Arizona, and at conservatories and flute associations worldwide. A Spanish-speaker, Ms. Stillman won the Knight Foundation grant for her Música en tus Manos (Music in Your Hands) project to introduce chamber music to the Latino community of Philadelphia. She is on faculty at Temple University, Curtis Summerfest, and Music for All National Festival. mimistillman.com

Classical Conversations*Post-Concert Q&ASunday, December 3

Please join Dirk Brossé and Mimi Stillman for an informal and informative Q&A session following the matinée.

Concerts & CocktailsPost-Concert Mixer*Monday, December 4

Join us after our Monday evening performances at the Kimmel Center PECO Bar for Concert & Cocktails where you can mingle and get to know the Chamber Orchestra over cocktails at the bar! (cash bar).*Details subject to change

UPCOMING EVENTS

Classical Jukebox Fundraising ConcertThursday, January 11 | 7:00 PM

Join Members of the Chamber Orchestra, and Ignat Solzhenitsyn on piano for an intimate evening of chamber music. Presented at The Church of the Holy Trinity, Rittenhouse, COP’s long-time series home, Chamber Orchestra musicians and other special guests perform a program of COP musician favorites for this fundraising concert in support of the Holesovsky Musician’s Fund. About the Holesovsky Musician’s Fund The Holesovsky Musician’s Fund was established in honor of founding member and long-time Chamber Orchestra of Philadelphia cellist and personnel manager, Jimmy Holesovsky. This fund was created to recognize Jimmy’s unwavering commitment to his colleagues and the well-being of the Chamber Orchestra. All donations to the Holesovsky Musician’s Fund go directly toward the payment of Chamber Orchestra of Philadelphia and Philadelphia-area musician fees for COP performances and special projects each season.

EVENTS FOR THIS CONCERT

ALBERT ROUSSEL (1869–1937) Concerto for Small Orchestra AlbertRousselwassufficientlyregardedinFrancethataweek-longfestivalofhismusicwasgiveninParisinhonorofhissixtiethbirthday.Hiswrotesubstantialmusicinallgenres– symphonies,concertos,chambermusic,ballets,songsandanopera–butheisstilllargelyunfamiliartoAmericanaudiences. Rousselwasorphanedatanearlyageandraisedmostlybyanaunt.Whileheclearlyhadmusical talent,hewasmore interested inmathematicsand in joiningthenavy.Hewascommissionedasamidshipmanat18andmadeseveralvoyagestoFrenchIndochina(nowVietnam).Healsobegantocomposeinanentirelyself-taughtmethod.Ashipmate(andbrotherofacclaimedoperasingerEmmaCalvé)showedsomeofhisworktotheconductorÉdouardColonne,whoencouragedRousseltobeginaseriousstudyofmusic.Rousselresignedhiscommissionin1894andwenttoParis,wherehefirststudiedwithorganistEugeneGigoutattheÉcoleNiedermeyerandlaterenrolledatVincentd’Indy’snewScholaCantorum.Bythetimehehadcompletedd’Indy’srigorous10-yearcourseofstudy,hehadalreadybeenputinchargeofcounterpointclassesattheScholaandhadwrittenhisfirstimportantworksincludinghisSymphonyNo.1,ThePoemoftheForest. TheConcertoforSmallOrchestrawascompletedin1927andpremieredbytheStraramOrchestra,anensemblededicatedtotheperformanceofcontemporarymusic.Thetitlesuggeststhebaroqueconcertogrosso,butinamodernidiominwhichRousselprovidesampleopportunitiesfor individualsolosintheorchestra.Whilethepieceiswrittenforachambersizedensemble,itincludespiccolo,flute,pairsofoboes,clarinets,bassoonsandhorns,trumpetandtimpani.Despitethoserelativelylargeforces,Rousselrarelymakeslargetuttigestures,andevenwhenmassed,individualsectionshavetheirowndistinctiverhythmsandmelodicmaterial,givingthemusiclightnessandclarity.The overall feeling of the Concerto is one of propulsive energy and motion. TheopeningAllegromolto is highly rhythmic,withmusical ideas andphrases followingone upon the next with a sort of breathless abandon. TheAdagio unfolds in long,languorousmelodieswhichneverseemtosettle,creatingaconstantsenseofmotiondespitetheslowtempo.ThefinalmovementPresto,Allegroconspirito,takesupwherethefirstmovementleftoff,withangularmelodiesandsyncopatedrunsdrivenforwardbyaninsistenttimpanibeat.Themusicabruptlybecomessofterandslower,endinginawhisper,asifthejuggernauthasfinallyrundown.

W. A. MOZART (1756–1791) FluteConcertoNo.1inGMajor,K.313 Itwas1777.MozartwasinMannheim,andhewasinlove.HewasinMannheimbecausehehadquithisjobatthecourtoftheArchbishopofSalzburgandwassearchingforapositionmorecongenialtohisambitions.MannheimwastheseatofthePalatineElector and boasted the finest orchestra in Europe. Mozart’s timing, however, wasunfortunate.TheElectorwascertaintoinherittheelectorshipofBavariaatsomepointandwasexpectedtomovethejointelectoralcourttoMunich.WhileMozartdutifullymadetheroundsoftheelectoralcourtandthenobility,thepoliticaluncertaintymadeitextremelyunlikelythatajobofferwouldbeforthcoming.Butdespitehislackofsuccessinfindingemployment,MozartsomehowcouldnotbringhimselftoleaveMannheim.TheobjectofMozart’saffectionwasAloysiaWeber,ayoung,self-assuredsopranowithavoiceofextraordinaryrangeandbeauty.ApartfromhissisterNannerl,shewasprobablytheonlygirlofhisagewithtruemusicaltalentthatMozarthadmet.Heofferedtogive

PROGRAM NOTES BY MICHAEL MOORE

herlessonsonthemorebravuratechniquesofopera,andwroteseveralconcertariastoshowcaseherconsiderablevocalabilities.(One,aninsertionariaforGluck’sAlceste,ascendstoaGabovehighC,twice!)Hegaveafewrecitalswithher,andconceivedtheideathattheycouldgotoItalytogether,wheretheywouldlivebyhersingingthemusichecomposed forher.But theromanceendedbadly,withAloysia rejectingMozart’sbelatedproposalandMozartserenadingherwithadittyhecomposedonthespot,“Anyonewhodoesn’twantmecanjustkissmyarse!”Ironically,Aloysiawouldbecomenotonlyoneoftheleadingperformersofhisoperas,buthissister-in-lawaswell. InDecemberof1777,MozartreceivedacommissionfromFerdinandDejean,aDutchsurgeonwhohadmadehisfortunewiththeDutchEastIndiaCompanyandwasbothascientistandakeenamateurflutist.Herequestedthreeconcertos,nottoolongordifficult,andasetofquartetsforflute,violin,violaandcello,stipulatingthattheymustbecompletedbythefollowingFebruary,whenhewasleavingforParis.Butromance trumped diligence, andMozart was only able to turn over two concertosandthreequartets.Oftheconcertos,onlytheGMajorconcertowas(probably)newlycomposed;hereworkedhisCMajoroboeconcertointotheDMajorfluteconcerto.TheDMajor concertomight havepassedmuster except for the fact that theoboeconcertofromwhichitwastakenwasquitepopularinMannheimandDejeanprobablyrecognizedit.Ofthequartets,onlyonehadthreemovementsandtheothersjusttwo.DejeanwasnotpleasedandpaidMozartonlyhalftheagreedfee.WhenMozartwrotetohis father toexplain thefiasco,heofferedupa litanyofexcuses –overwork, theinabilitytoturnthecreativeprocessonatwill,andthenowinfamousstatementthathewasunabletowriteforaninstrumentwhichhedetested.Whateverhispersonalfeelingfortheflute,therecordcertainlybeliesthatassertion.TheConcertoinGMajorandtheConcertoforFluteandHarp,writtenjustashorttimelater,aretwoofthemostbeautifulworks in the repertoire, andhiswriting for theflutewasexceptional,displaying theinstrument’ssoundandcapabilitiestoitsbestadvantage. The first movement of the Concerto in G Major, Allegro maestoso, openswithafanfarefigureinthestrings,creatinganairofgracefulelegance.Mozartgivesmusicofequalweighttoboththeorchestraandsoloflute,withmusicalphrasespassedseamlessly fromone to theother. Probablymuch toDejean’sdismay, the flutepartrequiresahighlevelofvirtuosity,withacrobaticruns,arpeggios, leapsbetweenlowandhighregister, trillsandstaccatopassages.Thesecondmovement,Andantenontroppo, features a beautiful, cantabile line for the solo flute. The strings aremutedthroughout,andMozartexchangestheoboesfromtheoutermovementswithapairofflutes,allowinghimtoplaywiththedifferenttexturesoftheharmonizedorchestralflutesandthesoloflute.Thefinalmovementisarondo,withalight-hearted,dance-likeprincipalthemeenclosinglonger,symmetricallyarrangedinterludes.

W. A. MOZART Würfelspiel Mozart was exceedingly fond of word games and puzzles, and his lettersare filledwith puns, anagrams and codes.Hewas known to print up riddles of hisowndevisinganddistribute thematparties, and somewereevenpublished in thenewspaper.Soitisnotsurprisingthathewasdrawntothemusikalisches Würfelspiel,ormusical dice game, inwhich throws of the dicewere used to select bits of pre-written music that could be assembled into a complete piece. Constructing theseWürfenspielenwaspopular in the18th century. Kirnberger, adistinguished teacherandpupilofBach,devisedonetoproduceminuetsandpolonaises;Bach’ssonCarlPhilippEmmanuel,createdonethatproducedcounterpoint.

The famousWürfelspiel attributed toMozartwas published in 1792, shortlyafterhisdeath.Itsprovenanceisnotentirelyclear,butMozartisknowntohavesketchedoutaslightlydifferentcompositiongamein1787,inwhichthesolutionsnotonlymadecompletemusicalphrasesbutalsoapparentlyspelledoutnamesofhisfriends,andwasprobablymeantasapartygame. Mozart’sWürfelspiel consists of 176 randomly arrangedmeasures, with themeasurenumberssetintwotablesof8columnsand11rows.StartingwithcolumnA,you roll thedice,find thecorresponding rowand readoff themeasurenumber thatwillbecomethefirstmeasureofyourpiece.Onceyou’vegonethroughthecolumnsinorderinbothtables,youendupwitha16-barwaltzoftwo8-barphrases.Accordingtotheprinted instructions,onecan“composeasmanywaltzesasonewants,withoutthe slightest knowledge of music or composition.” This is rather hard on ChamberOrchestraComposer-in-ResidenceAdamVidiksis,whowastaskedwitharrangingandorchestratingtwooftheserandomlyconstructedwaltzes,onegeneratedbyaudiencemembersandonegeneratedbyorchestramembers.Vidiksisdescribeshisapproach:“Theapproachtoorchestratingeachversionofthewaltzisdifferent:inthemusicians’realization,ImatchedtheorchestrationtechniquesthatMozartwouldhimselfhaveused.ItisimpossibletoknowexactlyhowMozartwouldhaverenderedtheworkforchamberorchestra, but careful study of hismusic – particularly from this period of his career– allowsone to speakas closely to thecomposer’s voiceaspossible. In thepatron’srealization,Itookadifferentapproach:followinginthefootstepsofearlyNeoclassicists,particularlyStravinsky’sorchestrationsof18th-centurymusicattributedtoPergolesiforDiagalev’sballetPulcinella,Iarrangedtheworkbasedonmoremodernorchestrationaltechniquesandpractices.WhilestilladheringstrictlytothenotesdelineatedbyMozart’salgorithm, this approach situates this second version somewhere between the 18th-centurystyleofMozart,theearly20th-centurystyleoftheNeoclassicistcomposers,andmyown21st-centurystyle.”

JOHN CAGE (1912-1992)Atlas Eclipticalis John Cage was one of the most influential, controversial and provocativecomposersofthe20thcentury.HestudiedfortwoyearswithArnoldSchoenberg,wholatersaidthathedidnotconsiderCageacomposerbutratheraninventor,anappellationthatCagegleefullyadopted.Heexperimentedwithpreparedpianoswhosesoundwasmodifiedbyinsertionofpaperorotherobjectsbetweenthestrings,andusedkitchenutensilsandsheetsofmetalaspercussion instruments.HehadaZen-like fascinationwith the silences between sounds and in aleatoricmusic, inwhich chance elementsdictatemusicalcontent.Inhismostfamous(orinfamous)work,4’33”,thesoundscapeiscreatedbytheambientsoundsinthehallratherthanbythemusicians. Cage’s 1961 Atlas Eclipticalis was commissioned and premiered by theMontrealFestivalSociety.Tocreatethepiece,hesuperimposedmusicalstavesoverstarchartsandcopiedthepositionofthestarstocreatenoteheads.Themusicisorganizedintoepisodes,eachcontainingbetweenoneandtennotes,andeachinstrumentalpartcontains20episodes.Theworkissetforanycombinationof86instrumentalpartsandconductor,“tobeplayedinwholeor inpart,anydurationinanyensemble,chamberororchestral.”Theconductorisresponsiblefordeterminingwhichoftheinstrumentalparts and episodeswill be played and for setting the tempo, which he conducts inperformancewithacircularmotion, likethemovementofthehandsofaclock.Cageprovidesextensiveinstructionstotheplayersastohowtoapproachthescore,butonlythepitchesandrelativedynamicsarespecified–thelargerthenotehead,thelouderthesound.Theorder inwhich thenotesareplayed,articulation,exactdynamicsandtheamountofspacebetweennotesisatthediscretionoftheplayer.Whilethereisno

“standard”performance,themusicisusuallyquiet,withoccasionalburstsofsoundlikeshootingstarsflashingacrossthenightsky.

DIRK BROSSÉ (b. 1960) DNAinMusic Composer Dirk Brossé will tell you that writingmusic is easy. It is findinginspiration that canbehard. Inspiration can come frommany sources. Sincemusicisanauralart, itoftencomesfromsounds, liketheParisiantaxihorns inGershwin’sAnAmerican in Paris. But inspiration canbe found anywhere. ForAtlas Eclipticalis,JohnCagelookedatastarchartandimaginednoteheadsonavast,cosmicstaff.TheinspirationforDNAinMusic,setforflute,stringsandharp,camefromaconversationBrosséhadwithcellbiologistandNobellaureateSirPaulNurse. In 2016, the Flemish life sciences institute VIB was celebrating its 20th anniversary with an unusual public symposium entitled “Science Meets Life.” Thefinalsegmentwascalled“ScienceMeetsMusic,”andBrosséwasenlistedtoprovidea closing concert including a commissioned work. During the preparation, Brosséhadtheopportunitytospeakwithanumberofscientists,includingNurse,andtheirconversationturnedtoDNA.Itcontainsadeceptivelysimplecodebuiltfromjustfour“letters,”butitisresponsibleforboththeincrediblediversityandrelatednessofalllifeformsonearth.Itcouldbeawonderfulmetaphorformusicaswell.Brosséexplainsthathebeganwithasimplequestion: “If DNA is the backbone of all living organisms, then what is the DNA ofmusic?DNAconsistsoffoursubunitsor‘nucleotides’,representedbyfourletters:C,G,AandT.Whilemusicisdeterminedbyvariousparameterssuchaspitch,rhythm,tonecolororform,thetrueDNAofmusicissound.ThisbroughtmetoPythagoras,theancientGreekwhoisthefatherofbothmathematicsandmusictheory.Hediscoveredthateverysound,whether it’saknockon thedoororavibratingstring,consistsofanumberofovertones.IcametorealizethatthesebasictonesarethetrueDNAofmusic. “That’swhymycomposition isbasedon fourbasic tones, representingthenucleotides.Theyarepresentedatthebeginningofthepiecebut–justlikeinDNA–theyquicklydisappearincombinationsthatarealwayschanging.Sometimesthetonesareclearlypresent,butamomentlatertheymaybecutorandpastedor‘manipulated’somewhereelse.Listenerswillhearverydynamic,organicstringsofnotes,recallingthebillionsofvariationsofC,G,AandT. “Thefluteistheoldestwindinstrumentaround.ItsearliestancestorswerethebambooforestsofIndonesia,wherethewindwhistledthroughsplitsinthecanes.Theoldestfluteeverdiscoveredwasmadeofacavebear’sthighbone.JustlikeDNAwaspresentatthebeginningoflife,thefluteplayedakeyroleinthedawnofmusic.Apartfromthat,theflutehasaveryfestive,almostfairy-likesoundaswell. The flute is supported by strings and a harp, but these instruments neverdominate.Iwantedtomaketheflutecentral,makeitsoundnaked.It’saverytechnicalcomposition:nothardtolistento,butdefinitelyhardtoplay.Thepiecerequiresgreatvirtuosityfromtheflutist.Itisagenuinetourdeforce.”

ASTOR PIAZZOLLA (1921–1992) Libertango ThetangohasbeentransformedovertheyearsfromthedisreputabledanceofBuenosAires’underclass,tothefashionable,ifstillabitnaughty,danceof1930’sParis,toastapleofballroomdancingtoday.ButthemostremarkabletransformationcamefromAstorPiazzolla,whouseditasthebasisofanewtypeofmusichecallednuevotango(newtango),whichinhabitstheintersectionofclassical,jazzandworldmusic. Piazzolla was given a bandoneón, a type of concertina and the iconicinstrument of the tango, at age 8. Piazzolla soonmastered the difficult instrument,andwasplayingwithprominent tangoorchestrasbyhis teens.He turnedhishandtocomposingandarranging,butwithlimitedsuccessbecausehispieceswereoftentoocomplexfordancing.HebegantostudycompositionwithAlbertoGinasteraandby1949wasdevotinghimselffulltimetoclassicalmusic.In1953hisorchestralsuiteBuenosAireswonaprestigiouscompetition,whichallowedhimtostudywithNadiaBoulangerinParis.Boulangerpronouncedhisclassicalworkswell-writtenbutlackingpersonality.Butwhensheheardsomeofhistangos,shetoldhim“thetruePiazzolla is here, never leave it behind.” When he returned to Argentina in 1955, Piazzolla began to create his nuevo tango, music for listening rather than dancing, but for the nightclub rather than the concert hall. After experimenting with different instrumental combinations, he settled on a quintet comprising a bandoneon, violin, bass, piano and electric guitar, which he found to be the perfect vehicle for music which incorporated the melodies and syncopated rhythms of tango, the inflections of jazz, and a creative use of dissonance as well as harmony. Piazzolla wrote Libertango in 1974 in Italy, where he was experimenting with an ensemble of electric instruments fronted by the bandoneón. It was recorded and released commercially, and soon became an international hit and his most popular composition. It has appeared in one form or another on over 500 recordings and has been covered by artists ranging from Yo-Yo Ma to Grace Jones, who added her own lyrics. Piazzolla developed a love of Bach from his earliest childhood piano lessons, and Bach’s influence might been seen in the Libertango. It unfolds as a sort of tango passacaglia, a piece built on a repeating harmonic structure. The Libertango opens with what is essentially a 16-bar ground bass, which provides the foundation of the work. The bandoneón takes the role of the harpsichord continuo, with jazz-flavored, arpeggiated chords, and an exquisite, cantabile melody is finally laid on top.

The Ensemble SocietySymphony Circle $10,000 & above

Joseph and Marie Field William A. Loeb Graham and Susan McDonald Kenneth Jarin, Esq. and Robin Wiessmann Miles Morgan Renaat and Daisy Van den Hooff-Mertens Stephen W. and Kathleen Thompson

Concerto Circle $5,000 & above

Michael DeLaurentis Matthew Faranda-Diedrich Joan and William Goldstein Carole Haas Gravagno Jeff Leauby Charles R. Peterson Suzanne J. Peck Meyer Madway*

Suite Circle $2,500 & above

John W. Cornell Seymour Millstein Paul S. Anderson Bruce and Cynthia MaryanoffDr. Joan Parker

Overture Circle $1,000 & above

Anonymous Peter A. Benoliel and Willo Carey Sara Nerken In honor of Larue Evans Peter and Pamela Freyd Frances Tate and William Gardner In memory of Joseph H. Gardner Charles and Alison Graham

David DeGeorge James W. Harper Bruce and Joan Leauby Gregory and Susan Moore Rosanne and Sam Spear Bill and Linda Spink Stephen and Rosalyn Weinstein Arnold M. Weiss Jack and Karen Fulton Rosemarie and John A. Trainer Marji Rosenbluth Philips and Carole M. Rosenbluth Saft Dagmar E. McGill

The Patron’s CircleSonata Circle $500 & above

Clark McSparren In memory of Ethelmae McSparren Debra Weissbach and Neil Cohen David and Barbara Daniels Janice Dupont Dr. and Mrs. Stuart and Maureen Fleming Dr. Douglas and Anne Holsclaw Laura and Bernard Jacobson Frank Konings and Vera Van De Velde William F. Koons Reinhard and Sue D. Kruse Frederick and Elena Kyle Dr. Eileen Grogan and Dr. Richard Lund Barbara and Ann Moskow Kit Reeve Anne Faulkner Schoemaker Sara Nerken In honor of Doni Shaffer Suzanne Walker and Thomas Gilmore David and Ilene Winikur Gregory and Aiko Whiting Kenneth Catanella Mary J. Fallon Albert and Alice Doering Dr. and Mrs. Markowitz Vincent N. and Lila A. Russo Henry G. Tutek, Esq.

Thank you for your generous support!

The Chamber Orchestra of Philadelphia would like to acknowledge the generosity of those who ensure our future for years to come. These gifts help preserve our history, as well as strengthen our mission and commitment to the City of Philadelphia.

Largo Circle $250 & above

Anonymous Paul and Amelia Batastini Janet Fetkewicz and Stanton Mallis Eileen M. Gildea and Leah Chaplin Norman Cohen Robert DiOrio James and Wendy Emrich Paul and Judith Farber Ellen Goldener In honor of Susan McDonald Elizabeth Hornberger Jeff and Brenda Howard Frank and Mary Kaderabek Richard B. Klein Barbara Kotzin Richie Madden Stephen J. Malloy Dr. and Mrs. Stanley Praiss Yumi and Henry Scott Horace E. Williams Charles B. Woodward Laura McNicholas Dr. Donald J. Rosato Lorna Hoopes-Hardt Carol A. Westfall Anne Stephano Stephen Kieran In honor of Barbara DeGrange Kieran Miles and Susan Davis Umit and Rosemary Turunc

Rondo Circle $100 & above

Anonymous (4) Jane and David Aker Patricia and Aldo Amodei John Alexanderson In honor of Ellie Winters Mary and Darrel Blumm Jeanne R. Brna Anita Brody Allison Butler William Calvano Frederick J. Ciao William and Giovanna Cilia-Wheatley Michael Conrad

Deborah Curtiss John Dale Michael DeLaurentis Jay M. Donner Pauline T. Durand David W. Durham Bill Eisen John and Nancy Fischer Nancy Feld and Ned Heltzer Dr. Luz Elvira Duque Hammershaimb, E. Amse Heck, Dr. Adrianne Hammershaimb, Alex Hammershaimb In memory of Mr. Edgar C. Hammershaimb Algund Hermann Steven Marino and Carol Hertzoff Mauriel Holland Hon. Harris and Sande Hollin Ann “Shep” Houston Andrea Immel Blanche and Harold Jacobs Richard and Sandra Josephs Beth Kayros Kay and Marvin Keenze Christine Killough Yeong Kim Harold Kobb Garry A. Kramer Jerry Kreider Mark Kushner and Eileen Sklaroff Ed and Dena Lake Lora Lavin Lee and Ruth Loewenstern Wayne Lorgus Greg and Lucy Maislin Robert Mandeville Joseph and Lynn Manko Sidney Margulies Kathleen McGrann William R. Muir Jeanne and Glen Omans Steve and Elizabeth Murray Mark Reber Francis J. Reilly Judith and Richard Ross Dr. Gerald and Mrs. Eleanor Sapers Paul Schott Gail Sidewater Paula T. Silver and Charles Kelbley Cecil Smith Penny and Bruce Smith Laura Stanton and Kim Tomlinson

Steve and Luci Stroiman Ellen Szydlowski Kathryn Taylor and Jonathan Sprogell Daniel and Marilyn Veber William Seligman Peter Dunn David and Ruth Snyder Audrey E. Evans and Giulio Dangio Robert Wilkinson Diana Post Fred Hoevenaar F. Gordon Yasinow Davyd M. Booth and Christopher Perez Peter J. Boyer Susan C. Saltzman Beth Rogers Gregory and Susan Moore Stuart Donaldson George and Nina Ikeda Cecily Kihn John Reading McHaffie Edward J. Kamarauskas In memory of Albert Kamarauskas Joseph and Carol Wank Donald and Judy Paretchan Richard and Cameron Johnson, Jacqueline Cunningham Mark Wagenveld Mr. and Mrs. Gary V. Zimmaro Sr. Alexandra Cutler-Fetkewicz Richard and Barbara Menin Marilyn and David Kraut Susan M. Long & Andrew J. Szabo Carolyn and Robert Mason In memory of Jimmy Holesovsky Ralph Kendricks*Deceased