March 2014

Dear Friends:

This edition of Playbill is full of information about the Orchestra and Yannick. Please enjoy an in-depth look at our 2014-15 season and our monthly Beyond the Baton and Musicians Behind the Scenes features. Read our announcement about the community Play-Ins we’re presenting this season and sign up! There is so much to be a part of with The Philadelphia Orchestra.

Yannick has once again curated an illuminating season, one in which we will be celebrating his 40th birthday! As Yannick’s gift to you, the Orchestra will perform 40 works during the season that have yet to be heard here on subscription concerts in his lifetime—or ever. Philadelphia’s own Jennifer Higdon will be represented by her Pulitzer Prize-winning Violin Concerto, and such beloved works as Rimsky-Korsakov’s Capriccio espagnol and Saint-Saëns’s Carnival of the Animals are also featured. The Orchestra’s multi-season survey of requiems concludes with what Yannick calls the “pinnacle” of the series, Leonard Bernstein’s electrifying MASS. This spectacular tour-de-force piece is an eclectic mix of styles—classical mixed with folk, rock and blues intermingling with Broadway, Latino dances intertwined with Lutheran chorales—all presented with added theatrical elements to help realize Bernstein’s unique vision. A four-week organ celebration features the two great sounds found in Verizon Hall—The Philadelphia Orchestra and the Fred. J. Cooper Memorial Organ—in distinctive combinations of repertoire and artists. I urge you to renew your subscription quickly to ensure that you will be part of the concerts you wish to see. And, if you aren’t a current subscriber, now is the time, before many of the most popular concerts sell out. Please read the article on pg. 12 and visit our website at www.philorch.org to learn more.

I am thrilled that we are presenting more of our successful Play-Ins this season. We are all enriched—students, amateurs, and professionals alike—when music-making is shared. Our deep gratitude to John McFadden and Lisa Kabnick, and an anonymous donor for making the Play-Ins possible. See pg. 44 to read more about them.

With all that The Philadelphia Orchestra has to offer, please consider joining our Music Matters challenge grant. Thanks to some generous friends, all new and increased gifts of $100 or more to the 2013-14 Annual Fund will be matched 2:1. You’ll even receive benefits at the fully matched level of your gift. To learn more and to make a donation, please visit www.philorch.org/music-matters. Thank you for your support!

I look forward to seeing you in the concert hall and in the community, as our fabulous musicians take their talents beyond the walls of the Kimmel Center.

Yours in Music,

Allison VulgamorePresident & CEO

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From the President

J.D. S

cott

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Music DirectorYannick Nézet-Séguin triumphantly opened his inaugural season as the eighth music director of The Philadelphia Orchestra in the fall of 2012. His highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Yannick “phenomenal,” adding that under his baton “the ensemble … has never sounded better.” In his first season he took the Orchestra to new musical heights. His second builds on that momentum with highlights that include a Philadelphia Commissions Micro-Festival, for which three leading composers have been commissioned to write solo works for three of the Orchestra’s principal players; the next installment in his multi-season focus on requiems with Fauré’s Requiem; and a unique, theatrically-staged presentation of Strauss’s revolutionary opera Salome, a first-ever co-production with Opera Philadelphia.

Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. In addition he becomes the first ever mentor conductor of the Curtis Institute of Music’s conducting fellows program in the fall of 2013. He has made wildly successful appearances with the world’s most revered ensembles, and has conducted critically acclaimed performances at many of the leading opera houses.

Yannick Nézet-Séguin and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership the Orchestra returns to recording with a newly-released CD on that label of Stravinsky’s Rite of Spring and Leopold Stokowski transcriptions. Yannick continues a fruitful recording relationship with the Rotterdam Philharmonic for DG, BIS, and EMI/Virgin; the London Philharmonic for the LPO label; and the Orchestre Métropolitain for ATMA Classique.

A native of Montreal, Yannick Nézet-Séguin studied at that city’s Conservatory of Music and continued lessons with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, one of the country’s highest civilian honors; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government; and an honorary doctorate by the University of Quebec in Montreal.

To read Yannick’s full bio, please visit www.philorch.org/conductor.

Nigel P

arry/CP

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The Philadelphia Orchestra2013–2014 Season

Yannick Nézet-SéguinMusic Director Walter and Leonore Annenberg Chair

Charles DutoitConductor LaureateCristian MacelaruAssociate Conductor

First ViolinsDavid Kim, ConcertmasterDr. Benjamin Rush ChairJuliette Kang, First Associate ConcertmasterJoseph and Marie Field ChairYing Fu, Associate ConcertmasterMarc Rovetti, Assistant ConcertmasterHerbert Light Larry A. Grika ChairBarbara GovatosWilson H. and Barbara B. Taylor ChairJonathan BeilerHirono OkaRichard AmorosoRobert and Lynne Pollack ChairYayoi NumazawaJason DePueLisa-Beth LambertJennifer HaasMiyo CurnowElina KalendarovaDaniel Han Yiying Li

Second ViolinsKimberly Fisher, PrincipalPeter A. Benoliel ChairPaul Roby, Associate PrincipalSandra and David Marshall ChairDara Morales, Assistant PrincipalAnne M. Buxton ChairPhilip KatesMitchell and Hilarie Morgan Family Foundation ChairBooker RoweDavyd BoothPaul ArnoldLorraine and David Popowich ChairYumi Ninomiya ScottDmitri LevinBoris BalterWilliam PolkAmy Oshiro-Morales

ViolasChoong-Jin Chang, PrincipalRuth and A. Morris Williams ChairKirsten Johnson, Associate PrincipalKerri Ryan, Assistant PrincipalJudy Geist Renard EdwardsAnna Marie Ahn PetersenPiasecki Family ChairDavid NicastroBurchard TangChe-Hung Chen Rachel KuMarvin MoonJonathan Chu*

CellosHai-Ye Ni, PrincipalAlbert and Mildred Switky ChairYumi Kendall, Acting Associate PrincipalWendy and Derek Pew Foundation ChairJohn Koen, Acting Assistant PrincipalRichard HarlowGloria dePasqualeOrton P. and Noël S. Jackson ChairKathryn Picht ReadWinifred and Samuel Mayes ChairRobert Cafaro Volunteer Committees ChairOhad Bar-DavidCatherine R. and Anthony A. Clifton ChairDerek BarnesMollie and Frank Slattery ChairAlex Veltman

BassesHarold Robinson, PrincipalCarole and Emilio Gravagno ChairMichael Shahan, Associate PrincipalJoseph Conyers, Assistant PrincipalJohn HoodHenry G. ScottDavid FayDuane RosengardRobert Kesselman

Some members of the string sections voluntarily rotate seating on a periodic basis.

FlutesJeffrey Khaner, PrincipalPaul and Barbara Henkels ChairDavid Cramer, Associate PrincipalRachelle and Ronald Kaiserman ChairLoren N. LindKazuo Tokito, Piccolo

OboesRichard Woodhams, PrincipalSamuel S. Fels ChairPeter Smith, Associate PrincipalJonathan BlumenfeldEdwin Tuttle ChairElizabeth Starr Masoudnia, English HornJoanne T. Greenspun Chair

ClarinetsRicardo Morales, PrincipalLeslie Miller and Richard Worley ChairSamuel Caviezel, Associate PrincipalSarah and Frank Coulson ChairPaul R. Demers, Bass ClarinetPeter M. Joseph and Susan Rittenhouse Joseph Chair

BassoonsDaniel Matsukawa, PrincipalRichard M. Klein ChairMark Gigliotti, Co-PrincipalAngela Anderson SmithHolly Blake, Contrabassoon

HornsJennifer Montone, PrincipalGray Charitable Trust ChairJeffrey Lang, Associate PrincipalJeffry KirschenDaniel WilliamsDenise TryonShelley Showers

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RosteR continues on pg. 10

TrumpetsDavid Bilger, PrincipalMarguerite and Gerry Lenfest ChairJeffrey Curnow, Associate PrincipalGary and Ruthanne Schlarbaum ChairAnthony PriskRobert W. Earley

TrombonesMatthew Vaughn, Acting PrincipalNeubauer Family Foundation ChairEric CarlsonBlair Bollinger, Bass TromboneDrs. Bong and Mi Wha Lee Chair

TubaCarol Jantsch, PrincipalLyn and George M. Ross Chair

TimpaniDon S. Liuzzi, PrincipalDwight V. Dowley ChairAngela Zator Nelson, Associate PrincipalPatrick and Evelyn Gage Chair

PercussionChristopher Deviney, PrincipalMrs. Francis W. De Serio ChairAnthony Orlando, Associate PrincipalAnn R. and Harold A. Sorgenti ChairAngela Zator Nelson

Piano and CelestaKiyoko Takeuti

KeyboardsDavyd BoothMichael Stairs, Organ**

HarpsElizabeth Hainen, PrincipalPatricia and John Imbesi ChairMargarita Csonka Montanaro, Co-Principal

LibrariansRobert M. Grossman, PrincipalSteven K. Glanzmann

Stage PersonnelEdward Barnes, ManagerJames J. Sweeney, Jr.James P. Barnes

*On leave**Regularly engaged musician

Where were you born? Cleveland,Ohio.What’s your favorite Philadelphia restaurant? Friday Saturday Sunday.Tell us about your instrument. It’s a silver flute by the Japanese maker Muramatsu.What’s in your instrument case? Chapstick, a handkerchief for a swab, pencils.What piece of music never fails to move you? Late Schubert piano sonatas.When did you join the Orchestra? 1981.What’s your favorite type of food? Italian, French, and Japanese.What books are on your nightstand? Hard copy or e-reader? Usually some mystery, both hard copy and Kindle.Do you have a favorite movie? I love old black and white movies.What’s the last recording you purchased? CD or download? Yannick’s Don Giovanni on CD.When was the first time you heard The Philadelphia Orchestra? In 1971 when I came to the Curtis Institute. Eugene Ormandy was conducting Berlioz’s Symphonie fantastique! I couldn’t believe how smooth and creamy it sounded!Other than Verizon Hall, where is your favorite place to perform? The Musikverein in Vienna.

To read other musician profiles, please visit www.philorch.org/blog.

Musicians Behind the ScenesDavid Cramer Associate Principal Flute

Chris Lee

10 The Philadelphia Orchestra 2013–2014 Season

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Join the Journey

A great season is more than just a series of concerts. It’s a journey to places familiar and new, a celebration of some of the greatest music ever written, and an exploration of fresh sounds, ideas, and performers. It’s also about presenting the music in innovative formats that lend insight and synergy to the performances. “I am very proud of this third season of mine because it is the most diverse in terms of repertoire and also maybe the most balanced,” says Philadelphia Orchestra Music Director Yannick Nézet-Séguin. “As a whole it makes a journey through the great treasure of music that we want to bring you, week after week, an experience that is a special event.”

Philadelphia Orchestra Music Director Yannick Nézet-Séguin.

By Frank Kuznik

The Philadelphia Orchestra Announces its 2014-15 Season

Chris Lee

14 Join the Journey

And there’s no substitute for star power. Artists like Lang Lang, Valery Gergiev, Emanuel Ax, Gil Shaham, and André Watts on The Philadelphia Orchestra’s 2014-15 schedule reaffirm both its status as a world-class ensemble and the special relationship that many of today’s greatest classical artists have with the Orchestra. “There is something new to experience in every concert,” says Jeremy Rothman, vice president of artistic planning. “It is essential for us to capture a sense of surprise and innovation while still honoring the great legacies of this art form.” Even without superstars, the schedule reflects an organization dedicated to

presenting a broad spectrum of the classical canon in a 21st-century format. Highlights of the season include a performance of Leonard Bernstein’s monumental MASS conducted by Yannick, a month-long celebration of the Kimmel Center’s incredible Fred J. Cooper Memorial Organ, and multimedia events that will bring film, actors, and mural art to Verizon Hall.

Throughout the season Yannick is celebrating his 40th birthday by leading performances of 40 works that the Orchestra has not played as part of its regular subscription series in at least 40 years, or in some cases at all. When that kicks off on September 26, it will be with an interactive component. The audience will get to choose the opening 40/40 selections—three different pieces on consecutive nights, all followed by Lang Lang playing Mozart’s Piano Concerto No. 17.

“I am especially excited about the 40/40 series,” Yannick says. “I wanted to refresh our repertoire, so we compiled a list of pieces that were never played on subscription,

Superstar pianist Lang Lang opens the subscription season with Mozart’s Piano Concerto No. 17.

Harald H

offmann

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and some great composers who were underrepresented in our seasons. This will be my gift to Philadelphia audiences, to present 40 pieces that they haven’t heard from the Orchestra on subscription concerts in my lifetime.”

The new season will also bring a reprise of the popular staged version of Bach’s St. Matthew Passion, wrap-

ups of the Beethoven symphony cycle and Strauss 150th anniversary celebration, and a January visit to St. Petersburg through the music of Tchaikovsky, Shostakovich, and Rachmaninoff. Two major works are on the schedule for the first time: Jennifer Higdon’s Violin Concerto and Vaughan Williams’s Symphony No. 4.

On the podium, old friends like Vladimir Jurowski, Christoph Eschenbach, Gianandrea Noseda, Rafael Frühbeck de Burgos, and Alan Gilbert will be making appearances, along with newcomers Jakub Hrůša (Czech Republic) and Susanna Mälkki (Finland). Performers making their debuts with the Orchestra in the 2014-15 season include Russian violinist Alina Ibragimova, French cellist Jean-Guihen Queyras, British trumpeter Alison Balsom, Mexican pianist Jorge Federico Osorio, and British soprano Carolyn Sampson.

Extended stays by some visiting artists will give audiences an opportunity to see them in different settings. During a two-week residency, Noseda will be conducting works ranging from Respighi’s intimate Ancient Airs and Dances for the Lute, Suite No. 2, to Mahler’s massive Symphony No. 5 and Holst’s The Planets. Along with this season’s Glorious Sound of Christmas concerts, British conductor Bramwell Tovey leads a performance of his own trumpet concerto, Songs of the Paradise Saloon, and appears as pianist in the Catfish Row Suite from Gershwin’s Porgy and Bess.

Bach’s St. Matthew Passion returns for two performances in the semi-stage version that was a sell out when it premiered in 2013.

Pete C

hecchia

Finnish conductor Susanna Mälkki makes her debut in November with a program of works by Respighi, Stravinsky, and Brahms.

Sim

on Fowler

“The new season shows the versatility of the Orchestra, broadens our repertoire, and utilizes the ensemble in different configurations and sizes,” says Rothman. “The programming ranges from small-scale Baroque works to large-scale oratorios. We’re partnering with the Philadelphia Shakespeare Theater and the Philadelphia International Festival of the Arts. We’re staging celebrations where different repertoires are performed over different days.”

The organ celebration offers a good illustration. Running through October and early November, it showcases the largest mechanical-action organ in an American symphonic concert hall in seminal works like the Janáček’s Glagolitic Mass (another 40/40 work), Strauss’s Also sprach Zarathustra, and Mahler’s “Resurrection” Symphony. Audiences will also have an opportunity to hear lesser-performed pieces like Joseph Jongen’s towering Symphonie concertante for organ and orchestra, Alexandre Guilmant’s Symphony No. 1 for Organ

and Orchestra, and the Grand Concerto for Organ and Orchestra by Stephen Paulus. On Halloween evening organ virtuosos Peter Richard Conte, Ken Cowan, and Paul Jacobs will be providing some creepy chills for the entire family. “The organ is a symphonic instrument,” says Yannick. It’s the only instrument that can singularly rival the sound and colors of a full symphony orchestra. This is why the combination of a great organ and an orchestra is one of the richest that can exist in our repertoire.”

Many of the themes running through the 2014-15 season come together in the season’s most ambitious work, Bernstein’s MASS. Commissioned by Jacqueline Kennedy Onassis for the 1971 opening of the Kennedy Center in Washington, D.C., the piece is as much a theatrical work as a musical composition, with a symphony orchestra and two choirs complemented by a Broadway-sized singing and acting cast, a rock band, marching band, and street instruments such as steel drums, tin cans, and kazoos.

“This is our hallmark project of the year,” says Rothman. “It’s a piece that was ahead of its time, with a message as relevant and poignant today as it was 40 years ago

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about waging wars, the role of religion in community life, and standing up for your own values and beliefs versus fighting for the greater good of your community.”

MASS was also written as a requiem for President John F. Kennedy, and for Nézet-Séguin it will mark a milestone in a personal cycle. Over the past four seasons he has conducted some of the most enduring requiems in musical history, by Mozart, Brahms, and Verdi. “I’m not saying this is the end of our requiem series, but I do consider MASS the pinnacle of it,” he says. “Because this is where the text of the Catholic Mass of the dead is transcended to raise questions that are much much more ecumenical, and still so relevant today. In the same way, we want to apply the sound and artistry of The Philadelphia Orchestra to the goal of bridging genres and presenting the best of everything that we call music.”

There’s plenty of lighter fare in the coming season as well. French conductor Stéphane Denève will lead live musical accompaniment for a screening of the Oscar-winning claymation version of Prokofiev’s Peter and the Wolf. Carol Jantsch, The Philadelphia Orchestra’s principal tuba player, will be the featured soloist in the Orchestra’s first-ever performance of a tuba concerto, Michael Daugherty’s Reflections on the Mississippi.

Audiences can also look forward to hearing perennial favorites as part of the 40/40 series. “Rimsky-Korsakov’s Capriccio espagnol is one of the most popular pieces in the repertoire canon,” says Rothman. “It’s so lightweight that many people regard it as pops. But there’s a reason that it’s such a beloved piece.”

As always, the schedule includes opportunities to hear some of the Orchestra’s many talented members in solo roles. Along with Jantsch, featured players include Principal Clarinet Ricardo Morales in Debussy’s Rhapsody No. 1 and Rossini’s Variations, Principal Horn Jennifer Montone in Strauss’s Concerto No. 1, and Principal Viola Choong-Jin Chang in Carl Stamitz’s Concerto in D major. Concertmaster David Kim will be joining British pianist Imogen Cooper, sans conductor, to lead the Orchestra in a program of Grieg, Beethoven, and Mozart.

Frank Kuznik is a longtime music writer currently based in Cleveland. He spent eight years as culture editor of the Prague Post, covering the vibrant music scene in Central Europe, and now writes about classical music in northeast Ohio on culturedcleveland.blogspot.com.

The Kimmel Center’s Fred J. Cooper Memorial Organ will be showcased in a four-week-long celebration.

Jessica Griffin

Along with tapping its considerable talent pool, showcasing individual players fits The Philadelphia Orchestra’s larger mission and goals. “This is not the traditional ivory-tower orchestra caricatured by popular culture,” says Rothman. “This is an exciting ensemble that can play a wide range of styles and genres. The individual musicians are fascinating people with incredible talent who do far more than just play Beethoven and Brahms night after night.”

Orchestrating it all from the podium, Nézet-Séguin expects a banner season in 2014-15. “My goal since I arrived has been to honor the tradition of my predecessors and preserve the famous Philadelphia sound while broadening our repertoire,” he says. “The reaction of our audiences makes me feel they have developed great trust in my vision and the Orchestra’s adventures. Many years from now, I think we will look back on the 2014-15 season and say yes, this was testimony to how the community gathered very very strongly around The Philadelphia Orchestra and Yannick.” P

Leonard Bernstein’s MASS was commissioned by Jacqueline Kennedy Onassis for the opening of the Kennedy Center. Here she congratulates Bernstein after hearing the work for the first time.

Courtesy the E

state of Leonard Bernstein

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Beyond the BatonHow do you deal with increased media interest as you become more famous?The orchestra world has a very public face—many people comment on our performances. I am happy to be recognized on the street as I walk to the hall! But it is also very important to guard your personal and private time. There must be a balance.

What is one thing concertgoers would be surprised to hear about you?If for some reason I couldn’t be a musician anymore I’d be a florist. I always loved the smell of flowers and I used to garden a lot when I was a very young child. Not that I’m planning on retiring any time soon!

How do you prepare for each rehearsal, and how do you prepare for each concert? How does this differ?For me the greatest preparation is the one prior to the rehearsal. Rehearsals are where my vision of the work has to be combined with the tradition and expressivity of the orchestra. Once rehearsals are done I feel that there is no more pressure, it’s only about bringing it to life for the audience.

If you could go back to when you were a teenager and give yourself some advice, what would you say?Believe in yourself and believe in your own path. And only try to discover what is your path and learn how to accept it and assume it and work for it.

How do you go about learning a score (what are the steps)? I start by identifying the structure, which means the period, the phrases, the sections. And then I identify the leading lines of every section and then go afterwards to the next layer, the counterpart, the harmonic foundation, and then the orchestration.

What’s something you thought you would never have the guts to try, but did?To eat blowfish in Japan (which can be poisonous). I did and survived and found it very good!

To read the previous questions, please visit www.philorch.org/baton

Chris Lee

A Q&A with Yannick Nézet-Séguin

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What’s the glue that holds a great marriage together? For Drs. Leon and Elsa Malmud, it’s The Philadelphia Orchestra. “I always tell Leon that I married him for his tickets to the Orchestra, and that it’s sort of kept us together,” says Elsa, “because we could never work out an arrangement of splitting tickets because we would kill each other! So we have to stay married.” Leon adds,“We have been season subscribers since 1965.” “But that’s only together!” Elsa interjects. “Each of us started attending the Orchestra well before that.”

Elsa started when she was five years old (66 years ago) and her mother bought tickets to the children’s concerts. Leon began attending when he was a student at the University of Pennsylvania. He remembers climbing all those stairs to the Amphitheatre (and sometimes exiting by an outdoor fire escape on Locust St.) for his first season subscription at the Academy of Music. He also remembers sitting in the last row of the Family Circle “which was a killer,” he says, because it was so hot. “I would fall asleep promptly.”

Like many young couples, the Malmuds moved up in the world—and in the hall. “As we were able to save more money, we gradually moved to the front and then we moved down a little. It’s taken us all this time to get to where our seats our now!” Elsa says. “As we got better seats, we also then tried to get more concerts.”

Now the Malmuds sit in an orchestra box in Verizon Hall where they enjoy not only the benefits of being Maestro’s Circle contributors, but also an astounding number of performances. They subscribe to three series—24 performances—plus special events, including Cirque de la Symphonie and the Opening Night Gala. For some concerts, they get four tickets so their daughters, Susan and Anne, who also have been attending Orchestra concerts since they were little girls, can join them. “We love to do this as a family,” says Elsa. “When I look back on it, coming to the Orchestra, for both of our families, it just seems like a natural thing. That’s the way we get beauty in our lives.”

“The family history actually goes back 90 years, although we don’t attend because it’s tradition,” says Leon. “We attend because we love music.”

For more on the Malmuds’s story, visit www.philorch.org/malmud.

In the SpotlightA Monthly Series of Donor and Patron Profiles

Drs. Leon and Elsa Malmud with their daughters, Annie and Susan, at the Orchestra’s 2013 Opening Night Gala.

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Have you always wanted to play with The Philadelphia Orchestra? Now’s your chance. The Orchestra is presenting four of its successful Play-Ins this season (the first was February 15), as part of The Fabulous Philadelphians Offstage—Philly Style!, its initiative to expand audience engagement beyond the Kimmel Center stage.

The popular Play-Ins, launched last season, celebrate the wealth of musicianship in the Philadelphia region by inviting musicians of all skill levels and ages to play side by side with members of the Orchestra. A Harp Play-In takes place on Friday, March 14, at 6:30 PM at Centennial Hall at the Haverford School. Brass players will join Orchestra musicians for a Brass Play-In on Thursday, April 10, at 6 PM at Temple Performing Arts Center. And the final Play-In of the season on Saturday, May 3, at 5:30 PM—the Double Bass Play-In—will be held on the Verizon Hall stage itself.

The Philadelphia Orchestra’s Play-Ins are funded by generous donations from Board member John H. McFadden and Lisa Kabnick, longtime supporters of The Philadelphia Orchestra, and an anonymous donor. The Play-Ins were conceived by Orchestra musicians and have been coordinated collaboratively by musicians, staff, and Board members. To find more details, including instructions on how to register to participate, visit www.philorch.org/playin.

The Play-Ins the Thing

The Orchestra’s Cello Play-In at the Kimmel Center in December 2012.

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Jessica Griffin