[an error occurred while processing this directive]
content
July 2008


search for subscription
search for a concert

give online
join our email club
site mapcontactushome


news
enews
people


orchestra history
whereweplay
orchestra broadcasts
orchestra merchandise


   
    enews
 
   

Thursday, January 23, 2003

Thomas Hampson Joins Sawallisch for Schumann Songs
Orchestra Premieres New York Commemorating Gettysburg
Philadelphia Orchestra Goes Green for Eagles
Orchestra's First Instrument Drive Helps Young Musicians in City Schools
An Up-Front Encounter for Conductor and Audience

     
           
   

Thomas Hampson Joins Sawallisch for Schumann Songs
Baritone Thomas Hampson and Music Director Wolfgang Sawallisch collaborate on a special program (January 31-February 4) as part of this season’s ongoing Schumann Festival, “Robert Schumann, Poet and Romantic.” For the first half of the concert, the Orchestra will not be on stage at all. Rather, Mr. Sawallisch will appear as pianist with Mr. Hampson in a recital that includes songs by Clara Schumann, as well as Robert Schumann’s 20 Songs from the “Lyric Intermezzo,” from Heinrich Heine’s Buch der Lieder, which later became Dichterliebe, his most famous song cycle. Sharing a love of the German Romantic repertoire and Schumann’s works in particular, Messrs. Sawallisch and Hampson have a long history of collaboration in both orchestral and recital settings. They performed this same version of Dichterliebe on a Philadelphia Orchestra chamber music concert in 1994. That same year, they made a compact disc recording of Schumann songs with texts by Heinrich Heine. Both close friends and colleagues, Messrs. Sawallisch and Hampson appear on a program that is structured around the historic friendship between the Schumanns and Brahms, with works dating from the years during which friendship blossomed between the three composers. “Robert Schumann, Poet and Romantic” is sponsored by First Union and funded in part by the National Endowment for the Arts.

 
Thomas Hampson, baritone.
 
           
   

Orchestra Premieres New York Commemorating Gettysburg
The Philadelphia Orchestra gave the world premiere performance of a work entitled We are Met at Gettysburg, a joint commission by The Philadelphia Orchestra and the Minnesota Orchestra, at a Family Concert on Saturday, January 4. Written by Philadelphia-area composer Amy Scurria and Minnesota composer Steve Heitzeg, the work commemorates the 140th anniversary of the fateful Civil War Battle of Gettysburg. Received with a standing ovation, the first performance of We are Met at Gettysburg featured the Temple University Music Prep Children’s Choir. “I knew that the collaboration between Amy and Steve would be something particularly evocative and inspirational, but the work has exceeded my expectations,” said Gary Alan Wood, Orchestra director of education and community partnerships. The composition is the keystone to a yearlong educational project that has united schools in Pennsylvania and Minnesota through shared curricula and a joint project website. The project, which was featured recently in the Capitol Hill newspaper Roll Call, drew its inspiration from the book The Last Full Measure by Richard Moe, president of the National Trust for Historic Preservation. Mr. Moe participated in a roundtable discussion held at the Union League following the premiere of We are Met at Gettysburg. The program was repeated on Monday, January 13, at the Orchestra’s School Concerts for more than 4,200 students in grades four through six, and will premiere in Minnesota this spring. The Gettysburg project website can be found at www.philorch.org/imaginations/wearemetatgettysburg/.

 
Composers Amy Scurria and Steve Heitzeg. Photo by Gwen Pappas.
 
           
   

Philadelphia Orchestra Goes Green for Eagles
The Philadelphia Orchestra showed its green side as the musicians—including Christoph Eschenbach, the Orchestra’s music director-designate—rallied in support of another hometown team, the Eagles, as they geared up for the NFC Playoffs. At the close of rehearsal on Thursday, January 9, Mr. Eschenbach conducted the Orchestra in a performance of the “Eagles Victory Song,” with Eagles fans in the Orchestra wearing team hats and jerseys over their formal concert attire. The videotaped performance was shown on the Fanavision at the Eagles game against the Atlanta Falcons on Saturday, January 11. During the concert that evening, Mr. Eschenbach kept Eagles fans in the audience informed of events at Veterans Stadium by announcing the game score from the stage—the first such announcement in the Orchestra’s 103-year history. Orchestra musicians were also featured on the cover of the Philadelphia Daily News (January 6), dressed in Eagles jerseys and face paint for the first in the newspaper’s series of green covers.

 
Philadelphia Orchestra musicians cheer on the Eagles.
 
           
   

Orchestra's First Instrument Drive Helps Young Musicians in City Schools
The Philadelphia Orchestra extended a helping hand to aspiring musicians in five city schools during the 2002 holiday season, partnering with Strings for Schools in the Orchestra’s first-ever Instrument Drive. Held concurrently with the Winter Wonderland concerts presented by The Philadelphia Orchestra Association, the instrument drive collected more than 30 instruments that will be refurbished and distributed to students at D.N. Fell School, Francis Scott Key Elementary School, George Thomas Middle School, Meredith School, and Abram Jenks School. This unique way for the Orchestra and the community to participate in holiday charity sparked the interest of many generous volunteers and Orchestra musicians, who contributed their time and musical instruments.

   
           
    An Up-Front Encounter for Conductor and Audience
In its first year as the Orchestra’s new home, Verizon Hall has won a place in the hearts of some Orchestra patrons not just for its sumptuous interior or excellent acoustics, but for the unique view it offers from the Conductor’s Circle. The ring of seats directly behind the stage, the Conductor’s Circle has become a favorite of both Orchestra newcomers and accomplished musicians, offering a previously inaccessible view of the conductor, Orchestra, and audience. From its perch above the percussion section, the Conductor’s Circle audience finds itself face-to-face with the conductor, able to see the most subtle gestures and facial expressions. For conductors, the seating seems to foster a special bond with this uniquely positioned group of concertgoers; and you may catch some conductors acknowledging the applause from their new acquaintances before turning to take their traditional bows. The seats also offer one of the most spectacular views of Verizon Hall, putting patrons in one of the best vantage points to appreciate its size and architectural grandeur. But for those who take comfort in the anonymity of a dark concert hall, this view can be unnerving at first. With a sold-out house of more than 2,000 spectators, there is a good chance that, at any moment during a concert, at least one person in the audience is not paying attention to the Orchestra, but is looking at this very visible group of concertgoers instead.
   
           
           
   

Copyright 2001-2003 The Philadelphia Orchestra
web@philorch.org