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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
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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 seasons 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 Schumanns 20 Songs from the Lyric Intermezzo,
from Heinrich Heines Buch der Lieder, which later
became Dichterliebe, his most famous song cycle. Sharing
a love of the German Romantic repertoire and Schumanns
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.
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Thomas Hampson, baritone.
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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
Childrens 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 Orchestras
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/.
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Composers Amy Scurria and Steve Heitzeg.
Photo by Gwen Pappas. |
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Philadelphia
Orchestra Goes Green for Eagles
The Philadelphia Orchestra showed its green side as the musiciansincluding
Christoph Eschenbach, the Orchestras music director-designaterallied
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 stagethe first such announcement in the Orchestras
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 newspapers series of green covers.
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Philadelphia Orchestra musicians cheer on the Eagles. |
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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 Orchestras
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.
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An
Up-Front Encounter for Conductor and Audience
In its first year as the Orchestras 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 Conductors
Circle. The ring of seats directly behind the stage, the Conductors
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 Conductors 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. |
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Copyright 2001-2003 The Philadelphia
Orchestra
web@philorch.org
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