The Philadelphia Orchestra in Concert

Sunday, 1 to 3 pm

Join us on Sunday afternoons to hear our very own "Fabulous Philadelphians" in live, recorded concerts from Verizon Hall at the Kimmel Center.

The Philadelphia Orchestra has a long and venerable history of radio broadcasts, as the first orchestra with its own commercially sponsored national radio series, beginning in 1929 on NBC. This weekly series of radio broadcasts marks the return of the Orchestra to the airwaves. WRTI's Gregg Whiteside is producer and host. 

Program information for broadcast on August 23rd at 1 pm

Keep the music playing! Support WRTI with a tax-deductible contribution here.

If you like your Russian served up rare – as only The Philadelphia Orchestra can prepare it – you are in for a special treat! This Sunday, August 30, it's a re-broadcast of The Philadelphia Orchestra's St. Petersburg Festival, Week One concert from last January, conducted by Yannick Nezet-Seguin.

The broadcast features no fewer than three 40/40 works: “Winter,” from A. Glazunov’s The Seasons, and two of five movements from Tchaikovsky’s The Nutcracker, all coming in the first half of the program. After intermission, you'll hear Tchaikovsky’s spectacular Symphony No. 5.

Jessica Griffin

The Philadelphia Orchestra has over 100 musicians, and as many stories - often inspiring and surprising.  WRTI’s Susan Lewis profiles Bob Cafaro, a cellist in the Orchestra since 1985, whose artistry is matched by his determination to live fully, both onstage and off.  

Join us on Sunday, August 23 at 1 pm for The Philadelphia Orchestra In Concert on WRTI. In this January, 2015 concert, Christoph Eschenbach, Philadelphia Orchestra music director from 2003 to 2008, returns to Verizon Hall to lead this all-German program. And the Orchestra’s principal horn Jennifer Montone plays the Richard Strauss Horn Concerto No. 1.


Former Philadelphia Orchestra Music Director Christoph Eschenbach was awarded The Ernst von Siemens Music Prize for a life in the service of music this past May.

As WRTI’s Susan Lewis reports, music helped heal the emotional wounds Eschenbach suffered as a child in World War II, after he lost both parents. Eschenbach’s mother died at his birth, and his father, an active anti-Nazi, died in a punishment battalion sent to the front. Rescued from a refugee camp in 1945 by his mother’s cousin, the five-year-old Christoph didn’t speak for a year—until he started piano lessons.

The Philadelphia Orchestra's Principal Clarinet Ricardo Morales shows off his virtuosic skills in two very different and very challenging works in this Philadelphia Orchestra In Concert re-broadcast, Sunday, August 16, 1 to 3 pm.

Competitions have tested serious music students for decades. They also have prompted the composition of works that continue to enrich the repertoire. WRTI’s Susan Lewis has more on Claude Debussy’s Rhapsody No. 1 for Clarinet and Orchestra.

This is a must-hear re-broadcast for all of our organ music enthusiasts! It's The Philadelphia Orchestra's All-Organ Weekend from last November - a mini-festival, of sorts, that represents the culmination of a month-long celebration of the Fred J. Cooper Memorial Organ at Verizon Hall. Yannick Nezet-Seguin conducts.

The symphonic organ had its heyday in the first half of the 20th century, when organists frequently transcribed and played works written for orchestra. As WRTI’s Susan Lewis reports, that practice is now coming back into musical fashion.

What became known as the "Resurrection" Symphony, Gustav Mahler's Symphony No. 2 is one of the longest, most ambitious, and profoundly moving orchestral works ever composed; its unusual impact and philosophical import have been recognized ever since Mahler conducted the premiere in Berlin in 1895.

The composer Gustav Mahler once said, “A symphony must be like the world. It must contain everything.” If that is so, then Mahler’s second symphony, the “Resurrection,” is bigger, even, than that. 

Mahler had already tackled big questions in an orchestral work, called Funeral Rites. He played it on the piano for Hans von Bülow, and the conductor said that it made Wagner's Tristan und Isolde sound like Haydn. Mahler turned Funeral Rites into the first movement of his Resurrection symphony.

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