Peter Dobrin wants to know: “So where is the billionaire so in love with orchestral music that he or she wants to make all the difference in the life of an orchestra? Where is that hybrid philanthropist-music lover who wants to add $100 million or $200 million to the endowment of the Philadelphia Orchestra so it can stop fearing deficits; activate a range of education programs that can really inculcate children with classical music; and take a chance once in a while on edgy repertoire or the cultivation of a young unknown guest artist without fear of box-office repercussions?”