Manfred Honeck, conductor Hélène Grimaud, piano
SEPTEMBER 24 & 26, 2021 • HEINZ HALL MENDEL SSOHN’S
Osmo Vänskä CONDUCTOR
Lorna McGhee FLUTE
OCTOBER 8 & 10, 2021 • HEINZ HALL
EXPERIENCE THE POWER OF MUSIC
Celebrating Performance.
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PROGRAM
Opening Weekend Celebration program...........................................8 Opening Weekend Celebration program notes...............................10 Manfred Honeck biography..............................................................14 Hélène Grimaud biography..............................................................16 Jim Cunningham biography............................................................18 Mendelssohn's "Scottish" program..................................................19 Mendelssohn's "Scottish" program notes........................................21 Osmo Vänskä biography...................................................................22 Lorna McGhee biography..................................................................27 Pittsburgh Symphony Orchestra biography......................................28 EVERY GIFT IS INSTRUMENTAL Individuals........................................................................................29 Corporate Partners ............................................................................35 Foundations & Public Agencies........................................................36 Legacy of Excellence..........................................................................37
Pittsburgh Symphony Orchestra performances are brought to the community in part by generous support from the following public agencies: Allegheny Regional Asset District, the Commonwealth of Pennsylvania, Department of Community & Economic Development, the Pennsylvania Council on the Arts and the National Endowment for the Arts. We also thank our corporate partners, foundations and individual donors for believing in the work we do for our region and beyond.
INDIVIDUALS & HEINZ HALL INFORMATION Pittsburgh Symphony Orchestra Musicians........................................2 Board of Directors ...............................................................................3 Jack Heinz Society...............................................................................4 New Leadership Council......................................................................4 Pittsburgh Symphony Association......................................................4 Administrative Staff.............................................................................5 Heinz Hall information......................................................................40
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FRIDAY, OCT. 22, 2021 • 8:00 P.M. SUNDAY, OCT. 24, 2021 • 2:30 P.M.
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Farrenc: Overture No. 1 PSO PREMIERE Grieg: Piano Concerto Brahms: Symphony No. 2
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A MESSAGE FROM OUR MUSIC DIRECTOR Dear friends, How truly wonderful it is to see you! I have longed for this time to be with you and the orchestra at Heinz Hall, and it is my deepest hope that music be a source of joy for being together again. We have a very exciting season ahead together, but first I want to express my profound gratitude for you, and for your love of great music and for this great orchestra. I am thankful for the sheer happiness of sharing music together any time, but especially now after such a long time apart. Making music and enjoying music together is at the essence of our humanity, so I hope that music fills our hearts and helps to heal some of the grief of the last year. I am thrilled to be back here at Heinz Hall with my Pittsburgh musical family, to share the orchestra’s passionate commitment to prepare and to perform fantastic music. These are truly great musicians who play from their hearts with power, sensitivity, and clarity, each and every time they take the stage. As we look to the season ahead, the music repertoire is very rich, with some works we know well, some less familiar to us, and some that will be completely new to all of us. It is exhilarating to look forward to welcoming to the stage many friends, both old and new; to present so many new works and composers to Pittsburgh; and to create new recordings of major symphonic works at Heinz Hall, now in its 50th year as the home of the orchestra. I’m heartened to know that for each concert we will immerse ourselves in a unique experience to enjoy, to appreciate, and to remember—together. With gratitude and affection,
Manfred Honeck
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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, SEPTEMBER 24, 2021 AT 8:00 P.M. SUNDAY, SEPTEMBER 26, 2021 AT 2:30 P.M.
Manfred Honeck, conductor Hélène Grimaud, piano Jim Cunningham, host John Stafford Smith
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Overture to Ruslan and Ludmila
Maurice Ravel
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PROGRAM AT A GLANCE MIKHAIL GLINKA
Overture to Ruslan and Ludmila Mikhail Glinka was born in Smolensk, Russia on June 1, 1804, and died in Berlin, Germany on February 15, 1857. His opera Ruslan and Ludmila was composed between 1837 and 1842, and it received its premiere on December 9, 1842, at the Bolshoi Theatre in Saint Petersburg. The second of his two operas, Ruslan and Ludmila is one of the composer’s most well-known works. The Pittsburgh Symphony first performed the work at the Syria Mosque in February 1931, conducted by Hans Kindler, and last performed the overture on subscription at Heinz Hall in February 1984, with conductor Andre Previn. The score calls for woodwinds in pairs, contrabassoon, four horns, two trumpets, three trombones, timpani, and strings. Performance time: 5 minutes.
MAURICE RAVEL
Concerto in G major for Piano and Orchestra Maurice Ravel was born in Ciboure, Basses- Pyrénées, France, on March 7, 1875, and died in Paris on December 28, 1937. Ravel’s Concerto in G major for Piano and Orchestra was composed between 1929 and 1931, and was premiered in Paris, France on January 14, 1932, with the Lamoureaux Orchestra. Marguerite Long performed as piano soloist with the composer conducting. The Pittsburgh Symphony first performed the concerto with Leonard Bernstein at Syria Mosque in 1945, and most recently at Heinz Hall with Gabriela Montero as soloist and James Gaffigan conducting in January 2015. The score calls for piccolo, flute, oboe, English horn, E-flat clarinet, B-flat clarinet, two bassoons, two horns, trumpet, trombone, timpani, percussion, harp, and strings. Performance time: 23 minutes
PIOTR ILYICH TCHAIKOVSKY
Symphony No. 4 in F minor, Opus 36 Piotr Ilyich Tchaikovsky was born in Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg on November 6, 1893. Tchaikovsky’s Symphony No. 4 in F minor was composed in 1877-1878, and premiered in Moscow on February 22, 1878, with the Orchestra of the Russian Music Society conducted by Nikolai Rubinstein. The Pittsburgh Symphony first performed the work in November 1900, under the baton of Victor Herbert, and last performed it in June 2019, with conductor Pietari Inkinen. The orchestra released a recording of the iconic Symphony in 2020 on the Reference Recordings label, paired with Jonathan Leshnoff’s Double Concerto for Clarinet and Bassoon. The score calls for pairs of woodwinds plus piccolo, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. Performance time: 45 minutes
PROGRAM 2021-2022 SEASON
9
MIKHAIL GLINKA
Overture to Ruslan and Ludmila (late 1830s - 1842)
Mikhail Glinka was the father of Russian concert music. When his first opera, A Life for the Czar (also known as Ivan Susanin), appeared in 1836, it was hailed as a breakthrough in the use of native folk music as the basis of a serious musical work. The opera, whose plot was based on an incident from Russian history in which the people played a vital role, was an immediate popular success and had a profound influence on such later nationalistic composers as Mussorgsky, Borodin, RimskyKorsakov, Prokofiev, and Shostakovich. Important not only in his own country, Glinka was the first Russian composer whose works received widespread attention beyond his native land. Glinka was born into a noble family in Smolensk and educated for a life in government service. His real interest, however, was music, which he studied informally from childhood. On a recuperative visit to the Caucasus in 1823, he discovered the treasures of Russian folk song from the local peasants and determined to become a professional musician. During four tedious years of service in the Ministry of Roads and Communications (1824-1828), he wrote a number of songs and studied composition and performance with several eminent teachers, among whom the British pianist John Field is the best remembered. While on a visit to Italy in 1830, Glinka met the celebrated opera composers Bellini and Donizetti. He learned from them much about the techniques of writing for the musical stage, and began to visualize a distinctly Russian musical style that would combine the melodies, harmonies and rhythms of the folk and church styles of his native land with the form and drama of Italian opera. He returned home at his father’s death and began work on the epochal A Life for the Czar. Ruslan and Ludmila of 1842, the second of Glinka’s two operas, was less well received than the earlier A Life for the Czar because it moved somewhat away from the folksy style of the first opera toward a more elevated idiom. It was not until after the composer’s death that Ruslan and Ludmila acquired its popular success. Glinka spent most of his final years in travel; in Spain, he collected folk songs that he employed in two orchestral works. In Paris in 1844, he met Berlioz, who had high praise for the orchestral concerts the Russian composer gave in the French capital. Glinka lived for three years in Warsaw and died in Berlin while on a visit in 1857 to Siegfried Dehn, one of his composition teachers. The libretto of Ruslan and Ludmila is based on Pushkin’s fairy tale. Just prior to her betrothal to Ruslan, Ludmila has been spirited away from her father, the Grand Duke of Kiev, by the evil dwarf Tchernomor. Ruslan perseveres through many fantastic adventures to regain his beloved and they are united in marriage in the final scene. The exuberant Overture is based on themes from the opera. The opening section uses melodies from the marriage scene; the lyrical second theme (played by bassoons, violas and cellos) is from Ruslan’s second-act aria in which he sings of his love for Ludmila. The development employs all three themes. The recapitulation begins with the rushing scales of the opening and continues with an abbreviated version of the second theme before the Overture to this fantastic tale closes with a rousing coda.
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MAURICE RAVEL
Concerto in G major for Piano and Orchestra (1929 - 1931)
Ravel’s tour of the United States in 1928 was such a success that he began to plan for a second one as soon as he returned to France. With a view toward having a vehicle for himself as a pianist on his return visit, he started work on a concerto in 1929, perhaps encouraged by the good fortune that Stravinsky had enjoyed concertizing with his Concerto for Piano and Winds and Piano Capriccio earlier in the decade. Both to polish his keyboard technique and to extend his repertory — he seems to have harbored a desire to be a concert virtuoso into his last years — Ravel spent much time and effort in those months practicing the works of Liszt and Chopin. Many other projects pressed upon him, however, not the least of which was a commission from the pianist Paul Wittgenstein, who had lost his right arm in the First World War, to compose a piano concerto for left hand alone. Ravel set aside the tour concerto for some nine months to work on Wittgenstein’s commission and the Concerto in G was not completed until 1931. Ravel was so excited by the fine reception given to the Concerto at its first performance, in January 1932, that he wanted to take it on an around-the-world tour with Marguerite Long, the soloist at the premiere. They did not get quite that far, but they did have a four-month tour that spring that went to several cities in central Europe and England. Despite Ravel’s initial enthusiasm for traveling with the Concerto, however, the rigors of the trip seem to have taken a heavy toll on his always-delicate health, and later that summer he started suffering from a number of medical setbacks that culminated the following year in the discovery of a brain tumor. His health never returned, and the Concerto in G was the last major score he completed. The sparkling first movement of the Concerto in G opens with a bright melody in the piccolo that may derive from an old folk dance of the Basque region of southern France, where Ravel was born. There are several themes in this exposition: the lively opening group is balanced by another set that is more nostalgic and bluesy in character. The development section is an elaboration of the lively opening themes, ending with a brief cadenza in octaves as a link to the recapitulation. The lively themes are passed over quickly, but the nostalgic melodies are treated at some length. The jaunty vivacity of the beginning returns for a dazzling coda. When Ravel first showed the manuscript of the Adagio to Marguerite Long, she commented on the music’s effortless grace. The composer sighed, and told her that he had struggled to write the movement “bar by bar,” that it had cost him more anxiety than any of his other scores. The movement begins with a long-breathed melody for solo piano over a rocking accompaniment. The central section does not differ from the opening as much in melody as it does in texture — a gradual thickening occurs as the music proceeds. The texture then becomes again translucent, and the opening melody is heard on its return in the plaintive tones of the English horn. The finale is a showpiece for soloist and orchestra that evokes the energetic world of jazz. Trombone slides, muted trumpet interjections, shrieking exclamations from the woodwinds abound. The episodes of the form tumble continuously one after another on their way to the work’s abrupt conclusion.
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PIOTR ILYICH TCHAIKOVSKY
Symphony No. 4 in F minor, Opus 36 (1877-1878)
The Fourth Symphony was a product of the most crucial and turbulent time of Tchaikovsky’s life — 1877, when he met two women who forced him into a period of intense introspection. The first was the sensitive, music-loving widow of a wealthy Russian railroad baron, Nadezhda von Meck, who became not only the financial backer who allowed him to quit his irksome teaching job at the Moscow Conservatory to devote himself entirely to composition, but also the sympathetic soundingboard for reports on the whole range of his activities — emotional, musical, personal. Though they never met, her place in Tchaikovsky’s life was enormous and beneficial. The second woman to enter Tchaikovsky’s life in 1877 was Antonina Miliukov, an unnoticed student in one of his large lecture classes at the Conservatory who had worked herself into a passion over her professor. Tchaikovsky paid her no special attention, and had quite forgotten her when he received an ardent love letter professing her flaming and unquenchable desire to meet him. Tchaikovsky (age 37), who should have burned the thing, answered the letter of the 28-year-old Antonina in a polite, cool fashion, but did not include an outright rejection of her advances. He had been considering marriage for almost a year in the hope that it would give him both the stable home life that he had not enjoyed in the twenty years since his mother died, as well as to help dispel the all-too-true rumors of his homosexuality. He believed he might achieve both those goals with Antonina. He could not see the situation clearly enough to realize that what he hoped for was impossible — a pure, platonic marriage without its physical and emotional realities. Further letters from Antonina implored Tchaikovsky to meet her, and threatened suicide out of desperation if he refused. What a welter of emotions must have gripped his heart when, just a few weeks later, he proposed marriage to her! Inevitably, the marriage crumbled within days of the wedding amid Tchaikovsky’s searing self-deprecation. It was during May and June that Tchaikovsky sketched the Fourth Symphony, finishing the first three movements before Antonina began her siege. The finale was completed by the time he proposed. Because of this chronology, the program of the Symphony was not a direct result of his marital disaster. All that — the July wedding, the mere eighteen days of bitter conjugal farce, the two separations — postdated the actual composition of the Symphony by a few months. What Tchaikovsky found in his relationship with this woman (who by 1877 already showed signs of approaching the door of the mental ward in which, still legally married to him, she died in 1917) was a confirmation of his belief in the inexorable workings of Fate in human destiny. After the premiere, Tchaikovsky explained to Mme. von Meck the emotional content of the Fourth Symphony: “The introduction [blaring brasses heard immediately in a motto theme that recurs throughout the Symphony] is the kernel of the whole Symphony. This is Fate, which hinders one in the pursuit of happiness. There is nothing to do but to submit and vainly complain [the melancholy, syncopated shadow-waltz of the main theme, heard in the strings]. Would it not be better to turn away from reality and lull one’s self in dreams? [The second theme is begun by the clarinet.] But no — these are but dreams: roughly we are awakened by Fate. [The blaring brass fanfare over a wave of timpani begins the development section.] Thus we see that life is only an everlasting alternation of somber reality and fugitive dreams of happiness. The second movement shows another phase of sadness. How sad it is that so much has already been and gone! And yet it is a pleasure to think of the early years. It is sad, yet sweet, to lose one’s self in the past. In the third movement are capricious arabesques, vague figures which slip into the imagination when one has taken wine and is slightly 12
intoxicated. Military music is heard in the distance. As to the finale, if you find no pleasure in yourself, go to the people. The picture of a folk holiday. [The finale employs the folk song A Birch Stood in the Meadow.] Hardly have we had time to forget ourselves in the happiness of others when indefatigable Fate reminds us once more of its presence. Yet there still is happiness, simple, naive happiness. Rejoice in the happiness of others — and you can still live.”
Carnegie Museum of Art is delighted to bring you this artwork from our collection that connects to the sounds of the Pittsburgh Symphony that you will hear today – a partnership born from our shared 125th anniversaries in 2020. “The only way you can really achieve something is if you’re not working so much from a pattern. That’s also the essence of good jazz.” Thaddeus Mosley, from Thaddeus Mosley, published by Karma, New York,2020
THADDEUS G. MOSLEY (AMERICAN, B. 1926) SPATIAL OCCUPATION, 2018 CARNEGIE MUSEUM OF ART GIFT OF THE ALEX KATZ FOUNDATION, 2020.69.A-E
A deep interest in jazz connects Pittsburgh-born artist, Thad Mosley, with French composer, Maurice Ravel. Mosley, who knew some of the jazz greats including Miles Davis and John Coltrane, approaches his wood carvings with the same spontaneity heard in jazz. Ravel wrote the Concerto in G Major after hearing jazz on a 1928 concert tour of the United States. See Mosley’s sculpture on view in Carnegie Museum of Art’s Lobby through March 2022. Come visit Carnegie Museum of Art this season to connect with artworks like this and more. Learn more at cmoa.org/PSO
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MANFRED HONECK Manfred Honeck has firmly established himself as one of the world’s leading conductors, whose unmistakable, distinctive and revelatory interpretations receive great international acclaim. He is currently in his 14th season as Music Director of the Pittsburgh Symphony Orchestra. Celebrated both at home and abroad, Manfred Honeck and the Pittsburgh Symphony Orchestra, one of the most frequently toured North American orchestras, serve as cultural ambassadors for the city of Pittsburgh. Guest appearances regularly include Carnegie Hall and Lincoln Center in New York, as well as the major venues of Europe and festivals such as the BBC Proms, Salzburg Festival, Musikfest Berlin, Lucerne Festival, Rheingau Music Festival, Beethovenfest Bonn, and Grafenegg Festival. Manfred Honeck’s successful work in Pittsburgh is extensively documented by recordings on the Reference Recordings label. All SACDs, these recordings feature works by Strauss, Beethoven, Bruckner, Tchaikovsky and others, and have received a multitude of outstanding reviews and awards, including a number of GRAMMY® nominations. The recording of Shostakovich’s Symphony No. 5 and Barber’s Adagio won the GRAMMY® for “Best Orchestral Performance” in 2018. In February of 2021, Manfred Honeck and the Pittsburgh Symphony released a new recording of Beethoven Symphony No. 9 in celebration of the orchestra’s 125th anniversary season. Born in Austria, Manfred Honeck completed his musical training at the University of Music in Vienna. His many years of experience as a member of the viola section in the Vienna Philharmonic and Vienna State Opera Orchestra have had a lasting influence on his work as a conductor. His art of interpretation is based on his determination to venture deep beneath the surface of the music. He began his conducting career as assistant to Claudio Abbado and as director of the Vienna Jeunesse Orchestra. Subsequently, he was engaged by the Zurich Opera House, where he was awarded the European Conducting Prize in 1993. He has since served as one of three principal conductors of the MDR Symphony Orchestra Leipzig, as Music Director of the Norwegian 14
National Opera, Principal Guest Conductor of the Oslo Philharmonic Orchestra and Czech Philharmonic Orchestra, and Chief Conductor of the Swedish Radio Symphony Orchestra in Stockholm. From 2007 to 2011, Manfred Honeck was Music Director of the Staatsoper Stuttgart, where he led premieres of Berlioz’s Les Troyens, Mozart’s Idomeneo, Verdi’s Aida, Richard Strauss’s Rosenkavalier, Poulenc’s Dialogues des Carmélites and Wagner’s Lohengrin and Parsifal. Guest performances in opera led him to Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brussels, Royal Opera of Copenhagen, the White Nights Festival in St. Petersburg and the Salzburg Festival. In Beethoven’s anniversary year of 2020, he conducted a new staging of Fidelio (1806 version) at the Theater an der Wien. Beyond the podium, Manfred Honeck has designed a series of symphonic suites, including Janáček’s Jenůfa, Strauss’s Elektra and Dvořák’s Rusalka. He recorded all of these arrangements with the Pittsburgh Symphony Orchestra, and regularly performs them with orchestras around the globe. As a guest conductor, Manfred Honeck has been at the podium of all leading international orchestras including the Bavarian Radio Symphony Orchestra, Berlin Philharmonic
Orchestra, Gewandhausorchester Leipzig, Staatskapelle Dresden, Tonhalle-Orchester Zürich, Royal Concertgebouw Orchestra, London Symphony Orchestra, Orchestre de Paris, Accademia di Santa Cecilia Rome and the Vienna Philharmonic. In the United States, he has conducted all major US orchestras, including New York Philharmonic, The Cleveland Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, Boston Symphony
Orchestra and San Francisco Symphony. He has also been Artistic Director of the International Concerts Wolfegg in Germany for more than twenty-five years. Manfred Honeck holds honorary doctorates from several universities in the United States and also was awarded the honorary title of Professor by the Austrian Federal President. In 2018, the jury of the International Classical Music Awards declared him “Artist of the Year.”
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BIOGRAPHY 2021-2022 SEASON
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HÉLÈNE GRIMAUD Renaissance woman Hélène Grimaud is not just a deeply passionate and committed musical artist whose pianistic accomplishments play a central role in her life. She is a woman with multiple talents that extend far beyond the instrument she plays with such poetic expression and peerless technical control. The French artist has established herself as a committed wildlife conservationist, a compassionate human rights activist and as a writer. Grimaud was born in 1969 in Aix-enProvenceand began her piano studies at the local conservatory with Jacqueline Courtinbefore going on to work with Pierre Barbizet in Marseille. She was accepted into the Paris Conservatoire at just 13 and won first prize in piano performance a mere three years later. She continued to study with György Sándor and Leon Fleisher until, in 1987, she gave her well-received debut recital in Tokyo. That same year,renowned conductor Daniel Barenboim invited her to perform with the Orchestre de Paris: this marked the launch of Grimaud’s musical career, characterised ever since by concerts with most of the world’s major orchestras and many celebrated conductors. Between her debut in 1995 with the Berliner Philharmoniker under Claudio Abbado and her first performance with the New York Philharmonic under Kurt Masur in 1999—just two of many notable musical milestones— Grimaud made a wholly different kind of debut: in upper New York State she established the Wolf Conservation Center.
Photo credit: Mozart Silvestrov
that have appeared in various languages. Her first, Variations Sauvages, appeared in 2003. It was followed in 2005 by Leçons particulières, and in 2013 by Retour à Salem, both semiautobiographical novels. It is, however, through her thoughtful and tenderly expressive music-making that Hélène Grimaud most deeply touches the emotions of audiences. Fortunately, they have been able to enjoy her concerts worldwide, thanks to the extensive tours she undertakes as a soloist and recitalist. A committed chamber musician, she has also performed at the most prestigious festivals and cultural events with a wide range of musical collaborators, including Sol Gabetta, Rolando Villazón, Jan Vogler, Truls Mørk, Clemens Hagen, Gidon Kremer, Gil Shaham and the Capuçon brothers.Her prodigious contribution to and impact on the world of classical music were recognised by the French government when she was admitted into the Ordre National de la Légion d’Honneur (France’s highest decoration) at the rank of Chevalier (Knight).
Her love for the endangered species was sparked by a chance encounter with a wolf in northern Florida; this led to her determination to open an environmental education centre. “To be involved in direct conservation and being able to put animals back where they belong,” she says, “there’s just nothing more fulfilling.” But Grimaud’s engagement doesn’t end there: she is also a member of the organisation Musicians for Human Rights, a worldwide network of musicians and Hélène Grimaud has been an exclusive Deutsche people working in the field of music to promote a Grammophon artist since 2002.Her recordings culture of human rights and social change. have been critically acclaimed and awarded numerous accolades, among them the Cannes For a number of years she also found time to Classical Recording of the Year, Choc du Monde pursue a writing career, publishing three books de la musique, Diapason d’or, Grand Prix du 16
disque, Record Academy Prize (Tokyo), Midem Classic Award and the Echo Klassik Award. Her early recordings include Credo and Reflection (both of which feature a number of thematically linked works); a Chopin and Rachmaninov Sonatas disc; a Bartók CD on which she plays the Third Piano Concerto with the London Symphony Orchestra and Pierre Boulez; a Beethoven disc with the Staatskapelle Dresden and Vladimir Jurowski which was chosen as one of history’s greatest classical music albums in the iTunes “Classical Essentials” series; a selection of Bach’s solo and concerto works, in which she directed the Deutsche Kammerphilharmonie Bremen from the piano; and a DVD release of Rachmaninov’s Second Piano Concerto with the Lucerne Festival Orchestra and Claudio Abbado. In 2010 Grimaud recorded the solo recital album Resonances, showcasing music by Mozart, Berg, Liszt and Bartók. This was followed in 2011 by a disc featuring her readings of Mozart’s Piano Concertos Nos.19 and 23 as well as a collaboration with singer Mojca Erdmann in the same composer’s Ch’io mi scordi di te?. Her next release, Duo, recorded with cellist Sol Gabetta, won the 2013 Echo KlassikAward for “chamber recording of the year”, and her album of the two Brahms piano concertos, the First recorded with Andris Nelsons and the Bavarian Radio Symphony Orchestra,the Second with Nelsons and the Vienna Philharmonic, appearedin September 2013. This was followed by Water (January 2016), a live recording of performances from tears become... streams become..., the critically-acclaimed largescale immersive installation at New York’s Park Avenue Armory created by Turner Prizewinning artist Douglas Gordon in collaboration with Grimaud. Water features works by nine composers: Berio, Takemitsu, Fauré, Ravel, Albéniz, Liszt, Janáček, Debussy and Nitin Sawhney, who wrote seven short Water Transitions for the album as well as producing it. April 2017 then saw the release of Perspectives, a two-disc personal selection of highlights from her DG catalogue, includingtwo “encores”–Brahms’s Waltz in A flat and Sgambati’s arrangement of Gluck’s “Dance of the Blessed Spirits”–previously unreleased on CD/via streaming. Grimaud’s next album, Memory, was released in September 2018. Exploring music’s ability
to bring the past back to life, it comprises a selection of evanescent miniatures by Chopin, Debussy, Satie and Valentin Silvestrov which, in the pianist’s own words, “conjure atmospheres of fragile reflection, a mirage of what was –or what could have been”. For her latest recording, The Messenger, Grimaud has created an intriguing dialogue between Silvestrov and Mozart. “I was always interested in couplings that were not predictable,” she explains, “because I feel as if certain pieces can shed a special light on to one another.” She isj oined by the Camerata Salzburg in Mozart’s Piano ConcertoK466 and Silvestrov’s Two Dialogues with Postscript and The Messenger –1996, of which she also performs a solo version. Completing the programme are Mozart’s Fantasias K397 and K475. The Messenger will be released on 2 October 2020. Highlights of the pianist’s 2019-20season included performances of Bartók’s Piano Concerto No.3 in Philadelphia and at Carnegie Hall with the Philadelphia Orchestra and Yannick Nézet-Séguin; Ravel’s Concerto in G major with MusicAeterna and Teodor Currentzis in Luxembourg and Munich; and the Ravel Concerto and Mozart’s Piano Concerto K466 on tour in Germany with the Bamberger Symphoniker and Jakub Hrůša, as well as recitals in North America featuring repertoire from Memory. Among her future plans are a European tour of Mozart’s Piano Concertos K459 and K466 with the Camerata Salzburg in October/ November2020, and a series of concerts in North America in early 2021, including performances of the Schumann Piano Concerto with the Los Angeles Philharmonic at Walt Disney Concert Hall (January) and with the San Francisco Symphony at Davies Symphony Hall (February), as well as a solo recital of music by Schumann, Brahms and Silvestrov at Carnegie Hall (March). Hélène Grimaud is undoubtedly a multi-faceted artist. Her deep dedication to her musical career, both in performances and recordings, is reflected and reciprocally amplified by the scope and depth of her environmental, literary and artistic interests. Ms. Grimaud last appeared with the Pittsburgh Symphony in February 2014.
PITTSBURGHSYMPHONY.ORG 2021-2022 SEASON
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JIM CUNNINGHAM WQED-FM’s Artistic Director, Jim Cunningham hosts the WQED-FM Morning Show weekday mornings from 6-10 am, and the nationally syndicated Pittsburgh Symphony Orchestra (PSO) broadcasts which air Sundays at 8pm. Jim hosted his first radio show at age 13 in Warren, PA, and was station manager of the Thiel College station, where he earned degrees in English and Business Administration. He holds a Certificate from CPB’s Executive Management Institute at the University of Wisconsin. He has enjoyed a long career at WQED-FM, beginning as an intern in college, was station manager for many years, and is currently an award-winning Executive Producer and Artistic Director. Jim hosted the Pittsburgh Speakers Series for 10 years, served as Classical Music Critic for Pittsburgh Magazine for 15 years, has presented pre-concert and outreach lectures for the Pittsburgh Symphony for 25 years, and currently teaches Music and Art for lifelong learners at the University of Pittsburgh and Carnegie Mellon University. Jim has won multiple Golden Quill awards, the Gabriel Award and been recognized for community service with awards from the Pittsburgh Symphony including the Paul J Ross Award for Excellence in Education and Community Engagement and a 40th anniversary distinguished service award presented by Manfred Honeck and the orchestra members
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onstage June 7, 2019 following Beethoven’s Ninth Symphony as well as awards from Pittsburgh Festival Opera, Pittsburgh Concert Society, Chatham Baroque and many others. Jim has traveled as a correspondent with the PSO on more than 25 world tours to Europe, Asia, North America, South America, and Australia. During his career at WQED-FM, Jim has interviewed everyone in the classical music world from Itzhak Perlman to Leonard Bernstein, but some of his favorite interviews were with Benny Goodman, Wynton Marsalis, Mercer Ellington, and Fred Rogers.
BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, OCTOBER 8, 2021 AT 8:00 P.M. SUNDAY, OCTOBER 10, 2021 AT 2:30 P.M.
Osmo Vänskä, conductor Lorna McGhee, flute Ludwig Van Beethoven
Overture to Egmont, Opus 84
Kaija Saariaho
Aile du Songe (“Wing of the Dream”), Concerto for Flute and Orchestra I. Aérienne Prélude Jardin des oiseaux D’autres rives II. Terrestre L’oiseau dansant Oiseau, un satellite infima de notre orbite planétaire Ms. McGhee
We're pleased to pair the Saariaho Flute Concerto with "The Messenger," an original image by internationally acclaimed wildlife photographer, Daisy Gilardini. www.daisygilardini.com
Felix Mendelssohn
Symphony No. 3 in A minor, Opus 56, “Scottish” I. Introduction and Allegro agitato II. Scherzo assai vivace III. Adagio cantabile IV. Allegro guerriero and Finale maestoso Played without pause
Alexander Kerr, Guest Concertmaster (Concertmaster, Dallas Symphony)
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PROGRAM 2021-2022 SEASON
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PROGRAM AT A GLANCE LUDWIG VAN BEETHOVEN
Overture to Egmont, Opus 84 Ludwig van Beethoven was born in in Bonn, Germany on December 16, 1770, and died in Vienna, Austria on March 26, 1827. Beethoven composed the Overture to Egmont in 1809-1810, and it premiered in Vienna on June 15, 1810, at the Hofburgtheater conducted by the composer himself. The Pittsburgh Symphony first performed the work at Carnegie Music Hall under the baton of the orchestra's first conductor, Frederic Archer, in May 1896, and most recently performed it at Heinz Hall with conductor Krzysztof Urbanski in October 2017. The score calls for pairs of woodwinds plus piccolo, four horns, two trumpets, timpani, and strings. Performance time: 8 minutes.
KAIJA SAARIAHO
Aile du Songe (“Wing of the Dream”), Concerto for Flute and Orchestra Kaija Saariaho was born in Helsinki, Finland, on October 14, 1952. Aile du Songe (“Wing of the Dream”), Concerto for Flute and Orchestra, was composed in 2001 and premiered in Brussels, Belgium on October 12, 2001, with the Vlaams Radio Orchestra conducted by Marin Alsop, featuring flutist Camilla Hoitenga. These performances with principal flute Lorna McGhee mark the Pittsburgh Symphony premiere of the concerto. The Pittsburgh Symphony first performed a work by Kaija Saariaho in April 2001, entitled Oltra Mar, Seven Preludes for the New Millenium. The score calls for timpani, percussion, harp, celesta, and strings. Performance time: 18 minutes
FELIX MENDELSSOHN
Symphony No. 3 in A minor, Opus 56, “Scottish” Felix Mendelssohn was born in Hamburg, Germany, on February 3, 1809, and died in Leipzig on November 4, 1847. His Symphony No. 3 in A minor, Opus 56 “Scottish” was written between 1841 - 1842, and premiered in Leipzig on March 3, 1842, with Mendelssohn conducting the Gewandhaus Orchestra. The Pittsburgh Symphony first performed the work at Carnegie Music Hall under the baton of Frederic Archer in February 1896, and most recently performed it at Heinz Hall with conductor Matthew Halls in January 2017. In 1953, the PSO released a recording of the symphony led by William Steinberg. The score calls for woodwinds in pairs, four horns, two trumpets, timpani and strings. Performance time: 43 minutes
Aile du Songe by Kaija Saariaho is presented under license from G. Schirmer Inc. and Associated Music Publishers, copyright owners.
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LUDWIG VAN BEETHOVEN
Overture to Egmont, Opus 84 (1809-1810)
“The first casualty when war comes,” observed Senator Hiram Johnson in 1917, “is truth.” So when Napoleon invaded Vienna in May 1809, convinced that the Austrian Empire was the major stumbling-block to his domination of Europe, it is not surprising that censorship of literature, of the press, and of the theater were instituted immediately. The months until the French departed in October were bitter ones for the Viennese. The value of the national currency dwindled, food was in short supply, and freedoms were limited. Soon after the first of the year, with Napoleon’s forces gone, the director of the Hoftheater, Josef Härtel, arranged for the production of a series of revivals of the dramas of Schiller and Goethe, the great figures of the German stage. Appropriately, two plays that he chose dealt with the oppression of a noble people by a foreign tyrant, and of the eventual freedom the patriots won for themselves — Schiller’s William Tell and Goethe’s Egmont. Beethoven was commissioned to write the music for Goethe’s 1789 play. (Adalbert Gyrowetz was assigned William Tell. Rossini’s setting of the tale was still two decades in the future.) Egmont, based on an incident from 1567, depicts the subjugation of the Netherlands to the tyrannical Spanish rulers, the agony of the people, and their growing defiance and dreams of liberty, and ends with Count Egmont’s call for revolution and his vision of eventual victory in the moments before his execution. The theme of political oppression overthrown in the name of freedom was also treated by Beethoven in his only opera, Fidelio, and the musical process employed there also served well for Egmont. The triumph of good over evil, of light over darkness, is portrayed through the overall structure of the work: major tonalities replace minor at the moment of victory; bright orchestral sonorities succeed somber, threatening ones; fanfares displace sinuous melodies. The Overture compresses the action of the play into a single musical span. A stark unison begins the introduction. Twice, stern chords from the strings are answered by the lyrical plaints of the woodwinds. The main body of the Overture commences with an ominous melody in the cellos. A storm quickly gathers (note the timpani strokes), but clears to allow the appearance of the contrasting second theme, a quicker version of the material from the introduction. The threatening mood returns to carry the music through its developmental central section and into the recapitulation. A falling, unison fourth followed by a silence marks the moment of Egmont’s death. Organ-like chords from the winds sustain the moment of suspense. Then, beginning almost imperceptibly but growing with an exhilarating rapidity, the stirring song of victory is proclaimed by the full orchestra. Tyranny is conquered. Right prevails.
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KAIJA SAARIAHO
Aile du Songe (“Wing of the Dream”), Concerto for Flute and Orchestra (2001)
Kaija Saariaho is one of the most prominent creative voices of Finland, whose generous support for the arts has given it a musical culture matched by that of few other nations. Saariaho was born in Helsinki in 1952 and took her professional training at the Helsinki University of Art and Design and the Sibelius Academy, where her teachers included Paavo Heininen. She continued her studies at the Musikhochschule in Freiburg, Germany with Brian Ferneyhough and Klaus Huber, and attended courses in computer music at Darmstadt and IRCAM in Paris. She has lived in Paris since 1982. Saariaho’s instrumental and vocal works — modern, luminous, shifting patterns of sound with a strong emotional core — have earned her such distinctions as the Kranichsteiner Preis, Prix Italia, Ars Electronica Prize, Nordic Music Prize, Rolf Schock Prize, Kaske Prize, Stoeger Award of the Chamber Music Society of Lincoln Center, Nemmers Prize, Wihuri Prize and Sonning Prize; she was named Musical America’s “Composer of the Year” for 2008 and was Bloch Professor in Music at the University of California, Berkeley in 2015. Saariaho’s first opera, the visionary L’Amour de loin (“Love from Afar”), with a libretto by the Lebanese-French journalist and novelist Amin Maalouf based on an early biography of the 12thcentury troubadour Jaufré Rudel, received widespread acclaim upon its premiere at the 2000 Salzburg Festival, and won her a prestigious Grawemeyer Award and a Grammy Award. L’Amour de loin was given its American premiere by Santa Fe Opera in July 2002 and first staged by the Metropolitan Opera in December 2016. Her most recent opera, Innocence, with an original Finnish libretto by Sofi Oksanen and a multilingual libretto by Aleksi Barriere, was premiered in July 2021 to exceptional praise by the Festival International d’Art Lyrique d’Aix-en-Provence. Additional productions of Innocence, based on a painfully contemporary story about the aftermath of a fatal school shooting in Helsinki, are scheduled at the Royal Opera House Covent Garden, Finnish National Opera, San Francisco Opera, Dutch National Opera and Metropolitan Opera. * * * Alexis Leger, who published his poetry under the nom de plume of Saint-John Perse, was born in 1887 in Guadeloupe, studied law at the University of Bordeaux, joined the French diplomatic service in 1914, and served in prominent positions in China, Europe and, during World War II, in Washington, D.C.; he remained in the United States until 1967. Leger/Perse wrote poetry throughout his life, but he was most prolific after winning the Nobel Prize in Literature in 1960. He died in Provence in 1975. Kaija Saariaho came to know Perse’s long poem Oiseaux (“Birds”) soon after it was published in 1963, and she was particularly taken with its passages that “somehow described images I had in my mind: those of birds, fighting gravity, flying away, secret and immortal.” Under its influence in 1982, Saariaho composed Laconisme de l’aile (“Laconism of the Wing”) for solo flute and electronics to evoke “not bird song but rather the lines they draw in the sky when they are flying.” In 1992, she took Amers, Perse’s 1957 book of poems dedicated to the sea, as the title and inspiration for her work for cello soloist and seven players. (An amers is a natural or manmade fixed point used for navigation.) Aile du Songe (“Wing of the Dream”), a concerto for flute and orchestra inspired by Perse’s Oiseaux, was composed in 2011; Terrestre (“Terrestrial ”), a reworking of the second movement of Aile du Songe for flute and chamber ensemble, followed a year later, as did Poèmes de Saint-Jean Perse: extracts from “Oiseaux,” in which Saariaho embedded spoken recitation of several excerpts from the poem in her original “sonic environments.” Photo of Kaija Saariaho ©Maarit Kyöharju 22
Saariaho composed Aile du Songe in 2001 for the distinguished flutist Camilla Hoitenga on a joint commission from the Flanders Festival, Finnish Broadcasting Corporation and London Philharmonic Orchestra; it was premiered on October 12, 2001 at the Flanders Festival in Brussels, conducted by Marin Alsop, and recorded by Hoitenga, the Finnish Radio Symphony and conductor Jukka-Pekka for Montaigne Records early the next year. Of Aile du Songe, Saariaho wrote, “The sound of the flute has been a feature of my music since my earliest works. Its everpresent breathiness and all its timbral possibilities suit my musical language very well. The character of the instrument lends itself to phrases that gradually transform through gritty textures colored with phonemes whispered by the flautist into pure and smooth sounds. “The title and the general mood of the piece are derived from Saint-John Perse’s collection of poems Oiseaux: ‘Aile falquée du songe, vous nous retrouverez ce soir sur d’autres rives!’ [Birds: ‘Falcated [sickle-shaped] wing of the dream, you will find us tonight on other shores!’] In these poems, Saint-John Perse does not describe the singing of the birds. He speaks rather of their flight, and uses the rich metaphor of birds to describe life’s mysteries through an abstract and multi-dimensional language: ‘Ignorants de leur ombre, et ne sachant de mort que ce qui s’en consume d’immortel au bruit lointain des grandes eaux, ils passent, nous laissant, et nous ne sommes plus les mêmes. Ils sont l’espace traversé d’une seule pensée.’ [Ignorant of their shadow, and knowing of death only that which is consumed of it that is immortal to the distant clamor of great waters, they pass, leaving us, and we are no longer the same. They are the space crossed by a single thought.] “The concerto has two main movements: Aérienne [Aerial] and Terrestre [Terrestrial]. These two titles are also taken from lines in one of Perse’s poems, which are quoted at the end of this note. “The first movement, Aérienne, describes three different musical situations: in Prélude, the flute gradually pervades the space and generates the orchestra’s music. In Jardin des oiseaux [Garden of birds], the flute interacts with individual instruments from the orchestra, while D’autres rives [Other shores] likens the flute to a lone, high-flying bird, whose shadow forms different images among the strings over the unchanging landscape of the harp, celesta and percussion. “The first section of Terrestre, Oiseau dansant [Dancing bird], introduces a deep contrast with the other material in the concerto. It refers to an Aboriginal tale in which a virtuosic dancing bird teaches a whole village how to dance. The finale and second part of Terrestre — Oiseau, un satellite infime [Bird, a tiny satellite] — is a synthesis of all the previous events, then the sound of the flute slowly fades away. ‘Dans sa double allégeance, aérienne et terrestre, l’oiseau nous était ainsi présenté pour ce qu’il est: un satellite infime de notre orbite planétaire.’ [In its dual allegiance, aerial and terrestrial, the bird was thus presented to us for what it is: a tiny satellite in our planetary orbit.]”
FELIX MENDELSSOHN
Symphony No. 3 in A minor, Opus 56, “Scottish” (1841-1842)
At age twenty, Felix Mendelssohn was a wonder. He was one of Europe’s best composers, an excellent pianist, a path-breaking conductor and a visual artist of nearly professional capability, as well as a man of immense charm and personality. It is not surprising that his first appearances in London in the spring and summer of 1829 were a smashing success. Both to relax from his hectic London schedule and to temporarily sate his obsession with travel, he decided to tour the British PROGRAM NOTES 2021-2022 SEASON
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countryside late that summer. He settled on a walking tour through the Scottish Highlands, and arrived in Edinburgh on July 28th. In a letter recounting the experiences of his first day in the Scottish capital, Mendelssohn wrote, “Everything here looks so stern and robust, half enveloped in a haze of smoke or fog. Many Highlanders came in costume from church victoriously leading their sweethearts in their Sunday attire and casting magnificent and important looks over the world; with long, red beards, tartan plaids, bonnets and feathers and naked knees and their bagpipes in their hands, they passed along by the half-ruined gray castle on the meadow where Mary Stuart lived in splendor.” Two days later, he reported on his visit to Mary’s castle, Holyrood: “In the evening twilight I went to the palace where Mary lived and loved.... Everything is broken and moldering and the bright sky shines in. I believe I have found today in that old chapel the beginning of my Scottish symphony.” Then follow ten measures of music that were to become the introductory melody of the Third Symphony. Mendelssohn’s Scottish adventure continued for most of August. He traveled on foot, stopping at whatever vista caught his fancy so that he could make a quick pencil sketch of the scene. He was most impressed by one particularly stormy prospect on the gnarled Isle of Staffa, off the western coast of Scotland. This was the experience that gave rise to the superb Hebrides Overture. He completed his gratifying but strenuous journey and returned to London. Mendelssohn occupied himself immediately with the Hebrides Overture and completed it the following year. The Symphony, however, did not come so easily. Some preliminary sketches for it were done in 1830, while he was touring Italy, but he admitted that he found it impossible to evoke the “misty mood” of Scotland while in sun-splashed Rome. He put the work aside, and did not finish it until 1842 in Berlin. Many commentators have found all manner of specifically Scottish songs, ceremonies and sights embodied in this music. Mendelssohn, for his part, refused to apply any specific program to the work, and even wrote censoriously of the indigenous music he heard in Scotland. “No national music for me!” he proclaimed. “Infamous, vulgar, out-of-tune trash.... It is distracting and has given me a toothache.” It is hardly surprising, therefore, that there is little folk-like melody in this work. Mendelssohn later clarified his true inspiration for the “Scottish” Symphony: “It is in pictures, ruins and natural surroundings that I find the most music.” Rather than a tonal travelogue, this is a work of deep sensibility and melancholy that grew from the emotions the stern Scottish landscape and history engendered in the young Mendelssohn; it is music “more of feeling than of painting,” as Beethoven said of his own Sixth Symphony. The four movements of the “Scottish” Symphony are directed to be played without pause. The long, brooding introduction opens with a grave harmonization of the melody that Mendelssohn conceived at Holyrood. The sonata form proper begins with a flowing theme, graceful yet filled with vigor. Other melodic inspirations follow. A stormy, thoroughly worked-out development utilizes most of the exposition’s thematic material. After the recapitulation, a coda with the force of a second development section is concluded by a return of the brooding theme of the introduction. The second movement is the only one that consistently shows sunlight and high spirits. It is built around two melodies: one, skipping and animated, is introduced by the clarinet; the other, brisk and martial, is presented in the strings. The wonderful third movement is cast in sonata form: its first theme is a lyrical melody of noble gait that is perfectly balanced by the elegiac second theme, characterized by its heroic, dotted rhythms. The finale is a vivacious and well-developed dance in an atmospheric minor key. The Symphony concludes with a majestic coda in a broad, swinging meter.
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OSMO VÄNSK Ä Osmo Vänskä has been Music Director of the Minnesota Orchestra for 17 years and is Music Director of the Seoul Philharmonic Orchestra since 2020. Recognised for compelling interpretations of repertoire of all ages and an energetic presence on the podium, his democratic and inclusive style of work has been key in forging long-standing relationships with different orchestras. With the Minnesota Orchestra, Vänskä has undertaken five major European tours, as well as historic trips to Cuba in 2015, at the invitation of the Cuban Ministry of Culture – the first visit by an American orchestra since the two countries announced steps to re-establish diplomatic relations – and South Africa in 2018, as part of worldwide celebrations of Nelson Mandela’s Centenary. The latter was the first visit by an American orchestra to the country and drew together South African and American performers in musical expressions of peace, freedom and reconciliation, on a five-city tour that followed a successful return to London’s BBC Proms.
Photo credit: Mozart Silvestrov
the United States and Europe with the students of the Curtis Institute of Music Symphony Orchestra, or with New World Symphony in Miami, where he also coaches its Conducting Fellows.
A distinguished recording artist, primarily for the BIS label, Vänskä is currently recording all of Mahler’s symphonies with the Minnesota Orchestra. With six discs already released, they received a Grammy nomination for their recording of Symphony No.5, the first in the series. They previously recorded the complete symphonies of Beethoven and Sibelius to critical acclaim, winning a Grammy Award for ‘Best Orchestral Performance’ in 2014 and receiving Guest conductor invitations include renowned further nominations. international ensembles such as The Cleveland, Philadelphia, San Francisco Symphony and Vänskä studied conducting at Finland’s Sibelius Chicago Symphony orchestras in North Academy and was awarded first prize in the 1982 America; Orchestre de Paris, Berlin’s Deutsches Besançon Competition. He began his career as Symphonie-Orchester and Rundfunk- a clarinetist, occupying the co-principal chair Sinfonieorchester, and Netherlands Radio of the Helsinki Philharmonic Orchestra. He Symphony Orchestra in Europe, the London regularly performs in chamber music, having Philharmonic Orchestra in the UK; or Shanghai been invited to La Jolla Summerfest, Seattle Symphony, China Philharmonic, Hangzhou Chamber Music Festival, Naantali Summer Philharmonic, Hong Kong Philharmonic and Festival, Sysmä Summer Sounds, Music in Ruovesi, etc. He has recorded Bernhard Henrik Taiwan Philharmonic orchestras in Asia. Crusell’s three Clarinet Quartets and Kalevi Vänskä’s commitment to educational work is also Aho’s Clarinet Quintet for the BIS label and patent with the performances led on tours in is in the process of recording several duos for Other highlights of his tenure in Minnesota include 20 album recordings, leading and mentoring young composers during the annual Composer Institute seminar and conducting its Future Classics concerts, performances at New York’s Carnegie Hall and Lincoln Center or Chicago’s Symphony Center, and various educational and outreach projects in Minneapolis and other cities across the United States.
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clarinet and violin which he has commissioned with his wife, violinist Erin Keefe. Vänskä is the recipient of a Royal Philharmonic Society Award, the Finlandia Foundation’s Arts and Letters award, and the 2010 Ditson Award from Columbia University. He holds honorary doctorates from the universities of Glasgow and
Minnesota and was named Musical America’s 2005 Conductor of the Year. In 2013 he received the Annual Award from the German Record Critics’ Award Association for his involvement in BIS’s recordings of the complete works by Sibelius. Mr. Vänskä last conducted the Pittsburgh Symphony on subscription in December 2019.
Carnegie Museum of Art is delighted to bring you this artwork from our collection that connects to the sounds of the Pittsburgh Symphony that you will hear today – a partnership born from our shared 125th anniversaries in 2020. "Then let me earnestly recommend to you one studio which you may freely enter… the studio of nature.” Asher B. Durand, from Letters on Landscape, Paintings, published in The Crayon,1855 German composer, Felix Mendelssohn, and Hudson River School artist, Asher B. Durand are linked by Romanticism—a 19th century movement that emphasized individuality. European Romanticism, a reaction to the Industrial Revolution, seats Mendelssohn as the bridge between the formality of Classicism and the emerging emotional connections to science and nature. Durand’s painting exemplifies the vastness and divinity of nature and westward expansion that defined the Romantic era for American Hudson River School artists. Come visit Carnegie Museum of Art this season to connect with artworks like this and more. Learn more at cmoa.org/PSO
ASHER BROWN DURAND (AMERICAN, 1796–1886) PASTORAL LANDSCAPE, C. 1854–1861 CARNEGIE MUSEUM OF ART HEINZ FAMILY FUND, 2007.45
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LORNA M c GHEE Lorna McGhee is principal flute of the Pittsburgh Symphony Orchestra, appointed by Music Director Manfred Honeck in 2012, now in her tenth season with the orchestra. Hailed as an “outstanding artist” (Der Standard, Austria) Lorna is equally at home in a solo, chamber or orchestral setting. She has performed concertos with the London Symphony Orchestra, Scottish Chamber Orchestra and BBC Scottish Symphony Orchestra in the UK; Manitoba Chamber Orchestra, Toronto Philharmonia, and Victoria Symphony in Canada; Nashville Chamber Orchestra, Oregon Bach Festival Orchestra, San Luis Obispo Symphony and Pittsburgh Symphony Orchestra in the USA; Kyushu Symphony in Japan, and Evergreen Symphony in Taipei. Career highlights include a performance of Penderecki’s flute concerto under the baton of the composer, Bach’s B Minor suite with both Yannick Nézet-Seguin and Nicholas McGegan, and the Mozart G major with Manfred Honeck. Upcoming highlights include performances of the Saariaho Flute Concerto entitled “Aile du Songe” with both the Pittsburgh Symphony and Minnesota Orchestra.
Photo credit: Todd Rosenberg
and harp.” As a member of Trio Verlaine (with her husband, violist David Harding and harpist, Heidi Krutzen) Lorna has recorded two CDs: Fin de Siècle, the music by Debussy and Ravel, and Six Departures, featuring works by Bax and Jolivet as well as new commissions by Schafer and Cotton. Lorna’s first recital disc, The Hour of As a chamber musician and recitalist, Lorna has Dreaming with pianist, Piers Lane was released performed in Europe, North America, Japan, on the ‘Beep’ label in 2014. A new recital CD Taiwan, Singapore, and Australia, in venues for Songs without Words with pianist, Naoko such as the Wigmore Hall, London, the Louvre, Ishibashi was released on the ‘Live Notes’ label Paris, the Schubertsaal of Vienna’s Konzerthaus, in the summer of 2021. and the Library of Congress, Washington. She has appeared at festivals such as the Edinburgh Known for her “exceptionally rich and International Festival, Ottawa International vibrant tone” (Washington Post) Lorna has Chamber Music Festival, Seattle Chamber performed as guest principal with many of the Music Society, Cleveland Chamberfest and world’s leading orchestras including Chicago the Australian Festival of Chamber Music. Symphony, London Symphony, London Her performances have been broadcast on Philharmonic, Academy of St Martin in the NPR, CBC Radio in Canada, BBC Radio Fields, and Chamber Orchestra of Europe. 3, Netherlands Radio and ABC (Australia). Before immigrating to North America Lorna She has made chamber music recordings for was co-principal flute of the BBC Symphony EMI, Decca ASV, Naxos, and Meridian. Orchestra in London. Lorna is an Artist Her recording for Naxos of Bax’ Chamber Lecturer at Carnegie Mellon University, an Music with the group ‘mobius’ was selected Altus Flutes Artist and an honorary “Fellow as Editor’s Choice in Gramophone Magazine of the Royal Academy of Music.” Ms. McGhee and received a 5-star rating from BBC Music last performed as soloist with the Pittsburgh Magazine. With Duo partner Heidi Krutzen, Symphony in January 2018. Lorna has released two CDs on Skylark Music: “Taheke, 20th century Masterpieces for flute www.lornamcghee.com and harp” and “Canada, New Works for flute BIOGRAPHY 2021-2022 SEASON
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THE PITTSBURGH SYMPHONY ORCHESTRA Now in its 126th season, the Pittsburgh Symphony Orchestra is credited with a rich history of engaging the world’s finest conductors and musicians and demonstrates a genuine commitment to the Pittsburgh region and its citizens. Known for its artistic excellence for more than a century, the Pittsburgh Symphony has been led by its worldwide acclaimed Music Director Manfred Honeck since 2008; past music directors have included Fritz Reiner (1938-1948), William Steinberg(1952-1976), André Previn (1976-1984), Lorin Maazel (1984-1996) and Mariss Jansons (1997-2004).
broadcasts. Manfred Honeck and the Pittsburgh Symphony Orchestra have received multiple GRAMMY® nominations for Best Orchestral Performance, taking home the award in 2018 for their recording of Shostakovich: Symphony No. 5; Barber: Adagio. As early as 1936, the Pittsburgh Symphony has been broadcast on the radio. The orchestra has received increased attention since 1982 through national network radio broadcasts on Public Radio International, produced by Classical WQED-FM 89.3, made possible by the musicians of the Pittsburgh Symphony Orchestra.
The Pittsburgh Symphony is continually at the forefront of championing new American works. The Orchestra premiered Leonard Bernstein’s Symphony No. 1 “Jeremiah” in 1944, John Adams’ Short Ride in a Fast Machine in 1986, and Mason Bates’ Resurrexit in 2018 to celebrate Manfred Honeck’s 60th birthday.
Lauded as the Pittsburgh region’s international cultural ambassador, the orchestra began regular touring in 1896 and has embarked on scores of domestic and international tours. In 2019, Music Director Manfred Honeck led the orchestra on an extensive tour of Europe, the 25th in orchestra history.
The two-time 2018 GRAMMY® Award- In the 2021-2022 season, the Pittsburgh winning orchestra has a long and illustrious Symphony will celebrate the 50th anniversary history in the areas of recordings and live radio of Heinz Hall as the home of the orchestra.
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PROVIDING GREAT MUSIC IN EVERY LIFE We thank our entire donor family for supporting our vision of Great Music in Every Life. As we celebrate our return to Heinz Hall and the 50th anniversary of our home this season, we are thrilled to experience the power of music together once again. A complete list of donors, as well as a list of associated benefits can be found on our website. As a thank you, donors in the Symphony Club level and above ($600+) are listed below. Those who have made a new gift or increased over their previous gift are listed in italics. Every effort has been made to ensure accuracy; however, if you are not listed correctly, please call 412.392.4880 or email us at pso_development@pittsburghsymphony.org. Listing as of September 3, 2021. MAESTRO’S CIRCLE
Mr. & Mrs. Daniel M. Rooney* Alece & David Schreiber Drs. Satbir & Shalu Singh Mr. Douglas Stirling Jim Spencer & Michael Lin Tom & Jamee Todd Helge & Erika Wehmeier
DIRECTOR’S CIRCLE
Lesa B. Morrison, Ph. D* Martha & Richard Munsch Vivian & Bill Benter Anonymous Nancy N. & Maurice A. Nernberg Tony & Linda Bucci James & Electra Agras Richard E. & Alice S. Patton Mr. & Mrs. J. Christopher Bridgett & Marty Bates Donahue Dr. Tor Richter in memory of Blake & Ann Benjamin Elizabeth W. Richter Perry* & BeeJee Morrison Robin Joan Bernstein James W. & Erin M. Rimmel Bob & Joan Peirce Susan & David Brownlee Mr. & Mrs. Gerald Pittsburgh Symphony Barbara & David Burstin Rubenstein Association & Affiliates CHAIRMAN’S CIRCLE James & Margaret Byrne Millie & Gary Ryan Cheryl & Jim Redmond $20,000 - $24,999 Debra Caplan & David Pauline Santelli Mr. & Mrs. John T. Ryan III Anonymous Levenson MD The David S. & Karen A. Dick & Ginny Simmons Nancy Scarton Chaplin Rae & Jane Burton Shapira Foundation Jon & Carol Walton Ron & Dorothy Chutz Ron & Nancy Herring Jody & John Sperry Mr. & Mrs. R. Drew Kistler Charles C. Cohen & Michele Robert & Janet Squires BENEFACTOR’S CIRCLE M. McKenney Ellen & Jim Walton Matt & Alyssa Tokorcheck $50,000 - $99,999 Jeff and Tara Craft Mike & Melia Tourangeau Hilary Mercer & Ian Rogers CHAIRMAN’S CIRCLE Elliot & Beth Davis Theo & Pia van de Venne Janie & Harry Thompson Jerry & Mimi Davis $15,000 - $19,999 Rachel M. Walton Craig & Jill Tillotson Brian & Carol Duggan Anonymous Markus Weber & Donna Arthur Weldon Mr.* & Mrs. Milton Fine Soave Weber Allen Baum & Elizabeth Witzke-Baum Mark & Mary McKinney Mr. & Mrs. Michael Weir Flaherty Mrs. Ellen Still Brooks FOUNDER’S CIRCLE James* & Susanne Hans & Leslie Fleischner Wilkinson $25,000 - $49,999 Mr. Richard Burkland Dina J. Fulmer John Wong Anonymous (2) Cindy & Doug Donohoe Dr. & Mrs. Merrill F. Wymer Pat & Michele Atkins Robert & Sara Englesberg Bruce & Ann Gabler Frank & Angela Grebowski Jane & Ted Wynn Cynthia Bognar Rick & Laurie Johnson Dr. & Mrs. C. B. Good Dr.* & Mrs. William J. Betty & Granger Morgan Canady Marcia M. Gumberg CONDUCTOR’S CIRCLE Ms. Sandra L. Nicklas Ada Davis & Joseph Spirer Shirley Olander Marnie & Jim Haines $7,500 - $9,999 Ms. Geraldine A. Kort Deac James Parrish & Chris Manfred & Christiane Anonymous Honeck Susie & Roy Dorrance Siewers Mr. Juanjo Ardid & Ms. Elizabeth S. Hurtt Amalia Auge Dr. James H. & Mary E. Abby & Reid Ruttenberg Duggan in Memory of Don & Judy Borneman Mr. & Mrs. Sean Sebastian Myah & Jaime Irick Mary A. Duggan Barbara Krause & Lawrence Kathryn & Michael Bryson Theodore Stern The Akers Gerber Family King Lisa & Martin Earle Fred & Maryann Steward Tom & Dona Hotopp Brian & Michele Ludwick Edith H. Fisher Carol H. Tillotson Audrey R. Hughes Daphne & John Lynn Dan* & Gwen Hepler Bob Walker & Joyce McCoy Gina Elisa Laite, M.D. Kent & Martha McElhattan Alice Jane Jenkins Harvey Weissman & Louise Mr. & Mrs. John W. Lynch Janet & Donald Moritz Eckman Dr. Barbara Kuhns & Nancy & Bill Rackoff Dr. Michael J. White & Mr. Gerald Lee Morosco & Paul Constance S. Ritter Ford, Jr. Diana Reid & Marc Chazaud Richard LeBeau D. H. Lee, Jr. Abby L. Morrison Drs. Grace & Joon Lee $100,000 +
$10,000 - $14,999
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Mr. & Mrs. Thomas McConomy Mr. & Mrs. Martin G. McGuinn George & Bonnie Meanor Mr. & Mrs. Sam Michaels Elliott S. Oshry Chris & Susan Pappas Lori & Louis Plung Pinchas & Aviva Rosenberg Nancy Schepis Mr. & Mrs. Steven C. Thomas
Patrick & Alice Loughney Rock & Jennifer MaglebyLambert Elizabeth Mays Marilyn Meltzer James & Susan Morris Catherine & Bill Perez Dr. & Mrs. William R. Poller in honor of our five grandchildren The Parkridge Group/Pat Reidy Joan Scheinholtz Dr. & Mrs. Harry & Linda CONDUCTOR’S CIRCLE Serene $5,000 - $7,499 Michael Shefler Philip & Melinda* Beard Robert Snapp Mr. & Mrs. Michael Berger Mr. & Mrs. D.J. Song Mr.* & Mrs. Benno A. Bernt Joel & Maria Swanson Drs. Albert W. & Barbara R. Symphony East Biglan Ginevra Felice Ventre Marian & Bruce Block Scott & Kaye Wahlstrom Eva Tansky Blum Mr. & Mrs. James P. Welch Pamela & Larry Boyer Hugh & Jean Brannan AMBASSADOR’S CIRCLE Dr. Bron & Mr. Levin $2,500 - $4,999 Gail & Rob Canizares Anonymous (2) Dr. Owen Cantor In Appreciation of the New Randi Dauler York Public Library Catherine & Matt Deep Dr. Mary Beth Adams Angela & Mike DeVanney Dr.* & Mrs. Siamak Adibi Philip J. & Sherry S. Andrea & David Aloe Dieringer Jane C. Arkus in memory of Jean & Sigo Falk James V. Callomon Dr. Lawrence* & Joan Ferlan Matthew & Anne Atwood Rebecca & Oliver Finney Lorraine E. Balun, in memory of William & Jane In Honor of Hans & Leslie Balun Fleischner David & JoAnn Beaudreau Kim & Curt Fleming Mr. & Mrs. G. Nicholas Mary Louise & Henry J. Beckwith III Gailliot Diane L. Berman Mrs. Ronald E. Gebhardt Lawson Bernstein, MD Alice V. Gelormino Robert S. Bernstein & Ellie Mr. James Gorton & Mrs. K. Bernstein Fund Gretchen Van Hoesen Bozzone Family Foundation Patrick A. Gray Dr. Alan & Marsha Caryl & Irving Halpern Bramowitz Gail & Greg Harbaugh Sue & Mark Breedlove Rev. Diana D. Harbison Mr. & Mrs. Edward J. Harris Lawrence R. Breletic & Donald C. Wobb Mr. & Mrs. Joseph M. Suzy & Jim Broadhurst Jackovic Farnam & Teresa Jahanian Nancy G. Brownell Mr. & Mrs. Howard Bruschi Marge Kane Charles & Patricia Burke* Patricia Duke LeClere Dr. Arthur S. Levine & Ms. Dr. & Mrs. John A. Burkholder Linda S. Melada 30
Mr.* & Mrs. Joseph L. Calihan Dr. Bernadette G. Callery* & Dr. Joseph M. Newcomer Kenneth & Celia Christman Cynthia & Bill Cooley Basil & Jayne Adair Cox Rose & Vincent A. Crisanti S. A. Cunningham Cyrus & Kimberly Daboo Ms. Sylvia Dallas & Mr. J. Oliver III Joan & Jim Darby George & Ada Davidson Jamini Vincent Davies Alison H. & Patrick D. Deem Richard P. Dum & Donna S. Hoffman Dan & Carol Dupee Mr. Frank R. Dziama George D. Ehringer Beverlynn & Steven Elliott Marie S. Emanuel Dr. Edward L. Foley Janet M. Frissora The Dorothy M. Froelich Charitable Trust Normandie Fulson Dr. & Mrs. J. William Futrell Dr. Kent Galey & Dr. Karen Roche Dr. Virgil D. Gligor & Alicia M. Avery Laurie Graham Ms. Julie Gulick Jonah Hertzman & family Marie Hinchcliffe Mr. & Mrs. C. Talbott Hiteshew, Jr. Karen & Thomas Hoffman Clare & Jim Hoke Philo & Erika* Holcomb Dorothy A. Howat Dr. & Mrs. John W. Hoyt Mr. & Mrs. Alan R. Huffman Mr. & Mrs. Robert A. Izzo Gail G. Jenkins Diane & Howard Jernigan Jackie Jones Mr. & Mrs. Robert W. Kampmeinert Mr. & Mrs. Jayant Kapadia Ms. Danielle Katz & Mr. James Snyder Mr. Arthur J. Kerr, Jr. James & Jane* Knox
Karl Krieger & Family Mr. & Mrs. John Krolikowski Lewis & Alice Kuller Susan Oberg Lane Anne Lewis Dr. Michael Lewis & Dr. Katia Sycara Janet R. Markel Pat & Don MacDonald Neil & Ruth MacKay Mrs. Kate Watson MacVean Dr. & Mrs. George J. Magovern, Jr. Dr. Harry K. Williams Jr. & Dr. Sheri A. Mancini Jennifer & James Martin Dr. Richard H. Martin In Memory of Mrs. Lori Martin Thomas & Elizabeth Massella Barbara & Mark Matera Michael & Wanda McGarry Dr. & Mrs. James B. McGee Alan & Marilyn McIvor Bill R. Maurer & Carol J. McKenzie Mark & Amy Mendicino Samuel & Veronica Miclot Donald & Nancy Middleton Nessa Green Mines Drs. Paolo Montemaggi & Patrizia Guerrieri Juergen F. Mross* Daniel Murariu Foundation Dr. Eugene & Mrs. Barbara L. Myers Dr. Karl Olsen & Dr. Martha E. Hildebrandt Sandy & Gene O’Sullivan Robert & Lillian Panagulias Mr. & Mrs. William A. Partain Pam & Seth Pearlman Connie & Mike Phillips Mr. & Mrs. David L. Porges Richard E. Rauh Mary A. Reynolds Mr. & Mrs.* Frank Brooks Robinson Janice G. Rosenberg Dr. & Mrs. Wilfred T. Rouleau Esther Schreiber Jolie Schroeder Preston & Annette Shimer Dr. Carol Slomski & Dr. Keith Apelgren
Mr. & Mrs. Frank V. Cahouet* Marco Cavagna Janet E. Chadwick Mary & Frank Clements Christine & Howard Cohen Mr. and Mrs. Eugene Colleran Dr. & Mrs. Richard H. Daffner Amil & MaryAnn DiPadova Mr. & Mrs. James R. Drake Ms. Lori Dunham & Mr. Connie MacDonald Linda & Robert Ellison Dan & Nancy Fales Tibey Falk Judith & Donald Feigert Mrs. Orlie S. Ferretti Mr. & Mrs. Anthony Fonseca Michael & Nina Gaffney Keith Garver Matthew & Deborah Garvic Revs. Gaylord & Catherine Gillis Dr. Alberto Guzman Jennifer Haggerty & Joseph Kunze ENCORE CLUB Dr. Benjamin E. Hicks $1,750 - $2,499 Douglas & Antionette Hill Anonymous (6) Dr. & Mrs. Elmer J. Holzinger Kathryn Albers & Brian Davis Hyman Family Foundation Erin & Kevin Allen Donald Ickert & Karna J.R. Ambrose & Eliza Swann Goldsmith Mary Lee & Joe* Irwin Ms. Elaine Armstrong Blair & Lynne Jacobson Brian Ashton Edward W. Jew Jr. MD Mr. & Mrs. Colin Bailey Carolyn J. Jones Mr. Francis A. Balog & Dr. Paula Bonino David & Susan Kelly Dr. and Mrs. Christopher Gloria Kleiman Ban Ms. Marilyn Koch Richard C. Barney Ms. Kathy J. Krause Robert & Loretta Barone Dr. & Mrs. Howard N. Lang Joan & Keith Bernard Ronald & Lida Larsen Dr. Michael & Barbara Mrs. William E. Lewellen, III Bianco Mr. & Mrs. Robert P. Malnati Michael E. Bielski John & Cathy Mary Phil & Bernice Bollman Mary McDonough Mr. & Mrs. James H. Keith McDuffie Bregenser Kenton* & Florence Jill & Chuck Brodbeck McElhattan Ms. Mary Patricia Brown Alice & Bob Moore Mr. Milton W. Burkart* & Dr. Amy & Ira* M. Morgan Patricia K. Burkart Dr. & Mrs. Etsuro K. Michael F. Butler Motoyama Alice Snyder John Sonnenday & Kristine Haig Mr. & Mrs. Alexander C. Speyer III Mr. Frederick Steinberg Barbara & Lou Steiner Linda & Jeff Stengel Dick & Thea Stover Neil & Bronya Strosnider Dr. Sharon Taylor & Dr. Philip Rabinowitz Anthony & Jan Tomasello Dr. & Mrs. Albert Tse Eric & Barbara Udren Dr. Ronald J. & Patricia J. Wasilak Betsy & Charles Watkins Frank & Heidemarie Wenzel Carolyn & Richard Westerhoff Robert Wickesberg & Susan Noffke Barbara & Bruce Wiegand Miriam L. Young Dr. & Mrs. P. Alvin Zamba Rachael Zierden
Dr. & Mrs. Donald D. Naragon David & June Nimick Linda & Jim Northrop Dr. Paul M. Palevsky & Dr. Sharon R. Roseman Suzanne & Richard Paul Dr. Gail Pesyna & Dr. John Hooper Mrs. Mildred M. Posvar Wesley Posvar Lois A. Pruitt James and Beverly Pugh Mr. & Mrs. W. John Rackley Drs. David & Catherine Ravella Mr. K. Oliver Rea Daniel & Lauren Resnick Mr. & Mrs. Robert W. Riordan Mr. & Mrs. Philip R. Roberts Mrs. John M. Sadler Dr. James R. Sahovey Mr. & Mrs. Dan D. Sandman Shirley G. Schneirov George & Marcia Seeley Shiv Sethi Dr. Stanley Shostak & Dr. Marcia Landy Dr. Ralph T. Shuey & Ms. Rebecca L. Carlin Anna Singer & Donald Kortlandt Dennis & Susan Slevin Bill & Patty Snodgrass David Solosko & Sandra Kniess Fund J. Scott & Christie A. Southerland Amy & Mark Stabingas Marguerite O. Standish Jayne & Tom Sterling Gordon & Catherine Telfer Paul M. Teplitz Mandy Ticknor Mr. & Mrs. Walter W. Turner Diane & Dennis Unkovic Cate & Jerry Vockley Mr. & Mrs. Burt Wald James & Ramona Wingate Mary Jo Winokur Yurij Wowczuk Haakan Younes & Genevieve Hower Mr. & Mrs. Charles Zellefrow
CADENZA CLUB
$1,000 - $1,749
Anonymous (7) Deborah L. Acklin Ward Allebach & Lisa Steagall David & Barbara Allen Ms. Lori Andersen Ms. Lois Appel Myron Arnowitt & Nancy Niemczyk Dr. and Mrs. Egil Aukrust Marion & Bob Auray Dr. & Mrs. Alan Axelson Mr. & Mrs. Chester R. Babst Bob & Martha Ball Mr. & Mrs. James Balph Ann Bart John & Betsy Baun Jeanne & Dick Berdik Nancy H. Bergey Georgia Berner Henry & Charlotte Beukema Don & Sue Bialostosky Rob & Hongwei Bittner Franklin & Bonnie Blackstone Donald & Mary Block Marianne Bokan-Blair & David Blair W. Dennis & Penny Bossick Myles & Joan Bradley Matthew & Leslie Braksick Gerda & Abe Bretton Mr. Michael Broniszewski Barbara A. Brooks Anna C. Brophy Alan Brown Roger* & Lea Brown Gary & Judy Bruce Dr. Lisa Brush Mr. & Mrs. A. H. Burchfield Linda B. Burke Gene & Sue Burns Stephen & Helen Hanna Casey Dr. & Mrs. Charles D. Cashdollar The Castro-Redkin Family Ms. Mary Lou Christie Jo-Ann M. Churchill Mr. and Mrs. Stan Cieslak Phyllis Cioffi Stuart & Cathryn Coblin Kevin & Janis Colbert
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Alan & Lynne Colker Dr. & Mrs. Richard Collins Estelle Comay & Bruce Rabin Lin & Anne Cook Alan & Hazel Cope Susan & George Craig Mary Ann Craig, D.M.E. Cynthia Custer Marion S. Damick Mr. Deicke The Steven Della Rocca Memorial Fund/Courtenay A. Hardy James Delligatti Mrs. Tika Dickos Fr. Jay F. Donahue George & Eileen* Dorman Michel & Christine Douglas Ms. Christine L. Dvonch Albert E. Eckert Rhoda S. Eligator Mary Jo & Jack W. Elliott Gus & Annie Hanna Engel Eugene & Katrin* Engels In memory of Ruth & Emil Feldman by Joan Feldman & family Henry & Ann Fenner Mr. & Mrs. Gregory S. Finerty Sarah Finney Barbara & Bob* Egan Mr. & Mrs. Edward Fortwangler Reanette & Steve Frobouck Lawrence Frolik & Ellen Doyle Elaine & John Frombach Hilda & Dr. Freddie Fu Mr. Frank B. Fuhrer III Jennifer & Richard Gallo Kathleen Gavigan & William B. Dixon* Pete Geissler Mr. & Mrs. Charles Getze Mr. David Givens & Mr. Stephen Mellett Mike & Cordy* Glenn Richard A. Gloyer & Michelle M. Rossi Mr. & Mrs. Ted Goldberg Dr. Maya GoldinPerschbacher & Mark Manetti Judith C. Hall Wendy Roehrich Hall 32
Ms. Diane Harrell Christine Hartung Roger & Lou Haskett Ms. Jean Herrity Dale & Susanne* Hershey Dr. & Mrs. John B. Hill David G. & Carolyn S. Hills Mr. Jeff Hollinger Katherine Holter Judy Horgan & Steve Pavsner Sara H. Horsman Dr. Chris & Mrs. Barbara Howard Jennifer Howe Kathryn Jackson Mr. & Mrs. David R. Jardini in honor of Helge & Erika Wehmeier Stacey L. Jarrell Tom & Wendy Jones in Honor of Chris Wu Mr. Jerald Katz Brett & Sarah Keisel Maura & John Kelly William & Lucille Kenworthy Laura Kieras Mr. Milton B. Kimura Laura & Michael Kingsley Mr. & Mrs. Richard Kleiser Karen F. Krenitsky Walter & Kathleen Labys Judith Lave Mr. William Lawrence, III Ms. Regan Lee and Mr. Jeremy M. Kubica Mr. & Mrs. Kenneth Lehn Father Ronald P. Lengwin Patty & Stan Levine Harry & Lisa Levinson Sandi & Jim Linaberger Ken & Hope Linge Mr. Daniel Lloyd Mr. and Mrs. Mark H. Loevner Troy & Aafke Loney Mr. Vernon Loucks Jr.* Mr. and Mrs. Nathan Lutchansky Mr. David A. Lynch & Ms. Dorothy A. Davis Ted N. & Mary Lou Magee Ms. Melissa R. Marshall William K. Martz Donna & Stephen Maxwell Dale & Dr. Marlene* McCall
Mrs. Jon W. McCarter Dr. Sharon McCarthy & Dr. David Krackhardt Mr. & Mrs. William D. McCrady Dr. Patrick McCulloch Debra & Kevin McElwain Jean S. McLaughlin Mr. & Mrs. William J. Mehaffey Suzanne Mellon PhD Mr. & Mrs. Thomas E. Merriman Robert D. Mierley Family Foundation II Joan Miles & Clifford Bob Stuart & Linda Miller Jack Millstein Mr. Robert Milner Amy Minter Robert & Christine Misback Bernard Moncla & Sharon Hillier William & Jane Morgan Robert & Katherine Mueller Eileen & Albert Muse Dr. Cora E. Musial Mildred S. Myers Pradeep & Priya Narayan Dr. Nancy Z. Nelson Rev. Robert* & Suzanne Newpher Patricia K. Nichols Heather O’Brien Maureen S. O’Brien John Oehrle Mr. & Mrs. James O’Neill Mr. and Mrs. Paul O’Neill John A. Osuch Ron & Mary Pallini Dr. & Mrs. Arthur Palmer Dr. and Ms. Thomas Pangburn Irina & Daniel Peris Aaron M. Plitt Kears & Karen Pollock Barbara Powers Fran Quinlan Mrs. Michelle Rabb Betty Radvak-Shovlin Bryan Rall Dr. Jane Raymond James Rebel Mr. Joe Reschini Benjamin & Adriene Rister Burton Roberts
Stephen G. Robinson Shereen & Paul Rosenberg Harvey & Lynn Rubin Rich & Linda Ruffalo Mr. & Mrs. Edmund S. Ruffin III Dr. Richard & Heidi Russman Shirley & Murray Rust Molly & Ferd Sauereisen Drs. Michael F. Scheier & Karen Matthews Joseph Schewe, Jr. Steven Schlossman & Stephanie Wallach Jonathan & Veronica Schmerling Rev. Cynthia Schneider & Mr. Ed Symons Carl Schultz Robert J. & Sharon E. Sclabassi Dr. Alaa Shalaby & Dr. Jocelyn Tan Dr. Charles H. Shultz Paul & Linda Silver Marjorie K. Silverman Kathleen Opat Smith Theresa V. Snavely J. Soffietti Dr. & Mrs. Edward M. Sorr Henry Spinelli Mr. & Mrs.* Jack Stabile Gary & Charlene Stanich Dr. & Mrs. Terence Starz Mark & Tammy Steele Dr. & Mrs. Ronald G. Stoller Mr. and Mrs. Jordan L. Strassburger Mona & E.J. Strassburger Mrs. and Mr. Beth Svendsen Marcia & Dick* Swanson Robert Swendsen & Roberta Klatzky Stu & Liz Symonds in Memory of Roger Sherman Christine T. Talleda Carol L. Tasillo Mr. & Mrs. William H. Taylor, Jr. Mary Lloyd Thompson Mr. & Mrs. William T. Tobin Judge David B. Torrey Mr. & Mrs. Clifton C. Trees Lois & Nigel Treloar Suzan M. Vandertie
Bob & Denise Ventura Janet Verone Edward L. & Margaret Vogel Suzanne & Richard Wagner John & Irene Wall Tony & Pat Waterman Dr. & Mrs. W. Bruce Watkins Phillips Wedemeyer & Jeanne Hanchett Mr.* & Mrs. Donald Wei Ms. Cynthia & Dr. Michael Weisfield Mr. & Mrs. Fred C. Wellinger Mr. & Mrs. Ronald D. West Mr. & Mrs. Arthur Westerberg Ron Wetzel Dr. Philip M. Wildenhain & Dr. Sarah L. Wildenhain Robert & Carole Williams Harton Wolf Sheryl & Bruce* Wolf Sidney & Tucky Wolfson Drs. Barry & Iris Wu Naomi Yoran Alice L. Young Maureen Young Mr. & Mrs. Allan Zelenitz Mr. & Mrs. Walter Ziatek Mr. & Mrs. David M. Zimba
Jim & Debbie Boughner Jim & Mary Bouwkamp Mr. Ian M. Brown & Ms. Jodie Minor Mr. Nicholas Brozack James Bruce Tom & Toni Brunger Drs. Clare & James Budd Roger & Cynthia Bush Nicholas Butera Rosaria Capezzuto Carlo & Poma Caso Dr. & Mrs. Daniel R. Casper Stephen C. Cenedella Barbara & Jerry Chait Deborah & David Chapman The Chew Family Clifton & Nicole Clark Gail D. Coates Laurence P. Comden Katherine Conrad Barbara Cooley & Robert Thaw Patricia J. Cover Frederick & Joy Cullen Mr. & Mrs. J. Kent Culley Norina H. Daubner Mr. G. Douglas Davidson & Ms. Sharee Stout Joan Clark Davis Dr. Richard S. DeLuca SYMPHONY CLUB Edward U. De Persis $600 - $999 Lucy & John Douglas Anonymous (9) Mr. Roger Dubois Barbara K. Abraham Leslie Oden Dunn Jerry Agin & Terri Denmon Susan A. Engelmeier Mr. Jorge Alba Francis & Joan Fereday The Albert Family Moses and Laryn Finder Anne B. Angerman Ms. Ann P. Flaherty Henry & Nancy Armstrong Ms. Patricia A. Flinn John Atkinson Mr. Gene S. Forsythe Todd Aukerman & Nancy Mr.* & Mrs. K. H. Fraelich, Tolfa Jr. Louanne Baily Jennifer & Robert* Freeman Donna L. Balewick MD Lorie Fuller Rabbi Amy Bardack & Dr. Jen & Bart Gabler Jared Magnani Mr. & Mrs. John & Dawn Beverly Barkon & Frank Gallagher Lieberman Hans & Gudrun Garkisch Vange & Nick* Beldecos Mr. & Mrs. Wayne Gerhold Judith Bell Mr. & Mrs. William D. Betty Belle Ghrist III Dr. Peter & Judy Berkowitz Thomas & Christine Paul E. Block Gillespie, Jr. Mr. & Mrs. Stephen A. Botos Mr. & Mrs. Scott Gorham
Ken & Laura Gormley The Graf Family David* & Nancy Green Richard & Dana Green Lori Greene & Chris Decker Margaret L. Groninger Hanna Gruen Mrs. Kathy B. Harenski Mary O. Harrison John & Catherine* Heggestad Dr. & Mrs. Fred P. Heidenreich Ms. Sarah Hoffman Alan & Betsy Hohlfelder Ms. Madeleine Hombosky Tom & Mary Hooten Catherine C. Hornstein Charitable Fund of The Pittsburgh Foundation Anne Houck Mrs. Elwood T. Hughes Rob & Linda Indovina H. Vaughn & Dr. Eleanor C. Irwin Paul & Barbara Jacoby Deborah James Dr. Frank & Debbie Jenkins Christine E. Jordanoff Mr. Joshua H. Jun Erika Kar David & Nora Kemp Peggy C. Knott Marilyn & Brett Kranich Eugene J. Kritko Amy Jo Labi-Carando & Peter M. Carando David Lendt James & Julie Lewis Dr. Jinghong Liang in Memory of Professor Richard Green Eddie Lowy & Ricardo Cortés Henry J. Mader Betsy Bechtolt Magley Dr. Bernard Mallinger Drs. Ellen Mandel & Lawrence Weber Dr. & Mrs. George J. Maruschock Gary & Marguerite Matz Eleanor Mayfield & Robert Pego Dr. & Mrs. Charles E. McChesney Katherine K. McCormick
Mr. Geoffrey McGovern Mr.* & Mrs. John E. Mehl Mr. William Merchant Elizabeth R. Mertz Marian G. Michaels Natalie & David Miltenberger Jeffrey Mishler Signe Mitchell Mr. & Mrs. Jeffrey Morrow Sheila & John Murtagh Ms. Tina Musahl James & Marlee Myers Ms. Linda Oliver Mr. Michael Opaska Nancy* & John Oyler Sang C. Park Nathan Pedretti & Jane Soung Dr. John H. Penn Daniel Perlongo & Susan Wheatley Mr. Pavel Puchkarev Maureen Puskar & Angelo Baiocchi Mr. & Mrs.* C. J. Queenan, Jr. Spencer & Gayle Radnich Jr. Mr. & Mrs. Nicholas M. Ricci Mr. Robert Richard Mrs. and Mr. Patrick Rooney Carol & Richard Rosenthal Sharon Roxbury & Joseph McEwen Ms. Mary E. Russell Bruce D. & Treasure Sachnoff Charitable Family Foundation Jose Sahel Kathleen A. Sandoe & Daniel H. Ready Mindy & Zal Sanjana Tom & Janet Schaefer Dr. & Mrs. Edward G. Scheid Dr. & Mrs. Harold Z. Scheinman Joan & Cliff Schoff Mr. Chester B. Scholl, Jr. Bernie & Cookie Soldo Schultz Mrs. Mary J. Seghi Mr. & Mrs. John M. Seifarth Richard F. Shaw & Linda W. Shaw Steven Silberman Mr. & Mrs. Virgil Simplaceanu
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Michele & Brian Skwirut Nellie Lou Slagle Don & Beth Smith Mr. & Mrs. Charles L. Smithers Ronald F. Smutny Michael Sochka Janet H. Staab Ms. Patricia Staible Mr. & Mrs. James C. Stalder Jim & Judy Stark Vilja K. Stein John & Jocelyn Stickle
Mr. & Mrs. William H. Stone Jr. Richard A. Sundra, in Loving Memory of Patricia Sundra Kevin & Elisa Taffe Drs. Margaret Tarpey & Bruce Freeman Mary Ann Stuart-Templeton Samuel Trichtinger Judy Vaglia Dr. & Mrs. James E. Vaux Mr. & Mrs. Charles E. Vogel
Drs. Joan Vondra & Thomas Drs. David C. & Diana M. Chang Wood Dr. Michael & Clare Dr. Audrey Zelkovic Vranesevic Lucile Weingartner Arlene & Richard Weisman Patricia Weiss Mr. & Mrs. Robert Wild Dr. Jen Wildpret Toby Wolfe Dr. & Mrs. Michael R. Wollman
CORPORATE SPOTLIGHT UPMC Health Plan encourages our members and the community to pursue a healthy, well-rounded lifestyle. We believe that people understand the world around them and achieve a better quality of life when given the opportunity to explore a variety of music, art, historical, and cultural resources. Our support of the Pittsburgh Symphony Orchestra helps to preserve its role as a major cultural asset in our community, and we are proud to work with it to bring the gift of beautiful music to people of all ages and walks of life.
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CORPORATE PARTNERS $100,000 AND ABOVE
ERIC BOUGHNER
Chairman of BNY Mellon Pennsylvania
DANIEL A. ONORATO
LOUIS R. CESTELLO
KENYA BOSWELL
SALLY McCRADY
Executive Vice President, Corporate Affairs Highmark Health Senior Vice President, Community Affairs Highmark Health
$40,000 - $100,000
Bank of America UPMC & UPMC Health Plan Dollar Bank Foundation FedEx Ground $20,000 - $39,999
Delta Airlines, Inc EQT Equitrans Midstream Fairmont Pittsburgh Federated Hermes, Inc. FedEx Ground The Giant Eagle Foundation MSA Worldwide, LLC $10,000 - $19,999
Audia Group LLC Bognar and Company, Inc. Clearview Federal Credit Union Comcast Deloitte USA LLP First National Bank of Pennsylvania Hefren-Tillotson, Inc. P.J. Dick, Trumbull & Lindy Paving Pittsburgh Steelers Sports, Inc. PPG Industries Foundation Spang and Company Charitable Trust $5,000 - $9,999
Berner International Corp c3controls Ernst & Young NexTier Bank
P.J. Dick, Trumbull & Lindy Paving Peoples Natural Gas The Reschini Group Trebuchet Consulting Wabtec Corporation Wesley Family Services
MacLachlan, Cornelius & Filoni Architects & Planners McKamish, Inc. Mitsubishi Electric Power Products, Inc. Nocito Enterprises, Inc. PNC Financial Services Group, Inc. $2,500 - $4,999 Robinson Fans Angelo, Gordon & Co., L.P. Schneider Downs & Company, Inc. Federal Home Loan Bank of Pittsburgh Streams Elementary School PTA Jennison Associates LLC TriState Capital Bank Kerr Engineered Sales Company United Safety Services, Inc. Lighthouse Electric Company, Inc. $250 - $999 Lucas Systems ABARTA Coca-Cola Marsh USA, Inc. Beverages Mascaro Construction Chemistry Company, LP Communications Mozart Management E.G. Conley, P.C. PPG Industries Foundation Fort Pitt Capital Group Inc. Silhol Builders Supply Goehring Rutter & Boehm Company Hamill Manufacturing Vallozzi's Pittsburgh Company Hertz Gateway Center, L.P. $1,000- $2,499 Joy Cone Co. Armada Supply Chain Meyer, Unkovic & Scott LLP Solutions Nemacolin Woodlands Austrian American Cultural Resort and Spa Society, Inc. PGT Trucking Inc. General Wire Spring Pittsburgh Wool Company Company Inc. German American Penza Investment Chamber Of Commerce, Management, LLC Pittsburgh Chapter Robinson Fans HB Reynolds Inc. Sarris Candies Inc. Jennmar Corporation St. Vincent College Koppers The Benedictine Society
Executive Vice President, Head of Regional Markets and Regional President for Pittsburgh PNC Bank Executive Vice President & Director, Community Affairs, PNC Bank Chair & President, The PNC Foundation
W. J. Beitler Co. Warren Associates We would like to thank all corporations who contribute to the Pittsburgh Symphony Orchestra & Heinz Hall. Please see our website at pittsburghsymphony.org for a complete listing. Current as of September 8, 2021
Is your company missing from this list? Call Becky Rickard at 412.392.2207 to become a Corporate Partner!
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FOUNDATIONS & PUBLIC AGENCIES Anonymous (2) Allegheny County Economic Development Allegheny Foundation Allegheny Regional Asset District Ampco-Pittsburgh Charitable Foundation Bessie F. Anathan Fund of The Pittsburgh Foundation Benjamin & Fannie Applestein Charitable Trust Baronner-Chatfield Family Foundation Claude Worthington Benedum Foundation The Benter Foundation Allen H. Berkman & Selma W. Berkman Charitable Trust H.M. Bitner Charitable Trust Maxine & William Block Fund of The Pittsburgh Foundation Paul & Dina Block Foundation Henry C. Frick Educational Fund of The Buhl Foundation Jack Buncher Foundation Carnegie Corporation of New York James C. Chaplin, IV & Carol C. Chaplin Charitable Fund of The Pittsburgh Foundation Anne L. & George H. Clapp Charitable & Educational Trust Edwin & Kathryn Clarke Family Foundation Compton Family Foundation The Rose Y. & J. Samuel Cox Charitable Fund Jean Hartley Davis & Nancy Lane Davis Fund of The Pittsburgh Foundation Dietrich Foundation Peter C. Dozzi Family Foundation Eden Hall Foundation Eichleay Foundation Jane M. Epstine Charitable Fund of The Pittsburgh Foundation The Fine Foundation Audrey Hillman Fisher Foundation Benjamin Harris Memorial Fund of The Pittsburgh Foundation The Heinz Endowments Teresa & H. John Heinz III Fund of the Heinz Family Foundation Henry L. Hillman Foundation Emma Clyde Hodge Memorial Fund Honkus-Zollinger Charitable Foundation Milton G. Hulme Charitable Foundation Roy A. Hunt Foundation
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George & Jeanne Illig Fund of The Pittsburgh Foundation John Keith Maitland Fund of The Pittsburgh Foundation Thomas Marshall Foundation Massey Charitable Trust Richard King Mellon Foundation Howard & Nell E. Miller Foundation Phyllis & Victor Mizel Charitable Fund of The Pittsburgh Foundation Eugene F. & Margaret Moltrup Jannuzi Foundation The Lesa B. Morrison Endowment Fund National Endowment for the Arts A.J. & Sigismunda Palumbo Charitable Trust Lewis A. & Donna M. Patterson Charitable Foundation W. I. Patterson Charitable Foundation Pennsylvania Council on the Arts, a state agency Pennsylvania Department of Community & Economic Development Anna L. & Benjamin Perlow Fund of The Pittsburgh Foundation Pauline Pickens Fund of The Pittsburgh Foundation The Pittsburgh Foundation Pittsburgh Symphony Association RMK Fund of The Pittsburgh Foundation The Donald & Sylvia Robinson Family Foundation The William Christopher & Mary Laughlin Robinson Fund of The Pittsburgh Foundation Rossin Foundation Ryan Memorial Foundation Salvitti Family Foundation James M. & Lucy K. Schoonmaker Foundation Scott Fund of The Pittsburgh Foundation The Mrs. William R. Scott Fund of The Pittsburgh Foundation The Seth Sprague Educational and Charitable Foundation Tippins Foundation The Edith L. Trees Charitable Trust Rachel Mellon Walton Fund of The Pittsburgh Foundation Samuel & Carrie Weinhaus Memorial Fund of The Pittsburgh Foundation Robert & Mary Weisbrod Foundation
Current as of September 9, 2021
LEGACY OF EXCELLENCE
In addition to income from the Annual Fund, the Pittsburgh Symphony Orchestra is dependent on a robust endowment to assure its long-term financial stability. Gifts from Legacy of Excellence programs are directed to the endowment to provide for the Pittsburgh Symphony Orchestra’s future. The Steinberg Society honors donors who have advised the Pittsburgh Symphony in writing that they have made a provision for the orchestra in their will. Endowed naming opportunities for guest artists, musicians’ chairs, concert series, educational programs or designated spaces allow donors to specify a name or tribute for 10 years, 20 years or in perpetuity. For additional information, please call 412.392.4880. STEINBERG SOCIETY Anonymous (23) Mary Beth Adams Siamak & Joan Adibi Rev. Drs. A. Gary & Judy Angleberger The Joan & Jerome Apt* Families Estate of Dorothy Avins Estate of Ruth Z. & James B. Bachman Ronald Bachowski in Memory of Lois Bachowski Francis A. Balog Lorraine E. Balun Estate of Barbara A. Bane Robert & Loretta Barone Dr. Elaine H. Berkowitz Keith E. Bernard Benno* & Constance Bernt Drs. Barbara & Albert Biglan Jim & Alison Bischoff Thomas G. Black Dr. & Mrs. Bennett P. Boffardi Barbara M. Brock Lois R. Brozenick* Michael F. Butler Tom & Jackie Cain Margaret Calder Estate of Cynthia Calhoun Estate of Rebecca J. Caserio M.D. Sondra Chester Judy & Michael Cheteyan Educational/Charitable Foundation Mr. & Mrs. David W. Christopher* Mr.* & Mrs. Edward S. Churchill Estate of Mr. & Mrs. Eugene S. Cohen Basil & Jayne Adair Cox Mary Ann Craig
L. Van V. Dauler, Jr.* & Randi Dauler In Memory of Stuart William Discount Mr. & Mrs. Thomas J. Donnelly* Mary A. Duggan* Dr. James H. Duggan Frank R. Dziama Estate of Robert B. Egan Steven G. & Beverlynn Elliott Estate of Doris Ely Katrin* & Eugene Engels Anthony Fabio* Dr. John H. Feist* Emil & Ruth Feldman* Joan Feldman & William Adams Estate of Ruth K. Fischer Mrs. Loti Gaffney* Keith Garver Alice V. Gelormino Estate of Arlyn Gilboa Ken* & Lillian Goldsmith Mr. & Mrs. Ira H. Gordon* Estate of Anna R. Greenberg Estate of Lorraine M. Gross Estate of Elizabeth A. Gundelfinger Maureen Guroff Marnie & Jim Haines Elizabeth Anne Hardie Charles & Angela Hardwick Edward J. Harris Carolyn Heil Eric & Lizz Helmsen William & Jacqueline Herbein Monica & Adam Hertzman Ms. Judith Hess Estate of Mr. John H. Hill Tom & Dona Hotopp Susan Candace Hunt
Estate of Mr. & Mrs. William C. Hurtt Philo & Erika* Holcomb Mr. & Mrs. Blair Jacobson Esther G. Jacovitz Patricia Prattis Jennings Mr. & Mrs. Robert S. Kahn* Estate of Calliope H. Kamaras Daniel G. & Carole L. Kamin Leo* & Marge Kane Lois S. Kaufman Stephen & Kimberly Keen Estate of Patricia M. Kelley Mr. Arthur J. Kerr, Jr. Ms. Bernadette Kersting Dr. Laibe A. & Sydelle Kessler* Estate of Elizabeth Krotec Howard & Carol Lang Stanley & Margaret Leonard Frances F. Levin Doris L. Litman Estate of Edward D. Loughney Estate of John Keith Maitland Lauren & Hampton Mallory Mr. & Mrs. Robert P. Malnati Dr. Richard Martin in Memory of Mrs. Lori Martin* Dale & Dr. Marlene* McCall Stephen McClure & Debra Gift John W. McDonald, Jr.* George E. Meanor Estate of Mary Michaely Mary Ellen Miller Ms. Jean L. Misner* Catherine Missenda* Dr. Mercedes C. Monjian Mr. & Mrs. Paul J. Mooney Alice & Bob Moore Perry* & BeeJee Morrison
Mildred S. Myers & William C.* Frederick Donn & Peggy* Neal Rhoda & Bill Neal Dr. Nancy Z. Nelson Rhonda & Dennis Norman Katherine O’Brien Elliott S. Oshry Thaddeus A. Osial, Jr. M.D. Estate of Irene G. Otte Estate of Deloris V. Pohelia Estate of Mark Perrott Judy Petty Estate of Dorothy R. Rairigh Barbara M. Rankin Richard E. Rauh Cheryl & James Redmond Mr. Gene Reiness Dr. & Mrs. William E. Rinehart* Donald & Sylvia Robinson* Mr.* & Mrs. David M. Roderick Charlotta Klein Ross Harvey & Lynn Rubin Mr. & Mrs. Gary L. Ryan Estate of Sylvia Sachs Virginia Schatz* Nancy Schepis Bernie & Cookie Soldo Schultz Dr. & Mrs. Harry E. Serene Michael Shefler Estate of Marjorie F. Shipe Dr. Stanley Shostak & Dr. Marcia Landy Dr. Charles H. Shultz Mr. & Mrs. Richard P. Simmons Estate of Janice G. Singer Estate of Evelyn B. Snyder Dr. & Mrs. Leonard A. *Stept Estate of Dr. Raymond & Karla Stept Theodore Stern
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Andrew & Gale Stevenson Mrs. Margaret Stouffer in memory of Miss Jean Alexander Moore Dick & Thea Stover Francesca Tan Estate of Nancy B.Thompson Carol H. Tillotson Tom & Jamee Todd Myra L. Toomey Mrs. Jane Treherne-Thomas* Gerald & Mary Unger Eva & Walter J. Vogel Mr. & Mrs. George L. Vosburgh Jon & Carol Walton Estate of John & Betty Weiland Lucile Weingartner In memory of Isaac Serrins from Mr. & Mrs. Ira Weiss Brian Weller Mr. & Mrs. Fred C. Wellinger Seldon Whitaker Jr.* Mr. & Mrs. Raymond B. White Charles L. & Katherine A. Wiley James* & Susanne Wilkinson Robert E. Williams* Mr. & Mrs. Thomas Witmer Sidney & Tucky Wolfson Patricia L. Wurster Estate of Rufus J. Wysor Naomi Yoran Estate of Alice Carroll Young Miriam L. Young Estate of Ruth Yount Estate of Florence H. Zeve Estate of Simone J. Ziegler ENDOWED CHAIRS Principal Horn Chair, given by an Anonymous Donor
Jane & Rae Burton Cello Chair Cynthia S. Calhoun Principal Viola Chair Virginia Campbell Principal Harp Chair
Milton G. Hulme, Jr. Guest Conductor Chair given by Mine Safety Appliances Company
Ron & Dorothy Chutz First Violin Chair
Susan Candace Hunt Cello Chair
Dr. Mary Ann Craig Principal Tuba Chair
Mr. & Mrs. Benjamin F. Jones III Guest Keyboard Chair
Randi & L. Van V. Dauler, Jr. President & CEO Chair George & Eileen Dorman Assistant Principal Cello Chair Albert H. Eckert Associate Principal Percussion Chair Beverlynn & Steven Elliott Associate Concertmaster Chair Jean & Sigo Falk Principal Librarian Chair
Virginia Kaufman Resident Conductor Chair Stephen & Kimberly Keen Bass Chair G. Christian Lantzsch & Duquesne Light Company Principal Second Violin Chair
Jackman Pfouts Principal Flute Chair, given in memory of Mr. & Mrs. Arthur Jackman by Barbara Jackman Pfouts Pittsburgh Symphony Association Principal Cello Chair Reed Smith Chair honoring Tom Todd Horn Chair Snapp Family First Violin Chair Dr. & Mrs. William E. Rinehart* Oboe Chair Donald & Sylvia Robinson Family Foundation Guest Conductor Chair Martha Brooks Robinson Principal Trumpet Chair
Mr. & Mrs. William Genge and Mr. & Mrs. James E. Lee Mr. & Mrs. Aaron Silberman Principal Bassoon Chair Principal Clarinet Chair Nancy & Jeffery* Leininger First Violin Chair
HaleyFesq Cello Chair Endowed by Janet Haley Fesq Edward D. Loughney Co-Principal Trumpet Chair Endowed Principal Piccolo Chair, given to honor Frank Fiddlesticks Family Concert Series Endowed by Gerald & and Loti Gaffney Audrey McGinnis Honoring The Center for Young William & Sarah Galbraith Musicians Second Violin Chair
Sidney Stark, Jr. Memorial Clarinet Chair Mr.* and Mrs. Willard J. Tillotson, Jr. Principal Bass Clarinet Chair Tom & Jamee Todd Principal Trombone Chair United States Steel Corporation Assistant Principal Bass Chair
The Estate of Olga T. Gazalie First Violin Chair
Ann McGuinn Trombone Chair
Alice Victoria Gelormino Second Violin Chair
Mr. and Mrs. Martin G. McGuinn Viola Chair
Arlyn Gilboa Second Violin Chair
Dr. William Larimer Mellon, Jr. Principal Oboe Chair, given by Rachel Mellon Walton
Rachel Mellon Walton Concertmaster Chair, given by Mr. & Mrs. Richard Mellon Scaife
Messiah Concerts Endowed by the Howard and Nell E. Miller Chair
Jacquelin Wechsler Horn Chair given in memory of Irving (Buddy) Wechsler
Ira & Nanette Gordon The Gracky Fund for Education & Community Engagement
First Violin Chair, given by Allen H. Berkman in memory of his beloved wife, Susan S. Greer Memorial Trumpet Chair, given by Selma Wiener Berkman Peter Greer Michael & Carol Bleier Bass Chair given in memory William Randolph Hearst of our parents, Tina & Endowed Fund for Charles Bleier and Ruth & Education Shelley Stein Vira I. Heinz Dr. Alan & Marsha Bramowitz Music Director Chair First Violin Chair, Endowed in memory of Bach pianist William & Jacqueline Rosalyn Tureck Herbein Principal Bass Trombone Chair Lois R. Brozenick Memorial First Violin Chair 38
Principal Pops Conductor Chair Endowed by Henry & Elsie* Hillman
Jon & Carol Walton Associate Principal Viola Chair
Donald I. & Janet Moritz and Equitable Resources, Inc. Barbara Weldon Associate Principal Cello Principal Timpani Chair Chair The Perry & BeeJee Morrison Hilda M. Willis Foundation Flute Chair String Instrument Loan Fund Thomas H. & Frances Witmer Assistant Principal Horn Chair The Morrison Family Associate Principal Second Violin Chair Current as of September 9, 2021 *deceased
DAULER HEARING LOOP: A system to provide better sound to hearing aid and cochlear implant users.
If you use a hearing aid or have a cochlear implant, you can have an improved listening experience at Heinz Hall concerts and events! The Dauler Hearing Loop runs throughout the auditorium, with the exception of the Orchestra pit, first four Orchestra level rows and Grand Box left. The hearing loop system also is installed at the Heinz Hall Box Office windows, allowing you to hear the amplified voice of Box Office personnel directly through t-coil enabled hearing aids. VISIT OR CALL THE HEINZ HALL BOX OFFICE AT 412.392.4900 WITH ANY QUESTIONS. The Dauler Hearing Loop is named for late Pittsburgh Symphony Orchestra trustee L. Van V. Dauler, Jr and was made possible through a gift from Randi & L. Van V. Dauler, Jr. and the Emma Clyde Hodge Memorial Foundation.
TO USE THE DAULER HEARING LOOP: If you have a hearing aid or cochlear implant with a telecoil (t-coil) you need to make sure the t-coil is activated and properly set by your audiologist. You can then activate the setting once in Heinz Hall. If you are not sure if your hearing aid has a t-coil or if you experience difficulty and require assistance, please contact your audiologist. Sound heard through telecoils can vary from hearing aid to hearing aid and according to position in the theater. Generally, the best signal is found when you sit in the center of a row and facing toward the stage. If you need further assistance in selecting the best seats, please contact the Heinz Hall box office.
HEINZ HALL POLICIES
Heinz Hall, owned and operated by Pittsburgh Symphony Inc., is committed to the safety and well-being of all guests and patrons, and aims to provide a safe, comfortable and enjoyable entertainment experience.
ENTRANCE SECURITY POLICY All audience members are required to enter through state-of-the-art “free-flow” scanning equipment, designed both to enhance security and convenience. Patrons using wheelchairs and mobility devices will enter via a door adjacent to the screening equipment for alternative screening. Patrons with children in strollers may enter through the screening equipment.
policy is sworn law enforcement personnel and private security officers employed and/or contracted by Pittsburgh Symphony Inc.
may be consumed in the lobby areas, but are not permitted into the auditorium. Please note: Heinz Hall cups with lids are available for purchase at the facility’s bars. These BAG POLICY reusable cups can be brought into Heinz Hall reserves the right to the facility again at a later date once search any bags entering the facility. purchased, but must be filled on Oversized bags must fit comfortably site. These cups can be brought into under a seat to ensure the safety of the auditorium at many concerts patrons entering or exiting seats and (excluding classical programs). aisles. Bags failing to meet these requirements must be checked and COSTUME POLICY pass a security search, or you must Heinz Hall does not permit masks WEAPONS POLICY remove the bags from the Hall. of any kind or facsimiles of weapons Weapons are not permitted in the that would make other guests feel SMOKING POLICY venue and/or public spaces owned uncomfortable or detract from the Heinz Hall is a smoke/vapor free or operated by Pittsburgh Symphony concert experience. Guests are facility. (Smoking is permitted in the Inc., including Heinz Hall. Any item welcome to attend certain programs, Heinz Hall Garden Plaza) that could endanger public safety is (e.g. The Music of Harry Potter or The considered a weapon for purposes FOOD AND Music of Star Wars) in costume. of this policy. Violators of this policy BEVERAGE POLICY may be subject to ejection from Outside food or alcoholic beverages Heinz Hall and/or civil or criminal are prohibited. Outside non-alcoholic penalties. The only exception to this beverages, such as Starbucks coffee,
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HEINZ HALL INFORMATION
ACCESSIBLE SEATS are available with companion seats. There is a level entrance and route to the main floor of the auditorium. Contact the box office for the location of the companion seats. HEINZ HALL BOX OFFICE HOURS are Monday through Friday, from 9 a.m. to 6 p.m; Saturday from noon to 4 p.m. Weekend hours vary based on performance times. Tickets may be purchased by calling 412.392.4900 and are also available at the Theater Square Box Office.
DAULER HEARING LOOP to be used with hearing aid telecoil settings, portable assistive listening devices are available. Please see the ushers for assistance or contact the box office for the best locations for using the hearing loop. DRESS CODE for all concerts is at your personal discretion and ranges from dress and business attire to casual wear. ELEVATOR is located next to the Grand Staircase.
MOBILE DEVICES should be turned off and put away upon entering the theater.
PHOTOGRAPHY, video, or audio recording of the performance is prohibited at all times, unless otherwise noted.
PRE-PAID PARKING is available to all ticketholders in the Sixth & Penn garage across from Heinz Hall. Ask about prepaid parking when you order your tickets.
MEN’S AND WOMEN’S RESTROOMS are located on the Lower, Grand Tier and Gallery levels. BRAILLE AND LARGE Additional women’s restrooms are PRINT PROGRAMS are available at the concierge desk for FIRE EXITS are to be used ONLY located off the Garden and Overlook rooms. Accessible restrooms are all BNY Mellon Grand Classics, PNC in case of an emergency. If the located on the Grand Tier level and Pops, Fiddlesticks Family Series and fire alarm is activated, follow the a family/accessible restroom is Sensory-Friendly performances. direction of Heinz Hall ushers and staff to safely evacuate the theater. available on the Main Floor. CHILDREN are encouraged to attend our youth concerts and GROUPS can receive discounted SMOKING is not permitted Fiddlesticks Family Concerts. in Heinz Hall. The garden is tickets, priority seats, personalized Children age six and over, are accessible during performances service and free reception space. welcome at all performances with a For more information, call for this purpose. purchased ticket. The Latecomer’s 412.392.4819 or visit our website at Gallery and lobby video monitors are pittsburghsymphony.org/groups for SUPPORTING THE PSO AND HEINZ HALL always options for restless children. information. is critical to the financial future of the COAT CHECK is available in the Pittsburgh Symphony. Ticket sales LATECOMER’S GALLERY Grand Lobby. only cover a portion of our operating is located behind the Main Floor CONCIERGE SERVICE is to enjoy the performance until you costs. To make a tax-deductible gift, please contact our Development available in the Entrance Lobby can be seated. Latecomers will be department at 412.392.4880 or visit to assist with your questions seated at suitable intervals during us online at pittsburghsymphony.org and to help with dining, hotel, the program, at the discretion of entertainment and transportation the conductor. The gallery is also concerns. [Penny Vennare, Event available for parents with Supervisor; Barbara Smorul, restless children. Concierge.] LOCKERS are located on the Lower and Gallery levels. EMERGENCY CALLS can be referred to the concierge desk at 412.392.2880.
LOST AND FOUND items can be retrieved by calling 412.392.4844 on weekdays from 10 a.m. to 5 p.m.
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