BNY Mellon Grand Classics: The Firebird & William Tell Overture (Feb. 11-13, 18 & 20) by Pittsburgh Symphony Orchestra

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FIREBIRD THE

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7 5

Celebrating Performance.

At BNY Mellon, we believe that the arts are part of every vibrant community. It is our great pleasure to support Pittsburgh Symphony Orchestra.

We are proud to return as the title sponsor of BNY Mellon Grand Classics. The Pittsburgh Symphony Orchestra is one of Pittsburgh’s great cultural institutions. BNY Mellon and the Orchestra share a long history in the Pittsburgh community and a commitment to its people. We’re honored to work again with a world class orchestra distinguished by its artistic excellence to bring you the 2021-2022 BNY Mellon Grand Classics season. Enjoy the show! Sincerely,

Eric Boughner Chairman of BNY Mellon Pennsylvania

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Overture to The Bartered Bride £nÈÎ®

ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born March 2, 1824 in Leitomischl, Bohemia; died May 12, 1884 in Prague, Czech Republic

April 20, 1975; Heinz Hall; James Levine, conductor

PREMIERE OF WORK

INSTRUMENTATION

May 30, 1866; Czech Theater, Prague; Bedřich Smetana, conductor

Woodwinds in pairs plus piccolo, four horns, two trumpets, three trombones, timpani and strings

PSO PREMIERE

November 25, 1898; Carnegie Music Hall; Victor Herbert, conductor

DURATION

7 minutes

It was Johann Herbeck, the noted Viennese conductor who introduced Schubert’s long-forgotten “Unfinished” Symphony to the world in 1865, who sowed the seeds of Smetana’s splendid comic opera, The Bartered Bride. When conductor and composer met in Weimar in 1857, Herbeck allowed that the Czechs were generally fine performers, but seemed incapable of creating their own musical works. Incensed, Smetana returned home to Prague vowing to prove Herbeck wrong. He took an active role in Czech musical life, supporting the new National Theater founded in 1862 and completing his first opera, The Brandenburgers in Bohemia, a year later. He found some truth in the criticism that that opera was too Wagnerian in style, and, still not satisfied that he had disproved Herbeck’s comments, he determined to create as its successor a new work more specifically Czech in style. In July 1863 he received a libretto from the writer Karl Sabina that met his requirements, and he began composing The Bartered Bride immediately. (Curiously, Smetana worked from a German translation of the libretto, since his Czech was not as good at the time as was his German, the language of his childhood home, his education and his early professional life.) The Overture was composed first, and the rest of the opera written during the next two years. The Bartered Bride garnered little success at its first performance, in Prague on May 30, 1866. The day was an official holiday that also proved to be one of the hottest of the year, and most of the opera-going audience had retreated to the country. In addition, political tension between Prussia and Austria was running high (Bohemia — today part of the Czech Republic — like Hungary and Poland, was frequently a point of the contention between those aggressive neighbors), and there was little interest in a new comic opera. War broke out only two weeks after the premiere. Smetana and his family fled from Prague before the invading Prussians (his Brandenburgers in Bohemia had harshly criticized them), and remained away until the army withdrew at the end of the summer. Upon his return, he was made conductor of the National Theater, and resumed his vigorous work to promote Czech music. The Bartered Bride soon came to be recognized as the first great Czech opera, and quickly thereafter gained the popularity it had been denied at its premiere, especially after Smetana reworked the score and dramatic structure of the piece. (The original version was in two acts, had spoken dialogue, no scene changes and no dances. The work went through four extensive revisions before reaching its definitive three-act form with sung recitatives and its wonderful dances.) On May 5, 1882 it was given in Prague for the 100th time. By 1953 it had been performed in that city 2,000 times, and it remains an almost weekly adornment of the PROGRAM NOTES 2021-2022 SEASON

repertory of Prague’s National Theater. More than simply a delightful opera, The Bartered Bride — and its composer — became symbols of Czech pride at home and abroad. “Smetana is more than a mere musician,” according to his biographer Vladimir Helfert. “He is one of the chief builders of modern Czech civilization, one of the chief creators of Czech culture.” The story of The Bartered Bride derives from the personalities, customs and lore of the Czech countryside. The lovers Hans and Marie are prevented from marrying by her father, who has secured a more lucrative nuptial arrangement from the village matchmaker, Kezal. Kezal has engaged Marie to the half-wit Wenzel, son of the second marriage of Micha, a wealthy landowner. Hans makes sure that the marriage contract specifies Marie must wed the son of Micha, and then pockets the money that Kezal promised him for breaking his betrothal to Marie. With a plot twist worthy of Gilbert & Sullivan, Hans reveals that he is also the son of Micha — by Micha’s first marriage — and claims Marie as his wife. Wenzel, his mind unhinged at the thought of marriage, appears in a bear costume, and has to be dragged away while the couple and the villagers celebrate the upcoming wedding. The effervescent Overture (“a grand Allegro” said Smetana) was written before the rest of the opera, and served as the source of themes (“leitmotifs”) later used to identify some of the work’s characters and situations. The boisterous opening melody represents the matchmaker Kezal, the vibrant dance strain (announced by the first entry of the full orchestra after a scurrying fugato passage in the strings) accompanies the signing of the marriage contract, and a lyrical theme (given sweetly by oboes in duet) is associated with Hans. The Bartered Bride Overture is a sparkling jewel set into the never-too-large tiara of comic opera, a bubbling prelude that Donald Tovey praised as creating “the liveliest possible comic atmosphere — such as has no overture since Mozart’s Figaro.”

ROBERT SCHUMANN

Concerto for Cello and Orchestra in A minor, Opus 129 £nxä® ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born June 8, 1810 in Zwickau, Germany; died July 29, 1856 in Endenich, Germany

October 29, 2017; Heinz Hall; Manfred Honeck, conductor; Alisa Weilerstein, soloist

PREMIERE OF WORK

INSTRUMENTATION

April 23, 1860; Germany; Ludwig Ebert, soloist

Flutes, oboes, clarinets, bassoons, horns and trumpets in pairs, timpani and strings

PSO PREMIERE

DURATION

November 22, 1946; Syria Mosque; Fritz Reiner, conductor; Gregor Piatigorsky, soloist

26 minutes

In September 1850, the Schumanns left Dresden to take up residence in Düsseldorf, where Robert assumed the post of municipal music director. He was welcomed to the city with a serenade, a concert of his works, a supper and a ball. Though he had been cautioned by his friend Felix Mendelssohn a few years earlier that the local musicians were a shoddy bunch, he was eager to take on the variety of duties that awaited him in the Rhenish city, including conducting the orchestra’s subscription concerts, leading performances of church music, giving private music £ä

lessons, organizing a chamber music society and composing as time allowed. Mendelssohn’s advice notwithstanding, Schumann found the players acceptable, and plunged into his work with energy and enthusiasm. Surprisingly, this busy, new situation had a salutary effect on his composition, and within months he had composed the Scenes from Goethe’s “Faust”, an Overture to Schiller’s The Bride of Messina, many songs, the “Rhenish” Symphony (inspired by a trip upstream on September 29th to Cologne’s awesome cathedral) and this lovely Cello Concerto. Despite Schumann’s promising entry into the musical life of Düsseldorf, it was not long before things turned sour. His fragile mental health, his ineptitude as a conductor and his frequent irritability created a rift with the musicians, and the orchestra’s governing body presented him with the suggestion that, perhaps, his time would be better devoted entirely to composition. Schumann, increasingly unstable though at first determined to stay, complained to his wife, Clara, that he was being cruelly treated. Proceedings were begun by the orchestra committee to relieve him of his position, but his resignation in 1853 ended the matter. By early the next year, Schumann’s reason had completely given way. On February 27th, he tried to drown himself in the Rhine, and a week later he was committed to the asylum in Endenich, where he lingered with fleeting moments of sanity for nearly two-and-a-half years. His faithful Clara was there with him when he died on July 29, 1856, at the age of 46. The Cello Concerto was a product of Schumann’s first, happy months in Düsseldorf. Though it came near the end of his career, it is the result of a special affection he harbored for the cello throughout his life. When a finger injury in 1832 ended his piano playing, he dabbled for a short time with the cello as a musical outlet. Though he never mastered the instrument, his familiarity with it is evident in this Concerto. “Last month,” Clara wrote in her diary on November 16, 1850, “Robert composed a concerto for the violoncello that pleased me very much. It appears to be written in the true violoncello style.” This work, like the earlier Piano Concerto, eschews the flashing pyrotechnics of the traditional 19th-century virtuoso concerto in favor of a musical language richer and more subtle in its emotional expression. (“I cannot write a concerto for the virtuosos. I must try for something else,” he vowed early in his career.) Schumann’s Cello Concerto is among the most popular pieces in the literature for that instrument. Mstislav Rostropovich claims that he enjoys it more than any other cello concerto. And the legendary cellist Pablo Casals called it “one of the finest works one could wish to hear — sublime music from beginning to end.” Schumann composed the Concerto’s three movements to be played without pause. This technical device not only helped to unify the work into a single span of music from its beginning to its end, but also served to curtail the applause which 19th-century audiences dispensed after every movement, a custom Schumann abhorred because it destroyed the work’s carefully calculated mood. The Concerto’s first two movements are expressive and largely contemplative, “exactly those qualities of the beloved enthusiastic dreamer whom we know as Schumann,” wrote Sir Donald Tovey. The finale brings to the work a playful virtuosic verve which concludes the piece with a flurry of high spirits. The first movement is a nearly seamless sonata form that looks forward to the monolithic structures of Brahms’ opening movements. After three prefatory woodwind chords, the first theme is presented by the soloist above an undulating accompaniment. Following an orchestral interlude, the more animated second theme appears. The movement’s central portion is occupied by one of Schumann’s best and most compact developments, which utilizes the exposition’s themes and a new, crisply rhythmic motive assigned to the cello’s low register. The first and second themes return in the recapitulation to round out the movement. The nocturnal slow movement, a wistful romanza in three-part form (A-B-A), follows without pause. Particularly touching here is the opening strain, a pastoral duet for the soloist and the principal cellist of the orchestra. A transition enlivened by an increasingly quick tempo leads to PROGRAM NOTES 2021-2022 SEASON

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the finale, whose form combines elements of sonata and rondo. Much of this movement’s thematic material springs from its bounding opening motive. A flourish of arpeggios sweeping though the cello’s entire range brings this splendid Concerto to a close. Clara Schumann’s evaluation of this work, written on October 11, 1851, a year after it was composed, is still valid today. “I have played Robert’s Violoncello Concerto again and thus procured for myself a truly musical and happy hour,” she recounted. “The romantic quality, the flight, the freshness and the humor, and also the highly interesting interweaving of cello and orchestra are, indeed, wholly ravishing — and what euphony and what sentiment are in all those melodic passages!”

REZA VALI

The Girl from Shiraz for Cello and Orchestra WORLD PREMIERE Commissioned by the Pittsburgh Symphony Orchestra Óä£Ç] ÓäÓ£®

Born September 1, 1952 in Ghazvin, Iran

trumpets, two trombones, tuba, timpani, percussion, harp, piano, celesta and strings

INSTRUMENTATION

DURATION

Two flutes, oboe, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two

6 minutes

ABOUT THE COMPOSER

The Girl from Shiraz derives from the Persian Folk Songs for cello and piano that Vali composed in 2017 for cellist Kian Soltani, who was born in Austria into a family of Persian musicians. The Persian Folk Songs, recorded by Soltani and pianist Aaron Pilsan for Deutsche Grammophon in 2018, is among the most recent of a large and ongoing cycle of pieces inspired by Persian folksongs that Vali has been writing since 1978. Though these works, some incorporating existing melodies, some newly composed in traditional styles, are rooted in his Iranian heritage, Vali, like the Hungarian master Béla Bartók, attributes an international significance to them. “Folk music is really a timeless phenomenon,” he said. “Musical ideas transfer from one part of the world to another via migrations. The roots of Hungarian folk music, for example, are not just in Hungary. Bartók went to Turkey and North Africa, and reading his articles I realized that folk music is an international phenomenon. The folk music of Iran is connected not only with that of its neighbors, but to Hungary and Eastern Europe, and even to the Native music of both North and South America.” The orchestral version of The Girl from Shiraz, commissioned by the Pittsburgh Symphony Orchestra for performance with Kian Soltani, is adapted from the third and fourth of the seven Persian Folk Songs of 2017. Of it, Vali wrote, “The Girl from Shiraz is based on two Persian folk songs, both originating from the city of Shiraz. The sensual and spiritual aspects of love intersect in the first song, The Girl from Shiraz. The text of the original folk song is highly sensual, describing the yearning of the lover for the beloved. The melody of this song, played by the solo cello, is accompanied by quotes from the Christmas carol Silent Night, Wagner’s Tristan and Isolde, and Olivier Messiaen’s Quartet for the End of Time. The second song, Love Drunk, is a based on a text that describes the intoxicating joy when the lovers meet.”

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MICHAEL DAUGHERTY

Fifteen: Symphonic Fantasy on the Art of Andy Warhol WORLD PREMIERE Commissioned by the Pittsburgh Symphony Orchestra ÓäÓ£® ABOUT THE COMPOSER

Born April 28, 1954 in Cedar Rapids, Iowa INSTRUMENTATION

Piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three

bassoons, contrabassoon, four horns, four trumpets, four trombones, tuba, timpani, percussion, harp, celesta and strings DURATION

25 minutes

Michael Daugherty writes: Fifteen: Symphonic Fantasy on the Art of Andy Warhol (2021) for orchestra was commissioned and premiered by the Pittsburgh Symphony Orchestra, Manfred Honeck, Music Director, in celebration of the orchestra’s 125th anniversary. My symphony is inspired by the art of Andy Warhol, famous for being the world’s most recognizable proponent of Pop Art, and for his wry quotation: ‘In the future, everyone will be world-famous for 15 minutes.’ Warhol (1928-1987) was born into a Slovakian family of six in Pittsburgh, raised there and graduated from Carnegie Mellon University before moving to New York City in 1949 to pursue a career as an artist. Through his portraits of icons, celebrities and commercial objects, Warhol developed a provocative hybrid of realism and abstraction expressed through bright colors and repetition. In 1994, the Andy Warhol Museum opened in Pittsburgh with the most complete collection of Warhol’s artwork and artifacts. In Fifteen: Symphonic Fantasy on the Art of Andy Warhol, I transpose Warhol’s art into my own musical ‘pictures at an exhibition,’ divided into five movements: I. LudWig (Portrait of Ludwig van Beethoven; 1987). Warhol transformed Beethoven into ‘a modern rock star’ by creating a portfolio of four colorful screenprints in his signature pop art style. Inspired by these portraits, I recompose echoes of Beethoven’s orchestral music into a multicolored groove machine. It is also no coincidence that both Beethoven and Warhol wore wigs. II. Liz’s Lament (Portrait of Elizabeth Taylor; 1964). Throughout his career Warhol created hundreds of celebrity portraits, including Hollywood actress Elizabeth Taylor: an ideal subject for Warhol as she possessed a similar combination of success, beauty, failed love affairs and tragedy. In this movement, I have created a solemn Baroque musical tapestry featuring soulful English horn and trumpet solos, interlaced with elegiac harp and strings and punctuated by Egyptian finger cymbals, reminiscent of her famous film role as Cleopatra. III. Big Electric Chair (1967). Warhol also turned to darker subjects for his artwork, such as the infamous electric chair in the death chamber of Sing Sing Prison. For this movement, I have composed pulsating, high voltage music for brass and percussion. IV. The Last Supper (after Leonardo da Vinci’s The Last Supper; 1986). Although Warhol was a devout follower of the Byzantine church and attended mass daily, he kept his Catholic faith a secret. In the last years of his life, he created multiple versions of Leonardo da Vinci’s The Last Supper for PROGRAM NOTES 2021-2022 SEASON

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a special exhibition in Milan. My fourth movement is a reflection on Warhol’s reiterations of The Last Supper, using muted strings, harp, celeste and glockenspiel to perform musical canons that support mournful solos heard in the French horn and oboe. V. Passacaglia in Primary Colors. Warhol often employed repetition of images and vibrant primary colors in his art works. The final movement of my symphonic fantasy is therefore structured as a passacaglia, one of the most recognizable structures for musical repetition. The main musical motive consists of 15 pulses or beats, repeated and transformed into unpredictable tonalities and blocks of instrumental color.

IGOR STRAVINSKY

Suite from The Firebird (1919 revision) £ ä £ £ä®

ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born June 17, 1882 in Oranienbaum, Russia; died April 6, 1971 in New York City

October 7, 2018, Heinz Hall; Manfred Honeck, conductor

PREMIERE OF WORK

INSTRUMENTATION

June 25, 1910; Paris Opéra, Paris; Gabriel Pierné, conductor

Piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, triangle, xylophone, harp, piano and strings

PSO PREMIERE

March 29, 1935, Syria Mosque; Antonio Modarelli, conductor

DURATION

22 minutes Fireworks. There could not have been a more appropriate title for the work that launched the meteoric career of Igor Stravinsky. He wrote this glittering orchestral miniature in 1908, while still under the tutelage of Nikolai Rimsky-Korsakov, and it shows all the dazzling instrumental technique that the student had acquired from his teacher. Though the reception of Fireworks was cool when it was first performed at the Siloti Concerts in St. Petersburg on February 6, 1909, there was one member of the audience who listened with heightened interest. Serge Diaghilev was forming his Ballet Russe company at just that time, and he recognized in Stravinsky a talent to be watched. He approached the 27-year-old composer and requested orchestral transcriptions of short pieces by Chopin and Grieg that would be used in the first Parisian season of the Ballet Russe. Stravinsky did his work well and on time. During that same winter, plans were beginning to stir in the creative wing of the Ballet Russe for a Russian folk ballet — something filled with legend and magic and fantasy. The composer Nikolai Tcherepnin was associated with the Ballet Russe at that time, and it was assumed that he would compose the music for a plot derived from several traditional Russian sources. However, Tcherepnin was given to inexplicable changes of mood, and he was losing interest in ballet at the time, so he withdrew from the project. Diaghilev then wrote to his old harmony professor, Anatoly Liadov, and asked him to consider taking on the task, informing him that the date for the premiere of the new work was firmly set for less than a year away. After too many weeks with no £{

word from the dilatory composer, Diaghilev paid him a visit, and was greeted with Liadov’s report on his progress: “It won’t be long now,” Diaghilev was told. “It’s well on its way. I have just today bought the manuscript paper.” Realizing that The Firebird would never get off the ground at such a rate, Diaghilev inquired whether Stravinsky had any interest in taking over for Liadov. Though involved in another project (he had just completed the first act of the opera The Nightingale), he was eager to work with Diaghilev’s company again, so he agreed. After some delicate negotiations with Liadov, Stravinsky was officially awarded the commission in December, though his eagerness was so great that he had begun composing the music a month earlier. The triumphant premiere of The Firebird, given by the Ballet Russe at the Paris Opéra on June 25, 1910, rocketed Stravinsky to international fame. With somewhat uncharacteristic understatement, he said, “The Firebird radically altered my life.” The story of the ballet deals with the glittering Firebird and the evil ogre Kastchei, who captures maidens and turns men to stone if they enter his domain. Kastchei is immortal as long as his soul, which is preserved in the form of an egg in a casket, remains intact. The plot shows how Prince Ivan wanders into Kastchei’s garden in pursuit of the Firebird; he captures it and exacts a feather before letting it go. Ivan meets a group of Kastchei’s captive maidens and falls in love with one of them. The princesses return to Kastchei’s palace. Ivan breaks open the gates to follow them inside, but he is captured by the ogre’s guardian monsters. He waves the magic feather, and the Firebird reappears to help him smash Kastchei’s vital egg; the ogre immediately expires. All the captives are freed and Ivan and his Tsarevna are wed. Stravinsky drew three concert suites from The Firebird. The 1919 suite includes six scenes from the complete score. The first two, Introduction and The Dance of the Firebird, accompany the appearance of the magical creature. The Round Dance of the Princesses uses the rhythm and style of an ancient Russian dance called the Khorovod. The Infernal Dance of King Kastchei, the most modern portion of the score, depicts the madness engendered by the appearance of the Firebird at Kastchei’s court after the revelation to Ivan of the evil ogre’s vulnerability. The haunting Berceuse is heard when the thirteenth princess, the one of whom Ivan is enamored, succumbs to a sleepcharm that saves her from the terrible King while Ivan destroys Kastchei’s malevolent power. The Finale, initiated by the solo horn, confirms the life-force that had been threatened by Kastchei. *," ,Ƃ "/ - 9 ,° , Ƃ, ° ," Ƃ

PROGRAM NOTES 2021-2022 SEASON

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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/Barber 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. Their most recent release is a recording of Brahms No. 4/MacMillan Larghetto for Orchestra. 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 £È

Photo credit: George Lange

principal conductors of the MDR Symphony Orchestra Leipzig, as Music Director of the Norwegian 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. There, he conducted, among others, premieres of Berlioz’s Les Troyens, Mozart’s Idomeneo, Verdi’s Aida, Richard Strauss’s Rosenkavalier, 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.”

C LA S S I C A L

F O U R W AY S T O L I S T E N 89.3 FM WQEDFM.ORG CLASSICAL QED APP SMART SPEAKER

www.wqed.org WQED is member supported. wqed.org/donate

BIOGRAPHY 2021-2022 SEASON

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KIAN SOLTANI Hailed by The Times as a “remarkable cellist” and described by Gramophone as “sheer perfection”, Kian Soltani’s playing is characterised by a depth of expression, sense of individuality and technical mastery, alongside a charismatic stage presence and ability to create an immediate emotional connection with his audience. He is now invited by the world’s leading orchestras, conductors and recital promoters, propelling him from rising star to one of the most talked about cellists performing today. In 2021/22 Soltani has been invited to make debuts with orchestras including the Accademia Nazionale di Santa Cecilia, Czech Philharmonic, ORF Vienna Radio, Orchestra della Svizzera Italiana, WDR, Barcelona and Pittsburgh Symphony Orchestras. He will return to the London and Israel Philharmonic Orchestras, Vienna Symphony, Staatskapelle Berlin and Tonhalle Zurich amongst others. Furthermore, Soltani embarks on extensive orchestral touring including with the West-Eastern Divan Orchestra and Daniel Barenboim, St. Petersburg Philharmonic Orchestra and Yuri Temirkanov, ORF Vienna Radio Symphony Orchestra and Marin Alsop, and Royal Philharmonic Orchestra and Vasily Petrenko. Recent orchestral highlights include the Vienna Philharmonic, London Philharmonic, Berlin Staatskapelle, NCPA Orchestra, Boston Symphony and Chicago Symphony Orchestras. Soltani was Artist-in-Residence at the SchleswigHolstein Musik Festival in July 2021 in which he curated concerts including a Persian evening with the Shiraz Ensemble. Soltani commenced a multi-year residency with Junge Wilde at Konzerthaus Dortmund in Autumn 2018. As a recitalist, Soltani has recently performed at Carnegie Hall, Salzburg and Lucerne Festivals, Wigmore Hall and the Boulez Saal, where he was invited to curate an evening of cello music.

Photo credit: Holger Hage

as “sublime”. Soltani has since recorded discs including the Dvořák and Tchaikovsky Piano Trios with Lahav Shani and Renaud Capucon, recorded live at Aix Easter Festival in 2018 released by Warner Classics and Dvořák’s Cello Concerto with the Staatskapelle Berlin and Daniel Barenboim in August 2020. During the entirety of 2020, Soltani worked on his latest disc with Deutsche Grammophon which was released in October 2021. The disc, entitled ‘Cello Powered by TCPDF (www. tcpdf.org) Unlimited’, is a celebration of the cello and film music. Of the disc, Soltani wrote “Everything you will hear on this album is made only and exclusively with my cello and played only by me. The possibilities of this instrument are unlimited and infinite, and this album is a celebration of the instrument and of epic film music as well”.

Soltani attracted worldwide attention in April 2013 as winner of the International Paulo Cello Competition in Helsinki. In February 2017 In 2017, Soltani signed an exclusive recording Soltani won Germany’s celebrated Leonard contract with Deutsche Grammophon and his Bernstein Award and in December 2017, he was first disc ‘Home’, comprising works for cello and awarded the prestigious Credit Suisse Young piano by Schubert, Schumann and Reza Vali, Artist Award. was released to international acclaim in 2018, with Gramophone describing the recording Born in Bregenz, Austria, in 1992 to a family of Persian musicians, Soltani began playing £n

the cello at age four and was only twelve when he joined Ivan Monighetti’s class at the Basel Music Academy. He was chosen as an AnneSophie Mutter Foundation scholarship holder in 2014 and completed his further studies as a member of the Young Soloist Programme at Germany’s Kronberg Academy. He received additional important musical training at the International Music Academy in Liechtenstein.

Kian Soltani plays “The London, ex Boccherini” Antonio Stradivari cello, kindly loaned to him by a generous sponsor through the Beares International Violin Society. These performances mark Kian Soltani's debut with the Pittsburgh Symphony.

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BIOGRAPHY 2021-2022 SEASON

REZA VALI Reza Vali was born in 1952 in Ghazvin, Iran, a hundred miles northwest of Tehran, and began his music studies at the Tehran Conservatory of Music. In 1972, he went to Austria to study music education and composition at the Academy of Music in Vienna, and then moved to the United States to continue his studies at the University of Pittsburgh, where he completed his doctorate in music theory and composition in 1985. Vali has been a faculty member of the School of Music of Carnegie Mellon University since 1988. He has received numerous awards and commissions, including the Honor Prize of the Austrian Ministry of Arts and Sciences, two Andrew W. Mellon Fellowships, commissions from the Pittsburgh Symphony Orchestra, Boston Modern Orchestra Project, Pittsburgh New Music Ensemble, Kronos Quartet, Carpe Diem String Quartet, Seattle Chamber Players, and Arizona Friends of Chamber Music, as well as grants from the Pennsylvania Council on the Arts, The Pittsburgh Foundation, and the Pittsburgh Board of Public Education. Vali was selected by the Pittsburgh Cultural Trust as the Outstanding Emerging Artist, for which he received the Creative Achievement Award. In addition to his commissioned works, Vali’s compositions have been performed in the United States by the Seattle Symphony, Baltimore

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Symphony, Memphis Symphony Orchestra, Orchestra 2001, Cuarteto Latinoamericano, Da Capo Chamber Players and many others, and internationally in Europe, China, Chile, Mexico, Hong Kong. His compositions are recorded on the Deutsche Grammophon, Naxos, New Albion, MMC, Ambassador, Albany and ABC Classics labels.

MICHAEL DAUGHERTY GRAMMY Award-winning composer Michael Daugherty first came to international attention when his Metropolis Symphony was performed by the Baltimore Symphony Orchestra, conducted by David Zinman, at Carnegie Hall in 1994 and subsequently recorded by Decca/Argo. Since then, Daugherty’s music has entered orchestral, band and chamber music repertoire and made him, according to the League of American Orchestras, one of the ten most-performed American composers of concert music today. His music has received six GRAMMY Awards, including Best Contemporary Classical Composition in 2010 for Deus ex Machina for piano and orchestra and in 2016 for Tales of Hemingway for cello and orchestra. Born in 1954 in Cedar Rapids, Iowa, Daugherty is the oldest of five brothers, all professional musicians. They grew up in a musical household, with a father who played the drums in dance bands and a mother who sang in musical theater productions. As a young man, Daugherty studied composition with many of the preeminent composers of the twentieth century including Jacob Druckman, Earle Brown, Bernard Rands and Roger Reynolds at Yale University (1980-82), Betsy Jolas at the Paris Conservatory and Pierre Boulez at IRCAM in Paris (1979-80), and György Ligeti in Hamburg (1982-84). From 1980-82, Daugherty was also an assistant to jazz arranger Gil Evans in New York.

After teaching from 1986 to 1991 at the Oberlin Conservatory of Music in Oberlin, Ohio, Daugherty became Professor of Composition at the University of Michigan School of Music, Theatre and Dance in Ann Arbor, Michigan, where he is a mentor to many of today’s most talented young composers. Daugherty is also a frequent guest of professional orchestras, festivals, universities and conservatories around the world. Daugherty’s music is published by Peermusic Classical/Faber Music, Boosey & Hawkes and since 2010 by Michael Daugherty Music.

BIOGRAPHY 2021-2022 SEASON

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HABIB AZAR A seven-time Emmy Award-winning producer and director, Habib Azar’s career is distinguished by its wide aesthetic range and energetic style. He directed his first network television broadcast at age 22 and has contributed in fields as diverse as feature film, contemporary opera and live multi-camera broadcasts. His first feature film, “Armless,” was an official selection of the Sundance Film Festival and his second feature film, “Saint Janet,” stars Tony-winner Kelly Bishop, and was distributed by IndieRights. As one of the leading multi-camera performing arts directors and producers working today, Habib Azar regularly films the world’s greatest musical artists. He is a series regular director for the Metropolitan Opera Live in HD series, Live from Lincoln Center and The All Star Orchestra. He was also the executive producer of the New York Philharmonic’s live broadcast series in 2016-2019, scripting and directing shows with hosts Alec Baldwin and Terrence McKnight. Habib also regularly directs webcasts from Carnegie Hall for Medici.TV. On the stage Habib has lately focused on contemporary opera. His recent stage production of Georg Friedrich Haas’ “Atthis” was called “mesmerizing” and “one of the most revealing operatic performances in recent times” by the New York Times. He directed the world premiere of Du Yun’s “Angel’s Bone,” an opera that went on to win the Pulitzer Prize for Music. He has directed productions and performances

Photo credit: Sarah Sloboda

for many of the leading contemporary music ensembles of today, including the International Contemporary Ensemble (ICE), American Contemporary Music Ensemble (ACME) and Opera Cabal. A native of Philadelphia and a graduate of Carnegie Mellon, where he earned degrees in directing (from the School of Drama) and musical composition (from the School of Music), Habib Azar lives in New York City. Habib Azar is the director of the livestream production of February 11 performance of this concert.

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

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.

BIOGRAPHY 2021-2022 SEASON

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MEDIA SPONSOR

GIOACHINO ROSSINI

Overture to William Tell £nÓn £nÓ ®

ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born February 29, 1792 in Pesaro, Italy; died November 13, 1868 in Paris, France

January 31, 2016; Heinz Hall; Gianandrea Noseda, conductor

PREMIERE OF WORK

INSTRUMENTATION

August 3, 1829; Paris Opéra, Paris; François Habeneck, conductor

Piccolo, flute, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion and strings

PSO PREMIERE

March 12, 1896; Carnegie Music Hall; Frederic Archer, conductor

DURATION

12 minutes In his later years, Rossini wrote to an aspiring opera composer giving advice about composing an overture for a new stage work: “Wait until the evening before the opening. Nothing primes inspiration more than necessity, whether it be the presence of a copyist waiting for your work or for the prodding of an impresario tearing his hair. In my time, all the impresarios in Italy were bald at thirty. I composed the overture to Otello in a little room in the Barbaja palace wherein the baldest and fiercest of directors had forcibly locked me with a lone plate of spaghetti and the threat that I would not be allowed to leave the room alive until I had written the last note. I wrote the overture to La Gazza Ladra the day of the opening in the theater itself, where I was imprisoned by the director and under the surveillance of four stagehands who were instructed to throw my original text through the window, page by page, to the copyists waiting below to transcribe it. In default of pages, they were ordered to throw me out the window bodily.... I composed the overture to Comte Ory while fishing, with my feet in the water, and in the company of Signor Agnado, who talked of his Spanish fiancée. The overture to William Tell was composed under more or less similar circumstances.” Even though this admission seems to confirm both Rossini’s lazy procrastination and his awesome ease of composition, the effort he expended on William Tell seems to have been rather greater than his words allow. If there was ever a composer who made a business of writing music, that composer was Rossini. (Richard Strauss was a close runner-up.) Rossini turned out operas at a startling rate during the twenty years of his active composing career, sometimes as many as three or four annually. William Tell was his 38th work in the genre, finished when he was 37 years old. His previous operas made brilliantly inventive use of the musico-dramatic formulas and cliches of the late Classical era, and his music proved to be precisely suited to the taste of audiences throughout Europe — he was the most popular composer of his time. In 1824, he moved to Paris to become director of the Théâtre Italien, and there became fully aware of the revolutionary artistic and political trends that were then gaining prominence. In music, the Romantic movement was heralded by such works as Carl Maria von Weber’s opera Der Freischütz, first seen in the French capital in 1824. In politics, republican sympathies were again festering, and stage works that portrayed the popular struggle against oppression and tyranny stirred considerable sentiment. Auber’s opera La muette de Portici of 1828, based on the 17th-century Neapolitan revolt against Spain, not only proved to be a popular success, but also caught the spirit of the times in both its music and its subject. Rossini was too PROGRAM NOTES 2021-2022 SEASON

closely attuned to public fashion to ignore the changing audience tastes these pieces portended, and he began to cast about for a libretto that would keep him abreast of the latest developments in the musical theater while solidifying his position in Paris. Schiller’s play William Tell, based on the heroic Swiss struggle against tyranny in the 14th century, had recently been introduced to Paris in a French translation, and created much interest. Rossini decided that the drama would make a fine opera (or, at least, a salable one), and set the minor playwright Jouy to work on the libretto. Jouy made a botch of the undertaking (“certainly one of the poorest jobs in libretto annals,” assessed Milton Cross), and Hippolyte Bis and Armand Marrast were called in to put the book into final shape. Rossini seems to have taken special care to incorporate the emerging Romantic style into this epic work, as evidenced by its subject matter, symphonic scope and attention to dramatic and poetic content. The French public followed intently the progress of the new piece through frequent press reports — it was Rossini’s first opera written exclusively for Paris. From the summer of 1828, when word of the project first surfaced, through the following spring, when several delays were reportedly caused by prima donna incapacity (actually, Rossini was withholding the work’s premiere to press negotiations with the government over a lucrative contract for future — never realized — operas) until the premiere in August 1829, William Tell kept Parisian society abuzz. Once the opera finally reached the stage, it was hailed by critics and musicians, but disappointed the public, who felt that its six-hour length was more entertainment than a single evening should decently hold. (The score was greatly truncated when it was staged in later years.) Whether the new style of the opera was one which Rossini did not wish to pursue, or whether he was drained by two decades of constant work, or whether he just wanted to enjoy in leisure the fortune he had amassed, William Tell was his last opera. During the remaining 39 years of his life, he did not compose another note for the stage. The familiar Overture to William Tell is Rossini’s most ambitious undertaking in the form. Even with his legendary fecundity, it seems unlikely that he composed it while floating about one afternoon in a boat, as he claimed. Rather than the vivacious single-movement forms that had characterized his earlier overtures, this one is essentially a miniature tone poem divided into several evocative sections. Peaceful dawn in the towering Swiss mountains is depicted by the quiet song of the cello quintet that opens the Overture. The following, furious music hurled forth by the full orchestra signifies a violent thunderstorm. The subsequent English horn theme portrays the calm after the tempest and the pastoral beauty of the Swiss countryside. (These two central episodes are the progeny of Beethoven’s “Pastoral” Symphony.) The final section is one of the most famous strains in symphonic music. Rossini originally wrote this theme seven years earlier in Vienna as a quickstep march for military band, and borrowed it for William Tell to accompany the triumphant return of the Swiss patriot troops in Act III and to provide a blazing conclusion to this splendid Overture.

DAVID SERKIN LUDWIG

Sinfonia Concertante for Two Clarinets, Two Bassoons and Orchestra WORLD PREMIERE Commissioned by the Pittsburgh Symphony Orchestra ÓäÓ£® ABOUT THE COMPOSER

INSTRUMENTATION

Born December 1, 1972 in Doylestown, Pennsylvania

Two oboes, two horns, timpani, percussion and strings DURATION

17 minutes From David Serkin Ludwig about the Sinfonia Concertante for Two Clarinets, Two Bassoons and Orchestra, commissioned in 2021 by the Pittsburgh Symphony Orchestra: The ‘sinfonia concertante’ arose in the Classical period as a multi-movement orchestral work with multiple soloists. The name shows its true colors as a hybrid between a symphony and a concerto, with the soloists working together to make chamber-music textures against the broad sonic landscape of the orchestra. Some of the first of these pieces came from Mozart and Haydn, who wrote for double, triple and quadruple soloist groups. My own Sinfonia Concertante borrows stylistically from the Baroque and Classical eras, but filtered through a contemporary lens. I’m interested in the blurry space between musical realism and abstraction, and the language of the piece shifts increasingly between traditional, familiar sounds and a kind of ‘controlled disorder’ as it goes. The instrumental canvas is a standard classical orchestra with two clarinets and two bassoons as the prominent ensemble of soloists in the foreground. Another major interest for me is my role as a storyteller (just with music instead of words!). The narrative arc of the Sinfonia Concertante is really a Theme and Variations, with the Theme hidden in the middle of the piece. And for that theme I chose an ancient melody called La Follia (‘The Folly’) that’s been used by literally hundreds of composers since the late Renaissance. The Follia theme appears three times in the eponymous fourth movement, first as a distant memory, with each iteration more present after that. The other movements of the piece emanate from that center to offer different versions of the Follia theme, some with breaks, others running straight into the next. I’ve set the movements themselves into forms that would have been well known to composers of an earlier era — the dances Bransle, Galliard, Volta and Pavane, and a short cadenza for the soloists, all framed by an Overture and a Finale. Many of my works deal with serious themes of the environment, social justice or personal identity. In these challenging times, though, I chose for this piece to be about joy and music-making — a play that is staged on many sets, with an ever-changing plot that brings the listener on a circular journey in which the end is the beginning. Sinfonia Concertante was written for clarinetists Michael Rusinek and Ron Samuels, bassoonists Nancy Goeres and Philip Pandolfi, the Pittsburgh Symphony Orchestra, and Music Director Manfred Honeck. It is dedicated to the soloists, conductor, orchestra and audience with all admiration and gratitude.

PROGRAM NOTES 2021-2022 SEASON

RICHARD STRAUSS

Ein Heldenleben (“A Hero’s Life”), Opus 40 £n n®

ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born June 11, 1864 in Munich, Germany; died September 9, 1949 in GarmischPartenkirchen, Germany

June 2, 2013, Heinz Hall; Manfred Honeck, conductor

PREMIERE OF WORK

Piccolo, three flutes, four oboes, English horn, E-flat clarinet, two B-flat clarinets and bass clarinet, three bassoons, contrabassoon, eight horns, five trumpets, three trombones, tenor and bass tubas, timpani, percussion, two harps and strings

March 3, 1899; Orchestra of the Musikgesellschaft of Frankfurt-am-Main, Vienna; Richard Strauss, conductor PSO PREMIERE

November 7, 1947; Syria Mosque; Fritz Reiner, conductor

INSTRUMENTATION

DURATION

46 minutes “No man is perhaps a hero to his valet; but Strauss is evidently a hero to himself.” The autobiographical nature of Strauss’ Ein Heldenleben did not slip past Philip Hale, nor has it been less than obvious to anyone else. Strauss, who never actually sat down and wrote a detailed program for the piece, passed out the information that it represented “not a single poetical or historical figure, but rather a general and free ideal of great and manly heroism — not the heroism to which one can apply an everyday standard of valor, with its material and exterior rewards, but that heroism which describes the inward battle of life, and which aspires through effort and renouncement toward the elevation of the soul.” Despite this highfalutin verbal smoke screen, what Strauss should have said was simply, “C’est moi!” Actually, why he should have felt the need to be less than candid about a little self-aggrandizement in Ein Heldenleben is one of those matters that defy logic. After all, literary autobiography and selfportraiture (à la Rembrandt) had been acceptable artistic genres for centuries. So why not music? So why not Strauss? In 1898, the year of Ein Heldenleben, Strauss was the most talked-about composer in the world. This work was the seventh of his orchestral tone poems, each new arrival greeted with a flurry of international interest by press and public alike. They (Don Juan, Death and Transfiguration, Also sprach Zarathustra, et al.) were sensational works that carried programmatic music and the art of orchestration to heights which no one else, except Berlioz, had conceived. Strauss was also one of the pre-eminent conductors of the day, and at the time he composed Ein Heldenleben he was principal conductor of the Berlin Court Opera and past music director of the Berlin Philharmonic. Strauss parlayed all these activities into an immense income, and it is almost certain that he was the wealthiest composer of concert music ever. With all this, he had a right to be proud. When Strauss was casting about early in 1898 for a subject for a new tone poem, he first thought of writing a companion piece to his earlier Don Quixote, a fine work full of windmills and bleating sheep based on Cervantes’ fabled character. Instead of limiting the specific musical allusions only to Quixote, however, the new work would be a general overview of the heroic spirit. Strauss painted six aspects of this spirit in Ein Heldenleben. The first three sections portray the participating characters: “The Hero” (“his pride, emotional nature, iron will, richness of imagination, inflexible

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and well-directed determination supplant low-spirited and sullen obstinacy” noted the modest composer); “His Adversaries” (Strauss said nothing about them — the cackling, strident music speaks for itself); and “His Beloved” (“It’s my wife I wanted to show. She is very complex, very feminine, a little perverse, a little coquettish, never like herself, every minute different from how she had been a moment before.” The violin solo depicting this intriguing creature, incidentally, is one of the most demanding in the entire orchestral literature.). The fourth section, in which the hero girds his loins to do battle against his enemies, was considered the height of modernity when it was new. Section five is an ingenious review of at least thirty snippets selected by Strauss from nine of his earlier works and whipped together in a skillful and satisfying contrapuntal mélange. The closing section tells of the hero’s withdrawal from the earthly struggles to reach “perfection in contemplative contentment,” in the obscure words of the composer. The work concludes with an autumnal, perhaps funereal, stillness whose last gesture encompasses the elemental motive that opens Also sprach Zarathustra (most famous as the theme from the film 2001) in the low notes of the trumpets. For the appearance of Strauss as guest conductor with the New York Philharmonic during the 1921-1922 season, Lawrence Gilman prepared the following synopsis of Ein Heldenleben, to which the composer gave his approval: 1. The Hero. We hear first the chief theme of the Hero, the valorous opening subject for the low strings and horns, joined later by the violins. There are subsidiary themes, picturing different aspects of the Hero’s nature — his pride, depth of feeling, inflexibility, sensitiveness, imagination. 2. The Hero’s Adversaries. Herein are pictured the Hero’s detractors — an envious and malicious crew, filled with all uncharitableness. Flute, oboe, piccolo, English horn, clarinets utter shrill and snarling phrases. There is also a malignly ponderous phrase, in fifths, for tenor and bass tubas, intended to picture the malevolence of the dull-witted among the foe. The theme of the Hero appears in sad and meditative guise. But his dauntless courage soon reasserts itself, and the mocking hordes are put to rout. 3. The Hero’s Companion. A solo violin introduces the Hero’s Beloved. She reveals herself at the start as capricious, an inconsequent trifler, an elaborate coquette. The directions printed above the violin part in the score — ‘flippantly,’ ‘playfully,’ ‘insolently,’ ‘sedately,’ ‘soothingly,’ ‘angrily,’ ‘scoldingly,’ et cetera — suggest the changing aspects of the emotional scene. After a grave and earnest phrase heard again and again, the orchestra breaks into a love song of heroic sweep and passion. As the ecstasy subsides, the mocking voices of the foe are heard remotely. 4. The Hero’s Battlefield. But suddenly the call to arms is heard, and it may not be ignored. Distant fanfares (trumpets behind the scenes) summon the Hero to the conflict. The orchestra becomes a battlefield; the music ‘evokes the picture of countless and waging hosts, of forests of waving spears and clashing blades,’ wrote James Huneker of this section. Through the dust and uproar we are reminded of the inspiration of the Beloved, which sustains and heartens the champion, whose theme contests for supremacy with that of his adversaries. A triumphant orchestral outburst proclaims at last his victory. 5. The Hero’s Works of Peace. Now begins a celebration of the Hero’s victories of peace, suggesting his spiritual evolution and achievements. We hear quotations of themes from Strauss’ earlier works: reminiscences of Death and Transfiguration, Don Quixote, Don Juan, Till Eulenspiegel, Macbeth, Also sprach Zarathustra, the music-drama Guntram, and the exquisite song Traum durch die Dämmerung (‘Dream at Twilight’).

PROGRAM NOTES 2021-2022 SEASON

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6. The Hero’s Retreat from the World, and Fulfillment. The tubas mutter the uncouth and sinister phrase which voices the dull contempt of the benighted adversaries. Furiously, the Hero rebels, and the orchestra rages. But his anger subsides. Over a persistent tapping of the kettledrum, the English horn sings a pastoral version of his theme. An agitated memory of storm and strife again disturbs his mood. But the solo violin reminds him of the consoling presence of the Beloved One. Peace descends upon the spirit of the Hero. The finale, majestic and serene, recalls the words of the luminous Shankara: “For the circling world is like a dream, crowded with desires and hates; in its own time it shines as real, but on awakening it becomes unreal.’” *," ,Ƃ "/ - 9 ,° , Ƃ, ° ," Ƃ

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PROGRAM NOTES 2021-2022 SEASON

MICHAEL RUSINEK Michael Rusinek joined the Pittsburgh Symphony Orchestra as principal clarinet in 1998. Born in Toronto, Canada, his early studies were with Avrahm Galper at the Royal Conservatory of Music and he later attended the Curtis Institute of Music, studying with Donald Montanaro. Upon graduation, Rusinek served as assistant principal clarinet with the National Symphony Orchestra in Washington, D.C. In addition to his position with the Pittsburgh Symphony, he has performed as principal clarinet with the orchestras of Philadelphia, St. Louis, The Royal Concertgebouw in Amsterdam, and The National Arts Center in Ottawa, Canada. Michael Rusinek has performed as a recitalist across Canada, the United States, and Israel, as well as concerto soloist with many orchestras including appearances with the Czech Philharmonic, Concerto Classic Wien, Toronto Symphony, Belgrade Philharmonic, Grand Teton Music Festival Orchestra, Aspen Chamber Symphony, and the Symphony Orchestra of the Curtis Institute of Music. He has additionally been featured as a soloist with the Pittsburgh Symphony Orchestra many times and, in May 2008, premiered a new concerto by composer Alan Fletcher that was commissioned for him by the orchestra. That performance was recorded and is available on the Exton label.

Photo credit: Todd Rosenberg

Dedicated to teaching, Michael Rusinek is a member of the faculties of Carnegie Mellon University in Pittsburgh, the Curtis Institute of Music in Philadelphia, and the Aspen Music Festival and School in Aspen, Colorado. He has led master classes at some of the leading institutions around the world, including the Colburn Music School, the Manhattan School of Music, and the Conservatories in Toronto, Paris, Beijing, Shanghai, and Tianjin. He is a frequent guest at the New World Symphony in Miami, Florida and has served on the faculty of the Rusinek has participated in numerous music Canton International Summer Music Academy festivals around the world including Internationale in Canton, China, returning regularly to China Wolfegger Konzerte (Germany), Instrumenta to teach and perform. He often adjudicates Verano (Mexico), Bay Chamber, Music in the competitions and appeared on the jury for Vineyards, New York’s 92nd St Y, and returns the inaugural Jacques Lancelot International regularly to the Grand Teton, Santa Fe Chamber, Clarinet Competition in Rouen, France. and Marlboro music festivals. He has toured with the acclaimed “Musicians from Marlboro,” When he is not performing or teaching, you may and was featured on the Sony label celebrating often find him riding his bike, on the golf course Marlboro’s 50th anniversary. In summer 2000, he or playing hockey in a non-contact league. performed as principal clarinet in the Super World Orchestra, an ensemble comprised of musicians Michael Rusinek most recently soloed with the Pittsburgh Symphony on subscription in June from orchestras around the world. 2019.

RON SAMUELS Ron Samuels was appointed second clarinet of the Pittsburgh Symphony Orchestra by the eminent conductor Mariss Jansons at the start of the 2001-2002 season. He was invited to join the faculty of Duquesne University that same year. Previously, he was a member of the Los Angeles Chamber Orchestra, and he served as principal clarinetist of the Toledo Symphony Orchestra, guest principal clarinetist with both the Minnesota Orchestra and San Diego Symphony, and guest second clarinetist with the Cleveland Orchestra. A native of San Francisco, Ron Samuels has enjoyed a richly varied career as a symphonic musician, chamber music and concerto soloist, and as a collegiate professor and master class clinician. He graduated from the University of Southern California where he studied with Photo credit: Todd Rosenberg Mitchell Lurie and where he has frequently returned as a guest lecturer. and Orchestra; and three premier performances of works by the late David Stock – Sea of Ron Samuels has appeared on chamber music Reeds for Reed Trio, Anasazi Moonlight for and recital series throughout the United States, Clarinet, Bassoon and Piano, and Klezmer Colombia and Argentina. He has also been a Dreams for Flute, Clarinet and String Quartet. featured soloist with the Pittsburgh Symphony Orchestra, San Diego Symphony, Wisconsin Currently on the faculty of Duquesne University, Chamber Orchestra and the Toledo Symphony Ron Samuels has been a guest lecturer at the Orchestra. He has recorded contemporary University of Michigan and the Interlochen chamber music for Opus One Records, Toccata Arts Academy, and he has given master classes Classics, Hearts of Space Records, and a solo at several schools, including the University of CD for KOCH International Classics featuring Southern California, Oberlin College, and in an all-French program and highlighted by the Spain, Colombia, Argentina and Chile. world-premiere recording of an early 19thcentury concerto by Charles Duvernoy. During the summer, Ron Samuels is on the faculty of the ARIA International Summer Ron Samuels has championed the music of Academy. He has also been the principal several contemporary composers and has clarinetist of the Grand Teton Music Festival participated in performances, on recordings, and the Santa Fe Opera. He is a Yamaha and as part of consortiums of several new- Artist and Vandoren Artist. He performs on work commissions. Among these have Yamaha YCL-CSVR clarinets, and Vandoren been Anthony Iannaccone’s Concertante mouthpieces and reeds. for Clarinet and Orchestra for which he gave the American premiere; William These performances mark Ron Samuels' Albright’s Quintet for Clarinet and Strings; solo subscription debut with the Pittsburgh John Harbison’s Concerto for Oboe, Clarinet Symphony.

BIOGRAPHY 2021-2022 SEASON

NANCY GOERES Nancy Goeres, principal bassoon, joined the Pittsburgh Symphony Orchestra in 1984. Prior to coming to Pittsburgh, Goeres held similar positions with the Florida Orchestra, the Caracas Philharmonic and the Cincinnati Symphony. Goeres also serves on the faculties of Carnegie Mellon University and Boston University, and the music festivals of Aspen and Sarasota. In addition to her appearances with the Pittsburgh Symphony, Nancy Goeres has been a member of the All Star Orchestra, conducted by Gerard Schwartz, which produced a multi-disc set of recordings of major orchestral repertoire. She has also performed at leading festivals around the country including Tanglewood, Marlboro, La Jolla and Mainly Mozart festivals, New York’s 92nd Street Y Series, Santa Fe Chamber Music Festival, Music in The Vineyards (CA) Philharmonic of the Americas, (Mexico City) Instrumental Verano, (Puebla, Mexico) and the Internationale Wolfegger Konzerte (Germany) Germany. She has also toured with Musicians from Marlboro.

Photo credit: Todd Rosenberg

Floating World, by David Ludwig, Haydn’s Sinfonia concertante, John Williams’ bassoon concerto, The Five Sacred Trees, and Mozart, Vivaldi and Rossini Bassoon Concertos.

An active teacher, Nancy Goeres has given master classes and recitals in Europe, Canada, Mexico, South America and returns frequently to China. In the United States, she often works with the students of the New World Symphony in Miami Beach, and, among others, has given classes at The Juilliard School, the Curtis Institute of Music, the Manhattan School of Music, Northwestern University, University of Michigan, Fresno State University, and has With Lorin Maazel and the Pittsburgh served as an adjudicator for the Meg Quigley Symphony, Nancy Goeres premiered Vivaldi and the IDRS Gillet Competitions. Ellen Taaffe Zwilich’s Bassoon Concerto, commissioned for her by the Pittsburgh A native of Lodi, Wisconsin, Goeres’s principal Symphony. In addition to recording the Zwilich teachers were Sherman Walt and Richard Concerto with the Pittsburgh Symphony and Lottridge. Goeres holds the Pittsburgh Lorin Maazel on the New World label, she has Symphony’s Mr. & Mrs. William Genge and subsequently performed it with the Chamber Mr. & Mrs. James E. Lee Principal Bassoon Symphony of the Aspen Music Festival, Chair. She has been a member of the board with the Greenwich Village Orchestra, and of directors of the Aspen Music Festival and at a conference of the International Double also the Woodlands Foundation, whose mission Reed Society. In 2004, she also performed is to enrich the lives of children and adults with the concerto and conducted master classes disabilities. Alan Fletcher’s Concerto for Bassoon and Orchestra, commissioned by the Pittsburgh Symphony, was premiered by Goeres and conducted by Manfred Honeck in 2011. She subsequently performed the concerto with the Aspen Chamber Symphony in summer 2012. Also written for her, was Andre Previn’s “Sonata for Bassoon”, and premiered by her with the composer at the 92nd Street Y in New York.

in Cuba with the Havana Symphony. Other Nancy Goeres most recently soloed with the concerto performances with the Pittsburgh Pittsburgh Symphony on subscription in June Symphony Orchestra include: Music from the 2019. 36

PHILIP PANDOLFI Born in Boston and raised in Milwaukee and St. Louis, Philip Pandolfi was appointed to the Pittsburgh Symphony bassoon section in 1995 by Music Director Lorin Maazel. After undergraduate studies with Sidney Rosenberg at Indiana University, where he earned a bachelor’s degree, was awarded the Performer’s Certificate and won the concerto competition, Pandolfi then did graduate work at Temple University with then-Philadelphia Orchestra principal bassoonist Bernard Garfield. In 1988 Philip Pandolfi was selected from over one thousand applicants for the inaugural season of the New World Symphony (NWS), a fellowship-based orchestral training program in Miami that was begun and is still lead by Michael Tilson Thomas. Pandolfi spent three Photo credit: Todd Rosenberg seasons in NWS, performing in the United numerous faculty recitals at Carnegie Mellon States, South America and Europe. and Duquesne Universities. He has been on Prior to joining the PSO, Philip Pandolfi Duquesne’s Mary Pappert School of Music spent two seasons each in the Montreal faculty since 1999. Symphony Orchestra and the Florida Orchestra (Tampa). He has also performed with the Philip Pandolfi has appeared as soloist with Cleveland Orchestra, the Chicago Symphony, the Indiana University Philharmonic, the New the Minnesota Orchestra and the St. Louis World Symphony, the Peninsula Music Festival Symphony. He has been principal bassoon of and on several occasions with the Pittsburgh the Peninsula Music Festival in Door County, Symphony Orchestra Education and Outreach programs and Chamber Orchestra series . Wisconsin, since 1998. A busy chamber musician in Miami, Tampa These performances mark Philip Pandolfi's and Montreal, Philip Pandolfi has performed in solo subscription debut with the Pittsburgh Pittsburgh with the Pittsburgh Chamber Music Symphony. Project, the Shadyside Concert Series, and on

BIOGRAPHY 2021-2022 SEASON

DAVID SERKIN LUDWIG David Serkin Ludwig, born in 1972 in Doylestown in Bucks County, Pennsylvania, is the descendant of a distinguished musical family — pianists Rudolf Serkin and Peter Serkin are his grandfather and uncle, and his great-grandfather was the renowned violinist Adolf Busch. Ludwig studied at Oberlin College (B.M.) and Manhattan School of Music (M.M.), and continued his post-graduate work at the Curtis Institute and Juilliard School before earning a doctorate from the University of Pennsylvania; his teachers include Richard Hoffmann, Richard Danielpour, Jennifer Higdon, Ned Rorem and John Corigliano. In 2002, Ludwig joined the faculty of the Curtis Institute of Music, where he served as Chair of Composition and Director of the Curtis 20/21 Contemporary Music Ensemble. In May 2021, he was appointed Dean and Director of the Juilliard School Music Division. Borromeo Quartets, and PRISM Saxophone Quartet. Ludwig’s honors include the First David Ludwig was Young-Composer-in- Music Award, Independence Foundation Residence at the Marlboro Music Festival Fellowship, Fleischer Orchestra Award and from 1997 to 1999, and he has since held two nominations for the Stoeger Award of the residencies with nearly two dozen orchestras Chamber Music Society of Lincoln Center. and music festivals in the United States and He has also received grants from the Theodore abroad. Among his commissions are those Presser Foundation, Pew Center for the Arts from the Philadelphia, Pittsburgh, Minnesota and Heritage, Meet the Composer, American and National Symphony Orchestras, Chamber Composers Forum, American Music Center Music Society of Lincoln Center, eighth and National Endowment for the Arts; in 2009 blackbird, pianists Jonathan Biss and Jeremy he was honored as a City Cultural Leader by the Denk, violinists Jennifer Koh and Jaime Choral Arts Society of Philadelphia. Laredo, clarinetist David Shifrin, Dover and

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.

BIOGRAPHY 2021-2022 SEASON

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CORPORATE PARTNERS $100,000 AND ABOVE

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$40,000-$99,999 Federated Hermes, Inc. FedEx Ground Hefren-Tillotson, Inc. UPMC Health Plan

Federal Home Loan Bank of Pittsburgh )O Jennison Associates LLC Kerr Engineered Sales Company Lighthouse Electric $20,000-$39,999 Company, Inc. Bognar and Company, Inc. Lucas Systems Deloitte USA LLP Macedonia Family and Community Enrichment Delta Air Lines, Inc. Center, Inc. Dentons Cohen & Grigsby Marsh USA, Inc. Dollar Bank Foundation Duquesne Light Company Meyer, Unkovic & Scott LLP Mozart Management EQT Foundation Port Authority of Allegheny Equitrans Midstream County Foundation Robinson Fans Fairmont Pittsburgh Schneider Downs & Giant Eagle Foundation Company, Inc. MSA Worldwide, LLC Silhol Builders Supply Pittsburgh Steelers Sports, Company Inc. Vallozzi’s Pittsburgh PPG Industries Foundation $10,000-$19,999 Carnegie Mellon School of Music Comcast Ernst & Young First National Bank of Pennsylvania J. P. Morgan Private Bank Mascaro Construction Company, LP Spang and Company Charitable Trust University of Pittsburgh $5,000-$9,999 Audia Group LLC Berner International Corp Flaherty & O’Hara PC NexTier Bank P.J. Dick, Trumbull & Lindy Paving Peoples Natural Gas Pirates Charities The Reschini Group Trebuchet Consulting Wabtec Corporation

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Roy A. Hunt Foundation George and Jeanne Illig Fund of The Pittsburgh Foundation S. Clarke and Marie McClure Johnston Memorial Fund of The Pittsburgh Foundation Anisa Kanbour Trust Fund of The Pittsburgh Foundation John Keith Maitland Fund of The Pittsburgh Foundation Thomas Marshall Foundation Massey Charitable Trust McKinney Charitable Foundation Richard King Mellon Foundation Howard and Nell E. Miller Foundation Phyllis and Victor Mizel Charitable Fund of The Pittsburgh Foundation Eugene F. and Margaret Moltrup Jannuzi Foundation The Lesa B. Morrison Endowment Fund of the Jewish Community Foundation of Greater Pittsburgh National Endowment for the Arts A.J. and Sigismunda Palumbo Charitable Trust Lewis A. and 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 and Carrie Weinhaus Memorial Fund of T he Pittsburgh Foundation Robert and Mary Weisbrod Foundation &XUUHQW DV RI )HEUXDU\

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LEGACY OF EXCELLENCE

In addition to income from the Annual Fund, the Pittsburgh Symphony Orchestra is dependent RQ D UREXVW HQGRZPHQW WR DVVXUH LWV ORQJ WHUP ƓQDQFLDO VWDELOLW\ *LIWV IURP /HJDF\ RI ([FHOOHQFH 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 VSHFLI\ D QDPH RU WULEXWH IRU \HDUV \HDUV RU LQ SHUSHWXLW\ )RU DGGLWLRQDO LQIRUPDWLRQ SOHDVH FDOO STEINBERG SOCIETY $QRQ\PRXV 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 Mr. & Mrs. James Callomon* 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 48

Estate of Alan Derthick 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. *XQGHOƓQJHU 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 Elizabeth-Ann Manchio* 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 Mark Perrott Estate of Richard Petrovich Judy Petty Estate of Deloris V. Pohelia 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 0LFKDHO 6KHŴHU 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 Andrew & Gale Stevenson Mrs. Margaret Stouffer in Memory of Miss Jean Alexander Moore Dick & Thea Stover Estate of Mr. Robert J. Stringert Francesca Tan

Estate of Nancy B.Thompson Carol H. Tillotson Tom & Jamee Todd Myra L. Toomey Mrs. Jane Treherne-Thomas* Mr. & Mrs. Millard K. Underwood Gerald & Mary Unger Estate of Carol Van Hoesen 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

Jane & Rae Burton Cello Chair Cynthia S. Calhoun Principal Viola Chair Virginia Campbell Principal Harp Chair Ron & Dorothy Chutz First Violin Chair Dr. Mary Ann Craig Principal Tuba 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 HaleyFesq Cello Chair Endowed by Janet Haley Fesq

Principal Pops Conductor Jackman Pfouts Chair Endowed by Henry & Principal Flute Chair, given Elsie* Hillman in memory of Mr. & Mrs. Arthur Jackman by Barbara Jackman Pfouts Milton G. Hulme, Jr. Guest Conductor Chair given by Mine Safety Pittsburgh Symphony Appliances Company Association Principal Cello Chair Susan Candace Hunt Cello Chair Reed Smith Chair honoring Tom Todd Horn Chair Mr. & Mrs. Benjamin F. Jones III Guest Keyboard Chair Snapp Family First Violin Chair Virginia Kaufman Resident Conductor Chair Dr. & Mrs. William E. Rinehart* Oboe Chair Stephen & Kimberly Keen Bass Chair Donald & Sylvia Robinson Family Foundation G. Christian Lantzsch & Guest Conductor Chair Duquesne Light Company Principal Second Martha Brooks Robinson Violin Chair Principal Trumpet Chair Mr. & Mrs. William Genge and Mr. & Mrs. James E. Lee Mr. & Mrs. Aaron Silberman Principal Clarinet Chair Principal Bassoon Chair Nancy & Jeffery* Leininger First Violin Chair

Sidney Stark, Jr. Memorial Clarinet Chair

Mr.* and Mrs. Willard J. Edward D. Loughney Co-Principal Trumpet Chair Tillotson, Jr. Principal Bass Clarinet Endowed Principal Piccolo Fiddlesticks Family Concert Chair Chair, given to honor Frank Series Endowed by Gerald Tom & Jamee Todd & Audrey McGinnis and Loti Gaffney Principal Trombone Chair Honoring The Center for Young Musicians William & Sarah Galbraith United States Steel Second Violin Chair Corporation Ann McGuinn Assistant Principal Bass The Estate of Olga T. Gazalie Trombone Chair Chair First Violin Chair Mr. and Mrs. Martin G. ENDOWED CHAIRS Jon & Carol Walton McGuinn Alice Victoria Gelormino Principal Horn Chair, given Associate Principal Viola Chair Second Violin Chair by an Anonymous Donor Viola Chair Dr. William Larimer Mellon, Jr. Arlyn Gilboa First Violin Chair, given Second Violin Chair Principal Oboe Chair, given Rachel Mellon Walton by Allen H. Berkman in Concertmaster Chair, given by Rachel Mellon Walton memory of his beloved wife, Ira & Nanette Gordon by Mr. & Mrs. Richard Selma Wiener Berkman The Gracky Fund for Messiah Concerts Endowed Mellon Scaife Education & Community by the Howard and Nell E. Michael & Carol Bleier Jacquelin Wechsler Engagement Miller Chair Horn Chair given in Bass Chair given in memory of our parents, Tina & Susan S. Greer Memorial Donald I. & Janet Moritz and memory of Irving (Buddy) Wechsler Charles Bleier and Ruth & Trumpet Chair, given by Equitable Resources, Inc. Shelley Stein Peter Greer Associate Principal Barbara Weldon Cello Chair Principal Timpani Chair William Block Memorial William Randolph Hearst Section Cello Chair Endowed Fund for The Perry & BeeJee Education Morrison String Instrument Hilda M. Willis Foundation Flute Chair Dr. Alan & Marsha Loan Fund Bramowitz Vira I. Heinz First Violin Chair, Endowed Music Director Chair Thomas H. & Frances Witmer The Morrison Family in memory of Bach pianist Associate Principal Second Assistant Principal Horn Chair Rosalyn Tureck William & Jacqueline Herbein Violin Chair Principal Bass Trombone &XUUHQW DV RI -DQXDU\ Lois R. Brozenick Memorial Chair GHFHDVHG First Violin Chair PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

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DAULER HEARING LOOP: Ƃ ÃÞÃÌi Ì «À Û `i LiÌÌiÀ Ã Õ ` Ì i>À } > ` > ` V V i>À « > Ì ÕÃiÀÃ°

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 SLW ƓUVW IRXU 2UFKHVWUD OHYHO URZV DQG *UDQG %R[ left. The hearing loop system also is installed at WKH +HLQ] +DOO %R[ 2IƓFH ZLQGRZV DOORZLQJ \RX WR KHDU WKH DPSOLƓHG YRLFH RI %R[ 2IƓFH SHUVRQQHO directly through t-coil enabled hearing aids. VISIT OR CALL THE HEINZ HALL BOX OFFICE AT 412.392.4900 WITH ANY QUESTIONS. 7KH 'DXOHU +HDULQJ /RRS LV QDPHG IRU ODWH 3LWWVEXUJK 6\PSKRQ\ 2UFKHVWUD WUXVWHH / 9DQ 9 'DXOHU -U DQG ZDV PDGH SRVVLEOH WKURXJK D JLIW IURP 5DQGL / 9DQ 9 'DXOHU -U DQG WKH (PPD &O\GH +RGJH 0HPRULDO )RXQGDWLRQ

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 LI \RX H[SHULHQFH GLIƓFXOW\ DQG UHTXLUH DVVLVWDQFH 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 FRQWDFW WKH +HLQ] +DOO ER[ RIƓFH

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 ŏIUHH ŴRZŐ VFDQQLQJ HTXLSPHQW 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.

of this policy. Violators of this policy may be subject to ejection from Heinz Hall and/or civil or criminal penalties. The only exception to this policy is sworn law enforcement personnel and private security RIƓFHUV HPSOR\HG DQG RU FRQWUDFWHG by Pittsburgh Symphony Inc.

BAG POLICY Heinz Hall reserves the right to search any bags entering the facility. 2YHUVL]HG EDJV PXVW ƓW FRPIRUWDEO\ under a seat to ensure the safety of WEAPONS POLICY patrons entering or exiting seats and Weapons are not permitted in the aisles. Bags failing to meet these venue and/or public spaces owned requirements must be checked and or operated by Pittsburgh Symphony pass a security search, or you must Inc., including Heinz Hall. Any item remove the bags from the Hall. that could endanger public safety is SMOKING POLICY considered a weapon for purposes Heinz Hall is a smoke/vapor free

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facility. (Smoking is permitted in the Heinz Hall Garden Plaza) FOOD AND BEVERAGE POLICY Outside food or alcoholic beverages are prohibited. Patrons are permitted to bring in one sealed clear plastic water bottle which may only be consumed in designated areas and may not be consumed in the auditorium. COSTUME POLICY Heinz Hall does not permit costume masks of any kind or facsimiles of weapons that would make other guests feel uncomfortable or detract from the concert experience. Guests are welcome to attend certain programs, (e.g. The Music of Harry Potter or The Music of Star Wars) in costume.

HEINZ HALL INFORMATION

ACCESSIBLE SEATS are available with companion seats. There is a level entrance and route WR WKH PDLQ ŴRRU RI WKH DXGLWRULXP &RQWDFW WKH ER[ RIƓFH IRU WKH ORFDWLRQ of the companion seats. HEINZ HALL BOX OFFICE HOURS are Monday WKURXJK )ULGD\ IURP D P WR S P 6DWXUGD\ IURP QRRQ WR S P Weekend hours vary based on performance times. Tickets may be SXUFKDVHG E\ FDOOLQJ and are also available at the Theater 6TXDUH %R[ 2IƓFH

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 ER[ RIƓFH IRU WKH EHVW ORFDWLRQV IRU 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. 2*161)4#2*; 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 ƓUH DODUP LV DFWLYDWHG IROORZ WKH 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 RU YLVLW RXU ZHEVLWH DW Gallery and lobby video monitors are pittsburghsymphony.org/groups for SUPPORTING THE PSO AND HEINZ HALL always options for restless children. information. LV FULWLFDO WR WKH ƓQDQFLDO IXWXUH RI WKH 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 GHSDUWPHQW DW RU YLVLW 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

LOST AND FOUND items can be retrieved by calling RQ ZHHNGD\V IURP D P WR S P

PITTSBURGHSYMPHONY.ORG 2021-2022 SEASON

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