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April 1 & 3 program.............................................................................7 April 1 & 3 program notes...................................................................8 Collaboration with Carnegie Museum of Art....................................13 Manfred Honeck biography..............................................................14 Leif Ove Andsnes biography.............................................................15 April 22 & 24 program......................................................................19 April 22 & 24 program notes............................................................20 Collaboration with Carnegie Museum of Art....................................25 Yefim Bronfman biography...............................................................26 Habib Azar biography.......................................................................27 Jim Cunningham biography............................................................28 Pittsburgh Symphony Orchestra biography......................................29 EVERY GIFT IS INSTRUMENTAL Individuals........................................................................................32 Corporate Partners ............................................................................38 Foundations & Public Agencies........................................................39 Legacy of Excellence..........................................................................40
Pittsburgh Symphony Orchestra performances are brought to the community in part by generous support from the following public agencies: Allegheny Regional Asset District, the Commonwealth of Pennsylvania, Department of Community & Economic Development, the Pennsylvania Council on the Arts and the National Endowment for the Arts. We also thank our corporate partners, foundations and individual donors for believing in the work we do for our region and beyond.
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INDIVIDUALS & HEINZ HALL INFORMATION Pittsburgh Symphony Orchestra Musicians........................................2 Board of Directors ...............................................................................3 Jack Heinz Society...............................................................................4 New Leadership Council......................................................................4 Pittsburgh Symphony Association......................................................4 Administrative Staff.............................................................................5 Heinz Hall policies, accessibility and additional information...........42
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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, APRIL 1, 2022 AT 8:00 P.M. SUNDAY, APRIL 3, 2022 AT 2:30 P.M.
Manfred Honeck, conductor Leif Ove Andsnes, piano Wynton Marsalis
Herald, Holler and Hallelujah for Brass and Percussion Co-Commissioned by the Pittsburgh Symphony Orchestra
Benjamin Britten
Concerto for Piano and Orchestra, Opus 13 (1945 revision) I. Toccata: Allegro molto e con brio II. Waltz: Allegretto III. Impromptu: Andante lento IV. March: Allegro moderato, sempre alla marcia Mr. Andsnes
Intermission
Nikolai Rimsky-Korsakov
Scheherazade, Opus 35 I. The Sea and Sinbad’s Ship II. The Story of the Kalandar Prince III. The Young Prince and the Young Princess IV. Festival at Baghdad — The Sea — Shipwreck
Jonathan Crow, Guest Concertmaster (Concertmaster, Toronto Symphony Orchestra)
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PROGRAM 2021-2022 SEASON
7
WYNTON MARSALIS (born 1961)
Herald, Holler and Hallelujah for Brass and Percussion Co-Commissioned by the Pittsburgh Symphony Orchestra (2022)
Wynton Marsalis, the second of six sons born to Ellis Marsalis, one of New Orleans’ foremost jazz pianists, received his first trumpet when he was six, as a gift from Al Hirt. At age eight, he joined a children’s marching band led by banjoist-guitarist Danny Barker, and he soon started playing traditional jazz with Barker’s Fairview Baptist Church Band. Marsalis did not begin formal trumpet study until he was twelve, but then he was trained in both classical and jazz styles, and within two years he had performed Haydn’s Trumpet Concerto with the New Orleans Philharmonic. In 1978, he studied at the Berkshire Music Center at Tanglewood, receiving the Shapiro Award for Outstanding Brass Player at the end of the summer; he was seventeen. A scholarship to the Juilliard School followed. Marsalis gathered a wide range of performing experiences in New York, playing in salsa and top-forty bands, Broadway shows and the Brooklyn Philharmonic. By 1980, he was touring with Art Blakey and the Jazz Messengers, and performing in a quartet with Herbie Hancock, Ron Carter and Tony Williams. He made his first recording as a featured performer in 1981, and the following year formed a quintet with his brother, saxophonist Branford. In 1983, Marsalis was the first performer to win Grammy Awards in the same year for recordings of both jazz (Think Of One) and classical music (Haydn, Hummel and Leopold Mozart trumpet concertos). He repeated that feat the following year with Hot House Flowers and a disc of Baroque works, and has since won five more Grammys as well as the Grand Prix du Disque, an Edison Award and the Louis Armstrong Memorial Medal. In 1987, Marsalis co-founded a jazz program at New York’s Lincoln Center to nurture performance and education; in 1995, Jazz at Lincoln Center became a full member of that influential arts center’s constituent organizations and in 2004 moved into its own home at the Frederick P. Rose Hall at Columbus Circle, the world’s first concert hall built specifically for jazz. Marsalis continues as Artistic Director of Jazz at Lincoln Center and Conductor of the Lincoln Center Jazz Orchestra, which he leads in performances in New York and on tours around the world. Wynton Marsalis has traveled widely as a teacher and spokesperson for jazz, giving master classes, concerts and lectures to foster the performance and appreciation of the art among young people. His devotion to education resulted in the 1995 Sony Classical production of Marsalis on Music for PBS and the 1996 Peabody Award-winning series Making the Music for NPR. He has written six books for both children and adults on the history and appreciation of jazz, delivered a series of six lectures entitled Hidden In Plain View: Meanings in American Music at Harvard, and from 2015 to 2021 serves as an A.D. White Professor at Cornell University. Marsalis has also lent his voice and talent to many non-profit organizations seeking to meet various social needs, not least in his advocacy for the victims of Hurricane Katrina by organizing relief programs for New Orleans’ musicians and cultural organizations and by playing a leading role with the Bring Back New Orleans Cultural Commission. Marsalis is also highly regarded as a composer for small and large jazz ensembles, ballet, film and concert — Blood on the Fields, his epic “jazz oratorio” based on the theme of slavery and celebrating the importance of freedom in America, won the 1997 Pulitzer Prize in Music, the first jazz composition to be so honored. His many other distinctions include the National Medal of Arts, honorary degrees from Columbia, Yale, Brown, Princeton and more than 35 other leading academic institutions, appointment as an International Messenger of Peace in 2001 by the United 8
Nations, Frederick Douglass Medallion for Distinguished Leadership from the New York Urban League, the rank of Chevalier dans l’Ordre des Arts et des Lettres from the French Ministry of Culture, and the National Humanities Medal, presented to him in 2015 by President Barack Obama. Herald, Holler and Hallelujah was commissioned in 2021 by a consortium of the orchestras of Pittsburgh, Cincinnati, Detroit, Baltimore, Milwaukee and Germany’s WDR Symphonieorchester that was led by the New Jersey Symphony Orchestra, which premiered the work on January 22, 2022 at the New Jersey Performing Arts Center in Newark; Xian Zhang conducted. The composer provided the evocative description below of Herald, Holler and Hallelujah. Brass heralds sing the coming and going of things. Enshrined-in-stone ringed ’round houses of the holy Adorning halls in fluorescent harmony, these frescoed heroes from the heavens set fields aflame with finesse and fury to waken the angels AND, to rattle the gates of the underworld, trumpeting the demands of unrepentant demons draped in gilded glory. Brazen brass hollers and shouts in the harsh-tongued dialect of iron and steel, strikes the soul with deadly silence soon become contemplative soon come closer as softly sighing asides sweetly strung from the bebroken hearts of survivors still scouring battles, forever lost across time immemorial. Bellicose brass blares and blasts with a sugarfoot swagger blows down burnished walls gathers the congregation with the grandiosity and gravitas of gold and silver fanfares as processions of the elect bedecked-in-finery sashay back and forth in shining significance to commemorate the celestial progression: from occasional to ceremonial to the transcendent triumph of timeless tradition. That’s what Brass always brings. Even in passing, that glory train opens up a Big Brass Whistle and everybody testify: “Here come ole Buddy Bolden calling his children home.” And the angels sing. “Hallelujah. hah-lay-loo-yah brothers and sisters! (hallelujah) ...”
PROGRAM NOTES 2021-2022 SEASON
9
BENJAMIN BRITTEN (1913-1976)
Concerto for Piano and Orchestra, Opus 13 (1938, revised in 1945)
In 1933, frustrated with the hidebound conservatism of the Royal College of Music in London, Benjamin Britten withdrew from the school and provided for his living during the following years by writing background scores for documentary films produced by the General Post Office Film Unit and incidental music for the Group Theatre. Though much of his energy during the mid1930s was expended on such occasional music, he also started to build a reputation at that time for his concert compositions, including the Simple Symphony, the Phantasy Quartet, the Variations on a Theme of Frank Bridge, the Suite for Violin and Piano, and a few vocal settings of texts by W.H. Auden, his friend and colleague at the GPO Film Unit and the Group Theatre. Britten’s increasing prominence on the English musical scene was attested by the association he began with the distinguished publishing firm of Boosey & Hawkes in November 1935. After the Violin Suite was broadcast over the BBC in March 1936 and played at the ISCM Festival in Barcelona the following month, and the Bridge Variations was introduced by Boyd Neel at the Salzburg Festival in August 1937, Sir Henry Wood, founder and director of the popular Promenade Concerts, decided that it was time to present Britten on his prestigious series. Britten agreed to write a Piano Concerto and serve as soloist for the occasion on August 18, 1938; he would debut as conductor at the Proms in his own Bridge Variations three weeks later. Britten wrote his Piano Concerto between April and July 1938 at his newly acquired home, the “Old Mill” in Snape, Suffolk, where he lived for most of the following two decades. Among Britten’s visitors that summer was Aaron Copland, whom he had met at a chance encounter in London. Copland spent a weekend at the Old Mill, meeting Britten’s friends and local relatives and playing his gestating opera for high school students, The Second Hurricane, for his host; Britten ran through some of his new Piano Concerto for Copland in return. They became friends — Britten recommended (successfully) that Boosey & Hawkes publish Copland’s music (“I feel he’s a winner somehow,” Britten prophesied to Ralph Hawkes), and Copland helped get Britten settled and arranged some performances of his works in the United States when he (Britten) left England during the early years of the War. Britten finished his Concerto on July 26th, and gave its premiere, to mixed reviews, in London three weeks later. When the score was published with the optimistic title “Concerto No. 1” (its only successor was the Diversions for Piano Left Hand and Orchestra that Britten wrote in 1940 for Paul Wittgenstein), it was dedicated to the composer Lennox Berkeley, Britten’s friend and collaborator the year before on an orchestral suite of Catalan dances titled Mont Juic. Britten returned to the Concerto in 1945, when he replaced its original third movement (Recitative and Aria) with an Impromptu incorporating some incidental music he had contributed to a 1937 BBC radio drama about King Arthur by T.H. White, widely known as the author of The Sword in the Stone. The revised version was first heard at the Cheltenham Festival in July 1946; Noel Mewton-Wood was soloist and the composer conducted. In a program note for the Concerto’s premiere, Britten wrote that the work “was conceived with the idea of exploiting various important characteristics of the pianoforte, such as its enormous compass, its percussive quality, and its suitability for figuration; so that it is not by any means a Symphony with pianoforte, but rather a bravura Concerto with orchestral accompaniment.” The contention between soloist and ensemble is demonstrated in the Toccata that opens the Concerto. A tiny flourish from the winds calls the piano to action with percussive figurations which outline a leaping, displaced-octave motive. The orchestra is easily lured into the soloist’s insouciant, jazzy 10
conversation (much of this movement shares with the two Ravel piano concertos, written eight years before, a sort of uninhibited Roaring Twenties flamboyance), but regains its composure sufficiently to counter with a Romantic bit of lyricism which serves as the formal second theme. The piano listens patiently in silence to this patch of sentiment before rattling on its clangorous way. The orchestra puts forth its sweeping theme once again (the trombones and basses have already defected to the keyboard’s camp by intoning the displaced-octave motive in rugged counterpoint to the step-wise theme), but the piano returns after its brief rest with renewed determination, and dominates the entire development section. The best that the orchestra can achieve in the recapitulation is to play its lyrical theme at the same time as the piano bounds gleefully along with its moto perpetuo high jinks. The piano indulges in a rather dramatic solo cadenza before a highenergy coda brings this infectious and expertly crafted movement to an end. The Concerto’s second movement is a Waltz, not a carefree Franz Josef-vintage version of that venerable form but a piece full of looming shadows and disturbing hints which rises to an almost garish belligerence in its middle regions. Ravel’s La Valse rather than Strauss’ Blue Danube stands as godparent to this unsettling movement, which may have been the pacifist Britten’s response to the Nazi Anschluss of Austria in March 1938, just one month before the Concerto was begun. The following Impromptu is hardly the free-flight of creative fancy implied by its title but is rather a carefully plotted passacaglia built on seven decorated repetitions of the morose theme stated at the outset by the piano; each traversal of the theme is separated by a brief solo cadenza. The concluding March, which follows without pause, begins with a revving-up introduction before the swaggering, slightly cockeyed principal subject (shades of Prokofiev) is hammered out by the piano. The violas and cellos propose a quiet motive in chordal harmonies as second-theme contrast, which the piano likes well enough to mull over for a few measures, but the keyboard soon resumes its brash statements to drive the Concerto to a flamboyant conclusion.
NIKOLAI RIMSKY-KORSAKOV (1844-1908)
Scheherazade, Opus 35 (1888)
“In the middle of the winter [of 1888], engrossed as I was in my work on Prince Igor and other things, I conceived the idea of writing an orchestral composition on the subject of certain episodes from Scheherazade.” Thus did Nikolai Rimsky-Korsakov give the curt explanation of the genesis of his most famous work in his autobiography, My Musical Life. His friend Alexander Borodin had died the year before, leaving his magnum opus, the opera Prince Igor, in a state of unfinished disarray. Rimsky-Korsakov had taken it upon himself to complete the piece, and may well have been inspired by its exotic setting among the Tartar tribes in 12th-century central Asia to undertake his own embodiment of musical Orientalism. The stories on which he based his work were taken from the Thousand and One Nights, a collection of millennium-old fantasy tales from Egypt, Persia and India which had been gathered together, translated into French, and published in many installments by Antoine Galland beginning in 1704. They were in large part responsible for exciting a fierce passion for turquerie and chinoiserie among the fashionable classes of Europe later in the century, a movement that left its mark on music in the form of numerous tintinnabulous “Turkish marches” by Mozart, Beethoven, Haydn and a horde of lesser now-faded lights, and in Mozart’s rollicking opera The Abduction from the Seraglio. The taste for exoticism was never completely abandoned by musicians (witness Bizet’s The Pearl Fishers or Puccini’s Madama Butterfly or Turandot or even The Girl of the Golden West; Ravel prided himself on his collection of Oriental artifacts), and proved PITTSBURGHSYMPHONY.ORG 2021-2022 SEASON
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the perfect subject for Rimsky-Korsakov’s talent as an orchestral colorist. Preliminary sketches were made for the piece in St. Petersburg during the early months of 1888, the score was largely written in June at the composer’s country place on Lake Cheryemenyetskoye, near Luga, and the orchestration completed by early August. Scheherazade was a success at its premiere in St. Petersburg in December, and it has remained one of the most popular of all symphonic works. To refresh the listener’s memory of the ancient legends, Rimsky-Korsakov prefaced the score with these words: “The sultan Shakriar, convinced of the falsehood and inconstancy of all women, had sworn an oath to put to death each of his wives after the first night. However, the sultana Scheherazade saved her life by arousing his interest in the tales she told him during 1,001 nights. Driven by curiosity, the sultan postponed her execution from day to day, and at last abandoned his sanguinary design. Scheherazade told many miraculous stories to the sultan. For her tales she borrowed verses from the poets and words from folk-songs combining fairy-tales with adventures.” To each of the four movements of his “symphonic suite” Rimsky gave a title: The Sea and Sinbad’s Ship, The Story of the Kalandar Prince, The Young Prince and the Young Princess and Festival at Baghdad—The Sea—Shipwreck. At first glance, these titles seem definite enough to lead the listener to specific nightly chapters of Scheherazade’s soap opera. On closer examination, however, they prove too vague to be of much help. The Kalandar Prince, for instance, could be any one of three noblemen who dress as members of the Kalandars, a sect of wandering dervishes, and tell three different tales. “I meant these hints,” advised the composer, “to direct but slightly the hearer’s fancy on the path which my own fancy had traveled, and leave more minute and particular conceptions to the will and mood of each listener. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders.” Of the musical construction of Scheherazade, Rimsky-Korsakov noted, “A characteristic theme, the theme of Scheherazade herself, appears in all four movements. This theme is a florid melody in triplets, and it generally ends in a free cadenza. It is played, for the most part, by the solo violin.” There is another recurring theme, given in ponderous tones in the work’s opening measures, which seems at first to depict the sultan. However, the composer explained, “In vain do people seek in my suite leading motives linked always with the same poetic ideas and conceptions. On the contrary, in the majority of cases, all these seeming leitmotives are nothing but purely musical material, or the given motives for symphonic development. These given motives thread and spread over all the movements of the suite, alternating and intertwining each with the other. Appearing as they do each time under different moods, the self-same motives and themes correspond each time to different images, actions and pictures.” Well, then, if there is here no programmatic plot and if the movements tumble forth in some sort of free musical fantasy, how is the attentive listener to find his way through Rimsky-Korsakov’s story of Scheherazade? Perhaps the advice of Donald N. Ferguson about this veritable orgy of blazing orchestral color and atmospheric sensuality is profitably heard: “Ecstasies of imaginatively fulfilled desire: visions of celestial luxury engendered in the hashish-fevered mind of some squalid dreamer in the market place of Baghdad or Teheran — such are the tales of Scheherazade and the Arabian nights.” PROGRAM NOTES BY DR. RICHARD E. RODDA
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Carnegie Museum of Art is delighted to bring you this artwork from our collection that connects to the sounds of the Pittsburgh Symphony that you will hear today, through a partnership born from our shared 125th anniversaries in 2020. “If I had to do it all again, I wouldn’t change a thing.” - Charles “Teenie” Harris, Pittsburgh Courier photographer Charles “Teenie” Harris was always present with his camera—present at birthday parties and Presidential rallies, civil rights demonstrations and weddings, corner store conversations and, of course, performances by the myriad of personalities who enhanced Pittsburgh’s vibrant night life. This photograph depicts a young Billy Eckstine conducting his band at the Aragon Ballroom, once located at 628 Penn Avenue. CMOA celebrates Wynton Marsalis with this image of a young Dizzie Gillespie on trumpet, and Charlie Parker and Lucky Thompson on saxophones. Visit cmoa.org to browse the more 70,000 photographs of Black life in Pittsburgh taken by Harris from 1935 through 1975. Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO
LUCKY THOMPSON, DIZZY GILLESPIE, CHARLIE PARKER, AND BILLY ECKSTINE PERFORMING IN THE ARAGON BALLROOM, CHARLES “TEENIE” HARRIS, AUGUST 1944 © CARNEGIE MUSEUM OF ART, CHARLES “TEENIE” HARRIS ARCHIVE 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. In September 2021, the orchestra announced a six- year extension of his contract, which now runs through the 2027-2028 season. 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 14
Photo credit: George Lange
was awarded the European Conducting Prize in 1993. He has since served as one of three principal conductors of the MDR Symphony Orchestra Leipzig, as Music Director of the Norwegian National Opera, Principal Guest Conductor of the Oslo Philharmonic Orchestra and Czech Philharmonic Orchestra, and Chief Conductor of the Swedish Radio Symphony Orchestra in Stockholm. From 2007 to 2011, Manfred Honeck was Music Director of the Staatsoper Stuttgart, where he led premieres of Berlioz’s Les Troyens, Mozart’s Idomeneo, Verdi’s Aida, Richard Strauss’s Rosenkavalier, Poulenc’s Dialogues des Carmélites and Wagner’s Lohengrin and Parsifal. Guest performances in opera led him to Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brussels, Royal Opera of Copenhagen, the White Nights Festival in St. Petersburg and the Salzburg Festival. In Beethoven’s anniversary year of 2020, he conducted a new staging of Fidelio (1806 version) at the Theater an der Wien. Beyond the podium, Manfred Honeck has designed a series of symphonic suites, including Janáček’s Jenůfa, Strauss’s Elektra and Dvořák’s Rusalka. He recorded all of these arrangements with the Pittsburgh Symphony Orchestra, and regularly performs them with orchestras around the globe.
As a guest conductor, Manfred Honeck has been at the podium of all leading international orchestras including the Bavarian Radio Symphony Orchestra, Berlin Philharmonic Orchestra, Gewandhausorchester Leipzig, Staatskapelle Dresden, Tonhalle-Orchester Zürich, Royal Concertgebouw Orchestra, London Symphony Orchestra, Orchestre de Paris, Accademia di Santa Cecilia Rome and the Vienna Philharmonic. In the United States, he has conducted all major US orchestras, including New York Philharmonic, The Cleveland Orchestra, Chicago Symphony
Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, Boston Symphony Orchestra and San Francisco Symphony. He has also been Artistic Director of the International Concerts Wolfegg in Germany for more than twenty-five years. Manfred Honeck holds honorary doctorates from several universities in the United States and also was awarded the honorary title of Professor by the Austrian Federal President. In 2018, the jury of the International Classical Music Awards declared him “Artist of the Year.”
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LEIF OVE ANDSNES “A pianist of magisterial elegance, power, and insight” (New York Times), Leif Ove Andsnes is “one of the most gifted musicians of his generation” (Wall Street Journal). With his commanding technique and searching interpretations, the celebrated Norwegian pianist has won acclaim worldwide, playing concertos and recitals in the world’s leading concert halls and with its foremost orchestras, while building an esteemed, extensive discography. He is the founding director of the Rosendal Chamber Music Festival, was co-artistic director of the Risør Festival of Chamber Music for nearly two decades, and has served as music director of California’s Ojai Music Festival. A Gramophone Hall of Fame inductee, he holds honorary doctorates from Norway’s University of Bergen and New York’s Juilliard School. Andsnes is currently partnered with the Mahler Chamber Orchestra on “Mozart Momentum 1785/86.” A major multi-season project exploring one of the most creative and seminal periods of the composer’s career, this sees him lead the ensemble in Mozart’s Piano Concertos Nos. 20–24 at key European venues, besides recording them for Sony Classical. The project marks his second artistic partnership with the orchestra, following “The Beethoven Journey.” An epic four-season focus on the composer’s music for piano and orchestra, this saw Andsnes give more than 230 performances in 108 cities across 27 countries, as chronicled in the documentary Concerto – A Beethoven Journey and captured on an award-winning Sony Classical series. Now recording exclusively for that label, the pianist recently received his eleventh Grammy nomination and has been recognized with six Gramophone Awards. Recent releases include Chopin: Ballades & Nocturnes, the Billboard best-selling Sibelius, and collaborations with Marc-André Hamelin, Matthias Goerne, the Danish National Symphony and the Bergen Philharmonic.
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Photo credit: Helge Hansen
Andsnes’s previous discography comprises more than 30 EMI Classics recordings, many of them bestsellers, spanning repertoire from the Baroque to the present day. His accolades include the Royal Philharmonic Society’s Instrumentalist Award, the Gilmore Artist Award, and Norway’s Peer Gynt Prize and Commander of the Royal Norwegian Order of St. Olav. He was the first Scandinavian to curate Carnegie Hall’s “Perspectives” series and has been Pianist-in-Residence of the Berlin Philharmonic, Artist-in-Residence of the New York Philharmonic, and the subject of a London Symphony Orchestra Artist Portrait Series. Leif Ove Andsnes was born in Karmøy, Norway in 1970, and studied at the Bergen Music Conservatory. He is currently an Artistic Adviser for the Prof. Jirí Hlinka Piano Academy in Bergen, where he lives with his partner and their three children. Leif Ove Andsnes last performed with the Pittsburgh Symphony in November 2011.
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Photo: Massery Photography
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RENDERING BEAUTY – SINCE 1989
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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, APRIL 22, 2022 AT 8:00 P.M. SUNDAY, APRIL 24, 2022 AT 2:30 P.M.
Manfred Honeck, conductor Yefim Bronfman, piano Gloria Isabel Ramos Triano amazon
WORLD PREMIERE Commissioned by the Pittsburgh Symphony Orchestra
Sergei Rachmaninoff
Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 I. Allegro ma non tanto II. Intermezzo: Adagio — III. Finale Mr. Bronfman Intermission
Gustav Mahler
Symphony No. 1 in D major I. Langsam, schleppend — Sehr gemächlich II. Kräftig bewegt III. Feierlich und gemessen, ohne zu schleppen IV. Stürmisch bewegt
Erin Keefe, Guest Concertmaster (Concertmaster, Minnesota Orchestra)
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THIS PROJECT IS SUPPORTED IN PART BY THE NATIONAL ENDOWMENT FOR THE ARTS.
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GLORIA ISABEL RAMOS TRIANO (born 1964)
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WORLD PREMIERE Commissioned by the Pittsburgh Symphony Orchestra (2021)
Gloria Isabel Ramos Triano was born in Venezuela in 1964 and studied piano, composition and conducting in Barcelona and Zurich. Ramos Triano made her conducting debut in Spain with the Orquesta Sinfónica de Tenerife and the Orquesta Sinfónica de Galicia in 1996, and quickly established her reputation with engagements with other Spanish orchestras. In June 1998, she won First Prize in the National Competition for Young Conductors sponsored by the Orquesta Ciudad de Granada and a month later received First Prize in the International Conducting Competition in Cadaqués, Spain; her additional honors include prizes in conducting competitions in Besançon, France and Brașov, Romania. With her appointment as Chief Conductor and Music Director of the Orquesta de Córdoba in 2001, Ramos Triano became the first woman in Spain to hold that position with a state orchestra. That same year she received the El Ojo Crítico award for classical music from Radio Nacional de España, and in 2003 was named Personality of the Year in Córdoba, Spain. She made her debut in Germany in 2005 with the Radio Symphony Orchestra Leipzig, and has since conducted many noted orchestras in Europe and South America in both standard and contemporary repertory, including her own compositions. Ramos Triano has also appeared at numerous European festivals in concert and opera, recorded several albums of mostly Spanish music, and is currently Music Director and Conductor of the chamber orchestra Weltsaiten Sinfonietta, which she founded in Switzerland. Ramos Triano began composing while still a student, and has produced a considerable catalog of works for orchestra, chamber ensembles, choir and voice. Ramos Triano noted of amazon, composed in 2021 for the Pittsburgh Symphony, “I wrote this music moved by the desire to capture visions related to the mythical figure of the amazon. We all have images of those high-spirited women, riding bravely across mysterious landscapes, fighting and winning, as strong and tough as men, vigorous and effective, yet who also show their feminine emotions and have moments of reflection, sadness or tenderness, as well as a spiritual and magical dimension. It was for me a creative motivation to reflect in this music the paradox of ‘wild appearance, disciplined awareness’ that amazones typify. “In these times, there are millions of courageous, brilliant women who strive like amazones. Somewhere in the world, at the very moment we are enjoying this concert, there are women struggling in unjust wars, in difficult situations, and having to fight, like men, to defend their lives and territories — amazon is a tribute to those women. “I intend the energy contained in this work to travel across the distance, infusing them with inner force and physical endurance, guiding them to save people and places they value. I wish that the harmony and wisdom which radiate from music and arts contribute to a fairer world.”
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SERGEI RACHMANINOFF
(1873-1943)
Concerto No. 3 for Piano and Orchestra in D minor, Opus 30 (1909)
The worlds of technology and art sometimes brush against each other in curious ways. In 1909, it seems, Sergei Rachmaninoff wanted one of those new mechanical wonders — an automobile. And thereupon hangs the tale of his first visit to America. The impresario Henry Wolfson of New York arranged a thirty-concert tour for the 1909-1910 season for Rachmaninoff so that he could play and conduct his own works in a number of American cities. Rachmaninoff was at first hesitant about leaving his family and home for such an extended overseas trip, but the generous financial remuneration was too tempting to resist. With a few tour details still left unsettled, Wolfson died suddenly in the spring of 1909, and the composer was much relieved that the journey would probably be cancelled. Wolfson’s agency had a contract with Rachmaninoff, however, and during the summer finished the arrangements for his appearances so that the composer-pianist-conductor was obliged to leave for New York as scheduled. Trying to look on the bright side of this daunting prospect, Rachmaninoff wrote to his long-time friend Nikita Morozov, “I don’t want to go. But then perhaps, after America I’ll be able to buy myself that automobile.... It may not be so bad after all!” It was for the American tour that Rachmaninoff composed his Third Piano Concerto. Rachmaninoff’s hectic schedule during the early months of 1909 prevented him from beginning the new piece until June, when he arrived at his country retreat at Ivanovka, a village north of the Black Sea, but then he worked feverishly on the score all summer, adding the finishing touches when he returned to Moscow in September. He did not have time, however, to get the demanding solo part into his fingers before he left for the United States, so he took along a silent practice keyboard and labored over it in his stateroom throughout the crossing. The unorthodox method worked, and he was ready for the premiere on November 28, 1909 with Walter Damrosch and the New York Symphony Orchestra, but he vowed never to use the contraption again. Rachmaninoff was, as he had expected, depressed during his inaugural American tour, though the impressions he made on his audiences were so strong that he was invited to become permanent conductor of both the Boston and Cincinnati Symphony Orchestras, offers he firmly refused so that he could return to his beloved homeland. Eight years later, however, as fate would have it, he was forced to leave Russia when his estate and family fortune were swallowed by the Revolution, and he settled in the United States for good in 1917 — his annual cross-country tours were a hallowed American institution for the next two decades. The Concerto No. 3, the work with which he introduced himself to American audiences, remained an integral and constantly requested part of his repertory throughout his career. The Concerto consists of three large movements. The first is a modified sonata-allegro form which begins with a theme that is recalled in the later movements. This opening melody, announced in stark octaves over a sparse accompaniment, bears a strong resemblance to the plaintive chants of the Russian Orthodox Church, and Joseph Yasser, organist, musicologist and friend of Rachmaninoff, asked him if there was any deliberate relationship between the two. Rachmaninoff denied that the theme was based on liturgical or folk music, but he maintained that he had not composed it consciously; it had, he said, “created itself.” In 1969, Yasser discovered a chant used in Kiev that closely parallels Rachmaninoff’s melody. He speculated that the composer may have heard it as PROGRAM NOTES 2021-2022 SEASON
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a boy, and, when pressed with the need for thematic material for the Third Concerto, the ancient strain rose up from the recesses of his memory. Whatever its source, the haunting melody sets perfectly the Concerto’s mood of somber intensity. The espressivo second theme is presented by the pianist, whose part has, by this point, abundantly demonstrated the staggering technical challenge that this piece offers to the soloist, a characteristic Rachmaninoff had disguised by the simplicity of the opening. The development section is concerned mostly with transformations of fragments from the first theme. A massive cadenza, separated into two parts by the recall of the main theme by the woodwinds, leads to the recapitulation. The earlier material is greatly abbreviated in this closing section, with just a single presentation of the opening melody and a brief, staccato version of the subsidiary theme. The second movement, subtitled Intermezzo, which Dr. Otto Kinkleday described in his notes for the New York premiere as “tender and melancholy, yet not tearful,” is a set of free variations with an inserted episode. The descending, drooping principal theme derives from a melodic type used to express sadness since at least the time of Josquin des Pres in the late 15th century. The motive is played first by the orchestra alone, then in several transformations by the soloist. A sprightly, scherzo-like passage in quick triple meter intervenes before the last variation; it is in this episode that the chant melody from the first movement is recollected by the clarinet and bassoon. The slow tempo returns for the final variation of the Intermezzo theme, but the music is broken off by a flourish from the soloist and a brief blast from the brass to lead directly into the finale. “One of the most dashing and exciting pieces of music ever composed for piano and orchestra” is how Patrick Piggot described the finale. It is music that employs virtually every sonorous possibility of the modern grand piano, making it a dazzling showpiece for the master performer. The movement is structured in three large sections. The first part has an abundance of themes which Rachmaninoff skillfully derived from those of the opening movement, creating a subtle but strong formal link across the entire Concerto. The relationship is further strengthened in the finale’s second section, where both themes from the opening movement are recalled in slow tempo. The pace again quickens, and the music from the first part of the finale returns with some modifications. A brief solo cadenza leads to the coda, a dazzling final stanza with fistfuls of chords propelling the headlong rush to the dramatic closing gestures.
GUSTAV MAHLER (1860-1911)
Symphony No. 1 in D major (1883-1888, revised 1892-1893)
“To write a symphony means, to me, to construct a world with all the tools of the available technique,” wrote Gustav Mahler. The World in a Symphony — the experiences, qualities and meaning of life enfolded in tone. Mahler, the most ardent of the Romantics in his belief in the bond between human existence and music, spent his career pursuing this lofty aim. He once said, “My whole life is contained in them [i.e., the first two symphonies]: I have set down in them my experience and my suffering.... To anyone who knows how to listen, my whole life will become clear, for my creative works and my existence are so closely interwoven that, if my life flowed as peacefully as a stream through a meadow, I believe I would no longer be able to compose anything.” Mahler certainly had a full share of rocks and rapids in the stream of his life: deaths of loved ones, including a child, only weeks apart; a critical heart condition that precipitated his premature death at the age of fifty; severe bouts of depression that led him to 22
seek the counsel of Sigmund Freud; and great difficulties in finding acceptance for his works. Though these experiences were still in the future when he wrote this First Symphony, Mahler nevertheless embodied profound thoughts and emotions in this early work. Written during his tenure as conducting assistant to the great Arthur Nikisch at Leipzig, the D major Symphony reflects Mahler’s concerns with romantic love, with establishing himself as a creative artist, and with finding a musical language proper to express his inner turmoil. Though he did not marry until 1902, Mahler had a healthy interest in the opposite sex, and at least three love affairs touch upon the First Symphony. In 1880, he conceived a short-lived but ferocious passion for Josephine Poisl, the daughter of the postmaster in his boyhood home of Iglau, and she inspired from him three songs and a cantata after Grimm (Das klagende Lied) that contributed thematic fragments to the Symphony. The second affair, which came early in 1884, was the spark that actually ignited the composition of the work. Johanne Richter possessed a numbing musical mediocrity alleviated by a pretty face, and it was because of an infatuation with this singer at the Cassel Opera, where Mahler was then conducting, that not only the First Symphony but also the Songs of the Wayfarer sprang to life. The third liaison, in 1887, came as the Symphony was nearing completion. Mahler revived and reworked an opera by Carl Maria von Weber called Die drei Pintos (“The Three Pintos,” two being impostors of the title character), and was aided in the venture by the grandson of that composer, also named Carl. During the almost daily contact with the Weber family necessitated by the preparation of the work, Mahler fell in love with Carl’s wife, Marion. Mahler was serious enough to propose that he and Marion run away together, but at the last minute she had a sudden change of heart and left Mahler standing, quite literally, at the train station. The emotional turbulence of all these encounters found its way into the First Symphony, especially the finale, but, looking back in 1896, Mahler put these experiences into a better perspective. “The Symphony,” he wrote, “begins where the love affair [with Johanne Richter] ends; it is based on the affair which preceded the Symphony in the emotional life of the composer. But the extrinsic experience became the occasion, not the message of the work.” The “message” of this work, and of all Mahler’s symphonies, is that life comprises a countless number of feelings and sensations, a ceaseless ebb and flow of sentiments gliding together, combining, then disappearing in the marvelous complex of the emotional life of the individual. In each of his symphonies, this world of experience is mirrored in a wide spectrum of musical styles, from child-like simplicity to transcendent profundity — folksong beside fugue, parody beside pathos, tempest beside tranquility. Mahler spread wide the boundaries of the symphony as a form, as had Beethoven a century earlier, to include an unprecedented wealth of emotion within a single work. Of his initial foray into the genre, he wrote, “My First Symphony will be something of which the world has never heard the like before.” The Symphony begins with an evocation of a verdant springtime filled with the natural call of the cuckoo (solo clarinet) and the man-made calls of the hunt (clarinets, then trumpets). The main theme, which enters softly in the cellos after the wonderfully descriptive introduction, is based on the second of the Songs of a Wayfarer, Ging heut’ Morgen übers Feld (“I Crossed the Meadow this Morn”). This engaging, folk-like melody, with its characteristic interval of a descending fourth, runs through much of the Symphony to provide an aural link among its movements. The first movement is given over to this theme combined with the spring sounds of the introduction in a cheerful display of ebullient spirits into which creeps an occasional shudder of doubt. The second movement, in sturdy triple meter, is a dressed-up version of the Austrian peasant dance known as the Ländler, a type and style that finds its way into most of Mahler’s symphonies. The simple tonic-dominant accompaniment of the basses recalls the falling fourth of the opening movement, while the tune in the woodwinds resembles the Wayfarer song. (Note particularly PITTSBURGHSYMPHONY.ORG 2021-2022 SEASON
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the little run up the scale.) The gentle trio, ushered in by solo horn, makes use of the string glissandos that were so integral a part of Mahler’s orchestral technique. The third movement begins and ends with a lugubrious, minor-mode transformation of the European folk song known most widely by its French title, Frére Jacques. It is heard initially in an eerie solo for muted string bass in its highest register, played above the tread of the timpani intoning the falling-fourth motive from the preceding movements. The middle of the movement contains a melody marked “Mit Parodie” (played “col legno” by the strings, i.e., tapping with the wood rather than the hair of the bow), and a simple, tender theme based on another melody from the Wayfarer songs, Die zwei blauen Augen (“The Two Blue Eyes”). The mock funeral march of this movement was inspired by a woodcut of Moritz von Schwind titled How the Animals Bury the Hunter from his Munich Picture Book for Children. The finale, according to Bruno Walter, protégé and friend of the composer and himself a master conductor, is filled with “raging vehemence.” The stormy character of the beginning is maintained for much of the movement. Throughout, themes from earlier movements are heard again, with the hunting calls of the opening introduction given special prominence. The tempest is finally blown away by a great blast from the horns (“Bells in the air!” entreats Mahler) to usher in the triumphant ending of the work, a grand affirmation of joyous celebration. “The Symphony has the typically unique power,” summarized Bruno Walter, “which the youthful work of genius is able to exert by means of its superabundance of emotions, by the unconditional and unconscious courage to use new ways of expression, and by the wealth of invention. It is alive with musical ideas and the pulse beat of fervent passion.”
PROGRAM NOTES BY DR. RICHARD E. RODDA
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Carnegie Museum of Art is delighted to bring you this artwork from our collection that connects to the sounds of the Pittsburgh Symphony that you will hear today, through a partnership born from our shared 125th anniversaries in 2020. “…the introduction depicts the awakening of Nature from the long sleep of winter.” - Gustav Mahler, program notes from the second performance of Symphony No. 1, Hamburg, Germany, October 27, 1893 The connecting thread of nature and our human place within are the driving forces behind both artists’ works. Jean-Baptiste-Camille Corot and Gustav Mahler were separated by time and place yet each explored nature in literal and metaphorical ways. Mahler was an avid walker. He found the divine in the wilderness and abhorred the idea that nature should simply be depicted as pretty. Corot’s en plein air landscape paintings inspired the Impressionists. In this painting, Corot heightens for us the beautiful irregularities of nature as we, the small humans, traverse the world around us. Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO
JEAN-BAPTISTE-CAMILLE COROT, EARLY SPRING NEAR MANTES, C.1855-1865 (ON VIEW) ACQUIRED THROUGH THE GENEROSITY OF THE SARAH MELLON SCAIFE FAMILY PROGRAM NOTES 2021-2022 SEASON
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YEFIM BRONFMAN Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike. In the wake of world-wide cancellations beginning in spring 2020 his 2020/21 season began in January 2021 with the Concertgebouworkest followed by Bayerischer Rundfunk Orchestra, Berlin Philharmonic and London’s Philharmonia in special programs recorded for streaming. Concerts in North America have continued with Dallas, Philadelphia, New York, Atlanta, Houston and Pittsburgh orchestras despite restrictions imposed by COVID-19 and summer concerts are now scheduled with him in Vail (Philadelphia Orchestra), Aspen, Tanglewood (Boston Symphony), Grand Tetons and on tour in Europe with the Concertgebouworkest.
Photo credit: Dario Acosta
and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, in 2010 he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Born in Tashkent in the Soviet Union, Yefim Northwestern University and in 2015 with Bronfman immigrated to Israel with his family an honorary doctorate from the Manhattan in 1973, where he studied with pianist Arie School of Music. Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, Yefim Bronfman last performed on subscription he studied at The Juilliard School, Marlboro with the Pittsburgh Symphony in February School of Music, and the Curtis Institute of 2018. Music, under Rudolf Firkusny, Leon Fleisher,
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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 the April 1 and 22 performances of these programs.
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JIM CUNNINGHAM WQED-FM’s Artistic Director, Jim Cunningham hosts the WQED-FM Morning Show weekday mornings from 6-10 am, and the nationally syndicated Pittsburgh Symphony Orchestra (PSO) broadcasts which air Sundays at 8pm. Jim hosted his first radio show at age 13 in Warren, PA, and was station manager of the Thiel College station, where he earned degrees in English and Business Administration. He holds a Certificate from CPB’s Executive Management Institute at the University of Wisconsin. He has enjoyed a long career at WQED-FM, beginning as an intern in college, was station manager for many years, and is currently an award-winning Executive Producer and Artistic Director. Jim hosted the Pittsburgh Speakers Series for 10 years, served as Classical Music Critic for Pittsburgh Magazine for 15 years, has presented pre-concert and outreach lectures for the Pittsburgh Symphony for 25 years, and currently teaches Music and Art for lifelong learners at the University of Pittsburgh and Carnegie Mellon University. Jim has won multiple Golden Quill awards, the Gabriel Award and been recognized for community service with awards from the Pittsburgh Symphony including the Paul J Ross Award for Excellence in Education and Community Engagement and a 40th anniversary distinguished service award presented by Manfred Honeck and the orchestra members
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onstage June 7, 2019 following Beethoven’s Ninth Symphony as well as awards from Pittsburgh Festival Opera, Pittsburgh Concert Society, Chatham Baroque and many others. Jim has traveled as a correspondent with the PSO on more than 25 world tours to Europe, Asia, North America, South America, and Australia. During his career at WQED-FM, Jim has interviewed everyone in the classical music world from Itzhak Perlman to Leonard Bernstein, but some of his favorite interviews were with Benny Goodman, Wynton Marsalis, Mercer Ellington, and Fred Rogers.
THE PITTSBURGH SYMPHONY ORCHESTRA Now in its 126th season, the Pittsburgh Symphony Orchestra is credited with a rich history of engaging the world’s finest conductors and musicians and demonstrates a genuine commitment to the Pittsburgh region and its citizens. Known for its artistic excellence for more than a century, the Pittsburgh Symphony has been led by its worldwide acclaimed Music Director Manfred Honeck since 2008; past music directors have included Fritz Reiner (1938-1948), William Steinberg (1952-1976), André Previn (1976-1984), Lorin Maazel (1984-1996) and Mariss Jansons (1997-2004).
broadcasts. Manfred Honeck and the Pittsburgh Symphony Orchestra have received multiple GRAMMY® nominations for Best Orchestral Performance, taking home the award in 2018 for their recording of Shostakovich: Symphony No. 5; Barber: Adagio. As early as 1936, the Pittsburgh Symphony has been broadcast on the radio. The orchestra has received increased attention since 1982 through national network radio broadcasts on Public Radio International, produced by Classical WQED-FM 89.3, made possible by the musicians of the Pittsburgh Symphony Orchestra.
The Pittsburgh Symphony is continually at the forefront of championing new American works. The Orchestra premiered Leonard Bernstein’s Symphony No. 1 “Jeremiah” in 1944, John Adams’ Short Ride in a Fast Machine in 1986, and Mason Bates’ Resurrexit in 2018 to celebrate Manfred Honeck’s 60th birthday.
Lauded as the Pittsburgh region’s international cultural ambassador, the orchestra began regular touring in 1896 and has embarked on scores of domestic and international tours. In 2019, Music Director Manfred Honeck led the orchestra on an extensive tour of Europe, the 25th in orchestra history.
The two-time 2018 GRAMMY® Award- In the 2021-2022 season, the Pittsburgh winning orchestra has a long and illustrious Symphony will celebrate the 50th anniversary history in the areas of recordings and live radio of Heinz Hall as the home of the orchestra.
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BANK OF AMERICA SYMPHONY WEEK
ODE TO JOY
BEETHOVEN’S SAT. APRIL 30 AT 8:00 P.M. HEINZ HALL
Experience Manfred Honeck’s critically-acclaimed version of this iconic masterwork in a one-night-only performance to close out Beethoven In Your Neighborhood: The Bank of America Symphony Cycle. The Pittsburgh Symphony invites the community to join us on an exploration of both Pittsburgh and the musical genius of Beethoven. Beethoven In Your Neighborhood connects the power, heroism, humanity, and revolutionary spirit of Beethoven with the brilliance of the Pittsburgh Symphony and special community spaces. For the first time in Pittsburgh history, the Pittsburgh Symphony Orchestra, under the baton of Music Director Manfred Honeck, will perform all nine Beethoven symphonies in one week at exceptional locations, and will perform all 16 Beethoven string quartets in a groundbreaking collaboration with libraries throughout the region.
VISIT PITTSBURGHSYMPHONY.ORG/BIYN FOR TICKETS AND MORE INFORMATION!
BEETHOVEN IN YOUR NEIGHBORHOOD IS SUPPORTED, IN PART, BY:
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CATHARINE M. RYAN AND JOHN T. RYAN III
ADDITIONAL SUPPORT FOR BANK OF AMERICA SYMPHONY WEEK FROM:
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A NEW RECORDING FROM MANFRED HONECK AND THE PITTSBURGH SYMPHONY ORCHESTRA IN SUPERB AUDIOPHILE SOUND Exceptional Performances and a
WORLD PREMIERE! PIT TSBU
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BR AHMS MacMILL A N SYMPH ONY N O. 4
LARGH ETTO F OR OR CHEST RA
Available now! Get yours in the Heinz Hall lobby or visit www.pittsburghsymphony.org/shop
PITTSBURGH SYMPHONY ORCHESTRA RECORDINGS ARE MADE POSSIBLE BY A GENEROUS GRANT FROMSEASON BNY MELLON. PITTSBURGHSYMPHONY.ORG 2021-2022 31
PROVIDING GREAT MUSIC IN EVERY LIFE We thank our entire donor family for supporting our vision of Great Music in Every Life. As we celebrate the 50th anniversary of Heinz Hall this season, we are thrilled to experience the power of music together again. A complete list of donors, as well as a list of associated benefits can be found on our website. As a thank you, donors in the Symphony Club level and above ($600+) are listed below. Those who have made a new gift or increased over their previous gift are listed in italics. Every effort has been made to ensure accuracy; however, if you are not listed correctly, please call 412.392.4880 or email us at pso_development@pittsburghsymphony.org. Listing as of January 3, 2022. MAESTRO’S CIRCLE
Mr. & Mrs. David McCormick Nancy & Bill Rackoff Vivian & Bill Benter Diana Reid & Marc Tony & Linda Bucci Chazaud Mr. & Mrs. J. Christopher Mr. & Mrs. Daniel M. Donahue Rooney* Perry* & BeeJee Morrison Alece & David Schreiber Bob & Joan Peirce Drs. Satbir & Shalu Singh Pittsburgh Symphony Jim Spencer & Michael Lin Association & Affiliates Tom & Jamee Todd Cheryl & Jim Redmond Mr. & Mrs. John T. Ryan III Mike & Melia Tourangeau Helge & Erika Wehmeier Dick & Ginny Simmons Harvey Weissman & Louise Jon & Carol Walton Eckman
Shirley Olander James Parrish & Chris Siewers Abby & Reid Ruttenberg Mr. & Mrs. Sean Sebastian Theodore Stern Fred & Maryann Steward C. Robert Walker Dr. Michael J. White & Mr. Richard LeBeau
Gerald Lee Morosco & Paul Ford, Jr. Martha & Richard Munsch Nancy N. & Maurice A. Nernberg Richard E. & Alice S. Patton Mr. Brian Portman Dr. Tor Richter in memory of Elizabeth W. Richter James W. & Erin M. Rimmel Marcia & Gerald DIRECTOR’S CIRCLE Rubenstein $10,000 - $14,999 Millie & Gary Ryan Anonymous Pauline Santelli Bridgett & Marty Bates The David S. & Karen A. Susan & David Brownlee BENEFACTOR’S CIRCLE Shapira Foundation CHAIRMAN’S CIRCLE $50,000 - $99,999 Barbara & David Burstin The Sieber Family $20,000 - $24,999 Wendy & David Barensfeld Nancy Scarton Chaplin Jody & John Sperry Anonymous Susie & Roy Dorrance Charles C. Cohen & Robert & Janet Squires James & Electra Agras Michele M. McKenney Hans* & Leslie Fleischner Benjamin & Jo Statler Rae & Jane Burton Jeff and Tara Craft Hilary Mercer & Ian Rogers Matt & Alyssa Tokorcheck Mr. & Mrs. R. Drew Kistler Elliot & Beth Davis Craig & Jill Tillotson Mr. & Mrs. Thomas J. Usher Carol H. Tillotson Brian & Carol Duggan Arthur Weldon Theo & Pia van de Venne Ellen & Jim* Walton Mrs. Orlie S. Ferretti Rachel M. Walton Rebecca & Oliver Finney FOUNDER’S CIRCLE Markus Weber & Donna CHAIRMAN’S CIRCLE Dina J. Fulmer Soave Weber $25,000 - $49,999 $15,000 - $19,999 Bruce & Ann Gabler Mr. & Mrs. Michael Weir Anonymous (2) Anonymous Dr. & Mrs. C. Bernie Good James* & Susanne Pat & Michele Atkins Allen Baum & Elizabeth Frank & Angela Grebowski Wilkinson Cynthia Bognar Witzke-Baum John Wong Marcia M. Gumberg* Dr.* & Mrs. William J. Robin Joan Bernstein Dr. & Mrs. Merrill F. Wymer Canady Marnie & Jim Haines Mrs. Ellen Still Brooks Ada Davis & Joseph Spirer Manfred & Christiane Mr. Richard Burkland Honeck CONDUCTOR’S CIRCLE Ms. Geraldine A. Kort Deac Robert & Sara Englesberg Elizabeth S. Hurtt $7,500 - $9,999 Dr. James H. & Mary E. Howard & Mary Anne Duggan in Memory of Myah & Jaime Irick Anonymous Hanna Mary A. Duggan Barbara Krause & Lawrence Mr. Juanjo Ardid & Ms. Mark F. & Mary McKinney Ron & Nancy Herring King Amalia Auge Rick & Laurie Johnson Flaherty Mr. & Mrs. Michael J. Don & Judy Borneman Drs. Grace & Joon Lee The Akers Gerber Family Maglio Kathryn & Michael Bryson Betty & Granger Morgan Kent & Martha McElhattan Debra Caplan & David Tom & Dona Hotopp Abby L. Morrison Audrey R. Hughes Susan & Marty McGuinn Levenson MD Lesa B. Morrison, Ph. D* Gina Elisa Laite, M.D. Janet & Donald Moritz Philip J. & Sherry S. Dieringer Ms. Sandra L. Nicklas $100,000 +
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Edith H. Fisher Dan* & Gwen Hepler Alice Jane Jenkins D. H. Lee, Jr. Mr. & Mrs. Thomas McConomy Jean S. McLaughlin George & Bonnie Meanor Mr. & Mrs. Sam Michaels Elliott S. Oshry Lori & Louis Plung Pinchas & Aviva Rosenberg Nancy Schepis Mr. & Mrs. Steven C. Thomas
Mr. & Mrs. Joseph M. Jackovic Farnam & Teresa Jahanian Marge Kane Dr. Barbara Kuhns & Constance Ritter Patricia Duke LeClere Dr. Arthur S. Levine & Ms. Linda S. Melada Patrick & Alice Loughney Rock & Jennifer MaglebyLambert Elizabeth Mays Marilyn Meltzer James & Susan Morris Mr. and Mrs. Paul O’Neill Susan & Chris Pappas CONDUCTOR’S CIRCLE Dr. & Mrs. William R. $5,000 - $7,499 Poller in honor of our five Mr. & Mrs. Michael Berger grandchildren Mr.* & Mrs. Benno A. Bernt Mr. & Mrs. William F. Roemer Drs. Albert W. & Barbara R. Biglan Joan Scheinholtz* Marian & Bruce Block Dr. & Mrs. Harry & Linda Serene Ted & Kathie Bobby Michael Shefler Ms. Spencer Boyd Robert Snapp Pamela & Larry Boyer Mr. & Mrs. D.J. Song Hugh & Jean Brannan Mr. Frederick Steinberg Dr. Bron & Mr. Levin Joel & Maria Swanson Mr. Charles R. Burke, Jr. Diane & Dennis Unkovic Gail & Rob Canizares Ginevra Felice Ventre Dr. Owen Cantor Mr.* & Mrs. James P. Randi Dauler Welch Angela & Mike DeVanney Nozomi Williams Jean & Sigo Falk Robert & Carole Williams Dr. Lawrence* & Joan Ferlan In Honor of Hans & Leslie AMBASSADOR’S CIRCLE Fleischner $2,500 - $4,999 Curt & Kim Fleming Dr. Mary Beth Adams Mary Louise & Henry J. Dr.* & Mrs. Siamak Adibi Gailliot Andrea & David Aloe Mrs. Ronald E. Gebhardt Jane C. Arkus in memory Alice V. Gelormino of James V. Callomon Mr. James Gorton & Mrs. Matthew & Anne Atwood Gretchen Van Hoesen Lorraine E. Balun, in Patrick A. Gray memory of William & Jane Balun Caryl & Irving Halpern Philip & Melinda* Beard Gail & Greg Harbaugh David & JoAnn Beaudreau Rev. Diana D. Harbison Mr. & Mrs. Edward J. Harris Mr. & Mrs. G. Nicholas Beckwith III in honor of Lisa Gedris & Ellen Chen-Livingston Martha L. Berg Adam and Justine Diane L. Berman Hofmann Lawson Bernstein, MD Mr. David Holmberg
Robert S. Bernstein & Ellie K. Bernstein Fund Bozzone Family Foundation Sue & Mark Breedlove Lawrence R. Breletic & Donald C. Wobb Suzy & Jim Broadhurst Mr. & Mrs. Howard Bruschi Nicholas Butera Mr.* & Mrs. Joseph L. Calihan Dr. Bernadette G. Callery* & Dr. Joseph M. Newcomer Susan Campbell & Patrick Curry Sue Challinor & Matt Teplitz Kenneth & Celia Christman Cynthia & Bill Cooley Basil & Jayne Adair Cox Rose & Vincent A. Crisanti S. A. Cunningham Cyrus & Kimberly Daboo Joan & Jim Darby George & Ada Davidson Alison H. & Patrick D. Deem Richard P. Dum & Donna S. Hoffman Dan & Carol Dupee Mr. Frank R. Dziama Lisa & Martin Earle George D. Ehringer Marie S. Emanuel Dr. Edward L. Foley Janet M. Frissora The Dorothy M. Froelich Charitable Trust Normandie Fulson Dr. & Mrs. J. William Futrell Dr. Kent Galey & Dr. Karen Roche Dr. Virgil D. Gligor & Alicia M. Avery Laurie Graham Ms. Julie Gulick Jonah Hertzman & family In memory of Joseph Hinchliffe Mr. & Mrs. C. Talbott Hiteshew, Jr. Karen & Thomas Hoffman Clare & Jim Hoke Philo Holcomb
Walker P. Holloway Dorothy A. Howat Mr. & Mrs. Alan R. Huffman Mr. & Mrs. Robert A. Izzo Blair & Lynne Jacobson Gail G. Jenkins Diane & Howard Jernigan Carolyn J. Jones Jackie Jones Mr. & Mrs. Robert W. Kampmeinert Mr. & Mrs. Jayant Kapadia Ms. Danielle Katz & Mr. James Snyder Mr. Arthur J. Kerr, Jr. James Knox Karl Krieger & Family Mr. & Mrs. John Krolikowski Lewis & Alice Kuller Susan Oberg Lane Judith Lave Dr. Michael Lewis & Dr. Katia Sycara Janet R. Markel Elsa Limbach Pat & Don MacDonald Neil & Ruth MacKay Mrs. Kate Watson MacVean Dr. Harry K. Williams Jr. & Dr. Sheri A. Mancini Mrs. John Marous Jennifer & James Martin Dr. Richard H. Martin In Memory of Mrs. Lori Martin Michael & Wanda McGarry Alan & Marilyn McIvor Bill R. Maurer & Carol J. McKenzie Mark & Amy Mendicino Samuel & Veronica Miclot Donald & Nancy Middleton Nessa Green Mines Drs. Paolo Montemaggi & Patrizia Guerrieri Daniel Murariu Foundation Dr. Eugene & Mrs. Barbara L. Myers Harry & Kathleen Nagel Fritz Okie Dr. Karl Olsen & Dr. Martha E. Hildebrandt Sandy & Gene O’Sullivan
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Dr. Paul M. Palevsky & Dr. Sharon R. Roseman Robert & Lillian Panagulias Mr. & Mrs. William A. Partain Pam & Seth Pearlman Connie & Mike Phillips Mr. & Mrs. David L. Porges Richard E. Rauh Mr. Gene Reiness in memory of Diane Mary A. Reynolds Mr. & Mrs.* Frank Brooks Robinson Janice G. Rosenberg Dr. & Mrs. Wilfred T. Rouleau Drs. Guy & Mary Beth Salama Jolie Schroeder Preston & Annette Shimer Dr. Carol Slomski & Dr. Keith Apelgren Alice Snyder Dr. & Mrs. Edward M. Sorr Mr. & Mrs. Alexander C. Speyer III Barbara & Lou Steiner Linda & Jeff Stengel Dick & Thea Stover Neil & Bronya Strosnider Dr. Sharon Taylor & Dr. Philip Rabinowitz Anthony & Jan Tomasello Dr. & Mrs. Albert Tse Eric & Barbara Udren Dr. Ronald J. & Patricia J. Wasilak Frank & Heidemarie Wenzel Carolyn & Richard Westerhoff Robert Wickesberg & Susan Noffke Barbara & Bruce Wiegand Miriam L. Young Dr. & Mrs. P. Alvin Zamba ENCORE CLUB
$1,750 - $2,499
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Rev. Drs. A. Gary & Judy Angleberger Ms. Elaine Armstrong Mr. Francis A. Balog & Dr. Paula Bonino Dr. and Mrs. Christopher Ban Richard C. Barney Robert & Loretta Barone Mr. and Ms. Jonathan Berdyck Joan & Keith Bernard Dr. Michael & Barbara Bianco Michael E. Bielski Mr. & Mrs. James H. Bregenser Mr. & Mrs. Paul R. Bridges Jill & Chuck Brodbeck Ms. Mary Patricia Brown Gary & Judy Bruce Mr. Milton W. Burkart* & Dr. Patricia K. Burkart Linda B. Burke Drs. Marco Cavagna and Christine Garnett Christine & Howard Cohen Mr. and Mrs. Eugene Colleran Dr. & Mrs. Richard H. Daffner Jamini Vincent Davies James Delligatti Amil & MaryAnn DiPadova Mr. & Mrs. James R. Drake Ms. Lori Dunham & Mr. Connie MacDonald Linda & Robert Ellison Dan & Nancy Fales Tibey Falk Judith & Donald Feigert Mr. & Mrs. Anthony Fonseca Michael & Nina Gaffney Mrs. Lauren Gailey Keith Garver Matthew & Deborah Garvic Revs. Gaylord & Catherine Gillis William & Victoria Guy Jennifer Haggerty & Joseph Kunze Dale & Susanne* Hershey Dr. Benjamin E. Hicks Douglas & Antionette Hill
Micki F. Huff Hyman Family Foundation Mary Lee & Joe* Irwin Edward W. Jew Jr. MD Gloria Kleiman Ms. Kathy J. Krause Dr. & Mrs. Howard N. Lang Ronald & Lida Larsen Cele & Mike Levine Anne Lewis Mr. & Mrs. Robert P. Malnati John & Cathy Mary Barbara & Mark Matera Mary A. McDonough Kenton* & Florence McElhattan Alice & Bob Moore Amy & Ira* M. Morgan Dr. Harvey M. Morris Dr. & Mrs. Etsuro K. Motoyama Dr. & Mrs. Donald D. Naragon David & June Nimick Linda & Jim Northrop Maureen S. O’Brien Suzanne & Richard Paul Dr. Gail Pesyna & Dr. John Hooper Mrs. Mildred M. Posvar Wesley Posvar Lois A. Pruitt James and Beverly Pugh Mr. & Mrs. W. John Rackley Drs. David & Catherine Ravella Daniel & Lauren Resnick Mr. & Mrs. Robert W. Riordan Mr. & Mrs. Philip R. Roberts Bette & Howard* Rom Mrs. John M. Sadler Dr. James R. Sahovey Mr. & Mrs. Dan D. Sandman Esther Schreiber George & Marcia Seeley Shiv Sethi Rev. Terry Shaffer & Rev. Beth Nelson Dr. Stanley Shostak & Dr. Marcia Landy
Dr. Ralph T. Shuey & Ms. Rebecca L. Carlin Anna Singer & Donald Kortlandt Dennis & Susan Slevin John Sonnenday & Kristine Haig Amy & Mark Stabingas Marguerite O. Standish Jayne & Tom Sterling Mr. and Mrs. Jordan L. Strassburger Mr. & Mrs. William H. Taylor, Jr. Janie & Harry Thompson Mandy Ticknor Mr. & Mrs. William T. Tobin Mr. & Mrs. Walter W. Turner John & Irene Wall Dr. & Mrs. W. Bruce Watkins James & Ramona Wingate Mary Jo Winokur Sidney & Tucky Wolfson Yurij Wowczuk Ellie* & Joe* Wymard Haakan Younes & Genevieve Hower Mr. & Mrs. Charles Zellefrow Rachael Zierden CADENZA CLUB
$1,000 - $1,749
Anonymous (9) Alan L. & Barbara B. Ackerman Deborah L. Acklin Ward Allebach & Lisa Steagall David & Barbara Allen Mr. and Mrs. Thomas Antos Ms. Lois Appel Myron Arnowitt & Nancy Niemczyk Dr. and Mrs. Egil Aukrust Marion & Bob Auray Dr. & Mrs. Alan Axelson Mr. & Mrs. Chester R. Babst Mr. Richard L. Baird The Bardack Family Foundation Ann Bart John & Betsy Baun
Nancy H. Bergey Georgia Berner Don & Sue Bialostosky Rob & Hongwei Bittner Franklin & Bonnie Blackstone Michael & Carol Bleier Donald & Mary Block Marianne Bokan-Blair & David Blair Phil & Bernice Bollman W. Dennis & Penny Bossick Stephanie Bozic Myles & Joan Bradley Mary & Jeff Bragdon Matthew & Leslie Braksick Gerda & Abe Bretton Mr. Michael Broniszewski Barbara A. Brooks Anna C. Brophy Alan Brown Lisa Brown Roger* & Lea Brown Dr. Lisa Brush Michael F. Butler Stephen & Helen Hanna Casey Dr. & Mrs. Charles D. Cashdollar Carlo & Poma Caso Ms. Mary Lou Christie Jo-Ann M. Churchill Ron & Dorothy Chutz Nancy & Stan Cieslak Phyllis Cioffi Judy Clough Kevin & Janis Colbert Alan & Lynne Colker Dr. & Mrs. Richard Collins Estelle Comay & Bruce Rabin Lin & Anne Cook Alan & Hazel Cope Susan & George Craig Mary Ann Craig, D.M.E. John Oliver & Sylvia Dallas Marion S. Damick Mr. Deicke The Steven Della Rocca Memorial Fund/ Courtenay A. Hardy George & Eileen* Dorman Michel & Christine Douglas Ms. Christine L. Dvonch
Albert E. Eckert Rhoda S. Eligator Mary Jo & Jack W. Elliott Gus & Annie Hanna Engel Eugene & Katrin* Engels In memory of Ruth & Emil Feldman by Joan Feldman & family Mr. & Mrs. Gregory S. Finerty Sarah Finney Barbara & Bob* Egan Mr. & Mrs. Edward Fortwangler Lawrence Frolik & Ellen Doyle Elaine & John Frombach Mr. Frank B. Fuhrer III Jennifer & Richard Gallo Mr. & Mrs. Charles Getze Mr. David Givens & Mr. Stephen Mellett Mike & Cordy* Glenn Richard A. Gloyer & Michelle M. Rossi Mr. & Mrs. Ted Goldberg Dr. Maya GoldinPerschbacher & Mark Manetti Dr. Alberto Guzman Judith C. Hall Christine Hartung Emily E. Heidish Dr. & Mrs. John B. Hill David G. & Carolyn S. Hills Mr. Jeff Hollinger Katherine Holter Dr. & Mrs. Elmer J. Holzinger Judy Horgan & Steve Pavsner Catherine C. Hornstein Charitable Fund of The Pittsburgh Foundation Sara H. Horsman Dr. Chris & Mrs. Barbara Howard Jennifer Howe Mr. & Mrs. Keith A. Impink Kathryn Jackson Stacey L. Jarrell Linda Kaib Daniel G. & Carole L. Kamin Brett & Sarah Keisel Maura & John Kelly
Laura Kieras Mr. Milton B. Kimura Laura & Michael Kingsley Mr. & Mrs. Richard Kleiser Karen F. Krenitsky Walter & Kathleen Labys Mr. William Lawrence, III Ms. Regan Lee and Mr. Jeremy M. Kubica Mr. & Mrs. Kenneth Lehn Harry & Lisa Levinson Mrs. William E. Lewellen, III Sandi & Jim Linaberger Ken & Hope Linge Mr. Daniel Lloyd Mr. and Mrs. Mark H. Loevner Mr. David A. Lynch & Ms. Dorothy A. Davis Ted N. & Mary Lou Magee Dr. & Mrs. George J. Magovern, Jr. Ms. Caroline S. Markfield Ms. Melissa R. Marshall William K. Martz Thomas & Elizabeth Massella Donna & Stephen Maxwell Dale & Dr. Marlene* McCall Mrs. Jon W. McCarter Dr. Sharon McCarthy & Dr. David Krackhardt Mr. & Mrs. William D. McCrady Dr. Patrick McCulloch Mrs. Samuel K. McCune Mrs. Ann McGuinn Mr. & Mrs. Richard J. McSorley Mr. & Mrs. William J. Mehaffey Suzanne Mellon PhD Mr. and Mrs. Mark Mendlow Karen Merry Robert D. Mierley Family Foundation II Joan Miles & Clifford Bob Stuart & Linda Miller Mr. Robert Milner Amy Minter Robert & Christine Misback Mrs. Huma Mohiuddin
Robert & Katherine Mueller Eileen & Albert Muse Dr. Cora E. Musial Mildred S. Myers Pradeep & Priya Narayan Dr. Nancy Z. Nelson Patricia K. Nichols Heather O’Brien John Oehrle Mr. & Mrs. James O’Neill Dr. & Mrs. Richard A. Orr John A. Osuch Nancy* & John Oyler Ron & Mary Pallini Dr. & Mrs. Arthur Palmer Irina & Daniel Peris Kears & Karen Pollock Dr. Margaret Ragni & Dr. Frederick Porkolab David & Marilyn Posner Barbara Powers Mrs. Michelle Rabb Bryan Rall James Rebel Patricia A. Richards & William K. Nichols Rick & Kim Roadarmel Mr. & Mrs. James E. Rohr Shereen & Paul Rosenberg Mr. & Mrs. Byron W. Rosener Harvey & Lynn Rubin Richard & Linda Ruffalo Mr. & Mrs. Edmund S. Ruffin III Ms. Mary E. Russell Shirley & Murray Rust Molly & Ferd Sauereisen Drs. Michael F. Scheier & Karen Matthews Joseph Schewe, Jr. Steven Schlossman & Stephanie Wallach Jonathan & Veronica Schmerling Rev. Cynthia Schneider & Mr. Ed Symons Shirley G. Schneirov Patricia S. Schroder Carl Schultz Robert J. & Sharon E. Sclabassi Dr. Alaa Shalaby & Dr. Jocelyn Tan
PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON
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Dr. Charles H. Shultz Paul & Linda Silver Lee & Myrna Silverman Marjorie K. Silverman Theresa V. Snavely Bill & Patty Snodgrass Marjorie A. Snyder J. Soffietti David Solosko & Sandra Kniess Fund Henry Spinelli Mr. & Mrs. Thomas St. Clair Mr. and Mrs. John A Staley IV Gary & Charlene Stanich Dr. & Mrs. Terence Starz Mark & Tammy Steele Dr. Ron & Nancy Stoller Mona & E.J. Strassburger Mr. and Mrs. Sullivan Mrs. and Mr. Beth Svendsen Stu & Liz Symonds in Memory of Roger Sherman Christine T. Talleda Mary Anne Talotta Drs. Margaret Tarpey & Bruce Freeman Gordon & Catherine Telfer Mary Lloyd Thompson Judge David B. Torrey Mr. & Mrs. Clifton C. Trees Lois & Nigel Treloar Judy Vaglia Suzan M. Vandertie Bob & Denise Ventura Cate & Jerry Vockley Wagner Family Charitable Trust Suzanne & Richard Wagner Tony & Pat Waterman Betsy & Charles Watkins Phillips Wedemeyer & Jeanne Hanchett Yuling Wei Mr. & Mrs. Fred C. Wellinger Mr. & Mrs. Ronald D. West Mr. & Mrs. Arthur Westerberg Ron Wetzel Mr. & Mrs. Robert Wild Harton Wolf 36
Sheryl K. & Bruce M. Wolf Family Foundation Drs. Barry & Iris Wu Naomi Yoran Maureen Young Dr. & Mrs. Victor T. Zakowski Mr. & Mrs. Allan Zelenitz Mr. & Mrs. David M. Zimba SYMPHONY CLUB
$600 - $999
Anonymous (7) Barbara K. Abraham Jerry Agin & Terri Denmon Mr. Jorge Alba The Albert Family John Atkinson Todd Aukerman & Nancy Tolfa Donna L. Balewick MD Bob & Martha Ball Judith Bell Betty Belle Mrs. Phyllis L. Bertok & Mr. Richard Lopretto Henry & Charlotte Beukema Dr. Mary K. Biagini & Mr. Thomas Dubis Paul E. Block Nathaniel Blume & Megan McGarry Debbie & Jim Boughner Jim & Mary Bouwkamp Mary & Montgomery Brown Mr. Nicholas Brozack James Bruce Drs. Clare & James Budd Roger & Cynthia Bush Rosaria Capezzuto Dr. Brad Carmichael Dr. & Mrs. Daniel R. Casper Stephen C. Cenedella Janet E. Chadwick Deborah & David Chapman Susan B. Clancy Clifton & Nicole Clark Gail D. Coates Laurence P. Comden J. Kent & Merle Culley Cynthia Custer Norina H. Daubner
Mr. G. Douglas Davidson & Ms. Sharee Stout Joan Clark Davis Dr. Richard S. DeLuca Edward U. De Persis Lucy & John Douglas Mr. Roger Dubois Leslie Oden Dunn Patricia Dunnington Francis & Joan Fereday Ms. Ann P. Flaherty Ms. Suzanne Flood Mr.* & Mrs. K. H. Fraelich, Jr. Jennifer & Robert* Freeman Mr. & Ms. Frick Lorie Fuller Eric & Patricia Fulmer Jen & Bart Gabler Mr. & Mrs. John & Dawn Gallagher Ms. Nola Garrett Mr. & Mrs. Wayne Gerhold Mr. & Mrs. William D. Ghrist III Thomas & Christine Gillespie, Jr. Mr. & Mrs. Scott Gorham Ken & Laura Gormley David* & Nancy Green Lori Greene & Chris Decker Margaret L. Groninger Mark Gudalis Wendy Roehrich Hall Mrs. Kathy B. Harenski John & Catherine* Heggestad Dr. & Mrs. Fred P. Heidenreich Ms. Jean Herrity Ms. Sarah Hoffman Ms. Madeleine Hombosky Tom & Mary Hooten Anne Houck Derek & Nan Hought Mr. Lyndall Huggler & Dr. Elizabeth Seiders Mrs. Elwood T. Hughes Rob & Linda Indovina Deborah James Dr. Frank & Debbie Jenkins Tom & Cathie Johnson Mr. Joshua H. Jun David & Nora Kemp
Peggy C. Knott Marilyn & Brett Kranich Mr. Nicholas Kyriazi Amy Jo Labi-Carando & Peter M. Carando David Lendt James & Julie Lewis Dr. Jinghong Liang in Memory of Professor Richard Green George & Roxanne Libby Eddie Lowy & Ricardo Cortés Daphne & John Lynn Henry J. Mader Giulio & Barbara Magrini Dr. Bernard Mallinger Drs. Ellen Mandel & Lawrence Weber Mr. Kenneth L. Manders & Mrs. Weia Boelema Dr. & Mrs. George J. Maruschock Eleanor Mayfield & Robert Pego Dr. & Mrs. Charles E. McChesney Mr. William Merchant Mr. & Mrs. Thomas E. Merriman Elizabeth R. Mertz Marian G. Michaels Jeffrey Mishler Signe Mitchell William & Jane Morgan Sheila & John Murtagh Rev. Robert* & Suzanne Newpher Dr. Paula Novelli and Mr. Paul Lee Mr. Michael Opaska Sang C. Park Camilla Brent Pearce Dr. John H. Penn Daniel Perlongo & Susan Wheatley Ms. Alice J. Pescuric Mr. & Mrs. Jon R. Piersol David F. Pressau Mr. & Mrs. Mark & Frances Prus Mr. Pavel Puchkarev Maureen Puskar & Angelo Baiocchi Dr. Jane Raymond
Mr. & Mrs. Nicholas M. Ricci Mr. Robert Richard Charles & Hilary Richards Burton Roberts Bert & Susan Rockman Sharon Roxbury & Joseph McEwen Ms. Elizabeth Russell & Ms. Linda Natho Bruce D. & Treasure Sachnoff Charitable Family Foundation Jose Sahel Dr. & Mrs. Harold Z. Scheinman Mr. Chester B. Scholl, Jr.
Bernie & Cookie Soldo Schultz Mrs. Mary J. Seghi Mr. & Mrs. John M. Seifarth Richard F. Shaw & Linda W. Shaw Martin Siefering Steven Silberman Jenny & George Siple Michele & Brian Skwirut Nellie Lou Slagle Mr. & Mrs. Charles L. Smithers Ronald F. Smutny Michael Sochka Janet H. Staab
Mr. & Mrs. James C. Stalder Jim & Judy Stark Mr. & Mrs. William H. Stone Jr. Peter Su & Karen Van Dusen Richard A. Sundra, in Loving Memory of Patricia Sundra C.J. Sylak, Jr. Kevin & Elisa Taffe Carol L. Tasillo Miss Elora Tighe Samuel Trichtinger Dr. & Mrs. James E. Vaux Janet Verone
Marilyn & Joseph Vettorazzi Mr. & Mrs. Charles E. Vogel Edward L. & Margaret Vogel Dr. Michael & Clare Vranesevic Arlene & Richard Weisman Patricia Weiss Mark Wilson & Kathleen Cook Lynn & Robert Wix Toby Wolfe Dr. Audrey Zelkovic
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CORPORATE PARTNERS $100,000 AND ABOVE ERIC BOUGHNER Chairman, BNY Mellon Pennsylvania
LOUIS R. CESTELLO Executive Vice President, Head of Regional Markets and Regional President for Pittsburgh, PNC Bank
SALLY McCRADY Executive Vice President & Director, Community Affairs, PNC Bank Chair & President, The PNC Foundation
DANIEL A. ONORATO Executive Vice President, Corporate Affairs, Highmark Health
KENYA BOSWELL Senior Vice President, Community Affairs, Highmark Health
JOHN CICCOLELLA President, Bank of America Pittsburgh, Market Manager, Global Commercial Banking
HELENE CONWAY-LONG Senior Vice President, Market Executive, Bank of America 38
$40,000-$99,999 Federated Hermes, Inc. FedEx Ground Hefren-Tillotson, Inc. UPMC Health Plan
Federal Home Loan Bank of Pittsburgh Fl. 2 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 Flaherty & O’Hara PC NexTier Bank P.J. Dick, Trumbull & Lindy Paving Peoples Natural Gas Pirates Charities The Reschini Group Trebuchet Consulting Wabtec Corporation
Community College of Allegheny County Crawford Ellenbogen LLC E.G. Conley, P.C. Eastern Minority Supplier Development Council Eat’n Park Hospitality Group, Inc. Fort Pitt Capital Group, Inc. GRB Law Hamill Manufacturing Company Hertz Gateway Center, L.P. Joy Cone Co. K&I Sheet Metal Nemacolin Woodlands Resort and Spa PGT Trucking Inc. Pittsburgh Wool Company Inc. Pzena Investment Management, LLC Saint Vincent Archabbey Saint Vincent College $1,000-$2,499 Sarris Candies Inc. Armada Supply Chain Vibrant Pittsburgh Solutions VisitPITTSBURGH Austrian American Cultural W. J. Beitler Co. Society, Inc. Warren Associates General Wire Spring Company George Jackson Current as of March 21, 2022 Promotions German American We would like to thank all Chamber Of Commerce, corporations who contribute to the Pittsburgh Chapter Pittsburgh Symphony Orchestra & HB Reynolds Inc. Heinz Hall. Please see our website at pittsburghsymphony.org for a HICO America complete listing. MacLachlan, Cornelius & Filoni Architects & Is your company Planners missing from this McKamish, Inc. Mitsubishi Electric Power list? Call Becky Rickard Products, Inc. at 412.392.2207 Nocito Enterprises to become a Streams Elementary School PTA Corporate Partner! TriState Capital Bank United Safety Services, Inc.
$250-$999 ABARTA Coca-Cola Beverages $2,500-$4,999 BMH Transport Angelo, Gordon & Co., L.P. Berner International Corp Chemistry Communications Duquesne University ComForCare Senior Elite Coach Transportation, Services Inc.
FOUNDATIONS & PUBLIC AGENCIES Allegheny County Economic Development Allegheny Foundation Allegheny Regional Asset District Ampco-Pittsburgh Charitable Foundation Bessie F. Anathan Fund of The Pittsburgh Foundation Anonymous (2) Benjamin and Fannie Applestein Charitable Trust Arts, Equity, & Education Fund Baronner-Chatfield Family Foundation Claude Worthington Benedum Foundation The Benter Foundation Allen H. Berkman and Selma W. Berkman Charitable Trust Allen H. Berkman and Selma W. Berkman Family Fund of The Pittsburgh Foundation H.M. Bitner Charitable Trust Maxine and William Block Fund of The Pittsburgh Foundation Paul and Dina Block Foundation Henry C. Frick Educational Fund of The Buhl Foundation Jack Buncher Foundation Carnegie Corporation of New York James C. Chaplin, IV and Carol C. Chaplin Charitable Fund of The Pittsburgh Foundation Anne L. and George H. Clapp Charitable and Educational Trust Edwin and Kathryn Clarke Family Foundation Compton Family Foundation The Rose Y. and J. Samuel Cox Charitable Fund Jean Hartley Davis and Nancy Lane Davis Fund of The Pittsburgh Foundation Dietrich Foundation Peter C. Dozzi Family Foundation Eden Hall Foundation Eichleay Foundation
Jane M. Epstine Charitable Fund of The Pittsburgh Foundation The Fine Foundation Audrey Hillman Fisher Foundation Irving and Aaronel deRoy Gruber Foundation Benjamin Harris Memorial Fund of The Pittsburgh Foundation The Heinz Endowments Drue Heinz and HJ Heinz Charitable Trust Teresa & H. John Heinz III Fund of the Heinz Family Foundation Henry L. Hillman Foundation Emma Clyde Hodge Memorial Fund Honkus-Zollinger Charitable Foundation Milton G. Hulme Charitable Foundation Roy A. Hunt Foundation 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 James T. and Hetty E. Knox 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 The Pittsburgh Foundation Robert and Mary Weisbrod Foundation Current as of March 25, 2022
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LEGACY OF EXCELLENCE
In addition to income from the Annual Fund, the Pittsburgh Symphony Orchestra is dependent on a robust endowment to assure its long-term financial stability. Gifts from Legacy of Excellence programs are directed to the endowment to provide for the Pittsburgh Symphony Orchestra’s future. The Steinberg Society honors donors who have advised the Pittsburgh Symphony in writing that they have made a provision for the orchestra in their will. Endowed naming opportunities for guest artists, musicians’ chairs, concert series, educational programs or designated spaces allow donors to specify a name or tribute for 10 years, 20 years or in perpetuity. For additional information, please call 412.392.4880. STEINBERG SOCIETY AAnonymous (22) 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 40
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. Gundelfinger Maureen Guroff Marnie & Jim Haines Elizabeth Anne Hardie Charles & Angela Hardwick Estate of John P. Harman 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 Michael Shefler Estate of Marjorie F. Shipe Dr. Stanley Shostak & Dr. Marcia Landy Dr. Charles H. Shultz Mr. & Mrs. Richard P. Simmons Estate of Janice G. Singer Estate of Evelyn B. Snyder Dr. & Mrs. Leonard A. *Stept Estate of Dr. Raymond & Karla Stept Theodore Stern Andrew & Gale Stevenson Mrs. Margaret Stouffer in Memory of Miss Jean Alexander Moore Dick & Thea Stover Estate of Robert J. Stringert Charles J. Sylak, Jr. 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 Violin Chair Martha Brooks Robinson Principal Trumpet Chair Mr. & Mrs. William Genge and Mr. & Mrs. James E. Lee Mr. & Mrs. Aaron Silberman Principal Bassoon Chair Principal Clarinet Chair Nancy & Jeffery* Leininger First Violin Chair
Sidney Stark, Jr. Memorial Clarinet Chair
Edward D. Loughney Mr.* and Mrs. Willard J. 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 & Audrey McGinnis Tom & Jamee Todd and Loti Gaffney Honoring The Center for Principal Trombone Chair Young Musicians William & Sarah Galbraith United States Steel Second Violin Chair Ann McGuinn Corporation Assistant Principal Bass The Estate of Olga T. Gazalie Trombone Chair ENDOWED CHAIRS Chair First Violin Chair Principal Horn Chair, given Mr. and Mrs. Martin G. by an Anonymous Donor McGuinn Jon & Carol Walton Alice Victoria Gelormino Viola Chair Associate Principal Second Violin Chair Viola Chair First Violin Chair, given by Allen H. Berkman in Dr. William Larimer Mellon, Jr. Arlyn Gilboa memory of his beloved wife, Second Violin Chair Principal Oboe Chair, given Rachel Mellon Walton Selma Wiener Berkman Concertmaster Chair, given by Rachel Mellon Walton by Mr. & Mrs. Richard Ira & Nanette Gordon Michael & Carol Bleier The Gracky Fund for Messiah Concerts Endowed Mellon Scaife Bass Chair given in memory Education & Community by the Howard and Nell E. Jacquelin Wechsler Engagement of our parents, Tina & Miller Chair Horn Chair given in Charles Bleier and Ruth & Susan S. Greer Memorial Shelley Stein Donald I. & Janet Moritz and memory of Irving (Buddy) Wechsler Trumpet Chair, given by Equitable Resources, Inc. Peter Greer William Block Memorial Associate Principal Barbara Weldon Section Cello Chair Cello Chair Principal Timpani Chair William Randolph Hearst Endowed Fund for Dr. Alan & Marsha The Perry & BeeJee Education Bramowitz Morrison String Instrument Hilda M. Willis Foundation Flute Chair First Violin Chair, Endowed Loan Fund in memory of Bach pianist Vira I. Heinz Thomas H. & Frances Witmer Music Director Chair Rosalyn Tureck The Morrison Family Associate Principal Second Assistant Principal Horn Chair Lois R. Brozenick Memorial William & Jacqueline Herbein Violin Chair Principal Bass Trombone First Violin Chair Current as of February 18, 2022 Chair *deceased
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DAULER HEARING LOOP: A system to provide better sound to hearing aid and cochlear implant users.
If you use a hearing aid or have a cochlear implant, you can have an improved listening experience at Heinz Hall concerts and events! The Dauler Hearing Loop runs throughout the auditorium, with the exception of the Orchestra pit, first four Orchestra level rows and Grand Box left. The hearing loop system also is installed at the Heinz Hall Box Office windows, allowing you to hear the amplified voice of Box Office personnel directly through t-coil enabled hearing aids. VISIT OR CALL THE HEINZ HALL BOX OFFICE AT 412.392.4900 WITH ANY QUESTIONS. The Dauler Hearing Loop is named for late Pittsburgh Symphony Orchestra trustee L. Van V. Dauler, Jr and was made possible through a gift from Randi & L. Van V. Dauler, Jr. and the Emma Clyde Hodge Memorial Foundation.
TO USE THE DAULER HEARING LOOP: If you have a hearing aid or cochlear implant with a telecoil (t-coil) you need to make sure the t-coil is activated and properly set by your audiologist. You can then activate the setting once in Heinz Hall. If you are not sure if your hearing aid has a t-coil or if you experience difficulty and require assistance, please contact your audiologist. Sound heard through telecoils can vary from hearing aid to hearing aid and according to position in the theater. Generally, the best signal is found when you sit in the center of a row and facing toward the stage. If you need further assistance in selecting the best seats, please contact the Heinz Hall box office.
HEINZ HALL POLICIES
Heinz Hall, owned and operated by Pittsburgh Symphony Inc., is committed to the safety and well-being of all guests and patrons, and aims to provide a safe, comfortable and enjoyable entertainment experience.
ENTRANCE SECURITY POLICY All audience members are required to enter through state-of-the-art “free-flow” scanning equipment, designed both to enhance security and convenience. Patrons using wheelchairs and mobility devices will enter via a door adjacent to the screening equipment for alternative screening. Patrons with children in strollers may enter through the screening equipment.
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 officers employed and/or contracted by Pittsburgh Symphony Inc.
BAG POLICY Heinz Hall reserves the right to search any bags entering the facility. Oversized bags must fit comfortably 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
42
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 to the main floor of the auditorium. Contact the box office for the location of the companion seats. HEINZ HALL BOX OFFICE HOURS are Monday through Friday, from 9 a.m. to 6 p.m; Saturday from noon to 4 p.m. Weekend hours vary based on performance times. Tickets may be purchased by calling 412.392.4900 and are also available at the Theater Square Box Office. BRAILLE AND LARGE PRINT PROGRAMS are available at the concierge desk for all BNY Mellon Grand Classics, PNC Pops, Fiddlesticks Family Series and Sensory-Friendly performances.
CHILDREN are encouraged to attend our youth concerts and Fiddlesticks Family Concerts. Children age six and over, are welcome at all performances with a purchased ticket. The Latecomer’s Gallery and lobby video monitors are always options for restless children. CONCIERGE SERVICE is available in the Entrance Lobby to assist with your questions and to help with dining, hotel, entertainment and transportation concerns. [Penny Vennare, Event Supervisor; Barbara Smorul, Concierge.]
DAULER HEARING LOOP to be used with hearing aid telecoil settings, portable assistive listening devices are available. Please see the ushers for assistance or contact the box office for the best locations for using the hearing loop. DRESS CODE for all concerts is at your personal discretion and ranges from dress and business attire to casual wear. ELEVATOR is located next to the Grand Staircase.
EMERGENCY CALLS can be referred to the concierge desk at 412.392.2880.
FIRE EXITS are to be used ONLY in case of an emergency. If the fire alarm is activated, follow the direction of Heinz Hall ushers and staff to safely evacuate the theater.
LOST AND FOUND items can be retrieved by calling 412.392.4844 on weekdays from 10 a.m. to 5 p.m. MOBILE DEVICES should be turned off and put away upon entering the theater.
PHOTOGRAPHY, video, or audio recording of the performance is prohibited at all times, unless otherwise noted.
PRE-PAID PARKING is available to all ticketholders in the Sixth & Penn garage across from Heinz Hall. Ask about prepaid parking when you order your tickets.
MEN’S AND WOMEN’S RESTROOMS are located on the Lower, Grand Tier and Gallery levels. Additional women’s restrooms are located off the Garden and Overlook rooms. Accessible restrooms are located on the Grand Tier level and a family/accessible restroom is available on the Main Floor.
GROUPS can receive discounted tickets, priority seats, personalized service and free reception space. For more information, call 412.392.4819 or visit our website at SMOKING is not permitted pittsburghsymphony.org/groups for in Heinz Hall. The garden is information. accessible during performances for this purpose. LATECOMER’S GALLERY is located behind the Main Floor SUPPORTING THE PSO to enjoy the performance until you AND HEINZ HALL can be seated. Latecomers will be is critical to the financial future of the seated at suitable intervals during Pittsburgh Symphony. Ticket sales the program, at the discretion of only cover a portion of our operating the conductor. The gallery is also costs. To make a tax-deductible gift, available for parents with please contact our Development restless children. department at 412.392.4880 or visit us online at pittsburghsymphony.org LOCKERS are located on the Lower and Gallery levels.
PITTSBURGHSYMPHONY.ORG 2021-2022 SEASON
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