DVORÁK’S
S Y MPHON Y Nathalie Stutzmann, conductor Daniel Lozakovich, violin
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ALEXI KENNEY plus La mer
Matthias Pintscher, conductor Alexi Kenney, violin
MAY 20 & 22, 2022 • HEINZ HALL
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May 6, 7 & 8 program.........................................................................9 May 6, 7 & 8 program notes..............................................................10 Nathalie Stutzmann biography.........................................................16 Collaboration with Carnegie Museum of Art....................................17 Daniel Lozakovich biography............................................................18 May 20 & 22 program.......................................................................21 May 20 & 22 program notes.............................................................22 Collaboration with Carnegie Museum of Art....................................28 Matthias Pintscher biography...........................................................29 Alexi Kenney biography....................................................................30 Pittsburgh Symphony Orchestra biography......................................31 EVERY GIFT IS INSTRUMENTAL Individuals........................................................................................32 Corporate Partners ............................................................................38 Foundations & Public Agencies........................................................39 Legacy of Excellence..........................................................................40
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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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We are proud to return as the title sponsor of BNY Mellon Grand Classics. The Pittsburgh Symphony Orchestra is one of Pittsburgh’s great cultural institutions. BNY Mellon and the Orchestra share a long history in the Pittsburgh community and a commitment to its people. We’re honored to work again with a world class orchestra distinguished by its artistic excellence to bring you the 2021-2022 BNY Mellon Grand Classics season. Enjoy the show! Sincerely,
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Photo: Dave Bryce Photography
BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, MAY 6, 2022 AT 8:00 P.M. SATURDAY, MAY 7, 2022 AT 8:00 P.M. SUNDAY, MAY 8, 2022 AT 2:30 P.M.
Nathalie Stutzmann, conductor Daniel Lozakovich, violin Missy Mazzoli
Sinfonia (for Orbiting Spheres)
Johannes Brahms
Concerto in D major for Violin and Orchestra, Opus 77 I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace Mr. Lozakovich Intermission
Antonín Dvořák
Symphony No. 9 in E minor, Opus 95, “From the New World” I. Adagio — Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco
Zenas Hsu, Guest Concertmaster
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PROGRAM 2021-2022 SEASON
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MISSY MAZZOLI (born in 1980)
Sinfonia (for Orbiting Spheres) (2013 rev. 2016)
Missy Mazzoli is a gifted artist of wide-ranging talents whose works, according to her publisher, the distinguished New York firm of G. Schirmer, “reflect a trend among composers of her generation to combine styles, writing music for the omnivorous audiences of the 21st century.” Mazzoli was born in 1980 in the Philadelphia suburb of Abington and studied at Boston University, Yale University School of Music and Royal Conservatory of the Hague; her composition teachers included Louis Andriessen, Martijn Padding, Richard Ayres, David Lang, Martin Bresnick, Aaron Jay Kernis, Charles Fussell, Richard Cornell, Martin Amlin and John Harbison. Mazzoli taught composition at Yale in 2006 before serving for the next three years as Executive Director of the MATA Festival in New York, an organization dedicated to promoting the work of young composers; in 2010, she was appointed to the faculty of New York’s Mannes College of Music. At New York’s Kaufman Music Center in 2016, Mazzoli and composer Ellen Reid established the Luna Composition Lab, a mentorship program and support network for female-identifying, nonbinary and gender-nonconforming composers ages 12-18. Missy Mazzoli is also active as a pianist, often performing with Victoire, an ensemble she founded in 2008 to play her own compositions; the group has released two CDs that have earned positive reviews from both the classical and indie rock communities. Mazzoli was a Composer-Educator Partner with the Albany Symphony in 2011-2012, and has held additional residencies with the Gotham Chamber Opera, Music Theatre-Group and Opera Philadelphia, which premiered her Breaking the Waves, based on Lars von Trier’s Cannes Grand Prix-winning 1996 film of the same name, in September 2016; it won the Music Critics Association of North America Award for that year’s Best New Opera. In June 2018, Mazzoli began a threeyear tenure as Mead Composer-in-Residence with the Chicago Symphony Orchestra. Three months later, it was announced that she and Jeanine Tesori had been commissioned to write new works for the Metropolitan Opera, the first women ever commissioned by the Met. In 2019, Mazzoli received her first Grammy nomination for Best New Classical Composition, for Vespers for Violin and Electronic Soundtrack, recorded by violinist Olivia De Prato. She was named 2022 Composer of the Year by the influential trade journal Musical America, and has received many other honors and grants, and fulfilled commissions from such noted ensembles, institutions and artists as the Kronos Quartet, Young People’s Chorus of New York City, Carnegie Hall, Los Angeles Philharmonic, Whitney Museum of Art, cellist Maya Beiser and pianist Emanuel Ax. Sinfonia (for Orbiting Spheres) was originally composed for chamber orchestra in 2013 on a commission from the Los Angeles Philharmonic and premiered by that ensemble under the direction of Gustavo Dudamel on April 8, 2014; the work was revised for full orchestra three years later and first heard in that version on February 12, 2016 in a performance by the Boulder Philharmonic Orchestra conducted by its Music Director, Michael Butterman. Mazzoli wrote that Sinfonia (for Orbiting Spheres) is “music in the shape of a solar system, a collection of Rococo loops that twist around each other within a larger orbit. The word ‘sinfonia’ refers to Baroque works for chamber orchestra but also to the old Italian term for a hurdy-gurdy, a medieval stringed instrument with constant, wheezing drones that are cranked out under melodies played on an attached keyboard. It’s a piece that churns and roils, that inches close to the listener only to leap away at breakneck speed, in the process transforming the ensemble into a makeshift hurdy-gurdy, flung recklessly into space.” 10
JOHANNES BRAHMS (1833-1897)
Concerto in D major for Violin and Orchestra, Opus 77 (1878)
“The healthy and ruddy colors of his skin indicated a love of nature and a habit of being in the open air in all kinds of weather; his thick straight hair of brownish color came nearly down to his shoulders. His clothes and boots were not of exactly the latest pattern, nor did they fit particularly well, but his linen was spotless.... [There was a] kindliness in his eyes ... with now and then a roguish twinkle in them which corresponded to a quality in his nature which would perhaps be best described as good-natured sarcasm.” So wrote Sir George Henschel, the singer and conductor who became the first Music Director of the Boston Symphony Orchestra, of his friend Johannes Brahms at the time of the composition of his Violin Concerto. Brahms at 45 was coming into the full efflorescence of his talent and fame. The twenty-year gestation of the First Symphony had finally ended in 1876, and the Second Symphony came easily only a year later. He was occupied with many songs and important chamber works during the years of the mid-1870s, and the two greatest of his concertos, the B-flat for piano and the D major for violin, were both conceived in 1878. Both works were ignited by the delicious experience of his first trip to Italy in April of that year, though the Piano Concerto was soon laid aside when the Violin Concerto became his main focus during the following summer. After the Italian trip, he returned to the idyllic Austrian village of Pörtschach (site of the composition of the Second Symphony the previous year), where, he wrote to the critic Eduard Hanslick, “the air so bristles with melodies that one has to be careful not to tread on them.” The Violin Concerto was written at Pörtschach for Brahms’ old friend and musical ally, Joseph Joachim. In August, when the sketches for the new work were almost completed, Brahms sent a draft of the solo part to Joachim for his advice on the technical aspects of the violin writing with the following note: “I wanted you to correct it — and I didn’t want you to have any excuse of any kind: either that the music is too good [to be changed] or that the whole score isn’t worth the trouble. But I shall be satisfied if you just write me a word or two, and perhaps write a word here and there in the music, like ‘difficult,’ ‘awkward,’ ‘impossible,’ etc.” Joachim took great pains in examining the score (his notated copy is still in the State Library in Berlin), and passed his advice on to Brahms who, rather obstinately, ignored most of it. Brahms, whose instrument was the piano rather than the violin, made a few changes in the musical aspects of the score, but left the sometimes ambiguous string notation largely untouched, a circumstance that has caused considerable interpretative difficulties for other violinists. Brahms originally envisioned the Violin Concerto as a four-movement work. He composed a scherzo and a slow movement for it, but decided to jettison them for reasons he never revealed. “The middle movements have gone, and of course they were the best!” he wrote. He was probably being facetious about the quality of the discarded music because he continued, “But I have written a poor Adagio for it instead,” referring to one of the most beautiful slow movements in the orchestral literature. The fate of the unused movements has never been exactly determined. The scherzo may have ended up as material for the Second Piano Concerto; the Adagio may have been the basis of the present one in the Violin Concerto; or both movements may have been lost amid the aborted plans for a second violin concerto. (Brahms was rigidly systematic in destroying sketches he did not want others to see.) His revisions proved effective, and after the Concerto was launched, he wrote to his publisher, Simrock, “It is well to be doubted whether I could write a better concerto.” The Concerto made its way slowly onto the world’s concert stages. Joachim programmed the work PROGRAM NOTES 2021-2022 SEASON
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regularly as part of his tours, but others were reluctant to take on the imposing technical and musical challenges of the score. Hans von Bülow, a sensitive pianist and conductor who should have known better, dubbed this “a concerto not for the violin, but against the violin.” There is no question about the difficulties of the score, especially those that its double-stops and wide skips impose on the left-hand technique of the soloist, but, with familiarity, the rigors of the work were not only conquered but relished by virtuosos. As with many of Brahms’ large works, audiences considered this one somewhat dry and pedantic at first, and even the composer’s staunch advocate, the noted critic Eduard Hanslick, found little to praise in it. The integration of violinist and orchestra into a virtual “symphony with solo instrument” did not allow the empty pyrotechnics that listeners expected from a Romantic concerto, and the Violin Concerto took some getting used to. Get used to it listeners did, however, and today Brahms’ Violin Concerto is regarded as one of the two greatest works in the form ever written, matched only by that of Beethoven. English musicologist Hubert Foss wrote of the style of the Violin Concerto, “Of all Brahms’ major works, this is the one that shows in the highest degree of perfection the reconciling of the two opposites of his creative mind — the lyrical and the constructive: Brahms the song writer and Brahms the symphonist.” Though the wealth of formal detail is an inexhaustible treasure that is best appreciated only after many hearings, the work’s sonorous beauty, opulent harmony and rich lyricism make an immediate appeal to the listener. The first movement is constructed on the lines of the Classical concerto form, with an extended orchestral introduction presenting much of the movement’s main thematic material before the entry of the soloist. The group of themes comprises several ideas that are knitted to each other by the rich contrapuntal flow. They are stately in rhythm and dignified in character, and allow for considerable elaboration when they are treated on their return by the soloist. The last theme, a dramatic strain in stern dotted rhythms, ushers in the soloist, who plays an extended passage as transition to the second exposition of the themes. This initial solo entry is unsettled and anxious in mood and serves to heighten the serene majesty of the main theme when it is sung by the violin upon its reappearance. A melody not heard in the orchestral introduction, limpid and almost a waltz, is given out by the soloist to serve as the second theme. The vigorous dotted-rhythm figure returns to close the exposition, with the development continuing the agitated aura of this closing theme. The recapitulation begins on a heroic wave of sound spread throughout the entire orchestra. After the return of the themes, the bridge to the coda is made by the soloist’s cadenza. (Curiously, Brahms did not write his own cadenza for this movement but allowed the soloist to devise one. Joachim provided a cadenza, as have more than a dozen others — including Kreisler, Heifetz, Busoni and Tovey — and it is his that is most often heard in performance.) With another traversal of the main theme and a series of dignified cadential figures, this grand movement comes to an end. The rapturous second movement is based on a theme that the composer Max Bruch said was derived from a Bohemian folk song. The melody, intoned by the oboe, is initially presented in the colorful sonorities of wind choir without strings. After the violin’s entry, the soloist is seldom confined to the exact notes of the theme, but rather weaves a rich embroidery around their melodic shape. The central section of the movement is cast in darker hues, and employs the full range of the violin in its sweet arpeggios. The opening melody returns in the plangent tones of the oboe accompanied by the continuing widely spaced chords of the violinist. The finale is an invigorating dance whose Gypsy character pays tribute to the two Hungarian-born violinists who played such important roles in Brahms’ life: Eduard Reményi, who discovered the talented Brahms playing piano in the bars of Hamburg and first presented him to the European musical community; and Joseph Joachim. The movement is cast in rondo form, with a scintillating tune in double stops as the recurring theme. This movement, the only one in this Concerto given to overtly virtuosic display, forms a memorable capstone to one of the greatest concerted pieces of the 19th century. 12
ANTONÍN DVOŘÁK (1841-1904)
Symphony No. 9 in E minor, Opus 95, “From the New World” (1892-1893)
When Antonín Dvořák, aged 51, arrived in New York on September 27, 1892 to direct the new National Conservatory of Music, both he and the institution’s founder, Mrs. Jeanette Thurber, expected that he would help to foster an American school of composition. He was clear and specific in his assessment: “I am convinced that the future music of this country must be founded on what are called Negro melodies. They can be the foundation of a serious and original school of composition to be developed in the United States.... There is nothing in the whole range of composition that cannot find a thematic source here.” Dvořák’s knowledge of this music came from Henry Thacker Burleigh, an African-American song writer and student of his who sang the traditional melodies to the enthralled composer. Burleigh later recalled, “There is no doubt that Dr. Dvořák was very deeply impressed by the Negro spirituals from the old plantation. He just saturated himself in the spirit of those old tunes, and then invented his own themes.” The “New World” Symphony was not only Dvořák’s way of pointing toward a truly American musical idiom but also a reflection of his feelings about his own country. “I should never have written the Symphony as I have,” he said, “if I hadn’t seen America,” but he added in a later letter that it was “genuine Bohemian music.” There is actually a reconciliation between these two seemingly contradictory statements, since the characteristics that Dvořák found in Burleigh’s indigenous American music — pentatonic (five-note) scales, modal minor keys with a lowered seventh degree, rhythmic syncopations, frequent returns to the central key note — are common to much folk music throughout the world, including that of his native Bohemia. Because his themes for the “New World” Symphony drew upon these cross-cultural qualities, to Americans, they sound American; to Czechs, they sound Czech. The “New World” Symphony is unified by the use of a motto theme that occurs in all four movements. This bold, striding phrase, with its arching contour, is played by the horns as the main theme of the sonata-form opening movement, having been foreshadowed (also by the horns) in the slow introduction. Two other themes are used in the first movement: a sad, dance-like melody for flute and oboe that exhibits folk characteristics, and a brighter tune, with a striking resemblance to Swing Low, Sweet Chariot, for the solo flute. Many years before coming to America, Dvořák had encountered Longfellow’s epic poem The Song of Hiawatha, which he read in a Czech translation. The great tale remained in his mind, and he considered making an opera of it during his time in New York. That project came to nothing, but Hiawatha did have an influence on the “New World” Symphony: the second movement was inspired by the forest funeral of Minnehaha; the third, by the dance of the Indians at the feast. That the music of these movements has more in common with the old plantation songs than with the chants of native Americans is due to Dvořák’s mistaken belief that African-American and Indian music were virtually identical. The second movement is a three-part form (A–B–A), with a haunting English horn melody (later fitted with words by William Arms Fisher to become the folksong-spiritual Goin’ Home) heard in the first and last sections. The recurring motto here is pronounced by the trombones just before the return of the main theme in the closing section. The third movement is a tempestuous scherzo with two gentle, intervening trios providing contrast. The motto theme, played by the horns, dominates the coda. PROGRAM NOTES 2021-2022 SEASON
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The finale employs a sturdy motive introduced by the horns and trumpets after a few introductory measures in the strings. In the Symphony’s closing pages, the motto theme, Goin’ Home and the scherzo melody are all gathered up and combined with the principal subject of the finale to produce a marvelous synthesis of the entire work — a look back across the sweeping vista of Dvořák’s musical tribute to America. PROGRAM NOTES BY DR. RICHARD E. RODDA
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BIOGRAPHY 2021-2022 SEASON
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NATHALIE STUTZMANN Nathalie Stutzmann has just been announced as Atlanta Symphony’s Music Director from the start of the 2022/23 season, becoming only the second woman in history to lead a major American orchestra after Marin Alsop. In addition, this season she begins her position as the Philadelphia Orchestra’s new Principal Guest Conductor. The three-year tenure will involve a regular presence in the orchestra’s subscription series in Philadelphia and at its summer festivals in Vail and Saratoga. Finally, Nathalie is also entering the fourth season of a highly successful tenure as Chief Conductor of the Kristiansand Symphony Orchestra, a tenure which has just been extended by a further two seasons, to the end of 22/23. Nathalie Stutzmann is considered one of the most outstanding musical personalities of our time. Charismatic musicianship, combined with unique rigour, energy and fantasy, characterise her style. A rich variety of strands form the core of her repertoire: Central European and Russian romanticism is a strong focus — ranging from Beethoven, Schumann, Brahms and Dvořák through to the larger symphonic forces of Tchaikovsky, Wagner, Mahler, Bruckner and Strauss — as well as French 19th century repertoire and impressionism. Highlights from her partnership with the Kristiansand Symphony Orchestra include acclaimed performances of Bruckner’s Symphony No. 7, Tchaikovsky’s Symphony No.6 and a complete cycle of Beethoven’s symphonies.
Photo credit: Simon Fowler
this season and the next include performances with the London Symphony Orchestra, Vienna Symphony, Hamburg NDR Elbphilharmonie Orchestra, Oslo Philharmonic, Helsinki Radio Symphony, Minnesota Orchestra, Pittsburgh Symphony and San Francisco Symphony.
Having also established a strong reputation as an opera conductor, she was scheduled to make her Metropolitan Opera debut this fall (cancelled due to Covid-19) and has led celebrated productions of Wagner’s Tannhäuser in Monte Carlo and Boito’s Mefistofele in Provence. She will conduct a new production of Tchaikovsky’s Queen of Spades in Brussels’ La Nathalie was also Principal Guest Conductor Monnaie next year. of the RTE National Symphony Orchestra of Ireland 2017-2020. Her sold-out performances Nathalie started her studies at a very young age with the RTE NSO in Dublin attracted in piano, bassoon, cello and studied conducting outstanding accolades from the press, with with the legendary Finnish teacher Jorma particular praise for her performances of Panula. She was mentored by Seiji Ozawa and Strauss’s Also sprach Zarathustra, Tchaikovsky’s Sir Simon Rattle who says that “Nathalie is the Symphony No. 5, and Mahler’s complete Das real thing. So much love, intensity and sheer Knaben Wunderhorn. technique. We need more conductors like her”. As a guest conductor, Nathalie will begin the season 21/22 with the Atlanta Symphony Orchestra, Orchestre de Paris, Royal Stockholm Philharmonic and the Philadelphia Orchestra. Other guest conducting highlights 16
Also one of today’s most esteemed contraltos, she has done more than 80 recordings and received the most prestigious awards. Her newest album released in January 2021, Contralto, was awarded of Scherzo’s ‘Exceptional’ seal, Opera
Magazine’s Diamant d’Or and radio RTL’s Classique d’Or. She is an exclusive recording artist of Warner Classics/Erato. Nathalie was named “Chevalier de la Légion d’Honneur”, France’s highest honor, and
“Commandeur dans l’Ordre des Arts et des Lettres” by the French government. These performances mark Nathalie Stutzmann’s debut with the Pittsburgh Symphony.
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. “I have touched with a sense of art some people—they felt the love and the life. Can you offer me anything to compare to that joy for an artist?” - Mary Cassatt Celebrate the women in your life this Mother’s Day with Pittsburgh-born artist, Mary Cassatt. Cassatt explored art worlds rarely traversed by women. She exhibited with the Impressionists and created a prolific and respected body of work. Among her most well-known works are images of women and children sharing tender moments. The composition and rendering of this aquatint were inspired by an exhibition of Japanese prints Cassatt visited in Paris in 1890.
Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO
MARY CASSATT, THE BANJO LESSON, CA. 1893, CARNEGIE MUSEUM OF ART
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DANIEL LOZAKOVICH Daniel Lozakovich, whose majestic musicmaking leaves both critics and audiences spellbound, was born in Stockholm in 2001 and began playing the violin when approaching seven years of age. He made his solo debut two years later with the Moscow Virtuosi and Vladimir Teodorovič Spivakov. Lozakovich now regularly performs with such orchestras as the Orchestre National de France, Orchestre de Paris, Orchestre National du Capitole de Toulouse, Gothenburg Symphony Orchestra, Royal Stockholm Philharmonic Orchestra, Swedish Radio Symphony Orchestra, Orchestre de la Suisse Romande, Orchestra Sinfonica Nazionale della RAI, Orquestra Gulbenkian and the Münchner Philharmoniker. He collaborates the world’s eminent conductors including Semyon Bychkov, Christoph Eschenbach, Valery Gergiev, Neeme Järvi, Cristian Măcelaru, Klaus Photo credit: Leif Efimov Mäkelä, Andris Nelsons, Vasily Petrenko, Lahav Shani, Tugan Sokhiev, Esa-Pekka Salonen, Mariinsky Theatre. On tour he has appeared at Nathalie Stutzmann, Krzysztof Urbański and Elbphilharmonie Hamburg, Concertgebouw Amsterdam and the Konzerthaus Wien. Lorenzo Viotti. Lozakovich is regular at international music Recent highlights include Lozakovich’s return festivals, including the Verbier Festival, Sommets invitation to the Boston Symphony Orchestra in Musicaux de Gstaad, Festival Rotterdam, White subscription with Andris Nelsons, his New York Nights Festival of St. Petersburg, Moscow Easter debut at the Mostly Mozart Festival with Louis Festival, Tsinandali Festival, Festival de Pâques Langrée, debuts with The Cleveland Orchestra – Aix- en-Provence, Schleswig-Holstein Musik with Mäkelä and the Los Angeles Philharmonic Festival, Tanglewood Music Festival, Blossom with Salonen. Notable touring highlights Music Festival and the Pacific Music Festival. include engagements in Japan and Asia with Lozakovich enjoys collaborations with the likes Valery Gergiev, and the hr-Sinfonieorchester of Ivry Gitlis, Emanuel Ax, Renaud Capuçon, under Andrés Orozco-Estrada. A remarkable Shlomo Mintz, Mikhail Pletnev, Denis Matsuev, 2021/2022 season includes Lozakovich’s Khatia Buniatishvili, George Li, Seong-Jin Cho, debut with the Chicago Symphony Orchestra, Martin Fröst and Maxim Vengerov. Pittsburgh Symphony Orchestra, The Philadelphia Orchestra, London Philharmonic Orchestra and Oslo Philharmonic. He returns to orchestras including Orchestre National de France, where he opens their season under Măcelaru, WDR Sinfonieorchester Köln, and Orchestre Philharmonique de Monte-Carlo.
Aged 15, Lozakovich signed an exclusive recording contract with Deutsche Grammophon, and in 2018 released his debut album of Bach’s violin concerti and the solo partita No. 2. The album reached number 1 in the music category of the French Amazon charts and the classical album charts in Germany. “None but the A highly sought after recitalist, having performed lonely heart”, Lozakovich’s second album, was in some of the world’s most prestigious released in 2019. Dedicated to Tchaikovsky, it venues, Lozakovich has made appearances at includes the Violin Concerto, and the disc was the Théâtre des Champs-Élysées, Fondation recorded live with the National Philharmonic Louis Vuitton, Tonhalle Zürich, Victoria Hall of Russia and Spivakov. Lozakovich’s third Geneva, Conservatorio G. Verdi Milan and the album, released in 2020, centres on the Beethoven Violin concerto, again recorded live, 18
with the Münchner Philharmoniker, together with Lozakovich’s close artist partner and the orchestra’s Chief Conductor, Valery Gergiev, and released as an audio album and e-video, in the 250th Beethoven anniversary year. An incredibly significant project to Lozakovich, who regards the concerto as one of the alltime greatest concerti ever written, the album reached the streaming release charts on Spotify and Tidal. Lozakovich has been awarded many prizes including 1st prize at the 2016 Vladimir Spivakov International Violin Competition and “The Young Artist of the Year 2017” award at the Festival of Nations, the Premio Batuta
Award in Mexico, and the Excelentia Prize under the honorary presidency of Queen Sofia of Spain. Lozakovich studied at the Hochschule für Musik Karlsruhe with Professor Josef Rissin from 2012, and from 2015 has been mentored by Eduard Wulfson in Geneva. Daniel Lozakovich plays the “ex-Baron Rothschild” Stradivari on generous loan on behalf of the owner by Reuning & Son, Boston, and Eduard Wulfson and plays the Stradivarius Le Reynier (1727), generously loaned by LVMH Moët Hennessy Louis Vuitton. These performances mark Daniel Lozakovich’s debut with the Pittsburgh Symphony.
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BIOGRAPHY 2021-2022 SEASON
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RAY CHEN
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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, MAY 20, 2022 AT 8:00 P.M. SUNDAY, MAY 22, 2022 AT 2:30 P.M.
Matthias Pintscher, conductor Alexi Kenney, violin Maurice Ravel
Ma Mère l’Oye (“Mother Goose”), Ballet in One Act I. Prelude II Spinning Wheel Dance III. Pavane of the Sleeping Beauty — Interlude IV. Conversations of Beauty and the Beast — Interlude V. Hop o’ My Thumb — Interlude VI. Laideronnette, Empress of the Pagodas — Interlude VII. Apotheosis: The Fairy Garden
Claude Debussy
La mer (The Sea), Three Symphonic Sketches I. De l’aube à midi sur la mer (“From Dawn to Noon on the Sea”) II. Jeux de vagues (“Play of the Waves”) III. Dialogue du vent et de la mer (“Dialogue of the Wind and the Sea”)
Intermission
Concerto No. 2 for Violin and Orchestra I. Allegro non troppo II. Andante tranquillo III. Allegro molto Mr. Kenney
Béla Bartók
Maurice Ravel
Alborada del gracioso (“Morning Song of the Jester”)
Zenas Hsu, Guest Concertmaster
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MAURICE RAVEL (1875-1937)
Ma Mère l’Oye (“Mother Goose”), Ballet in One Act (composed for piano in 1908, orchestrated 1911)
“I would settle down on his lap, and tirelessly he would begin, ‘Once upon a time ...’ It was Beauty and the Beast and The Ugly Empress of the Pagodas, and, above all, the adventures of a little mouse he invented for me. I laughed a great deal at this last story; then I felt remorseful, as I had to admit it was very sad.” So Mimi Godebski reminisced in later years about the visits of Maurice Ravel to her family’s home during her childhood. Ravel, a contented bachelor, enjoyed these visits to the Godebskis, and took a special delight in playing with the young children — cutting out paper dolls, telling stories, romping around on all fours. Young Mimi and her brother Jean were in the first stages of piano tutelage in 1908, and Ravel decided to encourage their studies by composing some little pieces for them portraying their favorite fairy stories. Ravel based his music on four traditional tales: Sleeping Beauty, Hop o’ My Thumb, Empress of the Pagodas and Beauty and the Beast. To these he added an evocation of The Fairy Garden as a postlude. In 1911, he made a ravishing orchestral transcription of the original five pieces, added to them a prelude, an opening scene and connecting interludes, and produced a ballet with a scenario based on the Sleeping Beauty story for the Théâtre des Arts in Paris. The production, though it quickly disappeared from the boards, was successful at the premiere, and its warm charm led the celebrated dancer Nijinsky, who was in the audience, to tell Ravel, “It’s like dancing at a family party.” Such child-like miniatures as comprise Ma Mère l’Oye were much to Ravel’s impeccable taste. Hardly over five feet tall, he was most comfortable in surroundings that were small in scale, and precisely managed. Lawrence Davies wrote, “The suite can be regarded as the equivalent of the dwarf trees, tiny glass models and china ornaments that filled the composer’s diminutive room [in his home].” Especially in the dazzling translucence of the orchestral transcription that the composer provided for the ballet, these tiny tone paintings display the polish, balance and logic that led Stravinsky to admiringly describe their creator as “a Swiss watchmaker.” To properly evoke the youthful naïveté of the fantasy tales, Ravel composed in a deliberately simplified style, characterized by suave melody and luscious, atmospheric harmony untouched by rhythmic or textural complexities.
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The opening Prelude and Dance of the Spinning Wheel present the Princess Florine, who pricks her finger on a spindle and falls into a deep sleep. The tiny Pavane of the Sleeping Beauty, only twenty measures long, summons the Good Fairy, who watches over the Princess during her somnolence. An interlude leads to the Conversations of Beauty and the Beast. Ravel prefaced this scene with lines from the tale as interpreted by Marie Leprince de Beaumont in 1757: “ ‘When I think how good-hearted you are, you do not seem to me so ugly.’ ‘Yes, I have, indeed, a kind heart; but I am a monster.’ ‘There are many men more monstrous than you.’ ‘If I had wit, I would invent a fine compliment to thank you, but I am only a beast.’ ‘Beauty, will you be my wife?’ ‘No, Beast!’ ‘I die content since I have the pleasure of seeing you again.’ ‘No, my dear Beast, you shall not die; you shall live to be my husband!’ The Beast had disappeared, and she saw at her feet only a prince more beautiful than Love, who thanked her for having broken his enchantment.” This piece, influenced by a certain Satie-esque insouciance, is among the most graphic in Ravel’s output. The high woodwinds sing the delicate words of the Beauty, while the Beast is portrayed by the lumbering contrabassoon. At first the two converse, politely taking turns in the dialogue, but after their betrothal, both melodies are entwined, and finally the Beast’s theme is transfigured into a floating wisp in the most ethereal reaches of the solo violin’s range.
Following an Interlude, Hop o’ My Thumb treats the old legend taken from Perrault’s anthology of 1697. “A boy believed,” noted Ravel of the tale, “that he could easily find his path by means of the bread crumbs which he had scattered wherever he passed; but he was very much surprised when he could not find a single crumb: the birds had come and eaten everything up.” The strings meander through scales as the boy wanders through the woods, with a few of his aviary nemeses returning to scavenge for the last morsels of bread. Laideronnette, Empress of the Pagodas depicts a young girl cursed with ugliness by a wicked fairy. According to Ravel’s inscription, “She undressed herself and went into the bath. The pagodas [grotesque little figures made of porcelain, crystal or precious jewels] began to sing and play on instruments; some had theorbos [large lutes] made of walnut shells; some had viols made of almond shells; for they were obliged to proportion the instruments to their figures.” This tale, too, has a happy ending in which the Empress’ beauty is restored. The music, introduced by a lovely interlude featuring the harp, is decidedly oriental in character, and is playable in the original version almost entirely on the black keys of the piano. The rapt, introspective splendor of the closing Fairy Garden is not derived from a particular story, but is Ravel’s masterful summation of the beauty, mystery and wonder that pervade Ma Mère l’Oye. Its tranquil, shimmering serenity is matched among Ravel’s works only by some pages from the opera L’Enfant et les sortilèges, his other masterwork inspired by a vision of childhood. During this final scene of the ballet, Prince Charming awakens Princess Florine with a kiss, and all the characters gather around the royal couple as the Good Fairy bestows her blessing. Roland-Manuel, the composer’s friend and biographer, wrote of Ma Mère l’Oye, “By virtue of a privilege which he shared with the greatest creative artists, the composer never lost, in his obstinate determination to acquire technical mastery, that fresh sensibility which is the privilege of childhood and is normally lost with advancing years. He retained intact a freedom of imagination and an artless power.... Ma Mère l’Oye shows us the secret of his profound nature and the soul of a child who has never left fairyland, who does not distinguish between the natural and the artificial, and who appears to believe that everything can be imagined and made real in the material world, if everything is infallibly logical in the mind.”
CLAUDE DEBUSSY (1862-1918)
La mer, Trois Esquisses Symphoniques (The Sea, Three Symphonic Sketches) (1903-1905)
“You may not know that I was destined for a sailor’s life and that it was only quite by chance that fate led me in another direction. But I have always held a passionate love for the sea.” With these lines written on September 12, 1903 to the composer-conductor André Messager, Debussy prefaced the notice that he had begun work on La Mer. Debussy’s father was a sailor and his tales of vast oceans and exotic lands held Claude spellbound as a boy. A family trip to Cannes when he was seven years old was Claude’s first experience of the sea, and it ignited his life-long fascination with the thoughts and moods evoked by moving water. Twenty years later, in 1889, he discovered an aspect of the sea very different from the placid one he had seen on the resort beaches of the Mediterranean. In early June of that year, he was traveling with friends along the coast of Brittany. Their plans called for passage in a fishing boat from Saint-Lunaire to Cancale, but at the time they were scheduled to leave a threatening storm was approaching and the captain advised canceling the PROGRAM NOTES 2021-2022 SEASON
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trip. Debussy insisted that they sail. It turned out to be a dramatic, storm-tossed voyage with no little danger to crew and passengers. Debussy relished it. “Now there’s a type of passionate feeling that I have not before experienced — Danger! It is not unpleasant. One is alive!” he declared. These early experiences of the sea — one halcyon, the other threatening — were to be captured years later in La Mer. Debussy began work on La Mer in the summer of 1903 at the vacation house of his in-laws at Bichain in the Burgundian countryside, far from the coast. To André Messager he wrote a rather startling explanation for this geographical curiosity: “You will say that the ocean does not exactly wash the Burgundian hillsides — and my seascapes might be studio landscapes; but I have an endless store of memories and, to my mind, they are worth more than the reality, whose beauty often deadens thought.” At another time he claimed that “the sight of the sea itself fascinated me to such a degree that it paralyzed my creative faculties.” In addition to the memories of his own direct experience of the ocean, Debussy brought to La Mer a sensitivity nourished by his fascination with visual renderings of the sea. He was certainly in sympathy with the Impressionistic art of his French contemporaries, but more immediate inspiration for this particular work seems to have come from the creations of two foreign artists — the Englishman Turner, whom Debussy called “the finest creator of mystery in art,” and the Japanese Hokusai. A selection of Turner’s wondrous, swirling sea paintings, as much color and light as image, had been shown in Paris in 1894 and were probably seen there by Debussy. Eight years later, during the 1902-1903 Turner exhibit at London’s National Gallery, Debussy again sought out these brilliant canvases, and this visit may have been the catalyst for creating La Mer. (A half century before Debussy, Turner experienced the violence of the sea first-hand when he had himself lashed to a ship’s mast during a furious storm just to see what it was like.) Japanese sea- and landscapes were popular in Paris during the 1890s as a result of their introduction there at the Universal Exhibition of 1889, whose most famous souvenir is the Eiffel Tower. The exquisite drawings of Katsushika Hokusai (1760-1849) so pleased Debussy that he chose one of them, The Hollow of the Wave off Kanagawa, to grace the cover of the full score of La Mer. Debussy was never a fast worker in his large compositions, and La Mer was some two years in the making. It was written largely in Paris and other land-locked locales, but the finishing touches were applied (at 6:00 p.m. on March 5, 1905, according to the manuscript) at the fashionable English seaside resort of Eastbourne. “The sea rolls with a wholly British correctness,” he observed. “There is a lawn combed and brushed on which little bits of important and imperialistic England frolic. But what a place to work! No noise, no pianos, except for the delicious mechanical pianos; no musicians talking about painting, no painters discussing music. In short, a pretty place to cultivate egoism.” The premiere had been offered to Camille Chevillard and the Concerts Lamoureux almost a year before the work was finished, and a date for the first performance was set in the fall of 1905. When the orchestra received the parts, they were found to have been poorly proof-read and were aglare with mistakes. Chevillard complained also of the difficulty of the new piece, but Debussy was reluctant to withdraw the work from him and give it to the superior Concerts Colonne lest he create a row. The composer did not get much support from the Lamoureux players, either. Stravinsky recalled Debussy telling him, “The violinists flagged the tips of their bows with handkerchiefs at the rehearsals, as a sign of ridicule and protest.” It is little wonder that the premiere on October 15, 1905 was a lackluster occasion which created little stir in the Parisian musical community. If the uninspired performance by Chevillard was not enough to dampen the success of the premiere, Paris also seems to have been repaying Debussy for what it considered the moral outrage of abandoning his first wife, Rosalie Texier, the previous year for Emma Bardac, a gifted amateur singer and the wife of a noted financier as well as the former mistress of Gabriel Fauré. The rumors that his 24
affection had been bought by a woman of wealth still circulated when La Mer was given, and Louis Laloy said that the premiere’s success was clouded because “prudish indignation had not yet been appeased, and on all sides people were ready to make the artist pay dearly for the wrongs that were imputed to the man.” La Mer created considerably more stir when the composer conducted it at the Concerts Colonne on January 19, 1908. The cheers and applause of the composer’s supporters mingled with the hisses and catcalls of the anti-Debussyists for a quarter of an hour before the violinist Jacques Thibaud could begin the Bach Chaconne as the next piece on the program. A performance of La Mer in London a fortnight later was greeted with enthusiasm, and the work has remained steadily in the orchestral repertory ever since as one of the great masterpieces of the early 20th century. La Mer marked an important advance in Debussy’s style of composition. “Without in any way abandoning the delicate sensitivity of his earlier works (creating delightful impressionistic pictures out of atmospheric vibrations) which is perhaps unequaled in the world of art, his style has today become more concise, definite, positive, complete, in a word, classical,” wrote Louis Laloy after hearing the work at its premiere. The three movements of La Mer, despite their modest subtitle of “symphonic sketches,” are carefully integrated to form a single, unified composition, unlike the trio of independent musical essays which constitutes the Nocturnes, completed six years before. There is a certain technical and structural validity in David Cox’s assertion that La Mer is “the best symphony ever written by a Frenchman.” This is, however, a symphony in the modern, expanded sense, which “lacks those fixed points which can be recognized in the description of the traditional symphony and to which can be related details of departure from, as well as conformity with, the familiar patterns. It is not feasible to refer to tonalities, since there is a kind of incessant modulation. To attempt to particularize thematic material is also futile, because of equally incessant transformations,” assessed Oscar Thompson in his study of the composer. It is just this ineffable balancing of traditional with innovative qualities that makes the music of Debussy continually fascinating. The opening movement is titled De l’aube à midi sur la mer (“From Dawn to Noon on the Sea”). Its form, built around the play of thematic and rhythmic fragments rather than conventional melodies, is perfectly suited to expressing the changing reflections of the morning sun in the air, clouds and water. Though Erik Satie quipped that he liked the part at quarter to eleven the best, there is no specific program in this music other than a general progression from the mysterious opening of first light to the full blaze of the noon sun shining in the luminous brass chorale at the movement’s end. Jeux de vagues (“The Play of the Waves”) is a brilliant essay in orchestral color, woven and contrasted with the utmost evocative subtlety. “The sea has been very good to me,” wrote Debussy shortly before finishing La Mer. “She has shown me all her moods.” Many of them found their way into this piece. The finale, Dialogue du vent et de la mer (“Dialogue of the Wind and the Sea”), reflects the awesome power of the sea as well as its majesty. Lines from a letter that Debussy wrote in 1915 seem an appropriate complement to this music: “Trees are good friends, better than the ocean, which is in motion, wishing to trespass on the land, bite the rocks, with the anger of a little girl — singular for a person of its importance. One would understand it if it sent the vessels about their business as if they were only disturbing vermin.” Fragments of themes from the first movement are recalled in the finale to round out this magnificent tonal panorama by a composer who believed that “[Music] is a free art, gushing forth — an open-air art, an art boundless as the elements, the wind, the sky, the sea!”
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BÉLA BARTÓK (1881-1945)
Concerto No. 2 for Violin and Orchestra (1937-1938)
Certain composers throughout history have taken special delight in providing their creations with a many-layered and carefully balanced musical structure. The great 15th-century Flemish master Johannes Ockeghem wrote some of the most hauntingly beautiful and solemnly inspirational music of the Renaissance. His listeners probably never suspected that in one particular Mass, all four voices were derived from a single melody sung simultaneously in four different meters and four different modes. In his monumental The Art of Fugue, J.S. Bach produced some twenty fugues of great variety all based on a single theme. Beethoven’s best music shows an integration from its smallest detail to its largest formal level. To this line of the foremost masters of musical structure must be added the name of Hungary’s greatest composer, Béla Bartók. With the exceptions of only Brahms and Webern, no composer after Beethoven wrote works of more profound formal integrity than Bartók. His compositions seem to be monumentally unified, even on first hearing, by the way in which each grows from measure to measure, an organic process that gives unity and cohesion to a work. (The first movement of Beethoven’s Symphony No. 5 is the archetypal example of such organic growth.) The opening movement of Bartók’s Music for Strings, Percussion and Celesta, for example, is a fugue in which not only the theme itself but also the pitches of successive entries, the range, the instrumentation, and the dynamics all exhibit interlocking arch structures. His Fifth Quartet is symmetrical around the third of its five movements. Other of his works show relationships to the Golden Section and the Fibonacci Series. Does all of this intellectual abstraction, then, mean that the music of Bartók (and Beethoven and Bach and Ockeghem) is nothing more than a mathematical game, the solution to some sonic puzzle? The answer is a resounding, unshakably humanistic “NO!” In Bartók’s own words, “I cannot conceive of music that expresses absolutely nothing.” The Violin Concerto (1938) fulfills Bartók’s twin demands for formal logic and emotional expression. When originally asked by Zoltán Székely to write a concerto, Bartók conceived a singlemovement work in variation form. The violinist, however, insisted on a traditional three-movement concerto, so the composer revised his scheme — in part. Székely got his three movements, but Bartók still got his way. In a marvelous structural plan, he constructed the second movement as six variations on a plaintive theme influenced by the Eastern European folk songs to which he devoted so many years of study and collection. Bartók’s variation technique was not just limited to the second movement, however. He actually made the finale, section by section, a variation of the opening movement, thereby giving the effect of something apparently new to close the Concerto but with a distinct sense of déjà vu. The first movement themes are therefore heard a total of four times, each one subtly transformed from the one before: once each in the exposition and recapitulation of the first movement, and once each in the similar places in the finale. Yet for all of its careful and involved structure, this Concerto possesses great emotional expression, beautiful sonorities and memorable folk-inspired themes. It is music that satisfies both our spiritual and intellectual needs, making it a worthy companion to the masterpieces in the concerto form by Beethoven, Brahms, Mendelssohn, Berg and Prokofiev.
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MAURICE RAVEL (1875-1937)
Alborada del gracioso (“Morning Song of the Jester”) (composed for piano in 1905; orchestrated 1918)
The alba, or “song at dawn,” is one of music’s most ancient forms — the earliest extant example, from the repertory of the troubadours of Provence in southern France, dates from the 11th century. These poems dealt with a lover’s departure in the early morning after a night spent with his beloved, and are often cast in the form of a dialogue between the lover and a watchman who warns of approaching danger. (Wagner revived the form in the second act of Tristan und Isolde, during which Brangäne alerts the fated couple of King Marke’s return.) As the alborada, it was later taken over by the musicians of Galicia in northern Spain, who made of it a type of dance played on a rustic oboe, called a dulzaina, accompanied by a small drum. Ravel, a native of the Basque region of southern France that shares many aspects of its cultural heritage with its Spanish neighbors, knew the alborada and other Spanish music, and he incorporated its spirit and style into several of his important works, including the Alborada del Gracioso, the fourth of five pieces written in 1905 for the piano suite Miroirs. In 1918, he made a glittering orchestral transcription of the Alborada, first heard the following year at a concert of the Pasdeloup Orchestra. “The title Miroirs,” Arbie Orenstein wrote, “implies an objective, though personal, reflection of reality, and each composition is pictorial to some extent.” The picture Ravel painted in the outer sections of Alborada del Gracioso is one of thrumming guitars ringing across a sun-baked landscape: vibrant rhythms shifting with subtle allure between complementary metric patterns; harmonies full of spice and color; orchestral sonorities evoking the guitar’s steely brilliance. However, the soulful bassoon solo of the central section of this miniature tone poem calls forth another image — the gracioso, or Spanish “clown” or “jester.” The gracioso was a popular character in the Spanish theater who was depicted by Calderón and Lope de Vega as the fool in love in the household of a noblemen. The jester soon forgets his love, however, and the scintillating music of the opening returns to bring Ravel’s Alborada del Gracioso to a whirling conclusion.
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. “It is extraordinary to see the sea; what a spectacle! She is so unfettered that one wonders whether it is possible that she again become calm.” - Claude Monet Writers, musicians, artists, and intellectuals met and mingled in 19th century Paris. This cross-pollination gave rise to new ideas including Impressionism. Debussy shunned the title even though the softness and sensuality of his music helped to define it. Monet embraced it to describe his visual expression of the world. Despite their individual leanings, both found inspiration in the sea. Debussy, who translated the mood that water could convey into musical notes, had a life-long love of the sea beginning with his sailor father. Monet, as indicated by the quote, had a visceral reaction to viewing the sea in front of him. Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO
CLAUDE MONET, THE SEA AT LE HAVRE, 1868, CARNEGIE MUSEUM OF ART
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MATTHIAS PINTSCHER Matthias Pintscher is the Music Director of the Ensemble Intercontemporain in Paris. In 2020/21, Pintscher also began a three-season appointment as the Cincinnati Symphony Orchestra’s new Creative Partner. Known equally as one of today’s foremost composers, Pintscher’s works are frequently commissioned and performed by major international orchestras. Matthias Pintscher opened his 21/22 season as the “Theme Composer” of Suntory Hall’s 2021 festival, including the world premiere of his work neharot which he conducted with the Tokyo Symphony Orchestra. In January 2022, his violin concerto written for Leila Josefowicz, Assonanza II, will be premiered by the Cincinnati Symphony under Pintscher’s baton. He makes debuts in 21/22 with the Pittsburgh Symphony, Staatskapelle Dresden, Lahti Symphony, and Musikkollegium Winterthur. He returns to the Houston Symphony, Indianapolis Symphony, Orchestre de la Suisse Romance, Barcelona Symphony, Orchestre Philharmonique de Radio France, Netherlands Radio Philharmonic Orchestra at the Holland Festival, Academy of the Berlin Philharmonic, and the Boulez Ensemble. In recent seasons, Pintscher has begun to conduct staged operas, and in 21/22 will return to the Staatsoper Unter den Linden in Berlin to lead Lohengrin, for which he gave the production’s premiere the prior season.
Photo credit: Franck Ferville
Pintscher began his musical training in conducting, studying with Pierre Boulez and Peter Eötvös in his early twenties, during which time composing soon took a more prominent role in his life. Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. His works have been performed by such orchestras as the Boston Symphony, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra, Royal Concertgebouw Orchestra, and the Orchestre de Paris, among many others. He is published Pintscher has held many titled positions, exclusively by Bärenreiter. Pintscher has been most recently as the BBC Scottish Symphony on the composition faculty of the Juilliard Orchestra’s Artist-in-Association for nine School since 2014. seasons. In 2018/19, he served as the Season Creative Chair for the Tonhalle-Orchester These performances mark Matthias Pintscher’s Zürich, as well as Artist-in-Residence at the debut with the Pittsburgh Symphony. Los Angeles Chamber Orchestra. He was Principal Conductor of the Lucerne Festival Academy Orchestra from 2016-2018.
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ALEXI KENNEY The recipient of a 2016 Avery Fisher Career Grant and a 2020 Borletti-Buitoni Trust Award, Alexi Kenney is building a career that defies categorization, following his interests, intuition, and heart. He is equally at home creating experimental programs and commissioning new works, soloing with major orchestras in the USA and abroad, and collaborating with some of the most celebrated musicians of our time. In the 2021/22 Season, Alexi debuts as soloist with the Pittsburgh Symphony, Orchestra de la Suisse Romande, Virginia Symphony, Reno Philharmonic, Eugene Symphony, and New Haven Symphony, returns to the Indianapolis Symphony, California Symphony, and Santa Fe Symphony, and appears at Wigmore Hall, Princeton University Concerts, Philadelphia Chamber Music Society, and with the Chamber Photo credit: Mike Grittani Music Society of Lincoln Center. He also performs duo concerts with harpist Bridget Kibbey, and as a member of Owls, a new quartet Chamber music continues to be a major part of collective with violist Ayane Kozasa, cellist Gabe Alexi’s life, performing at festivals including Cabezas, and cellist-composer Paul Wiancko. Bridgehampton, Caramoor, ChamberFest Cleveland, Chamber Music Northwest, Festival In 2021, Alexi released his first recording, Napa Valley, La Jolla, Ojai, Kronberg, Music@ Paul Wiancko’s X Suite for Solo Violin, Menlo, Ravinia, and Spoleto, as well as on accompanied by a visual album that pairs each tour with Musicians from Marlboro and the of the seven movements of X Suite with seven Chamber Music Society of Lincoln Center. contemporary sculptures, filmed on location at the Donum Estate in Sonoma, California. Born in Palo Alto, California in 1994, Alexi is a graduate of the New England Conservatory in In recent seasons, Alexi has performed as Boston, where he received his Artist Diploma soloist with the Detroit Symphony, St. Paul as a student of Miriam Fried and Donald Chamber Orchestra, Sarasota Orchestra, Weilerstein. Previous teachers include Wei He, Orchestre de Chambre de Lausanne, and Jenny Rudin, and Natasha Fong. He plays a in a play-conduct role as guest leader of the violin made in London by Stefan-Peter Greiner Mahler Chamber Orchestra. He has played in 2009 and a bow by François-Nicolas Voirin. recitals at Wigmore Hall, on Carnegie Hall’s ‘Distinctive Debuts’ series, Lincoln Center’s Outside of music, Alexi enjoys hojicha, bauhaus Mostly Mozart Festival, the Philadelphia interiors, baking for friends, and walking for Chamber Music Society, Phillips Collection, miles on end in whichever city he finds himself, 92nd Street Y, Mecklenberg-Vorpommern listening to podcasts and Bach on repeat. Festival, and the Isabella Stewart Gardner Museum. Winner of the 2013 Concert Artists These performances mark Alexi Kenney’s Guild Competition and laureate of the 2012 solo subscription debut with the Pittsburgh Menuhin Competition, Alexi has been profiled Symphony. by Musical America, Strings Magazine, and The New York Times, and has written for The Strad.
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THE PITTSBURGH SYMPHONY ORCHESTRA Now in its 126th season, the Pittsburgh Symphony Orchestra is credited with a rich history of engaging the world’s finest conductors and musicians and demonstrates a genuine commitment to the Pittsburgh region and its citizens. Known for its artistic excellence for more than a century, the Pittsburgh Symphony has been led by its worldwide acclaimed Music Director Manfred Honeck since 2008; past music directors have included Fritz Reiner (1938-1948), William Steinberg (1952-1976), André Previn (1976-1984), Lorin Maazel (1984-1996) and Mariss Jansons (1997-2004).
broadcasts. Manfred Honeck and the Pittsburgh Symphony Orchestra have received multiple GRAMMY® nominations for Best Orchestral Performance, taking home the award in 2018 for their recording of Shostakovich: Symphony No. 5; Barber: Adagio. As early as 1936, the Pittsburgh Symphony has been broadcast on the radio. The orchestra has received increased attention since 1982 through national network radio broadcasts on Public Radio International, produced by Classical WQED-FM 89.3, made possible by the musicians of the Pittsburgh Symphony Orchestra.
The Pittsburgh Symphony is continually at the forefront of championing new American works. The Orchestra premiered Leonard Bernstein’s Symphony No. 1 “Jeremiah” in 1944, John Adams’ Short Ride in a Fast Machine in 1986, and Mason Bates’ Resurrexit in 2018 to celebrate Manfred Honeck’s 60th birthday.
Lauded as the Pittsburgh region’s international cultural ambassador, the orchestra began regular touring in 1896 and has embarked on scores of domestic and international tours. In 2019, Music Director Manfred Honeck led the orchestra on an extensive tour of Europe, the 25th in orchestra history.
The two-time 2018 GRAMMY® Award- In the 2021-2022 season, the Pittsburgh winning orchestra has a long and illustrious Symphony will celebrate the 50th anniversary history in the areas of recordings and live radio of Heinz Hall as the home of the orchestra.
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PROVIDING GREAT MUSIC IN EVERY LIFE We thank our entire donor family for supporting our vision of Great Music in Every Life. As we celebrate 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 April 20, 2022. MAESTRO’S CIRCLE $100,000 +
Vivian & Bill Benter Tony & Linda Bucci Mr. & Mrs. J. Christopher Donahue Bob & Joan Peirce Pittsburgh Symphony Association & Affiliates Cheryl & Jim Redmond Mr. & Mrs. John T. Ryan III Dick & Ginny Simmons Jon & Carol Walton BENEFACTOR’S CIRCLE
CHAIRMAN’S CIRCLE $20,000 - $24,999
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FOUNDER’S CIRCLE
CHAIRMAN’S CIRCLE
$50,000 - $99,999
$25,000 - $49,999
Anonymous (2) Pat & Michele Atkins Cynthia Bognar Ada Davis & Joseph Spirer Ms. Geraldine A. Kort Deac Dr. James H. & Mary E. Duggan in Memory of Mary A. Duggan Mark F. & Mary McKinney Flaherty The Akers Gerber Family Tom & Dona Hotopp Audrey R. Hughes 32
Gina Elisa Laite, M.D. Mr. & Mrs. David McCormick Nancy & Bill Rackoff Diana Reid & Marc Chazaud Alece & David Schreiber Drs. Satbir & Shalu Singh Jim Spencer & Michael Lin Tom & Jamee Todd Mike & Melia Tourangeau Helge & Erika Wehmeier Harvey Weissman & Louise Eckman
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Myah & Jaime Irick David & Marcia Kneupfer Barbara Krause & Larry King Mr. & Mrs. Michael J. Maglio Kent & Martha McElhattan Susan & Marty McGuinn Janet & Donald Moritz Gerald Lee Morosco & Paul Ford, Jr. Martha & Richard Munsch Nancy N. & Maurice A. Nernberg Elliott S. Oshry Richard E. & Alice S. Patton DIRECTOR’S CIRCLE Dr. Tor Richter in memory of $10,000 - $14,999 Elizabeth W. Richter Anonymous Marcia & Gerald Rubenstein Bridgett & Marty Bates Millie & Gary Ryan Susan & David Brownlee The David S. & Karen A. Barbara & David Burstin Shapira Foundation Nancy Scarton Chaplin The Sieber Family Charles C. Cohen & Michele Jody & John Sperry M. McKenney Robert & Janet Squires Jeff and Tara Craft Benjamin & Jo Statler Elliot & Beth Davis Matt & Alyssa Tokorcheck Brian & Carol Duggan Mr. & Mrs. Thomas J. Usher Mrs. Orlie S. Ferretti Theo & Pia van de Venne Rebecca & Oliver Finney Rachel M. Walton Clifford & Tracy Forrest Markus Weber & Donna Dina J. Fulmer Soave Weber Bruce & Ann Gabler Mr. & Mrs. Michael Weir Mr. Murry S. Gerber James* & Susanne Dr. & Mrs. C. Bernie Good Wilkinson Frank & Angela Grebowski Robert & Carole* Williams Marcia M. Gumberg* John Wong Marnie & Jim Haines Dr. & Mrs. Merrill F. Wymer Manfred & Christiane Honeck Elizabeth S. Hurtt
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AMBASSADOR’S CIRCLE
$7,500 - $9,999
$2,500 - $4,999
Mrs. Ronald E. Gebhardt Alice V. Gelormino Patrick A. Gray Anonymous (2) Caryl & Irving Halpern Mr. Juanjo Ardid & Ms. Amalia Auge Gail & Greg Harbaugh Mr. & Mrs. Michael Berger Rev. Diana D. Harbison Don & Judy Borneman Mr. & Mrs. Edward J. Harris in honor of Lisa Gedris & Kathryn & Michael Bryson Ellen Chen-Livingston Debra Caplan & David Adam and Justine Hofmann Levenson MD Mr. David Holmberg Philip J. & Sherry S. Dieringer Mr. & Mrs. Joseph M. Jackovic Edith H. Fisher Farnam & Teresa Jahanian Mr. James Gorton & Mrs. Gretchen Van Hoesen Marge Kane Dan* & Gwen Hepler Dr. Barbara Kuhns & Constance Ritter Alice Jane Jenkins Patricia Duke LeClere D. H. Lee, Jr. Janet R. Markel Mr. & Mrs. Thomas McConomy Dr. Arthur S. Levine & Ms. Linda S. Melada Jean S. McLaughlin George & Bonnie Meanor Patrick & Alice Loughney Rock & Jennifer MaglebyMr. & Mrs. Sam Michaels Lambert Lori & Louis Plung Elizabeth Mays Pinchas & Aviva Rosenberg Dick & Bonnie McMicken Nancy Schepis Mr. & Mrs. Steven C. Thomas Marilyn Meltzer James & Susan Morris Mr. and Mrs. Paul O’Neill CONDUCTOR’S CIRCLE Susan & Chris Pappas $5,000 - $7,499 Drs. Albert W. & Barbara R. Connie & Mike Phillips Dr. & Mrs. William R. Biglan Poller in honor of our five Marian & Bruce Block grandchildren Eva Tansky Blum Mr. & Mrs. William F. Ted & Kathie Bobby Roemer Ms. Spencer Boyd Joan Scheinholtz* Hugh & Jean Brannan Dr. & Mrs. Harry & Linda Dr. Bron & Mr. Levin Serene Mr. Charles R. Burke Jr. Michael Shefler Gail & Rob Canizares Brian P. Simmons Dr. Owen Cantor Mr. & Mrs. D.J. Song Cyrus & Kimberly Daboo Mr. Frederick Steinberg Randi Dauler Mr. Douglas Stirling Angela & Mike DeVanney Joel & Maria Swanson Lisa & Martin Earle Diane & Dennis Unkovic Jean & Sigo Falk Ginevra Felice Ventre Dr. Lawrence* & Joan Ferlan Mr.* & Mrs. James P. Welch Curt & Kim Fleming Nozomi Williams Mary Louise & Henry J. Gailliot
Dr. Mary Beth Adams Andrea & David Aloe Jane C. Arkus in memory of James V. Callomon Matthew & Anne Atwood Philip & Melinda* Beard David & JoAnn Beaudreau Mr. & Mrs. G. Nicholas Beckwith III Martha L. Berg Diane L. Berman Lawson Bernstein, MD Robert S. Bernstein & Ellie K. Bernstein Fund Bozzone Family Foundation Sue & Mark Breedlove Lawrence R. Breletic & Donald C. Wobb Mr. & Mrs. Howard Bruschi The Burkholder Foundation 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 Joan & Jim Darby George & Ada Davidson Alison H. & Patrick D. Deem Richard P. Dum & Donna S. Hoffman Mr. Frank R. Dziama George D. Ehringer Marie S. Emanuel Dr. Edward L. Foley Chauncey & Magdaline Frazier 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 In memory of Joseph Hinchliffe Mr. & Mrs. C. Talbott Hiteshew, Jr. Karen & Thomas Hoffman Clare & Jim Hoke Philo Holcomb Walker P. Holloway Mr. & Mrs. Robert A. Izzo Dr. & Mrs. Jeffrey B. Jackson Blair & Lynne Jacobson Gail G. Jenkins Diane & Howard Jernigan Barbara Johnstone 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 John & Mary Adele Krolikowski In memory of Magdalene Kuczynski Lewis & Alice Kuller Susan Oberg Lane Judith Lave Cele & Mike Levine Dr. Michael Lewis & Dr. Katia Sycara Elsa Limbach Pat & Don MacDonald Neil & Ruth MacKay Mrs. Kate Watson MacVean Mr. & Mrs. Robert P. Malnati Dr. Harry K. Williams Jr. & Dr. Sheri A. Mancini Mrs. John Marous Jennifer & James Martin
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Dr. Richard H. Martin In Memory of Mrs. Lori Martin Donna & Stephen Maxwell Alan & Marilyn McIvor Bill R. Maurer & Carol J. McKenzie Mark & Amy Mendicino Donald & Nancy Middleton 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 Dr. Paul M. Palevsky & Dr. Sharon R. Roseman Robert & Lillian Panagulias Pam & Seth Pearlman Richard E. Rauh Mr. Gene Reiness in memory of Diane Mary A. Reynolds Mr. & Mrs.* Frank Brooks Robinson Janice G. Rosenberg Drs. Guy & Mary Beth Salama Jolie Schroeder Preston & Annette Shimer Dr. Ralph T. Shuey & Ms. Rebecca L. Carlin Dennis & Susan Slevin 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 Janie & Harry Thompson Anthony & Jan Tomasello
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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 Janet Fesq Mr. & Mrs. Anthony Fonseca Michael & Nina Gaffney ENCORE CLUB Mrs. Lauren Gailey $1,750 - $2,499 Keith Garver Anonymous (5) Matthew & Deborah Garvic Kathryn Albers & Brian Revs. Gaylord & Catherine Davis Gillis J.R. Ambrose & Eliza Swann William & Victoria Guy Rev. Drs. A. Gary & Judy Dale & Susanne* Hershey Angleberger Dr. Benjamin E. Hicks Ms. Elaine Armstrong Douglas & Antionette Hill Brian Ashton Micki F. Huff Mr. Francis A. Balog & Dr. Hyman Family Foundation Paula Bonino Mary Lee & Joe* Irwin Richard C. Barney Edward W. Jew Jr. MD Robert & Loretta Barone Gloria Kleiman Mr. and Ms. Jonathan Berdyck Ms. Kathy J. Krause Joan & Keith Bernard Dr. & Mrs. Howard N. Lang Dr. Michael & Barbara Anne Lewis Bianco John & Cathy Mary Michael E. Bielski Barbara & Mark Matera Mr. & Mrs. James H. Mary A. McDonough Bregenser Kenton* & Florence Mr. & Mrs. Paul R. Bridges McElhattan Jill & Chuck Brodbeck Alice & Bob Moore Ms. Mary Patricia Brown Amy & Ira* M. Morgan Gary & Judy Bruce Dr. Harvey M. Morris Mr. Milton W. Burkart* & Dr. Dr. & Mrs. Etsuro K. Patricia K. Burkart Motoyama Linda B. Burke Dr. & Mrs. Donald D. Mr. & Mrs. Frank V. Naragon Cahouet* David & June Nimick Dr. Marco Cavagna and Dr. Linda & Jim Northrop Christine Garnett Suzanne & Richard Paul Christine & Howard Cohen Dr. Gail Pesyna & Dr. John Mr. and Mrs. Eugene Hooper Colleran David & Marilyn Posner Dr. & Mrs. Richard H. Mrs. Mildred M. Posvar Daffner Wesley Posvar Jamini Vincent Davies Lois A. Pruitt 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
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 Ms. Mary E. Russell Mrs. John M. Sadler Dr. James R. Sahovey Mr. & Mrs. Dan D. Sandman Molly & Ferd Sauereisen Esther Schreiber George & Marcia Seeley Shiv Sethi Rev. Terry Shaffer & Rev. Beth Nelson Lee & Myrna Silverman 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. Mandy Ticknor 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 (8) Alan L. & Barbara B. Ackerman Deborah L. Acklin David & Barbara Allen Ms. Lois Appel
Myron Arnowitt & Nancy Niemczyk Dr. and Mrs. Egil Aukrust Marion & Bob Auray Dr. & Mrs. Alan Axelson 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 Phil & Bernice Bollman W. Dennis & Penny Bossick Stephanie Bozic Myles & Joan Bradley Mary & Jeff Bragdon Matthew & Leslie Braksick Gerda & Abe Bretton Mary & Russell Brignano Mr. Michael Broniszewski Barbara A. Brooks Anna C. Brophy Lisa Brown James Bruce Dr. Lisa Brush Michael F. Butler Dr. Raymond Capone Jr. & Dr. M. Clarke Stephen & Helen Hanna Casey Dr. & Mrs. Charles D. Cashdollar Carlo & Poma Caso Deborah & David Chapman Ms. Mary Lou Christie Jo-Ann M. Churchill Ron & Dorothy Chutz Nancy & Stan Cieslak Judy Clough Stuart & Cathryn Coblin Kevin & Janis Colbert Alan & Lynne Colker
Estelle Comay & Bruce Rabin Lin & Anne Cook Susan & George Craig Mary Ann Craig, D.M.E. John Oliver & Sylvia Dallas Marion S. Damick Mr. G. Douglas Davidson & Ms. Sharee Stout Mr. Deicke The Steven Della Rocca Memorial Fund/Courtenay A. Hardy George & Eileen* Dorman Michel & Christine Douglas Ms. Christine L. Dvonch Barbara & Bob* Egan Albert E. Eckert Rhoda S. Eligator Jack & Mary Jo Elliott Eugene & Katrin* Engels In memory of Ruth & Emil Feldman by Joan Feldman & family Mr. & Mrs. Gregory S. Finerty Lawrence Frolik & Ellen Doyle Elaine & John Frombach Mr. Frank B. Fuhrer III Jennifer & Richard Gallo Kathleen Gavigan & William B. Dixon* Mike & Cordy* Glenn Richard A. Gloyer & Michelle M. Rossi Dr. Maya GoldinPerschbacher & Mark Manetti Christine Hartung Emily E. Heidish Dr. & Mrs. John B. Hill David G. & Carolyn S. Hills Dr. Leslie A. Hoffmann 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 Dr. Jerome M. Itzkoff & Dr. Barbara Zawadski Kate Jackson 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 Ms. Marilyn Koch Karen F. Krenitsky Walter & Kathleen Labys Mr. William Lawrence, III Mr. & Mrs. Kenneth Lehn Harry & Lisa Levinson Mrs. William E. Lewellen, III Sandi & Jim Linaberger Ken & Hope Linge Mr. Daniel Lloyd 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 Mr. Edward A. Massarsky & Ms. Sylvia Slavkin Thomas & Elizabeth Massella Dale & Dr. Marlene* McCall Mrs. Jon W. McCarter Dr. Patrick McCulloch Mrs. Samuel K. McCune Mrs. Ann McGuinn Mr. & Mrs. William J. Mehaffey
Mr. and Mrs. Mark Mendlow Karen Merry Robert D. Mierley Family Foundation II Joan Miles & Clifford Bob Mr. Robert Milner Amy Minter Robert & Christine Misback Mrs. Huma Mohiuddin Bernard Moncla & Sharon Hillier 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 Dr. & Mrs. Arthur Palmer Irina & Daniel Peris Kears & Karen Pollock Dr. Margaret Ragni & Dr. Frederick Porkolab Barbara Powers Mrs. Michelle Rabb Bryan Rall James Rebel Patricia A. Richards & William K. Nichols Rick & Kim Roadarmel Shereen & Paul Rosenberg Mr. & Mrs. Byron W. Rosener Harvey & Lynn Rubin Richard & Linda Ruffalo Mr. & Mrs. Edmund S. Ruffin III Shirley & Murray Rust Drs. Michael F. Scheier & Karen Matthews Ann & Bill Scherlis Joseph Schewe, Jr. Steven Schlossman & Stephanie Wallach Jonathan & Veronica Schmerling
PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON
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Shirley G. Schneirov Patricia S. Schroder Carl Schultz Robert J. & Sharon E. Sclabassi Dr. Charles H. Shultz Rhoda & Seymour* Sikov Paul & Linda Silver 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 Mr. and Mrs. John Stenson Dr. Ron & Nancy Stoller Mona & E.J. Strassburger Mrs. and Mr. Beth Svendsen Stu & Liz Symonds in Memory of Roger Sherman Mary Anne Talotta Drs. Margaret Tarpey & Bruce Freeman Gordon & Catherine Telfer Mary Lloyd Thompson Mr. & Mrs. William T. Tobin 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
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Patricia Weiss Mr. & Mrs. Fred C. Wellinger Mr. & Mrs. Ronald D. West Arthur & Barbara Westerberg Ron Wetzel Harton Wolf Sheryl K. & Bruce M. Wolf Family Foundation Drs. Barry & Iris Wu Naomi Yoran Maureen Young Anne & Sam Zacharias Dr. & Mrs. Victor Zakowski SYMPHONY CLUB $600 - $999
Anonymous (6) Barbara K. Abraham Jerry Agin & Terri Denmon Mr. Jorge Alba The Albert Family Mr. Francisco Alvarez John Atkinson Donna L. Balewick MD Bob & Martha Ball Robert W. & Janet W. Baum 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 Eric & Betsy Boughner Debbie & Jim Boughner Jim & Mary Bouwkamp Mary & Montgomery Brown Mr. Nicholas Brozack James L. Bryant Drs. Clare & James Budd Roger & Cynthia Bush Rosaria Capezzuto Dr. Brad Carmichael Dr. & Mrs. Daniel R. Casper Stephen C. Cenedella
Janet E. Chadwick Susan B. Clancy Clifton & Nicole Clark Gail D. Coates Laurence P. Comden Tom & Stephanie Conroy J. Kent & Merle Culley Cynthia Custer Norina H. Daubner Joan Clark Davis Dr. Richard S. DeLuca Edward U. De Persis Lucy & John Douglas Mr. Roger Dubois Leslie Oden Dunn 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 Mr. & Mrs. Scott Gorham Ken & Laura Gormley The Graf Family Lori Greene & Chris Decker Margaret L. Groninger Mark Gudalis Wendy Roehrich Hall Mrs. Kathy B. Harenski Dr. & Mrs. Fred P. Heidenreich Ms. Jean Herrity Ms. Madeleine Hombosky Anne Houck Derek & Nan Hought Mr. Lyndall Huggler & Dr. Elizabeth Seiders Mrs. Elwood T. Hughes Rob & Linda Indovina
David L. Johnson Tom & Cathie Johnson Joshua Jun & Chloe Chung David & Nora Kemp Peggy C. Knott Marilyn & Brett Kranich Mr. Nicholas Kyriazi Amy Jo Labi-Carando & Peter M. Carando James & Julie Lewis Dr. Jinghong Liang in Memory of Professor Richard Green George & Roxanne Libby Eddie Lowy & Ricardo Cortés Henry J. Mader Giulio & Barbara Magrini Dr. Bernard Mallinger Virginia M. Mance 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 Mr. & Mrs. Frank Namisnak Rev. Robert* & Suzanne Newpher Dr. Paula Novelli and Mr. Paul Lee Mrs. Penny Page Sang C. Park Camilla Brent Pearce Daniel Perlongo & Susan Wheatley Ms. Alice J. Pescuric Frances & Bert Pickard Mr. & Mrs. Jon R. Piersol
David F. Pressau Mr. & Mrs. Mark & Frances Prus Mr. Pavel Puchkarev Maureen Puskar & Angelo Baiocchi Fran Quinlan Dr. Jane Raymond 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 Bob & Lori Shure Martin Siefering Steven Silberman Jenny & George Siple Michele & Brian Skwirut Nellie Lou Slagle Mr. & Mrs. Charles L. Smithers Ronald F. Smutny
Janet H. Staab Jim & Judy Stark Mr. & Mrs. William H. Stone Jr. Peter Su & Karen Van Dusen Richard A. Sundra, in Loving Memory of Patricia Sundra Charles J. Sylak, Jr. Kevin & Elisa Taffe Carol L. Tasillo Miss Elora Tighe Father James Torquato Dr. & Mrs. James E. Vaux Janet Verone Marilyn & Joseph Vettorazzi Mr. & Mrs. Charles E. Vogel Edward L. & Margaret Vogel
Dr. Michael & Clare Vranesevic Nancy J. Vuckovich Lucile Weingartner Arlene & Richard Weisman Mr. & Mrs. Robert Wild Mark Wilson & Kathleen Cook Lynn & Robert Wix Toby Wolfe Dr. Audrey Zelkovic Mr. & Mrs. David M. Zimba
Garden & Patio Tour Shadyside and Squirrel Hill
Sunday, June 26 11am-4pm TICKETS: pittsburghsymphonyassociation.org 412.392.3303
PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON
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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 Modany-Falcone Inc. Nemacolin Woodlands Resort and Spa PGT Trucking Inc. Pittsburgh Wool Company Inc. Pzena Investment Management, LLC Saint Vincent Archabbey $1,000-$2,499 Saint Vincent College Armada Supply Chain Sarris Candies Inc. Solutions Vibrant Pittsburgh Austrian American Cultural VisitPITTSBURGH Society, Inc. W. J. Beitler Co. General Wire Spring Company Warren Associates George Jackson Promotions Current as of April 26, 2022 German American Chamber Of Commerce, We would like to thank all Pittsburgh Chapter corporations who contribute to the HB Reynolds Inc. Pittsburgh Symphony Orchestra & HICO America Heinz Hall. Please see our website at pittsburghsymphony.org for a MacLachlan, Cornelius complete listing. & Filoni Architects & Planners Is your company McKamish, Inc. Mitsubishi Electric Power missing from this Products, Inc. list? Call Becky Rickard Nocito Enterprises at 412.392.2207 Streams Elementary School PTA to become a TriState Capital Bank Corporate Partner! 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
PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON
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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 Anonymous (23) Mary Beth Adams Siamak* & Joan Adibi Rev. Drs. A. Gary & Judy Angleberger The Joan & Jerome Apt* Families Estate of Dorothy Avins Estate of Ruth Z. & James B. Bachman Ronald Bachowski* in Memory of Lois Bachowski Francis A. Balog Lorraine E. Balun Estate of Barbara A. Bane Robert & Loretta Barone Robert W. & Janet W. Baum 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 Estate of Joseph Bookmyer 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 40
Estate of Mr. & Mrs. William C. Hurtt L. Van V. Dauler, Jr.* Philo & Erika* Holcomb & Randi Dauler Mr. & Mrs. Blair Jacobson Alan Derthick* Esther G. Jacovitz In Memory of Stuart William Patricia Prattis Jennings Discount Mr. & Mrs. Robert S. Kahn* Mr. & Mrs. Thomas J. Estate of Calliope H. Kamaras Donnelly* Daniel G. & Carole L. Kamin Mary A. Duggan* Leo* & Marge Kane Dr. James H. Duggan Lois S. Kaufman Frank R. Dziama Stephen & Kimberly Keen Estate of Robert B. Egan Steven G. & Beverlynn Elliott Estate of Patricia M. Kelley Mr. Arthur J. Kerr, Jr. Estate of Doris Ely Ms. Bernadette Kersting Katrin* & Eugene Engels Dr. Laibe A. & Sydelle Kessler* Anthony Fabio* Estate of Elizabeth Krotec Dr. John H. Feist* Howard & Carol Lang Emil & Ruth Feldman* Stanley & Margaret Leonard Joan Feldman & William Adams Frances F. Levin* Estate of Ruth K. Fischer Doris L. Litman Mrs. Loti Gaffney* Estate of Edward D. Loughney Keith Garver Estate of John Keith Maitland Alice V. Gelormino Lauren & Hampton Mallory Estate of Arlyn Gilboa Mr. & Mrs. Robert P. Malnati Ken* & Lillian Goldsmith Elizabeth-Ann Manchio* Mr. & Mrs. Ira H. Gordon* Dr. Richard Martin in Memory of Mrs. Lori Martin* Estate of Anna R. Greenberg Dale & Dr. Marlene* McCall Estate of Lorraine M. Gross Stephen McClure & Debra Gift Estate of Elizabeth A. Gundelfinger John W. McDonald, Jr.* Maureen Guroff George E. Meanor Kristine Haig & John Estate of Mary Michaely Sonnenday Mary Ellen Miller Marnie & Jim Haines Ms. Jean L. Misner* Elizabeth Anne Hardie Catherine Missenda* Charles & Angela Hardwick Dr. Mercedes C. Monjian Estate of John P. Harman Mr. & Mrs. Paul J. Mooney Edward J. Harris Alice & Bob Moore Carolyn Heil Perry* & BeeJee Morrison Eric & Lizz Helmsen Mildred S. Myers & William C. William & Jacqueline Herbein Frederick* Monica & Adam Hertzman Estate of Katherine L. Nash Ms. Judith Hess Donn & Peggy* Neal Estate of Mr. John H. Hill Rhoda & Bill Neal Tom & Dona Hotopp Dr. Nancy Z. Nelson Susan Candace Hunt 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 Beth Fabiani Scaggs 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 Estate of Stuart W. Siegel 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 David & 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 ENDOWED CHAIRS Principal Horn Chair, given by an Anonymous Donor
Principal Pops Conductor Chair Endowed by Henry & Elsie Hillman
The Morrison Family Associate Principal Second Violin Chair
Cynthia S. Calhoun Principal Viola Chair
Milton G. Hulme, Jr. Guest Conductor Chair given by Mine Safety Appliances Company
Virginia Campbell Principal Harp Chair
Susan Candace Hunt Cello Chair
Jackman Pfouts Principal Flute Chair, given in memory of Mr. & Mrs. Arthur Jackman by Barbara Jackman Pfouts
Lois R. Brozenick Memorial First Violin Chair Jane & Rae Burton Cello Chair
Dr. Mary Ann Craig Principal Tuba Chair Randi & L. Van V. Dauler, Jr. President & CEO Chair
Pittsburgh Symphony Association Mr. & Mrs. Benjamin F. Jones III Principal Cello Chair Guest Keyboard Chair Reed Smith Chair honoring Virginia Kaufman Tom Todd Resident Conductor Chair Horn Chair
George & Eileen Dorman Stephen & Kimberly Keen Assistant Principal Cello Chair Bass Chair
Snapp Family First Violin Chair
Albert H. Eckert Associate Principal Percussion Chair
Dr. & Mrs. William E. Rinehart* Oboe Chair
Beverlynn & Steven Elliott Associate Concertmaster Chair Jean & Sigo Falk Principal Librarian Chair HaleyFesq Cello Chair Endowed by Janet Haley Fesq
G. Christian Lantzsch & Duquesne Light Company Principal Second Violin Chair Mr. & Mrs. William Genge and Mr. & Mrs. James E. Lee Principal Bassoon Chair Nancy & Jeffery* Leininger First Violin Chair Edward D. Loughney Co-Principal Trumpet Chair
Endowed Principal Piccolo Fiddlesticks Family Concert Chair, given to honor Frank Series Endowed by Gerald & and Loti Gaffney Audrey McGinnis Honoring The Center for Young William & Sarah Galbraith Musicians Second Violin Chair Ann McGuinn Alice Victoria Gelormino Trombone Chair Second Violin Chair Mr. and Mrs. Martin G. Arlyn Gilboa McGuinn Second Violin Chair Viola Chair
Ira & Nanette Gordon The Gracky Fund for First Violin Chair, given Education & Community by Allen H. Berkman in memory of his beloved wife, Engagement Selma Wiener Berkman Susan S. Greer Memorial Trumpet Chair, given by Michael & Carol Bleier Bass Chair given in memory Peter Greer of our parents, Tina & Charles Bleier and Ruth & William Randolph Hearst Endowed Fund for Shelley Stein Education William Block Memorial Vira I. Heinz Section Cello Chair Music Director Chair Dr. Alan & Marsha Bramowitz First Violin Chair, Endowed William & Jacqueline Herbein Principal Bass Trombone in memory of Bach pianist Chair Rosalyn Tureck
Donald & Sylvia Robinson Family Foundation Guest Conductor Chair Martha Brooks Robinson Principal Trumpet Chair Mr. & Mrs. Aaron Silberman Principal Clarinet Chair Sidney Stark, Jr. Memorial Clarinet Chair Mr.* and Mrs. Willard J. Tillotson, Jr. Principal Bass Clarinet Chair Tom & Jamee Todd Principal Trombone Chair United States Steel Corporation Assistant Principal Bass Chair
Dr. William Larimer Mellon, Jr. Principal Oboe Chair, given Jon & Carol Walton Associate Principal Viola by Rachel Mellon Walton Chair Messiah Concerts Endowed by the Howard and Nell E. Rachel Mellon Walton Miller Chair Concertmaster Chair, given by Mr. & Mrs. Richard Donald I. & Janet Moritz and Mellon Scaife Equitable Resources, Inc. Associate Principal Cello Barbara Weldon Chair Principal Timpani Chair The Perry & BeeJee Morrison Hilda M. Willis Foundation String Instrument Loan Flute Chair Fund Current as of April 20, 2022 *deceased
PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON
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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
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facility. (Smoking is permitted in the Heinz Hall Garden Plaza)
FOOD AND BEVERAGE POLICY Outside food or alcoholic beverages are prohibited. Patrons are permitted to bring in one sealed clear plastic water bottle which may only be consumed in designated areas and may not be consumed in the auditorium. COSTUME POLICY Heinz Hall does not permit costume masks of any kind or facsimiles of weapons that would make other guests feel uncomfortable or detract from the concert experience. Guests are welcome to attend certain programs, (e.g. The Music of Harry Potter or The Music of Star Wars) in costume.
HEINZ HALL INFORMATION
ACCESSIBLE SEATS are available with companion seats. There is a level entrance and route 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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