RETURNS David Afkham, conductor Christian Tetzlaff, violin
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June 3 & 5 program............................................................................7 June 3 & 5 program notes..................................................................8 David Afkham biography..................................................................13 Christian Tetzlaff biography...............................................................15 Collaboration with Carnegie Museum of Art....................................16 June 10, 11 & 12 program................................................................18 June 10, 11 & 12 program notes......................................................20 Collaboration with Carnegie Museum of Art....................................27 Manfred Honeck biography..............................................................28 Beatrice Rana biography...................................................................30 Lauren Snouffer biography...............................................................32 Dashon Burton biography.................................................................34 Mendelssohn Choir Pittsburgh biography.......................................35 Pittsburgh Symphony Orchestra biography......................................39 EVERY GIFT IS INSTRUMENTAL Individuals........................................................................................40 Corporate Partners ............................................................................48 Foundations & Public Agencies........................................................49 Legacy of Excellence..........................................................................50
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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, JUNE 3, 2022 AT 8:00 P.M. SUNDAY, JUNE 5, 2022 AT 2:30 P.M.
David Afkham, conductor Christian Tetzlaff, violin Ludwig van Beethoven
Overture to Coriolan, Opus 62
Dmitri Shostakovich
Concerto No. 1 in A minor for Violin and Orchestra, Opus 99 I. Nocturne: Moderato II. Scherzo: Allegro — Poco più mosso — Allegro — Poco più mosso III. Passacaglia: Andante — Cadenza — IV. Burlesca: Allegro con brio Mr. Tetzlaff
Intermission
Johannes Brahms
Symphony No. 1 in C minor, Opus 68 I. Un poco sostenuto — Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio — Allegro non troppo, ma con brio
Kevin Lin, Guest Concertmaster (Concertmaster, Indianapolis Symphony Orchestra)
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LUDWIG VAN BEETHOVEN (1770-1827)
Overture to Coriolan, Opus 62 (1807)
“There is no more explosive and violent music in Beethoven,” wrote Basil Deane of the Coriolanus Overture. The stormy nature of the music was taken by many of the composer’s contemporaries to be a self-portrait, and, indeed, the picture it presents is a tonal parallel to the wind-blown, craggy likenesses of him that have entered into the popular imagination. It is not impossible that Beethoven saw in the hero of the tragedy by Heinrich Joseph von Collin — based on Plutarch via Shakespeare — a forebear of his own personal struggles against the strictures of society. There is nowhere among his orchestral works a more pointed and succinct representation of this side of his personality. This Overture was inspired by, rather than composed for, the tragedy Coriolanus, by Heinrich Joseph von Collin (1771-1811), a jurist, poet and, from 1809, court councillor who enjoyed much theatrical success in Vienna with this play. It opened at the Hof burg Theater on November 11, 1802, with incidental music arranged by Abbé Stadler from Mozart’s Idomeneo, and held the boards regularly for almost three years, largely because of the lauded portrayal of the title role by Joseph Lange, the brother-in-law of Mozart. Beethoven had been working with Collin to devise a libretto for an opera to follow Fidelio, and scenarios based by the poet on Macbeth, Jerusalem Divided and Bradamante had failed to engage the composer’s interest. (Beethoven, of course, never found that libretto.) Coriolanus did take hold in Beethoven’s imagination, however — so powerfully that his Overture dates from nearly two years after the play closed. Though Collin’s play was long out of performance by the time Beethoven got around to writing his Overture, there were compelling reasons for his completing the work. This was his fifth overture — preceded by the three Leonores and Prometheus — and for his concerts he needed a new opening piece, a function this new work would perform nicely. (It is instructive that he provided only an Overture and no other music for Coriolanus.) Further, Beethoven had still not abandoned hope of securing a regular position as a theatrical composer, and he may have intended this Overture to display his talent to the Viennese impresarios. Indeed, Prince Lobkowitz, one of his staunchest patrons, had recently gained admission to the governing board of the directors of the Royal Imperial Theater, and Lobkowitz even arranged a performance of the play on April 24, 1807 for the express purpose of displaying Beethoven’s music in its proper setting. No post came to Beethoven from these machinations, but he did manage to sell the Overture to the English composer-pianist-publisher Muzio Clementi that same week for a tidy sum. (Clementi wrote to his partner in London, “I think I have made a very good bargain,” as well he might. Beethoven was the “hottest property,” in modern parlance, in European concert circles at that time.) Beethoven knew the ancient story of Coriolanus not just from Collin’s play, but also through the writings of Plutarch and the drama by Shakespeare from which the playwright drew. (There were well-thumbed copies of both the earlier volumes in his library.) The story, which may be either fact or fable, tells of Gaius Marcius, a patrician Roman general of extraordinary bravery who led the Roman armies to a great triumph over the Volscians, the people of the hill country south of Rome. For capturing their city of Corioli, he received the honorary name of Coriolanus. His return to Rome found him embroiled in the conflict between patricians and plebeians, the latter claiming insufferable oppression. The aristocratic Coriolanus so vilified the populace that the senate, yielding to plebeian pressure, voted his permanent exile. So bitter and vengeful did 8
he become that he went to the conquered Volscians, swore allegiance to them, and offered to lead them against Rome. He besieged the city, rejecting all ambassadors until his mother and his wife came to entreat him to abandon his wrathful revenge. They subdued his bitter arrogance and pride, and he withdrew the Volscians, who turned against him. In Shakespeare’s version, he is slain by them; in Collin’s adaptation, he commits suicide. The Overture opens (C minor) with stern unison notes in the strings punctuated by slashing chords from the full orchestra. A restless, foreboding figure of unsettled rhythmic character constitutes the main theme. The second theme is a lyrical melody, greatly contrasting with the preceding measures, but not immune from their agitated expectancy. The tempestuous development derives its mood and its material from the main theme. The recapitulation recalls the opening gestures, but in F minor rather than C minor. The C tonality returns with the second theme. A lengthy coda, almost a second development, pits the lyrical melody against the imperious statement. The final outburst of the unison gesture spread, at last, across the full orchestra represents the dramatic denouement and the extinction of Coriolanus’ awful pride. The Overture dies away amid sighs and silence.
DMITRI SHOSTAKOVICH
(1906-1975)
Concerto No. 1 in A minor for Violin and Orchestra, Opus 99 (1947-1948)
In 1948, Shostakovich, Prokofiev and many other important Soviet composers were condemned for threatening the political and emotional stability of the nation with their “formalistic” music. Through Andrei Zhdanov, head of the Soviet Composers’ Union and the official mouthpiece for the government, it was made known that any experimental or modern or abstract or difficult music was no longer acceptable for consumption by the Russian peoples. Only simplistic music glorifying the state, the land and the people would be performed. In other words, symphonies, operas, chamber music — anything involving too concentrated an intellectual effort or critical thought — were out; movie music, folk song settings and patriotic cantatas were in. Shostakovich saw the iron figure of Joseph Stalin behind the purge of 1948, as he was convinced it had been for an earlier one in 1936. After the 1936 debacle, Shostakovich responded with the Fifth Symphony, and kept composing through the years of World War II, even becoming an international figure representing the courage of the Russian people with the lightning success of his Seventh Symphony (“Leningrad”) in 1941. The 1948 censure was, however, almost more than Shostakovich could bear. He determined that he would go along with the Party prerogative for pap, and withhold all of his substantial works until the time when they would be given a fair hearing — when Stalin was dead. About the only music that Shostakovich made public between 1948 and 1953 was that for films, most of which had to do with episodes in Soviet history (The Fall of Berlin, The Memorable Year 1919), and some jingoistic vocal works (The Sun Shines Over Our Motherland). The only significant works he released during that half-decade were the 24 Preludes and Fugues for Piano, Op. 34. The other works of that time — the First Violin Concerto, the Songs on Jewish Folk Poetry, the Fourth and Fifth String Quartets — were all withheld until later years. The Violin Concerto, composed for David Oistrakh in 1947-1948 as Op. 77, was not heard in public until 1955, when it was re-numbered as Op. 99. In his purported memoirs, Testimony, Shostakovich revealed the inspiration behind the First Violin Concerto: “Jewish folk music has made a most powerful impression on me. I never tire of PROGRAM NOTES 2021-2022 SEASON
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delighting in it; it’s multifaceted, it can appear to be happy while it is tragic. It’s almost always laughter through tears.... [But] this is not purely a musical issue, this is also a moral issue. The Jews became the most persecuted and defenseless people of Europe [during World War II]. It was a return to the Middle Ages. Jews became a symbol for me. All of man’s defenselessness was concentrated in them. After the war, I tried to convey that feeling in my music. Despite all the Jews who perished in the camps, all I heard people saying was, ‘They went to Tashkent to fight.’ And if they saw a Jew with military decorations, they called after him, ‘Hey, where did you buy the medals?’ That’s when I wrote the Violin Concerto, the Jewish cycle, and the Fourth Quartet.” After he premiered the work, David Oistrakh, who helped in the preparation of the score and was probably privy to the composer’s thoughts, wrote, “In the Violin Concerto, as in many other of Shostakovich’s works, I am attracted by the amazing seriousness and profundity of the idea, the truly symphonic thinking. There is nothing accidental in the score of the Concerto, nothing that is used for its outward effect and is not supported by the inner logic, by the development of the material. Behind Shostakovich’s symphonic thinking you can always sense the profoundest meditation on life, on the fate of mankind.” Shostakovich likened the First Violin Concerto to “a symphony for solo violin and orchestra,” and, with its four-movement structure, gravity of expression and fully developed musical argument, it bears little resemblance to the traditional virtuoso concerto. A personal touch is woven into the fabric of the music by the recurring notes of Shostakovich’s musical signature: D–E-flat–C–B, a motive that also occurs in the Tenth Symphony and the Eighth Quartet. (The note D represents Shostakovich’s initial. In German transliteration, the composer’s name begins “Sch”: S [ess] in German notation equals E-flat, C is C, and H equals B-natural.) The brooding opening movement, titled Nocturne, is an extended, accompanied soliloquy for the violin that grows continuously from the plaintive melody presented at the beginning by the low strings. The movement, without clear structural divisions, takes the shape of a huge arch, quiet at beginning and end, intense in its central portion. The second movement, a raucous Scherzo whose theme resembles that of the comparable movement in the Tenth Symphony, provides the utmost contrast to the introspective music of the preceding Nocturne. The expressive heart of the Concerto lies in its third movement, the darkly hued and deeply emotional Passacaglia. The passacaglia is an ancient musical form, serious in expression, built on a short invariable melody to which are added elaborating lines on each repetition. The Soviet musicologist and critic Vasily Kukharsky wrote of this music, “In the Passacaglia, there is philosophic meditation, there is sorrow and sad lyricism, and there is courage.... It may be said that Shostakovich has never achieved such magnificent simplicity, such an inspiration of melodic thinking.” A massive cadenza for the soloist, almost a separate movement in itself, links the pensive end of the third movement to the surging energy of the finale, a brilliant, whirling Burlesca that recalls in its closing pages themes from earlier movements.
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JOHANNES BRAHMS (1833-1897)
Symphony No. 1 in C minor, Opus 68 (1855-1876)
Brahms, while not as breathtakingly precocious as Mozart, Mendelssohn or Schubert, got a reasonably early start on his musical career: he had produced several piano works (including two large sonatas) and a goodly number of songs by the age of nineteen. In 1853, when Brahms was only twenty, Robert Schumann wrote an article for the widely distributed Neue Zeitschrift für Musik, his first contribution to that journal in a decade, hailing Brahms as the savior of German music, the rightful heir to the mantle of Beethoven. Brahms was extremely proud of Schumann’s advocacy and he displayed the journal with great joy to his friends and family when he returned to his humble Hamburg neighborhood after visiting Schumann in Düsseldorf, but there was the other side of Schumann’s assessment as well, that which placed an immense burden on Brahms’ shoulders. Brahms was acutely aware of the deeply rooted traditions of German music extending back not just to Beethoven, but even beyond him to Bach and Schütz and Lassus. His knowledge of Bach was so thorough, for example, that he was asked to join the editorial board of the first complete edition of the works of that Baroque master. He knew that, having been heralded by Schumann, his compositions, especially a symphony, would have to measure up to the standards set by his forebears. At first he doubted that he was even able to write a symphony, feeling that Beethoven had nearly expended all the potential of that form, leaving nothing for future generations. “You have no idea,” Brahms lamented, “how it feels to hear behind you the tramp of a giant like Beethoven.” Encouraged by Schumann to undertake a symphony (“If one only makes the beginning, then the end comes of itself,” he cajoled), Brahms made some attempts in 1854, but was unsatisfied with the symphonic potential of the sketches, and diverted them into the First Piano Concerto and the German Requiem. He began again a year later, perhaps influenced by a performance of Schumann’s Manfred, and set down a first movement, but this music he kept to himself, and even his closest friends knew of no more than the existence of the manuscript. Seven years passed before he sent this movement to Clara, Schumann’s widow, to seek her opinion. With only a few reservations, she was pleased with this C minor sketch, and encouraged Brahms to hurry on and finish the rest so that it could be performed. Brahms, however, was not to be rushed. Eager inquiries from conductors in 1863, 1864 and 1866 went unanswered. It was not until 1870 that he hinted about any progress at all beyond the first movement. The success of the superb Haydn Variations for orchestra of 1873 seemed to convince Brahms that he could complete his initial symphony, and in the summer of 1874 he began two years of labor — revising, correcting, perfecting — before he signed and dated the score of the First Symphony in September 1876. It is a serious and important essay (“Composing a symphony is no laughing matter,” according to Brahms), one which revitalized the symphonic sonata form of Beethoven and combined it with the full contrapuntal resources of Bach, a worthy successor to the traditions Brahms revered. In the century since its premiere, it has become the most performed of Brahms’ symphonies and one of the most cherished pieces in the orchestral literature. The success and popularity of the First Symphony are richly deserved. It is a work of supreme technical accomplishment and profound emotion, of elaborate counterpoint and beautiful melody. Even to those who know its progress intimately, it reveals new marvels upon each hearing. The first movement begins with a slow introduction in 6/8 meter energized by the heart-beats of the PROGRAM NOTES 2021-2022 SEASON
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timpani supporting the full orchestra. The violins announce the upward-bounding main theme in the faster tempo that launches a magnificent, seamless sonata form. The second movement starts with a placid, melancholy song led by the violins. After a mildly syncopated middle section, the bittersweet melody returns in a splendid scoring for oboe, horn and solo violin. The brief third movement, with its prevailing woodwind colors, is reminiscent of the pastoral serenity of Brahms’ earlier Serenades. The finale begins with an extended slow introduction based on several pregnant thematic ideas. The first, high in the violins, is a minor-mode transformation of what will become the main theme of the finale, but here broken off by an agitated pizzicato passage. A tense section of rushing scales is halted by a timpani roll leading to the call of the solo horn, a melody originally for Alphorn that Brahms collected while on vacation in Switzerland. The introduction concludes with a noble chorale intoned by trombones and bassoons, the former having been held in reserve throughout the entire Symphony just for this moment. The finale proper begins with a new tempo and one of the most famous themes in the repertory, a stirring hymn-like melody that resembles the finale of Beethoven’s “Choral” Symphony. (When a friend pointed out this affinity to Brahms he shot back, “Any fool can see that!”) The movement progresses in sonata form, but without a development section. The work closes with a majestic coda in the brilliant key of C major featuring the trombone chorale of the introduction in its full splendor. Of Brahms’ symphonies, and this one in particular, Lawrence Gilman wrote, “The essential fact to remember and to celebrate about Brahms is that he possessed not only the mechanisms of the grand style, but that he was able to exert it as a vehicle for ideas of authentic greatness, and he achieved this miracle with a continence, a sense of balance and proportion, an instinct for the larger contours as well as the finer adjustments of musical design, that were almost unerring.”
PROGRAM NOTES BY DR. RICHARD E. RODDA
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DAVID AFKHAM David Afkham is Chief Conductor and Artistic Director of the Orquestra y Coro Nacional de España since September 2019, following a highly successful tenure as the orchestra’s Principal Conductor since 2014. His work with the OCNE so far has featured critically acclaimed performances of Schoenberg’s Gurrelieder, Mahler’s Symphony No. 6, Bruckner Symphony No. 9, Berlioz’s Symphonie Fantastique, Brahms’ Requiem, Haydn’s Die Schöpfung, as well as several world premieres and semistaged projects with Wagner’s Die fliegende Holländer, Strauss’ Elektra, Bach’s St. Mathew Passion and Bartók’s Bluebeard’s Castle. Born in Freiburg, Germany, in 1983, David Afkham is in high demand as a guest conductor with some of the world’s finest orchestras and opera houses, and has established a reputation as one of the most sought after conductors to emerge from Germany in recent years.
Photo credit: Gisela Schenker
of major projects including symphony cycles with the Chicago Symphony, Concertgebouworkest and London Symphony Orchestra. He was the winner of the 2008 Donatella Flick Conducting Competition in London, and was the inaugural recipient of the ‘Nestle and Salzburg Festival Young Conductors Award’ in 2010. He and As an opera conductor, David Afkham made a was Assistant Conductor of the Gustav Mahler noted debut at Glyndebourne Festival Opera in Jungendorchester 2009-2012. 2014, with Verdi’s La Traviata, later reviving the production for performances around the UK and Highlights among David’s guest conducting Ireland for Glyndebourne on Tour. In 2017, he projects to date include the Boston Symphony conducted Ginastera’s Bomarzo at Teatro Real Orchestra at the 2016 and 2017 Tanglewood in Madrid in a new production by Pierre Audi, festivals, the London Symphony Orchestra, to unanimous critical acclaim, and leading to an Philharmonia Orchestra, Concertgebouw immediate re-invitation. In season 18/19 he made Orchestra, Staatskapelle Berlin, DSO-Berlin, his German opera debut at Frankfurt Opera Staatskapelle Dresden, Orchestre National with Humperdinck’s Hänsel & Gretel, followed de France, Gothenburg Symphony, Swedish by Stuttgart Opera with Wagner’s Die fliegende radio Symphony, Cleveland Orchestra, Los Holländer. Further productions have included at Angeles Philharmonic, as well as the Mostly Theater an der Wien with Dvorak’s Rusalka. Mozart Festival New York, tours with the Future highlights as a guest conductor include engagements with the Minnesota and Pittsburgh Symphony orchestras in the USA and engagements with the BBC Scottish and Vienna Symphony orchestras in Europe.
David Afkham began piano and violin lessons at the age of six in his native Freiburg. At 15, he entered the city’s University of Music to pursue studies in piano, music theory and conducting and continued his studies at the Liszt School of Music in Weimar. David Afkham was the first recipient of the ‘Bernard Haitink Fund for Young Talent’ and assisted Maestro Bernard Haitink in a number
Chamber Orchestra of Europe, Deutscher Kammerphilharmonie and Mahler Chamber Orchestra, and regular appearances at the Musikverein, Vienna with the Wiener Symphoniker and the Gustav Mahler Jungendorchester.
These performances mark David Afkham’s debut with the Pittsburgh Symphony. PROGRAM NOTES 2021-2022 SEASON
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CHRISTIAN TETZLAFF Christian Tetzlaff has been one of the most sought-after violinists and exciting musicians on the classical music scene for many years. With an extensive repertoire and equally at home in Classical, Romantic and contemporary repertoire, he sets new standards with his interpretations of the concerti of Beethoven, Brahms, Tchaikovsky, Berg and Ligeti, and is renowned for his innovative chamber music projects and performances of Bach solo repertoire. He frequently turns his attention to forgotten masterpieces, such as Joseph Joachim’s Violin Concerto which he successfully championed, while attempting to bring new works to the mainstream repertoire such as Jörg Widmann’s Violin Concerto, which he premiered in 2013. Tetzlaff follows the musical manuscript as closely as possible, foregoing standard performance tradition and without indulging in usual technical short-cuts on the instrument, which often allows a renewed clarity and richness to develop in works that are already well-known to audiences. A former Artist-in-Residence with Carnegie Hall, Berliner Philharmoniker, TonhalleOrchester Zürich and hr-Sinfonieorchester, this 2021/22 season Tetzlaff shares his artistic ideas as Artist-in-Residence with the Wigmore Hall. In January 2022 he performs Shostakovich’s Violin Concerto No.2 with the London Philharmonic Orchestra under the baton of Karina Canellakis. Further engagements in the 2021/22 season include tours across Europe and to the U.S. as well as a tour with Konzerthausorchester Berlin and invitations from Deutsches Symphonie-Orchester Berlin, Orchestre Philharmonique de Radio France and Bergen Philharmonic Orchestra.
Photo credit: Giorgia Bertazzi
Deutsches Symphonie-Orchester Berlin and Robin Ticciati, released in the autumn 2019, immediately received a mention as Album of the Month in Gramophone Magazine. Other awards include a Diapason d’Or and the Jahrespreis der Deutschen Schallplattenkritik in 2018, Midem Classical in 2017, the Edison, and several Grammy nominations. His discography includes violin concerti by Dvořák, Mozart, Lalo, Sibelius, Tchaikovsky, Beethoven and Jörg Widmann; Mark-Anthony Turnage’s Mambo Blues and Tarantella; violin sonatas by Mozart, Bartók, Schumann and Brahms; and of special significance, Bach’s complete solo Sonatas and Partitas, which he recorded three times over the years, the latest having been released in September 2017.
Chamber music is as much an important facet of his musical life as his work as a soloist, both with and without the orchestra. Christian founded the Tetzlaff Quartett in 1994, which received the Diapason d’Or in 2015, while the His recordings have received numerous awards trio with his sister Tanja Tetzlaff and pianist such as the Gramophone Classical Music Lars Vogt was nominated for a Grammy award. Award in 2018 for his album of Bartók’s concerti Nos.1&2 with Hannu Lintu and the Born in Hamburg in 1966, Christian Tetzlaff Finnish Radio Symphony Orchestra. His studied at the Lübeck Conservatory with most recent recording for the label Ondine of Uwe-Martin Haiberg and in Cincinnati with Beethoven and Sibelius violin concerti with the Walter Levin. BIOGRAPHY 2021-2022 SEASON
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He plays a violin by German maker Peter Greiner and teaches regularly at the Kronberg Academy, near Frankfurt.
Christian Tetzlaff last performed with the Pittsburgh Symphony in September 2017.
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. “Without craftsmanship, inspiration is a mere reed shaken in the wind.” - Johannes Brahms Composer Johannes Brahms and painter Andreas Achenbach are connected by German Romanticism — a 19th century intellectual and philosophical approach to creativity which blurred the divisions among literature, music, and the visual arts. Classicism provided the technical underpinnings for both Brahms and Achenbach, but each created emotive and expressive works. Achenbach sought meaning and the divine in the realistically rendered grandeur of nature while Brahms communicated the intensity of the human spirit through sound and song. Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO
ANDREAS ACHENBACH (GERMAN, 1815–1910), ITALIAN LANDSCAPE, 1845 CARNEGIE MUSEUM OF ART, PAINTINGS ACQUISITION FUND, 93.119
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Photo: Massery Photography
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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, JUNE 10, 2022 AT 8:00 P.M. SATURDAY, JUNE 11, 2022 AT 8:00 P.M. SUNDAY, JUNE 12, 2022 AT 2:30 P.M.
Manfred Honeck, conductor Beatrice Rana, piano Lauren Snouffer, soprano Dashon Burton, bass-baritone Mendelssohn Choir of Pittsburgh Matthew Mehaffey, director
Jessie Montgomery
Source Code
Piotr Ilyich Tchaikovsky
Concerto No. 1 in B-flat minor for Piano and Orchestra, Opus 23 I. Allegro non troppo e molto maestoso — Allegro con spirito II. Andantino semplice — Prestissimo III. Allegro con fuoco Ms. Rana Intermission
Francis Poulenc
Gloria for Soprano, Chorus and Orchestra I. Gloria: Maestoso II. Laudamus te: Très vite et joyeux III. Domine Deus: Très lent et calme IV. Domine Fili unigenite: Très vite et joyeux V. Domine Deus, Agnus Dei: Bien lent VI. Qui sedes ad dexteram Patris: Maestoso — Allegretto (très rythmé) — Très calme Ms. Snouffer Mendelssohn Choir of Pittsburgh
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Antonín Dvořák
Te Deum for Soprano and Bass Soloists, Chorus and Orchestra, Opus 103 I. Te Deum: Allegro moderato, maestoso (Soprano and Chorus) II. Tu Rex gloriae: Lento maestoso (Bass and Chorus) III. Aeternam fac cum sanctis tuis: Vivace (Chorus) IV. Dignare, Domine: Lento — Poco più mosso (Soloists and Chorus) Ms. Snouffer Mr. Burton Mendelssohn Choir of Pittsburgh
Jeremy Black, Guest Concertmaster
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JESSIE MONTGOMERY (born in 1981)
Source Code for Strings (2013)
Violinist, composer and music educator Jessie Montgomery, who began a three-year term as Mead Composer-in-Residence with the Chicago Symphony Orchestra in July 2021, started studying violin at age four at the Third Street Music School Settlement in her native New York City. She was composing and improvising by age eleven, and while still in high school twice received the Composer’s Apprentice Award from the Chamber Music Society of Lincoln Center. Montgomery went on to earn a bachelor’s degree in violin performance at the Juilliard School and a master’s from New York University in film scoring and multimedia; she has also studied composition with Derek Bermel and Steven Burke and is currently a Graduate Fellow in Music Composition at Princeton University. In 2020, she was appointed to the faculty of the Mannes School of Music in New York. As a performer and educator, Montgomery was a co-founding member of PUBLIQuartet (an ensemble made up of composers and arrangers, featuring their own music as well as that of other New York-based composers), a member of the Catalyst Quartet and Providence String Quartet (dedicated to using music as a means of exploring possibilities for social change in underserved communities in the Providence area, where she taught violin, improvisation and composition to Community MusicWorks students), a faculty member of the Apple Hill Center in New Hampshire, Music at Port Milford in Canada, and Third Street Music School Settlement in New York, and a long-time affiliated artist with Sphinx, an organization that supports young African-American and Latino string players, in which she was a two-time laureate; she is also currently an active participant in the New York classical and new music scenes. As a composer, Montgomery has created works for concert, theater and film (one of which was in collaboration with her father, Ed Montgomery, also a composer and an independent film producer), and held residencies with the Deer Valley Music Festival, New York Youth Symphony, American Composers Orchestra and Sphinx Virtuosi. Among her rapidly accumulating distinctions are the Leonard Bernstein Award from the ASCAP Foundation and the Sphinx Medal of Excellence. Jessie Montgomery is currently working on a commission for Project 19, the New York Philharmonic’s multi-year celebration of the 100th anniversary of the 19th Amendment, passed by Congress in 1919 and ratified by the states the following year, which granted women the right to vote. The Philharmonic began premiering these new compositions by 19 women composers in February 2020. In September 2021, Montgomery was commissioned by the Metropolitan Opera along with two other Black composers — Valerie Coleman and Joel Thompson — to develop new works in collaboration with the Lincoln Center Theater. “The first sketches of Source Code,” wrote Jessie Montgomery, “began as transcriptions of various sources from African-American artists prominent during the peak of the Civil Rights era in the United States. I experimented by re-interpreting gestures, sentences and musical syntax (the bare bones of rhythm and inflection) by choreographer Alvin Ailey, poets Langston Hughes and Rita Dove, and the great jazz songstress Ella Fitzgerald into musical sentences and tone paintings. Ultimately, this exercise of listening, re-imagining and transcribing led me back to the Black spiritual as a common musical source across all three genres. The spiritual is a significant part of the DNA of Black folk music, and subsequently most (arguably all) American pop music forms that have developed to the present day. This one-movement work is a kind of dirge, which centers on a melody based on syntax derived from Black spirituals. The melody is continuous and cycles through like a gene strand with which all other textures play.” 20
PIOTR ILYICH TCHAIKOVSKY (1840-1893)
Concerto No. 1 in B-flat minor for Piano and Orchestra, Opus 23 (1874-1875)
These days, when the music of Tchaikovsky is among the most popular in the repertory, it is difficult to imagine the composer as a young man, known only to a limited public and trying valiantly to solve that most pressing of all problems for the budding artist — making a living. In 1874, he was teaching at the Moscow Conservatory and writing music criticism for a local journal. These duties provided a modest income, but Tchaikovsky’s real interest lay in composition, and he was frustrated with the time they took from his creative work. He had already stolen enough hours to produce a sizeable body of music, but only Romeo and Juliet and the Symphony No. 2 had raised much enthusiasm. At the end of the year, he began a piano concerto with the hope of having a success great enough to allow him to leave his irksome post at the Conservatory. By late December, he had largely sketched out the work, and, having only a limited technique as a pianist, he sought the advice of Nikolai Rubinstein, Director of the Moscow Conservatory and an excellent player. Tchaikovsky reported on the interview in a letter: “On Christmas Eve 1874 ... Nikolai asked me ... to play the Concerto in a classroom of the Conservatory. We agreed to it.... I played through the first movement. Not a criticism, not a word. Rubinstein said nothing.... I did not need any judgment on the artistic form of my work; there was question only about its mechanical details. This silence of Rubinstein said much. It said to me at once: ‘Dear friend, how can I talk about details when I dislike your composition as a whole?’ But I kept my temper and played the Concerto through. Again, silence. “‘Well?’ I said, and stood up. There burst forth from Rubinstein’s mouth a mighty torrent of words. He spoke quietly at first; then he waxed hot, and at last he resembled Zeus hurling thunderbolts. It appeared that my Concerto was utterly worthless, absolutely unplayable; passages were so commonplace and awkward that they could not be improved; the piece as a whole was bad, trivial, vulgar. I had stolen this from that one and that from this one; so only two or three pages were good for anything, while the others should be wiped out or radically rewritten. I cannot produce for you the main thing: the tone in which he said all this. An impartial bystander would necessarily have believed that I was a stupid, ignorant, conceited note-scratcher, who was so impudent as to show his scribble to a celebrated man.” Tchaikovsky was furious, and he stormed out of the classroom. He made only one change in the score: he obliterated the name of the original dedicatee — Nikolai Rubinstein — and substituted that of the virtuoso pianist Hans von Bülow, who was performing Tchaikovsky’s piano pieces across Europe. Bülow gladly accepted the dedication and wrote a letter of praise to Tchaikovsky as soon as he received the score: “The ideas are so original, so powerful; the details are so interesting, and though there are many of them they do not impair the clarity and unity of the work. The form is so mature, so ripe and distinguished in style; intention and labor are everywhere concealed. I would weary you if I were to enumerate all the characteristics of your work, characteristics which compel me to congratulate equally the composer and those who are destined to enjoy it.” After the scathing criticism from Rubinstein, Tchaikovsky was delighted to receive such a response, and he was further gratified when Bülow asked to program the premiere on his upcoming American tour. The Concerto created such a sensation when it was first heard, in Boston on October 25, 1875, that Bülow played it on 139 of his 172 concerts that season. (Remarkably, Tchaikovsky’s Second Piano Concerto was also premiered in this country, by Madeleine Schiller and the New York Philharmonic Society conducted by Theodore Thomas on November 12, 1881.) Such a success must at first have PROGRAM NOTES 2021-2022 SEASON
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puzzled Rubinstein, but eventually he and Tchaikovsky reconciled their differences over the work. Tchaikovsky incorporated some of his suggestions in the 1889 revision, and Rubinstein not only accepted the Concerto, but eventually made it one of the staples of his performing repertory. During the next four years, when Tchaikovsky wrote Swan Lake, the Rococo Variations, the Third and Fourth Symphonies, the Violin Concerto, and, in 1877, met his benefactress Nadezhda von Meck, he was not only successful enough to leave his teaching job to devote himself entirely to composition, but he also became recognized as one of the greatest composers of his day. Tchaikovsky’s First Piano Concerto opens with the familiar theme of the introduction, a sweeping melody nobly sung by violins and cellos above thunderous chords from the piano. After a brief cadenza for the soloist, the theme — which is not heard again anywhere in the Concerto — is presented a second time in an even grander setting. Following a decrescendo and a pause, the piano presents the snapping main theme. (Tchaikovsky said that this curious first theme was inspired by a tune he heard sung by a blind beggar at a street fair.) Following a skillful discussion of the opening theme by piano and woodwinds, the clarinet announces the lyrical, bittersweet second theme. A smooth, complementary phrase is played by the violins. This complementary phrase and the snapping motive from the main theme are combined in the movement’s impassioned development section. The recapitulation returns the themes of the exposition in altered settings. (The oboe is awarded the second theme here.) An energetic cadenza and a coda derived from the second theme bring this splendid movement to a rousing close. The simplicity of the second movement’s three-part structure (A–B–A) is augured by the purity of its opening — a languid melody wrapped in the silvery tones of the solo flute, accompanied by quiet, plucked chords from the strings. The piano takes over the theme, provides it with rippling decorations, and passes it on to the cellos. The center of the movement is of very different character, with a quick tempo and a swift, balletic melody. The languid theme and moonlit mood of the first section return to round out the movement. The crisp rhythmic motive presented immediately at the beginning of the finale and then spun into a complete theme by the soloist dominates much of the last movement. In the theme’s vigorous fullorchestra guise, it has much of the spirit of a robust Cossack dance. To balance the impetuous vigor of this music, Tchaikovsky introduced a contrasting theme, a romantic melody first entrusted to the violins. The dancing Cossacks repeatedly advance upon this bit of tenderness, which shows a hardy determination to dominate the movement. The two themes contend, but it is the flying Cossacks who have the last word to bring this Concerto to an exhilarating finish.
FRANCIS POULENC (1899-1961)
Gloria for Soprano, Chorus and Orchestra (1959)
Poulenc was raised in a home that valued religion deeply. His father was committed to his Catholicism, but, the composer added, “in a very liberal way, without the slightest meanness.” When Francis left home for military service in 1918 and later jumped into the heady life of artistic Paris, however, his interest in religion declined. “From 1920 to 1935, I was very little concerned with the faith,” he admitted. In 1936, though, he underwent a rejuvenation of his religious belief when his colleague Pierre-Octave Ferroud was killed in an automobile accident. Deeply shaken, he wrote, “The atrocious extinction of this musician so full of vigor left me stupefied. Pondering on the fragility of our human frame, the life of the spirit attracted me anew.” He rejoined the Church and thereafter expressed his 22
faith frequently and unashamedly. “I am religious by deepest instinct and heredity,” he said. “I feel myself incapable of ardent political conviction, but for me it seems quite natural to believe and practice religion. I am a Catholic. It is my greatest freedom.” During the last three decades of his life, a series of wonderful musical works on religious themes, including the Mass, the Stabat Mater, the Gloria and The Dialogues of the Carmelites, sprang from his ardently renewed vision. Poulenc’s faith, like the music it engendered, was simple, direct, optimistic and joyous. He once told friends, “I have the faith of a country pastor,” and he always preferred quiet meditation or prayer in a rural church to the structured services of the urban cathedral. It was through his music that he shared his devotion. “I want the religious spirit to be expressed clearly, out in the open, with the same realism that we see in Romanesque columns,” he said. “I try to create a feeling of fervor and, especially, of humility, for me the most beautiful quality of prayer.... My conception of religious music is essentially direct, and, I dare say, intimate.” When an interviewer once commented on the high quality of his choral and sacred works, he replied, “I think I’ve put the best and most genuine part of me into them.... If people are still interested in my music fifty years from now it’ll be more in the Stabat Mater than in the Mouvements perpétuels.” During his last years, Poulenc became increasingly fatalistic and, consequently, turned more to the Church. Throughout his life, he was subject to attacks of acute depression, and the one he suffered while working on The Dialogues of the Carmelites during the mid-1950s resulted in a nervous breakdown. He largely recovered, but he thereafter viewed his existence as fragile. “What shall I write next? Undoubtedly nothing else,” he lamented to his biographer Henri Hell in 1961. A year later, however, he wrote to the singer Pierre Bernac, “I now feel completely, happily free, and I can await Providence.” The Gloria of 1959 naturally reflects some of Poulenc’s deeper thoughts, but it also shows the buoyant, confident feelings inherent in his faith and his music. It is a wholly appropriate piece for a man who was once described as “half monk, half bounder.” In the Gloria, written on commission from the Koussevitzky Music Foundation and dedicated to the memory of Serge and Natalie Koussevitzky, Poulenc said that he “tried to write a joyous hymn to the glory of God.” His text, taken from the second section of the Mass Ordinary, is the set of traditional songs dating from the fifth century sung by the angels on the night of the Nativity in praise of the Christ child. Before beginning composition, Poulenc immersed himself in the ancient words, reciting them over and over to himself, listening, noting breathing places, marking stresses, looking for inner rhythms of the syllables and deeper meanings of the ideas. The Gloria, like all great vocal music, grew from the sense and sounds of its text — the words, after all, were there before the music. Poulenc reinterpreted those venerable words and heightened their message by wrapping them in music that again demonstrated his remarkable lyrical gift, which has often been compared to that of Schubert, a composer he greatly admired. Wrote Roger Nichols, “For Poulenc the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted.” The Gloria opens with a brilliant fanfare for full orchestra as preparation for the entry of the voices. The sentiment of the movement is one of joy tinged with a soupçon of nostalgia, one of Poulenc’s most characteristic moods. Of the lighthearted Laudamus te, Poulenc recalled, “The second movement caused a scandal; I wonder why? I was simply thinking, in writing it, of the Gozzoli frescoes in which the angels stick out their tongues; I was thinking also of the serious Benedictines whom I saw playing soccer one day.” This robust movement also serves to set in relief the following Domine Deus, music of profound awe and intense emotion. The bright wit and chuckling insouciance of the Laudamus te return in the fourth movement, Domine fili unigenite, which, like the earlier movement, is followed by music of a serious and moving nature — the Domine Deus, Agnus Dei. The final movement, Qui sedes ad dexteram Patris, is divided into three PROGRAM NOTES 2021-2022 SEASON
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sections, each based on the same text. The movement opens with jubilant choral shouts echoed by chords spread across the full orchestra. The celebratory mood continues into the next section, a vibrant rhythmic essay punctuated by the fanfare figure that opened the first movement. Poulenc closes his masterful Gloria with the final treatment of the Qui sedes text, this last one suffused with prayerful devotion and peaceful benediction.
POULENC: GLORIA I. Gloria Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.
Glory to God in the highest, and on earth peace to men of good will.
II. Laudamus te Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi gloriam tuam Laudamus te.
We praise you, we bless you, we worship you, we glorify you. We give you thanks for your great glory. We praise you.
III. Domine Deus Domine Deus, Rex caelestis, Pater omnipotens, Rex caelestis, Deus Pater, Pater omnipotens, Deus Pater, Gloria.
Lord God, heavenly King, God the Father almighty, Heavenly King, God the Father, God the Father almighty, Gloria.
IV. Domine Fili unigenite Domine Fili unigenite, Jesu Christe.
The only-begotten Son, Lord Jesus Christ.
V. Domine Deus, Agnus Dei Domine Deus, Agnus Dei, Filius Patris, Rex caelestis qui tollis peccata mundi: miserere nobis; suscipe deprecationem nostram.
Lord God, Lamb of God, Son of the Father, heavenly King, you take away the sin of the world: have mercy on us; receive our prayer.
VI. Qui sedes ad dexteram Patris Qui sedes ad dexteram Patris: miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, Amen. Tu solus altissimus, Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris. Amen. 24
You are seated at the right hand of the Father: have mercy on us. For you alone are the Holy One, you alone are the Lord, Amen. You alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen.
ANTONÍN DVOŘÁK (1841-1904)
Te Deum for Soprano and Bass Soloists, Chorus and Orchestra, Opus 103 (1892)
In June 1891, Dvořák was invited by Mrs. Jeanette Thurber to take up residence in the United States and become director of the National Conservatory of Music in New York. He gave no answer to Mrs. Thurber until returning later that summer from the ceremonies at Cambridge University making him a doctor honoris causa, when he accepted the offer, and agreed to assume the position in September 1892. Dvořák spent the intervening year making farewell appearances in Prague and around the country and completing a set of three overtures titled In Nature’s Realm, Carnival and Othello. June 1892 brought a request from Mrs. Thurber that he prepare a new piece for chorus and orchestra for the celebrations marking the 400th anniversary of Columbus’ discovery of America the following October, shortly after the composer’s scheduled arrival in New York. She told him that she was nearing the end of her search for an appropriate text, but that he might consider the Te Deum or the Jubilate Deo as a possible alternative. When the promised verses failed to arrive by mid-July, Dvořák undertook a setting of the Te Deum, completing it quickly and, apparently, with considerable enjoyment; the score was finished at his summer home at Vysoká on July 28, 1892. A few weeks later, he received from Mrs. Thurber a jingoistic paean to The American Flag penned by Joseph Rodman Drake (1795-1820) under the inspiration of the War of 1812, but was able only to make a few sketches for that text before departing for New York at the beginning of September; the work was not finished until the following January. The New York musical community made a considerable fuss over their distinguished Czech visitor when he arrived on September 27, 1892. He was introduced to the Conservatory faculty on October 1st and to the musical public three weeks later, when he made his conducting debut in Carnegie Hall on October 21st at the (slightly delayed) Columbus Day concert. The event began with a rousing rendition of My Country ’tis of Thee by a chorus of 300 voices (the United States Congress did not officially adopt The Star-Spangled Banner as the country’s national anthem until 1931), and continued with Liszt’s Tasso, conducted by Anton Seidl, and an orotund stretch of grand oratory delivered by one Colonel Thomas Wentworth Higginson on the subject of “The New World of Columbus,” who, the Colonel remarked, had thoughtfully discovered the continent exactly four centuries before the composer’s arrival. Dvořák thereupon presented his three new overtures (first played at his farewell concert in Prague the previous April 28th), and capped the program with the premiere of his new Te Deum. A great success was proclaimed for the evening and the city’s honored visitor alike. The Te Deum, the great hymn of praise and thanksgiving, is among the most ancient extant items of Christian musical worship. Long attributed to St. Ambrose, it has been shown to be the work of one Nicetus, a 6th-century bishop in Remisiana (now Nish, Serbia), though certain of its lines can be traced back as far as the 3rd century A.D. It is one of the few remaining examples of a type of verse written to imitate the Psalms, a genre given the intriguing title of psalmus idioticus. The words of the Te Deum, a component of both the Roman Catholic and Anglican services, received special settings throughout the Middle Ages and Renaissance, including one by Palestrina, and since the 17th century have been the basis of many grand, festive compositions, among which are examples by Purcell (1694), Handel (two, 1713 and 1743), Bruckner (1884), Verdi (1898), Kodály (1936), Vaughan Williams (1937), Britten (1945) and Walton (1953). As befitted both the occasion and his own religious views, Dvořák’s Te Deum is joyous, extroverted and optimistic. There is little attempt at textual declamation or detailed word painting, though Dvořák paid considerable attention to differentiating the general moods of the various portions of the text. The opening movement has a festive brilliance that rivals some of the Slavonic Dances in its exuberance. A soprano solo provides an episode of quiet contrast, but the chorus PROGRAM NOTES 2021-2022 SEASON
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returns briefly to round out the three-part form of the movement. The brass proclamations and bass solo of the second movement (beginning “Tu Rex gloriae”) call to mind some of the most stirring passages from Verdi’s Requiem. The third movement (“Aeternam fac cum sanctis tuis”) is a scherzo for chorus and orchestra. The finale begins with the ruminations of the soprano, but soon the bass joins in, the chorus sings “Alleluia,” and the festive, dancing motive from the first movement returns to close the Te Deum with an absolutely splendid noise.
DVOŘÁK: TE DEUM I. Te Deum laudamus, te Dominum confitemur. Te aeternum Patrem omnis terra veneratur. Tibi omnes Angeli et coeli et universae potestates, tibi Cherubim et Seraphim incessabili voce proclamant: Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra majestatis gloriae tuae. Te gloriosus Apostolorum chorus, Sanctus Dominus Deus Sabaoth. Te Prophetarum laudabilis numerus, Sanctus Dominus Deus Sabaoth. Te Martyrum candidatus laudat exercitus. Sanctus Dominus Deus Sabaoth. Te per orbem terrarum sancta confitetur Ecclesia, Patrem immensae majestatis; venerandum verum et unicum Filium; Sanctum quoque Paraclitum Spiritum. Te Deum laudamus, te Dominum confitemur. Te aeternum Patrem omnis terra veneratur.
We praise Thee, O God, we acknowledge Thee to be the Lord. Thee, the Father everlasting, all the earth doth worship. To Thee all the angels, to Thee the heavens, and all the powers, to Thee the cherubim and seraphim cry out without ceasing: Holy, holy, holy, Lord God of hosts. Full are the heavens and the earth of the majesty of Thy glory. Thee, the glorious choir of the apostles, Holy Lord God of Hosts. Thee, the admirable company of the prophets, Holy Lord God of Hosts. Thee, the white-robed army of martyrs doth praise. Holy Lord God of Hosts. Thee, the holy Church throughout the world doth confess: The Father of incomprehensible majesty; Thine adorable, true, and only Son, and the Holy Ghost the Paraclete. We praise Thee, O God, we acknowledge Thee to be the Lord. Thee, the Father everlasting, all the earth doth worship.
II. Tu rex gloriae, Christe. Tu Patris sempiternus est Filius. Tu, ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu, devicto mortis aculeo, aperuisti credentibus regna coelorum. Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti. Tu ad dexteram Dei sedes in gloria Patris. Iudex crederis esse venturus. Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti. 26
Thou, O Christ, art the King of glory. Thou art the everlasting Son of the Father. Thou, having taken upon Thee to deliver man, didst not disdain the Virgin’s womb. Thou, having overcome the sting of death, hast opened to believers the kingdom of heaven. We beseech Thee, therefore, to help Thy servants, whom Thou hast redeemed with Thy precious Blood. Thou sittest at the right hand of God, in the glory of the Father. Thou, we believe, art the Judge to come. We beseech Thee, therefore, to help Thy servants, whom Thou hast redeemed with Thy precious Blood.
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 am in Love with the deep survival, elastic resilience and ordinary, creative, genius of Black People.” - Vanessa German “… music is a meeting place at which all people can converse about their unique differences and common stories. ” - Jessie Montgomery Pittsburgh-based artist Vanessa German and New York-based composer Jessie Montgomery both share the common sentiment that art and music can heal and strengthen communities. They energetically weave past and present together to create a more open and collective future for all. German’s power figures recall Nkisi nkondi placed in a modern context while Montgomery’s Source Code finds inspiration in the African American artists prominent during the Civil Rights era. Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO
VANESSA GERMAN (AMERICAN, B. 1976), TOASTER, 2011 CARNEGIE MUSEUM OF ART, GIFT OF JASON ANDREW AND NORMAN JABAUT IN HONOR OF THE ARTIST, 2018.74
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MANFRED HONECK Manfred Honeck has firmly established himself as one of the world’s leading conductors, whose unmistakable, distinctive and revelatory interpretations receive great international acclaim. He is currently in his 14th season as Music Director of the Pittsburgh Symphony Orchestra. Celebrated both at home and abroad, Manfred Honeck and the Pittsburgh Symphony Orchestra, one of the most frequently toured North American orchestras, serve as cultural ambassadors for the city of Pittsburgh. Guest appearances regularly include Carnegie Hall and Lincoln Center in New York, as well as the major venues of Europe and festivals such as the BBC Proms, Salzburg Festival, Musikfest Berlin, Lucerne Festival, Rheingau Music Festival, Beethovenfest Bonn, and Grafenegg Festival. Manfred Honeck’s successful work in Pittsburgh is extensively documented by recordings on the Reference Recordings label. All SACDs, these recordings feature works by Strauss, Beethoven, Bruckner, Tchaikovsky and others, and have received a multitude of outstanding reviews and awards, including a number of GRAMMY® nominations. The recording of Shostakovich’s Symphony No. 5/Barber Adagio won the GRAMMY® for “Best Orchestral Performance” in 2018. In February of 2021, Manfred Honeck and the Pittsburgh Symphony released a new recording of Beethoven Symphony No. 9 in celebration of the orchestra’s 125th anniversary season. Their most recent release is a recording of Brahms No. 4/MacMillan Larghetto for Orchestra. Born in Austria, Manfred Honeck completed his musical training at the University of Music in Vienna. His many years of experience as a member of the viola section in the Vienna Philharmonic and Vienna State Opera Orchestra have had a lasting influence on his work as a conductor. His art of interpretation is based on his determination to venture deep beneath the surface of the music. He began his conducting career as assistant to Claudio Abbado and as director of the Vienna Jeunesse Orchestra. Subsequently, he was engaged by the Zurich Opera House, where he was awarded the European Conducting Prize in 1993. He has since served as one of three 28
Photo credit: George Lange
principal conductors of the MDR Symphony Orchestra Leipzig, as Music Director of the Norwegian National Opera, Principal Guest Conductor of the Oslo Philharmonic Orchestra and Czech Philharmonic Orchestra, and Chief Conductor of the Swedish Radio Symphony Orchestra in Stockholm. From 2007 to 2011, Manfred Honeck was Music Director of the Staatsoper Stuttgart, where he led premieres of Berlioz’s Les Troyens, Mozart’s Idomeneo, Verdi’s Aida, Richard Strauss’s Rosenkavalier, Poulenc’s Dialogues des Carmélites and Wagner’s Lohengrin and Parsifal. Guest performances in opera led him to Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brussels, Royal Opera of Copenhagen, the White Nights Festival in St. Petersburg and the Salzburg Festival. In Beethoven’s anniversary year of 2020, he conducted a new staging of Fidelio (1806 version) at the Theater an der Wien. Beyond the podium, Manfred Honeck has designed a series of symphonic suites, including Janáček’s Jenůfa, Strauss’s Elektra and Dvořák’s Rusalka. He recorded all of these arrangements with the Pittsburgh Symphony Orchestra, and regularly performs them with orchestras around the globe.
As a guest conductor, Manfred Honeck has been at the podium of all leading international orchestras including the Bavarian Radio Symphony Orchestra, Berlin Philharmonic Orchestra, Gewandhausorchester Leipzig, Staatskapelle Dresden, Tonhalle-Orchester Zürich, Royal Concertgebouw Orchestra, London Symphony Orchestra, Orchestre de Paris, Accademia di Santa Cecilia Rome and the Vienna Philharmonic. In the United States, he has conducted all major US orchestras, including New York Philharmonic, The Cleveland Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic,
Philadelphia Orchestra, Boston Symphony Orchestra and San Francisco Symphony. He has also been Artistic Director of the International Concerts Wolfegg in Germany for more than twenty-five years. Manfred Honeck holds honorary doctorates from several universities in the United States and also was awarded the honorary title of Professor by the Austrian Federal President. In 2018, the jury of the International Classical Music Awards declared him “Artist of the Year.”
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BEATRICE RANA Beatrice Rana has been shaking the international classical music world, arousing admiration and interest from concert presenters, conductors, critics and audiences internationally. Beatrice performs at the world’s most esteemed concert halls and festivals including the Berlin Philharmonie, Amsterdam’s Concertgebouw, New York’s Lincoln Center and Carnegie Hall, Tonhalle Zurich, Barbican Centre, Wigmore Hall, Royal Albert Hall and Royal Festival Hall in London, Philharmonie de Paris, Théâtre des Champs-Elysées, Vienna’s Konzerthaus and Musikverein, KKL Lucerne, Cologne Philharmonie, Munich’s Gasteig, Prinzregententheater and Herkulessaal, Frankfurt’s Alte Oper, Milan’s Società dei Concerti, Ferrara Musica, Verbier Festival, Klavier Festival Ruhr, Lugano’s LAC, La Roque d’Anthéron Festival, Rencontres Musicales d’Evian, Bucarest Enescu Festival, Mostly Mozart Festival at Lincoln Center, San Francisco Performances, Los Angeles’ Walt Disney Hall and Hollywood Bowl, Washington D.C.’s Kennedy Center.
Photo credit: Simon Fowler
Tonkünstler Orchester, Lucerne Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, Orchestra Sinfonica della RAI, Filarmonica della Scala, Helsinki Philharmonic, Royal Liverpool Philharmonic, Danish National Symphony Orchestra, and the She collaborates with conductors such as St Petersburg Philharmonic. Yannick Nézet-Séguin, Jaap van Zweden, Antonio Pappano, Manfred Honeck, Klaus From 2022 onwards, Beatrice tours in Europe Mäkelä, Gianandrea Noseda, Fabio Luisi, with the London Symphony Orchestra and Riccardo Chailly, Paavo Järvi, Valery Gergiev, Gianandrea Noseda, the Bayerische Rundfunk Yuri Temirkanov, Vladimir Jurowski, Gustavo Symphony Orchestra and Yannick NézetGimeno, Jun Märkl, Trevor Pinnock, Louis Seguin, the Orchestre Philharmonique du Langrée, Dima Slobodeniouk, James Gaffigan, Luxembourg and Gustavo Gimeno, the Wiener Mirga Gražinytė-Tyla, Sakari Oramo, Lahav Symphoniker and Andrès Orozco-Estrada, Shani, Andrés Orozco-Estrada, Gustavo the Academy of St Martin in the Fields and Gimeno, Susanna Mälkki, Kent Nagano, Amsterdam Sinfonietta. She will debut Leonard Slatkin or Zubin Mehta. Orchestral with the New York Philharmonic, Boston appearances include the Royal Concertgebouw Symphony Orchestra, Munich Philharmonic, Orchestra, London Philharmonic Orchestra, Chicago Symphony Orchestra, San Francisco Bayerische Rundfunk Sinfonieorchester, City of Symphony and Chamber Orchestra of Europe Birmingham Symphony Orchestra, Orchestre and will return to the Philadelphia Orchestra, de Paris, Royal Stockholm Philharmonic Orchestre de Paris, National Symphony Orchestra, Toronto Symphony Orchestra, BBC Orchestra, Royal Stockholm Philharmonic Symphony Orchestra, Philadelphia Orchestra, and London Philharmonic. Los Angeles Philharmonic, Detroit Symphony Orchestra, NHK Symphony, Dallas Symphony Beatrice will play recitals at Carnegie Orchestra, Pittsburgh Symphony Orchestra, Hall, Philharmonie de Paris, Amsterdam Gilmore Keyboard Melbourne Symphony Orchestra, Seoul Concertgebouw, Philharmonic, Orchestre National de France, Festival, Hamburg’s Laeiszhalle, Cologne Philharmonie, Alte Oper Frankfurt,
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Stuttgart’s Liederhalle, Boston Celebrity series, Konzerthaus Vienna, Toronto’s Koerner Hall among other prestigious venues. Beatrice Rana records exclusively for Warner Classics. In 2015, her first album featuring Prokofiev Piano Concerto No.2 and Tchaikovsky Piano Concerto No.1 with Antonio Pappano and the Accademia Nazionale Santa Cecilia di Roma received international acclaim including the prestigious Gramophone Magazine’s Editor’s Choice and BBC Music Magazine’s Newcomer of the Year Award. The year 2017 will remain a milestone in her career with the release of Bach’s Goldberg Variations. The recording was praised by reviewers worldwide and was crowned by two major awards: “Young Artist of the Year” at the Gramophone Awards and “Discovery of the year” at the Edison Awards. In June 2018, she was chosen as Female Artist of the Year at the Classic BRIT Awards at the Royal Albert Hall for her recording of the Bach. Beatrice also recorded Bernstein Symphony No.2 ‘Age of Anxiety’ as part of Antonio Pappano’s recording of the composer’s complete symphonies, which also garnered her high critical acclaim. Her latest solo album was released in October 2019, featuring works by Stravinsky and Ravel and was awarded several top prizes incuding Diapason d’Or de l’Année and Choc de l’Année Classica in France. A Chopin album was released in September 2021 and already received many awards.
In 2017, Beatrice started her own chamber music festival, Classiche Forme, in her native town of Lecce, Puglia. The festival has become one of Italy’s major summer events. She also became artistic director of the Orchestra Filarmonica di Benevento in 2020. In June 2013, Beatrice won Silver (2nd Prize) and the Audience Award at the prestigious Van Cliburn competition. She had attracted international attention at 18, winning 1st Prize and all special prizes at the Montreal International Competition in 2011. A recipient of an impressive number of first prizes in national and international piano competitions, such as “Muzio Clementi” Competition, “International Piano Competition of the Republic of San Marino” and “Bang&Olufsen PianoRAMA Competition”. Born to a family of musicians in 1993, Beatrice Rana made her debuts as a soloist with orchestra at the age of 9, performing Bach Concerto in F minor. Beatrice began her musical studies at four and achieved her Piano Degree under the guidance of Benedetto Lupo at the Nino Rota Conservatory of Music in Monopoli, where she also studied composition with Marco della Sciucca. She then studied with Arie Vardi in Hannover and again with Benedetto Lupo at the Accademia di Santa Cecilia. She is based in Rome. Beatrice Rana last performed with the Pittsburgh Symphony in June 2019.
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LAUREN SNOUFFER Recognized for her unique artistic curiosity in world-class performances spanning the music of Claudio Monteverdi and Johann Adolph Hasse through to Missy Mazzoli and George Benjamin, American Lauren Snouffer is celebrated as one of the most versatile and respected sopranos on the international stage. During the 2021-22 season, Lauren Snouffer makes her debut at the Opéra national du Rhin in the lead role of The Snow Queen, by Hans Abrahamsen, in a new production directed by James Bonas and Grégoire Pont under the baton of Robert Houssart. She returns to Houston Grand Opera for a production by Francesca Zambello of Dialogues des Carmélites conducted by Patrick Summers and bows in no less than two new productions with the Opernhaus Zürich: she is the title role in the world premiere of Girl with a Pearl Earring by composer Stefan Wirth and she performs Argene in Pergolesi’s L’Olimpiade in a new production conducted by Ottavio Dantone. The soprano joins The Dallas Opera for Opera Galas and concertizes with Patrick Dupré Quigley and Seraphic Fire in tour performances of Pergolesi’s Stabat Mater. She returns to Mercury Chamber Orchestra for a program of Vivaldi and Handel and appears with Ars Lyrica Houston in fully- staged performances of Purcell’s Dido and Æneas.
Händel-Festspiele Karlsruhe directed by Max Emanuel Cencic and conducted by Georg Petrou and the role of Magnolia Hawks in Francesca Zambello’s production of Show Boat for The Glimmerglass Festival.
Lauren Snouffer’s concert schedule has yielded collaborations with many of the world’s most distinguished conductors and orchestras including numerous performances with Franz Welser-Möst and The Cleveland Orchestra, Cristian Măcelaru and the Rotterdam Philharmonic, Krzysztof Urbański and the Indianapolis Symphony Orchestra, Edo de Waart and the New Zealand Symphony Orchestra, Bernard Labadie and Operatic performances on leading Orchestra of St. Luke’s, Markus Stenz and international stages have fortified the the Baltimore Symphony Orchestra, with soprano’s place as one of the eminent Patrick Dupré Quigley and the San Francisco interpreters of contemporary music; she Symphony, Harry Christophers of the Handel assayed the title role of Berg’s Lulu in a & Haydn Society of Boston, and with Marin new production at the Teatro Municipal Alsop and the Orquestra Sinfônica do Estado de Santiago conducted by Pedro-Pablo de São Paulo. Prudencio and directed by Mariame Clément, and returned to Houston Grand Past seasons include Houston Grand Opera Opera for the world premieres of The performances of Le nozze di Figaro conducted Phoenix by composer Tarik O’Regan and by Harry Bicket in a production by Michael librettist John Caird and The House Without Grandage as well as presentations of Carousel, a Christmas Tree by Ricky Ian Gordon and Show Boat, The Rape of Lucretia, and L’italiana in Royce Vavrek. Other past appearances Algeri; Lyric Opera of Chicago performances include Handel’s Serse for the Internationale of Rusalka, La clemenza di Tito, and a new
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production of Orphée et Eurydice directed and choreographed by John Neumeier under the baton of Harry Bicket; a Seattle Opera debut as La Comtesse Adèle in Rossini’s Le comte Ory conducted by Giacomo Sagripanti; Die Zauberflöte at Seattle Opera and Lyric Opera of Kansas City; a new Christopher Alden production of Handel’s Aci, Galatea, e Polifemo with Philharmonia Baroque Orchestra under the baton of Nicholas McGegan; and Max Emanuel Cencic’s new production of Hasse’s Siroe at the Opéra Royal de Versailles, with additional performances in Budapest and Vienna. Closely associated with George Benjamin’s Written on Skin, Lauren Snouffer has sung under the composer’s baton at the Tanglewood Festival of Contemporary Music and with the Théâtre du Capitole de Toulouse and Opera Philadelphia. She has performed Ligeti’s Mysteries of the Macabre with the Aspen Contemporary Ensemble, presented the world premiere of Andrew Norman’s A Trip to the
Moon with the Los Angeles Philharmonic, and joined Alan Gilbert and the New York Philharmonic in the title role of HK Gruber’s Gloria – A Pig Tale in a production staged by Doug Fitch. A Grammy Award-nominated artist, Lauren Snouffer’s impactful discography includes Hasse’s Siroe and Handel’s Ottone with George Petrou for Decca, Gottschalk’s Requiem for the Living with Vladimir Lande on Novona Records, Grantham’s La cancíon desesperada conducted by Craig Hella Johnson on Harmonia Mundi, and Feldman’s The Rothko Chapel with Steven Schick for ECM. An alumna of the Houston Grand Opera Studio, Lauren Snouffer graduated from Rice University and The Juilliard School. These performances mark Lauren Snouffer’s debut with the Pittsburgh Symphony.
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DASHON BURTON Bass-baritone Dashon Burton has established a vibrant career appearing regularly throughout the United States and Europe in key elements of his repertoire — Bach’s St. John and St. Matthew Passions and the B minor Mass, Mendelssohn’s Elijah, Beethoven 9, the Brahms Requiem, Handel’s Messiah, and Mozart’s Requiem. He opened the 2021/2022 season with the Handel & Haydn Society of Boston led by Marin Alsop for Beethoven Symphony No. 9 which he repeats later in the season with the Nashville Symphony and Giancarlo Guerrero. Throughout the season he makes several notable orchestral debuts: the Chicago Symphony in Handel’s Messiah led by Nicholas McGegan, the Los Angeles Philharmonic with Michael Tilson Thomas for his Rückert Lieder, the Photo credit: Tatiana Daubek Pittsburgh Symphony for the Dvorak Te Deum led by Manfred Honeck, and the Verdi original member of the groundbreaking vocal Requiem with the Seattle Symphony and ensemble, Roomful of Teeth, he won his first Grammy for their recording of Caroline Thomas Dausgaard. Shaw’s Pulitzer-Prizewinning Partita for 8 He continues his relationship with San Francisco Voices. His other recordings include Songs Performances in appearances throughout the and Struggles of Redemption; We Shall season and makes a debut with Celebrity Series Overcome, singled out by The New York Times as “profoundly moving…a beautiful and lovable of Boston in recital. disc.”; Paul Moravec’s Sanctuary Road on Operatic engagements in recent seasons have Naxos; Holocaust, 1944 by Lori Laitman, included Salome at the Salzburg Festival led and Caroline Shaw’s The Listeners with the by Franz Welser-Möst and Peter Sellars’s Philharmonia Baroque Orchestra. production of Claude Vivier’s Kopernikus, un ritual de mort at Paris’ Théâtre de la Ville as well Dashon Burton received a Bachelor of Music as Sarastro in Die Zauberflöte in Dijon and Paris from Oberlin College & Conservatory and a and Jupiter in Rameau’s Castor et Pollux with Master of Music at the Yale University. He is an Assistant Professor of Voice at Vanderbilt Les Talens Lyriques. University’s Blair School of Music. Dashon Burton won his second Grammy in March of 2021, for Best Classical Solo Vocal These performances mark Dashon Burton’s Album for Dame Ethyl Smyth’s The Prison with debut with the Pittsburgh Symphony. The Experiential Orchestra on Chandos. An
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Under Music Director Matthew Mehaffey, MCP is celebrated for its innovative programming, commissions, and partnership programming such as the 2020 world premiere of Satan’s Fall by Stewart Copeland, the 2019 world premiere of The Times They Are A-Changin’: The Words and Music of Bob Dylan by composer/ conductor Steve Hackman, and MCP’s new series, Global Choral Traditions, offered in partnership with City of Asylum that explores global song traditions. Audiences and critics alike have praised MCP’s programming saying “EXCEPTIONAL and MEMORABLE event. I’m still talking about it,” “One of the finest music events I have ever attended,” and “the For almost 100 years, MCP has been the proud Mendelssohn never ceases to amaze me . . . This choral partner of the PSO, bringing the joys of city should be proud of its choir” (Pittsburgh Postsymphonic choral music to tens of thousands Gazette). of people in the region each year. As the PSO’s “chorus of choice,” the MCP has performed MCP fosters the next generation of choral singers under the baton of a veritable who’s who in and audience members through its educational classical music, including Lorin Maazel, program, the Junior Mendelssohn Choir of Mariss Jansons, Rafael Frühbeck de Burgos, Pittsburgh (JMCP). Founded in 1988, JMCP is Michael Tilson Thomas, Claudio Abbado, the region’s premier high school choral training Mstislav Rostropovich, Leonard Slatkin, and performance program. Annually, the JMCP Charles Dutoit, André Previn, Sir Neville attracts singers from more than a dozen school Marriner, Yan Pascal Tortelier, Helmuth districts, providing youth with a challenging Rilling, Ingo Metzmacher, Richard Hickox, musical environment in which to develop their skills and giving them the tools and experiences Zdenek Mácal, and Manfred Honeck. to be life-long participants in the arts. Critically acclaimed as one of the finest choruses in the country, the 114-year-old MCP is re- For upcoming performances and more inventing choral music for the 21st century. information, visit www.themendelssohn.org. The members of the Mendelssohn Choir of Pittsburgh (MCP) are thrilled to return to the stage with Maestro Honeck and the members of the Pittsburgh Symphony Orchestra (PSO). MCP made its return to live performances in December with The Promise of Light, a dramatic concert that drew upon the wealth of music and poetry about winter, the solstice, and the hope for new beginnings. To share the joy of coming together in person after the dark silence of the pandemic, MCP offered these concerts for free at venues across the region to inspire and delight more than 3,300 community members with the power of the human voice.
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BOARD OF DIRECTORS
Officers Guy Leonard, President Thea Pavlik, Vice President Vance W. Torbert, III, Treasurer Colleen Ramsay Hoesch, Secretary Directors Tom Bartos Sue Bertenthal * Jim Cunningham Charlotta Dragenflo * Trent Gause, M.D. Nathan Hart * * Choir Representatives
Directors Emeritus Constance J. Bernt Jeanne C. Ashe * Douglas A. Clark Bette Evans Cordelia Jacobs Mary Jane Jacques Arthur J. Kerr, Jr. Kwan Il Lee, MD Paul R. Malmberg * Perry Morrison * Joseph Schewe George Seeley * deceased
ADMINISTRATIVE STAFF Mary Ann Lapinski, Executive Director Emily Leal-Santiesteban, Communications & JMCP Chorus Manager Jennifer Shorstein, Director of Individual Giving MaryColleen Seip, Chorus Manager Esther Berreth, Bookkeeper Tara Taylor, Graphic Design
ARTISTIC STAFF Dr. Matthew Mehaffey, Robert Page Music Director Dr. Ryan Keeling, Assistant Conductor Dr. Caron Daley, Music Director, Junior Mendelssohn Choir Julianna Grabowski, JMCP Assistant Conductor Samuel Froehlich, JMCP Faculty Timothy Heavner, JMCP Acoompanist
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CHORUS MEMBERS Salvatore Amelio Regina Anesin Earle Ashbridge Amelia Baisley D’Arcy * Thomas Baker Daniel Banko-Ferran Christopher Bartley Norrie Bastedo Chuck Beard Rebecca Belan Sue Bertenthal Andrew Bloomgarden * David C. Bodette Emily Bovan Melanie Boozell Briana Brickner-York * Tom Brown Carol Burgman Alison Celigoi Ashley Cesaratto Tianying Chen Thespina Christulides * Chelsea Cockburn Michael J. Conway Hannah Cranville Barbara Crigler Charles Colton Croskey Fred Cullen Stephanie Sue Curtice * Beth Damesimo Anthony DeMartino Deborah Dimasi Charlotta Dragenflo Lynn Streater Dunbar Lauren Corcoran Emrich ** Colin Farley Benjamin Filippone Brian Filtz Victoria Fisher Zanna Fredland * Andrew Frey Samuel Froehlich **
Mary Kay Gottermeyer Kimberly S. Graham Jeffrey Gross * Theresa Vosko Haas Sheryl Harbaugh Nathan Hart * Timothy Heavner Kyla Ann Heller Caleb Hixon Tricia Hixon Al Hogan Tyler Humphries-Randolph Matthew Hunt Mary Jane Jacques Edward Jaicks Sydney Kaczorowski Maia Kamenova Kane Karsteter-McKernan Daniel Kaupa Hayden Keefer * Laura Kingsley Johanna Knapic Susan Komlyn Yangming Kou Anna Lahti * Matthew J. Lamberti Emily Leal-Santiesteban M. Denice Leonard George Libby Liāna Dz. Alksnīte Lloyd Paul Long Adam Loucks * Jonathan A. MacDonald * Thomas Maddigan Emily Marinan Timothy Marquette * Roy J. Matway Kelli M. McElhinny J. Patrick McGill John Milnthorp Bethany Mingle Gina Morgano *
John Murmello Ernie Nelson Scott M. O’Neal * Susan K. Oerkvitz Cynthia Ortiz * Susan Ouchis Ann Paulini D.J. Pickell Gregory Popcak Lucky T. Rattan * Samantha Rieg Anastasia L. Robinson * Domenic Rodriguez Joe Rogers Gail Elizabeth Roup * MaryBeth Salama JoAnn Salzman Janet Sarbaugh Jeffrey Siegfried MaryColleen Seip John M. Sereno Matthew Soroka George Spencer Teresa Steigerwalt Mayim Stith Scott R. Thistle Christine Thompson Mike Thompson Bill Vandivier Megan Wall Marjorie Weinstock Andrew Wilkinson Rich Williams David L. Wright Larry W. Wright Paul Yeater * Jon Zellhart Joan Zolko * Core Singers ** Core Alternate Singers
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MATTHEW MEHAFFEY, ROBERT PAGE MUSIC DIRECTOR teaches graduate and undergraduate courses in conducting and music literature, and is the 2015 recipient of the Arthur “Red” Motley Exemplary Teaching Award. At the university, Dr. Mehaffey and his colleague Kathy Saltzman Romey oversee a choral program of six graduate students, seven choirs, and over 300 singers. Graduate conducting students under their tutelage have achieved considerable success in a variety of venues, including: the ACDA National Choral Conducting Competition (2015 winner); prestigious conducting masterclasses offered by ACDA, Chorus America, National Collegiate Choral Organization, and the Oregon Bach Festival; presentations at the College Music Society and NAfME Symposia; and by serving as choral leaders in academic institutions and civic ensembles around the country. Dr. Mehaffey has served on the faculties of The George American conductor and educator Matthew Washington University, and Macalester College, Mehaffey is crafting a national reputation in as well as the summer faculties of Westminster the field of choral/orchestral music through his Choir College, and University of St. Thomas. engaging artistry, collaborative spirit, affirming pedagogical style, and entrepreneurial approach He is the co-author of Choral Ensemble to concert programming. Intonation: Methods, Procedures, and Exercises and the co-editor of three volumes of Teaching As a conductor, Dr. Mehaffey serves as Music Music Through Performance in Choir – all for Director of two respected civic choruses, GIA Publications. He is also co-author of the The Oratorio Society of Minnesota and The chapter “A Multiplicity of Voices: Choral Music Mendelssohn Choir of Pittsburgh – the in the United States,” in the internationally “chorus of choice” of the Pittsburgh Symphony released volume, The Cambridge Companion to Orchestra. Each week he leads more than 200 Choral Music. passionate amateur and professional singers in Pittsburgh and St. Paul in the development Dr. Mehaffey holds degrees in music from of concert programs that both celebrate the Bucknell University, Westminster Choir standard choral/orchestral repertoire, and push College, and the University of Arizona, and the boundaries of a traditional choral concerts. is eternally grateful for his formative musical Recent notable professional engagements include mentors William Payn, Kay Payn, James Jordan, work with Washington National Opera, Saint Joseph Flummerfelt, Maurice Skones, and Bruce Paul Chamber Orchestra, Minnesota Orchestra, Chamberlain. He lives in Minnesota with his Czech National Symphony Orchestra, Prague wife Libby and their four children on a hilly Proms, Lyra Baroque Orchestra, VocalEssence, plot of land that reminds him of his hometown Minnesota Chorale, Singers in Accord, and of Pittsburgh, Pennsylvania. He enjoys golf, Turner Network Television. baseball, and cooking in his spare time. Dr. Mehaffey is Professor of Music at the University of Minnesota, where he conducts the University Singers and Men’s Chorus,
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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 special thank you during the month of June, donors in the Concerto Club level and above ($300+) are listed below. We are happy to recognize donors at the Symphony Club level for our full year program books. 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 March 22, 2022. MAESTRO’S CIRCLE
Alece & David Schreiber Drs. Satbir & Shalu Singh Jim Spencer & Michael Lin Tom & Jamee Todd Mike & Melia Tourangeau Helge & Erika Wehmeier
Fred & Maryann Steward Harvey Weissman & Louise Eckman Dr. Michael J. White & Mr. Richard LeBeau
Elliott S. Oshry Richard E. & Alice S. Patton Vivian & Bill Benter Dr. Tor Richter in memory of Elizabeth W. Richter Tony & Linda Bucci Marcia & Gerald Rubenstein Mr. & Mrs. J. Christopher Donahue Millie & Gary Ryan DIRECTOR’S CIRCLE Bob & Joan Peirce The David S. & Karen A. $10,000 - $14,999 Shapira Foundation Pittsburgh Symphony CHAIRMAN’S CIRCLE Anonymous Association & Affiliates The Sieber Family $20,000 - $24,999 Bridgett & Marty Bates Cheryl & Jim Redmond Jody & John Sperry Anonymous Susan & David Brownlee Mr. & Mrs. John T. Ryan III Robert & Janet Squires James & Electra Agras Barbara & David Burstin Dick & Ginny Simmons Benjamin & Jo Statler Suzy & Jim Broadhurst Nancy Scarton Chaplin Jon & Carol Walton Matt & Alyssa Tokorcheck Rae & Jane Burton Charles C. Cohen & Michele Mr. & Mrs. Thomas J. Usher Mr. & Mrs. R. Drew Kistler M. McKenney BENEFACTOR’S CIRCLE Theo & Pia van de Venne Ms. Sandra L. Nicklas Jeff and Tara Craft $50,000 - $99,999 Rachel M. Walton Carol H. Tillotson Elliot & Beth Davis Wendy & David Barensfeld Markus Weber & Donna Ellen & Jim* Walton Brian & Carol Duggan Soave Weber Susie & Roy Dorrance Mrs. Orlie S. Ferretti Mr. & Mrs. Michael Weir Hans* & Leslie Fleischner CHAIRMAN’S CIRCLE Rebecca & Oliver Finney James* & Susanne Hilary Mercer & Ian Rogers Wilkinson $15,000 - $19,999 Clifford & Tracy Forrest Perry* & BeeJee Morrison Robert & Carole* Williams Anonymous Dina J. Fulmer Craig & Jill Tillotson John Wong Allen Baum & Elizabeth Bruce & Ann Gabler Arthur Weldon Witzke-Baum Dr. & Mrs. Merrill F. Wymer Mr. Murry S. Gerber Robin Joan Bernstein Dr. & Mrs. C. Bernie Good FOUNDER’S CIRCLE Mrs. Ellen Still Brooks Frank & Angela Grebowski $25,000 - $49,999 Mr. Richard Burkland CONDUCTOR’S CIRCLE Marcia M. Gumberg* Anonymous (2) Cindy & Doug Donohoe $7,500 - $9,999 Marnie & Jim Haines Pat & Michele Atkins Robert & Sara Englesberg Anonymous (2) Manfred & Christiane Cynthia Bognar Howard & Mary Anne Hanna Honeck Mr. Juanjo Ardid & Ms. Ada Davis & Joseph Spirer Amalia Auge Ron & Nancy Herring Elizabeth S. Hurtt Ms. Geraldine A. Kort Deac Mr. & Mrs. Michael Berger Rick & Laurie Johnson Myah & Jaime Irick Dr. James H. & Mary E. Don & Judy Borneman Drs. Grace & Joon Lee David & Marcia Kneupfer Duggan in Memory of Mary Betty & Granger Morgan A. Duggan Barbara Krause & Larry King Kathryn & Michael Bryson Abby L. Morrison Mark F. & Mary McKinney Mr. & Mrs. Michael J. Maglio Debra Caplan & David Levenson MD Flaherty Lesa B. Morrison, Ph. D* Kent & Martha McElhattan Philip J. & Sherry S. Dieringer The Akers Gerber Family Shirley Olander Susan & Marty McGuinn Edith H. Fisher Tom & Dona Hotopp James Parrish & Chris Janet & Donald Moritz Mr. James Gorton & Mrs. Siewers Audrey R. Hughes Gerald Lee Morosco & Paul Gretchen Van Hoesen James W. & Erin M. Rimmel Ford, Jr. Gina Elisa Laite, M.D. Dan* & Gwen Hepler Abby & Reid Ruttenberg Mr. & Mrs. David McCormick Martha & Richard Munsch Alice Jane Jenkins Mr. & Mrs. Sean Sebastian Nancy & Bill Rackoff Nancy N. & Maurice A. D. H. Lee, Jr. Nernberg Diana Reid & Marc Chazaud Theodore Stern $100,000 +
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Mr. & Mrs. Thomas McConomy Jean S. McLaughlin George & Bonnie Meanor Mr. & Mrs. Sam Michaels Lori & Louis Plung Pinchas & Aviva Rosenberg Nancy Schepis Mr. & Mrs. Steven C. Thomas CONDUCTOR’S CIRCLE $5,000 - $7,499 Drs. Albert W. & Barbara R. Biglan Marian & Bruce Block Eva Tansky Blum Ted & Kathie Bobby Ms. Spencer Boyd Hugh & Jean Brannan Dr. Bron & Mr. Levin Mr. Charles R. Burke Jr. Gail & Rob Canizares Dr. Owen Cantor Cyrus & Kimberly Daboo Randi Dauler Angela & Mike DeVanney Lisa & Martin Earle Jean & Sigo Falk Dr. Lawrence* & Joan Ferlan Curt & Kim Fleming Mary Louise & Henry J. Gailliot Mrs. Ronald E. Gebhardt Alice V. Gelormino Patrick A. Gray Caryl & Irving Halpern Gail & Greg Harbaugh Rev. Diana D. Harbison Mr. & Mrs. Edward J. Harris in honor of Lisa Gedris & Ellen Chen-Livingston Adam and Justine Hofmann Mr. David Holmberg Mr. & Mrs. Joseph M. Jackovic Farnam & Teresa Jahanian Marge Kane Dr. Barbara Kuhns & Constance Ritter Patricia Duke LeClere Janet R. Markel Dr. Arthur S. Levine & Ms. Linda S. Melada Patrick & Alice Loughney Rock & Jennifer MaglebyLambert
Elizabeth Mays Dick & Bonnie McMicken Marilyn Meltzer James & Susan Morris Mr. and Mrs. Paul O’Neill Susan & Chris Pappas Connie & Mike Phillips Dr. & Mrs. William R. Poller in honor of our five grandchildren Mr. & Mrs. William F. Roemer Joan Scheinholtz* Dr. & Mrs. Harry & Linda Serene Michael Shefler Brian P. Simmons Mr. & Mrs. D.J. Song Mr. Frederick Steinberg Mr. Douglas Stirling Joel & Maria Swanson Diane & Dennis Unkovic Ginevra Felice Ventre Mr.* & Mrs. James P. Welch Nozomi Williams AMBASSADOR’S CIRCLE $2,500 - $4,999
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 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
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Neil & Bronya Strosnider Dr. Sharon Taylor & Dr. Philip Rabinowitz Janie & Harry Thompson Anthony & Jan Tomasello Eric & Barbara Udren Dr. Ronald J. & Patricia J. Wasilak Frank & Heidemarie Wenzel Carolyn & Richard Westerhoff Robert Wickesberg & Susan Noffke Barbara & Bruce Wiegand Miriam L. Young Dr. & Mrs. P. Alvin Zamba ENCORE CLUB $1,750 - $2,499 Anonymous (5) Kathryn Albers & Brian Davis J.R. Ambrose & Eliza Swann Rev. Drs. A. Gary & Judy Angleberger Ms. Elaine Armstrong Brian Ashton Mr. Francis A. Balog & Dr. Paula Bonino Richard C. Barney Robert & Loretta Barone Mr. and Ms. Jonathan Berdyck Joan & Keith Bernard Dr. Michael & Barbara Bianco Michael E. Bielski Mr. & Mrs. James H. Bregenser Mr. & Mrs. Paul R. Bridges Jill & Chuck Brodbeck Ms. Mary Patricia Brown Gary & Judy Bruce Mr. Milton W. Burkart* & Dr. Patricia K. Burkart Linda B. Burke Mr. & Mrs. Frank V. Cahouet* Dr. Marco Cavagna and Dr. Christine Garnett Christine & Howard Cohen Mr. and Mrs. Eugene Colleran Dr. & Mrs. Richard H. Daffner Jamini Vincent Davies James Delligatti Amil & MaryAnn DiPadova Mr. & Mrs. James R. Drake 42
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 Mrs. Lauren Gailey Keith Garver Matthew & Deborah Garvic Revs. Gaylord & Catherine Gillis William & Victoria Guy Dale & Susanne* Hershey Dr. Benjamin E. Hicks Douglas & Antionette Hill Micki F. Huff Hyman Family Foundation Mary Lee & Joe* Irwin Edward W. Jew Jr. MD Gloria Kleiman Ms. Kathy J. Krause Dr. & Mrs. Howard N. Lang Anne Lewis John & Cathy Mary Barbara & Mark Matera Mary A. McDonough Kenton* & Florence McElhattan Alice & Bob Moore Amy & Ira* M. Morgan Dr. Harvey M. Morris Dr. & Mrs. Etsuro K. Motoyama Dr. & Mrs. Donald D. Naragon David & June Nimick Linda & Jim Northrop Suzanne & Richard Paul Dr. Gail Pesyna & Dr. John Hooper David & Marilyn Posner Mrs. Mildred M. Posvar Wesley Posvar Lois A. Pruitt 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 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 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
PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON
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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 44
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 CONCERTO CLUB $300-$599 Anonymous (30) Dr. & Mrs. Jon S. Adler R. Bruce and Lee W. Albro
Ms. Lori Andersen Dr. & Mrs. Theodore Andersen Bonnie Anderson Anne B. Angerman John H. Ashton Mary Lynch Bailey John & Carol Ballance Barry & Diane Balliet Sylvia J. Barksdale Lynne & Roger Barna Vitasta Bazaz & Sheen Sehgal Fund in Memory of Dr. Kuldeep Sehgal Barbara Nickel Beisel Jeanne & Dick Berdik Richard & Susan Bloom Bronwell Berg Bond Ms. Barbara Bott & Mr. Robert Jennings Jr. Mr. E. Thomas Arnn & Ms. Mary H. Boyle Mr. & Mrs. G. Edward Bradley Mary L. Briscoe Barbara M. Brock P. Douglas & Lesley Andy Brock Stephen & Marcia Broughton Mr.* & Mrs. Fitzhugh Lee Brown Mr. Ian M. Brown & Ms. Jodie Minor Pamela & Anthony Bryan Clareann H. Bunker & William Lundgren Mr. & Mrs. A. H. Burchfield Mr. and Mrs. Robert Byer Mark J. Caldone & Dr. Paul J. Lebovitz Serena Campedelli Ms. Maryellen Candek Alvin & Sheila Catz Barbara & Jerry Chait Michael Abesamis and Beatrice Chen The Chew Family Mary Ann Chorpenning Dr. Franklyn Cladis Walter Clark Tom, Liz & Shannon Cloherty Don & Connie Coffelt Mr. Andrew Cohen Jared L. & Maureen B. Cohon Amanda Cole Mr. Neil Como
The David Conover Family Patricia J. Cover Hanley B. Cox Mr. & Mrs. Peter J. Crescimanno Mr. & Mrs. William D. Crise Mr. Ryan Croyle Frederick & Joy Cullen Brian Cunningham Judy & Bob Cunningham William Curtin Sabah Daniel Mr. Robert L. Davidson Mr. Gregory P. DeCesare Dr. & Mrs. Robert C. Dell Jr. David & Diane Denis Drs. Joan Devine & Mark Miller Katie DiCola Megan Donnelly Linda D. Donovan Mr. John T. Doughty Amy & Gary Dubin Susan Duncan Patricia Dunnington Jess Durham Joan & Steven Dytman Richard & Roseanne Easler Robert & Marilyn Egan Ms. Mary Lou Einloth Dr. Peggy H. Elkus Susan A. Engelmeier David & Sharon Esposito Dr. Anna Estop & Dr. James J. Garver Burt & Jane Etherington Dr. & Mrs. Terry Evans Richard A. Falk & Dr. Elaine Geris Anne & George Fattman Thomas Feist Jules J. Feldman DDS John & Madelyn Fernstrom Moses and Laryn Finder Virginia & Nick S. Fisfis Dr.* & Mrs. George M. Fitting Robert Frazzini & Anne Zacharias David Fuller Mrs. Diana M. Galbraith Roberta Gallick & Robert Marefka Joan & Stuart Gaul M.T. Geraci Kristina & Peter Gerszten
Mr. & Mrs. William P. Getty Elliot Gill Mr. & Mrs. Andrew J. Glaid Bob & Judy Goehring Dr. Michael Goodhart & Dr. Susan Hoppe Mrs. Elizabeth Goreham Mr. Mark Gorman Marcus Graham Rev. Scott Graham & Mrs. Kristina Woodson-Graham Dr. Cyndy F. Graves Claudette & Joe Gray Marjorie C. Greenberger Barbara & David* Grover Hanna Gruen Marsha Haley Haider Ala Hamoudi & Sara Burhan Abdullah Mrs. Jennifer Hanko Wilfred & Susan Hansen Mr. & Mrs. Michael Harkins Ms. Janice Harrison Mary O. Harrison Dr. & Mrs. Marvis Hartman Roger & Lou Haskett Mr. James Hathaway and Ms. Laura Quinn Mr. & Mrs. James C. Hays Martha S. Helmreich Ms. Gail Henry Thelma & Andrew Herlich Ms. Elizabeth Herzberg Betsy S. Heston Elias & Lisa Hilal Dorothy & Bill Hill Alan & Betsy Hohlfelder Ms. Shirley Horner Joe Hostetler & Tom Spanedda Drs. John & Mary Hotchkiss Mr. Charles Hunnell Alicia and Matthew Hunt W. James & Marjorie Hunter Ms. Laurel Hutchins H. Vaughn & Dr. Eleanor C. Irwin Beth Anne Jackson & Peter C. Balash Byron & Diane Jackson Micah & Beth Jacobs Mr. & Mrs. Robert T. Jarsulic Bob & Selina Johnson Ellen & Nick Johnson Graham & Marilyn Johnstone
Amanda Jones Christine E. Jordanoff Mrs. Eleanor Kamin Irene & Kevin Kane Erika Kar Elise E. Keely Mr. & Mrs. C. Robert Keenan III Tom & Suzanne Kendig Ms. Maureen Kerr Mr. & Mrs. Charles T. King Mary Ellen Kirby Sue & Peter Koehler Christa & Johann Kolling Mr. & Mrs. Robert Y. Kopf III Joel Kranich Alison Kresh Mr. & Mrs. Thomas R. Kudes Alexandra Kusic Michael Labos Jane M. Lagrotteria Betty Lamb Dawn Lamburn Greg Larson Earl* & Marilyn Latterman Meryl K. Lazar Guy & Denise Leonard Dr. & Mrs. Irv Liberman Mr. & Mrs. Kurt L. Limbach Barbara Livingston Ms. Megan Lloyd Wenso & Grace Lo Mr. and Mrs. Mark H. Loevner Paul & Janet Long Victoria LoSchiavo William Lovas Mrs. Howard M. Love Mr. and Mrs. James Lueers Louise B. Lytle Mr. & Mrs. Dean Mackin Ms. Ruth Macklin Rita A. Madak Betsy Bechtolt Magley Mr. & Mrs. Terrence Magrath Lauren & Hampton Mallory Jim & Laurie Mann Mr. & Mrs. Lawrence Marcello Mrs. and Mr. Janet Marlan Ms. Donna Marrone Christine Martin Marita Mathews Mr. John May Katherine K. McCormick
Susan B. McIntosh Kevin & Sybil McKeegan Mr. John McKelvey Mr. & Mrs. Edward McKenna Ms. Janet L. McQuaid Mr.* & Mrs. John E. Mehl Mr. & Mrs. Robert Mialki David & Chris Michelmore Dr.* & Mrs. Charles J. Miller Mr. & Mrs. Kenneth R. Miller Scott Miller Dr. & Mrs. Paul A. Moore Mr. & Mrs. Jeffrey Morrow Carol J. Mueller in honor Richard P Simmonsa Ms. Tina Musahl James & Marlee Myers Dr. Peter S. Naman Anne & Robert New Deborah L. Nichols Lee & Debra Nott Miss Nancy Noyes Carolyn Ann Oberle Maureen S. O’Brien Mr. John Orndorff, Jr. Bill & Elena O’Rourke Chris Palmer Ms. Cassandra Pan Ms. Sandra Pappa Rev. Dr. & Mrs. Eric S. Park Pavlik Family Neil & Anne Paylor Mr. and Ms. Jay Peacock Ms. Antoinette Petrucci Dr. & Mrs. Joseph M. Pilewski Bob & Ellen Piper Edward & Olga Platt The Pollon Family Mr. & Mrs.* Carlos Prado Rick & Vera Purcell Allie & Tom Quick Suzanne Quinn Barbara M. Rankin Keith Recker & James Mohn Laurie & Henry Reich Marnie Menser Repasky Mr. & Mrs. Ralph K. Reubi Stephen G. Robinson Mrs. Margaret E. Rock Mrs. Denice Rodaniche in memory of Arcadio F. Rodaniche Ms. Patricia Rodella Violeta F. Rodriguez
PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON
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Mrs. and Mr. Patrick Rooney Al Rosenfeld Bill & Sue Rossetti G. Fred Roth & Sherry S. Bloom Jesse Rothschild Stephen Ruben Mr. Matthew Rutkowski Ms. Elizabeth Ryan Ms. Lisa-Jo Rygelski Dr. Yoel Sadovsky Mr. Louis A. Salvador Mr. David Sandborg Mr. & Mrs. Harold Sanders Kathleen A. Sandoe & Daniel H. Ready Louis & Dianne Scansaroli Philip T. & Diane T. Schavone Dr. & Mrs. Edward G. Scheid Mr. & Mrs.* John C. Schlotterer Ms. Barbara Schock Lynn & Brian Schreiber Urban Schuster Mr. & Ms. Samuel D. Scott Cathy Sellers In memory of Rita Seltman
Dr. & Mrs. Pushpendra Senan Eric & Jessica Setzler Kevin & Victoria Shaw Gregory & Susan Silvestri Mr. & Mrs. Virgil Simplaceanu Laurie & Paul Singer Ms. Ruth Sinsheimer Jackie Slaugenhaupt Daniel Sleator Ms. Ann Slonaker Ms. Kathleen Smith Margaret Cary Smith* Dr. Susan M. Smith Ms. Susan M. Spano Drs. James and Judy Squires Mrs. Mary Ellen Staab Ms. Shyrl Stange Dr. James Staples Lewis M. Steele & Ann Labounsky Steele John & Jocelyn Stickle Karen & Don Stump Mrs. Reggi Sunseri Dr. & Mrs. Stephen Tannenbaum Mary Ann StuartTempleton
Mr.* & Mrs. Richard Thompson Mr. & Mrs. Robert R. Thompson Michael Thomson & Joyce Milberg Sarah Thorne-Thomsen & Daniel Mosser Helen R. Thorton Daniel Tiedge Michael & Linda Travis Mr. Jacob Troxell Mr. Matthew Turpin & Aarika Turpin Mary & Gerald Unger Ryan & Carrie Vaccaro James & Dorothy Valimont Ms. Kellee Van Aken & Mr. Saul Straussman Reeve & Jane Vanneman Mr. Bruce Vermeychuk Drs. Joan Vondra & Thomas Chang Jan Wagner Mr. Stephen Wagner The Waller Family Robert S. & Linda F. Walters Mr. & Mrs. Robert Wehner
Ms. Cynthia & Dr. Michael Weisfield Mrs. Jaime West Ms. Katie Wiggin Dr. Philip M. Wildenhain & Dr. Sarah L. Wildenhain Dr. Jen Wildpret Evelyn & Morton Wilson J. Dennis Wilson Mary E. Lipinski Mr. David Witter Mr. & Mrs. Milton Wolf Mr. Reid Wolfe Teresa Wolken Dr. & Mrs. Michael R. Wollman Mr. & Mrs. David Wright Lynn Wright Mr. John W. Wyllie, MD Pam & Karl Yagle Marlene & John Yokim Alice L. Young Dr. Huijuan Yuan and Dr. Ye Jin Mick Zaharoff Mr. & Mrs. Walter Ziatek Dr. & Mrs. Basil J. Zitelli Dr. & Mrs. Thomas G. Zullo
CORPORATE SPOTLIGHT Bank of America is proud to be a sponsor of the Pittsburgh Symphony Orchestra. We believe in the power of the arts to help economies thrive, educate and enrich societies, and create greater cultural understanding. That’s why we are a leader in helping the arts flourish across the globe, supporting nearly 2,000 nonprofit cultural institutions each year, including locally with our support of the Pittsburgh Symphony Orchestra and Heinz Hall. John Ciccolella Bank of America Pittsburgh, President
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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 48
$40,000-$99,999 Federated Hermes, Inc. FedEx Ground Hefren-Tillotson, Inc. UPMC Health Plan
Elite Coach Transportation, Inc. Federal Home Loan Bank of Pittsburgh Fl. 2 Jennison Associates LLC Kerr Engineered Sales $20,000-$39,999 Company Bognar and Company, Inc. Lighthouse Electric Company, Inc. Deloitte USA LLP Lucas Systems Delta Air Lines, Inc. Dentons Cohen & Grigsby Macedonia Family and Community Enrichment Dollar Bank Foundation Center, Inc. Duquesne Light Company Marsh USA, Inc. EQT Foundation Meyer, Unkovic & Scott LLP Equitrans Midstream Mozart Management Foundation Port Authority of Allegheny Fairmont Pittsburgh County Giant Eagle Foundation Robinson Fans MSA Worldwide, LLC Schneider Downs & Pittsburgh Steelers Sports, Company, Inc. Inc. Silhol Builders Supply PPG Industries Foundation Company Vallozzi’s Pittsburgh $10,000-$19,999 Carnegie Mellon School $1,000-$2,499 of Music Armada Supply Chain Comcast Solutions Ernst & Young Austrian American Cultural Society, Inc. First National Bank of Pennsylvania General Wire Spring Company J. P. Morgan Private Bank George Jackson Mascaro Construction Promotions Company, LP German American Spang and Company Chamber Of Commerce, Charitable Trust Pittsburgh Chapter University of Pittsburgh HB Reynolds Inc. HICO America $5,000-$9,999 MCF architecture Audia Group LLC McKamish, Inc. Flaherty & O’Hara PC Mitsubishi Electric Power Management Science Products, Inc. Associates, Inc. (MSA) Nocito Enterprises NexTier Bank P.J. Dick, Trumbull & Lindy Streams Elementary School PTA Paving TriState Capital Bank Peoples Natural Gas United Safety Services, Inc. Pirates Charities The Reschini Group $250-$999 Trebuchet Consulting ABARTA Coca-Cola Wabtec Corporation Beverages BMH Transport $2,500-$4,999 Chemistry Communications Angelo, Gordon & Co., L.P. Berner International Corp ComForCare Senior Services Duquesne University
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 Saint Vincent College Sarris Candies Inc. Vibrant Pittsburgh VisitPITTSBURGH W. J. Beitler Co. Warren Associates Current as of May 24, 2022 We would like to thank all corporations who contribute to the Pittsburgh Symphony Orchestra & Heinz Hall. Please see our website at pittsburghsymphony.org for a complete listing.
Is your company missing from this list? Call Becky Rickard at 412.392.2207 to become a Corporate Partner!
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 May 20, 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 (27) 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 L. Van V. Dauler, Jr.* 50
& Randi Dauler Alan Derthick* In Memory of Stuart William Discount Mr. & Mrs. Thomas J. Donnelly* Mary A. Duggan* Dr. James H. Duggan Frank R. Dziama Estate of Robert B. Egan Steven G. & Beverlynn Elliott Estate of Doris Ely Katrin* & Eugene Engels Anthony Fabio* Dr. John H. Feist* Emil & Ruth Feldman* Joan Feldman & William Adams Estate of Ruth K. Fischer Mrs. Loti Gaffney* Keith Garver Alice V. Gelormino Estate of Arlyn Gilboa Ken* & Lillian Goldsmith Mr. & Mrs. Ira H. Gordon* Estate of Anna R. Greenberg Estate of Lorraine M. Gross Estate of Elizabeth A. Gundelfinger Maureen Guroff Kristine Haig & John Sonnenday Marnie & Jim Haines Elizabeth Anne Hardie Charles & Angela Hardwick Estate of John P. Harman Edward J. Harris Carolyn Heil Eric & Lizz Helmsen William & Jacqueline Herbein Monica & Adam Hertzman Ms. Judith Hess Estate of Mr. John H. Hill Tom & Dona Hotopp Susan Candace Hunt Estate of Mr. & Mrs. William C. Hurtt Philo & Erika* Holcomb
Mr. & Mrs. Blair Jacobson Patricia Prattis Jennings Barbara Johnstone Mr. & Mrs. Robert S. Kahn* Estate of Calliope H. Kamaras Daniel G. & Carole L. Kamin Leo* & Marge Kane Lois S. Kaufman Stephen & Kimberly Keen Estate of Patricia M. Kelley Mr. Arthur J. Kerr, Jr. Ms. Bernadette Kersting Dr. Laibe A. & Sydelle Kessler* Estate of Elizabeth Krotec Howard & Carol Lang Stanley & Margaret Leonard Frances F. Levin* Doris L. Litman Estate of Edward D. Loughney Estate of John Keith Maitland Lauren & Hampton Mallory Mr. & Mrs. Robert P. Malnati Elizabeth-Ann Manchio* Dr. Richard Martin in Memory of Mrs. Lori Martin* Dale & Dr. Marlene* McCall Stephen McClure & Debra Gift John W. McDonald, Jr.* George E. Meanor Estate of Mary Michaely Ms. Barbara W. Miller Mary Ellen Miller Ms. Jean L. Misner* Catherine Missenda* Dr. Mercedes C. Monjian Mr. & Mrs. Paul J. Mooney Alice & Bob Moore Perry* & BeeJee Morrison Mildred S. Myers & William C. Frederick* Estate of Katherine L. Nash Donn & Peggy* Neal Rhoda & Bill Neal Dr. Nancy Z. Nelson Rhonda & Dennis Norman Katherine O’Brien
Elliott S. Oshry Thaddeus A. Osial, Jr. M.D. Estate of Irene G. Otte Estate of Mark Perrott Estate of Richard Petrovich Judy Petty Estate of Deloris V. Pohelia Estate of Dorothy R. Rairigh Barbara M. Rankin Richard E. Rauh Cheryl & James Redmond Mr. Gene Reiness Dr. & Mrs. William E. Rinehart* Donald & Sylvia Robinson* Mr.* & Mrs. David M. Roderick Charlotta Klein Ross Harvey & Lynn Rubin Mr. & Mrs. Gary L. Ryan Estate of Sylvia Sachs 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 J. & Walter J. Vogel* Mr. & Mrs. George L. Vosburgh Jon & Carol Walton Estate of John & Betty Weiland Lucile Weingartner Estate of Carrie Weinhaus 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 Current as of May 20, 2022
ENDOWED CHAIRS Principal Horn Chair, given by an Anonymous Donor
Lois R. Brozenick Memorial First Violin Chair Jane & Rae Burton Cello Chair Cynthia S. Calhoun Principal Viola Chair Virginia Campbell Principal Harp Chair
Principal Pops Conductor Chair Endowed by Henry & Elsie Hillman Milton G. Hulme, Jr. Guest Conductor Chair given by Mine Safety Appliances Company Susan Candace Hunt Cello Chair
Jackman Pfouts Principal Flute Chair, given in memory of Mr. & Mrs. Arthur Jackman by Barbara Jackman Pfouts Pittsburgh Symphony Association Principal Cello Chair
Reed Smith Chair honoring Tom Todd Mr. & Mrs. Benjamin F. Jones III Horn Chair Guest Keyboard Chair Snapp Family Randi & L. Van V. Dauler, Jr. Virginia Kaufman First Violin Chair President & CEO Chair Resident Conductor Chair Dr. & Mrs. William E. George & Eileen Dorman Rinehart* Assistant Principal Cello Chair Stephen & Kimberly Keen Bass Chair Oboe Chair Albert H. Eckert G. Christian Lantzsch & Donald & Sylvia Robinson Associate Principal Duquesne Light Company Family Foundation Percussion Chair Principal Second Violin Guest Conductor Chair Chair Beverlynn & Steven Elliott Martha Brooks Robinson Associate Concertmaster Mr. & Mrs. William Genge Principal Trumpet Chair Chair and Mr. & Mrs. James E. Lee Mr. & Mrs. Aaron Silberman Principal Bassoon Chair Jean & Sigo Falk Principal Clarinet Chair Principal Librarian Chair Nancy & Jeffery* Leininger Sidney Stark, Jr. Memorial First Violin Chair HaleyFesq Cello Chair Clarinet Chair Endowed by Janet Haley Edward D. Loughney Fesq Co-Principal Trumpet Chair Mr.* and Mrs. Willard J. Tillotson, Jr. Endowed Principal Piccolo Principal Bass Clarinet Chair Chair, given to honor Frank Fiddlesticks Family Concert Series Endowed by Gerald & and Loti Gaffney Audrey McGinnis Honoring Tom & Jamee Todd Principal Trombone Chair The Center for Young William & Sarah Galbraith Musicians Second Violin Chair United States Steel Corporation Ann McGuinn Alice Victoria Gelormino Assistant Principal Bass Chair Trombone Chair Second Violin Chair Dr. Mary Ann Craig Principal Tuba Chair
Arlyn Gilboa Second Violin Chair Ira & Nanette Gordon The Gracky Fund for Education & Community Engagement
First Violin Chair, given by Allen H. Berkman in memory of his beloved wife, Susan S. Greer Memorial Selma Wiener Berkman Trumpet Chair, given by Peter Greer Michael & Carol Bleier Bass Chair given in memory William Randolph Hearst of our parents, Tina & Endowed Fund for Charles Bleier and Ruth & Education Shelley Stein Vira I. Heinz William Block Memorial Music Director Chair Section Cello Chair William & Jacqueline Herbein Dr. Alan & Marsha Bramowitz Principal Bass Trombone First Violin Chair, Endowed Chair in memory of Bach pianist Rosalyn Tureck
Mr. and Mrs. Martin G. McGuinn Viola Chair
Jon & Carol Walton Associate Principal Viola Chair
Dr. William Larimer Mellon, Jr. Rachel Mellon Walton Principal Oboe Chair, given Concertmaster Chair, given by Rachel Mellon Walton by Mr. & Mrs. Richard Mellon Scaife Messiah Concerts Endowed by the Howard and Nell E. Barbara Weldon Miller Chair Principal Timpani Chair Donald I. & Janet Moritz and Hilda M. Willis Foundation Equitable Resources, Inc. Flute Chair Associate Principal Cello Current as of May 24, 2022 Chair The Perry & BeeJee Morrison String Instrument Loan Fund
*deceased
The Morrison Family Associate Principal Second Violin Chair
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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