BNY Mellon Grand Classics: Grieg's Beloved Piano Concerto & Tchaikovsky's Fiery "Little Russian" by Pittsburgh Symphony Orchestra

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Pablo Heras-Casado CONDUCTOR

Jan Lisiecki PIANO

OCTOBER 22 & 24, 2021 • HEINZ HALL

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OCTOBER 29 & 31, 2021 • HEINZ HALL

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October 22 & 24 program...................................................................6 October 22 & 24 program notes.........................................................8 Pablo Heras-Casado biography.........................................................12 Jan Lisiecki biography.......................................................................14 October 29 & 31 program.................................................................16 October 29 & 31 program notes.......................................................18 Kirill Karabits biography...................................................................22 Micah Wilkinson biography..............................................................23 Pittsburgh Symphony Orchestra biography......................................25 EVERY GIFT IS INSTRUMENTAL Individuals........................................................................................26 Corporate Partners ............................................................................32 Foundations & Public Agencies........................................................33 Legacy of Excellence..........................................................................34

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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, OCTOBER 22, 2021 AT 8:00 P.M. SUNDAY, OCTOBER 24, 2021 AT 2:30 P.M.

Pablo Heras-Casado, conductor Jan Lisiecki, piano Louise Farrenc

Overture No. 1 in E minor, Opus 23

Edvard Grieg Concerto in A minor for Piano and Orchestra, Opus 16 I. Allegro molto moderato II. Adagio — III. Allegro moderato molto e marcato — Poco più tranquillo — Tempo I Mr. Lisiecki Johannes Brahms

Symphony No. 2 in D major, Opus 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi Andantino) IV. Allegro con spirito

Robyn Bollinger, Guest Concertmaster

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PROGRAM AT A GLANCE LOUISE FARRENC

Overture No. 1 in E minor, Opus 23 Louise Farrenc was born in Paris, France, on May 31, 1804, and died there on September 15, 1875. Farrenc composed her Overture No. 1 in 1834, and it was premiered in Paris in 1835. At age 15 she made history by attending the previously all-male composition class of Anton Reicha at the Paris Conservatoire. During the 19th century, she was also the only woman to hold the permanent position of piano professor at the Paris Conservatoire. These performances mark the Pittsburgh Symphony premiere of the Overture, as well as the first time performing a work by Louise Farrenc. The score calls for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings. Performance time: 8 minutes

EDVARD GRIEG

Concerto in A minor for Piano and Orchestra, Opus 16 Edvard Grieg was born in Bergen, Norway, on June 15, 1843, and died there on September 4, 1907. Grieg composed his Concerto in A minor for Piano and Orchestra in 1868 – 1869. It was premiered in Copenhagen by the Royal Danish Orchestra with conductor Holger Simon Paulli and pianist Edmund Neuport on April 3, 1869. Grieg’s Concerto is most recognizable by its spectacularly bold opening that draws all attention to the piano soloist. The Pittsburgh Symphony first performed the Concerto with conductor Victor Herbert and soloist Fannie Bloomfield-Zeisler at Carnegie Music Hall in 1900, and most recently with conductor Mark Elder and pianist Yulianna Avdeeva at Heinz Hall in March 2020. The score calls for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings. Performance time: 32 minutes

JOHANNES BRAHMS

Symphony No. 2 in D major, Opus 73 Johannes Brahms was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897. Brahms composed his Symphony No. 2 in D major in 1877, and it was premiered by the Vienna Philharmonic and conductor Hans Richter on December 30, 1877. The Pittsburgh Symphony first performed the Symphony with conductor Victor Herbert at Carnegie Music Hall in November 1898, and most recently with Manfred Honeck at Heinz Hall in September 2018. The orchestra released a recording of the Symphony with conductor Marek Janowski in 2007, as well as with William Steinberg in 1961. Steinberg's recording of Brahms Symphony No. 2 was nominated for a GRAMMY® Award for Classical Album of the Year in 1962. The score calls for woodwinds in pairs, four horns, two trumpets, three trombones, tuba, timpani, and strings. Performance time: 41 minutes

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LOUISE FARRENC

Overture No. 1 in E minor, Opus 23 (1834)

There are few better examples in the history of music of innate genius, rigorous training, steadfast ambition and sheer hard work overcoming seemingly insurmountable obstacles than Louise Farrenc. She was born Louise Dumont in Paris on May 31, 1804 (five months after Berlioz arrived in the world) into a distinguished artistic family — her father and brother were both Prix de Romewinning sculptors — and started studying piano and music theory at age six. She so impressed the piano virtuosos Moscheles and Hummel with her playing when they performed in Paris that they gave her lessons, and at fifteen she broke a significant gender barrier by being accepted into the previously all-male composition class of Anton Reicha at the Paris Conservatoire. Two years later she married Aristide Farrenc, a flutist at the Théâtre Italien, a respected teacher and the recent founder of a music publishing firm. During the 1830s, Louise Farrenc established an impressive career in Paris as a pianist, composer and teacher, and undertook several concert tours around the country with her husband, which often included pieces of hers he had published. Farrenc began composing seriously during those years, not just character pieces, variations and études for her own instrument but also large-scale chamber and orchestral works — two piano quintets, two piano trios, a nonet and sextet for mixed ensembles, and sonatas for cello and violin, as well as two overtures and three symphonies, which received notable performances. After the premiere of her Symphony No. 3 in April 1849, the male-centric Gazette Musicale allowed that “she revealed, alone among her sex in musical Europe, genuine learning united with grace and taste.” She was honored in 1861 and 1869 by the Institut de France with the Chartier Prize for her “contributions to chamber music.” Farrenc’s achievement in the challenging abstract classical genres was even more remarkable because hardly any other significant French composer was then writing such pieces, concentrating instead on band music, trifles for home entertainment or, principally, works for the state-subsidized Opéra and Opéra-Comique. (Berlioz did write four iconoclastic symphonies, but they were all formed around an external program and remained problematic for him to perform in Paris throughout his life.) In 1842, Farrenc was appointed piano professor at the Paris Conservatoire and she distinguished herself in that capacity for the next three decades as the only woman to hold such a prominent permanent position at the school during the entire 19th century. (After she had established herself there, she demanded and — remarkably — received equal pay with the comparably senior male members of the faculty, nearly doubling her salary.) She also became known as a historical musicologist, collaborating with her husband in researching, editing and publishing two dozen volumes of Le trésor [treasure] des pianistes, a comprehensive anthology of harpsichord and piano music encompassing 300 years. When Louise Farrenc died in Paris on September 15, 1875 she was regarded as one of the foremost female musicians of her time. Farrenc first broached the orchestral genres in 1834 with two concert overtures: the first (E minor, Op. 23) was finished that summer, the second (E-flat major, Op. 24) by December. No. 1 was performed in Paris in 1835 and No. 2 in 1840, when Farrenc was in the midst of writing her three symphonies. The “concert overture” — a piece not associated with a stage production — was still a brand new form at that time. The ones that did exist — Berlioz’s Waverly (premiered 1828), King Lear (1833) and Rob Roy (1833), Mendelssohn’s A Midsummer Night’s Dream (1827), Hebrides (1832), Calm Sea and Prosperous Voyage (1832) and The Fair Melusine (1834) — had drawn on literary sources, so Schubert’s three overtures of 1817 (D. 556, 590, 591) were among the few earlier such pieces without referential qualities. The pioneering spirit of Farrenc’s overtures is even more remarkable because only Berlioz’s works and A Midsummer Night’s Dream had been performed in Paris by 1834. 8

Each of Farrenc’s overtures follows a well-crafted and finely orchestrated sonata form. The Overture No. 1 opens with an introduction whose broad gait and noble gravity pay homage to the opening of many of Haydn’s mature symphonies. The main theme is swift and agitated; the complementary subject, begun by the clarinet, is lyrical and more relaxed in mood. The development section skillfully weaves the lyrical phrases of the second theme with the agitated rhythms of the main theme. After a full stop, the materials of the exposition are recapitulated to close this too-littleknown work by one of France’s most gifted 19th-century musicians.

EDVARD GRIEG

Concerto in A minor for Piano and Orchestra, Opus 16 (1868-1869)

Grieg completed his studies at the Leipzig Conservatory in 1863. Rather than heading directly home to Norway, however, he settled in Copenhagen to study privately with Niels Gade, at that time Denmark’s most prominent musician and generally regarded as the founder of the Scandinavian school of composition. Back in Norway, Grieg’s creative work was concentrated on the large forms advocated by his Leipzig teachers and by Gade. By 1867, he had produced the Piano Sonata, the first two Violin and Piano Sonatas, a Symphony (long unpublished and made available only as recently as 1981) and the concert overture In Autumn. He also carried on his work to promote native music, and gave an unprecedented concert exclusively of Norwegian compositions in 1866. Grieg arranged to have the summer of 1868 free of duties, and he returned to Denmark for an extended vacation at a secluded retreat at Sölleröd, where he began his Piano Concerto. He thoroughly enjoyed that summer, sleeping late, taking long walks, eating well, and tipping a glass in the evenings with friends at the local inn. The sylvan setting spurred his creative energies, and the new Concerto was largely completed by the time he returned to Norway in the fall. Grieg’s Piano Concerto closed the youthful period of his life devoted to large-scale compositions. In 1869, a year after the Concerto was written, he discovered Aeldre og nyere fjeldmelodier, Lindemann’s collection of Norwegian folk tunes. Grieg turned his attention thereafter to the idealization of the folk song in miniature musical works, producing only three compositions of sonata length during his remaining forty years. The Concerto exhibits some of the folk-influenced characteristics that mark Grieg’s later works, but it is also firmly entrenched in the German Romantic tradition of Schumann’s Piano Concerto. The first movement opens with a bold summons by the soloist. The main theme is given by the woodwinds and taken over almost immediately by the piano. A flashing transition, filled with skipping rhythms, leads to the second theme, a tender cello melody wrapped in the warm harmonies of the trombones. An episodic development section, launched by the full orchestra playing the movement’s opening motive, is largely based on the main theme in dialogue. The recapitulation returns the earlier themes, after which the piano displays a tightly woven cadenza. The stern introductory measures are recalled to close the movement. Hans von Bülow called Grieg “the Chopin of the North,” and that appellation is nowhere more justified than in the nocturnal second movement. A song filled with sentiment and nostalgia is played by the strings and rounded off by touching phrases in the solo horn. The soloist weaves elaborate musical filigree above the simple accompaniment before the lovely song returns in an PROGRAM NOTES 2021-2022 SEASON

enriched setting. The finale follows almost without pause. Themes constructed in the rhythms of a popular Norwegian dance, the halling, dominate the outer sections of the movement. The movement’s central portion presents a wonderful melodic inspiration, introduced by the solo flute, that derives from the dreamy atmosphere of the preceding movement. The dance rhythms return and gather increasing momentum. A grandiloquent restatement by the full orchestra of the theme of the movement’s central section brings this evergreen work to a stirring close.

JOHANNES BRAHMS

Symphony No. 2 in D major, Opus 73 (1877)

In the summer of 1877, Brahms repaired to the village of Pörtschach in the Carinthian hills of southern Austria. He wrote to a Viennese friend, “Pörtschach is an exquisite spot, and I have found a lovely and apparently pleasant abode in the Castle! You may tell everybody this; it will impress them.... The place is replete with Austrian coziness and kindheartedness.” The lovely country surroundings inspired Brahms’ creativity to such a degree that he wrote to the critic Eduard Hanslick, “So many melodies fly about, one must be careful not to tread on them.” Brahms plucked from the gentle Pörtschach breezes a surfeit of beautiful music for his Second Symphony, which was apparently written quickly during that summer — a great contrast to the fifteen-year gestation of the preceding symphony. He brought the finished manuscript with him when he returned to Vienna at the end of the summer. After the premiere, Brahms himself allowed that the Second Symphony “sounded so merry and tender, as though it were especially written for a newly wedded couple.” Early listeners heard in it “a glimpse of Nature, a spring day amid soft mosses, springing woods, birds’ notes and the bloom of flowers.” Richard Specht, the composer’s biographer, found it “suffused with the sunshine and warm winds playing on the waters.” The conductor Felix Weingartner thought it the best of Brahms’ four symphonies: “The stream of invention has never flowed so fresh and spontaneous in other works by Brahms, and nowhere else has he colored his orchestration so successfully.” To which critic Olin Downes added, “In his own way, and sometimes with long sentences, he formulates his thought, and the music has the rich chromaticism, depth of shadow and significance of detail that characterize a Rembrandt portrait.” The Symphony opens with a three-note motive, presented softly by the low strings, which is the germ seed from which much of the thematic material of the movement grows. The horns sing the principal theme, which includes, in its third measure, the three-note motive. The sweet second theme is given in duet by the cellos and violas. The development begins with the horn’s main theme, but is mostly concerned with permutations of the three-note motive around which some stormy emotional sentences accumulate. The placid mood of the opening returns with the recapitulation, and remains largely undisturbed until the end of the movement. The second movement plumbs the deepest emotions in the Symphony. Many of its early listeners found it difficult to understand because they failed to perceive that, in constructing the four broad paragraphs comprising the Second Symphony, Brahms deemed it necessary to balance the radiant first movement with music of thoughtfulness and introspection in the second. This movement actually covers a wide range of sentiments, shifting, as it does, between light and shade — major 10

and minor. Its form is sonata-allegro, whose second theme is a gently syncopated strain intoned by the woodwinds above the cellos’ pizzicato notes. The following Allegretto is a delightful musical sleight-of-hand. The oboe presents a naive, folklike tune in moderate triple meter as the movement’s principal theme. The strings take over the melody in the first Trio, but play it in an energetic duple-meter transformation. The return of the sedate original theme is again interrupted by another quick-tempo variation, this one a further development of motives from Trio I. A final traversal of the main theme closes this delectable movement. The finale bubbles with the rhythmic energy and high spirits of a Haydn symphony. The main theme starts with a unison gesture in the strings, but soon becomes harmonically active and spreads through the orchestra. The second theme is a broad, hymnal melody initiated by the strings. The development section, like that of many of Haydn’s finales, begins with a statement of the main theme in the tonic before branching into discussion of the movement’s motives. The recapitulation recalls the earlier themes, and leads with an inexorable drive through the triumphant coda (based on the hymnal melody) to the brazen glow of the final trombone chord.

PROGRAM NOTES 2021-2022 SEASON

PABLO HERAS-CASADO Pablo Heras-Casado enjoys an unusually varied and broad-ranging career, encompassing the great symphonic and operatic repertoire, historically informed performances, and contemporary scores. A musical character best reflected by the quality of the long-term relationships nurtured with prestigious orchestras around the world, he continues to develop new connections and exciting programming each year. In great demand as guest conductor, he regularly appears in Europe with the Philharmonia and London Symphony orchestras, Orchestre de Paris, Münchner Philharmoniker, Symphonieorchester des Bayerischen Rundfunks, Staatskapelle Berlin, Orchestra dell’Accademia Nazionale di Santa Cecilia, Tonhalle-Orchester Zürich and Israel Philharmonic Orchestra, amongst numerous others. He has also conducted the Berliner and Wiener Philharmoniker, the Mariinsky Theatre Orchestra, while in North America he is seen with the symphony orchestras of San Francisco, Chicago, Pittsburgh, Minnesota, Philadelphia, the Los Angeles Philharmonic or the Orchestre symphonique de Montréal. Heras-Casado was Principal Conductor of Orchestra of St. Luke’s in New York between 2011 and 2017, having performed at Carnegie Hall and recorded together with it. In the operatic field, he currently leads Wagner’s complete Ring Cycle over four consecutive seasons, at Teatro Real in Madrid, where he is Principal Guest Conductor, reaching its conclusion this season. Making his debut at the Wiener Staatsoper in 2020/21, with Monteverdi’s L’Incoronazione di Poppea, this season he conducts a revival of the same production and also L’Orfeo. He has also previously appeared at the Staatsoper Unter den Linden and Deutsche Oper in Berlin, The Metropolitan Opera in New York, Festival d’Aixen-Provence and Festspiel Baden-Baden. He enjoys a fruitful collaboration with Freiburger Barockorchester, featuring extensive touring and recording projects, including appearances at Mostly Mozart Festival at Lincoln Center, Festival d’Aix-en-Provence, BBC Proms and Het Concertgebouw in Amsterdam, as part of a residency as Spotlight Artist of the NTR Matinee series of the historic hall. Recently he developed a 12

Photo credit: Dario Acosta

close partnership with Verbier Festival and was previously Director of the Granada Festival. An extensive discography for harmonia mundi, recognized as 2018’s Label of the Year at the Gramophone Awards, includes Stravinsky’s Rite of Spring alongside Péter Eötvös Alhambra, with Orchestre de Paris and Isabelle Faust, a work he co-commissioned for the Granada Festival, and several releases in celebration of Beethoven’s anniversary in 2020, including Symphony No. 9, the complete Piano Concerti and Choral Fantasy, featuring Kristian Bezuidenhout on fortepiano, the Triple Concerto, with Isabelle Faust, JeanGuihen Queyras and Alexander Melnikov, and other orchestral works. A developing series entitled “Die Neue Romantik” features music by Mendelssohn, Schumann and Schubert, and others discs on the label include Manuel de Falla, with Mahler Chamber Orchestra; Debussy, with Philharmonia Orchestra; Bartók with Münchner Philharmoniker and Javier Perianes; a DVD release of Wagner’s Der Fliegende Holländer at Teatro Real; and Monteverdi’s Selva morale e spirituale with Balthasar-NeumannChor & Ensemble. A recipient of numerous awards, including two Preis der Deutschen Schallplattenkritik, two Diapason d’Or, and a Latin Grammy, he also recorded for Deutsche Grammophon, Decca and Sony Classical.

A dedicated educator, Heras-Casado makes a personal commitment to work with young musicians all over the world, regularly leading youth ensembles and projects, such as the Karajan Akademie der Berliner Philharmoniker, Juilliard School of Music Orchestra and Juilliard415 ensemble, RCO Young, Escuela de Música Reina Sofia, Fundación Barenboim-Said, Orquesta Joven de Andalucía, Pan-Caucasian Youth Orchestra or Gustav Mahler Academy. Musical America’s 2014 Conductor of the Year, Pablo Heras-Casado holds the Medalla de Honor of the Rodriguez Acosta Foundation, Medalla de Andalucia 2019 and Ambassador Award of this region. He is Honorary Ambassador and

recipient of the Golden Medal of Merit by the Council of Granada, as well as Honorary Citizen of the Province of Granada, his hometown. In 2018 he was awarded the title Chevalier de l’ordre des Arts et des Lettres of the French Republic and in 2021 is recognized as Artist of the Year at the International Classic Music Awards. Highly committed to the Spanish charity Ayuda en Acción as a Global Ambassador, HerasCasado supports and promotes the charity’s work internationally, and conducts an annual charity concert at Teatro Real in Madrid. Pablo Heras-Casado last conducted the Pittsburgh Symphony in October 2018.

P L AY I N G T H E COSMIC S TRINGS Playing the Cosmic Strings by Mikael Owunna is a mural that was commissioned by the Pittsburgh Symphony Orchestra in partnership with the Pittsburgh Downtown Partnership as an expression of the abundant energy and joy in Heinz Hall shared between the community, the orchestra and all who take the stage. Mikael Owunna, whose acclaimed works have been exhibited worldwide and collected by major institutions, is a queer Nigerian American multi-media artist and engineer based in Pittsburgh who explores the intersections of visual media with engineering, optics,

MIK AEL OWUNNA

Blackness and African cosmologies. This work is inspired by the Igbo-African String-Wave cosmology, in which music is understood as all of the sonic harmonies emanating from the vibrations of the infinite strings everywhere in creation. This mural was installed on the exterior of Heinz Hall in October 2021 in celebration of the 50th anniversary season of Heinz Hall as the home of the Pittsburgh Symphony Orchestra. FOR MORE ABOUT MIK AEL OWUNNA, THE PITTSBURGH SYMPHONY AND THEIR CONTINUED COLLABOR ATION:

PROGRAM 2021-2022 SEASON

JAN LISIECKI Jan Lisiecki’s interpretations and technique speak to a maturity beyond his age. At 26, the Canadian performs over a hundred yearly concerts worldwide, and has worked closely with conductors such as Antonio Pappano, Yannick Nézet-Séguin, Daniel Harding, Manfred Honeck, and Claudio Abbado (†). Following his acclaimed Night Music recitals, Lisiecki will present a new all-Chopin recital programme in over 30 cities around the globe in 2021/2022. Recent return invitations include Boston Symphony Orchestra, Cleveland Orchestra, Philadelphia Orchestra, Filarmonica della Scala, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orpheus Chamber Orchestra for performances at Carnegie Hall and Elbphilharmonie Hamburg. Lisiecki recently performed a Beethoven Lieder cycle with baritone Matthias Goerne, among others at the Salzburg Festival, and has appeared with the New York Philharmonic, Chicago Symphony, Staatskapelle Dresden, Orchestre de Paris, Bavarian Radio Symphony and London Symphony Orchestra. At the age of fifteen, Lisiecki signed an exclusive contract with Deutsche Grammophon. The label launched its celebrations of the Beethoven Year 2020 with the release of a live recording of all five Beethoven concertos from Konzerthaus Berlin, with Lisiecki leading the Academy of St Martin in the Fields from the piano. His Beethoven Lieder cycle with Matthias Goerne, released shortly after, was awarded the Diapason d’Or. Lisiecki’s eighth recording

Photo credit: Stefano Galuzzi

for Deutsche Grammophon, a double album of Frédéric Chopin’s Complete Nocturnes, appeared in August 2021 and immediately topped the classical charts in North America and Europe. His recordings have been awarded with the JUNO and ECHO Klassik. At eighteen, Lisiecki became both the youngest ever recipient of Gramophone’s Young Artist Award and received the Leonard Bernstein Award. He was named UNICEF Ambassador to Canada in 2012. Jan Lisiecki last performed with the Pittsburgh Symphony in April 2018.

Carnegie Museum of Art is delighted to bring you this artwork from our collection that connects to the sounds of the Pittsburgh Symphony thatyou will hear today, through a partnership born from our shared 125th anniversaries in 2020. “The Music coloured the colours. I painted the picture and made the colours quiver with the rhythm of the music.” Edvard Munch, from The Origins of the Frieze of Life, Oslo 1890, published 1928. Celebrate two of Norway’s most noted Edvards, composer Grieg and artist Munch, whose creative spirits shaped Norway’s cultural and national identities. Grieg, a Romantic era composer, elevated traditional Norwegian music weaving tunes in and out of his classical interpretations. Munch led Norwegian visual arts into the modern era first as a Symbolist painter then as a pioneer of Expressionism for which he is best known today. Both continue to “colorfully” inspire and intrigue. Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO

EDVARD MUNCH (NORWEGIAN, 1863–1944) GIRL UNDER APPLE TREE, 1904 CARNEGIE MUSEUM OF ART ACQUIRED THROUGH THE GENEROSITY OF MRS. ALAN M. SCAIFE AND FAMILY, 65.16

PROGRAM 2021-2022 SEASON

BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, OCTOBER 29, 2021 AT 8:00 P.M. SUNDAY, OCTOBER 31, 2021 AT 2:30 P.M.

Kirill Karabits, conductor Micah Wilkinson, trumpet Igor Stravinsky

Suite from Pulcinella I. Sinfonia II. Serenata III. Scherzino — Allegro — Andantino IV. Tarantella V. Toccata VI. Gavotta con due variazioni VII. Duetto VII. Minuetto — Finale

Franz Joseph Haydn

Concerto in E-flat major for Trumpet and Orchestra, H.VIIe:1 I. Allegro II. Andante III. Finale: Allegro Mr. Wilkinson

Anthony Plog

Scherzo for Trumpet and Orchestra World Premiere of the Orchestral Version Mr. Wilkinson

Piotr Ilyich Tchaikovsky

Symphony No. 2 in C minor, Opus 17, “Little Russian” I. Andante sostenuto — Allegro vivo II. Andantino marziale, quasi moderato III. Scherzo: Allegro molto vivace IV. Finale: Moderato assai — Allegro vivo

Madeline Adkins, Guest Concertmaster (Concertmaster, Utah Symphony)

GRAND CLASSICS TITLE SPONSOR

MEDIA SPONSOR

PROGRAM AT A GLANCE IGOR STRAVINSKY

Suite from Pulcinella Igor Stravinsky was born in Oranienbaum, Russia, on June 17, 1882, and died in New York City on April 6, 1971. Stravinsky composed Pulcinella in 1919 – 1920, and it was premiered at the Paris Opera House with conductor Ernest Ansermet and the Ballet Russes in May 1920. The ballet was commissioned by Sergei Diaghilev, with libretto and choreography by Léonide Massine and costumes by Pablo Picasso. The Pittsburgh Symphony first performed the Suite from Pulcinella with conductor Fritz Reiner at the Syria Mosque in April 1946, and most recently performed it on subscription with conductor Sir Andrew Davis at Heinz Hall in March 2007. The score calls for piccolo, two flutes, two oboes, two bassoons, two horns, trumpet, trombone, and strings. Performance time: 20 minutes

FRANZ JOSEPH HAYDN

Concerto in E-flat major for Trumpet and Orchestra, H.VIIe:1 Franz Joseph Haydn was born in Rohrau, Austria, on March 31, 1732, and died in in Vienna on May 31, 1809. Haydn wrote his Concerto in E-flat major for Trumpet and Orchestra in 1796, and it was premiered in Vienna by soloist Anton Weidinger and the Vienna Court Orchestra in 1796. After the creation of a so-called “keyed trumpet,” Haydn was so inspired that he wrote the Concerto to demonstrate this new instrument – which has now become a core part of trumpet literature. The Pittsburgh Symphony first performed the Concerto with conductor William Steinberg and soloist Charles Hois at Syria Mosque in November 1961, and most recently performed it with conductor Jerzy Semkow and soloist George Vosburgh at Heinz Hall in March 2002. The score calls for flutes, oboes, bassoons, horns, and trumpets in pairs, and timpani and strings. Performance time: 13 minutes

ANTHONY PLOG

Scherzo for Trumpet and Orchestra Anthony Plog was born in Glendale, California, on November 13, 1947. He composed his Scherzo for Trumpet in 2011, and it was first premiered in a version for Trumpet and Piano by Seretta Hart at the University of Utah on September 18, 2011. These performances mark the world premiere of the version for Trumpet and Orchestra. The score calls for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, percussion and strings. Performance time: 4 minutes

PIOTR ILYICH TCHAIKOVSKY

Symphony No. 2 in C minor, Opus 17, “Little Russian” Pyotr Ilyich Tchaikovsky was born in Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg on November 6, 1893. Tchaikovsky composed his Symphony No. 2 in C minor, “Little Russian,” in 1872—1873, and it was premiered in Moscow at the Imperial Russian Music Society with conductor Nikolai Rubinstein on February 7, 1873. The Pittsburgh Symphony first performed the Symphony with conductor Donald Johanos at Heinz Hall in April 1972, and most recently performed it with conductor Lorin Maazel at Heinz Hall in October 1994. The score calls for woodwinds in pairs, plus piccolo, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. Performance time: 33 minutes

PROGRAM 2021-2022 SEASON

IGOR STRAVINSKY

Suite from Pulcinella (1919-1920)

The idea for Pulcinella originated with impresario Serge Diaghilev for the 1920 Paris season of his Ballet Russe. He engaged Léonide Massine to choreograph the piece and devise the scenario, Pablo Picasso to do the decor and costumes, and for the work’s musical substance suggested that Stravinsky mine the music of Giovanni Battista Pergolesi (1710-1736), a musical meteor who flashed briefly across the Italian artistic firmament and created several important instrumental and operatic pieces that laid the foundations of the Classical style. Stravinsky selected for Diaghilev’s new ballet several movements from Pergolesi’s trio sonatas and arias from two operas, and added to those musical bits by some of Pergolesi’s contemporaries. In general, he kept the bass lines and melodies of his models intact, but added to them his own spicy harmonies and invigorating rhythmic fillips, and then illuminated the whole piece with a brilliant orchestration. Stravinsky’s role in Pulcinella, however, was far more than that of simply transcriber or arranger. He not only created a cogent work of art from a wide variety of previously unrelated pieces, but also gave a new perspective to both his own and Pergolesi’s music. “Pulcinella,” he recalled in Dialogues and a Diary, “was my discovery of the past — but it was a look in the mirror, too.” With this music, Stravinsky found a manner in which to apply earlier styles and techniques to his own compositional needs, a discovery that was to provide the inspiration for his works for the next thirty years. “Art about art” is American composer and critic Eric Salzman’s perfect phrase describing the essence of Stravinsky’s neo-classical aesthetic during the ensuing three decades. The plot of Pulcinella was based on an 18th-century manuscript of commedia dell’arte plays that Diaghilev discovered in Naples. Stravinsky provided the following synopsis: “All the local girls are in love with Pulcinella; but the young men to whom they are betrothed are mad with jealousy and plot to kill him. The minute they think they have succeeded, they borrow costumes resembling Pulcinella’s to present themselves to their sweethearts in disguise. But Pulcinella — cunning fellow! — has already changed places with a double, who pretends to succumb to their blows. The real Pulcinella, disguised as a magician, now resuscitates his double. At the very moment when the young men, thinking they are rid of their rival, come to claim their sweethearts, Pulcinella appears and arranges all the marriages. He himself weds Pimpinella, receiving the blessing of his double, who in his turn has assumed the magician’s mantle.” The movements of the suite from Pulcinella, based on movements by Pergolesi and his contemporaries, serve as a précis of the ballet’s music and story. The exuberant Sinfonia (Overture) is based on the opening movement of Pergolesi’s Trio Sonata No. 1 in G major. The movements that follow accompany the entrances of the Neapolitan girls who try to attract Pulcinella’s attention with their dances. (The Serenata derives from a pastorale in Act I of Pergolesi’s opera Flaminio; the Scherzino, Allegro and Andantino are all borrowed from trio sonatas by the Venetian violinist and composer Domenico Gallo.) The Tarantella (from the fourth movement of Fortunato Chelleri’s Concertino No. 6 in B-flat major) portrays the confusion when Pulcinella is apparently restored to life. The five movements that close the suite accompany the events from the point when the young men claim their sweethearts until the end of the ballet. The Toccata and Gavotte are based on anonymous harpsichord pieces; the Duetto on Pergolesi’s F major Cello Sonata; the Minuetto on a canzone from his comic opera Lo frate ’nnamorato; and the Finale on a trio sonata by Gallo. 18

FRANZ JOSEPH HAYDN

Concerto in E-flat major for Trumpet and Orchestra, H.VIIe:1 (1796)

When Haydn returned to Vienna from the second of his two triumphant stays in London, he was the most famous and lionized musician in Europe. He had achieved his renown by straddling the fine line between conservatism and experimentation, and the Trumpet Concerto shows that he had no intention of changing his ways, even though he was well into his seventh decade. Sometime in the 1790s, Anton Weidinger, a trumpeter in the Court Orchestra in Vienna, developed a new instrument, the so-called “keyed trumpet” — rather like a bugle with saxophone keys — which was only one of the many mechanical and acoustical experiments of the time intended to expand the range and chromatic possibilities of the brass instruments. The inventor demonstrated his new keyed trumpet to Haydn, and the composer was so taken with it, and with Weidinger’s skill as a performer, that he agreed to write a piece for him. Haydn’s enthusiasm notwithstanding, Weidinger’s invention was flawed in that its tone quality was dulled by its key mechanism. It never found much acceptance among players, and hardly outlasted its maker. The splendid Concerto that Haydn composed for it, however, is among the jewels of the trumpet literature, and is one of the outstanding examples of his creative art. Haydn’s concerto output was not large, probably because he himself was no virtuoso performer and did not need such works for his own concerts, as did Mozart. He had not written a concerted work for over ten years when he tackled this one for trumpet in 1796, and it was to be not only his last piece in the genre, but also his final symphonic composition — “a fitting farewell to Haydn’s orchestral career,” according to the eminent Haydn scholar H.C. Robbins Landon. The work is in the traditional three movements, but the style of writing for the trumpet is decidedly advanced for its date of composition. No longer is the solo part restricted to only the notes available on the natural instrument (a limitation which produced the chordal, fanfare-like melodies that characterize the trumpet concertos of the Baroque era), since Haydn instead reveled in the new instrument’s expanded possibilities for scalar and chromatic figurations. The first movement opens quietly with an orchestral presentation of the thematic material. The trumpet then takes up the principal subject before launching into the chromatic adventure that is the second theme. The development section and the recapitulation further exploit the agility and range of the solo instrument, and are an enduring testimony to the excellent ability of Haydn’s trumpet-playing friend. The slow second movement is a lovely flight of serene melody whose chromatic middle section owes much to the touching Andantes of Haydn’s younger colleague, Wolfgang Mozart, already dead five years in 1796. The spirited finale is a sonata-rondo, the hybrid form of which Haydn was fond for closing movements. It is not only a fine specimen of the perfect balance and structural clarity of a master composer at the height of his powers, but also a sparkling showpiece for the soloist.

PROGRAM NOTES 2021-2022 SEASON

PIOTR ILYICH TCHAIKOVSKY

Symphony No. 2 in C minor, Opus 17, “Little Russian” (1872-1873)

Looking back through the mists of time to the closing decades of Imperial Russia, it might at first seem that an unwavering unanimity joined together the music from Glinka through Borodin, Mussorgsky, Rimsky-Korsakov and Tchaikovsky to Scriabin and Rachmaninoff. Upon closer examination of the lives and philosophies of those men, however, bitter enmities are revealed. The group of musical nationalists known in the West as “The Five” — Cui, Borodin, Mussorgsky, Balakirev and Rimsky-Korsakov — were all amateur musicians determined to establish a distinctly Russian school of composition based upon native folk and church music, history and lore. In this, they followed the lead of Mikhail Glinka, revered as the father of Russian concert music. They belligerently defended their untutored status on the basis that their lack of formal training freed them from German musical hegemony, and allowed them to penetrate more directly into the heart of the Russian ethos. They looked upon the Russian graduates of the leading conservatories almost as traitors to the nationalistic cause they espoused, and Tchaikovsky was among their especially favored targets. For his part, the well-trained Tchaikovsky could hardly help but look down on the rough-hewn music of The Five. He once castigated Mussorgsky’s work in a letter to his brother Modeste as “the lowest, commonest parody of music; it may go to the devil for all I care.” Still, there was inevitably frequent contact between these two factions, and eventually a laissez-faire understanding was achieved. Rimsky-Korsakov decided to forsake the ranks of the uneducated, and taught himself the techniques of music well enough to eventually become Russia’s most respected pedagogue, numbering Stravinsky and Respighi among his students. Tchaikovsky, though critical of their lack of professionalism, always respected the raw talent of the little group of nationalists, and he even agreed with their ideal of fostering Russian music. Like them, he felt drawn to the native traditions of his homeland, and once wrote to his benefactress, Mme von Meck, “As regards the Russian element in general in my music (i.e., the instances of melody and harmony originating in folksong), I grew up in the backwoods, saturating myself from earliest childhood with the inexplicable beauty of the characteristic traits of Russian folksong.” Unlike The Five, however, who felt that a free fantasia form could best express their ideas, Tchaikovsky believed that the Russian influence should be channeled into the traditional, Classical form of the symphony. It is not hard to understand, therefore, why Tchaikovsky was the first Russian composer widely appreciated in the Western world, whose tastes had so long been dominated by German music. Despite their underlying differences, there were at least two significant instances in Tchaikovsky’s early life when he was musically drawn to The Five. One was when Balakirev suggested the topic and even the structure for his 1869 tone poem, Romeo and Juliet. Another was in this Second Symphony. After an exhausting year of teaching, composing and writing music criticism in Moscow, Tchaikovsky visited his beloved sister, Alexandra, in Kamenka in Ukraine in June 1872. He was refreshed during the summer months not only by the time spent with his family, but also by the chance to return to the country and its people. Among the things that he enjoyed most was hearing the peasants sing, and it may have been this rustic music that inspired the Second Symphony, just as it did many of the works of The Five. It was Tchaikovsky’s use in this Symphony of three folk tunes that he may have heard in Kamenka that caused the work to be nicknamed “Little Russian” by the critic Nikolai Kashkin in 1896. (The diminutive referred not to any characteristic of the work but rather to the Ukrainian region from which Tchaikovsky borrowed his themes, known in Tsarist days as “Little Russia.”) 20

The Symphony’s first movement is prefaced by a slow introduction based on a variant of the traditional Russian song Down by Mother Volga. The body of the movement’s sonata form begins with a quickening of the tempo and the presentation of the main theme, a vigorous, stormy strain; the lyrical second theme is presented by the clarinet. In the energetic development section these two melodies are intertwined with the folk tune from the introduction. A massive climax ends the development and leads into the recapitulation of the stormy main theme and the yearning complementary melody. The closing pages contain a quiet reminder of Down by Mother Volga from the horn and bassoon. The second movement was taken whole from Undine, Tchaikovsky’s unsuccessful opera of 1869. In the opera, this music was used as a wedding march, and in the Symphony it takes the place of the slow movement. The center of this three-part movement (A–B–A) is a treatment of Spin, My Spinner, one of the Fifty Russian Folksongs Tchaikovsky arranged for publication in 1868-1869. The third movement is a quicksilver Scherzo, whose central trio shifts rhythmic gears into a jaunty duple meter. The finale, a dazzling display of orchestral color and rhythmic exuberance, is a set of variations on the Ukrainian tune The Crane. A slow introduction for full orchestra presents the basic shape of the melody before the variations are begun by the strings. The tiny tune is presented over and over, each time appearing in a different orchestral vestment so that the variations are based as much on changing tone color as on melodic manipulation. As a foil to the movement’s propulsive rhythmic energy, Tchaikovsky added a lyrical melody, first heard in the violins and then repeated by the flutes. Joyous festivity, however, is at the heart of this music, and it is not kept long at bay by tender sentiment. PROGRAM NOTES BY DR. RICHARD E. RODDA

BIOGRAPHY 2021-2022 SEASON

KIRILL K ARABITS Kirill Karabits has been Chief Conductor of the Bournemouth Symphony Orchestra for 13 years and their relationship has been celebrated worldwide. Together they have made many critically acclaimed recordings, performed regularly at the BBC Proms and appeared together at London’s Barbican Centre as part of the Beethoven celebrations in the 19-20 season. Karabits has worked with many of the leading ensembles of Europe, Asia and North America, including the Cleveland, Philadelphia, San Francisco and Chicago Symphony orchestras, Munich Philharmonic, Orchestre National de France, Philharmonia Orchestra, Wiener Symphoniker, Rotterdam Philharmonic, Yomiuri Nippon Symphony Orchestra, Orchestra Filarmonica del Teatro La Fenice and the BBC Symphony Orchestra – including a concertante version of Bluebeard’s Castle at the Barbican Centre. Kirill enjoys a special relationship with the Russian National Orchestra with whom he returned to the Edinburgh Festival in the 2018-19 season, and more recently embarked on extensive European and North American tours with Mikhail Pletnev which included his New York debut at the Lincoln Center.

Photo credit: Konrad Cwik

(Don Giovanni), Bolshoi Theatre and he conducted a performance of Der fliegende Holländer at the Wagner Geneva Festival in celebration of the composer’s anniversary. Music Director of the Deutsches Nationaltheatre Weimar from 201619, Karabits conducted acclaimed productions of Wagner’s Die Meistersinger von Nürnberg and Recent highlights include Kirill’s debut with the Tannhäuser as well as Mozart’s DaPonte Cycle (Le Dallas Symphony, and the Russian National Youth nozze di Figaro, Don Giovanni, and Così fan tutte). Symphony Orchestra, as well as return visits to the Minnesota Orchestra, Bamberger Symphoniker, Working with the next generation of bright Orchestre National Captiole de Toulouse, Antwerp musicians is of great importance to Karabits and Symphony Orchestra, as well as the BBC Proms as Artistic Director of I, CULTURE Orchestra with the Bournemouth Symphony Orchestra. he conducted them on their European tour in Highlights of the 2021-22 season include August 2015 with Lisa Batiashvili as soloist Kirill’s debut with the Prague Radio Symphony and a summer festivals tour in 2018, including Orchestra, as well as a number of US debuts which concerts at the Concertgebouw in Amsterdam include the Pittsburgh Symphony, Baltimore and the Montpellier Festival. In 2012 and 2014 Symphony, and St Louis Symphony Orchestras. he conducted the televised finals of the BBC This season sees Kirill return to the Orchestre Young Musician of the Year Award (working with Philharmonique de Strasbourg, and the Opéra the Royal Northern Sinfonia and BBC Scottish Montpellier for a production of Pélléas. Kirill will Symphony Orchestra), and has recently debuted also return to the Russian National Orchestra for with the National Youth Orchestra of Great Britain on a UK tour including a sold out and their tour of the US. critically acclaimed performance at the Barbican. A prolific opera conductor, Karabits has worked with the Deutsche Oper, Opernhaus Zürich Kirill was named Conductor of the Year at the (Boris Godunov) and Oper Stuttgart (Death in 2013 Royal Philharmonic Society Music Awards. Venice), Glyndebourne Festival Opera (La bohème and Eugene Onegin), Staatsoper Hamburg These performances mark Kirill Karabits' debut (Madama Butterfly), English National Opera with the Pittsburgh Symphony. 22

MICAH WILKINSON Micah Wilkinson has enjoyed a varied career as an orchestral musician, soloist, chamber artist, and teacher. He was appointed principal trumpet of the Pittsburgh Symphony Orchestra by Music Director Manfred Honeck in September 2017. Wilkinson came to the Pittsburgh Symphony from the San Diego Symphony, where he served as Principal Trumpet for three years. He previously held positions with the Houston Symphony, the San Francisco Symphony, the Oregon Symphony, and the Tucson Symphony. He performed recently in subscription programs as Guest Principal Trumpet with the New York Philharmonic, Chicago Symphony Orchestra, and the Seoul Philharmonic. As a featured soloist, Wilkinson has been noted for his "virtue of taming the brilliance he employs so well in many massive orchestrations to that gentle, liquid line." As a chamber musician, Micah Wilkinson has been recognized for his "complete confidence and refreshing catalogue of contrasting colors" and has been frequently featured on NPR's Performance Today. Professional summer festival appearances have included the Aspen Music Festival, Chautauqua Institute, Sun Valley Festival, Cabrillo Festival, Brevard Music Center, Round Top Institute, Bellingham Festival of Music, and Astoria Music Festival.

Photo credit: Todd Rosenberg

In the summers, he has taught at the Aspen Music Festival, Chautauqua Institution School of Music, Round Top Festival Hill Institute, and the Brevard Music Center. He also has served on the faculties of the University of Houston and Portland State University, and has presented master classes and clinics for colleges and universities all over the United States, as well as in Europe and Asia. Micah Wilkinson grew up in Norcross, Georgia. A proud graduate of St. Olaf College in Northfield, MN, he pursued additional studies at Arizona State University and the Staatliche Hochschule für Musik in Freiburg, Germany. His primary teachers include Martin Hodel, David Hickman, Larry Black, and Anthony Plog. He lives in the South Hills of Pittsburgh with his wife Stefani, a professional oboist, their beautiful daughters Eleanor and Amelia, and their goofy Basset Hound Barber.

As an educator, Wilkinson strives to help the next generation of brass players to find their own unique voices as musical artists. He is quickly becoming one of the most sought-after instructors for trumpet in the United States and enjoys working privately with students at his home studio in Pittsburgh and online through virtual platforms. He recently edited and released the "Book of Solos," a curated collection of 30 professional trumpet solos, which includes his commentary on performance and historical These performances mark Micah Wilkinson’s subscription debut as soloist with the Pittsburgh context. Symphony.

PROGRAM NOTES 2021-2022 SEASON

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, from a partnership born from our shared 125th anniversaries in 2020. “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible.” Igor Stravinsky, from Expositions and Developments, published by University of California Press,1959 The Ballets Russes had an extensive and revolutionary history of collaborating with artists and composers including Salvador Dalí and Igor Stravinsky. Dalí created backdrops, costumes, and curtains, for his spell-binding production of Labyrinth— the mythical adventure of Theseus and Ariadne staged at New York’s Metropolitan Opera House. Twenty years earlier, Stravinsky composed Pulcinella at the request of Ballets Russes ground-breaking founder, Sergei Diaghilev. Read more about Dalí’s curtain and other important works in Carnegie Museum of Art’s new collection handbook available now at the museum store and online retailers. Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO SALVADOR DALÍ (SPANISH, 1904-1989) THESEUS AND THE MINOTAUR, SET OF THREE STAGE CURTAINS, 1941–1942 CARNEGIE MUSEUM OF ART GIFT OF LEON FALK, JR., 76.32.A-C

THE PITTSBURGH SYMPHONY ORCHESTRA Now in its 126th season, the Pittsburgh Symphony Orchestra is credited with a rich history of engaging the world’s finest conductors and musicians and demonstrates a genuine commitment to the Pittsburgh region and its citizens. Known for its artistic excellence for more than a century, the Pittsburgh Symphony has been led by its worldwide acclaimed Music Director Manfred Honeck since 2008; past music directors have included Fritz Reiner (1938-1948), William Steinberg (1952-1976), André Previn (1976-1984), Lorin Maazel (1984-1996) and Mariss Jansons (1997-2004).

broadcasts. Manfred Honeck and the Pittsburgh Symphony Orchestra have received multiple GRAMMY® nominations for Best Orchestral Performance, taking home the award in 2018 for their recording of Shostakovich: Symphony No. 5; Barber: Adagio. As early as 1936, the Pittsburgh Symphony has been broadcast on the radio. The orchestra has received increased attention since 1982 through national network radio broadcasts on Public Radio International, produced by Classical WQED-FM 89.3, made possible by the musicians of the Pittsburgh Symphony Orchestra.

The Pittsburgh Symphony is continually at the forefront of championing new American works. The Orchestra premiered Leonard Bernstein’s Symphony No. 1 “Jeremiah” in 1944, John Adams’ Short Ride in a Fast Machine in 1986, and Mason Bates’ Resurrexit in 2018 to celebrate Manfred Honeck’s 60th birthday.

Lauded as the Pittsburgh region’s international cultural ambassador, the orchestra began regular touring in 1896 and has embarked on scores of domestic and international tours. In 2019, Music Director Manfred Honeck led the orchestra on an extensive tour of Europe, the 25th in orchestra history.

The two-time 2018 GRAMMY® Award- In the 2021-2022 season, the Pittsburgh winning orchestra has a long and illustrious Symphony will celebrate the 50th anniversary history in the areas of recordings and live radio of Heinz Hall as the home of the orchestra.

BIOGRAPHY 2021-2022 SEASON

PROVIDING GREAT MUSIC IN EVERY LIFE We thank our entire donor family for supporting our vision of Great Music in Every Life. As we celebrate our return to Heinz Hall and the 50th anniversary of our home this season, we are thrilled to experience the power of music together once again. A complete list of donors, as well as a list of associated benefits can be found on our website. As a thank you, donors in the Symphony Club level and above ($600+) are listed below. Those who have made a new gift or increased over their previous gift are listed in italics. Every effort has been made to ensure accuracy; however, if you are not listed correctly, please call 412.392.4880 or email us at pso_development@pittsburghsymphony.org. Listing as of September 3, 2021. MAESTRO’S CIRCLE

Mr. & Mrs. Daniel M. Rooney* Alece & David Schreiber Drs. Satbir & Shalu Singh Mr. Douglas Stirling Jim Spencer & Michael Lin Tom & Jamee Todd Helge & Erika Wehmeier

DIRECTOR’S CIRCLE

Lesa B. Morrison, Ph. D* Martha & Richard Munsch Vivian & Bill Benter Anonymous Nancy N. & Maurice A. Nernberg Tony & Linda Bucci James & Electra Agras Richard E. & Alice S. Patton Mr. & Mrs. J. Christopher Bridgett & Marty Bates Donahue Dr. Tor Richter in memory of Blake & Ann Benjamin Elizabeth W. Richter Perry* & BeeJee Morrison Robin Joan Bernstein James W. & Erin M. Rimmel Bob & Joan Peirce Susan & David Brownlee Mr. & Mrs. Gerald Pittsburgh Symphony Barbara & David Burstin Rubenstein Association & Affiliates CHAIRMAN’S CIRCLE James & Margaret Byrne Millie & Gary Ryan Cheryl & Jim Redmond $20,000 - $24,999 Debra Caplan & David Pauline Santelli Mr. & Mrs. John T. Ryan III Anonymous Levenson MD The David S. & Karen A. Dick & Ginny Simmons Nancy Scarton Chaplin Rae & Jane Burton Shapira Foundation Jon & Carol Walton Ron & Dorothy Chutz Ron & Nancy Herring Jody & John Sperry Mr. & Mrs. R. Drew Kistler Charles C. Cohen & Michele Robert & Janet Squires BENEFACTOR’S CIRCLE M. McKenney Ellen & Jim Walton Matt & Alyssa Tokorcheck $50,000 - $99,999 Jeff and Tara Craft Mike & Melia Tourangeau Hilary Mercer & Ian Rogers CHAIRMAN’S CIRCLE Elliot & Beth Davis Theo & Pia van de Venne Janie & Harry Thompson Jerry & Mimi Davis $15,000 - $19,999 Rachel M. Walton Craig & Jill Tillotson Brian & Carol Duggan Anonymous Markus Weber & Donna Arthur Weldon Mr.* & Mrs. Milton Fine Soave Weber Allen Baum & Elizabeth Witzke-Baum Mark & Mary McKinney Mr. & Mrs. Michael Weir Flaherty Mrs. Ellen Still Brooks FOUNDER’S CIRCLE James* & Susanne Hans & Leslie Fleischner Wilkinson $25,000 - $49,999 Mr. Richard Burkland Dina J. Fulmer John Wong Anonymous (2) Cindy & Doug Donohoe Dr. & Mrs. Merrill F. Wymer Pat & Michele Atkins Robert & Sara Englesberg Bruce & Ann Gabler Frank & Angela Grebowski Jane & Ted Wynn Cynthia Bognar Rick & Laurie Johnson Dr. & Mrs. C. B. Good Dr.* & Mrs. William J. Betty & Granger Morgan Canady Marcia M. Gumberg CONDUCTOR’S CIRCLE Ms. Sandra L. Nicklas Ada Davis & Joseph Spirer Shirley Olander Marnie & Jim Haines $7,500 - $9,999 Ms. Geraldine A. Kort Deac James Parrish & Chris Manfred & Christiane Anonymous Honeck Susie & Roy Dorrance Siewers Mr. Juanjo Ardid & Ms. Elizabeth S. Hurtt Amalia Auge Dr. James H. & Mary E. Abby & Reid Ruttenberg Duggan in Memory of Don & Judy Borneman Mr. & Mrs. Sean Sebastian Myah & Jaime Irick Mary A. Duggan Barbara Krause & Lawrence Kathryn & Michael Bryson Theodore Stern The Akers Gerber Family King Lisa & Martin Earle Fred & Maryann Steward Tom & Dona Hotopp Brian & Michele Ludwick Edith H. Fisher Carol H. Tillotson Audrey R. Hughes Daphne & John Lynn Dan* & Gwen Hepler Bob Walker & Joyce McCoy Gina Elisa Laite, M.D. Kent & Martha McElhattan Alice Jane Jenkins Harvey Weissman & Louise Mr. & Mrs. John W. Lynch Janet & Donald Moritz Eckman Dr. Barbara Kuhns & Nancy & Bill Rackoff Dr. Michael J. White & Mr. Gerald Lee Morosco & Paul Constance S. Ritter Ford, Jr. Diana Reid & Marc Chazaud Richard LeBeau D. H. Lee, Jr. Abby L. Morrison Drs. Grace & Joon Lee $100,000 +

$10,000 - $14,999

Mr. & Mrs. Thomas McConomy Mr. & Mrs. Martin G. McGuinn George & Bonnie Meanor Mr. & Mrs. Sam Michaels Elliott S. Oshry Chris & Susan Pappas Lori & Louis Plung Pinchas & Aviva Rosenberg Nancy Schepis Mr. & Mrs. Steven C. Thomas

Patrick & Alice Loughney Rock & Jennifer MaglebyLambert Elizabeth Mays Marilyn Meltzer James & Susan Morris Catherine & Bill Perez Dr. & Mrs. William R. Poller in honor of our five grandchildren The Parkridge Group/Pat Reidy Joan Scheinholtz Dr. & Mrs. Harry & Linda CONDUCTOR’S CIRCLE Serene $5,000 - $7,499 Michael Shefler Philip & Melinda* Beard Robert Snapp Mr. & Mrs. Michael Berger Mr. & Mrs. D.J. Song Mr.* & Mrs. Benno A. Bernt Joel & Maria Swanson Drs. Albert W. & Barbara R. Symphony East Biglan Ginevra Felice Ventre Marian & Bruce Block Scott & Kaye Wahlstrom Eva Tansky Blum Mr. & Mrs. James P. Welch Pamela & Larry Boyer Hugh & Jean Brannan AMBASSADOR’S CIRCLE Dr. Bron & Mr. Levin $2,500 - $4,999 Gail & Rob Canizares Anonymous (2) Dr. Owen Cantor In Appreciation of the New Randi Dauler York Public Library Catherine & Matt Deep Dr. Mary Beth Adams Angela & Mike DeVanney Dr.* & Mrs. Siamak Adibi Philip J. & Sherry S. Andrea & David Aloe Dieringer Jane C. Arkus in memory of Jean & Sigo Falk James V. Callomon Dr. Lawrence* & Joan Ferlan Matthew & Anne Atwood Rebecca & Oliver Finney Lorraine E. Balun, in memory of William & Jane In Honor of Hans & Leslie Balun Fleischner David & JoAnn Beaudreau Kim & Curt Fleming Mr. & Mrs. G. Nicholas Mary Louise & Henry J. Beckwith III Gailliot Diane L. Berman Mrs. Ronald E. Gebhardt Lawson Bernstein, MD Alice V. Gelormino Robert S. Bernstein & Ellie Mr. James Gorton & Mrs. K. Bernstein Fund Gretchen Van Hoesen Bozzone Family Foundation Patrick A. Gray Dr. Alan & Marsha Caryl & Irving Halpern Bramowitz Gail & Greg Harbaugh Sue & Mark Breedlove Rev. Diana D. Harbison Mr. & Mrs. Edward J. Harris Lawrence R. Breletic & Donald C. Wobb Mr. & Mrs. Joseph M. Suzy & Jim Broadhurst Jackovic Farnam & Teresa Jahanian Nancy G. Brownell Mr. & Mrs. Howard Bruschi Marge Kane Charles & Patricia Burke* Patricia Duke LeClere Dr. Arthur S. Levine & Ms. Dr. & Mrs. John A. Burkholder Linda S. Melada

Mr.* & Mrs. Joseph L. Calihan Dr. Bernadette G. Callery* & Dr. Joseph M. Newcomer Kenneth & Celia Christman Cynthia & Bill Cooley Basil & Jayne Adair Cox Rose & Vincent A. Crisanti S. A. Cunningham Cyrus & Kimberly Daboo Ms. Sylvia Dallas & Mr. J. Oliver III Joan & Jim Darby George & Ada Davidson Jamini Vincent Davies Alison H. & Patrick D. Deem Richard P. Dum & Donna S. Hoffman Dan & Carol Dupee Mr. Frank R. Dziama George D. Ehringer Beverlynn & Steven Elliott Marie S. Emanuel Dr. Edward L. Foley Janet M. Frissora The Dorothy M. Froelich Charitable Trust Normandie Fulson Dr. & Mrs. J. William Futrell Dr. Kent Galey & Dr. Karen Roche Dr. Virgil D. Gligor & Alicia M. Avery Laurie Graham Ms. Julie Gulick Jonah Hertzman & family Marie Hinchcliffe Mr. & Mrs. C. Talbott Hiteshew, Jr. Karen & Thomas Hoffman Clare & Jim Hoke Philo & Erika* Holcomb Dorothy A. Howat Dr. & Mrs. John W. Hoyt Mr. & Mrs. Alan R. Huffman Mr. & Mrs. Robert A. Izzo Gail G. Jenkins Diane & Howard Jernigan Jackie Jones Mr. & Mrs. Robert W. Kampmeinert Mr. & Mrs. Jayant Kapadia Ms. Danielle Katz & Mr. James Snyder Mr. Arthur J. Kerr, Jr. James & Jane* Knox

Karl Krieger & Family Mr. & Mrs. John Krolikowski Lewis & Alice Kuller Susan Oberg Lane Anne Lewis Dr. Michael Lewis & Dr. Katia Sycara Janet R. Markel Pat & Don MacDonald Neil & Ruth MacKay Mrs. Kate Watson MacVean Dr. & Mrs. George J. Magovern, Jr. Dr. Harry K. Williams Jr. & Dr. Sheri A. Mancini Jennifer & James Martin Dr. Richard H. Martin In Memory of Mrs. Lori Martin Thomas & Elizabeth Massella Barbara & Mark Matera Michael & Wanda McGarry Dr. & Mrs. James B. McGee Alan & Marilyn McIvor Bill R. Maurer & Carol J. McKenzie Mark & Amy Mendicino Samuel & Veronica Miclot Donald & Nancy Middleton Nessa Green Mines Drs. Paolo Montemaggi & Patrizia Guerrieri Juergen F. Mross* Daniel Murariu Foundation Dr. Eugene & Mrs. Barbara L. Myers Dr. Karl Olsen & Dr. Martha E. Hildebrandt Sandy & Gene O’Sullivan Robert & Lillian Panagulias Mr. & Mrs. William A. Partain Pam & Seth Pearlman Connie & Mike Phillips Mr. & Mrs. David L. Porges Richard E. Rauh Mary A. Reynolds Mr. & Mrs.* Frank Brooks Robinson Janice G. Rosenberg Dr. & Mrs. Wilfred T. Rouleau Esther Schreiber Jolie Schroeder Preston & Annette Shimer Dr. Carol Slomski & Dr. Keith Apelgren

PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

Mr. & Mrs. Frank V. Cahouet* Marco Cavagna Janet E. Chadwick Mary & Frank Clements Christine & Howard Cohen Mr. and Mrs. Eugene Colleran Dr. & Mrs. Richard H. Daffner Amil & MaryAnn DiPadova Mr. & Mrs. James R. Drake Ms. Lori Dunham & Mr. Connie MacDonald Linda & Robert Ellison Dan & Nancy Fales Tibey Falk Judith & Donald Feigert Mrs. Orlie S. Ferretti Mr. & Mrs. Anthony Fonseca Michael & Nina Gaffney Keith Garver Matthew & Deborah Garvic Revs. Gaylord & Catherine Gillis Dr. Alberto Guzman Jennifer Haggerty & Joseph Kunze ENCORE CLUB Dr. Benjamin E. Hicks $1,750 - $2,499 Douglas & Antionette Hill Anonymous (6) Dr. & Mrs. Elmer J. Holzinger Kathryn Albers & Brian Davis Hyman Family Foundation Erin & Kevin Allen Donald Ickert & Karna J.R. Ambrose & Eliza Swann Goldsmith Mary Lee & Joe* Irwin Ms. Elaine Armstrong Blair & Lynne Jacobson Brian Ashton Edward W. Jew Jr. MD Mr. & Mrs. Colin Bailey Carolyn J. Jones Mr. Francis A. Balog & Dr. Paula Bonino David & Susan Kelly Dr. and Mrs. Christopher Gloria Kleiman Ban Ms. Marilyn Koch Richard C. Barney Ms. Kathy J. Krause Robert & Loretta Barone Dr. & Mrs. Howard N. Lang Joan & Keith Bernard Ronald & Lida Larsen Dr. Michael & Barbara Mrs. William E. Lewellen, III Bianco Mr. & Mrs. Robert P. Malnati Michael E. Bielski John & Cathy Mary Phil & Bernice Bollman Mary McDonough Mr. & Mrs. James H. Keith McDuffie Bregenser Kenton* & Florence Jill & Chuck Brodbeck McElhattan Ms. Mary Patricia Brown Alice & Bob Moore Mr. Milton W. Burkart* & Dr. Amy & Ira* M. Morgan Patricia K. Burkart Dr. & Mrs. Etsuro K. Michael F. Butler Motoyama Alice Snyder John Sonnenday & Kristine Haig Mr. & Mrs. Alexander C. Speyer III Mr. Frederick Steinberg Barbara & Lou Steiner Linda & Jeff Stengel Dick & Thea Stover Neil & Bronya Strosnider Dr. Sharon Taylor & Dr. Philip Rabinowitz Anthony & Jan Tomasello Dr. & Mrs. Albert Tse Eric & Barbara Udren Dr. Ronald J. & Patricia J. Wasilak Betsy & Charles Watkins Frank & Heidemarie Wenzel Carolyn & Richard Westerhoff Robert Wickesberg & Susan Noffke Barbara & Bruce Wiegand Miriam L. Young Dr. & Mrs. P. Alvin Zamba Rachael Zierden

Dr. & Mrs. Donald D. Naragon David & June Nimick Linda & Jim Northrop Dr. Paul M. Palevsky & Dr. Sharon R. Roseman Suzanne & Richard Paul Dr. Gail Pesyna & Dr. John Hooper Mrs. Mildred M. Posvar Wesley Posvar Lois A. Pruitt James and Beverly Pugh Mr. & Mrs. W. John Rackley Drs. David & Catherine Ravella Mr. K. Oliver Rea Daniel & Lauren Resnick Mr. & Mrs. Robert W. Riordan Mr. & Mrs. Philip R. Roberts Mrs. John M. Sadler Dr. James R. Sahovey Mr. & Mrs. Dan D. Sandman Shirley G. Schneirov George & Marcia Seeley Shiv Sethi Dr. Stanley Shostak & Dr. Marcia Landy Dr. Ralph T. Shuey & Ms. Rebecca L. Carlin Anna Singer & Donald Kortlandt Dennis & Susan Slevin Bill & Patty Snodgrass David Solosko & Sandra Kniess Fund J. Scott & Christie A. Southerland Amy & Mark Stabingas Marguerite O. Standish Jayne & Tom Sterling Gordon & Catherine Telfer Paul M. Teplitz Mandy Ticknor Mr. & Mrs. Walter W. Turner Diane & Dennis Unkovic Cate & Jerry Vockley Mr. & Mrs. Burt Wald James & Ramona Wingate Mary Jo Winokur Yurij Wowczuk Haakan Younes & Genevieve Hower Mr. & Mrs. Charles Zellefrow

CADENZA CLUB

$1,000 - $1,749

Anonymous (7) Deborah L. Acklin Ward Allebach & Lisa Steagall David & Barbara Allen Ms. Lori Andersen Ms. Lois Appel Myron Arnowitt & Nancy Niemczyk Dr. and Mrs. Egil Aukrust Marion & Bob Auray Dr. & Mrs. Alan Axelson Mr. & Mrs. Chester R. Babst Bob & Martha Ball Mr. & Mrs. James Balph Ann Bart John & Betsy Baun Jeanne & Dick Berdik Nancy H. Bergey Georgia Berner Henry & Charlotte Beukema Don & Sue Bialostosky Rob & Hongwei Bittner Franklin & Bonnie Blackstone Donald & Mary Block Marianne Bokan-Blair & David Blair W. Dennis & Penny Bossick Myles & Joan Bradley Matthew & Leslie Braksick Gerda & Abe Bretton Mr. Michael Broniszewski Barbara A. Brooks Anna C. Brophy Alan Brown Roger* & Lea Brown Gary & Judy Bruce Dr. Lisa Brush Mr. & Mrs. A. H. Burchfield Linda B. Burke Gene & Sue Burns Stephen & Helen Hanna Casey Dr. & Mrs. Charles D. Cashdollar The Castro-Redkin Family Ms. Mary Lou Christie Jo-Ann M. Churchill Mr. and Mrs. Stan Cieslak Phyllis Cioffi Stuart & Cathryn Coblin Kevin & Janis Colbert

Alan & Lynne Colker Dr. & Mrs. Richard Collins Estelle Comay & Bruce Rabin Lin & Anne Cook Alan & Hazel Cope Susan & George Craig Mary Ann Craig, D.M.E. Cynthia Custer Marion S. Damick Mr. Deicke The Steven Della Rocca Memorial Fund/Courtenay A. Hardy James Delligatti Mrs. Tika Dickos Fr. Jay F. Donahue George & Eileen* Dorman Michel & Christine Douglas Ms. Christine L. Dvonch Albert E. Eckert Rhoda S. Eligator Mary Jo & Jack W. Elliott Gus & Annie Hanna Engel Eugene & Katrin* Engels In memory of Ruth & Emil Feldman by Joan Feldman & family Henry & Ann Fenner Mr. & Mrs. Gregory S. Finerty Sarah Finney Barbara & Bob* Egan Mr. & Mrs. Edward Fortwangler Reanette & Steve Frobouck Lawrence Frolik & Ellen Doyle Elaine & John Frombach Hilda & Dr. Freddie Fu Mr. Frank B. Fuhrer III Jennifer & Richard Gallo Kathleen Gavigan & William B. Dixon* Pete Geissler Mr. & Mrs. Charles Getze Mr. David Givens & Mr. Stephen Mellett Mike & Cordy* Glenn Richard A. Gloyer & Michelle M. Rossi Mr. & Mrs. Ted Goldberg Dr. Maya GoldinPerschbacher & Mark Manetti Judith C. Hall Wendy Roehrich Hall

Ms. Diane Harrell Christine Hartung Roger & Lou Haskett Ms. Jean Herrity Dale & Susanne* Hershey Dr. & Mrs. John B. Hill David G. & Carolyn S. Hills Mr. Jeff Hollinger Katherine Holter Judy Horgan & Steve Pavsner Sara H. Horsman Dr. Chris & Mrs. Barbara Howard Jennifer Howe Kathryn Jackson Mr. & Mrs. David R. Jardini in honor of Helge & Erika Wehmeier Stacey L. Jarrell Tom & Wendy Jones in Honor of Chris Wu Mr. Jerald Katz Brett & Sarah Keisel Maura & John Kelly William & Lucille Kenworthy Laura Kieras Mr. Milton B. Kimura Laura & Michael Kingsley Mr. & Mrs. Richard Kleiser Karen F. Krenitsky Walter & Kathleen Labys Judith Lave Mr. William Lawrence, III Ms. Regan Lee and Mr. Jeremy M. Kubica Mr. & Mrs. Kenneth Lehn Father Ronald P. Lengwin Patty & Stan Levine Harry & Lisa Levinson Sandi & Jim Linaberger Ken & Hope Linge Mr. Daniel Lloyd Mr. and Mrs. Mark H. Loevner Troy & Aafke Loney Mr. Vernon Loucks Jr.* Mr. and Mrs. Nathan Lutchansky Mr. David A. Lynch & Ms. Dorothy A. Davis Ted N. & Mary Lou Magee Ms. Melissa R. Marshall William K. Martz Donna & Stephen Maxwell Dale & Dr. Marlene* McCall

Mrs. Jon W. McCarter Dr. Sharon McCarthy & Dr. David Krackhardt Mr. & Mrs. William D. McCrady Dr. Patrick McCulloch Debra & Kevin McElwain Jean S. McLaughlin Mr. & Mrs. William J. Mehaffey Suzanne Mellon PhD Mr. & Mrs. Thomas E. Merriman Robert D. Mierley Family Foundation II Joan Miles & Clifford Bob Stuart & Linda Miller Jack Millstein Mr. Robert Milner Amy Minter Robert & Christine Misback Bernard Moncla & Sharon Hillier William & Jane Morgan Robert & Katherine Mueller Eileen & Albert Muse Dr. Cora E. Musial Mildred S. Myers Pradeep & Priya Narayan Dr. Nancy Z. Nelson Rev. Robert* & Suzanne Newpher Patricia K. Nichols Heather O’Brien Maureen S. O’Brien John Oehrle Mr. & Mrs. James O’Neill Mr. and Mrs. Paul O’Neill John A. Osuch Ron & Mary Pallini Dr. & Mrs. Arthur Palmer Dr. and Ms. Thomas Pangburn Irina & Daniel Peris Aaron M. Plitt Kears & Karen Pollock Barbara Powers Fran Quinlan Mrs. Michelle Rabb Betty Radvak-Shovlin Bryan Rall Dr. Jane Raymond James Rebel Mr. Joe Reschini Benjamin & Adriene Rister Burton Roberts

Stephen G. Robinson Shereen & Paul Rosenberg Harvey & Lynn Rubin Rich & Linda Ruffalo Mr. & Mrs. Edmund S. Ruffin III Dr. Richard & Heidi Russman Shirley & Murray Rust Molly & Ferd Sauereisen Drs. Michael F. Scheier & Karen Matthews Joseph Schewe, Jr. Steven Schlossman & Stephanie Wallach Jonathan & Veronica Schmerling Rev. Cynthia Schneider & Mr. Ed Symons Carl Schultz Robert J. & Sharon E. Sclabassi Dr. Alaa Shalaby & Dr. Jocelyn Tan Dr. Charles H. Shultz Paul & Linda Silver Marjorie K. Silverman Kathleen Opat Smith Theresa V. Snavely J. Soffietti Dr. & Mrs. Edward M. Sorr Henry Spinelli Mr. & Mrs. Jack Stabile* Gary & Charlene Stanich Dr. & Mrs. Terence Starz Mark & Tammy Steele Dr. & Mrs. Ronald G. Stoller Mr. and Mrs. Jordan L. Strassburger Mona & E.J. Strassburger Mrs. and Mr. Beth Svendsen Marcia & Dick* Swanson Robert Swendsen & Roberta Klatzky Stu & Liz Symonds in Memory of Roger Sherman Christine T. Talleda Carol L. Tasillo Mr. & Mrs. William H. Taylor, Jr. Mary Lloyd Thompson Mr. & Mrs. William T. Tobin Judge David B. Torrey Mr. & Mrs. Clifton C. Trees Lois & Nigel Treloar Suzan M. Vandertie

PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

Bob & Denise Ventura Janet Verone Edward L. & Margaret Vogel Suzanne & Richard Wagner John & Irene Wall Tony & Pat Waterman Dr. & Mrs. W. Bruce Watkins Phillips Wedemeyer & Jeanne Hanchett Mr.* & Mrs. Donald Wei Ms. Cynthia & Dr. Michael Weisfield Mr. & Mrs. Fred C. Wellinger Mr. & Mrs. Ronald D. West Mr. & Mrs. Arthur Westerberg Ron Wetzel Dr. Philip M. Wildenhain & Dr. Sarah L. Wildenhain Robert & Carole Williams Harton Wolf Sheryl & Bruce* Wolf Sidney & Tucky Wolfson Drs. Barry & Iris Wu Naomi Yoran Alice L. Young Maureen Young Mr. & Mrs. Allan Zelenitz Mr. & Mrs. Walter Ziatek Mr. & Mrs. David M. Zimba

Jim & Debbie Boughner Jim & Mary Bouwkamp Mr. Ian M. Brown & Ms. Jodie Minor Mr. Nicholas Brozack James Bruce Tom & Toni Brunger Drs. Clare & James Budd Roger & Cynthia Bush Nicholas Butera Rosaria Capezzuto Carlo & Poma Caso Dr. & Mrs. Daniel R. Casper Stephen C. Cenedella Barbara & Jerry Chait Deborah & David Chapman The Chew Family Clifton & Nicole Clark Gail D. Coates Laurence P. Comden Katherine Conrad Barbara Cooley & Robert Thaw Patricia J. Cover Frederick & Joy Cullen Mr. & Mrs. J. Kent Culley Norina H. Daubner Mr. G. Douglas Davidson & Ms. Sharee Stout Joan Clark Davis Dr. Richard S. DeLuca SYMPHONY CLUB Edward U. De Persis $600 - $999 Lucy & John Douglas Anonymous (9) Mr. Roger Dubois Barbara K. Abraham Leslie Oden Dunn Jerry Agin & Terri Denmon Susan A. Engelmeier Mr. Jorge Alba Francis & Joan Fereday The Albert Family Moses and Laryn Finder Anne B. Angerman Ms. Ann P. Flaherty Henry & Nancy Armstrong Ms. Patricia A. Flinn John Atkinson Mr. Gene S. Forsythe Todd Aukerman & Nancy Mr.* & Mrs. K. H. Fraelich, Tolfa Jr. Louanne Baily Jennifer & Robert* Freeman Donna L. Balewick MD Lorie Fuller Rabbi Amy Bardack & Dr. Jen & Bart Gabler Jared Magnani Mr. & Mrs. John & Dawn Beverly Barkon & Frank Gallagher Lieberman Hans & Gudrun Garkisch Vange & Nick* Beldecos Mr. & Mrs. Wayne Gerhold Judith Bell Mr. & Mrs. William D. Betty Belle Ghrist III Dr. Peter & Judy Berkowitz Thomas & Christine Paul E. Block Gillespie, Jr. Mr. & Mrs. Stephen A. Botos Mr. & Mrs. Scott Gorham 30

Ken & Laura Gormley The Graf Family David* & Nancy Green Richard & Dana Green Lori Greene & Chris Decker Margaret L. Groninger Hanna Gruen Mrs. Kathy B. Harenski Mary O. Harrison John & Catherine* Heggestad Dr. & Mrs. Fred P. Heidenreich Ms. Sarah Hoffman Alan & Betsy Hohlfelder Ms. Madeleine Hombosky Tom & Mary Hooten Catherine C. Hornstein Charitable Fund of The Pittsburgh Foundation Anne Houck Mrs. Elwood T. Hughes Rob & Linda Indovina H. Vaughn & Dr. Eleanor C. Irwin Paul & Barbara Jacoby Deborah James Dr. Frank & Debbie Jenkins Christine E. Jordanoff Mr. Joshua H. Jun Erika Kar David & Nora Kemp Peggy C. Knott Marilyn & Brett Kranich Eugene J. Kritko Amy Jo Labi-Carando & Peter M. Carando David Lendt James & Julie Lewis Dr. Jinghong Liang in Memory of Professor Richard Green Eddie Lowy & Ricardo Cortés Henry J. Mader Betsy Bechtolt Magley Dr. Bernard Mallinger Drs. Ellen Mandel & Lawrence Weber Dr. & Mrs. George J. Maruschock Gary & Marguerite Matz Eleanor Mayfield & Robert Pego Dr. & Mrs. Charles E. McChesney Katherine K. McCormick

Mr. Geoffrey McGovern Mr.* & Mrs. John E. Mehl Mr. William Merchant Elizabeth R. Mertz Marian G. Michaels Natalie & David Miltenberger Jeffrey Mishler Signe Mitchell Mr. & Mrs. Jeffrey Morrow Sheila & John Murtagh Ms. Tina Musahl James & Marlee Myers Ms. Linda Oliver Mr. Michael Opaska Nancy* & John Oyler Sang C. Park Nathan Pedretti & Jane Soung Dr. John H. Penn Daniel Perlongo & Susan Wheatley Mr. Pavel Puchkarev Maureen Puskar & Angelo Baiocchi Mr. & Mrs.* C. J. Queenan, Jr. Spencer & Gayle Radnich Jr. Mr. & Mrs. Nicholas M. Ricci Mr. Robert Richard Mrs. and Mr. Patrick Rooney Carol & Richard Rosenthal Sharon Roxbury & Joseph McEwen Ms. Mary E. Russell Bruce D. & Treasure Sachnoff Charitable Family Foundation Jose Sahel Kathleen A. Sandoe & Daniel H. Ready Mindy & Zal Sanjana Tom & Janet Schaefer Dr. & Mrs. Edward G. Scheid Dr. & Mrs. Harold Z. Scheinman Joan & Cliff Schoff Mr. Chester B. Scholl, Jr. Bernie & Cookie Soldo Schultz Mrs. Mary J. Seghi Mr. & Mrs. John M. Seifarth Richard F. Shaw & Linda W. Shaw Steven Silberman Mr. & Mrs. Virgil Simplaceanu

Michele & Brian Skwirut Nellie Lou Slagle Don & Beth Smith Mr. & Mrs. Charles L. Smithers Ronald F. Smutny Michael Sochka Janet H. Staab Ms. Patricia Staible Mr. & Mrs. James C. Stalder

Jim & Judy Stark Vilja K. Stein John & Jocelyn Stickle Mr. & Mrs. William H. Stone Jr. Richard A. Sundra, in Loving Memory of Patricia Sundra Kevin & Elisa Taffe Drs. Margaret Tarpey & Bruce Freeman Mary Ann Stuart-Templeton

Samuel Trichtinger Judy Vaglia Dr. & Mrs. James E. Vaux Mr. & Mrs. Charles E. Vogel Drs. Joan Vondra & Thomas Chang Dr. Michael & Clare Vranesevic Lucile Weingartner Arlene & Richard Weisman

Patricia Weiss Mr. & Mrs. Robert Wild Dr. Jen Wildpret Toby Wolfe Dr. & Mrs. Michael R. Wollman Drs. David C. & Diana M. Wood Dr. Audrey Zelkovic

CORPORATE SPOTLIGHT At BNY Mellon, we believe that the arts are an integral part of every vibrant community. The Pittsburgh Symphony Orchestra is one of Pittsburgh’s great cultural institutions. BNY Mellon and the Orchestra share a long history in the Pittsburgh community and a commitment to its people. We’re honored to support a world class orchestra distinguished by its artistic excellence to bring you the 2021-2022 BNY Mellon Grand Classics season.

C LA S S I C A L

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

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

PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

CORPORATE PARTNERS $100,000 AND ABOVE

ERIC BOUGHNER

Chairman of BNY Mellon Pennsylvania

DANIEL A. ONORATO

LOUIS R. CESTELLO

KENYA BOSWELL

SALLY McCRADY

Executive Vice President, Corporate Affairs Highmark Health Senior Vice President, Community Affairs Highmark Health

The Reschini Group Bank of America Trebuchet Consulting UPMC & UPMC Health Plan Wabtec Corporation Dollar Bank Foundation Wesley Family Services FedEx Ground $40,000 - $100,000

$20,000 - $39,999

Delta Airlines, Inc EQT Equitrans Midstream Fairmont Pittsburgh Federated Hermes, Inc. The Giant Eagle Foundation MSA Worldwide, LLC $10,000 - $19,999

Audia Group LLC Bognar and Company, Inc. Clearview Federal Credit Union Comcast Deloitte USA LLP First National Bank of Pennsylvania Hefren-Tillotson, Inc. Pittsburgh Steelers Sports, Inc. PPG Industries Foundation Spang and Company Charitable Trust $5,000 - $9,999

Berner International Corp c3controls Ernst & Young NexTier Bank Peoples Natural Gas P.J. Dick, Trumbull & Lindy Paving 32

Executive Vice President, Head of Regional Markets and Regional President for Pittsburgh PNC Bank Executive Vice President & Director, Community Affairs, PNC Bank Chair & President, The PNC Foundation

Mitsubishi Electric Power We would like to thank all corporations who contribute to the Products, Inc. Pittsburgh Symphony Orchestra & Nocito Enterprises, Inc. Heinz Hall. Please see our website Robinson Fans at pittsburghsymphony.org for a complete listing. Schneider Downs & Company, Inc. Current as of October 12, 2021 $2,500 - $4,999 Streams Elementary Angelo, Gordon & Co., L.P. School PTA Is your company Elite Coach Transportation, TriState Capital Bank missing from this Inc. United Safety Services, Inc. list? Call Becky Federal Home Loan Bank of Pittsburgh Rickard $250 - $999 at 412.392.2207 Jennison Associates LLC ABARTA Coca-Cola to become a Kerr Engineered Sales Beverages Company Corporate Partner! Chemistry Lighthouse Electric Communications Company, Inc. E.G. Conley, P.C. Lucas Systems Fort Pitt Capital Group Inc. Marsh USA, Inc. Goehring Rutter & Boehm Mascaro Construction Hamill Manufacturing Company, LP Company Mozart Management Hertz Gateway Center, L.P. Silhol Builders Supply Joy Cone Co. Company Meyer, Unkovic & Scott LLP Vallozzi's Pittsburgh Nemacolin Woodlands Resort and Spa $1,000- $2,499 PGT Trucking Inc. Armada Supply Chain Solutions Pittsburgh Wool Company Austrian American Cultural Inc. Society, Inc. Penza Investment Management, LLC General Wire Spring Company Sarris Candies Inc. German American St. Vincent College Chamber Of Commerce, The Benedictine Society Pittsburgh Chapter W. J. Beitler Co. HB Reynolds Inc. Warren Associates Jennmar Corporation Koppers MacLachlan, Cornelius & Filoni Architects & Planners McKamish, Inc.

FOUNDATIONS & PUBLIC AGENCIES Allegheny County Economic Development Allegheny Foundation Allegheny Regional Asset District Ampco-Pittsburgh Charitable Foundation Bessie F. Anathan Fund of The Pittsburgh Foundation Anonymous (2) Benjamin and Fannie Applestein Charitable Trust Baronner-Chatfield Family Foundation Claude Worthington Benedum Foundation The Benter Foundation Allen H. Berkman and Selma W. Berkman Charitable Trust 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 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 John Keith Maitland Fund of The Pittsburgh Foundation Thomas Marshall Foundation Massey Charitable Trust 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 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 October 13, 2021

PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

LEGACY OF EXCELLENCE

In addition to income from the Annual Fund, the Pittsburgh Symphony Orchestra is dependent on a robust endowment to assure its long-term financial stability. Gifts from Legacy of Excellence programs are directed to the endowment to provide for the Pittsburgh Symphony Orchestra’s future. The Steinberg Society honors donors who have advised the Pittsburgh Symphony in writing that they have made a provision for the orchestra in their will. Endowed naming opportunities for guest artists, musicians’ chairs, concert series, educational programs or designated spaces allow donors to specify a name or tribute for 10 years, 20 years or in perpetuity. For additional information, please call 412.392.4880. STEINBERG SOCIETY Anonymous (23) Mary Beth Adams Siamak & Joan Adibi Rev. Drs. A. Gary & Judy Angleberger The Joan & Jerome Apt* Families Estate of Dorothy Avins Estate of Ruth Z. & James B. Bachman Ronald Bachowski in Memory of Lois Bachowski Francis A. Balog Lorraine E. Balun Estate of Barbara A. Bane Robert & Loretta Barone Dr. Elaine H. Berkowitz Keith E. Bernard Benno* & Constance Bernt Drs. Barbara & Albert Biglan Jim & Alison Bischoff Thomas G. Black Dr. & Mrs. Bennett P. Boffardi Barbara M. Brock Lois R. Brozenick* Michael F. Butler Tom & Jackie Cain Margaret Calder Estate of Cynthia Calhoun Estate of Rebecca J. Caserio M.D. Sondra Chester Judy & Michael Cheteyan Educational/Charitable Foundation Mr. & Mrs. David W. Christopher* Mr.* & Mrs. Edward S. Churchill Estate of Mr. & Mrs. Eugene S. Cohen Basil & Jayne Adair Cox Mary Ann Craig 34

L. Van V. Dauler, Jr.* & Randi Dauler In Memory of Stuart William Discount Mr. & Mrs. Thomas J. Donnelly* Mary A. Duggan* Dr. James H. Duggan Frank R. Dziama Estate of Robert B. Egan Steven G. & Beverlynn Elliott Estate of Doris Ely Katrin* & Eugene Engels Anthony Fabio* Dr. John H. Feist* Emil & Ruth Feldman* Joan Feldman & William Adams Estate of Ruth K. Fischer Mrs. Loti Gaffney* Keith Garver Alice V. Gelormino Estate of Arlyn Gilboa Ken* & Lillian Goldsmith Mr. & Mrs. Ira H. Gordon* Estate of Anna R. Greenberg Estate of Lorraine M. Gross Estate of Elizabeth A. Gundelfinger Maureen Guroff Marnie & Jim Haines Elizabeth Anne Hardie Charles & Angela Hardwick Edward J. Harris Carolyn Heil Eric & Lizz Helmsen William & Jacqueline Herbein Monica & Adam Hertzman Ms. Judith Hess Estate of Mr. John H. Hill Tom & Dona Hotopp Susan Candace Hunt

Estate of Mr. & Mrs. William C. Hurtt Philo & Erika* Holcomb Mr. & Mrs. Blair Jacobson Esther G. Jacovitz Patricia Prattis Jennings Mr. & Mrs. Robert S. Kahn* Estate of Calliope H. Kamaras Daniel G. & Carole L. Kamin Leo* & Marge Kane Lois S. Kaufman Stephen & Kimberly Keen Estate of Patricia M. Kelley Mr. Arthur J. Kerr, Jr. Ms. Bernadette Kersting Dr. Laibe A. & Sydelle Kessler* Estate of Elizabeth Krotec Howard & Carol Lang Stanley & Margaret Leonard Frances F. Levin Doris L. Litman Estate of Edward D. Loughney Estate of John Keith Maitland Lauren & Hampton Mallory Mr. & Mrs. Robert P. Malnati Dr. Richard Martin in Memory of Mrs. Lori Martin* Dale & Dr. Marlene* McCall Stephen McClure & Debra Gift John W. McDonald, Jr.* George E. Meanor Estate of Mary Michaely Mary Ellen Miller Ms. Jean L. Misner* Catherine Missenda* Dr. Mercedes C. Monjian Mr. & Mrs. Paul J. Mooney Alice & Bob Moore Perry* & BeeJee Morrison

Mildred S. Myers & William C.* Frederick Donn & Peggy* Neal Rhoda & Bill Neal Dr. Nancy Z. Nelson Rhonda & Dennis Norman Katherine O’Brien Elliott S. Oshry Thaddeus A. Osial, Jr. M.D. Estate of Irene G. Otte Estate of Deloris V. Pohelia Estate of Mark Perrott Judy Petty Estate of Dorothy R. Rairigh Barbara M. Rankin Richard E. Rauh Cheryl & James Redmond Mr. Gene Reiness Dr. & Mrs. William E. Rinehart* Donald & Sylvia Robinson* Mr.* & Mrs. David M. Roderick Charlotta Klein Ross Harvey & Lynn Rubin Mr. & Mrs. Gary L. Ryan Estate of Sylvia Sachs Virginia Schatz* Nancy Schepis Bernie & Cookie Soldo Schultz Dr. & Mrs. Harry E. Serene Michael Shefler Estate of Marjorie F. Shipe Dr. Stanley Shostak & Dr. Marcia Landy Dr. Charles H. Shultz Mr. & Mrs. Richard P. Simmons Estate of Janice G. Singer Estate of Evelyn B. Snyder Dr. & Mrs. Leonard A. *Stept Estate of Dr. Raymond & Karla Stept Theodore Stern

Andrew & Gale Stevenson Mrs. Margaret Stouffer in memory of Miss Jean Alexander Moore Dick & Thea Stover Francesca Tan Estate of Nancy B.Thompson Carol H. Tillotson Tom & Jamee Todd Myra L. Toomey Mrs. Jane Treherne-Thomas* Gerald & Mary Unger Eva & Walter J. Vogel Mr. & Mrs. George L. Vosburgh Jon & Carol Walton Estate of John & Betty Weiland Lucile Weingartner In memory of Isaac Serrins from Mr. & Mrs. Ira Weiss Brian Weller Mr. & Mrs. Fred C. Wellinger Seldon Whitaker Jr.* Mr. & Mrs. Raymond B. White Charles L. & Katherine A. Wiley James* & Susanne Wilkinson Robert E. Williams* Mr. & Mrs. Thomas Witmer Sidney & Tucky Wolfson Patricia L. Wurster Estate of Rufus J. Wysor Naomi Yoran Estate of Alice Carroll Young Miriam L. Young Estate of Ruth Yount Estate of Florence H. Zeve Estate of Simone J. Ziegler ENDOWED CHAIRS Principal Horn Chair, given by an Anonymous Donor

Jane & Rae Burton Cello Chair Cynthia S. Calhoun Principal Viola Chair

Principal Pops Conductor Chair Endowed by Henry & Elsie* Hillman

Virginia Campbell Principal Harp Chair

Milton G. Hulme, Jr. Guest Conductor Chair given by Mine Safety Appliances Company

Ron & Dorothy Chutz First Violin Chair

Susan Candace Hunt Cello Chair

Dr. Mary Ann Craig Principal Tuba Chair

Mr. & Mrs. Benjamin F. Jones III Guest Keyboard Chair

Randi & L. Van V. Dauler, Jr. President & CEO Chair George & Eileen Dorman Assistant Principal Cello Chair Albert H. Eckert Associate Principal Percussion Chair Beverlynn & Steven Elliott Associate Concertmaster Chair Jean & Sigo Falk Principal Librarian Chair

Virginia Kaufman Resident Conductor Chair Stephen & Kimberly Keen Bass Chair G. Christian Lantzsch & Duquesne Light Company Principal Second Violin Chair

Jackman Pfouts Principal Flute Chair, given in memory of Mr. & Mrs. Arthur Jackman by Barbara Jackman Pfouts Pittsburgh Symphony Association Principal Cello Chair Reed Smith Chair honoring Tom Todd Horn Chair Snapp Family First Violin Chair Dr. & Mrs. William E. Rinehart* Oboe Chair Donald & Sylvia Robinson Family Foundation Guest Conductor Chair Martha Brooks Robinson Principal Trumpet Chair

Mr. & Mrs. William Genge and Mr. & Mrs. James E. Lee Mr. & Mrs. Aaron Silberman Principal Bassoon Chair Principal Clarinet Chair Nancy & Jeffery* Leininger First Violin Chair

HaleyFesq Cello Chair Endowed by Janet Haley Fesq Edward D. Loughney Co-Principal Trumpet Chair Endowed Principal Piccolo Chair, given to honor Frank Fiddlesticks Family Concert Series Endowed by Gerald & and Loti Gaffney Audrey McGinnis Honoring The Center for Young William & Sarah Galbraith Musicians Second Violin Chair

Sidney Stark, Jr. Memorial Clarinet Chair Mr.* and Mrs. Willard J. Tillotson, Jr. Principal Bass Clarinet Chair Tom & Jamee Todd Principal Trombone Chair United States Steel Corporation Assistant Principal Bass Chair

The Estate of Olga T. Gazalie First Violin Chair

Ann McGuinn Trombone Chair

Alice Victoria Gelormino Second Violin Chair

Mr. and Mrs. Martin G. McGuinn Viola Chair

Arlyn Gilboa Second Violin Chair

Dr. William Larimer Mellon, Jr. Principal Oboe Chair, given by Rachel Mellon Walton

Rachel Mellon Walton Concertmaster Chair, given by Mr. & Mrs. Richard Mellon Scaife

Messiah Concerts Endowed by the Howard and Nell E. Miller Chair

Jacquelin Wechsler Horn Chair given in memory of Irving (Buddy) Wechsler

Ira & Nanette Gordon The Gracky Fund for Education & Community Engagement

First Violin Chair, given by Allen H. Berkman in memory of his beloved wife, Susan S. Greer Memorial Trumpet Chair, given by Selma Wiener Berkman Peter Greer Michael & Carol Bleier Bass Chair given in memory William Randolph Hearst of our parents, Tina & Endowed Fund for Charles Bleier and Ruth & Education Shelley Stein Vira I. Heinz Dr. Alan & Marsha Bramowitz Music Director Chair First Violin Chair, Endowed in memory of Bach pianist William & Jacqueline Rosalyn Tureck Herbein Principal Bass Trombone Chair Lois R. Brozenick Memorial First Violin Chair

Jon & Carol Walton Associate Principal Viola Chair

Donald I. & Janet Moritz and Equitable Resources, Inc. Barbara Weldon Associate Principal Cello Principal Timpani Chair Chair The Perry & BeeJee Morrison Hilda M. Willis Foundation Flute Chair String Instrument Loan Fund Thomas H. & Frances Witmer Assistant Principal Horn Chair The Morrison Family Associate Principal Second Violin Chair Current as of September 9, 2021 *deceased

PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

DAULER HEARING LOOP: A system to provide better sound to hearing aid and cochlear implant users.

If you use a hearing aid or have a cochlear implant, you can have an improved listening experience at Heinz Hall concerts and events! The Dauler Hearing Loop runs throughout the auditorium, with the exception of the Orchestra pit, first four Orchestra level rows and Grand Box left. The hearing loop system also is installed at the Heinz Hall Box Office windows, allowing you to hear the amplified voice of Box Office personnel directly through t-coil enabled hearing aids. VISIT OR CALL THE HEINZ HALL BOX OFFICE AT 412.392.4900 WITH ANY QUESTIONS. The Dauler Hearing Loop is named for late Pittsburgh Symphony Orchestra trustee L. Van V. Dauler, Jr and was made possible through a gift from Randi & L. Van V. Dauler, Jr. and the Emma Clyde Hodge Memorial Foundation.

TO USE THE DAULER HEARING LOOP: If you have a hearing aid or cochlear implant with a telecoil (t-coil) you need to make sure the t-coil is activated and properly set by your audiologist. You can then activate the setting once in Heinz Hall. If you are not sure if your hearing aid has a t-coil or if you experience difficulty and require assistance, please contact your audiologist. Sound heard through telecoils can vary from hearing aid to hearing aid and according to position in the theater. Generally, the best signal is found when you sit in the center of a row and facing toward the stage. If you need further assistance in selecting the best seats, please contact the Heinz Hall box office.

HEINZ HALL POLICIES

Heinz Hall, owned and operated by Pittsburgh Symphony Inc., is committed to the safety and well-being of all guests and patrons, and aims to provide a safe, comfortable and enjoyable entertainment experience.

ENTRANCE SECURITY POLICY All audience members are required to enter through state-of-the-art “free-flow” scanning equipment, designed both to enhance security and convenience. Patrons using wheelchairs and mobility devices will enter via a door adjacent to the screening equipment for alternative screening. Patrons with children in strollers may enter through the screening equipment.

policy is sworn law enforcement personnel and private security officers employed and/or contracted by Pittsburgh Symphony Inc.

may be consumed in the lobby areas, but are not permitted into the auditorium. Please note: Heinz Hall cups with lids are available for purchase at the facility’s bars. These BAG POLICY reusable cups can be brought into Heinz Hall reserves the right to the facility again at a later date once search any bags entering the facility. purchased, but must be filled on Oversized bags must fit comfortably site. These cups can be brought into under a seat to ensure the safety of the auditorium at many concerts patrons entering or exiting seats and (excluding classical programs). aisles. Bags failing to meet these requirements must be checked and COSTUME POLICY pass a security search, or you must Heinz Hall does not permit costume WEAPONS POLICY remove the bags from the Hall. masks of any kind or facsimiles of Weapons are not permitted in the weapons that would make other SMOKING POLICY venue and/or public spaces owned guests feel uncomfortable or detract Heinz Hall is a smoke/vapor free or operated by Pittsburgh Symphony from the concert experience. Guests facility. (Smoking is permitted in the Inc., including Heinz Hall. Any item are welcome to attend certain Heinz Hall Garden Plaza) that could endanger public safety is programs, (e.g. The Music of Harry considered a weapon for purposes FOOD AND Potter or The Music of Star Wars) in of this policy. Violators of this policy BEVERAGE POLICY costume. may be subject to ejection from Outside food or alcoholic beverages Heinz Hall and/or civil or criminal are prohibited. Outside non-alcoholic penalties. The only exception to this beverages, such as Starbucks coffee,

HEINZ HALL INFORMATION

ACCESSIBLE SEATS are available with companion seats. There is a level entrance and route to the main floor of the auditorium. Contact the box office for the location of the companion seats. HEINZ HALL BOX OFFICE HOURS are Monday through Friday, from 9 a.m. to 6 p.m; Saturday from noon to 4 p.m. Weekend hours vary based on performance times. Tickets may be purchased by calling 412.392.4900 and are also available at the Theater Square Box Office.

DAULER HEARING LOOP to be used with hearing aid telecoil settings, portable assistive listening devices are available. Please see the ushers for assistance or contact the box office for the best locations for using the hearing loop. DRESS CODE for all concerts is at your personal discretion and ranges from dress and business attire to casual wear. ELEVATOR is located next to the Grand Staircase.

MOBILE DEVICES should be turned off and put away upon entering the theater.

PHOTOGRAPHY, video, or audio recording of the performance is prohibited at all times, unless otherwise noted.

PRE-PAID PARKING is available to all ticketholders in the Sixth & Penn garage across from Heinz Hall. Ask about prepaid parking when you order your tickets.

MEN’S AND WOMEN’S RESTROOMS are located on the Lower, Grand Tier and Gallery levels. BRAILLE AND LARGE Additional women’s restrooms are PRINT PROGRAMS are available at the concierge desk for FIRE EXITS are to be used ONLY located off the Garden and Overlook rooms. Accessible restrooms are all BNY Mellon Grand Classics, PNC in case of an emergency. If the located on the Grand Tier level and Pops, Fiddlesticks Family Series and fire alarm is activated, follow the a family/accessible restroom is Sensory-Friendly performances. direction of Heinz Hall ushers and staff to safely evacuate the theater. available on the Main Floor. CHILDREN are encouraged to attend our youth concerts and GROUPS can receive discounted SMOKING is not permitted Fiddlesticks Family Concerts. in Heinz Hall. The garden is tickets, priority seats, personalized Children age six and over, are accessible during performances service and free reception space. welcome at all performances with a For more information, call for this purpose. purchased ticket. The Latecomer’s 412.392.4819 or visit our website at Gallery and lobby video monitors are pittsburghsymphony.org/groups for SUPPORTING THE PSO AND HEINZ HALL always options for restless children. information. is critical to the financial future of the COAT CHECK is available in the Pittsburgh Symphony. Ticket sales LATECOMER’S GALLERY Grand Lobby. only cover a portion of our operating is located behind the Main Floor CONCIERGE SERVICE is to enjoy the performance until you costs. To make a tax-deductible gift, please contact our Development available in the Entrance Lobby can be seated. Latecomers will be department at 412.392.4880 or visit to assist with your questions seated at suitable intervals during us online at pittsburghsymphony.org and to help with dining, hotel, the program, at the discretion of entertainment and transportation the conductor. The gallery is also concerns. [Penny Vennare, Event available for parents with Supervisor; Barbara Smorul, restless children. Concierge.] LOCKERS are located on the Lower and Gallery levels. EMERGENCY CALLS can be referred to the concierge desk at 412.392.2880.

LOST AND FOUND items can be retrieved by calling 412.392.4844 on weekdays from 10 a.m. to 5 p.m.

PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

A NEW RECORDING FROM MANFRED HONECK AND THE PITTSBURGH SYMPHONY ORCHESTRA IN SUPERB AUDIOPHILE SOUND Exceptional Performances and a

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PITTSBURGH SYMPHONY ORCHESTRA RECORDINGS ARE MADE POSSIBLE BY A GENEROUS GRANT FROM BNY MELLON. 38