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Piano Concerto No. 2 Lorenzo Viotti CONDUCTOR
Benjamin Grosvenor PIANO
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January 14 & 16 program...................................................................6 January 14 & 16 program notes.........................................................8 Lorenzo Viotti biography...................................................................13 Benjamin Grosvenor biography........................................................14 January 21, 22 & 23 program...........................................................18 January 21, 22 & 23 program notes.................................................20 Rudolf Buchbinder biography..........................................................29 Pittsburgh Symphony Orchestra biography......................................30 EVERY GIFT IS INSTRUMENTAL Individuals........................................................................................31 Corporate Partners ............................................................................37 Foundations & Public Agencies........................................................38 Legacy of Excellence..........................................................................39
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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, JANUARY 14, 2022 AT 8:00 P.M. SUNDAY, JANUARY 16, 2022 AT 2:30 P.M.
Lorenzo Viotti, conductor Benjamin Grosvenor, piano Giuseppe Verdi
Overture to La forza del destino
Sergei Rachmaninoff Concerto No. 2 in C minor for Piano and Orchestra, Opus 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando Mr. Grosvenor Intermission
Richard Strauss
Suite from Der Rosenkavalier, Opus 59
Maurice Ravel
La Valse
Daniel Chong, Guest Concertmaster
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SATURDAY, FEB. 5, 2022 AT 8:00 P.M. HEINZ HALL
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DIRECTOR LIFT EVERY VOICE UNITY CHOIR
JASIRI X VOCALIST
This one-night-only celebration of dynamic contemporary artists includes the world premiere of As I Please, a multimedia work inspired by Pittsburgh’s Hill District. Josh Jones returns for his PSO solo debut performing Vivaldi’s Concerto for Piccolo – on marimba! Jasiri X performs “Glory” from the movie Selma, and more! Funding for the Lift Every Voice program was provided by the Anisa Kanbour Trust Fund, the Jane M. Epstine Charitable Fund, the S. Clarke and Marie McClure Johnston Memorial Fund, the Benjamin Harris Memorial Fund, the Samuel and Carrie Arnold Weinhaus Memorial Fund, the William Christopher and Mary Laughlin Robinson Fund, and the Scott Fund of The Pittsburgh Foundation.
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GIUSEPPE VERDI
Overture to La forza del destino (“The Force of Destiny”) 1869 ABOUT THE COMPOSER
LAST PSO PERFORMANCE
Born October 10, 1813 in Le Roncole; died January 27, 1901 in Milan
April 3, 2016; Heinz Hall; Manfred Honeck, conductor
PREMIERE OF WORK
INSTRUMENTATION
February 27, 1869; Eugenio Terziani, conductor PSO PREMIERE
March 25, 1955; Syria Mosque; Karl Kritz, conductor
piccolo, four horns, two trumpets, three trombones, tuba, timpani, percussion, two harps and strings DURATION
8 minutes
La forza del destino is set in 18th-century Spain. Alvaro has accidentally killed the father of his beloved, Leonora, during the lovers’ attempted elopement. Separately, they flee. Leonora’s brother, Carlo, swears vengeance on both her and their father’s murderer. Leonora first seeks refuge at a convent, and then goes to live as a hermit in a cave. Carlo and Alvaro meet during a military encounter, and Carlo discovers the true identity of his adversary just after Alvaro is carried away, wounded. Alvaro joins the Church as a monk, but he is followed by Carlo, who enrages Alvaro to the point of a duel. They fight near Leonora’s cave, interrupting her prayers, and she goes to see what is causing the commotion. As she emerges from her cave, the lovers recognize each other, and Alvaro cries that he has spilled the blood of yet another of her family. She rushes off to help her fatally wounded brother, but Carlo, with his last bit of strength, stabs Leonora, and she dies in Alvaro’s arms. Verdi provided one of his most richly expressive scores for this melodramatic tale. The Overture, utilizing several themes from the opera, reflects the strong emotions of the work, though it does not follow the progress of the story. It opens with a stern summons of six unison notes, after which appears the agitated theme Verdi intended to represent Fate. This motto recurs throughout both the Overture and the opera as a symbol of the workings of destiny on the principal characters. The brief introduction is followed by an expressive, lyrical melody for woodwinds over pizzicato string accompaniment (sung later in the opera by one of Alvaro’s fellow priests) under which are heard the mutterings of the Fate motto. The violins then give an impassioned phrase from Leonora’s Act II prayer. The Fate theme reappears in a menacing guise before the woodwinds sing a reminder of the priest’s melody. Another of Leonora’s themes, given by clarinet over a rustling harp background, is interrupted as the brass intone a chorale. Leonora’s melody continues in a slower setting for full orchestra, and is then treated to another variation in staccato eighth notes combined with the Fate motive. An energetic coda brings this stirring Overture to a close.
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SERGEI RACHMANINOFF
Concerto No. 2 in C minor for Piano and Orchestra, Opus 18 (1900-1901) ABOUT THE COMPOSER
LAST PSO PERFORMANCE
Born April 1, 1873 Oneg, Russia; died March 28, 1943 in Beverly Hills, California.
January 13, 2019; Heinz Hall; Markus Stenz, conductor; Behzod Abduraimov, soloist
PREMIERE OF WORK
INSTRUMENTATION
October 14, 1901; Moscow Philharmonic Society Orchestra; Alexander Siloti, conductor; Sergei Rachmaninoff, soloist
woodwinds in pairs plus piccolo, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings
PSO PREMIERE
DURATION
March 18, 1934; Syria Mosque; Antonio Modarelli, conductor, Walter Gieseking, soloist
32 minutes
When he was old and as mellow as he would ever get, Rachmaninoff wrote these words about his early years: “Although I had to fight for recognition, as most younger men must, although I have experienced all the troubles and sorrow which precede success, and although I know how important it is for an artist to be spared such troubles, I realize, when I look back on my early life, that it was enjoyable, in spite of all its vexations and bitterness.” The greatest “bitterness” of Rachmaninoff ’s career was the total failure of the Symphony No. 1 at its premiere in 1897, a traumatic disappointment that thrust him into such a mental depression that he suffered a complete nervous collapse. An aunt of Rachmaninoff, Varvara Satina, had recently been successfully treated for an emotional disturbance by a certain Dr. Nicholas Dahl, a Moscow physician who was familiar with the latest psychiatric discoveries in France and Vienna, and it was arranged that Rachmaninoff should visit him. Years later, in his memoirs, the composer recalled the malady and the treatment: “[Following the performance of the First Symphony,] something within me snapped. A paralyzing apathy possessed me. I did nothing at all and found no pleasure in anything. Half my days were spent on a couch sighing over my ruined life. My only occupation consisted in giving a few piano lessons to keep myself alive.” For more than a year, Rachmaninoff ’s condition persisted. He began his daily visits to Dr. Dahl in January 1900. “My relatives had informed Dr. Dahl that he must by all means cure me of my apathetic condition and bring about such results that I would again be able to compose. Dahl had inquired what kind of composition was desired of me, and he was informed ‘a concerto for pianoforte.’ In consequence, I heard repeated, day after day, the same hypnotic formula, as I lay half somnolent in an armchair in Dr. Dahl’s consulting room: ‘You will start to compose a concerto — You will work with the greatest of ease — The composition will be of excellent quality.’ Always it was the same, without interruption.... Although it may seem impossible to believe,” Rachmaninoff continued, “this treatment really helped me. I started to compose again at the beginning of the summer.” In gratitude, he dedicated the new Concerto to Dr. Dahl. The C minor Concerto begins with eight bell-tone chords from the solo piano that herald the surging main theme, announced by the strings. A climax is achieved before a sudden drop in intensity makes way for the arching second theme, initiated by the soloist. The development, PROGRAM NOTES 2021-2022 SEASON
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concerned largely with the first theme, is propelled by a martial rhythm that continues with undiminished energy into the recapitulation. The second theme returns in the horn before the martial mood is re-established to close the movement. The Adagio is a long-limbed nocturne with a running commentary of sweeping figurations from the piano. The finale resumes the marching rhythmic motion of the first movement with its introduction and bold main theme. Standing in bold relief to this vigorous music is the lyrical second theme, one of the best-loved melodies in the orchestral literature, a grand inspiration in the fullest Romantic tradition. These two themes, the martial and the romantic, alternate for the remainder of the movement. The coda rises through a finely crafted line of mounting tension to bring the work to an electrifying close.
RICHARD STRAUSS
Suite from Der Rosenkavalier, Opus 59 (1909-1910)
ABOUT THE COMPOSER
Born June 11, 1864 in Munich; died September 8, 1949 in Garmisch-Partenkirchen PREMIERE OF WORK
January 26, 1911; Semperoper Dresden; Ernst von Schuch, conductor PSO PREMIERE
October 22, 1948; Syria Mosque; Artur Rodzkinski, conductor
INSTRUMENTATION
piccolo, three flutes, three oboes, English horn, E-flat clarinet, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, celesta and strings DURATION
25 minutes
LAST PSO PERFORMANCE
May 15 201; Heinz Hall; Manfred Honeck, conductor Norman Del Mar titled the chapter on Der Rosenkavalier in his biography of Richard Strauss, “The Crowning Success.” Notoriety was hardly new to Strauss when this opera appeared in 1911, but its success solidified a reputation that had elevated him, according to universal opinion, to the status of “World’s Greatest Composer.” The last dozen years of the 19th century saw the production of most of his tone poems, each one generating more popular interest than the one before. When Salome appeared in 1905 and Elektra followed four years later, Strauss was branded as the principal dispenser of musical modernity, stretching not only technical resources but also psychological probings in music far beyond anything previously known. It was therefore significant news when the Berlin Boersen-Courier learned before the premiere of Strauss’ 1911 opera that the score was “absolutely un-Strausslike, inasmuch as none of the excessively modern subtleties predominates in the vocal parts or orchestration. On the contrary, the score is brimming over with exceedingly pleasant and catchy melodies, most of them in three-four time. Yes, melodies, incredible as this may sound in the case of Richard Strauss. One waltz, especially, which the tenor sings, is likely to become so popular that many people will believe it is the work, not of Richard, but of Johann Strauss.” (The two Strausses were unrelated.) The Berlin correspondent knew what he was talking about. So popular did Strauss’ bittersweet opera with the 18th-century Viennese setting prove to be that its music and fame spread through 10
Europe like wildfire. Extra trains from Berlin and other cities had to be added to the rail schedule to handle the throngs journeying to Dresden to see this new artistic wonder. Productions were mounted within months in all the musical capitals of Europe. The 1917 catalog of the London publisher Chappell and Co. listed no fewer than 44 arrangements of music from Der Rosenkavalier for instrumental combinations ranging from brass band to salon orchestra, from solo mandolin to full symphony. The opera was made into a motion picture in 1924 — five years before sound movies were introduced! (A pit orchestra without singers played the much-truncated score.) The popularity of the haunting and infectious music from Der Rosenkavalier continues unabated today in both the opera house and the concert hall. The libretto for Der Rosenkavalier, by the gifted Austrian man of letters, Hugo von Hofmannsthal, is one of the masterworks of its type for the lyric stage. It gently probes the budding, young love of Octavian and Sophie, poignantly examines the fading youth of the Marschallin, and humorously exposes the blustering Baron Ochs. It is a superb evocation of sentiment, wit and vigor wedded to one of the most opulently glorious musical scores ever composed. Former New York Times critic Harold Schonberg wrote of the emotional milieu of the opera, “In Der Rosenkavalier, there are no Jungian archetypes, only the human condition. Instead of long narratives, there are Viennese waltzes. Instead of a monumental Liebestod, there is a sad, elegant lament from a beautiful, aristocratic woman who begins to see old age. Instead of death, we get a bittersweet and hauntingly beautiful trio that in effect tells us that life will go on as it has always gone on. People do not die for love in Hofmannsthal’s world. They face the inevitable, surrender with what grace they can summon up, and then look around for life’s next episode. As Strauss himself later said, “The Marschallin had lovers before Octavian, and she will have lovers after him.’” Der Rosenkavalier is an opera that is wise and worldly, sophisticated and touching, sentimental and funny, and that contains some of the most memorable music to emerge from the opera house in the 20th century. The Suite that Strauss extracted from Der Rosenkavalier includes the Prelude to Act I, the luminous Presentation of the Rose from Act II, the blustering Baron Ochs’ Arrival and Waltz from Act II, the glorious trio and duet in the opera’s closing scene, and a rousing selection of waltzes from the score.
MAURICE RAVEL
(1875-1937)
La Valse, Poème choréographique (1919-1920)
ABOUT THE COMPOSER
Born March 7, 1875 in Ciboure, France; died December 28, 1937 in Paris. PREMIERE OF WORK
December 12, 1920; Lamoureux Orchestra; Camille Chevillard, conductor PSO PREMIERE
November 5, 1935; Syria Mosque; Antonio Modarelli, conductor
INSTRUMENTATION
piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps and strings DURATION
13 minutes
LAST PSO PERFORMANCE
April 6, 2014; Heinz Hall; Juraj Valčuha, conductor PROGRAM NOTES 2021-2022 SEASON
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Ravel first considered composing a musical homage to Johann Strauss as early as 1906. The idea forced itself upon him again a decade later, but during the years of the First World War, he could not bring himself to work on a score he had tentatively titled “Wien” (“Vienna”). Since the war had sapped a great deal of his energy, causing his health to be precarious for the rest of his life, it took a proposal from the great ballet impresario Sergei Diaghilev in 1918 to convince Ravel to bring the project to fruition. (Diaghilev hoped to pair Ravel’s new work with Stravinsky’s Pulcinella, but upon its completion, the impresario was dissatisfied with La Valse — “a masterpiece, but it’s not a ballet,” he said — which then had to wait until 1929 for its stage premiere under Ida Rubinstein.) By January 1919, when Ravel was immersed in the composition of his tribute to Vienna, he said that he felt he was “waltzing frantically.” He saw La Valse both as “a kind of apotheosis of the Viennese waltz” and as a “fantastic and fatefully inescapable whirlpool.” The “inescapable whirlpool” was the First World War toward which Vienna marched in three-quarter time, salving its social and political conscience with the luscious strains of Johann Strauss. There is more than a touch of the surreal in La Valse. Familiar and real things are placed against a background strange and a little threatening in its disorienting effect. This artifice paralleled the situation Ravel saw as characteristic of late-19th-century Vienna in particular and Europe in general. A surrealistic haze shrouds the opening of La Valse, a vague introduction from which fragments of themes gradually emerge. In the composer’s words, “At first the scene is dimmed by a kind of swirling mist, through which one discerns, vaguely and intermittently, the waltzing couples. Little by little the vapors disappear, the illumination grows brighter, revealing an immense ballroom filled with dancers; the blaze of the chandeliers comes to full splendor. An Imperial court ball about 1855.” In the form typical of the Viennese waltz, several continuous sections follow, each based on a different melody. At the half-way point of the score, however, the murmurs of the introduction return, and the melodies heard previously in clear and complete versions are now fragmented, played against each other, unable to regain the rhythmic flow of their initial appearances. Persistent rustlings in the low strings and woodwinds, flutter-tongue wails from the flutes, snarling muted brass, abrupt and violent crescendos challenge the old waltz melodies. The musical panacea of 1855 cannot smother the reality of 1915, however, and the music becomes consumed by the harsh thrust of the roaring triple meter transformed from a seductive dance into a demonic juggernaut. The dissonances grind, the rhythms become brutal, the orchestral colors blaze as the world of order is sucked toward the awaiting cataclysm in what Ravel called “a fantastic and fatal sort of dervish’s dance.” At the almost unbearable peak of tension, the dance is torn apart by a five-note figure spread through the entire orchestra, a figure so alien to the triple meter that it destroys the waltz and brings this brilliant, forceful and disturbing work to a shattering close. PROGRAM NOTES BY DR. RICHARD E. RODDA
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LORENZO VIOTTI In his new position as principal conductor of the Netherlands Philharmonic Orchestra and the Dutch National Opera (DNO), Lorenzo Viotti opened the 2021/22 season with Alexander von Zemlinsky’s Der Zwerg and Joseph Haydn’s Missa in tempore belli. He made his early DNO debut in September 2019, replacing Sir Mark Elder in the double bill Pagliacci / Cavalleria rusticana. Viotti has already made a name for himself as both an opera and concert conductor. He has conducted numerous concerts ranging from classical to contemporary repertoire and opera titles such as Gounod’s Romeo et Juliette (La Scala, Milano), Manon Lescaut (Oper Frankfurt), Rigoletto (Staatsoper Stuttgart and Semperoper Dresden), Werther (Oper Frankfurt and Opernhaus Zürich), Tosca (Oper Frankfurt and New National Theatre Tokyo), Carmen (Staatsoper Hamburg and Opéra national de Paris), Die Csárdásfürstin (Opernhaus Zürich) and Faust (Opéra national de Paris, recording and TV broadcast). He has also won several major conducting competitions, including the Nestlé Young Conductors Award at the 2015 Salzburg Festival, the 11th International Conducting Competition of the Orquestra de Cadaqués and the Conducting Competition at the MDR Symphony Orchestra. In 2017, he received the “Newcomer of the Year” award at the International Opera Awards in London. Among the many distinguished orchestras Viotti has conducted so far are the Royal Concertgebouw Orchestra in Amsterdam, the BBC Philharmonic in Manchester, Royal Liverpool Philharmonic, Tokyo Symphony Orchestra, Orchestre National de France Paris, Bamberg Symphony Orchestra, Leipzig Gewandhaus Orchestra, Munich Philharmonic Orchestra, Tonkünstler Orchestra, Rotterdam Philharmonic Orchestra, Göteborgs Symfoniker, the Danish National Radio Symphony Orchestra, Camerata Salzburg, the ORF Vienna Radio Symphony Orchestra, Wiener Symphoniker, Staatskapelle Dresden, Gustav Mahler Youth Orchestra, Royal
Photo credit: Brescia Amisano
Philharmonic Orchestra London, Filarmonica della Scala Orchestra, Staatskapelle Berlin, Netherlands Philharmonic and the Gulbenkian Orchestra in Lisbon, which Voitti led as principal conductor for three years until the end of August 2021 and where he was able to attract new audiences also through special projects. The young conductor’s debuts in the USA with the Cleveland Orchestra and in Canada with the Orchestre Symphonique de Montréal have been highly acclaimed by audiences and critics alike. In January 2020 he stepped in for Emmanuel Krivine to lead the Orchestre National de France on concerts in Vienna and Bratislava. At the end of February 2020 Lorenzo Viotti also conducted the Berlin Philharmonic Orchestra for the first time with concerts taking place in Berlin and Baden-Baden. The debut with the Bavarian Radio Symphony Orchestra planned for May this year had to be postponed due to the COVIC19 epidemic. In addition to his worldwide concert engagements his future projects include Thaïs (Teatro alla Scala) and Tosca (DNO). Lorenzo Viotti was born in Lausanne into a Franco-Italian family of musicians. He studied PROGRAM NOTES 2021-2022 SEASON
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piano, singing and percussion in Lyon and attended orchestral conducting courses with Professor Georg Mark in Vienna, where he simultaneously performed as a percussionist in various major orchestras, including the Vienna Philharmonic. He continued his conductor’s
training with Nicolás Pasquet at the Franz Liszt Conservatory in Weimar. These performances mark Lorenzo Viotti's debut with the Pittsburgh Symphony.
BENJAMIN GROSVENOR British pianist Benjamin Grosvenor is internationally recognised for his electrifying performances, distinctive sound and insightful interpretations. His virtuosic command over the most arduous technical complexities underpins the remarkable depth and understanding of his music -making. Described as “one in a million...several million” by The Independent. A pianist of widespread international acclaim, in the 21/22 Season he is Artist in Residence at the prestigious Wigmore Hall in London with three varying projects. The previous season he was Artist-in-Residence at both Radio France and with the Bournemouth Symphony Orchestra. His “astounding technical gifts, the freshness of his imagination, his intense concentration, the absence of any kind of show, and the unmistakable sense of poetic immersion Photo credit: Andrej Grilc directed solely at the realisation of music” have extensive US recital tour including venues such been lauded by Süddeutsche Zeitung. as Philadelphia CMS and People’s Symphony Recent and forthcoming concerto highlights of NYC. He has also performed at the Chopin the 21/22 season include engagements with the and his Europe Festival in Warsaw, Montpellier Chicago, Baltimore and Pittsburg Symphony Festival, Barbican Centre, Southbank Centre, Orchestras, Philharmonia Orchestra, Scottish Washington’s Kennedy Center, New York’s Chamber, Hamburg Staatsorchester and City of Carnegie Hall and 92nd Street Y. A keen Birmingham Symphony Orchestra. Benjamin chamber musician, regular collaborators include works with such esteemed conductors as Hyeyoon Park, Tabea Zimmermann, Timothy Semyon Bychkov, Riccardo Chailly, Sir Mark Ridout, Benedict Kloeckner, Kian Soltani and Elder, Kent Nagano, Alan Gilbert, Manfred the Doric String Quartet. Benjamin is CoHoneck, Vladimir Jurowski, François-Xavier Artistic Director of the Bromley and Beckenham International Music Festival, a unique and Roth and Esa-PekkaSalonen. vibrant event for the local community which In recital this coming season Benjamin was born out of the desire to reconnect with the looks forward to returning to the Théâtre des public during the Covid-19 pandemic. Champs Elysées Paris, Munich’s Herkulessaal, Konzerthaus Berlin and Palau de la Música In 2011 Benjamin signed to Decca Classics, Catalana, Barcelona. He also undertakes an becoming the youngest British musician ever, 14
and the first British pianist in almost 60 years, to sign to the label. Released in 2020, his second concerto album featuring Chopin’s piano concertos, recorded with the Royal Scottish National Orchestra under the baton of Elim Chan, received both the Gramophone Concerto Award and a Diapason d’Or de L’Année, with Diapason’s critic declaring that the recording is “a version to rank among the best, and confirmation of an extraordinary artist.” The renewal of the Decca recording partnership in early 2021 coincided with the release of Benjamin’s latest album Liszt, centred around the composer’s Sonata in B minor, which was recently shortlisted for a Gramophone Award. During his sensational career to date, Benjamin has received Gramophone’s Young Artist of the Year and Instrumental Awards, a Classic Brits Critics’ Award, UK Critics’ Circle Award for Exceptional Young Talent and a Diapason d’Or Jeune Talent Award. He has been featured in two BBC television documentaries, BBC Breakfast and The Andrew Marr Show, as well as in CNN’s Human to Hero series. In 2016, he
became the inaugural recipient of The Ronnie and Lawrence Ackman Classical Piano Prize with the New York Philharmonic. Benjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition, and he was invited to perform with the BBC Symphony Orchestra at the First Night of the 2011 BBC Proms. The youngest of five brothers, Benjamin began playing the piano aged 6. He studied at the Royal Academy of Music with Christopher Elton and Daniel-Ben Pienaar, where he graduated in 2012 with the ‘Queen’s Commendation for Excellence’ and in 2016 was awarded a Fellowship from the institution. Benjamin is an Ambassador of Music Masters, a charity dedicated to making music education accessible to all children regardless of their background, championing diversity and inclusion. Benjamin Grosvenor last performed with the Pittsburgh Symphony in March 2018.
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BIOGRAPHY 2021-2022 SEASON
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Carnegie Museum of Art is delighted to bring you this artwork from our collection that connects to the sounds of the Pittsburgh Symphony that you will hear today, through a partnership born from our shared 125th anniversaries in 2020. I'm a painter who paints day in day out, from morning till evening—figure pictures and landscapes, more rarely portraits. — Gustav Klimt, from his autobiography On Fear and Self Portraits, 1900 Vienna was at a cultural zenith in 1900 when artist Gustav Klimt penned this quote. Visual artists defined the modern era in Austria with the formation of the Vienna Secession. Musicians, including Richard Strauss, embraced the new artistic radicalism and crossed creative paths with their contemporaries. Strauss saw his opera Solome in the visual form of Klimt’s Judith II, while Klimt, whose mother was an amateur lyricist, often turned to music for inspiration. Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO
GUSTAV KLIMT (AUSTRIAN, 1862–1918) THE ORCHARD, 1907 CARNEGIE MUSEUM OF ART PATRONS ART FUND, 60.1, IMAGE COURTESY OF CARNEGIE MUSEUM OF ART 16
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A NEW RECORDING FROM MANFRED HONECK AND THE PITTSBURGH SYMPHONY ORCHESTRA IN SUPERB AUDIOPHILE SOUND Exceptional Performances and a
WORLD PREMIERE! PIT TSBU
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BR AHMS MacMILL A N SYMPH ONY N O. 4
LARGH ETTO F OR OR CHEST RA
Available now! Get yours in the Heinz Hall lobby or visit www.pittsburghsymphony.org/shop
PITTSBURGH SYMPHONY ORCHESTRA RECORDINGS ARE MADE POSSIBLE BY A GENEROUS GRANT FROM BNY MELLON. PITTSBURGHSYMPHONY.ORG 2021-2022 SEASON 17
BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, JANUARY 21, 2022 AT 8:00 P.M. SATURDAY, JANUARY 22, 2022 AT 8:00 P.M. SUNDAY, JANUARY 23, 2022 AT 2:30 P.M.
Rudolf Buchbinder, piano and leader FRIDAY, JANUARY 21, 2022
Ludwig van Beethoven
Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 19 I. Allegro con brio II. Adagio III. Rondo: Molto allegro
Ludwig van Beethoven
Concerto No. 4 in G major for Piano and Orchestra, Opus 58 I. Allegro moderato II. Andante con moto III. Rondo: Vivace
Intermission
Ludwig van Beethoven
Concerto No. 3 in C minor for Piano and Orchestra, Opus 37 I. Allegro con brio II. Largo III. Rondo: Allegro
SATURDAY, JANUARY 22, 2022
Ludwig van Beethoven
Concerto No. 3 in C minor for Piano and Orchestra, Opus 37 I. Allegro con brio II. Largo III. Rondo: Allegro
Intermission
Ludwig van Beethoven
Concerto No. 5 in E-flat major for Piano and Orchestra, Opus 73, “Emperor” I. Allegro II. Adagio un poco mosso III. Rondo: Allegro
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SUNDAY, JANUARY 23, 2022
Ludwig van Beethoven
Concerto No. 1 in C major for Piano and Orchestra, Opus 15 I. Allegro con brio II. Largo III. Rondo: Allegro scherzando
Intermission
Ludwig van Beethoven
Concerto No. 5 in E-flat major for Piano and Orchestra, Opus 73, “Emperor” I. Allegro II. Adagio un poco mosso III. Rondo: Allegro
David McCarroll, Guest Concertmaster
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PROGRAM 2021-2022 SEASON
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LUDWIG VAN BEETHOVEN
Concerto No. 1 in C major for Piano and Orchestra, Opus 15 (1795, revised 1800) ABOUT THE COMPOSER
LAST PSO PERFORMANCE
December 16, 1770 in Bonn; died March 26, 1827 in Vienna
April 18, 2018; Heinz Hall; Bernard Labadie, conductor; Jan Lisiecki, soloist
PREMIERE OF WORK
INSTRUMENTATION
December 18, 1795; Burgtheater, Vienna; Joseph Haydn, director; Ludwig van Beethoven, soloist PSO PREMIERE
November 12, 1909; Carnegie Music Hall; Emil Paur, conductor; Myrtle Elvyn, soloist
flute, pairs of oboes, clarinets, bassoons. horns and trumpets, timpani and strings DURATION
37 minutes
“His genius, his magnetic personality were acknowledged by all, and there was, besides, a gaiety and animation about the young Beethoven that people found immensely attractive. The troubles of boyhood were behind him: his father had died very shortly after his departure from Bonn, and by 1795 his brothers were established in Vienna, Caspar Karl as a musician, Johann as an apothecary. During his first few months in the capital, he had indeed been desperately poor, depending very largely on the small salary allowed him by the Elector of Bonn. But that was all over now. He had no responsibilities, and his music was bringing in enough to keep him in something like affluence. He had a servant, for a short time he even had a horse; he bought smart clothes, he learned to dance (though not with much success), and there is even mention of his wearing a wig! We must not allow our picture of the later Beethoven to throw its dark colors over these years of his early triumphs. He was a young giant exulting in his strength and his success, and a youthful confidence gave him a buoyancy that was both attractive and infectious. Even in 1791, before he left Bonn, Carl Junker could describe him as ‘this amiable, lighthearted man.’ And in Vienna he had much to raise his spirits and nothing (at first) to depress them.” Peter Latham painted this cheerful picture of the young Beethoven as Vienna knew him during his twenties, the years before his deafness, his recurring illnesses, and his titanic struggles with his mature compositions had produced the familiar, dour figure of his later years. Beethoven came to Vienna for good in 1792, having made an unsuccessful foray in 1787, and quickly attracted attention for his piano playing, at which he bested such local keyboard luminaries as Daniel Steibelt and Joseph Wölffl to become the rage of the music-mad Austrian capital. His appeal was in an almost untamed, passionate, novel quality in both his manner of performance and his personality, characteristics that first intrigued and then captivated those who heard him. Václav Tomášek, an important Czech composer who heard Beethoven play the C major Concerto in Prague in 1798, wrote, “His grand style of playing had an extraordinary effect on me. I felt so shaken that for several days I could not bring myself to touch the piano.” Beethoven, largely self-taught as a pianist, did not follow in the model of sparkling technical perfection for which Mozart, who died only a few months before Beethoven’s arrival, was well remembered in Vienna. He was vastly more impetuous and less precise at the keyboard, as Harold Schonberg described him in his fascinating study of The Great Pianists: “[His playing] was 20
overwhelming not so much because Beethoven was a great virtuoso (which he probably wasn’t), but because he had an ocean-like surge and depth that made all other playing sound like the trickle of a rivulet.... No piano was safe with Beethoven. There is plenty of evidence that Beethoven was a most lively figure at the keyboard, just as he was on the podium.... Czerny, who hailed Beethoven’s ‘titanic execution,’ apologizes for his messiness [i.e., snapping strings and breaking hammers] by saying that he demanded too much from the pianos then being made. Which is very true; and which is also a polite way of saying that Beethoven banged the hell out of the piano.” Beethoven composed the first four of his five mature piano concertos for his own concerts. (Two juvenile essays in the genre are discounted in the numbering.) Both the Concerto No. 1 in C major and the Concerto No. 2 in B-flat major were composed in 1795, the Second probably premiered at the Burgtheater on March 29th and the First at a concert under Joseph Haydn’s direction on December 18th; both works were revised before their publication in 1801. Beethoven’s C major Concerto sprang from the rich Viennese musical tradition of Haydn and Mozart, with which he was intimately acquainted: he had taken some composition lessons with Haydn soon after his arrival, and he had profound affection for and knowledge of Mozart’s work. At a performance of Mozart’s C minor Piano Concerto (K. 491), he whispered to his companion, John Cramer, “Cramer, Cramer! We shall never be able to do anything like that!” The opening movement of the First Piano Concerto is indebted to Mozart for its handling of the concerto-sonata form, for its technique of orchestration, and for the manner in which piano and orchestra are integrated. Beethoven added to these quintessential qualities of the Classical concerto a wider-ranging harmony, a more openly virtuosic role for the soloist and a certain emotional weight characteristic of his large works. The second movement is a richly colored song with an important part for the solo clarinet. The rondo-finale is written in an infectious manner reminiscent of Haydn, brimming with high spirits and good humor.
Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 19 (1794-1795, revised in 1798) ABOUT THE COMPOSER
LAST PSO PERFORMANCE
December 16, 1770 in Bonn; died March 26, 1827 in Vienna
March 4, 2018; Heinz Hall; Manfred Honeck, conductor; Benjamin Grosvenor, soloist
PREMIERE OF WORK
INSTRUMENTATION
March 29, 1795; Burgtheater, Vienna; Ludwig van Beethoven, conductor & soloist
flute, pairs of oboes, bassoons and horns, and strings
PSO PREMIERE
DURATION
April 17, 1959; Syria Mosque; William Steinberg, conductor; Anton Kuerti, soloist
28 minutes
In November 1792, the 22-year-old Ludwig van Beethoven, full of talent and promise, arrived in Vienna. So undeniable was the genius he had already demonstrated in a sizeable amount of piano music, numerous chamber works, cantatas on the death of Emperor Joseph II and the accession of Leopold II, and the score for a ballet that the Elector of Bonn, his hometown, underwrote the trip to the Habsburg Imperial city, then the musical capital of Europe, to help further the young musician’s career (and the Elector’s prestige). Despite the Elector’s patronage, however, Beethoven’s professional ambitions consumed any thoughts of returning to the provincial city of his birth, and, when his alcoholic father died in December, he severed for good his ties with Bonn in favor of the stimulating artistic atmosphere of Vienna. PROGRAM NOTES 2021-2022 SEASON
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The occasion of Beethoven’s first Viennese public appearance was a pair of concerts — “A Grand Musical Academy, with more than 150 participants,” trumpeted the program in Italian and German — on March 29, 1795 at the Burgtheater whose proceeds were to benefit the Widows’ Fund of the Artists’ Society. It is likely that Antonio Salieri, Beethoven’s teacher at the time, had a hand in arranging the affair, since the music of one Antonio Cordellieri, another of his pupils, shared the bill. Beethoven chose for the occasion a piano concerto in B-flat major he had been working on for several months, but which was still incomplete only days before the concert. In his reminiscences of the composer, Franz Wegeler recalled, “Not until the afternoon of the second day before the concert did he write the rondo, and then while suffering from a pretty severe colic which frequently afflicted him. I relieved him with simple remedies so far as I could. In the anteroom sat copyists to whom he handed sheet after sheet as soon as they were finished being written.” The work was completed just in time for the performance. It proved to be a fine success (“he gained the unanimous applause of the audience,” reported the Wiener Zeitung), and did much to further Beethoven’s dual reputation as performer and composer. For a concert in Prague three years later, the Concerto was extensively revised, and it is this version that is known today. The original one has vanished. Beethoven’s Second Piano Concerto is a product of the Classical age, not just in date but also in technique, expression and attitude. Still to come were the heaven-storming sublimities of his later works, but he could no more know what form those still-to-be-written works would take than tell the future in any other way. A traditional device — one greatly favored by Mozart — is used to open the Concerto: a forceful fanfare motive immediately balanced by a suave lyrical phrase. These two melodic fragments are spun out at length to produce the orchestral introduction. The piano joins in for a brief transition to the re-presentation of the principal thematic motives, applying brilliant decorative filigree as the movement unfolds. The sweet second theme is sung by the orchestra alone, but the soloist quickly resumes playing to supply commentary on this new melody. An orchestral interlude leads to the development section, based largely on transformations
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 – a partnership born from our shared 125th anniversaries in 2020. Fantasy, abandoned by reason, produces impossible monsters; united with it, she is the mother of the arts and the origin of marvels. — Francisco de Goya from Los Caprichos, 1799 Despite not knowing each other, Spanish artist Francisco de Goya and German composer Ludwig van Beethoven were connected by the marvels they created
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of the principal theme’s lyrical motive. The recapitulation proceeds apace, and includes an extended cadenza. (Beethoven composed cadenzas for his first four concertos between 1804 and 1809.) A brief orchestral thought ends the movement. The touching second movement is less an exercise in rigorous, abstract form than a lengthy song of rich texture and operatic sentiment. The wonderfully inventive piano figurations surrounding the melody are ample reminder that Beethoven was one of the finest keyboard improvisers of his day, a master of embellishment and piano style. The finale is a rondo based on a bounding theme announced immediately by the soloist. Even at that early stage in Beethoven’s career, it is amazing how he was able to extend and manipulate this simple, folk-like tune with seemingly limitless creativity. Though his music was soon to explore unprecedented areas of expression and technique, this Concerto stands at the end of an era, paying its debt to the composer’s great forebears and announcing in conventional terms the arrival of a musician who was soon to change forever the art of music.
and the challenges they endured in their lives, including loss of hearing. Napoleon’s campaigns impacted Beethoven as he ushered in the Romantic era in music while Goya responded with expressionistic views of war. Each of their experiences with deafness led to increased isolation yet immense periods of creativity, including some of these Opus selections by Beethoven. Goya’s remains are entombed at the chapel of San Antonio de la Florida, Madrid, where the monumental fresco of "The Miracle of St. Anthony" graces the cupola. Come visit Carnegie Museum of Art this season to connect with artworks like this and many others. Learn more at cmoa.org/PSO ATTRIBUTED TO FRANCISCO DE GOYA (SPANISH, 1746–1828) THE MIRACLE OF ST. ANTHONY, 1798 CARNEGIE MUSEUM OF ART PURCHASED WITH FUNDS CONTRIBUTED THROUGH THE GENEROSITY OF MRS. ALAN M. SCAIFE AND FAMILY, 65.15 IMAGE COURTESY OF CARNEGIE MUSEUM OF ART
PROGRAM NOTES 2021-2022 SEASON
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Concerto No. 3 in C minor for Piano and Orchestra, Opus 37 (1797-1803)
ABOUT THE COMPOSER
LAST PSO PERFORMANCE
PREMIERE OF WORK
INSTRUMENTATION
December 16, 1770 in Bonn; died March 26, 1827 in Vienna December 18, 1795; Burgtheater, Vienna; Joseph Haydn, director; Ludwig van Beethoven, soloist PSO PREMIERE
November 12, 1909; Carnegie Music Hall; Emil Paur, conductor; Myrtle Elvyn, soloist
April 18, 2018; Heinz Hall; Bernard Labadie, conductor; Jan Lisiecki, soloist flute, pairs of oboes, clarinets, bassoons. horns and trumpets, timpani and strings DURATION
37 minutes
By 1803, Emanuel Schickaneder, the colorful character who figured so prominently in the closing pages of Mozart’s life as the librettist and producer of “The Magic Flute,” had taken over the management of Vienna’s Theater-an-der-Wien. His house was locked in a fierce competitive battle with the court-subsidized Kärtnertortheater, run by Baron Peter von Braun. When von Braun hired the distinguished Luigi Cherubini as resident composer, Schickaneder felt obliged to counter with his own music master, and he approached Beethoven with an offer. Beethoven, who had felt the need to write for the stage for some time, accepted gladly — especially since the job carried free lodgings in the theater as part of the compensation. He and Schickaneder dutifully plowed through a small library of possibilities for an operatic subject, but none inspired Beethoven until he took up work on “Fidelio” late in 1803. In the meantime, Beethoven took advantage of his theatrical connection to put some of his instrumental works on display. Since opera was forbidden in Catholic countries during Lent at that time, the Theater-an-der-Wien was available for concerts in the early spring, and Beethoven scheduled such an event during April 1803. It had been fully three years since he last presented a concert entirely of his own music, and he had several scores that were awaiting their first presentations, including the Second Symphony, the oratorio Christ on the Mount of Olives and this Third Piano Concerto. He programmed all of these, and, for good measure, tossed in the First Symphony, which had been premiered at his concert three years earlier. Beethoven proceeded enthusiastically with plans for the concert, working right up to the last minute putting finishing touches on the new compositions. (His pupil Ferdinand Ries found him in bed writing trombone parts for the oratorio only three hours before the rehearsal began.) He had only a single rehearsal on the concert day for this wealth of unfamiliar music, and, with his less-than-adept players, it is little wonder that it went poorly. The public and critical response to the concert was lukewarm, undoubtedly due in large part to the inadequate performance. Beethoven, however, was delighted to have played his music for the Viennese public, and he was well on his way to becoming recognized more for his ability as a composer than as a pianist. The Third Concerto’s first movement opens with the longest orchestral introduction in Beethoven’s concertos, virtually a full symphonic exposition in itself. The strings in unison present immediately the main theme, “a group of pregnant figures,” assessed the eminent British musicologist Sir Donald Tovey, “which nobody but Beethoven could have invented.” The lyrical second theme is sung by violins and clarinet in a contrasting major mode. The closely reasoned development section grows inexorably from thematic fragments heard in the exposition. The recapitulation begins with a forceful restatement of the main theme by the full orchestra. The second theme and other melodic 24
materials follow, always given a heightened emotional weight over their initial appearances, and lead to a cadenza written by Beethoven that takes on the character of a development section for the soloist. The orchestra re-enters, at first accompanied by quiet, ethereal chords in the piano but soon rising to a stern climax which draws the movement to a close. The second movement is a nocturne of tender sentiments and quiet moods. Though analysis reveals its form to be a three-part structure (A–B–A), it is in spirit simply an extended song — a marvelous juxtaposition of hymnal tranquility and sensuous operatic love scene. The traditional, Classical rondo was a form of simple, high spirits meant to send the audience away in a bubbling mood. Mozart, in his incomparable late concertos, had begun to explore the emotional depth possible with the rondo, and in this Third Concerto Beethoven continued that search. (Mozart’s Concerto No. 24 in C minor, K. 491 was an important model for Beethoven’s work.) Beethoven incorporated elements of sonata design into the finale to lend it additional weight, even inserting a fugal passage in the second episode. Only in the closing pages is the dark world of C minor abandoned for a vivacious romp through C major to close this wonderful work.
Concerto No. 4 in G major for Piano and Orchestra, Opus 58 (1804-1806)
ABOUT THE COMPOSER
LAST PSO PERFORMANCE
PREMIERE OF WORK
INSTRUMENTATION
December 16, 1770 in Bonn; died March 26, 1827 in Vienna March 5, 1807; Palace of Prince Franz Joseph von Lobkowitz, Vienna; Ludwig van Beethoven, conductor & soloist PSO PREMIERE
January 18, 1901; Carnegie Music Hall; Victor Herbert, conductor; Ernst von Dohányi, soloist
June 10, 2018; Heinz Hall; Manfred Honeck, conductor; Juho Pohjonen, soloist flute, pairs of oboes, clarinets, bassoons, horns and trumpets, timpani and strings DURATION
35 minutes
The Napoleonic juggernaut twice overran the city of Vienna. The first occupation began on November 13, 1805, less than a month after the Austrian armies had been soundly trounced by the French legions at the Battle of Ulm on October 20th. Though the entry into Vienna was peaceful, the Viennese had to pay dearly for the earlier defeat in punishing taxes, restricted freedoms, and inadequate food supplies. On December 28th, following Napoleon’s fearsome victory at Austerlitz that forced the Austrian government into capitulation, the “Little General” left Vienna. He returned in May 1809, this time with cannon and cavalry sufficient to subdue the city by force, creating conditions that were worse than those during the previous occupation. As part of his booty and in an attempt to ally the royal houses of France and Austria, Napoleon married Marie Louise, the eighteen-year-old daughter of Austrian Emperor Franz. She became the successor to his first wife, Josephine, whom he divorced because she was unable to bear a child. It was to be five years — 1814 — before the Corsican was finally defeated and Emperor Franz returned to Vienna, riding triumphantly through the streets of the city on a huge, white Lipizzaner. Such soul-troubling times would seem to be antithetical to the production of great art, yet for Beethoven, that ferocious libertarian, those years were the most productive of his life. Hardly had he begun one work before another appeared on his desk, and his friends recalled that he labored on several scores simultaneously during this period. Sketches for many of the works appear PROGRAM NOTES 2021-2022 SEASON
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intertwined in his notebooks, and an exact chronology for many of the works from 1805 to 1810 is impossible. So close were the dates of completion of the Fifth and Sixth Symphonies, for example, that their numbers were reversed when they were given their premieres on the same giant concert as the Fourth Concerto. Between “Fidelio,” which was in its last week of rehearsal when Napoleon entered Vienna in 1805, and the music for Egmont, finished shortly after the second invasion, Beethoven composed the following major works: “Appassionata” Sonata, Op. 57; Violin Concerto; Fourth and Fifth Piano Concertos; three Quartets of Op. 59; Leonore Overture No. 3; Coriolan Overture; Fourth, Fifth and Sixth Symphonies; two Piano Trios (Op. 70); “Les Adieux” Sonata, Op. 81a; and many smaller songs, chamber works and piano compositions. It is a stunning record of accomplishment virtually unmatched in the history of music. Of the nature of the Fourth Concerto, Milton Cross wrote, “[Here] the piano concerto once and for all shakes itself loose from the 18th century. Virtuosity no longer concerns Beethoven at all; his artistic aim here, as in his symphonies and quartets, is the expression of deeply poetic and introspective thoughts.” The mood is established immediately at the outset of the work by a hushed, prefatory phrase for the soloist. The form of the movement, vast yet intimate, begins to unfold with the ensuing orchestral introduction, which presents the rich thematic material: the pregnant main theme, with its small intervals and repeated notes; the secondary themes — a melancholy strain with an arch shape and a grand melody with wide leaps; and a closing theme of descending scales. The soloist re-enters to enrich the themes with elaborate figurations. The central development section is haunted by the rhythmic figuration of the main theme (three short notes and an accented note). The recapitulation returns the themes, and allows an opportunity for a cadenza (Beethoven composed two for this movement) before a glistening coda closes the movement. The second movement starkly opposes two musical forces — the stern, unison summons of the strings and the gentle, touching replies of the piano. Franz Liszt compared this music to Orpheus taming the Furies, and the simile is warranted, since both Liszt and Beethoven traced their visions to the magnificent scene in Gluck’s Orfeo where Orpheus’ music charms the very fiends of Hell. In the Concerto, the strings are eventually subdued by the entreaties of the piano, which then gives forth a wistful little song filled with quivering trills. After only the briefest pause, a high-spirited rondo-finale is launched by the strings to bring the Concerto to a stirring close.
Concerto No. 5 in E-flat major for Piano and Orchestra, Opus 73, “Emperor” (1809)
ABOUT THE COMPOSER
LAST PSO PERFORMANCE
PREMIERE OF WORK
INSTRUMENTATION
December 16, 1770 in Bonn; died March 26, 1827 in Vienna December 18, 1795; Burgtheater, Vienna; Joseph Haydn, director; Ludwig van Beethoven, soloist PSO PREMIERE
November 12, 1909; Carnegie Music Hall; Emil Paur, conductor; Myrtle Elvyn, soloist
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April 18, 2018; Heinz Hall; Bernard Labadie, conductor; Jan Lisiecki, soloist flute, pairs of oboes, clarinets, bassoons. horns and trumpets, timpani and strings DURATION
37 minutes
The year 1809 was a difficult one for Vienna and for Beethoven. In May, Napoleon invaded the city with enough firepower to send the residents scurrying and Beethoven into the basement of his brother’s house. The bombardment was close enough that he covered his sensitive ears with pillows to protect them from the concussion of the blasts. On July 29th, he wrote to the publisher Breitkopf und Härtel, “We have passed through a great deal of misery. I tell you that since May 4th, I have brought into the world little that is connected; only here and there a fragment. The whole course of events has affected me body and soul…. What a disturbing, wild life around me; nothing but drums, cannons, men, misery of all sorts.” He bellowed his frustration at a French officer he chanced to meet: “If I were a general and knew as much about strategy as I do about counterpoint, I’d give you fellows something to think about.” Austria’s finances were in shambles, and the annual stipend Beethoven had been promised by several noblemen who supported his work was considerably reduced in value, placing him in a precarious pecuniary predicament. As a sturdy tree can root in flinty soil, however, a great musical work grew from these unpromising circumstances — by the end of 1809, Beethoven had completed his “Emperor” Concerto. When conditions finally allowed the Concerto to be performed in Leipzig some two years later, it was hailed by the press as “without doubt one of the most original, imaginative, most effective but also one of the most difficult of all concertos.” (The soloist was Friedrich Schneider, a prominent organist and pianist in Leipzig who was enlisted by the local publisher Breitkopf und Härtel to bring this Concerto by the firm’s most prominent composer to performance.) The Viennese premiere on February 12, 1812, with Beethoven’s pupil Carl Czerny at the keyboard, fared considerably less well. It was given as part of a benefit party sponsored by the augustly titled “Society of Noble Ladies for Charity for Fostering the Good and Useful.” Beethoven’s Concerto was only one unit in a passing parade of sopranos, tenors and pianists who dispensed a stream of the most fashionable musical bon-bons for the delectation of the Noble Ladies. Beethoven’s majestic work was out of place among these trifles, and a reviewer for one periodical sniffed, “Beethoven, full of proud self-confidence, refused to write for the crowd. He can be understood and appreciated only by the connoisseurs, and one cannot reckon on their being in the majority at such affairs.” It was not the musical bill that really robbed the attention of the audience from the Concerto, however. It was the re-creation, through living tableaux — in costume and in detail — of paintings by Raphael, Poussin and Troyes. The Ladies loved that. It was encored. Beethoven left. The sobriquet “Emperor” attached itself to the E-flat Concerto very early, though it was not of Beethoven’s doing. If anything, he would have objected to the name. “Emperor” equaled “Napoleon” for Beethoven, as for most Europeans of the time, and anyone familiar with the story of the “Eroica” Symphony will remember how that particular ruler had tumbled from the great composer’s esteem. “This man will trample the rights of men underfoot and become a greater tyrant than any other,” he rumbled to his young friend and pupil Ferdinand Ries. The Concerto’s name may have been tacked on by an early publisher or pianist because of the grand character of the work; or it may have originated with the purported exclamation during the premiere by a French officer at one particularly noble passage, “C’est l’Empereur!” The most likely explanation, however, is given by Anton Schindler, long-time friend and early biographer of Beethoven. The Viennese premiere, it seems, took place at a celebration of the Emperor’s birthday. Since the party sponsored by the Noble Ladies was part of the festivities ordered by the French conquerors, what could be more natural than to call this new Concerto introduced at that gathering the “Emperor”? The “Emperor” is the largest in scale of all Beethoven’s concertos. It is also the last one, though he did considerable work on a sixth piano concerto in 1815 but never completed it. The Fifth Concerto is written in a virtuosic style that looks forward to the grand pianism of Liszt in its full chordal textures and wide dynamic range. Such prescience of piano technique is remarkable given that the modern, steel-frame concert grand was not perfected until 1825, and in this work, written sixteen years earlier, Beethoven envisioned possibilities offered only by this later, improved instrument. PROGRAM NOTES 2021-2022 SEASON
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The Concerto opens with broad chords for orchestra answered by piano before the main theme is announced by the violins. The following orchestral tutti embraces a rich variety of secondary themes leading to a repeat of all the material by the piano accompanied by the orchestra. A development ensues with “the fury of a hail-storm,” wrote the eminent English music scholar Sir Donald Tovey. Following a recapitulation of the themes and the sounding of a proper chord on which to launch a cadenza, Beethoven wrote into the piano part, “Do not play a cadenza, but begin immediately what follows.” At this point, he supplied a tiny, written-out solo passage that begins the coda. This being the first of his concertos that Beethoven himself would not play, he wanted to have more control over the finished product, and so he prescribed exactly what the soloist was to do. With this novel device, he initiated the practice of completely writing out all solo passages that was to become the standard method used by most later composers in their concertos. The second movement begins with a chorale for strings. Sir George Grove dubbed this movement a sequence of “quasi-variations,” with the piano providing a coruscating filigree above the orchestral accompaniment. This Adagio leads directly into the finale, a vast rondo with sonata elements. The bounding ascent of the main theme is heard first from the soloist and then from the orchestra. Developmental episodes separate the returns of the theme. The closing pages include the sound of drum-taps accompanying the shimmering piano chords and scales, and a final brief romp to the finish. PROGRAM NOTES BY DR. RICHARD E. RODDA
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RUDOLF BUCHBINDER Rudolf Buchbinder is one of the legendary performers of our time. The authority of a career spanning more than 60 years is uniquely combined with esprit and spontaneity in his piano playing. Tradition and innovation, faithfulness and freedom, authenticity and openmindedness merge in his reading of the great piano literature. Buchbinder is an honorary member of the Vienna Philharmonic Orchestra, the Gesellschaft der Musikfreunde in Wien, the Wiener Konzerthausgesellschaft, the Vienna Symphony Orchestra, the Israel Philharmonic Orchestra and the first soloist to be awarded the Golden Badge of Honor by the Staatskapelle Dresden. His interpretations of the works of Ludwig van Beethoven in particular are regarded as setting standards. With the edition BUCHBINDER:BEETHOVEN, Deutsche Grammophon presents a complete recording of the 32 piano sonatas and the five piano concertos in the run-up to Buchbinder’s 75th birthday in December 2021, thus creating a sounding monument to two outstanding BuchbinderBeethoven cycles of recent times. Buchbinder was the first pianist to play all of Ludwig van Beethoven’s piano sonatas within one festival summer at the 2014 Salzburg Festival. The Salzburg cycle was recorded live for DVD (Unitel) and is now also available on nine CDs. His recordings of Beethoven’s Complete Piano Concertos document a truly remarkable project. Staged as a series of concerts at the Vienna Musikverein, it was the first cycle of its kind in the legendary hall’s 150-year history. Buchbinder was joined for the five concertos by five of the world’s finest conductors and orchestras, namely the Leipzig Gewandhaus Orchestra under Gewandhauskapellmeister Andris Nelsons, the Vienna Philharmonic under Riccardo Muti and the Bavarian Radio Symphony Orchestra, the Munich Philharmonic and the Sächsische Staatskapelle Dresden under their chief conductors Mariss Jansons, Valery Gergiev and Christian Thielemann.
As a contribution to Beethoven’s 250th anniversary in 2020, Rudolf Buchbinder initiated a cycle of new Diabelli Variations following the genesis of Beethoven’s epochal Diabelli Variations op. 120. In cooperation with eleven concert houses and festivals worldwide, and with the support of the Ernst von Siemens Music Foundation, the new work was commissioned from eleven leading composers of our time. The project reflects Beethoven’s work into the 21st century and impressively underlines the universality of his language across all borders. Under the title “The Diabelli Project”, Deutsche Grammophon released the world premiere recording of the New Diabelli Variations alongside a new reading of Beethoven’s Diabelli Variations, which Buchbinder last recorded before in 1976. The double album marked the beginning of his exclusive partnership with Deutsche Grammophon. For more information please visit www.buchbinder.net. Rudolf Buchbinder last performed with the Pittsburgh Symphony in April 2017.
BIOGRAPHY 2021-2022 SEASON
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THE PITTSBURGH SYMPHONY ORCHESTRA Now in its 126th season, the Pittsburgh Symphony Orchestra is credited with a rich history of engaging the world’s finest conductors and musicians and demonstrates a genuine commitment to the Pittsburgh region and its citizens. Known for its artistic excellence for more than a century, the Pittsburgh Symphony has been led by its worldwide acclaimed Music Director Manfred Honeck since 2008; past music directors have included Fritz Reiner (1938-1948), William Steinberg (1952-1976), André Previn (1976-1984), Lorin Maazel (1984-1996) and Mariss Jansons (1997-2004).
broadcasts. Manfred Honeck and the Pittsburgh Symphony Orchestra have received multiple GRAMMY® nominations for Best Orchestral Performance, taking home the award in 2018 for their recording of Shostakovich: Symphony No. 5; Barber: Adagio. As early as 1936, the Pittsburgh Symphony has been broadcast on the radio. The orchestra has received increased attention since 1982 through national network radio broadcasts on Public Radio International, produced by Classical WQED-FM 89.3, made possible by the musicians of the Pittsburgh Symphony Orchestra.
The Pittsburgh Symphony is continually at the forefront of championing new American works. The Orchestra premiered Leonard Bernstein’s Symphony No. 1 “Jeremiah” in 1944, John Adams’ Short Ride in a Fast Machine in 1986, and Mason Bates’ Resurrexit in 2018 to celebrate Manfred Honeck’s 60th birthday.
Lauded as the Pittsburgh region’s international cultural ambassador, the orchestra began regular touring in 1896 and has embarked on scores of domestic and international tours. In 2019, Music Director Manfred Honeck led the orchestra on an extensive tour of Europe, the 25th in orchestra history.
The two-time 2018 GRAMMY® Award- In the 2021-2022 season, the Pittsburgh winning orchestra has a long and illustrious Symphony will celebrate the 50th anniversary history in the areas of recordings and live radio of Heinz Hall as the home of the orchestra.
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PROVIDING GREAT MUSIC IN EVERY LIFE We thank our entire donor family for supporting our vision of Great Music in Every Life. As we celebrate the 50th anniversary of Heinz Hall this season, we are thrilled to experience the power of music together again. A complete list of donors, as well as a list of associated benefits can be found on our website. As a thank you, donors in the Symphony Club level and above ($600+) are listed below. Those who have made a new gift or increased over their previous gift are listed in italics. Every effort has been made to ensure accuracy; however, if you are not listed correctly, please call 412.392.4880 or email us at pso_development@pittsburghsymphony.org. Listing as of January 3, 2022. MAESTRO’S CIRCLE
Mr. & Mrs. David McCormick Nancy & Bill Rackoff Vivian & Bill Benter Diana Reid & Marc Tony & Linda Bucci Chazaud Mr. & Mrs. J. Christopher Mr. & Mrs. Daniel M. Donahue Rooney* Perry* & BeeJee Morrison Alece & David Schreiber Bob & Joan Peirce Drs. Satbir & Shalu Singh Pittsburgh Symphony Jim Spencer & Michael Lin Association & Affiliates Tom & Jamee Todd Cheryl & Jim Redmond Mr. & Mrs. John T. Ryan III Mike & Melia Tourangeau Helge & Erika Wehmeier Dick & Ginny Simmons Harvey Weissman & Louise Jon & Carol Walton Eckman
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PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON
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Alice Jane Jenkins D. H. Lee, Jr. Mr. & Mrs. Thomas McConomy Jean S. McLaughlin George & Bonnie Meanor Mr. & Mrs. Sam Michaels Elliott S. Oshry Lori & Louis Plung Pinchas & Aviva Rosenberg Nancy Schepis Mr. & Mrs. Steven C. Thomas
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Bozzone Family Foundation Sue & Mark Breedlove Lawrence R. Breletic & Donald C. Wobb Suzy & Jim Broadhurst Mr. & Mrs. Howard Bruschi Nicholas Butera Mr.* & Mrs. Joseph L. Calihan Dr. Bernadette G. Callery* & Dr. Joseph M. Newcomer Susan Campbell & Patrick Curry Sue Challinor & Matt Teplitz Kenneth & Celia Christman Cynthia & Bill Cooley Basil & Jayne Adair Cox Rose & Vincent A. Crisanti S. A. Cunningham Cyrus & Kimberly Daboo Joan & Jim Darby George & Ada Davidson Alison H. & Patrick D. Deem Richard P. Dum & Donna S. Hoffman Dan & Carol Dupee Mr. Frank R. Dziama Lisa & Martin Earle George D. Ehringer Marie S. Emanuel Dr. Edward L. Foley Janet M. Frissora The Dorothy M. Froelich Charitable Trust Normandie Fulson Dr. & Mrs. J. William Futrell Dr. Kent Galey & Dr. Karen Roche Dr. Virgil D. Gligor & Alicia M. Avery Laurie Graham Ms. Julie Gulick Jonah Hertzman & family In memory of Joseph Hinchliffe Mr. & Mrs. C. Talbott Hiteshew, Jr. Karen & Thomas Hoffman Clare & Jim Hoke Philo Holcomb Walker P. Holloway Dorothy A. Howat
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$1,750 - $2,499
Anonymous (6) Kathryn Albers & Brian Davis Erin & Kevin Allen J.R. Ambrose & Eliza Swann Rev. Drs. A. Gary & Judy Angleberger
Ms. Elaine Armstrong Mr. Francis A. Balog & Dr. Paula Bonino Dr. and Mrs. Christopher Ban Richard C. Barney Robert & Loretta Barone Mr. and Ms. Jonathan Berdyck Joan & Keith Bernard Dr. Michael & Barbara Bianco Michael E. Bielski Mr. & Mrs. James H. Bregenser Mr. & Mrs. Paul R. Bridges Jill & Chuck Brodbeck Ms. Mary Patricia Brown Gary & Judy Bruce Mr. Milton W. Burkart* & Dr. Patricia K. Burkart Linda B. Burke Marco Cavagna Christine & Howard Cohen Mr. and Mrs. Eugene Colleran Dr. & Mrs. Richard H. Daffner Jamini Vincent Davies James Delligatti Amil & MaryAnn DiPadova Mr. & Mrs. James R. Drake Ms. Lori Dunham & Mr. Connie MacDonald Linda & Robert Ellison Dan & Nancy Fales Tibey Falk Judith & Donald Feigert Mr. & Mrs. Anthony Fonseca Michael & Nina Gaffney Mrs. Lauren Gailey Keith Garver Matthew & Deborah Garvic Revs. Gaylord & Catherine Gillis William & Victoria Guy Jennifer Haggerty & Joseph Kunze Dale & Susanne* Hershey Dr. Benjamin E. Hicks Douglas & Antionette Hill Micki F. Huff Hyman Family Foundation Mary Lee & Joe* Irwin
Edward W. Jew Jr. MD Gloria Kleiman Ms. Kathy J. Krause Dr. & Mrs. Howard N. Lang Ronald & Lida Larsen Cele & Mike Levine Anne Lewis Mr. & Mrs. Robert P. Malnati John & Cathy Mary Barbara & Mark Matera Mary A. McDonough Kenton* & Florence McElhattan Alice & Bob Moore Amy & Ira* M. Morgan Dr. Harvey M. Morris Dr. & Mrs. Etsuro K. Motoyama Dr. & Mrs. Donald D. Naragon David & June Nimick Linda & Jim Northrop Maureen S. O’Brien Suzanne & Richard Paul Dr. Gail Pesyna & Dr. John Hooper Mrs. Mildred M. Posvar Wesley Posvar Lois A. Pruitt James and Beverly Pugh Mr. & Mrs. W. John Rackley Drs. David & Catherine Ravella Daniel & Lauren Resnick Mr. & Mrs. Robert W. Riordan Mr. & Mrs. Philip R. Roberts Bette & Howard* Rom Mrs. John M. Sadler Dr. James R. Sahovey Mr. & Mrs. Dan D. Sandman Esther Schreiber George & Marcia Seeley Shiv Sethi Rev. Terry Shaffer & Rev. Beth Nelson Dr. Stanley Shostak & Dr. Marcia Landy Dr. Ralph T. Shuey & Ms. Rebecca L. Carlin Anna Singer & Donald Kortlandt
Dennis & Susan Slevin John Sonnenday & Kristine Haig Amy & Mark Stabingas Marguerite O. Standish Jayne & Tom Sterling Mr. and Mrs. Jordan L. Strassburger Mr. & Mrs. William H. Taylor, Jr. Mandy Ticknor Mr. & Mrs. William T. Tobin Mr. & Mrs. Walter W. Turner John & Irene Wall Dr. & Mrs. W. Bruce Watkins James & Ramona Wingate Mary Jo Winokur Sidney & Tucky Wolfson Yurij Wowczuk Ellie* & Joe* Wymard Haakan Younes & Genevieve Hower Mr. & Mrs. Charles Zellefrow Rachael Zierden CADENZA CLUB
$1,000 - $1,749
Anonymous (9) Alan L. & Barbara B. Ackerman Deborah L. Acklin Ward Allebach & Lisa Steagall David & Barbara Allen Mr. and Mrs. Thomas Antos Ms. Lois Appel Myron Arnowitt & Nancy Niemczyk Dr. and Mrs. Egil Aukrust Marion & Bob Auray Dr. & Mrs. Alan Axelson Mr. & Mrs. Chester R. Babst Mr. Richard L. Baird The Bardack Family Foundation Ann Bart John & Betsy Baun Nancy H. Bergey Georgia Berner Don & Sue Bialostosky Rob & Hongwei Bittner
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Franklin & Bonnie Blackstone Michael & Carol Bleier Donald & Mary Block Marianne Bokan-Blair & David Blair Phil & Bernice Bollman W. Dennis & Penny Bossick Stephanie Bozic Myles & Joan Bradley Mary & Jeff Bragdon Matthew & Leslie Braksick Gerda & Abe Bretton Mr. Michael Broniszewski Barbara A. Brooks Anna C. Brophy Alan Brown Lisa Brown Roger* & Lea Brown Dr. Lisa Brush Michael F. Butler Stephen & Helen Hanna Casey Dr. & Mrs. Charles D. Cashdollar Carlo & Poma Caso Ms. Mary Lou Christie Jo-Ann M. Churchill Ron & Dorothy Chutz Nancy & Stan Cieslak Phyllis Cioffi Judy Clough Kevin & Janis Colbert Alan & Lynne Colker Dr. & Mrs. Richard Collins Estelle Comay & Bruce Rabin Lin & Anne Cook Alan & Hazel Cope Susan & George Craig Mary Ann Craig, D.M.E. John Oliver & Sylvia Dallas Marion S. Damick Mr. Deicke The Steven Della Rocca Memorial Fund/ Courtenay A. Hardy George & Eileen* Dorman Michel & Christine Douglas Ms. Christine L. Dvonch Albert E. Eckert Rhoda S. Eligator Mary Jo & Jack W. Elliott Gus & Annie Hanna Engel 34
Eugene & Katrin* Engels In memory of Ruth & Emil Feldman by Joan Feldman & family Mr. & Mrs. Gregory S. Finerty Sarah Finney Barbara & Bob* Egan Mr. & Mrs. Edward Fortwangler Lawrence Frolik & Ellen Doyle Elaine & John Frombach Mr. Frank B. Fuhrer III Jennifer & Richard Gallo Mr. & Mrs. Charles Getze Mr. David Givens & Mr. Stephen Mellett Mike & Cordy* Glenn Richard A. Gloyer & Michelle M. Rossi Mr. & Mrs. Ted Goldberg Dr. Maya GoldinPerschbacher & Mark Manetti Dr. Alberto Guzman Judith C. Hall Christine Hartung Emily E. Heidish Dr. & Mrs. John B. Hill David G. & Carolyn S. Hills Mr. Jeff Hollinger Katherine Holter Dr. & Mrs. Elmer J. Holzinger Judy Horgan & Steve Pavsner Catherine C. Hornstein Charitable Fund of The Pittsburgh Foundation Sara H. Horsman Dr. Chris & Mrs. Barbara Howard Jennifer Howe Mr. & Mrs. Keith A. Impink Kathryn Jackson Stacey L. Jarrell Linda Kaib Daniel G. & Carole L. Kamin Brett & Sarah Keisel Maura & John Kelly Laura Kieras Mr. Milton B. Kimura Laura & Michael Kingsley Mr. & Mrs. Richard Kleiser
Karen F. Krenitsky Walter & Kathleen Labys Mr. William Lawrence, III Ms. Regan Lee and Mr. Jeremy M. Kubica Mr. & Mrs. Kenneth Lehn Harry & Lisa Levinson Mrs. William E. Lewellen, III Sandi & Jim Linaberger Ken & Hope Linge Mr. Daniel Lloyd Mr. and Mrs. Mark H. Loevner Mr. David A. Lynch & Ms. Dorothy A. Davis Ted N. & Mary Lou Magee Dr. & Mrs. George J. Magovern, Jr. Ms. Caroline S. Markfield Ms. Melissa R. Marshall William K. Martz Thomas & Elizabeth Massella Donna & Stephen Maxwell Dale & Dr. Marlene* McCall Mrs. Jon W. McCarter Dr. Sharon McCarthy & Dr. David Krackhardt Mr. & Mrs. William D. McCrady Dr. Patrick McCulloch Mrs. Samuel K. McCune Mrs. Ann McGuinn Mr. & Mrs. Richard J. McSorley Mr. & Mrs. William J. Mehaffey Suzanne Mellon PhD Mr. and Mrs. Mark Mendlow Karen Merry Robert D. Mierley Family Foundation II Joan Miles & Clifford Bob Stuart & Linda Miller Mr. Robert Milner Amy Minter Robert & Christine Misback Mrs. Huma Mohiuddin Robert & Katherine Mueller Eileen & Albert Muse Dr. Cora E. Musial Mildred S. Myers
Pradeep & Priya Narayan Dr. Nancy Z. Nelson Patricia K. Nichols Heather O’Brien John Oehrle Mr. & Mrs. James O’Neill Dr. & Mrs. Richard A. Orr John A. Osuch Nancy* & John Oyler Ron & Mary Pallini Dr. & Mrs. Arthur Palmer Irina & Daniel Peris Kears & Karen Pollock Dr. Margaret Ragni & Dr. Frederick Porkolab David & Marilyn Posner Barbara Powers Mrs. Michelle Rabb Bryan Rall James Rebel Patricia A. Richards & William K. Nichols Rick & Kim Roadarmel Mr. & Mrs. James E. Rohr Shereen & Paul Rosenberg Mr. & Mrs. Byron W. Rosener Harvey & Lynn Rubin Richard & Linda Ruffalo Mr. & Mrs. Edmund S. Ruffin III Ms. Mary E. Russell Shirley & Murray Rust Molly & Ferd Sauereisen Drs. Michael F. Scheier & Karen Matthews Joseph Schewe, Jr. Steven Schlossman & Stephanie Wallach Jonathan & Veronica Schmerling Rev. Cynthia Schneider & Mr. Ed Symons Shirley G. Schneirov Patricia S. Schroder Carl Schultz Robert J. & Sharon E. Sclabassi Dr. Alaa Shalaby & Dr. Jocelyn Tan Dr. Charles H. Shultz Paul & Linda Silver Lee & Myrna Silverman Marjorie K. Silverman Theresa V. Snavely
Bill & Patty Snodgrass Marjorie A. Snyder J. Soffietti David Solosko & Sandra Kniess Fund Henry Spinelli Mr. & Mrs. Thomas St. Clair Mr. and Mrs. John A Staley IV Gary & Charlene Stanich Dr. & Mrs. Terence Starz Mark & Tammy Steele Dr. Ron & Nancy Stoller Mona & E.J. Strassburger Mr. and Mrs. Sullivan Mrs. and Mr. Beth Svendsen Stu & Liz Symonds in Memory of Roger Sherman Christine T. Talleda Mary Anne Talotta Drs. Margaret Tarpey & Bruce Freeman Gordon & Catherine Telfer Mary Lloyd Thompson Judge David B. Torrey Mr. & Mrs. Clifton C. Trees Lois & Nigel Treloar Judy Vaglia Suzan M. Vandertie Bob & Denise Ventura Cate & Jerry Vockley Wagner Family Charitable Trust Suzanne & Richard Wagner Tony & Pat Waterman Betsy & Charles Watkins Phillips Wedemeyer & Jeanne Hanchett Yuling Wei Mr. & Mrs. Fred C. Wellinger Mr. & Mrs. Ronald D. West Mr. & Mrs. Arthur Westerberg Ron Wetzel Mr. & Mrs. Robert Wild Harton Wolf Sheryl K. & Bruce M. Wolf Family Foundation Drs. Barry & Iris Wu Naomi Yoran Maureen Young
Dr. & Mrs. Victor T. Zakowski Mr. & Mrs. Allan Zelenitz Mr. & Mrs. David M. Zimba SYMPHONY CLUB
$600 - $999
Anonymous (7) Barbara K. Abraham Jerry Agin & Terri Denmon Mr. Jorge Alba The Albert Family John Atkinson Todd Aukerman & Nancy Tolfa Donna L. Balewick MD Bob & Martha Ball Judith Bell Betty Belle Mrs. Phyllis L. Bertok & Mr. Richard Lopretto Henry & Charlotte Beukema Dr. Mary K. Biagini & Mr. Thomas Dubis Paul E. Block Nathaniel Blume & Megan McGarry Debbie & Jim Boughner Jim & Mary Bouwkamp Mary & Montgomery Brown Mr. Nicholas Brozack James Bruce Drs. Clare & James Budd Roger & Cynthia Bush Rosaria Capezzuto Dr. Brad Carmichael Dr. & Mrs. Daniel R. Casper Stephen C. Cenedella Janet E. Chadwick Deborah & David Chapman Susan B. Clancy Clifton & Nicole Clark Gail D. Coates Laurence P. Comden J. Kent & Merle Culley Cynthia Custer Norina H. Daubner Mr. G. Douglas Davidson & Ms. Sharee Stout Joan Clark Davis Dr. Richard S. DeLuca Edward U. De Persis
Lucy & John Douglas Mr. Roger Dubois Leslie Oden Dunn Patricia Dunnington Francis & Joan Fereday Ms. Ann P. Flaherty Ms. Suzanne Flood Mr.* & Mrs. K. H. Fraelich, Jr. Jennifer & Robert* Freeman Mr. & Ms. Frick Lorie Fuller Eric & Patricia Fulmer Jen & Bart Gabler Mr. & Mrs. John & Dawn Gallagher Ms. Nola Garrett Mr. & Mrs. Wayne Gerhold Mr. & Mrs. William D. Ghrist III Thomas & Christine Gillespie, Jr. Mr. & Mrs. Scott Gorham Ken & Laura Gormley David* & Nancy Green Lori Greene & Chris Decker Margaret L. Groninger Mark Gudalis Wendy Roehrich Hall Mrs. Kathy B. Harenski John & Catherine* Heggestad Dr. & Mrs. Fred P. Heidenreich Ms. Jean Herrity Ms. Sarah Hoffman Ms. Madeleine Hombosky Tom & Mary Hooten Anne Houck Derek & Nan Hought Mr. Lyndall Huggler & Dr. Elizabeth Seiders Mrs. Elwood T. Hughes Rob & Linda Indovina Deborah James Dr. Frank & Debbie Jenkins Tom & Cathie Johnson Mr. Joshua H. Jun David & Nora Kemp Peggy C. Knott Marilyn & Brett Kranich Mr. Nicholas Kyriazi Amy Jo Labi-Carando & Peter M. Carando
David Lendt James & Julie Lewis Dr. Jinghong Liang in Memory of Professor Richard Green George & Roxanne Libby Eddie Lowy & Ricardo Cortés Daphne & John Lynn Henry J. Mader Giulio & Barbara Magrini Dr. Bernard Mallinger Drs. Ellen Mandel & Lawrence Weber Mr. Kenneth L. Manders & Mrs. Weia Boelema Dr. & Mrs. George J. Maruschock Eleanor Mayfield & Robert Pego Dr. & Mrs. Charles E. McChesney Mr. William Merchant Mr. & Mrs. Thomas E. Merriman Elizabeth R. Mertz Marian G. Michaels Jeffrey Mishler Signe Mitchell William & Jane Morgan Sheila & John Murtagh Rev. Robert* & Suzanne Newpher Dr. Paula Novelli and Mr. Paul Lee Mr. Michael Opaska Sang C. Park Camilla Brent Pearce Dr. John H. Penn Daniel Perlongo & Susan Wheatley Ms. Alice J. Pescuric Mr. & Mrs. Jon R. Piersol David F. Pressau Mr. & Mrs. Mark & Frances Prus Mr. Pavel Puchkarev Maureen Puskar & Angelo Baiocchi Dr. Jane Raymond Mr. & Mrs. Nicholas M. Ricci Mr. Robert Richard Charles & Hilary Richards Burton Roberts Bert & Susan Rockman
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Sharon Roxbury & Joseph McEwen Ms. Elizabeth Russell & Ms. Linda Natho Bruce D. & Treasure Sachnoff Charitable Family Foundation Jose Sahel Dr. & Mrs. Harold Z. Scheinman Mr. Chester B. Scholl, Jr. Bernie & Cookie Soldo Schultz Mrs. Mary J. Seghi Mr. & Mrs. John M. Seifarth
Richard F. Shaw & Linda W. Shaw Martin Siefering Steven Silberman Jenny & George Siple Michele & Brian Skwirut Nellie Lou Slagle Mr. & Mrs. Charles L. Smithers Ronald F. Smutny Michael Sochka Janet H. Staab Mr. & Mrs. James C. Stalder Jim & Judy Stark
Mr. & Mrs. William H. Stone Jr. Peter Su & Karen Van Dusen Richard A. Sundra, in Loving Memory of Patricia Sundra C.J. Sylak, Jr. Kevin & Elisa Taffe Carol L. Tasillo Miss Elora Tighe Samuel Trichtinger Dr. & Mrs. James E. Vaux Janet Verone Marilyn & Joseph Vettorazzi
Mr. & Mrs. Charles E. Vogel Edward L. & Margaret Vogel Dr. Michael & Clare Vranesevic Arlene & Richard Weisman Patricia Weiss Mark Wilson & Kathleen Cook Lynn & Robert Wix Toby Wolfe Dr. Audrey Zelkovic
CORPORATE SPOTLIGHT
FedEx Ground calls Pittsburgh home and is pleased to support the Pittsburgh Symphony Orchestra in its vision of providing great music in every life. PSO programs in music and wellness, music education, and inclusion make our region culturally vibrant and a better place to live and work. As a PSO Board of Trustees member, I am proud to contribute to the artistic and cultural impact of one of the world’s greatest orchestras. —Matt Tokorcheck, Vice President Operations Support & Engineering
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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
$40,000 - $100,000 Bank of America UPMC & UPMC Health Plan Dollar Bank Foundation FedEx Ground Hefren-Tillotson, Inc.
$5,000 - $9,999 Audia Group LLC Berner International Corp c3controls Flaherty & O’Hara PC NexTier Bank Peoples Natural Gas Pirates Charities P.J. Dick, Trumbull & Lindy Paving The Reschini Group Trebuchet Consulting Wabtec Corporation Wesley Family Services
$1,000 - $2,499 Armada Supply Chain Solutions Austrian American Cultural Society, Inc. General Wire Spring Company German American Chamber Of Commerce, Pittsburgh $20,000 - $39,999 Chapter Bognar and Company, Inc. HB Reynolds Inc. Deloitte USA LLP HICO America Delta Airlines, Inc George Jackson Promotions Dentons Cohen & Grigsby Koppers Duquesne Light Company MacLachlan, Cornelius EQT & Filoni Architects & Equitrans Midstream Planners $2,500 $4,999 Fairmont Pittsburgh McKamish, Inc. Angelo, Gordon & Co., L.P. Federated Hermes, Inc. Mitsubishi Electric Power The Giant Eagle Foundation Elite Coach Transportation, Products, Inc. Inc. Nocito Enterprises, Inc. MSA Worldwide, LLC Federal Home Loan Bank of Schneider Downs & Pittsburgh Steelers Sports, Pittsburgh Company, Inc. Inc. Jennison Associates LLC Streams Elementary School PPG Industries Foundation Kerr Engineered Sales PTA Company TriState Capital Bank $10,000 - $19,999 Lighthouse Electric United Safety Services, Inc. Carnegie Mellon School of Company, Inc. Music Lucas Systems $250 - $999 Comcast Macedonia Family and Community Enrichment ABARTA Coca-Cola Ernst & Young Beverages Center, Inc. First National Bank of Chemistry Communications Marsh USA, Inc. Pennsylvania ComForCare Senior Services Mascaro Construction Mascaro Construction Company, LP Company, LP Community College of Allegheny County Mozart Management Spang and Company Charitable Trust Port Authority of Allegheny Crawford Ellenbogen LLC County University of Pittsburgh E.G. Conley, P.C. Chancellor’s Office Robinson Fans Eastern Minority Supplier Development Council Silhol Builders Supply Company Fort Pitt Capital Group Inc. Vallozzi’s Pittsburgh Goehring Rutter & Boehm
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
Hamill Manufacturing Company Hertz Gateway Center, L.P. Joy Cone Co. K & I Sheet Metal Meyer, Unkovic & Scott LLP Nemacolin Woodlands Resort and Spa PGT Trucking Inc. Pittsburgh Wool Company Inc. Penza Investment Management, LLC Sarris Candies Inc. Saint Vincent Archabbey Saint Vincent College Vibrant Pittsburgh VisitPITTSBURGH W. J. Beitler Co. Warren Associates We would like to thank all corporations who contribute to the Pittsburgh Symphony Orchestra & Heinz Hall. Please see our website at pittsburghsymphony.org for a complete listing. Current as of January 4, 2021.
Is your company missing from this list? Call Becky Rickard at 412.392.2207 to become a Corporate Partner!
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FOUNDATIONS & PUBLIC AGENCIES Allegheny County Economic Development Allegheny Foundation Allegheny Regional Asset District Ampco-Pittsburgh Charitable Foundation Bessie F. Anathan Fund of The Pittsburgh Foundation Anonymous (2) Benjamin and Fannie Applestein Charitable Trust Arts, Equity, & Education Fund Baronner-Chatfield Family Foundation Claude Worthington Benedum Foundation The Benter Foundation Allen H. Berkman and Selma W. Berkman Charitable Trust H.M. Bitner Charitable Trust Maxine and William Block Fund of The Pittsburgh Foundation Paul and Dina Block Foundation Henry C. Frick Educational Fund of The Buhl Foundation Jack Buncher Foundation Carnegie Corporation of New York James C. Chaplin, IV and Carol C. Chaplin Charitable Fund of The Pittsburgh Foundation Anne L. and George H. Clapp Charitable and Educational Trust Edwin and Kathryn Clarke Family Foundation Compton Family Foundation The Rose Y. and J. Samuel Cox Charitable Fund Jean Hartley Davis and Nancy Lane Davis Fund of The Pittsburgh Foundation Dietrich Foundation Peter C. Dozzi Family Foundation Eden Hall Foundation Eichleay Foundation Jane M. Epstine Charitable Fund of The Pittsburgh Foundation The Fine Foundation Audrey Hillman Fisher Foundation Irving and Aaronel deRoy Gruber Foundation Benjamin Harris Memorial Fund of The Pittsburgh Foundation The Heinz Endowments Drue Heinz and HJ Heinz Charitable Trust Teresa & H. John Heinz III Fund of the Heinz Family Foundation Henry L. Hillman Foundation Emma Clyde Hodge Memorial Fund Honkus-Zollinger Charitable Foundation Milton G. Hulme Charitable Foundation Roy A. Hunt Foundation
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George and Jeanne Illig Fund of The Pittsburgh Foundation S. Clarke and Marie McClure Johnston Memorial Fund of The Pittsburgh Foundation Anisa Kanbour Trust Fund of The Pittsburgh Foundation John Keith Maitland Fund of The Pittsburgh Foundation Thomas Marshall Foundation Massey Charitable Trust McKinney Charitable Foundation Richard King Mellon Foundation Howard and Nell E. Miller Foundation Phyllis and Victor Mizel Charitable Fund of The Pittsburgh Foundation Eugene F. and Margaret Moltrup Jannuzi Foundation The Lesa B. Morrison Endowment Fund of the Jewish Community Foundation of Greater Pittsburgh National Endowment for the Arts A.J. and Sigismunda Palumbo Charitable Trust Lewis A. and Donna M. Patterson Charitable Foundation W. I. Patterson Charitable Foundation Pennsylvania Council on the Arts, a state agency Pennsylvania Department of Community & Economic Development Anna L. & Benjamin Perlow Fund of The Pittsburgh Foundation Pauline Pickens Fund of The Pittsburgh Foundation The Pittsburgh Foundation Pittsburgh Symphony Association RMK Fund of The Pittsburgh Foundation The Donald & Sylvia Robinson Family Foundation The William Christopher & Mary Laughlin Robinson Fund of The Pittsburgh Foundation Rossin Foundation Ryan Memorial Foundation Salvitti Family Foundation James M. & Lucy K. Schoonmaker Foundation Scott Fund of The Pittsburgh Foundation The Mrs. William R. Scott Fund of The Pittsburgh Foundation The Seth Sprague Educational and Charitable Foundation Tippins Foundation The Edith L. Trees Charitable Trust Rachel Mellon Walton Fund of The Pittsburgh Foundation Samuel and Carrie Weinhaus Memorial Fund of The Pittsburgh Foundation Robert and Mary Weisbrod Foundation Current as of January 3, 2022
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 (22) Mary Beth Adams Siamak & Joan Adibi Rev. Drs. A. Gary & Judy Angleberger The Joan & Jerome Apt* Families Estate of Dorothy Avins Estate of Ruth Z. & James B. Bachman Ronald Bachowski in Memory of Lois Bachowski Francis A. Balog Lorraine E. Balun Estate of Barbara A. Bane Robert & Loretta Barone Dr. Elaine H. Berkowitz Keith E. Bernard Benno* & Constance Bernt Drs. Barbara & Albert Biglan Jim & Alison Bischoff Thomas G. Black Dr. & Mrs. Bennett P. Boffardi Barbara M. Brock Lois R. Brozenick* Michael F. Butler Tom & Jackie Cain Margaret Calder Estate of Cynthia Calhoun Mr. & Mrs. James Callomon* Estate of Rebecca J. Caserio M.D. Sondra Chester Judy & Michael Cheteyan Educational/Charitable Foundation Mr. & Mrs. David W. Christopher* Mr.* & Mrs. Edward S. Churchill Estate of Mr. & Mrs. Eugene S. Cohen Basil & Jayne Adair Cox Mary Ann Craig L. Van V. Dauler, Jr.* & Randi Dauler
Estate of Alan Derthick In Memory of Stuart William Discount Mr. & Mrs. Thomas J. Donnelly* Mary A. Duggan* Dr. James H. Duggan Frank R. Dziama Estate of Robert B. Egan Steven G. & Beverlynn Elliott Estate of Doris Ely Katrin* & Eugene Engels Anthony Fabio* Dr. John H. Feist* Emil & Ruth Feldman* Joan Feldman & William Adams Estate of Ruth K. Fischer Mrs. Loti Gaffney* Keith Garver Alice V. Gelormino Estate of Arlyn Gilboa Ken* & Lillian Goldsmith Mr. & Mrs. Ira H. Gordon* Estate of Anna R. Greenberg Estate of Lorraine M. Gross Estate of Elizabeth A. Gundelfinger Maureen Guroff Marnie & Jim Haines Elizabeth Anne Hardie Charles & Angela Hardwick Edward J. Harris Carolyn Heil Eric & Lizz Helmsen William & Jacqueline Herbein Monica & Adam Hertzman Ms. Judith Hess Estate of Mr. John H. Hill Tom & Dona Hotopp Susan Candace Hunt Estate of Mr. & Mrs. William C. Hurtt Philo & Erika* Holcomb
Mr. & Mrs. Blair Jacobson Esther G. Jacovitz Patricia Prattis Jennings Mr. & Mrs. Robert S. Kahn* Estate of Calliope H. Kamaras Daniel G. & Carole L. Kamin Leo* & Marge Kane Lois S. Kaufman Stephen & Kimberly Keen Estate of Patricia M. Kelley Mr. Arthur J. Kerr, Jr. Ms. Bernadette Kersting Dr. Laibe A. & Sydelle Kessler* Estate of Elizabeth Krotec Howard & Carol Lang Stanley & Margaret Leonard Frances F. Levin Doris L. Litman Estate of Edward D. Loughney Estate of John Keith Maitland Lauren & Hampton Mallory Mr. & Mrs. Robert P. Malnati Elizabeth-Ann Manchio* Dr. Richard Martin in Memory of Mrs. Lori Martin* Dale & Dr. Marlene* McCall Stephen McClure & Debra Gift John W. McDonald, Jr.* George E. Meanor Estate of Mary Michaely Mary Ellen Miller Ms. Jean L. Misner* Catherine Missenda* Dr. Mercedes C. Monjian Mr. & Mrs. Paul J. Mooney Alice & Bob Moore Perry* & BeeJee Morrison Mildred S. Myers & William C. Frederick* Donn & Peggy* Neal Rhoda & Bill Neal Dr. Nancy Z. Nelson Rhonda & Dennis Norman
Katherine O’Brien Elliott S. Oshry Thaddeus A. Osial, Jr. M.D. Estate of Irene G. Otte Estate of Mark Perrott Estate of Richard Petrovich Judy Petty Estate of Deloris V. Pohelia Estate of Dorothy R. Rairigh Barbara M. Rankin Richard E. Rauh Cheryl & James Redmond Mr. Gene Reiness Dr. & Mrs. William E. Rinehart* Donald & Sylvia Robinson* Mr.* & Mrs. David M. Roderick Charlotta Klein Ross Harvey & Lynn Rubin Mr. & Mrs. Gary L. Ryan Estate of Sylvia Sachs Virginia Schatz* Nancy Schepis Bernie & Cookie Soldo Schultz Dr. & Mrs. Harry E. Serene Michael Shefler Estate of Marjorie F. Shipe Dr. Stanley Shostak & Dr. Marcia Landy Dr. Charles H. Shultz Mr. & Mrs. Richard P. Simmons Estate of Janice G. Singer Estate of Evelyn B. Snyder Dr. & Mrs. Leonard A. *Stept Estate of Dr. Raymond & Karla Stept Theodore Stern Andrew & Gale Stevenson Mrs. Margaret Stouffer in Memory of Miss Jean Alexander Moore Dick & Thea Stover Estate of Mr. Robert J. Stringert Francesca Tan
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Estate of Nancy B.Thompson Carol H. Tillotson Tom & Jamee Todd Myra L. Toomey Mrs. Jane Treherne-Thomas* Mr. & Mrs. Millard K. Underwood Gerald & Mary Unger Estate of Carol Van Hoesen Eva & Walter J. Vogel* Mr. & Mrs. George L. Vosburgh Jon & Carol Walton Estate of John & Betty Weiland Lucile Weingartner In memory of Isaac Serrins from Mr. & Mrs. Ira Weiss Brian Weller Mr. & Mrs. Fred C. Wellinger Seldon Whitaker Jr.* Mr. & Mrs. Raymond B. White Charles L. & Katherine A. Wiley James* & Susanne Wilkinson Robert E. Williams* Mr. & Mrs.* Thomas Witmer Sidney & Tucky Wolfson Patricia L. Wurster Estate of Rufus J. Wysor Naomi Yoran Estate of Alice Carroll Young Miriam L. Young Estate of Ruth Yount Estate of Florence H. Zeve Estate of Simone J. Ziegler
Jane & Rae Burton Cello Chair Cynthia S. Calhoun Principal Viola Chair Virginia Campbell Principal Harp Chair Ron & Dorothy Chutz First Violin Chair Dr. Mary Ann Craig Principal Tuba Chair Randi & L. Van V. Dauler, Jr. President & CEO Chair George & Eileen Dorman Assistant Principal Cello Chair Albert H. Eckert Associate Principal Percussion Chair Beverlynn & Steven Elliott Associate Concertmaster Chair Jean & Sigo Falk Principal Librarian Chair HaleyFesq Cello Chair Endowed by Janet Haley Fesq
Principal Pops Conductor Jackman Pfouts Chair Endowed by Henry & Principal Flute Chair, given Elsie* Hillman in memory of Mr. & Mrs. Arthur Jackman by Barbara Jackman Pfouts Milton G. Hulme, Jr. Guest Conductor Chair given by Mine Safety Pittsburgh Symphony Appliances Company Association Principal Cello Chair Susan Candace Hunt Cello Chair Reed Smith Chair honoring Tom Todd Horn Chair Mr. & Mrs. Benjamin F. Jones III Guest Keyboard Chair Snapp Family First Violin Chair Virginia Kaufman Resident Conductor Chair Dr. & Mrs. William E. Rinehart* Oboe Chair Stephen & Kimberly Keen Bass Chair Donald & Sylvia Robinson Family Foundation G. Christian Lantzsch & Guest Conductor Chair Duquesne Light Company Principal Second Violin Chair Martha Brooks Robinson Principal Trumpet Chair Mr. & Mrs. William Genge and Mr. & Mrs. James E. Lee Mr. & Mrs. Aaron Silberman Principal Bassoon Chair Principal Clarinet Chair Nancy & Jeffery* Leininger First Violin Chair
Sidney Stark, Jr. Memorial Clarinet Chair
Edward D. Loughney Mr.* and Mrs. Willard J. Co-Principal Trumpet Chair Tillotson, Jr. Principal Bass Clarinet Endowed Principal Piccolo Fiddlesticks Family Concert Chair Chair, given to honor Frank Series Endowed by Gerald & Audrey McGinnis Tom & Jamee Todd and Loti Gaffney Honoring The Center for Principal Trombone Chair Young Musicians William & Sarah Galbraith United States Steel Second Violin Chair Ann McGuinn Corporation Assistant Principal Bass The Estate of Olga T. Gazalie Trombone Chair Chair First Violin Chair Mr. and Mrs. Martin G. ENDOWED CHAIRS McGuinn Jon & Carol Walton Alice Victoria Gelormino Principal Horn Chair, given Viola Chair Associate Principal Second Violin Chair by an Anonymous Donor Viola Chair Dr. William Larimer Mellon, Jr. Arlyn Gilboa First Violin Chair, given Second Violin Chair Principal Oboe Chair, given Rachel Mellon Walton by Allen H. Berkman in Concertmaster Chair, given by Rachel Mellon Walton memory of his beloved wife, Ira & Nanette Gordon by Mr. & Mrs. Richard Selma Wiener Berkman Messiah Concerts Endowed Mellon Scaife The Gracky Fund for by the Howard and Nell E. Michael & Carol Bleier Jacquelin Wechsler Education & Community Miller Chair Horn Chair given in Bass Chair given in memory Engagement of our parents, Tina & Donald I. & Janet Moritz and memory of Irving (Buddy) Wechsler Charles Bleier and Ruth & Susan S. Greer Memorial Equitable Resources, Inc. Shelley Stein Trumpet Chair, given by Associate Principal Barbara Weldon Peter Greer Cello Chair Principal Timpani Chair William Block Memorial Section Cello Chair William Randolph Hearst The Perry & BeeJee Endowed Fund for Morrison String Instrument Hilda M. Willis Foundation Flute Chair Dr. Alan & Marsha Education Loan Fund Bramowitz First Violin Chair, Endowed Vira I. Heinz Thomas H. & Frances Witmer The Morrison Family in memory of Bach pianist Music Director Chair Associate Principal Second Assistant Principal Horn Chair Rosalyn Tureck Violin Chair William & Jacqueline Herbein Lois R. Brozenick Memorial Principal Bass Trombone Current as of January 3, 2022 First Violin Chair Chair 40 *deceased
DAULER HEARING LOOP: A system to provide better sound to hearing aid and cochlear implant users.
If you use a hearing aid or have a cochlear implant, you can have an improved listening experience at Heinz Hall concerts and events! The Dauler Hearing Loop runs throughout the auditorium, with the exception of the Orchestra pit, first four Orchestra level rows and Grand Box left. The hearing loop system also is installed at the Heinz Hall Box Office windows, allowing you to hear the amplified voice of Box Office personnel directly through t-coil enabled hearing aids. VISIT OR CALL THE HEINZ HALL BOX OFFICE AT 412.392.4900 WITH ANY QUESTIONS. The Dauler Hearing Loop is named for late Pittsburgh Symphony Orchestra trustee L. Van V. Dauler, Jr and was made possible through a gift from Randi & L. Van V. Dauler, Jr. and the Emma Clyde Hodge Memorial Foundation.
TO USE THE DAULER HEARING LOOP: If you have a hearing aid or cochlear implant with a telecoil (t-coil) you need to make sure the t-coil is activated and properly set by your audiologist. You can then activate the setting once in Heinz Hall. If you are not sure if your hearing aid has a t-coil or if you experience difficulty and require assistance, please contact your audiologist. Sound heard through telecoils can vary from hearing aid to hearing aid and according to position in the theater. Generally, the best signal is found when you sit in the center of a row and facing toward the stage. If you need further assistance in selecting the best seats, please contact the Heinz Hall box office.
HEINZ HALL POLICIES
Heinz Hall, owned and operated by Pittsburgh Symphony Inc., is committed to the safety and well-being of all guests and patrons, and aims to provide a safe, comfortable and enjoyable entertainment experience.
ENTRANCE SECURITY POLICY All audience members are required to enter through state-of-the-art “free-flow” scanning equipment, designed both to enhance security and convenience. Patrons using wheelchairs and mobility devices will enter via a door adjacent to the screening equipment for alternative screening. Patrons with children in strollers may enter through the screening equipment.
of this policy. Violators of this policy may be subject to ejection from Heinz Hall and/or civil or criminal penalties. The only exception to this policy is sworn law enforcement personnel and private security officers employed and/or contracted by Pittsburgh Symphony Inc.
BAG POLICY Heinz Hall reserves the right to search any bags entering the facility. Oversized bags must fit comfortably under a seat to ensure the safety of WEAPONS POLICY patrons entering or exiting seats and Weapons are not permitted in the aisles. Bags failing to meet these venue and/or public spaces owned requirements must be checked and or operated by Pittsburgh Symphony pass a security search, or you must Inc., including Heinz Hall. Any item remove the bags from the Hall. that could endanger public safety is SMOKING POLICY considered a weapon for purposes Heinz Hall is a smoke/vapor free
facility. (Smoking is permitted in the Heinz Hall Garden Plaza)
FOOD AND BEVERAGE POLICY Outside food or alcoholic beverages are prohibited. Patrons are permitted to bring in one sealed clear plastic water bottle which may only be consumed in designated areas and may not be consumed in the auditorium. COSTUME POLICY Heinz Hall does not permit costume masks of any kind or facsimiles of weapons that would make other guests feel uncomfortable or detract from the concert experience. Guests are welcome to attend certain programs, (e.g. The Music of Harry Potter or The Music of Star Wars) in costume.
PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON
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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.
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