PSO360: Spanish Romance (March 12, 2022)

SPANISH ROMANCE

S AT U R D AY, M A R C H 1 2 AT 8 : 0 0 P. M .

HEINZ HALL

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Cecee Pantikian

HARP

TRUMPET

Jeremías Sergiani-Velázquez b

Gretchen Van Hoesen j

Micah Wilkinson j

Albert Tan Ran Cheng r Shannon Fitzhenry r MUSIC DIRECTOR

Manfred Honeck

ENDOWED BY THE VIRA I. HEINZ ENDOWMENT

PRINCIPAL POPS CONDUCTOR

Byron Stripling

ENDOWED BY HENRY & ELSIE HILLMAN

ASSISTANT CONDUCTOR

Moon Doh Jacob Joyce

FIRST VIOLIN

Mark Huggins

ASSOCIATE CONCERTMASTER BEVERLYNN & STEVEN ELLIOTT CHAIR

Huei-Sheng Kao ASSISTANT CONCERTMASTER

Kelsey Blumenthal Justine Campagna Ellen Chen-Livingston

SELMA WIENER BERKMAN MEMORIAL CHAIR

Irene Cheng Sarah Clendenning LOIS R. BROZENICK MEMORIAL CHAIR

Susanne Park

DR. ALAN & MARSHA BRAMOWITZ CHAIR

Christopher Wu

NANCY & JEFFERY LEININGER CHAIR

Kristina Yoder SECOND VIOLIN

Jeremy Black j

G. CHRISTIAN LANTZSCH & DUQUESNE LIGHT COMPANY CHAIR

Louis Lev d

THE MORRISON FAMILY CHAIR

Dennis O’Boyle x Laura Motchalov

WILLIAM & SARAH GALBRAITH CHAIR

Eva Burmeister b Andrew Fuller Lorien Benet Hart ARLYN GILBOA CHAIR

Yeokyung Kim Claudia Mahave

ALICE VICTORIA GELORMINO CHAIR

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Shantanique Moore

VIOLA

Tatjana Mead Chamis Q

JON & CAROL WALTON CHAIR

HILDA M. WILLIS FOUNDATION CHAIR PAUL J. ROSS FELLOW

PICCOLO

Rhian Kenny j

FRANK & LOTI GAFFNEY CHAIR

Joen Vasquez E

OBOE

Marylène Gingras-Roy L

Cynthia Koledo DeAlmeida j

Laura Fuller Erina LarabyGoldwasser Stephanie Tretick Andrew Wickesberg MR. & MRS. MARTIN G. McGUINN CHAIR

Kallie Sugatski r Rimbo Wong r CELLO

Anne Martindale Williams j

PITTSBURGH SYMPHONY ASSOCIATION CHAIR

David Premo d

GEORGE & EILEEN DORMAN CHAIR

RON & DOROTHY CHUTZ CHAIR

JACKMAN PFOUTS CHAIR

Ross Snyder r

Marta Krechkovsky Jennifer Orchard

Lorna McGhee j Jennifer Steele

DONALD I. & JANET MORITZ AND EQUITABLE RESOURCES, INC. CHAIR

SNAPP FAMILY FIRST VIOLIN CHAIR

FLUTE

Karen Strittmatter Galvin r

Alison Peters Fujito OLGA T. GAZALIE CHAIR

VIRGINIA CAMPBELL CHAIR

Adam Liu xb

Mikhail Istomin SUSAN CANDACE HUNT CHAIR

Bronwyn Banerdt Will Chow Michael DeBruyn Alexandra Lee

DR. WILLIAM LARIMER MELLON JR. CHAIR

BASS

Brandon McLean Q Joseph Campagna Jeffrey Grubbs

ENGLISH HORN

Kyle Mustain j CLARINET

Michael Rusinek j

MR. & MRS. AARON SILBERMAN CHAIR

Victoria Luperi d Ron Samuels

SIDNEY STARK, JR. MEMORIAL CHAIR

E-FLAT CLARINET

Victoria Luperi j BASS CLARINET

Jack Howell j MR. & MRS. WILLARD J. TILLOTSON, JR. CHAIR

BASSOON

Nancy Goeres j

Philip A. Pandolfi CONTRABASSOON

James Rodgers j HORN

William Caballero j ANONYMOUS DONOR CHAIR

Peter Guild Micah Howard

Stephen Kostyniak d Zachary Smith x Robert Lauver

John Moore Aaron White

Mark Houghton Joseph Rounds

MICHAEL & CAROL BLEIER CHAIR

STEPHEN & KIMBERLY KEEN CHAIR

SUSAN S. GREER MEMORIAL CHAIR

TROMBONE

Peter Sullivan j TOM & JAMEE TODD CHAIR

Rebecca Cherian h James Nova ANN MCGUINN CHAIR

BASS TROMBONE

Jeffrey Dee j

WILLIAM & JACQUELINE HERBEIN CHAIR

Craig Knox j

David Sogg h

Karissa Shivone

Neal Berntsen Chad Winkler

TUBA

Michael Lipman HALEYFESQ CELLO CHAIR

EDWARD D. LOUGHNEY CHAIR

Nora Prener r

WILLIAM BLOCK MEMORIAL CHAIR

Charlie Powers

Charles Lirette h

Max Blair d

MR. & MRS. WILLIAM GENGE AND MR. & MRS. JAMES E. LEE CHAIR

JANE & RAE BURTON CHAIR

MARTHA BROOKS ROBINSON CHAIR

IRVING (BUDDY) WECHSLER CHAIR

REED SMITH CHAIR HONORING TOM TODD

DR. MARY ANN CRAIG CHAIR

TIMPANI

Christopher Allen Q PERCUSSION

Andrew Reamer jb ALBERT H. ECKERT CHAIR

Jeremy Branson Q Christopher Allen Shawn Galvin r LIBRARIAN

Lisa Gedris j JEAN & SIGO FALK CHAIR

Grant Johnson STAGE TECHNICIANS

Ronald Esposito Tommy Gorman j h d X Q E L b r

PRINCIPAL CO-PRINCIPAL ASSOCIATE PRINCIPAL ASSISTANT PRINCIPAL ACTING PRINCIPAL ACTING ASSOCIATE PRINCIPAL ACTING ASSISTANT PRINCIPAL ON LEAVE 2021-22 SEASON MUSICIAN

SPECIAL THANKS TO THE PERRY & BEEJEE MORRISON STRING INSTRUMENT LOAN FUND

PSO360 ASCEND TO THE STAGE 2021-2022 SEASON

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PSO360: SPANISH ROMANCE | HEINZ HALL SATURDAY, MARCH 12, 2022 AT 8:00 PM

Pablo Sáinz-Villegas, guitar Marta Krechkovsky, violin Jeremy Black, violin Tatjana Mead Chamis, viola Will Chow, cello Brandon McLean, contrabass Jeremy Branson, percussion Lorna McGhee, flute

Isaac Albéniz

Asturias Mr. Sáinz-Villegas

Manuel De Falla

Selections from Siete canciones populares españolas

El Paño Moruno Asturiana Nana Polo Ms. Krechkovsky Mr. Sáinz-Villegas

Traditional (arr. Hazell)

Spanish Romance Mr. Sáinz-Villegas Ms. Krechkovsky Mr. Black Ms. Mead Chamis Mr. Chow Mr. McLean

Luigi Boccherini

Movement III (Grave assai — Fandango) from Guitar Quintet No. 4 in D major, G. 448, “Fandango” Mr. Sáinz-Villegas Ms. Krechkovsky Mr. Black Ms. Mead Chamis Mr. Chow Mr. Branson

Intermission

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Astor Piazzolla Selections from Histoire du Tango

Bordello, 1900 Café, 1930 Ms. McGhee Mr. Sáinz-Villegas Francisco Tárrega Recuerdos de la Alhambra Mr. Sáinz-Villegas Astor Piazzolla Libertango Mr. Sáinz-Villegas

PSO360 ROSTER FIRST VIOLIN Nurit Bar-Josef Huei-Sheng Kao Irene Cheng Marta Krechkovsky Jennifer Orchard Susanne Park SECOND VIOLIN Jeremy Black Dennis O’Boyle Lorien Benet Hart Cecee Pantikian Ross Snyder

VIOLA Tatjana Mead Chamis Marylène Gingras-Roy Andrew Wickesberg Rimbo Wong

FLUTE Lorna McGhee

CELLO Anne Martindale Williams Will Chow Michael Lipman

LIBRARY Lisa Gedris Grant Johnson

PERCUSSION Jeremy Branson

BASS Brandon McLean Aaron White

Nurit Bar-Josef, Guest Concertmaster (Concertmaster, National Symphony Orchestra)

The Pittsburgh Symphony Orchestra recognizes the continued support from Dr. Owen Cantor in honor of the musicians of the Orchestra and the PSO360 concert series.

PHOTOGRAPHY, AUDIO AND VIDEO RECORDING OF THIS PERFORMANCE ARE STRICTLY PROHIBITED.

PSO360 PROGRAM 2021-2022 SEASON

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ISAAC ALBÉNIZ (1860-1909)

“Asturias” from Suite Española No. 1, Opus 47

(1886)

Though he authored a piano concerto, a number of songs, and some half-dozen works for the stage, Isaac Albéniz is remembered principally for his piano compositions, which, for many, embody the quintessential spirit of Spain. After coming under the influence of the folklorist Felipe Pedrell in 1883, he disowned his earlier keyboard morceaux, and thereafter concentrated on imbuing his compositions with the idioms and ethos of the country’s indigenous music. He seldom quoted existing melodies, but, like such other great nationalist composers as Falla, Bartók, Ginastera and Revueltas, he integrated their essential characteristics into his works to create idealized versions of the Spanish songs and dances that came to represent and popularize the music of his country among listeners throughout the world. Albéniz’s Asturias (its subtitle is Leyenda — “Legend ”) is modeled on a type of indigenous music native to that northern region.

MANUEL DE FALLA (1876-1946)

Selections from Siete canciones populares españolas (“Seven Popular Spanish Songs”) (1914)

When Falla was preparing his opera La Vida Breve (“The Brief Life”) for its first Paris performance, in 1913, he received two requests — one from soprano Luisa Vela, who was performing in La Vida Breve; the other, from a Greek singing teacher. Vela was planning a series of recitals, and she asked Falla to provide some songs in Spanish style for her programs; the Greek singing teacher wanted advice about the appropriate accompaniment style for some melodies from his homeland. Falla experimented with setting the Greek songs, and discovered that he could extrapolate a suitable harmonic idiom from the implications of the melody itself. He tried out that new technique in the songs he was preparing for Vela, which he had decided would be settings of seven popular indigenous melodies culled from various regions of Spain. The Siete canciones populares españolas were largely completed by the time he retreated to Spain in 1914 before the German invasion of France; he and Vela premiered them in Madrid in January 1915. El Paño Moruno (“The Moorish Cloth”) comes from Murcia in southeastern Spain. Asturiana is a lament from the northern region of Asturias. Nana is an Andalusian lullaby.

Polo, Andalusian in origin, evokes Gypsy flamenco.

TRADITIONAL

Spanish Romance

Arranged by Chris Hazell (born in 1948) Though the piece known variously as Romance Anónimo [Anonymous], Romance de Amor, Romance de España and other similar titles is one of the icons of the guitar repertory, its origin is uncertain.

Stylistically, the piece dates from the mid-to late 19th century, but the earliest evidence of it is a cylinder recording made in Madrid between 1897 and 1901 under the title Sort-Estudio, suggesting 6

that this “study” was written by the famed Spanish guitarist and composer Fernando Sor (1778-1839,) whose surname sometimes appeared as “Sort” or “Sorts”). Sor’s authorship has never been verified, however, nor has that of Tárrega, Rubira, Miguel Llobet or a half-dozen other well-known musicians.

The piece became internationally famous when director René Clement included it in the soundtrack of his 1952 war drama Jeux interdits (“Forbidden Games”), performed by virtuoso Narciso Yepes. Yepes was credited in the film with composing the Spanish Romance and was granted the work’s Spanish copyright, but his authorship is impossible since he was born in 1927, three decades after the piece was first recorded. The Spanish Romance distills both the melancholy — the spirit of cante hondo, the “deep song,” at the heart of Andalusian flamenco — and lyricism of the country’s most characteristic music. The arrangement of Spanish Romance for guitar and strings is by British composer, arranger and producer Chris Hazell.

LUIGI BOCCHERINI (1743-1805)

Movement III (Grave assai — Fandango) from Guitar Quintet No. 4 in D major, G. 448, “Fandango” (1798)

During the late 1790s, Luigi Boccherini arranged about a dozen of his existing quintets for the combination of guitar and string quartet, mostly on commission from the Spanish nobleman Marquis de Benavente. Louis Picquot, an early biographer of the composer, explained: “The Marquis excelled on the guitar and asked Boccherini to provide a guitar part for his own use in those compositions that he liked. Several other rich amateurs acted in a similar manner, which prompted Boccherini to arrange with a guitar part a rather large number of his pieces.” In 1798, Boccherini cobbled the Guitar Quintet No. 4 from the first two movements of his Quintet, Op. 12, No. 6, and the Grave and Fandango from the Quintet, Op. 40, No. 2, composed in 1788. A stately Grave assai serves as the introduction to the brilliant Fandango, a folk dance in moderately fast triple meter that originated in Spain in the early 18th century. The Fandango was traditionally performed by couples with castanets accompanied by guitars, and here Boccherini called for castanets and a sistrum (a rattle of ancient origin whose jangling sound resembles that of a modern tambourine).

ASTOR PIAZZOLLA (1921-1992)

Selections from Histoire du Tango (1981)

The Argentinian master Astor Piazzolla realized his electrifying blend of the fire and passion of the traditional tango with the vast expressive resources of modern harmony, texture and sonority in some 750 widely varied works that explore the genre’s remarkable expressive range, from violent to sensual, from witty to melancholy, from intimate to theatrical. In 1981, when he had just turned sixty, Piazzolla composed his Histoire du Tango, in whose four movements he tried to encapsulate the evolution of both the styles and the performance venues of the dance: Bordello 1900, Café 1930, Nightclub 1960 and Concert d’aujourd’hui [today].

PSO360 PROGRAM NOTES 2021-2022 SEASON

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FRANCISCO TÁRREGA (1852-1909)

Recuerdos de la Alhambra (“Remembrances of the Alhambra”) (1899)

Francisco Tárrega was a seminal figure in the history of the guitar, the virtuoso and composer who helped to launch the instrument’s rebirth in the 20th century. Tárrega, born in Villarreal, Castellón in 1852, began his musical studies on the piano, the day’s most fashionable instrument, and took up the guitar at age ten. Tárrega studied theory and performance at the Madrid Conservatory from 1874 to 1877, and supported himself after leaving the school as a concert guitarist and teacher.

His performances in Paris and London in 1880 not only established his prominence as an artist of international stature but also helped to legitimize the guitar as a concert instrument. Tárrega continued to tour widely until suffering a stroke in 1906 that paralyzed his right arm. His influence as a performer, teacher, composer and arranger was universally acknowledged by the time of his death, on December 15, 1909, in Barcelona. Among the most famous of Tárrega’s solo pieces is the haunting “tremolo study” Recuerdos de la Alhambra (“Remembrances of the Alhambra”).

ASTOR PIAZZOLLA (1921-1992)

Libertango (1974)

In 1974, Astor Piazzolla moved to Rome, claiming that “I’m sure I’m going to write better there than in Buenos Aires.” His European agent, Aldo Pagani, set him up with an apartment near the Piazza Navona, guaranteed him $500 a month for living expenses, and started arranging appearances and recordings, beginning with a program on Italian television with Charles Aznavour on March 25, 1974. When Pagani urged him to compose pieces that were short enough to be easily programmed on the radio, Piazzolla protested, “But Beethoven wrote …” “Beethoven died deaf and poor,” the agent told his client. “Up to this point, you are neither deaf nor poor.” Piazzolla took Pagani’s point, and wrote a series of short instrumental pieces during the following months, including the hard-driving Libertango, which the composer called “a sort of song of liberty,” a release of new ideas inspired by a new place.

PROGRAM NOTES BY DR. RICHARD E. RODDA

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PABLO SÁINZ-VILLEGAS Praised as “the soul of the Spanish guitar”, he has become a worldwide sensation known as this generation’s great guitarist. Pablo SáinzVillegas has been acclaimed by the international press as the successor of Andrés Segovia and an ambassador of Spanish culture in the world. His “virtuosic playing characterized by irresistible exuberance” (The New York Times) makes him one of the most acclaimed soloists by prestigious conductors, orchestras and festivals.

He is known for his passionate, emotive and open-hearted playing, whether he is performing at intimate recital halls, or playing to an audience of over 85,000 at Santiago Bernabéu Stadium in Madrid with beloved tenor Plácido Domingo who has hailed him as “the master of the guitar.” Together they have performed at the Hollywood Bowl in Los Angeles as well as on a Photo credit: Lisa Mazzuco floating stage on the Amazon River. They most recently released “Volver” a duo album with Billboard Magazine named him “the global ambassador of Spanish guitar” and as passionate Sony Classical. promoter of the development of new repertoire, Pablo Sáinz-Villegas has appeared on some of he has made numerous world premieres the world’s most prominent stages including the including the first composition for guitar Carnegie Hall in New York, the Philharmonie by five-time Academy Award-winner John in Berlin, the Musikverein in Vienna and the Williams.

National Center for the Performing Arts in Beijing. He has played in more than 40 countries and with orchestras such as the Israel Philharmonic, the Los Angeles Philharmonic and the National Orchestra of Spain. In 2019 Pablo will make his debut with the Chicago Symphony Orchestra playing the beloved Concierto the Aranjuez and as a solo recitalist he will perform for the first time at the Harris Theater in Chicago and at Boston’s Celebrity Series. He will also continue touring with his trio band along with a special presentation at the iconic Blue Note Jazz Club in New York.

Sáinz-Villegas thrives over a continuous search of innovative ways to inspire communities since he considers that “music is an ideal tool to humanize this world”. As a lifelong dreamer, educator and philanthropist he has reached more than 35,000 children and youth through his non-profit ‘The Music Without Borders Legacy’ and through his various Artist-InResidence collaborations with orchestras and festivals.

Pablo Sáinz-Villegas last performed with the Pittsburgh Symphony in October 2015.

PSO360 BIOGRAPHY 2021-2022 SEASON

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PSO SOLOISTS MARTA KRECHKOVSKY Ukrainian violinist Marta Krechkovsky joined the Pittsburgh Symphony Orchestra at the beginning of the 2014-2015 season. An experienced performer of orchestral and chamber music, she has been a substitute player with the New York Philharmonic and was invited to perform with World Orchestra for Peace as a tribute to Sir Georg Solti on the occasion of the 100th anniversary of his birth.

Marta Krechkovsky has participated in numerous music festivals, and is currently a violinist with the Grand Teton Music Festival in Jackson Hole, Wyoming. She has appeared as a soloist with numerous orchestras, and, as an active chamber musician, she has appeared in New York City concert halls, as well as Kitara Chamber Music Hall in Sapporo, Japan. Krechkovsky is a member of The Clarion Quartet, formed by members of the Pittsburgh Symphony Orchestra to give a voice to suppressed. composers. Their debut album, Breaking the Silence, was released in 2018 on the TYE/Naxos label.

JEREMY BLACK Jeremy Black has been principal second violin of the Pittsburgh Symphony Orchestra since 2017. He previously was a member of the first violin section from 2002–2017. He also performs as concertmaster of the Grant Park Symphony Orchestra in Chicago, a position he has held since 2005. He has been invited to perform as guest concertmaster with the Pittsburgh Symphony, Minnesota Orchestra, National Symphony Orchestra, Indianapolis Symphony Orchestra, and Buffalo Philharmonic, and in the violin sections of the Chicago Symphony Orchestra, New York Philharmonic, and Cleveland Orchestra.

As a soloist and leader, Jeremy Black has performed with the Pittsburgh Symphony Orchestra, Grant Park Symphony Orchestra, Pittsburgh Live Chamber Ensemble, and in subscription concerts with the Chicago String Ensemble and Evanston Symphony.

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Jeremy Black is sought-after as a teacher as well as a performer and recitalist. He is the coach of Chamber Music Pittsburgh’s competitive Montgomery Fellowship Quartet program and is the first violin coach for the Pittsburgh Youth Symphony Orchestra and Three Rivers Young Peoples Orchestra.

TATJANA MEAD CHAMIS Violist Tatjana Mead Chamis has distinguished her career with successes as a principal violist, chamber musician, soloist, Latin GRAMMY-nominated recording artist, teacher and lecturer, as well as advocating for underheard or suppressed music and experimenting with new music.

Principal violist of the Pittsburgh Symphony Orchestra for the 2018-2020 seasons, Mead Chamis has held the title of associate principal viola since 2002. She joined the orchestra in 1993. She has since been featured on numerous performances as soloist with the Pittsburgh Symphony and the Pittsburgh Symphony Chamber Orchestra, often premiering or introducing pieces not yet heard in Pittsburgh.

In the fall of 2015, Mead Chamis formed a string quartet of fellow Pittsburgh Symphony members, known now as The Clarion Quartet, an ensemble dedicated to performing the many works of suppressed and forgotten composers. Mead Chamis regularly performs chamber music and solo recitals in the U.S. and internationally and teaches orchestral repertoire at Carnegie Mellon University.

WILL CHOW Will Chow was appointed to the cello section of the Pittsburgh Symphony Orchestra in June 2016.

He has appeared as a soloist with the Nova Vista Symphony and the Peninsula Youth Orchestra and has been heard on NPR’s From the Top and on WHYY-TV. As a recitalist, Chow has performed at venues in countries all over the globe spanning from Singapore to the Netherlands. He has served as principal cellist of the Curtis Chamber Orchestra on Curtis on Tour, and also as principal cellist of the

Curtis 20/21 ensemble in Cedile Chicago Lable’s Grammy-nominated CD album, Two x Four.

As a chamber musician, Chow has collaborated with notable artists such as the Borromeo Quartet, Jeffrey Khaner, Ida Kavafian, Scott St. John, Joseph Lin, Donald Weilerstein and Roberto Diaz, among others. Chow has appeared in music festivals such as Marlboro Music, Ravinia’s Steans Music Institute in Highland Park, Music from Angelfire, Aspen Music Festival and School and Music@ Menlo Chamber Music Institute.

He was awarded First Prize in the 2011 Mondavi National Young Artists Competition, and was also the 2008 recipient of the Lawrence Bedini Scholarship from the YES Foundation for the Arts in San Francisco. Chow recently completed his studies at the Curtis Institute of Music under the tutelage of Carter Brey and Peter Wiley.

BRANDON McLEAN Brandon McLean is the associate principal bass of the Pittsburgh Symphony. Prior to his appointment to the position in 2016, he served as principal bass of the Colorado Symphony, associate principal bass of the Vancouver Symphony and assistant principal bass of the Florida Orchestra. Originally from Seattle, Washington, McLean started music studies in the public school system. From there, he received a bachelor’s degree from the University of North Texas and a master’s degree from the Boston Conservatory and spent additional time studying at Carnegie Mellon University. His primary teachers include Jeff Bradetich, Jeffrey Turner, Ben Levy and Ben Musa. McLean was a fellow of the New World Symphony in Miami Beach for three years and has participated in many prestigious summer festivals, including Tanglewood, Verbier, National Repertory Orchestra and Artosphere. In his free time, McLean enjoys hiking, fishing and cooking.

JEREMY BRANSON Jeremy Branson is the associate principal percussionist of the Pittsburgh Symphony

Orchestra. Prior to his appointment in the Pittsburgh Symphony, Branson was a member of the New World Symphony in Miami Beach, Florida, under the direction of Michael Tilson Thomas. During that time he also played regularly with the Philadelphia Orchestra.

Jeremy Branson has performed under the batons of such conductors as James Conlon, Rafael Fruhbeck de Burgos, Charles Dutoit, Christoph Eschenbach, Manfred Honeck, Andris Nelsons, Leonard Slatkin, Gerard Schwartz, Robert Spano, Michael Tilson Thomas and David Zinman. He has performed with notable artists including Emanuel Ax, Sarah Chang, Renee Fleming, Hilary Hahn, Thomas Hampson, Lynn Harrell, Lang Lang, Yo Yo Ma, Jean-Yves Thibaudet and Andre Watts.

Branson has premiered works by composers such as John Adams, Richard Danielpour, Michael Gandolfi, Philip Glass, Jennifer Higdon, Gyorgi Ligeti, Steven Mackey and Christopher Theofanidis. Branson is the chair of the Percussion Department at Carnegie Mellon University.

LORNA McGHEE Lorna McGhee was appointed principal flute of the Pittsburgh Symphony Orchestra by Music Director Manfred Honeck in 2012. Hailed as an “outstanding artist” (Der Standard, Austria) McGhee is equally at home in a solo, chamber or orchestral setting. She has performed concertos with many prestigious orchestras, and career highlights include a performance of Penderecki’s flute concerto under the baton of the composer.

Lorna McGhee has made chamber music recordings for EMI, Decca ASV, Naxos, and Meridian. Her recording for Naxos of Bax’ Chamber Music with the group ‘mobius’ was selected as Editor’s Choice in Gramophone Magazine and received a 5-star rating from BBC Music Magazine.

Known for her “exceptionally rich and vibrant tone” (Washington Post) Lorna McGhee has performed as guest principal with many of the world’s leading orchestras. Lorna McGhee is an artist lecturer at Carnegie Mellon University, an altus flutes artist and an honorary “Fellow of the Royal Academy of Music.”

PSO360 BIOGRAPHY 2021-2022 SEASON

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ASCEND TO THE STAGE

Immerse yourself in the center of the sound space, seated just inches from the artistry of Pittsburgh Symphony musicians and their special guests on the Heinz Hall stage. Surrounding them, as their sound surrounds you, you are part of a very exclusive 200-person audience.

Violin Splendor with Alexi Kenney Saturday, May 21 at 8:00 p.m.

Experience the virtuosity of the violinist you came to know and love during the PSO Front Row virtual series last fall during this one-night-only, multi-sensory event. Described by the New York Times as thoroughly “spellbinding,” violinist Alexi Kenney continues to earn wide-spread acclaim for his insightful and artistic interpretations, as well as his inspiring programming, often melding the new with the old and the familiar with the obscure. Featuring solo violin works and some of the best chamber music repertoire, this up close evening together with Alexi Kenney will leave you breathless.

ALL TICKETS ARE $75 & LIMITED SEATING IS AVAILABLE, SO GET YOURS TODAY!

Heinz Hall Box Office: 412.392.4900 | pittsburghsymphony.org/PSO360

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