2014-2015 BNY Mellon Grand Classics - October 10-26, 2014

MANFRED HONECK, MUSIC DIRECTOR

O C TO B E R 10 - 12 , 2 4 & 26 , 2 014

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It is the mission of the Pittsburgh Symphony Orchestra to provide musical experiences at the highest level of expression to enrich the community and satisfy the needs and preferences of our audiences. We will achieve this mission by working together to support an internationally recognized orchestra and by ensuring a viable long-term financial future; a fulfilling environment for our orchestra, staff, volunteers; and the unsurpassed satisfaction of our customers.

PROGRAM October 10-12 program......................................................................9 October 10-12 program notes..........................................................10 Omer Meir Wellber biography..........................................................14 Pablo Villegas biography..................................................................16 Pittsburgh Symphony Orchestra biography......................................18 October 24 & 26 program.................................................................21 October 24 & 26 program notes.......................................................22 Yan Pascal Tortelier biography...........................................................28 Lorna McGhee biography..................................................................30 EVERY GIFT IS INSTRUMENTAL Individuals........................................................................................34 Foundations & Public Agencies.........................................................41 Corporations .....................................................................................42

Pittsburgh Symphony Orchestra performances are brought to the community in part by generous support from the Allegheny Regional Asset District and corporations, foundations and individuals throughout our community.

The Pittsburgh Symphony Orchestra receives additional funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and an award from the National Endowment for the Arts. Art Works.

The Pittsburgh Symphony Orchestra is committed to providing an environment that is inclusive and welcoming to all patrons. For information about our accessible services, please contact the box office at 412.392.4900 or visit pittsburghsymphony.org.

Radio station WQED-FM 89.3 and WQEJ-FM 89.7 is the official voice of the Pittsburgh Symphony Orchestra. Tune in Sundays at 8 p.m. for “Pittsburgh Symphony Radio” concert broadcasts hosted by Jim Cunningham.

Listen to archival concerts anywhere in the world 24 hours a day with your smartphone or computer on the WQED-FM Pittsburgh Concert Channel at wqed.org/fm or with HD radio WQED 89.3 HD2.

Legacy of Excellence..........................................................................44 Commitment to Excellence Special Named Gifts.............................46 INDIVIDUALS & HEINZ HALL INFORMATION Pittsburgh Symphony Orchestra Musicians........................................2 Board of Trustees & Chairman’s Council.............................................3 Jack Heinz Society...............................................................................5 New Leadership Board........................................................................5 Pittsburgh Symphony Association......................................................5 Administrative Staff.............................................................................7 Heinz Hall Information.....................................................................48

TO ADVERTISE IN THE PROGRAM: Contact: Elaine Nucci at

412.471.6087, or email: nucci@culturaldistrict.org

ONLINE PROGRAM: Many Pittsburgh Symphony program

books are also available for viewing onlineat: pittsburghsymphony.org/programs

PROGRAM REUSE: If you do not wish to keep your program, return

to the ushers for reuse at a later performance.

PITTSBURGHSYMPHONY.ORG 2014-2015 SEASON

1

Peter Snitkovsky Albert Tan Rui-Tong Wang

PICCOLO

VIOLA

Cynthia Koledo DeAlmeida j

Randolph Kelly j CYNTHIA S. CALHOUN CHAIR

MUSIC DIRECTOR

Manfred Honeck ENDOWED BY THE VIRA I. HEINZ ENDOWMENT

RESIDENT CONDUCTOR

Lawrence Loh VIRGINIA KAUFMAN CHAIR

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J PRINCIPAL H CO-PRINCIPAL D ASSOCIATE PRINCIPAL X ASSISTANT PRINCIPAL

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EXECUTIVE COMMITTEE

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EX-OFFICIO

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DEVELOPMENT COMMITTEE**

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«

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PITTSBURGHSYMPHONY.ORG 2014-2015 SEASON

3

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JACK HEINZ SOCIETY CHAIRMAN

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NEW LEADERSHIP BOARD OFFICERS

COMMITTEE CHAIRS

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CHAIR

SOCIAL ACTIVITIES

Ronald F. Smutny

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VICE CHAIR

MARKETING & COMMUNICATIONS/ MEMBERSHIP

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FOR INFORMATION ABOUT NLB MEMBERSHIP, PLEASE CALL THE PITTSBURGH SYMPHONY ORCHESTRA AT 412.392.4865

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Judy Clough OFFICERS Mary Ann Craig, D.M.E. Dorothea Stover PRESIDENT

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PITTSBURGHSYMPHONY.ORG 2014-2015 SEASON

5

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ADMINISTRATION PRESIDENT & CEO

James A. Wilkinson SENIOR VICE PRESIDENT & COO

SALES

Elise Clark ASSISTANT MANAGER OF E-COMMERCE

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Shannon Sechrist

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PITTSBURGHSYMPHONY.ORG 2014-2015 SEASON

7

Invested in performance.

At BNY Mellon, we celebrate the inspirational power of the arts.

We are proud to present BNY Mellon Grand Classics and support the Pittsburgh Symphony Orchestra.

bnymellon.com

Š2014 The Bank of New York Mellon Corporation.

BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, OCTOBER 10, 2014 AT 7:30 PM SATURDAY, OCTOBER 11, 2014 AT 7:30 PM SUNDAY, OCTOBER 12, 2014 AT 2:30 PM

Omer Meir Wellber, conductor Pablo Villegas, guitar Pre-concert

Concert Prelude with Resident Conductor Lawrence Loh

Claude Debussy (Orch. by Henri-Paul Büsser)

Petite Suite I. En Bateau II. Cortège III. Menuet IV. Ballet

Joaquín Rodrigo Concierto de Aranjuez for Guitar and Orchestra

I. Allegro con spirito

II. Adagio

III. Allegro gentile

Mr. Villegas

Intermission

Explore A Salute to the Maestro, a multimedia exhibition celebrating Lorin Maazel, the internationally heralded conductor whose baton led the Pittsburgh Symphony Orchestra from 1984 until 1996. Trace his brilliant career though oral history recordings, archival video interviews, artifact displays and a detailed timeline of his most applauded musical achievements. Visit the exhibit on both the Grand Lobby and Grand Tier levels.

Piotr Ilyich Tchaikovsky

Manfred Symphony, Opus 58 I. Lento lugubre — Moderato con moto — Andante THE PARIS FESTIVAL IS II. Vivace con spirito MADE POSSIBLE, IN PART,

BY THE FINE FOUNDATION. III. Andante con moto IV. Allegro con fuoco

THE PARIS THE PF MADEMADE POSS

BY THEBY FINE TH

This weekend’s performances by Omer Meir Wellber are made possible, in part, through the endowed Donald & Sylvia Robinson Family Foundation Guest Conductor Chair.

PHOTOGRAPHY, AUDIO AND VIDEO RECORDING OF THIS PERFORMANCE ARE STRICTLY PROHIBITED. PROGRAM 2014-2015 SEASON

9

CLAUDE DEBUSSY

Petite suite (Composed for piano four-hands in 1889; orchestrated in 1907)

ABOUT THE COMPOSER

Born 22 August 1862 in Saint-Germaine-en Laye, near Paris died 26 March 1918 in Paris PREMIERE OF PIANO FOUR-HANDS VERSION

Paris, 1 March 1889 private salon Claude Debussy and Jacques Durand PREMIERE OF ORCHESTRAL VERSION

Paris, 4 November 1907 Orchestre Lamoureux Camille Chevillard, conductor PSO PREMIERE

16 October 1980 Heinz Hall Kiril Kondrashin, conductor INSTRUMENTATION

piccolo, two flutes, two oboes, english horn, two clarinets, two bassoons, two horns, two trumpets, timpani, percussion, harp and strings DURATION

14 minutes

PROGRAM NOTES BY DR. RICHARD E. RODDA

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During the early years of his life, before he fell under the influence of Eric Satie and the Symbolist poets, Debussy turned to the refined style of Jean-Philippe Rameau (1683-1764) for inspiration in his instrumental music. Several works of that time are modeled on the Baroque dance suite, including the well-known Clair de Lune, originally conceived as a simple slow movement for the Suite Bergamasque of 1889, the year from which the Petite Suite also dates. Like the Suite Bergamasque, the Petite Suite comprises brief dance movements that reflect the concise form and clear melody of their models. Though written for piano-four hands, the work’s greatest success has been in the sensitive orchestral setting by Henri-Paul Büsser. Büsser, like Debussy a graduate of the Paris Conservatoire and a recipient of the Prix de Rome, was a composer, conductor and organist who died as recently as 1973 at the imposing age of 101. He participated in the early performances of Pelléas et Mélisande as choral director and conductor, and the diaphanous orchestral garb he provided for the Petite Suite is testimony to his sympathy for Debussy’s style.

Each of the four movements of the Petite Suite bears a title reflecting its general character. En Bateau (“In a Boat”) is a lullaby-barcarolle that uses whole-tone scales in its central section. Cortège displays none of the funereal solemnity usually associated with pieces of that name, but rather calls to mind a pleasant stroll along the sundappled bank of a bubbling stream. Since Debussy associated the paintings of Watteau with Rameau’s music, this Cortège may have been meant to summon the elegant sensuality of such a canvas as The Embarkation to Cythera. The following Menuet is a wistful evocation of the most durable of all Baroque dances. The lively Ballet that closes the Petite Suite is not music for choreography, but rather recalls the Italian balletti of the 16th century, the dancelike vocal pieces for home entertainment that were imported into England as balletts (the “tt” is pronounced) and distinguished by their characteristic “fa-la-la” refrains.

JOAQUÍN RODRIGO

Concierto de Aranjuez for Guitar and Orchestra (1939)

ABOUT THE COMPOSER

Born on 22 November 1901 at Sagunto, Valencia died on 6 July 1999 in Madrid PREMIERE OF WORK

Barcelona, 9 November 1940 Palau de la Música Catalana Orquesta Filarmónica de Barcelona César Mendoza Lasalle, conductor Regino Sainz de la Maza, soloist PSO PREMIERE

18 February 2000 Heinz Hall Norio Ohga, conductor Christopher Parkening, soloist INSTRUMENTATION

piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, two horns, two trumpets and strings DURATION

24 minutes

The small town of Aranjuez, thirty miles south of Madrid on the River Tagus, is a green oasis in the barren plateau of central Spain. In the mid-18th century, a palace, set amid verdant forests and parks, was built at Aranjuez as a summer retreat for the Spanish court. Generations of Spanish kings thereafter settled into Aranjuez every spring, when the countless nightingales would serenade them from the cedars and laurels, the court ladies would promenade in the cooling shade, and the men would hone their equestrian skills with the famous creamcolored Andalusian horses bred nearby. When Joaquín Rodrigo sought inspiration for a new concerto in the difficult, war-torn year of 1939, it was to the elegant symbol of by-gone Spain represented

by Aranjuez that he turned. “Having conceived the idea of a guitar concerto,” he recalled, “it was necessary for me to place it in a certain epoch and, still more, in a definite location — an epoch at the end of which fandangos transform themselves into fandanguillos, and when the cante and the bulerias vibrate in the Spanish air.” He further stated that he had in mind the early decades of the 19th century when composing this Concierto de Aranjuez. Of the work’s mood and the character of its solo instrument, the composer wrote, “Throughout the veins of Spanish music, a profound rhythmic beat seems to be diffused by a strange phantasmagoric, colossal and multiform instrument — an instrument idealized in the fiery imagination of Albéniz, Granados, Falla and Turina. It is an imaginary instrument that might be said to possess the wings of the harp, the heart of the grand piano, and the soul of the guitar.... It would be unjust to expect strong sonorities from this Concierto; they would falsify its essence and distort an instrument made for subtle ambiguities. Its strength is to be found in its very lightness and in the intensity of its contrasts. The Aranjuez Concierto is meant to sound like the hidden breeze that stirs the tree tops in the parks, as dainty as a veronica.”

In his Concierto de Aranjuez, Rodrigo adapted the three traditional movements of the concerto form to reflect different aspects of the soul of Spanish music — the outer movements are fast in tempo and dance-like, while the middle one is imbued with the bittersweet intensity of classic flamenco cante hondo (“deep song”). The soloist opens the Concierto with an evocative, typically Spanish rhythmic pattern of ambiguous meter that courses throughout the movement.

The orchestra, in colorful fiesta garb, soon enters while the guitar’s brilliant, virtuoso display continues. The haunting Adagio, among the most beautiful and beloved pieces ever written for guitar, is based on a theme of Middle Eastern ancestry, given in the plangent tones of the English horn, around which the soloist weaves delicate arabesques as the music unfolds. The finale’s lilting simplicity (one commentator noted its similarity to a Spanish children’s song) serves as a foil to the imposing technical demands for the soloist, who is required to negotiate almost the entire range of the instrument’s possibilities.

PROGRAM NOTES 2014-2015 SEASON

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PETER ILYICH TCHAIKOVSKY

Manfred Symphony, Opus 58 (1885)

ABOUT THE COMPOSER

Born 7 May 1840 in Votkinsk, Russia died 6 November 1893 in St. Petersburg PREMIERE OF WORK

Moscow, 23 March 1886 Russian Musical Society Max von Erdmannsdörfer, conductor PSO PREMIERE

29 November 1907 Carnegie Music Hall Emil Paur, conductor INSTRUMENTATION

piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani, percussion, two harps, organ and strings DURATION

56 minutes

PROGRAM NOTES BY DR. RICHARD E. RODDA

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One of the highlights of Hector Berlioz’s second visit to Russia, in 18671868, was the performance of his composition inspired by Byron’s Childe Harold, the symphony Harold in Italy. The Russian passion for Byron was still strong after it had largely run its course in the rest of Europe, and Berlioz’s colorful, programmatic work created a considerable stir among both public and musicians. Harold in Italy was the direct inspiration for Rimsky-Korsakov’s Antar Symphony of 1868 and also caused Vladimir Stassov (the influential journalist and philosophical shepherd of the group of nationalistic composers known as “The Five”) to concoct a literary program for a four-movement symphony based on another of Byron’s writings, Manfred. Stassov sent his précis to Mili Balakirev, one of the group of nationalist composers known as “The Five,” who, finding the sketch “not in harmony with my intimate moods,” chose not to set it to music. Balakirev elaborated Stassov’s outline, and he sent it to Berlioz with the hope of inspiring a sequel to Harold in Italy. He even suggested the use in the proposed work of an idée fixe — a melody heard in every movement — a technique that had proven successful in the Symphonie Fantastique. Berlioz, tired, ill and nearing the end of his life, declined.

Balakirev’s scenario lay fallow for 14 years.

In 1882, Balakirev wrote Tchaikovsky a letter full of praise for the tone poems The Tempest and Francesca da Rimini and thanking him for the recent dedication of the revised version of Romeo and Juliet, whose form and subject he had originally suggested. He took the occasion to offer Tchaikovsky the long-dormant Manfred program. Tchaikovsky replied that the plan seemed too close to the Berlioz model to allow for much originality, and told Balakirev that he was not interested. Two years later, Balakirev met Tchaikovsky at the first performance of Eugene Onégin at St. Petersburg’s Imperial Theater, and again urged him to consider Manfred. Tchaikovsky, having become more familiar with the poet’s works since Balakirev first suggested the topic, arrived at the realization that this might indeed be a subject for him. Balakirev sent him a revised version of the scenario, even suggesting keys, moods and forms, and Tchaikovsky took it and a newly purchased copy of the original poem with him on a visit to Switzerland. He decided to go ahead with the project, despite reservations about composing to a literary plan. (“It is a thousand times pleasanter to compose without a program,” he confided to a friend.) He made sketches for Manfred during his spring 1885 travels, and settled down to serious work on the score when he returned home in the summer.

The new piece did not come easily. “Nothing has ever been so difficult for me or cost me so much effort as the symphony I am now composing,” he wrote in a letter. Work on Manfred was made more difficult by his busy schedule. He was beginning production plans for the just-completed opera Cherevitzki, and he had a waiting commission for another opera (The Enchantress) that he had to begin before Manfred could be finished. When Manfred was finally completed in December, he was curiously ambivalent about it. He called it “my finest symphonic

composition” yet refused to accept any payment from his publisher, Jurgenson, because he thought it would never be popular enough with audiences to repay the investment. Though the work has never enjoyed the acclaim of the late numbered symphonies, it remains one of Tchaikovsky’s most gripping orchestral essays.

Though Byron called Manfred a drama, he never intended that it be staged but rather read as a poetic recitation. He wrote to his publisher that it was “quite impossible to stage,” and that negotiations with the Drury Lane Theatre to mount a production “have given me the greatest contempt.” In 1817, Byron described the haunted, illusionary world of Manfred: “It is in three acts, of a very wild, metaphysical and inexplicable kind. Almost all of the persons — but two or three — are spirits of the earth and air, or the waters; the scene is in the Alps; the hero is a kind of magician, who is tormented by a species of remorse, the cause of which is left half unexplained. He wanders about invoking these spirits, which appear to him, and are of no use; he at last goes to the very abode of the Evil Principle, in propria persona, to evocate a ghost, which appears and gives him an ambiguous and disagreeable answer; and in the third act he is found by an attendant dying in the tower, where he had studied his art.”

The symphonic plan that Stassov and Balakirev wove around Byron’s play contains four scenes, which are faithfully mirrored by Tchaikovsky’s music.

“I. Manfred wanders over the Alps,” begins Balakirev’s outline. “His life is ruined; many burning questions remain unanswered; nothing remains to him but memory. The form of the ideal Astarte floats before his fancy; in vain he calls to her; only the echoes of the rocks give back her name. His thoughts and memories burn his brain and eat out his heart; he seeks and pleads for oblivion which none can give him.

“II. Scherzo fantastique. The spirit of the Alps appears to Manfred in the rainbow of the waterfall.

“III. A mood entirely different from the earlier movements. Program: the customs of the Alpine huntsmen, patriarchal, simple and kindly. With these customs Manfred comes into contact, and is in sharp contrast. Naturally, you must first of all have a little hunting motive, only here the greatest caution is necessary so as not to fall into triviality. Heaven preserve you from the commonplaces after the manner of German fanfares and hunting music!

“IV. Finale. A wild Allegro that depicts the caves of Arimanes, to which Manfred has gone to seek a meeting with Astarte. The contrast to this infernal orgy will be given by the appearance of Astarte’s shade. The music must be light, clear and maidenly. Then a repetition of the pandemonium; then sunset and the death of Manfred.”

In composing Manfred, Tchaikovsky not only followed Balakirev’s program but also adopted the technique of idée fixe that he suggested. The idée fixe melody, symbolizing Byron’s romantic protagonist, is presented at the Symphony’s outset and occurs in every movement.

The work, especially in its opening movement, does not follow traditional symphonic forms, and it is perhaps for that reason that Tchaikovsky did not include it among his numbered symphonies, considering it rather a multi-movement symphonic poem.

So truly do the individual movements reflect the literary scheme given above that they need little further comment. Manfred is one of Tchaikovsky’s most colorful orchestral pictures, exhibiting a richness and variety of instrumental sonorities unsurpassed by any of his other compositions. “Of all Tchaikovsky’s works, it is Manfred which has least deserved its fate,” wrote John Warrack in his biography of the composer. “He constructs a form of his own that is remarkably successful as an expression of his program.... It is a musical portrait, as strongly drawn as Berlioz’s Harold, of the guilty, doomed sensibility which was perhaps the aspect of Byron which most vividly appealed to the Russians.”

PROGRAM NOTES 2014-2015 SEASON

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OMER MEIR WELLBER Omer Meir Wellber was born in Be’er Sheva, Israel, in 1981, and has now emerged on the international scene as one of the most outstanding young conductors. In recent seasons, he has made successful debuts with a number of orchestras including the RAI National Orchestra, Israel Philharmonic and the Deutsches Symphonie-Orchester Berlin and is a regular guest conductor at the Israeli Opera, the Semperoper Dresden and at La Fenice Venice. Since 2009, he has been the music director of the Raanana Symphonette Orchestra, founded in 1991 to help aid the integration of Jewish immigrants in Israel.

Following his acclaimed debut at the Glyndebourne Festival in May 2014, the London Philharmonic Orchestra immediately invited Wellber to make his Royal Festival debut with them in April 2015. In the 20142015 season, Wellber will also make his U.S. debut with the Pittsburgh Symphony Orchestra and return to the Bavarian State Opera for performances of Carmen plus two symphonic concerts (Akademiekonzerte). In Dresden, Wellber will conduct a concert at the rostrum of the Staatskapelle Dresden and continue his Mozart/Da Ponte trilogy at the Semperoper with Le Nozze di Figaro.

From 2010 to 2014, he held the position of music director at the Palau de les Arts Reina Sofia in Valencia where he conducted various symphonic concerts as well as performances of Tchaikovsky’s Eugene Onegin (which has been released on DVD

by C Major), Mussorgsky’s Boris Godunov, two works by de Falla — La vida breve and El amor brujo — and Verdi’s I due Foscari with Plácido Domingo. In June 2013, he conducted the jubilee performance of Aida with La Fura dels Baus in the Arena di Verona to great acclaim. A DVD of the production was released by BelAir classiques in 2014.

His debut at the Semperoper Dresden with Strauss’ Daphne (2010) lead to a profound relationship with the opera house and the Staatskapelle Dresden. In 2014, Wellber conducted Strauss’ Ariadne auf Naxos and a concert performance of Guntram and 14

opened a Mozart/Da Ponte trilogy with Così fan tutte, staged by Andreas Kriegenburg.

The Vienna Festival entrusted him with the direction of Verdi’s trilogia popolare in a three-year project, conducting Rigoletto (2011), La Traviata (2012) and Il Trovatore (2013). Besides his engagements at La Scala, the Teatro Massimo in Palermo or the Berliner Staatsoper, he conducted numerous symphony concerts with the Orchestre de Paris, the Filarmonica della Scala, the NDR Radiophilharmonie in Hannover, and the hrSinfonieorchester in Frankfurt.

Wellber began his musical training at the age of five on the accordion and piano.

As he was also interested in composition, he took lessons from Tania Taler from the age of nine. After that, he was taught by Michael Wolpe until 2004. He graduated from the Be’er Sheva conservatoire in 1999.

Since then his works have been performed both in Israel and abroad, and broadcast on the radio. After graduating, Wellber took advantage of a scholarship from the American-Israel Cultural Foundation to continue his studies from 2000 to 2008. He did his bachelor’s degree under Eugene Zirlin at the Jerusalem Music Academy and his master’s degree in Mendi Rodan’s class.

Since 2005, Wellber has regularly appeared at the Israeli Opera in Tel Aviv, where he has conducted, among other works, Verdi’s La Traviata, La Forza del Destino, Il Trovatore, Rigoletto and Un Ballo in Maschera; Puccini’s Turandot and Madama Butterfly; Ponchielli’s La Gioconda; Donizetti’s L’Elisir d’Amore; Mozart’s Così fan tutte and The Magic Flute; Boito’s Mefistofele; Gounod’s Faust; and Janacek’s The Cunning Little Vixen. In February 2007, Wellber conducted a gala concert in Beijing with the city’s Philharmonic Orchestra. Shortly after, he made his debut with the Israel Philharmonic Orchestra. This was followed in October 2008 by Verdi’s Aida at the Teatro Verdi in Padua, for which he was voted one of the new discoveries of the year by the Italian magazine Classic Voice.

Between 2008 and 2010, he assisted Daniel Barenboim at the Berliner Staatsoper Unter den Linden and at La Scala in Milan.

To great public and critical acclaim he conducted Aida when La Scala performed at the Israeli Opera. This was followed by Bizet’s Carmen at the Staatsoper Berlin, his first concert at the Palau de les Arts Reina Sofia in Valencia, a concert at the Maggio Musicale Fiorentino, Strauss’s Salome as stand-in for Seiji Ozawa at the Saito Kinen Festival in Matsumoto, a new production of Strauss’ Daphne received with great acclaim at the Semperoper in Dresden, Puccini’s Tosca at the Berliner Staatsoper,

and symphony concerts in Verona and at La Fenice in Venice.

Wellber commits himself to educational work with young musicians and has become a Good Will Ambassador for the nonprofit organization Save a Child’s Heart in 2013.

The Israeli-based international organization provides lifesaving cardiac surgery and treatment for children from developing countries and a training program for doctors and nurses from these countries.

These performances mark Omer Meir Wellber’s debut with the Pittsburgh Symphony.

photo credit: Felix Broede BIOGRAPHY 2014-2015 SEASON

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PABLO VILLEGAS An “exceptional and gifted performer” (Classical Guitar) praised in The New York Times for his “beautifully rounded guitar tone” and “soulful rendition,” Pablo Villegas has taken the classical guitar world by storm. Winner of the inaugural Christopher Parkening International Guitar Competition, he is also the recipient of Spain’s “El Ojo Critico,” making him the first guitarist to win his home country’s top classical music honor.

The distinctions are in good company: Villegas has received more than 30 international awards to date, including the Francisco Tárrega Award and the Andrés Segovia Award—the latter at age 15—and he is the youngest guitarist to appear with the New York Philharmonic at Avery Fisher Hall, an auspicious debut made under the late Rafael Frühbeck de Burgos.

Performance highlights during a lauded 20132014 season included solo engagements with the Bilbao Symphony, Chamber Orchestra of Philadelphia, National Orchestra of Lyon and Royal Seville Symphony, as well as concerts with the Copenhagen Philharmonic, Galicia Symphony, Las Vegas Philharmonic, Puerto Rico Symphony, Symphony Orchestra of Castilla y León, Gewandhaus Quartet and Cincinnati’s Linton Chamber Music Series. In addition to touring in France and Japan, the avid recitalist made an eight-concert European tour with the Philharmonia of the Nations Orchestra and saw a successful premiere at the Kennedy Center of Tango, Song and Dance, a multi-media recital including violinist Augustin Hadelich and pianist Joyce Yang. The performance compelled the Washington Post to enthuse: “guitar and violin Having immediately captured the attention proved to be a wonderful pairing…, Villegas’s of critics and audiences worldwide, Villegas warm, easy sound complementing Hadelich’s has performed as a soloist with the New York timbre.” The program was equally well received Philharmonic, Los Angeles Philharmonic, San at the Aspen Music Festival.

Francisco Symphony, Boston Symphony at Tanglewood and Israel Philharmonic, and Villegas is an active recording artist, and was the appeared at Carnegie Hall, the New York City first in more than 20 years to record Rodrigo’s Classical Guitar Society, Guitar Foundation of soul-stirring Concierto de Aranjuez with the America Convention, Italy’s Merano Festival and National Orchestra of Spain, a featured work on with the Houston Symphony, Toronto Symphony, his forthcoming CD. The signature piece serves and Aarhus Symphony. Among the conductors as the vehicle for upcoming collaborations with whom he has collaborated are George with Spain’s National Radio & Television and its Crumb, Giancarlo Guerrero, Miguel Harth- National Youth Orchestra. Previous recordings Bedoya, Carlos Kalmar, Jean-Jacques Kantorow, include Histoire du Tango, a program of violinHelmut Lachenmann, Juanjo Mena and Alondra guitar works in collaboration with Augustin de la Parra. A champion and supporter of new Hadelich for the AVIE label, and Manuel M. repertoire for guitar, he performed the world Ponce’s Concierto del sur, a platinum title for premiere of Rounds, the first work written for Sony Classical. guitar by five-time Academy Award-winning composer John Williams, and he has been Noted for his outreach programs, Villegas honored to perform in the presence of the Dalai presides over Music Without Borders Legacy, Lama and Spain’s royal family. a program he founded in 2007 that seeks to bridge communities across cultural, social and For his 2014-2015 season, Villegas performs political boundaries through classical music. The with the Bergen Philharmonic Orchestra, foundation has reached more than 15,000 at-risk National Symphony Orchestra of Peru, Spain’s children and youth around the world. He is also National Radio & Television Orchestra (RTVE), cultural ambassador to the Vivanco Foundation Symphony of Guayaquil and at Washington’s and its Museum of Wine Culture, considered the Bellingham Festival, Bachwochen Thun Festival most prestigious wine museum in the world. in Switzerland, Festival Casals in Puerto Rico, and the Justus Frantz and Rheingau Music Born in 1977 in La Rioja, Spain, Villegas lives in Festivals in Germany. He looks forward to New York City. debuts with seven American Orchestras including the Colorado Springs Philharmonic, These performances mark Pablo Villegas’ debut Fort Worth Symphony, Oregon Symphony, with the Pittsburgh Symphony.

Pittsburgh Symphony Orchestra and San Antonio Symphony.

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photo credit: Lisa Mazzuco PROGRAM NOTES 2014-2015 SEASON

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THE PITTSBURGH SYMPHONY ORCHESTRA For more than 117 years, the Pittsburgh Symphony Orchestra has been an essential part of Pittsburgh’s cultural landscape.

The Pittsburgh Symphony, known for its artistic excellence, is credited with a rich history of the world’s finest conductors and musicians, and a strong commitment to the Pittsburgh region and its citizens.

This tradition was furthered in fall 2008, when Austrian conductor Manfred Honeck became music director of the Pittsburgh Symphony Orchestra.

With a long and distinguished history of touring both domestically and overseas since 1900, the Pittsburgh Symphony continues to be critically acclaimed as one of the world’s greatest orchestras. With more than 36 international tours, including 20

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European tours, eight trips to the Far East, and two to South America. The Pittsburgh Symphony was the first American orchestra to perform at the Vatican in January 2004 for the late Pope John Paul II, as part of the Pontiff’s Silver Jubilee celebration.

The Pittsburgh Symphony has a long and illustrious history in the areas of recordings and radio concerts. As early as 1936, the Pittsburgh Symphony broadcast coastto-coast, receiving increased national attention in 1982 through network radio broadcasts on Public Radio International.

The PRI series is produced by Classical WQED-FM 89.3 in Pittsburgh and is made possible by the musicians of the Pittsburgh Symphony Orchestra.

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PITTSBURGHSYMPHONY.ORG 2014-2015 SEASON

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Divine Travel

WITH CARNEGIE MUSEUMS OF PITTSBURGH

Exclusive experiences. Luxury accommodations.

JOIN US IN 2015!

La Mamounia

Palm Beach Jewelry, Art and Antique Show – PLUS visit with Carleton Varney!

February 13-16 Costa Rica’s Natural Treasures March 21-28 A Moroccan Palette—Arts from Tangier to Marrakech April 16-26 Havana Art Biennial with Arts & Architecture in Trinidad and Cienfuegos* May 22-30 Sailing the Mediterranean in the Age of Odysseus aboard the Sea Cloud June 27-July 5 French Riviera and Provence: Fine Art, Gardens, and Villas with Curator Lulu Lippincott September 26–October 5

Sea Cloud

*Cuba trip is subject to the renewal of Carnegie Museums’ People-to-People license.

Visit www.carnegiemuseums.org/travel for a list of all 2015 trips.

For more information, call Barbara Tucker at 412-578-2618.

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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, OCTOBER 24, 2014 AT 7:30 PM SUNDAY, OCTOBER 26, 2014 AT 2:30 PM

Yan Pascal Tortelier, conductor Lorna McGhee, flute Pre-concert

Concert Prelude with Resident Conductor Lawrence Loh and special guest Yan Pascal Tortelier

Edvard Grieg

Suite from Peer Gynt, Opus 23 Prelude Solveijg’s Song Anitra’s Dance Arabian Dance Morning Ingrid’s Lamentation In the Hall of the Mountain King Peer Gynt’s Homecoming Åse’s Death

Carl Nielsen Concerto for Flute and Orchestra

I. Allegro moderato

II. Allegretto — Adagio ma non troppo — Allegretto — Tempo di marcia Ms. McGhee Intermission

Explore A Salute to the Maestro, a multimedia exhibition celebrating Lorin Maazel, the internationally heralded conductor whose baton led the Pittsburgh Symphony Orchestra from 1984 until 1996. Trace his brilliant career though oral history recordings, archival video interviews, artifact displays and a detailed timeline of his most applauded musical achievements. Visit theTHE exhibit onIS both PARIS FESTIVAL MADE POSSIBLE, IN PART, the Grand Lobby and Grand Tier levels.

BY THE FINE FOUNDATION.

Jean Sibelius

Symphony No. 5 in E-flat major, Opus 82 I. Tempo molto moderato — Allegro moderato — Presto II. Andante mosso, quasi allegretto III. Allegro molto — Misterioso

PHOTOGRAPHY, AUDIO AND VIDEO RECORDING OF THIS PERFORMANCE ARE STRICTLY PROHIBITED. PROGRAM 2014-2015 SEASON

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THE PARIS THE PF MADEMADE POSS

BY THEBY FINE TH

EDVARD GRIEG

Suite from Peer Gynt, Opus 23 (1874-1875)

ABOUT THE COMPOSER

Born 15 June 1843 in Bergen, Norway died there on 4 September 1907 PREMIERE OF WORK

Oslo, 24 February 1876 Mollergaden Theater Johan Hennum, conductor PSO PREMIERE

12 March 1896

In January 1874, Grieg received a letter from the playwright Henrik Ibsen asking him to provide incidental music for a revival in Oslo of Peer Gynt, a philosophical fantasy with moralistic overtones to which the composer was not immediately attracted. Grieg was, however, rather badly in need of money at the time, and Ibsen’s offer of a sizeable share of the proceeds from the production proved irresistible. Grieg thought at first that he would need compose no more than a few short sections of music, but he failed to take into account the contemporary Norwegian taste in theatrical productions, which demanded an entertainment not unlike a modern musical comedy, with extended musical selections separated by spoken dialogue. Ibsen accordingly shortened the text of the original 1867 version of the play to accommodate the new music. As it turned out, Grieg’s score contained some 23 separate numbers and cost him nearly two years of work. His effort bore fruit. The music for Peer Gynt, in the form of two orchestral suites, won him international fame and personal economic security, and raised him to the highest position in Scandinavian music.

Carnegie Music Hall Frederic Archer, conductor INSTRUMENTATION

piccolo, three flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings DURATION

30 minutes

PROGRAM NOTES BY DR. RICHARD E. RODDA

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Grieg outlined the plot of the play in the preface to the score of the Second Suite, though it needs to be pointed out that the episodes and characters he mentions have a deeper, symbolic significance than is apparent from this brief précis: “Peer Gynt, the only son of poor peasants, is drawn by the poet as a character of morbidly developed fancy and a prey to megalomania. In his youth, he has many wild adventures — comes, for instance, to a peasants’ wedding where he carries the bride up to the mountain peaks. There he leaves her so that he may roam about with wild cowherd girls. He then enters the land of the Mountain King, whose daughter falls in love with him and dances for him. But he laughs at the dance and its droll music, whereupon the enraged mountain folk wish to kill him. But he succeeds in escaping and wanders to foreign countries, among others to Morocco, where he appears as a prophet and is greeted by Arab girls. After many wonderful guidings of Fate, he at last returns as an old man, after suffering shipwreck on his way to his home, which is as poor as he left it. There the sweetheart of his youth, Solveijg, who has stayed true to him for all these years, meets him, and his weary head at last finds rest in her lap.”

The Prelude suggests the festivity, thoughtful moments and dances of the wedding scene that opens the drama. Solveijg’s Song is sung by Peer’s true love, who waits faithfully for him to return home. Anitra’s Dance is a lithe number performed for Peer by the daughter of a Bedouin chief during his adventures in Morocco. The exotic Arabian Dance evokes Peer’s wanderings in that country. Morning, one of the most famous evocations of dawn in the musical repertory, occurs not at the beginning of the play but in Act IV, when Peer is in Africa.

Ingrid’s Lamentation portrays Peer’s kidnapping of the bride at a village wedding and her grief at later being discarded by him. In the Hall of the Mountain King accompanies Peer’s terrified escape from the abode of the most fearsome of Norway’s trolls. Peer Gynt’s Homecoming is a stormy seascape. Åse’s Death serves as the poignant background for the passing of Peer’s mother.

CARL NIELSEN

Concerto for Flute and Orchestra (1926)

ABOUT THE COMPOSER

Born 9 June 1865 in Odense, Denmark died 3 October 1931 in Copenhagen PREMIERE OF WORK

Paris, 21 October 1926’ Salle Gaveau Orchestre de la Société des Concerts du Conservatoire Emil Telmányi, conductor Holger Gilbert-Jespersen, soloist PSO PREMIERE

22 October 1987 Heinz Hall Lorin Maazel, conductor James Galway, soloist INSTRUMENTATION

two oboes, two clarinets, two bassoons, two horns, trombone, timpani and strings DURATION

20 minutes

Nielsen’s life-long interest in composing for wind instruments was excited in 1921 when he heard a rehearsal of Mozart’s Sinfonia Concertante in E-flat (K. 297b) by the Copenhagen Wind Quintet.

He produced a Wind Quintet (Op. 43) the following year, and also determined to write a concerto for each of the members of the Copenhagen ensemble that would be tailored to the technique and personality of the individual musicians. He was able to finish only the concertos for flute and clarinet (his only other concerto is for violin), but these pieces are among the most important for their instruments written during the 20th century. Largely because of his labors on the problematical Sixth Symphony, Nielsen was unable to begin work on his Flute Concerto until 1926, by which time the Copenhagen Quintet’s original flutist, Paul Hagemann, had been replaced by Holger GilbertJespersen. He composed the Concerto during a sojourn in Florence, completing the first movement there on September 6th and the second on October 1st. Gilbert-Jespersen introduced the work at the Salle Gaveau in Paris on October 21st; the orchestra was directed by the composer’s son-in-law, the violinist and conductor Emil Telmányi.

Despite its good reception (Arthur Honegger described it as “piquant, fluent and with no dearth of humor”), Nielsen was dissatisfied with the tonal structure of the Concerto’s ending, and he revised the score before conducting it for the first time, in Oslo on November 9th.

In his study of Nielsen’s music, British author and composer Robert Simpson wrote that the Flute Concerto “has a ripe sense of fun with a deeply poetic insight into human character; in many ways it is the richest and most original concerto ever written for the flute.”

One of Nielsen’s favorite compositional techniques was to pit two instruments against each other as virtual combatants. In the Fourth, Fifth and Sixth Symphonies, this device was used to realize the music’s underlying philosophical program, but in this Concerto it was used for fun — specifically in the squaring off between the flute and the bass trombone, which Kaikhosru Sorabji described as the soloist’s persona ingratissima. “This coarse individual spreads himself all over the score with a grotesque and aimless blether,” noted Simpson, “as if looking for something he has never even remembered to forget, while the aristocratic flute expresses its outraged sensibilities.” The object of the Concerto’s search is not discovered until late in the second movement, when the trombone stumbles upon a tidy little march tune in 6/8 meter. “This is plainly what everybody has been looking for,” continued Simpson, “and the discomfiture of the flute at having been forestalled by a mere uncouth yokel is clear in the exquisitely graceful and pained phrases he emits. As for the trombone, his chortles of joy take the form of distinctly uncultured glissandi, and the Concerto ends on this delightful note.”

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In 1929, Nielsen wrote his own description of the Flute Concerto’s progress: “First Movement: Even though the Concerto begins with a dissonance, it might still come under the designation, ‘gentler zone.’ The beginning is, if anything, kept in a free, improvisatory style, and the solo instrument moves about as if seeking something, until it takes hold of a little, more decisive motive, which is later taken up by the orchestra and subsequently comes to play a certain part in a fairly developed transition to the movement’s second theme (a ‘song-subject’). This is first stated by the orchestra, after which the solo flute plays the same thing a fourth higher and then goes on into a little conversation with the solo clarinet and a bassoon. A vigorous crescendo-measure after that drives the solo instrument on to some more impassioned expressions, but this is not very severely intended, and we slide once more into a peaceful state of affairs with some small pottering about here and there. But then it seems as if the instrument is beginning to become bored, and so it seizes upon a somewhat more pronounced and fugal theme, which is suddenly interrupted by the timpani, who soon after chase a solo trombone out of its inertia. The solo flute becomes quite nervous and screams out, and now things grow more lively in their haggling. Gradually, the orchestral writing also becomes fuller and more agitated, though this is not for long: for the flute cannot forswear its nature, it hails from Arcadia and prefers the pastoral atmospheres. Consequently, the composer is obliged to conform to its mild nature, if he would not risk being branded as a barbarian. There appear no more new factors in the first movement, but the soloist still has a pair of free cadenzas and a duet with the solo clarinet. The movement ends not as it began, but contrary-wise; it subsides gently to repose in G-flat major, whereas it began dissonantly and without a key.

“Second Movement: In order to move away from the gentle G-flat major tonality that ended the first movement, the orchestra jabs, somewhat maliciously, a few notes at the beginning of the movement, but this quickly turns milder, and when the solo flute comes in it is quite child-like and innocent. Through a good many more ‘spicy’ episodes, we arrive at last at an Adagio, where the solo instrument sings a mournful melody, which is also developed and elucidated in the orchestra. Thereafter, the first (innocent) motive returns and is treated anew, but it passes once more into some slow measures from the Adagio.

Then something new happens: there appears a little march-motive, which puts the solo flute in a better mood, and the movement ends in this lighter, more superficial, and smiling atmosphere.”

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JEAN SIBELIUS

Symphony No. 5 in E-flat major, Opus 82 (1915; revised in 1916, 1918 and 1919)

ABOUT THE COMPOSER

Born 8 December 1865 in Hämeenlinna, Finland died 20 September 1957 in Järvenpää, Finland PREMIERE OF WORK

Helsinki, 8 December 1915 Helsinki Philharmonic Orchestra Jean Sibelius, conductor PSO PREMIERE

10 February 1937 Syria Mosque Antonio Modarelli, conductor INSTRUMENTATION

woodwinds in pairs, four horns, three trumpets, three trombones, timpani and strings DURATION

31 minutes

Early in 1915, Sibelius learned that a national celebration was being planned for his 50th birthday (December 8), and that the government was commissioning from him a new symphony for the festive concert in Helsinki. He withdrew into the isolation of his country home at Järvenpää, 30 miles north of Helsinki (today a lovely museum to the composer), to devote himself to the gestating work, and admitted to his diary, “I love this life so infinitely, and feel that it must stamp everything that I compose.” He had to rush to finish the work for the concert in December, even making changes in the parts during the final rehearsal, but the Symphony was presented as the centerpiece of the tribute to the man the program described as “Finland’s greatest son.” Sibelius’ birthday was a veritable national holiday, and he was lionized with speeches, telegrams, banquets, greetings and gifts; the Fifth Symphony met with great acclaim. The concert was given three additional times during the following weeks to satisfy the demand to hear this newest creation of the country’s most famous musician.

Theorists have long debated whether Sibelius’ Fifth Symphony is in three or four movements; even the composer himself left contradictory evidence on the matter. The contention centers on the first two sections, a broad essay in leisurely tempo and a spirited scherzo, played without pause and related thematically. The opening portion is in a sort of truncated sonata form, though it is of less interest to discern its structural divisions than to follow the long arches of musical tension and release that Sibelius built through manipulation of the fragmentary, germinal theme presented at the beginning by the horns.

The scherzo grows seamlessly from the music of the first section. At first dance-like and even playful, it accumulates dynamic energy as it unfolds, ending with a whirling torrent of sound. The following Andante, formally a theme and variations, is predominantly tranquil in mood, though punctuated by several piquant jabs of dissonance.

“There are frequent moments in the music of Sibelius,” wrote Charles O’Connell of the Symphony’s finale, “when one hears almost inevitably the beat and whir of wings invisible, and this strange and characteristic effect almost always presages something magnificently portentous. We have it here.” The second theme is a bell-tone motive led by the horns that serves as background to the woodwinds’ long melodic lines. The whirring theme returns, after which the bell motive is treated in ostinato fashion, repeated over and over, building toward a climax until it seems about to burst from its own excitement — which it does. The forward motion abruptly stops, and the Symphony ends with six stentorian chords, separated by silence, proclaimed by the full orchestra.

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YAN PASCAL TORTELIER Yan Pascal Tortelier enjoys a distinguished career as guest conductor of the world’s most prestigious orchestras. He began his musical career as a violinist and, at 14, won first prize for violin at the Paris Conservatoire, making his soloist debut with the London Philharmonic Orchestra shortly afterward. Following general musical studies with Nadia Boulanger, Tortelier studied conducting with Franco Ferrara at the Accademia Chigiana in Siena, and from 1974 to 1983 he was associate conductor of the Orchestre National du Capitole de Toulouse. Further positions since then have included principal conductor and artistic director of the Ulster Orchestra (1989-1992) and principal guest conductor of the Pittsburgh Symphony Orchestra (2005-2008). He was also principal conductor of the Sao Paulo Symphony Orchestra from 2009 to 2011, and currently holds the position of guest conductor of honour, in which capacity he returns to the orchestra a number of times each season. Following his outstanding work as chief conductor of the BBC Philharmonic between 1992 and 2003, including annual appearances at the BBC Proms and a very successful tour of the United States to celebrate the orchestra’s 60th anniversary season, he was given the title of conductor emeritus and continues to work with the orchestra regularly. He also holds the position of principal guest conductor at the Royal Academy of Music in London.

Boston, Chicago, and Montreal symphony orchestras. Further afield he has collaborated with the Melbourne Symphony, the Tokyo Metropolitan Symphony, and the Hong Kong and Malaysian philharmonic orchestras.

Highlights of the 2014-2015 season and beyond include returns to the United States to conduct the orchestras in Pittsburgh, Dallas, Montreal, San Francisco, Minnesota and Baltimore; European performances with the Iceland, Royal Flemish, Lyon National, Bournemouth symphony orchestras, and the Royal Liverpool and BBC philharmonic orchestra; and his return to Australia to conduct the Melbourne, Adelaide and Sydney symphony orchestras. Tortelier also will perform with the St. Petersburg Philharmonic and Montreal Symphony.

Tortelier has enjoyed a long association with Chandos Records, resulting in an extensive catalogue of recordings, notably with the BBC Philharmonic and Ulster orchestras, and including award-winning cycles of the orchestral music of Debussy, Ravel (featuring his own orchestration of Ravel’s Piano Trio), Franck, Roussel, and Dutilleux.

He also has conducted critically acclaimed discs of repertoire ranging from Hindemith and Kodaly to Lutoslawski, and Karlowicz.

Recent releases for Chandos include the Ravel piano concertos coupled with Debussy’s Fantaisie, with pianist Jean-Efflam Bavouzet, and a disc of works by Florent Schmitt with the Sao Paulo Symphony. In the 2013-2014 season, Tortelier added to this catalogue with the release of an entire disc of Stravinsky, once again collaborating with Jean-Efflam Bavouzet.

Tortelier has collaborated with major orchestras including the London Symphony Orchestra, London Philharmonic Orchestra, Orchestre de Paris, Royal Concertgebouw Orchestra, Czech Philharmonic, St Yan Pascal Tortelier last performed with the Petersburg Philharmonic, Oslo Philharmonic, Pittsburgh Symphony in November 2013.

Filarmonica della Scala Milan, Philadelphia Orchestra, Los Angeles Philharmonic and the

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BIOGRAPHY 2014-2015 SEASON

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LORNA McGHEE Scottish-born Lorna McGhee is principal flute with the Pittsburgh Symphony Orchestra and has performed as guest principal with Chicago Symphony, Minnesota Orchestra, London Symphony, London Philharmonic, Academy of St-Martin-in-the-Fields and Chamber Orchestra of Europe. Before emigrating to North America in 1998, McGhee was co-principal flute of the BBC Symphony Orchestra in England. As a soloist, she has given concerto performances with the London Symphony Orchestra, Scottish Chamber Orchestra and BBC Scottish Symphony Orchestra in the UK; Manitoba Chamber Orchestra, Toronto Philharmonia and Victoria Symphony in Canada; and the Nashville Chamber Orchestra and Oregon Bach Festival Orchestra in the United States.

A career highlight was a performance of Penderecki’s flute concerto with the Oregon Bach Festival Orchestra under the baton of the composer in 2004.

performances have been broadcast on CBC Radio in Canada, BBC Radio, NPR (USA), Netherlands Radio and ABC (Australia). She has made chamber music recordings for EMI, Decca ASV, Naxos and Meridian. Along with Duo partner Heidi Krutzen, McGhee has released two CDs on Skylark Music: Taheke, 20th century Masterpieces for flute and harp and Canada, New Works for flute and harp. As a member of Trio Verlaine (with Heidi Krutzen, harp and David Harding, viola) McGhee has most recently recorded Fin de Siècle, a CD of music by Debussy and Ravel for Skylark Music. Both the Trio and Duo are committed to broadening the repertoire and have contributed six new commissions to date.

Having taught at the University of Michigan and the University of British Columbia, McGhee has given master classes at universities and conservatoires in the UK, United States and Canada, including the As a chamber musician and recitalist, she Julliard School, the Royal Academy of has performed throughout Europe and Music and the Banff International Centre North America in such venues as London’s for the Arts. She is now an honorary Wigmore Hall, Barge Music in New York, “Fellow of the Royal Academy of Music.” the Louvre, Paris and the Schubertsaal of Vienna’s Konzerthaus. McGhee is often Lorna McGhee last soloed with the Pittsburgh featured in chamber music festivals in Symphony in November 2013.

Canada, the United States and Australia. Her

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photo credit: Rob Davidson BIOGRAPHY 2014-2015 SEASON

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MEET MUSICIAN THE

A R T I S T Q & A F E AT U R I N G L O R N A M C G H E E , P R I N C I PA L F L U T E

William Bennett is the greatest influence.

He is a musical genius, but also a great bon viveur. He takes great delight in music, is tremendously creative, imaginative and playful. When he plays, it is always alive and always telling a story. Fearlessly inspiring.

On a broader scale, the people I revere are the musical and humanitarian giants, Pablo Casals and Yehudi Menuhin.

What is your favorite spot in Heinz Hall?

There are several places I’d like to mention.

I think that where I sit, right in the middle of the orchestra is the best seat in the house.

I wish the audience could experience what it is like to be in the midst of such sonority and intricately woven instrumental voices.

Playing a ‘soprano’ instrument, I particularly love having the cellos directly in front of me, and the double basses to the side—the sound is so rich, and sometimes the floor starts shaking when the basses get going.

Backstage, there are many different notice boards with all sorts of information, but one particularly happy spot is the notice board that features photographs and letters from school children, telling us about what their Pittsburgh Symphony outreach visit meant to them. Lastly, the office of our personnel manager, Kelvin, is a wonderful haven.

Every square inch of wall space is covered with witty and irreverent cartoons. He also keeps us medicated with a steady supply of candies.

Do you have any special pre-concert rituals?

Not really—”stay calm and carry on,” is the best I can do.

What teacher or colleague has had the most influence on you?

I have had so many great teachers—my high-school academic music teacher, Alistair Chisholm, and my two main flute teachers, David Nicholson in Scotland and William Bennett in London. Probably 32

Did you visit any music festivals this summer?

This was a crazy, but very enjoyable summer.

I taught and played at flute summer schools and festivals in Canada, Italy, Switzerland, Japan and Singapore. With my flute, viola and harp ensemble, Trio Verlaine, we performed at the Edinburgh International Festival and I also played at the Seattle Chamber Music Festival. In the middle of all of that, I played at a friend’s wedding in Santa Fe, which was very special.

What is your favorite Pittsburgh neighborhood?

Lawrenceville! This neighborhood has a lot of character and is populated by the most creative people.

Outside of classical music, what composers, performers or genres do you enjoy?

I like a lot of different genres, but am no expert in any of them. Honestly, I don’t listen to a lot of music. When you are making noise all day, it’s nice to have some peace and quiet, so if I listen to the radio, it would be more likely to be interviews with writers or artists, or some kind of discussion rather than listening to more music. I miss BBC radio, so I tune into that on my computer.

Having said that, I do like more earthy, gritty kinds of music, like blues, for example Kelly Joe Phelps, or more folk-based stuff, like the band Passenger, and I do harbour a secret desire to play in an Irish or Scottish folk-band. I greatly admire, and secretly envy the Irish flute player, Matt Molloy!

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JEFFREY TURNER principal bass

PITTSBURGH SYMPHONY ASSOCIATION

“Bass Is Beautiful” Thursday, October 16, 2014

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2014-15 SeaSon

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Gene & Sue Burns Dr. Bernadette G. Callery* & Dr. Joseph M. Newcomer Susan S. Cercone Mrs. Arthur L. Coburn III Judge Maurice B. Cohill Jr. Sen. Herbert B. & Linda Conner Marion S. Damick Alfred R. de Jaager Dr. & Mrs. Robert C. Dell Michelle Ann Duralia John & Gertrude Echement Linda & Robert Ellison Marlene & Louis Epstein Ms. Kelly G. Estes & Mr. Hank Snell Donald & Judith Feigert John H. Feist, M.D. Mrs. Orlie S. Ferretti Albert L. Filoni Mr. & Mrs. Joseph P. Fisher Dr. Edward L. Foley Chauncey & Magdaline Frazier Dr. & Mrs. J. William Futrell Keith & Susan Garver Alice V. Gelormino Mrs. Merle Gilliand* Franklyn & Dale Gorell Laurie Graham Rick & Stephanie Green Dr. Alberto M. Guzman Mrs. Ellen Hagerty Mr. & Mrs.* George K. Hanna Rev. Diana D. Harbison Paul T. Harper Bob & Georgia Hernandez Douglas & Antionette Hill Dr. & Mrs. John W. Hoyt Micki Huff Joan M. Hurrell Mary Lee & Joe Irwin Barbara Johnstone Jackie & Ley Jones Mr. & Mrs. Jayant Kapadia Mr. & Mrs. David N. Kaplan Rolf & Florence M. Kayser Mr. William E. Kenworthy & Mrs. Lucille Kenworthy Gloria Kleiman James & Jane Knox Lewis & Alice Kuller George & Alexandra Kusic Father Ronald P. Lengwin 38

Sally Levin Claire & Larry Levine Harriet, Barbara, Marc, Scott and Kim Lewis in memory of Elliott (Bud) Lewis Dr. Michael Lewis & Dr. Katia Sycara Elsa Limbach Roslyn M. Litman In Memory of Norval W. Lyle Francis & Debbie Lynch George & Jane Mallory Dr. Richard Martin in memory of Mrs. Lori Martin Carolyn Maue & Bryan Hunt Bill Maurer & Carol Jean McKenzie Jean H. McCullough Dr. & Mrs. J. B. McGee Alan & Marilyn McIvor Sherman & Sue McLaughlin Nessa Green Mines Constance C. Morrison Lesa B. Morrison, Ph. D Dr. & Mrs. Etsuro K. Motoyama Harry & Kathleen Nagel Maurice & Nancy Nernberg Maureen S. O’Brien Mr. & Mrs. Patrick M. O’Donnell Dr. Karl R. Olsen & Dr. Martha E. Hildebrandt Ellen Ormond Seth & Pamela Pearlman Connie & Mike Phillips Mr. & Mrs. E. Kears Pollock Mrs. Mildred M. Posvar Ms. Sandy Pysh & Mr. Rich Somplatsky Charles & Patricia Ransom Stephen G. Robinson Dr. Lee A. & Rosalind* Rosenblum Rich & Linda Ruffalo Dr. James R. Sahovey Juerg* & Lois Saladin Drs. Guy & Mary Beth Salama Thomas & Perri Schelat Joseph Schewe Jr. Esther Schreiber Jolie Schroeder Robert J. & Sharon E. Sclabassi Mr. & Mrs. Raymond V. Shepherd Jr.

Preston & Annette Shimer Kay L. Shirk Mr. & Mrs. Robert H. Shoop Jr. Dr. Ralph T. Shuey & Ms. Rebecca L. Carlin Marilyn G. Shure Constance Silipigni Paul & Linda Silver Juliet Lea Hillman Simonds Mr. Frank Simpkins Dennis & Susan Slevin Mrs. Alice R. Snyder Marcie Solomon & Nathan Goldblatt The Honorable & Mrs. William L. Standish Lewis M. Steele & Ann Labounsky Steele Barbara & Lou Steiner Dr. & Mrs. Ron Stoller Dick & Thea Stover Mr. & Mrs. Harold H. Stroebel Judith & Steve Thomas Bob & Bette Thomson Mr. & Mrs. Arthur W. Ticknor Rosalyn & Albert Treger Jane F. Treherne-Thomas Albert & Megan Trezza Mr. & Mrs. Walter W. Turner Drs. Ben Van Houten & Victoria Woshner Bob & Denise Ventura Mr. & Mrs. Jerry Vest Mr. & Mrs. Timothy Vismor Mr. & Mrs. Burt Wald C. Robert Walker Frank & Heide Wenzel Mr. & Mrs. Raymond B. White James R. Whitehead Elizabeth* & Frank Wiegand Mr. & Mrs. Thomas H. Witmer Ellie & Joe Wymard Naomi Yoran Mr. & Mrs. Charles Zellefrow SYMPHONY CLUB $500 - $1,499

Anonymous (29) Janese A. Abbott & David E. Clark Barbara & Otto Abraham Deborah L. Acklin

Mary Beth Adams Dr. & Mrs. Siamak Adibi R. Ward Allebach & Lisa D. Steagall Erin and Kevin Allen Richard C. Alter & Eric D. Johnson Donald & Kathleen Anderson Ronald Anderson Craig & Dawn Andersson Anne B. Angerman Rev. Drs. A. Gary & Judy Angleberger Joan Apt Yoshio Arai Warren J. Archer & Madeline C. Archer Rod & Tammy Ardolino James & Susanne Armour Mr.* & Mrs. David J. Armstrong Dr. Donald & Joann Atkinson Dr. & Mrs. Robert B. Atwell Dr. & Mrs. Alan A. Axelson Ruth Bachman in Memory of James Bachman Sidney Baker Donna L. Balewick MD Dr. Esther L. Barazzone Wendy & David Barensfeld Dr. Barbara Barnes Joe & Sandra Barnes Richard C. Barney Robert & Loretta Barone Martin & Bridgett Bates Robert & Janet Baum John & Betsy Baun Barbara N. Baur Vitasta Bazaz & Sheen Sehgal Fund in Memory of Dr. Kuldeep Sehgal David & Gail Becker Kenneth & Elsa Beckerman Vange & Nick Beldecos Judith Bell Edgar* & Betty Belle Rudy & Barbara Benedetti Eleanor H. Berge Ron & Nancy Bergey Dr. Peter & Judy Berkowitz Mrs. Georgia Berner & Mr. James Farber Dr. Lawson Bernstein Robert S. Bernstein & Ellie K. Bernstein Fund

Ms. Robin Joan Bernstein & Mr. H. Seigle* Don Berry Marilyn & Guy Berry Henry & Charlotte Beukema Drs. Barbara & Al Biglan Harry S. Binakonsky, M.D. Dr. Paul Birckbichler Mr. & Mrs. Thomas E. Birsic Rob & Hongwei Bittner Franklin & Bonnie Blackstone Harry & Gayle Blansett Michael & Carol Bleier Mr. & Mrs. Donald G. Block Clifford Bob & Joan Miles Sandi & Jim Bobick Steve & Jeanne Boehmer Marianne Bokan-Blair Jim & Debbie Boughner Dr. & Mrs. A’Delbert Bowen Wm & Elizabeth S. Bowers, Jr Mr. & Mrs. William H. Brandeis Gary & Connie Brandenberger Sue & Mark Breedlove Gerda & Abe Bretton Mary & Russell Brignano Mary L. Briscoe Judy Brody & Lawrence Adler Suzanne Broughton & Richard Margerum Mr. & Mrs.* Earle O. Brown Jr. Timothy R. Brown & Heidi K. Bartholomew Nancy & John* Brownell Lois R. Brozenick Dr. & Mrs. John A. Burkholder James & Anne Burnham Dr. Stuart S. Burstein Nicholas Butera & Grace Wagner Michael F. Butler Christopher & Nancy Caldwell James & Judith Callomon Susan Campbell & Patrick Curry Andrés Cárdenes & Monique Mead Dr. Albert A. Caretto Richard & Jeanne* Carter Charles & Donna Cashdollar David & Kathryn Cashman

Dr. & Mrs. Richard G. Cassoff Janet E. Chadwick Sue Challinor & Matt Teplitz Mr. Flavio & Tatjana M. Chamis Dr. Thomas S. Chang Deborah & David Chapman Peggy & Joe Charny Ms. Amy Chen Craig D. Choate Kenneth & Celia Christman Dr. & Mrs. Albert E. Chung Ralph & Phyllis Cioffi William R. Clarkson & Dr. Andrea Velletri Robert & Elizabeth Clemens Elizabeth & William Clendenning Stuart & Cathryn Coblin Jared L. & Maureen B. Cohon Alan & Lynne Colker In Loving Memory of Johnathan Heath College Dale Colyer Connell Leonard Family Lin & Anne Cook R. Bruce Cooper Dr. & Mrs. Cleon L. Cornes Sheila Corrall & Ray Lester Patricia Cover Barton & Teri Cowan Hanley B. Cox Mary Ann Craig, D.M.E. Susan & George Craig Susan O. Cramer David* & Marian Crossman John D. & Laurie B. Culbertson Kent & Merle Culley Mr. S. A. Cunningham Zelda Curtiss Cynthia Custer Mr. & Mrs. Cyrus Daboo Dr. & Mrs. Richard H. Daffner Mr. Enrico & Mrs. Federica Dallavecchia Joan & Jim Darby Mr. & Mrs. William J. Darr Dr. & Mrs. K. C. Davides Joan Clark Davis Bruce & Rita Decker Jim* & Peggy Degnan In Honor of Dr. & Mrs. William E. Rinehart

Charles S. Degrosky Dan & Dee Delaney Dr. & Mrs. Gregory G. Dell’Omo Lynn & David DeLorenzo Dr. Richard S. DeLuca Edward U. DePersis Patrick C. Derrico Frank D. & Mary K. Devono Valerie DiCarlo Mr. & Mrs. Victor DiCarlo Alfred & Eileen Diorio Peter Ditsch D.J. Knowles Dodds Holland & Susan Donaldson Lisa Donnermeyer Mr. & Mrs. Todd Donovan Doris Dowling Mr. & Mrs. James R. Drake Anthony V. Dralle Dristas, Thomas & Teresa Mr. John M. & Ms. Victoria W. Duff Mary A. Duggan David & Lisa Durbin Jeff & Wendy Dutkovic John & Elizabeth Eckenrod Mr. & Mrs. David H. Ehrenwerth Christopher* & Gretchen Elkus Mr. Jack W. & Mrs. Mary Jo Elliott Katrin & Eugene Engles Jr. Arnold & Eva Engler Mindy & Richard Epstein Dan & Nancy Fales Joan Feldman Charles E. Felix Martin & Suzanne Fenster Dr. & Mrs. Lawrence Ferlan Madelyn & John Fernstrom Dana H. Ferry Janet Fesq Dr. Joseph Fine Nancy A. Fitch Warren & Joan Fitzpatrick Ms. Ann P. Flaherty Mr. Mark F. Flaherty Mr. & Mrs. James Flanigan Jan Fleisher Michael J. Flinn & Eileen Flinn Suzanne Flood Mr. & Mrs. Anthony Fonseca

Mr. & Mrs. Edward Fortwangler Mr. & Mrs. K. H. Fraelich Jr. Christina Friday Eleanor Friedman Friends of the PSO Reanette & Steve Frobouck Elaine & John Frombach F. Thomas Fruehstorfer Mrs. Fran Frye Dr. & Mrs. Freddie H. Fu Lorie Fuller Normandie Fulson Mr. Gabriel C. Fusco Bruce & Ann Gabler Dr. & Mrs. R. Kent Galey Gamma Investment Corporation Dr. & Mrs. Keith Garbutt Ronald & Marlene Gardner Dr. & Mrs. Marc E. Garfinkel Hans & Gudrun Garkisch Beth & Phil Gasiewicz Joan & Stuart Gaul K. Gavigan & Wm. B. Dixon Pete Geissler Mr. & Mrs. David C. Genter Anne & Rob German Mr. & Mrs. William P. Getty Mr. & Mrs. Charles E. Getze Revs. Gaylord & Catherine Gillis Barbara & Fred Gilman Mr. David Givens & Mr. Stephen Mellett Mike & Cordy Glenn Virgil Gligor & Alicia Avery Daniel & Marcia Glosser Fund Mr. & Mrs. Harry M. Goern Mr. & Mrs. Ted Goldberg Walter L. Goldburg Bernard Goldstein, M.D. & Russellyn Carruth Thomas W. Golightly* & Rev. Dr. Carolyn J Jones Dr. & Mrs. C. B. Good Richard E. Gordon & June F. Swanson Ms. Rita J. Gould The Graf Family Dr. Lora D. Graves & Dr. Bryan D. Dye David & Nancy Green Lori Greene & Chris Decker Charlotte T. Greenwald

EVERY GIFT IS INSTRUMENTAL 2014-2015 SEASON

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Mr. & Mrs. Steven Gridley Ernest J. Grindle Margaret L. Groninger D.T. Gruelle Specialty Logistics Ms. E. A. Gundelfinger Andrew Gurcak & Elaine Lees Kristine Haig & John Sonnenday John and Judith Hall Mr. & Mrs. Van Beck Hall Jeanne M. Hanchett & Phillips P. Wedemeyer Susan & Wilfred Hansen Gail & Gregory Harbaugh Jeanie & Ben Hardesty Susan & David Hardesty Charles Harris & Darlene Nowak in honor of William & Kathleen Caballero Mr. & Mrs. Edward J. Harris Mary O. Harrison Mr. Robert Hartman Ms. Christine A. Hartung James & Ann Harty Cal & Donna Hastings Greg Haughey Barbara A. Hays Cathy & John Heggestad Dr. & Mrs. Fred P. Heidenreich Ms. Emily Heidish Ms. Martha S. Helmreich in Honor of my mother, Anne J. Schaff Eric & Lizz Helmsen Paul & Colleen Hennigan Marianne & Marshall Hess Professor Benjamin E. Hicks Dr. & Mrs. John B. Hill Dr. Joseph & Marie Hinchcliffe Pete & Rebecca Hoch Ms. Donna Hoffman & Mr. Richard Dum Clare & Jim Hoke Philo & Erika Holcomb Katherine Holter Dr. & Mrs. Elmer J. Holzinger Ms. Madeleine Hombosky Tom & Mary Hooten Mr. & Mrs.* Lewis J. Hoover Thomas O. Hornstein* Charitable Fund of The Pittsburgh Foundation 40

Joseph W. Hostetler Mr. & Mrs. Alan R. Huffman Mr. & Mrs. Elwood T. Hughes Jean & Richard Humphreys Robert & Gail Hunter Dr. & Mrs. Robert W. Hyland Jr. George L. Illig Jr.* Anthony C. Infanti Robert & Rose Marie Izzo Mr. & Mrs. Vincent J. Jacob Dr. & Mrs. Samuel A. Jacobs Lynne & Blair Jacobson David & Terry Jancisin Dr. & Mrs. Edward W. Jew Jr. Dawn M. Johnson Janis & Jonas Johnson Joanne K. Johnson Tom & Wendy Jones in Honor of Chris Wu John & Maureen Joyce Mr. & Mrs. Richard Kahlson Alice & Richard Kalla Daniel G. & Carole L. Kamin Dr. & Mrs. Peter D. Kaplan Mr. & Mrs. Michael J. Kara Jim Keller & Mary Ellen Hoy Flo & Bob Kenny Rhian Kenny Jayne & Niles Kenyon The Kessler Family Greta Keverline Ellen Kiam & William B. Troy Mr. Milton B. Kimura Ruth Ann & Eugene Klein Stuart L. & Ann K. Knoop Peggy C. Knott Ms. Marilyn Koch Bob & Susie Kopf Ms. Dawn Kosanovich David Kremen Mr. & Mrs. John Krolikowski Phyllis Jo Kubey Robert A. & Alice Kushner Rose M. Kutsenkow Mr. Nicholas Kyriazi Betty Lamb Dr. & Mrs. Stephen Landay Dr. & Mrs. Howard N. Lang Ronald & Lida Larsen Earl & Marilyn Latterman Kathy & Hank Lawrence Marvin & Gerry Lebby

Drs. Grace & Joon Lee Ms. Janet Lee & Mr. Matthew Rosengart Diana K. Lemley MD & Paul L. Shay MD Mr. David W. Lendt Robert W. Lenker Dr. Herbert & Barbara Levit Mrs. William E. Lewellen III Anne Lewis Philip & Leslie Liebscher Robert & Janet Liljestrand Mr. & Mrs. Kurt L. Limbach Walter F. Limbach Jim & Sandi Linaberger W. F. Lindgren Ken & Hope Linge Lawrence & Jacqueline Lobl Mr. & Mrs.* Thomas J. Locke Margery J. Loevner Don & Hanne Lorch Mrs. Howard M. Love Eddie Lowy & Ricardo CortĂŠs Annette Lutz Edward Lynch & Regina Lindsey-Lynch In Memory of James Lyne Daphne & John Lynn Mrs. Guinevere R. Mabunay Pat & Don MacDonald William & Nora MacDonald Neil & Ruth MacKay Dr. & Mrs. George J. Magovern Jr. John Maitland Louise & Michael Malakoff Mr. & Mrs. William G. Malter Carl & Alexis Mancuso Drs. Ellen Mandel & Lawrence Weber Mr. & Mrs. Jay R. Mangold Jr. Mr. & Mrs. Donald Marinelli Bernard & Barbara Mars John & Cathy Mary Helen F. Mathieson Dr. William Matlack & Leslie Crawford Matlack Karen Matthews Kenneth & Dr. Carol N. Maurer Mr. & Mrs. Stephen Maxwell Sidney McBride Dale & Dr. Marlene* McCall

Mr. & Mrs. Jeremy McCamic Mr. & Mrs. Jon W. McCarter Patrick & Michelle McCarthy McCarthy Rail Insurance Managers, Inc. Dr. & Mrs. Charles E. McChesney Richard E. McClain Mr. Samuel A. McClung Jonathan & Kathryn McClure Mary C. McCormick Paula & Bob McCracken Mr. Bernard J. McCrory Mrs. Samuel K. McCune Nancy McDonald Mary A. McDonough Keith McDuffie Kent & Martha McElhattan Mary & R. Lee McFadden Barbara McKenna & Family Alexis McKinley Jean S. McLaughlin Susan Lee Meadowcroft Mr. & Mrs. William P. Meehan Mr. & Mrs. William J. Mehaffey Barbara M. Meharey Mr. & Mrs. Richard P. Mellon Peter & Memi Melotti Mark & Amy Mendicino Barbara Sachnoff Mendlowitz In Memory of William C. Menges Mr. & Mrs. Thomas E. Merriman Robert & Elizabeth Mertz Fund of The Pittsburgh Foundation Mrs. William Metcalf III Mr. & Mrs. Roger F. Meyer Bridget & Scott Michael Dr. & Mrs. Donald B. Middleton Ms. Laurie Miller Mary Ellen Miller Robert & Miriam Miller Mr. & Mrs. Stuart M. Miller Dr. & Mrs. Vincent P. Miller Jr. Jack Millstein Frank C. & Judy L. Mindicino Mr. & Mrs. M. Lee Minter Jeffrey Mishler

Ann & Mark Mizer Paul & Connie Mockenhaupt Amy & Ira* M. Morgan Bill & Jane Morgan Mr. Gary Morrell Dr. Harvey M. Morris Eric Von Morton Frank & Brenda Moses Michael & Cynthia Mullins Hilde Munck & Eckard Munck Richard & Martha Munsch Arthur J. Murphy Jr. Mr. & Mrs. Albert C. Muse Mr. George Mycoff James & Marlee Myers Roger & Michelle Myers Dr. & Mrs. Donald D. Naragon Dr. & Mrs. Dennis W. Nebel Dr. Nancy Z. Nelson Rev. Robert & Suzanne Newpher Patricia K. Nichols Mr. & Mrs. David Nimick Karen Kelley Noble Hide & Julia Miller Nobumori Dr. Sean Nolan Mark & Nikki Nordenberg Charles A. Norton James & Lindsey Nova Dr. & Mrs. Harry M. Null Dr. Everett F. Oesterling & Mrs. Joyce Oesterling Mr. & Mrs. Hale Oliver John Orndorff Jr. Dr. & Mrs. Richard A. Orr Dee Jay Oshry & Bart Rack John A. Osuch Sandy & Gene O’Sullivan Russell G. & Karen Overfield Paul M. Palevsky, MD & Sharon R. Roseman, MD Dr. & Mrs. A. H. Panahandeh Dr. Armand J. Panson Pamela & Ronald Pape Pauline R. Parker John & Joan Pasteris Carol & Richard Patterson Kenneth & Rose Patterson Mr. & Mrs. James Patton Camilla Brent Pearce Mr. & Mrs. Gerald F. Pellett

Daniel M. Pennell Dale & Michele Perelman Eric & Sharon Perelman Bill & Stella Perrine Dr. Jeffrey & Francesca Peters Judy Petty Mr. & Mrs. Harry A. Pfendler Jr. Ms. Dorothy Philipp Mr. & Mrs. Jon R. Piersol Ed & Mary Ellen Pisula Larry & Nancy Podey Drs. Mary & Raymond Pontzer Dr. & Mrs. Frederick Porkolab David & Marilyn Posner Shirley Pow Ann & Mal Powell Richard O. Price Bob & Mary Jo Purvis Mrs. Jean Purvis Andrew & Liberty Pyros Mr. & Mrs. C. J. Queenan Jr. Fran Quinlan Janet K. Quint Ms. Barbara Rackoff Nancy & Bill Rackoff, ASKO Philanthropic Fund Betty Radvak-Shovlin Susan M. Rakfal, MD James D. & Carol L. Randolph Barbara M. Rankin Mr. Leonard E. Rausch Mr. Joseph J. Regna Jr. Paul & Dorothy Reiber Eric & Frances Reichl Mr. & Mrs.* James H. Rich Dr. & Mrs. J. Merle Rife Mr. & Mrs. Philip R. Roberts Sam & Diana Robinson Bette & Howard M. Rom Janice G. Rosenberg Dr. Pinchas Rosenberg Shoshana & Jerry Rosenberg Mr. & Mrs. Byron W. Rosener III Mrs. Louisa S. Rosenthal Carol & Scott Rotruck Dr. & Mrs. Wilfred T. Rouleau Dr. Joel S. Rozen Harvey & Lynn Rubin

Mr. & Mrs. Edmund S. Ruffin III. Mr. Robert Rupp Mr. Leo P. Russell Shirley & Murray Rust Mrs. John M. Sadler Tamiko Sampson Dr. & Mrs. Isamu Sando Dr. Carlos R. Santiago Mr. & Mrs. Fred Sauereisen Sally & Keith Saylor Lawrence P. & Sharron A. Schaefer Eric Schaffer & Michelle Gray-Schaffer Albert & Kathleen Schartner Christopher & Jennifer Scheib Ann & Bill Scherlis Dr. & Mrs. Melvin M. Schiff Joe & Nancy Schmitt Mr. & Mrs. George Schneider Mrs. Shirley Schneirov Ms. Carol Schuler Bernie & Cookie Soldo Schultz Mr. & Mrs. Harry W. Schurr II Mary Ann Scialabba Louise & Franco Sciannameo Barry & Celinda Scott Mr.* & Mrs. Jobst W. Seehausen George & Marcia Seeley Mr. & Mrs. David P. Segel Mr. & Mrs. John M. Seifarth Rebecca A. Seip Michael Sexauer Aleen Mathews Shallberg & Richard Shallberg Mrs. Sue Shapera Judith D. Shepherd Dr. Charles H. Shultz Mr. & Mrs. Robert S. Shure Rhoda & Seymour* Sikov Lee & Myrna Silverman Marjorie K. Silverman Marilyn & Norman A. Sindler Lois & Bill Singleton Dr. Carol Slomski Ms. Ann Slonaker Bobbie & Keith Smith Don & Beth Smith Kathleen Opat Smith

Margaret C. Smith Nancy N. Smith Wallace & Patricia Smith Bill & Patty Snodgrass Sandy & Mr. Edgar Snyder J. Soffietti David Solosko & Sandra Kniess Fund Dr. & Mrs. Edward M. Sorr in support of music & wellness Herbert H. & Barbara South Drs. Horton C.* & Jannene M. Southworth Samuel & Judith Spanos Mr. & Mrs. Alexander C. Speyer III Richard C. Spine & Joyce Berman Henry Spinelli Janet H. Staab Jack Stabile Mr. & Mrs. James C. Stalder Gary & Charlene Stanich Dr. James Staples Shirley & Sidney Stark Jr. Mr. & Mrs. Robert B. Stayer Charles & Rachel Stegeman Bronna & Harold Steiman Mr. Frederick Steinberg Jerry Stephens Dr. & Mrs. Mervin S. Stewart Mr. Ray C. Stoner In Memory of Miss Jean Alexander Moore Mona & E.J. Strassburger C. Dean Streator Mr. Su & Ms. Van Dusen Judy & Joe Sufrin Peter Sullivan Richard A. Sundra, in Loving Memory of Patricia Sundra Drs. Gary & Heidi Swanson Joel & Maria Swanson Robert Swendsen & Roberta Klatzky Stu & Liz Symonds in Memory of Roger Sherman Tom & Karen Tabor Dr. Jocelyn Tan & Dr. Alaa Shalaby Dr. & Mrs. Stephen Tannenbaum Mr. & Mrs. William H. Taylor Jr. Gordon & Catherine Telfer

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Mr. Paul Teplitz Mr. Doug Thomas Dorothea Thompson Mayor John A. Thompson Mary Lloyd & George Thompson Gail & Jim Titus Mr. & Mrs. Clifton C. Trees Paul A. Trimmer Jeff & Melissa Tsai Jeffrey Turner & Tonya Stefko Eric & Barbara Udren Mary & Gerald Unger Diane & Dennis Unkovic Theo & Pia Van De Venne Suzan M. Vandertie Dr. Filomena F. Varvaro Mary Vasilakis Cate & Jerry Vockley Mr. & Mrs. Charles E. Vogel Edward L. & Margaret Vogel John & Linda Vuono Jan Wagner

Judy Wagner & Mike LaRue Wagner Family Charitable Trust Suzanne & Richard Wagner Kevin & Jennifer Walker John & Irene Wall Mr. W.L. & Dr. B.H. Ward Tony & Pat Waterman Ms. Sally Webster & Ms. Susan Bassett Drs. John & Carla Weidman Cynthia & Dr. Michael Weisfield Norman & Marilyn Weizenbaum Mr. & Mrs. James P. Welch Jim & Jinny Welker Jane Wentling Mrs. Louis A. Werbaneth Bernard & Sheila Werner Nancy Werner Mr. & Mrs. Arthur Westerberg Rebecca M. Wharton

Mr. & Mrs. Thomas White Robert Wickesberg & Susan Noffke Mr. Norm Wien Dr. Philip M. Wildenhain & Dr. Sarah L. Wildenhain Dr. Bruce L. Wilder Ken & Trudie Wilkins Nozomi Williams Robert & Carole Williams Robert E. Williams Ruth O. Williams Mr. & Mrs. Miles C. Wilson James & Ramona Wingate Sheryl & Bruce Wolf Sidney & Tucky Wolfson Dr. & Mrs. D. Scott Wood Drs. Barry & Iris Wu Mr. Christopher Wu & Mrs. Annette Wu Dr. & Mrs. John A. Yauch Mark & Judy Yogman Susan A. Yohe Alice L. Young Hugh D*. & Alice C. Young

Mr. Joe Yzurdiaga Frank A. Zabrosky Mr. & Mrs. Richard Zahren Joan & Isaias Zelkowicz Mr. & Mrs. Walter Ziatek Patricia Zimba *deceased We would like to thank all individuals who contribute to the Pittsburgh Symphony Orchestra & Heinz Hall. Please see our website at pittsburghsymphony. org for a complete listing.

Current as of Oct.1, 2014

PITTSBURGH SYMPHONY RADIO

BROADCAST SERIES 2014-2015

“I love listening to the show! It is so polished and informative!”

“I wish I could hear the Pittsburgh Symphony Orchestra broadcasts every day rather than just once a week! ” “A most enjoyable radio experience. I can always count on WQED to present quality material.”

-Actual comments from listeners of Pittsburgh Symphony Radio

Music Director

Manfred Honeck

Join host Jim Cunningham for Pittsburgh Symphony Radio Sundays at 8 p.m. on WQED-FM-89.3 pittsburghsymphonyradio.org

made possible Pittsburgh madebypossible by residents

Pat & Michele Atkins

IN HONOR OF CARLOW UNIVERSITY, PITTSBURGH

42

with additional support from

FOUNDATIONS & PUBLIC AGENCIES Allegheny County Economic Development Allegheny Regional Asset District The Almira Foundation Bessie F. Anathan Fund of The Pittsburgh Foundation Benjamin and Fannie Applestein Charitable Trust Claude Worthington Benedum Foundation The Benter Foundation Meyer & Merle Berger Family Foundation, Inc. Allen H. Berkman and Selma W. Berkman 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 Anne L. and George H. Clapp Charitable and Educational Trust 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 Charitable Trust Peter C. Dozzi Family Foundation Eden Hall Foundation Eichleay Foundation Jane M. Epstine Charitable Fund of The Pittsburgh Foundation Fair Oaks Foundation, Inc. Falk Foundation The Fine Foundation The Audrey Hillman Fisher Foundation, Inc. Goldberg Family Fund of The Pittsburgh Foundation The Grable Foundation Grune Family Foundation Hansen Foundation William Randolph Hearst Foundation The Heinz Endowments Elsie H. Hillman Foundation The Emma Clyde Hodge Memorial Fund May Emma Hoyt Foundation Milton G. Hulme Charitable Foundation Roy A. Hunt Foundation Eugene F. and Margaret Moltrup Jannuzi Foundation Lawrence County Martha Mack Lewis Foundation Edward D. and Opal C. Loughney Foundation Thomas Marshall Foundation Massey Charitable Trust Ruth Rankin McCullough Fund of The Pittsburgh Foundation The Andrew W. Mellon Foundation Richard King Mellon Foundation Howard and Nell E. Miller Foundation

National Endowment for the Arts A.J. & Sigismunda Palumbo Charitable Trust Parker Foundation The 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 Pittsburgh Symphony Association Norman C. Ray Trust The Donald & Sylvia Robinson Family Foundation The William Christopher & Mary Laughlin Robinson Fund of The Pittsburgh Foundation Ryan Memorial Foundation Salvitti Family Foundation James M. & Lucy K. Schoonmaker Foundation The Mrs. William R. Scott Fund of The Pittsburgh Foundation W.P. Snyder III Charitable Fund Alexander C. and Tillie S. Speyer Foundation Tippins Foundation The Edith L. Trees Charitable Trust Rachel Mellon Walton Fund of The Pittsburgh Foundation Current as of Oct. 1, 2014

EVERY GIFT IS INSTRUMENTAL 2014-2015 SEASON

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CORPORATIONS Business Leadership Association SIGNATURE CIRCLE

SILVER CIRCLE

(Includes corporate annual fund contributions and sponsorships)

Business Partners PEWTER LEVEL $1,000 - $2,499 Bayer Healthcare R&I $75,000 and above AlphaGraphics in the Bayer USA Foundation Cultural District Allegheny Technologies c3controls Incorporated (ATI) The Common Plea Catering Berner International Corp.

BNY Mellon Calgon Carbon Corporation Inc. EQT Corporation Coury Financial Group Deloitte Highmark Blue Cross Blue ELG Haniel Metals Corp.

ESB Bank Shield Farmers & Merchants Bank First Commonwealth Bank PNC of Western PA Hughes Television Productions Levin Furniture DIAMOND CIRCLE Jennmar Corporation Mascaro Construction Company $40,000 - $74,999 Kerr Engineered Sales Company Mylan Pharmaceuticals MSA Lawrence County Tourist Oliver Wyman Promotion Agency PwC PLATINUM CIRCLE MacLachlan, Cornelius & Reed Smith LLP $20,000 - $39,999 Filoni, Inc. Schreiber Industrial Cohen & Grigsby, P.C. McKamish, Inc. Federal Home Loan Bank of Development Co. Nocito Enterprises, Inc. Trumbull Corporation and Pittsburgh Practice Growth Partners P.J. Dick Incorporated First National Bank of Rothman Gordon PC Pennsylvania Sarris Candies, Inc. BRONZE CIRCLE Giant Eagle $2,500 - $4,999 Six Penn Kitchen H. J. Heinz Company Foundation A.C. Dellovade, Inc. Steptoe & Johnson PLLC LANXESS Corporation Angelo, Gordon & Co. Stringert, Inc. Macy’s Bank of America Merrill The Techs PPG Industries Foundation Lynch Trebuchet Consulting LLC Big Burrito Restaurant Triangle Tech Group TriState Capital Bank Group Trib Total Media United Safety Services, Inc. Buchanan Ingersoll & United States Steel Vallozzi’s Pittsburgh Rooney PC Corporation Cipriani & Werner PC PARTNER LEVEL Eat’n Park Restaurants GOLD CIRCLE $500 - $999 Elite Coach Transportation $10,000 - $19,999 Allegheny Valley Bank American Eagle Outfitters Erie Insurance Austrian American Cultural Fifth Third Bank Citigroup Society, Inc. Koppers Clearview Federal Credit Bridges & Company, Inc. KPMG LLP Union The Buncher Company Huntington Bank Delta Air Lines, Inc. Clark Precision Machined Lighthouse Electric Dollar Bank Components Company, Inc. Ernst & Young LLP Consolidated Marsh USA Inc. Communications Fairmont Pittsburgh & Morton’s The Steakhouse Enterprise Bank Habitat Restaurant Mozart Management Federated Investors, Inc. Flaherty & O’Hara, P.C. Pittsburgh Corning FedEx Ground General Wire Spring Co. Corporation The Frank E. Rath-Spang & Goehring, Rutter & Boehm Company Charitable Trust Pittsburgh Valve & Fitting Co. Gordon Terminal Service Co. Silhol Builders Supply Hefren-Tillotson, Inc. Hamill Mfg. Co. Richard & Sandra Teodori Pittsburgh Steelers Sports, Hertz Gateway Center, LP United Bank Inc. John B. Conomos, Inc. Wampum Hardware Inc. Joyce’s Jewelry Boutique WPXI-TV 44

$5,000 - $9,999

K & I Sheet Metal, Inc. Lucas Systems, Inc. Marketing Support Network Meyer, Unkovic & Scott LLP Attorneys at Law Mitsubishi Electric Power Products, Inc. Modany-Falcone, Inc. Pzena Investment Management, LLC Rebecca L. Pounds DDS LLC Scott Metals Inc. Walter Long Manufacturing Company Weltman, Weinberg & Reis Co., LPA Westmoreland Mechanical Testing & Research, Inc. 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 Oct.1, 2014

TITLE SPONSOR

IS IT LOVE? OR IS IT HATE?

HEROES AND VILLAINS OCTOBER 17-19 Lucas Richman, conductor Lucas Richman, conductor Pittsburgh Symphony Orchestra Student Chorale, Christine Hestwood, director Pittsburgh Symphony Orchestra Student Chorale, Christine Hestwood, director Sheena Easton, vocalist

Join us for a concert that soars with good and evil. In Heroes and Villains, we bring to life your favorite characters from popular movies. Hear the bright side, and the dark side, of movie scores from Batman, Gladiator, Saving Private Ryan and more!

For tickets call 412.392.4900 or visitEVERY pittsburghsymphony.org/pops.

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LEGACY OF EXCELLENCE

In addition to income from the Annual Fund, the Pittsburgh Symphony Orchestra is dependent on a robust endowment to assure its long-term financial stability. Gifts from Legacy of Excellence programs are directed to the endowment to provide for the Pittsburgh Symphony Orchestra’s future.

The Steinberg Society honors donors who have advised the Pittsburgh Symphony in writing that they have made a provision for the orchestra in their will. Members of the Sid Kaplan Tribute program have made a gift to the endowment of $10,000.00 or more to commemorate a particular person or event. 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 Jan Fleisher at 412.392.3320.

STEINBERG SOCIETY Anonymous (19) Siamak & Joan Adibi Rev. Drs. A. Gary & Judy Angleberger The Joan & Jerome* Apt Families Francis A. Balog Robert & Loretta Barone Scott J. Bell Dr. Elaine H. Berkowitz Benno & Constance Bernt Michael Bielski Drs. Barbara & Albert Biglan Thomas G. Black Barbara M. Brock Lois R. Brozenick Tom & Jackie Cain Estate of Cynthia Calhoun 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 Mr.* & Mrs. Thomas J. Donnelly Frank R. Dziama Steven G. & Beverlynn Elliott Emil & Ruth* Feldman Joan Feldman & William Adams Mrs. Loti Gaffney Keith & Susan Garver Ken* & Lillian Goldsmith Mr. & Mrs. Ira H. Gordon James A. Gorton Estate of Anna R. Greenberg Estate of Lorraine M. Gross Elizabeth Anne Hardie 46

Charles & Angela Hardwick Carolyn Heil Eric & Lizz Helmsen Ms. Judith Hess Estate of Mr. John H. Hill 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* Leo & Marge Kane Lois S. Kaufman Stephen & Kimberly Keen Mr. Arthur J. Kerr, Jr. Ms. Bernadette Kersting Dr. Laibe A.* & Sydelle Kessler Stanley & Margaret Leonard Frances F. Levin Doris L. Litman Penny Locke Estate of Edward D. Loughney Lauren & Hampton Mallory Dr. Richard Martin in Memory of Mrs. Lori Martin* Dale & Dr. Marlene* McCall George E. Meanor Ms. Jean L. Misner* Catherine Missenda* Dr. Mercedes C. Monjian Mr. & Mrs. Paul J. Mooney Perry* & BeeJee Morrison Mildred S. Myers & William C. Frederick Donn & Peggy Neal Dr. Nancy Z. Nelson Rhonda & Dennis Norman Thaddeus A. Osial, Jr. M.D. Estate of Irene G. Otte Judy Petty

Estate of Dorothy R. Rairigh Barbara M. Rankin Richard E. Rauh Cheryl & James Redmond Mr. & Mrs. William E. Rinehart Donald & Sylvia Robinson Mr. & Mrs. David M. Roderick Charlotta Klein Ross Harvey & Lynn Rubin Mr. & Mrs. Gary L. Ryan Virginia Schatz Nancy Schepis Dr. & Mrs. Harry E. Serene Dr. Charles H. Shultz Michael Shefler Mr. & Mrs. Richard P. Simmons Dr. & Mrs. Leonard A. Stept Estate of Dr. Raymond & Karla Stept Mrs. Margaret Stouffer in Memory of Miss Jean Alexander Moore Tom & Jamee Todd Mrs. Jane Treherne-Thomas Eva & Walter J. Vogel Mr. & Mrs. George L. Vosburgh Estate of John & Betty Weiland In memory of Isaac Serrins from Mr. & Mrs. Ira Weiss Brian Weller Seldon Whitaker Jr. Mr. & Mrs. Raymond B. White Charles L. & Katherine A. Wiley James & Susanne Wilkinson Mr. & Mrs. Thomas Witmer Patricia L. Wurster Estate of Rufus J. Wysor

Naomi Yoran Miriam L. Young Estate of Ruth Yount SID KAPLAN TRIBUTE PROGRAM The Sid Kaplan Memorial Hallway given by David Kaplan in appreciation of generous gifts commemorating family and friends In Honor of Dr. Raymond Stept from his loving family In Honor of Mariss & Irina Jansons and friendship from Dr. Laibe* & Sydelle Kessler Honoring my dear friend, Marvin Hamlisch, from Mina Kulber In Loving Memory of Martin Smith, PSO Horn, 1980-2005, from his siblings Todd Smith, Judy Dupont & Susan Noble

ENDOWED CHAIRS Principal Horn Chair, given by an Anonymous Donor First Violin Chair, given

by Allen H. Berkman in memory of his beloved wife, Selma Wiener Berkman Michael & Carol Bleier Viola Chair given in memory of our parents, Tina & Charles Bleier and Ruth & Shelley Stein Jane & Rae Burton Cello Chair Cynthia S. Calhoun Principal Viola Chair

Virginia Campbell Principal Harp Chair

Vira I. Heinz Music Director Chair

Mr. & Mrs. Martin G. McGuinn Viola Chair

Ron & Dorothy Chutz First Violin Chair

Principal Pops Conductor Dr. William Larimer Mellon Jr. Chair Endowed by Henry & Principal Oboe Chair, given Johannes & Mona L. Coetzee Elsie Hillman

by Rachel Mellon Walton Memorial Principal English Tom & Dona Hotopp Horn Chair Principal Bass Chair Messiah Concerts Endowed by the Howard and Nell E. George & Eileen Dorman Milton G. Hulme, Jr. Miller Chair Assistant Principal Guest Conductor Chair Cello Chair given by Mine Safety Donald I. & Janet Moritz and Appliances Company Equitable Resources, Inc. Albert H. Eckert Associate Principal Cello Associate Principal Mr. & Mrs. Benjamin F. Chair Percussion Chair Jones III Guest Keyboard Chair The Perry & BeeJee Morrison Beverlynn & Steven Elliott String Instrument Loan Associate Concertmaster Virginia Kaufman Fund Chair Resident Conductor Chair, Lawrence Loh The Morrison Family Jean & Sigo Falk Associate Principal Second Principal Librarian Chair Stephen & Kimberly Keen Violin Chair Bass Chair Endowed Principal Piccolo Jackman Pfouts Chair, given to honor Frank G. Christian Lantzsch & Principal Flute Chair, given and Loti Gaffney Duquesne Light Company in memory of Mr. & Mrs. Principal Second Violin Arthur Jackman by Barbara William & Sarah Galbraith Chair Jackman Pfouts Second Violin Chair The Estate of Olga T. Gazalie First Violin Chair Ira & Nanette Gordon The Gracky Fund for Education & Community Engagement Susan S. Greer Memorial Trumpet Chair, given by Peter Greer William Randolph Hearst Endowed Fund for Education

Mr. & Mrs. William Genge Pittsburgh Symphony and Mr. & Mrs. James E. Lee Association Principal Bassoon Chair Principal Cello Chair Nancy & Jeffery Leininger First Violin Chair Edward D. Loughney Co-Principal Trumpet Fiddlesticks Family Concert Series Endowed by Gerald & Audrey McGinnis Honoring The Center for Young Musicians

Reed Smith Chair honoring Tom Todd Horn Chair Dr. & Mrs. William E. Rinehart Oboe Chair

Martha Brooks Robinson Principal Trumpet Chair Mr. & Mrs. Aaron Silberman Principal Clarinet Chair Mr. and Mrs. Willard J. Tillotson Jr. Viola Chair Tom & Jamee Todd Principal Trombone Chair United States Steel Corporation Assistant Principal Bass Chair Rachel Mellon Walton Concertmaster Chair, given

by Mr. & Mrs. Richard Mellon Scaife Jacqueline Wechsler Horn Chair given in memory of Irving (Buddy) Wechsler Barbara Weldon Principal Timpani Chair Hilda M. Willis Foundation Flute Chair Thomas H. & Frances Witmer Assistant Principal Horn Chair Current as of Oct. 1, 2014 *deceased

Donald & Sylvia Robinson Family Foundation Guest Conductor Chair

W ELCO ME S T HE F O L LOW ING GRO U PS TO T HE SE PERFO R M A NCE S

Allegheny RiverStone Center for the Arts Carnegie Mellon University – Department of History Center for Young Musicians Geneva College

Ohio State University Pitt Arts Pitt Night Pittsburgh Flute Academy Providence Point Three Rivers Young Peoples Orchestra EVERY GIFT IS INSTRUMENTAL 2014-2015 SEASON

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COMMITMENT TO EXCELLENCE SPECIAL NAMED GIFTS BNY Mellon .................................................................... Recordings & Electronic Media and Artistic Excellence Programs Benno & Constance Bernt..........................................................................................................................Stage Right Door Rae & Jane Burton.......................................................................................................................................... Garden Bench Basil & Jayne Adair Cox.................................................................................................................................. Garden Bench Randi & L. Van V. Dauler, Jr. ....................................................................................Mozart Room Elevator & Garden Bench William S. Dietrich, II*...........................................................Endowment for PittsburghSymphony Educational Programs Dollar Bank.................................................................................................................... Community Engagement Concerts Mr. & Mrs. J. Christopher Donahue.........................................................................................................Music for the Spirit Roy & Susan Dorrance ..........................................................................................................................Music for the Spirit EQT Corporation.............................................................. Community Engagement & EQT Student Side-By -Side Program Mr. & Mrs. Henry J. Gailliot.........................................................................................................Grand Piano, Paris Festival Goldman Sachs Gives ................................................................................................ Community Engagement Concerts Highmark Blue Cross Blue Shield ......................................................................................... Music and Wellness Program Elsie & Henry Hillman...................................................The Henry L. Hillman Endowment for International Performances Ms. Seima Horvitz.......................................................................................................................................... Garden Bench David & Melissa Iwinski................................................................................................................................Stage Left Door Lillian Edwards Foundation.................................................................................................................Heartstrings Program Mr. & Mrs.* J. Robert Maxwell .................................................................................................President and CEO’s Office Pittsburgh Post-Gazette.........................................................................................................Grand Tier Door - Right Center PNC.............................................................................................................. PNC Walkway at Heinz Hall and PNC Tiny Tots Mr. & Mrs. William E. Rinehart ........................................................................................................................ Grand Piano Mr. & Mrs. William F. Roemer......................................................................................................................... Garden Bench Catharine M. Ryan & John T. Ryan III ...................................................................................................Music for the Spirit Alece & David Schreiber................................................................................................................................. Garden Bench Harvey* & Florence Zeve ............................................................................................................................. Garden Bench *deceased

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TITLE SPONSOR

HOLIDAY SPONSOR

THE 2014-2015 SEASON OF PNC POPS

RATED E. FOR EVERYONE.

HEROES AND VILLAINS | Oct. 17-19, 2014 SCI-FI SPECTACULAR | Nov. 14-16, 2014 HIGHMARK HOLIDAY POPS | Dec. 12-14, 2014 CHRIS BOTTI | Feb. 6-8, 2015 SINGIN’ IN THE RAIN | March 13-15, 2015 THE TEXAS TENORS | April 24-26, 2015 DISNEY IN CONCERT TALE AS OLD AS TIME | June 19-21, 2015 2 0 1 3 • 2 0 1 4

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412.392.4900 | pittsburghsymphony.org

TICKETS AND SEASON PACKAGES ON SALE EVERY GIFT IS INSTRUMENTAL 2014-2015NOW. SEASON 49 TICKETS GO ON SALE TUES., SEPTEMBER 2.

SEASON PACKAGES AVAILABLE NOW.

CulturalTrustAdFULLPg_v6Purple_Layout 1 8/5/14 8:42 AM Page 1

ADVERTISE IN THE CULTURAL DISTRICT YOUR AUDIENCE AWAITS!

The District attracts more than two million people annually for performances, exhibitions and events. Target key demographics while supporting the arts.

To schedule your advertising in the Pittsburgh Cultural District programs call Elaine A. Nucci 412-471-6087 or email Nucci@culturaldistrict.org

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ON SALE NOW! “Anyone who is familiar with the Dvořák G major symphony will find Honeck’s interpretation remarkable…the result is a fresh and exciting version of Dvořák’s eighth symphony that is more romantically realized than Dvořák intended. The Symphonic Suite from “Jenůfa” is a rarely heard work by the Czech master as conceptualized by Honeck. It is beautifully orchestrated, exquisitely played and very evocative of the main themes of the opera.”

Henry Schlinger, Culture Spot LA “This is an absolutely marvelous release both in terms of its thrilling performances and wonderful sound quality.” Graham Williams, SA-CD.net This is one of the most gripping performances of Dvořák’s 8th Symphony that I ever heard.

Honeck and Pittsburgh excel themselves and definitely team up to one of those great partnerships like Solti and Chicago, Ozawa and Boston, Bernstein and New York, Szell and Cleveland, Tilson-Thomas and San Francisco. — Alain Steffen, Pizzicato

Purchase your copy of Dvořák/ Janáček today at pittsburghsymphony.org.

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

PITTSBURGHSYMPHONY.ORG 2014-2015 SEASON

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HEINZ HALL INFORMATION

BOX OFFICE HOURS are Monday through Friday, from 9 a.m. to 8 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.

CHILDREN are encouraged to attend our youth concerts and Fiddlesticks Family Concerts.

Children age six and over, are welcome at all performances with a purchased ticket. The Latecomer’s Gallery and lobby video monitors are always options for restless children.

GROUPS can receive discounted tickets, priority seats, personalized service and free reception space.

For more information, call 412.392.4819 or visit our website at pittsburghsymphony.org/groups for information.

LATECOMER’S GALLERY is located behind the Main Floor to enjoy the performance until you can be seated. Latecomers will be seated at suitable intervals during the program, at the discretion of the conductor. The gallery is also available for parents with restless children.

PHOTOGRAPHY, video, or audio recording of the performance is strictly prohibited at all times.

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.

REFRESHMENT BARS are located in the Garden and Overlook rooms and in the Grand Tier Lounge.

Intermission beverages may be ordered prior to performances. Water cups are available in the restrooms.

RESTROOMS are located on the Lower, Grand Tier, Gallery levels, and COAT CHECK is available in the LOCKERS are located on the off the Garden and Overlook rooms; Grand Lobby or in the Dorothy Porter Lower, Grand Tier and Gallery levels. a wheelchair-accessible restroom is Simmons Family Regency Room on LOST AND FOUND items on the Main Floor. the lower level. can be retrieved by calling SMOKING is not permitted 412.392.4844 on weekdays from CONCIERGE SERVICE is in Heinz Hall. The garden is 10 a.m. to 5 p.m. available in the Entrance Lobby accessible during performances to assist with your questions for this purpose.

MOBILE DEVICES should and to help with dining, hotel, be turned off and put away upon SUPPORTING THE PSO entertainment and transportation entering the theater.

AND HEINZ HALL concerns. [Penny Vennare, Event is critical to the financial future of the THE MOZART ROOM Supervisor; Ron Ogrodowski, Pittsburgh Symphony. Ticket sales is available for a grand dining Concierge.] only cover a portion of our operating experience catered by The DRESS CODE for all concerts costs. To make a tax-deductible gift, Common Plea, just seconds is at your personal discretion and please contact our Development away from your seats. For ranges from dress and business department at 412.392.4880 or visit reservations: 412.392.4879 attire to casual wear. us online at pittsburghsymphony.org or pittsburghsymphony.org/ mozartroom.

ELEVATOR is located next to the Grand Staircase.

EMERGENCY CALLS can be referred to the concierge desk at 412.392.2880.

FIRE EXITS are to be used ONLY in case of an emergency. If the fire alarm is activated, follow the direction of Heinz Hall ushers and staff to safely evacuate the theater.

THE FOLLOWING ACCOMMODATIONS ARE AVAILABLE FOR PATRONS WITH DISABILITIES:

• Level entrance and route to main floor of auditorium • Accessible seat locations with companion seats* • Portable assistive listening devices: Please see ushers for assistance.

• Braille programs are available at the concierge desk for all BNY Mellon Grand Classics and PNC Pops performances.

• Large print programs are available at the concierge desk for all BNY Mellon Grand Classics, PNC Pops, and Fiddlesticks Family Series performances. *Please contact the box office for the location of these seats.

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THE POWE R TO DO G R EAT T HINGS Start your legacy today with Planned Giving

Every legacy begins with a thoughtful plan, put in place today. We offer a wide range of Planned Giving opportunities tailored to fit your interests and your philanthropic goals. You can make a bequest in your will that requires no upfront investment; set up a charitable gift annuity or trust that provides you with income; or use other vehicles such as your IRA, 401(k), life insurance and more. Plan now, so you can make a difference in the community forever.

Visit pittsburghfoundation.org or call 412-391-5122.

©2014 Cartier

CALIBRE DE CARTIER DIVER MANUFACTURE MOVEMENT 1904 MC WATER-RESISTANT TO 300 METRES, THE CALIBRE DE CARTIER DIVER WATCH IS AN AUTHENTIC DIVING WATCH. FITTED WITH THE 1904 MC MOVEMENT, IT COMBINES THE HIGH TECHNICAL REQUIREMENTS OF THE ISO 6425: 1996 STANDARD WITH THE ASSERTIVE AESTHETICS OF THE CALIBRE DE CARTIER WATCH. ESTABLISHED IN 1847, CARTIER CREATES EXCEPTIONAL WATCHES THAT COMBINE DARING DESIGN AND WATCHMAKING SAVOIR-FAIRE.