BNY Mellon Grand Classics: Rodrigo's Guitar Concerto + Rachmaninoff & Bruckner (March 11, 13, 25-27)

G U I TA R CO N C E R T O Juanjo Mena, conductor • Pablo Sáinz-Villegas, guitar TITLE SPONSOR

MARCH 11 & 13, 2022 • HEINZ HALL

Manfred Honeck, conductor Yulianna Avdeeva, piano TITLE SPONSOR

MARCH 25, 26 & 27, 2022 • HEINZ HALL

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Two of Broadway’s brightest join our very best Presented by the Michael J. Kara Family.

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Celebrating Performance.

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BNY MELLON GRAND CLASSICS | HEINZ HALL FRIDAY, Ƃ, ££] ÓäÓÓ Ƃ/ n\ää *° ° -1 Ƃ9] Ƃ, £Î] ÓäÓÓ Ƃ/ Ó\Îä *° °

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Classical Symphony, Opus 25 I. Allegro II. Larghetto ° >Û ÌÌi\ ÌÀ «« > i}À 6° > i\ Ì Û Û>Vi

Joaquín Rodrigo

Concierto de Aranjuez for Guitar and Orchestra I. Allegro con spirito II. Adagio III. Allegro gentile Mr. Sáinz-Villegas

Intermission

Claude Debussy

Prélude à “L’Après-midi d’un faune” (Prelude to “The Afternoon of a Faun”)

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GRAND CLASSICS TITLE SPONSOR

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ViÀÌ v À "ÀV iÃÌÀ> LÞ 7 Ì ` ÕÌ Ã >Üà «ÀiÃi Ìi` Õ `iÀ Vi Ãi vÀ ° -V À iÀ V° > ` ƂÃà V >Ìi` Õà V *ÕL à iÀÃ] V «ÞÀ } Ì Ü iÀð

PROGRAM 2021-2022 SEASON

7

SERGEI PROKOFIEV

Classical Symphony, Opus 25 (Symphony No. 1 in D major) ­£ £È £ £Ç® ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born April 23, 1891 in Sontsovka, Russia; died March 5, 1953 in Moscow

February 12, 2017, Heinz Hall; Manfred Honeck, conductor

PREMIERE OF WORK

INSTRUMENTATION

April 21, 1918; Petrograd Court Orchestra, St. Petersburg; Sergei Prokofiev, conductor

Woodwinds, horns and trumpets in pairs, timpani and strings

PSO PREMIERE

DURATION

November 8, 1931, Syria Mosque; Antonio Modarelli, conductor

15 minutes

“In the field of instrumental music, I am well content with the forms already perfected. I want nothing better, nothing more flexible or more complete than sonata form, which contains everything necessary to my structural purpose.” This statement, given to Olin Downes by Prokofiev during an interview in 1930 for The New York Times, seems a curious one for a composer who had gained a reputation as an ear-shattering iconoclast, the enfant terrible of 20th-century music, the master of modernity. While it is certainly true that some of his early works (Scythian Suite, Sarcasms, the first two Piano Concertos) raised the hackles of musical traditionalists, it is also true that Prokofiev sought to preserve that same tradition by extending its boundaries to encompass his own distinctive style. A glance through the list of his works shows a preponderance of established Classical forms: sonatas, symphonies, concertos, operas, ballets, quartets, overtures and suites account for most of his output. This is certainly not to say that he merely mimicked the music of earlier generations, but he did accept it as the conceptual framework within which he built his own compositions.

Prokofiev’s penchant for using Classical musical idioms was instilled in him during the course of his thorough, excellent training: when he was a little tot, his mother played Beethoven sonatas to him while he sat under the piano; he studied with the greatest Russian musicians of the time — Glière, Rimsky-Korsakov, Liadov, Glazunov; he began composing at the Mozartian age of six. By the time he was 25, Prokofiev was composing prolifically, always brewing a variety of compositions simultaneously. The works of 1917, for example, represent widely divergent styles — The Gambler is a satirical opera; They Are Seven, a nearly atonal cantata; the Classical Symphony, a charming miniature.

This last piece was a direct result of Prokofiev’s study with Alexander Tcherepnin, a good and wise teacher who allowed the young composer to forge ahead in his own manner while making sure that he had a thorough understanding of the great musical works of the past. It was in 1916 that Prokofiev first had the idea for a symphony based on the Viennese models supplied by Tcherepnin, and at that time he sketched out a few themes for it. Most of the work, however, was done the following year, as Prokofiev recounted in his Autobiography: “I spent the summer of 1917 in complete solitude in the environs of Petrograd; I read Kant and I worked hard. I had purposely not had my piano moved to the country because I wanted to establish the fact that thematic material worked out without a piano is better.... The idea occurred to me to compose an entire symphonic work without the piano. Composed in this fashion, the orchestral colors would, of necessity, be clearer and cleaner. Thus the plan of a symphony in Haydnesque style originated, since, as a result of my studies in Tcherepnin’s classes, Haydn’s technique had somehow n

become especially clear to me, and with such intimate understanding it was much easier to plunge into the dangerous flood without a piano. It seemed to me that, were he alive today, Haydn, while retaining his style of composition, would have appropriated something from the modern. Such a symphony I now wanted to compose: a symphony in the classic manner. As it began to take actual form I named it Classical Symphony; first, because it was the simplest thing to call it; second, out of bravado, to stir up a hornet’s nest; and finally, in the hope that should the symphony prove itself in time to be truly ‘classic,’ it would benefit me considerably.” Prokofiev’s closing wish has been fulfilled — the Classical Symphony has been one of his most successful works ever since it was first heard.

The work is in the four movements customary in Haydn’s symphonies, though at only fifteen minutes it hardly runs to half their typical length. The dapper first movement is a miniature sonata design that follows the traditional form but adds some quirks that would have given old Haydn himself a chuckle — the recapitulation, for example, begins in the “wrong” key (but soon rights itself), and occasionally a beat is left out, as though the music had stubbed its toe. The sleek main theme is followed by the enormous leaps, flashing grace notes and sparse texture of the second subject. A graceful, ethereal melody floating high in the violins is used to open and close the Larghetto, with the pizzicato gentle middle section reaching a brilliant tutti before quickly subsiding. The third movement, a Gavotte, comes not from the Viennese symphony but rather from the tradition of French Baroque ballet. The finale is the most brilliant movement of the Symphony, and calls for remarkable feats of agility and precise ensemble from the performers.

The Classical Symphony, in the words of American musicologist Milton Cross, “was an attempt to approximate how Mozart would have written a symphony had he lived in the 20th century. Each of the four movements is epigrammatic in its brevity, and given to pellucid writing, old-world grace, and bright-faced wit.”

JOAQUÍN RODRIGO ­£ ä£ £ ®

Concierto de Aranjuez for Guitar and Orchestra ­£ Î ®

ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born November 22, 1901 in Sagunto, Valencia; died July 6, 1999 in Madrid

October 12, 2014, Heinz Hall; Omer Meir Wellber, conductor; Pablo Sáinz Villegas, soloist

PREMIERE OF WORK

November 9, 1940; Orquesta Filarmónica de Barcelona, Palau de la Música Catalana; César Mendoza Lasalle, conductor; Regino Sáinz de la Maza, soloist

INSTRUMENTATION

PSO PREMIERE

DURATION

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

24 minutes

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

Though Joaquín Rodrigo, born on November 22, 1901 at Sagunto, Valencia, on Spain’s eastern coast, lost his sight when he was three from diphtheria, he early showed a pronounced aptitude for music. His parents enrolled him in a school for blind children in the nearby city of Valencia, and at age eight, he began formal lessons in harmony, piano and violin; his teachers in composition included Francisco Antich, Enrique Gomá and Eduardo López Chavarri. During the 1920s, Rodrigo established himself as a pianist with performances of challenging recent works by Ravel, PROGRAM NOTES 2021-2022 SEASON

Stravinsky and other contemporary composers, and he began composing seriously in 1923 with the Suite para Piano and the Dos Esbozos (“Two Sketches”) for Violin and Piano. His first work for orchestra, Juglares (written, like all of his scores, on a Braille music typewriter and then dictated to a copyist), was played in both Valencia and Madrid in 1924; his Cinco Piezas Infantiles, also for orchestra, won a National Prize the following year. In 1927, he followed the path of his compatriots Albéniz, Granados, Falla and Turina, and moved to Paris, where he enrolled at the Schola Cantorum as a pupil of Paul Dukas. Rodrigo immersed himself in the musical life of the city, befriending Honegger, Milhaud, Ravel and other Parisian luminaries, receiving encouragement from Falla, and enjoying success with a performance of his orchestral Prelude for a Poem to the Alhambra, whose subject matter and distinctly Spanish idiom established the style that consistently characterized his creations. In 1933, he married the Turkish pianist Victoria Kamhi. A Conde de Cartegena Grant the following year enabled him to remain in Paris to continue his studies at the Conservatoire and the Sorbonne. The outbreak of civil war in Spain in 1936 prevented Rodrigo from returning home, and he spent the next three years traveling in Germany, Austria and Switzerland, and living in the French capital. He returned to Madrid after the Spanish Civil War ended in 1939, and established his position among the country’s leading musicians with the premiere of the Concierto de Aranjuez for Guitar and Orchestra the following year. His prominence in Spanish musical life was recognized with many awards, honorary degrees and memberships, and, in 1947, the creation for him of the Manuel de Falla Chair at the University of Madrid.

In addition to teaching at the University, Rodrigo also served as Head of Music Broadcasts for Spanish Radio, music critic for several newspapers, and Director of the Artistic Section of the Spanish National Organization for the Blind. Though best known for his series of concertos for one, two and four guitars (Concierto de Aranjuez, Fantasía para un Gentilhombre, Concierto para una Fiesta, Concierto Madrigal, Concierto Andaluz), flute (Concierto Pastoral), cello (Concierto como un Divertimento) and harp (Concierto Serenata), Rodrigo also composed a ballet, a zarzuela, an opera, numerous orchestral works, music for the cinema, many songs, and solo numbers for piano and guitar. He died in Madrid on July 6, 1999.

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 cream-colored Andalusian horses bred nearby. When 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, and it should be only as strong as a butterfly, and as dainty as a veronica.”

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The Concierto de Aranjuez has enjoyed a great popularity since it was introduced in 1940, having been recorded many times, made into a ballet, and set in an array of popular, jazz and even commercial arrangements. With few precedents to guide him, Rodrigo created a work that not only embodies the essential qualities of his musical style and the spiritual ethos of Spain, but also solves the difficult technical problems inherent in combining an unamplified solo guitar with a full orchestra. 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 dancelike, 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 of sound 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 placed on the soloist, who is required to negotiate almost the entire range of the instrument’s possibilities.

Like all of Rodrigo’s best music, the Concierto de Aranjuez bears the unmistakable stamp of his craftsmanship and stylistic personality, of which the noted Spanish composer Tomás Marco wrote, “His aim has been to create a Spanish ambiance, full of color and agreeable tunes, where folklore is a picturesque element and references to art music of the past consist of distilled 17th and 18thcentury mannerisms.” This masterful Concierto is glowing evidence of Rodrigo’s ability of capture the spirit of his native land in music that is both immediate in appeal and lasting in value.

CLAUDE DEBUSSY

Prélude à “L’Après-midi d’un faune” (Prelude to “The Afternoon of a Faun”) ­£n Ó £n {® ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born August 22, 1862 in St. Germain-enLaye, France; died March 25, 1918 in Paris

March 18, 2018, Heinz Hall; Robert Spano, conductor

PREMIERE OF WORK

INSTRUMENTATION

December 22, 1894; Orchestra of the Société Nationale, Salle d’Harcourt; Gustave Doret, conductor

Three flutes, two oboes and English horn, two clarinets, two bassoons, four horns, two harps, antique cymbals and strings

PSO PREMIERE

DURATION

November 27, 1908, Carnegie Music Hall; Emil Paur, conductor

10 minutes

Stéphane Mallarmé (1842-1898) was one of those artists in fin-de-siècle Paris who perceived strong relationships among music, literature and the other arts. A number of his poems, including L’Aprèsmidi d’un faune, were not only inspired, he said, by music, but even aspired to its elevated, abstract state. The young composer Claude Debussy had similar feelings about the interaction of poetry and music, and he and Mallarmé became close friends, despite the twenty years difference in their ages. When Mallarmé completed his L’Après-midi d’un faune in 1876 after several years of writing and revising, he envisioned that it would be used as the basis for a theatrical production. Debussy was intrigued at this suggestion, and he set about planning to provide music to a choreographic PROGRAM NOTES 2021-2022 SEASON

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version that would be devised in consultation with Mallarmé. The projected work was described as Prélude, Interludes et Paraphrase finale to L’Après-midi d’un faune. Debussy completed only the scenario’s first portion, perhaps realizing, as had others, that Mallarmé’s misty symbolism and equivocal language were not innately suited to the theater. The premiere, given at an orchestral concert of the Société Nationale in Paris on December 22, 1894, a few months after the score was finished, was meticulously prepared by the conductor Gustave Doret, with Debussy at his elbow giving instruction and inspiration, polishing details, retouching the scoring. So successful was the initial performance that the audience demanded the work’s immediate encore. L’Après-midi d’un faune was first staged by Diaghilev’s Ballet Russe at the Théâtre du Châtelet on May 29, 1912; Nijinsky created the controversial choreography and appeared in the title role.

Mallarmé’s poem is deliberately ambiguous in its sensuous, symbolist language; its purpose is as much to suggest a halcyon, dream-like mood as to tell a story. Robert Lawrence described its slight plot, as realized by Debussy, in his Victor Books of Ballets: “Exotically spotted, a satyr is taking his rest on the top of a hillock. As he fondles a bunch of grapes, he sees a group of nymphs passing on the plain below. He wants to join them, but when he approaches, they flee. Only one of them, attracted by the faun, returns timidly. But the nymph changes her mind and runs away. For a moment he gazes after her. Then, snatching a scarf she has dropped in her flight, the faun climbs his hillock and resumes his drowsy position, astride the scarf.” As the inherent eroticism of the plot suggests, the Debussy/Mallarmé faun is no Bambi-like creature, but rather a mythological half-man, half-beast with cloven hooves, horns, tail and furry coat, a being which walks upright and whose chief characteristic is its highly developed libido. Mallarmé’s poem is filled with the ambiguities symbolized by the faun: is this a man or a beast? is his love physical or fantasy? reality or dream? The delicate subtlety of the poem finds a perfect tonal equivalent in Debussy’s music.

The Prelude to the Afternoon of a Faun is a seminal work in 20th-century music about which the eminent modernist Pierre Boulez noted, “The flute of the Faun brought new breath to the art of music.” Sinuous melodies, exquisite harmonies and a glowing range of orchestral colors were here combined with a jeweler’s precision to produce a limpid sensuality that had never before been broached in music. Like its phrasing and meter, the form of the Prelude is deliberately blurred, unfolding almost as a single, long, improvisational melody begun by the flute and caressed by the other instrumental colors — sometimes just a single tonal strand, sometimes enriched with parallel harmonies.

Mallarmé, who was delighted with Debussy’s musical realization of his poem, sent this laudatory verse to the composer: Spirit of the forest, If with your primal breath your flute sounds well, Listen now to the radiance Which comes when Debussy plays.

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ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born January 25, 1913 in Warsaw, Poland; died February 7, 1994 in Warsaw

May 13, 2007, Heinz Hall; Yan Pascal Tortelier, conductor

PREMIERE OF WORK

INSTRUMENTATION

November 26, 1954; Warsaw Philharmonic Orchestra; Witold Rowicki, conductor

Two piccolos, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, four trombones, tuba, timpani, percussion, two harps, piano, celesta and strings

PSO PREMIERE

January 8, 1960, Syria Mosque; Stanislaw Skrowaczewski, conductor

DURATION

29 minutes Witold Lutosławski was among the giants of late-20th-century music. Born into a highly cultured family in Warsaw, Poland on January 25, 1913, Lutosławski took up piano and violin as a teenager before entering the Warsaw Conservatory to study keyboard and composition. His first important work, the Symphonic Variations (1938), dates from the year after his graduation. He supported himself during the difficult years of World War II, when he was in constant fear of deportation, as a pianist in the Warsaw cafés. At that time, he also worked on his First Symphony, which was condemned following its 1947 premiere for not conforming to the government-prescribed style of “socialist realism.” Many of his works of the following decade avoided “formalism” by deriving their melodic and harmonic inspiration from folk songs and dances, a period that culminated in the splendid Concerto for Orchestra of 1950-1954. After the Funeral Music for String Orchestra of 1957, Lutosławski’s music was written in a more decidedly modern idiom, akin in some respects to 12-tone serialism but still individual in its formal strength, colorful sonority, lucid texture and emotional power. His last works, notably the Third (1983) and Fourth (1992) Symphonies and the Piano Concerto (1987), turned to an idiom that is less dissonant, dense, complicated and unpredictable, and more lucid and obviously melodic than the compositions of the preceding two decades. In summarizing the style of Lutosławski’s music, Bohdan Pociej wrote, “For him sound is primary, but this does not mean that he tends in the direction of impressionism; rather the superior position given to sound quality is combined with an unusually acute sense of proportion and of the expressive capacities of shape. The sources of his music may be traced to the deepest and most vital European traditions, and he has renewed and developed currents of musical thought basic to those traditions: the idea of form in sound as a manifestation of beauty and the idea of dramatic form generated by conflict.”

The composer gave the following account of the genesis of his Concerto for Orchestra: “In 1945, the Polish Music Publishing Company — which had just been established — asked me to compose a series of easy pieces based on Polish folk song and dance themes. I readily accepted this proposition and began for the first time to introduce elements of folk music into my work.

Soon afterwards I accepted several similar commissions and in this way I came to compose a series of works based on Polish folk tunes. Among these are my ‘Little Suite’ for orchestra, ‘Bucolics’ for piano, etc. I did not attach any great importance to these works and treated them merely as a sideline to my real work as a composer. At this time I was busy above all on my First Symphony and PROGRAM NOTES 2021-2022 SEASON

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later on my Overture for Strings and on problems of composition technique which were entirely unconnected with folk music. At the same time, however, the whole series of ‘functional’ pieces which I wrote based on folk themes gave me the possibility of developing a style which though narrow and limited, was nevertheless characteristic enough. This mainly involved blending simple diatonic motifs with chromatic atonal counterpoint, and with non-functional, multicolored, capricious harmonies. The rhythmic transformation of these motifs, and the polymetrical texture resulting from them together with the accompanying elements are a part of the characteristic style which I have mentioned. In doing all this, I thought at the time that this marginal style would not be entirely fruitless and that despite its having come into being while I was writing typical ‘functional’ music, I could possibly make use of it in writing something more serious. A suitable opportunity for putting this into practice soon turned up. This was in 1950. The director of the Warsaw Philharmonic Orchestra, Witold Rowicki, asked me to write something especially for his new ensemble. This was to be something not difficult, but which could, however, give the young orchestra an opportunity to show its qualities. I started to work on the new score not realizing that I was to spend nearly four years on it. Folk music and all that follows with it — of which I have already spoken — was to be used in my new work. Folk music has in this work, however, been merely a raw material used to build a large musical form of several movements which does not in the least originate either from folk songs or from folk dances. A work came into being, which I could not help including among my most important works, as a result of my episodic symbiosis with folk music and in a way that was for me somewhat unexpected. This work is the Concerto for Orchestra. It seems to me that my possibilities of making use of folk themes have been almost completely exhausted in this score.”

Like Bartók’s familiar work of the same title, Lutosławski’s Concerto for Orchestra allows each orchestral section solo opportunities, creating a richly varied kaleidoscope of instrumental colors enlivened by a clear and invigorating harmonic palette and a bursting rhythmic energy. The first movement is titled Intrada, a term used in the 16th and 17th centuries for the festive opening piece of a musical evening. Lutosławski’s Intrada begins over a gigantic sustained pedal-point in the basses and proceeds through several sections that are played in reverse order after the movement’s central point to create a symmetrical, mirror-like structure with the pedal-point and its decorating themes returning at the end to round out the form. The second movement (Capriccio notturno e Arioso) opens and closes with skittering music that brings to mind the whirrings and buzzings of a country summer night. The Arioso at the movement’s center, initiated by unison trumpets, is an extended melody given above heavy accompanimental punctuations. The finale comprises three continuous sections — Passacaglia, a set of increasingly elaborate variations around an unchanging melody, first played by the basses; Toccata, a vibrantly rhythmic stanza commencing after the Passacaglia fades into silence; and Chorale, begun by oboes and clarinets and growing through the full ensemble to stentorian proportions. *," ,Ƃ "/ - 9 ,° , Ƃ, ° ," Ƃ

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Learn more at cmoa.org/PSO

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MUSIC CONNECTS THE WORLD. SO DO WE. Delta is proud to be the official airline partner of the Pittsburgh Symphony Orchestra.

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JUANJO MENA Juanjo Mena began his conducting career in his native Spain as Artistic Director of the Bilbao Symphony Orchestra in 1999. His uncommon talent was soon recognized internationally with appointments as Principal Guest Conductor of the Bergen Philharmonic and Chief Guest Conductor of the Orchestra del Teatro Carlo Felice in Genoa. In 2011 he was named Chief Conductor of the BBC Philharmonic which he led for seven seasons, taking the orchestra on tours of Europe and Asia and conducting annual televised concerts at the Royal Albert Hall as part of the BBC Proms. His BBC tenure featured, notably, “thrilling” (The Guardian) performances of Bruckner Symphonies, a cycle of Schubert Symphonies and set new standards for the interpretation of Spanish and South American repertoire. He currently serves as Principal Conductor of the Cincinnati May Photo credit: Michal Novak Festival, the longest running choral festival in North America, where he has been expanding the scope of the legendary institution with new In the 21/22 season, Juanjo Mena returns to conduct the Pittsburgh Symphony, National commissions and community engagement.

Symphony Orchestra in Washington DC, A sought-after guest conductor, Juanjo Mena Montreal Symphony, Oslo Philharmonic and has led Europe’s top ensembles including the Bergen Philharmonic, and debuts with the the Berlin Philharmonic, Bavarian Radio Atlanta Symphony, Gürzenich Orchestra in Orchestra, Gewandhaus Orchestra Leipzig, Cologne and the Japan Philharmonic. In the London Philharmonic, Oslo Philharmonic, 20/21 season, heavily affected by the pandemic, Rotterdam Philharmonic, Danish National he returned to conduct the Gewandhaus Symphony Orchestra, Swedish Radio Orchestra Leipzig and the NHK Symphony, Symphony Orchestra, Orchestre National de among others. In June 2022 at Madrid’s Teatro France, Orchestra Filarmonica della Scala, Real, Mena will lead performances of the new Tonhalle Orchester Zürich, Bamberg Symphony production of Arthur Honegger’s Joan of Arc at Orchestra and the Dresden Philharmonic the Stake paired with Debussy’s La damoiselle among others. He appears regularly with all the élue. major orchestras in his native Spain.

His operatic work includes Wagner’s The Flying Following his North American debut with Dutchman, Richard Strauss’ Salome, Elektra, Ariadne the Baltimore Symphony in 2004, he has auf Naxos, Bartók’s Duke Bluebeard’s Castle and conducted most of the continent’s leading Schoenberg’s Erwartung as well as productions orchestras. They include the Chicago of Tchaikovsky’s Eugene Onegin in Genoa, Symphony, Boston Symphony, the Cleveland Mozart’s The Marriage of Figaro in Lausanne, and Orchestra, Philadelphia Orchestra, New York Beethoven’s Fidelio and Britten’s Billy Budd in Philharmonic, Los Angeles Philharmonic, Bilbao.

Pittsburgh Symphony, Minnesota Orchestra, National Symphony, Cincinnati Symphony, Juanjo Mena’s latest recording is Bruckner’s Detroit Symphony, Montreal Symphony and Symphony No. 6 with the BBC Philharmonic Toronto Symphony Orchestras. In Asia, he is a released by Chandos. The Classical Review praised regular guest conductor of the NHK Symphony it as “intensely musical,” “impressive” and with a spectacular sound. Mena’s rich discography Orchestra in Tokyo.

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with the BBC Philharmonic on Chandos also includes an acclaimed Gabriel Pierné release selected as a Gramophone Editor’s Choice, Weber Symphonies, Ginastera’s orchestral works to mark the composer’s centenary, and new reference recordings of largely overlooked Spanish repertoire including Arriaga’s orchestral pieces, works by Albéniz, Montsalvatge and Turina, as well as three discs of works

by Manuel de Falla featuring his opera La Vida Breve. In 2012 Juanjo Mena recorded Messiaen’s Turangalîla Symphony with the Bergen Philharmonic for the Hyperion label, a disc said to “utterly redefine the terms under

which past/current/future Turangalîlas need to be judged” (Gramophone).

Juanjo Mena studied conducting with Sergiu Celibidache following his musical education at the Madrid Royal Conservatory where he was mentored by Carmelo Bernaola and Enrique García Asensio. In 2016 he was awarded the Spanish National Music Award. He lives with his family in his native Basque Country.

Juanjo Mena last conducted the Pittsburgh Symphony in January 2018.

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

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

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

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

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

BIOGRAPHY 2021-2022 SEASON

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ABOUT THE COMPOSER

INSTRUMENTATION

Born January 23, 1977 in Philadelphia, Pennsylvania

Two piccolos, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, four trombones, tuba, timpani, percussion, two harps, piano, celesta and strings

PREMIERE OF WORK

September 28, 2018; Pittsburgh Symphony Orchestra, Heinz Hall; Manfred Honeck, conductor

DURATION

11 minutes LAST PSO PERFORMANCE

October 19, 2019, Heinz Hall; Manfred Honeck, conductor Mason Bates brings not only his own fresh talent to the concert hall but also the musical sensibilities of a new generation — he is equally at home composing “for Lincoln Center,” according to his web site (www.masonbates.com), as being the “electronica artist Masonic® who moved to the San Francisco Bay Area from New York City, where he was a lounge DJ at such venues as The Frying Pan — the floating rave ship docked off the pier near West 22nd Street.”

Bates was born in Philadelphia in 1977 and started studying piano with Hope Armstrong Erb at his childhood home in Richmond, Virginia. He earned degrees in both English literature and music composition in the joint program of Columbia University and the Juilliard School, where his composition teachers included John Corigliano, David Del Tredici and Samuel Adler, and received his doctorate in composition from the University of California, Berkeley in 2008 as a student of Edmund Campion and Jorge Lidermann. Bates was Resident Composer with the California Symphony from 2008 to 2011, Project San Francisco Artist-in-Residence with the San Francisco Symphony in 2011-2012, and Composer of the Year with the Pittsburgh Symphony Orchestra in 2012-2013; he held a residency with the Chicago Symphony Orchestra from 2010 to 2015, and was the first-ever Composer-in-Residence at the Kennedy Center for the Performing Arts in Washington, D.C. from 2015 to 2020. He also teaches in the Technology and Applied Composition Program of the San Francisco Conservatory of Music.

Bates’ rapidly accumulating portfolio of orchestral, chamber, vocal, theatrical, film (notably Gus Van Sant’s 2014 The Sea of Trees starring Matthew McConaughey and Naomi Watts) and electronic compositions includes commissions and performances by the major orchestras of London, Lisbon, New York, Washington, Atlanta, Toronto, Phoenix, San Francisco, Oakland, Annapolis, Los Angeles, Miami and Detroit, the Tanglewood, Aspen, Cabrillo and Spoleto USA festivals, Biava Quartet, Chanticleer and New Juilliard Ensemble. In 2010, Bates was commissioned to write Mothership for the second concert of the YouTube Symphony Orchestra, an ensemble composed of musicians from around the world who were selected through on-line auditions by Michael Tilson Thomas, the project’s director and conductor, and assembled in Sydney, Australia for rehearsals and a live concert on March 20, 2011 streamed on the internet; the first YouTube Symphony Orchestra concert had been held in New York in 2009. Bates’ The (R)evolution of Steve Jobs, premiered by Santa Fe Opera in July 2017, received the 2019 Grammy Award for Best Opera, and is scheduled 22

for productions in Atlanta, Austin and Kansas City; Bates is currently at work on The Amazing Adventures of Kavalier & Clay for the Metropolitan Opera with librettist Gene Scheer. Another recent project is Philharmonia Fantastique, which uses a hybrid of animation and live-action filming to look at — and in — orchestral instruments as they are being played. Philharmonia Fantastique, developed with director and sound designer Gary Rydstrom and animator Jim Capobianco, was commissioned by the Pittsburgh Symphony Orchestra, Chicago Symphony Orchestra, Dallas Symphony Orchestra, National Symphony Orchestra, San Francisco Symphony and American Youth Symphony, and is scheduled for upcoming live performances as well as theatrical release.

In addition to being recognized as the most-performed American composer of his generation and named “2018 Composer of the Year” by Musical America, Bates has received a Charles Ives Scholarship and Fellowship from the American Academy of Arts and Letters, Guggenheim Fellowship, Jacob Druckman Memorial Prize from the Aspen Music Festival, ASCAP and BMI awards, a Fellowship from the Tanglewood Music Center, Rome Prize, Berlin Prize, a twoyear Composer Residency with Young Concert Artists, and the 2012 Heinz Award in Arts and Humanities.

Mason Bates is also an ardent and effective advocate for bringing new music to new spaces, “whether,” he explained, “through institutional partnerships such as the residency with the Chicago Symphony’s MusicNOW series, or through the project Mercury Soul, which has transformed spaces ranging from commercial clubs to Frank Gehry-designed concert halls into exciting, hybrid musical events drawing over a thousand people. Mercury Soul, a collaboration with director Anne Patterson and conductor Benjamin Schwartz, embeds sets of classical music into an evening of DJing and beautiful, surreal visuals.”

“To celebrate the sixtieth birthday of Manfred Honeck, who has taken us on a unique journey into the spirituality of music,” wrote Mason Bates of Resurrexit, commissioned by the Pittsburgh Symphony Orchestra in 2018, “I turned to a biblical narrative full of mystery and the supernatural.

While composers from Bach to Mahler have set the Resurrection in large-scale choral settings, the story has not been animated in the purely symphonic, kinetic form that attracted me. Resurrexit challenged me to consider a subject and soundworld I had never explored musically.

“The piece opens in biblical darkness, with the dusty mystery of the Middle East evoked by exotic modes and sonorities, as a throaty melody laments the death of Christ. The entrance of the beautiful Easter chant Victimae Paschali Laudes [‘Praise the Easter Victim’] signals the first stirrings of life, conjured by trills, altar bells and the remarkable ‘Semantron’ (a large wooden plank hammered by huge mallets used by Byzantine monks as a call to prayer). [A fascinating video of the Semantron is on-line at www.youtube.com/watch?v=Y1viidJRx_w] Mystery turns into magic as the ‘reanimation’ is illustrated by quicksilver textures that whirl and flicker, building to an exhilarating finale that features a soaring reprise of the Easter chant.”

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SERGEI RACHMANINOFF

Rhapsody on a Theme of Paganini for Piano and Orchestra, Opus 43 ­£ Î{® ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born April 1, 1873 in Novgrod, Russia; died March 28, 1943 in Beverly Hills, California

October 19, 2019, Heinz Hall; Manfred Honeck, conductor; Igor Levit, soloist

PREMIERE OF WORK

November 7, 1934: Philadelphia Orchestra, Philadelphia; Leopold Stokowski, conductor PSO PREMIERE

December 2, 1937, Syria Mosque; Michel Gusikoff, conductor; Sergei Rachmaninoff, soloist

INSTRUMENTATION

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

23 minutes The legend of Nicolò Paganini has haunted musicians for nearly two centuries. Gaunt, his emaciated figure cloaked in priestly black, Paganini performed feats of wizardry on the violin that were simply unimagined until he burst upon the European concert scene in 1805. Not only were his virtuoso pyrotechnics unsurpassed, but his performance of simple melodies was of such purity and sweetness that it moved his audiences to tears. So far was he beyond the competition that he seemed almost, well, superhuman. Perhaps, the rumor spread, he had special powers, powers not of this earth. Perhaps, Faust-like, he had exchanged his soul for the mastery of his art. The legend (propagated and fostered, it is now known, by Paganini himself) had begun.

Paganini, like most virtuoso instrumentalists of the 19th century, composed much of his own music. Notable among his oeuvre are the breathtaking Caprices for Unaccompanied Violin, works so difficult that even today they are accessible only to the most highly accomplished performers.

The last of the Caprices, No. 24 in A minor, served as the basis for compositions by Schumann, Liszt and Brahms, and was also the inspiration for Rachmaninoff’s Rhapsody on a Theme of Paganini.

Rachmaninoff’s work is a series of variations on this theme, which is characterized as much by its recurrent rhythm (five short notes followed by a longer one) as by its melody. Taking his cue from the Paganini legend, Rachmaninoff combined another melody with that of the demonic violinist — the Dies Irae (“Day of Wrath”) from the Requiem Mass for the Dead. This ancient chant tune had long been connected not only with the Roman Catholic Church service, but also with musical works containing some diabolical element. Berlioz associated it with the witches’ sabbath in his Symphonie Fantastique, Liszt used it in his Totentanz (“Dance of Death”), Saint-Saëns in his Danse macabre, and Rachmaninoff himself in his earlier Isle of the Dead.

In devising a scenario for a 1937 ballet based on the Paganini Rhapsody, Rachmaninoff wrote to the choreographer Mikhail Fokine describing the program he had in mind for the work: “Why not resurrect the legend about Paganini, who, for the perfection of his art and for a woman, sold his soul to an evil spirit? All the variations which have the theme of Dies Irae [Nos. 7, 10, 24] represent the evil spirit. The variations from No. 11 to No. 18 are love episodes. Paganini himself appears in the ‘theme’ (his first appearance) and again, for the last time, in variation No. 23. The evil spirit appears for the first time in variation No. 7. Variations Nos. 8, 9 and 10 are the development of the evil spirit. Variation No. 11 is the turning point into the domain of love. Variation No. 12 — the 24

Menuet — portrays the first appearance of the woman. Variation No. 13 is the first conversation between the woman and Paganini. Variation No. 19 — Paganini’s triumph.”

The Rhapsody, a brilliant showpiece for virtuoso pianist, is a set of 24 variations. The work begins with a brief, eight-measure introduction followed, before the theme itself is heard, by the first variation, a skeletal outline of the melody reminiscent of the pizzicato opening of the variationfinale of Beethoven’s “Eroica” Symphony. The theme, 24 measures in length, is stated by the unison violins. The following variations fall into three groups, corresponding to the fast–slow–fast sequence of the traditional three-movement concerto. The most familiar section of the Rhapsody, and one of the great melodies in the orchestral literature, is the climax of the middle section. This variation, No. 18, actually an inversion of Paganini’s theme, has a broad sweep and nobility of sentiment unsurpassed anywhere in Rachmaninoff’s works.

The Rhapsody was an immediate success at its 1934 premiere, and became one of the staples of Rachmaninoff’s concert tours in this country and abroad during the last decade of his life. During those final years, he returned twice more in his compositions to the Dies Irae as a musical reminder of life’s transience, employing it in his Third Symphony (1937) and the Symphonic Dances of 1941, his last work. The ancient melody had become for him a musical motto representing his brooding and fatalistic frame of mind. It seems therefore fitting that the Paganini Rhapsody in which it figures so prominently was the last work he played in public with orchestra, only two months before his death.

ANTON BRUCKNER

Symphony No. 7 in E major ­£nn£ £nnÎ] i`° Ü> ®

ABOUT THE COMPOSER

LAST PSO PERFORMANCE

Born September 4, 1824 in Ansfelden, Austria; died October 11, 1896 in Vienna

January 23, 2010, Heinz Hall; Manfred Honeck, conductor

PREMIERE OF WORK

INSTRUMENTATION

December 20, 1884; Municipal Theater; Arthur Nikisch, conductor

Woodwinds in pairs, four horns, four Wagner tubas (a hybrid of horn and euphonium), three trumpets, three trombones, tuba, timpani, percussion and strings

PSO PREMIERE

December 18, 1953, Syria Mosque; William Steinberg, conductor

DURATION

69 minutes Anton Bruckner was an unlikely figure to be at the center of 19th-century music’s fiercest feud. He was a country bumpkin — with his shabby peasant clothes, his rural dialect, his painful shyness with women, his naive view of life — in one of the world’s most sophisticated cities, Vienna.

Bruckner had the glory — and the curse — to have included himself among the ardent disciples of Richard Wagner, and his fate was indissolubly bound up with that of his idol from the time he dedicated his Third Symphony to him in 1877. While “Bayreuth Fever” was infecting most of Western civilization during the last quarter of the 19th century, there was a strong anti-Wagner clique in Vienna headed by the critic Eduard Hanslick, a virulent spokesman against emotional and programmatic display in music who championed the cause of Brahms and never missed a chance to fire a blazing barb at the Wagner camp. Bruckner, teaching and composing in Vienna within easy PROGRAM NOTES 2021-2022 SEASON

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range of Hanslick’s vitriolic pen, was one of his favorite targets. He called Bruckner’s music “unnatural,” “sickly,” “inflated” and “decayed,” and intrigued to stop the performance of his works whenever possible.

Bruckner felt that much of the rejection his symphonies suffered could be attributed to Hanslick’s slashing reviews. When honor and renown finally came to the composer late in his life, the Austrian Emperor, Franz Joseph, asked the old man what he would like more than anything else. Bruckner requested that the Emperor make Hanslick stop saying nasty things about his music. It is little wonder that Bruckner sent an unusual request to the Vienna Philharmonic Society after they had scheduled his Seventh Symphony for its Viennese premiere in the wake of the work’s success in Germany. He thanked the Society for its kind consideration, but asked them to withdraw the performance “... [because] of the influential critics who would be likely to damage my dawning success in Germany.” It was the adoration of Wagner and his music that both fueled his creativity and caused him to suffer at the hands of the most powerful critic of his day.

Bruckner’s Seventh Symphony is intimately linked with his devotion to Wagner. Like all of his instrumental works, it aims at adapting Wagner’s theories and harmonic and instrumental techniques to absolute music, and securing a place for them in the symphony. In addition to this pervasive, general influence, the Seventh Symphony bears an even more direct connection with the Master of Bayreuth. About a year after Bruckner had begun work on the score in September 1881, reports of Wagner’s deteriorating health began to filter back to Vienna from Venice, where Wagner had gone to escape the harsh German climate. Bruckner later wrote to his friend and devoted pupil Felix Mottl concerning the fall of 1882, “At one time, I came home and was very sad. I thought to myself, it is impossible that the Master can live long. It was then that the music for the Adagio of my Symphony came into my head.” To make the tribute unmistakable, Bruckner made the dominant orchestral sonority in the movement a quartet of “Wagner tubas” (brass instruments of rich, burnished tone color that are a cross between the horn and the euphonium), which were designed especially by Wagner for use in his operas. Most of the slow movement was already sketched when the news of Wagner’s death on February 13, 1883 reached Bruckner, and he added the concluding section specifically as a memorial to his idol. Later, he referred to this magnificent Adagio as “Funeral Music — a Dirge to Wagner’s Memory.” It was fitting that this music should also have been played a dozen years later at Bruckner’s own funeral in Vienna and his burial in St. Florian.

After the death of Wagner, Bruckner went ahead with the Seventh Symphony, and completed the score in September 1883. He dedicated the work to “Mad” King Ludwig of Bavaria, Wagner’s most important patron. Arthur Nikisch, then only 29 and already moving into a dominant position as one of the era’s great conductors, planned the premiere for Leipzig in June 1884, but the performance had to be put off twice. Not only did Nikisch have to overcome the resistance of the anti-Wagner/Bruckner faction, but he also had to deal with the conservative Gewandhaus administration, which refused to have anything to do with the affair, and insisted that it be moved to the Municipal Theater. They missed staging a hit, the first unspoiled acclaim that Bruckner had ever known. A good deal of the Symphony’s success must be credited to Nikisch, not just because he gave a splendid reading of the new work, but also because he invited the local critics to his home a few days before the premiere so that he could familiarize them with the music at the piano. Bruckner was moved and overjoyed by his reception in Leipzig, as one unnamed critic reported: “One could see from the trembling of his lips, and the sparkling moisture in his eyes, how difficult it was for the old gentleman to suppress his deep emotion.

His homely but honest countenance beamed with a warm inner happiness such as can appear only on the face of one who is too good-hearted to succumb to bitterness even under the pressure of the most disheartening circumstances. Having heard this work and now seeing him in person, we asked ourselves in amazement, ‘How is it possible that he could remain so long unknown to us?’ ” The Symphony made a triumphant procession through the major German cities. The Munich premiere in early 1885 was so rapturously received that its conductor, Hermann Levi, called the composition “the most significant symphonic work since [the death of Beethoven in] 1827.” (This encomium not only praised Bruckner but was also a slap at Brahms, whose Third Symphony had appeared just two years earlier.) Though the work received the expected critical battering when it reached Vienna, the public was finally willing to grant the patient Bruckner his due, and he was recalled to the stage three or four 26

times after each movement by the applause. Among the audience at the Viennese premiere was Johann Strauss the Younger, King of the Waltz, who desperately wanted to write a successful grand opera and be recognized as a “serious composer.” Strauss sent a telegram to Bruckner with a terse, but meaningful message: “Am much moved — it was the greatest impression of my life.”

The opening movement of the Seventh Symphony is on the grand, architectural scale that characterizes the greatest works of Bruckner. Its three themes occupy broad paragraphs that give the music a transcendent spaciousness unmatched by the creations of any other composer. The first theme is presented immediately by the cellos and solo horn above a tremulous accompaniment in the violins.

Bruckner liked to tell the story that this melody came to him in a dream, which he considered a good omen. Kapellmeister Dorm, an old friend from Linz, he would say, appeared to him while he slept, whistled this tune, and prophesied, “With this theme, you will make your fortune.” Bruckner immediately hopped out of bed, lit a candle, and wrote down the precious melody. The nocturnal inspiration proved effective because Dorm’s words came true as this work carried Bruckner’s name across the musical world. The long opening theme is succeeded by a second, more lyrical motive with a turn figure (a favorite melodic device of Wagner) played by oboe and clarinet over a repeated-note background in the horns and trumpets. After one of Bruckner’s characteristic, ringing brass climaxes, the movement’s third theme appears, a quiet but somewhat heavy peasant dance presented in nearunison by woodwinds and strings. The development section begins with an inversion of the opening theme played by clarinet, after which the various melodies of the exposition are again assayed.

The recapitulation commences quietly and without preparation, and includes the earlier themes in heightened settings. The coda is based on the first motive and rises to a wondrous, stentorian close that seems to rattle the very gates of Heaven.

The Adagio, Bruckner’s moving memorial tribute to Wagner, consists of two large stanzas of music that alternate to form a five-part musical structure: A–B–A–B–A. The “A” section is dominated by a solemn chorale for the quartet of Wagner tubas that passes into the full orchestra after the opening phrases.

The contrasting music is brighter in mood, with a hint of the lilting Austrian country dance, the Ländler. The tension is controlled through the long span of this movement with consummate mastery by pacing each return of the chorale theme so that it is richer in texture and more magnificent in sonority than the preceding presentation.

The third movement is one of Bruckner’s great, whirling Scherzos. A powerful, ostinato-like rhythm in the strings supports the open-interval theme presented by the trumpet and the legato answering phrase sounded by the clarinet. These three motives are combined and developed with an irresistible urgency as the Scherzo unfolds. The Trio, slower in tempo and sweeter in mood, derives from a lyrical melody entrusted to the string choir.

The finale is based on two thematic elements: a heavily dotted motive played in the first measure by violins, and a hymnal theme for strings over a wide-ranging pizzicato bass line. The movement follows a broad sonata outline, with some glorious orchestral climaxes based on the dotted-rhythm melody.

To round out the structure of the Seventh Symphony, the opening theme of the first movement is superimposed on the closing pages of the finale to create one of music’s most overwhelming bursts of brilliant orchestral sound.

Wrote Josef V. Wöss, “The Symphony No. 7, with its rich invention and marvelous architecture, marks a supreme achievement. The first and last movements are by far the most vivid and ‘optimistic’ among the corresponding movements from any of Bruckner’s symphonies. They fairly sing with passionate enthusiasm, and the entire work is imbued with an atmosphere of knightly splendor and romance.” *," ,Ƃ "/ - 9 ,° , Ƃ, ° ," Ƃ

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>À i} i ÕÃiÕ v ƂÀÌ Ã `i } Ìi` Ì LÀ } Þ Õ Ì Ã >ÀÌÜ À from our collection that connects to the sounds of the Pittsburgh -Þ « Þ Ì >Ì Þ Õ Ü i>À Ì `>Þ] Ì À Õ} > «>ÀÌ iÀà « L À vÀ ÕÀ à >Ài` £ÓxÌ > ÛiÀÃ>À ià ÓäÓä° “Sculpture is a parable in three dimensions, a symbol of a spiritual experience, and a means of conveying truth by concentrating its essence into visible form.” – From Sculpture Inside and Out, 1939, Malvina Hoffman -VÕ «Ì À] > Û > vv > ] > ` V « ÃiÀ] Ƃ Ì ÀÕV iÀ] v Üi` ÛiÀÞ ` vviÀi Ì Ài } Õà Ìi>V }ð vv > ÌÕÀ i` Ì Ì i `Õ L>Ãi` iÃÃ>}ià v 6i`> Ì> Ü i ÀÕV iÀ ÃÕLÃVÀ Li` Ì À ÃÌ > « iÌÞ ÞiÌ L Ì Ã Õ} Ì ÌÀÕÌ Ü >Ì Ì iÞ VÀi>Ìi`° / iÞ LÕi` Ì i À Ü À Ã Ü Ì Ì i ë À ÌÕ> iÝ«iÀ i Vi ÀiviÀi Vi` LÞ vv > Li iÛ } Ì i V Õ V>Ì Ûi « ÜiÀ v Ì i À V Ãi >ÀÌ v À ð i Û Ã Ì >À i} i ÕÃiÕ v ƂÀÌ Ì Ã Ãi>Ã Ì V iVÌ Ü Ì >ÀÌÜ À à i Ì Ã > ` > Þ Ì iÀð Learn more at cmoa.org/PSO

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MANFRED HONECK Manfred Honeck has firmly established himself as one of the world’s leading conductors, whose unmistakable, distinctive and revelatory interpretations receive great international acclaim. He is currently in his 14th season as Music Director of the Pittsburgh Symphony Orchestra. Celebrated both at home and abroad, Manfred Honeck and the Pittsburgh Symphony Orchestra, one of the most frequently toured North American orchestras, serve as cultural ambassadors for the city of Pittsburgh. Guest appearances regularly include Carnegie Hall and Lincoln Center in New York, as well as the major venues of Europe and festivals such as the BBC Proms, Salzburg Festival, Musikfest Berlin, Lucerne Festival, Rheingau Music Festival, Beethovenfest Bonn, and Grafenegg Festival.

Manfred Honeck’s successful work in Pittsburgh is extensively documented by recordings on the Reference Recordings label.

All SACDs, these recordings feature works

by Strauss, Beethoven, Bruckner, Tchaikovsky and others, and have received a multitude of outstanding reviews and awards, including a number of GRAMMY® nominations. The recording of Shostakovich’s Symphony No. 5/Barber Adagio won the GRAMMY® for “Best Orchestral Performance” in 2018. In February of 2021, Manfred Honeck and the Pittsburgh Symphony released a new recording of Beethoven Symphony No. 9 in celebration of the orchestra’s 125th anniversary season. Their most recent release is a recording of Brahms No. 4/MacMillan Larghetto for Orchestra.

Born in Austria, Manfred Honeck completed his musical training at the University of Music in Vienna. His many years of experience as a member of the viola section in the Vienna Philharmonic and Vienna State Opera Orchestra have had a lasting influence on his work as a conductor. His art of interpretation is based on his determination to venture deep beneath the surface of the music.

He began his conducting career as assistant to Claudio Abbado and as director of the Vienna Jeunesse Orchestra. Subsequently, he was engaged by the Zurich Opera House, where he was awarded the European Conducting Prize in 1993. He has since served as one of three

Photo credit: George Lange

principal conductors of the MDR Symphony Orchestra Leipzig, as Music Director of the Norwegian National Opera, Principal Guest Conductor of the Oslo Philharmonic Orchestra and Czech Philharmonic Orchestra, and Chief Conductor of the Swedish Radio Symphony Orchestra in Stockholm.

From 2007 to 2011, Manfred Honeck was Music Director of the Staatsoper Stuttgart, where he led premieres of Berlioz’s Les Troyens, Mozart’s Idomeneo, Verdi’s Aida, Richard Strauss’s Rosenkavalier, Poulenc’s Dialogues des Carmélites and Wagner’s Lohengrin and Parsifal. Guest performances in opera led him to Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brussels, Royal Opera of Copenhagen, the White Nights Festival in St. Petersburg and the Salzburg Festival. In Beethoven’s anniversary year of 2020, he conducted a new staging of Fidelio (1806 version) at the Theater an der Wien.

Beyond the podium, Manfred Honeck has designed a series of symphonic suites, including Janáček’s Jenůfa, Strauss’s Elektra and Dvořák’s Rusalka. He recorded all of these arrangements with the Pittsburgh Symphony Orchestra, and regularly performs them with orchestras around the globe.

BIOGRAPHY 2021-2022 SEASON

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As a guest conductor, Manfred Honeck has been at the podium of all leading international orchestras including the Bavarian Radio Symphony Orchestra, Berlin Philharmonic Orchestra, Gewandhausorchester Leipzig, Staatskapelle Dresden, Tonhalle-Orchester Zürich, Royal Concertgebouw Orchestra, London Symphony Orchestra, Orchestre de Paris, Accademia di Santa Cecilia Rome and the Vienna Philharmonic. In the United States, he has conducted all major US orchestras, including New York Philharmonic, The Cleveland Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic,

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Philadelphia Orchestra, Boston Symphony Orchestra and San Francisco Symphony. He has also been Artistic Director of the International Concerts Wolfegg in Germany for more than twenty-five years.

Manfred Honeck holds honorary doctorates from several universities in the United States and also was awarded the honorary title of Professor by the Austrian Federal President. In 2018, the jury of the International Classical Music Awards declared him “Artist of the Year.”

YULIANNA AVDEEVA Hailed by The Daily Californian as “a spectacle of pure class,” and by The Financial Times as an artist who is «able to let the music breathe,» Yulianna Avdeeva gained worldwide recognition since the 2010 Chopin Competition, where she won First Prize with a “detailed way of playing” that “matched Chopin’s own” (The Telegraph).

A pianist of fiery temperament and virtuosity, Avdeeva plays with power, conviction, and authority, having won over audiences all over the world.

Following a tumultuous pandemic year, Yulianna’s summer 2021 includes several European festivals: La Roque d’Antheron, Fryderyk Chopin Institute’s 16th International Festival Chopin and his Europe in Warsaw, Bachwoche Ansbach, Ravel Festival Saint-Jeande-Luz, and Settimane Musicali in Ascona. Her repertoire for which includes a Bach program (English Suite No. 2 in A Minor, Toccata in D Major, and Partita No. 2 in C Minor); Ravel’s Valses nobles et sentimentales, Pavane, and La Valse; Chopin Barcarolle and PolonaiseFantaisie; Rachmaninov Sonata No. 2; Szpilman’s Life of the machines suite; and Weinberg Sonata No. 4.

Her 2021-22 begins with tour in Germany and Austria with Teodor Currentzis and SWR Symphonieorchester in September 2021 - including Elbphilharmonie Hamburg and Konzerthaus Vienna - playing Prokofiev Concerto No. 3; a Recital Debut at the Konzerthaus Vienna, a return to Pierre-BoulezSaal Berlin in October 2021 performing Chopin, Szpilman, Weinberg and Prokofiev, and a Recital Tour in Europe with Julia Fischer in November 2021 (including Wigmore Hall London); a tour of Spain with Robert Trevino and the Basque National Orchestra in February 2022 playing Bernstein Symphony No. 2 Age of Anxiety, Pittsburgh Symphony Orchestra under the baton of Manfred Honeck in March 2022 playing Rachmaninov Paganini Rhapsody, and Rachmaninov Concerto No. 2 with the Naples Philharmonic and Andrei Boreyko.

During the first lockdown in March 2020 Yulianna Avdeeva started presenting weekly

Photo credit: C. Schneider

live streams on Facebook and YouTube playing and discussing the entire Well-Tempered Clavier Books I & II by Johann Sebastian Bach.

She went live 60 times and her live streams have reached almost half a million views worldwide.

With tours of Japan both in recitals and in concertos with the Orchestre National du Capitole de Toulouse, NHK Symphony, Deutsches Symphonieorchester Berlin, and Bamberg Symphony, Avdeeva has built a strong profile in the Asia-Pacific region. In 2019, Avdeeva joined the BBC Scottish Symphony and Thomas Dausgaard at the BBC Proms Japan. Avdeeva’s long-standing association with the Fryderyk Chopin Institute has also won her a prominent following in Poland as a regular with the Warsaw Philharmonic and the National Polish Radio Symphony.

Among her extensive orchestral collaborators are Pittsburgh Symphony with Manfred Honeck and Sir Mark Elder, Los Angeles Philharmonic with Gustavo Dudamel, Baltimore Symphony with Marin Alsop, Montreal Symphony with Kent Nagano, Rundfunk-Sinfonieorchester Berlin and conductor Marek Janowski, Royal Stockholm Philharmonic, Finnish Radio Symphony with Vasily Petrenko, Danish Radio Symphony with Lahav Shani, the London Philharmonic with Vladimir Jurowski, Czech Philharmonic with Manfred Honeck, BIOGRAPHY 2021-2022 SEASON

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Sinfonia Varsovia with Robert Trevino, SWR Symphonieorchester, Dresden Philharmonic, Sinfonieorchester Basel, Kremarata Baltica with Gidon Kremer, City of Birmingham Symphony, Orchestra dell’Accademia Nazionale di Santa Cecilia, Orchestre National de Lyon, Sydney and Melbourne Symphony Orchestras, Yomiuri Nippon Symphony with Sascha Goetzel, St. Petersburg Philharmonic, and Tchaikovsky Symphony Orchestra of Moscow Radio – with whom she toured Spain and Italy.

In addition to being a regular guest at Chopin Festivals and the Festival International de Piano La Roque d’Anthéron, recent seasons have seen Avdeeva in recital at Wigmore Hall, Tchaikovsky Concert Hall, Rheingau Musik Festival, Salzburg Festival, Alte Oper Frankfurt, Elbphilharmonie Hamburg, Boulez Saal, Lucerne Festival, Palau de la Música Catalana, and Philharmonie Essen.

A dedicated chamber musician, Avdeeva has toured regularly throughout Europe with violinists Julia Fischer and Gidon Kremer, with appearances at the Tonhalle Zurich, Festspielhaus Baden-Baden, among others.

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Following her recording of Chopin concertos with the Orchestra of the Eighteenth Century and Frans Brüggen (2013), Avdeeva has released three solo albums on Mirare, featuring works by Bach, Mozart, Schubert, Chopin, Liszt, and Prokofiev (2014; 2016; 2017). Her Mieczyslaw Weinberg chamber music recordings with Gidon Kremer have been released on ECM Records (2017) as well as Deutsche Grammophon (2019), which has released a solo recording of Avdeeva’s as part of a milestone collection dedicated to the most notable winners of the Chopin Competition between the years 1927-2010.

Avdeeva began her piano studies at the age of five with Elena Ivanova at Moscow’s Gnessin Special School of Music and later studied with Scherbakov and Tropp. At the International Piano Academy Lake Como, she was taught

by Naboré, Bashkirov and Fou Ts’ong. In addition to her Chopin Competition win, she is also a prize-winner at the Arthur Rubinstein Competition and the Concours de Genève.

Yulianna Avdeeva last performed with the Pittsburgh Symphony in March 2020.

HABIB AZAR A seven-time Emmy Award-winning producer and director, Habib Azar’s career is distinguished by its wide aesthetic range and energetic style. He directed his first network television broadcast at age 22 and has contributed in fields as diverse as feature film, contemporary opera and live multi-camera broadcasts. His first feature film, “Armless,” was an official selection of the Sundance Film Festival and his second feature film, “Saint Janet,” stars Tony-winner Kelly Bishop, and was distributed by IndieRights.

As one of the leading multi-camera performing arts directors and producers working today, Habib Azar regularly films the world’s greatest musical artists. He is a series regular director for the Metropolitan Opera Live in HD series, Live from Lincoln Center and The All Star Orchestra. He was also the executive producer of the New York Philharmonic’s live broadcast series in 2016-2019, scripting and directing shows with hosts Alec Baldwin and Terrence McKnight. Habib also regularly directs webcasts from Carnegie Hall for Medici.TV. On the stage Habib has lately focused on contemporary opera. His recent stage production of Georg Friedrich Haas’ “Atthis” was called “mesmerizing” and “one of the most revealing operatic performances in recent times” by the New York Times. He directed the world premiere of Du Yun’s “Angel’s Bone,” an opera that went on to win the Pulitzer Prize for Music. He has directed productions and performances

Photo credit: Sarah Sloboda

for many of the leading contemporary music ensembles of today, including the International Contemporary Ensemble (ICE), American Contemporary Music Ensemble (ACME) and Opera Cabal.

A native of Philadelphia and a graduate of Carnegie Mellon, where he earned degrees in directing (from the School of Drama) and musical composition (from the School of Music), Habib Azar lives in New York City.

Habib Azar is the director of the livestream production of the March 25 performance of this program.

BIOGRAPHY 2021-2022 SEASON

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JIM CUNNINGHAM WQED-FM’s Artistic Director, Jim Cunningham hosts the WQED-FM Morning Show weekday mornings from 6-10 am, and the nationally syndicated Pittsburgh Symphony Orchestra (PSO) broadcasts which air Sundays at 8pm.

Jim hosted his first radio show at age 13 in Warren, PA, and was station manager of the Thiel College station, where he earned degrees in English and Business Administration. He holds a Certificate from CPB’s Executive Management Institute at the University of Wisconsin. He has enjoyed a long career at WQED-FM, beginning as an intern in college, was station manager for many years, and is currently an award-winning Executive Producer and Artistic Director.

Jim hosted the Pittsburgh Speakers Series for 10 years, served as Classical Music Critic for Pittsburgh Magazine for 15 years, has presented pre-concert and outreach lectures for the Pittsburgh Symphony for 25 years, and currently teaches Music and Art for lifelong learners at the University of Pittsburgh and Carnegie Mellon University. Jim has won multiple Golden Quill awards, the Gabriel Award and been recognized for community service with awards from the Pittsburgh Symphony including the Paul J Ross Award for Excellence in Education and Community Engagement and a 40th anniversary distinguished service award presented by Manfred Honeck and the orchestra members

34

onstage June 7, 2019 following Beethoven’s Ninth Symphony as well as awards from Pittsburgh Festival Opera, Pittsburgh Concert Society, Chatham Baroque and many others.

Jim has traveled as a correspondent with the PSO on more than 25 world tours to Europe, Asia, North America, South America, and Australia.

During his career at WQED-FM, Jim has interviewed everyone in the classical music world from Itzhak Perlman to Leonard Bernstein, but some of his favorite interviews were with Benny Goodman, Wynton Marsalis, Mercer Ellington, and Fred Rogers.

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

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

The Pittsburgh Symphony is continually at the forefront of championing new American works.

The Orchestra premiered Leonard Bernstein’s Symphony No. 1 “Jeremiah” in 1944, John Adams’ Short Ride in a Fast Machine in 1986, and Mason Bates’ Resurrexit in 2018 to celebrate Manfred Honeck’s 60th birthday.

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

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

BIOGRAPHY 2021-2022 SEASON

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PROVIDING GREAT MUSIC IN EVERY LIFE We thank our entire donor family for supporting our vision of Great Music in Every Life. As we celebrate WKH WK DQQLYHUVDU\ RI +HLQ] +DOO WKLV VHDVRQ ZH DUH WKULOOHG WR H[SHULHQFH WKH SRZHU RI PXVLF WRJHWKHU DJDLQ $ FRPSOHWH OLVW RI GRQRUV DV ZHOO DV D OLVW RI DVVRFLDWHG EHQHƓWV FDQ EH IRXQG RQ RXU ZHEVLWH $V D WKDQN \RX GRQRUV LQ WKH 6\PSKRQ\ &OXE OHYHO DQG DERYH DUH OLVWHG EHORZ 7KRVH ZKR have made a new gift or increased over their previous gift are listed in italics. Every effort has been PDGH WR HQVXUH DFFXUDF\ KRZHYHU LI \RX DUH QRW OLVWHG FRUUHFWO\ SOHDVH FDOO RU HPDLO XV DW SVRBGHYHORSPHQW#SLWWVEXUJKV\PSKRQ\ RUJ /LVWLQJ DV RI -DQXDU\ MAESTRO’S CIRCLE

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PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

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3UDGHHS 3UL\D 1DUD\DQ Dr. Nancy Z. Nelson Patricia K. Nichols +HDWKHU 2ō%ULHQ -RKQ 2HKUOH 0U 0UV -DPHV 2ō1HLOO 'U 0UV 5LFKDUG $ 2UU John A. Osuch 1DQF\ -RKQ 2\OHU 5RQ 0DU\ 3DOOLQL Dr. & Mrs. Arthur Palmer ,ULQD 'DQLHO 3HULV Kears & Karen Pollock 'U 0DUJDUHW 5DJQL 'U )UHGHULFN 3RUNRODE 'DYLG 0DULO\Q 3RVQHU Barbara Powers 0UV 0LFKHOOH 5DEE %U\DQ 5DOO -DPHV 5HEHO 3DWULFLD $ 5LFKDUGV :LOOLDP . 1LFKROV 5LFN .LP 5RDGDUPHO Mr. & Mrs. James E. Rohr Shereen & Paul Rosenberg Mr. & Mrs. Byron W. 5RVHQHU +DUYH\ /\QQ 5XELQ Richard & Linda Ruffalo 0U 0UV (GPXQG 6 5XIƓQ ,,, 0V 0DU\ ( 5XVVHOO Shirley & Murray Rust Molly & Ferd Sauereisen 'UV 0LFKDHO ) 6FKHLHU .DUHQ 0DWWKHZV -RVHSK 6FKHZH -U 6WHYHQ 6FKORVVPDQ 6WHSKDQLH :DOODFK -RQDWKDQ 9HURQLFD 6FKPHUOLQJ Rev. Cynthia Schneider & Mr. Ed Symons Shirley G. Schneirov 3DWULFLD 6 6FKURGHU &DUO 6FKXOW] Robert J. & Sharon E. Sclabassi 'U $ODD 6KDODE\ 'U -RFHO\Q 7DQ 'U &KDUOHV + 6KXOW] 3DXO /LQGD 6LOYHU /HH 0\UQD 6LOYHUPDQ 0DUMRULH . 6LOYHUPDQ Theresa V. Snavely

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Bill & Patty Snodgrass 0DUMRULH $ 6Q\GHU - 6RIƓHWWL David Solosko & Sandra Kniess Fund Henry Spinelli 0U 0UV 7KRPDV 6W &ODLU 0U DQG 0UV -RKQ $ 6WDOH\ ,9 *DU\ &KDUOHQH 6WDQLFK Dr. & Mrs. Terence Starz 0DUN 7DPP\ 6WHHOH 'U 5RQ 1DQF\ 6WROOHU Mona & E.J. Strassburger 0U DQG 0UV 6XOOLYDQ 0UV DQG 0U %HWK 6YHQGVHQ Stu & Liz Symonds in Memory of Roger Sherman &KULVWLQH 7 7DOOHGD 0DU\ $QQH 7DORWWD Drs. Margaret Tarpey & %UXFH )UHHPDQ Gordon & Catherine Telfer Mary Lloyd Thompson -XGJH 'DYLG % 7RUUH\ Mr. & Mrs. Clifton C. Trees /RLV 1LJHO 7UHORDU -XG\ 9DJOLD 6X]DQ 0 9DQGHUWLH Bob & Denise Ventura Cate & Jerry Vockley :DJQHU )DPLO\ &KDULWDEOH Trust Suzanne & Richard Wagner Tony & Pat Waterman %HWV\ &KDUOHV :DWNLQV Phillips Wedemeyer & Jeanne Hanchett Yuling Wei Mr. & Mrs. Fred C. Wellinger Mr. & Mrs. Ronald D. West Mr. & Mrs. Arthur Westerberg 5RQ :HW]HO 0U 0UV 5REHUW :LOG +DUWRQ :ROI Sheryl K. & Bruce M. Wolf Family Foundation Drs. Barry & Iris Wu Naomi Yoran Maureen Young {ä

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Anonymous (7) Barbara K. Abraham Jerry Agin & Terri Denmon 0U -RUJH $OED 7KH $OEHUW )DPLO\ John Atkinson 7RGG $XNHUPDQ 1DQF\ 7ROID 'RQQD / %DOHZLFN 0' Bob & Martha Ball Judith Bell Betty Belle 0UV 3K\OOLV / %HUWRN 0U 5LFKDUG /RSUHWWR Henry & Charlotte Beukema 'U 0DU\ . %LDJLQL 0U Thomas Dubis Paul E. Block 1DWKDQLHO %OXPH 0HJDQ McGarry Debbie & Jim Boughner Jim & Mary Bouwkamp Mary & Montgomery Brown 0U 1LFKRODV %UR]DFN James Bruce 'UV &ODUH -DPHV %XGG 5RJHU &\QWKLD %XVK 5RVDULD &DSH]]XWR 'U %UDG &DUPLFKDHO Dr. & Mrs. Daniel R. Casper Stephen C. Cenedella -DQHW ( &KDGZLFN 'HERUDK 'DYLG &KDSPDQ 6XVDQ % &ODQF\ Clifton & Nicole Clark Gail D. Coates /DXUHQFH 3 &RPGHQ J. Kent & Merle Culley Cynthia Custer 1RULQD + 'DXEQHU Mr. G. Douglas Davidson & Ms. Sharee Stout Joan Clark Davis Dr. Richard S. DeLuca (GZDUG 8 'H 3HUVLV

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David Lendt -DPHV -XOLH /HZLV Dr. Jinghong Liang in Memory of Professor Richard Green George & Roxanne Libby (GGLH /RZ\ 5LFDUGR Cortés Daphne & John Lynn Henry J. Mader *LXOLR %DUEDUD 0DJULQL 'U %HUQDUG 0DOOLQJHU Drs. Ellen Mandel & Lawrence Weber 0U .HQQHWK / 0DQGHUV 0UV :HLD %RHOHPD Dr. & Mrs. George J. Maruschock (OHDQRU 0D\ƓHOG 5REHUW Pego Dr. & Mrs. Charles E. McChesney 0U :LOOLDP 0HUFKDQW Mr. & Mrs. Thomas E. Merriman (OL]DEHWK 5 0HUW] Marian G. Michaels Jeffrey Mishler 6LJQH 0LWFKHOO :LOOLDP -DQH 0RUJDQ 6KHLOD -RKQ 0XUWDJK 5HY 5REHUW 6X]DQQH 1HZSKHU 'U 3DXOD 1RYHOOL DQG 0U 3DXO /HH 0U 0LFKDHO 2SDVND Sang C. Park Camilla Brent Pearce Dr. John H. Penn 'DQLHO 3HUORQJR 6XVDQ :KHDWOH\ 0V $OLFH - 3HVFXULF Mr. & Mrs. Jon R. Piersol David F. Pressau 0U 0UV 0DUN )UDQFHV Prus 0U 3DYHO 3XFKNDUHY 0DXUHHQ 3XVNDU $QJHOR Baiocchi Dr. Jane Raymond 0U 0UV 1LFKRODV 0 5LFFL 0U 5REHUW 5LFKDUG &KDUOHV +LODU\ 5LFKDUGV Burton Roberts %HUW 6XVDQ 5RFNPDQ

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0U 0UV :LOOLDP + Stone Jr. 3HWHU 6X .DUHQ 9DQ Dusen Richard A. Sundra, in Loving Memory of Patricia Sundra & - 6\ODN -U .HYLQ (OLVD 7DIIH Carol L. Tasillo 0LVV (ORUD 7LJKH 6DPXHO 7ULFKWLQJHU Dr. & Mrs. James E. Vaux Janet Verone 0DULO\Q -RVHSK 9HWWRUD]]L

Mr. & Mrs. Charles E. Vogel Edward L. & Margaret Vogel Dr. Michael & Clare Vranesevic $UOHQH 5LFKDUG :HLVPDQ Patricia Weiss 0DUN :LOVRQ .DWKOHHQ Cook /\QQ 5REHUW :L[ Toby Wolfe Dr. Audrey Zelkovic

",*",Ƃ/ -*"/ / Delta Air Lines is proud to be a sponsor of the Pittsburgh Symphony Orchestra. As a major global airline, Üi Ì> i }Ài>Ì «À `i LÀ } } «i « i Ì }iÌ iÀ° > Þ Ü>ÞÃ] Ì i Ü À ` Ài Ü i` *-" ` iÃ Ì i Ã> i Ì À Õ} Ì i À Õà V] Ì i ºÕ ÛiÀÃ> > }Õ>}i°» Ì Ã ÃÕV > «À Û i}i Ì } Ûi L>V Ì Ì i V Õ Ì iÃ Ì >Ì Üi ÃiÀÛi > ` an honor to carry the PSO around the V Õ ÌÀÞ > ` >À Õ ` Ì i Ü À ` >Ã Ì iÞ tour and promote their craft.

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CORPORATE PARTNERS $100,000 AND ABOVE

ERIC BOUGHNER Chairman, %1< 0HOORQ 3HQQV\OYDQLD

LOUIS R. CESTELLO Executive Vice President, Head of Regional Markets and Regional President for Pittsburgh, 31& %DQN

SALLY MƜCRADY Executive Vice President & Director, Community Affairs, 31& %DQN Chair & President, 7KH 31& )RXQGDWLRQ

DANIEL A. ONORATO Executive Vice President, Corporate Affairs, +LJKPDUN +HDOWK

KENYA BOSWELL Senior Vice President, Community Affairs, +LJKPDUN +HDOWK

JOHN CICCOLELLA President, Bank of America 3LWWVEXUJK Market Manager, Global Commercial Banking

HELENE CONWAY-LONG Senior Vice President, Market Executive, Bank of America 42

$40,000-$99,999 Federated Hermes, Inc. FedEx Ground Hefren-Tillotson, Inc. UPMC Health Plan

Federal Home Loan Bank of Pittsburgh )O Jennison Associates LLC Kerr Engineered Sales Company Lighthouse Electric $20,000-$39,999 Company, Inc. Bognar and Company, Inc. Lucas Systems Deloitte USA LLP Macedonia Family and Community Enrichment Delta Air Lines, Inc. Center, Inc. Dentons Cohen & Grigsby Marsh USA, Inc. Dollar Bank Foundation Duquesne Light Company Meyer, Unkovic & Scott LLP Mozart Management EQT Foundation Port Authority of Allegheny Equitrans Midstream County Foundation Robinson Fans Fairmont Pittsburgh Schneider Downs & Giant Eagle Foundation Company, Inc. MSA Worldwide, LLC Silhol Builders Supply Pittsburgh Steelers Sports, Company Inc. Vallozzi’s Pittsburgh PPG Industries Foundation $10,000-$19,999 Carnegie Mellon School of Music Comcast Ernst & Young First National Bank of Pennsylvania J. P. Morgan Private Bank Mascaro Construction Company, LP Spang and Company Charitable Trust University of Pittsburgh $5,000-$9,999 Audia Group LLC Berner International Corp Flaherty & O’Hara PC NexTier Bank P.J. Dick, Trumbull & Lindy Paving Peoples Natural Gas Pirates Charities The Reschini Group Trebuchet Consulting Wabtec Corporation

Crawford Ellenbogen LLC E.G. Conley, P.C. Eastern Minority Supplier Development Council Eat’n Park Hospitality Group, Inc. Fort Pitt Capital Group, Inc. GRB Law Hamill Manufacturing Company Hertz Gateway Center, L.P. Joy Cone Co. K&I Sheet Metal Nemacolin Woodlands Resort and Spa PGT Trucking Inc. Pittsburgh Wool Company Inc. Pzena Investment Management, LLC Saint Vincent Archabbey Saint Vincent College Sarris Candies Inc. Vibrant Pittsburgh $1,000-$2,499 VisitPITTSBURGH Armada Supply Chain W. J. Beitler Co. Solutions Austrian American Cultural Warren Associates Society, Inc. General Wire Spring &XUUHQW DV RI -DQXDU\ Company George Jackson :H ZRXOG OLNH WR WKDQN DOO Promotions corporations who contribute to the German American Pittsburgh Symphony Orchestra & Chamber Of Commerce, +HLQ] +DOO 3OHDVH VHH RXU ZHEVLWH Pittsburgh Chapter at pittsburghsymphony.org for a FRPSOHWH OLVWLQJ HB Reynolds Inc. HICO America Is your company MacLachlan, Cornelius missing from this & Filoni Architects & Planners list? Call Becky Rickard McKamish, Inc. Mitsubishi Electric Power at 412.392.2207 Products, Inc. to become a Nocito Enterprises Corporate Partner!

Streams Elementary School PTA TriState Capital Bank United Safety Services, Inc.

$250-$999 ABARTA Coca-Cola Beverages Chemistry $2,500-$4,999 Communications Angelo, Gordon & Co., L.P. ComForCare Senior Duquesne University Services Elite Coach Transportation, Community College of Inc. Allegheny County

FOUNDATIONS & PUBLIC AGENCIES Allegheny County Economic Development Allegheny Foundation Allegheny Regional Asset District Ampco-Pittsburgh Charitable Foundation Bessie F. Anathan Fund of The Pittsburgh Foundation $QRQ\PRXV Benjamin and Fannie Applestein Charitable Trust Arts, Equity, & Education Fund %DURQQHU &KDWƓHOG )DPLO\ Foundation Claude Worthington Benedum Foundation The Benter Foundation Allen H. Berkman and Selma W. Berkman Charitable Trust Allen H. Berkman and Selma W. Berkman Family Fund of The Pittsburgh Foundation H.M. Bitner Charitable Trust Maxine and William Block Fund of The Pittsburgh Foundation Paul and Dina Block Foundation Henry C. Frick Educational Fund of The Buhl Foundation Jack Buncher Foundation Carnegie Corporation of New York James C. Chaplin, IV and Carol C. Chaplin Charitable Fund of The Pittsburgh Foundation Anne L. and George H. Clapp Charitable and Educational Trust Edwin and Kathryn Clarke Family Foundation Compton Family Foundation The Rose Y. and J. Samuel Cox Charitable Fund Jean Hartley Davis and Nancy Lane Davis Fund of The Pittsburgh Foundation Dietrich Foundation Peter C. Dozzi Family Foundation Eden Hall Foundation Eichleay Foundation

Jane M. Epstine Charitable Fund of The Pittsburgh Foundation The Fine Foundation Audrey Hillman Fisher Foundation Irving and Aaronel deRoy Gruber Foundation Benjamin Harris Memorial Fund of The Pittsburgh Foundation The Heinz Endowments Drue Heinz and HJ Heinz Charitable Trust Teresa & H. John Heinz III Fund of the Heinz Family Foundation Henry L. Hillman Foundation Emma Clyde Hodge Memorial Fund Honkus-Zollinger Charitable Foundation Milton G. Hulme Charitable Foundation Roy A. Hunt Foundation George and Jeanne Illig Fund of The Pittsburgh Foundation S. Clarke and Marie McClure Johnston Memorial Fund of The Pittsburgh Foundation Anisa Kanbour Trust Fund of The Pittsburgh Foundation James T. and Hetty E. Knox Fund of The Pittsburgh Foundation John Keith Maitland Fund of The Pittsburgh Foundation Thomas Marshall Foundation Massey Charitable Trust McKinney Charitable Foundation Richard King Mellon Foundation Howard and Nell E. Miller Foundation Phyllis and Victor Mizel Charitable Fund of The Pittsburgh Foundation Eugene F. and Margaret Moltrup Jannuzi Foundation The Lesa B. Morrison Endowment Fund of the Jewish Community Foundation of Greater Pittsburgh National Endowment for the Arts A.J. and Sigismunda Palumbo Charitable Trust Lewis A. and Donna M. Patterson Charitable Foundation

W. I. Patterson Charitable Foundation Pennsylvania Council on the Arts, a state agency Pennsylvania Department of Community & Economic Development Anna L. & Benjamin Perlow Fund of The Pittsburgh Foundation Pauline Pickens Fund of The Pittsburgh Foundation The Pittsburgh Foundation Pittsburgh Symphony Association RMK Fund of The Pittsburgh Foundation The Donald & Sylvia Robinson Family Foundation The William Christopher & Mary Laughlin Robinson Fund of The Pittsburgh Foundation Rossin Foundation Ryan Memorial Foundation Salvitti Family Foundation James M. & Lucy K. Schoonmaker Foundation Scott Fund of The Pittsburgh Foundation The Mrs. William R. Scott Fund of The Pittsburgh Foundation The Seth Sprague Educational and Charitable Foundation Tippins Foundation The Edith L. Trees Charitable Trust Rachel Mellon Walton Fund of The Pittsburgh Foundation Samuel and Carrie Weinhaus Memorial Fund of The Pittsburgh Foundation Robert and Mary Weisbrod Foundation &XUUHQW DV RI )HEUXDU\

PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

43

LEGACY OF EXCELLENCE

In addition to income from the Annual Fund, the Pittsburgh Symphony Orchestra is dependent RQ D UREXVW HQGRZPHQW WR DVVXUH LWV ORQJ WHUP ƓQDQFLDO VWDELOLW\ *LIWV IURP /HJDF\ RI ([FHOOHQFH SURJUDPV are directed to the endowment to provide for the Pittsburgh Symphony Orchestra’s future. The Steinberg Society honors donors who have advised the Pittsburgh Symphony in writing that they have made a provision for the orchestra in their will. Endowed naming opportunities for guest artists, musicians’ chairs, FRQFHUW VHULHV HGXFDWLRQDO SURJUDPV RU GHVLJQDWHG VSDFHV DOORZ GRQRUV WR VSHFLI\ D QDPH RU WULEXWH IRU \HDUV \HDUV RU LQ SHUSHWXLW\ )RU DGGLWLRQDO LQIRUPDWLRQ SOHDVH FDOO STEINBERG SOCIETY $$QRQ\PRXV Mary Beth Adams Siamak* & Joan Adibi Rev. Drs. A. Gary & Judy Angleberger The Joan & Jerome Apt* Families Estate of Dorothy Avins Estate of Ruth Z. & James B. Bachman Ronald Bachowski in Memory of Lois Bachowski Francis A. Balog Lorraine E. Balun Estate of Barbara A. Bane Robert & Loretta Barone Dr. Elaine H. Berkowitz Keith E. Bernard Benno* & Constance Bernt Drs. Barbara & Albert Biglan Jim & Alison Bischoff Thomas G. Black Dr.* & Mrs. Bennett P. Boffardi Barbara M. Brock Lois R. Brozenick* Michael F. Butler Tom & Jackie Cain Margaret Calder Estate of Cynthia Calhoun Mr. & Mrs. James Callomon* Estate of Rebecca J. Caserio M.D. Sondra Chester Judy & Michael Cheteyan Educational/Charitable Foundation Mr. & Mrs. David W. Christopher* Mr.* & Mrs. Edward S. Churchill Estate of Mr. & Mrs. Eugene S. Cohen Basil & Jayne Adair Cox Mary Ann Craig L. Van V. Dauler, Jr.* b 5DQGL 'DXOHU b 44

Estate of Alan Derthick In Memory of Stuart William Discount Mr. & Mrs. Thomas J. Donnelly* Mary A. Duggan* Dr. James H. Duggan Frank R. Dziama Estate of Robert B. Egan Steven G. & Beverlynn Elliott Estate of Doris Ely .DWULQ (XJHQHb(QJHOV Anthony Fabio* Dr. John H. Feist* Emil & Ruth Feldman* Joan Feldman & William Adams Estate of Ruth K. Fischer Mrs. Loti Gaffney* Keith Garver Alice V. Gelormino Estate of Arlyn Gilboa Ken* & Lillian Goldsmith Mr. & Mrs. Ira H. Gordon* Estate of Anna R. Greenberg Estate of Lorraine M. Gross Estate of Elizabeth A. *XQGHOƓQJHU Maureen Guroff Marnie & Jim Haines Elizabeth Anne Hardie Charles & Angela Hardwick Estate of John P. Harman Edward J. Harris Carolyn Heil Eric & Lizz Helmsen William & Jacqueline Herbein Monica & Adam Hertzman Ms. Judith Hess Estate of Mr. John H. Hill Tom & Dona Hotopp Susan Candace Hunt Estate of Mr. & Mrs. William C. Hurtt Philo & Erika* Holcomb Mr. & Mrs. Blair Jacobson

Esther G. Jacovitz Patricia Prattis Jennings Mr. & Mrs. Robert S. Kahn* Estate of Calliope H. Kamaras Daniel G. & Carole L. Kamin Leo* & Marge Kane Lois S. Kaufman Stephen & Kimberly Keen Estate of Patricia M. Kelley Mr. Arthur J. Kerr, Jr. Ms. Bernadette Kersting Dr. Laibe A. & Sydelle Kessler* Estate of Elizabeth Krotec Howard & Carol Lang Stanley & Margaret Leonard Frances F. Levin Doris L. Litman Estate of Edward D. Loughney Estate of John Keith Maitland Lauren & Hampton Mallory Mr. & Mrs. Robert P. Malnati Elizabeth-Ann Manchio* Dr. Richard Martin in Memory of Mrs. Lori Martin* Dale & Dr. Marlene* McCall Stephen McClure & Debra Gift John W. McDonald, Jr.* George E. Meanor Estate of Mary Michaely Mary Ellen Miller Ms. Jean L. Misner* Catherine Missenda* Dr. Mercedes C. Monjian Mr. & Mrs. Paul J. Mooney Alice & Bob Moore Perry* & BeeJee Morrison Mildred S. Myers & William C. Frederick* Donn & Peggy* Neal Rhoda & Bill Neal Dr. Nancy Z. Nelson Rhonda & Dennis Norman Katherine O’Brien Elliott S. Oshry Thaddeus A. Osial, Jr. M.D.

Estate of Irene G. Otte Estate of Mark Perrott Estate of Richard Petrovich Judy Petty Estate of Deloris V. Pohelia Estate of Dorothy R. Rairigh Barbara M. Rankin Richard E. Rauh Cheryl & James Redmond Mr. Gene Reiness Dr. & Mrs. William E. Rinehart* Donald & Sylvia Robinson* Mr.* & Mrs. David M. Roderick Charlotta Klein Ross Harvey & Lynn Rubin Mr. & Mrs. Gary L. Ryan Estate of Sylvia Sachs Virginia Schatz* Nancy Schepis Bernie & Cookie Soldo Schultz Dr. & Mrs. Harry E. Serene 0LFKDHO 6KHŴHU Estate of Marjorie F. Shipe Dr. Stanley Shostak & Dr. Marcia Landy Dr. Charles H. Shultz Mr. & Mrs. Richard P. Simmons Estate of Janice G. Singer Estate of Evelyn B. Snyder Dr. & Mrs. Leonard A. *Stept Estate of Dr. Raymond & Karla Stept Theodore Stern Andrew & Gale Stevenson Mrs. Margaret Stouffer in Memory of Miss Jean Alexander Moore Dick & Thea Stover Estate of Robert J. Stringert Charles J. Sylak, Jr. Francesca Tan Estate of Nancy B.Thompson Carol H. Tillotson

Tom & Jamee Todd Myra L. Toomey Mrs. Jane Treherne-Thomas* Mr. & Mrs. Millard K. Underwood Gerald & Mary Unger Estate of Carol Van Hoesen Eva & Walter J. Vogel* Mr. & Mrs. George L. Vosburgh Jon & Carol Walton Estate of John & Betty Weiland Lucile Weingartner In memory of Isaac Serrins from Mr. & Mrs. Ira Weiss Brian Weller Mr. & Mrs. Fred C. Wellinger Seldon Whitaker Jr.* Mr. & Mrs. Raymond B. White Charles L. & Katherine A. Wiley James* & Susanne Wilkinson Robert E. Williams* Mr. & Mrs.* Thomas Witmer Sidney & Tucky Wolfson Patricia L. Wurster Estate of Rufus J. Wysor Naomi Yoran Estate of Alice Carroll Young Miriam L. Young Estate of Ruth Yount Estate of Florence H. Zeve Estate of Simone J. Ziegler

Jane & Rae Burton Cello Chair Cynthia S. Calhoun Principal Viola Chair Virginia Campbell Principal Harp Chair Ron & Dorothy Chutz First Violin Chair Dr. Mary Ann Craig Principal Tuba Chair Randi & L. Van V. Dauler, Jr. President & CEO Chair George & Eileen Dorman Assistant Principal Cello Chair Albert H. Eckert Associate Principal Percussion Chair Beverlynn & Steven Elliott Associate Concertmaster Chair Jean & Sigo Falk Principal Librarian Chair HaleyFesq Cello Chair Endowed by Janet Haley Fesq

Principal Pops Conductor Jackman Pfouts Chair Endowed by Henry & Principal Flute Chair, given Elsie* Hillman in memory of Mr. & Mrs. Arthur Jackman by Barbara Jackman Pfouts Milton G. Hulme, Jr. Guest Conductor Chair given by Mine Safety Pittsburgh Symphony Appliances Company Association Principal Cello Chair Susan Candace Hunt Cello Chair Reed Smith Chair honoring Tom Todd Horn Chair Mr. & Mrs. Benjamin F. Jones III Guest Keyboard Chair Snapp Family First Violin Chair Virginia Kaufman Resident Conductor Chair Dr. & Mrs. William E. Rinehart* Oboe Chair Stephen & Kimberly Keen Bass Chair Donald & Sylvia Robinson Family Foundation G. Christian Lantzsch & Guest Conductor Chair Duquesne Light Company Principal Second Violin Chair Martha Brooks Robinson Principal Trumpet Chair Mr. & Mrs. William Genge and Mr. & Mrs. James E. Lee Mr. & Mrs. Aaron Silberman Principal Bassoon Chair Principal Clarinet Chair Nancy & Jeffery* Leininger First Violin Chair

Sidney Stark, Jr. Memorial Clarinet Chair

Edward D. Loughney Mr.* and Mrs. Willard J. Co-Principal Trumpet Chair Tillotson, Jr. Principal Bass Clarinet Endowed Principal Piccolo Fiddlesticks Family Concert Chair Chair, given to honor Frank Series Endowed by Gerald Tom & Jamee Todd & Audrey McGinnis and Loti Gaffney Honoring The Center for Principal Trombone Chair Young Musicians William & Sarah Galbraith United States Steel Second Violin Chair Corporation Ann McGuinn Assistant Principal Bass The Estate of Olga T. Gazalie Trombone Chair ENDOWED CHAIRS Chair First Violin Chair Principal Horn Chair, given Mr. and Mrs. Martin G. by an Anonymous Donor Jon & Carol Walton McGuinn Alice Victoria Gelormino Associate Principal Viola Chair Second Violin Chair Viola Chair First Violin Chair, given

by Allen H. Berkman in Dr. William Larimer Mellon, Jr. Arlyn Gilboa memory of his beloved wife, Second Violin Chair Principal Oboe Chair, given Rachel Mellon Walton Selma Wiener Berkman Concertmaster Chair, given

by Rachel Mellon Walton

by Mr. & Mrs. Richard Ira & Nanette Gordon Michael & Carol Bleier The Gracky Fund for Messiah Concerts Endowed Mellon Scaife Bass Chair given in memory Education & Community by the Howard and Nell E. Jacquelin Wechsler Engagement of our parents, Tina & Miller Chair Horn Chair given in Charles Bleier and Ruth & Susan S. Greer Memorial Shelley Stein Donald I. & Janet Moritz and memory of Irving (Buddy) Wechsler Trumpet Chair, given by Equitable Resources, Inc. Peter Greer William Block Memorial Associate Principal Barbara Weldon Section Cello Chair Cello Chair Principal Timpani Chair William Randolph Hearst Endowed Fund for Dr. Alan & Marsha The Perry & BeeJee Education Bramowitz Morrison String Instrument Hilda M. Willis Foundation Flute Chair First Violin Chair, Endowed Loan Fund in memory of Bach pianist Vira I. Heinz Thomas H. & Frances Witmer Music Director Chair Rosalyn Tureck The Morrison Family Associate Principal Second Assistant Principal Horn Chair Lois R. Brozenick Memorial William & Jacqueline Herbein Violin Chair Principal Bass Trombone First Violin Chair &XUUHQW DV RI )HEUXDU\ Chair GHFHDVHG

PROVIDING GREAT MUSIC IN EVERY LIFE 2021-2022 SEASON

45

DAULER HEARING LOOP: Ƃ ÃÞÃÌi Ì «À Û `i LiÌÌiÀ Ã Õ ` Ì hearing aid and cochlear implant users.

If you use a hearing aid or have a cochlear implant, you can have an improved listening experience at Heinz Hall concerts and events!

The Dauler Hearing Loop runs throughout the auditorium, with the exception of the Orchestra SLW ƓUVW IRXU 2UFKHVWUD OHYHO URZV DQG *UDQG %R[ left. The hearing loop system also is installed at WKH +HLQ] +DOO %R[ 2IƓFH ZLQGRZV DOORZLQJ \RX WR KHDU WKH DPSOLƓHG YRLFH RI %R[ 2IƓFH SHUVRQQHO directly through t-coil enabled hearing aids.

VISIT OR CALL THE HEINZ HALL BOX OFFICE AT 412.392.4900 WITH ANY QUESTIONS. 7KH 'DXOHU +HDULQJ /RRS LV QDPHG IRU ODWH 3LWWVEXUJK 6\PSKRQ\ 2UFKHVWUD WUXVWHH / 9DQ 9 'DXOHU -U DQG ZDV PDGH SRVVLEOH WKURXJK D JLIW IURP 5DQGL / 9DQ 9 'DXOHU -U DQG WKH (PPD &O\GH +RGJH 0HPRULDO )RXQGDWLRQ

TO USE THE DAULER HEARING LOOP: If you have a hearing aid or cochlear implant with a telecoil (t-coil) you need to make sure the t-coil is activated and properly set by your audiologist. You can then activate the setting once in Heinz Hall. If you are not sure if your hearing aid has a t-coil or LI \RX H[SHULHQFH GLIƓFXOW\ DQG UHTXLUH DVVLVWDQFH please contact your audiologist.

Sound heard through telecoils can vary from hearing aid to hearing aid and according to position in the theater. Generally, the best signal is found when you sit in the center of a row and facing toward the stage. If you need further assistance in selecting the best seats, please FRQWDFW WKH +HLQ] +DOO ER[ RIƓFH

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

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

of this policy. Violators of this policy may be subject to ejection from Heinz Hall and/or civil or criminal penalties. The only exception to this policy is sworn law enforcement personnel and private security RIƓFHUV HPSOR\HG DQG RU FRQWUDFWHG

by Pittsburgh Symphony Inc.

BAG POLICY Heinz Hall reserves the right to search any bags entering the facility.

2YHUVL]HG EDJV PXVW ƓW FRPIRUWDEO\ under a seat to ensure the safety of WEAPONS POLICY patrons entering or exiting seats and Weapons are not permitted in the aisles. Bags failing to meet these venue and/or public spaces owned requirements must be checked and or operated by Pittsburgh Symphony pass a security search, or you must Inc., including Heinz Hall. Any item remove the bags from the Hall. that could endanger public safety is SMOKING POLICY considered a weapon for purposes Heinz Hall is a smoke/vapor free

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facility. (Smoking is permitted in the Heinz Hall Garden Plaza) FOOD AND BEVERAGE POLICY Outside food or alcoholic beverages are prohibited. Patrons are permitted to bring in one sealed clear plastic water bottle which may only be consumed in designated areas and may not be consumed in the auditorium.

COSTUME POLICY Heinz Hall does not permit costume masks of any kind or facsimiles of weapons that would make other guests feel uncomfortable or detract from the concert experience. Guests are welcome to attend certain programs, (e.g. The Music of Harry Potter or The Music of Star Wars) in costume.

HEINZ HALL INFORMATION

ACCESSIBLE SEATS are available with companion seats.

There is a level entrance and route WR WKH PDLQ ŴRRU RI WKH DXGLWRULXP &RQWDFW WKH ER[ RIƓFH IRU WKH ORFDWLRQ of the companion seats.

HEINZ HALL BOX OFFICE HOURS are Monday WKURXJK )ULGD\ IURP D P WR S P 6DWXUGD\ IURP QRRQ WR S P Weekend hours vary based on performance times. Tickets may be SXUFKDVHG E\ FDOOLQJ and are also available at the Theater 6TXDUH %R[ 2IƓFH BRAILLE AND LARGE PRINT PROGRAMS are available at the concierge desk for all BNY Mellon Grand Classics, PNC Pops, Fiddlesticks Family Series and Sensory-Friendly performances.

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

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

CONCIERGE SERVICE is available in the Entrance Lobby to assist with your questions and to help with dining, hotel, entertainment and transportation concerns. [Penny Vennare, Event Supervisor; Barbara Smorul, Concierge.]

DAULER HEARING LOOP to be used with hearing aid telecoil settings, portable assistive listening devices are available. Please see the ushers for assistance or contact the ER[ RIƓFH IRU WKH EHVW ORFDWLRQV IRU using the hearing loop.

DRESS CODE for all concerts is at your personal discretion and ranges from dress and business attire to casual wear.

ELEVATOR is located next to the Grand Staircase.

EMERGENCY CALLS can be referred to the concierge desk at

FIRE EXITS are to be used ONLY in case of an emergency. If the ƓUH DODUP LV DFWLYDWHG IROORZ WKH direction of Heinz Hall ushers and staff to safely evacuate the theater.

LOST AND FOUND items can be retrieved by calling RQ ZHHNGD\V IURP D P WR S P MOBILE DEVICES should be turned off and put away upon entering the theater.

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

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

MEN’S AND WOMEN’S RESTROOMS are located on the Lower, Grand Tier and Gallery levels.

Additional women’s restrooms are located off the Garden and Overlook rooms. Accessible restrooms are located on the Grand Tier level and a family/accessible restroom is available on the Main Floor.

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

For more information, call RU YLVLW RXU ZHEVLWH DW SMOKING is not permitted pittsburghsymphony.org/groups for in Heinz Hall. The garden is information. accessible during performances for this purpose.

LATECOMER’S GALLERY is located behind the Main Floor SUPPORTING THE PSO to enjoy the performance until you AND HEINZ HALL can be seated. Latecomers will be LV FULWLFDO WR WKH ƓQDQFLDO IXWXUH RI WKH seated at suitable intervals during Pittsburgh Symphony. Ticket sales the program, at the discretion of only cover a portion of our operating the conductor. The gallery is also costs. To make a tax-deductible gift, available for parents with please contact our Development restless children.

GHSDUWPHQW DW RU YLVLW us online at pittsburghsymphony.org LOCKERS are located on the Lower and Gallery levels.

PITTSBURGHSYMPHONY.ORG 2021-2022 SEASON

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