pso program book - october 19, 2012
DESCRIPTION
PSO Program Book - October 19, 2012TRANSCRIPT
October 19, 2012
I AM A VOICE FOR THE CONSUMER.I AM CONNECTING THE DOTS.I AM SHARON PEIFER.I AM DEMYSTIFYING YOUR BENEFITS. I AM HIGHMARK.
SHARON PEIFER RN, BSN, MPM
CONSUMER EXPERIENCE LEAD
LIVES INCRANBERRY TOWNSHIP
EMPLOYEE SINCE
1996At Highmark, there are over 20,000 people like mestanding behind your card. And all are working to makea diff erence in health care and the lives we touch.
Highmark Blue Cross Blue Shield is an Independent Licensee of the Blue Cross and Blue Shield Association.
12-04727_HMK_Cultural_Pubs_BtC_Peifer_5.9375x9.indd 1 5/22/12 2:33 PM
TABL
E O
F C
ON
TEN
TS \
201
2-20
13 S
EASO
N
1
PROGRAM
October 19 program ...............................................................................9
October 19 program notes ................................................................ 10
Manfred Honeck biography ............................................................... 14
Adriana Kučerová biography ............................................................. 16
Gerhild Romberger biography .......................................................... 17
Mendelssohn Choir of Pittsburgh ..................................................... 18
FEATURES
Music for the Spirit Festival ...................................................................5
2012 European Residency Tour ............................................................7
INDIVIDUALS & HEINZ HALL INFORMATION
Pittsburgh Symphony Orchestra Musicians .......................................4
Board of Trustees & Chairman’s Council ..............................................6
Heinz Hall Information ........................................................................ 24Radio station WQED-FM 89.3 and WQEJ-FM 89.7 is the official
voice of the Pittsburgh Symphony Orchestra. Tune in Sundays at 8 p.m. for “Pittsburgh Symphony Radio” concert broadcasts hosted by Jim Cunningham.
TO ADVERTISE IN THE PROGRAM Contact: Elaine Nucci at 412.471.6087, or email: [email protected]
ONLINE PROGRAM Many PSO program books are also available for viewing online at: pittsburghsymphony.org/programs
PROGRAM REUSE If you do not wish to keep your program, return to the ushers for reuse at a later performance.
It is the mission of the Pittsburgh Symphony Orchestra to provide musi-cal experiences at the highest level of expression to enrich the community and satisfy the needs and preferences of our audiences. We will achieve this mission by working together to support an internationally recognized orchestra and by ensuring a viable long-term financial future; a fulfilling environment for our orchestra, staff, volunteers; and the unsurpassed satisfaction of our customers.
Pittsburgh Symphony Orchestra performances are brought to the com-munity in part by generous support from the Allegheny Regional Asset District and corporations, foundations and individuals throughout our com-munity. The PSO receives additional funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Com-monwealth of Pennsylvania and an award from the National Endowment for the Arts. Art Works.
BNY Mellon Grand Classics
HONECK & A WALTZ TRADITIONNovember 23 - 25
BNY Mellon Grand Classics
TCHAIKOVSKY’S FOURTHNovember 30 & December 2
A PSO Christmas Celebration
CELTIC WOMANwith the PSODecember 3 & 4
BNY Mellon Grand Classics
HAYDN & SAINT-SAËNS’ ORGAN SYMPHONYDecember 7 & 9
BNY Mellon Grand Classics
TCHAIKOVSKY’S WINTER DREAMS December 14 - 16
A Family Tradition
HIGHMARK HOLIDAY POPS December 20 - 23
Broadway at Heinz Hall
CATCH ME IF YOU CAN December 26 - 30
BNY Mellon Grand Classics
DVOŘÁK’S SEVENTH January 11 & 13
BNY Mellon Grand Classics
NOSEDA & CONCERT ITALIA January 18 - 20
TITLE SPONSORS FIDDLESTICKS PRESENTING PARTNERS MEDIA SPONSORTITLE SPONSORS FIDDLESTICKS PRESENTING PARTNERS MEDIA SPONSOR
HOLIDAY SPONSOR
MEDIA SPONSOR
MEDIA SPONSOR
MEDIA SPONSOR
TITLE SPONSOR MEDIA SPONSOR
TITLE SPONSOR
HOLIDAY SPONSOR
MEDIA SPONSOR
MEDIA SPONSOR
HOLIDAY SPONSORTITLE SPONSOR
TITLE SPONSOR HOLIDAY SPONSOR
SUBSCRIBE AND SAVE! 412.392.4900 \ PITTSBURGHSYMPHONY.ORGGROUPS OF 10+ CALL 412.392.4819
1213 Program book spread_GCbookMahler2.indd 3 10/11/2012 9:30:05 AM
4
MUSIC DIRECTOR Manfred Honeck ENDOWED BY THE VIRA I. HEINZ
ENDOWMENT PRINCIPAL GUEST CONDUCTOR Leonard Slatkin
VICTOR DESABATA GUEST CONDUCTOR CHAIR Gianandrea Noseda
RESIDENT CONDUCTOR Lawrence Loh VIRGINIA KAUFMAN RESIDENT CONDUCTOR CHAIR
ASSISTANT CONDUCTOR Fawzi Haimor FIRST VIOLINNoah Bendix-Balgley RACHEL MELLON WALTON CONCERTMASTER CHAIR
Mark Huggins ASSOCIATE CONCERTMASTER BEVERLYNN & STEVEN ELLIOTT CHAIR
Huei-Sheng Kao ASSISTANT CONCERTMASTER
Hong-Guang Jia ASSISTANT CONCERTMASTER
Jeremy BlackEllen Chen-LivingstonIrene ChengSarah ClendenningAlison Peters FujitoDavid Gillis SELMA WIENER BERKMAN MEMORIAL CHAIR
Sylvia Kim BJennifer Orchard RON & DOROTHY CHUTZ CHAIR
Susanne ParkChristopher Wu NANCY & JEFFERY LEININGER CHAIR
Shanshan Yao THE ESTATE OF OLGA T. GAZALIE
Kristina Yoder
SECOND VIOLINJennifer Ross j G. CHRISTIAN LANTZSCH & DUQUESNE LIGHT COMPANY CHAIR
Louis Lev d THE MORRISON FAMILY CHAIR
Dennis O’Boyle XLaura MotchalovEva BurmeisterCarolyn EdwardsAndrew FullerLorien Benet HartClaudia MahavePeter SnitkovskyAlbert TanYuko Uchiyama BRui-Tong Wang
VIOLARandolph Kelly j CYNTHIA S. CALHOUN CHAIR
Tatjana Mead Chamis dJoen Vasquez XMarylène Gingras-RoyPenny Anderson BrillCynthia BuschErina Laraby- GoldwasserPaul Silver MR. & MRS. WILLARD J. TILLOTSON, JR. CHAIR
Stephanie TretickMeng WangAndrew Wickesberg
CELLOAnne Martindale Williams j PITTSBURGH SYMPHONY ASSOCIATION CHAIR
David Premo d DONALD I. & JANET MORITZ AND EQUITABLE RESOURCES, INC. CHAIR
Adam Liu X GEORGE & EILEEN DORMAN CHAIR
Mikhail IstominGail CzajkowskiIrvin Kauffman uMichael Lipman JANE & RAE BURTON CHAIR
Louis LowensteinHampton MalloryLauren Scott Mallory MR. & MRS. MARTIN G. MCGUINN CHAIR
BASSJeffrey Turner j TOM & DONA HOTOPP CHAIR
Donald H. Evans, Jr. dBetsy Heston XJeffrey GrubbsPeter GuildMicah Howard STEPHEN & KIMBERLY KEEN CHAIR
John MooreAaron White
HARPGretchen Van Hoesen j VIRGINIA CAMPBELL CHAIR
FLUTELorna McGhee j JACKMAN PFOUTS FLUTE CHAIR
Damian Bursill-Hall hJennifer Conner HILDA M. WILLIS FOUNDATION CHAIR
PICCOLORhian Kenny j FRANK & LOTI GAFFNEY CHAIR
OBOECynthia Koledo DeAlmeida j DR. WILLIAM LARIMER MELLON, JR. CHAIR
Scott Bell MR. & MRS. WILLIAM E. RINEHART CHAIR
ENGLISH HORNHarold Smoliar j JOHANNES & MONA L. COETZEE MEMORIAL CHAIR
CLARINETMichael Rusinek j MR. & MRS. AARON SILBERMAN CHAIR
Thomas Thompson hRon Samuels
E-FLAT CLARINETThomas Thompson
BASS CLARINETRichard Page j
BASSOONNancy Goeres j MR. & MRS. WILLIAM GENGE AND MR. & MRS. JAMES E. LEE CHAIR
David Sogg hPhilip A. Pandolfi
CONTRABASSOONJames Rodgers j
HORNWilliam Caballero j ANONYMOUS DONOR CHAIR
Stephen Kostyniak dZachary Smith X THOMAS H. & FRANCES M. WITMER CHAIR
Robert Lauver IRVING (BUDDY) WECHSLER CHAIR
Ronald Schneider MICHAEL & CAROL BLEIER CHAIR
Joseph Rounds REED SMITH CHAIR HONORING TOM TODD
TRUMPETGeorge Vosburgh j MARTHA BROOKS ROBINSON CHAIR
Charles Lirette h EDWARD D. LOUGHNEY CHAIR
Neal BerntsenChad Winkler SUSAN S. GREER MEMORIAL CHAIR
TROMBONEPeter Sullivan j TOM & JAMEE TODD CHAIR
Rebecca Cherian hJames Nova
BASS TROMBONEMurray Crewe j
TUBACraig Knox j
TIMPANIEdward Stephan j BARBARA WELDON
PRINCIPAL TIMPANI CHAIR
Christopher Allen d JAMES W. & ERIN M. RIMMEL CHAIR
PERCUSSIONAndrew Reamer j ALBERT H. ECKERT CHAIR
Jeremy Branson dChristopher Allen JAMES W. & ERIN M. RIMMEL CHAIR
FRETTED INSTRUMENTSIrvin Kauffman j
LIBRARIANSJoann Ferrell Vosburgh j JEAN & SIGO FALK CHAIR
Lisa Gedris
STAGE TECHNICIANSRonald EspositoJohn Karapandi
OPEN CHAIRSWILLIAM & SARAH GALBRAITH FIRST VIOLIN CHAIR
THE HENRY AND ELSIE HILLMAN PRINCIPAL POPS CONDUCTOR CHAIR
MR. & MRS. BENJAMIN F. JONES III KEYBOARD CHAIR
j PRINCIPAL
h CO-PRINCIPAL
d ASSOCIATE PRINCIPAL
X ASSISTANT PRINCIPAL
u ASSISTANT PRINCIPAL LAUREATE
B ONE YEAR ABSENCE
SPECIAL THANKS TO THE PERRY & BEE JEE MORRISON STRING INSTRUMENT LOAN FUND
MUS
IC F
OR
THE
SPIR
IT FE
STIV
AL
\ 2
012-
2013
SEA
SON
5
MUSIC FOR THE SPIRIT FESTIVAL On January 17, 2004, the Pittsburgh Symphony Orchestra became the first American or-chestra to perform at the Vatican for a Pope. The concert celebrated the 25th anniversary of Pope John Paul II’s papacy and honored the Pope’s lifelong commitment to interfaith un-derstanding and reconciliation of the Christians, Jews and Muslims. That unprecedented opportunity remains one of the most significant events in the PSO’s history and demon-strated the power of music to promote dialogue across religious traditions.
From that great beginning, a partnership has developed between the Pittsburgh Sym-phony Orchestra and the faith communities in Pittsburgh to continue to perform concerts that celebrate the spiritual and universal message of music. This project was named Music for the Spirit.
PSO Music Director Manfred Honeck is deeply committed to Music for the Spirit. Each season, the Pittsburgh Symphony Orchestra plans to perform several concerts of mu-sic with spiritual roots. This season, Music for the Spirit concerts will take place at Heinz Hall over two weekends as part of the PSO’s BNY Mellon Grand Classics subscription se-ries (Mozart’s Requiem, October 12-14, 2012 and Beethoven Symphony No. 9, April 26-28, 2013). Each year, a Music for the Spirit concert will also take place in rotating venues in the community, bringing the PSO and Music for the Spirit to churches, synagogues, mosques and community centers throughout the region. The repertoire for the concerts will vary, but will feature spiritual works appealing to all music lovers regardless of their faith tradi-tion.
April 20-28, 2013 will mark the inaugural Music for the Spirit Festival, a communi-ty-wide celebration of concerts, lectures, discussions and special events throughout the city. The Music for the Spirit Festival will officially open with “Singing City,” a large-scale concert event featuring Music Director Manfred Honeck and the Pittsburgh Symphony Orchestra in performance with a choir of more than 2,000 voices. The choir will include professional choirs, university choirs, members of religious-affiliated choirs, community choirs, high school choirs, and more from the Pittsburgh region and surrounding areas. Mark your calendars: this special event will take place on Saturday, April 20, 2013, at 7:30 pm, at the Petersen Events Center. Repertoire highlights include the Chorale Finale of Mahler’s Symphony No. 2 as well as the world premiere of a newly commissioned work for a cappella choir. A major goal of “Singing City” is to reach a large and diverse audience, emphasizing the tremendous power that music has to bring people together and promote a spiritual and universal message.
For further details about Music for the Spirit and the April 2013 Music for the Spirit Festival, please see www.pittsburghsymphony.org/spirit.
EXTRAORDINARY PERFORMANCES DEMAND EXTRAORDINARY SUPPORT. IF YOU WOULD LIKE TO MAKE A GIFT TO MUSIC FOR THE SPIRIT, PLEASE CONTACT JODI WEISFIELD AT 412-392-3307.
6
//////////OFFICERSRichard P. Simmons CHAIRMAN
Beverlynn Elliott VICE CHAIR
Richard J. Johnson VICE CHAIR
James A.Wilkinson PRESIDENT & CEO
Jeffery L. Leininger SECRETARY & TREASURER
EXECUTIVE COMMITTEEDonald W. Borneman INVESTMENT COMMITTEE
Larry T. Brockway CORPORATE LEADERSHIP TEAM
Michael A. Bryson FINANCE COMMITTEE
Rae R. Burton AUDIT COMMITTEE
L. Van V. Dauler, Jr.Roy G. Dorrance, III HEINZ HALL COMMITTEE
Beverlynn Elliott DEVELOPMENT COMMITTEE**
Thomas B. Hotopp DIVERSITY, EDUCATION & COMMUNITY ENGAGEMENT COMMITTEE**
Barbara Jeremiah ARTISTIC COMMITTEE
Jeffery L. Leininger DEVELOPMENT COMMITTEE**
David McCormish
Robert W. McCutcheon MARKETING COMMITTEE
Alicia McGinnis
Mildred S. Myers PUBLIC AFFAIRS COMMITTEE
Deborah L. Rice MARKETING COMMITTEE
James W. Rimmel JACK HEINZ SOCIETY
Steven T. Schlotterbeck DEVELOPMENT COMMITTEE
Thomas Todd GOVERNANCE COMMITTEE
Helge H. Wehmeier INTERNATIONAL ADVISORY TASK FORCE
Rachel Wymard DIVERSITY, EDUCATION & COMMUNITY ENGAGEMENT COMMITTEE**
TRUSTEESJoan AptBenno A. BerntConstance BerntTheodore N. BobbyDonald W. BornemanLarry T. BrockwayMichael A. BrysonBernita Buncher Rae R. BurtonRonald E. ChutzCharles C. CohenBasil M. CoxL. Van V. Dauler, Jr.Robert C. DenoveAnn C. Donahue Roy G. Dorrance, IIIAlbert H. EckertBeverlynn Elliott Sigo FalkTerri FitzpatrickElizabeth H. GenterIra H. GordonPeter S. GreerCaryl A. HalpernJohn H. Hill « Thomas B. HotoppBarbara JeremiahRichard J. JohnsonJ. Craig JordanClifford E. KressJeffery L. LeiningerDavid McCormish Robert W. McCutcheonAlicia McGinnisDevin B. McGranahan BeeJee MorrisonMildred S. MyersElliott Oshry John R. PriceRichard E. RauhMatthew V.T. RayJames W. RimmelReid Ruttenberg
Steven T. SchlotterbeckDavid S. ShapiraMax W. Starks, IVJames E. SteenCraig A. TillotsonJon D. WaltonHelge H. Wehmeier Michael J. White, M.D.James A. WilkinsonRachel WymardRobert Zinn
LIFE TRUSTEESDavid W. ChristopherMrs. Frank J. GaffneyMrs. Henry J. Heinz, IIMrs. Henry L. HillmanJames E. LeeDonald I. MoritzDavid M. RoderickRichard P. SimmonsThomas Todd
EX-OFFICIO
Margaret Bovbjerg PRESIDENT, PITTSBURGH SYMPHONY ASSOCIATION
Annabelle Clippinger NEW LEADERSHIP BOARD CHAIR
Jared L. Cohon, Ph.D. PRESIDENT, CARNEGIE MELLON UNIVERSITY
Gregory G. Dell’Omo, Ph.D. PRESIDENT, ROBERT MORRIS UNIVERSITY
The Honorable Rich Fitzgerald CHIEF EXECUTIVE, ALLEGHENY COUNTY
Paul Hennigan, Ed.D. PRESIDENT, POINT PARK UNIVERSITY
Micah Howard ORCHESTRA MEMBER, PSO
Kathleen Maskalick CHAIR, FRIENDS OF THE PSO
Steve Pederson ATHLETIC DIRECTOR, UNIVERSITY OF PITTSBURGH
Edward Stephan ORCHESTRA MEMBER, PSO
CHAIRMAN’S COUNCILJohn A. Barbour BUCHANAN INGERSOLL & ROONEY PC
Ronald E. Chutz MODERN TRANSPORTATION
Randall Dearth CALGON CARBON
Kimberly Fleming HEFREN-TILLOTSON
Richard J. Harshman ATI
J. Brett Harvey CONSOL ENERGY, INC.
David Iwinski BLUE WATER GROWTH LLC
Eric Johnson THE HILLMAN COMPANY
Gregory Jordan REED SMITH
Stephen Klemash ERNST & YOUNG
Morgan O’Brien PEOPLES NATURAL GAS CO.
Christopher Pike KDKA / UPN PITTSBURGH
David L. Porges EQT
James Rohr PNC BANK
Arthur Rooney, II PITTSBURGH STEELER SPORTS, INC.
John T. Ryan MINE SAFETY APPLIANCES
David Shapira GIANT EAGLE, INC.
John Surma US STEEL CORPORATION
CORPORATIONS
HIGHMARK BLUE CROSS BLUE SHIELD
PITTSBURGH POST-GAZETTE
**CO-CHAIR
«DISTINGUISHED EMERITUS
BOARD OF TRUSTEES
2012
EUR
OPE
AN
RES
IDEN
CY
TOUR
\ 2
012-
2013
SEA
SON
7
European Residency Touroctober 25 - November 10
MANFRED HONECK, MUSIC DIRECTOR
Music Director Manfred Honeck will once again lead the Pittsburgh Symphony Or-chestra (PSO) on a 12-concert tour of Europe, which includes a week-long residency at the prestigious Musikverein in Vienna. The tour, from October 25 to November 10, will take Honeck and the PSO to Barcelona, Madrid, Vienna, Paris, Luxembourg, and Cologne, Frankfurt and Stuttgart in Germany.
The tour opens in Spain, with a perfor-mance October 25 at the Palau de la Musica Catalana in Barcelona, followed by concerts on October 26 and 27 at the Auditorio Nacio-nal in Madrid.
During the tour, the PSO will have the rare honor of a four-concert residency at the Musikverein (October 29-November 3), which will feature Honeck’s stunning inter-pretation of Mozart’s Requiem.
In addition to Mozart’s Requiem, the tour repertoire features Steven Stucky’s Dreamwaltzes, Mahler’s Symphony No. 2, Dvorak’s Symphony No. 9 (“From the New World”), Gershwin’s Piano Concerto in F, Jean Sibelius Violin Concerto, Tchaikovsky’s Symphony No. 5, the world premiere of Her-bert Willi’s Violin Concerto, commissioned by the Musikverein for the PSO, and Willi’s ABBA-MA.
Viennese favorite, pianist Rudolph Bu-chbinder, will perform with the PSO in Vi-enna. Danish violinist Nikolaj Znaider will also join the PSO on this tour. Znaider was the guest soloist at PSO concerts February 17-19 at Heinz Hall, and returned to conduct the PSO March 2-4.
Then, the PSO will perform at the Salle Pleyel in Paris (November 5), before head-ing to Germany for concerts at the Philhar-monie in Cologne (November 7), Alte Oper in Frankfurt (November 8), and Liederhalle in Stuttgart (November 9). The final concert of the tour will be November 10 at the Phil-harmonie in Luxembourg.
“Touring with the Pittsburgh Sympho-ny Orchestra is always a fantastic experi-ence,” Honeck said. “It is very special that we are returning to cities where the PSO has performed before to great success. It is also wonderful to return to Vienna and my mu-sical roots, to the city where I grew up and played professionally for so many years.”
“On the previous tour to Europe, Man-fred Honeck and the Orchestra played to sold-out houses and received great acclaim,” PSO President & CEO James A. Wilkinson said. “It is a tremendous honor for an or-chestra to be invited for a residency at the Musikverein, and it speaks volumes about how highly our music director and musi-cians are thought of throughout the world.”
BNY Mellon is a supporting sponsor of the 2012 European Residency Tour. PSO in-ternational touring is made possible, in part, by the Hillman Endowment for Interna-tional Performance. The PSO also continues its partnership, now entering in its seventh year, with the Pittsburgh Regional Alliance (PRA) to promote the Pittsburgh region in Europe.
“Pittsburgh is internationally recog-nized for collaboration. We work together like no place else,” PRA President Dewitt Peart said. “Here, organizations, such as a symphony orchestra and an economic devel-opment agency, partner to promote our re-gion, which National Geographic Traveler has called a ‘must-see, best-of-the-world desti-nation’ in 2012. ... The ‘Power of Pittsburgh’ is its people, and we’re delighted to person-ally showcase the region through its musi-cians, business leaders and other partners who are passionate about Pittsburgh – when the PRA tours Europe alongside the PSO.”
FOLLOW THE PSO MUSICIANS AS THEY TOUR, VIA THE PSO TOUR BLOG, AT PITTSBURGHSYMPHONY.ORG/TOURS. MORE INFORMATION ABOUT THE TOUR IS AVAILABLE AT PITTSBURGHSYMPHONY.ORG/EURO-TOUR.
MAHLER’S “RESURRECTION”
SYMPHONY Friday, October 19, 2012, 7:00 pm
Dorothy Porter Simmons Regency Rooms
BEETHOVEN’S NINTH, “ODE TO JOY”Sunday, April 28, 2013, 1:30 pm
Dorothy Porter Simmons Regency Rooms
VERDI & WAGNER: GREATEST HITS
Friday, March 1, 2013, 7:00 pm
Saturday, March 2, 2013, 7:00 pm
Sunday, March 3, 2013, 1:30 pm
On Stage
The PSO’s 2012 - 2013 BNY Mellon Grand Classics series features some of
the most inspiring works in choral repertoire. Join us at these concerts, and
arrive early for pre-concert choral workshops led by Singing City Project
Coordinator Christine Hestwood. No prior choral experience required - all
abilities and experience levels are welcome! Working on excerpts including
Verdi’s famous “Anvil Chorus” and “Ode to Joy” from Beethoven’s Ninth in a
relaxed, welcoming environment, you will gain a deeper understanding and
appreciation while sharing the joy of music-making with fellow symphony-goers.
SAVE THE DATES!
TO REGISTER: 412.392.4876 or [email protected]. For more information about the workshops: www.pittsburghsymphony.org/explore
FREE and open to all ticket holders to the performance.
Advance registration is required.
WORKSHOPS
1213_E&E_fullpg_Program_SaveTheDate_2.indd 1 9/27/2012 4:56:55 PM
PRO
GRA
M \
201
2-20
13 S
EASO
N
9 9
BNY MELLON GRAND CLASSICS | HEINZ HALLFRIDAY, OCTOBER 19, 2012 AT 8:00 PM
PHOTOGRAPHY, AUDIO & VIDEO RECORDING OF THIS PERFORMANCE ARE STRICTLY PROHIBITED.
Manfred Honeck, conductorAdriAnA Kučerová, soprAnoGerhild romberGer, mezzo-soprAnomendelssohn Choir of pittsburGh, betsy burleiGh, direCtor
GustAv mAhler Symphony No. 2 in C minor, “Resurrection” I. Allegro maestoso II. Andante moderato III.Inruhigfliessender Bewegung IV. Urlicht (Primeval Light) V. Scherzo Ms. Kučerová Ms. roMberger Mendelssohn Choir of Pittsburgh
OFFICIAL AIRLINEOFFICIAL AIRLINE
Endowment funding for this performance is provided by the Howard & Nell E. Miller Foundation.
10
Gustav Mahler was born on 7 July 1860 at Kališcht, near Iglau (now Kalistë near Jilhava) in Bohemia, a province of the Austrian Empire now part of theCzechRepublic.MahlerbeganthefirstmovementoftheSecondSym-phonyinLeipzigduringFebruaryandMarchof1888;hefinishediton
10 September of that year and subsequently sought to have it performed as a symphonic poem entitled “Todtenfeier,” until such time as he could complete the entire symphony. This required an additional six years: Mahler managed to write the Andante and Scherzo movementsduringthesummerof1893,butideasforthefinalewerenotforthcoming.WhatMahler called “the lightning bolt of inspiration” struck in March 1894 at the funeral of his older colleague,HansvonBülow,andthefinalewascompletelydraftedbyJune29.Theautographfullscorebearsthedate18December1894.Mahlerconductedthefirstthreemovementsofthe Second Symphony in Berlin on 4 March 1895, and the work was premiered in full, again inBerlinwithMahlerconducting,on13December1895.TheSecondwasthefirstofMahler’sworks to appear in print, and his personal copies of the score suggest that he retouched the or-chestration of this symphony more frequently than any other. Revised editions were published in 1906 and again in 1910, but the only version to include all of the changes he intended is that of the Neue Kritische Gesamtausgabe (NewCompleteCriticalEdition). In itsfinalcast-ing,thesymphonycallsfortheso-calledWagnerianquadruple-windorchestrawithexpandedbrasscomplement:fourflutes(allofwhichalsodoubleonpiccolo),fouroboes(twodoublingonEnglishhorn),fourclarinets(twodoublingonE-flatclarinetandoneonbassclarinet),fourbassoons (two doubling on contrabassoon), ten horns, six trumpets, four trombones, tuba, two harps, timpani (requiring two players with three drums each), bass drum, cymbals, triangle, high and low tam-tams, three deep bells, one or more snare drums, Rute (a bundle of switches used to strike the drumhead), organ, and the usual strings. In addition, four horns, four trumpets, and fourpercussioninstrumentsprovideoffstagemusicatcriticalmomentsinthefinale.Durationisapproximately 77 minutes.
I shall die in order to live!Arise, yes arise, you shall, my heart, in just a moment.WhatyouhavebornewillbearyoutoGod!
Ecstatically intoned by the chorus, these optimistic lines of Mahler‘s own poetry conclude his “Resurrection“ Symphony, the second of his symphonic worlds. Its prolonged six-year genesis was perhaps the most crucial episode in his career: the Second would put Mahler the composer permanently on the musical map of Europe. Mahler was already establishing himself as a notable operatic conductor in Leipzig when hecomposedhisFirstSymphony(youmayneedtorecallitasoneofthisSeason’sopeningpieces). The circumstances were as follows: In January of 1888, Mahler premiered his own completedversionofCarlMariavonWeber‘sunfinishedopera Die drei Pintos, which drew widespreadacclaim.Weber‘ssketchesforthePintoshadbeenentrustedtohimbythecom-poser‘s grandson, with whose wife, Marion, Mahler became involved in a passionate affair. As Mahlerlaterrecounted,Marion’s“musical,luminousbeingofhighestaspiration...gavemylifea new and deepest meaning, albeit later disastrous for us both.” That, plus the heady success of Die drei Pintos inspired Mahler to compose at white-hot speed. The “Blumine“ Andante of First Symphony (later suppressed) was conceived as a birthday gift for Marion; however, two othermovementsoftheFirstquoteextensivelyfromMahler’sSongs of a Wayfarer, a cycle of four lieder on his own texts about unrequited love and suicide. Not surprisingly, the conductor
GUSTAV MAHLER
Symphony No. 2 in C minor, “Resurrection”PROGRAM NOTES BY STEPHEN F. HEFLING (2009)
11
BrunoWalter,Mahler‘sfriendanddiscipleofmanyyears,wouldlaterdubtheFirstSymphony“Mahler‘sWerther,“alludingtoGoethe‘sfamousepistolarynovelofatragiclovetriangle. But even before he penned the triumphant conclusion of that work, Mahler launched its dark counterpart in the grim C minor funeral march that would at long last become the corner-stoneofhisSecondSymphony.WhileworkingonitamidstthefloraltrophieshereceivedatthePintos premiere, he was suddenly seized by a vision of himself dead on a bier, bedecked with theflowersandwreaths.Inthevision,MarionvonWeberremovedthem.Mahlercompletedadraft of this movement and made a few sketches for the second, but he was unable to proceed further. A position in Prague took him away from Marion and Leipzig, and by September 1888 he was soliciting performances of the funeral march, now (or soon to be) entitled Todtenfeier (“CelebrationoftheDead“),beforehehadanynotionofhowtofinishtheSecondSymphony. Todtenfeier was a title recently used by Mahler‘s close friend and mentor, Siegfried Lipiner, for his 1887 German translation of the fragmentary dramatic epic Dziady by the nineteenth-century Polish poet Adam Mickiewicz. One portion of the poem seems suspiciously close to Mahler‘sowncircumstancesin1888:itisthetaleofalovetriangle,basedonWerther,whoseprincipal characters are named Gustav and Marie; the tragic denouement is Gustav‘s suicide, followed by the realization that he has been transformed into a wandering spirit condemned to hover in the vicinity of his beloved. As in the First Symphony, Mahler incorporates notable allusions to his Songs of a Wayfarer into Todtenfeier: both its main theme and the gnashingly dissonant fortissimo climax just before the recapitulation are derived from the explicitly suicidal thirdsongoftheWayfarercycle,“Ichhab‘einglühendMesser“(“IHaveaBurningKnifeinMyBreast“).And,healsoquotesthe“Diesirae“(“DayofWrath”)chantthatwassungateveryRequiem Mass until the mid-twentieth century. Since their student days, both Mahler and Lipiner embraced a view of tragic art and its redemptivepowerderivedfromthephilosophicalwritingsofSchopenhauer,WagnerandNi-etzsche.Accordingtothisviewpoint,defiantheroismsuchasthatofPrometheus,whostolefirefrom the gods and gave it to humankind, necessarily leads towards self-transcendence and re-demption. That is the overriding issue of the “Resurrection“ Symphony as a whole, triumphantly celebrated in its conclusion. The musical rhetoric of “Todtenfeier“ inaugurating this vast musical epic conveys far greater anguish than do Mahler‘s veiled comments about it, such as his oft-cited program note of 1901:
Wearestandingatthecoffinofabelovedperson.Hislife,struggles,sorrows,andwillpassonceagain,forthelasttime,beforetheeyeofoursoul...Whatnow?...Isallthisonlyadesolatedream,ordothislifeandthisdeathhavesomesense?Andwemustanswer this question if we are to go on living.
By 1901, determined not to become mired in the polemical debates between Brahmsians andWagnerians,Mahlerhadlargelyforswornprogrammaticcommentaryabouthismusic.Hebelieved his works would succeed without such verbal appendages, and history has certainly proven him right. Nevertheless, a full century later, scholars and critics have come to realize that if not taken too literally, Mahler‘s metaphorical remarks about his early symphonies can enhance our access to the contexts surrounding them and the musical imagery within them. The deaths of both his parents and one of his sisters, new conducting posts in Budapest and Hamburg, the failure of the First Symphony, and lack of inspiration brought Mahler‘s creative work to a halt for four years following Todtenfeier. Then in January 1892, he turned again to Des Knaben Wunderhorn (From the Youth‘s Magic Horn), the early nineteenth-century collec-tionoffolkpoetryhefirstencounteredatMarionvonWeber‘s.Theextraordinaryresultwas“DashimmlischeLeben“(“HeavenlyLife“),ultimatelythefinaleofMahler‘sFourthSymphony,andtheearliestofthechildlikeyetsophisticatedorchestralsongsthatwouldfindtheirwayinto
PRO
GRA
M N
OTE
S \
201
2-20
13 S
EASO
N
12
hisnextthreesymphonies.HefinallyresumedworkontheSecondinthesummerof1893,completingtheAndantemoderatoandscherzo.MahlersubsequentlytoldhisconfidanteNata-lie Bauer-Lechner that both movements were “episodes from the life of the departed hero,“ and that “the Andante concerns love.“ The scherzo, however, is based largely on another Wunder-horn song composed almost simultaneously with it, “Des Antonius von Padua Fischpredigt“ (“Saint Anthony of Padua‘s Fish Sermon“). Mahler characterized the “Fish Sermon“ as “my satire on mankind“: the swirling underwater congregation listens and swims away “not an iota wiser, even though the holy one has performed for them!“ In transforming lied into scherzo, Mahler openswithasolofortimpani,intensifiesthesong‘scontrastsandorchestration,addsaratheridyllic trio section dominated by a solo trumpet, and near the end interpolates a “fearful scream“ foreshadowingtheonsetofthefinale.Hesummeduptheresultswithavisualcomparison:
...when you look at a dance from afar through a window, but are unable to hear the mu-sic, the turning and commotion of the couple seem absurd and pointless... Likewise, to someone who has lost himself and his happiness, the world seems crazy and confused.
(It is noteworthy that precisely such a scene occurs just prior to Gustav‘s suicide in Mickiewicz‘s Todtenfeier.) Yettheproblemofthefinaleremained.Thefamous“lightningbolt“ofinspirationitstruckMahler at the funeral ceremony (“Todten-Feier,“ the bulletin reads) of the renowned conductor Hans von Bülow on March 29, 1894. Not coincidentally so, according to the psychoanalyst Theodor Reik: in 1891 Mahler played his “Todtenfeier“ movement on the piano for Bülow, hoping he would perform it. But Bülow covered his ears and declared that if this was music, he nolongerknewwhatmusicwas.Thus,atBülow’sfuneralMahler‘screativelogjammayhavebeen broken up by subconscious emotional triumph over the harsh authoritarian master. In any case, the sound of the boys‘ choir singing Klopstock‘s hymn “Auferstehen“ (“Resurrection“) in Hamburg‘s St. Michael‘s Church ignited Mahler‘s creativity, and he moved quickly. Adopting two stanzas of the Klopstock text, he wrote six more of his own, and determined that his earlier Wunderhorn song “Urlicht“ (“Primal Light“) would serve marvelously as a miniature prelude to his emerging vision of Doomsday. By June 29, 1894, three weeks into his summer holiday, he draftedtheSecondSymphony’sextraordinaryconclusionscoredforchorus,soloists,andaverylarge orchestra. TheeventsofthefinalethatMahlerdescribedtoBauer-Lechner,someofwhicharealsomarkedintheautographscore,canbereadilyidentifiedinthemusic:
It begins with the terrifying scream of the scherzo. And now the solution of the fright-ening question of life... Terrifying quaking runs over the earth... The Great Roll Call sounds: the graves spring open and all creatures struggle forth from the earth moaning and chattering their teeth. Now they all come marching forth in a powerful procession: rich and poor, peasants and kings, the army of the church, the popes. Among all is the sameanguish,screaming,andtrembling,becausenoneisjustifiedbeforeGod.Inthemeanwhile once more—as though from the other world—the Roll Call sounds again. Finally, after the most awful confusion, they are silent, and only the sound of the bird ofdeath, faraway, fromthe lastgrave, isheard,andfinally itdiesaway.Andnow,comes nothing of what all expected; no divine judgment, no blessed and no damned; no good, no evil ones, no judge! All of that has ceased to exist. And softly and simply swells forth:“Arise,yes,arise...,” towhichthewordsthemselvesaresufficientcom-mentary.
This is, of course, not the traditional Christian vision of resurrection, but one based on Faustian striving, self-transcendence, and belief in universal salvation, all of which had tenets of Mahler’sandLipiner’sworldviewfornearly20years.
PRO
GRA
M N
OTE
S \
201
2-20
13 S
EASO
N
13
URLICHT O Röschen roth! Der Mensch liegt in größter Noth! Der Mensch liegt in größter Pein! Je lieber möcht ich im Himmel sein. Da kam ich auf einen breiten Weg: Da kam ein Engelein und wollt’ mich abweisen. Ach nein! Ich ließ mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!
PRIMEVAL LIGHT O red rosebud! Man lies in deepest need! Man lies in deepest pain! Oh how I would rather be in heaven. There, I came upon a broad path; There, came a little angel and wanted to send me away. Ah no! I would not let myself be sent away! I am from God and will return to God! The loving God will give me a little light, Which will light me into that eternal blissful life!
AUFERSTEH’NAufersteh’n, ja aufersteh’n Wirst du, Mein Staub, Nach kurzer Ruh’! Unsterblich Leben! Unsterblich Leben wird der dich rief dir geben! Wieder aufzublüh’n wirst du gesät! Der Herr der Ernte geht und sammelt Garben uns ein, die starben!
O glaube, mein HerzO glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, ja dein, was du gesehnt! Dein, was du geliebt, Was du gestritten! O glaube Du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten! Was entstanden ist Das muß vergehen! Was vergangen, auferstehen! Hör’ auf zu beben! Bereite dich zu leben! O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heißem Liebesstreben, Werd’ich entschweben Zum Licht, zu dem kein Aug’gedrungen! Mit Flügeln, die ich mir errungen Werde ich entschweben. Sterben werd’ich, um zu leben! Aufersteh’n, ja aufersteh’n wirst du, mein Herz, in einem Nu! Was du geschlagen zu Gott wird es dich tragen!
RESURRECTIONRise again, yes, rise again, Will you My dust, After a brief rest! Immortal life! Immortal life Will He who called you, give you. To bloom again were you sown! The Lord of the harvest goes And gathers in, like sheaves, Us together, who died.
O believe, my heartO believe, my heart, O believe: Nothing to you is lost! Yours is, yes yours, is what you desired Yours, what you have loved What you have fought for! O believe, You were not born for nothing! Have not for nothing, lived, suffered! What was created Must perish, What perished, rise again! Cease from trembling! Prepare yourself to live! O Pain, You piercer of all things, From you, I have been wrested! O Death, You masterer of all things, Now, are you conquered! With wings which I have won for myself, In love’s fierce striving, I shall soar upwards To the light which no eye has penetrated! Its wing that I won is expanded, and I fly up. Die shall I in order to live. Rise again, yes, rise again, Will you, my heart, in an instant! That for which you suffered, To God will it lead you!
Suffering from a severe migraine, the composer himself stoically conducted the premiere of the work on December 13, 1895, having hired the Berlin Philharmonic at his own expense. He had,asBrunoWalterputsit,“stakedhisfuturefateasacomposeruponasinglecard“—andhewon.Thecriticswouldprovealmostunanimousintheirscorn,buttheaudience’senthusiasmgrew steadily throughout the performance; there were tears and gasps at the hushed moment ofthechoralentrance,andheartfeltovationsfollowingthejubilantconclusion.AsWalteralsonotes,Mahler’sascendancyasacomposercanjustlybedatedfromthatevening;henceforthonly he and Richard Strauss would be regarded by connoisseurs as the foremost modern Ger-man composers.
14
////Manfred Honeck was born in Austria and stud-ied music at the Academy of Music in Vienna. An accomplished violinist and violist, he spent more than ten years as a member of the Vienna Philharmonic and the Vienna State Opera Or-chestra. It is this experience that has heavily influencedhisconductingandhashelpedgiveit a distinctive stamp. Honeck was appointed the ninth Music Director of the Pittsburgh Symphony Orches-tra in January 2007, and began his tenure at thestartofthe2008-2009season.Afterafirstextension in 2009, his contract was extended for the second time in February 2012, now through the 2019-2020 season. Following their successful European Tour in 2010 and the Eu-ropean Festival Tour 2011 with appearances at the major music festivals, such as BBC Proms, Lucerne, Grafenegg, Rheingau, Schleswig-Hol-stein or Musikfest Berlin, Honeck and the Pitts-burgh Symphony Orchestra will return to Eu-rope inOctober-November2012.Thisyear’stour will take them to Barcelona, Madrid, Paris, Luxembourg, and Cologne, Frankfurt and Stutt-gart in Germany. During a week-long residen-cy at the Musikverein in Vienna, the orchestra willperformfourconcerts.Honeck’ssuccess-ful work in Pittsburgh is captured on CD by the JapaneselabelExton.Sofar,Mahler’sSympho-niesNos. 1, 3, 4 and 5, Tchaikovsky’s Sym-phonyNo.5andRichardStrauss’Ein Helden-leben have been released to critical acclaim. Their recordingofMahler’sSymphonyNo.4has won a 2012 International Classical Music Award (ICMA). From 2007 to 2011, Honeck was Music Director of the Staatsoper Stuttgart, where he conducted premieres including Berlioz’s Les Troyens, Mozart’s Idomeneo, Verdi’s Aida, Richard Strauss’s Rosenkavalier, Poulenc’sDialogues des Carmélites and Wagner’s Lo-hengrin and Parsifal, as well as numerous sym-phonic concerts. His operatic guest appear-ances include Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brus-sels,RoyalOperaofCopenhagen, theWhiteNights Festival in St. Petersburg and the Salz-burg Festival. He commenced his career as conductor ofVienna’sJeunesseOrchestra,whichheco-founded, and as assistant to Claudio Abbado
at the Gustav Mahler Youth Orchestra in Vi-enna. Subsequently, he was engaged by the Zurich Opera House, where he was bestowed the prestigious European Conductor’s Awardin 1993. In 1996, Honeck began a three-year stint as one of three main conductors of the MDR Symphony Orchestra Leipzig and in 1997, he served as Music Director at the Norwegian National Opera in Oslo for a year. A highly successful tour of Europe with the Oslo Philharmonic marked the beginning of a close collaboration with this orchestra which consequently appointed him Principal Guest Conductor, a post he held for several years. From 2000 to 2006 he was Music Director of the Swedish Radio Symphony Orchestra Stock-holm and served as Principal Guest Conduc-tor of the Czech Philharmonic Orchestra from 2008 to 2011, a position he will resume from 2013 to 2016. As a guest conductor, Honeck has worked with major orchestras such as the Bavarian Radio Symphony Orchestra, Deutsches Sym-phonie-Orchester Berlin, Gewandhausorches-ter Leipzig, Staatskapelle Dresden, Royal Con-certgebouw Orchestra, London Philharmonic Orchestra, Orchestre de Paris, Israel Philhar-monic Orchestra and the Vienna Philharmonic and in the US with the Chicago Symphony Or-chestra, Los Angeles Philharmonic, National SymphonyOrchestraWashingtonandBostonSymphony Orchestra. He is also a regular guest at the Verbier Festival. Guest engagements of the 2012-2013 season include concerts at his earlier places of activity in Stockholm and Prague, as well as appearances with other pres-tigious orchestras including Bamberg Sympho-ny, Gewandhausorchester Leipzig, Accademia di Santa Cecilia Rome, the New York Philhar-monic and the Cleveland Orchestra and his debut with the Berlin Philharmonic Orchestra. In 2010, Honeck was awarded an hon-orary doctorate from St. Vincent College in Latrobe, Pennsylvania. Apart from his numer-ous tasks as conductor, he has been Artistic Di-rectorofthe“InternationalConcertsWolfegg”in Germany for more than 15 years. Manfred Honeck conducted the PSO last weekend.
MANFRED HONECK
BIO
GRA
PHY
\ 2
012-
2013
SEA
SON
15
photo
cred
it:
photo
cred
it: F
elix
Broe
de
16
////The young Slovakian soprano Adriana Kučerová studied at the school of music inBratislava, the Conservatoire Supérieur de mu-sique et de danse de Lyon and the University for Music and Drama in Bratislava. She was an award winner at the European Music Prize for Youth in Hamburg 2001 and at the International Summer Academy Prague-Vienna-Budapest in 2002. At the International Hans Gabor Belvedere Competition in Vienna in 2005, she was awarded 1st prize as well as the special prizes of the audience, of the Gulbenkian Foundation and of the Teatro alla Scala in Milan. After her graduation, she joined the ensemble of the Slovakian National The-atre in Bratislava. At the Ravenna Festival 2006, she sang Mozart’sVesperae solemnes de confessore and Exsultate jubilate conducted by Riccardo Muti. The same year she went to the Salzburg Mo-zartWochenandattheSalzburgFestivalandperformed “Serpetta” in La Finta Giardiniera conducted by Ivor Bolton. She then made her debut at the Teatro alla Scala in Dido and Ae-neas and has since returned in Carmen under the baton of Daniel Barenboim. At the Munich State Opera, she sang a new production of Werther (Sophie) conduct-ed by Ivor Bolton, “Ninetta” in a new produc-tion of La finta semplice in Vienna as well as “Adina” with the Glyndebourne Touring and Festival Opera and “Nanetta” in Falstaff and she also has made her “Gretel” debut (Hänsel und Gretel) at Glyndebourne, conducted by Kazushi Ono (Sunday Timeswrote:“it’sAdri-ana Kučerová’s irrepressibly hyperactiveGre-tel who steals every scene. …”). Adriana sang “Anne Trulove” in a new production of The Rake’s Progress conducted by Nikolaus Har-noncourtattheTheateranderWien,“Sophie”in Werther at the Munich State Opera, Paris Opera (Kent Nagano Conducting) and Teatro Carlo Felice Genova, “Nanetta” in Falstaff at the Salzburg Festival with Daniel Barenboim as well as at the BBC Proms. Highlights of recent seasons include the ti-tle role of The Cunning Little Vixen at the Paris Opera, Gianni Schicchi with the Santa Cecilia in Rome (with conductor Vladimir Jurowski), Carmen at La Scala Milan, Le nozzi di Figaro at Houston Grand Opera; L’elisir d’amore at
Rome Opera and Deutsche Staatsoper Ber-lin. Kucerova also performed the title role in Menotti’soperaAmelia al ballo at the Spoleto Festival in Italy. Looking ahead, Kučerová will make her debut at Vienna Staatsoper in L’elisir d’amore, andwillsing“Serse”atTheateranderWien,Falstaff at the Theatre du Capitole Toulouse, L’elisir d’amore & Le nozze di Figaro at Bayer-ische Staatsoper Munich and Rigoletto at Tel Aviv Opera. She will also debut in concert at the Røros Festival in Norway, the Launen Festival in Gstaad, and on a major U.S. and European tour with the Pittsburgh Symphony Orchestra. Two recent CD releases featuring Kucero-va include the acclaimed Mahler Second Sym-phony recording with the London Philharmon-ic Orchestra (conducted by Vladimir Juroswki) andDvořákLove songs with the Thymos quar-tet and Christoph Eschenbach on the piano. Kučerová performed with the PSO last weekend.
ADRIANA KUČEROVÁ
BIO
GRA
PHY
\ 2
012-
2013
SEA
SON
17
////////////////////////Gerhild Romberger was born and grew up in Emsland in Germany. After having graduated her studies of music teaching at the University of Music in Detmold, she completed her vo-cal training with a concert exam with Heiner Eckels. Further, she added courses for lied in-terpretation with professor Misuko Shirai and professor Hartmut Höll. Romberger lives with her family in Detmold, where the highly popu-lar teacher has held a professorship for singing at the University of Music for many years. The mezzo-soprano has always fo-cused on concert singing. Key aspects of her work are recitals with a wide variety of topics and her engagement with contem-
porary music. Her astonishing extensive repertoire covers all major alto and mezzo- soprano parts of oratios and concerts from the Baroque era, the Classical and Romantic peri-ods, as well as 20th century literature. Recent highlights of Romberger`s career have been concerts with Manfred Honeck, who invited her for, among others, Mahler´s symphonies, Beethoven´s Missa Solemnis and the Große MessebyWalterBraunfels.FurtherconcertsattheNDRHamburgwithWolfgangRihm´s Drei späte Gedichte von Heiner Mül-ler, with the Czech Philharmonic Orchestra Prague, numerous performances with Enoch zu Guttenberg (among others Bach´s Passions, Verdi´s Messa da Requiem, Beethoven´s Mis-sa solemnis andWagner´sWesendoncklieder). After a performance of Bach´s St. Matthew`s Passion in the Philharmonie in Munich, she received rave reviews: “The beautiful voice of the alto, which, despite its clarity, exudes an unearthlywarmth,lovingmotheratfirst,tenderlover at other times – Gerhild Romberger sings, and time stands still. (Süddeutsche Zeitung).” Her artistic work leads her to the Leipzig Gewandhausorchester under Riccardo Chailly, repeatedly to the Bavarian Radio Symphony Orchestra (with Schmidt´s Buch mit den sieben Siegeln and with Mendelsson´s Elias with Thomas Hengelbrock), to the Israel Phil-harmonic Orchestra under Herbert Blomstedt, totheSymphonyOrchestrasofWDRandMDRand to the Konzerthausorchester Berlin. A reg-ular cooperation closely connects Romberger to Ralf Otto of the Bachchor Mainz, as well as to Philippe Herreweghe and the Orchestre des Champs Elysées in Paris. In the near future, Romberger will perform with the Berlin Philharmonic, the Los Angeles Philharmonic Orchestra, with the Czech Phil-harmonic Orchestra Prague, the Leipzig Ge-wandhausorchester, on tour with Beethoven`s Missa solemnis with the Orchestre des Champs Elysées Paris under Philippe Herreweghe, with the Bavarian Radio Chorus and with the Pitts-burgh Symphony Orchestra and Manfred Hon-eck in the U.S. and on tour in Europe (Mahler´s SecondSymphonyandMozart’sRequiem). Romberger performed with the PSO last weekend.
GERHILD ROMBERGER
18
////Because of its many performances with the Pittsburgh Symphony Orchestra, many people assume that the Mendelssohn Choir of Pitts-burgh is a part of the PSO, but it is not. The Mendelssohn Choir is a separate arts organiza-tionthatat104yearsyoungisPittsburgh’sold-est continuously performing arts organization. The Mendelssohn Choir is passionate about choral music. By singing choral music at the highest level, the Choir combines the clarity of words with the mystical power of music so that the deepest and most universal of human ex-pressionsaremagnifiedthroughacommunityof voices.AsthePittsburghSymphonyOrchestra’s“chorus of choice,” the Mendelssohn Choir has performed under the baton of some of the world’s foremost conductors including LorinMaazel, Mariss Jansons, Rafael Frühbeck de Burgos, Michael Tilson Thomas, Claudio Ab-bado, Mstislav Rostropovich, Leonard Slatkin, Charles Dutoit, André Previn, Sir Neville Marri-ner, Yan Pascal Tortelier, Helmuth Rilling, Ingo Metzmacher, Richard Hickox, Zdenek Mácal and Manfred Honeck. Performances of the Choir with the Pittsburgh Symphony Orchestra areheard locally overWQED-FM (89.3) anddistributed nationally by PRI. Under the direction of Betsy Burleigh, the Choir has become known for its mastery of the great choral classics. Most recently un-der her direction, the Mendelssohn Choir has performedAaronCopland’s In the Beginning and Mozart’s Great Mass to sold-out audi-ences at East Liberty Presbyterian Church and Dr. Burleigh has led the chorus in a critically acclaimed performance of Rachmaninoff’s a cappella masterwork, the Vespers,atSt.Paul’sCathedral. The Choir has numerous commissions and premieres to its credit, including works by Ned Rorem, Nancy Galbraith and Derek Bermel. A leader and collaborator in the regional arts community, the Mendelssohn’s artistic part-ners have included the Pittsburgh Opera, the Pittsburgh Ballet Theatre, the River City Brass Band,theChildren’sFestivalChorus,andtheDuquesne University Tamburitzans. The Men-delssohn Choir continues to garner critical accolades as it shares the joy of choral music with the more than 50,000 individuals who
hear the Mendelssohn in performance each year. The more than 120 singers who comprise the Mendelssohn share a remarkable commit-ment to the art of making great choral music and collectively contribute more than 35,000 volunteer hours each year. Through its recordings and commissions of new choral works, the Mendelssohn Choir seeks to advance the choral art. The Choir’smost recent recording released in fall 2011 is Mahler’sSymphonyNo.3withthePittsburghSymphonyOrchestraandtheChildren’sFesti-val Chorus of Pittsburgh with Manfred Honeck conducting. As part of its commitment to educating the next generation of choral musicians, ap-proximately 50 high school singers participate annually in the Junior Mendelssohn Program. Junior Mendelssohn alumni are to be found in concert halls and on opera stages throughout the world. The Junior Mendelssohn achieved national acclaim last year when it was honored nationally with a 2011 American Prize for best vocal performance by a high school chorus. The Mendelssohn Choir is a Steinway Artist. The Mendelssohn Choir of Pittsburgh performed with the PSO last weekend.
Betsy Burleigh, Music Director of the Men-delssohn Choir of Pittsburgh since 2006, was named Artistic Director of the Providence Sing-ers (Rhode Island) in 2011 and has served as Music Director of Chorus pro Musica (Boston, MA) since 2009. She has led the Mendelssohn in their own concertproductions,includingBrahms’Requi-em,Bach’sB Minor Mass,andRachmaninoff’sVespers, in addition to preparing the choir to sing with the Pittsburgh Symphony Orchestra. In 2009, she took the Mendelssohn Chamber Singers, a select sub-chorus of 32, to sing an invited performance at the Library of Congress inWashington,D.C. As guest conductor, Burleigh has led the Pittsburgh Symphony Orchestra, the Akron Symphony, the Canton Symphony, and the Rhode Island Philharmonic. Theater engage-ments have included music direction at Opera Cleveland and the Cleveland Public Theater. Also active as a clinician and festival conduc-
MENDELSSOHN CHOIR OF PITTSBURGH
BIO
GRA
PHY
\ 2
012-
2013
SEA
SON
tor,shemostrecentlyledCincinnati’sOctoberFestivalChoirinHaydn’sTheresienmesse. Burleigh’sconductinghasbeencriticallyacclaimed; her 2012 Chorus pro Musica per-formance of Haydn’s Creation was praised in the Boston Globe as an “expansive, poetic reading,” and in the Boston Phoenix as “a stir-ring and elegant, lilting and expansive perfor-mance.” Her 2010 Chorus pro Musica rendi-tionofOrff’sCarmina burana was praised as being both “nuanced” and “hair-raising.” She won the 2000 Northern Ohio Live Achieve-ment Award for best classical/opera perfor-mance and conducted the Cleveland Orches-tra Chorus on an Emmy award-winning concert for the 9/11 Red Cross Disaster Relief Fund. She has prepared choruses for Manfred Honeck, Rafael Frübeck de Burgos, Jan Pascal Tortelier, Leonard Slatkin, Sir Andrew Davis, Christoph von Dohnanyi, Anton Coppola, Jane Glover, Jahja Ling, Nicholas McGegan, John Nelson, Yuri Temirkanov and FranzWelser-Möst, among others. Burleigh served as assistant director of choruses for The Cleveland Orchestra from 1998 until 2009, and as chorus master for Cleveland Opera from 2002-2006. From 1994-2010 she was Coordinator of Choral and Vocal Music at Cleveland State University, where she achieved the rank of full profes-
sor. Her career began in Boston, where she was music director of The Master Singers, the Longy Chamber Singers, the Cambridge Madri-gal Singers, and held teaching positions at Tufts University, Clark University and the Massachu-setts Institute of Technology. Burleigh earned a doctor of music degree at Indiana University, amaster’sdegreeattheNewEnglandConser-vatory of Music, and a bachelor of music edu-cation degree from Indiana University. She is an enthusiastic grower (and consumer) of heir-loom tomatoes. Betsy Burleigh last prepared the Mendels-sohn Choir for a performance with the Pitts-burgh Symphony Orchestra last weekend.
19
photo
cred
it: A
lisa
Gar
in P
hotog
raph
y
20
////OFFICERSCynthia L. Roth
PRESIDENT
Marian Block, M.D. VICE PRESIDENT
Mary G. Bachorski TREASURER
Terri S. Blanchette SECRETARY
DIRECTORS Carey Andrew-Jaja,
M.D.Sarah EldridgeNancy GroverMike HenryNancy KlimcheckSteven KohlerSusan Kukic Victoria Bechtold Kush,
J.D.Robert B. Moir J. Mark Munson, J.D.MaryBeth Salama, M.D.Christine ThompsonVance W. Torbert IIILarry Wright
DIRECTORS EMERITUSJeanne C. Ashe Constance J. Bernt §Bette Evans Cordelia Jacobs Mary Jane JacquesArthur J. Kerr, Jr. Paul R. Malmberg Perry Morrison *Joseph ScheweGeorge Seeley
ADMINISTRATIVE STAFF Mary Ann Lapinski
EXECUTIVE DIRECTOR
MaryColleen Seip CHORUS MANAGER
Emily Stewart COMMUNICATIONS MANAGER
Elizabeth Thogerson MARKETING ASSOCIATE
Esther Berreth BOOKKEEPER
Kim Graham GRAPHIC ARTIST & SOCIAL MEDIA
Ronia Holmes GRAPHIC ARTIST
ARTISTIC STAFFBetsy Burleigh
MUSIC DIRECTOR
Robert Page MUSIC DIRECTOR EMERITUS
Maria Sensi Sellner ASSISTANT CONDUCTOR
Susan Medley JUNIOR MENDELSSOHN DIRECTOR
Bryan Sable JUNIOR MENDELSSOHN ASSISTANT
CONDUCTOR & FACULTY MEMBER
Bruce Klimcheck JUNIOR MENDELSSOHN
FACULTY MEMBER
Nancy Klimcheck JUNIOR MENDELSSOHN
FACULTY MEMBER
Katy Shackleton Williams JUNIOR MENDELSSOHN
FACULTY MEMBER
Walter Morales ACCOMPANIST
Karen Roethlisberger ACCOMPANIST
Jim Burns JUNIOR MENDELSSOHN
ACCOMPANIST
CHORUS MEMBERS Salvatore A. Amelio Brian Anderson Regina AnesinEarle L. Ashbridge Chuck BeardJustin BlandingDavid C. Bodette Lauren BoyleClaudia BrownElizabeth Atwood
BurnetteAshley CesarattoMichael Conway Karen B. CrenshawBarbara CriglerAmelia D’Arcy †D. Kenneth DaviesMichael DePasqualeKaren W. DeVries Bethann DiLione †
Carrie DoakJolanta Doherty †Mark Doncic ††Mary B. Doohan Stephen Patrick Dragan Lynn Streator DunbarAshley Episcopo Linda EvansEllen FastBenjamin Filippone ††Brian J. FiltzMarietta Fischesser-
Metze † Victoria Anne FisherZanna Fredland †Chris GirardiDeanna Golden †† David G.Gordon Mary Kay Gottermeyer Kim GrahamMarcus GrahamMargaret L. Groninger Theresa Vosko Haas Joseph Kyungjin HanSamuel P. Harbison III John Hastings†Beth Rackley HesselsonThomas HillDeena L. HowerMatthew HuntMary Jane JacquesEd JaicksJane JeffriesAllison JohnstonNathan Katus†Marsha L. Keefer †Ryan Keeling †Nancy M. Klimcheck † Andrew S. Knox Ryan Kok †Joseph G. KrausNathan Leard Kwan Il Lee Terry LeeM. Denice Leonard Kathy Linger † Liana D. Alksnitis Lloyd Jennifer Loh Adam Loucks†Donald Lyle
Jonathan MacDonald †Kate ManukyanJohn MilnthorpEileen Murray Andrey Nemzer †Susan OerkvitzScott M. O’Neal † Timothy M. Ore††Edward F. Peduzzi Jr. Michael S. Pettersen John PhillipsCynthia Gail Pratt†Holly ReedFrank RogelCynthia L. Roth Gail Elizabeth Roup MaryBeth Salama Janet L. Sarbaugh Stephen Schall† Marcia M. Seeley MaryColleen Seip Maria Sensi Sellner Matthew SorokaEmily Stewart D. Cody SweetElizabeth Thogerson Chris ThompsonRex TienMarissa Ulmer Bill Vandivier Sarah Webster Vodrey Mitch Warmbein†Katy Shackleton
Williams†Natasha WitherspoonDavid L. Wright Larry W. WrightPaul Yeater Laura Connor Zajdel Alexander ZaretskyJoan Zolko
§ CHAIRMAN EMERITA
† PROFESSIONAL CORE
†† PROFESSIONAL CORE ALTERNATE
* DECEASED
THE MENDELSSOHN CHOIR OF PITTS-
BURGH IS A STEINWAY ARTIST
MENDELSSOHN CHOIR OF PITTSBURGH
GuyasutaINVESTMENT AdVISorS
285 Kappa Drive, Suite 220 � Pittsburgh, PA 15238412.447.4560 � www.guyasuta.com
We are an independentlyowned wealth managementfirm that works with privateclients and institutionalinvestors to meet and exceedtheir financial objectiveswith highly experienced clientservice teams.
Protecting assets, lifestyles, families, and future generations
Laughter. Family. Music.Keep the legacy alive. Remember the PittsburghSymphony Orchestra in your estate plans.
CONTACT THE STEINBERG SOCIETY: 412.392.3320
Pictured: William Steinberg & Family
1213_Steinberg_programads:Layout 1 9/6/2012 11:57 AM Page 2
The Pittsburgh Symphony Orchestra wishes to thank you, our audience, for your generous support of the PSO’s Annual Fund and Commitment to Excellence Campaign.
For complete donor listings please visit pittsburghsymphony.org.
THANK YOU!
A celebration of Dickens’ 200th anniversary and all things Christmas.
Even Ebenezer Scrooge won’t be able to utter a “Bah humbug” after this concert!
Victorian Holiday ConcertDecember 2 at 3 p.m.East Liberty Presbyterian Church
The Mendelssohn Choir’s
Tickets at Showclix.com or call 1-888-71-TICKETS (84253)
Visit the Mendelssohn Choir’s table in the lobby for $5 off all tickets or use code “PSO” when ordering on-line!
Image from Charles Dickens, Darlington Collection, Special Collections Department, University of Pittsburgh.
24
//////////
BOX OFFICE HOURS are Monday through Friday, from 9 a.m. to 8 p.m. Saturday from Noon to 4 p.m. Weekend hours vary based on performance times. Tickets may be purchased by calling 412.392.4900 and are also available at Theater Square Box Office.
CHILDREN are encouraged to attend our youth concerts and Fid-dlesticks Family Concerts. Children at 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.
COAT CHECK is available in the Grand Lobby, or in the Dorothy Porter Simmons Family Regency Room on the lower level.
CONCIERGE SERVICE is available in the Entrance Lobby to assist with your questions, and to help with dining, hotel, entertain-ment and transportation concerns. [Penny Vennare, Event Supervisor; Ron Ogrodowski, Concierge.]
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 412.392.2880.
FIRE EXITS are to be used ONLY in case of an emergency. If the fire alarm is activated, follow the direc-tion of Heinz Hall ushers and staff to safely evacuate the theater.
GROUPS can receive discounted tickets, priority seats, personal-ized service and free reception space. For more information, call 412.392.4819 or visit our website at pittsburghsymphony.org/groups for information.
RESTROOMS are located on the Lower, Grand Tier and Gallery levels and off the Garden and Overlook rooms; a wheelchair-accessible restroom is on the Main Floor.
LATECOMER’S GALLERY is located behind the Main Floor to enjoy the performance until you can be seated. Latecomers will be seated at suitable intervals during the program, at the discretion of the conductor. Also available for parents with restless children.
LOCKERS are located on the Lower, Grand Tier and Gallery levels.
LOST AND FOUND items can be retrieved by calling 412.392.4844 on weekdays from 10 a.m.-5 p.m.
MOBILE DEVICES should be turned off and put away upon entering the theater.
THE MOZART ROOM is available for a grand dining experi-ence from The Common Plea, just seconds away from your seats.
Reservations at 412.392.4879, pitts-burghsymphony.org/mozartroom.
REFRESHMENT BARS are located in the Garden and Overlook rooms and in the Grand Tier Lounge. Intermission beverages may be ordered prior to perfor-mances. Water cups are available in the restrooms.
PHOTOGRAPHY and video or audio recording of the performance is strictly prohibited at all times.
PRE-PAID PARKING is avail-able to all ticketholders in the Sixth & Penn garage across from Heinz Hall. Ask about prepaid parking when you order your tickets.
SMOKING is not permitted in Heinz Hall. The garden is acces-sible during performances for this purpose.
SUPPORTING THE PSO is a critical portion of the financial fu-ture of the PSO as ticket sales only cover a portion of our operating costs. To make a tax-deductible gift, contact our Donor Relations department at 412.392.4880 or visit us online at pittsburghsym-phony.org
HEINZ HALL INFORMATION
THE FOLLOWING ACCOMMODATIONS ARE AVAILABLE FOR PATRONS WITH DISABILITIES:
• Level entrance and route to main floor of auditorium• Wheelchair seat locations with companion seats*• Portable assistive listening devices. See ushers for assistance.• Braille programs are available at the concierge desk for most
BNY Mellon Grand Classics performances. *Please contact the box office for the location of these seats.
BOX OFFICE HOURS are Monday through Friday, from 9 a.m. to 8 p.m. Saturday from Noon to 4 p.m. Weekend hours vary based on performance times. Tickets may be purchased by calling 412.392.4900 and are also available at Theater Square Box Office.
CHILDREN are encouraged to attend our youth concerts and Fid-dlesticks Family Concerts. Children at 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.
COAT CHECK is available in the Grand Lobby, or in the Dorothy Porter Simmons Family Regency Room on the lower level.
CONCIERGE SERVICE is available in the Entrance Lobby to assist with your questions, and to help with dining, hotel, entertain-ment and transportation concerns. [Penny Vennare, Event Supervisor; Ron Ogrodowski, Concierge.]
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 412.392.2880.
FIRE EXITS are to be used ONLY in case of an emergency. If the fire alarm is activated, follow the direc-tion of Heinz Hall ushers and staff to safely evacuate the theater.
GROUPS can receive discounted tickets, priority seats, personal-ized service and free reception space. For more information, call 412.392.4819 or visit our website at pittsburghsymphony.org/groups for information.
RESTROOMS are located on the Lower, Grand Tier and Gallery levels and off the Garden and Overlook rooms; a wheelchair-accessible restroom is on the Main Floor.
LATECOMER’S GALLERY is located behind the Main Floor to enjoy the performance until you can be seated. Latecomers will be seated at suitable intervals during the program, at the discretion of the conductor. Also available for parents with restless children.
LOCKERS are located on the Lower, Grand Tier and Gallery levels.
LOST AND FOUND items can be retrieved by calling 412.392.4844 on weekdays from 10 a.m.-5 p.m.
MOBILE DEVICES should be turned off and put away upon entering the theater.
THE MOZART ROOM is available for a grand dining experi-ence from The Common Plea, just seconds away from your seats.
Reservations at 412.392.4879, pitts-burghsymphony.org/mozartroom.
REFRESHMENT BARS are located in the Garden and Overlook rooms and in the Grand Tier Lounge. Intermission beverages may be ordered prior to perfor-mances. Water cups are available in the restrooms.
PHOTOGRAPHY and video or audio recording of the performance is strictly prohibited at all times.
PRE-PAID PARKING is avail-able to all ticketholders in the Sixth & Penn garage across from Heinz Hall. Ask about prepaid parking when you order your tickets.
SMOKING is not permitted in Heinz Hall. The garden is acces-sible during performances for this purpose.
SUPPORTING THE PSO is a critical portion of the financial fu-ture of the PSO as ticket sales only cover a portion of our operating costs. To make a tax-deductible gift, contact our Donor Relations department at 412.392.4880 or visit us online at pittsburghsym-phony.org
HEINZ HALL INFORMATION
THE FOLLOWING ACCOMMODATIONS ARE AVAILABLE FOR PATRONS WITH DISABILITIES:
• Level entrance and route to main floor of auditorium• Wheelchair seat locations with companion seats*• Portable assistive listening devices. See ushers for assistance.• Braille programs are available at the concierge desk for most
BNY Mellon Grand Classics performances. *Please contact the box office for the location of these seats.
www.sdwealthmanagement.com
Performance is all about hitting
the right notes.
Nancy [email protected]
www.sdwealthmanagement.com
Constructing and managing diversified portfolios to help you
reach your financial goals.
schneider downswealth management advisors
© d
. yu
rma
n 2
012
17593 DY-Orrs_ML220.indd 1 9/26/12 4:39 PM