Pittsburgh Symphony Orchestra season is full of returns, debuts and surprises
The Pittsburgh Symphony will play 20 weeks of classical subscription concerts in the 2014-15 season, one less than in the current season. Half will be lead by music director Manfred Honeck. The season will feature the first returning composer of the year, Mason Bates, the local debuts of several promising young conductors, and commissioned works for symphony principal players.
Honeck will conduct some new repertoire for him, such as Hector Berlioz' “Symphonie fantastique” at the first BNY Mellon Grand Classics, Sept. 19 to 21, which also features Bates' “Rusty Air in Carolina” and Valentina Lisitsa playing Sergei Rachmaninoff's Rhapsody on a theme by Paganini.
Honeck also will lead three “Focus on Beethoven” concerts – Dec. 5 to 7; Feb. 20 to 22, 2015; and June 5 to 7 – which will include the Symphonies Nos. 3, 5, 7 and 9. The Fifth and Seventh will be recorded for commercial release.
Other repertoire which will be recorded includes Anton Bruckner's Symphony No. 7, April 10 to 12, and Peter Ilyich Tchaikovsky's Symphony No. 6, April 17 to 19.
Honeck's new arrangement of a suite from Antonin Dvorak's opera “Rusalka” will be played on the program, culminating in Tchaikovsky's Sixth. This concert will be completed by Benjamin Britten's Violin Concerto, with Vienna Philharmonic concertmaster Rainer Honeck (the conductor's brother) as soloist — which also will be recorded.
The symphony will take a break from Viennese polkas and waltzes on Thanksgiving weekend for evenings of musical comedy by violinist Aleksey Igudesman and pianist Hyung-Ki Joo, Nov. 28 to 30.
Guest conductors will include Rafael Fruhbeck de Burgos, Oct. 10 to 12, and Yan Pascal Tortelier, Oct. 24 to 26. Gianandrea Noseda will not conduct the orchestra next season, but will return in 2015-16, as will Leonard Slatkin.
Bob Moir, the symphony's vice president for artistic planning, points to three conductor debuts as especially promising: James Gaffigan, Jan. 23 to 25; Krzysztof Ubariski, Jan. 30 to Feb. 1; and Andres Orozco-Estrada, March 27 to 29.
Bates, the young American composer who blends electronics from the techno dance-club scene with imaginative use of orchestra, was composer of the year in 2012-13.
“When Mason Bates was our composer of the year, we got a reaction from our audience unlike any we'd had before. Which is not to say other composers of the year were not also liked, but there was a very strong desire for more of Mason Bates,” Moir says.
Bates' music will be played on the first subscription concert and on Jan. 23 to 27, March 27 to 29, and May 15 to 17.
The symphony also will continue its 25 year tradition of commissioning new works for its principal players with three premieres — Jake Hegge's “The Work at Hand” for cellist Anne Martindale Williams, May 15 to 17; Alan Fletcher's Oboe Concerto for Cynthia Koledo DeAlmeida, May 29 to 31; and David Ludwig's “Pictures from the Floating World,” May 15 to 17, for bassoonist Nancy Goeres.
Symphony musicians will be the featured soloists performing older repertoire at many concerts, starting with Lorna McGhee playing Carl Nielsen's Flute Concerto, Oct. 24 to 26, and continuing with Noah Bendix-Balgley playing Aram Khachaturian's Violin Concerto, Jan. 30 to Feb. 1; Bendix-Balgley and violist Randolph Kelly playing Wolfgang Amadeus Mozart's Sinfonia concertante, March 6 to 8; eight soloists in a baroque program led by Jeannette Sorrell, March 20 to 22; and the horn section in Robert Schumann's Konzertstuck, March 27 to 29.
The Disney film “Fantasia” will be shown with live performance of its classical music soundtrack, under a conductor to be determined, May 8 to 10.
Subscriptions are available in six-, seven-, 14- and 20-performance packages, $114 to $1,720. Single tickets will go on sale around Labor Day.
Details: 412-392-4900 or www.pittsburghsymphony.org
Mark Kanny is classical music critic for Trib Total Media. He can be reached at 412-320-7877 or mkanny @tribweb.com.
Pittsburgh Symphony's 2014-15 BNY Mellon Grand Classics season
Sept. 19 to 21: Manfred Honeck, conductor; Valentina Lisitsa, piano
Mason Bates: “Rusty Air in Carolina”
Sergei Rachmaninoff: Paganini Rhapsody
Hector Berlioz: Symphonie fantastique
Oct. 10 to 12: Rafael Fruhbeck de Burgos, conductor; Pablo Sainz Villegas, guitar
Felix Mendelssohn: “A Midsummer Night's Dream” incidental music Joaquin Rodrigo: Concierto de Aranjuez Manuel DeFalla: The Three-Cornered Hat Suites 1 and 2
Oct. 24 to 26: Yan Pascal Tortelier, conductor; Lorna McGhee, flute
Edvard Grieg: “Peer Gynt” Incidental Music Carl Nielsen: Flute Concerto Alexander Borodin: “In the Steppes of Central Asia”
Alexander Scriabin: “Poem of Ecstacy”
Oct. 31 to Nov. 2: Juraj Valcuha, conductor; Nicola Benedetti, violin; Mendelssohn Choir
Sergei Rachmaninoff: “Isle of the Dead”
Karol Szymanowski: Violin Concerto No. 1 Maurice Ravel: “Daphnis and Chloe” ballet
Nov 28 to 30: Honeck, conductor; Alexsey Igudesman, violin; Hyung-Ki Joo, piano
Thanksgiving with Igudesman and Joo
Dec. 5 to 7: Honeck, conductor
Ludwig van Beethoven: Symphonies Nos. 5 and 7
Jan. 23 to 25, 2015: James Gaffigan, conductor; Gabriela Montero, piano
Bates: “White Lies for Lomax”
Ravel: Piano Concerto in G major
Richard Wagner: “Good Friday Spell” from “Parsifal”
Mendelssohn: Symphony No. 5 (“Reformation”)
Jan. 30 to Feb. 1: Krzysztof Ubariski, conductor; Noah Bendix-Balgley, violin
Sergei Prokofiev: Russian Overture
Aram Khachaturian: Violin Concerto
Modest Mussorgsky/Ravel: “Pictures at an Exhibition”
Feb. 20 to 22: Honeck, conductor; Lars Vogt, piano
Beethoven/Honeck: String Quartet No. 4, 1st movement
Beethoven: Piano Concerto No. 1
Beethoven: Symphony No. 3 (“Eroica”)
Feb. 27 to March 1: Honeck, conductor
Peter Ilyich Tchaikovsky: “Swan Lake” Suite
Prokofiev: “Romeo and Juliet” Suite
March 6 to 8: Honeck, conductor; Bendix-Balgley, violin; Randolph Kelly, viola
Wolfgang Amadeus Mozart: Sinfonia Concertante Einojuhani Rautavaara: Cantus Arcticus Igor Stravinsky: “The Firebird” Suite
March 20 to 22: Jeannette Sorrell, conductor and harpsichord
Baroque program featuring music by Johann Sebastian Bach, Antonio Vivaldi, and Georg Philip Telemann
March 27 to 29: Andres Orozco-Estrada, conductor
Bates: “The Rise of Exotic Computing”
Robert Schumann: Konzertstuck for Four Horns Johannes Brahms: Symphony No. 1
April 10 to 12: Honeck, conductor; Helene Grimaud, piano
Schumann: Piano Concerto
Anton Bruckner: Symphony No. 7
April 17 to 19: Honeck, conductor; Rainer Honeck, violin
Antonin Dvorak/Honeck: “Rusalka” Suite
Benjamin Britten: Violin Concerto
Tchaikovsky: Symphony No. 6
May 8 to 10: Conductor TBD
“Fantasia” in concert
May 15 to 17: Michael Francis, conductor; Anne Martindale Williams, cello; Jamie Barton, mezzo-soprano
Bates: “Alternative Energy”
Jake Hegge: “The Work at Hand”
Bela Bartok: Concerto for Orchestra
May 29 to 31: Joseph Mena, conductor; Nancy Goeres, bassoon
Claude Debussy: “Iberia”
David Ludwig: “Pictures from the Floating World”
Alberto Ginastera: “Panambi” Suite
Ginastera: “Estancia,” four dances
DeFalla: “La via Breve,” Interlude and Dance
June 5 to 7: Honeck, conductor; Christian Tetzlaff, violin; Simona Saturova, soprano; Jennifer Johnson Cario, mezzo-soprano; tenor TBD; Liang Li, bass; Mendelssohn Choir
Beethoven: Violin Concerto
Beethoven: Symphony No. 9
June 12 to 14: Honeck, conductor; Yefim Bronfman, piano; Cynthia Koledo DeAlmeida, oboe
Alan Fletcher: Oboe Concerto
Franz Liszt: Piano Concerto No. 2
Gustav Mahler: Symphony No. 1
Show commenting policy
TribLive commenting policy
You are solely responsible for your comments and by using TribLive.com you agree to our Terms of Service.
We moderate comments. Our goal is to provide substantive commentary for a general readership. By screening submissions, we provide a space where readers can share intelligent and informed commentary that enhances the quality of our news and information.
While most comments will be posted if they are on-topic and not abusive, moderating decisions are subjective. We will make them as carefully and consistently as we can. Because of the volume of reader comments, we cannot review individual moderation decisions with readers.
We value thoughtful comments representing a range of views that make their point quickly and politely. We make an effort to protect discussions from repeated comments either by the same reader or different readers.
We follow the same standards for taste as the daily newspaper. A few things we won't tolerate: personal attacks, obscenity, vulgarity, profanity (including expletives and letters followed by dashes), commercial promotion, impersonations, incoherence, proselytizing and SHOUTING. Don't include URLs to Web sites.
We do not edit comments. They are either approved or deleted. We reserve the right to edit a comment that is quoted or excerpted in an article. In this case, we may fix spelling and punctuation.
We welcome strong opinions and criticism of our work, but we don't want comments to become bogged down with discussions of our policies and we will moderate accordingly.
We appreciate it when readers and people quoted in articles or blog posts point out errors of fact or emphasis and will investigate all assertions. But these suggestions should be sent via e-mail. To avoid distracting other readers, we won't publish comments that suggest a correction. Instead, corrections will be made in a blog post or in an article.
- Skillet hopes Christian music tour Winter Jam fans the flames of hope
- New York City-based band Antibalas not afraid to be a step, or Afrobeat, ahead
- Pittsburgh band The Love Letters a throwback to poppier age
- Pittsburgh Symphony Orchestra brings ‘A Night in Russia’
- Marilyn Manson still happy to ‘prove people wrong’
- Highlands Alumni Cabaret Concert brings alums, students, teachers together in harmony
- Pittsburgh Symphony Orchestra musicians journey afield for ‘Play N’At’
- Review: ‘Rodelinda’ a big success for Pittsburgh Opera
- The classic sound of Gladys Knight and the Spinners endures
- Budway’s ‘Candor’ is a sweet parting
- Review: Seger blends old, new hits for show at Consol Energy Center