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Leonardo Balada Leonardo Nació en Barcelona el 22 de Septiembre de 1933. Tras cursar sus estudios de piano y teoría en el Conservatorio del Liceu de Barcelona, se trasladó a Nueva York en donde concluyó sus estudios de composición en la Juilliard School en 1960. Entre sus maestros figuran Aaron Copland, Vincent Percichetti y Igor Markevitch. En la actualidad es BALADA catedrático de Composición en la Universidad Carnegie Mellon de Pittsburgh, EE.UU. Algunas de sus obras más conocidas fueron compuestas en un estilo de gran drama dentro de la vanguardia de los años sesenta (Guernica, María Sabina, Steel Symphony, No-res etc.). Posteriormente se le reconoce como pionero en la simbiosis de música étnica con las técnicas vanguardistas, con lo que ha creado un estilo personal e influyente, Caprichos Nos. 2, 3 and 4 estilo iniciado con Sinfonía en Negro- Homenaje a Martin L.King(1968) y Homenajes a Casals y Sarasate(1975). Ha recibido varios premios internacionales y una distinción de la American Academy of Arts and Letters por su “relevante carrera y en reconocimiento a su personalidad artística”. Andrés Cárdenes, Violin / Conductor Su extensa lista de obras se interpretan regularmente en Europa y América por las principales orquestas y solistas. Entre las primeras figuran las Filarmónicas de Nueva York, Los Ángeles, Israel; la Orquesta de Filadelfia; las Sinfónicas de Pittsburgh, Dallas, Cincinnati, Detroit, New Orleans, Praga, México, Sao Paulo, Barcelona, Jeffrey Turner, Double bass Düsseldorf; Orquestas Nacionales de Washington, Irlanda, España, Colombia, Lima, Lyon, Toulouse, Jerusalén; Philarmonia de Londres; orquestas de las radios de Luxemburgo, BBC(Manchester), Berlín, Leipzig, Helsinki, Pittsburgh Sinfonietta • Lawrence Loh Hannover, RTV Española, Moscú, Orq. de Cámara de Chicago, de Lausana, Sinfonietta Checa etc... Entre los directores y solistas contamos a Lorin Maazel, M. Rostropovitch, Frühbeck de Burgos, López-Cobos, Lukas Foss, Mariss Jansons, S. Comissiona, J. Mester, L. Foster, Neville Marriner, Alicia de Larrocha, N.Yepes, Lucero Tena, Ángel Romero, E. Fisk, The American Brass Quintet, el actor-narrador José Ferrer. Ha colaborado con Salvador Dalí, con el premio Nobel de literatura Camilo José Cela, Fernando Arrabal y Antonio Gala. Tiene grabadas un elevado número de sus composiciones en sellos discográficos como Deutsche Grammophone, The Louisville Orchestra Editions, New World, Albany y Naxos Records etc...entre ellas Steel Symphony y Música para Oboe y Orquesta con la Pittsburgh Symphony Orchestra dirigidas por Lorin Maazel. Naxos Records está grabando la obra completa de Balada. Ha recibido encargos de un elevado número de prestigiosas instituciones: la Ópera de San Diego, Teatro Real de Madrid, Aspen Festival, Benedum Center for the Performing Arts, The National Endowment for the Arts, Sociedad Estatal del V Centenario (la opera Cristóbal Colón), Orquesta de Cámara de Lausana, las sinfónicas de Pittsburgh, Cincinnati, Hartford, Nacional de España, RTV Española, Barcelona, Radio Berlín etc... Compositor primordialmente sinfónico y lírico, ha compuesto varias óperas, entre ellas Zapata, Cristóbal Colón. Esta ópera se estrenó en el Gran Teatro del Liceu de Barcelona en 1989 interpretada por José Carreras y Montserrat Caballé atrayendo atención internacional. La crítica del Washington Times calificó la música de la ópera de “obra maestra” y el New York Times de “...un regalo a su tierra natal”. Esta ópera y su secuela La Muerte de Colón han sido recientemente editadas en CD por Naxos Records. En la temporada 2007-08 se ha estrenado Concierto para Tres Violoncelos y Orquesta por la Orquesta Sinfónica de Radio Berlín, Una Pequeña Música Nocturna en Harlem por la Orquesta Sinfónica de Cámara Húngara y Caprichos No. 4 para contrabajo y orquesta por la Pittsburgh Symphony Chamber Orch. Las óperas de cámara Hangman, Hangman y The Town of Greed se estrenaron en el Teatro de la Zarzuela de Madrid y en el Gran Teatre del Liceu de Barcelona. Su ópera Faust-bal, encargo del Teatro Real de Madrid, con libreto del dramaturgo surrealista Fernando Arrabal tuvo su estreno en Feb. 2009.

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Leonardo Sin embargo en Caprichos 2, 3 y 4 todos llevan española. II es una meditación con melodía alemana y sombrero IV es un triste lamento basado de una canción irlandesa. BALADA Caprichos No.2 está escrito para violín solista y La obra fue estrenada por la Pittsburgh Symphony (b. 1933) cuerdas (cuarteto de cuerdas u orquesta de cuerdas) y Chamber Orchestra con Andrés Cárdenes como solista, arpa. Es una suite de tres danzas latinoamericanas, el 15 de noviembre de 2005 dirigida por Lawrence Loh. Caprichos Nos. 2, 3 and 4 presentada de manera modernista: I Samba (brasileña), Caprichos No.4 (Quasi Jazz) fue terminado en junio II Tango (argentino), III Jarabe (mejicano) compuesto de 2007 y está dedicado a Jeffrey Turner, principal Caprichos No. 2 (2004) 1 15:06 en Pittsburgh, Pensilvania, en el año 2004. contrabajista de la Pittsburgh Symphony Orchestra. La Caprichos No. 3 (Homenaje a las Brigadas obra fue encargo del Pennsylvania Council on the Arts y 1 I. Samba 5:09 Internacionales), para violín y orquesta de cámara fue estrenada por Jeffrey Turner y la Pittsburgh Symphony 2 II. Tango 5:52 compuesto en 1905 y está dedicada a Andrés Cárdenes. Chamber Orchestra dirigida por Andres Cárdenes el 27 3 III. Jarabe 4:05 Consiste de cinco breves piezas y son un homenaje a las de marzo de 2008. 2 Brigadas Internacionales, un ejército de voluntarios Las ideas de la obra proceden del jazz, desarrolladas Caprichos No. 4, ‘Quasi Jazz’ (2007) 24:06 procedentes de diversos países que fueron a luchar en de manera libre y modernista mezclado lo tradicional 4 I. Tan-ta Ta, Tan-ta Ta 4:59 España durante la Guerra Civil Española (1936-39). con la vanguardia y consisten de contrabajo solista, 5 II. Down, down, down 6:11 Ellos lucharon al lado de la republica democrática que orquesta de cuerdas, clarinete y piano. El título del 6 III. Entierro (Funeral) 7:17 intentaba defenderse de la sublevación militar del movimiento I, Tan-ta Ta, Tan-ta Ta, imita 7 IV. Swing and Swing 5:38 general fascista Francisco Franco. La eventual derrota fonéticamente el pulso del jazz tradicional. El del gobierno democrático fue un estímulo más para que movimiento II, Down, down, down, es meditativo, triste Caprichos No. 3, ‘Homenaje a las Brigadas Internacionales’ Hitler iniciara la Segunda Guerra Mundial. y lento basado en el lirismo del “Negro-Spiritual”. III, (Homage to the International Brigades) (2005) 3 25:06 Durante la guerra, los idealistas voluntarios de las Funeral, es igualmente de pulsación lenta, la de una Brigadas Internacionales cantaban canciones marcha fúnebre que se acerca y desaparece en la 8 I. En la plaza de mi pueblo (In my town square) 4:53 expresando su soledad o su entusiasmo heroico. distancia. Aquí el solista interpreta únicamente notas 9 II. In memoriam 4:54 Utilizando temas folclóricos españoles o de sus propias agudísimas con armónicos. IV, Swing and Swing, es una 0 III. Si me quieres escribir (If you would like to write to me) 4:08 tierras de origen, escribían sus propias letras. danza frenética. ! IV. Lamento (Lament) 6:23 En Caprichos No.3 se hace uso de una selección de @ V. Jota 4:48 esos temas populares de manera libre y modernista. Los Leonardo Balada movimientos I, III y V están basados en danzas Andrés Cárdenes, Solo violin 1, 3, Conductor 1, 2 Jeffrey Turner, Double bass 1, Solo double bass 2 David Premo, Cello 1 • Gretchen Van Hoesen, Harp 1, 3 • Thomas Thompson, Clarinet 2 Rodrigo Ojeda, Piano 2 • Charles Lirette, Trumpet 3 • Andrew Reamer, Percussion 3 Pittsburgh Sinfonietta 2, 3 Violin 1: Jeremy Black (concert master / principal), Louis Lev 1, Ellen Chen-Livingston, Sarah Clendenning Violin 2: Jennifer Ross, Lorien Benet Hart 1, Claudia Mahave, Anastasia Storer Viola: Marylène Gingras-Roy 1, Erina Laraby-Goldwasser, Paul Silver, Meng Wang Cello: Adam Liu, Michael Lipman, Gail Czajkowski • Double bass: Betsy Heston, Peter Guild Lawrence Loh, Conductor 3 8.572176 2 11 8.572176 572176 bk Balada US 20/10/10 13:31 Page 10

Leonardo Balada (nacido 1933) Leonardo Balada (b. 1933) Caprichos Nos. 2, 3 y 4 Caprichos Nos. 2, 3 and 4 Me asombra la actitud de algunos compositores y hizo mientras desayunábamos en su hotel, el Saint several styles instead of several techniques also puzzles críticos cuando piensan en obras contemporáneas. Se Regis’s de Manhattan: “Lo que hizo Mondrian ya lo me. A work may be written based on several techniques preguntan: “¿Son estas obras atonales? ¿Usan ideas hacía yo de niño”. resulting, or not, in one style, depending on how skillful folclóricas? ¿Están pasadas de moda? ¿Son de Caprichos son una colección de composiciones en the composer is. vanguardia?” como si la música tuviera que ser juzgada forma de “suites”. Consisten de breves obras con solista When I was a student at Juilliard in the late 1950s por su técnica en lugar de su valor artística. ¿Acaso en la y orquesta de cámara. En ellas mezclo ideas the art world was submerged in abstract expressionism historia los compositores realmente creadores estaban tradicionales con procedimientos contemporáneos, and Salvador Dalí, with whom I was collaborating at the sujetos a las prescripciones teóricas o era al revés? Los vanguardista, que formaban parte de mi lenguaje de los time, was dismissed by the “intelligentsia” as teóricos concebían las técnicas basándose en las obras años 60 y principios de los 70 cuando compuse obras unimportant. So was art-deco. In retrospect we now see de los compositores, a posteriori. Schoenberg con su expresionistas como Guernica y Steel Symphony. A the lasting importance of those expressions. At that time teoría serial fue el único en crear una sistema a priori, partir de entonces he creado una simbiosis de la I heard well-known composers say that tonal music was que luego los compositores adoptaron. vanguardia con elementos folclóricos tradicionales finished or pitched notation was obsolete, only for the Asimismo me sorprende el concepto de comenzando con Sinfonía en Negro-Homenaje a Martin world to realize that both aspects of music were alive eclecticismo, tan utilizado por críticos, significando Luther King (1968) - en donde hago uso de ideas and well and will continue to be so. Some composers try varios estilos cuando en realidad debería atribuirse a Afroamericanas – y Homenaje a Casals y to establish themselves by dismissing anybody else that varias técnicas. Una obra puede estar compuesta con la Sarasate(1975) - en donde utilizo ideas del folclore may threaten their standing. Even now after decades of ayuda de varias técnicas y dar como resultado a un español. De la misma manera que Falla y Copland se creative “democracy” in the arts, those composers estilo, dependiendo en la habilidad del compositor. servían de las técnicas de su tiempo, yo utilizo las pretend to be in possession of the absolute truth, Cuando yo era todavía estudiante en la Juilliard técnicas del mío con materiales que proceden de claiming to be in the forefront when in fact what they do School de Nueva York en los años 50 el mundo del arte México, España, Irlanda etc. Sin embargo a veces very often was already done half a century ago or more. estaba dominado por el expresionismo abstracto y prescindo de ideas étnicas regresando al mundo I wrote the music for a film with Salvador Dalí, which Salvador Dalí- con quien yo colaboraba en ese abstracto de mi periodo anterior. Es como ir vestido con he created and executed in 1960, Chaos and Creation. momento- era desdeñado por los “grandes cerebros” del un sombrero mejicano en Cuernavaca o sin sombrero en Dalí satirized Mondrian and his claims of omnipotence. momento. Lo mismo el “art deco”. Sin embargo ahora Nueva York. Si mis características personales son Photo: Kenneth Andreyo I will never forget a comment Dalí made to me at valoramos altamente ambas expresiones artísticas. En únicas se me reconocerá mi individualidad en ambos The attitude of some composers and critics, when they breakfast in his hotel, the Saint Regis in Manhattan. aquellos años oí afirmar a bien conocidos compositores casos. Confío en que las idiosincrasias de mi leguaje think about contemporary works, puzzles me. They ask “What Mondrian did I had already done as a kid”. que la música tonal era obsoleta, así mismo la música musical sean reconocidas con o sin el elemento étnico. “ Are those works atonal? Do they use ethnic or world Caprichos are a collection of compositions in the con afinación exacta. Sin embargo el compositor del ¿Varias técnicas al servicio de un estilo? Este es mi music ideas? Are they old fashioned? Are they avant- form of “suites”. They consist of short movements with presente sigue y seguirá utilizando tales procedimientos. propósito. Un ejemplo de lo que trato de explicar: la garde?”, as if music should be judged for the immediacy a soloist and a chamber orchestra. Generally speaking, Algunos compositores procuran establecer su cantata María Sabina(1969) pertenece al abstracto of technique rather than its artistic achievement, as if the in Caprichos traditional ideas are mixed with preponderancia desdeñando a quien pudiera serles un vanguardista; las óperas Zapata (1984) y Cristóbal value of a work depended on technique rather than the contemporary and avant-garde devices which were in reto. Incluso hoy en día, después de décadas de Colón (1986) obras llenas de materiales folclóricos – intrinsic value of that work. Did creative composers my palette of the 1960s and early 1970s, when I “democracia” creativa en las artes, esos compositores se mejicanos en la primera y españoles en la segunda - son through history follow the prescriptions of those composed expressionist works such as Guernica and creen poseedores de la verdad absoluta, proclamándose ejemplo de lo étnico; Faust-bal (2007) es ópera sin techniques as spelled out by theoreticians rather than the Steel Symphony. From there I made a symbiosis of the portadores de estandartes cuando en realidad lo que sugerencias folclóricas volviendo a lo abstracto. Sin other way around? Theoreticians derived their theories avant-garde with the folk-traditional, which has become hacen se practicaba ya hace más de medio siglo. En el embargo confío que la fibra consubstancial de la música based on the composer’s works, a posteriori. my stamp, starting with Sinfonia en Negro-Homage to año 1960 compuse la música para una película que Dalí en las cuatro obras sea la misma, la mía. Sin sombrero Schoenberg with his serial technique was the only one Martin Luther King (1968), where Afro-American ideas creo y ejecutó, Chaos and Creation, una sátira contra en la cantata, con sombrero mejicano y cordobés en las who wrote the theory a priori and composers followed. are used, and in Homage to Casals and Sarasate (1975), Mondrian. Nunca me olvidaré del comentario que me dos óperas y de nuevo sin sombrero en la última ópera. The distorted concept of eclecticism, as meaning where Spanish folk melodies are used. In the same way

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Manuel de Falla and Copland blended folk-music with During the fight the idealistic International Brigade woodwind repertoire. Rodrigo Ojeda is an Artist Lecturer in Piano in the School of Music at Carnegie Mellon the techniques of their time, I use the techniques of my volunteers sang songs to overcome loneliness or express University as well as a piano faculty member in its Music Preparatory School. He has also been playing with the time with the folk material of Mexico, Spain, Ireland heroic moods by putting their own words to folk Pittsburgh Symphony since October 2006. etc. But sometimes I dispense with folk ideas, returning melodies of Spain or from their own countries. In to the abstract world of my previous period. It is like Caprichos No. 3 a selection of these popular materials Charles E. Lirette wearing a Mexican hat while in Cuernavaca or no hat at are used in a free modernistic manner. Movements I, III all in New York. If my idiosyncrasies are unique, then I and V are based on Spanish folk-dances, while II, a Charles E. Lirette graduated from Oberlin College Conservatory of Music. He has been a member will be recognized for my individuality in both cases. meditation for a fallen comrade, is of German origin and of the Buffalo Philharmonic and was principal trumpet for the Jerusalem Symphony. He joined the Hopefully the idiosyncrasies and inner fibre of my IV is a sad lament taken from an Irish song. The work Pittsburgh Symphony as co-principal trumpet in 1981 and has appeared as soloist with the writing will be recognized as my personal style whether was given its première by Andrés Cárdenes and the Pittsburgh Symphony both in subscription concerts and on the Pittsburgh Pops Series. He has I use folk elements or not. Several techniques to achieve Pittsburgh Symphony Chamber Orchestra on 15th performed with the Symphony’s Chamber Music at Heinz Hall Series and at Hartwood Acres, and one style? This is my aim. November 2005, conducted by Lawrence Loh. is on the faculty of Duquesne University. An illustration of what I am trying to get at are in Caprichos No. 4, ‘Quasi Jazz’, was finished in June my stage compositions: the cantata Maria Sabina(1969) 2007 and is dedicated to Jeffrey Turner, principal Andrew Reamer is an example of abstract “avant-garde”; the operas contrabassist of the Pittsburgh Symphony Orchestra. Zapata (1984) and Christopher Columbus (1986), The work was commissioned by the Pennsylvania Andrew Reamer joined the Pittsburgh Symphony Orchestra percussion section in 1989. He was appointed Associate which are full of folk-ethnic ideas (Mexican the first and Council on the Arts and had its première with Jeff Principal Percussion in 2003 and Principal Percussion in 2008. He took his Bachelor of Music and Master of Music Spanish the second), are examples of the ethnic; Faust- Turner and the Pittsburgh Symphony Chamber degrees from Temple University, and is is Chair of Percussion at Duquesne University. With PSO colleagues in The bal (2007) again the abstract with no folk hints. But my Orchestra conducted by Andrés Cárdenes on 27th White Tie Group, he plays jazz and has composed a popular collection of études for marimba, entitled Reamer’s inner workings are the same in the four compositions. March 2008. Elixirs Two-Mallet Fixers. He is an endorser for Zildjian Cymbals, Evans Drumheads, and Innovative Mallets. The cantata without a hat, the operas with Mexican and In Caprichos No. 4 the ideas come from jazz, Cordoban hats, and the last opera again without a hat. presented in a free modernistic manner with a Pittsburgh Sinfonietta But Caprichos Nos. 2, 3 and 4, they all wear a hat contrabass as soloist, a string orchestra, a clarinet and a Caprichos No. 2 is written for solo violin, strings piano. Here jazz-related ideas are developed in an The Pittsburgh Sinfonietta was formed for the purpose of making this recording and many of its musicians (string quintet or string orchestra) and harp. This is a extroverted way, mixing conventional classical jazz are members of the Pittsburgh Symphony Orchestra. suite of three Latino American dances, presented in a idioms, harmonies and rhythms with avant-garde free modernistic manner: I. Samba (Brazilian), II. Tango harmonies and aleatoric devices. The title of the first Lawrence Loh (Argentinean), III. Jarabe (Mexican), composed in 2004 movement, Tan-ta Ta, Tan-ta Ta, mimics the fast in Pittsburgh, Pennsylvania. brilliant pulse of traditional jazz. The second, Down, Recently promoted to Resident Conductor of the Pittsburgh Symphony Orchestra starting in the 2007- Caprichos No. 3 (Homage to the International down, down, is a slow meditative, heavy number where 2008 season and entering his third season as Music Director of the Northeastern Pennsylvania Brigades), for violin and chamber orchestra, was the soloist uses lyrical Negro-Spiritual material while Philharmonic, Lawrence Loh was brought to national attention in February 2004 when he substituted finished in 2005 and is dedicated to Andrés Cárdenes. It the ensemble keeps a steady pulse as background. The at the last minute for an ailing Charles Dutoit with the Dallas Symphony Orchestra. Conducting consists of five short pieces and is a homage to the soloist floats several times from the lowest to a very Stravinsky’s Petrouchka and Berlioz’s Symphonie Fantastique, he received enthusiastic acclaim from International Brigades, an army of volunteers from all high range in a sad deeply felt mood. The third orchestra players, audience members and critics, alike. Since his appointment as Music Director of over the world that went to Spain to fight during the movement, Funeral, is also slow with a steady pulse, the Northeastern Pennsylvania Philharmonic in 2005, the orchestra has flourished artistically, and his Spanish Civil War (1936-39). They fought on the side of that of a Negro funeral march that approaches and leadership has attracted such artists as André Watts, Anne Akiko Meyers, Jon Nakamatsu and Sharon the democratic Spanish Republic, which was defending disappears in the distance, but here the soloist plays Photo: Dan Loh Isbin. As Resident Conductor of the Pittsburgh Symphony Orchestra, Lawrence Loh conducts a wide itself from the military uprising of fascist General exclusively harmonic notes, very high sad lines. The range of concerts. He leads an array of educational and community engagement concerts and is the conductor of the Franco. The eventual loss of the democratic government fourth movement, Swing and Swing, is a portrait of a enormously popular Fiddlesticks Family Series. His association with Pittsburgh began as Assistant Conductor in 2005- was an added stimulus for Hitler’s adventures in Europe relentless unstoppable jazzy dance. 2006 and Associate Conductor in 2006-2007. In May 1998, Lawrence Loh received his Artist Diploma in Orchestra that led to World War II. Conducting from Yale University, also earning the Eleazar de Carvalho Prize, given to the most outstanding conductor Leonardo Balada in the Yale graduating class. Lawrence Loh was born in southern California of Korean parentage.

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Newkirk at Catholic University, and most recently with János Starker at Indiana University. His cello was made in Leonardo Balada approximately 1860 by Jean-Baptiste Vuillaume. Born in Barcelona on 22nd September 1933, the composer Leonardo Balada graduated from the Conservatorio del Gretchen Van Hoesen Liceu of that city and the Juilliard School in 1960. He studied composition with Vincent Persichetti, Aaron Copland and conducting with Igor Markevitch. Since 1970 he has been teaching at Carnegie Mellon University in Pittsburgh, Gretchen Van Hoesen has been Principal Harpist of the Pittsburgh Symphony since 1977. She has Pennsylvania, where he is University Professor of Composition. Some of his best known works were written in a appeared as soloist with the Pittsburgh Symphony Orchestra on numerous occasions, both in the dramatic avant-garde style in the 1960s (Guernica, María Sabina, Steel Symphony). He is credited with pioneering a subscription series and on tour. She gave the New York première of the Alberto Ginastera Harp blending of ethnic music with later avant-garde techniques, creating a very personal style starting with Sinfonía en Concerto in 1976 and the Pittsburgh première in 1978. She has appeared as soloist with Negro – Homage to Martin Luther King (1968), and Homage to Casals and Sarasate (1975). Balada has received conductors André Previn, Lorin Maazel, James Conlon, Zdenek Macal, Sergiù Comissiona, and several international awards and his works are performed by the world’s leading orchestras, including the Pinchas Zukerman and has collaborated with flutists James Galway, Bernard Goldberg and Jean- Philharmonics of New York, Los Angeles and Israel, the Philadelphia Orchestra, the Philharmonia Orchestra of Pierre Rampal in performances of Mozart’s Concerto for Flute and Harp. Additional appearances London, the Pittsburgh, Cincinnati, Detroit, Dallas, Washington D.C., Milwaukee, Oregon, Prague, Düsseldorf, with the Pittsburgh Symphony have included a series of distinguished performances. In 1985 she Barcelona, São Paulo, and Mexican symphony orchestras, the radio orchestras of Leipzig, Berlin, Berne, Madrid, and her husband, PSO Co-Principal Oboe James Gorton, presented the Pittsburgh première of Hanover, Moscow, Helsinki, Luxembourg, BBC, and Jerusalem, the National Orchestras of Spain, Lyon, Toulouse, Photo: Michael Sahaida Witold Lutosławski’s Double Concerto for Oboe, Harp and Chamber Orchestra in the Pittsburgh Marseille, Ireland, and Colombia, conducted by musicians such as Lorin Maazel, Mstislav Rostropovitch, Frühbeck Symphony subscription series. Among other performances, in March 2008 she presented the world première of de Burgos, López-Cobos, Lukas Foss, Mariss Jansons, Jorge Mester, Sergiu Comissiona, Neville Marriner and others. André Previn’s Concerto for Harp in the Pittsburgh Symphony subscription series. Gretchen Van Hoesen is He has been commissioned by many outstanding organizations in the United States and Europe, including the Aspen currently on the faculty of Carnegie Mellon University and Duquesne University and has served on the faculty of Festival, the San Diego Opera, Teatro Real of Madrid, the Pittsburgh, Cincinnati and Hartford Symphonies, National the Aspen Music Festival. She has presented harp master-classes throughout the world and has served as a judge for Endowment for the Arts, Benedum Center for the Performing Arts, the Lausanne Chamber Orchestra, Berlin Radio numerous National Competitions. Symphony Orchestra, The Millennium of Catalonia, Sociedad Estatal para el V Centenario, the National Orchestra of Spain, the Radio TV Orchestra of Madrid, and the Barcelona Symphony Orchestra, among others. He has composed Thomas Thompson works for artists including Alicia de Larrocha, Lorin Maazel, Mariss Jansons, the American Brass Quintet, the Miro String Quartet, Andrés Segovia, Narciso Yepes, Lucero Tena, Angel Romero, and Eliot Fisk, and has collaborated Thomas Thompson holds degrees from the American Conservatory of Music and Northwestern with artists and writers such as Salvador Dalí and Nobel Prize winner Camilo José Cela. A large number of Leonardo University. A former member of the Grant Park Symphony, Chicago, he joined the Pittsburgh Balada’s compositions are recorded on Deutsche Grammophon, Naxos, Albany and New World Records. These Symphony in 1966 and currently is co-principal Clarinet. He has been featured as soloist in recordings include Steel Symphony and Music for Oboe and Orchestra with the Pittsburgh Symphony conducted by concertos by Carl Nielsen and Carl Maria von Weber, and as a chamber musician and recitalist Lorin Maazel, and the cantatas No-res, Torquemada and María Sabina. was a founder of the New Pittsburgh Quintet. He is Associate Teaching Professor in the School of Balada’s large list of works includes, in addition to chamber and symphonic compositions, cantatas, two chamber Music at Carnegie Mellon University. and four full length operas: Zapata, Christopher Columbus, its sequel Death of Columbus, and Faust-bal. Christopher Columbus had its première in Barcelona in 1989 with José Carreras and Montserrat Caballé singing the leading rôles Rodrigo Ojeda and attracting international attention. Christopher Columbus, performed by Carreras and Caballé, and Death of Columbus were released in 2009 by Naxos. World première performances during the 2007-08 season included works Venezuelan pianist Rodrigo Ojeda began his piano studies at the age of ten. He completed his by the Berlin Radio Symphony Orchestra (a concerto for three cellos and orchestra), the Hungarian Chamber Bachelor’s Degree in piano performance at the IUDEM (Institute of Musical Studies) in 1997 Symphony Orchestra (a work for string orchestra), a work for Jeff Turner (double bass and the Pittsburgh Symphony under Arnaldo Pizzolante. In 1999 he went on to complete his graduate studies at Carnegie Mellon Chamber Orchestra.) and two chamber operas at the Teatro de la Zarzuela in Madrid and Gran Teatre del Liceu in University with Enrique Graf where he also remained to complete his Artist Diploma certificate. Barcelona. Faust-bal, commissioned by the Teatro Real of Madrid, had its première in February 2009. This is a 21st He has performed in master-classes with such notable pianists as Kasimierz Giesrod, Marek century interpretation of the classical Faust, with libretto by the surrealist Fernando Arrabal. Joblonsky, György Sándor, Marta Gulyas, and Earl Wild. His solo recitals include performances throughout Venezuela, Ecuador and most recently in the Piccolo Spoleto Festival in Charleston, South Carolina. His extensive repertoire includes concertos by Tchaikovsky, Brahms, Gershwin, Grieg, Schumann, Mozart, Liszt (Totentanz), César Frank and Prokofiev. A versatile pianist, he has performed numerous chamber works from classical and contemporary string, brass and

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Andrés Cárdenes radio throughout Israel and Germany, and has participated in several music festivals including those in Norfolk, Gstaad, Interlochen and Long Beach, as well as the Kfar Blum Chamber Music Festival in Israel. Winner of the The Cuban-born violinist Andrés Cárdenes has won international acclaim from critics and Rosa Albano Cavallero International Competition (1988), the University of Michigan and Yale University concerto audiences alike for his solo violin, conducting, viola, chamber music, concertmaster and competitions and the Washington State Scholastic Competition, he has performed concertos of Walton, Paganini, recorded performances. Since taking Second Prize in the 1982 Tchaikovsky International Bach, Mozart and Lou Harrison in Seattle, Ann Arbor and New Haven. Louis Lev is an adjunct professor of violin Violin Competition in Moscow, he has appeared as soloist with over one hundred orchestras on at Duquesne University in Pittsburgh and plays a violin made by J. B. Vuillaume, crafted in Paris in 1855. four continents, including those of Philadelphia, Pittsburgh, Los Angeles, St. Louis, Moscow, Bavarian Radio, Helsinki, Shanghai, Caracas and Barcelona. He has collaborated with many of Lorien Benet Hart today’s greatest conductors, including Lorin Maazel, Rafael Frühbeck de Burgos, Mariss

Jansons, Charles Dutoit, Christoph Eschenbach, Sir André Previn, Leonard Slatkin, Sir Photo: Michael Sahaida Violinist Lorien Benet Hart has been a member of the PSO second violin section since 2001. Her Andrew Davis, Gerard Schwarz, David Zinman and Manfred Honeck. His discography previous positions include Assistant Concertmaster in both the Charlotte and Windsor includes over two dozen recordings of concertos, sonatas, short works, orchestral and chamber Symphony Orchestras. She has also been a member of the Grand Teton Music Festival since music on the Ocean, Naxos, Sony, Arabesque, RCA, ProArte, Telarc, Artek, Melodiya and Enharmonic labels. 2006 1995. She holds a Bachelor of Arts degree from the University of California at Berkeley and a marked the thirtieth anniversary of his teaching career, which began as an assistant to his teacher and mentor Josef Masters of Music degree from the University of Michigan, and has studied under Murray Gingold at Indiana University. Today, Andrés Cárdenes holds the title of Distinguished Professor of Violin Studies Adaskin, Sidney Humphreys, Anne Crowden, Emanuel Hurwitz and Paul Kantor. and the Dorothy Richard Starling/Alexander Speyer Jr. Endowed Chair at Carnegie Mellon University’s School of Music. Andrés Cárdenes was appointed Concertmaster of the Pittsburgh Symphony Orchestra by Lorin Maazel in Marylène Gingras-Roy 1989 and holds the Rachel Mellon Walton Endowed Concertmaster Chair, leaving at the end of the 2009-2010 season to concentrate on his conducting, solo and chamber music careers. A native of Québec City, Canada, Marylène Gingras-Roy joined the Pittsburgh Symphony Orchestra viola section in the 1997 season, and in 2004 was promoted to fourth chair. She studied at the Conservatoire de Musique de Jeffrey Turner Québec with Douglas McNabney and François Paradis and graduated in 1993 with unanimous First Prizes in both Viola and Chamber Music. She was then the recipient of Canada and Québec Arts Councils’ Scholarship Grants, Jeffrey Turner is the Principal Bassist of the Pittsburgh Symphony Orchestra, and serves on the enabling her to study with Victoria Chiang at The Harid Conservatory and with Karen Tuttle and Joseph faculties of Duquesne University and Carnegie Mellon University. He has served in recent years DePasquale at the renowned Curtis Institute of Music, where she earned an Artist Diploma in 1997. She has as Artistic Director of the City Music Center Chamber Orchestra, Conductor of the Duquesne participated in many festivals, including the Festival Dei Due Mondi in Spoleto, Italy, the Solti Project at Carnegie Symphony Orchestra, and as Music Director of the Pittsburgh Live Chamber Orchestra. A Hall, the Jerusalem Music Festival, the Jeunesses Musicales World Orchestra and since 2000 she has performed native of South Carolina, he holds a Bachelor of Music degree from the Eastman School of with the Sun Valley Summer Symphony in Idaho. She is heard regularly in chamber music concerts and teaches at Music and a Master’s degree in conducting from Carnegie Mellon University, where he studied Duquesne University and privately, in addition to coaching the Three Rivers Young People Orchestra. with Robert Page. Before joining the Pittsburgh Symphony Orchestra in 1987, he was Principal Photo: Alicia Dal Lago Bass of the New American Chamber Orchestra from 1984 to 1986, and performed with the David Premo Detroit Symphony Orchestra for the 1986 seaon. He has also served as Visiting Professor at the Eastman School of Music, Indiana University, and the University of Maryland. At Duquesne, he Cellist David Premo joined the Pittsburgh Symphony Orchestra in 1992, and has been Associate Principal since has been Chair of Strings and Artistic Director of City Music Center’s Young Bassist Program. 2001. He has also been Artist-Lecturer at Carnegie Mellon University since 1994. David Premo came to Pittsburgh from Washington D.C., where he served as Associate Principal of the Kennedy Center Opera House Orchestra from Louis Lev 1980 until 1991. During his tenure in Washington, he performed chamber music at the Phillips Collection, the Corcorcan Gallery and the Library of Congress, and served on numerous occasions as principal cellist with the Louis Lev joined the Pittsburgh Symphony Orchestra during the 1992-93 season. During the 1997- American Chamber Orchestra, the National Gallery Orchestra and the Wolf Trap Festival Orchestra, among others. 98 and 1998-99 seasons he served the PSO as Acting Principal Second Violin. Previously he was a He performed as a member of the National Symphony Orchestra, both at the Kennedy Center and on several United member of the Haifa Symphony Orchestra where he served as concertmaster from 1990 to 1992. States and European tours. In 1995 David Premo and Christopher Wu (violinist with the PSO and winner of the His prior professional experience includes positions with the Lansing Symphony (principal second 1994 Passamaneck Award) won the Pittsburgh Concert Society Competition. In 1996 David Premo won the violin), Lansing Opera (concertmaster), Saginaw Symphony and Flint Symphony. A graduate of prestigious Passamaneck Award entitling him to a solo recital which he gave in Pittsburgh’s Carnegie Hall in April Yale University (M.M.) and the University of Michigan in Ann Arbor (B.M.), he has performed on 1997. He studied cello in his native Chicago with Margaret Evans of the Chicago Symphony, later with Robert

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