Edward Leonard has established an outstanding reputation for his versatility and interpretation of an extensive repertoire. As founder and Music Director of The Chamber Orchestra of Pittsburgh, he has led the organization to substantial artistic growth since its creation in 2014. His comfort in diverse repertoire results in a conducting prowess and artistic command that spans the centuries. 

Leonard’s background as an Artistic Director and conductor extends form new works to masterpieces of the traditional canon, and under his leadership the Chamber Orchestra of Pittsburgh has commissioned a growing series of new works. Leonard has conducted the world premieres of pieces by Alyssa Wang, Marina Lopez, and Federico Garcia-DeCastro, as well as the Pittsburgh premieres of works by Amy Williams, Lou Harrison, and Jeffrey Nytch. 

Mr. Leonard regularly serves as a guest conductor around the country, and his conducting engagements include work with the Canton Symphony Orchestra, the Allentown Symphony Orchestra, the Youth Chamber Connection Orchestra performing at the Chautauqua Institution, OvreArts New Music Ensemble, Savoyards Pittsburgh, the Midwest Chamber Ensemble, and the Eclectic Laboratory Chamber Orchestra. He also serves as a cover conductor for the Pittsburgh Symphony Orchestra. 

Mr. Leonard studied with Juan Pablo Izquierdo at Carnegie Mellon University, where he earned his Master’s degree in Orchestral Conducting. While there, he prepared ensembles for conductors including Sir Andrew Davis, Erich Kunzel, Thomas Baldner, and David Effron. For five summers he attended the prestigious Pierre Monteux School for Orchestra Conductors in Maine, where he studied with Michael Jinbo. 

When not conducting, Edward loves spending time with his wife Erin and their four year old daughter Chloe, biking, and roasting coffee. 

Russian pianist Ilya Yakushev, with many awards and honors to his credit, continues to astound and mesmerize audiences at major venues on three continents.

In the 2022-23 season, Ilya Yakushev performed as piano soloist with Meridian Symphony, San Luis Obispo Symphony, St. Petersburg Philharmonic, Dubuque Symphony, Las Vegas Philharmonic and Fort Wayne Philharmonic in addition to over 40 recitals in North America and Mexico.

Highlights of Yakushev’s 2023-24 season include return appearances with the San Luis Obispo Symphony, St. Petersburg Philharmonic, and Glacier Symphony, as well as a performance with the Panama City Symphony.

In February 2014, British label Nimbus Records published “Prokofiev Sonatas Vol. 1” CD. American Record Guide wrote “Yakushev is one of the very best young pianists before the public today, and it doesn’t seem to matter what repertoire he plays – it is all of the highest caliber”. Volume 2 was published in January 2017, as well as an all-Russian repertoire CD in September 2017.

In past seasons, he has performed in various prestigious venues worldwide, including Glinka Philharmonic Hall (St. Petersburg), Victoria Hall (Singapore), Weill Recital Hall at Carnegie Hall (New York), Davies Symphony Hall (San Francisco), and Sejong Performing Arts Center (Seoul, Korea). His performances with orchestra include those with the Mariinsky Theatre Orchestra, St. Petersburg Philharmonic, San Francisco Symphony, BBC Concert Orchestra, Boston Pops, Rochester Philharmonic, Utah Symphony, and many others.

Winner of the 2005 World Piano Competition which took place in Cincinnati, OH, Mr. Yakushev received his first award at age 12 as a prizewinner of the Young Artists Concerto Competition in his native St. Petersburg. In 1997, he received the Mayor of St. Petersburg’s Young Talents award, and in both 1997 and 1998, he won First Prize at the Donostia Hiria International Piano Competition in San Sebastian, Spain. In 1998, he received a national honor, The Award for Excellence in Performance, presented to him by the Minister of Culture of the Russian Federation in Moscow. Most recently, Mr. Yakushev became a recipient of the prestigious Gawon International Music Society’s Award in Seoul, Korea.

Mr. Yakushev attended the Rimsky-Korsakov College of Music in his native St. Petersburg, Russia, and subsequently came to New York City to attend Mannes College of Music where he studied with legendary pianist Vladimir Feltsman.

Ilya Yakushev is a Yamaha artist.

Michael Torke – Javelin
Sergei Rachmaninoff – Rhapsody on a Theme of Paganini
George Gershwin – Rhapsody in blue, Grofé Full
*Ilya Yakushev, Piano*

-INTERMISSION-

Antonin Dvorak – Slavonic Dance, Op. 46, No. 3
Franz Liszt – Hungarian Rhapsody, No. 2
Queen – Bohemian Rhapsody arr. by Nicholas Harsh
Camille Saint-Saëns – Bacchanale from Samson & Dalila

Michael Torke: Javelin

Estimated Duration: 9 minutes

American composer Michael Torke’s brief and exhilarating orchestral work, Javelin, was commissioned by the Atlanta Committee for the Olympic Games, and the Atlanta Symphony Orchestra. The commission was a dual celebration of the Atlanta Symphony’s 50th anniversary, and the upcoming 1996 Olympic Games. 

The composer writes: “I had three goals for this Atlanta Symphony’s anniversary piece: I wanted to use the orchestra as a virtuosic instrument, i wanted to use triads (three-note tonal chords), and I wanted the music to be thematic. I knew I would welcome swifter changes of mood than what is found in my earlier music. What came out (somewhat unexpectedly) was a sense of valor among short flashes and sweeps that reminded me of something in flight: a light spear thrown, perhaps, but not in the sense of a weapon, more in the spirit of a competition. When the word javelin suddenly suggested itself, I couldn’t help but recall the 1970s model of sports car my Dad owned, identified by that name, but I concluded, why not? Even that association isn’t so far off from the general feeling of the piece. Its fast tempo calls for 591 measures to evoke the generally uplifting, sometimes courageous, yet playful spirit.”

Sergey Rachmaninoff: Rhapsody on a Theme of Paganini

Estimated Duration: 20 minutes

One-Minute Note: Rachmaninoff’s Rhapsody on a Theme of Paganini reinvigorates 19th century traditions in its extended treatment of violinist Niccolò Paganini’s “Variation No. 24” from his Twenty-Four Variations for Violin. In the spirit of Paganini’s own virtuosity, the theme is treated in twenty-four brilliant variations for piano with orchestral accompaniment. 

Compositional History: Although living in the midst of 20th century modernism, Russian pianist-composer Sergei Rachmaninoff (1873-1946) cultivated a style that reinvigorated the romance and virtuosity of 19th century instrumental music. His Rhapsody on a Theme of Paganini was composed as an extended contemplation of Variation No. 24 from early 19th century violin virtuoso Niccolò Paganini’s Twenty-Four Variations for Violin. In so doing, Rachmaninoff joined a lauded group of composers, including Schumann, Liszt, and Brahms, all of whom were fascinated by this melody and the macabre reputation surrounding its composer. The piece premiered in 1934 with the Philadelphia Orchestra at the Lyric Opera Houser in Baltimore, Maryland, featuring Rachmaninoff as soloist. 

Rachmaninoff’s twenty-four variations are all connected and may be performed without breaks in the model of a single-movement rhapsody, but the piece can be re-conceived as divided into three parts that cast the shadow of a traditional piano concerto: the first eleven variations seeming to build in complexity, followed by the contrasting middle seven variations often referred to as ‘love episodes,’ and then the climactic final six variations. Among the most famous of these variations are the seventh, which incorporates the “Dies Irae” chant from the Requiem Mass, thought to invoke stories surrounding the demonic source of Paganini’s musical skill; the eighteenth, which inverts the melody, turning it ‘upside down’; and the virtuosic final variation, so challenging that it prompted Rachmaninoff to consume an alcoholic beverage to steady his nerves before performance – the rousing success of which led to its nickname: the “Crème de Menthe variation.”

Listener’s Guide: After a brief introduction, listen carefully for Paganini’s theme played by the piano. This melody will then be transformed twenty-four times in a series of variations, including changes in tempo, key, and meter, that showcase not only the musical potential of the theme and the composer’s versatility, but more importantly, the virtuosity of the piano soloist. 

George Gershwin: Rhapsody in Blue

Estimated Duration: 15 minutes

One-Minute Note: One of the most beloved compositions by an American composer, Rhapsody in Blue was premiered in 1924 as the grand finale of Paul Whiteman’s historic Aeolian Hall concert. Like Rachmaninoff before him, Gershwin maximized the freedom and contrast of music and mood that typify a rhapsody to create a unique blend of blues, jazz, and so-called “serious” concert music. 

Compositional History: Premiered in 1924 at the Aeolian Hall in New York City, Rhapsody in Blue was the grand finale for bandleader Paul Whiteman’s (1809-1967) “An Experiment in Modern Music,” a concert intended to trace the history of jazz from the raucous, freewheeling polyphony heard on the B-Side of the first commercially successful jazz recording in 1917, the Original Dixieland Jazz Band’s “Livery Stable Blues,” to the refined arrangements of the present day. Whiteman advertised Rhapsody in Blue in a newspaper article as a “jazz concerto,” the culmination of jazz stylings and so-called “serious” music composed by Goerge Gershwin (1898-1937). Although the article’s announcement was news to the famed Broadway composer, who was then in rehearsals for Sweet Little Devil, Whiteman and Gershwin were able to negotiate the composition and performance of a free-form piano work with accompaniment by the Whiteman band, orchestrated by its arranger, Ferde Grofé. Gershwin is said to have improvised some of his solo piano part at the premiere, only later committing it to notation. At the premiere, the band was simply instructed to “wait for nod.”

Listener’s Guide: embracing the single-movement freedom of a rhapsody rather than structure of a multi-movement concerto, Rhapsody in Blue is an extended exploration of contrasting melodies, rhythms, and moods. Opening with the iconic clarinet glissando first performed in jest by Whiteman band clarinetist Ross Gorman, the piece artfully pairs earthy blues harmonies with bold march and dance rhythms alongside the romance of symphonic strings. The vivacious piano highlights the soloist’s dexterity and expressiveness – characteristics shared by pianists in the jazz club and on the concert stage alike. 

Antonín Dvořák: Slavonic Dance in A-flat major (Polka), Op. 46

Estimated Duration: 4 minutes

Antonín Dvořák’s Slavonic Dance in A-flat Major is a vibrant example of his ability to infuse classical music with the spirit of Eastern European folk traditions. Dvořák was once of the first among his countrymen to attain real international prominence as a composer, and this fame was catalyzed largely by the notoriety of the Slavonic Dances. Unlike Brahms’ Hungarian ones, these do not incorporate actual folk melodies – all the tunes are of the composer’s invention, but the character is authentic enough to give the impression of lively atmosphere of village dances and celebrations. 

The Slavonic Dance in A-flat Major, Op. 46 is a lively Polka that reflects the rhythmic exuberance and playful character of Bohemian folk dances. Its spirited tempo and engaging melodies are characterized by syncopated rhythms and bright, infectious energy, showcasing Dvořák’s skill in blending folk elements with refined orchestral textures. 

Franz Liszt: Hungarian Rhapsody No. 2 (arr. Karl Muller-Berghaus)

Estimated Duration: 10 minutes

Few classical performers comand the attention of a modern pop star, but Hungarian pianist and composer Franz Liszt, with his fiery virtuosity and striking appearance, sparked a 19th century fan frenzy known as “Lisztomania.” A prolific composer, Liszt created a catalog of over 700 works, including his famous 19 Hungarian Rhapsodies, which capture the essence of his native Hungary. Originally composed as electrifying solo piano pieces, these works have since been adapted for chamber ensembles and full orchestras by Liszt and other composers, showcasing their dynamic blend of Hungarian folk music and dazzling technical brilliance. 

Liszt’s Hungarian Rhapsody No. 2 of 1847 opens with a molasses-rich melody, a slow Lassan of the Csárdás, and ends with a foot-stomping Friska. The most popular and recognizable of the collection, the Second Rhapsody’s legacy is perpetuated as the soundtrack for animated properties, Tom and Jerry, Buggs Bunny, Daffy Duck, and Mickey Mouse. 

Freddie Mercury: Bohemian Rhapsody for Orchestra and Solo Viola (arr. Nicholas Hersch)

Estimated Duration: 7 minutes

Released by Queen in 1975 as the lead single from their fourth studio album, A Night at the Opera, Freddie Mercury’s “Bohemian Rhapsody” is hailed as one of the most innovative and iconic rock songs ever recorded. Its unconventional structure and operatic style challenge traditional pop and rock norms by seamlessly blending rock, opera, and ballad elements into a groundbreaking composition. The song’s unique fusion of genres, combined with its striking lyrics and dynamic changes, has cemented it as a timeless classic in music history.

This performance will feature a symphonic arrangement by the American conductor, arranger, and educator, Nicholas Hersch. Created in 2013, the arrangement became a vital YouTube hit and continues to be performed worldwide. 

Camille Saint-Saëns: Danse Bacchanale from Samson and Dalila

Estimated Duration: 8 minutes

Samson and Delila is a grand opera in three acts and is based on the Biblical story of Samson and Delilah. The Danse Bacchanale is performed in the third act of the opera by the priests of Dagon as the Philistines, led by Delilah, are preparing a sacrifice to commemorate their victory over Samson and the Hebrews. Dramatically, the music portrays the reckless abandon that always seems to precede calamity. When the Philistines bring out the blind and shackled Samson to gloat over him, he calls upon God to give him a final burst of strength to destroy the Philistines and their false god. In a suicidal sacrifice, he topples the pillars of Dagon’s temple, crushing the enemy.