The Cleveland Orchestra Miami January 27-28 February 2-4 Concerts

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST MUSIC DIRECTOR

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S E A S O N

BRUCKNER’S SEVENTH A N D S E R A P H I C F I R E — page 13

J A N U A R Y 2 7 . 2 8 . 2 O17

YO -YO M A P L AY S DVO Ř Á K ’ S C E L L O C O N C E R T O — page 33

F E B R U A R Y 3 . 2 O17

NIELSEN CONCERTO A N D S I B E L I U S SY M P H O N Y — page 43

N O V E M B E R 1 1 . 1 2 2 O16 F E B R U A R Y 2 . 4 . 2 O17

Season Sponsor:

ClevelandOrchestraMiami.com

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CLEVELAND ORCHESTRA

S E A S O N

Table of Contents 3

About Cleveland Orchestra Miami

PAGE Miami Music Association . . . . . . . . . . . . . . . . . . 4 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . 7-9 Arsht Center . . . . . . . . . . . . . . . . . . . . . . . . . . 56-58

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Concert: January 27, 28

PAGE

Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Introducing the Concert . . . . . . . . . . . . . . . . . . . . 15 About the Music . . . . . . . . . . . . . . . . . . . . . . . 15-29 Conductor: Franz Welser-Möst . . . . . . . . . . . . 38

Vocal Ensemble: Seraphic Fire . . . . . . . . . . 16-17

Vocal Soloist: Jennifer Johnson Cano . . . . . . 18

33

Concert: February 3

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Concert Program . . . . . . . . . . . . . . . . . . . . . . . . . . 33 About the Music . . . . . . . . . . . . . . . . . . . . . . . 35-37 Conductor: Franz Welser-Möst . . . . . . . . . . . . 38

Soloist: Yo-Yo Ma. . . . . . . . . . . . . . . . . . . . . . . . . . 32

43

Concert: February 2, 4

PAGE

Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Introducing the Concert . . . . . . . . . . . . . . . . . . . . 45 About the Music . . . . . . . . . . . . . . . . . . . . . . . 45-55 Conductor: Franz Welser-Möst . . . . . . . . . . . . 38

Soloist: Nikolaj Znaider. . . . . . . . . . . . . . . . . . . . 48

39 About The Cleveland Orchestra

PAGE

Roster of Musicians . . . . . . . . . . . . . . . . . . . 30-31 About the Orchestra . . . . . . . . . . . . . . . . . . . . . 39

P R O G R A M B O O K S Copyright © 2017 by The Cleveland Orchestra.

Eric Sellen, Program Book Editor e-mail: esellen@clevelandorchestra.com Program books are distributed free of charge to attending audiences.

Cover photo copyright © Carl Juste / Iris Collective

Cleveland Orchestra Miami is supported by the State of Florida, Department of State, Division of Cultural Affairs and by the Florida Council on Arts and Culture.

Support for Cleveland Orchestra Miami is provided by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, and the Miami-Dade County Mayor and Board of County Commissioners.

Cleveland Orchestra Miami education programs are funded in part by The Children’s Trust. The Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County.

CLEVELAND ORCHESTRA

Cleveland Orchestra Miami was created with the vision of serving Miami-Dade through an annual season of musical presentations

by The Cleveland Orch­estra, featuring great orchestral concerts with world-renowned soloists, vibrant education programs for students from pre-school to college, and engaging community presentations for diverse populations throughout the region. Today, these programs touch the lives of over 20,000 children, students, and adults each year.

Under the leadership of a Miami-based not-for-profit board of directors, Cleveland Orchestra Miami is supported through the generosity of music-lovers from across South Florida, who believe in the power of great orchestral music to engage, motivate, and enthrall.

Each season of Cleveland Orchestra Miami concerts is presented in partnership with the Adrienne Arsht Center for the Performing Arts of Miami-Dade County.

Cleveland Orchestra Miami 2016-17

Who We Are

3

Cleveland Orchestra Miami presented by the

M IAM I M US I C AS SOC IAT I O N The Miami Music Association (MMA) is a not-for-profit corporation, comprised of leading Miamians motivated by the idea that as a world-class city Miami’s cultural life should always include orchestral performances at the very highest international level. No orchestra in America — indeed, perhaps no other orchestra in the world — is more ideally suited to partner with MMA in achieving these goals than The Cleveland Orchestra.

Securing and building support for Cleveland Orchestra Miami helps ensure that we succeed in creating a culture of passionate and dedicated concert-going in South Florida among the broadest constituency. Thank you for your support and commitment.

Miami Music Association Officers and Board of Directors Jeffrey Feldman, President Mary Jo Eaton, Secretary David Hollander, Treasurer Jon Batchelor Brian Bilzin Marsha Bilzin Alicia Celorio Mike S. Eidson Susan Feldman Isaac K. Fisher Adam M. Foslid Lawrence D. Goodman

Sheldon T. Anderson, Chairman Norman Braman, Vice Chairman Hector D. Fortun, Vice Chairman Pedro Jimenez Michael Joblove Gerald Kelfer Tina Kislak Thomas E Lauria Shirley Lehman William Lehman Jan R. Lewis Sue Miller*

Patrick Park Andrés Rivero Michael D. Rudd Joseph Serota Mary M. Spencer Howard A. Stark Richard P. Tonkinson Gary L. Wasserman E. Richard Yulman *deceased

Cleveland Orchestra Miami 2016-17 Advisory Council Created in 2015, the Advisory Council promotes Cleveland Orchestra Miami and its programs with individuals, academic and cultural institutions, businesses, and foundations throughout South Florida, encouraging broad participation and advising on growth strategies and future projects.

Michael Samuels, Chair Carlos Noble, Vice Chair Kevin Russell, Secretary Bill Appert Jaime Bianchi Betty Fleming Joseph Fleming

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Alfredo Gutierrez Luz Maria Gutierrez Douglas Halsey Amy Halsey Paige A. Harper Ivonete Leite Georgia Noble

Claudia Perles Steven Perles Diane Rosenberg Michael Rosenberg Judy Samuels Brenton Ver Ploeg Joaquin Viñas

Board of Directors / Advisory Council

Teresa Galang-Viñas Chris Wallace Adam M. Foslid, Liaison, Board of Directors

2016-17 Cleveland Orchestra Miami

C L E V E LMiami AND Cleveland Orchestra

O R C H E S T R A

presented by the Miami Music Association

JEFFREY FELDMAN SHELDON T. ANDERSON President

Chairman

in partnership with The Cleveland Orchestra and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

Dear Friends, Welcome to our continuing season of Cleveland Orchestra Miami concerts in 2016-17. The start of the new calendar year brings us two weekends filled with music and music-making here at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County — and beyond!

We are proud to kick off these weeks with the highly-anticipated collaboration of two world-class organizations, as Seraphic Fire joins with The Cleveland Orchestra in performances of music from three Bach cantatas. (Seraphic Fire continues the collaboration in March with performances in Cleveland with the Orch­ estra.) Franz Welser-Möst also leads the Orchestra in performances of Bruckner’s Seventh Symphony, a touchstone composer in his own understanding and belief in the power of music.

The second weekend at the Arsht Center, February 2-4, presents two different programs. The first features guest violinist Nikolaj Znaider in a program of two Scandinavian works. And, for a one-night-only special presentation, Franz and the Orchestra partner with Yo-Yo Ma for an evening including three unforgettable classical hits.

In addition to these stellar performers and performances, we also continue our work to deliver extraordinary musical experiences across the Miami-Dade community. On Sunday, January 29, in collaboration with the Arsht Center and the Miami-Dade County Department of Cultural Affairs, The Cleveland Orchestra presents a free community concert at the Miami-Dade County Auditorium. And, in our ongoing partnership with Miami-Dade County Public Schools, the Orchestra participates in a special side-by-side rehearsal with students at Coral Reef Senior High School. Composition students from the University of Miami’s Frost School of Music will also work with the Orchestra’s musicians in a reading session of new scores, from which works will be selected to be premiered here at the Arsht Center in pre-concert performances at our concerts here in March.

I look forward to enjoying these concerts and community experiences together with you. And let me extend our extraordinary thanks to each and every one of you — your support and attendance is the lifeblood upon which we are delivering great symphonic music to our community.

Best regards,

Jeffrey Feldman

Cleveland Orchestra Miami 2016-17

Welcome

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Cleveland Orchestra Miami is grateful to the John S. and James L. Knight Foundation for their continued support of the arts in Miami.

Thank you.

Through a five-year, $2 million challenge grant to expand programming in our community, Knight Foundation will match any new and increased gifts to Cleveland Orchestra Miami.

Your support through this grant will help ensure Cleveland Orchestra Miami’s ongoing success.

Please visit www.ClevelandOrchestraMiami.com to donate or call 305.372.7747.

CLEVELAND ORCHESTRA The Miami Music Association gratefully acknowledges these donors for their contributions to Cleveland Orchestra Miami in the past year. Listing as of January 10, 2017.

LEADERSHIP DONORS $100,000 and more

Irma and Norman Braman John S. and James L. Knight Foundation Sue Miller* Mr. Patrick Park Mary M. Spencer White & Case $50,000 to $99,999

Florida Division of Cultural Affairs David and Francie Horvitz Family Foundation, Inc. Jan R. Lewis Miami-Dade County Department of Cultural Affairs Janet* and Richard Yulman $25,000 to $49,999

The Batchelor Foundation Marsha and Brian Bilzin In dedication to Donald Carlin Adam Foslid/Greenberg Traurig Thomas E Lauria Marc and Rennie Saltzberg Rick, Margarita, and Steven Tonkinson Ms. Ginger Warner $10,000 to $24,999

Sheldon and Florence Anderson William Appert and Christopher Wallace Jayusia and Alan Bernstein Do Unto Others Trust The Cowles Charitable Trust Cozen O’Connor Mary Jo Eaton Mr. Mike S. Eidson, Esq and Dr. Margaret Eidson Jeffrey and Susan Feldman Isaac K. Fisher Kira and Neil Flanzraich Hector D. Fortun Linda and Lawrence D. Goodman Patti Gordon Mary and Jon Heider Ruth and Pedro Jimenez Cherie and Michael Joblove Tati and Ezra Katz Jonathan and Tina Kislak Alan Kluger and Amy Dean Eeva and Harri Kulovaara Shirley and William Lehman Moshe and Margalit Meidar Joy P. and Thomas G. Murdough, Jr.

Cleveland Orchestra Miami 2016-17

National Endowment for the Arts in partnership with Miami-Dade County Public Schools Mrs. Milly Nyman Andrés Rivero Michael and Chandra Rudd Drs. Michael and Judith Samuels Joseph and Gail Serota Howard Stark M.D. and Rene Rodriguez Ver Ploeg & Lumpkin Gary L. Wasserman and Charles A. Kashner Florence and Robert Werner Barbara and David Wolfort $5,000 to $9,999

Montserrat Balseiro Daniel and Trish Bell Jaime A. Bianchi and Paige A. Harper Maureen and George Collins Joseph Z. and Betty Fleming Alfredo and Luz Maria Gutierrez Richard Horvitz and Erica Hartman-Horvitz Foundation Jacqueline and Irwin* Kott Ivonete Leite Dr. R. Morgan and Dr. S. Weirich Georgia and Carlos Noble Jay Pelham Barbara S. Robinson Dr. and Mrs. Michael Rosenberg Southern Wine and Spirits Sidney Taurel United Automobile Insurance Company Teresa Galang-Viñas and Joaquin Viñas Mrs. Henrietta de Zabner $2,500 to $4,999

Mark and Maria Bagnall Michael and Lorena Clark John and Lianne Cunningham The Dascal Family Christian and Holly Hansen Andrew dePass and William Jurberg Dr. and Mrs. Edward C. Gelber David Hollander Douglas M. and Amy Halsey Mr. and Mrs. Dennis W. LaBarre Ana and Raul Marmol Roseanne and Gary Oatey James P. Ostryniec Maribel A. Piza James and LaTeshia Robinson

Annual Fund Contributors

Mr. Kevin Russell Charles E. Seitz Jorge Solano Michalis and Alejandra Stavrinides Brenton Ver Ploeg Suzanne and Carlos Viana $1,000 to $2,499

Paula and Carlos Alvarez Mr. and Mrs. Spencer Angel Rodney and Linda Benjamin Don and Jackie Bercu Helene Berger Carmen Bishopric Irving and Joan M. Bolotin Robert R. Brinker and Nancy S. Fleischman Matthew and Amy Brown John and Christine Carleton Raoul and Ana Maria Cantero James Carpenter — two seats (In memory of Christina) Mardy and Roxanne Cason Betty B. Chapman Stanley and Gala Cohen Ms. Angela Daker Maria Ines Dal Borgo Christopher Damian Nancy J. Davis Andrea and Chuck Edelstein Mr. and Mrs. Steven Elias Mr. George Feldenkreis and Ms. Marita Srebnick Mrs. Gabriele Fiorentino Morris and Miriam Futernick Mr. Michael Garcia Pamela Garrison Lenore Gaynor Niety and Gary R. Gerson Jeffrey Goldstein and Martha Austrich Alvaro Gomez and Cindy Mitch-Gomez Nancy F. Green Jack and Beth Greenman Roberto and Betty Horwitz Bob* and Edith Hudson Lawrence R. Hyer The Israel, Rose, Henry, and Robert Wiener Charitable Foundation, Inc. Gloria D.C. Johnson Dr. Michael and Gail Kaplan Richard Kebrdle and Ashley Jones Kebrdle Cynthia Knight listing continues

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CLEVELAND ORCHESTRA MIAMI listing continued

Dr. and Mrs. Frederick Knoll Mr. and Mrs. Israel Lapciuc Wendy G. Lapidus Ronald and Harriet Lassin Judy and Donnie Lefton Mr. and Mrs. Tom Lehman Mr. and Mrs. Marvin H. Leibowitz Barbara C. Levin Mr. and Mrs. Carlos Lopez-Cantera Sandi M. A. Macdonald and Henry J. Grzes Maureen McLaughlin Dr. Isidoro Morjaim Mr. Chris Pedersen and Ms. Teresa Buoniconti Mrs. Kristin Podack

Guillermo and Eva Retchkiman Alfonso Rey and Sheryl Latchu Donald and Shelley Rubin Charles and Linda Sands Eugene Schiff Mr. Eric Sellen and Mr. Ron Seidman Mr. and Mrs. David Serviansky Donna E. Shalala Dr. and Mrs. Gregory W. Sharp Michael C. Shepherd and Janet R. Fallon Lois H. Siegel Henry and Stania Smek Amal Solh Kabbani Nancy and Edward Stavis Mr. Eduardo Stern

Ms. Pat Strawgate Drs. Paul and Linda Sugrue Jaime and Sylvia Sznajder Parker D. Thomson Esq. Mr. and Mrs. Robert H. Traurig Dr. and Mrs. Michael B. Troner Raymond Tuoti Betty and Michael Wohl Dr. and Mrs. Jack Wolfsdorf Jason N. Zakia and Elizabeth S. Zakia Susan and Bob Zarchen Anonymous (3)

FRIENDS up to $999

Mr. and Mrs. Tomas Abreu John Actman Marjorie H. Adler Mr. Rafael Alcantara-Lansberg Christine Allen Andrew and Laurie Alpert Rosalie Altmark and Herbert Kornreich Dr. Kip and Barbara Amazon John E. Anderson Lori Angus Ana L. Arellano Elaine Bachenheimer Ted and Carolann Baldyga Lionel Baugh Linda Belgrave Elaine Bercu Randall and Carol Berg Joseph and Sue Berland Mrs. Helen Berne Neil Bernstein and Julie Schwartzbard Rhoda and Henri Bertuch Ken Bleakley Dr. Louis W. Bloise Rachel Bloomfield Sam Boldrick Mr. and Mrs. Eric Buermann Bernard Bullock Brent Burdick Nancy and Brad Burkhardt Dr. MarĂ­a Bustillo Mr. Richard Cannon Philip and Kathryn Carroll Erich Cauller Lydia Chelala Britt and Jerry Chester Josephine Chianese Carole J. Cholasta Katherine Chouinard Mark Cohan Phyllis Cohen Fernando Collar Guido Conterno Nathan Counts Mrs. Bonnie Craiglow-Clayton William R. Cranshaw Marcella Cruz Gabino Cuevas

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Paul and Cynthia Cummiskey Wesley Dallas George and Robbin Dalsheimer Jennie Dautermann Shaun Rogers and Nadine Davey-Rogers Ellen Davis Jose and Marta De la Torre Diane de Vries Ashley Ruben Del Cristo Teresa Del Moral Berta Del Pino Michael A. and Lori B. Dribin Shahnaz and Ranjan Duara Roberto Duran Bill Durham Dr. Edward Gross and Karla Ebenbach Bernard Eckstein Eitan and Malka Evan Mr. and Mrs. Menashe Exelbirt Adam and Judit Faiwiszewski Murray H. Feigenbaum Katherine and Bennett Feldman Dr. Lawrence E. Feldman Suzanne Ferguson Mr. Thomas Ferstle J. Field Ingrid Fils and Benson Rakusin Corrine D. Finefrock Bruce and Martha Fischler Mr. Marcus Flanagan and Mr. William Flanagan Christiane and Ronaldo Flank Brian Fox Mary Francis Dr. and Mrs. Rudolph J. Frei Dr. and Mrs. Michael Freundlich Daniel Fridman and Angelique Ortega Mr. and Mrs. Joel Friedland Marvin Ross Friedman and Adrienne bon Haes Friend Malcolm and Doree Fromberg Richard Fuchs Sue Gallagher Maria Galvez Christa Garavito Jose and Claudia Garcia Moreno Margaret Gerloff

Annual Fund Contributors

Lisa Giles-Klein Perla Gilinski Mr. and Mrs. Salomon Gold Bobbi Goldin and Tim Downey Sue and Howard Goldman Pauline Goldsmith William Gonzalez Rafael and Maria Del Mar Gosalbez Dr. Pepi Granat Barbara Gray Linda and David Grunebaum Nancy Haberman George and Vicki Halliwell Jack and Shirley Hammer Vincent Handal, Jr. Esq. and Michael Wilcox John Hanek Dely and Ernest Harper Claus and Barbara Haubold Dr. Gail A. Hawks Arturo and Marjory Hendel Parissa Hidalgo Barbara L. Hobbs Gregory T. Holtz Mr. and Mrs. Bernard Horowitz Melvin and Vivien Howard Dr. Michael C. Hughes Mrs. Carol Lee and Mr. James Iott Dr. and Mrs. Stanley Jacobs Anne Laurence Jaffee Nancy Jaimes Juan Jaramillo Thomas M. Jones Dr. Bruce and Mrs. Joyce Julien Dr. Marie Jureit-Beamish Mrs. Joyce Kaiser Mrs. Nedra Kalish Jack and Shirley Kaplan Phyllis Katz Harold G. and H. Iris Katzman Mr. Arthur S. Kaufman Meredith Kebaili and Heri Kletzenbauer David and Tammy Keinan Leon Kellner Dr. and Mrs. Frederick Kiechle Buddy Klein Daniel and Marcia Kokiel Lisa Kornse and August Wasserscheid Thomas Krasner

2016-17 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

Michael Kutsch Robert D.W. Landon, III Alvin Lapidus Terry S. Leet Mr. and Mrs. Elliot Lemelman Robert and Barbara Levenson Dr. and Mrs. Stanley Levick Melvin and Joan Levinson Linda Levy Harold and Ivy Lewis Mark Lieberfarb and Freya Silverstein Lieberfarb Carlos Llanos Mr. and Mrs. Emilio Llinas Judy Loft and Joe Reid Enrique and Monica Lopez Raul and Juanita Lopez Arthur A. Lorch Edward and Kay Lores John and Natasha Lowell Christopher Lunding Richard Mahfood Sandy and John Mahoney John Makemson Mrs. Sherrill R. Marks Joan A. Marn Victor Marquez Paul Martin and Maria Abreu Teresa Martin-Boladeres and Ignacio H. Boladeres Alejandro Martinez Laureano J. Martinez Carlos Martinez-Christensen Beatriz Martinez-Fonts Mr. and Mrs. Stephen Masson Edward Mast Robert Mayer Ms. Sara Maymir Alan E. Maynard Robert and Judith Maynes Thomas and Geraldine McClary Edison Mejia Bernice Mena Kenneth Mendelsohn Dr. and Mrs. Jorge Mendia Pauline Menkes Nicola Meyer Evelyn H. Milledge Paulette Mintz Harve and Alesia Mogul Fernando Montero Mr. Geronimo Montes Terri Moret Stephanie Moreton Dr. Michele Morris and Dr. Joel Fishman Judith Moscu Edgar Mosquera Samuel and Charlotte Mowerman Phillip and Hope Myers Ellen Nelson Karen Nicholls Ara and Violet Nisanian Dr. Daniel and Tamara Nixon Mr. and Mrs. Z. John Nyitray Dr. Jules Oaklander Dr. and Mrs. Larry K. Page Ruth M. Parry Stephen J. Parsons Stephen F. Patterson

Robert and Christa Paul Marilyn Pearson Mrs. Beatriz Perez and Mr. Paul Knollmaier Ruso Perkins Henry Peyrebrune and Tracy Rowell Mr. and Mrs. Henry F. Pfister Ferdinand and Barbara Phillips Peter Pilotti and Joseph Rodano Robert Plessett Beatriz Pons Suzan and Ronald Ponzoli Thomas J. Porto and Eugene P. Walton Edward Preston Lynne Rahn Albert Ray Douglas Reale Robert Rearden Matthew Reeg Jeffrey D. Reynolds Ms. Betty Rice Mr. and Mrs. S. Michael Rogers Eduard Rodriguez Horacio Rodriguez Miriam Rodriguez Pedro Rodriguez Jacques Rollet Stephen and Heidi Rowland Karen Rumberg Larry Rustin Mark Samberg Gonzalo Sanchez and Maria Gabriela Slik Saul and Mary Sanders George and Maria Claudia Savage Ernesto and Patricia Scerpella Sydney and David Schaecter Dr. Robin Schaffer James and Ita Schenkel Mr. Arnold Schiller Mr. and Mrs. Kyle R. Schlinsky Dr. Markus Schmidmeier Reuben Schneider Mr. Ronald E. Schrager and Ms. Wendy Hart Alex and Jeanne Schwaner David and Cathy Scott Margaret Searcy Mike and Ronna Segal Esme Segel Humberto Sevilla Norman and Arlene Shabel Brenda Shapiro and Javier Bray Mr. Jeffrey B. Shapiro Robert I. Shapiro Roger and Bobi Shatanof Dr. and Mrs. David Shpilberg Stewart and Gina Shull Mr. Jerald Siegel Mr. Norris Siert Alvaro and Gloria Silva Rafael and Sulamita Simkovicius Vicki and Bob Simons John Simpson Mark Snyder Alex Soriano Clara Sredni DeKassin Mr. and Mrs. Isaac Sredni Nick and Molly St. Cavish Marilyn Mackson Stein Holly Strawbridge Caroline Sullivan

Cleveland Orchestra Miami 2016-17

Lori V. Thomas Maria Helena Thornburgh Jarrett Threadgill Dr. Takeko Morishima Toyama Judith Rood Traum and Sydney S. Traum Alicia M. Tremols Miguel Triay Mr. and Mrs. Art Trotman Stuart Tucker Tali and Liat Tzur Rita Ullman VCN Corporation Andrea and Natalia Vasquez John C. Vaughn M. Therese Vento and Peter MacNamara Herbert W. and Peggy F. Vogelsang John and Leslie Wallace David and Oreen Wallach Ricky and Sarit Warman James Weber Estelle Weinstein Bonnie Whited Mr. and Mrs. Arthur Whittaker Mr. Mark Williams and Joseph Castellano Richard and Pamela Williamson Ms. Debbie Wirges Christian Wunsch Mr. and Mrs. Guri Yavnieli Sora Yelin in memory of Cary F. Yelin Douglas Yoder Allan Yudacufski Eloina D. Zayas-Bazan Patricio Ziliano Sr. Illene Zweig Anonymous (16) * deceased

Cleveland Orchestra Miami relies on the generosity of its patrons for our continued success.

Your contribution enables the Miami Music Association to present Cleveland Orchestra concerts, education programs, and community activities for thousands of citizens across Miami-Dade County.

Please consider a gift today by calling 305-372-7747 or visit us online today at ClevelandOrchestraMiami.com.

Annual Fund Contributors

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Great Music for a Great City

Sharing music with the South Florida community . . .

Your support makes Cleveland Orchestra Miami possible each year.

Annual Fund donations directly support the many ways Cleveland Orchestra Miami is making South Florida stronger.

In ten seasons, Cleveland Orchestra Miami has:

• touched the lives of over a quarter-million music lovers from across Miami.

• presented music programs for more than 65,000 young people across the county.

• engaged more than 40,000 students from

200 schools through music education concerts.

With your annual support, Cleveland Orchestra Miami will continue to change lives through the power of great music for years to come.

To make your Annual Fund pledge today for Cleveland Orchestra Miami, contact Bernice Mena by calling 305-372-7747 or sending an email to bmena@clevelandorchestra.com. Thank you!

CLEVELAND ORCHESTRA

C L E V E L A N D

O R C H E S T R A

M I A M I

Concert Prelude A free performance featuring musicians of The Cleveland Orchestra or guest artists, presented before the evening’s orchestral concert.

Friday evening, January 27, 2017, at 7:00 p.m.

Saturday evening, January 28, 2017, at 7:00 p.m.

JOSEF RHEINBERGER (1839-1901)

Easter Hymn [Osterhymne], Opus 134 ANTON BRUCKNER (1824-1896)

“Os Justi meditabitur” [The mouth of the righteous], WAB 30 JOHANNES BRAHMS (1833-1897)

“Schaffe in mir, Gott, ein rein Herz” [Make in me, God, a pure heart], Opus 29 No. 2 JOSEF RHEINBERGER

Abendlied [Evening Song], Opus 69 No. 3 “Bleib bei uns” [Stay with us]

performed by

SERAPHIC FIRE conducted by Patrick Dupré Quigley

About the Music — This prelude program features works from the rich Germanic Central European tradition of choral writing from the second half of the 19th century. The pieces, written between 1855 and 1883, were created for fourpart, six-part, or two chorus, eight-part writing. For a cappella (unaccompanied) chorus, they are presented here by guest choral ensemble Seraphic Fire, led by their founder and artistic director. In addition to works by Bruckner and Brahms, two selections are featured by Josef Rheinberger, who was court conductor for the Prince of Lichtenstein and, in addition to a variety of choral works, is known today for his many organ works and for the fame of his virtuosic organ playing.

Concert Preludes are free to ticketholders to that evening’s Cleveland Orchestra Miami concert.

Cleveland Orchestra Miami 2016-17

January 27-28 Concert Preludes

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2016-17 Cleveland Orchestra Miami

C L E V E L A N D

O R C H E S T R A

M I A M I

John S. and James L. Knight Concert Hall

Sherwood M. and Judy Weiser Auditorium

Miami Music Association and the Adrienne Arsht Center present

The Cleveland Orchestra Franz Welser-Möst, conductor Friday evening, January 27, 2017, at 8:00 p.m.

Saturday evening, January 28, 2017, at 8:00 p.m.

j. s. bach Chorus:

(1685-1750)

“Gloria in excelsis Deo” [Glory to God in the highest] from Cantata No. 191

Cantata

No. 34: “O ewiges Feuer, o Ursprung der Liebe” [O eternal fire, o source of love]

Chorus:

“Wir danken dir, Gott” [We thank you, God] from Cantata No. 29

JENNIFER JOHNSON CANO, mezzo-soprano

STEVE SOPH, tenor

JAMES BASS, bass

SERAPHIC FIRE

Patrick Dupré Quigley, artistic director

I N T E R M IS S I O N

anton bruckner Symphony (1824-1896)

No. 7 in E major

1. Allegro moderato

2. Adagio: Sehr feierlich und sehr langsam

[Very solemn and very slow]

3. Scherzo: Sehr schnell — Trio: Etwas langsamer

[Very fast] [Somewhat slower]

4. Finale: Bewegt, doch nicht schnell

[Moving, but not fast]

The concert will end at approximately 10:05 p.m.

Cleveland Orchestra Miami’s 2016-17 season sponsor is White & Case.

Cleveland Orchestra Miami 2016-17

Program: January 27-28

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  Music is an agreeable harmony for the honor of God and the permissible delights of the soul. —Johann Sebastian Bach

January 27-28

INTRODUCING THE CONCERT

Bountiful Bach & Beautiful Bruckner

Franz Welser-Möst was awarded the Bruckner Society of America’s Medal of Honor in 2011.

T H I S W E E K E N D ’ S C O N C E R T S offer two contrasting halves, of mu-

sic written nearly a century and a half apart. The two composers represented, Johann Sebastian Bach and Anton Bruckner, shared a deep faith in God — and a strong belief in the ability of music to praise and portray God’s bountiful gifts and beautiful wisdom.

On the first half of the concert, The Cleveland Orchestra is joined by the voices of South Florida’s own Seraphic Fire. This professional choral group has been catching fire with the quality of their ensemblework and nuanced interpretations of a wide-ranging repertoire. The north-south collaboration is two-fold, with Seraphic Fire traveling later this spring to sing a program of works by Igor Stravinsky with The Cleveland Orchestra at home in Cleveland. In Miami this week, they turn the clock back nearly three centuries, to the Baroque era, singing selections from three of Bach’s religious cantatas. Bach wrote more than 200 cantatas — works for chorus, soloists, and orchestral ensemble longer than a song, but not as lengthy as an oratorio or opera — on religious subjects (for church use) and with secular texts (for festive occasions such as weddings).

After intermission, Franz Welser-Möst returns to one of the touchstone composers of his own musical understanding, with Anton Bruckner’s expansive Seventh Symphony. As Franz writes in his own comments about this work (beginning on page 24), this was Bruckner’s first real success, at the age of sixty. It has few of the textual confusions of his earlier symphonies, which were rewritten at the hands of others (and are only recently being fully explored in the composer’s original scores). Franz sees Bruckner’s Seventh as a symphonic twin to Richard Wagner’s great opera of passion and love, Tristan and Isolde. And Bruckner’s own love for Wagner’s art is, in fact, embedded within this score, through a musical tribute created by Bruckner in the symphony’s second movement at the time of Wagner’s death in 1883. Yet, like all music, these sounds are for the living. Listen intently for all that you can hear across this big and shimmering work.

—Eric Sellen .

Cleveland Orchestra Miami 2016-17

Introducing the Concerts

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January 27-28

Seraphic Fire Celebrating its 15th Anniversary Season performing throughout South Florida and nationally on tour, Seraphic Fire is regarded as one of the preeminent professional vocal ensembles in the United States. Led by founder and artistic director Patrick Dupré Quigley, Seraphic Fire brings top ensemble singers and instrumentalists from around the country to perform repertoire ranging from Gregorian chant and Baroque masterpieces to Mahler and newlycommissioned works by leading American composers. Two of the ensemble’s recordings, Brahms: A German Requiem and A Seraphic Fire Christmas, were nominated for 2012 Grammy Awards, making Seraphic Fire the only choral ensemble in North or South America to be nominated that year and the only classical ensemble in the world to be nominated for two separate projects.

Seraphic Fire puts South Florida at the center of artistic innovation during the 2016-17 Season with eight world premieres by established and emerging American composers, performances with The Cleveland Orchestra (in Miami and in Cleveland), and a guest appearance by conductor Elena Sharkova. The season has also featured collaborations with Grammywinning organist Nathan Laube and violinist Matthew Albert.

Recognized as “one of the best excuses for living in Miami” (el Nuevo Herald) and bringing “vivid, sensitive performances” (Washington Post), Seraphic Fire’s artistic accomplishments have translated to chart-topping album sales. The ensemble’s September 2014 release, Reincarna-

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tions: A Century of American Choral Music, soared to No. 6 on the Billboard Traditional Classical Chart and the ensemble’s Grammy-nominated recording Brahms: A German Requiem debuted at No. 7 on the Billboard Traditional Classical Chart.

Seraphic Fire partners with Naxos of America for the distribution of Seraphic Fire Media.

Guest Artists

Seraphic Fire’s performances this season are made possible through a generous gift from Alicia Celorio, Do Unto Others Trust.

2016-17 Cleveland Orchestra Miami

January 27-28

soprano

Jolle Greenleaf Sara Guttenberg Margot Rood Sarah Moyer Molly Quinn Brenna Wells alto

Sarah Brailey Amanda Crider Margaret Lias Luthien Brackett Doug Dodson Virginia Warnken Emily Marvosh tenor

Steve Soph Patrick Muehleise Brian Giebler Steven Bradshaw Andrew Fuchs Paul Rudoi bass

James K. Bass Thomas McCargar Charles Evans Tim Takach Steven Eddy John Buffett

Cleveland Orchestra Miami 2016-17

Patrick Dupré Quigley Artistic Director and Founder Seraphic Fire

Proclaimed “extraordinary” (Gramophone), “authoritative” (Philadelphia Inquirer), “inspirational” (Chicago Sun-Times), and displaying “transformative brilliance” (New York Lucid Culture), Patrick Dupré Quigley has established himself as an exemplary conductor, creative programmer, and lauded arts entrepreneur whose skills as a musician transcend traditional genre boundaries.

As founder and artistic director of Seraphic Fire, Quigley has received strong reviews for his work with the music of contemporary American composers. He is equally celebrated for his exacting, historically-informed performances of Classical and Baroque repertoire, and was honored with a Grammy Award nomination for his recording with Seraphic Fire of Brahms’s Romantic masterpiece A German Requiem.

Quigley’s guest conducting appearances include Handel’s Messiah at Carnegie Hall, along with programs with the San Francisco Symphony, Indian­ apolis Symphony, New World Symphony, Louisiana Philharmonic Orchestra, Mobile Symphony, Naples Philharmonic, and the San Antonio Symphony.

This season’s engagements include the San Francisco Symphony, Grand Rapids Symphony, and the Cathedral Choral Society in Washington D.C.

Guest Artists

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January 27-28

Jennifer Johnson Cano American mezzo-soprano Jennifer Johnson Cano has been widely praised for her performances on the operatic stage, in concert, and in recital. Ms. Cano joined the Lindemann Young Artist Development Program at New York’s Metropolitan Opera after winning the Metropolitan Opera National Council Auditions in 2008, and made her Met debut during the 2009-2010 season. Other honors have included the 2014 George LondonNorma Newton Award, 2012 Richard Tucker Career Grant, and a 2009 Sullivan Foundation Award. She made her Cleveland Orchestra debut in May 2012, and sang with the Orchestra most recently in performances of Handel’s Messiah in December 2015.

Ms. Cano has given over 100 performances with the Metropolitan Opera, with recent roles including Bersi, Emilia, Hansel, Meg Page, Mercedes, Nicklausse, Wellgunde, and Waltraute. Other recent operatic appearances have included Orphée in Gluck’s Orphée et Eurydice with Des Moines Metro Opera, Donna Elvira in Don Giovanni with Boston Lyric Opera, Marguerite in Berlioz’s La Damnation de Faust with the Tucson Symphony, The Sharp-Eared Fox in Janáček’s The Cunning Little Vixen with The Cleveland Orchestra, and Diana in Cavalli’s La Calisto with Cincinnati Opera.

This season, Jennifer Johnson Cano

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bows as Carmen with Boston Lyric Opera, as the Priestess in Verdi’s Aïda with the Metropolitan Opera, and as Wellgunde in the concert version of Wagner’s Das Rhein­gold with the New York Philharmonic. Other orchestral engagements include Beethoven’s Missa Solemnis and Ninth Symphony with the Cincinnati Symphony Orchestra, and Bruckner’s Te Deum with the Charlotte Symphony. She also makes her European debut on a tour of John Adams’s El Niño with performances in London and Paris with the London Symphony Orchestra conducted by the composer.

Other appearances include engagements with the Netherlands Radio Philharmonic and with the Los Angeles Philharmonic.

A dedicated recitalist and chamber musician, this season she performs at Mt. Gretna Playhouse with Christopher Cano with a program including songs and arias by composers Hugo Wolf, Enrique Granados, Antonín Dvořák, and Jonathan Dove, and she sings in Philadelphia and Pittsburgh with Nathan Hughes (oboe), Rafael Figueroa (cello), and Ken Noda (piano). She has toured with Musicians from Marlboro and recorded live for the Marlboro Recording Society. She is also featured in a live recording of Mahler’s The Song of the Earth with the St. Luke’s Chamber Ensemble.

Ms. Cano is a native of St. Louis, Missouri and made her professional operatic debut with the Opera Theater of Saint Louis. She earned degrees from Webster University and Rice University. For more information, visit www.jenniferjohnsoncano.com.

Guest Artist

2016-17 Cleveland Orchestra Miami

January 27-28

Chorus: “Gloria in excelsis Deo” [Glory to God in the highest] from Cantata No. 191 composed 1745

Cantata No. 34: “O ewiges Feuer, o Ursprung der Liebe” [O eternal fire, o source of love] composed circa 1746-47

Chorus: “Wir danken dir, Gott” [We thank you, God] from Cantata No. 29 composed 1731

AT TH E E N D O F H I S LI FE , Bach composed his great Mass

by

Johann Sebastian

BACH

born March 21, 1685 Eisenach, Saxe-Eisenach, Germany died July 28, 1750 Leipzig

Cleveland Orchestra Miami 2016-17

in B minor, confounding all those who thought he was too devout a Protestant to write anything so firmly wedded to the Catholic liturgy. There is no record of a performance at that time, so it must have been intended as a monument to his art, like the Art of Fugue and the Musical Offering, similar late masterpieces for which no immediate function was in his mind — which, in effect, he wrote for himself only.

In truth, most of the Mass was recycled from earlier music, something very common in Bach’s time. The two choruses that begin and end the first half of this weekend’s concerts will therefore be familiar to many listeners who know the Mass, but who may not know their alternative earlier versions.

Between the two, the complete Cantata No. 34 is also a late re-working of earlier music (the numbering of Bach’s cantatas is a cataloging done after his death, and does not represent chronological order). This cantata matches the other two selections in its key, D major, and in the splendid scoring that features three trumpets and drums, heard in almost all of Bach’s celebratory music.

About the Music

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Cantata No. 34 music by JOHANN SEBASTIAN BACH Chorus O ewiges Feuer, o Ursprung der Liebe, entzünde die Herzen und weihe sie ein.

Lass himmlische Flammen durchdringen und wallen, wir wünschen, o Höchster, dein Tempel zu sein.

Ach! lass dir die Seelen im Glauben gefallen.

O eternal fire, O source of love, kindle our hearts and consecrate them.

Let heavenly flames burst forth and well up, We long to be your temple, O most high.

O may our souls please you in faith.

Recitative (tenor) Herr! uns’re Herzen halten dir dein Wort der Wahrheit für.

Du willst bei Menschen gerne sein, drum sei das Herze dein; Herr, ziehe gnädig ein!

Ein solch’ erwähltes Heiligtum hat selbst den grössten Ruhm.

Lord, our hearts hold your word to be the truth.

You willingly rest with humanity, may our hearts be yours.

Lord, draw them in to you.

Such a select sanctuary gives itself greatest renown.

Aria (mezzo-soprano) Wohl euch, ihr auserwählten Seelen, die Gott zur Wohnung ausersehn.

Wer kann ein grösser Heil erwählen?

Wer kann des Segens Menge zählen? und dieses ist vom Herrn geschehn.

Wise is he who has selected you to live with God, you chosen souls.

Who could find a greater salvation?

Who can count the number of his blessings?

And this is the Lord’s doing.

Recitative (bass) Erwählt sich Gott die heil’gen Hütten, die er mit Heil bewohnt: so muss er auch den Segen auf sie schütten, so wird der Sitz des Heiligtums belohnt.

Der Herr ruft über sein geweihtes Haus das Wort des Segens aus:

God chooses the holy tabernacles which he inhabits with salvation — so must he pour his blessings on them, so is the seat of the sanctuary rewarded.

The Lord calls out the words of his blessing upon his consecrated house:

Chorus Friede über Israel!

Dankt den höchsten Wunderhänden, Dankt, Gott hat an euch gedacht!

Ja, sein Segen wirkt mit Macht, Friede uber Israel, Friede über euch zu senden!

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Peace upon Israel!

Give thanks to the wondrous hands on high, Give thanks for God cares for you!

Yes, his blessing works forcefully to give peace to Israel, to deliver peace unto all!

Sung Text: Cantata No. 34

2016-17 Cleveland Orchestra Miami

Chorus: “Gloria in excelsis Deo”

Bach was always willing to recycle earlier music when it fit his purpose. And a special purpose seems to explain how he came to be using Latin words for a Christmas cantata, which would not normally be used in his regular churches. But on Christmas Day 1745 there was a special celebration in Leipzig’s university church, the Paulinerkirche, to mark the end of the Second Silesian War. The Prussian troops who had invaded Leipzig and done much damage in the region had now retreated to within their own borders.

At this late point in his life, Bach was no longer regularlly composing cantatas, so he put this one together as a setting of the “Gloria” by using three movements from a Latin Mass he had begun to compose more than a decade earlier, in 1733, and which would later become part of the great Mass in B minor. Creating this cantata in 1745 may, in fact, have been the catalyst that led to Bach’s compilation of the full Mass soon afterwards.

The cantata’s first movement is thus identical with the Gloria of the Mass with its exhilarating sound of three trumpets and a vigorous chorus in five parts. There is no finer example of Bach’s skill at weaving seemingly endless contrapuntal lines using very few words. “Gloria in excelsis Deo” provides the lively opening, while “Et in terra pax hominibus bonae voluntatis” is set to a slower, but no less intricate, texture, with notes slurred in pairs to give expressive weight to the words “terra” [earth] and “pax” [peace]. Within this section, there is a five-part fugue led off by the first sopranos and supported by regular short chords from the orchestral ensemble. The closing pages find endlessly new ways of combining all these features.

text

Glory be to God on high.

And on earth peace to those of good will.

Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.

At a Glance “Gloria in excelsis Deo” from Cantata No. 191 This chorus is scored for fivepart chorus with 2 flutes, 2 oboes, 3 trumpets, timpani, strings, and continuo.

Cantata No. 34 Movements 1-5 This cantata is scored for alto, tenor, and bass soloists, plus four-part chorus, and an orchestral ensemble of 2 flutes, 2 oboes, 3 trumpets, timpani, strings, and continuo.

“Wir danken dir, Gott” from Cantata No. 29 This chorus is scored for fourpart chorus and an ensemble of 2 oboes, 3 trumpets, timpani, strings, and continuo.

Cantata No. 34: “O ewiges Feuer, o Ursprung der Liebe”

Like Cantata 191, No. 34 was put together at the end of Bach’s life from material he had composed earlier. In this case, he was providing a cantata for Whitsunday in 1746 or 1747 by recycling a wedding cantata he’d written in 1726. The anonymous Cleveland Orchestra Miami 2016-17

About the Music

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author (Bach?) of the text was required to adjust words and substitute new lines where necessary to fit the music, using the Gospel reading for that service day.

It is pleasing to imagine that Bach, unearthing this music from the vast collection of music stored in his house and his church, smiled when he recognized its extraordinary vitality (unequalled in his time and ever since) whose purpose is to express (for a wedding) earthly or (for Whitsun) heavenly joy. The driving bass line, the fiery strings, the exuberant trumpets, and the sense that cadences always arrive at exactly the right moment — all this contributes to the effortless perfection to which he had the key. For the chorus, he writes music that exactly fits their ability to hold long notes — on the word “ewiges” [everlasting] — or run rapidly up and down, for “Feuer” [fire]).

The aria for alto voice (a mezzo-soprano in modern terminology) resembles a lullaby, and the two flutes add a pastoral touch, because the original wedding text mentioned sheep. The second recitative leads directly into the call “Peace upon Israel” from the chorus and to their strong closing movement, all voices now moving together.

For the text, see page 20.

Chorus: “Wir danken dir, Gott”

Some of Bach’s cantatas were composed not for the regular Leipzig church services, but for civic occasions. This one was performed on August 27, 1731, to mark the elections to the Leipzig city council. It is a full-length cantata with its opening sinfonia adapted from one of his partitas for solo violin. What follows is the magnificent chorus we hear this weekend, “Wir danken dir, Gott” [We thank you, God], written in a broad, rather antiquated style. When Bach came to put together his Mass in B minor, he picked this music for setting the Gratias agimus and again for the closing movement of the Mass, the Dona nobis pacem.

text

We thank thee, God, we thank thee, And declare thy wonders.

Wir danken dir, Gott, wir danken dir und verkündigen deine Wunder.

—Hugh Macdonald © 2017 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music

2016-17 Cleveland Orchestra Miami

Anton Bruckner, 1885, oil painting by Hermann Kaulbach

“ANTON BRUCKNER: There is arguably no other composer who spent so many years studying his art before establishing his unique voice. He remained a devout Catholic for the whole of his life, and his faith pervades all his music, even though it was with the traditionally secular symphony — Gothic cathedrals in sounds, as they have often been described — that his originality was established.”

—The Rough Guide to Classical Music

January 27-28

Symphony No. 7 in E major composed 1881-1883

About the Music Franz Welser-Möst has prepared the following comments about this Bruckner symphony: T H E S E V E N T H S Y M P H O N Y is often discussed as Bruckner’s

by

Anton

BRUCKNER born September 4, 1824 Ansfelden, Upper Austria died October 11, 1896 Vienna

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breakthrough work. It is the symphony that provided his first great popular success, at the age of sixty, and which gave him a sense of accomplishment that, for the first time, he might no longer have to continue proving himself.

His Fourth Symphony had appealed to some, but the Seventh was quickly embraced by many — and it is easy to hear the appeal of this music. Its success, however, is a fact “outside” the symphony itself. Bruckner envisioned and wrote this music for himself, and we should approach it with this in mind. Bruckner was not trying to write something popular. It was his music, in his mind and in his heart, before it was a success.

There is no coincidence in the fact that Bruckner’s Seventh Symphony is, literally, No. 7. In Catholicism, and in the Bible, seven stands symbolically for several spiritual ideals, for God, and especially for God’s mercy. For Bruckner, the symbolism of the number 7 informed him directly as he wrote this symphony.

Bruckner was deeply rooted in his Catholic faith. It was his anchor in life. Yet sometimes he found himself conflicted between that faith and the world. He was torn, for instance, between his own faith and his absolute adoration for the opera composer Richard Wagner, who proclaimed that God — whether God existed or not — did not matter. I believe that this conflict within Bruckner’s understanding of his own faith played out directly in the creation of the Seventh Symphony, with Wagner and Wagner’s music playing a major role as the symphony progressed and took shape.

Bruckner chose the key of E major for this work very deliberately. To him, this was the key of love, from Wagner’s Tristan and Isolde. In the opera, Wagner used the trick of creating music that is always searching for that home key — just as Tristan’s and Isolde’s love is searching for solace and peace, yearning and longing for consummation and unity. Only at the end of the opera does the music fully settle on E major, with both hero and heroine finding peace, finally, in death.

About the Music

2016-17 Cleveland Orchestra Miami

I see Bruckner’s Seventh very much as a symphonic twin to Tristan and Isolde. In this music, Bruckner explores themes of love and desire, of his own conflict between what love means in the Christian sense of caring and what love means in the romantic sense of desire. God’s love and mercy are the dialogue and conversation of this symphony.

THE MUSIC

In the Seventh, for the first time, Bruckner includes in his orchestral ensemble four of the so-called Wagner tubas. Wagner had created these for the large orchestra in his Ring of the Nibelung saga.

Bruckner uses them in his last three symphonies, Nos. 7, 8, and 9. Yet even with these added in, it is worth remembering that Bruckner’s symphonic orchestra is much closer in scale and size to Beethoven’s, to a “classical orchestra,” than to the larger forces that Gustav Mahler and Richard Strauss were just beginning to create.

This is important to acknowledge as we strive to understand Bruckner’s music. Bruckner was a symphonist in the traditional sense, using almost no percussion, and adding other instruments very sparingly. Again, he was writing for himself, within an existing form — stretching the length and some limits, but not deliberately trying to make something big or bigger. Of course, this should not take away from what Mahler and Strauss did, but they were working toward different aims, toward a different complexity and sound world. Bruckner was very much his own man, his own composer.

The first movement opens with a tremolo, as in several of the earlier Bruckner symphonies. This time, the tremolo is in E major, showing desire. From this, the music builds with a grandly arching melody. Bruckner designs the movement in a customary sonata pattern, working through three themes. The second of these includes Anton Bruckner Arrives in Heaven — a silhouette by Otto Böhler (1873-1915).

Bruckner is being greeted (from left to right) by Liszt, Wagner, Schubert, Schumann, Weber, Mozart, Beethoven, Gluck, Haydn, Handel, and Bach (at organ).

Cleveland Orchestra Miami 2016-17

About the Music

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a turn, first announced by the oboe, that Wagner used in the big love scenes of both Tristan and Isolde and Götterdämmerung. Thus, here we have love and we have Wagner. This is not coincidence or imitation. This is Bruckner making deliberate conversation in music.

While the first movement includes Wagnerian turns, the second movement is an open memorial to Bruckner’s idol. This Adagio starts as lament. Here Bruckner quotes from his own Te Deum, which he was writing at the same time as the Seventh Symphony. The phrase matches to the text “non confundar in aeternum,” meaning “let me not be confounded (or damned) for eternity.” Across the movement, the “non confundar in aeternum” comes seven times — again, here is Bruckner’s obsession “I see Bruckner’s with and belief in the symbolism of numbers Seventh very much as — reaching toward C major, which was God’s a symphonic twin to key in Baroque music. This music represents the essence of Christianity for Bruckner, his Wagner’s opera Tristan belief that love is the only thing that matters, and Isolde. In this music, that meeting God at death is the very reason Bruckner explores themes for our journey, and that it is God’s love that of love and desire, of his can redeem human life. It’s a very personal statement. own conflict between what Wagner’s health was failing after the love means in the Chrispremiere of Parsifal in the summer of 1882. tian sense of caring and While working on the second movement what love means in the rothat next winter, Bruckner wrote to a friend that he’d had a premonition of Wagner’s mantic sense of desire.” death. In fact, we know that Wagner was on —Franz Welser-Möst his mind throughout the time he worked on this movement. And then Wagner really did die, in February 1883, and Bruckner was overwhelmed with emotion.

What had started as a lament became a self-fulfilling prophecy. And Bruckner continued and reworked the ending of the movement, creating very moving passages that feature horns and the Wagner tubas, and changing the music to be a true memorial for Wagner.

The climax of the Adagio movement is, in fact, the climax of the entire symphony. While it comes toward the end of this movement, Bruckner also designed it, structurally, to come exactly in the center of the symphony as a whole. Here Bruckner revels in the key of C major (God) and brings in a clash of cymbals and triangle to punctuate the climactic moment, as though Heaven itself were opening up before us.

Bruckner described the opening of the Scherzo third move-

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About the Music

2016-17 Cleveland Orchestra Miami

ment to one of his assistants, saying the theme in the trumpet is like a rooster’s call to start the day. This signals a sense of nature in this movement, which features dance-like music of an almost Schubertian feeling. Here we are at peace, in a sense, after the memorial to Wagner in the previous movement. Life must go on and will go on.

Nature and everyday life continue.

Much of Bruckner’s music harkens back to Gregorian chant, and to his background in Catholic Church music. This is very much true in the Finale fourth movement of the Seventh. Even within this, however, there is conflict in this music, as Bruckner moves backward and forward, between two extremes — from the ancient building blocks he is using as a foundation, to the new music he is creating.

In this movement, Bruckner varies from usual sonata form, shifting instead to an arch. After introducing and developing three themes, he backs away, and revisits the themes in reverse order: 3-2-1. This mirrors the arch-like sense of the first movement and the arch-like structure of the symphony as a whole, and helps give the listener a sense of wholeness or completeness, of a journey — toward God’s love and mercy? — well and devoutly traveled.

Perhaps, in the end, the inner conflict between romantic desire and spiritual love remains unresolved. Or perhaps both are an integral part of life, through which each of us must find peace, understanding, and acceptance — of ourselves and those around us.

Whether or not Wagner was right, that God’s existence doesn’t matter, perhaps God’s mercy is about personal inner peace. The Seventh Symphony is an important expression detailing part of Bruckner’s own journey, in music and in life.

—Franz Welser-Möst

A silhouette cut-out of Bruckner conducting.

At a Glance Bruckner composed his Seventh Symphony between the years 1881 and 1883. The work’s first performance took place on December 30, 1884, in Leipzig, with Arthur Nikisch conducting the Leipzig Gewandhaus Orchestra. The score includes the dedication to “his Majesty, King Ludwig II of Bavaria, in deepest reverence.”

This symphony runs about 65 minutes in performance. Bruckner scored it for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 Wagner tubas, 3 trum-

Cleveland Orchestra Miami 2016-17

pets, 3 trombones, tuba, timpani, percussion (triangle and cymbals), and strings. (The score edition being used for this weekend’s performances was edited by Leopold Nowak.)

The Cleveland Orchestra first performed Bruckner’s Seventh Symphony in March 1938, at a pair of evening subscription concerts led

by Artur Rodzinski. Franz Welser-Möst and the Orchestra have performed it on several occasions, at home and on tour, including concerts at Severance Hall in September 2008, when it was recorded for telecast and DVD.

About the Music

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January 27-28

Restoring Bruckner’s Greatness — Musical Meaning and Purpose G U S T A V M A H L E R famously said “My

time will come.” Anton Bruckner spent much of his life wondering if his music would ever be recognized and embraced.

More than a century after his death, Bruckner’s place in popular and critical appraisal remains a moving target. While Mahler’s anguished music went mainstream, Bruckner’s slowly arching symphonies became something of an acquired taste. Many conductors embraced him as a supreme symphonist. Others dismissively pigeonholed his symphonies as enormous “gothic cathedrals in sound,” the work of a devoutly religious man who understood nothing but his own faith.

In recent decades, the real Bruckner has been gaining ground. The veneers of slick editing that early on rendered a number of his scores more “understandable,” more Wagnerian, more mainstream, have slowly been wiped clean. His legacy as a serious organist and thoughtful musician has been reexamined. The bolder ideas of his later symphonies have been viewed as looking forward into the 20th century rather than awkward missteps at the end of the 19th.

With this weekend’s performances, Franz Welser-Möst once again returns to the music of Bruckner, whose works remain one of the touchstones of his own understanding of music. He recorded five of Bruckner’s symphonies — including

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this weekend’s No. 7 — with The Cleveland Orchestra between 2007 and 2012, to critical acclaim.

Welser-Möst comes by his interest and understanding of Bruckner’s music naturally. He, like Bruckner, grew up near Linz, Austria, and was steeped in Bruckner’s music from an early age. He very clearly remembers eminent conductors from previous generations leading Bruckner performances at the Abbey of Saint Florian, where Bruckner studied and later served as organist. He remembers a vinyl LP of Bruckner’s Second, which as a young boy he nearly wore out (along with his mother’s patience) from repeated playing.

Indeed, Welser-Möst has been conducting and thinking about Bruckner nearly all his life. He has studied the scores — the early published versions edited by assistants as well as the autograph manuscripts and later critical editions. He has led performances of differing versions and wrestled with the questions of which notes were really Bruckner’s and which were someone else’s suggestions.

If Welser-Möst’s focused approach to these works proves nothing else, one thing should be abundantly clear: Bruckner was more than a simple man devoutly writing musical love letters to God. Yes, the composer was at times socially awkward. Yes, he too often accepted others’ advice about his own music. And,

About Bruckner

2016-17 Cleveland Orchestra Miami

very much, his Catholic faith anchored him through life. But Bruckner’s musical breadth was exceptional. He was a magnificent organist, who mesmerized audiences in performances across Europe with his abilities to improvise — interweaving, for instance, themes from the Adagio of his own Seventh Symphony with those of Siegfried’s Funeral March from Wagner’s Götterdämmerung.

Bruckner studied all his life. He knew musical history, trends, ideas, influences. Like many composers before him, he saw real and potent meaning behind his compositional choices — of key signatures, for example, and in the relationships between musical notes and the messages to be conveyed. Like Bach, Bruckner was fascinated by numbers — an obsession he shared with his counterpoint teacher Simon Sechter. In conversation and rehearsal, Welser-Möst uses such points to make a case for Bruckner symphonies being “about something,” not just long pieces of lovely church music. Life and love, God and mercy, death’s approach — all are in these symphonies.

Welser-Möst points out that Bruckner didn’t just admire Richard Wagner’s music, he studied it. And, Welser-Möst believes, Bruckner was not blind to Wagner’s many shortcomings, including, for Bruckner, a lack of religious faith. Bruckner’s borrowings from Wagner were not uncomplicated admiration, but choiceCleveland Orchestra Miami 2016-17

Cleveland + Welser-Möst: Bruckner on DVD Between 2007-12, The Cleveland Orchestra and Franz Welser-Möst recorded five of Bruckner’s symphonies in historic and acoustically important venues. The Fourth and Fifth Symphonies were recorded at the Abbey of St. Florian in Linz, Austria, and the Ninth Symphony at Vienna’s Musikverein.

Bruckner’s Symphonies Nos. 7 and 8 were recorded at Severance Hall in Cleveland.

This series of five Bruckner DVD recordings featuring The Cleveland Orchestra under Franz Welser-Möst’s direction was created in partnership and with generous support from Raiffeisenlandesbank Oberösterreich and Clasart.

ful decisions for his own symphonies. For Bruckner, musical history was a deliberate palette from which to work, not simply a collection of pleasant or favorite ideas to string together. The memorial tribute to Wagner that Bruckner wrote into the second movement of the Seventh Symphony was not pandering or simply personal, it was transformative — taking grief and creating from it (and through it) a substantive musical message. Within the Seventh Symphony, Bruckner fashioned a “symphonic twin” to Wagner’s opera Tristan and Isolde, emanating desire, adoration, love — of God, of Wagner, of the everyday joy and wonder of being alive.

About Bruckner

—Eric Sellen

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST

MUSIC

DIRECTOR

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jessica Lee

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Mark Dumm

Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

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Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair

CELLOS Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio Llinás 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins*

Helen Weil Ross Chair Muriel and Noah Butkin Chair

Tanya Ell

Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton

William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

Lynne Ramsey 1

Mark Atherton Thomas Sperl Henry Peyrebrune

Stanley Konopka 2 Mark Jackobs

Charles Carleton Scott Dixon Derek Zadinsky

Chaillé H. and Richard B. Tullis Chair Charles M. and Janet G. Kimball Chair

Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Orchestra

Charles Barr Memorial Chair

HARP Trina Struble *

Alice Chalifoux Chair

This roster lists the fulltime members of The Cleveland Orchestra.

The number and seating of musicians onstage varies depending on the piece being performed.

2016-17 Cleveland Orchestra Miami

16 17 2 O 1 6 -1 7

S E A S O N

O R C H E S T R A FLUTES Joshua Smith *

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

HORNS Michael Mayhew §

PERCUSSION Marc Damoulakis*

Jesse McCormick

Donald Miller Tom Freer * Thomas Sherwood

Knight Foundation Chair Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2

James P. and Dolores D. Storer Chair

Corbin Stair Jeffrey Rathbun 2

Michael Miller

Robert Walters

CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

Everett D. and Eugenia S. McCurdy Chair

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

ACTING ASSISTANT PRINCIPAL

E-FLAT CLARINET Daniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Yann Ghiro BASSOONS John Clouser *

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien

Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

Shachar Israel 2

1

Alexander and Marianna C. McAfee Chair

BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2

KEYBOARD INSTRUMENTS Joela Jones *

Richard Stout

ACTING PRINCIPAL

Robert Woolfrey

Margaret Allen Ireland Chair

* Principal § Associate Principal First Assistant Principal Assistant Principal

on sabbatical leave

2

*

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell

ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco TIMPANI Paul Yancich *

Otto G. and Corinne T. Voss Chair

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Tom Freer 2*

Cleveland Orchestra Miami 2016-17

Mr. and Mrs. Richard K. Smucker Chair

The Orchestra

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February 3

Yo-Yo Ma

The many-faceted career of cellist Yo-Yo Ma is testament to his continual search for new ways to communicate with audiences and to his personal desire for artistic growth and renewal. Whether performing new or familiar works from the cello repertoire, coming together with colleagues for chamber music, or exploring cultures and musical forms outside the Western classical tradition, Mr. Ma strives to find connections that stimulate the imagination. He maintains a balance between his engagements as soloist with orchestras throughout the world and his recital and chamber music activities — and draws inspiration from a wide circle of collaborators. His discography includes over 100 albums, featuring 18 Grammy Awards.

Mr. Ma serves as the artistic director of Silkroad, an organization he founded to promote cross-cultural performance and collaborations at the edge where education, business, and the arts come together to trans­form the world. More than 80 works have been commissioned specifically for the Silk Road Ensemble, which tours annually.

Mr. Ma also serves as the Judson and Joyce Green Creative Consultant to the Chicago Symphony Orchestra’s Negaunee Music Institute. His work focuses on the transformative power music can have in individuals’ lives, and on increasing the number and variety of opportunities audiences have to experience music in their communities.

Yo-Yo Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at the age of four, attended the Juilliard School and, in 1976, graduated from Harvard University.

Drawing honors and accolades around the world, Mr. Ma has been given many awards, including the Avery Fisher Prize (1978), the National Medal of Arts (2001), and the Presidential Medal of Freedom (2010). In 2011, Mr. Ma was recognized as a Kennedy Center Honoree. Most recently, Mr. Ma has joined the Aspen Institute Board of Trustees. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony.

For more information, visit www.yo-yoma.com.

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Guest Artist

2016-17 Cleveland Orchestra Miami

♥

♥

C L E V E L A N D

O R C H E S T R A

M I A M I

John S. and James L. Knight Concert Hall

Sherwood M. and Judy Weiser Auditorium

Miami Music Association and the Adrienne Arsht Center present

The Cleveland Orchestra Franz Welser-Möst, conductor Friday evening, February 3, 2017, at 7:00 p.m.

bedrich smetana Overture

antonín dvorák Cello

(1824-1884)

(1841-1904)

to The Bartered Bride

Concerto in B minor, Opus 104

1. Allegro

2. Adagio ma non troppo 3. Finale: Allegro moderato

YO-YO MA, cello

pyotr ilyich tchaikovsky Capriccio

(1840-1893)

Italien, Opus 45

The concert is presented without intermission and will end at approximately 8:10 p.m.

Cleveland Orchestra Miami’s 2016-17 season sponsor is White & Case.

Cleveland Orchestra Miami 2016-17

Program: February 3

33

February 3

I think of a piece of music as something that comes alive when it is being performed, and I feel that my role in the transmission of music is to be its best advocate at that moment. —Yo-Yo Ma

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2016-17 Cleveland Orchestra Miami

February 3

Overture to the opera The Bartered Bride

by Bedřich Smetana (1824-1884)

B E D Ř I C H S M E T A N A is today honored as the founding father of Czech music. His

determined efforts on behalf of a national sound and repertory, however, were only partially understood and accepted in his own lifetime. The musical creativity he deployed was as often dismissed as celebrated. His good intentions were frequently misjudged by others or only incompletely accomplished by his own understanding of music’s rights and wrongs. Yet his fame endures — just as the country he so ardently believed in has at last become post-modern reality.

Smetana was, at least at first, a pragmatic nationalist, probably more interested in good music and good theatrics than in politics itself. His musical style came slowly, bit by occasionally painful bit (including a few failures to focus his efforts). Luckily for him, he forged together a characteristic Czech/Bohemian sound at precisely the time that the country itself was forming politically. Bohemia, after centuries of German subjugation, was caught up in the patriotic fever that swept much of Europe in the 19th century. The region had been “adopted” and traded among Central Europe’s Germanic nationstates. The two cultures had intertwined themselves quite thoroughly, but there was still lurking within day-to-day traditions a vibrant tradition of Czech ideas and ideals.

After a number of years advocating a new tradition of Czech music from the outside as newspaper critic and conductor-performer, he was at last made chief administrator of the city’s Provincial Theater (Prozatímní in Czech, literally meaning “Provisional”), where the very name implied that it was a test case by the Germanic government to allow and promote, in a limited way, Czech music and opera performance. It was at first a second-class operation compared to the presentations — of opera and concerts — across town at the bigger and betterfunded Germanic theater. But it was exactly the platform Smetana needed.

During his dozen years heading the Provincial Czech Theater (1866-74), Smetana’s efforts to foster a uniquely Czech musical language were largely devoted to the creation and production of operas — his own as well as some attempts by others or suitable repertory favorites outfitted with new Czech translations, all in an attempt to create a Czech tradition of (and characteristic sound within) symphonic and operatic music. Smetana’s first great success came with his second opera, The Bartered Bride, which opportunely premiered in 1866 near the crest of a wave of nationalistic fervor across Bohemia. The overture is a mood-setting piece of great excitement and fun, beginning with an energetic figure that advances around the orchestra, almost fugue-like. It features only a few whifs of melodic ideas that actually appear in the opera, although some of its impulse comes from the closing section of Act Two, and its head-long exuberance is . . . infectious.

Performance Time: 5 minutes Cleveland Orchestra Miami 2016-17

About the Music

35

February 3

Cello Concerto in B minor, Opus 104

by Antonín Dvořák (1841-1904)

A L T H O U G H D V O Ř Á K was well into middle age before his gifts as a composer were

widely recognized, he soon thereafter emerged as one of Central Europe’s greatest composers and was frequently mentioned as a worthy successor to Brahms as the leading proponent of Germanic symphonic traditions. Even so, his Czech upbringing also brought him face-to-face with the waves of nationalism cresting across mid-19th-century Europe. Throughout his life, Dvořák deftly applied the notion of homeland to his musical creations, borrowing freely from Czech music traditions while working within accepted classical forms.

Dvořák wrote his Cello Concerto at the age of fifty-five, as a fully mature composer of international standing. He created it in 1894-95, during the last of his three winters living in New York City as director of the National Conservatory of Music — although he subsequently completed the orchestration and reworked the ending after returning to Europe to live that spring. He was at least partially inspired by the example of his colleague at the Conservatory, the cellist-composer Victor Herbert, whose own Second Cello Concerto he had heard premiered in March 1894 by the New York Philharmonic.

Dvořák had, in fact, attempted to write a cello concerto thirty years before, but had become frustrated with the challenges that concertos for a middle-voiced string instrument often cause — requiring careful balance so that the soloist’s part is not buried in the midst of the surrounding orchestral sound. He had set his youthful effort aside, incomplete. Dvořák the mature composer had no such difficulties. While successfully managing the dialogue and balance between orchestra and soloist, he also imbued his new concerto with a strong chamber music character, in part by at times reducing the orchestral forces that play against the cello at any one time. And like Beethoven and Brahms before him, Dvořák included plenty of moments filled with orchestral grandeur — while, in fact, creating one of the greatest concertos for any instrument.

From its sober, almost melancholy opening to its strong-willed ending, this concerto breathes with dramatic life and character. The first movement is built on two main musical themes, a pungent short one and a longer melody first introduced by the horns. The movement includes plenty of invention as these are passed back and forth between soloist and orchestra, ending in brilliant fashion. The quiet second movement brings a sense of contrast, with wistful, even elegaic moments. Here Dvořák’s quotes one of his own songs, “Leave Me Alone,” which was a particular favorite of his sister-in-law, who was taken ill as he composed the concerto. The finale third movement is in Rondo form, alternating sections and variations on a muscular theme, interspersed with musical echoes from the previous two.

Performance Time: 40 minutes

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About the Music

2016-17 Cleveland Orchestra Miami

February 3

Capriccio Italien, Opus 45

by Pyotr Ilyich Tchaikovsky (1840-1893) A S T H E Y E A R 1 8 7 9 came to an end, Tchaikovsky reflected that he was for the first time a “free man,” having quit his teaching position at the Moscow Conservatory, which had become a great burden to him, and having recovered, as far as recovery could go, from the trauma of his failed marriage. He at least knew that he no longer had to imagine marriage to be a solution to his uneasy social position.

He did not “come out” as a homosexual man, as we would term it today, but he had convinced himself that he had no choice but to be himself and follow his own instincts, not those of a society too willing to disapprove of difference. He was also completely free to indulge his unrelenting urge to travel, both within and outside of Russia.

One symptom of this peace of mind was the composition of the Capriccio Italien, a work which for once conveys no emotional turmoil but merely puts on record his affection for Italy and his skill at putting together tunes in brilliant orchestral colors. Traveling to Rome in mid-December 1879, he and his brother Modest enjoyed the treasures of the city. Tchaikovsky was not intending to compose any music, but within a month he was so struck by the propensity of Italians to sing everywhere that the idea of a new work came to him: “Yesterday I heard a delightful folksong which I shall certainly use,” he wrote to his patroness Madame von Meck. “I have already completed the sketches for an Italian fantasia on folk tunes for which I believe a good future may be predicted. It will be effective, thanks to the delightful tunes which I have succeeded in assembling partly from anthologies, partly through my own ears on the streets.”

The finished piece was rapturously received in performance in both Moscow and St. Petersburg — and it has remained popular ever since. Only one of the melodies, the closing Tarantella, has been identified from actual Italian origins (it is a tune known in Italy as the Cicuzza). Additionally, Modest reported that the opening bugle call (which returns later in the piece) was heard from the barracks next to their hotel. Whether Tchaikovsky adopted or merely adapted the other melodies from tunes he had heard on the streets cannot be confirmed, but the Italian spirit is unmistakable. The alternating sections give listeners plenty of variety, with a riotous ending (depicting a Roman carnival) providing a rousing close to the piece, and to our concert.

Performance Time: 10 minutes

program notes by Eric Sellen and Hugh Macdonald

Cleveland Orchestra Miami 2016-17

About the Music

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C L E V E L A N D

O R C H E S T R A

M I A M I

Franz Welser-Möst Franz Welser-Möst is among today’s most distinguished conductors. The 2016-17 season marks his fifteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade.

Under his leadership, the New York Times has declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities.

As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival, as well as appearances at New York’s Carnegie Hall. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. Mr. Welser-Möst also maintains relationships with a number of other major European orchestras, with recent engagements including performacnes with Munich’s Bavarian Radio Symphony Orchestra, Zurich’s Tonhalle Orchestra, and Amsterdam’s Royal Concertgebouw Orchestra.

From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, culminating in three year as music director.

Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a recently-released multiDVD set of major works by Brahms.

For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor,” as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, and appointment as an Academician of the European Academy of Yuste.

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Music Director

2016-17 Cleveland Orchestra Miami

P H OTO BY M I C H A E L P O E H N

Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

C L E V E L A N D

O R C H E S T R A

M I A M I

The Cleveland Orchestra Under the leadership of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world, setting standards of artistic excellence, creative programming, and community engagement. In July 2015, the New York Times declared it “the best in America.” The strong and ongoing financial support of the ensemble’s home region is driving the Orchestra forward with renewed energy and focus, increasing the number of young people attending concerts, and bringing fresh attention to the Orchestra’s legendary sound and committed programming.

The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. Welser-­Möst continues to add to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s earlier music directors. In addition, Cleveland Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe.

The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s top rank of symphony orchestras. Over the next decades, the Orchestra grew from a fine regional organization to one of the most admired symphonic ensembles in the world. Seven music directors (Nikolai Soko­loff, 1918-1933; Artur Rodzinski, 1933-1943; Erich Leins­ dorf, 1943-1946; George Szell, 1946-1970; Lorin Maazel, 1972-1982; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002) have guided and shaped the ensemble’s growth and sound. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Today, touring, residencies, radio broadcasts, and recordings provide access to the Orchestra’s music-making to a broad and loyal constituency around the world.

Visit ClevelandOrchestraMiami.com for more information.

Cleveland Orchestra Miami 2016-17

The Cleveland Orchestra

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COMING IN MARCH

I TA L I A N A DV E N T U R E S !

Respighi’s Pines of Rome Friday March 24 at 8 p.m.

Saturday March 25 at 8 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

Experience Respighi’s incredible masterpiece, Pines of Rome, as this music brings Italy to life, depicting the beauty of Roman landscape — and ending with one of music’s most exciting and sonic-filled conclusions! This evening of Italian hits also features two hidden gems from the operatic genius of Verdi.

Plus the boisterous outpouring of joyful melodies in Mendelssohn’s great “Italian” Symphony, inspired by the composer’s visit to that southern country.

VERDI - Ballet music from the opera Macbeth MENDELSSOHN - Symphony No. 4 (“Italian”) VERDI - Ballet music from the opera Don Carlo RESPIGHI - Pines of Rome T I C K E T S arshtcenter.org/cleveland or 305-949-6722 U N D E R 1 8 s F R E E : Free young person ticket with each adult ticket purchased

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2016-17 Cleveland Orchestra Miami

C L E V E L A N D

O R C H E S T R A

M I A M I

Concert Prelude A free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the evening’s orchestral concert.

Thursday evening, February 2, 2017, at 7:00 p.m.

Terzetto in C major, Opus 74

by ANTONÍN DVOŘÁK (1841-1904)

1.

2.

3.

4.

Introduzione: Allegro ma non troppo Larghetto Scherzo: Vivace — Trio: Poco meno mosso Tema con Variazioni: Poco adagio — Molto allegro — Moderato

Wei-Fang Gu, violin

Kim Gomez, violin Lisa Boyko, viola About the Music — Dvořák wrote this trio in 1887 in Prague. The unusual threesome of instruments reflected Dvořák as violist, a student violinist who was then renting a room with the composer's family, and a good friend violinist in the National Theater Orchestra. Those three did play through it in private, but the public premiere was given by three professionals.

Saturday evening, February 4, 2017, at 7:00 p.m.

Duo No. 2 from Duos brillants, Opus 27

by JEAN-DELPHIN ALARD (1815-1888)

1. Andante maestoso — Allegro moderato 2. Intermezzo: Andante quasi Allegretto 3. Finale: Presto

Wei-Fang Gu, violin

Kim Gomez, violin About the Music — French violinist Jean-Delphin Alard was also a composer, creating a large number of chamber works for solo and small groups of instruments intended especially as works for his students to perform. These included the set of three “Duos brillants,” written in 1852. Alard was a noted solo violinist of the 19th century and an influential teacher at the Paris Conservatoire; his pupils included the Spanish violinist Pablo de Sarasate.

Concert Preludes are free to ticketholders to that evening’s Cleveland Orchestra Miami concert.

Cleveland Orchestra Miami 2016-17

February 2, 4 Concert Preludes

41

ANNIVERSARY

2000 ATTORNEYS 38 LOCATIONS°

MIAMI | BOCA RATON | FORT LAUDERDALE | ORLANDO | TALLAHASSEE | TAMPA | WEST PALM BEACH

Greenberg Traurig is honored to support Cleveland Orchestra Miami in its mission to share the joy of music with our community, grow educational programs, and uphold the highest level of artistic excellence.

ADAM M. FOSLID | S H A R E H O L D E R ; M I A M I C O - H I R I N G S H A R E H O L D E R 333 S E 2 N D AV E N U E | S U I T E 4 4 0 0 | M I A M I , F L 33 1 3 1 | 3 0 5 . 579. 0 5 0 0 G R E E N B E R G T R A U R I G , P. A . | AT TO R N E Y S AT L AW | W W W. G T L AW. C O M Greenberg Traurig is a service mark and trade name of Greenberg Traurig, LLP and Greenberg Traurig, P.A. ©2017 Greenberg Traurig, LLP. Attorneys at Law. All rights reserved. °These numbers are subject to fluctuation 28583

C L E V E L A N D

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M I A M I

John S. and James L. Knight Concert Hall

Sherwood M. and Judy Weiser Auditorium

Miami Music Association and the Adrienne Arsht Center present

The Cleveland Orchestra Franz Welser-Möst, conductor Thursday evening, February 2, 2017, at 8:00 p.m.

Saturday evening, February 4, 2017, at 8:00 p.m.

carl nielsen (1865-1931)

Violin Concerto, Opus 33

1. Praeludium: Largo — Allegro cavalleresco

2. Intermezzo: Poco adagio — Rondo: Allegretto scherzando

NIKOLAJ ZNAIDER, violin

INTERMISSION

jean sibelius (1865-1957)

Symphony No. 2 in D major, Opus 43

1. Allegretto

2. Tempo andante, ma rubato 3. Vivacissimo — Lento e suave — Tempo primo — Lento e suave — 4. Finale: Allegro moderato

The concert will end at approximately 9:40 p.m.

Cleveland Orchestra Miami’s 2016-17 season sponsor is White & Case.

This weekend’s concerts are sponsored by Greenberg Traurig.

Saturday’s concert is also sponsored by Ver Ploeg & Lumpkin.

Cleveland Orchestra Miami 2016-17

Program: February 2, 4

43

I love the vast surface of silence; and it is my chief delight to break it. —Carl Nielsen

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2016-17 Cleveland Orchestra Miami

February 2, 4

INTRODUCING THE CONCERT

Peaceful Concerto, Infinite Symphony T H E C O U N T R I E S O F S C A N D I N A V I A have offered the world much

eloquence and beauty in the arts — plays, painting, scupture, poetry, music, and more. This week’s concerts, on Thursday and Saturday, offer two big examples from the musical side of this equation, a lovely concerto for violin by Denmark’s greatest classical composer, followed by the most popular symphony of Finland’s best-known symphonist. Together, these two works — written just over a century ago — amply demonstrate the commanding abilities (and quietly-voiced reserve) of these star composers.

The evening begins with Carl Nielsen’s Violin Concerto, from 1911.

This piece, sometimes gently, paints a masterful musical landscape of hope and belief, edged toward modernity — with the lead role taken up

by Danish violinist Nikolaj Znaider.

To close the concert, Franz Welser-Möst has chosen Jean Sibelius’s popular Second Symphony from 1902. This is big music, built from small parts and motifs into one grand and eloquent musical statement. It moves from rhythmic impulses, from quiet urgings and plucked pizzicato thumpings to big-scale full-throated joy.

Throughout his life, Sibelius championed Finland as a country and a people. And for many years after the premiere, this symphony was heard as a cry for Finnish independence from Russia — with a triumphal ending. The composer insisted that he had no such storyline in mind, that he could not even write a symphony that way, that others were imposing local politics on his music. His symphonies were personal statements of pure music, regardless of what else a listener might hear in each.

Sibelius’s Second Symphony is just at the edge of modernity. Its melodies are surrounded by scratching sounds and snippets, by music searching for its path forward. It is a bold work, filled with lyrical passages, searing strings, and boastful brass. And it is, ultimately, filled with concern for and joy toward understanding life’s significance — with insight beyond words, which only the arts can render.

—Eric Sellen .

Cleveland Orchestra Miami 2016-17

Introducing the Concerts

45

Ver Ver Ploeg Ploeg & & Lumpkin Lumpkin is is proud proud to to support support Cleveland Cleveland Orchestra Orchestra Miami Miami

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February 2, 4

Violin Concerto, Opus 33 composed 1911

CA R L N I E L S E N holds an honored place as Denmark’s greatest

by

Carl

NIELSEN born June 9, 1865 Sortelung, Denmark died October 3, 1931 Copenhagen

composer, very like the special distinction of his contemporaries Wilhelm Stenhammar in Sweden and Jean Sibelius in Finland.

All three have been honored by those countries with their likenesses appearing on currency and stamps.

All three were friends, who communicated with one another and listened to each other’s music. None of these three were self-consciously nationalist in outlook — at least at first.

And all three trod paths in their music that led away from the intense aesthetic battles over the course of “modern music” being fought out in Paris and Vienna in the early years of the 20th century.

Although Nielsen published many Danish folk songs, his finest works are composed in an elevated, personal language heard at its best in his six symphonies and three concertos (violin, flute, clarinet) spanning the four decades from 1892 to 1928.

He had studied at the Copenhagen Conservatory and earned a living at first as a violinist. From 1889 to 1905, he played second violin in the Royal Danish Orchestra under the Norwegian composer and conductor Johan Svendsen, a humble position ideal for absorbing a huge repertoire of symphonic music and opera — and also for developing an active career as a composer on the side.

Nielsen managed to travel to Germany, Italy, and Paris, where he enjoyed seeing the art as much as hearing the music.

With Wagner being played in the opera house and Strauss’s tone poems as new music in the concert hall in those years, we might expect the young Nielsen to have emulated the supercharged style of those two very famous composers, but his preference was for a more severe and classical manner, expressed in songs and chamber music and in his successful First Symphony of 1892.

Nielsen was a man of simple origins, brought up in poverty far from any city, and largely self-taught in music. Throughout his life he reached out for new ideas, new experiences, and a greater understanding of the world of feeling and expression.

He rose steadily to a supreme position in Danish musical life.

Throughout the First World War, Denmark sustained a precarious neutrality, despite the economic difficulties felt by combatants and neutrals alike, and Nielsen’s efforts contributed

Cleveland Orchestra Miami 2016-17

About the Music

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Febraury 2, 4

Nikolaj Znaider Celebrated as both a violinist and conductor, Danish musician Nikolaj Znaider is acclaimed as one of his generation’s most versatile and virtuosic artists. He has served as principal guest conductor of Russia’s Mariinsky Orchestra Saint Petersburg since 2010, and was previously principal guest conductor of the Swedish Chamber Orchestra. He made his Cleveland Orchestra debut in 1999 and most recently performed with the Orchestra in Paris in 2014.

Mr. Znaider has performed with many orchestras across Europe and North America. This season has included a return to the BBC Proms with the Staatskapelle Dresden and conductor Christian Thielemann, as well as the start of a new project, recording all of the Mozart violin concertos with the London Symphony Orchestra, leading the ensemble as soloist.

He feels a particularly strong relationship with the LSO, an orchestra he conducts and performs with as soloist every season.

Additionally, as a violinist and conductor, he is concentrating much of his time to deepen relationships with other key orchestras where he feels a special bond, appearing regularly with orchestras including the Staatskapelle Dresden, The Cleveland Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Montreal Symphony Orchestra, Washington D.C.’s National Symphony Orchestra, and the Munich Philharmonic.

Mr. Znaider’s extensive discography includes the Nielsen Concerto with the New York Philharmonic and the Elgar

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Concerto with the Staatskapelle Dresden, as well as award-winning recordings of the Brahms and Korngold concertos with the Vienna Philharmonic, the Beethoven and Mendelssohn concertos with the Israel Philharmonic, the Prokofiev Concerto No. 2 and Glazunov Concerto with the Bavarian Radio Symphony, and the Mendelssohn Concerto on DVD. He has also recorded the complete works of Brahms for violin and piano with Yefim Bronfman.

Born in Denmark in 1975 to Polish-Israeli parents, Nikolaj Znaider studied with Milan Vitek at the Royal Danish Academy of Music. After receiving First Prize in the 1992 Carl Nielsen International Violin Competition at age 16, he worked with Dorothy DeLay at the Juilliard School. He won First Prize at the 1997 Queen Elisabeth Competition in Brussels, and later studied with Boris Kushnir at the Vienna Conservatory. Mr. Znaider is founder of the Nordic Music Academy for string players, where he served as director for a decade.

Nikolaj Znaider plays the “Kreisler” Guarnerius “del Gesu” 1741, on extended loan from the Royal Danish Theater through the generosity of the Velux Foundations and Knud Højgaard Foundation.

Guest Artist

2016-17 Cleveland Orchestra Miami

greatly to the growing sense of cultural identity that Denmark built up in those years.

Ten years after the First Symphony, there followed the Second, titled the “Four Temperaments,” at which time his career was bolstered by the award of a Danish state pension and by a generous contract with the publisher Wilhelm Hansen.

Another nine years later, he produced his Third Symphony, subtitled “Espansiva,” a joyous work. And in that summer of 1911, having completed the symphony, Nielsen paid a visit to Bergen, in Norway, home of Grieg’s widow Nina, who, though Norwegian like her husband, had been Nielsen was a man brought up in Denmark. Many of Grieg’s songs of simple origins, were settings of Danish poetry, and she helped brought up in poverty Nielsen in his published collection of eighty Danfar from any city, and ish folk songs.

While in Bergen, Nielsen began the Violin largely self-taught in Concerto, and then finished it back in Copenhamusic. Throughout his gen later that year. This being the first concerto life he reached out for he was writing, he felt he was learning things he had not known before. “It has to be good music,” new ideas, new experihe wrote, “and yet one must always show the acences, and a greater tivity of the solo instrument in the best light; it must understanding of the be rich in content, popular and dazzling without world of feeling and becoming superficial.”

expression. He rose steadily to a supreme position in Danish musical life.

THE MUSIC

The concerto conforms approximately to the traditional concerto layout of three movements, with a slow “Præludium” at the beginning, followed by two sections of a different character. On paper, Nielsen, in fact, divides the concerto into just two movements, each of which divides into two, a slow part and a faster part in each case.

Nielsen’s invention is so rich that in the longer symphonies it is often hard to follow the structural argument, but here in the Violin Concerto the themes and the form stand out more clearly.

The first movement begins with the first of three cadenzas, with long notes sustained in the winds throughout. The Præludium settles in the major mode with an endearing lilt. Having passed through a stormy patch, the lilting music returns only to slow down gradually almost to a standstill.

The quick part of the opening movement is marked “caCleveland Orchestra Miami 2016-17

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At a Glance Nielsen wrote his Violin Concerto in 1911, beginning it during a trip to Norway and finishing it back home in Copenhagen. It was first performed on February 28, 1912, in Copenhagen, with the composer conducting the Royal Danish Orchestra and with Peder Møller as the soloist.

This concerto runs about 35 minutes in performance.

Nielsen scored it for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

The Cleveland Orchestra has played Nielsen’s Violin Concerto on only one previous occasion, for a set of weekend concerts in Cleveland in 2004.

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valleresco” to suggest the chivalry of its sturdy theme. A more important lyrical theme is introduced by the oboe, and the movement follows the classical sequence of a full tutti (“all” instruments) to close the exposition and an exploratory development leading to a second cadenza, which in turn, just as in Mendelssohn’s Violin Concerto, melds with the return (recapitulation) of the chivalrous theme. The music speeds up for the final coda.

The second movement (or Part Two of the concerto) starts with a section marked Adagio, in which the winds carry the bulk of the accompaniment. As in the Præludium, the minor key gives way to major, with the cellos sharing the soloist’s melody before the music moves directly into the Rondo finale section, with its delicate and charming tune. Two contrasting tunes here have folklike features, revolving around one note, while a third mellody, in conversation with the oboe, is angular and chromatic, causing a storm — which Nielsen decides to calm with another cadenza. The concerto’s ending is not the sort of dazzling rushto-the-finish that many concertos provide, but a gentle fade-out that leaves the soloist right at the center of the picture.

—Hugh Macdonald © 2017 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

About the Music

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February 2, 4

Symphony No. 2 in D major, Opus 43 composed 1901-02

I N T H E AU T U M N O F 1 9 07 , Jean Sibelius and Gustav Mahler

by

Jean

SIBELIUS born December 8, 1865 Hämeenlinna, Finland died September 20, 1957 Järvenpää, Finland

met in Helsinki and famously “talked shop” about the musical world and composing.

Mahler was in town to conduct (a program of Beethoven and Wagner), and Sibelius and he met several times over drinks and dinner, as well as out walking and talking together.

Sibelius, true to his own music, put forth symphonies built on formal structures as the ideal, with musical phrases and ideas used as material from which to logically and methodically — but creatively — aggregate to a whole.

Mahler, with his larger-than-life personality, insisted that “No! the symphony must be like the world. It must be all-embracing.”

These two titans were, perhaps, not really disagreeing.

They were simply viewing the world — and music — from their own perspectives. At the time, Sibelius’s interest in Mahler was, like nearly everyone’s, about his stardom as a conductor rather than in his music. Mahler, in turn, was largely unfamiliar with any of Sibelius’s musical works (he’d heard only a couple of smaller pieces, and to his death only four years later never conducted anything by his Finnish compatriot).

Sibelius was a traditional symphonist, working very much in the Germanic European line from Beethoven onward through to Schubert and Schumann, to Brahms and Tchaikovsky (whose Russian-ness was thoroughly Germanic in music-making, if a bit French in his on-the-sleeve emotionalism). Like Beethoven, Sibelius built his music from small motifs, kernels of ideas, from which he crafted broad and sweeping musical vistas. Sibelius’s symphonies are without storylines, even though they certainly carry messages of spirit. Which is to say that his symphonies are music first, without any message about being human — beyond our ability to recognize structure, to enjoy beauty, and to experience and to respond to things “unfolding” across time.

Sibelius’s early symphonies, especially, are a marvelous mix of energy, invention, and melody, brought together with a traditional admixture of structure and classical sonata form (with, for effect, rules slightly bent). That he varied his building blocks (and structure), and that he later distilled both form and ideas down to shorter and denser, more direct works should

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not cloud our views of the early symphonies. Sibelius’s coldhearted Seventh, densely packed into a single movement, did not exist, in his mind or the real world, when he wrote the blaze and glories of the expansive First and Second.

BALANCING LIFE AND MUSIC

At a Glance Sibelius composed much of his Second Symphony during the spring of 1901 while in Italy and completed it in Finland during the winter of 1901-02. It was first performed on March 8, 1902, in Helsingfors (Helsinki) with Sibelius conducting. The symphony was published in 1903 with a dedication to Axel Carpelan, who had made Sibelius’s Italian trip possible.

This symphony runs about 45 minutes in performance. Sibelius scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings.

The Cleveland Orchestra first played Sibelius’s Second Symphony in November 1927, under the direction of Nikolai Sokoloff. It has been programmed frequently since that time and performed under many different conductors.

Sibelius really wanted to be a violinist, a great violinist, playing concertos and in direct connection (musically speaking) with audiences. He started late, at age 15. And was good enough technically to play quartets (among friends and at the university) and know the instrument well, but not for a career.

His personality, of contradictory shyness and certainty, also played against him. The idea of music as a language, however, spoke directly to both his heart and mind. So that composing rather than performing took hold — and gave Sibelius the fame and applause that he enjoyed (and, also shied away from).

As an adult, he struggled with alcoholism. His marriage, though extraordinarily strong, was battered by it. And after producing a series of great works in the opening decades of the 20th century, his indecision (and, perhaps, too much alcohol) sent him into extended exile from his chosen profession. He lived a long life, but as a man, not as a composer, writing almost nothing the last 30 years. People waited expectantly. He kept promising, but found nothing more to actually say in music. Any unfinished sketches for an Eighth Symphony, which he may have burned before his death . . . well, we won’t be hearing that music, on this lifetime, at least — and who’s to say until we each reach our own ending whether there’s music in any beyond, or a vast and endless . . . Sibelian-like silence?

The Second Symphony from 1902 is, for many of us, the closest Sibelius came to a perfectly balanced work — deftly blending form and feeling, and existing beautifully as pure music. The First Symphony is more easily rhythmic and tuneful, the Fifth more profound, the Seventh more compact and terse.

But in the Second, he balanced all considerations and created a timeless masterpiece.

T H E SY M P H O N Y ’ S M U S I C

The symphony’s first movement opens gently, propelled by fidgety figures in the strings and then woodwinds, each large phrase taken up and resolved by the horns. A more tranquil series of moments gives call to questions, which the remainder of the

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About the Music

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movement finishes through on, gaining strength and energy, with the opening motif recurring, as itself and altered, as the movement finally retreats to the gentleness with which it began.

The second movement features two competing musical subjects, in plucked pizzicato and a more melodic motif, which appear to battle one another, inconclusively. The Scherzo third movement follows, driving forward with great energy and searching, before slowing and breathing deeply on some beautifully introspective music.

Then, as Beethoven did in his Fifth Symphony, Sibelius builds up and connects this directly into the finale fourth movement, leading into a flowSibelius’s Second ing D-major melodic line that appears almost Symphony from 1902 magically out of D minor (just as Beethoven is, for many of us, the did between C minor and C major in the Fifth). closest Sibelius came The brass bellows in pleasured full breaths. The movement continues, circling ideas, and mergto a perfectly balanced ing and shifting phrases around, before Sibelius work — deftly blending repeats the transition (just as Beethoven had) form and feeling, and and then drives head-on to a big finish. Here, existing beautifully as as the music’s throttle is opened up full, one can forget what chord progressions or sequences pure music. The First are (or just smile, if you never really caught on), Symphony is more easbecause Sibelius lets them ring out clear, again ily rhythmic and tuneful, and again, resolving this music, step by step, the Fifth more profound, making . . . everything . . . sound as inevitable and as natural and triumphant as . . . well, as the Seventh more comnatural as tonal music was once thought to be, pact and terse. But the before “modern” music offered us so many alSecond is . . . balanced ternate possibilities.

and filled with wonder.

SIBELIUS AS GOD

On a personal note, Sibelius Two was my mother’s favorite symphony. The intense fidgeting of its opening movements, the stirring, soaring lines of its finale gave her a joy like no other.

At this symphony’s close, she was always smiling, completely fulfilled, entirely satisfied, all questions answered. What more can any of us ask from a piece of music?

In this context, I should note that my mother was born and raised during the first half of the 20th century, when Sibelius was considered not just descendent from Beethoven, but very nearly a god equal to Beethoven. So that her reverence of his Cleveland Orchestra Miami 2016-17

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music was not unusual. Such regard and immortality did not last, however. The multi-channel devolution of music in the past hundred years, into ever more musical styles and genres (and bins and crannies and nooks and schools and pools), shifted attention away from classic traditions — while we, as a species, began to truly embrace a world of differences. And although Sibelius’s popular stock has risen considerably again in recent decades, there is so much more rightful competition today (and we can safely say there won’t ever be another Beethoven).

The idea of “progress” in the world — in technology, in the arts, in society — which propelled forward so many ideas and ideals from the 18th century Enlightenment through the Industrial Revolution and into the Modern Age, which helped propel music from Mozart through Beethoven to Sibelius . . . is no longer in vogue. The limitations of our planet (and species) are today too obvious to make godhead possible . . . in music, religion, or politics. But, if not a god, Sibelius still speaks (even sings) to our hearts. And reminds us that, as an audience, we can still be stronger together, for a moment, for an hour . . . listening . . . and soaring once more, united, side-by-side.

—Eric Sellen © 2017 Eric Sellen serves as program book editor for The Cleveland Orchestra.

He has written program notes for orchestras and festivals across North America and Europe.

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If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music.

—Jean Sibelius

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ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS Adrienne Arsht Robert Barlick, Jr.

Sergio M. Gonzalez Officers of the Board Chairman of the Board Richard E. Secretary Adrienne Arsht OfficersTreasurer Schatz Nancy Batchelor DiMareRobert Barlick, Jr.David RockerChairman Sherwood M. Weiser * Adrienne Arsht Swanee Sergio M. Gonzalez Founding Chairman Trish Bell Ronald Esserman Frances Aldrich Sevilla-Sacasa Secretary Alan Fein, Ex officio Nancy Batchelor Chairman Ronald Esserman Treasurer Frances A. Sevilla-Sacasa Jason Williams

Lee E.Batchelor Caplin Kimberly Green Nancy Swanee Swanee DiMare DavidDiMare Rocker RESIDENT COMPANIES Trish Bell ALLIANCE Ronald Esserman RESIDENTLee COMPANIES E. Caplin ALLIANCEJerome J.Kimberly Cohen Green Sheldon Anderson RESIDENT COMPANIES ALLIANCEStanley Adrienne Arsht JeromeCohen J. Cohen Sheldon Anderson Nancy J. Davis Diane deArsht Vries Ashley Stanley Cohen Adrienne Jerome J. Danis Cohen Sheldon Anderson Ronald RobertdeBarlick, Jr. Susan Esserman T.Cohen Diane Vries Ashley Stanley Adrienne Arsht Oscar Feldenkreis Fred Berens Nancy J. Davis Robert T. Barlick, Jr. Nancy Davis Diane de Vries Ashley Pamela Gardiner Sia Bozorgi RonaldJ.Esserman Esserman Fred Berens Ronald Robert Barlick, Jr. Jerrold F. Goodman* Norman Braman OscarEllen Feldenkreis Sia Bozorgi Oscar Feldenkreis Fred Berens Rose Greene Sheila Broser PamelaJ.Gardiner Gardiner Norman Pamela Sia Bozorgi Arthur Halleran, Jr. Robert S.Braman Brunn Jerrold F. Goodman Sheila Broser Jerrold Goodman* Norman Braman HowardF.Herring M. Anthony Burns Rose Ellen Greene Robert S. Brunn Rose Ellen Greene Sheila Broser Robert F. Hudson, Jr.* Donald Carlin* ArthurJ.J.Halleran, Halleran,Jr.Jr. M.Robert Anthony Burns Arthur S. Brunn HowardHerring Herring Donald Carlin* Howard M. Anthony Burns Robert F. Hudson, Jr.* Donald Carlin*

David Rocker Sherwood M. Weiser* Frances Aldrich Sevilla-Sacasa Daryl L. Jones EdieRobert LaquerF. Hudson, Jr. Donald E.L.Lefton Daryl Jones Daryl L.Levitt Jones Rhoda Edie Laquer Edie Laquer George L. Lindemann Donald E. Lefton Donald Lefton Carlos C.E.Lopez-Cantera Rhoda Levitt Esq. Rhoda Levitt Pedro A. Martin, George L. Lindemann George L. Lindemann Arlene Mendelson Carlos C. Lopez-Cantera Carlos C. Lopez-Cantera Nedra Oren Pedro A. Martin, Pedro Martin, Esq.Esq. J. DavidA. Peña, Esq. Arlene Mendelson Arlene Aaron S.Mendelson Podhurst, Esq. Nedra Nedra OrenOren J. David Peña, J. David Peña, Esq.Esq. Carlos Gimenez Aaron S.A. Podhurst, Esq.

Sherwood M. Weiser * Alan Fein, Ex officio Charles Porter Jane Aaron A. Robinson S. Podhurst, Esq. Richard E. Schatz Charles Porter Charles Porter SherryJane Spalding-Fardie A. Robinson Jane Richard A.H.Robinson Robert Traurig, Esq. E. Schatz Richard E. M. Schatz Sherwood Weiser * Sherry Spalding-Fardie Sherry Spalding-Fardie Lynn Robert WolfsonH.* Traurig, Esq. Robert H. Traurig, Esq. Sherwood M. Weiser* Sherwood M. Weiser * *deceased Lynn Wolfson Lynn Wolfson *

*deceased *deceased

Mayor Carlos A. Gimenez Carlos GimenezCOMMISSIONERS MIAMI-DADE BOARD OFA. COUNTY Mayor Mayor MIAMI-DADE BOARD OF COUNTY COMMISSIONERS Esteban MIAMI-DADE Bovo, Jr. AudreyCOMMISSIONERS M. Edmonson BOARD OF COUNTY Chairman Vice Chairman Rebeca Sosa Lynda Bell Esteban Bovo, Jr. Bruno A. Barreiro Audrey M. Edmonson Chairwoman ViceChairman Chairwoman Chairman Vice District 5 Barbara J. Jordan Sen. Javier D. Souto Bruno Barreiro District 1 District 10 Rebeca Sosa Bruno A.A. Barreiro District Barbara J. Jordan Jordan Sen. D. Souto 65 District 5 Jean Monestime Joe A.Javier Martinez Barbara J. Sen. Javier D. Souto District District 10 Rebeca Sosa 21 District 11 District 1 10 Xavier L. Suarez Rebeca Sosa District Jean Monestime C. Diaz Zapata 7 District 66 Audrey Edmonson José “Pepe” Jean M. Monestime JoeJuan A. Martinez District District 32 District 12 Xavier Suarez District 2 11 11 Daniella Levine Cava Xavier L.L. Suarez District 8 District 77 Audrey Edmonson José “Pepe” Sally M. A. Heyman Esteban Bovo, Jr.Diaz Audrey Edmonson José “Pepe” Diaz 43 District 13 District District District 3 12 12 Dennis C. Moss Lynda Bell Daniella Levine Cava District 98 8 District Sally A. Heyman Esteban Bovo, Jr. Jr. Sally Heyman Esteban Bovo, District 4 District 13 13 District 4 District Dennis C. Moss Dennis C. Moss Harvey Ruvin Pedro J. Garcia Abigail Price-Williams District 99 District Clerk of Courts Property Appraiser County Attorney Harvey Ruvin Pedro J. Garcia Abigail Price-Williams Harvey Ruvin Carlos Lopez-Cantera Robert A. Cuevas Jr. Clerk of of Courts Property County Attorney ADRIENNE ARSHT CENTER 5 Clerk Courts PropertyAppraiser Appraiser County Attorney

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ADRIENNE ARSHT CENTER 5

PLAYBILL

Cleveland Orchestra Miami 2016-17

Arsht Center

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PERFORMING ARTS CENTER TRUST, INC.

INFORMATION

Officers of the Board Center as a member, you give the gift of culture to Miami – now, and for generations to come. The Culturist membership Adrienne Arsht Center is Board fully accessible. When Mike Eidson Officers of the program is designed to enhance your experience at the purchasing tickets, patrons who have special needs Chairman Arsht Center with special benefits ranging from advance should call (305)Mike 949-6722 Eidsonor (866) 949-6722 and notice of performances to invitations to exclusive receptions. inform their Alan customer service representative. (786) 468-M. Herron, H. Fein James Ricky Arriola, Membership begins at just $75,J.with giving levels through 2011(TTY). Audio Chairman description and assistive listening Chair-Elect Secretary Immediate Past Chair $5,000.

To join the Culturist movement, please call 786equipment is funded by Mary & Sash Spencer and the . Fein James M. Herron, J. Ricky Arriola, 468-2040, email: membership@arshtcenter.org or visit Miami-Dade County Mayor and the Board of County Emery B. Sheer Penny Thurer, Parker D. Thomson, -Elect Secretary Immediate Past Chair www.arshtmembers.org.

Commissioners, the Miami-Dade County Department of Treasurer Secretary Founding Chair Cultural Affairs andPenny the Cultural . Sheer Thurer, Affairs Council. Assistant Parker D. Thomson, MEMBERS GET IT FIRST! As a member of the Adrienne Arsht Center–a CulturDINING urer Assistant Secretary Founding Chair ist–you have exclusive access to members-only ticket BRAVA By Brad Kilgore, one of Zagat’s 10Board hottestof Directors pre-sales and so much more! Join today, online at www. restaurants in Miami, is the Center’s on-site fine dining A. Silver Beverly A. Parker The Honorable Donald L. Graham Matilde Aguirrelocated arshtmembers.org or by callingRonald 786-468-2323.

BoardonoftheDirectors experience second floor of the Ziff Ballet The Honorable Jorge A. Plasencia Evelyn Greer Pierre R. Apollon Opera House.

Led by acclaimed Chef Brad Kilgore, Ronald A. Silver Beverly A. Parker The Honorable Donald L. Graham PAGERS, CELL PHONES AND OTHER LISTENING DEVICES Michelle Spence-Jones Abigail Pollak Mitchellcuisine Kaplan Magalie Desroches Austin BRAVA serves a strong The Jesus Honorable A. Plasencia Evelyn Greer All electronic devices—including Alexander I. Tachmes “Jay” Pons and mechanical Klein atwith The Honorable OscarEuropean-inspired Braynon II JorgeHank French Reservations available arshtcenter.

Michelle Spence-Jones Abigail Pollak Mitchell KaplanJ.influence. in pagers, PDAs, cellular telephones, and wristwatch Carole Ann Taylor The Honorable Raquel Regalado Nathan Leight Armando Bucelo, Jr. org/brava or by calling the Box Office at 305.949.6722.

Alexander I. Tachmes be turned off while JesusFlorene “Jay” Litthcut Pons Nichols HankFelix KleinGarcia aynon II alarms—must the auditoriums.

Raul G.inValdes-Fauli Larry Rice Open for pre-performance dining on selected dates; also Carole Ann Taylor The Carlos Honorable Raquel Regalado Nathan Leight Judy Weiser Adriana SabinoVIDEOGRAPHY, AND RECORDING C. Lopez-Cantera The Honorable Rene Garcia PHOTOGRAPHY, for Litthcut 8:15 p.m. through Saturday. Visit RaulMario G. Valdes-Fauli LarryRichard Rice Florene Nicholsseatings Thursday Wilkin Ernesto of Sanchez C. Milstein Sergio M. Gonzalez The taking photographs andMiles the C.use of audio or video arsthcenter.org/brava for more information.

Judy Weiser Adriana Sabino Carlos C. Lopez-Cantera rcia The Honorable Marc D. Sarnoff Gilberto Neves Rosie Gordon-Wallace Café at Books & Books the Sanchez Carnival Tower, Milesrecording C. Wilkin inside the auditoriums are strictly prohibited.

MarioinErnesto Richard C. Milstein managed theMarc direction of Chef Theunder Honorable D. Sarnoff Gilberto Neves by Books & Books TICKETS ADRIENNE ARSHT CENTER INC. OF DIRECTORS Allen Susser, is located onFOUNDATION, the ground floor of BOARD the historic Patrons may purchase tickets Carnival Tower, on the corner of 13th St. and Biscayne •Online: www.arshtcenter.org CENTER FOUNDATION, INC.café-style BOARD OF DIRECTORS Officers Blvd. The restaurant features a full-food menuof the •ByBoard Phone: (305) 949-6722 or (866) 949-6722 10 a.m.designed by Chef Allen Susser as well as a full bar, 6 p.m. weekdays; Officers of the Board Adrienne Arsht Richard E. Schatz outdoor seating, table service, pastries and a specialty beginning at noon on weekend perfomance days.

Founding Chairman Chairman coffee bar.

Open Monday – Friday, 8 a.m.

– 10 p.m., •At the Box Office: the Adrienne Arsht Center Box Adrienne Arsht Richard E. Schatz and weekends, 9 a. m. – 10 p.m. (with extended hours Office is located in the Ziff Ballet Opera House lobby DavidChairman Rocker Sherwood M. Weiser* Jason Williams Founding on Chairman allRonald show Esserman nights). (main entrance on NE 13th between Biscayne Blvd. and NE 2nd Ave.) the Adrienne Arsht Center Box Office Theater Lobbies Concessions Wine Bars an David Rocker Sherwoodand M. Weiser* Jason Williams RESIDENTaCOMPANIES ALLIANCE is open 10 a.m. - 6 p.m. Monday-Friday; noon to curtain feature variety of light food and beverage one hour on weekends when there is a performance, and two before the show and during intermissions.

ES ALLIANCE Sheldon Anderson Aaron S. Podhurst, Esq. Robert Hudson,every Jr. performance.

Jerome J. Cohen hoursF.before Charles Daryl L. Jones Stanley Cohen Adrienne Arsht •Groups of 15 or more people: (786)Porter 468-2326.

EMERGENCIES Aaron Podhurst, Esq. Robert F. Hudson, Jerome J. Cohen Jane A. Robinson EdieS. Laquer Susan T. DanisJr. Diane de Vries Ashley TOURS Emergency Porter DarylNancy L.marked Jones Stanley Cohen Richard E. Schatz Donald E. Lefton J. Davisthroughout the Charles Robert T. Barlick,exits Jr. are clearly Free behind-the-scene toursSherry of the Adrienne Arsht building. personnel A. Robinson EdieRonald Laquer Susan T. Danis Spalding-Fardie Levitt Esserman will provide JaneRhoda Fred Berens Ushers and security Center Monday and instructions in the event ofDonald anOscar emergency.

E. Schatz E. Lefton Nancy J.Bozorgi Davis Robert H. Traurig, Esq.Saturday George L.complex Lindemannare given every Feldenkreis Contact an Richard Sia at Spalding-Fardie noon, starting in the Ziff Ballet Opera House Lobby. usher or a member of the house staff if you require Sherry Rhoda LevittGardiner Ronald Esserman Sherwood M. Weiser* Carlos C. Lopez-Cantera Pamela Norman Braman NoH.reservations medical assistance.

Robert Traurig, Esq.Esq. necessary. Lynn Wolfson George L. Lindemann OscarSheila Feldenkreis Pedro A. Martin, Jerrold F. Goodman Broser

S CENTER TRUST,ACCESSIBILITY INC.

Sherwood M. Weiser* Carlos C. Lopez-Cantera Pamela Gardiner Arlene Mendelson Rose Ellen Greene Robert S. Brunn VOLUNTEERS FACILITIES RENTALS Wolfson A. Martin, Esq. Jerrold F. Goodman *deceased Oren play a central role at the Adrienne Arthur J. Halleran, Jr. M. Anthony Burns Volunteers Arsht Persons or organizationsPedro interested in renting the LynnNedra Arlene Mendelson RoseDonald Ellen Greene J.Center.

David Peña, Howard Herring Carlin lounges, terraces, ForEsq. more information, call (786) 468-2285 or auditoriums, plazas or other spaces for *deceased Nedra Oren Arthur J. Halleran, Jr. email volunteers@arshtcenter.org. private and public events at Adrienne Arsht Center should J. David Peña, Esq. Howard Herring contact (786) 468-2292 or rentals@arshtcenter.org.

Carlos WEBSITE A. Gimenez Visit Mayor www.arshtcenter.org for the most up-to-date HEARING AIDS AND OTHER HEARING-ENHANCEMENT DEVICES Carlos A. Gimenez performance schedule. Also, join our mailing list and Please reduce the volume on hearing aids and other we will send performance notices directly to you. devices that may produce a noiseMayor that would disturb other MIAMI-DADE BOARD OF COUNTY COMMISSIONERS When you join, you may choose the types of shows patrons or the performers. Assistive Listening Devices are about which you want to be notified, and update those MIAMI-DADE BOARD OFanCOUNTY COMMISSIONERS available in the lobby; please ask usher for assistance.

Joe A. Martinez Audrey Edmonson choices at any time. If M. you’ve already signed up, make LATE SEATING sure you add email@arshtcenter.org to your address Chairman Vice Chairwoman Adrienne Arsht Center performances begin promptly as Joe A. Martinez Audrey M. Edmonson book and/or safe list. Visit www.arshtcenter.org today. scheduled. As a courtesy to the performers and audience Chairman Vice Chairwoman Bruno Steinway & Sons, The Official Piano of the Adrienne members already seated, patrons who arrive late will beA. Barreiro 5 Center.

Arsht asked to Barbara wait Bruno in theJ.lobby until a suitable break in District the Jordan Javier D. Souto A. Barreiro performance toDistrict be determined the 1 5 in consultation with District 10 Adrienne Arsht Center Uniforms, an EcoArtFashion Rebeca Sosa District a J. Jordan performing artists.

Javier D. Souto Until the seating break, latercomers project www.luisvalenzuelausa.com District 6 10by Luis Valenzuela,Joe Monestime A. Martinez may watchJean the Rebeca performance via closed-circuit monitors strict 1 District Sosa PHONE NUMBERS conveniently situated in 2 the lobbies. To confirmXavier starting L. Suarez District District 11 District Monestime times for Adrienne Joe A.Accessibility Martinez (786) 468-2011(TTY) Arsht Center6performances please check District 7 11 Audrey M. Edmonson José “Pepe”(786) Diaz468-2232 Advertising your ticket, visit Xavier www.arshtcenter.org, strict 2 L. Suarezor call (305) 949-6722. District Administration (786) 468-2000 3 7 District 12 Lynda Bell Diaz Offices District M. EdmonsonLOST AND FOUND District José “Pepe” Box (305) 949-6722 or (866) 949-6722 8 Office Patrons should withBell the House Manager in District the District Sally check A.Lynda Heyman Esteban Bovo, Jr.to Curtain strict 3 12 M – F 10am – 6pm; Sat. – Sun. noon theater lobby prior to leaving the theater, otherwiseDennis please C.Facilities District 4 District 13 Rental (786) 468-2292 Moss District 8 main security number A. Heyman call the Adrienne Arsht Esteban Bovo, Jr. Center Advancement (786) 468-2040 9 (786) 468-2081.Dennis Lost articles will be held for 30 days. District strict 4 District C. Moss Group13 Sales (786) 468-2326 Membership (786) 468-2040 MEMBERSHIPHarvey – BE A CULTURIST District Ruvin 9 Pedro J. Garcia Robert A. Cuevas Jr. Parking (305) 949-6722 or (866) 949-6722 Members matter at the Adrienne Arsht Center. Your Clerk of Courts Property Appraiser County Attorney or visit www.arshtcenter.org philanthropy makes our world-class performances possible, y Ruvin Pedro J. Garcia Robert A. Cuevas Jr. Security (786) 468-2081 and helps to provide free arts education and meaningful Courts Property Appraiser County Attorney community engagement for thousands of Miami-Dade 10 PLAYBILL County young people and their families. When you join the 6

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PLAYBILL

Arsht Center Information

2016-17 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA Touching lives and inspiring new generations through the power of music.

Cleveland Orchestra Miami 2016-17 Arsht Center Information

59

16 17 2 O 1 6 -1 7

S E A S O N

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST MUSIC DIRECTOR

Presented by Miami Music Association and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

November 11, 12 GIL SHAHAM PLAYS BARBER The Cleveland Orchestra Giancarlo Guerrero, conductor Gil Shaham, violin January 27, 28 BACH AND BRUCKNER The Cleveland Orchestra Franz Welser-Möst, conductor Seraphic Fire, vocal ensemble Patrick Dupré Quigley, artistic director

February 2, 4 SIBELUS SECOND SYMPHONY The Cleveland Orchestra Franz Welser-Möst, conductor Nikolaj Znaider, violin February 3 YO-YO MA PLAYS DVOŘÁK The Cleveland Orchestra Franz Welser-Möst, conductor Yo-Yo Ma, cello March 24, 25 RESPIGHI’S PINES OF ROME The Cleveland Orchestra Franz Welser-Möst, conductor

Season Sponsor:

TICKETS

305-949-6722 ARSHTCENTER.ORG/CLEVELAND

Visit ClevelandOrchestraMiami.com for complete details of our 2016-17 Season.