Cleveland Orchestra Miami November 14-15 Concerts

CLEVELAND O R C H E ST R A SEASON

FRANZ WELSER-MÖST Music Director

GIANCARLO GUERRERO Principal Guest Conductor

ClevelandOrchestraMiami.com

14 - 15 Concierto de Aranjuez

NOVEMBER

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572 7 N ISL S AND D DR D |G GO OLDE L N BEAC CH | IN INTRA TRA RACOA COA C OA ASTA TAL VIEW EWS S $8 995 $8.

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JILL HERTZBERG | 305.788.5455 j i l l h@ t hej i l l s . c o m JILL EBER | 305.915.2556 j i l l e@ t hej i l l s . c o m FELISE EBER | 305.978.2448 f el i s e@ t hej i l l s . c o m DANNY HERTZBERG | 305.505.1950 d a nny @ t hej i l l s . c o m HILLARY HERTZBERG | 305.336.2210 hi l l a r y @ t hej i l l s . c o m

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CLEVELAND O R C H E ST R A

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.

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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.

19 PAGE

Copyright © 2014 by The Cleveland Orchestra.

Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program book advertising is sold through Live Publishing Company. For further information and ad rates, please call 786-899-2700.

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Gail Kerzner | 786-899-2700 gkerzner@livepub.com Cleveland Orchestra Miami 2014-15

Table of Contents About Cleveland Orchestra Miami Miami Music Association . . . . . . . . . . . . . . . . . . . 4 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . . . . 7 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Principal Guest Conductor . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . 14 News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

November 14-15 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . .

Program: Concierto de Aranjuez . . . . . . . . .

TCHAIKOVSKY Capriccio Italien . . . . . . . . . . .

RODRIGO Concierto de Aranjuez . . . . . . . . .

Soloist: Miloš Karadaglić . . . . . . . . . . . . . . . .

RESPIGHI Fountains of Rome . . . . . . . . . . . . .

RIMSKY-KORSAKOV Capriccio espagnol . .

17 19 20 23 25 26 29

Learning Then, Leading Now

Dexter Carr Class of ‘09, Actor in Broadway Musical Bring It On

Rosa Gonzalez-Guarda Class of ‘98, Assistant Professor UM School of Nursing & Health Studies

Serving a community of students in grades 6-12.

7900 Southwest 176th Street, Palmetto Bay, FL 33157 Call (305) 969-4208 | www.palmertrinity.org

Table of Contents

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Miami Music Association The Miami Music Association (MMA) is governed by its Board of Directors, comprised of leading Miamians motivated by the idea that as a worldclass 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 will ensure that MMA succeeds in creating a culture of passionate and dedicated concert-going in South Florida among the broadest constituency.

Officers and Board of Directors Sheldon T. Anderson, President Norman Braman, Vice Chairman Hector D. Fortun, Vice Chairman Jon Batchelor Brian Bilzin Marsha Bilzin Alicia Celorio Bruce Clinton Martha Clinton Mary Jo Eaton Mike S. Eidson Mary Claire Espenkotter Miguel G. Farra Jeffrey Feldman

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Susan Feldman Helen Aquirre Ferre Adam M. Foslid Francisco A. Garcia Pedro Jimenez Michael Joblove Gerald Kelfer Tina Kislak R. Kirk Landon Shirley Lehman William Lehman

Miami Music Association

Jan R. Lewis Sue Miller Patrick Park Karyn Schwade Mary M. Spencer Howard A. Stark Charles Stuzin Richard P. Tonkinson Gary L. Wasserman E. Richard Yulman

2014-15 Cleveland Orchestra Miami

CLEVELAND Cleveland Orchestra Miami OAssociation R C H E ST R A presented by the Miami Music SHELDON T. ANDERSON President in partnership with The Cleveland Orchestra and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

November 2014 Dear Friends, Welcome to the ninth season of Cleveland Orchestra Miami concerts, featuring the wonderful Cleveland Orchestra! Thank you so much for joining us this evening for these first concerts of the season. This weekend’s performances, led by conductor Giancarlo Guerrero, feature a vibrant and lively program of music from Italy and Spain sure to invigorate your spirit.

It is my sincere pleasure to lead Miami Music Association in partnership with The Cleveland Orchestra to present this new season of concerts, community events, and education programs for South Florida.

This collaboration is making our city stronger. We have the unique opportunity to call a world-renowned orchestra our own for four weeks each year, harnessing the full power of its music-making for the benefit of our community. This includes four weekends of concerts — with enthusiastic audiences filling Knight Concert Hall to near capacity. It encompasses unique partnerships with educational institutions across the region to present programs for students of all ages. This year, in fact, we are increasing the number of Miami-Dade County Public School students we serve with music education programs by 50 percent.

And we are expanding the ways we engage South Florida residents — for the first time in early 2015, we are presenting a community concert for everyone who loves music. Details of the program will be announced in the coming weeks. We are thrilled to offer a wide variety of meaningful musical experiences with The Cleveland Orchestra, and to make a significant contribution to the flourishing culture of our region.

Finally, and on behalf of all the Miami Music Association trustees, I want to extend my gratitude to every donor and patron. Thank you for attending these concerts. And thank you to the growing number of generous donors and contributors who support Cleveland Orchestra Miami and its impact on Miami’s cultural community.

Best regards,

Sheldon T. Anderson

Cleveland Orchestra Miami 2014-15

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 O R C H E ST R A The Miami Music Association gratefully acknowledges these donors for their contributions to Cleveland Orchestra Miami in the past year. Listing as of October 20, 2014.

LEADERSHIP DONORS $100,000 and more

Irma and Norman Braman David and Francie Horvitz Family Foundation, Inc. John S. and James L. Knight Foundation Jan and Daniel Lewis Peter B. Lewis* and Janet Rosel Lewis Sue Miller Patrick Park Janet* and Richard Yulman $50,000 to $99,999

Sheldon and Florence Anderson Hector D. Fortun R. Kirk Landon and Pamela Garrison Miami-Dade County Department of Cultural Affairs Mary M. Spencer $25,000 to $49,999

The Batchelor Foundation Daniel and Trish Bell In dedication to Donald Carlin Martha and Bruce Clinton Do Unto Others Trust Adam Foslid, Greenberg Traurig, P.A. Morrison, Brown, Argiz & Farra, LLC Northern Trust Peacock Foundation, Inc. The Claudia and Steven Perles Family Foundation $10,000 to $24,999

Jayusia and Alan Bernstein Marsha and Brian Bilzin Peter D. and Julie Fisher Cummings Mary Jo Eaton Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson Colleen and Richard Fain Nelly and Mike Farra Feldman Gale, P.A. Jeffrey and Susan Feldman Kira and Neil Flanzraich Monte Friedkin Francisco A. Garcia and Elizabeth Pearson Mark and Ruth Houck Ruth and Pedro Jimenez Cherie and Michael Joblove Jones Day Tati and Ezra Katz Janet and Gerald Kelfer Jonathan and Tina Kislak Mr. and Mrs. Dennis W. LaBarre

Thomas E. Lauria Marsh Private Client Services Miami-Dade County Public Schools Joy P. and Thomas G. Murdough, Jr. Marc and Rennie Saltzberg Howard Stark M.D. and Rene Rodriguez Charles B. and Rosalyn Stuzin Rick, Margarita, and Steven Tonkinson Ver Ploeg & Lumpkin, P.A. Ms. Ginger Warner Gary L. Wasserman and Charles A. Kashner Barbara and David Wolfort $5,000 to $9,999

Stephen Barrow and Janis Manley Funding Arts Network Patti Gordon Gary Hanson and Barbara Klante Mary and Jon Heider Richard Horvitz and Erica Hartman-Horvitz Foundation John and Hollis Hudak Bob and Edith Hudson Cynthia Knight Dylan Hale Lewis Marley Blue Lewis Ms. Maureen M. McLaughlin Barbara S. Robinson Drs. Michael and Judith Samuels Charles E. Seitz Sylvester Comprehensive Cancer Center Bill Appert and Chris Wallace $2,500 to $4,999

Kerrin and Peter Bermont Carmen Bishopric Adam E. Carlin Stanley and Gala Cohen Charles and Fanny Dascal Isaac K. Fisher and Lourdes G. Suarez Marvin Ross Friedman and Adrienne bon Haes Dr. and Mrs. Edward C. Gelber Elizabeth B. Juliano Angela Kelsey and Michael Zealy Jacqueline and Irwin Kott Eeva and Harri Kulovaara Ivonete Leite Ana and Raul Marmol Roger and Helen Michelson Georgia and Carlos Noble Rosanne and Gary Oatey

Nedra and Mark Oren Maribel A. Piza Alfonso Rey and Sheryl Latchu Donna E. Shalala Michalis and Alejandra Stavrinides Brenton Ver Ploeg Teresa Galang-Vi単as and Joaquin Vi単as Florence and Robert Werner $1,000 to $2,499

Mr. and Mrs. Spencer Angel Linda Angell Benjamin and Dr. Rodney Benjamin Ms. Sara Arbel Arnstein & Lehr LLP Douglas Baxter and Brian Hastings Don and Jackie Bercu Helene Berger Fran and Robert Berrin Irving and Joan M. Bolotin Michael and Lorena Clark Bruce Coppock and Lucia P. May Douglas S. Cramer / Hubert S. Bush III Ms. Nancy J. Davis Shahnaz and Ranjan Duara Bernard Eckstein Andrea and Chuck Edelstein Mr. and Mrs. Steven Elias Francisco J. and Clara B. Fernandez Joseph Z. and Betty Fleming Gail and Alan Franklin Morris and Miriam Futernick Lenore Gaynor Niety and Gary R. Gerson Joan Getz Hon. and Mrs. Isaac Gilinski Nancy F. Green Jack and Beth Greenman Douglas M. and Amy Halsey Mr. and Mrs. Barry Hesser Roberto and Betty Horwitz David and Montserrat Joy Dr. Michael and Gail Kaplan Kluger, Kaplan, Silverman, Katzen & Levine, P.L. Dr. and Mrs. Frederick Knoll Michael N. Kreitzer Ronald and Harriet Lassin Judy and Donald Lefton Shirley and William Lehman Mr. and Mrs. Marvin H. Leibowitz Barbara C. Levin listing continues

Cleveland Orchestra Miami 2014-15

Annual Fund Contributors

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CLEVELAND ORCHESTRA MIAMI listing continued Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. and Mrs. Carlos Lopez-Cantera James P. Ostryniec Mrs. Patricia M. Papper Perry Ellis International, Inc. Robert Pinkert Guillermo and Maggie Retchkiman Joseph and Batia Rozgonyi Charles and Linda Sands Raquel and Michael Scheck

Dr. James and Karyn Schwade Mr. and Mrs. David Serviansky Lois H. Siegel Henry and Stania Smek Richard and Nancy Sneed Lucie and Jay Spieler Eduardo Stern Kathy and Sidney Taurel Parker D. Thomson Esq. Mr. and Mrs. Robert H. Traurig Ms. Lynn Wiener

Betty and Michael Wohl Ms. Henrietta Zabner Loly and Isaac Zelcer Anonymous (2)

FRIENDS up to $999

Mr. and Mrs. Jay H. Abrams Mr. Alexis Abril Mr. John Actman Marjorie H. Adler Mr. Rafael Alcantara-Lansberg Angela Alfonso Ms. Maria Alonso Dr. and Dr. Andrew Alpert Rosalie Altmark and Herbert Kornreich Ms. Claudia Alvarez Ms. Elena Alvarez Ms. Paula Alvarez Dr. Kip and Barbara Amazon Denise Anderson John and Sarah Anderson Ms. Lori Angus Dr. Jorge and Gigi Antu単ez de Mayolo Mr. Fred Aragon Mr. Robert Archambault Ana L. Arellano Diane de Vries Ashley Evelyn K. Axler Daniel Ayers and Tony Seguino Elaine Bachenheimer Ted and Carolann Baldyga Montserrat Balseiro Ana Barnett Mr. Raul Barnett Mr. Richard Barrios Dr. Earl Barron and Ms. Donna Barron Joan and Milton Baxt Foundation Inc. Ms. Marielena Bazan Mr. and Mrs. William Beitz Ms. Linda Belgrave Carlos Benitez Mr. Enrique Bernal Neil Bernstein and Julie Schwartzbard Rhoda and Henri Bertuch Mr. Robert Bickers Dr. Nanette Bishopric Ken Bleakley Dr. Louis W. Bloise Mr. Sam Boldrick Mr. Bruce Bolton Mr. Mario Bosi Miss Marsha Botkin Ms. Carol Brafman Mr. Rodester Brandon Mr. Fernando Bravo

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Mr. Michael T. Brazda Karen Breakstone Mr. and Mrs. Eric Buermann Mr. Brent Burdick Ms. Nancy Burkhardt Ms. Esther Burton Dr. Maria Bustillo Mr. Manny Cabral Carlos Cabrera Mr. Richard Cannon Ms. Dolores Canonico Ms. Beatrice Carbacho Ms. Christine Carleton Mr. James D. Carpenter Philip and Kathryn Carroll Ms. Rosemary Carroll Mr. Philip Casey Mr. Erich Cauller Mr. Harold Chambers Ms. Daphne Charbonneau Mr. David Chatfield Mr. Jeremy Chester Ms. Carole J. Cholasta Ms. Katherine A. Chouinard Mr. and Mrs. Mathew Cicero Mr. Mark Cohan Mr. and Mrs. Jerome J. Cohen Ms. Karla Cohen Phyllis Cohen Mr. Ignacio Contreras Ms. Lane H. Convey Mr. Richard Cote Mr. Nathan Counts Mr. William R. Cranshaw Ms. Marcella Cruz Mr. Miguel Cuadra Mr. Gabino Cuevas Dusan Dragovic Mr. Wesley Dallas Mr. Brian Dalrymple Mr. George Dandridge Mr. and Mrs. Sergio da Silva Mrs. Jennie Dautermann Ms. Nadine Davey-Rogers Ms. Ellen Davis Ms. Cecilia De Botton Campbell Mr. Oscar De La Guardia Ms. Berta Del Pino Mr. John Despres

Annual Fund Contributors

Mr. John Despres Mr. Benjamin Diaz Jorge Diaz Ms. Helga Dobbs Mr. and Mrs. Peter F. Dolle Gerson Dores Mr. and Mrs. M. Donald Drescher Mrs. Laura Drexler Fred Ehrenstein Ms. Monica Elizalde Mr. Eduardo Erana Mr. and Ms. Jack Ervin Mr. and Mrs. Ronald Esserman Mr. and Mrs. Charles F. Evans Ms. Dorothy M. Evans Mr. and Mrs. Menashe Exelbirt Judit Faiwiszewski Mr. Martin Falconi Ms. Klara Farkas Mr. and Mrs. Paul Fass Mr. Murray H. Feigenbaum Mr. Bernard Feinberg Mr. and Mrs. Bennett G. Feldman Dr. Lawrence E. Feldman Samuel Feldman Mr. Robert Ferencik Ms. Suzanne Ferguson Mr. John Field Ms. Ingrid Fils-Rakusin Mrs. Albine Fischer-Stahlecker Mr. and Mrs. Bruce Fischler Mr. Kip Fisher Dr. and Mrs. Lawrence M. Fishman Mr. Marcus M. Flanagan Mr. Ronaldo Flank Mr. David Fleitas-Velez Una Forbes Mr. and Mrs. Guido Fraiman Miss Mary Francis Dr. and Mrs. Rudolph J. Frei Mr. and Mrs. Joel Friedland Mr. Gregory Friedman Ms. Noelle Froehlich Mr. and Mrs. Malcolm Fromberg Andrew Fulton Mr. & Mrs. Juan Galan Mrs. Sue Gallagher Ms. Emilio Garcia Mr. Ignacio Garcia Mr. Gonzalo Garcia-Ribeiro

2014-15 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

Ms. Margaret Gerloff Mr. Giancarlo Ghinatti Mrs. Judy Gilbert Mr. Howard Gilder Mrs. Lisa Giles-Klein Mrs. Perla Gilinski Mr. Brian Gitlin Mr. Abraham Gitlow Ms. A. Giuffredi-Zaldivar Mr. Pablo Glikman Ms. Catherine Goe Mr. Salomon Gold Mrs. Sue E. Goldman Mr. Lee Goldsmith and Mr. J. Haller Mr. Leony Gonzalez Mr. Donald Goodstein Ms. Galina Gorokhovsky Dr. Rafael Gosalbez Mr. Seymour Greenstein Mr. David Grunebaum Rev. Dr. Hans-Fredrik Gustafson Mr. and Mrs. Alfredo D. Gutierrez Mr. Robert Haber Mr. Ralph Halbert Mr. and Mrs. George Halliwell Mr. John F. Hamilton Mr. and Mrs. Jack T. Hammer Dr. Juliet Hananian Mr. Vincent Handal Ms. Nancy Handler Mr. John Hanek Mr. and Mrs. Ernest Harper Mr. Nicolae Harsanyi Mr. and Mrs. Claus Haubold Dr. and Mrs. Mark J. Hauser Dr. Gail A. Hawks Mr. Violetta Headley Mr. Arturo Hendel Ms. Marjory Hendel Mr. Jorge Hine Michelle Hines Ms. Barbara L. Hobbs Mr. Greg Holtz Mr. and Mrs. Bernard Horowitz Mr. and Mrs. Melvin Howard Dr. Michael C. Hughes Ms. Tisha Hulburd Mr. Lawrence R. Hyer Mr. Brian Ildefonso Ms. Dragana Ilic Dr. and Mrs. Norman Jaffe Ms. Nancy Jaimes Mr. Richard Janaro Rulx Jean-Bart Mr. Farrokh Jhabvala Mr. and Mrs. Lester Johnson Thomas Jones Ms. Lisa Judy Mrs. Joyce Kaiser Mrs. Nedra Kalish Ms. Clarita Kassin Mr. and Mrs. Gerald Katcher Ms. Phyllis Katz Mr. Harold Katzman Raquel Kaufler Mr. Victor Kendall

Mr. Frederick Kiechle Mr. Gilbert Klajman Mr. Buddy Klein Alexander Knowlton Mr. and Mrs. Daniel Kokiel Ms. Natalya Kovaleva Ms. Rebeca Kravec Mr. Ernesto Kuperman Mr. and Mrs. Robert Landon Mr. James Lane Mrs. Wendy Lapidus Mr. William Lee Mr. Terry S. Leet Mr. Paul and Dr. Lynn Leight Mr. and Mrs. Elliot Lemelman Mrs. Barbara Levenson Dr. and Mrs. Stanley Levick Mr. Gregory A. Levine Mr. Mark Levy Mrs. Alice Lewis Ms. Gloria Liatsos Mr. Rick Lievano Natalie Lisnyansky Mr. and Mrs. Bruce B. Litwer Ms. Victoria Llano Mr. Oliver Loaiza Mr. and Mrs. Enrique Lopez Mr. Arthur A. Lorch Mr. and Dr. William Lord Ms. Diego Lorenzo Ms. Loretta MacKle Dr. David C. Mactye, MD Mr. Richard Mahfood Mr. John P. Mahoney Mr. and Mrs. Lewis Mahoney Mr. and Mrs. Roger Maister Mr. John Makemson Mrs. Charistine Marin Mrs. Sherrill R. Marks Tobe Marmorstein Mr. Luis and Mrs. Georgina Marquez Mr. Victor Marquez Mr. John Martin Mr. Laureano J. Martinez Ms. Beatriz Martinez-Fonts Mr. and Mrs. Stephen C. Masson Mr. Edward Mast Ms. Masha Mayer Mr. Alan E. Maynard Mr. and Mrs. Robert Maynes Ms. Karen McCarthy Ms. Geraldine McClary Ms. Desiree McKim Debra McLaughlin Dr. Gwenn E. McLaughlin Ms. Alice Meltzer Mr. Kenneth Mendelsohn Dr. and Mrs. Jorge Mendia Ms. Pauline Menkes Ms. Evalyn H. Milledge Mr. Mitchell Millowitz Ms. Sylvia Minchew Daniel and Marge Mintz Mrs. Paulette Mintz Mr. Jose Misrahi Mr. Harve A. Mogul Luis Molina

Mr. Jorge Montalvo Dr. Isidoro Morjaim Dr. Michele Morris Mr. Samuel Morris Mr. Edgar Mosquera Dr. and Mrs. Robert J. Myerburg Ms. Patricia Narea Ms. Charlene Nevadomski Mr. Stuart Newman and Mrs. S. Sharp Mr. and Mrs. Daniel Nichols Drs. Ara and Violet Nisanian Dr. and Mrs. Daniel Nixon Mr. and Mrs. Murray Norkin Dr. Jules Oaklander Colleen O’Connor Mr. Will Osborne Ms. Geraldine O’Sullivan Mr. Martin Ottenheimer Ms. Caroline Owre Ms. Michelle Ozaeta Dr. and Mrs. Larry K. Page Mr. and Mrs. Larry Paikin Mr. Michael Pancier Mrs. Shirley Pardon Ms. Ruth Parry Mr. Stephen J. Parsons Mr. Oscar Pascual Mr. Stephen F. Patterson Ms. Esther Gordon Ms. Marilyn Pearson Mrs. Beatriz Perez Mr. and Mrs. Rolando Perez Mr. Jason Perline Mr. Donald Perry Ms. Diane G Persoon Mr. Michael Peskoe Dr. Hugh W. Pettigrew Mr. Richard Pettigrew Mr. and Mrs. Michael Peyton Mr. and Mrs. Ferdinand Phillips Jr. Dr. Ronald Picur Ms. Nina Piken Mr. Peter Pilotti Mr. Robert Plessett Mrs. Teresa Pollak Mrs. and Mr. Suzan H. Ponzoli Mrs. Diana Porras Mr. Edward Powell Mr. Thomas Quaid Ms. Regina D. Rabin Mrs. Lisa Rafkin Ms. Lynne Rahn Ms. Pratima Raju Mr. Barry Rand Mr. and Mrs. Menno Ratzker Mr. Fred Rawicz Mr. Robert Rearden Mr. and Mrs. Burt E. Redlus Mr. and Mrs. Redlus Mr. Barry Resnik Mr. Jorge Reyes Ms. Betty Rice Miss Carmen Richards Mr. Carlos Rivas Mrs. Olga K. Robbin Ms. Luisa Robel listing continues

Cleveland Orchestra Miami 2014-15

Annual Fund Contributors

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CLEVELAND ORCHESTRA MIAMI listing continued Edmundo Rodriguez Ms. Leslie Rogowsky Mr. Andrew Rohlfing Mr. Jacques Rollet Mr. Juan Rondon Ms. Virginia Rosen Mr. and Mrs. Eugene Rostov Elizabeth Rothfield Aixa Roversi Mr. and Mrs. Stephen Rowland Mr. and Mrs. Rodolfo A. Ruiz Ms. Karen Rumberg Mr. Kevin Russell Mr. Lawrence H. Rustin Mrs. Chesne Ryman Yehuda Sabach Mr. Alex Sabo Mr. Michael and Dr. Tamah Sadick Mr. and Mrs. Leland S. Salomon Mr. Gabriel Sanchez Mr. Gonzalo Sanchez Mr. Hank Sanchez-Resnik Ms. Lisa Sandel Mr. and Mrs. Saul I. Sanders Mr. Robert Scardino Mr. David Schaecter Mr. and Mrs. James Schenkel Mr. Arnold Schiller Dr. Markus Schmidmeier Mr. Steven Schneider Susan Schneider Mr. Ronald E. Schrager Mr. and Mrs. Peter Schumann Mr. Marvin Schwartzbard David Scott Ms. Margaret Searcy Ms. Margaret Seroppian Mr. Humberto Sevilla Mr. and Mrs. Norman Shabel Mr. Thomas Shankey Mrs. Brenda Shapiro Ms. Elizabeth Sharkey Mr. and Mrs. Roger Shatanof Dr. and Mrs. John Shook Dr. and Mrs. David Shpilberg Mr. David A. Siegel Judge Paul Siegel Mr. Alvaro Silva and Ms. G. Erdmann Dr. and Mrs. Robert Simons Ms. Grace Sipusic Ms. Sylvia Siragusa Ms. Samantha Skhir Mr. Ramez Smairat Dr. and Mrs. Alfred G. Smith Ms. Linda M. Smith Dr. Gilbert B. Snyder Mr. Alexander Socarras Ms. Carol Soffer Mr. Enrique Sosa Ms. Ilene Sosenko Mrs. Maryann Flores Dr. Barbara Sparacino Mrs. Shirley Spector Mr. Robert Spielman Ms. Clara Sredni DeKassin Mr. Issac Sredni Mr. Nick St. Cavish

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Mrs. Patricia Stauber Mr. and Mrs. Edward Stavis Mr. Lewis Stein Mrs. Marilyn Stein Mr. William Stern Ms. Holly Strawbridge Ms. Caroline Sullivan Merrie Surace Mr. Jack Sutte Mr. Jose Tabacinic Mr. and Mrs. Alvaro Tafur Mr. Jose R. Tarajano Mr. and Mrs. Stanley Tate Mr. Stephen Tatom Mr. Harvey Taylor Mr. Bryson Thornton Mr. and Mrs. Daniel Thorogood Ms. Lesley Tompsett Dr. Takeko M. Toyama Mr. Sydney S. Traum Ms. Alicia M. Tremols Mr. Miguel Triay Dr. and Mrs. Michael B. Troner Ms. Kate Trotman Ms. Anna Tsukervanik Liat Tzur Mr. Dale Underwood Ms. Janice Uriarte Toni Valencia Ms. Betty Vandenbosch Mr. Alejandro Vasquez Mr. John Vaughn Ms. M. T. Vento Mr. Fabian Verea Mr. Douglas Call Jorge Viera Mr. Frank Vital Mr. and Mrs. Herbert W. Vogelsang Mr. Frank J. Voytek Ms. Vivian Waddell Mr. John Wallace Andrew Wang Dr. Mario Werbin Ms. Jeanne Westphal Mr. and Mrs. Robert Whitebook Ms. Bonnie Whited Mr. and Mrs. Arthur Whittaker Mr. Brant Wigger Ms. Jennifer Williams Mr. Richard Williamson Ms. Debbie Wirges Mrs. Marci Wiseman Dr. and Mrs. Jack Wolfsdorf Mr. and Mrs. Joel R. Wolpe Ms. Laura A. Woodside Keying Xu Mr. and Mrs. Guri Yavnieli Mrs. Sora H. Yelin Mr. Allan Yudacufski Dr. and Mrs. Sheldon Zane Mr. and Mrs. Robert Zarchen Ms. Eloina D. Zayas-Bazan Mr. Jerry Zimmerman Anonymous

Cleveland Orchestra Miami relies on the generosity of its patrons for our continued success. Ticket purchases cover less than half of expenses, and your philanthropic support is essential to cover the difference. Your contribution enables the Miami Music Association to present Cleveland Orchestra concerts, education programs, and community activities across Miami-Dade County. Please consider a gift today by calling 305-372-7747 or visit online at ClevelandOrchestraMiami.com.

* deceased

Annual Fund Contributors

2014-15 Cleveland Orchestra Miami

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Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

The The 2014-15 season marks Franz Welser-Möst’s thirteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the Orchestra is hailed for its continuing artistic excellence, is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble.

With a commitment to music education and the Northeast Ohio community, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. He has championed new programs, such as a community-focused Make Music! initiative and a series of “At Home” neighborhood residencies and concerts in the community designed to bring the Orchestra and citizens together in new ways.

Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established a recurring biennial residency in Vienna at the famed Musikverein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, an annual multiweek Cleveland Orchestra residency in Florida was inaugurated in 2007 and an ongoing relationship with New York’s Lincoln Center Festival began in 2011.

Franz Welser-Möst has led annual opera performances during his tenure in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He led an innovative made-forCleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. They will present performances of Richard Strauss’s Daphne in May 2015.

For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.

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Music Director

2014-15 Cleveland Orchestra Miami

Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

The 2014-15 season marks Giancarlo Guerrero’s sixth year as music director of the Nashville Symphony and fourth year as principal guest conductor of Cleveland Orchestra Miami. He made his Cleveland Orchestra debut in May 2006. He has led the Cleveland ensemble in concerts in Miami, at Severance Hall, at Blossom, and in the Orchestra’s annual community concert in downtown Cleveland.

Mr. Guerrero’s recent seasons with Nashville have featured several world premieres, including a new work by Richard Danielpour, a Béla Fleck banjo concerto, and a Terry Riley concerto for electric violin. Recent and upcoming guest engagements include his debut with the Houston Grand Opera in 2015, leading The Cleveland Orchestra in a Midwest Tour during the first half of 2014, as well as appearances in North America with the orchestras of Boston, Cincinnati, Dallas, Detroit, Houston, Indianapolis, Philadelphia, Toronto, and Vancouver. Internationally, he is increasingly active in Europe, where recent and upcoming engagements include performances with the BBC Symphony Orchestra, Copenhagen Philharmonic, Frankfurt Radio Symphony, Orchestre National de France, London Philharmonic Orchestra, and Deutsches Symphonie-Orchester Berlin.

A fervent advocate of new music and contemporary composers, Mr. Guerrero has collaborated with and conducted works by some of America’s most respected composers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, and Roberto Sierra. His first album with the Nashville Symphony, on Naxos, featured works by Daugherty and won three 2011 Grammy Awards. Two more albums have been released, of music by Argentine legend Astor Piazzolla and by American composer Joseph Schwantner; the latter recording received a Grammy Award in 2012.

Mr. Guerrero has appeared regularly in Latin America, conducting the São Paulo State Symphony Orchestra and with the Orquesta Sinfónica Simón Bolívar in Caracas, Venezuela, where he has also worked with young musicians in the country’s much-lauded El Sistema music education program.

Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received a bachelor’s degree in percussion from Baylor University and his master’s degree in conducting from Northwestern University. He was music director of Oregon’s Eugene Symphony (2003-09) and served as associate conductor of the Minnesota Orchestra (1999-2004). Mr. Guerrero received the American Symphony Orchestra League’s Helen M. Thompson Award recognizing outstanding achievement among young conductors. Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.

Cleveland Orchestra Miami 2014-15

Principal Guest Conductor

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST GIANC AR LO GU ER R ERO

M U S I C D I R E C TO R

Kelvin Smith Family Chair

PRINCIPAL GUEST CONDUCTOR

C LEVE L AN D ORC H ESTR A M IAM I

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra Preucil

ASSISTANT CONCERTMASTER

Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown 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

Katherine Bormann

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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 Llinas 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

Helen Weil Ross Chair Muriel and Noah Butkin Chair

Tanya Ell

Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

VIOLAS Robert Vernon *

Mark Atherton Thomas Sperl Henry Peyrebrune

Lynne Ramsey 1

Charles Carleton Scott Dixon Derek Zadinsky

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

Stanley Konopka 2 Mark Jackobs

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

2014-15 Cleveland Orchestra Miami

SEASON

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

Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters

Samuel C. and Bernette K. Jaffe Chair

HORNS Richard King *

PERCUSSION Marc Damoulakis*

Michael Mayhew §

Donald Miller Tom Freer

George Szell Memorial Chair Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch Alan DeMattia

Jack Sutte Lyle Steelman2

LIBRARIANS Robert O’Brien

Robert and Eunice Podis Weiskopf Chair

James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

Robert Woolfrey Daniel McKelway 2

Richard Stout

Linnea Nereim

Shachar Israel 2

E-FLAT CLARINET Daniel McKelway

BASS TROMBONE Thomas Klaber

Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Linnea Nereim BASSOONS John Clouser *

Gilbert W. and Louise I. Humphrey Chair Alexander and Marianna C. McAfee Chair

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

Louise Harkness Ingalls Chair

Barrick Stees 2

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Rudolf Serkin Chair

Carolyn Gadiel Warner

TROMBONES Massimo La Rosa*

Robert R. and Vilma L. Kohn Chair

KEYBOARD INSTRUMENTS Joela Jones *

TRUMPETS Michael Sachs *

CLARINETS Franklin Cohen *

Robert Marcellus Chair

Margaret Allen Ireland Chair

TIMPANI Paul Yancich *

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Cleveland Orchestra Miami 2014-15

The Orchestra

Marjory and Marc L. Swartzbaugh Chair

Joe and Marlene Toot Chair

Donald Miller ORCHESTRA PERSONNEL Karyn Garvin DIRECTOR

Christine Honolke MANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Sunshine Chair

* Principal

° Acting Principal §

1 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell

ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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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. In concerts at its winter home at Severance Hall and at each summer’s Blossom Music Festival, in ongoing residencies from Miami to Vienna, and on tour around the world, the Orchestra sets the highest standards of artistic excellence, creative programming, and community engagement.

The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. WelserMöst 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 Leinsdorf, 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. Yearround performances became a reality with the first festival season at Blossom Music Center in 1968, presented at an award-winning, purpose-built outdoor facility located just south of the Cleveland metropolitan area near Akron, Ohio. 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.

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The Cleveland Orchestra

2014-15 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

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

Friday, November 14, 2014, at 7:00 p.m.

Saturday, November 15, 2014, at 7:00 p.m.

SEASON

Crisantemi [Chrysanthemums]

by GIACOMO PUCCINI (1858-1924) Jung-Min Amy Lee, violin Alicia Koelz, violin Joanna Patterson Zakany, viola Tanya Ell, cello

Suite popular española

(arranged for cello and piano) from Canciones populares españolas

by EMANUEL DE FALLA (1876-1946) 1.

2.

3.

4.

5.

6.

7.

El paño moruno Seguidilla murciana Asturiana Jota Nana Canción Polo

Richard Weiss, cello Joela Jones, piano

Concert Preludes are free to ticketholders to each Cleveland Orchestra Miami concert.

Cleveland Orchestra Miami 2014-15

November 14-15 Concert Prelude

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Friday evening, November 14, 2014, at 8:00 p.m.

Saturday evening, November 15, 2014, at 8:00 p.m.

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 Giancarlo Guerrero, conductor pyotr ilyich tchaikovsky

Capriccio Italien, Opus 45

joaquín rodrigo

Concierto de Aranjuez

(1840-1893)

(1901-1999)

1. Allegro con spirito 2. Adagio 3. Allegro gentile MILOŠ KARADAGLIĆ, guitar

INTERMISSION

Fountains of Rome [Fontane di Roma]

ottorino respighi (1879-1936)

1.

2.

3.

4.

nikolai rimsky-korsakov (1844-1908)

The Fountain Valle Giulia at Dawn The Triton Fountain at Morn The Fountain of Trevi at Midday The Villa Medici Fountain at Sunset

Capriccio espagnol, Opus 34

This weekend’s concerts are sponsored by Morrison, Brown, Argiz & Farra, LLC. Friday’s concert is also sponsored by Jones Day. Saturday’s concert is also sponsored by Ver Ploeg & Lumpkin, P.A.

Cleveland Orchestra Miami 2014-15

Program: November 14-15

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INTRODUCING THE PROGRAM

Nationalism& Music

offer some superb examples of picture painting in sound — enlivened with rhythms and melodic ideas from the warm sunshine and flowing waters of Italy and Spain. Four works, written between 1880 and 1940, afford us a variety of musical views, one each by an Italian and a Spaniard, along with visits to both countries through the eyes (and ears) of Russian composers enthralled by their own experiences in the Mediterranean. Cleveland Orchestra Miami’s principal guest conductor Giancarlo Guerrero leads the concerts, joined by guitar soloist Miloš Karadaglić, whose exciting new recording of Joaquín Rodrigo’s brilliant Concierto de Aranjuez has been well-received around the world.

THIS WEEKEND’S CONCERTS

Capriccio Italien, Opus 45 composed 1880

by

Pyotr Ilyich

TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

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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 we would term it, but he had convinced himself that he had no choice but to be himself and follow his own instincts, not those of a disapproving society. He was also completely free to indulge his unrelenting urge to travel, both within and outside of Russia, and with performances of his music becoming ever more frequent at home and abroad, his income was steady enough to provide the means to go where he liked at will.

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. Having completed a draft of the Second Piano Concerto, he left for Rome on December 17, 1879, intending to spend several months there. At first, he and his brother Modest enjoyed the About the Music

2014-15 Cleveland Orchestra Miami

treasures of the city and he had no will to compose, but within a month he was so struck by the propensity of Italians to sing everywhere that the idea of a composition came to him: “Yesterday I heard a delightful folksong which I shall certainly use,” he wrote to Madame von Meck, and he later explained that he wanted to write something similar to Glinka’s Spanish pieces.

“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 orchestration was done in May, and soon Tchaikovsky began to wonder whether the piece was worthy of him, betraying the familiar self-doubt that followed the composition or performance of almost all his pieces. He need not have worried about its success, for it was rapturously received in both Moscow and St. Petersburg, and has always remained popular.

It was not intended to be a personal statement of any kind, although we are fully aware of the composer’s affection for these melodies and for the country where he heard them.

Only one of the melodies, the closing Tarantella, has been identified — it is a tune known in Italy as the Cicuzza, and 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.

Glinka’s two pieces, Capriccio brillante on Spanish themes and Recuerdos de Castilla, also known as the Second Spanish Overture, composed in 1848, were Tchaikovsky’s direct models, although he scarcely needed a model on which to base the alternation of slow and fast melodies, the variety of keys and moods, and the rousing character of the final pages. After the bugle call, the opening melody is gloomy and austere, alleviated by the best-known melody from the piece, presented by two oboes. This comes back later in a more pompous form, and the riotous ending depicts the Roman carnival, a scene which Tchaikovsky witnessed that year and which was similarly evoked

by Berlioz in his brilliant 1844 overture of that name.

At a Glance Tchaikovsky wrote his “Italian Capriccio” in Rome in January and February, 1880, and revised it in Russia in May of the same year. The work was premiered in Moscow on December 18, 1880, under the direction of Nikolai Rubinstein.

Capriccio Italien runs about 15 minutes in performance. Tchaikovsky scored it for 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 2 trumpets, 3 trombones, percussion, harp, and strings.

The Cleveland Orchestra first played this work at a Popular Concert in Masonic Auditoirum in February 1920, under founding music director Nikolai Sokoloff.

—Hugh Macdonald © 2014

Cleveland Orchestra Miami 2014-15

About the Music

21

All Rise.

Jones Day is proud to support Cleveland Orchestra Miami and their season-opening concert. We applaud the Orchestra’s mission of setting standards of artistic excellence, creative programming, and active community engagement. And like the Orchestra, Jones Day is honored to be part of the Miami community. We support its eorts to bring the excellence of the arts to this great city.

2400 Lawyers. 41 Locations. 5 Continents. www.jonesday.com

Concierto de Aranjuez (for guitar and orchestra) composed 1939

JOAQUÍN RODRIGO,

by

Joaquín

RODRIGO born November 22, 1901 Saguunto, Valencia died July 6, 1999 Madrid

afflicted with blindness since the age of three, was blessed with a long life and a stunning success early in his career. The Concierto de Aranjuez was not his first work, but it was his first concerto. The warmth of its reception in Barcelona in 1940 sustained Rodrigo through all the later years in which he wrote great quantities of music but never equaled the impact of this now-famous concerto. Like that of many Spanish composers of the early 20th century, his music was untouched by the different waves of modernism that swept over European music, and he composed to the end of his life in a style that, with rare exceptions, would not have seemed strange to the 19th-century sensibilities of Rimsky-Korsakov or any of the non-Spanish composers who adopted Spanish figurations and dance rhythms in their own music.

Like Albéniz, Falla, and many other Spanish composers, Rodrigo studied in France, taking lessons from Dukas (Messiaen’s teacher) and Maurice Emmanuel — and he was still living in France in 1939 when he composed the Concierto de Aranjuez. He shortly had to return to Madrid, which he made his home for the rest of his life. He later wrote concertos for two guitars and for four guitars, as well as concertos for piano, violin, flute, cello, and harp. His output for orchestra, piano, solo guitar, and voice is very extensive, although he never ventured into opera.

The concerto is named after the royal palace at Aranjuez (pictured below), near Madrid, built by Philip II and expanded

Cleveland Orchestra Miami 2014-15

About the Music

23

At a Glance Rodrigo wrote this concerto for guitar and orchestra in 1939, naming it after the Palace Aranjuez near Madrid. It was first performed on November 9, 1940, with Orquesta Filarmónica de Barcelona conducted by César Mendoza Lasalle, with Sanz de la Maza as the soloist.

This concerto runs nearly 25 minutes in performance.

Rodrigo scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and strings, plus the solo guitar.

The United States premiere of this work was given

by The Cleveland Orchestra in November 1959, with Robert Shaw conducting and Rey de la Torre as soloist.

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in the 18th century with extensive gardens (above). Rodrigo wanted his concerto to evoke “memories of earlier times, and of the lovely gardens of Aranjuez with their fountains, trees, and birds.” He also mentioned the fragrance of the magnolias, which would particularly inspire a blind composer. It is not fanciful to hear the birds and fountains in some of the figuration in the concerto, and in the last movement, which is not a helter-skelter finale but a gentle movement, marked with a tempo of Allegro gentile, filled with teasing lopsided rhythms, in which he recalls the courtly dances that the palace would have played host to.

The guitar is not a loud instrument, and it can be upstaged by an orchestra, however small. The composer has taken care to let the guitar be heard, with a number of striking passages on its own. The orchestra is only heard at full throttle when the guitar is resting.

The success of the concerto, especially its expressive slow movement, is world-wide. Sufficient evidence comes merely by mentioning the innumerable jazz versions, including those by the MJQ and Miles Davis. When asked if he could explain the concerto’s astonishing success, Rodrigo simply replied: “To be honest, I don’t know. If I did know, I would have discovered the secret of success itself.”

—Hugh Macdonald © 2014

About the Music

2014-15 Cleveland Orchestra Miami

Miloš Karadaglić Classical guitarist Miloš Karadaglić from Montenegro saw his international career leap forward with the release earlier this year of his Deutsche Grammophon recording of Rodrigo’s iconic Concierto de Aranjuez, which serves on the album as the starting point for a journey across the Spanish landscape, paying tribute to great music and master musicians. He is making his Cleveland Orchestra debut with this weekend’s concerts here in Miami.

His first solo album was released in 2011, followed by impressive performances over the next two seasons across Europe, North America, Asia, and Australia. “Part of the reason Karadaglić has such a large following” commented the Western Australian “is his ability to straddle both hardcore classical and pop classical camps.”

Mr. Karadaglić’s passion for the guitar is matched with a clear sense of how to bring the instrument across in performance — whether for an audience of thousands in London’s Royal Albert Hall or an intimate chamber music performance for just 100 people. He enjoys performing in the major concert halls as much as in non-traditional venues including New York’s Le Poisson Rouge, London’s Camden Roundhouse, and Deutsche Grammophon’s Yellow Lounge club nights in London, Berlin, Amsterdam, Madrid, Seoul, New York, L.A., and Miami.

His line-up of albums on Deutsche Grammophon now includes both solo work and concertos. He is playing Rodrigo’s Concierto de Aranjuez in debuts with some of the world’s finest ensembles this season, including his appearance here in Miami with The Cleveland Orchestra. Performances continue across three continents, including solo and orchestral engagements in Lisbon, Madrid, London, Paris, Rome, Milan, Miami, Atlanta, Tokyo, Beijing, Shanghai, and Hong Kong.

This year has also witnessed the launch of a new exclusive watch that Mr. Karadaglić designed for the luxury Swiss watchmaker Raymond Weill, with proceeds from the special edition going to Miloš’s chosen charity — the Mladost Orphanage in Bijela. Montenegro’s only orphanage, Mladost cares for up to 160 children aged between one month and 18 years old from different backgrounds, including those who were orphaned during the Balkan upheaval.

In addition to his charitable work, Miloš Karadaglić is a passionate supporter of music education. Born in Montenegro in 1983, he first started playing the guitar at the age of 8. When he was 16, he was admitted on scholarship to the Royal Academy of Music and moved to London, where he continues to live while keeping close ties with his family and homeland. He plays a 2007 Greg Smallman guitar, kindly lent to him by Paul and Jenny Gillham.

Cleveland Orchestra Miami 2014-15

Soloist

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Fountains of Rome [Fontane di Roma] composed 1915-16

by

Ottorino

RESPIGHI born July 9, 1879 Bologna, Italy died April 18, 1936 Rome, Italy

26

R E S P I G H I ’ S F I R S T I M P O R T A N T orchestral work was a “Sinfonia drammatica” (1914), unashamedly modeled on Richard Strauss’s big tone poems. This was followed by Fountains of Rome in 1916, perhaps his most impressive work, the first in a cycle of three symphonic poems on the theme of Rome. The later ones were Pines of Rome (1924) and Roman Festivals (1928).

Respighi had a special gift for illustrative — almost visual — music, being himself most responsive to the sights and sounds around him, and having a superb feeling for orchestral color. This music was written at a time when huge orchestras were still a novelty, and the scintillating sounds to be had from high percussion such as glockenspiel and celesta in combination with violin harmonics were brilliantly appropriate for the sort of “open-air” portraits that Respighi liked to paint.

He had once been a student in St. Petersburg, working with the master orchestrator Nicolai Rimsky-Korsakov. Later, he feasted on the scores of Strauss and Ravel, whose example he was never ashamed to admit. And, in turn, a generation of late Romantic composers were to learn a great deal from Respighi, especially when the cinema offered a new medium for richly illustrative music. This Italian music creator always retained a childlike sense of wonder at the world around him, as we can hear in these finely crafted scores.

Living and working in Rome, Respighi felt a natural bond with the ancient and modern features of the city. Fountains of Rome is a guided tour around four of the city’s most famous fountains, structured and balanced like a four-movement suite or symphony. The tour is spaced across a single day, from dawn to twilight, suggesting appropriate times of day for the contemplation of each fountain and its setting within the landscape or townscape.

At dawn, we visit the Valle Giulia, where (according to Respighi’s notes) cattle are seen grazing in the damp mist.

Respighi’s fondness for modal music, whether from plainchant or from folk music, is in evidence here, and the flow of water from the fountain is heard almost throughout, either on murmuring strings or on a quietly hissing cymbal. Listen for echoes from Strauss’s opera Der Rosenkavalier!

Each movement follows directly after the one before, and About the Music

2014-15 Cleveland Orchestra Miami

so it is suddenly morning, now in the city, at the fountain of the Tritone sculpted by Bernini in the 17th century. The center of the fountain is a massive sculpture of the sea-god Triton, who holds a large conch to his lips on muscular arms. The music is menacing at first, with water cascading down from the conch, but it soon becomes playful, as naiads are imagined dancing and playing in the water. This is the musical “scherzo” of the piece.

Distant trumpets lead into the fountains of Trevi at midday.

This is the most famous of Rome’s fountains, with its elaborate sculpted backdrop and the popular tradition of throwing coins in the water. The triumphal character of the music is suggested by the image of Neptune’s chariot riding on the water and eventually passing into the distance. The model here is the battle music in Strauss’s A Hero’s Life [Ein Heldenleben], but without any implication of actual conflict.

Finally, it is the close of day, and we end in an almost mystical mood at the Villa Medici, the grand house on a hill overlooking the city, as the light fades. The music itself dissolves into the sound of birds and distant bells, giving way to the silence of the night.

—Hugh Macdonald © 2014

At a Glance Respighi wrote his symphonic poem Fontane di Roma (“Fountains of Rome”) in 1915-16. It was premiered in Rome on March 11, 1917, at the Teatro Augusteo under the direction of Antonio Guarnieri.

Fountains of Rome runs about 15 minutes in performance. Respighi scored it for 3 flutes, piccolo, 3 oboes, english horn, 3 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta, piano, optional organ, and strings.

Trevi Fountain in Rome, designed in the 17th century

by Italian architect Nicola Salvi and completed by Pietro Bracci and Giuseppe Pannini.

Cleveland Orchestra Miami 2014-15

About the Music

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Capriccio espagnol, Opus 34 composed 1887

by

Nikolai

RIMSKYKORSAKOV born March 18, 1844 Tikhvin, Russia (near Novgorod) died June 21, 1908 St. Petersburg, Russia

I N H I S E A R LY Y E A R S as an officer in the Russian Imperial Navy, Nikolai Rimsky-Korsakov sailed to London, New York, and South America. And on the return voyage, in November 1864, his ship, the Almaz, spent a few days in the Spanish port of Cadiz. Whether or not he picked up any snatches of Spanish dances during his stay (his autobiography My Musical Life doesn’t tell us), he had a Russian precedent for adopting Spanish idioms in the form of Mikail Glinka’s Capriccio brillante on Spanish themes, which had also served Tchaikovsky in fashioning his Capriccio Italien. Rimsky-Korsakov was also familiar with Lalo’s and Bizet’s pieces utilizing Spanish flavors.

His first plan was for a fantasia on Spanish themes for violin, but in the fallow period he experienced in the early 1880s that work was never written. In February 1887, his friend Alexander Borodin died, leaving the opera Prince Igor unfinished, so Rimsky-Korsakov and his young student Alexander Glazunov teamed up to complete it. This admirable goal awoke Rimsky’s muse, and in the next two years he composed three major orchestral works of his own — the Capriccio espagnol, Scheherazade, and the Russian Easter Overture. The Capriccio was quickly finished that summer and performed for the first time in December of the same year.

The first rehearsal was interrupted again and again by the applause of the orchestra, who were thrilled by the brilliance of the writing and the energy of the music. With his customary cool detachment, Rimsky-Korsakov later pointed out that the Capriccio is not a “magnificently orchestrated piece.” It is, rather, a “brilliant composition for the orchestra.” He went on to guide the listener: “The change of timbres, the felicitous choice of melodic shapes and figurations, exactly suiting each kind of instrument, brief virtuoso cadenzas for solo instruments, the rhythm of the percussion instruments, etc., constitute here the very essence of the composition and not its garb or orchestration.”

Ravel was later to say something similar about his own Boléro being a technical exercise, not a real composition, and Rimsky-Korsakov similarly prided himself on his technique, especially since he had outgrown the exhortation of his fellow members of Russia’s “Mighty Five” composers to despise technique as “too German.” This is also what made Rimsky-

Cleveland Orchestra Miami 2014-15

About the Music

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At a Glance Rimsky-Korsakov wrote his Capriccio espagnol [“Spanish Capriccio”] in the summer of 1887. It was first performed in St. Petersburg on October 31, 1887, conducted by the composer.

The work runs about 15 minutes in performance.

Rimsky-Korsakov’s score calls for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (side drum, bass drum, cymbals, triangle, tambourine, castanets), harp, and strings.

The Cleveland Orchestra first played Capriccio espagnol in February 1920, during the Orchestra’s second season. It has been presented frequently since that time.

Korsakov a great teacher (as Respighi was soon to learn).

The origins of the Capriccio espagnol as a violin piece are evident in the frequent violin solos and the busy activity of the violin sections. Section players have plenty of double-stopping [playing two notes at once by bowing across two strings], with the shrill sound of E strings constantly heard in the opening Alborada section. The Variazioni section introduces Rimsky’s gift for elegant melody at a slow tempo, presented by four horns and taken up by the strings. Horns (brass and english) contribute their characteristic entries.

The Alborada returns, slightly altered, still bright and brisk, then the Scena e canto gitano opens with free-tempo cadenzas for four horns, then solo violin, then flute, clarinet, and harp, and then closes with a furious dance with much stamping of Spanish gypsy feet. This leads directly into the Fandango asturiano in which the tune is repeated many times in varying contexts, and the whole piece closes with the Alborada again, now orchestrated with even more panache than before.

—Hugh Macdonald © 2014 Hugh Macdonald lives in England and is the Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis.

He is a noted authority on French music. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Photograph of Rimsky-Korsakov as a naval cadet.

30

About the Music

2014-15 Cleveland Orchestra Miami

Everybody’s a dreamer . . . and everybody’s a star . . . and everybody’s in show biz . . . it doesn’t matter who you aree . . . and those who are successfull . . . be always on your guard . . . success walks hand in hand with failure along Hollywood Boulevard.

(From the song “Celluloid Heroes” by The Kinks)

If you have ever felt this way, call me. —Rick Tonkinson

RICK TONKINSON STEVEN TONKINSON

CERTIFIED FINANCIAL PLANNER™ PROFESSIONALS 2398 South Dixie Hwy Miami, FL 33133 Toll-free Ph: (866) 323-8326 Toll-free Fax: (866) 610-0042 www.TonkinsonFinancial.com

We deal with our client’s life financial issues with common sense, a realistic approach, and encouragement.

It is not how much you have, but rather how well you use it.

Securities and advisory offered through Commonwealth Financial Network®, member FINRA/SIPC, a registered investment adviser.

INFORMATION ACCESSIBILITY Adrienne Arsht Center is fully accessible. When purchasing tickets, patrons who have special needs should call (305) 949-6722 or (866) 949-6722 and inform their customer service representative. (786) 468-2011(TTY). Audio description and assistive listening equipment is funded by Mary & Sash Spencer and the Miami-Dade County Mayor and the Board of County Commissioners, the MiamiDade County Department of Cultural Affairs and the Cultural Affairs Council.

DINING A variety of light food and beverage is available one hour before the show and during intermissions in the theater lobbies.

EMERGENCIES Emergency exits are clearly marked throughout the building. Ushers and security personnel will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.

FACILITIES RENTALS Persons or organizations interested in renting the auditoriums, lounges, terraces, plazas or other spaces for private and public events at Adrienne Arsht Center should contact (786) 468-2287 or rentals@arshtcenter.org.

HEARING AIDS AND OTHER HEARING-ENHANCEMENT DEVICES Please reduce the volume on hearing aids and other devices that may produce a noise that would disturb other patrons or the performers. Assistive Listening Devices are available in the lobby; please ask an usher for assistance.

Photo by Robin Hill

LATE SEATING Adrienne Arsht Center performances begin promptly as scheduled. As a courtesy to the performers and audience members already seated, patrons who arrive late will be asked to wait in the lobby until a suitable break in the performance to be determined in consultation with the performing artists. Until the seating break, latercomers may watch the performance via closed-circuit monitors conveniently situated in the lobbies. To FRQÂżUP VWDUWLQJ WLPHV IRU $GULHQQH $UVKW &HQWHU performances please check your ticket, visit www. arshtcenter.org, or call (305) 949-6722.

MEMBERSHIP – BE A CULTURIST Members matter at the Adrienne Arsht Center. Your philanthropy makes our world-class performances possible, and helps to provide free arts education and meaningful community engagement for thousands of Miami-Dade County young people and their families.

When you join the Center as a member, you give the gift of culture to Miami – now, and for generations to come. The Culturist membership program is designed to enhance your experience at the Arsht Center with VSHFLDO EHQH¿WV UDQJLQJ IURP DGYDQFH QRWLFH RI performances to invitations to exclusive receptions.

Membership begins at just $75, with giving levels through $5,000. To join the Culturist movement, please call 786-468-2040, email: membership@ arshtcenter.org or visit www.arshtmembers.org.

Phone Numbers Accessibility

(786) 468-2011(TTY)

Advertising

(786) 468-2232

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(866) 949-6722 M – F 10am – 6pm Sat. – Sun. noon to Curtain

Facilities Rental

(786) 468-2287

Advancement

(786) 468-2040

Group Sales

(786) 468-2326

Membership

(786) 468-2040

Parking

(305) 949-6722 (866) 949-6722

or visit www.arshtcenter.org Security

(786) 468-2081

Anna Murch fountain in the Thomson Plaza for the Arts

32

Arsht Center Information

2014-15 Cleveland Orchestra Miami

Photo by Mitchell Zachs

INFORMATION LOST AND FOUND Patrons should check with the House Manager in the theater lobby prior to leaving the theater, otherwise please call the Adrienne Arsht Center main security number (786) 468-2081. Lost articles will be held for 30 days.

MEMBERS GET IT FIRST! As a member of the Adrienne Arsht Center–a Culturist–you have exclusive access to members-only ticket pre-sales and so much more! Join today, online at www.arshtmembers.org or by calling 786-468-2323.

PAGERS, CELL PHONES AND OTHER LISTENING DEVICES All electronic and mechanical devices—including pagers, PDAs, cellular telephones, and wristwatch alarms—must be turned off while in the auditoriums.

PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING The taking of photographs and the use of audio or video recording inside the auditoriums are strictly prohibited.

TICKETS Patrons may purchase tickets •Online: www.arshtcenter.org •By Phone: (305) 949-6722 or (866) 949-6722 10 a.m.- 6 p.m. weekdays; beginning at noon on weekend perfomance days. ‡$W WKH %R[ 2I¿FH WKH $GULHQQH $UVKW &HQWHU %R[ 2I¿FH LV ORFDWHG LQ WKH =LII %DOOHW 2SHUD +RXVH OREE\ (main entrance on NE 13th between Biscayne Blvd. and NE 2nd Ave.) the Adrienne Arsht Center Box 2I¿FH LV RSHQ D P S P 0RQGD\ )ULGD\ QRRQ WR FXUWDLQ RQ ZHHNHQGV ZKHQ WKHUH LV D SHUIRUPDQFH and two hours before every performance. •Groups of 15 or more people: (786) 468-2326.

TOURS Free behind-the-scene tours of the Adrienne Arsht Center complex are given every Monday and Saturday at noon, starting in the Ziff Ballet Opera House Lobby. No reservations necessary.

VOLUNTEERS Volunteers play a central role at the Adrienne Arsht Center. For more information, call (786) 468-2285 or email volunteers@arshtcenter.org.

WEBSITE Visit www.arshtcenter.org for the most up-to-date performance schedule. Also, join our mailing list and we will send performance notices directly to you. When you join, you may choose the types of shows about ZKLFK \RX ZDQW WR EH QRWLÂżHG DQG XSGDWH WKRVH FKRLFHV DW DQ\ WLPH ,I \RXÂśYH DOUHDG\ VLJQHG XS PDNH sure you add email@arshtcenter.org to your address book and/or safe list.

Visit www.arshtcenter.org today.

6WHLQZD\ 6RQV 7KH 2IÂżFLDO 3LDQR RI WKH $GULHQQH $UVKW &HQWHU Adrienne Arsht Center Uniforms, an EcoArtFashion project by Luis Valenzuela, www.luisvalenzuelausa.com

Cleveland Orchestra Miami 2014-15

Arsht Center Information

33

ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI-DADE COUNTY

Trish Brennan Vice President, Human Resources Ken Harris Vice President, Operations Administration Aric Kurzman

M. John Richard President & CEO Scott Shiller Executive Vice President Andrew Goldberg Vice President, Marketing Thomas M. Berger Vice President, Finance & Administration and Chief )LQDQFLDO 2IÂżFHU

Assistant Vice President o f Business and Legal Affairs Manager of Board Relations Executive Assistant to the President & CEO 0DQDJHU 2IÂżFH RI WKH Executive Vice President Receptionist

Chantal HonorĂŠ Joanie Rivera -RDQQH 0DWVXXUD Thyra Joseph Advancement David S. Green

Assistant Vice President of Advancement and Campaign Director Munisha Underhill Senior Director, Advancement Jodi Mailander Farrell Senior Director, Foundation Relations Felicia Hernandez Director, Member Relations and Donor Relations Ana Morgenstern Grant Writer Christine Brown Manager, Advancement Services Carrie Rueda Executive Assistant to the Vice President of Advancement Kalyn James Corporate Sponsorship Coordinator Jeanette Castro Membership Assistant Finance Teresa Randolph Kimba King Aida Rodriguez Roberta Llorente Francisca Squiabro Giovanni Ceron

Assistant Vice President, Finance and Controller Manager of Human Resources Accountant Manager Human Resources Assistant Revenue Staff Accountant Payables Accountant

Audience Services Alice Arslanian Fifelski Neal Hoffson Rodolfo Mendible Carolyn Woodyer Nicole Keating Laura White Maria Usaga Nadinne Farinas David Saifman Julia Acevedo Richard Malin Adam Garner Mario Acevedo Melissa Almaguer Ashley Araujo Fernanda Arocena Anita Braham Heather Brummer Alfred Cruet Betsy Diaz Stephanie Diez Randy Garcia Mabel Gonzalez Randall Heidelburg Diana Herrera Michael Kontomanolis Natalia Morgan Taviana Nevares Fabiana Parra Stephanie Perez Mirlanta Petit-Homme Claudia Quesada Theo Reyna Ashley Richardson Javier Rhoden Liana Rodriguez Davide Sahner Logan Smiley Jose L. Carrion III Information Technology James J. Thompson Michael Sampson Renville Williams Marco Franceschi Lilibeth Bazain

34

Theater Manager House Manager House Manager Manager, Volunteer Program Senior Director, Ticket Services Director, Ticket Services Ticket Services Manager Ticket Services Manager Ticket Services Manager Ticket Services Supervisor Ticket Services Supervisor Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Assistant Vice President, Information Technology Director, Applications Developer IT Systems Administrator IT Support Technician

Valerie Riles Vice President, Board and Government Relations Suzanna Valdez Vice President, Advancement

Marketing Suzette Espinosa Fuentes

Assistant Vice President, Public Relations Director, Creative Services Director of Marketing Director of Marketing Public Relations Manager Group Sales Manager Promotions Manager e-Marketing Manager Graphic Designer Graphic Designer Graphic Designer Public Relations Coordinator Marketing Coordinator Creative Services Coordinator Group Sales Coordinator e-Marketing Assistant Group Sales Assistant Marketing Assistant

Luis Palomares John Copeland Tyrone Manning Gino Campodonico Craig Steadman Morgan Stockmayer Fernando Olalla David Chang Sam Hall Raul Vilaboa Estefania Pinzon Nicole Smith Natalia Ortiz Nadia Zehtabi Stephanie Hollingsworth Leyda Castro Patrick Rhudy Operations Daniel Alzuri Dean Dorsey Thomas McCoy Lucy Hargadon

Senior Director, Operations Director, Engineering Engineering Manager Executive Assistant to the Vice President, Operations Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer

Alejandro Aguilar Jack Crespo Isaac Dominguez Jose Hurtado Wilner Montina Jimmy Panchana Xavier Ross Alberto Vega Pedro Villalta Production Jeremy Shubrook Lauren Acker Curtis V. Hodge Janice Lane Herman Montero Melissa Santiago-Keenan Daniel McMenamin John Mulvaney Ralph Cambon Frederick Schwendel Michael Matthews Michael Feldman Tony Tur David Diaz Harold Trenhs

Director, Production Technical Director Technical Director Technical Director Technical Director Technical Director Head Carpenter, Ziff Ballet Opera House Assistant Carpenter/Head Flyman Ziff Ballet Opera House Head Audio Video, Ziff Ballet Opera House Head Carpenter, Knight Concert Hall Head Electrician, Ziff Ballet Opera House Head Audio Video, Knight Concert Hall Head Electrician, Knight Concert Hall Head Audio Video, Carnival Studio Theater Head Electrician, Carnival Studio Theater

Programming Liz Wallace Assistant Vice President, Programming Michael Donovan Director, Programming Ed Limia Director, Programming Jairo Ontiveros Director, Education and Community Engagement LisaMichelle Eigler Engagement Manager Ann Koslow Engagement Manager Jan Melzer Thomas Engagement Manager Richard Tappen Programming Manager Oscar Quesada Programming Coordinator Facility Management Ovations Food Services AlliedBarton Pritchard Sports and Entertainment

Arsht Center

2014-15 Cleveland Orchestra Miami

PERFORMING ARTS CENTER TRUST, INC.

Officers of the Board Mike Eidson Chairman Richard C. Milstein Secretary Evelyn Greer Assistant Secretary

Alan H. Fein Chair-Elect Ira D. Hall Treasurer

J. Ricky Arriola Immediate Past Chair Parker D. Thomson Founding Chair

Board of Directors

The Honorable Donald L. Graham Javier Hernandez-Lichtl James Herron Hank Klein Nathan Leight Florene Litthcut Nichols Carlos C. Lopez-Cantera Hillit Meidar-Alfi Gilberto Neves

Matilde Aguirre Pierre R. Apollon The Honorable Oscar Braynon II Armando J. Bucelo, Jr. Robert Furniss-Roe Felix Garcia The Honorable Rene Garcia Sergio M. Gonzalez Rosie Gordon-Wallace

Beverly A. Parker Jorge A. Plasencia Abigail Pollak The Honorable Raquel Regalado Neill D. Robinson Adriana Sabino Mario Ernesto Sanchez The Honorable Marc D. Sarnoff Emery B. Sheer

Ronald A. Silver The Honorable Michelle Spence-Jones Alexander I. Tachmes Carole Ann Taylor Penny Thurer Raul G. Valdes-Fauli Judy Weiser

ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS

Adrienne Arsht

Officers of the Board

Founding Chairman Frances Aldrich Sevilla-Sacasa Swanee DiMare Nancy Batchelor Ronald Esserman

Richard E. Schatz

Chairman David Rocker Sherwood M. Weiser*

Jason Williams

RESIDENT COMPANIES ALLIANCE Jerome J. Cohen Stanley Cohen Susan T. Danis Nancy J. Davis Ronald Esserman Oscar Feldenkreis Pamela Gardiner Jerrold F. Goodman Rose Ellen Greene Arthur J. Halleran, Jr. Howard Herring

Sheldon Anderson Adrienne Arsht Diane de Vries Ashley Robert T. Barlick, Jr. Fred Berens Sia Bozorgi Norman Braman Sheila Broser Robert S. Brunn M. Anthony Burns Donald Carlin*

Robert F. Hudson, Jr. Daryl L. Jones Edie Laquer Donald E. Lefton Rhoda Levitt George L. Lindemann Carlos C. Lopez-Cantera Pedro A. Martin, Esq. Arlene Mendelson Nedra Oren J. David Peña, Esq.

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

Carlos A. Gimenez Mayor MIAMI-DADE BOARD OF COUNTY COMMISSIONERS Rebeca Sosa Chairwoman Barbara J. Jordan District 1 Jean Monestime District 2 Audrey M. Edmonson District 3 Sally A. Heyman District 4

Harvey Ruvin Clerk of Courts

Cleveland Orchestra Miami 2014-15

Lynda Bell Vice Chairwoman Bruno A. Barreiro District 5 Rebeca Sosa District 6 Xavier L. Suarez District 7 Lynda Bell District 8 Dennis C. Moss District 9

Lazaro Solis Property Appraiser

Arsht Center

Sen. Javier D. Souto District 10 Juan C. Zapata District 11 José “Pepe” Diaz District 12 Esteban Bovo, Jr. District 13

Robert A. Cuevas Jr. County Attorney

35

CLEVELAND O R C H E ST R A

WHAT THE MEDIA IS SAYING . . .

“The only thing more delightful than an evening of music penned by preeminent Viennese composers such as Schubert, Korngold, and Johann Strauss, is having an Austrian conductor rendering them at the helm of The Cleveland Orchestra. . . . Miami has been the winter home of The Cleveland Orchestra for the past eight years. . . . Welser-Möst collaborates with his orchestra, often speaking elaborately with them in rehearsals about precision and the contrary. He does not concern himself with keeping the beat constantly, but is always attentive; he places a lot of trust in his players, who are obviously deserving of his trust, becoming more involved as the dynamics and aesthetic of the music require. . . . The Cleveland Orchestra completed the evening with the Overture to Die Fledermaus, every player on point, from the variety of tempos that adorned the opening to the grand theme running through the lower strings into the full orchestra. The strings were glorious amidst the brass and wind interplay. The oboe (Frank Rosenwein) rendered the romantic center with sensitivity. The engine revved up, returned to the grand theme, and sprinted to the finish line, every note a treasure. The hall was spinning as cheers from the audience accompanied their five-minute standing ovation. It couldn’t have been better.”

—MiamiArtZine, January 2014

“While the music of Richard Strauss has long been a specialty of the house for The Cleveland Orchestra, rarely heard Debussy and a stunning performance of a landmark Stravinsky score took top honors at the second program of the Clevelanders’ annual Miami residency at the Arsht Center. Acclaimed British baritone Simon Keenlyside added some vocal Strauss to a program that spanned the final decade of the 19th century and the early years of the 20th. . . . The premiere of Stravinsky’s Le Sacre du Printemps [“The Rite of Spring”] created a riot and scandal in 1913 and, over one hundred years later, the score’s raw harmonies and harsh dissonances still pack a wallop. Instead of a coolly cerebral reading or ultra brilliant traversal, Franz Welser-Möst approached the score as theater music — highly colored and rhythmically alert. John Clouser’s strongly articulated, shapely bassoon solo preceded the onset of churning, primitive rhythms, given distinctly Russian flavoring by Welser-Möst. The fired-up brass and percussion were in top form and the entire ensemble snapped to the myriad changes of meter and pulse.

In the opening of Part II, a mix of misty harmonies and languid Russian soulfulness, the depth and luster of the massed strings took full flight. Welser-Möst whipped up a frenzy in the final sacrificial dance. A wonderfully supple play of dynamics and instrumental textures marked this freshly minted reading of a 20th-century masterwork.

—South Florida Classical Review, February 2014

Classical Music.

It’s In Our Nature.

Just like all of us, classical music lives and breathes. Make it part of your lifestyle.

Tune to Classical South Florida on the radio or online. It’s in your nature.

classicalsouthflorida.org

38

2014-15 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

NEWS

Cleveland Orchestra Miami serves Miami-Dade community through musical excellence, education programs, and community partnerships The Cleveland Orchestra serves more than 20,000 adults, students, and young people in the Miami-Dade community through a variety of concerts and community engagement activities each year created as part of Cleveland Orchestra Miami. Education and community programs have been an integral part of Cleveland Orchestra Miami since the ensemble’s annual residency was launched in 2007.

In presenting these programs and activities, Cleveland Orchestra Miami has worked with community partners including the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, University of Miami Frost School of Music, New World Symphony, Miami-Dade County Public Schools, Miami Music Project, Arts for Learning, Coconut Grove Cares/The Barnyard, Coral Gables Congregational Church concert series, Florida International University, Greater Miami Jewish Federation, “I Have a Dream” Foundation, Miami City Ballet, Miami-Dade County Department of Cultural Affairs’ Golden Ticket and Cultureshock programs, MOCA North Miami, Overtown Youth Center, Ransom Everglades School, Sunday Afternoons of Music, Temple Beth Am, Archdiocese of Miami, and Wolfsonian-FIU. Each year, Cleveland Orchestra Miami builds its education programs with one goal in mind — to inspire music exploration. Presentations include a series of “Musical Rainbow” concerts for pre-school and early elementary school children, which take the audience on a musical journey of the exploration of musical instruments. Also featured are daytime school concerts for elementary students at the Adrienne Arsht Center’s Knight Concert Hall, as well as opportunities for young musicians to advance their orchestral performance craft by working side-by-side with Cleveland Orchestra musicians, conductors, and guest artists.

Cleveland Orchestra Miami 2014-15

Cleveland Orchestra Miami

39

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