CLEVEL AND ORC HE STR A FRANZ WELSER-MÖST
SEVERANCE HALL Perspectives
. . . . . . . . . . . . . . . . . . . . . . . . . . page 9
WEEK 13 — February
6, 8 Sibelius First Symphony
. . . . . . . . . . . . page 35
WEEK 13m — February
7, 9 At the Movies: Amadeus
WEEK 14 — February
. . . . . . . . . . page 55
13, 14, 15, 16 Beethoven and Mozart . . . . . . . . . . . . page 67
WINTE R 2O19 -20
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About the Orchestra
Weeks 13 and 14 Perspectives from the President & CEO . . . . . . . . . 9 Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Advisory Councils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Music Director: Franz Welser-Möst . . . . . . . . . . . . 15 About The Cleveland Orchestra . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
THE CLEVELAND ORCHESTRA
TA B L E O F C O N T E N T S
Cleveland Orchestra News . . . . . . . . 23 ON THE COVER Photograph by Roger Mastroianni
13 SIBELIUS FIRST SYMPHONY
Concert: February 6, 8 . . . . . . . . . . . . . . . . . . . . . . . 35 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 37 SIBELIUS
En Saga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 KNUSSEN
Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 SIBELIUS
Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Artists: Mälkki and Josefowicz . . . . . . . . . . . . . . . . . 34
Copyrightt © 2020 by The Cleveland Orchestra and Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: firstname.lastname@example.org Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800
13m AT THE MOVIES: AMADEUS
Concert: February 7, 9 . . . . . . . . . . . . . . . . . . . . . . . . Introducing the Movie . . . . . . . . . . . . . . . . . . . . . . . . Conductor: Vinay Parameswaran . . . . . . . . . . . . . . Mozart Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . . .
55 57 59 60 63
14 BEETHOVEN AND MOZART
Concert: February 13, 14, 15, 16 . . . . . . . . . . . . . . 67 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 69 BEETHOVEN
Overture to Egmont . . . . . . . . . . . . . . . . . . . . . . . . . 71 BEETHOVEN
Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture. The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.
Symphony No. 41 (“Jupiter”) . . . . . . . . . . . . . . . . 77 Preferred Airline of The Cleveland Orchestra
Artists: Herreweghe and Faust . . . . . . . . . . . . . . . . . 70
Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annual Support Foundation and Government . . . . . . . . . . . . . . . Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Individual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
81 82 83 84
This program is printed on paper that includes 50% recycled content. 50%
All unused books are recycled as part of the Orchestra’s regular business recycling program.
Opera with The Cleveland Orchestra . . . . . . . . . . 94
Table of Contents
The Cleveland Orchestra
S O U N D
T H E
C I T Y
BakerHostetler is proud of our long association with The Cleveland Orchestra. We share its commitment to excellence and its dedication to a thriving community.
What’s inside this ABOUT THE ORCHESTRA
Perspectives January 2020 The start of a new year brings with past and antici it time both for pation for the reflection on the future. As many our social media of you will channels — Faceb New Year began ook, Twitter, Instag have seen on , The Cleveland ram — as the Orchestra poste of celebration” d its own “twelv looking back at Presid ent & e days important mome ments from the CEO nts and accom past decade. Under plishthe hashtag #Endo to Northeast Ohio, posts are potent reminders of fDecade, these The Cleveland and of music’s Orchestra’s value importance to so many peopl More Music for e every day. More People. Much of our work the larger goal of playing “more in recent years has been under music for more series and prese taken with peopl ntations. We’ve retooled our subsc e.” We’ve expanded and added es for guests here ription offerings new at , and we’ve successfully Severance Hall. Through the generosity of forwa added new serviccreated new initiat numbers — initiat rd-thinking donor ives to encourage ives that now make s, young people We’ve continued to our attend annual Education in record celebrating comm Concerts free for holiday presentatio unity ties throu all schoo gh free community ls. ns. (Our 2019 Christ reached all-tim concerts and annua mas Concerts e highs in both l revenue and attend here at Severance Hall in Decem ance.) ber Martin Luther King Jr. Celeb rations. Each Orchestra has year for the past presented a specia four decades, The l free concert to together to celebr Cleveland bring the larger ate the spirit of Cleveland comm Dr. King’s vision year, the prese unity ntatio for a better and more collaborative demo n features a specially-assemble d community choru just world. Each nstration of huma This annual conce s lifting voices nity working toget in a rt is filled to capac her toward a better beyond Severance ity each year, with tomorrow. Hall through a its reach exten live radio broad the concert online ded to thousands cast and, in recen . Of special note t years, live stream Concert from 2018 this year, the Orche ing of has been releas stra’s Martin Luther ed for national Welser-Möst’s King Jr. Celebr baton filmed as telecast, in a prese ation part of our ongoi ntation under ream. This teleca ng work with local Franz st brings toget her media partner with the powe ideastr of music to enhan photography and spoken words ce emotional refl by telecast dates and ection and celebr and about Dr. King times, see page 27 of this book.) ation. (For details on Cleveland’s Amba ssador to the World. The nation our efforts to reach al MLK telecast out, here in Ohio is just one exam chestra and Franz and around the ple of Welser-Möst set world. In the coming month and, for the first off s, the Ortime, to the United on a spring international tour — this year to appear at the Abu Arab Emirates Europe as the first Amer Dhabi Festival. ican orchestra This spring, we’re to share a series invited to of new releases also launching showcasing the our own record Severance Hall ing label, Cleve with music-lover s around the world land/Welser-Möst partnership continue to enhan and . At ce initiatives, to touch and add to our concert offerings the same time, here at home , we , education progr the lives of more ams, and ticket people each year. ing Thank for joinin g with us!
Sever ance Hall
Perspectives — Each month, President & CEO André Gremillet writes about current news and ideas. Turn to page 9 to learn more regarding important Cleveland Orchestra initiatives and achievements. What’s Happening? — Additional sections of the book give you information about events and happenings, including:
André Gremill illet let President & CEO The Cleveland Orchestra
CH D OR
a newsiosn about the role ofice ud orchesl tr discus , and prej to foster nsorship LEV THE C
ce stiva Spring fe ty, government art in socieOrchestra has announced fes-
2O2O eland city wide The Clev ndbreaking d for of its grou Power, schedule the name nd the & ered arou sored: Art ival is cent n Berg’s opera tival, Cen . The fest s of Alba on spring 2020 ance ussi a’s perform seek s to spur disc Orchestr ent cen2020, and governm point Lulu in May in society, role of art as a star ting Nazi about the prejudice, taking ement in Music mov the Orchessorship, and erate Art & t of a Music mov the Degene a major focal poin ade rate Art & will feature dAs ival any. fest the Degene Germany in the dec oun the Germ to ss known as -20 season, presentations surr s igated acro ld War. In addition tra’s 2019 ance tive ment inst s, and collabora ra perform nd Wor variety of ing up to the ope the Seco performance d Reich’s re ical befo mus , to the Thir artworks ing and lead banning ’t conform i Part y held a 19, and 22). ils include: tion didn deta that ed (May 16, unc bora literature uty, the Naz exhibitions Newly-anno ming in colla which will sical bea lic program eved idea of clas ely-attended pub selves, Education music it beli and Our ents wid series of of art and to Jewish, Comng History teachers and stud ningexamples with Faci eland area providing or decadent — due st, and other age in mea erni ful provide Clev s to help them eng udice, and was harm an American, Mod urce m, prej with reso about racis ist, Afric ns on is mun atio seas ing influences. ful convers ; of this com eum of minority “It is an itism highlights eland Mus whose ser-Möst. anti-Sem “One of the n at the Clev Franz Wel ically and An exhibit ts from its collectio Lulu,” says in Gerk both mus g g artis featured the opera lenging wor programmin Art honorin oved by Nazis and entations; an nse and chal ter. Yet this kind of inte such rem pres have was Art we ect mat work d because Degenerate e of Art Cinemain its subj ience.” l in Clevelan open aud many’s 1937 German d Institut is successfu y, adventurous, and nd A Clevelan of G.W. Pabst’s 1929 by the inar creating arou tiong are aord ired we enin extr val insp festi at the rela e that theque scre ’s Box, which was “With the “Lulu” cycl “we will look of how continues, in Berg’s lifetime — film Pandora Frank Wedekind’s ra; Lulu,” he tically s in of his ope and politics s and ‘30s was poli same play Beachthe libretto g ship of art pted for hosted by ic in the 1920 d. We are featurin Berg ada s of lectures Heritage. others certain mus ibite And a serie eum of Jewish and proh Krenek, and ik’ or r partabandoned in Schulhoff, Ernst tz Mus e and othe rtete Mus ‘Enta Erw wood’s Mal al details of thes ths led by works in the mon Nazis labe Addition ks that the announced be wor rian — will ts Music.” ic, authorita ner even CleveDegenerate period of autocrat tic expression 2020, The May ad. in sera ahe z Wel “It was festival d. ed any artis ctor Fran During the condemn a heavy han music dire , which German regimes who r narrow view with estra and ra Lulu d through land Orch prohibite ide of thei on the ope during the Nazi rise sed s were outs abu k focu is wor of Lulu their wrote Möst will at both the character Artists and Alban Berg into how Looking Just as the the composer y 1930s. , we will look — and censorship. matter of in the earl own way to power ive subject censorship sive in her abused by a system ress abu . opp and ther ent art can be governm Art & abusive and on one ano music and f and how iere, the Censored: turn people only from the itsel can ra s m ope way how a syste ortant topics, not work’s prem d to explore the ser-Möst. were imp halted the gne ld,” says Wel These are at the time tical ival is desi today’s wor Power fest ic and composers poli but bu also in nda, p past aga mus prop ch udice, in whi t became by the prej 25 ded wha damaged hate that surroun control, and tra News d Orches Clevelan 9-20 ce Hall 201 Sev eran
ART & POWER
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News — Most books also include a selection of pages relating recent Orchestra news, including upcoming performances by ensemble members, memoriam announcements, information about new initiatives, tour review excerpts, introduction of new musicians, or other matters of interest. Donors and Patrons — Ticket revenue covers D less than half of the cost of presenting each concert by The Cleveland Orchestra. Listed in this book are hundreds of generous individuals, corporations, and foundations who invest in us each year to help ensure the continuing value that a world-class orchestra brings to Northeast Ohio. You can join them in supporting our education initiatives, artistic presentations, and community engagement activities! History — You’ll also find pages where you can see a list of the musicians, or read about The Cleveland Orchestra’s history, and about the ensemble’s home here at Severance Hall. Our Advertisers — The advertisements throughout the book are purchased by local and national companies and non-profits, creating revenue that helps pay for the cost of printing each week’s book.
D Discover more . . . clevelandorchestra.com About this Book
The Cleveland Orchestra
Program Book? CLEV FRAN
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At a Glance — Following the introduction for each concert, there is specific information about each piece of music, including a concise “At a Glance” section featuring barebones info.
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Co cert k’ Con k’s
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24 in C
At a Gla nce
About the Artists — Biographies are featured about soloists and conductors performing here at Severance Hall each week.
About this Book
Hal l 201
Introducing the Concert — A special introductory page gives you a quick overview of the music to be performed, tying together the composers, performers, and musical styles you will be hearing.
Food, Drink, and More — in addition to Severance Restaurant (open before evening concerts) and Opus Lounge (open before and after), a variety of drinks and snacks are available in lobbies throughout the building. Order yourself a beverage to enjoy, or ask about our special donor/subscriber lounges.
Yefim Bron fma d by Bak is made poss n’s appearance erHoste with The tler. Clevelan Guest Artis ible by a contribut d Orch ion t Fund from Timothy to the Orchestra’s estra P. and Jenn The Clevelan ifer C. Smu cker. is endowed d Orchestra’s Frida y Morning by the Mar Conc y E. and F. * The Frida Joseph Call ert Series y Morning ahan Fou Concertt and featu und ature is performed nda ress the Pian atio tion n..
Concert Timeline — For most concerts, a page is included showing expected running times of each piece and intermission, as well as an estimated end time. You’ll also find information about how to enhance your concert experience by learning more or relaxing with friends.
Severance Hall 2019-20
D ORC H
What’s on Tonight? — A section of most
Z WEL S
ABOUT THE CONCERT
Wolfgan Amadè g
About th e Music CONC E
born January 27, 1756 Salzburg died December Vienna 5, 1791
Mozart entered his C-minor Concert o (today Piano known as by its Köc soons, 2 No. 24 or hel num horns, 2 ber as K. catalog trumpets strings, 491 he kept , timpan and solo of his own ) into the i, March 24, piano. works The Clev 1786. The eland Orc most like work’s prem on perform ly took plac ed Mozart’ hestra first iere the sam e on Apr s Piano No. 24 in e year at il 7 of Concert Novemb the Burgth o Vienna, er 1931, director with Moz eater in under mus Nikolai Sok art part. ic playing Eisenbe oloff, with the solo rger Severin heard rela as the soloist. It This con has tively freq utes in perf certo runs about time, mos uently sinc been 30 ormanc t recently e e. Mozart minit for flute, 2018, whe in Septem that scored 2 oboes, n ber 2 clarinet under Fran Lang Lang was s, 2 bassolo z for the Orc Welser-Möst’s dire ist hestra’s ction annual Gala.
R T O has since it attracted was strings composer first performe of superla d in the himself tives eve Vienna in 1786. When r Burgtheat er by the to his com Beethoven hea rd a per panion for that he powerfu could nev mance of it, he l writin muttered g doub er Piano Co ma tch it tless ncerto, in the sam inspired Beetho — and Mozart’s Brahms, e key, fou ven’s ow too, sin n Third rteen yea Across mo gled thi rs later. re than s work two cen in praisin turies, com out as truly rem g its imm arkable. mentary depth. aculate design, has bee innovatio n united The work’s n, and exp rem ressive of its con arkable cep sto outdoing tion. Even by his ry starts with the himself, own pro circumsta producing lific stand tos in the nces ards Mo no fewer four yea zar rs 1782-8 tha long aft er Mozar 6. This wo n fifteen piano t was t’s death concerits predec rk in C min as No. 24, foll essor, the or, design are com owed ho A major ated plete op t con on certo (No the hee posites ls of . 23, K .48 in terms In tha 8). The of temper certos wh t year of 1786, two ament and Mozart ile also dashed color. com Figaro — off three his genius pleting his com piano con of his urg ic opera , it would , The Ma enc seem, no rriage of fact of him y may have also t allowin involved g playing his continu any rest. Part solid sou his own piano con rce ing deb ts. certos off the public of income, wh ile also kee ered a rela The eye. ping his tively virtuoso talent in About the
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Perspectives February 2020 A hundred years ago, Cleveland Orchestra founder Adella Prentiss Hughes recognized the value of music education for young people and the need to grow an audience for her new orchestra. More than a century later, education and community service are still core to our mission — and have never been more important. One of the great President & CEO joys of my professional life is sharing in the excitement students feel as they experience the power and passion of an extraordinary musical performance during a first-time visit to Severance Hall. Across the decades, the Orchestra has introduced more than four million Clevelandilies. This This area students to classical music through concerts presented for schools and famlies. month, we present “Beethoven: The Man & His Music” — programmed to honor the legendary composer’s 250th birthday this year. For these daytime Education Concerts, we’re sharing with middle-school students a number of Beethoven’s orchestral masterpieces, as well as the difficult challenges he faced throughout his life. That Beethoven was able to overcome so many obstacles and channel both his frustrations and his love of humanity into composing some of the greatest music ever written is a lesson for everyone. In addition to performing Beethoven’s works for nearly 6,000 young people at Severance Hall, assistant conductor Vinay Parameswaran also leads the Orchestra in special presentations for students at the Lorain Palace Theatre and for west side Cleveland residents at Lakewood Civic Auditorium. The expansive reach of this year’s education performances is made possible, in part, by Mrs. Jane Nord, whose transformational gift to The Cleveland Orchestra last year ensures free admission to Education Concerts for all schools and students throughout our hometown community — forever. This remarkable donation was inspired by Mrs. Nord’s own “revelatory and powerful” experience hearing The Cleveland Orchestra as a young girl, and her wish that every child across Northeast Ohio have the same opportunity as she did to be moved by these world-class musicians. At the top of February, we welcomed Jamie Bernstein, daughter of Leonard Bernstein, to Severance Hall. Here, she shared her father’s radiant music in a program titled “The Bernstein Beat: What Makes Music Dance?” — presented as part of our 50th season of Cleveland Orchestra Family Concerts. As many of you know, Leonard Bernstein was not just an innovative composer, but also a brilliant music educator, who brought his pioneering Young People’s Concerts television series to millions of living rooms across the country in the 1960s. As The Cleveland Orchestra continues forward into its second century, Franz WelserMöst and this entire institution remain deeply committed to engaging young people through memorable musical presentations and education initiatives. March is Music In Our Schools Month across the United States — I hope everyone who has been inspired by The Cleveland Orchestra will reflect on the importance of music in your own lives, and join us in nurturing new generations of music lovers. We must all be advocates for music in our schools, and embrace every opportunity to spark a passion for this special artform in young and old alike. I’m reminded of Beethoven’s simple declaration: “Music can change the world.” Indeed, it does — every day.
Severance Hall 2019-20
André Gremillet President & CEO The Cleveland Orchestra
MUSICAL ARTS ASSOCIATION
as of November 2 019
operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival OFFICERS AND EXECUTIVE COMMITTEE Richard K. Smucker, Chair André Gremillet, President & CEO Dennis W. LaBarre, Immediate Past Chair Richard J. Bogomolny, Chair Emeritus Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern RESIDENT TRUSTEES Robin Dunn Blossom Richard J. Bogomolny Yuval Brisker Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Margot Copeland Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert A. Glick Iris Harvie Dee Haslam Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Betsy Juliano Jean C. Kalberer
Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer
Virginia M. Lindseth Nancy W. McCann Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner
Barbara S. Robinson Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr.
Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch Richard Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Dr. Tomislav Mihaljevic Beth E. Mooney Katherine T. O’Neill Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner
Charles A. Ratner Zoya Reyzis Barbara S. Robinson Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Richard Stovsky Russell Trusso Daniel P. Walsh Thomas A. Waltermire John Warner Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort Dr. Anthony Wynshaw-Boris
N ATI O NA L A ND I N T E RN AT I O N AL T RUS T E E S Virginia Nord Barbato (New York) Richard C. Gridley Wolfgang C. Berndt (Austria) (South Carolina) Mary Jo Eaton (Florida) Herbert Kloiber (Germany) TRUSTEES EX- OFFICIO Lisa Fedorovich, Co-Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University TRUSTEES EMERITI George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Raymond T. Sawyer
Ben Pyne (New York) Paul Rose (Mexico)
Dr. Patricia M. Smith, President, Friends of The Cleveland Orchestra Todd Diacon, President, Kent State University
HONORARY TRUSTEE S FOR LIFE Alex Machaskee Gay Cull Addicott Robert P. Madison Charles P. Bolton John C. Morley Jeanette Grasselli Brown The Honorable John D. Ong Allen H. Ford James S. Reid, Jr. Robert W. Gillespie
PA S T BOA R D PR E S ID E N T S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53
Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83
Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17
TH E C L E V E L A N D O R C H E S T R A FRANZ WELSER-MÖST, Music Director
Severance Hall 2019-20
ANDRÉ GREMILLET, President & CEO
Musical Arts Association
THE CLEVELAND ORCHESTRA The Cleveland Orchestraâ€™s Board of Trustees is grateful to the community leaders listed on this page, who provide valuable knowledge, expertise, and support in helping propel the Orchestra forward into the future.
ADVISORY COUNCIL Larry Oscar, Chair Greg Chemnitz, Vice Chair Richard Agnes Mark J. Andreini Lissa Barry Dean Barry William P. Blair III Frank Buck Becky Bynum Phil Calabrese Paul Clark Richard Clark Kathy Coleman Judy Diehl Barbara Hawley Matt Healy Brit Hyde Rob Kochis Janet Kramer David Lamb Susan Locke
Todd Locke Amanda Martinsek Michael Mitchell Randy Myeroff George Parras Beverly Schneider Astri Seidenfeld Reg Shiverick Tom Stanton Fred Stueber Terry Szmagala Brian Tucker Peter van Dijk* Diane Wynshaw-Boris Tony Wynshaw-Boris * deceased
EUROPEAN ADVISORY BOARD Herbert Kloiber, Chair Wolfgang Berndt, Vice Chair Gabriele Eder Robert Ehrlich Peter Mitterbauer Elisabeth Umdasch
MIAMI ADVISORY COUNCIL Michael Samuels, Co-Chair Mary Jo Eaton, Co-Chair Bruce Clinton Martha Clinton Betty Fleming Joseph Fleming
Alfredo Gutierrez Luz Maria Gutierrez Maribel Piza Judy Samuels
Lists as of September 2 O19
Advisory Councils and Boards
The Cleveland Orchestra
Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.
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The The2017-18 2019-20season seasonwill marks mark Franz FranzWelser-Möst’s Welser-Möst’s18th 16th year yearas asmusic musicdirector. director.
SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.
Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.
Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.
Followers Follows onon Facebook social media (as of(June June 2019) 2016)
The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.
concerts each year.
The Orchestra was founded in 1918 and performed its first concert on December 11.
The Cleveland Orchestra performs over
THE CLEVEL AND ORCHESTRA
BY THE NUMBERS
Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra
Franz Welser-Möst is among today’s most distinguished conductors. The 2019-20 season marks his eighteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. Under his direction, The Cleveland Orchestra has been praised for its inventive programming, its ongoing support for new musical works, and for its innovative approach to semi-staged and staged opera presentations. An imaginative approach to juxtaposing newer and older works has opened new dialogue and fresh insights for musicians and audiences alike. The Orchestra has also been hugely successful in building up a new and, notably, a young audience. As a guest conductor, Mr. WelserMöst enjoys a particularly close and Severance Hall 2019-20
productive relationship with the Vienna Philharmonic. He has twice appeared on the podium for their celebrated New Year’s Concert, and regularly conducts the orchestra in subscription concerts in Vienna, as well as on tours in Japan, China, Australia, and the United States. Highlights of his guest conducting appearances in the 2019-20 season include performances of Strauss’s Die Aegyptische Helena at Teatro alla Scala, and concerts with the New York Philharmonic, Leipzig Gewandhaus Orchestra, and Amsterdam’s Royal Concertgebouw Orchestra. Mr. Welser-Möst is also a regular guest at the Salzburg Festival, where his work leading a series of opera performances has been widely acclaimed. Franz Welser-Möst’s recordings and videos have won major international awards and honors. With The Cleveland Orchestra, his recordings include a number of DVDs on the Clasart Classic label, featuring live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms. A number of his Salzburg opera productions, including Rosenkavalier, have been released internationally on DVD by Unitel. In June 2019, Mr. Welser-Möst was awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts in recognition of his long-lasting impact on the international arts community. Other honors include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, 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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is today hailed as one of the very best orchestras on the planet, noted for its musical excellence and for its devotion and service to the community it calls home. The 2019-20 season marks the ensemble’s eighteenth year under the direction of Franz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, the Orchestra and its board of trustees, staff, and volunteers have affirmed a set of community-inspired goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of continuing extraordinary concert experiences, engaging music education programs, and innovative technologies offers future generations dynamic access to the best symphonic entertainment possible anywhere. The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies. These include recurring residencies at Vienna’s Musikverein, and regular appearances in European music capitals, in New York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of excellence in everything that it does. Its ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across the globe, and through recordings and broadcasts. The Orchestra’s longstanding championing of new composers and the commissioning of new works helps audiences experience music as a living language that grows with each new generation. Fruitful juxtapositions and re-examinations of classics, new recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and engaging musical explorations for the community are core to the Orchestra’s mission, fueled by a commitment to serving Cleveland and surrounding communities. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the Orchestra and the citizens of NorthPHOTO BY ROGER MASTROIANNI
THE CLEVELAND ORCHESTRA
Severance Hall 2019-20
The Cleveland Orchestra
Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland, with last summer’s for the ensemble’s official 100th Birthday bash. Nearly 3 million people have experienced the Orchestra through these free performances. This summer’s concert took place on August 7.
PHOTO BY ROGER MASTROIANNI
east Ohio together in new ways. Active performance ensembles and teaching programs provide proof of the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than a century of quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance — with 20% of attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences for symphonic concerts anywhere. con Innovative Programming. The Cleveland Orchestra was among the first Cl Clev American orchestras heard on a regular Ame series seri of radio broadcasts, and its Severance anc Hall home was one of the first concert halls hallll in the world built with recording and h broadcasting capabilities. Today, Cleveland b bro Orchestra concerts are presented in a variOrc etyy of formats for a variety of audiences — including casual Friday night concerts, film incl scores scor performed live by the Orchestra, collaborations with pop and jazz singers, colla ll ballet ball and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz con W lser-Möst’s creative vision has given the Wel Orchestra an unequaled opportunity to Orc explore music as a universal language of exp p communication and understanding. com
An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music. While strong ticket sales cover less than half of each season’s costs, the generosity of thousands each year drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly
The Cleveland Orchestra
The Cleveland Orchestra
ing 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. Year-round performances became a reality in 1968 with the opening of Blossom Music Center. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency at home throughout Northeast Ohio and around the world. Program Book on your Phone Visit www.ExpressProgramBook.com to read bios and commentary from this book on your mobile phone before or after the concert.
PHOTO BY ROGER MASTROIANNI
grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate sound environment in which to perfect the ensemble’s artistry. Tour-
Severance Hall 2019-20
The Cleveland Orchestra
T H E
C L E V E L A N D
Franz Welser-Möst MUSIC DIREC TOR
CELLOS Mark Kosower *
Kelvin Smith Family Chair
SECOND VIOLINS Stephen Rose* FIRST VIOLINS Peter Otto FIRST ASSOCIATE CONCERTMASTER
Virginia M. Lindseth, PhD, Chair
Jung-Min Amy Lee ASSOCIATE CONCERTMASTER
Gretchen D. and Ward Smith Chair
Jessica Lee ASSISTANT CONCERTMASTER
Clara G. and George P. Bickford Chair
Stephen Tavani ASSISTANT CONCERTMASTER
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 Analisé Denise Kukelhan Zhan Shu
Alfred M. and Clara T. Rankin Chair
The GAR Foundation Chair
Charles Bernard2 Helen Weil Ross Chair
Emilio Llinás2 James and Donna Reid Chair
Bryan Dumm Muriel and Noah Butkin Chair
Eli Matthews1 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 Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair
Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair
Louis D. Beaumont Chair
Charles M. and Janet G. Kimball Chair
Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair
Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair
Lembi Veskimets The Morgan Sisters Chair
Eliesha Nelson Joanna Patterson Zakany Patrick Connolly
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 Switalski2 Scott Haigh1 Mary E. and F. Joseph Callahan Chair
Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair
Charles Carleton Scott Dixon Derek Zadinsky 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.
Severance Hall 2019-20
O R C H E S T R A FLUTES Joshua Smith* Elizabeth M. and William C. Treuhaft Chair
Saeran St. Christopher Jessica Sindell2 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
Corbin Stair Sharon and Yoash Wiener Chair
Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair
HORNS Nathaniel Silberschlag* George Szell Memorial Chair
Knight Foundation Chair
Jesse McCormick Robert B. Benyo Chair
Hans Clebsch Richard King Alan DeMattia
Robert and Eunice Podis Weiskopf Chair
Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair
ENGLISH HORN Robert Walters
CORNETS Michael Sachs* Mary Elizabeth and G. Robert Klein Chair
Michael Miller CLARINETS Afendi Yusuf* Robert Marcellus Chair
Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair
Daniel McKelway2 Robert R. and Vilma L. Kohn Chair
E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair
BASSOONS John Clouser *
TROMBONES Shachar Israel2 Richard Stout 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
Gareth Thomas Barrick Stees2 Sandra L. Haslinger Chair
Jonathan Sherwin CONTRABASSOON Jonathan Sherwin
The Cleveland Orchestra
PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair
Donald Miller Tom Freer Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones* Rudolf Serkin Chair
TRUMPETS Michael Sachs*
Samuel C. and Bernette K. Jaffe 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 Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair
* Principal § 1 2
Associate Principal First Assistant Principal Assistant Principal
CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE
Vinay Parameswaran ASSISTANT CONDUCTOR
TIMPANI Paul Yancich* Otto G. and Corinne T. Voss Chair
Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair
Elizabeth Ring and William Gwinn Mather Chair
Lisa Wong DIRECTOR OF CHORUSES
Frances P. and Chester C. Bolton Chair
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The Maltz Performing Arts Center proudly presents
The Peacherine Ragtime Society Orchestra:
Sunday, March 15 | 3 p.m. Tickets range from $12-$40 Purchase your tickets at case.edu/maltzcenter.
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The Cleveland Orchestra
THE CLEVELAND ORCHESTRA
Franz Welser-Möst and Cleveland Orchestra embark on spring tour to Europe and Abu Dhabi T H E C L E V E L A N D O R C H E S T R A and Franz Welser-Möst embark on their twentieth international tour together this spring, with seven performances scheduled in three cities across Europe (Vienna, Paris, and Linz), and four concerts in the United Arab Emirates as the first American orchestra to perform at the Abu Dhabi Festival. The tour performances span March 19 to April 4. The tour’s concert programs feature the pairing of symphonies by Sergei Prokofiev and Franz Schubert, two composers separated by a century in time, but who shared gifts for melody and intricate layers of musical meaning. Other works on the tour as part of the Abu Dhabi Festival include Tchaikovsky’s Fifth Symphony and Dvořák’s Cello Concerto. The ensemble will be joined in Europe by frequent Cleveland Orchestra guest artist Julia Fischer for performances of Prokofiev’s First Violin Concerto. In Abu Dhabi, the concerts feature baritone Simon Keenlyside, cellist Yo-Yo Ma, and a special collaboration with American Ballet Theatre for staged performances of Prokofiev’s Romeo and Juliet with choreography by Kenneth MacMillan. Long acclaimed for its artistry and musical excellence, The Cleveland Orchestra is a proud ambassador for Ohio, carrying the depth and breadth of local arts and cultural understanding across the globe. The 2020 International Tour is part of the Orchestra’s 102nd season and the 18th year of the ensemble’s acclaimed partnership with Welser-Möst. “Nearly every season over the past half century, The Cleveland Orchestra has toured internationally,” says André Gremillet, the Orchestra’s President and CEO. “We are extraordinarily proud to represent Cleveland and Northeast Ohio around the world. Touring remains an essential part of our season both from an artistic and an audience development perspective. It is always a great pleasure for us to be back in Vienna and Paris, and we are honored to be the first orchestra from the United States to play the renowned Abu Dhabi Festival. Music truly is a universal language that transcends cultures and connects us all.” Commenting on the tour and his pairing of
Severance Hall 2019-20
works by Schubert and Prokofiev, Franz WelserMöst said: “It is important that we continue to perform works that are too often neglected or have been forgotten. This season, I am pairing works by Schubert and Prokofiev because, although both of them are well-known composers, there is still so much of their music that remains unknown. Their creativity shares a number of similarities and contrasts, and I believe that hearing them together brings out special qualities of their genius. Their lesser-known masterpieces should . ..ParisLinzVienna be rediscovered. At the same time, their acclaimed works also showcase the art and creativity of two extraordinary composers. The lesser-known symphonies — such as Schubert’s Third and Fourth, or Prokofiev’s Second, Third, and Sixth — are absolute jewels, which audiences should experience. They have as much to offer as Schubert’s ‘Great’ C-major Symphony or Prokofiev’s Romeo and Juliet.” “In Vienna, we are a household name, from performing there every other season,” continued Welser-Möst. “We are also well-known in Paris. We leave a lasting impression. And on this tour we have some interesting things to offer. Prokofiev’s Second Symphony has never before been performed at Vienna’s Musikverein and the last time Prokofiev’s Sixth Symphony was played there was in 1983 with the Leningrad Philharmonic — and I was in that audience, in standing room. I believe it is important that we present programming, to offer audiences an experience to say, ‘Oh, that is different.’ Helping audiences discover something new, something they enjoy, is important. When we’ve done that, I think we have done a good job.” For complete tour details, dates, and programs, visit www.clevelandorchestra.com.
Cleveland Orchestra News
Abu Dhabi Festival
orchestra news New subscriber-donor lounge launched with 2019-20 season at Severance Hall The Cleveland Orchestra inaugurates a new subscriber benefit with the start of the 2019-20 season. Named the Lotus Club, this stylish and contemporary lounge was designed by Arhaus Furniture and encourages members to celebrate the rich history and elegant decor of Severance Hall — in an intimate space featuring cozy seating areas and an impressive selection of light bites, local beers, spirits, and other refreshments. The Club is located in the Taplin Room just off the main level of the concert hall; access is also available from the building’s groundfloor and via a special members entrance to Severance Hall along Euclid Avenue. The Lotus Club is open two hours before the Orchestra’s classical subscription series concerts and during intermission throughout the entire season. Two levels of membership
THE LOTUS CL AT SE VE R AN CE
THE CLEVELAND ORCHESTRA
are available. Patrons with a subscription of four or more concerts who donate $600-$2,499 to the Annual Fund receive Platinum Membership cards and have unlimited access to the Lotus Club. Patrons with a subscription of four or more concerts donating $150-$599 receive Gold Membership cards, providing access to the Club once per season. In addition to light food and beverage service provided by Marigold Catering, the lounge features private restrooms, televisions, and a variety of entrance options. For information about becoming a Lotus Club member, please contact the Orchestra’s Ticket Office at 216-231-1111 or 800-686-1141.
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Cleveland Orchestra News
The Cleveland Orchestra
THE CLEVELAND ORCHESTRA
Spring Festival to foster discussion about the role of art in society, government censorship, and prejudice The Cleveland Orchestra has announced the name of its 2020 Festival in May, Censored: Art & Power, scheduled for spring 2020. Centered around the Orchestra’s performances of Alban Berg’s opera Lulu in May 2020, the Festival seeks to spur discussion about the role of art in society, government censorship, and prejudice, taking as a starting point the Degenerate Art & Music movement in Nazi Germany. As a major focal point of the Orchestra’s 2019-20 season, the Festival will feature a variety of collaborative presentations surrounding and leading up to the opera performances (May 16, 19, and 22). Partner events include: Education programming in collaboration with Facing History and Ourselves, which will provide Cleveland area teachers and students with resources to help them engage in meaningful conversations about racism, prejudice, and anti-Semitism; An exhibit at the Cleveland Museum of Art honoring artists from its collection whose work was removed by Nazis and featured in Germany’s 1937 Degenerate Art presentations; A Cleveland Institute of Art Cinematheque screening of G.W. Pabst’s 1929 German film Pandora’s Box, which was inspired by the same plays in Frank Wedekind’s “Lulu” cycle that Berg adapted for the libretto of his opera; And a lecture will be hosted by Beachwood’s Maltz Museum of Jewish Heritage. Additional details of these and other partner events will be announced in the months ahead. During the Festival in May 2020, The Cleveland Orchestra and music director Franz WelserMöst will focus on the opera Lulu, which German composer Alban Berg wrote during the Nazi rise to power in the early 1930s. Looking at both the abusive and oppressive subject matter of the opera itself and how government censorship halted the work’s premiere, the Censored: Art & Power festival is designed to explore the ways in which music and composers at the time were damaged by the prejudice, propaganda, political control, and hate that surrounded what became known as the Degenerate Art & Music move-
Severance Hall 2019-20
FE STIVAL 2O2O
ART & POWER ment instigated across Germany in the decade before the Second World War. In addition to banning artworks, musical performances, and literature that didn’t conform to the Third Reich’s idea of classical beauty, the Nazi Party held a series of widely-attended public exhibitions providing examples of art and music it believed was harmful or decadent — due to Jewish, Communist, African American, Modernist, and other minority influences. “One of the highlights of this coming season is the opera Lulu,” says Franz Welser-Möst. “It is an intense and challenging work both musically and in its subject matter. Yet this kind of programming is successful in Cleveland because we have such an extraordinary, adventurous, and open audience.” “With the festival we are creating around Lulu,” he continues, “we will look at the relationship of art and politics in Berg’s lifetime — of how certain music in the 1920s and ‘30s was politically abandoned and prohibited. We are featuring works by Erwin Schulhoff, Ernst Krenek, and others — works that the Nazis labeled ‘Entartete Musik’ or ‘Degenerate Music’.” “It was a period of autocratic, authoritarian regimes who condemned any artistic expression outside of their narrow view with a heavy hand. Artists and their work were prohibited through censorship. Just as the character of Lulu is abused and abusive in her own way, we will look into how music and art can be abused by a system — and how a system can turn people on one another. These are important topics, not only from the past but also in today’s world,” says Welser-Möst.
Cleveland Orchestra News
Romeo &Juliet February 27- March 1, 2020 in Cuba March 13, 2020 in Cleveland verbballets.org