The Cleveland Orchestra October 13-16 2022 Concerts

Beethoven’s Eroica 2022 /2023 S EASON October 13 – 16, 2022

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2022 /2023 SEASON JAC K , J O S E P H A N D M O R TO N M A N D E L C O N C E R T H A L L AT S E V E R A N C E M U S I C C E N T E R

Beethoven’s Eroica Thursday, October 13, 2022, at 7:30 p.m.

Friday, October 14, 2022, at 11 a.m.* Saturday, October 15, 2022, at 8:00 p.m.

Sunday, October 16, 2022, at 3:00 p.m.

Nikolaj Szeps-Znaider, conductor Karim Al-Zand

Lamentation on The Disasters of War

10 minutes

Schelomo, Hebraic Rhapsody for Cello and Orchestra*

20 minutes

(b. 1970) Ernest Bloch

(1880–1959)

Mark Kosower, cello

Ludwig van Beethoven

(1770–1827)

INTERMISSION

20 minutes

Symphony No. 3 (“Eroica”) in E-flat major, Opus 55

45 minutes

I. II. III. IV.

Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto — Poco andante — Presto

Approximate running time: 1 hour 45 minutes *Not included in Friday’s performance, which is performed without an intermission

COVER: PHOTO BY ROGER MASTROIANNI

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Mark Kosower’s performance is sponsored by The Jean, Harry and Brenda Fuchs Family Foundation.

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2022/2023 Season Sponsor

Thursday evening’s concert is dedicated to Marshall and Brenda Brown in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

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MUSIC CREATED IN TIMES OF WAR Israeli parents. “There is clearly a Napoleonic connection between the so often comes down to the question ‘Eroica’ and Al-Zand’s piece, but as well “Why?” On one level, we question the there’s a connection between Schelomo politics of war, an often confusing and by the Jewish composer Bloch with a complex web of governmental policies modern-day composer of Arabic descent.” and prejudices. On another is the He continued: “What we want to heartbreaking bloodshed and loss of show is the sense of us humans as one, soldiers and civilians. Why do we so as one humanity. We see that in our age, often turn to music and art during these sadly, more and more this split in our troubled times? Why can a tone poem, society, and it seems we become less and symphony, or concerto more clearly less able to talk to each other. Or maybe express what can be communicated in more importantly, we become less and words, or, more to the point, beyond words.

The three composers on this program What we want to show each confront — and transform — the is the sense of us humans question of “why” through pre-established as one, as one humanity. musical forms. Karim Al-Zand’s Lamen— Nikolaj Szeps-Znaider, guest conductor tation on The Disasters of War (2006) finds renewed resonance in Francisco de Goya’s tortured 19th-century etchings less able to listen to one another. And, of Napoleon’s invasion of Spain; Ernest for that reason, I think it’s beautiful that Bloch’s World War I–era Schelomo, in the first half we have pieces by both Hebraic Rhapsody for Cello and Orchessides of a conflict that I hope will soon tra (1916), invokes the Old Testament be resolved, and that should have been wisdom of King Solomon; and Beethoresolved long ago.” ven’s Symphony No. 3 (1803–04) finds Al-Zand’s personal grief over the 2005 inspiration — and later criticism — in the death of his cousin during the Iraq war conquests of Napoleon. In contemplatis graphically conveyed from the first ing war, they illuminate dual sides of pages of his score, which depict the first humanity: not only to endure through plate from Goya’s series of etchings, The unimaginable hardship, but to find meaning, Disasters of War, documenting Napoleon’s purpose, and eventually beauty in it. invasion of Spain. Titled “Sad presenti“It has only become even more perments of what must come to pass,” tinent to play these pieces together,” said Detail from Plate 1 of The Disasters of War, guest conductor Nikolaj Szeps-Znaider, “Sad presentiments of what must come to pass,” who was born in Denmark to Polish/ Francisco de Goya, 1815.

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IMAGE COURTESY OF MUSEO DEL PRADO

Conflict and Resolution

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Plate 18 from The Disasters of War, “Bury them and keep quiet,” Francisco de Goya, 1815.

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ELEGY FOR THOSE LOST

Szeps-Znaider was led to Al-Zand’s Lamentation from having conducted his widely played Luctus Profugis with the Cincinnati Symphony Orchestra — and wanting to further investigate the composer’s extensive output. The piece represents the changing sensibilities of two artists some 200 years apart.

Al-Zand’s earlier music is elegant and witty, seemingly from a different world than Lamentation, suggesting what a seismic impact the external events of war have had on the composer’s inner life. This seems to echo the dichotomy between Goya’s courtly style, publicly embraced by the Spanish monarchy, and the arrestingly stark Disasters of War series, which was published posthumously.

IMAGE COURTESY OF MUSEO DEL PRADO

it shows an elderly man with lanky, outstretched arms asking something unanswerable. These etchings were created in the decade after Beethoven wrote his “Eroica” Symphony, during which the composer had Napoleon in his mind’s eye. The Jewish liturgical chants of Bloch’s Schelomo, the Hebrew name for the wise King Solomon, pose an emotional and cultural counterpoint in the program.

Beyond thematic connections, the pieces share brooding writing in the lower strings, glimmers of light that only intensify the music’s dark shade but also have momentary windows into a pyrrhic future, not answering the “why” question but coming to live with it.

Lamentation on The Disasters of War By

Karim Al-Zand

BORN : 1970 in Tunis, currently lives in Houston, Texas

Ω COMPOSED : 2006 Ω WORLD PREMIERE: The original sextet was premiered in April 30, 2006.

This version, for string orchestra, received its premiere in 2011 by Fulcrum Point New Music Project in Chicago. This weekend’s performances mark The Cleveland Orchestra’s first presentations of Lamentation on The Disasters of War. Ω ORCHESTRATION: string orchestra Ω DURATION: 10 minutes

(1746–1828) produced the series of 82 etchings known as Los desastres de la guerra (The Disasters of War) during the period from 1810 to 1820, as a reaction to the events which followed Napoleon’s invasion of Spain. His work is both a response to the horrific conflict he witnessed in the Peninsular War and a commentary on the ravages of war in general. What distinguishes The Disasters of War from earlier artistic treatments of bellicose subjects is the unflinching realism of its portrayal (it almost serves as a kind of documentary, eye-witness account) and Goya’s refusal to see either side in the conflict as having absolute moral superiority.

Its powerful imagery is dark and violent, its message profoundly pessimistic.

My piece Lamentation on The Disasters of War is an elegy. It is inspired by Goya’s work and its modern-day significance, though it makes no attempt to literally portray the events depicted in the etchings. The piece is dedicated to my late cousin Husam Al-Zand, who was tragically killed in Iraq in 2005; to his surviving wife and children; and to my courageous family still remaining in the region, both in Baghdad and in the growing Iraqi Diaspora. Peace be upon them.

— Karim Al-Zand, May 2006 FRANCISCO DE GOYA

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Plate 5 from The Disasters of War, “And they are like wild beasts,” Francisco de Goya, 1815.

Baghdad and in the growing Iraqi Diaspora. Peace be upon them.”

Originally written for string sextet and later arranged for string ensemble (the latter of which is presented this weekend), the piece begins with the instruments questioning and answering each other, evolving into unrelieved dissonance. The peace is manifested by tentative lyricism that defines the final third of the piece — in music that’s too wise to convey false certainty.

A VOICE OF WISDOM

The weight of wisdom and the far-reaching insights that come with it are what Bloch drew on in Schelomo, a creation

IMAGE COURTESY OF MUSEO DEL PRADO

Born in Tunis, educated in Canada (McGill University) and the U.S. (Harvard), and now a longtime composition professor at Rice University in Houston, Al-Zand wrote the music not with the specificity of an image-byimage gallery tour (as in Mussorgsky’s Pictures at an Exhibition) but rather evoking the general sentiments of the series. He encourages the viewing of the etchings, but not during performances.

His musical response has the uncompromising Expressionism of Schoenberg but also the searing introspection of Shostakovich, which is employed to express more than grief over the death of his cousin Husam Al-Zand, but concern for “my courageous family still remaining in the region, both in

Schelomo, Hebraic Rhapsody for Cello and Orchestra By

Ernest Bloch

BORN : July 24, 1880 in Geneva, Switzerland DIED : July 15, 1959 in Portland, Oregon

Ω COMPOSED : 1916 Ω WORLD PREMIERE: In May 1917, at Carnegie Hall with soloist Hans Kindler and the New York Philharmonic, conducted by Artur Bodanzky Ω CLEVELAND ORCHESTRA PREMIERE: March 8, 1928, with soloist Victor de Gomez and conductor Nikolai Sokoloff Ω ORCHESTRATION: 3 flutes (3rd doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (suspended cymbals, cymbals, tambourine, tam-tam, bass drum, snare drum), 2 harps, celeste, and strings, plus solo cello Ω DURATION: 20 minutes

IT IS NOT MY PURPOSE , nor my desire to attempt a “reconstruction” of Jewish music

or to base my works on melodies more or less authentic. I am not an archaeologist.

I hold it of first importance to write good, genuine music, my music. It is the Jewish soul that interests me, the complex, glowing, agitated soul, that I feel vibrating throughout the Bible; the freshness and naiveté of the Patriarchs; the violence that is evident in the prophetic books; the Jew’s savage love of justice; the despair of the preacher in Jerusalem; the sorrow and immensity of the Book of Job; the sensuality of the Song of Songs. All this is in us; all this is in me, and it is the better part of me.

It is in all this that I endeavor to hear in myself and to transcribe in my music; the venerable emotion of the race that slumbers way down in our soul.

— Ernest Bloch, in a 1917 letter to Boston Symphony Orchestra program annotator Philip Hale

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during World War I — amid its senseless origins and world-devastating upheaval — can’t help but be heard in the orchestra. The hectic instrumental writing has been described as a Tower of Babel, or as close as any depiction of an argumentative society that refuses to reach agreement.

Unlike Strauss tone poems, Schelomo unfolds in three designated movements, each played without pause but featuring distinctive treatment of thematic material, some of which comes in broad, Hebraic-flavored melodies. Traditional Plate 15 from The Disasters of War, “And there is no help,” Francisco de Goya, 1815.

IMAGE COURTESY OF MUSEO DEL PRADO

that has some distant antecedents but is such a unique synthesis of elements that no major composer attempted anything like it since. The interplay between soloist and orchestra suggest Berlioz’s Harold in Italy, a dramatic symphony featuring a solo viola as the title character, more than a traditional concerto.

Meanwhile. the pictorial specificity and orchestral grandeur may be drawn from Richard Strauss’s tone poems. The solo cello represents Solomon — in what the composer described as “a meditative voice, tragically alone” — laboring under the blinding realization that “all is vanity.” The context of being composed

Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 By

Ludwig van Beethoven

BORN : December 1770 in Bonn, Germany DIED : March 26, 1827, in Vienna

Ω COMPOSED : 1803–04 Ω WORLD PREMIERE: April 7, 1805, at Vienna’s Theater an der Wien Ω CLEVELAND ORCHESTRA PREMIERE: October 21, 1920, led by Nikolai Sokoloff Ω ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings Ω DURATION: about 45 minutes

I must live like an exile. In company I am assailed by the most painful apprehensions, from the dread of being exposed to the risk of my condition being observed. It was the same during the last six months I spent in the country. My intelligent physician recommended me to spare my hearing as much as possible, which was quite in accordance with my present disposition, though sometimes, tempted by my natural inclination for society, I allowed myself to be beguiled into it. But what humiliation when any one beside me heard a flute in the far distance, while I heard nothing, or when others heard a shepherd singing, and I still heard nothing! Such things brought me to the verge of desperation, and well-nigh caused me to put an end to my life.

Art! art alone deterred me. Ah! how could I possibly quit the world before bringing forth all that I felt it was my vocation to produce? And thus I spared this miserable life — so utterly miserable that any sudden change may reduce me at any moment from my best condition into the worst. It is decreed that I must now choose Patience for my guide!

— Ludwig van Beethoven, from the Heiligenstadt Testament, written in 1802 as he was formulating Symphony No. 3.

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chants, such as “Asher kidshanu” played by solo oboe among other instruments to depict when Solomon is at odds with a cantor, appear; shofarlike calls are an essential part of the piece; and bitterness and despair are prevalent in what Bloch described as his most pessimistic work — though only up to a point. The third movement’s emergence into the key of B-flat is what Bloch described as “a glimpse of heaven.”

From a strictly musical standpoint, one is continually fascinated with how the composer bends time. Initially, the main melody is contoured with triplets — three notes squeezed into a metric length that usually accommodates two — suggesting how Solomon continually sees beyond the temporal realm before him. As the piece goes on, Bloch uses that technique ever more extravagantly, fitting ever more notes into spaces that are usually occupied by far fewer. To the average listener, Bloch’s time-bending techniques create a tension that holds the ear in thrall. The piece sounds remarkably modern, as does so much else in the output of this under-represented though major figure in 20th-century music.

A WATERSHED SYMPHONY

The final work on the program is Beethoven’s ever-modern Symphony No. 3, which Szeps-Znaider rightly called, “one of the watershed moments in symphonic music, one of the most glorious pieces of music ever written.”

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But any cause and effect between the Napoleonic wars that began in 1802 and the final composition is hard to pin down, and Beethoven’s works often had a long and circuitous gestation. His politics were fluid and expressed publicly with an eye for not offending his aristocratic sponsors. One of the most-circulated anecdotes of Beethoven’s biography is his dedication of this symphony to Napoleon only to angrily revoke it when Napoleon made himself emperor: “So he is no more than a common mortal! Now he, too, will tread underfoot all the rights of man [and] indulge only his ambition; now he will think himself superior to all men [and] become a tyrant!” Or so he said according to two eyewitnesses of that moment: Ferdinand Ries and Anton Schindler.

Biographers say that Beethoven didn’t completely turn against Napoleon until the bombardment of Vienna in 1809, which had to have been particularly torturous for the composer, coupled with the aural distortions of his hearing loss.

In the bigger picture, Beethoven was appalled at the atrocities of the French Revolution — his idealistic belief in the brotherhood of man overcome by the revulsion at the slaughter of innocents that comes with war of any sort. Beethoven scholar Lewis Lockwood credits the second movement, the famous Funeral March, for introducing “death and commemoration into the genre of the symphony for the first time.” The unfiltered intensity of the music lifts the genre out of the more safely packaged Classical-era

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symphonies of Mozart and Haydn and ushers in the simmering emotions of a new burgeoning Romantic era. Music, which was supposed to be more pleasurable than biting, grew teeth in Symphony No. 3, and along with them a purposeful sense of historic inevitability.

The second movement begins with Beethoven’s fallback template, themeand-variations form, which gives way to a monumental lament in the middle, and then returns to the original theme with ever-more-intensified tragedy, or, to quote Lockwood, crumbling “into short phrases interspersed with silences.”

This is one of Beethoven’s greatest inventions, a succession of ideas that don’t seem to belong in the same piece much less in the same movement, yet they unfold seamlessly. One could hear it as a triumph of compositional virtuosity, though the movement is clearly driven

by an inner imperative that demanded compositional virtuosity.

The rest of the symphony is a triumph of diversity amid an expanded, even revolutionary sense of unity. Gustav Mahler’s dictum that a symphony could encompass the entire world has a ready precursor in Beethoven. The heroic first movement leads to the other side of triumph, which is the tragedy conveyed by the previously discussed second movement. From there, the breathless tempo and offhanded wit of the third movement plus the light-hearted final movement borrowed from his Creatures of Prometheus ballet makes the “Eroica” the symphony that has everything.

—David Patrick Stearns David Patrick Stearns is a music journalist who currently writes for the Philadelphia Inquirer Inquirer, Classical Voice North America, MusicalAmerica.com, Gramophone magazine, and others. A native of Sycamore, Illinois, he now resides in Brooklyn.

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T H E CO N DUC TOR

Nikolaj Szeps-Znaider Nikolaj Szeps-Znaider enters his second season as music director of the Orchestre national de Lyon this fall. He regularly conducts the world’s leading orchestras, including the Chicago Symphony Orchestra, The Cleveland Orchestra, Germany’s Bamberg Symphony, Orchestre symphonique de Montréal, and the Royal Stockholm Philharmonic Orchestra.

More recently, he has led opera productions at the Semperoper Dresden, Royal Danish Opera, and Zurich Opera House.

A virtuoso violinist as well, Mr. SzepsZnaider maintains his reputation with a busy calendar of concerto and recital engagements. During recent seasons, he appeared as soloist with Konzerthausorchester Berlin, Orchestre national de France, and the Vienna Symphony, and performed the complete Beethoven Violin Sonatas with Rudolf Buchbinder at Vienna’s Musikverein.

Mr. Szeps-Znaider enjoys a strong relationship with the London Symphony Orchestra, an orchestra he has worked with extensively both as conductor and soloist. Together they recorded the complete Mozart Violin Concertos, with The Strad praising it as “possibly among the most exquisite violin sound ever captured on disc.”

His extensive discography also includes the Beethoven and Mendelssohn Concertos with Zubin Mehta and the Israel Philharmonic Orchestra, the Brahms and Korngold Concertos with

PHOTO BY LARS GUNDERSEN

ACCLAIMED CONDUCTOR

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Valery Gergiev and the Vienna Philharmonic, the Elgar Concerto in B minor with Sir Colin Davis and the Staatskapelle Dresden, the Mendelssohn Concerto on DVD with Riccardo Chailly and Leipzig’s Gewandhaus Orchestra, the Nielsen Violin Concerto with Alan Gilbert and the New York Philharmonic, and the Prokofiev Concerto No. 2 and Glazunov Concerto with Mariss Jansons and the Bavarian Radio Symphony Orchestra. Additionally, Mr. Szeps-Znaider has recorded the complete works of Brahms for violin and piano with Yefim Bronfman.

Passionate about supporting the next generation of musical talent, he is competition president of the Carl Nielsen International Competition in Odense, Denmark.

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T H E A RTI ST

Mark Kosower, cello

MARK KOSOWER JOINED The Cleveland Orchestra as principal cello in 2010.

Described as “a virtuoso of staggering prowess” by the Cleveland Plain Dealer, he is a consummate artist, equally known as a recital and concerto soloist and chamber musician. Prior to his appointment in Cleveland, he was solo cellist of the Bamberg Symphony in Germany (2006–10).

In recent seasons, Mr. Kosower has appeared as soloist with the symphony orchestras of Buffalo, Canton, Columbus, Dayton, Indianapolis, Naples, Phoenix,

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and Toledo, as well as Columbus Pro Musica and the Oregon Mozart Players.

During the coronavirus pandemic he performed the complete Bach Cello Suites at Trinity Cathedral in Cleveland to raise money for those affected by Covid-19 as part of his ongoing Bach for Humanity initiative, which aims to bring people of diverse socioeconomic backgrounds together through presentations of Bach’s music.

Mr. Kosower is a frequent guest at international chamber music festivals, including Santa Fe, Eastern Music, North Shore Chamber Music, Japan’s Pacific Music Festival, Colorado College’s Summer Music Festival, and the Seattle Chamber Music Society; and is a soughtafter teacher. He has recorded for the Ambitus, Delos, and VAI labels. For Naxos International, he recorded the complete music for solo cello by Alberto Ginastera, the first cellist to do so.

Born in Wisconsin, Mark Kosower began studying cello at the age of one-and-a-half with his father who studied with Ernst Silberstein, principal cello of The Cleveland Orchestra under George Szell. He later studied with János Starker at Indiana University and with Joel Krosnick at The Juilliard School.

Among his many accolades are an Avery Fisher Career Grant, a Sony Grant, and grand prize in the Irving M. Klein International String Competition.

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T H E C L EVEL A ND ORCHESTRA NOW IN ITS SECOND CENTURY , The Cleveland Orchestra, under the leadership of music director Franz Welser-Möst since 2002, is one of the most sought-after performing ensembles in the world. Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned it into one of the most admired globally.

The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming broadcast series In Focus, the podcast On a Personal Note, and its own recording label, a new chapter in the Orchestra’s long and distinguished recording and broadcast history. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.

The 2022/23 season marks Franz Welser-Möst’s 21st year as music director, a period in which The Cleveland Orchestra earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra, and a number of acclaimed opera presentations.

Since 1918, seven music directors — Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world. @ClevelandOrchestra

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T H E CL EVEL A ND ORCHESTRA Franz Welser-Möst, MUSIC DIRECTOR Kelvin Smith Family Chair FIRST VIOLINS

Elayna Duitman

BASSES

Peter Otto

Ioana Missits

Maximilian Dimoff*

FIRST ASSOCIATE CONCERTMASTER

Jeffrey Zehngut

Clarence T. Reinberger Chair

Virginia M. Lindseth, PhD, Chair

Vladimir Deninzon Sae Shiragami

ASSOCIATE CONCERTMASTER

Kathleen Collins

Gretchen D. and Ward Smith Chair

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani ASSISTANT CONCERTMASTER

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Trina Struble*

Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey

1

Charles M. and Janet G. Kimball Chair

Stanley Konopka2

Miho Hashizume

Richard and Nancy Sneed Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein

Richard Waugh Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany William Bender Gareth Zehngut

CELLOS

Trevor and Jennie Jones Chair

Mark Kosower*

Katherine Bormann

Richard Weiss1

Analisé Denise Kukelhan Gladys B. Goetz Chair

Zhan Shu

SECOND VIOLINS Stephen Rose*

Scott Dixon

HARP

Lisa Boyko

Oswald and Phyllis Lerner Gilroy Chair

Charles Carleton

VIOLAS

Jean Wall Bennett Chair

Alicia Koelz

Charles Barr Memorial Chair

Charles Paul

Harriet T. and David L. Simon Chair

Larry J.B. and Barbara S. Robinson Chair

Henry Peyrebrune

Jiah Chung Chapdelaine

Mark Jackobs

Jeanne Preucil Rose

Thomas Sperl

Yun-Ting Lee

Chul-In Park

Theodore Rautenberg Chair

Derek Zadinsky2 Mark Atherton

Jung-Min Amy Lee

Scott Weber

Louis D. Beaumont Chair

Alice Chalifoux Chair

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

The GAR Foundation Chair

Robert Walters

Charles Bernard2

ENGLISH HORN

Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Robert Walters Samuel C. and Bernette K. Jaffe Chair

E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Amy Zoloto Myrna and James Spira Chair

BASSOONS John Clouser* Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees2

Tanya Ell

CLARINETS

Thomas J. and Judith Fay Gruber Chair

Afendi Yusuf* Robert Marcellus Chair

Jonathan Sherwin

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Ralph Curry

Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair

CONTRABASSOON

William P. Blair III Chair

Sonja Braaten Molloy

David Alan Harrell

Daniel McKelway2

Carolyn Gadiel Warner

Martha Baldwin

Alfred M. and Clara T. Rankin Chair

Eli Matthews

1

Brian Thornton

Dane Johansen Paul Kushious

22 | 2022/2023 SEASON

Robert R. and Vilma L. Kohn Chair

Amy Zoloto

Sandra L. Haslinger Chair

Jonathan Sherwin

HORNS Nathaniel Silberschlag* George Szell Memorial Chair

Michael Mayhew§ Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch

Alexander and Marianna C. McAfee Chair

Shachar Israel2

Richard King

EUPHONIUM & BASS TRUMPET

TRUMPETS

Richard Stout

Michael Sachs*

TUBA

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2

Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

James P. and Dolores D. Storer Chair

TIMPANI

Michael Miller

Otto G. and Corinne T. Voss Chair

CORNETS Michael Sachs* Mary Elizabeth and G. Robert Klein Chair PHOTO BY ROGER MASTROIANNI

Richard Stout

Paul Yancich*

PERCUSSION Marc Damoulakis*

Michael Miller

Margaret Allen Ireland Chair

TROMBONES

Thomas Sherwood

Brian Wendel*

Donald Miller

Gilbert W. and Louise I. Humphrey Chair

clevelandorchestra.com

KEYBOARD INSTRUMENTS

CONDUCTORS

Carolyn Gadiel Warner

MUSIC DIRECTOR LAUREATE

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Michael Ferraguto

Christoph von Dohnányi

Daniel Reith ASSISTANT CONDUCTOR

Joe and Marlene Toot Chair

Sidney and Doris Dworkin Chair

Donald Miller

Lisa Wong

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Elizabeth Ring and William Gwinn Mather Chair

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

* Principal

Blossom-Lee Chair

§

Associate Principal

Paul and Lucille Jones Chair

1

First Assistant Principal

2

Assistant Principal

James and Donna Reid Chair Mary E. and F. Joseph Callahan Chair Sunshine Chair Mr. and Mrs. Richard K. Smucker Chair Rudolf Serkin Chair

This roster lists full-time members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed. Seating within the string sections rotates on a periodic basis.

THE CLEVELAND ORCHESTRA | 23

What do world-class musicians, a globally renowned conductor, and the acoustic and architectural magnificence of Severance have in common? You. The audience we play for, and are simply not the same without. Your unbridled enthusiasm inspires us all to reach the greatest of heights in every performance.

We invite you to once again be part of the wonder that is The Cleveland Orchestra: live and in person. All because of you.

Please Join us!

SUBSCRIBERS ARE VITAL SUPPORTERS OF THE CLEVELAND ORCHESTRA SUBSCRIBE TODAY! Make your choice from three great subscription options and enjoy exclusive benefits throughout the season.

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The best seats and the best savings.

Curated packages for as few as three concerts starting at just $66.

Enjoy each concert from the same seats — yours to renew year after year — and it’s our best value at savings of up to 35% off single-ticket prices. If your schedule changes, take advantage of FREE and easy ticket exchanges. Select a concert series and seating preference that fits your schedule and budget.

Free and easy ticket exchanges The opportunity to purchase advance parking 10% off at The Cleveland Orchestra Store Advance notice on concert announcements & offers Free subscription to Spotlight magazine Free access to In Focus, our digital concert series, with behind-the-scenes interviews and features Free access to Adella Premium streaming service & app Money-back guarantee

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The most flexibility.

Save up to 25% off singleticket prices when you choose 4 concerts or more.

Your all-access pass to concerts at Severance Music Center and Blossom Music Festival.

Build a Create Your Own series that perfectly fits your concertgoing lifestyle. Simply choose your favorite concerts, select your dates, then reserve your seats.

For a monthly fee of $35, you can purchase tickets for just $10.

When you buy as few as five tickets, you save over singleticket prices.

Choose from over 100 concerts a year!

See more concerts you want?

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CA L EN DA R

FALL

Don’t miss a moment NOV 17, 18, 19

WINTER

John Adams, conductor Lauren Snouffer, soprano Josefina Maldonado, mezzo-soprano Davóne Tines, bass-baritone Daniel Bubeck, countertenor Brian Cummings, countertenor Nathan Medley, countertenor Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

JAN 5, 7

EL NIÑO

OCT 13, 14, 15, 16

BEETHOVEN’S EROICA Nikolaj Szeps-Znaider, conductor Mark Kosower, cello* AL-ZAND Lamentation on The Disasters of War BLOCH Schelomo, Hebraic Rhapsody for Cello and Orchestra* BEETHOVEN Symphony No. 3 (“Eroica”) * not part of Friday Matinee concert

OCT 20, 22

AN ALPINE SYMPHONY Daniel Harding, conductor Antoine Tamestit, viola WIDMANN Viola Concerto STRAUSS Eine Alpensinfonie

OCT 27, 28, 29

GERSTEIN PLAYS SCHUMANN Edward Gardner, conductor Kirill Gerstein, piano BENJAMIN Ringed by a Flat Horizon SCHUMANN Piano Concerto DVOŘÁK Symphony No. 7

NOV 12

ISRAEL PHILHARMONIC ORCHESTRA

2023 CAMPAIGN

ADAMS El Niño

NOV 25, 26, 27

THE FIREBIRD Thomas Søndergård, conductor Stefan Jackiw, violin BRITTEN Violin Concerto No. 1 STRAVINSKY The Firebird (complete ballet)

DEC 1, 2, 3

ELGAR AND WALTON Vasily Petrenko, conductor Behzod Abduraimov, piano* ELGAR Cockaigne (“In London Town”) PROKOFIEV Piano Concerto No. 2* WALTON Symphony No. 1 * not part of Friday Matinee concert

NIELSEN AND HAYDN Alan Gilbert, conductor Paul Yancich, timpani Liv Redpath, soprano Justin Austin, baritone OLIVERIO Timpani Concerto HAYDN Symphony No. 90 NIELSEN Symphony No. 3 (“Sinfonia espansiva”)

JAN 12, 13, 14

WELSER-MÖST CONDUCTS SCHUBERT Franz Welser-Möst, conductor Joélle Harvey, soprano Daryl Freedman, mezzo-soprano Julian Prégardien, tenor Martin Mitterrutzner, tenor Dashon Burton, bass-baritone Cleveland Orchestra Chorus BERG Lyric Suite* SCHUBERT Symphony No. 8* (“Unfinished”) SCHUBERT Mass No. 6 * The movements of the Lyric Suite will be performed in rotation with Symphony No. 8.

FEB 2, 3, 4, 5

BOLÉRO

Klaus Mäkelä, conductor Truls Mørk, cello SALONEN Cello Concerto DEBUSSY Images RAVEL Boléro

FEB 9, 11

MAHLER’S FIFTH Klaus Mäkelä, conductor CHIN SPIRA—Concerto for Orchestra MAHLER Symphony No. 5

November 12 at 8:00 p.m.

Music Director Lahav Shani leads an all-Prokofiev program

of unforgettable music!

FEB 16, 17, 18

BEETHOVEN’S SEVENTH

Herbert Blomstedt, conductor Emanuel Ax, piano MOZART Piano Concerto No. 18 (“Paradis”) BEETHOVEN Symphony No. 7

FEB 23, 24, 25

MOZART AND STRAUSS Franz Welser-Möst, conductor MOZART Divertimento No. 2* SCHOENBERG Variations for Orchestra STRAUSS Ein Heldenleben

SPRING

APR 20, 21, 22, 23

MAR 30, 31, & APR 1

Bernard Labadie, conductor Lucy Crowe, soprano

INSPIRATION: THE TEMPEST

Thomas Adès, conductor Pekka Kuusisto, violin ADÈS Tempest Suite ADÈS Märchentänze SIBELIUS Six Humoresques* SIBELIUS Prelude and Suite No. 1 from The Tempest* * Certain selections will not be part of the Friday Matinee concert

APR 6, 7, 8

* not part of Friday Matinee concert

SHOSTAKOVICH’S FIFTH SYMPHONY

MAR 2, 3, 4, 5

Rafael Payare, conductor Jean-Yves Thibaudet, piano

PICTURES AT AN EXHIBITION Franz Welser-Möst, conductor Víkingur Ólafsson, piano FARRENC Symphony No. 3 RAVEL Piano Concerto in G major MUSSORGSKY/RAVEL Pictures at an Exhibition

MAR 9, 10, 11, 12

MOZART’S REQUIEM Franz Welser-Möst, conductor Christoph Sietzen, percussion Siobhan Stagg, soprano Avery Amereau, alto Ben Bliss, tenor Anthony Schneider, bass Cleveland Orchestra Chorus

BERNSTEIN Symphony No. 2 (“The Age of Anxiety”) SHOSTAKOVICH Symphony No. 5

APR 13, 15, 16

MAHLER’S TITAN Michael Tilson Thomas, conductor Leif Ove Andsnes, piano DEBUSSY Jeux, poème dansé DEBUSSY Fantaisie for Piano and Orchestra MAHLER Symphony No. 1 (“Titan”)

STAUD Concerto for Percussion MOZART Requiem

clevelandorchestra.com

ALL MOZART

MOZART Overture to La clemenza di Tito MOZART “Giunse al fin il momento... Al desio di chi t’adora” MOZART Ruhe Zanft from Zaide MOZART Masonic Funeral Music MOZART “Venga la morte...

Non temer, amato bene” MOZART Symphony No. 41 (“Jupiter”)

APR 27, 28, 29

MARSALIS AND NEW WORLD Franz Welser-Möst, conductor Michael Sachs, trumpet MARTINŮ Symphony No. 2 MARSALIS Trumpet Concerto DVOŘÁK Symphony No. 9 (“From the New World”)

MAY 4, 6

WEILERSTEIN PLAYS BARBER Franz Welser-Möst, conductor Alisa Weilerstein, cello LOGGINS-HULL Can You See? BARBER Cello Concerto PROKOFIEV Symphony No. 4

MAY 14, 17, 20

THE GIRL OF THE GOLDEN WEST Franz Welser-Möst, conductor Tamara Wilson, soprano (Minnie) Eric Owens, bass (Jack Rance) Fabio Sartori, tenor (Dick Johnson) Cleveland Orchestra Chorus PUCCINI La Fanciulla del West (The Girl of the Golden West) * Opera presentation, sung in Italian with projected supertitles

YO UR VI SI T HEALTH & SAFETY The Cleveland Orchestra is committed to creating a comfortable, enjoyable, and safe environment for all guests at Severance Music Center. While mask and COVID-19 vaccination are recommended they are not required. Protocols are reviewed regularly with the assistance of our Cleveland Clinic partners; for up-to-date information, visit: clevelandorchestra. com/attend/health-safety

LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

PAGERS, CELL PHONES & WRISTWATCH ALARMS

IN THE EVENT OF AN EMERGENCY

As a courtesy to others, please silence all devices prior to the start of the concert.

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

PHOTOGRAPHY, VIDEOGRAPHY & RECORDING Audio recording, photography, and videography are prohibited during performances at Severance.

Photographs can only be taken when the performance is not in progress.

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. For Infrared Assistive-Listening Devices, please see the House Manager or Head Usher for more details.

FREE MOBILE APP

TICKET WALLET Download today for instant, secure and paperless access to your concert tickets.

For more information and direct links to download, visit clevelandorchestra.com/ticketwallet or scan the code with your smartphone camera to download the app for iPhone or Android.

Available for iOS and Android on Google Play and at the Apple App Store.

AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical season subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including Music Explorers (for 3 to 6 years old) and Family Concerts (for ages 7 and older).

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 Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

© 2022 The Cleveland Orchestra and the Musical Arts Association Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

EDITOR

Cleveland Orchestra performances are broadcast as part of regular programming on ideastream/WCLV Classical 104.9 FM, Saturdays at 8 p.m. and Sundays at 4 p.m.

Amanda Angel Managing Editor of Content aangel@clevelandorchestra.com DESIGN

Elizabeth Eddins, eddinsdesign.com ADVERTISING

Live Publishing Company, 216-721-1800

28 | 2022/2023 SEASON

clevelandorchestra.com

Beyond impressive.

IMPRESSIONISM to MODERNISM

the Keithley Collection

See this extraordinary collection of more than 100 masterworks—the largest gift of art to the museum in more than 60 years—together for the first and only time.

PHOTO CREDITS XXXX

Open Now | Tickets at cma.org | CMA Members FREE The Cleveland Museum of Art is funded in part by residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture.

This exhibition was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Henri-Edmond Cross (French, 1856–1910). The Pink Cloud, c. 1896. Oil on canvas; 54.6 x 61 cm.

Nancy F. and Joseph P. Keithley Collection Gift, 2020.106

Rainey Institute El Sistema Orchestra

A SYMPHONY OF

Success

We believe that all Cleveland youth should have access to high-quality arts education.

Through the generosity of our donors, we are investing to scale up neighborhoodbased programs that now serve 3,000 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. That’s a symphony of success.

Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

(877) 554-5054 www.ClevelandFoundation.org