The Cleveland Orchestra December 1-3 Concerts

Elgar and Walton 2022 /2023 S EASON December 1–3, 2022

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Joe Coyle

1045732 Cleveland Orchestra_Week 8 Program_sw

2022 /2023 SEASON 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 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 Elgar and Walton Thursday, December 1, 2022, at 7:30 p.m.

Elgar and Walton Friday, December 2, 2022, at 11:00 a.m.*

Thursday, December 3,1, 2022, 2022, at at 8:00 7:30 p.m.

Saturday, December p.m.

Friday, December 2, 2022, at 11:00 a.m.* Saturday,Petrenko December 3,, 2022, at 8:00 p.m.

Vasily conductor

Vasily , conductor Cockaigne (“In London Town”) EdwardPetrenko Elgar (1857–1934)

Edward Elgar Sergei Prokofiev (1857–1934)

(1891–1953)

Sergei Prokofiev

(1891–1953)

William Walton

COVER: PHOTO COVER: BYPHOTO ROGER BYMASTROIANNI ROGER MASTROIANNI

(1902–1983)

Overture, Opus 40 Cockaigne (“In London Town”) Piano Concerto No. 2 in G minor, Overture, Opus 40 Opus 16 * Piano Concerto No. 2 in G minor, I. Andantino Opus 16 * II. Scherzo: Vivace I. III. Andantino Moderato II. Vivacetempestoso IV. Scherzo: Finale: Allegro III. Moderato Behzod Abduraimov, piano IV. Finale: Allegro tempestoso

* Not included in Friday’s concert, which is performed Behzod Abduraimov, piano without an intermission. * Not included in Friday’s concert, which is performed without an intermission.

INTERMISSION

15 minutes 15 minutes 30 minutes 30 minutes

20 minutes

William Walton

Symphony No. 1 in B-flat minor INTERMISSION

(1902–1983)

I. Allegro No. assai1 in B-flat minor Symphony 45 minutes II. Presto, con malizia I. III. Allegro Andanteassai con malincolia II. con IV. Presto, Maestoso —malizia Brioso ed ardentemente — III. Andante con malincolia Vivacissimo — Maestoso IV. Maestoso — Brioso ed ardentemente — Approximate running time: 1 hour 50 minutes Vivacissimo — Maestoso

45 minutes 20

Approximate running time: 1 hour 50 minutes

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Behzod Abduraimov’s performance is sponsored 2022/2023 Season Sponsor 2022/2023 Season Sponsor

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by The Hershey Foundation.

Behzod Abduraimov’s performance is sponsored

by The Hershey Foundation.

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I N T RO DUC TI ON 20TH CENTURY ushered in a new modern age, filled with technological innovations and optimism.

In England, the Central London Railway, which would become the Underground’s Central Line, opened with the system’s first fully electric-lit stations; in Russia, Ivan Pavlov’s Nobel Award–winning research on Classical Conditioning was gaining influence; and the women’s suffrage movement was gaining steam on both sides of the Atlantic.

During this era, British composer Edward Elgar delighted in visits to London, abuzz with these newfangled developments. He distilled the city’s charm, romance, and vigor into his Cockaigne Concert Overture, which opens this weekend’s programs led by Vasily Petrenko. A reference to the local Cockneys, known for their rowdy spirit, the 15-minute piece paints an aural depiction of a modernizing city, filled with young lovers, military bands, and pleasure-seeking inhabitants.

Just over a decade later, Sergei Prokofiev, influenced by a Russian Futurist movement advocating a radical break with tradition in pursuit of a Modernist vision, embarked on his Second Piano Concerto. Hisses and catcalls greeted the work at its first performance, featuring the composer at the keyboard. “But the concerto is also bursting with music for the machine age,” Prokofiev biographer Harlow Robinson later wrote, calling the second movement, “an episode of perpetual motion that moves with the relentless force and fluidity of a speeding

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THE DAWN OF THE

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Women out for a drive on the streets of London in the first years of the 20th century. Edward Elgar captures the energy of this modernizing city in his Cockaigne Overture.

locomotive.” Pianist Behzod Abduraimov makes his Severance debut with this explosive concerto — surely to a more receptive audience than Prokofiev endured.

Fast forward to 1932, the year William Walton embarked on his First Symphony.

One world war, a pandemic, a worldwide economic crisis, and a foreboding rise of fascism perhaps tempered the optimism from the beginning of the century but not its ceaseless innovation and experimentation, which burns through this work. As critic Tom Service describes in The Guardian: “This symphony is a volcanic eruption of dark, sensual passion which speaks with unmediated power from the very first bar.”

— Amanda Angel THE CLEVELAND ORCHESTRA | 3

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T H E M USI C

Cockaigne (“In London Town”) Overture, Opus 40 By

Edward Elgar

BORN : June 2, 1857, in Worcestershire, England DIED:

February 23, 1934, in Worcestershire, England

Ω COMPOSED : 1900–1901 Ω WORLD PREMIERE: Queen’s Hall, London, June 20, 1901, with the Philharmonic Society, conducted by the composer Ω CLEVELAND ORCHESTRA PREMIERE: November 22, 1934, with Rudolf Ringwald conducting. The most recent performances by the Orchestra were in March 2004 under David Zinman. Ω ORCHESTRATION: 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, military drum, orchestra bells), organ, and strings Ω DURATION: 15 minutes

IN MEDIEVAL French poetry cockaigne is an imaginary country of idleness and delight, with an emphasis on good food.

In the 17th century it had been used as a description of Paris. But for Elgar, the term was linked to London’s Cockneys, and the land of delight was London itself.

As a young country boy from Worcestershire, Elgar knew that London was the place where musicians’ careers were made, and he spent his spare pennies on trips like this: “I lived 120 miles from London. I rose at 6, walked a mile to the railway station, the train left at 7; arrived at Paddington about 11, underground to

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Victoria, on to the Crystal Palace arriving in time for the last three-quarters of an hour of the rehearsal. Lunch. Concert at 3. At 5 a rush to Victoria; then to Paddington, on to Worcester arriving at 10.30. A strenuous day indeed; but the new work had been heard and another treasure added to a life’s experience.”

In 1889, newly married, Elgar and his bride moved to London. Two years later, unable to make any impression as a composer, he moved back to the country.

Success eluded him until 1899, when the Enigma Variations premiered and caused a sensation. Fame and honors came

PHOTO BY REGINALD HAINES

quickly thereafter, and by 1904, he was Sir Edward, sought after at home and abroad, and mixing with the great and the good. He made three visits to the United States. A part of him relished the lifestyle, and in 1911, he bought a large house in London.

The other side of him was private, introverted, and melancholy, always longing to escape to his quiet home in the west country hills. The contrast between the two impulses is heard in nearly all his music. Even in Cockaigne, which he intended as a portrait of London, we hear splendid pomp and circumstance as well as a yearning for something more peaceful and more spiritual. clevelandorchestra.com

Edward Elgar seated at his desk at Severn House in Hampstead, London, which he purchased in 1911.

In a letter, Elgar said he wanted the overture to be “honest, healthy, humorous, and strong but not vulgar,” and he clearly achieved this. We hear whistling Cockneys, lovers in the parks, the city churches, a military procession, and the bustle of city life. At one point a hush descends as a band is heard in the distance. And the unforgettable moment at the end when the organ joins the full orchestra crowns a work full of joy and good fellowship.

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

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Piano Concerto No. 2 in G minor, Opus 16 By

Sergei Prokofiev

BORN : April 23, 1891 in Sontsivka, Ukraine DIED:

March 5, 1953 in Moscow

Ω COMPOSED : 1912–13, revised 1923 Ω WORLD PREMIERE: September 5, 1913, at Pavlovsk Park, near St. Petersburg, with the composer as soloist. The revised version was debuted in Paris on May 8, 1924, with Serge Koussevitzky conducting and Prokofiev, again, at the piano. Ω CLEVELAND ORCHESTRA PREMIERE: April 5, 1962, under George Szell’s direction with soloist Malcolm Frager. It was most recently performed at Severance in March 2018 with Michael Tilson Thomas and soloist Daniil Trifonov. Ω ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, tambourine, snare drum), strings, and solo piano Ω DURATION: about 30 minutes

that Prokofiev began work on his Second Piano Concerto, in December 1912, a group of iconoclastic poets, including the 19-year-old Vladimir Mayakovsky, issued the futurist manifesto “A Slap in the Face of Public Taste” in Moscow.

The manifesto declared, “Throw Pushkin, Dostoyevsky, Tolstoy, etc., etc. overboard from the ship of Modernity” and expressed an “insurmountable hatred for the language existing before their time.” The manifesto demanded

AROUND THE TIME

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the abolition of all traditional art forms and a radical new start in poetry (including a call for the creation of new words). It proposed unbridled individualism in art and life.

Mayakovsky’s first volume of poetry, published in 1913, was titled simply I. The futurists tried their best, in everything, to shock their audiences, as Mayakovsky did with the title of his long poem A Cloud in Trousers (1914–15).

Russian composer Sergei Prokofiev captured in New York City in 1918. He lived in the U.S. from 1918 to 1920.

PHOTO COURTESY OF THE GEORGE GRANTHAM BAIN COLLECTION

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Prokofiev performed as soloist in the premieres of both versions of his Piano Concerto No. 2.

He reconstructed it after the score was lost in a fire following the Russian Revolution.

rebelled against his teachers (Glazunov and Lyadov in particular), the Romanticism of Rachmaninoff, and the mysticism of Scriabin.

Prokofiev had a natural penchant for humor and satire, manifest since childhood, and soon perfected a musical technique to express it. This technique often involves the replacement of certain pitches in harmonies by other pitches, often only a half step away, giving the impression of being “out of tune” when it is really, of course, the harmony he intended. To increase the effect of this

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According to Prokofiev biographer Israel Nestyev, the composer was “an admirer of Mayakovsky’s poetic innovations.” Prokofiev even met the poet, two years his junior, and Mayakovsky gave Prokofiev a copy of his poem War and the World with the inscription: “To the World President of Music from the World President of Poetry.”

Unlike Mayakovsky, however, who had espoused the ideals of Bolshevism early on and become an ardent revolutionary, Prokofiev had little actual interest in politics. However, the young Prokofiev was, by inclination, an iconoclast, not unlike the futurist poets and painters.

He, too, had little sympathy for the achievements of his predecessors. He

night’s catcalls by applauding unaniharmonic procedure, Prokofiev contrastmously a new composer with a European ed this new dissonance with marked reputation.” traditionalism in other aspects of his Karatygin’s words proved prophetic. style — his rhythms, for instance, often In 1923, the composer, then living in stay within the Classical framework and Paris, received his first official invitation the basic building blocks of his melodies to return to Russia, where he was offered are inherited from Romantic music. This a series of concert engagements with the combination of old and new elements Leningrad Philharmonic Orchestra. By produces the piquancy — and unmistakthat time, he had written the Classical able spirit — of Prokofiev’s early style.

Symphony (later known as Symphony The violence of the young Prokofiev’s No. 1 against the composer’s wishes), his quasi-futuristic “slap to the public’s Piano Concerto No. 3, the ballet Chout, taste” was not lost on the critics and the opera The Love for Three Oranges. attending the first performance of his He also reconstructed from memory Second Piano Concerto, at which the the score of his Second Piano Concerto, composer played the solo part. One which had been lost in the civil war journalist called it: “a Babel of insane following the 1917 Russian Revolution. sounds heaped one upon another “I have so completely rewritten the without any rhyme or reason.” Another Second Concerto,” he wrote to friends reported: “Prokofiev seats himself at the in Moscow, “that it might almost be piano and begins to strike the keyboard considered the Fourth.” with a dry, sharp touch. The audience The beginning of the Second Piano is bewildered. Some are indignant. One Concerto is a perfect example of couple stands up and runs toward the Prokofiev’s “futurist” style. At the start exit. ‘Such music is enough to drive you of the first movement, a beautiful, eightcrazy!’… The audience is scandalized. bar melody, played by the solo piano The majority hiss. Prokofiev bows to an accompaniment of almost Chopindefiantly and plays an encore. The esque figurations in the left hand, is audience rushes away. On all sides there spiced with many seemingly incongruous are exclamations: ‘To the devil with notes. The instructions given to the all this futurist music! We came here to performer — narrante, caloroso, con gran enjoy ourselves. The cats at home can espressione (narrating, with warmth make music like this!’” and great expression) — reinforce this Only one critic, Vyacheslav Karatygin, Romantic attitude, which coexists with found praise for Prokofiev’s courage and artistic imagination, predicting a brilliant completely un-Romantic sonorities.

The movement’s second section adopts future for the 22-year-old composer: a faster tempo and a skipping, staccato “The public hissed. This means nothing. melody, marked con eleganza. After a Ten years from now it will atone for last clevelandorchestra.com

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arpeggios and glissando effects provide the background for a little tongue-incheek melody in the woodwinds. The march returns with a section for piano alone. The full orchestra gradually enters and builds up to a tremendous climax (the high harmonics, a special technique on the violins, are particularly striking), only to collapse in the lowest register in a sudden quiet that ends the movement the same way the first movement had closed.

The Finale (marked Allegro tempestoso) contains a number of contrasting sections. It starts with a wild rush and Prokofiev depicted in 1931, one year after his only irregular rhythmic figures with wide performances with The Cleveland Orchestra in which he performed his First Piano Concerto at leaps in both the piano and the orchesMasonic Auditorium. tral parts. This material then yields to a slower tempo and a simple tune that virtuosic development of this theme, biographer Nestyev called a Russian the initial melody returns, growing into lullaby. This lullaby, however, becomes an extended cadenza that is turbulent, extremely loud and agitated, and as highly dramatic, and fiendishly difficult to play. A return of the first theme closes the tempo speeds up again, the music the movement, which dies away pianissimo. reaches a fortissimo cadence that gives the impression that the piece has ended.

Throughout the Scherzo, the piano plays unbroken sixteenth notes in octave It is too early to applaud, however, for unisons, while the melody belongs to the the pianist attacks a second breakneck cadenza. The orchestra enters with the orchestra. It is a movement of perpetual lullaby melody while the piano continues motion and energy, with a virtually its virtuoso passages. Finally — after a uninterrupted rhythmic ostinato, shot short, meditative andante section set through with occasional melodic fragover mysterious tremolo — the first ments played by various solo instrutheme returns with its irregular rhythms ments and combinations.

The third-movement Moderato is also and brings the work to an animated and boisterous close. based on a rhythmic ostinato, interrupt— Peter Laki ed only once by a short, lyrical piano solo.

This caricature of a march includes a Peter Laki is a musicologist and frequent lecturer middle section (marked “gently, someon classical music. He is a visiting associate professor at Bard College. what humorously”) where the piano’s 12 | 2022/2023 SEASON

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Symphony No. 1 in B-flat minor By

William Walton

BORN : March 29, 1902, in Oldham, England DIED:

March 8, 1983, on Ischia, Italy

Ω COMPOSED : 1932–35 Ω WORLD PREMIERE: Movements I–III were first performed at Queen’s Hall, London, on December 3, 1934, by the London Symphony Orchestra with conductor Sir Hamilton Harty. The complete work received its debut at Queen’s Hall on November 6, 1935, with Harty leading the BBC Symphony Orchestra. Ω CLEVELAND ORCHESTRA PREMIERE: The Cleveland Orchestra championed William Walton as a composer, premiering his Violin Concerto in 1939 and giving the first American performances of his Symphony No. 2 in 1960. So it is surprising that the Orchestra’s first performance of his Symphony No. 1 came nearly 30 years after it was written, on April 22, 1972, with conductor André Previn. Ω ORCHESTRATION: 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 2 timpani, percussion (cymbals, field drum, tam-tam), and strings

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Ω DURATION: 45 minutes

SOME COMPOSERS have no difficulty writing music and produce it in an endless stream — Telemann and SaintSaëns come to mind. Others face an eternal battle, wrestling with their muse and often unhappy with the result. In his later years, William Walton fell clearly into that camp — in fear of being overtaken by the younger generation — With his First Symphony, composer William Walton sought to make a lasting mark on British music of the 20th century.

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and composed under stresses he would prefer to be spared. As a young composer, he had been brimful of confidence and vitality, and his rise to fame with the Viola Concerto in 1929 and the choral Belshazzar’s Feast in 1931 set him at the head of young British composers. The invitation to write a symphony for Manchester’s Hallé Orchestra in 1932 could only lead to expectations of a major work, and indeed such a thing did come into being, but only after hesitations and difficulties THE CLEVELAND ORCHESTRA | 15

already proving, clearly, to be a troublesome pursuit for which he knew, as all his friends did, that he had a special gift.

Early in 1932, a friend reported: “Willie now is writing and varies between thinking he is getting going and feeling sure that all he has done must be torn up.

This evening he says it is anaemic, sentimental, dull and worthless. Says he has never been inspired in his life and can’t think why he writes.” So much for self-confidence.

By the spring of 1933, however, the first two movements were drafted. A year later, there were three movements ready, but no finale. By this time Harty had moved from the Hallé Orchestra to the London Symphony Orchestra, whose management put pressure on Walton to finish the symphony. It was even ready to The Cleveland Orchestra championed Walton’s take the unprecedented step of giving music, presenting the world premieres of his Violin the first performance without a finale.

Concerto (1939) and Partita (1958), as well as the U.S. premieres of his Symphony No. 2 (1960) and Walton, who had on his own confession Variations on a Theme by Hindemith (1963). destroyed three versions of the finale, agreed to the unveil the first threethat were to beset the composer more fourths, convinced that it was better to seriously in the years to come without delay completion rather than serve up ever diminishing the richness or brilli“a brilliant, out-of-the-place pointless ance of his writing.

The invitation came from Sir Hamilton and vacuous” finale.

So a three-movement-only premiere Harty, the Hallé’s conductor, in January took place in London in December 1932. Yet, it would be nearly four years 1934 and was surprisingly well received. before the full work was heard, years in Not till April 1935 did the composer which Walton’s volatile attachment to the Baroness Imma Doernberg (to whom bring himself to look for a finale that the symphony was eventually dedicated) satisfied him, aided by his friend, composer Constant Lambert, who suggested was a constant destabilizing force, a fugue as a way out of his impasse. So, causing ups and downs in his emotional after some initial pages that recall the state and hence in his ability to string brassy brilliance of Belshazzar’s Feast, the notes together. Composing was 16 | 2022/2023 SEASON

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the final movement sets off on a vigorous fugue whose energy takes the music into a strong, clamorous ending.

Completion was reported in August 1935, and the full premiere was given in November. It had been a long and complicated birth, but the child was a sturdy addition to Walton’s growing family of masterpieces, to be soon followed by the Violin Concerto and some fine film scores.

One of the most striking aspects of the music is its magnificent sense of distance, like a broad prairie beyond which faraway landmarks can be made out. A bass note is often sustained for a long period, creating a sense of stasis, while upper notes may be swift and intricate, restless

even, so that motion is both fast and slow at the same time. This feature has quite reasonably been attributed to the heritage of Sibelius, the master of tempo control, whose symphonies were much played in England at that time.

Both the first movement and the second one, a scherzo, are heavily scored, so that the winds are not much heard on their own until the slow third movement. This offers some elegant solos that build to a strong climax and then fade.

The finale resumes the bustling, vigorous, noisy style of the opening two movements, a style critics of the time lauded as “virile.” While that label feels rather dated today, Walton’s music remains as potent as ever.

— Hugh Macdonald

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F RO M THE PRES IDENT & CEO

T H E CO N DUC TOR

Vasily Petrenko is music director of the Royal Philharmonic, chief conductor of the European Union Youth Orchestra, and was artistic director of the State Academic Symphony Orchestra of Russia through March 2022 (where he was principal guest conductor starting in 2016).

He served as chief conductor of the Royal Liverpool Philharmonic (2006–21) and the Oslo Philharmonic Orchestra (2013–20), principal conductor of the National Youth Orchestra of Great Britain (2009–13), and principal guest conductor of St. Petersburg’s Mikhailovsky Theatre, where he began his career as resident conductor (1994–97).

Mr. Petrenko was born in 1976 and started his music education at the St. Petersburg Capella Boys Music School — Russia’s oldest music school. He then studied at the St. Petersburg Conservatory, where he participated in masterclasses with figures such as Ilya Musin, Mariss Jansons, and Yuri Temirkanov.

He has worked with many of the world’s most prestigious orchestras, including the Berlin Philharmonic, Bavarian Radio Symphony, Leipzig Gewandhaus, London Symphony, London Philharmonic, Philharmonia, Accademia Nazionale di Santa Cecilia (Rome), St. Petersburg Philharmonic, Orchestre National de France, Czech Philharmonic, NHK Symphony, and Sydney Symphony Orchestra. In North America, he has led The Philadelphia Orchestra, Los Angeles Philharmonic, The Cleveland Orchestra,

PHOTO BY SVETLANA TARLOVA

VASILY PETRENKO

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and the San Francisco, Boston, Chicago, and Montreal Symphony Orchestras.

Festival appearances include Edinburgh, Grafenegg, and the BBC Proms.

Mr. Petrenko has conducted widely on the operatic stage, including at Glyndebourne Festival Opera, the Opéra National de Paris, Opernhaus Zürich, Bayerische Staatsoper, and the Metropolitan Opera (New York).

Vasily Petrenko has established a strongly defined profile as a recording artist. Notably, he has recorded Shostakovich, Rachmaninoff, and Elgar symphony cycles with the Royal Liverpool Philharmonic Orchestra that have garnered worldwide acclaim. With the Oslo Philharmonic Orchestra, he recently released cycles of Scriabin and Prokofiev symphonies and Richard Strauss tone poems.

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2020| |2022/2023 2022/2023 SEASON SEASON

PHOTO BY EVGENY EUTYKHOV PHOTO BY EVGENY EUTYKHOV

Behzod BehzodAbduraimov, Abduraimov, piano piano

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NOW IN ITS SECOND CENTURY ,

The Cleveland Orchestra, under the leadership of music director Franz WelserMöst 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 chamberlike 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.

@ClevelandOrchestra

22 | 2022/2023 SEASON

@Cleveorch

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 Sokoloff, Artur Rodziński, Erich Leinsdorf 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.

@CleveOrchestra

@clevelandorchestra

PHOTO BY ROGER MASTROIANNI

T H E CL EVEL A ND ORCHESTRA

DECEMBER 8–18

Holiday Concerts with AND CHORUS

RESERVE YOUR TICKETS TODAY

clevelandorchestra.com | 216-231-1111 Presented by

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

Elayna Duitman

BASSES

David Radzynski

Ioana Missits

Maximilian Dimoff*

CONCERTMASTER

Jeffrey Zehngut

Clarence T. Reinberger Chair

Blossom-Lee Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

Vladimir Deninzon Sae Shiragami Kathleen Collins

Virginia M. Lindseth, PhD, Chair

Beth Woodside

Jung-Min Amy Lee

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

ASSOCIATE CONCERTMASTER

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

Chul-In Park

Emma Shook

Yun-Ting Lee

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Katherine Bormann Analisé Denise Kukelhan Gladys B. Goetz Chair

Zhan Shu

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

Eli Matthews

1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy

Charles Barr Memorial Chair

Charles Carleton Scott Dixon

HARP

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

Lynne Ramsey1 Charles M. and Janet G. Kimball Chair

Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair

Lisa Boyko Richard and Nancy Sneed Chair

Miho Hashizume

Alicia Koelz

Henry Peyrebrune

VIOLAS

The Morgan Sisters Chair

Larry J.B. and Barbara S. Robinson Chair

Thomas Sperl

Charles Paul

Richard Waugh

Jeanne Preucil Rose

Mark Atherton

Jiah Chung Chapdelaine

Harriet T. and David L. Simon Chair Theodore Rautenberg Chair

Derek Zadinsky2

Lembi Veskimets

Trina Struble* 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

Eliesha Nelson

Anne M. and M. Roger Clapp Chair

Joanna Patterson Zakany

OBOES

William Bender

Frank Rosenwein*

Gareth Zehngut

Edith S. Taplin Chair

CELLOS

Sharon and Yoash Wiener Chair

Mark Kosower* Louis D. Beaumont Chair

Richard Weiss1 The GAR Foundation Chair

Charles Bernard2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell

Corbin Stair

Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORN 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

Thomas J. and Judith Fay Gruber Chair

CLARINETS

Ralph Curry

Robert Marcellus Chair

Jonathan Sherwin

Robert Woolfrey

CONTRABASSOON

Brian Thornton William P. Blair III Chair

Afendi Yusuf*

David Alan Harrell

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

Martha Baldwin

Daniel McKelway2

Dane Johansen Paul Kushious

Carolyn Gadiel Warner

24 | 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

F RO M THE PRES IDENT & CEO

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

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

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

James P. and Dolores D. Storer Chair

TIMPANI

Michael Miller

Paul Yancich*

Elizabeth Ring and William Gwinn Mather Chair

Otto G. and Corinne T. Voss Chair

Paul and Lucille Jones Chair

§

Associate Principal

1

First Assistant Principal

PERCUSSION

James and Donna Reid Chair

2

Assistant Principal

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.

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

Richard Stout

Marc Damoulakis*

Michael Miller

Margaret Allen Ireland Chair

Mary E. and F. Joseph Callahan Chair

Donald Miller

Sunshine Chair

TROMBONES

Thomas Sherwood

Mr. and Mrs. Richard K. Smucker Chair

Brian Wendel* Gilbert W. and Louise I. Humphrey Chair

clevelandorchestra.com

Rudolf Serkin Chair

* Principal

THE CLEVELAND ORCHESTRA | 25

CA L EN DA R

Don’t miss a moment

FALL

WINTER

DEC 1, 2, 3

JAN 5, 7

BEETHOVEN’S SEVENTH

Alan Gilbert, conductor Paul Yancich, timpani Liv Redpath, soprano Justin Austin, baritone

MOZART Piano Concerto No. 18 (“Paradis”) BEETHOVEN Symphony No. 7

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

OLIVERIO Legacy Ascendant 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

clevelandorchestra.com

FEB 16, 17, 18

Herbert Blomstedt, conductor Emanuel Ax, piano

FEB 23, 24, 25

MOZART AND STRAUSS Franz Welser-Möst, conductor MOZART Divertimento No. 2* SCHOENBERG Variations for Orchestra STRAUSS Ein Heldenleben * not part of Friday Matinee concert

MAR 2, 3, 4, 5

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 STAUD Concerto for Percussion MOZART Requiem

of unforgettable music!

SPRING

MAR 30, 31, & APR 1

Thomas Adès, conductor Pekka Kuusisto, violin ADÈS The Tempest Symphony ADÈS Märchentänze SIBELIUS Six Humoresques* SIBELIUS Prelude and Suite No. 1 from The Tempest*

The place for fans of The Cleveland Orchestra!

APR 27, 28, 29

* Certain selections will not be part of the Friday Matinee concert

MARSALIS AND NEW WORLD

APR 6, 7, 8

Franz Welser-Möst, conductor Michael Sachs, trumpet

SHOSTAKOVICH’S FIFTH SYMPHONY Rafael Payare, conductor Jean-Yves Thibaudet, piano 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”)

APR 20, 21, 22, 23

ALL MOZART

Bernard Labadie, conductor Lucy Crowe, soprano 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”)

TCO

REWARDS

INSPIRATION: THE TEMPEST

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) Limmie Pulliam, tenor (Dick Johnson) Cleveland Orchestra Chorus PUCCINI La Fanciulla del West (The Girl of the Golden West) * Oper Opera presentation, sung in Italian with projected supertitles

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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.

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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: 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.

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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.

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