The Cleveland Orchestra January 12-14 Concerts

Welser-Möst Conducts Schubert 2022 /2023 S EASON January 12 –14, 2023

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An award-winning journalist who has lived in Paris, Santa Fe, and New York City, he arrived in July 2020 via the suggestion of a fellow resident. He’s been delighted ever since.

“As a writer, I enjoy spending time alone, and these surroundings are perfect: my apartment is quiet, and the views overlooking the Cleveland Museum of Art are lovely. But by far the best part of Judson is the people.

Everyone is so knowledgeable about art and culture. I wanted to have stimulating company to spend my time with, and I’ve found that here. These are wonderful, interesting people,” says Joe.

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Joe Coyle

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

Welser-Möst Conducts Schubert Thursday, January 12, 2023, at 7:30 p.m.

Friday, January 13, 2023, at 7:30 p.m.

Saturday, January 14, 2023, at 8:00 p.m.

Franz Welser-Möst, conductor Alban Berg (1885–1935)

Andante amoroso from Three Pieces from Lyric Suite

Franz Schubert (1797–1828)

Allegro moderato from Symphony No. 8 (“Unfinished”) in B Minor, D. 759

Alban Berg

Allegro misterioso — Trio estatico from Three Pieces from Lyric Suite

Franz Schubert

Andante con moto from Symphony No. 8 (“Unfinished”) in B Minor, D. 759

Alban Berg

Adagio appassionato from Three Pieces from Lyric Suite

Franz Schubert ARTISTS

The first half of the program will be played without pause.

40 minutes

INTERMISSION

20 minutes

Mass No. 6 in E-flat major, D. 950 Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei

50 minutes

Total approximate running time: 1 hour 50 minutes

Joélle Harvey

soprano

Daryl Freedman

mezzo-soprano

COVER: PHOTO BY ROGER MASTROIANNI

Julian Prégardien

tenor

Thank you for silencing your electronic devices.

Martin Mitterrutzner

tenor

Dashon Burton

bass-baritone

Cleveland Orchestra Chorus clevelandorchestra.com

Thursday evening’s concert is dedicated to Mr. and Mrs. Alexander M. Cutler in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

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I N T RO DUC TI ON

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IN 2019 , Music Director Franz Welser-

Music Director Franz Welser-Möst leading Schubert’s powerful Mass No. 6 in May 2019.

Möst led The Cleveland Orchestra and Cleveland Orchestra Chorus in Schubert’s Prefacing this grand Mass, are two Mass No. 6. It was only the second time “incomplete” yet thoroughly polished the ensemble performed the complete and satisfying works: Alban Berg’s Three work in its history, following a series Pieces from Lyric Suite and Schubert’s of concerts overseen by Robert Shaw “Unfinished” Symphony. Written just in 1997. “After the performance, everyover one century apart, Schubert’s symone said, ‘Oh my God, we need to do phony finds resonance and perhaps a that again’,” says Welser-Möst. kind of conclusion in Berg’s masterpiece The power of Schubert’s final Mass, of the Second Viennese school. so well-known in his native Austria, “Alban Berg, I often say, is sort of the was a revelation to American audiences musical grandson of Franz Schubert,” discovering it for the first time. Ironically says Welser-Möst. “When you play them this large-scale work, brimming with the back-to-back, you can hear that they’re composer’s glorious melodies, may have related — that what Schubert didn’t, or suffered from what it left out: namely couldn’t, finish, Berg carried forward. It’s lines of text from the Catholic liturgical always rewarding to show where someMass that traditionally appear in the thing comes from, where something goes Gloria and Credo sections. The church to, and that music of different times even barred it from being used as is connected.” liturgical music, as a result.

— Amanda Angel clevelandorchestra.com

THE CLEVELAND ORCHESTRA | 3

T H E M USI C

Three Pieces from Lyric Suite By

Alban Berg

BORN : February 9, 1885, in Vienna DIED : December 24, 1935, in Vienna

Ω COMPOSED : 1925–26 for string quartet; arranged as Three Pieces for string orchestra in 1928 Ω WORLD PREMIERE : The six-movement string quartet was first played by the New Viennese String Quartet in Vienna on January 8. 1927. The Three Pieces were first presented on January 31, 1929, in Berlin. Ω CLEVELAND ORCHESTRA PREMIERE : January 1971 led by Pierre Boulez.

The Orchestra has since taped a performance of the Three Pieces for the first season of its flagship broadcast series, In Focus. Ω ORCHESTRATION: string orchestra Ω DURATION: 15 minutes total (Movement I: 6 minutes; Movement II: 3 minutes; Movement III: 5 minutes)

Lyric Suite is a source of wonder on many levels: biographical, symbolic, technical, and emotional even without decoding the layers of meaning woven into the score.

When Berg wrote the Lyric Suite from 1925 to 26, he was in the grip of passion for a woman named Hanna Fuchs-Robettin, the wife of a Prague businessman and sister of Franz Werfel (who was married to the former wife of both Gustav Mahler and architect Walter Gropius, Alma).

Hanna and Berg’s paths crossed directly at least twice: when the Suite from Berg’s opera Wozzeck was played in Prague, and when Berg was the FuchsRobettins’ guest while in Berlin for the stage premiere of the same opera.

ALBAN BERG’S

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How far did their passion carry them?

Only since the death of the composer’s widow, Helene Berg, in 1976, have cracks in the apparent constancy of the Bergs’ marriage come to light. From these insinuations of infidelity, the idea of Hanna Fuchs-Robettin as Alban Berg’s lover helps explain the depth and details about her in the musical texture of the Lyric Suite.

Originally written as a six-movement suite for string quartet, Berg soon arranged the second, third, and fourth movements for string orchestra. Like J.S. Bach and Shostakovich, Berg invented ciphers that embedded secret messages into his music. The first indication of these coded symbols comes in the tempo

PHOTO BY GEORG FAYER

Alban Berg was infatuated with the married Hanna Fuchs-Robettin when he wrote his Lyric Suite, and intertwined their initials into the score.

markings for all six of the movements, which immediately indicate the music’s subject matter: amorous, mysterious, ecstatic, passionate in the Three Pieces and jovial, delirious, desolate in the other three movements.

Most directly, a symbolic rendering of Berg and Hanna’s love affair is entwined in this music with their initials, AB and HF, carved into the score using German notation: A – B-flat (for Berg) and B-natural – F (for Hanna). Together as a four-note chord, these recur throughout, often at moments of crucial structural importance. Hanna’s daughter Dorothea also appears, signified as two notes of C (Do – Do) in the first of the Three Pieces.

Each two-note motif — Berg’s is a halfstep on the musical scale, while Hanna’s is a leap of a tritone or diminished fifth — also features significantly in the clevelandorchestra.com

tone rows (12-tone scales) from which sections of the first, third, and sixth movements are constructed.

In addition, the lovers are represented by numbers: 10 for Hanna and 23 for Berg (a number he referred to throughout his life). Every metronome marking in the work is a multiple of 10 or 23, and every movement contains a count of bars (68, 150, 460, 138, etc.) derived from this underlying numerology.

Furthermore, the swift opening section of the second of the Three Pieces, marked “Allegro misterioso,” is reversed note for note later in the movement.

Significantly, a single chord (of A – B – B-flat – F, Berg and Hanna intertwined again) is inserted at the point where the resulting musical palindrome is broken.

In more obvious ways, the second movement acts as a traditional symphonic scherzo, breaking the momentum and pace between the previous movement and the next. And the third is a deepening adagio, able to bring the Three Pieces to a suitably enigmatic ending. Throughout, the resourcefulness of the string writing is astonishing and still modern nearly a century later. Even without decoding Berg’s encryptions, many will easily hear the work as he intended: a passionately argued musical journey encompassing intense emotional expression and totally original sonorities.

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

Eric Sellen is The Cleveland Orchestra’s Editor Emeritus.

He previously was program book editor for 28 seasons.

THE CLEVELAND ORCHESTRA | 5

THE M USI C

Symphony No. 8 (“Unfinished”) in B minor, D. 759 By

Franz Schubert

BORN : January 31, 1797, in Himmelpfortgrund, Austria DIED:

November 19, 1828, in Vienna

Ω COMPOSED : 1822 Ω WORLD PREMIERE: December 17, 1865, in Vienna, led by Johann von Herbeck Ω CLEVELAND ORCHESTRA PREMIERE: Nikolai Sokoloff conducted The Cleveland Orchestra in its first performances of Schubert’s “Unfinished” Symphony during its inaugural season on three consecutive days, January 28–30, 1919, at three Cleveland venues. Ω ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings Ω DURATION: 25 minutes total (Mvt. I: 12 minutes; Mvt. II: 13 minutes)

SCHUBERT’S FIRST SIX SYMPHONIES , written between 1813 and 1818, showed him completely at ease with all aspects of the form. But a few years later, he was leaving fragment after fragment, as if he no longer felt up to the challenge.

The B-minor Symphony is not the only work Schubert left incomplete. Others were abandoned even earlier in the compositional process: two symphonic fragments in D major (D. 615 from 1818 and D. 708A from 1820–21) and a fairly complete sketch of a symphony in E major (D. 729 from 1821). Though all had been performed and/or “completed” by the 20th century, these interrupted projects point to Schubert’s growing

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dissatisfaction with the symphonic form and suggest that he was striving for something on a larger scale than his previous efforts. Both stimulated and discouraged by Beethoven’s formidable example (he once exclaimed: “Who can do anything after him?!”), he seems to have been searching for his own artistic response to Beethoven’s symphonies — a response that would match his predecessor in scope and dramatic energy, yet free from any direct stylistic influence.

With the B-minor Symphony, Schubert came close to a solution. As Brian Newbould, a specialist on Schubert’s symphonies, explains, this

LITHOGRAPH BY JOSEF KRIEHUBER

The reasons why Franz Schubert left his “Unfinished” Symphony incomplete remain a mystery.

work is not so much an unfinished symphony as a “finished half-symphony.”

It is the only one of the uncompleted “fragments” with two movements that are fully written out and orchestrated, needing no editing whatsoever in order to be performed.

While Beethoven tended to construct his symphonic movements of extremely short melodic or rhythmic gestures, Schubert often started with full-fledged melodic statements that unfold like songs. In the first movement, song soon turns into drama when the second theme is suddenly interrupted by a measure of silence. This is followed by a few moments of orchestral turbulence, clevelandorchestra.com

after which the previous idyll is temporarily restored but only with some difficulty. One particular harmonic turn in the movement’s development section even uncannily anticipates the music of Wagner’s groundbreaking Tristan and Isolde.

The second movement combines a peaceful and ethereal melody with a more majestic theme featuring trumpets, trombones, and timpani. A second melody is introduced in the new key of C-sharp minor, again with a dramatic extension. These contrasts in mood persist until the end of the movement, where “peaceful and ethereal” E major is finally reestablished after an exacting tonal journey through a number of different keys.

The manuscript score of the “Unfinished” Symphony was long in the possession of composer Anselm Hüttenbrenner, a friend of Schubert. Hüttenbrenner gave no one access to the work for decades, for reasons that are not well understood.

Finally, the story goes, conductor Johann von Herbeck, who directed the concerts of Vienna’s Gesellschaft der Musikfreunde (Society of the Friends of Music), essentially bribed Hüttenbrenner by offering to perform one of his own works in exchange for Schubert’s score. Thus released, the “Unfinished” was premiered in 1865 and quickly became a popular and lasting hit.

— Peter Laki Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College.

THE CLEVELAND ORCHESTRA | 7

THE M USI C

Mass No. 6 in E-flat major, D. 950 By

Franz Schubert

Ω COMPOSED : 1828 Ω WORLD PREMIERE: October 4, 1829, at the Holy Trinity Church in Alsergrund, Austria, led by Franz Schubert’s brother, Ferdinand Ω CLEVELAND ORCHESTRA PREMIERE: April 1997 in a series of performances led by Robert Shaw. The presentations were part of a season-long celebration of the bicentennial of Schubert’s birth. Ω ORCHESTRATION: 2 oboes, 2 clarinets, 2 bassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings; plus soprano, mezzo-soprano, 2 tenors, and bass soloists; and chorus Ω DURATION: 50 minutes

FRANZ SCHUBERT’S MASS in E-flat major, written in the last year of his life, offers keen insight into this composer’s musical world — how he created music and viewed life here on earth. Just as we find in Schubert’s “Great” C-major Symphony, and in many of his other late works, the music of this Mass expands to “heavenly lengths.” This is how Robert Schumann described Schubert’s extraordinary ability to create a kind of stasis or suspension in which time seems to stand still. In this state, he removes us from our everyday cares and allows us to contemplate our lives more deeply and intimately.

By the time he was 19 in 1816, Schubert had already composed four Masses built upon the Catholic liturgical traditions of the time. In many respects, Schubert’s two late Masses — the German Mass (D. 872) and the Mass in E-flat major

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(D. 950) written in 1827 and 1828, respectively — are in part reflections of the social, religious, and philosophical upheavals ignited during the Age of Enlightenment. These works also give voice to Schubert’s own maturing worldview about music and life.

Looking at his music, Schubert seems to have taken the liturgical Mass from off its high pedestal and placed it squarely on earth amidst people. Rather than express subservience to God, this music focuses on individual devotion, human emotion, and our own relationship with the divine.

This focus on humanity starts with the choice of E-flat major. This key was associated with the Enlightenment and Freemasonry. It was used by Mozart for The Magic Flute and by Beethoven for his Third Symphony (“Eroica”),

all of which share deep connections to secular life.

However, its structure follows in the traditional manner of the liturgical Mass, opening with the Kyrie, featuring mystical wind chords and a throbbing rhythm in the cellos and basses. Devoutly, the chorus begins singing with, “Have mercy on us, Lord,” a touching expression of Schubert’s humility and modesty. During its Christie Eleison section, Schubert significantly modulates to B-flat major, the key of hope.

In the Gloria, Schubert draws on a great reservoir of compositional techniques, starting with unaccompanied chorus, perhaps suggesting a direct connection between humanity and God. This continues into an extraordinary melody, explored through five variations across the orchestra. The ensuing Domine Deus is written at a walking tempo, which can feel emotionally shattering, a confession of guilt for the death of Jesus. The music quiets down, coming nearly to a standstill, before the jubilant singing of the beatitudes.

A subsequent fugue inspired by Gregorian chant and Renaissance choral music unites the lowest and highest voices of the choir, a musical demonstration of the limitless reaches of the Holy Spirit.

The following Credo includes one of the most poignantly beautiful sections of this magnificent work, the Et Incarnatus, filled with yearning and melancholy.

Set in the romantic key of A-flat major, the two tenors and soprano voices join like three angels, delicately singing of the clevelandorchestra.com

incarnation of Jesus. Eventually this ebbs toward silence and then darker colors depicting the crucifixion.

The Sanctus, with its repetitive triplets in the strings, recalls the Christie Eleison of the Kyrie, while the chorus reminds us of the same devotion and humility as in the Credo. The penultimate section, the Benedictus, creates a sense of urgency in humanity’s relationship with Jesus.

In the work’s final section, the Agnus Dei, Schubert alludes to one of his most famous songs, “Der Dopplegänger” (from the song cycle Schwanengesang). With this association, Schubert appears to connect Jesus’s suffering directly with our own anguish. These internalized and personal feelings deepen in the closing Dona Nobis, as Schubert paints a renewed view of human harmony.

Schubert did not live to witness the first performances of his Mass in E-flat major, led by his older brother Ferdinand at Vienna’s Alserkirche in 1829. As a result, some have suggested that this Mass, completed four months before his death, serves as a requiem for or even premonition of his untimely passing at only 31 years of age. Indeed, one can find melancholy resignation and doubt throughout this work, but there is also a sense of consolation and a deep understanding of the human condition.

A concertmaster of the Vienna Philharmonic once said to me: “This piece cannot be long enough! For me, it could last forever.” How very true.

— Franz Welser-Möst THE CLEVELAND ORCHESTRA | 9

T H E S UN G TEXTS

Mass No. 6 in E-flat major, D. 950 Kyrie

Kyrie

CHORUS

CHORUS

Kyrie eleison.

Christe eleison.

Kyrie eleison.

Lord, have mercy upon us.

Christ, have mercy upon us.

Lord, have mercy upon us.

Gloria

Gloria

CHORUS

CHORUS

Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

Laudamus te, benedicimus te, adoramus te, glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus, Rex coelestis, gratias agimus tibi.

Deus pater omnipotens, gratias agimus tibi, Domine Jesu Christe, gratias agimus tibi, Fili unigenite, gratias agimus tibi.

Glory to God in the highest, and on earth peace to all those of good will.

We praise you, we bless you, we worship you, we glorify you.

We give you thanks for your great glory.

Lord God, heavenly King, we give you thanks.

God, Father almighty, we give you thanks.

Lord Jesus Christ, we give you thanks.

Only begotten Son, we give you thanks.

Gloria in excelsis Deo. Laudamus te, benedicimus te glorificamus te, laudamus te.

Glory to God in the highest.

We praise you, we bless you, we glorify you, [and] praise you.

Domine Deus, agnus Dei, qui tollis peccata mundi, miserere nobis.

Filius Patris, agnus Dei, qui tollis peccata mundi, miserere nobis.

Domine Deus, agnus Dei, filius Patris, qui tollis peccata mundi, miserere nobis.

Quoniam tu solus sanctus, quoniam tu solus altissimus, quoniam tu solus Dominus, tu solus, tu sanctus, altissimus, quoniam tu solus altissimus, quoniam tu solus Dominus.

Lord God, Lamb of God, you who take away the world’s sins, have mercy upon us.

Son of the Father, Lamb of God, you who take away the world’s sins, have mercy upon us.

Lord God, Lamb of God, Son of the Father, you who take away the world’s sins, have mercy upon us.

For you alone are holy, only you are most high, only you are Lord, you alone, you holy, most high, for you alone are most high, for you alone are Lord.

Cum Sancto Spiritu in gloria Dei Patris, amen.

With the Holy Spirit, in the glory of God the Father. Amen.

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Credo

Credo

CHORUS

CHORUS

Credo in unum Deum, factorem coeli et terrae, visibilium omnium et invisibilium.

Credo in unum Dominum Jesum Christum, Credo in Filium Dei unigenitum, et ex Patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, per quem omnia facta sunt, Qui propter nos homines et propter nostram salutem descendit de coelis.

I believe in one God, maker of heaven and earth, of all things visible and invisible.

I believe in one Lord Jesus Christ, I believe in the only begotten Son of God, born of the Father, before all ages, God of God, light of light, true God of true God, by whom all things were made.

Who for us, and for our salvation, came down from heaven.

SOLO TRIO — TENOR I, TENOR II, AND SOPRANO

SOLO TRIO — TENOR I, TENOR II, AND SOPRANO

Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est.

And became incarnate by the Holy Spirit of the Virgin Mary and was made a man.

CHORUS

CHORUS

Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

He was also crucified for us under Pontius Pilate, suffered and was buried.

SOLO TRIO — TENOR I, TENOR II, AND SOPRANO

SOLO TRIO — TENOR I, TENOR II, AND SOPRANO

Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est.

And became incarnate by the Holy Spirit of the Virgin Mary and was made a man.

CHORUS

CHORUS

Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

He was also crucified for us under Pontius Pilate, suffered and was buried.

Et resurrexit tertia die secundum scipturas, et ascendit in coelum, sedet ad dexteram Patris, Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis.

And on the third day he rose again, according to the scriptures, and ascended into heaven, and sits to the right of the Father, And he shall come again with glory to judge the living and the dead, whose kingdom shall have no end.

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THE CLEVELAND ORCHESTRA | 11

THE SUN G T E X TS Credo in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit, Qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per prophetas.

Confiteor unum baptisma in remissionem peccatorum mortuorum, et vitam venturi saeculi, amen.

I believe in the Holy Spirit, the Lord and life-giver, who comes from the Father and Son, Who with the Father and the Son together is worshipped and glorified, who spoke through the prophets.

I acknowledge one baptism for the remission of the sins of the dead, and the life of the world to come.

Amen.

Sanctus

Sanctus

CHORUS

CHORUS

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.

Pleni sunt coeli et terra gloria tua.

Osanna in excelsis Deo, osanna.

Holy, holy, holy, Lord God of hosts.

Heaven and earth are full of your glory.

Hosanna in the highest to God, hosanna.

Benedictus

Benedictus

SOLO QUARTET — SOPRANO, MEZZO-SOPRANO, TENOR I, AND BASS

SOLO QUARTET — SOPRANO, MEZZO-SOPRANO, TENOR I, AND BASS

Benedictus qui venit in nomine Domini.

Blessed is He who comes in the name of the Lord.

CHORUS

CHORUS

Benedictus qui venit in nomine Domini.

Blessed is He who comes in the name of the Lord.

Osanna in excelsis Deo, osanna.

Hosanna in the highest to God, hosanna.

Agnus Dei

Agnus Dei

CHORUS & SOLOISTS

CHORUS & SOLOISTS

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi,

Lamb of God, you who take away the sins of the world, have mercy upon us.

Lamb of God, you who take away the sins of the world,

Dona nobis pacem.

Grant us peace.

Agnus Dei, qui tollis peccata, dona nobis pacem.

Lamb of God, you who take away our sins, grant us peace.

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Franz Welser-Möst, Music Director

PHOTO BY ROGER MASTROIANNI

kelvin smith family chair In addition to his commitment to Cleveland, Mr. Welser-Möst enjoys a particularly close and productive relationship with the Vienna Philharmonic as a guest conductor. He has conducted its celebrated New Year’s Concert three times, and regularly leads the orchestra at home in Vienna, as well as on tours.

Mr. Welser-Möst is also a regular guest at the Salzburg Festival where he has led a series of acclaimed opera FRANZ WELSER-MÖST is among today’s productions, including Rusalka, Der most distinguished conductors. The Rosenkavalier, Fidelio, Die Liebe der Danae, 2022–23 season marks his 21st year as Aribert Reimann’s opera Lear, and Music Director of The Cleveland OrcheRichard Strauss’s Salome. In 2020, he stra. With the future of their acclaimed conducted Strauss’s Elektra on the 100th partnership extended to 2027, he will be anniversary of its premiere. He has since the longest-serving musical leader in the returned to Salzburg to conduct addiensemble’s history. The New York Times tional performances of Elektra in 2021 has declared Cleveland under Mr. Welser-Möst’s direction to be “America’s and Giacomo Puccini’s Il Trittico in 2022.

In 2019, Mr. Welser-Möst was awardmost brilliant orchestra,” praising its ed the Gold Medal in the Arts by the virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. Kennedy Center International Committee on the Arts. Other honors include With Mr. Welser-Möst, The Cleveland The Cleveland Orchestra’s Distinguished Orchestra has been praised for its inventive programming, ongoing support Service Award, two Cleveland Arts Prize citations, the Vienna Philharmonic’s of new music, and innovative work in presenting operas. To date, the Orchestra “Ring of Honor,” recognition from the Western Law Center for Disability Rights, and Mr. Welser-Möst have been showhonorary membership in the Vienna cased around the world in 20 internaSingverein, appointment as an Academitional tours together. In 2020, the cian of the European Academy of Yuste, ensemble launched its own recording and the Kilenyi Medal from the Bruckner label and new streaming broadcast Society of America. platform to share its artistry globally.

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THE CLEVELAND ORCHESTRA | 15

T H E A RTI STS Nothings. She received Second Prize in Houston Grand Opera’s Eleanor McCollum Competition for Young Singers, a First Prize Award from the Gerda Lissner Foundation, and a Sara Tucker Grant from the Richard Tucker Foundation.

Daryl Freedman, mezzo-soprano Soprano Joélle Harvey received her bachelor’s and master’s degrees in vocal performance from the University of Cincinnati College-Conservatory of Music (CCM). She began her career training at Glimmerglass Opera (now The Glimmerglass Festival) and the Merola Opera Program.

Ms. Harvey’s 2022–23 season began with the New York Philharmonic, celebrating the opening of David Geffen Hall. She debuts with the Bamberg Symphoniker, Deutsches SymphonieOrchester Berlin, the Minnesota Orchestra, and the Orchestra of St. Luke’s, and returns to The Cleveland Orchestra, Chicago Symphony Orchestra, Cincinnati Symphony Orchestra, and the Metropolitan Opera. She appears with the Chamber Music Societies of Lincoln Center, Philadelphia, and Palm Beach.

Previously, Ms. Harvey performed at Opernhaus Zürich, with Les Violons du Roy, and with Boston’s Handel & Haydn Society. She collaborated with LA Opera on Anna Clyne’s The Gorgeous 16 | 2022/2023 SEASON

Praised for her “striking dark timbre” and “expansive, sumptuous” performances, mezzo-soprano Daryl Freedman begins the 2022–23 season with a role debut as Ulrica in Un ballo in maschera at Maryland Lyric Opera, followed by returns to The Cleveland Orchestra, Santa Fe Symphony, and the Metropolitan Opera.

Her 2021–22 season began with a role/ house debut at Virginia Opera in Das Rheingold. She appeared in the title role of Julius Caesar at Atlanta Opera, The Magic Flute at the Metropolitan Opera, and the world premiere of Kamala Sankaram’s Rise at Washington National

TOP, FAR LEFT: IMAGE COURTESY OF JOÉLLE HARVEY | LEFT: IMAGE COURTESY OF DARYL FREEDMAN

Joélle Harvey, soprano

Opera. In summer 2022, she debuted at the Salzburg Festival in Suor Angelica conducted by Franz Welser-Möst.

Ms. Freedman made her Metropolitan Opera debut in Die Walküre, appeared with The Cleveland Orchestra in Ariadne auf Naxos, covered the role of Santuzza in Cavalleria Rusticana at San Francisco Opera, debuted in Die Walküre at the Théâtre du Capitole de Toulouse, and debuted in Aida with Opera Idaho. She is a graduate of the Cafritz Young Artist Program at Washington National Opera.

Julian Prégardien, tenor

as Narraboth in Salome. In 2019, he debuted as Tamino in The Magic Flute at the Berlin State Opera. He appears as Don Ottavio in Don Giovanni at Mozartwoche 2023 and sings in Romeo Castellucci’s staging of Mozart’s Requiem at the Teatro San Carlo in Napoli.

Recent highlights include a tour with Concentus Musicus Wien, his debut with The Cleveland Orchestra, and his Carnegie Hall debut with the Orchestra St. Luke’s.

Additional highlights of the 2022–23 season include Beethoven’s Ninth Symphony with SWR Symphony Orchestra, Mozart’s Requiem with the Concertgebouw, Bach’s St. Matthew Passion with the Vienna Philharmonic, Bach’s St. John Passion with the Gewandhaus Orchestra, and a tour of Handel arias with La Cetra Barockorchester.

ABOVE RIGHT: PHOTO BY PETER RIGAUD | FAR RIGHT: PHOTO BY UWE ARENS

Martin Mitterrutzner, tenor Born in Frankfurt, Julian Prégardien received his earliest music training in the choirs of Limburg Cathedral. After studying in Freiburg and joining the academy of the Aix-en-Provence opera festival, he was a member of the Frankfurt Opera ensemble from 2009 to 2013.

As an opera singer, he has appeared at the Aix-en-Provence Festival, the Hamburg and Bavarian State Operas, and at Paris’s Opéra Comique. In 2018, he made his debut at the Salzburg Festival clevelandorchestra.com

Martin Mitterrutzner received his training with Brigitte Fassbaender and joined the ensemble of the Frankfurt

THE CLEVELAND ORCHESTRA | 17

Opera (2011–19), where he appeared as Fenton (Falstaff), Belmonte (Die Entführung aus dem Serail), Elvino (La sonnambula), and Don Ramiro (La Cenerentola), among other roles.

He kicked off the 2022–23 season as Tamino at the Semperoper Dresden as well as the Volksoper Wien. He appeared at the Theater an der Wien (Don Ottavio, Narraboth in Salome), Aix-en-Provence Festival, Opernhaus Zürich (Tamino), Salzburg Festival (Brighella in Ariadne auf Naxos, Ferrando in Così fan tutte), Bavarian State Opera (Arbace in Idomeneo, Iopas in Les Troyens), and Dresden Semperoper (Belmonte, Don Ramiro, Ferrando).

In concert, he appeared at the International Bach Academy in Stuttgart, with the Bavarian Radio Choir and Symphony Orchestra, Concentus Musicus Wein, Montreal Symphony Orchestra, and Palau de la Musica in Valencia. This season brings him to The Cleveland Orchestra, Vienna’s Musikverein, Berlin’s RIAS Kammerchor, and Hamburg’s NDR Elbphilharmonieorchester. His recording of Schubert’s Die schöne Müllerin with the renowned classical guitarist Martin Wesely was recently released.

Dashon Burton, bass-baritone Dashon Burton appears regularly throughout the U.S. and Europe. Highlights of his 2022–23 season include returns to The Cleveland Orchestra and the New York Philharmonic for Michael 18 | 2022/2023 SEASON

Tilson Thomas’s Rilke Songs. Debut appearances include Mendelssohn’s Elijah with the Milwaukee Symphony, Stravinsky’s Oedipus Rex with Houston Symphony, the world premiere of Christopher Cerrone’s The Year of Silence with Louisville Orchestra, and the Dvořák Requiem with Richmond Symphony. As an artist-in-residence at San Francisco Performances, he appears at venues and educational institutions throughout the Bay Area.

Mr. Burton won his second Grammy Award in March 2021 for Best Classical Solo Vocal Album with his performance featured in Dame Ethel Smyth’s masterwork The Prison with The Experiential Orchestra (Chandos). His first Grammy Award came from the inaugural recording by groundbreaking vocal ensemble Roomful of Teeth.

Mr. Burton received a Bachelor of Music degree from Oberlin College and Conservatory, and a Master of Music degree from Yale University’s Institute of Sacred Music. He is an assistant professor of voice at Vanderbilt University’s Blair School of Music.

PHOTO BY TATIANA DAUBEK

THE AR T I STS

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T H E CL EVEL A ND ORCHESTRA CHO R U S

Lisa Wong, Director of Choruses frances p. and chester c. bolton chair

LISA WONG WAS APPOINTED director of choruses for The Cleveland Orchestra in May 2018 after serving as acting director throughout the 2017/18 season.

She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010/11 season. In 2012, she took on added responsibilities as director of the Cleveland Orchestra Youth Chorus.

In addition to her duties at Severance, she is a faculty member at the College of Wooster. Choirs under her direction have performed at the Central Division conference of the American Choral Directors Association and the state conference of the Ohio Music Education Association. An advocate for the music of under-represented composers, Ms. Wong serves as the Repertoire and Resource Chair for World Music and Cultures for the Ohio Choral Directors Association.

Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Ms. Wong holds a bachelor of science degree in music education from West Chester University, as well as master of music and doctor of music degrees in choral conducting from Indiana University.

Cleveland Orchestra Chorus

SOPRANOS

Molly Falasco

Lisa Hrusovsky

Elizabeth Phillips

Laurel Babcock

Lisa Fedorovich

Amber Jackson

Grace Prentice

Amy Foster Babinski

Nicole Futoran

Shannon R. Jakubczak

Jylian Purtee

Claudia Barriga

Samantha Garner

Katie Kitchen *

Cara Rovella

Yu-Ching Ruby Chen

Jennifer Gilles

EvaCecilia Koh

Katie Schick

Amanda Cobes

Ayesha Gonzales

Molly Lukens

Ellie Smith

Susan Cucuzza

Martell Gorsuch

Clare Mitchell

Megan Tettau

Sasha Desberg

Sarah Gould

S. Mikhaila Noble-Pace

Sharilee Walker

Caitlin DiFranco

Julia Halamek

Jennifer Heinert O’Leary

Kate Macy Walters

Emily Engle

Rebecca S. Hall

Katie Paskey

Adeleine Whitten

Sarah Henley

Victoria Peacock

20 | 2022/2023 SEASON

PHOTO BY ROGER MASTROIANNI

Lisa Wong, DIRECTOR Daniel J. Singer, ASSISTANT DIRECTOR Daniel Overly, COLLABORATIVE PIANIST

ALTOS

Kristen Tobey

Andrew Stamp

Jason Levy

Emily Austin

Joanna Tomassoni

William Venable

Jacob J. Liptow

Debbie Bates

Martha Cochran Truby

Allen White

Tyler Mason

Riley Beistel

Laure Wasserbauer

Peter Wright

Robert Mitchell

Brooke Emmel

Caroline Willoughby

Karen S. Hunt

Leah Wilson

BASSES

Francisco Prado

Sarah Hutchins

Jennifer R. Woda

Craig Astler

Brandon Randall

Kate Klonowski

Debra Yasinow

Jack Blazey

Robert G. Seaman

Kristi Krueger

Lynne Leutenberg Yulish

Ronnie Boscarello

Charlie Smrekar

Sean Michael Cahill

Devon Steve

Elise Leitzel

Tremaine Oatman

Cathy Lesser Mansfield

TENORS

Nick Connavino

Charles Tobias

Danielle S. McDonald

Bruno Bush

Kyle Crowley

Matt Turell

Karla McMullen

Rong Chen

Tom Cucuzza

Holly Miller

Richard Hall

Christopher Dewald

Peggy A. Norman

Peter Kvidera

Jeffrey Duber

Dawn Ostrowski

Adam Landry

Stuart Englehart

Ellie Petro

Tod Lawrence

Brian Fancher

Andrea Pintabona

David McCallum

Andrew Fowler

Victoria Rasnick

James C. Pintner

Mark Hermann

Kayla Reaves

Matthew Rizer

Seth Hobi *

Alanna M. Shadrake

Ted Rodenborn

Kurtis B. Hoffman

Ina Stanek-Michaelis

Nathan A. Russell

Robert L. Jenkins III

Melanie Tabak

John Sabol

James Johnston

Rachel Thibo

Andrew Schoenhofer

Kevin Kutz

Jill Harbaugh MANAGER OF CHORUSES

Lisa Fedorovich CHAIR, CLEVELAND ORCHESTRA CHORUS OPERATING COMMITTEE

* Shari Bierman Singer Fellow

THE CLEVELAND ORCHESTRA

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THE CLEVELAND ORCHESTRA |

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, 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.

@CleveOrchestra

@clevelandorchestra

PHOTO BY ROGER MASTROIANNI

T H E CL EVEL A ND ORCHESTRA

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

Sonja Braaten Molloy

BASSES

David Radzynski

Carolyn Gadiel Warner

Maximilian Dimoff*

CONCERTMASTER

Elayna Duitman

Clarence T. Reinberger Chair

Blossom-Lee Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

Ioana Missits Jeffrey Zehngut Sae Shiragami

Virginia M. Lindseth, PhD, Chair

Kathleen Collins

Jung-Min Amy Lee

Emma Shook

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

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

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey

1

Charles M. and Janet G. Kimball Chair

Stanley Konopka2

Richard and Nancy Sneed Chair

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Scott Dixon

Trina Struble*

Wesley Collins*

Chul-In Park

Alicia Koelz

Charles Carleton

HARP

Lisa Boyko

Larry J.B. and Barbara S. Robinson Chair

Charles Barr Memorial Chair

VIOLAS

Jean Wall Bennett Chair

Jeanne Preucil Rose

Henry Peyrebrune

Charles Paul

Elizabeth and Leslie Kondorossy Chair

Theodore Rautenberg Chair

Thomas Sperl

Jiah Chung Chapdelaine

Mark Jackobs

Miho Hashizume

Mark Atherton

Yun-Ting Lee

Kim Gomez

Harriet T. and David L. Simon Chair

Derek Zadinsky2

Richard Waugh Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany William Bender Gareth Zehngut

CELLOS Mark Kosower* 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

Isabel Trautwein

Richard Weiss1

Trevor and Jennie Jones Chair

The GAR Foundation Chair

Robert Walters

Charles Bernard2

Katherine Bormann

Helen Weil Ross Chair

ENGLISH HORN

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

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

Ralph Curry

Robert Woolfrey

CONTRABASSOON

Brian Thornton William P. Blair III Chair

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

David Alan Harrell

Daniel McKelway2

Martha Baldwin Dane Johansen Paul Kushious

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

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

WINTER JAN 12, 13, 14

WELSER-MÖST CONDUCTS SCHUBERT

FEB 16, 17, 18

BEETHOVEN’S SEVENTH

Herbert Blomstedt, conductor Emanuel Ax, piano

Franz Welser-Möst, conductor Joélle Harvey, soprano Daryl Freedman, mezzo-soprano Julian Prégardien, tenor Martin Mitterrutzner, tenor Dashon Burton, bass-baritone Cleveland Orchestra Chorus

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

BERG Lyric Suite* SCHUBERT Symphony No. 8* (“Unfinished”) SCHUBERT Mass No. 6

Franz Welser-Möst, conductor

* The movements of the Lyric Suite will be performed in rotation with Symphony No. 8.

FEB 2, 3, 4, 5

BOLÉRO

Klaus Mäkelä, conductor NORMAN Sustain DEBUSSY Images RAVEL Boléro

FEB 9, 11

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

FEB 23, 24, 25

MOZART AND STRAUSS 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

clevelandorchestra.com

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) * 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.

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: 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.

© 2023 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 90.3 FM, Saturdays at 8 p.m. and Sundays at 4 p.m.

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Cycles of Life: The Four Seasons Tapestries China through the Magnifying Glass: Masterpieces in Miniature and Detail Text and Image in Southern Asia Through April 2, 2023

Photographs in Ink Through April 23, 2023

Old and New in Korean Art Through May 7, 2023

Modern Impressions—Light and Water in Chinese Prints

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Modern Japan

The Medieval Top Seller: The Book of Hours

Nineteenth-Century French Drawings from the Cleveland Museum of Art Opens February 26, 2023

The Tudors: Art and Majesty in Renaissance England

Rainey Institute El Sistema Orchestra

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