The Cleveland Orchestra Sept. 28 & Oct. 1 Concerts

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Trifonov Plays Brahms SEPTEMBER 28 & OCTOBER 1, 2023

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FRO M TH E PRESID E N T & CEO Dear Friends, I’m delighted to welcome you to Severance Music Center for an exciting start to The Cleveland Orchestra’s 2023–24 season. This coming year’s programming is some of the most ambitious and diverse we’ve had in recent memory. Along with beloved works from the repertoire are premieres by today’s most influential composers, choral performances, family and education concerts, Hollywood films, and a recital series featuring the world’s most renowned musical stars. The season will culminate with the second Jack, Joseph and Morton Mandel Opera & Humanities Festival featuring a staged production of Wolfgang Amadeus Mozart’s The Magic Flute.

There is truly something on the calendar for every music lover.

We began this wonderful year of music with the film Amadeus, a testament to the power and genius of Mozart. What a treat to see this Oscar-winning movie with one of the world’s greatest orchestras performing the all-Mozart score.

COVER: PHOTO BY ROGER MASTROIANNI | ABOVE: PHOTO BY DON SNYDER

This coming year’s programming is some of the most ambitious and diverse we’ve had in recent memory.

This weekend, Music Director Franz Welser-Möst leads the Orchestra and the brilliant pianist Daniil Trifonov, making his highly anticipated return to Cleveland, in Brahms’s First Piano Concerto. Daniil is just the first of many eminent musicians to join us this season — there are too many to list here — but I do hope that you’ll come to Severance often to hear these incredible artists.

In Amadeus, the fictional Salieri describes Mozart’s music as nothing less than “miraculous.” I truly believe that this word aptly describes each concert this season.

We can find these miracles embedded in works of musical genius, displayed by the astounding talent on stage, or in the way more than a hundred musicians combine in unified harmony to produce a deeply profound experience.

The Cleveland Orchestra understands the unparalleled ability of music to create these everyday miracles — whether on stage, in a classroom, among loved ones, or in private introspection. As we inaugurate our 106th season, we are committed to fostering these experiences among our friends and neighbors in Northeast Ohio as well as around the world.

André Gremillet

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THE CLEVELAND ORCHESTRA

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BACH H THREE-PART INVENTION

THE BALDWIN WALLACE BACH FESTIVAL

OCT Bach & Bartók | JAN Reich-n-Bach | APR St. John Passion

2023/2024 SEASON J A C K , J O S E P H A N D M O RTO N M A N D E L C O N C E RT 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

Trifonov Plays Brahms Thursday, September 28, 2023, at 7:30 PM Sunday, October 1, 2023, at 3 PM

Franz Welser-Möst, conductor Johannes Brahms (1833–1897)

Piano Concerto No. 1 in D minor, Op. 15

45 minutes

I. Maestoso II. Adagio III. Rondo: Allegro non troppo

Daniil Trifonov, piano

Sergei Prokofiev (1891–1953)

I N TERMIS SI ON

20 minutes

Symphony No. 6 in E-flat minor, Op. 111

45 minutes

I. Allegro moderato II. Largo III. Vivace Total approximate running time: 1 hour 50 minutes

Sunday’s concert will be livestreamed on Adella.live in partnership with Deutsche Grammophon.

Thank you for silencing your electronic devices.

Daniil Trifonov’s performance is supported by a generous gift from the Gerhard Foundation.

Thursday evening’s performance is dedicated to Suzanne and Paul Westlake in recognition of their generous support of music. clevelandorchestra.com

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ON VIEW AT

SEVERANCE MUSIC CENTER Behind the Lens: 30 Years Capturing the Orchestra LERNER GALLERY Over the past 30 years, Cleveland-based photographer Roger Mastroianni has been documenting The Cleveland Orchestra, onstage and off, in Cleveland and on tour. This show presents selections from both the Orchestra’s and Mastroianni’s archives from 1993 to the present, including the Severance renovation, notable performances, and intimate, behind-the-scenes moments.

100 Years of Cleveland Orchestra Recordings: On Record HUMPHREY GREEN ROOM In 1924, the Orchestra made its first commercial recording: a brisk and truncated rendition of Tchaikovsky’s 1812 Overture. This exhibition traces Cleveland’s celebrated recording legacy, featuring milestones of previous music directors, as well as an extensive look at the output under Franz Welser-Möst’s leadership.

The Cleveland Orchestra on Tour THE MAGICBOX, outside the Grand Foyer Travel across the globe through the Orchestra’s extensive touring history. This interactive display showcases videos and fascinating artifacts from the Orchestra’s visits across five continents, such as a travel bag from Qantas made especially for the Orchestra’s Australian tour.

IMAGE COURTESY OF WIKIMEDIA COMMONS

AN I N TRO DU C TION THIS WEEKEND , Music Director Franz Welser-Möst returns to Severance Music Center to lead The Cleveland Orchestra in two masterpieces by Johannes Brahms and Sergei Prokofiev: the first is a romantic fulfillment of youthful promise, and the second, a mature statement from a modern master.

Brahms was 20 years old when he met the composers Robert and Clara Schumann and they quickly recognized his genius. Shortly after, Robert attempted suicide by jumping off a bridge into the Rhine. He was rescued from Composers Robert and Clara Schumann (depicted the river but admitted into an asylum, in 1847) inspired Brahms’s First Piano Concerto. where he would die two years later.

Brahms returned to Düsseldorf to help support Clara. It’s at this time that he began work on the first large-scale composition of his career, pouring his emotion and ambition into what would become his Piano Concerto No. 1.

The concerto’s agitated opening alludes to Robert’s disquieting suicide attempt, the second-movement Adagio paints a tender portrait of Clara, and the finale fittingly borrows from Beethoven. It was Robert Schumann who marked Brahms as Beethoven’s natural successor, and this work, performed this weekend by the extraordinary soloist Daniil Trifonov, crackles with realized potential.

Nearly 90 years later, 56-year-old Sergei Prokofiev, an elder statesman of Soviet composers, finished his penultimate symphony, the Sixth, in 1947. Having witnessed both the mass devastation wrought by World War II and ensuing victory by the Allies, the composer struggled to reconcile tragedy with triumph in this work. Shades of melancholy explode into fury or melt into aching sweetness. Upon the symphony’s US premiere in 1949, Musical America called it the “most personal, the most accessible, and emotionally revealing work of [Prokofiev] that has yet been played in this country.”

Unlike the Fifth, which was widely lauded, Prokofiev’s Sixth was condemned as formalist music. Although that determination was later rescinded, the work never achieved the same popularity as its predecessor. However, Welser-Möst and the Orchestra have been revisiting Prokofiev’s contributions to the symphonic genre.

This weekend, they make the case for the tour-de-force Sixth, often considered the most profound of Prokofiev’s seven symphonies.

— Amanda Angel

clevelandorchestra.com

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TH E MUSI C

Piano Concerto No. 1 in D minor, Op. 15

By Johannes Brahms BORN : May 7, 1833, in Hamburg, Germany DIED : April 3, 1897, in Vienna, Austria

▶ COMPOSED: 1854 – 58 ▶ WORLD PREMIERE: January 22, 1859, in Hanover, Germany, conducted by Joseph Joachim with the composer as soloist ▶ CLEVELAND ORCHESTRA PREMIERE: April 14, 1927, conducted by Nikolai Sokoloff with Harold Bauer as soloist ▶ ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, plus solo piano ▶ DURATION: about 45 minutes

THE STORY HAS BEEN TOLD for going

on two centuries, and its significance is unavoidable. In September 1853, a 20year-old music student from Hamburg knocked on the door of Robert and Clara Schumann’s home in Düsseldorf.

Johannes Brahms felt shy, nervous, and tired from a long journey. His new friend, the celebrated violinist Joseph Joachim, had insisted he must introduce himself to the Schumanns and play them his music. Robert was a composer of then ambiguous reputation, but a well-known music critic; Clara had been since her teens one of the most celebrated pianists alive. Brahms played the couple a few of his pieces. When he left, Schumann wrote in his journal, “Visit from Brahms 6 | 2023/2024 SEASON

(a genius).” The next few months transformed Brahms’s life. One of the fruits of that wonderful and terrible period was the First Piano Concerto.

Soon after the Schumanns met and virtually adopted Brahms, Robert wrote an article called “New Paths” in which he declared this young man not only a genius but the coming savior of German music. The subtext of the article was that Brahms was expected to save music from the depredations, as Schumann saw it, of Wagner and Liszt. Their “Music of the Future” movement turned away from the formal models of Haydn, Mozart, With his First Piano Concerto, Johannes Brahms started his orchestral career with a work of the same scope and tone of Beethoven’s Ninth Symphony.

IMAGE COURTESY OF WIKIMEDIA COMMONS

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and Beethoven and replaced them with work based on stories, literature, and the like. Brahms, said Schumann, is “a real Beethovener,” true to traditional forms and values.

From Robert’s article many things flowed. Suddenly the whole of musical Europe knew the name Brahms. But Brahms understood all too well what Schumann had unintentionally done — thrown him up on a pedestal before he had proved himself, laid the salvation of Western music on his shoulders, and supplied him at the beginning of his public career with an army of enemies (the devotees of Wagner and Liszt).

As Brahms was trying to cope with that dilemma, he received news of something far worse: Robert Schumann had jumped off a bridge into the Rhine in a suicide attempt. Robert was pulled out of the river, but at his own request was placed in an asylum, where he died two years later. In that period, the most tumultuous of Brahms’s life, he and Clara fell in love (more or less unspoken), and he began to try and cope with the burden Robert had laid on him. It took him years to get back on his feet creatively. It was during those years that he painfully and painstakingly composed the First Piano Concerto.

The piece appears to have begun with the nightmare of Robert’s collapse.

Within a week of Robert’s suicide attempt, Brahms had drafted three movements of a two-piano sonata in D minor. In the next months, the sonata turned into a draft of a symphony. In doing this, 8 | 2023/2024 SEASON

he was following his mentor’s lead — in “New Paths,” Robert had declared that Brahms must start right out composing symphonies and other large works.

But the symphony refused to take wing. Finally, Brahms began over again with just the first movement, refashioning it as a piano concerto — an idea that came to him in a dream. The movement was his first piece for orchestra and by far the most ambitious thing he had attempted. Immediately, he found himself in over his head, struggling with writing for orchestra and managing a gigantic, complex form. Yet he kept pounding away at the piece. After nearly five excruciating years of struggling with this material, he finished the three movements of the D-minor Concerto, Op. 15, in spring 1858.

Why did he refuse to let go of the piece, for all it cost him? The best explanation is that he simply knew the first movement was too good to give up, but it could not stand on its own. It needed the rest of a concerto for balance and resolution.

What Brahms created remains one of the longest, most powerful, most formidable of all concertos. It begins on a note of high drama, an ominous low D in basses and snarling horns, with chains of trills above — not delicate Mozartean trills, but wild chromatic shiverings.

That opening was the most turbulent in the repertoire to that time, with an expressive urgency that Brahms rarely attempted again and never surpassed.

Surely the impetus for this work came

IMAGES COURTESY OF WIKIMEDIA COMMONS

The Schumanns championed the young Brahms’s music, and Brahms (left) and Clara remained close friends throughout their lives.

from Brahms’s youthful turmoil. If the vertiginous opening is applied to the image of a desperate man leaping into the water, it is almost cinematically apt.

After the searing opening pages, the monumental first movement unfolds in an atmosphere of high drama, not in programmatic but in abstract terms.

This is a version of the usual concerto first-movement form: exposition, development, recapitulation, and coda.

Also like most concertos in those days, Brahms created it as a vehicle for himself as virtuoso. There are some half-dozen themes, from fervent to lyrical and rhapsodic. In this approach, Brahms followed Mozart, whose mature concertos sprout multiple themes (though not ones as kaleidoscopic as these), some of them introduced and owned by the clevelandorchestra.com

soloist. Here it is as if the piano has to portray all the contending characters in a drama. The keyboard writing has the massive, two-fisted style to which Brahms returned in his Second Piano Concerto.

This remains one of the longest of concerto movements, and physically and mentally one of the most demanding on the soloist.

Brahms told Clara Schumann that the gentle and hymnlike slow movement was “a tender portrait” of her. That is the best description of the music, much of which is unforgettably beautiful. Here, pictured in sound, is the Clara the young Brahms fell in love with — and never stopped loving, even though he remained a bachelor to the end. Built in simple A–B–A form with a solo cadenza, the second movement perhaps cost him less trouble than the first.

Then he had to contend with the last movement, often the most difficult | 9

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challenge in any large work, especially one with a massive and searing first movement. After that kind of opening, what can one do in the finale? Brahms decided on a traditional conclusion — a racing, rhythmically dynamic rondo outlined as A–B–A–C–A–B–A. The last movements of Classical concertos were traditionally light and lively rather than ponderous. Desperate to get the piece done, Brahms cribbed from the finale of Beethoven’s Concerto (No. 3) in C minor.

“The two finales,” Charles Rosen wrote, “may be described and analyzed to a great extent as if they were the same piece.”

The sound is Brahms, though, not Beethoven. The tone is a non-tragic D minor — youthful high spirits with a driving, demonic, Hungarian cast.

Whether in the end the finale resolves the questions the first movement raises is a subject of long debate, but there is no question that it is brilliant and vivacious — and that for Brahms it got the gorilla off his back.

The first performance, in Hanover with Brahms at the piano, was received politely but with quiet perplexity. In its dark tone, symphonic style, and epic scale, this was a new kind of concerto.

Then came the disastrous second performance in conservative Leipzig.

At the conclusion of the performance, Brahms heard three hands brought together, followed by a wave of hisses.

In a letter to Joseph Joachim he lightheartedly reported his “brilliant and decisive — failure.” He continued, “I believe this is the best thing that 10 | 2023/2024 SEASON

could happen to one; it forces one to concentrate one’s thoughts and increases one’s courage. After all, I’m only experimenting and feeling my way as yet.

But the hissing was too much of a good thing, wasn’t it?” And there you have Brahms’s sense of humor, often most acute when he was speaking of the things that hurt him most. In the wake of the Leipzig fiasco, he broke off an engagement — the only one he ever had — with a young singer and began to give up his hopes of being a true composer-pianist.

With his First Piano Concerto, Brahms started his orchestral career with a work of the scope and tone — and key — of the work that ended Beethoven’s symphonic career, the Ninth. The results were powerful and original, and he knew it. But his inexperience left its mark on the piece, and he knew that, too. He vowed never again to take on something of that size and ambition until he knew he was ready. He would not feel ready for another 18 years, when he finally finished the First Symphony. Nor did he ever again write quite so close to his rawest feelings. With youthful heedlessness, Brahms had launched into his first piano concerto. He never sailed blind again. But by the 1870s, he had the satisfaction of hearing this impassioned product of his youth cheered in concert halls all over Europe.

— Jan Swafford JJan Swafford has written biographies of Ives, Brahms, and Beethoven, and he contributes regularly to Slate. He is a longtime program writer and lecturer for the Boston Symphony Orchestra.

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THE MUS I C

THE M US I C

Symphony No. 6 Symphony No. 6 in E-flat minor, Op. 111 Op. 111 in E-flat minor,

By Sergei Prokofiev

By Sergei Prokofiev

BORN : April 23, 1891, in what is now Sontsivka, Ukraine BORN : April 23, 1891, in what is now Sontsivka, Ukraine DIED : March 5, 1953, Moscow DIED : March 5, 1953, Moscow

1058864s1_Cleveland Orchestra_Week 2_sw

1058864s1_Cleveland Orchestra_Week 2_sw

▶ COMPOSED: 1944–47 ▶ COMPOSED: 1944–47 ▶ WORLD PREMIERE: October 10, 1947, with Yevgeny Mravinsky leading the ▶ WORLD PREMIERE: October 10, 1947, with Yevgeny Mravinsky leading t Leningrad Philharmonic Leningrad Philharmonic ▶ CLEVELAND ORCHESTRA PREMIERE: March 17, 1977, led by guest conductor ▶ CLEVELAND ORCHESTRA PREMIERE: March 17, 1977, led by guest condu Gennady Rozhdestvensky Gennady Rozhdestvensky ▶ ORCHESTRATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, ▶ ORCHESTRATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 tru 3 trombones, tuba, timpani, percussion (snare drum, bass drum, woodblock, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, wood tam-tam, tambourine, cymbals, triangle), piano, celesta, harp, and strings tam-tam, tambourine, cymbals, triangle), piano, celesta, harp, and stri ▶ DURATION: about 45 minutes ▶ DURATION: about 45 minutes

music could even be said to provide ON JANUARY 13, 1945 , Sergei Prokofiev music could even be said to p ON JANUARY 13, 1945 , Sergei Prokofiev escapism in times of trouble. conducted the first performance of his escapism in times of trouble. conducted the first performance of his The Romantic age of the 19th century Fifth Symphony in Moscow. The new The Romantic age of the 19 Fifth Symphony in Moscow. The new has taught us, however, that a symphony work was well received and continues has taught us, however, that a work was well received and continues does not have to be confined purely to be popular today, rivaled in frequency does not have to be confined to be popular today, rivaled in frequency to musical argument. It can also relate in the concert hall only by his First to musical argument. It can a in the concert hall only by his First to human experience and directly Symphony, which he had named the to human experience and dire Symphony, which he had named the reference our feelings and experiences.

Classical Symphony. reference our feelings and exp Classical Symphony.

Beethoven’s Fifth is surely about Composed during World War II, the Beethoven’s Fifth is surely ab Composed during World War II, the something, even if no one can say for Fifth might also be termed “classical” in something, even if no one can Fifth might also be termed “classical” in its conventional form and in its abstract, certain what that something is outside its conventional form and in its abstract, certain what that something i of its musical journey from darkness non-storytelling qualities. It was and is, of its musical journey from da non-storytelling qualities. It was and is, to triumph. many people argue, what a symphony to triumph. many people argue, what a symphony ought to be — the exploration of purely ought to be — the exploration of purely Shortly after composing his Sixth Symphony, musical elements and their combination Shortly after composing his Sixth Symph Sergei Prokofiev was singled out

by Soviet sensors musical elements and their combination and relationships. In a sense, such pure for writing “formalist” music. Sergei Prokofiev was singled out by Sov and relationships. In a sense, such pure for writing “formalist” music.

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PHOTO COURTESY OF THE GEORGE GRANTHAM BAIN COLLECTION

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In Prokofiev’s case, his first foray in the Classical Symphony explored a modern take on a Haydn symphony. His Second presented the brutally mechanistic world of the 1920s, a world in which aircraft, motors, steam power, and general noise dictated the sonic environment. The Second was nonetheless still abstract in construction and conception.

The Third and Fourth had both been salvaged from — or at least borrowed music from — his operas, The Fiery Angel and The Prodigal Son, respectively. And the Fifth marked a return to a warmer, Romantic type of symphonic purity.

So what was to be expected from the Sixth? Prokofiev composed it soon after the Fifth and acknowledged that he was now reflecting on the devastation of World War II. That sentiment was powerfully clear at its first performance in 1947. (The parallels with British composer Ralph Vaughan Williams’s output is striking. His Fifth Symphony, premiered in 1943, refrained from any reference to the war, while his Sixth, from 1948, is deeply elegiac).

Barely months after the first performance of Prokofiev’s Sixth Symphony in the autumn of 1947, any euphoria the composer might have felt at the conclusion of the war and his new work’s warm reception was thrown to the wind when the Central Committee of the Communist Party of the Soviet Union issued a warning to musicians against “formulist and antipopular tendencies,” singling out Prokofiev, Dmitri Shostakovich, Aram Khachaturian, and several others for 14 | 2023/2024 SEASON

writing music that was “anti-democratic and foreign to the Soviet people and its artistic tastes.” The music of Prokofiev’s Sixth Symphony in particular was said to be too obscure in meaning for the average Soviet citizen to comprehend.

Prokofiev left us few comments about this symphony. On one occasion, he offered a few sentences, mostly on its structure. To biographer Israel Nestyev, the composer said that, to some extent, the music tried to capture the feelings of the closing months of World War II — elation over the victory, but also deep realization “that each of us has wounds that cannot be healed. One has lost those dear to him, another has lost his health. These facts cannot be forgotten.”

For the rest of his life (which ended, fatefully, on the same day as Joseph Stalin’s), Prokofiev worked under the shadow of official disapproval, the hardship it caused, and his own failing health.

He would produce a Seventh Symphony in 1952, full of nostalgia and melancholy, but lacking the personal conviction that propels both the Fifth and the Sixth.

Melody abounds in the Sixth Symphony, often in the form of long stretches scored with a tune that stands out clearly on violins and flutes in unison, for example, or violas and English horn, or cellos and horn. The colors are expertly blended.

In the first movement, after a few irreverent blasts designed to catch the audience’s attention, the violins and violas state the first of these melodies.

When the tempo slows down, a pair of oboes and English horn present the

IMAGE COURTESY OF RBM VINTAGE IMAGES / ALAMY STOCK PHOTO

In his Sixth Symphony, Prokofiev reflected on the mass devastation of World War II, such as the brutal Battle of Stalingrad, depicted in this image from September 1942.

next new theme. A quicker tempo and a reminiscence of Haydn’s “Clock” Symphony introduce the third melody, now on English horn and violas. The shape of the movement is thus constructed around different tempos and through the interaction of these different themes.

Some have likened this to a melancholy landscape, in which we witness a variety of scenes — a funeral march, a furious expression of angst or outrage, moments of happiness, and so forth.

The long slow movement is framed at the beginning and end by a passage of painful dissonance, as if to conceal or protect the richness and warmth of the movement itself. Another distraction from the stream of melody is a passage where a woodblock calls for our attention, just before the timpani join the clevelandorchestra.com

double basses and lower winds in a crazy burst of activity. Despite this, the middle movement is truly the soul of the Sixth Symphony, filled with ardor, solace, and conflicted rage.

The third-movement finale, in contrast, is positive and upbeat. It again reminds us of Haydn and also echoes the ballet music of which Prokofiev was such a master. Its lines are often filled with optimism, rarely questioned. But before the symphony can close, there comes a long descent on the bassoon, which ushers in a return of the theme from the first movement assigned to the oboes.

Then there is a moment of questioning followed by a swift and noisy coda, leaving us uncertain but contemplating all we have heard.

— 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, as well as Music in 1853: The Biography of a Year.

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TH E CO N DU C TOR

Franz Welser-Möst Music Director KELVIN SMITH FAMILY CHAIR

PHOTO BY ROGER MASTROIANNI

FRANZ WELSER-MÖST is among today’s

most distinguished conductors. The 2023–24 season marks his 22nd year as Music Director of The Cleveland Orchestra. With the future of their acclaimed partnership extended to 2027, he will be the longest-serving musical leader in the ensemble’s history. The New York Times has declared Cleveland under WelserMöst’s direction to be “America’s most brilliant orchestra,” praising its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

With Welser-Möst, The Cleveland Orchestra has been praised for its inventive programming, ongoing support of new music, and innovative work in presenting operas. To date, the Orchestra and Welser-Möst have been showcased around the world in 20 international tours together. In 2020, the ensemble launched its own recording label and new streaming broadcast platform to share its artistry globally.

In addition to his commitment to Cleveland, 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.

Welser-Möst is also a regular guest at the Salzburg Festival where he has led clevelandorchestra.com

a series of acclaimed opera productions, including Rusalka, Der Rosenkavalier, Fidelio, Die Liebe der Danae, Aribert Reimann’s opera Lear, and Richard Strauss’s Salome. In 2020, he conducted Strauss’s Elektra on the 100th anniversary of its premiere. He has since returned to Salzburg to conduct additional performances of Elektra in 2021 and Giacomo Puccini’s Il trittico in 2022.

In 2019, Welser-Möst was awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts. Other honors include The Cleveland Orchestra’s Distinguished Service Award, two Cleveland Arts Prize citations, the Vienna Philharmonic’s “Ring of Honor,” recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, and the Kilenyi Medal from the Bruckner Society of America. | 19

TH E ARTIST

Daniil Trifonov piano

20 | 2023/2024 SEASON

gala of Carnegie Hall, season-long artistic residencies with the Rotterdam Philharmonic and Orchestre Philharmonique de Radio France, and the release of Bach: The Art of Life, which scored Trifonov his sixth Grammy nomination.

During the 2010 –11 season, Trifonov won medals at three of the music world’s most prestigious competitions, taking Third Prize in Warsaw’s Chopin Competition, First Prize in Tel Aviv’s Rubinstein Competition, and both First Prize and Grand Prix in Moscow’s Tchaikovsky Competition.

Born in Nizhny Novgorod in 1991, Trifonov began his musical training at age 5 and went on to attend Moscow’s Gnessin Academy of Music as a student of Tatiana Zelikman, before pursuing his piano studies with Sergei Babayan at the Cleveland Institute of Music. He has also studied composition, and continues to write for piano, chamber ensemble, and orchestra.

PHOTO COURTESY OF DANIIL TRIFONOV

GRAMMY AWARD–WINNING PIANIST

Daniil Trifonov has made a spectacular ascent of the classical music world, as a solo artist, champion of the concerto repertoire, chamber and vocal collaborator, and composer. Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe. With Transcendental, the Liszt collection that marked his third title as an exclusive Deutsche Grammophon artist, Trifonov won the Grammy Award for Best Instrumental Solo Album of 2018. Named Gramophone’s 2016 Artist of the Year and Musical America’s 2019 Artist of the Year, he was made a Chevalier de l’Ordre des Arts et des Lettres by the French government in 2021.

As The Times of London notes, he is “without question the most astounding pianist of our age.”

Trifonov undertakes major engagements on three continents in the 2023–24 season. In concert, he performs with The Cleveland Orchestra, Los Angeles Philharmonic, Toronto Symphony, Israel Philharmonic, and Orchestre de Paris, among others. In recital, he plays sonatas by Prokofiev and Debussy on a high-profile European tour with cellist Gautier Capuçon and tours a new solo program to musical hotspots including Vienna, Madrid, Venice, and New York. Other recent highlights include headlining the season-opening

OBERLIN ARTIST RECITAL SERIES 2023-24 SERAPH BRASS Friday, October 13 Performing core classics, original transcriptions, and newly commissioned works.

“Seraph Brass delivers music both bright and warm, consistently playing with satisfying tone qualities that makes brass music endearing.”

—Knox TN Today JEREMY DENK Thursday, November 30 Solo piano recital of works by female composers from the 19th century to today.

“Denk is among the most entertaining of concert pianists... insightful in his interpretations, entertaining to watch, and engaging in his stage banter.”

—Star Tribune Both concerts will begin at 7:30pm at Finney Chapel in Oberlin.

TICKETS: $10.00 – $35.00 www.oberlin.edu/ars

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

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

The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming platform Adella, 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 2023–24 season marks Franz Welser-Möst’s 22nd 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.

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| 23

TH E CLEV EL A N D ORCHESTR A

Franz Welser-Möst, Music Director KELVIN SMITH FAMILY CHAIR FIRST VIOLINS

Sonja Braaten Molloy

Ralph Curry

ENGLISH HORN

David Radzynski

Carolyn Gadiel Warner

CONCERTMASTER

Elayna Duitman

Brian Thornton William P. Blair III Chair

Ioana Missits

David Alan Harrell

Robert Walters Samuel C. and Bernette K. Jaffe Chair

Jeffrey Zehngut

Martha Baldwin

Sae Shiragami

Dane Johansen

Kathleen Collins

Paul Kushious

Beth Woodside

BASSES

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

Maximilian Dimoff* Clarence T. Reinberger Chair

Blossom-Lee Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Yun-Ting Lee

Stephen Tavani

Jiah Chung Chapdelaine

ASSISTANT CONCERTMASTER

Liyuan Xie

Dr. Ronald H. Krasney Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair Kim Gomez Elizabeth and Leslie Kondorossy Chair Chul-In Park Harriet T. and David L. Simon Chair Miho Hashizume Theodore Rautenberg Chair Jeanne Preucil Rose Larry J.B. and Barbara S. Robinson Chair Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

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

Derek Zadinsky2 Charles Paul1 Mary E. and F. Joseph Callahan Chair Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

CLARINETS Afendi Yusuf* Robert Marcellus Chair Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair Daniel McKelway2 Robert R. and Vilma L. Kohn Chair Amy Zoloto

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

Lynne Ramsey1 Charles M. and Janet G. Kimball Chair

Charles Carleton

BASS CLARINET

Scott Dixon

Amy Zoloto Myrna and James Spira Chair

Stanley Konopka2

HARP

Mark Jackobs Jean Wall Bennett Chair

Trina Struble* Alice Chalifoux Chair

Lisa Boyko Richard and Nancy Sneed Chair Richard Waugh Lembi Veskimets The Morgan Sisters Chair

BASSOONS John Clouser* Louise Harkness Ingalls Chair

FLUTES

Gareth Thomas

Joshua Smith* Elizabeth M. and William C. Treuhaft Chair

Barrick Stees2 Sandra L. Haslinger Chair

Saeran St. Christopher

Jonathan Sherwin

Jessica Sindell Austin B. and Ellen W. Chinn Chair

CONTRABASSOON

Mary Kay Fink

HORNS

William Bender

PICCOLO

Gareth Zehngut

Nathaniel Silberschlag* George Szell Memorial Chair

CELLOS

Mary Kay Fink Anne M. and M. Roger Clapp Chair

Michael Mayhew§ Knight Foundation Chair

Mark Kosower* Louis D. Beaumont Chair

OBOES

Richard Weiss1 The GAR Foundation Chair

Frank Rosenwein* Edith S. Taplin Chair

Hans Clebsch

Genevieve Smelser

SECOND VIOLINS

Charles Bernard2 Helen Weil Ross Chair

Meghan Guegold Hege

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

Bryan Dumm Muriel and Noah Butkin Chair

Corbin Stair Sharon and Yoash Wiener Chair

Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Tanya Ell Thomas J. and Judith Fay Gruber 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 Youngji Kim

24 | 2023/2024 SEASON

Eliesha Nelson Anthony and Diane Wynshaw-Boris Chair Joanna Patterson Zakany

2

Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair Robert Walters

Jonathan Sherwin

Jesse McCormick Robert B. Benyo Chair Richard King

TRUMPETS Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Richard Stout

LIBRARIANS

CONDUCTORS

Michael Ferraguto Joe and Marlene Toot Chair

Christoph von Dohnányi

Donald Miller

Daniel Reith

Jack Sutte

TUBA

Lyle Steelman2 James P. and Dolores D. Storer Chair

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

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

Michael Miller

TIMPANI

Elizabeth Ring and William Gwinn Mather Chair

CORNETS Michael Sachs* Mary Elizabeth and G. Robert Klein Chair Michael Miller

PHOTO BY ROGER MASTROIANNI

EUPHONIUM & BASS TRUMPET

vacant

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair Thomas Sherwood

TROMBONES

Tanner Tanyeri

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

KEYBOARD INSTRUMENTS

Richard Stout Alexander and Marianna C. McAfee Chair Shachar Israel2

clevelandorchestra.com

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

MUSIC DIRECTOR LAUREATE

ASSISTANT CONDUCTOR

Virginia M. Linsdseth, PhD, Chair

Sidney and Doris Dworkin Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Paul and Lucille Jones Chair James and Donna Reid Chair Sunshine Chair Otto G. and Corinne T. Voss Chair Mr. and Mrs. Richard K. Smucker Chair Rudolf Serkin Chair

* Principal § Associate Principal 1 First Assistant Principal 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.

| 25

TH E 2023/2024 SEAS ON

CALE N DAR Pre-concert lectures are held in Reinberger Chamber Hall one hour prior to the performance.

FALL SEP 28 & OCT 1 TRIFONOV PLAYS BRAHMS Franz Welser-Möst, conductor Daniil Trifonov, piano BRAHMS Piano Concerto No. 1 PROKOFIEV Symphony No. 6 Pre-concert talk with Orchestra President & CEO André Gremillet and Music Director Franz Welser-Möst

OCT 5 – 7 TCHAIKOVSKY’S SECOND SYMPHONY Franz Welser-Möst, conductor Christoph Sietzen, percussion MOZART Symphony No. 29 JOHANNES MARIA STAUD Whereas the reality trembles TCHAIKOVSKY Symphony No. 2, “Ukrainian” Pre-concert lecture by James Wilding

OCT 12 & 13 MAHLER’S SONG OF THE NIGHT Franz Welser-Möst, conductor Simon Keenlyside, baritone MAHLER Selected Songs MAHLER Symphony No. 7 Pre-concert lecture by James O’Leary

OCT 15 SPECIAL EVENT

Renée Fleming & Friends Renée Fleming, soprano Emerson String Quartet Simone Dinnerstein, piano Merle Dandridge, narrator PHILIP GLASS Etude No. 6 BEETHOVEN String Quartet No. 14 PREVIN Penelope

OCT 20 SPECIAL EVENT

Eric Whitacre Conducts The Cleveland Orchestra Chorus The Cleveland Orchestra Chorus Eric Whitacre, conductor Lisa Wong, conductor Mingyao Zhao, cello Daniel Overly, piano REENA ESMAIL When the Violin ERIC WHITACRE The Sacred Veil

NOV 9 – 11 HANNIGAN CONDUCTS STRAUSS Barbara Hannigan, conductor Aphrodite Patoulidou, soprano HAYDN Symphony No. 44, “Trauersinfonie” VIVIER Lonely Child * LIGETI Lontano * R . STRAUSS Death and Transfiguration Pre-concert lecture by Rabbi Roger Klein

NOV 19 RECITAL

Schumann & Ravel Marc-André Hamelin, piano IVES Piano Sonata No. 2 R . SCHUMANN Forest Scenes RAVEL Gaspard de la nuit

NOV 24 – 26 TCHAIKOVSKY’S VIOLIN CONCERTO Pietari Inkinen, conductor Augustin Hadelich, violin DVOŘÁK Othello Overture TCHAIKOVSKY Violin Concerto DVOŘÁK Symphony No. 8 Pre-concert lecture by James Wilding

NOV 30 – DEC 2 MAHLER’S FOURTH SYMPHONY Daniel Harding, conductor Lauren Snouffer, soprano BETSY JOLAS Ces belles années…

MAHLER Symphony No. 4 Pre-concert lecture by Michael Strasser

DEC 7 & 9 TCHAIKOVSKY’S ROMEO & JULIET Semyon Bychkov, conductor Katia Labèque, piano Marielle Labèque, piano JULIAN ANDERSON Symphony No. 2, “Prague Panoramas” MARTINŮ Concerto for Two Pianos TCHAIKOVSKY Romeo and Juliet Fantasy Overture Pre-concert lecture by Caroline Oltmanns

WINTER JAN 11 – 13 THE MIRACULOUS MANDARIN Franz Welser-Möst, conductor KŘENEK Kleine Symphonie MAHLER/KŘENEK Adagio from Symphony No. 10 BARTÓK String Quartet No. 3 (arr. for string orchestra) BARTÓK Suite from The Miraculous Mandarin Pre-concert lecture by Kevin McBrien

JAN 17 & 18 MODERN CLASSICIST: WELSER-MÖST CONDUCTS PROKOFIEV 2 & 5 Franz Welser-Möst, conductor PROKOFIEV Symphony No. 2 WEBERN Symphony PROKOFIEV Symphony No. 5 Pre-concert lecture by Eric Charnofsky

FEB 1 RECITAL

Beethoven for Three Leonidas Kavakos, violin Yo-Yo Ma, cello Emanuel Ax, piano BEETHOVEN Piano Trio, Op. 70, No. 1, “Ghost” BEETHOVEN/WOSNER Symphony No. 1 BEETHOVEN Piano Trio, Op. 70, No. 2

FEB 9 – 11 BEETHOVEN’S FATEFUL FIFTH Herbert Blomstedt, conductor SCHUBERT Symphony No. 6 BEETHOVEN Symphony No. 5 Pre-concert lecture by James O’Leary

* Not performed on the Friday matinee concert

FEB 15 & 17 RAVEL’S MOTHER GOOSE

MAR 14, 16 & 17 LEVIT PLAYS MOZART

George Benjamin, conductor Tim Mead, countertenor Women of The Cleveland Orchestra Chorus

Franz Welser-Möst, conductor Igor Levit, piano

DIETER AMMANN glut GEORGE BENJAMIN Dream of the Song KNUSSEN The Way to Castle Yonder RAVEL Ma mère l’Oye (complete ballet) Pre-concert lecture by James Wilding

FEB 22 – 25 BEETHOVEN’S PASTORAL Philippe Herreweghe, conductor Jean-Guihen Queyras, cello BEETHOVEN Overture to Egmont HAYDN Cello Concerto No. 1 BEETHOVEN Symphony No. 6, “Pastoral”

MOZART Piano Concerto No. 27 BRUCKNER Symphony No. 4, “Romantic” Pre-concert lecture by Cicilia Yudha

SPRING MAR 21 – 23 SIBELIUS’S SECOND SYMPHONY RAUTAVAARA Cantus Arcticus PERRY Stabat Mater SIBELIUS Symphony No. 2

UNSUK CHIN subito con forza RACHMANINOFF Piano Concerto No. 2 BARTÓK Concerto for Orchestra

Pre-concert lecture by Kevin McBrien

John Adams, conductor James McVinnie, organ Timothy McAllister, saxophone

MAR 7 – 9 BRAHMS’S FOURTH SYMPHONY Fabio Luisi, conductor Mary Kay Fink, piccolo WEBER Overture to Oberon ODED ZEHAVI Aurora BRAHMS Symphony No. 4 Pre-concert lecture by Francesca Brittan

MAR 10 RECITAL

Chopin & Schubert Yefim Bronfman, piano SCHUBERT Piano Sonata No. 14 R . SCHUMANN Carnival Scenes from Vienna ESA-PEKKA SALONEN Sisar CHOPIN Piano Sonata No. 3

APR 26 – 28 RACHMANINOFF’S SECOND PIANO CONCERTO Lahav Shani, conductor Beatrice Rana, piano

FEB 29 – MAR 2 KANNEH-MASON PLAYS SCHUMANN

Pre-concert lecture by Eric Charnofsky

RAVEL Concerto for the Left Hand STRAVINSKY Concerto for Piano and Wind Instruments STRAVINSKY The Rite of Spring

Dalia Stasevska, conductor Josefina Maldonado, mezzo-soprano

APR 4 & 6 CITY NOIR

J.S. BACH/WEBERN Ricercare from Musical Offering * C. SCHUMANN Piano Concerto HINDEMITH Mathis der Maler Symphony

Klaus Mäkelä, conductor Yuja Wang, piano

Pre-concert lecture by Caroline Oltmanns

Pre-concert lecture by David Rothenberg

Susanna Mälkki, conductor Isata Kanneh-Mason, piano

APR 18 – 20 YUJA WANG PLAYS RAVEL & STRAVINSKY

GABRIELLA SMITH Breathing Forests DEBUSSY Prelude to the Afternoon of a Faun JOHN ADAMS City Noir

Pre-concert lecture by James O’Leary

MAY 2 – 4 LANG LANG PLAYS SAINT-SAËNS Franz Welser-Möst, conductor Lang Lang, piano * SAINT-SAËNS Piano Concerto No. 2 * BERLIOZ Symphonie fantastique Pre-concert lecture by Caroline Oltmanns

Pre-concert lecture by Eric Charnofsky

APR 11 – 13 ELGAR’S CELLO CONCERTO

MAY 16, 18, 24 & 26 MOZART’S MAGIC FLUTE

Klaus Mäkelä, conductor Sol Gabetta, cello Thomas Hampson, baritone * The Cleveland Orchestra Chorus *

Franz Welser-Möst, conductor Nikolaus Habjan, director Julian Prégardien, tenor Ludwig Mittelhammer, baritone Christina Landshamer, soprano The Cleveland Orchestra Chorus

JIMMY LÓPEZ BELLIDO Perú negro ELGAR Cello Concerto WALTON Belshazzar’s Feast *

Staged production sung in German with projected supertitles

Pre-concert lecture by James Wilding

APR 14 RECITAL

Schumann & Brahms Evgeny Kissin, piano Matthias Goerne, baritone R . SCHUMANN Dichterliebe BRAHMS Four Ballades, Op. 10 BRAHMS Selected Songs

MOZART The Magic Flute

MAY 23 & 25 MOZART’S GRAN PARTITA Franz Welser-Möst, conductor Leila Josefowicz, violin Trina Struble, harp WAGNER Prelude and Liebestod from Tristan und Isolde JÜRI REINVERE Concerto for Violin and Harp MOZART Serenade No. 10, “Gran Partita” Pre-concert lecture by Michael Strasser

For tickets & more information visit:

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YOU R V IS IT 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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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.

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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.

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