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Tchaikovsky’s Second Symphony OCTOBER 5 – 7, 2023
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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
Tchaikovsky’s Second Symphony Thursday, October 5, 2023, at 7:30 PM Friday, October 6, 2023, at 7:30 PM Saturday, October 7, 2023, at 8 PM
Franz Welser-Möst, conductor Wolfgang Amadeus Mozart (1756 –1791)
Johannes Maria Staud (b. 1974)
Pyotr Ilyich Tchaikovsky (1840 –1893)
Symphony No. 29 in A major, K. 201
25 minutes
I. Allegro moderato II. Andante III. Menuetto IV. Allegro con spirito
Whereas the reality trembles
20 minutes
Christoph Sietzen, percussion World Premiere, co-commissioned by The Cleveland Orchestra
I N TERMIS SI ON
20 minutes
Symphony No. 2 in C minor, Op. 17, “Ukrainian”
35 minutes
I. Andante sostenuto — Allegro vivo II. Andantino marziale, quasi moderato III. Scherzo: Allegro molto vivace IV. Finale: Moderato assai
Sunday’s concert will be livestreamed on Adella.live.
Total approximate running time: 1 hour 40 minutes
COVER: PHOTO BY STEFAN SIETZEN
Thank you for silencing your electronic devices. Thursday evening’s performance is dedicated to Mrs. Norma Lerner in recognition of her generous support of music.
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ADDITIONAL PERCUSSION : • Oil barrel courtesy of Broadway Scrap Metals • Terracotta pots courtesy of Petitti Garden
Center, Oakwood Village
THE CLEVELAND ORCHESTRA
AN I N TRO DU C TION
2 | 2023/2024 SEASON
PHOTO COURTESY OF CHRISTOPH SIETZEN
MOZART WAS 18 YEARS OLD
when he wrote his Symphony No. 29, a piece “so profound and yet so simple,” as described by musicologist Hugh Macdonald, that it still astonishes. We know very little about the genesis of this early masterpiece, not even when it was completed or premiered. In fact, the date on the autograph manuscript, April 6, 1774, was crossed out, leaving us with questions. We do know quite a bit about the creation of the percussion concerto Whereas the reality trembles by Johannes Maria Staud, which receives its world premiere this weekend along Percussionist Christoph Sietzen makes his Cleveland Orchestra debut this weekend in Johannes Maria Staud’s with the Cleveland debut of the Whereas the reality trembles. electrifying soloist Christoph Sietzen. Having spent two seasons as the Orchestra’s Daniel R. Lewis Young Composer Fellow (2007– 09), Staud is no stranger to Cleveland. Over the past several months, this shimmering new work has taken shape and been documented amidst today’s social media–rich environment. On Instagram, Sietzen and Staud have been sharing enticing clips that showcase an array of eclectic instruments — bell-like terracotta flowerpots, a set of imperfectly tuned cowbells, and a scaled tower of pitched woodblocks — in preparation for this highly anticipated unveiling. The origin of Tchaikovsky’s Symphony No. 2 is also no secret. The 32-year-old composer set out to create a symphony that incorporated the folk melodies from the region near his sister-in-law’s estate, in what is now the Ukrainian countryside. While this effort ingratiated Tchaikovsky to an elder generation of Russian composers seeking to establish a distinctly Russian musical identity, we can see in hindsight how this type of cultural appropriation has been fraught, and even repressive in its treatment of Ukrainian identity. As the Orchestra plays this buoyant piece for the first time in more than two decades, we recognize its inspiration and celebrate the vibrant Ukrainian culture from which it draws such influence. — Amanda Angel
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TH E MUSI C
Symphony No. 29 in A major, K. 201 By Wolfgang Amadeus Mozart BORN : January 27, 1756, Salzburg, Austria DIED : December 5, 1791, Vienna
▶ COMPOSED: 1774 ▶ WORLD PREMIERE: The date of the first performance of this symphony is unknown. ▶ CLEVELAND ORCHESTRA PREMIERE: November 15, 1956, led by George Szell ▶ ORCHESTRATION: 2 oboes, 2 horns, and strings ▶ DURATION: about 25 minutes
THE DATE INSCRIBED at the head of the
autograph score of this symphony — April 6, 1774 — was later crossed out, leaving us a bit of a mystery. The 18-yearold Mozart probably intended the symphony for a performance in Salzburg at that time, although no record of one survives. In January 1783, Mozart asked his father to send the symphony to him in Vienna, so it is likely to have been performed at that time. What composer, after all, could lay aside and forget so profound and yet so simple a work as this? It has the intimacy of chamber music (only oboes and horns support the strings) with the drive of symphonic music. All four movements are on an equally high level, and from the very opening measures listeners are aware of the confidence 4 | 2023/2024 SEASON
and effortless craft that imbue every page of the symphony. At the top of the first movement, there is a plunging octave from the first note to the second, with this simplest interval full of hidden wealth and weightless harmonies that float beneath it. This is a striking opening to a symphony — no brassy fanfare here as a call to attention. But then, when the winds enter and the dynamic switches from soft to loud, the whole individuality of the theme is transformed, and its potential for canon/ fugue or imitation is proclaimed in the close-pursuing of the bass line. Such an opening page had never been imagined before. Mozart follows it with lighter passages and simpler themes, but the tone is set. A more searching treatment of his opening theme would
IMAGE COURTESY OF WIKIMEDIA COMMONS/PAINTING BY BARBARA KRAFT (1819)
have provided good material for a normal development section of the movement, but he ignores the opportunity and introduces some new themes with disarming casualness. A coda is then added at the end to allow the plunging octave to be heard again, just briefly, in three-part imitation. The second movement is marked Andante. Andante in Mozart’s time implied an easy walking gait, not strictly a slow tempo, and the pace here moves comfortably forward over a gently striding bass. The second violins are almost as important as the firsts in this long, luxurious movement in full sonata form with both repeats marked (but rarely observed in modern performances) and a lovely coda section added at the end. A special touch is found here — the oboes and horns attempt the main theme on their own for the first time, giving the violins time to discard their mutes for their final definitive statement. The dotted rhythms of the thirdmovement Menuetto might be regarded as playful, except that a more ferocious use is found for them immediately after the end of the first section — an effect Beethoven borrowed without shame in his Second Symphony. The movement’s more relaxed Trio section has been compared to Chopin for its graceful style. The plunging octave of the opening returns to launch the fourth-movement finale, and again the second violins maintain their near-equality with the firsts. They are given the second subject clevelandorchestra.com
Written when the composer was just 18, Mozart’s Symphony No. 29 is imbued with uncanny confidence and effortless craft.
while the first violins juggle with grace notes alternately above and below the note, and whenever Mozart throws in that furious, naked rising scale the seconds go along, too. Once again there is a coda, an extension to the movement that Mozart seems to have been especially fond of at this point in his life. But then, he almost always seemed to have one more point to make, and to have found a way to make it with the utmost clarity and force. — 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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THE MUS I C
Whereas the reality trembles By Johannes Maria Staud BORN : August 17, 1974, in Innsbruck, Austria
▶ COMPOSED: 2022 ▶ This weekend marks the world premiere performances of Staud’s Whereas the reality trembles, commissioned by The Cleveland Orchestra, the Wiener Konzerthaus, and the Bayerische Rundfunk Orchester. ▶ ORCHESTRATION: 3 flutes (2nd doubling piccolo, 3rd doubling alto flute), 3 oboes (3rd doubling English horn), 2 clarinets, bass clarinet, 2 bassoons (2nd doubling contrabassoon), contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, glockenspiel, woodblocks, claves, Chinese opera gong, Chinese cymbals, tam-tams, bass drum, tambourines, vibraphone, hi-hat, cowbell, guiros, gongs, marimba, triangles, cabasa, bongos, congas), piano, accordion, and strings, plus solo percussionist (crotales, cowbells, marimba, flowerpots, mokushos, woodblocks, wooden boxes, metal canisters, thunder sheets, tambourine, bongos, conga, tom-toms, bass drum) ▶ DURATION: about 20 minutes
THE TITLE OF Johannes Maria Staud’s
from literature and the visual arts. “What is reality? Is it the orchestra, is new concerto for percussion, Whereas the reality trembles, came to the composer it the percussion, is it the political environment in which I make music late in his composition process, the today? For me this is a poetic space lingering effects of a prolonged immerwhere I feel free to invent music on sion in the works of American poet a very playful level.” William Carlos Williams during his As with poetry itself, layers of pandemic seclusion. Staud had recently meaning start to unfold as we talk about written two other works inspired by his work process and collaboration with Williams’s texts, and found that the Christoph Sietzen, the percussionist phrase showed him exactly what he who performs the world premiere of expected from a percussion concerto. Whereas the reality trembles. A shimmer“Williams often speaks about reality ing reality — one that appears solid yet as a bit shimmering; [his work] is very much obsessed with the space between events,” says Staud, a 2022 Austrian This weekend’s concerts mark the fourth collaboration between composer Johannes Maria Staud, The Art Prize winner whose two-and-a-half Cleveland Orchestra, and Music Director Franz Welserdecades of work often draws inspiration Möst. See Staud’s composer’s note on page 10. 6 | 2023/2024 SEASON
PHOTO BY MIRI HUH
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is not fixed, and holds pure potential in the spaces in between — captures the duality, dynamism, and molecularly vibrant process that underlies the creation of Staud’s newest piece. He found the perfect partner in Sietzen, an artist whose raw energy explodes on stage in performances of riveting and defyingly refined artistry. Listening to composer and performer talk about the creation of a percussion piece, one can’t help but imagine lots of play. Flowerpots, metal drums, cowbells, junk percussion — the infinite possibilities of sound and of objects that can create sound. Where does one begin? Both say the choice of instruments, informed by exchanges of ideas and snippets of experience that spark questions and more ideas and experimentation. The percussion concerto opens with marimba and pitched cowbells, a combination that Sietzen knew from a previous work and suggested to Staud. For the composer, whose music creates its own sonic ecosystem — vibrant, layered, textural, melodious, full of color and surprise — it’s the combination of sounds that interests him, not an object or sound on its own. Staud took to the pairing of metal and wood; the solo percussion in the new concerto includes two-plus octaves of tuned cowbells, assorted woodblocks, mokushos and wooden boxes, a metal barrel played with a foot pedal, and metal cans and canisters. (The fact that 8 | 2023/2024 SEASON
cowbells are never quite in tune pleases Sietzen: “They’re never a hundred percent in pitch so it gives this little imperfection, which actually makes it really interesting.”) Staud also likes to combine “high-tech and low-tech instruments” — the metal barrel, for instance, gives a bit of a “trashier sound,” he says. “I like it very much.” Flowerpots too, another Sietzen suggestion. Not long before our
What we know as ‘percussion’ today was either developed in the 20th century or was found in different ethnomusicological contexts and mixed together in a very rich, constructive, and colorful way. This is not cultural appropriation, but curiosity, deep respect, and mutual inspiration between different backgrounds. — Johannes Maria Staud
conversation, they had been discussing how to find harder flowerpots that wouldn’t break when vigorously struck. Giving definition to the body of instruments known as percussion is its own shimmering reality. Since ancient times, in cultures across the globe, humans have hit, shaken, scraped, and cobbled together objects — from gourds and sticks to drums and log xylophones — to create rhythm, sound, and melody as part of rituals and entertainment.
Sietzen for this co-commission from “What we know as ‘percussion’ today was either developed in the 20th century Cleveland along with Wiener Konzerthaus and Bayerische Rundfunk Orchesor was found in different ethnomusicoter a was a stroke of good fortune. “He’s logical contexts and mixed together a very profound artist,” Staud says. in a very rich, constructive, and colorful “He’s obsessed by good sound and good way. This is not cultural appropriation, instruments. It’s very easy with him.” but curiosity, deep respect, and mutual As a performer, Sietzen says getting inspiration between different backto the heart of a composer’s intentions grounds,” Staud notes. “It’s our aim drives his collaborative process. now in the 21st century to give this Approaches vary wildly: One composi‘instrumentarium’ real meaning and to tion can focus on tuned instruments compose many works for it.” only; another might find him pulling A turning point in Western music scraps from a junkyard (as he did for percussion came in the 20th century copiously for Georg Friedrich Haas’s with groundbreaking works such as Konzert für Klangwerk und Orchester, Edgard Varèse’s Ionisation for 13 which premiered in 2019). percussionists (1929) and Béla Bartók’s “There’s something special with each Sonata for Two Pianos and Percussion new percussion concerto because there’s (1937). From there sprang a proliferation usually a new approach; each composer of boundary-pushing compositions, tries to create something that hasn’t led by percussion pioneers John Cage been there before,” Sietzen says. and Iannis Xenakis, whose inventiveUltimately, the rigorous and relentness in sound-making broke open a whole new world of aural perception and less process of choosing, trying, experimenting, and constructing may sonic possibilities. “Composers really started to discover be imperceptible except behind the scenes. Sietzen has the keen ability percussion,” says Sietzen, “and I think to meld with his percussive instruments, with the music of our time it’s such an unleashing something beyond rhythm important instrument.” and melody — a fusion of pure energy, Whereas the reality trembles thus sound, and exceptional refinement that arrives at a ripe moment for the percussublimates into sheer rapture and joy. sion canon. Staud, a former Daniel R. It’s a perfection made up of millions Lewis Young Composer Fellow whose of nuances, perhaps a shimmering reality oeuvre encompasses orchestral, all its own. ensemble, and solo works both with — Luna Shyr and without electronics, notes that with great soloists comes opportunities Luna Shyr is a freelance writer and editor. Her work has appeared in National Geographic, The Wall Street to create new concertos with daring Journal, Atlas Obscura, and at Lincoln Center for the soundworlds. Being matched with Performing Arts. clevelandorchestra.com
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Composer’s Note Whereas the reality trembles M USIC FOR PERCUS SION AN D ORCH ESTR A
It can, in contrast to the poisoned political discourse of our days, operate in nuanced shades; it can make the ambiguous, the fragile, the ephemeral its theme. It can be poetic, dramatic, playful, wild, haunting, and tender at the same time. It has no lobbying interests, and is therefore not exploitable, corruptible, and can show reality as it really is — certainly also as a model for politics and society: trembling, oscillating, jittering, fluttering, quavering, iridescent. Manifold in the plenitude of possible denotations ... the list of synonyms is almost endless. William Carlos Williams (1883 – 1963), the great polestar of American Modernism, the magician of the “Jittering Directions,” is the model par excellence for this. The title for my Music for Percussion and Orchestra, 10 | 2023/2024 SEASON
PHOTO BY PRISKA KETTERER
ART IS POWERFUL. MUSIC, BEING SO ABSTRACT, IS ESPECIALLY SO.
which I composed in 2022, is taken from his wonderful, timeless poem “April” (included in his collection Della Primavera Trasportata al Morale), from 1930. In my work, the soloist always interacts with the orchestra at eye level. They are on an equal footing, inspire and complement each other, enter into discourse. They sometimes pull on the same rope, and then again unconventionally illuminate different musical contexts individually. The balance between expectation and surprise, between playfulness and musical substance, is always precisely calibrated. My five-part work initially combines the tempered world of the marimba (wood) with the slightly untempered world of the tuned cowbells (metal) in the solo percussion, accompanied by the orchestra in an elastic, pulsating manner. It reaches out further and further, combining familiar instruments (such as bongos, drums, woodblocks, and crotales) with unfamiliar ones (such as flowerpots, metal canisters, thunder sheets, and wooden boxes). At times the solo percussion enters into unusual sound relationships with specific orchestra groups,
Art is powerful. Music, being so abstract, is especially so. unfamiliar instrumental combinations, or other solo instruments. Rhythmically accentuated, wild parts are juxtaposed with calm, atmospheric sections — there are also groovy, bouncy passages. Two virtuosic cadenzas for the solo percussion, but also a longer “orchestra alone”–passage into which the solo percussion finally dabs delicate crotales- and mokusho-phrases, are presented — always bundled by the work’s own dramaturgy and a clearly outlined, reduced musical material that appears in manifold forms. This work is dedicated with deep affection to the wonderful performers Christoph Sietzen and Franz Welser-Möst. Moreover, this is now already my fourth collaboration with the outstanding Cleveland Orchestra. My experiences with this Wunderharfe, my electrifying exchange with this great soloist and my unwavering trust in the conductor, who knows my musical cosmos better than hardly anyone else, were a great source of inspiration during the composition process. Thank you so much! — Johannes Maria Staud, Vienna, September 23, 2023 clevelandorchestra.com
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THE MUS I C
Symphony No. 2 in C minor, Op. 17, “Ukrainian” By Pyotr Ilyich Tchaikovsky BORN : May 7, 1840, in Votkinsk, Russia DIED : November 6, 1893, in St. Petersburg
▶ WORLD PREMIERE: February 7, 1873, in Moscow with Nikolai Rubinstein conducting. The revised version premiered on February 12, 1881, in St. Petersburg under Karl Zike. ▶ CLEVELAND ORCHESTRA PREMIERE: November 5, 1925, under Nikolai Sokoloff ▶ ORCHESTRATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, tam-tam), and strings ▶ DURATION: about 35 minutes
the rousing finale of the symphony is based on a still-popular Ukrainian documented that Tchaikovsky comchildren’s song, Zhuravel’ (The Crane). posed his Second Symphony in 1872 – 73 In Tchaikovsky’s finale, the hummable and revised it in 1879 – 80. He is said to tune is introduced plainly and then, over have found inspiration for the work while relaxing at his sister-in-law’s estate a series of increasingly brassier variations, interrupted by a lyrical countermelody in the Ukrainian village of Kamianka of his own devising, developed to a bom(about 250 miles south of Kyiv), where he bastic conclusion. The premieres of both heard the folk songs of rural Ukrainian the original and the now-canonical revised peasants, who had been emancipated versions of the symphony were held from serfdom less than a decade earlier. Though some claims about the Ukrainian in the most important cities in Imperial Russia: Moscow (1873) and St. Petersburg provenance of folk materials used in the (1881). Even Tchaikovsky’s most rancorsymphony are contested—specifically, the song referenced in the first movement, ous critic, the composer César Cui of the Russian musical nationalist clique Down the River Volga, which was likelier thought of in Tchaikovsky’s time as a Tchaikovsky, whose own lineage runs partly through Russian folk song—no one disputes that Ukraine, found inspiration in its folk songs. GENERATIONS OF MUSICOLOGISTS have
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▶ COMPOSED: 1872 – 73; revised 1879 – 80
IMAGE COURTESY OF WIKIMEDIA COMMONS/PAINTING BY NIKOLAI DIMITRIYEVICH KUZNETSOV (1893)
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known as the “Mighty Five,” allowed that the finale was “magnificent.” Perhaps because of the clear use of the Ukrainian tune in the finale, the Russian Imperial music critic Nicholas Kashkin dubbed the Second Symphony as “Little Russian”—a demeaning name adopted in Imperial Russia to refer to the territory of Left Bank Ukraine that had come under Tsarist domination in the late 18th century. By the 19th century, according to the historian Andreas Kappeler, the term “Little Russia” “acquired the pejorative meaning of the inferior part of Russia.” Orchestras around the world subsequently performed Tchaikovsky’s Second Symphony with the programmatic title “Little Russian.” While a cursory online search shows that prominent orchestras still refer to the symphony with this title on their websites, many orchestras in the Anglophone world — including The Cleveland Orchestra — have pivoted away from this title. Still, in the Russian world, the appellation maintains widely, and it has taken on eerie echoes since Russian President Vladimir Putin first started his violent encroachments on Ukrainian sovereignty in 2014. Where, in Tchaikovsky’s time, the Tsar used Malorosiia (“Little Russia”) to describe Left Bank Ukraine, in our time, Putin revived another historic term, Novorosiia (“New Russia”) to refer to the very regions of southeastern Ukraine that are currently being targeted in Russia’s bloody invasion. In Tchaikovsky’s time, mining the romanticized “folk” for inspiration was 14 | 2023/2024 SEASON
in the zeitgeist. So it is hardly surprising that Tchaikovsky heard something vital in the folksongs of central Ukraine. But what seems fascinating to contemplate is how this cosmopolitan Russian composer — whose own heritage could be partly traced to a lineage of Ukrainian Kozaky (or Cossacks, the freemen who founded the first pre-modern Ukrainian state before aligning with Muscovy in the 18th century) — viewed the folk from whom he borrowed: was his an assimilationist appropriation, in pursuit of a national Russian compositional language? Or did he view them as exotic outsiders to the imperial projects of late Tsarist Russia? We can attest to some of Tchaikovsky’s thinking on the matter based on his letters and his well-documented whereabouts: he apparently had a genuine enthusiasm for the folk songs of Ukraine, attending evenings of “Little Russian” music presented in the imperial capital. What we cannot know, because their testimonies did not make it into our archives, is how the first generation of emancipated serfs around Kamianka viewed Tchaikovsky. But we can fill in some blanks. Historians of Ukraine have documented how, when no longer exclusively bound to the land of their landowners, the post-emancipation Ukrainian peasantry took advantage of their newfound mobility. The promise of land redistributions — accompanied, often, by strangling debt — afforded some a measure of economic autonomy. And these limited new freedoms facilitated greater interaction between
Ukrainians from different regions, of different classes, and of differing imperial inheritances. While 19thcentury Russian nationalism motivated social changes in “Greater” Russia, so did Ukrainian nationalism of the midand late-19th century bring profound transformations in Ukrainian society: a boom in Ukrainian literature, the resurgence of Ukrainian vernacular and classical music, the nascent imaginings of a something like a national community. As Russian Imperial composers pursued their national compositional language, so did Ukrainian composers such as Tchaikovsky’s contemporary Mykola Lysenko (known as the “father of Ukrainian national music”) seek a language to call their own. Would the peasants of Kamianka have approved of having their vernacular Ukrainian song refashioned for elite audiences in the imperial cities that had so recently exploited their unfree labor? Or might they have experienced it as another kind of theft of identity, an attempt to further blur the distinctions between colonizers and colonized? In the aftermath of the full-scale Russian invasion of Ukraine in February 2022, the scholars Botakoz Kassymbekova and Erica Marat introduced the term “imperial innocence” to describe how Russia has long sustained the myth that it “did not attack and colonize, but liberated and saved the colonized.” They wrote: “In such a Russian imperial imagination, enforcing the Russian language, culture, and rule on nonclevelandorchestra.com
Russian populations is not colonialism but a gift of greatness.” It is time, they say, to dismantle this myth. Understanding what is meant by “Little Russia,” why it is so hurtful, is the first step on this path. Leaving the term consciously behind is the next step, one that we as music lovers are taking together. And we should do this not out of rash historical revisionism, but because the ways we maintain the insults of the past do not remain in the past; they tell us much about what kind of injurious thought we are willing to tolerate in the present, and what that portends for a more just future. As you listen to the inventive setting of “The Crane” in the finale of Tchaikovsky’s Second Symphony, contemplate those who were excluded from the canonic symphonic repertory due, in large part, to Russia’s seductive myth of “imperial innocence,” which instructed us to hear only “greatness” in the place of incalculable loss, theft, and erasure. Consider seeking out the symphonies of Mykola Kolessa, Yuliy Meitus, Levko Revutsky, Maksym Berezovsky, Boris Lyatoshynsky, or Lesia Dychko. Consider joining the effort to overcome Russia’s imperial innocence by listening to and celebrating the defiant will of the belittled and overlooked. — Maria Sonevytsky Maria Sonevytsky is the author of Wild Music: Sound and Sovereignty in Ukraine (winner of the 2020 American Musicological Society’s Lockwood First Book Prize) and Vopli Vidopliassova’s Tantsi, and led the production of Chornobyl Songs Project: Living Culture from a Lost World, released on Smithsonian Folkways in 2015. She holds a PhD in ethnomusicology from Columbia University and teaches music and anthropology at Bard College.
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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 Percussion Concerto with the Arctic Philharmonic at the Bodø BEAT festival. percussion Sietzen regularly performs at prestigious venues such as Vienna’s Konzerthaus and Musikverein, SalzHAVING MADE HIS SALZBURG FESTIVAL debut at age 12, percussionist Christoph burg’s Great Festival Hall and Mozarteum, Romanian Athenaeum in Bucharest, Sietzen has subsequently been awarded the ICMA (International Classical Music Philharmonie Luxembourg, London’s Barbican Centre, Elbphilharmonie HamAwards) Young Artist Award, and the burg, Berlin’s Konzerthaus, Cologne’s European Concert Hall Organization Philharmonie, Müpa Budapest, Gulbenkian (ECHO) named him a Rising Star for the Foundation Lisbon, Palau de la Música 2017 –18 season. Furthermore, Sietzen Barcelona, Stockholm Konserthuset, received an OPUS KLASSIK Award for Bozar Brussels, Concertgebouw AmsterNewcomer of the Year in 2019. dam, and Suntory Hall in Tokyo, as well The 2023–24 season sees Sietzen as at festivals like Salzburg or Grafenegg. make his Cleveland Orchestra debut His orchestral collaborations include with the world premiere of Johannes Maria Staud’s Whereas the reality trembles, the Bavarian, Austrian, and Polish radio symphony orchestras, Luxembourg followed by its Austrian premiere with Philharmonic, Mozarteum Orchestra the Vienna Symphony. He also presents Salzburg, as well as the Academy of the world premiere of Glanert’s Ancient Music with conductors like Ilan Volkov, Marin Alsop, Howard Griffiths, Yutaka Sado, Frank Strobel, Alexander Liebreich, and Cristian Mandeal. Pizzicato magazine described his 2017 solo album Attraction as follows: “Awesome technique, unrelenting intensity, tremendous power, breathtaking speed, idiosyncratic presence, and a profound musicality would be some of the superlatives needed to describe the talent of the Luxembourgish-Austrian percussionist Christoph Sietzen.” Sietzen is also a member of the marimba ensemble The Wave Quartet, founded by Bogdan Bacanu in 2008, and initiated the percussion ensemble, Motus Percussion. 20 | 2023/2024 SEASON
PHOTO BY STEFAN SIETZEN
Christoph Sietzen
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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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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.
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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 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
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
Franz Welser-Möst, conductor Simon Keenlyside, baritone
NOV 24 – 26 TCHAIKOVSKY’S VIOLIN CONCERTO
MAHLER Selected Songs MAHLER Symphony No. 7
Pietari Inkinen, conductor Augustin Hadelich, violin
Pre-concert lecture by James O’Leary
DVOŘÁK Othello Overture TCHAIKOVSKY Violin Concerto DVOŘÁK Symphony No. 8
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
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
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
Pre-concert lecture by Michael Strasser
SCHUBERT Symphony No. 6 BEETHOVEN Symphony No. 5
DEC 7 & 9 TCHAIKOVSKY’S ROMEO & JULIET
Pre-concert lecture by James O’Leary
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
FEB 15 & 17 RAVEL’S MOTHER GOOSE George Benjamin, conductor Tim Mead, countertenor Women of The Cleveland Orchestra Chorus 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
* Not performed on the Friday matinee concert
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” Pre-concert lecture by David Rothenberg
FEB 29 – MAR 2 KANNEH-MASON PLAYS SCHUMANN Susanna Mälkki, conductor Isata Kanneh-Mason, piano J.S. BACH/WEBERN Ricercare from Musical Offering * C. SCHUMANN Piano Concerto HINDEMITH Mathis der Maler Symphony Pre-concert lecture by Eric Charnofsky
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
MAR 14, 16 & 17 LEVIT PLAYS MOZART Franz Welser-Möst, conductor Igor Levit, piano MOZART Piano Concerto No. 27 BRUCKNER Symphony No. 4, “Romantic” Pre-concert lecture by Cicilia Yudha
SPRING MAR 21 – 23 SIBELIUS’S SECOND SYMPHONY Dalia Stasevska, conductor Josefina Maldonado, mezzo-soprano
APR 26 – 28 RACHMANINOFF’S SECOND PIANO CONCERTO Lahav Shani, conductor Beatrice Rana, piano
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
Pre-concert lecture by James O’Leary
APR 4 & 6 CITY NOIR
MAY 2 – 4 LANG LANG PLAYS SAINT-SAËNS
John Adams, conductor James McVinnie, organ Timothy McAllister, saxophone GABRIELLA SMITH Breathing Forests DEBUSSY Prelude to the Afternoon of a Faun JOHN ADAMS City Noir Pre-concert lecture by Eric Charnofsky
APR 11 – 13 ELGAR’S CELLO CONCERTO Klaus Mäkelä, conductor Sol Gabetta, cello Thomas Hampson, baritone * The Cleveland Orchestra Chorus * JIMMY LÓPEZ BELLIDO Perú negro ELGAR Cello Concerto WALTON Belshazzar’s Feast * 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
APR 18 – 20 YUJA WANG PLAYS RAVEL & STRAVINSKY
Franz Welser-Möst, conductor Lang Lang, piano * SAINT-SAËNS Piano Concerto No. 2 * BERLIOZ Symphonie fantastique Pre-concert lecture by Caroline Oltmanns
MAY 16, 18, 24 & 26 MOZART’S MAGIC FLUTE Franz Welser-Möst, conductor Nikolaus Habjan, director Julian Prégardien, tenor Ludwig Mittelhammer, baritone Christina Landshamer, soprano The Cleveland Orchestra Chorus MOZART The Magic Flute Staged production sung in German with projected supertitles
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
Klaus Mäkelä, conductor Yuja Wang, piano RAVEL Concerto for the Left Hand STRAVINSKY Concerto for Piano and Wind Instruments STRAVINSKY The Rite of Spring Pre-concert lecture by Caroline Oltmanns
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