The Cleveland Orchestra October 12 & 13 Concerts

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Mahler’s Song of the Night OCTOBER 12 & 13, 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

Mahler’s Song of the Night Thursday, October 12, 2023, at 7:30 PM Friday, October 13, 2023, at 7:30 PM

The Cleveland Orchestra’s Distinguished Service Award will be presented to Robert P. Madison during Thursday’s concert (see page 4).

Franz Welser-Möst, conductor Gustav Mahler (1860–1911)

Frühlingsmorgen

25 minutes

from Lieder und Gesänge aus der Jugendzeit (orch. Berio)

Ablösung im Sommer

from Des Knaben Wunderhorn (orch. Berio)

Revelge from Des Knaben Wunderhorn Urlicht from Des Knaben Wunderhorn Rheinlegendchen from Des Knaben Wunderhorn Hans und Grete

from Lieder und Gesänge aus der Jugendzeit (orch. Berio)

Simon Keenlyside, baritone

Gustav Mahler

I N TERMIS SI ON

20 minutes

Symphony No. 7 in E minor

75 minutes

COVER: PHOTO BY ROGER MASTROIANNI

I. Langsam — Allegro risoluto, ma non troppo II. Nachtmusik: Allegro moderato III. Scherzo: Schattenhaft. Fliessend, aber nicht schell IV. Nachtmusik: Andante amoroso V. Rondo-Finale: Tempo I (Allegro ordinario) — Tempo II (Allegro moderato ma energico) Total approximate running time: 2 hours

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Simon Keenlyside’s performance is sponsored by Astri Seidenfeld. clevelandorchestra.com

THE CLEVELAND ORCHESTRA

ON VIE

Gustav Mahler’s Autograph Manuscript of Symphony No. 2, “Resurrection” CLEVELAND MUSEUM OF ART October 31, 2023 – February 4, 2024 Last September, The Cleveland Orchestra announced the gift of the only complete manuscript of Mahler’s Symphony No. 2, “Resurrection,” generously donated

by Dr. Herbert G. Kloiber, a noted Austrian media executive and philanthropist. This month, the Cleveland Museum of Art, which has partnered with the Orchestra to house and preserve this invaluable document, will display it in the Museum’s Rotunda, next to the reinstallation of the Canova marble Terpsichore Lyran (The Muse of Lyric Poetry).

For more information, visit clevelandart.org.

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TCO DISTI NGU ISHED SERVIC E AWARD

The Cleveland Orchestra’s Distinguished Service Award

The Cleveland Orchestra is proud to honor Robert P. Madison as the 2023–24 recipient of the Distinguished Service Award, recognizing extraordinary service to the Orchestra.

Robert P. Madison, who turned 100 years old this past July, has been a vital member of the Orchestra’s Board of Trustees and the Greater Cleveland community.

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has garnered a long and impressive list of accolades. There is the Purple Heart he received after being injured in World War II. Upon returning to Cleveland after the war, he was the first Black student admitted to Western Reserve University’s School of Architecture. Admission to Harvard University’s Graduate School of Design and a Fulbright scholarship that allowed him to continue his studies at the École des Beaux-Arts in Paris followed.

Madison came back to Cleveland in 1954 where he opened the first Black-owned architecture firm in the state of Ohio. Now named Robert P. Madison International, Inc., his firm would go on to design the US Embassy in Dakar, Senegal, buildings at the Tuskegee Institute and Cleveland State University, and collaborate on projects including the Rock and Roll Hall of Fame and Museum, the Great Lakes Science Center, Cleveland Public Library, and Cleveland Browns Stadium.

In recognition, Madison’s firm received a Gold Medal from the Ohio chapter of the American Institute of Architects (AIA) in 1997; the Cleveland Arts Prize honored him with a special citation (2000) and a Special Prize in acknowledgment of his remarkable career (2018); and in 2002, he won the AIA’s Whitney M. Young Jr. award for community service and was inducted into the Northeast Ohio Business Hall of Fame.

PHOTO COURTESY OF EXTRAORDINAIRE PHOTOS

THROUGHOUT HIS LIFE , Robert P. Madison

What is not obvious among these accoPREVIOUS RECI PI E N TS lades is Madison’s passion for and ardent 1996–97 Dorothy Humel Hovorka, trustee support of opera and classical music. For 1997–98 David Zauder, trumpet and more than 25 years, Bob, as he is known Orchestra personnel manager 1998–99 Ward Smith, trustee among friends and colleagues, served on 1999–2000 Christoph von Dohnányi, music The Cleveland Orchestra Board of Trustees, director emeritus 2000–01 Gary Hanson, executive director first as a resident trustee in 1997, and since 2001–02 John Mack, oboe 2017, as Honorary Trustee for Life.

2002–03 Richard J. Bogomolny, trustee 2003–04 Thomas W. Morris, executive Growing up in Cleveland, Madison had director little access to the city’s classical music insti2004–05 Alex Machaskee, trustee 2005–06 Klaus G. Roy, program editor tutions, including Severance Hall. That and annotator changed after being injured fighting against 2006–07 Amb. John D. Ong, trustee 2007–08 Gerald Hughes, chorus the German Army in northern Italy on 2008–09 Louis Lane, assistant conductor December 26, 1944. The war would end about 2009–10 Clara Taplin Rankin, trustee six months later, but it took two additional 2010–11 Robert Conrad, trustee and president of WCLV years for Madison to come back to the US. 2011–12 Richard Weiner, percussion “A few Italian soldiers whom I had met 2012–13 Milton and Tamar Maltz, trustees 2013–14 Pierre Boulez, conductor became very close friends and were very 2014–15 James D. Ireland III, trustee eager to take me to Florence where I saw 2015–16 Rosemary Klena, assistant to the executive director my very first grand opera Tosca. I was mes2016–17 Robert Vernon, viola merized,” Madison shared. “For the next 2017–18 Dennis W. LaBarre, trustee 2018–19 Franz Welser-Möst, music director two years, I went to Rome, Venice, Milan, 2019–20 The Cleveland Orchestra Chorus Pisa, and Viareggio enjoying grand opera 2021–22 Joela Jones, keyboard at all levels of excellence and I became 2022–23 Jane B. Nord, philanthropist addicted to opera.”

Madison brought that love of music back DISTINGUISHED SERVICE AWARD COMMITTEE to Cleveland, where he joined the Cleveland Opera Society and eventually was recruited to Katherine O’Neill, chair Amb. John D. Ong Richard J. Bogomolny Clara Taplin Rankin join The Cleveland Orchestra family by his Robert Conrad Richard K. Smucker Meredith Smith Weil friend and fellow trustee Richard Bogomolny. Marguerite Humphrey Dennis W. LaBarre During his time on the board, Madison has been a powerful advocate for increasing access to Severance and diversity within In recognition of Robert P. Madison’s the institution and among audiences. He pertransformational dedication to the sonally extended invitations to colleagues city of Cleveland and his decades-long and friends to Severance to share the experipassion and advocacy for classical ence of an Orchestra performance and music, the Musical Arts Association is converted a number of them into regular pleased to honor him with our highest concertgoers. award for distinguished service. clevelandorchestra.com

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TH E MUSI C

Selected Songs

By Gustav Mahler BORN : July 7, 1860 in Kalischt, Bohemia (now Kalištì in the Czech Republic) DIED : May 18, 1911 in Vienna

▶ Frühlingsmorgen from Lieder und Gesänge aus der Jugendzeit (c. 1886) orchestration by Luciano Berio ▶ Ablösung im Sommer from Des Knaben Wunderhorn (c. 1886) orchestration by Luciano Berio ▶ Revelge from Des Knaben Wunderhorn (1899) ▶ Urlicht from Des Knaben Wunderhorn (c. 1893) ▶ Rheinlegendchen from Des Knaben Wunderhorn (1892) ▶ Hans und Grete from Lieder und Gesänge aus der Jugendzeit (1880) orchestration by Luciano Berio ▶ DURATION: about 25 minutes

See page 18 for the full sung texts and translations.

ALTHOUGH GUSTAV MAHLER has always

been best known as a composer of expansive post-Wagnerian symphonies, the lied was also central to his creative oeuvre, both as a genre in its own right and as an impetus towards, or even a specific component of, his symphonic compositions. Indeed — probably under the influence of Schubert, whose music he loved — Mahler had begun intertwining the traditionally separate spheres of lied and instrumental music in his First Symphony (1888), which draws heavily upon his earlier song cycle Lieder eines fahrenden Gesellen (Songs of a wayfarer).

His culminating synthesis of song and 6 | 2023/2024 SEASON

symphony, written 20 years later, is Das Lied von der Erde (The song of the earth, 1908), widely regarded as Mahler’s masterpiece; the composer himself called it “the most personal thing I have yet created.”

In 1892, Mahler published three volumes of Lieder und Gesänge for voice and piano. Although the chronology of their composition is not entirely clear, we do know that Mahler was at the keyboard for the 1886 premiere of “Frühlingsmorgen” (Spring morning) in Prague, with his then-current inamorata Betty Frank as the vocalist. Drawing upon the rather modest poetry of

Undoubtedly, Mahler was attracted to Richard von Volkmann (pseudonym: the Wunderhorn by its heterogeneity and Leander), Mahler captures the languid, half-awake sensuousness of a sleepyhead pithy straightforwardness, including the deeply felt oppositions of humor, tragedy, lover who is reluctant to awaken on a love, war, cruelty, and piety within its sunny spring day. The Schumannesque pages. Yet precisely the generic aspects instrumental writing evokes the gentle of text and music (marches, Austrian fresh breeze, the singing of a lark, and Ländler, and duple-time folk dances) the buzzing of bees and beetles, while enabled Mahler to treat many of these the singer addresses the slumberer in songs with the subtle detachment of smooth 6/8 lullaby phrases interspersed Romantic irony, thereby exploiting the with gentle knocking of linden branches tensions between the folkishness of the at the window. “Steh’ auf!” (get up) material and the urbane sophistication is the singer’s gently but insistently of his settings. repeated refrain, a common Mahlerian An early instance of Nature archly device that here contributes both unity regarded from the ironic perspective is and variety. Within the dreamy context “Ablösung im Sommer” (Changing of of slow harmonic motion, frequent the guard in summer), which is also the pedals, lulling pulse, and an almost earliest of the Wunderhorn songs continuously soft dynamic level, subsequently absorbed into a symphonic Mahler avoids potential ennui through movement (the scherzo of Symphony nuanced variants of melody, accompaniNo. 3). The cuckoo is usually the first ment figuration, and barring. The subtle bird to herald the arrival of spring, but orchestration by composer Luciano for unknown reasons it gradually ceases Berio (1925–2003), a lifelong Mahler to be heard in the forest after the summer devotee, delicately shades the musical solstice. The eight-line Wunderhorn atmosphere. poem accounts for this by supposing he In 1886, Mahler took up a new post has fallen dead in the meadow; now in Leipzig, where he met and fell in love who will replace him as the lead singer? with Marion von Weber, wife of composer Carl Maria von Weber’s grandson. Mistress Nightingale, who “sings and springs and is always happy when other Marion introduced him to the anthology birds are silent!” Stylized birdcalls are Des Knaben Wunderhorn (The boy’s apparent from the first bar, yet the minor magic horn, compiled by Achim von Arnim and Clemens Brentano, 1805–08), mode plus the often-jabbering rhythms and unpredictable phrase lengths (brought and he wrote his first Wunderhorn lieder on chiefly through word repetition) all for Marion’s children. In total, Mahler evoke vague unease. Also cause for pause would compose 24 songs from the is the stark emphasis of “Cuckoo is dead! collection and, with one exception, Cuckoo is dead!” that actually mimics would set no other poetry until 1901. clevelandorchestra.com

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Gustav Mahler captured in Rome in 1907, while he was performing with the Orchestra di Santa Cecilia.

fallen comrades notwithstanding.

The driving military onrush to the death dominates all, including the soldier’s plaintive yet fruitless pleas for relief, as well as the ironic, seemingly nonsensical refrain “tralali, tralaley, tralalera!” that punctuates all eight strophes. At length the ghostly troops rout their foes, but their victory is uncannily Pyrrhic: in the morning their skeletons stand like tombstones before the house of the initial wounded soldier’s beloved.

“Urlicht” (Primal light) is familiar owing to Mahler’s incorporation of it as the miniature prelude to the vast apocalyptic finale of his Second

PHOTO: LEBRECHT MUSIC & ARTS / ALAMY STOCK PHOTO

the falling interval of the cuckoo’s call (albeit with exaggerated accentuation of the second note). Thus, Nature seems largely indifferent to death and the struggle for survival in this song.

Cuckoo indeed is dead; instinctual life scrambles on.

In 1892, Mahler began composing Wunderhorn lieder to be performed either with piano or orchestra; he considered “Revelge” (Reveille) “the greatest of his compositions of this sort.” It is also the most complex: in this horrific, almost symphonic ballad a soldier who has just been shot cannot be taken to safety, but must march incessantly onward while beating his drum, “In einem fort” — numerous

Symphony. Yet it was first composed and orchestrated independently; stylistically, it stands well apart from the rest of the Second as well as from Mahler’s other Wunderhorn songs. It is “the questioning and struggling of the soul concerning

and thereby pixieish-childlike and tender like nothing you have ever heard before.

Even in the scoring it is sweet and sunny, purely butterfly colors. But despite all its simplicity and folkishness, the whole thing is extremely original, especially in its harmonization,” the composer wrote.

He continued, “And yet it is the most natural thing there can be, simply what the melody demanded.”

This program’s first half concludes with “Hans und Grete,” the earliest song that Mahler chose to publish.

Originally titled “Maitanz im Grünen” (May dance in the meadow), it was composed in 1880 for the daughter of Mahler’s hometown postmaster, Josephine Poïsl, with whom he was desperately but illicitly in love. It is a delightfully sprightly Ländler, marked “Lustig und keck” (Joyous and cheeky), — Gustav Mahler replete with imitation yodeling, and much influenced by Schubert. The text — God and the individual divine existMahler’s own — is seemingly unencumence beyond this life,” Mahler told his bered; the folkish figure of little Hans, at friend and confidante Natalie Bauera round dance, hasn’t got a sweetheart: Lechner. “For this I need the voice and “So find yourself one!” But Gretel stands the simple expression of a child, just as from the sound of the little bell onwards, alone, watching Hans, who soon finds the sweetheart he sought: “Juchhe! Juchhe!”

I imagine the soul in heaven, where ‘in To Josephine, the irony of the message chrysalis state’ it must begin anew as a would be clear; nevertheless, the music child.” Such (with greater grandeur) was also the fate of Goethe’s character Faust, is nearly as joyous as any Mahler wrote, and echoes of it are heard in the First who is redeemed by love from on high.

Symphony’s scherzo (which may also “Rheinlegendchen” (Little Rhein have originated around this time). legend) is one of Mahler’s five Ländlerlike Wunderhorn settings, whereby the — Ste Stephen E. Hefling smooth triple-time pace of the Austrian Stephen E. Hefling is a professor emeritus at Case Western dance sets the tone. In contrast to his Reserve University. He is widely regarded as America’s earlier lieder, it is “much more direct, leading Mahler specialist.

The whole thing is extremely original, especially in its harmonization ...

And yet it is the most natural thing there can be, simply what the melody demanded.

clevelandorchestra.com

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THE MUS I C

Symphony No. 7 in E minor

By Gustav Mahler

▶ COMPOSED: 1904–05 ▶ WORLD PREMIERE: September 19, 1908, in Prague in a performance led by the composer ▶ CLEVELAND ORCHESTRA PREMIERE: Music Director Erich Leinsdorf led the Orchestra in the second and fourth movements on April 4, 1946. Louis Lane conducted the first full performance of Mahler’s Seventh Symphony on New Year’s Eve, 1970. Pierre Boulez later recorded it with The Cleveland Orchestra in 1994 for Deutsche Grammophon. ▶ ORCHESTRATION: 4 flutes (4th doubling second piccolo), piccolo, 3 oboes, English horn, 3 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 4 horns, tenor horn, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tam-tam, tambourine, triangle, cymbals, glockenspiel, cowbells, tubular bells, rute), 2 harps, strings, guitar, and mandolin ▶ DURATION: about 75 minutes

GUSTAV MAHLER PREDICTED that the

world would take its time to come to terms with his music. While his symphonies are now firmly established in the repertoire, the Seventh remains something of a holdout and is less familiar on the whole than its siblings. Arguably no other Mahler score poses as many interpretive challenges: indeed, the ambivalence at the heart of this kaleidoscopic, enigmatic work has inspired contradictory solutions in performance.

Mahler himself experienced unusual difficulty finding his way into this music.

Working from the inside out, he began with the second and fourth movements (both of which he designated as “night music” pieces). He composed these 10 | 2023/2024 SEASON

during the summer of 1904, while simultaneously completing the finale of the Sixth Symphony. The major block came in the following summer, when he retreated at the end of the opera season to his composing hut at Maiernigg in the Austrian Alps, a refuge from the stress of Vienna.

Mahler struggled with the opening movement in particular and was on the verge of giving up when he experienced an epiphany, as he recounted it, that illuminated the way forward. This occurred while he was being ferried from the train station across the lake to his retreat.

“With the first stroke of the oars,” Mahler recalled several years later, “the theme (or rather, the rhythm and style)

PHOTO BY MORITZ NÄHR / IANDAGNALL COMPUTING/ALAMY STOCK PHOTO

of the introduction to the first movement came to me.” He then sketched out the three remaining movements of the Seventh Symphony (first, third, and fifth) at a rapid pace. He completed the orchestration in 1906 and even considered reserving the premiere for his upcoming engagement in New York. However, clevelandorchestra.com

Gustav Mahler in Vienna’s opera house in 1907, one year following the completion of his Seventh Symphony.

Mahler opted to use the occasion of Prague’s 60th-anniversary celebrations of the rule of Habsburg Emperor Franz Joseph to unveil the work and conducted the Czech Philharmonic in the first performance in September 1908. | 11

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DARKNESS AND LIGHT

The Seventh Symphony is sometimes known by its unofficial nickname (not Mahler’s), “Song of the Night,” but the nighttime imagery that has become closely associated with this music goes beyond melancholy atmosphere or introspective brooding. Indeed, “Song of the Night” is something of a misnomer if it conjures images of night as a negative force, a darkness that requires “transcendence.”

An important aspect of the Seventh that troubled critics from the start was the continually shifting character of the music as Mahler moves from one mood to another, seemingly without motivation — as if mimicking the irrational processes of the unconscious mind. In terms of style, the Seventh ranges from poetic dreamscapes to offbeat parody to raucous humor, ending with an intervention by the aforementioned finale — the work’s most controversial part — that bursts on the scene like an exuberant non sequitur.

Because of Mahler’s disdain for programmatic descriptions at this point in his career, there is no easy “narrative” by which to orient the listener. He did provide this brief overview in a description to a colleague: “Three night pieces; the finale, bright day. As foundation for the whole, the first movement.” Yet the Seventh is anything but a standard “victory” symphony tracing a trajectory from Night to Day. Far from a monolithic threat, the darkness of the Seventh is shaped by Mahler’s prismatic imagination.

1059641_Cleveland Orchestra_Week 4_sw

Music lovers who revere Mahler as the poet laureate of existential despair tend to be baffled by the sheer fantasy that abounds in the Seventh Symphony.

The “darkness” of this music is altogether distinct, for example, from the fiercely concentrated, bleak, inescapably tragic vision that dominates the Sixth. Even more, the Seventh culminates in a vast, wide-ranging finale that seems to strive for a Dionysian, no-holds-barred joy that has shocked generations of the composer’s most fervent admirers.

The contrast becomes all the more remarkable if we recall that Mahler was working on both symphonies simultaneously during the summer in which he began the Seventh — an unusual circumstance, as the biographer Henry-Louis de La Grange points out, for the mature Mahler. The Seventh co-opts elements of its predecessor, only to defang them.

A characteristic of its sound world is the sense of a lost past being summoned — including a partial review of Mahler’s own symphonic past. At the same time, the Seventh ranks among Mahler’s most forward-looking, innovative achievements, above all in the kaleidoscopic textures of its language.

Dramatic juxtapositions are a feature of Mahlerian style, yet the Seventh seems to take this tendency to newly exaggerated extremes — another aspect of its experimental character. Homages to Romanticism and Classicism play a significant role, but these are filtered through an ironic, distancing lens more characteristic of the Modernist outlook.

IMAGE COURTESY OF WIKIMEDIA COMMONS

Alma Mahler suggested that her husband had wanted to evoke the magic of writers he loved from the early 19th century, such as Joseph Eichendorff (1788–1857). Thus, the middle movements, she wrote, were shot through with “visions of Eichendorff ’s poetry, rippling fountains, German Romanticism.”

De La Grange pointed to similarities in atmosphere shared by Novalis’s Hymns to the Night, with their “shadows of the past … vague yearnings, and deceived hopes,” and Nietzsche’s philosopher-prophet Zarathustra (whose pivotal “Midnight Song” Mahler had clevelandorchestra.com

The use of chiaroscuro in the Rembrandt masterpiece The Night Watch may have been an inspiration for Mahler’s Symphony No. 7.

previously set to music in his Third Symphony, a work that casts a shadow of its own over the Seventh). The Nietzschean subtext, according to de La Grange, involves “a night of clairvoyance and heightened lucidity whose revelation is more essential than that of light.”

The conductor Willem Mengelberg, a significant early Mahler champion, adduced as a visual inspiration Rembrandt’s 1642 painting The Night Watch (referring to the second movement and the first | 13

THE MUS I C

of the Seventh’s two “night music” sections), though a colleague clarified the connection by suggesting that Mahler responded to Rembrandt’s technique of shading and chiaroscuro more than his subject matter.

Nature also forms an important element of Mahler’s nightscapes. In general, as de La Grange observes, the Seventh “seems to welcome intrusions with a strange passivity, to mirror the strange diversity of the twentieth-century man’s experience, a diversity which has become impossible to synthesize … in a disillusioned present which knows … that ambiguities can never be solved.”

SYMMETRY AND MUSICAL SHADOWS

For all its ambiguity, the Seventh’s five movements are held together by a powerfully unifying symmetry. The first and fifth movements counterbalance each other in proportion; the two “night music” movements, together with the central Scherzo they flank, similarly form an internal continuity roughly equal to each of the outer movements. What results is a neatly balanced arch shape (A–B–C–B–A), such that the odd-numbered movements modify more familiar, conventional forms (sonata, scherzo with trio, rondo finale), while the second and fourth movements are closer to fantasias that reinterpret the romantic “character” pieces otherwise known, respectively, as nocturne and serenade.

A shadowy mystique permeates the symphony’s opening moments — the passage that came to Mahler so suddenly 14 | 2023/2024 SEASON

during his boat ride. Over a stuttering, funereal accompaniment, its harmony unstable, Mahler superimposes the cry of a tenor horn — normally associated with brass bands, the unusual sonority of this instrument is our first indication of the Seventh’s distinctive and original orchestration.

The first theme features a dotted, descending, three-note pattern as well as a long-short-short rhythm; both of these recur as unifying devices throughout the symphony. With a fierce charge, the introduction accelerates into a fiery Allegro, its music transformed into a driving march that bears a close family resemblance to the opening theme of Mahler’s Sixth Symphony. The yearningly lyrical second theme, given by the strings, serves as the critical center of the movement’s arc during the development, when it emerges like a full moon from obscuring clouds and reaches a swooning, visionary climax.

Mahler then plummets headlong into the introductory music again, beginning a highly inventive and varied process of recapitulation.

The first “night music” movement represents still another kind of march, one that slowly comes into focus amid echoes, fluttering sounds, and night calls before settling into a major-minor pattern that is Mahler’s musical equivalent of chiaroscuro. The effect is enticingly ambiguous, while, as in Bartók’s night music, bird calls and sensuous new colors (including cowbells) emerge under cover of darkness.

IMAGE COURTESY OF WIKIMEDIA COMMONS

Portrait of Gustav Mahler by Finnish painter Akseli Gallen-Kallela (1907), the year between when Mahler completed Symphony No. 7 and premiered it.

The Schubert-like charm of the contrasting melody is one of the nostalgic evocations of the past that figure in these middle movements.

“Shadowy” (schattenhaft) is Mahler’s marking for the central Scherzo, with its misplaced, woozy accents: a spectral waltz that both mocks and seems to outdo romantic grotesquerie. The oboe’s cheerful tune in the trio comes back in a funhouse distortion when played by trombones and tuba, while echoes of the symphony’s opening theme heighten the symmetry by recurring here at the center.

The painterly details of Mahler’s scoring abound in chamber effects here and in the ensuing “night music,” an Andante clevelandorchestra.com

amoroso that serves as a gentle parody of the lover’s serenade. This is also the first movement cast from the start in a major key (F major). Mahler adds amorous plucking on mandolin and guitar that evoke an ironic nostalgia.

The fifth-movement finale has always been the Seventh’s interpretive stumbling block. Pounding timpani set in motion the brassy fanfare of the multipart rondo theme, one segment of which resembles a drunken imitation of the pompously marching swagger of Wagner’s Prelude to Die Meistersinger von Nürnberg. Indeed, the C-major brightness of this music — Mahler pointedly designates it Allegro ordinario — intrudes so unexpectedly after all that has preceded that it seems to thumb its nose at the notion of triumph over darkness, rather as Shostakovich (perhaps) intended to do in his Fifth Symphony several decades later.

The alternating tempos and elaborate variations on the hyperactive rondo music insist on an attitude of insolently clamorous joy. Mahler noted in connection with the finale that “everything has its price” (Was kostet die Welt!). Amid all the affirmation, one last ambiguous touch — an unexpected harmony — threatens to trip up everything before the unadulterated C major brings the Seventh to its close.

— Thomas May Thomas May is the author of Decoding Wagner and The John Adams Reader. He is a regular contributor to The New York Times, The Seattle Times, Gramophone, and Strings magazine. Since 2009, he has served as the English writer and program editor for the Lucerne Festival.

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TH E S U NG TE XTS

Selected Songs English translations by Stephen E. Hefling

Frühlingsmorgen (Spring morning)

By Richard Leander

Es klopft an das Fenster der Lindenbaum mit Zweigen, blüthenbehangen: Steh’ auf, steh’ auf!

Was liegst du im Traum?

Die Sonn’ ist aufgegangen!

Steh’ auf, steh’ auf!

Die Lerche ist wach, die Büsche weh’n!

Die Bienen summen und Käfer!

Steh’ auf, steh’ auf!

Und dein munteres Lieb hab’ ich auch schon geseh’n.

Steh’ auf, Langschläfer! Langschläfer, steh’ auf!

Steh’ auf! Steh’ auf!

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The linden tree knocks at the window with branches bedecked with blossoms: Get up, get up!

Why lie you there dreaming?

The sun is up!

Get up, get up!

The lark is awake, the bushes waft!

The bees and beetles buzz!

Get up, get up!

And your cheerful lover I’ve also seen.

Get up, late sleeper! Late sleeper, get up!

Get up! Get up!

Ablösung im Sommer (Changing of the guard in summer) Anonymous

Kuckuk hat sich zu Tode gefallen, Tode gefallen an einer grünen Weiden! Weiden! Weiden!

Kukuk ist todt! Kukuk ist todt! hat sich zu Tod’ gefallen!

Cuckoo has fallen dead, fallen dead in a green Meadow! Meadow! Meadow!

Cuckoo is dead! Cuckoo is dead!

He has fallen dead!

Wer soll uns denn den Sommer lang die Zeit und Weil vertreiben?

Kukuk! Kukuk!

Wer soll uns denn den Sommer lang die Zeit und Weil vertreiben?

Kukuk! Kukuk!

Who’ll help us all the summer long to while away the time?

Cuckoo! Cuckoo!

Who’ll help us all the summer long to while away the time?

Cuckoo! Cuckoo!

Ei! das soll thun Frau Nachtigall!

Die sitzt auf grünem Zweige!

Die kleine, feine Nachtigall, die liebe, süße Nachtigall!

Sie singt und springt, ist all’zeit froh, Wenn andre Voegel schweigen!

Ay, ’t should be Mistress Nightingale!

She sits on the green branch!

The neat, petite little nightingale, the lovely sweet little nightingale!

She sings and springs, is always glad when other birds are still!

Wir warten auf Frau Nachtigall, die wohnt im grünen Hage, und wenn der Kukuk zu Ende ist, dann fängt sie an zu schlagen!

We wait for Mistress Nightingale, who lives in the green grove, and when the cuckoo’s day is done, then she’ll begin her singing!

clevelandorchestra.com

| 19

THE SU NG TE X TS

Revelge (Reveille) Anonymous

Des Morgens zwischen drei’n und vieren, da müssen wir Soldaten marschieren das Gäßlein auf und ab, tralali, tralaley, tralalera, mein Schätzel sieht herab!

Mornings between three and four, then we soldiers must march up and down the narrow street, tralali, tralaley, tralalera, my sweetheart looks upon us!

Ach, Bruder, jetzt bin ich geschossen, die Kugel hat mich schwere, schwer getroffen, trag’ mich in mein Quartier!

Tralali, tralaley, tralalera, es ist nicht weit von hier!

Ah, brother, just now I’ve been shot, the bullet has hurt me very badly, carry me to my billet!

Tralali, tralaley, tralalera, it is not far from here!

Ach, Bruder, ach Bruder, ich kann dich nicht tragen, die Feinde haben uns geschlagen!

Helf’ dir der liebe Gott, helf’ dir der liebe Gott!

Tralali, tralaley, tralalera, ich muß, ich muß marschieren bis ins Tod!

Ah, brother, ah brother, I cannot carry you, the enemy have beaten us!

May God help you, may God help you!

Tralali, tralaley, tralalera, I must, I must march on to the death!

Ach, Brüder, ach, Brüder, ihr geht ja mir vorüber, als wär’s mit mir vorbei, als wär’s mit mir vorbei!

Tralali, tralaley, tralali, tralaley, tralalera, ihr tretet mir zu nah, ihr tretet mir zu nah!

Ah brothers, ah brothers, you pass me by, as though it’s all over for me, as though it’s all over for me!

Tralali, tralaley, tralali, tralaley, tralalera, you tread too close to me, you tread too close to me!

Ich muß wohl meine Trommel rühren, ich muß meine Trommel wohl rühren, tralali, tralaley, tralali, tralaley, sonst werd’ ich mich verlieren, tralali, tralaley, tralala.

I’ve got to beat my drum, I must beat my drum well, tralali, tralaley, tralali, tralaley, otherwise I’ll lose myself, tralali, tralaley, tralala.

20 | 2023/2024 SEASON

Die Brüder, dick gesät, die Brüder, dick gesät, sie liegen wie gemäht.

The brothers, thick on the ground, thick on the ground, they lie as though mown down.

Er schlägt die Trommel auf und nieder, er wecket seine stillen Brüder, tralali, tralaley, tralali, tralaley, sie schlagen und się schlagen ihren Feind, Feind, Feind, tralali, tralaley, tralalerallala, ein Schrecken schlägt den Feind, ein Schrecken schlägt den Feind!

He beats the drum up and down, he wakes up his silent brothers, tralali, tralaley, tralali, tralaley, they batter and they smite their foes, foes, foes, tralali, tralaley, tralalerallala, dread terror strikes the foe, dread terror strikes the foe!

Er schlägt die Trommel auf und nieder, da sind sie vor dem Nachtquartier schon wieder, tralali, tralaley, tralali, tralaley.

Ins Gäßlein hell hinaus, hell hinaus, sie zieh’n vor Schätzleins Haus, tralali, tralaley, tralali, tralaley, tralalera, sie zieh’n vor Schätzeleins Haus, tralali!

He beats the drum up and down, they’ve reached the barracks once again, tralali, tralaley, tralali, tralaley.

Into the narrow street quite clearly they draw up before his sweetheart’s house, tralali, tralaley, tralali, tralaley, tralalera, they draw up before his sweetheart’s house, tralali!

Des Morgens stehen da die Gebeine in Reih’ und Glied, sie stehen wie Leichensteine in Reih’, in Reih’ und Glied.

Die Trommel steht voran, die Trommel steht voran, daß sie ihn sehen kann, tralali, tralaley, tralali, tralaley, tralalera, daß sie ihn sehen kann!

In the morning the bones stand there in rank and file, they stand like gravestones in rank, in rank and file.

The drum stands in front, the drum stands in front, so that it can see him, tralali, tralaley, tralali, tralaley, tralalera, so that it can see him!

clevelandorchestra.com

| 21

THE SU NG TE X TS

Urlicht (Primal light) Anonymous

O Röschen rot!

Der Mensch liegt in größter Not! Der Mensch liegt in größter Pein!

Je lieber möchte ich im Himmel sein!

Da kam ich auf einen breiten Weg; da kam ein Engelein und wollt’ mich abweisen.

Ach nein! Ich ließ mich nicht abweisen!

Ich bin von Gott und will wieder zu Gott!

Der liebe Gott wird mir ein Lichtchen geben Wird leuchten mir bis in das ewig selig Leben!

O little red rose!

Man lies in greatest need!

Man lies in greatest pain!

I would much rather be in heaven!

Then I came upon a broad path; then came a little angel who wanted to send me away.

Ah no! I shall not let myself be turned away!

I am of God and will return to God! The dear Lord will give me a little light He will light my way into eternal blessed life!

Rheinlegendchen (Little Rhine legend) Anonymous

Bald gras’ ich am Neckar, bald gras’ ich am Rhein; bald hab’ ich ein Schätzel, bald bin ich allein!

Now I mow by the Neckar, now by the Rhine; now I’ve a sweetheart, now I’m alone!

Was hilft mir das Grasen, wenn d’Sichel nicht schneidt!

Was hilft mir ein Schätzel, wenn’s bei mir nicht bleibt!

What good is mowing if the sickle doesn’t cut!

What good’s a sweetheart if she doesn’t stay with me!

continued ▶ ▶ ▶

▶▶▶

22 | 2023/2024 SEASON

continued ▶ ▶ ▶

▶▶▶

So soll ich denn grasen am Neckar, am Rhein, so werf’ ich mein goldenes Ringlein hinein.

So if I should mow by the Neckar or Rhine, I’d then throw my little gold ring in the flow.

Es fließet im Neckar und fließet im Rhein, soll schwimmen hinunter ins Meer tief hinein.

It’ll float in the Neckar and float in the Rhine and swim right down under deep into the sea.

Und schwimmt es, das Ringlein, so frißt es ein Fisch!

Das Fischlein soll kommen auf’s Königs sein Tisch!

And as it swims, the little ring, a fish will gobble it!

The small fish will come to the table of the king!

Der König tät fragen: wem’s Ringlein sollt’ sein?

Da tät mein Schatz sagen: Das Ringlein g’hört mein.

The king would ask whose the ringlet might be?

Then would my sweetheart say: It belongs to me!

Mein Schätzlein tät springen Berg auf und Berg ein, tät mir wiedrum bringen das Goldringlein mein!

My little sweetheart would spring downhill and back up, would once again bring me my little gold ring!

Kannst grasen am Neckar, kannst grasen am Rhein!

Wirf du mir nur immer dein Ringlein hinein!

You can mow by the Neckar, can mow by the Rhine!

Just toss to me always your ringlet so fine!

clevelandorchestra.com

| 23

THE SU NG TE X TS

Hans und Grete

By Gustav Mahler

Ringel, ringel Reih’n!

Wer fröhlich ist, der schlinge sich ein!

Wer Sorgen hat, der lass’n sie daheim!

Wer ein liebes Liebchen küsst, wie glücklich der ist!

Ei, Hänschen, du hast ja kein’s!

So suche dir ein’s!

Ein liebes Liebchen, das ist was Fein’s!

Juche! Juche!

Ring around a row!

Whoever is happy, let them jump in!

Whoever has cares, leave them at home!

Whoever kisses a beloved little sweetheart, how lucky he is!

Hey, Hänsl, you have none!

So find yourself one!

A beloved little sweetheart, that’s what’s just fine!

Hurrah! Hurrah!

Ringel, ringel Reih’n!

Ei, Gretchen, was stehst denn so allein?

Guckst doch hinüber zum Hänselein!?

Und ist doch der Mai so grün!?

Und die Lüfte, sie zieh’n!

Ei, seht doch den dummen Hans!

Wie er rennet zum Tanz!

Er suchte ein Liebchen, Juche!

Er fand’s! Juche! Juche!

Juche! Juche! Ringel, ringel Reih’n!

Ringel Reih’n! Ringel Reih’n! Reih’n!

Ring around a row!

Hey Gretchen, why stand there all alone?

But aren’t you peering over at Hänsel!?

And isn’t the month of May so green!?

And the breezes, how they blow!

Hey, look there at stupid Hans!

How he goes running to the dance!

He was looking for a sweetheart, Hurrah!

He found her! Hooray, hooray!

Hurrah! Hurrah! Ring around a row!

Around a row! Around a row! Row!

24 | 2023/2024 SEASON

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TH E CO N DU C TOR

Franz Welser-Möst Music Director KELVIN SMITH FAMILY CHAIR

PHOTO BY JULIA WESELY

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 the 2023–24 season, Welser-Möst is a featured Perspectives Artist at Carnegie Hall, where he leads The Cleveland Orchestra and the Vienna Philharmonic as part of the series, “Fall of the Weimar Republic: Dancing on the Precipice.”

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 clevelandorchestra.com

at home in Vienna, as well as on tours.

Welser-Möst is also a regular guest at the Salzburg Festival where he has led 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. | 27

Simon Keenlyside baritone

REVERED BRITISH BARITONE Simon

Keenlyside was born in London. He appears at the world’s most celebrated opera houses, where his roles have included Prospero in The Tempest, Père Germont in La traviata, Papageno in Die Zauberflöte, and the title roles in Don Giovanni, Eugene Onegin, Wozzeck, Billy Budd, and Hamlet.

Recent highlights include Rigoletto and Macbeth at Wiener Staatsoper, Peter Grimes at Opéra national de Paris, and Falstaff at the Salzburg Festival.

His 2023–24 season highlights include Le nozze di Figaro at Deutsche Staatsoper, Pelléas et Mélisande at Opéra Royal de Wallonie-Liège, and the world premiere of Bolton’s Island of Dreams at Grange 28 | 2023/2024 SEASON

Park Opera. In concert, Keenlyside performs Mahler’s Des Knaben Wunderhorn at the San Francisco Symphony opening night gala, and tours Austria and Israel with The Cleveland Orchestra.

A renowned recitalist, Keenlyside appears regularly at such major international recital venues as Wigmore Hall, Palau de les Arts Valencia, La Monnaie, Wiener Konzerthaus, Musikverein, Opernhaus Zürich, and many more.

Keenlyside has performed in concert with leading orchestras including the City of Birmingham Symphony Orchestra, London Symphony Orchestra, Chamber Orchestra of Europe, and the Czech, Vienna, and Berlin philharmonics.

Keenlyside’s extensive discography includes a disc of Schumann lieder with Graham Johnson and four recital discs with Malcolm Martineau, including Songs of War, which won the Solo Vocal Award at the 2012 Gramophone Awards.

He has also recorded Britten’s War Requiem, Mendelssohn’s Elijah, Mozart’s Le nozze di Figaro, and Adès’s The Tempest, which won the Best Opera Recording (Grammy Awards 2013) and Music DVD Recording of the Year (Echo Klassik Awards 2014).

Keenlyside was made a CBE in 2003 and received a knighthood at the Queen’s Birthday Honours in June 2018. In 2017, he was awarded the title of Austrian Kammersänger at the Vienna State Opera.

He won the 2006 Olivier Award for Outstanding Achievement in Opera and in 2007 he was given the ECHO Klassik award for Male Singer of the Year.

PHOTO BY ROBERT WORKMAN

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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.

@ClevelandOrchestra

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@CleveOrchestra

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| 31

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

32 | 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.

| 33

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 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

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

PHILIP GLASS Etude No. 6 BEETHOVEN String Quartet No. 14 PREVIN Penelope

Pietari Inkinen, conductor Augustin Hadelich, violin

OCT 20

DVOŘÁK Othello Overture TCHAIKOVSKY Violin Concerto DVOŘÁK Symphony No. 8

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

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

* Not performed on the Friday matinee concert

WINTER

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

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

1059641_Cleveland Orchestra_Week 4_sw

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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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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EDI TORI AL

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