The Cleveland Orchestra February 9-11 Concerts

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Beethoven’s Fateful Fifth FEBRUARY 9 – 11, 2024

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2023/2024 2023/2024 SEASON 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 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

Beethoven’s Beethoven’s Fateful Fateful Fifth Fifth Friday, February 9, 2024, at 7:30 PM Friday, February 9, 2024, at 7:30 PM Saturday, February 10, 2024, at 8 PM Saturday, February 10, 2024, at 8 PM Sunday, February 11, 2024, at 3 PM Sunday, February 11, 2024, at 3 PM

Jukka-Pekka Jukka-Pekka Saraste, Saraste, conductor conductor Franz Franz Schubert Schubert (1797–1828) (1797–1828)

Ludwig Ludwig van van Beethoven Beethoven (1770–1827) (1770–1827)

Symphony Symphony No. No. 6 6 in in C C major, major, D. D. 589 589

30 minutes 30 minutes

I N TERMIS SI ON I N TERMIS SI ON

20 minutes 20 minutes

Symphony Symphony No. No. 55 in in C C minor, minor, Op. Op. 67 67

35 minutes 35 minutes

I. I. Adagio Adagio II. II. Andante Andante III. III. Scherzo Scherzo IV. IV. Allegro Allegro moderato moderato

I. I. Allegro Allegro con con brio brio II. II. Andante Andante con con moto moto III. III. Allegro Allegro — — IV. IV. Allegro Allegro

Total approximate running time: 1 hour 25 minutes Total approximate running time: 1 hour 25 minutes

COVER: COVER: PHOTO PHOTO

BY BY FELIX FELIX BRODE BRODE

Thank Thank you you for for silencing silencing your your electronic electronic devices. devices.

Saturday’s performance of Beethoven’s Fifth Symphony Saturday’s performance of Beethoven’s Fifth Symphony is given in memory of Thomas Brugger, MD. is given in memory of Thomas Brugger, MD. clevelandorchestra.com clevelandorchestra.com

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA

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I N TRO DUC TI O N

COURTESY OF WIKIMEDIA COMMONS

“Secretly, in my heart of hearts, I still hope to be able to make something out of myself, but who can do anything after Beethoven?”

Composer Franz Schubert confessed these opinions to his friend Josef von Spaun, who made these sentiments public decades after Schubert’s death. For a young chorister growing up in the musical circles of Vienna in the early 1800s, the specter of Beethoven was unavoidable. He not only created a revolution in music, but also seemed to inhabit the definition of a great musical genius.

Comparisons to Beethoven were double-edged, particularly for a fledgling but ambitious composer wanting to make a mark on his own. And for the aspiring symphonist, they were unavoidable. How to not only address the grand models Beethoven put forth, but further them without descending into pastiche. Schubert’s Sixth Symphony shows the composer searching for a way forward. In addition to its nods to Beethoven (the stately chords of the first movement and its finely crafted Scherzo), the Sixth Symphony incorporates Haydnesque gestures and a handful of good-humored wit from Rossini’s popular operas. Amid these various influences, Schubert’s inimitable ability to sculpt melody shines through.

After the intermission, we hear one of those grand Beethoven symphonies, his Fifth. Schubert was only 11 years old when Beethoven’s Symphony No. 5 made an inauspicious premiere on a cold night in Vienna’s Theater an der Wien. But since the introduction of his “four fateful knocks” more than 200 years ago, they have been drilled into our collective unconscious. From symbolizing victory during World War II, to driving a chart-topping disco hit, to providing the score to innumerable pop culture ephemera, this instantly recognizable motif has come to represent classical music and Western culture. Given its omnipresence today, it’s hard to grasp just how novel the Fifth Symphony, with its nebulous opening motif and minorto-major apotheosis, sounded at its time. But for younger musicians like Schubert, it sounded like the future. — Amanda Angel above: Vienna’s Central Cemetery, where Beethoven, the grave on the left, and Schubert, on the right, were moved in 1888. Before he died, Schubert asked to be buried next to his idol. A monument to Mozart lies in between.

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TH E MUSI C

Symphony No. 6 in C major, D. 589

by Franz Schubert BORN : January 31, 1797, in Himmelpfortgrund, Austria DIED: November 19, 1828, in Vienna

▶ COMPOSED: 1817–18 ▶ WORLD PREMIERE: 1818, in a private performance at the Vienna home of Otto Hatwig. Its public premiere occurred in Vienna on December 14, 1828, conducted by Johann Baptist Schmiedel ▶ CLEVELAND ORCHESTRA PREMIERE: February 15, 1921, at Wells College in Aurora, New York, with Nikolai Sokoloff conducting ▶ ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

SCHUBERT, LIKE HIS PREDECESSOR

Mozart, was blessed with miraculous genius. Unlike Mozart, who achieved international fame by age 10 and saw his first 28 symphonies premiered by the time he was 18, Schubert’s talents, especially as a symphonist, took longer to be appreciated. Many of his finest, including the “Unfinished” and the “Great” C-major were only discovered and debuted posthumously.

During his life, Schubert was known best as a song writer. From 1815 to 1816, the two years immediately preceding his work on the Sixth Symphony, Schubert wrote more than 250 songs. One may wonder how differently Schubert’s vast catalog of works would have appeared had his symphonic production received as much encouragement as his songs.

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We now know that although his first seven works in the medium are treasurable, each in its own way, it was not until the last two symphonies that Schubert contributed a unique blend of lyrical and symphonic elements — developments that opened the way for the symphonies of Bruckner. His earlier symphonies still search for a style, one that would combine the classical designs of Haydn and Mozart with the dramatic powers of Beethoven and his own lyrical impulse.

Written in 1816, Schubert’s Fifth Symphony, the most famous of his early attempts, eschews Beethoven’s influence entirely and looks to Mozart as a model.

Painting of Franz Schubert by Austrian Wilhelm August Rieder (1875) based on the artist’s own watercolor of the composer from 1825.

IMAGE COURTESY OF WIKIMEDIA COMMONS

▶ DURATION: about 30 minutes

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THE MUS I C

Schubert had just passed his 21st much too difficult. Schubert advised the birthday when he completed his Sixth substitution of the Sixth, now nicknamed Symphony. The music of Haydn and the “Little” C-major Symphony. A month Beethoven was certainly in his ear as well before its performance, he died. as the operas of Gioachino Rossini, The first-movement Adagio begins which were wildly popular in Vienna at with attention-grabbing chords evoking the time. He heard the Sixth performed Beethoven’s thundering gravitas. However, at least once: at the home of Otto playful winds, perhaps owing to Haydn’s Hatwig, the music patron who had example, lighten grayer skies. The previously offered him a locale for the clever modulation of keys throughout is performances of his more ambitious Schubert’s own invention. In his book works. Schubert expected to hear it for Schubert: A Musical Portrait, musicologist a second time — 10 years later — in Alfred Einstein writes, “The introducthe winter of 1828, but he died that tory Adagio could well preface an ‘Italian’ November, at age 31. overture, but it is more delicate in its Had he been able to attend that 1828 treatment … . The whole movement public premiere, he might have had breathes an atmosphere of almost commixed feelings, for it is a product of his pletely unruffled cheerfulness in the youth and unrepresentative of his most interplay of its themes.” recent accomplishments, particularly the This lighthearted nature continues Ninth Symphony, also in C major. In fact, into the second-movement Andante. A Schubert would retitle his Sixth, original- delicate theme passed back from strings ly inscribed as the “Grosse Sinfonie in C,” to woodwinds shows Schubert’s uncanny

It is characteristic of Schubert’s greatness as a romantic classicist that he later renounced this legacy [of classical music] and chose an independent course.

Alfred Einstein, Schubert: A Musical Portrait

so that he could bestow the descriptor “Grosse” (meaning great) onto the Ninth.

He submitted the Ninth to the Society of Friends of Music in Vienna, and it is that music — composed in 1825 and revised in 1828 — which he was most eager to hear in performance. Reportedly, parts of the Ninth were copied and distributed to the players, but the symphony was considered far too long (some 50 minutes) and 6 | 2023/2024 SEASON

facility as a melodist. Volatile punctuations, in dogged triplets from timpani and brass, upset the calm, but it is restored by movement’s end.

Beethoven’s example comes to the fore of the Scherzo in both tone and in structure. Writes Einstein: “Schubert knew the Scherzi of both the First and the Seventh [symphonies] a little too well, and just as in the Seventh the

IMAGE COURTESY OF THE LIBRARY OF CONGRESS

American artist Harvey Dunn (1884–1952) imagines the creative process behind Schubert’s early masterpiece Erlkönig based on a poem by Goethe.

relation of the trio to the minuet is that of A major to F major, so here it is E major to C major,” describing how both works modulate down a major third.

In the finale, Schubert returns to a joyful soundscape that skips along merrily until its stately closing coda.

“The movement is much less a ‘finale’ clevelandorchestra.com

than a ‘divertissement,’ full of the most carefree Schubertian fancies,” writes Einstein, concluding, “Schubert is still susceptible to any influence, but already each influence is firmly transformed at his hands into something essentially personal.”

— adapted from a note by Klaus G. Roy Writer, composer, critic, and educator Klaus G. Roy was The Cleveland Orchestra’s program editor and annotator from 1957 to 1988. He received the Orchestra’s Distinguished Service Award in 2005.

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THE MUS I C

Symphony No. 5 in C minor, Op. 67

by Ludwig van Beethoven BORN : December 16, 1770, in Bonn DIED: March 26, 1827, in Vienna

▶ COMPOSED: 1804–08 ▶ WORLD PREMIERE: December 22, 1808, at the Theater an der Wien in Vienna, led by the composer ▶ CLEVELAND ORCHESTRA PREMIERE: April 22, 1919, conducted by then–Music Director Nikolai Sokoloff ▶ ORCHESTRATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings

one of the composer’s most anguishing HOW WONDERFUL THAT SUCH FAMILIAR life experiences, as he brought himself to pieces as Beethoven’s Fifth — the most terms with the increasing deafness that famous of all symphonies — still “work” would eventually rob him of all hearing. in performance, 200 years after its After sketching the first two movepremiere in an unheated concert hall one ments, Beethoven set it aside for more cold night in Vienna in December 1808. than two years while he wrote his opera Audiences of all kinds, occasional and Fidelio and also the lively and untroubled frequent attenders alike, still enjoy its Fourth Symphony. He then worked diliwonders — and even those few who gently on the Fifth throughout 1807, while arrive with trepidation at hearing an old simultaneously writing another new warhorse one more time are inevitably symphony, the Sixth, given the nickname drawn to the music’s opening drama, “Pastoral.” This kind of multitasking, rousing ending, and innumerable disworking on several compositions at once, coveries in between. was a normal practice for Beethoven Beethoven began this symphony in throughout his life, with the ideas 1804, soon after completing his Third, originally intended for one work slipping which had been nicknamed “Eroica” (or across into a different work entirely. heroic). That work, which contemporary audiences felt was much too long for This portrait of Ludwig van Beethoven from 1820, a symphony (clocking in at more than by artist Joseph Karl Stieler, is the only painting that 45 minutes), had been created just after the composer sat for during his life.

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IMAGE COURTESY OF WIKIMEDIA COMMONS

▶ DURATION: about 35 minutes

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Detail of Das Theater an der Wien im Winter by Carl Wenzel Zajicek (1923). Opened by Emanuel Schikaneder in 1801, the theater saw the premiere of Beethoven’s Symphony No. 5.

Throughout this middle period of Beethoven’s life, the composer was routinely strapped for funds and, in 1808, he developed plans for a special evening “Akademie” concert to raise money for himself. For December 22, he was able to secure performers and the Theater an der Wien. Rehearsals were squeezed in on the previous days. Beethoven, perhaps sensing the difficulty of finding any future workable dates for unpcoming concerts, kept revising the evening’s program to include more and more music.

The concert lasted more than four hours and featured the world premieres of the Sixth and Fifth symphonies, in that order; the Fourth Piano Concerto, with Beethoven as soloist; and the Choral Fantasy, as a grand finale, assembling 10 | 2023/2024 SEASON

all of the evening’s performing forces at once, including orchestra, vocal soloists, and Beethoven returning as piano soloist. Unfortunately, the weather that night was colder than usual and the building was unheated, so while no one attending could possibly have complained about not getting their money’s worth of music, the conditions for comfortable listening and performing deteriorated as the hours passed.

From that chilly start, the Fifth Symphony’s reputation only increased, and by the end of the 19th century, it had attained its current status as a classical superstar. The association of the opening four-note motif, matching Morse code’s dot–dot–dot–dash for the letter “V,” came to be a shorthand to signify victory during World War II, pushing it further into public consciousness.

The idea that those four notes represent the composer’s mighty but

IMAGE COURTESY OF WIKIMEDIA COMMONS

THE MUS I C

victorious struggle with destiny was put into circulation by Beethoven himself, or at least by his fantasy-spinning amanuensis Anton Schindler, who reported the composer’s explanation of the opening motif as, “So pocht das Schicksal an die Pforte” (roughly translated as: Thus fate knocks at the door).

Fate struck Beethoven most cruelly in about 1802 when, still in his early 30s, he acknowledged his deafness and began the long process of coming to terms with a handicap that was less of a musical disability (it did not interfere with his ability to compose) than a social one.

His standing as a virtuoso pianist with excellent connections at court was seriously threatened, and his relations with friends, and especially with women, were now forever circumscribed.

We might think that, as a composer, his reactions were far more violent than the situation warranted. The “Eroica” Symphony, the immediate product of that profound crisis, transformed the world of classical music forever. But he did not stop there. His superhuman creative energy produced great heroic works of the decade that had never been heard in music before. One colossal pathbreaking work followed another, combining unearthly beauty of invention, technical virtuosity, vastness of conception, and a radical freedom of expression and form.

Beethoven may have — privately — felt inordinately sorry for himself, but there is no self-pity in his music. Defiance, certainly, although the sense of triumph expressed in the conclusion of the clevelandorchestra.com

Fifth Symphony is surely more than a tongue-sticking-out, I-told-you-so addressed to fate.

Whether you choose to listen to this work with the idea of “fate knocking at the door” (something Beethoven probably never said); as a path from darkness to light, mystery to certainty, ignorance to enlightenment; or merely a well-crafted symphony, this piece in performance is sure to take you on a worthwhile, at times familiar — yet often exhilarating — journey.

The four movements are concise and focused. The first movement is built almost entirely around the four-note opening motif — stated again and again, as foreground, then background, upside down and forward again, in unison and harmonized.

The second movement takes a graceful line and works it through various guises, almost always with a sense of expectancy underneath and bursting forth toward a stronger and stronger presence.

The third movement continues in this confident vein, only to alternate between quiet uncertainty and forthright declamations. Near the end, a section of quietly forbidding darkness leads directly into the bright sunshine and C major of the last movement. Here, at last, Beethoven revels in the major key, then develops a strong musical idea through to an unstoppable finish, repeated and extended, emphatic and ... triumphant.

— Eric Sellen Eric Sellen is The Cleveland Orchestra’s editor emeritus.

He previously was program book editor for 28 seasons.

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TH E CO N DU C TOR

Jukka-Pekka Saraste

PHOTO BY JULIA WESELY

JUKKA-PEKKA SARASTE HAS ESTABLISHED

himself as one of the outstanding conductors of his generation, demonstrating remarkable musical depth and integrity.

Born in Heinola, Finland, he began his career as a violinist before training as a conductor with Jorma Panula at the Sibelius Academy in Helsinki.

In September 2023, Saraste began his tenure as chief conductor and artistic director of the Helsinki Philharmonic Orchestra. He was previously chief conductor of the WDR Symphony Orchestra and has also held positions with the Oslo Philharmonic Orchestra, Finnish Radio Symphony Orchestra, Scottish Chamber Orchestra, and Toronto Symphony Orchestra. In addition, he founded the Finnish Chamber Orchestra, where he remains the artistic advisor.

Saraste’s guest engagements have led him to major orchestras worldwide, including the Philharmonia Orchestra, Royal Concertgebouw Orchestra, Gewandhausorchester Leipzig, Orchestre de Paris, The Cleveland Orchestra, and the New York and Los Angeles philharmonics. In recent years, he has developed a strong profile in opera, with performances of Stravinsky’s Oedipus rex, Schoenberg’s Erwartung, Bartók’s Bluebeard’s Castle, and Korngold’s Die tote Stadt.

Coaching and mentoring young musicians at the beginning of their careers is of great importance to Saraste.

He is a founding member of the LEAD! clevelandorchestra.com

Foundation, a Finland-based mentorship program for young conductors and soloists. In 2020, he also created the annual Fiskars Summer Festival, an international platform for both Finnish and international artists to pass on their knowledge and experience to the next generation of musicians.

Saraste’s extensive discography includes the complete symphonies of Sibelius and Nielsen with the Finnish Radio Symphony Orchestra; works by Bartók, Dutilleux, and Prokofiev with the Toronto Symphony Orchestra for Warner Finlandia; and Schoenberg’s Pelleas und Melisande, Stravinsky’s Le Rossignol, and the complete symphonies of Brahms and Beethoven with the WDR Symphony Orchestra for Hänssler.

Saraste has received the Pro Finlandia Medal, the Sibelius Medal, the Finnish State Prize for Music, and the insignia of Commander of the Order of the Lion of Finland. He holds honorary doctorates from York University, Toronto, and the Sibelius Academy. | 15

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AB OU T THE CLE VEL AN D ORC HESTR 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

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

Ralph Curry

ENGLISH HORN

Brian Thornton William P. Blair III Chair

Blossom-Lee Chair

Sonja Braaten Molloy

David Alan Harrell

Robert Walters Samuel C. and Bernette K. Jaffe Chair

Jung-Min Amy Lee

Carolyn Gadiel Warner

Martha Baldwin

ASSOCIATE CONCERTMASTER

Elayna Duitman

Dane Johansen

Gretchen D. and Ward Smith Chair

Ioana Missits

Paul Kushious

Jessica Lee

Sae Shiragami

BASSES

ASSISTANT CONCERTMASTER

Kathleen Collins

Maximilian Dimoff* Clarence T. Reinberger Chair

David Radzynski CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani ASSISTANT CONCERTMASTER

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

Jeffrey Zehngut

Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Yun-Ting Lee Jiah Chung Chapdelaine Liyuan Xie

VIOLAS

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

Wesley Collins* Chaillé H. and Richard B. Tullis 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

Jason Yu2 James and Donna Reid 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

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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

BASS TROMBONE

LIBRARIANS

CONDUCTORS

Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Luke Sieve

Michael Ferraguto Joe and Marlene Toot Chair

Christoph von Dohnányi

EUPHONIUM & BASS TRUMPET

Donald Miller

Daniel Reith

Lyle Steelman2 James P. and Dolores D. Storer Chair

Richard Stout

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

Michael Miller

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

Elizabeth Ring and William Gwinn Mather Chair

Michael Sachs* Mary Elizabeth and G. Robert Klein Chair

TIMPANI

Paul and Lucille Jones Chair

Michael Miller

PERCUSSION

TROMBONES

Marc Damoulakis* Margaret Allen Ireland Chair

Jack Sutte

CORNETS

PHOTO BY ROGER MASTROIANNI

Brian Wendel* Gilbert W. and Louise I. Humphrey Chair Richard Stout Alexander and Marianna C. McAfee Chair Shachar Israel2

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TUBA

vacant

Thomas Sherwood Tanner Tanyeri

KEYBOARD INSTRUMENTS Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

MUSIC DIRECTOR LAUREATE

ASSISTANT CONDUCTOR

Virginia M. Linsdseth, PhD, Chair Charles M. and Janet G. Kimball Chair Sunshine Chair Otto G. and Corinne T. Voss Chair Mr. and Mrs. Richard K. Smucker Chair Rudolf Serkin Chair

Sidney and Doris Dworkin Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton 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.

| 21

TH E 2023/2024 SEAS ON

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

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

FEB 15 & 17 RAVEL’S MOTHER GOOSE George Benjamin, conductor Tim Mead, countertenor The Cleveland Orchestra Chorus

FEB 22 – 25 BEETHOVEN’S PASTORAL

MAR 7 – 9 BRAHMS’S FOURTH SYMPHONY

Philippe Herreweghe, conductor Jean-Guihen Queyras, cello

Fabio Luisi, conductor Mary Kay Fink, piccolo

BEETHOVEN Overture to Egmont HAYDN Cello Concerto No. 1 BEETHOVEN Symphony No. 6, “Pastoral”

WEBER Overture to Oberon ODED ZEHAVI Aurora BRAHMS Symphony No. 4 Pre-concert lecture by Francesca Brittan

Pre-concert lecture by David Rothenberg

FEB 29 – MAR 2 KANNEH-MASON PLAYS SCHUMANN Susanna Mälkki, conductor Isata Kanneh-Mason, piano

DIETER AMMANN glut GEORGE BENJAMIN Dream of the Song KNUSSEN The Way to Castle Yonder RAVEL Ma mère l’Oye (complete ballet)

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

Pre-concert lecture by James Wilding

Pre-concert lecture by Eric Charnofsky

MAR 10 RECITAL

Chopin & Schubert Yefim Bronfman, piano SCHUBERT Piano Sonata No. 14 R . SCHUMANN Carnival Scenes from Vienna 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

For tickets & more information visit:

clevelandorchestra.com

* Not performed on the Friday matinee concert

SPRING

APR 14

MAR 21 – 23 SIBELIUS’S SECOND SYMPHONY

Schumann & Brahms

MAY 2 – 4 LANG LANG PLAYS SAINT-SAËNS

Evgeny Kissin, piano Matthias Goerne, baritone

Franz Welser-Möst, conductor Lang Lang, piano *

R . SCHUMANN Dichterliebe BRAHMS Four Ballades, Op. 10 BRAHMS Selected Songs

SAINT-SAËNS Piano Concerto No. 2 * BERLIOZ Symphonie fantastique

Dalia Stasevska, conductor Josefina Maldonado, mezzo-soprano RAUTAVAARA Cantus Arcticus PERRY Stabat Mater SIBELIUS Symphony No. 2 Pre-concert lecture by Kevin McBrien

APR 4 & 6 CITY NOIR 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 *

RECITAL

Pre-concert lecture by Caroline Oltmanns

APR 18 – 20 YUJA WANG PLAYS RAVEL & STRAVINSKY 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

APR 26 – 28 RACHMANINOFF’S SECOND PIANO CONCERTO Lahav Shani, conductor Beatrice Rana, piano UNSUK CHIN subito con forza RACHMANINOFF Piano Concerto No. 2 BARTÓK Concerto for Orchestra Pre-concert lecture by James O’Leary

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

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

Pre-concert lecture by James Wilding

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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.

clevelandorchestra.com/ticketwallet

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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24 | 2023/2024 SEASON

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LIVING YOUR

Life’s Passions

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Tri-C Creative Arts Dance Academy

SETTING THE STAGE

for Success

We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested more than $12.6 million since 2016 to scale up neighborhood-based programs that serve thousands of youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. That’s setting the stage for success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

(877) 554-5054 www.ClevelandFoundation.org/Success