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Cleveland Orchestra Miami is grateful to the John S. and James L. Knight Foundation for their continued support of the arts in Miami.

Thank you.

Through a new five-year, $2 million challenge grant to expand programming in our community, Knight Foundation will match any new and increased gifts to Cleveland Orchestra Miami.

Your support through this grant will help ensure Cleveland Orchestra Miami’s ongoing success.

Please visit www.CevelandOrchestraMiami.com to donate or call 305.372.7747.

Cl ev e C e ll a an ndd O r c h O h ee ss tt rr aa

Franz Welser-Möst

Giancarlo Guerrero

Music Director

Principal Guest Conductor

January-February 2013 Welcome to these first concerts of 2013. Cleveland Orchestra Miami begins this new year with good news and a strong vote of confidence for our work in the Miami-Dade community. In December, Knight Foundation awarded us a new $2 million challenge grant. This extraordinary gift — the largest we have ever received — will support Cleveland Orchestra Miami efforts to strengthen its financial base for sustaining our educational and cultural offerings. New and increased giving will help fund and encourage the development of our performances, educational programs, and community engagement activities with one of the world’s top orchestras.

Knight Foundation’s generosity recognizes the great strides made by Cleveland Orchestra Miami in the past six years. Not only do we bring music of the highest quality to Miami-Dade County at a fraction of the cost of supporting a full-time orchestra, we also serve the community through education initiatives that have touched the lives of more than 25,000 children and families since 2007. On average, 90% of the seats are filled at Cleveland Orchestra Miami performances. The demand for first-rate classical music in Miami has proved so strong that we have expanded our season, bringing the magnificent Cleveland Orchestra to our community for four weeks each year.

In additional good news, please welcome Holly Hudak, who joined us at the beginning of January as Cleveland Orchestra Miami’s new Managing Director. Holly has over twenty years of experience working with orchestras and their communities. Most recently, she was president of Chicago Youth Symphony Orchestras and previously worked for the Chicago Symphony Orchestra.

Let us enjoy these concerts together, and let me extend thanks to each and every one of you. Your support and attendance is the lifeblood upon which we are building a vibrant future for great symphonic music.

Sincerely,

Sheldon T. Anderson

President

Miami Music Association

Cleveland Orchestra Miami 2012-13

From the President

Miami Music Association The Miami Music Association (MMA) is governed by its Board of Directors, comprised of leading Miamians motivated by the idea that as a worldclass city Miami’s cultural life should always include orchestral performances at the very highest international level. No orchestra in America — indeed, perhaps no other orchestra in the world — is more ideally suited to partner with MMA in achieving these goals than The Cleveland Orchestra. Securing and building support for Cleveland Orchestra Miami will ensure that MMA succeeds in creating a culture of passionate and dedicated concert-going in Miami among the broadest constituency.

Officers and Board of Directors Sheldon T. Anderson, President Daniel R. Lewis, Chair and Treasurer Norman Braman, Vice Chair Hector D. Fortun, Vice Chair Marsha Bilzin, Secretary

Brian Bilzin Alicia Celorio Bruce Clinton Martha Clinton Mike S. Eidson Jeffrey Feldman Susan Feldman Francisco A. Garcia David Horvitz

Francie Horvitz Ezra Katz Tati Katz Gerald Kelfer Tina Kislak R. Kirk Landon Shirley Lehman William Lehman Jan R. Lewis

Miami Music Association

Peter B. Lewis Sue Miller Janet Rosel Karyn Schwade Richard P. Tonkinson Gary L. Wasserman E. Richard Yulman

2012-13 Cleveland Orchestra Miami

Cleveland O r c h e s t r a The Miami Music Association gratefully acknowledges these donors for their contributions to Cleveland Orchestra Miami in the past year. As of December 20, 2012.

Founders Council

$50,000 and more

Sheldon and Florence Anderson Irma and Norman Braman Hector D. Fortun David and Francie Horvitz Family Foundation, Inc. R. Kirk Landon and Pamela Garrison Daniel R. and Jan R. Lewis Peter B. Lewis and Janet Rosel The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation Susan Miller Janet and Richard Yulman

Chairman’s Council $15,000 to $49,999

Daniel and Trish Bell Do Unto Others Trust Colleen and Richard Fain Tati and Ezra Katz Jonathan and Tina Kislak John D. and Giuliana C. Koch Miami-Dade County Department of Cultural Affairs National Endowment for the Arts Northern Trust Bank of Florida Peacock Foundation, Inc. Mary M. Spencer Rick, Margarita and Steven Tonkinson Gary L. Wasserman and Charles A. Kashner

Patrons Council

$2,500 to $14,999

Mr. and Mrs. Stanley H. Arkin Kerrin and Peter Bermont Jayusia and Alan Bernstein Marsha and Brian Bilzin Carmen Bishopric Martha and Bruce Clinton Bruce Coppock and Lucia P. May Peter D. and Julie Fisher Cummings Family Foundation James Deering Danielson Foundation Charles and Fanny Dascal Ms. Nancy J. Davis Mr. Mike S. Eidson, Esq and Dr. Margaret Eidson Feldman Gale, P.A. Jeffrey and Susan Feldman Christopher Findlater Monte Friedkin Marvin Ross Friedman and Adrienne bon Haes Funding Arts Network

Cleveland Orchestra Miami 2012-13

Francisco A. Garcia and Elizabeth Pearson Joan Getz Nancy Green Gary Hanson and Barbara Klante Mary and Jon Heider Richard Horvitz and Erica Hartman-Horvitz Foundation Houck Anderson P.A. Mark and Ruth Houck Bob and Edith Hudson Hunton & Williams, LLP Elizabeth B. Juliano Janet and Gerald Kelfer Angela Kelsey and Michael Zealy Victor Kendall, Friends of WLRN Mr. and Mrs. Dennis W. LaBarre Melony and Adam Lewis Shirley and William Lehman Marianne Luedeking Meredith T. Marshall Roger and Helen Michelson Robert Moss Mort* and Milly Nyman Rosanne and Gary Oatey Nedra and Mark Oren James P. Ostryniec Claudia and Steven Perles Alfonso Conrado Rey Barbara S. Robinson Dr. and Mrs. Michael Rosenberg Charles E. Seitz Ms. Linda M. Smith Howard Stark M.D. and Rene Rodriguez Mrs. Barbara Stiefel Charles B. and Rosalyn Stuzin The Batchelor Foundation, Inc. Parker D. Thomson Esq. United Automobile Insurance Company Ver Ploeg & Lumpkin, P.A. Brenton Ver Ploeg Teresa Galang-Viñas and Joaquin Viñas Bill Appert and Chris Wallace Ricky and Sarit Warman ­– Papa John’s Pizza Ms. Ginger Warner

Leadership Council $1,000 to $2,499

Anonymous (3) Ana L. Arellano Ms. Ruby M. Bacardi Robert and Ana Barlick John M. Barrow and Salvador F. Robleto Kalman and Irma Bass Mr. and Mrs. Donald Bercu Helene Berger Jaime A. Bianchi Julia and David Bianchi Irving and Joan M. Bolotin In dedication to Donald Carlin

Annual Fund Contributors

Michael and Lorena Clark Stanley and Gala Cohen Terence and Julie Connor Douglas S. Cramer / Hubert S. Bush III Maria-Cristina Del-Valle Andrew dePass and William Jurberg Andrea and Chuck Edelstein Susan Fawcett and Richard Donovan Francisco J. and Clara B. Fernandez Joseph Z. and Betty Fleming Gail and Alan Franklin Morris and Miriam Futernick Sue Gallagher Robert and Adrienne Gang Mario G. and María E. García Lenore Gaynor Dr. and Mrs. Edward C. Gelber Niety and Gary R. Gerson Irving and Yetta Geszel Jaime Gilinski Rose Ellen and Gerald Greene Jack and Beth Greenman Nancy Gross and Michael Boberschmidt Alfredo and Luz Maria Gutierrez Douglas M. and Amy Halsey Robert D. and Jill Hertzberg Mr. and Mrs. Barry Hesser Roberto and Betty Horwitz Richard and Judy Jacobs Dr. and Mrs. Norman Jaffe Dr. Michael and Gail Kaplan Gerald and Jane Katcher Kevin Kelly Cynthia Knight Dr. and Mrs. Frederick Knoll Jeff and Terri Krasnoff Dr. and Mrs. Stephen Kulvin Mr. and Mrs. Israel Lapciuc Ronald and Harriet Lassin Mr. and Mrs. Marvin H. Leibowitz Ivonete Leite Barbara C. Levin Mr. and Mrs. Carlos Lopez-Cantera Ana and Raul Marmol Dr. Isidoro Morjaim Selma and Jeff Newman Mrs. Patricia M. Papper Robert Pinkert Maribel A. Piza Guillermo and Maggie Retchkiman Charles and Linda Sands Philip Scaturro Raquel and Michael Scheck Henrietta and Robert Schwartz M.D. Mr. and Mrs. David Serviansky Donna E. Shalala Steven and Ruth Shere Victoria and Robert L. Simons Richard and Nancy Sneed Michalis and Alejandra Stavrinides William and Sheila Steiner Mr. and Mrs. Stanley G. Tate listing continues

CLEVELAND ORCHESTRA MIAMI listing continued Kathy and Sidney Taurel Judith Rood Traum and Sydney S. Traum Mr. and Mrs. Robert H. Traurig Lisa Treister Florence and Robert Werner The Israel, Rose, Henry, and Robert Wiener Charitable Foundation, Inc. Allan and Norma Wilson Betty and Michael Wohl Ms. Henrietta Zabner Jerry and Catherine Zank Loly and Isaac Zelcer

Partners $500 to $999

Anonymous Dr. Kip and Mrs. Barbara Amazon Denise Anderson Linda Angell Benjamin and Dr. Rodney Benjamin Montserrat Balseiro Amparo Bellon-Champ Rhoda and Henri Bertuch Terry Blechman Mr. and Mrs. Eric Buermann Etain Elisabeth Connor Gary and Lilly Dix Shahnaz and Ranjan Duara Bernard Eckstein Mr. and Mrs. Steven Elias Firestone Family Foundation Iris Fisher Mr. Marcus Flanagan and Mr. William Flanagan Jill and Harold Gaffin Perla Gilinski Rafael and Mar Gosalbez John F. Hamilton Deborah Harris Jorge Hine William and Frankie Hipp Carin Kahgan Dr. Gerard and Mrs. Joyce Kaiser Hideko and Harold Klebanoff Richard L.* and Wendy Lapidus Norman and Nancy Lipoff Derek and Mary Lyth Robert and Judith Maynes Judith and Robert Mezey Sylvia Minchew Paulette Mintz Harve and Alesia Mogul Robert and Wilhelmina Myerburg Dr. Michael D. Norenberg and Dr. Carol K. Petito Melody Sawyer Richardson Andrew Rohlfling Alec and Silvia Rosen Elizabeth Rothfield David Schaecter and Sydney Carpel Dr. Robin Schaffer Ronald E. Schrager and Wendy Hart Robert I. Shapiro Dr. Jon Shaw Lois H. Siegel Mr. and Mrs. Jose R. Tarajano VCN Corporation Mr. and Mrs. Charles B. Wheeler Haim Wiener Dr. Jack and Mrs. Barbara Wolfsdorf Sora and Cary Yelin

Friends up to $499

Anonymous (4) Juan Acosta and Hiram Colas Marjorie H. Adler Eleanor Aibel Ricardo Alsina Rosalie Altmark and Herbert Kornreich John and Sarah Anderson Dr. Simon and Mrs. Isabella Angeli Margarita Anthoine Dr. Jorge and Gigi AntuĂąez de Mayolo Jose-Eloy Anzola Marc and Brigid Arel Adrian Arkin Arthur Aronstein William V. Ashley and Diane de Vries Ashley Evelyn K. Axler Daniel Ayers and Tony Seguino Susan Bannon Zilney T. Barbosa Karla M. Barnes Dr. Earl Barron and Ms. Donna Barron Stephen Barrow and Janis Manley Sanra and Arturo Belkind Dr. and Mrs. Samuel Berkowitz Brian Berman Neil Bernstein and Julie Schwartzbard Robert Berrin Dr. Louis W. Bloise Mr. Mario Bosi Carolina Botello Ardis Bourland Michael T. Brazda and Lourdes M. Ramon Marleen Brody Alfred Brooks Chris Brown and Stephanie Demos-Brown David Buckner Mr. and Mrs. Alfred A. Bunge Gene Bunge Brent Burdick Dr. MarĂ­a Bustillo Rita Butterman James and Christina Carpenter Philip and Kathryn Carroll Maria I. Castro Harold Chambers Daphne Charbonneau The Chen Family Carole J. Cholasta Mathew and Lisa Cicero Leonard and Barbara Cohan Joan Cohen Phyllis Cohen Lane H. Convey Nathan Counts William R. Cranshaw Marcella Cruz Mercedes Cubas Gabino Cuevas Wesley Dallas Sergio da Silva Jennie Dautermann Alberto DeCardenas Teresa Del Moral Berta Del Pino Lisa Detournay Mr. and Mrs. Maximo J. Diaz Luis Dikes M. Donald Drescher and Marilynn Drescher Michael A. and Lori B. Dribin Dr. Melvyn Drucker

Annual Fund Contributors

Robert Durham Dr. Edward Gross and Karla Ebenbach Dorothy M. Evans Dr. Carl Fabian Martha Falgout Jose Luciano Fallad Josefina Farias Klara Farkas Mrs. Carol Fass Murray H. Feigenbaum Bennett Feldman Dr. Robert P. and Mrs. Sylvia Feltman Suzanne Ferguson J. Field Ingrid Fils Rana Fine Isaac Fisher Dr. and Mrs. Lawrence M. Fishman Ronaldo Flank Mary Francis Dr. and Mrs. Rudolph J. Frei Dr. and Mrs. Semyon Friedman Michael and Carolyn Friedman Malcolm and Doree Fromberg Victor and Sandra Fuller Allen and Gayle Giese Margaret Gerloff Johnny Ghibril Emily Gibson Judy M. Gilbert-Gould and Gerald Gould Carlos Felix Gimbernard Mr. Salomon Gold Barbara Goldin Sue and Howard Goldman Barbara R. Goldstein Elizabeth Fenjves and Donald Goodstein Barry Gordon Jason Gordon Patti Gordon Galina Gorokhovsky Dr. Pepi Granat Stephen B. Grundstein Christian Gutierrez Susan Guzman Sky Hackett George and Vicki Halliwell Dr. Juliet Hananian Vincent Handal, Jr. and Michael Wilcox David Harrison Claus and Barbara Haubold Dr. and Mrs. Mark J. Hauser Dr. Gail A. Hawks Shirley Helems Benjamin Herrera David Hevia Barbara L. Hobbs Greg Holtz Bernard and Kara Horowitz Dr. Michael C. Hughes Lawrence R. Hyer Fund at The Miami Foundation Timothy Iszler Melanie Jacobson Justin Jimenez Joan and Milton Baxt Foundation Inc. Lester and Susan Johnson Dr. Bruce and Mrs. Joyce Julien Shirley and Jack Kaplan Michele Karsenti Clarita Kassin James Kaufman Seymour Keith

2012-13 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI William Kelley Olga Khamzina Isaac and Lily Kislevich Anita Konig Lisa Kornse and August Wasserscheid Elane Kostecki Ernesto Jorge and Laura Kuperman Steven C. Kurtz Carolyn C. Lampl Mr. and Mrs. Robert Landon Anton Lee Rebecca and Elliot Lemelman Sandra and Vance Lemmon Judge Barbara Levenson Dr. and Mrs. Stanley Levick Dr. and Mrs. Melvin Levinson Mark Levy Lauren Licata Monica Link Raul and Juanita Lopez Arthur A. Lorch William and Carmen Lord Edward and Kay Lores Ruy MacIel Richard Mahfood Lewis and Dodie Mahoney Luisa Maichel Marisol Manito Leon Manne Charistine Marin Anthony Marinelli Sherrill Rigot Marks Loretta J. Marshall Mariana Martinasevic Hector Martinez Laureano J. Martinez Patricia Martinez Carlos Martinez-Christensen Oscar Mas Tamara Masferrer Mr. and Mrs. Stephen Masson Edward Mast Budd and Nanette Mayer Alan E. Maynard Carter and Laura McDowell Dr. Gwenn E. McLaughlin Alina Meledina Alice and Oded Meltzer Dr. and Mrs. Jorge Mendia Evelyn Milledge Daniel Mintz Oscar Mitnik Pierre and Mary Moffroid Edgardo Monterrosa Marisol Morales Dr. Michele Morris and Dr. Joel Fishman Judith Moscu Mrs. Hope Myers Narea Family Mr. and Mrs. D. Allan Nichols Ara and Violet Nisanian Tove Nord Robert Nuzzo and Neilus Scannell Stephen Nygard John and Sarah Nyitray Dr. Jules Oaklander Larry Ousley Dr. and Mrs. Larry K. Page Larry and Marnie Paikin Ruth M. Parry Maria Patino Stephen F. Patterson

George Paxton Beatriz Perez Marcos and Rose Perez Jason Perline Richard Pettigrew Michael and Mary Ellen Peyton Ferdinand and Barbara Phillips Nelson Piludu Teresa Pollak Suzan and Ronald Ponzoli Jonah and Judith S. Pruitt Regina D. Rabin Laura L. Rampey and Ronald W. Cox Robert Rearden Augustin and Isis Recio Mr. and Mrs. Burt Redlus Erika Richter Pedro A. Rios Lillian Robinson Angela Rodriguez Horacio Rodriguez Leslie Rogowsky Juan Rondon David and Susan Rosen Barbara and Eugene Rostov Stephen and Heidi Rowland Karen Rumberg Lawrence H. Rustin Alex Ryshawy Mr. Michael and Dr. Tamah Sadick Pilar Sanchez Hank Sanchez-Resnik Mary and Saul Sanders Dr. Diane Sard Janet Schiff Dr. Markus Schmidmeier Louis Schneider and Rosalie Ehrenberg Krystyna Schnier Mr. Peter and Mrs. Ortrud Schumann Alex Schwaner John and Zelda Schwebel Margaret Searcy Mike and Ronna Segal Anthony and Carol-Ann Segura Margaret Seroppian Humberto Sevilla Norman and Arlene Shabel Dr. and Mrs. Vincent Shankey Brenda Shapiro and Javier Bray Michael Sherman Dr. John and Gerri Shook Anica and David Shpilberg Ernest Siesel Rafael and Sulamita Simkovicius Robert Smith Dr. Gordon D. Sokoloff Ilene and Jay Sosenko Mary Ann Flores Shirley Spector Lucie and Jay Spieler Stanley and Betty Spieler Issac Sredni Nick St. Cavish Patty and Harold Stanley Ms. Holly Strawbridge Edwin L. and Elsa Stringer Caroline Sullivan Francis Switzer Michael Tannhauser and Lily Noches Stephen Tatom Richard Taylor Mr. Gabriel Teran

Cleveland Orchestra Miami 2012-13

Daniel and Cristin Thorogood Charlotte Tomic Alicia M. Tremols Miguel Triay Dr. and Mrs. Michael B. Troner Dale Underwood Yarima Upshaw Steven A. Vajda Daniel Vander Woude Video Fame Herbert W. and Peggy F. Vogelsang Barbara B. Voight Roberto Von Sohsten Frank Voyek Dr. Mario Werbin Jeanne Westphal Jill S. White Peter J. White, Jr. Robert and Ronni Whitebook Mr. and Mrs. Arthur Whittaker Brant Wigger Jennifer Williams Sid and Ethel Winokoor Laura A. Woodside Christian Wunsch Allan Yudacufski Dr. Sheldon and Elaine Zane Eloina D. Zayas-Bazan Chidong Zhang Amy Zimmerman Marlene Zuckerman    * deceased

Cleveland Orchestra Miami relies on the generosity of its patrons for our continued success. Ticket purchases cover less than half of expenses, and your philanthropic support is essential to cover the difference. Your contribution enables the Miami Music Association to present Cleveland Orchestra concerts, education programs, and community activities here in Miami-Dade County. Please consider a gift today by calling 305-372-7747 or visit online at clevelandorchestramiami.com.

Annual Fund Contributors

C l e v e l a n d

T h e

Franz Welser-MĂśst

M u s i c D i r e c t oR

giancarlo guerrero

Kelvin Smith Family Chair

Principal guest conductoR C leve l an d Orc h estr a M iam i

James feddeck

assistant conductor

Elizabeth Ring and William Gwinn Mather Chair

FIRST VIOLINS William Preucil concertmaster

Blossom-Lee Chair

Yoko Moore

assistant concertmaster

Clara G. and George P. Bickford Chair

Peter Otto

First associate concertmaster

Jung-Min Amy Lee

Associate concertmaster

Gretchen D. and Ward Smith Chair

Takako Masame

Paul and Lucille Jones 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

Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Mark Dumm

Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Ying Fu

SECOND VIOLINS Stephen Rose *

cellos Mark Kosower*

Alfred M. and Clara T. Rankin Chair

Louis D. Beaumont Chair

Richard Weiss 1

Emilio Llinas 2

The GAR Foundation Chair

James and Donna Reid Chair

Eli Matthews

Charles Bernard 2

1

Helen Weil Ross Chair

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Bryan Dumm

Muriel and Noah Butkin Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut

Tanya Ell Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin Thomas Mansbacher BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

VIOLAS Robert Vernon *

Mark Atherton Thomas Sperl Henry Peyrebrune

ChaillĂŠ H. and Richard B. Tullis Chair

Lynne Ramsey 1

Charles M. and Janet G. Kimball Chair

Stanley Konopka Mark Jackobs

Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky

2

Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Orchestra

HARP Trina Struble *

Alice Chalifoux Chair

2012-13 Cleveland Orchestra Miami

12 13

SEASON

O r c h e s t r a FLUTES Joshua Smith *

Elizabeth M. and William C. Treuhaft Chair

horns Richard King *

George Szell Memorial Chair

Saeran St. Christopher Marisela Sager 2

Michael Mayhew

Mary Kay Fink

Jesse McCormick Hans Clebsch Alan DeMattia

Austin B. and Ellen W. Chinn Chair

PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Mary Lynch Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters english horn Robert Walters

Samuel C. and Bernette K. Jaffe Chair

§

Knight Foundation Chair

timpani Paul Yancich *

Otto G. and Corinne T. Voss Chair

Tom Freer 2

percussion Jacob Nissly *

Margaret Allen Ireland Chair

TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller CORNETs Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

clarinets Franklin Cohen *

TROMBONES Massimo La Rosa*

Robert Woolfrey Daniel McKelway 2

Richard Stout

Gilbert W. and Louise I. Humphrey Chair

Robert Marcellus Chair

Alexander and Marianna C. McAfee Chair

Robert R. and Vilma L. Kohn Chair

Donald Miller Tom Freer Marc Damoulakis keyboard instruments Joela Jones *

Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

librarians Robert O’Brien Donald Miller orchestra Personnel Carol Lee Iott director

Karyn Garvin Manager

Linnea Nereim

Shachar Israel

E-flat clarinet Daniel McKelway

bass trombone Thomas Klaber

Endowed chairs currently unoccupied

euphonium and bass trumpet Richard Stout

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

Stanley L. and Eloise M. Morgan Chair

bass clarINEt Linnea Nereim bassoons John Clouser *

2

tuba Yasuhito Sugiyama*

Louise Harkness Ingalls Chair

William Hestand Barrick Stees 2

Nathalie C. Spence and Nathalie S. Boswell Chair

Sidney and Doris Dworkin Chair Sunshine Chair

* Principal §

1 2

Sandra L. Haslinger Chair

Associate Principal First Assistant Principal Assistant Principal

Jonathan Sherwin contrabassoon Jonathan Sherwin

Cleveland Orchestra Miami 2012-13

The Orchestra

Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

The 2012-13 season marks Franz Welser-Möst’s eleventh year as music director of The Cleveland Orchestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his direction, the Orchestra is acclaimed for its continuing artistic excellence, is presented in a series of ongoing residencies in the United States and Europe, continues its championship of new composers through commissions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his Cleveland post, Mr. Welser-Möst is general music director of the Vienna State Opera.

Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has launched a series of residencies in important cultural locations around the world. These include residencies at Vienna’s Musikverein and Switzerland’s Lucerne Festival, as well as programs at the Lincoln Center Festival and Indiana University’s Jacobs School of Music. The Orchestra’s annual residency in Miami, under the name Cleveland Orchestra Miami, features multiple weeks of concerts coupled with an extended variety of community activities and educational programs.

Mr. Welser-Möst has led a series of opera performances during his tenure in Cleveland. Following six opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. In May 2012, he led the Orchestra and an international cast of singers in acclaimed concert performances of Strauss’s Salome.

In addition to serving as general music director of the Vienna State Opera, Mr. Welser-Möst maintains an ongoing relationship with the Vienna Philharmonic Orch­ estra. Recent concert performances with the Philharmonic include appearances at the Lucerne Festival and Salzburg Festival, in Tokyo, and at La Scala, as well as leading the Philharmonic’s 2011 New Year’s concert, telecast worldwide; he conducted the New Year’s Day concert again in 2013, and leads the Philharmonic in concerts at Carnegie Hall in March.

Mr. Welser-Möst’s recordings and videos have won international awards and two Grammy nominations. He has led The Cleveland Orchestra in video recordings of live performances of Bruckner’s symphonies nos. 4, 5, 7, 8, and 9, and also released albums featuring Beethoven’s Ninth Symphony and music by Wagner.

Franz Welser-Möst has been recognized by the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

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Music Director

2012-13 Cleveland Orchestra Miami

The Cleveland Orchestra Under the leadership of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world. In concerts at its winter home at Severance Hall and at each summer’s Blossom Festival, in ongoing residencies from Miami to Vienna, and on tour around the world, the Orchestra sets the highest standards of artistic excellence, creative programming, and community engagement.

The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. Welser-Möst has recently been added to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s former music directors. In addition, Cleveland Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe.

The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s top rank of symphony orchestras.

Over the next decades, the Orchestra grew from a fine regional organization to one of the most admired symphonic ensembles in the world. Seven music directors (Nikolai Sokoloff, 1918–1933; Artur Rodziński, 1933–1943; Erich Leins­dorf, 1943–1946; George Szell, 1946–1970; Lorin Maazel, 1972–1982; Christoph von Dohnányi, 1984–2002; and Franz Welser-Möst, since 2002) have guided and shaped the ensemble’s growth and sound. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality with the first Blossom Festival in 1968, presented at an award-winning, purpose-built outdoor facility located just south of the Cleveland metropolitan area near Akron, Ohio. Today, touring, residencies, radio broadcasts, and recordings provide access to the Orchestra’s music making to a broad and loyal constituency around the world.

Visit ClevelandOrchestraMiami.com for more information.

Cleveland Orchestra Miami 2012-13

The Cleveland Orchestra

11

Giancarlo Guerrero

Principal Guest Conductor Cleveland Orchestra Miami

The 2012-13 season marks Giancarlo Guerrero’s fourth year as music director of the Nashville Symphony and second year as principal guest conductor of Cleveland Orchestra Miami. He made his Cleveland Orchestra debut in May 2006. He has led the Orchestra in concerts in Miami, at Severance Hall, at the summertime Blossom Music Festival, and in its annual downtown community concert in Cleveland.

Mr. Guerrero’s recent seasons in Nashville have included an opening gala with Yo-Yo Ma, as well as world premieres of a new work by Richard Danielpour, a Béla Fleck banjo concerto, and a Terry Riley concerto for electric violin. This season, in addition to his work conducting concerts and in community engagement activities with Cleveland Orch­estra Miami, he makes his debuts with the BBC Symphony Orchestra and Deutsches Symphonie Berlin, and has return engagements with the orchestras of Boston, Philadelphia, Toronto, and São Paulo. Internationally, he led a five-city European tour with the Monte Carlo Philharmonic last season, and this year leads performances in Australia with the Adelaide Symphony and Auckland Philharmonic.

A fervent advocate of new music and contemporary composers, Mr. Guerrero has collaborated with and conducted works by some of America’s most respected composers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, and Roberto Sierra. His first album with the Nashville Symphony, on Naxos, featured works by Daugherty and won three 2011 Grammy Awards. Two more albums have been released, of music by Argentine legend Astor Piazzolla and by American composer Joseph Schwantner; the latter recording received a Grammy Award in 2012.

A strong proponent of young musicians and music education, Mr. Guerrero returns annually to Caracas, Venezuela, to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s much-lauded El Sistema music education program. This season he will also work with student orchestras at the Curtis Institute of Music in Philadelphia and the Colburn School in California.

Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received a bachelor’s degree in percussion from Baylor University and his master’s degree in conducting from Northwestern University. He was music director of Oregon’s Eugene Symphony (2003-09) and served as associate conductor of the Minnesota Orchestra (1999-2004). He received the American Symphony Orchestra League’s Helen M. Thompson Award recognizing outstanding achievement among young conductors. Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.

12

Principal Guest Conductor

2012-13 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

Concert Prelude A free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the evening’s orchestral concert.

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SEASON

Saturday, January 26, 2013, at 7:00 p.m.

Four Silesian Melodies

by witold lutoslawski (1913-1994)

Katherine Bormann, violin Ying Fu, violin Alexandra Preucil, violin Jeffrey Zehngut, violin

Three Diversions for Two Oboes (1987) by jeffrey rathbun (b. 1959)

1. Allegretto 2. Lento 3. Vivace

Jeffrey Rathbun, oboe Frank Rosenwein, oboe

from String Quartet No. 7 in F major, Opus 59, No. 1

by Ludwig van Beethoven (1770-1827)

1. Allegro

Emma Shook, violin Sonja Braaten Molloy, violin Patrick Connolly, viola Charles Bernard, cello

Concert Preludes are free to ticketholders to each Cleveland Orchestra Miami concert.

(Due to scheduling conflicts, no Prelude is being presented on Friday, January 25.)

The Cle v el and Orchestra In addition to rehearsals and concerts throughout the year, many Cleveland Orchestra musicians donate performance time in support of community engagement, fundraising, education, and audience development activities — including Concert Preludes. We are pleased to recognize these musicians, listed on page 25.

Cleveland Orchestra Miami 2012-13

January Concert Prelude

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A healthy performing arts community is music to our ears.

For over 120 years, we’ve relied on our strength and stability to hit the right notes with our clients and, just as importantly, our community. For that very reason, we’re proud and honored to support the Miami Music Association and The Cleveland Orchestra.

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11/1/12 10:16 AM

2012-13 Cleveland Orchestra Miami

Friday evening, January 25, 2013, at 8:00 p.m.

Saturday evening, January 26, 2013, at 8:00 p.m.

John S. and James L. Knight Concert Hall Sherwood M. and Judy Weiser Auditorium

The Miami Music Association and the Adrienne Arsht Center present

The Cleveland Orchestra Franz Welser-Möst, conductor ludwig van beethoven (1770-1827)

12 13

SEASON

Violin Concerto in D major, Opus 61

1. Allegro ma non troppo 2. Larghetto 3. Rondo: Allegro

Joshua Bell, violin

INTERMISSION

dmitri shostakovich

Symphony No. 10 in E minor, Opus 93

(1906-1975)

1.

2.

3.

4.

Moderato Allegro Allegretto Andante — Allegro

Saturday evening’s concert is being broadcast live on WCLV 104.9 FM Cleveland.

The taking of photographs or any other recording is strictly prohibited.

Cleveland Orchestra Miami 2012-13

January Program

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i n t r o d u c i n g t he pr o g r a m

Melody& Politics

Th i s w ee k , two works, a century-and-a-half apart.

Beethoven’s immense — and immensely beautiful — Violin Concerto is today considered among the greatest such works ever written. It was not always so, however, and generated puzzlement and ho-hum reactions at its premiere in 1806. Its length, which we may find heavenly today, was longer than early 19th-century expectations. Similarly, Shostakovich’s Tenth Symphony from 1953 is a piece that can be hard to understand, but difficult to dismiss. It features passages of great beauty, mixed with irony, angst, and episodic celebration. It is clearly one of the 20th century’s greatest symphonies, but the meaning of this music is, ultimately, a very personal choice, for composer and listener alike.

Violin Concerto in D major, Opus 61 composed 1806

that open Beethoven’s Violin Concerto are one of the most surprising and audacious ideas that the composer ever committed to paper. What was he thinking?

Is this an echo of the military music that emanated from the French Revolution — and which was to be heard all over Vienna in those warlike years? Is it an easy way to set the tempo, like those audible 1-2-3-4 counts that jazz musicians rely on?

Is it a suggestion of menace or coming thunder? Is it a way to attract the audience’s attention? Or is it a tune?

This concerto is so familiar to so many of us that it’s no longer easy to imagine the shock waves those four notes should have set off at its first performance in 1806. Perhaps the audience was too noisy to allow anyone to hear them clearly. Perhaps the Viennese were already used to Beethoven’s eccentricities and regarded this as just another of his strange ways. Critics at the time barely noticed the oddity of such an opening. Instead, they complained about the concerto’s length and repetitiousness, and mostly expressed the view that things would be better if Beethoven reined himself in a little and stuck to the agreeable style he had perfected in his first two symphonies. No one was t he f o u r dr u m t a p s

by

Ludwig van

BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna

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About the Music

2012-13 Cleveland Orchestra Miami

yet ready to bask in the work’s beautifully melodic and elegant writing for the violin, or appreciate the spacious symphonic breadth of the first movement, let alone declare this to be the finest violin concerto anyone had ever heard.

In fact, this concerto came into the world with very little fanfare and made little impression on the Viennese or anyone else. Not for some fifty years was it treated as the great work we now know it to be, when Joseph Joachim, Ferdinand David, Henri Vieuxtemps, and other virtuosi began to play it everywhere. In the 1870s, a crop of fine concertos appeared — by Brahms, Lalo, Tchaikovsky, and Bruch — all more or less in homage to Beethoven’s concerto and most of them in the same key of D major.

Beethoven may have had no knowledge of Mozart’s five early violin concertos. Instead, Beethoven’s models were mostly French, in the concertos of Viotti, Kreutzer, and Rode, all working in Paris. He may have known Louis Spohr’s concertos, and he certainly knew a D-major concerto by Franz Clement, a young Viennese violinist who had played it in a concert in 1805 at which Beethoven had presented his Symphony No. 3, the “Eroica.” Beethoven’s own concerto was written “par Clemenza pour Clement” in the autograph score, and the dedicatee gave the first performance in December 1806, an event colored by the anecdote that he was sight-reading from Beethoven’s messy manuscript and by the program’s inclusion of a sonata to be played by Clement on a single string and “mit umgekehr­ ten Violin” — with the instrument upside-down.

What makes Beethoven’s concerto different from all the other violin concertos of his time is its enormously enlarged sense of space. With four symphonies behind him, he now thought instinctively in the extended paragraphs of symphonic structure and was able to create a broad horizon within which his themes can be extended in leisurely fashion and adorned by graceful elaborations from the soloist. For the four drum taps are a theme, or at least a crucial part of a theme, to be taken up by the soloist and the orchestra at various points, sometimes soft, as at the opening, sometimes brutally loud, and always highly distinctive. The other themes are elegant, often built out of rising or falling scales and usually moving in stepwise motion, avoiding wide intervals and sustaining a calm dignity.

Since Beethoven left no cadenzas for this concerto, violinists have been writing their own for two centuries. Spohr, Joachim, Cleveland Orchestra Miami 2012-13

About the Music

What makes Beethoven’s concerto different from all the other violin concertos of his time is its enormously enlarged sense of space. Here he is able to create a broad horizon within which themes can be extended in leisurely fashion and adorned by graceful elaborations from the soloist.

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At a Glance Beethoven wrote his Violin Concerto in 1806 for Franz Clemens, who was the soloist in the first performance on December 23, 1806, in Vienna. The score was published in 1808 with a dedication to Beethoven’s childhood friend Stephan von Breuning.

This concerto runs about 45 minutes in performance.

Beethoven scored it for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus solo violin.

The Cleveland Orchestra first performed Beethoven’s Violin Concerto in January 1920, when the 19-year-old Jascha Heifetz appeared as the soloist, with Nikolai Sokoloff conducting. Since that time, the concerto has been presented by the Orchestra quite frequently, performed with many of the world’s greatest violin soloists.

Vieuxtemps, Eugène Ysaÿe, Fritz Kreisler, Jascha Heifetz, and dozens of others have published their own versions, and some more recent cadenzas break with convention by quoting from other concertos or indulging in modernisms such as quartertones written in the cracks between notes within Beethoven’s own tonal scale. All three movements offer opportunities for cadenzas, the one at the end of the slow movement acting as a link to the rondo finale. For his concerts with The Cleveland orchestra, Joshua Bell is performing his own cadenzas.

The slow movement is a group of variations on a theme, ten measures long, of surpassing simplicity and beauty. First played by the strings alone, the theme passes to the horns and clarinet, then to the bassoon, then back to the strings with strong woodwind punctuation. The soloist, who has offered only decoration up to this point, then introduces a second theme, even more serene than the first, which acts as an interlude before the next variation, marked by pizzicato strings. Perhaps Beethoven was thinking of Haydn, who also liked to leaven his variations sets with secondary themes. This second theme returns, accompanied now by the winds. The movement has remained firmly in its home key of G major throughout, and just when another variation seems to be hinted at by the horns, a violent series of chords sets up the cadenza-link into the finale.

The third-movement Rondo’s catchy theme releases a burst of energy and an inexhaustible flow of lively invention.

The bassoon is favored in a minor-key episode that is heard, regrettably, only once. At the end, the coda plays with the theme like a kitten with a ball of wool — rounding the work off with a light touch quite at odds with the image of a surly, stormy composer that we too often take to be the real Beethoven.

—Hugh Macdonald © 2013 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

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About the Music

2012-13 Cleveland Orchestra Miami

Joshua Bell American violinist Joshua Bell enchants audiences with his virtuosity, tone, and stage presence. He first performed with The Cleveland Orchestra in March 1985, and most recently returned in August 2002.

The Bloomington, Indiana, native was an avid computer game player and competitive athlete. He began violin at age four, and by age 12, had become a serious musician, thanks to his teacher and mentor, Josef Gingold. At 14, Mr. Bell received national attention for his Philadelphia Orchestra debut. In 1989, he earned an artist diploma from Indiana University, where he is now a senior lecturer at the Jacobs School of Music. He has received the university’s Distinguished Alumni Service Award and the Indiana Governor’s Arts Award and been named an “Indiana Living Legend.”

Equally at home as a soloist, chamber musician, recording artist, and orchestra leader, Joshua Bell appeared this past summer at the Aspen, Mostly Mozart, Ravinia, Salzburg, Saratoga, Tanglewood, and Verbier festivals. This season, he performs with the orchestras of Boston, Cincinnati, Detroit, Nashville, New York, Philadelphia, Pittsburgh, San Diego, San Francisco, and Seattle, tours South Africa, and performs in Europe with the Academy of St. Martin in the Fields, of which he recently became music director.

A champion of new music, Mr. Bell has premiered works by John Corigliano, Aaron Jay Kernis, Jay Greenberg, Edgar Meyer, and Behzad Ranjbaran.

Mr. Bell is an exclusive Sony Classical recording artist. Since his first LP at age 18 on Decca, he has recorded more than 40 albums, including the soundtrack to The Red Violin. His first album conducting the Academy of St. Martin in the Fields, in Beethoven’s Fourth and Seventh symphonies, is scheduled for release in February.

Recently, Mr. Bell received the Paul Newman Award from Arts Horizons, the Huberman Award from Moment Magazine, and Seton Hall University’s Humanitarian Award. He was also named Instrumentalist of the Year by Musical America and has received both the Avery Fisher Career Grant and Prize. He serves on the artist committee of the Kennedy Center Honors and the New York Philharmonic board of directors. He appears by arrangement with IMG Artists.

Joshua Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th-century French bow by François Tourte.

For further information, visit www.joshuabell.com.

Joshua Bell will sign compact discs during intermission in the Arsht Center lobby on Friday and Saturday evenings.

Cleveland Orchestra Miami 2012-13

Soloist

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Symphony No. 10 in E minor, Opus 93 composed 1948-53

made it known publicly that he composed the great Tenth Symphony in the months following Stalin’s death, which took place on March 5, 1953 (the same day as Prokofiev’s death). It is clear to us now, however, and was probably clear to many of his friends then, that he had been working on the symphony for several years — and that it was written under the shadow of events in January 1948 when Andrei Zhdanov, the politburo member with responsibility for the arts, led a purge on Soviet musicians, with Shostakovich as the main target. An important group of composers, which included both Shostakovich and Prokofiev, were singled out for their sins against the ideals of Soviet music and in particular for “formalism,” the recurrent catch-all accusation that had been heard in official pronouncements throughout the Stalinist era.

Of course all music is formal, and so, in a sense, it must also be “formalist.” In this case, the State required music to serve a political purpose, and that could only be done with words or a message conveyed in song or on screen or even with just an appropriate title. “Symphony” or “Concerto” or “String Quartet” were vague and inadequate titles for the purpose — and thus open to condemnation not simply for not supporting the official line but actually for subverting it.

At the moment when the purge occurred, Shostakovich was engaged in composing a violin concerto written in admiration of the playing of David Oistrakh. He continued writing the concerto, but only in secret, and it could not be performed.

Shostakovich turned to film music and choral works instead, as his sole means of retaining recognition as a composer. But in private, he was also working on string quartets and on a successor to the Ninth Symphony of 1945. Sketches for the Tenth in fact go back as early as 1946, and there is evidence that he was working on it in 1951.

The year 1953 — and Stalin’s death — thus released the backlog of music that had been waiting to be brought out in public. The Violin Concerto was not ready until 1955, but the Fourth and Fifth String Quartets were heard toward the end of 1953, along with the Tenth Symphony, presented on December 17 s h o s ta ko v i c h

by

Dmitri

SHOSTAKOVICH born September 25, 1906 St. Petersburg (later Leningrad) died August 9, 1975 Moscow

20

About the Music

2012-13 Cleveland Orchestra Miami

by the Leningrad Philharmonic Orchestra under Shostakovich’s leading interpreter of the day, Yevgeny Mravinsky. The Tenth was soon acclaimed in the West as one of the composer’s major works. International recognition of Shostakovich as a leading living composer dated back to his First Symphony in 1925, but Shostakovich’s standing across the West was reenforced by new works in the 1950s and for the last twenty years of his life. His writing was widely appreciated as a counterblast to the craze for serial and atonal music that gripped many young composers, especially in the United States.

Interpreting the Tenth Symphony, as with any work by Shostakovich, presents immense problems. From his many years grappling with officialdom, he had learned to dissemble and mask his true feelings about what he created. In addition, he was a very private, not to say inscrutable, individual.

All these circumstances allow us to adopt almost any view of his work, but without any certainty that our view will coincide with his.

The layers of irony are deep. What seem to be depictions of misery or horror may be nothing of the kind. The hollow hymns of triumph may not be hollow. He was indeed a “formalist” composer, deeply concerned with the structure and shape of his music, always looking for new ways to insert contrast or its opposite, hinting at references that may be decoys, and extracting veins of gold from the traditional large orchestra. t he m u s i c

Of the Tenth Symphony’s four parts, the first movement is the longest and perhaps the bleakest, giving prominence (as does the whole symphony) to the leading woodwinds. A clarinet, for example, is the first to join the strings’ opening meditations, and a low flute is the first to present an important new theme later on.

Two lonely piccolos are heard at the close. The music is in no hurry.

Twice the music rises to fearsome climaxes, fed on the frightening rap of the snare drum and the weight of the full brass.

The raw energy of the second movement is unrivaled in 20th-century music, like a runaway train. Is it exultation or fury? It’s hard to say. Over the wild gambols of the rest, the Cleveland Orchestra Miami 2012-13

About the Music

21

At a Glance Shostakovich composed his Tenth Symphony during the summer and autumn of 1953, although some thematic material may date from the previous two years. It was premiered in Leningrad on December 17, 1953, by the Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky. The first United States performance took place on October 14, 1954, with the New York Philharmonic under Dimitri Mitropoulos’s direction.

This symphony runs just over 50 minutes in performance. Shostakovich scored it for 3 flutes (second and third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, tam-tam, triangle, tambourine, xylophone), and strings.

The Cleveland Orchestra recorded Shostakovich’s Tenth Symphony under the direction of Christoph von Dohnányi for Decca in 1990.

22

brass occasionally stamp out what sounds like an Orthodox Russian chant. What can that mean?

The relaxed air of the third movement is more than welcome, and it becomes more personal when Shostakovich gradually hones in on his personal signature, the D-S-C-H motif that permeated a number of his later works. This was created from the way his name is spelled in German, as Dmitrij SCHostakowitsch, and the fact that in German the note of E-flat is “Es” (and thus S) and B-natural is H:

Another prominent tune that keeps recurring on the horn seems planets away from the tone and color of the movement. This too has been shown to have an explanation as ELMIRA, the name of one of his female students, although, as before, the significance of her intrusion in the symphony is a mystery:

The movement concludes with what sounds like a corny brass band playing loose with D-S-C-H, as if in mockery.

Before the true finale begins, there is a thoughtful introduction featuring oboe and bassoon and casting a veil of mystery.

This is dispelled in the exuberant fourth movement Allegro, whose climax is a triumphant writing-on-the-wall of the letters D-S-C-H. Triumph or cataclysm? It could be either. It is certainly an exhilarating musical experience whatever we read into its meaning.

—Hugh Macdonald © 2013

About the Music

2012-13 Cleveland Orchestra Miami

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CLEVELAND ORCHESTRA MIAMI

Concert Prelude A free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the evening’s orchestral concert.

12 13

SEASON

Friday, February 1, 2013, at 7:00 p.m.

Saturday, February 2, 2013, at 7:00 p.m.

Italian Serenade in G major

by Hugo Wolf (1860-1903)

1. Assai sostenuto — Allegro

Takako Masame, violin Miho Hashizume, violin Lynne Ramsey, viola Ralph Curry, cello

from Septet (for strings and woodwinds) in E-flat major, Opus 20

by Ludwig van Beethoven (1770-1827)

1. Adagio — Allegro con brio 2. Adagio cantabile 6. Andante con moto alla marcia — Presto

Eli Matthews, violin Patrick Connolly, viola Charles Bernard, cello Charles Carleton, bass Robert Woolfrey, clarinet Jonathan Sherwin, bassoon Hans Clebsch, horn

The Cle v el and Orchestra In addition to rehearsals and concerts throughout the year, many Cleveland Orchestra musicians donate performance time in support of community engagement, fundraising, education, and audience development activities — including these Concert Preludes. We are pleased to recognize these musicians, listed below, who are volunteering for such events and presentations during the 2011-12 and 2012-13 seasons.

Martha Baldwin Charles Bernard Katherine Bormann Charles Carleton Hans Clebsch Patrick Connolly Ralph Curry Marc Damoulakis Scott Dixon Bryan Dumm Mark Dumm

Tanya Ell Ying Fu Kim Gomez Joela Jones Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Jung-Min Amy Lee Eli Matthews Sonja Braaten Molloy

Cleveland Orchestra Miami 2012-13

Jacob Nissly Peter Otto Joanna Patterson Zakany Henry Peyrebrune Alexandra Preucil William Preucil Lynne Ramsey Marisela Sager Jonathan Sherwin Emma Shook Joshua Smith

February Concert Prelude

Barrick Stees Trina Struble Brian Thornton Isabel Trautwein Carolyn Gadiel Warner Stephen Warner Robert Woolfrey Derek Zadinsky Jeffrey Zehngut

25

Honoring the Founders of Cleveland Orchestra Miami We pay special tribute to the inspired leadership of these families and organiza­tions, with special appreciation to Cleveland Orchestra Miami’s Founding Chairman, Dan Lewis, and his wife Jan. Daniel R. Lewis, Founding Chairman Michael and Judy Adler Cesar Alvarez Florence and Sheldon Anderson J. Ricky Arriola Jayusia and Alan Bernstein Marsha and Brian Bilzin Irma and Norman Braman Martha and Bruce Clinton The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation Colleen and Richard Fain Hector D. Fortun Francie and David Horvitz Tati and Ezra Katz Shulamit and Chaim Katzman Janet and Gerald Kelfer Pamela Garrison and R. Kirk Landon Shirley and William Lehman Jan R. and Daniel R. Lewis Susan Miller Muriel Rosen* Northern Trust Karyn and Dr. James Schwade Judy and Sherwood* Weiser Jody Wolfe *deceased Janet and Richard Yulman Beginning in 2004, a remarkable group of leaders came together to support the concept of an annual program of concerts and education activities by The Cleveland Orchestra in Miami. Following two years of planning, Cleveland Orchestra Miami was launched in August 2006 with the Orchestra taking the central role in acoustic testing of the state-of-the-art John S. and James L. Knight Concert Hall at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County.

Public performances by The Cleveland Orchestra in Miami were launched in January 2007, including subscription series, family and education concerts, and a growing variety of musical presentations and collaborations throughout the community. We salute the visionary leadership of these Founding Donors.

Friday evening, February 1, 2013, at 8:00 p.m.

Saturday evening, February 2, 2013, at 8:00 p.m.

John S. and James L. Knight Concert Hall Sherwood M. and Judy Weiser Auditorium

The Miami Music Association and the Adrienne Arsht Center present

The Cleveland Orchestra Franz Welser-Möst, conductor ludwig van beethoven (1770-1827)

12 13

SEASON

Piano Concerto No. 4 in G major, Opus 58

1. Allegro moderato 2. Andante con moto 3. Rondo: Vivace

garrick ohlsson, piano

INTERMISSION

hector berlioz

Symphonie fantastique, Opus 14 Episode in the Life of an Artist

(1803-1869)

1. Reveries: Largo — Passions: Allegro agitato e appassionato assai 2. A Ball: Waltz: Allegro non troppo 3. In the Country: Adagio 4. March to the Scaffold: Allegretto non troppo 5. Dream of a Witches’ Sabbath: Larghetto — Allegro

Saturday evening’s concert is being broadcast live on WCLV 104.9 FM Cleveland.

The taking of photographs or any other recording is strictly prohibited.

Cleveland Orchestra Miami 2012-13

February Program

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i n t r o d u c i n g t he pr o g r a m

Fantasy & (R)evolution

offer a program of two revolutionary works — Beethoven’s most personal concerto alongside a very intimate (and at times terrifying) look inside the lovelorn mind of Hector Berlioz as a young man.

Beethoven’s Fourth Piano Concerto begins unusually with a piano solo, but evolves as a far-ranging discussion between soloist and orchestra, with quiet disagreement leading ultimately to a unified and satisfying conclusion. In contrast, Berlioz’s Symphonie fantastique traces the French composer’s infatuation with a stage actress through joy and despair — including drug-induced nightmares, his own beheading, and danceful celebrations. With skillful writing and imaginative creativity, such ideas are brought to musical reality. t h i s w ee k ’ s c o n c er t s

Piano Concerto No. 4 in G major, Opus 58 composed 1805-06

before (and after), Beethoven wrote his concertos for piano and orchestra as vehicles for displaying his own dazzle as a performer. In those times — before radio and recordings and copyright, and when public concerts were less frequent than today — new music was all the rage. Composing your own ensured that you had fresh material to perform.

Your biggest hits, from last year or last week, were meanwhile quickly appropriated by others through copied scores and with the best tunes arranged for street organ grinders and local wind ensembles. It is little wonder, then, that Mozart kept some scores under lock and key, and left the cadenzas for many of his concertos blank, so that only he could fill them in authentically with his own brand of extemporaneous perfection.

Beethoven moved to Vienna at the age of 22 in 1792. He’d hoped to get to Europe’s musical capital sooner and to study with Mozart, but family circumstances had kept him at home in Bonn helping raise his two younger brothers (while tempering the boys’ alcoholic father). It was as a performer that Beethoven forged his reputation in Vienna, and within a year he was widely known as a red-hot piano virtuoso. l i k e m a n y c o mp o s er s

by

Ludwig van

BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna

28

About the Music

2012-13 Cleveland Orchestra Miami

This set the stage for writing his own concertos. For the first three, written between 1795 and 1802, he followed very much in Mozart’s footsteps with the form. In the 1780s, Mozart had turned the concerto into a fully-realized and independent genre, sometimes churning out three or four each season.

But whereas Mozart, over the course of thirty or more works for solo piano or violin, had developed the concerto into sublime products, Beethoven (ultimately creating just five works for piano and one for violin) strived to make the form individual and handmade again. Mozart created the molds and set the standards, and only occasionally over-filled or over-flowed them. Beethoven at first worked within and around those earlier definitions, but the thrust of his musical creativity eventually shattered tradition in order to offer up the first magnificently over-charged concertos of the Romantic 19th century.

The Fourth Piano Concerto begins unexpectedly, with piano alone. While today we recognize this as unusual, it is probably impossible for us to understand how totally shocking it was for audiences at the premiere. Even though Mozart’s concertos had crystallized the form only twenty years earlier, musical audiences of the time knew the conventions and were expecting creativity within those boundaries. A concerto always started with an orchestral introduction. The beginning might be longer or shorter, noisy or quiet, but the concerto was ultimately an orchestral genre, with soloist as an invited guest.

Here, with Beethoven’s Fourth Concerto, the soloist is instead placed fully in charge of the form — not just in the audience’s minds as the expected center of attention, but as full equal to the entire orchestra. Thus is the heroic 19th-century concerto born, in which the soloist became protagonist rather than mere dialogue partner, and the “conversation” between soloist and orchestra takes on a sense of combative clashing and argument far beyond the good-natured sparring that earlier concertos had offered as musical entertainment.

Not only does the piano begin the concerto, but it starts with unusual gentleness and grace, and “warms up” only gradually. Indeed, the entire concerto seems much more of a personal statement from Beethoven, as soloist and overall composer, than any of his preceding concertos. The opening movement continues at length — at twenty minutes, it is at least a third longer than any that Mozart or Beethoven had previously created — alternating across the sections of sonata form between Cleveland Orchestra Miami 2012-13

About the Music

Beethoven’s Fourth Piano Concerto begins unexpectedly, with piano alone.

While today we recognize this as unusual, it is impossible for most of us to imagine how totally shocking it was for audiences 200 years ago.

29

At a Glance Beethoven composed his Fourth Piano Concerto in 1805-06 and served as both soloist and conductor in the work’s first performances, in March 1807 at a semi-private concert in the home of his patron Prince Lobkowitz, followed by the public premiere at the Vienna Akademie on December 22, 1808. The concerto was published in 1808 with a dedication to Beethoven’s pupil, the Archduke Rudolph.

This concerto runs about 35 minutes in performance.

Beethoven scored each of the movements differently: the first movement calls for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings, plus the solo piano; the second movement utilizes only piano and strings; and the finale augments the firstmovement ensemble with 2 trumpets and timpani.

The Cleveland Orchestra has recorded all five of Beethoven’s Piano Concertos three times: between 1959 and 1961 with George Szell and Leon Fleisher, in 1968 with Szell and Emil Gilels, and during 1986-87 with Vladimir Ashkenazy as both conductor and pianist.

a deceptive, gentle playfulness and a more robust outlook.

Then in the second movement, the orchestra and soloist almost seem to wander off into different concertos. The orchestra offers forceful stabs of sound, to which the piano repeatedly responds with introspective musings, as if thinking about something else entirely. Once the bewildered orchestra backs off, however, Beethoven allows the piano to be more or less alone onstage, as if deep in thought. Some sublimely heartwrenching solo piano passages follow, including a cadenza for right hand alone, before the movement withers to silence.

Without pause, we are suddenly in the third-movement finale. Finally, the orchestra and soloist are ready to enjoy playing together, and this joyful movement is a delightful rondo of invention and variations built around an initial short march tune. Beethoven carefully varies the lengths of each statement and its response, building up a wonderfully vibrant sense of fun and excitement. A brief cadenza allows a momentary spotlight on the soloist and then, just as at the beginning of the concerto, Beethoven also breaks convention at the end, with the solo part written through to the final chord in the final bar. Traditionally, the orchestra would have closed out the piece without the soloist, or with the soloist merely playing along with the tune at the end. (Beethoven’s Fourth isn’t entirely cutting edge in this respect, however, as Mozart had tried a “dual ending” in his last piano concerto.)

In the context of listening to any of Beethoven’s five piano concertos and contemplating his innovations and evolution of the artform, it is occasionally worthwhile noting that there is a sixth piano concerto by Beethoven. This is an arrangement that he made (or helped supervise) of his own Violin Concerto, Opus 61, for a generous Italian publisher. Known as Opus 61a, it is infrequently programmed, few soloists have bothered to learn the part, and, admittedly, some portions of it don’t really work. It is, nonetheless, a strangely interesting work to hear in performance or recording — and one sure way for many modern listeners who feel too well-acquainted with Beethoven’s concertos to be startled again, as his audiences were, on hearing something unexpectedly familiar but different.

—Eric Sellen © 2013 Eric Sellen serves as program book editor for The Cleveland Orchestra.

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About the Music

2012-13 Cleveland Orchestra Miami

Garrick Ohlsson Since winning the 1970 Chopin International Piano Competition, American pianist Garrick Ohlsson has established himself worldwide as a musician of interpretive and technical prowess. He made his Cleveland Orchestra debut in March 1975, and, prior to this year, most recently appeared with the Orchestra in October 2010.

A native of White Plains, New York, Garrick Ohlsson began piano studies at age 8, attended the Westchester Conservatory of Music, and at 13 entered the Juilliard School. His teachers include Claudio Arrau, Olga Barabini, Sascha Gorodnitzki, Rosina Lhévinne, Tom Lishman, and Irma Wolpe. Among Mr. Ohlsson’s honors are first prizes at the 1966 Busoni Competition and 1968 Montreal Piano Competition, the 1994 Avery Fisher Prize, and the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, Michigan.

Regarded as a leading exponent of Chopin, Mr. Ohlsson performed in celebrations of the bicentenary of Chopin’s birthday in 2010, including a gala concert at Chopin’s birth house in Warsaw and all-Chopin recitals in Berkeley, La Jolla, New York, and Seattle. For the bicentenary of Franz Liszt’s birth last season, Garrick Ohlsson played recitals in Chicago, Hong Kong, London, and New York.

Garrick Ohlsson commands a repertoire of some eighty concertos. He has appeared as soloist with orchestras throughout the world, including the Deutsche Symphony Berlin, Czech Philharmonic, Halle Orchestra, Russian National Orchestra, Salzburg Mozarteum, Sydney Symphony, and Warsaw Philharmonic, among many others. In recent seasons, his engagements in this country have included concerts with the orchestras of Atlanta, Baltimore, Boston, Dallas, Houston, New York, Philadelphia, Pittsburgh, St. Louis, and San Francisco.

In recital, Mr. Ohlsson has presented the music of Scriabin and the composer’s Russian contemporaries in the United States and Europe, and the complete Beethoven piano sonatas at the Ravinia, Tanglewood, and Verbier festivals.

As a chamber musician, Garrick Ohlsson’s performances have included collaborations with the Cleveland, Emerson, Takács, and Tokyo string quartets.

Along with violinist Jorja Fleezanis and cellist Michael Grebanier, Mr. Ohlsson is a founding member of the San Francisco-based FOG Trio.

A prolific recording artist, Garrick Ohlsson can be heard on the Angel, Arabesque, BMG, Delos, Hänssler, Hyperion, Nonesuch, RCA Victor Red Seal, Telarc, and Virgin Classics labels. One of his ten Bridge Records recordings of the complete Beethoven sonatas was granted a Grammy Award.

Cleveland Orchestra Miami 2012-13

Soloist

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Symphonie fantastique, Opus 14 Episode in the Life of an Artist composed 1830

in 1868 described the Symphonie fantastique as “a nightmare set to music,” it was meant to be an insult. Yet this was exactly what Berlioz intended — not that the critic should have a miserable evening, but that he should grasp, even dimly, the nightmarish agonies of the composer’s own experience.

Of Berlioz’s real suffering there can be no doubt. One has only to read the letters of 1829 (when Berlioz was twenty-five years old) to glimpse the torment of a composer whose mind was bursting with musical ideas and whose heart was bleeding.

The object of his passion was an Irish actress, Harriet Smithson, whom Berlioz had seen on the stage two years before in the roles of Juliet and Ophelia. Since then, he had seen her only at a distance, while of his very existence she was still quite unaware. How was this unreal passion to be expressed? His first thought, naturally enough, was a dramatic Shakespearean work, perhaps a Romeo and Juliet, for which he composed, it seems, a few movements. He then set several of Thomas Moore’s Irish Melodies to music, which at least evoked the land of her birth. Once he had encountered Beethoven’s symphonies, especially the Eroica (which impressed him just as strongly as Shakespeare), he liked the idea of writing a Beethovenian symphony — except that the customary triumphant ending had no counterpart in his own world.

The dilemma was resolved early in 1830 when he was informed, evidently by a new aspirant to the role of lover, that Harriet was a typical actress, free and easy with her favors and in no way worthy of the exalted passion that consumed him day and night. Now, he suddenly realized, he could represent this dramatic episode in his life as a symphony, with a demonic, orgiastic finale in which both he and she are condemned to hell.

The symphony was speedily written down in little more than three months and performed for the first time later that year. It became a main item in Berlioz’s many concerts in the 1830s, for each of which he issued a printed program explainw he n a n e w y o r k n e w s pa per

by

Hector

BERLIOZ born December 11, 1803 La Côte-Saint-André, Isère, France died March 8, 1869 Paris

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About the Music

2012-13 Cleveland Orchestra Miami

ing the symphony’s narrative.

Although the symphony is explicitly about an “artist” and his “beloved,” it is partially about Romeo and Juliet, and even more obviously about himself and Harriet, as everyone probably knew. Even after Berlioz had, by a strange irony, met and married Harriet Smithson three years later, the symphony’s dramatic program remained. There can be few parallels to this extraordinary tale of love blooming in real life after it had been violently repudiated and exorcized in a work of art.

All five movements contain a single recurrent musical theme, the idée fixe (“obsession”), which represents the artist’s love, and is transformed according to the context in which the artist finds his beloved. After a slow introduction (“Reveries”), which depicts “the sickness of the soul, the flux of passion, the unaccountable joys and sorrows he experienced before he saw his beloved,” the idée fixe is heard as the main theme of the opening movement’s main Allegro section (“Passions”), with violins and flute lightly accompanied by sputtering lower strings. The surge of passion is aptly described in the volcanic first movement, although the movement ends in an unexpected picture of religious consolation.

In the second movement (“A Ball”), the artist glimpses the beloved in a crowd of whirling dancers. In the third movement (“Scene in the Country”), two shepherds call to each other on their pipes, with the music depicting the stillness of a summer evening in the country, the artist’s passionate melancholy, the wind caressing the trees, and the agitation caused by the beloved’s appearance. At the end, the lone shepherd’s pipe is answered only by the rumble of distant thunder.

In his despair, the artist has poisoned his beloved and is condemned to death. The fourth movement is the “March to the Scaffold,” as he is led to the guillotine before the raucous jeers of the crowd. In his last moments, he sees the beloved’s image (the idée fixe in the clarinet’s most piercing range) before the blade falls.

Finally, in the fifth movement (“Dream of a Witches’ Sabbath”), the artist finds himself a spectator at a sinister gathering of spectres and weird, mocking monsters of every kind. The idée fixe appears, horribly distorted, bells toll, the religious Dies irae motif is coarsely intoned by tubas (originally written for ophicleide, a lower-pitched keyed bugle created in 1817) and bassoons, and the witches’ round-dance gathers momentum.

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About the Music

At a Glance Berlioz composed his Symphonie fantastique during the spring of 1830. The work’s premiere was given at the Paris Conservatoire on December 5, 1830, conducted by François-Antoine Habeneck.

This symphony runs about 50 minutes in performance.

Berlioz scored it for 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets, 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, 2 ophicleides (an older brass instrument now replaced by tuba), timpani, percussion (cymbals, bass drum, snare drum, and bells), 2 harps, and strings.

The Cleveland Orchestra has recorded the Symphonie fantastique five times: in 1941 with Artur Rodzinski, in 1977 and 1982 with Lorin Maazel, in 1989 with Christoph von Dohnányi, and in 1996 with Pierre Boulez (winning a 1998 Grammy Award for best orchestral performance).

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BERLIOZ’S BELOVED A portrait of the Irish actress Harriet Smithson, and a portrayal of her onstage as Ophelia in Shakespeare’s Hamlet. Berlioz became infatuated with Smithson when he saw her perform in Paris. They eventually married, but were never really happy together.

Eventually the dance and the Dies irae join together and the symphony ends in a riot of brilliant orchestral sound.

The Symphonie fantastique has remained to this day a classic document of the Romantic imagination and a great virtuoso piece for orchestra. Berlioz’s grasp of the orchestra’s potential charge was uncanny at so early an age. His writing for brass and percussion is particularly novel, and in the second movement he later added a part for solo cornet to evoke the ballroom music of his day. That movement also introduced harps into the symphony orchestra for the first time, while the finale calls for bells and the squeaky high-pitched E-flat clarinet. The ophicleide (usually replaced in modern performances by tuba) was then the normal bass brass instrument in France, relished by Berlioz for its coarse tone in such demonic contexts as this.

It is curious to reflect that much of the symphony’s musical material was drawn from earlier compositions. The main melody of the third movement, for example, was recently discovered to have been the main theme of a movement in Berlioz’s early Messe solennelle, and the March to the Scaffold was rescued from an unperformed opera, Les Francs-juges.

In addition, it is probable that the ballroom music was originally meant for his aborted Roméo et Juliette. If so, its new function in the symphony is strikingly apt since Romeo’s first glimpse of Juliet at the Capulets’ ball is exactly how Berlioz imagined the artist seeing his unhappy, doomed “beloved” — and not unlike his own experience on first seeing Harriet perform on stage. When Berlioz finally composed a symphony on Romeo and Juliet nearly ten years later, his ballroom music was already taken, so he had to write a new, and even more spectacular ball.

The Symphonie fantastique remains the most potent example in music of the Romantic spirit in full flood, melding music, literature, poetry, imagination, and personal experience into a sensational drama — a drama of the senses and of uninhibited emotion, bursting with life.

—Hugh Macdonald © 2012

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About the Music

2012-13 Cleveland Orchestra Miami

Cleveland O r c h e s t r a

Special Thanks Cleveland Orchestra Miami acknowledges the support of: The Batchelor Foundation, Inc. Feldman Gale, P.A. Funding Arts Network Houck Anderson, P.A. John S. and James L. Knight Foundation Miami-Dade County Public Schools National Endowment for the Arts Northern Trust Bank of Florida Papa John’s Pizza­ Peacock Foundation, Inc. United Automobile Insurance Company Ver Ploeg & Lumpkin, PA

Generous Foundation support provided

by The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation Support for Cleveland Orchestra Miami is provided by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, and the Miami-Dade County Mayor and Board of County Commissioners.

Cleveland Orchestra Miami education programs are funded in part by The Children’s Trust.

The Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County.

Program Book Copyright © 2013 by The Cleveland Orchestra and Miami Music Association.

Eric Sellen, Program Book Editor e-mail: esellen@clevelandorchestra.com Program books for Cleveland Orchestra Miami concerts are produced

by The Cleveland Orchestra and distributed free to attending audiences.

Program book advertising is sold through Live Publishing Company.

For further information and ad rates, please call 216-721-1800

Cleveland Orchestra Miami 2012-13

Appreciation

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PERFORMING ARTS CENTER TRUST, INC. PERFORMINGOfficers ARTS CENTER of theTRUST, Board INC. INFORMATION

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ACCESSIBILITY Chairman Mike Eidson Adrienne Arsht Center is fully accessible. When purchasing tickets, patrons who have special needs should Chairman Alan H. Fein James M.customer Herron, service representative.

J. Ricky call (305) 949-6722 or (866) 949-6722 and inform their (786)Arriola, 468-2011(TTY).

Chair-Elect

Alan H.Secretary Fein

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DINING Chair-Elect Secretary Immediat Emery B. BY Sheer Penny Thurer, Parker D. menu Thomson, Enjoy PRELUDE BARTON G. in a whole new way, featuring new prices, an updated of Prelude Treasurer Assistant Founding Chair menu Emery B. SheerSecretary Thurer,“premium�

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Diane Vries Ashley T. Danis Edie Laquer Jane Robert A. Robinson Adrienne Arsht Stanley Cohen Daryl L. Jones Charles P Robert T. Barlick, Jr. Nancy J. Davis Donald E. Lefton Richard E. Schatz MEMBERSHIP Diane de Vries Ashley Susan T. Danis Edie Laquer Jane A. R Fred Berens - VISIONARY SOCIETY Ronald Esserman Rhoda Levitt Sherry Spalding-Fardie Robert T.the Barlick, Jr. Nancy J. Davis a wide variety E. Lefton Richard Individuals support Adrienne ArshtGeorge Center through ofDonald membership levels, Sia Bozorgi can participate and Oscar Feldenkreis L. Lindemann Robert H. Traurig, Esq. FredGardiner Berens Ronald Esserman RhodaM.Levitt Sherry S HDFK GHVLJQHG WR HQKDQFH \RXU H[SHULHQFH DW WKH &HQWHU 0HPEHUV UHFHLYH EHQHÂżWV UDQJLQJ IURP DGYDQFH Norman Braman Pamela Carlos C. Lopez-Cantera Sherwood Weiser* SiaF.Bozorgi Oscar Feldenkreis L. Lindemann Robert H Sheila Jerrold Goodman PedroThese A. Martin, Esq. tax-deductible Lynn George Wolfson noticeBroser of performances to invitations to Braman exclusive receptions. annual gifts C. help ensure the Norman Pamela Gardiner Carlos Lopez-Cantera Sherwoo Robert Rose Ellen Greene Mendelson futureS.ofBrunn the Center. Visionary Society membership startsArlene at $75, with various giving levelsPedro through $5,000.

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LostPast articles will be main security Secretary Immediate ChairCenter held for 30 days. held for 30 days.

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Assistant Founding Chair MEMBERS FIRST! MEMBERS FIRST! Secretary As a member of the Adrienne Arsht Center Visionary Society, As you a member of the have Board exclusive access to members-only ticket pre-sales and havesoexclusive acce of Directors muchL.more!

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MIAMI-DADE BOARD OF email COUNTY COMMISSIONERS

WEBSITE WEBSITE Joe A. AudreyAlso, M. join Edmonson Visit www.arshtcenter.org forMartinez the most up-to-date performance Visit schedule. www.arshtcenter.org our mailing for the most list and up-to-date we performa Chairman Vice Chairwoman will send performance notices directly to you. When you join,will you send may performance choose the types notices of directly shows about to you. When you jo ZKLFK \RX ZDQW WR EH QRWLÂżHG DQG XSGDWH WKRVH FKRLFHV DW DQ\ WLPH ,I \RXÂśYH DOUHDG\ VLJQHG XS PDNH ZKLFK \RX ZDQW WR EH QRWLÂżHG DQG XSGDWH WKRVH FKRLFHV D Bruno A. Barreiro sure you add email@arshtcenter.org to your address book sure you safeadd list.email@arshtcenter.org to your address book District 5 and/or Barbara J. Jordan Javier D. Souto Visit www.arshtcenter.org today.

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District 1

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District 10

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Xavier L. Suarez

District 11

District 3 Sally A. Heyman District 4

Lynda Bell District 8 Dennis C. Moss District 9

District 12 Esteban Bovo, Jr. District 13

District 6 6WHLQZD\ 6RQV 7KH 2IÂżFLDO 3LDQR RI WKH $GULHQQH $UVKW Jean Monestime Joe A. Martinez 6WHLQZD\ 6RQV 7KH 2IÂżFLDO 3LDQR RI WKH $GULHQQH $UVKW &HQWHU

District Adrienne Arsht M. Center Uniforms, an EcoArtFashion project7by Luis Adrienne Valenzuela, Arsht Center www.luisvalenzuelausa.com Uniforms, an EcoArtFashion project b Audrey Edmonson JosĂŠ “Pepeâ€? Diaz

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Robert A. Cuevas Jr. County Attorney

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ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI-DADE COUNTY M. John Richard President & CEO Scott Shiller Executive Vice President Trish Brennan Vice President, Human Resources John Burnett Vice President, Finance/CFO

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Andrew Goldberg Vice President, Marketing Ken Harris Vice President, Operations Valerie Riles Vice President, Board and Government Relations

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Advancement Munisha Underhill Senior Director, Advancement ChurĂŠ Gladwell Senior Director, Advancement Felicia Hernandez Director, Member Relations and Donor Relations Rita Martin Manager of Special Events Jodi Mailander Farrell Senior Director, Foundation Relations Christine Brown Manager, Advancement Services Carrie Rueda Executive Assistant to the Vice President of Advancement Kalyn James Corporate Sponsorship Coordinator Emily Greene Member Relations Coordinator Finance Teresa Randolph Antonio Necuze Bill McKenna Kimba King Aida Rodriguez Roberta Llorente Francisca Squiabro Audience Services Alice Arslanian Fifelski Neal Hoffson Rodolfo Mendible Pauline Goldsmith Carolyn Woodyer Nicole Keating Maria Usaga Nadinne Farinas David Saifman Laura White Julia Turner Bryan Lindeman Fernanda Arocena Diego Delatorre Mario Acevedo Melissa Almaguer Ashley Araujo Heather Brummer Maritza Castro Leyda Castro Casey Craig Betsy Diaz Giovany Delgado Vanessa Ferrando Adam Garner Mabel Gonzalez Diana Herrera Nubia Mora Fabiana Parra Oscar Quesada Theo Reyna Logan Smiley Jeremy Valdes Nadia Zehtabi Information Technology James J. Thompson Michael Sampson Francisco Pichardo Renville Williams Marco Franceschi Michael Vigorito

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Senior Director of Finance & Controller Accounting Director Event Accountant Manager of Human Resources Staff Accountant Human Resources Assistant Payroll Accountant Theater Manager House Manager House Manager House Manager Volunteer Services Coordinator Senior Director, Ticket Services Ticket Services Manager Ticket Services Manager Ticket Services Manager Ticket Services Manager Ticket Services Supervisor Ticket Services Supervisor Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Customer Service Representative Assistant Vice President, Information Technology Director, Applications Information Systems Manager Developer IT Systems Administrator IT Support Technician

Suzanna Valdez Vice President, Advancement Louis Tertocha General Counsel

Marketing Suzette Espinosa Fuentes

Assistant Vice President, Public Relations Senior Director of Marketing Director, Creative Services Director of Marketing Director of Marketing Group Sales Manager Promotions Manager e-Marketing Manager Graphic Designer Graphic Designer Graphic Designer Publicist Public Relations Coordinator Marketing Coordinator Creative Services Coordinator Marketing Administrative Assistant Group Sales Assistant e-Marketing Assistant

Crystal Brewe Luis Palomares John Copeland Eva Bordeaux Silverstein Alex Ramos Morgan Stockmayer Fernando Olalla David Chang Raul Vilaboa Sam Hall Gino Campodonico Claudia Tuck Nicole Smith Natalia Ortiz Brittany J. Confer Keidy Diaz Natalie Perez

Operations Daniel Alzuri Senior Director, Operations Nick Tigue Senior Director, Engineering Thomas McCoy Engineering Manger Lucy Hargadon Executive Assistant to the Vice President, Operations Jack Crespo Engineer Carlos De la Torre Engineer Alfredo Horta Engineer Jose Hurtado Engineer Wilner Montina Engineer Levensait Pedro Engineer Jimmy Panchana Engineer Xavier Ross Engineer Alberto Vega Engineer Pedro Villalta Engineer Production Jeremy Shubrook Lauren Acker Janice Lane Michael Matthews Andres Puigbo Melissa Santiago-Keenan Daniel McMenamin John Mulvaney Ralph Cambon Frederick Schwendel Michael Feldman Tony Tur Jon Goss Luke Klingberg Ross LaBrie

Director, Production Technical Director Technical Director Technical Director Technical Director Assistant Technical Director Head Carpenter, Ziff Ballet Opera House Assistant Carpenter/Head Flyman Ziff Ballet Opera House Head Audio Video Technician, Ziff Ballet Opera House Head Carpenter, Knight Concert Hall Head Audio Video Technician, Knight Concert Hall Head Electrician, Knight Concert Hall Head Electrician, Ziff Ballet Opera House Head Electrician, Studio Theater Head Audio Engineer, Studio Theater

Programming Liz Wallace Assistant Vice President, Programming Ed Limia Director, Programming Brian Moore Director, Programming Jairo Ontiveros Director, Education and Community Engagement Esther Park Director, Programming Ann Koslow Engagement Manager Jan Melzer Thomas Engagement Manager Renei Suarez Facility and Rental Schedule Manager Tessa Schultz Programming Coordinator Facility Management Performing Arts Catering AlliedBarton Pritchard Sports and Entertainment Goldstein Schechter Koch

Arsht Center

2012-13 Cleveland Orchestra Miami ADRIENNE ARSHT CENTER 5

PERFORMING ARTS CENTER TRUST,PERFORMING INC. ARTS CENTER TRUST, INC.

Officers of the Board Mike Eidson

Officers of the Board Mike Eidson

Chairman

PERFORMING Alan H.ARTS FeinCENTER TRUST, INC.

Chairman

AlanJames H. Fein M. Herron, Chair-Elect Secretary Officers of the Board Mike Eidson Emery B. Penny Sheer Thurer, Chairman Treasurer Assistant Secretary

Chair-Elect

Emery B. Sheer Treasurer Alan H. Fein Chair-Elect

James M. J. Ricky Herron, Arriola, Immediate Secretary Past Chair Penny Parker Thurer, D. Thomson, Assistant Founding Secretary Chair

James M. Herron,

Matilde Aguirre Emery B. Sheer Pierre R. Apollon Treasurer Magalie Desroches Austin The Honorable Oscar Braynon II Armando J. Bucelo, Jr. Matilde Aguirre Felix Garcia Pierre R. Rene ApollonGarcia The Honorable Desroches Austin Sergio Magalie M. Gonzalez The Honorable Oscar Braynon II Rosie Gordon-Wallace

J. Rick Immediate

Parker D Foundi

J. Ricky Arriola,

BoardSecretary of Directors

Immediate Past Chair Board of Directors

The Honorable Matilde Aguirre Donald L. Graham Beverly TheA.Honorable Parker Donald L. Graham Ronald A. Silver A. Parker Penny Thurer, Parker D.Beverly Thomson, EvelynPierre GreerR. Apollon Assistant Secretary JorgeEvelyn A. Plasencia Greer The Honorable Jorge A. Plasencia Founding Chair Mitchell Magalie Kaplan Desroches Austin Abigail Mitchell PollakKaplan Michelle Abigail Pollak Spence-Jones HankThe Klein Honorable Oscar Braynon II JesusHank “Jay”Klein Pons Alexander Jesus I.“Jay” Tachmes Pons of Directors Nathan Armando Leight J. Bucelo,Board Jr. The Honorable Nathan Leight Raquel Regalado CaroleTheAnn Honorable Taylor Raquel Regalado TheFelix Honorable Donald L. Graham Beverly A. Parker Ronald Silver Florene Litthcut GarciaNichols LarryFlorene Rice Litthcut Nichols RaulA.Larry G. Valdes-Fauli Rice Evelyn Greer Jorge A. Plasencia The Honorable Carlos The C. Honorable Lopez-Cantera Rene Garcia Adriana Carlos Sabino C. Lopez-Cantera Judy Adriana Weiser Sabino Mitchell Kaplan Abigail Pollak C.Sanchez Michelle Richard Sergio C. Milstein M. Gonzalez MarioRichard Ernesto Milstein MilesMario C.Spence-Jones Wilkin Ernesto Sanchez Hank Klein Jesus “Jay” Pons I. Tachmes Gilberto Rosie Neves Gordon-Wallace The Honorable Gilberto Neves Marc D. Sarnoff AlexanderThe Honorable Marc D. Sarnoff

Ronald A The Hono Mich Alexande Carole An Raul G. V Judy We Miles C. W

Armando J. Bucelo, Jr. Nathan Leight The Honorable Raquel Regalado Carole Ann Taylor Felix Garcia Florene Litthcut Nichols Larry Rice Raul G. Valdes-Fauli The Honorable Garcia FOUNDATION, Carlos C. Lopez-Cantera Adriana Sabino JudyDIRECTORS Weiser ADRIENNE ARSHTRene CENTER ADRIENNE INC. ARSHT BOARDCENTER OF DIRECTORS FOUNDATION, INC. BOARD OF Sergio M. Gonzalez Richard C. Milstein Mario Ernesto Sanchez Miles C. Wilkin Rosie Gordon-Wallace Gilberto Neves The Honorable Officers of the Board Marc D. SarnoffOfficers of the Board

Arsht AdrienneRichard Arsht ADRIENNE ARSHT CENTERAdrienne FOUNDATION, INC. BOARD OF DIRECTORS

E. Schatz

Founding Chairman Founding Chairman Chairman Officers of the Board David Ronald Rocker Esserman Sherwood David M. Weiser* Rocker Adrienne Arsht Richard E. Schatz

Ronald Esserman

Founding Chairman Chairman RESIDENT COMPANIES ALLIANCE David Rocker Sherwood M. Weiser*

RESIDENT COMPANIES ALLIANCE Ronald Esserman

Sheldon Anderson Jerome Sheldon J. Cohen Anderson Adrienne Arsht COMPANIES ALLIANCE Stanley Adrienne Cohen Arsht RESIDENT Diane de Vries Ashley SusanDiane T. Danis de Vries Ashley Anderson Jerome J. T.Cohen Robert Sheldon T. Barlick, Jr. Nancy Robert J. Davis Barlick, Jr. Adrienne Arsht Stanley Cohen Fred Berens Ronald Fred Esserman Berens Diane de Vries Ashley Susan T. Danis Sia Bozorgi OscarSia Feldenkreis Bozorgi T. Barlick, Jr. Nancy J. Davis NormanRobert Braman Pamela Norman Gardiner Braman Fred Berens Ronald Esserman Sheila Broser Jerrold Sheila F. Goodman Broser Sia Bozorgi Oscar Feldenkreis Robert Norman S. BrunnBraman RosePamela Robert Ellen Gardiner Greene S. Brunn M. Anthony Arthur M.J.Anthony Halleran, Burns Jr. SheilaBurns Broser Jerrold F. Goodman DonaldRobert CarlinS. Brunn Howard Donald Herring Carlin Rose Ellen Greene M. Anthony Burns Donald Carlin

Arthur J. Halleran, Jr. Howard Herring

RobertJerome F. Hudson, J. Cohen Jr. DarylStanley L. JonesCohen Edie Laquer Susan T. Danis Robert F.E.Hudson, Jr. Donald Nancy Lefton J. Davis Daryl L. Levitt JonesEsserman RhodaRonald Edie Laquer George Oscar L. Lindemann Feldenkreis Donald E. Lefton CarlosPamela C. Lopez-Cantera Gardiner Rhoda Levitt Pedro Jerrold A. Martin, F. Goodman Esq. George L. Lindemann ArleneRose Ellen Greene Carlos C.Mendelson Lopez-Cantera NedraArthur J. Halleran, Jr. Pedro A.Oren Martin, Esq. J. David Howard Peña,Herring Esq. Arlene Mendelson Nedra Oren

Richard E. Schatz

Chairman Jason Sherwood Williams M. Weiser* Jason Williams

AaronRobert S. Podhurst, F. Hudson, Esq. Jr. Charles Daryl Porter L. Jones Jane Edie A. Robinson Laquer Aaron S. Podhurst, Richard Donald E. Schatz E.Esq. Lefton Charles Porter SherryRhoda Spalding-Fardie Levitt JaneRobert A. Robinson George H. Traurig, L. Lindemann Esq. Richard E.Carlos SchatzM.C.Weiser* Sherwood Lopez-Cantera Sherry Spalding-Fardie Lynn Pedro Wolfson A. Martin, Esq. Robert H. Traurig, Esq. Mendelson SherwoodArlene M. Weiser* Nedra Oren *deceased Lynn Wolfson J. David Peña, Esq.

MIAMI-DADE BOARD OF COUNTY COMMISSIONERS

Chairman

Barbara J. Jordan Barbara DistrictJ.1 Jordan District 1 Jean Monestime Jean Monestime District 2 2 District Audrey M. Edmonson Audrey M. Edmonson District 3 3 District Sally A. Heyman Sally A. Heyman District District 4 4 Harvey Ruvin Harvey Ruvin Clerk of Courts Clerk of Courts 10

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Aaron S. Charles P Jane A. R Richard E Sherry S Robert H Sherwoo Lynn Wo

*deceased

J. David Peña, Esq. Carlos A. Gimenez Carlos A. Gimenez Mayor Mayor Carlos A. Gimenez Mayor MIAMI-DADE BOARD OF MIAMI-DADE COUNTY COMMISSIONERS BOARD OF COUNTY COMMISSIO

Joe A. Martinez Joe A. Martinez Chairman

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J

10

Cleveland Orchestra Miami 2012-13

Joe A. Martinez Audrey M. Edmonson Audrey Edmonson Chairman ViceM. Chairwoman

Bruno A. Barreiro Bruno Barreiro District 5 Barbara J.A.Jordan District 5 District Rebeca1 Sosa Rebeca Sosa District Jean Monestime District 66 District Xavier Suarez Xavier L. L.2Suarez Audrey M.District Edmonson District 77 District Lynda Bell Lynda3Bell District 88 Sally A.District Heyman Dennis C. District 4 Moss Dennis Moss District 99 District Pedro J. Garcia Harvey Pedro Ruvin J. Garcia Property Appraiser Clerk Property of Courts Appraiser

Audrey M. Edmons Vice Chairwoma

Vice Chairwoman Bruno A. Barreiro DistrictD.5 Souto Javier JavierDistrict D. Souto 10 Rebeca DistrictSosa 10 District 6 Joe A. Martinez Joe A. Martinez District Xavier L. Suarez District 11 11 District José “Pepe” José “Pepe”7DiazDiaz District Lynda Bell District 12 12 District 8 Jr. Jr. Esteban Bovo, Esteban Bovo, District District 13 Dennis C. 13 Moss District 9 Robert A. Jr. Jr. Pedro Robert J. Cuevas Garcia A. Cuevas County Attorney Property County Appraiser Attorney

Javier D. Distric Joe A. M Distric José “Pep Distric Esteban B Distric

Robert A. County

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Arsht Center

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