The Cleveland Orchestra - Miami by Live Publishing

CLEVELAND O R C H E ST R A FRANZ WELSER-MÖST

GIANCARLO GUERRERO

Music Director

Principal Guest Conductor

January 24-25 January 31-February 1

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Now through February 8 Photo: Tosca © Richard Terimine for Sarasota Opera. Nabucco © Scott Suchman for Washington National Opera.

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CLEVELAND O R C H E ST R A

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 Childrenâ&#x20AC;&#x2122;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.

Copyright ÂŠ 2014 by The Cleveland Orchestra. Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program book advertising is sold through Live Publishing Company. For further information and ad rates, please call 786-899-2700. Program books are distributed free of charge to attending audiences.

Table of Contents 7

About Cleveland Orchestra Miami Welcome Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Miami Music Association . . . . . . . . . . . . . . . . . . . 8 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . . . . 9 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . 17 Principal Guest Conductor . . . . . . . . . . . . . . . . . 18 Adrienne Arsht Center . . . . . . . . . . . . . . . . . . . . 56

January 24-25 Concert Preview . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Program: Schubert-Korngold-Strauss . . . 21 Soloist: Gil Shaham . . . . . . . . . . . . . . . . . . . . . . . . 27

January 31-February 1 Concert Preview . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Program: Strauss-Debussy-Stravinsky . . . 39 Soloist: Simon Keenlyside . . . . . . . . . . . . . . . . . 49

Gallery Walk Saturday, February 8th 6 - 9:00 PM Exhibition continues thru March 1st

Cleveland Orchestra Miami 2013-14

Table of Contents

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 Miamiâ&#x20AC;&#x2122;s ongoing success. Please visit www.ClevelandOrchestraMiami.com to donate or call 305.372.7747.

CL E V 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 2014 On behalf of the Miami Music Association trustees, and the entire staff of Cleveland Orchestra Miami, I am delighted to welcome you to the first concerts of our 2013-14 Season. It is our great privilege to present and support The Cleveland Orchestra, and to showcase its world-class musical gifts to the Miami community — especially during what is proving to be a period of great artistic growth for our city. Appreciation for art of all kinds is flourishing in Miami-Dade County. The community has responded with great enthusiasm to Cleveland Orchestra Miami’s annual presentations of one of the world’s best orchestras — filling our concerts to ninety percent capacity and supporting our mission with generous philanthropy. The John S. and James L. Knight Foundation has recognized our work with a major $2 million challenge grant designed to expand the base of support and create sustainability for the future. Miami-Dade County Department of Cultural Affairs recently awarded Cleveland Orchestra Miami a generous $70,000 grant of support. And a growing number of Miami-Dade residents are choosing to contribute individual gifts toward our work — such annual gifts totaled over $2.9 million in 2013. With such strong support, Miami Music Association is able to fulfill its mission by contributing to the artistic and cultural growth of our great community — bringing The Cleveland Orchestra back for four weeks of concerts each year, reaching tens of thousands of young people with our education programs, and developing new partnerships with other community institutions, from University of Miami Frost School of Music to Miami Music Project, and more! Thank you for making Cleveland Orchestra Miami a valuable part of Miami’s cultural landscape. With your continued support, we look forward to a vibrant — and music-filled — future. Best regards,

Sheldon T. Anderson President Miami Music Association

Cleveland Orchestra Miami 2013-14

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, Chairman Norman Braman, Vice Chairman Hector D. Fortun, Vice Chairman Marsha Bilzin, Secretary Brian Bilzin Alicia Celorio Bruce Clinton Martha Clinton Mike S. Eidson Mary Claire Espenkotter Miguel G. Farra Jeffrey Feldman Susan Feldman Helen Aquirre Ferre

Adam Foslid Francisco A. Garcia Mark Houck Ezra Katz Tati Katz Gerald Kelfer Tina Kislak R. Kirk Landon Shirley Lehman William Lehman

Miami Music Association

Jan R. Lewis Sue Miller Patrick Park Janet Rosel Lewis Karyn Schwade Mary M. Spencer Charles Stuzin Richard P. Tonkinson Gary L. Wasserman E. Richard Yulman

2013-14 Cleveland Orchestra Miami

CLEVELAND O R C H E ST R A The Miami Music Association gratefully acknowledges these donors for their contributions to Cleveland Orchestra Miami in the past year. Listing as of January 10, 2014.

Founders Council

Friends up to $2,499

$100,000 and more

Irma and Norman Braman David and Francie Horvitz Family Foundation, Inc. John S. and James L. Knight Foundation Daniel R. and Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Susan Miller Janet* and Richard Yulman

Chairman’s Council $50,000 to $99,999

Sheldon and Florence Anderson Mr. Hector D. Fortun R. Kirk Landon and Pamela Garrison Miami-Dade County Department of Cultural Affairs Mrs. Mary M. Spencer Mr. Patrick Park Daniel and Trish Bell Northern Trust Bank of Florida Peacock Foundation, Inc

President’s Council $25,000 to $49,999

Daniel and Trish Bell Do Unto Others Trust Northern Trust Bank of Florida Peacock Foundation, Inc.

Partners in Excellence $10,000 to $24,999

The Batchelor Foundation Jayusia and Alan Bernstein Marsha and Brian Bilzin Martha and Bruce Clinton Mr. Peter and Mrs. Julie Cummings Mr. Mike S. Eidson, Esq and Dr. Margaret Eidson Colleen and Richard Fain Feldman Gale, P.A. Jeffrey and Susan Feldman Neil and Kira Flanzraich Monte Friedkin Francisco A. Garcia and Elizabeth Pearson Tati and Ezra Katz Janet and Gerald Kelfer Jonathan and Tina Kislak Mr. and Mrs. Dennis W. LaBarre Joy P. and Thomas G. Murdough, Jr. Claudia and Steven Perles

Miami-Dade County Public Schools Charles B. and Rosalyn Stuzin Rick, Margarita, and Steven Tonkinson Ms. Ginger Warner Gary L. Wasserman and Charles A. Kashner

Patrons Council

$5,000 to $9,999

Stephen Barrow and Janis Manley Alex and Mary Claire Espenkotter Christopher Findlater Gary Hanson and Barbara Klante Mary and Jon Heider Richard Horvitz and Erica Hartman-Horvitz Foundation John and Hollis Hudak Bob and Edith Hudson Adam and Melony Lewis Dylan Hale Lewis Marley Blue Lewis and Gene Vilensky Ms. Maureen M. McLaughlin Abraham and Barbara Miller Barbara S. Robinson David and Margaret Sawyier Charles E. Seitz Howard Stark M.D. and Rene Rodriguez Ver Ploeg & Lumpkin, P.A. Bill Appert and Chris Wallace

Leadership Council $2,500 to $4,999

Kerrin and Peter Bermont Carmen Bishopric Stanley and Gala Cohen Charles* and Fanny Dascal Isaac Fisher Marvin Ross Friedman and Adrienne bon Haes Victor Kendall, Friends of WLRN Funding Arts Network Elizabeth B. Juliano Angela Kelsey and Michael Zealy Cynthia Knight Jacqueline and Irwin Kott Judy and Donald Lefton Ivonete Leite Roger and Helen Michelson Rosanne and Gary Oatey Nedra and Mark Oren Maribel A. Piza Alfonso Rey and Sheryl Latchu Brenton Ver Ploeg Teresa Galang-Viñas and Joaquin Viñas

Mr. and Mrs. Jay H. Abrams Juan Acosta and Hiram Colas Mr. John Actman Marjorie H. Adler Emerson Allsworth Rosalie Altmark and Herbert Kornreich Dr. Kip and Mrs. Barbara Amazon John and Sarah Anderson Ken Anderson Mr. and Mrs. Spencer Angel Dr. Simon and Mrs. Isabella Angeli Linda Angell Benjamin and Dr. Rodney Benjamin Dr. Jorge and Gigi Antuñez de Mayolo Jose-Eloy Anzola Ms. Sara Arbel Mr. Robert Archambault Marc and Brigid Arel Ana L. Arellano Mr. Alberto Arias Arthur Aronstein Diane de Vries Ashley Evelyn K. Axler Daniel Ayers and Tony Seguino Alfonso Baez-Montero Ted and Carolann Baldyga Montserrat Balseiro Susan Bannon Dr. Earl Barron and Ms. Donna Barron John M. Barrow and Salvador F. Robleto Joan and Milton Baxt Foundation Inc. Douglas Baxter and Brian Hastings Christopher Beaton Mr. Roberto Beaz William and Marie Beitz Ms. Linda Belgrave Carlos Benitez Mr. and Mrs. Donald Bercu Helene Berger Dr. and Mrs. Samuel Berkowitz Neil Bernstein and Julie Schwartzbard Rhoda and Henri Bertuch Julia and David Bianchi Jaime A Bianchi and Paige A. Harper Mr. Robert Bickers Ken Bleakley Mr. Sam Boldrick Irving and Joan M. Bolotin Mr. Mario Bosi Miss Marsha Botkin Ardis Bourland Samuel and sara Brenner Mr. and Mrs. Eric Buermann Dr. María Bustillo James Calogeras Mr. Jose Cano Gustavo Capiro In dedication to Donald Carlin listing continues

Cleveland Orchestra Miami 2013-14

Annual Fund Contributors

CLEVELAND ORCHESTRA MIAMI listing continued Patricia Carlin James and Christina Carpenter Raul Casares (RC Aluminum Industries, Inc.) Fernando Chacon Harold Chambers Betty B. Chapman Daphne Charbonneau The Chen Family Nicole Chipi Carole J. Cholasta Ms. Katherine A. Chouinard Mathew and Lisa Cicero Michael and Lorena Clark Olga Cobian Leonard and Barbara Cohan Jerome and Rita Cohen Timothy and Lourdes Collett Ms. Maria Teresa Concheso Cormac Connor Etain Elisabeth Connor Kristin Connor Terence and Julie Connor Guido Conterno Lane H. Convey Bruce Coppock and Lucia P. May Nathan Counts Douglas S. Cramer / Hubert S. Bush III William R. Cranshaw Virginia Cronk Marcella Cruz Mr. Miguel Cuadra Gabino Cuevas Ms. Bogdana Czulowska Wesley Dallas George and Robbin Dalsheimer Jennie Dautermann Ms. Nadine Davey-Rogers Ellen Davis John De Leon Ms. Clara Sredni DeKassin Teresa Del Moral Berta Del Pino Jessica Delgado Odalys Delgado Andrew dePass and William Jurberg Mr. John Despres Luis Dikes Ms. Helga Dobbs Caroline Dodson Mr. Donald Dorf M. Donald Drescher and Marilynn Drescher Peter and Sylvia Dreyfuss Silvia Dreyfuss Michael A. and Lori B. Dribin Dr. Melvyn Drucker Diana Dubrovsky David Dunn Maxine Earle Dr. Edward Gross and Karla Ebenbach Bernard Eckstein Andrea and Chuck Edelstein Mr. Ricardo Eichenwald Joyce Einbender Mr. and Mrs. Steven Elias Judith Ellenbogen and Julio Rodriguez-Luis Maria Erhardt Marta Estevez

Charles and Elisabeth Evans Dorothy M. Evans Alfred and Harriet Fader Martha Falgout Klara Farkas Mr. Enrique Farnot Bernard Feinberg Bennett Feldman Dr. Robert P. and Mrs. Sylvia Feltman Sandra K. Baker Feren Suzanne Ferguson Francisco J. and Clara B. Fernandez J. Field Ingrid Fils Firestone Family Foundation Kip Fisher Dr. and Mrs. Lawrence M. Fishman Mr. Marcus Flanagan and Mr. William Flanagan Ronaldo Flank Ms. Nancy Fleischman Joseph Z. and Betty Fleming Gerardo Florez Ms. Alaina Fotiu-Wojtowicz VCN Corporation Mary Francis Gail and Alan Franklin Mary Anne Franks Dr. and Mrs. Rudolph J. Frei Denise Freitas Pamela Friedland Dr. and Mrs. Semyon Friedman Michael and Carolyn Friedman Paul Friedmann Ms. Lakeisha Frith Malcolm and Doree Fromberg Emily Fuller Morris and Miriam Futernick Jill and Harold Gaffin Sue Gallagher Harriett Galvin Robert and Adrienne Gang David Ganz Mr. Felix J Garcia Mario G. and MarĂa E.* GarcĂa Marlon Garnett Lenore Gaynor Dr. and Mrs. Edward C. Gelber Margaret Gerloff Niety and Gary R. Gerson Irving and Yetta Geszel Joan Getz Judy M. Gilbert-Gould and Gerald Gould Hon. and Mrs. Isaac Gilinski Perla Gilinski Ms. Catherine Goe Mr. Salomon Gold Barbara Goldin Sue and Howard Goldman Barry Gordon Rafael and Maria Del Mar Gosalbez Nancy Green Rose Ellen and Gerald Greene Sergio and Sophia Grobler Eric Gros-Dubois Stephen B. and Ona S. Grundstein Mr. David Grunebaum Aldo Guerrera Rev. Dr. Hans-Fredrik Gustafson Alfredo and Luz Maria Gutierrez

Annual Fund Contributors

Amber and Alex Guzinski George and Vicki Halliwell John F. Hamilton Mr. Eduard Hammett Dr. Juliet Hananian Vincent J. Handal, Jr. and Michael P. Wilcox John Hanek Nicolae Harsanyi Claus and Barbara Haubold Leslie Hauser Dr. and Mrs. Mark J. Hauser Dr. Gail A. Hawks James A. Heilman Marjory Hendel Luis Hernandez Robert D. and Jill Hertzberg Mr. and Mrs. Barry Hesser Ms. Priscilla Heublein David Hevia Barbara L. Hobbs Harold Holburn and Lisolette Grogin Greg Holtz Bernard and Kara Horowitz Roberto and Betty Horwitz Lawrence R. Hyer Fund at The Miami Foundation Dr. Norito Irei Robert and Doris Isett Helena Iturralde Dr. and Mrs. Norman Jaffe Ms. Nancy Jaimes Juan Jimemez Lester and Susan Johnson Dr. Bruce and Mrs. Joyce Julien Dr. Gerard and Mrs. Joyce Kaiser Nedra Kalish Dr. Michael and Gail Kaplan Shirley and Jack Kaplan Gerald and Jane Katcher Harold Katzman Lois Kaufman Ms. Meredith Kebaili Buddy Klein Dr. and Mrs. Frederick Knoll Daniel and Marcia Kokiel Mrs. Anita Konig Lisa Kornse and August Wasserscheid Jeff and Terri Krasnoff Ms. Rebeca Kravec Guillermo Kubler Mark Kuller Ernesto Jorge and Laura Kuperman Mr. and Mrs. Robert Landon Judit Landtman Rosa Lang Mr. and Mrs. Israel Lapciuc Wendy Lapidus Ronald and Harriet Lassin Nicoletta Lazzaro Norman Leefer Shirley and William Lehman Barbara Leibell Mr. and Mrs. Marvin H. Leibowitz Paul and Lynn Leight Judge Barbara Levenson Dr. and Mrs. Stanley Levick Barbara C. Levin Dr. and Mrs. Melvin Levinson Mark Levy

2013-14 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

Ms. Gloria Liatsos Craig Likness and George Thompson Jon and Patricia Limbacher Dan Lin Monica Link Alexander Lipin Jack Loeb and Heidi Krisch Judy Loft and Joe Reid Maxine Long Raul and Juanita Lopez Mr. and Mrs. Carlos Lopez-Cantera Arthur A. Lorch Edward and Kay Lores Carlo Lubin Janir Lucchese Elaine Luxenberg Derek and Mary Lyth Dr. David C. MacTye, MD Mr. David Magliaro Richard Mahfood Mr. John P. Mahoney Lewis and Dodie Mahoney Barbara and Roger Maister Mr. John Makemson Ms. Angely Maria Charistine Marin Susan Marino Mrs. Sherrill R. Marks Ana and Raul Marmol Tobe Marmorstein Mr. Victor Marquez Mr. John Martin Laureano J. Martinez Ms. Beatriz Martinez-Fonts Edward Mast Ms. Cynthia May Budd and Nanette Mayer Ms. Masha Mayer Robert Mayer Alan E. Maynard Robert and Judith Maynes Mary McCorkhill David McCrea Mr. Rosheen Mcdonnell Carter and Laura McDowell Dr. Gwenn E. McLaughlin Mr. Alberto Mederos David Melo Kenneth Mendelsohn Ms. Pauline Menkes Nicola Meyer Evelyn Milledge Sylvia Minchew Daniel and Marge Mintz Paulette Mintz Harve and Alesia Mogul Miriam Morales Dr. Alicia Moreyra Cory Morgan Dr. Isidoro Morjaim Dr. Michele Morris and Dr. Joel Fishman Judith Moscu Peter and Marion Mosheim Samuel and Charlotte Mowerman Robert and Wilhelmina Myerburg Selma and Jeff Newman Ara and Violet Nisanian David Nisely Daniel and Tamara Nixon Mr. Carlos Noble

Dr. Michael D. Norenberg and Dr. Carol K. Petito Murray and Lynne Norkin Isaac Notrika John and Sarah Nyitray Dr. Jules Oaklander Adolfo Olivo Lester Ortega Dr. and Mrs. Larry K. Page Larry and Marnie Paikin Mrs. Patricia M. Papper Stephen F. Patterson Esther and Jacques Paulen Ms. Marilyn Pearson Alex Perez Beatriz Perez Marcos and Rose Perez Perry Ellis International, Inc. Michael and Mary Ellen Peyton Ferdinand and Barbara Phillips Dr. Ronald Picur Ms. Nina Piken Robert Pinkert Suzan and Ronald Ponzoli Mrs. Ana Celia Portela Dr. Emmanuel Prepetit Ernesto Pretto Thomas Quaid Regina D. Rabin Pratima Raju Mr. Edgar Ramirez Fred Rawicz Robert Rearden Augustin and Isis Recio Mr. and Mrs. Burt Redlus Guillermo and Maggie Retchkiman Charles and Jeanne Rigl Mr. Carlos Rivas Mrs. Olga K. Robbin Alex Rodriguez Hector Rodriguez Horacio Rodriguez Margarita Rodriguez Edward Rogers Leslie Rogowsky Andrew Rohlfling Jacques Rollet Juan Rondon Alec and Silvia Rosen Virginia Rosen Dulce Roses and Olga Nazario Barbara and Eugene Rostov Elizabeth Rothfield Karen Rumberg Jesus Ruspoli Lawrence H. Rustin Mr. Philip Ryan Mr. Michael and Dr. Tamah Sadick Drs. Michael and Judith Samuels Mr. Gonzalo Sanchez Mary and Saul Sanders Charles and Linda Sands David Schaecter and Sydney Carpel Dr. Robin Schaffer Raquel and Michael Scheck Robert and Edna Schenkel Eugene Schiff Dr. Markus Schmidmeier Louis Schneider and Rosalie Ehrenberg

Cleveland Orchestra Miami 2013-14

Steven Schneider Ronald E. Schrager and Wendy Hart Mr. Peter and Mrs. Ortrud Schumann Henrietta and Robert Schwartz M.D. Marvin and Carol Schwartzbard John and Zelda Schwebel Mr. William Seeley Mike and Ronna Segal Carlos Segrera John C. Seipp Terrence and Fleurette Sequeira Margaret Seroppian Mr. and Mrs. David Serviansky Norman and Arlene Shabel Donna E. Shalala Cheryl Shalom Brenda Shapiro and Javier Bray Robert I. Shapiro Richard Sharpstein Dr. Jon Shaw Robert Shelley Dr. John and Gerri Shook Anica and David Shpilberg David Shulman David A. Siegel Lois H. Siegel Robert and Marian Siegel Alvaro Silva and Gloria Erdmann Stanley Silver Rafael and Sulamita Simkovicius Victoria and Robert L. Simons Ms. Grace Sipusic Dorothy Sklaroff Dr. and Mrs. Alfred G. Smith Robert Smith Richard and Nancy Sneed Dr. Gilbert B. Snyder Dr. Gordon D. Sokoloff Jorge Solano Laurel Sonnenklar Alex Soriano Ilene and Jay Sosenko Mary Ann Flores Shirley Spector Lucie and Jay Spieler Stanley and Betty Spieler Issac Sredni Nick St. Cavish Gray And Sons Jewelers, Surfside Patty and Harold Stanley Patricia and Dennis Klein Edward and Nancy Stavis Michalis and Alejandra Stavrinides Marilyn Stein Martha Steinkamp Mark and Wendy Sterling Mr. Eduardo Stern William Stern Mirta Steuart Beverly Stone Ms. Holly Strawbridge Jaime and Carol Suchlicki Caroline Sullivan Maria Luisa Taleno Michael Tannhauser and Lily Noches Mr. and Mrs. Jose R. Tarajano Mr. and Mrs. Stanley G. Tate Kathy and Sidney Taurel Harvey Taylor

Annual Fund Contributors

listing continues

CLEVELAND ORCHESTRA MIAMI listing continued Mr. Mark Taylor Richard Taylor Cecelia Tendler Parker D. Thomson Esq. Jiska Timmer Friend Judith Rood Traum and Sydney S. Traum Mr. and Mrs. Robert H. Traurig Alicia M. Tremols Miguel Triay Dr. and Mrs. Michael B. Troner Katherine Trotman Liat Tzur Janice Uriarte Beila Vaisberg M. Vento and Peter MacNamara Fabian Verea Inalby Vilarchao Suzanne Villano Carlos Vincentelli Frank Voyek John Wallace Dr. Mario Werbin Florence and Robert Werner Mr. and Mrs. A. L. Westervelt Peter J. White, Jr. Robert and Ronni Whitebook Mr. and Mrs. Arthur Whittaker Haim Wiener Jennifer Williams Howard and Allegra Willis Howard Willis Betty and Michael Wohl Dr. Jack and Mrs. Barbara Wolfsdorf Joel and Nikki Wolpe Laura A. Woodside Sora and Cary Yelin Ms. Agnes Youngblood Allan Yudacufski Ms. Henrietta Zabner Ilan and Kimberlei Zachar Dr. Sheldon and Elaine Zane Jerry and Catherine Zank Eloina D. Zayas-Bazan Loly and Isaac Zelcer John Zick Jerry Zimmerman Anonymous (21)

* 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

2013-14 Cleveland Orchestra Miami

Great artists do their best work with excellent instruments.

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

The 2013-14 season marks Franz Welser-Möst’s twelfth 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, at Switzerland’s Lucerne Festival, and a multi-week annual residency in Miami. Additional programs are held in partnership with the Lincoln Center Festival and Indiana University’s Jacobs School of Music. The Orchestra’s annual appearances in Miami, under the name Cleveland Orchestra Miami, feature a season of concerts coupled with an extended variety of community activities and education 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 Orchestra. Recent concert performances with the Philharmonic include leading the Philharmonic’s 2011 and 2013 New Year’s concerts, as well as concerts in New York. 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. A new project currently underway will record all four Brahms symphonies for telecast and DVD. For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. Mr. Welser-Möst is the co-author of Cadences: Observations and Conversations.

Music Director

2013-14 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 Music 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 continues to add to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s earlier 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 Rodzinski, 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 festival season at Blossom Music Center 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 2013-14

The Cleveland Orchestra

Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

The 2013-14 season marks Giancarlo Guerrero’s fifth year as music director of the Nashville Symphony and third year as principal guest conductor of Cleveland Orchestra Miami. He made his Cleveland Orchestra debut in May 2006. He has led the Cleveland ensemble in concerts in Miami, at Severance Hall, at the summertime Blossom Music Festival, and in its annual community concert in downtown Cleveland. Mr. Guerrero’s recent seasons in Nashville have featured several world premieres, including 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 and leading The Cleveland Orchestra in a Midwest Tour at the end of February and beginning of March, Recent and upcoming engagements include appearances in North America with the symphony orchestras of Boston, Cincinnati, Dallas, Detroit, Houston, Indianapolis, Milwaukee, Philadelphia, Toronto, and Vancouver. Internationally, he is increasingly active in Europe, where engagements have included performances with the BBC Symphony Orchestra, Frankfurt Radio Symphony, and Deutsches Symphonie-Orchester Berlin. 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. He has appeared regularly in Latin America, conducting the São Paulo State Symphony Orchestra and with the Orquesta Sinfónica Simón Bolívar in Caracas, Venezuela, where he has also worked with young musicians in the country’s much-lauded El Sistema music education program. 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.

Principal Guest Conductor

2013-14 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

Concert Preview A free preview about this years’s Cleveland Orchestra Miami concerts, presented before the evening’s orchestral program.

Friday, January 24, 2014, at 7:00 p.m. Saturday, January 25, 2014, at 7:00 p.m.

“THE 2013-14 CLEVELAND ORCHESTRA MIAMI SEASON” with Franz Welser-Möst, Music Director of The Cleveland Orchestra and Gary Hanson, Executive Director of The Cleveland Orchestra

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

Cleveland Orchestra Miami 2013-14

January 24-25 Concert Preview

A healthy performing arts community is music to our ears.

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2013-14 Cleveland Orchestra Miami

Friday evening, January 24, 2014, at 8:00 p.m. Saturday evening, January 25, 2014, 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 Symphony No. 2 in B-flat major, D.128

franz schubert (1797-1828)

1. 2. 3. 4.

Largo — Allegro vivace Andante Menuetto — Trio Presto vivace

Violin Concerto in D major, Opus 35

erich korngold (1897-1957)

1. Moderato nobile 2. Romance: Andante 3. Finale: Allegro assai vivace GIL SHAHAM, violin

INTERMISSION

johann strauss jr.

Waltz: From the Mountains, Opus 292

johann strauss jr.

Czárdás, from Ritter Pázmán

josef strauss

The Dragonfly, Polka-Mazurka, Opus 204 [Die Libelle]

johann strauss jr.

Waltz: Kiss [Kuss], Opus 400

johann strauss jr.

Overture to Die Fledermaus [The Bat]

(1825-1899)

(1827-1870)

[Aus den Bergen]

This weekend’s concerts are sponsored by Northern Trust.

Cleveland Orchestra Miami 2013-14

Program: January 24-25

Franz Schubert, by Wilhelm August Rieder, oil painting from 1875, based on the artistâ&#x20AC;&#x2122;s own watercolor of 1825.

I never force myself to be devout except when I feel so inspired, and never compose hymns of prayers unless I feel within me real and true devotion. â&#x20AC;&#x201D;Franz Schubert

INTRODUCING THE PROGRAM

A Night in Vienna T H E C I T Y O F V I E N N A has spawned enough composers and witnessed the production of enough music to fill many seasons of concerts. Some of it is thunderous, like Beethoven, some of it heart-wrenching, like Mahler, some of it fit for all tastes, like Mozart. This Cleveland Orchestra program offers some Schubert, Viennese through and through, who is close to the Mozart model; then some Korngold, who moved to Vienna from Moravia, like Mahler, and wrote music of rich Romantic intensity, not unlike Mahler but more . . . obviously heart-on-his-sleeve. Unlike these are waltzes and polkas and such by Johann Strauss Jr. and his brother Josef, music that some might say is the epitome of Vienna’s lighter side. But these, too, can be serious studies (with fun, social commentary) in portraying our beautifully exciting world.

Symphony No. 2 in B-flat major, D.128 composed 1814-15 S C H U B E R T W R O T E two symphonies in B-flat major, his Second

Franz

SCHUBERT born January 31, 1797 Himmelpfortgrund, near Vienna died November 19, 1828 Vienna

and his Fift h. During the period in which his carefully dated manuscript tells us the Second was composed, he celebrated his eighteenth birthday. Three months seems a long period for a composer as fluent as Schubert, but he had just taken a position as a schoolteacher and he was also composing a torrent of other works — masses, songs, choruses, operas — at the same time. The symphony was dedicated to Dr. Innocenz Lang, director of the Vienna Stadtkonvikt, the school attached to the Imperial court where Schubert had been a pupil for five years. In the school orchestra, in which he was concertmaster and occasionally conductor, young Franz had learned the essentials of orchestral practice, and it is probable that the Second Symphony was performed by them, although there is no document that tells us so. Otherwise, like so many of his works, it was not played until well after the composer’s death, when August Manns, conductor of the popular concert series at the Crystal Palace in London, presented all of Schubert’s early symphonies in the 1870s before they were even published. These early symphonies invariably convey a sense of divine

Cleveland Orchestra Miami 2013-14

About the Music

At a Glance Schubert composed his Second Symphony between December 10, 1814, and March 24, 1815. It may have been performed at that time, at the school where Schubert was studying and helping out, but no certain evidence exists. The first known performance took place on October 20, 1877, at London’s Crystal Palace, under the direction of August Manns. This symphony runs about 30 minutes in performance. Schubert scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

fluency, as if the music simply flowed unbidden from Schubert’s pen, as indeed it surely did. There is never hesitation, and the melodies are graceful and beautifully shaped, with harmony that never jars. No wonder his music teacher at the Stadtkonvikt remarked, “He has learnt everything from God, that lad.” The first movement’s Largo introduction provides a little weight, but nothing on the portentous scale of similar introductions in Beethoven’s symphonies, which Schubert must have had in mind, nor even those of Haydn. The weight, or at least the tension, that a symphony craves is found in the working out of the first movement, which is constructed on a key-scheme of Schubert’s own devising, not the conventional sonata form of most classical first movements. This enables him to extend the exposition and to juggle with unexpected key-changes. But the balance is perfectly contrived and the busy orchestral activity keeps the players on their toes. (The boys at the Stadtkonvikt must all have been as gifted as their young concertmaster.) The slow movement is a set of variations, the only variations Schubert ever wrote for orchestra. The theme is song-like and perfectly symmetrical but for an extra bar in its second half, a subtle touch that leaves its inevitable mark on each of the five variations. The first variation gives the theme to the oboe and flute, the second to the cellos and basses; the third keeps the violins on a steady flow of meandering notes, and the fourth is heavier, with triplets in the minor key. Schubert saves his most ravishing scoring for the last variation, and a valedictory coda closes the movement. The Minuet is almost entirely loud, to the Trio, whose oboe tune recalls the first variation of the movement before, as welcome relief. The finale sets off at top speed in the strings, and here Schubert adopts the same unconventional plan as in his first movement. Perhaps this is a private joke to tease those of his hearers who care about such things as sub-dominants, but it is no hindrance for the rest of us to enjoy its effervescent vitality and wonder at the busy energy of an orchestra at full gallop. —Hugh Macdonald © 2014 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.

About the Music

2013-14 Cleveland Orchestra Miami

Violin Concerto in D major, Opus 35 composed 1937-39, revised 1945 L I K E M E N D E L S S O H N ’s ever-popular Violin Concerto, Korn-

Erich Wolfgang

KORNGOLD born May 29, 1897 Brno (now in the Czech Republic)

died November 29, 1957 Hollywood, California

gold’s Violin Concerto is the late work of a prodigy that defies any suggestion that its composer lost his flair once that brilliant childhood was past. Part of the very rich Viennese tradition in which Korngold was brought up took it for granted that great artists were endowed with a complete command of their technical resources; another part assumed that great art was richly expressive. So in the wake of Richard Wagner’s musical works and in the shadow of Strauss and Mahler, the young Korngold displayed prodigious gifts of musical invention, a masterly handling of voices and instruments, and an unquestioning devotion to full-blooded romantic expression. Perfect for Hollywood, we may say with hindsight, although we should remember that the extraordinary sophistication and romantic energy that characterizes film scores of the 1930s and ’40s was, in fact, largely the creation of Korngold and other refugees from European opera houses. His twenty-three film scores, mostly for Warner Brothers, were not a betrayal of his Viennese upbringing — as many waspish critics suggested — but an extension of the very aesthetic he had always lived by and within. Conversely, his studio work enriched his symphonic output. No piece illustrates this more clearly than the Violin Concerto, all three of whose movements draw on themes from films produced between 1937 and 1939. Or did the film scores draw on themes from the concerto? The origins of the concerto are not clear, although the great violinist Huberman had been urging Korngold to write a concerto for years. By 1945, when Korngold decided to give the work its final form, Huberman’s best years were over, and so it was Jascha Heifetz who was entrusted with the first performance. This took place in St. Louis on February 15, 1947, with performances shortly thereafter in Chicago and New York. In 1953, Heifetz made a magnificent recording, still unsurpassed despite the many fine recordings that have emerged in recent years. Korngold chose to create in D major, the favorite key of so many great violin concertos (Beethoven, Brahms, and more), and the customary three-movement scheme. In classic style, the first movement is lyrical and energetic in turn, the second

Cleveland Orchestra Miami 2013-14

About the Music

Violinist Bronisław Huberman

At a Glance Korngold wrote his Violin Concerto between 1937 and 1939, revising and completing the score in 1945. In it, he utilized several musical ideas borrowed from his own movie scores (some of which may have originally been intended for a concerto), including Another Dawn, Juarez, and The Prince and the Pauper. The concerto’s first perfomance was given by Jascha Heifetz and the St. Louis Symphony Orchestra, conducted by Vladimir Golschmann, on February 15, 1947. The published score is dedicated to Alma Mahler-Werfel. This concerto runs about 25 minutes in performance. Korngold scored it for 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets, bass clarinet, 2 bassoons (second doubling contrabassoon), 4 horns, 2 trumpets, trombone, timpani, percussion (bass drum, cymbal, vibraphone, xylophone, bells, chimes), harp, celesta, and strings, plus the violin soloist.

is a sublimely beautiful Romance in the key of G, and the finale is rousing and spirited, with more than a hint of a folk dance. The soloist is called on to display an extreme virtuosity throughout, with much of the solo line set in the highest range, where the violin, alone of all instruments, can sing with its pure, angelic voice. The orchestra rarely occupies the foreground, but the richness of its accompanying colors, especially from the vibraphone, xylophone, harp, and celesta, gives magical support. The concerto was dedicated to Alma Mahler-Werfel, widow of Gustav Mahler and, after 1945, of Franz Werfel. During the war, she and Werfel were, like Korngold, members of the Viennese expatriate community living in Hollywood. —Hugh Macdonald © 2014

About the Music

2013-14 Cleveland Orchestra Miami

Gil Shaham Acclaimed as one of today’s most virtuosic and engaging artists, American violinist Gil Shaham is sought after throughout the world for concerto, ensemble, and recital performances. He made his Cleveland Orchestra debut in April 1988. His most recent previous appearances with the Orchestra were at Severance Hall in February 2009 and at Blossom in August 2013. In May 2012, he stepped in for an ailing colleague at short notice to play Brahms’s Violin Concerto with The Cleveland Orchestra under Franz WelserMöst’s direction at Carnegie Hall. Born in Champaign-Urbana, Illinois, in 1971, Gil Shaham later moved with his parents to Israel. At age 7, he began violin studies at the Rubin Academy of Music with Samuel Bernstein. In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year, he began working with Dorothy DeLay and Jens Ellerman at Aspen. In 1982, after receiving first prize in Israel’s Claremont Competition, Gil Shaham became a scholarship student at the Juilliard School, where he worked with Ms. DeLay and Hyo Kang. He also studied at Columbia University. His honors include the 1990 Avery Fisher Career Grant and 2008 Avery Fisher Prize. Mr. Shaham appears regularly with the world’s major orchestras. This past season, he continued his exploration of violin concertos of the 1930s, a project he began in 2010, performing works by Barber, Berg, Britten, Prokofiev, and Stravinsky with the orchestras of Baltimore, Boston, Chicago, Kansas City, Montreal, New York, and San Francisco, as well as the NHK Symphony and Orchestre de Paris. His recent and upcoming schedule also includes engagements with the orchestras of Cincinnati, Los Angeles, Philadelphia, Pittsburgh, St. Louis, Seattle, and Toronto. Gil Shaham is an avid recitalist and chamber musician. During recent recital tours in the U.S., Europe, and Japan, he has performed solo compositions by Bach and a new work by William Bolcom, as well as duo works by Avner Dorman and Julian Milone with pianist Akria Euguchi. Mr. Shaham’s more than two dozen concerto and solo recordings have earned many awards, including multiple Grammys, a Grand Prix du Disque, Diapason d’or, and Gramophone Editor’s Choice Award. His recent albums include concertos by Barber, Berg, and Stravinsky and are featured on Canary Classics, a label he founded in 2004. His newest recording, Niggunim: Hebrew Melodies, features his sister, Orli Shaham, in performances of traditional and modern Jewish music. Mr. Shaham plays the 1699 “Countess Polignac” Stradivarius. He lives in New York City with his wife, violinist Adele Anthony, and their three children.

Cleveland Orchestra Miami 2013-14

Soloist

Music by Johann Strauss & Family waltzes, polkas, and more 19TH- CENTURY VIENNA

Johann Jr.

STRAUSS born October 25, 1825

Vienna died June 3, 1899 Vienna

Josef

STRAUSS born August 20, 1827

Vienna died July 22, 1870 Vienna

was dominated by two forms of popular music — the operetta and the waltz. Both were much discussed in the city’s famous coffee shops, and their best tunes were written up for performance everywhere — at home, in the streets and parklands, as well as in theaters, ballrooms, and casinos. A great “Golden Age” of operetta blossomed in the city beginning in the 1860s. Johann Strauss Jr., then at the height of his popularity, turned his attention to the theater as Vienna’s economy boomed throughout the next decade. He and his chief rival, Franz von Suppé, created new works for each theater season, often including topical commentary on contemporary events (carefully veiled from the government’s censors behind humor and witty transposition of character or country). The waltz swept across Europe in the closing decades of the 18th century. The word itself came from the German verb walzen, which was originally not much more specific than the English word “dance.” Eventually, faster waltzing overtook the slower minuet in popularity, and the verb became a noun, first in English and then in German. Although he wrote dance music, Mozart never called any of his pieces a waltz. Beethoven wrote a few, but still called them dances (tanzen). In 1819, Carl Maria von Weber wrote a piano piece titled Invitation to the Dance. Its popularity, first as a piano piece and then as orchestrated by Berlioz, set the pattern for what quickly became the typical Viennese waltz — not one dance, but a string of dance tunes written together as a group, often alternating slower and faster sections, with the various tunes and sections repeated and developed . . . almost like a short symphony. The waltz carried forward on successive waves of renewed popularity throughout the 19th century, propelled by the artistry and showmanship of one particular family of composers, beginning with Johann Strauss Sr. (1804-1849). His touring orchestra, along with that of his even more famous son, Johann Jr., spread the waltz craze throughout Europe and even to American shores. Among the factors that helped keep the waltz fresh and new for more than a century was the adaptability of subject matter portrayed. After composing on such obvious subjects as the changing seasons, favorite places (rivers, woods, and naAbout the Music

2013-14 Cleveland Orchestra Miami

tions), women, and galloping horsemen, the Strausses learned to watch for new fads and inventions. Pieces were written about trains and locomotives, about bicycles (or velocipedes, as they were known when Europe enthusiastically embraced them in the 1870s), and other modern contrivances and discoveries. In part, music as a language very much allowed for subtle social commentary that was difficult for government censors to prove or prevent. We begin with Aus den Bergen [From the Mountains], a waltz that Johann Strauss Jr. composed in 1864 and premiered as part of a lucrative season of concerts he presented in Pavlovsk, Russia, with his orchestra. He dedicated the piece to Eduard Hanslick, a notedly thorny music critic in Vienna, who had earlier taken Johann Jr. to task for writing “waltz requiems” with overly large orchestras. Often enough, however, it seems that Hanslick had good things to say about Strauss’s music — or Strauss was intent on making a peace offering. The work was given its Viennese premiere in December 1864 as part of celebrations surrounding Johann Jr.’s 20th anniversary of first conducting concerts at the city’s Dommayer Casino. Next we have a musical excerpt, in the form of a Hungarian Czárdas from Ritter Pázmán [“Knight Pazman”], Johann Jr.’s only opera (without any spoken dialogue). The entire work was premiered on New Year’s Day 1892, and, although Strauss’s music was generally well received, the opera itself was panned for the sluggishness of its storyline and its overly ornate text. Strauss, ever the musician and businessman, soon enough excerpted some of the opera’s best tunes and rhythms into independent works for his concerts, including this rhythmically delightful dance. Die Libelle [The Dragonfly] is a creation by Johann’s younger — and temperamentally more serious — brother. Growing up, Josef intended not to follow in his father’s and brother’s footsteps and originally trained to be an engineer. Still, the family business beckoned him and his talents. After playing in the orchestra and composing several works, he tried once more to walk away, but . . . the arts kept calling to him. This particular polka from 1866, in the Polish mazurka style, seems a steady and semi-serious work, of a dragonfly buzzing about its business (or perhaps everyone’s business), here a little, there a while, then gone. The Kiss Waltz [Kuss-Walzer] is a work from 1881 by JoCleveland Orchestra Miami 2013-14

About the Music

It has been said that the waltz was 19th-century Vienna’s “social opiate,” continually calling its listeners (and dancers) back for more. And, indeed, Vienna’s orchestral bon-bons — along with strudel and a strong coffeehouse drink — are intoxicatingly good.

hann Jr., who dedicated it to his second wife, Angelika Dittrich. The piece strings together several tunes from Strauss’s very popular comic operetta The Merry War. The “war” onstage is in fact an on-again offagain flirtation between a Colonel commanding the forces of one army and a well-to-do widow of a neighboring nation. Thus, we can enjoy the longing melodies, the hesitant musical dalliances, the lingering of this music, all in anticipation of the deal-sealing kiss. Our evening’s concert closes with Strauss’s Overture to Die Fledermaus (“The Bat”), premiered in 1874. The operetta’s storyline of disguises, romantic trysts, and mistaken identities, plus a full-fledged party onstage — with, of course, a series of great melodies — have made it one of Strauss’s most popular works. The overture features some of its best tunes, all mixed together as a perfectly exciting prelude to much fun and merriment and musical gifts. —Eric Sellen © 2014 Eric Sellen serves as program book editor for The Cleveland Orchestra.

An Elegant Soiree, by French artist Victor-Gabriel Gilbert, circa 1890, oil on canvas.

About the Music

2013-14 Cleveland Orchestra Miami

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST GIANC AR LO GU ER R ERO

M U S I C D I R E C TO R

Kelvin Smith Family Chair

PRINCIPAL GUEST CONDUCTOR

C LEVE L AN D ORC H ESTR A M IAM I

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

Alexandra Preucil

ASSISTANT CONCERTMASTER

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

Katherine Bormann

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

Emilio Llinas 2 James and Donna Reid Chair

Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny 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 Yun-Ting Lee VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

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

The Orchestra

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair

2013-14 Cleveland Orchestra Miami

O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink 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

CLARINETS Franklin Cohen *

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew

Knight Foundation Chair

Jesse McCormick Hans Clebsch Alan DeMattia 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

Robert R. and Vilma L. Kohn Chair

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

BASS CLARINET Linnea Nereim BASSOONS John Clouser *

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

Louise Harkness Ingalls Chair

Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

PERCUSSION Marc Damoulakis°

Margaret Allen Ireland Chair

Donald Miller Tom Freer KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Donald Miller ORCHESTRA PERSONNEL Karyn Garvin DIRECTOR

Christine Honolke MANAGER

TROMBONES Massimo La Rosa*

Robert Marcellus Chair

Robert Woolfrey Daniel McKelway 2

TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair

Tom Freer

Cleveland Orchestra Miami 2013-14

The Orchestra

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Sunshine Chair

* Principal

° Acting Principal § 1 2

Associate Principal First Assistant Princi pal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell

ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

THE CLEVELAND ORCHESTRA Franz Welser-Möst MUSIC DIREC TOR

“The Cleveland Orchestra proved that they are . . . one of the world’s great musical beasts. With Franz Welser-Möst conducting, this music . . . reverberated in the souls of the audience.” —Wall Street Journal

“Cleveland’s reputation as one of the world’s great ensembles is richly deserved.” P H OTO BY R O G E R MA S T R O I A N N I

—The Guardian (London)

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.

Friday, January 31, 2014, at 7:00 p.m. Saturday, February 1, 2014, at 7:00 p.m.

from Piano Quartet in C minor, Opus 15 by GABRIEL FAURÉ (1845-1924) 1. Allegro molto moderato

Beth Woodside, violin Lisa Boyko, viola David Alan Harrell, cello Carolyn Gadiel Warner, piano

Movements from Danses Profanes et Sacrées by HENRI TOMASI (1901-1971) Saeran St. Christopher, flute Mary Lynch, oboe Robert Woolfrey, clarinet John Clouser, bassoon Jesse McCormick, horn

Rapsodie (for clarinet and piano) by CLAUDE DEBUSSY (1862-1918) Daniel McKelway, clarinet Joela Jones, piano

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

Cleveland Orchestra Miami 2013-14

January-February Concert Prelude

“The trouble with music appreciation in general is that people are taught to have too much respect for music. They should be taught to love it instead.” —Igor Stravinsky 38

2013-14 Cleveland Orchestra Miami

Friday evening, January 31, 2014, at 8:00 p.m. Saturday evening, February 1, 2014, 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 richard strauss

Don Juan, Opus 20

richard strauss

Songs

(1864-1949)

1. Hymnus, Opus 33, No. 1 2. Ruhe, meine Seele, Opus 27, No. 1 3. 4. 5. 6.

[Rest, My Soul] Des Dichters Abendgang, Opus 47, No. 2 [Of the Poet’s Evening Walk] Traum durch die Dämmerung, Opus 29, No. 1 [Dreaming at Twilight] Morgen [Tomorrow], Opus 27, No. 4 Pilgers Morgenlied, Opus 33, No. 4 [Pilgrim’s Morning Song]

SIMON KEENLYSIDE, baritone

INTERMISSION

claude debussy (1862-1918)

Symphonic Fragments from The Martyrdom of Saint Sébastien 1. 2. 3. 4.

igor stravinsky (1882-1971)

Prelude to Act I — The Court of Lys Ecstatic Dance and Act I Finale The Passion The Good Shepherd

The Rite of Spring (1947 score)

Cleveland Orchestra Miami 2013-14

Part I: The Adoration of the Earth Part II: The Sacrifice

Program: January 31-February 1

INTRODUCING THE PROGRAM

Poetry, Song & Dance

THIS WEEKEND’S CONCERTS

draw together three of classical music’s great innovators from the turn of the 19th to the 20th century. A hundred years later, the “newness” of their music varies, as we have embraced some ideas — but can still be shocked by others. Richard Strauss was a daring young composer, utilizing enormous orchestral forces and dissonance with an assured flair and ideal understanding of vocal lines. (That in old age he was considered conservative and old-fashioned is not an issue for this week’s selections.) Claude Debussy brought Impressionism to music, “painting” sketches that can feel as fully formed as any Realism. Igor Stravinsky, like Strauss, went through stages in his life. Our concerts end with the biggest explosion of his youth, the dynamic, convulsive, and highly-charged score to The Rite of Spring.

Don Juan, Tone Poem after Lenau, Opus 20 composed 1888 I N O L D A G E , Strauss appeared to be the most undemonstra-

Richard

STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

tive of men, especially on the podium, where the movement of a single finger would serve where other conductors would semaphore with both arms and dance with both feet. Did he have a heart, one might wonder? Did he convey all that passion and drama and violence in his operas while sustaining the most perfect coolness in himself? He liked his comfortable bourgeois life and was not afraid to depict it in such pieces as the Sinfonia domestica, where the trivialities of family life are portrayed in music of intricate sophistication. Not trivialities, he would say — the relationships of men, women, and children in the home are central to the lives of all of us and deserve elevation in art. But before he married (the marriage lasted 55 years), Strauss was a young blood whose pursuit of women was also worth portraying in music. There is no reason to think that his conquests were in any way legendary, but the sensational tone-poem Don Juan, his first unmistakable masterpiece, took the best known of all Lotharios as the subject of a morality tale with certain autobiographical overtones. The music appears to About the Music

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narrate four or five different amours, while in real life Strauss himself was more focused on a single lady, Dora Wihan, née Weis, a young divorcée. Their affair lasted about four years, including the period in which this music was written. The central character, Don Juan, is the Spanish rake familiar from innumerable plays and operas, by Molière and Mozart among many others. But Strauss’s source was an unfinished play by a 19th-century Austrian poet, Nikolaus Lenau, in which there is no Commendatore, no statue, and no dinner. Don Juan lives always for the moment: “Passion is always and only the new passion; it cannot be carried from this one to that; it must die here and spring anew there; it knows nothing of repentance.” Disillusionment eventually takes over, and the Don awaits the enemy (a certain Don Pedro) who will spare him the prospect of a futile life ahead. The final section of the music represents the duel in which Don Juan, though victorious, throws his rapier away and allows Pedro to pierce him through the heart. To begin, there is no sugDon Juan as Mozart’s Don Giovanni, gestion of regret or conscience, by Max Slevogt, 1912, oil on canvas. merely the exuberance of viril(Alte Nationalgalerie, Berlin) ity and youth, expressed with tremendous brilliance by a virtuoso orchestra. There are two full-blown love scenes, a carnival, and moments of reflection, even remorse. At its height, the music can represent Don Juan as more than a master seducer — he is a valiant hero, a fact made abundantly clear with a theme grandly pronounced by four horns in unison. Don Juan was an immediate success and it brought Strauss’s name to the forefront everywhere. It was, in fact, his first megahit. In the next twenty years, he continued to produce a series of grand orchestral works, followed by some brazenly modern operas, and he was universally regarded for many years as the greatest of living composers. —Hugh Macdonald © 2014 Cleveland Orchestra Miami 2013-14

About the Music

At a Glance Strauss wrote most of Don Juan during 1888 (he may have begun sketching parts of it as early as the fall of 1887), and completed the orchestration in 1889. He conducted the work’s premiere on November 11,1889, at the Weimar Hopfkapelle. Published in 1890, Don Juan is dedicated to Strauss’s friend Ludwig Thuille. Don Juan runs about 15 minutes in performance. Strauss scored it for 2 flutes, piccolo (doubling third flute), 2 oboes, english horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bells), harp, and strings. The Cleveland Orchestra has recorded Don Juan three times: in 1957 with George Szell, in 1979 with Lorin Maazel, and in 1989 with Vladimir Ashkenazy.

Songs [Lieder] composed between 1894 and 1900 STRAUSS COMPOSED

Richard

STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

almost two hundred songs across his long life, the majority of them before he was known as an opera composer. It was in his songs, in fact, that his exceptional understanding for poetry combining with vocal expression was forged. A few, such as the famous Four Last Songs, were composed with orchestral accompaniment, but most were created for piano alone. Strauss orchestrated a number himself, while additional ones were orchestrated by other musicians, with the composer’s approval. Of the six songs in this weekend’s collection, the first and sixth were composed with orchestra originally, the second, third, and fift h later orchestrated by Strauss himself, and the fourth was orchestrated by Robert Heger in 1935. Hymnus — this poem was once attributed to Schiller, but the true author is not known. Composed in Munich in 1897, the song is a full-blooded invocation to the goddess/muse of inspiration that has given the poet a “stringed instrument” with which to sing her praises, until death (grimly illustrated) brings all to an end. Naturally, the harp is prominent. Ruhe, meine Seele! [Rest, My Soul!] — poem by Karl Henckell, composed in Weimar in 1894, and orchestrated at the end of the composer’s life in 1948. The spirit is urged to withstand its torments and find repose. Strauss supports the voice with somber chords and bell-like entries, most luminous on the word “Sonnenschein.” Des Dichters Abendgang [Of the Poet’s Evening Walk] — with a poem by Ludwig Uhland, this song was composed in Berlin in 1900, orchestrated in 1918. The poet on his evening walk is portrayed by a repetitive figure in the middle texture that continues throughout the song, while the glorious sunset he invokes is given Strauss’s full majestic treatment. Traum durch die Dämmerung [Dreaming Through the Twilight] — to a poem by Otto Julius Bierbaum, Strauss composed this song in Munich in 1895; it was orchestrated by Robert Heger in 1935. Bierbaum was one of Strauss’s friends, who liked to write frivolous verse for operetta, but Strauss turns this image of a lover idling through the twilight into a beautiful nostalgic song, with a persistent, unhurried figure heard throughout. Morgen! [Tomorrow] — working with a poem by John About the Music

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Paulina de Ahna, Strauss’s wife. She met him by signing up for private singing lessons. Their courtship was filled with disagreements, and she had a reputation for being stern and bossy throughout her life, but he wrote many songs and operatic roles for her and they had a long and agreeable marriage. Strauss gave her a wedding gift of four of his songs in 1894, including two on this concert: Ruhe, meine Seele! and Morgen!

Henry Mackay, Strauss composed this song in Weimar in 1894, and orchestrated it for three horns, harp, solo violin, and strings in 1897. Mackay, born in Scotland, was a poet of the anarchist left, yet Strauss preferred to set his more Romantic texts. The lovely melody, perfect for a solo violin, is heard twice, while the voice seems merely to comment on it and add some recitative at the end. This song, along with Ruhe, meine Seele! and two others, was offered to Strauss’s wife, Paulina, as a wedding gift. She gave the first performance of the orchestral version in November 1897 in Brussels. Pilgers Morgenlied [Pilgrim’s Morning Song] — poem by Goethe, composed in the same set as Hymnus in 1897, and scored with equal richness. The pilgrim sings to his Lila a love song that modulates into a song addressed to love itself. —Hugh Macdonald © 2014 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

1. Hymnus composed for voice and orchestra 1896-97 to text once attributed to Friedrich Schiller (1788-1805) Dass du mein Auge wecktest zu diesem goldenen Lichte, Dass mich dein Äther umfliesst; Dass ich zu deinem Äther Hinauf einen Menschenblick richte, Der ihn edler geniesst; Dass du einen unsterbliches Geist, Der dich, Göttliche, denket und in die schlagend Brust, Gütige, mir des Schmerzes wohlhät’ge Warnung Geschenket und diebelohnende Lust; Dass du des Geistes Gedanken, Des Herzens Gefühle zu tönen Mir ein Saitenspiel gabst, Kränze des Ruhms und das buhlende Glück Deinen stolzeren Söhnen, Mir ein Saitenspiel gabst; Dass dem trunkenen Sinn, von hoher Begeistrung beflügelt, Schöner das Leben sich malt, Schöner in der Dichtung Krystall die Wahrheit sich spiegelt, Heller die dämmernde strahlt: Grosse Göttin, dafür soll, Bis die Parzen mich fodern, Dieses Herzens Gefühl, Zarter Kindlichkeit voll, In dankbarem Strahle dir lodern, Soll aus dem goldenen Spiel Unerschöpflich dein Preis, Erhabne Bidnerin, fliessen, Soll dieser denkende Geist An dein mütterlich Herz In reiner Umarmung sich schliessen, Bis der Tod sie zerreisst!

That you drew my eye to the golden light which glows around me; that to your heavenly light I may lift my humble gaze, and ennoble myself; that you are an immortal spirit, that you, so divine, contemplate and in my pulsing chest, graciously gave me pain as a useful warning to steal joy and reward pleasure; to the spiritual you gave thought, and to voice heartfelt feelings you gave me a harp, laurel wreaths of glory and the sweet success you gave your prouder sons, but to me you gave the harp; drunk-filled with emotion, high-spirited with inspiration, life becomes more beautiful, beautiful as poetry clearly mirroring the truth, shines bright the reflection: Great Goddess, thus, until fate come for me, this heart beats for you, tender as a child’s, in flames of gratitude I glow, playing the golden harp forever sounding your praise; sublime Creator-Goddess, continue, so that this creative mind to your motherly heart can nestle in pure embrace until death renders us parted!

Sung Text and Translations

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2. Ruhe, meine Seele! [Rest, my soul!] composed in 1894, later orchestrated by Richard Strauss to text by Karl Henckell (1864-1929) Nicht ein Lüftchen Regt sich leise, Sanft entschlummert Ruht der Hain; Durch der Blätter Dunkle Hülle Stiehlt sich lichter Sonnenschein.

Not a breeze blows soft ly, gently slumbering stands the forest; Through the leaves and dark canopy steals the bright sunshine.

Ruhe, ruhe, Meine Seele, Deine Stürme Gingen wild, Hast getobt und Hast gezittert, Wie die Brandung, Wenn sie schwillt.

Rest, rest, My soul, your storms rage wildly, have raged and have shuddered, like the surf, as it breaks.

Diese Zeiten Sind gewaltig, Bringen Herz Und Hirn in Not — Ruhe, ruhe, Meine Seele, Und vergiss, Was dich bedroht!

These times are powerful, focusing heart and mind on the challenges at hand — Rest, rest, My soul, and forget, that which overwhelms you! P L E A S E T U R N PA G E Q U I E T LY

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Sung Text and Translations

3. Des Dichters Abendgang [Of the poet’s evening walk] composed 1900 for voice and piano, orchestrated 1918 to text by Johann Ludwig Uhland (1787-1862) Ergehst du dich im Abendlicht (das ist die Zeit der Dichterwonne), So wende stets dein Angesicht Zum Glanze der gesunknen Sonne!

Go strolling in evening’s light (this is the time for poet’s bliss), then turn your face to the glory of the setting sun!

In hoher Feier schwebt dein Geist, Du schauest in des Tempels Hallen, Wo alles Heilge sich erschliesst Und himmlische Gebilde walden.

In great celebration your spirits soar, as you look into the temple’s hall, where everything holy reveals itself and celestial forms float above.

Wann aber um das Heiligtum Die dunkeln Wolken nieder rollen, Dann ist’s vollbracht, du kehrest um, Beseligt von dem Wundervollen.

Yet sometimes, across the sanctuary dark clouds roll down; when it is over, you shall turn around, enraptured by such wonders.

In stiller Rührung wirst du gehn, Du trägst in dir des Liedes Segen; Das Lichte, das du dort gesehn, Umglänzt dich mild auf finstern Wegen.

Quietly, filled with emotion, you go, carrying within you a song of blessing; the light that you saw there, burns within you still, as you journey on. (English translations by Eric Sellen)

Sung Text and Translations

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4. Traum durch die Dämmerung [Dreaming at Twilight] composed 1895 for voice and piano, orchestrated 1935 by Robert Heger to text by Otto Julius Bierbaum (1865-1910) Weite Wiesen im Dämmergrau; die Sonne verglomm, die Sterne ziehn, nun geh’ ich hin zu der schönsten Frau, weit über Wiesen im Dämmergrau, tief in den Busch von Jasmin.

Broad meadows in the gray twilight; the sun’s glow recedes, the stars appear, now I return to the most beautiful woman, crossing the meadows in graying twilight, through bushes infused with jasmine.

Durch Dämmergrau in der Liebe Land; ich gehe nicht schnell, ich eile nicht; mich zieht ein weiches samtenes Band durch Dämmergrau in der Liebe Land, in ein blaues, mildes Licht.

Through twilight to the land of love; I’m not going fast, I do not hurry; I am drawn by a soft velvety ribbon through twilight to the land of love, into a calm, blue light.

5. Morgen! [Tomorrow] composed 1894 for voice and piano, orchestrated 1897 to text by John Henry Mackay (1864-1933) Und morgen wird die Sonne wieder scheinen, und auf dem Wege, den ich gehen werde, wird uns, die Glücklichen, sie wieder einen inmitten dieser sonnenatmenden Erde . . . Und zu dem Strand, dem weiten, wogenblauen, werden wir still und langsam niedersteigen, stumm werden wir uns in die Augen schauen, und auf uns sinkt des Glückes stummes Schweigen . . .

And tomorrow the sun will shine again, and on the way, as I follow along, we lucky ones shall again be united in the midst of this sun-breathing earth . . . And to the beach, wide and anchored in blue, we shall quietly and slowly descend, silently we shall gaze at one another, and happiness shall surround us in mute silence . . . P L E A S E T U R N PA G E Q U I E T LY

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Sung Text and Translations

6. Pilgers Morgenlied [Pilgrim’s Morning Song] composed for voice and orchestra 1897 to text by Johann Wolfgang von Goethe (1749-1832)

Morgennebel, Lila, Hüllen deinen Turm ein. Soll ich ihn zum Letztenmal nicht sehn! Doch mir schweben Tausend Bilder Seliger Erinn’rung Heilig warm ums Herz.

Morning fog, Lila, surrounds your home. I shall not see it one last time! Yet within me float a thousand scenes, joyful memories warmly blessing my heart.

Wie er da stand, Zeuge meiner Wonne, Als zum erstenmal Du dem Freundling Ängstlich liebevoll Begegnetest, Und mit einemmal Ewge Flammen In die Seel’ ihm warfst.

Standing there, witnessing my delight, right from the first you extended friendship, lovingly afraid, unsure, and all at once flames stirred toward this soul.

Zische, Nord, Tausend-schlangen-züngig Mir ums Haupt! Beugen sollst du’s nicht! Beugen magst du Kind’scher Zweige Haupt, Von der Sonne Muttergegenwart geschieden.

Bluster, Northwind, like a thousand tongues all around my head! I shall not bend! The way you bend young branches hidden from the sun, sheltered from mother sun’s shining.

Allgegenwärt’ge Liebe! Durchglühest mich, Bötest dem Wetter die Stirn, Gefahren die Brust, Hast mir gegossen Ins früh welkende Herz Doppeltes Leben, Freude, zu leben, Und Mut!

All encompassing love! burning within me, you challenge the storms ahead, you move my heart, you have filled my wilting, tired heart restoring in me a will to live: to joy! to life! and courage!

Sung Text and Translations

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Simon Keenlyside British baritone Simon Keenlyside is among today’s most sought-after and praised singers. He made his Cleveland Orchestra debut at Severance Hall in 2000, and has performed with the Orchestra in Europe and Cleveland since that time, most recently in March 2011. Born in London to a musical family, Simon Keenlyside pursued violin lessons as a child. At age eight, he entered the choir school of St. John’s College Cambridge. He studied anthropology and zoology before deciding to become a professional musician. At the Royal Northern College of Music, he studied voice with John Cameron. Subsequently a student of Rudolf Knoll’s at the Salzburg Mozarteum, Mr. Keenlyside made his professional debut in 1988 with the Hamburg State Opera, and soon thereafter joined Scottish Opera. Simon Keenlyside performs at the world’s great opera houses, from Barcelona to New York to Zurich, in works — by Adès, Berg, Debussy, Mozart, Tchaikovsky, and Verdi — ranging from newer works to standards of the 18th and 19th centuries. For Britten’s Billy Budd at English National Opera and Maazel’s 1984 at the Royal Opera House, he was given the 2006 Olivier Award for outstanding achievement in opera. In 2007, he received the Echo Klassik award for male singer of the year, and in 2010, he became Musical America’s Vocalist of the Year. He was named a Commander of the Order of the British Empire in 2003. In concert, Mr. Keenlyside appears with leading orchestras around the world, including performances with the Berlin Philharmonic, Chamber Orchestra of Europe, City of Birmingham Symphony Orchestra, London Symphony Orchestra, Philharmonia Orchestra, and the Vienna Philharmonic. In recital, he has appeared in Europe and the United States, including at the Aldeburgh, Edinburgh, Lucerne, Munich, Salzburg, and Schwarzenberg Schubertiade festivals. Simon Keenlyside’s artistry can be heard on the Chandos, Decca, Deutsche Grammophon, EMI, Harmonia Mundi, Hyperion, and Sony BMG labels. He can be heard on the Grammy Award-winning recording of Mozart’s The Marriage of Figaro with conductor René Jacobs, and also received Gramophone’s 2007 best recital award and 2012 solo vocal award. With baritone Gerald Finley and pianist Julius Drake, Mr. Keenlyside is involved in the Jean Meikle Music Trust, which funds the Song Duo Prize in the Wigmore International Song Competition. Simon Keenlyside owns a seaside farm in Wales and enjoys drawing, painting, and fly-fishing. He and his wife have two children.

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Soloist

Symphonic Fragments from The Martyrdom of Saint Sébastien extracted in 1914 from the ballet premiered in 1911 THE YEARS LEADING UP TO

Claude

DEBUSSY born August 22, 1862 St. Germain-en-Laye, France died March 25, 1918 Paris

World War I saw a torrent of theatrical experiment in Europe in opera, ballet, and drama to which Claude Debussy yearned ceaselessly to contribute. He worked on two operas based on Edgar Allan Poe, but both were left as mere sketches despite many attempts to complete them and a real if spasmodic determination to do so. A number of other theatrical ideas came and went, some not even started. Of the projects that Debussy did complete, one of the most characteristic came from the Italian poet and dramatist Gabriele d’Annunzio, whose reputation as a decadent placed him somewhat parallel to Oscar Wilde in England. Like Wilde, d’Annunzio spoke French well enough to write it in an elevated, rarefied style. Though born of wealthy parents, he was driven from Italy by his creditors in 1910 and moved to Paris at a time when new ideas in the theater were greatly influenced by leading dancers. During the Russian season in Paris in June 1910, when a myriad of Russian artists presented a series of productions and exhibitions, d’Annunzio met the dancer Ida Rubinstein, who was then a member of Sergei Diaghilev’s celebrated ballet company. Despite her reputation as a sensational performer, Rubinstein was feeling outclassed by Pavlova, Karsavina, and others, and was ready to break out on her own. She decided to form a new company in order to present a modern work bringing together the talents of Fokine as choreographer, Bakst as designer, and d’Annunzio as author in a retelling of the myth of St. Sébastien, which d’Annunzio had long wanted to write. Rubinstein was determined to play the role of the martyred saint herself. Their first two choices for composer turned the project down, which may be why Debussy, when invited, was less than enthusiastic. At the time, Debussy was already grappling with another difficult project conceived by a dancer — Khamma, for the eccentric Canadian Maud Allan — a task he had accepted purely for the money. The big fee offered for Ida Rubinstein’s new show was similarly too good to turn down. In addition, Debussy described d’Annunzio as “a kind of irresistible whirlwind.” The About the Music

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composer signed a contract in January 1911, knowing that the performance was already scheduled for May. Being by nature a slow worker, Debussy had to buckle down and turn out a substantial score in short order. For much of the orchestration, therefore, he enlisted the help of André Caplet, a talented younger composer who was also at that time conductor of the Boston Opera. Caplet was in charge of conducting the performances. As the final rehearsals approached, the elaborate sets and costumes and the director’s ideas about movement were found to make it impossible for the chorus to see the conductor, yet the designer was unwilling or unable to make changes. Then a week before the opening night, the Archbishop of Paris forbade Catholics to attend the theater under penalty of excommunication, and all of d’Annunzio’s works were placed on the papal index of proscribed books. Author and composer, neither of them devout, protested that their work was deeply religious and “glorified not just Christ’s wonderful athlete but all Christian heroism.” Debussy himself, always reserved about his faith, confessed that the subject of St. Sébastien seduced him by its blend of intense life and Christian faith, while D’Annunzio went much further, for he had a pronounced taste for cruelty and masochism, especially in early Christian history, and he was fascinated by the exquisite pleasure the saint feels as he faces death from the Emperor Diocletian’s archers. St. Sébastien impaled by arrows is a familiar image from countless paintings in our museums, based on a myth from the third century, but much of the drama had to be newly devised to fill out the slender historical record. The parallel with Wilde Saint Sebastian, by Andrea Mantegna, 1480, oil on canvas. is again striking, since the biblical story (Musée du Louvre, Paris) of Salome provided few of the dramatic Cleveland Orchestra Miami 2013-14

About the Music

At a Glance Debussy wrote the music for the ballet Le Martyre de Saint Sébastien in early 1911 on a commission from Ida Rubinstein, to a text fashioned by Gabriele d’Annunzio and with design concepts by Leon Bakst. The premiere took place on May 22, 1911, at the Théâtre du Châtelet in Paris, conducted by André Caplet, with Rubinstein dancing and portraying the title character. Debussy later extracted Four Symphonic Fragments from the work as pieces for the concert hall. They were first performed on January 4, 1914, in Prague, conducted by Edgard Varèse. These four symphonic pieces together run about 20 minutes in performance. Debussy scored them for 4 flutes (third and fourth doubling piccolo), 2 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, tamtam), 3 harps, celesta, and strings.

(or disturbing) nuances that his well-known play (followed by Strauss’s opera) portrayed. The characters in d’Annunzio’s drama sing, dance, and recite. Ida Rubinstein herself only recited and danced. The show was immensely long, nearly five hours at the first performance, since d’Annunzio had provided thousands of lines of mystical verse, which were interspersed with choral and orchestral episodes. The score called for a large orchestra, like that of so many ballets of the period. After the first performance many cuts were made, and the work was withdrawn after the ninth performance to make way for the Ballets Russes, who were booked into the same theater. Debussy prepared an abridged concert version, which was performed in 1912, and he also contemplated a version with continuous music as an opera, which was never done. The work’s recent editors describe it as leaving “a certain impression of never having been finished.” Also in 1912, Debussy extracted four “symphonic fragments,” the form in which the music has been most frequently heard. The first fragment is the prelude to Act I, solemn and severe in character. Chains of parallel chords in the winds set the tone, and the six horns enter on the three-note motif to which the chorus will later sing “Sé-bas-tien!” The harps provide a soft blanket of sound for some exploratory melodies in the english horn and oboe. The Danse extatique et Final du 1er Acte [“Ecstatic Dance and Finale of Act One”] begins with agitated music for the saint’s address to his persecutors. Then a solo trumpet represents the twins whom Sébastien converts to Christianity, and the violins respond with the song of five virgins. The next section is Sébastien’s miraculous dance on a bed of embers, with a hymn sung in the style of ancient polyphony by a “seraphic choir.” Their final hymn of praise is heard on three trumpets. La Passion is a reenactment of the scene in the Garden of Gethsemane. The tone is tragic and intense, with that language of dense harmony that Debussy had himself created, foreboding in the low registers, luminous in the upper instruments. The timpani mark moments of terrifying crisis. Le Bon Pasteur [“The Good Shepherd”] opens with a dolorous theme for the english horn and some shimmering sounds for the strings. Heavy rumblings reduce the english horn’s theme to some broken fragments. This is the moment when the stage reveals the saint tied to a laurel tree where he About the Music

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pleads with the Emperor’s archers to empty their quivers and hasten his death. A vision of the Good Shepherd appears in the branches of the tree, carrying a lamb around his shoulders. With some slow almost motionless chords, the vision fades to nothing. Debussy’s symphonic fragments are indeed fragmentary, but not truly symphonic since they display none of the variety of pace and activity that we expect in a symphony. Their consistently mysterious, mystical tone is a reflection of the veiled, allusive drama that obsessed d’Annunzio, vividly representative of the literary tastes of his time. In music there is no better evocation of that rich, decadent culture than Debussy’s later works, a culture that was about to be shaken to its roots by World War I. —Hugh Macdonald © 2014

—

Costume drawings by Léon Bakst for the original 1911 production of Debussy’s Le Martyre de Saint Sébastien.

LE MARTYRE DE

SAINT SEBASTIEN

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About the Music

Pictures from Pagan Russia, in Two Parts:

The Rite of Spring [Le Sacre du Printemps] composed 1911-13; performed in the 1947 revised score S T R A V I N S K Y ’ S “T H E R I T E O F S P R I N G”

IGOR

STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York

sits at the head of classic 20th-century orchestral masterpieces and will never be dislodged from that throne. Once thought to be beyond the pale of modernity, it has long been accepted as a thrilling concert work. Nevertheless, we can never re-create the effect of surprise that so profoundly disturbed its first audience in Paris in May 1913. They came to watch a Diaghilev ballet and were soon divided into opposing camps, some horrified, some ecstatic with admiration. Yes, the music was unexpectedly different, but even more, the choreography created by Nijinsky was a conscious attempt to revive primitive movement and steps, the very opposite of what every ballet school had trained their dancers to do. Evenso, to this day no ballet interpretation can compete on equal terms with this music; The Joffrey Ballet’s recreation of the original version, as good and as moving as it is (The Cleveland Orchestra and Joffrey performed it together as part of the 2013 Blossom Music Festival in Ohio), can only be witnessed by humans 100 years more sophisticated than those of 1913. It is thus in the concert hall and in recordings that The Rite of Spring continues to enjoy its greatest popularity and scandalous success, as daring music of incredible creativity. Large orchestras had been around since Wagner started his four-opera Ring of the Nibelung cycle, and had been normal since Strauss’s Ein Heldenleben (“A Hero’s Life”). A ballet based on Russian folk themes using an oversize orchestra would not have occasioned any surprise if Stravinsky had not invested every bar with a distraught tension generated by intensive chromaticism and, even in the slow sections, disturbing rhythmic dislocations. Repetition and riff replaced the traditional structure of themes. Stravinsky, for his part, found the whole process perfectly normal. His vision of primitive Russia and the elemental force of the Russian spring seemed to him complete justification for the appropriate expression in music designed to serve the stage action. He did not set out to shock or outrage. He simply wrote down what he heard as a product of what his mind’s eye saw. “I am the vessel through which Le Sacre passed,” he said with About the Music

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alarming self-abasement. Stravinsky described the origins of the idea: “I saw in imagination a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.” The eventual scenario was worked out in collaboration with Nikolai Roerich, an archeologist with a special knowledge of prehistoric Russia. The ballet’s sections are as follows: Part I. The Adoration of the Earth Introduction Auguries of Spring (Dances of the Young Girls) Mock Abduction Round Dance Ritual of the Rival Tribes Procession of the Wise Elder Adoration of the Earth Dance of the Earth Part II. The Sacrifice Introduction Mystic Circle of the Young Girls Glorification of the Chosen Victim The Summoning of the Ancestors Ritual of the Ancestors Sacrificial Dance (The Chosen One)

The sections run into one another, but are not easy to identify while listening. There is not much pause for breath or repose. Russian folksong lies behind many of the themes. Auguries of Spring introduces a famously dissonant chord stamped out by the strings and punctuated by eight horns. The Round Dance of Spring is broad and ponderous and the Procession of the Wise Elder has a relentless heavy tread beneath an ungainly tune on tenor and bass tubas. Part II begins with some ravishing sounds from the woodwinds and divided strings in a steady flow of even notes. Elsewhere, the rhythms are constantly broken up and fragmented, especially in the final Sacrificial Dance, the fury of which touches on a primeval violence quite new to music at that time. It is curious to reflect that Stravinsky, in his outward style the doyen of 20th-century cosmopolitan sophisticates, was tapping into a source of some atavistic life-force as threatening and as brutal as anything history had ever witnessed. Yet World War I was shortly to make this horrific vision a reality.

At a Glance Stravinsky wrote the scenario to the ballet Le Sacre du Printemps [“The Rite of Spring”] in collaboration with the painter-writer Nikolai Roerich in 1910-11 and composed the music in 191213. It was first performed on May 29, 1913, by Sergei Diaghilev’s Ballets Russes at the Théâtre des ChampsÉlysées in Paris, with Pierre Monteux conducting. The sets were by Roerich, and the choreography by Vaslav Nijinsky. The Rite of Spring runs about 30 minutes in performance. Stravinsky scored it for piccolo, 3 flutes (one doubling second piccolo), alto flute, 4 oboes (one doubling second english horn), english horn, small clarinet in E-flat, 3 clarinets (one doubling second bass clarinet), bass clarinet, 4 bassoons (one doubling second contrabassoon), contrabassoon, 8 horns (two doubling tenor tubas), 4 trumpets (one doubling bass trumpet), piccolo trumpet, 3 trombones, 2 tubas, timpani, percussion (bass drum, tambourine, cymbals, antique cymbals, triangle, tam-tam, güiro [a scraped gourd]), and strings. The Cleveland Orchestra recorded The Rite of Spring with Pierre Boulez in 1969, with Lorin Maazel in 1980, with Riccardo Chailly in 1985, and with Boulez again in 1991.

About the Music

INFORMATION ACCESSIBILITY Adrienne Arsht Center is fully accessible. When purchasing tickets, patrons who have special needs should call (305) 949-6722 or (866) 949-6722 and inform their customer service representative. (786) 468-2011(TTY). DINING Enjoy PRELUDE BY BARTON G. in a whole new way, featuring new prices, an updated menu of Prelude classics mixed with innovative new dishes, a sumptuous selection of specially prepared â&#x20AC;&#x153;premiumâ&#x20AC;? menu options and the ultimate pre- and post-show dining experience! PRELUDE BY BARTON G. now features a two-course dinner including an appetizer and a main course for just $29 (plus tax and gratuity). CALL 305.357.7900 or visit arshtcenter.org/prelude. EMERGENCIES Emergency exits are clearly marked throughout the building. Ushers and security personnel will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance. FACILITIES RENTALS Persons or organizations interested in renting the auditoriums, lounges, terraces, plazas or other spaces for private and public events at Adrienne Arsht Center should contact (786) 468-2287 or rentals@arshtcenter.org. HEARING AIDS AND OTHER HEARING-ENHANCEMENT DEVICES Please reduce the volume on hearing aids and other devices that may produce a noise that would disturb RWKHU SDWURQV RU WKH SHUIRUPHUV $VVLVWLYH /LVWHQLQJ 'HYLFHV DUH DYDLODEOH LQ WKH OREE\ SOHDVH DVN DQ XVKHU for assistance. LATE SEATING Adrienne Arsht Center performances begin promptly as scheduled. As a courtesy to the performers and audience members already seated, patrons who arrive late will be asked to wait in the lobby until a suitable break in the performance to be determined in consultation with the performing artists. Until the seating break, latercomers may watch the performance via closed-circuit monitors conveniently situated in the OREELHV 7R FRQÂżUP VWDUWLQJ WLPHV IRU $GULHQQH $UVKW &HQWHU SHUIRUPDQFHV SOHDVH FKHFN \RXU WLFNHW YLVLW www.arshtcenter.org, or call (305) 949-6722. MEMBERSHIP â&#x20AC;&#x201C; BE A CULTURIST Members matter at the Adrienne Arsht Center. Your philanthropy makes our world-class performances possible, and helps to provide free arts education and meaningful community engagement for thousands of Miami-Dade County young people and their families. When you join the Center as a member, you give the gift of culture to Miami â&#x20AC;&#x201C; now, and for generations to come. The Culturist membership program is designed to enhance your H[SHULHQFH DW WKH $UVKW &HQWHU ZLWK VSHFLDO EHQHÂżWV UDQJLQJ IURP DGYDQFH QRWLFH RI SHUIRUPDQFHV WR LQYLWDWLRQV to exclusive receptions. Membership begins at just $75, with giving levels through $5,000. To join the Culturist movement, please call 786-468-2040, email: membership@arshtcenter.org or visit www.arshtmembers.org. Photo by Robin Hill

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Anna Murch fountain in the Thomson Plaza for the Arts

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Arsht Center Information

2013-14 Cleveland Orchestra Miami

Photo by Mitchell Zachs

INFORMATION LOST AND FOUND Patrons should check with the House Manager in the theater lobby prior to leaving the theater, otherwise please call the Adrienne Arsht Center main security number (786) 468-2081. Lost articles will be held for 30 days. MEMBERS GET IT FIRST! As a member of the Adrienne Arsht Centerâ&#x20AC;&#x201C;a Culturistâ&#x20AC;&#x201C;you have exclusive access to members-only ticket pre-sales and so much more! Join today, online at www.arshtmembers.org or by calling 786-468-2323. PAGERS, CELL PHONES AND OTHER LISTENING DEVICES All electronic and mechanical devicesâ&#x20AC;&#x201D;including pagers, PDAs, cellular telephones, and wristwatch alarmsâ&#x20AC;&#x201D;must be turned off while in the auditoriums. PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING The taking of photographs and the use of audio or video recording inside the auditoriums are strictly prohibited. TICKETS Patrons may purchase tickets â&#x20AC;˘Online: www.arshtcenter.org Â&#x2021;%\ 3KRQH RU D P S P ZHHNGD\V beginning at noon on weekend perfomance days. Â&#x2021;$W WKH %R[ 2IÂżFH WKH $GULHQQH $UVKW &HQWHU %R[ 2IÂżFH LV ORFDWHG LQ WKH =LII %DOOHW 2SHUD +RXVH OREE\ (main entrance on NE 13th between Biscayne Blvd. and NE 2nd Ave.) the Adrienne Arsht Center Box 2IÂżFH LV RSHQ D P S P 0RQGD\ )ULGD\ QRRQ WR FXUWDLQ RQ ZHHNHQGV ZKHQ WKHUH LV D SHUIRUPDQFH and two hours before every performance. â&#x20AC;˘Groups of 15 or more people: (786) 468-2326. TOURS Free behind-the-scene tours of the Adrienne Arsht Center complex are given every Monday and Saturday at noon, starting in the Ziff Ballet Opera House Lobby. No reservations necessary. VOLUNTEERS Volunteers play a central role at the Adrienne Arsht Center. For more information, call (786) 468-2285 or email volunteers@arshtcenter.org. WEBSITE Visit www.arshtcenter.org for the most up-to-date performance schedule. Also, join our mailing list and we will send performance notices directly to you. When you join, you may choose the types of shows about ZKLFK \RX ZDQW WR EH QRWLÂżHG DQG XSGDWH WKRVH FKRLFHV DW DQ\ WLPH ,I \RXÂśYH DOUHDG\ VLJQHG XS PDNH sure you add email@arshtcenter.org to your address book and/or safe list. Visit www.arshtcenter.org today. 6WHLQZD\ 6RQV 7KH 2IÂżFLDO 3LDQR RI WKH $GULHQQH $UVKW &HQWHU Adrienne Arsht Center Uniforms, an EcoArtFashion project by Luis Valenzuela, www.luisvalenzuelausa.com

Cleveland Orchestra Miami 2013-14

Arsht Center Information

ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI-DADE COUNTY

Trish Brennan Vice President, Human Resources Ken Harris Vice President, Operations Administration Aric Kurzman Chantal HonorĂŠ Joanie Rivera -RDQQH 0DWVXXUD Thyra Joseph

M. John Richard President & CEO Scott Shiller Executive Vice President Andrew Goldberg Vice President, Marketing Tom Berger Vice President, Finance & Administration and Chief )LQDQFLDO 2IÂżFHU

Assistant Vice President o f Business and Legal Affairs Manager of Board Relations Executive Assistant to the President & CEO 0DQDJHU 2IÂżFH RI WKH Executive Vice President Receptionist

Advancement David S. Green

Assistant Vice President of Advancement and Campaign Director Munisha Underhill Senior Director, Advancement Felicia Hernandez Director, Member Relations and Donor Relations Jodi Mailander Farrell Senior Director, Foundation Relations Eva Silverstein Director of Advancement, Campaign Development & Partnerships Rita Martin Manager of Special Events Christine Brown Manager, Advancement Services Carrie Rueda, Executive Assistant to the Vice President of Advancement Kalyn James Corporate Sponsorship Coordinator Jeanette Castro Membership Assistant Finance Teresa Randolph Antonio Necuze Bill McKenna Kimba King Aida Rodriguez Roberta Llorente Francisca Squiabro Heather St. Fleur Audience Services Alice Arslanian Fifelski Neal Hoffson Rodolfo Mendible Pauline Goldsmith Carolyn Woodyer Nicole Keating Maria Usaga Nadinne Farinas David Saifman Laura White Julia Acevedo Richard Malin Fernanda Arocena Adam Garner Fabiana Parra Alfred Cruet Mario Acevedo Ashley Araujo Heather Brummer Maritza Castro Destiny David Betsy Diaz Randy Garcia Mabel Gonzalez Mirlanta Homme Nubia Mora Danny Navarro Taviana Nevares Stephanie Perez Theo Reyna Javier Rhoden Logan Smiley Information Technology James J. Thompson Michael Sampson Francisco Pichardo Renville Williams Marco Franceschi Michael Vigorito

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

Valerie Riles Vice President, Board and Government Relations Suzanna Valdez Vice President, Advancement

Marketing Suzette Espinosa Fuentes Crystal Brewe Luis Palomares John Copeland Tyrone Manning Alexander Ramos Morgan Stockmayer Fernando Olalla David Chang Sam Hall Raul Vilaboa Gino Campondonico Claudia Tuck Nicole Smith Natalia Ortiz Nadia Zehtabi Derek Clarke Leyda Castro Sylvia Magnoli Operations Daniel Alzuri Dean Dorsey Thomas McCoy Lucy Hargadon

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 Group Sales Coordinator e-Marketing Assistant Group Sales Assistant Marketing Assistant Senior Director, Operations Director, Engineering Engineering Manager Executive Assistant to the Vice President, Operations Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer

Alejandro Aguilar Jack Crespo Isaac Dominguez Jose Hurtado Wilner Montina Jimmy Panchana Xavier Ross Alberto Vega Pedro Villalta Production Jeremy Shubrook Lauren Acker Janice Lane Michael Matthews Andres Puigbo Melissa Santiago-Keenan Daniel McMenamin John Mulvaney

Director, Production Technical Director Technical Director Technical Director Technical Director Technical Director Head Carpenter, Ziff Ballet Opera House Assistant Carpenter/Head Flyman Ziff Ballet Opera House Ralph Cambon Head Audio Video Technician Ziff Ballet Opera House Frederick Schwendel Head Carpenter, Knight Concert Hall Michael Feldman Head Audio Video Technician, Knight Concert Hall Tony Tur Head Electrician, Knight Concert Hall Ross LaBrie Head Audio Engineer, Studio Theater Marcelo Ferreira Head Electrician Carnival Studio Theater Programming Liz Wallace Assistant Vice President, Programming Ed Limia Director, Programming Jairo Ontiveros Director, Education and Community Engagement LisaMichelle Eigler Engagement Manager Ann Koslow Engagement Manager Jan Melzer Thomas Engagement Manager Renei Suarez Facility and Rental Schedule Manager Oscar Quesada Programming Coordinator Facility Management Performing Arts Catering AlliedBarton Pritchard Sports and Entertainment

Arsht Center

2013-14 Cleveland Orchestra Miami

PERFORMING ARTS CENTER TRUST, INC.

Officers of the Board Mike Eidson Chairman Richard C. Milstein Secretary Evelyn Greer Assistant Secretary

Alan H. Fein Chair-Elect Emery B. Sheer Treasurer Ira D. Hall Assistant Treasurer

J. Ricky Arriola Immediate Past Chair Parker D. Thomson Founding Chair

Board of Directors

Rosie Gordon-Wallace The Honorable Donald L. Graham Javier Hernandez-Lichtl James Herron Mitchell Kaplan Hank Klein Nathan Leight Florene Litthcut Nichols Carlos C. Lopez-Cantera

Matilde Aguirre Pierre R. Apollon Magalie Desroches Austin The Honorable Oscar Braynon II Armando J. Bucelo, Jr. Robert Furniss-Roe Felix Garcia The Honorable Rene Garcia Sergio M. Gonzalez

Gilberto Neves Beverly A. Parker Jorge A. Plasencia Abigail Pollak The Honorable Raquel Regalado Adriana Sabino Mario Ernesto Sanchez The Honorable Marc D. Sarnoff Ronald A. Silver

The Honorable Michelle Spence-Jones Alexander I. Tachmes Carole Ann Taylor Penny Thurer Raul G. Valdes-Fauli Judy Weiser Miles C. Wilkin

ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS

Adrienne Arsht

Officers of the Board

Founding Chairman Nancy Batchelor Ronald Esserman Swanee DiMare David Rocker RESIDENT COMPANIES ALLIANCE Jerome J. Cohen Stanley Cohen Susan T. Danis Nancy J. Davis Ronald Esserman Oscar Feldenkreis Pamela Gardiner Jerrold F. Goodman Rose Ellen Greene Arthur J. Halleran, Jr. Howard Herring

Sheldon Anderson Adrienne Arsht Diane de Vries Ashley Robert T. Barlick, Jr. Fred Berens Sia Bozorgi Norman Braman Sheila Broser Robert S. Brunn M. Anthony Burns Donald Carlin*

Richard E. Schatz

Chairman Frances A. Sevilla-Sacasa Sherwood M. Weiser* Robert F. Hudson, Jr. Daryl L. Jones Edie Laquer Donald E. Lefton Rhoda Levitt George L. Lindemann Carlos C. Lopez-Cantera Pedro A. Martin, Esq. Arlene Mendelson Nedra Oren J. David Peña, Esq.

Jason Williams

Aaron S. Podhurst, Esq. Charles Porter Jane A. Robinson Richard E. Schatz Sherry Spalding-Fardie Robert H. Traurig, Esq. Sherwood M. Weiser* Lynn Wolfson *deceased

Carlos A. Gimenez Mayor MIAMI-DADE BOARD OF COUNTY COMMISSIONERS Rebeca Sosa Chairwoman Barbara J. Jordan District 1 Jean Monestime District 2 Audrey M. Edmonson District 3 Sally A. Heyman District 4

Harvey Ruvin Clerk of Courts

Cleveland Orchestra Miami 2013-14

Lynda Bell Vice Chairwoman Bruno A. Barreiro District 5 Rebeca Sosa District 6 Xavier L. Suarez District 7 Lynda Bell District 8 Dennis C. Moss District 9

Carlos Lopez-Cantera Property Appraiser

Arsht Center

Sen. Javier D. Souto District 10 Juan C. Zapata District 11 José “Pepe” Diaz District 12 Esteban Bovo, Jr. District 13

Robert A. Cuevas Jr. County Attorney

PHOTOGRAPH: CARL JUSTE/IRIS COLLECTIVE

CLEVELAND O R C H E ST R A

“The sellout audience was there for . . . the Ninth Symphony of Beethoven. The Ninth retains an enormous power to be an unforgettable event. . . . And The Cleveland Orchestra and Giancarlo Guerrero gave us a zesty, vibrant traversal of this iconic score. Guerrero’s enthusiasm is plain to see and feel, and his conception of the symphony had a compelling forward motion. “ —Palm Beach ArtsPaper, March 2013

CLEVELAND O R C H E ST R A

NEXT AT THE ARSHT CENTER . . . Arabella Steinbacher

High definition NASA photography

TCHAIKOVSKY’S FIFTH

HOLST’S THE PLANETS

Friday February 21 at 8:00 p.m. Saturday February 22 at 8:00 p.m.

Friday March 21 at 8:00 p.m. Saturday March 22 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Arabella Steinbacher, violin

THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Colin Currie, percussion Women of the Frost Symphonic Chorale KAREN KENNEDY, director

Tchaikovsky is often considered the most Romantic of composers. His Fifth Symphony has long been an audience favorite for its soaring, memorable melodies, and deeply passionate, emotional richness. Before intermission, internationally acclaimed violinist Arabella Steinbacher joins the Orchestra for Prokofiev’s fiery First Violin Concerto. Popular culture note: The second movement of Tchaikovsky’s Fifth Symphony inspired the songs “Moon Love,” recorded by both Glenn Miller and Chet Baker, and “Annie’s Song” by John Denver.

TICKETS

A modern classic, Gustav Holst’s The Planets has influenced every composer of science fiction and fantasy films. Based on the astrological symbols, this work explores the complexity of human consciousness against the mysteries of outer space. Also included on the concert, famed British percussionist Colin Currie displays his dazzling technique in a fast-paced fun-filled concerto by Jennifer Higdon. Don’t miss this unique presentation! “The Planets” is performed with high definition NASA images from space projected above the Orchestra on a large screen.

305-949-6722 ArshtCenter.org/Cleveland Visit ClevelandOrchestraMiami.com for a complete schedule of events and performances.

Upcoming Concerts

2013-14 Cleveland Orchestra Miami

Classical Music. It’s In Our Nature. Just like all of us, classical music lives and breathes. Make it part of your lifestyle. Tune to Classical South Florida on the radio or online. It’s in your nature.

classicalsouthﬂorida.org

Metamorphosis, an HermĂ¨s story

Miami Design District 175 North East 40th Street (305) 868-0118 Hermes.com