The Cleveland Orchestra Miami March 21-22 Concerts

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

GIANCARLO GUERRERO

Music Director

Principal Guest Conductor

February 21-22: Tchaikovsky’s Fifth March 21-22: The Planets: An HD Odyssey

ClevelandOrchestraMiami.com

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MARCH 29 THROUGH APRIL 12

by GIACOMO PUCCINI

In one of the most compelling dramas ever set to music, the beautiful singer Floria Tosca is forced to strike an unholy bargain with the evil chief of police to save her lover.

By dawn the next day, all three have paid a terrible price.

Puccini’s TOSCA: Magnificent Singing! Powerful Drama! Great Opera!

WWW.FGO#DG< 800.741.1010 Photo: Tosca © Rozarii Lynch for Seattle 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 Children’s Trust. The Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County.

Copyright © 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.

Cleveland Orchestra Miami 2013-14

Table of Contents 6

About Cleveland Orchestra Miami Miami Music Association . . . . . . . . . . . . . . . . . . . 6 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . . . . 9 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Principal Guest Conductor . . . . . . . . . . . . . . . . . 17 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . 18 News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

21

February 21-22 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Program: Tchaikovsky’s Fifth . . . . . . . . . . . . 21 Soloist: Arabella Steinbacher . . . . . . . . . . . . . . 27

39

March 21-22 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Program: The Planets . . . . . . . . . . . . . . . . . . . . 39 Soloist: Colin Currie . . . . . . . . . . . . . . . . . . . . . . . 45

Table of Contents

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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

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

2013-14 Cleveland Orchestra Miami

CLEVELAND Cleveland Orchestra Miami OAssociation R C H E ST R A presented by the Miami Music SHELDON T. ANDERSON President

DANIEL R. LEWIS Chairman in partnership with The Cleveland Orchestra and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

Dear Friends, It is my great pleasure to welcome you to these concerts of The Cleveland Orchestra, presented by Miami Music Association. Miami is our home, and it is an honor to add to the vibrant artistic culture of our great city by bringing this world-class orchestra here to perform for you.

Our relationship with The Cleveland Orchestra is truly one of a kind.

No other city can claim part-time ownership of an orchestra of this rank and reputation. Cleveland Orchestra Miami gives our community access to one of the world’s very best orchestras.

Individuals, businesses, and foundations from across Miami recognize the artistic impact Cleveland Orchestra Miami has on Miami’s cultural landscape. Gifts to the Annual Fund from the hundreds of generous donors listed on the following pages provide $2.9 million, representing over 60% of our yearly costs. Every Annual Fund gift directly supports Cleveland Orchestra performances here at the Adrienne Arsht Center, education programs for tens of thousands of students in Miami-Dade County Public Schools, education events throughout the community, and meaningful local partnerships such as our collaboration with the University of Miami Frost School of Music.

Thank you for making Cleveland Orchestra Miami a valuable part of Miami’s cultural landscape. With new and continuing support, we can all look forward to a vibrant — and music-filled — future.

Best regards,

Sheldon T. Anderson

Cleveland Orchestra Miami 2013-14

Welcome

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

Thank you.

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

Your support through this grant will help ensure Cleveland Orchestra Miamiâ&#x20AC;&#x2122;s ongoing success.

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

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 15, 2014.

Founders Council

Patrons Council

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

Stephen Barrow and Janis Manley Alex and Mary Claire Espenkotter Christopher Findlater Funding Arts Network 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

$100,000 and more

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

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

Daniel and Trish Bell Martha and Bruce Clinton Do Unto Others Trust Greenberg Traurig Morrison, Brown, Argiz & Farra, LLC Northern Trust Bank of Florida

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

The Batchelor Foundation Jayusia and Alan Bernstein Marsha and Brian Bilzin 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

Cleveland Orchestra Miami 2013-14

$5,000 to $9,999

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 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

Friends up to $2,499

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

Annual Fund Contributors

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 Arnstein & Lehr LLP 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 Patricia Carlin James and Christina Carpenter Raul Casares (RC Aluminum Industries, Inc.) Fernando Chacon Harold Chambers Betty B. Chapman listing continues

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CLEVELAND ORCHESTRA MIAMI listing continued 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

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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 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

Annual Fund Contributors

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 Ms. Gloria Liatsos Craig Likness and George Thompson Jon and Patricia Limbacher Dan Lin Monica Link Alexander Lipin Jack Loeb and Heidi Krisch

2013-14 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

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 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

Cleveland Orchestra Miami 2013-14

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 Mr. Mark Taylor Richard Taylor Cecelia Tendler Parker D. Thomson Esq. Jiska Timmer Friend

Annual Fund Contributors

listing continues

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CLEVELAND ORCHESTRA MIAMI listing continued 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

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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

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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 twelft h 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.

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Music Director

2013-14 Cleveland Orchestra Miami

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, 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 muchlauded 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.

Cleveland Orchestra Miami 2013-14

Principal Guest Conductor

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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. Yearround 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.

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The Cleveland Orchestra

2013-14 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

Concert Prelude A free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the eveningâ&#x20AC;&#x2122;s orchestral concert.

Friday, February 21, 2014, at 7:00 p.m.

Saturday, February 22, 2014, at 7:00 p.m.

from Piano Trio in A minor, Opus 50

by PYOTR ILYICH TCHAIKOVSKY (1840-1893) 1. Pezzo elegiaco (Moderato assai â&#x20AC;&#x201D; Allegro giusto)

Eli Matthews, violin Tanya Ell, cello Carolyn Gadiel Warner, piano

from Souvenir de Florence, Opus 70

by PYOTR ILYICH TCHAIKOVSKY (1840-1893) 1. Allegro con spirito

Chul-In Park, violin Sae Shiragami, violin Lembi Veskimets, viola Lisa Boyko, viola Bryan Dumm, cello Tanya Ell, cello

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

Cleveland Orchestra Miami 2013-14

February 21-22 Concert Prelude

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Friday evening, February 21, 2014, at 8:00 p.m.

Saturday evening, February 22, 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 Giancarlo Guerrero, conductor antonín dvorák

Othello Overture, Opus 93

sergei prokofiev

Violin Concerto No. 1 in D major, Opus 19

(1841-1904)

(1891-1953)

1. Andantino 2. Scherzo: Vivacissimo 3. Moderato ARABELLA STEINBACHER, violin

INTERMISSION

pyotr i. tchaikovsky (1840-1893)

Symphony No. 5 in E minor, Opus 64 1.

2.

3.

4.

Andante — Allegro con anima Andante cantabile con alcuna licenza Waltz: Allegro moderato Finale: Andante maestoso — Allegro vivace

This weekend’s concerts are sponsored by Morrison, Brown, Argiz & Farra, LLC. Additional sponsorship of Saturday’s concert is by Feldman Gale, P.A. Friday’s concert is supported in part by Ver Ploeg & Lumpkin, P.A.

Cleveland Orchestra Miami 2013-14

Program: February 21-22

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INTRODUCING THE PROGRAM

Life, Fate& Virtuosity

offer up three works from three varying strains of classical music at the turn of the 19th to the 20th centuries. With Dvořák’s Othello Overture of 1892, we have a passionate example of symphonic music classically built and infused with emotion — showing the two sides of love, between romance and jealousy. In Prokofiev’s Violin Concerto No. 1, from 1917, virtuosic display melds together with lyrical romanticism and moments of teasing modernism. And in Tchaikovsky’s mighty Fifth Symphony, premiered in 1888, we have this grand Russian master’s beautifully constructed musical musings on Fate. Here Tchaikovsky attempted to portray in music the twists and turns that life brings. So that we can hear challenges and outbursts that nevertheless end with strongly triumphant optimism.

THIS WEEKEND’S CONCERTS

Othello Overture, Opus 93 composed 1891-92

was well into middle age before his gifts as a composer were widely recognized, he soon thereafter emerged as one of Central Europe’s greatest composers — and was frequently mentioned as a worthy successor to Brahms as the leading proponent of Germanic symphonic traditions.

Even so, his Czech upbringing brought him a direct connection with the waves of nationalism cresting across mid-19th-century Europe. And Dvořák deftly applied the notion of homeland to his musical creations, borrowing freely from Czech music traditions while working within mainstream classical forms.

Many of his well-known works clearly reflect the musical rhythms and phrasings of his homeland. His great String Quartet in F major — written in 1893 in Spillville, Iowa, where the composer spent a relaxing summer at a Czech immigrant community — bounces with Czech rhythms, belying its nickname as the “American” Quartet. Even his most famous work, the “New World” Symphony of 1893 (composed in New York and orchestrated in Spillville), was written as a kind of classical music postcard. Composed during Dvořák’s two years in the United States, its music — and the work’s subtitle “From the A LT H O U G H DVO ŏ Á K

by

Antonín

DVOŏÁK born September 8, 1841 Nelahozeves, Bohemia died May 1, 1904 Prague

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About the Music

2013-14 Cleveland Orchestra Miami

New World” — reveal that he was both homesick for his native land and that he had found new musical ideas in the United States. In the symphony, he freely mixed together traditional European form with newer American musical thoughts influenced from English-language poetry, Native American Indian chanting, and the soulful songs of African-American former slaves.

Just before sailing to the United States to become the first director of the National Conservatory of Music, Dvořák created three short symphonic works, or concert overtures. He wanted to be sure he had a variety of his own pieces to perform at concerts in the U.S. — and conceived the three overtures as a set, depicting three universal ideas, of “Nature, Life, and Love.” All three are mood pieces, like a triptych in sound about three of life’s strongest emotional states: tranquility, exuberance, and jealousy. He intended them as fitting contrasts with his longer and more serious symphonies.

The first of these overtures, In Nature’s Realm, is a pastoral view of nature’s bounty and beauty. The second, Carnival, represents the joys of life as a village celebration.

Fitting with its more tempestuous subject matter, the third and last, Othello, comes across more mercurial than merry, with the music seemingly intent on portraying the strength of love as an emotion. Filled with longing, panging, and infused with joy, jealousy, heartache, and tragedy, this music is difficult to resist. Dissonant harmonies, passionate outbursts all vie for attention . . . until death do us part. Based on Shakespeare’s play, it portrays the intensity of love as an emotion, with passion devolving to jealousy and ending in bittersweet tragedy.

—Eric Sellen © 2014 Eric Sellen serves as program book editor for The Cleveland Orchestra.

Cleveland Orchestra Miami 2013-14

About the Music

At a Glance Dvořák composed a set of three concert overtures in 1891-92 to depict the ideas of “Nature, Life, and Love.”

The three were named In Nature’s Realm, Carnival, and Othello. All three were first performed, conducted by the composer, on April 28, 1892, in Prague, shortly before Dvořák would sail for America to become the first director of the National Conservatory of Music — the three overtures were created, in part, so that Dvořák would have some shorter works to conduct in America. Dvořák specified that the three could be performed as a group, in pairs, or separately.

The Othello Overture runs about 15 minutes in performance. Dvořák scored it for 2 flutes (second doubling piccolo), 2 oboes and english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings.

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Violin Concerto No. 1 in D major, Opus 19 composed 1914-17

by

Sergei

PROKOFIEV born April 27, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow

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W H E N P R O K O F I E V first sketched the romantic violin melody that would open this concerto, he was 24 years old. And he probably didn’t consciously yet realize that his musical style was changing. As he later described the shift, his music evolved from the “ultra-left idiom” of his first two piano concertos, the Scythian Suite, and the piano piece Sarcasm, and grew with a series of new compositions that showed a “softening of temper.” The Classical Symphony, on which he worked more or less simultaneously with the Violin Concerto No. 1, very much confirmed this tendency for growth.

In fact, the violin’s propensity to play beautiful lyrical melodies seems clearly to have put Prokofiev in a “romantic” mood that wasn’t much in evidence in the first two piano concertos, which projected a more “daredevil” attitude — and which had served as vehicles to showcase his own virtuosic skills at the keyboard. (The Third Piano Concerto, written just slightly later, is a different story yet again.) Not that the Violin Concerto No. 1 lacks virtuosic brilliance. Quite the contrary, it contains an almost complete catalog of effects (harmonics, double and triple stops, and so forth) that demand the utmost of the soloist. Yet, here, listening to this concerto, one always feels that Prokofiev wanted less to stun his audience than to delight it — though he occasionally teases the listener with the inevitable manifestations of his enfant terrible hoodlum personality.

Since August 1914, Russia had been embroiled in World War I, but Prokofiev did not let that fact get in the way of his feverish compositional activities. He and his mother retreated to a small village in the Caucasus, where he became involved in a secret romance with Nina Meshcherskaya. Her wealthy family, however, refused to have anything to do with a young Bohemian artist like Prokofiev, and the relationship was forcibly broken off. The romantic melody that opens the Violin Concerto was first written down during those months.

Despite the war, Prokofiev managed a trip to Italy in 1915 at the invitation of Sergei Diaghilev, the legendary impresario who had begun to promote Prokofiev’s music. After an adventurous return to Russia, he wrote his ballet The Buffoon for Diaghilev and his opera The Gambler for the Mariinsky Theater in St. Petersburg (which decided not to perform it).

About the Music

2013-14 Cleveland Orchestra Miami

He did not have a chance to return to the Violin Concerto until 1917 — just after the February Revolution put an end to czarist rule in Russia. Determined to be as far removed from the fighting as possible, Prokofiev took a long steamboat trip along the Volga and Kama rivers, venturing into distant tributaries near the Ural mountains. It was on the boat that he wrote and orchestrated most of the concerto.

Prokofiev initially wanted to write only a short “concertino” (presumably in one movement) on the theme jotted down in the Caucasus. In the end, he expanded the original concept to a full-fledged concerto, but the opening melody still plays a central role, figuring prominently both at the beginning and at the end of the work. It opens the first movement in a dreamlike fashion (Prokofiev instructs his soloist to play sognando, “as if in a dream”), with the solo violin over soft tremolos (fast repeated notes) in the violas. At the end of the movement, this theme will return in a shimmering orchestration, the melody taken over by the flute, as harp and solo violin add magical filigrees.

In between comes an extended virtuoso section, starting with a theme marked narrante (“as if telling a story”). Starting quietly, the music builds up considerable rhythmic momentum until an unaccompanied violin passage — all in double stops (playing two strings at once) — leads back to the opening melody.

The second movement (marked Scherzo vivacissimo) shows the author of Sarcasms at his most sarcastic. The “wild” Prokofiev is back, with a combination of relentless rhythmic ostinatos, spicy harmonies, and a level of technical difficulty bordering on the impossible.

The “lyrical” Prokofiev then makes his return in the last movement, which, contrary to expectation, is only moderately fast in tempo, and primarily melodic in its inspiration. The introductory theme, played by the bassoon, later returns in the brass. The solo violin has lyrical melodies of its own. The undiminished level of required virtuosity results from Prokofiev’s brilliant methods of embellishing those melodies, or from using the violin’s highest register where, as every violin student knows, it is hardest to play in tune. At the climactic moment, there is a quite audible scene change — the effect is as if an inner curtain had suddenly risen on the stage — and we are back to the Romantic starting point of the concerto. Here the opening melody comes in an iridescent setting very close to the one that ended the first movement.

Cleveland Orchestra Miami 2013-14

About the Music

The violin’s propensity to play beautiful and lyrical melodies seems to have clearly put the composer in a “romantic” mood that wasn’t much in evidence in his first two piano concertos, which projected a more “daredevil” attitude.

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At a Glance Prokofiev composed his first violin concerto during 1916 and 1917, although some melodies and ideas date from as early as 1914. Much of the work was done after the February Revolution that toppled the Imperial Russian government. The October Revolution, which installed Lenin’s Communists, disrupted plans for the work’s debut in 1917, and Prokofiev subsequently left Russia. The concerto was finally premiered in Paris on October 18, 1923, with Marcel Darrieux as the soloist and Serge Koussevitzky conducting. (Igor Stravinsky made his conducting debut at the same concert, leading the first performance of his own Octet for Winds.)

This concerto runs about 25 minutes. Prokofiev scored it for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, tuba, timpani, percussion (snare drum, tambourine), harp, and strings, plus the solo violin.

The Cleveland Orchestra first presented this concerto in November 1928.

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The “lyrical” and the “sarcastic” voices of Prokofiev are easily discernible throughout this concerto. The composer himself, discussing his own style in his autobiography written late in life, identified no fewer than four distinct strands. In addition to the lyrical side, he mentioned the “innovative,” which more or less covers what the world has perceived as “wild,” “barbaric,” or “sarcastic”; the “toccata-like,” which involves driving, motoric rhythms; and the “classical,” as developed most perfectly in the Classical Symphony. It is not hard to discover all four strands in the First Violin Concerto. The ways of writing introduced here would echo through Prokofiev’s works for years to come — not least in the Second Violin Concerto, written 20 years later.

—Peter Laki Copyright © Musical Arts Association

Peter Laki is a musicologist and lecturer on classical music.

He is a visiting associate professor at Bard College.

About the Music

2013-14 Cleveland Orchestra Miami

Arabella Steinbacher Since her unexpected debut in Paris in 2004, when she stepped in for an ailing colleague, German violinist Arabella Steinbacher has become one of today’s leading musicians on the international concert scene. She made her Cleveland Orchestra debut in February 2012 at Severance Hall in Cleveland.

Born in Munich in 1981 to a German father and a Japanese mother, Arabella Steinbacher began studying the violin at the age of three. Her mother is a professionally trained singer, and her father was the first solorepetitor for the Bavarian State Opera, from 1960 to 1972. At the age of 9, Ms. Steinbacher became the youngest violin student of Ana Chumachenko at the Munich Academy of Music. She has also studied with Ivry Gitlis. In 2001, Arabella Steinbacher won both the sponsorship prize of the Free State of Bavaria and a scholarship from the Anne-Sophie Mutter Foundation.

Ms. Steinbacher has appeared with many of the world’s major orchestras, including those of Boston, Chicago, Dresden, Leipzig, London, Munich, Paris, Philadelphia, San Francisco, Seoul, Sydney, Tokyo, and Vienna. Her festival performances include the BBC Proms, Beethoven Easter Festival in Prague, Beethoven Festival in Warsaw, MecklenburgVorpommern, Munich Summer Festival, Salzburg Festival, Schleswig-Holstein Music Festival, and the Schwetzinger Festival.

In recital, Arabella Steinbacher has appeared in New York, San Francisco, and Zurich, among other international music capitals. Her chamber music partners include pianists Robert Kulek and Peter von Wienhardt, and cellists Alban Gerhardt and Daniel Müller-Schott.

Among Ms. Steinbacher’s honors are two Echo-Klassik Awards, Les Chocs du Mois from Le Monde de la Musique, and two German Record Critics Awards, as well as the Editors Choice Award from Grammophone magazine. Prior to becoming an exclusive PentaTone Classics artist, she recorded for Orfeo International. For PentaTone, she has recorded violin concertos and other works by Bartók, Dvořák, and Szymanowski.

Arabella Steinbacher plays the “Booth” Stradivari (1716), generously provided by the Nippon Music Foundation.

For additional information, visit www.arabella-steinbacher.com.

Cleveland Orchestra Miami 2013-14

Soloist

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Symphony No. 5 in E minor, Opus 64 composed 1888

despite his growing international fame, Tchaikovsky was constantly plagued by self-doubt.

Early in 1888, he went on a three-month European tour, conducting his own works with some of the world’s finest orchestras. He was feted in Leipzig, Paris, London, and Prague, and made the acquaintance of Dvořák, Grieg, and Mahler.

Tchaikovsky’s private life, however, was not free from turmoil. His sister Alexandra and his niece Vera were both seriously ill, and one of his closest friends, Nikolai Kondratyev, had recently died. It must have been hard to escape the thought that life was a constant struggle against Fate, which appears as a hostile force attempting to thwart all human endeavors.

After his return from abroad, Tchaikovsky decided to write a new symphony, his first in ten years. Characteristically, the first sketches of the new work, made on April 15, 1888, include a verbal program portraying an individual’s reactions in the face of immutable destiny, involving stages of resignation, challenge, and triumph: “Introduction. Complete resignation before Fate, or, which is the same, before the inscrutable predestination of Providence. Allegro. (1) Murmurs of doubt, complaints, reproaches against XXX. (2) Shall I throw myself in the embraces of faith??? A wonderful program, if only it can be carried out.”

Tchaikovsky never made this program public, however, and in one of his letters even went out of his way to stress that the symphony had no program. Clearly, the program was an intensely personal matter to him, in part because he was reluctant to openly acknowledge his homosexuality, which seemed to him one of the hardest manifestations of the Fate he was grappling with. Many people believe that the un-named, mysterious “XXX” in the sketch stands for homosexuality. In his diaries, Tchaikovsky often referred to his homosexuality as “Z” or “That.”

What, if anything, are we to make of all this? Should we listen to Tchaikovsky’s Fifth as a program symphony, about Fate and Destiny? How concerned should we be about thoughts the composer never wanted to divulge, especially those regarding his sexual impulses?

It seems clear that the “program” that Tchaikovsky had sketched had a deep influence on his thinking during the time he was writing the Fifth Symphony — without it, the symphony A T T H E A G E O F F O R T Y - E I G H T,

by

Pyotr Ilyich

TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

28

About the Music

2013-14 Cleveland Orchestra Miami

would not be what it is. Perhaps most particularly, the opening theme — the “Fate theme” — would probably not return so ominously in all four movements.

At the same time, the “program” in itself is insufficient to explain the finished work, in part because the “meaning” of many other themes throughout the symphony is unclear.

Moreover, Tchaikovsky had already written a “Fate” symphony — the Fourth — for which a more detailed program survives.

And the similarities of the two programs do little to explain the great differences between the two works. (The program of the Fourth is problematic in itself, for no sooner had Tchaikovsky written it down in a letter to his patroness than he declared it to be hopelessly “confused and incomplete. . .”.)

As for the question of the privacy of a composer’s feelings and desires, while we shouldn’t be too preoccupied with a composer’s most private thoughts, we probably can’t ignore them completely either — especially because there is ample evidence to suggest that Tchaikovsky in particular was both unable and unwilling to separate his extramusical preoccupations from his composing. (The blending of work and life comprises an infinite variety of mixtures among human beings — and some other composers have kept their music and their lives quite separate.)

The four movements of Tchaikovsky’s Fift h Symphony are linked by a common theme, often played by the brass instruments and apparently symbolizing the threatening power of Fate. English musicologist Gerald Abraham noted that this theme was taken almost literally from an aria in Mikhail Glinka’s opera A Life for the Tsar, in which it was sung to the words “Ne svodi na gore” (“Do not turn to sorrow”).

The Fate theme is first heard in the Andante introduction of the first movement, soon to be followed by a more lyrical, lilting idea as we move into the faster Allegro con anima tempo. Even with the change of melody, the accompaniment of the Fate motif remains present as a stern reminder. The entire first movement swings back and forth between lyrical and dramatic moments. We would expect it to end with the final fortissimo climax. Instead, the volume gradually decreases to a whisper, and the mysterious last measures are scored for the lowest-pitched instruments in the orchestra — bassoons, cellos, double basses, and timpani.

The second movement is lyrical and dream-like, suggesting a brief respite from the struggle. The first horn plays a Cleveland Orchestra Miami 2013-14

About the Music

The four movements of Tchaikovsky’s Fifth Symphony are linked by a common melodic thread that seems to symbolize the threatening power of Fate.

Even with growing international fame, the composer was never free of self-doubt and uncertainty.

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At a Glance Tchaikovsky wrote his Fifth Symphony in 1888, completing it on August 26.

He conducted its premiere on November 17, 1888, in St. Petersburg. The first performance in the United States was given on March 5, 1889, by conductor Theodore Thomas in New York City.

This symphony runs about 45 minutes in performance. Tchaikovsky scored it for 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings.

The Cleveland Orchestra first performed Tchaikovsky’s Fifth during its second season in 1919-20, and has performed it frequently since that time, at home and on tour.

beautiful singing melody, eventually joined by the full orchestra. A second idea, in a slightly faster tempo, is introduced by the clarinet. Soon, however, an intense crescendo begins, culminating in the fortissimo entrance of the Fate theme. The movement’s opening theme returns, again interrupted by Fate; only after this second dramatic outburst does the music finally find its long-desired rest.

The third movement is a graceful waltz, with a slightly more agitated middle section. Again we expect a respite from the Fate theme and the emotional drama it represents. Yet before the movement is over, there is a short reminder, subdued yet impossible to ignore, in the clarinets and bassoons.

In the fourth-movement finale, Tchaikovsky seems to have taken the bull by the horns. The Fate theme dominates the entire movement, despite the presence of a number of contrasting themes. At the end of a grandiose development section, the music comes to a halt on the key signature’s dominant (the fift h degree of the scale, which often serves as the opposite pole to the tonic or home keynote). At some performances over the years, audience members have mistakenly thought that the symphony was over at this point and started applauding. The final resolution, however, is yet to come, in the form of a majestic reappearance of the Fate theme and a short Presto section in which all “doubts, complaints, and reproaches” are cast aside. Against all odds — or is it simply humanity’s optimistic desires? — the symphony receives the triumphant ending we’ve all been listening for.

—Peter Laki Copyright © Musical Arts Association

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About the Music

2013-14 Cleveland Orchestra Miami

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T H E

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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

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

CELLOS Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio Llinas 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair 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

Helen Weil Ross Chair 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

HORNS Richard King *

George Szell Memorial Chair

Saeran St. Christopher Marisela Sager 2

Michael Mayhew

Mary Kay Fink

Jesse McCormick Hans Clebsch Alan DeMattia

Austin B. and Ellen W. Chinn Chair

PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Mary Lynch Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen *

Knight Foundation Chair

TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

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 *

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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

2

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

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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

—The Guardian (London)

P H OTO BY R O G E R M A S T R O I A N N I

“Cleveland’s reputation as one of the world’s great ensembles is richly deserved.”

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, March 21, 2014, at 7:00 p.m.

Saturday, March 22, 2014, at 7:00 p.m.

from Piano Quartet No. 1 in G minor, K.478

by WOLFGANG AMADÈ MOZART (1756-1791) 1. Allegro

Emma Shook, violin Patrick Connolly, viola Paul Kushious, cello Carolyn Gadiel Warner, piano

from Piano Quintet in A minor, Opus 84

by EDWARD ELGAR (1857-1934) 3. Andante — Allegro

Stephen Rose, violin Jeanne Preucil Rose, violin Stanley Konopka, viola Richard Weiss, cello Joela Jones, piano

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

Cleveland Orchestra Miami 2013-14

March 21-22 Concert Prelude

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1 7 5 0 A T T O R N E Y S | 3 6 L O C A T I O N S W O R L D W I D E˚

Greenberg Traurig proudly supports Cleveland Orchestra Miami in its mission to share the value and joy of music with our community, expand educational programs, and maintain the highest level of artistic excellence.

ADAM M. FOSLID GREENBERG TRAURIG, P.A. 333 SE 2ND AVENUE | SUITE 4400 MIAMI, FL 33131 | 305.579.0500

MIAMI ROOTS, GLOBAL REACH. G R E E N B E R G T R A U R I G , P. A . | AT T O R N E Y S AT L A W | W W W . G T L A W . C O M Greenberg Traurig is a service mark and trade name of Greenberg Traurig, LLP and Greenberg Traurig, P.A. ©2014 Greenberg Traurig, LLP. Attorneys at Law. All rights reserved. °These numbers are subject to fluctuation.

22800

Friday evening, March 21, 2014, at 8:00 p.m.

Saturday evening, March 22, 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 Giancarlo Guerrero, conductor wolfgang amadè mozart

Overture to The Abduction from the Seraglio

jennifer higdon

Percussion Concerto

(1756-1791)

(b. 1962)

COLIN CURRIE, percussion

INTERMISSION

The Planets, Opus 32

gustav holst (1874-1934)

1.

2.

3.

4.

5.

6.

7.

Mars, The Bringer of War Venus, The Bringer of Peace Mercury, The Winged Messenger Jupiter, The Bringer of Jollity Saturn, The Bringer of Old Age Uranus, The Magician Neptune, The Mystic

Women of the FROST SYMPHONIC CHORALE Corin T. Overland, director

performed with “The Planets: An HD Odyssey” projected onscreen above the orchestra

This weekend’s concerts are sponsored by Greenberg Traurig.

Cleveland Orchestra Miami 2013-14

Program: March 21-22

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INTRODUCING THE PROGRAM

Gods, Planets& Percussion

offer musical works with a difference. The first two feature percussion as an “unusual” element. Mozart’s opera The Abduction from the Seraglio has a storyline set in the Middle East, once an unknown culture and frontier for Europe. The overture features percussion as exotic spice.

(That we have grown beyond these simpler ideas of “different” from two centuries ago does not reduce the pleasure that Mozart’s musical invention offers.)

Next up is a concerto for percussion by the American composer Jennifer Higdon, bringing to front and center a wide array of sounds often relegated to the rear. The resulting aural splendor is as interesting to watch as to hear. The feast concludes after intermission, with Gustav Holst’s large-scale suite The Planets, especially accompanied here with projected high defi nition images of our neighboring celestial bodies — engaging our eyes, ears, and imaginations.

THIS WEEK’S CONCERTS

Overture to The Abduction from the Seraglio composed 1782

(or “singing play”) The Abduction from the Seraglio [Die Entführung aus dem Serail] was the first opera Mozart wrote after his move to Vienna in 1781. Although he had spent some time there as a child and again as a teenager, he was making his debut in the imperial capital as a mature composer.

The Abduction from the Seraglio, premiered at the Burgtheater in July 1782, was a great success. Its use of a native-language libretto went a long way toward establishing German opera as a regular part of the repertoire — until then, the primary language of opera had been Italian. Mozart’s opera was soon performed by opera companies all over the German-speaking areas of central Europe.

Although this work was a turning point in Mozart’s career as a composer, it was equally (or more) important to him for personal reasons. The heroine’s name in the opera is Konstanze. Mozart married his betrothed, Konstanze Weber, on August 4, 1782, less than three weeks after the premiere. The juxtaposition of these names between real-life and as the loveinterest onstage in his music was a powerful emotional con-

THE SINGSPIEL

by

Wolfgang Amadè

MOZART born January 27, 1756 Salzburg died December 5, 1791 Vienna

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About the Music

2013-14 Cleveland Orchestra Miami

nection for the composer.

The Abduction from the Seraglio, whose libretto was written

by Gottlieb Stephanie Jr. after a play by German playwright C.F. Bretzner, takes place in Turkey, and its plot concerns the rescue of three Europeans from captivity. This gave Mozart the opportunity to bring in elements of “Turkish music,” as he had done earlier in At a Glance his Violin Concerto No. 5. In the opera, Mozart used a (for him) Mozart composed his opera large percussion battery (he hardly ever used the bass drum, the Die Entführung aus dem cymbals, and the triangle, as he did here) and a particular kind of Serail [“The Abduction from simple and repetitive melody that carried Turkish connotations in the Seraglio”] in 1782; the first performance was given 18th-century Vienna. The idea was not necessarily authentic, but in Vienna in July of that year, Turkish troops, with whom Europeans had recently been fightat the new National Theater ing, were known for marching to the sound of percussion instruin Vienna. ments — and thus this kind of rhythmic use came to be known This overture runs just as “Turkish” music for 18th-century Europeans. over 5 minutes in performance. Mozart scored it The Overture to The Abduction from the Seraglio is a for piccolo, 2 oboes, 2 clariprime example of Mozart’s Turkish style. It is a dashing movenets, 2 bassoons, 2 horns, ment in a presto tempo. There is, however, an unexpected slow 2 trumpets, timpani, bass middle section, where the tonality changes from major to minor drum, cymbals, triangle, and strings. mode. This lyrical passage anticipates Belmonte’s aria opening the opera’s first act. Belmonte is the amorous young nobleman who comes to liberate his fiancée Konstanze from imprisonment in the seraglio, the private living quarters of a large Turkish household in the Ottoman Empire. (The seraglio was often equated in Western minds with the idea of a harem of wives and servants.)

After the short intermezzo, the overture’s presto tempo returns. In the opera, the overture has an open ending that is immediately followed by Belmonte’s aria (now in major). There is, however, a concert ending available for performances of the overture alone. It was written by Johann Anton André (1775-1842), a contemporary composer and music publisher who printed many Mozart first editions, and whose father The assembled court of Sultan Selim III in the Second Courtyard Garden of the Topkapi Palace in Istanbul.

Johann, had written his own opera AbThis public space is just outside the “seraglio” or duction from the Seraglio a year before private living quarters for the sultan and his wives.

Oil on canvas, 1789.

Mozart.

(Topkapi Sarayi Museum, Istanbul) —Peter Laki Copyright © Musical Arts Association

Cleveland Orchestra Miami 2013-14

About the Music

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Percussion Concerto composed 2004-05

by

Jennifer

HIGDON born December 31, 1962 Brooklyn, NY resides in Philadelphia

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T H E 2 0 T H C E N T U R Y saw the development of the percussion section grow as no other section in the orchestra. Both the music and the performers grew in visibility as well as in capability and number. And while the concerto as a form wasnâ&#x20AC;&#x2122;t the least bit new, the appearance and growth of the â&#x20AC;&#x153;percussion concertoâ&#x20AC;? as a genre exploded during the latter half of the century.

My Percussion Concerto follows the normal relationship of a dialogue between soloist and orchestra. In this work, however, there is an additional relationship with the soloist interacting extensively with the percussion section. The ability of performers has grown to such an extent that it has become possible to have sections within the orchestra interact at the same level as the soloist.

When writing a concerto, I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba (the favorite instrument of soloist Colin Currie), to non-pitched smaller instruments (brake drum, wood blocks, Peking Opera gong), and to the drums themselves. Not only does a percussionist have to perfect playing all of these instruments, but he or she must make hundreds of decisions regarding the use of sticks and mallets, as there is an infinite variety of possibilities from which to choose. Not to mention the choreography of the movement of the player; where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized. No other instrumentalist has such a large number of variables to challenge and master.

My Percussion Concerto begins with the sound of the marimba, as Colin early on informed me that he has a fondness for this instrument. I wanted the opening to be exquisitely quiet and serene, with the focus on the soloist. Then the percussion section enters, mimicking the gestures of the soloist. Only after this dialogue is established does the orchestra enter. There is significant interplay between the soloist and the orchestra, with a fairly beefy accompaniment in the orchestral part, but at various times the music comes back down to the sound of the soloist and the percussion section playing together, without About the Music

2013-14 Cleveland Orchestra Miami

Higdon with her cat Beau.

At a Glance

orchestra.

Eventually, the music moves through a slow lyrical section, which requires simultaneous bowing and mallet playing by the soloist, and then a return to the fast section, where a cadenza ensues with both the soloist and the percussion section.

A dramatic close to the cadenza leads back to the orchestraâ&#x20AC;&#x2122;s opening material and the eventual conclusion of the work.

Written for Colin Currie, this work is dedicated to him.

The piece was commissioned jointly by the Philadelphia Orchestra, Indianapolis Symphony Orchestra, and the Dallas Symphony Orchestra. It was premiered in November 2005 in Philadelphia. â&#x20AC;&#x201D;Jennifer Higdon

Cleveland Orchestra Miami 2013-14

About the Music

Higdon wrote her Percussion Concerto on a joint commission from the orchestras of Philadelphia, Indianapolis, and Dallas. The commission was made possible with support from the Philadelphia Music Project (an artistic initiative of the Pew Charitable Trusts, administered by the University of the Arts), and by a generous gift from LDI Ltd. and the Lacy Foundation.

The concerto was premiered on November 25, 2005, by the Philadelphia Orchestra and Colin Currie, with Christoph Eschenbach conducting.

This concerto runs about 25 minutes. Higdon scored it for 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion (three players: ONE: marimba, chinese suspended cymbal, castanet, clave, woodblocks, tomtoms, sizzle cymbal, crotales; TWO: chimes, cymbal, snare drum, glockenspiel, low bongo, tom-toms, woodblocks, tam-tam, vibraphone; THREE: vibraphone, guiro, triangle, temple blocks, bass drum, suspended cymbal, rute), harp, celesta, piano, and strings, plus the solo percussionist (with a large assortment of instruments).

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About the Composer was born in Brooklyn, New York, on the last day of the year 1962. The Pulitzer Prize-winning composer started late in music, teaching herself to play flute at the age of 15 and then beginning formal musical studies at 18. Composition began even later, at the age of 21. Despite this slow schedule, Higdon has become a major figure in contemporary classical music and makes her living from commissions, completing between five and ten pieces a year. These works represent a range of genres, from orchestral to chamber and from choral and vocal to wind ensemble. Jennifer Higdon is currently writing an opera, based on Charles Frazier’s book Cold Mountain, scheduled to be premiered in August 2015 by Santa Fe Opera.

Hailed by the Washington Post as “a savvy, sensitive composer with a keen ear, an innate sense of form and a generous dash of pure esprit,” Higdon was recently cited by the League of American Orchestras as one of America’s most frequently performed composers. Her orchestral work blue cathedral is one of the most performed contemporary symphonic works and has received more than 400 performances worldwide since its premiere in 2000.

Jennifer Higdon received the 2010 Pulitzer Prize in Music for her Violin Concerto, with the committee citing her work as a “deeply engaging piece that combines flowing lyricism with dazzling virtuosity.” She has also received awards from the Serge Koussevitzky Foundation, Guggenheim Foundation, American Academy of Arts & Letters, Pew Fellowship in the Arts, Meet-the-Composer, National Endowment for the Arts, and ASCAP. Higdon was the University of Wyoming’s artist-in-residence during the 2010-11 season. In 2012, she was honored by the Delaware Symphony with the A.I. DuPont Award for her contributions to the symphonic literature. She has been a featured composer at festivals including Tanglewood, Vail, Cabrillo, Grand Teton, Norfolk, and Winnipeg. She has served as composer-in-residence with the Pittsburgh Symphony Orchestra, Green Bay Symphony Orchestra, Philadelphia Orchestra, and the Fort Worth Symphony.

Higdon’s works have been recorded on over four dozen albums. Her Percussion Concerto won the Grammy Award for Best Contemporary Classical Composition in 2010. Her most recent releases include string music by the Serafin Quartet (2013), works performed by Gary Graffman and the Lark Quartet (2013), and the symphonic band version of her Soprano Sax Concerto (2012).

Higdon received a bachelor of music degree from Bowling Green State University in Ohio, a diploma from Philadelphia’s Curtis Institute of Music, and master’s and doctorate degrees from the University of Pennsylvania. She currently holds the Milton L. Rock Endowed Chair in composition studies at the Curtis Institute of Music. Her music is published exclusively by Lawdon Press.

For more information, visit www.jenniferhigdon.com.

JENNIFER HIGDON

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About the Music

2013-14 Cleveland Orchestra Miami

Colin Currie Scottish percussionist Colin Currie is an international solo and chamber artist and a champion of new music. He performs regularly with the world’s leading orchestras. He is making his Cleveland Orchestra debut with this weekend’s concerts.

Colin Currie began his percussion studies at the age of 5. He later attended the Royal Scottish Academy of Music and Drama and, in 1998, graduated from the Royal Academy of Music. He served as principal timpani with the National Youth Orchestra of Scotland and the European Youth Orchestra. His honors include a 2000 Royal Philharmonic Society Young Artist Award and a 2005 Borletti-Buitoni Trust Award.

Mr. Currie has premiered new compositions by composers including Kalevi Aho, Elliott Carter, Alexander Goehr, Jennifer Higdon, Simon Holt, Dave Maric, Nico Muhly, Einojuhani Rautavaara, Kurt Schwertsik, and Julia Wolfe.

Upcoming commissions involve composers Louis Andriessen, Anna Clyne, James MacMillan, Andrew Norman, Steve Reich, and Rolf Wallin.

Colin Currie is artist-in-residence at London’s Southbank Centre, a role that allows him to develop relationships with artists and ensembles across a variety of art forms, as well as participate in collaborative and educational projects.

His current and upcoming engagements include his debuts with the Nagoya Philharmonic and São Paulo Symphony, and concerts with the BBC Scottish Symphony, Bergen Philharmonic, Cincinnati Symphony Orchestra, Houston Symphony Orchestra, Leipzig Radio Symphony Orchestra, Scottish Chamber Orchestra, Toronto Symphony Orchestra, and the Utah Symphony.

His percussion ensemble, the Colin Currie Group, has received critical acclaim for its performances of Steve Reich’s works, and has appeared in Amsterdam and Tokyo, as well as the United Kingdom. Mr. Currie also collaborates in recital and chamber music performances with artists including trumpeter Håkan Hardenberger, violinist Nicholas Hodges, and the Pavel Haas Quartet.

Among Colin Currie’s recordings of concerto, recital, and chamber works is Goehr’s Since Brass, nor Stone on NMC. His album of Rautavaara’s Incantations for Ondine won a 2012 Gramophone Award, and his recording of Higdon’s Percussion Concerto received a 2010 Grammy. He can also be heard on the Challenge Classics and Onyx labels.

For additional information, visit www.colincurrie.com.

Colin Currie plays Zildjan cymbals and is a MarimbaOne Artist.

Colin Currie is represented by Intermusica.

Cleveland Orchestra Miami 2013-14

Soloist

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AU = ASTRONOMICAL UNIT

NEPTUNE

URANUS equatorial diameter: 31,763 miles average distance from sun: 19.19 AU length of year (once around the sun): 84.3 earth years

SATURN S e equatorial diameter: 74,898 miles aaverage distance from sun: 9.54 AU length of year (once around the sun): 29.5 earth years le

JUPITER equatorial diameter: 88,846 miles average distance from sun: 5.2 AU length of year (once around the sun): 11.9 earth years

MARS equatorial diameter: 4,217 miles average distance from sun: 1.52 AU length of year (once around the sun): 687 earth days

EARTH equatorial diameter: 7,926 miles average distance from sun: 1.0 AU ASTRONOMICAL UNIT length of year (once around the sun): 365.25 days ONE EARTH YEAR

VENUS equatorial diameter: 7,520 miles average distance from sun: 0.72 AU length of year (once around the sun): 225 earth days

MERCURY equatorial diameter: 3,031 miles average distance from sun: 0.39 AU length of year (once around the sun): 88 earth days illustrations are not shown to scale

THE SOLAR SYSTEM

(the average distance

equatorial diameter: 30,775 miles of the earth from the sun) average distance from sun: 30.06 AU length of year (once around the sun): 164.9 earth years

The Planets, Opus 32 Orchestral Suite in Seven Movements composed 1914 -16

I N H I S E A R LY Y E A R S , Holst went under the full name Gus-

by

Gustav

HOLST born September 21, 1874

Cheltenham, England died May 25, 1934 London

The Planets: An HD Odyssey is a project of Opus 3.

tav von Holst, but he was entirely English in his upbringing, as were his father and grandfather. His closest friend was Ralph Vaughan Williams, and his fondness for English folksong is clear from such pieces as his Somerset Rhapsody and Moorside Suite. But Holst was also fascinated by remote cultures and occult beliefs. He studied Sanskrit and Hindu literature, and his choice of texts for operas and songs was astonishingly wide.

His range of musical activities was wide too, being composer, arranger, conductor, and full-time schoolteacher all his adult life. He managed to find time to write an immense quantity of music in different forms, skirting the traditional categories of symphony, sonata, and string quartet, and instead making unconventional groups of pieces on unconventional subjects.

A suite of seven tone poems on the astrological implications of the planets was an inspired conception of this kind, which came to Holst partly from an ambition to write more orchestral music along the lines of his “oriental” suite BeniMora, completed in 1910. What became The Planets was also partly (perhaps) in imitation of Schönberg’s Five Pieces for Orchestra, which he had heard in 1912, and partly from reading What is a Horoscope and How is it Cast by Alan Leo, recently published. First performed at the end of hostilities in 1918, the ferocious imagery of Mars, Bringer of War, was assumed to have been written in response to the battlefield carnage, when in fact it was sketched out in the summer of 1914, before war was declared. It thus belongs to that significant body of aggressive orchestral music by European composers that seemed to prefigure the violence soon to be unleashed in World War I. Mars was the first movement to be composed, and if Holst at one time planned to present the seven planets in the obvious order, beginning with Mercury, the closest to the sun, and ending with Neptune (then thought to be the furthest planet in the solar system — and still arguably so), he settled instead on a sequence that leads from the grim physicality of mortal combat via the intervening planets to Neptune’s disembodied mystical universe. Mercury was moved to third place, where

Cleveland Orchestra Miami 2013-14

About the Music

47

At a Glance Holst composed The Planets between 1914 and 1916.

The first performances were private and incomplete; the official premiere took place on November 15, 1920, with Albert Coates conducting. (The success of the work was so great that two American orchestras, the New York Philharmonic and the Chicago Symphony, vied for the privilege of giving the United States premiere. The situation was resolved by arranging for both to play the work on the same day.)

The Planets runs about 50 minutes in performance.

Holst scored it for 4 flutes (third and fourth doubling piccolos, fourth also doubling bass flute), 3 oboes (third doubling bass oboe), English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 2 tenor trombones, bass trombone, tenor tuba, bass tuba, timpani, percussion, celesta, 2 harps, organ, and strings, plus (in the last movement) an offstage chorus of women’s voices.

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a scherzo would normally be found in a symphony. There is, naturally, no movement for Pluto, which was not then known to exist (and is now in any case officially demoted from planetary status by the authorities on such matters).

Venus and Jupiter were also composed in 1914, with Saturn, Uranus, and Neptune in 1915, and Mercury, the last to be written, in 1916. Opportunities for performing such a large work were limited in the war years, but thanks to Balfour Gardiner, a generous benefactor to English musicians and himself a composer, Holst was able to hear a private run-through, skimpily rehearsed, in September 1918. The full work was publicly performed for the first time in November 1920. (Balfour Gardiner’s great-nephew, John Eliot Gardiner, has in his turn made a fine recording of the work.)

Holst always resisted performances of individual movements, but was powerless to prevent the popularity of certain sections, notably Jupiter, whose broad tune he allowed to be issued as a hymn to the words “I vow to thee, my country.” When invited to conduct the Boston Symphony Orchestra in January 1932, Holst insisted that the work be performed complete or not at all, with the result that other works were played instead.

THE MUSIC

Mars was the Greek god of war, but Holst was trying not just to reflect the mythological characters of the Greek gods after whom the planets are named. In his suite, he was also interested in their astrology, to which Alan Leo’s book guided him. The battle imagery of Mars is unmistakable, made grotesque by insistent drumbeats and the 5/4 meter, and building again and again to brutal climaxes on huge dissonant chords.

The organ adds its powerful voice to the uproar.

Mythology associates Venus more with love than with peace, while astrology endows those born under this planet with a refined nature and deep devotion to those they love.

Following directly after Mars, Venus inevitably delivers peace, but also explores serenity, beauty, and delicate quietude, aided by the sounds of glockenspiel, celesta, and harps.

Mercury, the Winged Messenger, moves swiftly and nimbly, and a “mercurial” character emerges from the interplay of instruments and the brilliance of the woodwinds. A symphonic scherzo in form, it contains a Trio section in which a melody (which could just as well have come from the Russian composer About the Music

2013-14 Cleveland Orchestra Miami

Alexander Borodin) is heard on a solo violin and then, unchanged, a dozen times more in different orchestral dress each time.

Jupiter brings jollity and much else besides. Enthusiasm, manly energy, lopsided acrobatics, peasant merrymaking, nobility and grandeur — these all seem to have a place in this movement, with its broad tune in the middle evoking Elgar’s sound world. Leo attributed to Jupiter’s sons “an abundance of life and vitality. Those born under its influence are cheery and hopeful in disposition, and possess a noble and generous spirit.

They possess that true religious spirit which gives faith, and abundant hope.” All this and more is contained in this rich, generous movement.

Saturn, said to have been Holst’s favorite movement, is the longest in the suite. The orchestration is highly imaginative, with the three flutes and harp harmonics treading painfully forward while the double basses stir in the depths. The bass oboe adds its unusual voice. Old age is represented as slow and steady, but not necessarily in a negative sense. The melodic fragments are highly expressive and the balance of the movement is profoundly satisfying.

Holst’s attribution of magic powers to Uranus seems to have been his own fanciful gloss on the strange, erratic character associated with that planet.

Thumping timpani, galumphing bassoons, swirling piccolos, and a humorous march certainly add up to a lovable eccentricity and a remarkably inventive piece of music, as if performed . . . by magic.

18th-century lithograph depicting a With Neptune, the Mystic, Holst comes to the classical Roman statue of Mercury, psychological heart of his planetary journey. The the Winged Messenger.

5/4 meter may be an echo of Mars, but the stillness of the music and the delicacy of its orchestration paint a quite different world. The supreme invention was to call for an invisible choir of female voices, which fade to nothing like a dot of light disappearing into the infinite darkness of space.

—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.

Cleveland Orchestra Miami 2013-14

About the Music

49

UNIVERSITY OF MIAMI FROST SCHOOL OF MUSIC

Frost Symphonic Chorale Corin Overland, Director

The Frost Symphonic Chorale is an auditioned chorus specializing in repertoire for large chorus and orchestra. Recent performances include engagements with the Frost Symphony Orchestra and the Miami Bach Society. The women of the Symphonic Chorale are performing several concerts of repertoire for treble voices this season, in addition to these performances with The Cleveland Orchestra.

WOMEN’S CHORUS — HOLST’S THE PLANETS Diana Arato Claire Berkowitch Susan Cabrera Anne Carruthers Qiyu Chen Anna Collado Elizabeth Cooke Christina Davila Ella Dotty Sierra Farquar Rachel Fritz

Ainara Gastaminsa Amy Gionfriddo Brenda Gonzales Mary Gorman Gianna Horak Sierra Karr Joy Lakin Monica Larrea Ashley Levin Emma Marzen Emily Minkow

Margaret Nuetzel Hannah O’Connor Melissa Olsson Audrey Perkins Conley Pollard Rachel Querreveld Amber Robb Alissa Roca Gabrielle Rodriguez Alissa Sanchez Janessa Sanchez

Natalie Santiago Alyson Scherding Kate Schmicker Marissa Simmons Ariel Snihur Nicole Steinberg Lauren Talaga Jacqueline Vilca Jasmin Vilca Shelby Wedelich

Corin Overland Corin T. Overland is an assistant professor of professional practice in music education at the University of Miami Frost School of Music, where he teaches courses in choral conducting, choral literature, and secondary choral methods. Mr. Overland earned a PhD in music education from Temple University in Philadelphia, where he held teaching and research assistantship positions. He holds a master of music degree in choral conducting from the University of Missouri at Kansas City, where he studied with Eph Ehly and Charles Bruff y, and holds multiple teaching certifications in choral, instrumental, and general music. He appears frequently as guest conductor and clinician for local and national events, serving most recently as the conductor of All-State Jr. Honor Choirs in Oregon and Delaware. His research interests include the history of music education organizations, integrated-arts school reform models, and the effects of musical training on physical coordination and timing. He has presented research nationally and internationally, and is published in the Journal of Research in Historical Music Education and the Music Educator’s Journal.

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Guest Artists

2013-14 Cleveland Orchestra Miami

Learning Then, Leading Now

Our students, like those before them, are learning to lead.

PATRICK MURPHY

Class of ’01 United States Congressman

LY NLEY WALKER CIOROBEA

Class of ’96 EWM Realtor & Mother

DA X TEJER A

Class of ’03 Fusion (ABC/ Univision) Sr. Coordinating Producer

Serving a community of students in grades 6-12.

7900 Southwest 176th Street, Palmetto Bay, Florida 33157 Call (305) 969-4208 | www.palmertrinity.org

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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

Phone Numbers Accessibility

(786) 468-2011(TTY)

Advertising

(786) 468-2232

$GPLQLVWUDWLRQ 2IÂżFHV %R[ 2IÂżFH

(866) 949-6722 M â&#x20AC;&#x201C; F 10am â&#x20AC;&#x201C; 6pm Sat. â&#x20AC;&#x201C; Sun. noon to Curtain

Facilities Rental

(786) 468-2287

Advancement

(786) 468-2040

Group Sales

(786) 468-2326

Membership

(786) 468-2040

Parking

(305) 949-6722 (866) 949-6722

or visit www.arshtcenter.org Anna Murch fountain in the Thomson Plaza for the Arts

52

Prelude by Barton G.

(305) 357-7900

Security

(786) 468-2081

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

53

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

54

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

55

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

58

2013-14 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

NEWS

Cleveland Orchestra Miami serves Miami-Dade community through musical excellence, education programs, and community partnerships The Cleveland Orchestra serves more than 20,000 adults and young people in the Miami-Dade community through a variety of concerts and community engagement activities each year created as part of Cleveland Orchestra Miami. Education and community programs have been an integral part of Cleveland Orchestra Miami since the ensemble’s annual residency was launched in 2007.

In presenting these programs and activities, Cleveland Orchestra Miami has worked with community partners including the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, University of Miami Frost School of Music, New World Symphony, Miami-Dade County Public Schools, Miami Music Project, Arts for Learning, Coconut Grove Cares/The Barnyard, Coral Gables Congregational Church concert series, Florida International University, Greater Miami Jewish Federation, “I Have a Dream” Foundation, Miami City Ballet, Miami-Dade County Department of Cultural Affairs’ Golden Ticket and Cultureshock programs, MOCA North Miami, Overtown Youth Center, Ransom Everglades School, Sunday Afternoons of Music, Temple Beth Am, Archdiocese of Miami, and Wolfsonian-FIU. Each year, Cleveland Orchestra Miami builds its education programs with one goal in mind — to inspire music exploration. Presentations include a series of “Musical Rainbow” concerts for pre-school and early elementary school children, which take the audience on a musical journey of the exploration of musical instruments.

Also featured are daytime school concerts for elementary students at the Adrienne Arsht Center’s Knight Concert Hall, as well as opportunities for young musicians to advance their orchestral performance craft by working side-by-side with Cleveland Orchestra musicians, conductors, and guest artists.

FROST SCHOOL RESIDENCY FEATURES CHAMBER MUSIC AND MORE

An ongoing annual residency with the Frost School of Music was announced this year, which features a side-by-side rehearsal with Cleveland Orchestra and University student musicians sitting together, as well as a reading rehearsal to play through several new scores by University student composers.

Also featured as part of the Frost residency is a public chamber music performance at the Museum of Contemporary Art (MOCA, North Miami) on Thursday evening, March 20, at 8 p.m., featuring the world premieres of two new works

by Frost composition students. Admission is $20. Tickets can be purchased at www.mocanomi.org or by calling the museum at 305-893-6211.

Cleveland Orchestra Miami 2013-14

Cleveland Orchestra Miami

59

CLEVELAND ORCHESTRA MIAMI

NEWS

More families and young people welcomed with the introduction of Under 18s Free program to Miami Committed to welcoming more young people and families, Cleveland Orchestra Miami has introduced the Orchestra’s Under 18s Free program to all evening concerts of the 2013-14 season. Launched in 2011 in Ohio, the Under 18s Free program has expanded to Cleveland Orchestra Miami concerts at the Adrienne Arsht Center following unprecedented success at the Orchestra’s Blossom Music Festival and Severance Hall in Cleveland.

“We’re dedicated to serving more people in Miami-Dade County. The expansion of our ‘Under 18s Free’ program will provide greater access for families and young people to attend Cleveland Orchestra Miami concerts,” said Gary Hanson, the Orchestra’s executive director, in announcing the program’s expansion to Miami this past autumn.

The “Under 18s Free” program offers free tickets (one per regular-priced adult paid admission) to young people ages 8-17. The free tickets for concerts eligible for this program must be purchased through the Adrienne Arsht Center Ticket Office.

Since the launch of this program in 2011, 20,000 young people each year have attended Cleveland Orchestra concerts with their families during the summertime Blossom Music Festival and each winter season at Severance Hall. The original Under 18s Free program was created with support from The Cleveland Orchestra’s Center for Future Audiences. The Center was established with a lead endowment gift from the Maltz Family Foundation to fund new and ongoing programs for developing new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

This family-oriented, subsidized ticket program has now been expanded to Miami.

“The Cleveland Orchestra, best known as one of the world’s finest orchestras, with an equally outstanding hall and decades of extraordinary musical leadership, now has a new goal — to be the orchestra with the youngest audience. An audacious goal, but by the looks of the audience in Severance Hall in Cleveland on a recent Friday night, they are well on their way.” —The Huffington Post

60

Cleveland Orchestra Miami

2013-14 Cleveland Orchestra Miami

PLACE YOUR AD: HERE, HERE, HERE, HERE, HERE, HERE, HERE, HERE, HERE, & HERE

photo: Roger Mastroianni

WHY ISN’T YOUR AD HERE? ADVERTISE IN CLEVELAND ORCHESTRA MIAMI PROGRAM BOOKS Cleveland Orchestra Miami is an extraordinary engine of promotion and a tremendous source of great civic pride. Every year, Cleveland Orchestra Miami draws a local, national and international audience to the Adrienne Arsht Center to hear the world-acclaimed classical ensemble.

We invite you to be a part of this amazing experience by advertising in Cleveland Orchestra Miami printed programs. It’s a smart way to put yourself in front of 20,000 influential consumers and business decision-makers.

Call Gail Kerzner, 786-899-2700 or email gkerzner@livepub.com

CLEVELAND O R C H E ST R A

WHAT THE MEDIA IS SAYING . . .

“The only thing more delightful than an evening of music penned by preeminent Viennese composers such as Schubert, Korngold, and Johann Strauss, is having an Austrian conductor rendering them at the helm of The Cleveland Orchestra. . . . Miami has been the winter home of The Cleveland Orchestra for the past eight years. . . . Welser-Möst collaborates with his orchestra, often speaking elaborately with them in rehearsals about precision and the contrary. He does not concern himself with keeping the beat constantly, but is always attentive; he places a lot of trust in his players, who are obviously deserving of his trust, becoming more involved as the dynamics and aesthetic of the music require. . . . The Cleveland Orchestra completed the evening with the Overture to Die Fledermaus, every player on point, from the variety of tempos that adorned the opening to the grand theme running through the lower strings into the full orchestra. The strings were glorious amidst the brass and wind interplay. The oboe (Frank Rosenwein) rendered the romantic center with sensitivity. The engine revved up, returned to the grand theme, and sprinted to the finish line, every note a treasure. The hall was spinning as cheers from the audience accompanied their five-minute standing ovation. It couldn’t have been better.”

—MiamiArtZine, January 2014

“While the music of Richard Strauss has long been a specialty of the house for The Cleveland Orchestra, rarely heard Debussy and a stunning performance of a landmark Stravinsky score took top honors at the second program of the Clevelanders’ annual Miami residency at the Arsht Center. Acclaimed British baritone Simon Keenlyside added some vocal Strauss to a program that spanned the final decade of the 19th century and the early years of the 20th. . . . The premiere of Stravinsky’s Le Sacre du Printemps [“The Rite of Spring”] created a riot and scandal in 1913 and, over one hundred years later, the score’s raw harmonies and harsh dissonances still pack a wallop. Instead of a coolly cerebral reading or ultra brilliant traversal, Franz Welser-Möst approached the score as theater music — highly colored and rhythmically alert. John Clouser’s strongly articulated, shapely bassoon solo preceded the onset of churning, primitive rhythms, given distinctly Russian flavoring by Welser-Möst. The fired-up brass and percussion were in top form and the entire ensemble snapped to the myriad changes of meter and pulse.

In the opening of Part II, a mix of misty harmonies and languid Russian soulfulness, the depth and luster of the massed strings took full flight. Welser-Möst whipped up a frenzy in the final sacrificial dance. A wonderfully supple play of dynamics and instrumental textures marked this freshly minted reading of a 20th-century masterwork.

—South Florida Classical Review, February 2014

Classical Music.

Itâ&#x20AC;&#x2122;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. Itâ&#x20AC;&#x2122;s in your nature.

classicalsouthflorida.org

Metamorphosis, an Hermès story

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