The Cleveland Orchestra Miami

FRANZ WELSER-MĂ–ST Music Director

GIANCARLO GUERRERO Principal Guest Conductor

N O V E M B E R 1 3 . 1 4 . 2 O1 5

Season Sponsor:

ClevelandOrchestraMiami.com

Cleveland Orchestra Miami presented by the

M IAM I M US I C AS SOC IAT I O N The Miami Music Association (MMA) is a not-for-profit corporation, comprised of leading Miamians motivated by the idea that as a world-class 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 we succeed in creating a culture of passionate and dedicated concert-going in South Florida among the broadest constituency. Thank you for your support and commitment.

Officers and Board of Directors Jeffrey Feldman, President Sheldon T. Anderson, Chairman Norman Braman, Vice Chairman Hector D. Fortun, Vice Chairman Mary Jo Eaton, Secretary Miguel G. Farra, Treasurer Jon Batchelor Brian Bilzin Marsha Bilzin Alicia Celorio Mike S. Eidson Susan Feldman Isaac K. Fisher Adam M. Foslid Lawrence D. Goodman

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Pedro Jimenez Michael Joblove Gerald Kelfer Tina Kislak Thomas E Lauria Shirley Lehman William Lehman Jan R. Lewis Sue Miller

Miami Music Association

Patrick Park Joseph Serota Mary M. Spencer Howard A. Stark Richard P. Tonkinson Gary L. Wasserman E. Richard Yulman

2015-16 Cleveland Orchestra Miami

C L E V E LMiami AND Cleveland Orchestra

O R C H E S T R A

presented by the Miami Music Association

JEFFREY FELDMAN

SHELDON T. ANDERSON

President

Chairman

in partnership with The Cleveland Orchestra and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

Dear Friends, It is with sincere joy and thanks that I welcome you to Cleveland Orchestra Miami’s Tenth Anniversary Season! For the past decade, we have presented The Cleveland Orchestra here to enrich South Florida with concerts, education programs, and community presentations. The Orchestra has fostered partnerships and collaborations with many different Miami organizations, helping the Orchestra touch many corners of our community. More than 45,000 young people in Miami-Dade have experienced The Cleveland Orchestra through music education programs in our first decade. Last season, we hosted a free community concert at the South Miami-Dade Cultural Arts Center, and the Orchestra continues to make free concert tickets available to families with young children and teenagers through its “Under 18s Free” program.

Cleveland Orchestra Miami is proof that two communities, Miami and Cleveland, can share, support, and be enriched by one great performing arts institution. This collaboration began, no doubt, as an experiment, but its viability and success is now unquestioned. Miami is The Cleveland Orchestra’s second home, and The Cleveland Orchestra has become a caring and committed member of our community.

I extend my gratitude to the people of Cleveland for having created this great orchestra — and to our Miami trustees, patrons, and concertgoers who are supporting us here and have allowed us to achieve this ten-year milestone. Special recognition for this achievement must especially go to Dan and Jan Lewis and our other founders, who had the foresight and generosity to pioneer this two-city partnership.

In celebration of this special anniversary, Cleveland Orchestra Miami is presenting our first Gala Benefit Evening on January 23, 2016, to raise funds in support of our efforts throughout the community each year. We hope this event will become an annual occurrence, and invite you to join us for a unique concert with The Cleveland Orchestra conducted by Franz Welser-Möst — and featuring world-renowned opera soprano Renée Fleming. A spectacular post-concert dinner is also planned, and whether you purchase tickets for the concert or the entire Gala Evening, this is sure to be a particularly memorable event.

I hope you have occasion to join us again during this special anniversary season. We are sincerely grateful for your support, and we thank you for embracing the history and joy of classical music. As for tonight, sit back, relax, and experience The Cleveland Orchestra doing what it does best — performing great music. Thank you.

Best regards,

Jeffrey Feldman Cleveland Orchestra Miami 2015-16

Welcome

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Te n t h A n n i v e r s a r y S e a s o n

Table of Contents Cleveland Orchestra Miami serves Miami-Dade with an array of musical presentations by The Cleveland Orchestra, including a series of subscription concerts, education programs, and community engagement activities — touching the lives of over 20,000 children, students, and adults each year. Under the leadership of the notfor-profit Miami Music Association, Cleveland Orchestra Miami is supported through the generosity of music-lovers from across South Florida, who believe in the power of great orchestral music for adults and young people alike. Each season of Cleveland Orchestra Miami concerts is presented in partnership with the Adrinne Arsht Center for the Performing Arts of Miami-Dade County.

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19 PAGE

About Cleveland Orchestra Miami Miami Music Association . . . . . . . . . . . . . . . . . . 2 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . . . 7 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Principal Guest Conductor . . . . . . . . . . . . . . . 12 The Cleveland Orchestra . . . . . . . . . . . . . . 13-15 Arsht Center . . . . . . . . . . . . . . . . . . . . . . . . . . 32-35

The Concert: November 13. 14 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 CHÃVEZ

Sinfonia India . . . . . . . . . . . . . . . . . . . . . . . . . 22 SHOSTAKOVICH

Cello Concerto No. 1 . . . . . . . . . . . . . . . . . . . 25 SAINT-SAËNS Symphony No. 3 (“Organ”) . . . . . . . . . . . . . 29 Conductor: Giancarlo Guerrero . . . . . . . . . . . 12 Cello Soloist: Johannes Moser . . . . . . . . . . . . 24 Organ Soloist: Joela Jones . . . . . . . . . . . . . . . . 28

P R O G R A M B O O K S Copyright © 2015 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.

Cover photo copyright © Carl Juste

Cleveland Orchestra Miami 2015-16

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.

Table of Contents

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

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

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

CLEVELAND O R C H E S T R A The Miami Music Association gratefully acknowledges these donors for their contributions to Cleveland Orchestra Miami in the past year. Listing as of November 1, 2015.

LEADERSHIP DONORS $100,000 and more

Irma and Norman Braman David and Francie Horvitz Family Foundation, Inc. Peter B. Lewis* and Janet Rosel Lewis Daniel R. Lewis Jan R. Lewis John S. and James L. Knight Foundation Sue Miller Mary M. Spencer Janet* and Richard Yulman White & Case $50,000 to $99,999

Sheldon and Florence Anderson Hector D. Fortun Miami-Dade County Department of Cultural Affairs Patrick Park The Claudia and Steven Perles Family Foundation $25,000 to $49,999

The Batchelor Foundation Daniel and Trish Bell In dedication to Donald Carlin Martha and Bruce Clinton Adam Foslid, Greenberg Traurig, P.A. Thomas E Lauria The Miami Foundation Peacock Foundation, Inc. Marc and Rennie Saltzberg $10,000 to $24,999

Jayusia and Alan Bernstein Marsha and Brian Bilzin Peter D. and Julie Fisher Cummings Do Unto Others Trust Mary Jo Eaton Mr. Mike S. Eidson, Esq and Dr. Margaret Eidson Nelly and Mike Farra Feldman Gale, P.A. Jeffrey and Susan Feldman Isaac K. Fisher Kira and Neil Franzraich Sheree and Monte Friedkin Mary and Jon Heider Ruth and Pedro Jimenez Cherie and Michael Joblove Tati and Ezra Katz Jonathan and Tina Kislak Mr. and Mrs. Dennis W. LaBarre Shirley and William Lehman Moshe and Margalit Meidar

Cleveland Orchestra Miami 2015-16

Joy P. and Thomas G. Murdough, Jr. Mrs. Milly Nyman Miami-Dade County Public Schools Drs. Michael and Judith Samuels Joseph and Gail Serota Howard Stark M.D. and Rene Rodriguez Rick, Margarita, and Steven Tonkinson Ver Ploeg & Lumpkin, P.A. William Appert and Christopher Wallace Ms. Ginger Warner Gary L. Wasserman and Charles A. Kashner Florence and Robert Werner Barbara and David Wolfort $5,000 to $9,999

Stephen Barrow and Janis Manley Carlton Fields Stanley and Gala Cohen Joseph Z. and Betty Fleming Funding Arts Network Linda and Lawrence Goodman Patti Gordon Alfredo and Luz Maria Gutierrez Douglas M. and Amy Halsey Richard Horvitz and Erica Hartman-Horvitz Foundation Judy and Donald Lefton Ivonete Leite Drs. Ron Morgan and Steve Weirich Georgia and Carlos Noble Robert Pinkert Barbara S. Robinson Dr. and Mrs. Michael Rosenberg United Automobile Insurance Company Teresa Galang-Vi単as and Joaquin Vi単as $2,500 to $4,999

Mr. Mark O. Bagnall Kerrin and Peter Bermont Jaime A Bianchi and Paige A. Harper Carmen Bishopric Dr. and Mrs. Edward C. Gelber Robert D. and Jill Hertzberg Bob and Edith Hudson Angela Kelsey and Michael Zealy Jacqueline and Irwin* Kott Eeva and Harri Kulovaara Mr. and Mrs. Israel Lapciuc Ana and Raul Marmol Rosanne and Gary Oatey Maribel A. Piza Alfonso Rey and Sheryl Latchu Mr. and Mrs. James N. Robinson II Mr. Kevin Russell Sydney and David Schaecter

Annual Fund Contributors

Charles E. Seitz Lois H. Siegel Brenton Ver Ploeg Mrs. Henrietta Zabner $1,000 to $2,499

Mr. and Mrs. Spencer Angel Linda Angell Benjamin and Dr. Rodney Benjamin Sara Arbel Montserrat Balseiro Douglas Baxter and Brian Hastings Don and Jackie Bercu Helene Berger Robert Berrin Rhoda and Henri Bertuch Irving and Joan M. Bolotin Raoul and Ani Cantero John Carleton Douglas S. Cramer / Hubert S. Bush III Mr. and Mrs. John K. Cunningham Ms. Angela Dake Nancy J. Davis Andrew dePass and William Jurberg Shahnaz and Ranjan Duara Bernard Eckstein Andrea and Aaron Edelstein Mr. and Mrs. Steven Elias Mr. George Feldenkreis and Ms. Marita Srebnick Morris and Miriam Futernick Mr. Michael Garcia Lenore Gaynor Niety and Gary R. Gerson Joan Getz Nancy F. Green Jack and Beth Greenman John F. Hamilton Mr. and Mrs. Barry Hesser Roberto and Betty Horwitz Mrs. Nedra Kalish Dr. Michael and Gail Kaplan Mr. R. Kebrdle and Mrs. A. Kebrdke Kluger, Kaplan, Silverman, Katzen & Levine, P.l.

Cynthia Knight Ronald and Harriet Lassin Mr. and Mrs. Marvin H. Leibowitz Barbara C. Levin Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. and Mrs. Carlos Lopez-Cantera Maureen McLaughlin Dr. Isidoro Morjaim listing continues

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CLEVELAND ORCHESTRA MIAMI listing continued James P. Ostryniec Mr. Michael Phillips Guillermo and Eva Retchkiman Dr. Lynne and M John Richard Charles and Linda Sands Raquel and Michael Scheck Mr. and Mrs. David Serviansky Grace Katherine Sipusic Henry and Stania Smek Ms. Linda M. Smith

Dr. and Mrs. Michael B. Troner United Automobile Insurance Company Betty and Michael Wohl Loly and Isaac Zelcer Anonymous (2)

Richard and Nancy Sneed Jorge Solano Nancy and Edward Stavis Michalis and Alejandra Stavrinides Mr. Eduardo Stern Ms. Pat Strawgate Joni and Stanley Tate Sidney Taurel Parker D. Thomson Esq. Mr. and Mrs. Robert H. Traurig

FRIENDS up to $999

Margarita Abello John Actman Marjorie H. Adler Carla Albarran Angela Alfonso Andrew and Laurie Alpert Rosalie Altmark and Herbert Kornreich Paula and Carlos Alvarez Dr. Kip and Barbara Amazon Nancy Ameglio John and Sarah Anderson Jose-Eloy Anzola Fred Aragon John Arbach Robert Archambault Diane de Vries Ashley Daniel Ayers and Tony Seguino Ms. Mary Ellen Bailey Ted and Carolann Baldyga Susan Bannon Erva Barton Joan and Milton Baxt Foundation Linda Belgrave Ms. Iliana Bello Mr. Joseph Berland Enrique Bernal Neil Bernstein and Julie Schwartzbard Robert Bickers Ken Bleakley Dr. Louis W. Bloise Sam Boldrick Mr. Bruce Bolton Mario and Adriana Bosi Carol Brafman Mr. Wallace Bray Mr. and Mrs. Eric Buermann Ada Busot Dr. MarĂ­a Bustillo AC Mr. Richard Cannon James Carpenter, 2 seats, in memory of Chris Antonio Carrasco and Carolina Oudenhoven Philip and Kathryn Carroll Erich Cauller Harold Chambers Lydia Chelala Mr. Jeremy Chester Josephine Chianese Carole J. Cholasta Jethro Chou

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Katherine Chouinard Olga Cobian Alicia Conill Lane Convey Richard Cote Mrs. Bonnie Craiglow-Clayton William R. Cranshaw Marcella Cruz Brian Dalrymple George H. Dalsheimer Sergio da Silva Jennie Dautermann Ellen Davis Jose and Marta De la Torre Teresa Del Moral Berta Del Pino Luis Dikes Gerson and Valquiria Dores Laura Drexler Michael A. and Lori B. Dribin Bill Durham Dr. Edward Gross and Karla Ebenbach Monica Elizalde Eduardo Erana Jack and Nancy Ervin Dorothy M. Evans Mr. and Mrs. Menashe Exelbirt Judit Faiwiszewski Mrs. Carol Fass Murray H. Feigenbaum Katherine and Bennett Feldman Mr. Thomas Ferstle J. Field Ingrid Fils and Benson Rakusin Bruce and Martha Fischler Kip and Jackie Fisher Dr. and Mrs. Lawrence M. Fishman Marcus Flanagan Ronaldo & Christine Flank Robert R. Brinker & Nancy S. Fleischman VCN Corporation Dr. and Mrs. Rudolph J. Frei Dr. and Mrs. Michael Freundlich Mr. and Mrs. Joel Friedland Marvin Ross Friedman and Adrienne bon Haes Dr. Noelle Froehich and Dr. David S. Pena Malcolm and Doree Fromberg Sue Gallagher Margaret Gaub Margaret Gerloff Giancarlo Ghinatti Glenn Gilbert and Sharon Gilbert

Annual Fund Contributors

Judy M. Gilbert Lisa Giles-Klein Hon. and Mrs. Isaac Gilinski Perla Gilinski Catherine Goe Mr. and Mrs. Salomon Gold Bobbi Goldin & Tim Downey Sue and Howard Goldman Lee Goldsmith and Jeffrey Haller Barbara R. Goldstein Marielle Gomez-Kaifer Laura Maria Gonzalez Marques Leony Gonzalez Galina Gorokhovsky Rafael and Maria Del Mar Gosalbez Seymour Greenstein Sergio and Sophia Grobler Linda & David Grunebaum Rev. Hans-Fredrik Gustafson, Ph.D. Sky Hackett George and Vicki Halliwell Jack and Shirley Hammer Dr. Juliet Hananian Vincent Handal, Jr. Esq. & Michael Wilcox John Hanek Dely and Ernest Harper Nicolae Harsanyi Claus and Barbara Haubold James A. Heilman Arturo & Marjory Hendel Parissa Hidalgo Jorge Hine James Hitchcock Barbara L. Hobbs Gregory T. Holtz Mr. and Mrs. Bernard Horowitz Melvin and Vivien Howard Dr. Michael C. Hughes Tisha Hulburd Lawrence R. Hyer Helena Iturralde Dr. and Mrs. Norman Jaffe Nancy Jaimes Richard Janaro Farrokh Jhabvala Ms. Ana Jhones Mary Busenburg and Tom Jones Dr. Bruce and Mrs. Joyce Julien Dr. Marie Jureit-Beamish Mrs. Joyce Kaiser Jack and Shirley Kaplan Michele Karsenti Phyllis Katz

2015-16 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

Raquel Kaufler Mr. Arthur S. Kaufman James Kaufman Meredith Kebaili Victor Kendall Anne Elizabeth D. Kidder Dr. & Mrs. Frederick Kiechle Buddy Klein Dr. and Mrs. Frederick Knoll Daniel and Marcia Kokiel Anita Konig Lisa Kornse and August Wasserscheid John Kramer Thomas Krasner Mr. David J. Kudish Carolina Labro Robert D.W. Landon, III Wendy G. Lapidus Barbara Leibell Paul and Lynn Leight Mr. and Mrs. Elliot Lemelman Robert and Barbara Levenson Dr. and Mrs. Stanley Levick Melvin & Joan Levinson Linda Levy Ms. Lauren J. Licata Nikita Likht Craig Likness and George Thompson Maxine Long Caetano R. Lopes Enrique and Monica Lopez Raul and Juanita Lopez Arthur A. Lorch William and Carmen Lord Edward and Kay Lores Richard Mahfood Lewis and Dodie Mahoney Barbara and Roger Maister John Makemson Mrs. Sherrill R. Marks Joan A. Marn Mr. John Martin Teresa Martin-Boladeres and Ignacio H. Boladeres Laureano J. Martinez Mr. Rodolfo Martinez Carlos Martinez-Christensen Beatriz Martinez-Fonts Edward Mast Robert Mayer Ms. Sara Maymir Alan E. Maynard Robert and Judith Maynes Karen McCarthy Geraldine McClary Carter and Laura McDowell Dr. Gwenn E. McLaughlin Alice and Oded Meltzer Bernice Mena Kenneth Mendelsohn Dr. and Mrs. Jorge Mendia Pauline Menkes Evelyn H. Milledge Harve and Alesia Mogul Mr. Geronimo Montes Dr. Michele Morris and Dr. Joel Fishman Edgar Mosquera Samuel and Charlotte Mowerman Phillip and Hope Myers Mr. Hector Nazario

Karen Nicholls Ara and Violet Nisanian Murray and Lynne Norkin Mr. and Mrs. Z. John Nyitray Dr. Jules Oaklander Colleen O'Connor Dr. and Mrs. Larry K. Page Larry and Marnie Paikin Ruth M. Parry Stephen F. Patterson Esther and Jacques Paulen Marilyn Pearson Ruso Perkins Mr. & Mrs. Henry F. Pfister Ferdinand and Barbara Phillips Peter Pilotti and Joseph Rodano Suzan and Ronald Ponzoli Thomas J. Porto and Eugene P. Walton Ben Z. Post Regina D. Rabin Lynne Rahn Pratima Raju Fred Rawicz Robert Rearden Augustin and Isis Recio Carole and Burt Redlus Jeffrey D. Reynolds Ms. Betty Rice Mr. Carlos Rivas Mr. and Mrs. S. Michael Rogers Daniel Rodriguez Horacio Rodriguez Rosario Ros Virginia Rosen Elizabeth Rothfield Stephen and Heidi Rowland Karen Rumberg Larry Rustin Philip Ryan Ryder Systems, Inc. Mr. Gonzalo Sanchez Saul and Mary Sanders Eugene Schiff Mr. Arnold Schiller Mr. & Mrs. Kyle R. Schlinsky Dr. Markus Schmidmeier Mr. Ronald E. Schrager and Ms. Wendy Hart Mr. Peter and Mrs. Ortrud Schumann Dr. James Schwade Alex & Jeanne Schwaner David Scott Margaret Searcy Mike and Ronna Segal Margaret Seroppian Brenda Shapiro and Javier Bray Elizabeth Sharkey Dr. and Mrs. John Shook Dr. and Mrs. David Shpilberg Mr. Jerald Siegel Judge Paul Siegel Alvaro and Gloria Silva Mr. Geoffrey T. Silva Rafael and Sulamita Simkovicius Vicki and Bob Simons Mr. Steven Smith Dr. Gilbert B. Snyder Ilene and Jay Sosenko Voi Sosnowski Maryann Flores Clara Sredni DeKassin

Cleveland Orchestra Miami 2015-16

Issac Sredni Nick and Molly St. Cavish Marilyn Mackson Stein Beverly Stone Holly Strawbridge Jack Sutte Ricardo and Ana Tarajano Friend Dr. Takeko Morishima Toyama Judith Rood Traum and Sydney S. Traum Alicia M. Tremols Mr. and Mrs. Frank Trestman Tali and Liat Tzur Rita Ullman Janice Uriarte Dr. John W. Uribe and Dr. Nancy Reierson Andrea and Natalia Vasquez John C. Vaughn M. Vento and Peter MacNamara Mr. Fabian Verea Jorge Viera Herbert W. and Peggy F. Vogelsang Frank J. Voyek Vivian Waddell John Wallace David and Oreen Wallach Peter J. White, Jr. Ronni and Bob Whitebook Mr. and Mrs. Arthur Whittaker Brant Wigger Mr. Bob Williams Richard Williamson Ms. Debbie Wirges Andrew Wit Dr. and Mrs. Jack Wolfsdorf Laura A. Woodside Keying Xu Mr. and Mrs. Guri Yavnieli Sora Yelin in memory of Cary F. Yelin Allan Yudacufski Eloina D. Zayas-Bazan Patricio Ziliano, Sr. Amy Zimmerman Anonymous (18)

* deceased

Cleveland Orchestra Miami relies on the generosity of its patrons for our continued success. Ticket purchases cover less than half of expenses, and 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 for thousands of citizens across Miami-Dade County.

Please consider a gift today by calling 305-372-7747 or visit online at ClevelandOrchestraMiami.com.

Annual Fund Contributors

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10TH ANNIVERSARY GALA EVENING SATURDAY, JANUARY 23, 2016 BEGINNING AT 7:00 P.M.

The Cleveland Orchestra Franz Welser-Möst, conductor Renée Fleming, soprano GALA CHAIRS: Susan and Jeffrey Feldman HONORARY CHAIRS Florence and Sheldon Anderson Hector Fortun + Jan Lewis + Sue Miller CONCERT PERFORMANCE:

Adrienne Arsht Center Knight Concert Hall

POST-CONCERT GALA DINNER: Hotel InterContinental

For gala packages, call 305-372-7747 TICKETS | 305-949-6722 or arshtcenter.org/Cleveland Concert co-presented by the Miami Music Association and the Adrienne Arsht Center

C L E V E L A N D

O R C H E S T R A

M I A M I

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

The 2015-16 season marks Franz Welser-Möst’s fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. The New York Times recently declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions.

In addition to an unprecedented annual residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities.

Franz Welser-Möst served as music director of the London Philharmonic Orchestra, 1990-96, and of the Zurich Opera, 1995-2008. From 2010 to 2014, he held the position of general music director of the Vienna State Opera, one of the world’s most important repertoire houses. In addition to cultivating the traditional German, Italian, and Slavonic repertoire, including a significant spotlight on the works of Janáček, Mr. Welser-Möst placed a strong focus on 20th-century works, including the operas of Richard Strauss. He has an annual presence on the operatic stage at the Salzburg Festival, and after triumphant successes with Rusalka, Der Rosenkavalier, and his seventy-second opera premiere, of Fidelio, this past summer, he leads a new production of Die Liebe der Danae at Salzburg in 2016.

As a guest conductor, Franz Welser-Möst has developed a particularly close and productive relationship with the Vienna Philharmonic. He has twice appeared on the podium at the Philharmonic’s New Year’s Concert and conducts the orchestra regularly in subscription concerts at the Musikverein, as well as in Lucerne, at the BBC Proms, and on tour in the United States, Scandinavia, and Japan. His close association with the Vienna Philharmonic was honored in spring 2014 when he was presented with the orchestra’s Ring of Honor.

Franz Welser-Möst has received many other honors and awards, while his numerous CDs and DVDs have been awarded many international prizes — the Salzburg Festival production of Der Rosenkavalier was recently awarded with the Echo Klassik 2015 for “best opera recording.“ Upcoming engagements include concerts with Amsterdam’s Royal Concertgebouw Orchestra, the Staatskapelle Dresden, the Filarmonica della Scala of Milan, and the 2015 Nobel Prize concert in Stockholm.

Cleveland Orchestra Miami 2015-16

Music Director

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C L E V E L A N D

O R C H E S T R A

M I A M I

Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

The 2015-16 season marks Giancarlo Guerrero’s seventh year as music director of the Nashville Symphony and fifth 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 Blossom, and in the Orchestra’s annual community concert in downtown Cleveland.

Mr. Guerrero’s recent seasons with 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. Current guest engagements include his debut with the Houston Grand Opera earlier in 2015, and upcoming debuts with the Pittsburgh Symphony Orchestra, Orchestre National de France, and Netherland Philharmonic. He has conducted concerts with many of North America's leading orchestra, including those of Boston, Cincinnati, Dallas, Detroit, Houston, Montreal, Philadelphia, Toronto, and Vancouver. Internationally, his engagements have included performances with the BBC Symphony Orchestra, Copenhagen Philharmonic, Frankfurt Radio, London Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, Western Australian Symphony Orchestra, and Malaysian Philharmonic.

A strong 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 recordings with the Nashville Symphony include releases of music by Danielpour and Sierra on the Naxos label, and Béla Fleck’s Banjo Concerto on Deutsche Grammophone. Mr. Guerrero, together with composer Aaron Jay Kernis, recently developed and guided the creation of Nashville Symphony’s Composer Lab & Workshop initiative to further foster and promote new American orchestral music.

Mr. Guerrero has appeared regularly in Latin America, conducting the São Paulo State Symphony Orchestra and with the Orquesta Sinfónica Simón Bolívar in Caracas, Venezuela, where he has also worked with young musicians in the country’s much-lauded El Sistema music education program.

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

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Principal Guest Conductor

2015-16 Cleveland Orchestra Miami

C L E V E L A N D

O R C H E S T R A

M I A M I

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, setting standards of artistic excellence, creative programming, and community engagement. In July 2015, the New York Times declared it “the best in America.” The strong and ongoing financial support of the ensemble’s home region is driving the Orchestra forward with renewed energy and focus, increasing the number of young people attending concerts, and bringing fresh attention to the Orchestra’s legendary sound and committed programming.

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. Today, touring, residencies, radio broadcasts, and recordings provide access to the Orchestra’s music-making to a broad and loyal constituency around the world.

Visit ClevelandOrchestraMiami.com for more information.

Cleveland Orchestra Miami 2015-16

The Cleveland Orchestra

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako Masame Paul and Lucille Jones Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Chul-In Park Harriet T. and David L. Simon Chair

Miho Hashizume Theodore Rautenberg Chair

Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

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CELLOS Mark Kosower*

SECOND VIOLINS Stephen Rose *

Louis D. Beaumont Chair

Richard Weiss 1

Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard 2

Emilio Llinas 2

Helen Weil Ross Chair

James and Donna Reid Chair

Eli Matthews 1

Bryan Dumm Muriel and Noah Butkin Chair

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Tanya Ell

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

Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Paul Kushious Martha Baldwin BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

VIOLAS Robert Vernon *

Mark Atherton Thomas Sperl Henry Peyrebrune

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1

Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky

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

HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra.

The number and seating of musicians onstage varies depending on the piece being performed.

2015-16 Cleveland Orchestra Miami

2015-16 SE ASON

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

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

Mary Kay Fink PICCOLO Mary Kay Fink

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

Anne M. and M. Roger Clapp Chair

TRUMPETS Michael Sachs *

OBOES Frank Rosenwein *

Jack Sutte Lyle Steelman2

Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

Robert and Eunice Podis Weiskopf Chair

James P. and Dolores D. Storer Chair

Michael Miller

Robert Walters

CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair Alexander and Marianna C. McAfee Chair

Shachar Israel 2

E-FLAT CLARINET Daniel McKelway

BASS TROMBONE Thomas Klaber

BASS CLARINET Linnea Nereim BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

Richard Stout

Linnea Nereim

Stanley L. and Eloise M. Morgan Chair

PERCUSSION Marc Damoulakis*

EUPHONIUM AND BASS TRUMPET Richard Stout

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Giancarlo Guerrero TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

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

Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair

Cleveland Orchestra Miami 2015-16

The Orchestra

PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell

ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

15

“Music is a higher revelation than all wisdom and philosophy.”

—Ludwig van Beethoven

Sometimes things feel great right from the start.

After only ten years, Cleveland Orchestra Miami feels as though it has always been a part of Miami’s cultural life. These great performances are making Miami an even better place to live.

We applaud the visionaries who had the passion and chutzpah to bring the world’s best orchestra to Miami.

We salute the founders and director of the Miami Music Association, created under the leadership of founding Chairman Dan Lewis, and now led by President Jeffrey Feldman and Chairman Sheldon Anderson.

The generosity and steadfast determination of everyone involved is preparing for a new decade of community achievement and musical success.

—Rick and Margarita Tonkinson

C L E V E L A N D

O R C H E S T R A

M I A M I

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

Friday, November 13, 2015, at 7:00 p.m.

Saturday, November 14, 2015, at 7:00 p.m.

Concertino for flute, viola, and double bass

by ERWIN SHULHOFF (1894-1942) ON FRIDAY EVENING: 1. Andante con moto 2. Furiant: Allegro furioso ON SATURDAY EVENING: 3. Andante 4. Rondino: Allegro gaio

Mary Kay Fink, flute/piccolo Stanley Konopka, viola Scott Dixon, bass

Wind Quintet, Opus 10

by PAVEL HAAS (1899-1944) 1.

2.

3.

4.

Preludio Preghiera Ballo eccentrico Epilogo

Mary Kay Fink, flute Frank Rosenwein, oboe Robert Woolfrey, clarinet Barrick Stees, bassoon Richard King, horn

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

Cleveland Orchestra Miami 2015-16

November 13-14 Concert Preludes

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Diverse & distinctive Our diverse community of legal and professional staff at White & Case are a source of strength, vital to our ability to represent and advise clients across the world. whitecase.com/diversity

18

2015-16 Cleveland Orchestra Miami

C L E V E L A N D

O R C H E S T R A

M I A M I

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

Miami Music Association and the Adrienne Arsht Center present

The Cleveland Orchestra Giancarlo Guerrero, conductor Friday evening, November 13, 2015, at 8:00 p.m.

Saturday evening, November 14, 2015, at 8:00 p.m.

Sinfonia India Symphony No. 2

CARLOS CHÁVEZ (1899-1978)

DMITRI SHOSTAKOVICH (1906-1975)

Cello Concerto No. 1 in E-flat major, Opus 107 1.

2.

3.

4.

Allegretto Moderato Cadenza Allegro con moto

JOHANNES MOSER, cello

I N T E R M IS S I O N CAMILLE SAINT-SAËNS (1835-1921)

Symphony No. 3 ("Organ Symphony") in C minor, Opus 78 1. Adagio — Allegro moderato — Poco adagio 2. Allegro moderato — Presto — Maestoso — Allegro JOELA JONES, organ

The concert will end at approximately 9:40 p.m.

Cleveland Orchestra Miami's Tenth Anniversary Season is sponsored by White & Case.

Cleveland Orchestra Miami 2015-16

Program: November 13-14

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Dmitri Shostakovich, circa 1952.

There can be no music without ideology.

The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement. If you read his letters, you will see how often he wrote to his friends that he wished to give new ideas to the public and rouse it to revolt against its masters.

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2015-16 Cleveland Orchestra Miami —Dmitri Shostakovich

November 13-14

INTRODUCING THE CONCERT

Indigenous America, Cello&Organ C L E V E L A N D O R C H E S T R A M I A M I ’ S Tenth Anniversary Season

begins with this week’s concerts featuring three works from three divergent countries: Mexico, Russia, and France.

Conductor Giancarlo Guerrero opens the evening with the second symphony of Carlos Chávez, Mexico’s best-known classical composer of the 20th century. Chávez grew up in an era of vast dreams and expanding ideas. His circle of colleagues included Aaron Copland and others working hard to create a clearly “American” (in the big sense) style of music. In his second symphony from 1934-35, Chávez evoked the indigenous music of the Americas, by incorporating specific Native American instruments (transcribed for a similar sound with more traditional Western instruments). Titled “Sinfonia India,” it might today more sensitively been called “Sinfonia Americas.”

The concert continues with Shostakovich’s First Cello Concerto, a thrillingly difficult work premiered in 1959, which had developed from a long relationship between the composer and famed cellist Mstislav Rostropovich. For this week’s performances, the young German-Canadian cellist Johannes Moser tackles this beautifully wrought score.

The evening ends with another symphony. Written by Camille Saint-Saëns, one of the greatest organists (and pianists) of the 19th century, this work has such a prominent role for organ that it is today known as the “Organ Symphony.”

Its sweeping melodies, and lyrical and harmonic richness have given it great popularity. Cleveland Orchestra principal keyboardist Joela Jones takes on the solo role.

—Eric Sellen .

Cleveland Orchestra Miami 2015-16

Introducing the Concerts

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November 13-14

Sinfonia India (Symphony No. 2) composed 1934-35 T H A T C A R L O S C H Á V E Z would grow up to be a much-ad-

by

Carlos

CHÁVEZ born June 13, 1899 Mexico City died August 2, 1978 Coyoacán, Mexico City

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mired symphonic composer seems unlikely from his childhood.

His father died when he was just three, leaving his mother, a school teacher in Mexico City, to raise six children alone. He first learned to play piano from an older brother.

His interest in composing was largely self-taught, starting with early (and intense) studying and marking of the scores to symphonies by Beethoven and Brahms. Yet he progressed, writing and premiering several works before he was twenty, and securing a government commission for a ballet score to an Aztec storyline. He soon traveled to Europe and America, and befriended Aaron Copland.

With the exception of a few years in New York, Chávez lived in Mexico throughout his life and soon became Mexico’s best-known classical composer. Like many other national composers, however, his music was created in an international style, occasionally incorporating elements of Mexican, Spanish, or Ameri-Indian music.

Chávez wrote his Second Symphony, titled Sinfonia India or “Indian Symphony,” in 1934-35. It is in a single movement just over 10 minutes in length. It is built in four sections, not unlike a traditional symphony — but the overall structures are forward-progressing rather than a European concept of sonata or variation form. Within each section, Chávez uses an authentic Native American melody as the main theme, first from the Huichol Indians of the Mexican state of Nayarit, then two themes from the Yaqui Indians of Sonora, and one from the Seri people in the finale.

Such direct quoting of folk melodies was unusual in Chávez’s output, and in this very focused work he also researched and utilized a variety of Ameri-Indian percussion instruments (such as deer-hoof rattles). For these, however, he carefully made notes in the published score of how to substitute more common instruments so as to help ensure that his symphony could be played more easily throughout the world.

This symphony will remind many listeners of the “American” ballet music of his friend Aaron Copland, with a vitality driven by percussion rhythms and energetic melodies. There is a stronger sense of non-European scales in the themes, howAbout the Music

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ever, and perhaps a greater sense of formal structure.

In all, Chávez wrote six symphonies (sometimes a late work is counted as his seventh). Prior to his tragic death in an airplane crash, conductor Eduardo Mata recorded all six with the London Symphony Orchestra in 1980-81, in a set that is now available for a modest price, either on CD or via internet downloads. They are well worth exploring.

—Eric Sellen © 2015 Eric Sellen serves as program book editor for The Cleveland Orchestra.

He has previously held adminstrative positions with the Philadelphia Orchestra, Phoenix Symphony, and in Cleveland.

“There is never, in the music of indigenous Mexican people, a . . . negative attitude toward other people or nature as a whole. The music of America's immediate ancestors is the strong music of a people constantly struggling and trying to dominate their surroundings.”

At a Glance Chávez wrote this work beginning in December 1934, during his first tour of the United States as a conductor, and finished it early in 1935. It was premiered under Chávez’s direction in a radio performance by the Columbia Broadcasting Orchestra on January 23, 1936. The Mexican premiere took place in the capital on July 31, 1936.

This symphony runs just over 10 minutes in performance. Chávez scored it for 2 flutes, 2 piccolos (second doubling flute), 3 oboes, 2 clarinets, e-flat clarinet, bass clarinet, 3 bassoons, 4 horns, 2 trumpets, 2 trombones, timpani, percussion (four players), harp, and strings.

The percussion section originally included a large number of indigenous Mexican instruments, such as the jicara de agua (half of a gourd inverted and partly submerged in a basin of water, struck with sticks), güiro, cascabeles (a pellet rattle), tenabari (a string of butterfly cocoons), a pair of teponaxtles, tlapanhuéhuetl, and grijutian (string of deer hooves). When the score was published, the composer substituted their nearest equivalents in commonly used orchestral percussion, but requested that the originals be used wherever possible.

—Carlos Chávez

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About the Music

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November 13-14

Johannes Moser Hailed by Gramophone Magazine as “one of the finest among the astonishing gallery of young virtuoso cellists,” GermanCanadian cellist Johannes Moser has performed with the world’s leading orchestras, from Berlin to New York, Hong Kong to Munich, Tokyo to Chicago. He made his Cleveland Orchestra debut at Blossom in 2007, and returned to play again in August 2009.

Mr. Moser’s North American engagements for the 2015-16 season include returns to the orchestras of Boston, Chicago, Cleveland, Nashville, Philadelphia, San Diego, and Vancouver. His debuts include performances with the Luxembourg Philharmonic, Orchestre de la Suisse Romande, Orchestre Philharmonique de Radio France, New Zealand Symphony, and Grand Teton Music Festival.

Johannes Moser is a strong advocate for expanding the reach and boundaries of classical music and is also passionate about new music. In 2012, he premiered Magnetar, a concerto for electric cello by Enrico Chapela, which he performed with the Los Angeles Philharmonic, and in the 2013-14 season, he continued this relationship, performing Michel van der Aa’s cello concerto Up-Close.

Mr. Moser is committed to reaching out to young audiences of all ages. From

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his 2010 American tour with toy pianist Phyllis Chen titled “Sounding Off: A Fresh Look at Classical Music,” to engagement activities on campuses and performances in alternative venues, he aims to present classical music in ways with which both seasoned and new listeners can connect.

A dedicated chamber musician, Johannes Moser appears regularly at festivals in Europe and the United States, performing with Joshua Bell, Emanuel Ax, Leonidas Kavakos, Menahem Pressler, James Ehnes, Midori, and Jonathan Biss.

Mr. Moser was a recipient of the 2014 Brahms Prize. His recordings have earned him two Echo Klassik awards and the Preis der Deutschen Schallplattenkritik.

He recently signed an exclusive contract with Pentatone, and this autumn released his first recording for the label, a disc of Dvořák and Lalo cello concertos. He has recorded the Britten Cello Symphony and Shostakovich First Cello Concerto, released in 2012. His concerto debut disc, which features the complete works of Saint-Saëns for cello and orchestra, was honored as one of Classics Today’s Top 10 albums of 2008.

Born into a musical family in 1979 as a dual citizen of Germany and Canada, Johannes Moser began studying the cello at the age of eight and became a student of David Geringas in 1997. He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations.

A voracious reader and an avid outdoorsman, Johannes Moser is a keen hiker and mountain biker.

Cello Soloist

2015-16 Cleveland Orchestra Miami

November 13-14

Cello Concerto No. 1 in E-flat major, Opus 107 composed 1959 D M I T R I S H O S TA K O V I C H and Mstislav Rostropovich enjoyed

by

Dmitri

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

a special friendship and artistic partnership for many years. The cellist (1927-2007) was a teenager when he first met the composer, who was his senior by 21 years, in 1943. Enrolled at the Moscow Conservatory as a student of both cello and composition, Rostropovich took Shostakovich’s orchestration class. His admiration for his teacher knew no bounds, and after Shostakovich had heard the young man play, the admiration became mutual. During the 1950s, the two played Shostakovich’s Cello Sonata (1934) in concert tours all over Russia, with Shostakovich playing the piano, and their friendship deepened.

Throughout those years, Rostropovich was dreaming of a concerto Shostakovich might one day write for him. But the composer’s wife told him, “Slava, if you want Dmitri Dmitriyevich to write something for you, the only recipe I can give you is this — never ask him or talk to him about it.”

Rostropovich followed this advice, however reluctantly.

And then one day in 1959, the concerto suddenly materialized.

The ecstatic cellist committed the entire piece to memory in just four days, astounding the composer when the two got together at Shostakovich’s summer home on August 6, 1959. In her invaluable book of recollections by many contemporaries of the composer, Elizabeth Wilson reports the following incredible conversation between them: “Now just hang on a minute while I find a music stand,” Shostakovich said.

The cellist answered: “Dmitri Dmitriyevich, but I don’t need a stand.”

“What do you mean, you don’t need a stand, you don’t need one?”

“You know, I’ll play from memory.”

“Impossible, impossible . . .”

Rostropovich proceeded to play through the work from memory with the pianist he had brought with him, to the utter delight of the composer and a small number of friends who had gathered in the music room. Afterwards, they celebrated with a festive dinner. Everyone knew they had witnessed a historic moment.

The first public performance, two months later, was enthu-

Cleveland Orchestra Miami 2015-16

About the Music

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At a Glance Shostakovich composed his First Cello Concerto in the summer of 1959. The first performance took place in Leningrad (now St. Petersburg) on October 4, 1959, with Mstislav Rostropovich as soloist; Yevgeny Mravinsky conducted the Leningrad Philharmonic. The first performance in the United States was given just a month later, on November 6, with Rostropovich and the Philadelphia Orchestra under Eugene Ormandy’s direction.

This concerto runs about 30 minutes in performance.

Shostakovich scored it for cello solo, and an orchestra of 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, horn (playing many prominent solos), timpani, celesta, and strings.

The Cleveland Orchestra first performed Shostakovich’s Cello Concerto No. 1 in October 1963, with Mstislav Rostropovich under the direction of George Szell. It has been presented on several occasions since that time.

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siastically received, and was soon followed by an international triumph, establishing the work as the most significant addition to the cello concerto literature in a long time. Shostakovich, inspired by an exceptional instrumentalist with whom he had bonded deeply, had written a work that combined immediacy of expression with formal perfection and Romantic passion with Classical balance — something not found very often in the symphonic music of the 1950s. Nor had music ever communicated more directly or more sincerely.

THE MUSIC

Once you have heard the concerto’s opening motif, played by the cello, you are unlikely ever to forget this four-note theme.

(It is immediately recognizable when quoted in Shostakovich’s Eighth String Quartet of 1960.) Varied, developed, and taken into successively higher registers of the solo instrument, this little motif dominates the entire first movement of the concerto — and more, as we shall see. An insistent second theme appears a little later, and the music gradually gains in excitement and technical virtuosity. The solo cello plays almost without intermission, although it is joined by the clarinet and especially by the horn as “assistant” soloists. The end of the movement returns to the opening theme in its original low register.

The remaining three movements are played without pause. First we hear a slow movement (actually, the tempo is marked Moderato), featuring — after a dream-like introduction — a very simple, folk-like melody. The introductory material is heard again, followed by a more passionate new idea, leading to a climax and a return of the folk-like theme in high-pitched cello harmonics.

The third movement is a lengthy, unaccompanied cadenza, beginning slowly and becoming faster and faster. Russian critic Lev Ginzburg aptly called it a “monologue-recitative.”

The movement, although exceedingly hard to perform, is not a mere display of technical difficulties but, in Ginzburg’s words, a piece of “deep meditation, reaching philosophical heights.” It leads directly into the exuberant finale, which opens with a dance tune — not an ordinary dance tune, however, but one spiced with many chromatic half-steps that give it a striking, sarcastic overtone.

The theme is introduced by the oboe and the clarinet, allowing the soloist to catch his or her breath after the exhaustAbout the Music

2015-16 Cleveland Orchestra Miami

ing cadenza. The cello soon takes over, however, repeating the dance-tune. This theme (in duple meter) is followed by a second dance (in triple). The latter unexpectedly morphs into the memorable opening theme from the first movement, providing the material for the energetic conclusion of the concerto.

As a kind of private joke, Shostakovich concealed in this last movement some distorted fragments of a folksong from Georgia in the Caucasus, Stalin’s birthplace. The song, “Suliko,” had reportedly been the late dictator’s personal favorite. But even Rostropovich confessed: “I doubt if I would have detected this quote if Dmitri Dmitriyevich hadn’t pointed it out to me.”

—Peter Laki © 2015 Copyright © Musical Arts Association

Peter Laki is a musicologist and frequent lecturer on classical music.

He is a visiting associate professor at Bard College.

Composer Dmitri Shostakovich and cellist Mstislav Rostropovich in 1959 at the time of the premiere of the Cello Concerto No. 1

Cleveland Orchestra Miami 2015-16

About the Music

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November 13-14

Joela Jones Principal Keyboard Rudolf Serkin Endowed Chair The Cleveland Orchestra

An artist of exceptional versatility, Joela Jones plays piano, harpsichord, organ, celesta, synthesizer, and accordion with The Cleveland Orchestra. She has appeared over three hundred times as soloist with the Orchestra at home and on tour, in a wide repertoire of sixty different works ranging from Bach to Bernstein. Recent appearances as piano soloist with Franz WelserMöst conducting include works by Stravinsky, Bernstein, and Messiaen. Since the renovation of Severance Hall’s Norton Memorial Organ in 2001, Ms. Jones has performed works for organ and orchestra by Barber, Poulenc, Saint-Saëns, Janáček, MacMillan, and Ives. She is also principal accompanist for the Cleveland Orchestra Chorus and for visiting vocal soloists.

A native of Miami, Florida, Joela Jones began her musical studies with her parents. She also studied at Florida State University with Edward Kilenyi and the renowned Hungarian pianist and composer Ernö (Ernst von) Dohnányi. At the age of 12, she was invited to appear as soloist with the Miami Symphony Orchestra. The next year, she received a scholarship to the Eastman School of Music, where she studied with José Echaniz. While at East-

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man, she performed frequently with the Rochester Philharmonic and the Eastman Philharmonia, and later made her New York debut at Lewisohn Stadium.

Ms. Jones earned a master of music degree from the Cleveland Institute of Music, where she studied with Victor Babin and Arthur Loesser. She studied organ with Warren Berryman at the BaldwinWallace College Conservatory of Music.

Ms. Jones has appeared as soloist with the orchestras of Boston, Chicago, Detroit, Houston, Philadelphia, and San Francisco, and has performed extensively in solo and chamber music recitals. She teaches classes in advanced orchestral keyboard technique at the Cleveland Institute of Music and chairs the collaborative piano department at Kent/Blossom Music. She is also coordinator of collaborative piano and chamber music at Cleveland State University, and regularly serves as coach for the pianists in the New World Symphony.

Ms. Jones has recorded works by Poulenc and d’Indy with the London Symphony Orchestra. With The Cleveland Orchestra, she has recorded Janáček’s Capriccio for Left Hand with Christoph von Dohnányi and Messiaen’s La Ville d’en Haut and Sept haïkaï with Pierre Boulez.

In recent years, Joela Jones released a CD of Claude Bolling’s Suite for Cello and Jazz Piano Trio with Cleveland Orchestra colleagues Richard Weiss, Maximilian Dimoff, and Donald Miller.

Joela Jones is married to Richard Weiss, first assistant principal cello of The Cleveland Orchestra. They are the parents of a son, Justin Jordan.

Organ Soloist

2015-16 Cleveland Orchestra Miami

November 13-14

Symphony No. 3 (“Organ Symphony”) in C minor, Opus 78 composed 1886 A S R I V A L C L A I M A N T S to the title “King of Instruments,” the

by

Camille

SAINT-SAËNS born October 9, 1835 Paris died December 16, 1921 Algiers

pipe organ and the symphony orchestra have traditionally been competitors more often than collaborators. Historical as well as purely musical reasons account for this.

The organ developed during a period when music-making was centered in the church, and the masterpieces of organ composition — the works of Dietrich Buxtehude and J. S. Bach, for example, and more recently those of Olivier Messiaen — have served an ecclesiastical as well as musical purpose.

The orchestra, by contrast, was from its inception a secular institution, and the great works of its repertoire are imbued with the humanistic spirit of more recent times. Orchestral playing, moreover, calls for a blending of different instruments, a task to which many of the majestic tones of the organ do not readily lend themselves.

Nevertheless, the temptation to join these two great musical resources has proved irresistible for some composers. While relatively few compositions use organ and orchestra together, the best of them produce an extraordinary sonic effect. Among such works, pride of place belongs to the “Organ Symphony” of Camille Saint-Saëns.

Saint-Saëns’s reputation as an orchestral composer rests principally on his concertos and on tone poems (such as the famous Danse macabre). Even though his colleague Charles Gounod admiringly referred to him as “the French Beethoven,” Saint-Saëns was not by disposition a symphonist. The symphony, which had emerged as an independent compositional genre during the second half of the 18th century, was a centralEuropean invention, the product of the Austro-German Classical school. Its spirit has always been somewhat foreign to French composers. Saint-Saëns wrote two youthful works in this form, but soon turned to what were for him more congenial areas of endeavor — concertos, tone poems, vocal works, and chamber music.

Thirty years passed before Saint-Saëns finally had occasion to return to symphonic composition. He was fifty and at the height of his creative power when an invitation to conduct his music in London brought with it a commission for a new work,

Cleveland Orchestra Miami 2015-16

About the Music

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At a Glance Saint-Saëns wrote this symphony in 1886. He conducted the first performance, on May 19, 1886, with the London Philharmonic Society. It was soon nicknamed the “Organ Symphony” because of its prominent role of the organ in a quasi-solo role. The published score is dedicated to Franz Liszt.

This symphony runs about 40 minutes in performance. Saint-Saëns scored it for 3 flutes (third doubling piccolo), 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bass drum), organ, piano (four hands), and strings.

The Cleveland Orchestra first performed Saint-Saëns’s “Organ Symphony” in November 1926. It has been presented on programming regularly since that time.

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specifically a symphony. The composer accepted this offer and began sketching a large symphony in the early part of 1886.

Saint-Saëns may have conceived this work as a tribute to Franz Liszt. Liszt’s works represented a musical ideal for many French composers of the late 19th century, but especially for Saint-Saëns, who shared his Hungarian counterpart’s preference for descriptive program music and for a colorful virtuosity in both keyboard and orchestral composition. Moreover, Liszt had encouraged and materially aided Saint-Saëns during the latter’s youth, and the two men had remained devoted though distant friends over the years.

The inclusion of prominent roles for both piano and organ fit neatly into the conception of a Lisztian tribute. Liszt enjoyed, of course, a brilliant career as a concert pianist, but he spent much of his final years in a monastery composing sacred music, much of it for the organ. Less tangible but equally important homages are the recurrent use throughout the score of a single principal motif (a technique favored by Liszt), and the work’s lush, often ecstatic Romanticism, a quality that marks many of Liszt’s own compositions.

Shortly after he conducted the premiere performance of this symphony, in London, Saint-Saëns received word that Liszt had died. The news affected Saint-Saëns deeply, and he dedicated the score to Liszt’s memory.

THE MUSIC

Symphony No. 3 is nominally in two large movements, but each of these is divided into two distinct parts, thus yielding a traditional four-movement symphonic structure. Saint-Saëns opens his work with a brief prelude in slow tempo that presents a rising figure of four notes, first played by the oboe.

Various transformations of this motif make up most of the succeeding Allegro section, and the figure’s ascending contour also appears at the start of the long and beautiful melody of the Adagio that follows. The organ, heard for the first time at this point, underscores the feeling of religious serenity that this second portion of the symphony conveys.

A rustic theme, combining melancholy harmonies with energetic rhythms, launches the ensuing “third movement” scherzo. Saint-Saëns develops the subject in several brilliant episodes, but in the midst of the last of these passages a new, more austere melody is heard rising in the strings.

About the Music

2015-16 Cleveland Orchestra Miami

This theme, again an outgrowth of the symphony’s initial motif (it also bears a strong resemblance to the “Jupiter theme” of Mozart’s last symphony), soon dispels the fantastic atmosphere of the scherzo and leads to a series of contrapuntal passages punctuated by massive organ chords. New ideas are introduced and earlier ones recalled as the symphony builds to a brilliant final climax.

—Paul Schiavo © 2015 Paul Schiavo is program annotator for the Seattle Symphony, as well as a frequent contributor to the program books of Lincoln Center, Carnegie Hall, Saint Louis Symphony Orchestra, and other organizations.

Camille Saint-Saëns was among the most accomplished organists of the latter 19th and early 20th centuries, playing organ concerts throughout Europe and across America to great acclaim.

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About the Music

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INFORMATION ACCESSIBILITY Adrienne Arsht Center is fully accessible. When purchasing tickets, patrons who have special needs should call (305) 949-6722 or (866) 949-6722 and inform their customer service representative. (786) 468-2011(TTY).

Audio description and assistive listening equipment is funded by Mary & Sash Spencer and the Miami-Dade County Mayor and the Board of County Commissioners, the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council.

DINING BRAVA! WKH &HQWHUÂśV QHZ RQ VLWH ÂżQH GLQLQJ H[SHULHQFH QDPHG RQH RI 0LDPLÂśV EHVW QHZ UHVWDXUDQWV E\ Thrillist, is located in the Ziff Ballet Opera House. Led by Chef Hector Torres of Spectra Food Services, %5$9$ VHUYHV DQ LQVSLUHG IDUP WR IRUN SUL[ Âż[H PHQX 5HVHUYDWLRQV DYDLODEOH WKURXJK WKH $UVKW ZHEVLWH RU E\ FDOOLQJ WKH ER[ RIÂżFH DW 2SHQ IRU SUH SHUIRUPDQFH GLQLQJ RQ VKRZ GD\V RQO\ DQG IRU brunch every Saturday and Sunday. Visit www.arshtcenter.org/brava for more information.

CafÊ at Books & Books in the Carnival Tower, managed by Books & Books under the direction of &KHI $OOHQ 6XVVHU LV ORFDWHG RQ WKH JURXQG ÀRRU RI WKH KLVWRULF &DUQLYDO 7RZHU RQ WKH FRUQHU RI WK 6W and Biscayne Blvd. The cafÊ-style restaurant features a full-food menu designed by Chef Allen Susser as well as a full bar, outdoor seating, table service, pastries and a specialty coffee bar. Open Monday – Friday, 8 a.m. – 10 p.m., and weekends, 9 a. m. – 10 p.m. (with extended hours on all show nights).

Theater Lobbies Concessions and Wine Bars feature a variety of light food and beverage one hour before the show and during intermissions. Specialty Wine Bars offering a variety of high-end wines and Champagnes on the Box Tier level.

EMERGENCIES Emergency exits are clearly marked throughout the building. Ushers and security personnel will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.

FACILITIES RENTALS Persons or organizations interested in renting the auditoriums, lounges, terraces, plazas or other spaces for private and public events at Adrienne Arsht Center should contact (786) 468-2287 or rentals@arshtcenter.org.

HEARING AIDS AND OTHER HEARING-ENHANCEMENT DEVICES Please reduce the volume on hearing aids and other devices that may produce a noise that would disturb other patrons or the performers. Assistive Listening Devices are available in the lobby; please ask an usher 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.

Photo by Robin Hill

Phone Numbers Accessibility

(786) 468-2011(TTY)

Advertising

(786) 468-2232

$GPLQLVWUDWLRQ 2IÂżFHV %R[ 2IÂżFH

(866) 949-6722 M – F 10am – 6pm Sat. – 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

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Security

Arsht Center Information

(786) 468-2081

2015-16 Cleveland Orchestra Miami

Photo by Mitchell Zachs

INFORMATION MEMBERSHIP – 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 – now, and for generations to come. The Culturist membership program is designed WR HQKDQFH \RXU H[SHULHQFH DW WKH $UVKW &HQWHU ZLWK VSHFLDO EHQH¿WV ranging from advance notice of performances to invitations 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.

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 Center–a Culturist–you have exclusive access to members-only ticket pre-sales and so much more!

Join today, online at www.arshtmembers.org or by calling 786-4682323.

PAGERS, CELL PHONES AND OTHER LISTENING DEVICES All electronic and mechanical devices—including pagers, PDAs, cellular telephones, and wristwatch alarms—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 •Online: www.arshtcenter.org •By Phone: (305) 949-6722 or (866) 949-6722 10 a.m.- 6 p.m. weekdays; beginning at noon on weekend perfomance days. ‡$W WKH %R[ 2I¿FH WKH $GULHQQH $UVKW &HQWHU %R[ 2I¿FH 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 2I¿FH LV RSHQ D P S P 0RQGD\ )ULGD\ QRRQ WR FXUWDLQ RQ ZHHNHQGV ZKHQ WKHUH LV D SHUIRUPDQFH and two hours before every performance. •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 2015-16

Arsht Center Information

33

ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI-DADE COUNTY M. John Richard President & CEO Trish Brennan Andrew Goldberg Valerie Riles Ken Harris Vice President, Vice President, Marketing Vice President, Board and Vice President, Operations Human Resources Government Relations Suzanna Valdez Thomas M. Berger Liz Wallace Vice President, Advancement Vice President, Finance & Vice President, Programming Administration and Chief )LQDQFLDO 2IÂżFHU Administration Aric Kurzman

Assistant Vice President of Business and Legal Affairs Manager of Board Relations Executive Assistant to the President & CEO Executive Assistant to the Executive Vice President Receptionist

Chantal HonorĂŠ Monique McCartney Yamely Gonzalez Anhel Perez Advancement David S. Green John Copeland Jodi Mailander Farrell Christine Brown Kalyn James Carrie Rueda Ana Morgenstern Natalia Ortiz Christine Montano

Assistant Vice President of Advancement and Campaign Director Senior Director, Corporate Giving Senior Director, Foundation Relations Director, Advancement Services and Membership Manager, Donor Relations Special Events Manager Grant Writer Corporate Sponsorship Coordinator Membership Assistant

Finance Teresa Randolph

Assistant Vice President, Finance and Controller Kimba King Manager of Human Resources Aida Rodriguez Accounting Manager Janette Valles Del Angel Settlement Accountant Francisca Squiabro Revenue Staff Accountant Giovanni Ceron Payable Accountant Thyra Joseph Payroll Coordinator Roberta Llorente Human Resources & Finance Coordinator Audience Services Alice Arslanian Fifelski Theater Manager Matthew Ashley House Manager Neal Hoffson House Manager Rodolfo Mendible House Manager Nicole Smith Volunteer Services Manager Nicole Keating Assistant Vice President, Business Intelligence Nadinne Farinas Director, Ticket Services Julia Acevedo Ticket Services Manager Richard Malin Ticket Services Manager Tracy Schneider Ticket Services Manager Maria Usaga Ticket Services Manager Javier Rhoden Ticket Services Supervisor Jose L Carrion III Customer Service Representative Theo Reyna Customer Service Representative Liana Rodriguez Customer Service Representative Mario Acevedo Customer Service Representative Ashley Araujo Customer Service Representative Fernanda Arocena Customer Service Representative Anita Braham Customer Service Representative Heather Brummer Customer Service Representative Alfred Cruet Customer Service Representative Destiny David Customer Service Representative Linda Elvir Customer Service Representative Celina Fernandez Customer Service Representative Randy Garcia Customer Service Representative Mabel Gonzalez Customer Service Representative Randall Heidelburg Customer Service Representative Diana Herrera Customer Service Representative Mirlanta Petit-Homme Customer Service Representative Alexander Matar Customer Service Representative Kerrie Mitchell Customer Service Representative Natalia Morgan Customer Service Representative Taviana Nevares Customer Service Representative Ashley Richardson Customer Service Representative Logan Smiley Customer Service Representative Information Technology James J. Thompson Michael Sampson Israel Cantu Renville Williams Marco Franceschi Lilibeth Bazail

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Marketing Suzette Espinosa Fuentes Luis Palomares Tyrone Manning Joanne Matsuura Laura White Gino Campodonico Jeanne Monks Fernando Olalla Craig Stedman David Chang Sam Hall Raul Vilaboa Nadia Zehtabi Estefania Pinzon Stephanie Hollingsworth Adam Garner Fabiana Parra Patrick Rhudy Carmen Rodriguez Calin Wilson Operations Daniel Alzuri Dean Dorsey Thomas McCoy Lucy Hargadon

Senior Director, Operations Senior Director, Engineering Engineering Manager Executive Assistant to the Vice President, Operations Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer

Jack Crespo Isaac Dominguez Jorge Garcia Jose Hurtado Ivan Lacunza Wilner Montina Jimmy Panchana Xavier Ross Alberto Vega Pedro Villalta Production Jeremy Shubrook Lauren Acker Curtis V. Hodge Janice Lane Herman Montero Melissa Santiago - Keenan Daniel McMenamin

Director, Production Technical Director Technical Director Technical Director Technical Director Technical Director Head Carpenter, Ziff Ballet Opera House John Mulvaney Assistant Carpenter/Head Flyman, Ziff Ballet Opera House Ralph Cambon Head Audio Video, Ziff Ballet Opera House Michael Matthews Head Electrician, Ziff Ballet Opera House Frederick Schwendel Head Carpenter, Knight Concert Hall Michael Feldman Head Audio Video, Knight Concert Hall Tony Tur Head Electrician, Knight Concert Hall Harold Trenhs Head Electrician, Carnival Studio Theater Programming Erica Schwartz Michael Donovan Ed Limia Jairo Ontiveros Tina Williams LisaMichelle Eigler Ann Koslow Jan Melzer Thomas Richard Tappen Ashlee Thomas Yamely Gonzalez

Assistant Vice President, Information Technology Director, Applications Information Systems Operation Manger Data Analyst/Developer IT Systems Administrator IT Support Technician

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

Oscar Quesada

Senior Director, Programming Director, Programming Director, Programming Director, Education and Community Engagement Facility Rentals Director Engagement Manager Engagement Manager Engagement Manager Programming Manager Manager, Education and Community Engagement Executive Assistant to the Vice President, Programming Programming Coordinator

Facility Management Spectra Food Services AlliedBarton Pritchard Sports and Entertainment

Arsht Center

2015-16 Cleveland Orchestra Miami

PERFORMING ARTS CENTER TRUST, INC.

Officers of the Board Alan H. Fein Chairman Richard C. Milstein Secretary Evelyn Greer Assistant Secretary

Ira D. Hall Chair-Elect Matilde Aguirre Treasurer Raul G. Valdes-Fauli Assistant Treasurer

Mike Eidson Immediate Past Chair Parker D. Thomson Founding Chair

Board of Directors

Christia E. Alou Pierre R. Apollon J. Ricky Arriola The Honorable Oscar Braynon II Larry H. Colin Laurie Flink The Honorable Rene Garcia Rosie Gordon-Wallace

Gerald Grant, Jr. Javier Hernandez-Lichtl James Herron Hank Klein Nathan Leight Florene Litthcut Nichols Carlos C. Lopez-Cantera Hillit Meidar-Alfi

Beverly A. Parker Jorge A. Plasencia Abigail Pollak The Honorable Raquel Regalado Neill D. Robinson Carlos Rosso Mario Ernesto Sanchez The Honorable Marc D. Sarnoff

Alexander I. Tachmes Carole Ann Taylor Penny Thurer Aileen Ugalde Judy Weiser Miles Wilkin Lucille Zanghi

ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS

Adrienne Arsht Nancy Batchelor Swanee DiMare

Officers of the Board

Founding Chairman Ronald Esserman David Rocker

Richard E. Schatz

Chairman Frances Aldrich Sevilla-Sacasa Sherwood M. Weiser*

Jason Williams

RESIDENT COMPANIES ALLIANCE 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*

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

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.

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 Jean Monestime Chairman 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 2015-16

Esteban Bovo, Jr. Vice Chairman Bruno A. Barreiro District 5 Rebeca Sosa District 6 Xavier L. Suarez District 7 Daniella Levine Cava District 8 Dennis C. Moss District 9

Pedro J. Garcia 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

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2015 -1 6

Te n t h A n n i v e r s a r y S e a s o n

FRANZ WELSER-MÖST Music Director

GIANCARLO GUERRERO Principal Guest Conductor

Presented by Miami Music Association and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

November 13, 14 SAINT-SAËNS ORGAN SYMPHONY The Cleveland Orchestra Giancarlo Guerrero, conductor Johannes Moser, cello Joela Jones, organ January 21, 22 LEIF OVE ANDSNES PLAYS SCHUMANN The Cleveland Orchestra Franz Welser-Möst, conductor Leif Ove Andsnes, piano January 23 TENTH ANNIVERSARY SEASON GALA The Cleveland Orchestra Franz Welser-Möst, conductor Renée Fleming, soprano January 29, 30 BRAHMS AND PROKOFIEV The Cleveland Orchestra Franz Welser-Möst, conductor William Preucil, violin Mark Kosower, cello March 17, 18, 19 JEAN-YVES THIBAUDET PLAYS LISZT The Cleveland Orchestra Giancarlo Guerrero, conductor Jean-Yves Thibaudet, piano Season Sponsor:

TICKETS

305-949-6722 ARSHTCENTER.ORG/CLEVELAND