FRANZ WELSER-MÖST Music Director
GIANCARLO GUERRERO Principal Guest Conductor
J A N U A R Y 2 1 . 2 2 . 2 O16
T C H A I KOV S K Y ’ S W I N T E R R O M A N C E — page 15 J A N U A R Y 2 9 . 3 0 . 2 O16
B R A H M S D O U B L E C O N C E R T O — page 35
Season Sponsor:
ClevelandOrchestraMiami.com
2015 -1 6
Te n t h A n n i v e r s a r y S e a s o n
Table of Contents 3 PAGE
15 PAGE
26 PAGE
35 PAGE
P R O G R A M B O O K S Copyright © 2016 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.
About Cleveland Orchestra Miami Miami Music Association . . . . . . . . . . . . . . . . . . 4 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Founders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . . . 9 Inspiring Future Generations . . . . . . . . . . . . . 51 Arsht Center . . . . . . . . . . . . . . . . . . . . . . . . . . 52-55
Concert: January 21-22 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Introducing the Concert . . . . . . . . . . . . . . . . . . . 17 About the Music . . . . . . . . . . . . . . . . . . . . . . . 18-25 Conductor: Franz Welser-Möst . . . . . . . . . . . 28 PIano Soloist: Leif Ove Andsnes . . . . . . . . . . 20
About The Cleveland Orchestra Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Principal Guest Conductor . . . . . . . . . . . . . . . About the Orchestra . . . . . . . . . . . . . . . . . . . .
26 28 30 31
Concert: January 29-30 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Introducing the Concert . . . . . . . . . . . . . . . . . . . 37 About the Music . . . . . . . . . . . . . . . . . . . . . . . 39-49 Conductor: Franz Welser-Möst . . . . . . . . . . . 28 Violin Soloist: William Preucil . . . . . . . . . . . . . 44 Cello Soloist: Mark Kosower . . . . . . . . . . . . . . 45
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.
Cover photo copyright © WorldRedEye / Rodrigo Gaya
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.
Cleveland Orchestra Miami was created with the vision of serving Miami-Dade through an annual season of musical presentations by The Cleveland Orchestra, featuring great orchestral concerts with world-renowned soloists, vibrant education programs for students from pre-school to college, and engaging community presentations for diverse populations throughout the region. Today, these programs touch the lives of over 20,000 children, students, and adults each year. Under the leadership of a Miami-based not-for-profit board of directors, Cleveland Orchestra Miami is supported through the generosity of music-lovers from across South Florida, who believe in the power of great orchestral music to engage, motivate, and enthrall. Each season of Cleveland Orchestra Miami concerts is presented in partnership with the Adrienne Arsht Center for the Performing Arts of Miami-Dade County.
Cleveland Orchestra Miami 2015-16
Who We Are
3
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.
Miami Music Association Officers and Board of Directors Jeffrey Feldman, President Mary Jo Eaton, Secretary David Hollander, Treasurer Jon Batchelor Brian Bilzin Marsha Bilzin Alicia Celorio Mike S. Eidson Miguel G. Farra Susan Feldman Isaac K. Fisher Adam M. Foslid
Sheldon T. Anderson, Chairman Norman Braman, Vice Chairman Hector D. Fortun, Vice Chairman Lawrence D. Goodman Pedro Jimenez Michael Joblove Gerald Kelfer Tina Kislak Thomas E Lauria Shirley Lehman William Lehman Jan R. Lewis
Sue Miller Patrick Park Andrés Rivero Joseph Serota Mary M. Spencer Howard A. Stark Richard P. Tonkinson Gary L. Wasserman E. Richard Yulman
Cleveland Orchestra Miami Advisory Council 2015-16 Created in 2015, the Advisory Council promotes Cleveland Orchestra Miami and its programs with individuals, academic and cultural institutions, businesses, and foundations throughout South Florida, encouraging broad participation and advising on growth strategies and future projects. Michael Samuels, Chair Carlos Noble , Vice Chair Kevin Russell, Secretary Bill Appert Jaime Bianchi Betty Fleming Joseph Fleming
4
Alfredo Gutierrez Luz Maria Gutierrez Douglas Halsey Amy Halsey Paige A. Harper Ivonete Leite Ron Morgan
Georgia Noble Claudia Perles Steven Perles Diane Rosenberg Michael Rosenberg Judy Samuels Brenton Ver Ploeg
Board of Directors / Advisory Council
Joaquin Viñas Teresa Galang-Viñas Chris Wallace Steven Weirich Adam M. Foslid, Liaison, Board of Directors
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, Welcome! On behalf of Cleveland Orchestra Miami, we are delighted that you are joining us for these January performances of superb music by The Cleveland Orchestra. This is Cleveland Orchestra Miami’s tenth anniversary season, and it is important for all of us to thank the Founders of this one-of-a-kind, two-city musical partnership for their courage, leadership, and generosity. Each of these visionaries, each of whom is listed on page 6 of this program book, foresaw the cultural enrichment that The Cleveland Orchestra would bestow on South Florida for the past decade. Since 2006, The Cleveland Orchestra has served tens of thousands of members of the South Florida community with musical performances, education programs, and community presentations each year. And today, because of our Founders’ vision, Cleveland Orchestra Miami is proudly and permanently established here in Miami — enriching lives through the power of music. Each year, Cleveland Orchestra Miami seeks to engage and serve more people across South Florida. We are proud of the many ways Cleveland Orchestra Miami has made a difference in Miami. We have expanded our season from three to four weeks of concerts. We have extended free tickets to young people under age 18, making attending Cleveland Orchestra Miami concerts easier and more affordable for families. We have doubled the number of students we reach with music education programs each year. And we are exploring new ways for community members to experience The Cleveland Orchestra — including more intimate presentations in venues across Miami-Dade. All this is possible because of you. Your support and interest have driven our success. Because of you, tens of thousands of concertgoers have attended Cleveland Orchestra performances here in the Adrienne Arsht Center each year. Dozens of Miami-Dade County public schools have welcomed Cleveland Orchestra musicians into classrooms and brought students to concerts. Donors from across the region support Cleveland Orchestra Miami with nearly $3 million in annual contributions — making possible all the performances and presentations the Orchestra does here in our community. Thank you for ten years of shared musical experiences, and for celebrating with us in this anniversary season! With growing support from across South Florida, and an ongoing passion for the power of music, ten years is just the beginning.
Best regards,
Jeffrey Feldman
Cleveland Orchestra Miami 2015-16
Welcome
5
From Dream to Reality Honoring the Founders of Cleveland Orchestra Miami
More than a decade ago, a group of Miami citizens joined together around a remarkable shared dream — of bringing to Miami one of the best orchestras in the world, not just once, but on a regular basis. To build an ongoing relationship between the community and that orchestra, and to present a series of concerts in the city’s brand-new world-class concert hall at the Adrienne Arsht Center. To harness the power of music to engage school children, and to present community presentations of the highest caliber. Today, as we celebrate our Tenth Anniversary, that dream is a reality, and we list here the names of the founders of Cleveland Orcherstra Miami in gratitude to their vision, perseverance, and dedication . . . to a dream . . . for all of South Florida. Michael and Judy Adler Cesar Alvarez Florence and Sheldon T. Anderson J. Ricky Arriola Jayusia and Alan Bernstein Marsha and Brian Bilzin Irma and Norman Braman Martha and Bruce Clinton Colleen and Richard Fain Hector D. Fortun Francie and David Horvitz Tati and Ezra Katz Shulamit* and Chaim Katzman Janet and Gerald Kelfer Pamela Garrison and R. Kirk Landon* Judy and Donald Lefton Shirley and William Lehman Daniel R. Lewis Jan R. Lewis The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation Sue Miller Northern Trust Muriel Rosen* Dr. James Schwade Karyn Schwade Judy and Sherwood* Weiser Jody Wolfe Janet* and E. Richard Yulman *deceased
6
2015-16 Cleveland Orchestra Miami
BY THE NUMBERS
65,000 In ten years, Cleveland Orchestra Miami has presented music programs for more than 65,000 young people across the county.
A decade of success — and ten years is just the beginning!
300 Cleveland Orchestra Miami, in its first decade, has partnered with over 300 schools and partner organizations to showcase the power of great music and great music-making.
a quarter million In ten years, Cleveland Orchestra Miami has touched the lives of more than a quarter million Miamians — through the power of music to engage, uplift, and enthrall.
4OO Cleveland Orchestra Miami has delivered over 400 concerts and musical presentations — to music-lovers from 3 to 93.
2006
The Cleveland Orchestra first played in the Adrienne Arsht Center in August 2006, performing a series of acoustic rehearsals to test the sound of Knight Concert Hall for the architects and engineers. Cleveland Orchestra Miami launched its annual series of concerts with the 2006-07 season.
4O,000
Over 40,000 students from over 200 Miami-Dade County public schools have attended Cleveland Orchestra Miami daytime Education Concerts at Knight Concert Hall.
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 January 5, 2016.
LEADERSHIP DONORS $100,000 and more
Irma and Norman Braman David and Francie Horvitz Family Foundation, Inc. Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel 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 Peacock Foundation, Inc. Marc and Rennie Saltzberg Ms. Ginger Warner $10,000 to $24,999
William Appert and Christopher Wallace Jayusia and Alan Bernstein Marsha and Brian Bilzin Peter D. and Julie F. 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 Astrid and Pedro Jimenez Cherie and Michael Joblove Tati and Ezra Katz Jonathan and Tina Kislak Alan Kluger and Amy Dean Mr. and Mrs. Dennis W. LaBarre Shirley and William Lehman
Cleveland Orchestra Miami 2015-16
Moshe and Margalit Meidar Joy P. and Thomas G. Murdough, Jr. Miami-Dade County Public Schools Milly Nyman Royal Caribbean International 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. Ms. Ginger Warner Gary L. Wasserman and Charles A. Kashner Florence and Robert Werner Barbara and David Wolfort $5,000 to $9,999
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 Ivonete Leite Drs. Ron Morgan and Steve Weirich Georgia and Carlos Noble Robert Pinkert Barbara S. Robinson Dr. and Mrs. Michael Rosenberg Southern Wine and Spirits United Automobile Insurance Company Teresa Galang-Vi単as and Joaquin Vi単as $2,500 to $4,999
Mr. Mark O. Bagnall Stephen Barrow and Janis Manley Kerrin and Peter Bermont Jaime A Bianchi and Paige A. Harper Carmen Bishopric Dr. and Mrs. Edward C. Gelber Robert D. and Jill Hertzberg David Hollander Bob* and Edith Hudson Angela Kelsey and Michael Zealy Jacqueline and Irwin* Kott Eeva and Harri Kulovaara Tom and Amy Lehman Judy and Donald Lefton Ana and Raul Marmol Rosanne and Gary Oatey Maribel A. Piza Alfonso Rey and Sheryl Latchu
Annual Fund Contributors
Mr. and Mrs. James N. Robinson II Michael and Chandra Rudd Mr. Kevin Russell Sydney and David Schaecter Charles E. Seitz Lois H. Siegel Sidney Taurel Brenton Ver Ploeg Carlos Viana Henrietta Zabner $1,000 to $2,499
Mr. and Mrs. Spencer Angel Linda and Rodney Benjamin Sara Arbel Montserrat Balseiro Douglas Baxter and Brian Hastings Don and Jackie Bercu Helene Berger Fran and 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 Daker Nancy J. Davis Fernando De La Hoz 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 Sandi M. A. Macdonald and Henry J. Grzes John F. Hamilton Mr. and Mrs. Barry Hesser Roberto and Betty Horwitz Amal Solh Kabbani Mrs. Nedra Kalish Dr. Michael and Gail Kaplan Michael Kavoukjian Mr. R. Kebrdle and Mrs. A. Kebrdle Kluger, Kaplan, Silverman, Katzen & Levine, P.l. listing continues
9
CLEVELAND ORCHESTRA MIAMI listing continued Mr. Eduardo Stern Ms. Pat Strawgate Joni and Stanley Tate Sidney Taurel Parker D. Thomson Esq. Mr. and Mrs. Robert H. Traurig Dr. and Mrs. Michael B. Troner Raymond and Gracelyn Tuoti Betty and Michael Wohl Susan and Bob Zarchen Loly and Isaac Zelcer Anonymous (2)
Guillermo and Eva Retchkiman Dr. Lynne and M John Richard Charles and Linda Sands Raquel and Michael Scheck Mr. and Mrs. David Serviansky Greg Sharp Grace Katherine Sipusic Henry and Stania Smek Ms. Linda M. Smith Richard and Nancy Sneed Jorge Solano Nancy and Edward Stavis Michalis and Alejandra Stavrinides
Cynthia Knight Mr. and Mrs. Israel Lapciuc 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 James P. Ostryniec Mr. Michael Phillips Eckhard Podack
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 Ana L. Arellano 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 Helen and Jack Berne 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 Christina) Antonio Carrasco and Carolina Oudenhoven Philip and Kathryn Carroll Erich Cauller Harold Chambers Lydia Chelala Mr. Jeremy Chester Josephine Chianese
10
Carole J. Cholasta Jethro Chou 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 Gabriele Fiorentino Bruce and Martha Fischler Kip and Jackie Fisher Dr. and Mrs. Lawrence M. Fishman Marcus Flanagan Christiane and Ronaldo Flank Robert R. Brinker & Nancy S. Fleischman 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
Annual Fund Contributors
Giancarlo Ghinatti Glenn Gilbert and Sharon Gilbert 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 Dr. Gail A. Hawks 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
2015-16 Cleveland Orchestra Miami
CLEVELAND ORCHESTRA MIAMI
Jack and Shirley Kaplan Michele Karsenti Phyllis Katz 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 Judy and Donald Lefton 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 Emilio and Gloria Llinas 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 Harold and Ivy Lewis Stephen F. Patterson Esther and Jacques Paulen Marilyn Pearson Ruso Perkins Diane G. Person 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
Cleveland Orchestra Miami 2015-16
Dr. Gilbert B. Snyder Ilene and Jay Sosenko Voi Sosnowski Maryann Flores Clara Sredni DeKassin Issac Sredni Nick and Molly St. Cavish Marilyn Mackson Stein Beverly Stone Holly Strawbridge Jack Sutte Ricardo and Ana Tarajano Lori V. Thomas 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 VCN Corporation 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 (20)
* deceased
Cleveland Orchestra Miami relies on the generosity of its patrons for our continued success. 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
11
“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.
Thursday, January 21, 2016, at 7:00 p.m. Friday, January 22, 2016, at 7:00 p.m.
Three Fantasy Pieces, Opus 73, for cello and piano by ROBERT SCHUMANN (1810-1856) 1. Tender, and with expression 2. Lively, light 3. Quick, and with fire
Tanya Ell, cello Carolyn Gadiel Warner, piano
from Piano Trio in A minor, Opus 50 by PYOTR ILYICH TCHAIKOVSKY (1840-1893) 2. Tema con variazioni: Andante con moto — Finale e coda
Eli Matthews, violin David Alan Harrell, cello Carolyn Gadiel Warner, piano
Concert Preludes are free to ticketholders to each Cleveland Orchestra Miami concert.
Cleveland Orchestra Miami 2015-16
January 21-22 Concert Preludes
13
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
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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 Franz Welser-Möst, conductor Thursday evening, January 21 , 2016, at 8:00 p.m. Friday evening, January 22, 2016, at 8:00 p.m.
pyotr ilyich tchaikovsky
Romeo and Juliet Overture-Fantasy
robert schumann
Piano Concerto in A minor, Opus 54
(1840-1893)
(1810-1856)
1. Allegro affetuoso 2. Intermezzo: Andantino grazioso 3. Allegro vivace
LEIF OVE ANDSNES, piano INTERMISSION
tchaikovsky
Symphony No. 1 (“Winter Daydreams”) in G minor, Opus 13 1. 2. 3. 4.
Reveries of a Winter Journey: Allegro tranquillo Land of Desolation, Land of Mists: Adagio cantabile Scherzo: Allegro scherzando giocoso Finale: Andante lugubre — Allegro maestoso
The concert will end at approximately 10:05 p.m.
Cleveland Orchestra Miami's Tenth Anniversary Season is sponsored by White & Case.
Cleveland Orchestra Miami 2015-16
Program: January 21-22
15
A portrait of Tchaikovsky, painted in 1893 at the height of his fame, by Nikolai Kuznetsov.
Undoubtedly I should have gone mad but for music. Music is indeed the most beautiful of all Heaven’s gifts to humanity wandering in the darkness. Alone it calms, enlightens, and stills our souls. It is not the straw to which the drowning man clings — but a true friend, refuge, and comforter, for whose sake life is worth living. —Pyotr Ilyich Tchaikovsky
16
2015-16 Cleveland Orchestra Miami
January 21-22
INTRODUCING THE CONCERT
Concerto, Love & Dreams 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
“Romeo and Juliet” portrayed in an oil painting by Ford Madox Brown from 1870.
continues with two back-to-back weekends of concerts filled with great music and great musical storytelling. The first week features early works by two well-known master composers of the 19th century — Tchaikovsky and Schumann. The evening opens with the searing white heat of Tchaikovsky’s orchestral fantasy-overture Romeo and Juliet. The passion, longing, swordplay, and despair of Shakespeare’s great tragedy all come to life in this work, first written in 1869 and later revised to its ultimate thrilling form. Tchaikovsky was notoriously self-critical and sensitive over his writing — although there are an equal number of stories about scores he tried to destroy vs. those he defended against outside criticism. This is one of Tchaikovsky’s first great masterpieces, and always a thrill to hear in live performance. Next up is Robert Schumann’s Piano Concerto. This was first created — as a one-movement fantasy — in 1841 during Schumann’s first extended period of writing for full orchestra. He revised and extended it a few years later into a full concerto, premiered by his wife Clara, one of the 19th century’s great keyboard artists. For the solo role here in Miami, Franz Welser-Möst has invited the Norwegian Leif Ove Andsnes, whom he has worked with often and watched grow across the past quarter century to be one of today’s most formidable and admired pianists. The concert ends with Tchaikovsky’s First Symphony, given the subtitle “Winter Daydreams” by the composer. Here is a delightfully strong work, once neglected but coming back into its own. The thematic unity of the symphony, and the sense of reverie (perhaps icebound) in the opening movements all come together to project this composer’s bona fides as a musical Romantic — letting emotional states speak loud and clear, even as the formal structure remains authentically classical, and tinged with Russian spirit. —Eric Sellen .
Cleveland Orchestra Miami 2015-16
Introducing the Concerts
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January 21-22
Romeo and Juliet Overture-Fantasy composed 1869, revised 1870 and 1880 T H E I D E A to write an orchestral work based on Shakespeare’s
by
Pyotr Ilyich
TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg
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Romeo and Juliet was not Tchaikovsky’s own but came instead from Mily Balakirev, the intellectual leader of a group of Russian composers known as the “Mighty Handful” or the Russian “Five.” (Aside from Balakirev, the group included Modest Mussorgsky, Nikolai Rimsky-Korsakov, Alexander Borodin, and César Cui.) Balakirev was just a few years older than Tchaikovsky and the rest of the “Five.” Yet he had an acute critical mind and a charisma that made him the unofficial leader of his generation among the musical community. Although he composed a great deal himself, his legacy shows that he was often far more important as a catalyst who inspired others and prodded them to write the works he himself was incapable of writing. In 1869, Balakirev had been inspired by Shakespeare to write a King Lear overture and suggested that Tchaikovsky tackle an orchestral piece based on Romeo and Juliet. He even gave the younger composer some fairly precise indications on how to go about the project, including four measures of music that he thought the piece should start with and a structural outline (complete with sequence of themes, plan for modulating between keys, and other technical details). Tchaikovsky didn’t use the suggested opening measures, but in other respects he followed Balakirev’s advice rather closely. He even sent his mentor the musical themes from his new piece for approval. Giving approval was not easy for Balakirev, however, who replied that “the first theme is not at all to my taste.” He found the great love theme, however, to be “simply delightful.” Tchaikovsky was careful not to show Balakirev the entire work until after he had heard it performed the way he had written it. After the March 1870 premiere, however, Tchaikovsky followed up on the older man’s criticisms. He threw out the theme that Balakirev didn’t like, wrote a new introduction, and revised the development and the coda that brought the piece to a close. He then sent this new version to Balakirev, who shared it with his circle. The influential critic Vladimir Stasov, a central figure associated with the group, exclaimed: “There were five of you; now you are six!” This judgement, however, was premature, for Tchaikovsky was to follow his own artistic path — and the “Five” itself slowly became less important. By the time TchaiAbout the Music
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kovsky returned to Romeo and Juliet to revise it further in 1880, he was a mature composer who, although always sensitive to criticism, was no longer dependent on advice. He undertook some further cutting and pasting on his own, resulting in the final form of what is universally considered his first masterpiece. The overture-fantasy begins with a musical portrait of Friar Laurence (a very Russian Friar Laurence, one might add, with a slow chorale melody tinged with some typically Russian polyphonic motifs). A brief transition leads to a stormy “Allegro” theme evoking the feud of the Montagues and the Capulets in an almost graphic way through the rapid alternations of the string and wind sections. The musical development section leads to a climactic point where the “feud” music is combined with the Friar Laurence theme, played fortissimo (“very loudly”) by the brass. The recapitulation reworks the love theme, revealing its hidden connections with the “feud” music. In the final section (with a tempo marking of Moderato assai), the love theme comes to a tragic conclusion, consistent with Shakespeare’s play.
—Peter Laki © 2016
Copyright © Musical Arts Association
At a Glance Tchaikovsky wrote the first version of his fantasyoverture on Romeo and Juliet in 1869. After the first performance, led by Nikolai Rubinstein in Moscow on March 16, 1870, Tchaikovsky revised the work extensively. He made another round of revisions in 1880, producing the definitive version of the piece, first performed on May 1, 1886, in Tbilisi in Russian Georgia. This work runs about 20 minutes in performance. Tchaikovsky scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, bass drum), harp, and strings. The Cleveland Orchestra first performed Tchaikovsky’s Romeo and Juliet in December 1919. It has enjoyed frequent performances by the Orchestra since that time.
The three Tchaikovsky brothers in 1875, with family friend Nikolai Dmitrievich Kondratiev (standing at left), and then Anatoli Tchaikovsky (seated), Modest Tchaikovsky, and Pyotr (seated).
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About the Music
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January 21-22
Leif Ove Andsnes Norwegian pianist Leif Ove Andsnes is acclaimed internationally for his artistry performing with orchestras and at leading music festivals, in chamber music collaborations, in solo recital, and as a recording artist. Mr. Andsnes served as co-artistic director of Norway’s Risør Festival of Chamber Music for nearly two decades, and is a professor at the Norwegian Academy of Music and member of the Royal Swedish Academy of Music. He made his United States orchestral debut in summer 1990 with The Cleveland Orchestra and has played regularly with the Orchestra across the ensuing twenty-five years. Concerto — A Beethoven Journey, a documentary by British director and filmmaker Phil Grabsky that was released this past autumn, chronicles Mr. Andsnes’s four-season focus on Beethoven’s music for piano and orchestra. With the Mahler Chamber Orchestra, he traveled to 108 cities in 27 countries for more than 230 live performances. This musical partnership was recorded by Sony Classical as The Beethoven Journey. Leif Ove Andsnes’s recent and current schedule includes major European and North American solo recital tours, as
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well as concerts with the orchestras of Bergen, Chicago, Leipzig, London, Munich, Philadelphia, and Zurich. He will also perform Brahms’s piano quartets with Clemens Hagen, Christian Tetzlaff, and Tabea Zimmermann. Mr. Andsnes now records exclusively for Sony Classical. His previous discography comprises more than 30 albums for EMI Classics — solo, chamber, and concerto releases spanning repertoire from the time of Bach to the present day. He has been nominated for eight Grammys and awarded many international prizes, including six Gramophone Awards. Leif Ove Andsnes’s recordings of the music of Edvard Grieg have been especially celebrated. Among the honors bestowed on Mr. Andsnes as an artist are Norway’s Commander of the Royal Norwegian Order of St. Olav and Peer Gynt Prize. He also has received the Gilmore Artist Award and the Royal Philharmonic Society’s Instrumentalist Award. He was inducted into the Gramophone Hall of Fame in 2013. Leif Ove Andsnes was born in Karmøy, Norway, in 1970. He studied at the Bergen Music Conservatory with Jiri Hlinka, and later with Jacques de Tiège. He currently lives in Bergen, Norway, and in June 2010 became a father for the first time. His family expanded in May 2013 with the arrival of twins. For more information, please visit www.andsnes.com.
Guest Soloist
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January 21-22
PIano Concerto in A minor, Opus 54 composed 1841-45 R O B E R T S C H U M A N N had little patience for the hordes of
by
Robert
SCHUMANN born June 8, 1810 Zwickau, Saxony died July 29, 1856 Endenich, near Bonn
virtuoso pianists who showed off their brilliant fingerwork and dazzled audiences all over Europe in the early 19th century, playing on the new-fangled instruments that were much bigger and brighter than anything Mozart had known. Beethoven had sensed the potential of the new upper octaves, which could be heard (though not by himself, of course) at the back of large halls and could compete on equal terms as the “modern“ orchestra grew in size. Schumann’s early piano music felt the lure of this brilliant style, but he soon championed the cause of expression and feeling over virtuosity and brilliance. In 1839, Schumann wrote, when a particular concerto offended him: “We must await the genius who will show us in a new and brilliant way how orchestra and piano may be combined, and how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.” Schumann’s gift for prophecy, so accurate when proclaiming the genius of the young Chopin and the young Brahms, was this time pointing with equal accuracy to himself. In 1839, he had in fact begun to sketch a piece for piano and orchestra for his beloved wife, Clara, and it was finished in 1841 under the title Fantasie. There was no opportunity to perform it, however, and three publishers declined to print it. Four years later, he added an Andantino section, linking to a Rondo movement, to make a three-movement concerto. And in this form, once it had been performed by Clara in Leipzig on New Year’s Day, 1846, it was successful everywhere — and came to be one of the best-loved of Romantic piano concertos, with a pleasing balance between virtuosity or skilled artistry and more clear-eyed, thoughtful musicality, yet filled with emotional weight. The first movement betrays the character of a Fantasie in many ways, since the main theme, heard first in the winds with the piano’s immediate response, reappears in many guises. It serves as the second subject in the major key, now on the clarinet over the piano’s rippling accompaniment, and also as an interruption before the development, when the theme is passed back and forth between the clarinet and the piano in a marvelously languorous mood. Finally, after the solo cadenza, it appears in
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At a Glance Schumann composed the first movement of his Piano Concerto during the spring and summer of 1841 as a “fantasy” for piano and orchestra. He added the second and third movements four years later, and the concerto was first performed in Dresden on December 4, 1845, with Clara Schumann at the piano and Ferdinand Hiller conducting. (The score was published with a dedication to Hiller.) This concerto runs about 30 minutes in performance. Schumann scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano. Schumann’s Piano Concerto was first performed by The Cleveland Orchestra at concerts in January 1920, and has been part of the Orchestra’s repertoire on a regular basis since that time.
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a brisk closing coda. As a model of how soloist and orchestra may be combined, the middle movement Intermezzo splits its theme between these forces, who continue the conversation until it is time for a new theme. This is presented by the cellos with elegant interjections from the soloist. At the end, as the movement fades to nothing, oboes and clarinets bring back the first movement’s main theme in a hesitant manner, recalling the equivalent moment in Beethoven’s “Emperor” Concerto (No. 5), before the finale bursts in with new energy. The last movement’s theme is a thinly disguised version of the concerto’s opening theme, and the soloist is soon engaged in traversing the keyboard with a stream of notes that comes close to the domain of virtuosity. But the melodic sweep is always present, and a contrasting theme exploits a different kind of skill, the control of rhythmic dislocation. Schumann’s passion for the teasing effects of cross-rhythms puts both soloist and orchestra on their mettle, but they emerge from it with a new rush of energy that drives them together to the close.
—Hugh Macdonald © 2016 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.
Robert Schumann in an image from Hamburg in 1850, with Clara his wife, one of the great pianists of the 19th century and the original soloist for the premiere of his Piano Concerto.
About the Music
2015-16 Cleveland Orchestra Miami
January 21-22
Symphony No. 1 (“Winter Daydreams”) in G minor, Opus 13
composed 1866-67, revised 1874-75 I N 1 8 4 0 , the year of Tchaikovsky’s birth, Russian music had
by
Pyotr Ilyich
TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg
just begun to evolve toward an adoption of Western forms and genres. Mikhail Glinka, the composer regarded as the “father of Russian music,” had finished his first opera, A Life for the Tsar, only a few years earlier, in 1836. The St. Petersburg Conservatory, the first institution in the country to offer advanced musical training, opened its doors in 1862, with the celebrated pianist and composer Anton Rubinstein as its founding director. Tchaikovsky entered the conservatory the next year as one of the school’s first composition students. Although he had exhibited great musical talent since childhood, Tchaikovsky was 23 years old when he decided to devote his life to music. He gave up his job as a civil servant at the Department of Justice and enrolled in the conservatory as a pupil of Rubinstein and Nikolai Zaremba, graduating with honors three years later. Upon leaving school, Tchaikovsky was immediately appointed to the faculty of the second conservatory of the country, which was in the process of being opened by Anton Rubinstein’s brother Nikolai in Moscow. A few months after arriving in Moscow, the budding 26-yearold composer embarked on a large-scale symphony, one of the first Russians to do so. His only significant predecessor had been his teacher Anton Rubinstein, whose Second Symphony was written in 1851. At the same time, several other rising Russian composers were also trying their hand at symphonies, with Rimsky-Korsakov’s First premiering in 1865 and Borodin’s in 1869. A composer writing a symphony in Russia in the 1860s was, thus, something of a pioneer, a fact critics don’t always seem to keep in mind. Despite much criticism, Tchaikovsky always had a soft spot in his heart for his First Symphony, which, years later, he called “one of the sins of my sweet youth.” Tchaikovsky was fully conscious of the difficulties and responsibilities involved in this enterprise. His first symphony caused him more anguish and agony than any of his later works, resulting in frightening physical symptoms and a near nervous breakdown during the time of composition. Tchaikovsky complained to his younger brother Anatol about chronic insomnia and what he called recurrent “little apoplectic fits” (they might
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At a Glance Tchaikovsky wrote his First Symphony, which he subtitled Zimniye gryozy(“Winter Daydreams”), in 1866 and revised it in the following year. The work was introduced to the public by installments: the Scherzo alone was presented in Moscow on December 22, 1866, the Adagio and the Scherzo in St. Petersburg on February 23, 1867, and finally the entire symphony in Moscow on February 15, 1868. All performances were conducted by Nikolai Rubinstein. Tchaikovsky revised the symphony again in 1874 and published it in 1875. The new and definitive version was premiered in Moscow on December 1, 1883, under the direction of Max Erdmannsdörfer. This symphony runs about 40 minutes in performance. Tchaikovsky scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, bass drum), and strings.
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have been mild epileptic seizures). He was unhappy about the sluggish pace at which the symphony progressed, and suffered a major setback when, during the summer of 1866, he showed his two former teachers what he had written. Both Anton Rubinstein and Zaremba were harshly critical of the work in progress, reinforcing Tchaikovsky’s own growing self-doubt. Fortunately, the other Rubinstein, Nikolai, was of a different opinion. He had been a friendly mentor since Tchaikovsky’s arrival in Moscow; he offered his younger colleague a room in his home, and even saw to it that Tchaikovsky was well dressed and in good company. (“Today he presented me forcibly with six shirts,” Tchaikovsky reported to his twin brothers, Modest and Anatol, on January 23, 1866). Nikolai Rubinstein conducted the new work, or parts thereof, both in Moscow and St. Petersburg, with a considerable success that played an important part in launching Tchaikovsky’s career. THE MUSIC
Although Tchaikovsky provided the first two movements of his symphony with descriptive subtitles, it would be an exaggeration to call this symphony program music. The titles are meant as general ideas of mood, rather than as descriptions of the musical events therein. The first movement, titled “Reveries of a Winter Journey” (in Russian, “Gryozy zimney dorogoy”) travels or wanders from a “frosty” opening, with eerie string tremolos and slowly unfolding, brief melodic fragments, to brighter landscapes and then back to the opening frost. This journey is accomplished by means of the traditional sonata form, allowing Tchaikovsky to modulate from the initial, wistful G minor to the more radiant D major (reached here, in a bold harmonic move, by way of the even more luminous Fsharp major). A beautiful second theme, introduced by the solo clarinet, was added when Tchaikovsky made some final revisions to the symphony in 1874. The movement’s development section begins with a quartet of horns that sounds astonishingly like the “Waltz of the Flowers” from The Nutcracker, written 20 years later, and culminates in a powerful orchestral crescendo. The recapitulation repeats the minor-to-major “journey” from the exposition, but at the end Tchaikovsky unexpectedly reverts to minor. The movement concludes as mysteriously as it began. The second movement, “Land of Desolation, Land of Mists” About the Music
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(in Russian “Ugriumny kray, tumanny kray”) opens and closes with a musical quote from Tchaikovsky’s own early overture The Storm. The main section of the scherzo third movement is a masterful orchestration of an earlier piano sonata Tchaikovsky had written (but which was not published until after his death). Here, a simple, two-bar rhythmic phrase is presented in a multitude of melodic forms. The finale fourth movement begins with a slow introduction in G minor, with two bassoons intoning the fragment of a Russian folksong that is soon heard in its entirety, played by the violins. The movement’s principal “Allegro maestoso” tempo is announced by a jubilant new theme played by the entire orchestra. The folksong is reintroduced as the second theme in the unfolding sonata form. The movement progresses, including a fugue section that has often been criticized, and an accelerating passage that has equally often been much admired. Finally, the summit is reached; the symphony ends with two minutes of exultant fanfares, with drums and pipes and celebration on a monumental scale. —Peter Laki © 2016 Copyright © Musical Arts Association
Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College.
Cleveland Orchestra Miami 2015-16
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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.
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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
PERCUSSION Marc Damoulakis* 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 Alexander and Marianna C. McAfee Chair
* Principal §
Linnea Nereim
Shachar Israel 2
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E-FLAT CLARINET Daniel McKelway
BASS TROMBONE Thomas Klaber
*
Stanley L. and Eloise M. Morgan Chair
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
EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair
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Associate Principal First Assistant Principal Assistant Principal on sabbatical leave
CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE
Giancarlo Guerrero
PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI
Brett Mitchell
ASSOCIATE CONDUCTOR
TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair
Robert Porco
DIRECTOR OF CHORUSES
Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair
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Elizabeth Ring and William Gwinn Mather Chair
The Orchestra
Frances P. and Chester C. Bolton Chair
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Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra
Franz Welser-Möst is among today’s most distinguished conductors. The 2015-16 season marks his fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. In 2015, the New York Times 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. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This season, he leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This season, he also makes his long-anticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, conducting more than forty new produc-
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tions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a recently-released multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as 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. AT LEFT
Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015. Other recent accolades include being singled out in a year-end review of notable performers and performances in 2015 by Deutschland Radio.
“Right now The Cleveland Orchestra may be, as some have argued, the finest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.” —San Francisco Chronicle
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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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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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COMING IN MARCH
Jean-Yves Thibaudet Plays Liszt Thursday March 17 at 8 p.m. Friday March 18 at 8 p.m. Saturday March 19 at 8 p.m.
THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Jean-Yves Thibaudet, piano Franz Lizst’s second piano concerto is one of the most thrilling and vibrant concertos of all time — filled with emotion, virtuosity, and passion. The concert begins with a world premiere created especially for the occasion, and concludes with Mahler’s epic First Symphony, inspired by sounds of nature, heroic struggles, and triumphant music. “Jean-Yves Thibaudet has a way of combining an often wild virtuosity with an almost relaxed grace that sets him apart from many other performers of his generation.” —Chicago Sun-Times DORMAN Siklòn — WORLD PREMIERE, COMMISSIONED BY THE ADRIENNE ARSHT CENTER FOR ITS TENTH SEASON
LISZT Piano Concerto No. 2 MAHLER Symphony No. 1 (“Titan”) T I C K E T S arshtcenter.org/cleveland or 305-949-6722 U N D E R 1 8 s F R E E : Free young person ticket with each adult ticket purchased
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, January 29, 2016, at 7:00 p.m. Saturday, January 30, 2016, at 7:00 p.m.
from Sonata for Two Violins in C major, Opus 56 by SERGEI PROKOFIEV (1891-1953) 3. Comodo quasi Allegretto 2. Allegro
Sonja Braaten Molloy, violin Jeffrey Zehngut, violin
from Horn Trio in E-flat major, Opus 40 by JOHANNES BRAHMS (1833-1897) 1. Andante 2. Scherzo: Allegro
Hans Clebsch, horn Katherine Bormann, violin Carolyn Gadiel Warner, piano
Concert Preludes are free to ticketholders to each Cleveland Orchestra Miami concert.
Cleveland Orchestra Miami 2015-16
January 29-30 Concert Preludes
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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
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 Franz Welser-Möst, conductor Friday evening, January 29, 2016, at 8:00 p.m. Saturday evening, January 30, 2016, at 8:00 p.m.
sergei prokofiev (1891-1953)
johannes brahms (1833-1897)
Divertissement, Opus 43 1. 2. 3. 4.
Moderato, molto ritmato Nocturne: Larghetto Dance: Allegro energico Epilogue: Allegro non troppo
Double Concerto (for violin and cello) in A minor, Opus 102 1. Allegro 2. Andante 3. Vivace non troppo
WILLIAM PREUCIL, violin MARK KOSOWER, cello INTERMISSION
prokofiev
Symphony No. 3 in C minor, Opus 44 1. 2. 3. 4.
Moderato Andante Allegro agitato — Allegretto Andante mosso — Allegro moderato
The concert will end at approximately 9:45 p.m.
Cleveland Orchestra Miami's Tenth Anniversary Season is sponsored by White & Case. The Saturday concert is sponsored by Feldman Gale, P. A.
Cleveland Orchestra Miami 2015-16
Program: January 29-30
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Brahms in 1889, from a series of photographs by C. Brasch
It is not in fact so hard to compose. But what is fabulously difficult is to leave the superfluous notes under the table. —Johannes Brahms
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2015-16 Cleveland Orchestra Miami
January 29-30
INTRODUCING THE CONCERT
Divertimento, Two & Three T H I S W E E K ’ S C O N C E R T S feature works by two musical giants,
A silhouette of Brahms out walking, created by Otto Böhler.
one each from the 19th and 20th century. Both Johannes Brahms and Sergei Prokofiev were extraordinarily skilled pianists, and performed widely in their youth. Their talent carried them forward, in meeting and performing with other musicians and in creating powerful works for themselves (and others) to play. Their musicality endeared them to many — and allowed them to write great music across the years and in a variety of formats. At the center of this week’s program comes Brahms’s Double Concerto, an unusual piece written for violin and cello. It was created as a peace offering to one of Brahms’s best friends, Joseph Joachim, one of the greatest violinists of the 19th century. They met as young men just past twenty, were fast friends for thirty years, then pulled apart over Brahms’s belief that Joachim’s wife was true — just when Joachim’s own jealousy convinced him of her infidelity (not with Brahms, but with someone else). Brahms’s defense of Joachim’s wife, in court, caused a nearly irreparable split. But music . . . came to the rescue, with Brahms creating an unusual — and unusually beautiful — double concerto (his last big orchestral piece before his own death). For this week’s performances, The Cleveland Orchestra’s section principals, concertmaster William Preucil and cellist Mark Kosower, take up the soloist roles. Surrounding the concerto are two works by Prokofiev. Both are filled with music rescued and reused from other projects. His Divertissement includes movements from an early ballet called Trapèze, while his Third Symphony derived much of its musical ideas from a half-finished opera called The Fiery Angel. In both works, however, Prokofiev consummately hides most telltale signs of borrowing — and creates pieces filled with strong musical statements and endearing melodies, bound together with moments of modernism intertwined with deft traditional touches and enjoyably Prokofien harmonies. All in all, this is music to listen to openly, and to wonder at the heights (and depths) of friendship, artistry, and imagination.
—Eric Sellen . Cleveland Orchestra Miami 2015-16
Introducing the Concerts
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In my view, the composer, just as the poet, the sculptor, or the painter, is duty bound to serve humanity. He must beautify life and defend it. He must be a citizen first and foremost, so that his art can consciously extol human life. —Sergei Prokofiev
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2015-16 Cleveland Orchestra Miami
January 29-30
Divertissement, Opus 43 composed 1929 S E R G E I P R O K O F I E V was a brilliant musician, a young fire-
by
Sergei
PROKOFIEV born April 23, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow
brand filled with imagination and zest, talent, daring, and vision. He was born into a dying Russian Imperial empire, finished his schooling during the upheavals of the country’s revolutionary shift to communism, and then dallied with living in Europe and the United States as a serious immigrant who never felt at home. Having lost his way forward as a person (if not as an artist), he returned to his homeland, where he was acclaimed and abused in equal measure by the government’s totalitarian powers and bureaucracy. Prokofiev wrote fecundly in many genres — symphonies, sonatas, ballets, concertos. He was a daring young man, but after the wide stimulation of musical life in Paris in the 1920s, began hedging his bets in middle-age, and nearly gave in to the prevailing powers and government desires in his later years. The Divertissement is a work with origins from his years in Paris, and its movements show both the variety in his music and his own evolving style. In 1924, he accepted a commission to write a ballet score for Boris Romanov’s young dance group, and created a score for five instruments only (oboe, clarinet, violin, viola, and double bass) because that was as many musicians as Romanov could afford. The storyline was about a circus and the ballet was called Trapèze. The score proved too difficult for the troupe’s musicians, however, and the score was eventually lost. (Much of the original music survives within his Quintet, Opus 39, for the same set of five instruments.) Five years later, Prokofiev repurposed sections of Trapèze as the first and third movements of an orchestral Divertissement, while adding a Larghetto and a Finale. The music of Divertissement, thus, displays several sides of Prokofiev’s musical thinking, as he moved from the rhythmically-driven music of his own youth to the more mellow and melodic (sometimes melancholy) music of his middle years. Running about fifteen minutes, it sounds distinctly like Prokofiev and, while neglected for many years, has been recorded a number of times and shows its strength in performance. (Prokofiev made his own piano transcription of this work in 1938 as Opus 43b.)
—Eric Sellen © 2016
Cleveland Orchestra Miami 2015-16
About the Music
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January 29-30
Double Concerto in A minor, Opus 102 (for violin and cello)
composed 1887
by
Johannes
BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna
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T H E D O U B L E C O N C E R T O is the last of Brahms’s four concertos, and his final work with orchestra. At fifty-four, Brahms was fourteen years past the age mentioned in a poem by Friedrich Rückert he had set to music shortly before: “Mit vierzig Jahren ist der Berg erstiegen” (“At forty, the mountaintop has been reached”). Brahms had ten more years to live, and, although he repeatedly considered retirement from composing, he continued to write music almost to the end. Yet, at least from the time of the Double Concerto, he seemed to be consciously composing in a “late” style. The mountaintop had been reached, it was time for stock-taking and looking back on the road travelled. The decision to write a concerto for violin, cello, and orchestra was motivated by several factors. The external circumstances have become well known. Brahms intended the concerto as a gesture of reconciliation with his old friend, the great violinist Joseph Joachim, from whom he had been estranged for a number of years. Joachim had filed a divorce suit against his wife, the singer Amalie Weiss, alleging that she was having an affair with the music publisher Fritz Simrock. Brahms, who knew that Amalie was innocent, wrote a letter to that effect, which helped to decide the case in her favor. After this incident, Brahms and Joachim did not speak to each other for several years. The violinist, however, continued to perform Brahms’s music throughout this period. Anxious to restore the old friendship, Brahms wrote to Joachim about the new concerto, asking him only to write the two words “I decline” on a postcard if he did not want to accept the peace offering. Fortunately, Joachim knew better than to turn down a new work by Johannes Brahms. He and his colleague, cellist Robert Hausmann, with whom he had founded the celebrated Joachim Quartet, arranged to meet with the composer in Baden-Baden, and read through the work both with piano and with the spa orchestra. This was followed by several concert performances, resulting in a certain rapprochement between Brahms and Joachim, although their former closeness never returned. The story of the Brahms-Joachim friendship, however, is only one of the factors in the genesis of the Double Concerto. About the Music
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And it doesn’t answer the question as to why Brahms used the particular combination of violin and cello with orchestra. No doubt, it would have been difficult for Brahms to write another violin concerto after his D-major masterpiece from 1877. Hausmann had been urging him to write a cello concerto, but Brahms for some reason did not take to the idea. But both cello and violin had been very much on his mind around 1886 — the works directly preceding the Double Concerto (Opus 102) are sonatas for each of these instruments (Opus 99 for cello, Opus 100 for violin), and a trio (Opus The decision to write a 101) in which both instruments are joined by concerto for violin, cello, the piano. Brahms may also have been intrigued and orchestra was motivatabout writing a work for an unusual grouping ed by several factors. of performers. The double concerto as an idea The external circumstances had its ancestors in the symphonies concertantes of the Classical era, the most famous example have become well known. being Mozart’s work for violin and viola (K364) Brahms intended the confrom 1779. But multiple-instrument concer- certo as a gesture of recontos went out of fashion after the first decade ciliation with his old friend, of the 19th century. Beethoven’s Triple Concerto of 1803-04, whose piano part Brahms the great violinist Joseph had performed, stood at the end of the line. Joachim, from whom he Eighty years later, the genre had to be practi- had been estranged for cally reinvented. And that was precisely what a number of years. Brahms challenged himself to do, choosing the violin-cello duo, which had never been combined with the orchestra before. (At least, Brahms was unaware of any earlier precedents.) Brahms’s letters from the time of the Double Concerto are full of the self-deprecating comments the composer usually made concerning his new works. He described the concerto variously as “a strange notion,” “my latest folly,” and even an “idiocy.” He teased his friend and publisher Simrock: “I warn you not to ruin yourself! Offer me a small sum!” These remarks seem to have been some kind of an emotional insurance policy against a possible unfavorable reception of the work — and, in the case of the Double Concerto, Brahms’s fears were not entirely unfounded. Despite the efforts of Joachim and Hausmann, the first performance was a critical success rather than a popular one. Listeners looking for the relentless energy and the strong unity that characterized Brahms’s Cleveland Orchestra Miami 2015-16
About the Music
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At a Glance Brahms wrote his Double Concerto at Hofstetten on Lake Thun, Switzerland, during the summer of 1887. Joseph Joachim and Robert Hausmann were the soloists in a private performance at the Kurhaus in Baden-Baden on September 23, 1887, with Brahms conducting the local spa orchestra. The official premiere took place in Cologne on October 18, 1887, again with Joachim, Hausmann, and Brahms, this time with the Gürzenich Orchestra. This concerto runs about 35 minutes in performance. Brahms scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, plus the two solo instruments. The Cleveland Orchestra first performed Brahms’s Double Concerto in December 1921, and has played it occasionally since that time.
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symphonies and the earlier concertos may have been somewhat disappointed. At first hearing, the Double Concerto can seem less focused, with more lyrical digressions and formal irregularities than he’d written earlier. These, however, can be explained by the unusual medium, and, at second hearing, they often turn out to be particular attractions rather than weaknesses. Brahms needed to give both solo instruments enough “elbowroom,” musically speaking. Each instrument requires virtuoso passages and great melodic moments in the spotlight; in addition, they have to be featured both individually and as a duo pitted against the orchestra. Ultimately, the intrinsic beauty of this concerto lies precisely in its structural “looseness,” which allows for plenty of lyrical expression and introspection. THE MUSIC
After four measures of orchestral introduction to the opening movement, the cello begins what Brahms called a “recitative in strict tempo.” This seems to be a contradiction in terms, whose explanation is probably that Brahms notated the intended rhythmic freedom in precise note values. And the constant alternations between groups of two notes and groups of three, if played as written, do give the impression of a free performance. The personal, lyrical tone of the two solo instruments contrasts with the stronger, more angular music of the orchestra. The contrast can be felt even (or especially) when variants of the same melodic idea are being played. The orchestra strikes a softer note when, in the movement’s recapitulation, the tonality changes from A minor to A major; the end of the movement, however, reverts to the dramatic A minor of the beginning. The Andante second movement (in D major) begins with a four-note introductory motif that becomes the opening of the principal melody, introduced by the two soloists in parallel octaves. This theme is answered by a second idea in a new key (F major), played by the woodwind and embellished by the soloists. An abridged recapitulation of both ideas rounds off this poetic movement. The finale third movement, with a tempo marking of Vivace non troppo, is in rondo form. That is, it consists of a main theme alternating with episodes. The main melody is a sprightly dance tune in Brahms’s best “Gypsy” vein. It is played in turn by the cello, the violin, and the full orchestra. The first episode is a legato melody in C major; the second, a very Brahmsian rhythmic About the Music
2015-16 Cleveland Orchestra Miami
idea that keeps changing keys; in both, the soloists use doubleor triple-stops (two or three notes played simultaneously across multiple strings). As in most late Classical and Romantic rondos, the first episode later returns a second time, making the form, properly speaking, a “sonata-rondo.” The key of this return, in A major, is retained to the end, brightening the mood during a lyrical, slower-moving final episode and a brief, brilliant coda.
—Peter Laki © 2016
Copyright © Musical Arts Association
ABOVE: The Joachim Quartet late in the 19th century, including Joseph Joachim at left and cellist Robert Hausmann, second from left, who were the soloists for the premiere of Brahms’s Double Concerto in 1887.
RIGHT: Brahms (seated)
and Joachim as young friends, circa 1867.
Cleveland Orchestra Miami 2015-16
About the Music
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January 29-30
William Preucil Concertmaster Blossom-Lee Endowed Chair The Cleveland Orchestra
William Preucil became concertmaster of The Cleveland Orchestra in April 1995 and has appeared over 100 times as soloist with the Orchestra in concerto performances at both Severance Hall and the annual Blossom Music Festival. Prior to joining The Cleveland Orchestra, Mr. Preucil served for seven seasons as first violinist of the Grammywinning Cleveland Quartet, performing more than 100 concerts each year in the world’s major music capitals. Telarc International recorded the Cleveland Quartet performing the complete cycle of Beethoven’s 17 string quartets, as well as a variety of chamber works by Haydn, Mozart, Schubert, and Brahms. William Preucil served as concertmaster of the Atlanta Symphony Orchestra (1982-89), after previously holding the same position with the orchestras of Utah and Nashville. During his tenure in Atlanta, he appeared with the Atlanta Symphony as soloist in 70 performances of 15 different concertos. He has premiered two works by composer Stephen Paulus written especially for him, the Violin Concerto No. 1 with the Atlanta Symphony Orchestra under Robert Shaw’s direction in 1987, and the Violin Concerto No. 3
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with The Cleveland Orchestra under Giancarlo Guerrero in 2012. Mr. Preucil has also appeared as soloist with the symphony orchestras of Detroit, Hong Kong, Minnesota, Rochester, and Taipei. Mr. Preucil regularly performs chamber music, as a guest soloist with other orchestras, and at summer music festivals. His North American festival performances have included Santa Fe, Sarasota, Seattle, and Sitka, with international appearances in France, Germany, and Switzerland. Each summer, he serves as concertmaster and violin soloist with the Mainly Mozart Festival Orchestra in San Diego. Mr. Preucil also continues to perform as a member of the Lanier Trio, whose recording of the complete Dvořák piano trios was honored as one of Time magazine’s top 10 compact discs at the time of its release. The Lanier Trio also has recorded the trios of Mendelssohn and Paulus for Gasparo Records. Actively involved as an educator, Mr. Preucil serves as Distinguished Professor of Violin at the Cleveland Institute of Music and at Furman University. He previously taught at the Eastman School of Music and at the University of Georgia. William Preucil began studying violin at the age of five with his mother, Doris Preucil, a pioneer in Suzuki violin instruction in the United States. At 16, he graduated with honors from the Interlochen Arts Academy and entered Indiana University to study with Josef Gingold (former concertmaster of The Cleveland Orchestra). He was awarded a performer’s certificate at Indiana University and also studied with Zino Francescatti and György Sebök.
Concerto Soloist
2015-16 Cleveland Orchestra Miami
January 29-30
Mark Kosower Principal Cello Louis D. Beaumont Endowed Chair The Cleveland Orchestra
Described as “a virtuoso of staggering prowess” by the Cleveland Plain Dealer, Mark Kosower is a consummate artist equally at home internationally as a recital and concerto soloist and, since 2010, as principal cello of The Cleveland Orchestra. As an orchestral principal, he was formerly solo cellist of the Bamberg Symphony in Germany (2006-10). The 2015-16 season features his performances of the Brahms Double Concerto with The Cleveland Orchestra alongside concertmaster William Preucil in Miami. Recent and upcoming solo engagements include appearances with the orchestras of Columbus, Dayton, Hawaii, Indianapolis, and San Jose. He also performed and recorded both of Victor Herbert’s cello concertos with Belfast’s Ulster Orchestra under the direction of JoAnn Falletta. Mr. Kosower is a frequent guest at international chamber music festivals, including Santa Fe, Eastern Music, North Shore Chamber Music, Japan’s Pacific Music Festival, and Colorado’s Strings Music Festival. In past seasons, he has appeared internationally as soloist with the Rotterdam Philharmonic, Orchestre de Paris, China National Symphony in Beijing, National Symphony Orchestra of Taiwan, Brazilian
Cleveland Orchestra Miami 2015-16
Symphony Orchestra, and the Orquestra Sinfonica de Venezuela, in addition to solo performances at the Châtelet in Paris, the Alte Oper in Frankfurt, the Hong Kong Cultural Centre, and the Teatro Municipal in Rio de Janeiro. Other appearances as concerto soloist have included the orchestras of Detroit, Florida, Houston, Milwaukee, Minnesota, North Carolina, Oregon, Phoenix, Ravinia, Saint Paul, Seattle, and Virginia. Mr. Kosower has recorded for the Ambitus, Delos, Naxos International, and VAI labels, including as the first cellist to record the complete music for solo cello of Alberto Ginastera, which he completed for Naxos. He was described as a “powerful advocate of Ginastera’s art” by MusicWeb International, and Strings Magazine said of his Hungarian music album (also with Naxos) that “the music allows Kosower to showcase his stunning virtuosity, passionate intensity, and elegant phrasing.” A dedicated teacher, Mr. Kosower is currently a member of the faculty at the Cleveland Institute of Music and also with the Kent/Blossom Music Festival. He has given masterclasses around the world. His previous posts include professor of cello and chamber music at the San Francisco Conservatory of Music (2005-07). Born in Wisconsin, Mark Kosower began studying cello at the age of one-anda-half with his father, and later studied with Janos Starker at Indiana University and with Joel Krosnick at the Juilliard School. Mr. Kosower’s many accolades include an Avery Fisher Career Grant, a Sony Grant, and as grand prize winner of the Irving M. Klein International String Competition.
Concerto Soloist
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January 29-30
Symphony No. 3 in C minor, Opus 44 composed 1928-29, from musical material created 1919-27
by
Sergei
PROKOFIEV born April 23, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow
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T H E R E W E R E T I M E S in Prokofiev’s life when success came to him easily. As a young man in Russia, he created a furor with his early works. During his years in Paris, he was a protégé of Sergei Diaghilev and the Ballets Russes. And after his return to his homeland, he was instantly acknowledged as one of the leading Soviet composers. Yet Prokofiev also had his share of failures, such as his sojourn in the United States (1918-22) or in the last years of his life, after the 1948 attack on his music by the Communist Party. One of Prokofiev’s greatest ambitions — and one that constantly eluded him — was to become a successful opera composer. He had written his first opera at the age of nine, and wrote about ten more (some incomplete) over the years. Only one of these, The Love for Three Oranges, has entered the standard repertory outside of Russia. There was, in fact, hardly a time in his life when he was not occupied by operatic plans. And two of these plans were particularly close to his heart: The Fiery Angel and War and Peace. He spent about a decade working on each opera, but never lived to see a complete performance of either. Prokofiev began The Fiery Angel in the United States in 1919, and worked on the opera, with interruptions, until 1927. The libretto, written by Prokofiev himself, was based on the novel of the same title by the Russian symbolist writer Valery Bryusov (1873-1924). The novel takes place in 16th-century Germany, and, in Prokofiev’s own words, “is about a young girl who as a child sees a vision of an angel, coming to her and comforting her in the difficult moments of her life. When sixteen years of age, the girl begins to feel love for the angel. But the angel in anger disappears, telling her that if she wants to love him as a human being, she must meet him in that form. Here begins the operatic action — the girl is trying to find the mystic visitor incarnate among the men she meets.” For a while, the conductor Bruno Walter was contemplating a production of Prokofiev’s opera in Berlin, but he later backed out. A few selections were given in a concert performance, led by Serge Koussevitzky, in Paris in 1928. Prokofiev told the rest of the story in his autobiography: “The selections were well received and I was sorry the opera had not been staged and that the score lay gathering dust on the shelf. I was about to make a suite About the Music
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out of it when I remembered that for one of the entr’actes I had used the development of themes from the preceding scene, and it occurred to me that this might serve as the kernel for a symphony. I examined the themes and found that they would make a good exposition for a movement in sonata allegro form. I found the same themes in other parts of the opera differently expressed and quite suitable for the movement’s recapitulation. In this way, the plan for the first movement of the symphony worked out quite simply. The material for the Scherzo and Andante movements was also found without difficulty. The The style of the Third Symfinale took a little longer. I spent far more time whipping the thing into final shape, tying up all phony will greatly surprise the loose ends and doing the orchestration. But listeners familiar with such the result — the Third Symphony — I consider early works as the “Classito be one of my best compositions. I do not like cal” Symphony or the masit to be called the “Fiery Angel” Symphony. The main thematic material was composed quite in- terpieces of his later Soviet dependently of the opera. When I used it in the period (Romeo and Juliet or opera, it naturally acquired its coloring from the the Fifth Symphony). Prokoplot, but being transferred from the opera to the fiev, however, also had some symphony, it lost that coloring, I believe, and I should therefore prefer the Third Symphony to definitely avant-gardistic be regarded as pure symphony.” colors in his musical palette. Thus, since Prokofiev wanted the Third Yet he was also always a Symphony to be appreciated on its own terms, writer of melodies. it is better to refrain from a detailed account of what comes from where in the opera. Evenso, the music frequently betrays the operatic connection — and this despite the fact that some of the material was first used in an unfinished string quartet, conceived before the opera. Prokofiev treated some of the familiar symphonic patterns with more freedom than ever, with many unexpected tempo and character changes (one is tempted to say “scene changes”) in each movement. In addition, the first movement begins with what seems a true “curtain” effect, with a stormy opening motif gradually subsiding to make room for the actual first theme, which will then be developed. The style of the Third Symphony will greatly surprise listeners familiar with such early works as the “Classical” Symphony or the masterpieces of his later Soviet period (Romeo and Juliet or the Fifth Symphony). Prokofiev, however, also had some definitely avant-gardistic colors in his musical palette, as shown by Cleveland Orchestra Miami 2015-16
About the Music
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several works starting with the Scythian Suite of 1915. During the years of his emigration outside of Russia, he actively experimented with new harmonies and instrumental colors, tendencies that later completely disappeared from his music. Yet Prokofiev was a writer of melodies even during the experimental phase of his career. Expansive lyrical melodies abound in the Third Symphony, though their “environment” is unusual.
At a Glance Prokofiev composed this symphony in 1928, basing its themes on music from his opera The Fiery Angel, which he had written in 1919-27. (At least one theme had also appeared in an unfinished string quartet from the years just before he began writing the opera.) The work was first performed on May 17, 1929, in Paris, with Pierre Monteux leading the Orchestre Symphonique de Paris. The score was published in 1931 with a dedication to Nikolai Miaskovsky, a close friend of the composer. This symphony runs approximately 35 minutes in performance. Prokofiev scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tam-tam, tambourine, castanets, cymbals, bell), 2 harps, and strings.
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THE MUSIC
The first theme of the first movement (which follows the raising of the “curtain”) is a good example of this mixing of meldoy with more modern touches. It is played by the violins and the horns in unison, to a highly complex accompaniment in the rest of the orchestra. It is presented four times in a row, each time in a different key. The orchestration gets thinner and thinner — by the last time, the theme is played by a single instrument (oboe). Now Prokofiev moves on to a new section, based on two new themes — a lyrical idea for strings and a more martial melody for brass (the two themes are actually related in their melodic shapes). Starting slow and soft, this section gradually reaches a fortissimo climax, at which point the first theme and the brass melody return simultaneously. After this moment, the movement gradually unwinds. We hear the first theme in yet another form, played by the flutes and piccolo to a very subtle orchestral accompaniment (harps and cello harmonics). The movement ends with a pianissimo return of the “curtain” motif, fading away into silence in the lowest registers of the orchestra. Melodically speaking, the second movement, marked Andante, is in a regular A-B-A form (with the second “A” section much shorter than the first). Through some subtle changes of orchestration, however, the sections are made to overlap, and the result is a movement that is anything but conventional. The main theme — a quiet, diatonic melody with asymmetrical inner divisions — is first presented by the muted lower strings and immediately repeated by two flutes and bassoon. Then the tempo becomes Poco più mosso (“a little faster”). String tremolos, rapid woodwind scales, a characteristic two-note harp figure, and some violin glissandos in a high register add considerable excitement. The middle section has a lyrical theme whose chromaticism (half-step motion) contrasts with the diatonic first idea. It also features a dolcissimo (“extremely tender”) violin solo. A brief recapitulation of the first melody concludes the movement. About the Music
2015-16 Cleveland Orchestra Miami
The third movement is a scherzo with an agitated introduction and a solemn epilog that frame one of Prokofiev’s most stunning musical statements. Prokofiev’s Soviet biographer Israel Nestyev quoted the composer to the effect that “the tempestuous motion of the demonic scherzo was suggested by the finale of Chopin’s B-flat minor sonata.” Like the Chopin, Prokofiev’s movement is a musical whirlwind, but much more eerie due to the innovative instrumental effects used. Each string section (except the basses) is divided into three subsections, playing complex interlocking rhythmic figures, dominated by the muted glissandos of the first violins. This whole complex is constantly moving along a dynamic scale, from soft to loud and back again. A flute solo eventually joins in, anticipating the movement’s Trio section, a much more conventional Allegretto, after which the scherzo is repeated. The solemn epilog is, in fact, a slower version of the first movement’s “curtain” idea. The finale fourth movement is filled with intense drama expressed in many contrasting sections in different tempos. It begins with an energetic Andante mosso section for full orchestra, whose power Prokofiev managed to intensify even more for the ensuing frenzied measures (marked Allegro moderato), with an ecstatic violin theme in the highest register. This section culminates in a slower, and extremely powerful, passage in triple meter. A series of brief episodes follows; one of them is identical to the chromatic theme heard previously in the second movement, only this time it is played fortissimo by the full orchestra against a menacing background. The next episode is Tranquillo (“quiet”) and mysterious; but it is not long before the Allegro moderato returns with even more “bite” than the first time (the trumpet parts are even more piercing than before). The work ends dramatically with a recall of the solemn passage in triple meter. —Peter Laki © 2016 Copyright © Musical Arts Association
Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College.
Cleveland Orchestra Miami 2015-16
About the Music
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2015-16 Cleveland Orchestra Miami
CLEVELAND ORCHESTRA MIAMI
INSPIRING FUTURE GENERATIONS
Cleveland Orchestra Miami serves Miami-Dade through musical exploration and education in community partnerships Cleveland Orchestra Miami serves more than 20,000 adults, students, and young people in the Miami-Dade community through a variety of concerts and community engagement presentations each year. These education and community programs have been an integral part of Cleveland Orchestra Miami since its annual season of performances and programs was launched a decade ago. Each year, utilizing the talents of the musicians of one of the best orchestra’s in the world, Cleveland Orchestra Miami builds its education programs with one goal in mind — to inspire discovery through music. 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. In presenting these programs and activities, Cleveland Orchestra Miami has worked with community and school partners throughout the region, including the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, Miami-Dade County Public Schools, University of Miami Frost School of Music, New World Symphony, 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, MOCA North Miami, Overtown Youth Center, Ransom Everglades School, Sunday Afternoons of Music, Temple Beth Am, Archdiocese of Miami, and Wolfsonian-FIU.
Cleveland Orchestra Miami 2015-16
Cleveland Orchestra Miami
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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 &HQWHUœV QHZ RQ VLWH ¿QH GLQLQJ H[SHULHQFH QDPHG RQH RI 0LDPLœV 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[ ¿[H PHQX 5HVHUYDWLRQV DYDLODEOH WKURXJK WKH $UVKW ZHEVLWH RU E\ FDOOLQJ WKH ER[ RI¿FH 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 FRQ¿UP 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 QRWL¿HG DQG XSGDWH WKRVH FKRLFHV DW DQ\ WLPH ,I \RXœYH 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 2I¿FLDO 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
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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 2IĂ€FHU Administration Aric Kurzman
Assistant Vice President of Business and Legal Affairs Manager of Board Relations Executive Assistant to the President & CEO Receptionist
Chantal HonorĂŠ Monique McCartney Anhel Perez Advancement David S. Green John Copeland Jodi Mailander Farrell Christine Brown Kalyn James Carrie Rueda Ana Morgenstern
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
Christine Montano
Executive Assistant to the Vice President, Advancement Corporate Sponsorship Coordinator Membership Assistant
Natalia Ortiz Samantha Zerpa Finance Teresa Randolph
Assistant Vice President, Finance and Controller Kimba King Director, 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 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 Cristirose Marsicano 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 Amy Ruiz Customer Service Representative Logan Smiley Customer Service Representative Matey St. Dic 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 Operations Coordinator Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer
Ashley Perdigon 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 Christia E. Alou Pierre R. Apollon J. Ricky Arriola The Honorable Oscar Braynon II Julia M. Brown Larry H. Colin Laurie Flink The Honorable Rene Garcia
Mike Eidson Immediate Past Chair Parker D. Thomson Founding Chair
Board of Directors
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 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