The Cleveland Orchestra Miami February 27-28, March 6-7 Concerts by Live Publishing

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

GIANCARLO GUERRERO Principal Guest Conductor

AND

FATE F R E E D OM MUSIC OF

AND

SEASON

BEETHOVEN SHOSTAKOVICH F E B R U A R Y 27. 2 8

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M A H L E R' S SIXTH SYMPHONY M A R C H 6.7 page 49

ClevelandOrchestraMiami.com

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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.

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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.

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Gail Kerzner | 786-899-2700 gkerzner@livepub.com Cleveland Orchestra Miami 2014-15

About Cleveland Orchestra Miami Miami Music Association . . . . . . . . . . . . . . . . . . . 4 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . . . . 7 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Principal Guest Conductor . . . . . . . . . . . . . . . . 44 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . 45

February 27-28 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Program: Beethoven / Shostakovich . . 15, 17 Music & Meaning by Franz Welser-Möst . . . . 21 Fate & Freedom by Frank J. Oteri . . . . . . . . . . 27

March 6-7 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Program: Mahler's Sixth Symphony . . . . . 51

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Cleveland Orchestra Miami presented by the

M IAM I M US I C AS SOC IAT I O N The Miami Music Association (MMA) is a not-for-profit corporation, comprised of leading Miamians motivated by the idea that as a world-class city Miami’s cultural life should always include orchestral performances at the very highest international level. No orchestra in America — indeed, perhaps no other orchestra in the world — is more ideally suited to partner with MMA in achieving these goals than The Cleveland Orchestra. Securing and building support for Cleveland Orchestra Miami will ensure that we succeed in creating a culture of passionate and dedicated concert-going in South Florida among the broadest constituency. Thank you for your support and commitment. Officers and Board of Directors Jeffrey Feldman, President Sheldon T. Anderson, Chairman Norman Braman, Vice Chairman Hector D. Fortun, Vice Chairman Jon Batchelor Brian Bilzin Marsha Bilzin Alicia Celorio Bruce Clinton Martha Clinton Mary Jo Eaton Mike S. Eidson Mary Claire Espenkotter

Susan Feldman Adam M. Foslid Pedro Jimenez Michael Joblove Gerald Kelfer Tina Kislak R. Kirk Landon Shirley Lehman William Lehman

Miami Music Association

Jan R. Lewis Sue Miller Patrick Park Karyn Schwade Mary M. Spencer Howard A. Stark Richard P. Tonkinson Gary L. Wasserman E. Richard Yulman

2014-15 Cleveland Orchestra Miami

CLEVELAND Cleveland Orchestra Miami OAssociation R C H E ST R A presented by the Miami Music JEFFREY FELDMAN

SHELDON T. ANDERSON

President

Chairman

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

Dear Friends, It is my great pleasure to welcome you to the heart of this year’s Cleveland Orchestra Miami season, with two back-to-back weekends of concerts by The Cleveland Orchestra. These presentations of great symphonies — by Beethoven, Shostakovich, and Mahler — highlight the virtuosity of the orchestra under the leadership of Franz Welser-Möst. Extraordinary music performed by this extraordinary ensemble — what better way to feed your soul?! The Miami Music Association Board of Trustees is honored to share this worldclass orchestra with all of South Florida. Each year, Cleveland Orchestra Miami proudly presents The Cleveland Orchestra in musical performances of the highest quality, provides music education programs that reach thousands of students (with Miami-Dade Public School students and at the University of Miami Frost School of Music), and supports community collaborations to share music and music-making throughout the region. We are always striving to serve all of South Florida. This season we are launching Cleveland Orchestra Miami Connects, a new program to celebrate music and offer intimate and up-close community musical experiences. This year’s programming takes place in partnership with South Miami-Dade Cultural Arts Center as Cleveland Orchestra Connects with South Miami-Dade. Cleveland Orchestra musicians will share music with residents at the heart of the community in special programs for children and their families, high school students, and senior citizens. The centerpiece of this year’s Cleveland Orchestra Miami Connects is a free community concert with assistant conductor Brett Mitchell leading The Cleveland Orchestra. Demand for free tickets for this concert was so great that it was “sold out” within hours of becoming available in January. We are proud of the many ways that Cleveland Orchestra Miami makes a difference in South Florida. And we owe a debt of gratitude to the hundreds of donors listed on the following pages, who commit nearly $3 million each year to support Cleveland Orchestra concerts and community programs presented here in Miami. Because of your generosity, Cleveland Orchestra Miami adds to the artistic vitality of our great city by presenting this great orchestra and sharing its music and education and community offerings with all of South Florida. Thank you. Best regards,

Jeffrey Feldman Cleveland Orchestra Miami 2014-15

Welcome

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

CLEVELAND O R C H E ST R A The Miami Music Association gratefully acknowledges these donors for their contributions to Cleveland Orchestra Miami in the past year. Listing as of February 5, 2015.

LEADERSHIP DONORS $100,000 and more

Irma and Norman Braman David and Francie Horvitz Family Foundation, Inc. John S. and James L. Knight Foundation Jan and Daniel Lewis Peter B. Lewis* and Janet Rosel Lewis Sue Miller Patrick Park Janet* and Richard Yulman $50,000 to $99,999

Sheldon and Florence Anderson Hector D. Fortun R. Kirk Landon and Pamela Garrison Miami-Dade County Department of Cultural Affairs Mary M. Spencer $25,000 to $49,999

The Batchelor Foundation Daniel and Trish Bell In dedication to Donald Carlin Martha and Bruce Clinton Do Unto Others Trust Adam Foslid, Greenberg Traurig, P.A. Morrison, Brown, Argiz & Farra, LLC Northern Trust Peacock Foundation, Inc. The Claudia and Steven Perles Family Foundation $10,000 to $24,999

Jayusia and Alan Bernstein Marsha and Brian Bilzin Peter D. and Julia Fisher Cummings Mary Jo Eaton Mr. Mike S. Eidson, Esq and Dr. Margaret Eidson Colleen and Richard Fain Nelly and Mike Farra Feldman Gale, P.A. Jeffrey and Susan Feldman Kira and Neil Flanzraich Sheree and Monte Friedkin Francisco A. Garcia and Elizabeth Pearson Mark and Ruth Houck Ruth and Pedro Jimenez Cherie and Michael Joblove Jones Day Tati and Ezra Katz Janet and Gerald Kelfer Jonathan and Tina Kislak Mr. and Mrs. Dennis W. LaBarre

Cleveland Orchestra Miami 2014-15

Thomas E Lauria Marsh Private Client Services Miami-Dade County Public Schools The Miami Foundation Joy P. and Thomas G. Murdough, Jr. Marc and Rennie Saltzberg Howard Stark M.D. and Rene Rodriguez Charles B. and Rosalyn Stuzin Rick, Margarita, and Steven Tonkinson Ver Ploeg & Lumpkin, P.A. Ms. Ginger Warner Gary L. Wasserman and Charles A. Kashner Barbara and David Wolfort $5,000 to $9,999

Stephen Barrow and Janis Manley Funding Arts Network Patti Gordon Gary Hanson and Barbara Klante Mary and Jon Heider Richard Horvitz and Erica Hartman-Horvitz Foundation John and Hollis Hudak Bob and Edith Hudson Cynthia Knight Dylan Hale Lewis Marley Blue Lewis Ms. Maureen M. McLaughlin Barbara S. Robinson Dr. and Mrs. Michael Rosenberg Drs. Michael and Judith Samuels Charles E. Seitz Sylvester Comprehensive Cancer Center Bill Appert and Chris Wallace $2,500 to $4,999

Kerrin and Peter Bermont Carmen Bishopric Adam E. Carlin Stanley and Gala Cohen Charles* and Fanny Dascal Isaac K. Fisher and Lourdes G. Suarez Marvin Ross Friedman and Adrienne bon Haes Dr. and Mrs. Edward C. Gelber Elizabeth B. Juliano Angela Kelsey and Michael Zealy Jacqueline and Irwin* Kott Eeva and Harri Kulovaara Ivonete Leite Ana and Raul Marmol Roger and Helen Michelson Georgia and Carlos Noble Rosanne and Gary Oatey Nedra and Mark Oren

Annual Fund Contributors

Maribel A. Piza Alfonso Rey and Sheryl Latchu Donna E. Shalala Michalis and Alejandra Stavrinides Brenton Ver Ploeg Teresa Galang-Vi単as and Joaquin Vi単as Florence and Robert Werner $1,000 to $2,499

Mr. and Mrs. Spencer Angel Linda Angell Benjamin and Dr. Rodney Benjamin Ms. Sara Arbel Arnstein & Lehr LLP Douglas Baxter and Brian Hastings Don and Jackie Bercu Helene Berger Fran and Robert Berrin Irving and Joan M. Bolotin John Carleton Michael and Lorena Clark Bruce Coppock and Lucia P. May Douglas S. Cramer / Hubert S. Bush III Ms. Nancy J. Davis Shahnaz and Ranjan Duara Bernard Eckstein Andrea and Aaron Edelstein Mr. and Mrs. Steven Elias Francisco J. and Clara B. Fernandez Joseph Z. and Betty Fleming Gail and Alan Franklin Morris and Miriam Futernick Lenore Gaynor Niety and Gary R. Gerson Joan Getz Hon. and Mrs. Isaac Gilinski Nancy F. Green Jack and Beth Greenman Douglas M. and Amy Halsey Mr. and Mrs. Barry Hesser Roberto and Betty Horwitz David and Montserrat Joy Dr. Michael and Gail Kaplan Kluger, Kaplan, Silverman, Katzen & Levine, P.L. Dr. and Mrs. Frederick Knoll Michael N. Keitzer Mr. and Mrs. Israel Lapciuc Ronald and Harriet Lassin Judy and Donald Lefton Shirley and William Lehman Mr. and Mrs. Marvin H. Leibowitz Barbara C. Levin listing continues

CLEVELAND ORCHESTRA MIAMI listing continued Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. and Mrs. Carlos Lopez-Cantera James P. Ostryniec Mrs. Patricia M. Papper Perry Ellis International, Inc. Robert Pinkert Guillermo and Maggie Retchkiman Dr. Lynne and M. John Richard Joseph and Batia Rozgonyi Charles and Linda Sands

Raquel and Michael Scheck Dr. James and Karyn Schwade Mr. and Mrs. David Serviansky Lois H. Siegel Henry and Stania Smek Richard and Nancy Sneed Lucie and Jay Spieler Eduardo Stern Kathy and Sidney Taurel Parker D. Thomson Esq. Mr. and Mrs. Robert H. Traurig

Ms. Lynn Wiener Betty and Michael Wohl Ms. Henrietta Zabner Loly and Isaac Zelcer Anonymous (2)

FRIENDS up to $999

Mr. and Mrs. Jay H. Abrams Mr. Alexis Abril Mr. John Actman Marjorie H. Adler Carla Albarran Mr. Rafael Alcantara-Lansberg Angela Alfonso Ms. Maria Alonso Dr. and Dr. Andrew Alpert Rosalie Altmark and Herbert Kornreich Ms. Claudia Alvarez Ms. Elena Alvarez Ms. Paula Alvarez Dr. Kip and Barbara Amazon Nancy Ameglio Denise Anderson John and Sarah Anderson Ms. Lori Angus Dr. Jorge and Gigi AntuĂąez de Mayolo Mr. Fred Aragon Mr. Robert Archambault Ana L. Arellano Evelyn K. Axler Daniel Ayers and Tony Seguino Elaine Bachenheimer Ted and Carolann Baldyga Montserrat Balseiro Ana Barnett Mr. Raul Barnett Ms. Ingrid Barrera Mr. Richard Barrios Dr. Earl Barron and Ms. Donna Barron Joan and Milton Baxt Foundation Ms. Marielena Bazan Mr. and Mrs. William Beitz Ms. Linda Belgrave Carlos Benitez Mr. Joseph Berland Mr. Enrique Bernal Neil Bernstein and Julie Schwartzbard Rhoda and Henri Bertuch Mr. Robert Bickers Dr. Nanette Bishopric Ken Bleakley Dr. Louis W. Bloise Mr. Sam Boldrick Mr. Bruce Bolton Mario and Adriana Bosi Ms. Carol Brafman Mr. Rodester Brandon

Mr. Fernando Bravo Michael T. Brazda and Lourdes M. Ramon Karen Breakstone Mr. and Mrs. Eric Buermann Brent Burdick Ms. Nancy Burkhardt Ms. Esther Burton Ada Busot Dr. MarĂa Bustillo Mrs. and Mr. Rita Butterman AC Mr. Manny Cabral Carlos Cabrera Mr. Richard Cannon Ms. Dolores Canonico Ms. Beatrice Carbacho Ms. Christine Carleton James and Christina Carpenter Philip and Kathryn Carroll Ms. Rosemary Carroll Mr. Philip Casey Mr. Erich Cauller Harold Chambers Daphne Charbonneau Mr. David Chatfield Mr. Jeremy Chester Carole J. Cholasta Ms. Katherine A. Chouinard Mathew and Lisa Cicero Olga Cobian Mr. Mark Cohan Mr. and Mrs. Jerome J. Cohen Ms. Karla Cohen Phyllis Cohen Ignacio Contreras Lane Convey Mr. Richard Cote Nathan Counts William R. Cranshaw Marcella Cruz Mr. Miguel Cuadra Gabino Cuevas Sergio da Silva Dusan Dagovic Wesley Dallas Mr. Brian Dalrymple George H. Dalsheimer Mr. George Dandridge Jennie Dautermann Ms. Nadine Davey-Rogers

Annual Fund Contributors

Ellen Davis Ms. Cecilia De Botton Campbell Mr. Oscar De La Guardia Diane de Vries Ashley Berta Del Pino Mr. John Despres Benjamin Diaz Jorge Diaz Ms. Helga Dobbs Mr. and Mrs. Peter F. Dolle Gerson Dores Marilynn and Don Drescher Mrs. Laura Drexler Burt and Carole Redlus Fred Ehrenstein Ms. Monica Elizalde Mr. Eduardo Erana Mr. and Ms. Jack Ervin Mr. and Mrs. Ronald Esserman Mr. and Mrs. Charles F. Evans Dorothy M. Evans Mr. and Mrs. Menashe Exelbirt Judit Faiwiszewski Mr. Martin Falconi Klara S. Farkas Mrs. Carol Fass Murray H. Feigenbaum Bernard Feinberg Bennett Feldman Dr. Lawrence E. Feldman Samuel Feldman Mr. Robert Ferencik Suzanne Ferguson J. Field Ingrid Fils Mrs. Albine Fischer-Stahlecker Mr. and Mrs. Bruce Fischler Kip and Jackie Fisher Dr. and Mrs. Lawrence M. Fishman Mr. Marcus Flanagan and Mr. William Flanagan Ronaldo & Christine Flank Mr. David Fleitas-Velez Maryann Flores Isabel Fontecilla Una Forbes VCN Corporation Mary Francis Dr. and Mrs. Rudolph J. Frei Mr. and Mrs. Joel Friedland

2014-15 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

Mr. Gregory Friedman Ms. Noelle Froehlich Malcolm and Doree Fromberg Andrew Fulton Mr. & Mrs. Juan Galan Sue Gallagher Ms. Emilio Garcia Mr. Ignacio Garcia Mr. Gonzalo Garcia-Ribeiro Ms. Leah Gardner Margaret Gerloff Mr. Giancarlo Ghinatti Glenn Gilbert and Sharon Gilbert Judy Gilbert-Gould Mr. Howard Gilder Mrs. Lisa Giles-Klein Perla Gilinski Mr. Brian Gitlin Mr. Abraham Gitlow Ms. A. Giuffredi-Zaldivar Mr. Pablo Glikman Ms. Catherine Goe Mr. Salomon Gold Bobbi Goldin & Tim Downey Sue and Howard Goldman Mr. Lee Goldsmith and Mr. J. Haller Mr. Leony Gonzalez Elizabeth Fenjves and Donald Goodstein Esther and Jacques Paulen Galina Gorokhovsky Rafael and Maria Del Mar Gosalbez Mr. Seymour Greenstein Linda & David Grunebaum Rev. Hans-Fredrik Gustafson, Ph.D. Alfredo and Luz Maria Gutierrez Anna Sherrill Mr. Ralph Halbert George and Vicki Halliwell John F. Hamilton Jack and Shirley Hammer Dr. Juliet Hananian Vincent Handal, Jr. Esq. & Michael Wilcox Ms. Nancy Handler John Hanek Dely and Ernest Harper Nicolae Harsanyi Claus and Barbara Haubold Dr. and Mrs. Mark J. Hauser Dr. Gail A. Hawks Mr. Violetta Headley Mr. Arturo Hendel Marjory Hendel Jorge Hine Michelle Hines Barbara L. Hobbs Gregory T. Holtz Bernard and Kara Horowitz Melvin and Vivien Howard Dr. Michael C. Hughes Ms. Tisha Hulburd Lawrence R. Hyer Fund at The Miami Foundation Mr. Brian Ildefonso Ms. Dragana Ilic Ms. Christy Jacomino Dr. and Mrs. Norman Jaffe Ms. Nancy Jaimes

Richard Janaro Rulx Jean-Bart Mr. Farrokh Jhabvala Lester and Susan Johnson Dr. and Mrs. Stanley Jonas Mary Busenburg and Tom Jones Ms. Lisa Judy Dr. Bruce and Mrs. Joyce Julien Mrs. Joyce Kaiser Nedra Kalish Jack and Shirley Kaplan Clarita Kassin Gerald and Jane Katcher Ms. Phyllis Katz Harold Katzman Raquel Kaufler Mr. Victor Kendall Mr. Frederick Kiechle Mr. Gilbert Klajman Buddy Klein Alexander Knowlton Daniel and Marcia Kokiel Ms. Natalya Kovaleva Ms. Rebeca Kravec Mr. David J. Kudish Ernesto Jorge and Laura Kuperman Carolina Labro Robert D.W. Landon, III Mr. James Lane Wendy G. Lapidus Mr. William Lee Mr. Terry S. Leet Paul and Lynn Leight Rebecca and Elliot Lemelman Judge Barbara Levenson Dr. and Mrs. Stanley Levick Gregory A. Levine Melvin & Joan Levinson Linda Levy Mark Levy Mrs. Alice Lewis Ms. Gloria Liatsos Ms. Lauren J. Licata Mr. Rick Lievano Natalie Lisnyansky Mr. and Mrs. Bruce B. Litwer Ms. Victoria Llano Mr. Oliver Loaiza Mr. and Mrs. Enrique Lopez Raul and Juanita Lopez Arthur A. Lorch William and Carmen Lord Ms. Diego Lorenzo Ms. Loretta MacKle Dr. David C. Mactye, MD Richard Mahfood Mr. John P. Mahoney Lewis and Dodie Mahoney Barbara and Roger Maister Mr. John Makemson Charistine Marin Mrs. Sherrill R. Marks Tobe Marmorstein Georgina and Luis Marquez Mr. Victor Marquez Mr. John Martin Laureano J. Martinez

Cleveland Orchestra Miami 2014-15

Ms. Beatriz Martinez-Fonts Mr. and Mrs. Stephen Masson Edward Mast Ms. Masha Mayer Ms. Sara Maymir Alan E. Maynard Robert and Judith Maynes Mr. James McCarthy Ms. Karen McCarthy Ms. Geraldine McClary Ms. Desiree McKim Debra McLaughlin Dr. Gwenn E. McLaughlin Alice and Oded Meltzer Kenneth Mendelsohn Dr. and Mrs. Jorge Mendia Ms. Pauline Menkes Evelyn Milledge Mr. Mitchell Millowitz Sylvia Minchew Daniel and Marge Mintz Paulette Mintz Mr. Jose Misrahi Harve and Alesia Mogul Luis Molina Mr. Jorge Montalvo Mr. Geronimo Montes Dr. Isidoro Morjaim Dr. Michele Morris and Dr. Joel Fishman Mr. Samuel Morris Mr. Edgar Mosquera Robert and Wilhelmina Myerburg Narea Family Mr. Hector Nazario Ms. Charlene Nevadomski Mr. Stuart Newman and Mrs. S. Sharp Mr. and Mrs. Daniel Nichols Ara and Violet Nisanian Dr. and Mrs. Daniel Nixon Murray and Lynne Norkin Dr. Jules Oaklander Colleen Oâ&#x20AC;&#x2122;Connor Mr. Will Osborne Ms. Geraldine Oâ&#x20AC;&#x2122;Sullivan Mr. Martin Ottenheimer Ms. Caroline Owre Ms. Michelle Ozaeta Dr. and Mrs. Larry K. Page Larry and Marnie Paikin Mr. Michael Pancier Mrs. Shirley Pardon Ruth M. Parry Stephen J. Parsons Mr. Oscar Pascual Stephen F. Patterson Ms. Marilyn Pearson Beatriz Perez Mr. and Mrs. Rolando Perez Jason Perline Mr. Donald Perry Ms. Diane G Persoon Mr. Michael Peskoe Richard Pettigrew Michael and Mary Ellen Peyton Ferdinand and Barbara Phillips Dr. Ronald Picur Mr. Peter Pilotti listing continues

Annual Fund Contributors

CLEVELAND ORCHESTRA MIAMI listing continued Mr. Robert Plessett Teresa Pollak Suzan and Ronald Ponzoli Mrs. Diana Porras Mr. Edward Powell Thomas Quaid Regina D. Rabin Mrs. Lisa Rafkin Ms. Lynne Rahn Pratima Raju Mr. Barry Rand Mr. and Mrs. Menno Ratzker Fred Rawicz Robert Rearden Mr. and Mrs. Burt Redlus Mr. Barry Resnik Mr. Jorge Reyes Jeffrey D. Reynolds Ms. Betty Rice Miss Carmen Richards Pedro A. Rios Mr. Carlos Rivas Mrs. Olga K. Robbin Luisa Robel Edmundo Rodriguez Leslie Rogowsky Andrew Rohlfling Jacques Rollet Juan Rondon Rosario Ros Virginia Rosen Barbara and Eugene Rostov Elizabeth Rothfield Aixa Roversi Stephen and Heidi Rowland Karen Rumberg Mr. Kevin Russell Lawrence H. Rustin Mrs. Chesne Ryman Yehuda Sabach Mr. Alex Sabo Mr. Michael and Dr. Tamah Sadick Mr. Gabriel Sanchez Mr. Gonzalo Sanchez Hank Sanchez-Resnik Lisa Rudes Sandel Mary and Saul Sanders Mr. Robert Scardino Sydney and David Schaecter Mr. and Mrs. James Schenkel Mr. Arnold Schiller Dr. Markus Schmidmeier Steven Schneider Susan Schneider Ronald E. Schrager and Wendy Hart Mr. Peter and Mrs. Ortrud Schumann Marvin and Carol Schwartzbard David Scott Margaret Searcy Margaret Seroppian Humberto Sevilla Norman and Arlene Shabel Dr. and Mrs. Vincent Shankey Brenda Shapiro and Javier Bray Ms. Elizabeth Sharkey Roger and Barbara Shatanof Dr. John and Gerri Shook Anica and David Shpilberg

David A. Siegel Judge Paul Siegel Alvaro and Gloria Silva Victoria and Robert L. Simons Ms. Grace Sipusic Ms. Sylvia Siragusa Ms. Samantha Skhir Mr. Ramez Smairat Dr. and Mrs. Alfred G. Smith Ms. Linda M. Smith Mr. Steven Smith Dr. Gilbert B. Snyder Mr. Alexander Socarras Ms. Carol Soffer Mr. Enrique Sosa Ilene and Jay Sosenko Voi Sosnowski Dr. Barbara Sparacino Shirley Spector Mr. Robert Spielman Ms. Clara Sredni DeKassin Issac Sredni Nick and Molly St. Cavish Patricia and Dennis Klein Nancy and Edward Stavis Mr. Lewis Stein Marilyn Mackson Stein William Stern Holly Strawbridge Caroline Sullivan Merrie Surace Mr. Jack Sutte Mr. Jose Tabacinic Mr. and Mrs. Alvaro Tafur Ricardo and Ana Tarajano Joni and Stanley Tate Stephen Tatom Harvey Taylor Ms. C. and Ms. Marina Tendler Mr. Bryson Thornton Daniel and Cristin Thorogood Ms. Lesley Tompsett Dr. Takeko Morishima Toyama Judith Rood Traum and Sydney S. Traum Alicia M. Tremols Mr. and Mrs. Frank Trestman Miguel Triay Dr. and Mrs. Michael B. Troner Mrs. and Mr. Kate Trotman Ms. Anna Tsukervanik Liat Tzur Dale Underwood Janice Uriarte Toni Valencia Ms. Betty Vandenbosch Andrea and Natalia Vasquez Mr. John Vaughn M. Vento and Peter MacNamara Fabian Verea Video Fame Jorge Viera Herbert W. and Peggy F. Vogelsang Frank J. Voyek Ms. Vivian Waddell John Wallace Andrew Wang Jeanne Westphal

Annual Fund Contributors

Robert and Ronni Whitebook Ms. Bonnie Whited Mr. and Mrs. Arthur Whittaker Brant Wigger Mr. Bob Williams Jennifer Williams Mr. Richard Williamson Ms. Debbie Wirges Mrs. Marci Wiseman Dr. and Mrs. Jack Wolfsdorf Mr. and Mrs. Joel R. Wolpe Laura A. Woodside Keying Xu Mr. and Mrs. Guri Yavnieli Sora and Cary Yelin Allan Yudacufski Dr. Sheldon and Elaine Zane Susan and Bob Zarchen Eloina D. Zayas-Bazan Jerry Zimmerman Anonymous (10) * deceased

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

2014-15 Cleveland Orchestra Miami

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

SEASON

Friday, February 27, 2015, at 7:00 p.m.

from Piano Trio No. 5 (“Ghost”) in D major, Opus 70 No. 1 by LUDWIG VAN BEETHOVEN (1770-1827) 1. Allegro vivace e con brio

Beth Woodside, violin Charles Bernard, cello Carolyn Gadiel Warner, piano

Quartet for Four Violins by GRAŻYNA BACEWICZ (1909-1969) 1. Allegretto 2. Andante tranquillo 3. Molto allegro

Katherine Bormann, violin Sonja Braaten Molloy, violin

Alicia Koelz, violin Isabel Trautwein, violin

Saturday, February 28, 2015, at 7:00 p.m.

from String Quartet No. 11 in F minor, Opus 95 by LUDWIG VAN BEETHOVEN (1770-1827) 3. Allegro assai vivace ma serioso — Più allegro 4. Larghetto espressivo — Allegretto agitato — Allegro

Miho Hashizume, violin Takako Masame, violin

Lynne Ramsey, viola Ralph Curry, cello

from Piano Quintet in G minor, Opus 57 by DMITRI SHOSTAKOVICH (1906-1975) 1. Prelude: Lento 3. Scherzo: Allegretto 5. Finale: Allegretto

Katherine Bormann, violin Yun-Ting Lee, violin Joanna Patterson Zakany, viola Mark Kosower, cello Carolyn Gadiel Warner, piano

Cleveland Orchestra Miami 2014-15

February 27-28 Concert Preludes

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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

SEASON

Friday evening, February 27, 2015, at 8:00 p.m.

Symphony No. 3 (“Eroica”) in E-flat major, Opus 55

LUDWIG VAN BEETHOVEN (1770-1827)

1. 2. 3. 4.

Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto — Poco andante — Presto

INTERMISSION

Symphony No. 6 in B minor, Opus 54

DMITRI SHOSTAKOVICH (1906-1975)

1. Largo 2. Allegro 3. Presto The concert will end at approximately 9:40 p.m.

AND

This concert is sponsored by Sylvester Comprehensive Cancer Center.

AND

FATE F R E E D OM MUSIC OF BEETHOVEN SHOSTAKOVICH “Fate and Freedom” Pre-Concert Conversation with Juan Carlos Espinosa, associate dean and fellow of The Honors College at Florida International University 6:00 to 6:45 p.m. — The Café at Books & Books @ The Arsht Concert Prelude featuring chamber music with Cleveland Orchestra musicians 7:00 to 7:30 p.m. — see details on page 13

Cleveland Orchestra Miami 2014-15

Program: February 27

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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

SEASON

Saturday evening, February 28, 2015, at 8:00 p.m.

Symphony No. 5 in C minor, Opus 67

LUDWIG VAN BEETHOVEN (1770-1827)

1. 2. 3. 4.

Allegro con brio Andante con moto Scherzo: Allegro — Trio — Finale: Allegro

INTERMISSION

Symphony No. 10 in E minor, Opus 93

DMITRI SHOSTAKOVICH (1906-1975)

1. 2. 3. 4.

Moderato Allegro Allegretto Andante — Allegro

The concert will end at approximately 9:50 p.m.

AND

This concert is sponsored by Marsh Private Client Services.

AND

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Program: February 28

Dmitri Shostakovich, circa 1952.

There can be no music without ideology. The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement. If you read his letters, you will see how often he wrote to his friends that he wished to give new ideas to the public and rouse it to revolt against its masters. â&#x20AC;&#x201D;Dmitri Shostakovich

February 27-28

INTRODUCING THE CONCERTS

Fate, Freedom& Choices T H I S W E E K ’ S M I N I - F E S T I VA L

offers a look at the music (and politics) of two of classical music’s greatest symphonists. If Mozart and Haydn in the 18th century had evolved the “symphony” from a mere grouping of short movements into a whole statement of musical greatness, Beethoven’s genius grabbed hold of it at the start of the 19th century and made symphonies into a very personal artform — filled with passion and meaning (but still beautiful). Others followed in his footsteps, but few with as much political and philosophical intent. A century later, Shostakovich, surrounded by the changing life-anddeath politics of 20th-century Russia, used Beethoven’s example to create a new set of personal symphonic statements, filled with meaning and revolution (or at least passionate protest). As Franz Welser-MÖst discusses beginning on page 21, these two composers approached the creating of their music very differently. Beethoven was quite open about the politics of freedom in which he believed, and wrote it directly into his music. Shostakovich also believed in freedom, but writing openly would have been suicidal; he was, in effect, forced to stay in the closet as a protester, but able to write protest into his music in creative ways — which could be questioned or ignored, and understood, but would never act as evidence against him. This week’s concerts offer an unusual opportunity to compare these two great symphonic writers. And to think about — and talk about — how each of us incorporates our beliefs (and the rights of others) into everyday life, into our work, into our friendships. Do we try to impose our beliefs on others, or celebrate humanity’s strengths by balancing individual rights within a strong society of divergent and shared views? Do we protest? Do we inspire others? Are you making a difference? —Eric Sellen

Pre-Concert: Preludes and Conversations . . . . . . . . . . . . . . . . 13, 15, 17 Franz Welser-Möst discusses the composers’ music and beliefs . . . . . 21 Frank J. Oteri writes about the composers’ lives and music . . . . . . . . . 27 Program Notes for Friday . . . . . . . . . . . . . . . . . . . . . . . . . beginning on 31 Program Notes for Saturday . . . . . . . . . . . . . . . . . . . . . . . beginning on 38

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Introducing the Concerts

P H OTO BY S ATO S H I AOYAG I

Despite their differences, and perhaps as much because of their similarities, Beethoven and Shostakovich both wrote music that lives beyond the circumstances in which it was created. Both composers deliver timeless messages about freedom and human dignity. 窶認ranz Welser-Mﾃｶst

February 27-28

OS TA

B O

VIC

EE AND

E ES LSE R H O TH THE - MÖ VE E N MU PO ST L A N SIC ITI C D SH OF S O ST A KO

EN D V AN

C NG, I S MU EANI M CHOICE FREEDOM

by Franz Welser - Mo st BE E THOVE N MUSE D ON THE IDE AL S OF HIS TIME

and put those truths forward in an unmistakable way in his music. He let the world know, in no uncertain terms, what he believed in, politically and philosophically. Under Stalin, Shostakovich would never have survived acting as openly as Beethoven. He had to subtly undermine what he was told to do, in order to express his yearnings for personal and political peace and freedom.

THE FIRST DECADE OF THE 19TH CENTURY

was a turbulent period in Europe, politically, socially, and philosophically. Beethoven’s Third, Fourth, and Fift h symphonies, composed between 1803 and 1808, fall into this period, as does his only opera, Fidelio, and his incidental music for Goethe’s Egmont, a dramatic play about a quintessential hero. The philosophical ideas of the time were still very much indebted to the French Revolution, even though that Revolution had already betrayed those very ideas and ideals in blood. Beethoven, who many have speculated may have been a Freemason, very much wanted to be a “fighter for the Good.” Within these contexts, a variety of musical details in these three symphonies suggest a strong un-

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Music and Meaning

dercurrent of political and philosophical content.

The meaning of Beethoven’s “heroic” Third Symphony is encapsulated in the story of the composer’s violent removal of its original dedication to Napoleon — a man who was at the time the embodiment of the heroic ideal for many.

T H E M E A N I N G O F B E E T H O V E N ’ S T H I R D S Y M P H O N Y , the “Eroica” or “heroic” symphony, is encapsulated in its well-known story of the composer’s violent removal of its original dedication to Napoleon — a man who was the embodiment of the heroic ideal for many members of the middle class, and for some aristocrats, too. This work clearly shows Beethoven as a “fighter for the Good.” This manifests itself from the start, even in the choice of the key of E-flat major, whose three flats stood for liberty, equality, and fraternity, expressing humanity and the sublimity of human expression. Compare this, for example, to Mozart’s The Magic Flute, whose overture opens with a series of solemn, sublime E-flat major chords (which are tellingly repeated later in the scene between the opera’s hero and the Speaker). In the symphony’s Scherzo movement, Beethoven depicts nature within this “fight for the Good,” as he would later do in the “Pastoral” Sixth Symphony and in the second movement of his opus summum, the Ninth Symphony. In the last movement of the “Eroica,” he quotes his own musical theme from the ballet Prometheus, about the Greek mythological figure who was a friend and benefactor of humanity. One can, in fact, trace a span and lineage of philosophical message translated by Beethoven’s genius into many musical details and coded messages. This should not be surprising to us. Great composers had done this before him, and many have followed after, embedding in the beauty of music the strength of purpose; it is enough to recall the fascinating symbolism of some of Bach’s greatest works to understand that layers of meaning in art are a given and not the exception. All this is easy enough to see in the “Eroica,” but what about Beethoven’s Fourth Symphony, generally seen as light, cheerful, and humorous? At first glance, it might indeed look that way, if only the first movement didn’t have a dark and ominous introduction. Here, in the gloomy tonality of B-flat minor, the music seems to be searching for something more. This serious undercurrent also shows through in the second movement, in the key of E-flat major (!), as well as the pastoral element in the third movement’s trio section (set in D-flat major, a key of many great musical farewells). But delicate and subtle humor is not incompatible with profound philosophical message. Indeed, humor enlightens. In the second movement of this often clever and witty sym-

Choice and Freedom

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phony, Beethoven leads us once more to the heights (and depths) of human dignity and expression. In Beethoven’s time, humanity itself had become a central focus and arbiter of thought and morality, as distilled and expressed by the philosopher Immanuel Kant. The slow movement sings about such transcendent and self-aware expression in broad, soaring melodies, suggesting a vision of, and a yearning for, the ideals in which Beethoven so firmly believed. There is a great similarity here with Florestan’s great aria from the opening of Act II of Fidelio. In the symphony, the melody is accompanied by small, expressive motifs of sighing. Parallel thirds abound (as they also do in the slow movement of the Ninth Symphony), denoting fraternity and human companionship. (The slow movement of the Ninth also contains a climax in E-flat major, with a quotation from Masonic music.) In addition to the pastoral mood within the third movement, sublimity is also evident at the beginning of the last movement, where Beethoven writes a singing melody that is a close relative of the Prometheus theme in the “Eroica.” I N H I S F I F T H S Y M P H O N Y , Beethoven’s philosophical-political ideas are sent

through the purifying fire of the Enlightenment. Indeed, the symphony’s music perfectly captured the Latin phrase per aspera ad astra — “through the fire to the stars.” While Beethoven the hothead creates this fiery dramaturgy to such perfect form in the first movement, in the second he takes us to an imaginary world — with music that is quintessentially Viennese. A-flat major, the movement’s home key, is the flat sixth degree of C minor, a degree used as a deceptive cadence (!). Moreover, it also anticipates, in its harmonies and its layout (if not in its melody or other musical parameters), the dark night in the second act of Wagner’s Tristan and Isolde. In the symphony, this imaginary world is disrupted, time and again, by some powerful Cmajor fanfares, giving us a foretaste of the last movement yet to come (in which the music really does reach for the stars). The gloomy scherzo, which revisits the fateful drama of the first movement, also contains a Trio section in which the finale’s triumphant C major is revealed in outline. Yet this triumph will only be possible after the third movement has sunk back into the fateful “knocking” (a heartbeat?!) of the first movement. Here Beethoven — and this was not lost on his contemporaries — fashioned the triumph of the last movement in such a way that the words of the French revolutionary hymn could be easily underlaid to the music. A timeless message was thus wrapped with a Cleveland Orchestra Miami 2014-15

Music and Meaning

clear political statement. This most classical of all symphonies shows us all of the Beethovenian ideals, inspired by the ancient world and then revived and re-energized by the Enlightenment. Beethoven expresses these musical paths with great power, derived from his innermost soul. This, certainly, is how he wages his “fight for the Good” — through music and meaning. And he very much expects that the outside world will follow him, in message if not in action. This introspectively extroverted music speaks directly to all of us. Thus we can understand Beethoven.

Shostakovich’s desire for freedom was cast under the cruel rule of Stalinist Russia. This led Shostakovich, by necessity, to flee to an inner world of safety, where he could write “classical” symphonies, taking as a starting point Beethoven’s own achievements.

B U T H OW DO TH I N G S S TAN D WITH S H O S TAKOVI C H?

If Beethoven’s path led from the inside to the outside, with Shostakovich, it is exactly the opposite. His desire and will for freedom were cast under the cruel rule of Stalinist Russia. This led Shostakovich, by necessity, to flee to an inner world of safety — where extra messages within the music can speak meaning while also adding a layer of security and deniability. Here, Shostakovich wrote “classical” symphonies, taking as a starting point Beethoven’s own achievements. Like the Beethoven symphonies discussed above, Shostakovich’s Sixth (1939) and Eighth (1943) were written during turbulent times, in the destructive storm of World War II. This was also during Stalin’s reign of absolute power, which was personally very difficult for Shostakovich. In his first symphonic message from after the war, the Tenth Symphony (1953), he wrestled with Stalin and his times, soon after the dictator’s death. While Shostakovich’s music often has a political background, this is emphatically true for all three of these symphonies. Within that context, his wish for personal artistic freedom is deeply connected to a yearning for liberty for his country.

S H O S TAKOVI C H ’S S I X TH SY M PH O N Y

begins with a long slow movement in B minor, widely seen as the key of suffering. It is a monumental expression of pain, often reduced to mere whisper, to describe the unspeakable coldness and emptiness of Shostakovich’s world. In order to satisfy the demands of the regime, the composer followed this long and weighty lament with two brief fast movements. These can superficially be heard as cheerful, yet their grotesque features pervert, contradict, and undermine the wishes of Stalin’s henchmen. In the Eighth Symphony, the funeral lament from the secChoice and Freedom

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ond movement of Beethoven’s “Eroica” is present from the very start. The tonality of C minor is the same. And, like its predecessor, it is a funeral march. In contrast to Beethoven’s work, however, this music offers no perspective of a better world, and instead erupts in a single outcry against the injustices and cruelties of World War II. Yes, Shostakovich ends the monumental movement in C major, but this expresses not hope but the fact that redemption is completely out of reach. Thus, the first movement of the Eighth Symphony is monumental in the intensity of its lament and, indeed, in its very duration. But the story continues in the next two movements, both in fast tempo and portraying the various cruelties and the incredible stupidity of the war and its brainless massacres. The fourth-movement passacaglia — musically connected to the first movement by the repeated outcry — is a slow but unceasing funeral lament. And then, finally, the fift h movement, with the childlike simplicity of a waltz in C major, once again removes the yearned-for peace and freedom into a realm that is out of our reach. It is thus only logical that, at the end, the all-determining outcry should be heard again for one last time, before the movement and this entire, deeply moving antiwar utterance dissolves in the pure C-major of a possible yet improbable future. In the Baroque era, C major was the tonality of the divine; in Classical times it stood for a divinity that might possibly be attained. Here it is only the expression of a divinity that mankind has irretrievably lost. The Tenth Symphony is perhaps Shostakovich’s most personal utterance about his own lack of freedom. Written in the melancholy key of E minor, the first movement is a perpetual Valse triste or “sad waltz,” which rises up, from time to time, in great despair, whipping into a great frenzy, only to fade into a kind of icy silence. In the second movement — in a dark and gloomy B-flat minor — Shostakovich paints a merciless mug of Stalin. In the third — a cautious and deliberate waltz — he encodes the name of his muse and beloved, Elmira Nazirova, while his own initials (D-S-C-H) are repeated over and over again. The movement, which is in C minor, ends on a melancholy A-minor chord, with another dash of the composer’s initials thrown in. The introduction to the final movement is an elegy, followed by a pseudo-happy folk festival — a last dance, as it were — in E major. And yet, even here, Shostakovich wouldn’t be the great tragedian that he is if he didn’t hammer his initials into our ears one last time just before the end. D E S P I T E T H E I R D I F F E R E N C E S — and perhaps as much because of their similarities — Beethoven and Shostakovich both wrote music that lives beyond the circumstances in which it was created. Both composers deliver timeless messages about freedom and human dignity. Music has value and meaning to creator and listener alike. Hearing is believing, music can deliver understanding. Franz Welser-Möst is currently in his thirteenth season as music director of The Cleveland Orchestra, with his contract recently extended to 2022. He leads the ensemble each year in concerts at home in Cleveland, on international tours, and here in Miami, the Orchestra’s home away from home.

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Music and Meaning

Ludwig van Beethoven, 1815, painted by W. J. MĂ¤hler

Music is a higher revelation than all wisdom and philosophy. It is the wine of new creation and I am Bacchus who presses out this glorious wine for all and makes them drunk with the spirits. â&#x20AC;&#x201D;Ludwig van Beethoven

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B SH

om c edusi ND re E m NA AN H F T D F E e ing s O V atploracieT H O

F ex leg E E

February 27-28

O ST AK O VI CH

BY FRANK J. OTERI

T H E C E N T U RY T H AT T R A N S P I R E D

between the death of Ludwig van Beethoven and the emergence of Dmitri Shostakovich as a composer was a time of transformative change — from the advent of electricity, recorded sound, and motion pictures to the unleashing of the destructive power of modern warfare, the globalization of the world, and an enlarging struggle for human rights, liberty, and freedoms. Even so, Beethoven and Shostakovich’s music and their shared outlook on humanity’s place in the world show a remarkable kinship. Beethoven and Shostakovich both began their compositional careers as child prodigies and were also formidable piano virtuosos. They both shared their most private thoughts in their string

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Fate and Freedom

Beethoven and Shostakovich were consummate musical dramatists, yet opera proved to be something of a quagmire in both of their careers.

BEETHOVEN 28

quartets, but made their most important public musical statements with their symphonies. In fact, both took the abstract instrumental genre of the symphony and used it to tell compelling narratives. For example, both composers created symphonies that attempted to sonically convey the concept of fate — perhaps most notably for Beethoven in his Fifth Symphony and for Shostakovich in his tragic Eighth Symphony, which he composed during the Second World War. Works such as these reveal that Beethoven and Shostakovich were consummate musical dramatists, yet opera proved to be something of a quagmire in both of their careers. The strained relationships both composers had with the politically powerful are also equally legendary — Beethoven’s disdain for authority and aristocracy perhaps best exemplified by his crossing out the dedication of his Third Symphony, the “Eroica” (or “heroic”), to Napoleon upon learning that that small man had declared himself an emperor; and Shostakovich’s runins with a dictator even more ruthless than Napoleon, Joseph Stalin. A curious correlation to Beethoven’s abandoned Eroica dedication is Shostakovich’s abortive attempt at creating a “Lenin Symphony,” which he described working on in 1938. Such a symphony never materialized; in its place was the purely instrumental Sixth Symphony in 1939. (Franz Welser-Möst pairs the “Eroica” with Shostakovich’s Sixth on Friday, February 27.) Beethoven and Shostakovich also both suffered from chronic poor health in their later years, yet their final compositions seem to transcend the vagaries of human existence. After their deaths, each was hailed as a champion for individual artistic freedom who triumphed despite often adverse personal conditions. Nowadays musicologists as well as avid fans are still attempting to find hidden meanings buried in their scores — such as the allusions to Freemasonry in Beethoven’s Fourth Symphony or secret autobiographical ciphers in Shostakovich’s Tenth Symphony. But the parallels run much deeper than that. While Haydn and Mozart both hinted at it, Beethoven was the first composer to fully imbue the symphony with the same narrative and emotional heft as a novel, play, or epic poem. Shostakovich, while certainly not the only significant symphonist of his era, was among the few composers who remained steadfastly committed to creating large musical statements in this medium at a time when most composers rejected the symphony as an anachroFate and Freedom

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Beethoven’s abrasiveness was notorious and he never apologized; Shostakovich reinvented his outward musical persona simply to survive.

SHOSTAKOVICH

nism. Shostakovich completed a total of fifteen symphonies over half a century. For Shostakovich, like many Soviet musicians, Beethoven’s music remained the pre-eminent role model — the greatest repertoire an instrumentalist or a conductor could interpret and the standard bearer for what music was to be. A bust of this key compositional hero was a fi xture of Shostakovich’s writing studio. And, fittingly, the Soviet quartet that premiered nearly all of Shostakovich’s string quartets (thirteen of the fifteen) was named the Beethoven Quartet. So deep was the influence of Beethoven on the young Shostakovich that the central theme for his earliest multi-movement orchestral work, the Theme and Variations in B-flat minor, Opus 3, which he composed at the age of 15, bears an uncanny resemblance to the most famous theme of Beethoven’s Ninth Symphony. Following Beethoven’s precedent in that monumental symphony, Shostakovich also added a chorus to the final movements of his Second and Third symphonies — although both of these early compositions take nascent Soviet patriotism to an almost unbearably propagandistic level. (There is, however, a later work that clearly echoes the pathos of Beethoven’s setting of Schiller’s paean to universal brotherhood, Shostakovich’s controversial Symphony No. 13, “Babi Yar,” a work which also sets the words of a major poet, Yevgeny Yevtushenko, an outspoken critic of injustice in the Soviet Union. But Shostakovich’s 13th Symphony, which was virtually banned in the Eastern Bloc for nearly a decade after its first performance and finally entered the repertoire after a copy of the score was smuggled into the West, is a far cry from an Ode to Joy; if anything, it is an Ode to Despair!) D E S P I T E T H E D E E P C O N N E C T I O N S between these two composers, there are also some stark differences between Beethoven and Shostakovich which are equally fascinating. Beethoven was a lifelong bachelor whose romantic liaisons will forever be shrouded in mystery; Shostakovich was married

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Fate and Freedom

For Shostakovich, like many Soviet musicians, Beethoven’s music remained the pre-eminent role model — the greatest repertoire an artist could interpret and the standard bearer for what music was to be.

three times. Beethoven was notorious for his abrasiveness and never apologized; the castigated Shostakovich reinvented his compositional persona several times during his life to survive the cultural purges that Stalin unleashed and ultimately triumphed because of this — Shostakovich famously declared his masterful Fifth Symphony to be “a Soviet artist’s reply to just criticism” and the work was an instant sensation both at home and abroad and it remains so to this day. Perhaps most strikingly, cinema did not exist during Beethoven’s lifetime and writing music for movies was an important revenue stream for Shostakovich throughout his career — in fact his 35 film soundtracks dwarf the combined total of his number of symphonies and string quartets. Shostakovich’s film scores also allowed him greater freedom to experiment than he had most of the time with his music for the concert hall; several of his soundtracks include music featuring the theremin, an early electronic instrument that would become a hallmark of American horror and sci-fi movie scores years after Shostakovich pioneered its use in motion pictures. Beethoven, of course, did not live into the age of electricity and therefore could never have tinkered with a theremin. He did, however use a glass armonica (a musical curiosity that sounds similarly otherworldly) for the incidental music he composed for the 1814 production of Johann Friedrich Duncker’s play Leonore Prohaska, music that is rarely revived nowadays. This weekend’s Cleveland Orchestra Miami performances presents pairs of symphonies by these two composers, plus related works of chamber music performed before each concert, and the opportunity to discuss the themes of Fate and Freedom in a pre-concert forum each night. All of this offers audiences a unique opportunity to reflect on how each of these composers responded to the central concerns of their respective eras and how their now timeless works continue to have a deep impact on all of us. ASCAP award-winning composer and music journalist Frank J. Oteri is the composer advocate at New Music USA and senior editor of its web magazine “NewMusicBox.”

Fate and Freedom

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February 27 Friday

Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 composed 1802-04

Ludwig van

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

T H E O R I G I N S O F A W O R K as momentous in its impact on history as on hearers of every generation cannot be lightly traced. Yet, for this symphony, two separate impulses seem to have fused in Beethoven’s mind, as in some white-hot cauldron, creating a solid artifact whose effect and power dwarf the mere historical circumstances of its composition. The first impulse was Beethoven’s admiration for Napoleon as a symbol of human heroism. The idea of basing a symphony on Bonaparte was said to have been suggested by General Bernadotte, the French ambassador to Vienna, with whom Beethoven was certainly acquainted. The story of the title page of the completed symphony, headed “Bonaparte,” being angrily torn up by Beethoven on hearing that Napoleon had crowned himself Emperor is well attested. From what we know of Beethoven’s character, he is more than likely to have drawn a comparison between Napoleon and himself, feeling within him the power to refashion the art of music as comprehensively as Napoleon was redrawing the map of Europe. The second impulse was personal. In October 1802, Beethoven drew up the extraordinary document known as the Heiligenstadt Testament, in which he calmly acknowledged the likely permanence of his deafness and less calmly bequeathed his earthly goods to his two brothers. But for his art, he admits, he would have ended his own life: “It seemed impossible to leave the world until I had brought forth all that I felt was within me.” Since his Third Symphony, the “Eroica,” was already planned and was to preoccupy him throughout the summer of 1803, it may be said to have saved his life — as though music itself achieves its own triumphs over human frailty, a theme suggested in the splendor of the Third Symphony’s finale, and even more affirmatively in the Fifth Symphony. After the “Eroica,” Beethoven’s music was irretrievably changed. Great landscapes were opened up, which he spent the rest of his life exploring, but at the same time the sense of primal beauty — which is more perfectly expressed in Beethoven’s early works than in any other music, even Mozart — was lost. Beethoven’s gift of flowing, elegant melody was now swamped by the relentless dynamic energy of the heroic Middle Period.

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About the Music

ABOVE AND BELOW — Differing accounts of Beethoven’s outrage at Napoleon.

The story tells of him tearing the paper in two. The manuscript (at top) shows a physcial, maybe violent attempt to erase the word “Buonaparte.”

Bonaparte out, “Heroic” in “In this symphony, Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word ‘Buonaparte’ at the extreme top of the title page, and at the extreme bottom ‘Luigi van Beethoven,’ but not another word. Whether and with what the space between was to be filled out, I do not know. I was the first to bring him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he flew into a rage and cried out: ‘Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others to become a tyrant!’ Beethoven went to the table, took hold of the title page by the top, tore it in two, and threw it on the floor. The page had to be rewritten, and only then did the symphony receive the title ‘Sinfonia eroica’.” — from Recollections of Ferdinand Ries

Beethoven’s Third Symphony

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His orchestration became heavier, his movements longer, and the domestic quality of his music was transformed into great idealism, on the one hand, and profound inner searching, on the other. Not just Beethoven’s music was changed, all music was irretrievably changed. The 18th century was chronologically and culturally buried, and pre-Romantic civilization left for modern archaeology to uncover. Music was henceforth inescapably personal, expressive, and dramatic, and earlier music, no matter what its origins, was now interpreted in the new way. The conventions of listening and interpretation that Beethoven forced on his Viennese audiences are with us still today. Not all those early listeners found the Third Symphony agreeable. In 1805, everyone was struck by its great length, while many found it headed in the wrong direction. “His music,” wrote one critic, “could soon reach the point where one would derive no pleasure from it, unless well trained in the rules and difficulties of the art, but rather would leave the concert hall with an unpleasant feeling of fatigue from having been crushed by a mass of unconnected and overloaded ideas and a continuous tumult from all the instruments.” Another writer confessed that he found in the new symphony “too much that is glaring and bizarre,” turning at once to a symphony by Anton Eberl (a composer now largely forgotten) that gave him more pleasure. The strength of the “Eroica” is surely that it challenges us to see new significance and new meaning in it at every performance. Those who predicted that it would take centuries before it was fully understood may have been right. The first movement adopts the key and melodic language of Mozart’s Symphony No. 39, but expands it on an immense scale; both development and coda are hugely extended. Unlike the Mozart symphony, it has no slow introduction, but is prefaced by two robust chords of E-flat major, like an affirmation of solidity and strength with the sort of finality one expects to find at the end of a movement, not the beginning. A movement in 3/4 meter allows rich opportunities for cross-rhythms and cross-accents, of which Beethoven takes full advantage, sometimes laying the stress on the second rather than the first beat of the measure, sometimes leaving the first beat silent, and at moments of greatest tension hammering out dissonant chords at two-beat intervals as if to deny the movement’s basic pulse altogether. At other times, the music glides effortlessly along, Cleveland Orchestra Miami 2014-15

About the Music

With his Third Symphony, not just Beethoven’s music was changed, all music was irretrievably changed. The 18th century was chronologically and culturally buried, and pre-Romantic civilization left for modern archaeology to uncover.

At a Glance Beethoven composed his Third Symphony between 1802 and 1804. He conducted the first performance at a private concert in the home of Prince Lobkowitz, to whom the work is dedicated, in December 1804. The first public performance took place at the Theateran-der-Wien on April 7, 1805, again with the composer conducting. This symphony runs about 50 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Beethoven’s “Eroica” Symphony in October 1920, under Nikolai Sokoloff’s direction. It is among the most frequently performed symphonies in the Orchestra’s repertoire, appearing often in Cleveland’s programming at home and in cities around the world. The Cleveland Orchestra has recorded Beethoven’s Third three times: in 1957 with George Szell, in 1977 with Lorin Maazel, and in 1983 with Christoph von Dohnányi.

even if distant storms are never far over the horizon, and the movement ends with the same two solid chords with which it had opened. The second movement, an awesome funeral march, is somber and processional in the minor key, drawing an intense sound from the strings that would have been unimaginable in the previous century. The major key pierces the tragedy with the winds, led off by the oboe, unfolding a noble melody that reaches a strong climax before returning to the march. A fugal episode generates enormous power, and the desolate ending is beyond words. Even the third-movement Scherzo, in which Beethoven would normally settle for a lighter mood, finds extraordinary dynamic strength, and its Trio section puts the three horns on display (when just two horns would previously have been normal in a symphonic work like this). It is typical of Beethoven that in a work of such high seriousness he finds room for his incessant humor. It sometimes makes you wonder if he was serious at all. The well-known moment at the first movement’s recapitulation, when the horn apparently makes a false entry comes across as a well-intended joke. So too is the portentous rush of notes (in the wrong key) at the beginning of the fourth-movement finale, leading not to a weighty thematic declaration, but to a simple, almost inane, bass line bereft of theme, which acts as an expectant anticipation of the main theme. When the theme does arrive, it turns out to be no more than a dance tune of surpassing obviousness borrowed from the ballet The Creatures of Prometheus, which Beethoven had written just a couple of years earlier. Ballet music! Just as we start to wonder how he could have sunk so low, the music becomes fugal, then dramatic, then aggressive, then elegiac, then massively grand and conclusive. Once again, Beethoven has outwitted his listeners by the sheer power of his invention. Keeping pace with his thought processes is an exhausting, but happily inexhaustible, occupation. —Hugh Macdonald © 2015 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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2014-15 Cleveland Orchestra Miami

February 27 Friday

Symphony No. 6 in B minor, Opus 54 composed 1937-39 S H O S TA KOV I C H

Dmitri

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

was thirty-three when he composed his Sixth Symphony, the same age as Beethoven when he wrote his Third, the “Eroica.” There are many fruitful comparisons to be made between these two great composers, and in this case we have to observe how both composers were at that moment in their lives coming to terms with traumatic conditions that had begun to cast a shadow over their future. For Beethoven it was the relentless progress of his deafness. For Shostakovich it was the terrifying atmosphere of political oppression triggered by Stalin’s purges. Soviet artists were not immune — some notable poets and theater directors “disappeared,” and any composer unwilling or unable to conform to the rigid expectations of the men in power lived in fear for his livelihood, and often for his life. In this context, Shostakovich’s “Eroica” — his artistic rejoinder to the changing circumstances of his life — was the Fifth Symphony. This was his response, after two years of silence, to what he described as the “just criticism” leveled at his opera Lady Macbeth of Mtsensk, premiered in 1935. The critique was actually a tirade of printed abuse from the Soviet authorities, as dictator Stalin continued consolidating his power over everything and everyone. The apparatchiki beneath him abused the next levels down, tightening the screws of command. This included a vast and concerted effort to place all art and artists at the ready disposal of the government’s propaganda purposes — all new art was to be patriotic, rallying and uplifting the people. What the authorities and the public took to be the Fift h’s strongly optimistic tone when it was heard in 1937 won for its composer a gale of popularity and favor. And Shostakovich knew that the dark, pessimistic streak in his make-up would bring trouble on his head if he allowed it to surface too strongly. His trick, therefore, was to end the Fift h Symphony in a riot of brassy celebration in order to dim any memory of introspection that might be heard in its earlier movements. Although Shostakovich was said to admit that the finale of the Fifth was ironic in tone, it served its purpose well enough. In the Sixth, then, composed in 1939, he adopted a similar tactic. By traditional symphonic standards, it is crudely unbal-

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About the Music

At a Glance Shostakovich composed his Sixth Symphony between 1937 and 1939. His original intentions were to create a symphony on the subject of Soviet leader Vladimir Lenin, and during part of this period he considered or attempted including sung text with chorus and soloists. He eventually decided to write a purely orchestral work, without any direct connection to Lenin. The symphony was premiered in November 1939, in Leningrad (today’s St. Petersburg), with Evgeny Mravinsky conducting the Leningrad Philharmonic Orchestra. This symphony runs about 30 minutes in performance. Shostakovich scored it for 3 flutes (third doubling piccolo), 3 oboes (third doubling english horn), 4 clarinets (third doubling e-flat clarinet and fourth doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, triangle, tambourine, tam-tam, and xylophone), harp, celesta, and strings. The Cleveland Orchestra first performed Shostakovich’s Sixth Symphony at a weekend of concerts in January 1945, conducted by Fritz Reiner. It was played most recently as led by Franz Welser-Möst in 2013, in Cleveland and in Vienna.

anced, having a long, thoughtful, slow movement to start, followed by a lively scherzo and an even more high-spirited finale. Perhaps it is a traditional four-movement symphony without a first movement. But the apparent lack of weight in the scherzo and finale seems to assign them to a different world than that of the actual first movement, whose unhurried exploration of abstract material foreshadows much of Shostakovich’s later music. From the audience’s point of view, this is not a problem. With concentration fresh, we trace the shapely themes that emerge one by one in the first movement, usually associated with a single instrument. After a strong start, the first violins lay out an important, desolate theme; then the piccolo introduces one; then the english horn has another, echoed by distant trumpets; then the flute. Later, it is the flute who is allowed a passage of what sounds like free improvisation. The movement’s recapitulation arrives very late, just in time to bring this richly woven tapestry to a close. Great virtuosity is called for in the scherzo second movement, especially from the winds. The torrent of notes begets a carnival atmosphere with heavy-booted peasants dancing in the streets. Then, once the timpani have had their say, everything is delicate and feather-light to the end. The finale seems to go even faster. It is a playful burlesque, often recalling that same side of Prokofiev’s music. Rossini also comes to mind, that joker among composers for whom (unlike Shostakovich) there was no dissembling. Eventually the horns come up with a boisterous tune that suggests nothing so much as a circus band, and from that moment on the riotous momentum is not to be stopped. The Sixth Symphony was first performed in Leningrad in November 1939 in a concert that also premiered Prokofiev’s cantata extracted from the film Alexander Nevsky. Such was the enthusiasm for Prokofiev’s patriotic music that the new Shostakovich symphony was almost overlooked. Sometimes Shostakovich, a painfully shy man, preferred it that way. —Hugh Macdonald © 2015

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Shostakovich made international headlines and news with his work as a fireman during the siege of Leningrad in 1942 â&#x20AC;&#x201D; and for the composition of his Seventh Symphony celebrating the bravery of the city's defenders. The politics in his other symphonies was often more subtle and less in line with the government's ideals.

At left, circa 1950, three of the top Soviet composers: Prokofiev, Shostakovich, and Khachaturian. Above, a Soviet-era stamp celebrating their greatest composer.

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About the Music

February 28 Saturday

Symphony No. 5 in C minor, Opus 67 composed 1804-08 EVERY LISTENER

Ludwig van

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

may feel free to interpret this immortal work in his or her own fashion. The idea that it represents the composer’s mighty but victorious struggle with destiny was put into circulation by Beethoven himself, or at least by his fantasy-spinning amanuensis Anton Schindler, who reported the composer’s explanation of the opening motif as “So pocht das Schicksal an die Pforte” (‘Thus Fate knocks at the door’). Perhaps Beethoven did say that, and it certainly offers a vivid image for an extraordinarily unconventional opening for a classical symphony. But there are so many other forces at work in this symphony, besides that of fate, that we need to open our ears and minds to every signal it sends out. Most listeners agree that the signals can be different at each hearing. Fate struck Beethoven most cruelly in about 1802 when, still in his early thirties, he acknowledged the fact of his deafness and began the long process of coming to terms with a handicap that was less of a musical disability (it did not interfere with his ability to compose) than a social one. His standing as a virtuoso pianist with excellent connections at court was seriously threatened, and his relations with friends, and especially with women, were now forever circumscribed. We might think that as a composer his reactions were far more violent than the situation warranted. The “Eroica” Symphony (No. 3), the immediate product of that profound crisis, transformed the world of classical music forever. But he did not stop there. The superhuman creative energy that produced his great heroic works of that decade had never been heard in music before. One colossal path-breaking work followed another, combining unearthly beauty of invention, technical virtuosity, vastness of conception, and a radical freedom of expression and form. Beethoven may have — privately — felt inordinately sorry for himself, but there is no self-pity in the music. Defiance, yes certainly, although the sense of triumph expressed in the conclusion of the Fifth Symphony is surely more than a tongue-sticking-out I-told-you-so addressed to fate. Beethoven’s triumph gloats not just over an unfair destiny cowering at his feet, but rather over all humanity, over all of us who have the misfortune not to measure up to his infinite creative spirit. If Beethoven gave up the unequal struggle to take care of About the Music

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worldly and domestic concerns, if he lost control of his finances, if he quarreled with landlords and servants, if he felt robbed by publishers and creditors, if he lived in squalor, if he could not count on the affection and loyalty of friends, there always remained one domain in which he was the unchallenged master: music itself. He could change the world by scratching barely legible lines and dots on ruled paper, the physical manifestation of a cauldron of sound and pride that boiled in his brain. The famous four-note motif that opens the symphony is heard constantly in the first movement, but it is far from being the all-pervading idea that many people suppose. Listen out for others! The second movement deft ly and curiously blends gorgeous cantilena with military trumpets, all wrapped in variation form. The third movement is full of mystery; not defiant, not triumphant, more humorous or spectral, and out of it grows the huge shout of triumph of the fourth-movement finale, as the trombones proclaim a new order of the universe, supported by piccolo, contrabassoon, and the full weight of C major, the key that Haydn had assigned to the completion of Creation itself. The disorder and confusion that reigned at the first performance of this symphony in a famously long concert — which also included the first performances of the Fourth Piano Concerto, the Sixth Symphony, and the Choral Fantasia — perfectly illustrates the sorry mis-match between reality in Beethoven’s life, when a long, difficult concert had to be rehearsed and performed, and the sublime quality of the music itself. No wonder Viennese audiences were confused by this giant in their midst. —Hugh Macdonald © 2015 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

A German postage stamp commemorating a famous national son.

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About the Music

Beethoven began sketching this symphony as early as 1804, and completed it during the first months of 1808. The first performance took place on December 22, 1808, at the Theater-an-der-Wien in Vienna, at a legendary marathon concert led by the composer and devoted entirely to his works (the program also included the premiere of the Sixth Symphony, Fourth Piano Concerto, and Choral Fantasy — all in an unheated hall, and seriously under-rehearsed). This symphony runs about 35 minutes in performance. Beethoven scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. The piccolo, contrabassoon, and trombones (which Beethoven had not used in his first four symphonies) play only in the fourth movement. The Cleveland Orchestra first played Beethoven’s Fifth Symphony during its inaugural season, in April 1919. It has been performed frequently ever since — appearing often in Cleveland’s programming at home and in cities around the world.

February 28 Saturday

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

Dmitri

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

S H O S TA KO V I C H made it known publicly that he composed the great Tenth Symphony in the months following Stalin’s death, which took place on March 5, 1953 (the same day as Prokofiev’s death). It is clear to us now, however, and was probably clear to many of his friends then, that he had been working on the symphony for several years — and that it was written under the shadow of events in January 1948 when Andrei Zhdanov, the politburo member with responsibility for the arts, led a purge on Soviet musicians, with Shostakovich as the main target. An important group of composers, which included both Shostakovich and Prokofiev, were singled out for their sins against the ideals of Soviet music and in particular for “formalism,” the recurrent catch-all accusation that had been heard in official pronouncements throughout the Stalinist era. Of course all music is formal, and so, in a sense, it must also be “formalist.” In this case, the State required music to serve a political purpose, and that could only be done with words or a message conveyed in song or onscreen or even with just an appropriate title. “Symphony” or “Concerto” or “String Quartet” were vague and inadequate titles for the purpose — and thus open to condemnation not simply for not supporting the official line but actually for subverting it. At the moment when the purge occurred, Shostakovich was engaged in composing a violin concerto written in admiration of the playing of David Oistrakh. He continued writing the concerto, but only in secret, and it could not be performed. Shostakovich turned to film music and choral works instead, as his sole means of retaining recognition as a composer. But in private, he was also working on string quartets and on a successor to the Ninth Symphony of 1945. Sketches for the Tenth in fact go back as early as 1946, and there is evidence that he was working on it in 1951. The year 1953 — and Stalin’s death — thus released the backlog of music that had been waiting to be brought out in public. The Violin Concerto was not ready until 1955, but the Fourth and Fifth String Quartets were heard toward the end of 1953, along with the Tenth Symphony, presented on December 17 by the Leningrad Philharmonic Orchestra under Shostakovich’s leading interpreter of the day, Yevgeny Mravinsky. The Tenth

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was soon acclaimed in the West as one of the composer’s major works. International recognition of Shostakovich as a leading living composer dated back to his First Symphony in 1925, but Shostakovich’s standing across the West was reinforced by new works in the 1950s and for the last twenty years of his life. His writing was widely appreciated as a counterblast to the craze for serial and atonal music that gripped many young composers, especially in the United States. Interpreting the Tenth Symphony, as with any work by Shostakovich, presents immense problems. From his many years grappling with officialdom, he had learned to dissemble and mask his true feelings about what he created. In addition, he was a very private, not to say inscrutable, individual. All these circumstances allow us to adopt almost any view of his work, but without any certainty that our view will coincide with his. The layers of irony are deep. What seem to be depictions of misery or horror may be nothing of the kind. The hollow hymns of triumph may not be hollow. He was indeed a “formalist” composer, deeply concerned with the structure and shape of his music, always looking for new ways to insert contrast or its opposite, hinting at references that may be decoys, and extracting veins of gold from the traditional large orchestra. THE MUSIC

Of the Tenth Symphony’s four parts, the first movement is the longest and perhaps the bleakest, giving prominence (as does the whole symphony) to the leading woodwinds. A clarinet, for example, is the first to join the strings’ opening meditations, and a low flute is the first to present an important new theme later on. Two lonely piccolos are heard at the close. The music is in no hurry. Twice the music rises to fearsome climaxes, fed on the frightening rap of the snare drum and the weight of the full brass. The raw energy of the second movement is unrivaled in 20th-century music, like a runaway train. Is it exultation or fury? It’s hard to say. Over the wild gambols of the rest, the brass occasionally stamp out what sounds like an Orthodox Cleveland Orchestra Miami 2014-15

About the Music

At a Glance Shostakovich composed his Tenth Symphony during the summer and autumn of 1953, although some thematic material may date from the previous two years. It was premiered in Leningrad on December 17, 1953, by the Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky. The first United States performance took place on October 14, 1954, with the New York Philharmonic under Dimitri Mitropoulos’s direction. This symphony runs just over 50 minutes in performance. Shostakovich scored it for 3 flutes (second and third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, tam-tam, triangle, tambourine, xylophone), and strings. The Cleveland Orchestra first performed Shostakovich’s Tenth Symphony in December 1967 under David Oistrakh’s direction. The most recent performances were given in 2013 under the baton of Franz Welser-Möst, in Cleveland and in Vienna.

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

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

The movement concludes with what sounds like a corny brass band playing loose with D-S-C-H, as if in mockery. Before the true finale begins, there is a thoughtful introduction featuring oboe and bassoon and casting a veil of mystery. This is dispelled in the exuberant fourth movement Allegro, whose climax is a triumphant writing-on-the-wall of the letters D-S-C-H. Triumph or cataclysm? It could be either. It is certainly an exhilarating musical experience whatever we read into its meaning. —Hugh Macdonald © 2015

A Russian stamp from the year 2000, celebrating Shostakovich as a composer.

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2014-15 Cleveland Orchestra Miami

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O R C H E S T R A

M I A M I

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

The 2014-15 season marks Franz Welser-Möst’s thirteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the Orchestra is hailed for its continuing artistic excellence, is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established a recurring biennial residency in Vienna at the famed Musikverein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, an annual multi-week Cleveland Orchestra residency in Florida was inaugurated in 2007 featuring an array of subscription concerts, education programs, and community presentations that touch the lives of over 20,000 children, students, and adults from across South Florida each year. With a strong commitment to music education, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools at home in collaboration with the Cleveland Metropolitan School District and inaugurated partnerships with the University of Miami and Indiana University. He has championed new programs, including a series of “At Home” neighborhood residencies and concerts in Cleveland designed to bring the Orchestra and citizens together in new ways. Franz Welser-Möst has led annual opera performances during his tenure in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He led an innovative made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. They will present performances of Richard Strauss’s Daphne in May 2015. 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 Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. Cleveland Orchestra Miami 2014-15

Music Director

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M I A M I

Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

The 2014-15 season marks Giancarlo Guerrero’s sixth year as music director of the Nashville Symphony and fourth 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. Recent and upcoming guest engagements include his debut with the Houston Grand Opera in 2015, leading The Cleveland Orchestra in a Midwest Tour during the first half of 2014, and appearances in North America with the orchestras of Boston, Cincinnati, Dallas, Detroit, Houston, Indianapolis, Philadelphia, Toronto, and Vancouver. Internationally, he is increasingly active in Europe, where recent and upcoming engagements include performances with the BBC Symphony Orchestra, Copenhagen Philharmonic, Frankfurt Radio Symphony, Orchestre National de France, London Philharmonic Orchestra, and Deutsches Symphonie-Orchester Berlin. A fervent advocate of new music and contemporary composers, Mr. Guerrero has collaborated with and conducted works by some of America’s most respected composers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, and Roberto Sierra. His first album with the Nashville Symphony, on Naxos, featured works by Daugherty and won three 2011 Grammy Awards. Two more albums have been released, of music by Argentine legend Astor Piazzolla and by American composer Joseph Schwantner; the latter recording received a Grammy Award in 2012. 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). Mr. Guerrero received the American Symphony Orchestra League’s Helen M. Thompson Award recognizing outstanding achievement among young conductors. Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.

Principal Guest Conductor

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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. In concerts at its winter home at Severance Hall and at each summer’s Blossom Music Festival, in ongoing residencies from Miami to Vienna, and on tour around the world, the Orchestra sets the highest standards of artistic excellence, creative programming, and community engagement. The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. WelserMöst continues to add to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s earlier music directors. In addition, Cleveland Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe. The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s top rank of symphony orchestras. Over the next decades, the Orchestra grew from a fine regional organization to one of the most admired symphonic ensembles in the world. Seven music directors (Nikolai Sokoloff, 1918–1933; Artur Rodzinski, 1933–1943; Erich Leinsdorf, 1943–1946; George Szell, 1946–1970; Lorin Maazel, 1972–1982; Christoph von Dohnányi, 1984–2002; and Franz Welser-Möst, since 2002) have guided and shaped the ensemble’s growth and sound. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality with the first festival season at Blossom Music Center in 1968, presented at an award-winning, purpose-built outdoor facility located just south of the Cleveland metropolitan area near Akron, Ohio. Today, touring, residencies, radio broadcasts, and recordings provide access to the Orchestra’s music-making to a broad and loyal constituency around the world. Visit ClevelandOrchestraMiami.com for more information. Cleveland Orchestra Miami 2014-15

The Cleveland Orchestra

T H E

C L E V E L A N D

FRANZ WELSER-MÖST GIANC AR LO GU ER R ERO

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

Kelvin Smith Family Chair

PRINCIPAL GUEST CONDUCTOR

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

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra Preucil

ASSISTANT CONCERTMASTER

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

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan

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

Emilio Llinas 2 James and Donna Reid Chair

Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut Yun-Ting Lee VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair

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

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

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

The Orchestra

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell 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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

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

2014-15 Cleveland Orchestra Miami

SEASON

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

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

Jesse McCormick

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen * Robert Marcellus Chair

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

Robert B. Benyo Chair

Hans Clebsch Alan DeMattia

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair

ORCHESTRA PERSONNEL Karyn Garvin DIRECTOR

Christine Honolke

Michael Miller

MANAGER

TROMBONES Massimo La Rosa*

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Sidney and Doris Dworkin Chair Sunshine Chair

* Principal

Linnea Nereim

Shachar Israel 2

° Acting Principal

E-FLAT CLARINET Daniel McKelway

BASS TROMBONE Thomas Klaber

Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Linnea Nereim BASSOONS John Clouser *

EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

TIMPANI Paul Yancich *

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Otto G. and Corinne T. Voss Chair

Tom Freer

Cleveland Orchestra Miami 2014-15

The Orchestra

§ 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell

ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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

classicalsouthﬂorida.org

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.

SEASON

Friday, March 6, 2015, at 7:00 p.m. Saturday, March 7, 2015, at 7:00 p.m.

from Piano Quintet in A major (“Trout”), D667 by FRANZ SCHUBERT (1790-1828) 1. Allegro vivace

Ioana Missits, violin Stanley Konopka, viola Brian Thornton, cello Scott Haigh, bass Carolyn Gadiel Warner, piano

Piano Quartet in A minor (in one movement) by GUSTAV MAHLER (1860-1911) Nicht zu schnell [Not too fast]

Peter Otto, violin Stanley Konopka, viola Richard Weiss, cello Joela Jones, piano

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

Cleveland Orchestra Miami 2014-15

March 6-7 Concert Preludes

1 8 0 0

A T T O R N E Y S

3 7

L O C A T I O N S

W O R L D W I D E˚

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

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

G R E E N B E RG T R A U R I G , P. A . | AT TO R N E YS AT L AW | W W W.GT L AW.CO M Greenberg Traurig is a service mark and trade name of Greenberg Traurig, LLP and Greenberg Traurig, P.A. ©2015 Greenberg Traurig, LLP. Attorneys at Law. All rights reserved. °These numbers are subject to ﬂuctuation. 24823

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

SEASON

Friday evening, March 6, 2015, at 8:00 p.m. Saturday evening, March 7, 2015, at 8:00 p.m.

GUSTAV MAHLER (1860-1911)

Symphony No. 6 in A minor (“Tragic”) 1. 2. 3. 4.

Allegro energico, ma non troppo Andante moderato Scherzo: Wuchtig [Powerful] Finale: Allegro moderato

The concert is presented without intermission and will end at approximately 9:25 p.m.

This weekend’s concerts are sponsored by Greenberg Traurig, P. A.

Cleveland Orchestra Miami 2014-15

Program: March 6 -7

Mahler, in a photograph taken in 1909 in New York

The point is not to take the worldâ&#x20AC;&#x2122;s opinion as a guiding star, but to go oneâ&#x20AC;&#x2122;s way in life and to work unfalteringly, neither depressed by failure nor seduced by applause. â&#x20AC;&#x201D;Gustav Mahler

2014-15 Cleveland Orchestra Miami

March 6-7

INTRODUCING THE CONCERT

Mahler — Tragedy& Fate THIS WEEKEND

of Cleveland Orchestra Miami concerts present a famously enigmatic symphony by Gustav Mahler, created while the composer was at the top of his fame. Mahler himself gave his Sixth Symphony the nickname “Tragic,” then later decided it should not carry the weight of that label. There are many varying stories, from Mahler and his contemporaries, and from his wife Alma after his death, concerning the composer’s feelings about this music. In some stories, tragic events came to Mahler, but after the symphony had been written. In others, his sense of fate was actively associated with this music. Evenso, there are moments of both tragic and happier music within the confines of this dramatically moving 75-minutes work. In the symphony’s fourth movement, Mahler wrote a part for large hammer, which falls against a resonant block of wood — echoing the sound, perhaps, of an axe chopping at GUSTAV MAHLER or splitting a tree. Mahler changed his mind as Silhouette by Hans Schliessmann to how many of these should sound, removing one of three from the score — and then reconsidering his decision. Alma his widow described these as “the blows of fate and destiny.” This weekend, Franz Welser-Möst is choosing for two, leaving the third moment powerful in its incomplete emptiness. Regardless the inclusion (or absence) of any intended message overall, this is an impactful symphony, filled with searingly beautiful and heartfelt action. —Eric Sellen

Cleveland Orchestra Miami 2014-15

Introducing the Music

March 6-7

Symphony No. 6 in A minor composed 1903-04 MAHLER’S

Gustav

MAHLER born July 7, 1860 Kalischt, Bohemia (now Kalištì in the Czech Republic) died May 18, 1911 Vienna

regular routine, during the years when he was music director of the Vienna State Opera (then the Vienna Court Opera), was to devote the winter months to the opera house and the summer months to composition. To both activities, he devoted a heroic work ethic and a fanatical concentration, and it helped him for his “summer job” to get away from the city to work in total tranquility. To this end, he built himself a villa at Maiernigg on the shores of the Wörthersee in southern Austria, with a further refuge from the villa being a hut to work in set away in the woods. The Fift h, Sixth, and Seventh Symphonies, often viewed as a group, being three very large works composed for orchestra alone without voices, were the astonishing fruit of this regime. The Fifth was completed in the summer of 1902 and the Sixth written in 1903 and 1904, the Seventh in 1904 and 1905. These were happy years for Mahler. He married the beautiful Alma Schindler in 1902, and she gave birth to their first child the same year, and a second daughter was born in 1904. Gustav’s works were played with increasing frequency in Germany and Holland, and with his post at the Vienna Opera — to which he was appointed in 1897 after a series of increasingly prestigious posts in different cities — he had reached the pinnacle of the musical profession. He was 43, rich, and in the prime of life. The Sixth Symphony is bursting with creative vitality. It is a long work with a profusion of motifs and themes, a kaleidoscopic variety of moods, and an unstoppable flow of contrapuntal invention — the bringing together of various musical ideas in infinite combinations. Long movements, such as the halfhour finale, pose tough structural problems if listeners are not to lose their way. Yet any concerns about formal coherence are dwarfed by the unending resourcefulness of Mahler’s mind. He is entitled to extend these movements beyond the point others would think excessive by the sheer pressure of musical invention. Like Bach seeking out every possible permutation in his larger fugues, Mahler similarly felt that the music is not over until he has exhausted his own wells of creativity. A TRAGIC SYMPHONY?

How then can we explain how the Sixth Symphony ac-

About the Music

2014-15 Cleveland Orchestra Miami

quired the nickname, the “Tragic”? Like Schubert’s Fourth Symphony, on which Schubert himself wrote the German word Tragische even though the music is far from tragic in character, Mahler himself allowed the term to be applied to his Sixth, then later repressed it. It is not at all clear that he himself viewed the symphony in that light when he wrote it, whereas a tragic, prophetic character was firmly bestowed on it by Alma as his widow many years later. Hindsight has played more part in the interpretation of this work than of any other, and there is evidence that Mahler too saw his music in a different light when his life was indeed darkened by tragedy. The final bars conclude in the minor key, it is true, but these two pages cannot overturn the impression of the rest. Music that has been positive and ebullient for over an hour does not become tragic in thirty seconds. Then there are the famous blows of the hammer in the last movement, and the often-debated question of whether Mahler’s manuscripts and later instructions call for three or only two (with the third moment left purposely emptier without it). In a huge orchestra with extensive percussion, it is merely a reinforcement of the noise to add a hammer to the already heavy thud of the bass drum. A hammer is not tragedy until it is described as a “hammer-blow of fate,” which tradition says Mahler came to interpret those moments in the finale when the hammer descends. The fateful three blows in the composer’s own life fell in quick succession in 1907, three years after the completion of the Sixth Symphony. He was diagnosed with a heart lesion, which Cleveland Orchestra Miami 2014-15

About the Music

Mahler’s writing cottage in the woods at Maiernigg on the shores of the Wörthersee in southern Austria, where he composed the Fifth, Sixth, and Seventh symphonies across the summers of 1902 to 1905.

At a Glance Mahler began work on his Sixth Symphony in 1903 and completed it in 1904. He conducted the symphony’s premiere on May 27, 1906, in Essen, Germany. The first performance in the United States took place in December 1947 at New York’s Carnegie Hall, with Dimitri Mitropoulos leading the New York Philharmonic. This symphony runs about 75 minutes in performance. Mahler scored it for 4 flutes, 4 oboes, 3 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, cymbals, triangle, rattle, tam-tam, glockenspiel, xylophone, cowbells, deep bells, twig brush, hammer), celesta, and strings. The Cleveland Orchestra first performed Mahler’s Sixth Symphony in October 1967 under George Szell’s direction. (These performances, taped as part of the Orchestra’s nationally-syndicated radio broadcasts, were later edited and released commercially by Columbia Records.) The Sixth has been performed on several occasions since then, most recently prior to this season in March 2001 in Cleveland, conducted by Michael Tilson Thomas.

eventually proved fatal; he resigned under heavy pressure from the Vienna Opera; and his adored elder daughter Maria died aged four. He is said to have removed the third hammer-blow from the score as a portent of his own death. Then there is the curious fact that during the composition of the Fift h Symphony (but before he had children of his own) Mahler had begun to set five poems by Rückert, Kindertotenlieder or “Songs on the Death of Children,” about the death of youngsters. Surely, it is argued by those wanting to find it, his life was prophetically encoded in his own music. To that point, and no further, can the case for the Sixth Symphony as “Tragic” be made. The evidence of our ears, meanwhile, places the arguments almost entirely on the other side. Any large work will encompass moods of every kind, including passages that might be dark and foreboding — but here, for much of the work, we have music that lifts the heart and seems to sing with the birds of summer. THE MUSIC’S STRUCTURE

The two middle movements in particular, the slow movement and the scherzo, following the convention of four-movement symphonies, are respectively serene and light. Mahler originally placed the scherzo in second place and the Andante third. At the first performance in Essen in February 1906 Mahler decided to reverse this and place the scherzo third, after the slow movement, and later always performed it in that order (the order in which Franz Welser-Möst has chosen to play the movements in this weekend’s Miami performances). By that time the publishers had already printed the score with the scherzo second. Arguments for the suitability of either sequence can be easily made, and it is normally the conductor’s choice in today’s performances. Mahler was by nature unable to refrain from tinkering with his own music. Every time he conducted a work he found improvements that needed to be made, usually in the orchestration, to improve the balance, or to adjust to the needs of a particular hall. His symphonies thus survive in a variety of different texts, so that editors and conductors are normally required to make choices at every level. The question of the third hammer-blow and the order of the two middle movements fall into this area of Mahler’s heritage. In other respects, Mahler left his interpreters little choice. About the Music

2014-15 Cleveland Orchestra Miami

He is explicit to the point of fussiness in marking dynamics and interpretative details in his scores. The complexity of his scores, especially those with as large an orchestra as that of the Sixth Symphony, calls for great precision in allowing instrumental detail to be heard, which it is the conductor’s duty to ensure. An interesting case is the moment early in the first movement marking the transition between first and second sections:

The blend of oboes and trumpets shifts in the course of the first bar since the trumpet sound decreases while the oboe sound increases. The major chords is thus colored differently from the minor chord that follows. This kind of detail shows the master of orchestration at work. Certain types of musical character are important in this work. March tempos, always a favorite for Mahler, appear in the first and last movements, and are especially striking at the beginning, as if to convey the stamping tread of marching feet; these pulses are often reinforced by dotted rhythms. Much of the last movement also strides forward at a healthy march pace. Then there are hymn-like passages or chorales, sometimes reminiscent of Anton Bruckner’s style. The second section of the first movement is such a passage, played by the winds over occasional plucked-string pizzicatos. Another is heard early in the last movement, this one scored for the deepest instruments, giving prominence to the tuba, contrabassoon, bass clarinet and low horns, all playing soft ly — an inspired, magical effect. The strings come into their own in the slow movement, a kind of rondo (a form of alternating sections) with two contrasting episodes, while the essentially staccato character of the scherzo movement gives prominence to the winds. This too is a rondo with an episodic Trio appearing twice. In these two movements, the standard classical forms are respected, and in the first movement too, with the repeat of its opening material and the other features of classical sonata form in place, the traditional outline is not hard to follow. Only in the finale, when Mahler’s prodigious inventiveness takes over, is the skeleton of Cleveland Orchestra Miami 2014-15

About the Music

Certain types of musical character are important in this work. March tempos, always a favorite for Mahler, appear in the first and last movements, and are especially striking at the beginning, as if to convey the stamping tread of marching feet. Much of the last movement also strides forward at a healthy march pace.

GUSTAV MAHLER 1860-1911

Gustav Mahler, at age five (below left) in the earliest known photograph; with beard at age twenty-one in 1881; (right top) his wife Alma and their two daughters, Maria and Anna, in 1906; at the coast (bottom right) of the North Sea; and in a cartoon making fun of the unusual instruments (including cowbell and forging hammer) he orchestrated into his Sixth Symphony.

Gustav Mahler

2014-15 Cleveland Orchestra Miami

its basic form hidden by many layers under the musical surface. The protagonist of this long adventure is not so much Mahler the composer as the giant modern orchestra of 1905. Following the vast expansion effected by Richard Wagner in scoring for his four-opera Ring of the Nibelung, turn-of-thecentury composers — and not just Richard Strauss and Mahler — adopted orchestral ensembles as big as the stage or concert platform could accommodate. The benefits are not just increased volume; if you have four oboes and an english horn, a five-note chord can be heard entirely in the oboe’s double-reed tone quality — whereas with earlier, smaller orchestras this was not possible. Eight horns can dominate the central texture; six trumpets or four trombones can penetrate whenever they choose. Yet, because Mahler’s scoring is always transparent, without needless doubling, a single instrument such as the celesta or bass clarinet can stand out in the crowd. And Mahler’s use of percussion would make a study in itself, noting where the xylophone is used, and where the triangle, such details often contributing a tiny but discernable condiment to the taste of the whole dish. With his Third and Sixth Symphonies Mahler wrote two immensely long symphonies and stretched the basic form to its limits. In the Third, he had voices to vary the texture and proclaim the message, and that work is divided into six movements. Here in the Sixth, he preserved the traditional four-movement design and called upon no program, no text, no voices, and no grand message to focus the interpretation. Mahler’s achievement in the purely orchestral work of such a size as the Sixth is remarkable, especially since the listener is free to determine its character. The “tragic” label may be right for some, but others will surely find in this music a broad landscape of great beauty, full of life and color, neither threatening nor doomed, a landscape wherein we may all enjoy the deepest satisfactions and always find something to smile at.

Only so much can be made of the nickname “Tragic” for this symphony. Any large work encompasses moods of every kind, including passages that might be dark and foreboding. Here, for much of the work, we have music that lifts the heart and seems to sing with the birds of summer.

—Hugh Macdonald © 2015 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Cleveland Orchestra Miami 2014-15

About the Music

INFORMATION ACCESSIBILITY Adrienne Arsht Center is fully accessible. When purchasing tickets, patrons who have special needs should call (305) 949-6722 or (866) 949-6722 and inform their customer service representative. (786) 468-2011(TTY). Audio description and assistive listening equipment is funded by Mary & Sash Spencer and the Miami-Dade County Mayor and the Board of County Commissioners, the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council. DINING BRAVA! WKH &HQWHUÂśV QHZ RQ VLWH ÂżQH GLQLQJ H[SHULHQFH QDPHG RQH RI 0LDPLÂśV EHVW QHZ UHVWDXUDQWV E\ Thrillist, is located in the Ziff Ballet Opera House. Led by Chef Hector Torres of Ovations Food Services, %5$9$ VHUYHV DQ LQVSLUHG IDUP WR IRUN SUL[ Âż[H PHQX 5HVHUYDWLRQV DYDLODEOH WKURXJK WKH $UVKW ZHEVLWH RU E\ FDOOLQJ WKH ER[ RIÂżFH DW 2SHQ IRU SUH SHUIRUPDQFH GLQLQJ RQ VKRZ GD\V RQO\ 9LVLW www.arshtcenter.org/brava for more information. CafĂŠ at Books & Books in the Carnival Tower, managed by Books & Books under the direction of &KHI $OOHQ 6XVVHU LV ORFDWHG RQ WKH JURXQG Ă&#x20AC;RRU RI WKH KLVWRULF &DUQLYDO 7RZHU RQ WKH FRUQHU RI WK 6W and Biscayne Blvd. The cafĂŠ-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 â&#x20AC;&#x201C; Friday, 8 a.m. â&#x20AC;&#x201C; 10 p.m., and weekends, 9 a. m. â&#x20AC;&#x201C; 10 p.m. (with extended hours on all show nights). Theater Lobbies Concessions and Wine Bars feature a variety of light food and beverage one hour before the show and during intermissions. Specialty Wine Bars offering a variety of high-end wines and Champagnes on the Box Tier level. EMERGENCIES Emergency exits are clearly marked throughout the building. Ushers and security personnel will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance. FACILITIES RENTALS Persons or organizations interested in renting the auditoriums, lounges, terraces, plazas or other spaces for private and public events at Adrienne Arsht Center should contact (786) 468-2287 or rentals@arshtcenter.org. HEARING AIDS AND OTHER HEARING-ENHANCEMENT DEVICES Please reduce the volume on hearing aids and other devices that may produce a noise that would disturb other patrons or the performers. Assistive Listening Devices are available in the lobby; please ask an usher for assistance. LATE SEATING Adrienne Arsht Center performances begin promptly as scheduled. As a courtesy to the performers and audience members already seated, patrons who arrive late will be asked to wait in the lobby until a suitable break in the performance to be determined in consultation with the performing artists. Until the seating break, latercomers may watch the performance via closed-circuit monitors conveniently situated in the OREELHV 7R FRQÂżUP VWDUWLQJ WLPHV IRU $GULHQQH $UVKW &HQWHU SHUIRUPDQFHV SOHDVH FKHFN \RXU WLFNHW YLVLW www.arshtcenter.org, or call (305) 949-6722. Photo by Robin Hill

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

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

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(786) 468-2081

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Photo by Mitchell Zachs

INFORMATION MEMBERSHIP â&#x20AC;&#x201C; BE A CULTURIST Members matter at the Adrienne Arsht Center. Your philanthropy makes our world-class performances possible, and helps to provide free arts education and meaningful community engagement for thousands of Miami-Dade County young people and their families. When you join the Center as a member, you give the gift of culture to Miami â&#x20AC;&#x201C; now, and for generations to come. The Culturist membership program is designed WR HQKDQFH \RXU H[SHULHQFH DW WKH $UVKW &HQWHU ZLWK VSHFLDO EHQHÂżWV ranging from advance notice of performances to invitations to exclusive receptions. Membership begins at just $75, with giving levels through $5,000. To join the Culturist movement, please call 786-468-2040, email: membership@arshtcenter.org or visit www.arshtmembers.org. LOST AND FOUND Patrons should check with the House Manager in the theater lobby prior to leaving the theater, otherwise please call the Adrienne Arsht Center main security number (786) 468-2081. Lost articles will be held for 30 days. MEMBERS GET IT FIRST! As a member of the Adrienne Arsht Centerâ&#x20AC;&#x201C;a Culturistâ&#x20AC;&#x201C;you have exclusive access to members-only ticket pre-sales and so much more! Join today, online at www.arshtmembers.org or by calling 786-468-2323. PAGERS, CELL PHONES AND OTHER LISTENING DEVICES All electronic and mechanical devicesâ&#x20AC;&#x201D;including pagers, PDAs, cellular telephones, and wristwatch alarmsâ&#x20AC;&#x201D;must be turned off while in the auditoriums. PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING The taking of photographs and the use of audio or video recording inside the auditoriums are strictly prohibited. TICKETS Patrons may purchase tickets â&#x20AC;˘Online: www.arshtcenter.org â&#x20AC;˘By Phone: (305) 949-6722 or (866) 949-6722 10 a.m.- 6 p.m. weekdays; beginning at noon on weekend perfomance days. Â&#x2021;$W WKH %R[ 2IÂżFH WKH $GULHQQH $UVKW &HQWHU %R[ 2IÂżFH LV ORFDWHG LQ WKH =LII %DOOHW 2SHUD +RXVH OREE\ (main entrance on NE 13th between Biscayne Blvd. and NE 2nd Ave.) the Adrienne Arsht Center Box 2IÂżFH LV RSHQ D P S P 0RQGD\ )ULGD\ QRRQ WR FXUWDLQ RQ ZHHNHQGV ZKHQ WKHUH LV D SHUIRUPDQFH and two hours before every performance. â&#x20AC;˘Groups of 15 or more people: (786) 468-2326. TOURS Free behind-the-scene tours of the Adrienne Arsht Center complex are given every Monday and Saturday at noon, starting in the Ziff Ballet Opera House Lobby. No reservations necessary. VOLUNTEERS Volunteers play a central role at the Adrienne Arsht Center. For more information, call (786) 468-2285 or email volunteers@arshtcenter.org. WEBSITE Visit www.arshtcenter.org for the most up-to-date performance schedule. Also, join our mailing list and we will send performance notices directly to you. When you join, you may choose the types of shows about ZKLFK \RX ZDQW WR EH QRWLÂżHG DQG XSGDWH WKRVH FKRLFHV DW DQ\ WLPH ,I \RXÂśYH DOUHDG\ VLJQHG XS PDNH sure you add email@arshtcenter.org to your address book and/or safe list. Visit www.arshtcenter.org today. 6WHLQZD\ 6RQV 7KH 2IÂżFLDO 3LDQR RI WKH $GULHQQH $UVKW &HQWHU Adrienne Arsht Center Uniforms, an EcoArtFashion project by Luis Valenzuela, www.luisvalenzuelausa.com

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Arsht Center Information

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

Trish Brennan Vice President, Human Resources Ken Harris Vice President, Operations Administration Aric Kurzman

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2014-15 Cleveland Orchestra Miami

PERFORMING ARTS CENTER TRUST, INC.

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Board of Directors

Matilde Aguirre Pierre R. Apollon The Honorable Oscar Braynon II Larry H. Colin Laurie Flink The Honorable Rene Garcia Rosie Gordon-Wallace

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

Gilberto Neves Beverly A. Parker Jorge A. Plasencia Abigail Pollak The Honorable Raquel Regalado Neill D. Robinson Adriana Sabino

Mario Ernesto Sanchez The Honorable Marc D. Sarnoff Alexander I. Tachmes Carole Ann Taylor Penny Thurer Judy Weiser

ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS

Adrienne Arsht

Officers of the Board

Founding Chairman Frances Aldrich Sevilla-Sacasa Swanee DiMare Nancy Batchelor Ronald Esserman

Richard E. Schatz

Chairman David Rocker Sherwood M. Weiser*

Jason Williams

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

Jerome J. Cohen Stanley Cohen Susan T. Danis Nancy J. Davis Ronald Esserman Oscar Feldenkreis Pamela Gardiner Jerrold F. Goodman Rose Ellen Greene Arthur J. Halleran, Jr. Howard Herring

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

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

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

Harvey Ruvin Clerk of Courts

Cleveland Orchestra Miami 2014-15

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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