The Cleveland Orchestra July August Concerts

SSUMMERS SUMMERS UMMERS S EVERANCE SEVERANCE

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Proud to Support Those That Bring the Arts to Life

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Welcome from the Executive Director I am delighted to welcome you to The Cleveland Orchestra’s fourth season of Summers@Severance concerts here at Severance Hall in the heart of University Circle — the center of Cleveland’s cultural and intellectual life. As urban counterpoint to Blossom’s bucolic performances, Summers@Severance, sponsored by Thompson Hine, celebrates the year-round vitality of The Cleveland Orchestra and our home neighborhood.

Cleveland is a great city in the midst of a 21st-century renaissance. Nowhere is this more apparent than in the arts, where Cleveland holds its own compared with any of the great arts cities of the world. And nowhere is this more apparent than in University Circle. Surrounding the Orchestra’s home at Severance Hall, this neighborhood offers one of the highest concentrations of cultural attractions and performing arts venues found anywhere in the United States. The proximity here of artistic, cultural, educational, medical, historical, gastronomical, and scientific resources — at unrivaled levels of quality and value — is truly remarkable. With new construction booming and developments surging in a bid to welcome the cosmopolitan workforce that this cultural hub now attracts from around the globe, The Cleveland Orchestra today is delighted to be part of this world-class setting for world-class music.

All of this is a tangible expression of a feeling of excitement and possibility in the air in Cleveland, and a newfound confidence and pride throughout Northeast Ohio. While recent sports triumphs have showcased our community in its best light on the international stage, we rejoice in the rediscovery of civic gems enjoying renewed and much-deserved acclaim. A series of illustrious Cleveland institutions have already celebrated 100th anniversaries this decade, including the Cleveland Foundation and the Cleveland Museum of Art, marking a special moment in this community’s history and coming of age.

The upcoming 2017-18 season marks The Cleveland Orchestra’s Centennial Season and the beginning of our second century serving the people of Northeast Ohio.

Our commitment to quality and excellence continues as the cornerstone of all we do, from onstage music-making to collaborative partnerships, from community activities inspiring a love of music in new generations to musical presentations second to none in the world.

As we look forward to a new season, Summers@Severance’s casual invitation to great art offers a relaxing seasonal respite — cool drinks on a warm evening, exhilarating music in a stunning concert hall, and inspired conversations lit by sunset on the terrace. Alongside the Orchestra’s summer home at Blossom, I like to think of these three summer concerts at Severance Hall as the kind of rewarding indulgences that summer in Ohio is supposed to be all about. Come early, stay late, and enjoy.

Cheers to a summer filled with music!

André Gremillet Summers@Severance

Welcome: Summers@Severance

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Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends.

As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

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Table Table of of Contents Contents 33

Copyright Copyright©©2017 2017by byThe TheCleveland ClevelandOrchestra Orchestra Eric EricSellen, Sellen,Program ProgramBook BookEditor Editor e-email -mail: : esellen@clevelandorchestra.com esellen@clevelandorchestra.com

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Program Programbook bookadvertising advertisingisissold soldthrough through Live LivePublishing PublishingCompany Companyatat216-721-1800.

216-721-1800.

The TheCleveland ClevelandOrchestra Orchestraisisproud proudtotohave haveits itshome, home,SeverSeverance anceHall, Hall,located locatedon onthe thecampus campusofofCase CaseWestern WesternReserve Reserve University, University,with withwhom whomitithas hasaalong longhistory historyofofcollaboracollaboration tionand andpartnership. partnership.

Summers@Severance Summers@Severance

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Schumann’s Schumann’sRhine RhineSymphony Symphony

39 39

Mozart’s Mozart’sRequiem Requiem

Concert ConcertProgram: Program: July July28 28 . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 27 27 Introducing Introducingthe theMusic Music . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 29 29 About Aboutthe theMusic Music . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 30 30 Conductor: Conductor: Susanna SusannaMälkki Mälkki . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 28 28 Soloist: Soloist: Bertrand BertrandChamayou Chamayou . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 33 33

Concert ConcertProgram: Program: August August18 18. .. .. .. .. .. .. .. .. .. .. .. .. .. . 39 39 Introducing Introducingthe theMusic Music . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..41 .41 About Aboutthe theMusic Music . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 42 42 Conductor: Conductor: Patrick PatrickDupré DupréQuigley Quigley . .. .. .. .. .. .. .. .. .. .40 40 Soloists: Soloists: Snouffer-Fons-Soph-Burton Snouffer-Fons-Soph-Burton . .. .. .. .. .. .. .. .48 48 Blossom BlossomFestival FestivalChorus Chorus . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 55 55

Program ProgramBook BookWayfinding Wayfinding

AUGUST 18 18 AUGUST

The TheCleveland ClevelandOrchestra Orchestraisisproud proudofofits itslong-term long-termpartnerpartnership shipwith withKent KentState StateUniversity, University,made madepossible possibleininpart part through throughgenerous generousfunding fundingfrom fromthe theState StateofofOhio.

Ohio.

Beethoven’s Beethoven’s Fifth Seventh Symphony Symphony Concert ConcertProgram: Program: July July14 14 . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 15 15 Introducing Introducingthe theMusic Music . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..17 .17 Music MusicDirector: Director: Franz FranzWelser-Möst Welser-Möst. .. .. .. .. .. .. .. .. .. .. . 18 18 About Aboutthe theMusic Music . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 20 20

JULY 28 28 JULY

The TheCleveland ClevelandOrchestra Orchestraisisgrateful gratefultotothe thefollowing following organizations organizationsfor fortheir theirongoing ongoinggenerous generoussupport supportofof The TheCleveland ClevelandOrchestra: Orchestra:National NationalEndowment Endowmentfor forthe the Arts, Arts,the theState StateofofOhio Ohioand andOhio OhioArts ArtsCouncil, Council,and andtotothe the residents residentsofofCuyahoga CuyahogaCounty Countythrough throughCuyahoga CuyahogaArts Arts and andCulture.

Culture.

Welcome Welcome. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 33 By Bythe theNumbers Numbers. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 66 About Aboutthe theOrchestra Orchestra . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 77 The TheCleveland ClevelandOrchestra Orchestra . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 10 10 About AboutSummers@Severance Summers@Severance . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 13 13 Musical MusicalArts ArtsAssociation Association. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 56 56 Get GetInvolved Involved— —Volunteering, Volunteering, Make MakeMusic, Music,and andMore More. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 57 57 Guest GuestInformation Information . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 62 62

JULY 14 14 JULY

Program Programbooks booksfor forCleveland ClevelandOrchestra Orchestraconcerts concertsare are produced producedby byThe TheCleveland ClevelandOrchestra Orchestraand andare aredistribdistributed utedfree freetotoattending attendingaudience audiencemembers. members.

Welcome Welcome

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1918

Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.

16th

1l1l 11l1 l1l1 1

The 2017-18 season will mark Franz Welser-Möst’s 16th year as music director.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.

40,000

each year

Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.

52%

Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.

4million

Follows on Facebook (as of June 2016)

The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

129,452

1931

150

concerts each year.

The Orchestra was founded in 1918 and performed its first concert on December 11.

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

The Cleveland Orchestra

THE

CLEVELAND ORCHESTRA

PHOTO BY ROGER MASTROIANNI

A S I T A P P R O A C H E S its Centennial Season in 2017-18, The Cleveland Orchestra is hailed as one of the very best orchestras on the planet, noted for its excellence and for its devotion and service to the community it calls home. The new season will mark the ensemble’s sixteenth year under the direction of Franz WelserMöst, one of the world’s most renowned musical leaders. Looking toward the future, the Orchestra and its board of trustees, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence and to fully focus on serving its hometown community through outstanding concert experiences, vibrant musical engagement and exploration, and strong music education programs. The institution is also succeeding to developing the youngest audience of any orchestra, building on its tradition of community support and financial strength, and to move forward into the Orchestra’s Second Century with an unshakeable commitment to innovation and a fearless pursuit of success.

The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies.

These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New York, at Indiana University, and in Miami, Florida.

Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across North America and EuEach year, The Cleveland Orchestra presents free concerts and programs, including an annual rope, and through recordings, telecasts, and radio “Star-Spangled Spectacular” in downtown Cleveand internet broadcasts. Its longstanding chamland. Nearly 3 million people have experienced pionship of new composers and commissioning of the Orchestra through these free performances since the downtown concerts began in 1989. new works helps audiences experience music as a living language that grows and evolves with each new generation. Fruitful re-examinations and juxtapositions of traditional repertoire, recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to

Summers@Severance

The Cleveland Orchestra

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and acclaimed collaborations in 20thnone in the world.masterworks together and 21st-century and acclaimed collaborations 20thServingand the Community.

Programs help finetune enable The in Cleveland and 21st-century masterworks together for studentsability and engaging musicalperforexploOrchestra’s to give musical help finetune and enable The Cleveland rations for the community at large have mances second to none in the world.

Orchestra’s ability to give musicalPrograms perforlong been part of the Orchestra’s commitServing the Community. mances second to none in the world. ment to serving and surroundfor students andCleveland community engagement Serving the Community.

Programs ing communities.

All are being activities have long been part ofcreated the Or-to for students and community engagement connect people to music the concert chestra’s commitment to in serving Cleveactivities have longand been of thelives.

Orhall, in classrooms, in part everyday land and surrounding communities, and chestra’s commitment to serving CleveRecent seasons havebeen seen the launch have more recently extended toof its land and surrounding communities, a uniqueand series of neighborhood resi-and touring residencies.

All are being crehave more been extended tothe its dencies andrecently visits, designed to bring ated to connect touring and residencies. All are being creOrchestra and people to music Franz Welser-Möst ated to connect thethe citizens of Franz Welser-Möst in concert people to music Franz Welser-Möst Northeast Ohio hall, in classin the concert together in new rooms, and in hall, in classways. Active everyday lives. rooms, and in performance Recent seasons everyday ensembles and have seenlives.

Recent seasons programs the launchproof have seen“At proof of avide unique the ofof the launch benefits Home” neighaborhood unique “At direct participaresiHome” neightion in program, making dency borhood music for resipeodesigned to dency program, ple of all Ohio ages. bring the Orchestra and Northeast designedon to Future Audiences.

Standing the together in new ways. Additionally, a new bring the Orchestra and Northeast Ohio of more than nine decades of shoulders Make Music! initiative is underway, chamtogether new ways. a new presenting quality musicAdditionally, education propioned byinFranz Welser-Möst in advocacy Make Music! initiative is underway, chammadeparticipation national andin grams, Orchestra for the the benefits of direct pioned by Franz Welser-Möst advocacy international headlines through creation making music for people of allinthe ages. forits the benefits of direct participation in of Center for Future Audiences in Future Audiences. Standing 2010. on the making music for people of all ages.

Established a significant endowment more than nine decades of shoulders ofwith Future Audiences.

Standing on the gift from the Maltz Family Foundation, the presenting quality music education proof more than nine decades of shoulders Center is designed to provide ongoing fundgrams, the Orchestra made national and inpresenting quality music education pro-to ing for the Orchestra’s continuing ternational headlines through thework creation grams, the Orchestra made national and indevelop interest in classical music among of its Center for Future Audiences in 2010. ternational headlines through the creation young people and to develop the youngEstablished with a significant endowment of Center Future Audiences 2010. est audience of any orchestra.

Theinflagship giftits from thefor Maltz Family Foundation, the Established with a significant endowment “Under 18s Free” program has seen unparalCenter is designed to provide ongoing gift from thethe Maltz Family Foundation, the leled success in Orchestra’s increasing attendance funding for continuingand work Center is designed to provide ongoing interest — with 20% of attendees now comfunding for the Orchestra’s continuing work

8 8 8

to develop interest in classical music among prised concertgoers age 25“Under and under young of people.

The flagship 18s to develop interest in classical — as the Orchestra now unparalleled boastsmusic one ofamong the Free” program has seen sucyoung The flagship “Under 18ssymyoungest audiences attending regular cess in people. increasing attendance and interest Free” program seen unparalleled suc- of phonic concerts anywhere.

— with 20% of has attendees now comprised cess in increasing attendance and interest Innovative Programming.

The concertgoers age 25 and under.

— with 20% of attendees now comprised Orchestra was among the first of Cleveland Innovative Programming.

The concertgoers age 25 and American orchestras heard on a regular Orchestra wasunder. among the first Cleveland Innovative Programming.

The series of radio broadcasts, SeverAmerican orchestras heardand on its a regular Orchestra was among the first Cleveland ance Hall homebroadcasts, was one of and the first concert series of radio its SeverAmerican orchestras heard on regular halls in thehome worldwas built with and ance Hall one of recording theafirst conseries of radio broadcasts, and its Severbroadcasting capabilities.

Clevecert halls in the world builtToday, with recording ance Hall homeconcerts was oneare of the first conlandbroadcasting Orchestra presented in a and capabilities.

Today, cert halls in the world built with recording variety of formats for a variety of audiences Cleveland Orchestra concerts are preand broadcasting Today, — including casualcapabilities.

Friday night concerts, sented in a variety of formats for a variety Cleveland Orchestra concerts are prefilmaudiences scores performed live by the Orchesof — including popular Friday sented in a variety of formats for a variety tra, collaborations with pop and jazz singnight concerts (mixing onstage symof audiences — including popular Friday ers, ballet and with operapost-concert presentations, and phonic works entertainnight concerts (mixing onstage symstandard repertoire juxtaposed in meanment), film scores performed live by the phonic works with post-concert entertainingful contexts with new and older works.

Orchestra, collaborations with pop and ment), filmser-Möst’s scores live byhas the Franzsingers, Wel creative jazz balletperformed and operavision presentaOrchestra, collaborations with pop and given and the Orchestra an unequaled options, standard repertoire juxtaposed jazz singers, ballet and opera presentaportunity to explore music as a universal in meaningful contexts with new and tions, and of standard repertoireand juxtaposed language communication underolder works.

Franz Welser-Möst’s creative in meaningful contexts with new standing. vision has given the Orchestra an and unolder works.

Franz Welser-Möst’s creative An Enduring Tradition of music Comequaled opportunity to explore as a vision has given the Orchestra an unThe Cleveland Orchesmunity Support. universal language of communication and equaled opportunity to explore tra was born in Cleveland, createdmusic by a as a understanding. universal languagecitizens of communication groupAn of visionary whoof believed in Enduring Tradition Com-and understanding. the power of music and aspired to having munity Support. The Cleveland OrchesAnborn Enduring Tradition of Comthewas best performances of great orchestral tra in Cleveland, created by a The Cleveland Orchesmunity Support. music possible anywhere.

Generations group of visionary citizens who believedofin tra born Cleveland, created by a Clevelanders have supported this thewas power of in music and aspired tovision having group of visionary citizens who believed andbest enjoyed the Orchestra’s performances the performances of great orchestralin the power and toexperihaving as some of of themusic best suchaspired concert music possible anywhere.

Generations of the best performances of great orchestral ences available in the world.

Hundreds Clevelanders have supported this vision music possible anywhere. of of thousands have learned Generations toconcerts. love music and enjoyed the Orchestra’s HunClevelanders have supported thisand vision through its education programs have dreds of thousands have learned to love and enjoyed the Orchestra’s concerts.

Huncelebrated important events with its music. music through its education programs and dreds of thousands have learned to love While strong ticket sales coverwith justits under celebrated important events music. music through its education and half ofstrong each season’s costs, it programs is just the generosWhile ticket sales cover under celebrated important events with its music. ity of thousands each year that drives the half of each season’s costs, it is the generosWhile strong ticketand salessustains cover just under Orchestra forward its extraorhalf of each season’s costs, it is the generos-

About the Orchestra About the Orchestra About the Orchestra

The Cleveland Orchestra The Cleveland Orchestra The Cleveland Orchestra

PHOTO BY PHOTO ROGER BY PHOTO MASTROIANNI ROGER

BY MASTROIANNI ROGER MASTROIANNI

ity of thousands each year that drives the dinary tradition of excellence onstage, in Orchestra forward and sustains its extraority of thousands each year that drives the the classroom, for the community. dinary traditionand of excellence onstage, in Orchestra forward and sustains extraorEvolving Greatness.

TheitsCleveland the classroom, and for the community. dinaryEvolving tradition of excellence onstage, in Orchestra was founded in 1918.

Over the Greatness. The Cleveland the classroom, and for the community. ensuing decades, the ensemble quickly Orchestra was founded in 1918. Over the Thequickly Cleveland grew Evolving from a fineGreatness. regional to ensuing decades, the Orchorganization estra Orchestra was founded in 1918.

Over the being one of the most admired symphogrew from a fine regional organization to ensuing decades, theworld.

Orch estra quickly ny orchestras in the Seven music being one of the most admired symphony grew fromhave a fine regional organization to directors guided shaped the orchestras in the world.and Seven music direcbeing one of the most admired symphony ensemble’s growth and sound: Nikolai tors have guided and shaped the ensemorchestras in and the world.

Seven direcSokogrowth loff, 1918-33; Artur Rodzinski, 1933ble’s sound: Nikolaimusic Soko loff, tors haveArtur guided and shaped the ensem43; Erich Leins dorf, 1943-46; George Szell, 1918-33; Rodzinski, 1933-43; Erich ble’s growth and sound: Nikolai Soko loff, 1946-70; Lorin Maazel, 1972-82; Christoph Leinsdorf, 1943-46; George Szell, 19461918-33; Artur Rodzinski, 1933-43; Erich vonLorin Dohnányi, 1984-2002; and Franzvon Wel70; Maazel, 1972-82; Christoph Leins dorf,from 1943-46; Szell,Welser1946ser-Möst, 2002George forward.

Dohnányi, 1984-2002; and Franz 70; Lorin Maazel, von The opening in 1931 Christoph of Severance Möst, since 2002. 1972-82; Dohnányi, 1984-2002; and Franz WelserHall asThe theopening Orchestra’s permanent homeHall in 1931 of Severance Möst, 2002. pride brought a special to the home, ensemble as the since Orchestra’s permanent with The opening in 1931 of Severance Hall and its hometown.

With acoustic refinelater acoustic refinements and remodeling as the Orchestra’s permanent home, with ments under Szell’s guidance and a buildlater acoustic refinements and remodeling

of the hall under Szell’s guidance, brought a ing-wide restoration and expansion special pride to the ensemble and itsinhomeof the hall under Szell’s guidance, brought 1998-2000, Severance Hall an continues toand a town, as well as providing enviable special pride to the ensemble and its provide the Orchestra an enviable andhomeintimate acoustic environment in which to town, as well as providing an enviable and intimate acoustic environment in which develop and refine the Orchestra’s artistry. intimate acoustic environment in which to to perfect the ensemble’s artistry.

TourTouring performances throughout the Unitdevelop and the Orch estra’s artistry. ing performances throughout thetoUnited ed States and,refine beginning in 1957, Europe Touring performances throughout the UnitStates and, beginning in 1957, to Europe and across the globe have confirmed Cleveed States and, beginning in 1957, to Europe and across globethe have confirmed Cleveland’s placethe among world’s top orchesand across globe have confirmed Cleveland’s placethe among the world’s top orchestras.

Year-round performances became a land’s place among the world’s top orchestras.

Year-round performances became a reality in 1968 with the opening of Blossom tras. performances became a reality in 1968one with of Blossom MusicYear-round Center, ofthe theopening most beautiful and reality Center, in 1968 withofthe opening of Blossom Music one the most concert beautiful and acoustically admired outdoor faciliMusic Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. acoustically admired outdoor concert facilities inToday, the United States. concert performances, comties inToday, the United States. concert performances, community presentations, touring residencies, Today, concert performances, munity presentations, touring residencies, broadcasts, and recordings provide comaccess munity presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an broadcasts, and recordings access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and provide broad constituto the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world. enthusiastic, generous, and broad constituency around the world. ency around the world.

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts Severance Hall,Adams The Cleveland Orchestra has introduced morePerformances Franz Welser-Möst leads aatconcert at John High School.

Through such In-School than 4 million young people to symphonic music over the past nine decades. and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced morePerformances Franz Welser-Möst leads a concert at John Adams High School. Through such In-School than 4 million young people to symphonic music over the past nine decades. and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past nine decades.

Summers@Severance Summers@Severance Summers@Severance

About the Orchestra About the Orchestra About the Orchestra

9 9 9

T H E

C L E V E L A N D

Franz Welser-Möst M U S I C D I R E C TO R Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jessica Lee

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Mark Dumm

Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

10

SECOND VIOLINS Stephen Rose *

Alfred M. and Clara T. Rankin Chair

CELLOS Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio Llinás 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair

Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

Helen Weil Ross Chair 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 Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

Lynne Ramsey 1

Mark Atherton Thomas Sperl Henry Peyrebrune

Stanley Konopka 2 Mark Jackobs

Charles Carleton Scott Dixon Derek Zadinsky

Chaillé H. and Richard B. Tullis Chair Charles M. and Janet G. Kimball Chair

Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets

The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Musicians

Charles Barr Memorial Chair

HARP Trina Struble *

Alice Chalifoux Chair

This roster lists the fulltime members of The Cleveland Orchestra.

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

The Cleveland Orchestra

O R C H E S T R A FLUTES Joshua Smith *

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink »

PICCOLO Mary Kay Fink »

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

HORNS Michael Mayhew §

Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman 2

James P. and Dolores D. Storer Chair

Michael Miller

PERCUSSION Marc Damoulakis*

Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien

Joe and Marlene Toot Chair

Robert Walters

CORNETS Michael Sachs *

Donald Miller

ENGLISH HORN Robert Walters

Michael Miller

Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

Samuel C. and Bernette K. Jaffe Chair

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

Robert Woolfrey **

Victoire G. and Alfred M. Rankin, Jr. Chair

Yann Ghiro E-FLAT CLARINET Daniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Yann Ghiro BASSOONS John Clouser *

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Summers@Severance

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa *

Gilbert W. and Louise I. Humphrey Chair

Richard Stout

Alexander and Marianna C. McAfee Chair

Shachar Israel 2

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

TIMPANI Paul Yancich *

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

The Musicians

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

* Principal §

1 2

Associate Principal First Assistant Principal Assistant Principal

* Acting Principal ** Acting Assistant Principal » on sabbatical leave

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell

ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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PHOTOGRAPHY BY ROGER MASTROIANNI

The Cleveland Orchestra

FRIDAY NIGHTS at

7 p.m.

SUMMERS SEVERANCE

2O17 JULY-AUGUST

About The Evening THE BEFORE Happy Hour 5:30 p.m. to 6:30 p.m.

Socializing with drink specials and special drinks THE CONCERT The Cleveland Orchestra 7 p.m.

THE AFTER Terrace at Sunset beginning immediately after the concert — music, drinks, and chatting with friends (new and old) MORE MUSIC Before and After with DJ MisterBradleyP (www.misterbradleyp.com) Summers@Severance

A gentle and warm summer evening . . . a sublime night of music hand-selected just for you . . . great drinks and conversation on the beautiful Front Terrace of Severance Hall.

Join The Cleveland Orchestra for a special summertime experience hand-crafted for the enjoyment of all the senses. A casual comeas-you-are atmosphere surrounded by the stunning visual charm of “America’s most beautiful concert hall.” The evening starts early (if you wish) with a special Happy Hour — meet your friends or family before the concert to relax and start to unwind. Then feel the inspiration of great music performed by the incomparable Cleveland Orchestra in the perfect intimacy of Severance Hall. Afterwards, the Front Terrace beckons with a one-of-a-kind sunset, along with drink and dessert options, plus cooler evening breezes and DJ’d musical offerings. The perfect ending for a great evening. Set amidst the growing excitement of University Circle, the best “new” neighborhood in Northeast Ohio!

What It’s All About

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May 8, 1930

June 5, 1930

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The Cleveland Orchestra

Franz Conducts Beethoven

SUMMERS SEVERANCE

Severance Hall — Cleveland, Ohio Friday evening, July 14, 2017, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A FRANZ WELSER-MÖS T, conductor

ludwig van beethoven (1770-1827)

Overture to Egmont, Opus 84 Symphony No. 1 in C major, Opus 21 1.

2.

3.

4.

Adagio molto — Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Finale: Adagio — Allegro molto e vivace

INTER MISSION

Symphony No. 5 in C minor, Opus 67 Allegro con brio Andante con moto Scherzo: Allegro — Allegro

July 14

1.

2.

3.

4.

The Cleveland Orchestra’s Summers@Severance series is sponsored

by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.

Summers@Severance

July 14: Beethoven’s Fateful Fifth

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Ludwig van Beethoven, 1815, painted by W. J. Mähler

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. —Ludwig van Beethoven

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The Cleveland Orchestra

July 14

INTRODUCING THE CONCERT

Beethoven: A Daring Star A L A R G E P A R T of our ideas of what classical music is “supposed to be” is de-

rived from the works of Ludwig van Beethoven. There have been other superstar composers, including Mozart and Haydn, Brahms and Rachmaninoff, but it was Beethoven who set the bar to which the public ever afterward has tuned its ears. Yet he defined not just what is and can be, but also how one should go about breaking those conventions — how to be a revolutionary in music.

From a very early age, there was much in Ludwig van Beethoven to carry him forward, including musical talent and interest, and a mind that loved to wrestle in thought. Family life was difficult (his father retreated further and further into alcoholism), but Ludwig read avidly, studied briefly with Mozart and later with Haydn, and then quickly took his place as the hottest and most interesting of Vienna’s promising young performers — Mozart’s early death was Beethoven’s gain. His ability as a pianist was unsurpassed at the turn of the 18th into the 19th century. The fact that he performed his own compositions was standard practice in the era — the best composers practiced their art, literally, in front of the public, and performers who didn’t compose were often snubbed as second-rate.

Should we perhaps then be happy that fate took Beethoven’s hearing away, forcing him to concentrate on writing music instead of performing? To become a beleaguered and grumpy man who nonetheless convinced himself that, as frustrating as his growing deafness was for him as a composer, he couldn’t die until “I have brought forth all that is in me.”

As we know, Beethoven transcended his deafness (if not his grumpiness) and wrote an almost steady procession of great and trend-setting works, across many genres of music. His output of major works and strides in creativity brought him exceptional international fame even during his own lifetime.

While some of his music confounded or confused audiences at first hearings, no other composers’ works rank so consistently high among the world’s musical masterpieces. Still, Beethoven often struggled as a composer. Many of his works were belabored in the creation, with much crossing out, redrafting, and rewriting, as well as long periods of reflection and reconsideration. That so much work went into his art is a reflection of his intentions and his vision.

Let us be grateful, indeed, for Beethoven the man, the composer, the artist, the revolutionary, the perfectionist, the creator.

—Eric Sellen

Summers@Severance

Introducing the Music: July 14

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July 14

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

P H OTO BY M I C H A E L P O E H N

Franz Welser-Möst is among today’s most distinguished conductors. The 2017-18 season marks his sixteenth year as music director of The Cleveland Orchestra, which is marking its 100th season. The New York Times has declared Cleveland under WelserMöst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its renewed success in semi-staged and staged opera productions. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals around the world, including regular appearances in Vienna, New York, and Miami, and at the festivals of Salzburg and Lucerne. In the past decade, The Cleveland Orchestra has been hugely successful in building up a new and, notably, younger audience through groundbreaking programs involving families, students, and universities.

As a guest conductor, Mr. WelserMöst enjoys a close and productive rela-

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tionship with the Vienna Philharmonic.

His recent performances with the Philharmonic have included critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, and Strauss’s Die Liebe der Danae in 2016), as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This past season, he led the Vienna Philharmonic in performances in Vienna and on tour in the United States, featuring three concerts at Carnegie Hall in February 2017.

Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2016-17 schedule featured Mozart’s The Marriage of Figaro with La Scala Milan and performances of Mahler’s Ninth Symphony with the Dresden Staatskapelle. Other recent engagements have included performances with Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra, as well as his acclaimed debut with Amsterdam’s Royal Concertgebouw Orchestra. In December 2015, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm.

From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Music Director

The Cleveland Orchestra

Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08).

Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings

of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. A companion video recording of Brahms’s German Requiem was released in 2017.

For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. at left

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015.

Share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch #SummersSeverance

Summers@Severance

Music Director

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July 14

Overture to Egmont, Opus 84 composed 1809-10

A C R O S S H I S L I F E T I M E , Beethoven wrote a series of over-

by

Ludwig van

BEETHOVEN born December 16 or 17, 1770 Bonn died March 26, 1827 Vienna

At a Glance Beethoven composed his Overture and Incidental Music to Goethe’s play Egmont in 1809-10 on a commission from the German National Theater in Vienna. It was premiered there with a new production of the play on June 15, 1810.

This overture runs not quite 10 minutes in performance. Beethoven scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

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tures, some as concert works, others for his only opera (Fidelio) or attached to incidental music for several dramatic stageworks.

All of them are serious in subject matter. Most of them are related to Beethoven’s lifelong belief in the ultimate goodness of humanity — and the need both to “fight for good” and for heroes to lead us forward by example and sacrifice.

His earliest overture, from 1801, was part of a ballet score, titled The Creatures of Prometheus. The ballet’s storyline was directly related to Beethoven’s beliefs, of a hero (the demi-god Prometheus) who defies his own kind (the gods) to help humanity. It is, in fact, a philosophical outlook — of a hero fighting for humanity — that Franz Welser-Möst believes was central to Beethoven and is embedded in much of his music. Music isn’t just something to be pretty, or interesting, or amusing, or relaxing. Music can be a call to arms, intellectually if not physically and spiritually. (Franz closes the 2017-18 Season at Severance Hall with a two-week festival of Beethoven’s music titled “The Prometheus Project.”)

Beethoven wrote his overture and incidental music to the play Egmont at the invitation of the German National Theater in Vienna (where Beethoven’s First Symphony had been premiered in 1800). Wolfgang von Goethe had completed the play in 1788, telling the story of a 16th-century Dutch hero, Count Egmont, who rallied the population and fought against Spanish subjugation of the Netherlands. Beethoven readily agreed to write music for the play’s revival, with the subject matter so completely attuned to his own political beliefs in freedom and political justice.

The Overture, often played by itself in the concert hall, is quintessential Beethoven. Grand chords begin a slow introduction filled with ominous portent. The chords are repeated along with slow melodic themes, before a sudden outburst of energy carries us rapidly forward in expectation and anticipation. The musical fight continues, in strong jabs and tuneful stirrings, building and developing not unlike one of Beethoven’s great symphonic movements. Eventually, a climactic and heroic tune calls forth in the brass, carrying the overture to a shining, triumphant finish.

—Eric Sellen © 2017

July 14: About the Music

The Cleveland Orchestra

July 14

Symphony No. 1 in C major, Opus 21 composed 1799-1800

N I N E I S N O T A M A G I C N U M B E R for symphonies. Mozart

by

Ludwig van

BEETHOVEN born December 16 or 17, 1770 Bonn died March 26, 1827 Vienna

Summers@Severance

wrote more than fifty (including his similarly-built orchestral serenades and suites), Haydn over a hundred. Yet nine is all that Beethoven managed to write. Or, perhaps, all he actually needed in order to encode his changing — and revolutionary — thinking about what had become the quintessential form for orchestral music. Starting at age 29 and ending a quarter century later in 1824, Beethoven worked hard in each of his symphonies, to distill his changing understanding about how music works. Each is a step forward, from the “here” of what had gone before to the “there” that Beethoven wanted to find — of what music could become, of the music’s power to tell humanity’s struggles and triumphs, of our pleasures and possibilities.

It is often said that there is little that is revolutionary in Beethoven’s First Symphony. Indeed, this work is too often dismissed merely as a natural outgrowth of symphonic traditions and evolution that had transpired through the works of Mozart and Haydn in the two previous decades. Yet this symphony isn’t just another symphony of the past, in small ways that make a difference. Choices that Beethoven made in this music clearly pointed forward, in part as ideas to try, but also as specific lines and traditions he was ready to cross.

As Franz Welser-Möst says, “Beethoven’s First Symphony is already a step toward the Fifth. And that is how it should be played.

That is how we should listen to it. It is not just a nice and happy and easy-going symphony. It has a direction, a kind of fire beneath the music that will carry us forward, from this beginning onward.

The last movement is built with a kind of intense, fiery scale. Here Beethoven’s spark of genius is clearly showing, as part of his own journey forward.”

Beethoven had written much by the time he started his first symphony, including ten piano sonatas, six string quartets, and two piano concertos. He had much experience and many lessons behind him. He had waited to tackle the symphony as a genre, but he was ready to begin the journey toward the future for music that his mind was telling him was possible.

Symphony No. 1 turned out to be a good opening statement for Beethoven the symphonist, fully in command of the orchestra’s forces and voices — and not content to merely write July 14: About the Music

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At a Glance Beethoven composed this symphony in 1799-1800. The first performance took place on April 2, 1800, in Vienna.

The work was published with a dedication to Baron Gottfried van Swieten, one of Vienna’s most prominent music-lovers and patrons.

The First Symphony runs about 25 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

The Cleveland Orchestra first performed Beethoven’s Symphony No. 1 in March 1929, under the direction of Nikolai Sokoloff. The most recent performances were in December 2014, led by Marek Janowski.

“another” of what others had already written. He tightens everything up musically, and works hard to ensure that musical ideas are related and developed appropriately. He also adds a sense of the unexpected, and a sense of humor. These, of course, Haydn and Mozart had also expressed, but Beethoven’s choices are both more deliberate and a bit more daring. Even in the traditional format and form, his music says things are going to be different.

The first movement begins with a chord of unexpected discord. It is an unstable sound, a question rather than a statement, with each chord resolving in new directions. Finally, the key stabilizes as it reaches the main Allegro section of the movement. Beethoven has given himself a touching “overture” and is now ready to begin. He builds the rest of the movement from a driven, aspiring forward momentum — occasionally sounding like Mozart, but more often speaking in clear Beethovenian syllables, sound colorings, dramatic sidesteps, and cascading passages.

The second movement continues in Beethoven’s new symphonic voice. There is a clear melody, moving forward against subtle cross-currents and opening into wider paths of ideation.

The timpani add intrigue at crucial moments, as the music slithers around obstacles and moments of repose. The woodwinds, too, play an important role along with the trumpets.

The third movement is labelled a minuet, as Haydn or Mozart might have stated, but Beethoven’s is too fast to dance to. It is instead a “scherzo” of clear but modest proportions, giving us a sense of Beethoven’s comedic timing. The music steps forward, measure by measure, high and low, loud and soft, smiling and surprised.

The finale fourth movement begins with a slow introduction, before scampering off with an angular scale burning with fire — gracefully combusting the ingredients that Beethoven lays out before us. Trumpets and drums again add fuel to the storyline, along with a merry tune of humorous questions and answers, which rather quickly carries us into a blazing momentum accompanied by sudden starts, stops, recurrence, and end.

Beethoven presented the Symphony No. 1 in April 1800 at a concert he organized and financed himself. He dedicated the work to Baron Gottfried van Swieten, the Court Librarian to the emperor, who had helped introduce Beethoven to Vienna and to certain musical manuscripts in his first decade in the city.

—Eric Sellen © 2017

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July 14: About the Music

The Cleveland Orchestra

July 14

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

H O W W O N D E R F U L that familiarity does not always breed con-

by

Ludwig van

BEETHOVEN born December 16 or 17, 1770 Bonn died March 26, 1827 Vienna

Summers@Severance

tempt. And that some pieces, such as Beethoven’s Fifth — the most famous of all symphonies — still “work” in performance, two hundred years after its premiere in an unheated concert hall one cold night in Vienna in December 1808. Audiences of all kinds, occasional and frequent attenders alike, still enjoy its wonders — and even those few who arrive with trepidation at hearing an old warhorse one more time are inevitably drawn to the music’s drama, skill, and rousing good ending.

Beethoven began this symphony in 1804, soon after completing his Third, which had been given the nickname “Eroica” (meaning “heroic”). That work, which contemporary audiences felt was much too long (over 45 minutes) for a symphony, had been created just after one of the composer’s most anguishing life experiences, as he brought himself to terms with the increasing deafness that would eventually rob him of all hearing.

After sketching the first two movements of the new symphony, Beethoven set it aside for over two years to write his opera Fidelio and also the lively and untroubled Fourth Symphony.

He then worked diligently on the Fifth throughout 1807, while simultaneously writing another new symphony, the Sixth, given the nickname “Pastoral.” This kind of multi-tasking at several compositions at once was very normal practice for Beethoven throughout his life, with the ideas for one work helping to inspire or contrast with another — or sometimes with ideas originally intended for one slipping across into a different work entirely.

Throughout this Middle Period of Beethoven’s life, the composer was routinely strapped for funds and, in 1808, he developed plans for a special evening “Akademie” concert to raise money for himself. For December 22, he was able to secure performers and the Theater-an-der-Wien (for a time, he lived in an apartment upstairs in this same theater). Rehearsals would be squeezed in on the previous days. Beethoven, perhaps sensing the difficulty of finding any future workable dates, kept revising the evening’s program to include more and more and ever more music.

The concert lasted over four hours and featured the world premieres of two symphonies (the Sixth and Fifth, in that order), the Fourth Piano Concerto (with Beethoven as soloist), and the July 14: About the Music

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theater an der wien — This concert hall in Vienna, built in 1801, is

where Beethoven's opera Fidelio was first presented — and where Beethoven lived for a time. Beethoven's Fifth and Sixth symphonies also received their premieres here in 1808.

“Choral” Fantasy (written as a grand finale to take advantage of all the assembled performing forces at once, including orchestra, vocal soloists, and with Beethoven as piano soloist). Unfortunately, the weather that night was colder than usual and the building was unheated. So that, although no one attending could possibly have complained about not getting their money’s worth of music, the conditions for comfortable listening and performing deteriorated as the hours passed.

The Fifth Symphony was second-to-last on this marathon program, just before the “Choral” Fantasy. Even with the wintry weather, audience fatigue, and with less than adequate rehearsal preparations, the evening’s works made solid impressions.

From that cold start, the Fifth Symphony’s reputation only increased, and by the end of the 19th century it had attained its current status as classical superstar. World War II’s use of the opening four-note theme (matching Morse code’s dot-dot-dotdash for “V”) to signify Victory only pushed it further into public consciousness.

Whether you choose to listen to this work with the idea of “fate knocking on my door” (something Beethoven probably never said), or as a journey from darkness to light (from mystery to certainty, from ignorance to enlightenment), or merely as a well-crafted symphony that ably blends variety with a musical pathway that keeps you interested and leaves you satisfied, this piece in performance is sure to take you on a worthwhile, often

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July 14: About the Music

The Cleveland Orchestra

exhilarating — and at times quite familiar — journey.

The four movements are concise and focused. The first movement is built almost entirely around the four-note opening motif — stated again and again, as foreground, then background, upside down and forward again, in unison and harmonized.

The second movement takes a graceful line and works it through various guises, almost always with a sense of expectancy underneath and bursting forth toward a stronger and stronger presence.

The third movement continues in this confident vein, only to alternate between quiet uncertainty and forthright declamations. Near the end, a section of quietly forbidding darkness leads directly into the bright sunshine and C major of the last movement. Here, Beethoven revels in the major key, then develops a strong musical idea through to an unstoppable finish, repeated and extended, emphatic and . . . triumphant.

—Eric Sellen © 2017 Eric Sellen serves as program book editor for The Cleveland Orchestra.

Whether you choose to listen to this work with the idea of “fate knocking on my door” (a “quote” that Beethoven probably never said), or as a journey from darkness to light (from ignorance to enlightenment), or merely as a well-crafted symphony, this piece in performance is sure to take you on a worthwhile, and often exhilarating — yet familiar — journey.

Summers@Severance

July 14: About the Music

At a Glance 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, among other works — 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.

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Schumann, in a sketch by Eduard Kaisser, 1847.

If we were all determined to play the first violin we should never have an ensemble. Therefore, respect every musician, each in the proper place to create a whole. —Robert Schumann

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The Cleveland Orchestra

Schumann’s Journey Down the Rhine

SUMMERS SEVERANCE

Severance Hall — Cleveland, Ohio Friday evening, July 28, 2017, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A SUSANNA MÄLKKI, conductor

alexander scriabin (1872-1915)

Piano Concerto in F-sharp minor, Opus 20 1. Allegro 2. Andante 3. Allegro moderato BERTRAND CHAMAYOU, piano

robert schumann (1810-1856)

Symphony No. 3 (“Rhenish”) in E-flat major, Opus 97 1.

2.

3.

4.

5.

Lebhaft [Lively] Scherzo: Sehr mässig [Very moderate] Nicht schnell [Not fast] Feierlich [Solemn] Finale: Lebhaft [Lively]

July 28

The Cleveland Orchestra’s Summers@Severance series is sponsored

by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.

Summers@Severance

July 28: Schumann’s Third Symphony

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July 28

Susanna Mälkki Finnish conductor Susanna Mälkki became chief conductor of the Helsinki Philharmonic Orchestra with the 2016-17 season.

This coming autumn, she also becomes principal guest conductor of the Los Angeles Philharmonic. She made her Cleveland Orchestra debut in April 2015.

Born in Helsinki, Susanna Mälkki studied cello with Hannu Kiiski and conducting with Jorma Panula. At the Sibelius Academy, she worked with Eri Klas and Leif Segerstam, and later studied at London’s Royal Academy of Music. From 1995 to 1998, Ms. Mälkki served as principal cello of the Gothenburg Symphony Orchestra. Since then, she has devoted her time to conducting, and, from 2002 to 2005, was music director of the Stavanger Symphony Orchestra. She next served as music director of Paris’s Ensemble InterContemporain (2006-13), and, since 2013, has also held the title of principal guest conductor of the Gulbenkian Orchestra.

As a guest conductor, Susanna Mälkki has led orchestras across Europe and North America, including the Bavarian Radio Symphony Orchestra, BBC Symphony Orchestra, Chamber Orchestra of Europe, Chicago Symphony Orchestra, Orchestra

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Filarmonica del Teatro la Fenice, Orchestre Philharmonique du Luxembourg, Orchestra Sinfonica of La Scala Milan, New York Philharmonic, New Zealand Symphony Orchestra, Philadelphia Orchestra, St. Louis Symphony Orchestra, and the San Francisco Symphony. She has conducted many Scandinavian ensembles, including the Royal Stockholm Philharmonic and Swedish Radio Symphony.

Known especially for her work with contemporary music, Ms. Mälkki conducted the Finnish premiere of Thomas Adès’s opera Powder Her Face in 1999 and the Metropolitan Opera’s premiere of Kaija Saariaho’s L’Amour de loin in 2016. She has also led productions with Finnish National Opera, Hamburg State Opera, Opéra National de Paris, and Teatro alla Scala in Milan.

For the NMC label, Susanna Mälkki has recorded Stuart MacRae’s Two Scenes from the Death of Count Ugolino and Motus.

With Ensemble InterContemporain for the Kairos label, she has conducted music by Luca Francesconi, Michael Jarrell, Pierre Jodlowski, Philippe Manoury, Bruno Mantovani, and Yann Robin.

Ms. Mälkki is a Fellow of the Royal Academy of Music in London and member of the Royal Swedish Academy of Music. In 2011, she received the Pro Finlandia Medal of the Order of the Lion of Finland. In 2016, she was made a Chevalier of the Légion d’honneur in France.

For additional information, visit www.susannamalkki.com.

July 28: Conductor

The Cleveland Orchestra

July 28

INTRODUCING THE CONCERT

Concerto& Riverside

T H I S C O N C E R T offers two works, from two countries, written half a century

apart. Alexander Scriabin and Robert Schumann were born to different generations and leaned into the passions of the Romantic era from differing viewpoints — between Schuman’s clear-eyed and well-organized Central European sensibilities and Scriabin’s more passionate and less-structured Romantic sensitivities.

These differences, of course, can be read to be far more (or far less) than a conflict. Along with commonalities and varied emphases (of process and purpose, order and dis-order), the warm- and cold-hearated among us take a different starting point when approaching life and the arts. Yet how deeply each composer — the Russian-born Scriabin and the German-bred Schumann — communicates through his music the same human emotions and wonder, demonstrating again the value of art to probe, question, and affirm our lives together here on earth.

The concert begins with Scriabin’s youthful Piano Concerto, written at the age of 24 in 1896. Here are this composer’s musical values before mysticism rewired his outlook into more ethereal realms. It is a grand concerto, filled with urgent and tender moments — and being played by The Cleveland Orchestra for the first time this week. French pianist Bertrand Chamayou takes up the solo part.

Guest conductor Suanna Mälkki concludes the evening with one of the great atmospheric symphonies of the 19th century, created in 1850 as something halfway between direct tonepainting (creating pictures in sound) and a simple but masterful evocation of moods. Robert Schumann’s “Rhenish” Symphony — inspired by the Rhineland — bursts forth with the vigor of that important river and the towns and countryside through which it flows. In five movements (like Beethoven’s famously countryfied “Pastoral” Symphony), Schumann’s work is both less specific (no obvious birdcalls) and more particular (real places, both rural and urban). It is not as programmatic as Beethoven’s, but every bit as delightful in a slightly more mist-filled (and water-flowing) way. Here, the aim is for atmosphere and style, from dashing outburst to the quiet contemplation of a cathedral. It remains one of the most reliably stirring and emotionally satisfying of all symphonies.

—Eric Sellen Summers@Severance

Introducing the Music: July 28

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July 28

Piano Concerto in F-sharp minor/major, Opus 20 composed 1896

S C R I A B I N ’ S E A R LY M U S I C is almost all for the piano, with

by

Alexander Nikolayevich

SCRIABIN

born January 6, 1872 Moscow died April 27, 1915 Moscow

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much of it derived from his profound admiration for Chopin. As his success and his ambitions widened, Scriabin moved into orchestral territory — with an attempt to write his first symphony in 1896, when he was twenty-four, followed by a piano concerto, destined to be his only concerto.

Following the traditional Russian custom of passing new compositions around for opinions among mentors and teachers, Scriabin showed his new score to Rimsky-Korsakov, who then passed it to Lyadov with the comment: “Look at this filth. I am in no condition to cope with such a muddle-headed genius. I have cleaner work to do. I have no time to scrub Scriabin.”

Rimsky’s criticism was really directed at the orchestration and it carried the St. Petersburger’s latent hostility toward a Moscow musician (Scriabin). His remarks, duly reported to Scriabin himself, wounded, but Scriabin did little to revise the score and, surprisingly enough, he remained on friendly terms with the older composer. Scriabin always called on Rimsky-Korsakov when he visited St. Petersburg, and Rimsky often conducted Scriabin’s orchestral works.

Listening to this work today, one may well form the opinion that the orchestration is not at all bad — is, in fact, perfectly fine.

But it is richer and less transparent than what Rimsky-Korsakov himself would have written. Some people are better at appreciating tastes beyond one’s own.

The string melody in the first movement, played beneath piano decorations, belongs to a style that Scriabin’s friend Rachmaninoff was to adopt very successfully, and the clarinet melody in the second movement must be one of the most lovely passages which that instrument — assigned many wonderful moments by many different composers — has ever been given.

The concerto’s three movements fall into the traditional pattern, and the middle movement is a set of variations on a divinely beautiful theme — a glimpse of heavenly music so unaffected and simple in style that one wonders how Scriabin failed to ever return to this uncharacteristic self-effacement, or to variation form either.

Few piano concertos of the 1890s showed the restraint or finesse we find in Scriabin’s concerto, and although the last moveJuly 28: About the Music

The Cleveland Orchestra

Drawing of Scriabin playing his last recital, on April 2, 1915, just weeks before his death.

ment is the longest of the three, the full orchestra, with piccolo, trumpets, and trombones, is saved for the final pages only.

The concerto was a success from the first. Scriabin played it many times throughout his life, even after his composing style had changed radically with the coming of the new century. He played it for the last time in the Queen’s Hall, London, with Henry Wood conducting, in March 1914, just a year before his death.

—Hugh Macdonald © 2017 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

At a Glance Scriabin wrote his Piano Concerto in 1896, while working on (but not completing) a planned symphony. It was first performed on October 11, 1897, in Odessa, with Vasily Safonov leading the Russian Music Society Orchestra and the composer as soloist.

This concerto runs about 20 minutes in performance.

Scriabin scored it for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings, plus the solo piano.

The Cleveland Orchestra is playing this concerto for the first time with this evening’s concert.

Share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch #SummersSeverance

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July 28: About the Music

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July 28

Bertrand Chamayou French pianist Bertrand Chamayou has established his reputation as one of the most praised musicians of his generation, performing in concert and recital throughout Europe, across North America, and in Asia. He is making his Cleveland Orchestra debut with this evening’s concert.

Bertrand Chamayou studied at the Conservatoire de Toulouse with Claudine Willoth, the Conservatoire de Paris, and in London with Maria Curcio. His mentors include Dmitri Bashkirov, Leon Fleisher, and Murray Perahia. In 1998, Mr. Chamayou was named laureate of the Kraïnev Piano Competition in Ukraine and, a few years later, at age 20, won the International Long-Thibaud-Crespin Competition.

Mr. Chamayou’s recent schedule has included engagements with the Accademia di Santa Cecilia, Cincinnati Symphony Orchestra, Indianapolis Symphony Orchestra, Konzerthaus Orchester Berlin, Leipzig Gewandhaus Orchestra, Orchestre National de France, Orchestre de Paris, Orquestra Sinfônica do Estado de São Paulo, Seattle Symphony, Seoul Philharmonic Orchestra, and the Vienna Symphony Orchestra, among others. He has also appeared at London’s Wigmore Hall, Paris’s Théâtre des Champs Élysées, at the Lucerne Festival, and with New York’s Mostly Mozart Festival.

In chamber music, Mr. Chamayou has often performed with Gautier Capuçon and Renaud Capuçon, and with Antoine Tamestit, and the Quatuor Ébène. In an all-Ravel recital program, he has per-

Summers@Severance

formed at the Cartagena Festival, National Concert Hall Taipei, Atlanta’s Spivey Hall, and the Théâtre des Champs-Élysées.

This past season, he made a recital tour of Canada and the United States with Sol Gabetta.

Bertrand Chamayou has made a number of highly-praised recordings. His album of works by César Franck for Naïve received a variety of accolades, including Gramophone’s Editor’s Choice award. In 2011, Mr. Chamayou celebrated Liszt’s 200th anniversary with a recording for Naïve of the complete Années de Pèlerinage, which he also performed in several venues throughout the world.

The album received strong reviews worldwide, including the Gramophone Choice award. He is the only artist to win France’s Victoires de la Musique on four separate occasions. Mr. Chamayou now has an exclusive recording contract with Warner/Erato. His album of Ravel’s complete works for solo piano was awarded a 2016 Echo Klassik prize.

Bertrand Chamayou became a Chevalier of the Ordre des Arts et des Lettres in 2015.

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THE

CLEVELAND ORCHE STRA

2O1 7-2O18

CENTENNIAL SEASON

Music Study Groups Special thanks to our community partners who have graciously agreed to once again host a Cleveland Orchestra Music Study Group during the upcoming 2017-2018 Centennial Season at Severance Hall: Cleveland Heights-University Heights Public Library Cuyahoga County Public Library Beachwood Branch Fairview Park Branch Orange Branch Welcome also and many thanks to The Robert Cull Family who have endowed the Alice H. Cull Memorial Fund of The Cleveland Orchestra, which supports concert attendance for persons with vision loss in Cleveland Orchestra Music Study Groups.

Music Study Groups are led by Dr. Rose Breckenridge and explore current concert music performed by The Cleveland Orchestra at Severance Hall through informal lectures and guided listening. Series options include location and length — autumn, winter, and/or spring at four public libraries.

Music Study Groups are presented in partnership with community organizations, with support from the Friends of The Cleveland Orchestra (formerly known as the Women’s Committee of The Cleveland Orchestra) and other generous donors to the education programs of The Cleveland Orchestra.

For more information, please contact The Cleveland Orchestra’s Education & Community Programs Office by calling 216-231-7355, or visit clevelandorchestra.com.

July 28

Symphony No. 3 (“Rhenish”) in E-flat major, Opus 97 composed 1850

W H E N R O B E R T S C H U M A N N visited Beethoven’s grave in

by

Robert

SCHUMANN born June 8, 1810 Zwickau, Saxony died July 29, 1856 Endenich, near Bonn

Summers@Severance

Vienna in 1838, he found there an old steel pen, which he kept for use on special occasions. It is no accident that Schumann chose to use it when he embarked on his first symphony two years later, for all his symphonies are audible testimony to his profound respect for Beethoven as the father of the Romantic symphony. He was distressed to find that Vienna seemed to pay little respect to Beethoven’s memory and to be neglecting his music. One of Schumann’s crusading purposes as a critic and composer was to raise Beethoven to the level he deserved, and the most effective means at his disposal was to compose symphonies of his own that would demonstrate their paternity.

In September 1850, Schumann and his wife, Clara, moved from Dresden, where they had lived for nearly six years, to Düsseldorf, a city on the Rhine whose musical reputation had risen in the three years that Mendelssohn was conductor there, and even more under his successor Ferdinand Hiller, an important and versatile musician with considerable influence in German musical circles. When Hiller moved on to Cologne, he proposed his friend Schumann as successor. After much hesitation, Schumann accepted, little knowing that his years there would be plagued by declining health and by growing controversy over his abilities as a conductor.

But at the start he was warmly welcomed by the Düsseldorfers, especially when he presented them with a series of new works, including a symphony, his fourth and last in sequence but published and known as No. 3. It was performed in February 1851, during his first season. Since his student days in Heidelberg, Schumann had always loved the Rhineland (the long expanse of land along the Rhine River in central Germany), and the immediate inspiration for the symphony, along with its familiar nickname “Rhenish,” came, as Schumann himself explained, from his visit to Cologne cathedral the previous September.

The modern visitor to Cologne is inescapably impressed by the massive twin spires at the west end of the building, but when Schumann was there, there were no spires. The medieval structure had been left unfinished for over three centuries, but in 1842 the immense task of completion began, and was finally July 28: About the Music

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After a hiatus of many decades, construction on Cologne’s Cathedral resumed in 1842 — and was underway while the Schumanns lived in the city.

At a Glance Schumann began to sketch his Symphony in E-flat (No. 3) on November 2, 1850, and completed the score just over five weeks later, on December 9. He conducted the first performance on February 6, 1851, in Düsseldorf.

The first performance in the United States took place on February 2, 1869, in New York, with Theodor Eisfeld conducting the Philharmonic Society.

This symphony runs about 30 minutes in performance.

Schumann scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. The nickname “Rhenish” was used by Schumann in casual descriptions, but he did not make it “official” by writing it on the title page of the score.

The Cleveland Orchestra first performed the “Rhenish” Symphony in February 1939 conducted by Artur Rodzinski, who utilized Mahler’s re-orchestration of the score.

Later conductors have preferred Schumann’s original score, occasionally with retouches of their own.

finished in 1880. Schumann was able to see the work in progress, and was perhaps as much impressed by the solemn occasion he witnessed there — the enthronement of Cardinal Archbishop Geissel — as by the building itself. Solemnity is clearly an element of the symphony, especially the extra movement, fourth of the five, which is marked feierlich [“solemn”] and introduces trombones to give breadth and grandeur.

There is a similar weight and dignity at the opening of the first movement, too, when Schumann overcomes his tendency to think in short phrases and writes a splendid theme that launches the work with great panache. The orchestration is rich and full, never featuring instruments on their own, even in a more reflective theme that suits the winds but is actually shared with the strings. He was writing for an orchestra he did not yet know, and in this case a policy of safety contributes to the solemnity.

The second-movement scherzo is not swift or jocular; the model is more Mendelssohn than Beethoven, especially in its middle section with more rapid figures passed back and forth.

The slow movement has touches of Mendelssohn too, although we are nearer to the world of Schumann’s songs. There is some beautiful writing for strings, and even the woodwinds have no cause to complain. When the fourth movement then introduces the steady tread of a solemn procession, Schumann’s private musings come to an end and the public ceremonial takes over, with echoes of Bach in the counterpoint and pre-echoes of Bruckner in its breadth.

The movement’s strange, uncertain ending in the minor key is blown away by the positive vigor of the fifth-movement finale, as the shy, taciturn Schumann presents himself to the Düsseldorf public as a man of faultlessly extrovert temper.

—Hugh Macdonald © 2017

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July 28: About the Music

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The Rhine

A River Highway Through Europe The Rhine River flows for more than 500 miles through Central Europe, and has served as a major waterway and transportation route through the continent for centuries. With the Danube, these two rivers formed the geography of the northern Roman Empire. As landscape painting gained popularity throughout the 18th and 19th century, the Rhine Valley was a natural and frequent subject — with boats, mountains, castles, and clouds.

Romanticized landscape paintings of the Rhine by (from top) Cornelis Springer (1817-1891), George Clarkson Stanfield (1828-1878), and Caspar Scheuren (1810-1887). Below, the completed Cathedral in Cologne.

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Landscapes: The Rhine River

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PHOTOGRAPH BY ROGER MASTROIANNI

Grand Finale: Mozart’s Requiem

SUMMERS SEVERANCE

Severance Hall — Cleveland, Ohio Friday evening, August 18, 2017, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A PATRICK DUPRÉ QUIGLEY, conductor

wolfgang amadè mozart (1756-1791)

Requiem in D minor, K626 1.

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Introit Kyrie Sequence Offertory Sanctus Benedictus Agnus Dei Communion

LAUREN SNOUFFER, soprano EMILY FONS, mezzo-soprano STEVEN SOPH, tenor DASHON BURTON, bass-baritone BLOSSOM FESTIVAL CHORUS Robert Porco, director

August 18

The Cleveland Orchestra’s Summers@Severance series is sponsored

by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.

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August 18: Mozart’s Requiem

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August 18

Patrick Dupré Quigley Patrick Dupré Quigley is the founder and artistic director of Seraphic Fire, an internationally-acclaimed professional choralorchestral ensemble. He has collaborated frequently with the San Francisco Symphony and New World Symphony, and prepared the singers of Seraphic Fire to debut with The Cleveland Orchestra earlier this year in programs of Bach (Miami, January 2017) and Stravinsky (Severance Hall, March 2017). Mr. Quigley is making his Cleveland Orchestra conducting debut with this evening’s concert.

As a conductor, the upcoming 2017-18 season sees Patrick Dupré Quigley leading performances with the Utah Symphony, San Francisco Symphony (in a SoundBox concert), and Spartanburg Philhamonic (as a finalist candidate to be music director of that ensemble). With Seraphic Fire, he leads programs featuring masterworks of Bach, Monteverdi, Pärt, and David Lang. With the 2017-18 season, he also co-leads the Seraphic Fire Young Artist Program at UCLA.

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During his fifteen seasons leading the Miami-based Seraphic Fire, Mr. Quigley has grown the budget, initiated the Seraphic Fire Youth Initiative, launched the Seraphic Fire Media label (now numbering fourteen releases and two Grammy Award nonminations), and inaugurated a young artists’ professional training program with the Herb Alpert School of Music at UCLA. In addition to home concerts in Miami, Seraphic regularly tours under Mr. Quigley’s direction.

Patrick Dupré Quigley received his master of music degree in conducting from the Yale School of Music and his undergraduate degree in musicology from the University of Notre Dame. He is also a graduate of the Indiana University Center on Philanthropy’s Fundraising School, and has written extensively on artistic entrepreneurship, including the book Profit / Prestige: A Foolproof Guide to Sustainable Arts Programming.

Mr. Quigley’s honors have included a Robert Shaw Conducting Fellowship, ASCAP Adventurous Programming Award, and, for his entrepreneurial leadership of Seraphic Fire, the Louis Botto Award. He lives with his husband in Washington D.C. where they are restoring a turn-of-the century row home.

For additional information, visit www.patrickduprequigley.com.

August 18: Conductor

The Cleveland Orchestra

August 18

INTRODUCING THE CONCERT

Death, Doubt, & Deadlines surrounding the creation of Mozart’s Requiem have been fictionalized and sentimentalized — and turned into high intrigue and mystery — since the composer’s death in medias res (literally “in the midst of things”), including the sensationally overly-dramatic (but still entertaining) stage-play and movie Amadeus. The facts are not quite as clear or exciting.

The Requiem was anonymously commissioned by a rather self-absorbed count named Franz von Walsegg, who intended to pass it off as his own composition. Whether the commission came in the form of a cloaked man knocking on Mozart’s door in the middle of the night, we don’t really know.

Mozart’s death just a couple months into the work left only the first movement completely written out in score, along with detailed sketches for several additional movements and sections. For other sections, we have no real evidence of Mozart’s ideas or true artistic intentions. But the composer’s widow, Constanze, rather quickly turned to Franz Xaver Süssmayr, a colleague of Wolfgang’s (who had assisted him in copying out the final score for the opera La Clemenza di Tito), asking Süssmayr to complete the work in order to receive SUNG TEXT begins on the final payment from Walsegg. The money was what she page 50 wanted, more than a masterpiece. The Mozarts’ finances were continually on the verge of bottoming out from the composer’s extravagant tastes and lack of care in accounting. His death left Constanze and her children without obvious means. Delivering the Requiem would yield money — toward food for the table and rent for lodging.

The finished work has been acclaimed and accosted, reviled and revered.

Mozart’s intention vs. Süssmayr’s invention? Süssmayr later claimed that he and Mozart had talked (or sung) through the Requiem in Mozart’s final days, including a discussion of the dying composer’s ideas for what was missing.

Whether this is true or not, Süssmayr’s completion of the work soon became the accepted version of a “final masterpiece.” Though Mozart might well have made it even more so himself, had fate been different, the Requiem is a powerful and affecting work, as guest conductor Patrick Dupré Quigley discusses in his program note about the work beginning on the next page — and as we find out once more in this evening’s presentation.

—Eric Sellen T H E C I R C U M S TA N C E S

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Introducing the Music: August 18

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August 18

Requiem, K626

composed 1791, completed by Franz Xaver Süssmayr 1791-92 M O Z A R T ’ S R E Q U I E M . Is it even possible to adequately de-

by

Wolfgang Amadè

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

scribe this landmark musical work in words — let alone tell the intriguing historical context of Mozart’s final masterpiece before his death? Wolfgang Amadè Mozart composed the piece in a fevered state of mind in the late stages of illness — unrecognizable as the former child prodigy, but still respected as a composer-genius and bon vivant. He never completed the manuscript, and what we today hear as his final opus is the work of many hands.

The swirl of conspiracies within conspiracies that surround Mozart’s death speak to the public disbelief, at the time and even more so afterward, that so important a figure in music could really be gone. That “The Death of Wolfgang Amadeus Mozart” has its own Wikipedia page precludes any in-depth treatment here. (If you want to know more, there are plenty of resources online, and even printed books to read.)

These controversies are apocryphal at best, and obscure the truth of the matter — that Mozart’s Requiem, as completed

by Franz Xaver Süssmayr, is a stunning and revolutionary final work from one of the world’s foremost musical geniuses.

The Requiem is not simply an oft-played staple of the choral-orchestral repertoire. It is, rather, itself a soaring sonic cathedral — where Music’s past is commemorated and an uncertain future is foretold. It is sum and summation of what Mozart could say in music. As such, the Requiem is not only one of music’s or Mozart’s finest accomplishments, it is also a notable achievement of humanity and human civilization.

Here, with this evening’s concert, in printed words and in performance, we find out the “why” of this work’s greatness, by exploring the kaleidoscope of drama and pathos that led to the Requiem we know today.

ORIGINS AND MYTHS

Vienna, 1791 — Baron von Walsegg commissions Mozart to write a requiem for delivery the next year. It is to be performed at the one-year anniversary memorial mass of the Baron’s wife.

The Baron presumes to give himself the title “composer,” and wishes the piece to be titled under his name rather than Mozart’s. Mozart agrees and begins work on it. He grows gravely

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August 18: About the Music

The Cleveland Orchestra

ill but continues to write the Requiem, hoping to bring in much needed cash flow for his household.

Mozart, in the last days of composition, realizes he is dying but continues composing. On the afternoon of December 4, Mozart privately sings through excerpts of the Requiem with his wife The swirl of Constanze, Franz Süssmayr, and three other friends. Mozart dies conspiracies soon after in the sunless hours of the morning of December 5, 1791. within conspirMozart’s funeral is held at St. Steven’s Cathedral in Vienna, acies that surand he is interred at St. Marx Cemetery (not in a mass pauper’s round Mozart’s grave, as was claimed for many years). death speak to Constanze, grieving and in desperate need of the commission money, convinces Mozart’s student, Süssmayr, who asthe public dissisted Mozart during the composition of the operas The Magic belief, at the Flute and La Clemenza di Tito, to finish the commission not only time and even in the style of Mozart, but, as much as possible, in handwriting more so aftermeant to look like Mozart’s.

The composer had left sketches and scraps of paper, and ward, that so may very well have had a conversation with Süssmayr on the important a day before his death on how to complete the work (as Süssmayr figure in music tried to claim, or said to defend his own work). could really Within two months, by February of the following year, Süssmayr completes the Requiem. The score is delivered to be gone. fulfill the commission, and Baron von Walsegg premieres “his” new Requiem a year later, in February 1793.

In any other circumstance, this is where the story would end.

But it doesn’t.

SECRETS DON’T KEEP

The Baron’s “premiere” of “his” requiem was no premiere at all.

Movements of the unfinished Requiem had already been performed at Mozart’s funeral on December 6, 1791, and four days after, members of Vienna’s court musicians organized a memorial at St. Michael’s Church in the Hofburg, where they also sang selections from the Requiem. And, indeed, Mozart’s longtime patron, Baron van Swieten, organized the Vienna premiere of the completed Requiem on January 2, 1793 — an entire month before the Baron’s performance.

Yet tales of mystery surrounding Mozart’s death — and the Requiem — grew throughout the 19th century, along with many side intrigues involving the various members of Mozart’s circle (Constanze, Süssmayr, Salieri).

But, in truth, the intrigue is not the story that has kept this magSummers@Severance

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At a Glance Mozart began working on his Requiem in the latter half of 1791; the work was left unfinished at the time of his death that December.

The score was completed by Mozart’s pupil Franz Xaver Süssmayr, who was born in Schwanenstadt in 1766 and died in Vienna in 1803.

Süssmayr filled out various missing parts and also composed entire sections; he may (or may not) have met with Mozart prior to the composer’s death and received instructions about how to complete the work.

The Mozart-Süssmayr Requiem was premiered on January 2, 1793, at Vienna’s Jahn Hall in a performance sponsored by Mozart’s longtime patron and friend, Baron Gottfried van Swieten.

The traditional Süssmayr version, which is being heard this weekend, runs just under one hour in performance.

The score calls for 2 basset horns (lower-pitched members of the clarinet family), 2 bassoons, 2 trumpets, 3 trombones, timpani, organ, and strings, in addition to four vocal soloists (soprano, alto, tenor, bass) and mixed chorus.

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num opus at the forefront of Western art for over 200 years. It is the music that has stood up to the test of time. The substance of this music beats the unsubstantiated stories of intrigue every time it is performed. We may remember the mystery of fate’s hand ending Mozart’s life, but . . . his art is where truth can always replenish our understanding.

M U S I C A L P A T H W AY S

The opening bars of the Requiem’s Introit serve as a brief genuflection toward one of Mozart’s Baroque heroes, Georg Frideric Handel, whose first movement of the Funeral Anthem for Queen Catherine, “The Roads of Zion do Mourn,” serves as the foundation for the Requiem’s opening bars. But the altar of Handel is in a side chapel. Quickly, Mozart leads us, with the words “et lux perpetua” to the great nave of the Salzburger Dom (Salzburg Cathedral), where the sixteen-year-old Mozart heard the premiere of Michael Haydn’s “Requiem in C minor.”

This must have been a seminal musical moment for Mozart, recalling the innocence and wonder that was left of his youth.

He had been pressed into the “prodigy” show life by his father and teacher, Leopold, at the almost unthinkable age of six.

Ten years later, having played and composed for virtually every royal court in Western Europe, Mozart was home in Salzburg, a regional Austrian capital. Somewhat disdainful of his hometown, Mozart must not have expected the sounds that came from the local choir and orchestra.

In fact, Mozart owes a great debt to Michael Haydn. Mozart’s Requiem quotes, borrows, and even references Haydn’s counterpoint — while also using Haydn’s libretto as the basis of his own.

For me, as a conductor, I find at least seven moments of borrowed (or remixed) Haydn in Mozart’s Requiem. In real life, Mozart took over the musical responsibilities of the Salzburg Cathedral only a year after hearing Haydn’s work, and he was thus required to write a substantial amount of liturgical music in the years ahead. Yet he did not approach the “Requiem” form until nineteen years later, around October of 1791, roughly two months prior to his own death.

Mozart, in his composing and quoting of Michael Haydn, seems to reach back to a time before his first position, before he was married, before he was “Herr Mozart.” That said, if Mozart’s Requiem was merely a backward-looking work, concerned only August 18: About the Music

The Cleveland Orchestra

with Handel and Haydn, we would not be gathered here to experience it again tonight.

THE MUSIC

Many artists have recreated the supposed scene at Mozart’s deathbed, with Süssmayr making notes as Mozart conducts through the incomplete score for the Requiem — including this warm “family” scene

by Victorian writer and painter Henry Nelson O’Neil.

From the first notes of the Introit, we hear Mozart already tinkering with Handel’s craft — somber notes on the beat are given a distinctly Austrian Classical feel, with the addition of upper strings on the weak beats (in everyday terms, Handel writes “oom-“ and Mozart adds “-pah”).

The distinctly mournful sound of the bassoon enters on the second beat of the work, joined a bar later by another funereal instrument: the basset horn. Unlike Mozart’s other masses, the Requiem features the low, male-voice-ranged quartet of two bassoons and two basset horns as both a pleading and leading voice, distinctively muting the tone of the strings when the winds and strings are combined.

Mozart initially lays out his Introit theme in stille antico, or in the old, Renaissance style, with voices entering every two beats, harkening to a texture akin to Palestrina. But very quickly, on the words “et lux perpetua” [and eternal light], we get our first Michael Haydn sighting (or hearing). This homophonic treatment (all singers singing the same words at the same time) is instantly a sound of the new — the future of music — and thus Mozart lets us know up front that he will be freely sampling from both.

If, in those first 19 bars, you might think that Mozart is Summers@Severance

August 18: About the Music

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Franz Xaver

SÜSSMAYR born July 22, 1766 Schwanenstadt, Austria died September 17, 1803 Vienna

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phoning it in, writing 15th-century music over 18th-century music, the entry of the soprano soloist on the psalm text “Te decet hymnus, Deus in Sion” [We sing (literally “hymn” as verb) of Thee, God in Zion] quickly wipes away any doubt. The soloist, inspired by a similar idea from the M. Haydn Requiem, lines out the verse using an ancient chant tone, the tonus peregrinus (Haydn used Tone 1 instead). The strings form a contrapuntal halo around the soprano, swirling around her line. The chorus, as would the ancient monastic choir, joins for the second half of the verse. A beautifully modified opening section returns, and leads us to the Kyrie movement.

The Kyrie has a subtle kind of brilliance, like the inside of a nautilus seashell. Not content with Renaissance polyphony, Mozart dives right into species (or, strict) counterpoint, contrasting the words “Kyrie eleison” and “Christe eleison” with a double fugue (two motives, in two different voices, intertwined at every entrance). Mozart starts out with a simple, crystalline example of a fugue, and then adds fire to both the orchestration and to the ranges of the voices, ending on a primordial cry for mercy.

The Dies Irae, the beginning movement of the larger liturgical Sequence section, violently casts aside the elegance of the Kyrie’s fugal construction, entering with a very modern, homophonic explosion from the orchestra. This is the moment when one is sure that Mozart was not simply interested in creating a sacred piece, but rather something of more operatic proportions. Warning, declaiming, the chorus sets the stage for an end-of-the-world drama. Quickly following on the Dies Irae’s heels, the Tuba Mirum finds the bass vocal soloist in duet with the principal trombone.

If you were to close your eyes for this and the following four movements of the Sequence, you would be hard pressed to identify this as music for a symphony orchestra (beyond the Latin libretto itself). Instead, this is Mozart’s farewell to his favorite of the musical genres — opera. From the early opera seria style of the Tuba Mirum and the near Verdian intensity of the Rex Tremendae, there is little doubt that Mozart is putting it all out on the table. The etherial Recordare could be a lost quartet from Mozart’s own Così fan tutte, and the pathos of the Lacrimosa would not be out of place in Puccini’s Tosca.

Lest we think we are done with either fugues or the flames of hell, Mozart’s Offertorio (the Domine Jesu Christe and the Hostias) quickly disabuses the thought. During the exposition, August 18: About the Music

The Cleveland Orchestra

we are treated to a virtual choral tight-rope walk — the fugue on the words “ne absorbeat eas tartarus ne cadant in obscurum” [Do not let them be swallowed by the abyss or fall in the darkness]. The Hostias is a moment of an uneasy pastoral peace, followed again by the end of the fugue containing the reminder that salvation was promised to Abraham and his descendants.

From the end of the Offertorio onward, all the music is conjecture.

The only fact that we know is that Mozart wrote nothing in his manuscript here. Everything you hear was either composed or arranged by Süssmayr.

Writing in a handwriting pretending to be Mozart’s, Süssmayr created a rather short but effective Sanctus, followed by a very late 18thcentury Viennese Hosanna fugue.

If the rest of the piece was as brief as the Sanctus, orchestras and choirs might simply perform the first few movements of the Requiem.

This would be surely true, except for the substantial Benedictus that follows. Here, Süssmayr honors Mozart’s operatic vision for the work as a whole and created a solo quartet which, in essence, closes the drama introduced by the choir and soloists at the beginning. Its arching lines and the stasis of B-flat major give us what might have been a glorious conclusion to one of Süssmayr’s own operas. Sadly, it would always carry the name of another composer, but it is elegance embodied.

Then, after a repetition of the Hosanna, we are treated to a compact Agnus Dei with swirling string accompaniment, reminiscent of the first movement of Bach’s Saint John Passion. It is Mozart, however, to whom Süssmayr allows the last word. Here, Süssmayr took the words of the liturgical Communion antiphon and artfully placed them over a slightly truncated version of the first movement, the only movement fully in Mozart’s hand. While we will never know if this was actually Mozart’s hope or intention, it gives a feeling of circular completion, of return and ending to this Requiem, which came to life through such fraught circumstances.

Had Mozart lived, would we have a different piece? Absolutely.

It wouldn’t be this piece. But perhaps facts are therefore fitting and entirely appropriate that such a well-known piece from such a meticulous musician — Mozart, not Süssmayr — is one where he was forced to relinquish control. We can wish for, and imagine, Mozart living longer and creating new grandeur and artful masterworks. But he didn’t.

We can also choose to be comforted by the fact that we do have his Requiem. For this, we must be infinitely thankful.

—Patrick Dupré Quigley © 2017

Summers@Severance

August 18: About the Music

47

August 18

Lauren Snouffer

Emily Fons

American soprano Lauren Snouffer’s performances span music from Claudio Monteverdi in the Baroque era up through modern writers including György Ligeti and George Benjamin. She performs across the United States, Europe, and beyond. Recent and upcoming performances include returns to the Théâtre du Capitole de Toulouse to sing the role of Héro in Berlioz’s Béatrice and Bénédict and to Seattle Opera to sing Pamina in Mozart’s The Magic Flute, as well as her debut in Karlsruhe in the role of Tusnelda in Handel’s Arminio, and performances of Orff’s Carmina Burana in Indianapolis and of Handel’s Messiah with the San Francisco Symphony. In a recent recording of Handel’s Ottone under the baton of George Petrou, she sang the role of Teofane. A graduate of the Houston Grand Opera Studio, Ms. Snouffer was a winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation and a grand finalist in the 2012 Metropolitan Opera National Council Auditions. She is a graduate of Rice University and New York’s Juilliard School. She made her Cleveland Orchestra debut in May 2015, and has returned several times since.

American mezzo-soprano Emily Fons made her Cleveland Orchestra debut in July 2014, and most most recently appeared here in May 2017. A Wisconsin native, she received her undergraduate degree from Luther College and master’s degree in opera and musical theater from Southern Illinois University. She was a 2010 semi-finalist in the Metropolitan Opera National Council Auditions. Ms. Fons was a member of the Ryan Center at the Lyric Opera of Chicago and an apprentice with Santa Fe Opera; she participated in the University of Miami’s Salzburg program, Oberlin Baroque Performance Institute, and the Masterworks Festival. Ms. Fons has appeared with the opera companies of Atlanta, Baltimore, Chicago, Dallas, Indianapolis, New York, Pittsburgh, St. Louis, and San Diego. She performed in the 2015 world premiere of Higdon’s Cold Mountain with Santa Fe Opera. In concert, Emily Fons’s appearances have included engagements with the Los Angeles Chamber Orchestra, Madison Symphony, Oregon Symphony, Pacific Symphony, and at the Ongaku-Juku Festival. For more information, visit www.emilyfons.com.

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August 18: Guest Artists

The Cleveland Orchestra

Steven Soph

Dashon Burton

American tenor Steven Soph sings in concert and recital across the United States. Recent engagements have included performances with The Cleveland Orchestra and Seraphic Fire in Stravinsky’s Threni (March 2017), as well as appearances with Voices of Ascension for arias in Bach’s Saint John Passion, with Chicago Chorale for Bach’s Mass in B minor, and with the Bach Society of St. Louis for Mozart’s Mass in C minor. Recent seasons featured performances with The Cleveland Orchestra in an all-Handel program led by Ton Koopman, with New World Symphony and Seraphic Fire in Reich’s Desert Music, and with Symphony Orchestra Augusta in Bach’s Mass in B minor, as well as appearances with the Mainly Mozart Festival Orchestra and the Cheyenne Symphony Orchestra. Mr. Soph remains active with many top American ensembles, including Seraphic Fire, Conspirare, Roomful of Teeth, Trident, Yale Choral Artists, Santa Fe Desert Chorale, Colorado Bach Ensemble, and Denver’s Choir of St. John’s Cathedral. He holds degrees from the University of North Texas and Yale School of Music. For additional details, visit www.stevensoph.com.

American bass-baritone Dashon Burton made his Cleveland Orchestra debut in May 2005 and most recently appeared here in July 2016. He began his studies at Case Western Reserve University, graduated from Oberlin College Conservatory of Music and, in 2011, earned a master’s degree from Yale University’s Institute of Sacred Music. His performances have included engagements with the Bethlehem Bach, Carmel Bach, Cincinnati May, and Spoleto USA festivals, and with the orchestras of Baltimore, Charleston, Kansas City, and New Jersey, along with Copenhagen’s Le Concert Lorrain, Boston’s Handel & Haydn Society, Oratorio Society of New York, and the Yale Schola Cantorum. An advocate of new music, Mr. Burton has premiered works by William Brittelle, Christopher Cerrone, Judd Greenstein, and Caroline Shaw, among other composers. He is a founding member of Roomful of Teeth, an ensemble devoted to new compositions and winner of the 2013 Grammy for Best Chamber Music/Small Ensemble. For more information, visit www.dashonburton.com.

Summers@Severance

August 18: Guest Artists

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REQUIEM

by Wolfgang Amadè Mozart

I. INTROIT Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Te decet hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem.

Exaudi orationem meam, ad te omnis caro veniet.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Give them eternal rest, o Lord, and let perpetual light shine upon them.

A hymn, o God, becomes You in Zion, and a vow shall be paid to You in Jerusalem.

Hear my prayer, all flesh shall come to You. Give them eternal rest, o Lord, and let perpetual light shine upon them.

II. KYRIE Kyrie eleison.

Christe eleison.

Kyrie eleison.

Lord, have mercy.

Christ, have mercy.

Lord, have mercy.

III. SEQUENCE 1. Dies irae Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla.

The day of wrath, that day, will dissolve the world in ashes, as prophesied by David and the Sibyl.

Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus.

How great a trembling there shall be when the Judge shall appear and separate everything strictly.

2. Tuba mirum Tuba mirum spargens sonum, per sepulchra regionum, coget omnes ante thronum.

The trumpet, sending its wondrous sound throughout the tombs of every land, will summon everyone before the throne.

Mors stupebit et natura, cum resurget creatura, judicanti responsura.

Death and Nature will be stupefied, when all creation rises again to answer Him who judges.

Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.

A book will be brought forth in which everything will be contained, by which the world will be judged.

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Mozart: Requiem Text

The Cleveland Orchestra

Judex ergo cum sedebit, quidquid latet apparebit, nil inultum remanebit.

When the Judge takes His place, anything hidden will be revealed, nothing will remain unavenged.

Quid sum miser tunc dicturus?

Quem patronum rogaturus, cum vix justus sit securus?

What can a wretch like me say?

What patron shall I ask for help when the just are scarcely protected?

3. Rex tremendae Rex tremendae majestatis, qui salvandos salvas gratis, salva me, fons pietatis.

King of terrible majesty, who freely saves those worthy of redemption, save me, Source of Mercy!

4. Recordare Recordare, Jesu pie, quod sum causa tuae viae, ne me perdas illa die.

Remember, sweet Jesus, that I am the cause of your suffering, do not forsake me on that day.

Quaerens me sedisti lassus, redemisti crucem passus, tantus labor non sit cassus.

Seeking me, you descended wearily, You redeemed me by suffering on the cross, such great effort should not have been in vain.

Juste judex ultionis, donum fac remissionis, ante diem rationis.

Just Judge of Vengeance, grant the gift of remission before the day of reckoning.

Ingemisco tamquam reus, culpa rubet vultus meus, supplicanti parce, Deus.

I groan like a criminal, my face blushes with guilt, God, spare a supplicant.

Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.

You who absolved Mary Magdalene and inclined your ear to the thief, have also given me hope.

Preces meae non sunt dignae, sed tu, bonus, fac benigne, ne perenni cremer igne.

My prayers are unworthy, but, Good One, have mercy, that I may not burn in everlasting fire.

Inter oves locum praesta, et ab haedis me sequestra, statuens in parte dextra.

Grant me a place among the sheep, and separate me from the goats, keeping me at your right hand.

P L E A S E T U R N PA G E Q U I E T LY

Summers@Severance

Mozart: Requiem Text

51

5. Confutatis Confutatis maledictis, flammis acribus addictis, voca me cum benedictis.

When the damned are dismayed and assigned to the burning flames, call me among the blessed.

Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.

I pray, suppliant and kneeling, my heart contrite as ashes, care for me when my time is at an end.

6. Lacrymosa Lacrymosa dies illa, qua resurget ex favilla, judicandus homo reus.

Huic ergo parce Deus, pie Jesu Domine dona eis requiem. Amen.

What weeping that day will bring, when from the ashes shall arise all humanity to be judged.

But spare me, God, gentle Lord Jesus, grant them eternal rest. Amen.

IV. OFFERTORY 1. Domine Jesu Domine Jesu Christe, rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu!

Libera eas de ore leonis, ne absorbeat eas Tartarus, ne cadant in obscurum.

Sed signifer sanctus Michael repraesentet eas in lucem sanctam, quam olim Abrahae promisisti et semini ejus.

O Lord Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the pains of hell and from the deep pit!

Deliver them from the lion’s mouth don’t let them be swallowed by hell, don’t let them fall into darkness.

But have the holy standard-bearer, Michael, lead them into the holy light which you once promised to Abraham and his seed.

2. Hostias Hostias et preces tibi, Domine, laudis offerimus.

Tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.

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Sacrifices and prayers of praise, Lord, we offer to you.

Receive them today for the souls of those we commemorate this day; make them, o Lord, pass from death to the life which you once promised to Abraham and his seed.

Mozart: Requiem Text

The Cleveland Orchestra

V. SANCTUS Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth!

Pleni sunt caeli et terra gloria tua!

Osanna in excelsis!

Holy, holy, holy, Lord God of Hosts.

Heaven and earth are full of your glory.

Hosanna in the highest!

VI. BENEDICTUS Blessed is he who is coming in the name of the Lord.

Hosanna in the highest.

Benedictus qui venit in nomine Domini.

Osanna in excelsis.

VII. AGNUS DEI Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Lamb of God, you who take away the sins of the world, grant them rest.

Lamb of God, you who take away the sins of the world, grant them eternal rest forever.

VIII. LUX AETERNA (COMMUNION) Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis cum sanctis tuis in aeternum, quia pius es.

May eternal light shine upon them, o Lord, with your saints in eternity, for you are merciful.

Give them eternal rest, o Lord, and let perpetual light shine upon them with your saints for ever, for you are merciful.

F I N I S

Summers@Severance

Mozart: Requiem Text

53

August 18

Robert Porco

Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco has led many Cleveland Orchestra concerts at both Severance Hall and as part of the summertime Blossom Music Festival. He has also served as director of choruses for the Cincinnati May Festival since 1989.

In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting there.

As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season, helping to prepare the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work at Kenyatta University in Nairobi, Kenya, as a part of Tunaweza Kimuziki, and as a conductor for “Conducting 21C: Musical Leadership for a New Century” in Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

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Cleveland Orchestra Chorus

The Cleveland Orchestra

August 18

Blossom Festival Chorus Robert Porco, Director

Lisa Wong, Assistant Director Joela Jones, Principal Accompanist The Blossom Festival Chorus was created in 1968 for the inaugural set of concerts opening Blossom with Beethoven’s Symphony No. 9 (“Choral”). Members of this volunteer chorus are selected each spring from the Cleveland Orchestra Chorus and through open auditions of singers from throughout Northeast Ohio. The Blossom Festival Chorus has been featured in 150 concerts at Blossom in addition to select other summertime performances with The Cleveland Orchestra.

MOZART REQUIEM — prepared by Patrick Dupré Quigley sopranos

Lou Albertson Sema Albulut Amy F. Babinski Amanda Baker Claudia Barriga Karen Bauer-Blazer Alissa L. Bodner Mary Grace Corrigan Mary Rose Coyle Susan Cucuzza Karla Cummins Anna K. Dendy Sasha Desberg Taniya Dsouza Emily Engle Lisa Falkenberg Lisa Fedorovich Rosalyn M. Gaier Annie Gartman Hannah Goldberg Lou Goodwin Sandhya Gupta Julia Halamek Alyse Hancock-Phillips Lisa Hrusovsky Rachel Imhoff Shannon R. Jakubczak Eleni Karnavas Chelsea Kimmich Dawn Liston Jessica M. May Amy Mellinger Megan Meyer Kathleen Moreland Julie Myers-Pruchenski Jennifer Heinert O’Leary Lenore M. Pershing Roberta Privette Monica Schie Valerie Sibila Arlin Stavnicky Erin Sullivan Megan Tettau

Summers@Severance

Jane Timmons-Mitchell Shelby Wanen Kiko Weinroth Mary Krason Wiker Mary Wilson Kathryn Zorman altos

Debbie Bates Terry Boyarsky Kathy Chuparkoff Brianna Clifford Barbara J. Clugh Marilyn Eppich Haley Gabriel Diana Weber Gardner Ann Marie Hardulak Laura Skelly Higgins Gloria R. Homolak Betty Huber Karen Hunt Karen Hurley Sarah Hutchins Melissa Jolly Cynthia Kenepp Kate Klonowski Kristi Krueger Elise Leitzel Lucia Leszczuk Charlotte Linebaugh Danielle S. McDonald Anna McMullen Karla McMullen Donna Miller Peggy Norman Marta Perez-Stable Beverly Riehl Rachel Rood Marge Salopek Kathy Sands Alanna M. Shadrake Molly Shearrow Eva Shepard Emily Shields

Eve Sliwinski Laurie Starne Heather Swift Melanie Tabak Rachel Thibo Martha Cochran Truby Gina L. Ventre Suzanne A. Walters Angelica Weichman Maggie Fairman Williams Caroline Willoughby Leah Wilson Nancy Wojciak Alex Wuertz Debra Yasinow Lynne Leutenberg Yulish tenors

Robert Bordon David Ciucevich Ross Downing David Erlandson Gary Kaplan Daniel M. Katz Adam Landry Tod Lawrence Alexander Looney Shawn Lorenzo Lopez Rohan Mandelia Paul March Robert Poorman Matthew Rizer Ted Rodenborn Lee Scantlebury Jarod Shamp James Storry Charles Tobias Brian Walters Casey Walters Kevin Walters Peter Wright

Cleveland Orchestra Chorus

basses

Christopher Aldrich Brian Bailey Jack Blazey Jacob Brent Sean Cahill Serhii Chebotar Mario Clopton-Zymler Nick Connavino David Contreras Thomas Cucuzza Christopher Dewald Nathan Embaugh Richard Falkenberg Thomas Glynn Philip K. Greer Nicolas Gutierrez Ryan D. Honomichl Jason Howie Bernard Hrusovsky William Hrusovsky Robert L. Jenkins III David Keller Kevin Kutz Tyler Mason Preston Masters Jacob McClellan Roger Mennell Robert Mitchell Tom Moormann Andrew Novak Tremaine Oatman Brian Patton Francisco X. Prado John Riehl Steven Ross Steven Schein John Semenik Thomas Shaw Stephen Stavnicky Matt Turell Patrick Wickliffe S. David Worhatch

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M USICAL ARTS ASSOCIATION

as of June 2017

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

OFFICERS AND EXECUTIVE COMMITTEE Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson

RESIDENT TRUS TEES Dr. Ronald H. Bell Richard J. Bogomolny Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer

Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller Katherine T. O’Neill The Honorable John D. Ong Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin

Audrey Gilbert Ratner Charles A. Ratner Zoya Reyzis Barbara S. Robinson Paul Rose Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

NON-RESIDENT TRUS TEES Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Laurel Blossom (CA) Richard C. Gridley (SC)

Loren W. Hershey (DC) Herbert Kloiber (Germany)

TRUS TEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Patricia Sommer, President, Friends of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra TRUS TEES EMERITI George N. Aronoff S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer PAS T PRESIDENT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

HONORARY TRUS TEES FOR LIFE Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Charles P. Bolton Robert F. Meyerson Allen H. Ford James S. Reid, Jr. Robert W. Gillespie

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

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André Gremillet, Executive Director

Musical Arts Association

The Cleveland Orchestra

THE

CLEVELAND ORCHE STRA

Each year, thousands of Northeast Ohioans experience The Cleveland Orchestra for the first time.

Whether you are a seasoned concertgoer or a first-timer, these pages give you ways to learn more or get involved with the Orchestra and to explore the joys of music further.

Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of promoting and sharing the power of music through exploration, education, and extraordinary experiences.

To learn more, visit clevelandorchestra.com Summers@Severance

Get Involved

PHOTOGRAPHY BY ROGER MASTROIANNI

CONCERTS

Celebrating Life & Music The Cleveland Orchestra performs all varieties of music, gathering family and friends together in celebration of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life.

From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . .

From performances for crowds of students, in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . .

From holiday gatherings with favorite songs . . . to the wonder of new compositions performed by music’s rising stars . . .

Music inspires. It fortifies minds and electrifies spirits. It brings people together in mind, body, and soul.

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THE CLEVELAND ORCHESTRA

EXCELLENCE

Ambassador to the World

A FOCUS ON YOUNG PEOPLE

Changing Lives The Cleveland Orchestra is building the youngest orchestra audience in the country. In recent years, the number of young people attending Cleveland Orchestra concerts at Blossom and Sever­ ance Hall has more than doubled, and now makes up 20% of the audience!

• Under 18s Free, the flagship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gift from the Maltz Family Foundation), makes attending Orchestra concerts affordable for families.

• Student Advantage and Frequent FanCard programs offer great deals for students.

The Cleveland Orchestra is one of the world’s most-acclaimed and sought-after performing arts ensembles. Whether performing at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of community with them everywhere the Orchestra performs.

The ensemble’s ties to this region run deep and strong: • Two acoustically-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and continue to shape the artistic style of the ensemble.

• More than 60,000 local students participate in the Orchestra’s education programs each year.

• Over 350,000 people attend Orchestra concerts in Northeast Ohio annually.

• The Cleveland Orchestra serves as Cleveland’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

• The Circle, our membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events.

• The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers @Severance) draw new crowds to Severance Hall to experience the Orch­ estra in a context of friends and musical explorations.

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Get Involved

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

YOUR ORCHESTRA

Building Community The Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio community. Each year, we seek new ways to meaningfully impact lives.

EDUCATION

Inspiring Minds Education has been at the heart of The Cleveland Orchestra’s community offerings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full potential. A child’s education is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied education programs.

The Orchestra’s offerings impact . . . . . . the very young, with programs including PNC Musical Rainbows and PNC Grow Up Great. . . . grade school and high school students, with programs including Learning Through Music, Family Concerts, Education Concerts, and In-School Performances.

• Convening people at free community concerts each year in celebration of our country, our city, our culture, and our shared love of music.

• Immersing the Orchestra in local communities with special performances in local businesses and hotspots through neighborhood residencies and other initiatives.

• Collaborating with celebrated arts institutions — from the Cleveland Museum of Art and Playhouse Square to Chicago’s Joffrey Ballet — to bring inspirational performances to the people of Northeast Ohio.

• Actively partnering with local schools, neighborhoods, businesses, and state and local government to engage and serve new corners of the community through residencies, education offerings, learning initiatives, and free public events.

. . . college students and beyond, with programs including musician-led masterclasses, in-depth explorations of musical repertoire, pre-concert musician interviews, and public discussion groups.

Summers@Severance

Get Involved

59

THE CLEVELAND ORCHESTRA

A GENEROUS COMMUNITY

Supporting Excellence

Financial support and contributions from thousands of people, corporations, and foundations across Northeast Ohio help sustain the musical excellence and commu­ nity engagement that sets The Cleveland Orchestra apart from other orchestral en­ sembles around the world.

VOLUNTEERING

Get Involved The Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by getting involved.

• Over 100,000 people learn about and follow The Cleveland Orchestra’s activities online through Facebook, Twitter, and Instagram.

• Two active volunteer groups — Friends of The Cleveland Orchestra and the Blossom Friends of The Cleveland Orchestra — support the Orchestra through service and fundraising. To learn more, please call 216-231-7557.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, education presentations, and community programs. Each year, thousands of generous people make donations large and small to sustain the Orchestra for today and for future generations.

Every dollar donated enables The Cleveland Orchestra to play the world’s finest music, bringing meaningful experiences to people throughout our community — and acclaim and admiration to Northeast Ohio.

To learn more, visit clevelandorchestra.com/donate

• Over 400 volunteers assist concertgoers each season, as Ushers for Orchestra concerts at Severance Hall, or as Tour Guides and as Store Volunteers. For more info, please call 216-231-7425.

• 300 professional and amateur vocalists volunteer their time and artistry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom Festival Chorus each year. To learn more, please call 216-231-7372.

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Get Involved

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

GET INVOLVED

Learn More To learn more about how you can play an active role as a member of The Cleveland Orchestra family, visit us at Blossom or Severance Hall, attend a musical performance, or contact a member of our staff.

VISIT

ACTIVE PARTICIPATION

Making Music The Cleveland Orchestra passionately believes in the value of active musicmaking, which teaches life lessons in teamwork, listening, collaboration, and self expression. Music is an activity to participate in directly, with your hands, voice, and spirit.

• You can participate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Festival Chorus, and the Cleveland Orchestra Youth Orchestra.

• Each year, the Orchestra brings people together in celebration of music and events, giving voice to music at community singalongs and during holiday performances.

• We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio.

Music has the power to inspire, to transform, to change lives. Make music part of your life, and support your school’s music programs.

Summers@Severance

Get Involved

Severance Hall

11001 Euclid Avenue Cleveland, OH 44106

Blossom Music Center

1145 West Steels Corners Road Cuyahoga Falls, OH 44223

CONTACT US

Administrative Offices: 216-231-7300 Ticket Services: 216-231-1111 or 800-686-1141 or clevelandorchestra.com Group Sales: 216-231-7493 email groupsales@clevelandorchestra.com Education & Community Programs: phone 216-231-7355 email education@clevelandorchestra.com Orchestra Archives: 216-231-7382 email archives@clevelandorchestra.com Choruses: 216-231-7372 email chorus@clevelandorchestra.com Volunteers: 216-231-7557 email lcohen@clevelandorchestra.com Individual Giving: 216-231-7556 email bdeeds@clevelandorchestra.com Legacy Giving: 216-231-8006 email dstokley@clevelandorchestra.com Corporate & Foundation Giving: phone 216-231-7551 email hshoopman@clevelandorchestra.com Severance Hall Rental Office: phone 216-231-7421 email ebookings@clevelandorchestra.com

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11001 Euclid Avenue, Cleveland, Ohio 44106 SEVERANCEHALL.COM

LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

PAGERS, CELL PHONES, AND WRISTWATCH ALARMS Please silence any alarms or ringers on pagers, mobile phones, or wristwatches prior to the start of the concert.

of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000.

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PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance Hall. Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. As courtesy to others, please turn off any phone of device that makes noise or emits light.

IN THE EVENT OF AN EMERGENCY Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Rainbows, (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and at intermission.

The Store is also open Tuesday thru Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit clevelandorchestra.com.

Severance Hall

The Cleveland Orchestra

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Circle Inc.’s WOW! Wade Oval Wednesdays INVESTMENT BY University CUYAHOGA ARTS & CULTURE INVESTMENT BY CUYAHOGA ARTS & CULTURE INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars Cuyahoga Arts & to Culture uses publictodollars approved by you bring (CAC) arts and culture every Cuyahoga Arts & Culture (CAC) uses publictodollars approved by you to bring arts and culture every corner of our County. From grade schools to senior approved by you to bring arts and culture to every corner County.

From grade schools to senior centersoftoour large public events and investments to corner of our County.

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Your Investment: Your Investment: YourCommunity Investment: Strengthening Strengthening Community Strengthening Community Visit cacgrants.org/impact to learn more.

Visit cacgrants.org/impact to learn more.

Visit cacgrants.org/impact to learn more.