The Cleveland Orchestra Summers@Severance by Live Publishing

AUGUST 2014

Proud to support those who bring the arts to life

Welcome from the Executive Director August 2014 Welcome to Severance Hall in the summertime! We are extraordinarily excited to be offering this new series of concerts, Summers@Severance. Sponsored by Thompson Hine LLP, these summer concerts at Severance Hall are a new way to experience what The Cleveland Orchestra does best — great performances of the nest classical music — in a relaxed, come-as-you-are atmosphere, paired with an invitation to share drinks and conversation with family, friends, and community members in the beautiful heart of University Circle. This incredible neighborhood — The Cleveland Orchestra’s home for over eighty years — is also home to some of the best museums, medical centers, and educational institutions in the country, and boasts a dynamic population of urban dwellers of all ages. The Cleveland Orchestra is proud to be part of the summer hum of energy and innovation that makes University Circle such a great place to call home. The energy of our neighborhood is just part of the excitement that is underway throughout Northeast Ohio. Cleveland is attracting new attention as a desirable place to live and work. Downtown’s Public Square is getting a massive makeover. Our sports teams are drawing crowds of excited onlookers nationwide. And the Cleveland arts scene has never been more vibrant. The Cleveland Orchestra is proud to play its own role — by serving Northeast Ohio with community programs, music education initiatives, and, above all, great music. This summer, with the presenting sponsorship of the Cleveland Foundation, Cleveland is hosting the Gay Games, August 9-16. We salute Northeast Ohio for bringing all of us together to support this inclusive festival of sports and culture. Our August 15 Summers@Severance concert is an ofcial part of Games Week, and is just one of many cultural events partnering with the Games to make thousands of visitors from around the world feel welcome. The Cleveland Orchestra’s surging popularity among young people has gained national attention. With this season’s nal Summers@Severance concert on August 29, we are pleased to welcome students back to area colleges and universities as we continue to work to bring people together from across the region. That evening we also salute United Way and the many generous donors who support our entire region through United Way’s work. Together, we are making Northeast Ohio stronger and better. Thank you for joining us for this new addition to The Cleveland Orchestra’s summer musical offerings! We hope you’ll stay to take in the sunset with us after the concert. After all, what can be better than discussing great music over a glass of wine or a beer, on a beautiful evening with friends?

Gary Hanson Executive Director Summers@Severance

The Cleveland Orchestra

AUGUST 2014

August 1 August 15 August 29 at 7 p.m.

Table of Contents 3

The Beethoven Experience

Franz and Brahms

NATIONAL ENDOWMENT FOR THE ARTS

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

Summers@Severance

Concert Program: August 1 . . . . . . . . . . . . . . . . Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Concert Program: August 15 . . . . . . . . . . . . . . . Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . .

15 16 17 22

27 28 29 35 36

AUGUST 29

Summer Romance

AUGUST 15

Program book advertising is sold through Live Publishing Company at 216-721-1800.

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 7 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 10 Summer in University Circle . . . . . . . . . . . . . . . . . 12 About Summers@Severance . . . . . . . . . . . . . . . . 13 Gay Games, August 9-16 . . . . . . . . . . . . . . . . . . . . . 24 Young Audiences . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 56 Getting Involved . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 AUGUST 1

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

Welcome

Concert Program: August 29 . . . . . . . . . . . . . . . 43 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 About the Soloist . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Program Book Wayď&#x192;&#x17E;nding

Your Role . . . in The Cleveland Orchestra’s Future Genera�ons of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its educa�on 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. Ticket sales cover less than half the cost of presen�ng The Cleveland Orchestra’s season each year. To sustain its ac�vi�es here in Northeast Ohio, the Orchestra has undertaken the most ambi�ous fundraising campaign in our history: the Sound for the Centennial Campaign. By making a dona�on, you can make a crucial diﬀerence in helping to ensure that future genera�ons will con�nue to enjoy the Orchestra’s performances, educa�on programs, and community ac�vi�es and partnerships. To make a gi� to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

The Cleveland Orchestra

PHOTO BY ROGER MASTROIANNI

A S I T N E A R S T H E C E N T E N N I A L of its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Universally-acknowledged among the best ensembles on the planet, its musicians, staff, board of directors, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to develop the youngest audience of any orchestra, to renew its focus on fully serving the communities where it performs through engagement and education, to continue its legendary command of musical excellence, and to move forward into the Orchestra’s next century with a strong commitment to adventuresome programming and new music. The Cleveland Orchestra divides its time each year 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 to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, and recurring residencies at Vienna’s Musikverein, Switzerland’s Lucerne Festival, and New York’s Lincoln Center Festival. Musical Excellence. Under the leadership of Franz Welser-Möst, now entering his thirteenth season as the ensemble’s music director in 201415, The Cleveland Orchestra is acknowledged as among the world’s handful of best orchestras. Its performances of standard repertoire and new works are unrivalled at home in Ohio, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and Each year since 1989, The Cleveland Orchradio and internet broadcasts. estra has presented a free concert in downServing the Community. Programs for stutown Cleveland. The 25th free performance downtown took place on July 2, 2014, in dents and community engagement activities have partnership with Cuyahoga Arts & Culture, long been part of the Orchestra’s commitment to kicking off celebrations throughout the serving Cleveland and surrounding communities, region of America’s 238th birthday. and have more recently been extended to its touring and residencies. All are designed to connect people to music in the concert hall, in classrooms, and in everyday lives. Championed by Welser-Möst, a new Make Music! initiative is taking shape, to advocate for the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of ninety years of presenting quality music education programs, the Orchestra made national and international

Summers@Severance

The Cleveland Orchestra

PHOTO BY ROGER MASTROIANNI PHOTO BY ROGER MASTROIANNI

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About Aboutthe theOrchestra Orchestra

The TheCleveland ClevelandOrchestra Orchestra

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

PHOTO BY SATOSHI AOYAGI

W I T H T H E U P C O M I N G 2 0 1 4 - 1 5 S E A S O N , Franz Welser-Möst begins his thirteenth year as music director of The Cleveland Orchestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his leadership, the Orchestra is renowned among the world’s greatest ensembles, acclaimed for its musical excellence, and a champion of new composers and innovative programming. The Orchestra is committed to performing more music for more people throughout Northeast Ohio — through concert, community, and education presentations. Mr. Welser-Möst also serves as general music director of the Vienna State Opera. With Mr. Welser-Möst’s tenure, The Cleveland Orchestra has launched a series of residencies in important cultural locations around the world. These include residencies at Vienna’s Musikverein and Switzerland’s Lucerne Festival, as well as programs at New York’s Lincoln Center Festival and at Indiana University’s Jacobs School of Music. The Orchestra’s annual residency in Miami, under the name Cleveland Orchestra Miami, features multiple weeks of concerts coupled with community programs (modeled on the Orchestra’s long-term educational programs in Northeast Ohio) with more than a dozen school partners across the Miami-Dade area. Opera has been featured as a key component of Franz Welser-Möst’s tenure in Cleveland, with ten operas being presented in his first decade with the Orchestra, including a three-season Mozart cycle of fully-staged Zurich Opera productions at Severance Hall, followed by Strauss’s Salome at Severance Hall and at Carnegie Hall. In May 2014, an innovative presentation of Janáček’s The Cunning Little Vixen mixed live singers with projected action animation, to national and international acclaim. Mr. Welser-Möst became general music director of the Vienna State Opera in 2010. He also maintains an ongoing relationship with the Vienna Philharmonic, which he recently led in performances at Carnegie Hall, Lucerne, Salzburg, and Tokyo, as well as twice conducting the ensemble’s annual New Year’s Concert. He previously served a decade-long tenure with the Zurich Opera, leading the company in 40 new productions and culminating in three seasons as general music director. Mr. Welser-Möst’s recordings and videos have won international awards and acclaim. His Cleveland Orchestra recordings include live video performances of Bruckner Symphonies Nos. 4, 5, 7, 8, and 9. For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.

Summers@Severance

Music Director

T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC DIREC TOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra Preucil

ASSISTANT CONCERTMASTER

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

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

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

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Mark Dumm

Gladys B. Goetz Chair

Katherine Bormann

SECOND VIOLINS Stephen Rose *

Alfred M. and Clara T. Rankin Chair

CELLOS Mark Kosower*

James and Donna Reid Chair

Richard Weiss 1

Emilio Llinas 2

Eli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs

Jean Wall Bennett Chair

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

The Musicians

Louis D. Beaumont Chair The GAR Foundation Chair

Charles Bernard 2

Helen Weil Ross Chair

Bryan Dumm

Muriel and Noah Butkin Chair

Tanya Ell

Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin Thomas Mansbacher BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune S

Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble *

Alice Chalifoux Chair

The Cleveland Orchestra

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

Elizabeth M. and William C. Treuhaft Chair

HORNS Richard King *

PERCUSSION ION Marc Damoulakis *

Margaret Allen Ireland Chair

Saeran St. Christopher Marisela Sager 2

Michael Mayhew §

Donald Miller Tom Freer

Mary Kay Fink

Jesse McCormick Hans Clebsch Alan DeMattia

KEYBOARD INSTRUMENTS Joela Jones *

Austin B. and Ellen W. Chinn Chair

PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Mary Lynch Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen *

Robert Marcellus Chair

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

Linnea Nereim E-FLAT CLARINET Daniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Linnea Nereim BASSOONS John Clouser *

Louise Harkness Ingalls Chair

Barrick Stees 2

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Summers@Severance

George Szell Memorial Chair Knight Foundation Chair

TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Massimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien

Joe and Marlene Toot Chair

Donald Miller ORCHESTRA PERSONNEL Karyn Garvin DIRECTOR

Christine Honolke MANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Sunshine Chair

Richard Stout

Alexander and Marianna C. McAfee Chair

Shachar Israel 2

BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout

* Principal

Associate Principal First Assistant Princi pal 2 Assistant Principal S On sabbatical §

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

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

TIMPANI Paul Yancich *

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Giancarlo Guerrero

PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell

ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

The Musicians

Su Summer ummer iin n University Unive ersity yC Circle irclle SPECIAL EVENTS S PECIAL E VENTS August August 2014 4 University Univ Un i er iv e sity Circle is alive with conc concerts, nceertss, muse m museums, u eum ums, llearning, earning, eat eating, atin at ng, a and nd livin living. ng. Th This his lis listing istting g iiss only ly a sampling sam a pling of the many sp peciall even entts ts h ap ppe p ning ng in the ne eig ighb hb bor orho ood od eeach ach ha nd d evspecial events happening neighborhood and eryy mo er ontth th tthroughout roughout u the yea ea ar. To T learn rn more, vis isit it universitycircle.org. universiityciirc rcle.o .org org. month year. visit FRIDAY

August A gu Au g st 1

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WEDNESDAY

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August A gust 29 Au 9

Wade Wednesdays, p.m. Wa ade Oval Ova vall We W dnesdays, 6 to 9 p .m .m. m. — FREE FR REE “Red Roxy” evening Big sounds “Red Light R “R ox x y” y and an evenin ing in g of B ig g Band and Swing so oun nds Cleveland Museum off Ar Art, t 8 p.m t, p.m. m. to o midnight mid idni n gh ht — TICKET$ $ “Night partnership with Gay Games “N Night Before 9: Out in Art” Art” Ar t” in in p artnershi hip hi p wi ith G ay G am mess 2014 entertainment, dancing, An eevening veening of entertainm ment, ent d ancing, and artt vi an vviewing. ew win ing. g. g. Wade Wednesdays, Wade Oval a Wed dnesd day ayss, s, 6 tto o 9 p.m. — FREE FRE R E “Cleveland Bluegrass Blueg grasss ss Orchestra” Orc r hestra” featuring members Cleveland feat fe atu at uri g me urin ur m mbeerss of mb of TThe he C leveland Orchestra ra The Cleveland Orchestra, Hall, p.m. TICKET$ Clev Cl evel ev eland d Or O Orch rches e tra, Severance es c Hal a l, 7 p.m m. — TICKET ETT$ “The Beeth Beethoven Experience” hov oven en E xp per erience” featuring g tthree hrree masterworks Summers@Severance, with Hour, concert, Summ Su m errs@ s@Seeve verranc ranc nce, e, w itth Ha Happy Hour u , co ur onccert, and more. Wadee Oval Wednesdays, Oval al W edne ed n sdays, 6 to 9 p. p.m. m — FREE FR REEE “Wild Horses” dance music “Wil illd Ho H rsses”” featuring rse fea eatu turi uri ring n rock ‘n’ rolll dan ng a cee m us us usic Wade p.m. W adee Oval O al Wednesdays, 6 to 9 p.m Ov m. — FREE “Hey Mavis” evening Appalachian Americana “He ey M ey avis” featuring an eve ev venin ing in g of A ppal pp a achian A mericanaa The p.m. The Cleveland Clevveland Orchestra,, SSeverance evver eraance ce Hall, 7 p .m. — TI TTICKET$ CK KET$ “Franz “F “Fra Franz nz and Brahms” featuring fea e tu ea uring n music ng mussic byy Brahms Brah Br hms and d Widmann Wid dma mann n Summers@Severance, with Happy Hour, and more. Summ Su mm mer ers@ s@Seve s@ v rance, e, wit th H app py Hour ur,, co cconcert, n ert, an nc nd m ore. MOCA Contemporary Art), p.m. midnight A (Museum (Mu Muse seum se u off Co C ont ntem empo mpo porarr y Art r ), 8 p .m m. to om idni id nigh ghtt — FR FFREE EE EE “Circles bikers downtown “C Circless in n the th Hex” x” with wit ith h a bi bike kers rs rride idee from id from do ownt ntow own n at 6:30 6:3 :30 0 p.m., p.m. p. m.,, followed culture Plaza. fo ollllow owed ed by by a celebration c leebrat ce brattio ion of o bike cu cult ltur lt uree on TToby’s ur o y’ ob y’ss Pl Plaz aza. a.

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AUGUST 2014

August 1 August 15 August 29 at 7 p.m.

About Sum Sev THE BEFORE Happy Hour 5:30 p.m. to 6:30 p.m. Socialization 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 facetime with friends (new and old) MORE MUSIC Before and After with DJ MisterBradleyP (www.mehimher.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 new summertime experience hand-crafted for the enjoyment of all the senses. A casual come-asyou-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 “world’s favorite orchestra” (voted by Bachtrack followers in 2013) 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

The Cleveland Orchestra

Summer

Romance

Severance Hall — Cleveland, Ohio Friday evening, August 1, 2014, at 7:00 p.m.

THE CLEVEL AND ORCHESTRA JOHANNES DEBUS, conductor

MAURICE RAVEL

Pavane for a Dead Princess

MAURICE RAVEL

Piano Concerto in G major

(1875-1937)

[Pavane pour une infante défunte]

1. Allegramente 2. Adagio assai 3. Presto BENJAMIN GROSVENOR, piano

SERGEI RACHMANINOFF

PHOTOGRAPH BY ROGER MASTROIANNI

Symphonic Dances, Opus 45 August 1

(1873-1943)

1. Non allegro 2. Andante con moto (Tempo di valse) 3. Lento assai — Allegro vivace

The Cleveland Orchestra’s Summers@Severance series is sponsored by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.

Summers@Severance

August 1: Summer Romance

August 1

INTRODUCING THE CONCERT

Summer Romance R A C H M A N I N O F F ’ S F I R E . R A V E L’ S E L E G A N C E . Russian passion and

power, French clarity and craft. This is a program of beauty and contrasts. First, two pieces by Maurice Ravel, a sophisticated French composer — always dashing and impeccably dressed. And, as with choices for his own wardrobe, a careful stylist in his music. And, of course, stylish. The opening Pavane for a Dead Princess was actually a kind of musical thank you to one of Paris’s great arts patrons from a century ago, Princesse de Polignac (a.k.a. Winnaretta Singer, whose inherited fortune was from the Singer Sewing machine). Musically, this work wraps a marvelous tune in a carefully hand-crafted scoring for small orchestra and “muted” strings. It is not really for a dead princess, but serves as a great opening for any concert. Next is Ravel’s Piano Concerto in G major, a wonderfully evocative work from 1931. Here Ravel incorporates jazz influences into a classical orchestra and concerto form. The breathtakingly beautiful slow middle movement sounds almost as though Mozart had somehow stumbled his way into a late-night cafe in Paris . . . and become intoxicated with small ideas from “modern” music. Helter-skelter jazz sounds mash up in the rest of this dynamic gem of a concerto. To close the concert — but not the evening; join us afterwards for good company and conversation — we hear one of Rachmaninoff’s last works, the Symphonic Dances of 1940. Rachmainnoff had impeccable credentials for and understanding of the Romantic symphony orchestra of the 19th century. And, despite claims to the contrary, he also experimented (perhaps in limited ways) with newer 20th-century ideas. Not really meant to be danced, this work offers up the strong sense of rhythm and movement, beautifully orchestrated and proportioned for the concert hall. —Eric Sellen

About the Music

The Cleveland Orchestra

August 1

Pavane for a Dead Princess composed for piano 1899, orchestrated 1910

T H E S P I R I T O F T H I S W O R K seems very much to be that of

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

At a Glance Ravel wrote Pavane for a Dead Princess in 1899 as a solo piano piece. He created an orchestrated version in 1910, which was premiered on February 27, 1911, in Manchester, England, with conductor Henry Wood at “Gentlemen’s Concert.” This work runs 5 minutes in performance. Ravel scored it for 2 flutes, oboe, 2 clarinets, 2 bassoons, 2 horns, harp, and muted strings.

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the French composer Erik Satie, whose titles for musical pieces are notoriously absurdist. The French title Pavane pour une infante défunte, usually rendered simply into English as “Pavane for a Dead Princess,” in fact suggests a noblewomen of Spanish origin. Ravel, at 24, was not above teasing his audience with a piece that has nothing Spanish about it (no Infanta or Infante) and is musically not really a pavane, a slow processional dance from the 16th century. Ravel dedicated this composition to the Princesse de Polignac, Paris’s most generous patron of music, who used her wealth (from Singer sewing machines) and her title (her husband was a composer) to support French musicians. A small piano piece such as this, composed in 1899, should be compared to the Pièces pittoresques created by Emmanuel Chabrier, which Ravel greatly admired, and some of which, like Ravel’s piece, were later orchestrated. The tune comes three times, orchestrated differently each time. Its first appearance on the horn (actually intended for old-fashioned hand-horns) is marvelously evocative. There are two episodes, the first of which has a typically Ravelian melody with its emphasis on the second note of each phrase, shared between oboe and strings. The second episode explores the minor key. —Hugh Macdonald © 2014 Hugh Macdonald lives in England and is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

About the Music

August 1

Piano Concerto in G major

composed 1929-31, incorporating some ideas from as early as 1911 I T W A S R A V E L’ S original plan to write a concerto for his own

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

use. In his public appearances as a concert pianist, he had preferred mostly to play easier pieces like the Sonatine he’d written in 1903-05 and was all too conscious that his technique was not up to the more demanding works he’d created, such as Gaspard de la nuit from 1908. But, as he began creating the new work for piano and orchestra, rather than write a piece within his own capacity, he decided to write a concerto of proper difficulty — and simply acquire the technique to play it himself. Thus his composition hours, already long and arduous compared with his earlier facility (by the end of the 1920s he was aware of the failing brain activity that cruelly silenced his last years), were interspersed with hours devoted to practicing the études of Czerny and Chopin in an unavailing attempt, at the age of 55, to perfect his digital skills (a.k.a. keyboard fingering, not the computer variety we think of as “digital skills” today). It was only once the work was finished, late in 1931, with a première not many weeks away, that Ravel abandoned his aspirations and turned to Marguerite Long to give the first performance instead. This she did on January 14, 1932, in the Salle Pleyel, Paris, with Ravel conducting. Gustave Samazeuilh recounted that in 1911 he and Ravel spent a holiday in the Basque region of Spain (where both of them had been born) and that Ravel sketched a “Basque Concerto” for piano and orchestra. Without the right idea for a central linking movement, Ravel abandoned the work, only to bring parts of it back to life twenty years later within the G-major concerto. This at least suggests a Basque origin for some of the themes, although it is easier, without any general familiarity with Basque music, to recognize that the livelier themes emerge from Ravel’s preoccupation with the brilliant percussive qualities of the piano itself, and that the languorous melodies betray his gift for giving a peculiarly sophisticated edge to the “new” language of jazz. It is striking that the sound of this concerto differs markedly from that of its sibling, the concerto for left hand, composed at the same time, not just in having ten fingers at work instead of five. Here Ravel concentrated the fingers’ activity in the upper reaches of the keyboard and also utilized a small orchestra, more an ensemble of soloists than a grand tutti full orchestra. About the Music

The Cleveland Orchestra

Ravel asserted that he composed the G-major Concerto in the spirit of Mozart and Saint-Saëns, two composers of impeccably classical pedigree. The three movements are accordingly laid out on the classical plan, with two quick movements embracing a slow middle one. The first movement in its turn offers both quick and slow sections, the latter being the occasion for some virtuoso melodic flights for solo instruments, notably the bassoon in the first half, the harp and the horn in the second, while the piano is often required to be sweet in one hand and pungent in the other at the same time. (Gershwin’s flattened scale, generally in the minor, is much in evidence.) Ravel spoke of writing the slow middle movement “one bar at a time” (which is nothing if not cryptic, and certainly not very enlightening), and also referred to Mozart’s Clarinet Quintet as a basis (which is scarcely more helpful, except that of course the idea of melody-with-accompaniment is prominent in both works). The style is pure, both in the simplicity of the piano style and the absence of chromatics, but it also has a constant suggestion of wrong notes in the manner of Erik Satie, the wrongness in Ravel’s case being supremely calculated and . . . exactly right. Simplicity gives way to complexity and the melody returns on the english horn as the piano’s exquisite tracery continues to the end. The last movement is an unstoppable cascade, with the orchestra again tested to the limit, not just the soloist. The movement is neatly framed, with its opening clustered discords returning as a signing-off at the end. —Hugh Macdonald © 2014

Summers@Severance

About the Music

At a Glance Ravel composed both of his piano concertos in 1929-31. The G-major Concerto’s first performance was on January 14, 1932, at a Ravel Festival concert at the Salle Pleyel in Paris, with the composer conducting the Lamoureux Orchestra; the soloist was Marguerite Long, to whom the concerto was dedicated. The concerto’s first performances in North America were given concurrently on April 22, 1932, by the Boston Symphony Orchestra (conducted by Serge Koussevitzky and with pianist Jesús María Sanromá) and the Philadelphia Orchestra (with conductor Leopold Stokowski and pianist Sylvan Levin). This concerto runs about 20 minutes in performance. Ravel scored it for flute, piccolo, oboe, english horn, Eflat (high) and B-flat (regular) clarinet, 2 bassoons, 2 horns, trumpet, trombone, timpani, percussion (bass drum, snare drum, cymbals, triangle, whip, tamtam, woodblock), harp, and strings.

August 1

Symphonic Dances, Opus 45 composed 1940

I N H I S Y E A R S O F E X I L E from Russia, Rachmaninoff fought

Sergei

RACHMANINOFF born April 1, 1873 Semyonovo, Russia died March 28, 1943 Beverly Hills, California

a constant battle with the arbiters of taste, both in Europe and in America, who had decided that modern music had to be . . . modern. His roots were deeply planted in the soil of Russia and in the way of life he led there, and his music had evolved within the great (but relatively recent) Russian tradition, best represented by Tchaikovsky. His technique as a composer and orchestrator was unequaled, and his imagination was never dormant, but his style had little in common with the spirit of the jazz age or the various types of neo-classicism that were coming to life in the first decades of the 20th century. It was perhaps because his Fourth Piano Concerto had been poorly received in 1927 — nor was the composer satisfied with it himself — that Rachmaninoff cast his next piano concerto as a Rhapsody (in name) and a set of variations on a theme by Paganini (in form). This worked, and the public responded enthusiastically. The same approach brought into being the Symphonic Dances — the Third Symphony had similarly been roughly handled by the press in 1936. So that, rather than a Fourth Symphony, the new work, which turned out to be Rachmaninoff’s last major composition, was cast originally as Fantastic Dances and then, acknowledging its true identity, as Symphonic Dances. Ballet was in his mind, in any case, because the great Russian choreographer Mikhail Fokine was planning a ballet using the Rhapsody on a Theme of Paganini, a plan which had Rachmaninoff’s enthusiastic support. Somehow this never materialized, nor did a Fokine ballet on the Symphonic Dances (owing to Fokine’s death in 1942, followed by Rachmaninoff’s death a year later). Perhaps Rachmaninoff did feel this music as dance music, with the powerful stamping rhythm of the first movement echoing ballets by Stravinsky and Prokofiev, and with the fleet waltz rhythm of the second movement suggesting Ravel. The finale is more intricate and elusive, rhythmically, for behind the restless flow of sounds the composer was thinking of Russian and Western chant, the latter appearing as the Dies irae from the Latin Church’s mass, frequently cited by Rachmaninoff in his music, notably in the Paganini Rhapsody. There is also reference to the Russian chant he had already set for chorus in his All-Night Vigil of 1915. These two references emerge as intrinsic About the Music

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to his melodic style, deeply rooted, probably subconsciously, in the chanting of Orthodox priests that he had heard in his childhood. Melodies that move by step, or at least confined to narrow intervals, are readily related to plainchant, and such melodies abound in Rachmaninoff’s works. The great opening theme of the Second Piano Concerto is of this kind. It is significant also that a similar theme from the First Symphony is quoted at the end of the first movement of the Symphonic Dances, played in a quiet and dignified manner and standing apart from the strong pulse of the rest of the movement. The first movement is a superb example of how to build the elements of structure from simple materials, in this case a descending triad, weaving under and over firm rhythmic support and planted deeply (with endless chromatic digressions) in the key of C minor. A dialog between oboe and clarinet puts the brakes on for the second section, which is slower, cast in a remote key, and richly melodic. Here an alto saxophone introduces one of Rachmaninoff’s endless melodies that grow and reshape themselves in a passionate evolution, often hinting at a Russian flavor. The middle movement is a masterpiece of elegance in a waltz rhythm full of shifts and turns, its main tune being a plaintive melody first presented by english horn and oboe in partnership. The orchestration is dazzling, and a muted brass fanfare punctuates the movement from time to time. The third movement finale combines melancholy wistfulness (in the Lento assai section) with rhythmic exhilaration and virtuosity in the fast sections. The movement is a quest for its theme, which makes the initial Allegro sound fragmentary and restless, with contributions from the piccolo and trumpet that help to form a melodic core. But this is not to be reached until after a lengthy return to the slower tempo, when the cellos press the claim of something close to the Dies irae tune. The Allegro returns for an exuberant mélange of plainchants for the full orchestra. With so much of the finale devoted to gloomy Russian introspection, not remotely suggestive of dance, the whole work comes nearer to being the Fourth Symphony he never wrote, slow movement and finale being persuasively combined. This masterly swansong was composed in quiet seclusion in the summer of 1940 when Rachmaninoff was living in Centerport, New York, in a house overlooking Long Island Sound.

At a Glance Rachmaninoff completed his Symphonic Dances on October 29, 1940. The first performance was given by the work’s dedicatees, Eugene Ormandy and the Philadelphia Orchestra, on January 3, 1941. Symphonic Dances runs about 35 minutes. Rachmaninoff scored it for piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contra-bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, tambourine, bass drum, side drum, cymbals, tam-tam, glockenspiel, xylophone, bells), piano, harp, and strings.

Summers@Severance

About the Music

August 1

Johannes Debus German-born conductor Johannes Debus has served as music director of the Canadian Opera Company since 2009. In opera and symphonic programs, he leads music ranging from Baroque to contemporary. He made his Cleveland Orchestra debut in August 2012. Born in southwest Germany, Johannes Debus joined the Heidelberg cathedral choir at the age of four, and later took piano, organ, and violin lessons. He obtained his formal music education at the Hamburg Hochschule für Musik/Theater. Mr. Debus subsequently was engaged at Frankfurt Opera, first as répétiteur/rehearsal pianist and then as kapellmeister and principal conductor. During his ten-year tenure in Frankfurt, he led an extensive repertoire — including operas by Thomas Adès, Berg, Gounod, Massenet, Mozart, Rossini, Strauss, Verdi, and Wagner. In 2007, Johannes Debus made his English National Opera debut in a new production of Philip Glass’s Satyagraha and, in 2008, made his debut at the Bavarian State Opera in Munich leading Richard Strauss’s Elektra. He has also led productions with the Berlin State Opera and San Francisco Opera. Mr. Debus was invited to replace James Levine for a performance of Mozart’s The Abduction from the Seraglio with the Boston Symphony Orchestra at Tanglewood in 2010. Mr. Debus made his Canadian Opera Company debut in 2008, conducting Prokofiev’s War and Peace. The following year, he was named the company’s music director. His contract was recently extended through the 2016-17 season. In addition to his work on the company’s mainstage productions, Mr. Debus is committed to promoting and showcasing the Canadian Opera Company orchestra’s musicians, and created a five-concert chamber music festival, which begins its third season in 2014-15. As a guest conductor, Johannes Debus has led orchestras and appeared at festivals on both sides of the Atlantic, including engagements with the Heidelberg Orchestra, Philharmonia Orchestra, Toronto Symphony Orchestra, and the Orchestra della Toscana, as well as appearances at the Biennale di Venezia, Festival d’Automne in Paris, Lincoln Center Festival, Luminato Festival, Ruhrtriennale, Schwetzinger Festspiele, Spoleto Festival, and the Suntory Summer Festival. An advocate of new music, Mr. Debus has led a wide range of world premieres and works by 20th and 21st century composers. These include Salvatore Sciarrino’s Macbeth and Luciano Berio’s Un re in ascolto. Mr. Debus has guest conducted the Ensemble Intercontemporain, Ensemble Modern, Klangforum Wien, and Musikfabrik.

Conductor

The Cleveland Orchestra

August 1

Benjamin Grosvenor British pianist Benjamin Grosvenor is acclaimed as a rising star among a new generation of pianists. When he signed to record with Decca Classics in 2011, he was the youngest British musician to ever do so. He is making his Cleveland Orchestra debut with this weekend’s concerts (Friday at Severance Hall and Saturday night at Blossom). Benjamin Grosvenor first came to prominence as the winner of the keyboard final of the 2004 BBC Young Musician Competition at the age of eleven. Since then, he has performed with the London Philharmonic, New York Philharmonic, Philharmonia, RAI Torino, and the Tokyo Symphony in such venues as London’s Barbican Centre and Royal Festival Hall, Carnegie Hall, and Singapore’s Victoria Hall. At age nineteen, Mr. Grosvenor performed with the BBC Symphony Orchestra on the First Night of the 2011 BBC Proms. He returned the following year, appearing with the Royal Philharmonic Orchestra. His recent and upcoming engagements include concerts with Berlin’s Konzerthaus Orchestra, Orquesta de Euskadi, San Francisco Symphony, and National Symphony Orchestra in Washington D.C. His schedule also includes recital debuts at the Boston Celebrity Piano Series, Club Musical de Québec, Salle Gaveau, Southbank Centre, and Paris’s Théâtre des Champs-Élysées. He performs chamber music with the Elias Quartet, Endellion String Quartet, and Escher String Quartet. Mr. Grosvenor’s Decca discography features works by Chopin, Gershwin, Ravel, and Saint-Saëns, and transcriptions by Percy Grainger and Leopold Godowsky. His earlier recordings on EMI include Chopin rarities for the 200th anniversary edition of Chopin’s complete works, as well as his debut solo recording. Among Benjamin Grosvenor’s honors are a Classic Brits Critics Award, a Diapason d’Or Jeune Talent Award, Gramophone’s Young Artist of the Year and Instrumental Award, and a UK Critics’ Circle Award for Exceptional Young Talent. He has been featured in two BBC television documentaries and CNN’s Human to Hero series. The youngest of five brothers, Benjamin Grosvenor was born in 1992. His mother is a piano teacher, and he began playing at age 6. He graduated in 2012 from the Royal Academy of Music, where he was awarded the Queen’s commendation for excellence. Mr. Grosvenor has studied with Christopher Elton, Leif Ove Andsnes, Stephen Hough, and Arnaldo Cohen. For more information, visit www.benjamingrosvenor.co.uk.

Summers@Severance

Soloist

The Cleveland Orchestra salutes Northeast Ohio for hosting the 2014 Gay Games August 9-16 During the week of the Games, enjoy â&#x20AC;&#x153;The Beethoven Experienceâ&#x20AC;? on August 15 at Severance Hall, an official cultural event of the 2014 Gay Games.

See complete details about the 2014 Gay Games and related cultural performances and activities online. OPEN TO ALL BAND+CHORUS & 35+ sports Register, volunteer, donate @ www.2014GayGames.com The Cleveland Orchestra is proud to be a Community Patron Partner of the 2014 Gay Games.

Gay Games take on cultural air, too! Cleveland+Akron: August 9-16

T H I S AU G U S T , the world comes to Cleveland+Akron for the world’s most inclusive sporting and cultural event — the ninth quadrennial Gay Games. In the spirit of Participation, Inclusion, and Personal Best™, the Games are open to everybody regardless of sexual orientation, age, or athletic ability. Also, in the spirit of inclusion, the Games are not just about sport — a cultural component runs throughout the week. Band and Chorus are both among the more than 35 sports and cultural events in which individuals can participate during the 2014 Gay Games, presented by the Cleveland Foundation. Northeast Ohio residents who prefer spectating to participating can find something to entertain them almost every day during Games Week. The Opening Ceremony on August 9 at Quicken Loans Arena is a full-scale spectacular, “Rock ’n’ Rubber,” celebrating the rich history of Northeast Ohio and the Games. Featuring Lance Bass, the Pointer Sisters, Broadway singers, a community chorus, a marching band, and much more, the evening promises to be extraordinary. PlayhouseSquare then becomes the home for band and choral participants. On August 12, band members join together for a performance at the State Theatre, while choral members take the same stage on August 13. Tickets are being sold at www.2014GayGames.com for the concerts as well as the Opening Ceremony. More than 100 community partners, including The Cleveland Orchestra, are supporting event and planning activiSummers@Severance

ties leading up to and during Games Week. The Cleveland Orchestra hosted a concert on July 27 at Blossom to kick off the welcome. On August 8, the Cleveland Museum of Art hosts “Night before 9: Out in Art,” an event with food, drink, entertainment, and private access to its world-renowned collection. And, during Games Week, The Cleveland Orchestra takes up the entertainment baton at Severance Hall for a special Summers@Severance concert on Friday evening, August 15. In reflecting on the summer, Games Executive Director Tom Nobbe says, “We’re so thrilled to be hosting this global event and having so many organizations and individuals come together to make it happen. We invite all of Northeast Ohio to partake in some or all of the great things happening, and be part of making history in America’s heartland.” �� For more information, visit �� www.2014GayGames.com

Community Patron Partner

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

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

Blossom Music Festival

The Beethoven Experience

Severance Hall — Cleveland, Ohio Friday evening, August 15, 2014, at 7:00 p.m.

THE CLEVEL AND ORCHESTRA JAHJA LING, conductor

LUDWIG VAN BEETHOVEN (1770-1827)

Overture to The Creatures of Prometheus, Opus 43 Symphony No. 4 in B-at major, Opus 60 1. 2. 3. 4.

Adagio — Allegro vivace Adagio Allegro vivace Allegro ma non troppo

Fantasia in C minor (“Choral Fantasy”), Opus 80 for piano, chorus, and orchestra 1. Adagio 2. Finale: Allegro — Allegretto ma non troppo, quasi andante con moto — Presto

August 15

ORION WEISS, piano BLOSSOM FESTIVAL CHORUS (Robert Porco, director)

The Cleveland Orchestra’s Summers@Severance series is sponsored by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence. This concert is an official cultural event of the 2014 Gay Games, August 9-16. The Cleveland Orchestra is proud to be a Community Patron Partner of the Gay Games.

Summers@Severance

August 15: The Beethoven Experience

August 15

INTRODUCING THE CONCERT

The Beethoven Experience B E E T H O V E N A N D M O Z A R T remain classical music’s biggest and

most popular names — two centuries after their lives. The popularity and infamy of their music remains robust, if too often built upon just a few of their greatest hits. Beethoven was probably the better man. He worked hard at helping take care of his brother, in a difficult family with an alcoholic father. He was handsome and talented, well-read and interested in human rights and freedom not just as an ideal but as something to actually work toward. And he understood art as more than mere entertainment — as a tangible weapon for good, for change, for making life better. That he was or became a grumpy man — caused certainly by the challenge of losing his hearing, perhaps by his lack of success in romance, and possibly merely by his natural ability to think further ahead than those around him — may also have given him the necessary grit and determination to struggle forward toward success. Whereas Mozart was always borrowing money, Beethoven was determined to earn it. The long (and unheated) benefit concert he presented for himself in December 1808 may have been too much music for one evening, but the grand conception of it was unmistakable. It was this event for which the Choral Fantasy was created (to give a capstone to an evening that also saw the premiere of both his Fifth and Sixth Symphonies, plus his Fourth Piano Concerto, and more). For this Summers@Severance concert, The Cleveland Orchestra presents samplings of Beethoven — three works of middling popularity that are still brilliant, active, and uplifting. —Eric Sellen ABOVE:

19th-century lithograph of Beethoven as a “gentleman.”

Introducing the Music

The Cleveland Orchestra

August 15

Overture to The Creatures of Prometheus from the ballet score, Opus 43 composed 1800-01

B E E T H O V E N ’ S M U S I C A L S C O R E for the ballet The Crea-

Ludwig van

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

At a Glance Beethoven completed his music for Die Geschöpfe des Prometheus (“The Creatures of Prometheus”), an original dance scenario by Salvatore Viganò, in 1801. The ballet was premiered at the Burgtheater in Vienna on March 28, 1801. This overture runs about 5 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

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tures of Prometheus is a very substantial work from a period in his life that also produced such masterpieces as the Third Piano Concerto and the “Spring” Sonata. Yet the ballet music is rarely played and little known. This is probably because it cannot compete, dramatically and choreographically, with the great ballets by Tchaikovsky and Stravinsky, and because its grouping of nineteen short movements make generally unsuitable concert material. Needless to say, there are pieces of great beauty hidden there, including a ravishing cello solo and some vigorous orchestral writing. The overture at least has deservedly kept a place in the symphonic repertoire. Like Beethoven’s First Symphony, which immediately preceded it, it opens on a bold series of chords that at once catch the listener’s attention, and the ensuing, compact Allegro theme is based on a speedy motif drawn from the ballet’s finale that keeps the violins scurrying. A second theme is a playful exchange for the woodwinds. We should not be surprised that Haydn, having told Beethoven that he admired this new ballet music, was privately content to have recently won universal admiration for his own oratorio The Creation, based on the Bible (and how everything came to be), while Beethoven’s creatures were only the stuff of Greek mythology who merely danced.

—Hugh Macdonald © 2014 Hugh Macdonald lives in England and is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

About the Music

August 15

Symphony No. 4 in B-at major, Opus 60 composed 1806

T W O Y E A R S I N T E R V E N E D after the completion of his Third

Ludwig van

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

Symphony (the Revolutionary “Eroica”) before Beethoven ventured upon another symphony. Three symphonies (the Fourth, Fifth, and Sixth) followed in succession, each very different from the others in character and scale. The Fourth is always observed to be less forceful and dramatic than the Third and Fifth, but it surpasses them in athletic energy and, in places, in sheer beauty of sound. Yet Beethoven’s purpose was never quite what it seems, so that simply to characterize the Fourth as “light-weight” or “relaxed” is to tell only a part of the story. Robert Schumann compared it to a “slender Greek maiden,” but even he would admit that the extremes of seriousness and skittishness found in the work do not properly belong to such a maiden’s drapery. The Fourth Symphony was composed mainly in 1806 and first performed the following year in Vienna at the house of Prince Lobkowitz (whose family heritage of Beethoven memorabilia has recently been restored to their residence in Prague, now a museum). It was dedicated to Count Oppersdorff. Beethoven enjoyed the hospitality and support of both noblemen at that time. Like many of Haydn’s symphonies — and a few of Mozart’s — Beethoven’s Fourth Symphony opens with a slow introduction. The purpose of these introductions was not to foreshadow the themes or even the mood of the rest of the movement, but to act like the overture to an opera, and accustom the audience to the orchestra’s sound and to induce a serious concentration. In the “Eroica,” Beethoven had dispensed with an introduction, but the Fourth has a fine one, dark and mysterious in character, and without any clear sense of direction until a fortissimo burst and some rocket-like figures in the violins force the issue. Once the first movement’s main Allegro vivace section begins — and the true key of the symphony, B-flat major, is established — all tension evaporates. The standard procedures of classical sonata form fall into their assigned places. In the development, the actual pace of the music is still brisk, but the harmonic pace is very slow, giving an impression of immense breadth, like a glance forward to Wagner or Bruckner. Beethoven keeps us waiting expectantly for the return of the opening theme, even after the correct key has been firmly reached. The rest of About the Music

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the movement duly follows, with only a brief coda, not another massive peroration in the manner of the “Eroica.” Berlioz likened the slow movement to the story of Francesca da Rimini in Dante’s Divine Comedy, so moving that it reduced Virgil to tears and caused Dante to fall “like a dead body.” He then introduced another image: “This movement seems as if it had been softly murmured by the Archangel Michael one day when, overcome by a feeling of melancholy, he contemplated the universe from the threshold of the Empyrean.” The main melody is indeed of wonderful serenity. The second melody, introduced by the solo clarinet, provides not contrast but rather completion, as though the whole first paragraph were a single sentence. There are stern pages in this movement, bleak pages, too, but its profound placidity marks it off as one of the greatest of Beethoven’s slow movements. None of his contemporaries could approach him on this ground. Although marked Menuetto, the third movement has the character of a scherzo, with teasing cross-accents and a lively pace. The Trio section is a little slower, and pastoral in character. The strings join in later with some strange rumbling inner lines, and the original tempo returns. Beethoven repeats the whole process, so that the Trio is heard twice, the Scherzo three times. The finale is as muscular and energetic as a tiger. The bustling opening theme has no introduction and immediately plunges into the bass register. It is more often used as accompaniment than as theme, though it can serve either purpose. The flow is sometimes broken by more relaxed passages and there is an extraordinary series of harsh baying chords that recur from time to time. The recapitulation is marked by the spotlight falling briefly and famously on the first bassoon, and at the end the principal melody stops running, apparently exhausted. But its faint is merely a feint. This is another of Beethoven’s jokes — just when you think his melody cannot keep going even one bar more, it leaps up and slaps you rudely in the face.

At a Glance Beethoven composed his Fourth Symphony during the summer and early fall of 1806. The first performance took place at Prince Lobkowitz’s residence in Vienna in March 1807; the first public performance was at the Burgtheater on April 13, 1808. Beethoven conducted both performances. This symphony runs about 35 minutes in performance. Beethoven scored it for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Beethoven’s Fourth Symphony during the 1924-25 season with founding music director Nikolai Sokoloff. The most recent performances were led by Franz Welser-Möst during the autumn of 2013, at Severance Hall and on tour in Europe.

Summers@Severance

About the Music

August 15

Choral Fantasy, Opus 80

(for piano, chorus, and orchestra) composed 1808

Ludwig van

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

A S T R O N G C O M P E T I T O R for most famous concert in history must surely be the one Beethoven gave in Vienna’s Theateran-der-Wien at 6:30 p.m. on Thursday, December 22, 1808. It lasted four hours in the cold, unheated concert hall. Perhaps not the longest concert ever, it certainly introduced for the first time the greatest number of what would be considered classical masterpieces. The Fourth Piano Concerto, the Fifth Symphony, and the Sixth Symphony all received their first performances, plus he included some movements from his earlier Mass in C major and the impressive concert aria “Ah! Perfido,” written a dozen years earlier. Difficulties with Viennese officials were the prime reason why these great works had not been heard before. But once he had a concert venue scheduled, Beethoven planned to present a feast for his public. At a late stage, he decided that he needed a rousing end to the concert in which all the performers could take part — the orchestra, the chorus, and piano (with Beethoven himself as soloist). Thus, on top of having to have all the parts and scores copied for all the pieces he’d already planned, then assemble the orchestra and rehearse three difficult new orchestral works, learn the solo part of the concerto, and deal with all the administrative side (tickets, publicity, payments), all the while with his hearing diminishing, surely it was madness to suppose that Beethoven also had time to compose a full new work, have those parts copied, and then rehearse all the participants, too. But then Beethoven had already struck many of the Viennese as being odd for less eccentric exploits than this, and he really no longer felt the need to comply with the norms of civic life. For his new closer, having decided to write variations on a simple tune from a song he had composed a decade earlier, Beethoven asked the poet Christoph Kuffner to fabricate some new text verses on the positive theme of the beauties of art and life to fit the meter of this tune. Kuffner rapidly obliged, and Beethoven dashed off his variations, much of which had no doubt been circling in his mind for weeks, if not years. Beethoven’s pupil, Carl Czerny, reported that the Choral Fantasy was finished so close to the concert date that it could scarcely be properly About the Music

The Cleveland Orchestra

prepared or rehearsed. At the event, because the piece went repeatedly wrong, Beethoven had the whole work played again. (Given the amount of music on the program, it is a wonder that any of the concert was adequately rehearsed.) There were breakdowns of the kind where Beethoven would have had to yell “Start this section again!” Someone reported that Beethoven several times stepped away from the piano and walked up to the offending player to explain what went wrong. Such behavior would alarm us today, but in Beethoven’s time his were not the only concerts where insufficient rehearsal and the acceptance of lower standards from an orchestra made up of a combination of professionals and amateurs quite often caused breakdowns, and laughter or shouts from players or audience. The public were in any case so in awe of Beethoven’s majestic piano playing and his evident genius as a composer that they would accept the eccentricities and mishaps. (The orchestra was split into the camps of those who acknowledged Beethoven’s greatness and those who found his behavior humiliating and inexcusable.) I N T H E S O - C A L L E D “ C L A S S I C A L” P E R I O D — of Mozart

and Haydn, and Beethoven’s early years — when art of all sorts was supposed to be governed by rules of proportion and design, and where perfection and order were achieved by following those rules, the format of a Fantasy or Fantasia provided a welcome safety-valve for writers and composers who needed every now and then to ignore the rules and write whatever came into their heads. Such pieces were supposed to sound like improvisations, but a great many were in fact “composed” and published. Even Mozart, whose genius lay in letting his spirit work freely within the bounds of contemporary form and accepted musical language, wrote Fantasias when his ideas couldn’t be boxed in clearly; Schubert similarly wrote some magnificent Fantasias. Beethoven wrote two fantasies in his life, neither of them classed with his greatest works. In fact, the solo piano Phantasie Opus 77 is one of his most eccentric and least often played pieces. The Choral Fantasy, too, is also often left in the shadows and infrequently performed — not only because it requires orchestra, chorus, and soloist, but also for its bewildering combination of piano virtuosity and somewhat ordinary choral writing, all explained only partially by its function as the close of a colossal concert of miscellaneous works. In the score, the word “Finale” Summers@Severance

About the Music

At the premiere, because the piece went repeatedly wrong, Beethoven had the whole thing played again. There were breakdowns when the composer would yell “Start this section again!” And he several times stepped away from the piano and walked up to the offending player to explain what had gone wrong.

At a Glance Beethoven wrote his Choral Fantasy in the autumn of 1808, specifically as the ending piece for the concert of his own works he was presenting on December 22 at Vienna’s Theater-ander-Wien. He asked the poet Christoph Kuffner to write some verse text on the idea of how humanity can overcome the adversities of life through the beauty of art; the text was to follow a specific meter for a tune that Beethoven was borrowing from an unpublished song he had written in 1794. The Choral Fantasy was published in 1811 with a dedication to King Maximilian Joseph of Bavaria. This works runs about 20 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus chorus (with soloists) and solo piano. At the 1808 premiere, Beethoven played the solo piano part and led the performance from the keyboard. The Cleveland Orchestra first performed Beethoven’s Choral Fantasy in March 1958 under Robert Shaw’s direction, with Rudolf Serkin as the soloist. The most recent performances were during the 2002 Blossom Music Festival, led by Leonard Slatkin and with Joela Jones as the piano soloist.

is attached to everything that follows the pianist’s opening cadenza (improvised by Beethoven in 1808 and written down later). Beethoven’s improvisation is grand, but its weight and brilliance also highlight the simplicity of the tune in C major that is to be the subject of variations. With the great finale of his Third Symphony in mind, and also his Diabelli Variations from later years, it is clear that Beethoven liked to build mighty structures on simple materials, as if to demonstrate his masterly craft and artistry. This melody moves stepwise and in precisely balanced phrases with only a pause near the end to break the flow. The variations start at once, with some flute frolics, then the oboes, then the lower woodwinds, then the strings. Finally, the full orchestra gets the tune. The variations are interwoven with fantasizing of various kinds, which act as linking material, between the very fast variation in C minor, for example, and the beautiful slow one in A major. But however carefully Beethoven thought he had prepared for the chorus’s entry, it is still a glimpse of a strange distant world when we hear voices singing, as if from afar, the words “Schmeichelnd hold,” literally “Flatteringly meek.” The chorus immediately assert their claim to some variations of their own, and the rest of the work is the climactic expression of delight in the joys of art and life in a series of impressive endings. More than once we are reminded of Beethoven’s Ninth Symphony and the much more famous “Ode to Joy” (still a dozen years in the future), especially when the solid persistence of the key of C major is twice broken by the huge assertion of E-flat major on the words “und Kraft” [“and strength”] near the end, as an expression of humanity’s indomitable strength. —Hugh Macdonald © 2014

About the Music

The Cleveland Orchestra

Choral Fantasy, Opus 80 music by Ludwig van Beethoven (1770-1827) text by Christoph Kuffner (1780-1846)

Schmeichelnd hold und lieblich klingen unseres Lebens Harmonien, und dem Schönheitssinn entschwingen Blumen sich, die ewig blühn. Fried und Freude gleiten freundlich wie der Wellen Wechselspiel. Was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl.

Gracefully charming and sweet is the sound of our life’s harmonies, from a feeling for beauty there spring up flowers that bloom forever. Peace and joy go hand in hand, like the changing play of the waves. Everything harsh and hostile turns into supreme delight.

Wenn der Töne Zauber walten und des Wortes Weihe spricht, muss sich Herrliches gestalten, Nacht und Stürme werden Licht. Äuss’re Ruhe, inn’re Wonne herrschen für den Glücklichen. Doch der Künste Frühlingssonne lässt aus beiden Licht entstehn.

When the magic of music prevails and sanctifies the word, the fine and noble takes shape, and night and tempest turn to light. Outer peace and inner delight are bestowed on the fortunate. From the spring-like brightness of art light shines out.

Grosses, das ins Herz gedrungen, Blüht dann neu und schön empor, Hat ein Geist sich aufgeschwungen, Hallt ihm stets ein Geisterchior. Nehmt denn hin, ihr schönen Seelen, Froh die Gaben schöner Kunst. Wenn sich Lieb und Kraft vermählen, Lohnt dem Menschen Göttergunst.

Greatness, once it has won the heart, blooms anew in full glory. When the spirit takes wing, a chorus of spirits responds. Take then with joy, all beautiful souls, the gift of art and music. When love and strength are united, God’s grace descends to humanity.

Summers@Severance

Sung Text: Choral Fantasy

August 15

Jahja Ling The upcoming 2014-15 season marks Jahja Ling’s eleventh year as music director of the San Diego Symphony. He also maintains a career as an internationally renowned guest conductor. In addition, he holds a long, collaborative relationship with The Cleveland Orchestra, where he was a member of the conducting staff from 1984 to 2005. Mr. Ling was resident conductor of the Orchestra (1985-2002) and served as Blossom Festival Director for six seasons (2000-05). He has returned each year as a guest conductor; he leads concerts with the Orchestra in August at both Severance Hall and the annual Blossom Music Festival. Mr. Ling has conducted all of the major symphony orchestras of North America and many prominent ensembles across Europe and Asia. Acclaimed for his interpretation of works in the standard repertoire, he is also recognized for the breadth of contemporary music included in his programs. Recent and upcoming appearances include performances with the San Diego Symphony at Carnegie Hall and on tour in China, plus guest conducting engagements with orchestras in Asia, North America, and Europe. Jahja Ling’s commitment to working with and developing young musicians is evidenced by his involvement as founding music director of the Cleveland Orchestra Youth Orchestra (1986-93) and the San Francisco Symphony Youth Orchestra (1981-84). Mr. Ling’s recordings include a range of works on the Telarc, Azica Records, and Continuum labels, featuring performances with the San Diego Symphony, Florida Orchestra, Royal Philharmonic Orchestra, and the Scottish Chamber Orchestra, one of which was nominated for a Grammy Award. His performance of the world premiere of Ellen Taaffe Zwilich’s Third Symphony with the New York Philharmonic is included in that ensemble’s American Celebrations collection. Born in Jakarta, Indonesia, of Chinese descent, Jahja Ling began to play the piano at age 4 and studied at the Jakarta School of Music. At age 17, he won the Jakarta Piano Competition and was awarded a Rockefeller grant to attend the Juilliard School. He continued his education at Yale, studying orchestra conducting under Otto-Werner Mueller and earning both a master’s degree and doctorate. He also served as a conducting fellow at the Los Angeles Philharmonic Institute. In addition to his years with The Cleveland Orchestra, and as a member of the conducting staff of the San Francisco Symphony, Mr. Ling served as music director of the Florida Orchestra (1988-2003) and was artistic director of the National Symphony Orchestra of Taipei (1998-2001). As a pianist, he won a bronze medal at the 1977 Arthur Rubinstein International Piano Master Competition. Mr. Ling makes his home in San Diego with his wife, Jessie, and their young daughters, Priscilla and Stephanie.

Conductor

The Cleveland Orchestra

August 15

Orion Weiss American pianist Orion Weiss is acclaimed for his technical mastery and deeply felt artistry across solo, chamber music, and orchestral performances. He first appeared with The Cleveland Orchestra in February 1999, and most recently played here as part of the 2008 Blossom Music Festival. Orion Weiss began his music studies at the Preucil School of Music in Iowa City, Iowa. After his family relocated to Northeast Ohio, he attended the Cleveland Institute of Music and studied with Paul Schenly. Other teachers included Sergei Babayan, Kathryn Brown, Edith Reed, and Daniel Shapiro. In 2004, he graduated from the Juilliard School of Music, where he worked with Emanuel Ax. Mr. Weiss’s honors include the Gilmore Young Artist Award, an Avery Fisher Career Grant, Mieczyslaw Munz Scholarship, and Juilliard’s Gina Bachauer Scholarship and William Petschek Award. Orion Weiss has performed with major orchestras across North America, including engagements with the New World Symphony and the orchestras of Baltimore, Boston, Chicago, Houston, Los Angeles, Mexico City, Milwaukee, Minneapolis, New York, Philadelphia, Pittsburgh, San Francisco, and Vancouver, among others. In 2005, he toured Israel with the Israel Philharmonic. As a recitalist and chamber musician, Mr. Weiss has appeared throughout the United States, including performances at Washington D.C.’s Kennedy Center and New York’s Lincoln Center, and at the Amelia Island Chamber Music Festival, Bard Music Festival, Bridgehampton Chamber Music Festival, Chamberfest Cleveland, Chamber Music Northwest, Cleveland Chamber Music Society, La Jolla Music Society SummerFest, Ravinia Festival, and the Seattle Chamber Music Festival. He was a member of the Chamber Music Society Two program of the Chamber Music Society of Lincoln Center, 2002-04. Mr. Weiss’s regular chamber music partners include his wife, pianist Anna Polonsky, along with violinist James Ehnes and cellist Zuill Bailey, as well as the Pacifica Quartet. Orion Weiss can be heard on the Artek, Bridge, Naxos, and Yarlung labels. He was named the Classical Recording Foundation’s Young Artist of the Year in 2010. In 2012, Mr. Weiss spearheaded a two-part recording project with Naxos of the complete Gershwin works for piano and orchestra with his longtime collaborators the Buffalo Philharmonic and conductor JoAnn Falletta. For more information, visit www.orionweiss.com.

Summers@Severance

Guest Artist

August 15

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 conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. 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 at the school. 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. In this capacity, she assists in preparing 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 a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the choral department of the Indiana University Jacobs School of Music (including directing the Chamber Choir of the Indiana University Children’s Choir). Active as a clinician, guest conductor, and adjudicator, 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.

Chorus

The Cleveland Orchestra

August 15

Blossom Festival Chorus Robert Porco, Director Lisa Wong, Assistant Director

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. SOPRANOS

Lou Albertson Kate Atherton Janis Augustine Amanda Baker Karen Bauer-Blazer Melissa Biltz Chelsea Braden Susan Cucuzza Karla Cummins Anna K. Dendy Ashlee Dietrich Rosalyn M. Gaier Samantha Garner Rebecca Gellott Rosie Gellott Lou Goodwin Sandhya Gupta Josephine Gwinnell Becky Hall Lisa Hrusovsky Kirsten Jaegersen Shannon Jakubczak Joeleen Jeffery Kate Macy Angela Mitchell Julie Myers-Pruchenski S. Mikhaila Noble-Pace Sarah Osburn Lenore M. Pershing Christine Piatak Joy M. Powell Nadia M. Robinson Cassandra E. Rondinella Monica Schie Sharon Shaffer Valerie Sibila Laurie Starner Sidney Storry Megan Tettau Shelby Wanen Kiko Weinroth Mary Krason Wiker

Summers@Severance

ALTOS

Alexandria Albainy Jessica Bell Julie Cajigas Kathy Chuparkoff Janet Crews Nichole Criss Heather Doerschuk Brooke Emmel Marilyn Eppich Amanda Evans Jessica L. Fain Angelica Fulop Diana Weber Gardner Jeri Geldenhuys Jenna C. Hall Ann Marie Hardulak Laura Skelly Higgins Julie Evans Hoffman Gloria R. Homolak Karen Hunt Sarah N. Hutchins Anney Jeandrevin Judith Karberg Cynthia J. Kenepp Eunjoo Kim Lisa Leinweber Lucia Leszczuk Charlotte Linebaugh Anna McMullen Karla McMullen Peggy Norman Marta Perez-Stable Macie Poskarbiewicz Beverly Riehl Marge Salopek Kathie Samuel Rachael Schempp Kellie Sonntag Melanie Tabak Gina Ventre Dana Way

Chorus

TENORS

Luke Benko Robert Bordon Thomas Glynn William Hamilton Donald E. Howdyshell Gary Kaplan Daniel Katz Peter Kvidera Steve Lawson Rohan Mandelia Paul March Tremaine Oatman Bronson Peshlakai Robert Poorman Daniel Reiman Matt Rizer Jarod Shamp Devon Steve James Storry Michael Ward Steven Weems Allen White Chester Willey

BASSES

Graham Ball Tim Birk Jack Blazey Peter Boylan Nikola Budimir Peter B. Clausen Nick Connavino David T. Contreras Thomas Cucuzza Chris Dewald Benjamin G. Heacox Martin Horning Bernard Hrusovsky Tom Hull CJ Langmack Roger Mennell Charlie Newell Keith Norman John Riehl Steven Ross Steve Skaggs

Joela Jones, Accompanist Alicja Basinska, Accompanist Jill Harbaugh, Manager of Choruses

THE CLEVELAND ORCHESTR A

KeyBank Fridays@7SERIES Four Great Fridays at Severance Hall

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OCT 10 — Friday at 7 p.m.

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SYMPHONIC METAMORPHOSIS

The Cleveland Orchestra Franz Welser-Möst, conductor Lang Lang, piano

The Cleveland Orchestra Marek Janowski, conductor HINDEMITH

PINTSCHER idyl, for orchestra

Symphonic Metamorphosis

BEETHOVEN

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Symphony No. 2

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MAR 13 — Friday at 7 p.m. BEETHOVEN’S SEVENTH

The Cleveland Orchestra Fabio Luisi, conductor FRANCESCONI Cobalt, Scarlet: Two Colors of Dawn BEETHOVEN Symphony No. 7

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MAY 15 — Friday at 7 p.m. DVOŘÁK’S NEW WORLD SYMPHONY The Cleveland Orchestra Franz Welser-Möst, conductor Christian Tetzlaff, violin

WIDMANN Violin Concerto DVOŘÁK Symphony No. 9 (“From the New World”)

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Building Audiences for the Future . . . Today! The Cleveland Orchestra is committed to developing interest in classical music among young people. To demonstrate our success, we are working to have the youngest audience of any orchestra. With the help of generous contributors, the Orchestra has expanded its discounted ticket offerings through several new programs. In recent years, student attendance has doubled, now representing 20% of those at Cleveland Orchestra concerts. Since inaugurating these programs in 2011, over 100,000 young people have participated. U N D E R 1 8 s F R E E F O R FA M I L I E S

Introduced for Blossom Music Festival concerts in 2011, our Under 18s Free program for families now includes select Cleveland Orchestra concerts at Severance Hall each season. This program offers free tickets (one per regular-priced adult paid admission) to young people ages 7-17 on the Lawn at Blossom and to the Orchestra’s Fridays@7, Friday Morning at 11, and Sunday Afternoon at 3 concerts at Severance. S T U D E N T T I C K E T PRO G R A M S

In the past two seasons, The Cleveland Orchestra’s Student Advantage Members, Frequent Fan Card holders, Student Ambassadors, and special offers for student groups attending together have been responsible for bringing more high school and college age students to Severance Hall and Blossom than ever before. The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. A record 6,000 students joined in the past year. A new Student Frequent Fan Card is available in conjunction with Student Advantage membership, offering unlimited single tickets (one per FanCard holder) all season long. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio. Summers@Severance

Building Future Audiences

1918

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

13th

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The 2014-15 season marks Franz Welser-Möst’s 13th year as music director.

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

100,000+

100,000 young people have attended Cleveland Orchestra symphonic concerts since the inauguration of the Center for Future Audiences in 2011, through student programs and Under 18s Free ticketing.

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

Likes on Facebook (as of July 25)

The Cleveland Orchestra has introduced over 4 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

The Cleveland Orchestra performs over

66,209

1931

concerts each year.

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

150

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

Franz and Brahms

Severance Hall — Cleveland, Ohio Friday evening, August 29, 2014, at 7:00 p.m.

THE CLEVEL AND ORCHESTRA FRANZ WELSER-MÖS T, conductor

JÖRG WIDMANN

Lied [Song]

JÖRG WIDMANN

Flûte en suite (for ute and orchestra)

(b. 1973)

(for orchestra)

1. Allemande — 2. Sarabande — 3. Choral I — 4. Courante — 5. Choral II — 6. Barcarole — 7. Cadenza — 8. Badinerie JOSHUA SMITH, flute

INTERMISSION JOHANNES BRAHMS (1833-1897)

Symphony No. 1 in C minor, Opus 68 1. 2. 3. 4.

Un poco sostenuto — Allegro Andante sostenuto Un poco allegretto e grazioso Adagio — Più andante — Allegro non troppo ma con brio

August 29

The Cleveland Orchestra’s Summers@Severance series is sponsored by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence. The Cleveland Orchestra and United Way welcome members of United Way’s Heritage Society to this evening’s concert in recognitation of their generosity toward the community.

Summers@Severance

August 29: Franz and Brahms

August 29

INTRODUCING THE CONCERT

Franz& Brahms

J U S T A S H E D I D in earlier acclaimed pairings — of composers Anton Bruckner

2O14 European Tour LONDON Sunday, September 7, 2014 Monday, September 8, 2014 BBC Proms, Royal Albert Hall LUCERNE Wednesday, September 10, 2014 Lucerne Festival, Culture and Convention Center BERLIN Thursday, September 11, 2014 Musikfest, Berlin Philharmonie LINZ Saturday, September 13, 2014 Wednesday, September 17, 2014 Thursday, September 18, 2014 Brucknerhaus VIENNA Sunday, September 14, 2014 Monday, September 15, 2014 Musikverein Tuesday, September 16, 2014 Vienna Konzerthaus PARIS Saturday, September 20, 2014 Sunday, September 21, 2014 Salle Pleyel AMSTERDAM Monday, September 22, 2014 Concertgebouw

and John Adams in 2011, of Beethoven and Shostakovich in 2013 — for this concert Franz Welser-Möst has chosen two complementary composers, one modern, one classical. In two different concerts this weekend and in the Orchestra’s upcoming European Tour, he’s chosen contemporary German composer Jörg Widmann to contrast and compare with unsurpassed 19th-century masterworks by Johannes Brahms. Tonight’s concert begins with two works by Widmann. First a “song” for orchestra. Titled Lied [pronounced LEED), it is an homage to the greatest German songwriter, Franz Schubert. Widmann’s own music shares with Schubert (and Brahms) an affinity for melody and storyline — not, perhaps, the written out story of a song, but a clear shape and arc of music from beginning to end. Next comes a work that Widmann wrote specially at the request of The Cleveland Orchestra and for the Orchestra’s principal flute, Joshua Smith. In this concerto, instead of following the customary form of three contrasting movements, Widmann wrote a modern-day version of a Baroque suite, of eight dance-like movements. The concert concludes with Brahms’s great First Symphony, filled with majesty and massive orchestral outbursts interspersed with quietly intense and intimate chamber music sections. The great tune of the finale was the composer’s own homage to history — and to Beethoven’s “Ode to Joy” Ninth Symphony. BTW, the music continues on Sunday night, August 31, at Blossom, when Franz conducts two more symphonies by Brahms (Nos. 3 and 4) plus a concert overture, Con brio, by Widmann. —Eric Sellen

Introduction

The Cleveland Orchestra

August 29

Lied [Song] (for orchestra) composed 2003-09

“Schubert’s music draws tears from the eyes without questioning the soul, so direct and actual is its effect. We weep without knowing why, because we have not come close to the promise of the music.” —Theodor W. Adorno, writing about Franz Schubert

Jörg

WIDMANN born June 19, 1973 Munich now living in Freiburg

Summers@Severance

Lied [pronounced leed], or “Song,” for orchestra, was commissioned by the Bamberg Symphony Orchestra. The following commentary was written for the world premiere performances in 2003: O F T H E O R I G I N of his commissioned work in homage to Franz Schubert, Jörg Widmann was very clear — Schubert’s melody should be at the heart of his work. “Schubert is a melodic genius,” says Widmann. Nothing in Schubert’s work has fascinated him more than the composer’s ability to invent and shape his melodies and carry them forward, melodies that are not simply beautiful but also have the capacity to captivate the listener with their great intensity. Widmann’s original idea for the piece was to write a monodic orchestral work, which would treat the orchestra as a single singing agent in which “all the instruments sing a kind of eternal melody without cease.” Widmann planned, in other words, an orchestral piece that would “present its lines naked and uncovered, unprotected and without a safety net, as if one were to perform a Schubert song without the accompaniment.” This idea is embodied in Widmann’s Lied for orchestra, yet he drew away from his original idea when he decided to insert in the single-voice sections passages that vary from single lines to polyphonic [multiple] lines. This was achieved by juxtaposing harmonic and timbral levels, leading to passages in the work that regularly threaten to break apart when two layers are in apparently unreconcilable opposition. In the foreground is the melodic line, often marked at “very very very loud” (triple forte), laden with expression; behind it is a harmonic background, sometimes so soft as to be almost inaudible, creating a sinister and pale counterpoint. What thus found its way into Widmann’s composition was About the Music

August 29 the typical character of Schubert’s musical language as “seeking,” or harmonic “wandering,” which then goes constantly astray and still must keep on going. This happens when sounds are unresolved and lead in some other unexpected direction. Of course, for Widmann this sense of being lost is actually what is specifically modern about Schubert. He wanted to avoid direct references to particular Schubert works, but he also acknowledges that the String Quintet and the Octet influenced his work, if only in small details. The result, Lied, is a work that draws on the special atmosphere and emotionality of Schubert’s music, sharing Schubert’s central compositional technique, yet at the same time is charged with Widmann’s own expressive personality. — Torsten Blaich ©

About the Composer J Ö R G W I D M A N N served as The Cleveland Orchestra’s

Daniel R. Lewis Young Composer Fellow 2009-11. The Orchestra has played a number of his works under Franz Welser-Möst’s direction and is encoring four of them in concerts in August and September 2014, in pairings with major works by Johannes Brahms. Widmann was born in Munich in June 1973, and studied clarinet with Gerd Starke at the Hochschule für Musik in Munich and later (1994-1995) with Charles Neidich at the Juilliard School in New York. He began taking composition lessons with Kay Westermann at the age of eleven and subsequently continued his studies with Wilfried Hiller and Hans Werner Henze (1994-1996) and later with Heiner Goebbels and Wolfgang Rihm in Karlsruhe (1997-1999). In 2001, Jörg Widmann was appointed as the successor to Dieter Klöcker as professor of clarinet at the Freiburg Staatliche Hochschule für Musik. He became a professor of composition there in 2009. A series of string quartets, written between 1997 and 2005, form one core of Widmann’s creative output. The five string quartets are intended as a large cycle, with each individual work following a traditional form or setting. These are: String Quartet No. I (1997), followed by Choralquartett (2003, revised 2006) and Jagdquartett (premiered by the Arditti Quartet in 2003). The series was completed in 2005 with String Quartet No. IV, first performed by the Vogler Quartet, and Quartet No. V “Versuch über die Fuge” [Attempt at a Fugue], which features a soprano solo and was premiered by Juliane Banse with the Artemis Quartet. Widmann has also composed a trilogy of works for large orchestra in

About the Music

The Cleveland Orchestra

which he studied the transformation of vocal forms for instrumental forces: Lied (2003-09), Chor (2004), and Messe (2005). In 2007, Christian Tetzlaff and the Junge Deutsche Philharmonie gave the premiere of Widmann’s first Violin Concerto. The same year, Pierre Boulez and the Vienna Philharmonic gave the first performance of Armonica for orchestra, in which Widmann combined the tonal colors of a glass harmonica with orchestra to produce a homogenously breathing body of sounds and sound effects. This was followed by Con brio, an homage to Beethoven. Widmann’s new concerto for flute, titled Flûte en suite, was premiered by The Cleveland Orchestra and principal flute Joshua Smith in May 2011. Widmann has also created musical theater works, including the opera Das Gesicht im Spiegel, which was chosen by the German magazine Opernwelt as the most significant first performance of the 2003-04 season. Am Anfang (2009) was the result of a unique collaboration between a visual artist and a composer; Widmann created the work together with the German painter and sculptor Anselm Kiefer and conducted the world premiere for the 20th anniversary of the Opéra Bastille in Paris. His most recent work is a music-drama called Babylon for the Munich State Opera. Widmann’s great passion as a clarinetist is chamber music. He regularly performs with partners such as Tabea Zimmermann, Heinz Holliger, András Schiff, Kim Kashkashian, and Hélène Grimaud. He has also performed widely as a soloist in orchestral concerts. Fellow composers have dedicated several works to Widmann. He performed the premiere of Music for Clarinet and Orchestra by Wolfgang Rihm in 1999. In 2006, he performed Cantus by Aribert Reimann and, in 2009, at the Lucerne Festival, the world premiere of Rechant by Heinz Holliger. In addition to his fellowship as The Cleveland Orchestra’s Lewis Young Composer (2009-11), Jörg Widmann has served as composer-in-residence with the Berlin German Symphony Orchestra, Salzburg Festival, Lucerne Festival, Cologne Philharmonic Orchestra, and the Vienna Konzerthaus. He has received many prizes and much recognition for his works. In 2013, he was awarded the Heidelberg Spring Music Award and the GEMA German Music Authors Award. He is a fellow of the Institute for Advanced Study in Berlin and a full member of the Bavarian Academy of the Fine Arts, the Free Academy of the Arts in Hamburg, and the German Academy of Dramatic Arts. Summers@Severance

About the Composer: Jörg Widmann

At a Glance Widmann wrote his Lied [Song] for orchestra as a commission from the Bamberg Symphony Orchestra. Its world premiere was presented on December 10, 2003, conducted by Jonathan Nott. The composer later revised the score. The revised version was first performed on April 23, 2010, in London, by the BBC Symphony Orchestra, conducted by Lawrence Renes. This work runs nearly 30 minutes in performance. Widmann scored it for 3 flutes (third doubling piccolo), 2 oboes, 3 clarinets, 2 bassoons (second doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, percussion (vibraphone, cymbals, tamtam, crotales), harp, accordion, and strings. The Cleveland Orchestra first performed this work at a weekend of concerts in January 2013 under Franz Welser-Möst’s direction. Lied is included among four works by Widmann that the Orchestra is presenting on its upcoming European Tour in September 2014.

2O14 European Tour

WIDMANN Jör ö g Widm idmann a n

BRAHMS Jo Joh o ann annes es Bra r hms mss

The Cleveland Orchestra F R A N Z W E. L S E R - M Ö S T JOSHUA SMITH

NIKOL A J ZNAIDE R

London . Lucerne . Berlin . Linz . Vienna . Paris . Amsterdam

SEPTEMBER 7-22

The Cleveland Orchestra acknowledges these corporations and individuals for their generous support of the 2014 European Tour: Tele München Group, Miba AG, Dr. Herbert G. Kloiber, Dr. and Mrs. Wolfgang Berndt, Mr. and Mrs. Harro Bodmer, Mr. and Mrs. Alfred Umdasch, and Elisabeth and Karlheinz Muhr. With special thanks and recognition for the ongoing support of Jones Day and Jones Day Foundation, including international touring sponsorship.

August 29

Flûte en suite (for solo ute and orchestra groupings) composed 2010-11

The following program note was included in the program book for the world premiere performances of this concerto in 2011:

Jörg

WIDMANN born June 19, 1973 Munich now living in Freiburg

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J Ö R G W I D M A N N likes to morph himself with each new composition, choosing a fresh direction each time he begins. Over the course of his term as The Cleveland Orchestra’s Daniel R. Lewis Young Composer Fellow for the 2009-10 and 2010-11 seasons, the Orchestra presented three of his works, including the premiere of his new flute concerto, Flûte en suite. “The pieces Cleveland performed in those seasons could not be more different,” Widmann commented at the time. “I try not to repeat myself. When I finish a piece, I have to try something else!” Ideas for Flûte en suite developed as Widmann became familiar with soloist Joshua Smith’s luxuriant tone. “In modern music, sometimes the melody is not the main thing but when I hear someone like Joshua Smith play, of course, I write melody,” said Widmann, who despite his ear for innovation also prefers the old-fashioned method of scoring with pen and paper to working at a computer. “What’s so special about his sound is his low register: he has this absolutely incredible timbre. I just fell in love with his sound. When The Cleveland Orchestra was in Salzburg, Joshua Smith and I talked; he’s so open-minded.” “I tried to avoid the orchestra being too loud for the flute. That’s the reason some composers put the flute in the high register, so it can be heard. I tried to avoid a certain kind of writing that uses a flute very loud and in a high register. That’s only interesting for about 20 seconds,” Widmann said. “In the new flute concerto there are many muted sections in the strings and some in the brass, to make a special shadow-like color through it. There is a Mendelssohnian way of writing, and the flute is always shimmering through the dark timbres.’’ There are no guarantees when an orchestra commissions a new work. Still, “from an institutional standpoint, it is vital to have that as a piece of the culture: a willingness to take risks but doing it with the right people,” said Dan Lewis. The Orchestra’s Young Composer Fellows have produced a genuinely interesting and compelling set of new pieces over the past decade and a half. With a new piece, the excitement of performing it is preAbout the Music

ceded by the anticipation of receiving it — often in tantalizing stages. Movement by movement, Flûte en suite arrived in the mail, and the concerto took shape, until, finally, it was rehearsed and premiered in May 2011. —Elaine Guregian

At a Glance Widmann wrote his Flûte en suite in 2010-11 on a commission from The Cleveland Orchestra for a new flute concerto and as part of his work as the Orchestra’s Daniel R. Lewis Young Composer Fellow for the 2009-10 and 2010-11 seasons. The commission was made possible with generous support from the Young Composers Endowment Fund established by Jan R. and Daniel R. Lewis. The Cleveland Orchestra presented the world premiere performances of this concerto in May 2011, with Franz Welser-Möst conducting and Joshua Smith as soloist. This concerto runs just over 20 minutes in performance. Widmann scored it for 3 flutes (second doubling alto flute, third doubling bass flute, all doubling piccolo), 3 oboes (second doubling oboe d’amore, third doubling english horn), 3 bassoons (third doubling contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, percussion (glockenspiel, vibraphone, gongs, hanging cymbals, chinese cymbals, tamtam, water tamtam, bass drum, chimes, slapstick), celesta, harpsichord, and strings.

From the Composer

The composer wrote the following program note for the premiere of this work with Joshua Smith and The Cleveland Orchestra in 2011: This “Suite” is not one of my “epic” instrumental concertos — such as the concertos for cello, violin, or oboe — but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Almost every individual movement allots the solo flute a specific tonal coloring and an instrumental group from the orchestra. The opening Allemande features the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family). The string section is featured in the Sarabande. In both chorales, we hear the brass (extremely muted in the first and brutalist in the second). It is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colors, becomes suffused with these colors and thereby shines in different lights — acerbic, pale, and radiant. The concerto’s first performances mark the conclusion of my two-year residence with The Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flute, Joshua Smith, have to a great extent determined the form and tonal character of my Flûte en suite. —JÖRG WIDMANN April 2011

About the Music

The Cleveland Orchestra

August 29

Joshua Smith

Principal Flute Elizabeth M. and William C. Treuhaft Endowed Chair The Cleveland Orchestra

Firmly established as one of America’s outstanding flutists, Joshua Smith is equally at home as a soloist, chamber musician, and educator. He was appointed as The Cleveland Orchestra’s principal flute at age twenty, joining the ensemble in 1990. He appears regularly as soloist with the Orchestra, in repertoire ranging from Bach to Takemitsu, including the concertos of Mozart, Penderecki, and Nielsen. He will be featured soloist for the Orchestra’s upcoming European Tour in September 2014, performing Jörg Widmann’s flute concerto in six cities across the continent. Mr. Smith received a Grammy nomination for his Telarc recording, Air, and has recorded two discs with harpsichordist Jory Vinikour dedicated to the Sonatas of J.S. Bach. He appeared on a Live from the Marlboro Music Festival recording and can be heard on more than 100 Cleveland Orchestra recordings. Intrigued with exploring new ways of connecting with audiences, Joshua Smith leads the chamber group Ensemble HD, which features Cleveland Orchestra members and guests. The artists perform in concert halls as well as nontraditional venues. Ensemble HD released its first double vinyl album in May 2013, Live at The Happy Dog. It was recorded at The Happy Dog, a local bar-restaurant in Cleveland’s Gordon Square Arts District. Joshua Smith was invited to speak to the National Endowment for the Arts Council about community engagement efforts spearheaded by Ensemble HD. Mr. Smith appears as a chamber musician throughout the United States, including recent and ongoing appearances with the Philadelphia Chamber Music Society series, at the Marlboro and Santa Fe Music Festivals, and with the Israeli Chamber Project. In 2015, he will perform and record with Ann Marie Morgan (viola da gamba) and William Simms (theorbo), and appear in additional performances with the Israeli Chamber Project. He has performed in collaborative concerts at the Cleveland Museum of Art, Pensacola Museum of Art, Museum of Contemporary Art in Miami, and the 92nd Street Y in New York City. Joshua Smith serves as head of the flute department of the Cleveland Institute of Music. He is a Powell Artist and performs most often on a new grenadilla Powell or on an old Rudall-Carte. A native of Albuquerque, New Mexico, he worked closely with renowned pedagogue Frank Bowen before attending Philadelphia’s Curtis Institute of Music, where he studied with Julius Baker and Jeffrey Khaner.

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August 29

Symphony No. 1 in C minor, Opus 68 composed 1855-76

Johannes

BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna

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T H E O P U S N U M B E R of this work tells us a whole story. Like Brahms, Beethoven came late to writing symphonies. He was thirty before his First Symphony appeared, and yet Beethoven’s “Opus 68” was the Sixth or “Pastoral” Symphony. Brahms was forty-three when his First Symphony appeared, with 67 substantial works to precede it. Beethoven had perhaps been nervous of the great Haydn, living nearby in Vienna. Brahms, in similar fashion, was unquestionably nervous about the great Beethoven, no longer living, but an even more powerful force as a shadow than Haydn had ever been. Beethoven’s nine symphonies were held up to be the ultimate standard against which all modern music should be compared, especially in Germany. Brahms, always conscious of his German heritage, took the competition seriously; he made sure that when finally launched on such a voyage his ship would not founder. Brahms played no orchestral instruments himself, and he picked up his knowledge of the orchestra from his father, who played double bass and horn among other things, and from miscellaneous conducting experiences in Hamburg, Detmold, and Vienna — but without any formal training as a conductor and without any official position in charge of an orchestra. Brahms began work on his first concerto for piano (an instrument he played well) when he was twenty-one, and started to sketch a symphony the following year, probably the beginning of what would eventually emerge as his First Symphony. Two orchestral Serenades belonging to those early years reveal not the slightest incompetence in his handling of the orchestra. Indeed, Brahms seems to have begun his career as it ended, with a complete command of the language of music and a level of self-criticism and craft that ensured the quality of every work. It was not the problem of writing for orchestra that held Brahms back. His German Requiem (1868) and the Variations on a Theme by Haydn (1873) are completely accomplished works in that regard. In the First Symphony, Brahms accepted the constitution of the orchestra as Beethoven left it. He showed little interest in the more colorful instruments that most composers were delighting in at that time — no piccolo, no english horn, About the Music

August 29 no bass clarinet, no tuba, no harp, and no percussion beyond the TH MDUSICAL I N TER O U C I N G T HARTS E C O N ASSOCIATION CERT as of July 1, 2014

Franz& Brahms

operating Th e Cleveland Orchestra, Severancehe Hall, andask Blossom Festival pair of timpani — although does for aMusic contrabassoon to

enrich the bass, and he holds the trombones back until the last OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President movement (as Beethoven Normahad Lerner, Honorary done toChair spectacular effect in his Richard J. Bogomolny, Chairman Hewitt B. Shaw, Jr., Secretary Fifth Symphony). And even though Brahms clung to the oldThe Honorable John D. Ong, Vice President Beth E. Mooney, Treasurer J U S T A S H E D I D in earlier acclaimed pairings — of composers Anton Bruckner

fashioned hand-horns, not the valved variety then in universal Douglas A. Kern Larry Pollock and John Adams in 2011, of Beethoven Virginia M. Lindseth Alfred M. Rankin, Jr.and Shostakouse, he wrote for them with assured mastery. Alex Machaskee Audrey Gilbert Ratner To write his vichcould inMcCann 2013 for this concert Franz Welser-Möst has be Nancy W. S. Robinson Nor the—problems ofBarbara handling symphonic form John C. Morley Raymond T. Sawyer chosen two complementary composers, one modern, first symphony, said to be any handicap. Brahms’s first 67 opus numbers include RESIDENT TRUS TEES one classical. In two different this weekend Beethoven at least a dozen chamber works in theconcerts conventional four moveLarry Pollock Trevor O. Jones George N. Aronoff and in the Orchestra’s upcoming European Tour, he’s Alfred M. Rankin,form, Jr. Betsy Juliano Dr. Ronald H. Bell ments. These appear in sonata form, rondo or variations, had Richard perhaps Clara T. Rankin Jean C. Kalberer J. Bogomolny chosen contemporary German composer Jörg Widand these himGilbert well,Ratner invariably enriched Audrey Nancystandard F. Keithley models served P. Bolton beenCharles nervous LONDON mann to contrast and compare with unsurpassed Charles A. Ratner Christopher M. Kelly Jeanette Grasselli Brown by seamless transitions, inventive surprises, superb command Sunday, September 7,Butler 2014 James Reid, Jr. Douglas A. Kern Helen Rankin 19th-century masterworks by S.Johannes of the great of keysJohn and modulation, and a supply finely Brahms. crafted themes Barbara S.of Robinson D. Koch Scott Chaikin Monday, September 8, 2014 Paul with Rose two works by WidS. LeeTonight’s Kohrman concert begins Paul G. Clark to build on. BBCHaydn, Proms, Royal Steven M. Ross Charlotte R. Kramer Owen M. Albert ColliganHall mann. First felt a “song” forfiorchestra. Titled [pro- be Raymond T. Sawyer Dennis W. LaBarre Robert D. Conrad Still, Brahms that his rst symphonic effLied ort should living nearby Luci Schey Norma Lerner LEED), it is an homage LUCERNEMatthew V. Crawford to the greatest German nounced weighty andM.substantial, withoutHewitt any B.frivolities Shaw, Jr. such as the proVirginia Lindseth Alexander M. Cutler Wednesday, September 10, 2014 in Vienna. songwriter, Franz Schubert. Widmann’s own music Richard composers K. Smucker Hiroyuki Fujita gramsAlex andMachaskee suggestive titles that other liked to attach Lucerne Festival, R. Thomas Stanton Robert P. Madison Paul G. Greig shares with Schubert (and Brahms) an affi nity for melBrahms, in symphonies. One way to achieve Daniel P. Walshthis weightiness was Milton S. Maltz Robert K. Gudbranson Culture and Convention Center to their Thomas A. Waltermire Nancy W. McCann Iris Harvie ody and storyline — not, perhaps, the written out stoto delay theF. main the first and last movements similar B. Warner Thomas McKee substance ofGeraldine JeffreyfashA. Healy ry of a song, but a clear shape and arc of music from BERLIN Stephen H. Hoffman M. Weiss Beth E.introductions. Mooney These Jeffrey are not themselves part of the ion, David was un-11, 2014 with slow John C. Morley Norman E. Wells J. Hooker Thursday, September beginning to end. musical “argument” prepare Paul E. Westlake Jr. the ground (and Donald W. Morrisonitself, but instead Michael J. Horvitz Musikfest, Berlin Philharmonie questionably Next comes a work that Widmann David A. Wolfort wrote specialMeg Fulton Mueller Marguerite B. Humphrey the listener’s ears) for the stirring quicker music that is to come. Gary A. Oatey David P. Hunt lycases, at theT.we request of The Cleveland Orchestra and for nervous about Katherine O’Neill Christopher Hyland LINZ In both hear outlines of themes, even themes themThe Honorable John D. Ong James D. Ireland III the Orchestra’s principal fl ute, Joshua Smith. In this Saturday, September 13, 2014 selves, that will play a part in the Allegro body of the movement the great Wednesday, September 17, 2014 concerto, instead ofof following thesections customary form ofThe NON-RESIDENT TRUS TEES made up the formal of music). Beethoven, no2014(NY) (the “argument” Virginia Nord Barbato Richard C.contrasting Gridley (SC) Ludwig Widmann Scharinger (Austria) Thursday, September 18, three movements, wrote a modwhich Wolfgang C. Berndt (Austria)seriousness Loren W.with Hershey (DC) these introductions signal the discussion Brucknerhaus longer living, Laurel Blossom (SC) ern-day version of a Baroque suite, of eight dance-like Herbert Kloiber (Germany) to come is not to be underestimated. movements. TRUS TEES EX-OFFICIO but an even VIENNA The heavy tread of the timpani at the opening of the first Faye A. Heston, Carolyn Dessin, Chair, Theisconcert with Brahms’s great First Sunday, September 14, President, 2014 movement one of concludes Brahms’s simplest yet most impressive Council of The Cleveland Orchestra Cleveland Orchestra Chorus Operating Committee more Volunteer powerful Monday, September 15, 2014 Symphony, the filled with majesty andphrase massive orchestral Shirley B. Dawson, President, Beverly J. Warren, President, ideas,Orchestra supporting winds’ descending and the strings’ Musikverein Kent State University force Women’s as aCommittee of The Cleveland outbursts interspersed with quietly intense and kind inti- are Claire Frattare, President, Barbara R. Snyder,of President, complementary ascent. Melodies the conventional Tuesday, September 16, 2014 Blossom Women’s Committee Case Western Reserve University shadow than mate chamber music sections. The great tune of the actually rare in the first movement, even after the Allegro begins. Vienna Konzerthaus TRUS TEES EMERITI HONORARY TRUS TEES FOR LIFE finale the composer’s own homage to history — Haydn had Instead, the was material is mostly made up of motivic fragments Robert W. Gillespie Clifford J. Isroff Gay Cull Addicott and to Beethoven’s “Ode to Joy” Ninth Symphony. Dorothy Humel Hovorka H. Miller Oliverthemselves F. Emerson PARIS that lend well to energetic argument. everSamuel been. Robert F. Meyerson David L. Simon20, 2014 Allen H. Ford , the movement, music continues on Sunday night, August Saturday, September The BTW second in contrast, is rich in gorgeous Sunday, September 21, 2014 31, The at Blossom, when Franzis conducts two more symPAS T PRESIDENT S melody. writing for strings particularly powerful. Oboe Salle PleyelD. Z. Norton 1915-21 Percy W. Brown 1953-55 Ward Smith 1983-95a concert overphonies by Brahms (Nos. 3 and 4) plus and clarinet come forward with solo material and, at the end John L. Severance 1921-36 Richard J. Bogomolny Frank E. Taplin, Jr. 1955-57 ture, brio, by Widmann. Dudley S. Blossom 1936-38 of theFrank 1995-2002, E.Con Joseph 1957-68 movement, a solo violin sings high2008-09 above the orchestra, AMSTERDAM Thomas L. Sidlo 1939-53 James D. Ireland III 2002-08 Alfred M. Rankin 1968-83 —Eric Sellen Monday, September 22, 2014 bathed in nostalgia. Concertgebouw Where Beethoven would usually write a scherzo, Brahms T H E C L E V E L Apreferred ND O RC H Emedium-paced S T R A movement. This third a less hectic Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford David J. Hooker Michael J. Horvitz

2O14 European Tour

Franz Welser-Möst, Music Director

54 56 44

Gary Hanson, Executive Director

Musical Arts About Introduction Association the Music

The Cleveland Orchestra

movement takes us back to the relaxed serenades of Brahms’s early years, and although a middle section introduces some tension, the lovely clarinet melody returns, and the movement ends in tranquillity. Perhaps a slow, portentous introduction was then needed to draw the mind back to the important matter of a fourthmovement finale. No light Haydnesque solution was possible for Brahms, so he prefaced the main part of the movement with a series of dramatic tableaux, including some solemn entries for horns and trombones, before launching into the famous main tune. This has inevitably been likened to the “Joy” theme in Beethoven’s Ninth Symphony, but it has its own identity and it carves out its own course in a powerful movement that maintains its potency and drive to the very end. Those who heard this work in 1876 were left in little doubt that no symphony of comparable range and impact had been heard since Beethoven’s famous Ninth. Brahms, characteristically taking no chances, had made sure that his First Symphony was the mightiest thing he had yet done. And, indeed, it remains one of the mightiest things he ever composed. —Hugh Macdonald © 2014

At a Glance Brahms began sketches for his First Symphony as early as 1862. He completed the work in 1876. It was first performed on November 4, 1876, at Karlsruhe, with Otto Dessoff conducting. The symphony was first performed in the United States on December 15, 1877, in New York’s Steinway Hall, conducted by Leopold Damrosch. This symphony runs about 45 minutes in performance. Brahms scored it for 2 flutes, 2

Summers@Severance

oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra has performed Brahms’s First Symphony regularly throughout the ensemble’s history. It was first presented during the Orchestra’s third season, at a pair of subscription concerts in December 1920 conducted by Nikolai Sokoloff. The most recent performances were led

About the Music

by Christoph von Dohnányi at Severance Hall in April 2010. The Cleveland Orchestra has recorded the Brahms First Symphony five times: with George Szell in 1957 for Epic (monaural) and in 1966 for Columbia (stereo), with Lorin Maazel in 1975 for London/Decca, with Christoph von Dohnányi in 1986 for Teldec, and in 1991 with Vladimir Ashkenazy for London/ Decca.

TH E M USICAL ARTS ASSOCIATION

as of July 1, 2014

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

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

Norma Lerner, Honorary Chair Hewitt B. Shaw, Jr., 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 Raymond T. Sawyer

RESIDENT TRUS TEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Christopher Hyland James D. Ireland III

Trevor O. Jones Betsy Juliano Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz Nancy W. McCann Thomas F. McKee Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey Katherine T. O’Neill The Honorable John D. Ong

Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner James S. Reid, Jr. Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Hewitt B. Shaw, Jr. Richard K. Smucker R. Thomas Stanton Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner 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 (SC)

Richard C. Gridley (SC) Loren W. Hershey (DC) Herbert Kloiber (Germany)

Ludwig Scharinger (Austria)

TRUS TEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Shirley B. Dawson, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, President, Blossom Women’s Committee TRUS TEES EMERITI Clifford J. Isroff Samuel H. Miller David L. Simon 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 Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert F. Meyerson Allen H. Ford

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, 2008-09 James D. Ireland III 2002-08

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Gary Hanson, Executive Director

Musical Arts Association

The Cleveland Orchestra

THE

CLEVELAND ORCHESTRA

Celebra�ng Life

CelebraƟng Life Music inspires. It for�es minds and electries spirits. It brings people together in mind, body, and soul.

Making Music Inspiring Minds Building Community Changing Lives Paying Forward Serving Northeast Ohio Get Involved Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of sharing the value and joy of music. To learn more, visit clevelandorchestra.com

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CONCERTS

Getting Involved

From free community concerts at Severance Hall and on Public Square in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . . From performances to 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 composi�ons performed by music’s rising stars . . . The Cleveland Orchestra performs all varie�es of music, gathering family and friends together in celebra�on. We commemorate major milestones and honor special moments, providing the soundtrack to each day and bringing your hopes and joys to life.

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ACTIVE PARTICIPATION

Making Music The Cleveland Orchestra passionately believes in the value of ac�ve musicmaking, which teaches life lessons in teamwork, listening, collabora�on, and self expression. Music is an ac�vity to par�cipate in directly, with your hands, voice, and spirit.

A FOCUS ON YOUNG PEOPLE

Changing Lives The Cleveland Orchestra is building the youngest orchestra audience in the country. Over the past ve years, the number of young people a�ending Cleveland Orchestra concerts at Blossom and Severance Hall has more than doubled, and now makes up 20% of the audience!  Under 18s Free, the agship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gi� from the Maltz Family Founda�on), makes a�ending Orchestra concerts aﬀordable for families.  Student Advantage and Frequent FanCard programs oﬀer great deals for students.

 Join ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Fes�val Chorus, and the Cleveland Orchestra Youth Orchestra.  Each year, the Orchestra brings people together in celebra�on 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. Support your school’s music programs and make music part of your life.

 The Circle, our new membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events.  The Orchestra’s KeyBank Fridays@7 series draws new crowds to Severance Hall to experience performances of world music alongside Orchestra concerts.

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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 Cleveland’s ci�zens.

EDUCATION

Inspiring Minds Educa�on 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 poten�al. A child’s educa�on is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied educa�on 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, Educa�on Concerts, and In-School Performances.

 Convening people at free community concerts each year in celebra�on of our country, our city, our culture, and our shared love of music.  Immersing the Orchestra in local communi�es with special performances in local businesses and hotspots during our annual “At Home” neighborhood residencies.  Collabora�ng with celebrated arts ins�tu�ons – from the Cleveland Museum of Art and PlayhouseSquare to Chicago’s Joﬀrey Ballet – to bring inspiraƟonal performances to the people of Northeast Ohio.  Ac�vely partnering with local schools, neighborhoods, and businesses, and with city and state government to engage and serve new corners of the community through neighborhood residencies, educa�on oﬀerings, and free public events.

. . . college students and beyond, with programs including musician-led masterclasses for college students, in-depth explora�ons of musical repertoire, preconcert musician interviews, and public discussion groups.

Summers@Severance

Getting Involved

THE CLEVELAN D ORCHESTRA

A GENEROUS COMMUNITY

PHOTOGRAPHY BY ROGER MASTROIANNI.

Paying Forward

VOLUNTEERS

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

To learn more, visit clevelandorchestra.com Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, educaƟon presentaƟons, and community programs. Each year, thousands of generous people make donaƟons large and small to sustain the Orchestra for this and future generaƟons. Every dollar donated enables The Cleveland Orchestra to play the world’s nest music, bringing meaningful experiences to people throughout our community — and acclaim and admiraƟon to Northeast Ohio.

 Over 80,000 friends of The Cleveland Orchestra parƟcipate in our news, concerts, and performances through Facebook and TwiƩer.  The Women’s CommiƩee of The Cleveland Orchestra and the Blossom Women’s CommiƩee support the Orchestra through service and fundraising. For further informaƟon, please call 216-231-7557.

TO DONATE NOW!

 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.  Three-hundred vocalists volunteer their Ɵme and arƟstry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom FesƟval Chorus each year. To learn more, call 216-231-7372.

Getting Involved

The Cleveland Orchestra

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.

HAILED AS ONE

Summers@Severance

Severance Hall

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.

THE CLEVELAND ORCHESTR A

At the Movies SERIES Three Great Films at Severance Hall

3 great movies!

See all three at prices starting at just $78

OCTOBER 28

DECEMBER 11

FEBRUARY 13

PHANTOM OF THE OPERA*

DISNEY FANTASIA LIVE IN CONCERT

VERTIGO

Todd Wilson, organ

The Cleveland Orchestra conducted by Brett Mitchell

Tuesday at 7:30 p.m.

Enjoy the Halloween season with one of the greatest horror ﬁlms ever made . . . complete with accompaniment improvised live by acclaimed organist Todd Wilson. In this classic 1925 movie about romance and murder, the love-obsessed Phantom (Lon Chaney Sr.) haunts the Paris Opera House in pursuit of Christine (Mary Philbin). The fully improvised score features Severance Hall’s mighty Norton Memorial Organ. *Please note that The Cleveland Orchestra does not appear on this program.

Thursday at 7:30 p.m.

Friday at 8:00 p.m. The Cleveland Orchestra conducted by Brett Mitchell

Millions of people have discovered classical music through Disney’s classic ﬁlms. Now, experience them as never before, with the music performed live by the musicians of The Cleveland Orchestra. The program features selections from both Walt Disney’s original Fantasia (1940) and Disney Fantasia 2000, including “The Waltz of the Flowers” from Tchaikovsky’s The Nutcracker, the iconic Mickey Mouse as he dabbles in magic in Dukas’s The Sorcerer’s Apprentice, and the mythical unicorns and winged horses from Beethoven’s “Pastoral” Symphony (No. 6). Presentation licensed by Disney Concert Library © Disney

Vertigo (1958), with its rich, seductive, and complex musical score, is perhaps the greatest achievement of the legendary partnership between director Alfred Hitchcock and composer Bernard Herrmann. Police detective John “Scottie” Ferguson (James Stewart) is afflicted with vertigo during a rooftop chase in the ﬁlm’s opening scene, resulting in the death of a fellow officer. An old college chum hires Scottie as a private investigator to follow his wife, Madeleine (Kim Novak), who, he says, seems to be possessed by the spirit of a long-dead relative. Scottie becomes increasingly enamored of Madeleine, and observation turns to obsession, until deceitful truths are revealed with tragic consequences.

For series tickets, call 216-231-1111 or visit clevelandorchestra.com SEASON

CLASSIC FILMS WITH LIVE ACCOMPANIMENT

CELEBRITY SERIES