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CLEVELAND ORCHESTRA IN MIAMI

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C L E VAND E L AORCHESTR ND THE CLEVEL A O R C H E ST R A

January 2020 Dear Friends, Welcome to the fourteenth season of The Cleveland Orchestra in Miami, presented in partnership with the Adrienne Arsht Center for the Performing Arts of Miami-Dade County. This annual series of concerts offers the South Florida community performances by one of the world’s finest symphony orchestras — in a celebrated concert hall that is Miami’s own. We’re here to serve you. This year’s two-week residency here in South Florida features two weekends of public concerts, presented alongside a series of Education Concerts for schools and additional community events. The first weekend of evening concerts features Franz Welser-Möst exploring the music of Sergei Prokofiev, with his rarely-heard Second Symphony and music from his extraordinarily beautiful ballet score to Romeo and Juliet. In the second week, Franz presents Mahler’s Fifth Symphony, a big-hearted and deeply-felt work about life, love, and living. As the Orchestra moves forward in the 21st century, we remain committed to a singular mission — sharing unforgettable musical experiences with audiences of all ages. We believe in the power of music to inspire and move people, to enrich lives and bring us together. We are pleased and proud to showcase the Orchestra’s acclaimed artistry each year here in Miami. Your passion for music — and your passion for community — is inspiring. In addition to performing for music-loving communities around the world, The Cleveland Orchestra has always stayed true to its original mandate as an educational resource to reach out to touch the lives of young people. Since, 2007, we’ve presented free daytime concerts for Miami-Dade County Public School students every year. With your support, we are committed to continue engaging young people here in South Florida through concert presentations, musical mentorships, and the life-changing power of music. We’re inspired and invigorated by this annual opportunity to share the artistry of Cleveland’s gifted musicians with you. Our work here in South Florida requires your ongoing support; I hope you will join our family of Miami-area donors (see pages 4-5). Music makes a world of difference each and every day. Be inspired. Enjoy the music!

André Gremillet President & CEO The Cleveland Orchestra

The Cleveland Orchestra in Miami

Welcome

THE CLEVELAND ORCHESTRA IN MIAMI ANNUAL FUND MIAMI The Cleveland Orchestra gratefully acknowledges the donors listed here for their contributions toward performances and programming in Miami.

LEADERSHIP DONORS

FRIENDS

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Mr. Joy Abbott Ms. Marjorie H. Adler Cira Albo Ms. Angela Alfonso Ms. Christine Allen Mr. Claudio Almeida Ms. Maria Anillo Ms. Linda Belgrave Don and Jackie Bercu Randall and Carol Berg Rhoda and Henri Bertuch Mr. Sam Boldrick Dr. María Bustillo Rita and Michael Butterman Ms. Marilyn Cagin Sydney Carpel Ms. Patricia Carroll Ms. Katherine Chouinard Joel Chrycy and Joyce Kory Househ William R. Cranshaw Millard Cummins Wesley Dallas Mr. George Dandridge and Mr. Marcos Tychbrojcher Sandra Darrall Jennie Dautermann Shaun Rogers and Nadine Davey-Rogers Teresa Del Moral Anonymous Shahnaz and Ranjan Duara Bill Durham Eduardo Erana Ms. Melissa Ezra Mr. and Mrs. Murray H. Feigenbaum J. Field Ingrid Fils Rakusin and Benson Rakusin Mr. Marcus Flanagan and Mr. William Flanagan Gail Fleischer Dr. and Mrs. Michael Freundlich Bruce Friesner Mireya Garcia Dr. and Mrs. Edward C. Gelber Joan Getz Ambassador and Mrs. Isaac Gilinski Peter Gold Alvaro Gomez and Cindy Mitch-Gomez Richard Gorden Rafael and Maria Del Mar Gosalbez Robert Govaerts Dr. Pepi Granat David and Karen Gury

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Mr. John Couriel and Dr. Rebecca Toonkel Joseph Z. and Betty Fleming Alfredo and Luz Maria Gutierrez Richard Horvitz and Erica Hartman-Horvitz Foundation Cynthia Knight Maribel A. Piza, P.A. Barbara S. Robinson Drs. Michael and Judith Samuels Donna E. Shalala Sidney Taurel and Maria Castello Branco

$1,000 to $2,499

Paula and Carlos Alvarez Rodney and Linda Benjamin Irving and Joan M. Bolotin John and Christine Carleton James Carpenter, 2 seats (In memory of Christina) Bernard Eckstein Mr. George Feldenkreis and Ms. Marita Srebnick Lenore Gaynor James Kaufman Jonathan and Tina Kislak Dr. and Mrs. Frederick Knoll Eeva and Harri Kulovaara Pamela Garrison Judy and Donnie Lefton Daniel R. Lewis Mr. and Mrs. Carlos Lopez-Cantera Ronald Magers Mrs. and Mr. Tina Portuondo Guillermo and Eva Retchkiman Lawrence H. Rustin and Barbara C. Levin Saul and Mary Sanders Michalis and Alejandra Stavrinides Mr. Eduardo Stern Jaime and Sylvia Sznajder Joni and Stanley Tate Fernando A. Torres Dr. Takeko Morishima Toyama Mrs. Jacqueline B. Traurig Dr. and Mrs. Michael B. Troner Brenton Ver Ploeg Mrs. Henrietta de Zabner

Miami Annual Fund Contributors

2019-20 The Cleveland Orchestra

George and Vicki Halliwell John F. Hamilton Jack and Shirley Hammer Ms. Nicolae Harsanyi Mr. Carlos Heighes Robert D. and Jill Hertzberg Ms. Lisa Hirsch Ms. Barbara L. Hobbs Naphtali Hoffman Roberto and Betty Horwitz Melvin and Vivien Howard Mr. Jason Hoyos Mr. Lawrence R. Hyer Ms. Nancy Jaimes Mr. Thomas M. Jones Jack and Judith Kaufman Meredith Kebaili and Heri Kletzenbauer David and Tammy Keinan Ms. Susan Keplinger Mr. John Kessler Mr. Buddy Klein Mr. Steven Knox Linda Kolko Lisa Kornse and August Wasserscheid Michael Kutsch and Tammy Coselli Robert D.W. Landon, III Wendy G. Lapidus Ivonete Leite Mr. Enrique Lopez and Mrs. Monica Padilla-Lopez Arthur A. Lorch Mrs. Sherrill R. Marks Joan A. Marn Carlos Martinez-Christensen Ignacio Martinez-Ybor Victor Maruri Paul Mass Ms. Masha B. Mayer Robert Mayer Ms. Sara Maymir Robert and Judith Maynes Alvaro and Rosa Mayorga Thomas and Geraldine McClary Carter and Laura McDowell Pauline Menkes Evelyn H. Milledge Gilbert B. Norman Dr. and Mrs. Larry K. Page Ruth M. Parry Harold and Ivy Lewis Stephen F. Patterson Mrs. Beatriz Perez and Mr. Paul Knollmaier Daniel Perez

The Cleveland Orchestra in Miami

Michael Peskoe Ronald and Suzan Ponzoli Diana Porras Thomas J. Porto and Eugene P. Walton Meera Prasad Ramon and Lorena Quesada Ms. Carolee Reiber Ms. Betty Rice Daniel Rodriguez Horacio Rodriguez Virginia Rosen Anna Rossi Robert Rouch Leslie Rowe Karen Rumberg Charles and Linda Sands George and Maria Claudia Savage Mr. Robert Scardino Eugene Schiff Mr. Arnold Schiller Margaret Searcy Dr. and Mrs. Nathan Segel Mr. and Mrs. David Serviansky Mr. Norris Siert Vicki and Bob Simons Henry and Stania Smek Mr. Mark Snyder Ms. Clara Sredni DeKassin Nick and Molly St. Cavish Ms. Marilyn Mackson Stein Ms. Holly Strawbridge Ms. Isobel Sturgeon Mr. Harvey Traison Ms. Alicia M. Tremols Tali and Liat Tzur Ms. Rita Ullman Ms. Carolyn Van Duzer Mr. Gabriel Wachs Ms. Martha B. Wakshlag Mr. William Walker Ms. Miryam Weisberger Mr. Jon M. Wetterlow Ms. Victoria Willard Ms. Jennifer Williams Ms. Martha Wolfgang Mr. Roman Wong Ms. Laura A. Woodside Mr. Christian Wunsch Sora Yelin in memory of Cary F. Yelin Mr. Douglas Yoder Mr. Allan Yudacufski Ms. Eloina D. Zayas-Bazan Anonymous (4)

The Cleveland Orchestra in Miami relies on the generosity of patrons for our continuing success. Your contribution enables The Cleveland Orchestra to present concerts, education programs, and community activities for thousands of citizens across Miami-Dade County. Please consider making a gift today. Call 216-456-8400 or contact us by email at miami@clevelandorchestra.com THE

CLEVELAND ORCHESTRA IN MIAMI

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The Cleveland Orchestra Under the leadership of Music Director Franz Welser-Möst, The Cleveland Orchestra is one of the most sought-after performing ensembles in the world, setting standards of extraordinary artistic excellence, creative programming, and community engagement. The New York Times has declared it “. . . the best in America” and “America’s most understatedly amazing orchestra” for the group’s virtuosity, humility, self-confidence, elegance of sound, variety of color, and chamber-like musical cohesion. Strong community support from across the ensemble’s home region is driving the Orchestra forward with renewed energy and focus, increasing the number of young people attending concerts, and bringing fresh attention to the Orchestra’s legendary sound and committed programming — including annual opera performances. Recent acclaimed presentations have included Debussy’s Pelléas and Mélisande (May 2017), a doublebill of Bartók’s Miraculous Mandarin and Bluebeard’s Castle (April 2016) presented in collaboration with Chicago’s Joffrey Ballet, and an innovative mixed-media production of Janáček’s The Cunning Little Vixen (given encore performances in Cleveland and Europe during in 2017). The current 2019-20 season features in-cocnert performances of Alban Berg’s opera Lulu in May, surrounded by a festival titled “Censored: Art & Power” to explore the role of art in society, government censorship, and prejudice — taking as a starting point the Degenerate Art & Music movement in Nazi Germany. The partnership with Franz Welser-Möst, begun in 2002 and now in its 18th year, has earned The Cleveland Orchestra unprecedented residencies in the U.S. and around the world, including at the Musikverein in Vienna, the first of its kind by an American orchestra. It also performs regularly in New York and Miami, and at the Salzburg and Lucerne Festivals. The traveled to China in spring 2019, and will be the first American orchestra to perform in the Abu Dhabi Festival (April 2020). The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. Welser-Möst continues to add to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s earlier music directors. In addition, Cleveland Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe. Seven music directors — Nikolai Sokoloff, Artur Rodzinski, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — along with nearly a half-century working with famed conductor Pierre Boulez, have guided and shaped the ensemble’s growth and sound since its founding in 1918. Through concerts at home and on tour, via radio broadcasts and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a broad and growing group of fans around the world. For more information, visit www. clevelandorchestra.com.

The Orchestra

2019-20 The Cleveland Orchestra

Support the music & musicians you love!

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Join our South Florida donor family and support extraordinary musical performances and music education programs in your community.

To learn more, visit clevelandorchestra.com/donate For more information, contact: Joshua Landis, Manager of Individual Giving phone: 216-456-8400 email: annualgiving@clevelandorchestra.com

T H E

C L E V E L A N D

Franz Welser-Möst MUSIC DIREC TOR

CELLOS Mark Kosower *

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose* FIRST VIOLINS Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani

ASSISTANT CONCERTMASTER

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan Zhan Shu

Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard2 Helen Weil Ross Chair

Emilio Llinás2 James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin Chair

Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss1

Charles M. and Janet G. Kimball Chair

Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Musicians

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

Kevin Switalski2 Scott Haigh1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble* Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

2019-20 The Cleveland Orchestra

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

Saeran St. Christopher Jessica Sindell2 Austin B. and Ellen W. Chinn Chair

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

OBOES Frank Rosenwein* Edith S. Taplin Chair

HORNS Nathaniel Silberschlag* George Szell Memorial Chair

Michael Mayhew

Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

Sharon and Yoash Wiener Chair Everett D. and Eugenia S. McCurdy Chair

Robert and Eunice Podis Weiskopf Chair

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

Robert Walters

Michael Miller

ENGLISH HORN Robert Walters

CORNETS Michael Sachs*

Samuel C. and Bernette K. Jaffe Chair

Mary Elizabeth and G. Robert Klein Chair

Michael Miller CLARINETS Afendi Yusuf* Robert Marcellus Chair

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

Daniel McKelway2 Robert R. and Vilma L. Kohn Chair

E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASSOONS John Clouser*

TROMBONES Shachar Israel2 Richard Stout Alexander and Marianna C. McAfee Chair

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

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees2 Sandra L. Haslinger Chair

Jonathan Sherwin

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

TRUMPETS Michael Sachs*

Corbin Stair Jeffrey Rathbun2

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Vinay Parameswaran ASSISTANT CONDUCTOR

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

Tom Freer 2

CONTRABASSOON Jonathan Sherwin

The Cleveland Orchestra in Miami

Mr. and Mrs. Richard K. Smucker Chair

The Musicians

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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

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

Franz Welser-Möst is among today’s most distinguished conductors in the world. The 201920 season marks his eighteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership recently extended to 2027 — making him the longestserving leader in the Orchestra’s history. Praise for this ongoing partnership continues to grow, with the New York Times calling the ensemble with Welser-Möst “America’s most brilliant orchestra,” “virtually flawless,” and “one of the finest ensembles in the country (if not the world).” Under his direction, The Cleveland Orchestra has been repeatedly praised for its extraordinary music-making, as well as its inventive programming, its ongoing support for new musical works, and for its innovative approach to semi-staged and staged opera presentations. An imaginative approach to juxtaposing newer and older works in concert and as festivals has opened new dialogue and fresh insights for musicians and audiences alike. The Orchestra has also been hugely successful in building up a new and, notably, a young audience through groundbreaking programs involving students As a guest conductor, Mr. Welser-Möst enjoys a particularly close and productive relationship with the Vienna Philharmonic. He has twice appeared on the podium for their celebrated New Year’s Concert, and regularly conducts the orchestra both at home in Vienna and on tour. He also appears with several of the world’s other acclaimed ensembles, with guest conducting appearances during the 2019-20 season include performances of Strauss’s Die Aegyptische Helena at Milan’s Teatro alla Scala, and concerts with the New York Philharmonic, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony, Amsterdam’s Royal Concertgebouw Orchestra, and the Royal Stockholm Philharmonic. He is also a regular guest at the Salzburg Festival. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions. He had previously led the Zurich Opera for a decade. Mr. Welser-Möst was awarded awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts in recognition of his long-lasting impact on the international arts community. Other honors include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.

Franz Welser-Möst

2019-20 The Cleveland Orchestra

PHOTO BY CARL JUSTE / IRIS COLLECTIVE

The Cleveland Orchestra 2019-20

January 26 â&#x20AC;&#x201D; Concert Preludes

The Last Kiss of Romeo and Juliet, painting by Francesco Hayez, 1823.

THE CLEVELAND ORCHESTRA IN MIAMI John S. and James L. Knight Concert Hall Sherwood M. and Judy Weiser Auditorium

Presented in partnership with the

The Cleveland Orchestra Franz Welser-Möst, conductor

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Adrienne Arsht Center for the Performing Arts of Miami-Dade County

Friday evening, January 17, 2020, at 8:00 p.m. Saturday evening, January 18, 2020, at 8:00 p.m.

SERGEI PROKOFIEV (1891-1953)

Symphony No. 2 in D minor, Opus 40 1. Allegro ben articolato 2. Theme and Variations: Andante — Variations 1-6 — Theme INTERMISSION

Romeo and Juliet, Acts 3 and 4, Opus 64 Introduction: No. 37: Andante — Scene Six: No. 38: Romeo and Juliet (Juliet’s Bedroom) — No. 39: Farewell Before Parting — No. 40: The Nurse — No. 41: Juliet Refuses to Marry Paris — No. 42: Juliet Alone — Interlude: No. 43: Adagio — Scene Seven: No. 44: At Friar Laurence’s — Interlude: No. 45: L’istesso tempo — Scene Eight: No. 46: Again in Juliet’s Bedroom — No. 47: Juliet Alone — No. 48: Morning Serenade (Andante giocoso) — No. 49: Dance of the Girls with Lillies (Andante con eleganza) — No. 50: At Juliet’s Bedside Scene Nine: No. 51: Juliet’s Farewell — No. 52: Death of Juliet

The Cleveland Orchestra 2019-20

Program: January 17, 18

In my view, the composer, just like the poet, the sculptor, or “Though he was regarded as impossibly avant-garde painter, is duty bound to serve huin his youth, Sergei Prokofiev belongs squarely to

manity. He must beautify life and

the same great tradition of Russian music as Tchai-

it. best-known He must be ascores citizen first kovsky and Mussorgsky.defend . . . His are written in an immediately recognizable style and foremost, so that his art can that reconciles progressive technique with melodic

consciously extol human life.

directness, and rank among the most enjoyable of all 20th-century compositions.”

—Sergei Prokofiev

—Rough Guide to Classical Music

2019-20 The Cleveland Orchestra

January 17, 18

INTRODUCING THE CONCERT

Invention & Dance

S E R G E I P R O K O F I E V took more time than many composers

to find his own style and voice. Or perhaps more accurately, he had several different voices to find, and he kept finding himself anew. His music evolved across his lifetime — yet remained recognizably himself. Early on, his music was wildly unexpected. His was an enfant terrible. He then grew up and became elegantly refined, only to regress to shocking new noises and ideas. He found that audiences and critics reacted unpredictably (and differently in different cities or countries), as did his friends and professional acquaintances. He found himself, in a sense, often in the wrong place. America panned his Third Piano Concerto, while Europeans loved it. Paris was cold to the premiere of his First Violin Concerto, but Moscow embraced it wholeheartedly less than a week later. On his early travels to America, he found us a desert for modern music, only to return to Europe as jazz and experimentation erupted in the New World he’d left behind as barren. His biggest contradiction in life, however, was on the idea of home. Where was his true home? He rejected communism’s coming to power in his birthplace Russia, but found the West confusing and unalluring. The Soviet Union beckoned him back, through a veil of misunderstanding as to just what the country had changed into. The Communist government alternately applauded and chastised his new musical creations, causing him concern, confusion, and ill health. This week’s concerts present two rather different sides of Prokofiev’s art. His Second Symphony, premiered in 1925, is alarmingly noisy and, at times, startlingly chaotic. The ballet Romeo and Juliet, from a decade later, is filled with order and melody. Both works, however, breathe with power and surging forcefulness. Both are Prokofiev. Prokofiev’s music can almost always be counted on for balance and contrast — mixing irony with romanticism, or juxtaposing flashiness with introspection. He was constantly trying out new ideas and experimenting, never satisfied merely with a beautiful tune or phrase. Always, lurking beneath, there is the other side of his musical coin. Heads, tails . . . the unexpected. —Eric Sellen

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Introducing the Concerts

Sergei Prokofiev born April 23, 1891, in Sontsivka, Ukraine died March 5, 1953, in Moscow

Born just before the start of the 20th century, Sergei Prokofiev’s talents as a pianist and composer propelled him to worldwide acclaim. His music bridged the divide between pre-Revolutionary Russia and the Stalinist Soviet era. He spent considerable time in exile in the 1920s and ’30s, before returning to his homeland, probably without fully understanding how different everyday living had become due to the communist form of government. He breathed new life into older musical forms, including the symphony, A sketch of Prokofiev, drawn in 1928 by Henri Matisse.

sonata, and concerto — and wrote prolifically in many other genres as well. He suffered criticism from the Soviet censors for some of his experimentation but, like his compatriot Shostakovich, wrote veiled resistance to official decrees into his music. His film, opera, and ballet scores brought him acclaim, as did his gift for melody, strong rhythmic statements, inventive scoring, and an ability to create or change an atmospheric soundscape almost instantly through choices of orchestration and coloring. His symphonies are often underrated, and can surprise today’s audiences with their power, force, and beauty.

Composer

2019-20 The Cleveland Orchestra

January 17, 18

Symphony No. 2 in D minor, Opus 40 composed 1924-25

At a Glance Prokofiev wrote his Symphony No. 2 in 1924-25 during what the composer described as “nine months of frenzied toil.” It was premiered in Paris on June 6, 1925, conducted by Serge Koussevitsky. This symphony runs about 35 minutes in performance. Prokofiev scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clari-

net, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, castanets, tambourine, triangle), piano, and strings. The Cleveland Orchestra is presenting Prokofiev’s Second Symphony for the first time with this weekend’s concerts in Miami.

Sergei

PROKOFIEV born April 23, 1891 Sontsivka, Ukraine died March 5, 1953 Moscow

About the Music P R O KO F I E V ’ S S E C O N D S Y M P H O N Y is a magnificent ex-

ample of the craze for “machine music” that gripped composers — and the public — in the 1920s. Steam trains had been represented in songs and piano pieces since their invention, but the idea of noise as an aesthetic concept belongs wholly to the period after World War I, when mechanisms of progress and industrialization — including aeroplanes, motor cars, and factories — suddenly provided modernist composers with a fresh source of inspiration. The craze was especially virulent in France and Soviet Russia, offering up some incredible works, noises, and sounds. Machine music was, in many ways, in direct conflict with the ideals of 19th-century Romanticism and turn-of-the-century Impressionism. Its deliberate noisiness and its inescapably rhythmic beat were intoxicating elements — and a direct answer against earlier, lusher music. Some composers, especially in Italy, explored non-musical noises, including foghorns, sirens and whistles. While Soviet composers were encouraged to applaud the work of hydroelectric dams and large-scale machines in the guise of orchestral music. In the meantime, French musicians favored making traditional instruments imitate clocks, hammers, and other mechanics or tools. Ravel wrote an article titled “Finding Tunes in Factories.” (Of course, there were some precedents, from the anvils in Verdi’s famous “Anvil Chorus” or in Wagner’s opera Das Rheingold, or the shoe cobbling of Hans Sachs in Act Two of Die Meistersinger. But those were simple devices of everyday use, be-

The Cleveland Orchestra in Miami

About the Music

Swiss composer Arthur Honegger wrote his famously mechanistic work “Pacific 231” in 1923. In it, he used the instruments of the symphony orchestra to portray the steam, hiss, clang, and power of a locomotive in a journey from one station to the next. Prokofiev’s Second Symphony was directly inspired by the force and fury of such “machine.” (“Pacific” refers to a specific wheel configuration of steam locomotives, commonly shorthanded as 4-6-2.)

fore the interlocking mechanisms of gears, furnaces, or waterworks, increased the noise effect of industrial machinery manyfold.) American composer George Antheil toured London, Berlin, and Paris in 1922-23, giving concerts that included compositions with titles including Mechanisms and Airplane Sonata. At the time, Swiss composer Arthur Honegger was completing his famous Pacific 231, which represents a mighty steam locomotive getting up speed and, at the end, braking to a halt. It first “pulled out of the station” and got underway at a concert in Paris under Serge Koussevitsky’s baton on May 8, 1924. Honegger and Prokofiev were friends. Both had recently visited Russia, and both were alert to the latest aesthetic trends. Directly inspired by Honegger’s pieces, and by the many new musical ideas and experimentation that were happening at the time, Prokofiev composed his Second Symphony, describing it in a letter as his symphony “of iron and steel.” The music was not specifically related to machines, but was clearly inspired by the era’s cult of and fascination with mechanistic rhythm and brutal noisiness. LISTENING TO THE MUSIC

All that said, hold on to your seats and don’t let the music’s violence scare you! Its unrelenting rhythm, its heavy textures, and its loudness are reinforced by intense dissonance, with crunching harmony high in the trumpets or low in the trombones or everywhere all at once. Think of it, yield to it as an experience. This is music that is exhilarating and exciting. All in all, it is a virtuoso performance in audacity and cheek. The better an orchestra manages to play its challenges, the clearer the line is drawn between music and noise. Much of the point was, in fact, to signal that this is modern music. The year was 1925, and this was Prokofiev proving that he can be more advanced — or brutally noisy and clankeryAbout the Music

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clangy-bangy — than Stravinsky. That he could, in short, shock the intelligentsia as well as the bourgeoisie. Of course, not even in the first movement can the heavy artillery keep firing throughout. There is a short, very short moment where the tempo slackens, and later, some longer moments where the texture thins. Yet with only one or two prominent thematic ideas — a downward glissando in the trumpets, the octave leaps in the violins — the music is powered not by themes and keys, as a conventional symphony might be, but by power itself. Why Prokofiev chose to model the second movement as a theme and variations is a mystery, for although it provides some welcome repose after the bludgeoning of the first movement, the new mood does not last — and soon again every opportunity for renewed violence is siezed. (Some commentators have suggested that Prokofiev modelled the Second Symphony on Beethoven’s final Piano Sonata, Opus 111, in key structure and the use of a theme and variations format. Franz Welser-Möst says he is reminded of yet a different Beethoven sonata, the Hammerklaiver, Opus 106, for the kind of wild and audacious experimentation that Prokofiev — and Beethoven — pursued in these two pieces.) The musical theme or melody/motif of the second movement, begun by the oboe, is long and elegant, not unlike some themes in Prokofiev’s later symphonies. Its comfortable harmony is welcome. In the first variation, the theme is heard in the lower strings, with delicate counterpoints wandering above and below it. The second variation is more inventive, with some remarkable textures in the strings. In the third variation, a quicker tempo is reached. There are hints of forceful dissonance, but the temperature is largely under restraint. The fourth variation is a beautiful Larghetto. Yet this is the last chance for our ears to enjoy a peaceful resolution, because the fifth variation brings back the main sense of madcap activity and crunching dissonance, which was apparently merely taking a brief break. Things intensify even more in the sixth variation, which builds to the most overwhelmingly brutal climax of all. In the midst of such turmoil, the theme can be heard, shouted out by trumpets and horns. The return of the theme itself offers much needed consolation (for our ears and minds), and the music ends on a magically The Cleveland Orchestra in Miami

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mysterious chord in the strings, played pianissimo. SY M P H O N Y BY SY M P H O N Y

Looking across his seven symphonies, Prokofiev’s first was the charming, polished Classical Symphony of 1917 — with its small orchestra and echoes of Haydn. It banished, for a time, the composer’s reputation as the enfant terrible of his youth, derived from his daring piano concertos and outrageous early works. In the Second Symphony, however, the terrible child is back, smashing his toys with abandon and relish. The remainder of his symphonies were different in turn, with No. 3 and No. 4 both adapting elements from music he had originally written for the stage. They were, in many senses, extended suites of music from works that had not succeeded as opera or ballet — yet in pure symphonic form, Prokofiev made them into well-crafted and startling pieces. The Fifth Symphony followed in 1944-45, and is often seen as Prokofiev’s contribution toward the Soviet nation’s fightagaist Nazi Germany in World War II; this is music filled with introspection, struggle, and heroism. The Sixth, written soon after the war, commemorates both the victory and the cost of so many killed. Finally came Symphony No. 7, premiered in 1952 the year before he died. Its four movements are, in many ways, the closest Prokofiev came to creating a “normal” symphony in direct lineage from its 18th century roots, from Germanic Haydn and Beethoven to Tchaikovsky and modern, 20th-century Prokofiev. —Hugh Macdonald © 2020

Prokofiev loved playing chess — and in his youth won some occasional tournaments.

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January 17, 18

Acts 3 and 4, from Romeo and Juliet, Opus 64 composed 1934-35

At a Glance

Sergei

PROKOFIEV born April 23, 1891 Sontsivka, Ukraine died March 5, 1953 Moscow

Prokofiev wrote his ballet score Romeo and Juliet in 1934-35. Although started at the suggestion of Leningrad’s Kirov Theater and completed as a commission for Moscow’s Bolshoi Theater, both companies declined to present the ballet and the score was left unperformed. Several selections were instead premiered at a symphony concert in Moscow in October 1935. Prokofiev subsequently prepared two suites of numbers, and a third suite several years later, for use in the concert hall. They were premiered in November 1936 (Suite No. 1), April 1937 (No. 2), and March 1946 (No. 3). The four-act ballet was staged for the first time in 1938 in Brno, Czechoslovakia. The music for Acts Three and Four together run about 55-60 minutes in

performance. Prokofiev’s score calls for piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, tenor saxophone, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, cornet, 3 trombones, tuba, timpani, percussion (snare drum, triangle, cymbals, bass drum, tambourine, xylophone, bells), harp, piano, and strings. The Cleveland Orchestra first presented music from Prokofiev’s Romeo and Juliet in 1946. The music has been presented with increasing frequency since that time, most recently in Cleveland in 2016 and 2019. Franz WelserMöst will conduct performances of the complete ballet in April 2020 as part of this year’s Abu Dhabi Festival and featuring dancers of the American Ballet Theatre, with choreography by Kenneth MacMillan.

About the Music A F T E R F I F T E E N Y E A R S away from his homeland, spent mostly in France and the United States, Prokofiev felt a complicated urge to return to Russia. Just how much he really understood the Soviet system and lifestyle then in place is a vexed question, for even if he knew that the liberal attitude to the arts that characterized the early years of the Revolution was no longer apparent, he can hardly be blamed for failing to foresee the full extent of Stalin’s repressive rule. By 1936, when Prokofiev’s family finally settled in Moscow, the signs of harsh times ahead were clear, but in 1933, as he felt the pull homeward, he was accepting commissions from inside Russia and paying more frequent visits there with good prospects of productive years ahead. The Kirov Theater in Leningrad wanted a new ballet from Prokofiev, recognizing his gifts as a ballet composer already evident in The Steel Step (1926), The Prodigal Son (1929), and On the Dnieper (1931) — all successfully premiered in Paris. As a subject, Prokofiev suggested Romeo and Juliet. The The Cleveland Orchestra in Miami

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Kirov was unhappy with the idea, so he signed a contract with Moscow’s Bolshoi Theater instead. Here too there were difficulties, however, because it was thought improbable that the dying lovers should dance. A happy ending was the first solution, and with this unlikely dénouement, the score was completed in the summer of 1935. But the happy ending was rejected by Soviet censors and the ballet as a whole viewed as unsuitable for dancing. With no immediate prospect of a staged performance, Prokofiev revised the whole work and made two orchestral suites from the 52 numbered sections which make up the ballet. Each of his suites featured seven of these movements. He also arranged ten pieces for piano. The public first heard this music in concert, in the form of the composer’s suites. The ballet was eventually staged for the first time in the city of Brno, then part of Czechoslovakia, in December 1938. It was staged at the Kirov Theater in January 1940. (Prokofiev made a third suite, with six movements, in 1946.) Despite the challenges surrounding its birth, Prokofiev’s Romeo and Juliet ultimately became a triumph around the world, challenging dancers and choreographers in its storytelling, but with great passion and melody carrying its music forward, and justly capturing the dramatic tragedy as it unfolds. In the concert hall, or danced onstage, it has become one of Prokofiev’s signature scores. THE MUSIC

“The Kiss” — a Romantic painting by Francesco Hayez, from 1859.

Prokofiev had a natural gift for ballet music, with an easy command of brittle rhythms and memorable melodies, some of which cover several octaves. He was not afraid to compose in clear-cut phrases, while his essentially tonal language is speckled with piercing dissonances, like unique and attractive “blemishes” in a Persian rug. The ballet’s orchestration is a marvel, with every color brilliantly blended and every instrument shown at its best. The accompanying music is often in a staccato style (notes detached and clearly articulated). The breezy, nonchalant style of much of the music can quickly be touched with more tragic feelings — a gift that Shakespeare himself displayed in Romeo and Juliet and other plays. About the Music

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Prokofiev’s scenario follows the play selectively, omitting certain scenes, most notably the scene of reconciliation at the end. Act One of the ballet covers the first two acts of Shakespeare’s play, with the ball at the Capulets used as a central focus, where Romeo (in disguise) espies Juliet for the first time and falls hopelessly in love. The act concludes with the famous balcony scene. Act Two shows everyone at public festivities, with Count Escalus trying to settle the feud between the Capulets and Montagues. Five couples dance, offering truce. Romeo and then Juliet each visit Friar Laurence to confess their love. The families quarrel in public. Romeo’s friend Mercutio is killed by the Capulet Tybalt. Romeo strikes revenge by killing Tybalt (Juliet’s first cousin), enflaming the tensions between the two familes. Acts Three and Four continue the story, carrying the lovers’ tale forward through their only night together, Juliet’s forced betrothal to Paris (cousin to Mercutio and Count Escalus), the plan to fake her death, and the tragedy of Romeo and Juliet dying together in embrace. Act Three. No. 37 — Introduction: A scream of pain, offset by almost inaudible strings, creates a brilliant effect, dark with tragedy. Scene Six. No. 38 — Rome and Juliet (Juliet’s Bedroom). The flute is prominent, again being Juliet’s signature instrument. Romeo is there for their first and last night together. Both would like the night to last forever. No. 39 — Farewell Before Parting. Eventually Romeo has to leave. Their farewell is captured in an elegant cadential phrase, which is heard over and over again, sometimes for string quartet. A viola solo is full of pathos. A saxophone reinforces the return of one of Romeo’s tunes. A broad tune from the Introduction closes the movement. No. 40 — The Nurse. She warns Juliet that her parents intend her to marry her cousin Paris, thus bringing into the scene the Capulets’ music. No. 41 — Juliet Refuses to Marry Paris. Her determination is expressed by rushing upward scales. Her parents are equally determined, and prevail in the end with painful firmness. No. 42 — Juliet Alone. Her wretched state of mind, and her predicament, are embodied in this moving Adagio. The Cleveland Orchestra in Miami

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18th century lithograph showing the famous stage couple David Garrick and George Anne Bellamy portraying Romeo and Juliet onstage, in the tomb vault.

No. 43 — Interlude. Surging phrases for the whole orchestra with a strong melody for the horns. Scene Seven. No. 44 — Friar Laurence’s Cell. Divided cellos set the scene. Juliet enters, and their two melodies exchange in conversation. He has to reassure her. When he gives her his secret potion, the bass clarinet, contrabassoon, and tuba lay out the theme that might represent a mere sleeping draft, but more truthfully carries death. Juliet leaves with hope in her heart. No. 45 — Interlude. A heavy tune in the bass alternates with the sweeter cadential phrase. Scene Eight. No. 46 — Again in Juliet’s Bedroom. Celesta, harp, tambourine, and triangle support a tune for flute and glissando violas. Mother and nurse prepare her for her betrothal to Paris. Paris tries to win her affection. No. 47 — Juliet Alone. Over a slow, recurring ostinato bassline, a high basoon and a flute paint Juliet’s despair. Defiant, she takes Friar Laurence’s potion. No. 48 — Morning Serenade. The preparations for Juliet’s wedding to Paris are represented by mandolins, a piccolo, a solo violin, and three trumpets. No. 49 — Dance of the Girls with Lilies. The girls decorate her room. A solo violin tops some delicious intimate orchestral textures. No. 50 — At Juliet’s Bedside. Mother and nurse come to wake Juliet, bringing the bridal dress, but Juliet appears to be dead. Act Four. Scene Nine. No. 51 — Juliet’s Farewell. The potion music has become the theme of death, interspersed with the lovers’ themes. No. 52 — Juliet’s Death. She wakes up, only to find that Romeo, in despair at what he took to be her death, has killed himself. She can only do the same. She dies holding Romeo in an embrace, while a silent crowd gathers. —Hugh Macdonald © 2020 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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My My Super SuperBowl Bowl Michael Sachs, Sachs, Principal Trumpet bybyMichael Principal Trumpet When it comes to culture and entertainment, few cities have set the bar as high as Miami. Every night you have a million options for where to go, who to see, what to do . . . and one thing is for sure, you expect the best. Whether you’re hosting the 2020 Super Bowl or The Cleveland Orchestra, you value extraordinary experiences that inspire joy and touch hearts. This year, I am thrilled to return to the Arsht Center stage with one of my favorite pieces of all time: Mahler’s Symphony No. 5. That piece is my Super Bowl. To say Mahler’s music is filled with passion barely scratches the surface – and you can say the same for our South Florida family. Your passion for music – and your passion for your community – is inspiring. When you give to The Cleveland Orchestra in Miami, you bring music performed at the highest level of artistic excellence to your friends, your family, and your neighbors. Before a recent rehearsal of Mahler’s 5th this fall, I asked our new Principal Horn player, 21-year-old Nathaniel Silberschlag, “Is there anywhere else you would rather be than right here, right now?” But I already knew the answer. Of course not! And now, we get to do it all over again: this time just for you. This piece means a lot to me – it has carried me through difficult times in life, and also marked happy ones. When you hear it, it will be my 12th series of performances of this masterwork. So when the stage lights dim and I look out and see you in the audience, I know there is no place in the world I would rather be. I hope you feel the same. Thank you for breathing life into this orchestra, and for enabling us to share powerful musical experiences with thousands of South Floridians every year.

Support artistic excellence in South Florida with your gift to The Cleveland Orchestra in Miami today! Visit clevelandorchestra.com/donate or contact Joshua Landis: phone: 216-456-8400 email: donate@clevelandorchestra.com

At just four years old, young Michael Sachs knew he wanted to play the trumpet, but found out he couldn’t start until his front teeth came in! At six and a half, he finally got his hands on one – and never looked back. Michael loves this photo from his childhood because “besides the puffed out cheeks,” his expression remains the same all these years later.

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THE

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Painting of Mahler, sitting one evening near a fireplace, by the Finnish artist Akseli Gallen-Kallela, 1907

THE CLEVELAND ORCHESTRA IN MIAMI John S. and James L. Knight Concert Hall Sherwood M. and Judy Weiser Auditorium

Presented in partnership with the

The Cleveland Orchestra Franz Welser-Möst, conductor

2O19 -2O2O

Adrienne Arsht Center for the Performing Arts of Miami-Dade County

Friday evening, January 24, 2020, at 8:00 p.m. Saturday evening, January 25, 2020, at 8:00 p.m.

GUSTAV MAHLER (1860-1911)

Symphony No. 5 PART I

1. Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt. [Funeral March: At a measured pace. Strict. Like a procession.] 2. Stürmisch bewegt, mit grösster Vehemenz [Moving stormily, with greatest vehemence] PART II

3. Scherzo: Kräftig, nicht zu schnell [Vigorously, not too fast] solo horn: Nathaniel Silberschlager PART III

4. Adagietto: Sehr langsam [Very slow] 5. Rondo-Finale: Allegro — Allegro giocoso. Frisch [Fresh] The symphony is presented without intermission and will run about 65 minutes in performance.

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Program: January 24, 25

If a composer could say what he had to say in words, he would not bother trying to say it in muisc. â&#x20AC;&#x201D;Gustav Mahler

January 24, 25

INTRODUCING THE CONCERT

Mahler: Living, Life& Love T H I S W E E K ’ S C O N C E R T S feature a big symphony by Gustav Mahler.

Of the many he wrote, this one is among his best known, especially for its emotionally drawn fourth movement for harp and strings. From the opening funeral march to the joyfilled ending, this is what music — and life — are all about. Mahler’s Fifth Symphony is intangible. By the time of its premiere in 1905, IN A NUTSHELL . . . he believed that his music must be heard on its own, without explanation. Early on, PART ONE (25 minutes) when just beginning the Fifth, he wrote to 1. Funeral March a friend that this music has “nothing romanC-sharp minor = funeral march tic or mystical about it; it is simply an expresFilled with anguish and wailing, sion of incredible energy.” mourning the loss of a life gone. Yet listening to this great work, most 2. Stormily audiences sense that, clearly, it is about A minor = confusion and grief something. Its highs and lows trace a The anguish continues, igniting course of emotional whirlwinds and eddies. uncertainty, hope, and despair. That famous fourth movement may be a PART TWO (20 minutes) love song, or an ode to the newfound love 3. Scherzo Mahler had for his wife. And we know, from D major = acceptance and success the tempo marking, that the opening is like An animated dance, sorting through a funeral march. Funeral, love, joy . . . ? life’s pleasures, filled with sarcasm From Franz Welser-Möst’s viewpoint, and humor, conflict and joy. one way to think about this symphony is as PART THREE (25 minutes) an “inverse” of life. In this, the movements 4. Adagio touch on life’s stages in reverse order: 1. fuF major = a poetic view of life neral — 2. pain and regret — 3. a life in full A gentle acknowledgement of life’s swing — 4. falling in love — 5. the playfuleveryday joys and companionship. ness and carefree joy of childhood. 5. Rondo-Finale Many differing views about this symD major = jubilant affirmation phony have been voiced across the years. Celebrating life’s potential. Few who hear it can deny being moved by its incredible mixture of characteristics and musical calls. It is in turn powerful, tender, chaotic, exuberant, uncertain, and dramatic. The Fifth is, indeed, about life and living.

Mahler 5

—Eric Sellen

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Introducing the Concerts

Did you know? Your company can share the stage with The Cleveland Orchestra during our annual residency at the Adrienne Arsht Center for the Performing Arts in Miami-Dade County. For corporate sponsorship opportunities, contact: Michelle Devine, Director of Institutional Giving phone: 216-231-7518 email: mdevine@clevelandorchestra.com

PHOTO BY ROGER MASTROIANNI

January 24, 25

Symphony No. 5 composed 1901-02, revised 1904, 1907-10

At a Glance

Gustav

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

Mahler composed this symphony during the summers of 1901 and 1902, although he continued to make revisions throughout the remainder of his life. The first performance took place in Cologne on October 18, 1904, under Mahler’s direction. The first performance in the United States took place on March 25, 1905, with Frank van der Stucken conducting the Cincinnati Symphony Orchestra. This work runs about 70 minutes in performance. Mahler scored this symphony for 4 flutes (third and fourth doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third

doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, triangle, cymbals, slapstick, tam-tam, glockenspiel), harp, and strings. The Cleveland Orchestra first performed Mahler’s Fifth Symphony at concerts in December 1952 under the direction of William Steinberg. The most recent performances by the Orchestra were at Severance Hall in Cleveland and at Carnegie Hall, led by Franz Welser-Möst in October 2019.

About the Music W H A T O R H O W M U C H does one need to know in order to

understand a piece of music? — simply to enjoy the music? To appreciate the meaning behind or within the music? Does it help to know what the composer was thinking? Or what was happening in the composer’s life at the time? Gustav Mahler offered “programs” (or storylines) for his early symphonies, up through No. 4, trying to tell audiences what each was “about.” This was common at the time, at the end of the Romantic 19th century, when, it was thought, that feelings and meanings and stories were all wrapped up together. At a time when Richard Wagner’s operas had been fully accepted not just as music but as allegories about life. Most people hearing Mahler’s early symphonies in their first performances were confused, perplexed, titillated, unamused, even offended. For his part, Mahler was frustrated and disappointed that his explanations didn’t seem to help people appreciate his music. What of us listening tonight, this weekend? Some few in the audience — 10%? 20%? — are hearing Mahler’s Fifth Symphony for the very first time. The rest of us can and should envy you, because, as with any number of other first-times in life, the music, the experience can be moving and life-changing and ex-

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hilarating in that newness. Just as it was for Mahler in the writing. We know incredible amounts of information and detail about Mahler’s life. There are tens of thousands of documents . . . letters, recounted conversations, diaries by others about him, business papers, newspaper reviews and discussions. Included in these are Mahler’s own comments about the Fifth Symphony, which largely are about the music itself and NOT about its meaning. His public insistence, from the Fifth Symphony onward that programmatic or storyline explanations of his music were inadequate, if not misleading. All that said, if you’d rather experience the music as it comes to you, close this program book now and think about something else. Or visit quietly with your seatmate (assuming that the concert hasn’t already begun). On the other hand, if background and context help give you perspective, continue reading — keeping in Mahler conceived mind that, ultimately, all music, all art, is a personal exhis Fifth Symphoperience, interpreted solely by each individual. Make of ny in three parts, it what you will; it is yours for the taking.

built around the central Scherzo (movement 3). Like Beethoven’s famous Fifth, Mahler’s symphony’s music takes a journey from darkness to light.

WRITING THE FIF TH SYMPHONY

Mahler wrote his Fifth Symphony over the course of two summers, in 1901 and 1902. He drafted the first two movements in 1901 along with much of the central Scherzo. He finished the symphony the following summer, writing both the Adagio and the finale, as well as tidying up and working on details across all five movements. Many big things happened in Mahler’s life in the years just prior to 1901, and, importantly, between the two summers during which he wrote the Fifth Symphony. In 1897, he reached his life’s goal of being appointed director of the Vienna Court Opera (today’s Vienna State Opera). There he was making wholesale changes to how operas were presented — with his efforts and achievement increasingly acclaimed. He’d also been chosen to lead the concerts of the Vienna Philharmonic, starting in 1898. This was less successful overall. His conducting was applauded, but the politics of the job — the Philharmonic chooses its own conductor — were ultimately too difficult and time-consuming. Thus, in the autumn of 1901, he allowed himself not to be reelected for the next season of Philharmonic concerts. Mahler was also devoting an increasing amount of time to guest-conducting engagements, including the world premiere per-

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formances of his Fourth and Third symphonies, in November 1901 and June 1902, respectively. The lack of understanding and bewilderment by audiences (and critics and musicians) for his Fourth upset him. But the Third was given a warm embrace, buoying Mahler’s spirts. In February 1901, before beginning the Fifth Symphony, he suffered a severe digestive hemorrhage. Emergency surgery saved his life, but this close call with death caused an emotional upheaval — so that he understood, perhaps for the first time, for real, that life was a finite number of years, days, hours, minutes. Wasted time was lost time, never to be regained. Most important, between the two summers of writing the Fifth Symphony, Mahler fell in love. Her name was Alma Schindler, a young woman half his age. Within weeks, they agreed to marry, and were expecting their first child when they married in March 1902, four months after they first met. THE MUSIC

Life was complicated, for Mahler just like the rest of us. And the many moods of Mahler’s music do not always match the joy or sorrow in his life at the time. Like most composers, he could create sad music in times of joy, and vice versa. While at other times, all was aligned — with music and life in sync. Nonetheless, lessons learned or observed during life’s journey often creep into an artist’s outlook and output. Music was Mahler’s real language — for commenting on and understanding reality, his reaction to being alive. He had a keen intellect and probing mind, and had a great command of written and spoken language. But music was his thing. Thus, the emotions in the Fifth Symphony are connected, in some ways, directly or indirectly, with Mahler’s overall shifting perspective on life in general and significant changes in his own circumstances at the time he was writing it in particular. Mahler conceived his Fifth Symphony in three parts, built around the central Scherzo dance (movement 3). On either side are pairs of related movements (1-2 and 4-5). Like Beethoven’s famous Fifth, the symphony’s music takes a journey from darkness to light. It starts with a funeral march, and ends with the most ebullient and joyfilled, almost carefree, music that Mahler ever wrote. Part One, Funeral March and Stormy Aftermath: The opening movement evokes many great funeral marches of the The Cleveland Orchestra in Miami

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Alma Schindler Mahler photographed in 1909 — she was two decades younger than Mahler and outlived him (and two additional, famous and artistic, husbands).

past, including Beethoven’s in the Third and Seventh symphonies. It also relates to the opening movement of Mahler’s own Second Symphony, originally titled Todtenfeier or “Funeral Rites.” Here in the Fifth, Mahler’s music is even more anguished. Rather than the steady mourning of Beethoven or Chopin, the ennobling tread of remembrance, we feel a very personal view of life changed, of departure and especially of despair. This is life’s risk — to lose, to mourn what can never be. In addition to the emotional weight, the opening movements introduce a number of common musical threads that give the overall symphony a clear sense of unity. Several recurring motifs are used between the first two movements. And shared motifs cross into other movements as well, including a chorale in the second movement that returns in a new guise in the last. Many have remarked on the similarity of Mahler’s opening motif to that of Beethoven’s Fifth — three short notes followed by a longer one. It is not the same, for in its base form Mahler’s interval leaps up while Beethoven’s down, and the rhythmical imprint is different. But, Mahler knew what he was doing. He was writing his Fifth Symphony! And, like Beethoven’s, he was creating a journey from darkness to light, from death to life. At the very least, Mahler’s motto is a variation on Beethoven’s kernel. And there is something important and relevant here, especially when Mahler later inverts his motto to show off a downward interval more akin to Beethoven’s. At times, as the music moves forward, the motif is repeated relentlessly, just as Beethoven did in his famous opening movement. In Mahler’s two-movement opening, the only real bright moment comes toward the end of the second movement, in the form of a gigantic chord-in-the-making, bristling with hope and seemingly about to burst out with joy — representing for many listeners all the potential, the forgotten and disappointed dreams being mourned. But after withering once more, the music seems to accept all that has happened — signaled with finality by a quiet tap from the timpani. At the end of Part One, Mahler expected a pause, and took one himself when conducting this symphony. Not the kind of lengthy 5-minute break that he requested after the first movement of the his Second Symphony, but a few moments of silence, for reflection before forging ahead. Part Two, Scherzo: This large-scale Scherzo movement, created in 1901, features some of the most polyphonic music Mahler

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ever wrote, thick and dense with multiple strands of ideas. As with most of his scherzo movements, this one is a dance in triple meter and deceptively beguiling, at least at first. After the interruption of the opening funeral march, life returns to liltingly familiar rhythms — from the tread of death to the the dance of life. Yet the movement is filled with contradictory moves and counterpunches, and builds to an almost chaotic frenzy, a bursting forth of impulses. Mahler tellingly wrote to Alma about this symphonic centerpiece in 1904, during rehearsals for the world premiere in Cologne: “The scherzo is the very devil of a movement. . . . And the public? — oh, heavens, what are they to make of this chaos in which new worlds are constantly being created only to be destroyed moments later, at these sounds of a primeval world, this howling, booming, roaring sea, this host of dancing stars, these breathtaking, iridescent, glittering waves.” Again, in performance Mahler took a brief pause after this large movement, before heading to the finish line with the final two movements. Part Three, Adagietto and Rondo-Finale: The final part of the symphony opens with some of Mahler’s most well-known music. Although often excerpted and played in memoriam, this music is not a farewell. Rather, it is an introduction. Just as the first and second movements work together as a pair, the Adagietto was written as a prelude to what follows. Several of Mahler’s associates, including the Dutch conductor Willem Mendelberg, suggested that this movement, for strings and harp, was written as an unsigned letter of Mahler’s love for Alma. If that is so, it is the love of everyday contentment — love The Cleveland Orchestra in Miami

About the Music

MAHLER the Conductor During his lifetime, Mahler was best known as a superstar conductor — and only incidentally as a composer of strange new music. Above, caricatures of Mahler on the podium, from a set of postcards drawn by Otto Böhler (1873-1913).

that is unexpected but abundant, and, simply, part of daily life. (Mahler revisits a similar but contrasting musical feeling and outline in the opening movement of the Tenth Symphony, but that large Adagio is much more agonized and anguished. And there, in the manuscript score, he literally wrote out his despair and heartbreak over Alma’s love and betrayal.) Mahler’s tempo marking for the fourth-movement Adagietto is Sehr langsam, or “very slow.” But how fast is slow enough? — or how slow is too slow? Contemporary accounts suggest that early performances under Mahler’s direction clocked in at as little as 8 minutes. Bruno Walter, Mahler’s then-assistant and longtime advocate, recorded it at just 7 minutes and 45 seconds. Modern timings vary all the way up to nearly twice as long. The actual duration, however, may be less important than setting a tempo that fits the overall context of a particular performance of the entire symphony. Yet, the Adagietto should not drag. Any desire to hold onto it too hard, to treasure it as something that will or can be lost, misses the point. Here, love (or musical beauty) is reality, simple and sure. The Rondo-Finale bursts forth unexpectedly, introduced by a solo horn. This movement is, quite arguably, the happiest of Mahler’s output. Its Rondo structure returns again and again to a fittingly spirited theme, interspersed with new episodes, giving the movement fullness and variety. Continuity and unity are ensured through motifs and ideas returning from earlier movements. This is the sheer ecstastic thrill of the downhill ride on a rollercoaster, arms in the air. By this point in his career, Mahler was against programmatic explanations of his music. He’d tried that and only confused audiences. Behind the scenes, however, he continued to talk to friends, family, and colleagues about his music, in metaphor if not in storyline — the key to which was not the facts of any tale he might suggest, but the emotional truth, the feelings that the music evoked in him and evokes in each listener. Personally, I believe that the closing movement of the Fifth Symphony is a reflection of Mahler’s changed outlook. As he approached writing this movement, he fully believed that he had reached the upper ramparts of life’s mountaintop, with the struggles of beginning a career behind him. He had survived a close call with death, giving him inspiration for the opening funeral march a year earlier, as well as a revised view

About the Music

2019-20 The Cleveland Orchestra

of life’s opportunity. He was battling forces at the Court Opera, but believed he was winning. His dismissal from the Opera is in an unknown future. So too is the diagnosis of his heart murmur and his daughter’s death. His love for Alma is new and still bursting with happiness. Her betrayal is behind a door to the future he cannot see or imagine. Tomorrow is not today. Regardless of his life’s details, this closing movement is Mahler — this is any or all of us — in the throes of sheer happiness, drinking in life’s pleasure fully. This is Mahler unworried, unplugged, unwound, unleashed. Unprepared, with his defenses down, fully open to the future, come what may. —Eric Sellen © 2020 The 2019-20 season is Eric Sellen’s 27th year as program book editor for The Cleveland Orchestra.

THE CLEVELAND ORCHESTRA IN MIAMI

2019-20 Advisory Council The Cleveland Orchestra extends special thanks to these members of the Miami-Dade community, whose council and advice are helping steer our programs and service forward for the future.

The Cleveland Orchestra in Miami

Michael Samuels, Co-Chair Mary Jo Eaton, Co-Chair Bruce Clinton Martha Clinton Betty Fleming Joseph Fleming

About the Music

Alfredo Gutierrez Luz Maria Gutierrez Maribel Piza Judy Samuels

PHOTO BY ROGER MASTROIANNI

2019-20 The Cleveland Orchestra

ACCESSIBILITY Adrienne Arsht Center is fully accessible. When purchasing tickets, patrons who have special needs can HPDLO DFFHVVLELOLW\#DUVKWFHQWHU RUJ RU FDOO WKH ER[ RIÂ¿FH at (305) 949-6722 or (866) 949-6722, and inform their customer service representative. (786) 468-2011 (TTY). Audio description and assistive listening equipment is IXQGHG E\ 0DU\ 6DVK 6SHQFHU DQG WKH 0LDPL 'DGH &RXQW\ 0D\RU DQG WKH %RDUG RI &RXQW\ &RPPLVVLRQHUV WKH 0LDPL 'DGH &RXQW\ 'HSDUWPHQW RI &XOWXUDO $IIDLUV and the Cultural Affairs Council. DINING BRAVA By Brad Kilgore Acclaimed chef and restaurateur, Brad Kilgore brings his creativity to the Arsht Center with an ever-evolving menu of Italian inspired creations, reimagined. Perfect for special RFFDVLRQV RU D PLG ZHHN IRRGLH DGYHQWXUH 0DNH \RXU reservations when you buy your tickets or by calling the ER[ RIÂ¿FH CafÃ© at Books & Books in the Carnival Tower, James Beard Award-winning chef, Allen Susser and, 0LWFKHOO .DSODQ DFFODLPHG LQGHSHQGHQW ERRNVHOOHU DQG FR IRXQGHU RI WKH 0LDPL %RRN )DLU WHDP XS WR FUHDWH D laid-back neighborhood oasis of literature and cuisine, known for its locally and sustainably sourced menu, as well as their daily happy hour. Theater Lobbies Concessions and Wine Bars feature a variety of light food and beverage two hours before the show and during intermissions.

now, and for generations to come. The Culturist membership SURJUDP LV GHVLJQHG WR HQKDQFH \RXU H[SHULHQFH DW WKH $UVKW &HQWHU ZLWK VSHFLDO EHQHÂ¿WV UDQJLQJ IURP DGYDQFH QRWLFH RI SHUIRUPDQFHV WR LQYLWDWLRQV WR H[FOXVLYH UHFHSWLRQV 0HPEHUVKLS EHJLQV DW MXVW ZLWK JLYLQJ OHYHOV WKURXJK 7R MRLQ WKH &XOWXULVW PRYHPHQW SOHDVH FDOO 468-2040, email: membership@arshtcenter.org or visit www.arshtmembers.org. MEMBERS GET IT FIRST! $V D PHPEHU RI WKH $GULHQQH $UVKW &HQWHUÂ±D &XOWXULVWÂ± \RX KDYH H[FOXVLYH DFFHVV WR PHPEHUV RQO\ WLFNHW pre-sales and so much more! Join today, online at www.arshtmembers.org or by calling 786-468-2040. PAGERS, CELL PHONES AND OTHER LISTENING DEVICES All electronic and mechanical devicesâ&#x20AC;&#x201D;including pagers, PDAs, cellular telephones, and wristwatch alarmsâ&#x20AC;&#x201D;must be turned off while in the auditoriums. PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING The taking of photographs and the use of audio or video recording inside the auditoriums are strictly prohibited.

EMERGENCIES (PHUJHQF\ H[LWV DUH FOHDUO\ PDUNHG WKURXJKRXW WKH building. Ushers and security personnel will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.

TICKETS Patrons may purchase tickets â&#x20AC;¢Online: www.arshtcenter.org â&#x20AC;¢By Phone: (305) 949-6722 or (866) 949-6722 12 p.m. S P 0RQGD\ )ULGD\ EHJLQQLQJ DW QRRQ RQ ZHHNHQG perfomance days. Â&#x2021;$W WKH %R[ 2IÂ¿FH WKH $GULHQQH $UVKW &HQWHU %R[ 2IÂ¿FH LV ORFDWHG LQ WKH =LII %DOOHW 2SHUD +RXVH OREE\ PDLQ HQWUDQFH RQ 1( WK EHWZHHQ %LVFD\QH %OYG DQG 1( QG $YH WKH $GULHQQH $UVKW &HQWHU %R[ 2IÂ¿FH LV RSHQ S P S P 0RQGD\ )ULGD\ QRRQ WR FXUWDLQ on weekends when there is a performance, and two hours before every performance. Â&#x2021; *URXS 6DOHV 0RQGD\ )ULGD\ *URXSV RI RU PRUH people: (786) 468-2326.

FACILITIES RENTALS Persons or organizations interested in renting the auditoriums, lounges, terraces, plazas or other spaces for private and public events at Adrienne Arsht Center should contact (786) 468-2292 or rentals@arshtcenter.org.

TOURS Free behind-the-scene tours of the Adrienne Arsht &HQWHU FRPSOH[ DUH JLYHQ HYHU\ 0RQGD\ DQG 6DWXUGD\ at noon, starting in the Ziff Ballet Opera House Lobby. No reservations necessary. Register/sign up upon arrival.

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LATE SEATING Adrienne Arsht Center performances begin promptly as scheduled. As a courtesy to the performers and audience members already seated, patrons who arrive late will be asked to wait in the lobby until a suitable break in the performance to be determined in consultation with the performing artists. Until the seating break, latercomers may watch the performance via closed-circuit monitors FRQYHQLHQWO\ VLWXDWHG LQ WKH OREELHV 7R FRQÂ¿UP VWDUWLQJ times for Adrienne Arsht Center performances please check your ticket, visit www.arshtcenter.org, or call (305) 949-6722. LOST AND FOUND 3DWURQV VKRXOG FKHFN ZLWK WKH +RXVH 0DQDJHU LQ WKH theater lobby prior to leaving the theater, otherwise please call the Adrienne Arsht Center main security number (786) 468-2081. Lost articles will be held for 30 days. MEMBERSHIP â&#x20AC;&#x201C; BE A CULTURIST 0HPEHUV PDWWHU DW WKH $GULHQQH $UVKW &HQWHU <RXU philanthropy makes our world-class performances possible, and helps to provide free arts education and meaningful FRPPXQLW\ HQJDJHPHQW IRU WKRXVDQGV RI 0LDPL 'DGH County young people and their families. When you join the &HQWHU DV D PHPEHU \RX JLYH WKH JLIW RI FXOWXUH WR 0LDPL Â±

The Cleveland Orchestra in Miami

WEBSITE Visit www.arshtcenter.org for the most up-to-date performance schedule. Also, join our mailing list and we will send performance notices directly to you. When you join, you may choose the types of shows DERXW ZKLFK \RX ZDQW WR EH QRWLÂ¿HG DQG XSGDWH WKRVH choices at any time. If youâ&#x20AC;&#x2122;ve already signed up, make sure you add email@arshtcenter.org to your address book and/or safe list. Visit www.arshtcenter.org today. 6WHLQZD\ 6RQV 7KH 2IÂ¿FLDO 3LDQR RI WKH $GULHQQH Arsht Center. PHONE NUMBERS Accessibility (786) 468-2011(TTY) Advertising (786) 468-2232 $GPLQLVWUDWLRQ 2IÂ¿FHV %R[ 2IÂ¿FH RU 0 Â± ) DP Â± SP 6DW Â± 6XQ QRRQ WR &XUWDLQ Facilities Rental (786) 468-2292 Advancement (786) 468-2040 Group Sales (786) 468-2326 0HPEHUVKLS Parking (305) 949-6722 or (866) 949-6722 or visit www.arshtcenter.org Security (786) 468-2081

Patron Information

ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI-DADE COUNTY Johann Zietsman President & CEO Trish Brennan Ken Harris Valerie Riles Vice President, Vice President, Operations & Vice President, Board and Human Resources Executive Director, TSNDC Government Relations Suzanna Valdez Wolfe Thomas M. Berger Liz Wallace Suzette Espinosa Fuentes Aric Kurzman Vice President, Vice President, Finance Vice President, Vice President, Vice President, Advancement & Administration and Programming Communication Legal & Business Affairs Chief Financial Officer Administration Chantal Honoré Monique McCartney

Manager of Board Relations Executive Assistant to the President & CEO Receptionist

Harry Castillo

Advancement Jodi Mailander Farrell Assistant Vice President, Advancement Carole Bowen Senior Director of Corporate Partnerships Matthew Williams Advancement Services and Membership Manager Samantha Capobianco Manager, Corporate Partnerships Monica Roos Manager, Foundation Relations Carrie Rueda Ticketing Manager and Donor Relations Mariah Forde Special Events Manager Christina Rodriguez Corporate Sponsorship Assistant Beth Markowitz Advancement Services and Membership Assistant Finance Teresa Randolph Kimba King Aida Rodriguez Giovanni Ceron Francisca Squiabro Thyra Joseph Benjamin Berkovitz Myriam Valdez

Assistant Vice President, Finance and Controller Director, Human Resources Director, Accounting Financial Analyst Revenue Staff Accountant Payroll Administrator Staff Accountant, Payables Human Resources and Finance Assistant

Audience Services Jeffrey Gardner Theater Manager Matthew Ashley House Manager Jenna Fernandez House Manager Michael McCabe House Manager Rodolfo Mendible House Manager Nicole Smith Volunteer Services Manager Nicole Keating Assistant Vice President, Business Intelligence Nadinne Farinas Director, Ticket Services Randy Garcia Ticket Services Manager Mabel Gonzalez Ticket Services Manager Richard Malin Ticket Services Manager Timothy Robblee Ticket Services Manager Julia Turner Ticket Services Manager Linda Elvir Ticket Services Supervisor Amy Ruiz Customer Service Representative Matey St. Dic Customer Service Representative Karla Aguirre Customer Service Representative Laura Alderete Customer Service Representative Ashely Araujo Customer Service Representative Fernanda Arocena Customer Service Representative Leslie Bell Customer Service Representative Jose L Carrion III Customer Service Representative Daisy Collazo Customer Service Representative Alfred Cruet Customer Service Representative Carla Diaz Customer Service Representative Romys Duran Customer Service Representative Lidia Erazo Customer Service Representative Ernesto Gonzalez Customer Service Representative Manuel Gonzalez Customer Service Representative Martin Hoegg Customer Service Representative Mario Madriz Customer Service Representative Symone Major Customer Service Representative Alexander Matar Customer Service Representative Christopher Rojas Customer Service Representative Theodore Swett Customer Service Representative Shirley Valery Customer Service Representative Valeena White Customer Service Representative Information Technology James J. Thompson Daniel Gomez Joe Chin Ruizhe Zhang Lilibeth Bazail

Assistant Vice President, Information Technology Director, Information Technologies IT Systems Administrator Application Support Specialist IT Support Technician

Marketing Cynthia Putnam Jake Cline Gino Campodonico Jeanne Monks Ryan McAlinden Craig Stedman David Chang Sam Hall Raul Vilaboa Adam Garner Stephanie Hollingsworth Grace Padrón Alexandra Medina Nicole Rodriguez Tiffany Conrado Operations Daniel Alzuri Dean Dorsey Shawn O’Reilly Dana Gonzalez

Senior Director, Marketing Publications Director Public Relations Director Director, Marketing Director, Digital Marketing Director, Group Sales Graphic Designer Digital Content Associate Graphic Designer Group Sales Coordinator Digital Marketing Specialist Creative Services Coordinator Public Relations Assistant Digital Marketing Assistant Marketing Assistant Assistant Vice President of Operations Senior Director, Engineering Director of Security and Public Safety Executive Assistant to the Vice President, Operations Operations Coordinator Chief Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer Engineer

Ashley Perdigon Pedro Villalta Sylvester Barnes Jack Crespo Isaac Dominguez Gabriel Ferrero Jorge Garcia Jose Hurtado Fernando Leiva Wilner Montina Jimmy Panchana Production Curtis V. Hodge Herman Montero Morris Beasley Kim Grose Elexa Suarez Daniel McMenamin

Director, Production Production Manager Technical Director Technical Director Production Coordinator Head Carpenter, Ziff Ballet Opera House John Mulvaney Assistant Carpenter/Head Flyman, Ziff Ballet Opera House Ralph Cambon Head Audio Video, Ziff Ballet Opera House Michael Matthews Head Electrician, Ziff Ballet Opera House Frederick Schwendel Head Carpenter, Knight Concert Hall Jared Ullman Head Audio Video,Knight Concert Hall Tony Tur Head Electrician, Knight Concert Hall Brandye Bias-Lemont Head Audio Video, Carnival Studio Theater Quanikqua Bryant Head Electrician, Carnival Studio Theater Programming Jairo Ontiveros Ellen Rusconi Joanne Benko Wendy DeLucca Lakeisha Frith Yamely Valido Bridget Stegall Jan Melzer Thomas Kristen Pieski Oscar Quesada Christopher Wood Julisa Campbell Albert Campillo

Assistant Vice President, Education and Community Engagement Senior Director, Programming Director, Programming Director of Rental Events Manager of Education Manager of Community Engagement Programming Manager Engagement Manager Engagement Manager Programming Manager Engagement Manager Programming Coordinator Programming Assistant

Facility Management Spectra Food Services Pritchard Sports and Entertainment

Arsht Center

2019-20 The Cleveland Orchestra

ADRIENNE ARSHT CENTER TRUST PERFORMING ARTS CENTER TRUST, INC.

Officers of the Board Richard C. Milstein Chair-Elect Hillit Meidar-Alfi Secretary Lucille Zanghi Assistant Secretary

Aileen Ugalde Chairman Matilde Aguirre Treasurer Pierre R. Apollon Assistant Treasurer

Ira D. Hall Immediate Past Chair Parker D. Thomson* Founding Chair

Board of Directors Fred Shapiro Florene Litthcut Nichols Mike Eidson Rodney Adkins Alexander I. Tachmes Joe Natoli Alan H. Fein Christia E. Alou Carole Ann Taylor Beverly A. Parker Laurie Flink The Honorable J. Ricky Arriola Penny Thurer Carolina PiÃ±a Karen Fryd The Honorable Judy Weiser Jorge A. Plasencia Dorothy Bendross-Mindingall Seth Gordon Lynn Wiener Kristin Podack Gerald Grant, Jr. The Honorable Oscar Braynon II Miles Wilkin Michael Anthony Remy Evelyn Greer Julia M. Brown Neill D. Robinson The Honorable Michael Grieco Adrianne Cohen Carlos Rosso Kristi Jernigan Jaret L. Davis Mario Ernesto Sanchez The Honorable Audrey M. Edmonson Nathan Leight Emeritus Directors: Stanley Arkin*, Stuart Blumberg, James Herron, I. Stanley Levine*, Parker Thomson*, David Wilson

ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS

Tony Argiz Chairman Trish Bell Lee E. Caplin

Leila Centner Swanee DiMare

Adrienne Arsht Founding Chairman Officers of the Board Robert Barlick, Jr. Treasurer Ronald Esserman Kimberly Green

Nancy Batchelor Secretary

Andrea Guerreri Jeff Haines

Eric G. Johnson David Rocker

Nichole Scott

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

Jerrold F. Goodman * Rose Ellen Greene Arthur J. Halleran, Jr. Howard Herring Robert F. Hudson, Jr. * Daryl L. Jones Edie Laquer Donald E. Lefton Rhoda Levitt

M. Anthony Burns Donald Carlin * Jerome J. Cohen Stanley Cohen Susan T. Danis Nancy J. Davis Ronald Esserman Oscar Feldenkreis Pamela Gardiner

George L. Lindemann Carlos C. Lopez-Cantera Pedro A. Martin, Esq. Arlene Mendelson Nedra Oren J. David PeÃ±a, Esq. Aaron S. Podhurst, Esq. Charles Porter Jane A. Robinson

Richard E. Schatz Sherry Spalding-Fardie Robert H. Traurig, Esq.* Sherwood M. Weiser * Lynn Wolfson* *deceased

Carlos A. Gimenez Mayor MIAMI-DADE BOARD OF COUNTY COMMISSIONERS Audrey M. Edmonson Chairwoman %DUEDUD - -RUGDQ 'LVWULFW -HDQ 0RQHVWLPH District 2 Audrey M. Edmonson District 3 6DOO\ $ +H\PDQ 'LVWULFW

Harvey Ruvin Clerk of Courts

The Cleveland Orchestra in Miami

Rebeca Sosa Vice Chairwoman

(LOHHQ +LJJLQV 'LVWULFW 5HEHFD 6RVD District 6 ;DYLHU / 6XDUH] 'LVWULFW Daniella Levine Cava District 8 Dennis C. Moss District 9

Pedro J. Garcia Property Appraiser

Arsht Center

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Abigail Price-Williams County Attorney

THE

CLEVELAND ORCHESTRA IN MIAMI 2 O 2 0

S E A S O N

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