The Cleveland Orchestra October 27-29 Concerts

Gerstein Plays Schumann

Completely

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a writer, I enjoy spending time alone, and these surroundings are perfect:

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JACK, JOSEPH AND MORTON MANDEL CONCERT HALL AT SEVERANCE MUSIC CENTER

Gerstein Plays Schumann

Thursday, October 27, 2022, at 7:30 p.m.

Friday, October 28, 2022, at 7:30 p.m.

Saturday, October 29, 2022, at 8:00 p.m.

George Benjamin (b. 1960)

Robert Schumann (1810–1856)

Ringed by the Flat Horizon 20 minutes

Piano Concerto in A minor, Opus 54 30 minutes

I. Allegro affettuoso

II. Intermezzo: Andantino grazioso

III. Allegro vivace

Kirill Gerstein, piano

INTERMISSION 20 minutes

Antonín Dvořák (1841–1904)

Symphony No. 7 in D minor, Opus 70 40 minutes

I. Allegro maestoso

II. Poco adagio

III. Scherzo: Vivace

IV. Finale: Allegro

Edward Gardner, conductor Thank you for silencing your electronic devices.

Approximate running time: 1 hour 50 minutes

cellists Richard Weiss (L) and Mark Kosower at rehearsal. Photo by Roger Mastroianni.

BY MARCO BORGGREVE

IN FOUR QUARTETS , T. S. Eliot wrote of: …music heard so deeply That it is not heard at all, but you are the music While the music lasts.

This overwhelming and visceral power of music, its enveloping and intoxicating qualities that Eliot describes, has fueled the three composers on this weekend’s program, led by Edward Gardner in his Cleveland Orchestra debut. In fact, Eliot’s seminal poem The Waste Land, which celebrates its centennial this year, inspired British composer George Benjamin in part to write the concert’s opening piece, Ringed by the Flat Horizon

Its title cites the fifth and final section of Eliot’s The Waste Land, in which the poet references Antarctic explorer Ernest Shackleton, the Old Testament, writer Hermann Hesse, and public intellectual Bertrand Russell in a painterly vision of crumbled civilizations. A photograph of a thunderstorm over the New Mexico desert provided an additional reference point for Benjamin.

The all-consuming ethos of Eliot’s verses parallel Benjamin’s own artistic process, as he explained it to The New Yorker in 2018: “I have to get into a rhythm of living with it, and not going out from it,” adding, “The world has to shut down.”

“Perhaps there’s no stronger justification for classical music other than it touches one’s emotions profoundly,” says this weekend’s incomparable soloist

Kirill Gerstein, who performs Robert Schumann’s Piano Concerto. In this work, Schumann found a new, “more brilliant way” of combining solo keyboard and orchestra into a unified and transcendent composition. Gerstein continues, “the creativity that one feels there, the humanity, the love, the imagination, these are really astounding documents of what it meant to be human.”

With his Seventh Symphony, Antonín Dvořák was intent on creating music, “which must be capable of stirring the world.” And this ambitious work —  written in the same key as Beethoven’s imposing Ninth — continues to do so. Cast in a darker tone than the cheery Sixth and raucous Eighth, the Seventh bears its creator’s soul from its Slavic-inspired melodies to its searching harmonies.

Angel

Pianist Kirill Gerstein returns to Severance to perform Schumann’s Piano Concerto, written for the composer’s wife, Clara.

Ringed by the Flat Horizon

By George Benjamin

BORN : January 31, 1960, in London, where he currently resides

Ω

Ω

COMPOSED : 1979–80

WORLD PREMIERE: March 5, 1980, by the Faculty of Music of the University of Cambridge. This weekend’s concerts mark its first performances by The Cleveland Orchestra.

Ω

ORCHESTRATION: 3 flutes (2nd and 3rd doubling piccolo), 2 oboes, english horn, 3 clarinets (2nd doubling E-flat clarinet, 3rd doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, D trumpet, 2 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, sizzle cymbals, bass drum, bongos, glass chimes, whip, suspended cymbals, glockenspiel, tam-tam, triangle, vibraphone, xylophone, temple blocks, tubular bells, cymbals), harp, celeste, piano, and strings

Ω

DURATION: 20 minutes

GEORGE BENJAMIN BEGAN composing at the age of seven and entered the Paris Conservatory to study with Olivier Messiaen at the age of 16. At age 20, he garnered widespread attention when a performance of his orchestral work, Ringed by the Flat Horizon, at the BBC London Proms made him the youngest composer ever to have a piece played at that prestigious concert series. Benjamin followed this, his first major orchestral score, with a series of works for orchestra, chamber ensembles, voices, and piano. His first operatic work, Into the Little Hill, written with playwright

Martin Crimp, debuted in 2006. The two have since partnered on two additional operas: the widely acclaimed Written on Skin (2012) and Lessons in Love and Violence (2018).

In addition to his work as a composer and as a teacher of composition at several venues, George Benjamin has been active as a conductor of his own and other composers’ music. In this capacity, he has conducted a number of the world’s finest ensembles including The Cleveland Orchestra, which he led in November 2002.

BY MATTHEW

Composer’s Note

Who are those hooded hordes swarming Over endless plains, stumbling in cracked earth

Ringed by the flat horizon only What is the city over the mountains Cracks and reforms and bursts in the violet air

— Excerpt from The Waste Land

by T. S. Eliot

A dramatic photograph of a thunderstorm over the New Mexico desert and an extract from T. S. Eliot’s The Waste Land provided the inspiration for this piece.

I wanted to portray an eerie tension as a landscape is overwhelmed by a vast storm. The work starts slowly and mysteriously, with a succession of three textures that recur throughout the structure — weird, soft, bell chords, a sustained semitone clash, and deep tremors in the lower registers of the orchestra which depict distant thunder. Piccolo solos

surrounded by high violins follow, and fuller developments of the opening ideas gradually transform the momentum to faster music.

Here a sonority of wind and muted trumpets, punctuated by wooden percussion, is juxtaposed with quieter, more lyrical cello solos. These build with increasing intensity, culminating in a massive climax, after which the music slowly descends to the bass register, subsiding in a solitary bass-drum roll.

There follows a sequence of dark, ominous chords for full orchestra (a sound completely new to the piece), interspersed with solo melodic lines over the deep tremors of the opening. For a moment the original semitone clash hovers motionless in the air; the thunder at last erupts in a violent explosion; and the work returns to a mood of unreal calm, ending as it began, with a soft bell chord.

— George Benjamin, 1980

Piano Concerto in A minor, Opus 54

By Robert Schumann

BORN : June 8, 1810, in Zwickau, Saxony

DIED : July 29, 1856, in Bonn, Germany

Ω COMPOSED : 1839–45

Ω WORLD PREMIERE: December 4, 1845, in Dresden, Germany, with Clara Schumann as soloist and conducted by Ferdinand Hiller

Ω CLEVELAND ORCHESTRA PREMIERE: January 1920 in a series of concerts led by Nikolai Sokoloff and soloist Mischa Levitzki

Ω ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus solo piano

Ω DURATION: about 30 minutes

ROBERT SCHUMANN had little patience for the hordes of virtuoso pianists who showed off their brilliant finger work and dazzled audiences all over Europe on the new-fangled instruments that were much bigger and brighter than anything Mozart had known. Even Beethoven sensed the potential of the new upper octaves, which could be heard (though not by himself, of course) at the back of large halls and could compete on equal terms with the modern orchestra. Schumann’s early piano music felt the lure of this brilliant style, but he soon championed the cause of expression and feeling in the face of virtuosity and brilliance.

Responding to a particular concerto that offended him in 1839, Schumann wrote: “We must await the genius who will show us in a new and brilliant way how orchestra and piano may be combined, and how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.”

Schumann’s gift for prophecy, so accurate when proclaiming the genius of the young Chopin and the young Brahms, was this time pointing with equal accuracy to himself. In 1839, he

had in fact begun to sketch a piece for piano and orchestra for his beloved Clara, and it was finished in 1841 under the title Fantasie. There was no opportunity to perform it, however, and three publishers declined to print it. Four years later, he added an Andantino section linking to a Rondo, to make a three-movement concerto.

And in this form, premiered by Clara in Dresden in December 1845, it was successful everywhere — and came to be one of the best-loved of Romantic piano concertos.

Robert and Clara Schumann depicted in Hamburg in 1850. The two married in 1840. Clara, a composer in her own right, debuted her husband’s only piano concerto.

PHOTO: LEBRECHT MUSIC & ARTS / ALAMY STOCK PHOTO

The first movement betrays the character of a fantasie in many ways, since the main theme, heard first in the winds with the piano’s immediate response, reappears in many guises. It serves as the second subject in the major key, now on the clarinet over the piano’s rippling accompaniment, and also as an interruption before the development, when the theme is passed back-and-forth between the clarinet and the piano in a marvelously languorous mood. Finally, after the cadenza, it appears in a brisk closing coda.

As a model of how soloist and orchestra may be combined, the middle movement Intermezzo splits its theme between these forces, which continue the conversation until it is time for a new theme. This is presented by the cellos with elegant interjections from the soloist. At the end, as the movement fades to nothing, oboes and clarinets bring back the first movement’s main

theme in a hesitant manner, recalling the equivalent moment in Beethoven’s “Emperor” Concerto (No. 5), before the finale bursts in with new energy.

The last movement’s theme is a thinly disguised version of the concerto’s opening theme, and the soloist is soon engaged in traversing the keyboard with a stream of notes that comes close to the domain of virtuosity. But the melodic sweep is always present, and a contrasting theme exploits a different kind of skill, the control of rhythmic dislocation. Schumann’s passion for the teasing effects of cross-rhythms puts both soloist and orchestra on their mettle, but they emerge from it with a new rush of energy that drives them together to the close.

Hugh Macdonald 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.

— Hugh Macdonald

We must await the genius who will show us in a new and brilliant way how orchestra and piano may be combined, and how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.

— Robert Schumann

Symphony No. 7 in D minor, Opus 70

By Antonín Dvořák

BORN : September 8, 1841, in Nelahozeves, Bohemia

DIED : May 1, 1904, in Prague

Ω COMPOSED : 1884–85

Ω WORLD PREMIERE: April 22, 1885, by the Philharmonic Society of London, which commissioned it. The composer led the first performance at St. James’s Hall.

Ω

CLEVELAND ORCHESTRA PREMIERE: October 1940 under Artur Rodziński

Ω ORCHESTRATION: 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

Ω DURATION: about 40 minutes

WHEN DVOŘÁK EMBARKED ON his Seventh Symphony, in 1884, only three of the previous six symphonies had been performed and only one had been published. Yet, even if his early works were to remain in obscurity for many years yet, he had reached a point of celebrity where each new piece was performed and published at once —  not just in his home city of Prague, but also in Germany and England.

Dvořák’s career breakthrough occurred in 1877, when Johannes Brahms and Vienna’s leading music critic, Eduard Hanslick, told Dvořák that his talent deserved to be spread abroad, not just in the Czech lands. Hanslick, who

also came from Prague, regarded Bohemia as a backwater, while Germany and Vienna provided true venues for modern music. Brahms introduced Dvořák to his Berlin publisher, Simrock, who accepted this new composer’s works — albeit with his Czech first name translated to the Germanic Anton.

For Dvořák, the celebrity of success in Germany was a powerful stimulus, and his style became accordingly more personal and original. From Germany,

Statue of Czech composer Antonín Dvořák in front of the Rudolfinum in Prague where he conducted the first concert of the Czech Philharmonic in 1896. Though his fame spread throughout Europe and the United States, Dvořák’s music is imbued with the essence of his homeland.

his fame spread to England and eventually to the New World (while other Czech composers, particularly Smetana, remained little-known outside their own borders). At the same time, Dvořák felt ever more strongly that he belonged to his homeland, producing a tension that distressed him for years, most notably during his time in New York (1892–95), when the nostalgia in his music is most marked. Urged to write operas in German, he insisted on setting Czech librettos. His Slavonic Dances, imbued with the essence of musical Czech-ness, flowed from his pen and found their way onto every German and English piano.

The Sixth Symphony, of 1880, in D major, revealed the benefits of Dvořák’s new cosmopolitan status, for the influence of Brahms’s Second Symphony, also in D major, is clear in a work otherwise full of Czech character and an independent approach to structure. When this work was performed in London in 1884, the Philharmonic Society was so impressed that it asked Dvořák for a new symphony. He responded at once by creating the Seventh. He chose a key, D minor, fraught with potential danger (or at least nerves) because of the iconic shadow of Beethoven’s Ninth Symphony, written in that key.

Dvořák disregarded the imagined threat of “writing too much like Beethoven,” however, and looked instead to Brahms’s Third Symphony in F, which he knew from a meeting in October 1883 when Brahms played him the first and last movements on the piano and from an orchestral performance in Berlin in January 1884 that impressed him greatly.

In February 1885, Dvořák wrote to his publisher: “I have been engaged on the new symphony for a long, long time; after all it must be something really worthwhile, for I don’t want Brahms to say to me ‘I imagine your symphony to be quite different from your last one’ and be proved wrong.”

Dvořák’s visit to London in 1885 was an enormous success, leading to more commissions — although the press considered the new symphony inferior to the previous one. Posterity has taken

PHOTO BY JOHN COLLIER, 1897

Antonín Dvořák photographed in Prague in 1897, the same year his Symphony No. 7 was premiered in Vienna, conducted by Hans Richter

the opposite view, with many awarding the Seventh top prize among his nine symphonies, a view with which Dvořák himself seems to have agreed when he accepted a much lower fee from his publisher for the “New World” Symphony (No. 9) than for the Seventh.

The “New World” may be the more popular, but the Seventh has an unequaled potency and drive. All four movements are permeated with Dvořák’s personality, rich in melody, bold in harmony, and satisfying both in parts and as a whole.

The first movement’s opening theme, whispered by violas and cellos, is decidedly melancholy with its emphasis on the flatness of the minor key. It was supposedly suggested to the composer when he witnessed the arrival of a trainload of Hungarian nationalists visiting Prague for a National Theater Festival. Later themes are much more likely to induce a smile, for example a beautiful entry for a solo horn near the beginning, and the main second subject presented by flute and clarinet, perhaps a lilting version of a theme from Brahms’s Second Piano Concerto. The movement eventually reaches a tremendous climax, but the ending is subdued and desolate.

A hymn-like melody for winds opens the slow second movement, a declaration of innocence that is quickly elaborated into something more searching, even sinister, as low trombones support some mysterious chords.

This is a clear nod toward a similar passage in Brahms’s Third Symphony. The opening melody reappears at the end, but its simple tone is the very opposite of the intensity that drives the rest of the movement.

Relaxation after intensity is the goal of the Scherzo, alive with an irresistible Czech lilt and the subtle cross-rhythms of the Slavonic Dances. The key of D minor is hammered home, while the movement’s Trio section offers a change of key and a soft, delicate texture throughout. Eventually the dance returns, and its final notes seem to proclaim the first notes of the Finale: these are rising octave As landing on a tense G-sharp, a gesture that colors the whole movement despite the profusion of other themes and ideas. One of the greatest is a tune for the cellos, perhaps another homage to Brahms and his lovely cello melody in the finale of his Second Symphony.

Dvořák’s Finale is long and complex, and although its ending chords are unequivocally major, the minor key dominates much of the action, leaving the listener drained as if some mighty force has passed through. The great British critic Donald Tovey had no hesitation in setting this symphony, along with Schubert’s “Great” C-major Symphony and the four symphonies of Brahms as “among the greatest and purest examples in this art-form since Beethoven.”

— Hugh Macdonald

BY

Edward Gardner

EDWARD GARDNER is principal conductor of the London Philharmonic Orchestra and chief conductor of the Bergen Philharmonic, a position he will relinquish at the end of the 2023/24 season. In August 2024, he becomes music director of the Norwegian Opera and Ballet (DNO&B), where he has been artistic advisor since February 2022.

During the 2022/23 season, he leads the London Philharmonic Orchestra (LPO) in its 90th anniversary celebration, opening the season with Schoenberg’s Gurrelieder. Further highlights include works by Stravinsky, Elgar, Berlioz, Mahler, and Janáček, as well as premieres of works by Mark Simpson, LPO’s Composer-in-Residence Brett Dean, Vijay Iyer, and Agata Zubel.

Mr. Gardner opens the Bergen Philharmonic season with Beethoven’s Symphony No. 3, followed with works by Stravinsky, Brahms, Nielsen, Mahler’s Symphony No. 2, and Wagner’s Parsifal. He also conducts a new production of Verdi’s Un Ballo in Maschera alongside two concert performances of Berlioz’s Damnation of Faust at the DNO&B.

In demand as a guest conductor, Mr. Gardner makes his Cleveland Orchestra debut and returns to the Chicago Symphony Orchestra and Staatskapelle Berlin. The previous two seasons saw his debuts with the Symphonieorchester des Bayerischen Rundfunks, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-

Sinfonieorchester Berlin, and Wiener Symphoniker; while returning to the Gewandhausorchester Leipzig, Montreal Symphony, Deutsches SymphonieOrchester Berlin, Philharmonia Orchestra, and Orchestra del Teatro alla Scala di Milano. He continues his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was principal guest conductor from 2010 to 2016, and the BBC Symphony Orchestra. Music director of the English National Opera from 2007 to 2015, Mr. Gardner has conducted several productions at the Metropolitan Opera. He made his Royal Opera House (Covent Garden) debut in 2019, followed by his debut with Bayerische Staatsoper in the 2021/22 season.

Born in Gloucester in 1974, Mr. Gardner was educated at Cambridge and the Royal Academy of Music. He received the Royal Philharmonic Society Award for Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009), and an OBE for Services to Music in the Queen’s Birthday Honours (2012).

Kirill Gerstein, piano

(BRSO), as well as recitals in London, Berlin, Vienna, Paris, and New York. In the coming season, Mr. Gerstein serves as Artist-in-Residence with the BRSO and presents a three-part concert series, Busoni and His World, at London’s Wigmore Hall.

Mr. Gerstein is currently professor of piano at Berlin’s Hanns Eisler Hochschule and on the faculty of Kronberg Academy. His series of free online seminars, Kirill Gerstein invites, is now in its fifth season, featuring conversations with figures such as Ai Weiwei, Iván Fischer, Deborah Borda, Sir Antonio Pappano, Kaija Saariaho, and Joshua Redman.

PIANIST KIRILL GERSTEIN combines the traditions of Russian, American, and Central European music-making with an insatiable curiosity. From Bach to Adès, his playing is distinguished by a ferocious technique and discerning intelligence, matched with an energetic, imaginative musical presence that places him at the top of his profession.

Born in the former Soviet Union, Mr. Gerstein is an American citizen based in Berlin with a similarly international career spanning performances at the Chicago and Boston Orchestras, Leipzig Gewandhaus, Royal Concertgebouw, Vienna and Berlin Philharmonics, London Symphony Orchestra, and the Bavarian Radio Symphony Orchestra

Born in 1979 in Voronezh, Mr. Gerstein attended a special music school for gifted children while teaching himself to play jazz by listening to his parents’ record collection. He became the youngest student to attend the Berklee College of Music in Boston, where he began jazz piano studies in tandem with classical piano at the age of 14. He completed his undergraduate and graduate degrees with Solomon Mikowsky at Manhattan School of Music, followed by further studies with Dmitri Bashkirov in Madrid and Ferenc Rados in Budapest. Gerstein is the sixth recipient of the Gilmore Artist Award, first-prize winner at the 10th Arthur Rubinstein Competition, and an Avery Fisher Career Grant holder. In May 2021, he was awarded an honorary Doctor of Musical Arts degree from Manhattan School of Music.

PHOTO BY MARCO BORGGREVE

CONCERT

SATURDAY, NOVEMBER

SATURDAY, NOVEMBER 12,

8 PM

PM

Jack, Joseph and Morton Mandel Concert Hall Severance Music Center 11001 Euclid Ave, Cleveland, OH 44106

Jack, Joseph and Morton Mandel Concert Hall Severance Music Center 11001 Euclid Ave, Cleveland, OH 44106

The Israel Philharmonic is the leading orchestra in Israel and a world-class symphonic ensemble. Founded in 1936 by famed Polish violinist Bronislaw Huberman, the philharmonic is based in Tel Aviv and performs throughout Israel and internationally.

The Israel Philharmonic is the leading orchestra in Israel and a world-class symphonic ensemble. Founded in 1936 by famed Polish violinist Bronislaw Huberman, the philharmonic is based in Tel Aviv and performs throughout Israel and internationally.

Led by music director Lahav Shani, the program will feature some of the classics by Russian composer Sergei Prokofiev: Symphony No. 1, Romeo and Juliet, and Symphony No. 5.

Led by music director Lahav Shani, the program will feature some of the classics by Russian composer Sergei Prokofiev: Symphony No. 1, Romeo and Juliet, and Symphony No. 5.

The Jewish Federation of Cleveland looks forward to launching the community’s “Israel at 75” celebration series with this performance of the Israel Philharmonic.

The Jewish Federation of Cleveland looks forward to launching the community’s “Israel at 75” celebration series with this performance of the Israel Philharmonic.

TO PURCHASE TICKETS clevelandorchestra.com or 216-231-1111

TO PURCHASE TICKETS clevelandorchestra.com or 216-231-1111

The 2022 tour of the Israel Philharmonic is sponsored by:

The 2022 tour of the Israel Philharmonic is sponsored by:

BY ROGER MASTROIANNI

NOW IN ITS SECOND CENTURY , The Cleveland Orchestra, under the leadership of music director Franz WelserMöst since 2002, is one of the most sought-after performing ensembles in the world. Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamberlike musical cohesion.

Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned it into one of the most admired globally.

The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming broadcast series In Focus, the podcast On a Personal Note, and its own recording label, a new chapter in the Orchestra’s long and distinguished recording and broadcast history. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.

The 2022/23 season marks Franz Welser-Möst’s 21st year as music director,

a period in which The Cleveland Orchestra earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra, and a number of acclaimed opera presentations.

Since 1918, seven music directors —  Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world.

@ClevelandOrchestra @clevelandorchestra@CleveOrchestra@Cleveorch

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

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 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

Katherine Bormann

Analisé Denise Kukelhan Gladys B. Goetz Chair Zhan Shu

SECOND VIOLINS

Stephen Rose* Alfred M. and Clara T. Rankin 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 Ramsey1 Charles M. and Janet G. Kimball Chair Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair Lisa Boyko Richard and Nancy Sneed Chair

Richard Waugh Lembi Veskimets

The Morgan Sisters Chair Eliesha Nelson Joanna Patterson Zakany

William Bender Gareth Zehngut

CELLOS

Mark Kosower* Louis D. Beaumont Chair Richard Weiss1 The GAR Foundation Chair Charles Bernard2 Helen Weil Ross Chair Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry

Brian Thornton William P. Blair III Chair David Alan Harrell Martha Baldwin Dane Johansen

Paul Kushious

BASSES

Maximilian Dimoff* Clarence T. Reinberger Chair

Derek Zadinsky2 Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Charles Paul HARP

Trina Struble* Alice Chalifoux Chair

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 Corbin Stair Sharon and Yoash Wiener Chair

Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORN

Robert Walters Samuel C. and Bernette K. Jaffe Chair

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

Amy Zoloto

E-FLAT CLARINET

Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET

Amy Zoloto Myrna and James Spira Chair

BASSOONS

John Clouser* Louise Harkness Ingalls Chair

Gareth Thomas

Barrick Stees2 Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOON

Jonathan Sherwin

HORNS

Nathaniel Silberschlag* George Szell Memorial Chair

Franz Welser-Möst, MUSIC DIRECTOR Kelvin Smith Family Chair

PHOTO BY ROGER MASTROIANNI

Michael Mayhew§

Foundation

McCormick

Robert B. Benyo Chair

Hans Clebsch

Richard King

TRUMPETS

Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Jack Sutte

Lyle Steelman2 James P. and Dolores D.

Chair

Michael Miller

CORNETS

Michael Sachs*

Mary Elizabeth and G. Robert Klein

Michael Miller

TROMBONES

Brian Wendel* Gilbert W. and Louise I.

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel2

Richard

TUBA

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

TIMPANI

Paul

G. and Corinne T. Voss

PERCUSSION

Marc Damoulakis*

Allen Ireland

Donald Miller

Thomas Sherwood

KEYBOARD INSTRUMENTS

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS

Michael Ferraguto Joe and Marlene Toot Chair

Donald Miller

ENDOWED CHAIRS

CONDUCTORS

Christoph von Dohnányi

Reith

Sidney and Doris Dworkin

Lisa Wong

P. and Chester C. Bolton Chair

Elizabeth Ring and William Gwinn Mather Chair

Blossom-Lee Chair Paul and Lucille Jones Chair

James and Donna Reid Chair

Mary E. and F. Joseph Callahan Chair

Sunshine Chair

Mr. and Mrs. Richard K. Smucker Chair

Rudolf Serkin Chair

This roster lists full-time members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed. Seating within the string sections rotates on a periodic basis.

What do world-class musicians, a globally renowned conductor, and the acoustic and architectural magnificence of Severance have in common? You. The audience we play for, and are simply not the same without. Your unbridled enthusiasm inspires us all to reach the greatest of heights in every performance. We invite you to once again be part of the wonder that is The Cleveland Orchestra: live and in person. All because of you.

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Choose from over 100

OCT 27, 28, 29

GERSTEIN PLAYS

SCHUMANN

Edward Gardner, conductor Kirill Gerstein, piano

BENJAMIN Ringed by the Flat Horizon

SCHUMANN Piano Concerto DVOŘÁK Symphony No. 7

NOV 12 ISRAEL

PHILHARMONIC ORCHESTRA

Lahav Shani, conductor

PROKOFIEV Symphony No. 1 (“Classical”)

PROKOFIEV Romeo and Juliet Suite

PROKOFIEV Symphony No. 5

Don’t miss a moment

NOV 17, 18, 19

EL NIÑO

John Adams, conductor

Lauren Snouffer, soprano Josefina Maldonado, mezzo-soprano

Davóne Tines, bass-baritone

Daniel Bubeck, countertenor Brian Cummings, countertenor Nathan Medley, countertenor Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

ADAMS El Niño

NOV 25, 26, 27

THE FIREBIRD

Thomas Søndergård, conductor Stefan Jackiw, violin

BRITTEN Violin Concerto No. 1 STRAVINSKY The Firebird (complete ballet)

DEC 1, 2, 3

ELGAR AND WALTON

Vasily Petrenko, conductor Behzod Abduraimov, piano* ELGAR Cockaigne (“In London Town”)

PROKOFIEV Piano Concerto No. 2* WALTON Symphony No. 1 * not part of Friday Matinee concert

JAN 5, 7

NIELSEN AND HAYDN

Alan Gilbert, conductor Paul Yancich, timpani Liv Redpath, soprano Justin Austin, baritone

OLIVERIO Timpani Concerto HAYDN Symphony No. 90 NIELSEN Symphony No. 3 (“Sinfonia espansiva”)

JAN 12, 13, 14

WELSER-MÖST CONDUCTS SCHUBERT

Franz Welser-Möst, conductor Joélle Harvey, soprano Daryl Freedman, mezzo-soprano Julian Prégardien, tenor Martin Mitterrutzner, tenor Dashon Burton, bass-baritone Cleveland Orchestra Chorus

BERG Lyric Suite* SCHUBERT Symphony No. 8* (“Unfinished”)

SCHUBERT Mass No. 6

* The movements of the Lyric Suite will be performed in rotation with Symphony No. 8

FEB 2, 3, 4, 5

BOLÉRO

Klaus Mäkelä, conductor

Truls Mørk, cello

SALONEN Cello Concerto DEBUSSY Images

RAVEL Boléro

FEB 9, 11

MAHLER’S FIFTH

Klaus Mäkelä, conductor

CHIN SPIRA—Concerto for Orchestra

MAHLER Symphony No. 5

Music Director Lahav Shani

of unforgettable music!

FEB 16, 17, 18

BEETHOVEN’S SEVENTH

Herbert Blomstedt, conductor Emanuel Ax, piano

MOZART Piano Concerto No. 18 (“Paradis”)

BEETHOVEN Symphony No. 7

FEB 23, 24, 25

MOZART AND STRAUSS

Franz Welser-Möst, conductor

MOZART Divertimento No. 2* SCHOENBERG Variations for Orchestra

STRAUSS Ein Heldenleben * not part of Friday Matinee concert

MAR 2, 3, 4, 5

PICTURES AT AN EXHIBITION

Franz Welser-Möst, conductor Víkingur Ólafsson, piano

FARRENC Symphony No. 3 RAVEL Piano Concerto in G major MUSSORGSKY/RAVEL Pictures at an Exhibition

MAR 9, 10, 11, 12

MOZART’S REQUIEM

Franz Welser-Möst, conductor Christoph Sietzen, percussion Siobhan Stagg, soprano Avery Amereau, alto Ben Bliss, tenor Anthony Schneider, bass Cleveland Orchestra Chorus

STAUD Concerto for Percussion MOZART Requiem

SPRING

MAR 30, 31, & APR 1

INSPIRATION: THE TEMPEST

Thomas Adès, conductor Pekka Kuusisto, violin ADÈS Tempest Suite ADÈS Märchentänze

SIBELIUS Six Humoresques* SIBELIUS Prelude and Suite No. 1 from The Tempest*

* Certain selections will not be part of the Friday Matinee concert

APR 6, 7, 8

SHOSTAKOVICH’S FIFTH SYMPHONY

Rafael Payare, conductor Jean-Yves Thibaudet, piano

BERNSTEIN Symphony No. 2 (“The Age of Anxiety”) SHOSTAKOVICH Symphony No. 5

APR 13, 15, 16

MAHLER’S TITAN

Michael Tilson Thomas, conductor Leif Ove Andsnes, piano

DEBUSSY Jeux, poème dansé DEBUSSY Fantaisie for Piano and Orchestra MAHLER Symphony No. 1 (“Titan”)

APR 20, 21, 22, 23

ALL MOZART

Bernard Labadie, conductor Lucy Crowe, soprano MOZART Overture to La clemenza di Tito MOZART “Giunse al fin il momento... Al desio di chi t’adora” MOZART Ruhe Zanft from Zaide MOZART Masonic Funeral Music MOZART “Venga la morte... Non temer, amato bene” MOZART Symphony No. 41 (“Jupiter”)

APR 27, 28, 29

MARSALIS AND NEW WORLD

Franz Welser-Möst, conductor Michael Sachs, trumpet MARTINŮ Symphony No. 2 MARSALIS Trumpet Concerto DVOŘÁK Symphony No. 9 (“From the New World”)

MAY 4, 6

WEILERSTEIN PLAYS

BARBER

Franz Welser-Möst, conductor Alisa Weilerstein, cello LOGGINS-HULL Can You See? BARBER Cello Concerto PROKOFIEV Symphony No. 4

MAY 14, 17, 20

THE GIRL OF THE GOLDEN WEST

Franz Welser-Möst, conductor Tamara Wilson, soprano (Minnie) Eric Owens, bass (Jack Rance) Fabio Sartori, tenor (Dick Johnson) Cleveland Orchestra Chorus PUCCINI La Fanciulla del West (The Girl of the Golden West) * Opera presentation, sung in Italian with projected supertitles

HEALTH & SAFETY

The Cleveland Orchestra is committed to creating a comfortable, enjoyable, and safe environment for all guests at Severance Music Center. While mask and COVID-19 vaccination are recommended they are not required. Protocols are reviewed regularly with the assistance of our Cleveland Clinic partners; for up-to-date information, visit: clevelandorchestra. com/attend/health-safety

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. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

PAGERS, CELL PHONES & WRISTWATCH ALARMS

IN THE EVENT OF AN EMERGENCY

PHOTOGRAPHY, VIDEOGRAPHY & RECORDING

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

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES

For In-

House Manager

for more details.

Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical season 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 Music Explorers (for 3 to 6 years old) and Family Concerts (for ages 7 and older).

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.

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 Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

© 2022 The Cleveland Orchestra and the Musical Arts Association Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

EDITOR Amanda Angel Managing Editor of Content aangel@clevelandorchestra.com

DESIGN Elizabeth Eddins, eddinsdesign.com ADVERTISING Live Publishing Company, 216-721-1800

A SYMPHONY OFSuccess

We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we are investing to scale up neighborhood-

based programs that now serve 3,000 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. That’s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

Rainey