The Cleveland Orchestra January 12-14 Concerts

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it’s all about.”

Joe Coyle

2022/2023 SEASON

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

Welser-Möst Conducts Schubert

Thursday, January 12, 2023, at 7:30 p.m.

Friday, January 13, 2023, at 7:30 p.m.

Saturday, January 14, 2023, at 8:00 p.m.

Franz Welser-Möst, conductor

Alban Berg (1885–1935)

Franz Schubert (1797–1828)

Alban Berg

Franz Schubert

Alban Berg

Andante amoroso from Three Pieces from Lyric Suite

Allegro moderato from Symphony No. 8 (“Unfinished”) in B Minor, D. 759

Allegro misterioso — Trio estatico from Three Pieces from Lyric Suite

Andante con moto from Symphony No. 8 (“Unfinished”) in B Minor, D. 759

Adagio appassionato from Three Pieces from Lyric Suite

The first half of the program will be played without pause.  40 minutes

INTERMISSION 20 minutes

Franz Schubert

ARTISTS

Joélle Harvey soprano

Daryl Freedman mezzo-soprano

Julian Prégardien tenor

Martin Mitterrutzner tenor

Dashon Burton bass-baritone

Cleveland Orchestra Chorus

Mass No. 6 in E-flat major, D. 950 50 minutes Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei

Total approximate running time: 1 hour 50 minutes

Thank you for silencing your electronic devices.

Thursday evening’s concert is dedicated to Mr. and Mrs. Alexander M. Cutler in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

Photo by Roger Mastroianni

PHOTO BY ROGER MASTROIANNI

IN 2019 ,

Schubert’s Mass No. 6. It was only the second time the ensemble performed the complete work in its history, following a series of concerts overseen by Robert Shaw in 1997. “After the performance, everyone said, ‘Oh my God, we need to do that again’,” says Welser-Möst.

The power of Schubert’s final Mass, so well-known in his native Austria, was a revelation to American audiences discovering it for the first time. Ironically this large-scale work, brimming with the composer’s glorious melodies, may have suffered from what it left out: namely lines of text from the Catholic liturgical Mass that traditionally appear in the Gloria and Credo sections. The church even barred it from being used as liturgical music, as a result.

Prefacing this grand Mass, are two “incomplete” yet thoroughly polished and satisfying works: Alban Berg’s Three Pieces from Lyric Suite and Schubert’s “Unfinished” Symphony. Written just over one century apart, Schubert’s symphony finds resonance and perhaps a kind of conclusion in Berg’s masterpiece of the Second Viennese school.

“Alban Berg, I often say, is sort of the musical grandson of Franz Schubert,” says Welser-Möst. “When you play them back-to-back, you can hear that they’re related — that what Schubert didn’t, or couldn’t, finish, Berg carried forward. It’s always rewarding to show where something comes from, where something goes to, and that music of different times is connected.”

— Amanda Angel

Music Director Franz WelserMöst led The Cleveland Orchestra and Cleveland Orchestra Chorus in

Music Director Franz Welser-Möst leading Schubert’s powerful Mass No. 6 in May 2019.

Three Pieces from Lyric Suite

By Alban Berg

BORN : February 9, 1885, in Vienna

DIED : December 24, 1935, in Vienna

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COMPOSED : 1925–26 for string quartet; arranged as Three Pieces for string orchestra in 1928 Ω

WORLD PREMIERE : The six-movement string quartet was first played by the New Viennese String Quartet in Vienna on January 8. 1927. The Three Pieces were first presented on January 31, 1929, in Berlin. Ω

CLEVELAND ORCHESTRA PREMIERE : January 1971 led by Pierre Boulez. The Orchestra has since taped a performance of the Three Pieces for the first season of its flagship broadcast series, In Focus. Ω

ORCHESTRATION: string orchestra Ω

DURATION: 15 minutes total (Movement I: 6 minutes; Movement II: 3 minutes; Movement III: 5 minutes)

ALBAN BERG’S Lyric Suite is a source of wonder on many levels: biographical, symbolic, technical, and emotional even without decoding the layers of meaning woven into the score.

When Berg wrote the Lyric Suite from 1925 to 26, he was in the grip of passion for a woman named Hanna Fuchs-Robettin, the wife of a Prague businessman and sister of Franz Werfel (who was married to the former wife of both Gustav Mahler and architect Walter Gropius, Alma).

Hanna and Berg’s paths crossed directly at least twice: when the Suite from Berg’s opera Wozzeck was played in Prague, and when Berg was the FuchsRobettins’ guest while in Berlin for the stage premiere of the same opera.

How far did their passion carry them? Only since the death of the composer’s widow, Helene Berg, in 1976, have cracks in the apparent constancy of the Bergs’ marriage come to light. From these insinuations of infidelity, the idea of Hanna Fuchs-Robettin as Alban Berg’s lover helps explain the depth and details about her in the musical texture of the Lyric Suite

Originally written as a six-movement suite for string quartet, Berg soon arranged the second, third, and fourth movements for string orchestra. Like J.S. Bach and Shostakovich, Berg invented ciphers that embedded secret messages into his music. The first indication of these coded symbols comes in the tempo

markings for all six of the movements, which immediately indicate the music’s subject matter: amorous, mysterious, ecstatic, passionate in the Three Pieces and jovial, delirious, desolate in the other three movements.

Most directly, a symbolic rendering of Berg and Hanna’s love affair is entwined in this music with their initials, AB and HF, carved into the score using German notation: A – B-flat (for Berg) and B-natural – F (for Hanna). Together as a four-note chord, these recur throughout, often at moments of crucial structural importance. Hanna’s daughter Dorothea also appears, signified as two notes of C (Do – Do) in the first of the Three Pieces.

Each two-note motif — Berg’s is a halfstep on the musical scale, while Hanna’s is a leap of a tritone or diminished fifth — also features significantly in the

tone rows (12-tone scales) from which sections of the first, third, and sixth movements are constructed.

In addition, the lovers are represented by numbers: 10 for Hanna and 23 for Berg (a number he referred to throughout his life). Every metronome marking in the work is a multiple of 10 or 23, and every movement contains a count of bars (68, 150, 460, 138, etc.) derived from this underlying numerology.

Furthermore, the swift opening section of the second of the Three Pieces, marked “Allegro misterioso,” is reversed note for note later in the movement. Significantly, a single chord (of A – B –B-flat – F, Berg and Hanna intertwined again) is inserted at the point where the resulting musical palindrome is broken.

In more obvious ways, the second movement acts as a traditional symphonic scherzo, breaking the momentum and pace between the previous movement and the next. And the third is a deepening adagio, able to bring the Three Pieces to a suitably enigmatic ending. Throughout, the resourcefulness of the string writing is astonishing and still modern nearly a century later. Even without decoding Berg’s encryptions, many will easily hear the work as he intended: a passionately argued musical journey encompassing intense emotional expression and totally original sonorities.

— Hugh Macdonald and Eric Sellen

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

Eric Sellen is The Cleveland Orchestra’s Editor Emeritus. He previously was program book editor for 28 seasons.

Alban Berg was infatuated with the married Hanna Fuchs-Robettin when he wrote his Lyric Suite, and intertwined their initials into the score.

Symphony No. 8 (“Unfinished”) in B minor, D. 759

By Franz Schubert

BORN : January 31, 1797, in Himmelpfortgrund, Austria

DIED: November 19, 1828, in Vienna Ω COMPOSED : 1822 Ω

WORLD PREMIERE: December 17, 1865, in Vienna, led by Johann von Herbeck Ω

CLEVELAND ORCHESTRA PREMIERE: Nikolai Sokoloff conducted The Cleveland Orchestra in its first performances of Schubert’s “Unfinished” Symphony during its inaugural season on three consecutive days, January 28–30, 1919, at three Cleveland venues. Ω

ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings Ω

DURATION: 25 minutes total (Mvt. I: 12 minutes; Mvt. II: 13 minutes)

SCHUBERT’S FIRST SIX SYMPHONIES , written between 1813 and 1818, showed him completely at ease with all aspects of the form. But a few years later, he was leaving fragment after fragment, as if he no longer felt up to the challenge. The B-minor Symphony is not the only work Schubert left incomplete. Others were abandoned even earlier in the compositional process: two symphonic fragments in D major (D. 615 from 1818 and D. 708A from 1820–21) and a fairly complete sketch of a symphony in E major (D. 729 from 1821). Though all had been performed and/or “completed” by the 20th century, these interrupted projects point to Schubert’s growing

dissatisfaction with the symphonic form and suggest that he was striving for something on a larger scale than his previous efforts. Both stimulated and discouraged by Beethoven’s formidable example (he once exclaimed: “Who can do anything after him?!”), he seems to have been searching for his own artistic response to Beethoven’s symphonies —  a response that would match his predecessor in scope and dramatic energy, yet free from any direct stylistic influence.

With the B-minor Symphony, Schubert came close to a solution. As Brian Newbould, a specialist on Schubert’s symphonies, explains, this

work is not so much an unfinished symphony as a “finished half-symphony.” It is the only one of the uncompleted “fragments” with two movements that are fully written out and orchestrated, needing no editing whatsoever in order to be performed.

While Beethoven tended to construct his symphonic movements of extremely short melodic or rhythmic gestures, Schubert often started with full-fledged melodic statements that unfold like songs. In the first movement, song soon turns into drama when the second theme is suddenly interrupted by a measure of silence. This is followed by a few moments of orchestral turbulence,

after which the previous idyll is temporarily restored but only with some difficulty. One particular harmonic turn in the movement’s development section even uncannily anticipates the music of Wagner’s groundbreaking Tristan and Isolde.

The second movement combines a peaceful and ethereal melody with a more majestic theme featuring trumpets, trombones, and timpani. A second melody is introduced in the new key of C-sharp minor, again with a dramatic extension. These contrasts in mood persist until the end of the movement, where “peaceful and ethereal” E major is finally reestablished after an exacting tonal journey through a number of different keys.

The manuscript score of the “Unfinished” Symphony was long in the possession of composer Anselm Hüttenbrenner, a friend of Schubert. Hüttenbrenner gave no one access to the work for decades, for reasons that are not well understood. Finally, the story goes, conductor Johann von Herbeck, who directed the concerts of Vienna’s Gesellschaft der Musikfreunde (Society of the Friends of Music), essentially bribed Hüttenbrenner by offering to perform one of his own works in exchange for Schubert’s score. Thus released, the “Unfinished” was premiered in 1865 and quickly became a popular and lasting hit.

— Peter Laki

Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College.

The reasons why Franz Schubert left his “Unfinished” Symphony incomplete remain a mystery.

Mass No. 6 in E-flat major, D. 950

By Franz Schubert

Ω

Ω

COMPOSED : 1828

WORLD PREMIERE: October 4, 1829, at the Holy Trinity Church in Alsergrund, Austria, led by Franz Schubert’s brother, Ferdinand

Ω

CLEVELAND ORCHESTRA PREMIERE: April 1997 in a series of performances led by Robert Shaw. The presentations were part of a season-long celebration of the bicentennial of Schubert’s birth.

Ω

ORCHESTRATION: 2 oboes, 2 clarinets, 2 bassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings; plus soprano, mezzo-soprano, 2 tenors, and bass soloists; and chorus

Ω

DURATION: 50 minutes

FRANZ SCHUBERT’S MASS in E-flat major, written in the last year of his life, offers keen insight into this composer’s musical world — how he created music and viewed life here on earth. Just as we find in Schubert’s “Great” C-major Symphony, and in many of his other late works, the music of this Mass expands to “heavenly lengths.” This is how Robert Schumann described Schubert’s extraordinary ability to create a kind of stasis or suspension in which time seems to stand still. In this state, he removes us from our everyday cares and allows us to contemplate our lives more deeply and intimately.

By the time he was 19 in 1816, Schubert had already composed four Masses built upon the Catholic liturgical traditions of the time. In many respects, Schubert’s two late Masses — the German Mass (D. 872) and the Mass in E-flat major

(D. 950) written in 1827 and 1828, respectively — are in part reflections of the social, religious, and philosophical upheavals ignited during the Age of Enlightenment. These works also give voice to Schubert’s own maturing worldview about music and life.

Looking at his music, Schubert seems to have taken the liturgical Mass from off its high pedestal and placed it squarely on earth amidst people. Rather than express subservience to God, this music focuses on individual devotion, human emotion, and our own relationship with the divine.

This focus on humanity starts with the choice of E-flat major. This key was associated with the Enlightenment and Freemasonry. It was used by Mozart for The Magic Flute and by Beethoven for his Third Symphony (“Eroica”),

all of which share deep connections to secular life.

However, its structure follows in the traditional manner of the liturgical Mass, opening with the Kyrie, featuring mystical wind chords and a throbbing rhythm in the cellos and basses. Devoutly, the chorus begins singing with, “Have mercy on us, Lord,” a touching expression of Schubert’s humility and modesty. During its Christie Eleison section, Schubert significantly modulates to B-flat major, the key of hope.

In the Gloria, Schubert draws on a great reservoir of compositional techniques, starting with unaccompanied chorus, perhaps suggesting a direct connection between humanity and God. This continues into an extraordinary melody, explored through five variations across the orchestra. The ensuing Domine Deus is written at a walking tempo, which can feel emotionally shattering, a confession of guilt for the death of Jesus. The music quiets down, coming nearly to a standstill, before the jubilant singing of the beatitudes. A subsequent fugue inspired by Gregorian chant and Renaissance choral music unites the lowest and highest voices of the choir, a musical demonstration of the limitless reaches of the Holy Spirit.

The following Credo includes one of the most poignantly beautiful sections of this magnificent work, the Et Incarnatus, filled with yearning and melancholy. Set in the romantic key of A-flat major, the two tenors and soprano voices join like three angels, delicately singing of the

incarnation of Jesus. Eventually this ebbs toward silence and then darker colors depicting the crucifixion.

The Sanctus, with its repetitive triplets in the strings, recalls the Christie Eleison of the Kyrie, while the chorus reminds us of the same devotion and humility as in the Credo. The penultimate section, the Benedictus, creates a sense of urgency in humanity’s relationship with Jesus.

In the work’s final section, the Agnus Dei, Schubert alludes to one of his most famous songs, “Der Dopplegänger” (from the song cycle Schwanengesang). With this association, Schubert appears to connect Jesus’s suffering directly with our own anguish. These internalized and personal feelings deepen in the closing Dona Nobis, as Schubert paints a renewed view of human harmony.

Schubert did not live to witness the first performances of his Mass in E-flat major, led by his older brother Ferdinand at Vienna’s Alserkirche in 1829. As a result, some have suggested that this Mass, completed four months before his death, serves as a requiem for or even premonition of his untimely passing at only 31 years of age. Indeed, one can find melancholy resignation and doubt throughout this work, but there is also a sense of consolation and a deep understanding of the human condition.

A concertmaster of the Vienna Philharmonic once said to me: “This piece cannot be long enough! For me, it could last forever.” How very true.

— Franz Welser-Möst

Mass No. 6 in E-flat major, D. 950 Kyrie

Kyrie CHORUS

Kyrie eleison. Christe eleison. Kyrie eleison.

Gloria CHORUS

Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, gratias agimus tibi. Deus pater omnipotens, gratias agimus tibi, Domine Jesu Christe, gratias agimus tibi, Fili unigenite, gratias agimus tibi.

Gloria in excelsis Deo. Laudamus te, benedicimus te glorificamus te, laudamus te.

Domine Deus, agnus Dei, qui tollis peccata mundi, miserere nobis. Filius Patris, agnus Dei, qui tollis peccata mundi, miserere nobis.

Domine Deus, agnus Dei, filius Patris, qui tollis peccata mundi, miserere nobis.

Quoniam tu solus sanctus, quoniam tu solus altissimus, quoniam tu solus Dominus, tu solus, tu sanctus, altissimus, quoniam tu solus altissimus, quoniam tu solus Dominus.

Cum Sancto Spiritu in gloria Dei Patris, amen.

CHORUS

Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

Gloria CHORUS

Glory to God in the highest, and on earth peace to all those of good will. We praise you, we bless you, we worship you, we glorify you. We give you thanks for your great glory. Lord God, heavenly King, we give you thanks. God, Father almighty, we give you thanks. Lord Jesus Christ, we give you thanks. Only begotten Son, we give you thanks.

Glory to God in the highest. We praise you, we bless you, we glorify you, [and] praise you.

Lord God, Lamb of God, you who take away the world’s sins, have mercy upon us. Son of the Father, Lamb of God, you who take away the world’s sins, have mercy upon us.

Lord God, Lamb of God, Son of the Father, you who take away the world’s sins, have mercy upon us. For you alone are holy, only you are most high, only you are Lord, you alone, you holy, most high, for you alone are most high, for you alone are Lord.

With the Holy Spirit, in the glory of God the Father. Amen.

Credo

CHORUS

Credo in unum Deum, factorem coeli et terrae, visibilium omnium et invisibilium. Credo in unum Dominum Jesum Christum, Credo in Filium Dei unigenitum, et ex Patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, per quem omnia facta sunt, Qui propter nos homines et propter nostram salutem descendit de coelis.

SOLO TRIO — TENOR I, TENOR II, AND SOPRANO

Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est.

CHORUS

Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

SOLO TRIO — TENOR I, TENOR II, AND SOPRANO

Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est.

CHORUS

Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

Et resurrexit tertia die secundum scipturas, et ascendit in coelum, sedet ad dexteram Patris, Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis.

Credo

CHORUS

I believe in one God, maker of heaven and earth, of all things visible and invisible. I believe in one Lord Jesus Christ, I believe in the only begotten Son of God, born of the Father, before all ages, God of God, light of light, true God of true God, by whom all things were made. Who for us, and for our salvation, came down from heaven.

SOLO TRIO — TENOR I, TENOR II, AND SOPRANO

And became incarnate by the Holy Spirit of the Virgin Mary and was made a man.

CHORUS

He was also crucified for us under Pontius Pilate, suffered and was buried.

SOLO TRIO — TENOR I, TENOR II, AND SOPRANO

And became incarnate by the Holy Spirit of the Virgin Mary and was made a man.

CHORUS

He was also crucified for us under Pontius Pilate, suffered and was buried.

And on the third day he rose again, according to the scriptures, and ascended into heaven, and sits to the right of the Father, And he shall come again with glory to judge the living and the dead, whose kingdom shall have no end.

Credo in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit, Qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per prophetas. Confiteor unum baptisma in remissionem peccatorum mortuorum, et vitam venturi saeculi, amen.

Sanctus

CHORUS

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis Deo, osanna.

Benedictus

SOLO QUARTET — SOPRANO, MEZZO-SOPRANO, TENOR I, AND BASS Benedictus qui venit in nomine Domini.

CHORUS Benedictus qui venit in nomine Domini. Osanna in excelsis Deo, osanna.

Agnus Dei CHORUS & SOLOISTS

Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi,

Dona nobis pacem. Agnus Dei, qui tollis peccata, dona nobis pacem.

I believe in the Holy Spirit, the Lord and life-giver, who comes from the Father and Son, Who with the Father and the Son together is worshipped and glorified, who spoke through the prophets. I acknowledge one baptism for the remission of the sins of the dead, and the life of the world to come. Amen.

Sanctus CHORUS Holy, holy, holy, Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest to God, hosanna.

Benedictus SOLO QUARTET — SOPRANO, MEZZO-SOPRANO, TENOR I, AND BASS Blessed is He who comes in the name of the Lord.

CHORUS Blessed is He who comes in the name of the Lord. Hosanna in the highest to God, hosanna.

Agnus Dei CHORUS & SOLOISTS

Lamb of God, you who take away the sins of the world, have mercy upon us. Lamb of God, you who take away the sins of the world,

Grant us peace.

Lamb of God, you who take away our sins, grant us peace.

Franz Welser-Möst, Music Director kelvin smith family chair

In addition to his commitment to Cleveland, Mr. Welser-Möst enjoys a particularly close and productive relationship with the Vienna Philharmonic as a guest conductor. He has conducted its celebrated New Year’s Concert three times, and regularly leads the orchestra at home in Vienna, as well as on tours.

FRANZ WELSER-MÖST is among today’s most distinguished conductors. The 2022–23 season marks his 21st year as Music Director of The Cleveland Orchestra. With the future of their acclaimed partnership extended to 2027, he will be the longest-serving musical leader in the ensemble’s history. The New York Times has declared Cleveland under Mr. Welser-Möst’s direction to be “America’s most brilliant orchestra,” praising its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

With Mr. Welser-Möst, The Cleveland Orchestra has been praised for its inventive programming, ongoing support of new music, and innovative work in presenting operas. To date, the Orchestra and Mr. Welser-Möst have been showcased around the world in 20 international tours together. In 2020, the ensemble launched its own recording label and new streaming broadcast platform to share its artistry globally.

Mr. Welser-Möst is also a regular guest at the Salzburg Festival where he has led a series of acclaimed opera productions, including Rusalka, Der Rosenkavalier, Fidelio, Die Liebe der Danae, Aribert Reimann’s opera Lear, and Richard Strauss’s Salome. In 2020, he conducted Strauss’s Elektra on the 100th anniversary of its premiere. He has since returned to Salzburg to conduct additional performances of Elektra in 2021 and Giacomo Puccini’s Il Trittico in 2022.

In 2019, Mr. Welser-Möst was awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts. Other honors include The Cleveland Orchestra’s Distinguished Service Award, two Cleveland Arts Prize citations, the Vienna Philharmonic’s “Ring of Honor,” recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, and the Kilenyi Medal from the Bruckner Society of America.

Joélle Harvey, soprano

Soprano Joélle Harvey received her bachelor’s and master’s degrees in vocal performance from the University of Cincinnati College-Conservatory of Music (CCM). She began her career training at Glimmerglass Opera (now The Glimmerglass Festival) and the Merola Opera Program.

Ms. Harvey’s 2022–23 season began with the New York Philharmonic, celebrating the opening of David Geffen Hall. She debuts with the Bamberg Symphoniker, Deutsches SymphonieOrchester Berlin, the Minnesota Orchestra, and the Orchestra of St. Luke’s, and returns to The Cleveland Orchestra, Chicago Symphony Orchestra, Cincinnati Symphony Orchestra, and the Metropolitan Opera. She appears with the Chamber Music Societies of Lincoln Center, Philadelphia, and Palm Beach.

Previously, Ms. Harvey performed at Opernhaus Zürich, with Les Violons du Roy, and with Boston’s Handel & Haydn Society. She collaborated with LA Opera on Anna Clyne’s The Gorgeous

Nothings. She received Second Prize in Houston Grand Opera’s Eleanor McCollum Competition for Young Singers, a First Prize Award from the Gerda Lissner Foundation, and a Sara Tucker Grant from the Richard Tucker Foundation.

Daryl Freedman, mezzo-soprano

Praised for her “striking dark timbre” and “expansive, sumptuous” performances, mezzo-soprano Daryl Freedman begins the 2022–23 season with a role debut as Ulrica in Un ballo in maschera at Maryland Lyric Opera, followed by returns to The Cleveland Orchestra, Santa Fe Symphony, and the Metropolitan Opera.

Her 2021–22 season began with a role/ house debut at Virginia Opera in Das Rheingold. She appeared in the title role of Julius Caesar at Atlanta Opera, The Magic Flute at the Metropolitan Opera, and the world premiere of Kamala Sankaram’s Rise at Washington National

TOP, FAR LEFT: IMAGE COURTESY OF JOÉLLE HARVEY | LEFT: IMAGE COURTESY OF DARYL FREEDMAN

Opera. In summer 2022, she debuted at the Salzburg Festival in Suor Angelica conducted by Franz Welser-Möst.

Ms. Freedman made her Metropolitan Opera debut in Die Walküre, appeared with The Cleveland Orchestra in Ariadne auf Naxos, covered the role of Santuzza in Cavalleria Rusticana at San Francisco Opera, debuted in Die Walküre at the Théâtre du Capitole de Toulouse, and debuted in Aida with Opera Idaho. She is a graduate of the Cafritz Young Artist Program at Washington National Opera.

Julian Prégardien, tenor

as Narraboth in Salome. In 2019, he debuted as Tamino in The Magic Flute at the Berlin State Opera. He appears as Don Ottavio in Don Giovanni at Mozartwoche 2023 and sings in Romeo Castellucci’s staging of Mozart’s Requiem at the Teatro San Carlo in Napoli.

Recent highlights include a tour with Concentus Musicus Wien, his debut with The Cleveland Orchestra, and his Carnegie Hall debut with the Orchestra St. Luke’s.

Additional highlights of the 2022–23 season include Beethoven’s Ninth Symphony with SWR Symphony Orchestra, Mozart’s Requiem with the Concertgebouw, Bach’s St. Matthew Passion with the Vienna Philharmonic, Bach’s St. John Passion with the Gewandhaus Orchestra, and a tour of Handel arias with La Cetra Barockorchester.

Martin Mitterrutzner, tenor

Martin

Born in Frankfurt, Julian Prégardien received his earliest music training in the choirs of Limburg Cathedral. After studying in Freiburg and joining the academy of the Aix-en-Provence opera festival, he was a member of the Frankfurt Opera ensemble from 2009 to 2013.

As an opera singer, he has appeared at the Aix-en-Provence Festival, the Hamburg and Bavarian State Operas, and at Paris’s Opéra Comique. In 2018, he made his debut at the Salzburg Festival

Mitterrutzner received his training with Brigitte Fassbaender and joined the ensemble of the Frankfurt

RIGHT:

PHOTO BY PETER RIGAUD | FAR RIGHT: PHOTO BY UWE ARENS

Opera (2011–19), where he appeared as Fenton (Falstaff), Belmonte (Die Entführung aus dem Serail), Elvino (La sonnambula), and Don Ramiro (La Cenerentola), among other roles.

He kicked off the 2022–23 season as Tamino at the Semperoper Dresden as well as the Volksoper Wien. He appeared at the Theater an der Wien (Don Ottavio, Narraboth in Salome), Aix-en-Provence Festival, Opernhaus Zürich (Tamino), Salzburg Festival (Brighella in Ariadne auf Naxos, Ferrando in Così fan tutte), Bavarian State Opera (Arbace in Idomeneo, Iopas in Les Troyens), and Dresden Semperoper (Belmonte, Don Ramiro, Ferrando).

In concert, he appeared at the International Bach Academy in Stuttgart, with the Bavarian Radio Choir and Symphony Orchestra, Concentus Musicus Wein, Montreal Symphony Orchestra, and Palau de la Musica in Valencia. This season brings him to The Cleveland Orchestra, Vienna’s Musikverein, Berlin’s RIAS Kammerchor, and Hamburg’s NDR Elbphilharmonieorchester. His recording of Schubert’s Die schöne Müllerin with the renowned classical guitarist Martin Wesely was recently released.

Dashon Burton

bass-baritone

,

Dashon Burton appears regularly throughout the U.S. and Europe. Highlights of his 2022–23 season include returns to The Cleveland Orchestra and the New York Philharmonic for Michael

Tilson Thomas’s Rilke Songs. Debut appearances include Mendelssohn’s Elijah with the Milwaukee Symphony, Stravinsky’s Oedipus Rex with Houston Symphony, the world premiere of Christopher Cerrone’s The Year of Silence with Louisville Orchestra, and the Dvořák Requiem with Richmond Symphony. As an artist-in-residence at San Francisco Performances, he appears at venues and educational institutions throughout the Bay Area.

Mr. Burton won his second Grammy Award in March 2021 for Best Classical Solo Vocal Album with his performance featured in Dame Ethel Smyth’s masterwork The Prison with The Experiential Orchestra (Chandos). His first Grammy Award came from the inaugural recording by groundbreaking vocal ensemble Roomful of Teeth.

Mr. Burton received a Bachelor of Music degree from Oberlin College and Conservatory, and a Master of Music degree from Yale University’s Institute of Sacred Music. He is an assistant professor of voice at Vanderbilt University’s Blair School of Music.

PHOTO

Lisa Wong, Director of Choruses

frances p. and

chester c. bolton chair

LISA WONG WAS APPOINTED director of choruses for The Cleveland Orchestra in May 2018 after serving as acting director throughout the 2017/18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010/11 season. In 2012, she took on added responsibilities as director of the Cleveland Orchestra Youth Chorus.

In addition to her duties at Severance, she is a faculty member at the College of Wooster. Choirs under her direction have performed at the Central Division conference of the American Choral Directors Association and the state conference of the Ohio Music Education Association. An advocate for the music of under-represented composers, Ms. Wong serves as the Repertoire and Resource Chair for World Music and Cultures for the Ohio Choral Directors Association.

Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Ms. Wong holds a bachelor of science degree in music education from West Chester University, as well as master of music and doctor of music degrees in choral conducting from Indiana University.

Cleveland Orchestra Chorus

Lisa Wong, DIRECTOR

Daniel J. Singer, ASSISTANT DIRECTOR

Daniel Overly, COLLABORATIVE PIANIST

SOPRANOS

Laurel Babcock

Amy Foster Babinski

Claudia Barriga

Yu-Ching Ruby Chen

Amanda Cobes

Susan Cucuzza

Sasha Desberg

Caitlin DiFranco

Emily Engle

Molly Falasco

Lisa Fedorovich

Nicole Futoran

Samantha Garner

Jennifer Gilles

Ayesha Gonzales

Martell Gorsuch

Sarah Gould

Julia Halamek

Rebecca S. Hall

Sarah Henley

Lisa Hrusovsky

Amber Jackson

Shannon R. Jakubczak

Katie Kitchen *

EvaCecilia Koh

Molly Lukens

Clare Mitchell

S. Mikhaila Noble-Pace

Jennifer Heinert O’Leary

Katie Paskey

Victoria Peacock

Elizabeth Phillips

Grace Prentice

Jylian Purtee

Cara Rovella

Katie Schick

Ellie Smith

Megan Tettau

Sharilee Walker

Kate Macy Walters

Adeleine Whitten

PHOTO BY ROGER MASTROIANNI

ALTOS

Emily Austin

Debbie Bates

Riley Beistel

Brooke Emmel

Karen S. Hunt

Sarah Hutchins

Kate Klonowski

Kristi Krueger

Elise Leitzel

Cathy Lesser Mansfield

Danielle S. McDonald

Karla McMullen

Holly Miller

Peggy A. Norman

Dawn Ostrowski

Ellie Petro

Andrea Pintabona

Victoria Rasnick

Kayla Reaves

Alanna M. Shadrake

Ina Stanek-Michaelis

Melanie Tabak

Rachel Thibo

Kristen Tobey

Joanna Tomassoni

Martha Cochran Truby

Laure Wasserbauer

Caroline Willoughby

Leah Wilson

Jennifer R. Woda

Debra Yasinow

Lynne Leutenberg Yulish

TENORS

Bruno Bush

Rong Chen

Richard Hall

Peter Kvidera

Adam Landry

Tod Lawrence

David McCallum

James C. Pintner

Matthew Rizer

Ted Rodenborn

Nathan A. Russell

John Sabol

Andrew Schoenhofer

Andrew Stamp

William Venable

Allen White

Peter Wright

BASSES

Craig Astler

Jack Blazey

Ronnie Boscarello

Sean Michael Cahill

Nick Connavino

Kyle Crowley

Tom Cucuzza

Christopher Dewald

Jeffrey Duber

Stuart Englehart

Brian Fancher

Andrew Fowler

Mark Hermann

Seth Hobi *

Kurtis B. Hoffman

Robert L. Jenkins III

James Johnston

Kevin Kutz

Jason Levy

Jacob J. Liptow

Tyler Mason

Robert Mitchell

Tremaine Oatman

Francisco Prado

Brandon Randall

Robert G. Seaman

Charlie Smrekar

Devon Steve Charles Tobias

Matt Turell

Jill Harbaugh

MANAGER OF CHORUSES

Lisa Fedorovich

CHAIR, CLEVELAND ORCHESTRA CHORUS OPERATING COMMITTEE

* Shari Bierman Singer Fellow

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

PHOTO BY ROGER MASTROIANNI

Franz Welser-Möst, MUSIC DIRECTOR

FIRST VIOLINS

David Radzynski

CONCERTMASTER Blossom-Lee Chair

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

Sae Shiragami 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

Kelvin Smith Family Chair

Michael Mayhew§

Knight Foundation Chair

Jesse 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. Storer Chair

Michael Miller

CORNETS

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

TROMBONES

Brian Wendel*

W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel2

EUPHONIUM & BASS TRUMPET

Richard Stout

TUBA

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

TIMPANI

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

PERCUSSION

Marc Damoulakis*

Margaret Allen Ireland Chair

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

CURRENTLY UNOCCUPIED

Elizabeth Ring and William Gwinn Mather 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.

PHOTO BY ROGER MASTROIANNI

Don’t miss a moment WINTER

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

NORMAN Sustain DEBUSSY Images RAVEL Boléro

FEB 9, 11 MAHLER’S FIFTH

Klaus Mäkelä, conductor

CHIN SPIRA—Concerto for Orchestra

MAHLER Symphony No. 5

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 The Tempest Symphony 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) Limmie Pulliam, 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

As a courtesy to others, please silence all devices prior to the start of the concert.

PHOTOGRAPHY, VIDEOGRAPHY & RECORDING

Audio recording, photography, and videography are prohibited during performances at Severance. Photographs can only be taken when the performance is not in progress.

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES

For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. For Infrared Assistive-Listening Devices, please see the House Manager or Head Usher for more details.

IN THE EVENT OF AN EMERGENCY

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

AGE RESTRICTIONS

Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. 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: 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.

© 2023 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

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A SYMPHONY OFSuccess

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