The Cleveland Orchestra February 9 & 11 Concerts

February 9 & 11, 2023

Completely engaged. That’s how Joe Coyle feels about his life at Judson Manor.

An award-winning journalist who has lived in Paris, Santa Fe, and New York City, he arrived in July 2020 via the suggestion of a fellow resident. He’s been delighted ever since.

“As a writer, I enjoy spending time alone, and these surroundings are perfect: my apartment is quiet, and the views overlooking the Cleveland Museum of Art are lovely. But by far the best part of Judson is the people. Everyone is so knowledgeable about art and culture. I wanted to have stimulating company to spend my time with, and I’ve found that here. These are wonderful, interesting people,” says Joe.

Read the full story at judsonsmartliving.org/blog

“Expanding my curiosity about life is what it’s all about.”

Joe Coyle

2022/2023 SEASON

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

Mahler’s Fifth

Thursday, February 9, 2023, at 7:30 p.m.

2022/2023 SEASON

Saturday, February 11, 2023, at 8:00 p.m.

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

Klaus Mäkelä, conductor

Mahler’s Resurrection

Thursday, September 29, 2022, at 7:30 p.m.

Unsuk Chin (b. 1961)

Friday, September 30, 2022, at 7:30 p.m.

SPIRA — Concerto for Orchestra 20 minutes

Franz Welser-Möst, conductor

INTERMISSION 20 minutes

Gustav Maher (1860–1911)

Gustav Mahler (1860–1911)

Symphony No. 2 in C minor, (“Resurrection”)

Symphony No. 5 in C-sharp minor 70 minutes

I. Allegro maestoso

Part I

II. Andante moderato

III. Scherzo: In ruhig fliessender Bewegung (In quietly flowing motion)

Trauermarsch (Funeral March) Stürmisch bewegt, mit grösster Vehemenz (Stormily, with greatest Vehemence)

IV. Urlicht (Primeval Light): Sehr feierlich, aber schlicht (Very solemn, but simple) —

Part II

Scherzo: Kräftig, nicht zu schnell (Scherzo: Vigorously, not too fast)

Part III

Adagietto: Sehr langsam (Adagietto: Very slow) Rondo-Finale: Allegro

V. Finale: Im Tempo des Scherzos. Wild herausfahrend. (In the tempo of the scherzo. Excitedly moving forward.) — Allegro energico — Der Grosse Appell (The Grand Summons) — Langsam, misterioso (Slow, mysteriously)

Lauren Snouffer, soprano

Saturday’s program will be livestreamed on medici.tv and recorded for rebroadcast on adella.live.

Marie-Nicole Lemieux, contralto

Cleveland Orchestra Chorus

Thank you for silencing your electronic devices.

Lisa Wong, chorus director

Approximate running time: 1 hour 50 minutes

These concerts will be performed without an intermission, with an approximate running time of 1 hour 20 minutes.

Thursday evening’s concert is dedicated to Dr. Michael Frank and Patricia A.* Snyder in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

Thank you for silencing your electronic devices.

2022/2023 Season Sponsor

The Cleveland Orchestra acknowledges Dr. Herbert G. Kloiber with deep gratitude for his generous gift of the autograph manuscript of Gustav Mahler’s Symphony No. 2.

Start

New Year with 2x the impact for music!

Stand Partners are a group of music-loving friends who donate monthly to the Orchestra. It’s simple: Just set your gift and forget it!

And right now, your entire year’s worth of donations will be DOUBLED! Thanks to a matching challenge, you’ll make 2x the impact for music all year long when you become a Stand Partner by February 15.

Plus, you’ll unlock one-of-a-kind gifts just for you — like our popular “Stand for Music” tote at $10 per month!

Become

• Visit clevelandorchestra.com/standpartner

• Call Donor Services at 216-456-8400

• Or scan the QR code

THIS WEEKEND BRINGS TOGETHER a pair of symphonic works from different centuries and distinct soundworlds: Unsuk Chin’s SPIRA — Concerto for Orchestra, written in 2019, and Mahler’s Symphony No. 5, completed more than a century earlier, in 1902.

This juxtaposition between the present and past is a common thread in the performances of tonight’s guest conductor, Klaus Mäkelä (right). He has openly expressed his enthusiasm for pairing works of different eras and contexts in the same concert. For example, in last week’s program, he set the work of contemporary composer Andrew Norman alongside French masterpieces of the early 20th century by

Debussy and Ravel.

In a conversation with Gramophone’s Andrew Mellor published last spring, Mäkelä explained that his vision for these expansive programs came from similar types of pairings that are common in the visual artworld, saying, “I think we can learn a lot from art museums, actually — about combining something old with something new, perhaps exploiting a theme or a contrast.”

On the surface, Chin’s SPIRA and Mahler’s Fifth seem to present a study in contrasts. The first illuminates the spectrum of textures and colors of a symphonic orchestra. Centered around the idea of the Spira mirabilis (or logarithmic spiral), it is a metamorphosis in sound, evolving from a germinating idea into a luminous polyphony.

From Chin’s abstract and ethereal soundscape, Mahler’s Symphony No. 5 embarks on a discernable journey from dark to light. Beginning with a Funeral March — said to have been inspired by the composer’s own brush with death —  it describes a life in reverse. The grief of the first section melts into a vibrant dance, followed by the heartrending Adagietto, and ending in a joyful celebration.

— Amanda Angel

PHOTO BY JEROME BONNET

SPIRA — Concerto for Orchestra

By Unsuk Chin

BORN : July 14, 1961, in Seoul, South Korea

Ω COMPOSED : 2019

Ω WORLD PREMIERE : May, 4, 2019, with Mirga Gražinytė-Tyla leading the Los Angeles Philharmonic

Ω CLEVELAND ORCHESTRA PREMIERE : This weekend’s concerts mark the first performances of Unsuk Chin’s SPIRA — Concerto for Orchestra

Ω ORCHESTRATION : 3 flutes (2nd doubling alto flute, 3rd doubling piccolo), 3 oboes (3rd doubling english horn), 4 clarinets (second doubling E-flat clarinet), 3 bassoons (3rd doubling contrabassoon), 6 horns, 4 trumpets, 2 trombones, 2 bass trombones, tuba, timpani, percussion (2 vibraphones, bass drum, glockenspiel, xylophone, triangle, 2 metal blocks, thunder sheet, tubular bells, cymbals, tambourine, whip, 3 tam-tams, crotales, 3 snare drums, flexatone, washboard, guiro), harp, piano (doubling celeste), and strings

Ω DURATION : 20 minutes

FROM THE CONCERTO GROSSO of the Baroque era to the sinfonia concertante of the Classical age to the seemingly contradictory concerto for orchestra of Modern times, composers have been inventing structures to highlight individual musicians of an ensemble within the larger whole. It’s an exercise that showcases the orchestra as a sum that is truly greater than its individual parts — along with celebrating those individual parts.

When commissioned to write a new work for the 2019 season of the

Los Angeles Philharmonic, an orchestra that composer Unsuk Chin knew quite well, she turned to this form that had been used to great effect by Béla Bartók (1943), Witold Lutosławski (1950–54), and Elliott Carter (1969). In her note accompanying the premiere of SPIRA, Berlin-based Chin wrote: “What fascinates me about this chameleonic ‘genre’ is not only that it challenges musicians to peaks of virtuosity but especially that it can coax unprecedented textures, sonorities, and forms from the symphony orchestra.”

PHOTO BY PRISKA KETTERER

She continued: “The orchestra can be presented as one entity, a ‘super-orchestra’, but also in various chamber-like combinations, and one can also highlight a certain section or even single musicians as soloists.”

This ability to elicit contrasting and uncannily specific textures — from shimmering, ethereal soundscapes to propulsive, driving passages — is a hallmark of Chin’s work. Born in South Korea, she studied under György Ligeti in Germany during her formative years. Drawing from both Eastern and Western traditions, she crafts utterly distinct and visceral soundworlds — inspired by abstract ideas, colors, or dreams —  in exacting and fully wrought detail.

seeds, and the arms of spiral galaxies. Coincidently, Bartók also embedded this phenomenon into his music, structuring the Music for Strings, Percussion and Celeste around Fibonacci numbers.

For Chin, references to the Spira mirabilis are more obscure. The concept sparked more general ideas of “the biological process of growth and metamorphosis, with complex material evolving from simple germ motives in unexpected ways,” she explained.

SPIRA begins with two vibraphones, spaced apart on stage. Each instrument is played by two percussionists: one who bows the notes, and the other who controls the motor regulating the speed of the vibrations. “In this case, the reson-

This simple idea forms the basis of the work whose structure grows from the conflict and interaction between the underlying “ur-cell” and the reactions of other groups of instruments, with the music constantly changing in terms of density, color, character, and pulse, shifting between chaos and order, activity and repose.

The initial thought for SPIRA sprang out of a concept that has fascinated artists for centuries: the Spira mirabilis. The 17th-century mathematician Jacob Bernoulli coined this phrase, though the whorled structure, radiating outward at an ever-constant rate is known by several different names — logarithmic, growth, or Fibonacci spiral, to name a few —  and appears in nature in the swirls of nautilus shells, patterns of sunflower

ance of the vibraphone constituted the sonic ‘ur-cell,’ calling forth manifold colors and intricate textures, as if zooming in with a microscope to research the inner life of sound, on the molecular level, and uncover previously invisible structures,” she said.

“The resonance of the two vibraphones runs through the whole work as a kind of ‘halo,’” Chin continued. “But it constantly varies in detail, which results in

complex interferences and changing rhythmic patterns. At some point, this concept is taken over by the string section in a magnified guise, fluctuating between consonant harmony and extreme tone clusters. This simple idea forms the basis of the work whose structure grows from the conflict and interaction between the underlying ‘ur-cell’ and the reactions of other groups of instruments, with the music constantly changing in terms of density, color, character, and pulse, shifting between chaos and order, activity and repose.”

Almost immediately after the vibraphones’ entrance, we hear explosive interruptions: a rasping washboard, lightning glissandos from the harp and piano, piercing piccolos, and raucous horns. If the ephemeral glow of the vibraphones constitutes the core “ur-cell”

then these squiggly figures spring forth like spores or bursts of energy, emanating from the sections of the orchestra.

As Chin unfurls her spiral, cycling through moments of tranquility and cacophony, the “ur-cell” reemerges in familiar but ever-evolving manifestations. About one third of the way through, eruptions subside to expose the vibraphones, and then at the midpoint a clattering of percussion gives way to placid strings. Shimmering woodwinds, strings, and harp are tethered by blustery lower brass.

Rather than build on the mounting tension and conflict of the virtuosic interjections, Chin gives the final word to those vibraphones in a long, gradual decrescendo. Emerging from the centripetal force of the spiral, it appears in full, a natural wonder.

— Amanda Angel

Symphony No. 5 in C-sharp minor

By Gustav Mahler

BORN : July 7, 1860, in Kalischt, Bohemia (now Kalištì in the Czech Republic)

DIED: May 18, 1911, in Vienna

Ω COMPOSED : 1901–02

Ω WORLD PREMIERE : October 18, 1904, in Cologne under Mahler’s direction

Ω CLEVELAND ORCHESTRA PREMIERE : December 18, 1952, with guest conductor William Steinberg

Ω ORCHESTRATION : 4 flutes (3rd and 4th doubling piccolo), 3 oboes (3rd doubling english horn), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, triangle, cymbals, slapstick, tam-tam, glockenspiel), harp, and strings.

Ω DURATION : about 70 minutes

GUSTAV MAHLER ARGUABLY did more to liberate symphonic form than any other composer in history. Before Mahler, the symphony was largely tied to the formal traditions of the dance suites that preceded it; voice was rarely used as an instrument, and few had dared push the length of a symphony past a standard 30 to 50 minutes. After Mahler, a symphony could be virtually anything the composer deemed it should be, at any length, using any resources at the composer’s disposal.

Mahler shifted the symphony’s focus away from motivic development and manipulation of key relationships and toward the juxtaposition of disparate elements for dramatic statement. Not

that he didn’t develop his motifs and transform keys across the course of a symphony, but he had more ambitious aims for the form. “A symphony should be like the world,” Mahler once said. “It should embrace everything.”

The son of a distillery and tavern owner and his more cultured wife, Mahler found his childhood a wrenching combination of joviality and despair. Behind the bustling business, the family witnessed a procession of tragedy —  seven of Gustav’s 13 siblings died before they reached 3 years old. It’s little wonder that, throughout his life as a composer, Mahler eerily juxtaposed cheery folk tunes and funeral dirges. Young Gustav took piano lessons,

showed promise, and entered the Vienna Conservatory at age 15. He received a diploma three years later.

Unable to win public recognition for his own music, Mahler turned to conducting. Over a remarkable career, he ascended the podium of all the great opera houses and concert halls of Europe and led two of New York’s premier musical organizations: the Metropolitan Opera and the New York Philharmonic. It was Mahler who restored Fidelio, Beethoven’s only opera, to prominence. And he gave Mascagni’s opera Cavalleria Rusticana its first performances outside Italy.

But success with a baton meant Mahler did most of his composing in the offseason, alone in a summer cottage, intensely trying to distill his musical thoughts of an entire year on paper.

Mahler’s first four symphonies reflect the composer’s love of song and are shot through with references to his own settings of selections from Des Knaben Wunderhorn (The Youth’s Magic Horn), a collection of German folk poetry. In the First Symphony, the references are merely orchestral, while the next three adapt the poetry into lyrics for soloists or chorus.

With the Fifth Symphony, Mahler entered a new period where structural instrumental considerations became paramount. Words were left behind for the tougher stuff of pure feeling. The human voice is not heard again in a Mahler symphony until his Eighth.

The genesis of Symphony No. 5 almost

certainly can be dated to February 24, 1901, when the composer suffered an intestinal hemorrhage and nearly died. Mahler later wrote: “While I was hovering on the border between life and death, I wondered whether it would not be better to have done with it at once, since everyone must come to that in the end.”

Mahler started sketching the Fifth Symphony in the summer of 1901. He had just turned 41. He was lucky to be alive, and he doubtless felt inclined to meditate on the meaning of a life that had nearly ended months before. The symphony opens with a Funeral March, then proceeds — in reverse chronology — to major episodes in the dead man’s life, ending in a triumphant Finale that represents the protagonist’s optimistic (perhaps falsely so) beginning. Or, perhaps, it finds him realizing, after looking back across his time on earth, that the good things can outweigh the bad, and that joy is a part of even a life cut short and should be cherished.

The symphony is in five movements, though the composer indicated three separate sections. Part I contains the first two movements, the lengthy Scherzo stands alone as Part II, while Part III comprises the Adagietto and concluding Rondo. Mahler’s Fifth is sometimes listed as being in C-sharp minor, but the composer himself observed that the work does not dwell in a single key, and the signatures for each movement support this, modulating from C-sharp minor to A minor to D major to F major and back to D major.

While working on this score, Mahler also composed his first songs based on the texts of the Kindertotenlieder (Songs on the Death of Children), and some of those songs find echoes in the symphony. During the writing and scoring of the Fifth, Mahler also met, wooed, and wed Alma Schindler.

Various critics have pondered the meaning of this symphony’s opening Funeral March and the propriety of its concluding Rondo, the most buoyant and unclouded of all Mahler finales. Once the idea of a man’s story told backward is in place, however, the outline of the symphony — including its jubilant close —makes great sense.

PART I

In the opening Trauermarsch (Funeral March), a solo trumpet announces death on a C-sharp-minor arpeggio. The orchestra takes up the funereal cry, which leads to a lament intoned by the strings. At length, the trumpet, with its distinctive triplet figure, reasserts itself, and again the song of lamentation ensues, varied this time and lengthened into something more personal than merely ritual. A third time the trumpet sounds the funeral call, but this time the orchestra takes off in an anguished cry of despair and outrage. Throughout the rest of the movement, the trumpet fanfare alternates with variations on the lament, with the variations displaying facets of mourning a life, from shock and anger to fond memories and resignation.

Looking back on the protagonist’s life, we hear in the opening bars of the second movement, marked “Stormily, with greatest vehemence,” the tortuous defeat and stormy rage that dominated the last years of his life. And then, a surprise: the strings intone a variant of the lament from the first movement. As the funeral fanfare in the first movement was repeatedly interrupted by the lament, so will the violent outbursts of this movement alternate with slower meditations, until, about halfway through, the woodwinds turn the theme into a bright march. Near the end, the brass latch onto a subject that becomes a triumphant chorale in pure, clear D major. That key becomes the new “home key” as the symphony wends its way back to a happy origin.

PART II

The Scherzo, in bright and confident D major, is a folkish Ländler or country dance, dominated by a solo obbligato horn in F that is one of the great bravura parts for that instrument. Mahler tosses around many related themes in masterful counterpoint. While there are quiet, even reflective, passages in the Scherzo, the overall mood is of vitality and adventure. The protagonist is at the peak of his life, and even the thought of death is distant.

PART III

A relatively brief intermezzo, the famous Adagietto for strings and harp is a tenderly romantic moment in the protagonist’s life. Mahler may have

intended it as a musical love letter to Alma. Its proper tempo is a matter of great controversy. Mahler indicated “very slow” in both German and Italian, yet recordings of it by his contemporaries clock in at under 8 minutes, far less than the 10-to-12-minute Adagiettos presented over the past 50 years.

The horn, which heralds death in the opening movement then joy in the scherzo, announces the blossoming of the protagonist’s youth. Mahler displays the polyphonic knowledge he had recently acquired in his study of J. S. Bach, and as the melodies pick up increasing energy and pile one on top of the other, the picture irresistibly

emerges of a new life progressing from birth to childhood to young manhood. The Adagietto theme is recalled, a portent of the protagonist’s love life. Amazingly, we hear at the very end the great D-major chorale from the second movement, the logic of its earlier appearance now made clear. Here in the Finale, it is the young protagonist’s assertion of newfound power in the world; in the second movement, it was (or will be, if viewed in normal chronology) a last grasp at the past, a farewell to the life force that had once been his. The symphony ends with the protagonist on the cusp of his maturity, unaware of the tragedy that will befall him —  optimistic, looking forward.

— Kenneth LaFave

Kenneth LaFave is a writer, teacher, and composer based in Scottsdale, Arizona.

Gustav Mahler wooed and married Alma Schindler while writing his Fifth Symphony. They are pictured with daughters Maria Anna, who died in 1907, and Anna Justine.

Klaus Mäkelä

KLAUS MÄKELÄ IS CHIEF CONDUCTOR

of the Oslo Philharmonic Orchestra, music director of Orchestre de Paris, and, since autumn 2022, artistic partner of the Concertgebouworkest. An exclusive Decca Classics artist, he has recorded the complete Sibelius Symphony cycle with the Oslo Philharmonic as his first project for the label.

Mr. Mäkelä’s third season with the Oslo Philharmonic features 11 contrasting programs, with repertoire ranging from Jean-Baptiste Lully and Pietro

Locatelli to Alban Berg and Gustav Mahler to Anna Thorvaldsdottir and Julia Perry. In fall 2022, Mr. Mäkelä and the Oslo Philharmonic embarked on their second European tour with performances in Germany, Belgium, and Austria with soloist Sol Gabetta.

For his second season with the Orchestre de Paris, Mr. Mäkelä has chosen to spotlight living composers

Pascal Dusapin, Betsy Jolas, Jimmy

López Bellido, Magnus Lindberg, and Kaija Saariaho, the latter featured with three different works. There is also a focus on the Ballets Russes with two key Diaghilev scores by Stravinsky: The Firebird and The Rite of Spring. In spring 2023, Mr. Mäkelä and Orchestre de Paris tour throughout Europe with Janine Jansen as soloist.

With the Concertgebouworkest Klaus Mäkelä embarks on a long-term collaboration this season, joining the orchestra as its artistic partner with his eventual

appointment to chief conductor in 2027. For their first season together, they perform six programs including Mahler’s Symphony No. 6, the Mozart Requiem, and Strauss’s Alpine Symphony, as well as premieres by López Bellido, Sauli Zinovjev, Alexander Raskatov, and Sally Beamish. On tour, they performed the opening concert of Musikfest Berlin and at the Cologne Philharmonie.

As a guest conductor in the 2022–23 season, Mr. Mäkelä makes his first appearances with the New York Philharmonic, Berliner Philharmoniker, Gewandhausorchester, and Wiener Symphoniker; and returns to The Cleveland Orchestra, where he’ll lead two consecutive programs, and Chicago Symphony Orchestra.

Klaus Mäkelä studied conducting at the Sibelius Academy with Jorma Panula and cello with Marko Ylönen, Timo

Hanhinen, and Hannu Kiiski. As a soloist, he has performed with several Finnish orchestras and as a chamber musician at the Verbier Festival, among others.

PHOTO BY MARCO BORGGREVE

LJI

Customer

NOW

LJI builds confidence in every customer and ensures quality repairs and superior customer service. Our commitment is to achieve and retain customer loyalty for life!

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.

PHOTO BY ROGER MASTROIANNI

THE  CLEVELAND  ORCHESTRA DIGITAL CONCERTS STREAMING NOW!

Adella, our streaming service and app, features on-demand portraits, music showcases, behind-the-scenes footage and our flagship In Focus premium concert series, available anytime & anywhere

Now Available Mahler’s Resurrection

Pegged to the transformative gift of Mahler’s autograph score of the Second Symphony to The Cleveland Orchestra, Franz Welser-Möst leads a riveting performance of this powerful work.

The Drive

This weekend’s conductor, Klaus Mäkelä, partners up for the first time with conductor/ violinist Nikolaj Szeps-Znaider for an extraordinary rendering of Sibelius’s beloved Violin Concerto, before launching into a furious rendition of Shostakovich’s Tenth Symphony.

THE CLEVELAND ORCHESTRA

Franz Welser-Möst, MUSIC DIRECTOR

Kelvin Smith Family Chair

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

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*

Gilbert 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

CONDUCTORS

Christoph von Dohnányi MUSIC DIRECTOR

LAUREATE

Daniel Reith

ASSISTANT CONDUCTOR

Sidney and Doris Dworkin Chair

Lisa Wong

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

* Principal

§ Associate Principal

1 First Assistant Principal

2 Assistant Principal

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.

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

WINTER 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

A SPECIAL VALENTINE’S DAY

Join The Cleveland Orchestra for an evening of romance, with pre-concer t dinner and drinks at the Severance Restaurant , and a cocktail party following the Friday, Februar y 17th performance.

Dinner reservations can be made with Open Table or at clevelandorchestra.com. For questions about the Valentine’s dinner, email cx@clevelandorchestra.com.

BEETHOVEN’S SEVENTH

FEB 17 | FRI 7:30 PM

Herbert Blomstedt conductor

Emanuel Ax piano

YOUR VISIT

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.

FREE MOBILE APP TICKET WALLET

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.

For more information and direct links to download, visit clevelandorchestra.com/ticketwallet or scan the code with your smartphone camera to download the app for iPhone or Android.

Available for iOS and Android on Google Play and at the Apple App Store.

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

ADVERTISING Live Publishing Company, 216-721-1800

is everything.

Photographs in Ink

Featuring works made in printer’s ink rather than produced in the darkroom or digitally, this exhibition explores how artists including Alfred Stieglitz, Andy Warhol, Lorna Simpson and more, have influenced photographic images since the 1850s.

Through April 2 | Tickets at cma.org | CMA Members FREE

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.

(877)554-5054

w ww.ClevelandFoundation.org