The Cleveland Orchestra February 23-25 Concerts

Mozart & Strauss

2022/2023 SEASON

February 23 – 25, 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

Mozart & Strauss

Thursday, February 23, 2023, at 7:30 p.m.

Friday, February 24, 2023, at 11:00 a.m.

Saturday, February 25, 2023, at 8:00 p.m.

Divertimento No. 2 in D major, K. 131* 30 minutes

I. Allegro

II. Adagio

III. Menuetto — Trio I — Trio II — Trio III — Coda

IV. Allegretto

V. Menuetto — Trio I — Trio II — Coda

IV. Adagio — Allegro molto

Variations for Orchestra, Opus 31 20 minutes

Introduction: Mässig, ruhig (Moderately peaceful)

Theme: Molto moderato

Variation I: Moderato

Variation II: Langsam (slow)

Variation III: Mässig (moderato)

Variation IV: Walzertempo (waltz tempo)

Variation V: Bewegt (agitated)

Variation VI: Andante

Variation VII: Langsam (slow)

Variation VIII: Sehr rasch (very fast)

Variation XI: L’istesso tempo aber etwas lansamer (the same tempo but a little slower)

Finale: Mässig schnell (moderately quick)

*Not

INTERMISSION 20 minutes

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

Wolfgang Amadeus Mozart (1756 –1791)

Arnold Schoenberg (1874–1951)

Franz Welser-Möst, conductor

included in Friday’s performance, which is performed without an intermission.

Richard Strauss (1864–1949)

Ein Heldenleben (A Hero’s Life), 40 minutes

Opus 40

The Hero —

The Hero’s Adversaries —

The Hero’s Companion —

The Hero’s Deeds of War —

The Hero’s Works of Peace —

The Hero’s Retirement

David Radzynski, violin

Approximate running time: 1 hour 50 minutes

Thank you for silencing your electronic devices.

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

Thursday night’s concert is sponsored by Northern Trust.

2022/2023 Season Sponsor

Photo by Roger Mastroianni

State and federal dollars through the Ohio Arts Council supported your arts experience today.

WHERE WILL THE ARTS TAKE YOU NEXT ? VISIT ARTSINOHIO.COM

THE COMPOSER RICHARD STRAUSS , at the age of 34, sparked outrage when he cast himself as the central figure of his tone poem Ein Heldenleben (A Hero’s Life). “Strauss was heavily criticized,” says Music Director Franz Welser-Möst, describing the outcry at the time: “How can you write a piece about yourself? How egotistic is that?”

Presciently, it seems, Strauss incorporated jabs such as these — the critics’ heckling peppers the second section, “The Hero’s Adversaries”— alongside more valiant deeds. He also illustrated a touching depiction of his wife Pauline (“The Hero’s Companion”) represented by a solo violin, which concertmaster David Radzynski brings to life in these concerts; and in “The Hero’s Works of Peace,” Strauss wove together musical excerpts from his own catalogue to brilliant effect.

Strauss’s ambitions “go way beyond just describing his own life,” WelserMöst continues. “[His music] gives you a space for reflection on your own life. And that’s what classical music can do.” Through Strauss’s narrative, we recognize our own aspirations and obstacles, love affairs and nemeses.

This contemplative quality also radiates from the other two works on this weekend’s program. Mozart’s Divertimento No. 2 is a wholly charming and sophisticated, yet unassuming work by the budding 16-year-old, already in complete mastery of his considerable musical abilities. The modest Divertimento contrasts with Schoenberg’s bold

Variations for Orchestra, in which the composer presented his novel 12-tone method across a full range of pitches, colors, and textures that only an orchestra of more than 100 musicians can provide.

At the time he wrote the Variations, Schoenberg may have underestimated the power of his music. In an essay published two years after its premiere, he claimed: “Called upon to say something about my public, I have to confess: I do not believe I have one.” The clarity of hindsight has proven Schoenberg wrong, and this work captures the imagination with its endless variety and innovation in sound.

— Amanda Angel

Composer Richard Strauss, photographed in 1910, was ridiculed for placing himself as the eponymous Hero in his tone poem Ein Heldenleben

Divertimento No. 2 in D major, K.131

By Wolfgang Amadeus Mozart

BORN : January 27, 1756, in Salzburg, Austria

DIED : December 5, 1791, in Vienna

Ω COMPOSED : June 1772

Ω WORLD PREMIERE : Summer 1772, most likely at an outdoor performance

Ω CLEVELAND ORCHESTRA PREMIERE : February 3, 1949, led by Music Director George Szell

Ω ORCHESTRATION : flute, oboe, bassoon, 4 horns, and strings

Ω DURATION : 30 minutes

ONCE MOZART HAD MOVED to Vienna in 1781, he composed no more of the Serenades and Divertimentos that had flowed from his pen during his years in Salzburg. However, between the ages of 13 and 23, he wrote nearly 20 such pieces, most of them longer than the symphonies he was writing in the same period since the aforementioned works conventionally included more than four movements. The Serenades were intended for playing outdoors in the summer months, and the Divertimentos were essentially the same in spirit and in purpose.

One such occasion would be to mark the end of the academic year. The student orchestra would assemble at dusk and march to the Archbishop’s summer residence where a Serenade would be

played. Then they would return to the university campus, Kollegienplatz, and perform the Serenade for a second time in front of the assembled professors and students. Mozart’s sister Nannerl wrote in her diary in August 1775: “8th. Rehearsal of my brother’s Finalmusik composed for the professors. 9th. The Finalmusik started from here at 8.30, at the Mirabell it lasted until 9.45, from there to the college it lasted until after 11.00.”

The Divertimento K. 131 was composed in the summer of 1772, when Mozart was 16, probably just after the wellknown Divertimentos for strings alone, K.136–138 (despite their higher Köchel numbering). K. 136, 137, and 138 were probably intended for indoor performance (Divertimento was not Mozart’s

title for them), whereas today’s Divertimento K. 131 is scored, unusually, for four horns, strongly suggesting an outdoor purpose. Or perhaps Mozart was taking advantage of a glut of good horn players that year — the composition that followed immediately after, Symphony No. 19, also calls for four horns, which is undoubtedly more than coincidence. The horns are specially featured in the Minuets, and they also introduce the finale and contribute an important flourish on their own at the end of that movement.

Most of the Divertimentos include two Minuets, which is the case here, as is a generous supply of Trios in alternation. In the first Minuet, the first Trio is for the four horns alone, the second Trio for the three woodwinds alone, and the third Trio brings all the winds together.

The second Minuet reverses the balance by giving the horns the lion’s share of the Minuet and the strings a little more favor in the Trios.

The very beautiful Adagio, where horns would have no place, is wisely entrusted to the strings alone, while the opening and closing movements are both constructed on symphonic dimensions.

Even at that young age Mozart was in complete command of his style, derived from the music of his contemporaries, but already marked by some distinctive features: the colorful writing for the flute, for example. His fondness for giving the second violins the same tune as the first violins an octave lower, as at the beginning of the Allegretto movement, is another example. That Allegretto movement is in fact an ideal example of Mozart’s mastery of charm and exquisite craftsmanship at a tempo neither fast nor slow and thus unlikely to feature in a symphony. The Salzburg Divertimentos are a treasure house of the less familiar side of Mozart’s genius.

Macdonald

— Hugh

Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin, as well as 1853 in Music: The Biography of a Year

The Mozart Monument in Vienna’s Burggarten depicts the composer at various stages in his life.

Variations for Orchestra, Opus 31

By Arnold Schoenberg

BORN : September 13, 1874, in Vienna

DIED : July 13, 1951, in Los Angeles

Ω COMPOSED : 1927–28

Ω WORLD PREMIERE : December 2, 1928, with the Berlin Philharmonic conducted by Wilhelm Furtwängler

Ω CLEVELAND ORCHESTRA PREMIERE : March 18, 1971, with Pierre Boulez conducting

Ω ORCHESTRATION : 4 flutes (2nd and 3rd doubling piccolo), 4 oboes (4th doubling english horn), 4 clarinets (4th doubling bass clarinet), E-flat clarinet, 4 bassoons (4th doubling contrabassoon), 4 horns, 3 trumpets, 4 trombones, tuba, timpani, percussion (cymbals, bass drum, snare drum, tam-tam, triangle, tambourine, glockenspiel, xylophone, flexatone), harp, celeste, mandolin, and strings

Ω DURATION : about 20 minutes

THE PERIOD BEFORE World War I saw the creation of giant orchestral pieces, such as those by Strauss and Mahler, when many composers enjoyed and took advantage of the vast sonic possibilities that the expanded orchestra made possible. Arnold Schoenberg had himself contributed the huge Gurrelieder, first performed in 1913 with nearly 150 instrumentalists and 200 vocalists, to this splendidly robust body of music.

Since then, Schoenberg had focused his attention more on piano music and chamber music, wrestling with problems of modern style and searching for a way out of the traditional paths of tonality.

His efforts proved to be divisive with the Viennese public, but resistance to the alarming modernity of his new pieces strengthened his determination to press forward. In 1925, Schoenberg was invited to Berlin to teach composition at the Berlin Academy. He moved there at a time of seething artistic experimentation in the chaos of the post-World War I period, so he found many students to follow in his footsteps. He was also encouraged to reach out further in his creative work.

In addition to writing music, Arnold Schoenberg was a respected painter. His Blue Self-Portrait (1910) shows the hallmarks of German Expressionism.

The Variations for Orchestra, Opus 31, was the first full-scale work from this period, having been started in 1927 and finished during a holiday on the French Riviera in September 1928. While the style of the music was radically new, his choice of a huge orchestra was a throwback to the prewar period of Strauss and Mahler. Contemporaries such as Stravinsky, Hindemith, and others had already moved on to more parsimonious groupings of instruments in the spirit of Neoclassicism.

But Schoenberg needed this immense range of colors, just as he needed the full range of pitches from the lowest doublebass to the highest piccolo, the full range of expression from whispers to roars, and an infinite variety of rhythm. This was because he had turned his back on all the assumptions and traditions of tonality. There were no more major or minor scales, no more functional intervals, no more tunes governed by singability, no

more dominant sevenths or triads in his music. The notes themselves were now subject to the rule of the 12-note row, but if that had been the sole element of interest, the composer would have been left with little individual choice. Schoenberg always insisted that it was what the composer did with the notes that mattered, not the notes themselves. He also wanted the listener to take in the rich emotional and dramatic sense of the music without needing to know the intricate manipulations of the composer’s workbench.

Variation form was a good choice, since the music can be heard in short sections, distinct in character and color. In addition, Schoenberg brings in the four-note motif on the letters B-A-C-H, first heard on the trombone in the Introduction, and gradually assuming greater importance throughout successive sections.

Artist Wassily Kandinsky (1866–1944), remarked that Schoenberg sought to “record his subjective impression” through painting, such as in this work, Flesh (1909).

The set of variations includes an introduction, a theme, nine variations, and a longer finale, which unfold in the following manner:

INTRODUCTION: an atmospheric start, as if feeling its way, with hints of the theme to come. It rises to a climax and falls back.

THEME: heard first on the cellos, consisting of all 12 notes of the chromatic scale and displaying the unusual intervals that characterize this music.

VARIATION I: jumpy and staccato.

VARIATION II: gloomy in character, with a violin solo and chamber-like textures. The trombone repeats the B-A-C-H theme.

VARIATION III: loud and aggressive. Alongside the xylophone is a flexatone, an instrument popular in the 1920s in which wooden knobs strike a metal plate and, when shaken, produces a cartoonish tremolo.

VARIATION IV: a delicate waltz, featuring the mandolin and celeste.

VARIATION V: the intervals are now gapingly wide and the sonorities ugly and grim. The violins reach up to stratospheric heights.

VARIATION VI: chamber music again, featuring a group of solo cellos.

VARIATION VII: soft and wispy, ethereal, like falling leaves.

VARIATION VIII: hurried and brief.

VARIATION IX: thin textures and exposed instruments.

FINALE: It starts with shimmering violins and repeatedly changes texture and tempo, as if to embrace all the moods displayed by the variations. A huge dissonant chord is followed by a brief adagio and then a brisk rush to the final thump.

Anyone curious to know the intricacies of this piece may like to identify the 12-note row and its three transformations: inverted, backwards, and inverted backwards. Whatever the mood or texture may be, every note can be accounted for somewhere in those

four series, and since a note, say C, may be sounded at any octave, the rows never sound the same. Schoenberg would not expect nor want his listeners to be concerned with all this, but nonetheless it can do no harm to show the row itself:

Ein Heldenleben (A Hero’s Life), Opus 40

By Richard Strauss

BORN : June 11, 1864, in Munich

DIED : September 8, 1949, in Garmisch-Partenkirchen, Germany

Ω COMPOSED : 1897–98

Ω WORLD PREMIERE : March 3, 1899, in Frankfurt, Germany, conducted by the composer

Ω CLEVELAND ORCHESTRA PREMIERE : February 2, 1928, conducted by Nikolai

Sokoloff

Ω ORCHESTRATION : 3 flutes, piccolo, 4 oboes (4th doubling english horn), 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tenor tuba, bass tuba, timpani, percussion (bass drum, tenor drum, snare drum, cymbals, tam-tam, triangle), 2 harps, and strings

Ω DURATION : about 40 minutes

RICHARD STRAUSS MADE NO SECRET of the fact that Ein Heldenleben (A Hero’s Life) is about himself. The hero is not Hercules, not El Cid, not Napoleon, but living, breathing Richard Strauss.

At the time, he was a notorious young German conductor and composer, age 34, who had neither fought in real battles nor rescued damsels in distress. Nor had his path to fame been a struggle. His father played principal horn in the court orchestra in Munich, and young Richard was introduced to leading German musicians as a boy. His natural talent was noticed and encouraged, and, with

the right connections, he was soon launched on a successful career. Nonetheless, he thought a lot of himself.

The one big choice that all young German musicians had to make at the time, in the closing years of the 19th century, was whether to follow the flag of Richard Wagner or Johannes Brahms. Richard’s father had played for Wagner and disliked the music and the man. So instead of embracing the Romanticism of Wagner’s operas, young Richard Strauss was initially steered toward the more formal world of sonatas and quartets — music without storylines. He later

found his true path, or a path that would serve the beginning of his career, between these two factions in the tone poem, a form pioneered by Franz Liszt.

Strauss’s first entry came with a four-movement depiction of Italian life, Aus Italien (1889), and then he embarked on a magnificent series of tone poems, creating one masterwork after another for more than a decade, concluding with the Alpine Symphony in 1915.

By 1897, he had taken on the subjects

of Macbeth, Don Juan, Death and Transfiguration, Till Eulenspiegel, Thus Spake Zarathustra, and Don Quixote. Spanning contemporary philosophy to comic adventures, the quest for the meaning of life to earthy fantastical humor, Strauss must have felt there was no subject on earth he could not turn into a blaze of modern music.

Richard Strauss (c. 1925) survived the early criticisms of Ein Heldenleben to become the most celebrated German composer of his generation.

Perhaps most importantly, he did it all with instruments. He had no need for text or voices. The scores include occasional headings to guide listeners and performers along the sonic journey, but the orchestra, with its intricate blend of sounds, had become in Strauss’s hands so expressive that any attentive listener was expected to follow the action or the argument without additional help.

Strauss is said to have boasted that he could portray a teaspoon in music, and he came close to literal representations of this kind. Few people questioned the aesthetic rectitude of using music as a paintbrush or as a storyteller. In fact, long before Vivaldi’s Four Seasons there had been a growing glossary for how to mimic a large number of worldly sounds. Military scenes or storms or birdsong were easy to transcribe; these were found everywhere. But there were no such models for composing abstract states of mind, philosophical quandaries, or the banalities of everyday life.

Strauss avoided that delicate issue by telling us what his pieces were about. And he dug deep into the repertoire of musical associations to find the right sonorities — the proper brushes and colors of paint, as it were — with which to illustrate them. If some of his critics felt that Thus Spake Zarathustra failed to enter the heart of Nietzsche’s philosophical thought, there was no question that Till Eulenspiegel brought its subject brilliantly to life. The choice for his next tone poem fell on Cervantes’s immortal Don Quixote, obviously as a follow-up

to Till Eulenspiegel, since it recounts a series of humorous adventures in the picaresque tradition, all drawn from a classic masterpiece that most of his audiences would have known and loved.

Next, he decided to tell the story of his own life, in two tone poems: what became Ein Heldenleben and then Symphonie Domestica. (Though whether he initially conceived of the works as two pendants, or later set out to write a sequel to the original is less certain.)

In Ein Heldenleben, Strauss introduces himself, the Hero; portrays adversaries, his critics; presents his companion, his wife Pauline; shows off his work, his own music; and plans his retirement from the world — all done with self-confidence and élan that carry the listener along on the same glorious path.

The music is divided into six sections. The sections are clearly marked in the score and act like movements in a symphony, though they flow together without pause. Structurally, they are patterned out as a formally built framework of Classical sonata form — dividing the difference between Wagnerian emotion and Brahmsian formality. The Hero is represented in a series of energetic, virile themes. The orchestra, enlarged with more than 100 musicians, is fully engaged.

After introducing the Hero’s own theme with horns playing in E-flat major, a silence precedes the appearance of the Hero’s enemies: mean-minded critics who leave a trail of ugliness and spite, mostly conveyed by angular woodwinds

supported by two clumsy tubas. The Hero has to step in and send them packing, especially since he wants to introduce his wife, personified by a solo violin. Her section of the work moves like operatic recitative or a solo cadenza with no clear tempo named. Her character is clearly changeable in mood, as Strauss well knew his wife to be, and shifts in and out of clear indications of any particular tonal key. Seductive and shrewish, sweet and severe — all these make up an honest portrait of the woman who stood by her genius husband for 55 years. Eventually, in the music, this develops into a love scene of great rapture leading to a state of repose.

The dreaded cackle of a critic is heard on the flute, and before long, the offstage trumpets signal an approaching battle. Once the snare drum enters the fray, the

battle is fierce and hard-fought. All the work’s themes are hurled into the front lines in a display of orchestral virtuosity, as if the composer must tap every resource to survive. Sure enough, the Hero comes out on top, his critics are laid low in the dust, and the glorious victory of E-flat major, the main key of the work, is proclaimed.

Yet there are still additional paths to conquer, so a new key and a new theme on trumpet and violins leads into a section in which, after a short silence, Strauss creates a tapestry of quotations from his own earlier works, beginning with Don Juan. More than 30 snippets from previous tone poems and the opera Guntram are woven with the themes of the Hero and his wife, suggesting a lifetime of productive labor, the Hero’s “works of peace.” After that, even more doubt and adversity must be overcome before the Hero can truly claim serenity and peace as a reward for a life of toil.

In listening to Ein Heldenleben, we should not forget that Strauss was still a young man at the time of its conception. He was looking forward to what eventually became a long and productive life in the companionship of his wife, leading to the comfortable life of celebrity and satisfaction that he soon achieved. The final pages of Ein Heldenleben can also be heard as a prophecy of the beautiful works of Strauss’s final years, anticipating his late-career successes such as Metamorphosen for strings and the Four Last Songs

Macdonald

Newlyweds Richard and Pauline Strauss in 1894. Pauline would be a source of inspiration for Richard throughout his life. IMAGE COURTESY OF LEBRECHT MUSIC & ARTS / ALAMY STOCK PHOTO

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.

PHOTO BY ROGER MASTROIANNI

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

From Richard Strauss to George Walker

Showcasing the breadth of 20thcentury music, Franz Welser-Möst leads The Cleveland Orchestra and soprano Latonia Moore in Walker’s Lilacs (1995), as well as an extended suite from Strauss’s Der Rosenkavalier (1911), compiled by Welser-Möst.

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 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.

clevelandorchestra.com

WINTER SPRING

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, contralto

Ben Bliss, tenor

Anthony Schneider, bass

Cleveland Orchestra Chorus

STAUD Concerto for Percussion

MOZART Requiem

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)

Roman Burdenko, 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

MOZART’S REQUIEM

MAR 9 | THU 7:30 PM

MAR 10 | FRI 7:30 PM

MAR 11 | SAT 8:00 PM

MAR 12 | SUN 3:00 PM

Franz Welser-Möst, conductor

Siobhan Stagg, soprano

Avery Amereau, contralto

Ben Bliss, tenor

Anthony Schneider, bass

Cleveland Orchestra Chorus

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