The Cleveland Orchestra March 30-April 1 Concerts

The Tempest Symphony

2022/2023 SEASON

March 30 – April 1, 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

The Tempest Symphony

Thursday, March 30, 2023, at 7:30 p.m.

Friday, March 31, 2023, at 11:00 a.m. *

Saturday, April 1, 2023, at 8:00 p.m.

Prelude and Suite No. 1 from 25 minutes The Tempest, Opus 109, Nos. 1 & 2

Six Humoresques 20 minutes

Humoresque I, Opus 87, No. 1 in D minor

Humoresque II, Opus 87, No. 2 in D major

Humoresque III, Opus 89, No. 1 in G minor

Humoresque IV, Opus 89, No. 2 in G minor

Humoresque V, Opus 89, No. 3 in E-flat major

Humoresque VI, Opus 89, No. 4 in G minor

Pekka Kuusisto, violin

INTERMISSION

20 minutes

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* Friday’s program will be performed in the order of Adès’s Märchentänze and The Tempest Symphony, concluding with Sibelius’s Prelude and Suite No. 1 from The Tempest. Six Humoreques does not appear on this program.

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

Jean Sibelius (1865–1957)

Thomas Adès, conductor

Thomas Adès (b. 1971)

Märchentänze 15 minutes

I. Leggierissimo

II. Giusto, ritmico

III. A Skylark: Presto, molto expressivo

IV. Swift

Pekka Kuusisto, violin

The Tempest Symphony 20 minutes

I. Overture (Storm)

II. Ariel and Prospero

III. Ferdinand and Miranda

IV. The Feast

V. Prospero’s Farewell — Caliban

US Premiere, co-commissioned by The Cleveland Orchestra

Total approximate running time: 1 hour 45 minutes

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

Storms of Musical Invention

WHY HAS SHAKESPEARE’S The Tempest —  a fantastical tale of magic and mysticism, romance and revenge — inspired so much music? To understand why the Bard’s play has been the springboard for dozens of operas, tone poems, concert overtures, and more, one could first look to the play’s text.

“[T]he isle is full of noises, sounds, and sweet airs,” remarks an inhabitant of the remote island where the story unfolds. Two members of the Milanese court shipwrecked on its shores hear

a “solemn and strange music” as they navigate their new surroundings. And when the central figure, Prospero —  the usurped Duke of Milan who has spent 12 years here in exile, and whose white magic (and more than a touch of revenge) propels every facet of The Tempest’s plot — renounces his wizardly abilities, he calls for a “heavenly music” as he breaks his staff in two.

Those literal references aside, it’s also The Tempest’s function as an allegory of creation that has likely inspired genera-

tions of composers — from Berlioz to Arthur Sullivan and from Tchaikovsky to Michael Nyman — to bring this tale to life through sound. For just as Prospero uses his magic to summon electrifying storms from thin air, so does a composer’s work transmute silence into noises, sounds, and sweet airs.

But another interpretive layer has emerged from The Tempest’s pages in the 400 years since the First Folio’s publication — one that posits Prospero as less of a tormented hero using magic to right wrongs, and more of a master manipulator who exploits the forces of nature and enslaves the island’s inhabitants to aid his quest for vengeance. For as much as The Tempest evokes the mythological voyages of Aeneas and Jason, it also

mirrors the dawn of England’s quest for a global empire, hinting at the human carnage European slavery and colonialism would unleash.

So how should we read The Tempest —  as a fanciful fable where human creativity paves the way for reconciliation and understanding, or as an anti-colonialist allegory? On this week’s program, works by Thomas Adès and Jean Sibelius show us that Shakespeare’s text enables both readings, and infinitely more.

And just as Shakespeare buoyed the spirits of his audiences with comic relief within his mystical fantasy, Adès offers whimsical respite sandwiched between this program’s blustery bookends, while also inviting further comparison among his works and those of Sibelius. Soloist Pekka Kuusisto joins for two lively works for solo violin and orchestra: Adès’s Märchentänze (Dances from Fairytale) and Sibelius’s Six Humoresques, both delightful collections of tunes based largely on dance forms and overflowing with charm, wit, and sublime craft.

By juxtaposing these works, written nearly a century apart, we realize how composers and listeners alike can approach a subject like The Tempest on any level — a romantic fairy tale, a drama of deceit, a warning call against empire and oppression — and be consumed by a spectacularly operatic story.

Cirigliano II

Michael Cirigliano II is a freelance arts journalist and copywriter. He has written for Lincoln Center for the Performing Arts, the Oregon Symphony, the Metropolitan Museum of Art, and the Whitney Museum of American Art.

Detail from Ferdinand Lured by Ariel (1850) by English painter John Everett Millais.

John William Waterhouse’s Miranda –The Tempest (1916) depicts the play’s heroine as she observes the storm conjured by her father, Prospero.

Prelude and Suite No. 1 from The Tempest, Opus 109, Nos. 1 & 2

By Jean Sibelius

BORN : December 8 1865, in Hämeenlinna, Finland

DIED : September 20, 1957, in Järvenpää, Finland

Ω COMPOSED : 1925–26

Ω WORLD PREMIERE: March 15, 1926, in Copenhagen as part of a staged production of Shakespeare’s The Tempest at the Royal Theatre. Sibelius later arranged two suites from the incidental music.

Ω CLEVELAND ORCHESTRA PREMIERE: This weekend’s performances mark the first presentations of Sibelius’s music from The Tempest by The Cleveland Orchestra.

Ω ORCHESTRATION: 3 flutes (all doubling piccolo), 2 oboes, 2 clarinets (second doubling E-flat clarinet), bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, tambourine, bass drum, cymbals, triangle, xylophone), harp, and strings

Ω DURATION: Prelude, about 5 minutes; Suite No. 1, about 20 minutes

ONE OF THE LAST of the great composers of the Romantic tradition, Jean Sibelius drew largely from two primary wells of inspiration: nature and mythology. So when the composer received a commission in 1925 from Copenhagen’s Royal Theatre to write the incidental music to a lavish new production of The Tempest, Sibelius could hardly decline the opportunity. Over the next four months, he feverishly composed 34 numbers to weave throughout the play’s action —  an enormous score that called for vocal soloists, choir, and large orchestra.

This deep dive into Shakespeare’s play flexed different creative muscles for the composer and gave him a muchneeded break from the supreme musical logic that dominated his symphonies, which Sibelius called his “confessions of faith.” The premiere of his Seventh Symphony in 1924 had closed an 11-year period that birthed the final three symphonies the composer would complete. As a temporary liberation from the pressure to write such large-scale works, Sibelius welcomed a return to incidental music for the theater — a form of

composition in which he had excelled throughout his career. Within this genre he could expertly merge his talents for grand orchestral intensity with light, tuneful music that quickly illuminates a character’s motives or evokes a specific mood.

With his imagination set free to convert The Tempest into music, Sibelius catered to his playful side throughout his score, emphasizing the pastoral and comedic elements of the story. But even after the Copenhagen premiere, Sibelius couldn’t release himself from Prospero’s world. For four years he continued revising the score, penned an epilogue, expanded upon the stormy overture, and

crafted two suites for concert presentation — in which he omitted some numbers, combined others, and ordered the movements according to a musical, rather than dramaturgical, logic.

In the First Suite, the story’s humorous elements take center stage. “The Harvesters” is a jolly polka performed during Ariel’s illusory feast, while

“Humoresque” light-heartedly paints the harebrained scheme Caliban and two foppish members of the Milanese court hatch to kill Prospero. Even in the brief “Intrada,” during which Prospero renounces his magical abilities, there is wit within the music: two plucked chords in the strings mimic each half of Prospero’s staff falling to the ground. Contrasting those numbers is the violence of the tempest that triggers the action of the play. In Sibelius’s expanded Prelude, the storm slowly builds in volume to a calibrated chaos. Waves of strings restlessly rise and fall. Whirlpools of sound emerge from the depths of the orchestra, harbingers of the doom to come. Icy flutes and piccolos evoke gale-force winds while sea swells lash the ship’s sides in snarls from percussion and horns. Antithetical to his symphonies, there is zero musical development applied to the overture — Sibelius is content to paint a portrait of the surging sea in as literal terms as possible, prompting one musicologist to deem it “the most thoroughly onomatopoetic stretch of music ever written.”

Finnish composer Jean Sibelius photographed in 1900.

Sibelius’s time on Prospero’s island proved a prescient moment in his career. Just as Prospero puts his powers of creation behind him to return to courtly life in Milan, so did Sibelius ultimately set aside his powers, embarking on a three-decade voyage of musical silence until his death in 1957. The suites and a pair of additions made to the score in 1929 were the final musical creations Sibelius released into the world. An Eighth Symphony he wrestled with for nearly a decade never saw the light of day — the manuscript lost forever after Sibelius incinerated its pages in his dining room stove.

Perhaps the pressure to constantly produce, to find a place for his lush

symphonies amidst the pointillistic modernism overtaking European music was too much for Sibelius to bear. “Not everyone can be an ‘innovating genius,’” he wrote in his diary, “As a personality and an apparition from the woods, you will have your small, modest place.” One can’t help but see those woods to which the composer retreated, literally and metaphorically, in the same vein as Prospero’s island of exile — with Sibelius hearing noises, sounds, and sweet airs as winds gently whip the trembling trees around him.

— Michael Cirigliano II

The Enchanted Island, Before the Cell of Prospero Prospero and Miranda from the American edition of Boydell’s Illustrations of the dramatic works of Shakespeare (1797).

Six Humoresques, Opuses 87 & 89

By Jean Sibelius

Ω COMPOSED : 1916–17

Ω WORLD PREMIERE: November 24, 1919, with soloist Paul Cherkassky and the composer conducting the Helsinki City Orchestra

Ω CLEVELAND ORCHESTRA PREMIERE: This weekend’s concerts with soloist Pekka Kuusisto mark the first performances of Sibelius’s Six Humoresques with the Orchestra.

Ω ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, timpani, strings, and solo violin

Ω DURATION: about 20 minutes

AS A YOUNG MUSICIAN , Jean Sibelius dreamed of being a virtuoso violinist. His ambitions took him as far as auditioning for the Vienna Philharmonic. Whether his playing or stage fright, or both, got in the way, he didn’t win the post.

Still, Sibelius poured his love for the instrument into his masterful Violin Concerto, one of the most beloved examples of the form ever written. It was his only concerto for the instrument, yet he produced many other works for violin, including the Six Humoresques, written more than a decade later.

As their title insinuates, the Humoresques exude an overall playfulness, darkened with a tinge of melancholy. Sibelius wrote that they described “the anguish of existence… fitfully lit up by the sun.” Though envisioned as a complete set, a publishing error split them in two.

The First Humoresque sets the mood with a charming mazurka that makes use of the entire orchestra, followed by a virtuosic showpiece in the Second that merrily skips along in a similar manner as the finale of the Violin Concerto. The middle two movements share the same orchestration (strings only) and key (G minor), but where the Third is a gavotte that mercurially shifts moods, the lyrical Fourth serves as the poignant heart of the set with a yearning solo line.

Introspection turns to braggadocio in the Fifth, a brilliant showpiece with one of the most hummable tunes of the bunch. A return to G minor adds a pinch of dramatic tension to the Sixth before Sibelius brings this delightful series to a close, resolving in an ethereal G-major chord.

— Amanda Angel

Märchentänze

By Thomas Adès

BORN : March 1, 1971, in London

Ω COMPOSED : 2020 originally for solo violin and piano, adapted for orchestra in 2021

Ω WORLD PREMIERE: The original suite for violin and piano was premiered at the Fondation Louis Vuitton in Paris on October 21, 2021, with violinist Pekka Kuusisto and the composer at the keyboard. The orchestral version premiered eight days later in Helsinki with the Finnish Radio Symphony Orchestra.

Ω CLEVELAND ORCHESTRA PREMIERE: This weekend’s performances, led by Adès with soloist Kuusisto, mark the first performances of Märchentänze by The Cleveland Orchestra.

Ω ORCHESTRATION: 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling english horn), 2 clarinets, 2 bassoons (2nd doubling contraforte), 2 horns, 2 trumpets, timpani, percussion (glockenspiel, vibraphone, temple bell, hi-hat, cymbal, tam-tam, snare drum, 2 tom-toms, bass drum, castanets), harp, strings, and solo violin

Ω DURATION: about 15 minutes

EACH OF THE FOUR DANCES in Thomas Adès’s Märchentänze is based on an English folk source. Written originally as a work for violin and piano, it was arranged for orchestra the following year.

The first movement is light and buoyant. The next is pensive, with the violin singing a hymn-like melody, which is then taken up by the orchestra.

Originally cast for violin a cappella the third movement, “A Skylark (for Jane),” becomes a collage of sprightly birdsong, with each orchestra member imitating the soloist in their own time. These threads miraculously weave together to

give the impression of a groundswell of warbling skylarks, as can be heard in the hills and fields of England in the spring. It moves through the orchestra in waves before the violinist is brought to silence by the full stop of a harp.

The final dance begins with a lively, murmuring iteration of a theme in compound meter. It fizzes with restraint and builds through the course of the piece, joined by a second theme in regular time, punctuated by explosions of activity as the two themes grapple and combine towards a decisive close.

— Courtesy of Faber Music

Composer’s Note

“I composed these four Märchentänze (Dances from Fairytale) in 2020, originally for violin and piano, then a year later made this orchestral version. The first movement is a fantasy on the folk song ‘Two Magicians,’ immortalized by Steeleye Span, about the immemorial generative dance of the sexes. A hushed movement follows, the chant-like tune presented as a round. The third movement, ‘A Skylark (for Jane),’ is an outpouring of birdsong, each individual orchestra member freely echoing the soloist to create an ‘exaltation’ of skylarks. The final dance begins with an energetic elfin theme, and grows into a writhing dance. Many themes grapple, twining around each other like otters, towards a decisive conclusion.”

— Thomas Adès

PHOTO BY MARCO BORGGREVE

The Tempest Symphony

By Thomas Adès

Ω COMPOSED : 2022, based upon the 2003 opera, The Tempest

Ω WORLD PREMIERE: May 30, 2022, in Dresden with the London Philharmonic Orchestra.

Ω CLEVELAND ORCHESTRA PREMIERE: This weekend’s performances, led by the composer, presents the US Premiere of The Tempest Symphony, co-commissioned by Dresdner Musikfestspiele (for the London Philharmonic Orchestra), and The Cleveland Orchestra with Music Director Franz Welser-Möst.

Ω ORCHESTRATION : 3 flutes (2nd and 3rd doubling piccolo), 3 oboes, 3 clarinets, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, percussion (crotale, glockenspiel, keyboard glockenspiel, handbell, triangle, cymbals, sheet metal, tam-tam, small whip, snare drums, geophone, bass drum), harp, upright piano, and strings

Ω DURATION: about 20 minutes

THOMAS ADÈS’S TAKE on Shakespeare’s fantasy marked a defining moment early in his career. Premiered at the Royal Opera House, Covent Garden, in 2004, when the composer was just 33 years old, Adès’s opera was overwhelmingly acclaimed by audiences and critics alike. In the following decade, Covent Garden revived its production, and the opera made its way to houses in Copenhagen, Strasbourg, Santa Fe, Vienna, Québec City, and New York — an impressive number of number of productions for a contemporary opera.

Adès and Meredith Oakes, the opera’s librettist, created a synthesis of music and text that’s surgically precise in how

it communicates the moral themes and individual traits of Shakespeare’s cast of characters. For Adès, the ultimate goal was to compose “a symphonic opera,” a work “driven by the musical logic at least as much as by the logic of the drama itself.”

But Adès and Oakes do much more than paint a mesmerizing musical portrait of the play’s fantastical world. Rather, they add flesh, blood, and psychological depth to the characters, showcasing the range of human emotion lurking in the shadowy underbelly of the play — including positioning Prospero as a man driven by his loss of power and a profound sense of wrath festering within.

“Prospero’s relationship with the island is a metaphor for somebody who is cut off from his own life, cannot assume his role,” Adès said in conversation with the BBC’s Tom Service. “First, he was usurped from Milan; but the island isn’t his either. The island is basically a kind of depression, and he has to make everybody else suffer it in order to dig his way out, because he has to prove to himself the redundancy of his power.”

Gone is the Byronic hero of Shakespeare’s text. In Adès’s Tempest, Prospero’s political downfall and subsequent exile transform him into a somewhat sadistic, vengeance-driven contagion. One who

will stop at nothing to inflict fear and suffering on those around him — not only the Milanese court that usurped him 12 years before the play begins, but the two indigenous figures he enslaves on the island: the air spirit Ariel and the monster Caliban, who are forced to carry out many of Prospero’s cruel plans. From the storm that makes castaways of his opponents to the many illusory traps and horrific visions he orders Ariel to create to terrify them, Prospero’s obsessive desire for retribution is the engine that runs the opera — which ultimately makes his inevitable journey to reconciliation all the more satisfying.

Composed in 2022, The Tempest Symphony retains much of Adès and Oakes’s overarching characterization of the play, condensing north of two

Scene from the Tempest: Caliban, Prospero and Miranda (1801), etching by Thomas Rowlandson based on a drawing by John Hamilton Mortimer.

THE MET; THE ELISHA WHITTELSEY COLLECTION, THE ELISHA WHITTELSEY FUND, 1953

hours of music into a 20-minute quintet of movements that traces the opera’s sequence of events while maintaining the musical logic so important to the opera’s structure.

In the “Overture (Storm),” Adès unleashes the tempest’s full power from the very first bar. A relentless rush of sharply attacked notes from every section of the orchestra drives the music forward with increasing fury until we land on a deep, bombastic chord in which we can imagine the ship capsizing in real time. (In the opera, a chorus of voices from the ship trembles with fear, intoning: “Hell is empty, all the devils here.”)

The second and third movements present a pair of contrasting character studies. First, “Ariel and Prospero” showcases the stratospheric vocal lines Adès writes for the coloratura soprano performing Ariel, demanding musical acrobatics taken up in the symphony by flutes, oboes, and clarinets. Here Ariel reports on the shipwrecked visitors, and Prospero recounts his plan not to harm them immediately, but rather to launch a cat-and-mouse game of terror. “Ferdinand and Miranda” paints with shimmering orchestral textures the meeting of Prospero’s daughter, Miranda, and Ferdinand, the son of Prospero’s archenemy, the King of Naples. It’s love at first sight, much to Prospero’s disappointment. In the scene’s final moments, a solo cello mournfully sings the line in which Prospero admits defeat: “I’ve lost her. I cannot rule their minds. My child

has conquered me — a stronger power than me has set the young man free.”

“The Feast” brings us to Act III, where Ariel creates a mirage of a banquet for two of the shipwrecked characters, which the starving men interpret as a gift from heaven. A solo tuba imitates a noble soliloquy in which the wise counselor Gonzalo dreams of ruling over a utopic land where mankind knows no crime, there is no need for money, and every person can delightfully savor such a feast (a moment that’s brutally cut short in the opera as Ariel transforms into a harpy leading a pack of vicious dogs).

“Prospero’s Farewell   Caliban” is taken from the opera’s closing pages, where Prospero relinquishes his magical abilities and breaks his staff — actions that set the enslaved Ariel and Caliban free. Strings tremble as Prospero makes his final plea for Ariel to stay by his side, with oboes taking up the spirit’s ethereal vocalise. As Ariel departs the stage, Caliban alone contemplates the chaos he’s witnessed and what to make of the “human seeming” intruders who dominated the island for 12 years:

“Who was here?

Have they disappeared?

Were there others?

Were we brothers? ...

They were human seeming

I was dreaming

In the gleam of the sand”

— Michael Cirigliano II

CONDUCTOR/COMPOSER

Thomas Adès

BORN IN LONDON IN 1971 , Thomas Adès studied piano at the Guildhall School of Music & Drama and read music at King’s College, Cambridge. A prodigious composer, conductor, and pianist, Mr. Adès was described by The New York Times in 2007 as one of today’s “most accomplished overall musicians.”

Mr. Adès’s chamber opera Powder Her Face (1995) has been performed worldwide, while The Tempest (2003), commissioned by London’s Royal Opera House, has been performed by international houses including New York’s Metropolitan Opera. His third opera, The Exterminating Angel, premiered at the Salzburg Festival in July 2016 before traveling to London, New York, and Copenhagen.

Between 1993 and 1995, Mr. Adès was composer-in-association with the Hallé Orchestra, producing These Premises Are Alarmed for the opening of the Bridgewater Hall in 1996. Asyla (1997) was written for Sir Simon Rattle and the CBSO. In 2005, Mr. Adès premiered his Violin Concerto, “Concentric Paths,” with Anthony Marwood and the Chamber Orchestra of Europe.

Other works of note are Tevot (2007), commissioned by the Berlin Philharmonic and Carnegie Hall; In Seven Days (2008), premiered in London and Los Angeles; Polaris (2011), premiered by the New World Symphony with Michael Tilson Thomas and later choreographed by Crystal Pite. Other choreographers

who have worked with his music include Karole Armitage, Kim Brandstrup, Wayne McGregor, and Ashley Page. Totentanz was premiered at the 2013 Proms by the BBC Symphony Orchestra.

As a conductor, Mr. Adès appears regularly with the Los Angeles Philharmonic, London Symphony Orchestra, Royal Concertgebouw, and Finnish Radio Orchestra. He was the inaugural artistic partner of the Boston Symphony Orchestra. Other recent works include Dawn (2020), Shanty – over the Sea (2020), and Märchentänze (2021). Air – Homage to Sibelius was premiered at the 2022 Lucerne Festival, where Mr. Adès was composer-in-residence.

Thomas Adès received the 2015 Léonie Sonning Music Prize, the Leoš Janáček Award, and the Grawemeyer Award (2000), of which he was the youngest ever recipient. He was awarded a CBE in the 2018 Queen’s Birthday Honours. He was artistic director of the Aldeburgh Festival (1999 – 2008) and coaches piano and chamber music at the International Musicians Seminar, Prussia Cove.

Pekka Kuusisto violin

Pekka Kuusisto violin

Pekka Kuusisto violin

VIOLINIST, conductor, and composer

THE ARTIST

Pekka Kuusisto violin

VIOLINIST, conductor, and composer

Pekka Kuusisto is artistic director of the Norwegian Chamber Orchestra and begins his tenure as principal guest conductor and artistic co-director of Helsinki Philharmonic Orchestra in 2023/24 season. He is artistic partner of the Mahler Chamber Orchestra, a collaborative partner of the San Francisco Symphony, and artistic best friend of Die Deutsche Kammerphilharmonie Bremen.

VIOLINIST, conductor, and composer Pekka Kuusisto is artistic director of the Norwegian Chamber Orchestra and begins his tenure as principal guest conductor and artistic co-director of Helsinki Philharmonic Orchestra in 2023/24 season. He is artistic partner of the Mahler Chamber Orchestra, a collaborative partner of the San Francisco Symphony, and artistic best friend of Die Deutsche Kammerphilharmonie Bremen.

VIOLINIST, conductor, and composer

Pekka Kuusisto is artistic director of the Norwegian Chamber Orchestra and begins his tenure as principal guest conductor and artistic co-director of Helsinki Philharmonic Orchestra in 2023/24 season. He is artistic partner of the Mahler Chamber Orchestra, a collaborative partner of the San Francisco Symphony, and artistic best friend of Die Deutsche Kammerphilharmonie Bremen.

Pekka Kuusisto is artistic director of the Norwegian Chamber Orchestra and begins his tenure as principal guest conductor and artistic co-director of Helsinki Philharmonic Orchestra in 2023/24 season. He is artistic partner of the Mahler Chamber Orchestra, a collaborative partner of the San Francisco Symphony, and artistic best friend of Die Deutsche Kammerphilharmonie Bremen.

In the 2022/23 season, he debuts with Berliner Philharmoniker and performs with the Tokyo Metropolitan Symphony Orchestra. He returns to The Cleveland Orchestra, San Francisco and Cincinnati Symphony orchestras, GürzenichOrchester Köln, and Mahler Chamber Orchestra. Mr. Kuusisto debuts as a conductor with the Philharmonia, Gothenburg, and City of Birmingham symphony orchestras. He is also Sinfonieorchester Basel’s artist-in-residence, appearing as conductor, soloist, and recitalist.

In the 2022/23 season, he debuts with Berliner Philharmoniker and performs with the Tokyo Metropolitan Symphony Orchestra. He returns to The Cleveland Orchestra, San Francisco and Cincinnati Symphony orchestras, GürzenichOrchester Köln, and Mahler Chamber Orchestra. Mr. Kuusisto debuts as a conductor with the Philharmonia, Gothenburg, and City of Birmingham symphony orchestras. He is also Sinfonieorchester Basel’s artist-in-residence, appearing as conductor, soloist, and recitalist.

In the 2022/23 season, he debuts with Berliner Philharmoniker and performs with the Tokyo Metropolitan Symphony Orchestra. He returns to The Cleveland Orchestra, San Francisco and Cincinnati Symphony orchestras, GürzenichOrchester Köln, and Mahler Chamber Orchestra. Mr. Kuusisto debuts as a conductor with the Philharmonia, Gothenburg, and City of Birmingham symphony orchestras. He is also Sinfonieorchester Basel’s artist-in-residence, appearing as conductor, soloist, and recitalist.

Radio Symphony Orchestra, and later with Barcelona, Gothenburg, and Danish Radio symphony orchestras. In recent seasons, Mr. Kuusisto premiered new works by Sauli Zinovjev, Daníel Bjarnason, Anders Hillborg, Philip Venables, and Andrea Tarrodi.

Radio Symphony with Barcelona, Radio symphony seasons, Mr. works by Sauli Anders Hillborg, Andrea Tarrodi.

1050544_Cleveland

In the 2021/22 season, Mr. Kuusisto performed the world premiere of Bryce Dessner’s Violin Concerto with HR Sinfonieorchester, and later with the Philharmonia, San Francisco Symphony, and Orchestre de Paris. He performed the world premiere and on the world premiere recording of Thomas Adès’s Märchentänze for violin and orchestra with Nicholas Collon and the Finnish

In the 2022/23 season, he debuts with Berliner Philharmoniker and performs with the Tokyo Metropolitan Symphony Orchestra. He returns to The Cleveland Orchestra, San Francisco and Cincinnati Symphony orchestras, GürzenichOrchester Köln, and Mahler Chamber Orchestra. Mr. Kuusisto debuts as a conductor with the Philharmonia, Gothenburg, and City of Birmingham symphony orchestras. He is also Sinfonieorchester Basel’s artist-in-residence, appearing as conductor, soloist, and recitalist.

In the 2021/22 season, Mr. Kuusisto performed the world premiere of Bryce Dessner’s Violin Concerto with HR Sinfonieorchester, and later with the Philharmonia, San Francisco Symphony, and Orchestre de Paris. He performed the world premiere and on the world premiere recording of Thomas Adès’s Märchentänze for violin and orchestra with Nicholas Collon and the Finnish

In the 2021/22 season, Mr. Kuusisto performed the world premiere of Bryce Dessner’s Violin Concerto with HR Sinfonieorchester, and later with the Philharmonia, San Francisco Symphony, and Orchestre de Paris. He performed the world premiere and on the world premiere recording of Thomas Adès’s Märchentänze for violin and orchestra with Nicholas Collon and the Finnish

Radio Symphony Orchestra, and later with Barcelona, Gothenburg, and Danish Radio symphony orchestras. In recent seasons, Mr. Kuusisto premiered new works by Sauli Zinovjev, Daníel Bjarnason, Anders Hillborg, Philip Venables, and Andrea Tarrodi.

Radio Symphony Orchestra, and later with Barcelona, Gothenburg, and Danish Radio symphony orchestras. In recent seasons, Mr. Kuusisto premiered new works by Sauli Zinovjev, Daníel Bjarnason, Anders Hillborg, Philip Venables, and Andrea Tarrodi.

An enthusiastic advocate of contemporary music, Mr. Kuusisto is a gifted improviser and regularly engages with collaborators such as Hauschka and Kosminen, Dutch neurologist Erik Scherder, electronic music pioneer Brian Crabtree, jazz-trumpeter Arve Henriksen, juggler Jay Gilligan, accordionist Dermot Dunne, and folk musician Sam Amidon.

In the 2021/22 season, Mr. Kuusisto performed the world premiere of Bryce Dessner’s Violin Concerto with HR Sinfonieorchester, and later with the Philharmonia, San Francisco Symphony, and Orchestre de Paris. He performed the world premiere and on the world premiere recording of Thomas Adès’s Märchentänze for violin and orchestra with Nicholas Collon and the Finnish

An enthusiastic advocate of contemporary music, Mr. Kuusisto is a gifted improviser and regularly engages with collaborators such as Hauschka and Kosminen, Dutch neurologist Erik Scherder, electronic music pioneer Brian Crabtree, jazz-trumpeter Arve Henriksen, juggler Jay Gilligan, accordionist Dermot Dunne, and folk musician Sam Amidon.

An enthusiastic temporary music, gifted improviser with collaborators and Kosminen, Erik Scherder, Brian Crabtree, Henriksen, juggler onist Dermot Sam Amidon.

An enthusiastic advocate of contemporary music, Mr. Kuusisto is a gifted improviser and regularly engages with collaborators such as Hauschka and Kosminen, Dutch neurologist Erik Scherder, electronic music pioneer Brian Crabtree, jazz-trumpeter Arve Henriksen, juggler Jay Gilligan, accordionist Dermot Dunne, and folk musician Sam Amidon.

In 2022, Mr. Kuusisto released his first album as a conductor, featuring Stravinsky’s and Beethoven’s Violin Concertos with soloist Vilde Frang and Die Deutsche Kammerphilharmonie Bremen.

In 2022, Mr. album as a conductor, sky’s and Beethoven’s with soloist Vilde Kammerphilharmonie

In 2022, Mr. Kuusisto released his first album as a conductor, featuring Stravinsky’s and Beethoven’s Violin Concertos with soloist Vilde Frang and Die Deutsche Kammerphilharmonie Bremen.

Pekka Kuusisto plays the Antonio Stradivari Golden Period c.1709 ‘Scotta’ violin, generously loaned by a patron through Tarisio.

In 2022, Mr. Kuusisto released his first album as a conductor, featuring Stravinsky’s and Beethoven’s Violin Concertos with soloist Vilde Frang and Die Deutsche Kammerphilharmonie Bremen.

Pekka Kuusisto

Pekka Kuusisto plays the Antonio Stradivari Golden Period c.1709 ‘Scotta’ violin, generously loaned by a patron through Tarisio.

Pekka Kuusisto plays the Antonio Stradivari Golden Period c.1709 ‘Scotta’ violin, generously loaned by a patron through Tarisio.

Stradivari Golden violin, generously through Tarisio.

PHOTO BY FELIX BROEDE

PHOTO BY FELIX BROEDE

PHOTO BY FELIX BROEDE

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

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.

SPRING

MAR 30, 31, & APR 1

INSPIRATION: THE TEMPEST

Thomas Adès, conductor

Pekka Kuusisto, violin

SIBELIUS Prelude and Suite No. 1 from The Tempest

SIBELIUS Six Humoresques

ADÈS Märchentänze

ADÈS The Tempest Symphony

The Friday matinee concert will be played in a different order and without Sibelius’s Six Humoresques

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

EASTMAN Symphony No. 2

MARSALIS Concerto for Trumpet

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)

The Opera presentation is sung in Italian with projected supertitles.

M AY 1 1 20, 202 3

S E E R N CE M U S I C C E NT E R

A festival of concer t s , conversations , and ideas , focusing on the American Dream.

FESTI L CONCER S

ND KE NO E

MAY 11

FR GMEN S 1

lisa eilerstein, cello

MAY 13

KE NO E PE ER: I EL ILKER N

MAY 14, 17 & 20

PU CINI’S PER IN CONCER HE GIRL OF HE GOLDEN ES

The Cleveland Orchestra

Franz elser-M t, con uctor

amara ilson, soprano (Minnie)

Roman Burdenko, bass (Jack Rance)

Limmie Pulliam, tenor (Dick Johnson) Cleveland Orch tra Chorus

MAY 19

DRE M E’ E DRE MED; ONGS E’ E UNG; HOPES E’ E HELD

The Cleveland Orch tra

Franz elser-M t, con uctor

F R E E E E N S

MAY 13

UNITED IN SONG! A COMMUNIT Y CELEBRATION

MAY 18

THE AMERICAN DREAM, THE AMERICAN NIGHTMARE , AND BL ACK AMERICAN MUSIC

MAY 20

A STUDY DAY: EXPLORATIONS OF THE AMERICAN DREAM

F O R MO R E I N F O R M N

Ple se an the QR Co e

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

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A SYMPHONY OFSuccess

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