The Cleveland Orchestra April 20-23 Concerts

All Mozart

2022/2023 SEASON

April 20 – 23, 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

“ … Thank you. I need more bliss and beauty in my life. Don’t we all? And because The Cleveland Orchestra is the finest in the world, I want to relish its brilliance … I want it to keep emitting that radiant bliss.”

— Sarah Maxwell, passionate Orchestra supporter

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Jones Day Foundation proudly leads a standing ovation for The Cleveland Orchestra, one of the world’s most acclaimed performing ensembles We applaud the Orchestra for its artistic excellence, creative programming, and active community engagement worldwide.

2022/2023 SEASON

All Mozart

Thursday, April 20, 2023, at 7:30 p.m.

Friday, April 21, 2023, at 7:30 p.m.

Saturday, April 22, 2023, at 8:00 p.m.

Sunday, April 23, 2023, at 3:00 p.m.

Bernard Labadie, conductor

Overture to La Clemenza di Tito, K. 621 5 minutes

Giunse alfin il momento… 7 minutes

Al desio di chi t’adora, K. 577

Lucy Crowe, soprano

Ruhe sanft, mein holdes Leben 7 minutes from Zaide, K. 344

Lucy Crowe, soprano

Masonic Funeral Music, K. 477 (479a) 7 minutes

Venga la morte… Non temer, 8 minutes amato bene from Idomeneo, K. 490

Lucy Crowe, soprano

David Radzynski, violin

INTERMISSION 20 minutes

Symphony No. 41 in C major, 30 minutes

“Jupiter,” K. 551

I. Allegro vivace

II. Andante cantabile

III. Menuetto: Allegretto — Trio

IV. Molto allegro

Total approximate running time: 1 hour 30 minutes

This weekend’s concerts are sponsored by Jones Day.

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

PHOTO BY ROGER MASTROIANNI

Wolfgang Amadeus Mozart (1756 –1791)

2022/2023 Season Sponsor

THE MUSIC

Introduction to the Concert

Wolfgang Amadeus Mozart

BORN : January 27, 1756, in Salzburg, Austria

DIED: December 5, 1791, in Vienna

“GOD WAS SINGING through this little man to all the world... conferring on all who sat there perfect absolution.”

So says the fictionalized version of composer Antonio Salieri in the film Amadeus, as he rhapsodizes over the perfection of Mozart’s The Marriage of Figaro, in which every note exists in something akin to a God-conferred rightness. The real-life Mozart would have probably been incredulous over that idealized portrait. In the frantic, fluid world of 18th-century opera in Vienna, Mozart often wedded earth-bound pragmatism and divine inspiration. For example, he once extensively adjusted his vocal lines for a beloved diva who was recovering from a vocal crisis, and rewrote one of his most sublime arias to showcase a less-beloved diva who had specific vocal tricks to be displayed.

Mozart was a team player, collaborating with his supposed archrival Salieri, swapping arias in and out of operas and making sense of a musical patchwork

by multiple authors. One such instance is the opera La Quakera Spiritosa by nowforgotten Pietro Alessandro Guglielmi: It included a rondo aria by the semiforgotten Domenico Cimarosa, preceded by what is believed to be a Mozartauthored recitative minted to meld Cimarosa more smoothly with Guglielmi, according to University of Georgia musicologist Dorothea Link.

That world, glimpsed in the works presented in this concert’s first half, is almost a “Wild West” in contrast to the second half, whose Symphony No. 41 (K. 551) corresponds to the more idealized image of Mozart. Nicknamed “Jupiter,” it was the last of his great symphonic trilogy composed in 1788, and shows the composer going beyond what seemed possible of musical conventions of the day and answering to no one. Written for an occasion that apparently evaporated, this towering masterwork had no clearly documented performances until after Mozart’s death. Even the posthumous premiere is unknown, though by the end of the 18th century, the symphony was assuming its rightful place in the canon.

Lauded as a genius, much of Mozart’s music was written to suit practical needs for 18th-century Austria’s music-loving audiences.

IMAGE COURTESY OF RONNIE MCMILLAN / ALAMY STOCK PHOTO

Overture to La Clemenza di Tito, K. 621

Ω COMPOSED : 1791

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

THE MUSIC ON THE FIRST HALF may not have achieved the same rarified status as the “Jupiter” Symphony, but it offers plenty of charm as well as insight into Mozart’s ability to produce under more extreme circumstances. Legend suggests that Mozart wrote La Clemenza di Tito (K. 621) in 18 days for the 1791 Prague coronation of Leopold II as King of Bohemia. At that time, Mozart’s schedule was full with The Magic Flute (not yet finished), but his pocketbook was empty. It’s believed that Mozart received twice the payment he would normally get in Vienna, and he is also said to have worked on the opera in the carriage from Vienna to Prague.

This least-performed of Mozart’s mature stage works, La Clemenza di Tito had great political implications, reaffirming the purpose of aristocracy at a time when revolution had been raging in France since 1789. Set in ancient Rome in 79 AD, the first act ends with the burning of the capitol before Tito is restored to power and grants clemency to those who plotted against him. The dissonances heard in the overture, which opens this weekend’s concerts, not only create the kind of tension that accommodates such a plot, but also look forward to the Dies Irae of the Requiem, a reminder that the composer’s music wasn’t just about symmetry, harmony, and perfection.

Giunse alfin il momento…

Al desio di chi t’adora, K. 577

Ω COMPOSED : 1789

Ω ORCHESTRATION: 2 basset horns, 2 bassoons, 2 horns, and strings

WE KNOW ONLY BITS about the divas who first sang many of Mozart’s soul-searching arias; they have come down to us in portraiture that implies

that they navigated the world in extravagant hats and diaphanous dresses. In fact, they had complicated names, shadowy backgrounds, and migratory lives that

are difficult to track through marriages and ever-changing stage names. Some had major careers beginning in their late teenage years, but also perilous lives in which their voices were subject to the health and travel conditions at that time. The savvier ones knew when to take up residence in a particular opera capital but also when to leave.

What, or who, possessed Mozart to write for a soprano range that reaches the heights and depths of “Come scoglio” from Così fan tutte? The answer is Adriana Ferrarese del Bene (c. 1755 – c. 1804).

Mozart didn’t care for her much, and may have been playing a dirty trick on her with the aria “Come scoglio,” with its dramatic leaps that caused her, in the words of one onlooker, to throw her head back “like a chicken.” Echoes of her vocal handiwork — though in less extreme form —  are also heard in the aria “Al desio,” the first vocal work on the program. This

aria was written especially for Ferranese del Bene’s portrayal of Susanna in the 1789 revival of The Marriage of Figaro. The recitative leading into the Act IV aria —  “Giunse alfin il momento” — remained the same as in the 1786 premiere, but Mozart replaced the original aria “Deh vieni, non tardar,” with the newly composed “Al desio.” The new lyrics from the masterful librettist Lorenzo da Ponte express, “to the open arms of one who adores you, come quickly.” This second version inspires the “absolution” the fictional Salieri speaks about. Nowadays, it is almost exclusively heard in concert. It also has a higher and lower range than the original, though without the Così-like acrobatics. Clearly, Mozart was interested in preserving something of the moonlightbathed serenity of the original.

Soprano Adriana Ferrarese del Bene was likely subjected to one of Mozart’s ruses, forced to sing in unflattering ways.

COURTESY OF THE PICTURE ART COLLECTION / ALAMY STOCK PHOTO

Ruhe sanft, mein holdes Leben from Zaide, K. 344

Ω COMPOSED : 1779–81

Ω ORCHESTRATION: oboe, bassoon, and strings

THE MUCH-EARLIER Zaide comes from a far different time, place, and genre than the two previous examples. The piece is a singspiel (a light opera with dialogue) begun in 1779, left unfinished in 1781, but forgotten until well after Mozart’s death when the composer’s widow discovered a manuscript containing most of the first two acts. It premiered in fragmentary form in 1866, unveiling the deeply tranquil lullaby, “Ruhe sanft, mein holdes Leben.” The vocal line is as challenging as it is memorable. Four bars after the soprano’s entrance, a heart-lifting upward octave leap on the word “Leben” (love) demands to be exactly on pitch to achieve its full effect. But what an effect.

It’s possible Mozart abandoned Zaide because the piece — written in keeping with the vogue for light, Turkish-oriented operas at the time — was shaping up to be too serious for its own good. A year or so later in 1782, he wrote The Abduction from the Seraglio, also a Turkish-themed opera whose serious implications are presented with a comic veneer, and it was a success. The fact that Mozart didn’t mine Zaide for the later opera suggests that his music was too character-specific — and that Mozart’s imagination was fertile enough that recycling wasn’t needed, until his singers needed short-notice changes.

Masonic Funeral Music, K. 477 (479a)

Ω COMPOSED : 1785

Ω ORCHESTRATION: 2 oboes, clarinet, 3 basset horns, contrabassoon, and strings

BASSET HORNS , a larger 18th-century cousin to the clarinet, provide a musical connection between Mozart’s Masonic Funeral Music and the Figaro aria “Al desio.” Guest conductor Bernard

Labadie relates, “The instruments are rarely available, and when they are it’s always a special treat.” Mozart long had an affection for the instrument and was friends with the players Anton and

Johann Stadler, who were brothers and followed Mozart to Prague for the special solos written for them in La Clemenza di Tito. The Figaro aria was written with two basset horns players in mind and

the funeral music, written in 1785, has three in this eloquent lament written for one of Mozart’s fellow Freemasons, incorporating the Gregorian chant, “Tonus peregrinus.”

Venga la morte... Non temer, amato bene from Idomeneo, K. 490

Ω COMPOSED : 1781

Ω ORCHESTRATION: 2 clarinets, 2 bassoons, 2 horns, and strings

“VENGA LA MORTE ... Non temer, amato bene” is more difficult to untangle. It arises from Mozart’s 1781 opera Idomeneo, one of his greatest and most serious works, written in the stately opera seria style that was soon to go out of fashion. It premiered in Munich, though Mozart revived it in Vienna for a special 1786 concert performance, and with it, wrote a new Act II scene in the then-fashionable rondo form with a violin obbligato for his friend, Count August von Hatzfeld. The new scene positions two characters  — the Trojan princess Ilia and the prince she loves, Idamante — in the classic romantic dilemma of having to choose love or duty. However, in K. 490’s life as an independent concert piece, the duet becomes a solo by cutting part of the recitative. Labadie explains: “K. 490 is more than an alternative aria from Idomeneo. It’s actually a complete little scene that starts with an extended recitative involving both Idamante and Ilia,

although the aria is intended for Idamante.... In concert performance with only one singer, it is customary to skip the first three paragraphs of the [recitative]... and start in the middle of the fourth paragraph, hence the title ‘Venga la morte.…’”

Those with a deep familiarity of Mozart’s concert arias can easily confuse K. 490 with the somewhat later and rewritten version “Ch’io mi scordi di te?” (K. 505) using a similar text and piano instead of violin obbligato. The miracle is that each transformation of this material — from the opera to K. 490 to K. 505 — doesn’t feel provisional, truncated, or transitional. Mozart’s creativity is such that every version sounds whole, complete, and inevitable. Thus, the fictional Salieri wasn’t wrong.

— David Patrick Stearns

David Patrick Stearns is a music journalist who currently writes for the Philadelphia Inquirer, Classical Voice North America, MusicalAmerica.com, Gramophone magazine, and others. A native of Sycamore, Illinois, he now resides in Brooklyn.

Symphony No. 41 in C major, “Jupiter,” K. 551

Ω COMPOSED : 1788

Ω WORLD PREMIERE: The location and date of the first performance are not known.

Ω CLEVELAND ORCHESTRA PREMIERE: November 30, 1922, with conductor Nikolai Sokoloff. The Cleveland Orchestra recorded this symphony in 1955 and again in 1963 with George Szell, and in 1990 with Christoph von Dohnányi.

Ω ORCHESTRATION: flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

Ω DURATION: about 30 minutes

ON FRIDAY, July 25, 1788, Mozart finished his new Symphony in G minor, today known as No. 40. It was his second in that key. He had also very recently composed a Symphony in E-flat major (No. 39).

Nevertheless, Mozart turned immediately to creating yet another symphony, destined to be his last. This one was in C major, designated decades later as his Symphony No. 41, often referred to by its nickname “Jupiter,” in English-speaking countries. It took Mozart no more than two weeks and two days to complete this score, probably less, and he entered it in his own catalog of works on August 10.

It was not unusual that he should compose so fast, but it was odd that he should compose three such substantial works without a performance in view. As far as we know, no impresario had

invited him to present concerts, and no publisher had asked him for symphonies (which were not as easy to market as concertos). Mozart was not competing with other composers, at least no more than usual, and in any case, he disdained such motives.

The only explanation, widely accepted by historians today, is that he planned to mount his own concerts in Vienna during the autumn and winter seasons, and would need new works to draw in the public. No mention of such plans is found in his letters or in the press, however, but there was little reason why such an idea should have progressed further than a few discussions in Viennese cafés with possible collaborators and patrons.

Such letters that have survived from this period speak of Mozart being either

madly busy or desperate for money. If he was planning concerts, both of these would apply.

Still, no such concerts were given. In fact, in the three years that remained in his short life, Mozart gave no more public concerts in Vienna and composed no more symphonies.

Thus, the great burst of symphonic composition in the summer of 1788 must therefore be seen as his last dream of giving regular concerts to enthusiastic Viennese audiences, as he had in 1783 and 1784.

All three of these final symphonies had to wait until after Mozart’s death to be published and performed. No first performance of the “Jupiter” has been identified, although the parts were published in 1793. The nickname itself was conferred by Johann Peter Salomon, the German impresario who settled in London in 1781 and secured Haydn’s two long visits, with 12 new symphonies. It is highly likely that he presented the “Jupiter” sometime in London before his death in 1815.

All four movements of the symphony vie with one another for the greatness that the nickname “Jupiter” implies, but the finale stands out for its miraculous combination of fugue and symphonic form. The four equal notes that begin the finale are both a fugue subject and the first theme of the movement. Mozart then introduces new themes which turn out in due course to be counterpoints to the four-note subject. The movement’s

development section is where complexity begins to take over, although not until the extended coda are all the counterpoints heard together in a magnificent tour de force. At the same time, the energy and positive spirit of the finale make a solid, satisfactory conclusion to the whole work.

The first three movements are scarcely less impressive. The slow movement stands out for the way in which its innocent opening generates a movement of great intensity, with harmony sometimes as dissonant as anyone could imagine in 1788, and decorative figures in the winds which are by no means simply decorative. The balance between winds and strings is the most ingenious and resourceful that Mozart ever achieved, and he did it without calling for clarinets, an instrument he understood so well and had begun using in orchestral writing.

At the time Mozart penned his last three symphonies, Haydn still had a dozen yet to write. Great though that composer’s “London” Symphonies are, however, many musicians believe that it is Mozart’s “Jupiter” that crowned the 18th century’s enormous legacy of the Classical symphony, a legacy that Beethoven single-handedly transformed while resetting the stage for the Romantic era of the next century.

— Hugh Macdonald

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 Music in 1853: The Biography of a Year

Giunse alfin il momento… Al desio di chi t’adora

Giunse alfin il momento

Che godrò senza affanno

In braccio all’idol mio! Timide cure, Uscite dal mio petto, A turbar non venite il mio diletto!

Oh, come par che all’amoroso foco L’amenità del loco, La terra e il ciel risponda! Come la notte i furti miei seconda!

Al desìo di chi t’adora, Vieni, vola, o mia speranza!

Morirò, se indarno ancora Tu mi lasci sospirar.

Le promesse, i giuramenti, Deh! rammenta, o mio tesoro!

E i momenti di ristoro Che mi fece Amor sperar!

Ah! ch’io mai più non resisto All’ardor che in sen m’accende! Chi d’amor gli affetti intende, Compatisca il mio penar.

At last the moment has arrived which I shall enjoy carefree in the arms of my beloved! Timid cares, Leave my breast, do not come to disturb my delight! Oh, how this pleasant spot, heaven and earth seem to respond to the flame of love! How night favors my secret passions!

Come fly, oh my hope, to the desire of the one who loves you!

I shall die if you leave me still to long for you in vain.

Pray remember, oh my treasure, the promises, the vows you made!

And the moments of consolation which Love led me to hope for!

Ah, now that I can no longer resist the ardor that sets my heart on fire! May those who know the feelings of love sympathize with my sufferings.

Ruhe sanft, mein holdes Leben

Ruhe sanft, mein holdes Leben, schlafe, bis dein Glück erwacht; da, mein Bild will ich dir geben, schau, wie freundlich es dir lacht: ihr süssen Träume, wiegt ihn ein, und lasset seinem Wunsch am Ende die wollustreichen Gegenstände zu reifer Wirklichkeit gedeihn.

Rest peacefully, my beloved, Sleep until your happiness dawns, There, I will give you my portrait, See, how kindly it smiles upon you. Sweet dreams rock him to sleep, And grant his wish at last, That the things of which he dreams May blossom into reality.

Venga la morte… Non temer, amato bene

Venga la morte, intrepida l’attendo. Ma, ch’io possa struggermi ad altra face, ad altr’oggetto donar gl’affetti miei, come tentarlo? Ah, di dolor morrei!

Non temer, amato bene, per te sempre il cor sarà. Più non reggo a tante pene, l’alma mia mancando va. Tu sospiri? O duol funesto!

Pensa almen, che istante è questo! Non mi posso, oh Dio! spiegar. Stelle barbare, stelle spietate, perchè mai tanto rigor?

Alme belle, che vedete le mie pene in tal momento, dite voi, s’egual tormento può soffrir un fido cor?

Let death come, I await it fearlessly. But how could I be consumed by another flame, to lavish my affections on another? How could I? Ah! I should die of grief!

Fear not, my beloved, my heart will always be yours. I can no longer bear such pain, my spirit fails me. You sigh? O mournful sorrow! Just think what a moment this is!

O God! I cannot express myself. Barbarous stars, pitiless stars, why ever are you so stern?

Fair souls who see my anguish at such a moment, tell me if a faithful heart can suffer such torment?

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Bernard Labadie

BERNARD LABADIE is widely regarded as one of the world’s leading conductors of Baroque and Classical repertoire. He founded Les Violons du Roy and was their music director for three decades. He continues to be music director of his extraordinary choir, La Chapelle de Québec, which he founded in 1985.

In September 2018, he began his tenure as music director of the Orchestra of St Luke’s in New York. He is a regular guest with all the major North American orchestras and in Europe. Recent appearances include the Symphonieorchester des Bayerischen Rundfunks, the Royal Concertgebouw Orchestra, the BBC Scottish Symphony, and period

instrument ensembles the Academy of Ancient Music and the English Concert.

Mr. Labadie’s extensive discography includes a collaborative recording of Mozart’s Requiem with Les Violons du Roy and La Chapelle de Québec, both of which received Canada’s Juno Award. Additional recordings include C.P.E. Bach’s complete cello concertos with Truls Mørk and Les Violons du Roy, and Haydn’s piano concertos with MarcAndre Hamelin.

In 2016, Mr. Labadie received the Samuel de Champlain award in Paris. He was honored with a 2005 appointment as Officer of the Order of Canada, and his home province named him a Chevalier de l’Ordre National du Québec in 2006.

PHOTO BY DARIO ACOSTA

Lucy Crowe

soprano

WITH REPERTOIRE ranging from Purcell, Handel, and Mozart to Donizetti, Verdi, and Janáček, Lucy Crowe has sung with opera companies throughout the world, including the Royal Opera House (Covent Garden), the Glyndebourne Festival, English National Opera, Teatro Real Madrid, Deutsche Oper Berlin, Bayerische Staatsoper, Munich, and Metropolitan Opera. Recent highlights include her debut at the Dutch National Opera in the title role of Rodelinda, Poppea (Agrippina) at the Royal Opera House, Susanna (Le Nozze di Figaro) at the Met, and Pamina (Die Zauberflöte) at the Liceu in Barcelona. In the 2022/23 season, she returns to the Royal Opera House as Musetta (La Bohème).

In concert, she has performed with many of the world’s finest orchestras including the City of Birmingham Symphony Orchestra, Berlin Philharmonic, Vienna Philharmonic, Orchestra of the Age of Enlightenment, Scottish Chamber Orchestra, Monteverdi Orchestra, the Orchestra dell’Accademia Nazionale di Santa Cecilia, and London Symphony Orchestra.

This season Ms. Crowe joins the Monteverdi Choir and Orchestra in Beethoven’s Missa Solemnis for their European tour, the Dunedin Consort for Mozart’s Great Mass in C minor; Haydn’s Die Schöpfung with the Rotterdams Philharmonisch Orkest and the

Symphonieorchester des Bayerischen Rundfunks (BRSO); concerts of Haydn and Schubert arias with the BRSO; Morgana (Alcina) with Les Violons du Roy in Quebec and Montreal; and her debut with The Cleveland Orchestra.

A committed recitalist she has appeared at the Concertgebouw, Carnegie Hall, and the Aldeburgh, Edinburgh, Mostly Mozart, and Salzburg Festivals. She is a regular guest at the BBC Proms and Wigmore Hall.

Her debut recital recording featuring Berg, Strauss, and Schoenberg songs was released by Linn Records in August 2021. Ms. Crowe sang the role of Vixen on the Grammy-nominated recording of Janáček’s The Cunning Little Vixen with the London Symphony Orchestra and conducted by Sir Simon Rattle.

PHOTO BY VICTORIA CADISCH

Blossom Summer Soirée

SUNDAY, JULY 23

BLOSSOM MUSIC CENTER

Join us for a magical evening to benefit The Cleveland Orchestra’s summer home. You’ll enjoy a festive dinner party complete with seasonal summer cocktails and friends in Knight Grove. Then you’ll be treated to a concert of American Songbook classics, performed by renowned artists Jean-Yves Thibaudet, Michael Feinstein, and your Cleveland Orchestra. Learn more and reserve your tickets at clevelandorchestra.com/soiree

Proud Presenting Sponsor of the Blossom Summer Soirée

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

Charles Paul1

Mary E. and F. Joseph Callahan Chair

Mark Atherton

Thomas Sperl

Henry Peyrebrune

Charles Barr Memorial Chair

Charles Carleton

Scott Dixon

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

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.

PHOTO BY ROGER MASTROIANNI

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 3

MARIA JOÃO PIRES IN RECITAL

Maria João Pires, piano

SCHUBERT Piano Sonata No. 13

DEBUSSY Suite Bergamasque

SCHUBERT Piano Sonata No. 21

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.

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A FESTIVAL OF CONCERTS, CONVERSATIONS & IDEAS

FESTIVAL CONCERTS & KEYNOTE

MAY 11

FRAGMENTS 1

Alisa Weilerstein,

MAY 13

KEYNOTE SPEAKER ISABEL WILKERSON

MAY 14, 17 & 20

PUCCINI’S OPERA IN CONCERT

THE GIRL OF THE GOLDEN WEST

The Cleveland Orchestra

Franz Welser-Möst, conductor

Tamara Wilson, soprano (Minnie)

Roman Burdenko, bass (Jack Rance)

Limmie Pulliam, tenor (Dick Johnson)

Cleveland Orchestra Chorus

MAY 19

DREAMS WE’VE DREAMED; SONGS WE’VE SUNG; HOPES WE’VE HELD

The Cleveland Orchestra

Franz Welser-Möst, conductor

FREE EVENTS

MAY 13

UNITED IN SONG!

A COMMUNITY CHORAL CELEBRATION

MAY 18

THE AMERICAN DREAM, THE AMERICAN NIGHTMARE, AND BLACK AMERICAN MUSIC

MAY 20

EXAMINING THE AMERICAN DREAM

MAY 11–20

SEVERANCE MUSIC CENTER

Scan the QR code for more festival information & details.

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.

EDITORIAL

Amanda Angel, Program Editor, Managing Editor of Content aangel@clevelandorchestra.com

Kevin McBrien, Editorial Assistant

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