The Cleveland Orchestra November 9-11 Concerts

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Hannigan Conducts Strauss NOVEMBER 9 – 11, 2023

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2023/2024 SEASON J A C K , J O S E P H A N D M O RTO N M A N D E L C O N C E RT H A L L AT S E V E R A N C E M U S I C C E N T E R

Hannigan Conducts Strauss Thursday, November 9, 2023, at 7:30 PM Friday, November 10, 2023, at 11 AM Saturday, November 11, 2023, at 8 PM

Barbara Hannigan, conductor Franz Joseph Haydn (1732–1809)

Symphony No. 44 in E minor,

20 minutes

“Trauersymphonie” I. Allegro con brio II. Menuetto: Allegretto (Canone in Diapason) — Trio III. Adagio IV. Finale: Presto

Claude Vivier (1948–1983)

Lonely Child *

20 minutes

Aphrodite Patoulidou, soprano I N TERMIS SI ON

20 minutes

György Ligeti (1923–2006)

Lontano *

10 minutes

Richard Strauss (1864–1949)

Tod und Verklärung (Death and Transfiguration), Op. 24

25 minutes

Total approximate running time: 1 hour 35 minutes

COVER: PHOTO BY MARCO BORGGREVE

Saturday’s concert will be livestreamed on Adella.live and Medici.tv.

* Vivier’s Lonely Child and Ligeti’s Lontano do not appear on Friday’s program, which will be performed without intermission.

Thank you for silencing your electronic devices.

Barbara Hannigan’s performance is generously sponsored by Tony and Diane Wynshaw-Boris.

This weekend’s concerts are sponsored by Thompson Hine LLP.

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THE CLEVELAND ORCHESTRA

TH E MUSI C

Symphony No. 44 in E minor, “Trauersymphonie”

by Franz Joseph Haydn BORN : March 31, 1732, in Rohrau, Austria DIED : May 31, 1809, in Vienna

▶ COMPOSED: c. 1772 ▶ CLEVELAND ORCHESTRA PREMIERE: November 17, 1960, with Robert Shaw conducting ▶ ORCHESTRATION: 2 oboes, bassoon, 2 horns, and strings ▶ DURATION: about 20 minutes

first symphony, he was engaged as music director to Count Morzin, a Viennese Franz Joseph Haydn only ever lived nobleman, and within a year he was outside of Vienna and its immediate eastern provinces, the area where Austria, taken on by Prince Esterházy, the first of four princes of that line for whom the Czech Republic, and Hungary now Haydn eventually worked for more than converge. The son of a wheelwright, 40 years. His contract stipulated, among he rose to world eminence and received other duties and obligations, that he the patronage of kings and emperors “shall appear in uniform. The said Joseph solely through his musical gifts. The Heyden shall take care that he and all single element of luck in his career was the members of his orchestra follow the the chance that brought the organist instructions given and appear in white of St. Stephen’s Cathedral in Vienna to stockings, white linen, powdered, and the town where the eight-year-old with either a queue or a tiewig.”

Haydn was at school. His talent for Moving between Vienna and the music and his pleasing voice were suffiprince’s two sumptuous country palaces, cient to transport him to St. Stephen’s, Haydn was obligated to his employer the leading church in Vienna, within for everything and could scarcely call the ambience of the great notabilities his life, let alone his works, his own. Yet of the Habsburg Empire.

Nicolaus the Magnificent, the prince During his first years as a composer, from 1762 to 1790, adored music and he took what work he could find in valued Haydn enormously. Haydn’s Vienna. Then in 1759, the year of his FOR THE FIRST 60 YEARS of his life

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IMAGE COURTESY OF WIKIMEDIA COMMONS

worldwide fame grew from the music, which the many visitors to the Esterházy palaces had occasion to enjoy — whether symphonies, quartets, or operas. It was a form of artistic confinement that suited Haydn perfectly. He had no resentment about his status; his muse preferred to mature slowly and privately, until in his advanced years he was ready to enjoy the fruits of seniority and celebrity.

In the early 1770s, his symphonies took on a darker color and, for the first time, he wrote them in minor keys.

This series included Nos. 44, 45, and 49, all in minor, all carrying nicknames: “Mourning Symphony,” “Farewell Symphony,” and “Passion Symphony,” respectively. Together they are known as “Sturm und Drang” symphonies, exploring darker emotions in parallel with a movement in German theater of the time. Yet this music is not wracked with storm and stress; Haydn was simply exploring one or two extremes of musical language that had not featured in his work before. No. 44 got its nickname, “Trauersymphonie” (trauer means mourning in German) from the story that Haydn asked it to be played at his own funeral, presumably thinking of the Adagio movement. By the time of his death, in 1809, more than 30 years had passed, and either the music was not available, or his instructions, if they were ever given, had been forgotten.

In fact, there is nothing mournful about that movement. Rather it is serene and sunny, with melody pouring out from the violins. For rugged intensity clevelandorchestra.com

Thomas Hardy painted this portrait of Franz Joseph Haydn upon the composer’s first visit to England, in 1791.

we should look to the first and last movements, where the minor mode supports an energetic rhythmic drive. In the first movement, this gathers force as the section enters the coda at the end, and in the Finale, the tight little opening gesture is never out of sight, urgent and forceful to the very end. There is never any question of closing in the major key.

The Menuetto, second in the sequence rather than in the usual third position, explores different approaches, with a canone in diapason. The bass instruments play the same as the upper instruments, but one bar behind, or, for part of the process, two bars behind. In the Trio, the first horn is generously featured.

— 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.

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THE MUS I C

Lonely Child

by Claude Vivier BORN : April 14, 1948, in Montreal DIED : March 7, 1983, in Paris

▶ COMPOSED: 1980 ▶ WORLD PREMIERE: January 7, 1981, with Serge Garant conducting the CBC Vancouver Chamber Orchestra and soprano Marie-Danielle Parent ▶ This weekend’s performances mark the first presentations of Vivier’s Lonely Child by The Cleveland Orchestra. ▶ ORCHESTRATION: piccolo, flute 2 oboes, 2 clarinets, 2 bassoons, 2 horns, percussion (rin, Chinese gong, tam-tam, bass drum, brake drums, vibraphone, tubular chimes), and strings ▶ DURATION: about 20 minutes See page 13 for the sung text and translation of Vivier’s Lonely Child.

AT THE MARGINS of Claude Vivier’s life

lie two mysteries. We know little about the Canadian composer’s birth or heritage, other than that he was immediately placed in a Catholic orphanage run by the Sisters of Charity of Montreal, where he spent the first three years of his life. Just as confounding are the hours leading up to Vivier’s death at the age of 34, when he was murdered in his Paris apartment by a serial killer targeting gay men in the city’s Belleville and Le Marais neighborhoods.

Given that pair of profound question marks, it’s little wonder the well-documented aspects of Vivier’s existence have taken on the status of modern myth: his disarmingly charming and eccentric personality, the insatiable wanderlust that ferried him across the globe docu4 | 2023/2024 SEASON

menting musical traditions of the Middle East and Asia, and his unabashed openness regarding his homosexuality.

There’s also the matter of the isolated and violent upbringing Vivier endured.

His adopted working-class family moved frequently, making it impossible for little Claude to build friendships at school.

He was the victim of persistent sexual abuse at the hands of an uncle, a stain on the Vivier household his parents refused to acknowledge. This was all compounded

by Vivier’s lifelong quest to find his birth parents, a mystery left unsolved at the time of his death in 1983.

His body of work — 48 compositions ranging from choral works and chamber Claude Vivier in 1980, around the time that he was commissioned to write Lonely Child, a largely autobiographical work for soprano and orchestra.

PHOTO COURTESY OF WIKIMEDIA COMMONS

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THE MUS I C

interweave, create otherworldly arrays music to opera — is also steeped in the of sound — his so-called jeux de couleurs myth surrounding his life, given that the most prominent figure in Claude Vivier’s (games of colors) — that transform the orchestra into one undulating timbre. music is, well, Claude Vivier. To hear his The way Vivier builds and releases those music is to experience an autobiography radiant, diaphanous rainbows of color, etched in sound — the most resonant like the gentle blossoming of a lotus example being Lonely Child, his poignant flower, is not only central to Lonely meditation on love and longing for solo Child’s musical form, but is further soprano and orchestra. amplified by the text the soprano sings.

Commissioned in 1980 by the CBC Alternating between French and Vancouver Chamber Orchestra, Lonely one of his invented languages, the poem Child embodies every element of the Vivier composed presents a sequence musical language Vivier honed throughof fantastical visions sung by a mother out his career: an obsession with melody lulling her child to sleep. She promises above all else; texts written in languages that “dreams will come, gentle fairies of his own invention; elements of will come and dance with you,” and sings mysticism, ritual, and Asian musical of glittering jade palaces where “wontraditions, especially the Balinese drous magicians embrace the golden sun, gamelan; and his thoroughly distinctive the acrobats touch with their noses the approach to sound. mischievous stars, the gardens make the Vivier was fascinated by Spectralism, mauve monks dream.” The music an avant-garde style of composition accompanying Vivier’s invented language developed in the 1970s that prioritizes is made even more extraordinary by timbre — the sound quality of a tone — numerous extended techniques for the over musical structure, harmony, and voice, including frequent use of hand counterpoint. The key to experiencing tremolo, a wavering sound the soprano Vivier’s music is to understand the produces by rapidly moving her hand in variety of harmonies our ears perceive front of her mouth. when we hear a musical tone. When Vivier’s poem anchors each section someone plays a middle C on the piano, of Lonely Child, dividing the work into for example, our brains register that four separate soprano melodies that fundamental pitch first and foremost. form the work’s main material. Framing But we also hear a series of barely these melodies are a prologue and perceptible tones (known as a harmonic epilogue, as well as instrumental interseries) that waft through the air as the ludes punctuated by the thunderclap fundamental pitch continues to vibrate. of bass drum and rin — a deep Japanese In his music, Vivier stacked meticulously chosen combinations of tones that, singing bowl used in temple rituals that, when struck with a mallet, produces an when their harmonic series collide and 6 | 2023/2024 SEASON

arresting chime that slowly decays into silence. These percussive moments guide us through the work, as Vivier’s jeux de couleurs become increasingly pronounced with each new melody, until we’re left with silken webs of gossamer harmonies swirling through the orchestral strings.

I have to find the voice of the lonely child who wants to embrace the world with his naïve love ... the voice we all hear and want to inhabit eternally.

— Cl Claude aude Vivier

How are we to interpret this mysterious musical journey? Is Lonely Child the work of a composer who, according to those myths surrounding his life story, was seemingly both haunted by the specter of death and craved its dark embrace? Not necessarily: While Vivier called it his “long song of solitude,” neither his remarks about the music nor the soprano’s poem he composed allude to any sorrow, despondency, or impending doom.

Here is where we need to separate Claude Vivier the myth from Claude Vivier the man. Yes, Lonely Child is an expression of solitude. But it’s also a testament to the freedom and fantasy clevelandorchestra.com

made possible through love in all its various forms: the familial love between mother and child (or what Vivier imagined that love to be); the carnal love he shared with other men, depicted in the poem’s many references to Tazio [sic] — the object of queer desire at the heart of Thomas Mann’s Death in Venice; and the cosmic love Vivier felt for the gift of life itself.

For as much misery and violence as he endured throughout his 34 years, the musical world Vivier created was one of radiant joy. Composing provided him with a portal for manifesting the human connection he was denied on this earthly plane. “I have to find the voice of the lonely child who wants to embrace the world with his naïve love,” he once wrote to a friend, “the voice we all hear and want to inhabit eternally.”

That fervent desire to embrace the world, mirrored by the plea in Lonely Child’s poetry to “please give me eternity,” finds consummation in every performance of this work. By bearing witness to Vivier’s musical memoir and absorbing within our bodies the orchestra’s heavenly harmonics and the final transcendent decay of the rin, we have played a pivotal part in Vivier achieving the eternal rest, the enduring love and connection he so longed to receive.

— Michael Cirigliano II Michael Cirigliano II is a freelance writer who has worked with The Cleveland Orchestra, Oregon Symphony, Los Angeles Philharmonic, Minnesota Orchestra, Lincoln Center, and the Metropolitan Museum of Art. His newsletter, Shades of Blue Blue, explores the human stories behind classical music’s most melancholy moments as a means to cultivate calm, connection, and healing.

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THE MUS I C

Lontano

by György Ligeti BORN : May 28, 1923, in what is now Târnăveni, Romania DIED : June 12, 2006, in Vienna

▶ COMPOSED: 1967 ▶ WORLD PREMIERE: October 22, 1967, by the Southwest German Radio Orchestra and conductor Ernest Bour, commissioned by the Donaueschingen Festival ▶ CLEVELAND ORCHESTRA PREMIERE: May 22, 1986, with Jahja Ling, conducting in place of Christoph von Dohnányi ▶ ORCHESTRATION: 4 flutes (2 doubling piccolos, 1 doubling alto flute), 4 oboes (1 doubling English horn), 4 clarinets (1 doubling bass clarinet, 1 doubling contrabass clarinet), 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, and strings ▶ DURATION: about 10 minutes

AMONG THE MORE THAN 100,000 Hun-

garians who fled the country in 1956 after the defeat of the anti-Communist uprising was a 33-year-old composer named György Ligeti. In the space of just a few years, Ligeti went on to become one of the leading figures of the Western European new music scene. Such a meteoric rise to fame was due to several factors. Foremost among these was his boundless musical imagination (British musicologist Richard Steinitz even gave his 2003 monograph about this composer the title Music of the Imagination).

Furthermore, Ligeti had the uncanny ability to ground his most advanced compositional ideas in real human experience — emotions, memories, and associations of various kinds.

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One concept that preoccupied Ligeti through much of the 1960s was micropolyphony, a particularly dense web of voices imitating one another. Its overall effect is not one of polyphony, where you can listen carefully and pick out different voices, or counterpoint, where the voices imitate or echo one another, but rather a shimmering but ultimately static acoustic surface.

In Lontano, Ligeti achieved this shimmering effect through careful calibration of the timbre of each instrument in the orchestra. The dynamics rise by extremely small gradations from the quietest quadruple pianissimo up to triple pianissimo, then to double pianissimo, and occasionally into the loudness of passages marked forte and, near the end, one passage

PHOTO COURTESY OF WIKIMEDIA COMMONS

The music of György Ligeti, pictured here in 1984, has been used to great effect in film. For instance, Martin Scorsese included Lontano in 2010’s Shutter Island.

marked triple fortissimo. Unlike conventional symphonic scores, no musician is playing exactly the same thing as anyone else. Each string player has their own individual part; the successive entrances, often on the same pitches, produce infinitesimal changes in sound color.

At first, the music appears not to have a melody in any conventional sense; instead, there is a slow and subtle process whereby different pitches move in and out of focus, resulting in gradual but audible shifts in the harmony of the chords created by the particular notes that are being sounded together.

Lontano is punctuated by two moments of silence. After the first of these, the musical process is restarted by an extremely low and soft note on the tuba, entering all by itself. After the second, the main thematic material clevelandorchestra.com

of the piece suddenly appears. This succession of pitches is then sped up considerably and a continuous melodic line emerges for our ears, only to dissolve again into silence.

Thus Lontano (the title means distant in Italian) is essentially a study in shadings of musical light and dark. Among the visual inspirations that found their way into this work are the sun shining through the stained-glass windows of the Sainte-Chapelle in Paris and The Battle of Alexander at Issus by 16th-century German painter Albrecht Altdorfer, whose burst of golden sunlight through a sky of dark blue clouds particularly struck Ligeti. Lontano is the companion work of Lux aeterna (Eternal light) for unaccompanied chorus, written a year earlier; the two compositions share many stylistic and motivic ideas.

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

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THE MUS I C

Tod und Verklärung (Death and Transfiguration), Op. 24

by Richard Strauss BORN : June 11, 1864, in Munich DIED : September 8, 1949, in Garmisch-Partenkirchen, Germany

▶ COMPOSED: 1888–89 ▶ WORLD PREMIERE: June 21, 1890, at City Theater in Eisenach, Germany, conducted by the composer ▶ CLEVELAND ORCHESTRA PREMIERE: April 28, 1921, with Nikolai Sokoloff conducting ▶ ORCHESTRATION: 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, tam-tam, 2 harps, and strings ▶ DURATION: about 25 minutes

“DEATH HAS DEALT ME the first hard blow,

has given me the first sign,” Richard Strauss said late in August 1949. “So much for me to do still — but I believe that some of the things that I wanted and initiated have fallen on fruitful ground.” In mid-July, soon after conducting the Moonlight Interlude from his opera Capriccio for a radio concert, the 85-year-old composer suffered a series of heart attacks and was confined to bed.

“Funny thing, Alice,” he reportedly said to his daughter-in-law shortly before his death, “dying is just the way I composed it in Death and Transfiguration.”

Strauss began writing Death and Transfiguration more than 60 years earlier, in August 1888, almost immediately after completing the score of his 10 | 2023/2024 SEASON

first orchestral tone poem, Don Juan.

Exactly what inspired the composer, then 24, to undertake such a topic, we do not know. But even at this early age, Strauss was wrestling with his own legacy. In this tone poem, he is contemplating the connection between death and the afterlife. Yet Strauss was, at least in his later years, largely agnostic if not atheistic, and thus his conception of the afterlife rested as much on the practical considerations of reputation and admiration of his work as on anything spiritual.

His constant striving in life was for artistic achievement.

Composer Richard Strauss, photographed in 1910, wrestled with his own legacy and lasting artistic achievements throughout his life.

PHOTO COURTESY OF WIKIMEDIA COMMONS

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all his life. He attempted many different In 1894, four years after Death and musical forms. He alternated between Transfiguration premiered, Strauss wrote his own explanation for the work: “It was the creative life of a composer and the toiling work of recreating the visions six years ago that it occurred to me to of others as a much-admired conductor. present in the form of a tone poem the He worked as an administrator to fulfill dying hours of a man who had striven toward the highest idealistic aims, maybe those visions, but tired of politics — only to find himself compelled to work within indeed those of an artist. The sick man the Nazi regime. He moved from being lies in bed, asleep, with heavy irregular a controversial young composer to being breathing; friendly dreams conjure a a conservative older one, with a contensmile on the features of the deeply tious political past. suffering man; he wakes up; he is once more racked with horrible pain; his limbs shake with fever — as the attack passes ... It occured to me and agonies subside, his thoughts wander to present in the form through his past life; his childhood of a tone poem the passes before him, the time of his youth with its strivings and passions and then, dying hours of a man ...” as the pains announce their return, there — Richard ichard Strauss appears to him the fruit of his life’s path, The youthful vision presented in the conception, the ideal which he has Death and Transfiguration returned to the sought to realize, to present artistically, older Strauss, however. He reused one but which he has not been able to complete. … The hour of death approach- of its themes in the song “Im Abendrot” (At sunset), which was published postes, the soul leaves the body and finds humously as the final of the Four Last gloriously achieved — in everlasting time Songs. At the song’s end, he quotes the and space — those things which could artist’s “ideal” theme under the lyrics not be fulfilled here on earth.”

“How still the peace. So deep the close While Death and Transfiguration may of evening. How tired we are of wanderat first seem cloaked in darkness, it ing. Is this perhaps death?” Like Death uses the subject of dying merely as a point of departure. The artist of Strauss’s and Transfiguration, this beautiful music transcends earthly realities, building imagination knows exactly what he has toward acceptance in the waning twilight been striving to create in life. And the of a day, or life. With darkness comes “dying artist’s sure struggle toward an rest and reward. ideal” concludes with a musical affirma— Eric Sellen tion — of rest and redemption.

In fact, the artistic struggle toward Eric Sellen is The Cleveland Orchestra’s editor emeritus. ideal fulfillment stayed with Strauss for He previously was program book editor for 28 seasons.

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THE MUS I C

TH E SU NG TE XT

Lonely Child

by Claude Vivier

O bel enfant de la lumière dors dors dors toujours dors

Oh beautiful child of light sleep sleep sleep forever sleep

Les rêves viendront les douces fées viendront danser avec toi merveille

The dreams will come the gentle fairies will come and dance with you wonder

Les fées et les elfes te fêteront la farandole joyeuse t’enivrera ami

The fairies and the elves will celebrate you and the merry farandole will inebriate you friend

Dors mon enfant

Sleep my child

Ouvrez-vous portes de diamant palais somptueux

Open up doors of diamond sumptuous palaces

Mon enfant les hirondelles guideront tes pas

My child the swallows will guide your steps

Ka rè non ya zo naou dèwa ki (nanoni) eu doua

Ka rè non ya zo naou dèwa ki (nanoni) eu doua

dors mon enfant

sleep my child

(dadodi) yo (r) zui yo aei da ge da ge da èiou da ge da ge ouaè da gè da dou dè da gè da gè da gè naouè ka (jadè) do ya rou sè ma yo rès tè dèia wè (nanoni) no wiiè ka

(dadodi) yo (r) zui yo aei da ge da ge da èiou da ge da ge ouaè da gè da dou dè da gè da gè da gè naouè ka ( jadè) do ya rou sè ma yo rès tè dèia wè (nanoni) no wiiè ka

Les étoiles font des bonds prodigieux dans l’espace temps dimensions zébréés de couleurs douces les temps en parabole discutent de Merlin

The stars make extraordinary leaps in space-time dimensions striped with soft colors the times discuss Merlin in parables

Les magiciens merveilleux embrassent le soleil d’or les acrobates touchent du nez les étoiles pas trop sages les jardins font rêver aux moines mauves

The wondrous magicians embrace the golden sun the acrobats touch with their noses the mischievous stars the gardens make the mauve monks dream continued on next page ▶ ▶ ▶

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THE SU NG TE X T continued ▶ ▶ ▶

Rêves d’enfant donnez-moi la main et allons voir la fée Carabosse son palais de jade sis au milieu des morceaux de rêves oubliés déjà Flotte éternellement

Children’s dreams give me your hand and let us go and look up the fairy Carabosse her palace of jade lying amid pieces of forgotten dreams already Floating in eternity

Ô reine des aubes bleues donne-moi s’il te plaît l’éternité Ô! Reine

Oh queen of blue dawns give me please eternity Oh! queen

Ko rè noy Tazio ko rè ko rè Tazio Tazio Tazio ko rè noy naou ya sin kè

Ko rè noy Tazio ko rè ko rè Tazio Tazio Tazio ko rè noy naou ya sin kè

L’hélianthe douce dirige vers les étoiles l’énergie sublime Tazio

The gentle helianthus directs the sublime energy towards the stars Tazio

La langue des fées tu le parleras et tu veras l’amour Tazio

The language of the fairies you will speak it and you will know love Tazio

Tendrement tes yeux verts puiseront dans les lambeaux de cont’ surannés pour en créer un vrai le tien Tazio donne-moi la main Tazio Tazio

Tenderly your green eyes will dip into dregs of outmoded tales to create a real one yours Tazio give me your hand Tazio Tazio

Et l’espoir du temps du temps hors temps apparaît mon enfant

And the hope of time of time beyond time come my child

Les étoiles au ciel brillent pour toi Tazio et t’aiment éternellement

The stars in the sky are shining for you Tazio and will love you eternally

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TH E CO N DU C TOR

Barbara Hannigan

PHOTO BY MARCO BORGGREVE

EMBODYING MUSIC with an unparalleled dramatic sensibility, soprano and conductor Barbara Hannigan is an artist at the forefront of creation. The Grammy Award–winning Canadian musician has shown a profound commitment to the music of our time and has given the world premiere performances of more than 90 new creations.

With a career spanning 30 years, Hannigan’s artistic colleagues have included Reinbert de Leeuw, Pierre Boulez, Sasha Waltz, John Zorn, Krzysztof Warlikowski, Simon Rattle, Katie Mitchell, Henri Dutilleux, Vladimir Jurowski, György Ligeti, Kirill Petrenko, George Benjamin, Andreas Kriegenburg, and Hans Abrahamsen. She is principal guest conductor of Göteborgs Symfoniker, première artiste invitée of Orchestre Philharmonique de Radio France, associate artist of London Symphony Orchestra, principal guest conductor of Lausanne Chamber Orchestra (2024–25 onwards), and Reinbert de Leeuw Professor of Music at Royal Academy of Music London.

With Alpha Classics, she has released six albums, including her latest recording, Infinite Voyage, in 2023. Spring 2024 brings the release of the ecstatic vocal works of Messiaen with pianist Bertrand Chamayou.

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Hannigan’s commitment to the younger generation of musicians led her to create the mentoring initiatives Equilibrium Young Artists (2017) and Momentum: our Future Now (2020).

Hannigan resides in Finistère, on the northwest coast of France, directly across the Atlantic from where she grew up in Waverley, Nova Scotia.

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TH E ARTIST

Aphrodite Patoulidou BORN IN THESSALONIKI , Greece, Aphrodite Patoulidou is one of the most interesting rising stars of today.

A celebrated soprano, she is also a songwriter and photographer. She is also passionate about painting and poetry.

As a soprano, Patoulidou appears in theatres including the Staatsoper Berlin, La Monnaie, Teatro Real Madrid, and Greek National Opera; in concert halls such as the Berliner Philharmonie, Concertgebouw Amsterdam, Gothenburg Konserthuset, and Snape Maltings; as well as in music festivals such as Ojai in California, Aldeburgh, and Ludwigsburg.

She has been praised in the international media for her portrayals of Anne Trulove (The Rake’s Progress), Elle (La voix humaine), Susanna (Le nozze di Figaro), Belinda (Dido and Aeneas), Sophie Scholl (Weisse Rose), and in Claude Vivier’s Lonely Child. She has also collaborated with conductors such as Kirill Petrenko, Barbara Hannigan, Christopher Moulds, Tito Ceccherini, and Manuel Nawri, as well as orchestras such as the Royal Concertgebouw Orchestra, Orchestre Philharmonique de Radio France, and SWR Symphonieorchester, among others.

Patoulidou recently toured Europe singing Mahler’s Symphony No. 4 and Vivier’s Lonely Child with the London Symphony Orchestra conducted by Barbara Hannigan. Also during the 2023–24 season, she makes her debuts

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with The Cleveland Orchestra and Munich Philharmonic singing Vivier’s Lonely Child, followed by her debut with Deutsches Symphonie-Orchester Berlin in spring 2024 conducted by Dalia Stasevska.

Aphrodite Patoulidou was one of the first artists to take part in Equilibrium Young Artists, an initiative created by Barbara Hannigan. She has performed as a guest with choreographer Sasha Waltz’s company and lead singer on tour with the French heavy metal band Igorrr.

Now based in Berlin, Patoulidou studied at the University of Macedonia in Thessaloniki (class of Angelica Cathariou), the Royal Flemish Conservatorium of Brussels (class of Dinah Bryant), University of Arts Berlin (class of Aris Argiris), and also spent time in Sweden. She was a bursary recipient of the Opera Awards Foundation, Onassis Foundation, Musikfonds e.V., and Manfred Strohscheer Stiftung. She has studied folk singing, plays the piano and guitar, and ventures on the nyckelharpa.

PHOTO BY DANIEL NARTSCHICK

soprano

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TH E CLEV EL AN D ORCHESTR A NOW IN ITS SECOND CENTURY , The Cleveland Orchestra, under the leadership of Music Director Franz Welser-Möst 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 chamber-like 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 platform Adella, 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 2023–24 season marks Franz Welser-Möst’s 22nd 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.

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TH E CLEV EL A N D ORCHESTR A

Franz Welser-Möst, Music Director KELVIN SMITH FAMILY CHAIR FIRST VIOLINS

Sonja Braaten Molloy

Ralph Curry

ENGLISH HORN

David Radzynski

Carolyn Gadiel Warner

CONCERTMASTER

Elayna Duitman

Brian Thornton William P. Blair III Chair

Ioana Missits

David Alan Harrell

Robert Walters Samuel C. and Bernette K. Jaffe Chair

Jeffrey Zehngut

Martha Baldwin

Sae Shiragami

Dane Johansen

Kathleen Collins

Paul Kushious

Beth Woodside

BASSES

Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Maximilian Dimoff* Clarence T. Reinberger Chair

Blossom-Lee Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Yun-Ting Lee

Stephen Tavani

Jiah Chung Chapdelaine

ASSISTANT CONCERTMASTER

Liyuan Xie

Dr. Ronald H. Krasney Chair

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

VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Derek Zadinsky2 Charles Paul1 Mary E. and F. Joseph Callahan Chair Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial 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

Lynne Ramsey1 Charles M. and Janet G. Kimball Chair

Charles Carleton

BASS CLARINET

Scott Dixon

Amy Zoloto Myrna and James Spira Chair

Stanley Konopka2

HARP

Mark Jackobs Jean Wall Bennett Chair

Trina Struble* Alice Chalifoux Chair

Lisa Boyko Richard and Nancy Sneed Chair Richard Waugh Lembi Veskimets The Morgan Sisters Chair

BASSOONS John Clouser* Louise Harkness Ingalls Chair

FLUTES

Gareth Thomas

Joshua Smith* Elizabeth M. and William C. Treuhaft Chair

Barrick Stees2 Sandra L. Haslinger Chair

Saeran St. Christopher

Jonathan Sherwin

Jessica Sindell Austin B. and Ellen W. Chinn Chair

CONTRABASSOON

Mary Kay Fink

HORNS

William Bender

PICCOLO

Gareth Zehngut

Nathaniel Silberschlag* George Szell Memorial Chair

CELLOS

Mary Kay Fink Anne M. and M. Roger Clapp Chair

Michael Mayhew§ Knight Foundation Chair

Mark Kosower* Louis D. Beaumont Chair

OBOES

Richard Weiss1 The GAR Foundation Chair

Frank Rosenwein* Edith S. Taplin Chair

Hans Clebsch

Genevieve Smelser

SECOND VIOLINS

Charles Bernard2 Helen Weil Ross Chair

Meghan Guegold Hege

Stephen Rose* Alfred M. and Clara T. Rankin Chair

Bryan Dumm Muriel and Noah Butkin Chair

Corbin Stair Sharon and Yoash Wiener Chair

Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Tanya Ell Thomas J. and Judith Fay Gruber 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 Youngji Kim

24 | 2023/2024 SEASON

Eliesha Nelson Anthony and Diane Wynshaw-Boris Chair Joanna Patterson Zakany

2

Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair Robert Walters

Jonathan Sherwin

Jesse McCormick Robert B. Benyo Chair Richard King

TRUMPETS Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Richard Stout

LIBRARIANS

CONDUCTORS

Michael Ferraguto Joe and Marlene Toot Chair

Christoph von Dohnányi

Donald Miller

Daniel Reith

Jack Sutte

TUBA

Lyle Steelman2 James P. and Dolores D. Storer Chair

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

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

Michael Miller

TIMPANI

Elizabeth Ring and William Gwinn Mather Chair

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

PHOTO BY ROGER MASTROIANNI

EUPHONIUM & BASS TRUMPET

vacant

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair Thomas Sherwood

TROMBONES

Tanner Tanyeri

Brian Wendel* Gilbert W. and Louise I. Humphrey Chair

KEYBOARD INSTRUMENTS

Richard Stout Alexander and Marianna C. McAfee Chair Shachar Israel2

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Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

MUSIC DIRECTOR LAUREATE

ASSISTANT CONDUCTOR

Virginia M. Linsdseth, PhD, Chair

Sidney and Doris Dworkin Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Paul and Lucille Jones Chair James and Donna Reid Chair Sunshine Chair Otto G. and Corinne T. Voss Chair Mr. and Mrs. Richard K. Smucker Chair Rudolf Serkin 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.

| 25

TH E 2023/2024 SEAS ON

CALE N DAR Pre-concert lectures are held in Reinberger Chamber Hall one hour prior to the performance.

NOV 30 – DEC 2 MAHLER’S FOURTH SYMPHONY Daniel Harding, conductor Lauren Snouffer, soprano BETSY JOLAS Ces belles années…

MAHLER Symphony No. 4

FALL NOV 9 – 11 HANNIGAN CONDUCTS STRAUSS Barbara Hannigan, conductor Aphrodite Patoulidou, soprano HAYDN Symphony No. 44, “Trauersinfonie” VIVIER Lonely Child * LIGETI Lontano * R . STRAUSS Death and Transfiguration Pre-concert lecture by Rabbi Roger Klein

Pre-concert lecture by Michael Strasser

DEC 7 & 9 TCHAIKOVSKY’S ROMEO & JULIET Semyon Bychkov, conductor Katia Labèque, piano Marielle Labèque, piano JULIAN ANDERSON Symphony No. 2, “Prague Panoramas” MARTINŮ Concerto for Two Pianos TCHAIKOVSKY Romeo and Juliet Fantasy Overture Pre-concert lecture by Caroline Oltmanns

NOV 19 RECITAL

Schumann & Ravel Marc-André Hamelin, piano IVES Piano Sonata No. 2 R . SCHUMANN Forest Scenes RAVEL Gaspard de la nuit

NOV 24 – 26 TCHAIKOVSKY’S VIOLIN CONCERTO Pietari Inkinen, conductor Augustin Hadelich, violin DVOŘÁK Othello Overture TCHAIKOVSKY Violin Concerto DVOŘÁK Symphony No. 8

WINTER JAN 11 – 13 THE MIRACULOUS MANDARIN Franz Welser-Möst, conductor KŘENEK Kleine Symphonie MAHLER/KŘENEK Adagio from Symphony No. 10 BARTÓK String Quartet No. 3 (arr. for string orchestra) BARTÓK Suite from The Miraculous Mandarin Pre-concert lecture by Kevin McBrien

Pre-concert lecture by James Wilding

JAN 17 & 18 MODERN CLASSICIST: WELSER-MÖST CONDUCTS PROKOFIEV 2 & 5 Franz Welser-Möst, conductor PROKOFIEV Symphony No. 2 WEBERN Symphony PROKOFIEV Symphony No. 5 Pre-concert lecture by Eric Charnofsky

FEB 1 RECITAL

Beethoven for Three Leonidas Kavakos, violin Yo-Yo Ma, cello Emanuel Ax, piano BEETHOVEN Piano Trio, Op. 70, No. 1, “Ghost” BEETHOVEN/WOSNER Symphony No. 1 BEETHOVEN Piano Trio, Op. 70, No. 2

FEB 9 – 11 BEETHOVEN’S FATEFUL FIFTH Herbert Blomstedt, conductor SCHUBERT Symphony No. 6 BEETHOVEN Symphony No. 5 Pre-concert lecture by James O’Leary

FEB 15 & 17 RAVEL’S MOTHER GOOSE George Benjamin, conductor Tim Mead, countertenor Women of The Cleveland Orchestra Chorus DIETER AMMANN glut GEORGE BENJAMIN Dream of the Song KNUSSEN The Way to Castle Yonder RAVEL Ma mère l’Oye (complete ballet) Pre-concert lecture by James Wilding

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FEB 22 – 25 BEETHOVEN’S PASTORAL Philippe Herreweghe, conductor Jean-Guihen Queyras, cello BEETHOVEN Overture to Egmont HAYDN Cello Concerto No. 1 BEETHOVEN Symphony No. 6, “Pastoral” Pre-concert lecture by David Rothenberg

FEB 29 – MAR 2 KANNEH-MASON PLAYS SCHUMANN Susanna Mälkki, conductor Isata Kanneh-Mason, piano J.S. BACH/WEBERN Ricercare from Musical Offering * C. SCHUMANN Piano Concerto HINDEMITH Mathis der Maler Symphony Pre-concert lecture by Eric Charnofsky

MAR 7 – 9 BRAHMS’S FOURTH SYMPHONY Fabio Luisi, conductor Mary Kay Fink, piccolo WEBER Overture to Oberon ODED ZEHAVI Aurora BRAHMS Symphony No. 4 Pre-concert lecture by Francesca Brittan

MAR 10 RECITAL

Chopin & Schubert Yefim Bronfman, piano SCHUBERT Piano Sonata No. 14 R . SCHUMANN Carnival Scenes from Vienna ESA-PEKKA SALONEN Sisar CHOPIN Piano Sonata No. 3

MAR 14, 16 & 17 LEVIT PLAYS MOZART Franz Welser-Möst, conductor Igor Levit, piano MOZART Piano Concerto No. 27 BRUCKNER Symphony No. 4, “Romantic” Pre-concert lecture by Cicilia Yudha

SPRING MAR 21 – 23 SIBELIUS’S SECOND SYMPHONY Dalia Stasevska, conductor Josefina Maldonado, mezzo-soprano

APR 26 – 28 RACHMANINOFF’S SECOND PIANO CONCERTO Lahav Shani, conductor Beatrice Rana, piano

RAUTAVAARA Cantus Arcticus PERRY Stabat Mater SIBELIUS Symphony No. 2

UNSUK CHIN subito con forza RACHMANINOFF Piano Concerto No. 2 BARTÓK Concerto for Orchestra

Pre-concert lecture by Kevin McBrien

Pre-concert lecture by James O’Leary

APR 4 & 6 CITY NOIR

MAY 2 – 4 LANG LANG PLAYS SAINT-SAËNS

John Adams, conductor James McVinnie, organ Timothy McAllister, saxophone GABRIELLA SMITH Breathing Forests DEBUSSY Prelude to the Afternoon of a Faun JOHN ADAMS City Noir Pre-concert lecture by Eric Charnofsky

APR 11 – 13 ELGAR’S CELLO CONCERTO Klaus Mäkelä, conductor Sol Gabetta, cello Thomas Hampson, baritone * The Cleveland Orchestra Chorus * JIMMY LÓPEZ BELLIDO Perú negro ELGAR Cello Concerto WALTON Belshazzar’s Feast * Pre-concert lecture by James Wilding

APR 14 RECITAL

Schumann & Brahms Evgeny Kissin, piano Matthias Goerne, baritone R . SCHUMANN Dichterliebe BRAHMS Four Ballades, Op. 10 BRAHMS Selected Songs

APR 18 – 20 YUJA WANG PLAYS RAVEL & STRAVINSKY

Franz Welser-Möst, conductor Lang Lang, piano * SAINT-SAËNS Piano Concerto No. 2 * BERLIOZ Symphonie fantastique Pre-concert lecture by Caroline Oltmanns

MAY 16, 18, 24 & 26 MOZART’S MAGIC FLUTE Franz Welser-Möst, conductor Nikolaus Habjan, director Julian Prégardien, tenor Ludwig Mittelhammer, baritone Christina Landshamer, soprano The Cleveland Orchestra Chorus MOZART The Magic Flute Staged production sung in German with projected supertitles

MAY 23 & 25 MOZART’S GRAN PARTITA Franz Welser-Möst, conductor Leila Josefowicz, violin Trina Struble, harp WAGNER Prelude and Liebestod from Tristan und Isolde JÜRI REINVERE Concerto for Violin and Harp MOZART Serenade No. 10, “Gran Partita” Pre-concert lecture by Michael Strasser

Klaus Mäkelä, conductor Yuja Wang, piano RAVEL Concerto for the Left Hand STRAVINSKY Concerto for Piano and Wind Instruments STRAVINSKY The Rite of Spring Pre-concert lecture by Caroline Oltmanns

For tickets & more information visit: * Not performed on the Friday matinee concert

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YOU R V IS IT 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

IN THE EVENT OF AN EMERGENCY

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

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.

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.

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AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical Season subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including Music Explorers (for 3 to 6 years old) and Family Concerts (for ages 7 and older).

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: the State of Ohio and Ohio Arts Council and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

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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.

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