The Cleveland Orchestra February 15 & 17 Concerts by Live Publishing

Ravel’s Mother Goose FEBRUARY 15 & 17, 2024

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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

Ravel’s Mother Goose Thursday, February 15, 2024, at 7:30 PM Saturday, February 17, 2024, at 8 PM

Sir George Benjamin, conductor Dieter Ammann ( b. 1962) George Benjamin ( b. 1960)

glut

15 minutes

Dream of the Song

20 minutes

I. The Pen II. The Multiple Troubles of Man — III. Gazing Through the Night — IV. Gacela of Marvelous Love V. The Gazelle — VI. My Heart Thinks as the Sun Comes Up Tim Mead, countertenor

COVER: PHOTO BY CHRISTOPHER CHRISTODOULOU

Members of The Cleveland Orchestra Chorus I N TERMIS SI ON

20 minutes

Oliver Knussen (1952–2018)

The Way to Castle Yonder, Op. 21a

8 minutes

Maurice Ravel (1875–1937)

Ma mère l’Oye (Mother Goose)

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I. The Journey to the Big White House — II. Kleine Trauermusik — III. The Ride to Castle Yonder 30 minutes

I. Prelude — II. Dance of the Spinning Wheel and Scene — III. Pavane of Sleeping Beauty — IV. Conversations of Beauty and the Beast — V. Tom Thumb — VI. Laideronnette, Empress of the Pagodas — VII. Apotheosis: The Enchanted Garden Total approximate running time: 1 hour 35 minutes

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TH E MUSI C

Striking the right note Guest conductor Sir George Benjamin speaks to writer Thomas May about his connections to the works on this weekend’s program.

Dream of the Song, which The Cleveland Orchestra is performing for the first time in these concerts, George Benjamin adds another dimension to his soundscape through a strikingly unusual combination of voices. He recalls imagining the male countertenor soloist “revolving within a space of ” and “encased by” a small choir of soprano and alto voices as one of the initial sonic images that inspired the work. All of the singers inhabit the same register but are “so different in timbre and sound and in expression as well.” Such lucid, precise attention to detail — not just at surface level, but as integral to the dramatic arc and design of a composition — is a signature of Benjamin’s aesthetic, whether as a composer, conductor, or mentor. It’s a way of thinking that was reinforced by one of his most significant early mentors, the 20th-century French composer Olivier Messiaen. “The quantity of things he was able to say about just one chord was breathtaking: how he could sum up so much information from its spacing, its connection to other harmonies, its placing in the orchestration, its color, its emotion, its historical resonance,” Benjamin said in a recent Zoom interview, describing some of the indelible impressions left by Messiaen. The young London-born 4 | 2023/2024 SEASON

musician, only 16 when he was invited to study with the great Frenchman, became his favorite student. Such mindfulness about detail is shared by all four works Benjamin has selected for this program. Presented as a repertoire counterpart to the three contemporary pieces, Maurice Ravel’s Ma mère l’Oye is a score he has cherished for most of his life, having first conducted it more than 40 years ago. It embodies the elegant precision and nuance resulting from Ravel’s search for the right note in the right place — akin to novelist Gustave Flaubert’s preoccupation with le mot juste. This approach tends to be ascribed to an allegedly French musical sensibility, but Benjamin hastens to point out the irrelevance of such national distinctions when he was coming of age. “Being a British composer in the 1980s and ’90s and at the beginning of this century — though it may feel different now after Brexit — one felt completely in harmony with the whole of European musical culture.” He and such colleagues as his close friend Oliver Knussen “could select as our own whatever we wanted to learn from, without any borders.” CONTINUED ON PAGE 6

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Sir George Benjamin made his Cleveland Orchestra conducting debut in November 2002. This weekend’s concerts mark his second time leading the Orchestra.

PHOTO BY CHRIS CHRISTODOULOU

IN TWO OF THE SIX SONGS comprising

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The Swiss Dieter Ammann is another composer from Benjamin’s generation whom he admires for his inspired use of detail and approach to the craft of composing. In the summer of 2019, Benjamin was invited to work with the students at the Lucerne Festival Academy in Central Switzerland, which Pierre Boulez founded more than two decades ago as a center to train young musicians in the performance of 20th- and 21stcentury music. At Lucerne, Benjamin befriended Ammann, a leading figure at the Academy who helps run its composer mentoring program alongside artistic director Wolfgang Rihm. Benjamin collaborated closely with the Academy Orchestra to prepare a performance of glut, which he has conducted several times since. He characterizes glut as “a hugely confident, explosive orchestral showpiece, a terrific way to start the evening.” With its multiple layers of meaning, the title glut hints at the hyperactive, hyperconcentrated surfeit of musical detail contained within its 15-minute duration. The word means glow, fervor, or blaze in German, while in English it conveys connotations of abundance or excess (as in “gluttony”). A paradox of glut is the sense of visceral immediacy that Ammann’s meticulous compositional process produces. He describes the impression of “an exceptionally high concentration” of musical events as the combination of both “vertical” details that are heard simultaneously, 6 | 2023/2024 SEASON

at any given moment, and, on the horizontal axis, “the great variety of textures that unfold successively in the course of the piece.” Like an action painting by Jackson Pollock, glut’s dynamic cascade of sonic images can awaken an untold variety of associations unique to each listener, though Ammann’s piece is not program music. Or if there is a program, it’s a meta-narrative that addresses and celebrates the creative process itself: In glut, ideas seem to pour out in a whitehot lava flow, but however spontaneous they might appear, they are shaped, as Benjamin puts it, “with enormous care, in exquisite detail, mixed with tremendous bravura.” Dream of the Song is one of only three orchestral works Benjamin has composed since making his stage debut with the 2006 chamber opera Into the Little Hill, a reimagining of the Pied Piper of Hamelin legend that launched a new chapter in his compositional life. He had waited patiently for more than a quarter-century to find his ideal collaborator in the British playwright Martin Crimp, with whom he has written three more operas since. “I have become quite obsessed with the human voice since becoming an opera composer, and this piece is a development of that,” Benjamin says. But Dream follows a different path, both in its sonic world and in the absence of CONTINUED ON PAGE 9

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glut by Dieter Ammann BORN : May 17, 1962, in Aarau, Switzerland

▶ COMPOSED: 2014–16 ▶ WORLD PREMIERE: May 11, 2016, by the Zurich Tonhalle Orchestra with conductor Markus Stenz

▶ This weekend’s concerts mark the first performances of Dieter Ammann’s glut by The Cleveland Orchestra.

▶ ORCHESTRATION: 3 flutes (3rd doubling piccolo), 3 oboes, 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (crotales, almglocken, Japanese temple bells, tom-toms, snare drum, steel drum, thunder sheet, ride cymbal, large drum, marimba, tubular bells, cymbals, vibraphone, bongos, ratchet, anvil, glockenspiel, gongs, tam-tam, woodblocks, vibraslap, triangle), harp, piano, and strings

PHOTO COURTESY OF DIETER AMMANN

▶ DURATION: about 15 minutes

[The title glut denotes] … the passion of researching in one place for months at a time, of burying yourself in the infinite mass of possible sounds, and so of stumbling into areas which were unknown to you before. There, only a slow, intuitive moving forward is possible in order to give shape to the imagined. At the same time, however, a music of this kind developing in every dimension, that is from the single note via complete passages to the overall form, must be examined and tested in its substance, which in turn requires a rational approach. Working on this piece, to maintain the contradiction, also therefore means to be on a journey in a world as a searcher, at the same time as you are its own creator. — Dieter Ammann

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THE MUS I C

Dream of the Song by George Benjamin BORN : January 31, 1960, in London

▶ COMPOSED: 2014–15 ▶ WORLD PREMIERE: September 25, 2015, at Amsterdam’s Concertgebouw with soloist Bejun Mehta, the Netherlands Chamber Choir, and the composer conducting

▶ This weekend’s concerts mark the first performances of George Benjamin’s Dream of the Song by The Cleveland Orchestra.

▶ ORCHESTRATION: 2 oboes, 4 horns, percussion (glockenspiel, vibraphones, gongs, cymbals), 2 harps, and strings, plus countertenor and chorus of sopranos and altos

▶ DURATION: about 20 minutes See page 14 for the sung texts and translations.

I imagined the sound of a countertenor rotating within polyphony sung by a female chorus — that was the starting point for the score. I had a specific countertenor in mind: Bejun Mehta, for whom I had created the role of the Boy in [the opera] Written on Skin. I didn’t want to submerge (or double) the choral parts within the instrumental textures that surround them — so the orchestra employed has very little woodwind and brass, and is dominated by the strings. The poetry I chose abounds in imagery of stars and moonlight, and I wanted to try to capture a silvery tone for the whole piece.

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PHOTO BY ÅSA WESTERLUND

— George Benjamin

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dramatic tension; calling it a cantata, the composer says it should be considered “a poetic piece.” Benjamin was inspired by his interest in the Iberian Peninsula, where he has Sephardic roots on his mother’s side from centuries ago. Andalusia, in particular Granada, is for him “probably the most beautiful place in Europe, above all in its Islamic architecture and decoration.” Benjamin himself culled the texts for Dream of the Song from the translator and poet Peter Cole’s Dream of the Poet, an anthology of English translations of Hebrew poems written in medieval

countertenor and small choir of sopranos and altos that was an initial impetus for this dreamlike music, sounding as if from a distant time; the countertenor sings alone in the first, second, and fifth songs and is absent from the apocalyptic lament of the fourth, in which the choir expresses Lorca’s disturbing images of pain inflicted by nature. Benjamin’s unusually scored orchestra (two oboes, four horns, percussion, two harps, and strings) directs the aural focus towards the human voice and is intensely expressive in its constellation of harmonies, instrumental pigments, and

I have become quite obsessed with the human voice since becoming an opera composer, and [Dream of the Song]] is a development of that. — George Benjamin

Andalusia. He chose secular poems by the 11th-century Jewish poets Solomon Ibn Gabirol and Samuel HaNagid (sung in English). These are intercut with brief selections (in Spanish) from the 20th-century poet Federico García Lorca’s Diván del Tamarit. Both sources were in turn inspired by Arabic poets dating back to the 8th century. According to Benjamin, the cantata reflects on this unique time and place “and what it represents in human history.” The third is the longest of the six songs and, along with the last, features the arresting combination of solo clevelandorchestra.com

shifting densities of timbre: surreal and dreamlike but infallibly precise in the piercing beauty of its details. Dream of the Song Song’s atmosphere of reverie introduces another thread shared by Benjamin’s selections for this program: the seductions of dream time and fantasy that music can convey so potently — whether as a “rumination about the passage of time and mortality” (as he describes the underlying concern of the texts in his cantata) or in the sense of child-like wonder evoked not CONTINUED ON PAGE 10

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only by Ravel but by his late colleague Oliver Knussen (fondly known as “Olly”). Benjamin’s “closest friend for about 40 years,” Knussen likewise combined careers as a composer, conductor, and teacher. He led The Cleveland Orchestra frequently and was responsible for introducing Benjamin to its audience (with a performance of the latter’s orchestral work Sudden Time in 1997). In the 1980s, Knussen wrote two one-act “fantasy operas” based on stories by children’s book author Maurice Sendak: Where the Wild Things Are and Higglety Pigglety Pop!, which were originally designed as a double bill. The second opera began as Sendak’s “theatrical requiem” for his terrier Jennie and is shaped as a “quest opera” (think Mozart’s The Magic Flute) whose destination is the animal heaven known as “Castle Yonder.” Knussen arranged the opera’s instrumental interludes into the concise concert suite The Way to Castle Yonder (which he playfully dubbed a “pot-pourri”). Knussen’s concentrated brevity and exquisitely crafted soundworld reflect his admiration of what he called “the sharply defined and carefully detailed orchestral miniature, which creates and explores an imaginary world in a manner of minutes.” Benjamin likens The Way to Castle Yonder to “a tiny symphony.” It comprises an initial stretch of music he considers one of Knussen’s “greatest achievements” in its marriage of refined orchestration and long-limbed lyricism, 10 | 2023/2024 SEASON

followed by a brief but affecting central slow movement and an exuberant finale that “settles into a rather gentle, mesmeric toccata in its final moments.” Benjamin and Knussen, who both emerged as prodigy composers, shared many musical enthusiasms, including a fascination with Maurice Ravel. Benjamin’s passion extends to scholarly involvement: He served on the reading committee for the new Ravel Edition, which only recently published a corrected and updated version of the complete ballet score Ma mère l’Oye. This weekend’s performances will use the new edition. Benjamin recently even had an opportunity to play the piano on which Ravel originally composed Ma mère l’Oye as a suite of five pieces for piano four-hands for the children of a couple to whom he was close. When Ravel was commissioned to orchestrate the collection and recast it as a one-act ballet, he contrived his own scenario and added introductory scenes and connective interludes to frame the fairy tales he had initially illustrated into a narrative sequence centered around the tale of Sleeping Beauty. The extended ballet score, in contrast to the more frequently performed orchestral suite, includes a very brief transition to the final movement (The Enchanted Garden, in which the forest surrounding the awakened Sleeping CONTINUED ON PAGE 13

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The Way to Castle Yonder, Op. 21a by Oliver Knussen BORN : June 12, 1952, in Glasgow, UK DIED: July 8, 2018, in Snape, UK

▶ COMPOSED: arranged in 1990, from Knussen’s opera Higglety Pigglety Pop! (1984–85) ▶ WORLD PREMIERE: January 31, 1991, at Barbican Hall, with the London Symphony Orchestra conducted by Michael Tilson Thomas

▶ CLEVELAND ORCHESTRA PREMIERE: February 18, 1993, with the composer conducting

▶ ORCHESTRATION: 3 flutes, oboe, English horn, 3 clarinets, bassoon, contrabassoon, 4 horns, 2 trombones, timpani, percussion (castanets, tubular bells, chimes, triangle, tambourine, cymbals, vibraphone, sleigh bells, tam-tam, glockenspiel, vibraslap, bass drum), piano, celesta, harp, and strings

PHOTO BY ROGER MASTROIANNI

▶ DURATION: 8 minutes

The Way to Castle Yonder is a concise digest of orchestral interludes for my second operatic collaboration with Maurice Sendak, Higglety Pigglety Pop!, which is a theatrical requiem for his dog, Jennie, in the frame of a “quest” opera. Castle Yonder is the animals’ theatrical heaven of Sendak’s imagination. The Way to Castle Yonder is affectionately dedicated to Belinda and Colin Matthews, and the three continuous sections are: 1. The Journey to the Big White House, on a horsedrawn milk wagon driven by a cat-milk-man. The music is based on Jennie’s aria which opens the opera. “The wagon drives off and the show curtain closes. After a while, the pig is seen peeking out mysteriously from an arbour. He makes himself scarce when the milk wagon appears, crossing the stage in front of the show curtain.” 2. Kleine Trauermusik: “A little orchestral meditation while Jennie dreams of lions”— a chorale with another variant of Jennie’s aria. 3. The Ride to Castle Yonder: “Chimes begin to sound in the distance. The characters climb on the Lion’s back. Mother Goose disappears as the bells get louder. The Lion springs forward, and the show curtain closes.” This final section grows from these images virtually in reverse, and the arrival at Castle Yonder briefly harks back to the Trauermusik chorale. — © Oliver Knussen

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Ma mère l’Oye (Mother Goose) by Maurice Ravel BORN : March 7, 1875, in Ciboure, Basses-Pyrénées, France DIED: December 28, 1937, in Paris

▶ COMPOSED: piano four-hands, 1908–10; orchestral suite, 1911; ballet, 1911–12 Théâtre des Arts, conducted by Gabriel Grovlez and with choreography by Jeanne Hugard.

▶ CLEVELAND ORCHESTRA PREMIERE: January 26, 1928, at Cleveland’s Masonic Auditorium with Maurice Ravel conducting

▶ ORCHESTRATION: 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons (2nd doubling contrabassoon), 2 horns, timpani, percussion (tambourine, bass drum, cymbals, snare drum, triangle, tam-tam, xylophone, jeu de timbres à clavier), celesta, harp, and strings

▶ DURATION: about 30 minutes

Ravel provided the following scenario for Ma mère l’Oye: I. Prelude II. Dance of the Spinning Wheel and Scene An enchanted garden. An old woman is seated at her spinning wheel. Princess Florine enters, skipping with a rope. She stumbles and falls against the spinning wheel, whose spindle pricks her. The old woman calls for help. Gentlemen and maids-of-honor run up. They try vainly to revive the Princess. Then they recall the fairies’ curse. Two ladies-in-waiting prepare the Princess for her century-long night. III. Pavane of Sleeping Beauty Florine falls asleep. The old woman stands up. She throws off her shabby cape and adopts the sumptuous clothing and charming features of the Good Fairy.

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Two little servants appear. The fairy entrusts them with guarding Florine and the task of entertaining her slumber. IV. Conversations of Beauty and the Beast Beauty enters. She takes her mirror, powders her face. The Beast enters. Beauty notices him and stops petrified. She rejects, horror-struck, the declarations of the Beast, who falls to his knees, sobbing. Reassured, Beauty trifles with him coquettishly. The Beast falls down, faint with despair. Touched by his great love, Beauty helps him up again and offers him her hand. She sees at her feet none other than a prince more handsome than Love, who thanks her for having ended his spell.

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▶ WORLD PREMIERE: The ballet version was first presented on January 29, 1912, at Paris’s

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V. Tom Thumb A forest, night falls. The woodcutter’s seven children enter. Tom Thumb is crumbling a piece of bread. He looks around him but cannot make out any dwelling. The children cry. Tom Thumb reassures them by showing them the bread that he has scattered along the way. They lie down and go to sleep. Birds come and eat all the bread. When they wake up the children cannot find a single crumb, and they go away sadly. VI. Laideronnette, Empress of the Pagodas A tent draped in Chinese style. Male and female “pagodins” enter. Dance. Laideronnette appears, dressed in the Chinese style of Boucher. The Green Serpent slithers amorously nearby. “Pas de deux,” then general dance. VII. Apotheosis: The Enchanted Garden Dawn. Birdsong. Prince Charming enters, guided by a Cupid. He notices the sleeping Princess. She awakens at the same time that day is dawning. All the ballet characters gather around the Prince and the Princess, united by Cupid. The Good Fairy springs up and blesses the couple. Apotheosis.

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Beauty is transformed into an enchanted garden). Benjamin praises this interlude as “one of the great moments in music” and an example of the perfectionism that makes Ravel such an inspiring model for him.

Through incredible intelligence and sensitivity, a capacity for self-criticism and knowledge of his limitations as well as his capacities — [Ravel] never overstretches himself — and an extraordinary degree of craftsmanship. — George Benjamin

“Ravel took risks with every piece, but he hit the jackpot every time,” according to Benjamin. How did he achieve this? “Through incredible intelligence and sensitivity, a capacity for self-criticism and knowledge of his limitations as well as his capacities — he never overstretches himself — and an extraordinary degree of craftsmanship.” These qualities, for Benjamin, are combined with “artistic courage, an independence and strength of imagination. Of course it’s impossible to attain utter perfection in every single note and bar. But this composer got as near as anybody ever.” — Thomas May Thomas May is a writer, critic, educator, and translator. A regular contributor to The New York Times, The Seattle Times, Gramophone, and Strings magazine, he is the English-language editor for Lucerne Festival.

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TH E S U NG TE XT

Dream of the Song by George Benjamin

The Pen (countertenor) Naked without either cover or dress, utterly soulless, and hollow — from its mouth come wisdom and prudence, and in ambush it kills like an arrow. — Solomon lbn Gabirol (trans. Peter Cole)

II.

The Multiple Troubles of Man (countertenor) The multiple troubles of man, my brother, like slander and pain, amaze you? Consider the heart which holds them all in strangeness, and doesn’t break. — Samuel HaNagid (trans. Peter Cole)

III.

Gazing Through the Night (countertenor) Gazing through the night and its stars, or the grass and its bugs, I know in my heart these swarms are the craft of surpassing wisdom. Think: the skies resemble a tent, stretched taut by loops and hooks;

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and the moon with its stars, a shepherdess, on a meadow grazing her flock; and the crescent hull in the looser clouds looks like a ship being tossed; a whiter cloud, a girl in her garden tending her shrubs; and the dew coming down is her sister shaking water from her hair onto the path; as we settle in our lives, like beasts in their ample stalls — fleeing our terror of death, like a dove its hawk in flight — though we’ll lie in the end like a plate, hammered into dust and shards. — Samuel HaNagid (trans. Peter Cole)

Casida of the Weeping

Casida Del Llanto (chorus) Pero el llanto es un perro inmenso, el llanto es un ángel inmenso, I llanto es un violín inmenso, las lágrimas amordazan al viento y no se oye otra cosa que el llanto.

But the weeping is an immense hound, the weeping is an immense angel, the weeping is an immense violin, tears have muzzled the wind and all that can be heard is the weeping.

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IV.

Gacela of Marvelous Love

Gacela Del Amor Maravilloso (chorus) Cielos y campos anudaban cadenas en mis manos.

Skies and fields tied chains on my hands.

Campos y cielos azotaban las llagas de mi cuerpo.

Fields and skies lashed the wounds of my flesh.

The Gazelle (countertenor) I’d give everything I own for that gazelle who, rising at night to his harp and flute, saw a cup in my hand and said: “Drink your grape blood against my lips!” And the moon was cut like a D, on a dark robe, written in gold. — Samuel HaNagid (trans. Peter Cole)

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VI.

My Heart Thinks as the Sun Comes Up (countertenor) My heart thinks as the sun comes up that what it does is wise: as earth borrows its light, as pledge it takes the stars. — Solomon lbn Gabirol (trans. Peter Cole)

Casida Del Herido Por El Agua iqué desiertos de luz iban hundiendo los arenales de la madrugada!

(chorus)

Casida of the Wound By the Water what deserts of light buried the sands of dawn!

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TH E CO N DU C TOR

PHOTO BY ÅSA WESTERLUND

Sir George Benjamin Sir George Benjamin was born in 1960 and began composing at the age of 7. He initially studied at the Paris Conservatoire with Olivier Messiaen, and later with Alexander Goehr at King’s College, Cambridge. When Benjamin was only 20 years old, Ringed by the Flat Horizon was played at the BBC Proms by the BBC Symphony Orchestra and Mark Elder. The London Sinfonietta under Simon Rattle, premiered At First Light two years later. Benjamin conducted the world premiere of Picture a day like this at the Aix-en-Provence Festival in July 2023, to great critical acclaim. As with his previous three operatic scores, the text was written by playwright Martin Crimp. operas with the Orchestre de Paris and Into the Little Hill was commissioned by Finnish Radio Symphony Orchestra, the 2006 Festival d’Automne in Paris. and returns to both the Concertgebouw Written on Skin (Aix, 2012) and Lessons in and Cleveland orchestras. Love and Violence (Royal Opera House, Since 2001, Benjamin has been the 2018), two large-scale works, have both Henry Purcell Professor of Composition been widely performed in opera houses at King’s College London. His works and concert halls across the world. Benjamin has developed a particularly are published by Faber Music and are recorded on Nimbus Records. He is close association with the Mahler Chamber Orchestra, which he conducted a Commandeur de l’Ordre des Arts et des Lettres and was knighted in the 2017 in premiere performances of his Birthday Honours. In 2019, he was Concerto for Orchestra at the 2021 BBC given the Golden Lion Award from the Proms as well as Written on Skin and Picture a day like this. Benjamin also has a Venice Biennale, and he received the Grand Prix artistique from the Del Duca strong relationship with the Ensemble Modern, with whom he tours this season Foundation at the Institut de France in 2022. Most recently, Benjamin has been to major venues including London, made the 50th laureate of the Ernst von Berlin, and Amsterdam. During 2023–24 he conducts concert performances of his Siemens Music Prize. clevelandorchestra.com

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Tim Mead, countertenor Tim Mead is recognized as one of the finest countertenors performing today. Highlights of the 2023–24 season include his return to the Dutch National Opera and the title role in Handel’s Giulio Cesare with the Bach Collegium Japan. On the concert platform, Mead performs with the English Concert at St Martinin-the-Fields alongside prestigious engagements with the Philharmonia Baroque Orchestra, The Cleveland Orchestra, Netherlands Bach Society, and Orchestre Classique de Montréal. Mead is lauded for his interpretations of the great Handel countertenor roles, with recent appearances at Garsington Opera, Opéra National de Paris, Glyndebourne, and Opera Philadelphia. Other recent stage highlights include Endimione in Cavalli’s La Calisto at the Teatro Real, Apollo in Britten’s Death in Venice at the Royal Opera House, Oberon in Britten’s A Midsummer Night’s Dream at Bergen National Opera, the title role in Philip Glass’s Akhnaten at Opera Vlaanderen, Boy/Angel in George Benjamin’s Written on Skin at the Bolshoi, and Arsamene in Cavalli’s Il Xerse at Opéra de Lille. Recent concert highlights include Handel’s Messiah with the Academy of Ancient Music, J.S. Bach’s Mass in B minor with the Orchestra of the Age of Enlightenment and St. Matthew Passion with Collegium Vocale Gent, Pergolesi’s Stabat Mater at the BBC Proms, Written on Skin with the Orchestre Philharmoclevelandorchestra.com

nique de Radio France conducted by George Benjamin, a European recital tour with Emmanuelle Haïm and Le Concert d’Astrée, appearances with the Los Angeles Philharmonic at the Hollywood Bowl and Walt Disney Concert Hall, the world premiere of Theo Loevendie’s The Rise of Spinoza at the Concertgebouw Amsterdam, and Handel’s Solomon with the Akademie für Alte Musik. Mead released his debut solo album Sacroprofano (Alpha Classics, 2023) to great critical claim, adding to a substantial discography, including Beauteous Softness with La Nuova Musica (Pentatone, 2023) and Purcell: Songs and Dances with Les Musiciens de Saint-Julien (Alpha, 2018). Mead studied music as a choral scholar at King’s College, Cambridge, before continuing his vocal studies at the Royal College of Music. | 21

TH E CLEV EL A N D ORCHESTR A CHORUS

Lisa Wong, Director of Choruses FRANCES P. AND CHESTER C. BOLTON CHAIR

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018 after serving as acting director throughout the 2017–18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010–11 season. In 2012, she took on added

responsibilities as director of The Cleveland Orchestra Youth Chorus. In addition to her duties at Severance, she is a faculty member at The College of Wooster. Choirs under her direction have performed at the Central Division conference of the American Choral Directors Association and the state conference of the Ohio Music Education Association. An advocate for the music of under-represented composers, Wong serves as the Repertoire and Resource Chair for World Music and Cultures for the Ohio Choral Directors Association. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Wong holds a Bachelor of Science degree in music education from West Chester University, as well as Master of Music and Doctor of Music degrees in choral conducting from Indiana University.

The Cleveland Orchestra Chorus Lisa Wong, DIRECTOR Daniel Singer, ASSISTANT DIRECTOR Daniel Overly, COLLABORATIVE PIANIST Now in its 72nd season, The Cleveland Orchestra Chorus is one of the few all-volunteer, professionally led choruses affiliated with a major American orchestra. Founded in 1952 at the request of George Szell, it received the 2019–20 Distinguished Service Award, recognizing extraordinary service to the Orchestra. Lisa Wong has been director of the Chorus since May 2018.

22 | 2023/2024 SEASON

PHOTOS BY ROGER MASTROIANNI

SOPRANOS

Katie Paskey

ALTOS

Caroline Willoughby

Yu Ching Ruby Chen

Victoria Peacock

Debbie Bates

Leah Wilson

Emily Engle

Grace Prentice

Bridget Corcoran

Jennifer R. Woda

Molly Falasco

Jylian Purtee

Megan Fought

Lynne Leutenberg Yulish

Lisa Fedorovich

Martell Savage

Sarah Hutchins

Arianna Fouch

Katie Schick

Maggie Keverline

Samantha Garner

Ellie Smith

Zoe Kuhn

Julia Halamek

Angel Victoria Tyler

Taylor Mills Logan

Rebecca S. Hall

Meagan Ulery

Danielle S. McDonald

Sarah Henley

Liz Wakelin

Karla McMullen

Katie Kitchen *

Sharilee Walker

Dawn Ostrowski

Kate Macy

Melanie Tabak

Julie Myers-Pruchenski

Rachel Thibo

Lisa Fedorovich, Chair The Cleveland Orchestra Chorus Operating Committee * Shari Bierman Singer Fellow

Jennifer Heinert O’Leary

clevelandorchestra.com

| 23

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AB OU T THE CLE VEL AN D ORC HESTR 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.

@ClevelandOrchestra

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| 27

TH E CLEV EL A N D ORCHESTR A

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

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

Ralph Curry

ENGLISH HORN

Brian Thornton William P. Blair III Chair

Blossom-Lee Chair

Sonja Braaten Molloy

David Alan Harrell

Robert Walters Samuel C. and Bernette K. Jaffe Chair

Jung-Min Amy Lee

Carolyn Gadiel Warner

Martha Baldwin

ASSOCIATE CONCERTMASTER

Elayna Duitman

Dane Johansen

Gretchen D. and Ward Smith Chair

Ioana Missits

Paul Kushious

Jessica Lee

Sae Shiragami

BASSES

ASSISTANT CONCERTMASTER

Kathleen Collins

Maximilian Dimoff* Clarence T. Reinberger Chair

David Radzynski CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani ASSISTANT CONCERTMASTER

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

Jeffrey Zehngut

Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Yun-Ting Lee Jiah Chung Chapdelaine Liyuan Xie

VIOLAS

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

Wesley Collins* Chaillé H. and Richard B. Tullis 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

Jason Yu2 James and Donna Reid 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

28 | 2023/2024 SEASON

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

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

Jonathan Sherwin

Jesse McCormick Robert B. Benyo Chair Richard King

TRUMPETS

BASS TROMBONE

LIBRARIANS

CONDUCTORS

Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Luke Sieve

Michael Ferraguto Joe and Marlene Toot Chair

Christoph von Dohnányi

EUPHONIUM & BASS TRUMPET

Donald Miller

Daniel Reith

Lyle Steelman2 James P. and Dolores D. Storer Chair

Richard Stout

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

Michael Miller

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

Elizabeth Ring and William Gwinn Mather Chair

Michael Sachs* Mary Elizabeth and G. Robert Klein Chair

TIMPANI

Paul and Lucille Jones Chair

Michael Miller

PERCUSSION

TROMBONES

Marc Damoulakis* Margaret Allen Ireland Chair

Jack Sutte

CORNETS

PHOTO BY ROGER MASTROIANNI

Brian Wendel* Gilbert W. and Louise I. Humphrey Chair Richard Stout Alexander and Marianna C. McAfee Chair Shachar Israel2

clevelandorchestra.com

TUBA

vacant

Thomas Sherwood Tanner Tanyeri

KEYBOARD INSTRUMENTS Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

MUSIC DIRECTOR LAUREATE

ASSISTANT CONDUCTOR

Virginia M. Linsdseth, PhD, Chair Charles M. and Janet G. Kimball Chair Sunshine Chair Otto G. and Corinne T. Voss Chair Mr. and Mrs. Richard K. Smucker Chair Rudolf Serkin Chair

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.

| 29

TH E 2023/2024 SEAS ON

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

WINTER FEB 15 & 17 RAVEL’S MOTHER GOOSE George Benjamin, conductor Tim Mead, countertenor 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

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

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 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 RAUTAVAARA Cantus Arcticus PERRY Stabat Mater SIBELIUS Symphony No. 2 Pre-concert lecture by Kevin McBrien

APR 4 & 6 CITY NOIR 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

Pre-concert lecture by Eric Charnofsky

For tickets & more information visit:

clevelandorchestra.com

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 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

APR 26 – 28 RACHMANINOFF’S SECOND PIANO CONCERTO Lahav Shani, conductor Beatrice Rana, piano UNSUK CHIN subito con forza RACHMANINOFF Piano Concerto No. 2 BARTÓK Concerto for Orchestra Pre-concert lecture by James O’Leary

MAY 2 – 4 LANG LANG PLAYS SAINT-SAËNS Franz Welser-Möst, conductor Lang Lang, piano * SAINT-SAËNS Piano Concerto No. 2 * BERLIOZ Symphonie fantastique Pre-concert lecture by Caroline Oltmanns

* Not performed on the Friday matinee concert

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

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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. 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.

©2024 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. EDI TORI AL

Cleveland Orchestra performances are broadcast as part of regular programming on ideastream/WCLV Classical 90.3 FM, Saturdays at 8 PM and Sundays at 4 PM.

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