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F U T U R E
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A CENTURY OF EXCELLENCE
AN EXTRAORDINARY FUTURE
Presenting Sponsors:
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O R C H E S T R A
W E L S E R - M Ö S T
C L E V E L A N D O R C H E S T R A . C O M
Photo by: Michael Poehn
C E N T E N N I A L
THE CLEVELAND O R C H E ST R A’ S NEXT 1OO YEARS WILL INDEED BE EXCEPTIONAL. — F R A N Z
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C L E V E L A N D
F R O M
T H E
M U S I C
D I R E C T O R
Dear Friends, Looking toward The Cleveland Orchestra’s second century, I am filled with enormous pride in the one hundred year collaboration between the Orchestra and this community. The exceptional musicianship and dedication of this Orchestra are acclaimed anew with each passing season — here at home and around the world — and are bolstered by your incredible interest in what we do. Your devotion inspires us each and every day. Your musical curiosity and intellect drive us forward, to
Our 100th season serves as an historic milestone, not only to celebrate our rich history, but to look forward to everything this institution will accomplish going in the century to come. All of this is only possible because of you, through the passionate and devoted hometown that supports us, seeks answers, and eagerly attends our concerts. Against the ever-increasing and fractious challenges of today, I believe that we have an obligation to harness the life-changing power of music to make the world a better place — to push the limits of our art to create deep, meaningful experiences. Music is an incredible tool for good — to inspire people, as Beethoven believed, in the “fight for good,” for what is right and true. Music inspires creativity, engages the imagination, and fosters learning and understanding. I truly believe that our
S E C O N D
as exciting an adventure as the first time I stepped on the podium at Severance Hall.
C E N T U R Y
study more, to dream beyond the past, and to continue exploring new boundaries in music. Conducting each performance is
plans for The Cleveland Orchestra’s next 100 years will indeed be exceptional. Together, we will launch a century filled with extraordinary, unexpected, and emotionally-charged musical experiences for everyone. Please join us for the adventure!
Best wishes,
Franz Welser-Möst
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12 22 30 37
FORWARD HISTORICAL TIMELINE SEASON PILLARS BE A PART OF THIS HISTORIC SEASON S E AS O N CA L E N DA R FALL WINTER SPRING SUBSCRIPTION SERIES
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CONTENTS
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A
C E N T E N N I A L
1918 The Cleveland Orchestra is founded by impresario Adella Prentiss Hughes and the Musical Arts Association. The first concert is held on December 11 at Grays Armory with Nikolai Sokoloff conducting. 1921 The Orchestra launches its first series of education concerts for children.
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N I KO L A I S O KO LO F F 1918-33
1922 The Orchestra’s first concert at Carnegie Hall led by Nikolai Sokoloff, and its pioneering first national radio broadcast. 1924 The Cleveland Orchestra releases its first commercial recording on the Brunswick label: Tchaikovsky’s 1812 Overture.
C E N T U R Y
O F
1929 Groundbreaking for the Orchestra’s permanent home takes place, with John L. Severance digging the first shovel of dirt. The building opens in 1931 and is named in memory of his wife, Elisabeth. The first piece of music played, as requested by Severance, is Wagner’s Prelude and Love-Death from Tristan and Isolde.
ARTUR RODZINSKI 1933-43
E X C E L L E N C E
1933 Under Artur Rodzinski, The Cleveland Orchestra adds fully staged operas to its regular season, performing 15 operas between 1933 and 1938.
1953 The Orchestra performs concerts (known as the Indipops) between major-league doubleheader games at Cleveland Municipal Stadium.
1952 The Cleveland Orchestra Chorus is founded. Later, under the direction of Robert Shaw, it becomes one of the most admired choral ensembles in the country.
1957 Under the direction of George Szell, the Orchestra embarks on its first European tour, consisting of 21 concerts in 10 cities. The Orchestra’s first telecasts, over WEWS-TV5, include five Children’s Concerts.
ERICH LEINSDORF 1943-46
1963 Time magazine names The Cleveland Orchestra as one of the top five orchestras in the United States. 1965 The Orchestra’s radio broadcasts are syndicated around the world through local station WCLV.
GEORGE SZELL 1946-70
E X T R A O R D I N A R Y
F U T U R E
2000 Severance Hall reopens following an ambitious expansion and renovation project, restoring “America’s most beautiful concert hall” and enhancing its acoustics and public amenities.
2006 Bruckner’s Fifth Symphony launches the first series of video recordings with the Orchestra . The five disc series is filmed live in the Abbey of St. Florian, the Musikverein, and Severance Hall. 2007 The Orchestra’s presence on the international stage continues to advance, with a series of ongoing residencies taking place in Vienna, Lucerne, Miami, and New York.
2009 Fully staged opera returns to Severance Hall with Franz Welzer-Möst conducting Mozart’s three “Da Ponte” operas over three seasons. 2010 The Orchestra’s Center for Future Audiences is established to develop the youngest audience of any American orchestra. Today, more than 40,000 children under 18 attend concerts each season.
2015 The New York Times declares The Cleveland Orchestra “the finest in America.” 2016 In partnership with The Joffrey Ballet, the orchestra performs a staged double-bill of Bartók opera and ballet, performing The Miraculous Mandarin and Bluebeard’s Castle to sold-out houses.
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1970 First tour of Asia, including concerts in Japan and South Korea.
1986 The Cleveland Orchestra Youth Orchestra (COYO) is founded to provide talented young musicians in Northeast Ohio with pre-professional orchestral training experience.
1990 First annual free Public Square concert performed.
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1969 First Grammy is won for Best Classical Performance by an Orchestra. The Orchestra has received eight Grammy Awards and 31 Grammy nominations.
1980 First annual concert honoring the memory of Dr. Martin Luther King Jr., at Severance Hall.
Y E A R S
1968 Opening of Blossom Music Center.
M U S I C A L
H I S T O R Y
A N
PIERRE BOULEZ
Musical Advisor and Principal Guest Conductor
1970-72
LORIN MAAZEL 1972-82
CHRISTOPH VON DOHNÁNYI Music Director Designate 1982-84
1984-02
FRANZ WELSER-MÖST 2002-present
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A CENTURY OF EXCELLENCE
C E N T E N N I A L
AS IT CELEBRATES its Centennial Season in 2017-18, The Cleveland
CELEBRATING EXCELLENCE. The Cleveland Orchestra has long
Orchestra is praised as one of the very best orchestras in the world and
been committed to the pursuit of extraordinary musical performance
noted for its devotion and service to the community it calls home. The
in everything that it does. The Orchestra’s ongoing collaboration with
2017-18 season marks the ensemble’s sixteenth year under the direction
Franz Welser-Möst is widely-acknowledged among the best orchestra-
of Franz Welser-Möst, one of the world’s most renowned conductors
conductor partnerships of today. Performances of standard repertoire
and musical thinkers. Today, concert performances, community
and new works are unrivalled at home, on tour across North America
presentations, touring residencies, broadcasts, and recordings provide
and Europe, and through recordings, telecasts, and radio and internet
access to the Orchestra’s acclaimed artistry to an enthusiastic, generous,
broadcasts. Its longstanding championship of living composers and
and multi-faceted constituency around the world.
commissioning of new works helps audiences experience music as a
Looking toward its Second Century, the Orchestra is working to continue its legendary command of musical excellence, to fully focus on serving its hometown community, to develop the youngest audience of any orchestra, and to move forward with an unshakeable commitment to innovation and a fearless pursuit of success.
living language that grows and evolves with each new generation. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences, touching the lives of people across musical tastes and styles. Innovative programming, creative vision, and unrivaled virtuosity bring musical masterpieces to life, affording audiences unequaled opportunities to experience music as a universal language of communication and understanding.
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C E N T E N N I A L
S E A S O N
CELEBRATING COMMUNITY. The Cleveland Orchestra was born in
young audiences were designed to be a central focus of The Cleveland
Cleveland, created by a group of visionary citizens who believed in the
Orchestra from the very beginning. Hundreds of thousands have learned
power of music to inspire creativity and understanding – to improve the
to love music through the Orchestra’s education programs and education
lives of everyone. Together, the Cleveland community aspired to afford
concerts. Standing on the shoulders of more than nine decades of
the best performances of great orchestral music possible anywhere.
presenting quality music education programs, the Orchestra made
Through community support and individual generosity, the Orchestra
national and international headlines through the creation of its Center
has grown and advanced across the decades, proudly becoming
for Future Audiences in 2010. Established with a generous endowment
Ohio’s best-known international ambassador and carrying the name of
gift from the Maltz Family Foundation, the Center is designed to provide
Cleveland around the world. Strong ticket sales cover just half of each
ongoing funding for the Orchestra’s continuing work to develop interest
season’s costs, augmented with the generosity of thousands each year,
in classical music among young people and to develop the youngest
driving the Orchestra forward and sustaining its extraordinary tradition
audience of any orchestra. The flagship “Under 18s Free” program has
of excellence onstage, in the classroom, and for the community. Today,
seen unparalleled success in increasing attendance and interest — with
The Cleveland Orchestra is dedicated to serving the people of Northeast
20% of attendees now comprised of concertgoers age 25 and under.
Ohio with excellence, enthusiasm, and extraordinary commitment to
Tomorrow’s audiences are joining with us today!
future generations. And promoting the inspirational power of music
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CELEBRATING EDUCATION AND YOUNG PEOPLE. Programs for
Y E A R S
AN EXTRAORDINARY FUTURE
. . . to change lives for the better, for its ability to foster creativity and understanding, and to bring joy into people’s lives each and every day.
C L E V E L A N D O R C H E S T R A . C O M
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C E N T E N N I A L
SEASON AT A G L A N C E
This season, which marks the beginning of The Cleveland Orchestra’s Second Century, also highlights great works of music that marked great moments of change in their time ‌ political and societal change, new ideas and inspirations, evolving industry and technology. The season also invites back artists with whom The Cleveland Orchestra has formed special partnerships and collaborations, who over the years have become part of our musical family and our community of artists.
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C L E V E L A N D O R C H E S T R A . C O M
THE GREATEST MUSIC T H E WORL D H AS TO OF F E R. THE EXTRAORDINARY ART I ST RY OF THE CLEVELAND ORCH E ST RA.
T H E S E AS O N O F A LIFE T IME . For one hundred years now, Cleveland has experienced the best music-making the world has to offer. This is your invitation to join us for this historic season. There has never been a better time to join our family of Cleveland Orchestra subscribers. Experience your orchestra’s very special brand of music-making, and receive unique benefits only offered to subscribers: • The best seats: Guarantee the best seats for concerts that are sure to sell out. • An unforgettable musical experience. • The best prices: Up to 35% off regular ticket prices. • Easy, convenient ticket exchanges. • 20% off additional 2017-18 concert tickets. Browse the full season calendar – and be sure to look at the great season package options on pages 37–41.
S U B S C R I B E TO DAY! 11
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FA L L Opening the season is The Cleveland Orchestra’s production of The Cunning Little Vixen, a 1 0 0
brilliant blending of live performance with original digital animation. Also featured is Stravinsky’s
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the seismic changes that were about to take place in the world. Elgar’s achingly nostalgic
cataclysmic The Rite of Spring … dazzling in its originality and unnervingly perceptive about Enigma Variations as well as masterworks by Brahms, Tchaikovsky, and Mahler are other notable highlights. The entire season features the returns of many artists with whom The Cleveland Orchestra has formed partnerships and collaborations across the years. Favorite guest conductors include (music director laureate) Christoph von Dohnányi, and Vladimir Ashkenazy. Pianists performing an array of concertos include Emanuel Ax, Richard Goode, and Marc-André Hamelin; plus a concerto featuring Severance Hall’s mighty Norton Memorial Organ with soloist Paul Jacobs.
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C L E V E L A N D O R C H E S T R A . C O M
SEP 23, 24, 26 SERIES A C S S2
JANÁČEK
The Cunning Little Vixen Opera with digital animation
Sung in Czech with English supertitles.
Franz Welser-Möst, conductor Martina Janková, soprano (Vixen) Jennifer Johnson Cano, mezzo-soprano (Fox) Alan Held, baritone (Forester) Andrew Foster-WIlliams, bass-baritone (Harašta) David Cangelosi, tenor (Schoolmaster/Mosquito) Dashon Burton, bass-baritone (Parson/Badger) Marian Vogel, soprano (Chief Hen/Mrs. Pásek/BlueJay) Sandra Ross, mezzo-soprano (Forester’s Wife /Woodpecker) Daryl Freedman, mezzo-soprano (Lapák) Clarissa Lyons, mezzo-soprano (Rooster/Owl) Brian Keith Johnson, baritone (Pásek) Miranda Scholl, soprano (Franzl /Grasshopper) Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus Production by Yuval Sharon
C A L E N D A R
THE CUNNING LITTLE VIXEN
F A L L
ENCORE PRESENTATION
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T H E O R C H E S T R A P L AY E D W I T H COMMENDABLE PRECISION... — T H E 1 9 2 1
1 0 0 Y E A R S 14
C L E V E L A N D O R C H E S T R A . C O M
B O S T O N
H E R A L D
THE RITE OF SPRING
ALL-BEETHOVEN
SEP 28, 30
SEP 29
SERIES A B B2
SERIES M
Franz Welser-Möst, conductor
Franz Welser-Möst, conductor
BEETHOVEN
BEETHOVEN
Quartet No. 15 (adapted for string orchestra)
S T R AV I N S K Y The Rite of Spring
SEE THE SERIES GUIDE ON PAGES 38–41
S E A S O N
MAHLER’S TRAGIC SYMPHONY OCT 5, 6
Quartet No. 15 (adapted for string orchestra)
SERIES A B B1
Franz Welser-Möst, conductor
MAHLER
Symphony No. 6 (“Tragic”)
C A L E N D A R
C E N T E N N I A L
F A L L
2 0 1 7 - 1 8
BEETHOVEN
Leonore Overture No. 3
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
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. . . T H E Y A C H I E V E D PERFECTION... — L E 1 9 5 7
1 0 0 Y E A R S 16
C L E V E L A N D O R C H E S T R A . C O M
S O I R
( B R U S S E L S )
ENIGMA & EMANUEL AX
MENDELSSOHN’S SCOTTISH
N OV 3 , 4 , 5
N OV 9, 1 0, 1 1
SERIES A C S S1
SERIES A B B2 J F F1
Vladimir Ashkenazy, conductor Emanuel Ax, piano
William Preucil, leader and violin
ELGAR
Violin Concerto (“Il Favorito”)
Serenade in E minor for String Orchestra
BEETHOVEN
Piano Concerto No. 1
ELGAR
S E A S O N
C A L E N D A R
C E N T E N N I A L
F A L L
2 0 1 7 - 1 8
V I VA L D I H AY D N
Symphony No. 88
MENDELSSOHN
Symphony No. 3 (“Scottish”)
Enigma Variations
(Variations on an Original Theme)
SEE THE SERIES GUIDE ON PAGES 38–41
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
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. . . T H E O R C H E S T R A I S O N E O F T H E W O R L D ’ S F I N E S T. . . — T H E 1 9 7 4
1 0 0 Y E A R S 18
C L E V E L A N D O R C H E S T R A . C O M
N E W
Y O R K E R
S E A S O N
MOZART’S LINZ SYMPHONY
HAMELIN PLAYS MOZART
TCHAIKOVSKY’S FOURTH
N OV 1 7
N O V 1 7, 1 8
N OV 24 , 2 5 , 2 6
SERIES M
SERIES A C J @7
SERIES A B B1 S S2
Nicholas McGegan, conductor
Nicholas McGegan, conductor Marc-André Hamelin, piano
Giancarlo Guerrero, conductor Paul Jacobs, organ
RAMEAU
COPLAND
MOZART
PA U L U S
GLUCK*
TC H A I KOVS KY
RAMEAU
Suite from Dardanus
GLUCK
Suite from Don Juan
MOZART
Symphony No. 36 (“Linz”)
Suite from Dardanus Piano Concerto No. 9 (“Jeunehomme”) Suite from Don Juan
C A L E N D A R
C E N T E N N I A L
F A L L
2 0 1 7 - 1 8
El Salón México Grand Concerto for Organ and Orchestra Symphony No. 4
MOZART
Symphony No. 36 (“Linz”) * Not part of November 17 Fridays@7 programming.
SEE THE SERIES GUIDE ON PAGES 38–41
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
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THE BEST BAND IN THE LAND — T I M E 1 9 9 4
1 0 0 Y E A R S 20
C L E V E L A N D O R C H E S T R A . C O M
N OV 3 0 & D E C 2
S E A S O N
BRAHMS’ FIRST D E C 7, 8 , 9 SERIES A B B2 J F F2
SERIES A C
Christoph von Dohnányi, conductor Richard Goode, piano
Fabio Luisi, conductor Jonathan Biss, piano
ANDERSON
SCIARINNO
MOZART
New Piano Concerto [Cleveland Orchestra commission]
BRUCKNER
Symphony No. 4 (“Romantic”)
SEE THE SERIES GUIDE ON PAGES 38–41
F A L L
BRUCKNER’S ROMANTIC SYMPHONY
C E N T E N N I A L
C A L E N D A R
2 0 1 7 - 1 8
Incantesimi
Piano Concerto No. 18 (“Paradis”)
BRAHMS
Symphony No. 1
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
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WINTER 1 0 0
Mahler’s Ninth Symphony was prophetic, an emotional vision of the world that was changing
Y E A R S
around him — straddling the rich romantic symphonies of the 19th century and the restless, experimental sonorities of the new era. Not to be overlooked is Haydn’s The Seasons — a beautiful oratorio that, like Vivaldi’s concertos, embraces the joy of human life and the best each season offers. Conductors Charles Dutoit and Michael Tilson Thomas join the Orchestra — and mighty pianist Yefim Bronfman tackles Beethoven’s “Emperor” Concerto. Plus, Mitsuko Uchida continues her acclaimed collaboration with the Orchestra on the piano concertos of Mozart.
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C L E V E L A N D O R C H E S T R A . C O M
MAHLER’S NINTH
HAYDN’S SEASONS
JAN 11, 12, 13
JAN 18, 20
SERIES A C J F F1
SERIES A B B1
Franz Welser-Möst, conductor
[Cleveland Orchestra commission]
Franz Welser-Möst, conductor Golda Schultz, soprano Maximilian Schmitt, tenor Thomas Hampson, baritone Cleveland Orchestra Chorus
MAHLER
H AY D N
S TA U D Stromab
Symphony No. 9
S E A S O N
BEETHOVEN’S EROICA JAN 19 SERIES J @7
Franz Welser-Möst, conductor
BEETHOVEN
Overture to The Creatures of Prometheus
C A L E N D A R
C E N T E N N I A L
W I N T E R
2 0 1 7 - 1 8
BEETHOVEN
The Seasons
Symphony No. 1
BEETHOVEN
Symphony No. 3 (“Eroica”)
SEE THE SERIES GUIDE ON PAGES 38–41
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
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T H E I R R E P U TAT I O N A S O N E O F T H E WO R L D ’ S G R E AT E N S E M B L E S I S R I C H LY D E S E R V E D . — T H E G U A R D I A N 2 0 1 0
1 0 0 Y E A R S 24
C L E V E L A N D O R C H E S T R A . C O M
( L O N D O N )
MITSUKO UCHIDA’S MOZART
MENDELSSOHN’S VIOLIN CONCERTO
FEB 8, 9, 10
FEB 15, 16, 17
SERIES A C J F F2
SERIES A B B2 J F F1 M
Mitsuko Uchida, conductor and piano William Preucil, concertmaster and leader
Bernard Labadie, conductor Isabelle Faust, violin
S E A S O N
C A L E N D A R
C E N T E N N I A L
W I N T E R
2 0 1 7 - 1 8
R I G E L*
Symphony No. 4
MOZART
Piano Concerto No. 5
HANDEL
Selections from Water Music
MOZART
Piano Concerto No. 27
SEE THE SERIES GUIDE ON PAGES 38–41
MENDELSSOHN Violin Concerto
MOZART
Symphony No. 40 * Not part of February 16 Matinee programming.
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
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O R C H E S T R A
THE CLEVELAND ORCHESTRA M AY B E , A S S O M E H AV E A R G U E D , THE FINEST IN AMERICA. — N E W 2 0 1 5
1 0 0 Y E A R S 26
C L E V E L A N D O R C H E S T R A . C O M
Y O R K
T I M E S
FEB 22, 23, 24 SERIES A C J F F2
Charles Dutoit, conductor Jean-Yves Thibaudet, piano Cleveland Orchestra Chorus
R AV E L
Suite from Ma Mère l’Oye [Mother Goose]
R AV E L
Piano Concerto for the Left Hand
S E A S O N
BRONFMAN PLAYS BEETHOVEN’S EMPEROR MAR 1, 2, 3, 4 SERIES A B B1 S S1
Nikolaj Znaider, conductor Yefim Bronfman, piano
ELGAR’S SECOND MAR 2 SERIES M
Nikolaj Znaider, conductor
ELGAR
Symphony No. 2
BEETHOVEN
C A L E N D A R
DUTOIT CONDUCTS RAVEL
C E N T E N N I A L
W I N T E R
2 0 1 7 - 1 8
Piano Concerto No. 5 (“Emperor”)
ELGAR
Symphony No. 2
R AV E L
Daphnis and Chloé (complete ballet music)
SEE THE SERIES GUIDE ON PAGES 38–41
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
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O R C H E S T R A
W E L S E R - M Ö S T C R E AT E S T H E N E C E SSA RY S PAC E I N D E E D FOR THE ORCHESTRA TO SHINE. — A P A 2 0 1 6
1 0 0 Y E A R S 28
( A U S T R I A N
P R E S S
A G E N C Y )
TCHAIKOVSKY’S PATHÉTIQUE
DVOŘÁK’S EIGHTH
MAR 8, 9, 10
SERIES A B B2 M S S2
SERIES A C J F F1
Alan Gilbert, conductor Alisa Weilerstein, cello
Michael Tilson Thomas, conductor Daniil Trifonov, piano
S T R AV I N S K Y Scènes de ballet
S E A S O N
M A R 1 5 , 1 6 , 1 7, 1 8
DVOŘÁK*
Piano Concerto No. 2
TC H A I KOVS KY
Symphony No. 6 (“Pathétique”)
SEE THE SERIES GUIDE ON PAGES 38–41
MAR 22, 23, 24, 25 SERIES A C J @7 S S1
Stéphane Denève, conductor Jory Vinikour, harpsichord*
POULENC*
The Watersprite
BARBER
Concert champêtre (Concerto for Harpsichord)
DVOŘÁK
RACHMANINOFF
Cello Concerto
P R O KO F I E V
ROMANTIC RACHMANINOFF
Symphony No. 8 * Not part of March 16 Matinee programming.
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
C A L E N D A R
C E N T E N N I A L
W I N T E R
2 0 1 7 - 1 8
Symphony No. 2
* Not part of March 23 Fridays@7 programming.
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
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O R C H E S T R A
SPRING 1 0 0 Y E A R S
The Cleveland Orchestra’s season concludes with two major projects that act as a grand finale for this Centennial season. The Ecstasy of Tristan and Isolde is a festival exploring the emotions of radiant, transformative love culminating in performances of Wagner’s potent, intoxicating opera Tristan and Isolde — an experience that must be witnessed live. Finally, the Prometheus Project features performances of all nine Beethoven Symphonies—a once-in-a-lifetime chance to explore the genius of Beethoven as never before—a perfect ending to this season celebrating the magnificent Cleveland Orchestra.
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C L E V E L A N D O R C H E S T R A . C O M
BRAHMS’ VIOLIN CONCERTO
BEETHOVEN’S FIFTH
APR 5, 7
SERIES A C
SERIES A B B1
S E A S O N
APR 12
APR 13
Franz Welser-Möst, conductor
Jakub Hrůša, conductor Sergey Khachatryan, violin
BRAHMS
Violin Concerto
BEETHOVEN
Overture to Coriolan
Symphony No. 2 (“Asrael”)
SEE THE SERIES GUIDE ON PAGES 38–41
SERIES M
Franz Welser-Möst, conductor
WA G N E R
BEETHOVEN
Prelude and Liebestod from Tristan and Isolde
BEETHOVEN
BEETHOVEN
Symphony No. 8
SUK
BEETHOVEN’S HEROIC SYMPHONY
Symphony No. 5
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
C A L E N D A R
C E N T E N N I A L
S P R I N G
2 0 1 7 - 1 8
Symphony No. 3 (“Eroica”)
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
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F E S T I VA L
THE ECSTASY OF TRISTAN AND ISOLDE In a special two-week series of concerts revolving around performances of Wagner’s ultra-Romantic opera Tristan and Isolde, Franz Welser-Möst explores the depths and wonder of ecstasy — in a journey toward transcendence and understanding, through music, art, and belief. In Tristan and Isolde the 19th century’s Romantic Era reached its climax. In this mesmerizing score, immortality turns love into legend. Here, Wagner wrote powerful music of unending longing (and unresolved harmony) — of a doomed love that reaches its full potential only through death. Renowned dramatic soprano Nina Stemme returns to Cleveland to join a cast of internationally-acclaimed singers, together with the clarity and power of The Cleveland Orchestra.
32
2 0 1 7 - 1 8
C E N T E N N I A L
S E A S O N
If Beethoven marks the start of the musical
tonal system to create a sense of longing, a
Romantic Era, which is surely true, there can
search for rest and peace and home, for the
also be no arguing that Wagner’s Tristan
ultimate fulfillment of love. With this opera,
and Isolde represents the ultimate high point
in so many ways, Wagner unleashed music
of that same Romanticism. In this score,
from the past and announced the start of
Wagner broke apart the harmonic
our modern world.
TRISTAN AND ISOLDE
TURANGALÎLA
DIVINE ECSTASY
APR 21, 26, 29
APR 25
APR 28
SERIES A B B1 S S1
SERIES A C THURSDAY
SERIES A C SATURDAY
Franz Welser-Möst, conductor Jean-Yves Thibaudet, piano Cynthia Millar, ondes martenot
Franz Welser-Möst, conductor Iestyn Davies, countertenor Paul Jacobs, organ Cleveland Orchestra Chorus
MESSIAEN
BACH
Franz Welser-Möst, conductor Gerhard Siegel, tenor (Tristan) Nina Stemme, soprano (Isolde) Okka von der Damerau, mezzo-soprano (Brangäne) Ain Anger, bass (King Marke) Markus Eiche, baritone (Kurwenal) Sean Michael Plumb, baritone (Melot) Matthew Plenk, tenor (Young Sailor/Shepherd) Men of the Cleveland Orchestra Chorus
(performed on Wednesday)
STEMME
Turangalîla-Symphonie
C A L E N D A R
W E L S E R - M Ö S T
S P R I N G
— F R A N Z
Selected choral and brass works
BACH
Cantata No. 170
LISZT
Fantasy and Fugue on the chorale “Ad nos, ad salutarem undam”
WA G N E R
Tristan and Isolde (Opera in concert)
SEE THE SERIES GUIDE ON PAGES 38–41
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
33
T H E
F E S T I VA L
THE PROMETHEUS PROJECT
1 0 0 Y E A R S
The Centennial Season concludes with two weekends focused on the music of Ludwig van Beethoven. Franz Welser-Möst offers a renewed point of view on these groundbreaking works – rooted in a studied understanding of the composer’s philosophy of politics and art, and presented within the context of his thoughts and beliefs. In doing so, Franz has created “The Prometheus Project,” examining Beethoven’s music through the metaphor of Prometheus, a daring Greek Titan who defied Zeus to bestow on humanity the gift of fire. For Beethoven, this gifting of fire represented the beginning of human civilization, the spark of creativity that has powered the imagination of generations, the warmth of justice and goodness, the fight for right, and individual freedoms. Featuring all nine of Beethoven’s symphonies, paired with important overtures, these concerts are a not-to-be-missed opportunity to hear Beethoven’s musical genius in all its glory — as a full-throated cry for humanity’s heroic “fight for good over evil.”
34
C L E V E L A N D
O R C H E S T R A
PROMETHEUS PROJECT BEETHOVEN’S FIRST & THIRD
BEETHOVEN’S FOURTH & SEVENTH
M AY 1 0
M AY 1 1
SERIES A B B2 THURSDAY
SERIES J F F1 FRIDAY
Franz Welser-Möst, conductor
Franz Welser-Möst, conductor
BEETHOVEN
BEETHOVEN
Overture to The Creatures of Prometheus
BEETHOVEN Symphony No. 1
BEETHOVEN
Symphony No. 3 (“Eroica”)
Overture to Egmont
BEETHOVEN Symphony No. 4
BEETHOVEN Symphony No. 7
2 0 1 7 - 1 8
C E N T E N N I A L
S E A S O N
In recent years I’ve been studying Beethoven’s music with the Prometheus concept particularly in my mind. This ‘fiery core’ is not just central to Beethoven’s only opera, Fidelio, but, I believe, also permeates his entire creative output. And I am convinced that this provides a robust and insightful window toward understanding Beethoven’s intended meaning within his art. With an exceptional figure like Beethoven, it is essential that we constantly look at new approaches
W E L S E R - M Ö S T
BEETHOVEN’S EIGHTH & FIFTH
BEETHOVEN’S SIXTH & SECOND
BEETHOVEN’S NINTH
M AY 1 2
M AY 1 3
M AY 1 7, 1 8 , 1 9
SERIES A B B2 SATURDAY
SERIES S S2 SUNDAY
SERIES A C J F F2
Franz Welser-Möst, conductor
Franz Welser-Möst, conductor
BEETHOVEN
BEETHOVEN
BEETHOVEN
BEETHOVEN
Franz Welser-Möst, conductor Erin Wall, soprano Jennifer Johnston, mezzo-soprano Norbert Ernst, tenor Dashon Burton, bass-baritone Cleveland Orchestra Chorus
BEETHOVEN
BEETHOVEN
Overture to Coriolan Symphony No. 8 Symphony No. 5
Symphony No. 6 (“Pastoral”) Symphony No. 2
Leonore Overture No. 3
S P R I N G
— F R A N Z
C A L E N D A R
to his work, to enliven and deepen our understanding of his genius.
BEETHOVEN
Grosse Fuge (for string orchestra)
BEETHOVEN
Symphony No. 9 (“Choral”) SEE THE SERIES GUIDE ON PAGES 38–41
SUBSCRIPTION SERIES
THURSDAY/SATURDAY: A, B, C, B1, B2
FRIDAY: J, F, F1, F2, M, @7
SUNDAY: S, S1, S2
35
A
C E N T U R Y
O F
E X C E L L E N C E
C E N T E N N I A L 36
C L E V E L A N D O R C H E S T R A . C O M
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THE RITE OF SPRING
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FEB 15
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MAR 1
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DEC 7
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SPRING BRAHMS’S VIOLIN CONCERTO
APR 5
BEETHOVEN’S FIFTH
APR 12
TRISTAN AND ISOLDE
APR 26 (6 p.m.)
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APR 25 (WED)
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MAY 10
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MAY 17
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40 38
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SEP 23
THE CUNNING LITTLE VIXEN
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THE RITE OF SPRING
SEP 30
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MAHLER’S TRAGIC SYMPHONY
OCT 6 (FRI)
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NOV 26
ENIGMA AND EMANUEL AX
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NOV 18
TCHAIKOVSKY’S FOURTH
NOV 25
BRUCKNER’S ROMANTIC SYMPHONY
DEC 2
BRAHMS’S FIRST
DEC 9 JAN 13
HAYDN’S SEASONS
JAN 20
MITSUKO UCHIDA’S MOZART
FEB 10
MENDELSSOHN’S VIOLIN CONCERTO
FEB 17
DUTOIT CONDUCTS RAVEL
FEB 24
BRONFMAN PLAYS BEETHOVEN’S EMPEROR
MAR 3
TCHAIKOVSKY’S PATHÉTIQUE
MAR 10
DVOŘÁK’S EIGHTH
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TRISTAN AND ISOLDE
APR 21 (6 p.m.)
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APR 28
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MAY 12
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MAY 19
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39 41
SEVERANCE HALL S E AT I N G C H A R T BALCONY
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40
TRISTAN & ISOLDE start times: APR 21 — SAT 6:00 p.m. APR 26 — THU 6:00 p.m. APR 29 — SUN 3:00 p.m.
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C E N T U R Y
O F
E X C E L L E N C E
C E N T E N N I A L 42
C L E V E L A N D O R C H E S T R A . C O M
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O F
E X C E L L E N C E
PHOTOGRAPHY INDEX H I S TO R I C A L P. 14 - 1919 Grays Armory; Nikolai Sokoloff, conductor; Photo by Merrill David P. 16 - S everance Hall, “Szell Shell;” George Szell conducting P. 18 - 1975 European tour (Berlin); Lorin Maazel conducting P. 20 - 1996 Salzburg Festival’s Grosses Festspielhaus; Christoph von Dohnányi conducting
2 0 1 7 - 1 8
CONTEMPORARY Orchestra Photography by Roger Mastroianni P. 1, 4, 11, 13, 17, 21, 23, 24, 25, 26, 28, 33, 40, 41-42 Franz Welser-Möst Portrait by Michael Poehn P. 2 Tristan & Isolde Art/Photography by Slevin Aaron P. 30-31
C E N T E N N I A L
TIMELINE
P. 6-7 1918 - Adella Prentiss Hughes 1924 - Nikolai Sokoloff; The Cleveland Orchestra’s first recording; Photo by World Wide Photos 1929 - John Severance, groundbreaking ceremony for Severance Hall; Photo by Dudley Brumbach 1933 - W agner’s Tristan & Isolde performed at Severance Hall; Photo by Geoffrey Landesman 1953 - T he Cleveland Orchestra performing Indipops at Cleveland Municipal Stadium 1963 - Cover of Time magazine with portrait of George Szell; magazine addition includes top five orchestra article, including The Cleveland Orchestra 1968 - E arly performance at recently constructed Blossom Music Center; Photo by Peter Hastings 1980 - Post-concert at first Martin Luther King Jr. concert; the Grand Foyer in Severance Hall 1990 - Public Square Concert downtown Cleveland; Photo by Jack Van Antwerp 2006 - European Tour 2016; Abbey of St. Florian, Austria; Photo by Michael Poehn 2010 - Family Concert Series 2015; Severance Hall; Photo by Roger Mastroianni 2016 - The Miraculous Mandarin and Bluebeard’s Castle with Joffrey Ballet 2016; Severance Hall; Photo by Roger Mastroianni
M U S I C D I R E C TO R S
P. 6-7 Nikolai Sokoloff - (Date unknown) Artur Rodzinski - 1938; Photo by Geoffrey Landesman Erich Leinsdorf - 1943; Photo by Geoffrey Landesman George Szell - (Date unknown) Pierre Boulez - (Date unknown) Lorin Maazel - (Date unknown) Christoph von Dohnányi - (Date unknown) Franz Welser-Möst - 2015; Severance Hall; Photo by Roger Mastroianni
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A N
E X T R A O R D I N A R Y
F U T U R E
S E A S O N
2 1 6 - 2 3 1 - 1 1 1 1 47
1 0 0
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M U S I C A L
H I S T O R Y
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