the cleveland orchestra summers@severance concerts

JULY-AUGUST 2016

THECLEVELAND ORCHESTRA

FRANZ WELSER-MÖST

JULY-AUGUST 2016


FRANZ WELSER-MÖST

JULY-AUGUST 2016


FRANZ WELSER-MÖST

3Summers@Severance

Welcomefrom the Executive Director




ThompsonHine.com Welcome: Summers@Severance

Welcome to our third season of Summers@Severance concerts here in University Circle, the cultural center of Cleveland. As urban counterpoint to Blossom’s bucolic performances, Sum-mers@Severance, sponsored by Thompson Hine, cele brates the year-round vitality of The Cleveland Orchestra and our home neighborhood.

In the months preceding my move to Cleveland, I heard from many people about one of this city’s great treasures — University Circle. Surround-ing the Orchestra’s home at Severance Hall, this area is among America’s great con-centrations of cultural attractions and performing arts venues. It is, perhaps, too easy to take for granted, but the concentration and level of the artistic, cultural, educational, medical, research, gastronomical, and natural resources here are, in my experience, unrivaled. Compare all of these with any of the great arts cities of the world, and Cleveland more than holds its own — in quality, value, interest, and activity. With a Frank Gehry building undulating to the north of Severance Hall and the recent growth of Uptown to match the cosmopolitan workforce that this cultural hub now gathers from around the globe, The Cleveland Orchestra today finds its home of eighty-five years to be an impressive and worldly destination.

There is, in fact, a feeling of newfound confidence and pride throughout North-east Ohio — a rejoicing in the rediscovery of civic gems enjoying renewed and much-deserved acclaim. A series of storied Cleveland institutions are showcasing themselves with 100th anniversaries this decade, creating a wellspring of new community pride. This resurgence was underlined this summer with the Cavaliers’ unprecedented comeback in the NBA finals — to bring home a championship half a century in the making. The vibrant community spirit on display during the re-cord-breaking turnout for the victory parade heralds a new chapter for Northeast Ohio, one of togetherness on a new scale.

Just as the Cavs reached deeper to unlock untapped levels in their playing — and inspired everyone across our community — The Cleveland Orchestra also strives each year to serve the people of Northeast Ohio with excellence in everything we do, from onstage music-making to collaborative partnerships serving more people than ever before, from inspiring community programs for new generations to mu-sical presentations second to none in the world.

It’s hard to beat Summers@Severance’s casual invitation to great art — cool drinks on a warm evening, exhilarating music in a stunning concert hall, and inspired conversa-tions lit by sunset on the terrace. Alongside the Orchestra’s summer home at Blos-som, I like to think of these three concerts at the sun-filled steps of Severance Hall as the kind of rewarding indulgences that summer in Ohio is supposed to be all about. Come early, stay late with the friends you came with and new ones you are meeting tonight. Summer is for music!

André Gremillet

3Summers@Severance











André Gremillet3Summers@Severance











André Gremillet

Expression is an essential need.

By better illustrating our story,

we can better help you express yours.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613

OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO

Complete the story at oac.ohio.gov/identity.

It’s time for a new identity.

One that tells the story of creativity

in Ohio and illustrates it.

Expression is an essential need.

By better illustrating our story,

we can better help you express yours.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613

OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO

Complete the story at oac.ohio.gov/identity.

It’s time for a new identity.

One that tells the story of creativity

in Ohio and illustrates it.

5Summers@Severance

Copyright © 2016 by The Cleveland Orchestra

Eric Sellen, Program Book Editor e-mail: [email protected]

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distrib-uted free to attending audience members.

Program book advertising is sold through Live Publishing Company at 216-721-1800.

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, 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 partner-ship 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, Sever-ance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collabora-tion and partnership.

Table of Contents 3 Welcome Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 7 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 10 About Summers@Severance . . . . . . . . . . . . . . . . 13 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Building Future Audiences . . . . . . . . . . . . . . . . . . 41 News: Public Square / “At Home” in Hough . . . . 42 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 56 Get Involved — Volunteering, Make Music, and More . . . . . . . . . . . . . . . . . . . . 57 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . 62

15 Franz & Brahms German Requiem Concert Program: July 8 . . . . . . . . . . . . . . . . . . 15 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Music Director: Franz Welser-Möst . . . . . . . . . . . 17 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Soloists: Snouffer / Burton . . . . . . . . . . . . . . . . . . 25 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . 31

32 Stars of Tomorrow Concert Program: July 22 . . . . . . . . . . . . . . . . . 32 Contestants and Concertos . . . . . . . . . . . . . 32-A > Cooper Competition Overview . . . . . . . . . . . . . . 33 Conductor: Jahja Ling . . . . . . . . . . . . . . . . . . . . . . 35 Competition Judges . . . . . . . . . . . . . . . . . . . . . . . . 36

45 Mozart & More Concert Program: August 12 . . . . . . . . . . . . . . 45 Conductor: Bernard Labadie . . . . . . . . . . . . . . . 46 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Soloists: Gauvin / Sachs . . . . . . . . . . . . . . . . . . . . . 52

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Program Book Wayfinding

JULY-AUGUST 2016

July 8July 22August 12 at 7 p.m.

6 The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated im-portant events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. Ticket sales cover less than half the cost of presenting The Cleveland Orchestra’s season each year. To sustain its activities here in Northeast Ohio, the Orchestra has undertaken the most ambitious fundraising campaign in our history: the Sound for the Centennial Cam-paign. By making a donation, you can make a crucial difference in helping to ensure that future generations will continue to enjoy the Orchestra’s performances, education pro-grams, and community activities and partnerships. To make a gift to The Cleveland Orches-tra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

7Summers@Severance

A S I T N E A R S T H E C E N T E N N I A L of its founding in 2018, The Cleveland Orch-estra is undergoing a new transformation and renaissance. Under the leadership of Franz Welser-Möst, entering his fifteenth year as the ensemble’s music direc-tor with the upcoming 2016-17 season, The Cleveland Orchestra is acknowledged among the world’s very best orchestras. With Welser-Möst, the ensemble’s musi-cians, board of directors, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence, to renew its focus on fully serving the communities where it performs through concerts, engagement, and music educa-tion, to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and inten-sive performance residencies. These include an an-nual set of concerts and education programs and partnerships in Miami, Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indiana University. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orches-tra’s ongoing collaboration with Welser-Möst is widely-acknow ledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, tele-casts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows and evolves with each new generation. Performances with Baroque specialists, recording projects of varying repertoire and in different locations, fruitful re-examinations and juxtapositions of the standard repertoire,

The Cleveland Orchestra

Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland. The 27th free performance down-town takes place this summer on Friday eve-ning, July 29, in partnership with Cuyahoga Arts & Culture, and celebrates the reopeningof a redesigned and renovated Public Square.

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clevelandorchestra.com

8 The Cleveland OrchestraAbout the Orchestra

and acclaimed collaborations in 20th- and 21st-century masterworks together help finetune and enable The Cleveland Orchestra’s ability to give musical perfor-mances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Or-chestra’s commitment to serving Cleve-land and surrounding communities, and have more recently been extended to its touring and residencies. All are being cre-

ated to connect people to music in the concert hall, in class-rooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neigh-borhood resi-dency program, designed to

bring the Orchestra and Northeast Ohio together in new ways. Additionally, a new Make Music! initiative is underway, cham-pioned by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education pro-grams, the Orchestra made national and in-ternational headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work

to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled suc-cess in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Sever-ance Hall home was one of the first con-cert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are pre-sented in a variety of formats for a variety of audiences — including popular Friday night concerts (mixing onstage sym-phonic works with post-concert entertain-ment), film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presenta-tions, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an un-equaled opportunity to explore music as a universal language of communication and understanding. An Enduring Tradition of Com-munity Support. The Cleveland Orches-tra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hun-dreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generos-

Franz Welser-Möst






Franz Welser-Möst






Franz Welser-Möst

9Summers@Severance About the Orchestra

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past nine decades.

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ity of thousands each year that drives the Orchestra forward and sustains its extraor-dinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orch estra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music direc-tors have guided and shaped the ensem-ble’s growth and sound: Nikolai Soko loff, 1918-33; Artur Rodzinski, 1933-43; Erich Leins dorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling

of the hall under Szell’s guidance, brought a special pride to the ensemble and its home-town, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orch estra’s artistry. Touring performances throughout the Unit-ed States and, beginning in 1957, to Europe and across the globe have confirmed Cleve-land’s place among the world’s top orches-tras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facili-ties in the United States. Today, concert performances, com-munity presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constitu-ency around the world.



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10 The Cleveland OrchestraThe Musicians

T H E C L E V E L A N D O R C H E S T R A

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairPeter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako MasamePaul and Lucille Jones Chair

Wei-Fang GuDrs. Paul M. and Renate H. Duchesneau Chair

Kim GomezElizabeth and Leslie Kondorossy Chair

Chul-In ParkHarriet T. and David L.Simon Chair

Miho HashizumeTheodore Rautenberg Chair

Jeanne Preucil RoseDr. Larry J.B. and Barbara S. Robinson Chair

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra PreucilKatherine BormannAnalisé Denise Kukelhan

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinás 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten MolloyCarolyn Gadiel WarnerElayna DuitmanIoana MissitsJeffrey Zehngut

Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookYun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont ChairRichard Weiss1

The GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Thomas J. and Judith Fay Gruber Chair

Ralph CurryBrian Thornton

William P. Blair III ChairDavid Alan HarrellMartha BaldwinDane JohansenPaul Kushious

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

This roster lists the fulltime mem-bers of The Cleveland Orchestra. The number and seating of musi-cians onstage varies depending on the piece being performed.

FRANZ WELSER-MÖST MUSIC DIRECTORKelvin Smith Family Chair

11Summers@Severance The Musicians

T H E C L E V E L A N D O R C H E S T R AFLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn ChairMary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin ChairCorbin StairJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETSRobert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls ChairGareth ThomasBarrick Stees2

Sandra L. Haslinger ChairJonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSMichael Mayhew §

Knight Foundation ChairJesse McCormick

Robert B. Benyo ChairHans ClebschRichard KingAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss ChairTom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

PERCUSSIONMarc Damoulakis*

Margaret Allen Ireland ChairDonald MillerTom FreerThomas Sherwood

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin ChairCarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’Brien

Joe and Marlene Toot ChairDonald Miller

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDSidney and Doris Dworkin ChairClara G. and George P. Bickford ChairDr. Jeanette Grasselli Brownand Dr. Glenn R. Brown Chair Sunshine ChairRobert Marcellus ChairGeorge Szell Memorial Chair

* Principal § Associate Principal 1 First Assistant Principal 2 Assistant Principal * on sabbatical leave

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Brett MitchellASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

10 The Cleveland OrchestraThe Musicians


FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairPeter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako MasamePaul and Lucille Jones Chair

Wei-Fang GuDrs. Paul M. and Renate H. Duchesneau Chair

Kim GomezElizabeth and Leslie Kondorossy Chair

Chul-In ParkHarriet T. and David L.Simon Chair

Miho HashizumeTheodore Rautenberg Chair

Jeanne Preucil RoseDr. Larry J.B. and Barbara S. Robinson Chair

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra PreucilKatherine BormannAnalisé Denise Kukelhan

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinás 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten MolloyCarolyn Gadiel WarnerElayna DuitmanIoana MissitsJeffrey Zehngut

Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookYun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont ChairRichard Weiss1

The GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Thomas J. and Judith Fay Gruber Chair

Ralph CurryBrian Thornton

William P. Blair III ChairDavid Alan HarrellMartha BaldwinDane JohansenPaul Kushious

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

This roster lists the fulltime mem-bers of The Cleveland Orchestra. The number and seating of musi-cians onstage varies depending on the piece being performed.

FRANZ WELSER-MÖST MUSIC DIRECTORKelvin Smith Family Chair











Robert Walters





Linnea Nereim





Louise Harkness Ingalls ChairGareth ThomasBarrick Stees2










Michael Miller



Michael Miller




Shachar Israel2
































Robert Walters





Linnea Nereim





Louise Harkness Ingalls ChairGareth ThomasBarrick Stees2 *










Michael Miller



Michael Miller




Shachar Israel2























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13Summers@Severance

About Sum SevA gentle and warm summer evening . . . a sublime night of music hand-selected just for you . . . great drinks and conversation on the beautiful Front Terrace of Severance Hall. Join The Cleveland Orchestra for a special summertime experience hand-crafted for the enjoyment of all the senses. A casual come-as-you-are atmosphere surrounded by the stunning visual charm of “America’s most beautiful concert hall.” The evening starts early (if you wish) with a special Happy Hour — meet your friends or family before the concert to relax and start to unwind. Then feel the inspiration of great music performed by the incomparable Cleveland Orchestra in the per-fect intimacy of Severance Hall. Afterwards, the Front Terrace beckons with a one-of-a-kind sunset, along with drink and dessert options, plus cooler evening breezes and DJ’d musical offerings. The perfect ending for a great eve-ning. Set amidst the growing excitement of University Circle, the best “new” neighborhood in Northeast Ohio!

What It’s All About

THE BEFOREHappy Hour5:30 p.m. to 6:30 p.m.Socializing with drink specialsand special drinks

THE CONCERTThe Cleveland Orchestra7 p.m.

THE AFTERTerrace at Sunsetbeginning immediatelyafter the concert— music, drinks,and chatting withfriends (new and old)

MORE MUSICBefore and Afterwith DJ MisterBradleyP(www.misterbradleyp.com)

JULY-AUGUST 2016

July 8July 22August 12 at 7 p.m.

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It is not in fact sohard to compose. But what is fabulously difficult is to leave the superfluous notes under the table.

—Johannes Brahms

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15Summers@Severance

July 8

Severance Hall — Cleveland, Ohio Friday evening, July 8, 2016, at 7:00 p.m.

T H E C L E V E L A N D O R C H E S T R A FRanz WelseR-Möst , conductor

richard strauss Death and Transfiguration, Opus 24 (1864-1949)

I N T E R M I S S I O N

johannes brahms A German Requiem, Opus 45 (1833-1897) 1. chorus: “Selig sind, die da Leid tragen” [Blessed are they that mourn] 2. chorus: “Denn alles Fleisch es ist wie Gras” [For all flesh is like grass] 3. baritone solo and chorus: “Herr, lehre doch mich” [Lord, make me to know] 4. chorus: “Wie lieblich sind deine Wohnungen” [How lovely is your dwelling place] 5. soprano solo and chorus: “Ihr habt nun Traurigkeit” [You now have sorrow] 6. baritone solo and chorus: “Denn wir haben hie keine bleibende Statt” [For here we have no eternal city] 7. chorus: “Selig sind die Toten” [Blessed are the dead]

lauRen snouFFeR, soprano dashon buRton, bass-baritone

cleveland oRchestRa choRus Robert Porco, director

July 8: Franz & Brahms

Fr a n z & B r a h m s : B r a h m s G e r m a n R e q u i e m

The Cleveland Orchestra’sSummers@Severance series is sponsoredby Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.


M U S I C C A R R I E S M E A N I N G — A N D E M O T I O N . This evening’s concert, led by Franz Welser-Möst, features two works from the late 19th century. Each focuses on the meaning of life, the final value of an indi-vidual’s life, the joy (and sorrow) that life brings, the ups and downs of life’s journey. The concert begins with Richard Strauss’s tone poem Death and Transfiguration from 1890. Here Strauss deftly paints a beautiful and emotional portrait of a dying composer’s wonderings at the meaning of life. The man is without fear, but filled with questions about himself and what he has accomplished in his career. The music lovingly impells the questions to resolution and glorious quietude — the man is transfigured in death. (My father tells a story, of being “hooked” on this irresistible piece of music as a teenager, of playing a recording of it night after night after night in the weeks before shipping off to war in the middle of the last century. It was the music that drew him in, not Strauss’s story within it — and only much later did he marvel at his parents’ calm acceptance of the piece that their son was drawn to before facing the possi-bility of his own death. For many of us, music is an invalu-able companion on life’s journey.) Next comes Johannes Brahms’s A German Requiem from the late 1860s. This achingly beautiful work, though called a requiem, features much that is joyful — the comfort that can be found for the living in having known and loved those whose time ends before our own. Brahms chose his own Biblical passages, purposefully sidestepping dogmatic faith and miracles (Jesus is not mentioned). Brahms, who cared about humanity and his friends much more than whatever God there may be, here poured out his heart, building on his own sorrow at the death of his mother. The emotional weight of this piece, which includes somber march-steps (the heartbeats of heartache) and menacing brass, also brings us great moments of repose and rest, of gladness and joy. —Eric Sellen

Introducing the Music

I N T R O D U C I N G T H E C O N C E R T

Death’s Sorrows, Life’s Transcendence

July 8

Brahms’s grave in Vienna.

17Summers@Severance

Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

Franz Welser-Möst is among today’s most distinguished conductors. The upcoming 2016-17 season marks his fifteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partner-ship now extending into the next decade. Under his direction, the New York Times has declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleve-land Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions. In addition to an unprec-edented annual residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, nota-bly, a young audience through its ground-breaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent per-formances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrat-ed annual New Year’s Day concert twice,

viewed by mil-lions world-wide. This past season, he led the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new produc-tion of Strauss’s Die Liebe der Danae with them this summer at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains rela-tionships with a number of other European orchestras, and the 2015-16 season includ-ed return engagements to Munich’s Bavari-an Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and con-ducted the Filarmonica of La Scala Milan in a televised Christmas concert. This past season, he also made his long-anticipated debut with Amsterdam’s Royal Concertge-bouw Orchestra for two weeks of concerts. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vi-enna State Opera. His partnership with the company included an acclaimed new pro-duction of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, conducting more than forty new produc-

Music Director

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17Summers@Severance

Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

Franz Welser-Möst is among today’s most distinguished conductors. The upcoming 2016-17 season marks his fifteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partner-ship now extending into the next decade. Under his direction, the New York Times has declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleve-land Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions. In addition to an unprec-edented annual residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, nota-bly, a young audience through its ground-breaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent per-formances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrat-ed annual New Year’s Day concert twice,

viewed by mil-lions world-wide. This past season, he led the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new produc-tion of Strauss’s Die Liebe der Danae with them this summer at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains rela-tionships with a number of other European orchestras, and the 2015-16 season includ-ed return engagements to Munich’s Bavari-an Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and con-ducted the Filarmonica of La Scala Milan in a televised Christmas concert. This past season, he also made his long-anticipated debut with Amsterdam’s Royal Concertge-bouw Orchestra for two weeks of concerts. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vi-enna State Opera. His partnership with the company included an acclaimed new pro-duction of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, conducting more than forty new produc-

Music Director

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tions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, includ-ing a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The Salzburg Festi-val production he conducted of Der Rosen-kavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a recently-

released multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. For his talents and dedication, Mr. Welser-Möst has received honors that in-clude the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honor-ary membership in the Vienna Singverein, appointment as an Academician of the Eu-ropean Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Med-al from the Bruckner Society of America.

Music Director

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Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015. Other recent accolades include being singled out in a year-end review of notable performers and perform-ances in 2015 by Deutschland Radio.

19Summers@Severance

July 8

Death and Transfiguration, Opus 24[Tod und Verklärung]composed in 1888-89

“ D E AT H H A S D E A LT me the first hard blow, has given me the first sign,” 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.” The 85-year-old composer, soon after conducting the Moonlight Interlude from his opera Capric-cio for a radio concert in mid-July, had suffered a series of heart attacks and been confined to bed. “Funny thing, Alice,” he is said to have remarked to his daughter-in-law shortly before his death, “dying is just the way I composed it in Death and Transfiguration.” And for Richard Strauss, it probably was. Strauss had begun writing Death and Transfiguration (in Ger-man, Tod und Verklärung) more than 60 years earlier, in August 1888, almost immediately after setting aside the completed score of his first orchestral tone poem, Don Juan. Exactly what stimulated the 24-year-old composer to create Death and Transfiguration — based on a scenario of his own devising — we do not know. But even at such an early age, Strauss was wrestling with what his own legacy might be. Here, in this tone poem, he seems to be contemplat-ing the connection between death and an after-life. Yet Strauss was, at least in later years, largely agnostic or atheist — and his dreams of after-life 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. In 1894, four years after the premiere, Strauss wrote his own explanation for Death and Transfiguration, which clearly follows the musical contours of the work: “It was six years ago that it oc-curred to me to present in the form of a tone poem the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible pain; his limbs shake with fever — as the attack passes and agonies subside, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains announce their return, there appears to him the fruit of his life’s path, the conception, the ideal which he has sought to realize, to present artistically, but which he has not been able to complete. . . . The hour of death approaches,

by RichardSTRAUSSborn June 11, 1864Munich

diedSeptember 8, 1949Garmisch-Partenkirchen, Bavaria

About the Music

19Summers@Severance

July 8

Death and Transfiguration, Opus 24[Tod und Verklärung]composed in 1888-89

“ D E AT H H A S D E A LT me the first hard blow, has given me the first sign,” 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.” The 85-year-old composer, soon after conducting the Moonlight Interlude from his opera Capric-cio for a radio concert in mid-July, had suffered a series of heart attacks and been confined to bed. “Funny thing, Alice,” he is said to have remarked to his daughter-in-law shortly before his death, “dying is just the way I composed it in Death and Transfiguration.” And for Richard Strauss, it probably was. Strauss had begun writing Death and Transfiguration (in Ger-man, Tod und Verklärung) more than 60 years earlier, in August 1888, almost immediately after setting aside the completed score of his first orchestral tone poem, Don Juan. Exactly what stimulated the 24-year-old composer to create Death and Transfiguration — based on a scenario of his own devising — we do not know. But even at such an early age, Strauss was wrestling with what his own legacy might be. Here, in this tone poem, he seems to be contemplat-ing the connection between death and an after-life. Yet Strauss was, at least in later years, largely agnostic or atheist — and his dreams of after-life 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. In 1894, four years after the premiere, Strauss wrote his own explanation for Death and Transfiguration, which clearly follows the musical contours of the work: “It was six years ago that it oc-curred to me to present in the form of a tone poem the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible pain; his limbs shake with fever — as the attack passes and agonies subside, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains announce their return, there appears to him the fruit of his life’s path, the conception, the ideal which he has sought to realize, to present artistically, but which he has not been able to complete. . . . The hour of death approaches,

by RichardSTRAUSSborn June 11, 1864Munich

diedSeptember 8, 1949Garmisch-Partenkirchen, Bavaria

About the Music

20 The Cleveland OrchestraAbout the Music

the soul leaves the body and finds gloriously achieved — in everlasting time and space — those things which could not be fulfilled here on earth.” While Death and Transfiguration may at first seem to be cloaked in darkness, it uses the subject of dying merely as a point of departure (pun in-tended). The artist of Strauss’s imagination knows exactly what he has been striving to create in life. And the “dying artist’s sure struggle toward an ideal” in Death and Transfiguration concludes with a musi-cal affirmation — of rest and redemption. In fact, the artistic struggle toward ideal fulfill-ment stayed with Strauss all of his life. He attempted

many different musical forms. He alternated between the cre-ative life of a composer and the toiling work of recreating the visions of others as a much-admired conductor. He worked as an administrator to fulfill those visions, but tired of the politics — only to find himself forced to work with the German Nazi government as a way of helping other artists. He moved from being a controversial young composer to being a conservative old one (with a difficult political past). He also always remembered his own youthful vision in Death and Transfiguration, from which he reused a theme a year before his death, in the song Im Abendrot (“At Sunset,” posthumously published as the last of his Four Last Songs). At the song’s end, he quotes the artist’s “ideal” theme under the words “How still the peace. So deep the close of evening. How tired we are of wan-dering! Is this perhaps death?” Like Death and Transfiguration, this is beautiful music that transcends earthly realities, letting our own joys (and sorrows) build to acceptance in the twilight of a day (or life) that darkness brings rest and reward.

—Eric Sellen © 2016

Eric Sellen serves as program book editor for The Cleveland Orchetsra.

Strauss composed the tone poem Tod und Verklärung (”Death and Transfigu-ration“) in 1888-89 and conducted its first perfor-mance on June 21, 1890,at the City Theater in Eisen-ach. Dedicated to Strauss’s friend Friederich Rosch, the score was published in 1890. The American premiere took place in New York on January 9, 1892, with Anton Seidl conduct-ing the Philharmonic Society of New York. This work runs about 25 minutes in performance. Strauss scored it for 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.

Strauss was as acclaimed as a conductor during his life-time as he was admired (or criticized) as a composer.

At a Glance

21Summers@Severance

July 8

A German Requiem, Opus 45composed in 1865-68

B R A H M S WA S B R O U G H T U P in Hamburg in the north Ger-man Lutheran tradition with a solid knowledge of the Bible, which remained with him all his life. Faith, however, was more elusive, and like Beethoven he came to devise his own personal view of ethics and spirituality, which in his case tended towards an ever deepening pessimism and a focus on the mystery of death. “Such a great man!” exclaimed Antonín Dvořák, “Such a great soul! And he believes in nothing.” But Brahms was not quite a nihilist. He armed himself with a stoicism that protected him from the worst vicissitudes of life but did not prevent him from dwelling on death as the end of all things. The Four Serious Songs (Opus 121), composed near the end of his life, are preoccupied with death while upholding love as greater than faith and hope, of which he never had a great store. The German Requiem belongs to a much earlier period in Brahms’s life, when his fame as a composer was already wide-spread and about to be enhanced yet further by the acclamation that greeted this very work. Though not indifferent to mate-rial success, he was more affected by the death of his mother in 1865, which seems to have prompted him to think deeply about a composition that had probably been lurking in the back of his mind for ten years — at least since the death of Robert Schumann, who played such an important part in Brahms’s early steps as a composer. At the time of Schumann’s death, Brahms had sketched a “funeral march” in 3/4 time, which seems to have been planned as part of a symphony in D minor, the first movement of which eventually took shape as the first movement of the First Piano Concerto. (This is not the only instance where Brahms began one thing, only to decide that the music he was working on was really better to be completed as something else; and, indeed, many composers have found themselves doing this.) It is wide-ly assumed that the original march is the origin of the second movement of the Requiem, “Denn alles Fleisch es ist wie Gras” [For all flesh is like grass], with its solemn, striding 3/4 pulse. The rest of the Requiem took shape in 1866 and 1867, and was publicly performed piecemeal, bit by bit. Although the fifth movement was still not composed, the performance in Bremen

by JohannesBRAHMSborn May 7, 1833Hamburg

died April 3, 1897Vienna

About the Music


Some of the musical ideas in Brahms’s Ein deutsches Requiem (“A German Requiem”) date to around 1854. In 1856, Brahms adapted some discarded ideas from his Piano Concerto in D minor as a choral setting in memory of Robert Schumann; a form of this eventually became the Requiem’s second move-ment. In 1861, he wrote down a list of Biblical texts that might serve as text for a larger work. He wrote move-ment 4 in 1865 and had also completed movements 1 and 2. He wrote movements 3, 6, and 7 in 1866. The first three movements were presented at a concert on December 1, 1867, in Vienna, under the direction of Johann von Herbeck. The six-movement Requiem — for orchestra, chorus, and solo baritone — was premiered on April 10, 1868, in Bremen, conducted by the composer. Brahms wrote the fifth movement (for soprano soloist and cho-rus) that summer; it was first performed on September 17, 1868, in Zurich. In its final form, the seven-movement A German Requiem was first performed as a whole on February 18, 1869, in Leipzig under the direction of Carl Reinecke.

At a Glance

About the Music

Cathedral on Good Friday 1868 was treated as the first full per-formance, and it was attended by all of Brahms’s keenest sup-porters and friends — Clara Schumann, Joseph Joachim, Albert Dietrich, and Brahms’s father, still living in Hamburg. Clara wrote soon afterwards: “The Requiem has taken hold of me as no sacred music ever did before. As I saw Johannes standing there, baton in hand, I could not help thinking of my dear Robert’s prophecy — ‘let him grasp the magic wand and write a work with orchestra and chorus’ — which is fulfilled today.” In memory of his mother, who had been a number of years older than his father, Brahms then composed the fifth move-ment with soprano solo, “Ihr habt nun Traurigkeit” [You now have sorrow] to complete the finalized seven-movement plan. The complete work was quickly performed all over Germany, in the Catholic south as well as in the Protestant north.

L A N G U A G E A N D M U S I C Like Handel when composing Messiah, Brahms selected his texts entirely from the Bible. Other Requiems were settings of age-old Latin texts, most often designed for use in formal worship service. But Brahms instead appropriated the title “Re-quiem” for a choral work that meditated on comforting the liv-ing in the face of an all-consuming death. (Some of these same texts are found in Messiah also.) Brahms chose the texts with care, sometimes combining verses from different books of the Bible to form a single move-ment. Only the fourth and last movements treat a single biblical text. Isaiah, the Psalms, the New Testament, and Revelation are all drawn upon, with a single line from the Wisdom of Solomon in the Apocrypha: “But the righteous souls are in the hand of God, and there shall no torment touch them.” The person of Christ plays no part in Brahms’s selection of texts, even though some texts are quoted from the gospels. There is no reference to judgement, vengeance, or Christ’s sac-rifice. The emotional theme is more focused on the transience of life, the need for comfort, the reward for effort, and the hope of a happy resolution. The soprano solo, No. 5, is thought to be a direct tribute to Brahms’s mother, since it refers to a “mother’s comforts.” Schubert also wrote a “German Requiem” in his own spoken language, and Brahms later learned that his mentor Schumann had planned to write one. For Brahms, however, the choice of

23Summers@Severance About the Music

language was as much about his own upbringing in the Lutheran tradition, in which the Bible was read and spoken in German. As precedents, he was quite conscious of Bach as a setter of biblical texts in the vernacular. In fact, the chorale from Bach’s Cantata No. 27 is the basis for the broad melody with which the chorus enter in unison in Brahms’s second movement, beginning with two steps up and two steps down. This pattern has already been outlined at the opening of the first movement, where the imitative entries announce Brahms’s instinctive feeling for counterpoint, not unlike that of Bach. The powerful fugue that concludes the third movement, over a continuously held low D, is a further tribute to Bach, and there is another vigorous fugue to conclude the sixth movement, on “Herr, du bist würdig” [Lord, you are worthy]. For a composer who had written little for cho-rus before this time, the Requiem is astonishingly assured and rewarding, as all choral singers will attest. The orchestration is equally assured. Leaving the violins quiet in the first movement allows the divided violas and cel-los to glow and at the same time announces the seriousness of Brahms’s enterprise. (This rich sound comes back in support of the baritone solo at his first entry in the third movement.) Unusual for Brahms is the participation of harp, which adds color at the beginning and the end of the work and is part of the unusual sonority of the second movement. Here the timpani emphasize the march element, and the melody is outlined by high strings blending with high woodwinds. The entry of the chorus completes this complex picture, whose most memorable mo-ment is the colossal crescendo that prepares for the return of the march tune and the chorale combined. This second movement is really in two parts, for it eventually abandons triple meter and strides forward with the positive statement from the basses “Die Erlöseten des Herrn werden wiederkommen” [Those redeemed in the Lord will return]. This is soon followed by the unmistakably happy tone of “Freude and Wonne” [Joy and gladness] from the sopranos, so that the movement concludes in high (but calm) spirits. The third movement similarly consists of many parts. Af-ter the steady tread of the baritone’s opening solo, with chorus response, the pulse loosens and a warmer color in the orches-tration supports “Ach, wie gar nichts sind alle Menschen” [Truly all people are as nothing]. This is eventually taken over by the chorus alone at “Nun Herr, was soll ich mich trösten?” [Now, Lord,

Spiritually,

Brahms didn’t

believe in

very much.

Throughout his

life, he armed

himself with

a Lutheran

stoicism that

protected him

from the worst

vicissitudes of

life, but which

did not pre-

vent him dwell-

ing on death

as the end of

all things. Ul-

timately, he

believed that

love was great-

er than faith

and hope — but

pessimism was

more his mode

than hope,

regardless.


how shall I find comfort?], and the answer “Ich hoffe auf dich” [My hope is in you] announces the concluding fugue over a long held bass note. The fourth movement, for chorus, suggests the waltz rhythm of which Brahms was always fond, and it is no accident that the woodwinds’ first phrase is answered by the chorus as an exact inversion of the melody, nor that the most prominent word in the German text is “lieblich” [lovely], precisely describing the music itself. The tender side of Brahms’s genius is beauti-fully illustrated by this movement — and by the soprano solo that comes next. The fifth movement features the soprano soloist for the first and only time. The beauty of her opening line is not to be forgotten. The design of this movement is like one of Bach’s arias where the chorus intone a chorale (or something like it) in between the soloist’s phrases. By the end of the movement the chorus has moved into full support of the soprano and they conclude together in a quiet mood of consolation. The sixth movement is more dramatic, for the rather solemn phrases from the chorus give little warning of what is to come. The words do indeed threaten “Wir werden alle verwandelt” [We shall all be changed] but not until the sound of the “letzten Posaune” (the “last trumpet,” represented in the Lutheran Bible as a trombone) does the music bring in the clamorous victory of death, crowned with a long elaborate fugue in Handel’s manner on “Herr, Du bist würdig” [Lord, you are worthy]. After the extraordinary and exhausting climax of the pre-ceeding music, the seventh movement resumes a more solemn spirit, returning gradually to the mood and the key of the open-ing movement, and ending with the same quiet cadence.

—Hugh Macdonald © 2016

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.

This work runs about 70 minutes in performance. Brahms scored it for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon (ad libitum), 4 horns, 2 trum-pets, 3 trombones, tuba, timpani, harp (doubled, if possible), organ (ad libitum), and strings, plus mixed chorus and soprano and baritone soloists. The Cleveland Orchestra first performed Brahms’s A German Requiem in November 1925, first in Pittsburgh and then at home in Cleveland’s Masonic Hall; these performances were probably sung in English. The Orchestra’s next two performances of A German Requiem were during the 1943-44 season at Severance Hall: in November for a spe-cial “War Memorial Concert” and then again in January at a special concert in memory of Elisabeth Severance Allen Prentiss (1865-1944), the younger sister of John L. Severance. Music from it has been featured on other notable occasions — in 1990 for the 20th anniversary of the death of George Szell, in 1999 upon the death of Rob-ert Shaw, and in September 2001 for a special tribute and remembrance concert at the time of the tragedy of 9/11.

Just the Facts

25Summers@Severance Guest Artists

Lauren SnoufferAmerican soprano Lauren Snouffer made her Cleveland Orchestra debut in May 2015. Recognized for performanc-es spanning music from the Baroque to modern — from Claudio Monteverdi and Johann Adolphe Hasse to György Ligeti and George Benjamin — she has ap-peared with the Aspen Contemporary Ensemble, Boston’s Handel & Haydn Soci-ety, Houston Ballet, Mercury Baroque, and Portland Baroque, as well as the orches-tras of Baltimore, Florida, Houston, New York, San Antonio, and São Paulo. On the opera stage, Ms. Snouffer has performed with the Atlanta Opera, Houston Grand Opera, Lyric Opera of Chicago, Lyric Opera of Kansas City, and Opéra Royal de Ver-sailles. A graduate of Rice University, the Juilliard School, and the Houston Grand Opera Studio, Lauren Snouffer received a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation and a Richard F. Gold Career Grant from Hous-ton Grand Opera, and was a grand finalist in the 2012 Metropolitan Opera National Council Auditions.

Dashon BurtonAmerican bass-baritone Dashon Burton made his Cleveland Orchestra debut in May 2005 and most recently appeared here in July 2015. He began his studies at Case Western Reserve University, gradu-ated from Oberlin College Conservatory of Music and, in 2011, earned a master’s degree from Yale University’s Institute of Sacred Music. His performances have included engagements with the Beth-lehem Bach, Carmel Bach, Cincinnati May, and Spoleto USA festivals, and with the orchestras of Baltimore, Charleston, Kansas City, and New Jersey, along with Copenhagen’s Le Concert Lorrain, Bos-ton’s Handel & Haydn Society, Oratorio Society of New York, and the Yale Schola Cantorum. An advocate of new music, Mr. Burton has premiered works by Wil-liam Brittelle, Christopher Cerrone, Judd Greenstein, and Caroline Shaw, among other composers. He is a founding mem-ber of Roomful of Teeth, an ensemble devoted to new compositions and winner of the 2013 Grammy for Best Chamber Music/Small Ensemble. For more informa-tion, visit www.dashonburton.com.

July 8


1. Chorus

Selig sind, die da Leid tragen,denn sie sollen getröstet werden.

Die mit Tränen säen,werden mit Freuden ernten.Sie gehen hin und weinenund tragen edlen Samen,und kommen mit Freudenund bringen ihre Garben.

2. Chorus

Denn alles Fleisch es ist wie Grasund alle Herrlichkeit des Menschenwie des Grases Blumen.Das Gras ist verdorretund die Blume abgefallen.

So seid nun geduldig, lieben Brüder,bis auf die Zukunft des Herrn.Siehe, ein Ackermann wartetauf die köstliche Frucht der Erde,und ist geduldig darüber,bis er empfahe den Morgenregenund Abendregen.So seid geduldig.

Denn alles Fleisch es ist wie Grasund alle Herrlichkeit des Menschenwie des Grases Blumen.Das Gras ist verdorretund die Blume abgefallen. Aber des Herrn Wort bleibetin Ewigkeit.

Blessed are they that have sorrow,for they shall be comforted. —matthew 5:4

They that sow in tears,shall reap in joy.They go forth and weepand carry precious seedand come with joyand bring their sheaves with them. —psalm 126:5,6

For all flesh is like grassand the splendor of humanityis like the flower of the field.The grass withersand the flower falls. —i peter 1:24

So be patient, dear peopleuntil the coming of the Lord.See how the farmer waitsfor the precious fruit of the earthand is patient for ituntil receiving the morning rainsand the evening rains.So be patient. —james 5:7

For all flesh is like grassand the splendor of humanityis like the flower of the field.The grass withersand the flower falls.Yet, the word of the Lord standsfor evermore. —i peter 1:24-25

A German Requiem by Johannes Brahms

Sung Text

27Summers@Severance Sung Text

Die Erlöseten des Herrnwerden wiederkommen,und gen Zion kommen mit Jauchzen;Freude, ewig Freude,wird über ihrem Haupte sein;Freude und Wonnewerden sie ergreifen,und Schmerz und Seufzenwird weg müssen.

3. Baritone Solo and Chorus

Herr, lehre doch mich,dass ein Ende mit mir haben muss,und mein Leben ein Ziel hat,und ich davon muss.Siehe, meine Tage sindeiner Handbreit vor Dir,und mein Leben ist wie nichts vor Dir.

Ach, wie gar nichts sind alle Menschen,die doch so sicher leben.Sie gehen daherwie ein Schemen,und machen ihnenviel vergebliche Unruhe;sie sammeln und wissen nicht,wer es kriegen wird.Nun Herr, wess soll ich mich trösten?Ich hoffe auf Dich.

Der Gerechten Seelensind in Gottes Handund keine Qual rühret sie an.

The redeemed of the Lordwill returnand come to Zion with rejoicing;Joy, eternal joyshall be upon their heads,joy and gladnesswill be theirs,and pain and sufferingwill flee away. —isaiah 35:10

Lord, let me knowthat I must have an end,that my life has a term,and that I must pass on.See, my days areas a hand’s breadth before you,and my life is as nothing before you.

Truly, all people are as nothingwho live too sure of themselves.They go forthlike shadowsand give themselvesgreat anxiety in vain,they heap up their wealth but do not knowwho will inherit it.Now, Lord, how shall I find comfort?My hope is in you. —psalm 39:4-7

The righteous souls are in the hand of Godand no torment touches them. —wisdom of solomon 3:1

P L E A S E T U R N PA G E Q U I E T LY


How lovely is your dwelling place,Lord of Hosts!My soul longs and faintsfor the courts of the Lord.My body and soul rejoicein the living God.Blessed arethey that dwell in your house,they praise you evermore. —psalm 84:1,2,4

You now have sorrow,but I will see you again,and your heart shall rejoice,and your joy no oneshall take from you. —john 16:22

I will comfort youas a mother comforts. —isaiah 66:13

Look on me:For a short timeI have had sorrow and laborand have found great comfort. —ecclesiasticus 51:27

For we have hereno lasting place to stay,rather we seek one for the future. —hebrews 13:14

Behold, I tell you a mystery;we shall not all sleep,but we shall allbe transformed;and in a moment,in the twinkling of an eye,

4. Chorus

Wie lieblich sind deine Wohnungen,Herr Zebaoth!Meine Seele verlanget und sehnet sichmach den Vorhöfen des Herrn;Mein Leib und Seele freuen sichin dem lebendigen Gott.Wohl denen,die in Deinem Hause wohnen.die loben Dich immerdar.

5. Soprano Solo and Chorus

Ihr habt nun Traurigkeit;aber ich will euch wiedersehen,und euer Herz soll sich freuen,und eure Freude soll niemandvon euch nehmen.

Ich will euch trösten,wie einen seine Mutter tröstet.

Sehet mich an:Ich habe eine kleine ZeitMuhe und Arbeit gehabtund habe grossen Trost funden.

6. Baritone Solo and Chorus

Denn wir haben hiekeine bleibende Statt,sondern die zukünftige suchen wir.

Siehe, ich sage euch ein Geheimnis:Wir werden nicht alle entschlafen,wir werden aber alleverwandelt werden;und dasselbige plötzlichin einem Augenblick

Sung Text

29Summers@Severance

zu der Zeit der letzten Posaune.Denn es wird die Posaune schallenund die Totenwerden auferstehen unverweslich;und wir werden verwandelt werden.Dann wird erfüllet werdendas Wort,das geschrieben steht.Der Tod ist verschlungen in den Sieg.Tod, wo ist dein Stachel?Hölle, wo ist dein Sieg?

Herr, Du bist würdigzu nehmen Preis und Ehre und Kraft,denn Du hast alle Dinge geschaffen,und durch Deinen Willenhaben sie das Wesenund sind geschaffen.

7. Chorus

Selig sind die Toten,die in dem Herrn sterben,von nun an.Ja, der Geist spricht,dass sie ruhen von ihrer Arbeit;denn ihre Werke folgen ihnen nach.

at the sound of the last trumpet.For the trumpet shall sound,and the deadshall be raised incorruptible,and we shall be transformed.Then shall be fulfilledthe wordthat is written.Death is swallowed up in victory.Death, where is your sting?Hell, where is your victory? —i corinthians 15:51,52,54,55

Lord, you are worthyto receive praise and glory and power,for you have created all things,and by your willthey were createdand have their being. —revelations 4:11

Blessed are the dead,who die believing in the Lordfrom now on.Yes, says the spirit,that they rest from their laborsand their deeds are forever part of them. —revelations 14:13

German text adapted by Johannes Brahms from Martin Luther’s translation of the Bible.

Sung Text


Robert Porco Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleve-land Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orches-tra’s annual series of Christmas concerts at Severance Hall

and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana Univer-sity 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orch estra Chorus and Blossom Festival Chorus for per-formances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orch estra Youth Chorus. In addition to her duties at

Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the choral department of the Indiana University Jacobs School of Music (including directing the Chamber Choir of the Indiana University Children’s Choir). Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in cho-ral conducting from Indiana University.

July 8

Cleveland Orchestra Chorus

31Summers@Severance

sopranosLou AlbertsonAmy Foster BabinskiClaudia BarrigaEmily BzdafkaJulie A. CajigasKristine CaswelchYu-Ching Ruby ChenSusan CucuzzaKarla CumminsAnna K. DendyEmily EngleLisa Rubin FalkenbergAnne GartmanJulia HalamekLisa HrusovskyHope Klassen-KayKate MacyMegan MeyerHeather MorrisonJulie Myers-PruchenskiJennifer Heinert O’LearySarah Henley OsburnLenore M. PershingRoberta PrivetteJoy Marie RiveraCassandra E. RondinellaMeghan SchattMonica SchieLaura R. SeipertCarole WeinhardtKiko WeinrothAnna E. WhiteMary WilsonConstance Wolfe

altosAlexandria AlbainyEmily AustinDebbie BatesAlissa L. BodnerBrianna CliffordMarilyn EppichAmanda EvansHaley GabrielAnn Marie HardulakLaura Skelly HigginsBetty HuberKaren HuntSarah N. HutchinsAnney JeandrevinKate KlonowskiLucia LeszczukDiana MartinAnna McMullenKarla McMullenDonna MillerMarta Perez-StableAlanna M. ShadrakeIna Stanek-MichaelisRachel ThiboMartha Cochran TrubyGina VentreMaggie Fairman WilliamsDebra YasinowLynne Leutenberg Yulish

tenorsVincent L. BrileyGerry C. BurdickRoss DowningCorey Hill*James NewbyPeter KvideraAdam LandryTod LawrenceAlexander LooneyShawn LopezRohan MandeliaTremaine B. OatmanRyan PenningtonMatthew RizerTed RodenbornLee ScantleburyJames StorryCharles TobiasWilliam VenableMichael Ward

bassesChristopher AldrichBrian BaileyJack BlazeyCharles CarrMario M. CloptonDwyer ConklynNick ConnavinoThomas CucuzzaChristopher DewaldJeffrey DuberThomas E. EvansRichard S. FalkenbergKurtis B. HoffmanBernard HrusovskyRobert L. JenkinsJoshua JonesJoel KincannonTyler MasonRoger MennellRobert MitchellTom MoormannKeith NormanDaniel ParsleyJohn RiehlSteven RossThomas ShawStephen Stavnicky

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating CommitteeJill Harbaugh, Manager of Choruses

Cleveland Orchestra Chorus Robert Porco, Director Lisa Wong, Assistant Director Joela Jones, Principal Accompanist

The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year.

CHORUS — BRAHMS GERMAN REQUIEM

* Shari Bierman Singer Fellow

July 8

Cleveland Orchestra Chorus



T H E C L E V E L A N D O R C H E S T R A JAHJA LING , conductor

Stars of Tomorrow: Cooper Competition

The Thomas and Evon Cooper International Competitionis presented as a collaborative partnership between theOberlin Conservatory of Music and The Cleveland Orchestra.

Thomas and Evon Cooper International Competition 2016Final Concerto Round

WELCOME AND INTRODUCTION

FINAL ROUND PERFORMANCES Featuring three finalists and including one intermission.

JURY DELIBERATIONS

WINNERS ANNOUNCEMENTAND PRIZE CEREMONY

Judges Panel Robert Shannon, Chair Dag Achatz Angela Cheng Alvin Chow Monique Duphil Stanislav Ioudenitch Lisa Nakamichi Matti Raekallio Peter Takács Wu Ying

July 22: Cooper International Competition

The finalists and their concerto selections will be announced late on the evening of Wednesday, July 20. Watch for details at www.facebook.com/coopercompetition.









JURY DELIBERATIONS





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JURY DELIBERATIONS





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69Summers@Severance

July 22


sergei rachmaninoff Piano Concerto No. 2 (1873-1943) in C minor, Opus 18 1. Moderato 2. Adagio sostenuto 3. Allegro scherzando

NATHAN LEE, piano

ludwig van beethoven Piano Concerto No. 4 (1770-1827) in G major, Opus 58 1. Allegro moderato 2. Andante con moto 3. Rondo: Vivace

EVREN OZEL, piano

INTERMISSION

sergei rachmaninoff Piano Concerto No. 2 (1873-1943) in C minor, Opus 18 1. Moderato 2. Adagio sostenuto 3. Allegro scherzando

RYOTA YAMAZAKI, piano

INTERMISSION

WINNERS ANNOUNCEMENT AND PRIZE CEREMONY

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70 The Cleveland Orchestra32-B

Nathan Lee, 14Sammamish, Washington

Nathan Lee began playing piano at age 6 and currently studies under Sasha Starcevich. Lee’s recent achievements include earning first place in the 2015 e-Piano Junior International Competition and the 2013 MTNA National Junior Piano Perform-ance Competition. He is also a winner of the Seattle Symphony Young Artist Auditions and the Seattle Young Artists Concerto Competition, where he was awarded the Festival Medal. Lee made his orchestral debut at age 9 with the Musikhochschule Münster Orchestra in Germany and has subsequently performed with the Minnesota Orch estra, Seattle Symphony, Coeur d’Alene Sym-phony, Philharmonia Northwest, Ashdod Symphony Orchestra (Israel), and Orquesta Filarmónica de la Uni-versidad de Alicante (Spain), under the batons of Uri Segal, Ludovic Morlot, and Sergei Babayan, among others. Lee has given solo recitals in Italy, Korea, and America and has performed on the Three Genera-tions Concert with Ilana Vered and Sasha Starcevich in Basilica di San Pietro and Sala dei Notari in Italy. He has played in masterclasses given by noted pianists including Jean-Yves Thibaudet, Sergei Babayan, Gary Graffman, Jerome Lowenthal, Peter Frankl, Ilana Vered, Sasha Korsantia, Christopher Elton, Joseph Kalichstein, Mikhail Petukhov, and John Perry. He participates in private and charity events regularly and has taken part in Seattle Symphony Opening Night Galas, sharing the stage with Jean-Yves Thibaudet and Lang Lang to raise funds for music education.

July 22

July 22: Cooper Competition Finalist

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Evren Ozel, 17Minneapolis, Minnesota

Evren Ozel began his musical education at MacPhail Center for Music and has studied piano with Paul Wirth, theory and composition with Sarah Miller, and conduct-ing with Courtney Lewis. He has performed with sev-eral orchestras in the Midwest, including the Minnesota Orchestra. He was a first-prize winner in several state and regional piano, chamber music, and composition competitions. He participated in the Boston University Tanglewood Institute 2013, where he performed at Seiji Ozawa Hall in the Honors Recital as well as in a master-class given by Lang Lang. In 2014, Ozel was a showcase artist on MPR’s Minnesota Varsity and received the fifth prize and the audience prize at the Thomas and Evon Cooper Inter-national Competition that year. The following summer, he attended the Oxford Philomusica Piano Festival and Academy, where he played in masterclasses for Ferenc Rados, Menahem Pressler, and András Schiff. He has re-ceived merit scholarships from the Chopin Foundation of the United States for two consecutive years and was invited to perform on its concert series in Key Biscayne, Florida. In 2016, he was a National YoungArts Winner and also won first prize in the Boston Symphony Or-chestra Concerto Competition. He has performed twice on NPR’s From the Top. He studies at Walnut Hill School for the Arts in Natick, Massachusetts, and at New Eng-land Conservatory.

July 22


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Ryota Yamazaki, 17Koriyama, Japan

Ryota Yamazaki began his piano studies at age 7. By age 9, he won top honors for his age group at thePTNA Piano Competition of Japan, followed by a sec-ond prize in the same competition four years later — competing as a 13-year-old against performers as old as 26. Two years later, he earned the grand prize as a 15-year-old against competition of all ages — the youngest winner in the contest’s history. He earned performances in Tokyo, Okinawa, Osaka, and Tottori and also played Tchaikovsky’s First Piano Concerto at the prizewinners’ concert in March and Prokofiev’s Third Piano Concerto in July 2015. Yamazaki won the gold medal in the junior divi-sion of the 2012 Gina Bachauer International Piano Competition and was first-prize winner at the 2013 Ya-suko Fukuda Scholarship Audition — the highest-levelaudition for young Japanese pianists. He has studied with Maki Yamamoto, Yuko Ninomiya, and William Grant Naboré, founder and artistic director of theInternational Piano Academy Lake Como.

July 22


73Summers@Severance

by SergeiRACHMANINOFFborn April 1, 1873Semyonovo, Russia

died March 28, 1943Beverly Hills,California

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July 22

R A C H M A N I N O F F was born into what had been a wealthy family. Unfortunately, his spendthrift father had squandered much of their wealth, and the forced sale of estates triggered a move to St. Petersburg. One advantage of the relocation was that the artistically inclined young boy now found himself in Russia’s most musical city. Early piano lessons expanded into formal study of piano and composition at the St. Petersburg Conservatory, and later at the Moscow Conservatory, from which he graduated with honors in 1892. Various early successes fol-lowed, both as pianist and as composer. Yet the 1897 premiere of his First Symphony under the appalling leadership of a liter-ally drunken conductor was, in Rachmaninoff’s own words, “a fiasco.” Beaten down by the merciless criticism, and utterly un-willing to risk further humiliation, he swore off composition in favor of performing as a pianist. Three years passed, years of success at the keyboard. Yet Rachmaninoff still held back from composition. At last, his family persuaded him to seek professional help. The young composer began frequent consultations with Dr. Nicolai Dahl, a pioneer in techniques of hypnotism, and, not incidentally, an avid amateur musician. Rachmaninoff later described the experience of his treatment: “I heard the same hypnotic formula repeated day after day while I lay half asleep in an armchair in Dahl’s study: ‘You will begin to write your concerto. You will work with great facility. The concerto will be of excellent quality.’ It was always the same, with-out interruption. Although it may sound incredible, this cure really helped me.” After three months of hypnotic sessions, he again found the courage to compose — and completed his Second Piano Concerto within a few months. Its premiere was given to great acclaim in Moscow on November 9, 1901, with the com-poser himself as soloist. A compositional career was reborn. In gratitude, Rachmaninoff dedicated the score to Dr. Dahl, per-haps the only hypnotist ever to earn such an honor from a major composer. As a virtuoso pianist, Rachmaninoff composed for the in-strument not only according to his own tastes but also accord-ing to his own strengths. For later performers, the results are further complicated by the fact that Rachmaninoff was a tall and lanky man with an astonishing reach to his hands. Pianists

Piano Concerto No. 2 in C minor, Opus 18composed 1900-01


74 The Cleveland Orchestra32-F

Rachmaninoff composed the second and third movements of his Second Piano Concerto in the summer and early autumn of 1900. This incomplete version was heard at a charity concert in Moscow on October 14, with the composer at the keyboard and Alexander Siloti conducting. Rachmani noff finished composing the work’s opening move-ment the following spring. The completed concerto was premiered exactly one year after the earlier preview, on October 14, 1901; Rachmaninoff and Siloti performed with the orchestra of the Moscow Philharmonic Society. This concerto runs about 35 minutes in per-formance. Rachmaninoff scored it for an orchestra with pairs of woodwinds (2 flutes, 2 oboes, 2 clarinets, 2 bassoons), 4 horns, 2 trumpets, 3 trom-bones, tuba, timpani, cymbals, bass drum, and strings.

At a Glance


of small proportions need not apply, and even those of average size will find challenges. The great pianist Vladimir Ashkenazy observed in an interview with Gramophone magazine that for playing Rachmaninoff, he wishes his fingers were a centimeter longer. Moreover, as Rachmaninoff could play both quicksilver, lightning-fast runs and also strong and powerful chords with equal mastery, he includes both in his piano parts, requiring a highly varied technique. For the pianist, it is not music for the faint of heart, yet the rewards are worth the challenge for per-formers and audiences. The first movement of Rachmaninoff’s Concerto No. 2 opens with dark, paired chords for the soloist, building into stormy runs. Only belatedly does the orchestra join in with the first of the main melodies, rich and lyrical, while the soloist pro-vides color and sparkle. As the movement develops, additional melodic themes appear, generally assertive in nature. By contrast, the second movement is gentle, sweetly ro-mantic, like a candlelit dinner. Frequently, Rachmaninoff gives beautiful themes to the woodwinds, making this concerto es-pecially satisfying for this central family in the orchestra. Drama returns in the final movement, with a march-like beat in the first bars, demanding runs for the soloist, and at last a grand, flowing melody to overlie those runs. Rachmaninoff builds a strong sense of motion that drives all the way to the final bars. More often than not, it is the orchestra — not the soloist — that has the melodies, while the soloist colors and underscores the action, drawing the eye and ear, even if it is with the orchestra that a listener is humming. In later years, Rachmaninoff’s reputation as a gifted crafts-man of melodies led various songwriters of the 20th century to borrow his themes for their songs. Those familiar with pop music will find within this concerto the source material for “Full Moon and Empty Arms,” “Ever and Forever,” “If This is Goodbye,” and “This is My Kind of Love.” Of special interest may be the 1975 hit “All By Myself” by Eric Carmen, who is the nephew of Muriel Carmen, who served as a violist in The Cleveland Orchestra from 1951 to 1994.

—Betsy Schwarm © 2016

75Summers@Severance32-J July 22: Cooper International Competition

Music is enough fora lifetime, but a lifetime is not enough for music.

—Sergei Rachmaninoff

EVERY MONTH, you get either . . . Premium Seats to a hand-selected concert (every other month) at Severance Hall or Blossom Music Center. A special Cleveland Orchestra Insider Event, giving you a unique behind- the-scenes look at one of Cleveland’s — and the world’s — cultural gems.

PLUS . . . Special Networking Events, social events, volunteer opportunities, and professional development. 20% off all other Cleveland Orch estra Classical Concerts.

All for just $20 per month.

It’s fun. It’s world-class. It’s for you.Join the Circle. It’s easy to do!Call 216-231-7558 or email [email protected].

For more details, visit clevelandorchestra.com/thecircle.

WHAT DO I GET?

The Circle was created to offer young professionals who love music a new way to enjoy and engage with The Cleveland Orchestra.

“The reason I joined The Circle was to connect with other young professionals who have a mutual appreciation for classical music. And going to a Cleveland Orch-estra concert through my Circle membership was great the first time. I sat with a paleontologist and an architect. We spent the entire time together, and by the night’s end it felt like I’d just spent it with old friends.” —Annie Weiss

SPONSORED BY

77Summers@Severance

by Ludwig vanBEETHOVENborn December 16, 1770Bonn

diedMarch 26, 1827Vienna

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LI K E M A N Y C O M P O S E R S before (and after), Beethoven wrote his concertos for piano and orchestra as vehicles for displaying his own dazzle as a performer. In those times — before radio and recordings and copyright, and when public concerts were less frequent than today — new music was all the rage. Compos-ing your own ensured that you had fresh material to perform. Your biggest hits, from last year or last week, were meanwhile quickly appropriated by others through copied scores and with the best tunes arranged for street organ grinders and local wind ensembles. It is little wonder, then, that Mozart kept some scores under lock and key, and left the cadenzas for many of his con-certos blank, so that only he could fill them in authentically with his own brand of extemporaneous perfection. Beethoven moved to Vienna at the age of 22 in 1792. He’d hoped to get to Europe’s musical capital sooner and to study with Mozart, but family circumstances had kept him at home in Bonn helping raise his two younger brothers (while tempering the boys’ alcoholic father). It was as a performer that Beethoven forged his reputation in Vienna, and within a year he was widely known as a red-hot piano virtuoso. This set the stage for writing his own concertos. For the first three, written between 1795 and 1802, he followed more or less in Mozart’s footsteps with the form. In the 1780s, Mozart had turned the concerto into a fully-realized and independent genre, sometimes churning out three or four each season. But whereas Mozart, over the course of thirty or more works for solo piano or violin, had developed the concerto into sublime products, Beethoven (ultimately creating just five works for piano and one for violin) strived to make the form indi-vidual and handmade again. Mozart created the molds and set the standards, and only occasionally over-filled or over-flowed them. Beethoven at first worked within and around those ear-lier definitions, but the thrust of his musical creativity eventually shattered tradition in order to offer up the first magnificently over-charged concertos of the Romantic 19th century. The Fourth Piano Concerto begins unexpectedly, with piano alone. While today we recognize this as unusual, it is prob-ably impossible for us to understand how totally shocking it was for audiences at the premiere. Even though Mozart’s concertos

Piano Concerto No. 4 in G major, Opus 58composed 1805-06


July 22

78 The Cleveland Orchestra32-J

Beethoven composed his Fourth Piano Concerto in 1805-06 and served as both soloist and conductor in the work’s first perfor-mances, in March 1807 at a semi-private concert in the home of his patron Prince Lobkowitz, followed by the public premiere at the Vienna Akademie on December 22, 1808. The concerto was published in 1808 with a dedication to Beethoven’s pupil, the Archduke Rudolph. This concerto runs about 35 minutes in performance. Beethoven scored each of the move-ments differently: the first movement calls for flute, 2 oboes, 2 clarinets, 2 bas-soons, 2 horns, and strings, plus the solo piano; the second movement utilizes only piano and strings; and the finale augments the first-movement ensemble with 2 trumpets and timpa-ni.

At a Glance


had crystallized the form only twenty years earlier, musical au-diences of the time knew the conventions and were expecting creativity within those boundaries. A concerto always started with an orchestral introduction. The beginning might be lon-ger or shorter, noisy or quiet, but the concerto was ultimately an orchestral genre, with soloist as an invited guest. Here, with Beethoven’s Fourth Concerto, the soloist is instead placed fully in charge of the form — not just in the au-dience’s minds as the expected center of attention, but as full equal to the entire orchestra. Thus is the heroic 19th-century concerto born, in which the soloist became protagonist rather than mere dialogue partner, and the “conversation” between soloist and orchestra takes on a sense of combative clashing and argument far beyond the good-natured sparring that ear-lier concertos had offered as musical entertainment. Not only does the piano begin the concerto, but it starts with unusual gentleness and grace, and “warms up” only gradu-ally. Indeed, the entire concerto seems much more of a personal statement from Beethoven, as soloist and overall composer, than any of his preceding concertos. The opening movement continues at length — at twenty minutes, it is at least a third longer than any that Mozart or Beethoven had previously cre-ated — alternating across the sections of sonata form between a deceptive, gentle playfulness and a more robust outlook. Then in the second movement, the orchestra and soloist almost seem to wander off into different concertos. The orches-tra offers forceful stabs of sound, to which the piano repeatedly responds with introspective musings, as if thinking about some-thing else entirely. Once the bewildered orchestra backs off, however, Beethoven allows the piano to be more or less alone onstage, as if deep in thought. Some sublimely heart-wrenching solo piano passages follow, including a cadenza for right hand alone, before the movement withers to silence. Without pause, we are suddenly in the third-movement finale. Finally, the orchestra and soloist are ready to enjoy play-ing together, and this joyful movement is a delightful rondo of invention and variations built around an initial short march tune. Beethoven carefully varies the lengths of each statement and its response, building up a wonderfully vibrant sense of fun and excitement. A brief cadenza allows a momentary spotlight on the soloist and then, just as at the beginning of the concerto, Beethoven also breaks convention at the end, with the solo part

79Summers@Severance 32-KJuly 22: Cooper International Competition

written through to the final chord in the final bar. Traditionally, the orchestra would have closed out the piece without the so-loist, or with the soloist merely playing along with the tune at the end. (Beethoven’s Fourth isn’t entirely cutting edge in this respect, however, as Mozart had tried a “dual ending” in his last piano concerto.) In the context of listening to any of Beethoven’s five piano concertos and contemplating his innovations and evolution of the artform, it is occasionally worthwhile noting that there is a sixth piano concerto by Beethoven. This is an arrangement that he made (or helped supervise) of his own Violin Concerto, Opus 61, for a generous Italian publisher. Known as Opus 61a, it is infrequently programmed, few soloists have bothered to learn the part, and, admittedly, some portions of it don’t really work. It is, nonetheless, a strangely interesting work to hear in performance or recording — and one sure way for many mod-ern listeners who feel too well-acquainted with Beethoven’s concertos to be startled again, as his audiences were, on hear-ing something unexpectedly familiar but different.

—Eric Sellen © 2016





#SummersSeverance

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EDDIE DANIELS, CLARINET With Darek Oles, bass; Alan Pasqua, piano; and Joe LaBarbera, drums8 PM SATURDAY, SEPTEMBER 17, 2016

ZUKERMAN TRIO Performing Glière, Shostakovich, and Schubert8 PM FRIDAY, SEPTEMBER 30, 2016

ST. LAWRENCE STRING QUARTET Performing Haydn, Beethoven, and John Adams8 PM FRIDAY, NOVEMBER 11, 2016

MASTER CLASSES WITH MARILYN HORNE The legendary singer’s annual visit to work with conservatory students8 PM FRIDAY AND 2 PM SUNDAY, FEBRUARY 17 AND 19, 2017

TAFELMUSIK Performing Bach’s The Circle of Creation8 PM TUESDAY, FEBRUARY 28, 2017

RICHARD GOODE, PIANO Performing Beethoven sonatas spanning the composer’s three style periods4 PM SUNDAY, APRIL 9, 2017

THE CLEVELAND ORCHESTRA Featuring principal cellist Mark Kosower and principal oboist Frank Rosenwein as soloists, with music by Delius, Vaughan Williams, and Strauss8 PM FRIDAY, APRIL 21, 2017

OBERLIN COLLEGE & CONSERVATORY

A CELEBRATION OF THE ARTS AT OBERLIN SINCE 1878.

ARTIST RECITAL SERIES 2016-17

Artists and dates are subject to change. Subscriptions and partial-season packages are available. For ticket information, call 800-371-0178 or visit oberlin.edu/artsguide.

33Summers@Severance

Stars of Tomorrow: Cooper CompetitionThe Thomas and EvonCooper International CompetitionPresented by the Oberlin Conservatory of Music and The Cleveland Orch-estra, the Thomas and Evon Cooper International Competition showcases the most promising young musicians from around the world. In 2016, thirty participants ranging in age from thirteen to eighteen vie for $40,000 in prize money — twice the total purse of previous years — and the opportunity to perform a full concerto with The Cleveland Orchestra at Severance Hall. In addition, the top three prizewinners receive full-tuition scholarships to the Oberlin Con-servatory of Music. The inaugural Cooper Competition for piano was held in 2010, with the competition then alternating between piano and violin since that time. Past champions include Italian pianist Leonardo Colafelice and American pianist George Li, who won the Cooper Com-petition at age 14 and was awarded an Avery Fisher Career Grant in 2016. For more information, visit oberlin.edu/cooper.

Oberlin Conservatory of MusicFounded in 1865 and situated amid the intellectual vitality of Oberlin College, the Oberlin Conservatory of Music is the oldest continuously operating conservatory in America and the only major conservatory dedicated primarily to the education of undergraduate musicians. Hailed as a “national treasure” by the Washington Post, Oberlin was awarded the National Medal of Arts by President Obama. In the past decade alone, Oberlin student ensembles have performed in important concert halls in New York City, Chicago, Shanghai, Beijing, Los Angeles, Cleveland, and Washington D.C. Oberlin graduates hold key roles in major orchestras throughout the world, and many have attained national and international stature as performers, conductors, and composers — among them Jennifer Koh, Steven Isserlis, Jeremy Denk, Elizabeth DeShong, George Walker, Christopher Rouse, David Zinman, Robert Spano, and James Feddeck. Oberlin alumni are founders of ensembles spanning the breadth of music genres, including eighth blackbird, the International Contempo-rary Ensemble, Apollo’s Fire, and the Miró and Pacifica string quartets. For more information, visit oberlin.edu/con.

About the Competition

July 22

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July 22

Jahja Bio

THE THOMAS & EVON

COOPERINTERNATIONAL

COMPETITION The Oberlin Conservatory of Music

and The Cleveland Orchestra extend heartfelt thanks to

Thomas Cooper ’78and Evon Cooper

for their generous support of the Thomas and Evon Cooper

International Competition

www.oberlin.edu/cooper

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Jahja LingThe upcoming 2016-17 season marks Jahja Ling’s thirteenth and final year as music director of the San Diego Symphony. He maintains a career as an internationally re-nowned guest conductor and holds a long collaborative relationship with The Cleve-land Orchestra, where he was a member of the conducting staff from 1984 to 2005. Mr. Ling was resident conductor of the Or-chestra (1985-2002) and served as Blossom Festival Director for six seasons (2000-05). He has returned each year as a guest con-ductor; concerts in 2014 marked the 30th anniversary of his first conducting The Cleveland Orch estra. This is his sixth year in a row leading the Cooper Competition final round concert. Mr. Ling has conducted all of the ma-jor symphony orchestras of North America and many prominent ensembles across Eu-rope and Asia. Acclaimed for his interpre-tation of works in the standard repertoire, he is also recognized for the breadth of contemporary music included in his pro-grams. In 2013, he led the San Diego Sym-phony in concert at Carnegie Hall and on tour in China. Recent and upcoming guest conducting engagements feature perfor-mances on three continents. Jahja Ling’s commitment to working with and developing young musicians is evidenced by his involvement as found-ing music director of the Cleveland Orch-estra Youth Orchestra (1986-93) and the San Francisco Symphony Youth Orchestra (1981-84), as well as work with the student orchestras of Curtis, Juilliard, Schleswig-Holstein, Colburn, and Yale. Mr. Ling’s recordings include a range

of works on labels including Telarc, Azica Records, and Continuum, featuring per-formances with the San Diego Sympho-ny, Florida Orchestra, Royal Philharmonic Orchestra, Cleveland Orchestra, Taiwan Philharmonic, and the Scottish Chamber Orchestra (one of which was nominated for a Grammy Award). Born in Jakarta, Indonesia, of Chinese descent, Jahja Ling began to play the piano at age 4 and stud-ied at the Jakarta School of Music. At age 17, he won the Jakarta Piano Competition and was awarded a Rockefeller grant to attend the Juil-liard School. He continued his education at Yale, studying orchestra con-ducting under Otto-Werner Mueller and earning a doctor of musical arts degree. After Yale, he was awarded a Leonard Bern-stein Fellowship to study at Tanglewood, where Bernstein became the most impor-tant mentor of his musical life. In addition to his years in Cleveland, and as a member of the conducting staff of the San Francisco Symphony, Mr. Ling served as music direc-tor of the Florida Orchestra (1988-2003) and was artistic director of the Taiwan Philhar-monic (1998-2001). As a pianist, he won a bronze medal at the 1977 Arthur Rubin-stein International Piano Master Competi-tion in Israel.

July 22

July 22: Guest Conductor


Robert Shannon (Competition Director and Jury Chair) has presented solo recit-als, ensemble concerts, and masterclasses throughout the United States, Europe, South America, and Asia. His repertoire ranges from Bach to Adams, and he has been noted for penetrating interpretations of recent American music. He has commissioned and premiered works by John Harbison, Charles Wuorinen, Carla Bley, and Steven Dembski, among others. Shannon’s recordings of sonatas by Charles Ives on Bridge Records have received acclaim worldwide. Shannon has performed regularly at the Grand Teton Music Festival, Festival Tibor Varga in Switzerland, Sacramento Festival of American Music, and as guest artist with the Chicago Contemporary Chamber Players. In recent seasons, he has appeared in London, Paris, Glasgow, Rome, Stuttgart, New York, San Francisco, Colombia, and Taiwan. He is professor of piano at the Oberlin Conservatory and director of the Division of Keyboard Studies, and founding director of the Oberlin International Piano Festival and Competition. A 1971 graduate of Oberlin College and Conservatory, he joined the Oberlin faculty in 1976.

Dag Achatz of Switzerland entered the Geneva Conservatory at age 8 and received his diploma with great distinction 10 years later. He won first prize in the Maria Canals International Music Competition in Barce-lona and was a prize winner in the Bavarian Munich and the Viotti Competition in

Vercelli. He has played in more than twenty countries and in musical centers including London, Paris, Berlin, New York, Moscow, Vienna, and Tokyo. Achatz has been soloist with the radio orchestras of Stockholm, Munich, Paris, Stuttgart, Turin, Milan, and with l’Orchestre Pasdeloup of Paris, l’Orchestre de l’Opéra de Monte-Carlo, Leipzig Gewandhaus, Dresden Staatskapelle, and the philharmonic or-chestras of Stockholm, Oslo, Barcelona, and Lisbon. In recent years, he has participated in festivals including Montreux, Munich, Aix-en-Provence, and Savonlinna in Finland. He has made more than twenty recordings for the BIS, CBS, EMI, and Melodiya labels.

Angela Cheng is a celebrated performer on stages around the world and has made regular guest appearances with nearly every orchestra in her Canadian homeland and many throughout the United States. At the invitation of Pinchas Zuker man, Cheng toured China with the Zukerman Chamber Players in 2009, and in subsequent seasons has participated in tours of the United States, Europe, and South America. She has also worked with the musician pedagogue Menahem Pressler. Cheng was a gold medalist of the Arthur Rubinstein International Piano Master Competition and the first Canadian to win the Montreal International Piano Competi-tion. Her debut recording of two Mozart concertos with Mario Bernardi and the CBC Vancouver Orchestra received glowing reviews. She has also recorded an album of

Cooper International Competition Judges

July 22

Cooper Competition Judges

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works by Clara and Robert Schumann, and an all-Chopin album released by Universal Music Canada.

Alvin Chow has appeared throughout North America and Asia as orchestral soloist and recitalist. He has performed at major venues including Washington D.C.’s Kennedy Center, Orchestra Hall in Chicago, Weill Recit-al Hall in New York City, and the Mozarteum in Salzburg, Austria. He has performed ex-tensively in duo-piano recitals with his wife, Angela Cheng, and his twin brother, Alan. A native of Miami, Chow graduated as co-valedictorian at the University of Maryland, where he was a student of Nelita True. He received the Victor Herbert Prize in Piano upon graduation from the Juilliard School, where he studied with Sascha Gorodnitzki. He held the Joseph Battista Memorial Schol-arship at Indiana University as a student of Menahem Pressler. Chow received top prizes in the University of Maryland International Piano Competition and the New York Piano Teachers Congress International Piano Com-petition. He has presented masterclasses and lectures throughout the United States and abroad. He chairs the piano department at the Oberlin Conservatory.

Monique Duphil has been a profes-sor at Oberlin since 1992. She made her debut at 15, with Orchestre de la Société des Concerts. She studied under Jean Doyen, Marguerite Long, and Joseph Calvet at the Conservatoire National Supérieur de Paris. Her career was launched with prizes in four international competitions, including the Chopin Competition in Warsaw.

Duphil has performed on five conti-nents, playing in more than 2,000 recitals, chamber ensembles, and concerts with orchestras worldwide. She has been the featured soloist with dozens of orchestras, including The Cleveland Orchestra, Phila-delphia Orchestra, Orchestre Symphonique de Québec, Warsaw, Bern, Münchner Symphoniker, Paris Orchestre Lamoureux, Caracas, Mexico City, Lima, Rio de Janeiro, Montevideo, Tokyo Metropolitan, Hong Kong, Singapore, New Zealand Symphony Orchestra, Sydney Symphony Orchestra, and Brisbane Symphony Orchestra. A distin-guished chamber musician, Duphil has part-nered with renowned artists including Pierre Fournier, Cho-Liang Lin, Jean-Pierre Rampal, Ruggiero Ricci, and Henryk Szeryng, and performed with the Musikverein Quartet, Salzburg Mozarteum Trio, and the Vienna, St. Petersburg, Haydn, Chester, and American string quartets. Duphil has recorded for the Polydor, Avila, Telefunken, Marco Polo, and Naxos labels.

Stanislav Ioudenitch is widely re-garded for the individuality and musical conviction of his playing. His artistry earned him the gold medal at the 11th Van Cliburn International Piano Competition, where he also earned the Steven De Groote Memorial Award for Best Performance of Chamber Music. A native of Uzbekistan, Ioudenitch has also won prizes at the Busoni, Kapell, Maria Callas, and New Orleans competitions, among other contests. A former student of Dmitri Bashkirov, he also studied with Leon Fleisher, Murray Perahia, Karl Ulrich Schnabel, William Grant Naboré, and Rosalyn Tureck at the International Piano Foundation in Como,



Italy, today known as the International Piano Academy Lake Como. He subsequently became the youngest teacher ever invited to give masterclasses at the academy. A founding member of the Park Piano Trio, Ioudenitch has collaborated with many acclaimed performers and orchestras world-wide, including the Takács, Prazák, Borro-meo, and Accorda quartets. His recordings include a Gold Medalist album from the 11th Van Cliburn International Piano Competition for Harmonia Mundi and Trois Mouvements de Petrouchka produced by Thomas Frost. He also appeared in Playing on the Edge, the Peabody Award-winning documentary for PBS about the 2001 Van Cliburn Competi-tion, and in PBS’s Concerto series.

Lisa Nakamichi is the founding artistic director of the annual Aloha International Piano Festival in Hawaii. She was awarded first prize in the Young Keyboard Artists As-sociation in Michigan, the Japanese Ameri-can Society Music Competition in New York, and the ABC Music Awards in Osaka, Japan, among many other competitive prizes. Nakamichi’s successful Tokyo solo debut recital, sponsored by the Japanese Ministry of Culture, launched her career in Japan and led to a series of solo recitals and concerto performances throughout Japan and Europe and in major cities in the U.S. and Canada. Noted for her performances of Mozart works, Nakamichi is often invited to perform before dignitaries, ambassadors, and diplo-mats in Washington D.C. and Vienna. Since 2000, Nakamichi has served on the artists roster of the Japan Foundation for Regional Art Activities. She has visited prefectures throughout Japan as part of the founda-tion’s engagement programs, holding work-

shops, masterclasses, and performances to promote regional development of arts and culture.

Matti Raekallio has performed com-plete cycles of the 32 Beethoven sonatas, the 10 Scriabin sonatas, and the 9 Prokofiev sonatas, as well as an astounding 62 dif-ferent piano concertos — including all of Beethoven, Brahms, Rachmaninoff, and Prokofiev, in addition to rarities by Busoni, Szymanowski, and Lutoslawski. He is also active as a teacher, and will join the Ober-lin Conservatory faculty beginning in the autumn of 2016, in addition to roles with the Juilliard School and the Hochschule für Musik und Theater in Hanover, Germany. His students include several top prize winners in international piano competitions, among them the first-prize laureates in Leeds, AXA Dublin, London, Vienna (Beethoven), New York (Artists International), and Budapest (Liszt-Bartók). Raekallio’s doctorate at the Sibelius Academy in his native Finland focused on the history of piano fingering. He later be-came a member of an international research team that investigated pianists’ choice of fingering as a psychological process. He received the Léonie Sonning Foundation Grant (Denmark) in 1980 and was recipient of the five-year Artist Grant of the state of Finland three times.

Peter Takács has been hailed by the New York Times as “a marvelous pianist.” He has earned widespread critical and audience acclaim for his penetrating and commu-nicative musical interpretations. A native


39Summers@Severance

of Romania where his early studies were conducted in secrecy from the communist government, Takács eventually immigrated with his parents to Paris and was admitted to the Conservatoire de Paris. Upon his arrival in the United States, he continued his studies at Northwestern University, University of Illinois, and the Peabody Con-servatory, where he completed his training with Leon Fleisher. Today, he is professor of piano at the Oberlin Conservatory, where he has taught since 1976. Takács has performed as a guest soloist with major orchestras around the world, and has earned many honors for his performanc-es, including first prize in the William Kapell International Competition and the C.D. Jack-son Award for Excellence in Chamber Music at the Tanglewood Music Center. Takács’s success as a professor at Oberlin is attested to by the accomplishments of his students, who have won top prizes in competitions in the United States, Canada, Europe, and South Africa. From October 2015 through January 2016, Takács played three acclaimed recitals of Beethoven sonatas at Carnegie Hall as the inaugural featured artist on Carnegie’s Key Pianists series.

Wu Ying was born into a musical family in Shanghai. He graduated from the Hoch-schule für Musik und Darstellende Kunst in Vienna and in the same year became a faculty member at China’s Central Conserva-tory of Music, where he had also earned bachelor’s and master’s degrees. In 1991, the Chinese State Council and the State Education Commission granted Wu Ying a Special Contribution Award. He served for 10 years as a faculty member of the Shanghai Conservatory of Music, where he

was head of the piano department. He later became professor and department head at the Central Conservatory in Beijing. Wu Ying has performed in China and in the Czech Republic, Romania, Austria, Spain, Switzerland, Germany, France, and Greece. He played in a series of live concerts for the BBC and has appeared in recitals at the Enescu Festival in Romania and the Cho-pin Festival in Poland. He has collaborated with many orchestras in China and is fea-tured on solo, chamber music, and concerto albums of those performances.


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121,873Likes on Facebook (as of June 15, 2016)

B Y T H E N U M B E R S

The Orchestra was founded in 1918 and performed its

first concert on December 11.

Seven music directors have led the Orchestra, including George Szell,Christoph von Dohnányi, and Franz Welser-Möst.

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The 2016-17 season will mark Franz Welser-Möst’s 15th

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Over half of The Cleveland Orchestra’s funding each year

comes from thousands of generous donors and spon-

sors, who together make possible our concert presen-

tations, community programs, and education initiatives.

SeveraNCe Hall, “america’s most beautiful concert hall,” opened in 1931

as the Orchestra’s permanent home.

40,000 Over 40,000 young people attend Cleveland Orch estra concerts each year via programs funded by the Center for Future audiences, through student programs and

Under 18s Free ticketing — making up 20% of audiences.

each year

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The Cleveland Orchestra is committed to developing interest in classical music among young people. To demonstrate our success, we are working to have the young-est audience of any orchestra. With the help of generous contributors, the Orch estra has expanded its discounted ticket offer-ings through several new programs. Since inaugurating these programs in 2011, stu-dent attendance has nearly doubled, now representing over 20% of those at Cleveland Orchestra concerts — with 40,000 young people attending each year through a vari-ety of donor-subsidized ticket programs.

UNDER 18s FREE FOR FAMILIE S Introduced for Blossom Music Fes-tival concerts in 2011, our Under 18s Free program for families now includes select Cleveland Orchestra concerts at Severance Hall each season. This program offers free tickets (one per regular-priced adult paid admission) to young people ages 7-17 on the Lawn at Blossom and to the Orchestra’s Fridays@7, Friday Morning at 11, and Sun-day Afternoon at 3 concerts at Severance.

STUDENT TICKE T PROGRAMS In the past four seasons, The Cleve-land Orchestra’s Student Advantage Mem-

bers, Frequent Fan Card holders, Student Ambassadors, and special offers for student groups attending together have been re-sponsible for bringing more high school and college age students to Severance Hall and Blossom than ever before. The Orchestra’s ongoing Student Advantage Program provides opportu-nities for students to attend concerts at Severance Hall and Blossom through dis-counted ticket offers. Membership is free to join and rewards members with dis-counted ticket purchases. A record 7,500 students joined in the past year. A new Student Frequent Fan Card is available in conjunction with Student Advantage membership, offering unlimited single tickets (one per Fan Card holder) all sea-son long. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was cre-ated with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in North-east Ohio.

Building Audiences for the Future . . . Today!

Building Future Audiences


orchestra news T H E C L E V E L A N D O R C H E S T R A

Cleveland Orchestra returns to Public Square for annual free Cleveland event on July 29; concert features American music and fireworks

Star-Spangled Spectacular brought to you by Cuyahoga Arts & Culture

The Cleveland Orchestra returns to Cleveland’s Public Square this summer for its 27th annual free downtown community concert, taking place on Friday evening, July 29. This year’s Star-Span-gled Spectacular is brought to you by Cuyahoga Arts & Culture, and sponsored by KeyBank. The concert celebrates the completion of renovations of Public Square and is the first large-scale public event being held in the new space. Led by guest conductor Loras John Schis-sel, The Cleveland Orchestra’s program features patriotic works and American favorites including works by John Philip Sousa, Rodgers & Ham-merstein, and George Gershwin, and features guest soloist baritone Norman Garrett. The per-formance is capped off with a special fireworks display. As part of the Orchestra’s ongoing partner-ship with ideastream toward providing greater access to music and culture of the region, the Star-Spangled Spectacular performance will be broadcast live on radio stations WCPN (90.3 FM) and WCLV Classical (104.9 FM). “The Orchestra is greatly looking forward to sharing the annual Star-Spangled Spectacu-lar concert with Northeast Ohio,” says André Gremillet, executive director of The Cleveland Orchestra. “This celebration is one of Cleveland’s great annual traditions, and is extra-special with this year’s reopening of the newly renovated and redesigned Public Square. We are grateful to the people of Cuyahoga County, who make this event possible through Cuyahoga Arts & Culture, and to sponsor KeyBank and our other produc-ing partners who make this event possible, in-cluding the City of Cleveland for their collabora-tive effort in hosting this special concert. We are excited to bring Northeast Ohio together with music to celebrate this great city.” “We’re proud to be in our tenth year of sup-porting The Cleveland Orchestra’s annual free downtown concert,” says Karen Gahl-Mills, CEO and executive director of Cuyahoga Arts & Cul-ture. “As we celebrate the tremendous redesign of Public Square, we hope this event will serve

as a reminder of the thousands of free events supported by Cuyahoga Arts & Culture that are available for the community each year.”

About Cuyahoga Arts & Culture Cuyahoga Arts & Culture’s mission is to inspire and strengthen the community by in-vesting in arts and culture. Cuyahoga County residents created Cuyahoga Arts & Culture in 2006 when they approved a tax on cigarettes to support arts and culture in our community. In 2015, the community affirmed its commit-ment to arts and culture by extending the tax through 2027. Cuyahoga Arts & Culture has invested more than $140 million in more than 300 organizations to support thousands of enriching arts and culture experiences in every corner of the county. For more information, visit cacgrants.org.

Concert Start and Pre-Concert The concert begins at 9:00 p.m., with pre-concert activities starting at 6:00 p.m. Admis-sion is free, with special transportation options offered through RTA. Fireworks follow the concert, weather permitting.

Cleveland Orchestra News

43Summers@Severance


Cleveland Orchestra News

Cleveland Orchestra joins together with Cleveland Museum of Art for this summer’s neighborhood residency “At Home” in Hough Collaborations with community partners provide music and arts opportunities all summer long The Cleveland Orchestra is joining with the Cleveland Museum of Art to celebrate music and art in Hough, an historic neighborhood located between downtown Cleveland and University Circle. This collaborative work between two of Ohio’s premier cultural organizations is designed to create and strengthen partnerships with local communities to develop new and meaningful ways to enliven Northeast Ohio with arts and music. Both arts institutions are joining with Hough residents to celebrate music and art in the neighborhood throughout the summer. One highlight of the activities in Hough is a free public concert by The Cleveland Orchestra, led by Cleveland Orchestra associate conductor Brett Mitchell, on Thursday evening, August 11. The concert will be shared across Northeast Ohio via live broadcast on radio and online by ideatream® (via WCLV Classical 104.9 and ideastream’s website), and with a television rebroadcast later in August on WVIZ PBS. Neighborhood tickets for the free community concert are being distributed throughout Hough beginning on Monday, July 11, 2016. The concert takes place at East Professional Center (formerly East High School). In collaboration with the Hough community, the August 11 performance will also showcase visual and musical talents of neighborhood citizens, with a display of photography from the Cleveland Museum of Art’s yearlong centennial selfportrait project. The portraits on August 11 feature Hough residents, displayed with banners created by Hough community groups and Cleveland Museum of Art staff. An additional banner will be produced by community members during “A New Day in Hough,” an annual tradition started by the late councilwoman Fannie Lewis, taking place this year at League Park on August 6. “The Cleveland Orchestra is making music all summer long with our Hough community partners,” says Joan Katz Napoli, the Orchestra’s direc

tor of education and community programs. “We have programs in four different centers to help teach the playing of musical instruments, for real handson experience and understanding. Its exciting and fun to watch the thrill of kids learning by doing.” To learn more, visit clevelandorchestra.com.


Star-Spangled Spectacular brought to you by Cuyahoga Arts & Culture

This summer, both music and visual arts programs are tak-ing place at Hough community centers to help demonstrate the power of the arts to enrich lives.

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August 12

Summer Classics: Mozart & More

wolfgang amadè mozart Chaconne from the ballet music, K367 (1756-1791) for the opera Idomeneo

johann sebastian bach “Exult in God in Every Land” (1685-1750) Cantata BWV 51 1. aria: “Jauchzet Gott in allen Landen” 2. recitative: “Wir beten zu dem Tempel an” 3. aria: “Höchster, mache deine Güte” 4. chorale: “Sei Lob und Preis mit Ehren” 5. finale: “Alleluja”

KARINA GAUVIN, soprano MICHAEL SACHS, trumpet

george frideric handel “Let the Bright Seraphim” (1685-1759) from the oratorio Samson KARINA GAUVIN, soprano MICHAEL SACHS, trumpet

mozart Symphony No. 29 in A major, K201 1. Allegro moderato 2. Andante 3. Menuetto: Allegretto — Trio 4. Finale: Allegro con spirito

August 12: Mozart & More

Severance Hall — Cleveland, Ohio Friday evening, August 12, 2016, at 7:00 p.m.

T H E C L E V E L A N D O R C H E S T R A BERNARD LABADIE , conductor



Bernard LabadieCanadian conductor Bernard Labadie is a specialist in Baroque and Classical reper-toire. He serves as music director of Les Violons du Roy and La Chapelle de Qué-bec, founded by him in 1984 and 1985 respectively, with whom he regularly tours Canada, the United States, and Europe. They are frequent guests at the major ven-

ues and festivals and recent ap-pearances have included the Salz burg Festi-val, New York’s Carnegie Hall and Lincoln Cen-ter, Disney Con-cert Hall in Los Angeles, Wash-ington D.C.’s Kennedy Center, London’s Barbi-

can Centre, Amsterdam’s Concertgebouw, and the Philharmonie in Berlin. Mr. Labadie made his Cleveland Or-chestra debut in April 2010. He is a regu-lar guest with the major North American orchestras, and appears frequently with the orchestras of Los Angeles, New York, and Philadelphia, as well leading those of Atlanta, Boston, Chicago, Detroit, Houston, Montreal, San Francisco, St. Louis, Toronto, and Vancouver, and with the New World Symphony in Miami, Saint Paul Chamber Orchestra, and the Los Angeles

Chamber Orchestra. He also works regularly in Europe and Asia, with recent and upcoming en-gagements including the Bavarian Radio Symphony in Munich, Amsterdam’s Royal Concertgebouw Orchestra, Orchestre Philharmonique de Radio France in Paris, and the BBC Scottish Symphony Orches-tra, as well as the Swedish Radio Orchestra, Finnish Radio Orchestra, Hong Kong Phil-harmonic, Orchestre Philharmonique de Strasbourg, Swedish Chamber Orchestra, and Norwegian Chamber Orchestra An experienced opera conductor, Mr. Labadie was music director of L’Opéra de Québec (1994-2003) and L’Opéra de Montréal (2002-2006). Guest engage-ments have included Handel’s Orlando for Glimmerglass Opera, Mozart’s Così fan tutte at New York’s Mostly Mozart Festival, Handel’s Lucio Silla for Santa Fe Opera, and Mozart’s The Magic Flute with New York’s Metropolitan Opera and with Cincinnati Opera. Bernard Labadie’s discography in-cludes albums on the ATMA, Brilliant Clas-sics, Dorian, Hyperion, and Virgin Classics labels. He studied at the School of Music of Laval University in Quebec City, and the conservatories of Montreal and Quebec. His honors include being named an Officer of the Order of Canada and Chevalier de l’Ordre National du Québec.

August 12: Conductor

August 12

47Summers@Severance Introducing the Music

B A R O Q U E A N D C L A S S I C A L . This final Summers@Severance concert of the season takes us on a journey back to the 18th century — and samplings from three of the era’s greatest composers: Bach, Handel, and Mozart. The evening opens and closes with works by Mozart, from his first mature opera and then one of his first truly masterful symphonies. The ballet music from Idomeneo, premiered in 1780, offers a kind of overture for tonight’s concert — taken from the very ending of the opera, this joyous dance music celebrates that everything in the storyline has indeed ended hap-pily. There is poise, contrast, and a vivid drive here, utterly delightful. In the middle of the concert are two works showcasing two soloists. In the space of a dozen years, in the 1730s and ’40s, both Bach and Handel composed spectacular works for soprano and trumpet, supported by strings, both with sacred texts, and both express-ing celebration and joy. They had almost no knowledge of each other’s work, but they were experienced composers in their special fields and knew precisely how to exploit the glo-rious potential of the soprano voice and the trum-pet’s specially brilliant qualities. Bach asks more of his trumpeter than Handel and prefers to interweave his soloists in constantly flowing counterpoint, while Handel creates a strikingly dramatic effect by having voice and trumpet stop the music dead and respond to each other, each bare and unaccompanied. The evening concludes with Mozart’s Symphony No. 29, from 1774. The composer was just 18 years old, but clearly, from the numbering, he’d already penned many a symphonic work. Here, however, his mature artistry rises to its full height, beyond classic exercises and drafts, to demonstrate just why — two-and-a-half centuries later — his name and music are synonymous with classical style and musical greatness. —Eric Sellen

I N T R O D U C I N G T H E C O N C E R T

Artistic Showcase, Classical Style

August 12


T H E O P E R A Idomeneo is generally regarded as the first of Mozart’s stageworks to reveal his full dramatic genius. Com-missioned by the Munich court, the 24-year-old Mozart, still feeling undervalued in Salzburg, was determined to make a strong impression, and he poured into this opera all the pas-sion and resourcefulness at his command. The musicians were known to him, because he had worked with them in Mannheim before they were transferred to Munich. By general consent of the time, they were some of the finest musicians in Germany. Mozart was given a French libretto by Antoine Danchet, adapted by the Italian Gianbattista Varesco. This accounts for two French elements of the opera that were unusual in an Ital-ian opera seria at that time — the chorus and the ballet. For the chorus, Mozart wrote some of his most powerfully expressive music, and for the ballet he composed a sequence of dances to be performed at the conclusion of the opera to celebrate the happy ending engineered by the gods. The first of the five ballet movements, the Chaconne takes its main theme from the hearty chorus that has just closed the opera. It is not based on a recurrent bass figure, which is what earlier composers, including Bach, would have understood as a “Chaconne.” It alternates loud sections marked “pour le ballet,” for all the dancers, with a “pas de deux” and a “pas seul” for the quieter sections. A middle slower section, marked Larghetto, comes between repetitions of ideas from the main “chaconne.” It is very rare for modern productions of the opera to in-clude the ballet, so a chance to hear this music in a concert set-ting is more than welcome.


August 12

Chaconne, K367, from the opera Idomeneocomposed 1780

Mozart composed his opera Idomeneo, re di Creta [Idome-neo, King of Crete], in 1780, utilizing a libretto adapted by Gianbattista Varesco from a French text from 1712 by Antoine Danchet. Mozart’s opera was commissioned by Karl The-

odor, Elector of Bavaria, and premiered in Munich on January 29, 1781. This ballet music runs about 8 minutes in performance. Mozart’s orchestratation calls for 2 flutes, 2 oboes, 2 bassoons, 2 trumpets, timpani, and strings.

At a Glance

by Wolfgang Amadè MOZARTborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna


T H I S C A N TATA stands apart from the bulk of Bach’s church cantatas in requiring both a soprano soloist and a trumpet solo-ist, each of exceptional virtuosity. It must have been written for a festive occasion with particular performers in mind. And be-cause none of the boy trebles in Bach’s church choirs would be likely to manage the range and breath control of the solo part, there is a strong possibility that it was written for somewhere other than Leipzig — perhaps for the court of Weissenfels, whose Duke had commissioned a hunting cantata from Bach in 1713 and continued to show his support for many years. A female soprano, perhaps someone experienced in opera, could have taken on the solo part on such an occasion. Sometime later, Bach wrote on the cantata’s score “for the fifteenth Sunday after Trinity,” and perhaps it was performed in Leipzig on that day in 1730, even though its text is not related to the usual daily readings for that time of year. The trumpet of the time was a coiled instrument without valves, which made huge demands on any player’s lungs and the precision of his lips. Bach’s best trumpeter in Leipzig was Gottfried Reiche, evidently a star performer, and most probably the player for whom Cantata No. 51 was written. In 1730, he was 63 years old. He was to die three years later, only one day after playing a different Bach cantata for a grand public ceremony. A chronicle of the time reported that “he suffered great strains from playing on the previous day at the royal music, and the smoke from the torches had also caused him much discomfort.” Like all cantatas, the work alternates arias and recitative, and it incorporates a chorale melody in the last movement. Both arias are in the three-section da capo form — meaning literally “from the beginning” — with middle sections that continue with similar music but in a different key before returning to repeat the opening material. With its forthright opening theme based on a C-major chord, the first aria resembles a concerto, and its jubilant character is reflected in the brilliant exchanges between singer, trumpet, and violins. In the middle section, much more text is set, and the mention of “Kreuz und Not” [suffering and distress] justifies the minor keys that normally govern the middle sections of such da capo arias. The Recitativo — a form that features the “reciting” of words,

Cantata No. 51: “Exult in God in Every Land”composed 1727-31

August 12

by Johann SebastianBACHborn March 21, 1685Eisenach, Saxe-Eisenach, Germanydied July 28, 1750Leipzig

50 The Cleveland OrchestraSung Text

with less sense of a tune or melody, and without repetition — is in two parts. The first is accompanied by the strings, the second is an arioso section with continuo alone — “continuo” being an accompanying part of a bass line and chords, often played on a keyboard instrument along with one or two low stringed in-struments. This prepares for the second aria, which is also for soprano and continuo alone. It reverses the pattern of the first aria in setting the main part in the minor key, and the middle section in major. The Chorale brings to mind a Double Concerto when two solo violins launch out into a playful exchange, seemingly inex-haustible, over which the soprano calmly declaims the separate lines of the chorale “Sei Lob und Preis mit Ehren” [May there be glory and praise with honor]. The melody for this, by Johann Kugelmann (1495-1542), dates back to the beginning of the Lu-theran Reformation. The singer is, as the saying goes, keeping her powder dry for the bravura explosion of the “Alleluja” which concludes the cantata. Trumpet and full strings return, and Bach at his most breathtakingly brilliant rejoices in the power of music to give praise to the Almighty.


1. AriaJauchzet Gott in allen Landen!Was der Himmel und die Weltan Geschöpfen in sich hält,müssen dessen Ruhm erhöhen,und wir wollen unserm Gottgleichfalls jetzt ein Opfer bringen,dass er uns in Kreuz und Not,allezeit hat beigestanden.Jauchzet Gott in allen Landen!

Exult in God in every land!In heaven and earthall creatures he has createdmust exalt his glory,and we will to our Godalso now bring an offering,because in suffering and distresshe has always stood with us.Shout for joy to God in all lands!

Bach wrote this church cantata for general use (not for a particular date in the church calendar) sometime between 1727 and 1731. At some point he marked the score for the “fifteenth Sunday after Trinity,” and it may have been performed for that day on September 17, 1730. It may also have been performed earlier for a special court occasion. This work runs about 20 minutes in performance.Bach scored it for strings and continuo, with solo soprano and trumpet.

At a Glance

“Exult in God in Every Land”

51Summers@Severance

2. RecitativeWir beten zu dem Tempel an,da Gottes Ehre wohnet,da dessen Treu’, so täglich neu, mit lauter Segen lohnet.Wir preisen, was er an uns hat getan.Mss gleich der schwache Mundvon seinen Wundern lallen, so kann ein schlechtes Lobihm dennoch wohlgefallen.

3. AriaHöchster, mache deine Güte ferner alle Morgen neu.

So soll vor die Vatertreu’ auch ein dankbares Gemüte durch ein frommes Leben weisen,dass wir deine Kinder heissen.

4. ChoraleSei Lob und Preis mit EhrenGott Vater, Sohn, heiligen Geist!Der woll’ in uns vermehren,was er uns aus Gnaden verheisst,dass wir ihm fest vertrauen,gänzlich uns lass’n auf ihn,von Herzen auf ihn bauen,dass uns’r Herz, Mut und Sinnihm festiglich anhangen;drauf singen wir zur Stund’:Amen! wir werd’ns erlangen,glaub’n wir aus Herzensgrund.

5. AllelujaAlleluja, alleluja!

We pray in the templewhere God’s honor dwells,where daily faithfulness, renewed each day,is rewarded by grace.We praise what he has done for us,even as our weak mouth stammers in the face of his miracles.Even so, poor praise can still please him.

Almighty God, your goodnessis renewed every morning.

Thus to your fatherly loveshall a grateful conscience through a devout life showthat we may be called your children.

May there be glory and praise with honorfor God the Father, Son, and Holy Ghost!May he increase in us what he promises through his grace,that we can firmly put our trust in himand rely on him completely.Lean on him in our heartsso that our heart, spirit, and mindshall depend steadfastly on him.Thus we now sing:Amen! We shall succeedbelieving from the bottom of our hearts.

Alleluja, Alleluja!

Sung Text

51Summers@Severance

2. RecitativeWir beten zu dem Tempel an,da Gottes Ehre wohnet,da dessen Treu’, so täglich neu, mit lauter Segen lohnet.Wir preisen, was er an uns hat getan.Mss gleich der schwache Mundvon seinen Wundern lallen, so kann ein schlechtes Lobihm dennoch wohlgefallen.

3. AriaHöchster, mache deine Güte ferner alle Morgen neu.

So soll vor die Vatertreu’ auch ein dankbares Gemüte durch ein frommes Leben weisen,dass wir deine Kinder heissen.

4. ChoraleSei Lob und Preis mit EhrenGott Vater, Sohn, heiligen Geist!Der woll’ in uns vermehren,was er uns aus Gnaden verheisst,dass wir ihm fest vertrauen,gänzlich uns lass’n auf ihn,von Herzen auf ihn bauen,dass uns’r Herz, Mut und Sinnihm festiglich anhangen;drauf singen wir zur Stund’:Amen! wir werd’ns erlangen,glaub’n wir aus Herzensgrund.

5. AllelujaAlleluja, alleluja!

We pray in the templewhere God’s honor dwells,where daily faithfulness, renewed each day,is rewarded by grace.We praise what he has done for us,even as our weak mouth stammers in the face of his miracles.Even so, poor praise can still please him.

Almighty God, your goodnessis renewed every morning.

Thus to your fatherly loveshall a grateful conscience through a devout life showthat we may be called your children.

May there be glory and praise with honorfor God the Father, Son, and Holy Ghost!May he increase in us what he promises through his grace,that we can firmly put our trust in himand rely on him completely.Lean on him in our heartsso that our heart, spirit, and mindshall depend steadfastly on him.Thus we now sing:Amen! We shall succeedbelieving from the bottom of our hearts.

Alleluja, Alleluja!

Sung Text


Karina GauvinRecognized for her work in both Baroque and modern repertoire, Canadian soprano Karina Gauvin is making her Cleveland Orchestra debut with this evening’s con-cert. She studied at the Conservatoire de musique du Québec à Montréal and Royal Scottish Academy of Music and Drama. Ms. Gauvin’s engagements in North Amer-ica and Europe include performances with the symphony orchestras of Bordeaux, Chicago, Montreal, New York, Rotterdam, and San Francisco, as well as the baroque orchestras of Accademia Bizantina, Akad-emie für Alte Musik Berlin, Les Talens Lyriques, Les Violons du Roy, and Tafel-musik Baroque Orchestra. She has also appeared with the Bavarian State Opera, Glyndebourne Festival, Nederlands Op-era, and at Paris’s Théâtre des Champs-Ély-sées. Her current and upcoming schedule includes performances at Madrid’s Teatro Real and with the Danish National Sym-phony and Radio France Philharmonic Orchestra. Karina Gauvin’s discography of more than forty titles has won many awards, and her performances with the Boston Early Music Festival Orchestra earned Grammy nominations in 2007 and 2009. For more information, visit www.karinagauvin.com.

Michael Sachs Principal Trumpet Robert and Eunice Podis Weiskopf Endowed Chair Principal Cornet Mary Elizabeth and G. Robert Klein Endowed Chair The Cleveland Orchestra

Michael Sachs joined The Cleveland Orch-estra as principal trumpet in 1988. His many performances as soloist with the Orchestra include the world premieres of trumpet concertos by John Williams and Michael Hersch (both commissioned by the Orchestra for Mr. Sachs), the United States and New York premieres of Hans Werner Henze’s Requiem, and, most recently, the world premiere of Mat thias Pintscher’s Chute d’Étoiles. Mr. Sachs serves as chair-man of the brass division and head of the trumpet department at the Cleveland Institute of Music. In addition to serving as a faculty member of leading summer festivals and, since 2015, as music direc-tor of Strings Music Festival in Steamboat Springs, Colorado, he presents masterclass-es and workshops at conservatories and universities throughout the United States, Europe, and Asia as a clinician for Conn-Selmer. He was extensively involved in the acoustic design and play testing for the creation of the new Artisan line of Bach Stradivarius trumpets. He holds degrees from UCLA and Juilliard. For more infor-mation, visit www.michaelsachs.com.

August 12

Soloists


August 12

T H E O R AT O R I O S A M S O N was composed at great speed in 1741 immediately after the completion of Messiah (which is to-day well-known for taking so little time to come into the world). Handel was preparing for his visit to Dublin, where Messiah was first performed but Samson was not. He reserved this other work for his return to London, where it was overwhelmingly well re-ceived, London taste having moved decisively on from opera in Italian to oratorios in English. Handel’s libretto for Samson was by Newburgh Hamilton, based on Milton’s Samson Agonistes and the biblical story in the book of Judges. The oratorio is immensely long, but the end is worth waiting for — with Samson’s final triumph over the Phi-listines, by bringing down the temple and destroying them all (including himself) celebrated by an Israelite woman singing “Let the Bright Seraphim,” a brilliant soprano solo with a solo trumpet in support to represent the seraphim’s “loud, uplifted angel trumpets.” At the first performance, this aria was sung by Cristina Maria Avoglio, who had sung the immortal soprano solos in Messiah at its first performance in Dublin the year before. The aria is in da capo (A-B-A) form, just like the arias in Bach’s cantata on this evening’s concert. In the middle section, the trumpet takes a rest and the music turns to the minor key for the second pair of lines of verse. The main section is then repeated, often with additional ornaments from the singer (and sometimes the trumpet) on the second time round.


Let the bright seraphim in burning row, Their loud, uplifted angel trumpets blow. Let the cherubic host, in tuneful choirs, Touch their immortal harps with golden wires.

“Let the Bright Seraphim”from the oratorio Samsoncomposed 1741

by George FridericHANDELborn February 23, 1685Halle, Prussia

diedApril 14, 1759London

Handel wrote his oratorio Samson in 1741 to a libretto by Newburgh Hamilton. It was first performed on February 18, 1743, at Covent Garden in London. This aria runs about 5 minutes in performance.Handel scored it for strings and continuo, with solo soprano and trumpet.

At a Glance


Mozart wrote this symphony in April 1774. The date of the first performance is unknown. This symphony runs about 30 minutes in perfor-mance. Mozart scored it for 2 oboes, 2 horns, and strings.

At a Glance

Symphony No. 29 in A major, K201composed 1774

T H E D AT E I N S C R I B E D at the head of the autograph score of this symphony — April 6, 1774 — was later crossed out, leaving us a bit of mystery or uncertainty. The eighteen-year-old Mozart probably intended the symphony for performance in Salzburg at that time, although no record of a performance survives. In January 1783, Mozart asked his father to send the symphony to him in Vienna, so it is likely to have been performed at that time. What composer, after all, could lay aside and forget so pro-found and yet so simple a work as this? It has the intimacy of chamber music (only oboes and horns support the strings) with the drive of symphonic music. All four movements are on an equally high level, and from the very opening measures listeners are aware of the confidence and effortless craft that imbue every page of the symphony. At the top of the first movement, there is a plunging octave from the first note to the second, with this simplest interval made to sound full of hidden wealth, and the weightless harmonies that float beneath it. This is striking at the opening of a symphony, and there is, afterall, no brassy fanfare here as a call to attention. But then, when the winds enter and the dynamic switches from soft to loud, the whole individuality of the theme is transformed and its potential for canon/fugue or imitation is proclaimed in the close-pursuing of the bass line. Such an opening page had never been imagined before. Mozart follows it with lighter passages and simpler themes, but the tone is set. A more searching treatment of his opening theme would have provided good material for a normal development section of the movement, but he ignores the opportunity and in-troduces some new themes with disarming casualness. A coda is then added at the end to allow the plunging octave to be heard again, just briefly, in three-part imitation. The second movement is marked Andante. “Andante” in Mozart’s time implied an easy walking gait, not strictly a slow tempo, and the pace here moves comfortably forward over a gently striding bass. The second violins are almost as important as the firsts in this long, luxurious movement in full sonata form (at its simplest: introduction-exposition-development-recapitula-tion) with both repeats marked (but rarely observed in modern performances) and a lovely coda section added at the end. A

About the Music

August 12

by Wolfgang Amadè MOZARTborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna


special touch is found here — the oboes and horns attempt the main theme on their own for the first time, giving the violins time to discard their mutes for their final definitive statement. The dotted rhythms of the minuet third movement might be regarded as playful, except that a more ferocious use is found for them immediately after the double bar (the end of the first section) — an effect Beethoven borrowed without shame in his Second Symphony. The movement’s more relaxed Trio section has been compared to Chopin for its graceful style. The plunging octave of the opening returns to launch the finale fourth movement, and again the second violins maintain their near-equality with the firsts. They are given the second subject while the first violins juggle with grace notes alternately above and below the note, and whenever Mozart throws in that furious, naked rising scale the seconds go along, too. Once again there is a coda, an extension to the movement that Mozart seems to have been especially fond of at this point of his life. But then he almost always, throughout his life, seems to have still had one more point to make, and to have found a way to make it with the utmost clarity and force.


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.





#SummersSeverance

56 The Cleveland OrchestraMusical Arts Association

TE Trustee Emeritus

NON-RESIDENT TRUSTEES Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Richard C. Gridley (SC) Loren W. Hershey (DC)

Herbert Kloiber (Germany)

TRUSTEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95Richard J. Bogomolny 1995-2002, 2008-09James D. Ireland III 2002-08

RESIDENT TRUSTEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer

Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. KramerTE

Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. OateyTE

Katherine T. O’Neill The Honorable John D. Ong Rich Paul Larry Pollock Alfred M. Rankin, Jr.

Clara T. RankinAudrey Gilbert Ratner Charles A. RatnerZoya ReyzisBarbara S. Robinson Paul RoseSteven M. RossRaymond T. SawyerLuci ScheyHewitt B. Shaw Richard K. SmuckerJames C. SpiraR. Thomas StantonJoseph F. Toot, Jr.Daniel P. WalshThomas A. WaltermireGeraldine B. WarnerJeffery J. WeaverMeredith Smith WeilJeffrey M. WeissNorman E. WellsPaul E. Westlake Jr.David A. Wolfort

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry PollockAlfred M. Rankin, Jr.Audrey Gilbert RatnerBarbara S. Robinson

THE MUSICAL ARTS ASSOCIATION as of June 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director André Gremillet, Executive Director

HONORARY TRUSTEES FOR LIFE Gay Cull Addicott Allen H. Ford Robert W. Gillespie

Dorothy Humel Hovorka Robert P. Madison Robert F. Meyerson

James S. Reid, Jr.

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CONCERTS

Celebrating Life & Music The Cleveland Orchestra performs all varieties of music, gathering family and friends together in celebration of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life.

From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . .

From performances for crowds of students, in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . .

From holiday gatherings with favorite songs . . . to the wonder of new compositions performed by music’s rising stars . . .

Music inspires. It fortifies minds and electrifies spirits. It brings people together in mind, body, and soul.

Each year, thousandsof Northeast Ohioans experience The ClevelandOrchestra for the first time.Whether you are a seasoned concertgoer or a first-timer,these pages give you waysto learn more or get involvedwith the Orchestra and to explore the joys of music further.

Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of sharing the value and joy of music.

To learn more, visit clevelandorchestra.com

PHOTOGRAPHY BY ROGER MASTROIANNI

57Summers@Severance

THE MUSICAL ARTS ASSOCIATION as of June 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director André Gremillet, Executive Director

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EXCELLENCE

Ambassador to the WorldThe Cleveland Orchestra is one of the world’s most acclaimed and sought-after performing arts ensembles. Whether performing at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of community with them everywhere the Orchestra performs. The ensemble’s ties to this region run deep and strong:

• Two acoustically-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and continue to shape the artistic style of the ensemble.

• More than 60,000 local students participate in the Orchestra’s education programs each year.

• Over 350,000 people attend Orchestra concerts in Northeast Ohio annually.

• The Cleveland Orchestra serves as Cleveland’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

A FOCUS ON YOUNG PEOPLE

Changing LivesThe Cleveland Orchestra is building the youngest orchestra audience in the country. Over the past five years, the number of young people attending Cleveland Orchestra concerts at Blossom and Severance Hall has more than doubled, and now makes up 20% of the audience!

• Under 18s Free, the flagship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gift from the Maltz Family Foundation), makes attending Orchestra concerts affordable for families.

• Student Advantage and Frequent FanCard programs offer great deals for students.

• The Circle, our new membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events.

• The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers @Severance) draw new crowds to Severance Hall to experience the Orch-estra in a context of friends and musical explorations.

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EDUCATION

Inspiring MindsEducation has been at the heart of The Cleve land Orchestra’s community offerings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full potential. A child’s education is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied education programs.

The Orchestra’s offerings impact . . .

. . . the very young, with programs including PNC Musical Rainbows and PNC Grow Up Great.

. . . grade school and high school students, with programs including Learning Through Music, Family Concerts, Education Concerts, and In-School Performances.

. . . college students and beyond, with programs including musician-led master classes, in-depth explorations of musical repertoire, pre-concert musician interviews, and public discussion groups.

YOUR ORCHESTRA

Building CommunityThe Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio commun-ity. Each year, we seek new ways to meaningfully impact Cleveland’s citizens.

• Convening people at free community concerts each year in celebration of our country, our city, our culture, and our shared love of music.

• Immersing the Orchestra in local commun ities with special performances in local businesses and hotspots during our annual “At Home” neighborhood residencies.

• Collaborating with celebrated arts institutions — from the Cleveland Museum of Art and PlayhouseSquare to Chicago’s Joffrey Ballet — to bring inspirational performances to the people of Northeast Ohio.

• Actively partnering with local schools, neighborhoods, businesses, and state and local government to engage and serve new corners of the community through neighborhood residencies, education offerings, and free public events.


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Get InvolvedThe Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by getting involved.

• Over 100,000 friends of The Cleveland Orchestra participate online in our news, concerts, and performances through Facebook and Twitter.

• The Women’s Committee of The Cleveland Orchestra and the Blossom Friends of The Cleveland Orchestra support the Orchestra through service and fundraising. For further information, please call 216-231-7557.

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Supporting ExcellenceThe Cleveland Orchestra is in the midst of the Sound for the Centennial Campaign, a ten-year initiative that seeks to sustain the musical excellence and community engagement that sets this ensemble apart from every other orchestra in the world.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, education presentations, and community programs. Each year, thousands of generous people make donations large and small to sustain the Orchestra for today and for future generations.

Every dollar donated enables The Cleveland Orchestra to play the world’s finest music, bringing meaningful experiences to people throughout our community — and acclaim and admiration to Northeast Ohio.

To learn more, visit clevelandorchestra.com/donate



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A GENEROUS COMMUNITY

Supporting Excellence


GET INVOLVED

Learn MoreTo learn more about how you can play an active role as a member of The Cleveland Orchestra family, visit us at Blossom or Severance Hall, attend a musical performance, or contact a member of our staff.

VISIT Severance Hall 11001 Euclid Avenue Cleveland, OH 44106

Blossom Music Center 1145 West Steels Corners Road Cuyahoga Falls, OH 44223

CONTACT USAdministrative Offices: 216-231-7300

Ticket Services: 216-231-1111 or 800-686-1141 or clevelandorchestra.comGroup Sales: 216-231-7493 email [email protected]

Education & Community Programs: phone 216-231-7355 email [email protected] Orchestra Archives: 216-231-7356 email [email protected]: 216-231-7372 email [email protected]: 216-231-7557 email [email protected]

Individual Giving: 216-231-7556 email [email protected] Giving: 216-231-8006 email [email protected] & Foundation Giving: phone 216-231-7523 email [email protected]

Severance Hall Rental Office: phone 216-231-7421 email [email protected]

ACTIVE PARTICIPATION

Making MusicThe Cleveland Orchestra passionately believes in the value of active music-making, which teaches life lessons in teamwork, listening, collaboration, and self expression. Music is an activity to participate in directly, with your hands, voice, and spirit.

• You can participate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Festival Chorus, and the Cleveland Orchestra Youth Orchestra.

• Each year, the Orchestra brings people together in celebration of music and events, giving voice to music at community singalongs and during holiday performances.

• We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio.

Music has the power to inspire, to transform, to change lives. Make music part of your life, and support your school’s music programs.

61Summers@Severance


h a i l e d a s o n e of the world’s most beau-tiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper edito-rial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Associa-tion, 1921-1936) and his wife, Elisabeth, donated the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant Georgian exterior was constructed to harmonize with the classi-cal architecture of other prominent build-ings in the University Circle area. The interior of the building reflects a combina-tion of design styles, including Art Deco, Egyptian Revival, Classicism, and Mod-ernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000.

11001 Euclid Avenue, Cleveland, Ohio 44106 s e v e r a n c e h a l l . c o m

late seatingAs 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, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

Pagers, Cell Phones, and wristwatCh alarmsPlease silence any alarms or ringers on pagers, mobile phones, or wristwatches prior to the start of the concert.

PhotograPhy, VideograPhy, and reCordingAudio recording, photography, and videog-raphy are prohibited during performances at Severance Hall. Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. As courtesy to others, please turn off any phone of device that makes noise or emits light.

in the eVent of an emergenCyContact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

age restriCtionsRegardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra 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: Musical Rainbows, (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

the CleVeland orChestra storeA wide variety of items relating to The Cleve-land Orchestra — including logo apparel, com-pact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and at intermission. The Store is also open Tuesday thru Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit clevelandorchestra.com.

Severance Hall


A Place to Be Remembered . . . The Cleveland Orchestra is entering the public phase of a major fund-raising eff ort, the Sound for the Centennial Campaign. The campaign is focused on adding more value to our community by securing nancial strength for the Orchestra’s second century. The campaign is building the Orch estra’s endowment through cash gi� s and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. Campaign supporters are eligible for special and unique recogni� on. From concert dedica� ons and program book recogni� on to limited-term or permanent naming opportuni� es of musician chairs. Plus unique op� ons to name spaces and seats in Severance Hall or Blossom Music Center. All available only by suppor� ng The Cleveland Orchestra.

You too can play a cri� cal part in securing The Cleveland Or ch estra’s role in making the Northeast Ohio community great. To learn more about receiving special recogni� on through the Sound for the Centennial Campaign, please contact the Philanthropy & Advancement Department by calling 216-231-7558.

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