Cleveland Orchestra Miami November 14-15 Concerts

FRANZ WELSER-MÖSTMusic Director

GIANCARLO GUERRERO Principal Guest Conductor

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

S E A S O N

ClevelandOrchestraMiami.com NOVEMBER 14 -15 Concierto de Aranjuez

THE J ILLS®

#1 TEAM IN AMERICA AS RANKED BY THE WALL STREET JOURNAL 2012 & 2013

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JILL HERTZBERG | 305.788.5455j i l lh@thej i l ls .com

JILL EBER | 305.915.2556j i l le@thej i l ls .com

FELISE EBER | 305.978.2448fe l ise@thej i l ls .com

DANNY HERTZBERG | 305.505.1950danny@thej i l ls .com

HILLARY HERTZBERG | 305.336.2210hi l lary@thej i l ls .com

Enjoy the concert!

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Table of Contents 4 About Cleveland Orchestra Miami Miami Music Association . . . . . . . . . . . . . . . . . . . 4 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . . . . 7 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Principal Guest Conductor . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . 14 News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

19 November 14-15 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . 17 Program: Concierto de Aranjuez . . . . . . . . . 19 TCHAIKOVSKY Capriccio Italien . . . . . . . . . . . 20 RODRIGO Concierto de Aranjuez . . . . . . . . . 23 Soloist: Miloš Karadaglić . . . . . . . . . . . . . . . . 25 RESPIGHI Fountains of Rome . . . . . . . . . . . . . 26 RIMSKY-KORSAKOV Capriccio espagnol . . 29

Reach our sophisticated,

passionate audience.

Gail Kerzner | [email protected]

Cleveland Orchestra Miami

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3Cleveland Orchestra Miami 2014-15 Table of Contents


Cleveland Orchestra Miami education programs are funded in part by The Children’s Trust. The Trust is a dedicated source of revenue established by voter ref-erendum to improve the lives of children and fami-lies in Miami-Dade County.

Copyright © 2014 by The Cleveland Orchestra.Eric Sellen, Program Book Editor

E-MAIL: [email protected]

Program book advertising is sold through Live Publishing Company. For further information

and ad rates, please call 786-899-2700.

Program books are distributed free of charge to attending audiences.

Support for Cleveland Orchestra Miami is provided by the Miami-Dade County Department of Cultural Aff airs and the Cultural Aff airs Council, and the Mi-ami-Dade County Mayor and Board of County Com-missioners.

Miami Music Association The Miami Music Association (MMA) is governed by its Board of Direc-tors, comprised of leading Miamians motivated by the idea that as a world-class city Miami’s cultural life should always include orchestral performanc-es at the very highest international level. No orchestra in America — indeed, perhaps no other orchestra in the world — is more ideally suited to partner with MMA in achieving these goals than The Cleveland Orchestra. Securing and building support for Cleveland Orchestra Miami will ensure that MMA succeeds in creating a culture of passionate and dedicated concert-going in South Florida among the broadest constituency.

Offi cers and Board of Directors Sheldon T. Anderson, President Norman Braman, Vice Chairman Hector D. Fortun, Vice Chairman

Jon BatchelorBrian Bilzin Marsha Bilzin Alicia CelorioBruce Clinton Martha ClintonMary Jo EatonMike S. EidsonMary Claire EspenkotterMiguel G. FarraJeff rey Feldman

Susan Feldman Helen Aquirre Ferre Adam M. Foslid Francisco A. Garcia Pedro Jimenez Michael Joblove Gerald Kelfer Tina Kislak R. Kirk Landon Shirley Lehman William Lehman

Jan R. LewisSue MillerPatrick ParkKaryn SchwadeMary M. SpencerHoward A. StarkCharles StuzinRichard P. TonkinsonGary L. WassermanE. Richard Yulman

Miami Music Association4 2014-15 Cleveland Orchestra Miami

5Cleveland Orchestra Miami 2014-15

November 2014Dear Friends, Welcome to the ninth season of Cleveland Orchestra Miami concerts, featuring the wonderful Cleveland Orchestra! Thank you so much for join-ing us this evening for these fi rst concerts of the season. This weekend’s performances, led by conductor Giancarlo Guerrero, feature a vibrant and lively program of music from Italy and Spain sure to invigorate your spirit. It is my sincere pleasure to lead Miami Music Association in partner-ship with The Cleveland Orchestra to present this new season of concerts, community events, and education programs for South Florida. This collaboration is making our city stronger. We have the unique opportunity to call a world-renowned orchestra our own for four weeks each year, harnessing the full power of its music-making for the benefi t of our community. This includes four weekends of concerts — with enthusi-astic audiences fi lling Knight Concert Hall to near capacity. It encompasses unique partnerships with educational institutions across the region to pres-ent programs for students of all ages. This year, in fact, we are increasing the number of Miami-Dade County Public School students we serve with music education programs by 50 percent. And we are expanding the ways we engage South Florida residents — for the fi rst time in early 2015, we are presenting a community concert for everyone who loves music. Details of the program will be announced in the coming weeks. We are thrilled to off er a wide variety of meaningful musical experiences with The Cleveland Orchestra, and to make a signifi -cant contribution to the fl ourishing culture of our region. Finally, and on behalf of all the Miami Music Association trustees, I want to extend my gratitude to every donor and patron. Thank you for attending these concerts. And thank you to the growing number of gener-ous donors and contributors who support Cleveland Orchestra Miami and its impact on Miami’s cultural community. Best regards,

Sheldon T. Anderson

Welcome

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

presented by the Miami Music Association

SHELDON T. ANDERSON President

in partnership with The Cleveland Orchestraand the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

Cleveland Orchestra Miami is grateful to the John S. and James L. Knight Foundation for their continued support of the arts in Miami.

Thank you.

Through a fi ve-year, $2 million challenge grant to expand programming in our community, Knight Foundation will match any new and increased gifts to Cleveland Orchestra Miami. Your support through this grant will help ensure Cleveland Orchestra Miami’s ongoing success. Please visit www.ClevelandOrchestraMiami.com to donate or call 305.372.7747.


The Miami Music Association gratefully acknowledges these donors for their contributions to Cleveland Orchestra Miami in the past year. Listing as of October 20, 2014.

$100,000 and more

Irma and Norman BramanDavid and Francie Horvitz Family Foundation, Inc.John S. and James L. Knight FoundationJan and Daniel LewisPeter B. Lewis* and Janet Rosel LewisSue MillerPatrick ParkJanet* and Richard Yulman

$50,000 to $99,999

Sheldon and Florence Anderson Hector D. FortunR. Kirk Landon and Pamela Garrison Miami-Dade County Department of Cultural Aff airsMary M. Spencer

$25,000 to $49,999

The Batchelor Foundation Daniel and Trish BellIn dedication to Donald CarlinMartha and Bruce ClintonDo Unto Others TrustAdam Foslid, Greenberg Traurig, P.A.Morrison, Brown, Argiz & Farra, LLCNorthern Trust Peacock Foundation, Inc.The Claudia and Steven Perles Family Foundation

$10,000 to $24,999

Jayusia and Alan BernsteinMarsha and Brian BilzinPeter D. and Julie Fisher CummingsMary Jo EatonMr. Mike S. Eidson, Esq. and Dr. Margaret EidsonColleen and Richard FainNelly and Mike FarraFeldman Gale, P.A.Jeff rey and Susan FeldmanKira and Neil Flanzraich Monte FriedkinFrancisco A. Garcia and Elizabeth PearsonMark and Ruth HouckRuth and Pedro JimenezCherie and Michael JobloveJones Day Tati and Ezra KatzJanet and Gerald KelferJonathan and Tina KislakMr. and Mrs. Dennis W. LaBarre

Thomas E. Lauria Marsh Private Client ServicesMiami-Dade County Public SchoolsJoy P. and Thomas G. Murdough, Jr.Marc and Rennie SaltzbergHoward Stark M.D. and Rene RodriguezCharles B. and Rosalyn StuzinRick, Margarita, and Steven TonkinsonVer Ploeg & Lumpkin, P.A.Ms. Ginger WarnerGary L. Wasserman and Charles A. KashnerBarbara and David Wolfort

$5,000 to $9,999

Stephen Barrow and Janis ManleyFunding Arts NetworkPatti GordonGary Hanson and Barbara KlanteMary and Jon HeiderRichard Horvitz and Erica Hartman-Horvitz FoundationJohn and Hollis Hudak Bob and Edith HudsonCynthia KnightDylan Hale LewisMarley Blue LewisMs. Maureen M. McLaughlinBarbara S. RobinsonDrs. Michael and Judith SamuelsCharles E. SeitzSylvester Comprehensive Cancer CenterBill Appert and Chris Wallace

$2,500 to $4,999

Kerrin and Peter BermontCarmen BishopricAdam E. CarlinStanley and Gala CohenCharles and Fanny DascalIsaac K. Fisher and Lourdes G. SuarezMarvin Ross Friedman and Adrienne bon HaesDr. and Mrs. Edward C. GelberElizabeth B. JulianoAngela Kelsey and Michael ZealyJacqueline and Irwin KottEeva and Harri KulovaaraIvonete LeiteAna and Raul MarmolRoger and Helen MichelsonGeorgia and Carlos Noble Rosanne and Gary Oatey

Nedra and Mark OrenMaribel A. PizaAlfonso Rey and Sheryl LatchuDonna E. ShalalaMichalis and Alejandra StavrinidesBrenton Ver PloegTeresa Galang-Viñas and Joaquin ViñasFlorence and Robert Werner

$1,000 to $2,499

Mr. and Mrs. Spencer AngelLinda Angell Benjamin and Dr. Rodney BenjaminMs. Sara ArbelArnstein & Lehr LLPDouglas Baxter and Brian HastingsDon and Jackie BercuHelene BergerFran and Robert BerrinIrving and Joan M. BolotinMichael and Lorena ClarkBruce Coppock and Lucia P. MayDouglas S. Cramer / Hubert S. Bush IIIMs. Nancy J. DavisShahnaz and Ranjan DuaraBernard EcksteinAndrea and Chuck EdelsteinMr. and Mrs. Steven EliasFrancisco J. and Clara B. FernandezJoseph Z. and Betty FlemingGail and Alan FranklinMorris and Miriam FuternickLenore GaynorNiety and Gary R. GersonJoan GetzHon. and Mrs. Isaac GilinskiNancy F. GreenJack and Beth GreenmanDouglas M. and Amy HalseyMr. and Mrs. Barry HesserRoberto and Betty HorwitzDavid and Montserrat JoyDr. Michael and Gail KaplanKluger, Kaplan, Silverman, Katzen & Levine, P.L.Dr. and Mrs. Frederick KnollMichael N. KreitzerRonald and Harriet LassinJudy and Donald LeftonShirley and William LehmanMr. and Mrs. Marvin H. LeibowitzBarbara C. Levin

Annual Fund Contributors

listing continues


L E A D E R S H I P D O N O R S

8 2014-15 Cleveland Orchestra Miami

Mr. Jon E. Limbacher and Patricia J. LimbacherMr. and Mrs. Carlos Lopez-CanteraJames P. OstryniecMrs. Patricia M. PapperPerry Ellis International, Inc. Robert PinkertGuillermo and Maggie RetchkimanJoseph and Batia RozgonyiCharles and Linda SandsRaquel and Michael Scheck

Dr. James and Karyn SchwadeMr. and Mrs. David ServianskyLois H. SiegelHenry and Stania SmekRichard and Nancy SneedLucie and Jay SpielerEduardo SternKathy and Sidney TaurelParker D. Thomson Esq.Mr. and Mrs. Robert H. TraurigMs. Lynn Wiener

Betty and Michael WohlMs. Henrietta ZabnerLoly and Isaac ZelcerAnonymous (2)


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

listing continued

up to $999

Mr. and Mrs. Jay H. AbramsMr. Alexis AbrilMr. John ActmanMarjorie H. AdlerMr. Rafael Alcantara-LansbergAngela AlfonsoMs. Maria AlonsoDr. and Dr. Andrew AlpertRosalie Altmark and Herbert KornreichMs. Claudia AlvarezMs. Elena AlvarezMs. Paula AlvarezDr. Kip and Barbara AmazonDenise AndersonJohn and Sarah AndersonMs. Lori AngusDr. Jorge and Gigi Antuñez de MayoloMr. Fred AragonMr. Robert ArchambaultAna L. ArellanoDiane de Vries AshleyEvelyn K. AxlerDaniel Ayers and Tony SeguinoElaine BachenheimerTed and Carolann BaldygaMontserrat BalseiroAna BarnettMr. Raul BarnettMr. Richard BarriosDr. Earl Barron and Ms. Donna BarronJoan and Milton Baxt Foundation Inc.Ms. Marielena BazanMr. and Mrs. William BeitzMs. Linda BelgraveCarlos BenitezMr. Enrique BernalNeil Bernstein and Julie SchwartzbardRhoda and Henri BertuchMr. Robert BickersDr. Nanette BishopricKen BleakleyDr. Louis W. BloiseMr. Sam BoldrickMr. Bruce BoltonMr. Mario BosiMiss Marsha BotkinMs. Carol BrafmanMr. Rodester BrandonMr. Fernando Bravo

Mr. Michael T. BrazdaKaren BreakstoneMr. and Mrs. Eric BuermannMr. Brent BurdickMs. Nancy BurkhardtMs. Esther BurtonDr. Maria BustilloMr. Manny CabralCarlos CabreraMr. Richard CannonMs. Dolores CanonicoMs. Beatrice CarbachoMs. Christine CarletonMr. James D. CarpenterPhilip and Kathryn CarrollMs. Rosemary CarrollMr. Philip CaseyMr. Erich CaullerMr. Harold ChambersMs. Daphne CharbonneauMr. David Chatfi eldMr. Jeremy ChesterMs. Carole J. CholastaMs. Katherine A. ChouinardMr. and Mrs. Mathew CiceroMr. Mark CohanMr. and Mrs. Jerome J. CohenMs. Karla CohenPhyllis CohenMr. Ignacio ContrerasMs. Lane H. ConveyMr. Richard CoteMr. Nathan CountsMr. William R. CranshawMs. Marcella CruzMr. Miguel CuadraMr. Gabino CuevasDusan DragovicMr. Wesley DallasMr. Brian DalrympleMr. George DandridgeMr. and Mrs. Sergio da SilvaMrs. Jennie DautermannMs. Nadine Davey-RogersMs. Ellen DavisMs. Cecilia De Botton CampbellMr. Oscar De La GuardiaMs. Berta Del PinoMr. John Despres

Mr. John DespresMr. Benjamin DiazJorge DiazMs. Helga DobbsMr. and Mrs. Peter F. DolleGerson DoresMr. and Mrs. M. Donald DrescherMrs. Laura DrexlerFred EhrensteinMs. Monica ElizaldeMr. Eduardo EranaMr. and Ms. Jack ErvinMr. and Mrs. Ronald EssermanMr. and Mrs. Charles F. EvansMs. Dorothy M. EvansMr. and Mrs. Menashe ExelbirtJudit FaiwiszewskiMr. Martin FalconiMs. Klara FarkasMr. and Mrs. Paul FassMr. Murray H. FeigenbaumMr. Bernard FeinbergMr. and Mrs. Bennett G. FeldmanDr. Lawrence E. FeldmanSamuel FeldmanMr. Robert FerencikMs. Suzanne FergusonMr. John FieldMs. Ingrid Fils-RakusinMrs. Albine Fischer-StahleckerMr. and Mrs. Bruce FischlerMr. Kip FisherDr. and Mrs. Lawrence M. FishmanMr. Marcus M. FlanaganMr. Ronaldo FlankMr. David Fleitas-VelezUna ForbesMr. and Mrs. Guido FraimanMiss Mary FrancisDr. and Mrs. Rudolph J. FreiMr. and Mrs. Joel FriedlandMr. Gregory FriedmanMs. Noelle FroehlichMr. and Mrs. Malcolm FrombergAndrew FultonMr. & Mrs. Juan GalanMrs. Sue GallagherMs. Emilio GarciaMr. Ignacio GarciaMr. Gonzalo Garcia-Ribeiro

F R I E N D S


Ms. Margaret Gerloff Mr. Giancarlo GhinattiMrs. Judy GilbertMr. Howard GilderMrs. Lisa Giles-KleinMrs. Perla GilinskiMr. Brian GitlinMr. Abraham GitlowMs. A. Giuff redi-ZaldivarMr. Pablo GlikmanMs. Catherine GoeMr. Salomon GoldMrs. Sue E. GoldmanMr. Lee Goldsmith and Mr. J. HallerMr. Leony GonzalezMr. Donald GoodsteinMs. Galina GorokhovskyDr. Rafael GosalbezMr. Seymour GreensteinMr. David GrunebaumRev. Dr. Hans-Fredrik GustafsonMr. and Mrs. Alfredo D. GutierrezMr. Robert HaberMr. Ralph HalbertMr. and Mrs. George HalliwellMr. John F. HamiltonMr. and Mrs. Jack T. HammerDr. Juliet HananianMr. Vincent HandalMs. Nancy HandlerMr. John HanekMr. and Mrs. Ernest HarperMr. Nicolae HarsanyiMr. and Mrs. Claus HauboldDr. and Mrs. Mark J. HauserDr. Gail A. HawksMr. Violetta HeadleyMr. Arturo HendelMs. Marjory HendelMr. Jorge HineMichelle HinesMs. Barbara L. HobbsMr. Greg HoltzMr. and Mrs. Bernard HorowitzMr. and Mrs. Melvin HowardDr. Michael C. HughesMs. Tisha HulburdMr. Lawrence R. HyerMr. Brian IldefonsoMs. Dragana IlicDr. and Mrs. Norman Jaff eMs. Nancy JaimesMr. Richard JanaroRulx Jean-BartMr. Farrokh JhabvalaMr. and Mrs. Lester JohnsonThomas JonesMs. Lisa JudyMrs. Joyce KaiserMrs. Nedra KalishMs. Clarita KassinMr. and Mrs. Gerald KatcherMs. Phyllis KatzMr. Harold KatzmanRaquel Kaufl erMr. Victor Kendall

Mr. Frederick KiechleMr. Gilbert KlajmanMr. Buddy KleinAlexander KnowltonMr. and Mrs. Daniel KokielMs. Natalya KovalevaMs. Rebeca KravecMr. Ernesto KupermanMr. and Mrs. Robert LandonMr. James LaneMrs. Wendy LapidusMr. William LeeMr. Terry S. LeetMr. Paul and Dr. Lynn LeightMr. and Mrs. Elliot LemelmanMrs. Barbara LevensonDr. and Mrs. Stanley LevickMr. Gregory A. LevineMr. Mark LevyMrs. Alice LewisMs. Gloria LiatsosMr. Rick LievanoNatalie LisnyanskyMr. and Mrs. Bruce B. LitwerMs. Victoria LlanoMr. Oliver LoaizaMr. and Mrs. Enrique LopezMr. Arthur A. LorchMr. and Dr. William LordMs. Diego LorenzoMs. Loretta MacKleDr. David C. Mactye, MDMr. Richard MahfoodMr. John P. MahoneyMr. and Mrs. Lewis MahoneyMr. and Mrs. Roger MaisterMr. John MakemsonMrs. Charistine MarinMrs. Sherrill R. MarksTobe MarmorsteinMr. Luis and Mrs. Georgina MarquezMr. Victor MarquezMr. John MartinMr. Laureano J. MartinezMs. Beatriz Martinez-FontsMr. and Mrs. Stephen C. MassonMr. Edward MastMs. Masha MayerMr. Alan E. MaynardMr. and Mrs. Robert MaynesMs. Karen McCarthyMs. Geraldine McClaryMs. Desiree McKimDebra McLaughlinDr. Gwenn E. McLaughlinMs. Alice MeltzerMr. Kenneth MendelsohnDr. and Mrs. Jorge MendiaMs. Pauline MenkesMs. Evalyn H. MilledgeMr. Mitchell MillowitzMs. Sylvia MinchewDaniel and Marge MintzMrs. Paulette MintzMr. Jose MisrahiMr. Harve A. MogulLuis Molina

Mr. Jorge MontalvoDr. Isidoro MorjaimDr. Michele MorrisMr. Samuel MorrisMr. Edgar MosqueraDr. and Mrs. Robert J. MyerburgMs. Patricia NareaMs. Charlene NevadomskiMr. Stuart Newman and Mrs. S. SharpMr. and Mrs. Daniel NicholsDrs. Ara and Violet NisanianDr. and Mrs. Daniel NixonMr. and Mrs. Murray NorkinDr. Jules OaklanderColleen O’ConnorMr. Will OsborneMs. Geraldine O’SullivanMr. Martin OttenheimerMs. Caroline OwreMs. Michelle OzaetaDr. and Mrs. Larry K. PageMr. and Mrs. Larry PaikinMr. Michael PancierMrs. Shirley PardonMs. Ruth ParryMr. Stephen J. ParsonsMr. Oscar PascualMr. Stephen F. PattersonMs. Esther GordonMs. Marilyn PearsonMrs. Beatriz PerezMr. and Mrs. Rolando PerezMr. Jason PerlineMr. Donald PerryMs. Diane G PersoonMr. Michael PeskoeDr. Hugh W. PettigrewMr. Richard PettigrewMr. and Mrs. Michael PeytonMr. and Mrs. Ferdinand Phillips Jr.Dr. Ronald PicurMs. Nina PikenMr. Peter PilottiMr. Robert PlessettMrs. Teresa PollakMrs. and Mr. Suzan H. PonzoliMrs. Diana PorrasMr. Edward PowellMr. Thomas QuaidMs. Regina D. RabinMrs. Lisa RafkinMs. Lynne RahnMs. Pratima RajuMr. Barry RandMr. and Mrs. Menno RatzkerMr. Fred RawiczMr. Robert ReardenMr. and Mrs. Burt E. RedlusMr. and Mrs. RedlusMr. Barry ResnikMr. Jorge ReyesMs. Betty RiceMiss Carmen RichardsMr. Carlos RivasMrs. Olga K. RobbinMs. Luisa Robel



listing continues


Cleveland Orchestra Miami relies on the generosity of its patrons for our continued success. Ticket purchases cover less than half of expenses, and your philanthropic support is essential to cover the diff erence. Your contribution en-ables the Miami Music Association to present Cleveland Orchestra concerts, education programs, and community activities across Miami-Dade County. Please consider a gift today by calling 305-372-7747 or visit online at ClevelandOrchestraMiami.com.

Edmundo RodriguezMs. Leslie RogowskyMr. Andrew Rohlfi ngMr. Jacques RolletMr. Juan RondonMs. Virginia RosenMr. and Mrs. Eugene RostovElizabeth Rothfi eldAixa RoversiMr. and Mrs. Stephen RowlandMr. and Mrs. Rodolfo A. RuizMs. Karen RumbergMr. Kevin RussellMr. Lawrence H. RustinMrs. Chesne RymanYehuda SabachMr. Alex SaboMr. Michael and Dr. Tamah SadickMr. and Mrs. Leland S. SalomonMr. Gabriel SanchezMr. Gonzalo SanchezMr. Hank Sanchez-ResnikMs. Lisa SandelMr. and Mrs. Saul I. SandersMr. Robert ScardinoMr. David SchaecterMr. and Mrs. James SchenkelMr. Arnold SchillerDr. Markus SchmidmeierMr. Steven SchneiderSusan SchneiderMr. Ronald E. SchragerMr. and Mrs. Peter SchumannMr. Marvin SchwartzbardDavid ScottMs. Margaret SearcyMs. Margaret SeroppianMr. Humberto SevillaMr. and Mrs. Norman ShabelMr. Thomas ShankeyMrs. Brenda ShapiroMs. Elizabeth SharkeyMr. and Mrs. Roger ShatanofDr. and Mrs. John ShookDr. and Mrs. David ShpilbergMr. David A. SiegelJudge Paul SiegelMr. Alvaro Silva and Ms. G. ErdmannDr. and Mrs. Robert SimonsMs. Grace SipusicMs. Sylvia SiragusaMs. Samantha SkhirMr. Ramez SmairatDr. and Mrs. Alfred G. SmithMs. Linda M. SmithDr. Gilbert B. SnyderMr. Alexander SocarrasMs. Carol Soff erMr. Enrique SosaMs. Ilene SosenkoMrs. Maryann FloresDr. Barbara SparacinoMrs. Shirley SpectorMr. Robert SpielmanMs. Clara Sredni DeKassinMr. Issac SredniMr. Nick St. Cavish

Mrs. Patricia StauberMr. and Mrs. Edward StavisMr. Lewis SteinMrs. Marilyn SteinMr. William SternMs. Holly StrawbridgeMs. Caroline SullivanMerrie SuraceMr. Jack SutteMr. Jose TabacinicMr. and Mrs. Alvaro TafurMr. Jose R. TarajanoMr. and Mrs. Stanley TateMr. Stephen TatomMr. Harvey TaylorMr. Bryson ThorntonMr. and Mrs. Daniel ThorogoodMs. Lesley TompsettDr. Takeko M. ToyamaMr. Sydney S. TraumMs. Alicia M. TremolsMr. Miguel TriayDr. and Mrs. Michael B. TronerMs. Kate TrotmanMs. Anna TsukervanikLiat TzurMr. Dale UnderwoodMs. Janice UriarteToni ValenciaMs. Betty VandenboschMr. Alejandro VasquezMr. John VaughnMs. M. T. VentoMr. Fabian VereaMr. Douglas CallJorge VieraMr. Frank VitalMr. and Mrs. Herbert W. VogelsangMr. Frank J. VoytekMs. Vivian WaddellMr. John WallaceAndrew WangDr. Mario WerbinMs. Jeanne WestphalMr. and Mrs. Robert WhitebookMs. Bonnie WhitedMr. and Mrs. Arthur WhittakerMr. Brant WiggerMs. Jennifer WilliamsMr. Richard WilliamsonMs. Debbie WirgesMrs. Marci WisemanDr. and Mrs. Jack WolfsdorfMr. and Mrs. Joel R. WolpeMs. Laura A. WoodsideKeying XuMr. and Mrs. Guri YavnieliMrs. Sora H. YelinMr. Allan YudacufskiDr. and Mrs. Sheldon ZaneMr. and Mrs. Robert ZarchenMs. Eloina D. Zayas-BazanMr. Jerry ZimmermanAnonymous

* deceased



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12 2014-15 Cleveland Orchestra MiamiMusic Director

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

Th e Th e 2014-15 season marks Franz Welser-Möst’s thirteenth year as music director of Th e Cleveland Orchestra, with the future of this acclaimed partner-

ship now extending into the next decade. Under his direction, the Orchestra is hailed for its continuing artistic excellence, is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing resi-dencies in the United States and Europe, and has re-established itself as an important operatic ensemble. With a commitment to music education and the Northeast Ohio community, Franz Welser-Möst has taken Th e Cleveland Orchestra back into public schools with performances in col-laboration with the Cleveland Metro politan School District. He has championed new programs, such as a community-focused Make Music! initiative and a series of “At Home” neighborhood residencies and concerts in the community designed to bring the Orchestra and citizens together in new ways.

Under Mr. Welser-Möst’s leadership, Th e Cleveland Orchestra has estab-lished a recurring biennial residency in Vienna at the famed Musik verein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included fi ve sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, an annual multi-week Cleveland Orch estra residency in Florida was inaugurated in 2007 and an ongoing relationship with New York’s Lincoln Center Festival began in 2011. Franz Welser-Möst has led annual opera performances during his tenure in Cleveland, re-establishing the Orchestra as an important operatic en-semble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He led an innovative made-for-Cleveland production of Leoš Janáček’s Th e Cunning Little Vixen at Severance Hall. Th ey will present performances of Richard Strauss’s Daphne in May 2015. 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 West-ern Law Center for Disability Rights, honorary membership in the Vienna Sing-verein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassa-dor, a Decoration of Honor from the Republic of Austria for his artistic achieve-ments, and the Kilenyi Medal from the Bruckner Society of America.


Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

Th e 2014-15 season marks Giancarlo Guerrero’s sixth year as music director of the Nashville Symphony and fourth year as principal guest conductor of Cleveland Orch estra Miami. He made his Cleveland Orchestra debut in May 2006. He has led the Cleveland ensemble in concerts in Miami, at Severance Hall, at Blossom, and in the Orchestra’s annual community concert in downtown Cleveland. Mr. Guerrero’s recent seasons with Nashville have featured several world premieres, including a new work by Richard Dan-ielpour, a Béla Fleck banjo concerto, and a Terry Riley concerto for electric violin. Recent and upcoming guest engagements in-clude his debut with the Houston Grand Opera in 2015, leading Th e Cleveland Orchestra in a Midwest Tour during the fi rst half of 2014, as well as ap-pearances in North America with the orchestras of Boston, Cin cinnati, Dallas, Detroit, Houston, Indianapolis, Philadelphia, Toronto, and Vancouver. Internationally, he is increasingly active in Europe, where recent and upcoming engagements include per-formances with the BBC Symphony Orchestra, Copenhagen Philharmonic, Frankfurt Radio Symphony, Orchestre National de France, London Philharmonic Orchestra, and Deutsches Symphonie-Orchester Berlin. A fervent advocate of new music and contemporary composers, Mr. Guerrero has collaborated with and conducted works by some of America’s most respected composers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, and Roberto Sierra. His fi rst album with the Nashville Symphony, on Naxos, featured works by Daugherty and won three 2011 Grammy Awards. Two more albums have been released, of music by Argentine legend Astor Piazzolla and by American composer Joseph Schwantner; the latter re-cording received a Grammy Award in 2012. Mr. Guerrero has appeared regularly in Latin America, conducting the São Paulo State Symphony Orchestra and with the Orquesta Sinfónica Simón Bolívar in Caracas, Venezuela, where he has also worked with young musicians in the coun-try’s much-lauded El Sistema music education program. Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received a bachelor’s degree in percussion from Baylor University and his master’s degree in conducting from Northwestern University. He was music director of Oregon’s Eugene Symphony (2003-09) and served as associate conductor of the Minnesota Orchestra (1999-2004). Mr. Guerrero received the American Symphony Orchestra League’s Helen M. Th ompson Award recognizing outstanding achievement among young conductors. Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.

Principal Guest Conductor

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra PreucilASSISTANT CONCERTMASTER

Dr. Jeanette Grasselli Brownand Dr. Glenn R. Brown 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 HashizumeTh eodore 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

Katherine Bormann

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna DuitmanIoana MissitsCarolyn Gadiel WarnerStephen WarnerSae ShiragamiVladimir DeninzonSonja Braaten MolloyScott WeberKathleen CollinsBeth WoodsideEmma ShookJeffrey Zehngut

Yun-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

Th e GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Th omas J. and Judith Fay Gruber Chair

Ralph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha Baldwin

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

F R A N Z W E L S E R - M Ö S T M U S I C D I R E C TO R Kelvin Smith Family Chair

T H E C L E V E L A N D


G I A N C A R L O G U E R R E R O PRINCIPAL GUEST CONDUCTOR C LEVE L AN D ORC H ESTR A M IAM I

The Orchestra

FLUTESJoshua 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 ChairJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSFranklin Cohen*

Robert Marcellus ChairRobert 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 ChairBarrick Stees2

Sandra L. Haslinger ChairJonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial ChairMichael Mayhew §

Knight Foundation ChairJesse McCormick

Robert B. Benyo ChairHans ClebschAlan 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

PERCUSSIONMarc Damoulakis*

Margaret Allen Ireland ChairDonald MillerTom Freer

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin ChairCarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’Brien

Joe and Marlene Toot ChairDonald Miller

ORCHESTRA PERSONNELKaryn GarvinDIRECTOR

Christine HonolkeMANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDSidney and Doris Dworkin ChairSunshine Chair

* Principal ° Acting Principal § Associate Principal 1 First Assistant Principal 2 Assistant Principal

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Brett MitchellASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

S E A S O N

O R C H E S T R A

15Cleveland Orchestra Miami 2014-15 The Orchestra


The Cleveland OrchestraUnder the leadership of Music Director Franz Welser-Möst, Th e Cleveland Orchestra has become one of the most sought-aft er performing ensembles in the world. In con-certs at its winter home at Severance Hall and at each summer’s Blossom Music Fes-tival, in ongoing residencies from Miami to Vienna, and on tour around the world, the Orchestra sets the highest standards of artistic excellence, creative programming, and community engagement. Th e Cleveland Orchestra has a long and distinguished recording and broad-cast history. A series of DVD and CD recordings under the direction of Mr. Welser-

Möst continues to add to an exten-sive and widely praised catalog of audio recordings made during the tenures of the ensemble’s earlier music directors. In addition, Cleve-land Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe. Th e Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensem-ble worthy of joining America’s top rank of symphony orchestras. Over the next decades, the Orchestra grew from a fi ne regional organization to one of the most admired symphonic ensembles in the world. Seven music directors (Nikolai Soko loff , 1918–1933; Artur Rodzinski, 1933–1943; Erich Leins dorf, 1943–1946; George Szell, 1946–1970; Lorin Maazel,

1972–1982; Christoph von Dohnányi, 1984–2002; and Franz Welser-Möst, since 2002) have guided and shaped the ensemble’s growth and sound. Touring perfor-mances throughout the United States and, beginning in 1957, to Europe and across the globe have confi rmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality with the fi rst festival season at Blossom Music Center in 1968, presented at an award-winning, purpose-built outdoor facility lo-cated just south of the Cleveland metropolitan area near Akron, Ohio. Today, tour-ing, residencies, radio broadcasts, and recordings provide access to the Orchestra’s music-making to a broad and loyal constituency around the world. Visit ClevelandOrchestraMiami.com for more information.

The Cleveland Orchestra


Concert Prelude

November 14-15 Concert Prelude

A free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the evening’s orchestral concert. Friday, November 14, 2014, at 7:00 p.m. Saturday, November 15, 2014, at 7:00 p.m.


Concert Preludes are free to ticketholders to each Cleveland Orchestra Miami concert.

Crisantemi [Chrysanthemums] by GIACOMO PUCCINI (1858-1924)

Jung-Min Amy Lee, violin Alicia Koelz, violin Joanna Patterson Zakany, viola Tanya Ell, cello

Suite popular española(arranged for cello and piano) from Canciones populares españolas by EMANUEL DE FALLA (1876-1946)

1. El paño moruno 2. Seguidilla murciana 3. Asturiana 4. Jota 5. Nana 6. Canción 7. Polo

Richard Weiss, cello Joela Jones, piano

S E A S O N


Friday evening, November 14, 2014, at 8:00 p.m. Saturday evening, November 15, 2014, at 8:00 p.m.

John S. and James L. Knight Concert HallSherwood M. and Judy Weiser Auditorium

Program: November 14-15

Miami Music Association and the Adrienne Arsht Center present

The Cleveland OrchestraGiancarlo Guerrero, conductor

pyotr ilyich tchaikovsky Capriccio Italien, Opus 45(1840-1893)

joaquín rodrigo Concierto de Aranjuez(1901-1999) 1. Allegro con spirito 2. Adagio 3. Allegro gentile

MILOŠ KARADAGLIĆ, guitar

INTERMISSION

ottorino respighi Fountains of Rome [Fontane di Roma](1879-1936) 1. The Fountain Valle Giulia at Dawn 2. The Triton Fountain at Morn 3. The Fountain of Trevi at Midday 4. The Villa Medici Fountain at Sunset

nikolai rimsky-korsakov Capriccio espagnol, Opus 34(1844-1908)

This weekend’s concerts are sponsored by Morrison, Brown, Argiz & Farra, LLC.

Friday’s concert is also sponsored by Jones Day.

Saturday’s concert is also sponsored by Ver Ploeg & Lumpkin, P.A.


Capriccio Italien, Opus 45composed 1880

A S T H E Y E A R 1 8 7 9 came to an end, Tchaikovsky refl ected that he was for the fi rst time a “free man,” having quit his teach-ing position at the Moscow Conservatory, which had become a great burden to him, and having recovered, as far as recovery could go, from the trauma of his failed marriage. He at least knew that he no longer had to imagine marriage to be a solution to his uneasy social position. He did not come out, as we would term it, but he had convinced himself that he had no choice but to be himself and follow his own instincts, not those of a disapproving society. He was also completely free to indulge his unrelenting urge to travel, both within and outside of Rus-sia, and with performances of his music becoming ever more frequent at home and abroad, his income was steady enough to provide the means to go where he liked at will. One symptom of this peace of mind was the composition of the Capriccio Italien, a work which for once conveys no emo-tional turmoil but merely puts on record his aff ection for Italy and his skill at putting together tunes in brilliant orchestral col-ors. Having completed a draft of the Second Piano Concerto, he left for Rome on December 17, 1879, intending to spend several months there. At fi rst, he and his brother Modest enjoyed the

I N T R O D U C I N G T H E P R O G R A M

Nationalism&MusicT H I S W E E K E N D ’ S C O N C E R T S off er some superb examples of picture painting in sound — enlivened with rhythms and melodic ideas from the warm sunshine and fl owing waters of Italy and Spain. Four works, written between 1880 and 1940, aff ord us a variety of musical views, one each by an Italian and a Spaniard, along with visits to both countries through the eyes (and ears) of Russian composers enthralled by their own experiences in the Mediterranean. Cleveland Orchestra Miami’s principal guest con-ductor Giancarlo Guerrero leads the concerts, joined by guitar soloist Miloš Karadaglić, whose exciting new recording of Joaquín Rodrigo’s bril-liant Concierto de Aranjuez has been well-received around the world.

About the Music

by Pyotr IlyichTCHAIKOVSKYborn May 7, 1840near Votkinsk, Russia

diedNovember 6, 1893St. Petersburg

21Cleveland Orchestra Miami 2014-15 About the Music

treasures of the city and he had no will to compose, but within a month he was so struck by the propensity of Italians to sing everywhere that the idea of a composition came to him: “Yes-terday I heard a delightful folksong which I shall certainly use,” he wrote to Madame von Meck, and he later explained that he wanted to write something similar to Glinka’s Spanish pieces. “I have already completed the sketches for an Italian fantasia on folk tunes for which I believe a good future may be predicted. It will be eff ective, thanks to the delightful tunes which I have suc-ceeded in assembling partly from anthologies, partly through my own ears on the streets.” Th e orchestration was done in May, and soon Tchaikovsky began to wonder whether the piece was worthy of him, betray-ing the familiar self-doubt that followed the composition or performance of almost all his pieces. He need not have wor-ried about its success, for it was rapturously received in both Moscow and St. Petersburg, and has always remained popular. It was not intended to be a personal statement of any kind, al-though we are fully aware of the composer’s aff ection for these melodies and for the country where he heard them. Only one of the melodies, the closing Tarantella, has been identifi ed — it is a tune known in Italy as the Cicuzza, and Modest reported that the opening bugle call (which returns later in the piece) was heard from the barracks next to their hotel. Whether Tchaikovsky adopted or merely adapted the other melodies from tunes he had heard on the streets cannot be confi rmed, but the Italian spirit is unmistakable. Glinka’s two pieces, Capriccio brillante on Spanish themes and Recuerdos de Castilla, also known as the Second Spanish Overture, composed in 1848, were Tchaikovsky’s direct mod-els, although he scarcely needed a model on which to base the alternation of slow and fast melodies, the variety of keys and moods, and the rousing character of the fi nal pages. Aft er the bugle call, the opening melody is gloomy and austere, allevi-ated by the best-known melody from the piece, presented by two oboes. Th is comes back later in a more pompous form, and the riotous ending depicts the Roman carnival, a scene which Tchaikovsky witnessed that year and which was similarly evoked by Berlioz in his brilliant 1844 overture of that name.

—Hugh Macdonald © 2014

Tchaikovsky wrote his “Ital-ian Capriccio” in Rome in January and February, 1880, and revised it in Russia in May of the same year. The work was premiered in Mos-cow on December 18, 1880, under the direction of Nikolai Rubinstein. Capriccio Italien runs about 15 minutes in performance. Tchai kovsky scored it for 3 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 2 trumpets, 3 trombones, percussion, harp, and strings. The Cleveland Orchestra fi rst played this work at a Popular Concert in Masonic Auditoirum in February 1920, under founding music direc-tor Nikolai Sokoloff .

At a Glance

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J O A Q U Í N R O D R I G O , affl icted with blindness since the age of three, was blessed with a long life and a stunning success early in his career. Th e Concierto de Aranjuez was not his fi rst work, but it was his fi rst concerto. Th e warmth of its reception in Barcelona in 1940 sustained Rodrigo through all the later years in which he wrote great quantities of music but never equaled the impact of this now-famous concerto. Like that of many Spanish composers of the early 20th century, his music was untouched by the diff erent waves of modernism that swept over European music, and he composed to the end of his life in a style that, with rare exceptions, would not have seemed strange to the 19th-century sensibilities of Rimsky-Korsakov or any of the non-Spanish composers who adopted Spanish fi gurations and dance rhythms in their own music. Like Albéniz, Falla, and many other Spanish composers, Rodrigo studied in France, taking lessons from Dukas (Mes-siaen’s teacher) and Maurice Emmanuel — and he was still living in France in 1939 when he composed the Concierto de Aranjuez. He shortly had to return to Madrid, which he made his home for the rest of his life. He later wrote concertos for two guitars and for four guitars, as well as concertos for piano, violin, fl ute, cello, and harp. His output for orchestra, piano, solo guitar, and voice is very extensive, although he never ven-tured into opera. Th e concerto is named aft er the royal palace at Aranjuez (pictured below), near Madrid, built by Philip II and expanded

Concierto de Aranjuez (for guitar and orchestra)composed 1939

by JoaquínRODRIGOborn November 22, 1901Saguunto, Valencia

diedJuly 6, 1999Madrid

About the Music

24 2014-15 Cleveland Orchestra MiamiAbout the Music

in the 18th century with extensive gardens (above). Rodrigo wanted his concerto to evoke “memories of earlier times, and of the lovely gardens of Aranjuez with their fountains, trees, and birds.” He also mentioned the fragrance of the magnolias, which would particularly inspire a blind composer. It is not fanciful to hear the birds and fountains in some of the fi guration in the concerto, and in the last movement, which is not a helter-skelter fi nale but a gentle movement, marked with a tempo of Allegro gentile, fi lled with teasing lopsided rhythms, in which he recalls the courtly dances that the palace would have played host to. Th e guitar is not a loud instrument, and it can be upstaged by an orchestra, however small. Th e composer has taken care to let the guitar be heard, with a number of striking passages on its own. Th e orchestra is only heard at full throttle when the guitar is resting. Th e success of the concerto, especially its expressive slow movement, is world-wide. Suffi cient evidence comes merely by mentioning the innumerable jazz versions, including those by the MJQ and Miles Davis. When asked if he could explain the concerto’s astonishing success, Rodrigo simply replied: “To be honest, I don’t know. If I did know, I would have discovered the secret of success itself.” —Hugh Macdonald © 2014

Rodrigo wrote this concerto for guitar and orchestra in 1939, naming it after the Palace Aranjuez near Ma-drid. It was fi rst performed on November 9, 1940, with Orquesta Filarmónica de Barcelona conducted by César Mendoza Lasalle, with Sanz de la Maza as the soloist. This concerto runs nearly 25 minutes in performance. Rodrigo scored it for 2 fl utes and piccolo, 2 oboes and english horn, 2 clarinets, 2 bassoons, 2 horns, 2 trum-pets, and strings, plus the solo guitar. The United States pre-miere of this work was given by The Cleveland Orchestra in November 1959, with Robert Shaw conducting and Rey de la Torre as soloist.

At a Glance

25Cleveland Orchestra Miami 2014-15 Soloist

Miloš KaradaglićClassical guitarist Miloš Karadaglić from Montenegro saw his international ca-reer leap forward with the release earlier this year of his Deutsche Grammophon recording of Rodrigo’s iconic Concierto de Aranjuez, which serves on the album as the starting point for a journey across the Spanish landscape, paying tribute to great music and master musicians. He is making his Cleveland Orchestra debut with this weekend’s concerts here in Miami. His fi rst solo album was released in 2011, followed by impressive performances over the next two seasons across Europe, North America, Asia, and Australia. “Part of the rea-son Karadaglić has such a large following” commented the Western Australian “is his ability to straddle both hardcore classical and pop classical camps.” Mr. Karadaglić’s passion for the guitar is matched with a clear sense of how to bring the instrument across in perfor-mance — whether for an audience of thousands in London’s Royal Albert Hall or an intimate chamber music performance for just 100 people. He enjoys performing in the major con-cert halls as much as in non-traditional venues including New York’s Le Poisson Rouge, London’s Camden Round-house, and Deutsche Grammophon’s Yellow Lounge club nights in London, Ber-lin, Amsterdam, Madrid, Seoul, New York, L.A., and Miami. His line-up of albums on Deutsche Grammophon now includes both solo work and concertos. He is playing Rodrigo’s Concierto de Aranjuez in debuts with some of the world’s fi nest ensembles this season, including his appearance here in Miami with Th e Cleveland Orchestra. Performances continue across three con-tinents, including solo and orchestral engagements in Lisbon, Madrid, London, Paris, Rome, Milan, Miami, Atlanta, Tokyo, Beijing, Shanghai, and Hong Kong. Th is year has also witnessed the launch of a new exclusive watch that Mr. Karadaglić designed for the luxury Swiss watchmaker Raymond Weill, with pro-ceeds from the special edition going to Miloš’s chosen charity — the Mladost Orphanage in Bijela. Montenegro’s only orphanage, Mladost cares for up to 160 children aged between one month and 18 years old from diff erent backgrounds, including those who were orphaned during the Balkan upheaval. In addition to his charitable work, Miloš Karadaglić is a passionate sup-porter of music education. Born in Montenegro in 1983, he fi rst started playing the guitar at the age of 8. When he was 16, he was admitted on scholarship to the Royal Academy of Music and moved to London, where he continues to live while keeping close ties with his family and homeland. He plays a 2007 Greg Smallman guitar, kindly lent to him by Paul and Jenny Gillham.


R E S P I G H I ’ S F I R S T I M P O R T A N T orchestral work was a “Sinfonia drammatica” (1914), unashamedly modeled on Rich-ard Strauss’s big tone poems. Th is was followed by Fountains of Rome in 1916, perhaps his most impressive work, the fi rst in a cycle of three symphonic poems on the theme of Rome. Th e later ones were Pines of Rome (1924) and Roman Festivals (1928). Respighi had a special gift for illustrative — almost vi-sual — music, being himself most responsive to the sights and sounds around him, and having a superb feeling for orchestral color. Th is music was written at a time when huge orchestras were still a novelty, and the scintillating sounds to be had from high percussion such as glockenspiel and celesta in combina-tion with violin harmonics were brilliantly appropriate for the sort of “open-air” portraits that Respighi liked to paint. He had once been a student in St. Petersburg, working with the master orchestrator Nicolai Rimsky-Korsakov. Later, he feasted on the scores of Strauss and Ravel, whose example he was never ashamed to admit. And, in turn, a generation of late Romantic composers were to learn a great deal from Respighi, especially when the cinema off ered a new medium for richly illustrative music. Th is Italian music creator always retained a childlike sense of wonder at the world around him, as we can hear in these fi nely craft ed scores. Living and working in Rome, Respighi felt a natural bond with the ancient and modern features of the city. Fountains of Rome is a guided tour around four of the city’s most famous fountains, structured and balanced like a four-movement suite or symphony. Th e tour is spaced across a single day, from dawn to twilight, suggesting appropriate times of day for the contem-plation of each fountain and its setting within the landscape or townscape. At dawn, we visit the Valle Giulia, where (according to Respighi’s notes) cattle are seen grazing in the damp mist. Respighi’s fondness for modal music, whether from plain-chant or from folk music, is in evidence here, and the fl ow of water from the fountain is heard almost throughout, either on murmuring strings or on a quietly hissing cymbal. Listen for echoes from Strauss’s opera Der Rosenkavalier! Each movement follows directly aft er the one before, and

Fountains of Rome [Fontane di Roma]composed 1915-16

by OttorinoRESPIGHIborn July 9, 1879Bologna, Italy

diedApril 18, 1936Rome, Italy


so it is suddenly morning, now in the city, at the fountain of the Tritone sculpted by Bernini in the 17th century. Th e center of the fountain is a massive sculpture of the sea-god Triton, who holds a large conch to his lips on muscular arms. Th e music is menacing at fi rst, with water cascading down from the conch, but it soon becomes playful, as naiads are imagined dancing and playing in the water. Th is is the musical “scherzo” of the piece. Distant trumpets lead into the fountains of Trevi at midday. Th is is the most famous of Rome’s fountains, with its elaborate sculpted backdrop and the popular tradition of throwing coins in the water. Th e triumphal character of the music is suggested by the image of Neptune’s chariot riding on the water and even-tually passing into the distance. Th e model here is the battle music in Strauss’s A Hero’s Life [Ein Heldenleben], but without any implication of actual confl ict. Finally, it is the close of day, and we end in an almost mystical mood at the Villa Medici, the grand house on a hill overlooking the city, as the light fades. Th e music itself dis-solves into the sound of birds and distant bells, giving way to the silence of the night.


Respighi wrote his sym-phonic poem Fontane di Roma (“Fountains of Rome”) in 1915-16. It was premiered in Rome on March 11, 1917, at the Teatro Augusteo under the direction of Antonio Guarnieri. Fountains of Rome runs about 15 minutes in performance. Respighi scored it for 3 fl utes, piccolo, 3 oboes, english horn, 3 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta, piano, op-tional organ, and strings.

At a Glance

Trevi Fountainin Rome, designed in the 17th century by Italian architectNicola Salvi andcompleted byPietro Bracci andGiuseppe Pannini.

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I N H I S E A R LY Y E A R S as an offi cer in the Russian Imperial Navy, Nikolai Rimsky-Korsakov sailed to London, New York, and South America. And on the return voyage, in November 1864, his ship, the Almaz, spent a few days in the Spanish port of Cadiz. Whether or not he picked up any snatches of Span-ish dances during his stay (his autobiography My Musical Life doesn’t tell us), he had a Russian precedent for adopting Span-ish idioms in the form of Mikail Glinka’s Capriccio brillante on Spanish themes, which had also served Tchaikovsky in fashion-ing his Capriccio Italien. Rimsky-Korsakov was also familiar with Lalo’s and Bizet’s pieces utilizing Spanish fl avors. His fi rst plan was for a fantasia on Spanish themes for violin, but in the fallow period he experienced in the early 1880s that work was never written. In February 1887, his friend Alexander Borodin died, leaving the opera Prince Igor unfi n-ished, so Rimsky-Korsakov and his young student Alexander Glazunov teamed up to complete it. Th is admirable goal awoke Rimsky’s muse, and in the next two years he composed three major orchestral works of his own — the Capriccio espagnol, Scheherazade, and the Russian Easter Overture. Th e Capriccio was quickly fi nished that summer and performed for the fi rst time in December of the same year. Th e fi rst rehearsal was interrupted again and again by the applause of the orchestra, who were thrilled by the brilliance of the writing and the energy of the music. With his custom-ary cool detachment, Rimsky-Korsakov later pointed out that the Capriccio is not a “magnifi cently orchestrated piece.” It is, rather, a “brilliant composition for the orchestra.” He went on to guide the listener: “Th e change of timbres, the felicitous choice of melodic shapes and fi gurations, exactly suiting each kind of instrument, brief virtuoso cadenzas for solo instruments, the rhythm of the percussion instruments, etc., constitute here the very essence of the composition and not its garb or orchestration.” Ravel was later to say something similar about his own Boléro being a technical exercise, not a real composition, and Rimsky-Korsakov similarly prided himself on his technique, especially since he had outgrown the exhortation of his fel-low members of Russia’s “Mighty Five” composers to despise technique as “too German.” Th is is also what made Rimsky-

Capriccio espagnol, Opus 34composed 1887

by NikolaiRIMSKY-KORSAKOVborn March 18, 1844Tikhvin, Russia(near Novgorod)

died June 21, 1908St. Petersburg, Russia


Korsakov a great teacher (as Respighi was soon to learn). Th e origins of the Capriccio espagnol as a violin piece are evident in the frequent violin solos and the busy activity of the violin sections. Section players have plenty of double-stopping [playing two notes at once by bowing across two strings], with the shrill sound of E strings constantly heard in the opening Alborada section. Th e Variazioni section introduces Rimsky’s gift for elegant melody at a slow tempo, presented by four horns and taken up by the strings. Horns (brass and english) con-tribute their characteristic entries. Th e Alborada returns, slightly altered, still bright and brisk, then the Scena e canto gitano opens with free-tempo cadenzas for four horns, then solo violin, then fl ute, clarinet, and harp, and then closes with a furious dance with much stamping of Spanish gypsy feet. Th is leads directly into the Fandango as-turiano in which the tune is repeated many times in varying contexts, and the whole piece closes with the Alborada again, now orchestrated with even more panache than before.


Hugh Macdonald lives in England and is the Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis.

He is a noted authority on French music. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Rimsky-Korsakov wrote his Capriccio espagnol [“Span-ish Capriccio”] in the summer of 1887. It was fi rst per-formed in St. Petersburg on October 31, 1887, conducted by the composer. The work runs about 15 minutes in performance. Rimsky-Korsakov’s score calls for 2 fl utes, piccolo, 2 oboes, english horn, 2 clari-nets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (side drum, bass drum, cym-bals, triangle, tambourine, castanets), harp, and strings. The Cleveland Orchestra fi rst played Capriccio espag-nol in February 1920, during the Orchestra’s second sea-son. It has been presented frequently since that time.

At a Glance

Photograph of Rimsky-Korsakov as a naval cadet.

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ACCESSIBILITYAdrienne Arsht Center is fully accessible. When purchasing tickets, patrons who have special needs should call (305) 949-6722 or (866) 949-6722 and inform their customer service representative. (786) 468-2011(TTY). Audio description and assistive listening equipment is funded by Mary & Sash Spencer and the Miami-Dade County Mayor and the Board of County Commissioners, the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council.DININGA variety of light food and beverage is available one hour before the show and during intermissions in the theater lobbies.EMERGENCIESEmergency exits are clearly marked throughout the building. Ushers and security personnel will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.FACILITIES RENTALSPersons or organizations interested in renting the auditoriums, lounges, terraces, plazas or other spaces for private and public events at Adrienne Arsht Center should contact (786) 468-2287 or [email protected] AIDS AND OTHER HEARING-ENHANCEMENT DEVICES Please reduce the volume on hearing aids and other devices that may produce a noise that would disturb other patrons or the performers. Assistive Listening Devices are available in the lobby; please ask an usher for assistance.

INFORMATION

Anna Murch fountain in theThomson Plaza for the Arts

Photo by Robin Hill

LATE SEATINGAdrienne Arsht Center performances begin promptly as scheduled. As a courtesy to the performers and audience members already seated, patrons who arrive late will be asked to wait in the lobby until a suitable break in the performance to be determined in consultation with the performing artists. Until the seating break, latercomers may watch the performance via closed-circuit monitors conveniently situated in the lobbies. To

performances please check your ticket, visit www.arshtcenter.org, or call (305) 949-6722.MEMBERSHIP – BE A CULTURISTMembers matter at the Adrienne Arsht Center. Your philanthropy makes our world-class performances possible, and helps to provide free arts education and meaningful community engagement for thousands of Miami-Dade County young people and their families. When you join the Center as a member, you give the gift of culture to Miami – now, and for generations to come. The Culturist membership program is designed to enhance your experience at the Arsht Center with

performances to invitations to exclusive receptions. Membership begins at just $75, with giving levels through $5,000. To join the Culturist movement, please call 786-468-2040, email: [email protected] or visit www.arshtmembers.org.

Phone NumbersAccessibility (786) 468-2011(TTY)

Advertising (786) 468-2232

(866) 949-6722 M – F 10am – 6pm Sat. – Sun. noon to CurtainFacilities Rental (786) 468-2287Advancement (786) 468-2040Group Sales (786) 468-2326Membership (786) 468-2040Parking (305) 949-6722 (866) 949-6722 or visit www.arshtcenter.orgSecurity (786) 468-2081

32 2014-15 Cleveland Orchestra MiamiArsht Center Information

33Cleveland Orchestra Miami 2014-15 Arsht Center Information

LOST AND FOUNDPatrons should check with the House Manager in the theater lobby prior to leaving the theater, otherwise please call the Adrienne Arsht Center main security number (786) 468-2081. Lost articles will be held for 30 days.

MEMBERS GET IT FIRST!As a member of the Adrienne Arsht Center–a Culturist–you have exclusive access to members-only ticket pre-sales and so much more! Join today, online at www.arshtmembers.org or by calling 786-468-2323.

PAGERS, CELL PHONES AND OTHER LISTENING DEVICESAll electronic and mechanical devices—including pagers, PDAs, cellular telephones, and wristwatch alarms—must be turned off while in the auditoriums.

PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDINGThe taking of photographs and the use of audio or video recording inside the auditoriums are strictly prohibited.

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TICKETSPatrons may purchase tickets •Online: www.arshtcenter.org •By Phone: (305) 949-6722 or (866) 949-6722 10 a.m.- 6 p.m. weekdays; beginning at noon on weekend perfomance days.

(main entrance on NE 13th between Biscayne Blvd. and NE 2nd Ave.) the Adrienne Arsht Center Box

and two hours before every performance.•Groups of 15 or more people: (786) 468-2326.

TOURSFree behind-the-scene tours of the Adrienne Arsht Center complex are given every Monday and Saturday at noon, starting in the Ziff Ballet Opera House Lobby. No reservations necessary.

VOLUNTEERSVolunteers play a central role at the Adrienne Arsht Center. For more information, call (786) 468-2285 or email [email protected].

WEBSITEVisit www.arshtcenter.org for the most up-to-date performance schedule. Also, join our mailing list and we will send performance notices directly to you. When you join, you may choose the types of shows about

sure you add [email protected] to your address book and/or safe list. Visit www.arshtcenter.org today.

Adrienne Arsht Center Uniforms, an EcoArtFashion project by Luis Valenzuela, www.luisvalenzuelausa.com

INFORMATION

34 2014-15 Cleveland Orchestra MiamiArsht Center

M. John RichardPresident & CEO

Scott ShillerExecutive Vice President

AdministrationAric Kurzman Assistant Vice President o f Business

and Legal AffairsChantal Honoré Manager of Board RelationsJoanie Rivera Executive Assistant to the President & CEO

Executive Vice PresidentThyra Joseph Receptionist

AdvancementDavid S. Green Assistant Vice President of Advancement and

Campaign DirectorMunisha Underhill Senior Director, AdvancementJodi Mailander Farrell Senior Director, Foundation RelationsFelicia Hernandez Director, Member Relations and Donor RelationsAna Morgenstern Grant WriterChristine Brown Manager, Advancement ServicesCarrie Rueda Executive Assistant to the

Vice President of AdvancementKalyn James Corporate Sponsorship CoordinatorJeanette Castro Membership Assistant

FinanceTeresa Randolph Assistant Vice President, Finance and ControllerKimba King Manager of Human ResourcesAida Rodriguez Accountant ManagerRoberta Llorente Human Resources AssistantFrancisca Squiabro Revenue Staff AccountantGiovanni Ceron Payables Accountant

Audience ServicesAlice Arslanian Fifelski Theater ManagerNeal Hoffson House ManagerRodolfo Mendible House ManagerCarolyn Woodyer Manager, Volunteer Program Nicole Keating Senior Director, Ticket ServicesLaura White Director, Ticket ServicesMaria Usaga Ticket Services ManagerNadinne Farinas Ticket Services Manager David Saifman Ticket Services ManagerJulia Acevedo Ticket Services SupervisorRichard Malin Ticket Services SupervisorAdam Garner Customer Service RepresentativeMario Acevedo Customer Service RepresentativeMelissa Almaguer Customer Service RepresentativeAshley Araujo Customer Service RepresentativeFernanda Arocena Customer Service RepresentativeAnita Braham Customer Service RepresentativeHeather Brummer Customer Service RepresentativeAlfred Cruet Customer Service RepresentativeBetsy Diaz Customer Service Representative Stephanie Diez Customer Service RepresentativeRandy Garcia Customer Service RepresentativeMabel Gonzalez Customer Service RepresentativeRandall Heidelburg Customer Service RepresentativeDiana Herrera Customer Service RepresentativeMichael Kontomanolis Customer Service Representative Natalia Morgan Customer Service RepresentativeTaviana Nevares Customer Service Representative Fabiana Parra Customer Service RepresentativeStephanie Perez Customer Service RepresentativeMirlanta Petit-Homme Customer Service RepresentativeClaudia Quesada Customer Service RepresentativeTheo Reyna Customer Service Representative Ashley Richardson Customer Service RepresentativeJavier Rhoden Customer Service RepresentativeLiana Rodriguez Customer Service RepresentativeDavide Sahner Customer Service RepresentativeLogan Smiley Customer Service RepresentativeJose L. Carrion III Customer Service Representative

Information TechnologyJames J. Thompson Assistant Vice President,

Information TechnologyMichael Sampson Director, Applications Renville Williams Developer Marco Franceschi IT Systems AdministratorLilibeth Bazain IT Support Technician

MarketingSuzette Espinosa Fuentes Assistant Vice President,

Public RelationsLuis Palomares Director, Creative ServicesJohn Copeland Director of MarketingTyrone Manning Director of MarketingGino Campodonico Public Relations ManagerCraig Steadman Group Sales ManagerMorgan Stockmayer Promotions Manager Fernando Olalla e-Marketing ManagerDavid Chang Graphic DesignerSam Hall Graphic DesignerRaul Vilaboa Graphic DesignerEstefania Pinzon Public Relations CoordinatorNicole Smith Marketing CoordinatorNatalia Ortiz Creative Services Coordinator Nadia Zehtabi Group Sales Coordinator Stephanie Hollingsworth e-Marketing AssistantLeyda Castro Group Sales Assistant Patrick Rhudy Marketing Assistant

OperationsDaniel Alzuri Senior Director, OperationsDean Dorsey Director, EngineeringThomas McCoy Engineering Manager Lucy Hargadon Executive Assistant to the

Vice President, OperationsAlejandro Aguilar EngineerJack Crespo EngineerIsaac Dominguez EngineerJose Hurtado EngineerWilner Montina EngineerJimmy Panchana EngineerXavier Ross EngineerAlberto Vega EngineerPedro Villalta Engineer

ProductionJeremy Shubrook Director, Production Lauren Acker Technical Director Curtis V. Hodge Technical DirectorJanice Lane Technical DirectorHerman Montero Technical DirectorMelissa Santiago-Keenan Technical DirectorDaniel McMenamin Head Carpenter, Ziff Ballet Opera HouseJohn Mulvaney Assistant Carpenter/Head Flyman

Ziff Ballet Opera HouseRalph Cambon Head Audio Video,

Ziff Ballet Opera HouseFrederick Schwendel Head Carpenter,

Knight Concert HallMichael Matthews Head Electrician,

Ziff Ballet Opera HouseMichael Feldman Head Audio Video, Knight Concert HallTony Tur Head Electrician, Knight Concert HallDavid Diaz Head Audio Video, Carnival Studio TheaterHarold Trenhs Head Electrician, Carnival Studio Theater

ProgrammingLiz Wallace Assistant Vice President, ProgrammingMichael Donovan Director, ProgrammingEd Limia Director, ProgrammingJairo Ontiveros Director, Education and Community EngagementLisaMichelle Eigler Engagement ManagerAnn Koslow Engagement ManagerJan Melzer Thomas Engagement ManagerRichard Tappen Programming ManagerOscar Quesada Programming Coordinator

Facility ManagementOvations Food ServicesAlliedBartonPritchard Sports and Entertainment

Andrew Goldberg Vice President, Marketing

Thomas M. Berger Vice President, Finance & Administration and Chief

Trish Brennan Vice President,

Human Resources Ken Harris

Vice President, Operations

Valerie Riles Vice President, Board and

Government RelationsSuzanna Valdez

Vice President, Advancement

ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI-DADE COUNTY


PERFORMING ARTS CENTER TRUST, INC.

Matilde AguirrePierre R. ApollonThe Honorable Oscar Braynon IIArmando J. Bucelo, Jr.Robert Furniss-RoeFelix GarciaThe Honorable Rene GarciaSergio M. GonzalezRosie Gordon-Wallace

The Honorable Donald L. GrahamJavier Hernandez-LichtlJames Herron Hank KleinNathan LeightFlorene Litthcut NicholsCarlos C. Lopez-CanteraHillit Meidar-AlfiGilberto Neves

Beverly A. ParkerJorge A. PlasenciaAbigail PollakThe Honorable Raquel RegaladoNeill D. RobinsonAdriana SabinoMario Ernesto SanchezThe Honorable Marc D. SarnoffEmery B. Sheer

Ronald A. Silver The Honorable

Michelle Spence-JonesAlexander I. TachmesCarole Ann TaylorPenny ThurerRaul G. Valdes-FauliJudy Weiser

Board of Directors

RESIDENT COMPANIES ALLIANCE

Sheldon Anderson Adrienne ArshtDiane de Vries AshleyRobert T. Barlick, Jr.Fred BerensSia BozorgiNorman Braman Sheila BroserRobert S. BrunnM. Anthony BurnsDonald Carlin*

Jerome J. CohenStanley CohenSusan T. DanisNancy J. DavisRonald EssermanOscar FeldenkreisPamela GardinerJerrold F. GoodmanRose Ellen GreeneArthur J. Halleran, Jr.Howard Herring

Robert F. Hudson, Jr.Daryl L. Jones Edie LaquerDonald E. LeftonRhoda Levitt George L. LindemannCarlos C. Lopez-CanteraPedro A. Martin, Esq.Arlene MendelsonNedra OrenJ. David Peña, Esq.

Aaron S. Podhurst, Esq.Charles PorterJane A. RobinsonRichard E. Schatz Sherry Spalding-FardieRobert H. Traurig, Esq.Sherwood M. Weiser *Lynn Wolfson *

*deceased

Alan H. Fein Chair-ElectIra D. Hall Treasurer

Richard C. Milstein Secretary

Evelyn Greer Assistant Secretary

J. Ricky Arriola Immediate Past Chair

Parker D. Thomson Founding Chair

Mike EidsonChairman

Officers of the Board

Frances Aldrich Sevilla-SacasaNancy Batchelor

Swanee DiMareRonald Esserman

David RockerSherwood M. Weiser*

Jason Williams

Officers of the Board

ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS

Adrienne Arsht Founding Chairman

Richard E. Schatz Chairman

Arsht Center

Rebeca Sosa Lynda Bell Chairwoman Vice Chairwoman

Barbara J. Jordan District 1

Jean Monestime District 2

Audrey M. Edmonson District 3

Sally A. Heyman District 4

Bruno A. Barreiro District 5

Rebeca Sosa District 6

Xavier L. Suarez District 7

Lynda Bell District 8

Dennis C. Moss District 9

Sen. Javier D. Souto District 10

Juan C. Zapata District 11

José “Pepe” Diaz District 12

Esteban Bovo, Jr. District 13

Carlos A. GimenezMayor

MIAMI-DADE BOARD OF COUNTY COMMISSIONERS

Harvey RuvinClerk of Courts

Lazaro SolisProperty Appraiser

Robert A. Cuevas Jr.County Attorney

WHAT THE MEDIA IS SAYING . . .

“The only thing more delightful than an evening of music penned by preeminent Vien-nese composers such as Schubert, Korngold, and Johann Strauss, is having an Austrian conductor rendering them at the helm of The Cleveland Orchestra. . . . Miami has been the winter home of The Cleveland Orchestra for the past eight years. . . . Welser-Möst collaborates with his orchestra, often speaking elaborately with them in rehearsals about precision and the contrary. He does not concern himself with keeping the beat constantly, but is always attentive; he places a lot of trust in his players, who are obvi-ously deserving of his trust, becoming more involved as the dynamics and aesthetic of the music require. . . . The Cleveland Orchestra completed the evening with the Overture to Die Fledermaus, every player on point, from the variety of tempos that adorned the opening to the grand theme running through the lower strings into the full orchestra. The strings were glorious amidst the brass and wind interplay. The oboe (Frank Rosenwein) rendered the romantic center with sensitivity. The engine revved up, returned to the grand theme, and sprinted to the fi nish line, every note a treasure. The hall was spinning as cheers from the audience accompanied their fi ve-minute standing ovation. It couldn’t have been better.” —MiamiArtZine, January 2014

“While the music of Richard Strauss has long been a specialty of the house for The Cleveland Orchestra, rarely heard Debussy and a stunning performance of a landmark Stravinsky score took top honors at the second program of the Clevelanders’ annual Mi-ami residency at the Arsht Center. Acclaimed British baritone Simon Keenlyside added some vocal Strauss to a program that spanned the fi nal decade of the 19th century and the early years of the 20th. . . . The premiere of Stravinsky’s Le Sacre du Printemps [“The Rite of Spring”] created a riot and scandal in 1913 and, over one hundred years later, the score’s raw harmonies and harsh dissonances still pack a wallop. Instead of a coolly cerebral reading or ultra brilliant traversal, Franz Welser-Möst approached the score as theater music — highly colored and rhythmically alert. John Clouser’s strongly articu-lated, shapely bassoon solo preceded the onset of churning, primitive rhythms, given distinctly Russian fl avoring by Welser-Möst. The fi red-up brass and percussion were in top form and the entire ensemble snapped to the myriad changes of meter and pulse. In the opening of Part II, a mix of misty harmonies and languid Russian soulfulness, the depth and luster of the massed strings took full fl ight. Welser-Möst whipped up a frenzy in the fi nal sacrifi cial dance. A wonderfully supple play of dynamics and instrumental textures marked this freshly minted reading of a 20th-century masterwork.

—South Florida Classical Review, February 2014


classicalsouthflorida.org

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Cleveland Orchestra Miami serves Miami-Dade community through musical excellence, education programs, and community partnershipsThe Cleveland Orchestra serves more than 20,000 adults, students, and young people in the Miami-Dade community through a variety of concerts and com-munity engagement activities each year created as part of Cleveland Orches-tra Miami. Education and community programs have been an integral part of Cleveland Orchestra Miami since the ensemble’s annual residency was launched in 2007. In presenting these programs and activities, Cleveland Orchestra Miami has worked with community partners including the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, University of Miami Frost School of Music, New World Symphony, Miami-Dade County Public Schools, Miami Mu-sic Project, Arts for Learning, Coconut Grove Cares/The Barnyard, Coral Gables Congregational Church concert series, Florida International University, Great-er Miami Jewish Federation, “I Have a Dream” Foundation, Miami City Ballet, Miami-Dade County Department of Cultural Aff airs’ Golden Ticket and Culture-shock programs, MOCA North Miami, Overtown Youth Center, Ransom Ever-glades School, Sunday Afternoons of Music, Temple Beth Am, Archdiocese of Miami, and Wolfsonian-FIU. Each year, Cleveland Orchestra Miami builds its education programs with one goal in mind — to inspire music exploration. Presentations include a se-ries of “Musical Rainbow” concerts for pre-school and early elementary school children, which take the audience on a musical journey of the exploration of musical instruments. Also featured are daytime school concerts for elemen-tary students at the Adrienne Arsht Center’s Knight Concert Hall, as well as op-portunities for young musicians to advance their orchestral performance craft by working side-by-side with Cleveland Orchestra musicians, conductors, and guest artists.

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Cleveland Orchestra Miami November 14-15 Concerts