The Cleveland Orchestra Miami

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 M i a m i . c o m

J A N U A R Y 21 .22 .2O16 TC HAIKOVSK Y ’S WINTE R ROMANC E — page 15

J A N U A R Y 29 .30 .2O16 BRAHM S DOUBLE CONCE R TO — page 35

Season Sponsor:

2015 -16 Tenth Ann iversar y Season

3 About Cleveland Orchestra Miami Miami Music Association . . . . . . . . . . . . . . . . . . 4 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Founders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . . . 9 Inspiring Future Generations . . . . . . . . . . . . . 51 Arsht Center . . . . . . . . . . . . . . . . . . . . . . . . . . 52-55

15 Concert: January 21-22 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Introducing the Concert . . . . . . . . . . . . . . . . . . . 17 About the Music . . . . . . . . . . . . . . . . . . . . . . . 18-25 Conductor: Franz Welser-Möst . . . . . . . . . . . 28 PIano Soloist: Leif Ove Andsnes . . . . . . . . . . 20

26 About The Cleveland Orchestra Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . 26 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Principal Guest Conductor . . . . . . . . . . . . . . . 30 About the Orchestra . . . . . . . . . . . . . . . . . . . . 31

35 Concert: January 29-30 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Introducing the Concert . . . . . . . . . . . . . . . . . . . 37 About the Music . . . . . . . . . . . . . . . . . . . . . . . 39-49 Conductor: Franz Welser-Möst . . . . . . . . . . . 28 Violin Soloist: William Preucil . . . . . . . . . . . . . 44 Cello Soloist: Mark Kosower . . . . . . . . . . . . . . 45

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P R O G R A M B O O K SCopyright © 2016 by The Cleveland Orchestra.

Eric Sellen, Program Book EditorE-MAIL: [email protected]

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Cover photo copyright © WorldRedEye / Rodrigo Gaya

Table of Contents

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

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

Cleveland Orchestra Miami was created with the vision of serving Miami-Dade through an annual season of musical presentations by The Cleveland Orch estra, featuring great orchestral concerts with world-renowned soloists, vibrant education programs for students from pre-school to college, and engaging community presentations for diverse populations throughout the region. Today, these programs touch the lives of over 20,000 children, students, and adults each year. Under the leadership of a Miami-based not-for-profi t board of direc-tors, Cleveland Orchestra Miami is supported through the generosity of music-lovers from across South Florida, who believe in the power of great orchestral music to engage, motivate, and enthrall. Each season of Cleveland Orchestra Miami concerts is presented in partnership with the Adrienne Arsht Center for the Performing Arts of Miami-Dade County.

Who We Are 3Cleveland Orchestra Miami 2015-16

Board of Directors / Advisory Council4 2015-16 Cleveland Orchestra Miami

Jon BatchelorBrian Bilzin Marsha Bilzin Alicia CelorioMike S. EidsonMiguel G. Farra Susan FeldmanIsaac K. FisherAdam M. Foslid

Lawrence D. GoodmanPedro JimenezMichael JobloveGerald KelferTina KislakThomas E LauriaShirley LehmanWilliam LehmanJan R. Lewis

Sue MillerPatrick ParkAndrés RiveroJoseph SerotaMary M. SpencerHoward A. StarkRichard P. TonkinsonGary L. WassermanE. Richard Yulman

Sheldon T. Anderson, ChairmanNorman Braman, Vice ChairmanHector D. Fortun, Vice Chairman

Miami Music Association

Officers and Board of Directors

Jeff rey Feldman, PresidentMary Jo Eaton, SecretaryDavid Hollander, Treasurer

Cleveland Orchestra Miami Advisory Council 2015-16

Michael Samuels, ChairCarlos Noble , Vice ChairKevin Russell, SecretaryBill AppertJaime BianchiBetty Fleming Joseph Fleming

Cleveland Orchestra Miamipresented by the

M I A M I M U S I C A S S O C I A T I O N

The Miami Music Association (MMA) is a not-for-profi t corporation, comprised of leading Miam-ians motivated by the idea that as a world-class city Miami’s cultural life should always include or-chestral performances 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 we succeed in creating a culture of passionate and dedicated concert-going in South Florida among the broad-est constituency. Thank you for your support and commitment.

Created in 2015, the Advisory Council promotes Cleveland Orchestra Miami and its programs with individuals, academic and cultural institutions, businesses, and foundations throughout South Florida, encouraging broad participation and advising on growth strategies and future projects.

Alfredo GutierrezLuz Maria GutierrezDouglas HalseyAmy HalseyPaige A. HarperIvonete LeiteRon Morgan

Georgia Noble Claudia Perles Steven PerlesDiane RosenbergMichael RosenbergJudy SamuelsBrenton Ver Ploeg

Joaquin ViñasTeresa Galang-ViñasChris WallaceSteven Weirich

Adam M. Foslid, Liaison, Board of Directors

5Cleveland Orchestra Miami 2015-16

Dear Friends, Welcome! On behalf of Cleveland Orchestra Miami, we are delighted that you are joining us for these January performances of superb music by The Cleveland Orchestra. This is Cleveland Orchestra Miami’s tenth anniversary season, and it is important for all of us to thank the Founders of this one-of-a-kind, two-city musical partner-ship for their courage, leadership, and generosity. Each of these visionaries, each of whom is listed on page 6 of this program book, foresaw the cultural enrichment that The Cleveland Orchestra would bestow on South Florida for the past decade. Since 2006, The Cleveland Orchestra has served tens of thousands of members of the South Florida community with musical performances, education programs, and community presentations each year. And today, because of our Founders’ vision, Cleveland Orch-estra Miami is proudly and permanently established here in Miami — enriching lives through the power of music. Each year, Cleveland Orchestra Miami seeks to engage and serve more people across South Florida. We are proud of the many ways Cleveland Orchestra Miami has made a diff erence in Miami. We have expanded our season from three to four weeks of concerts. We have extended free tickets to young people under age 18, making attending Cleveland Orchestra Miami concerts easier and more aff ordable for families. We have doubled the number of students we reach with music educa-tion programs each year. And we are exploring new ways for community members to experience The Cleveland Orchestra — including more intimate presentations in venues across Miami-Dade. All this is possible because of you. Your support and interest have driven our suc-cess. Because of you, tens of thousands of concertgoers have attended Cleveland Orchestra performances here in the Adrienne Arsht Center each year. Dozens of Miami-Dade County public schools have welcomed Cleveland Orchestra musicians into classrooms and brought students to concerts. Donors from across the region support Cleveland Orchestra Miami with nearly $3 million in annual contributions — making possible all the performances and presentations the Orchestra does here in our com-munity. Thank you for ten years of shared musical experiences, and for celebrating with us in this anniversary season! With growing support from across South Florida, and an ongoing passion for the power of music, ten years is just the beginning.

Best regards,

Jeff rey Feldman

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

Cleveland Orchestra Miamipresented by the Miami Music Association

JEFFREY FELDMAN SHELDON T. ANDERSON

President Chairman

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

Welcome

6 2015-16 Cleveland Orchestra Miami

From Dream to RealityHonoring the Founders of

Cleveland Orchestra MiamiMore than a decade ago, a group of Miami citizens joined together around a remark-able shared dream — of bringing to Miami one of the best orchestras in the world, not just once, but on a regular basis. To build an ongoing relationship between the com-munity and that orchestra, and to present a series of concerts in the city’s brand-new world-class concert hall at the Adrienne Arsht Center. To harness the power of music to engage school children, and to present community presentations of the highest caliber. Today, as we celebrate our Tenth Anniversary, that dream is a reality, and we list here the names of the founders of Cleveland Orcherstra Miami in gratitude to their vision, perseverance, and dedication . . . to a dream . . . for all of South Florida.

Michael and Judy AdlerCesar AlvarezFlorence and Sheldon T. AndersonJ. Ricky ArriolaJayusia and Alan BernsteinMarsha and Brian BilzinIrma and Norman BramanMartha and Bruce ClintonColleen and Richard FainHector D. FortunFrancie and David HorvitzTati and Ezra KatzShulamit* and Chaim KatzmanJanet and Gerald KelferPamela Garrison and R. Kirk Landon*Judy and Donald LeftonShirley and William LehmanDaniel R. Lewis Jan R. LewisThe Miami Foundation, from a fund established by the John S. and James L. Knight FoundationSue MillerNorthern TrustMuriel Rosen*Dr. James SchwadeKaryn SchwadeJudy and Sherwood* WeiserJody WolfeJanet* and E. Richard Yulman

*deceased

4O,000

4OO

a quarter million

65,000

300

Over 40,000 students from over 200 Miami-Dade County public schools have

attended Cleveland Orchestra Miami daytime Education Concerts at Knight Concert Hall.

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

Cleveland Orchestra Miami has delivered over 400 concerts

and musical presentations — to music-lovers from 3 to 93.

2006The Cleveland Orchestra first played in

the Adrienne Arsht Center in August 2006, performing a series of acoustic rehearsals

to test the sound of Knight Concert Hall for the architects and engineers. Cleveland

Orchestra Miami launched its annual series of concerts with the 2006-07 season.

In ten years, Cleveland Orchestra Miami has touched the lives of more than a quarter million Miamians — through

the power of music to engage, uplift, and enthrall.

In ten years, Cleveland Orchestra Miami has presented music programs for more than 65,000 young people across the county.

Cleveland Orchestra Miami, in its fi rst decade, has partnered with over 300

schools and partner organizations to showcase the power of great music

and great music-making.

A decade of success — and ten years is just the beginning!

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 January 5, 2016.

$100,000 and more

Irma and Norman BramanDavid and Francie Horvitz Family Foundation, Inc.Daniel R. LewisJan R. LewisPeter B. Lewis* and Janet Rosel LewisJohn S. and James L. Knight Foundation Sue MillerMary M. SpencerJanet* and Richard YulmanWhite & Case $50,000 to $99,999

Sheldon and Florence AndersonHector D. FortunMiami-Dade County Department of

Cultural Aff airsPatrick ParkThe Claudia and Steven Perles Family

Foundation $25,000 to $49,999

The Batchelor FoundationDaniel and Trish BellIn dedication to Donald CarlinMartha and Bruce ClintonAdam Foslid, Greenberg Traurig, P.A.Thomas E LauriaPeacock Foundation, Inc.Marc and Rennie SaltzbergMs. Ginger Warner

$10,000 to $24,999

William Appert and Christopher Wallace Jayusia and Alan BernsteinMarsha and Brian BilzinPeter D. and Julie F. CummingsDo Unto Others TrustMary Jo EatonMr. Mike S. Eidson, Esq and Dr. Margaret EidsonNelly and Mike FarraFeldman Gale, P.A.Jeff rey and Susan FeldmanIsaac K. FisherKira and Neil FranzraichSheree and Monte FriedkinMary and Jon HeiderAstrid and Pedro JimenezCherie and Michael JobloveTati and Ezra KatzJonathan and Tina KislakAlan Kluger and Amy DeanMr. and Mrs. Dennis W. LaBarreShirley and William Lehman

Moshe and Margalit MeidarJoy P. and Thomas G. Murdough, Jr.Miami-Dade County Public Schools Milly NymanRoyal Caribbean International Drs. Michael and Judith SamuelsJoseph and Gail SerotaHoward Stark M.D. and Rene RodriguezRick, Margarita, and Steven TonkinsonVer Ploeg & Lumpkin, P.A.Ms. Ginger WarnerGary L. Wasserman and Charles A. KashnerFlorence and Robert WernerBarbara and David Wolfort

$5,000 to $9,999

Carlton FieldsStanley and Gala CohenJoseph Z. and Betty FlemingFunding Arts NetworkLinda and Lawrence GoodmanPatti GordonAlfredo and Luz Maria GutierrezDouglas M. and Amy HalseyRichard Horvitz and Erica Hartman-Horvitz

FoundationIvonete LeiteDrs. Ron Morgan and Steve WeirichGeorgia and Carlos NobleRobert PinkertBarbara S. RobinsonDr. and Mrs. Michael RosenbergSouthern Wine and SpiritsUnited Automobile Insurance CompanyTeresa Galang-Viñas and Joaquin Viñas

$2,500 to $4,999

Mr. Mark O. BagnallStephen Barrow and Janis ManleyKerrin and Peter BermontJaime A Bianchi and Paige A. HarperCarmen BishopricDr. and Mrs. Edward C. GelberRobert D. and Jill HertzbergDavid HollanderBob* and Edith HudsonAngela Kelsey and Michael ZealyJacqueline and Irwin* KottEeva and Harri KulovaaraTom and Amy LehmanJudy and Donald LeftonAna and Raul MarmolRosanne and Gary OateyMaribel A. PizaAlfonso Rey and Sheryl Latchu

Mr. and Mrs. James N. Robinson IIMichael and Chandra RuddMr. Kevin RussellSydney and David SchaecterCharles E. SeitzLois H. SiegelSidney TaurelBrenton Ver PloegCarlos VianaHenrietta Zabner

$1,000 to $2,499

Mr. and Mrs. Spencer AngelLinda and Rodney BenjaminSara ArbelMontserrat BalseiroDouglas Baxter and Brian HastingsDon and Jackie BercuHelene BergerFran and Robert BerrinRhoda and Henri BertuchIrving and Joan M. BolotinRaoul and Ani CanteroJohn CarletonDouglas S. Cramer / Hubert S. Bush IIIMr. and Mrs. John K. CunninghamMs. Angela DakerNancy J. DavisFernando De La HozAndrew dePass and William JurbergShahnaz and Ranjan DuaraBernard EcksteinAndrea and Aaron EdelsteinMr. and Mrs. Steven EliasMr. George Feldenkreis and Ms. Marita SrebnickMorris and Miriam FuternickMr. Michael GarciaLenore GaynorNiety and Gary R. GersonJoan GetzNancy F. GreenJack and Beth GreenmanSandi M. A. Macdonald and Henry J. GrzesJohn F. HamiltonMr. and Mrs. Barry HesserRoberto and Betty HorwitzAmal Solh KabbaniMrs. Nedra KalishDr. Michael and Gail KaplanMichael KavoukjianMr. R. Kebrdle and Mrs. A. KebrdleKluger, Kaplan, Silverman, Katzen & Levine, P.l.

Annual Fund Contributors

listing continues

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

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


Cynthia KnightMr. and Mrs. Israel LapciucRonald and Harriet LassinMr. and Mrs. Marvin H. LeibowitzBarbara C. LevinMr. Jon E. Limbacher and Patricia J. LimbacherMr. and Mrs. Carlos Lopez-CanteraMaureen McLaughlinDr. Isidoro MorjaimJames P. OstryniecMr. Michael PhillipsEckhard Podack

Guillermo and Eva RetchkimanDr. Lynne and M John RichardCharles and Linda SandsRaquel and Michael ScheckMr. and Mrs. David ServianskyGreg Sharp Grace Katherine SipusicHenry and Stania SmekMs. Linda M. SmithRichard and Nancy SneedJorge SolanoNancy and Edward StavisMichalis and Alejandra Stavrinides

Mr. Eduardo SternMs. Pat StrawgateJoni and Stanley TateSidney TaurelParker D. Thomson Esq.Mr. and Mrs. Robert H. TraurigDr. and Mrs. Michael B. TronerRaymond and Gracelyn TuotiBetty and Michael WohlSusan and Bob ZarchenLoly and Isaac ZelcerAnonymous (2)


listing continued

up to $999

Margarita AbelloJohn ActmanMarjorie H. AdlerCarla AlbarranAngela AlfonsoAndrew and Laurie AlpertRosalie Altmark and Herbert KornreichPaula and Carlos AlvarezDr. Kip and Barbara AmazonNancy AmeglioJohn and Sarah AndersonJose-Eloy AnzolaFred AragonJohn ArbachRobert ArchambaultAna L. ArellanoDiane de Vries AshleyDaniel Ayers and Tony SeguinoMs. Mary Ellen BaileyTed and Carolann BaldygaSusan BannonErva BartonJoan and Milton Baxt FoundationLinda BelgraveMs. Iliana BelloMr. Joseph BerlandEnrique BernalHelen and Jack BerneNeil Bernstein and Julie SchwartzbardRobert BickersKen BleakleyDr. Louis W. BloiseSam BoldrickMr. Bruce BoltonMario and Adriana BosiCarol BrafmanMr. Wallace BrayMr. and Mrs. Eric BuermannAda BusotDr. María BustilloA CMr. Richard CannonJames Carpenter 2 seats (In memory of Christina)Antonio Carrasco and Carolina OudenhovenPhilip and Kathryn CarrollErich CaullerHarold ChambersLydia ChelalaMr. Jeremy ChesterJosephine Chianese

Carole J. CholastaJethro ChouKatherine ChouinardOlga CobianAlicia ConillLane ConveyRichard CoteMrs. Bonnie Craiglow-ClaytonWilliam R. CranshawMarcella CruzBrian DalrympleGeorge H. DalsheimerSergio da SilvaJennie DautermannEllen DavisJose and Marta De la TorreTeresa Del MoralBerta Del PinoLuis DikesGerson and Valquiria DoresLaura DrexlerMichael A. and Lori B. DribinBill DurhamDr. Edward Gross and Karla EbenbachMonica ElizaldeEduardo EranaJack and Nancy ErvinDorothy M. EvansMr. and Mrs. Menashe ExelbirtJudit FaiwiszewskiMrs. Carol FassMurray H. FeigenbaumKatherine and Bennett FeldmanMr. Thomas FerstleJ. FieldIngrid Fils and Benson RakusinGabriele FiorentinoBruce and Martha FischlerKip and Jackie FisherDr. and Mrs. Lawrence M. FishmanMarcus FlanaganChristiane and Ronaldo FlankRobert R. Brinker & Nancy S. FleischmanDr. and Mrs. Rudolph J. FreiDr. and Mrs. Michael FreundlichMr. and Mrs. Joel FriedlandMarvin Ross Friedman and Adrienne bon HaesDr. Noelle Froehich and Dr. David S. PenaMalcolm and Doree FrombergSue GallagherMargaret GaubMargaret Gerloff

Giancarlo GhinattiGlenn Gilbert and Sharon GilbertJudy M. GilbertLisa Giles-KleinHon. and Mrs. Isaac GilinskiPerla GilinskiCatherine GoeMr. and Mrs. Salomon GoldBobbi Goldin & Tim DowneySue and Howard GoldmanLee Goldsmith and Jeff rey HallerBarbara R. GoldsteinMarielle Gomez-KaiferLaura Maria Gonzalez MarquesLeony GonzalezGalina GorokhovskyRafael and Maria Del Mar GosalbezSeymour GreensteinSergio and Sophia GroblerLinda & David GrunebaumRev. Hans-Fredrik Gustafson, Ph.D.Sky HackettGeorge and Vicki HalliwellJack and Shirley HammerDr. Juliet HananianVincent Handal, Jr. Esq. & Michael WilcoxJohn HanekDely and Ernest HarperNicolae HarsanyiClaus and Barbara HauboldDr. Gail A. HawksJames A. HeilmanArturo & Marjory HendelParissa HidalgoJorge HineJames HitchcockBarbara L. HobbsGregory T. HoltzMr. and Mrs. Bernard HorowitzMelvin and Vivien HowardDr. Michael C. HughesTisha HulburdLawrence R. HyerHelena IturraldeDr. and Mrs. Norman Jaff eNancy JaimesRichard JanaroFarrokh JhabvalaMs. Ana JhonesMary Busenburg and Tom JonesDr. Bruce and Mrs. Joyce JulienDr. Marie Jureit-BeamishMrs. Joyce Kaiser

F R I E N D S

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


Jack and Shirley KaplanMichele KarsentiPhyllis KatzRaquel Kaufl erMr. Arthur S. KaufmanJames KaufmanMeredith KebailiVictor KendallAnne Elizabeth D. KidderDr. & Mrs. Frederick KiechleBuddy KleinDr. and Mrs. Frederick KnollDaniel and Marcia KokielAnita KonigLisa Kornse and August WasserscheidJohn KramerThomas KrasnerMr. David J. KudishCarolina LabroRobert D.W. Landon, IIIWendy G. LapidusJudy and Donald LeftonBarbara LeibellPaul and Lynn LeightMr. and Mrs. Elliot LemelmanRobert and Barbara LevensonDr. and Mrs. Stanley LevickMelvin & Joan LevinsonLinda LevyMs. Lauren J. LicataNikita LikhtCraig Likness and George ThompsonEmilio and Gloria LlinasMaxine LongCaetano R. LopesEnrique and Monica LopezRaul and Juanita LopezArthur A. LorchWilliam and Carmen LordEdward and Kay LoresRichard MahfoodLewis and Dodie MahoneyBarbara and Roger MaisterJohn MakemsonMrs. Sherrill R. MarksJoan A. MarnMr. John MartinTeresa Martin-Boladeres and Ignacio H. BoladeresLaureano J. MartinezMr. Rodolfo MartinezCarlos Martinez-ChristensenBeatriz Martinez-FontsEdward MastRobert MayerMs. Sara MaymirAlan E. MaynardRobert and Judith MaynesKaren McCarthyGeraldine McClaryCarter and Laura McDowellDr. Gwenn E. McLaughlinAlice and Oded MeltzerBernice MenaKenneth MendelsohnDr. and Mrs. Jorge MendiaPauline MenkesEvelyn H. MilledgeHarve and Alesia MogulMr. Geronimo MontesDr. Michele Morris and Dr. Joel Fishman

Edgar MosqueraSamuel and Charlotte MowermanPhillip and Hope MyersMr. Hector NazarioKaren NichollsAra and Violet NisanianMurray and Lynne NorkinMr. and Mrs. Z. John NyitrayDr. Jules OaklanderColleen O’ConnorDr. and Mrs. Larry K. PageLarry and Marnie PaikinRuth M. ParryHarold and Ivy LewisStephen F. PattersonEsther and Jacques PaulenMarilyn PearsonRuso PerkinsDiane G. PersonMr. & Mrs. Henry F. Pfi sterFerdinand and Barbara PhillipsPeter Pilotti and Joseph RodanoSuzan and Ronald PonzoliThomas J. Porto and Eugene P. WaltonBen Z. PostRegina D. RabinLynne RahnPratima RajuFred RawiczRobert ReardenAugustin and Isis RecioCarole and Burt RedlusJeff rey D. ReynoldsMs. Betty RiceMr. Carlos RivasMr. and Mrs. S. Michael RogersDaniel RodriguezHoracio RodriguezRosario RosVirginia RosenElizabeth Rothfi eldStephen and Heidi RowlandKaren RumbergLarry RustinPhilip RyanRyder Systems, Inc.Mr. Gonzalo SanchezSaul and Mary SandersEugene Schiff Mr. Arnold SchillerMr. & Mrs. Kyle R. SchlinskyDr. Markus SchmidmeierMr. Ronald E. Schrager and Ms. Wendy HartMr. Peter and Mrs. Ortrud SchumannDr. James SchwadeAlex & Jeanne SchwanerDavid ScottMargaret SearcyMike and Ronna SegalMargaret SeroppianBrenda Shapiro and Javier BrayElizabeth SharkeyDr. and Mrs. John ShookDr. and Mrs. David ShpilbergMr. Jerald SiegelJudge Paul SiegelAlvaro and Gloria SilvaMr. Geoff rey T. SilvaRafael and Sulamita SimkoviciusVicki and Bob SimonsMr. Steven Smith

Dr. Gilbert B. SnyderIlene and Jay SosenkoVoi SosnowskiMaryann FloresClara Sredni DeKassinIssac SredniNick and Molly St. CavishMarilyn Mackson SteinBeverly StoneHolly StrawbridgeJack SutteRicardo and Ana TarajanoLori V. ThomasFriendDr. Takeko Morishima ToyamaJudith Rood Traum and Sydney S. TraumAlicia M. TremolsMr. and Mrs. Frank TrestmanTali and Liat TzurRita UllmanJanice UriarteDr. John W. Uribe and Dr. Nancy ReiersonAndrea and Natalia VasquezJohn C. VaughnVCN CorporationM. Vento and Peter MacNamaraMr. Fabian VereaJorge VieraHerbert W. and Peggy F. VogelsangFrank J. VoyekVivian WaddellJohn WallaceDavid and Oreen WallachPeter J. White, Jr.Ronni and Bob WhitebookMr. and Mrs. Arthur WhittakerBrant WiggerMr. Bob WilliamsRichard WilliamsonMs. Debbie WirgesAndrew WitDr. and Mrs. Jack WolfsdorfLaura A. WoodsideKeying XuMr. and Mrs. Guri YavnieliSora Yelin in memory of Cary F. YelinAllan YudacufskiEloina D. Zayas-BazanPatricio Ziliano, Sr.Amy ZimmermanAnonymous (20)

* deceased

Cleveland Orchestra Miami relies on the generosity of its patrons for our continued success. Your contribution enables the Miami Music Association to present Cleveland Orchestra con-certs, education programs, and com-munity activities for thousands of citizens across Miami-Dade County. Please consider a gift today by calling 305-372-7747 or visit online at ClevelandOrchestraMiami.com.



“Music is a higher

revelation than all

wisdom and philosophy.”

—Ludwig van Beethoven

Sometimes things feel great right from the start.

After only ten years, Cleveland Orchestra Miami feels as though it has always been a part of Miami’s cultural life. These great performances are making Miami an even better place to live.

We applaud the visionaries who had the passion and chutzpah to bring the world’s best orchestra to Miami. We salute the founders and director of the Miami Music Association, created under the leadership of founding Chairman Dan Lewis, and now led by President Jeffrey Feldman and Chairman Sheldon Anderson.

The generosity and steadfast determination of everyone involved is preparing for a new decade of community achievement and musical success.

—Rick and Margarita Tonkinson


Concert Prelude

January 21-22 Concert Preludes

A free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the evening’s orchestral concert. Thursday, January 21, 2016, at 7:00 p.m. Friday, January 22, 2016, at 7:00 p.m.

Three Fantasy Pieces, Opus 73, for cello and piano by ROBERT SCHUMANN (1810-1856)

1. Tender, and with expression 2. Lively, light 3. Quick, and with fi re

Tanya Ell, cello Carolyn Gadiel Warner, piano

from Piano Trio in A minor, Opus 50 by PYOTR ILYICH TCHAIKOVSKY (1840-1893)

2. Tema con variazioni: Andante con moto — Finale e coda

Eli Matthews, violin David Alan Harrell, cello Carolyn Gadiel Warner, piano


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


Diverse & distinctiveOur diverse community of legal and professional staff at White & Case are asource of strength, vital to our ability to represent and advise clients across the world.

whitecase.com/diversity


Miami Music Association and the Adrienne Arsht Center present

The Cleveland OrchestraFranz Welser-Möst, conductor

Program: January 21-22

Thursday evening, January 21, 2016, at 8:00 p.m. Friday evening, January 22, 2016, at 8:00 p.m.

pyotr ilyich tchaikovsky Romeo and Juliet Overture-Fantasy(1840-1893)

robert schumann Piano Concerto in A minor, Opus 54(1810-1856) 1. Allegro affetuoso 2. Intermezzo: Andantino grazioso 3. Allegro vivace

LEIF OVE ANDSNES, piano

INTERMISSION

tchaikovsky Symphony No. 1 (“Winter Daydreams”)

in G minor, Opus 13 1. Reveries of a Winter Journey: Allegro tranquillo 2. Land of Desolation, Land of Mists: Adagio cantabile 3. Scherzo: Allegro scherzando giocoso 4. Finale: Andante lugubre — Allegro maestoso

The concert will end at approximately 10:05 p.m.

Cleveland Orchestra Miami's Tenth Anniversary Season is sponsored by White & Case.

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



Undoubtedly I should have gone mad but for music. Music is indeed the most beautiful of all Heaven’s gifts to humanity wandering in the darkness. Alone it calms, enlightens, and stills our souls. It is not the straw to which the drowning man clings — but a true friend, refuge, and com-forter, for whose sake life is worth living.

—Pyotr Ilyich Tchaikovsky

A portrait of Tchaikovsky,

painted in 1893 at the height

of his fame, by Nikolai Kuznetsov.

17Cleveland Orchestra Miami 2015-16 Introducing the Concerts

C L E V E L A N D O R C H E S T R A M I A M I ’ S Tenth Anniversary Season continues with two back-to-back weekends of concerts fi lled with great music and great musical storytelling. The fi rst week features

early works by two well-known master composers of the 19th century — Tchaikovsky and Schumann. The evening opens with the searing white heat of Tchaikovsky’s orchestral fantasy-overture Romeo and Juliet. The passion, longing, swordplay, and de-spair of Shakespeare’s great tragedy all come to life in this work, fi rst written in 1869 and later revised to its ultimate thrilling form. Tchaikovsky was notori-ously self-critical and sensitive over his writing — although there are an equal number of stories about scores he tried to destroy vs. those he defended against outside criticism. This is one of Tchaikovsky’s fi rst great masterpieces, and always a thrill to hear in live performance. Next up is Robert Schumann’s Piano Concerto. This was fi rst created — as a one-movement fan-tasy — in 1841 during Schumann’s fi rst extended

period of writing for full orchestra. He revised and extended it a few years later into a full concerto, premiered by his wife Clara, one of the 19th century’s great keyboard artists. For the solo role here in Miami, Franz Welser-Möst has invited the Norwegian Leif Ove Andsnes, whom he has worked with often and watched grow across the past quarter century to be one of today’s most formidable and admired pianists. The concert ends with Tchaikovsky’s First Symphony, given the subtitle “Winter Daydreams” by the composer. Here is a delightfully strong work, once neglected but coming back into its own. The thematic unity of the symphony, and the sense of reverie (perhaps icebound) in the opening movements all come together to project this composer’s bona fi des as a musical Romantic — letting emotion-al states speak loud and clear, even as the formal structure remains authentically classical, and tinged with Russian spirit. —Eric Sellen .

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

Concerto, Love&Dreams

January 21-22

“Romeo and Juliet” portrayed in an

oil painting by Ford Madox Brown

from 1870.

January 21-22


T H E I D E A to write an orchestral work based on Shakespeare’s Romeo and Juliet was not Tchaikovsky’s own but came instead from Mily Balakirev, the intellectual leader of a group of Russian composers known as the “Mighty Handful” or the Russian “Five.” (Aside from Balakirev, the group included Modest Mussorgsky, Nikolai Rimsky-Korsakov, Alexander Borodin, and César Cui.) Balakirev was just a few years older than Tchaikovsky and the rest of the “Five.” Yet he had an acute critical mind and a charisma that made him the unoffi cial leader of his generation among the musical community. Although he composed a great deal himself, his legacy shows that he was often far more im-portant as a catalyst who inspired others and prodded them to write the works he himself was incapable of writing. In 1869, Balakirev had been inspired by Shakespeare to write a King Lear overture and suggested that Tchaikovsky tackle an orchestral piece based on Romeo and Juliet. He even gave the younger composer some fairly precise indications on how to go about the project, including four measures of music that he thought the piece should start with and a structural outline (complete with sequence of themes, plan for modulating be-tween keys, and other technical details). Tchaikovsky didn’t use the suggested opening measures, but in other respects he followed Balakirev’s advice rather closely. He even sent his mentor the musical themes from his new piece for approval. Giving approval was not easy for Balakirev, how-ever, who replied that “the fi rst theme is not at all to my taste.” He found the great love theme, however, to be “simply delightful.” Tchaikovsky was careful not to show Balakirev the entire work until after he had heard it performed the way he had writ-ten it. After the March 1870 premiere, however, Tchaikovsky followed up on the older man’s criticisms. He threw out the theme that Balakirev didn’t like, wrote a new introduction, and revised the development and the coda that brought the piece to a close. He then sent this new version to Balakirev, who shared it with his circle. The infl uential critic Vladimir Stasov, a central fi gure associated with the group, exclaimed: “There were fi ve of you; now you are six!” This judgement, however, was premature, for Tchaikovsky was to follow his own artistic path — and the “Five” itself slowly became less important. By the time Tchai-

Romeo and Juliet Overture-Fantasycomposed 1869, revised 1870 and 1880

by Pyotr IlyichTCHAIKOVSKYborn May 7, 1840near Votkinsk, Russia

diedNovember 6, 1893St. Petersburg

About the Music


kovsky returned to Romeo and Juliet to revise it further in 1880, he was a mature composer who, although always sensitive to criticism, was no longer dependent on advice. He undertook some further cutting and pasting on his own, resulting in the fi nal form of what is universally considered his fi rst masterpiece. The overture-fantasy begins with a musical portrait of Friar Laurence (a very Russian Friar Laurence, one might add, with a slow chorale melody tinged with some typically Russian polyphonic motifs). A brief transition leads to a stormy “Allegro” theme evoking the feud of the Montagues and the Capulets in an almost graphic way through the rapid alternations of the string and wind sections. The musical development section leads to a climactic point where the “feud” music is combined with the Friar Laurence theme, played fortissimo (“very loudly”) by the brass. The reca-pitulation reworks the love theme, revealing its hidden connec-tions with the “feud” music. In the fi nal section (with a tempo marking of Moderato assai), the love theme comes to a tragic conclusion, consistent with Shakespeare’s play.

—Peter Laki © 2016Copyright © Musical Arts Association

Tchaikovsky wrote the fi rst version of his fantasy-overture on Romeo and Juliet in 1869. After the fi rst performance, led by Nikolai Rubinstein in Moscow on March 16, 1870, Tchaikovsky revised the work extensively. He made another round of revisions in 1880, producing the defi nitive version of the piece, fi rst performed on May 1, 1886, in Tbilisi in Russian Georgia. This work runs about 20 minutes in performance. Tchaikovsky scored it for 2 fl utes, piccolo, 2 oboes, eng-lish horn, 2 clarinets, 2 bas-soons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, bass drum), harp, and strings. The Cleveland Orchestra fi rst performed Tchaikovsky’s Romeo and Juliet in De-cember 1919. It has enjoyed frequent performances by the Orchestra since that time.

At a Glance

About the Music

The three Tchaikovsky brothers in 1875, with family friend Nikolai Dmitrievich Kondratiev (standing at left), and then Anatoli Tchaikovsky (seated), Modest Tchai-kovsky, and Pyotr (seated).

January 21-22

20 2015-16 Cleveland Orchestra MiamiGuest Soloist

Leif Ove AndsnesNorwegian pianist Leif Ove Andsnes is acclaimed internationally for his artistry performing with orchestras and at leading music festivals, in chamber music collabo-rations, in solo recital, and as a recording artist. Mr. Andsnes served as co-artis-tic director of Norway’s Risør Festival of

Chamber Music for nearly two decades, and is a professor at the Norwegian Acad-emy of Music and member of the Royal Swed-ish Academy of Music. He made his United States orchestral debut in summer 1990 with The Cleve-

land Orchestra and has played regularly with the Orchestra across the ensuing twenty-fi ve years. Concerto — A Beethoven Journey, a documentary by British director and fi lm-maker Phil Grabsky that was released this past autumn, chronicles Mr. Andsnes’s four-season focus on Beethoven’s music for piano and orchestra. With the Mahler Chamber Orchestra, he traveled to 108 cities in 27 countries for more than 230 live performances. This musical partner-ship was recorded by Sony Classical as The Beethoven Journey. Leif Ove Andsnes’s recent and cur-rent schedule includes major European and North American solo recital tours, as

well as concerts with the orchestras of Bergen, Chicago, Leipzig, London, Mu-nich, Philadelphia, and Zurich. He will also perform Brahms’s piano quartets with Cle-mens Hagen, Christian Tetzlaff , and Tabea Zimmermann. Mr. Andsnes now records exclusively for Sony Classical. His previous discogra-phy comprises more than 30 albums for EMI Classics — solo, chamber, and concerto releases spanning repertoire from the time of Bach to the present day. He has been nominated for eight Grammys and award-ed many international prizes, including six Gramophone Awards. Leif Ove Andsnes’s recordings of the music of Edvard Grieg have been especially celebrated. Among the honors bestowed on Mr. Andsnes as an artist are Norway’s Com-mander of the Royal Norwegian Order of St. Olav and Peer Gynt Prize. He also has received the Gilmore Artist Award and the Royal Philharmonic Society’s Instrumen-talist Award. He was inducted into the Gramophone Hall of Fame in 2013. Leif Ove Andsnes was born in Kar-møy, Norway, in 1970. He studied at the Bergen Music Conservatory with Jiri Hlinka, and later with Jacques de Tiège. He currently lives in Bergen, Norway, and in June 2010 became a father for the fi rst time. His family expanded in May 2013 with the arrival of twins. For more information, please visit www.andsnes.com.

January 21-22


PIano Concerto in A minor, Opus 54composed 1841-45

R O B E R T S C H U M A N N had little patience for the hordes of virtuoso pianists who showed off their brilliant fi ngerwork and dazzled audiences all over Europe in the early 19th century, playing on the new-fangled instruments that were much bigger and brighter than anything Mozart had known. Beethoven had sensed the potential of the new upper octaves, which could be heard (though not by himself, of course) at the back of large halls and could compete on equal terms as the “modern“ orchestra grew in size. Schumann’s early piano music felt the lure of this brilliant style, but he soon championed the cause of expression and feeling over virtuosity and brilliance. In 1839, Schumann wrote, when a particular concerto of-fended him: “We must await the genius who will show us in a new and brilliant way how orchestra and piano may be combined, and how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.” Schumann’s gift for prophecy, so accurate when proclaim-ing the genius of the young Chopin and the young Brahms, was this time pointing with equal accuracy to himself. In 1839, he had in fact begun to sketch a piece for piano and orchestra for his beloved wife, Clara, and it was fi nished in 1841 under the title Fantasie. There was no opportunity to perform it, however, and three publishers declined to print it. Four years later, he added an Andantino section, linking to a Rondo movement, to make a three-movement concerto. And in this form, once it had been performed by Clara in Leipzig on New Year’s Day, 1846, it was successful everywhere — and came to be one of the best-loved of Romantic piano concertos, with a pleasing balance between virtuosity or skilled artistry and more clear-eyed, thoughtful musicality, yet fi lled with emotional weight. The fi rst movement betrays the character of a Fantasie in many ways, since the main theme, heard fi rst in the winds with the piano’s immediate response, reappears in many guises. It serves as the second subject in the major key, now on the clarinet over the piano’s rippling accompaniment, and also as an inter-ruption before the development, when the theme is passed back and forth between the clarinet and the piano in a marvelously languorous mood. Finally, after the solo cadenza, it appears in

by RobertSCHUMANNborn June 8, 1810Zwickau, Saxony

diedJuly 29, 1856Endenich, near Bonn

About the Music


At a Glance

a brisk closing coda. As a model of how soloist and orchestra may be combined, the middle movement Intermezzo splits its theme between these forces, who continue the conversation until it is time for a new theme. This is presented by the cellos with elegant inter-jections from the soloist. At the end, as the movement fades to nothing, oboes and clarinets bring back the fi rst movement’s main theme in a hesitant manner, recalling the equivalent mo-ment in Beethoven’s “Emperor” Concerto (No. 5), before the fi nale bursts in with new energy. The last movement’s theme is a thinly disguised version of the concerto’s opening theme, and the soloist is soon engaged in traversing the keyboard with a stream of notes that comes close to the domain of virtuosity. But the melodic sweep is al-ways present, and a contrasting theme exploits a diff erent kind of skill, the control of rhythmic dislocation. Schumann’s passion for the teasing eff ects of cross-rhythms puts both soloist and orchestra on their mettle, but they emerge from it with a new rush of energy that drives them together to the close.

—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.

Schumann composed the fi rst movement of his Piano Concerto during the spring and summer of 1841 as a “fantasy” for piano and orchestra. He added the second and third movements four years later, and the concerto was fi rst performed in Dresden on December 4, 1845, with Clara Schumann at the piano and Ferdinand Hiller conducting. (The score was published with a dedica-tion to Hiller.) This concerto runs about 30 minutes in performance. Schumann scored it for 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trum-pets, timpani, strings, and solo piano. Schumann’s Piano Concerto was fi rst performed by The Cleveland Orchestra at concerts in January 1920, and has been part of the Orchestra’s repertoire on a regular basis since that time.

About the Music

Robert Schumann in an image from Hamburg in 1850, with Clara his wife, one of the great pianists of the 19th cen-tury and the original soloist for the premiere of his Piano Concerto.

January 21-22


I N 1 8 4 0 , the year of Tchaikovsky’s birth, Russian music had just begun to evolve toward an adoption of Western forms and genres. Mikhail Glinka, the composer regarded as the “father of Russian music,” had fi nished his fi rst opera, A Life for the Tsar, only a few years earlier, in 1836. The St. Petersburg Conserva-tory, the fi rst institution in the country to off er advanced musical training, opened its doors in 1862, with the celebrated pianist and composer Anton Rubinstein as its founding director. Tchai-kovsky entered the conservatory the next year as one of the school’s fi rst composition students. Although he had exhibited great musical talent since childhood, Tchaikovsky was 23 years old when he decided to devote his life to music. He gave up his job as a civil servant at the Department of Justice and enrolled in the conservatory as a pupil of Rubinstein and Nikolai Zaremba, graduating with honors three years later. Upon leaving school, Tchaikovsky was immediately appointed to the faculty of the second conserva-tory of the country, which was in the process of being opened by Anton Rubinstein’s brother Nikolai in Moscow. A few months after arriving in Moscow, the budding 26-year-old composer embarked on a large-scale symphony, one of the fi rst Russians to do so. His only signifi cant predecessor had been his teacher Anton Rubinstein, whose Second Symphony was written in 1851. At the same time, several other rising Russian composers were also trying their hand at symphonies, with Rimsky-Korsakov’s First premiering in 1865 and Borodin’s in 1869. A composer writing a symphony in Russia in the 1860s was, thus, something of a pioneer, a fact critics don’t always seem to keep in mind. Despite much criticism, Tchaikovsky always had a soft spot in his heart for his First Symphony, which, years later, he called “one of the sins of my sweet youth.” Tchaikovsky was fully conscious of the difficulties and responsibilities involved in this enterprise. His fi rst symphony caused him more anguish and agony than any of his later works, resulting in frightening physical symptoms and a near nervous breakdown during the time of composition. Tchaikovsky com-plained to his younger brother Anatol about chronic insomnia and what he called recurrent “little apoplectic fi ts” (they might

Symphony No. 1 (“Winter Daydreams”)in G minor, Opus 13composed 1866-67, revised 1874-75

by Pyotr IlyichTCHAIKOVSKYborn May 7, 1840near Votkinsk, Russia

diedNovember 6, 1893St. Petersburg

About the Music


Tchaikovsky wrote his First Symphony, which he subtitled Zimniye gryozy- (“Winter Daydreams”), in 1866 and revised it in the following year. The work was introduced to the public by installments: the Scherzo alone was presented in Mos-cow on December 22, 1866, the Adagio and the Scherzo in St. Petersburg on February 23, 1867, and fi nally the entire symphony in Moscow on February 15, 1868. All perfor-mances were conducted by Nikolai Rubinstein. Tchai-kovsky revised the symphony again in 1874 and published it in 1875. The new and defi ni-tive version was premiered in Moscow on December 1, 1883, under the direction of Max Erdmannsdörfer. This symphony runs about 40 minutes in performance. Tchaikovsky scored it for piccolo, 2 fl utes, 2 oboes, 2 clarinets, 2 bas-soons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, bass drum), and strings.

At a Glance

have been mild epileptic seizures). He was unhappy about the sluggish pace at which the symphony progressed, and suff ered a major setback when, during the summer of 1866, he showed his two former teachers what he had written. Both Anton Rubin-stein and Zaremba were harshly critical of the work in progress, reinforcing Tchaikovsky’s own growing self-doubt. Fortunately, the other Rubinstein, Nikolai, was of a diff er-ent opinion. He had been a friendly mentor since Tchaikovsky’s arrival in Moscow; he off ered his younger colleague a room in his home, and even saw to it that Tchaikovsky was well dressed and in good company. (“Today he presented me forcibly with six shirts,” Tchaikovsky reported to his twin brothers, Modest and Anatol, on January 23, 1866). Nikolai Rubinstein conducted the new work, or parts thereof, both in Moscow and St. Petersburg, with a considerable success that played an important part in launching Tchaikovsky’s career.

T H E M U S I C

Although Tchaikovsky provided the fi rst two movements of his symphony with descriptive subtitles, it would be an ex-aggeration to call this symphony program music. The titles are meant as general ideas of mood, rather than as descriptions of the musical events therein. The fi rst movement, titled “Reveries of a Winter Journey” (in Russian, “Gryozy zimney dorogoy”) travels or wanders from a “frosty” opening, with eerie string tremolos and slowly unfold-ing, brief melodic fragments, to brighter landscapes and then back to the opening frost. This journey is accomplished by means of the traditional sonata form, allowing Tchaikovsky to modulate from the initial, wistful G minor to the more radiant D major (reached here, in a bold harmonic move, by way of the even more luminous F-sharp major). A beautiful second theme, introduced by the solo clarinet, was added when Tchaikovsky made some fi nal revisions to the symphony in 1874. The movement’s development sec-tion begins with a quartet of horns that sounds astonishingly like the “Waltz of the Flowers” from The Nutcracker, written 20 years later, and culminates in a powerful orchestral crescendo. The recapitulation repeats the minor-to-major “journey” from the exposition, but at the end Tchaikovsky unexpectedly reverts to minor. The movement concludes as mysteriously as it began. The second movement, “Land of Desolation, Land of Mists”

About the Music


(in Russian “Ugriumny kray, tumanny kray”) opens and closes with a musical quote from Tchaikovsky’s own early overture The Storm. The main section of the scherzo third movement is a masterful orchestration of an earlier piano sonata Tchaikovsky had written (but which was not published until after his death). Here, a simple, two-bar rhythmic phrase is presented in a mul-titude of melodic forms. The fi nale fourth movement begins with a slow introduc-tion in G minor, with two bassoons intoning the fragment of a Russian folksong that is soon heard in its entirety, played by the violins. The movement’s principal “Allegro maestoso” tempo is announced by a jubilant new theme played by the entire orches-tra. The folksong is reintroduced as the second theme in the unfolding sonata form. The movement progresses, including a fugue section that has often been criticized, and an accelerat-ing passage that has equally often been much admired. Finally, the summit is reached; the symphony ends with two minutes of exultant fanfares, with drums and pipes and celebration on a monumental scale.


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

About the Music

26 2015-16 Cleveland Orchestra MiamiThe Orchestra

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

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

Alexandra PreucilKatherine BormannAnalisé Denise Kukelhan

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

Sonja Braaten MolloyCarolyn Gadiel WarnerStephen WarnerIoana MissitsJeffrey Zehngut

Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookElayna DuitmanYun-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 Thornton

William P. Blair III ChairDavid 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

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

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 T O R Kelvin Smith Family Chair

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

27Cleveland Orchestra Miami 2015-16 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 ChairCorbin StairJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e 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 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

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

O R C H E S T R A2015-16 SEASON


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

Franz Welser-Möst is among today’s most distinguished con-ductors. The 2015-16 season marks his fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. In 2015, the New York Times declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohe-sion. The Cleveland 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 unprecedented annu-al residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festi-val and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking pro-grams 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 performances with the Philharmonic include crit-ically-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 appearanc-es at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This season, he leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavar-ian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This season, he also makes his long-anticipated debut with Amsterdam’s Royal Concert-gebouw Orchestra for two weeks of concerts. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production 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

29Cleveland Orchestra Miami 2015-16 Music Director


tions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Gram-my nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of fi ve of Bruck-ner’s symphonies and a recently-released multi-DVD set of major works by Brahms, fea-turing Yefi m Bronfman and Julia Fischer as soloists. For his talents and dedication, Mr. Welser-Möst has received honors that include 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, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the

Republic of Austria for his artistic achieve-ments, and the Kilenyi Medal from the Bruckner Society of America.

AT LEFT

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.

“Right now The Cleveland Orchestra may be, as some have argued, the fi nest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times

“Franz Welser-Möst has managed something radical with The Cleveland Orch-estra — making them play as one seamless unit. . . . The music fl ickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.”

—London Times

“There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of ex-pressive grandeur, which Welser-Möst paced with weight and fl uidity.”

—San Francisco Chronicle


Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

The 2015-16 season marks Giancarlo Guerrero’s seventh year as music director of the Nashville Symphony and fi fth 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 Daniel-pour, a Béla Fleck banjo concerto, and a Terry Riley concerto for electric violin. Current guest engagements include his debut with the Houston Grand Opera earlier in 2015, and upcoming debuts with the Pittsburgh Symphony Orchestra, Orchestre National de France, and Nether-land Philharmonic. He has conducted concerts with many of North America's leading orchestra, including those of Boston, Cin cinnati, Dallas, Detroit, Houston, Montreal, Philadelphia, Toronto, and Vancouver. Internationally, his engagements have included performances with the BBC Symphony Orchestra, Copenhagen Philharmonic, Frankfurt Radio, London Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, West-ern Australian Symphony Orchestra, and Malaysian Philharmonic. A strong 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 Goli-jov, Jennifer Higdon, Aaron Jay Kernis, and Roberto Sierra. His recordings with the Nashville Symphony include releases of music by Danielpour and Sierra on the Naxos label, and Béla Fleck’s Banjo Concerto on Deutsche Grammophone. Mr. Guerrero, to-gether with composer Aaron Jay Kernis, recently developed and guided the creation of Nashville Symphony’s Composer Lab & Workshop initiative to further foster and promote new American orchestral music. 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 country’s much-lauded El Sistema music education program. Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received a bach-elor’s degree in percussion from Baylor University and his master’s degree in con-ducting 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). Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.

Principal Guest Conductor



The Cleveland OrchestraUnder the leadership of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world, set-ting standards of artistic excellence, creative programming, and community engage-ment. In July 2015, the New York Times declared it “the best in America.” The strong and ongoing fi nancial support of the ensemble’s home region is driving the Orches-tra forward with renewed energy and focus, increasing the number of young people attending concerts, and bringing fresh attention to the Orchestra’s legendary sound and committed programming. The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. Welser- Möst continues to add to an extensive and widely praised cata-log 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 sta-tions throughout North America and Europe. The 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 mu-sic 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 performances throughout the United States and, beginning in 1957, to Europe and across the globe have confi rmed Cleve-land’s place among the world’s top orchestras. Today, touring, 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


C O M I N G I N M A R C H

Jean-Yves ThibaudetPlays Liszt

Thursday March 17 at 8 p.m.Friday March 18 at 8 p.m.

Saturday March 19 at 8 p.m.

THE CLEVELAND ORCHESTRAGiancarlo Guerrero, conductorJean-Yves Thibaudet, piano

Franz Lizst’s second piano concerto is one of the most thrilling and vibrant concertos of all time — fi lled with emotion, virtuosity, and passion. The concert begins with a world premiere created especially for the occasion, and concludes with Mahler’s epic First Symphony, in-spired by sounds of nature, heroic struggles, and triumphant music.

“Jean-Yves Thibaudet has a way of combining an often wild virtuosity with an almost relaxed grace that sets him apart from many other performers of his generation.” —Chicago Sun-Times

DORMAN Siklòn — WORLD PREMIERE, COMMISSIONED BY THE ADRIENNE ARSHT CENTER FOR ITS TENTH SEASON

LISZT Piano Concerto No. 2MAHLER Symphony No. 1 (“Titan”)

T I C K E T S arshtcenter.org/cleveland or 305-949-6722U N D E R 1 8 s F R E E : Free young person ticket with each adult ticket purchased

33Cleveland Orchestra Miami 2015-16 January 29-30 Concert Preludes

Concert PreludeA free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the evening’s orchestral concert. Friday, January 29, 2016, at 7:00 p.m. Saturday, January 30, 2016, at 7:00 p.m.

from Sonata for Two Violins in C major, Opus 56 by SERGEI PROKOFIEV (1891-1953)

3. Comodo quasi Allegretto 2. Allegro

Sonja Braaten Molloy, violin Jeff rey Zehngut, violin

from Horn Trio in E-fl at major, Opus 40 by JOHANNES BRAHMS (1833-1897)

1. Andante 2. Scherzo: Allegro

Hans Clebsch, horn Katherine Bormann, violin Carolyn Gadiel Warner, piano


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

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Miami Music Association and the Adrienne Arsht Center present

The Cleveland OrchestraFranz Welser-Möst, conductor

Program: January 29-30

Friday evening, January 29, 2016, at 8:00 p.m. Saturday evening, January 30, 2016, at 8:00 p.m.

sergei prokofiev Divertissement, Opus 43(1891-1953) 1. Moderato, molto ritmato 2. Nocturne: Larghetto 3. Dance: Allegro energico 4. Epilogue: Allegro non troppo

johannes brahms Double Concerto (for violin and cello)(1833-1897) in A minor, Opus 102 1. Allegro 2. Andante 3. Vivace non troppo

WILLIAM PREUCIL, violin MARK KOSOWER, cello

INTERMISSION

prokofiev Symphony No. 3 in C minor, Opus 44 1. Moderato 2. Andante 3. Allegro agitato — Allegretto 4. Andante mosso — Allegro moderato

The concert will end at approximately 9:45 p.m.

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


Cleveland Orchestra Miami's Tenth Anniversary Season is sponsored by White & Case.

The Saturday concert is sponsored by Feldman Gale, P.A.


It is not in fact sohard to compose. But what is fabulously diffi cult is to leave the superfl uous notes under the table.

—Johannes Brahms

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37Cleveland Orchestra Miami 2015-16 Introducing the Concerts

T H I S W E E K ’ S C O N C E R T S feature works by two musical giants, one each from the 19th and 20th century. Both Johannes Brahms

and Sergei Prokofi ev were extraordinarily skilled pianists, and performed widely in their youth. Their talent carried them forward, in meeting and performing with other musicians and in creating powerful works for themselves (and others) to play. Their musicality endeared them to many — and al-lowed them to write great music across the years and in a variety of formats. At the center of this week’s program comes Brahms’s Double Concerto, an unusual piece written for violin and cello. It was created as a peace off ering to one of Brahms’s best friends, Joseph Joachim, one of the greatest violinists of the 19th century. They met as young men just past twenty, were fast friends for thirty years, then pulled apart over Brahms’s belief that Joachim’s wife was true — just when

Joachim’s own jealousy convinced him of her infi delity (not with Brahms, but with someone else). Brahms’s defense of Joachim’s wife, in court, caused a nearly irreparable split. But music . . . came to the rescue, with Brahms creating an unusual — and unusually beautiful — double concerto (his last big orchestral piece before his own death). For this week’s performances, The Cleveland Orchestra’s sec-tion principals, concertmaster William Preucil and cellist Mark Kosow-er, take up the soloist roles. Surrounding the concerto are two works by Prokofi ev. Both are fi lled with music rescued and reused from other projects. His Diver-tissement includes movements from an early ballet called Trapèze, while his Third Symphony derived much of its musical ideas from a half-fi nished opera called The Fiery Angel. In both works, however, Prokofi ev consummately hides most telltale signs of borrowing — and creates pieces fi lled with strong musical statements and endearing melodies, bound together with moments of modernism intertwined with deft traditional touches and enjoyably Prokofi en harmonies. All in all, this is music to listen to openly, and to wonder at the heights (and depths) of friendship, artistry, and imagination.

—Eric Sellen .

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

Divertimento, Two&Three

January 29-30

A silhouette of Brahms

out walking, created by

Otto Böhler.


In my view, the composer,

just as the poet, the sculptor, or the

painter, is duty bound to serve hu-

manity. He must beautify life and

defend it. He must be a citizen fi rst

and foremost, so that his art can

consciously extol human life.

—Sergei Prokofi ev


by SergeiPROKOFIEVborn April 23, 1891Sontsovka, Ukraine

diedMarch 5, 1953Moscow

S E R G E I P R O K O F I E V was a brilliant musician, a young fi re-brand fi lled with imagination and zest, talent, daring, and vision. He was born into a dying Russian Imperial empire, fi nished his schooling during the upheavals of the country’s revolutionary shift to communism, and then dallied with living in Europe and the United States as a serious immigrant who never felt at home. Having lost his way forward as a person (if not as an artist), he returned to his homeland, where he was acclaimed and abused in equal measure by the government’s totalitarian powers and bureaucracy. Prokofi ev wrote fecundly in many genres — symphonies, sonatas, ballets, concertos. He was a daring young man, but after the wide stimulation of musical life in Paris in the 1920s, began hedging his bets in middle-age, and nearly gave in to the prevailing powers and government desires in his later years. The Divertissement is a work with origins from his years in Paris, and its movements show both the variety in his music and his own evolving style. In 1924, he accepted a commission to write a ballet score for Boris Romanov’s young dance group, and created a score for fi ve instruments only (oboe, clarinet, violin, viola, and double bass) because that was as many musicians as Romanov could aff ord. The storyline was about a circus and the ballet was called Trapèze. The score proved too diffi cult for the troupe’s musicians, however, and the score was eventually lost. (Much of the original music survives within his Quintet, Opus 39, for the same set of fi ve instruments.) Five years later, Prokofi ev repurposed sections of Trapèze as the fi rst and third movements of an orchestral Divertisse-ment, while adding a Larghetto and a Finale. The music of Di-vertissement, thus, displays several sides of Prokofi ev’s musical thinking, as he moved from the rhythmically-driven music of his own youth to the more mellow and melodic (sometimes melancholy) music of his middle years. Running about fi fteen minutes, it sounds distinctly like Prokofi ev and, while neglected for many years, has been recorded a number of times and shows its strength in performance. (Prokofi ev made his own piano tran-scription of this work in 1938 as Opus 43b.)

—Eric Sellen © 2016

Divertissement, Opus 43composed 1929

January 29-30

About the Music


by JohannesBRAHMSborn May 7, 1833Hamburg

died April 3, 1897Vienna

T H E D O U B L E C O N C E R T O is the last of Brahms’s four concer-tos, and his fi nal work with orchestra. At fi fty-four, Brahms was fourteen years past the age mentioned in a poem by Friedrich Rückert he had set to music shortly before: “Mit vierzig Jahren ist der Berg erstiegen” (“At forty, the mountaintop has been reached”). Brahms had ten more years to live, and, although he repeat-edly considered retirement from composing, he continued to write music almost to the end. Yet, at least from the time of the Double Concerto, he seemed to be consciously composing in a “late” style. The mountaintop had been reached, it was time for stock-taking and looking back on the road travelled. The decision to write a concerto for violin, cello, and orches-tra was motivated by several factors. The external circumstances have become well known. Brahms intended the concerto as a gesture of reconciliation with his old friend, the great violinist Joseph Joachim, from whom he had been estranged for a num-ber of years. Joachim had fi led a divorce suit against his wife, the singer Amalie Weiss, alleging that she was having an aff air with the music publisher Fritz Simrock. Brahms, who knew that Amalie was innocent, wrote a letter to that eff ect, which helped to decide the case in her favor. After this incident, Brahms and Joachim did not speak to each other for several years. The violin-ist, however, continued to perform Brahms’s music throughout this period. Anxious to restore the old friendship, Brahms wrote to Joachim about the new concerto, asking him only to write the two words “I decline” on a postcard if he did not want to accept the peace off ering. Fortunately, Joachim knew better than to turn down a new work by Johannes Brahms. He and his col-league, cellist Robert Hausmann, with whom he had founded the celebrated Joachim Quartet, arranged to meet with the composer in Baden-Baden, and read through the work both with piano and with the spa orchestra. This was followed by several concert performances, resulting in a certain rapprochement between Brahms and Joachim, although their former closeness never returned. The story of the Brahms-Joachim friendship, however, is only one of the factors in the genesis of the Double Concerto.

Double Concerto in A minor, Opus 102(for violin and cello)composed 1887

January 29-30

About the Music

41Cleveland Orchestra Miami 2015-16 About the Music

And it doesn’t answer the question as to why Brahms used the particular combination of violin and cello with orchestra. No doubt, it would have been diffi cult for Brahms to write an-other violin concerto after his D-major masterpiece from 1877. Hausmann had been urging him to write a cello concerto, but Brahms for some reason did not take to the idea. But both cello and violin had been very much on his mind around 1886 — the works directly preceding the Double Concerto (Opus 102) are sonatas for each of these instruments (Opus 99 for cello, Opus 100 for violin), and a trio (Opus 101) in which both instruments are joined by the piano. Brahms may also have been intrigued about writing a work for an unusual grouping of performers. The double concerto as an idea had its ancestors in the symphonies concertantes of the Classical era, the most famous example being Mozart’s work for violin and viola (K364) from 1779. But multiple-instrument concer-tos went out of fashion after the fi rst decade of the 19th century. Beethoven’s Triple Con-certo of 1803-04, whose piano part Brahms had performed, stood at the end of the line. Eighty years later, the genre had to be practi-cally reinvented. And that was precisely what Brahms challenged himself to do, choosing the violin-cello duo, which had never been com-bined with the orchestra before. (At least, Brahms was unaware of any earlier precedents.) Brahms’s letters from the time of the Double Concerto are full of the self-deprecating comments the composer usually made concerning his new works. He described the concerto variously as “a strange notion,” “my latest folly,” and even an “idiocy.” He teased his friend and publisher Simrock: “I warn you not to ruin yourself! Off er me a small sum!” These remarks seem to have been some kind of an emo-tional insurance policy against a possible unfavorable recep-tion of the work — and, in the case of the Double Concerto, Brahms’s fears were not entirely unfounded. Despite the eff orts of Joachim and Hausmann, the fi rst performance was a critical success rather than a popular one. Listeners looking for the re-lentless energy and the strong unity that characterized Brahms’s

The decision to write a

concerto for violin, cello,

and orchestra was motivat-

ed by several factors.

The external circumstances

have become well known.

Brahms intended the con-

certo as a gesture of recon-

ciliation with his old friend,

the great violinist Joseph

Joachim, from whom he

had been estranged for

a number of years.


symphonies and the earlier concertos may have been somewhat disappointed. At fi rst hearing, the Double Concerto can seem less focused, with more lyrical digressions and formal irregulari-ties than he’d written earlier. These, however, can be explained by the unusual medium, and, at second hearing, they often turn out to be particular attractions rather than weaknesses. Brahms needed to give both solo instruments enough “elbowroom,” musically speaking. Each instrument requires virtuoso passages and great melodic moments in the spotlight; in addition, they have to be featured both individually and as a duo pitted against the orchestra. Ultimately, the intrinsic beauty of this concerto lies precisely in its structural “looseness,” which allows for plenty of lyrical expression and introspection.

T H E M U S I C

After four measures of orchestral introduction to the open-

ing movement, the cello begins what Brahms called a “recitative in strict tempo.” This seems to be a contradiction in terms, whose explanation is probably that Brahms notated the intended rhyth-mic freedom in precise note values. And the constant alternations between groups of two notes and groups of three, if played as written, do give the impression of a free performance. The per-sonal, lyrical tone of the two solo instruments contrasts with the stronger, more angular music of the orchestra. The contrast can be felt even (or especially) when variants of the same melodic idea are being played. The orchestra strikes a softer note when, in the movement’s recapitulation, the tonality changes from A minor to A major; the end of the movement, however, reverts to the dramatic A minor of the beginning. The Andante second movement (in D major) begins with a four-note introductory motif that becomes the opening of the principal melody, introduced by the two soloists in parallel octaves. This theme is answered by a second idea in a new key (F major), played by the woodwind and embellished by the so-loists. An abridged recapitulation of both ideas rounds off this poetic movement. The fi nale third movement, with a tempo marking of Vi-vace non troppo, is in rondo form. That is, it consists of a main theme alternating with episodes. The main melody is a sprightly dance tune in Brahms’s best “Gypsy” vein. It is played in turn by the cello, the violin, and the full orchestra. The fi rst episode is a legato melody in C major; the second, a very Brahmsian rhythmic

About the Music

Brahms wrote his Double Concerto at Hofstetten on Lake Thun, Switzerland, during the summer of 1887. Joseph Joachim and Robert Hausmann were the soloists in a private performance at the Kurhaus in Baden-Baden on September 23, 1887, with Brahms conducting the local spa orchestra. The offi cial premiere took place in Cologne on October 18, 1887, again with Joachim, Hausmann, and Brahms, this time with the Gürzenich Orchestra. This concerto runs about 35 minutes in performance. Brahms scored it for 2 fl utes, 2 oboes, 2 clarinets, 2 bas-soons, 4 horns, 2 trumpets, timpani, and strings, plus the two solo instruments. The Cleveland Orch estra fi rst performed Brahms’s Double Concerto in Decem-ber 1921, and has played it occasionally since that time.

At a Glance

43Cleveland Orchestra Miami 2015-16 About the Music

idea that keeps changing keys; in both, the soloists use double- or triple-stops (two or three notes played simultaneously across multiple strings). As in most late Classical and Romantic rondos, the fi rst episode later returns a second time, making the form, properly speaking, a “sonata-rondo.” The key of this return, in A major, is retained to the end, brightening the mood during a lyrical, slower-moving fi nal episode and a brief, brilliant coda.


ABOVE: The Joachim Quartet late in the 19th century, including Joseph Joachim at left and cellist Robert Hausmann, second from left, who were the soloists for the premiere of Brahms’s Double Concerto in 1887.

RIGHT: Brahms (seated) and Joachim as young

friends, circa 1867.

44 2015-16 Cleveland Orchestra MiamiConcerto Soloist

William Preucil Concertmaster Blossom-Lee Endowed Chair The Cleveland Orchestra

William Preucil became concertmaster of The Cleveland Orchestra in April 1995 and has appeared over 100 times as solo-ist with the Orchestra in concerto perfor-mances at both Severance Hall and the

annual Blossom Music Festival. Prior to join-ing The Cleve-land Orchestra, Mr. Preucil served for seven seasons as fi rst violinist of the Grammy-winning Cleve-land Quartet, performing more than 100 con-certs each year

in the world’s major music capitals. Tel-arc International recorded the Cleveland Quartet performing the complete cycle of Beethoven’s 17 string quartets, as well as a variety of chamber works by Haydn, Mo-zart, Schubert, and Brahms. William Preucil served as concert-master of the Atlanta Symphony Orches-tra (1982-89), after previously holding the same position with the orchestras of Utah and Nashville. During his tenure in At-lanta, he appeared with the Atlanta Sym-phony as soloist in 70 performances of 15 diff erent concertos. He has premiered two works by composer Stephen Paulus written especially for him, the Violin Con-certo No. 1 with the Atlanta Symphony Orch estra under Robert Shaw’s direction in 1987, and the Violin Concerto No. 3

with The Cleveland Orchestra under Giancarlo Guerrero in 2012. Mr. Preucil has also appeared as soloist with the sympho-ny orchestras of Detroit, Hong Kong, Min-nesota, Rochester, and Taipei. Mr. Preucil regularly performs cham-ber music, as a guest soloist with other orchestras, and at summer music festivals. His North American festival performances have included Santa Fe, Sarasota, Seattle, and Sitka, with international appearances in France, Germany, and Switzerland. Each summer, he serves as concertmaster and violin soloist with the Mainly Mozart Fes-tival Orchestra in San Diego. Mr. Preucil also continues to perform as a member of the Lanier Trio, whose recording of the complete Dvořák piano trios was honored as one of Time magazine’s top 10 compact discs at the time of its release. The Lanier Trio also has recorded the trios of Men-delssohn and Paulus for Gasparo Records. Actively involved as an educator, Mr. Preucil serves as Distinguished Professor of Violin at the Cleveland Institute of Music and at Furman University. He previously taught at the Eastman School of Music and at the University of Georgia. William Preucil began studying violin at the age of fi ve with his mother, Doris Preucil, a pioneer in Suzuki violin instruction in the United States. At 16, he graduated with honors from the Interlo-chen Arts Academy and entered Indiana University to study with Josef Gingold (former concertmaster of The Cleveland Orchestra). He was awarded a performer’s certifi cate at Indiana University and also studied with Zino Francescatti and György Sebök.

January 29-30


Mark Kosower Principal Cello Louis D. Beaumont Endowed Chair The Cleveland Orchestra

Described as “a virtuoso of staggering prowess” by the Cleveland Plain Dealer, Mark Kosower is a consummate artist equally at home internationally as a recital and concerto soloist and, since 2010, as

principal cello of The Cleveland Orch estra. As an orchestral prin-cipal, he was for-merly solo cellist of the Bamberg Symphony in Ger-many (2006-10). The 2015-16 season features his performances of the Brahms Double Concerto

with The Cleveland Orchestra alongside concertmaster William Preucil in Miami. Recent and upcoming solo engagements include appearances with the orchestras of Columbus, Dayton, Hawaii, Indianapo-lis, and San Jose. He also performed and recorded both of Victor Herbert’s cello concertos with Belfast’s Ulster Orchestra under the direction of JoAnn Falletta. Mr. Kosower is a frequent guest at international chamber music festivals, including Santa Fe, Eastern Music, North Shore Chamber Music, Japan’s Pacifi c Mu-sic Festival, and Colorado’s Strings Music Festival. In past seasons, he has appeared internationally as soloist with the Rotter-dam Philharmonic, Orchestre de Paris, Chi-na National Symphony in Beijing, National Symphony Orchestra of Taiwan, Brazilian

Symphony Orchestra, and the Orquestra Sinfonica de Venezuela, in addition to solo performances at the Châtelet in Paris, the Alte Oper in Frankfurt, the Hong Kong Cul-tural Centre, and the Teatro Municipal in Rio de Janeiro. Other appearances as con-certo soloist have included the orchestras of Detroit, Florida, Houston, Milwaukee, Minnesota, North Carolina, Oregon, Phoe-nix, Ravinia, Saint Paul, Seattle, and Virginia. Mr. Kosower has recorded for the Ambitus, Delos, Naxos International, and VAI labels, including as the fi rst cellist to record the complete music for solo cello of Alberto Ginastera, which he completed for Naxos. He was described as a “powerful advocate of Ginastera’s art” by MusicWeb International, and Strings Magazine said of his Hungarian music album (also with Naxos) that “the music allows Kosower to showcase his stunning virtuosity, passion-ate intensity, and elegant phrasing.” A dedicated teacher, Mr. Kosower is currently a member of the faculty at the Cleveland Institute of Music and also with the Kent/Blossom Music Festival. He has given masterclasses around the world. His previous posts include professor of cello and chamber music at the San Francisco Conservatory of Music (2005-07). Born in Wisconsin, Mark Kosower be-gan studying cello at the age of one-and- a-half with his father, and later studied with Janos Starker at Indiana University and with Joel Krosnick at the Juilliard School. Mr. Kosower’s many accolades in-clude an Avery Fisher Career Grant, a Sony Grant, and as grand prize winner of the Ir-ving M. Klein International String Competi-tion.

January 29-30

Concerto Soloist


by SergeiPROKOFIEVborn April 23, 1891Sontsovka, Ukraine

diedMarch 5, 1953Moscow

T H E R E W E R E T I M E S in Prokofi ev’s life when success came to him easily. As a young man in Russia, he created a furor with his early works. During his years in Paris, he was a protégé of Sergei Diaghilev and the Ballets Russes. And after his return to his homeland, he was instantly acknowl edged as one of the leading Soviet composers. Yet Prokofi ev also had his share of failures, such as his sojourn in the United States (1918-22) or in the last years of his life, after the 1948 attack on his music by the Communist Party. One of Prokofi ev’s greatest ambitions — and one that constantly eluded him — was to become a successful opera composer. He had written his fi rst opera at the age of nine, and wrote about ten more (some incomplete) over the years. Only one of these, The Love for Three Oranges, has entered the stan-dard repertory outside of Russia. There was, in fact, hardly a time in his life when he was not occupied by operatic plans. And two of these plans were par-ticularly close to his heart: The Fiery Angel and War and Peace. He spent about a decade working on each opera, but never lived to see a complete performance of either. Prokofi ev began The Fiery Angel in the United States in 1919, and worked on the opera, with interruptions, until 1927. The li-bretto, written by Prokofi ev himself, was based on the novel of the same title by the Russian symbolist writer Valery Bryusov (1873-1924). The novel takes place in 16th-century Germany, and, in Prokofi ev’s own words, “is about a young girl who as a child sees a vision of an angel, coming to her and comforting her in the diffi -cult moments of her life. When sixteen years of age, the girl begins to feel love for the angel. But the angel in anger disappears, telling her that if she wants to love him as a human being, she must meet him in that form. Here begins the operatic action — the girl is trying to find the mystic visitor incarnate among the men she meets.” For a while, the conductor Bruno Walter was contemplating a production of Prokofi ev’s opera in Berlin, but he later backed out. A few selections were given in a concert performance, led by Serge Koussevitzky, in Paris in 1928. Prokofi ev told the rest of the story in his autobiography: “The selections were well re-ceived and I was sorry the opera had not been staged and that the score lay gathering dust on the shelf. I was about to make a suite

Symphony No. 3 in C minor, Opus 44composed 1928-29, from musical material created 1919-27

January 29-30

About the Music


out of it when I remembered that for one of the entr’actes I had used the development of themes from the preceding scene, and it occurred to me that this might serve as the kernel for a symphony. I examined the themes and found that they would make a good exposition for a movement in sonata allegro form. I found the same themes in other parts of the opera diff erently expressed and quite suitable for the movement’s recapitulation. In this way, the plan for the fi rst movement of the symphony worked out quite simply. The material for the Scherzo and Andante move-ments was also found without difficulty. The fi nale took a little longer. I spent far more time whipping the thing into fi nal shape, tying up all the loose ends and doing the orchestration. But the result — the Third Symphony — I consider to be one of my best compositions. I do not like it to be called the “Fiery Angel” Symphony. The main thematic material was composed quite in-dependently of the opera. When I used it in the opera, it naturally acquired its coloring from the plot, but being transferred from the opera to the symphony, it lost that coloring, I believe, and I should therefore prefer the Third Symphony to be re garded as pure symphony.” Thus, since Prokofi ev wanted the Third Symphony to be appreciated on its own terms, it is better to refrain from a detailed account of what comes from where in the opera. Evenso, the music frequently betrays the operatic connection — and this despite the fact that some of the material was fi rst used in an unfi nished string quartet, conceived before the opera. Proko-fi ev treated some of the familiar symphonic patterns with more freedom than ever, with many unexpected tempo and character changes (one is tempted to say “scene changes”) in each move-ment. In addition, the fi rst movement begins with what seems a true “curtain” eff ect, with a stormy opening motif gradually subsiding to make room for the actual fi rst theme, which will then be developed. The style of the Third Symphony will greatly surprise listen-ers familiar with such early works as the “Classical” Symphony or the masterpieces of his later Soviet period (Romeo and Juliet or the Fifth Symphony). Prokofi ev, however, also had some defi -nitely avant-gardistic colors in his musical palette, as shown by

About the Music

The style of the Third Sym-

phony will greatly surprise

listeners familiar with such

early works as the “Classi-

cal” Symphony or the mas-

terpieces of his later Soviet

period (Romeo and Juliet or

the Fifth Symphony). Proko-

fi ev, however, also had some

defi nitely avant-gardistic

colors in his musical palette.

Yet he was also always a

writer of melodies.


several works starting with the Scythian Suite of 1915. During the years of his emigra tion outside of Russia, he actively experi-mented with new harmonies and instrumental colors, tendencies that later completely disappeared from his music. Yet Prokofi ev was a writer of melodies even during the experimental phase of his career. Expansive lyrical melodies abound in the Third Symphony, though their “environment” is unusual.

T H E M U S I C

The fi rst theme of the fi rst movement (which follows the raising of the “curtain”) is a good example of this mixing of mel-doy with more modern touches. It is played by the violins and the horns in unison, to a highly complex accompaniment in the rest of the orchestra. It is presented four times in a row, each time in a diff erent key. The orchestration gets thinner and thinner — by the last time, the theme is played by a single instrument (oboe). Now Prokofi ev moves on to a new section, based on two new themes — a lyrical idea for strings and a more martial melody for brass (the two themes are actually related in their melodic shapes). Starting slow and soft, this section gradually reaches a fortissimo climax, at which point the fi rst theme and the brass melody return simultaneously. After this moment, the movement gradually un winds. We hear the fi rst theme in yet another form, played by the fl utes and piccolo to a very subtle orchestral ac-companiment (harps and cello harmonics). The movement ends with a pianissimo return of the “curtain” motif, fading away into silence in the lowest registers of the orchestra. Melodically speaking, the second movement, marked An-dante, is in a regular A-B-A form (with the second “A” section much shorter than the fi rst). Through some subtle changes of orchestra-tion, however, the sections are made to overlap, and the result is a movement that is anything but conventional. The main theme — a quiet, dia tonic melody with asymmetrical inner divisions — is fi rst presented by the muted lower strings and immediately repeated by two fl utes and bassoon. Then the tempo becomes Poco più mosso (“a little faster”). String tremolos, rapid wood wind scales, a characteristic two-note harp fi gure, and some violin glissandos in a high register add considerable excitement. The middle sec-tion has a lyrical theme whose chromaticism (half-step motion) contrasts with the diatonic fi rst idea. It also features a dolcissimo (“extremely tender”) violin solo. A brief reca pitulation of the fi rst melody concludes the movement.

Prokofi ev composed this symphony in 1928, basing its themes on music from his opera The Fiery Angel, which he had written in 1919-27. (At least one theme had also appeared in an unfi nished string quartet from the years just before he began writing the opera.) The work was fi rst performed on May 17, 1929, in Paris, with Pierre Monteux leading the Orchestre Symphonique de Paris. The score was pub-lished in 1931 with a dedica-tion to Nikolai Miaskovsky, a close friend of the composer. This symphony runs approximately 35 minutes in performance. Prokofi ev scored it for 2 fl utes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tam-tam, tambourine, castanets, cymbals, bell), 2 harps, and strings.

At a Glance

About the Music


The third movement is a scherzo with an agitated intro-duction and a solemn epilog that frame one of Prokofi ev’s most stunning musical statements. Prokofi ev’s Soviet biographer Israel Nestyev quoted the composer to the eff ect that “the tempestuous motion of the demonic scherzo was suggested by the fi nale of Cho-pin’s B-fl at minor sonata.” Like the Chopin, Prokofi ev’s movement is a musical whirlwind, but much more eerie due to the innova-tive instrumental eff ects used. Each string section (except the basses) is divided into three sub sections, playing complex inter-locking rhythmic fi gures, dominated by the muted glissandos of the fi rst violins. This whole complex is constantly moving along a dynamic scale, from soft to loud and back again. A fl ute solo eventually joins in, anticipating the movement’s Trio section, a much more conventional Allegretto, after which the scherzo is repeated. The solemn epilog is, in fact, a slower version of the fi rst movement’s “curtain” idea. The fi nale fourth movement is fi lled with intense drama expressed in many contrasting sec tions in diff erent tempos. It begins with an energetic Andante mosso section for full orches-tra, whose power Prokofi ev managed to intensify even more for the ensuing frenzied measures (marked Allegro moderato), with an ecstatic violin theme in the highest register. This section cul-minates in a slower, and extremely powerful, passage in triple meter. A series of brief episodes follows; one of them is identical to the chromatic theme heard previously in the second move-ment, only this time it is played fortissimo by the full orchestra against a menacing background. The next episode is Tranquillo (“quiet”) and mysterious; but it is not long before the Allegro moderato returns with even more “bite” than the fi rst time (the trumpet parts are even more piercing than before). The work ends dramatically with a recall of the solemn passage in triple meter. —Peter Laki © 2016

Copyright © Musical Arts Association

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

About the Music



Cleveland Orchestra Miami serves Miami-Dade through musical exploration and education in community partnerships

Cleveland Orchestra Miami serves more than 20,000 adults, students, and young people in the Miami-Dade community through a variety of concerts and community engagement presentations each year. These education and community programs have been an integral part of Cleveland Orchestra Miami since its annual season of performances and programs was launched a decade ago. Each year, utilizing the talents of the musicians of one of the best orches-tra’s in the world, Cleveland Orchestra Miami builds its education programs with one goal in mind — to inspire discovery through music. Presentations include a series of “Musical Rainbow” concerts for pre-school and early ele-mentary school children, which take the audience on a musical journey of the exploration of musical instruments. Also featured are daytime school concerts for elementary students at the Adrienne Arsht Center’s Knight Concert Hall, as well as opportunities for young musicians to advance their orchestral perfor-mance craft by working side-by-side with Cleveland Orchestra musicians, con-ductors, and guest artists. In presenting these programs and activities, Cleveland Orchestra Mi-ami has worked with community and school partners throughout the region, including the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, Miami-Dade County Public Schools, University of Miami Frost School of Music, New World Symphony, Miami Music Project, Arts for Learning, Coconut Grove Cares/The Barnyard, Coral Gables Congregational Church concert series, Florida International University, Greater Miami Jewish Federation, “I Have a Dream” Foundation, Miami City Ballet, Miami-Dade County Department of Cul-tural Aff airs, MOCA North Miami, Overtown Youth Center, Ransom Everglades School, Sunday Afternoons of Music, Temple Beth Am, Archdiocese of Miami, and Wolfsonian-FIU.


Cleveland Orchestra Miami

INSPIRING FUTURE GENERATIONS

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.DININGBRAVA!Thrillist, is located in the Ziff Ballet Opera House. Led by Chef Hector Torres of Spectra Food Services,

brunch every Saturday and Sunday. Visit www.arshtcenter.org/brava for more information.Café at Books & Books in the Carnival Tower, managed by Books & Books under the direction of

and Biscayne Blvd. The café-style restaurant features a full-food menu designed by Chef Allen Susser as well as a full bar, outdoor seating, table service, pastries and a specialty coffee bar. Open Monday – Friday, 8 a.m. – 10 p.m., and weekends, 9 a. m. – 10 p.m. (with extended hours on all show nights).Theater Lobbies Concessions and Wine Bars feature a variety of light food and beverage one hour before the show and during intermissions. Specialty Wine Bars offering a variety of high-end wines and Champagnes on the Box Tier level.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.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

www.arshtcenter.org, or call (305) 949-6722.

INFORMATION

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) 468-2081Anna Murch fountain in the

Thomson Plaza for the Arts

Photo by Robin Hill

52 2015-16 Cleveland Orchestra MiamiArsht Center Information

53Cleveland Orchestra Miami 2015-16 Arsht Center Information

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

ranging from advance notice of 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. 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 ex-clusive 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.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] 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

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INFORMATION

54 2015-16 Cleveland Orchestra MiamiArsht Center

M. John RichardPresident & CEO

AdministrationAric Kurzman Assistant Vice President of Business and Legal AffairsChantal Honoré Manager of Board RelationsMonique McCartney Executive Assistant to the President & CEOAnhel Perez Receptionist

AdvancementDavid S. Green Assistant Vice President of Advancement

and Campaign DirectorJohn Copeland Senior Director, Corporate Giving Jodi Mailander Farrell Senior Director, Foundation RelationsChristine Brown Director, Advancement Services

and MembershipKalyn James Manager, Donor RelationsCarrie Rueda Special Events Manager Ana Morgenstern Grant Writer

Christine Montano Executive Assistant to the Vice President, Advancement

Natalia Ortiz Corporate Sponsorship CoordinatorSamantha Zerpa Membership Assistant

FinanceTeresa Randolph Assistant Vice President,

Finance and ControllerKimba King Director, Human Resources Aida Rodriguez Accounting ManagerJanette Valles Del Angel Settlement Accountant Francisca Squiabro Revenue Staff Accountant Giovanni Ceron Payable Accountant Thyra Joseph Payroll CoordinatorRoberta Llorente Human Resources & Finance Coordinator

Audience ServicesAlice Arslanian Fifelski Theater ManagerMatthew Ashley House ManagerNeal Hoffson House ManagerRodolfo Mendible House ManagerNicole Smith Volunteer Services ManagerNicole Keating Assistant Vice President, Business IntelligenceNadinne Farinas Director, Ticket Services Julia Acevedo Ticket Services ManagerRichard Malin Ticket Services ManagerTracy Schneider Ticket Services ManagerMaria Usaga Ticket Services ManagerJavier Rhoden Ticket Services SupervisorJose L Carrion III Customer Service Representative Theo Reyna Customer Service Representative Liana Rodriguez Customer Service Representative Mario Acevedo Customer Service RepresentativeAshley Araujo Customer Service RepresentativeFernanda Arocena Customer Service Representative Anita Braham Customer Service Representative Alfred Cruet Customer Service RepresentativeDestiny David Customer Service RepresentativeLinda Elvir Customer Service RepresentativeCelina Fernandez Customer Service RepresentativeRandy Garcia Customer Service Representative Mabel Gonzalez Customer Service RepresentativeRandall Heidelburg Customer Service RepresentativeDiana Herrera Customer Service Representative Mirlanta Petit - Homme Customer Service Representative Cristirose Marsicano Customer Service RepresentativeAlexander Matar Customer Service Representative Kerrie Mitchell Customer Service Representative Natalia Morgan Customer Service Representative Taviana Nevares Customer Service Representative Ashley Richardson Customer Service RepresentativeAmy Ruiz Customer Service RepresentativeLogan Smiley Customer Service RepresentativeMatey St. Dic Customer Service Representative

Information TechnologyJames J. Thompson Assistant Vice President, Information TechnologyMichael Sampson Director, Applications Israel Cantu Information Systems Operation MangerRenville Williams Data Analyst/Developer Marco Franceschi IT Systems AdministratorLilibeth Bazail IT Support Technician

MarketingSuzette Espinosa Fuentes Assistant Vice President, Public RelationsLuis Palomares Senior Director, Creative ServicesTyrone Manning Director of MarketingJoanne Matsuura Director of MarketingLaura White Director of Marketing Gino Campodonico Public Relations ManagerJeanne Monks Promotions ManagerFernando Olalla e-Marketing ManagerCraig Stedman Group Sales Manager David Chang Graphic DesignerSam Hall Graphic DesignerRaul Vilaboa Graphic DesignerNadia Zehtabi Creative Services Coordinator Estefania Pinzon Public Relations CoordinatorStephanie Hollingsworth e-Marketing AssistantAdam Garner Group Sales AssistantFabiana Parra Marketing Assistant Patrick Rhudy Marketing AssistantCarmen Rodriguez Marketing AssistantCalin Wilson Group Sales Assistant

OperationsDaniel Alzuri Senior Director, OperationsDean Dorsey Senior Director, EngineeringThomas McCoy Engineering Manager Lucy Hargadon Executive Assistant to the Vice President, OperationsAshley Perdigon Operations CoordinatorJack Crespo EngineerIsaac Dominguez EngineerJorge Garcia EngineerJose Hurtado EngineerIvan Lacunza 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 HouseMichael Matthews Head Electrician, Ziff Ballet Opera HouseFrederick Schwendel Head Carpenter, Knight Concert HallMichael Feldman Head Audio Video, Knight Concert HallTony Tur Head Electrician, Knight Concert HallHarold Trenhs Head Electrician, Carnival Studio Theater

ProgrammingErica Schwartz Senior Director, ProgrammingMichael Donovan Director, ProgrammingEd Limia Director, ProgrammingJairo Ontiveros Director, Education and Community EngagementTina Williams Facility Rentals DirectorLisaMichelle Eigler Engagement ManagerAnn Koslow Engagement ManagerJan Melzer Thomas Engagement ManagerRichard Tappen Programming ManagerAshlee Thomas Manager, Education and Community EngagementYamely Gonzalez Executive Assistant to the Vice President, ProgrammingOscar Quesada Programming Coordinator

Facility ManagementSpectra Food Services AlliedBartonPritchard Sports and Entertainment

Trish Brennan Vice President,

Human Resources

Andrew Goldberg Vice President, Marketing

Valerie Riles Vice President, Board and

Government Relations

Ken Harris Vice President, Operations

Suzanna Valdez Vice President, Advancement

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

Liz Wallace Vice President, Programming

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

55Cleveland Orchestra Miami 2015-16 Arsht Center

Jean Monestime Esteban Bovo, Jr. Chairman Vice Chairman

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

Daniella Levine Cava 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

Pedro J. GarciaProperty Appraiser

Robert A. Cuevas Jr.County Attorney

Christia E. AlouPierre R. ApollonJ. Ricky Arriola The Honorable Oscar Braynon IIJulia M. BrownLarry H. ColinLaurie FlinkThe Honorable Rene Garcia

Rosie Gordon-WallaceGerald Grant, Jr.Javier Hernandez-LichtlJames Herron Hank KleinNathan LeightFlorene Litthcut NicholsCarlos C. Lopez-Cantera

Hillit Meidar-AlfiBeverly A. ParkerJorge A. PlasenciaAbigail PollakThe Honorable Raquel RegaladoNeill D. RobinsonCarlos RossoMario Ernesto Sanchez

The Honorable Marc D. SarnoffAlexander I. TachmesCarole Ann TaylorPenny ThurerAileen UgaldeJudy WeiserMiles WilkinLucille Zanghi

Board of Directors

Ira D. Hall Chair-Elect

Matilde Aguirre Treasurer

Raul G. Valdes-Fauli Assistant Treasurer

Richard C. Milstein Secretary

Evelyn Greer Assistant Secretary

Mike Eidson Immediate Past Chair

Parker D. Thomson Founding Chair

Alan H. FeinChairman

Officers of the Board

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 CohenNancy J. DavisRonald EssermanOscar FeldenkreisPamela GardinerJerrold F. GoodmanRose Ellen GreeneArthur J. Halleran, Jr.Howard HerringRobert 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

Nancy Batchelor Swanee DiMare

Ronald EssermanDavid Rocker

Frances Aldrich Sevilla-SacasaSherwood M. Weiser*

Jason Williams

Officers of the Board

ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS

Adrienne Arsht Founding Chairman

Richard E. Schatz Chairman

PERFORMING ARTS CENTER TRUST, INC.

FRANZ WELSER-MÖSTMusic Director

GIANCARLO GUERRERO Principal Guest Conductor

2015 -16 Tenth Ann iversar y Season

November 13, 14SAINT-SAËNS ORGAN SYMPHONY

The Cleveland OrchestraGiancarlo Guerrero, conductorJohannes Moser, celloJoela Jones, organ

January 21, 22LEIF OVE ANDSNES PLAYS SCHUMANN

The Cleveland OrchestraFranz Welser-Möst, conductorLeif Ove Andsnes, piano

January 23TENTH ANNIVERSARY SEASON GALA

The Cleveland OrchestraFranz Welser-Möst, conductorRenée Fleming, soprano

January 29, 30BRAHMS AND PROKOFIEV

The Cleveland OrchestraFranz Welser-Möst, conductorWilliam Preucil, violinMark Kosower, cello

March 17, 18, 19JEAN-YVES THIBAUDET PLAYS LISZT

The Cleveland OrchestraGiancarlo Guerrero, conductorJean-Yves Thibaudet, piano

Presented by Miami Music Association and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

Season Sponsor:

TICKETS 305-949-6722 ARSHTCENTER.ORG/CLEVELAND

Documents

The Cleveland Orchestra Miami