The Cleveland Orchestra Miami February 27-28, March 6-7 Concerts

FRANZ WELSER-MÖSTMusic Director

GIANCARLO GUERRERO Principal Guest Conductor

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

S E A S O N

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

F E B R U A R Y 27.28 page 1 3

MAHLER' SS IXTH

SYMPHONYM A R C H 6.7

page 49

M U S I C O F

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

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

Enjoy the concert!

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Table of Contents 4 About Cleveland Orchestra Miami Miami Music Association . . . . . . . . . . . . . . . . . . . 4 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . . . . 7 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Principal Guest Conductor . . . . . . . . . . . . . . . . 44 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . 45

13 February 27-28 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Program: Beethoven / Shostakovich . . 15, 17 Music & Meaning by Franz Welser-Möst . . . . 21 Fate & Freedom by Frank J. Oteri . . . . . . . . . . 27

49 March 6-7 Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Program: Mahler's Sixth Symphony . . . . . 51

Reach our sophisticated,

passionate audience.

Gail Kerzner | [email protected]

Cleveland Orchestra Miami

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3Cleveland Orchestra Miami 2014-15 Table of Contents


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

Copyright © 2015 by The Cleveland Orchestra.Eric Sellen, Program Book Editor

E-MAIL: [email protected]

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

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

Program books are distributed free of charge to attending audiences.

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

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 Miamians motivated by the idea that as a world-class city Miami’s cultural life should always include orchestral 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 broadest constituency. Thank you for your support and commitment.

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

Jon BatchelorBrian Bilzin Marsha Bilzin Alicia CelorioBruce Clinton Martha ClintonMary Jo EatonMike S. EidsonMary Claire Espenkotter

Susan Feldman Adam M. Foslid Pedro Jimenez Michael Joblove Gerald Kelfer Tina Kislak R. Kirk Landon Shirley Lehman William Lehman

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

Miami Music Association4 2014-15 Cleveland Orchestra Miami

5Cleveland Orchestra Miami 2014-15

Dear Friends, It is my great pleasure to welcome you to the heart of this year’s Cleveland Orch-estra Miami season, with two back-to-back weekends of concerts by The Cleveland Orchestra. These presentations of great symphonies — by Beethoven, Shostakovich, and Mahler — highlight the virtuosity of the orchestra under the leadership of Franz Welser-Möst. Extraordinary music performed by this extraordinary ensemble — what better way to feed your soul?! The Miami Music Association Board of Trustees is honored to share this world-class orchestra with all of South Florida. Each year, Cleveland Orchestra Miami proudly presents The Cleveland Orchestra in musical performances of the highest quality, provides music education programs that reach thousands of students (with Miami-Dade Public School students and at the University of Miami Frost School of Music), and supports community collaborations to share music and music-making throughout the region. We are always striving to serve all of South Florida. This season we are launch-ing Cleveland Orchestra Miami Connects, a new program to celebrate music and off er intimate and up-close community musical experiences. This year’s programming takes place in partnership with South Miami-Dade Cultural Arts Center as Cleveland Orchestra Connects with South Miami-Dade. Cleveland Orchestra musicians will share music with residents at the heart of the community in special programs for children and their families, high school students, and senior citizens. The centerpiece of this year’s Cleveland Orchestra Miami Connects is a free community concert with assistant conductor Brett Mitchell leading The Cleveland Orchestra. Demand for free tickets for this concert was so great that it was “sold out” within hours of becoming avail-able in January. We are proud of the many ways that Cleveland Orchestra Miami makes a diff er-ence in South Florida. And we owe a debt of gratitude to the hundreds of donors listed on the following pages, who commit nearly $3 million each year to support Cleveland Orchestra concerts and community programs presented here in Miami. Because of your generosity, Cleveland Orchestra Miami adds to the artistic vitality of our great city by presenting this great orchestra and sharing its music and educa-tion and community off erings with all of South Florida. Thank you. 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 Miami

presented 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

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 February 5, 2015.

$100,000 and more

Irma and Norman BramanDavid and Francie Horvitz Family Foundation, Inc.John S. and James L. Knight FoundationJan and Daniel LewisPeter B. Lewis* and Janet Rosel LewisSue MillerPatrick ParkJanet* and Richard Yulman $50,000 to $99,999

Sheldon and Florence Anderson Hector D. FortunR. Kirk Landon and Pamela Garrison Miami-Dade County Department of Cultural Aff airsMary M. Spencer $25,000 to $49,999

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

$10,000 to $24,999

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

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

$5,000 to $9,999

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

$2,500 to $4,999

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

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

$1,000 to $2,499

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

Annual Fund Contributors

listing continues


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

8 2014-15 Cleveland Orchestra Miami

Mr. Jon E. Limbacher and Patricia J. LimbacherMr. and Mrs. Carlos Lopez-CanteraJames P. OstryniecMrs. Patricia M. PapperPerry Ellis International, Inc. Robert PinkertGuillermo and Maggie RetchkimanDr. Lynne and M. John RichardJoseph and Batia RozgonyiCharles and Linda Sands

Raquel and Michael ScheckDr. James and Karyn SchwadeMr. and Mrs. David ServianskyLois H. SiegelHenry and Stania Smek Richard and Nancy SneedLucie and Jay SpielerEduardo SternKathy and Sidney TaurelParker D. Thomson Esq.Mr. and Mrs. Robert H. Traurig

Ms. Lynn WienerBetty and Michael WohlMs. Henrietta ZabnerLoly and Isaac ZelcerAnonymous (2)


listing continued

up to $999

Mr. and Mrs. Jay H. AbramsMr. Alexis AbrilMr. John ActmanMarjorie H. AdlerCarla AlbarranMr. Rafael Alcantara-LansbergAngela AlfonsoMs. Maria AlonsoDr. and Dr. Andrew AlpertRosalie Altmark and Herbert KornreichMs. Claudia AlvarezMs. Elena AlvarezMs. Paula AlvarezDr. Kip and Barbara AmazonNancy AmeglioDenise AndersonJohn and Sarah AndersonMs. Lori AngusDr. Jorge and Gigi Antuñez de MayoloMr. Fred AragonMr. Robert ArchambaultAna L. ArellanoEvelyn K. AxlerDaniel Ayers and Tony SeguinoElaine BachenheimerTed and Carolann BaldygaMontserrat BalseiroAna BarnettMr. Raul BarnettMs. Ingrid BarreraMr. Richard BarriosDr. Earl Barron and Ms. Donna BarronJoan and Milton Baxt FoundationMs. Marielena BazanMr. and Mrs. William BeitzMs. Linda BelgraveCarlos BenitezMr. Joseph BerlandMr. Enrique BernalNeil Bernstein and Julie SchwartzbardRhoda and Henri BertuchMr. Robert BickersDr. Nanette BishopricKen BleakleyDr. Louis W. BloiseMr. Sam BoldrickMr. Bruce BoltonMario and Adriana BosiMs. Carol BrafmanMr. Rodester Brandon

Mr. Fernando BravoMichael T. Brazda and Lourdes M. RamonKaren BreakstoneMr. and Mrs. Eric BuermannBrent BurdickMs. Nancy BurkhardtMs. Esther BurtonAda BusotDr. María BustilloMrs. and Mr. Rita ButtermanA CMr. Manny CabralCarlos CabreraMr. Richard CannonMs. Dolores CanonicoMs. Beatrice CarbachoMs. Christine CarletonJames and Christina CarpenterPhilip and Kathryn CarrollMs. Rosemary CarrollMr. Philip CaseyMr. Erich CaullerHarold ChambersDaphne CharbonneauMr. David Chatfi eldMr. Jeremy ChesterCarole J. CholastaMs. Katherine A. ChouinardMathew and Lisa CiceroOlga CobianMr. Mark CohanMr. and Mrs. Jerome J. CohenMs. Karla CohenPhyllis CohenIgnacio ContrerasLane ConveyMr. Richard CoteNathan CountsWilliam R. CranshawMarcella CruzMr. Miguel CuadraGabino CuevasSergio da SilvaDusan DagovicWesley DallasMr. Brian DalrympleGeorge H. DalsheimerMr. George DandridgeJennie DautermannMs. Nadine Davey-Rogers

Ellen DavisMs. Cecilia De Botton CampbellMr. Oscar De La GuardiaDiane de Vries AshleyBerta Del PinoMr. John DespresBenjamin DiazJorge DiazMs. Helga DobbsMr. and Mrs. Peter F. DolleGerson DoresMarilynn and Don DrescherMrs. Laura DrexlerBurt and Carole RedlusFred EhrensteinMs. Monica ElizaldeMr. Eduardo EranaMr. and Ms. Jack ErvinMr. and Mrs. Ronald EssermanMr. and Mrs. Charles F. EvansDorothy M. EvansMr. and Mrs. Menashe ExelbirtJudit FaiwiszewskiMr. Martin FalconiKlara S. FarkasMrs. Carol FassMurray H. FeigenbaumBernard FeinbergBennett FeldmanDr. Lawrence E. FeldmanSamuel FeldmanMr. Robert FerencikSuzanne FergusonJ. FieldIngrid FilsMrs. Albine Fischer-StahleckerMr. and Mrs. Bruce FischlerKip and Jackie FisherDr. and Mrs. Lawrence M. FishmanMr. Marcus Flanagan and Mr. William FlanaganRonaldo & Christine FlankMr. David Fleitas-VelezMaryann FloresIsabel FontecillaUna ForbesVCN CorporationMary FrancisDr. and Mrs. Rudolph J. FreiMr. and Mrs. Joel Friedland

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


Mr. Gregory FriedmanMs. Noelle FroehlichMalcolm and Doree FrombergAndrew FultonMr. & Mrs. Juan GalanSue GallagherMs. Emilio GarciaMr. Ignacio GarciaMr. Gonzalo Garcia-RibeiroMs. Leah GardnerMargaret Gerloff Mr. Giancarlo GhinattiGlenn Gilbert and Sharon GilbertJudy Gilbert-GouldMr. Howard GilderMrs. Lisa Giles-KleinPerla GilinskiMr. Brian GitlinMr. Abraham GitlowMs. A. Giuff redi-ZaldivarMr. Pablo GlikmanMs. Catherine GoeMr. Salomon GoldBobbi Goldin & Tim DowneySue and Howard GoldmanMr. Lee Goldsmith and Mr. J. HallerMr. Leony GonzalezElizabeth Fenjves and Donald GoodsteinEsther and Jacques PaulenGalina GorokhovskyRafael and Maria Del Mar GosalbezMr. Seymour GreensteinLinda & David GrunebaumRev. Hans-Fredrik Gustafson, Ph.D.Alfredo and Luz Maria GutierrezAnna SherrillMr. Ralph HalbertGeorge and Vicki HalliwellJohn F. HamiltonJack and Shirley HammerDr. Juliet HananianVincent Handal, Jr. Esq. & Michael WilcoxMs. Nancy HandlerJohn HanekDely and Ernest HarperNicolae HarsanyiClaus and Barbara HauboldDr. and Mrs. Mark J. HauserDr. Gail A. HawksMr. Violetta HeadleyMr. Arturo HendelMarjory HendelJorge HineMichelle HinesBarbara L. HobbsGregory T. HoltzBernard and Kara HorowitzMelvin and Vivien HowardDr. Michael C. HughesMs. Tisha HulburdLawrence R. Hyer Fund at The Miami FoundationMr. Brian IldefonsoMs. Dragana IlicMs. Christy JacominoDr. and Mrs. Norman Jaff eMs. Nancy Jaimes

Richard JanaroRulx Jean-BartMr. Farrokh JhabvalaLester and Susan JohnsonDr. and Mrs. Stanley JonasMary Busenburg and Tom JonesMs. Lisa JudyDr. Bruce and Mrs. Joyce JulienMrs. Joyce KaiserNedra KalishJack and Shirley KaplanClarita KassinGerald and Jane KatcherMs. Phyllis KatzHarold KatzmanRaquel Kaufl erMr. Victor KendallMr. Frederick KiechleMr. Gilbert KlajmanBuddy KleinAlexander KnowltonDaniel and Marcia KokielMs. Natalya KovalevaMs. Rebeca KravecMr. David J. KudishErnesto Jorge and Laura KupermanCarolina LabroRobert D.W. Landon, IIIMr. James LaneWendy G. LapidusMr. William LeeMr. Terry S. LeetPaul and Lynn LeightRebecca and Elliot LemelmanJudge Barbara LevensonDr. and Mrs. Stanley LevickGregory A. LevineMelvin & Joan LevinsonLinda LevyMark LevyMrs. Alice LewisMs. Gloria LiatsosMs. Lauren J. LicataMr. Rick LievanoNatalie LisnyanskyMr. and Mrs. Bruce B. LitwerMs. Victoria LlanoMr. Oliver LoaizaMr. and Mrs. Enrique LopezRaul and Juanita LopezArthur A. LorchWilliam and Carmen LordMs. Diego LorenzoMs. Loretta MacKleDr. David C. Mactye, MDRichard MahfoodMr. John P. MahoneyLewis and Dodie MahoneyBarbara and Roger MaisterMr. John MakemsonCharistine MarinMrs. Sherrill R. MarksTobe MarmorsteinGeorgina and Luis MarquezMr. Victor MarquezMr. John MartinLaureano J. Martinez

Ms. Beatriz Martinez-FontsMr. and Mrs. Stephen MassonEdward MastMs. Masha MayerMs. Sara MaymirAlan E. MaynardRobert and Judith MaynesMr. James McCarthyMs. Karen McCarthyMs. Geraldine McClaryMs. Desiree McKimDebra McLaughlinDr. Gwenn E. McLaughlinAlice and Oded MeltzerKenneth MendelsohnDr. and Mrs. Jorge MendiaMs. Pauline MenkesEvelyn MilledgeMr. Mitchell MillowitzSylvia MinchewDaniel and Marge MintzPaulette MintzMr. Jose MisrahiHarve and Alesia MogulLuis MolinaMr. Jorge MontalvoMr. Geronimo MontesDr. Isidoro MorjaimDr. Michele Morris and Dr. Joel FishmanMr. Samuel MorrisMr. Edgar MosqueraRobert and Wilhelmina MyerburgNarea FamilyMr. Hector NazarioMs. Charlene NevadomskiMr. Stuart Newman and Mrs. S. SharpMr. and Mrs. Daniel NicholsAra and Violet NisanianDr. and Mrs. Daniel NixonMurray and Lynne NorkinDr. Jules OaklanderColleen O’ConnorMr. Will OsborneMs. Geraldine O’SullivanMr. Martin OttenheimerMs. Caroline OwreMs. Michelle OzaetaDr. and Mrs. Larry K. PageLarry and Marnie PaikinMr. Michael PancierMrs. Shirley PardonRuth M. ParryStephen J. ParsonsMr. Oscar PascualStephen F. PattersonMs. Marilyn PearsonBeatriz PerezMr. and Mrs. Rolando PerezJason PerlineMr. Donald PerryMs. Diane G PersoonMr. Michael PeskoeRichard PettigrewMichael and Mary Ellen PeytonFerdinand and Barbara PhillipsDr. Ronald PicurMr. Peter Pilotti



listing continues


Mr. Robert PlessettTeresa PollakSuzan and Ronald PonzoliMrs. Diana PorrasMr. Edward PowellThomas QuaidRegina D. RabinMrs. Lisa RafkinMs. Lynne RahnPratima RajuMr. Barry RandMr. and Mrs. Menno RatzkerFred RawiczRobert ReardenMr. and Mrs. Burt RedlusMr. Barry ResnikMr. Jorge ReyesJeff rey D. ReynoldsMs. Betty RiceMiss Carmen RichardsPedro A. RiosMr. Carlos RivasMrs. Olga K. RobbinLuisa RobelEdmundo RodriguezLeslie RogowskyAndrew Rohlfl ingJacques RolletJuan RondonRosario RosVirginia RosenBarbara and Eugene RostovElizabeth Rothfi eldAixa RoversiStephen and Heidi RowlandKaren RumbergMr. Kevin RussellLawrence H. RustinMrs. Chesne RymanYehuda SabachMr. Alex SaboMr. Michael and Dr. Tamah SadickMr. Gabriel SanchezMr. Gonzalo SanchezHank Sanchez-ResnikLisa Rudes SandelMary and Saul SandersMr. Robert ScardinoSydney and David SchaecterMr. and Mrs. James SchenkelMr. Arnold SchillerDr. Markus SchmidmeierSteven SchneiderSusan SchneiderRonald E. Schrager and Wendy HartMr. Peter and Mrs. Ortrud SchumannMarvin and Carol SchwartzbardDavid ScottMargaret SearcyMargaret SeroppianHumberto SevillaNorman and Arlene ShabelDr. and Mrs. Vincent ShankeyBrenda Shapiro and Javier BrayMs. Elizabeth SharkeyRoger and Barbara ShatanofDr. John and Gerri ShookAnica and David Shpilberg

David A. SiegelJudge Paul SiegelAlvaro and Gloria SilvaVictoria and Robert L. SimonsMs. Grace SipusicMs. Sylvia SiragusaMs. Samantha SkhirMr. Ramez SmairatDr. and Mrs. Alfred G. SmithMs. Linda M. SmithMr. Steven SmithDr. Gilbert B. SnyderMr. Alexander SocarrasMs. Carol Soff erMr. Enrique SosaIlene and Jay SosenkoVoi SosnowskiDr. Barbara SparacinoShirley SpectorMr. Robert SpielmanMs. Clara Sredni DeKassinIssac SredniNick and Molly St. CavishPatricia and Dennis KleinNancy and Edward StavisMr. Lewis SteinMarilyn Mackson SteinWilliam SternHolly StrawbridgeCaroline SullivanMerrie SuraceMr. Jack SutteMr. Jose TabacinicMr. and Mrs. Alvaro TafurRicardo and Ana TarajanoJoni and Stanley TateStephen TatomHarvey TaylorMs. C. and Ms. Marina TendlerMr. Bryson ThorntonDaniel and Cristin ThorogoodMs. Lesley TompsettDr. Takeko Morishima ToyamaJudith Rood Traum and Sydney S. TraumAlicia M. TremolsMr. and Mrs. Frank TrestmanMiguel TriayDr. and Mrs. Michael B. TronerMrs. and Mr. Kate TrotmanMs. Anna TsukervanikLiat TzurDale UnderwoodJanice UriarteToni ValenciaMs. Betty VandenboschAndrea and Natalia VasquezMr. John VaughnM. Vento and Peter MacNamaraFabian VereaVideo FameJorge VieraHerbert W. and Peggy F. VogelsangFrank J. VoyekMs. Vivian WaddellJohn WallaceAndrew WangJeanne Westphal

Robert and Ronni WhitebookMs. Bonnie WhitedMr. and Mrs. Arthur WhittakerBrant WiggerMr. Bob WilliamsJennifer WilliamsMr. Richard WilliamsonMs. Debbie WirgesMrs. Marci WisemanDr. and Mrs. Jack WolfsdorfMr. and Mrs. Joel R. WolpeLaura A. WoodsideKeying XuMr. and Mrs. Guri YavnieliSora and Cary YelinAllan YudacufskiDr. Sheldon and Elaine ZaneSusan and Bob ZarchenEloina D. Zayas-BazanJerry ZimmermanAnonymous (10)

* deceased

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



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Concert Prelude

February 27-28 Concert Preludes

A free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the evening’s orchestral concert. Friday, February 27, 2015, at 7:00 p.m.

from Piano Trio No. 5 (“Ghost”) in D major, Opus 70 No. 1 by LUDWIG VAN BEETHOVEN (1770-1827)

1. Allegro vivace e con brio

Beth Woodside, violin Charles Bernard, cello Carolyn Gadiel Warner, piano

Quartet for Four Violins by GRAŻYNA BACEWICZ (1909-1969)

1. Allegretto 2. Andante tranquillo 3. Molto allegro

Katherine Bormann, violin Alicia Koelz, violin Sonja Braaten Molloy, violin Isabel Trautwein, violin

from String Quartet No. 11 in F minor, Opus 95 by LUDWIG VAN BEETHOVEN (1770-1827)

3. Allegro assai vivace ma serioso — Più allegro 4. Larghetto espressivo — Allegretto agitato — Allegro

Miho Hashizume, violin Lynne Ramsey, viola Takako Masame, violin Ralph Curry, cello from Piano Quintet in G minor, Opus 57 by DMITRI SHOSTAKOVICH (1906-1975)

1. Prelude: Lento 3. Scherzo: Allegretto 5. Finale: Allegretto

Katherine Bormann, violin Yun-Ting Lee, violin Joanna Patterson Zakany, viola Mark Kosower, cello Carolyn Gadiel Warner, piano

Saturday, February 28, 2015, at 7:00 p.m.

S E A S O N


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Miami Music Association and the Adrienne Arsht Center present

The Cleveland OrchestraFranz Welser-Möst, conductor S E A S O N

Program: February 27

M U S I C O F


AN

D


AN

D

Friday evening, February 27, 2015, at 8:00 p.m.

LUDWIG VAN BEETHOVEN Symphony No. 3 (“Eroica”)(1770-1827) in E-fl at major, Opus 55 1. Allegro con brio 2. Marcia funebre: Adagio assai 3. Scherzo: Allegro vivace 4. Finale: Allegro molto — Poco andante — Presto INTERMISSION

DMITRI SHOSTAKOVICH Symphony No. 6 in B minor, Opus 54(1906-1975) 1. Largo 2. Allegro 3. Presto

The concert will end at approximately 9:40 p.m.

This concert is sponsored by Sylvester Comprehensive Cancer Center.

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


“Fate and Freedom” Pre-Concert Conversation with Juan Carlos Espinosa, associate dean and fellow of The Honors College at Florida International University 6:00 to 6:45 p.m. — The Café at Books & Books @ The Arsht

Concert Preludefeaturing chamber music with Cleveland Orchestra musicians7:00 to 7:30 p.m. — see details on page 13

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S E A S O N



The Cleveland OrchestraFranz Welser-Möst, conductor

Saturday evening, February 28, 2015, at 8:00 p.m.

LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Opus 67(1770-1827) 1. Allegro con brio 2. Andante con moto 3. Scherzo: Allegro — Trio — 4. Finale: Allegro INTERMISSION

DMITRI SHOSTAKOVICH Symphony No. 10 in E minor, Opus 93(1906-1975) 1. Moderato 2. Allegro 3. Allegretto 4. Andante — Allegro

The concert will end at approximately 9:50 p.m.

Program: February 28


M U S I C O F


AN

D


AN

D

“Fate and Freedom” Pre-Concert Conversation with Juan Carlos Espinosa, associate dean and fellow of The Honors College at Florida International University 6:00 to 6:45 p.m. — The Café at Books & Books @ The Arsht

Concert Preludefeaturing chamber music with Cleveland Orchestra musicians7:00 to 7:30 p.m. — see details on page 13

This concert is sponsored by Marsh Private Client Services.

There can be no music without ideology. The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement. If you read his letters, you will see how often he wrote to his friends that he wished to give new ideas to the public and rouse it to revolt against its masters.

—Dmitri Shostakovich

Dmitri Shostakovich, circa 1952.

19Cleveland Orchestra Miami 2014-15 Introducing the Concerts

T H I S W E E K ’ S M I N I - F E S T I VA L off ers a look at the music (and politics) of two of classical music’s greatest symphonists. If Mozart and Haydn in the 18th century had evolved the “symphony” from a mere grouping of short movements into a whole statement of musi-cal greatness, Beethoven’s genius grabbed hold of it at the start of the 19th century and made symphonies into a very personal artform — fi lled with passion and meaning (but still beautiful). Others followed in his footsteps, but few with as much political and philosophical intent. A century later, Shostakovich, surrounded by the changing life-and-death politics of 20th-century Russia, used Beethoven’s example to create a new set of personal symphonic statements, fi lled with meaning and revolu-tion (or at least passionate protest). As Franz Welser-MÖst discusses beginning on page 21, these two composers approached the creating of their music very diff erently. Beethoven was quite open about the politics of freedom in which he be-lieved, and wrote it directly into his music. Shostakovich also believed in freedom, but writing openly would have been suicidal; he was, in eff ect, forced to stay in the closet as a protester, but able to write protest into his music in creative ways — which could be questioned or ignored, and un-derstood, but would never act as evidence against him. Th is week’s concerts off er an unusual opportunity to compare these two great symphonic writers. And to think about — and talk about — how each of us incorporates our beliefs (and the rights of others) into ev-eryday life, into our work, into our friendships. Do we try to impose our beliefs on others, or celebrate humanity’s strengths by balancing individual rights within a strong society of divergent and shared views? Do we pro-test? Do we inspire others? Are you making a diff erence?

—Eric Sellen

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

Fate, Freedom&Choices

Pre-Concert: Preludes and Conversations . . . . . . . . . . . . . . . . 13, 15, 17Franz Welser-Möst discusses the composers’ music and beliefs . . . . . 21Frank J. Oteri writes about the composers’ lives and music . . . . . . . . . 27Program Notes for Friday . . . . . . . . . . . . . . . . . . . . . . . . . beginning on 31Program Notes for Saturday . . . . . . . . . . . . . . . . . . . . . . . beginning on 38

February 27-28

Despite their diff erences, and perhaps as much because of their similarities, Beethoven and Shosta-kovich both wrote music that lives beyond the circumstances in which it was created. Both composers deliver timeless messages about freedom and human dignity.

—Franz Welser-Möst

PH

OTO

BY

SA

TOS

HI

AO

YAG

I

FRA

NZ

WEL

SER -

MÖ

ST

DIS

CU

SSES

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L IT I

CS

BEH

IND T

HE

MU

S IC

OF

BEE T

HO

VEN A

ND

SH

OST

AKO

V ICH

BEETHOVEN AND

SH

OS

TAK

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by Franz Welser -Mo.. st

Music and Meaning

MUSIC

MEANING,

AN

D

AN

D

CHOICE FREEDOM


B E E T H O V E N M U S E D O N T H E I D E A L S O F H I S T I M E and put those truths forward in an unmistakable way in his music. He let the world know, in no un-certain terms, what he believed in, politically and philosophically. Under Stalin, Shostakovich would never have survived acting as openly as Beethoven. He had to subtly undermine what he was told to do, in order to ex-press his yearnings for personal and political peace and freedom.

T H E F I R S T D E C A D E O F T H E 1 9 T H C E N T U R Y was a turbulent period in Eu-rope, politically, socially, and philosophically. Beethoven’s Th ird, Fourth, and Fift h symphonies, composed between 1803 and 1808, fall into this period, as does his only opera, Fidelio, and his incidental music for Goethe’s Egmont, a dramatic play about a quintessential hero. Th e philosophical ideas of the time were still very much indebted to the French Revolution, even though that Revolution had already betrayed those very ideas and ideals in blood. Beethoven, who many have speculated may have been a Freemason, very much wanted to be a “fi ghter for the Good.” Within these con-texts, a variety of musical details in these three symphonies suggest a strong un-

February 27-28

The

meaning of

Beethoven’s

“heroic”

Third Sym-

phony is

encapsulated

in the story

of the com-

poser’s vio-

lent removal

of its original

dedication to

Napoleon —

a man who

was at the

time the em-

bodiment of

the heroic

ideal for

many.

Choice and Freedom22 2014-15 Cleveland Orchestra Miami

dercurrent of political and philosophical content.

T H E M E A N I N G O F B E E T H O V E N ’ S T H I R D S Y M P H O N Y , the “Eroica” or “heroic” symphony, is encapsulated in its well-known story of the composer’s violent removal of its original dedication to Napoleon — a man who was the embodiment of the heroic ideal for many members of the middle class, and for some aristo-crats, too. Th is work clearly shows Beethoven as a “fi ghter for the Good.” Th is manifests itself from the start, even in the choice of the key of E-fl at major, whose three fl ats stood for liberty, equal-ity, and fraternity, expressing humanity and the sublimity of human expression. Compare this, for example, to Mozart’s Th e Magic Flute, whose overture opens with a series of solemn, sub-lime E-fl at major chords (which are tellingly repeated later in the scene between the opera’s hero and the Speaker). In the sym-phony’s Scherzo movement, Beethoven depicts nature within this “fi ght for the Good,” as he would later do in the “Pastoral” Sixth Symphony and in the second movement of his opus summum, the Ninth Symphony. In the last movement of the “Eroica,” he quotes his own musical theme from the ballet Prometheus, about the Greek mythological fi gure who was a friend and benefactor of humanity. One can, in fact, trace a span and lineage of philosophi-cal message translated by Beethoven’s genius into many musical details and coded messages. Th is should not be surprising to us. Great composers had done this before him, and many have fol-lowed aft er, embedding in the beauty of music the strength of pur-pose; it is enough to recall the fascinating symbolism of some of Bach’s greatest works to understand that layers of meaning in art are a given and not the exception. All this is easy enough to see in the “Eroica,” but what about Beethoven’s Fourth Symphony, generally seen as light, cheerful, and humorous? At fi rst glance, it might indeed look that way, if only the fi rst movement didn’t have a dark and ominous introduc-tion. Here, in the gloomy tonality of B-fl at minor, the music seems to be searching for something more. Th is serious undercurrent also shows through in the second movement, in the key of E-fl at major (!), as well as the pastoral element in the third movement’s trio sec-tion (set in D-fl at major, a key of many great musical farewells). But delicate and subtle humor is not incompatible with profound philo-sophical message. Indeed, humor enlightens. In the second movement of this oft en clever and witty sym-

Music and Meaning 23Cleveland Orchestra Miami 2014-15

phony, Beethoven leads us once more to the heights (and depths) of human dignity and expression. In Beethoven’s time, human-ity itself had become a central focus and arbiter of thought and morality, as distilled and expressed by the philosopher Imman-uel Kant. Th e slow movement sings about such transcendent and self-aware expres-sion in broad, soaring melodies, suggesting a vision of, and a yearning for, the ideals in which Beethoven so fi rmly believed. Th ere is a great similarity here with Florestan’s great aria from the opening of Act II of Fidelio. In the symphony, the melody is accompanied by small, expressive motifs of sighing. Parallel thirds abound (as they also do in the slow movement of the Ninth

Symphony), denoting fraternity and human companionship. (Th e slow movement of the Ninth also contains a climax in E-fl at major, with a quotation from Masonic music.) In addition to the pastoral mood within the third movement, sublimity is also evident at the beginning of the last movement, where Beethoven writes a sing-ing melody that is a close relative of the Prometheus theme in the “Eroica.”

I N H I S F I F T H S Y M P H O N Y , Beethoven’s philosophical-political ideas are sent through the purifying fi re of the Enlightenment. Indeed, the symphony’s music per-fectly captured the Latin phrase per aspera ad astra — “through the fi re to the stars.” While Beethoven the hothead creates this fi ery dramaturgy to such perfect form in the fi rst movement, in the second he takes us to an imaginary world — with mu-sic that is quintessentially Viennese. A-fl at major, the movement’s home key, is the fl at sixth degree of C minor, a degree used as a deceptive cadence (!). Moreover, it also anticipates, in its harmonies and its layout (if not in its melody or other musical parameters), the dark night in the second act of Wagner’s Tristan and Isolde. In the symphony, this imaginary world is disrupted, time and again, by some powerful C-major fanfares, giving us a foretaste of the last movement yet to come (in which the music really does reach for the stars). Th e gloomy scherzo, which revisits the fateful drama of the fi rst movement, also contains a Trio section in which the fi nale’s triumphant C major is revealed in outline. Yet this triumph will only be possible aft er the third movement has sunk back into the fateful “knocking” (a heartbeat?!) of the fi rst movement. Here Beethoven — and this was not lost on his contemporaries — fashioned the triumph of the last movement in such a way that the words of the French revolutionary hymn could be easily underlaid to the music. A timeless message was thus wrapped with a

Shostakovich’s

desire for

freedom was

cast under

the cruel rule

of Stalinist

Russia. This

led Shosta-

kovich, by

necessity, to

flee to an in-

ner world of

safety, where

he could write

“classical”

symphonies,

taking as a

starting point

Beethoven’s

own achieve-

ments.


clear political statement. Th is most classical of all symphonies shows us all of the Beethovenian ideals, inspired by the ancient world and then revived and re-energized by the Enlightenment. Beethoven expresses these musical paths with great power, derived from his innermost soul. Th is, certainly, is how he wages his “fi ght for the Good” — through music and meaning. And he very much expects that the outside world will follow him, in message if not in action. Th is introspec-tively extroverted music speaks directly to all of us. Th us we can understand Beethoven.

B U T H O W D O T H I N G S S TA N D W I T H S H O S TA K O V I C H ? If Beethoven’s path led from the inside to the outside, with Shosta-kovich, it is exactly the opposite. His desire and will for free-dom were cast under the cruel rule of Stalinist Russia. Th is led Shostakovich, by necessity, to fl ee to an inner world of safety — where extra messages within the music can speak meaning while also adding a layer of security and deniability. Here, Shosta-kovich wrote “classical” symphonies, taking as a starting point Beethoven’s own achievements. Like the Beethoven symphonies discussed above, Shosta-kovich’s Sixth (1939) and Eighth (1943) were written during tur-bulent times, in the destructive storm of World War II. Th is was also during Stalin’s reign of absolute power, which was person-ally very diffi cult for Shostakovich. In his fi rst symphonic mes-sage from aft er the war, the Tenth Symphony (1953), he wrestled with Stalin and his times, soon aft er the dictator’s death. While Shostakovich’s music oft en has a political background, this is emphatically true for all three of these symphonies. Within that context, his wish for personal artistic freedom is deeply connect-ed to a yearning for liberty for his country.

S H O S TA K O V I C H ’ S S I X T H S Y M P H O N Y begins with a long slow movement in B minor, widely seen as the key of suff ering. It is a monumental expression of pain, oft en reduced to mere whis-per, to describe the unspeakable coldness and emptiness of Shosta-kovich’s world. In order to satisfy the demands of the regime, the composer followed this long and weighty lament with two brief fast movements. Th ese can superfi cially be heard as cheerful, yet their grotesque features pervert, contradict, and undermine the wishes of Stalin’s henchmen. In the Eighth Symphony, the funeral lament from the sec-

Choice and Freedom


ond movement of Beethoven’s “Eroica” is present from the very start. Th e tonality of C minor is the same. And, like its predecessor, it is a funeral march. In contrast to Beethoven’s work, however, this music off ers no perspective of a better world, and instead erupts in a single outcry against the injustices and cruelties of World War II. Yes, Shostakovich ends the monumental movement in C major, but this expresses not hope but the fact that redemption is completely out of reach. Th us, the fi rst movement of the Eighth Symphony is monumental in the in-tensity of its lament and, indeed, in its very duration. But the story continues in the next two movements, both in fast tempo and portraying the various cruelties and the incredible stupidity of the war and its brainless massacres. Th e fourth-movement passacaglia — musically connected to the fi rst move-ment by the repeated outcry — is a slow but unceasing funeral lament. And then, fi nally, the fi ft h movement, with the childlike simplicity of a waltz in C major, once again removes the yearned-for peace and freedom into a realm that is out of our reach. It is thus only logical that, at the end, the all-determining outcry should be heard again for one last time, before the movement and this entire, deeply moving antiwar utterance dissolves in the pure C-major of a possible yet improbable future. In the Baroque era, C major was the tonality of the divine; in Classical times it stood for a divinity that might possibly be attained. Here it is only the expression of a divinity that mankind has irretrievably lost. Th e Tenth Symphony is perhaps Shostakovich’s most personal utterance about his own lack of freedom. Written in the melancholy key of E minor, the fi rst movement is a perpetual Valse triste or “sad waltz,” which rises up, from time to time, in great despair, whipping into a great frenzy, only to fade into a kind of icy silence. In the second movement — in a dark and gloomy B-fl at minor — Shosta-kovich paints a merciless mug of Stalin. In the third — a cautious and deliberate waltz — he encodes the name of his muse and beloved, Elmira Nazirova, while his own initials (D-S-C-H) are repeated over and over again. Th e movement, which is in C minor, ends on a melancholy A-minor chord, with another dash of the composer’s initials thrown in. Th e introduction to the fi nal movement is an elegy, followed by a pseudo-happy folk festival — a last dance, as it were — in E major. And yet, even here, Shostakovich wouldn’t be the great tragedian that he is if he didn’t hammer his initials into our ears one last time just before the end.

D E S P I T E T H E I R D I F F E R E N C E S — and perhaps as much because of their simi-larities — Beethoven and Shostakovich both wrote music that lives beyond the circumstances in which it was created. Both composers deliver timeless messages about freedom and human dignity. Music has value and meaning to creator and listener alike. Hearing is believing, music can deliver understanding.

Franz Welser-Möst is currently in his thirteenth season as music director of Th e Cleveland Orchestra, with his contract recently extended to 2022. He leads the ensemble each year in concerts at home

in Cleveland, on international tours, and here in Miami, the Orchestra’s home away from home.

Music and Meaning


Ludwig van Beethoven, 1815, painted by W. J. Mähler

Music is a higher revela-tion than all wisdom and phil-o sophy. It is the wine of new creation and I am Bacchus who presses out this glorious wine for all and makes them drunk with the spirits.

—Ludwig van Beethoven


T H E C E N T U RY T H AT T R A N S P I R E D between the death of Lud-wig van Beet hoven and the emergence of Dmitri Shostakovich as a composer was a time of transformative change — from the advent of electricity, recorded sound, and motion pictures to the unleash-ing of the destructive power of modern warfare, the globalization of the world, and an enlarging struggle for human rights, liberty, and freedoms. Even so, Beethoven and Shostakovich’s music and their shared outlook on humanity’s place in the world show a re-markable kinship. Beethoven and Shostakovich both began their compositional careers as child prodigies and were also formidable piano virtuo-sos. Th ey both shared their most private thoughts in their string

BY

FR

AN

K J. O

TE

RI

exploring THE music

AND legacies OF

Fate Freedom

AND BEETHOVEN AND

SHOSTAKOVICH

Fate and Freedom

February 27-28


Beethoven

and Shosta-

kovich were

consummate

musical

dramatists,

yet opera

proved to be

something of

a quagmire

in both

of their

careers.

BE

ETH

OV

EN

Fate and Freedom

quartets, but made their most important public musical state-ments with their symphonies. In fact, both took the abstract in-strumental genre of the symphony and used it to tell compelling narratives. For example, both composers created symphonies that attempted to sonically convey the concept of fate — perhaps most notably for Beethoven in his Fift h Symphony and for Shostako vich in his tragic Eighth Symphony, which he composed during the Second World War. Works such as these reveal that Beethoven and Shostako-vich were consummate musical dramatists, yet opera proved to be something of a quagmire in both of their careers. Th e strained relationships both composers had with the politically powerful are also equally legendary — Beethoven’s disdain for authority and aristocracy perhaps best exemplifi ed by his crossing out the dedication of his Th ird Symphony, the “Eroica” (or “heroic”), to Napoleon upon learning that that small man had declared himself an emperor; and Shostakovich’s run-ins with a dictator even more ruthless than Napoleon, Joseph Stalin. A curious correlation to Beethoven’s abandoned Eroica dedication is Shostakovich’s abortive attempt at creating a “Len-in Symphony,” which he described working on in 1938. Such a symphony never materialized; in its place was the purely instru-mental Sixth Symphony in 1939. (Franz Welser-Möst pairs the “Eroica” with Shostakovich’s Sixth on Friday, February 27.) Beethoven and Shostakovich also both suff ered from chronic poor health in their later years, yet their fi nal composi-tions seem to transcend the vagaries of human existence. Af-ter their deaths, each was hailed as a champion for individual artistic freedom who triumphed despite oft en adverse personal conditions. Nowadays musicologists as well as avid fans are still attempting to fi nd hidden meanings buried in their scores — such as the allusions to Freemasonry in Beethoven’s Fourth Symphony or secret autobiographical ciphers in Shostakovich’s Tenth Symphony. But the parallels run much deeper than that. While Haydn and Mozart both hinted at it, Beethoven was the fi rst composer to fully imbue the symphony with the same narrative and emotional heft as a novel, play, or epic poem. Shostakovich, while certainly not the only signifi cant symphonist of his era, was among the few composers who remained steadfastly com-mitted to creating large musical statements in this medium at a time when most composers rejected the symphony as an anachro-


Beethoven’s

abrasive-

ness was

notorious

and he

never

apologized;

Shostakovich

reinvented

his outward

musical per-

sona simply

to survive.

SH

OS

TAK

OV

ICH

Fate and Freedom

nism. Shostakovich com-pleted a total of fi ft een symphonies over half a century. For Shostakovich, like many Soviet musi-cians, Beethoven’s music remained the pre-eminent role model — the greatest repertoire an instrumen-talist or a conductor could interpret and the standard bearer for what music was to be. A bust of this key compositional hero was a fi xture of Shosta-kovich’s writing studio. And, fi ttingly, the Soviet quartet that premiered nearly all of Shostakovich’s string quartets (thirteen of the fi ft een) was named the Beethoven Quartet. So deep was the infl uence of Beethoven on the young Shostakovich that the central theme for his earliest multi-movement orchestral work, the Th eme and Variations in B-fl at minor, Opus 3, which he composed at the age of 15, bears an uncanny resemblance to the most famous theme of Beethoven’s Ninth Symphony. Following Beethoven’s precedent in that monumen-tal symphony, Shostakovich also added a chorus to the fi nal movements of his Second and Th ird symphonies — although both of these early compositions take nascent Soviet patriotism to an almost unbearably propagandistic level. (Th ere is, how-ever, a later work that clearly echoes the pathos of Beethoven’s setting of Schiller’s paean to universal brotherhood, Shosta-kovich’s controversial Symphony No. 13, “Babi Yar,” a work which also sets the words of a major poet, Yevgeny Yevtush-enko, an outspoken critic of injustice in the Soviet Union. But Shostakovich’s 13th Symphony, which was virtually banned in the Eastern Bloc for nearly a decade aft er its fi rst performance and fi nally entered the repertoire aft er a copy of the score was smuggled into the West, is a far cry from an Ode to Joy; if any-thing, it is an Ode to Despair!)

D E S P I T E T H E D E E P C O N N E C T I O N S between these two composers, there are also some stark diff erences between Beethoven and Shostakovich which are equally fascinating. Beethoven was a lifelong bachelor whose romantic liaisons will forever be shrouded in mystery; Shostakovich was married


three times. Beethoven was notorious for his abrasiveness and never apologized; the castigated Shostakovich reinvented his com-positional persona several times during his life to survive the cultural purges that Stalin unleashed and ultimately triumphed because of this — Shostakovich famously declared his master-ful Fift h Symphony to be “a Soviet artist’s reply to just criti-cism” and the work was an instant sensation both at home and abroad and it remains so to this day. Perhaps most strikingly, cinema did not exist during Beethoven’s lifetime and writing music for movies was an im-portant revenue stream for Shostakovich throughout his career — in fact his 35 fi lm soundtracks dwarf the combined total of his number of symphonies and string quartets. Shostako-vich’s fi lm scores also allowed him greater freedom to ex-periment than he had most of the time with his music for the concert hall; several of his soundtracks include music featur-ing the theremin, an early electronic instrument that would become a hallmark of American horror and sci-fi movie scores years aft er Shostakovich pioneered its use in motion pictures. Beethoven, of course, did not live into the age of electricity and therefore could never have tinkered with a theremin. He did, however use a glass armonica (a musical curiosity that sounds similarly otherworldly) for the incidental music he composed for the 1814 production of Johann Friedrich Duncker’s play Le-onore Prohaska, music that is rarely revived nowadays. Th is weekend’s Cleveland Orchestra Miami performances presents pairs of symphonies by these two composers, plus related works of chamber music performed before each con-cert, and the opportunity to discuss the themes of Fate and Freedom in a pre-concert forum each night. All of this off ers audiences a unique opportunity to refl ect on how each of these composers responded to the central concerns of their respec-tive eras and how their now timeless works continue to have a deep impact on all of us.

ASCAP award-winning composer and music journalist Frank J. Oteri is the composer advocate at New Music USA and senior editor

of its web magazine “NewMusicBox.”

For Shos-

takovich,

like many

Soviet

musicians,

Beethoven’s

music re-

mained the

pre-eminent

role model —

the greatest

repertoire an

artist could

interpret and

the standard

bearer for

what music

was to be.

Fate and Freedom

February 27 Friday


T H E O R I G I N S O F A W O R K as momentous in its impact on history as on hearers of every generation cannot be lightly traced. Yet, for this symphony, two separate impulses seem to have fused in Beethoven’s mind, as in some white-hot cauldron, creating a solid artifact whose eff ect and power dwarf the mere historical circumstances of its composition. Th e fi rst impulse was Beethoven’s admiration for Na-poleon as a symbol of human heroism. Th e idea of basing a symphony on Bonaparte was said to have been suggested by General Bernadotte, the French ambassador to Vienna, with whom Beethoven was certainly acquainted. Th e story of the title page of the completed symphony, headed “Bonaparte,” being angrily torn up by Beethoven on hearing that Napoleon had crowned himself Emperor is well attested. From what we know of Beethoven’s character, he is more than likely to have drawn a comparison between Napoleon and himself, feeling within him the power to refashion the art of music as compre-hensively as Napoleon was redrawing the map of Europe. The second impulse was personal. In October 1802, Beethoven drew up the extraordinary document known as the Heiligenstadt Testament, in which he calmly acknowledged the likely permanence of his deafness and less calmly bequeathed his earthly goods to his two brothers. But for his art, he ad-mits, he would have ended his own life: “It seemed impossible to leave the world until I had brought forth all that I felt was within me.” Since his Th ird Symphony, the “Eroica,” was already planned and was to preoccupy him throughout the summer of 1803, it may be said to have saved his life — as though music itself achieves its own triumphs over human frailty, a theme suggested in the splendor of the Th ird Symphony’s fi nale, and even more affi rmatively in the Fift h Symphony. Aft er the “Eroica,” Beethoven’s music was irretrievably changed. Great landscapes were opened up, which he spent the rest of his life exploring, but at the same time the sense of pri-mal beauty — which is more perfectly expressed in Beethoven’s early works than in any other music, even Mozart — was lost. Beethoven’s gift of fl owing, elegant melody was now swamped by the relentless dynamic energy of the heroic Middle Period.

Symphony No. 3 (“Eroica”)in E-fl at major, Opus 55composed 1802-04

by Ludwig vanBEETHOVENborn December 16, 1770Bonn

diedMarch 26, 1827Vienna

About the Music

Bonaparte out, “Heroic” in “In this symphony, Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word ‘Buonapar-te’ at the extreme top of the title page, and at the extreme bottom ‘Luigi van Beethoven,’ but not another word. Whether and with what the space between was to be fi lled out, I do not know. I was the fi rst to bring him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he fl ew into a rage and cried out: ‘Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others to become a tyrant!’ Beethoven went to the table, took hold of the title page by the top, tore it in two, and threw it on the fl oor. The page had to be rewritten, and only then did the symphony receive the title ‘Sinfonia eroica’.”

— from Recollections of Ferdinand Ries

ABOVE AND BELOW — Diff ering accounts of Beethoven’s outrage at Napoleon. The story tells of him tearing the paper in two. The manuscript (at top) shows a physcial, maybe violent attempt to erase the word “Buonaparte.”

Beethoven’s Third Symphony32 2014-15 Cleveland Orchestra Miami


His orchestration became heavier, his movements longer, and the domestic quality of his music was transformed into great idealism, on the one hand, and profound inner searching, on the other. Not just Beethoven’s music was changed, all music was irretrievably changed. Th e 18th century was chronologically and culturally buried, and pre-Romantic civilization left for modern archaeology to uncover. Music was henceforth ines-capably personal, expressive, and dramatic, and earlier music, no matter what its origins, was now interpreted in the new way. Th e conventions of listening and interpretation that Beethoven forced on his Viennese audiences are with us still today. Not all those early listeners found the Th ird Symphony agreeable. In 1805, everyone was struck by its great length, while many found it headed in the wrong direction. “His music,” wrote one critic, “could soon reach the point where one would derive no pleasure from it, unless well trained in the rules and diffi culties of the art, but rather would leave the concert hall with an unpleasant feeling of fatigue from having been crushed by a mass of unconnected and overloaded ideas and a continu-ous tumult from all the instruments.” Another writer confessed that he found in the new symphony “too much that is glaring and bizarre,” turning at once to a symphony by Anton Eberl (a composer now largely forgotten) that gave him more pleasure. Th e strength of the “Eroica” is surely that it challenges us to see new signifi cance and new meaning in it at every per-formance. Th ose who predicted that it would take centuries before it was fully understood may have been right. Th e fi rst movement adopts the key and melodic language of Mozart’s Symphony No. 39, but expands it on an immense scale; both development and coda are hugely extended. Unlike the Mozart symphony, it has no slow introduction, but is pre-faced by two robust chords of E-fl at major, like an affi rmation of solidity and strength with the sort of fi nality one expects to fi nd at the end of a movement, not the beginning. A movement in 3/4 meter allows rich opportunities for cross-rhythms and cross-accents, of which Beethoven takes full advantage, some-times laying the stress on the second rather than the fi rst beat of the measure, sometimes leaving the fi rst beat silent, and at moments of greatest tension hammering out dissonant chords at two-beat intervals as if to deny the movement’s basic pulse altogether. At other times, the music glides eff ortlessly along,

About the Music

With his

Third Sym-

phony, not just

Beethoven’s

music was

changed, all

music was

irretrievably

changed. The

18th century

was chronologi-

cally and cul-

turally buried,

and pre-Roman-

tic civilization

left for modern

archaeology to

uncover.


even if distant storms are never far over the horizon, and the movement ends with the same two solid chords with which it had opened. Th e second movement, an awesome funeral march, is somber and processional in the minor key, drawing an intense sound from the strings that would have been unimaginable in the previous century. Th e major key pierces the tragedy with the winds, led off by the oboe, unfolding a noble melody that reaches a strong climax before returning to the march. A fugal episode generates enormous power, and the desolate ending is beyond words. Even the third-movement Scherzo, in which Beethoven would normally settle for a lighter mood, fi nds extraordinary dynamic strength, and its Trio section puts the three horns on display (when just two horns would previously have been nor-mal in a symphonic work like this). It is typical of Beethoven that in a work of such high se-riousness he fi nds room for his incessant humor. It sometimes makes you wonder if he was serious at all. Th e well-known moment at the fi rst movement’s recapitulation, when the horn apparently makes a false entry comes across as a well-intended joke. So too is the portentous rush of notes (in the wrong key) at the beginning of the fourth-movement fi nale, leading not to a weighty thematic declaration, but to a simple, almost inane, bass line bereft of theme, which acts as an expectant anticipa-tion of the main theme. When the theme does arrive, it turns out to be no more than a dance tune of surpassing obviousness borrowed from the ballet Th e Creatures of Prometheus, which Beethoven had written just a couple of years earlier. Ballet music! Just as we start to wonder how he could have sunk so low, the music becomes fugal, then dramatic, then aggressive, then elegiac, then massively grand and conclusive. Once again, Beethoven has outwitted his listeners by the sheer power of his invention. Keeping pace with his thought processes is an ex-hausting, but happily inexhaustible, occupation.

—Hugh Macdonald © 2015

Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Beethoven composed his Third Symphony between 1802 and 1804. He conduct-ed the fi rst performance at a private concert in the home of Prince Lobkowitz, to whom the work is dedi-cated, in December 1804. The fi rst public performance took place at the Theater-an-der-Wien on April 7, 1805, again with the composer conducting. This symphony runs about 50 minutes in performance. Beethoven scored it for 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra fi rst performed Beethoven’s “Eroica” Symphony in October 1920, under Nikolai Sokoloff ’s direction. It is among the most frequently performed symphonies in the Orchestra’s repertoire, appearing often in Cleve-land’s programming at home and in cities around the world. The Cleveland Orches-tra has recorded Beethoven’s Third three times: in 1957 with George Szell, in 1977 with Lorin Maazel, and in 1983 with Christoph von Dohnányi.

About the Music

At a Glance

February 27 Friday


Symphony No. 6 in B minor, Opus 54composed 1937-39

by DmitriSHOSTAKOVICHborn September 25, 1906St. Petersburg(later Leningrad)

died August 9, 1975Moscow

S H O S TA KOV I C H was thirty-three when he composed his Sixth Symphony, the same age as Beethoven when he wrote his Th ird, the “Eroica.” Th ere are many fruitful comparisons to be made between these two great composers, and in this case we have to observe how both composers were at that moment in their lives coming to terms with traumatic conditions that had begun to cast a shadow over their future. For Beethoven it was the relentless progress of his deafness. For Shostakovich it was the terrifying atmosphere of political oppression triggered by Stalin’s purges. Soviet artists were not immune — some notable poets and theater directors “disap-peared,” and any composer unwilling or unable to conform to the rigid expectations of the men in power lived in fear for his livelihood, and oft en for his life. In this context, Shostakovich’s “Eroica” — his artistic re-joinder to the changing circumstances of his life — was the Fift h Symphony. Th is was his response, aft er two years of silence, to what he described as the “just criticism” leveled at his opera Lady Macbeth of Mtsensk, premiered in 1935. Th e critique was actually a tirade of printed abuse from the Soviet authorities, as dictator Stalin continued consolidating his power over ev-erything and everyone. Th e apparatchiki beneath him abused the next levels down, tightening the screws of command. Th is included a vast and concerted eff ort to place all art and artists at the ready disposal of the government’s propaganda purpos-es — all new art was to be patriotic, rallying and uplift ing the people. What the authorities and the public took to be the Fift h’s strongly optimistic tone when it was heard in 1937 won for its composer a gale of popularity and favor. And Shostakovich knew that the dark, pessimistic streak in his make-up would bring trouble on his head if he allowed it to surface too strongly. His trick, therefore, was to end the Fift h Symphony in a riot of brassy celebration in order to dim any memory of introspec-tion that might be heard in its earlier movements. Although Shostakovich was said to admit that the fi nale of the Fift h was ironic in tone, it served its purpose well enough. In the Sixth, then, composed in 1939, he adopted a similar tactic. By traditional symphonic standards, it is crudely unbal-

About the Music


anced, having a long, thoughtful, slow movement to start, fol-lowed by a lively scherzo and an even more high-spirited fi nale. Perhaps it is a traditional four-movement symphony without a fi rst movement. But the apparent lack of weight in the scherzo and fi nale seems to assign them to a diff erent world than that of the actual fi rst movement, whose unhurried exploration of abstract material foreshadows much of Shostakovich’s later music. From the audience’s point of view, this is not a problem. With concentration fresh, we trace the shapely themes that emerge one by one in the fi rst movement, usually associated with a single instrument. Aft er a strong start, the fi rst violins lay out an important, desolate theme; then the piccolo intro-duces one; then the english horn has another, echoed by distant trumpets; then the fl ute. Later, it is the fl ute who is allowed a passage of what sounds like free improvisation. Th e movement’s recapitulation arrives very late, just in time to bring this richly woven tapestry to a close. Great virtuosity is called for in the scherzo second move-ment, especially from the winds. Th e torrent of notes begets a carnival atmosphere with heavy-booted peasants dancing in the streets. Th en, once the timpani have had their say, every-thing is delicate and feather-light to the end. Th e fi nale seems to go even faster. It is a playful burlesque, oft en recalling that same side of Prokofi ev’s music. Rossini also comes to mind, that joker among composers for whom (unlike Shostakovich) there was no dissembling. Eventually the horns come up with a boisterous tune that suggests nothing so much as a circus band, and from that moment on the riotous momen-tum is not to be stopped. Th e Sixth Symphony was fi rst performed in Leningrad in November 1939 in a concert that also premiered Prokofi ev’s cantata extracted from the fi lm Alexander Nevsky. Such was the enthusiasm for Prokofi ev’s patriotic music that the new Shostakovich symphony was almost overlooked. Sometimes Shostakovich, a painfully shy man, preferred it that way.


Shostakovich composed his Sixth Symphony between 1937 and 1939. His original intentions were to create a symphony on the subject of Soviet leader Vladimir Lenin, and during part of this period he considered or at-tempted including sung text with chorus and soloists. He eventually decided to write a purely orchestral work, without any direct connec-tion to Lenin. The symphony was premiered in November 1939, in Leningrad (today’s St. Petersburg), with Evgeny Mravinsky conducting the Leningrad Philharmonic Orchestra. This symphony runs about 30 minutes in perfor-mance. Shostakovich scored it for 3 fl utes (third doubling piccolo), 3 oboes (third dou-bling english horn), 4 clari-nets (third doubling e-fl at clarinet and fourth doubling bass clarinet), 3 bassoons (third doubling contrabas-soon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, triangle, tambourine, tam-tam, and xylophone), harp, celesta, and strings. The Cleveland Orchestra fi rst performed Shostakovich’s Sixth Symphony at a weekend of concerts in January 1945, conducted by Fritz Reiner. It was played most recently as led by Franz Welser-Möst in 2013, in Cleveland and in Vienna.

About the Music

At a Glance

37Cleveland Orchestra Miami 2014-15 About the Music

At left, circa 1950, three of the top Soviet composers: Prokofi ev, Shostakovich, and Khachaturian.Above, a Soviet-era stamp celebrating their greatest composer.

Shostakovich made international headlines and news with his work as a fi reman during the siege of Leningrad in 1942 — and for the composition of his Seventh Symphony celebrating the bravery of the city's defenders. The politics in his other symphonies was often more subtle and less in line with the government's ideals.

February 28 Saturday


E V E R Y L I S T E N E R may feel free to interpret this immortal work in his or her own fashion. Th e idea that it represents the composer’s mighty but victorious struggle with destiny was put into circulation by Beethoven himself, or at least by his fantasy-spinning amanuensis Anton Schindler, who reported the composer’s explanation of the opening motif as “So pocht das Schicksal an die Pforte” (‘Th us Fate knocks at the door’). Perhaps Beethoven did say that, and it certainly off ers a vivid image for an extraordinarily unconventional opening for a clas-sical symphony. But there are so many other forces at work in this symphony, besides that of fate, that we need to open our ears and minds to every signal it sends out. Most listeners agree that the signals can be diff erent at each hearing. Fate struck Beethoven most cruelly in about 1802 when, still in his early thirties, he acknowledged the fact of his deafness and began the long process of coming to terms with a handicap that was less of a musical disability (it did not interfere with his ability to compose) than a social one. His standing as a vir-tuoso pianist with excellent connections at court was seriously threatened, and his relations with friends, and especially with women, were now forever circumscribed. We might think that as a composer his reactions were far more violent than the situation warranted. Th e “Eroica” Sym-phony (No. 3), the immediate product of that profound crisis, transformed the world of classical music forever. But he did not stop there. Th e superhuman creative energy that produced his great heroic works of that decade had never been heard in music before. One colossal path-breaking work followed another, com-bining unearthly beauty of invention, technical virtuosity, vastness of conception, and a radical freedom of expression and form. Beethoven may have — privately — felt inordinately sorry for himself, but there is no self-pity in the music. Defi -ance, yes certainly, although the sense of triumph expressed in the conclusion of the Fift h Symphony is surely more than a tongue-sticking-out I-told-you-so addressed to fate. Beethoven’s triumph gloats not just over an unfair destiny cowering at his feet, but rather over all humanity, over all of us who have the misfortune not to measure up to his infi nite creative spirit. If Beethoven gave up the unequal struggle to take care of

Symphony No. 5 in C minor, Opus 67composed 1804-08

About the Music

by Ludwig vanBEETHOVENborn December 16, 1770Bonn

diedMarch 26, 1827Vienna


worldly and domestic concerns, if he lost control of his fi nances, if he quarreled with landlords and servants, if he felt robbed by publishers and creditors, if he lived in squalor, if he could not count on the aff ection and loyalty of friends, there always re-mained one domain in which he was the unchallenged master: music itself. He could change the world by scratching barely legible lines and dots on ruled paper, the physical manifesta-tion of a cauldron of sound and pride that boiled in his brain.

Th e famous four-note motif that opens the symphony is heard constantly in the fi rst movement, but it is far from being the all-pervading idea that many people suppose. Listen out for others! Th e second movement deft ly and curiously blends gor-geous cantilena with military trumpets, all wrapped in varia-tion form. Th e third movement is full of mystery; not defi ant, not triumphant, more humorous or spectral, and out of it grows the huge shout of triumph of the fourth-movement fi nale, as the trombones proclaim a new order of the universe, supported by piccolo, contrabassoon, and the full weight of C major, the key that Haydn had assigned to the completion of Creation itself. Th e disorder and confusion that reigned at the fi rst per-formance of this symphony in a famously long concert — which also included the fi rst performances of the Fourth Piano Con-certo, the Sixth Symphony, and the Choral Fantasia — perfectly illustrates the sorry mis-match between reality in Beethoven’s life, when a long, diffi cult concert had to be rehearsed and per-formed, and the sublime quality of the music itself. No wonder Viennese audiences were confused by this giant in their midst.


Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

Beethoven began sketching this symphony as early as 1804, and completed it dur-ing the fi rst months of 1808. The fi rst performance took place on December 22, 1808, at the Theater-an-der-Wien in Vienna, at a legendary marathon concert led by the composer and devoted entirely to his works (the pro-gram also included the pre-miere of the Sixth Symphony, Fourth Piano Concerto, and Choral Fantasy — all in an unheated hall, and seriously under-rehearsed). This symphony runs about 35 minutes in perfor-mance. Beethoven scored it for piccolo, 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, con-trabassoon, 2 horns, 2 trum-pets, 3 trombones, timpani, and strings. The piccolo, contrabassoon, and trom-bones (which Beethoven had not used in his fi rst four symphonies) play only in the fourth movement. The Cleveland Orches-tra fi rst played Beethoven’s Fifth Symphony during its inaugural season, in April 1919. It has been performed frequently ever since — appearing often in Cleve-land’s programming at home and in cities around the world.

About the Music

A German postagestamp commemoratinga famous national son.

February 28 Saturday


SHOS TAKOVICH made it known publicly that he composed the great Tenth Symphony in the months following Stalin’s death, which took place on March 5, 1953 (the same day as Prokofi ev’s death). It is clear to us now, however, and was probably clear to many of his friends then, that he had been working on the symphony for several years — and that it was written under the shadow of events in January 1948 when Andrei Zhdanov, the politburo member with responsibility for the arts, led a purge on Soviet musicians, with Shostakovich as the main target. An important group of composers, which included both Shosta-kovich and Prokofi ev, were singled out for their sins against the ideals of Soviet music and in particular for “formalism,” the recurrent catch-all accusation that had been heard in offi cial pronouncements throughout the Stalinist era. Of course all music is formal, and so, in a sense, it must also be “formalist.” In this case, the State required music to serve a political purpose, and that could only be done with words or a message conveyed in song or onscreen or even with just an appropriate title. “Symphony” or “Concerto” or “String Quar-tet” were vague and inadequate titles for the purpose — and thus open to condemnation not simply for not supporting the offi cial line but actually for subverting it. At the moment when the purge occurred, Shostakovich was engaged in composing a violin concerto written in admi-ration of the playing of David Oistrakh. He continued writing the concerto, but only in secret, and it could not be performed. Shostakovich turned to fi lm music and choral works instead, as his sole means of retaining recognition as a composer. But in private, he was also working on string quartets and on a suc-cessor to the Ninth Symphony of 1945. Sketches for the Tenth in fact go back as early as 1946, and there is evidence that he was working on it in 1951. Th e year 1953 — and Stalin’s death — thus released the backlog of music that had been waiting to be brought out in public. Th e Violin Concerto was not ready until 1955, but the Fourth and Fift h String Quartets were heard toward the end of 1953, along with the Tenth Symphony, presented on December 17 by the Leningrad Philharmonic Orchestra under Shostakovich’s leading interpreter of the day, Yevgeny Mravinsky. Th e Tenth

Symphony No. 10 in E minor, Opus 93composed 1948-53

by DmitriSHOSTAKOVICHborn September 25, 1906St. Petersburg(later Leningrad)

died August 9, 1975Moscow

About the Music

41Cleveland Orchestra Miami 2014-15 About the Music

was soon acclaimed in the West as one of the composer’s major works. International recognition of Shostakovich as a leading living composer dated back to his First Symphony in 1925, but Shostakovich’s standing across the West was reinforced by new works in the 1950s and for the last twenty years of his life. His writing was widely appreciated as a counterblast to the craze for serial and atonal music that gripped many young compos-ers, especially in the United States. Interpreting the Tenth Symphony, as with any work by Shostakovich, presents immense problems. From his many years grappling with offi cialdom, he had learned to dissemble and mask his true feelings about what he created. In addition, he was a very private, not to say inscrutable, individual. All these circumstances allow us to adopt almost any view of his work, but without any certainty that our view will coincide with his. Th e layers of irony are deep. What seem to be depictions of mis-ery or horror may be nothing of the kind. Th e hollow hymns of triumph may not be hollow. He was indeed a “formalist” com-poser, deeply concerned with the structure and shape of his music, always looking for new ways to insert contrast or its opposite, hinting at references that may be decoys, and extracting veins of gold from the tra-ditional large orchestra.

T H E M U S I C

Of the Tenth Symphony’s four parts, the fi rst movement is the longest and perhaps the bleakest, giving prominence (as does the whole symphony) to the leading woodwinds. A clarinet, for example, is the fi rst to join the strings’ opening meditations, and a low fl ute is the fi rst to present an important new theme later on. Two lonely piccolos are heard at the close. Th e music is in no hurry. Twice the music rises to fearsome climaxes, fed on the frightening rap of the snare drum and the weight of the full brass. Th e raw energy of the second movement is unrivaled in 20th-century music, like a runaway train. Is it exultation or fury? It’s hard to say. Over the wild gambols of the rest, the brass occasionally stamp out what sounds like an Orthodox


Russian chant. What can that mean? Th e relaxed air of the third movement is more than wel-come, and it becomes more personal when Shostakovich gradu-ally hones in on his personal signature, the D-S-C-H motif that permeated a number of his later works. Th is was created from the way his name is spelled in German, as Dmitrij SCHosta-kowitsch, and the fact that in German the note of E-fl at is “Es” (and thus S) and B-natural is H:

Another prominent tune that keeps recurring on the horn seems planets away from the tone and color of the movement. Th is too has been shown to have an explanation as ELMIRA, the name of one of his female students, although, as before, the signifi cance of her intrusion in the symphony is a mystery:

Th e movement concludes with what sounds like a corny brass band playing loose with D-S-C-H, as if in mockery. Before the true fi nale begins, there is a thoughtful introduc-tion featuring oboe and bassoon and casting a veil of mystery. Th is is dispelled in the exuberant fourth movement Allegro, whose climax is a triumphant writing-on-the-wall of the let-ters D-S-C-H. Triumph or cataclysm? It could be either. It is certainly an exhilarating musical experience whatever we read into its meaning.


Shostakovich composed his Tenth Symphony during the summer and autumn of 1953, although some thematic material may date from the previous two years. It was premiered in Lenin-grad on December 17, 1953, by the Leningrad Philhar-monic Orchestra conducted by Yevgeny Mravinsky. The fi rst United States performance took place on October 14, 1954, with the New York Philharmonic under Dimitri Mitropoulos’s direction. This symphony runs just over 50 minutes in perfor-mance. Shostakovich scored it for 3 fl utes (second and third doubling piccolo), 3 oboes (third doubling eng-lish horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, tam-tam, triangle, tambourine, xylophone), and strings. The Cleveland Orchestra fi rst performed Shostako-vich’s Tenth Symphony in December 1967 under David Oistrakh’s direction. The most recent performances were given in 2013 under the baton of Franz Welser-Möst, in Cleveland and in Vienna.

About the Music

At a Glance

A Russian stamp from the year 2000, celebrating Shostakovich as a composer.

43Cleveland Orchestra Miami 2014-15 Music Director

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

Th e 2014-15 season marks Franz Welser-Möst’s thirteenth year as music director of Th e Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the Orchestra is hailed for its continuing artistic excellence, is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble. Under Mr. Welser-Möst’s leadership, Th e Cleveland Orchestra has established a recurring biennial residency in Vienna at the famed Musik verein concert hall and appears reg-ularly at Switzerland’s Lucerne Festival. Together, they have also appeared in resi-dence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included fi ve sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, an annual multi-week Cleveland Orch estra residency in Florida was inaugurated in 2007 featuring an array of subscription concerts, education programs, and community presentations that touch the lives of over 20,000 children, students, and adults from across South Florida each year. With a strong commitment to music education, Franz Welser-Möst has tak-en Th e Cleveland Orchestra back into public schools at home in collaboration with the Cleveland Metro politan School District and inaugurated partnerships with the University of Miami and Indiana University. He has championed new programs, including a series of “At Home” neighborhood residencies and concerts in Cleve-land designed to bring the Orchestra and citizens together in new ways. Franz Welser-Möst has led annual opera performances during his tenure in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Fol-lowing six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He led an innovative made-for-Cleveland produc-tion of Leoš Janáček’s Th e Cunning Little Vixen at Severance Hall. Th ey will pres-ent performances of Richard Strauss’s Daphne in May 2015. For his talents and dedication, Mr. Welser-Möst has received honors that in-clude the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the West-ern Law Center for Disability Rights, honorary membership in the Vienna Sing-verein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassa-dor, a Decoration of Honor from the Republic of Austria for his artistic achieve-ments, and the Kilenyi Medal from the Bruckner Society of America.



Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

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

Principal Guest Conductor



The Cleveland OrchestraUnder the leadership of Music Director Franz Welser-Möst, Th e Cleveland Orchestra has become one of the most sought-aft er performing ensembles in the world. In con-certs at its winter home at Severance Hall and at each summer’s Blossom Music Fes-tival, in ongoing residencies from Miami to Vienna, and on tour around the world, the Orchestra sets the highest standards of artistic excellence, creative programming, and community engagement. Th e Cleveland Orchestra has a long and distinguished recording and broad-cast history. A series of DVD and CD recordings under the direction of Mr. Welser- Möst continues to add to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s earlier music direc-tors. In addition, Cleveland Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe. Th e Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensem-ble worthy of joining America’s top rank of symphony orchestras. Over the next decades, the Orchestra grew from a fi ne regional organization to one of the most admired symphonic ensembles in the world. Seven music directors (Nikolai Soko loff , 1918–1933; Artur Rodzinski, 1933–1943; Erich Leins dorf, 1943–1946; George Szell, 1946–1970; Lorin Maazel, 1972–1982; Christoph von Dohnányi, 1984–2002; and Franz Welser-Möst, since 2002) have guided and shaped the ensemble’s growth and sound. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confi rmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality with the fi rst festival season at Blossom Music Center in 1968, presented at an award-winning, purpose-built outdoor facility located just south of the Cleveland metropolitan area near Akron, Ohio. 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


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

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra PreucilASSISTANT CONCERTMASTER

Dr. Jeanette Grasselli Brownand Dr. Glenn R. Brown Chair

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTh eodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Katherine 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

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

Yun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont ChairRichard Weiss1

Th e GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Th omas J. and Judith Fay Gruber Chair

Ralph CurryBrian 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

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

PRINCIPAL GUEST CONDUCTOR C LEVE L AN D ORC H ESTR A M IAM I

46 2014-15 Cleveland Orchestra MiamiThe Orchestra

S E A S O N

O R C H E S T R A

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn ChairMary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin ChairJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSFranklin Cohen*

Robert Marcellus ChairRobert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls ChairGareth ThomasBarrick Stees2

Sandra L. Haslinger ChairJonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial ChairMichael Mayhew §

Knight Foundation ChairJesse McCormick

Robert B. Benyo ChairHans ClebschAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss ChairTom Freer 2

PERCUSSIONMarc Damoulakis*

Margaret Allen Ireland ChairDonald MillerTom Freer

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin ChairCarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’Brien

Joe and Marlene Toot ChairDonald Miller

ORCHESTRA PERSONNELKaryn GarvinDIRECTOR

Christine HonolkeMANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDSidney and Doris Dworkin ChairSunshine Chair

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

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Brett MitchellASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

47Cleveland Orchestra Miami 2014-15 The Orchestra

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

Concert Prelude

March 6-7 Concert Preludes

A free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the evening’s orchestral concert. Friday, March 6, 2015, at 7:00 p.m. Saturday, March 7, 2015, at 7:00 p.m.

from Piano Quintet in A major (“Trout”), D667 by FRANZ SCHUBERT (1790-1828)

1. Allegro vivace

Ioana Missits, violin Stanley Konopka, viola Brian Thornton, cello Scott Haigh, bass Carolyn Gadiel Warner, piano

Piano Quartet in A minor (in one movement) by GUSTAV MAHLER (1860-1911)

Nicht zu schnell [Not too fast]

Peter Otto, violin Stanley Konopka, viola Richard Weiss, cello Joela Jones, piano


S E A S O N

1 8 0 0 A T T O R N E Y S | 3 7 L O C A T I O N S W O R L D W I D E˚

Greenberg Traurig is a service mark and trade name of Greenberg Traurig, LLP and Greenberg Traurig, P.A. ©2015 Greenberg Traurig, LLP. Attorneys at Law. All rights reserved. °These numbers are subject to fluctuation. 24823

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Greenberg Traurig proudly supports

Cleveland Orchestra Miami

in its mission to share the value

and joy of music with our community,

expand educational programs,

and maintain the highest level of

artistic excellence.

ADAM M. FOSLID GREENBERG TRAURIG, P.A. 333 SE 2ND AVENUE | SUITE 4400MIAMI, FL 33131 | 305.579.0500



The Cleveland OrchestraFranz Welser-Möst, conductor S E A S O N

Program: March 6-7

Friday evening, March 6, 2015, at 8:00 p.m. Saturday evening, March 7, 2015, at 8:00 p.m.

GUSTAV MAHLER Symphony No. 6 in A minor (“Tragic”)(1860-1911) 1. Allegro energico, ma non troppo 2. Andante moderato 3. Scherzo: Wuchtig [Powerful] 4. Finale: Allegro moderato

The concert is presented without intermission and will end at approximately 9:25 p.m.

This weekend’s concerts are sponsored by Greenberg Traurig, P.A.




The point is not to take the world’s opinion as a guiding star, but to go one’s way in life and to work unfalteringly, neither depressed by failure nor seduced by applause.

—Gustav Mahler

Mahler, in a photograph taken in 1909 in New York

March 6-7


GUSTAV MAHLERSilhouette by Hans Schliessmann

T H I S W E E K E N D of Cleveland Orchestra Miami concerts present a famously enigmatic symphony by Gustav Mahler, created while the composer was at the top of his fame. Mahler himself gave his Sixth Symphony the nickname “Tragic,” then later decided it should not carry the weight of that label. Th ere are many varying stories, from Mahler and his contemporaries, and from his wife Alma aft er his death, concerning the composer’s feelings about this music. In some stories, tragic events came to Mahler, but aft er the symphony had been written. In others, his sense of fate was actively associated with this music. Evenso, there are moments of both tragic and happier music within the confi nes of this dramatically moving 75-minutes work. In the symphony’s fourth movement, Mahler wrote a part for large hammer, which falls against a resonant block of wood — echo-ing the sound, perhaps, of an axe chopping at or splitting a tree. Mahler changed his mind as to how many of these should sound, removing one of three from the score — and then reconsidering his decision. Alma his widow described these as “the blows of fate and destiny.” Th is weekend, Franz Welser-Möst is choosing for two, leaving the third moment powerful in its incomplete emptiness. Regardless the inclusion (or absence) of any intended message overall, this is an impactful symphony, fi lled with searingly beautiful and heartfelt action.

—Eric Sellen

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

Mahler — Tragedy&Fate

Introducing the Music

March 6-7


by GustavMAHLERborn July 7, 1860Kalischt, Bohemia(now Kalištì inthe Czech Republic)

diedMay 18, 1911Vienna

Symphony No. 6 in A minorcomposed 1903-04

M A H L E R ’ S regular routine, during the years when he was mu-sic director of the Vienna State Opera (then the Vienna Court Opera), was to devote the winter months to the opera house and the summer months to composition. To both activities, he devoted a heroic work ethic and a fanatical concentration, and it helped him for his “summer job” to get away from the city to work in total tranquility. To this end, he built himself a villa at Maiernigg on the shores of the Wörthersee in southern Austria, with a further refuge from the villa being a hut to work in set away in the woods. Th e Fift h, Sixth, and Seventh Symphonies, oft en viewed as a group, being three very large works composed for orchestra alone without voices, were the astonishing fruit of this regime. Th e Fift h was completed in the summer of 1902 and the Sixth written in 1903 and 1904, the Seventh in 1904 and 1905. Th ese were happy years for Mahler. He married the beauti-ful Alma Schindler in 1902, and she gave birth to their fi rst child the same year, and a second daughter was born in 1904. Gustav’s works were played with increasing frequency in Germany and Hol-land, and with his post at the Vienna Opera — to which he was appointed in 1897 aft er a series of increasingly prestigious posts in diff erent cities — he had reached the pinnacle of the musical profession. He was 43, rich, and in the prime of life. Th e Sixth Symphony is bursting with creative vitality. It is a long work with a profusion of motifs and themes, a kaleido-scopic variety of moods, and an unstoppable fl ow of contrapun-tal invention — the bringing together of various musical ideas in infi nite combinations. Long movements, such as the half-hour fi nale, pose tough structural problems if listeners are not to lose their way. Yet any concerns about formal coherence are dwarfed by the unending resourcefulness of Mahler’s mind. He is entitled to extend these movements beyond the point others would think excessive by the sheer pressure of musical inven-tion. Like Bach seeking out every possible permutation in his larger fugues, Mahler similarly felt that the music is not over until he has exhausted his own wells of creativity.

A T R A G I C S Y M P H O N Y ?

How then can we explain how the Sixth Symphony ac-

About the Music


quired the nickname, the “Tragic”? Like Schubert’s Fourth Symphony, on which Schubert himself wrote the German word Tragische even though the music is far from tragic in character, Mahler himself allowed the term to be applied to his Sixth, then later repressed it. It is not at all clear that he himself viewed the symphony in that light when he wrote it, whereas a tragic, prophetic character was fi rmly bestowed on it by Alma as his widow many years later. Hindsight has played more part in the interpretation of this work than of any other, and there is evi-dence that Mahler too saw his music in a diff erent light when his life was indeed darkened by tragedy. Th e fi nal bars conclude in the minor key, it is true, but these two pages cannot overturn the impression of the rest. Music that has been positive and ebullient for over an hour does not become tragic in thirty seconds. Th en there are the famous blows of the hammer in the last movement, and the oft en-debated question of whether Mahler’s manuscripts and later instructions call for three or only two (with the third moment left purposely emptier without it). In a huge orchestra with extensive percussion, it is merely a reinforcement of the noise to add a hammer to the already heavy thud of the bass drum. A hammer is not tragedy until it is described as a “hammer-blow of fate,” which tradition says Mahler came to interpret those moments in the fi nale when the hammer descends. Th e fateful three blows in the composer’s own life fell in quick succession in 1907, three years aft er the completion of the Sixth Symphony. He was diagnosed with a heart lesion, which

Mahler’s writing cottage in the woods at Maiernigg on the shores of the Wörthersee in southern Austria, where he composed the Fifth, Sixth, and Seventh symphonies across the summers of 1902 to 1905.

About the Music


eventually proved fatal; he resigned under heavy pressure from the Vienna Opera; and his adored elder daughter Maria died aged four. He is said to have removed the third hammer-blow from the score as a portent of his own death. Th en there is the curious fact that during the composition of the Fift h Symphony (but before he had children of his own) Mahler had begun to set fi ve poems by Rückert, Kindertoten-lieder or “Songs on the Death of Children,” about the death of youngsters. Surely, it is argued by those wanting to fi nd it, his life was prophetically encoded in his own music. To that point, and no further, can the case for the Sixth Symphony as “Tragic” be made. Th e evidence of our ears, meanwhile, places the arguments almost entirely on the other side. Any large work will encompass moods of every kind, including passages that might be dark and foreboding — but here, for much of the work, we have music that lift s the heart and seems to sing with the birds of summer.

T H E M U S I C ’ S S T R U C T U R E

Th e two middle movements in particular, the slow move-ment and the scherzo, following the convention of four-move-ment symphonies, are respectively serene and light. Mahler originally placed the scherzo in second place and the Andante third. At the fi rst performance in Essen in February 1906 Mahler decided to reverse this and place the scherzo third, af-ter the slow movement, and later always performed it in that order (the order in which Franz Welser-Möst has chosen to play the movements in this weekend’s Miami performances). By that time the publishers had already printed the score with the scherzo second. Arguments for the suitability of either se-quence can be easily made, and it is normally the conductor’s choice in today’s performances. Mahler was by nature unable to refrain from tinkering with his own music. Every time he conducted a work he found improvements that needed to be made, usually in the orches-tration, to improve the balance, or to adjust to the needs of a particular hall. His symphonies thus survive in a variety of diff erent texts, so that editors and conductors are normally re-quired to make choices at every level. Th e question of the third hammer-blow and the order of the two middle movements fall into this area of Mahler’s heritage. In other respects, Mahler left his interpreters little choice.

Mahler began work on his Sixth Symphony in 1903 and completed it in 1904. He conducted the symphony’s premiere on May 27, 1906, in Essen, Germany. The fi rst performance in the United States took place in De-cember 1947 at New York’s Carnegie Hall, with Dimitri Mitropoulos leading the New York Philharmonic. This symphony runs about 75 minutes in perfor-mance. Mahler scored it for 4 fl utes, 4 oboes, 3 clarinets, E-fl at clarinet, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 4 trumpets, 3 trom-bones, tuba, timpani, percus-sion (bass drum, snare drum, cymbals, triangle, rattle, tam-tam, glockenspiel, xylophone, cowbells, deep bells, twig brush, hammer), celesta, and strings. The Cleveland Orchestra fi rst performed Mahler’s Sixth Symphony in October 1967 under George Szell’s direction. (These perfor-mances, taped as part of the Orchestra’s nationally-syndi-cated radio broadcasts, were later edited and released commercially by Columbia Records.) The Sixth has been performed on several occasions since then, most recently prior to this season in March 2001 in Cleveland, conducted by Michael Tilson Thomas.

At a Glance

About the Music


Certain types of

musical char-

acter are im-

portant in this

work. March

tempos, always

a favorite for

Mahler, appear

in the fi rst

and last move-

ments, and are

especially strik-

ing at the be-

ginning, as if

to convey the

stamping tread

of marching

feet. Much of

the last move-

ment also

strides forward

at a healthy

march pace.

About the Music

He is explicit to the point of fussiness in marking dynamics and interpretative details in his scores. Th e complexity of his scores, especially those with as large an orchestra as that of the Sixth Symphony, calls for great precision in allowing instrumental detail to be heard, which it is the conductor’s duty to ensure. An interesting case is the moment early in the fi rst movement marking the transition between fi rst and second sections:

Th e blend of oboes and trumpets shift s in the course of the fi rst bar since the trumpet sound decreases while the oboe sound increases. Th e major chords is thus colored diff erently from the minor chord that follows. Th is kind of detail shows the master of orchestration at work. Certain types of musical character are important in this work. March tempos, always a favorite for Mahler, appear in the fi rst and last movements, and are especially striking at the beginning, as if to convey the stamping tread of marching feet; these pulses are oft en reinforced by dotted rhythms. Much of the last movement also strides forward at a healthy march pace. Th en there are hymn-like passages or chorales, sometimes reminiscent of Anton Bruckner’s style. Th e second section of the fi rst movement is such a passage, played by the winds over occasional plucked-string pizzicatos. Another is heard early in the last movement, this one scored for the deepest instruments, giving prominence to the tuba, contrabassoon, bass clarinet and low horns, all playing soft ly — an inspired, magical eff ect. Th e strings come into their own in the slow movement, a kind of rondo (a form of alternating sections) with two con-trasting episodes, while the essentially staccato character of the scherzo movement gives prominence to the winds. Th is too is a rondo with an episodic Trio appearing twice. In these two movements, the standard classical forms are respected, and in the fi rst movement too, with the repeat of its opening material and the other features of classical sonata form in place, the tra-ditional outline is not hard to follow. Only in the fi nale, when Mahler’s prodigious inventiveness takes over, is the skeleton of


GUSTAV MAHLER 1860-1911

Gustav Mahler

Gustav Mahler, at age fi ve (below left) in the earliest known photograph; with beard at age twenty-one in 1881; (right top) his wife Alma and their two daughters, Maria and Anna, in 1906; at the coast (bottom right) of the North Sea; and in a cartoon making fun of the unusual instruments (including cowbell and forging hammer) he orchestrated into his Sixth Symphony.


its basic form hidden by many layers under the musical surface. Th e protagonist of this long adventure is not so much Mahler the composer as the giant modern orchestra of 1905. Following the vast expansion eff ected by Richard Wagner in scoring for his four-opera Ring of the Nibelung, turn-of-the-century composers — and not just Richard Strauss and Mahler — adopted orchestral ensembles as big as the stage or concert platform could accommodate. Th e benefi ts are not just in-creased volume; if you have four oboes and an english horn, a fi ve-note chord can be heard entirely in the oboe’s double-reed tone quality — whereas with earlier, smaller orchestras this was not possible. Eight horns can dominate the central texture; six trumpets or four trombones can penetrate whenever they choose. Yet, because Mahler’s scoring is always transparent, without needless doubling, a single instrument such as the ce-lesta or bass clarinet can stand out in the crowd. And Mahler’s use of percussion would make a study in itself, noting where the xylophone is used, and where the triangle, such details of-ten contributing a tiny but discernable condiment to the taste of the whole dish. With his Th ird and Sixth Symphonies Mahler wrote two immensely long symphonies and stretched the basic form to its limits. In the Th ird, he had voices to vary the texture and pro-claim the message, and that work is divided into six movements. Here in the Sixth, he preserved the traditional four-movement design and called upon no program, no text, no voices, and no grand message to focus the interpretation. Mahler’s achievement in the purely orchestral work of such a size as the Sixth is remarkable, especially since the listener is free to determine its character. Th e “tragic” label may be right for some, but others will surely fi nd in this music a broad land-scape of great beauty, full of life and color, neither threatening nor doomed, a landscape wherein we may all enjoy the deepest satisfactions and always fi nd something to smile at.


Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Only so much

can be made of

the nickname

“Tragic” for

this symphony.

Any large work

encompasses

moods of every

kind, including

passages that

might be dark

and foreboding.

Here, for much

of the work,

we have mu-

sic that lifts

the heart and

seems to sing

with the birds

of summer.

About the Music

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 Ovations Food Services,

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

60 2014-15 Cleveland Orchestra MiamiArsht Center Information

61Cleveland Orchestra Miami 2014-15 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 exclu-sive 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

62 2014-15 Cleveland Orchestra MiamiArsht Center

ADRIENNE ARSHT CENTER 5

M. John RichardPresident & CEO

Scott ShillerExecutive Vice President

AdministrationAric Kurzman Assistant Vice President of Business and Legal AffairsChantal Honoré Manager of Board RelationsMonique McCartney Executive Assistant to the President & CEOYamely Gonzalez Executive Assistant to

the Executive Vice PresidentAnhel 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 MembershipFelicia Hernandez Director, Member Relations and

Donor RelationsCarrie Rueda Interim Special Events Manager Ana Morgenstern Grant WriterNatalia Ortiz Executive Assistant to the Vice President of AdvancementKalyn James Corporate Sponsorship CoordinatorJeanette Castro Membership Assistant

FinanceTeresa Randolph Assistant Vice President,

Finance and ControllerKimba King Manager of Human ResourcesAida Rodriguez 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 ManagerNeal Hoffson House ManagerRodolfo Mendible House ManagerHeydee Zamora House Manager Nicole Smith Volunteer Services ManagerNicole Keating Senior Director, Ticket ServicesNadinne Farinas Director, Ticket Services Maria Usaga Ticket Services ManagerDavid Saifman Ticket Services ManagerTracy Schneider Ticket Services ManagerJulia Acevedo Ticket Services SupervisorRichard Malin Ticket Services Supervisor Jose L Carrion III Customer Service Representative Adam Garner Customer Service RepresentativeDavide Sahner Customer Service Representative Mario Acevedo Customer Service RepresentativeAshley Araujo Customer Service RepresentativeFernanda Arocena Customer Service Representative Anita Braham Customer Service Representative Heather Brummer Customer Service RepresentativeAlfred Cruet 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 Michael Kontomanolis Customer Service RepresentativeKerrie Mitchell Customer Service Representative Natalia Morgan Customer Service Representative Taviana Nevares Customer Service Representative Fabiana Parra Customer Service RepresentativeClaudia Quesada Customer Service Representative Theo Reyna Customer Service Representative Javier Rhoden Customer Service RepresentativeAshley Richardson Customer Service RepresentativeLiana Rodriguez Customer Service RepresentativeLogan Smiley Customer Service Representative

Information TechnologyJames J. Thompson Assistant Vice President, Information TechnologyMichael Sampson Director, Applications Renville 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 MarketingLaura White Director of Marketing Gino Campodonico Public Relations ManagerJoanne Matsuura Marketing ManagerFernando Olalla e-Marketing ManagerCraig Stedman Group Sales Manager Morgan Stockmayer Promotions Manager David Chang Graphic DesignerSam Hall Graphic DesignerRaul Vilaboa Graphic DesignerNadia Zehtabi Creative Services Coordinator Estefania Pinzon Public Relations CoordinatorLeyda Castro Group Sales CoordinatorStephanie Hollingsworth e-Marketing AssistantOren Mor Marketing Assistant Patrick Rhudy Marketing AssistantCarmen Rodriguez Marketing Assistant

OperationsDaniel Alzuri Senior Director, OperationsDean Dorsey Senior Director, EngineeringThomas McCoy Engineering Manager Lucy Hargadon Executive Assistant to the Vice President, OperationsAlejandro Aguilar EngineerJack Crespo EngineerIsaac Dominguez EngineerJose Hurtado EngineerWilner Montina EngineerJimmy Panchana EngineerXavier Ross EngineerAlberto Vega EngineerPedro Villalta Engineer

ProductionJeremy Shubrook Director, Production Lauren Acker Technical Director Curtis V. Hodge Technical DirectorJanice Lane Technical DirectorHerman Montero Technical DirectorMelissa Santiago - Keenan Technical DirectorDaniel McMenamin Head Carpenter, Ziff Ballet Opera HouseJohn Mulvaney Assistant Carpenter/Head Flyman, Ziff Ballet Opera HouseRalph Cambon Head Audio Video, Ziff Ballet Opera 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 HallDavid Diaz Head Audio Video, Carnival Studio TheaterHarold Trenhs Head Electrician, Carnival Studio Theater

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

Facility ManagementOvations Food Services AlliedBartonPritchard Sports and Entertainment

Andrew Goldberg Vice President, Marketing

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

Trish Brennan Vice President,

Human Resources Ken Harris

Vice President, Operations

Valerie Riles Vice President, Board and

Government RelationsSuzanna Valdez

Vice President, Advancement

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

63Cleveland Orchestra Miami 2014-15 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

PERFORMING ARTS CENTER TRUST, INC.

Matilde AguirrePierre R. ApollonThe Honorable Oscar Braynon IILarry H. ColinLaurie FlinkThe Honorable Rene GarciaRosie Gordon-Wallace

Javier Hernandez-LichtlJames Herron Hank KleinNathan LeightFlorene Litthcut NicholsCarlos C. Lopez-CanteraHillit Meidar-Alfi

Gilberto NevesBeverly A. ParkerJorge A. PlasenciaAbigail PollakThe Honorable Raquel RegaladoNeill D. RobinsonAdriana Sabino

Mario Ernesto SanchezThe Honorable Marc D. SarnoffAlexander I. TachmesCarole Ann TaylorPenny ThurerJudy Weiser

Board of Directors

Alan H. Fein Chair-ElectIra D. Hall Treasurer

Raul G. Valdes-Fauli Assistant Treasurer

Richard C. Milstein Secretary

Evelyn Greer Assistant Secretary

J. Ricky Arriola Immediate Past Chair

Parker D. Thomson Founding Chair

Mike EidsonChairman

Officers of the Board

RESIDENT COMPANIES ALLIANCE

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

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

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

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

*deceased

Frances Aldrich Sevilla-SacasaNancy Batchelor

Swanee DiMareRonald Esserman

David RockerSherwood M. Weiser*

Jason Williams

Officers of the Board

ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS

Adrienne Arsht Founding Chairman

Richard E. Schatz Chairman

Miami Design District 175 North East 40th Street (305) 868-0118

Hermes.com

F L Â N E U R F O R E V E R

Documents

The Cleveland Orchestra Miami February 27-28, March 6-7 Concerts