SCHUBERT Symphony in C major (“The Great”)

KŘENEK Static and Ecstatic FRANZ SCHUBERT Symphony in C major (“The Great”), D.944 Tracks 1 - 4 ...... 57:33 ERNST KŘENEK Static and Ecstatic, Opus 214 Tracks 5 - 14 ...... 19:30

THE ORCHESTRA Recorded live at , March 2020

View from the stage just before the performance begins, with only a few dozen invited guests in the hall, March 12, 2020. (Photo by Jesse McCormick)

2 INTRODUCTION by André Gremillet

Crisis and Creativity

June 2020, Cleveland, Ohio, U.S.A.

With the year but half over, it is al- Pandemic a century ago, with the a local institution and as a globally- and similarities — and in how deftly ready clear that 2020 will be remem- ensemble’s very fi rst concert taking recognized ensemble. A year fi lled The and Franz bered as a pivotal moment in mod- place in December that year, after with crisis and concern has focused perform each. ern history. bans against public performances on lives and livelihoods, on plans for All that said, this album was The tumult has impacted all had been lifted. Later, the Great change and a yearning for catharsis. not what we were expecting for our of us, living anywhere and every- Depression forced changes to opera- label’s second release. This album where. Performances cancelled, tions and programming, including the CONTINUITY AND CRISIS was brought together in unexpected travel suspended, deaths and hero- cancellation of an ongoing series of This year, The Cleveland Orches- ways in the midst of crisis. As Franz ism, lockdowns put in place and then annual opera presentations. World tra launched its own recording label Welser-Möst and I discussed the op- reversed in stages. Protests about War II removed many musicians with an inaugural three-disc album tions day by day, we had to juggle reopening. Protests regarding ongo- from the stage to serve in the Armed titled “A New Century.” Over a year the here-and-now with the weeks ing injustice and racial inequity in the Forces (including the music director). in the planning, the album off ered and months ahead. We’ve had to world. Bringing together an incalcu- Renovations have shuffl ed perfor- six musical selections written across make new decisions, choosing be- lable desire for answers to problems mances from one location to another. three centuries. Together, they were tween options we had never consid- both new and old. But always we’ve found a way chosen to bring clear focus on the ered before. The Cleveland Orchestra has forward, facing adversity with cre- ongoing and extraordinary artistry The recording of these two weathered many storms before. In ativity and fully resolved to continue of this storied ensemble under Franz pieces took place in March 2020, times of crisis and celebration, we stronger than ever, to serve our Welser-Möst’s direction. created under poignant and emo- have drawn together crowds for hometown, whose support and en- This second release continues tion-fi lled circumstances — as Franz solace or commemoration. Per- couragement has never wavered. that exploration and focus, bringing relates beginning on page 9. The formances have been shortened, Yet 2020 has brought us more together Schubert’s greatest sym- artistic expression they embody is threatened, or cancelled by snow- fully into crisis than ever before, phonic masterpiece with a singularly central to The Cleveland Orchestra’s storms, tor nadoes, and earthquakes. cancelling months of performances modern work by 20th-century com- dedication to music’s role in the The creation of the Orchestra itself and requiring a wholesale shift in our poser Ernst Křenek. As in the fi rst world — to instill understanding and unfolded amidst the 1918 Infl uenza thinking as to how best to ensure The set, these contrasting pieces have inspiration, perspective and wonder. Cleveland Orchestra’s future — as much to say in both their diff erences In a world fi lled with uncertainty, mu-

3 sic off ers an extraordinary opportu- the future and to work harder toward iarity and innovation, incorporating diversity, by understanding diff er- nity for sharing. In a world too often becoming better than the promises new ideas and new technologies, ences and uniting us toward common riven by divisions and discord, music foretold by our acclaimed past. Now integrating the best traditions of the goals. In Cleveland, we must strive to — and all the arts — off er bridges for is the time to dare, to more actively past with insights from today, and be not just The Cleveland Orchestra, understanding. demonstrate who we are and what synthesizing new understandings for but to be an orchestra for everyone. we have to off er. tomorrow. To be Cleveland’s Orchestra not just CATALYST FOR CHANGE Through questioning our base as a slogan but in action and deed. As an institution, 2020 has assumptions and beliefs, we have CELEBRATING HUMANITY Music off ers emotional real- forced us to ask fundamental ques- tried to see the world around us with The Cleveland Orchestra’s mis- ity — a journey fi lled with emotional tions about The Cleveland Orches- new meaning — to be more spon- sion focuses our work both on music resonance. Music tells stories, di- tra’s role in today’s world. With the taneous, and to to embrace new and on people — on those perform- rectly and indirectly, in a commu- cancellation of months of perfor- ideas in a world that too often lacks ing as well as those listening, and on nal space and experience, creating mances, how do we ensure The fl exibility and is afraid of change. The the hometown community we serve incredible ties between performers Cleveland Orchestra’s future? How musical scores are written out, but and support, and whose enthusiasm and audience. Ultimately, it is all in do we fi nd continuing relevance in a everything we do does not have to and support are crucial to our suc- the music — the shared emotions, the modern, post-pandemic reality? How follow that same linear convention. cess. shared experience of being human, can we evolve fast enough to keep Perhaps more than ever before, We have, undeniably, some- of breathing with life, of aspiring to up with changing times and shifting the years and decades ahead will see times focused too completely on be better. community needs? How do we prove much change and transformation in the music for its own sake, and not The many choices facing all of once more that music — and all the arts and entertainment. It’s been said enough on how the musical ex- us are challenging in any era, but arts — are a necessary and enriching for decades, but technology is an perience inspires and energizes in perhaps more so in 2020. Let the part of everyday life in today’s mod- increasingly powerful force in today’s performance, to bring audience and journey continue, and let us continue ern world? world. The craft and art onstage re- community and artists together. the journey, in new ways and old. Rather than feeling defeated, main hand-made and in-the-moment, Orchestras must change. To In an ever-changing and never-end- disrupted, and in despair over this but everything surrounding it is part refl ect and better serve society. To ing search for and celebration of the year’s new crises, The Cleveland of a digitally-connected world. bolster needs and ask questions. To bonds that bring humanity together. Orchestra has worked to use these For many audience members, directly tackle and be involved in ev- crises as catalysts for change. In- the arts will remain an oasis of rest, erything society encompasses — the stead of business-as-usual, we have away from the “reality” of the every- good, the bad, and the ugly. Music is looked toward accelerating our own day. But for more and more people, not just a salve to make listeners feel —André Gremillet future — to bring together ideas we the arts off er new pathways, to be better, but also a process of learning President & CEO were already considering or planning rebuilt and re-created for today and and a method for exchanging ideas. The Cleveland Orchestra on longer timeframes, to embrace tomorrow. Change is a constant. The We must serve our communities by arts carry us forward with both famil- refl ecting community values and

4 RECORDING IN A TIME OF CRISIS by Franz Welser-Möst

Mirror and Message

June 2020, Seewalchen am Attersee, Austria

As I write this, the performing arts year with a three-disc album and mony to how the world has changed Nazi Germany — including compos- throughout most of the world are in book, and with plans for a series of and is always changing. And of how ers of Jewish, African, and modernist the midst of a long and unexpected new releases going forward each art reminds us about what is impor- origins or sensibilities. intermission, caused by a virus. Mu- year. In preparation, we had identi- tant and special in the people around In the preceding month, while sic and the arts have become, for the fi ed a variety of upcoming repertoire us. continuing my preparations and moment, something shared more on- that might be captured to show- research for Lulu and the Censored: line than in-person. While lockdowns case the ensemble’s many artistic MAKING MUSIC Art + Power festival, I had again been are being lifted in many areas, the strengths. Křenek’s Static and Ecstatic had reminded of the maxim that history virus’s threat continues. Yet this particular recording — never before been performed by The repeats itself. Lulu was written nearly I have been listening to the fi nal pairing a symphony by Schubert Cleveland Orchestra. In concerts on a century ago, in the midst of rising master proofs of these new record- with a modern piece by Křenek — March 5-8, 2020, it was presented political tensions, of increasing na- ings, of Schubert’s “Great” C-major came together quite unexpectedly, alongside Mendelssohn’s Lobgesang, tionalism and appeals for authoritari- Symphony and Ernst Křenek’s Static from two separate projects. In the or “Song of Praise.” The fi rst piece anism, unleashed in part by an era of and Ecstatic. Each time I listen, I am midst of changing circumstances, as embraces modernism, the other growing wealth and extravagance, of amazed both by the performances the world itself was revolving in one sings praises in a traditional classic a kind of free-wheeling individualism and by the circumstances in which direction and slowing down in so idiom, forged through Mendelssohn’s that was separating the world further they were recorded — in March 2020, many other ways, these two pieces creativity and focused spirituality. into haves and have-nots. This, in just as the world was shutting down suddenly became an unlikely but Both works were programmed to turn, had been spurred on by the and just as life, the way most of us obvious twosome. preview a larger festival I was great loss of life in World War One knew it on a day-to-day basis, was In many senses, they were never to conduct with The Cleveland and the worldwide infl uenza pan- about to change quite radically. intended to be paired together, in Orchestra two months later in May demic of 1918, pushing survivors to performance at Severance Hall or 2020, centered around Alban Berg’s let their hair down, to want to forget, MAKING CHOICES as a Cleveland Orchestra recording. startlingly creative opera Lulu, with to party together with extravagant The Cleveland Orchestra Yet, they make quite a lot of sense wider discussions alongside per- license. Excess fueled the opposing launched its own recording label this together, as testament to what was formances of musical styles and reaction, to clamp down and nar- happening at the time — and in testi- categories banned and censored by row what was allowed. Censorship

5 was practiced at unheard of scales, many years in the making were sud- THE FINAL PERFORMANCES more worried and concerned. But melded with newly-invented mass denly being questioned. I talked daily After the Mendelssohn-Křenek we were all aware of everything hap- media propaganda techniques. with André Gremillet, the Orchestra’s weekend, rehearsals continued for pening across the world. And what In our own time, the opening President & CEO, to discuss the op- Schubert and Prokofi ev. But the we could agree on, what we knew decades of the 21st century have tions and concerns. With the virus situation was moving fast. The entire with clearer certainty, was the music seen a similar push-and-pull of con- spreading, would it be safe for over tour was looking increasingly unlikely, itself. And together we focused on trary directions. And the Covid-19 a hundred musicians and accompa- with a draft news release circulating what we were able to do, somehow outbreak this year is, in some horrible nying staff to travel and perform? for review. On Wednesday evening, almost unconsciously putting extra way, both fi tting and timely, as hu- Which country might become a new it was announced that travel to and eff ort and understanding into our mans struggle to move forward, with hot spot? What at fi rst seemed a re- from Europe would be closed begin- work together. new generations working together mote possibility — of being forced to ning that next weekend — my wife That evening, in full concert to learn anew and to re-learn lessons cancel or curtail the tour — each day and I would have to quickly make a dress, we performed for perhaps from the past. looked more and more probable. choice, going to our home in Austria, sixty people, spread across Sever- In a rather diff erent way, the Yet like so many everywhere, we or staying in Cleveland. ance Hall’s very blue seats. Schubert was also part of a festival kept to schedule, rehearsing and per- On Thursday morning, March The next morning we performed focus. For two seasons, we had been forming in Cleveland, while talking 12, André addressed the Orchestra again, with about twenty staff mem- exploring connections and contrasts widely with medical experts in Ohio just prior to the week’s fi nal dress bers as audience. in the symphonic writings of Franz and from around the world. We were rehearsal, telling everyone that, in I remember at one point — and Schubert and Sergei Pro-kofi ev, simultaneously reviewing our original anticipation of Ohio’s governor ban- I know quite specifi cally when in the through pairings of their sympho- plans and several alternate scenarios. ning the gathering of more than 100 second movement — I suddenly real- nies. Among culminations of this Might we stay at home in Cleve- people together, we were closing ized that this might be the last time focus, we had scheduled a weekend land and present concerts for the Severance Hall to the public. We I would ever conduct The Cleveland of concerts in Cleveland, March 12-14, larger community instead of going would continue with plans to record Orchestra. The months ahead were followed by a series of performances to Europe? Would the virus interrupt the Thursday evening and Friday fi lled with increasing uncertainty. We in Vienna on our spring tour. concerts scheduled for Cleveland in morning concerts, but Thursday might not yet be ready to announce March, or later in the spring? night’s performance would be for an cancelling the rest of the season in THE CLOCK RUNS OUT The bigger picture was also on invited audience only, a few donors April and May, but suddenly, per- Awareness of the novel corona- television each day. Rising numbers and staff members, to comply with haps without words, I understood virus had reached us several weeks of people were becoming sick and new orders from the State of Ohio. the possibility of how deep this crisis earlier, as The Cleveland Orchestra dying. One country after another During rehearsals through- might go. The tour, the weekend, the was making fi nal preparations for the was reporting cases. People were out the week, we had already been season, the summer. We could not spring concert tour to Europe and frightened, hospitals were busier and feeling each day that this week was know when we might make music the United Arab Emirates. Schedules busier. Towns, cities, and borders somehow diff erent. A number of the together again, for a very long time. were closing. musicians were optimistic, others 6 In such times, you are in a situa- thing larger, a deeply interconnected much longing in this music. There mance, as much as I regret the virus tion you have never been before, yet world. For weeks, I had no direct is intimacy, there is melancholy and and the devastation it has caused. also fi lled with awareness of reality. in-person contact with anyone but sadness, mixed together with joy. I can see — and feel — how the And the performances by The Cleve- my wife, and yet I felt very much a Thus, it is an extremely rich world poignancy of the moment balances land Orchestra, both on Thursday part of the larger expanse of human- emotionally. And yet, somehow, it’s against the timelessness written into and on Friday, the performances by ity, and understood anew my ongo- also very small and very focused. Schubert’s music. this extraordinary group of musicians ing relationship with The Cleveland And playing this kind of music in an The many common bonds of were perhaps as close to perfection Orchestra’s musicians and audience. almost empty hall, as we did, was re- being human, across decades and as is possible to imagine. For all of In a diff erent way, but still ally quite fi tting. For all of us, I know, individual journeys, bring us together us, in this kind of situation, you feel looking at how diff erent parts and it was a very emotional experience. It as listeners and friends. The chal- you want to hang on to something diff erent lives connect together, was an extraordinarily emotional mo- lenges that the coronavirus and Co- you love — to fully embrace the act Schubert was always in the shadow ment, in part, because the musicians vid-19 have presented do not dimin- of playing together, and to focus on of a giant named Beethoven. And in of The Cleveland Orchestra look at ish my optimism — about humanity Schubert’s beautifully laid-out music, the “Great” C-major Symphony, he what they do not simply as a job, but or about the rightful place of art in fi lled as it is with clarity and convic- was trying once more to match that as a calling. society. tion, in a musical journey of utmost larger shadow, to try to become, as In those moments, these ex- Art brings us understanding majesty and tenderness. a composer, through his own ef- traordinary musicians were called on even amidst the darkest of times, forts, as great as Beethoven, at least to look at one of the great pieces of perhaps even more so during diffi - THE MIRROR IN THE MESSAGE in the way that Schubert saw and music for orchestra ever written and culty. Humanity yearns unceasingly In rehearsal, I had talked with understood Beethoven. The fact that give it a performance, in many senses for understanding. Music is one path the Orchestra about Schubert’s this Schubert symphony was not of the words, for the ages. Which, toward that discovery. music — and the fact that he often performed in public until long after thankfully, we captured via recording. works in small focus, creating and Schubert’s death, does not dimin- I’ve conducted thousands of developing so carefully and creative- ish what Schubert understood of his performances in my life already, but ly the smallest details. Thus, in one own achievement. this one I will carry with me to my last sense, he creates a small world. But it Yet also in Schubert, there is day — because it was a unique situa- —Franz Welser-Möst is always an always an underlying melancholy and tion in the making, and because the June 2020 incredibly rich world. This, in many there is always a feeling of farewell. performance itself was something ways, mirrors what so many of us So that you have optimism and a absolutely unforgettable. have experienced in the ensuing drive for success mixed together And one thing I understood at weeks and months — as we isolated with this typical Schubertian melan- the time, in the midst of uncertainty, with family, sitting in a small and very choly and this atmosphere of saying in what seemed like very dire, dark personal world, surrounded by some- goodbye. At the end of the second times. I’m extremely, extremely movement, for example, there is so grateful that I was part of this perfor- 7 SCHUBERT Symphony in C major (“The Great”), D.944 (also known as Symphony No. 9)* composed 1825-26

Symphony in C major (“The Great”) Franz SCHUBERT 1 1. Andante — Allegro ma non troppo 16:18

born 2 2. Andante con moto 14:00 January 31, 1797 3 3. Scherzo: Allegro vivace — Trio 14:43 Himmelpfortgrund, near Vienna 4 4. Finale: Allegro vivace 12:32

died 57:33 November 19, 1828 Vienna Recorded live at Severance Hall, March 12 and 13, 2020.

Schubert wrote this C-major symphony* in and an hour in performance, depending on 1825-26. There may have been a partial read- choices regarding repeats. Schubert scored it through at a rehearsal of the Austrian Philhar- for 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 2 monic Society during Schubert’s lifetime, but horns, 2 trumpets, 3 trombones, timpani, and strings. Next page: no public performances were given. The score Th e Cleveland Orchestra was rediscovered a decade after Schubert’s The Cleveland Orchestra fi rst performed onstage just before performing death, and the fi rst performance (with cuts) was Schubert’s “Great C-major” Symphony in Janu- Schubert’s “Great” C-major presented on March 21, 1839, in Leipzig, with ary 1921, with Nikolai Sokoloff conducting. It Symphony on March 12, 2020. Felix Mendelssohn conducting the Gewandhaus has been presented on a regular basis since that (Photo by Eric Sellen) Orchestra. time, led by each of the Orchestra’s music direc- This symphony runs between 50 minutes tors and a number of guest conductors.

8 9 KŘENEK Static and Ecstatic, Opus 214 (ten movements for chamber orchestra) composed 1971-72

Static and Ecstatic Ernst 5 KŘENEK i. 1 :02 Křenek wrote Statisch und Ekstatisch [Static and Ecstatic] between October 1971 and May 1972 on a commission 6 ii. 1 :13 born from Paul Sacher. The score is in ten movements or August 23, 1900 7 iii. 1 :57 sections, without titles or tempo markings for each. The Vienna, Austria 8 iv. 2:47 composer led the world premiere performance on March died 23, 1973, with the Zurich Chamber Orchestra. The fi rst December 22, 1991 9 v. 2:03 performance in the United States took place on January Palm Springs, 26, 1975, in Palm Springs. California 10 vi. 1 :54 This work runs about 20 minutes in performance. 11 vii. 2 :18 Křenek scored it for a chamber orchestra of fl ute (doubling 12 viii. 1 :56 piccolo), oboe, clarinet, trumpet, trombone, piano, and strings, with a large collection of percussion (snare drum, 13 ix. 1 :19 bass drum, bongos, wood block, tambourine, maracas, 14 x. 3:01 claves, cow bell, gong, triangle, guiro, cymbals, xylo- Next page: phone, vibraphone, glockenspiel). Franz Welser-Möst and 19:30 Th e Cleveland Orchestra The Cleveland Orchestra presented this work for the performing Křenek’s Static fi rst time in March 2020. Recorded live at Severance Hall, and Ecstatic, March 5, 2020. March 5-8, 2020. (Photo by Roger Mastroianni)

10 11 The Cleveland Orchestra

Franz Welser-Möst MUSIC DIRECTOR FLUTES HORNS PERCUSSION Kelvin Smith Family Chair Joshua Smith* Nathaniel Silberschlag* Marc Damoulakis* Elizabeth M. and Memorial Chair Margaret Allen Ireland Chair William C. Treuhaft Chair FIRST VIOLINS SECOND VIOLINS CELLOS Michael Mayhew§ Donald Miller Peter Otto Stephen Rose* Mark Kosower* Saeran St. Christopher Knight Foundation Chair Tom Freer FIRST ASSOCIATE CONCERTMASTER Alfred M. and Louis D. Beaumont Chair Jessica Sindell2 Jesse McCormick Clara T. Rankin Chair 1 Thomas Sherwood Virginia M. Lindseth, PhD, Chair Richard Weiss Austin B. and Robert B. Benyo Chair Emilio Llinás2 Ellen W. Chinn Chair Jung-Min Amy Lee The GAR Foundation Chair Hans Clebsch ASSOCIATE CONCERTMASTER James and Donna Reid Chair Charles Bernard2 Mary Kay Fink LIBRARIANS Richard King Gretchen D. and Eli Matthews1 Helen Weil Ross Chair Robert O’Brien Ward Smith Chair PICCOLO Patricia M. Kozerefski and Bryan Dumm Alan DeMattia Joe and Marlene Toot Chair Mary Kay Fink Jessica Lee Richard J. Bogomolny Chair Muriel and Noah Butkin Chair Donald Miller ASSISTANT CONCERTMASTER Sonja Braaten Molloy Anne M. and Clara G. and George P. Tanya Ell M. Roger Clapp Chair TRUMPETS Bickford Chair Carolyn Gadiel Warner Thomas J. and Michael Sachs* ENDOWED CHAIRS Elayna Duitman Judith Fay Gruber Chair Robert and Eunice Podis CURRENTLY Stephen Tavani OBOES Weiskopf Chair ASSISTANT CONCERTMASTER Ioana Missits Ralph Curry UNOCCUPIED Frank Rosenwein* Jack Sutte Takako Masame Brian Thornton Sidney and Doris Dworkin Chair Jeff rey Zehngut Edith S. Taplin Chair 2 Paul and Lucille Jones Chair William P. Blair III Chair Lyle Steelman Vladimir Deninzon Corbin Stair James P. and Dolores D. Blossom-Lee Chair Wei-Fang Gu David Alan Harrell Sae Shiragami Sharon and Yoash Wiener Chair Storer Chair Sunshine Chair Drs. Paul M. and Renate H. Martha Baldwin Jeff rey Rathbun2 Duchesneau Chair Scott Weber Michael Miller Myrna and James Spira Chair Dane Johansen Everett D. and Kim Gomez Kathleen Collins Eugenia S. McCurdy Chair CORNETS Gilbert W. and Louise I. Paul Kushious Humphrey Chair Elizabeth and Leslie Beth Woodside Robert Walters Michael Sachs* Kondorossy Chair Emma Shook Mary Elizabeth and Chul-In Park Dr. Jeanette Grasselli Brown BASSES ENGLISH HORN G. Robert Klein Chair Harriet T. and David L. * Principal and Dr. Glenn R. Brown Chair Maximilian Dimoff * Robert Walters Michael Miller Simon Chair Clarence T. Reinberger Chair Samuel C. and § Associate Principal Yun-Ting Lee Miho Hashizume Kevin Switalski2 Bernette K. Jaffe Chair 1 First Assistant Principal Jiah Chung Chapdelaine 2 Theodore Rautenberg Chair 1 TROMBONES Assistant Principal Scott Haigh 2 Jeanne Preucil Rose Mary E. and F. Joseph CLARINETS Shachar Israel Dr. Larry J.B. and VIOLAS Callahan Chair Afendi Yusuf* Richard Stout CONDUCTORS Barbara S. Robinson Chair Wesley Collins* Mark Atherton Robert Marcellus Chair Alexander and Marianna C. McAfee Chair Christoph von Dohnányi Alicia Koelz Chaillé H. and Robert Woolfrey Richard B. Tullis Chair Thomas Sperl MUSIC DIRECTOR LAUREATE Oswald and Phyllis Lerner Victoire G. and 1 Henry Peyrebrune EUPHONIUM AND Gilroy Chair Lynne Ramsey Alfred M. Rankin, Jr. Chair BASS TRUMPET Vinay Parameswaran Charles M. and Charles Barr Memorial Chair Yu Yuan Daniel McKelway2 Richard Stout ASSISTANT CONDUCTOR Janet G. Kimball Chair Charles Carleton Elizabeth Ring and Patty and John Collinson Chair Robert R. and 2 William Gwinn Mather Chair Isabel Trautwein Stanley Konopka Scott Dixon Vilma L. Kohn Chair TUBA Trevor and Jennie Jones Chair Mark Jackobs Derek Zadinsky Lisa Wong E-FLAT CLARINET Yasuhito Sugiyama* Mark Dumm Jean Wall Bennett Chair DIRECTOR OF CHORUSES Daniel McKelway Nathalie C. Spence and Gladys B. Goetz Chair Arthur Klima Frances P. and HARP Stanley L. and Nathalie S. Boswell Chair Chester C. Bolton Chair Katherine Bormann Richard Waugh Trina Struble* Eloise M. Morgan Chair TIMPANI Analisé Denise Kukelhan Lisa Boyko Alice Chalifoux Chair Paul Yancich* Zhan Shu Richard and Nancy Sneed Chair BASSOONS Otto G. and Corinne T. Voss Chair Lembi Veskimets KEYBOARD John Clouser* Tom Freer 2 Membership shown as of July 2020. The Morgan Sisters Chair INSTRUMENTS Louise Harkness Ingalls Chair Mr. and Mrs. Richard K. This roster lists the fulltime members Eliesha Nelson Joela Jones* Gareth Thomas Smucker Chair of The Cleveland Orchestra. The number Rudolf Serkin Chair and seating of musicians onstage varies Joanna Patterson Zakany Barrick Stees2 depending on the piece being performed. Patrick Connolly Carolyn Gadiel Warner Sandra L. Haslinger Chair Marjory and Marc L. Swartzbaugh Chair Jonathan Sherwin CONTRABASSOON Jonathan Sherwin 12 About the Orchestra

One of the few major American seen an increasing number of young orchestra’s founded by a woman, people attending concerts, bring- The Cleveland Orchestra’s inaugural ing fresh attention to the Orchestra’s concert took place in December 1918, legendary sound and committed pro- at a time of renewed optimism and gramming. A series of annual opera progressive community ideas. By the presentations, in innovative staging middle of the century, with its own and pairings, has also showcased the concert hall, the decades of growth ensemble’s unique artistry and col- and sustained eff ort had turned laborative work ethic. Recent produc- the ensemble into one of the most- tions have included Strauss’s Ariadne admired around the world. Under auf Naxos (2019), Debussy’s Pelléas the leadership of Franz Welser-Möst and Mélisande (May 2017), a doublebill since 2002, The Cleveland Orchestra of Bartók’s Miraculous Mandarin and has extended its artistry and musical Bluebeard’s Castle (April 2016), and an abilities and remains one of the most innovative presentation of Janáček’s sought-after performing ensembles The Cunning Little Vixen (May 2014, in the world — year after year setting with encore performances in Cleve- standards of extraordinary artistic land and Europe in 2017). excellence, creative programming, and The partnership with Franz Wels- community engagement. In recent er-Möst, entering its 19th year with PHOTO BY ROGER MASTROIANNI years, The New York Times has it “the the 2020-21 season, has earned The and CD recordings under the direction dorf, George Szell, , Chris- best in America” for its virtuosity, Cleveland Orchestra unprecedented of Mr. Welser-Möst continues to add to toph von Dohnányi and Franz Welser- elegance of sound, variety of color, residencies in the U.S. and around the an extensive and widely praised cata- Möst — have guided and shaped the and chamber-like musical cohesion, world, including one at the Musikver- log of audio recordings made during ensemble’s growth and sound since “virtually fl awless,” and “one of the ein in Vienna, the fi rst of its kind by an the tenures of the ensemble’s earlier its founding in 1918. Through con- fi nest ensembles in the country (if not American orchestra. It also performs music directors. In addition, Cleve- certs at home and on tour, via radio the world).” regularly at important European sum- land Orchestra concerts are heard in broadcasts and a catalog of acclaimed A long history of strong commu- mer festivals. syndication each season on radio sta- recordings, The Cleveland Orchestra is nity support from across the ensem- The Cleveland Orchestra has a tions throughout North America and heard today by a broad and growing ble’s home region continues to drive long and distinguished recording and Europe. group of fans around the world. For the Orchestra forward with renewed broadcast history. A series of DVDs Seven music directors — Nikolai more information, visit: cleveland- energy and focus. Recent years have (available through Clasart Classics) Sokoloff , Artur Rodziński, Erich Leins- orchestra.com.

13 Franz Welser-Möst

ity, elegance of sound, variety of color, and upcoming guest conducting ap- Cleveland Orchestra, his recordings and chamber-like musical cohesion. pearances include performances of include a number of DVDs on the With Welser-Möst, The Cleveland Strauss’s Die Aegyptische Helena at Clasart Classic label, featuring live per- Orchestra has been praised for its Teatro alla Scala, and concerts with formances of fi ve of Bruckner’s sym- inventive programming, its ongoing the New York Philharmonic, Leipzig phonies and a multi-DVD set of major support for new musical works, and Gewandhaus Orchestra, and Am- works by Brahms. A number of his for its innovative work in presenting sterdam’s Royal Concertgebouw Salzburg opera productions, includ- semi-staged and staged operas. An Orchestra. He is a regular guest at the ing Rosenkavalier, have been released imaginative approach to juxtaposing Salzburg Festival, where his work lead- internationally on DVD by Unitel. newer and older works has opened ing a series of opera performances has In 2019, Mr. Welser-Möst was new dialogue and fresh insights for been widely acclaimed. These have awarded the Gold Medal in the Arts musicians and audiences alike. The included Rusalka, Der Rosenkavalier, by the Kennedy Center International Orchestra has also been hugely suc- Fidelio, Die Liebe der Danae, Aribert Committee on the Arts in recogni- cessful in building up a new and, Reimann’s Lear, and Strauss’s Salome tion of his long-lasting impact on the notably, a young audience. To date, and Elektra. The success of both international arts community. Other the Orchestra and Welser-Möst have Salome and Rosenkavalier led the Fes- honors include The Cleveland Or- been showcased around the world in tival to schedule encore performances chestra’s Distinguished Service award nineteen international tours together. in subsequent years. (given as part of the ensemble’s 100th In 2020, they launched the ensemble’s From 2010 to 2014, Franz season celebrations for his focus Franz Welser-Möst is among today’s own recording label to continue and Welser-Möst served as general music on community and education), the most distinguished conductors. The extend sharing their artistry globally. director of the Vienna State Opera. Vienna Philharmonic’s “Ring of Honor” 2020-21 season marks his nineteenth As a guest conductor, Mr. His partnership with the company for his longstanding personal and year as music director of The Cleve- Welser-Möst enjoys a particularly close included a wide-ranging repertoire, artistic relationship with the ensemble, land Orchestra, with the future of their and productive relationship with the including a series of critically-praised recognition from the Western Law acclaimed partnership extended to Vienna Philharmonic. He has twice new productions. Mr. Welser-Möst had Center for Disability Rights, honorary 2027, making him the longest-serving appeared on the podium for their cele- earlier led the Zurich Opera across a membership in the Vienna Singverein, musical leader in the ensemble’s brated New Year’s Concert, and regu- decade-long tenure, conducting more appointment as an Academician of history. The New York Times has larly conducts the orchestra in sub- than forty new productions. the European Academy of Yuste, and declared Cleveland under Welser- scription concerts in Vienna, as well as Franz Welser-Möst’s recordings the Kilenyi Medal from the Bruckner Möst’s direction to be “America’s most on tours in Japan, China, Australia, and and videos have won major interna- Society of America. brilliant orchestra,” praising its virtuos- the United States. Highlights of recent tional awards and honors. With The

Photo by Julia Wesely

14 Franz Welser-Möst conducting and in conversation with André Gremillet, President & CEO of Th e Cleveland Orchestra. Photos by Dustin Franz 15 Acknowledgements

THE PRODUCERS EDITORIAL DIRECTION Julie Kim, Eric Sellen, Managing Editor, CLEVELAND Senior Director, Opera ons & Venues The Cleveland Orchestra ORCHESTRA Mark Williams, Chief Ar s c Offi cer ART DIRECTION/DESIGN Franz Welser-Möst, Ross Binnie, Judith Barabas, Music Director Chief Brand Offi cer Red Swing Crea ve André Gremillet, PRODUCTION/MARKETING PRINTING AND President & CEO Julie Stapf, PACKAGE PRODUCTION Richard K. Smucker, Senior Director, Marke ng Prin ng: AGS Custom Graphics, Board Chair Macedonia, Ohio, U.S.A. PROMOTION Disc Replica on: Sony DADC, Austria, E.U. Jus n Holden, Senior Director, Communica ons PROJECT VIDEO CREATION Digital River Media PROJECT COORDINATION Don McClung, Annie Murmann Leah Monder, Director of Opera ons CLEVELAND ORCHESTRA Ma Craggs, ARCHIVES Adver sing & Marke ng Manager Andria Hoy, Archivist Deborah Hefl ing, Assistant Archivist AUDIO PRODUCTION Elaine Martone, recording producer MUSIC PUBLISHERS Vinay Parameswaran, assistant producer Ernst Křenek’s Sta c and Ecsta c appears Copyright © ℗ 2020 Charles Carleton, assistant producer by arrangement with Bärenreiter-Verlag by The Cleveland Orchestra Gintas Norvila, recording, Karl Vö erle GmbH & Co. KG. and Musical Arts Associa on edi ng, and mixing engineer Jennifer Nulsen, mastering engineer Distributed clevelandorchestra.com in promotional partnership with LSO Live Becky Lees, Head of LSO Live David Millinger, Schubert and Křenek recorded at 24bit 96kHz PCM Produc on and Projects Manager at Severance Hall in March 2020. Thomas Rozwadowski, Marke ng and Partnerships Manager

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